title: Hybos femoratus

abstract: Hybos femoratus is a species of fly in the family Hybotidae. It is found in the Palearctic.

text:
# Hybos femoratus

***Hybos femoratus*** is a species of fly in the family Hybotidae. It is found in the Palearctic .

## InfoBox

| *Hybos femoratus* | |
| --- | --- |
|  | |
| *Hybos femoratus* North Wales | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Hybotidae |
| Subfamily: | Hybotinae |
| Genus: | *Hybos* |
| Species: | ***H. femoratus*** |
| Binomial name | |
| ***Hybos femoratus***<br>(Müller, 1776) | |
|
| Synonyms | |
|  | |


title: Jimmy Spencer (American football)

abstract: James Arthur Spencer, Jr. is an American former college and professional football player who was a cornerback in the National Football League (NFL) for twelve seasons during the 1990s and early 2000s. Spencer played college football for the University of Florida, and thereafter, he played professionally for the New Orleans Saints, Cincinnati Bengals, San Diego Chargers and Denver Broncos of the NFL.

text:
# Jimmy Spencer (American football)

**James Arthur Spencer, Jr.** (born March 29, 1969) is an American former college and professional football player who was a cornerback in the National Football League (NFL) for twelve seasons during the 1990s and early 2000s. Spencer played college football for the University of Florida, and thereafter, he played professionally for the New Orleans Saints, Cincinnati Bengals, San Diego Chargers and Denver Broncos of the NFL.

## Early life

Spencer was born in Manning, South Carolina. He attended Glades Central High School in Belle Glade, Florida, and he played high school football for the Glades Central Raiders.

## College career

Spencer accepted an athletic scholarship to attend the University of Florida in Gainesville, Florida, where he played for coach Galen Hall and coach Steve Spurrier's Florida Gators football teams from 1988 to 1990. In 1990, he blocked a punt late in the fourth quarter, which Richard Fain recovered and returned twenty-five yards for a touchdown and providing the margin of victory in the Gators' 17–13 victory over the Alabama Crimson Tide in Tuscaloosa, Alabama. Spencer decided to forgo his final year of NCAA eligibility after his junior season in 1990, and made himself eligible for the NFL Draft.

## Professional career

The Washington Redskins selected Spencer in the eighth round (215th pick overall) of the 1991 NFL draft. Spencer played for the New Orleans Saints from 1992 to 1995, the Cincinnati Bengals in 1996 and 1997, the San Diego Chargers in 1998 and 1999, and the Denver Broncos from 2000 to 2003. Statistically, his best seasons were 1994, 1995 and 1996, when he was a regular starter for New Orleans and then Cincinnati.

In his twelve NFL seasons, Spencer played in 177 regular season games, and started eighty-one of them. He finished his NFL career with twenty-six interceptions, two touchdown returns, eight fumble recoveries and one fumble recovery for a touchdown.

In 2003, Spencer worked as an assistant defensive back coach with the Broncos in addition to playing, making him the first simultaneous player/coach in the NFL since Dan Reeves in 1972.

## Bibliography

* Carlson, Norm, *University of Florida Football Vault: The History of the Florida Gators*, Whitman Publishing, LLC, Atlanta, Georgia (2007). ISBN 0-7948-2298-3.
* Golenbock, Peter, *Go Gators! An Oral History of Florida's Pursuit of Gridiron Glory*, Legends Publishing, LLC, St. Petersburg, Florida (2002). ISBN 0-9650782-1-3.
* Hairston, Jack, *Tales from the Gator Swamp: A Collection of the Greatest Gator Stories Ever Told*, Sports Publishing, LLC, Champaign, Illinois (2002). ISBN 1-58261-514-4.
* McCarthy, Kevin M., *Fightin' Gators: A History of University of Florida Football*, Arcadia Publishing, Mount Pleasant, South Carolina (2000). ISBN 978-0-7385-0559-6.
* Nash, Noel, ed., *The Gainesville Sun Presents The Greatest Moments in Florida Gators Football*, Sports Publishing, Inc., Champaign, Illinois (1998). ISBN 1-57167-196-X

## InfoBox

Jimmy Spencer
| No. 37, 22, 33 | |
| --- | --- |
| Position: | Cornerback |
| Personal information | |
| Born: | (1969-03-29) March 29, 1969
Manning, South Carolina, U.S. |
| Height: | 5 ft 9 in (1.75 m) |
| Weight: | 188 lb (85 kg) |
| Career information | |
| High school: | Glades Central
(Belle Glade, Florida) |
| College: | Florida |
| NFL draft: | 1991 / round: 8 / pick: 215 |
| Career history | |
|  | |
| * Offseason and/or practice squad member only | |
|  | |
| Career NFL statistics | |
| Games played: 177  Games started: 81  Tackles: 418  Interceptions: 26  Fumbles recovered: 8 | |
|  | |
| Player stats at **PFR** | |
|  | |


# Handball at the 2020 Summer Olympics – Women's tournament

The women's handball tournament at the 2020 Summer Olympics was the 12th edition of the handball event for women at the Summer Olympic Games. It was held from 25 July to 8 August 2021. All games were played at the Yoyogi National Stadium in Tokyo, Japan.

It was originally scheduled to be held in 2020, but on 24 March 2020, the Olympics were postponed to 2021 due to the COVID-19 pandemic. Because of this pandemic, the games were played behind closed doors.

The final was a rematch of the previous between France and Russia. After Russia won 22–19 in the 2016 final France got the upper hand with a 30–25 win this time. Norway won the bronze medal after winning 36–19 against Sweden. France became the first nation since 1984 to win both the men's and women's tournaments

The medals for the competition were presented by Kristin Kloster Aasen, Norway; IOC Member, and the medalists' bouquets were presented by Anna Rapp, Sweden; IHF Treasurer.

## Schedule

The schedule was as follows.

Legend
| G | Group stage | ¼ | Quarter-finals | ½ | Semi-finals | B | Bronze medal match | F | Gold medal match |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |

| Sun 25 | Mon 26 | Tue 27 | Wed 28 | Thu 29 | Fri 30 | Sat 31 | Sun 1 | Mon 2 | Tue 3 | Wed 4 | Thu 5 | Fri 6 | Sat 7 | | Sun 8 | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| G |  | G |  | G |  | G |  | G |  | ¼ |  | ½ |  | | B | F |

## Qualification

| Qualification | Date | Host | Vacancies | Qualified |
| --- | --- | --- | --- | --- |
| Host nation |  |  | 1 | Japan |
| 2018 European Championship | 29 November – 16 December 2018 | France | 1 | France |
| 2019 Pan American Games | 24–30 July 2019 | Lima | 1 | Brazil |
| 2019 Asian Qualification Tournament | 23–29 September 2019 | Chuzhou | 1 | South Korea |
| 2019 African Qualification Tournament | 26–29 September 2019 | Dakar | 1 | Angola |
| 2019 World Championship | 29 November – 15 December 2019 | Japan | 1 | Netherlands |
| 2020 IHF Women's Olympic Qualification Tournaments | 19–21 March 2021 | Llíria | 2 | Spain
Sweden |
| | | Győr | 2 | ROC
Hungary |
| | | Podgorica | 2 | Montenegro
Norway |
| Total |  | | 12 |  |

## Draw

The draw was held on 1 April 2021.

### Seeding

The seeding was revealed on 21 March 2021.

| Pot 1 | Pot 2 | Pot 3 | Pot 4 | Pot 5 | Pot 6 |
| --- | --- | --- | --- | --- | --- |
| Netherlands
Spain | ROC
Montenegro | Norway
Hungary | Sweden
Japan | France
South Korea | Angola
Brazil |

## Referees

The referee pairs were announced on 21 April 2021.

## Rosters

## Group stage

*All times are local (UTC+9).*

### Group A

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Norway | 5 | 5 | 0 | 0 | 170 | 123 | +47 | 10 | Quarter-finals |
| 2 | Netherlands | 5 | 4 | 0 | 1 | 169 | 143 | +26 | | 8 |
| 3 | Montenegro | 5 | 2 | 0 | 3 | 139 | 142 | 3 | | 4 |
| 4 | South Korea | 5 | 1 | 1 | 3 | 147 | 165 | 18 | | 3 |
| 5 | Angola | 5 | 1 | 1 | 3 | 130 | 156 | 26 | 3 |  |
| 6 | Japan (H) | 5 | 1 | 0 | 4 | 124 | 150 | 26 | | 2 |

Source: Tokyo 2020 and IHF
Rules for classification: 1) Points; 2) Head-to-head points; 3) Head-to-head goal difference; 4) Head-to-head goals scored; 5) Goal difference; 6) Goals scored; 7) Draw.
(H) Hosts
Notes:

| 25 July 2021
09:00 | Netherlands | **32–21** | Japan | Yoyogi National Gymnasium, Tokyo
Referees: García, Paolantoni (ARG) |
| --- | --- | --- | --- | --- |
| | Abbingh 7 | (18–10) | Fujii 5 | |
| |  | Report |  | |

| 25 July 2021
14:15 | Montenegro | **33–22** | Angola | Yoyogi National Gymnasium, Tokyo
Referees: Alpaidze, Berezkina (RUS) |
| --- | --- | --- | --- | --- |
| | Radičević 12 | (13–12) | Kamalandua 6 | |
| |  | Report |  | |

| 25 July 2021
16:15 | Norway | **39–27** | South Korea | Yoyogi National Gymnasium, Tokyo
Referees: Bonaventura, Bonaventura (FRA) |
| --- | --- | --- | --- | --- |
| | Brattset Dale 11 | (18–10) | Sim 5 | |
| |  | Report |  | |

---

| 27 July 2021
09:00 | Japan | **29–26** | Montenegro | Yoyogi National Gymnasium, Tokyo
Referees: Alpaidze, Berezkina (RUS) |
| --- | --- | --- | --- | --- |
| | Hara, Ikehara 6 | (14–13) | Brnović 6 | |
| |  | Report |  | |

| 27 July 2021
16:15 | South Korea | **36–43** | Netherlands | Yoyogi National Gymnasium, Tokyo
Referees: Lah, Sok (SLO) |
| --- | --- | --- | --- | --- |
| | Ryu 10 | (15–19) | Abbingh 6 | |
| |  | Report |  | |

| 27 July 2021
19:30 | Angola | **21–30** | Norway | Yoyogi National Gymnasium, Tokyo
Referees: García, Paolantoni (ARG) |
| --- | --- | --- | --- | --- |
| | Guialo, Kassoma 6 | (10–15) | Solberg-Isaksen 7 | |
| |  | Report |  | |

---

| 29 July 2021
09:00 | Netherlands | **37–28** | Angola | Yoyogi National Gymnasium, Tokyo
Referees: El-Saied, El-Saied (EGY) |
| --- | --- | --- | --- | --- |
| | Van Wetering 7 | (17–15) | Guialo 8 | |
| |  | Report |  | |

| 29 July 2021
14:15 | Japan | **24–27** | South Korea | Yoyogi National Gymnasium, Tokyo
Referees: Kurtagic, Wetterwik (SWE) |
| --- | --- | --- | --- | --- |
| | Kondo 7 | (11–12) | Ryu 9 | |
| |  | Report |  | |

| 29 July 2021
16:15 | Montenegro | **23–35** | Norway | Yoyogi National Gymnasium, Tokyo
Referees: Bonaventura, Bonaventura (FRA) |
| --- | --- | --- | --- | --- |
| | Radičević 6 | (13–13) | Mørk, Reistad 7 | |
| |  | Report |  | |

---

| 31 July 2021
09:00 | Angola | **28–25** | Japan | Yoyogi National Gymnasium, Tokyo
Referees: García, Paolantoni (ARG) |
| --- | --- | --- | --- | --- |
| | *three players* 5 | (15–13) | Hara 6 | |
| |  | Report |  | |

| 31 July 2021
11:00 | Montenegro | **28–26** | South Korea | Yoyogi National Gymnasium, Tokyo
Referees: El-Saied, El-Saied (EGY) |
| --- | --- | --- | --- | --- |
| | Radičević 6 | (13–11) | Lee 10 | |
| |  | Report |  | |

| 31 July 2021
21:30 | Norway | **29–27** | Netherlands | Yoyogi National Gymnasium, Tokyo
Referees: Alpaidze, Berezkina (RUS) |
| --- | --- | --- | --- | --- |
| | Mørk 9 | (16–13) | Smits 7 | |
| |  | Report |  | |

---

| 2 August 2021
09:00 | South Korea | **31–31** | Angola | Yoyogi National Gymnasium, Tokyo
Referees: Bonaventura, Bonaventura (FRA) |
| --- | --- | --- | --- | --- |
| | Jung, Kang E. 7 | (16–17) | Guialo 8 | |
| |  | Report |  | |

| 2 August 2021
19:30 | Netherlands | **30–29** | Montenegro | Yoyogi National Gymnasium, Tokyo
Referees: Fonseca, Santos (POR) |
| --- | --- | --- | --- | --- |
| | Van der Heijden 5 | (17–12) | Radičević 8 | |
| |  | Report |  | |

| 2 August 2021
21:30 | Norway | **37–25** | Japan | Yoyogi National Gymnasium, Tokyo
Referees: El-Saied, El-Saied (EGY) |
| --- | --- | --- | --- | --- |
| | Frafjord 6 | (16–11) | Ohyama, Yokoshima 5 | |
| |  | Report |  | |

### Group B

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Sweden | 5 | 3 | 1 | 1 | 152 | 133 | +19 | 7 | Quarter-finals |
| 2 | ROC | 5 | 3 | 1 | 1 | 148 | 149 | 1 | | 7 |
| 3 | France | 5 | 2 | 1 | 2 | 139 | 135 | +4 | | 5 |
| 4 | Hungary | 5 | 2 | 0 | 3 | 142 | 149 | 7 | | 4 |
| 5 | Spain | 5 | 2 | 0 | 3 | 135 | 142 | 7 | 4 |  |
| 6 | Brazil | 5 | 1 | 1 | 3 | 133 | 141 | 8 | | 3 |

Source: Tokyo 2020 and IHF
Rules for classification: 1) Points; 2) Head-to-head points; 3) Head-to-head goal difference; 4) Head-to-head goals scored; 5) Goal difference; 6) Goals scored; 7) Draw.
Notes: 1. Sweden 36–24 ROC
2. Hungary 29–25 Spain

| 25 July 2021
11:00 | ROC | **24–24** | Brazil | Yoyogi National Gymnasium, Tokyo
Referees: Fonseca, Santos (POR) |
| --- | --- | --- | --- | --- |
| | Ilyina 6 | (14–12) | De Paula 7 | |
| |  | Report |  | |

| 25 July 2021
19:30 | Spain | **24–31** | Sweden | Yoyogi National Gymnasium, Tokyo
Referees: Koo, Lee (KOR) |
| --- | --- | --- | --- | --- |
| | Pena 7 | (9–13) | Hansson 6 | |
| |  | Report |  | |

| 25 July 2021
21:30 | Hungary | **29–30** | France | Yoyogi National Gymnasium, Tokyo
Referees: Hansen, Madsen (DEN) |
| --- | --- | --- | --- | --- |
| | Vámos 7 | (12–15) | Zaadi 10 | |
| |  | Report |  | |

---

| 27 July 2021
11:00 | Brazil | **33–27** | Hungary | Yoyogi National Gymnasium, Tokyo
Referees: Koo, Lee (KOR) |
| --- | --- | --- | --- | --- |
| | Belo, Vieira 7 | (17–11) | Schatzl 7 | |
| |  | Report |  | |

| 27 July 2021
14:15 | Sweden | **36–24** | ROC | Yoyogi National Gymnasium, Tokyo
Referees: El-Saied, El-Saied (EGY) |
| --- | --- | --- | --- | --- |
| | Strömberg 8 | (15–9) | Vedekhina 5 | |
| |  | Report |  | |

| 27 July 2021
21:30 | France | **25–28** | Spain | Yoyogi National Gymnasium, Tokyo
Referees: Brunner, Salah (SUI) |
| --- | --- | --- | --- | --- |
| | Coatanea, Pineau 5 | (12–12) | Martín 6 | |
| |  | Report |  | |

---

| 29 July 2021
11:00 | Spain | **27–23** | Brazil | Yoyogi National Gymnasium, Tokyo
Referees: Hansen, Madsen (DEN) |
| --- | --- | --- | --- | --- |
| | Pena 7 | (13–13) | De Paula 8 | |
| |  | Report |  | |

| 29 July 2021
19:30 | Hungary | **31–38** | ROC | Yoyogi National Gymnasium, Tokyo
Referees: Brunner, Salah (SUI) |
| --- | --- | --- | --- | --- |
| | Klujber 9 | (17–22) | Dmitrieva 7 | |
| |  | Report |  | |

| 29 July 2021
21:30 | Sweden | **28–28** | France | Yoyogi National Gymnasium, Tokyo
Referees: Fonseca, Santos (POR) |
| --- | --- | --- | --- | --- |
| | Strömberg 7 | (16–17) | Foppa 6 | |
| |  | Report |  | |

---

| 31 July 2021
14:15 | ROC | **28–27** | France | Yoyogi National Gymnasium, Tokyo
Referees: Hansen, Madsen (DEN) |
| --- | --- | --- | --- | --- |
| | Ilyina 9 | (15–17) | Pineau 9 | |
| |  | Report |  | |

| 31 July 2021
16:15 | Brazil | **31–34** | Sweden | Yoyogi National Gymnasium, Tokyo
Referees: Koo, Lee (KOR) |
| --- | --- | --- | --- | --- |
| | Do Nascimento 7 | (13–15) | Hansson, Roberts 6 | |
| |  | Report |  | |

| 31 July 2021
19:30 | Hungary | **29–25** | Spain | Yoyogi National Gymnasium, Tokyo
Referees: Fonseca, Santos (POR) |
| --- | --- | --- | --- | --- |
| | Klujber, Vámos 6 | (14–11) | Gutiérrez Bermejo, Martín 5 | |
| |  | Report |  | |

---

| 2 August 2021
11:00 | France | **29–22** | Brazil | Yoyogi National Gymnasium, Tokyo
Referees: Lah, Sok (SLO) |
| --- | --- | --- | --- | --- |
| | Lassource, Pineau 4 | (17–11) | Do Nascimento 6 | |
| |  | Report |  | |

| 2 August 2021
14:15 | Spain | **31–34** | ROC | Yoyogi National Gymnasium, Tokyo
Referees: Hansen, Madsen (DEN) |
| --- | --- | --- | --- | --- |
| | López 7 | (17–18) | Vyakhireva 7 | |
| |  | Report |  | |

| 2 August 2021
16:15 | Hungary | **26–23** | Sweden | Yoyogi National Gymnasium, Tokyo
Referees: García, Paolantoni (ARG) |
| --- | --- | --- | --- | --- |
| | *five players* 4 | (15–15) | Carlson, Hagman 5 | |
| |  | Report |  | |

## Knockout stage

### Bracket

### Quarterfinals

| 4 August 2021
09:30 | Montenegro | **26–32** | ROC | Yoyogi National Gymnasium, Tokyo
Referees: Kurtagic, Wetterwik (SWE) |
| --- | --- | --- | --- | --- |
| | Radičević 10 | (15–17) | Vyakhireva 8 | |
| |  | Report |  | |

---

| 4 August 2021
13:15 | Norway | **26–22** | Hungary | Yoyogi National Gymnasium, Tokyo
Referees: Bonaventura, Bonaventura (FRA) |
| --- | --- | --- | --- | --- |
| | Brattset Dale 7 | (12–10) | Szöllősi-Zácsik 5 | |
| |  | Report |  | |

---

| 4 August 2021
17:00 | Sweden | **39–30** | South Korea | Yoyogi National Gymnasium, Tokyo
Referees: Alpaidze, Berezkina (RUS) |
| --- | --- | --- | --- | --- |
| | *three players* 6 | (21–13) | Kang K. 8 | |
| |  | Report |  | |

---

| 4 August 2021
20:45 | France | **32–22** | Netherlands | Yoyogi National Gymnasium, Tokyo
Referees: Hansen, Madsen (DEN) |
| --- | --- | --- | --- | --- |
| | Flippes 6 | (19–11) | Malestein 5 | |
| |  | Report |  | |

### Semifinals

| 6 August 2021
17:00 | France | **29–27** | Sweden | Yoyogi National Gymnasium, Tokyo
Referees: Lah, Sok (SLO) |
| --- | --- | --- | --- | --- |
| | Zaadi 7 | (15–14) | Carlson, Westberg 6 | |
| |  | Report |  | |

---

| 6 August 2021
21:00 | Norway | **26–27** | ROC | Yoyogi National Gymnasium, Tokyo
Referees: Bonaventura, Bonaventura (FRA) |
| --- | --- | --- | --- | --- |
| | Mørk 10 | (11–14) | Vyakhireva 9 | |
| |  | Report |  | |

### Bronze medal game

| 8 August 2021
11:00 | Norway | **36–19** | Sweden | Yoyogi National Gymnasium, Tokyo
Referees: Alpaidze, Berezkina (RUS) |
| --- | --- | --- | --- | --- |
| | Brattset Dale, Mørk 8 | (19–7) | Carlson, Westberg 4 | |
| |  | Report |  | |

### Gold medal game

| 8 August 2021
15:00 | ROC | **25–30** | France | Yoyogi National Gymnasium, Tokyo
Referees: Lah, Sok (SLO) |
| --- | --- | --- | --- | --- |
| | Vedekhina 7 | (13–15) | Foppa, Pineau 7 | |
| |  | Report |  | |

## Ranking and statistics

## Medalists

1. "Women's Handball at the 2020 Tokyo Summer Games". *Olympedia*. Retrieved November 2, 2023.
2. "Joint Statement from the International Olympic Committee and the Tokyo 2020 Organising Committee". *olympic.org*. Retrieved 24 March 2020.
3. "Tokyo Olympics to be held without fans after new COVID-19 state of emergency declared". *usatoday.com*. Retrieved 8 July 2021.
4. "France seal double in emphatic fashion". *ihf.info*. 8 August 2021.
5. "Norway steamrolls Sweden to claim bronze in women's handball". *nbcolympics.com*. 8 August 2021.
6. "Handball Competition Schedule". Tokyo Organising Committee of the Olympic and Paralympic Games. Retrieved 18 July 2020.
7. "Draw details for Tokyo 2020 Handball Tournaments known". *ihf.info*. Retrieved 26 March 2021.
8. "Results: Tokyo 2020 draws". *ihf.info*. Retrieved 1 April 2021.
9. "Draw and seeding information: Tokyo 2020 Women's Handball Tournament". *ihf.info*. Retrieved 21 March 2021.
10. "IHF announces referees for Tokyo 2020". *ihf.info*. 21 April 2021.
11. "Tokyo 2020 preliminary round clashes revealed". *ihf.info*. Retrieved 1 April 2021.
12. "Tokyo 2020 Handball Tournaments – Match schedule confirmed". *ihf.info*. Retrieved 10 May 2021.
13. "Tournament Summary" (PDF). *olympics.com*. Archived from the original (PDF) on 1 August 2021. Retrieved 8 August 2021.
14. "Tokyo 2020 Women's All-Star Team". *ihf.info*. 8 August 2021.

## InfoBox

Women's handball
at the XXXII Olympiad
|  | |
| --- | --- |
| Tournament details | |
| Host country | Japan |
| Venue(s) | Yoyogi National Stadium |
| Dates | 25 July – 8 August 2021 |
| Teams | 12 |
| Final positions | |
| Champions | France (1st title) |
| Runner-up | ROC |
| Third place | Norway |
| Fourth place | Sweden |
| Tournament statistics | |
| Matches played | 38 |
| Goals scored | 2,176 (57.26 per match) |
| Attendance | 0 (0 per match) |
| Top scorer(s) | Nora Mørk
(52 goals) |
| Best player | Anna Vyakhireva |
|  | |


title: Georgia–Carolina Memorial Bridge

abstract: The Georgia–Carolina Memorial Bridge was a highway crossing over the Savannah River between the states of Georgia and South Carolina that was in service from 1927 to 1981. The completion of this bridge marked the beginning of the end for Savannah River ferry traffic.

text:
# Georgia–Carolina Memorial Bridge

The **Georgia–Carolina Memorial Bridge** was a highway crossing over the Savannah River between the states of Georgia and South Carolina that was in service from 1927 to 1981. The completion of this bridge marked the beginning of the end for Savannah River ferry traffic.

## History

In November 1921, the Calhoun Highway Association requested the Georgia State Highway Department to conduct surveys of the Savannah River near Calhoun Falls, South Carolina, to determine a site for a bridge. In March 1925, R. E. Toms, District 8 Engineer of Georgia, approved the Burton's Ferry site just above the homestead of James Edward Calhoun, a son of John C. Calhoun, at Millwood, South Carolina, estimated to cost at around $200,000 (equivalent to $2.77 million in 2023).

The federal government committed $100,000 (equivalent to $1.38 million in 2023) with the states of Georgia and South Carolina each committing the same amount. Elbert County, Georgia, and Abbeville County, South Carolina, each would contribute $25,000 (equivalent to $346,178 in 2023) to their state's obligation.

In April 1925, Abbeville County voted for a $25,000 bridge bond, and in August, Elbert County matched the sum. In June 1925, Elbert County Commissioners were assured by the State Highway Board that the Calhoun Highway would be funded from Johnsontown, Georgia, to the bridge site on the Savannah River at Burton's Ferry. In August 1925, Searcy B. Slack offered two plans for the crossing, a steel deck truss bridge and a reinforced concrete arch bridge.

In February 1926, Emmett M. Williams of Monroe, Georgia, secured the lowest bid for the concrete arch bridge at $213,992 (equivalent to $2.95 million in 2023). An unnamed bridge company from Greensboro, North Carolina, was the low bidder for the steel deck truss bridge. Despite the higher cost, Abbeville County insisted on the concrete arch design. Ground was broken March 23, 1926, by James Y. Swift of Elberton.

## Design and construction

The bridge was an eleven-span concrete arch design, with the symmetrical arches of two ribs and open spandrels. The approach girders were 48 feet (15 m) long and the bridge had a vertical clearance of 50 feet (15 m) above the river surface. The spans were 125 feet (38 m) long and 18 feet (5.5 m) wide. Two memorial tablets, bolted to the banisters, were later removed. At the time of its construction, it was one of the largest reinforced concrete bridges in the southeastern United States.

## Dedication

The American Legion posts in both counties suggested that the bridge be a memorial to American soldiers who lost their lives in the Great War, and by September 1927, the span was being referred to as the Georgia–Carolina Memorial Bridge. The crossing was officially opened at a large dedication ceremony on Armistice Day 1927. Miss Ida Calhoun, lineal descendant of John C. Calhoun, broke a bottle of ginger ale over the concrete banister at the center of the bridge.

## Replacement

The bridge was replaced by a new crossing in 1981.

## InfoBox

| Georgia–Carolina Memorial Bridge | |
| --- | --- |
| Coordinates | 34°4′12.2″N 82°38′32.4″W / 34.070056°N 82.642333°W / 34.070056; -82.642333 |
| Carries | SR 72 and  SC 72 |
| Crosses | Savannah River |
| Locale | Elberton, Georgia |
| Official name | Georgia–Carolina Memorial Bridge |
| ID number | BH 46435 |
| Characteristics | |
| Design | Reinforced concrete open-spandrel arch |
| Total length | 1,581 ft (482 m) |
| Width | 18 ft (5.5 m) |
| Longest span | 11 spans, each 125 ft (38 m) long |
| Clearance below | 50 ft (15 m) |
| History | |
| Opened | November 11, 1927 (November 11, 1927) |
| Closed | 1981 (1981) |
| Location | |
|  | |


title: Rokszyce Szkolne

abstract: Rokszyce Szkolne is a village in the administrative district of Gmina Wola Krzysztoporska, within Piotrków County, Łódź Voivodeship, in central Poland.

text:
# Rokszyce Szkolne

**Rokszyce Szkolne** \[rɔkˈʂɨt͡sɛ ˈʂkɔlnɛ\] is a village in the administrative district of Gmina Wola Krzysztoporska, within Piotrków County, Łódź Voivodeship, in central Poland.

## InfoBox

| Rokszyce Szkolne | |
| --- | --- |
| Village | |
| Rokszyce Szkolne | |
| Coordinates: 51°23′48″N 19°37′15″E / 51.39667°N 19.62083°E / 51.39667; 19.62083 | |
| Country | Poland |
| Voivodeship | Łódź |
| County | Piotrków |
| Gmina | Wola Krzysztoporska |


title: Nyctemera oninica

abstract: Nyctemera oninica is a moth of the family Erebidae. The species is found in Papua, where it has been recorded from the Onin Peninsula, the Wandammen Peninsula, and Roon Island. The length of the forewings is 21–22 mm.

text:
# Nyctemera oninica

***Nyctemera oninica*** is a moth of the family Erebidae. The species is found in Papua, where it has been recorded from the Onin Peninsula, the Wandammen Peninsula, and Roon Island.

The length of the forewings is 21–22 mm.

## Etymology

The species name refers to the type location, the Onin Peninsula.

## InfoBox

| *Nyctemera oninica* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Nyctemera* |
| Species: | ***N. oninica*** |
| Binomial name | |
| ***Nyctemera oninica***<br>de Vos, 2007 | |
|


title: Tylidae

abstract: Tylidae is a family of woodlice. It contains approximately 27 species, all but one in the genus Tylos, the other being Helleria brevicornis. Together with the family Ligiidae, Tylidae appears to have diverged early from the remaining woodlouse families.

text:
# Tylidae

**Tylidae** is a family of woodlice. It contains approximately 27 species, all but one in the genus *Tylos*, the other being *Helleria brevicornis*. Together with the family Ligiidae, Tylidae appears to have diverged early from the remaining woodlouse families.

## InfoBox

| Tylidae | |
| --- | --- |
|  | |
| Tylos punctatus | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Malacostraca |
| Order: | Isopoda |
| Suborder: | Oniscidea |
| Infraorder: | Tylomorpha
Vandel, 1943 |
| Family: | Tylidae
Dana, 1852 |
|
| Genera | |
| *Helleria* Ebner, 1868
*Tylos* Latreille, 1826 | |


title: Hugo Judd

abstract: Neville Hugo Sale Judd was a New Zealand diplomat and public servant.

text:
# Hugo Judd

**Neville Hugo Sale Judd** CVO QSO (27 December 1939 – 2 May 2017) was a New Zealand diplomat and public servant.

## Early life and family

Born in Victoria, British Columbia, Canada, on 27 December 1939, Judd was the son of Edwin Judd and Violet Judd (née Sale). After emigrating to New Zealand in 1946, he was educated in Christchurch at Cathedral Grammar School, and then Christ's College. He went on to study at Canterbury University College, graduating BA in 1961, and the University of Oxford, where he completed a second BA in 1963. While at Oxford he was awarded a blue for gymnastics.

Judd became a naturalised New Zealand citizen in 1957. In 1973 he married Catherine Isaac, and the couple had three sons. They later divorced and Judd married Sue Morgan.

## Career

In 1964 Judd joined the Ministry of External Affairs. In 1965 he was employed in the external economic division of the Treasury. From 1966 to 1968 he served at the New Zealand Mission to the United Nations in Geneva, and then, from 1968 to 1971, at New Zealand's embassy in Saigon. He then returned to New Zealand and worked in the economic division of the Ministry of Foreign Affairs from 1971 to 1973, before taking another overseas posting as New Zealand's chargé d'affaires in Moscow. Between 1975 and 1978 Judd was director of administration at the Ministry of Foreign Affairs. From 1978 to 1982 he was minister at the New Zealand embassy in Washington, D.C., and between 1982 and 1985 he served as New Zealand's ambassador to Austria, with accreditation in Hungary, Poland, Czechoslovakia, East Germany, and Romania. In 1986 he was appointed spokesman and assistant secretary at the Ministry of External Relations and Trade.

Judd served as the official secretary to the Governor-General of New Zealand from 1994 until his retirement in 2004.

## Honours

Judd was appointed a Commander of the Royal Victorian Order in 1995. In the 2008 New Year Honours Judd was appointed a Companion of the Queen's Service Order for public services.

## Later life and death

Judd moved to Nelson in October 2004, and served as a member of the Bishop Suter Art Gallery Trust Board. He died at his home in Māpua near Nelson on 2 May 2017.

## InfoBox

| Hugo JuddCVO QSO | |
| --- | --- |
| Judd in 2010 | |
|  | |
| Official Secretary to the Governor-General of New Zealand | |
| **In office**
1993–2004 | |
| Governor-General |  |
| Preceded by | Ken Richardson |
| Succeeded by | Tia Barrett |
| New Zealand Ambassador to Austria | |
| **In office**
1 January 1982  10 June 1985 | |
| Preceded by | Francis Anthony Small |
| Succeeded by | Donald James Walker |
| New Zealand Chargé d'Affaires in the Soviet Union | |
| **In office**
1 August 1973  1 April 1974 | |
| Preceded by | Desmond Patrick Costello |
| Succeeded by | Brian Sydney Lendrum |
|  | |
| Personal details | |
| Born | Neville Hugo Sale Judd
(1939-12-27)27 December 1939
Victoria, British Columbia, Canada |
| Died | 2 May 2017(2017-05-02) (aged 77)
Māpua, New Zealand |
| Spouse(s) | Catherine Anne Isaac  (m. 1973, divorced)
Sue Morgan |
| Children | 3 |
| Education |  |
| Alma mater |  |
|  | |


title: Hyupsung High School

abstract: Hyupsung High School is a high school in Nam District, Daegu, South Korea.

text:
# Hyupsung High School

| Hyupsung High School | |
| --- | --- |
| Hangul | 협성고등학교 |
| Hanja | 協成高等學校 |
| Revised Romanization | *Hyeopseong Godeung Hakgyo* |
| McCune–Reischauer | *Hyŏpsŏng Kodŭng Hakkyo* |

**Hyupsung High School** is a high school in Nam District, Daegu, South Korea.

## Clubs

Hyupsung high school includes these clubs below:

* AriRangTeukgondae(아리랑 특공대) (Alternative Artists Group, since 1999)
* A.I (Magic Club)
* Sensation (English Speech Club)
* Arirang 21(아리랑 21) (International Exchange Club)
* BM Crew (Beat Box Club)
* REPLAY (School band)
* E.O.S (Soccer Club)
* 2M (Health Club)
* Daeduk(대덕) (Literature Club)
* Evangel (Christianity Music Club)
* Bedelcell(벧엘셀) (Catholic Club)
* GIGA (Computer Club)
* C.O.C (Astronomy Club)
* Mac(맥) (Book Club)
* UNESCO (Volunteer Club)
* CnP (Animation Club)
* HSBS (Broadcast Club)
* HAPO (Photograph Club)
* TRPG (Board Game Club)
* KINO (Movie Club)
* Antioch(안디옥) (Christianity Club)
* NEWTON (Science Club)
* EOD (Dance Club)

## Symbols

## InfoBox

| Hyupsung High School
협성고등학교 | |
| --- | --- |
| Location | |
|  | |
| Nam-gu, Daegu
South Korea | |
| Coordinates | 35°50′05″N 128°35′55″E / 35.83478°N 128.59853°E / 35.83478; 128.59853 |
| Information | |
| Type | Private |
| Motto | Carve your own way |
| Established | 1955 |
| Principal | Lee Jong Hyun |
| Enrollment | 878 |
| Website | hyupsung.dge.hs.kr/hyupsungh/main.do?sysId=hyupsungh |


title: Gregory Mosher

abstract: Gregory Mosher is an American director and producer of stage productions at the Lincoln Center and Goodman Theatres, on and off-Broadway, at the Royal National Theatre, and in the West End. He is also a film director and television director, producer, and writer. He currently serves as Senior Associate Dean for the Arts at Hunter College.

text:
# Gregory Mosher

**Gregory Mosher** (born 1949) is an American director and producer of stage productions at the Lincoln Center and Goodman Theatres, on and off-Broadway, at the Royal National Theatre, and in the West End. He is also a film director and television director, producer, and writer. He currently serves as Senior Associate Dean for the Arts at Hunter College.

## Early career

Born 1949 in New York City, Mosher attended Oberlin College, Ithaca College and the Juilliard School where he was the school's first directing student. After leaving Juilliard in his third year, he moved to Chicago to assist William Woodman, head of the Goodman Theatre, who appointed him to lead the newly formed Goodman Stage 2, one of the pioneering theatres of the 1970s Chicago theatre scene. Three years later, after Woodman's resignation, he became director of the Goodman. Beginning with a new version of Richard Wright’s *Native Son*, and focusing on new work, the Goodman soon gained wide national attention. Among his early work was the first production of David Mamet's *American Buffalo*.

## Lincoln Center

After seven seasons at the Goodman, Mosher was invited by former New York City mayor John V. Lindsay to head the theatre at Lincoln Center, which, despite the leadership of such theatre giants as Elia Kazan and Joseph Papp, had faltered through much of its twenty-year history. At the time of Lindsay's offer, the theatre had not produced a play in over four years; it had virtually no operating capital, little ability to generate it, and no community of artists to energize the stages.

Mosher launched an innovative production schedule and revolutionized marketing efforts, discarding the traditional subscriber arrangement to seek a younger, less affluent, and more diverse audience. These efforts, supported by a remarkable board and staff, and a freshly enthused giving community, quickly sparked theatrical life; the company's two houses were soon filled, and annual income rose within two years to nearly $45 million.

During this period, Mosher continued to focus on new work. While many of the creators (such as Julie Taymor) were at that time relatively unknown in New York, others were legendary; Lincoln Center and Goodman audiences saw new work from Samuel Beckett, Tennessee Williams, Arthur Miller, Leonard Bernstein, Jerome Robbins, Elaine May, Stephen Sondheim and eventual Nobel prize-winners Wole Soyinka and Derek Walcott.

Among the most celebrated of Mosher's productions were John Guare’s *Six Degrees of Separation*, David Rabe’s *Hurlyburly* (starring William Hurt, Sigourney Weaver, Harvey Keitel and Christopher Walken, directed by Mike Nichols); the South African township musical *Sarafina!*, Mike Nichols' version of *Waiting for Godot*, *James Joyce's The Dead* (Tony Award for author Richard Nelson), numerous Spalding Gray premieres (including *Swimming to Cambodia* and *Monster in a Box*), David Mamet's *Speed-the-Plow*, John Leguizamo’s *Freak*, *Anything Goes*, the long delayed world premiere of Zora Neale Hurston and Langston Hughes’s *Mulebone*, and the widely acclaimed revival of *Our Town*, for which Mosher won his second Tony Award.

Lincoln Center Theater productions were adapted into a dozen feature films, presented in cast recordings, and on television for NBC and PBS. Productions at the Beaumont and the Newhouse Theaters frequently were extended or transferred for long runs on Broadway, as well as venues in England, Europe and Japan.

## Broadway

In addition to Lincoln Center Theater shows on Broadway, Mosher has produced and/or directed several other productions. These include "A Streetcar Named Desire" (starring Jessica Lange and Alec Baldwin), "James Joyce's The Dead", John Leguizamo's "Freak", and the 2010 production of Arthur Miller's "A View from the Bridge" (starring Liev Schreiber and Scarlett Johansson), and "That Championship Season" (starring Brian Cox, Jim Gaffigan, Chris Noth, Jason Patric, and Kiefer Sutherland).

## Collaboration

Mosher directed and produced the premieres of twenty-three of David Mamet's plays, beginning with *American Buffalo* in 1975. His Broadway production of *Glengarry Glen Ross* garnered Mamet the Pulitzer Prize. His collaboration with Samuel Beckett spanned the final decade of that writer's life, and included Beckett's own production of *Endgame*, and the Lincoln Center production of *Waiting for Godot*, directed by Mike Nichols.

His collaboration with Tennessee Williams included William's final full-length play, *A House Not Meant to Stand*, directing and producing the 1992 Broadway revival of *A Streetcar Named Desire*, starring Alec Baldwin and Jessica Lange, and the Kennedy Center production of *The Glass Menagerie*.

During South Africa's apartheid period, Mosher was a frequent visitor to Johannesburg and Soweto. He organized the first-ever festival of South African drama (*Woza Afrika!*) at Lincoln Center, showcasing theatrical productions and funneling tens of thousands of dollars to Township arts groups and individual artists. In 2015, he traveled with a young company to perform Sophocles' "Antigone" in schools, community centers, and a juvenile prison in Nairobi and the Cape Town and Johannesburg townships. In 2017, he directed the American premiere of Ferdinand Von Schirach's *Terror* for Miami New Drama at the Colony Theatre.

During the NEA "decency" debate of the early 1990s, Mosher, with the support of John Lindsay, was one of a very small group of arts administrators to decline the Endowment's annual grant.

## Film

His film *The Prime Gig* (starring Vince Vaughn, Ed Harris, and Julia Ormond) played the Venice, London, and Los Angeles Film festivals. He directed (for TNT) Mamet's *A Life in the Theatre* (starring Jack Lemmon and Matthew Broderick), which won the CableACE Award for Best Drama, and produced the film version of *American Buffalo*, starring Dustin Hoffman and Dennis Franz. For the BBC, he directed *Uncle Vanya*, starring Ian Holm, David Warner, and Mary Elizabeth Mastrantonio. He has written three screenplays, including an adaptation of Vladimir Nabokov's *Laughter in the Dark*.

## Columbia Arts Initiative

President Lee C. Bollinger created the Arts Initiative at Columbia University in 2004 to change the role of the arts across the university, and hired Mosher as its first director, a position he stepped down from in Fall 2010. Since its inception the Initiative has developed programs to enliven the arts on campus and to link the university's intellectual mission to New York's cultural life. Among its programs are Passport to NYC, which provides Columbia students with free admission at 28 New York City museums, including the Metropolitan Museum, MoMA and the Guggenheim.

In 2005, Mosher collaborated with Peter Brook, bringing Brook's company, CICT, to Barnard College for a month-long residency. This residency marked a break in the long-standing relationship between Brook and Brooklyn Academy of Music.

Brook staged *Tierno Bokar*, based on the life of the Malian Sufi of the same name. The play was adapted for the stage by Marie-Hélène Estienne from *Vie et enseignement de Tierno Bokar, le sage de Bandiagara* by Amadou Hampate Ba (translated into English as *A Spirit of Tolerance: The Inspiring Life of Tierno Bokar*). Columbia University produced 44 related events, lectures, and workshops that were attended by over 3,200 people throughout the run of Tierno Bokar. Panel discussions focused on topics of religious tolerance and Muslim tradition in West Africa.

## Other

Mosher is currently Senior Associate Dean of the Arts and the Patty and Jay Baker Professor of Theatre at Hunter College. Has formerly a professor at Columbia's School of the Arts, and has lectured or guest-taught at Yale, New York University (NYU), University of Pennsylvania, and Juilliard.

## Awards

His American theatre awards include two Tonys and a Drama Desk Special Award.

## InfoBox

| Gregory Mosher | |
| --- | --- |
| Born | (1949-01-15) January 15, 1949
New York City, U.S. |
| Education | Oberlin College
Ithaca College (BFA)
Juilliard School |


title: Petroleum Institute of Thailand

abstract: The Petroleum Institute of Thailand (PTIT) is a non-profit organisation supporting the upstream oil and gas industry as well as the downstream petroleum and petrochemical industry in Thailand.

text:
# Petroleum Institute of Thailand

The **Petroleum Institute of Thailand (PTIT)** is a non-profit organisation supporting the upstream oil and gas industry as well as the downstream petroleum and petrochemical industry in Thailand.

## History

The Petroleum Institute of Thailand was founded on 26 September 1985 with support from the government, academic, industrial and private sector interests. It is directed by the Foundation Board, the Advisory Board to the Council of Trustees and the Council of Trustees, which control the Institute's operations and give advice on financing the Institute's wide range of activities.

From 1985 to 2005 Khunying Thongtip Ratanarat was Executive Director of the institute. Now the Foundation Board and Advisory Board to the Council of Trustees are chaired by Privy Councilor Kamthon Sindhvanada.

## Mission

The institute encourages and supports the development of the petroleum, petrochemical and related industries. It provides human resource development services and information services. It supports research and development in industry and encourages an open dialogue between the government, industry and academia for establishing practical public policies and regulations as well as prudent industry standards and best practices.

The work of the institute is related to public policies and regulations:

* Exploration and production
* Refining & petrochemical processing
* Logistics and marketing

The institute communicates proactively with the public to facilitate a mutual understanding and to strengthen the public image of the industry. It acts as an impartial and independent know-how provider and fosters the continuous competitiveness and sustainability of the petroleum and petrochemical industry especially in the areas of health, safety and environment as well as operations.

## Membership

Full members are:

* Bangkok Synthetics Co., Ltd.
* Bayer Thai Co., Ltd.
* BG Asia Pacific Pte Limited
* CEC International, Ltd. (Thailand Branch)
* Chevron (Thailand) Limited
* Chevron Thailand Exploration and Production Ltd.
    + Chevron Offshore (Thailand) Limited
* ECO Orient Energy (Thailand) Limited
* Electricity Generating Authority of Thailand
* Esso (Thailand) Public Co., Ltd.
    + ExxonMobil Exploration and Production Khorat, Inc.
* Evonik (Thailand) Ltd.
* Glow Co., Ltd.
* IRPC Public Co., Ltd.
* KrisEnergy Oil & Gas (Thailand) Co., Ltd.
* Mitsui Oil Exploration Co., Ltd. (MOECO)
* Moeco Thai Oil Development Co., Ltd.
* Mubadala Petroleum (Thailand) Limited
* Ophir Thailand (E&P) Limited
* PTT Exploration and Production Public Co., Ltd.
* PTT Siam Co., Ltd.
* PTT Global Chemical Public Co., Ltd.
    + TOC Glycol Co., Ltd Thai Oleochemicals Co., Ltd.
    + Thai Ethanolamines Co., Ltd.
    + PTT AR
* PTT Public Co., Ltd.
* Rayong Olefins Co., Ltd.
* SCG-Dow Group
    + Siam Polystyrene Co., Ltd.
    + Siam Styrene Monomer Co., Ltd.
    + Siam Synthetic Latex Co., Ltd.
    + Siam Polyethylene Co., Ltd.
    + SD Group Service Co., Ltd
* Schlumberger Overseas S.A.
* Siam Mitsui PTA Co., Ltd.
* Star Petroleum Refining Public Co., Ltd.
* Thai MMA Co., Ltd.
* Thai Oil Public Co., Ltd.
* Thai Plastic and Chemicals Plc.
* TPC Paste Resin Co., Ltd.
* Thai Polyethylene Co., Ltd.
* Thai-MC Co., Ltd.
* The Bangchak Petroleum Public Co., Ltd.
* The Industrial Estate Authority of Thailand
* The Shell Company of Thailand Limited
* Total E&P Thailand
* Vinythai Public Co., Ltd.

1. History of the Petroleum Institute of Thailand.
2. Standing Committees of the Petroleum Institute of Thailand.
3. Members of the Petroleum Institute of Thailand.

## InfoBox

Petroleum Institute of Thailand
|
|  |
| Headquarters | Bangkok |
| Membership | 37 full members in the petroleum industry and 58 ordinary members |
| Website | www.ptit.org |


title: Weiden–Oberkotzau railway

abstract: The Weiden–Oberkotzau railway is a two-track main line railway in Bavaria, Germany. It connects with the Regensburg–Weiden railway in Weiden in der Oberpfalz and runs via Marktredwitz to Oberkotzau, where it joins the Bamberg–Hof railway. The line forms part of a long-distance route from Munich to Hof, continuing to Leipzig and Dresden.

text:
# Weiden–Oberkotzau railway

The **Weiden–Oberkotzau railway** is a two-track main line railway in Bavaria, Germany. It connects with the Regensburg–Weiden railway in Weiden in der Oberpfalz and runs via Marktredwitz to Oberkotzau, where it joins the Bamberg–Hof railway. The line forms part of a long-distance route from Munich to Hof, continuing to Leipzig and Dresden.

## History

The line was opened in several sections. The section from Weiden to Wiesau was built by the Bavarian Eastern Railway Company (*Bayerischen Ostbahnen*) as part of a connection from Regensburg to Cheb (German: Eger) and operated by it until it was nationalised in 1876.

The section from Weiden via Wiesau and continuing to Mitterteich was opened to traffic on 15 August 1864. After the opening of the link from Mitterteich to Cheb on 15 October 1865 and the opening of the link from Hof to Cheb on 1 November 1865, it was possible to travel by train from Regensburg to Hof—but only with the detour via Cheb, which is located in Bohemia and at that time belonged to the Austro-Hungarian Empire and is now in the Czech Republic.

A connection was opened to Markt Redwitz on 15 August 1877. The Markt Redwitz—Nuremberg section of the Nuremberg–Cheb railway was opened on 15 August 1878. This line was extended to Cheb in 1883. The gap between Wiesau and Marktredwitz on Bavarian territory was closed on 1 June 1882, completing the current Weiden–Hof route.

Opening dates * Weiden–Wiesau (–Cheb): 15 August 1864
* Holenbrunn–Oberkotzau: 15 August 1877
* Marktredwitz–Holenbrunn: 15 May 1878
* Wiesau–Marktredwitz: 1 June 1882

The line was single-track until 1900. The duplication of the line caused problems in Groschlattengrün station, which was located in the village of Pechbrunn next to the local basalt works and could not be moved. On 30 and 31 October 1900, the entrance building was therefore removed from its foundations, raised by four centimetres and moved by ten metres. During this work, operations continued, even in the station building, without any significant interruptions.

There was a serious railway accident at the southern entrance to Marktredwitz station on 9 July 1939. A D 25 express from Munich to Berlin Anhalter Bahnhof continued over the *Drei-Bögen-Brücke* (three-arch bridge) into stationary freight wagons, which had detached from a preceding freight train. The train’s two locomotives, Prussian P 8 *38 2145* and *38 2401*, and the first carriages of the train were derailed and fell from the bridge.

Until the end of the Second World War, the line was part of the most important long-distance route in southern Germany, connecting Munich, Dresden and Wrocław (German: Breslau). In the 1939 summer timetable, a total of eleven express trains ran on the line. In addition to express trains from Munich to Dresden, Wroclaw and continuing to the Upper Silesian city of Bytom (German: Beuthen), long-distance trains ran on the Vienna–Leipzig–Hamburg, Berchtesgaden–Berlin/Dresden and Rome–Munich–Leipzig–Berlin routes.

The Regionalbahn services on the whole line were formerly operated by Oberpfalzbahn of the Die Länderbahn (formerly *Vogtlandbahn*) with Siemens Desiro diesel railcars. The Regionalbahn services on the Marktredwitz–Hof section were reassigned as part of the *Dieselnetz Oberfranken* (Upper Franconia diesel network) tendered by Bayerische Eisenbahngesellschaft on 8 February 2008.

*agilis* took over operations of the Regionalbahn services In December 2012. This allowed an increase in services, including a continuous Hof–Marktredwitz Regionalbahn service.

## Route description

The line runs from Weiden along the Waldnaab and Fichtelnaab rivers via Neustadt an der Waldnaab, Windischeschenbach, Reuth bei Erbendorf to Wiesau, passes by the Steinwald range on its east side and connects with the line from Nuremberg, running from the west, in Marktredwitz station. Between Weiden and Marktredwitz, four lines once branched off from the line: in Neustadt, the line to Eslarn, in Reuth, the line to Erbendorf and in Wiesau the line from Bärnau and the line to Cheb via Waldsassen. A 600 mm gauge field railway (Feldbahn), the Reuth–Friedenfels railway, also began in Reuth, which ran to the town of Friedenfels about six kilometres away.

A line branches off from Marktredwitz to Schirnding and Cheb. This line continues north through the towns of Holenbrunn, Röslau and Marktleuthen and crosses the eastern foothills of the Fichtelgebirge on its way to Hof. From Fattigau, the line runs parallel to the Saale and the line from Bamberg, which it joins at Oberkotzau station.

### Footnotes

### Sources

* Bräunlein, Manfred (2000). *Die Ostbahnen* (in German). Nuremberg: Lorenz Spindler. ISBN 3-88929-078-7.
* Ernstberger, Michael (2005). *Nordbayerische Feld- und Grubenbahnen und die Geschichte ihrer Betriebe* (in German) (1 ed.).
* *Eisenbahnatlas Deutschland* \[*German railway atlas*\]. Schweers + Wall. 2017. ISBN 978-3-89494-146-8.

## InfoBox

| Weiden–Oberkotzau railway | |
| --- | --- |
|  | |
| Overview | |
| Status | Operational |
| Owner | Deutsche Bahn |
| Line number | 5050 |
| Locale | Bavaria |
| Termini |  |
| Service | |
| Type | Heavy rail, Passenger rail<br>Regional rail |
| Route number | 855 |
| History | |
| Opened | 1864, 1877, 1878, 1882 |
| Technical | |
| Line length | 87.020 km (54.072 mi) |
| Number of tracks | 2 |
| Track gauge | 1,435 mm (4 ft 8+12 in) standard gauge |
| Operating speed | 160 km/h (99 mph) |
| Route map | |


abstract: Holy Trinity Episcopal Church is an Episcopal Church located in Georgetown, Kentucky.

text:
# Holy Trinity Episcopal Church (Georgetown, Kentucky)

**Holy Trinity Episcopal Church** (also known as the Church of the Holy Trinity) is an Episcopal Church located in Georgetown, Kentucky.

## History

The Church of the Holy Trinity was organized in 1847 through the efforts of the Reverend J. N. Norton, rector of the Church of the Ascension, Frankfort, during the episcopate of Bishop Benjamin Bosworth Smith, the first bishop of Kentucky. The church building was constructed during the years 1864–1868 by John and Henry Clarke, outstanding churchmen and craftsmen whose wood carvings decorate the interior of the building. The stone for the church was quarried from the actual site and much of the construction was done by lamp light. The church was consecrated on June 23, 1870, by the Right Reverend George David Cummins, second bishop of Kentucky. The church building is designated a Kentucky Landmark and is on the National Register of Historic Places.

During the early 1900s, Holy Trinity suffered from dwindling membership and lack of money. From 1925 until 1959, the parish reverted to mission status. The return to parish status in the latter year was the result of work by the members under the leadership of their rector, the Reverend William D. Smith. When Canon Smith and his wife Beulah (affectionately known as Mr. Bill and Miss Beulah) came to Holy Trinity in 1948, the congregation numbered only 20 members. The Smiths revived the spirit of the congregation and helped rebuild the community over the next twenty-two years.

A parish hall was built in 1966. Free-standing and modern, it is compatible with the Gothic architecture of the church building. Adjacent to the church and parish hall is a memorial garden. Incorporated within the memorial garden is a columbarium for the interment of those choosing cremation.

In 1987 the church applied for federal funds to build Trinity Apartments which is still providing safe housing for elderly residents. In 1999 the church donated land behind the parish hall for the construction of a new facility for the Georgetown Child Development Center. Although its members control its board and the two buildings are joined, the childcare facility is a separate corporate entity.

## InfoBox

|  | |
| --- | --- |
| Holy Trinity Episcopal Church | |
| U.S. National Register of Historic Places | |
| U.S. Historic district<br>Contributing property | |
|  | |
| Holy Trinity Episcopal Church | |
|  | |
| Location | S. Broadway and W. Clinton Sts., Georgetown, Kentucky |
| Coordinates | 38°12′28″N 84°33′38″W / 38.20778°N 84.56056°W / 38.20778; -84.56056 |
| Area | 1 acre (0.40 ha) |
| Built | 1867 |
| Built by | John & Henry Clarke |
| Architect | Benjamin Bosworth Smith |
| Architectural style | Gothic architecture |
| Part of | South Broadway Neighborhood District (ID91001856) |
| NRHP reference No. | 73000837 |
| Significant dates | |
| Added to NRHP | October 30, 1973 |
| Designated CP | December 19, 1991 |


title: Tussock Fire

abstract: The Tussock Fire was a wildfire that started near the town of Wickenburg, Arizona on May 8, 2021. The fire burned 5,546 acres (2,244 ha) and is 100% contained.

text:
# Tussock Fire

The **Tussock Fire** was a wildfire that started near the town of Wickenburg, Arizona on May 8, 2021. The fire burned 5,546 acres (2,244 ha) and is 100% contained.

## Development

### May

The Tussock Fire was first reported on May 8, 2021, at around 2pm MST. The fire is believed to be human-caused, but the specific cause is still under investigation.

### Containment

By May 24, 2021, the Tussock Fire reached 100% containment.

## Aftermath

## InfoBox

| Tussock Fire | |
| --- | --- |
| Aerial photo of smoke rising from the Tussock Fire | |
| Date(s) | May 8, 2021 – May 24, 2021 |
| Location | Wickenburg, Arizona |
| Coordinates | 34°05′46″N 112°25′23″W / 34.096°N 112.423°W / 34.096; -112.423 |
| Statistics | |
| Burned area | 5,546 acres (2,244 ha) |
| Ignition | |
| Cause | Under investigation |
| Map | |
|  | |


title: Lalit Kala Akademi

abstract: The Lalit Kala Akademi or National Academy of Art (LKA) is India's national academy of fine arts. It is an autonomous organisation, established in New Delhi in 1954 by Government of India to promote and propagate understanding of Indian art, in and outside the country. LKA provides scholarships and a fellow program, and sponsors and organises exhibitions in India and overseas. It publishes a bilingual journal. It is funded by the Union Ministry of Culture. Its headquarters are at Ravindra Bhawan, Ferozshah Road, New Delhi.

text:
# Lalit Kala Akademi

The **Lalit Kala Akademi** or **National Academy of Art** (**LKA**) is India's national academy of fine arts. It is an autonomous organisation, established in New Delhi in 1954 by Government of India to promote and propagate understanding of Indian art, in and outside the country.

LKA provides scholarships and a fellow program, and sponsors and organises exhibitions in India and overseas. It publishes a bilingual journal. It is funded by the Union Ministry of Culture. Its headquarters are at Ravindra Bhawan, Ferozshah Road, New Delhi.

## History

After achieving independence in 1947, the leaders of the nationalist movement realised the value of culture as a vehicle of interaction and its importance in shaping not only the Indian identity on its own, but also carving out a sphere of interaction where other art forms would further the cause of national unity. It was seen necessary that a cultural reorganisation of the nation should come through the institutional infrastructure of the state. The state patronage was not for the art, but for the artists, who using the physical environment and infrastructural facilities provided to them could carry on with their art. Unlike private institutions which could change their program of support depending on market conditions, the Lalit Kala Akademi sought to support all forms of art — studio, experimental, developmental, ‘folk’, and ‘tribal’.

In constructing a national heritage of India, — ancient, medieval, as well as modern lineages were to be taken into account. In the wake of the anti-colonial independence movement, the developments in Modern Art drew from the underlying currents that linked modernity with an inherited, indigenous past. The art-historian Partha Mitter, has argued that Modern Art in India developed through a series of interactions and frictions between "colonial hegemony and national self-image". Emerging out of the colonial encounter with the Western "other", the options available were within the confines of colonial ideologies as well as colonial institutions of art.

Anubha Mehta notes that the Gandhian movement was a political one, and not a social one. There were only a few phases when the artists were directly involved. Most important was the moment of Nandalal Bose's involvement. From 1920, some occasional exhibitions of paintings coincided with the sessions of the Indian National Congress. In 1936, Nandalal Bose responded to Gandhi's summons to organise an exhibition of Indian art at the Lucknow session of the INC. From hereon, the project of placing exhibitions of a continuous history of Indian art became important. In 1937, the entire Congress township at Faizpur in Maharashtra was designed as an ideological statement by prominent Modern artists. By 1938, the INC pavilions at Haripura were decorated by artists from Shantiniketan led by Nandalal Bose. Drawing stylistic inspiration from ‘folk’ art, the subject matter was rural life, and ordinary people. This was an important moment in India's history of Modern Art as it revelled in the affinity with folk, which seemed to underline an imaginative and technical range that had a richer visual vocabulary that of Western Academism. This art made to appeal both to the connoisseur and the common man. This came to be the nationalist alternative that was firmly in opposition to the colonial art establishment. The multiplicity of responses of the Indian artists to western modes of art served as a catalytic force and created a foundation for exploring what could be the specific Indian character of modern Indian art. This very cause, of the Indian character, was taken up by the Lalit Kala Akademi when it was established in 1954.

Artists like Nandalal Bose, Jamini Roy, and Abanindranath Tagore came to be seen as ‘authentic’ because their subject matter incorporated many folk idioms that they inculcated overtime through their involvement in the Gandhian phase of the nationalist movement after 1920. These idioms were accommodated, aestheticised, and modernised into the canon of Indian Modernism. The selective focus of the official cultural discourse became a major factor in defining Modern Art in India. In 1950, the President commissioned Nandalal Bose to complete a set of paintings for the original hand written manuscript of the Indian constitution. He was later bestowed with various national awards and his work was celebrated as that of a ‘national artist’. The Lalit Kala Akademi sold his paintings as a special portfolio (1982–83) in all their centenary publications as a landmark in modern art.

In adherence to this idea of nationalism in modern Indian art, Maulana Azad, the Minister of Education set up the Lalit Kala Akademi so that the state could carry forward the cultural renaissance in India and patronise art with an impact and reach across the country.

By the 1940s, there was an emergence of organised groups of artists in Calcutta, Bombay, Delhi, and Madras. There were some prominent organisations in Delhi which worked towards the promotion of visual arts in the country. Important among them were the Sarada Ukil School of art, the All India Fine Arts and Crafts Society and the Delhi Shilpi Chakra. The Minister of Education had also set up an art department in the Delhi Polytechnic in 1942.

In April 2015, the Government of India took over management control of Lalit Kala Akademi citing complaints regarding alleged administrative and financial irregularities in its functioning.

## Formation

As the national academy of fine arts, the Lalit Kala Akademi was envisioned with a clear perspective regarding its purpose as a National institutions. It was established on August 5, 1954. Nehru envisioned the LKA as being democratic in its reach, membership and functioning, whereas Azad's idea of it was based on the line of the French Academy which had a rather exclusivist criteria. Contradictions like these abound. While one of the constitutional objects of the LKA in 1954 was to preserve and project art forms of surviving indigenous craftsmen, painters, and sculptors, the "Creative Arts" as defined in the 1954 constitution are only paintings, sculpture, and graphics. In 1978, the rules of participation of the Triennial stated that the art forms constantly referred to as ‘folk’, ‘tribal’, and ‘tradition’ would not be allowed as they are not in the ambit of the "contemporary". Even as the organisation wanted to organise itself at an All India level, there is not a single official document professing linkages between the State Lalit Kala Akademis, Regional Centres, and the Zonal Cultural Centres. The orientations of the officials at the helm of the organisation and their professional credentials have constantly affected the nature of design, legislation, and implementation of LKA's programmes. The initial thrust of LKA's responsibilities emerged from conceptual framework of the founding father. Azad defined the role of LKA as "providing facilities for training the sensibilities by the practise of one of the fine arts". The purpose was to develop finer aspects of the citizen's personality.

The conflict in the constitutional objectives led to much confusion about its policy perspective especially in determining its nature as either an exclusive, elite organisation or as a one that was democratic in approach and functioning. In an absence of a clearly stated programme, LKA ended up being both. Both Nehru and Azad agreed in granting the members of the LKA total autonomy regarding internal functioning and programme legislation. Majority of the programmer were designed and carried forwards within the elite circuits of art forms and artists. This elite orientation also affected the forms of visual arts incorporated. For instance, in the 1940s and 50s, the contemporary art scene saw a predominance of painters. Consequently, the artists accommodated in the official rolls of the newly founded LKA ended up being mostly painters. Therefore, LKA was established largely as an Akademi of painters.

The constitutional objectives along with the institutional functioning of the LKA have been reviewed on three occasions by committees appointed by the government of India.

* Bhabha committee in 1962
* Khosla committee National Exhibition of Artin 1972
* Haksar committee in 1992

## Activities

### National Exhibition of Art

In the formative years, a lot of emphasis was laid on the Exhibitions to establish the institutional personality of the LKA. The first seven years saw a lot of fanfare in terms of activities and were always inaugurated by the president and vice-president of India. As early as 1955–56, LKA sent its first exhibition abroad with a two-member delegation for the period of one year to six countries. Through its international exhibitions programme, it sought National Exhibition of Art to justify itself not only to India but to the world.

The National Exhibition of Art (NEA) is the most prestigious annual event organised by the LKA. Every year it exhibits and awards artists. From 1958 until the 1980s, the LKA followed a practice of purchasing works during the NEAs annually to add to their permanent collection. The objective was to create a museum of acclaimed artworks with the LKA that was purchased through its own exhibitions. From the 1980s, the LKA developed a practice of carrying exhibitions of artworks from their permanent collection under a particular theme. In 1997, the government took over the management of the LKA for some years and the programme of purchasing artworks was abandoned, among the reasons cited was the kind of control commanded by private art galleries over the art market.

### Rashtriya Kala Melas

The Rashtriya Kala Mela, as art fairs became a regular complementary feature of the Triennale. They were seen as events that widened the scope of the Triennale and formed the basis of a national cultural festival that could embrace the arts.

### Garhi Studios

The LKA provided for the Garhi Studios as an institutional facility for the organisation of seminars, artist workshops, lecture demonstrations, and exhibitions. Beginning with the establishment of eight studios at Bistidari Malcha Mahal in New Delhi, it was expanded to thirty six studios — including thirty two individual studios and four community studios. It has become a center for arranging exhibitions, ceremonial events, artists’ camps, seminars etc. The functions it performs are much beyond the scope of a studio. For instance, in the 1978 Triennale, the Garhi center was a major activity hub. Souvenirs were made by these studios for foreign dignitaries and its grounds were used to host meetings, camps, on-the-spot workshops, and displays.

## The Triennale-India

In 1968, the LKA started its ambitious programme aiming to enter the international art circuit with the Triennale-India exhibitions. In these exhibitions, a host of countries were invited to participate in New Delhi at regular intervals of 3–4 years. It began at a point in time when the purposed of such international exhibitions in the west was already being questioned. There were however many who believed in the potential of the Triennale as a pre-requisite for an internationalism of the arts. With the end of colonialism, new dimensions, context and idioms were developing - and the Triennale aimed not only at creating a meeting ground for artists from the global south but also for those of the industrially developed countries.

Nancy Adajania writes how the Triennale echos the rhetoric surrounding internationalism as not necessarily a monopoly of the industrially advanced societies of West Europe and North America. It was an assertion that the societies of the global South could stake an equal claim in articulating a vision of the world. The Triennale had its roots in the Non-Alignment Movement's notion of the third-way or third position in global politics. Mulk Raj Anand, who proposed and founded the Triennale saw treated non-alignment as a "genealogical matrix". Centered around Anand's creative humanist approach, the first edition of Triennale India brought together 609 works from 31 countries.

In the 1970s, Vivan Sundaram's protest against the Triennale was emanating from the emphasis on the international that overlooked and marginalised Indian's own complex history. Among the many reasons behind the protest was also to call for a democratisation of the working of the LKA. The acclaimed art-crtitc Geeta Kapur emerged as one of the most vehement critics of the Triennale as she recognised their narrow economism as an extension of the international art exhibitions with vested commercial interests of commercial art dealers operating at the behest of both public and private, individual and national agents.

Because of this international outlook, the Triennale became a priority overshadowing other roles and responsibilities. It became more important than the constitutional objectives of development, encouragement, and promotion of existing forms of contemporary Indian Art. The representations at the Triennale were to be a reputed and acclaimed stature, and this led to a shift in focus from the art form to the artist. It was in the mid-60s through the Triennale that the LKA made a statement on the state of arts in India. According to LKA, the contemporary Indian art had taken a definitive turn towards the individual experiences and ideas. In March 1977, the Triennale Committee declared that a strong Indian section could only be presented if the Triennale was not treated as a ground for exploring new talent, something that the NEA could take care of.

## Centers

The centers of Lalit Kala Academy include:

## Chairman

* On 17 May 2018 President Ram Nath Kovind appointed Uttam Pacharne, an artist and sculptor as chairman of the Lalit Kala Akademi. He is a member of the advisory committee, Kala Academy, Goa and member of advisory committee, P L Deshpande State Lalit Kala Academy and director, Janseva Sahakari Bank, Borivali, Mumbai. He would hold office for a term of three years from the date on which he assumes charge. He is the recipient of National Lalit Kala Award 1985, Maharashtra Gaurav Puraskar 1985 from Government of Maharashtra, Junior National Award 1986 and Jeevan Gaurav Puraskar 2017 from Prafulla Dahanukar Foundation.
* In March, President Ram Nath Kovind appointed M.L. Srivastava, joint secretary (Academies) at the Ministry of Culture, as the pro-tem chairman of the Lalit Kala Akademi.
* Since the Government took over, former Chairman of Karnataka Lalit Kala Academy CS Krishna Setty, a well-known artist and art critic headed LKA as Administrator. After being charged with misappropriation of funds in mid-2017, the ministry instituted a three-member inquiry committee to probe the allegations. This order was withdrawn on 16 August 2017. The Delhi high court, which heard the PIL alleging misappropriation of funds at the national arts body, had sought an explanation from the ministry on 24 August 2017, however, the ministry did not reply. As the next date of hearing of the case was 8 May, the ministry decided to let Setty go in the first week of April 2018, after the Prime Minister's Office (PMO), in 2017, took note of repeated complaints, including missing artworks of the celebrated painter M.F. Husain from the Akademi. In reply to a newspaper, he stated, "M.F. Husain's work disappeared (from the Lalit Kala Akademi) long ago. It didn't happen in my tenure and so I am not connected to it".
* The former pro tem chairman of LKA was artist Balan Nambiar.
* Ashok Vajpeyi (April 2008-December 2011)
* Current chairman V. Nagdas was appointed on13 March 2023.He is a recipient of several prestigious awards like the National Academy Award from Lalit Kala Akademi, International Print Biennial Award from Bharat Bhavan Bhopal, Grand Award of AIFACS, and Gold medal of Kerala Lalit Kala Akademi.

## Events

On 16 September 2014, Lalit Kala Akademi's 60th anniversary was marked by an event, "Spirit of Delhi", during which poets and artists showcased their exclusive artwork.

## National Art Award

The National Art Award is one of the awards and honours in India and Asia awarded by Lalit Kala Akademi. In these awards, a plaque, a shawl and 1 lakh rupees are given to the awardee. Karan Gera is one of the youngest ever to win the Lalit Kala Akademi award.

1. "Lalit Kala Akademi". Archived from the original on 27 August 2018. Retrieved 12 August 2018.
2. Mitter, Partha. (1994). *Art and nationalism in colonial India 1850-1922 : occidental orientations*. Cambridge University Press. ISBN 0521443547. OCLC 780034304.
3. Mehta, Anubha. *State and culture : a case study of Lalit Kala Akademi; the national academy of visual arts, New Delhi (1954–1999)* (New Delhi: Jawaharlal Nehru University, 2000. Unpublished.)
4. Press Trust of India (6 April 2015). "Govt takes over Lalit Kala Akademi's management". *Business Standard*. Archived from the original on 29 January 2019. Retrieved 28 January 2019.
5. Nancy Adajania, ‘Globalism Before Globalisation: The Ambivalent Fate of Triennale India’ in Shanay Jhaveri ed., Western Artists and India: Creative Inspirations in Art and Design (Bombay: The Shoestring Publisher, 2013).
6. About us Archived 2011-10-11 at the Wayback Machine
7. "Artist Uttam Pacharne appointed Lalit Kala Akademi chairman". *The New Indian Express*. Archived from the original on 21 January 2021. Retrieved 15 January 2021.
8. "Chairman". The New Indian Express. 17 May 2018. Archived from the original on 28 May 2018. Retrieved 27 May 2018.
9. "Joint Secretary ML Srivastava appointed as Lalit Kala Akademi protem chairman". *The Indian Express*. 1 April 2018. Archived from the original on 21 January 2021. Retrieved 15 January 2021.
10. "Lalit Kala Akademi". The Wire. 8 May 2018. Archived from the original on 28 May 2018. Retrieved 27 May 2018.
11. "General Council Members". Official website. Archived from the original on 15 July 2014.
12. "Arty soul: Lalit Kala Akademi Chairman Ashok Vajpeyi." *The Hindu*. 24 December 2010. Archived from the original on 25 January 2013.
13. "Lalit Kala Akademi". *lalitkala.gov.in*. Retrieved 22 September 2024.
14. "Artists highlight the glory of Delhi through poetry-paintings". ANI News. Archived from the original on 17 September 2014. Retrieved 16 September 2014.
15. The Hindu, one of India's leading English Daily newspaper http://www.hindu.com Archived 6 January 2009 at the Wayback Machine

## InfoBox

Lalit Kala Academy
|
|  |
|
| Abbreviation | LKA |
| Formation | 5 August 1954 (1954-08-05) |
| Headquarters | Rabindra Bhavan, Delhi |
| Location |  |
| Region served | India |
| Official language | English |
| Parent organisation | Ministry of Culture, Government of India |
| Website | lalitkala.gov.in |


title: Nyctemera pseudokala

abstract: Nyctemera pseudokala is a moth of the family Erebidae first described by Rob de Vos in 1996. It is found on Buru in Indonesia.

text:
# Nyctemera pseudokala

***Nyctemera pseudokala*** is a moth of the family Erebidae first described by Rob de Vos in 1996. It is found on Buru in Indonesia.

## InfoBox

| *Nyctemera pseudokala* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Nyctemera* |
| Species: | ***N. pseudokala*** |
| Binomial name | |
| ***Nyctemera pseudokala***<br>de Vos, 1996 | |
|


title: Tylice, Lower Silesian Voivodeship

abstract: Tylice is a village in the administrative district of Gmina Zgorzelec, within Zgorzelec County, Lower Silesian Voivodeship, in south-western Poland, close to the German border. It lies approximately 5 kilometres (3 mi) south-east of Zgorzelec and 140 km (87 mi) west of the regional capital Wrocław.

text:
# Tylice, Lower Silesian Voivodeship

**Tylice** \[tɨˈlit͡sɛ\] is a village in the administrative district of Gmina Zgorzelec, within Zgorzelec County, Lower Silesian Voivodeship, in south-western Poland, close to the German border.

It lies approximately 5 kilometres (3 mi) south-east of Zgorzelec and 140 km (87 mi) west of the regional capital Wrocław.

## InfoBox

| Tylice | |
| --- | --- |
| Village | |
| Road with houses | |
| Tylice | |
| Coordinates: 51°6′39″N 15°2′16″E / 51.11083°N 15.03778°E / 51.11083; 15.03778 | |
| Country | Poland |
| Voivodeship | Lower Silesian |
| County | Zgorzelec |
| Gmina | Zgorzelec |
| Population | 545 |


title: Pseudorabdion talonuran

abstract: Pseudorabdion talonuran, the Panay Island reed snake, is a species of snake in the family Colubridae. The species is found in the Philippines.

text:
# Pseudorabdion talonuran

***Pseudorabdion talonuran***, the **Panay Island reed snake**, is a species of snake in the family Colubridae. The species is found in the Philippines.

## InfoBox

| *Pseudorabdion talonuran* | |
| --- | --- |
| Conservation status | |
|
Vulnerable  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| Order: | Squamata |
| Suborder: | Serpentes |
| Family: | Colubridae |
| Genus: | *Pseudorabdion* |
| Species: | ***P. talonuran*** |
| Binomial name | |
| ***Pseudorabdion talonuran***
R.M. Brown, Leviton, & Sison, 1999 | |
|


title: Noël Coward at Las Vegas

abstract: Noël Coward at Las Vegas is a 1955 live album by Noël Coward. This was Coward's first appearance on the Las Vegas Strip, with Coward claiming that the dates gave him "one of the most sensational successes of my career, and to pretend that I am not absolutely delighted would be idiotic." Life magazine wrote that Coward was paid $40,000 per week for the engagements. Coward was accompanied by Peter Matz, who also provided the orchestrations, Matz arranged Coward's next live album, Noël Coward in New York. The album reached No. 14 on the Billboard albums chart.

text:
# Noël Coward at Las Vegas

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Noël Coward at Las Vegas*** is a 1955 live album by Noël Coward.

This was Coward's first appearance on the Las Vegas Strip, with Coward claiming that the dates gave him "one of the most sensational successes of my career, and to pretend that I am not absolutely delighted would be idiotic." *Life* magazine wrote that Coward was paid $40,000 per week for the engagements. Coward was accompanied by Peter Matz, who also provided the orchestrations, Matz arranged Coward's next live album, *Noël Coward in New York*.

The album reached No. 14 on the *Billboard* albums chart.

## Track listing

1. Noël Coward Medley ("I'll See You Again", "Dance Little Lady", "Poor Little Rich Girl", "A Room With A View", "Someday I'll Find You", "I'll Follow My Secret Heart", "If Love Were All", "Play, Orchestra, Play") – 5:19
2. "Uncle Harry" – 3:45
3. "Loch Lomond" (Traditional) – 2:28
4. "A Bar on the Piccola Marina" – 4:48
5. "World Weary" – 3:11
6. "Nina" (Coward, Cole Porter) – 4:22
7. "Mad Dogs and Englishmen" – 3:14
8. "Matelot" – 4:35
9. "Alice Is At It Again" – 3:33
10. "A Room with a View" – 3:04
11. "Let's Do It, Let's Fall in Love" (Porter) – 4:30
12. "The Party's Over Now" – 1:44

All music and lyrics written by Noël Coward unless otherwise indicated.

## Personnel

## InfoBox

| Noël Coward at Las Vegas | |
| --- | --- |
|  | |
| Live album by Noël Coward | |
| Released | 1955 |
| Recorded | June 1955 |
| Studio | Desert Inn, Las Vegas Strip, Paradise, Nevada |
| Genre | Traditional pop |
| Length | 44:33 |
| Label | Columbia |
| Producer | Dan O'Leary |
| Noël Coward chronology | |
| ***Noël Coward at Las Vegas***
(1955) *Together with Music*
(1956) | |


title: Guanyin Township

abstract:
Guanyin Township is a township of Gongcheng Yao Autonomous County in northeastern Guangxi, China. As of 2020, it has four villages under its administration:
  - Guanyin Village
  - Yangshi Village (洋石村)
  - Shitang Village (狮塘村)
  - Shuibin Village (水滨村)

text:
# Guanyin Township

**Guanyin Township** (Chinese: 观音乡; pinyin: *Guānyīn Xiāng*) is a township of Gongcheng Yao Autonomous County in northeastern Guangxi, China. As of 2020, it has four villages under its administration:

* Guanyin Village
* Yangshi Village (洋石村)
* Shitang Village (狮塘村)
* Shuibin Village (水滨村)

## InfoBox

| Guanyin Township 观音乡 | |
| --- | --- |
| Township | |
| Guanyin TownshipLocation in Guangxi | |
| Coordinates: 25°11′0″N 110°57′50″E / 25.18333°N 110.96389°E / 25.18333; 110.96389 | |
| Country | People's Republic of China |
| Autonomous region | Guangxi Zhuang Autonomous Region |
| Prefecture-level city | Guilin |
| Autonomous county | Gongcheng Yao Autonomous County |
| Time zone | UTC+8 (China Standard) |


title: Peter Sarsfield

abstract: Peter Sarsfield was an Irish landowner of the seventeenth century. He was from a wealthy Old English Catholic family from The Pale. His grandfather Sir William Sarsfield had served as Lord Mayor of Dublin, and had purchased Tully Castle in County Kildare which he passed on to his younger son, Peter's father, while the larger Lucan Manor went to the elder son. Peter married Lady Eleanor O'Dempsey, the daughter of Lord Clanmalier a member of the Gaelic Irish nobility who had taken a title from the Crown as part of the surrender and regrant policy. Peter's eldest son and heir was Patrick Sarsfield, who took part in the Irish Confederate Wars. His grandson was Patrick Sarsfield, Earl of Lucan, a leading Jacobite figure of the Williamite War in Ireland.

text:
# Peter Sarsfield

**Peter Sarsfield** was an Irish landowner of the seventeenth century.

He was from a wealthy Old English Catholic family from The Pale. His grandfather Sir William Sarsfield had served as Lord Mayor of Dublin, and had purchased Tully Castle in County Kildare which he passed on to his younger son, Peter's father, while the larger Lucan Manor went to the elder son.

Peter married Lady Eleanor O'Dempsey, the daughter of Lord Clanmalier a member of the Gaelic Irish nobility who had taken a title from the Crown as part of the surrender and regrant policy. Peter's eldest son and heir was Patrick Sarsfield, who took part in the Irish Confederate Wars. His grandson was Patrick Sarsfield, Earl of Lucan, a leading Jacobite figure of the Williamite War in Ireland.

## Bibliography

* Wauchope, Piers. *Patrick Sarsfield and the Williamite War*. Irish Academic Press, 1992.