title: Rauschenberg, Hesse

abstract: Rauschenberg is a town in the north of Marburg-Biedenkopf district in Hesse, Germany.

text:
# Rauschenberg, Hesse

**Rauschenberg** is a town in the north of Marburg-Biedenkopf district in Hesse, Germany.

## Geography

### Location

Rauschenberg lies at the southern edge of the *Burgwald*, a low mountain range, near Marburg and Kirchhain.

### Neighbouring communities

Rauschenberg borders in the north on the town of Rosenthal (Waldeck-Frankenberg) as well as on the communities of Wohratal (Marburg-Biedenkopf) and Gilserberg (Schwalm-Eder-Kreis), in the east on the town of Stadtallendorf, in the south on the town of Kirchhain, in the southwest on the community of Cölbe, and in the west on the town of Wetter (all in Marburg-Biedenkopf).

### Municipality divisions

Rauschenberg consists out of following villages:

* Albshausen
* Bracht
* Ernsthausen
* Josbach
* Rauschenberg (town)
* Schwabendorf
* Wolfskaute

## History

Even as far back as 1000, a castle was built in what is now Rauschenberg. After a fire about 1250, almost the whole settlement was destroyed. Shortly after Rauschenberg was founded by the Counts of Ziegenhain, it was granted town rights. When the "von Ziegenhain" family died out in 1450, the castle and the town fell to the House of Hesse. In this time, the castle was expanded and made into a hunting lodge.

During the Thirty Years' War, Rauschenberg was mostly destroyed and thoroughly plundered by Swedish troops. Ever since the castle was blown up at a Kassel colonel's behest two years before the war ended, there has been nothing left of it but a ruin.

## Politics

### Town council

Results of municipal election on 6 March 2016:

| **Parties and voter coalitions** | | **Share in %** | **Seats** |
| --- | --- | --- | --- |
| CDU | Christian Democratic Union | 26.1 | 6 |
| SPD | Social Democratic Party of Germany | 23.1 | 5 |
| Greens | Alliance '90/The Greens | 21.1 | 5 |
| FBL | Freie Bürgerliste (citizens' coalition) | 29.7 | 7 |
| **total** | | **100** | **23** |
|

## Coat of arms

Rauschenberg's civic coat of arms might be described thus: Party per fess; above, in sable a six-pointed star argent; below in Or. It matches the arms used by the town's old overlords, the Counts of Ziegenhain. An eight-pointed star in a modification of the Counts coat of arms.

## Town partnership

## Culture and Sightseeing

### Buildings

There has not been much left of the castle, later stately home, of Rauschenberg since it was destroyed in the Thirty Years' War. The ruins on the hill over the constituent community – also known as Rauschenberg – are open and free to all.

## Economy and infrastructure

### Transport

Rauschenberg is connected to the road network by Federal Highway (*Bundesstraße*) B 3 between Frankfurt and Kassel, and by *Bundesstraße* B 62. As for public transportation, there is a bus connection to Kirchhain which runs many times daily.

## Personalities

### People born in Rauschenberg

### Personalities who have lived or worked in Rauschenberg

* Peter Janich (1942-2016), philosopher and co-founder of Methodical Culturalism, died in Rauschenberg

## In pop culture

A Finnish industrial music group, named Rauschenmaschine (German for noisemaschine) has a song on their website called Rauschenberg.

## InfoBox

| Rauschenberg | |
| --- | --- |
| Town | |
|  | |
| Location of Rauschenberg within Marburg-Biedenkopf district | |
| Rauschenberg Rauschenberg | |
| Coordinates: 50°52′N 8°55′E / 50.867°N 8.917°E / 50.867; 8.917 | |
| Country | Germany |
| State | Hesse |
| Admin. region | Gießen |
| District | Marburg-Biedenkopf |
| Subdivisions | 7 Ortsteile |
| Government | |
| Mayor (201824) | Michael Emmerich (CDU) |
| Area | |
| Total | 67.33 km2 (26.00 sq mi) |
| Elevation | 227 m (745 ft) |
| Population (2022-12-31) | |
| Total | 4,488 |
| Density | 67/km2 (170/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 35282 |
| Dialling codes | 06425 |
| Vehicle registration | MR |
| Website | www.rauschenberg.de |


title: Haeska, Saare County

abstract: Haeska is a village in Saaremaa Parish, Saare County in western Estonia. Before the administrative reform in 2017, the village was in Pihtla Parish.

text:
# Haeska, Saare County

**Haeska** is a village in Saaremaa Parish, Saare County in western Estonia.

Before the administrative reform in 2017, the village was in Pihtla Parish.

58°25′21″N 22°38′01″E / 58.42250°N 22.63361°E / 58.42250; 22.63361

## InfoBox

| Haeska | |
| --- | --- |
| Village | |
| Country | Estonia |
| County | Saare County |
| Parish | Saaremaa Parish |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |


title: Plücker matrix

abstract: The Plücker matrix is a special skew-symmetric 4 × 4 matrix, which characterizes a straight line in projective space. The matrix is defined by 6 Plücker coordinates with 4 degrees of freedom. It is named after the German mathematician Julius Plücker.

text:
# Plücker matrix

The **Plücker matrix** is a special skew-symmetric 4 × 4 matrix, which characterizes a straight line in projective space. The matrix is defined by 6 Plücker coordinates with 4 degrees of freedom. It is named after the German mathematician Julius Plücker.

## Definition

A straight line in space is defined by two distinct points $A=\left(A\_{0},A\_{1},A\_{2},A\_{3}\right)^{\top }\in \mathbb {R} {\mathcal {P}^{3}}$ and $B=\left(B\_{0},B\_{1},B\_{2},B\_{3}\right)^{\top }\in \mathbb {R} {\mathcal {P}^{3}}$ in homogeneous coordinates of the projective space. Its Plücker matrix is:

$$\[\mathbf {L} \]\_{\times }\propto \mathbf {A} \mathbf {B} ^{\top }-\mathbf {B} \mathbf {A} ^{\top }=\left({\begin{array}{cccc}0&-L\_{01}&-L\_{02}&-L\_{03}\\L\_{01}&0&-L\_{12}&-L\_{13}\\L\_{02}&L\_{12}&0&-L\_{23}\\L\_{03}&L\_{13}&L\_{23}&0\end{array}\right)}$$

Where the skew-symmetric $4\times 4$-matrix is defined by the 6 Plücker coordinates

$$\mathbf {L} \propto (L\_{01},L\_{02},L\_{03},L\_{12},L\_{13},L\_{23})^{\top }$$

with

$$L\_{ij}=A\_{i}B\_{j}-B\_{i}A\_{j}.$$

Plücker coordinates fulfill the Grassmann–Plücker relations

$$L\_{01}L\_{23}-L\_{02}L\_{13}+L\_{03}L\_{12}=0$$

and are defined up to scale. A Plücker matrix has only rank 2 and four degrees of freedom (just like lines in $\mathbb {R} ^{3}$). They are independent of a particular choice of the points $\mathbf {A} $ and $\mathbf {B} $ and can be seen as a generalization of the line equation i.e. of the cross product for both the intersection (meet) of two lines, as well as the joining line of two points in the projective plane.

## Properties

The Plücker matrix allows us to express the following geometric operations as matrix-vector product:

* Plane contains line: $\mathbf {0} =\[\mathbf {L} \]\_{\times }\mathbf {E} $
* $\mathbf {X} =\[\mathbf {L} \]\_{\times }\mathbf {E} $ is the point of intersection of the line $\mathbf {L} $ and the plane $\mathbf {E} $ ('Meet')
* Point lies on line: $\mathbf {0} =\[{\tilde {\mathbf {L} }\]\_{\times }\mathbf {X} }$
* $\mathbf {E} =\[{\tilde {\mathbf {L} }\]\_{\times }\mathbf {X} }$ is the common plane $\mathbf {E} $, which contains both the point $\mathbf {X} $ and the line $\mathbf {L} $ ('Join').
* Direction of a line: $\[\mathbf {L} \]\_{\times }\pi ^{\infty }=\[\mathbf {L} \]\_{\times }(0,0,0,1)^{\top }=\left(-L\_{03},-L\_{13},-L\_{23},0\right)^{\top }$ (Note: The latter can be interpreted as a plane orthogonal to the line passing through the coordinate origin)
* Closest point to the origin $\mathbf {X} \_{0}\cong \[\mathbf {L} \]\_{\times }\[\mathbf {L} \]\_{\times }\pi ^{\infty }.$

## Uniqueness

Two arbitrary distinct points on the line can be written as a linear combination of $\mathbf {A} $ and $\mathbf {B} $:

$$\mathbf {A} ^{\prime }\propto \mathbf {A} \alpha +\mathbf {B} \beta {\text{ and }\mathbf {B} ^{\prime }\propto \mathbf {A} \gamma +\mathbf {B} \delta .}$$

Their Plücker matrix is thus:

$$\begin{aligned}{\[}\mathbf {L} ^{\prime }{\]}\_{\times }&=\mathbf {A} ^{\prime }\mathbf {B} ^{\prime }-\mathbf {B} ^{\prime }\mathbf {A} ^{\prime }\\\\[6pt\]&=(\mathbf {A} \alpha +\mathbf {B} \beta )(\mathbf {A} \gamma +\mathbf {B} \delta )^{\top }-(\mathbf {A} \gamma +\mathbf {B} \delta )(\mathbf {A} \alpha +\mathbf {B} \beta )^{\top }\\\\[6pt\]&=\underbrace {(\alpha \delta -\beta \gamma )} \_{\lambda }\[\mathbf {L} \]\_{\times },\end{aligned}$$

up to scale identical to $\[\mathbf {L} \]\_{\times }$.

## Intersection with a plane

Let $\mathbf {E} =\left(E\_{0},E\_{1},E\_{2},E\_{3}\right)^{\top }\in \mathbb {R} {\mathcal {P}^{3}}$ denote the plane with the equation

$$E\_{0}x+E\_{1}y+E\_{2}z+E\_{3}=0.$$

which does not contain the line $\mathbf {L} $. Then, the matrix-vector product with the Plücker matrix describes a point

$$\mathbf {X} =\[\mathbf {L} \]\_{\times }\mathbf {E} =\mathbf {A} {\underset {\alpha }{\underbrace {\mathbf {B} ^{\top }\mathbf {E} } }-\mathbf {B} {\underset {\beta }{\underbrace {\mathbf {A} ^{\top }\mathbf {E} } }=\mathbf {A} \alpha +\mathbf {B} \beta ,}}$$

which lies on the line $\mathbf {L} $ because it is a linear combination of $\mathbf {A} $ and $\mathbf {B} $. $\mathbf {X} $ is also contained in the plane $\mathbf {E} $

$$\mathbf {E} ^{\top }\mathbf {X} =\mathbf {E} ^{\top }\[\mathbf {L} \]\_{\times }\mathbf {E} ={\underset {\alpha }{\underbrace {\mathbf {E} ^{\top }\mathbf {A} } }{\underset {\beta }{\underbrace {\mathbf {B} ^{\top }\mathbf {E} } }-{\underset {\beta }{\underbrace {\mathbf {E} ^{\top }\mathbf {B} } }{\underset {\alpha }{\underbrace {\mathbf {A} ^{\top }\mathbf {E} } }=0,}}}}$$

and must therefore be their point of intersection.

In addition, the product of the Plücker matrix with a plane is the zero-vector, exactly if the line $\mathbf {L} $ is contained entirely in the plane:

$\alpha =\beta =0\iff \mathbf {E} $ contains $\mathbf {L} .$

## Dual Plücker matrix

In projective three-space, both points and planes have the same representation as 4-vectors and the algebraic description of their geometric relationship (point lies on plane) is symmetric. By interchanging the terms plane and point in a theorem, one obtains a dual theorem which is also true.

In case of the Plücker matrix, there exists a dual representation of the line in space as the intersection of two planes:

$$E=\left(E\_{0},E\_{1},E\_{2},E\_{3}\right)^{\top }\in \mathbb {R} {\mathcal {P}^{3}}$$

and

$$F=\left(F\_{0},F\_{1},F\_{2},F\_{3}\right)^{\top }\in \mathbb {R} {\mathcal {P}^{3}}$$

in homogeneous coordinates of projective space. Their Plücker matrix is:

$$\left\[{\tilde {\mathbf {L} }\right\]\_{\times }=\mathbf {E} \mathbf {F} ^{\top }-\mathbf {F} \mathbf {E} ^{\top }}$$

and

$$\mathbf {G} =\left\[{\tilde {\mathbf {L} }\right\]\_{\times }\mathbf {X} }$$

describes the plane $\mathbf {G} $ which contains both the point $\mathbf {X} $ and the line $\mathbf {L} $.

## Relationship between primal and dual Plücker matrices

As the vector $\mathbf {X} =\[\mathbf {L} \]\_{\times }\mathbf {E} $, with an arbitrary plane $\mathbf {E} $, is either the zero-vector or a point on the line, it follows:

$$\forall \mathbf {E} \in \mathbb {R} {\mathcal {P}^{3}:\\,\mathbf {X} =\[\mathbf {L} \]\_{\times }\mathbf {E} {\text{ lies on }\mathbf {L} \iff \left\[{\tilde {\mathbf {L} }\right\]\_{\times }\mathbf {X} =\mathbf {0} .}}}$$

Thus:

$$\left(\[{\tilde {\mathbf {L} }\]\_{\times }\[\mathbf {L} \]\_{\times }\right)^{\top }=\[\mathbf {L} \]\_{\times }\left\[{\tilde {\mathbf {L} }\right\]\_{\times }=\mathbf {0} \in \mathbb {R} ^{4\times 4}.}}$$

The following product fulfills these properties:

$$\begin{aligned}&\left({\begin{array}{cccc}0&L\_{23}&-L\_{13}&L\_{12}\\\-L\_{23}&0&L\_{03}&-L\_{02}\\L\_{13}&-L\_{03}&0&L\_{01}\\\-L\_{12}&L\_{02}&-L\_{01}&0\end{array}\right)\left({\begin{array}{cccc}0&-L\_{01}&-L\_{02}&-L\_{03}\\L\_{01}&0&-L\_{12}&-L\_{13}\\L\_{02}&L\_{12}&0&-L\_{23}\\L\_{03}&L\_{13}&L\_{23}&0\end{array}\right)\\\\[10pt\]={}&\left(L\_{01}L\_{23}-L\_{02}L\_{13}+L\_{03}L\_{12}\right)\cdot \left({\begin{array}{cccc}1&0&0&0\\0&1&0&0\\0&0&1&0\\0&0&0&1\end{array}\right)=\mathbf {0} ,\end{aligned}}}}$$

due to the Grassmann–Plücker relation. With the uniqueness of Plücker matrices up to scalar multiples, for the primal Plücker coordinates

$$\mathbf {L} =\left(L\_{01},\\,L\_{02},\\,L\_{03},\\,L\_{12},\\,L\_{13},\\,L\_{23}\right)^{\top }$$

we obtain the following dual Plücker coordinates:

$$\tilde {\mathbf {L} }=\left(L\_{23},\\,-L\_{13},\\,L\_{12},\\,L\_{03},\\,-L\_{02},\\,L\_{01}\right)^{\top }.$$

## In the projective plane

The 'join' of two points in the projective plane is the operation of connecting two points with a straight line. Its line equation can be computed using the cross product:

$$\mathbf {l} \propto \mathbf {a} \times \mathbf {b} =\left({\begin{array}{c}a\_{1}b\_{2}-b\_{1}a\_{2}\\b\_{0}a\_{2}-a\_{0}b\_{2}\\a\_{0}b\_{1}-a\_{1}b\_{0}\end{array}\right)=\left({\begin{array}{c}l\_{0}\\l\_{1}\\l\_{2}\end{array}\right).}}$$

Dually, one can express the 'meet', or intersection of two straight lines by the cross-product:

$$\mathbf {x} \propto \mathbf {l} \times \mathbf {m} $$

The relationship to Plücker matrices becomes evident, if one writes the cross product as a matrix-vector product with a skew-symmetric matrix:

$$\[\mathbf {l} \]\_{\times }=\mathbf {a} \mathbf {b} ^{\top }-\mathbf {b} \mathbf {a} ^{\top }=\left({\begin{array}{ccc}0&l\_{2}&-l\_{1}\\\-l\_{2}&0&l\_{0}\\l\_{1}&-l\_{0}&0\end{array}\right)}$$

and analogously $\[\mathbf {x} \]\_{\times }=\mathbf {l} \mathbf {m} ^{\top }-\mathbf {m} \mathbf {l} ^{\top }$

## Geometric interpretation

Let $\mathbf {d} =\left(-L\_{03},\\,-L\_{13},\\,-L\_{23}\right)^{\top }$ and $\mathbf {m} =\left(L\_{12},\\,-L\_{02},\\,L\_{01}\right)^{\top }$, then we can write

$$\[\mathbf {L} \]\_{\times }=\left({\begin{array}{cc}\[\mathbf {m} \]\_{\times }&\mathbf {d} \\\-\mathbf {d} &0\end{array}\right)}$$

and

$\[{\tilde {\mathbf {L} }\]\_{\times }=\left({\begin{array}{cc}\[-\mathbf {d} \]\_{\times }&\mathbf {m} \\\-\mathbf {m} &0\end{array}\right),}}$

where $\mathbf {d} $ is the displacement and $\mathbf {m} $ is the moment of the line, compare the geometric intuition of Plücker coordinates.

* Richter-Gebert, Jürgen (2011). *Perspectives on Projective Geometry: A Guided Tour Through Real and Complex Projective Geometry*. Springer Science & Business Media. ISBN 978-3-642-17286-1.
* Jorge Stolfi (1991). *Oriented Projective Geometry: A Framework for Geometric Computations*. Academic Press. ISBN 978-1483247045.
From original Stanford University 1988 Ph.D. dissertation, *Primitives for Computational Geometry*, available as .
* Blinn, James F. (Aug 1977). "A homogeneous formulation for lines in 3 space". *ACM SIGGRAPH Computer Graphics*. **11** (2): 237–241. doi:10.1145/965141.563900. ISSN 0097-8930.


title: Navarretia hamata

abstract: Navarretia hamata is a species of flowering plant in the phlox family known by the common name hooked pincushionplant.

text:
# Navarretia hamata

***Navarretia hamata*** is a species of flowering plant in the phlox family known by the common name **hooked pincushionplant**.

## Distribution

The plant is native to the coastal mountains and valleys of California and Baja California.

It is found from the Monterey Bay area, through the Central Coast, to the lower slopes of the Transverse Ranges and Peninsular Ranges and coastal mesas in Southern California, as well as on the three of the Channel Islands and south into Baja California. It is often a member of the chaparral flora.

## Description

*Navarretia hamata* is a hairy, glandular annual herb producing a spreading, erect stem up to about 30 centimeters tall. It usually has a strong skunky scent. The leaves are divided into narrow, sharp-tipped lobes, the ones at the tip of each leaf hooked.

The inflorescence is a head filled with leaflike green bracts. The pink or purple flowers are tubular with five-lobed corollas and measure up to 1.5 centimeters long.

## InfoBox

| *Navarretia hamata* | |
| --- | --- |
|  | |
| Conservation status | |
|
Apparently Secure  (NatureServe) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Ericales |
| Family: | Polemoniaceae |
| Genus: | *Navarretia* |
| Species: | ***N. hamata*** |
| Binomial name | |
| ***Navarretia hamata***
Greene | |
|


title: R̃

abstract: R̃ (lower case: r̃), is a Latin R with a diacritical tilde. In the International Phonetic Alphabet it represents a nasalized version of a trill consonant, or in broader transcription also a nasalized flap or tap. In Lithuanian, the R with tilde “R̃, r̃” is rarely used and is found in some grammar texts, dictionaries or textbooks. The tilde is used like the circumflex, it indicates the long tonic accent. Therefore, the R with a tilde indicates an /r/ that is part of a diphthong with a tonic accent. It is not to be confused with Ȓ (R with inverted breve), R̄ (R with macron) or Ř (R with háček). It was used in the Albanian Agimi alphabet for the voiced alveolar trill, now represented by the digraph Rr.

text:
# R̃

(lower case: ), is a Latin  with a diacritical tilde. In the International Phonetic Alphabet it represents a nasalized version of a trill consonant, or in broader transcription also a nasalized flap or tap.

In Lithuanian, the R with tilde “R̃, r̃” is rarely used and is found in some grammar texts, dictionaries or textbooks. The tilde is used like the circumflex, it indicates the long tonic accent. Therefore, the R with a tilde indicates an /r/ that is part of a diphthong with a tonic accent.

It is not to be confused with  (*R* with inverted breve),  (*R* with macron) or  (*R* with háček).

It was used in the Albanian Agimi alphabet for the voiced alveolar trill, now represented by the digraph Rr.


abstract: The Maldives requires its residents to register their motor vehicles and display vehicle registration plates. Maldivian license plates always had white font on a black base. Until 1984, they showed a number with up to four digits. In 1984 an additional graphic was placed behind the number and in 1998 letters were added to the numbers. The current system was introduced in 2003. Background colour, in combination with the first letter on the left denotes the type of vehicle.

text:
# Vehicle registration plates of the Maldives

The **Maldives** requires its residents to register their motor vehicles and display **vehicle registration plates**.

Maldivian license plates always had white font on a black base. Until 1984, they showed a number with up to four digits.

In 1984 an additional graphic was placed behind the number and in 1998 letters were added to the numbers.

The current system was introduced in 2003. Background colour, in combination with the first letter on the left denotes the type of vehicle.

| Colour | Prefix |
| --- | --- |
|  | **P** = Private , **C** = Commercial , **G** = Government |
|  | **T** = Taxi |
|  | **D** = Diplomatic |
|

## System

| Vehicle Category | | Serial letters | Serial number |
| --- | --- | --- | --- |
|  | **A1** = Motorcycle, 50cc / invalid carriages.
**A0** = Motorcycle, 50cc and above.
**B1** = Light passenger vehicles, seating capacity 9 or less.
**B2** = Heavy passenger vehicles, seating capacity 10 to 20.
**B0** = Heavy passenger vehicles, seating above 20.
**C1** = Light goods vehicles, up to 2 tons.
**C2** = Medium goods vehicles, more than 2 tons -4 tons.
**C0** = Heavy goods vehicles, above 4 tons. |  |  |
|


title: Our Lady of Soterraña de Nieva

abstract: Our Lady of Soterraña de Nieva is an 18th-century Roman Catholic image of the Blessed Virgin Mary crafted in part ivory and solid 18 karat gold formerly venerated in the Philippines. The image was previously owned by former First Lady Imelda Marcos. The image is also known among collectors of Catholic religious images under its former Marian title and category of Our Lady of Nieva or Our Lady of Subterranean. The image has its origins in Spain under its recognised title, Our Lady of Soterraña.

text:
# Our Lady of Soterraña de Nieva

**Our Lady of Soterraña de Nieva** (also spelt **Soterrania**; "of Subterranean of Nieva") is an 18th-century Roman Catholic image of the Blessed Virgin Mary crafted in part ivory and solid 18 karat gold formerly venerated in the Philippines. The image was previously owned by former First Lady Imelda Marcos. The image is also known among collectors of Catholic religious images under its former Marian title and category of *Our Lady of Nieva* or *Our Lady of Subterranean*. The image has its origins in Spain under its recognised title, Our Lady of Soterraña.

## Description

The image features the Virgin Mary holding the Child Jesus in her left arm and holding a sceptre in the left hand. The image is *detallado* and does not wear any fabric clothing, as its farthingale dress is made of solid 18-karat filigree gold. The hands and faces are made of ivory, and features a double aureole halo, with a *resplendor* facial halo and a crown to match. The image stands on a base surrounded with three cherubim and has an approximate height of 24 inches.

## History and devotion

Various novena booklets were printed in honour of the image' prestigious devotion, the earliest being in 1781 already with a full description and imagery, and another printed in 1853. The Augustinian Order were granted custody of the image for sometime, until the 1945 Battle of Manila, when it was considered lost and surfaced under private ownership.

Records of ownership also trace that the image was once venerated in the Minor Basilica of Saint Lorenzo Ruíz de Manila, while another theory holds that the Tuason clan once purchased the image, most notably *Don* Antonio Tuason, who had a particular preference for colonial fine art.

### Present ownership

The image formerly participated in the annual Grand Marian Procession at Manila Cathedral in Intramuros as late as December 1981. In later years, the image was returned to its original custodian, and was last seen in the private living room of Imelda Marcos during a televised interview by ABS-CBN. It is now under the ownership of Louise Araneta-Marcos.

As of 2015, the image no longer participates in public processions due to its extreme fragility and value.

1. "Madonna and Child". *Filipinas Heritage Library*. Retrieved 2024-02-06.
2. http://retrato.com.ph/retratoimages/Midsize/SC/SC02524a.jpg Archived 2014-12-30 at the Wayback Machine
3. "Photo details". *retrato.com*. Archived from the original on 2014-12-30.

## InfoBox

| Our Lady of Soterrania de Nieva | |
| --- | --- |
| Location | San Agustin church (previous), Intramuros
Minor Basilica of Saint Lorenzo Ruiz (previous)
Residence of Imelda Marcos (previous)
Privately owned (current) |
| Date | 1781 |
| Witness | Augustinian Order |
| Type | Ivory, 18 karat gold |
| Approval | none granted |
| Shrine | Binondo church |
| Patronage | Tolosa |
| Attributes | Madonna and Child
Baton sceptre
Farthingale dress |


title: Ultraman (band)

abstract: Ultraman are a punk rock band from St. Louis, Missouri, formed in 1986, with members Tim Jamison (vocals), Rob Wagoner (guitar), John Corcoran (bass), Bob Zuellig (guitar), and Mike Doskocil (drums).

text:
# Ultraman (band)

**Ultraman** are a punk rock band from St. Louis, Missouri, formed in 1986, with members Tim Jamison (vocals), Rob Wagoner (guitar), John Corcoran (bass), Bob Zuellig (guitar), and Mike Doskocil (drums).

## History

Ultraman first released their own 7-inch EP (alternately called *the Mr. Yuk 7* and *self-titled*) in 1988 after selling demo tapes for over a year. Their second 7-inch EP "Destroys All Monsters...Kills All Families" was recorded in May 1988, but not released until September of that year. The EP features the same lineup, except Mark Deniszuk replaced Mike Doskocil on drums. During this time, Ultraman played countless shows in St. Louis at notable venues such as Mississippi Nights (the first show played here was with Suicidal Tendencies. They would follow up this show by playing with bands as diverse as the Exploited and Dead Milkmen. Ultraman also frequently played the surrounding Midwestern region, with many shows in Lawrence, Kansas, at the famed Outhouse.

Ultraman expanded their Midwestern focus and decided to promote the singles with an east coast tour in July 1988. On this tour, Ultraman played dates in Leonardtown, Maryland, with McRad (Chuck Treece’s band while he was also in Underdog), Boston, and New York City (at the Pyramid Club). After this tour, singer Tim Jamison sent a copy of the band's single and band t-shirts to Jack at Caroline Records, in the hope of getting the band signed. Jack didn't think they were a fit with the label, but passed along their singles to Nicky Garrett who, at the time, ran the Caroline warehouse and was just starting New Red Archives. New Red Archives had already signed the UK Subs, east coast bands Crucial Youth and Kraut, and was looking for a Midwestern band who had both name recognition and had toured.

### *Freezing Inside*

In late 1988, Garrett offered to sign Ultraman to his NRA label and asked the band to record their first album. At this time, Bob Zeulig was replaced by Mike Story. After signing to New Red Archives the band traveled to New York to record their first album. "Freezing Inside" was recorded at famed ad agency Saatchi & Saatchi in their 15th floor studio, using the same microphone that was used to record Trix cereal commercials. The album was produced by Tom Lyle of Government Issue in 1989. To promote the album, Ultraman toured the west coast with another St. Louis band, Whoppers Taste Good then the east coast and Canada with UK Subs.

### *Non Existence* and Breakup

In 1990, the band learned they would be touring Europe with Samiam and went into the studio to record a new album in preparation for the tour. During this time, Mike Story was briefly replaced by Pat Hercules for some live shows, but he was eventually replaced by Matt Smith to record the next album and subsequent European tour. The second album, "Non Existence" was produced by Nicky Garrett and recorded in San Francisco. During the recording, Ultraman played 924 Gilman Street. After several more U.S. shows, the band headed off to Europe to play Germany, Austria, Yugoslavia, Italy, Switzerland, the Netherlands, France, and England with punk band Samiam. Ultraman decided to call this tour "European In Your Pants."

After the tour Ultraman returned to the U.S. to play live shows throughout the country. In February 1991, Rick Ulrich from Whoppers Taste Good replaced Matt Smith. Ultraman was set to go back to Europe for another tour, and John John replaced John Corcoran on bass for this leg. Ultraman toured solo on this 1991 tour, playing shows in the Netherlands, Belgium, Germany and Austria. They returned to America once again, but this time broke up. They played a final, sold-out show at legendary Mississippi Nights on December 30, 1991.

### *The Constant Weight of Zero* and Reformation

While formally broken up, Ultraman still played dozens of reunion shows throughout the Midwest. In 1999, the band officially re-formed, with the lineup of Tim Jamison on vocals, John John on bass, Tim O'Saben on guitar, Bob Fancher on guitar and Jason Simpson on drums. This incarnation of Ultraman continued to play shows in St. Louis while writing new songs. The band has always been one of St. Louis's most requested opening acts for touring punk and hardcore punk bands that came to play in the region.

By 2001, Rob Wagoner returned to the band, replacing Tim O'Saben. This lineup would record the album "The Constant Weight of Zero," which was released in 2004.

As of 2015 Rob Wagoner and John John left the band. Tim O'Saben returned to guitar and Ryan Meszaros took over on bass. In the meantime Ultraman has continued to play a few shows per year in St. Louis, Chicago, Kansas City and Lawrence, KS. They are currently working on new songs and set to record in the first quarter of 2021.

## Discography

**Albums**

* 1988 *Freezing Inside*
* 1990 *Non-Existence*
* 2004 *The Constant Weight of Zero*
* 2012 *Ultra Dash split with Dot Dash*
* 2024 *Dead End Thoughts Under A Crawling Sky*

**Compilation appearances:**

## InfoBox

| Ultraman (band) | |
| --- | --- |
| Origin | Missouri |
| Genres | Hardcore punk |
| Years active | 1986–1991; 1999–2005 |
| Labels | New Red Archives |
|  | |
| Past members | Tim Jamison
Rob Wagoner
John Corcoran
Bob Zuellig
Mike Doskocil
Mark Deniszuk
Pat Hercules
Mike Story
Matt Smith |


title: Tissa Ranasinghe

abstract: Tissa Ranasinghe was a Sri Lankan artist known for his work in bronze. Born in 1925 the village of Yogiyana, he studied art at the College of Fine Arts, Colombo, in 1949, the year it was opened in the enthusiastic flowering of Ceylonese culture that followed the country's independence. After earning a diploma in 1952 he continued his studies at Britain's Chelsea School of Art and then the Royal College of Art, receiving a certificate in bronze casting. He exhibited in a number of important shows, including "2,500 Years of Buddhist Art" at the French Institute, London, marking the worldwide anniversary of Buddhism in 1956. He also received a number of awards, including the first Unesco Fellowship allocated to Sri Lanka under the Creative Artists Scheme. Returning to his homeland, he served as a visiting lecturerat the College of Fine Arts, taught at the Institute of Practical Technology, Katubedda, and in 1970-71 was principal of what was by then the Government College of Art and Art Crafts, Colombo. Returning to Britain, he taught at the Royal College of Art and established a studio in southwest London, where he remained for the rest of his life. One critic maintains that Ranasinghe "initiated a style of sculpture equivalent to Alberto Giacometti", with works that draw on ancient religion and mythology as well as down-to-earth modern realism. His works have been exhibited around the world, perhaps most strikingly in a solo exhibition, "Vision of the Buddha, Vision of the Gods", at the National Gallery of Thailand, Bangkok. His work is in public collections in Britain, Sweden, and of course Sri Lanka, where he has done statues of three prime ministers and at least one Governor-General. He died in November 2019.

text:
# Tissa Ranasinghe

**Tissa Ranasinghe** (May 9, 1925 – November 2019) was a Sri Lankan artist known for his work in bronze. Born in 1925 the village of Yogiyana, he studied art at the College of Fine Arts, Colombo, in 1949, the year it was opened in the enthusiastic flowering of Ceylonese culture that followed the country's independence. After earning a diploma in 1952 he continued his studies at Britain's Chelsea School of Art and then the Royal College of Art, receiving a certificate in bronze casting.

He exhibited in a number of important shows, including "2,500 Years of Buddhist Art" at the French Institute, London, marking the worldwide anniversary of Buddhism in 1956. He also received a number of awards, including the first Unesco Fellowship allocated to Sri Lanka under the Creative Artists Scheme. Returning to his homeland, he served as a visiting lecturerat the College of Fine Arts, taught at the Institute of Practical Technology, Katubedda, and in 1970-71 was principal of what was by then the Government College of Art and Art Crafts, Colombo. Returning to Britain, he taught at the Royal College of Art and established a studio in southwest London, where he remained for the rest of his life.

One critic maintains that Ranasinghe "initiated a style of sculpture equivalent to Alberto Giacometti", with works that draw on ancient religion and mythology as well as down-to-earth modern realism. His works have been exhibited around the world, perhaps most strikingly in a solo exhibition, "Vision of the Buddha, Vision of the Gods", at the National Gallery of Thailand, Bangkok. His work is in public collections in Britain, Sweden, and of course Sri Lanka, where he has done statues of three prime ministers and at least one Governor-General.

He died in November 2019.


title: Kenneth Paver

abstract: Kenneth Edwin Paver was an English first-class cricketer. Paver was born at Dover in October 1903. He later made two appearances in first-class cricket for Hampshire, playing once each in the 1925 County Championship and the 1926 County Championship, against Northamptonshire and Somerset respectively, with both matches played at Portsmouth. In these, he scored 52 runs. Paver was active in club cricket in the Portsmouth area, playing for Southsea, Havant Cricket Club, and Hampshire Rovers. He later played for Chichester Priory Park, just across the county border in Sussex. Paver died at Ringwood in November 1975.

text:
# Kenneth Paver

**Kenneth Edwin Paver** (4 October 1903 – 20 November 1975) was an English first-class cricketer.

Paver was born at Dover in October 1903. He later made two appearances in first-class cricket for Hampshire, playing once each in the 1925 County Championship and the 1926 County Championship, against Northamptonshire and Somerset respectively, with both matches played at Portsmouth. In these, he scored 52 runs. Paver was active in club cricket in the Portsmouth area, playing for Southsea, Havant Cricket Club, and Hampshire Rovers. He later played for Chichester Priory Park, just across the county border in Sussex. Paver died at Ringwood in November 1975.

## InfoBox

Kenneth Paver
| Personal information | |
| --- | --- |
| Full name | Kenneth Edwin Paver |
| Born | (1903-10-04)4 October 1903
Dover, Kent, England |
| Died | 20 November 1975(1975-11-20) (aged 72)
Ringwood, Hampshire, England |
| Batting | Unknown |
| Bowling | Unknown |
| Domestic team information | |
| Years | Team |
| 19251926 | Hampshire |
|  | |
| Career statistics | |
| Competition First-class  Matches 2  Runs scored 52  Batting average 13.00  100s/50s –/–  Top score 26  Catches/stumpings 2/– | |
|  | |
| Source: Cricinfo, 10 January 2010 | |


title: Haerul Amri

abstract: Mohammad Haerul Amri was an Indonesian politician. A member of the NasDem Party, he served in the House of Representatives from 2022 to 2024. Amri died of a heart attack in Palembang on 6 May 2024, at the age of 51.

text:
# Haerul Amri

**Mohammad Haerul Amri** (13 October 1972 – 6 May 2024) was an Indonesian politician. A member of the NasDem Party, he served in the House of Representatives from 2022 to 2024.

Amri died of a heart attack in Palembang on 6 May 2024, at the age of 51.

## InfoBox

| Haerul Amri | |
| --- | --- |
| Amri in 2023 | |
|  | |
| Member of the House of Representatives of Indonesia for East Java II | |
| **In office**
18 February 2022  6 May 2024 | |
| Preceded by | Hasan Aminuddin |
| Succeeded by | TBD |
|  | |
| Personal details | |
| Born | Mohammad Haerul Amri
(1972-10-13)13 October 1972
Karawang Regency, Indonesia |
| Died | 6 May 2024(2024-05-06) (aged 51)
Palembang, Indonesia |
| Political party | NasDem |
| Education | Universitas Darul Ulum Jombang |
|  | |


title: Henry Fielding's early plays

abstract: The early plays of Henry Fielding mark the beginning of Fielding's literary career. His early plays span the time period from his first production in 1728 to the beginning of the Actor's Rebellion of 1733, a strife within the Theatre Royal, Drury Lane that divided the theatrical community and threatened to disrupt London stage performances. These plays introduce Fielding's take on politics, gender, and morality and serve as an early basis for how Fielding develops his ideas on these matters throughout his career.

text:
# Henry Fielding's early plays

The **early plays of Henry Fielding** mark the beginning of Fielding's literary career. His early plays span the time period from his first production in 1728 to the beginning of the Actor's Rebellion of 1733, a strife within the Theatre Royal, Drury Lane that divided the theatrical community and threatened to disrupt London stage performances. These plays introduce Fielding's take on politics, gender, and morality and serve as an early basis for how Fielding develops his ideas on these matters throughout his career.

## Background

Fielding first produced a play in February 1728. Although his first production, *Love in Several Masques*, lasted only a few nights, it was the start of his career in theatre. On 16 March 1728, Fielding enrolled at the University of Leyden, but he did not abandon the theatre. His early plays were those of an amateur hobby, but he later returned to London to earn a living. Arthur Murphy, in his 1762 biographical introduction to Fielding's works, believed that Fielding returned to London and treated the theatre as a career because his father stopped an allowance of 200 pounds a year.

However, there is little evidence that Fielding lacked funds, or that such a lack of funds would cause him to leave Leyden to return to writing plays; Fielding eventually returned to Leyden on 22 February 1729. It is not known when or why Fielding left the school, but he produced *The Temple Beau* on 26 January 1730, which suggests that he returned to London by November 1729. By the time of his return, he had three plays, either still in draft form or complete: *Don Quixote in England*, *The Wedding-Day* and *The Temple Beau*. Of these, only *The Temple Beau* was accepted for the stage.

When Fielding returned to working with the Royal Theatre, his piece *The Lottery* became an immediate success and lasted for decades after. Combined with *The Modern Husband*, Fielding could have received up to 1,000 pounds from the plays' first run. This placed Fielding at the position of being the main contributor of plays to the Royal Theatre. Currently, Fielding is primarily viewed as a novelist, but his plays suggest that he wished to be a playwright and that his career would be in theatre. Although Fielding wrote twenty-six plays, only a handful of them were ever published in critical editions before 1990.

## Early plays

The early plays include *Love in Several Masques*, *The Temple Beau*, *The Author's Farce*, *Tom Thumb*, *Rape upon Rape*, *The Tragedy of Tragedies*, *The Letter Writers*, *The Welsh Opera*, *The Grub-Street Opera*, *The Lottery*, *The Modern Husband*, *The Old Debauchees*, *The Covent-Garden Tragedy*, and *The Mock Doctor*. These plays start in 1727, when Fielding first worked on *Love in Several Masques*, until the disruption of the winter 1732–1733 theatre season at the Theatre Royal, Drury Lane. This disruption, caused by illness, management problems, and other incidents, started the Actor Rebellion of 1733.

### 1727–1728

*Love in Several Masques* was Fielding's first play, and was first released on 16 February 1728. Though the play was never revived and only ran for four nights, it still did moderately well especially when compared with the competing plays at that time. In the play, three respectable males each meet a female counterpart three times, and share a parallel incident with letters and an unmasking. Fielding focuses on men and how he believes they should prove their worth before marriage. It also highlights Fielding's belief in the relationship of morality and libertine beliefs and introduces character types that Fielding would use throughout his plays and novels.

*Don Quixote in England* was started as Fielding's second play, but it was not finished and produced until the later part of his career. After Fielding returned to London from the University of Leyden during the end of 1729, he brought with him a version of *Don Quixote in England*. It was refused by the Theatre Royal and it was not produced or printed until 1734. The only information on the origins of this play come from Fielding's 1734 preface. It was his second play, and Fielding attributes it to being written at Leyden during 1728. It was intended more as amusement than as a serious production and was an imitation of Cervantes's *Don Quixote*. After the prompting of Barton Booth and Colley Cibber, Fielding put away the play until 1733, when the Drury-Lane actors asked him for a new play. Soon after, Fielding rewrote parts of the play.

*The Wedding Day* was started as his third play, but it was not finished until years later and finally brought out on both the stage and in print after his theatrical career ended. After Fielding returned to London from the University of Leyden during the end of 1729, he brought with him a version of *The Wedding-Day*. It was refused by John Rich to be staged, and it was not produced until 1743 by David Garrick. The only information on the origins of this play come from Fielding's preface to the play in his *Miscellanies* (1743). In it, Fielding says that he intended the leads, Millamour and Charlotte, for Robert Wilks and Anne Oldfield. However, Oldfield died before the play could be produced, and Fielding and Wilks got into a fight, which made it impossible for Fielding to convince him to join the production.

### 1729–1730

Fielding started work on his fourth play, *The Temple Beau*, in April 1729, but did not finish until the end of the year. Rejected by his first theatre, the play had to be performed at another one, where it had 13 shows its first year and few revivals thereafter. The play is about Wilding, a young law student who gives up his studies to seek pleasure, and his attempts to marry a woman for her money. Fielding focuses on hypocrisy and gender equality in marriage with characters' interaction with Wilding.

Fielding's fifth play, *The Author's Farce and the Pleasures of the Town*, first opened on 30 March 1730 at the Little Theatre, Haymarket, and initially ran for 41 nights, which marked it as a major success. The play incorporates Fielding's response to Drury Lane and their previous rejection of his works. It also contains a third act, a puppet show, that pokes fun at theatre and the literary community as a whole. The play was revived many times in its original format and later in the medium of puppet show for its entire format. The plot focuses on Harry Luckless, an author, as he attempts to have a successful writing career, pursue women, dodge his landlady, and eventually put on a show within the show. To emphasise the literary satire, Fielding introduced his persona "Scriblerus Secundus" and adopts the tradition of the Scriblerus Club.

*Tom Thumb*, Fielding's sixth play, was added to the ninth showing of *The Author's Farce*, 24 April 1730. Together, the shows lasted at the Haymarket until they were replaced by Fielding's next production, *Rape upon Rape*. *Tom Thumb* was later included with other productions, including *Rape upon Rape*, and later transformed into the *Tragedy of Tragedies*. In the print edition, Fielding added footnotes, prefaces, and prologues, which introduced the narratorial style found in Fielding's later works. The plot deals with the English hero, Tom Thumb, who is of only tiny proportions. After defeating a group of giants, Tom Thumb is handsomely rewarded by King Arthur, which later erupts in a comical love triangle between Tom, Arthur's wife Queen Dollalolla, and Princess Huncamunca. Tom is eventually swallowed by a cow and killed. Soon after, his ghost appears but meets an untimely death. This scene reportedly provoked Jonathan Swift to laughter, a rare feat. The farcical nature of Tom Thumb pokes fun at 17th and 18th-century tragedy, gender roles and gender politics.

Fielding's seventh play, *Rape upon Rape; or, The Justice Caught in His Own Trap*, was a five-act comedic play that first ran on 23 June 1730 at the Little Theatre for eight nights. The play enjoyed some success until it was renamed *The Coffee-House Politician* and was altered to possibly update the play as it focused on mocking current news events. The play is a love comedy that incorporates a corrupt judge that stands in the lovers' way. Eventually, various characters attempt to stop the judge, but he prevails albeit in a comedic fashion. Fielding's focus in the play is to point out corruption in government and to attack those who abuse their power.

### 1731

Fielding's expanded version of *Tom Thumb*, *The Tragedy of Tragedies*, first ran on 24 March 1731. Its printed edition was "edited" and "commented" on by Fielding's pseudonym H. Scriblerus Secundus who pretends not to be the original author, and it contains a frontispiece by Hogarth, which serves as the earliest proof of a relationship between Fielding and Hogarth. There are few major changes to the plot's outline except that Grizzle became Tom's rival for Huncamunca's heart, and Tom is not killed by Grizzle. Instead, Tom is able to defeat Grizzle, which changes the outcome of the play. Furthermore, there is an emphasis on faulty language and Fielding emphasises the problems within poorly written tragedies.

Fielding's ninth play, the unsuccessful *The Letter Writers Or, a New Way to Keep a Wife at Home*, ran for four nights as a companion piece to *The Tragedy of Tragedies* but was soon after replaced by *The Welsh Opera* on 22 April 1731. The play followed two characters whose wives are busy having affairs and how they attempt to keep their wives faithful. The immoral characters are forgiven within the play and there is a lack of moral commentary within the plot.

The tenth play and new companion piece to *The Tragedy of Tragedies*, *The Welsh Opera*, ran many times until it was expanded into *The Grub-Street Opera*. The expanded version of the play, *The Grub-Street Opera*, was not put on for an audience, which provoked E. Rayner to print *The Welsh Opera* without Fielding's consent. The play serves both as a tribute to the Scriblerians, especially Gay and Gay's *The Beggar's Opera*, and to put forth a political allegory that satirises Walpole's government and the British monarchy. In particular, it mocked the feud between Walpole and Pulteney, a Privy Councillor.

The expanded and altered version of *The Welsh Opera*, *The Grub-Street Opera*, was first rehearsed in May 1731, but it never ran on stage. It was printed and exists in a complete printed format, and it is possible that it was not performed because of government intervention. Its original printing was done without Fielding's consent, and it is uncertain as to when Fielding's official version of the play was printed. The plot focuses on a standard love story but with characters that exhibit less than virtuous characteristics. The title pokes fun at the *Grub Street Journal* and also links to the theme within the plot of attacking theatre in general.

### 1732

After Fielding returned to working with the Royal Theatre, Drury Lane, he wrote *The Lottery*, which first ran on 1 January 1732 alongside Addison's *Cato*. The play was successful and was performed 15 times during January. He altered the play in February, and the revised form ran for 14 more nights during that season and was put on each year until 1740 and occasionally thereafter until 1783. The story deals with Chloe's desire to play the lottery and pokes fun at the London lottery system and those who support it.

Fielding's thirteenth play, *The Modern Husband*, first ran on 14 February 1732. The play ran for 13 nights at Drury Lane, rivalling the run of *The Provoked Husband* and *Zara* for production length. Although early-20th-century critics believed that the play could not be popular, it did make money and even put on a benefit show on 2 March 1732. The play was not revived later, possibly because the principal actors of the play died soon after and the plot of the play discouraged new actors from wanting to play the parts. The plot deals with a man selling his wife for money and the attempted abuse of the adultery laws.

*The Old Debauchees*, originally titled *The Despairing Debauchee*, appeared with *The Covent-Garden Tragedy* on 1 June 1732. The play ran for six nights and was later paired with *The Mock Doctor*. The play was later revived to attack Catholics during the disputes with the Stuarts between 1745 and 1746. The play alludes to the 1731 trial of Father Girard, a Jesuit tried for using magic during an attempted seduction/rape of a young girl. The nature of the attacks against Catholicism within the play undermines the overall humour of the play.

Although *The Covent-Garden Tragedy* appeared with *The Old Debauchees*, it was not a success like the other play and quickly dropped. The Covent Garden Tragedy was immediately ended after its first night because, according to Fielding, of the play's use of a brothel as a setting. After all, the plot focuses on a love triangle between characters in a brothel. Even though the first night fell apart, the play was later performed; it eventually appeared again for four nights with *Don Quixote in England*, once on its own in 1734, and a few later times during the 18th century, including as a puppet show.

Fielding's sixteenth play, *The Mock Doctor: or The Dumb Lady Cur'd*, replaced *The Covent Garden Tragedy* as the companion play to *The Old Debauchees*. The play is an Anglicised adaptation of Molière's *Le Medecin malgre Lui*. It first ran on 23 June 1732 and was later revised in 1732; both versions were very successful. The plot deals with a young girl pretending to be mute to avoid having to marry a man she does not like while her doctor is really a man pretending to be a doctor to con the other characters.

## Structure and concern

In 1728, John Gay's *The Beggar's Opera* was extremely successful and ran for 62 times during the season, an unprecedented length of time. The play began to change London theatre through the introduction of political themes and experimentation in form. Following this trend, Fielding pushed politics into the forefront of his plays. This provoked criticism from all sides, including from the playwright Colley Cibber. However, *The Beggar's Opera* is not Fielding's only influence; Fielding is part of the theatrical tradition surrounding him, and, as Harold Pagliaro points out, "Fielding's first play, like all those to follow, is among other things an accommodation to the world of theatre in which he worked."

Fielding was concerned with the audience's reaction to his various scenes. This is internally reflected in the actions of the character Merital in *Love in Several Masques* in controlling the behaviour of Helen and that many of his characters believe that they are either actors or are performing on a stage. Also, this is a primary concern of Fielding's when he crafted his Scriblerian plays.

Reading and how reading defines characters is a focus within many plays and in Fielding's later works. In *Love in Several Masques*, the character Wisemore focuses on classics but ignores contemporary society. Similarly, the character Wilding, in *The Temple Beau*, practices law but doesn't read at all. Reading is an outlet to understanding humanity, and Fielding uses his plays to inform an audience how to better understand humanity.

Morality and moral characters was an important concern within Fielding's works, and his first play serves as a representation for Fielding's believes surrounding the relationship between morality and libertine beliefs that is found throughout his work. The plays also introduces most of the character types that Fielding would reuse throughout his plays and novels. However, his use of libertine themes and characters served as a way for those like Pat Rogers to believe that Fielding lacked an orthodox understanding of Christianity; he believes that Fielding was harsh towards hypocrisy but not against other actions. In particular, Rogers claims, "Fielding was generous enough in that sphere of morality, however implacable he might be in his larger political and religious attachment. Provided that soldiers were brave and loyal he did not require their lives to be models of absolute purity." Tiffany Potter follows this idea by claiming, "Eliminating a moral imperative to drama (and to life in general) gives Fielding the liberty to create unconventional characters and to set plays anywhere from ballrooms to brothels without having to defend anything more than his own stance on issues. The necessity of even that defence, however, is usually negated by his libertine belief in privilege.

### Gender

Gender plays a large role within Fielding's moral critique, and effeminacy is a means to emphasise a male character's moral shortcomings or problematic deviations from social and cultural traditions. On occasion, however, explicitly effeminate characters are developed in a way that they endear themselves to the audience--as is the case with "Tom Thumb", a role that was originally performed by a child actress. This strategy, characteristic of a savvy playwright who knew how to cater for a widely diverse spectatorship, produced an ambiguous effect that complicates our understanding of heroism and gender roles in Fielding's plays. Starting with *Love in Several Masques*, the stock characters that he relies on emphasise the deviations by recalling traditional behavioural stereotypes and in their commentary on the masculinity or femininity of other characters. The political implications for gender extend to a criticism of powerful female within the domestic and public domains. Many of the problems portrayed within the plays are the results of the domestic sphere extended into politics, especially within *Tom Thumb*. As Jill Campbell points out, not only does Fielding critique women in power, but the reversals of gender and power serve as a way to say that private concerns are taking priority over public concerns. In his plays and his novels, women are used as a way to discuss the internal aspects of humans, which includes both emotions and morality. Although Fielding sometimes uses females to express ideal ways to act, he does mock women who abuse their relationship with the internal, emotions, and morality to dominate and assume power. This theme appears as early as *Love in Several Masques* and continues throughout, especially in prose parody *Shamela* where Shamela falsifies claims to virtue to control and get ahead in life.

Fielding does not limit his analysis of gender roles to just the living; the image of the ghost plays a significant part in many of Fielding's plays, including *The Author's Farce*, the *Tom Thumb* plays, and *The Covent Garden Tragedy*. Even though Fielding fails to explain what the existence of ghosts means, the image of the ghost can serve as a metaphor for Fielding's expectation of women who are supposed to be publicly virtuous. According to Campbell,

> woman bears the representational burden for Fielding of his disappointment about the relation between internal and external selves, as, culturally, she must sustain the realm of private life, interior feeling, and personal identity apart from the public and commercial world of the male; inevitably, then, she must fail Fielding through her reliance on the 'harlotry' of pomp, ostentation, or the drama of self-display if she is to be a part of this world. And yet, he fears her alternative fate as a ghost as well, though he may seem to wish it on her.

Not every critic sees that Fielding sets up an inevitable fall for women. Potter argues that:

> Women are neither victims of deceitful men nor overdefensive virgins, but individuals who can choose to 'bestow' their favours on a man who will 'enjoy' them. In the earliest examples of the redefinition that develops throughout Fielding's works, virtue is no longer simply virginity, but something malleable and powerful in the hands of a woman granted the agency and intelligence to determine her own sexuality.

Counter to Campbell, Potter seems to emphasise how gender is removed and emphasises that Fielding sees gender as a social construct. There is a balancing of the genders and neither is favoured over the other. To Potter, "Only the weakening of humanity through cross-adoption of the most ridiculous qualities of either gender is attacked in Fielding's plays."

## Critical reception

The reception of Fielding's plays received early recognition; his early plays placed him in a position of popularity alongside Gay. George Bernard Shaw believed that Fielding was "the greatest practising dramatist, with the single exception of Shakespeare, produced in England between the Middle Ages and the nineteenth century." However, modern critics rarely agree with Shaw, as Robert Hume points out, "Few scholars have been much interested in Fielding's highly successful career as a dramatist. To most it has seemed a false start. Readers tend to find the conventional plays derivative and sentimental, the topical ones scrappy and superficial." In particular, only one book until 1988 was published on the topic, which was Ducrocq's *Le theatre de Fielding, 1728–1737, et ses prolongements dans l'oeuvre romanesque*. This critical approach is not limited to just Fielding, but to the whole field; the reputation of Colley Cibber was ruined by Pope's characterising him as the Arch Dunce and "Since the plays of Cibber's only serious rival, Henry Fielding, are hardly even read these days, let alone performed, the earlier eighteenth-century theater tends to be passed over with (at best) a polite cough."

J. Paul Hunter believes that:

> Fielding's plays do not prophesy that he will become a major novelist, but the direction of his theatrical career does suggest concerns that increasingly led him away from pure representation \[...\] Fielding's separation from the theatre was a forced one, but the expulsion was fortunate, freeing him from a relationship and commitment that had always been in some sense against the grain \[...\] Fielding's way is not really very dramatic, either in novels or in plays; he never developed stage-likely objective correlatives, having reserved his artistic energy for the examining process in which the action is rerun again and again, reviewed, considered, nearly masticated.

To Albert Rivero, ten of the plays "mark significant moments in \[Fielding's\] theatrical life": *Love in Several Masques*, *The Temple Beau*, *The Author's Farce*, *Tom Thumb*, *The Tragedy of Tragedies*, *Rape upon Rape*, *The Grub Street Opera*, *The Modern Husband*, *Pasquin*, and *The Historical Register*. Similarly, Potter organised the plays by a general theme of developing libertine characters and believed that "Fielding's most successful group of plays followed *Love in Several Masques* both chronologically and thematically. Comedies and burlesques such as *The Author's Farce*, *The Tragedy of Tragedies*, *The Old Debauchees*, and *Pasquin* made Fielding the most popular playwright of the 1730s, and all of these plays contain characters, situations, and dialogues that invoke libertine philosophy in some way, thought they vary in the explicitness of the depiction." In his biography of Fielding, Pagliaro declares that "Between 1727 and 1737, by which time he was only 30 years old, Fielding became England's most successful living playwright."

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* Bateson, Frederick *English Comic Drama 1700–1750.*. New York: Russell & Russell, 1963.
* Battestin, Martin. "Dating Fielding's Letters to Lady Mary Wortley Montagu" *Studies in Bibliography* 42 (1989).
* Battestin, Martin, and Battestin, Ruthe. *Henry Fielding: a Life*. London: Routledge, 1993.
* Campbell, Jill. *Natural Masques: Gender and Identity in Fielding's Plays and Novels*. Stanford: Stanford University Press, 1995.
* Castro-Santana, Anaclara. "Errors and Reconciliations: Marriage in Henry Fielding's Plays and Novels". London/NY: Routledge, 2018.
* Cleary, Thomas. *Henry Fielding, Political Writer*. Waterloo, Ontario: Wilfrid Laurier University Press, 1984.
* Cross, Wilbur. *The History of Henry Fielding*. New Haven: Yale University Press, 1918.
* Dobson, Austin. *Fielding*. 1911.
* Dudden, F. Homes. *Henry Fielding: his Life, Works and Times*. Hamden, Conn.: Archon Books, 1966.
* Fielding, Henry. *The Author's Farce*. London : Edward Arnold, 1967.
* Fielding, Henry. *The Complete Works of Henry Fielding*. Ed. William Ernest Henley. New York: Croscup & Sterling co., 1902.
* Fielding, Henry. Ed. L. J. Morrissey. Berkeley: University of California Press, 1970.
* Fielding, Henry. *Miscellanies* Vol. 1. Ed. Henry Knight Miller. Oxford: Oxford University Press, 1972.
* Fielding, Henry. *Plays* Vol. 1 (1728–1731). Ed. Thomas Lockwood. Oxford: Clarendon Press, 2004.
* Fielding, Henry. *The Correspondence of Henry and Sarah Fielding*. Oxford: Oxford University Press, 1993.
* Genest, John. *Some Account of the English Stage, from the Restoration in 1660 to 1830*. Vol. 3. Bath: 1832.
* Goldgar, Bertrand. *Walpole and the Wits*. Lincoln: University of Nebraska Press, 1976.
* Hillhouse, James Theodore (ed.). *The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great*. New Haven: Yale University Press, 1918.
* Hume, Robert. "Henry Fielding and Politics at the Little Haymarket, 1728–1737" in *The Golden & the Brazen World: Papers in Literature and History, 1650–1800* ed. John Wallace. Berkeley: University of California Press, 1985.
* Hume, Robert. *Fielding and the London Theater*. Oxford: Clarendon Press, 1988.
* Hunter, J. Paul. *Occasional Form: Henry Fielding and the Chains of Circumstance*. Baltimore: Johns Hopkins University Press, 1975.
* Lawrence. *The Life of Henry Fielding* 1855.
* Loftis, John. *The Politics of Drama in Augustan England*. Oxford: Clarendon Press, 1963.
* Morrissey, L. J. "A Note on the Text" in *The Grub-Street Opera*, ed. L. J. Morrissey. Edinburgh: Oliver & Boyd, 1973.
* Nicoll, Allardyce. *A History of English Drama, 1660–1900* Vol. 2. Cambridge: Cambridge University Press, 1952.
* Pagliaro, Harold. *Henry Fielding: A Literary Life*. New York: St Martin's Press, 1998.
* Paulson, Ronald. *The Life of Henry Fielding: A Critical Biography*. Malden: Blackwell Publishing, 2000.
* Potter, Tiffany. *Honest Sins: Georgian Libertinism & the Plays & Novels of Henry Fielding*. London: McGill-Queen's University Press, 1999.
* Rivero, Albert. *The Plays of Henry Fielding: A Critical Study of His Dramatic Career*. Charlottesville: University Press of Virginia, 1989.
* Roberts, Edgar. "Mr. Seedo's London Career and His Work with Henry Fielding" *Philological Quarterly*, 45 (1966): 179–190.
* Roberts, Edgar. "The Songs and Tunes in Henry Fielding's Ballad Operas" *The Eighteenth-Century English Stage*, ed. Kenneth Richards and Peter Thomason, 29–49. London: 1972.
* Roberts, Edgar. "Fielding's Ballad Opera The Lottery and the English State Lottery of 1731." *Huntington Library Quarterly* 27 (1963), 39–52
* Rogers, Pat. *Henry Fielding: A Biography*. New York: Scribner's, 1979.
* Scouten, Arthur. *The London Stage 1660–1800*. Carbondale: Southern Illinois University Press, 1961.
* Simon Varey. *The Clark Newsletter*. (Spring 1985)
* Shaw, George Bernard. *Complete Plays with Prefaces* Vol. 3. New York: Dodd, Mead, 1963.
* Speaight, George. *The History of the English Puppet Theatre*. Carbondale: Southern Illinois University Press, 1990.
* Whipple, E. P. "Review" in *North American Review*. January 1849.
* Woods, Charles. "Introduction" in *The Author's Farce*. Lincoln: University of Nebraska Press, 1966.


title: Naunghmi

abstract: Naunghmi is a village in Banmauk Township, Katha District, in the Sagaing Region of northern-central Burma.

text:
# Naunghmi

**Naunghmi** is a village in Banmauk Township, Katha District, in the Sagaing Region of northern-central Burma.

## InfoBox

| Naunghmi | |
| --- | --- |
| Village | |
| NaunghmiLocation in Burma | |
| Coordinates: 24°35′N 95°57′E / 24.583°N 95.950°E / 24.583; 95.950 | |
| Country | Burma |
| Region | Sagaing Region |
| District | Katha District |
| Township | Banmauk Township |
| Time zone | UTC+6.30 (MST) |


title: Hazel Meyers

abstract: Hazel Meyers was an American classic female blues and country blues singer. She spent most of her career in black vaudeville and on recordings she was billed as a blues artist. Her more famous numbers included "Heartbreaking Blues" and "Blackville After Dark", both sung in her contralto voice.

text:
# Hazel Meyers

**Hazel Meyers** was an American classic female blues and country blues singer. She spent most of her career in black vaudeville and on recordings she was billed as a blues artist. Her more famous numbers included "Heartbreaking Blues" and "Blackville After Dark", both sung in her contralto voice.

## Biography

Meyers recorded a total of forty-one sides, most of them between September 1923 and August 1924, released by several record labels, including Ajax, Brunswick (on the Vocalion label) Pathė, Banner, Bell, Emerson, and (for her final couple of releases, in June 1926) Okeh. She had releases on six different labels in 1924. Her accompanists variously included Fletcher Henderson, Porter Grainger, James "Bubber" Miley, Leslie "Hutch" Henderson, Don Redman, and (on one recording) Fats Waller. She was the first female vaudeville artist to record the satirical song "Black Star Line", released in May 1924. The song was recorded by both Meyers and Rosa Henderson within a twenty-four-hour period. There has been speculation that Meyers also recorded under the pseudonyms Mae Harris for Domino and Louella Smith for Oriole.

Meyers performed in vaudeville in the 1920s. She performed in *Steppin' High*, a variety show staged in Harlem, New York City, backed by the orchestra of Fletcher Henderson. It is believed that she regularly appeared in theatrical productions until the early 1930s.

Little is known of her life outside her professional engagements.

Meyers's entire recorded work was issued by Document Records in 1996.

## Compilation discography

| Year | Title | Record label |
| --- | --- | --- |
| 1996 | *Complete Recorded Works in Chronological Order*, vol. 1 (1923–1924) | Document |
| 1996 | Edna Hicks, Hazel Meyers, Laura Smith, *Complete Recorded Works in Chronological Order*, vol. 2 (1923–1927) | Document |

## InfoBox

| Hazel Meyers | |
| --- | --- |
| Born | Unknown |
| Died | Unknown |
| Genres | Classic female blues, country blues |
| Occupation | Singer |
| Instrument | Vocals |
| Years active | 1920s1930s |
| Labels | Ajax, Brunswick, Okeh, various |


# Vehicle registration plates of the Donetsk People's Republic

In the Donetsk People's Republic there is a system of vehicle registration plates. There are different plates for military, police, public transport, private vehicles, motorcycles, and various government ministries. The first batch of plates were released in May 2015. The design of the plates was used from May to December 2015, when the design was again changed. The Russian Federation began to recognize license plates originating from the Donetsk People's Republic and the neighboring Luhansk People's Republic in February 2017.


title: Isabelle Boffey

abstract: Isabelle Boffey is a British middle-distance runner. A successful junior athlete, she won gold medals in the 800 metres at each of the three age-grade championships in European Athletics – at the 2021 European Under-23 Championships held in Tallinn, the 2019 European U20 Championships in Boras and the 2016 European U18 Championships in Tbilisi. She first competed for her country as a senior in the women's 800 metres event at the 2021 European Indoor Championships held in Toruń, Poland, finishing sixth. In February 2022, she won the 1000 metres at the Birmingham Indoor Grand Prix. In February 2023, the 22-year-old claimed a maiden national title, winning the 800 m at the British Indoor Championships. Her personal bests for 800 metres are 2:00.18 outdoors (2023) and 2:00.25 indoors (2023).

text:
# Isabelle Boffey

**Isabelle Boffey** (born 13 April 2000) is a British middle-distance runner. A successful junior athlete, she won gold medals in the 800 metres at each of the three age-grade championships in European Athletics – at the 2021 European Under-23 Championships held in Tallinn, the 2019 European U20 Championships in Boras and the 2016 European U18 Championships in Tbilisi.

She first competed for her country as a senior in the women's 800 metres event at the 2021 European Indoor Championships held in Toruń, Poland, finishing sixth. In February 2022, she won the 1000 metres at the Birmingham Indoor Grand Prix.

In February 2023, the 22-year-old claimed a maiden national title, winning the 800 m at the British Indoor Championships.

Her personal bests for 800 metres are 2:00.18 outdoors (2023) and 2:00.25 indoors (2023).

## InfoBox

Isabelle Boffey
| Personal information | |
| --- | --- |
| Born | (2000-04-13) 13 April 2000
Enfield, England |
| Sport | |
| Country | Great Britain
England |
| Sport | Athletics |
| Event | 800 metres |
| Medal record      Women's athletics  Representing  Great Britain  European U23 Championships  2021 Tallinn 800 m  European U20 Championships  2019 Borås 800 m  2019 Borås 4x400 m relay  European U18 Championships  2016 Tbilisi 800 m | |


title: Union Railway Car Barn

abstract: The Union Railway Car Barn is an historic building in Cambridge, Massachusetts. It is a large brick 2+1⁄2-story building, with a distinctive round-arch central window and a stepped brick cornice. Its ground floor has been converted to a retail storefront. It was built in 1869 to house the horse-drawn streetcars of the Union Railway Company, founded in 1855. It is the only surviving car barn of three built by the company in Cambridge, and a rare surviving element of the city's 19th-century transportation infrastructure. The building was listed on the National Register of Historic Places in 1982.

text:
# Union Railway Car Barn

The **Union Railway Car Barn** is an historic building in Cambridge, Massachusetts. It is a large brick 2+12-story building, with a distinctive round-arch central window and a stepped brick cornice. Its ground floor has been converted to a retail storefront. It was built in 1869 to house the horse-drawn streetcars of the Union Railway Company, founded in 1855. It is the only surviving car barn of three built by the company in Cambridge, and a rare surviving element of the city's 19th-century transportation infrastructure.

The building was listed on the National Register of Historic Places in 1982.

## InfoBox

|  | |
| --- | --- |
| Union Railway Car Barn | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 613–621 Cambridge Street,<br>Cambridge, Massachusetts |
| Coordinates | 42°22′19.4″N 71°05′11.1″W / 42.372056°N 71.086417°W / 42.372056; -71.086417 |
| Built | 1869 |
| Architectural style | Greek Revival |
| MPS | Cambridge MRA |
| NRHP reference No. | 82001980 |
| Added to NRHP | April 13, 1982 |


title: Tissa Wijesurendra

abstract: Don Bhathiyatissa Wijesurendra, popularly as Tissa Wijesurendra, was a Sri Lankan actor. One of the most popular actors of the 1970s, Wijesurendra played many dramatic roles in a career spanned for four decades. An innocent lover of Sinhala cinema at one time, Wijesurendra can be described as a symbol of popular cinema.

text:
# Tissa Wijesurendra

**Don Bhathiyatissa Wijesurendra** (තිස්ස විජේසුරේන්ද්‍ර 3 April 1949 – 11 May 2020), popularly as **Tissa Wijesurendra**, was a Sri Lankan actor. One of the most popular actors of the 1970s, Wijesurendra played many dramatic roles in a career spanned for four decades. An innocent lover of Sinhala cinema at one time, Wijesurendra can be described as a symbol of popular cinema.

## Personal life

Wijesurendra was born on 3 April 1949 in Sarikkamulla, Panadura as the eldest of the family. His father was an engineer. He was educated at Nalanda College Colombo. He qualified to become a doctor but became an actor instead.

He was married until his death to Savithri Dias Wijesurendra, a retired teacher who formerly worked at Visakha Vidyalaya. The couple had three daughters. Their daughter Surani has been involved with few television serials and has worked as a TV host. Tissa's younger brother Bandula was a photographer for Sarasavi newspaper for a long time.

Wijesurendra died on 11 May 2020, at the age of 71 while receiving treatments at Apeksha Hospital, Maharagama.

## Cinema career

During school times, he stayed at an uncle's house in Bambalapitiya because it was easy to attend tuition classes. That uncle worked at Ceylon Theaters where he was selected for a film. His maiden cinema appearance came through the 1971 film *Kalana Mithuro* directed by Kingsley Rajapakse. It was a remake of popular Hollywood film *Dosthi* and the reason to cast Tissa is that he and Sudhir Sawant of *Dosthi* looks similar. Kingsley Rajapaksa edited the name of "Batiyathissa" to suit the cinema. Tissa was allowed to star in a feature film *Nim Walalla* in 1970 directed by Ranjith Lal shot by a group of students at Ananda College at the same time. This film was his first screened film. It is the only feature film made by a group of school children. In the film, he was the brother of Swarna Mallawarachchi.

From the films he acted in, the first box office record was made by Tissa and Malani in the film *Suhada Pethuma*. Since then, Tissa-Malani era shaped the seventies. Since then, he acted in several popular film under the renowned directors: K.A.W. Perera, Amarnath Jayatilleke, Neil Rupasinghe and Chandraratne Mapitigama. After the film *Suhada Pethuma*, the two stars were lovers in the films *Sadhana*, *Nila* and *Ran Kurullo*, he also played the role as lover to many other film actresses like Geetha Kumarasinghe, Nita Fernando, Jenita Samaraweera in films like *Sureka*, *Neela*, *Niluka*, *Sudu Paraviyo*, *Kalana Mithuro* and *Lasanda*. His best contemporaries in the cinema were Vijaya Kumaranatunga, Gamini Fonseka and Tony Ranasinghe. Geetha Kumarasinghe first made her love affair with Wijesurendra with the film *Lassana Kella*. He is the only Sri Lankan actor to continue playing the protagonist in all films he acted in since the maiden film. He went on to make box office records in the Sinhala cinema history in seventies.

As the 1980s dawned, Wijesurendra's number of films began to decline. In 1983, he acted in the film *Senehasaka Kandulu* directed by Hemasiri Sellapperuma, where he and Sonia Disa played Veddah characters. Then he acted a different role in *Nelum Vile Saman Malak* directed by Chandraratne Mapitigama. He expected an award for this character and it premiered in India as well. However, he did not receive the award and temporarily quit cinema after frustration. In 1993, he played the older role as Sabeetha's father in the film *Bambasara Bisaw*.

## Filmography

| Year | Film | Role | Ref. |
| --- | --- | --- | --- |
| 1970 | *Nim Walalla* |  |  |
| 1971 | *Kalana Mithuro* |  |  |
| 1971 | *Poojithayo* | Mangala |  |
| 1971 | *Samanala Kumariyo* |  |  |
| 1973 | *Suhada Pethuma* | Chandana |  |
| 1973 | *Sinawai Inawai* |  |  |
| 1974 | *Surekha* |  |  |
| 1974 | *Lasanda* | Parakrama Jayawansa |  |
| 1975 | *Aese Idiripita* |  |  |
| 1975 | *Pem Kurullo* |  |  |
| 1975 | *Kohoma Kiyannada* | Jagath |  |
| 1975 | *Lassana Kella* | Anura |  |
| 1975 | *Sadhana* |  |  |
| 1975 | *Hadawathaka Wasanthaya* |  |  |
| 1976 | *Haratha Hathara* |  |  |
| 1976 | *Nedeyo* | Rohana |  |
| 1977 | *Neela* |  |  |
| 1977 | *Sudu Paraviyo* | Rajesh |  |
| 1977 | *Niluka* |  |  |
| 1977 | *Niwena Ginna* |  |  |
| 1977 | *Honda Hitha* |  |  |
| 1977 | *Sajaa* |  |  |
| 1978 | *Sithaka Suwanda* | Mahesh |  |
| 1978 | *Deepanjali* |  |  |
| 1978 | *Kumara Kumariyo* | Upul |  |
| 1979 | *Jeewana Kandulu* | Chaminda |  |
| 1979 | *Ran Kurullo* | Rajesh |  |
| 1979 | *Rosa Mal Thunak* | Janaka Mihindukula 'Deepal Srinath' |  |
| 1979 | *Anusha* | Sudath Karunaratne 'Wijesinghe' |  |
| 1980 | *Api Dedena* | Ravindra |  |
| 1981 | *Jeewanthi* | Jayantha |  |
| 1982 | *Kiri Suwanda* | Duncan |  |
| 1982 | *Sithaara* |  |  |
| 1982 | *Major Sir* |  |  |
| 1983 | *Senehasaka Kandulu* | Nanduna |  |
| 1983 | *Bonikka* | Prageeth Wickremasinghe |  |
| 1984 | *Hadawathaka Wedana* |  |  |
| 1986 | *Prarthana* |  |  |
| 1990 | *Hondin Nathinam Narakin* |  |  |
| 1990 | *Christhu Charithaya* | Simeon |  |
| 1992 | *Oba Mata Wishwasai* | Veerabahu |  |
| 1993 | *Bambasara Bisaw* |  |  |
| 1993 | *Nelum Saha Samanmali* |  |  |
| 1993 | *Juriya Mamai* | Doctor Ratnayake |  |
| 1996 | *Hitha Honda Nam Waradin Na* |  |  |
| 1997 | *Ragaye Unusuma* |  |  |
| 1997 | *Aege Wairaya 2* |  |  |
| 1997 | *Viyaru Geheniyak* |  |  |
| 1998 | *Aeye Obata Barai* | Robert |  |
| 2000 | *Premilla* |  |  |
| 2000 | *Dadabima* |  |  |
| 2001 | *Oba Magema Wewa* |  |  |
| 2008 | *Hathara Denama Soorayo remake* | Mr. Samarasinghe |  |
| 2014 | *Rupantharana* | Gilbert |  |
| 2014 | *Supiri Andare* | Shahrukh Khan |  |
| TBD | *Adda Lanuwa Damma Kodiya* |  |  |

## InfoBox

| Tissa Wijesurendra | |
| --- | --- |
| Born | Don Bhathiyatissa Wijesurendra
3 April 1949
Panadura, Sri Lanka |
| Died | 11 May 2020 (aged 71)
Colombo, Sri Lanka |
| Nationality | Sri Lankan |
| Education | Nalanda College Colombo |
| Occupation | Film Actor |
| Years active | 1970 – 2016 |
| Spouse | Savithri Dias |
| Children | 3 |


title: Ray Montgomery (umpire)

abstract: Ray Montgomery was an Australian rules football umpire. Montgomery umpired in the West Australian National Football League and the Victorian Football League.

text:
# Ray Montgomery (umpire)

**Ray Montgomery** (1929 – 1 August 2009) was an Australian rules football umpire. Montgomery umpired in the West Australian National Football League (now known as the West Australian Football League) and the Victorian Football League.

## Working life

He began his working life as a coach builder for the Western Australian Government Railways at the Midland Railway Workshops. After going to teacher's college he became an art teacher, becoming an Arts Master at Churchlands College.

## Playing career

Montgomery played football at school and in the Temperance League before playing reserve grade for Swan Districts. His playing career was brought to an end by a cracked vertebra.

## Umpiring career

Montgomery commenced umpiring football with Metropolitan Juniors in 1949.

### WANFL

Montgomery joined the WANFL umpiring panel in 1950 and was soon umpiring league football, making his debut in a match between East Fremantle and Swan Districts at Fremantle Oval in Round 4 of the 1952 season.

In 1959 Montgomery officiated in his first grand final, between East Perth and Subiaco at Subiaco Oval.

During Round 1 of the 1956 season Montgomery reported Jack Sheedy for using abusive language towards him, to which Sheedy responded at the tribunal by swearing on a bible that Montgomery had reported the wrong player. Despite the theatrics, Sheedy was found guilty of the charge.

In 1963 he made a complaint to the WANFL over an incident that occurred after he had umpired a match between East Fremantle and South Fremantle at East Fremantle Oval. He alleged that as he was walking out of the ground, a player drove a car toward him, attempting to run him over.

He retired in 1972 having umpired 308 WANFL league matches including five grand finals.

### VFL

While studying art at the Melbourne Technical College Montgomery umpired two league matches during the 1965 Victorian Football League season.

## Later life and legacy

Montgomery was responsible for redesigning the Swan Districts logo after Swans coach Haydn Bunton, Jr. suggested it needed livening up.

After retiring Montgomery took up bowls and was a member of the Manning Bowls Club for over three decades.

The award for best WAFL field umpire is named the **Ray Montgomery Medal** in his honour.

In 2002 Montgomery was named as one of three field umpires in the WANFL Umpires Association Team of the Half Century.

In 2004 he was inducted into the West Australian Football Hall of Fame.

## InfoBox

| Ray Montgomery | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Full name | Raymond Montgomery | | |
| Date of birth | 1929 | | |
| Date of death | (2009-08-01)1 August 2009 | | |
| Other occupation | Railway worker<br>Art teacher | | |
| Umpiring career | | | |
| Years | **League** | **Role** | **Games** |
| 1952–1964 | WANFL | Field umpire |  |
| 1965 | VFL | Field umpire |  |
| 1966–1972 | WANFL | Field umpire |  |


title: Warren Seitz

abstract: Warren Seitz is an American former professional football player who was a tight end and wide receiver in the National Football League (NFL). He played for the Pittsburgh Steelers in 1986 and for the New York Giants in 1987. He was selected by the Steelers in the tenth round of the 1986 NFL draft.

text:
# Warren Seitz

**Warren Seitz** (born September 29, 1962) is an American former professional football player who was a tight end and wide receiver in the National Football League (NFL). He played for the Pittsburgh Steelers in 1986 and for the New York Giants in 1987. He was selected by the Steelers in the tenth round of the 1986 NFL draft.

## InfoBox

Warren Seitz
| No. 80, 84 | |
| --- | --- |
| Position: | Tight end, wide receiver |
| Personal information | |
| Born: | (1962-09-29) September 29, 1962<br>Kansas City, Missouri, U.S. |
| Height: | 6 ft 4 in (1.93 m) |
| Weight: | 217 lb (98 kg) |
| Career information | |
| High school: | Topeka (KS) West |
| College: | Missouri |
| NFL draft: | 1986 / round: 10 / pick: 260 |
| Career history | |
|  | |
|  | |
|  | |
| Player stats at **PFR** | |
|  | |


title: Henry Field (apothecary)

abstract: Henry Field was an English apothecary.

text:
# Henry Field (apothecary)

**Henry Field** (29 September 1755 – 19 December 1837) was an English apothecary.

## Life

Born on 29 September 1755, was the eldest son of John Field, an apothecary in extensive practice in Newgate Street, London, by his wife, Anne, daughter of Thomas Cromwell, grocer, who was a grandson of Henry Cromwell, lord deputy of Ireland. He succeeded his father in his profession, and in 1807 was elected apothecary to Christ's Hospital, a post which he continued to fill until within a short time of his death.

As a member of the Society of Apothecaries he promoted its interests. He gave with Joseph Hurlock free courses of lectures on *materia medica* at their hall to the apprentices and students, which resulted in the regular establishment of lectures by the society. In 1815 his efforts helped obtainthe act of parliament which enforced an examination into the education and professional attainments of candidates for practising as an apothecary in England and Wales. He also filled for a long period the office of deputy-treasurer, and later of treasurer, of the branch of the affairs of the Society of Apothecaries originally instituted for the supply of the members of their own body with genuine drugs and medicines, but which ultimately extended to the service of the navy, the East India Company, and the public generally.

In 1831 Field was nominated by Sir Henry Halford, 1st Baronet, on the part of the general board of health, as one of the medical officers attached to the city of London board of health for the adoption of precautions against the threatened outbreak of cholera in the metropolis. In common with his colleagues Field afterwards received the thanks of the corporation and a piece of plate. He was also for many years the treasurer of the London Annuity Society for the benefit of the widows of apothecaries, in Chatham place, Blackfriars, of which institution his father was the founder in 1765.

Field died at Woodford, Essex, on 19 December 1837. His portrait, by Henry William Pickersgill, was hung at Apothecaries' Hall; another, by Samuel Lane, was painted for the London Annuity Society.

## Works

Besides contributing professional remarks to medical journals, Field wrote a history of the Chelsea Physic Garden: *Memoirs, historical and illustrative, of the Botanick Garden at Chelsea, belonging to the Society of Apothecaries of London*, London, 1820. It was printed at the expense of the society, to whom the manuscript had been presented. A new edition by Robert Hunter Semple was issued in 1878. His introductory address, delivered on 11 February 1835 at the first of the society's evening meetings for scientific purposes, was also printed by his colleagues.

## Family

He married, 2 September 1784, Esther, daughter of John Barron of Woolacre House, near Deptford, and by this lady, who died 16 January 1834, he left six sons including Barron Field and Frederick Field, and two daughters.

Attribution * This article incorporates text from a publication now in the public domain: Goodwin, Gordon (1889). "Field, Henry (1755-1837)". In Stephen, Leslie (ed.). *Dictionary of National Biography*. Vol. 18. London: Smith, Elder & Co. pp. 405–406.  Endnotes:

## InfoBox

| Henry Field | |
| --- | --- |
| Born | (1755-09-29)29 September 1755
London, England |
| Died | 19 December 1837(1837-12-19) (aged 82)
Woodford, Essex |
| Nationality | British |


title: Nealcidion cereicola

abstract: Nealcidion cereicola is a species of beetle in the family Cerambycidae. It was described by Fisher in 1936.

text:
# Nealcidion cereicola

***Nealcidion cereicola*** is a species of beetle in the family Cerambycidae. It was described by Fisher in 1936.

## InfoBox

| *Nealcidion cereicola* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Genus: | *Nealcidion* |
| Species: | ***N. cereicola*** |
| Binomial name | |
| ***Nealcidion cereicola***<br>(Fisher, 1936) | |
|


title: Natural prolongation principle

abstract: The natural prolongation principle or principle of natural prolongation is a legal concept introduced in maritime claims submitted to the United Nations. The phrase denotes a concept of political geography and international law that a nation's maritime boundary should reflect the 'natural prolongation' of where its land territory reaches the coast. Oceanographic descriptions of the land mass under coastal waters became conflated and confused with criteria that are deemed relevant in border delimitation. The concept was developed in the process of settling disputes if the borders of adjacent nations were located on a contiguous continental shelf. An unresolved issue is whether a natural prolongation defined scientifically, without reference to equitable principles, is to be construed as a "natural prolongation" for the purpose of maritime border delimitation or maritime boundary disputes.

text:
# Natural prolongation principle

The **natural prolongation principle** or **principle of natural prolongation** is a legal concept introduced in maritime claims submitted to the United Nations.

The phrase denotes a concept of political geography and international law that a nation's maritime boundary should reflect the 'natural prolongation' of where its land territory reaches the coast.

Oceanographic descriptions of the land mass under coastal waters became conflated and confused with criteria that are deemed relevant in border delimitation. The concept was developed in the process of settling disputes if the borders of adjacent nations were located on a contiguous continental shelf.

An unresolved issue is whether a natural prolongation defined scientifically, without reference to equitable principles, is to be construed as a "natural prolongation" for the purpose of maritime border delimitation or maritime boundary disputes.

## History

The phrase *natural prolongation* was established as a concept in the *North Sea Continental Cases* in 1969.

The relevance and importance of *natural prolongation* as a factor in delimitation disputes and agreements has declined during the period in which international acceptance of UNCLOS III has expanded.

The *Malta/Libya Case* in 1985 is marked as the eventual demise of the *natural prolongation* principle being used in delimiting between adjoining national maritime boundaries.

The Bay of Bengal cases in the early 2010s (Bangladesh v Myanmar) and (Bangladesh v India) likewise dealt a blow to natural prolongation as the guiding principle for delimitation of the continental shelf more than 200 nautical miles beyond baselines.

## Sources

* Capaldo, Giuliana Ziccardi. (1995). *Répertoire de la jurisprudence de la cour internationale de justice (1947-1992).* Dordrecht: Martinus Nijhoff Publishers. ISBN 9780792329930; ISBN 9780792335146; ISBN 9780792335153; OCLC 30701545
* Dorinda G. Dallmeyer and Louis De Vorsey. (1989). *Rights to Oceanic Resources: Deciding and Drawing Maritime Boundaries.* Dordrecht: Martinus Nijhoff Publishers. ISBN 9780792300199; OCLC 18981568
* Francalanci, Giampiero; Tullio Scovazzi; and Daniela Romanò. (1994). *Lines in the Sea.* Dordrecht: Martinus Nijhoff Publishers. ISBN 978-0-7923-2846-9; OCLC 30400059
* Kaye, Stuart B. (1995). *Australia's maritime boundaries.* Wollongong, New South Wales: Centre for Maritime Policy (University of Wollongong). ISBN 9780864183927; OCLC 38390208


title: Ryan Tappin

abstract: Ryan A Tappin is a Bahamian cricketer. Tappin is a right-handed batsman who bowls right-arm off break and currently represents the Bahamas national cricket team. Tappin made his Twenty20 debut for the Bahamas against Jamaica in the 1st round of the 2008 Stanford 20/20. Tappin scored 25 runs, ending not out. With the ball he took 1/22, claiming the wicket of Wavell Hinds. Tappin represented the Bahamas in the 2008 ICC World Cricket League Division Five as well as the 2010 ICC Americas Championship Division 2. Tappin represented the Bahamas in the 2010 ICC Americas Championship Division 1. In July 2019, he was named in the Bahamian squad for their tour of Bermuda.

text:
# Ryan Tappin

**Ryan A Tappin** (born 1 January 1986) is a Bahamian cricketer. Tappin is a right-handed batsman who bowls right-arm off break and currently represents the Bahamas national cricket team.

Tappin made his Twenty20 debut for the Bahamas against Jamaica in the 1st round of the 2008 Stanford 20/20. Tappin scored 25 runs, ending not out. With the ball he took 1/22, claiming the wicket of Wavell Hinds.

Tappin represented the Bahamas in the 2008 ICC World Cricket League Division Five as well as the 2010 ICC Americas Championship Division 2. Tappin represented the Bahamas in the 2010 ICC Americas Championship Division 1.

In July 2019, he was named in the Bahamian squad for their tour of Bermuda.

## InfoBox

Ryan Tappin
| Personal information | |
| --- | --- |
| Full name | Ryan A Tappin |
| Born | (1986-01-01) 1 January 1986 |
| Batting | Right-handed |
| Bowling | Right-arm off break |
| Role | Occasional wicketkeeper |
| International information | |
| National side |  |
|  | |
| Career statistics | |
| Competition T20  Matches 1  Runs scored 25  Batting average   100s/50s /  Top score 25  Balls bowled 12  Wickets 1  Bowling average 22.00  5 wickets in innings   10 wickets in match   Best bowling 1/22  Catches/stumpings / | |
|  | |
| Source: Cricinfo, 28 May 2010 | |


title: Mount Mansfield Electric Railroad

abstract: The Mount Mansfield Electric Railroad was an intrastate railroad in central Vermont. It ran from Waterbury to Stowe, a distance of approximately 12 miles (19 km).

text:
# Mount Mansfield Electric Railroad

The **Mount Mansfield Electric Railroad** was an intrastate railroad in central Vermont. It ran from Waterbury to Stowe, a distance of approximately 12 miles (19 km).

## History

An electric railroad between Stowe and Waterbury, connecting with the Central Vermont Railway, was authorized by the legislature of Vermont in 1865, 1872, 1888, and 1894. Not until 1897 were sufficient funds raised and construction started. A power plant was built at the south end of Stowe, outside of the village, along with a battery house just north of Colbyville, and service began in 1898. The line operated three passenger cars with baggage areas, two freight motors, a single truck work car which was basically an open-air trolley, and a doubled-ended rotary snowplow. This last saw minimal service, as the unit damaged the track and neighboring structures, and was not effective at the Waterbury end of the railroad due to low current. A wreck shortly after the commencement of services damaged one of the passenger cars; it was removed from service almost immediately.

Traffic on the line was never heavy, with the primary shipper being the Burt Lumber Company in Stowe, which shipped clapboards and other wood products to the Boston area. Damage from the 1927 hurricane-related flooding was minimal, but traffic declined further in the early 1930s, and the right-of-way was passed to the state of Vermont in 1932, which promptly turned much of the roadbed into the first concrete paved road in the state, Vermont Route 100.

The corporate structure of the MMER remained until 1963, operating trucks which carried goods over the new concrete road from Stowe to the train freight station at Waterbury.

## Stations

An 1897 timetable listed the following stops from south to north:

The Stowe terminus had a covered station in the back of a storefront. That building still stands on the south side of the main street in the village, but has been extensively renovated. Small stations were built at the side road leading to Moscow, Vermont, and in Waterbury Center. There was no station at the Waterbury end of the line; passengers used the Central Vermont Railroad station (still in existence), and freight was carried to the freight depot. There was an interchange, and boxcars and loads of coal made their way over the entire line by use of the freight motors.

* Jones, Robert C., *Railroads of Vermont, Volume II*, 1993.
* Chase, Jerry W., Waterbury (Vermont) Historical Society Newsletter, Summer 2003


title: Isabelle Boulogne

abstract: Isabelle Boulogne is a French sprint canoeist who competed in the early 1990s. She was eliminated in the semifinals of K-4 500 m event at the 1992 Summer Olympics in Barcelona.

text:
# Isabelle Boulogne

**Isabelle Boulogne** (born 3 May 1971 in Épernay) is a French sprint canoeist who competed in the early 1990s. She was eliminated in the semifinals of K-4 500 m event at the 1992 Summer Olympics in Barcelona.

## InfoBox

| Isabelle Boulogne | |
| --- | --- |
| Born | 3 May 1971 (1971-05-03) (age 53)<br>Épernay |
| Nationality | French |
| Occupation | Sprint Canoer |


title: Union Reform Party of South Carolina

abstract: The Union Reform Party of South Carolina was a political party of South Carolina during Reconstruction. Originally called the Citizen's Party, it was founded by reform-minded Republicans in the spring of 1870 to oppose the reelection of Governor Robert Kingston Scott. At the time, the electorate of South Carolina was predominantly composed of recently freed slaves who were unwilling to cast a vote for the Democratic Party. The white conservatives of the state recognized that the Democratic Party was a hopeless vehicle for power and instead sought to unite with the bolting Republicans. Not only would the alliance weaken the position of Scott's government, but the conservatives would then be in a position to influence a new government if elected. The reform Republicans and white conservatives convened on June 15, 1870, in Columbia to form a new party in order to oppose the policies of the Radical Republicans. A large number of blacks also attended the convention because they had been promised two dollars a day. The Union Reform Party nominated Vermont Republican Richard B. Carpenter for Governor and Matthew Butler for Lieutenant Governor to contest the elections of 1870 by prearranged agreement. There initially were plans to nominate a black man for Lieutenant Governor, but both black men approached for the position declined and the blacks themselves nominated Butler. For the legislative races, a black man was placed on the ticket in every district. On October 10, 1870, Governor Scott was reelected decisively over Carpenter, 62% - 38%. The Republicans swept all of the contests for Congress and maintained a large majority in the General Assembly. The Union Reform Party failed to gain many black votes because most blacks saw little difference between it and the Democratic Party. The general sentiment among blacks was that although the Republican party was corrupt, the Union Reform Party would limit and curtail their civil rights. After the election, the party became the opposition and its members split between the Democratic Party and the Independent Republican Party for the election of 1872. Richard B. Carpenter himself was taken back into the Republican party and elected in 1872 by the General Assembly for the judgeship of the Fifth Circuit.

text:
# Union Reform Party of South Carolina

The **Union Reform Party of South Carolina** was a political party of South Carolina during Reconstruction. Originally called the Citizen's Party, it was founded by reform-minded Republicans in the spring of 1870 to oppose the reelection of Governor Robert Kingston Scott. At the time, the electorate of South Carolina was predominantly composed of recently freed slaves who were unwilling to cast a vote for the Democratic Party. The white conservatives of the state recognized that the Democratic Party was a hopeless vehicle for power and instead sought to unite with the bolting Republicans. Not only would the alliance weaken the position of Scott's government, but the conservatives would then be in a position to influence a new government if elected.

The reform Republicans and white conservatives convened on June 15, 1870, in Columbia to form a new party in order to oppose the policies of the Radical Republicans. A large number of blacks also attended the convention because they had been promised two dollars a day. The Union Reform Party nominated Vermont Republican Richard B. Carpenter for Governor and Matthew Butler for Lieutenant Governor to contest the elections of 1870 by prearranged agreement. There initially were plans to nominate a black man for Lieutenant Governor, but both black men approached for the position declined and the blacks themselves nominated Butler. For the legislative races, a black man was placed on the ticket in every district.

On October 10, 1870, Governor Scott was reelected decisively over Carpenter, 62% - 38%. The Republicans swept all of the contests for Congress and maintained a large majority in the General Assembly. The Union Reform Party failed to gain many black votes because most blacks saw little difference between it and the Democratic Party. The general sentiment among blacks was that although the Republican party was corrupt, the Union Reform Party would limit and curtail their civil rights. After the election, the party became the opposition and its members split between the Democratic Party and the Independent Republican Party for the election of 1872. Richard B. Carpenter himself was taken back into the Republican party and elected in 1872 by the General Assembly for the judgeship of the Fifth Circuit.

* Reynolds, John S. (1969). *Reconstruction in South Carolina*. Negro University Press. pp. 139–150. ISBN 0-8371-1638-4.
* Williamson, Joel (1990). *After Slavery: the Negro in South Carolina during Reconstruction, 1861-1877*. University Press of New England. pp. 353–355.
* Zuczek, Richard (1996). *State of Rebellion: Reconstruction in South Carolina*. University of South Carolina Press. pp. 76–83. ISBN 1-57003-105-3.