title: Voldemārs

abstract:
Voldemārs is a Latvian masculine given name. It is a cognate of the Germanic "Waldemar". Voldemārs may refer to:
  - Voldemārs Elmūts (1910–1966), Latvian basketball player
  - Voldemārs Lūsis, Latvian athlete, javelin thrower, Olympic competitor
  - Voldemārs Mežgailis (1912-1998), Latvian chess master
  - Voldemārs Ozols (1884-1949), Latvian military commander, military theorist and politician
  - Voldemārs Plade (1900-????), Latvian football forward and football manager
  - Voldemārs Reinholds (1903-1986), Latvian Waffen SS soldier
  - Voldemārs Sudmalis (1922-1990,) Latvian football defender
  - Voldemārs Veiss (1899-1944), Latvian soldier and Nazi collaborator
  - Voldemārs Vītols (1911–1980), Latvian middle-distance runner
  - Voldemārs Zāmuēls (1872-1948), Latvian politician, former Prime Minister of Latvia
  - Voldemārs Žins (1905-????), Latvian footballer

text:
# Voldemārs

**Voldemārs** is a Latvian masculine given name. It is a cognate of the Germanic "Waldemar".

Voldemārs may refer to:

## InfoBox

Voldemārs
| Gender | Male |
| --- | --- |
| Name day | 11 December |
| Origin | |
| Meaning | "famous ruler" |
| Region of origin | Latvia |
| Other names | |
| Related names | Valdis, Valdemārs, Voldemar, Waldemar, Woldemar, Vladimir |


title: Peter Winter (philately)

abstract: Peter Winter is a stamp reproducer. He also trained as an opera singer.

text:
# Peter Winter (philately)

**Peter Winter** (born c.1941 in Germany) is a stamp reproducer. He also trained as an opera singer.

## The "reproductions"

In the early 1980s he offered "50 of the most valuable and significant stamps, authentically reproduced" and indicated that in order to reproduce these stamps as authentically as possible, he had refrained from marking them as reproductions. They were produced under the company label "Bruyère".

In or after 1985 he released rare stamps of various countries through "ProPhil Forum P.O.C." (Process Optimation Computersystems). Subsequently there were the reproductions of "Edition '85", then "Edition 88", the later offered by the Swiss "House of Stamps". A special was the offering of the four of the most famous stamps of the world, the Mauritius "Post Office", the Penny Black, the Baden 9 Kreuzer error and the British Guiana 1c magenta for 249 DM.

The stamps were offered as reproductions by Winter, but their lack of permanent identification made them easy objects of fraudulent activities targeted at unsuspecting collectors. Specialists may detect abnormal paper, indentations, lack of watermarks and other signs incongruent with authenticity.

Winter has never indicated that his stamps are genuine, they were sold as reproductions. However, his marks (such as "Faux", "Reprint", "Copy") can often be easily removed. Thus, Heiner Faber, a seller of stamps from Bonn, was convicted for having removed the marks and sold them as originals.

Winter produced stamps that if real might be catalogued at $20 million. His offer to sell his stamps to the APS for $1 million and stop producing reproductions was declined.

## Further reading

* "Focus on Forgeries: A Guide to Forgeries of Common Stamps", V.E. Tyler, *Linn's Stamp News*, 2000.
* "German forger owns 1c Magenta contender; experts continue technical study of stamp", R. Haeseler, *Linn's Stamp News*, 26 April 1999.


title: National Airlines Flight 470

abstract: National Airlines Flight 470 was a regularly scheduled flight between Tampa and New Orleans that crashed on February 14, 1953 after encountering severe turbulence. The crash marked the deadliest accident in the history of National Airlines, killing 46, among them the widow of the cartoonist Billy DeBeck: Mary Bergman.

text:
# National Airlines Flight 470

**National Airlines Flight 470** was a regularly scheduled flight between Tampa and New Orleans that crashed on February 14, 1953 after encountering severe turbulence. The crash marked the deadliest accident in the history of National Airlines, killing 46 (5 crew and 41 passengers), among them the widow of the cartoonist Billy DeBeck: Mary Bergman.

## Events

The Douglas DC-6, registered N90893, crashed into the Gulf of Mexico 20 mi (32 km) off Mobile Point en route to New Orleans. The USCGC *Blackthorn* assisted in search and recovery operations. National Airlines did not maintain its own meteorology department, as was standard among airlines at the time, and its pilots were not informed of the strength of the storm into which they were flying.

## InfoBox

National Airlines Flight 470
| National DC-6 similar to the one involved | |
| --- | --- |
| Accident | |
| Date | February 14, 1953 (1953-02-14) |
| Summary | Turbulence, in-flight breakup |
| Site | Gulf of Mexico, off Fort Morgan, Alabama <br>30°10′25″N 87°57′10″W / 30.17361°N 87.95278°W / 30.17361; -87.95278 |
| Aircraft | |
| Aircraft type | Douglas DC-6 |
| Operator | National Airlines |
| Registration | N90893 |
| Flight origin | Miami International Airport, Miami, Florida |
| Stopover | Tampa International Airport, Tampa, Florida |
| Destination | Moisant Field, New Orleans, Louisiana |
| Occupants | 46 |
| Passengers | 41 |
| Crew | 5 |
| Fatalities | 46 |
| Survivors | 0 |


title: Hollywood Monsters (video game)

abstract: Hollywood Monsters is a 1997 graphic adventure game developed by the Spanish company Pendulo Studios and published by Dinamic Multimedia. It takes place in an alternate-history 1950s, where the creatures from Golden Age monster movies are played by real monsters who lead otherwise normal lives. Controlling reporters Sue Bergman and Ron Ashman, the player seeks to unravel a mystery surrounding the murder of Frankenstein's monster. In the process, the player undertakes a globetrotting journey to locations like Transylvania and Egypt, while solving puzzles and interacting with characters such as Count Dracula, the Invisible Man and the Mummy. Development of Hollywood Monsters began at Pendulo in mid-1994. The company sought to heavily improve its design practices, graphics production and engine technology over those of its first game, Igor: Objective Uikokahonia (1994). While Igor had involved six people, Hollywood Monsters required roughly 40 contributors, most of them outside contractors. Pendulo's goal was to create a traditional adventure game with nonlinear gameplay and difficult puzzles. At the request of Dinamic, the team worked with Spanish new wave group La Unión to create a theme song for Hollywood Monsters. After a challenging development cycle that lasted two-and-a-half years, the game was released in Spain during December 1997. The game drew attention in Spain as a major release from the country's small game industry, which had collapsed after the golden age of Spanish software. Spanish publications cited it as evidence that domestic games were maturing; listeners of the popular radio program Game 40 voted it the best Spanish-made game of 1997. In Spain, Hollywood Monsters sold 250,000 units and helped to establish Pendulo as an important developer. However, the game's planned English version was never released, as Pendulo failed to find publishers beyond Southern Europe. The game has retrospectively been labeled a "classic" by Spanish outlets, and as one of the country's greatest graphic adventure games. Longstanding fan demand led to the spiritual successor The Next Big Thing (2011), named Hollywood Monsters 2 in Spain.

text:
# Hollywood Monsters (video game)

***Hollywood Monsters*** is a 1997 graphic adventure game developed by the Spanish company Pendulo Studios and published by Dinamic Multimedia. It takes place in an alternate-history 1950s, where the creatures from Golden Age monster movies are played by real monsters who lead otherwise normal lives. Controlling reporters Sue Bergman and Ron Ashman, the player seeks to unravel a mystery surrounding the murder of Frankenstein's monster. In the process, the player undertakes a globetrotting journey to locations like Transylvania and Egypt, while solving puzzles and interacting with characters such as Count Dracula, the Invisible Man and the Mummy.

Development of *Hollywood Monsters* began at Pendulo in mid-1994. The company sought to heavily improve its design practices, graphics production and engine technology over those of its first game, *Igor: Objective Uikokahonia* (1994). While *Igor* had involved six people, *Hollywood Monsters* required roughly 40 contributors, most of them outside contractors. Pendulo's goal was to create a traditional adventure game with nonlinear gameplay and difficult puzzles. At the request of Dinamic, the team worked with Spanish new wave group La Unión to create a theme song for *Hollywood Monsters*. After a challenging development cycle that lasted two-and-a-half years, the game was released in Spain during December 1997.

The game drew attention in Spain as a major release from the country's small game industry, which had collapsed after the golden age of Spanish software. Spanish publications cited it as evidence that domestic games were maturing; listeners of the popular radio program *Game 40* voted it the best Spanish-made game of 1997. In Spain, *Hollywood Monsters* sold 250,000 units and helped to establish Pendulo as an important developer. However, the game's planned English version was never released, as Pendulo failed to find publishers beyond Southern Europe. The game has retrospectively been labeled a "classic" by Spanish outlets, and as one of the country's greatest graphic adventure games. Longstanding fan demand led to the spiritual successor *The Next Big Thing* (2011), named *Hollywood Monsters 2* in Spain.

## Gameplay

*Hollywood Monsters* is a graphic adventure game in which the player collects items, converses with non-player characters and solves puzzles. The player maneuvers the player character through the game world via a point-and-click interface, mousing over the screen and selecting hotspots with which to interact. At the bottom of the screen, a pop-up menu allows the player to pick one of seven actions, including "Talk" and "Look", and mouse over an appropriate hotspot, such as a door or character. This creates a verb-noun combination in the message line at the bottom of the screen; "Look door" or "Talk Joseph", for example. The player may then execute the action with a button press. As an example, executing "Talk Joseph" will begin a dialogue tree. An eighth action—"Go", for moving the player character—is automatically enabled when no other action is chosen.

*Hollywood Monsters* features a nonlinear system of progression, although the player character cannot die or reach a dead-end state. After the opening sequence, the player may travel to most of the game's areas unimpeded. The game contains roughly 50 characters and 120 collectible items. Once taken, items are stored in a pop-up inventory, and may be combined with each other to create new objects. The player employs items from the inventory to solve puzzles; for example, giving a glass of punch to a doorman as a distraction. Other types of puzzles in *Hollywood Monsters* include those based on timed action, on conversations, on pixel hunting and on repeating the same action multiple times.

## Setting and story

*Hollywood Monsters* takes place in an alternate-history 1950s, where the monsters from Golden Age monster movies exist in the real world and live everyday lives. These characters work in Hollywood as actors. Movie monsters recreated in the game include the Mummy, the Invisible Man, the Wolf Man, Count Dracula and Frankenstein's monster. *Hollywood Monsters*' portrayal of Hollywood has been described as a parody, and the game directly lampoons famous films such as the 1931 *Frankenstein* starring Boris Karloff.

As the game starts, reporter Sue Bergman of *The Quill* sets out to cover the Film Academy Awards Ceremony for Monster Actors, held in Hollywood. The event is a major gathering of Hollywood's monster talent at the residence of film producer Otto Hannover; Sue's goal is to interview the attendees. There, she notices that Frankenstein's monster ("Frankie") is distressed and searching for the Invisible Man, so she attempts to interview him. However, Sue is then kidnapped and Frankie is cut apart. The following day, *Quill* reporter Ron Ashman learns that Frankie and Sue have disappeared. He returns to Hannover's residence to look for evidence, after which he attempts to find Sue and revive Frankie. It is revealed that Frankie's body parts were hidden inside the trophies given to the previous night's winners: the Mummy, the Wolf Man and Count Dracula. As Frankie had witnessed Sue's kidnapping, he must be reassembled to solve the mystery.

Ron proceeds to undertake a journey around the world. The Mummy resides in Egypt, while Dracula lives in Transylvania's Mountains. Other visitable locations include Switzerland, Scotland and Australia. Ron completes a series of favors to obtain the trophies from their owners, such as aiding in Count Dracula's attempt to lose weight. In a Swiss lab, Ron rebuilds Frankie, who reveals that he had overheard a plot by Hannover and his associate Dr. Karloff against Hollywood's monster actors. The pair hopes to replace them with body doubles that can be easily controlled. Ron returns to Los Angeles and helps Sue to escape from Hannover's captivity, but the pair is soon ambushed by the producer and Dr. Karloff. The villains explain that the real monsters have already been replaced, as they had grown independent and had increased their fees; their doubles are mindless servants. Ron ultimately defeats Hannover and, alongside Sue, breaks the story of his plan and frees the real monsters.

## Development

### Origins

*Hollywood Monsters* was inspired by monster movies from the Golden Age of Hollywood, like *Creature from the Black Lagoon* and the work of Boris Karloff (right).

Spanish developer Pendulo Studios began *Hollywood Monsters* in mid-1994, directly after the launch of *Igor: Objective Uikokahonia*, the company's debut adventure game. Pendulo had announced plans for another adventure title before *Igor*'s release; art director Rafael Latiegui said that it was very clear to them that they were going to make more games in the genre. Because co-founder Miguel Angel Ramos had left the team after its first project, the company's three remaining core members—Latiegui, Felipe Gómez Pinilla and Ramón Hernáez—gathered to brainstorm their second game. The trio sought to diverge from the design process used in *Igor*, whose whole production Latiegui later called "absolutely amateurish".

The central idea upon which Hernáez, Pinilla and Latiegui agreed was to make a "classic" adventure game, including a high level of interactivity, a visual look akin to animated films, a comedic tone and a lack of player death. Hernáez and Latiegui disliked the trends in graphic adventure games at the time, especially what Hernáez saw as an overreliance on cutscenes. Pendulo "wanted to run away from anything like an interactive movie", according to Pinilla. For the plot, the team conceived a story about movie monsters from the Golden Age of Hollywood, set around the 1940s and 1950s. Pinilla said that the designers "had the idea of going against all the preconceived notions" in the public mind about such characters. Dinamic Multimedia jumped at the chance to publish the game, redoubling its efforts to sign Pendulo after its failed bid on *Igor*.

Pendulo's co-founders developed the *Hollywood Monsters* script full-time for between three and six months. This process was collaborative: Pinilla noted that the three leads held equal weight in decision-making. The script ultimately detailed all of the puzzles, dialogue, characters, areas and objects set to appear in the game. Pendulo opted for a "very open, non-linear" design that emphasized player freedom, according to Latiegui. He, Pinilla and Hernáez also purposely increased the difficulty of *Hollywood Monsters*' puzzles compared to those in *Igor*: they saw their first title as overly short and easy, and hoped to remedy these issues in their next game. Hernáez cited the then-new project's large size as another aspect of its increased difficulty. The team estimated an average playtime of around 100 hours for *Hollywood Monsters*, according to *PC Manía*.

### Production

Pendulo began developing *Hollywood Monsters* with the same game engine used by *Igor: Objective Uikokahonia*, a project coded in Pascal. However, the team's concerns with engine quality led to two full rewrites of *Hollywood Monsters*' underlying technology during production. After finishing *Igor*, Pendulo upgraded that title's codebase for use in the developer's future projects. This new version employed protected mode and offered support for voice-overs, enhanced scrolling, a 320x200 screen resolution and other features. Nevertheless, competing adventure games began to outpace Pendulo's older code, according to Ramón Hernáez. In response, the team chose to rewrite the engine again, which resulted in the final version used in *Hollywood Monsters*. The engine that ultimately shipped with the game, built to support SVGA and a resolution of 640x480, was coded from the ground up in . In 1997, Felipe Gómez Pinilla summarized that "quite a lot of time" had been dedicated to engine development for *Hollywood Monsters*.

As with the engine and game design, Pendulo "started from scratch" in the creation of *Hollywood Monsters*' animated graphics, according to Pinilla. The company began production of the visuals by concepting the environments and key objects, while seeking an art style that suited the team's goals. *MeriStation*'s Jordi Espunya reported that Pendulo settled on a stylistic direction inspired by Spanish comics, in particular their use of esperpento and satirical imagery. All backgrounds, characters and other art assets were designed on paper first, then realized digitally. The developer hired graphic artists and background painters to fill out the art staff as production ramped up. Including the voice cast, roughly 40 people contributed to *Hollywood Monsters*, most of them outside contractors. Hernáez said that managing the large number of contributors was the "most important change" to Pendulo's development process since *Igor*, which had involved six people. *Hollywood Monsters*' backgrounds took roughly one year to complete. As the art team worked on the backgrounds, it added unplanned visual red herrings for the game's puzzles; Rafael Latiegui noted that Pendulo was "amused by the idea of getting people a little dizzy with some false trail\[s\]".

During development, Dinamic Multimedia suggested a plan to hire a well-known band to compose music for the game. Pendulo was uncertain at first about whom to contact, but ultimately settled on the Spanish new wave group La Unión. According to Latiegui, the team "thought that \[La Unión\] could do a good job and that their style fit the game very well". Dinamic subsequently secured a deal with La Unión's record label, Warner Music Group, on the condition that *Hollywood Monsters* advertised the band's next album. As a result, La Unión composed the game's main theme, "Enigmas". Latiegui said in late 1997 that the collaboration had gone smoothly and that La Unión had "got\[ten\] along very well" with the team. In 2002, La Unión similarly recalled that working on *Hollywood Monsters* had been "a very fun experience", and reported that it was pleased with the results of the collaboration.

In retrospect, Pendulo labeled *Hollywood Monsters* a difficult project. The team found it to be a significantly greater challenge than *Igor* had been, and reported that resources were tight during production. It ultimately required a long production cycle of around two and a half years. Pinilla told *Game 40* that development would have gone faster with more contributors, but that it was impossible to have more people. Spain's game development industry had collapsed after the golden age of Spanish software in the 8-bit era: Francisco Delgado of *Micromanía* cited *Hollywood Monsters* as one of the few Spanish-made games under production in 1997. While Latiegui was hopeful that Spain's fortunes were turning around, Hernáez remarked that it remained "quite far from countries like England, France or the United States." According to Espunya, there was a consensus in 1997 that Spanish adventure game development had no future, although he saw *Hollywood Monsters* as a hopeful sign.

## Distribution and sales

Dinamic Multimedia first published *Hollywood Monsters* in Spain during December 1997. It launched at a low price point of 2,995 pesetas (18), made possible via inexpensive packaging and the use of a WinHelp file to replace much of the manual. While there were doubts in Spain about the sales potential of graphic adventure titles at the time, Rafael Latiegui noted that his company believed *Hollywood Monsters*' low cost and "high quality" would spread the game via word of mouth. The plan ultimately worked, and the title became a hit. Spanish retailer Centro Mail still reported *Hollywood Monsters* as its fourth best-selling computer game during the first half of May 1998. It continued to hold in the store's top 10 consistently through May, June, July and the first half of August. The title's 1998 Italian release was similarly popular, according to Latiegui, and Dinamic debuted a second edition of the game in Spain during May 1999. David Navarro of *MarcaPlayer* wrote that *Hollywood Monsters*' performance in Southern Europe was "a success comparable to the best in the genre".

Around the time of the game's launch in Spain, Latiegui told *MeriStation* that game development in his country "is not profitable unless it can be amortized beyond our borders". Although *Igor: Objective Uikokahonia* had failed to break into the international market, Pendulo had intended *Hollywood Monsters* from the start to reach a global audience. Felipe Gómez Pinilla noted that the newer game had been developed with English as its primary language; the Spanish-language dub was still in production by October 1997. However, because of a lack of interest from publishers, Pendulo was unable to secure a release for *Hollywood Monsters* in the United States. In 2000, Latiegui explained that the game was released in the *worst* moment in time for adventure games and the companies didn't want to risk their money. Ultimately, Pendulo launched *Hollywood Monsters* only in Spain and Italy, which continued the company's lack of global market success.

In 2002, *Hollywood Monsters* was included as part of *El Mundo*'s 2002 "Los Mejores Videojuegos del Mundo" (MVM) collection, games that the newspaper included with its Sunday edition as optional purchases for €5 each. The paper had incorporated *Igor* into a similar promotion during 1998. Because Dinamic Multimedia had gone bankrupt since the debut of *Hollywood Monsters*, Pendulo partnered with FX Interactive for the re-release, which came in a special case with a set of stickers. Pendulo noted that fans had "for some time ... been insisting on the possibility of making a collector's edition of *Hollywood Monsters*"; the game had become difficult to find in Spain since the closure of its original publisher. The 2002 MVM collection was a success: combined sales of its 10 games, including *Hollywood Monsters*, reached one million units. FX subsequently brought the game back to store shelves as part of its budget-priced "Premium" line in mid-2002. The following year, Spain's *GameLive PC* reported that *Hollywood Monsters* was still "sell\[ing\] well six years after its launch".

According to *HobbyConsolas*, lifetime sales of *Hollywood Monsters* in Spain alone totaled 250,000 units by 2011. A writer for *MarcaPlayer* summarized it at the time as "one of the most played and best-selling adventures in Spanish software" history.

## Reception

*Hollywood Monsters* drew attention in Spain as a major release from the country's struggling game industry. *PC Manía*'s Jaime Bono and *PC Top Player*'s Daniel Melguizo both cited the project as evidence that Spanish games were coming of age; the latter compared it to the successful *PC Fútbol* in this regard, and highlighted *Hollywood Monsters*' technical superiority over domestic competitors like *Dráscula*. Similarly, David E. Garcia of *Micromanía* hailed the game as Spain's "best graphic adventure ever", and as the country's first "graphic adventure able to rub shoulders with the big ones". The game often attracted comparisons to LucasArts' *Maniac Mansion*. *Hollywood Monsters* won the 1997 "Best Spanish Game" award from the radio program *Game 40*, as voted by listeners. Hosts Guillem Caballé and Manuel Martín Vivaldi likewise named it their favorite Spanish game of 1997. The former host joked that his choice was based entirely on the scene in which Ron Ashman kicks a girl holding daisies into a river.

Discussing the visuals in *Hollywood Monsters*, Bono and Melguizo offered praise, while Garcia wrote that the game's "presentation is simply magnificent". The reviewer for *Sólo Juegos* similarly complimented the graphics in *Hollywood Monsters*—despite the "outdated", "neglected" interface—and echoed Garcia's and Melguizo's approval of the voice acting. Conversely, Jordi Espunya of *MeriStation* called the voices uneven and cited several "terrible" performances among the good ones; he also argued that the graphics, although above average, were inferior to those of foreign titles like *The Curse of Monkey Island*. Regarding the puzzles, César Otero of *MeriStation* later said that they "cause\[d\] schisms among adventurers, with those who defend\[ed\] their madness and those who condemn\[ed\] the absurdity of their solutions". While Garcia found *Hollywood Monsters*' puzzles logical, and Melguizo praised their "tight difficulty", Espunya called them frustrating and recommended the game primarily to genre veterans as a result. *Sólo Juegos*'s reviewer fell in between: while highlighting the game's length and "many" sensible puzzles, the writer felt that certain moments "are not as logical as the game promises". In 2003, *Just Adventure*'s Michal Necasek sided with Espunya on the puzzles, and found *Hollywood Monsters*' visuals "adequate" but its sound quality low. He summarized the game as "well done though not excellent".

## Legacy

Writing for *HobbyConsolas*, Clara Castaño Ruiz said that *Hollywood Monsters* became "a benchmark for the development of graphic adventures in Spain". The game proceeded to maintain a longstanding reputation in the country, and has retrospectively been labeled a "classic" by Spanish outlets such as *Vandal*, *3DJuegos*, *Defconplay* and *MeriStation*. In 2001, *GameLive PC* declared *Hollywood Monsters* "without a doubt \[one of\] the two best graphic adventures" ever developed in Spain. In the 2010s, *HobbyConsolas* likewise named *Hollywood Monsters* one of the greatest Spanish graphic adventure games; Ruiz wrote that it was "considered one of the best point-and-click graphic adventures in history". *VidaExtra* and *Vandal* listed the game among the greatest adventure titles worldwide, while *Defconplay* named it one of Spain's best games in any genre by 2016. A writer for *VidaExtra* opined that, if the game had been released by LucasArts, its reputation as a classic would extend internationally. In 2016, *BuzzFeed Spain* editor Guillermo del Palacio named the scene between Ron Ashman and the girl with the daisies one of "13 mythical moments" recognizable to adventure game fans. *MeriStation*'s César Otero recalled it as one of "the most disgraceful moments of humor in history", but nevertheless still amusing.

As a greater commercial and critical success than *Igor: Objective Uikokahonia*, *Hollywood Monsters* marked a turning point for Pendulo Studios. It has been cited by publications such as *PC Actual*, *3DJuegos*, *Defconplay*, *Vandal* and *MeriStation* as the title that put Pendulo on the map. Francisco Delgado of *Micromanía* wrote in 2011 that *Hollywood Monsters* "was the game that really brought fame and the mass market to" the developer, while Xan Pita of *El Mundo* remarked, "Thanks to this game, ... Pendulo made a good dent in the industry." A writer for *MeriStation* named *Hollywood Monsters* the beginning of Pendulo's signature cartoon visual style, which it proceeded to carry throughout the rest of its work. Pendulo went on to become an important Spanish game developer, particularly in the adventure genre. It followed *Hollywood Monsters* with the *Runaway* trilogy—*Runaway: A Road Adventure*, *Runaway 2: The Dream of the Turtle* and *Runaway: A Twist of Fate*—which brought the company international success. In 2011, *MarcaPlayer* dubbed Pendulo "the masters of the graphic adventure". Likewise, Ruiz wrote in 2017 that Pendulo had become "synonymous with graphic adventures in Spain" and one of the country's "most important studios".

### Successor

In early 1998, Rafael Latiegui left open the possibility of a *Hollywood Monsters* sequel if the first game's sales and reception were strong enough. He told *MeriStation* that "we have a lot of ideas left \[over\] that were not possible to put in *Hollywood Monsters*" because of time constraints. Pendulo Studios soon began working on a second *Hollywood Monsters*, but the project changed shape to become *Runaway: A Road Adventure*, which started to form as an idea in summer 1998. Nevertheless, Latiegui said during *Runaway*'s development that Pendulo was still considering *Hollywood Monsters 2*. In 2001, he remarked that Pendulo had produced "a very fun script" for the sequel that was "full of familiar characters and others to get to know, with great humor and a great pre-design". It remained a tentative project at that time. Later in the year, Pendulo encountered serious financial trouble due to the bankruptcy of publisher Dinamic Multimedia, which hampered *Runaway*'s initial launch in Spain. Most of Pendulo's staff was laid off following Dinamic's closure, and Pendulo discontinued all game development.

Thereafter, the developer spent a year trying to obtain the rights to release *Runaway* internationally. Pendulo managed to hold out and make *Runaway* a hit across Europe, which stabilized the company. The team then continued the *Runaway* series in part because of the first entry's success. According to Latiegui, the "vast majority" of those laid off returned for *Runaway 2*. However, fan requests for a sequel to *Hollywood Monsters* were ongoing throughout the creation of the *Runaway* trilogy. Latiegui said of the situation: "To each new game that we have been making, the reaction of the Spanish public has been the same: 'When is the next *Hollywood Monsters*?'" This pressure from fans became a key motivation for the team to return to the *Hollywood Monsters* concept. In April 2010, Pendulo and publisher Focus Home Interactive announced *The Next Big Thing*. Commentators from *Adventure Gamers* and *Jeux Video* noted the project's close similarity to *Hollywood Monsters*, and in the following year the game was retitled *Hollywood Monsters 2* in Spain.

At the start, Pendulo conceived *The Next Big Thing* as a high-definition remake of *Hollywood Monsters*, but it increasingly drifted from this framework over time. Designer and writer Josué Monchan came to the conclusion that the original game's puzzle design and nonlinear structure did not hold up to modern standards. As a result, Pendulo created something that "is not a second part, nor a remake", as Latiegui explained. Rather, the team borrowed heavily from *Hollywood Monsters* and attempted to take its ideas in new directions. Sue Bergman and Ron Ashman were removed in favor of new protagonists: reporters Dan Murray and Liz Allaire of *The Quill*. As with *Hollywood Monsters*, *The Next Big Thing* takes place in a fantasy version of Hollywood where monsters act in films. The story explores the film industry's shift away from monster movies, which threatens to leave their casts out of work. Pendulo tried to imbue the game with a feminist outlook; Monchan called *Hollywood Monsters* "a bit male chauvinist" in retrospect. *The Next Big Thing* launched in the United States on April 21, 2011. In late 2012, it received an iOS release under the name *Hollywood Monsters*.

## InfoBox

| Hollywood Monsters | |
| --- | --- |
| Original Spanish box art | |
| Developer(s) | Pendulo Studios |
| Publisher(s) | Dinamic Multimedia<br>FX Interactive (re-release) |
| Platform(s) | Microsoft Windows |
| Release |  |
| Genre(s) | Graphic adventure |
| Mode(s) | Single-player |


title: Geotrigona subgrisea

abstract:
Geotrigona subgrisea is a species of eusocial stingless bee in the family Apidae and tribe Meliponini.
It can be found in Brazil and Colombia.

text:
# Geotrigona subgrisea

***Geotrigona subgrisea*** is a species of eusocial stingless bee in the family Apidae and tribe Meliponini. It can be found in Brazil and Colombia.

## InfoBox

| *Geotrigona subgrisea* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hymenoptera |
| Family: | Apidae |
| Genus: | *Geotrigona* |
| Species: | ***G. subgrisea*** |
| Binomial name | |
| ***Geotrigona subgrisea***<br>(Cockerell, 1920) | |
|


title: Roman Catholic Diocese of San Severino

abstract: The former Italian Catholic Diocese of San Severino, in the Province of Macerata, Marche in Central Italy, existed until 1986. In that year it was united into the Archdiocese of Camerino to form the Archdiocese of Camerino-San Severino Marche.

text:
# Roman Catholic Diocese of San Severino

The former Italian Catholic **Diocese of San Severino**, in the Province of Macerata, Marche in Central Italy, existed until 1986. In that year it was united into the Archdiocese of Camerino to form the Archdiocese of Camerino-San Severino Marche.

## History

San Severino stands on the site of the ancient Septempeda, a city of Picenum. The saint from whom the city takes its name is commonly believed to have been Bishop of Septempeda, but his date is unknown.

In the eighth century it was a fortress of the Duchy of Spoleto. The Church of San Severino gave its name later to a new town that grew up around it. In the twelfth and thirteenth centuries it was at constant war with the neighbouring cities, especially with Camerino, and always supported the cause of the emperors, particularly of Emperor Frederick II. Louis the Bavarian named as vicar of San Severino Smeduccio della Scala, who, passing into the service of the Holy See, gave great help to the expedition of Cardinal Albornoz and became feudal lord of San Severino, a post held later by his son Onofrio.

His nephew Antonio paid with his life for attempting to resist the arms of Pietro Colonna, the representative of Pope Martin V; his sons tried in vain to recapture the city (1434), which remained immediately subject to the Holy See.

In the Middle Ages San Severino was part of the Archdiocese of Camerino; the old cathedral was then a collegiate church. In 1566 there was a seminary in the town.

### Creation of diocese

On 26 November 1586, by the Bull *Superna dispositione*, Pope Sixtus V made San Severino an episcopal see, a suffragan of the Archbishop of Fermo. The first bishop was Orazio Marzari. The cathedral was administered by a Chapter, with two dignities (the Archdeacon and the Archpriest) and thirteen Canons, one of whom was Theologus and another Penitentiary. A fourteenth was later added, under the patronage of the Tucci and Gentili families.

In 1913, the diocese of Treia was removed from the supervision of the Archbishop of Camerino and assigned *donec aliter provideretur*, to Bishop Adam Borghini of San. Severino. On 20 February 1920, the Diocese of Treia was united to the diocese of San Severino by the Bull *Boni Pastoris* of Pope Benedict XV, in such a way that the bishop of San Severino was to be the Apostolic Administrator of the diocese of Treia on a permanent basis.

Bishop Dionigi Pieragostini (1732–1745) held a diocesan synod in 1733.

### End of diocese

The current configuration of the former diocese was arranged in order to conform to Italian civil law, which was embodied in the Concordat between the Vatican and the Italian Republic of 18 February 1984. After extensive consultations, Pope John Paul II decreed that the status of the bishop governing several dioceses *aeque personaliter* was abolished, and that the Diocese of Macerata-Tolentino was merged with the Diocese of Osimo e Cingoli, the Diocese of Recanati and the diocese of Treia to form a single diocese, albeit with a long name. The changes were embodied in a decree of the Sacred Congregation of Bishops in the Roman Curia, promulgated on 30 September 1986. The seat of the merged dioceses was to be in Macerata. All of the cathedrals except Macerata were to have the status of co-cathedral. On the same day the diocese of San Severino was united permanently with the Archiocese of Camerino, under the new title *Archidioecesis Camerinensis-Sancti Severini in Piceno*. The former cathedral of San Severino was granted the honorary title of co-cathedral.

## Bishops

### Diocese of San Severino (Marche)

*Erected: 26 November 1586*

* Orazio Marzani (1586–1607)
* Ascanio Sperelli (1607–1631)
* Francesco Sperelli (22 Jul 1631 – 1646 Died)
* Angelo Maldachini, O.P. (19 Nov 1646 – 22 Jun 1677 Died)
* Scipione Negrelli (13 Sep 1677 – 11 May 1702 Died)
* Alessandro Avio (2 Oct 1702 – 15 Sep 1703 Died)
* Alessandro Calvi-Organi (2 Mar 1705 – 25 Jul 1721 Died)
* Giovanni Francesco Leonini (24 Sep 1721 – 16 Jan 1725 Died)
* Giulio Cesare Compagnoni (21 Feb 1725 – 12 Apr 1732 Died)
* Dionigi Pieragostini (7 May 1732 – 8 Dec 1745 Died)
* Giuseppe de Vignoli (14 Jun 1746 – 19 Dec 1757)
* Francesco Maria Forlani (19 Dec 1757 – 5 Jun 1765)
* Domenico Giovanni Prosperi (27 Jan 1766 – 1 Dec 1791 Died)
* Angelo Antonio Anselmi (26 Mar 1792 – Jan 1816 Died)
* Giacomo Ranghiasci (22 Jul 1816 – 13 May 1838 Died)
* Filippo Saverio Grimaldi (13 Sep 1838 – 1 Dec 1846 Resigned)
* Francesco Mazzuoli (4 Oct 1847 – 11 Feb 1889 Resigned)
* Aurelio Zonghi (1889–1893)
* Giosuè Bicchi (1893–1913)
* Adamo Borghini (1913–1926)

### Diocese of San Severino (-Treia)

*United: 20 February 1920 with Diocese of Treia*

* Vincenzo Migliorelli (10 Aug 1927 – 27 Feb 1930 Resigned)
* Pietro Tagliapietra (22 Feb 1932 – 12 Sep 1934 Appointed, Archbishop of Spoleto)
* Ferdinando Longinotti (22 Oct 1934 – 5 Oct 1966 Retired)

*United: 30 September 1986 with the Archdiocese of Camerino to form the Archdiocese of Camerino-San Severino Marche*

## Notes and references

## Bibliography

### Reference works for bishops

### Studies

Acknowledgment


title: Hyppa rectilinea

abstract: Hyppa rectilinea, the Saxon, is a moth of the family Noctuidae. It is found in Europe, but mostly in northern and central Europe. In the south, it is found in scattered populations, mainly in mountainous areas. To the east, its range stretches through northern Asia and eastern Siberia, up to the Pacific Ocean and Japan.

text:
# Hyppa rectilinea

***Hyppa rectilinea***, the **Saxon**, is a moth of the family Noctuidae. It is found in Europe, but mostly in northern and central Europe. In the south, it is found in scattered populations, mainly in mountainous areas (northern Italy). To the east, its range stretches through northern Asia and eastern Siberia, up to the Pacific Ocean and Japan.

## Technical description and variation

The wingspan is 33–41 mm. Forewing brown, the basal and terminal areas mixed with white towards costa; the median space darker and reddish below middle; a thick black streak from base below cell, below which the basal area is darker; inner and outer lines black conversely edged with white, the inner angled on submedian fold, the outer with a white patch before it on the same fold; a black bar between the two lines along it; upper stigmata large, mixed with white, and black-edged; the orbicular flattened; subterminal line whitish with black teeth below middle, above middle marked by black subterminal dashes between the veins; hindwing brownish, paler towards base.

## Biology

Adults are on wing from the end of May to the beginning of August in one generation.

Larva mottled pale and dark brown, tinged with purple along the sides; dorsal line pale, with dark edges, somewhat interrupted; subdorsal series of oblique pale stripes, dark-edged behind;spiracular line pale; segment 11 with two ochreous dots; head dark brown. The larvae feed on the leaves of various plants, including *Vaccinium myrtillus* and other *Vaccinium* species, as well as *Salix* and *Rubus*.

## InfoBox

| *Hyppa rectilinea* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Noctuidae |
| Genus: | *Hyppa* |
| Species: | ***H. rectilinea*** |
| Binomial name | |
| ***Hyppa rectilinea***<br>(Esper, 1788) | |
|
| Synonyms | |
| * *Phalaena (Noctua) rectilinea* Esper, 1788 * *Meganephria albopicta* Matsumura, 1925 | |


title: Tómas Sæmundsson

abstract: Tómas Sæmundsson was an Icelandic priest, and one of the Fjölnismenn, a group of Icelandic intellectuals who spearheaded the revival of Icelandic national consciousness and gave rise to the Icelandic Independence Movement. According to author Daisy Neijmann, he was "one of the era's most fervent nationalists". Tómas is quoted by J. R. R. Tolkien as saying "Málin eru höfuðeínkenni þjóðanna...": Languages are the chief distinguishing marks of peoples. No people in fact comes into being until it speaks a language of its own; let the languages perish and the peoples perish too, or become different peoples. But that never happens except as the result of oppression and distress. Tómas travelled around Europe from 1832 to 1834, and he became the pastor in Breiðabólsstaður in Fljótshlíð in 1835. Among other things, Tómas wrote the fifth annual issue of the journal Fjölnir.

text:
# Tómas Sæmundsson

**Tómas Sæmundsson** (7 June 1807 – 17 May 1841) was an Icelandic priest, and one of the *Fjölnismenn*, a group of Icelandic intellectuals who spearheaded the revival of Icelandic national consciousness and gave rise to the Icelandic Independence Movement. According to author Daisy Neijmann, he was "one of the era's most fervent nationalists".

Tómas is quoted by J. R. R. Tolkien as saying "*Málin eru höfuðeínkenni þjóðanna...*" (Languages are the chief distinguishing marks of peoples ...):

> Languages are the chief distinguishing marks of peoples. No people in fact comes into being until it speaks a language of its own; let the languages perish and the peoples perish too, or become different peoples. But that never happens except as the result of oppression and distress.
>
> Tómas Sæmundsson.

Tómas travelled around Europe from 1832 to 1834, and he became the pastor in Breiðabólsstaður in Fljótshlíð in 1835. Among other things, Tómas wrote the fifth annual issue of the journal *Fjölnir*.

## InfoBox

| Tómas Sæmundsson | |
| --- | --- |
| 1888 portrait engraving of Sæmundsson | |
| Born | (1807-06-07)7 June 1807 |
| Died | 17 May 1841(1841-05-17) (aged 33) |
| Occupation(s) | Icelandic priest, author and nationalist |


title: Andrea Menniti Ippolito

abstract:
Andrea Menniti Ippolito is an Italian rugby union player.
His usual position is as a Fly-Half and he currently plays for Fiamme Oro in Top10 after the experience with Rovigo Delta. For 2013–14 Pro12 season, he named like Additional Player for Benetton Treviso in Pro 12. In 2016 and 2018 Menniti Ippolito was named in the Emerging Italy squad for annual World Rugby Nations Cup.

text:
# Andrea Menniti Ippolito

**Andrea Menniti Ippolito** (Camposampiero, 25 August 1992) is an Italian rugby union player. His usual position is as a Fly-Half and he currently plays for Fiamme Oro in Top10 after the experience with Rovigo Delta.

For 2013–14 Pro12 season, he named like *Additional Player* for Benetton Treviso in Pro 12.

In 2016 and 2018 Menniti Ippolito was named in the Emerging Italy squad for annual World Rugby Nations Cup.

## InfoBox

Andrea Menniti Ippolito
| Full name | Andrea Menniti Ippolito |
| --- | --- |
| Date of birth | (1992-08-25) 25 August 1992 |
| Place of birth | Camposampiero, Italy |
| Height | 1.87 m (6 ft 2 in) |
| Weight | 87 kg (13 st 10 lb; 192 lb) |
| Rugby union career | |
| **Position(s)** Fly-Half  **Current team** Fiamme Oro  Youth career  Rubano  Senior career  **Years** **Team** **Apps** **(Points)**  2011−2012  Rubano   ()  2012−2019 Petrarca Padova  132  (696)  2014 Benetton Treviso  1  (0)  2019−2021 Rovigo Delta  26  (294)  2021− Fiamme Oro   ()  Correct as of 7 June 2020  International career  **Years** **Team** **Apps** **(Points)**  2016−2018 Emerging Italy  5  (9)  Correct as of 7 June 2020 | |


title: Voldemort (distributed data store)

abstract: Voldemort is a distributed data store that was designed as a key-value store used by LinkedIn for highly-scalable storage. It is named after the fictional Harry Potter villain Lord Voldemort.

text:
# Voldemort (distributed data store)

**Voldemort** is a distributed data store that was designed as a key-value store used by LinkedIn for highly-scalable storage. It is named after the fictional *Harry Potter* villain Lord Voldemort.

## Overview

Voldemort does not try to satisfy arbitrary relations and the ACID properties, but rather is a big, distributed, persistent hash table. A 2012 study comparing systems for storing application performance management data reported that Voldemort, Apache Cassandra, and HBase all offered linear scalability in most cases, with Voldemort having the lowest latency and Cassandra having the highest throughput.

In the parlance of Eric Brewer's CAP theorem, Voldemort is an AP type system.

Voldemort's creator and primary corporate contributor, LinkedIn, has migrated all of their systems off of Voldemort as of approximately August 2018, with no replacement sponsor as of October 2018. In 2022, LinkedIn announced Project Venice as an open source replacement

## Properties

Voldemort uses in-memory caching to eliminate a separate caching tier. It has a storage layer that is possible to emulate. Voldemort reads and writes scale horizontally. The API decides data replication and placement and accommodates a wide range of application-specific strategies.

The Voldemort distributed data store supports pluggable placement strategies for distribution across data centers. Data is automatically replicated across servers. Data is partitioned meaning a single server contains only a portion of the total data. Each data node is independent to avoid central point of failure. Pluggable serialization allows rich keys and values including lists and tuples with named fields, as well as the integration with common serialisation frameworks such as Avro, Java Serialization, Protocol Buffers, and Thrift. Server failures are handled transparently. Data items are versioned, which maximizes data integrity.

## InfoBox

Project Voldemort
| Original author(s) | LinkedIn / Microsoft |
| --- | --- |
| Initial release | 2009 (2009) |
|  | |
| Stable release | 1.10.25 / July 25, 2017 (2017-07-25) |
|  | |
| Repository |  |
| Written in | Java |
| Available in | English |
| Type | Distributed data store |
| License | Apache License 2.0 |
| Website | www.project-voldemort.com |


title: Jiwanta Sambandha

abstract: Jiwanta Sambandha is a book written by Nepalese cardiologist Om Murti Anil in 2023. It is a memoir that explores the significance of relationships in modern life and delves into the essence of fatherhood.

text:
# Jiwanta Sambandha

**Jiwanta Sambandha** (Nepali: जीवन्त सम्बन्ध) is a book written by Nepalese cardiologist Om Murti Anil in 2023. It is a memoir that explores the significance of relationships in modern life and delves into the essence of fatherhood.

## Background

The book consists of 231 pages with 53 chapters, each conveying moral lessons through the author's personal experiences. Its Nepali title, "जीवन्त सम्बन्ध," roughly translates to "Immortal Relationships."

The book has gained attention. Anil is allocating all proceeds from the book toward the care of vulnerable elderly individuals. The author claims that it represents an innovative approach to philanthropy, intertwining knowledge with charity. Some people want the book's inclusion in school curricula, believing that it might instill moral values in students from the outset of their educational journey. The author advocates for a well-rounded life, combining personal values, community engagement, and career aspirations, offering an alternative to the brain drain phenomenon, with his own life serving as an example of this balanced approach.

## About the Book

Readers often find a deep emotional connection between the author's story and their own lives, leading many to feel a strong emotional impact, sometimes even shedding tears. The narrative evokes vivid memories of their deceased parents.

The book insists: for a meaningful life, connect with spirituality alongside your career and achievements.

## Literature for Social Impact

The Dr. Om Foundation, serving as the publisher, provided over 200 copies of a book to participants who successfully quit smoking during the smokers are not selfish campaign. The initiative aimed to underscore the significance of family dynamics and relationships, while addressing parental responsibilities and highlighting the sacrifices guardian make for the betterment of their families and loved ones.

## Reception

> Nepali actors Hari Bansha Acharya proposed integration of this book into educational curriculum and Madan Krishna Shrestha emphasised the importance of this book for commoner in regard to responsibilities of parents and children in their lives.

## InfoBox

Jiwanta Sambandha
| Cover photo of Book Jiwanta Sambandha | |
| --- | --- |
| Author | Om Murti Anil |
| Language | Nepali |
| Subject | Relationship |
| Genre | Memoir |
| Publisher | Dr. Om Foundation |
| Publication date | September 22, 2023 |
| Publication place | Nepal |
| Media type | Print (Paperback and Hardcover) |
| Pages | 231 |
| ISBN | 9789937145510 |
| Website | https://dromfoundation.com/article/16 |


title: Wei Qiuyue

abstract: Wei Qiuyue is a retired Chinese volleyball player. She was the captain of China women's national volleyball team from 2008 to 2012.

text:
# Wei Qiuyue

**Wei Qiuyue** (Chinese: 魏秋月; pinyin: *Wèi Qiūyuè*; born 26 September 1988) is a retired Chinese volleyball player. She was the captain of China women's national volleyball team from 2008 to 2012.

## Career

Wei was part of the bronze medal winning team at the 2008 Beijing Olympic Games and the silver medal winning team at the 2007 World Grand Prix.

Wei won the 2010 Montreux Volley Masters with her national team and was awarded Best Setter.

Wei was named Best Setter at the 2010 World Championship.

After a disappointing fifth place at the 2012 Summer Olympics, in 2013 Wei took a year off from the national team to attend to her knee injury. She signed with Igtisadchi Baku in 2013-2014 season, along with her former teammates Ma Yunwen and Zhang Lei. This was the first time she played for a club other than Tianjin.

In 2014, Wei was recalled to the national team by Lang Ping and gained a starting position for the national team which she helped to win the silver medal at the 2014 World Championship. After a successful season with the national team, she took some time off from the domestic league and went to the United States to attend her sore knees which has affected her for a long time with help from Lang Ping. She came back to the national team in 2015 and was part of the Chinese team that won gold medal at the 2015 World Cup.

In 2016, Wei participated at the Summer Olympics where her team won gold by beating Serbia 3-1 in the final. She announced her retirement from the national team right after the award ceremony through CCTV5.

After the 13th Chinese National Games in 2017, Wei announced her retirement as a professional volleyball player.

## Clubs

## Individual awards

## InfoBox

| Wei Qiuyue | |
| --- | --- |
| Wei Qiuyue in 2014 | |
| Personal information | |
| Nationality | Chinese |
| Born | (1988-09-26) 26 September 1988
Tianjin, China |
| Hometown | Tianjin, China |
| Height | 1.82 m (6 ft 0 in) |
| Weight | 65 kg (143 lb) |
| Spike | 305 cm (120 in) |
| Block | 300 cm (120 in) |
| Volleyball information | |
| Position | Setter |
| Current club | retired |
| Career | |
| Years Teams  2003–2013
2013–2014
2014–2017 Tianjin Bridgestone
Igtisadchi Baku
Tianjin Bridgestone | |
| National team | |
| 2007–2012
2014–2016  China | |
| Honours      Volleyball  Olympic Games  2016 Rio de Janeiro Team  2008 Beijing Team  World Championship  2014 Italy Team  World Cup  2015 Japan  Team  2011 Japan Team  World Grand Prix  2007 Ningbo Team  Asian Games  2010 Guangzhou   Asian Championship  2011 Taipei   2007 Nakhon Ratchasima   2009 Hanoi   Asian Cup  2008 Nakhon Ratchasima   2010 Tai Cang | |


title: Nocturne of Love (1919 film)

abstract: Nocturne of Love is a 1919 German silent historical film directed by Carl Boese and starring Conrad Veidt and Clementine Plessner. It portrays the life of the composer Frederic Chopin and is known by the alternative title Chopin.

text:
# Nocturne of Love (1919 film)

***Nocturne of Love*** (German:***Nocturno der Liebe***) is a 1919 German silent historical film directed by Carl Boese and starring Conrad Veidt and Clementine Plessner. It portrays the life of the composer Frederic Chopin and is known by the alternative title ***Chopin***.

## Cast

In alphabetical order

## InfoBox

| Nocturne of Love | |
| --- | --- |
| Directed by | Carl Boese |
| Written by | Hans Brennert
Friedel Köhne |
| Produced by | Max Nivelli |
| Starring | Conrad Veidt
Clementine Plessner |
| Production
company | Nivelli-Film-Fabrikation |
| Release date | * 1919 (1919) |
| Country | Germany |
| Languages | Silent
German intertitles |


title: Turkey at the 1992 Winter Olympics

abstract: Turkey competed at the 1992 Winter Olympics in Albertville, France.

text:
# Turkey at the 1992 Winter Olympics

**Turkey** competed at the **1992 Winter Olympics** in Albertville, France.

## Competitors

| Sport | Men | Women | Total |
| --- | --- | --- | --- |
| Alpine skiing | 4 | 0 | 4 |
| Cross-country skiing | 4 | 0 | 4 |
| Total | 8 | 0 | 8 |

## Alpine skiing

Men

| Athlete | Event | Race 1 | Race 2 | Total | |
| --- | --- | --- | --- | --- | --- |
| | | Time | Time | Time | Rank |
| Ahmet Demir | Super-G |  | | DNF |  |
| Cevdet Can | |  | | 1:37.97 | 88 |
| Yakup Kadri Birinci | |  | | 1:30.40 | 82 |
| Taner Üstündağ | |  | | 1:28.24 | 77 |
| Yakup Kadri Birinci | Giant Slalom | 1:24.73 | 1:23.39 | 2:48.12 | 75 |
| Cevdet Can | | 1:23.62 | 1:22.78 | 2:46.40 | 70 |
| Ahmet Demir | | 1:23.00 | 1:22.26 | 2:45.26 | 67 |
| Taner Üstündağ | | 1:20.44 | 1:18.51 | 2:38.95 | 60 |
| Ahmet Demir | Slalom | DNF |  | DNF |  |
| Cevdet Can | | 1:15.21 | 1:13.24 | 2:28.45 | 51 |
| Taner Üstündağ | | 1:09.13 | 1:08.65 | 2:17.78 | 45 |

## Cross-country skiing

Men

| Event | Athlete | Race | |
| --- | --- | --- | --- |
| | | Time | Rank |
| 10 km
C | Celal Şener | 38:25.4 | 103 |
| | Abdullah Yılmaz | 38:22.1 | 102 |
| | Fikret Ören | 37:03.7 | 96 |
| | Mithat Yıldırım | 36:36.8 | 93 |
| 15 km
pursuit1
F | Celal Şener | 57:47.5 | 90 |
| | Fikret Ören | 54:40.1 | 83 |

1 Starting delay based on 10 km results.
C = Classical style, F = Freestyle

## InfoBox

| Turkey at the
1992 Winter Olympics | |
| --- | --- |
|  | |
| IOC code | TUR |
| NOC | Turkish National Olympic Committee |
| Website | olimpiyat.org.tr (in English and Turkish) |
| in Albertville | |
| Competitors | 8 (men) in 2 sports |
| Medals | Gold 0 Silver 0 Bronze 0 Total 0 |
| Winter Olympics appearances (overview) | |
|  | |


title: Lance Comfort

abstract: Lance Comfort was an English film director. In a career spanning over 25 years, he became one of the most prolific film directors in Britain, though he never gained critical attention and remained on the fringes of the film industry, creating mostly B movies. Comfort carried on working almost right up to his death in Worthing, Sussex, in 1966. He had four children: Edward, James, Anna and Jack.

text:
# Lance Comfort

**Lance Comfort** (11 August 1908  25 August 1966) was an English film director. In a career spanning over 25 years, he became one of the most prolific film directors in Britain, though he never gained critical attention and remained on the fringes of the film industry, creating mostly B movies.

Comfort carried on working almost right up to his death in Worthing, Sussex, in 1966. He had four children: Edward (born 1929), James (born 1931), Anna (born 1934) and Jack (born 1936).

## Filmography

## Critical assessment

The film historians Steve Chibnall and Brian McFarlane praise Comfort's gifts "in the confident exercise of melodramatic impulses in the interests of illuminating character and relationship, in a decorative visual style to serve these impulses, and in giving their heads to string of dominant actors". They add that all of his films "are persuasive narratives, marked by absence of sentimentality and the whiff of human reality".

## Further reading

* McFarlane, Brian, *Lance Comfort*, British Film Makers series, Manchester, Manchester University Press, 2002. ISBN 0-7190-5484-2 and ISBN 978-0-7190-5484-6
* McFarlane, Brian, "Lance Comfort: melodrama and an honourable career", *Journal of Popular British Cinema*, 1, 1998

## InfoBox

| Lance Comfort | |
| --- | --- |
| Directing Jess Conrad in *Rag Doll* (1961) | |
| Born | (1908-08-11)11 August 1908
London, England |
| Died | 25 August 1966(1966-08-25) (aged 58)
Worthing, Sussex, England |
| Occupation(s) | Film director, producer |


title: OTELO

abstract: OTELO is an emission line object survey using OSIRIS tunable filters in selected atmospheric windows relatively free of sky emission lines.

text:
# OTELO

**OTELO** (OSIRIS Tunable Emission Line Object survey) is an emission line object survey using OSIRIS tunable filters in selected atmospheric windows relatively free of sky emission lines.

## Overview

The total survey sky area is of 1 square degree (0.30 msr) distributed in different high latitude and low extinction fields with enough angular separations. A 5 sigma depth of 8×1018 (erg/cm2)/s (8 zW/m2 or 9×1024 hp/yd2) allows detecting objects of equivalent widths down to 6. OTELO will observe objects with an age equivalent to 10% of the age of the Universe. Given the observing procedure, OTELO will allow studying a clearly defined volume of the Universe at a known flux limit. OTELO will complement spectroscopic surveys, since the selection criteria are completely different: not broad band based but emission line based, which will allow detecting faint continuum objects.

The scientific field that OTELO will allow tackling is very wide, and encompasses evolutionary studies of Ly alpha emitters, QSO, AGN, star-forming populations (specifically the faint end luminosity), Emissión line ellipticals (detectable depending upon its evolution), chemical evolution of the Universe between *z*=0.24 and *z*=1.5, mass/luminosity relation vs. morphological type and redshift (up to *z*=1.5), Tully-Fisher relation up to *z*=1.5 and derivation of cosmological parameters. Other studies include galactic structure and Galactic objects (PN, peculiar stars, cataclysmic variables).


title: Tyrnau

abstract: Tyrnau is a former municipality in the district of Graz-Umgebung in the Austrian state of Styria. Since the 2015 Styria municipal structural reform, it is part of the municipality Fladnitz an der Teichalm, in the Weiz District.

text:
# Tyrnau

**Tyrnau** (German pronunciation: \[ˈtʏʁnaʊ̯\] ) is a former municipality in the district of Graz-Umgebung in the Austrian state of Styria. Since the 2015 Styria municipal structural reform, it is part of the municipality Fladnitz an der Teichalm, in the Weiz District.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 413 |  |
| 1880 | 414 | +0.2% |
| 1890 | 353 | −14.7% |
| 1900 | 348 | −1.4% |
| 1910 | 288 | −17.2% |
| 1923 | 294 | +2.1% |
| 1934 | 321 | +9.2% |
| 1939 | 317 | −1.2% |
| 1951 | 284 | −10.4% |
| 1961 | 250 | −12.0% |
| 1971 | 191 | −23.6% |
| 1981 | 159 | −16.8% |
| 1991 | 166 | +4.4% |
| 2001 | 151 | −9.0% |

## InfoBox

| Tyrnau | |
| --- | --- |
| Former municipality | |
| View of Tyrnau | |
|  | |
| Location within Weiz district | |
| TyrnauLocation within Austria | |
| Coordinates: 47°18′43″N 15°24′54″E / 47.31194°N 15.41500°E / 47.31194; 15.41500 | |
| Country | Austria |
| State | Styria |
| District | Weiz |
| Area | |
| Total | 19.97 km2 (7.71 sq mi) |
| Elevation | 666 m (2,185 ft) |
| Population (1 January 2016) | |
| Total | 158 |
| Density | 7.9/km2 (20/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 8130 |
| Area code | 03179 |
| Vehicle registration | GU |
| Website | www.tyrnau.steiermark.at |


title: Voldemārs Mežgailis

abstract: Voldemārs Mežgailis was a Latvian chess master. In 1934, he took 8th Latvian Chess Championship in Riga. He twice represented Latvia in Chess Olympiads: in the 3rd unofficial Olympiad at Munich 1936, and in the 7th Olympiad at Stockholm 1937. At the end of World War II he won the Latvian Chess Championship in June 1944, and won it again in 1950.

text:
# Voldemārs Mežgailis

**Voldemārs Mežgailis** (also **Voldemar Mezgailis** or **Mezhgailis**; born 22 April 1912, Viļķene parish, Russian Empire – died 1 June 1998 in Riga) was a Latvian chess master.

In 1934, he took 8th Latvian Chess Championship in Riga (Fricis Apšenieks and Vladimirs Petrovs won). He twice represented Latvia in Chess Olympiads: in the 3rd unofficial Olympiad at Munich 1936 (at sixth board, +4 –5 =1), and in the 7th Olympiad at Stockholm 1937 (at third board, +2 –6 =7).

At the end of World War II he won the Latvian Chess Championship in June 1944, and won it again in 1950.


title: PharmAccess Foundation

abstract: PharmAccess Foundation is a part of the PharmAccess Group. PharmAccess is an international non-profit organization with a digital agenda dedicated to connecting more people in sub-Saharan Africa to better healthcare. By making use of public-private partnerships, they leverage donor contributions, which they believe will pave the way for private investments thereby contributing to healthier populations and social and economic development. Currently, PharmAccess employs a multidisciplinary team of professionals in Tanzania, Kenya, Nigeria, Ghana and the Netherlands. PharmAccess was founded in 2001 by HIV/AIDS researcher Prof. Joep Lange. He took an important first step for the organization by distributing life-saving medicines against HIV/AIDS in Africa in cooperation with multinationals. In 2007, PharmAccess was one of the two organizations that won a competition for a World Bank funding partnership. Other leading individuals in the organization are Onno Schellekens, MsC, the managing director of the Investment Fund for Health in Africa, and Professor Tobias Rinke de Wit of the Amsterdam Institute for Global Health and Development. All of the activities are co-funded by the Health Insurance Fund (HIF). In October 2006, the Health Insurance Fund signed a contract with the Dutch Ministry of Foreign Affairs to finance programs that provide access to affordable and quality healthcare among low-income populations in sub-Saharan Africa through the introduction of financing mechanisms and the improvement of healthcare quality.

text:
# PharmAccess Foundation

**PharmAccess Foundation** is a part of the PharmAccess Group. PharmAccess is an international non-profit organization with a digital agenda dedicated to connecting more people in sub-Saharan Africa to better healthcare. By making use of public-private partnerships, they leverage donor contributions, which they believe will pave the way for private investments thereby contributing to healthier populations and social and economic development. Currently, PharmAccess employs a multidisciplinary team of professionals in Tanzania, Kenya, Nigeria, Ghana and the Netherlands.

PharmAccess was founded in 2001 by HIV/AIDS researcher Prof. Joep Lange. He took an important first step for the organization by distributing life-saving medicines against HIV/AIDS in Africa in cooperation with multinationals. In 2007, PharmAccess was one of the two organizations that won a competition for a World Bank funding partnership.

Other leading individuals in the organization are Onno Schellekens, MsC, the managing director of the Investment Fund for Health in Africa, and Professor Tobias Rinke de Wit of the Amsterdam Institute for Global Health and Development.

All of the activities are co-funded by the Health Insurance Fund (HIF). In October 2006, the Health Insurance Fund signed a contract with the Dutch Ministry of Foreign Affairs to finance programs that provide access to affordable and quality healthcare among low-income populations in sub-Saharan Africa through the introduction of financing mechanisms (including health insurance) and the improvement of healthcare quality.

## History

Joep Lange of the Academic Medical Center (AMC) initiated PharmAccess in 2001, with support from the Dutch Aids Fonds, to bring life-saving antiretroviral therapy for HIV/AIDS treatment to Africa. Highly active antiretroviral therapy (HAART) was introduced in the developed world in the mid-nineties and immediately led to dramatic reductions in AIDS-related morbidity and mortality. In Africa, for the great majority of the population, adults and children, treatment was not available and many of the HIV/AIDS patients died of the disease.

Initially, PharmAccess focused on the introduction of HIV/AIDS treatment programs for employees and dependents of Heineken in sub-Saharan Africa, which was revolutionary at the time. Soon they realized that these programs could be broadened to lay a foundation for the development of functional general health systems. The Dutch government, Dutch multinationals and PharmAccess joined forces to launch an alternative mechanism to the traditional development approach: a donor fund established to pilot health insurance for the currently uninsured in sub-Saharan Africa through the local private sector.

In order to enable the private companies in sub-Saharan Africa to grow and deliver the necessary services, a private investment fund (Investment Fund for Health in Africa, IFHA) was endorsed in 2007. This subsequently led to the formation of additional offshoots which all contribute to general health system strengthening and support to the health insurance schemes.

## Approach

The PharmAccess Group employs an integrated approach in order to improve access to quality health care. The group mobilizes public and private resources for the benefit of doctors and patients through insurance, loans to doctors, clinical standards and impact research. The PharmAccess Group state they have a different approach to development cooperation, by making use of public-private partnerships. PharmAccess works with various different African and international partners, donors and investors from both the private and the public sector.

The PharmAccess Group headquarters is located in the Netherlands. The group currently works from five country offices located in Tanzania, Kenya, Namibia, Nigeria and Ghana.

## Business lines

Members of the group that each play a crucial role in the funding and implementation of this approach are Health Insurance Fund, Medical Credit Fund, SafeCare and our independent research partner the Amsterdam Institute for Global Health and Development. The PharmAccess Group works with different business lines:

### Supporting health plans

They work with local partners to make health insurance available for low income groups (such as cooperatives of farmers, organizations of market women or company employees). Members pay an insurance premium according to their means. The health plans and related initiatives are financed with public grants from the Dutch Government and World Bank, with increasing local government involvement.

### Enabling investments

Medical Credit Fund provides loans to doctors and clinics in the private sector, enabling them to improve the quality of their services, develop their business potential and service more low-income patients. Medical Credit Fund aims to contribute to a healthier investment climate and increase the bankability and thus scalability of the private healthcare sector.

### Improving quality

Sub-Saharan Africa has a shortage of institutions and standards that can ensure objective measurement of quality. SafeCare is a quality improvement program designed for resource-restricted healthcare facilities. SafeCare's internationally recognized set of standards aims to create a transparent improvement path that offers clinics positive incentives to move steadily upwards in quality.

### mHealth innovations

The PharmAccess mHealth Program manages healthcare payments from both public and private donors to healthcare providers for providing quality healthcare services to patients.

### Implementing and initiating

PharmAccess Foundation acts as a coordinating, implementing and advising (consultancy) partner for each of its organizations. In addition, PharmAccess aims to regularly develop new initiatives to strengthen the integrated approach.

### Funding

All of these activities are co-funded by the Health Insurance Fund. In October 2006, the Health Insurance Fund signed a contract with the Dutch Ministry of Foreign Affairs to finance programs that provide access to affordable and quality healthcare among low income populations in sub-Saharan Africa through the introduction of innovative financing mechanisms (including health insurance) and the improvement of healthcare quality.

## Impact

The programs of the PharmAccess Group and its partners have had impact on different communities, for example in the Kwara State in Nigeria, where the Kwara State Community Health Program was launched in 2009. The Kwara State Government subsidizes 60% of the premiums and has committed to extend the program to 600,000 people over the next five years. The program is also funded by the Dutch Health Insurance Fund with support from the Dutch Ministry of Foreign Affairs, and implemented by PharmAccess and the Nigerian health maintenance organization Hygeia. During a visit to Nigeria, UN Secretary General Ban Ki-moon spoke about the program's unique character: ‘The groundbreaking Community Health Insurance of the Kwara State Government is exactly the kind of innovative partnership that we should replicate – here in Nigeria and beyond.’ This program represents the first time that a state government in Nigeria has partnered with the private sector and an NGO to provide statewide health insurance for its citizens.

The organization's work has attracted considerable international attention including a G20 prize (G20 Small Medium Enterprise Finance Challenge 2010) that President Obama presented for their healthcare financing model.


title: Wei River (Xiang tributary)

abstract: The Wei or Weishui River, begins in Weishan Township, is 117.2 kilometres (72.8 mi) long, and has a drainage basin of 2,125 square kilometres (820 sq mi). It is the largest river in Ningxiang City and one of the largest tributaries of the Xiang River. Wei River's main tributaries include Huangjuan River (黄涓水), Duan River (塅溪), Mei River (梅溪), Tiechong River (铁冲河), Yutang River (玉堂水), Chu River and Wu River. The river passes places such as Huangcai Town, Hengshi Town, Shuangfupu Town, Dachengqiao Town, Batang Town, Huilongpu Town, Baimaqiao Township, Yutan Town, Lijingpu Township, and Shuangjiangkou Town, and empties into the Xiang River in Wangcheng District.

text:
# Wei River (Xiang tributary)

The **Wei** or **Weishui River** (simplified Chinese: 沩水河; traditional Chinese: 溈水河; pinyin: *Wéishuǐ Hé*), begins in Weishan Township, is 117.2 kilometres (72.8 mi) long, and has a drainage basin of 2,125 square kilometres (820 sq mi). It is the largest river in Ningxiang City and one of the largest tributaries of the Xiang River.

Wei River's main tributaries include Huangjuan River (黄涓水), Duan River (塅溪), Mei River (梅溪), Tiechong River (铁冲河), Yutang River (玉堂水), Chu River and Wu River. The river passes places such as Huangcai Town, Hengshi Town, Shuangfupu Town, Dachengqiao Town, Batang Town, Huilongpu Town, Baimaqiao Township, Yutan Town, Lijingpu Township, and Shuangjiangkou Town, and empties into the Xiang River in Wangcheng District.

28°23′17″N 112°48′26″E / 28.388081328541055°N 112.80734700049403°E / 28.388081328541055; 112.80734700049403

## InfoBox

| Wei River | |
| --- | --- |
| Picture of Wei River in downtown Ningxiang City. | |
| Location on Hunan. | |
| Native name | 沩水河 (Chinese) |
| Physical characteristics | |
|  | |
| Source | Weishan Township |
| location | Ningxiang, Hunan |
|  | |
| Mouth | Xiang River |
| Length | 117.2 km (72.8 mi) |
| Basin size | 2,125 km2 (820 sq mi) |
| Basin features | |
| Waterbodies | Tianping Reservoir
Huangcai Reservoir |


title: Turkey at the 1988 Winter Olympics

abstract: Turkey competed at the 1988 Winter Olympics in Calgary, Alberta, Canada.

text:
# Turkey at the 1988 Winter Olympics

**Turkey** competed at the **1988 Winter Olympics** in Calgary, Alberta, Canada.

## Competitors

The following is the list of number of competitors in the Games.

| Sport | Men | Women | Total |
| --- | --- | --- | --- |
| Alpine skiing | 4 | 0 | 4 |
| Cross-country skiing | 4 | 0 | 4 |
| Total | 8 | 0 | 8 |

## Alpine skiing

Men

| Athlete | Event | Race 1 | Race 2 | Total | |
| --- | --- | --- | --- | --- | --- |
| | | Time | Time | Time | Rank |
| Göksay Demirhan | Super-G |  | | 2:02.22 | 47 |
| Yakup Kadri Birinci | |  | | 1:59.32 | 44 |
| Resul Sare | |  | | 1:57.65 | 43 |
| Yakup Kadri Birinci | Giant Slalom | DNF |  | DNF |  |
| Ahmet Demir | | 1:23.29 | 1:20.45 | 2:43.74 | 59 |
| Resul Sare | | 1:20.04 | 1:17.36 | 2:37.40 | 55 |
| Göksay Demirhan | | 1:18.82 | 1:16.74 | 2:35.56 | 53 |
| Resul Sare | Slalom | 1:14.78 | 1:01.81 | 2:16.59 | 33 |
| Göksay Demirhan | | 1:13.22 | 1:04.89 | 2:18.21 | 36 |
| Ahmet Demir | | 1:11.29 | 1:06.24 | 2:17.53 | 35 |
| Yakup Kadri Birinci | | 1:09.08 | 1:02.11 | 2:11.19 | 31 |

## Cross-country skiing

Men

| Event | Athlete | Race | |
| --- | --- | --- | --- |
| | | Time | Rank |
| 15 km
C | Erhan Dursun | 52:18.3 | 79 |
| | Fikret Ören | 52:05.1 | 78 |
| | Abdullah Yılmaz | 51:54.6 | 77 |
| | Saim Koca | 51:36.6 | 76 |
| 30 km
C | Erhan Dursun | 1'56:10.7 | 84 |
| | Fikret Ören | 1'49:30.2 | 81 |
| | Abdullah Yılmaz | 1'46:48.2 | 79 |
| | Saim Koca | 1'44:55.7 | 78 |

C = Classical style, F = Freestyle

## InfoBox

| Turkey at the
1988 Winter Olympics | |
| --- | --- |
|  | |
| IOC code | TUR |
| NOC | Turkish National Olympic Committee |
| Website | olimpiyat.org.tr (in English and Turkish) |
| in Calgary | |
| Competitors | 8 (men) in 2 sports |
| Flag bearer | Abdullah Yılmaz (cross-country skiing) |
| Medals | Gold 0 Silver 0 Bronze 0 Total 0 |
| Winter Olympics appearances (overview) | |
|  | |


title: Hōrai Valley

abstract: Hōrai Valley The Hōrai Valley is a geographical area that is located in the Rokkō Mountains, Hyōgo, Japan. This valley is a part of Setonaikai National Park in Japan. The name of Hōrai Valley coming from a name of the mountain in a mystical land found in Chinese mythology.

text:
# Hōrai Valley

The **Hōrai Valley** (蓬莱峡, *Hōrai-kyō*) is a geographical area that is located in the Rokkō Mountains, Hyōgo, Japan. This valley is a part of Setonaikai National Park in Japan. The name of Hōrai Valley coming from a name of the mountain in a mystical land found in Chinese mythology.

## Outline

Horai Valley is located along the upper reaches of the Ōtada River in the Rokkō Mountains. Although the valley is considered to be a badland, the rugged terrain found here is rare in other badlands around the world. The valley is characterized by its white granite cliffs that stretch up to a hundred meters high, creating sawtooth-like ridges. This granite is brittle enough to be easily broken by the hands of climbers.

Because of its alien landscape, this location has often been used as a movie set for Japanese filmmakers. It is also a frequent destination for climbers and tourists alike.

## Access

## InfoBox

| Hōrai Valley | |
| --- | --- |
| 蓬莱峡 | |
| A view of the Horai Valley | |
| Hōrai ValleyHōrai Valley | |
| Geography | |
| Coordinates | 34°48′27″N 135°17′48″E / 34.80750°N 135.29667°E / 34.80750; 135.29667 |


abstract: The diocese of Gravina and Montepeloso is a former ecclesiastical territory of the Roman Catholic Church in Apulia, southern Italy. Gravina is about 59 km (36 mi) southwest of Bari. Since 1986 it has formed part of the merged diocese of Altamura-Gravina-Acquaviva. Gravina in Apulia was the seat of the episcopal see from the ninth century.

text:
# Roman Catholic Diocese of Gravina-Montepeloso

The **diocese of Gravina and Montepeloso** is a former ecclesiastical territory of the Roman Catholic Church in Apulia, southern Italy. Gravina is about 59 km (36 mi) southwest of Bari. Since 1986 it has formed part of the merged diocese of Altamura-Gravina-Acquaviva. Gravina in Apulia was the seat of the episcopal see from the ninth century.

## Ecclesiastical history

Bishop Petrus of Hydruntum (968) was raised to the dignity of Metropolitan by Polyeuctus, Patriarch of Constantinople (956-970), with the obligation to establish the Byzantine Rite throughout the new ecclesiastical province, and the authority to consecrate bishops in the churches of Acerenza, Tursi, Gravina, Matera, and Tricarico, all previously dependent on the Church of Rome. The Latin Church was introduced again after the Norman conquest, but the Byzantine Rite remained in use in several towns of the archdiocese and of its suffragans, until the sixteenth century.

The first known bishop of Gravina is Leo; other bishops of note are: Giacomo Orsini (1302), who replaced the Greek rite with the Latin (Roman) rite, by order of Gentile Orsini Archbishop of Acerenza; Vincenzo Giustianiani (1593), a Genoese nobleman, who founded the seminary, the church of the Madonna delle Grazie and the Capuccinelle convent; Domenico Cennini (1645), who rebuilt the episcopal residence; Fra Domenico Valvassori (1686), a patron of learning and founder of an *Accademia Teologica*.

On 16 June 1102, Pope Paschal II confirmed for the archbishop of Acerenza all his diocese's privileges and possessions, including the suffragan (subordinate) diocese of Gravina.

At the end of 1608, the palace of the dukes of Gravina was transferred to the bishops of Gravina, since they had had constructed a new palace in the Via S. Tommaso. Ferdinando (Ferrante) and his wife, Giovanna Frangipane della Tolfa, also began the construction of S. Maria, called the "Purgatorio" in 1644.

On 12 February 1649, Pietro Francesco Orsini, known in religion as Vincenzo Maria Orsini, O.P., the future Pope Benedict XIII, was born in Gravina. He was the eldest son of Ferdinando (Ferrante), 11th Duke of Gravina, 2nd Prince of Solofra, and Count of Muro Lucano, 2nd Prince di Galluccio.

### Reorganization

Following the expulsion of the French occupying forces in 1816, and the restoration of the Papal States and the Kingdom of Naples, a new concordat was signed on 16 February 1818, and ratified by Pius VII on 25 February 1818. Ferdinand I of the Two Sicilies issued the concordat as a law on 21 March 1818. The right of the king to nominate the candidate for a vacant bishopric was recognized, as in the Concordat of 1741, subject to papal confirmation (preconisation). On 27 June 1818, Pius VII issued the bull *De Ulteriore*, in which he joined the diocese of Gravina, which had been a suffragan of the archdiocese of Potenza, to the diocese of Montepeluso in perpetual union, as the Diocese of Gravina e Montepeloso, one bishop to preside over both dioceses, *aeque principaliter*. Montepelosi was the dominant partner. Both dioceses were to be directly subject to the Holy See.

Montepeloso is situated on a hill in the neighbouring Province of Potenza. The diocese dated back to the 12th century and was refounded in the 15th century; it is directly subject to the Holy See. Montepeloso has been called Irpina since 1895. The united dioceses, directly subject to the Holy See, had in the early 20th century 9 parishes and some 28,000 baptized people. In 1986, the diocese of Montepeloso (Irpina) was suppressed, and its territory became part of the "Archidioecesis Materanensis-Montis Pelusii".

### Diocesan Reorganization

Following the Second Vatican Council, and in accordance with the norms laid out in the council's decree, *Christus Dominus* chapter 40, It also recommended the abolition of anomalous units such as exempt territorial prelatures. Pope Paul VI ordered a reorganization of the ecclesiastical provinces in southern Italy, beginning with consultations among the members of the Congregation of Bishops in the Vatican Curia, the Italian Bishops Conference, and the various dioceses concerned.

On 18 February 1984, the Vatican and the Italian State signed a new and revised concordat. Based on the revisions, a set of *Normae* was issued on 15 November 1984, which was accompanied in the next year, on 3 June 1985, by enabling legislation. According to the agreement, the practice of having one bishop govern two separate dioceses at the same time, *aeque personaliter*, was abolished. The Vatican continued consultations which had begun under Pope John XXIII for the merging of small dioceses, especially those with personnel and financial problems, into one combined diocese.

On 30 September 1986, Pope John Paul II ordered that the diocese of Gravina be merged with the territorial prelatures of Altamura and of Aquaviva into one diocese with one bishop, with the Latin title *Dioecesis Altamurensis-Gravinensis-Aquavivensis*. The seat of the diocese was to be in Altamura, where the prelatial church was to serve as the cathedral of the merged diocese. The cathedral in Gravina and the prelatial seat in Aquaviva were to have the honorary titles of "co-cathedral"; the Chapters were each to be a *Capitulum Concathedralis*. There was to be only one diocesan Tribunal, in Altamura, and likewise one seminary, one College of Consultors, and one Priests' Council. The territory of the new diocese was to include the territory of the suppressed diocese and territorial prelatures. To make the territories of the new diocese congruent, the town of San Teramo in Colle was detached from the archdiocese of Bari-Bitonto and added to that of Altamura. The new diocese was made a suffragan of the archdiocese of Bari-Bitonto.

## Bishops

### Diocese of Gravina (di Puglia)

*Erected: 9th Century*
*Metropolitan: Archdiocese of Acerenza e Matera*

#### to 1450

**...** * Leo (attested 876)

**...** *Sede vacante* (attested in 1091) **...** * Guido (attested 1123/24)

**...** * Hugo (attested 1155)

**...** * Robertus (attested 1179)
* Thomas (attested 1188 – 1212)
* Samuel (attested 1219 – 1238)

**...** * Pantaleone (c. 1245 – 1266)
* Jacobus (1250 – 1266)

*Sede vacante* (1266 – 1281) * Petrus, O.S.B. (1282)
* Palmerius (1283 – 1286)
* Nicolaus da Potenza, O.P. (1287 – 1291)
* Johannes (1291 – 1294)
* Jacobus (1296 — 1306)
* Franciscus (1311 – 1318)
* Nicolaus
* Richardus Caracciolo (1335 – 1343)
* Andreas da Perugia, O.Min. (1343 – 1345)
* Tancredus da Auleto, O.Min. (1346 – 1348)
* Bernardus Coccius (1349 – 1350)
* Johannes da Gallinario, O.Min. (1350 – 1373)
* Lucianus da Gravina, O.E.S.A. (1373 – 1381?)
* Nicolaus da Madio, O.P. (1386 – ? ) *Avignon Obedience*
* Philippus (1386? – 1395) *Roman Obedience*
* Franciscus (1395 – 1400)
* Antonius (1400 – 1402) *Roman Obedience*
* Rogerius de Langobardi (1402 – 1411) *Roman Obedience*
* Henricus, O.Min. (1411 – 1429)
* Giovanni Roberti Santoro (1429 – 1446?)

#### 1447 to 1818

Marino Orsini (Marinus de Ursinis) (1447–1473) *Administrator* *Sede vacante* (1806 – 1818)

### Diocese of Gravina e Irsina (Montepeloso)

*United: 27 June 1818 with the Diocese of Montepeloso*
*Latin Name: Gravinensis et Montis Pelusii*
*Immediately Subject to the Holy See*

* Ludovico Maria Roselli, O.F.M. (2 Oct 1818 Confirmed – 15 Oct 1818 Died)
* Cassiodoro Margarita (21 Dec 1818 Confirmed – 1 Sep 1850 Died)
* Franciscus Xaverius Giannuzzi Savelli (17 Feb 1851 Confirmed – 14 Aug 1851 Died)
* Mario De Luca (27 Sep 1852 Confirmed – 24 Mar 1855 Died)
* Raffaele Antonio Morisciano (28 Sep 1855 Confirmed – 27 Sep 1858 Appointed, Bishop of Squillace)
* Alfonso Maria Cappetta (Cappelta) (20 Jun 1859 Confirmed – 22 Jul 1871 Died)
* Vincenzo Salvatore (6 May 1872 – 7 Sep 1899 Died)
* Cristoforo Maiello (14 Dec 1899 – 8 Mar 1906 Died)
* Nicolo Zimarino (1906 – 1920)
* Giovanni Maria Sanna, O.F.M. Conv. (1922 – 1953 Retired)
* Aldo Forzoni (14 May 1953 – 30 Nov 1961 Appointed, Bishop of Diano-Teggiano)
* Giuseppe Vairo (19 Jan 1962 – 23 Dec 1971 Resigned)
* Salvatore Isgró (25 Apr 1975 – 18 Mar 1982 Appointed, Archbishop of Sassari)

### Diocese of Gravina

*11 October 1976: Diocese Split into the Diocese of Gravina and the Diocese of Matera e Irsina*
*Metropolitan: Archdiocese of Bari-Canosa*

* Tarcisio Pisani, O.M. (28 Jun 1982 – 30 Sep 1986)

*On 30 September 1986, the diocese of Gravina was suppressed.*

## Bibliography

### Episcopal lists

### Studies


title: Tạ An Khương Nam

abstract: Tạ An Khương Nam is a commune (xã) and village in Đầm Dơi district, Cà Mau province, in Vietnam.

text:
# Tạ An Khương Nam

**Tạ An Khương Nam** is a commune (xã) and village in Đầm Dơi district, Cà Mau province, in Vietnam.

9°01′08″N 105°13′26″E / 9.0189°N 105.2239°E / 9.0189; 105.2239

## InfoBox

| Tạ An Khương Nam | |
| --- | --- |
| Commune and village | |
| Country | Vietnam |
| Province | Cà Mau |
| District | Đầm Dơi |
| Time zone | UTC+07:00 |


title: Huguenot rebellions

abstract: The Huguenot rebellions, sometimes called the Rohan Wars after the Huguenot leader Henri de Rohan, were a series of rebellions of the 1620s in which French Calvinist Protestants (Huguenots), mainly located in southwestern France, revolted against royal authority. The uprising occurred a decade after the death of Henry IV who, himself originally a Huguenot before converting to Catholicism, had protected Protestants through the Edict of Nantes. His successor Louis XIII, under the regency of his Italian Catholic mother Marie de' Medici, became more intolerant of Protestantism. The Huguenots responded by establishing independent political and military structures, establishing diplomatic contacts with foreign powers, and openly revolting against central power. The Huguenot rebellions came after two decades of internal peace under Henry IV, following the intermittent French Wars of Religion of 1562–1598.

text:
# Huguenot rebellions

The **Huguenot rebellions**, sometimes called the **Rohan Wars** after the Huguenot leader Henri de Rohan, were a series of rebellions of the 1620s in which French Calvinist Protestants (Huguenots), mainly located in southwestern France, revolted against royal authority. The uprising occurred a decade after the death of Henry IV who, himself originally a Huguenot before converting to Catholicism, had protected Protestants through the Edict of Nantes. His successor Louis XIII, under the regency of his Italian Catholic mother Marie de' Medici, became more intolerant of Protestantism. The Huguenots responded by establishing independent political and military structures, establishing diplomatic contacts with foreign powers, and openly revolting against central power. The Huguenot rebellions came after two decades of internal peace under Henry IV, following the intermittent French Wars of Religion of 1562–1598.

## First Huguenot rebellion (1620–1622)

The first Huguenot rebellion was triggered by the re-establishment of Catholic rights in Huguenot Béarn by Louis XIII in 1617, and the military annexation of Béarn to France in 1620, with the occupation of Pau in October 1620. The government was replaced by a French-style parliament in which only Catholics could sit.

Feeling their survival was at stake, the Huguenots gathered in La Rochelle on 25 December. At this Huguenot General Assembly in La Rochelle the decision was taken to forcefully resist the Royal threat, and to establish a "state within the state", with an independent military commandment and independent taxes, under the direction of the Duc de Rohan, an ardent proponent of open conflict with the King. In that period, the Huguenots were defiant of the Crown, displaying intentions to become independent on the model of the Dutch Republic: "If the citizens, abandoned to their guidance, were threatened in their rights and creeds, they would imitate the Dutch in their resistance to Spain, and defy all the power of the monarchy to reduce them." (*Mercure de France*)

In 1621, Louis XIII moved to eradicate what he considered an open rebellion against his power. He led an army to the south, first succeeding in capturing the Huguenot city of Saumur, and then succeeding in the siege of Saint-Jean-d'Angély against Rohan's brother Benjamin de Rohan, duc de Soubise on 24 June. A small number of troops attempted to surround La Rochelle under the Count of Soissons in the Blockade of La Rochelle, but Louis XIII then moved south to Montauban, where he exhausted his troops in the Siege of Montauban.

After a lull, combat resumed with numerous atrocities in 1622, with the Siege of Nègrepelisse in which the population was massacred and the city was burnt to the ground.

In La Rochelle, the fleet of the city under Jean Guiton started to harass royal vessels and bases. The Royal fleet met with the fleet of La Rochelle in the Naval battle of Saint-Martin-de-Ré on 27 October 1622 in an inconclusive encounter.

Meanwhile, the Treaty of Montpellier ended hostilities. The Huguenot fortresses of Montauban and La Rochelle could be kept, but the fortress of Montpellier had to be dismantled.

The year 1624 saw the arrival of Cardinal Richelieu to power as chief minister, which would mean more difficult times ahead for the Protestants.

## Second Huguenot rebellion (1625–1626)

Louis XIII did not, however, uphold the terms of the Treaty of Montpellier, sparking renewed Huguenot resentment. Toiras reinforced the fortification of Fort Louis, instead of dismantling it, right under the walls of the Huguenot stronghold of La Rochelle, and as a strong fleet was being prepared in Blavet for the eventuality of a siege of the city. The threat of a future siege on the city of La Rochelle was obvious, both to Soubise and the people of La Rochelle.

In February 1625, Soubise led a second Huguenot revolt against Louis XIII, and, after publishing a manifesto, invaded and occupied the island of Ré, near La Rochelle. From there he sailed up to Brittany where he led a successful attack on the royal fleet in the Battle of Blavet, although he could not take the fort after a three weeks siege. Soubise then returned to Ré with 15 ships and soon occupied the Ile d'Oléron as well, thus giving him command of the Atlantic coast from Nantes to Bordeaux. Through these deeds, he was recognized as the head of the Huguenots, and named himself "Admiral of the Protestant Church". The French Navy on the contrary was now completely depleted, leaving the central government vulnerable.

The Huguenot city of La Rochelle voted to join Soubise on 8 August. These events would end with the defeat of the fleets of La Rochelle and Soubise, and the full Capture of Ré island by September.

After long negotiations, the Treaty of Paris, was signed between the city of La Rochelle and King Louis XIII on 5 February 1626, preserving religious freedom but imposing some guaranties against possible future upheavals: in particular, La Rochelle was prohibited from keeping a naval fleet.

## Third Huguenot rebellion (1627–1629)

The third and last Huguenot rebellion started with an English military intervention aimed at encouraging an upheaval against the French king. The rebels had received the backing of the English king Charles I, who sent his favourite George Villiers, 1st Duke of Buckingham with a fleet of 80 ships. In June 1627 Buckingham organised a landing on the nearby island of Île de Ré with 6,000 men in order to help the Huguenots, thus starting an Anglo-French War (1627–1629), with the objective of controlling the approaches to La Rochelle, and of encouraging the rebellion in the city. Buckingham ultimately ran out of money and support, and his army was weakened by diseases. The English intervention ended with the unsuccessful siege of Saint-Martin-de-Ré (1627). After a last attack on Saint-Martin they were repulsed with heavy casualties, and left in their ships.

The English intervention was followed by the siege of La Rochelle. Cardinal Richelieu acted as the commander of the besieging troops (during times when the King was absent). Residents of La Rochelle resisted for 14 months, under the leadership of the mayor Jean Guiton and with gradually diminishing help from England. During the siege, the population of La Rochelle decreased from 27,000 to 5,000 due to casualties, famine, and disease. Surrender was unconditional.

Rohan continued to resist in Southern France, where the forces of Louis XIII continued to intervene in 1629. In the siege of Privas, the inhabitants were massacred or expelled, and the city was burnt to the ground. Louis XIII finally achieved a decisive victory in the siege of Alès in June 1629, and Rohan submitted.

By the terms of the Peace of Alais, the Huguenots lost their territorial, political, and military rights, but retained the religious freedom granted by the Edict of Nantes. However, they were left at the mercy of the monarchy, unable to resist when the next king, Louis XIV, embarked on active persecution in the 1670s, and revoked the Edict of Nantes in 1685.

## Aftermath

The Huguenot rebellions were implacably suppressed by the French crown. As a consequence, the Huguenots lost their political power, helping to strengthen the central government, which continued on a path toward absolutism. The Huguenots retained the religious freedoms authorised in the Edict of Nantes, but Louis XIV would later suppress these, and revoke the edict in 1685.

* Christopher Duffy *Siege Warfare: The Fortress in the Early Modern World, 1494–1660* Routledge, 1979 ISBN 0-7100-8871-X
* Jack Alden Clarke *Huguenot warrior: the life and times of Henri de Rohan, 1579–1638* Springer, 1967 ISBN 90-247-0193-7
* Tony Jaques *Dictionary of Battles and Sieges* Greenwood Publishing Group, 2007 ISBN 0-313-33538-9
* Mack P. Holt *The French wars of religion, 1562–1629* Cambridge University Press, 2005 ISBN 0-521-83872-X


title: Hyperolius bobirensis

abstract:
Hyperolius bobirensis is a species of frog in the family Hyperoliidae.
It is endemic to Ghana.
Its natural habitats are subtropical or tropical moist lowland forests and intermittent freshwater marshes.
It is threatened by habitat loss.

text:
# Hyperolius bobirensis

***Hyperolius bobirensis*** is a species of frog in the family Hyperoliidae. It is endemic to Ghana. Its natural habitats are subtropical or tropical moist lowland forests and intermittent freshwater marshes. It is threatened by habitat loss.

## InfoBox

| *Hyperolius bobirensis* | |
| --- | --- |
| Conservation status | |
|
Vulnerable  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Hyperoliidae |
| Genus: | *Hyperolius* |
| Species: | ***H. bobirensis*** |
| Binomial name | |
| ***Hyperolius bobirensis***
Schiøtz, 1967 | |
|