title: Lielvārde Station

abstract: Lielvārde Station is a railway station on the Riga–Daugavpils Railway in Latvia. It is located in Vidzeme in Lielvarde, the Lielvārde Municipality center. All but two Riga - Daugavpils - Riga trains stop here, as well as all Riga - Zilupe trains, one Zilupe - Riga train, and many suburban services from Riga to Aizkraukle. The route Riga-Lielvarde terminates here, and all trains on the routre Riga - Rezekne II pass the station.

text:
# Lielvārde Station

**Lielvārde Station** (until 1926, *Rembate*) is a railway station on the Riga–Daugavpils Railway in Latvia. It is located in Vidzeme in Lielvarde, the Lielvārde Municipality center.

All but two Riga - Daugavpils - Riga trains stop here, as well as all Riga - Zilupe trains, one Zilupe - Riga train, and many suburban services from Riga to Aizkraukle. The route Riga-Lielvarde terminates here, and all trains on the routre Riga - Rezekne II pass the station.

## History

The original station was built in 1861 during construction of the Riga–Daugavpils Railway. Originally its name was Ringmundhofa. During the First World War the station was severely damaged, and after the war the building was demolished.

In 1922 a new station building was erected with the name Rembate, as one of the first newly built station buildings in the independent Latvian state.

In 1926, the station was renamed Lielvarde.

The Second World War again brought severe damage to the station. Again station restoration was not possible, and in 1950 a new station building was constructed. This station building has survived to the present day.

## InfoBox

| Lielvārde Station | |
| --- | --- |
|  | |
| General information | |
| Location | Ausekļa iela 1, Lielvārde, Ogre Municipality |
| Coordinates | 56°43′20.10″N 24°48′27.13″E / 56.7222500°N 24.8075361°E / 56.7222500; 24.8075361 |
| Platforms | 2 |
| Tracks | 4 |
| History | |
| Opened | 1861 |
| Previous names | Ringmundhof, Rembate |
|  | |
|  | |
|  | |
| Location  Lielvārde StationLocation within Latvia | |


title: Lochnaw Castle

abstract: Lochnaw Castle is a 16th-century tower house five miles from the town of Stranraer, in the historical county of Wigtownshire, Scotland. The central square tower, five storeys high, formed part of the new castle. Lochnaw Castle shows four periods of construction – a simple 16th-century keep, 17th- and 18th-century domestic dwellings, and a mansion-house, which was later demolished. There is a plaque bearing the date 1486, on the SE wall of the keep. A chapel, built in 1704, was demolished c. 1953. An earlier, ruined castle stands on an island in the nearby Lochnaw Loch. A royal castle, this was given to the Agnews in 1363, but was sacked by Archibald The Grim, 3rd Earl of Douglas in 1390, and subsequently dismantled. The Agnews remained in the new castle until 1948. The castle, located by the loch, is occupied as a private residence.

text:
# Lochnaw Castle

**Lochnaw Castle** is a 16th-century tower house five miles from the town of Stranraer, in the historical county of Wigtownshire, Scotland. The central square tower, five storeys high, formed part of the new castle.

Lochnaw Castle shows four periods of construction – a simple 16th-century keep, 17th- and 18th-century domestic dwellings, and a mansion-house, which was later demolished. There is a plaque bearing the date 1486, on the SE wall of the keep. A chapel, built in 1704, was demolished c. 1953.

An earlier, ruined castle stands on an island in the nearby Lochnaw Loch. A royal castle, this was given to the Agnews in 1363, but was sacked by Archibald The Grim, 3rd Earl of Douglas in 1390, and subsequently dismantled.

The Agnews remained in the new castle until 1948. The castle, located by the loch, is occupied as a private residence.

## InfoBox

| Lochnaw Castle | |
| --- | --- |
| Near Stranraer, Dumfries and Galloway, Scotland
UK grid reference NW991628 | |
| The tower in 2007 | |
| Lochnaw Castle | |
| Coordinates | 54°55′11″N 5°08′04″W / 54.919786°N 5.134404°W / 54.919786; -5.134404 |
| Type | Tower house |
| Site information | |
| Owner | Private |
| Open to
the public | No |
| Condition | Preserved |
| Site history | |
| Built | 16th century; extended in 17th and 18th centuries |
| Materials | Stone |


title: Masellian

abstract: Masellian is a village in the Aquin commune of the Aquin Arrondissement, in the Sud department of Haiti.

text:
# Masellian

**Masellian** is a village in the Aquin commune of the Aquin Arrondissement, in the Sud department of Haiti.

## InfoBox

| Masellian | |
| --- | --- |
| Village | |
| MasellianLocation in Haiti | |
| Coordinates: 18°18′33″N 73°18′29″W / 18.30917°N 73.30806°W / 18.30917; -73.30806 | |
| Country | Haiti |
| Department | Sud |
| Arrondissement | Aquin |
| Elevation | 45 m (148 ft) |


title: List of Hong Kong films of 1952

text:
# List of Hong Kong films of 1952

A list of films produced in Hong Kong in 1952:

## 1952

| Title | Director | Cast | Genre | Notes |
| --- | --- | --- | --- | --- |
| **1952** | | | | | | |
| *A Bright Future* (aka Jin xiu qian cheng) | Chun Kim | Sun-Ma Sze-Tsang, Tsi Law-Lin, Siu Yin-Fei, Lee Hoi-Chuen, Hui Ying-Ying | Comedy, Cantonese opera |  |
| *A Prayer for Happiness* (aka Ru yi ji xiang) |  |  |  |  |
| *Between Her Own and the Concubine's Children* (aka Di shu zhi jian nan wei mu) |  |  |  |  |
| *Blossoms in the Heart* (aka Bai hua qi fang) |  |  |  |  |
| *Comet of Laughter Lands on Earth* |  |  |  |  |
| *Father Marries Again* (aka Yi jia chun) |  |  |  |  |
| *Flower Girl* | Yeung Kung-Leung | Hung Sin Nui, Leung Sing-Bo, Yee Chau-Sui, Leung Suk-Hing, Yu Wai-Fun, Tong Chau-Ping | Comedy |  |
| *Frolicking with a Pretty Maid in the Wineshop* | Chan Pei | Yam Kim-fai, Pak Suet-Sin, Yam Bing-yee | Historical Drama, Comedy, Cantonese opera |  |
| *Girl in Red* (Chinese: 一丈紅) | Lee Tit | Hung Sin Nui, Cheung Ying, Chow Kwun-Ling, Mui Chun, Nam Hung | Drama |  |
| *He Returns by the Lonely Moon* (aka Leng yue ban lang gui) | Ng Wui | Pak Yin, Cheung Wood-Yau, Yung Siu-Yi, Lee Yuet-Ching | Drama |  |
| *Lonely Moon on a Lonely Bed* (aka Yi wan mei yue ban han qin) |  |  |  |  |
| *Night of Romance* | Yeung Kung-Leung | Sun-Ma Sze-Tsang, Hung Sin-Nui, Cheung Wood-Yau, Chow Kwun-Ling, Yu Kai, Lam Kar-Yee, Lam Siu, Gam Lau, Wong Cho-San, Lee Yuet-Ching, Leung Siu-Mui, Cheung Sang, Lam Yuk, Lam Wah | Comedy |  |
| *Hua hao yue yuan*
*Love's Bliss* |  |  |  |  |
| *Poor Daddy* (aka Nan wei le ba ba) |  |  |  |  |
| *The Prodigal Son* (aka Bai jia zai) | Ng Wui | Cheung Ying, Wong Man-lei, Pak Yin, Yung Siu-yi, Lee Yuet-ching, Leung Suk-Hing | Drama | Sun Luen Film Company's inaugural film. |
| *Red Rose, the Songstress* (aka Songstress Red Rose) | Chun Kim | Hung Sin Nui, Cheung Ying, Siu Yin-Fei, Wong Cho-San, Yan Yan, Nam Hung | Drama | Produced by Wa Lai. |
| *The Stormy Night* (aka The Roar of the Earth) | Griffin Yueh Feng | Yan Jun, Chen Juan-Juan, Sun Tse-Chun, Luo Lan, Niu Ben, Cen Fan, Soo Chin |  |  |
| *The Story of Emperor Guangxu* | Chu Kei | Sun-Ma Sze-Tsang, Cheng Pik-Ying, Tam Lan-Hing, Lau Hak-Suen | Drama |  |
| *Sweet Girl and Good Car (aka Beautiful Woman, Beautiful Car)* | Chiu Shu-San | Ng Cho-Fan, Pak Wan, Tsi Law-Lin, Lai Yee, Yee Chau-Sui, To Sam-Ku, Chan Lap-Ban, Leung Yeuk-Ngoi, Chao Fei-Fei, Cheng Kwun-Min, Yu Wai-Fun, Lai Ming, Lui Ming, Hui Yee-Wan, Gam Lau | Comedy |  |
| *Sweet Girl's Fancies* (aka Yu nu fan xin) |  |  |  |  |
| *The Twelve Beauties* (Chinese: 歌唱十二釵) (aka Twelve Singing Beauties) | Chan Pei | Yam Kim-fai, Pak Suet-Sin, Leung Sing-Bo, Fung Wong-Nui, Lee Ngan, Chan Chui-Bing, Tsang Nam-Sze, Ying Lai-Lei, Mui Chun, Man Lan, Lam Kar-Yee, Mok Wan-Ha, Chan Lo-Wah, Ha Wa | Cantonese opera |  |
| *The World Turned Upside Down* (aka Tian fan di fu) |  |  |  |  |
| *Zi mei hua*
*Sisters Two* |  |  |  |  |
| *Long feng hua zhu*
*Wedding Candles* |  |  |  |  |
| *Luan feng he ming*
*The Satisfactory Wedding* |  |  |  |  |
| *Xin hong lou meng*
*Modern Red Chamber Dream* |  |  |  |  |
| *Pin jian fu qi bai shi shuai*
*Everything Goes Wrong for Poor Couple* |  |  |  |  |
| *Fang Shiyu rou bo Hong Xiguan*
*Fist Battle Between Fong Sze Yu and Hung Sze Kuan* |  |  |  |  |
| *Shi li chuan gu*
*A Respectable Family* |  |  |  |  |
| *Chang hen ge*
*A Song of Everlasting Sorrow* |  |  |  |  |
| *Wu shan meng hui*
*A Lingering Dream* |  |  |  |  |
| *Yue er wan wan zhao jiu zhou*
*The Moon-blanch'd Land* |  |  |  |  |
| *Guai mian hu da nao ku lou dong*
*How Queer-faced Tiger Raided the Cave of the Skulls* |  |  |  |  |
| *Shi lai yun dao*
*Timely Fortune* |  |  |  |  |
| *Xiao Mingxing zhuan*
*The Life of Xiaomingxing* |  |  |  |  |
| *Fang mao zi*
*A Bachelor Is Born* |  |  |  |  |
| *Hua kai yan zi gui*
*The Swallow's Return* |  |  |  |  |
| *Zhu ying zhao hun fu*
*Return of the Soul* |  |  |  |  |
| *Gu ling jing guai*
*Funny Fellows* |  |  |  |  |
| *Bai she zhuan*
*The Legend of Madame White Snake* |  |  |  |  |
| *Xue jian jin sha wan*
*Bloody Fight by the Golden Sand Beach* |  |  |  |  |
| *Niang re*
*Nonya* |  |  |  |  |
| *Jin shui lou tai*
*The Closer the Better* |  |  |  |  |
| *Er nu qing chang*
*Sweet Love Lingers On* |  |  |  |  |
| *Shi ge fei nu jia shou lang*
*Ten Fat Brides for Skinny* |  |  |  |  |
| *Ge chang hu bu gui*
*Why Not Return?: The Musical* |  |  |  |  |
| *Qi xia hei xuan feng*
*An Extraordinary Hero, Black Swirling Wind* |  |  |  |  |
| *Nu xia yi zhang hong*
*Heroine in Red* |  |  |  |  |
| *Nie yuan*
*Fatal Attraction* |  |  |  |  |
| *Shi zai fan hua yi meng xiao*
*Wealth Gone Like a Dream* |  |  |  |  |
| *Fu ren xin*
*Woman's Heart* |  |  |  |  |
| *Huang jin mei ren*
*The Gold and the Beauty* |  |  |  |  |
| *Liang ge diao man nu san xi Xiao Yuebai*
*How Two Naughty Girls Thrice Insulted Xiao Yuebai* |  |  |  |  |
| *Jiang hu er nu*
*Sons of the Earth* |  |  |  |  |
| *Kuang feng zhi ye*
*The Stormy Night* |  |  |  |  |
| *Red and White Peonies* (aka Hong bai mudan hua) | Yeung Kung-Leung | Hung Sin Nui, Pak Suet-Sin, Lam Kar-Yee | Drama |  |
| *Xiang che mei ren*
*Sweet Girl and Good Car* |  |  |  |  |
| *A Niu xin zhuan*
*A New Story of Aniu* |  |  |  |  |
| *Xin gu sao jie*
*Sisters-in-Law in Danger* |  |  |  |  |
| *Feng men xiao feng*
*Daughter of a Humble House* |  |  |  |  |
| *Portrait of a Lady* (Shi nu tu) |  |  |  |  |
| *Wang Kui yu Gui Ying*
*The Troubled Love of Wang Kui and Gui Ying* |  |  |  |  |
| *Yi dui yan zhi ma*
*Two Naughty Girls* |  |  |  |  |
| *Ge sheng lei ying*
*A Melancholy Melody* |  |  |  |  |
| *Ge sheng lei ying xia ji*
*A Melancholy Melody Part 2* |  |  |  |  |
| *Man yuan chun se*
*Sweet Memories* |  |  |  |  |
| *Macao* |  |  |  |  |
| *Yi ban zhi ge*
*The Dividing Wall* |  |  |  |  |
| *Mi yue*
*Honeymoon* |  |  |  |  |
|


title: Talking to a Stranger

abstract: Talking to a Stranger (1966) is a British television drama, written by John Hopkins for the BBC, which consists of four separate plays recounting the events of one weekend from the viewpoints of four members of the same family. The play cycle was directed by Christopher Morahan and produced by Michael Bakewell and first shown in the Theatre 625 series on BBC 2. Unlike many 1960s BBC productions, the series survived intact, and has been rebroadcast and released on home media.

text:
# Talking to a Stranger

***Talking to a Stranger*** (1966) is a British television drama, written by John Hopkins for the BBC, which consists of four separate plays recounting the events of one weekend from the viewpoints of four members of the same family. The play cycle was directed by Christopher Morahan and produced by Michael Bakewell and first shown in the *Theatre 625* series on BBC 2.

Unlike many 1960s BBC productions, the series survived intact, and has been rebroadcast and released on home media.

## Episodes

The four episodes were individually subtitled *Anytime You're Ready I'll Sparkle*, *No Skill or Special Knowledge is Required*, *Gladly, My Cross-Eyed Bear* and *The Innocent Must Suffer*. They were respectively the stories of the daughter, Terry; the father, Ted; the son, Alan and the mother, Sarah. Her viewpoint is recounted after her suicide. The role of the daughter Terry provided a major early role for Judi Dench in one of her first starring roles on television. The other leads were played by Maurice Denham, Margery Mason and Michael Bryant.

According to Hopkins, he was seven months late delivering the scripts and, when he was commissioned by the BBC, all he had in his head was the final line of the final play: "Somebody hold me."

## Reception and awards

Frequently hailed by critics as one of the most important and affecting television dramas of the 1960s, in a 2000 poll of industry professionals conducted by the British Film Institute to determine the 100 Greatest British Television Programmes of the 20th century, it was placed seventy-eighth.

*The Observer* TV critic George Melly called it "the first authentic masterpiece written directly for television" and claimed that "on the evidence of this work alone, the medium can be considered to have come of age."

Dench won the 1967 British Academy Television Award for Best Actress for her performance.

## Broadcast

Originally transmitted on BBC2 as part of the *Theatre 625* anthology strand, the four instalments were shown weekly from 2 to 23 October 1966. The first three plays ran 96 minutes and the final play 102 minutes.

It was repeated as part of BBC2's twenty-fifth anniversary celebrations in 1989, allegedly because writer Alan Bleasdale refused to allow his 1982 drama *Boys from the Blackstuff* to be re-shown unless *Talking to a Stranger* also featured as part of the celebratory season. It was screened again by the BBC in 2003, this time on the digital channel BBC Four.

## International adaptations

*Talking to a Stranger* was remade thrice, once for Canadian television in 1971 and twice for Belgian television. The version for the Belgian Flemish television, *Praten tegen een vreemde*, was adapted by Pieter De Prins and directed by Lode Hendrickx (1969). Paul Roland was the director of *Comme des étrangers* for the Belgian French television.

### Canadian

The Canadian version, produced by the Canadian Broadcasting Corporation, was adapted by Doris Gauntlett and starred Budd Knapp (the father), Douglas Rain (Alan), Martha Henry (Terry) and Norma Renault (the mother). This was produced by Eric Till as four-hour-long episodes and broadcast on Wednesdays at 10:00 p.m. (Eastern) from 24 November to 15 December 1971.

The episodes of the Canadian adaptation are structured as follows:

1. Terry faces pregnancy while estranged from her husband
2. Terry's mother commits suicide, as seen through the viewpoint of her husband
3. The family faces the aftermath of the suicide, under the viewpoint of Terry's brother Alan
4. The final episode recounts the first, under the viewpoint of the mother

## Video releases

The original production is included in *The Judi Dench Collection* boxset which has been issued in both Region 1 and Region 2 DVD versions.


title: Orso (band)

abstract: oRSo is a US-based band formed in 1996 and led by Phil Spirito of Rex, HiM (US), Loftus, and Califone featuring Brian Deck of Red Red Meat and Ben Massarella of Califone. The musical style is self-described as "carny rock, chamber folk or just orchestrated weirdness"; their songs, which feature prominent banjo parts, also feature experimental sounds such as those made by typewriters and toilets. The band releases on Perishable Records.

text:
# Orso (band)

**oRSo** is a US-based band formed in 1996 and led by Phil Spirito of Rex, HiM (US), Loftus, and Califone featuring Brian Deck of Red Red Meat and Ben Massarella of Califone. The musical style is self-described as "carny rock, chamber folk or just orchestrated weirdness"; their songs, which feature prominent banjo parts, also feature experimental sounds such as those made by typewriters and toilets. The band releases on Perishable Records.

## Discography


abstract: The Tshuapa–Lomami–Lualaba Conservation Landscape (TL2) was until very recently a remarkably unknown forested region in central Democratic Republic of Congo.

text:
# Tshuapa–Lomami–Lualaba Conservation Landscape

The **Tshuapa–Lomami–Lualaba Conservation Landscape** (TL2) was until very recently a remarkably unknown forested region in central Democratic Republic of Congo.

## Geography

This landscape is known by three principal rivers, the Tshuapa, the Lomami, and the Congo River, known here as the Lualaba, giving the region its name: TL2. The Tshuapa and Lualaba are its western and eastern borders; the Lomami River flows through its center. This region covers over 40,000 km2 and is one of the largest blocks of intact forest in DRCongo. It has both low human population densities and little immigration.

## Fauna

The most important populations of key fauna, including bonobo and elephant, occur in a central area that can be divided into three linked conservation sectors. There are two primary conservation sectors, one in Tshopo Province and one in Maniema Province (which were respectively the western and south-western districts of former Orientale Province). Along with a third smaller sector in Kasaï-Oriental, surveys show that this region holds a major population of Congo's great ape, the bonobo, as well as the last significant elephant population between the Tshuapa and the Lualaba rivers. The concentrations of these two flagship species also correspond with the highest concentrations of many other large mammals, including primates, throughout this continuously forested landscape.

The forests in the Lomami-Lualaba watersheds are the eastern range limit of Congo’s endemic great ape, the bonobo (*Pan Paniscus*). Bonobos are found throughout most of TL2, though occurrence is patchy and bonobos are uncommon in some areas where they are present. The largest concentrations of bonobos are found in the south of the landscape, toward the forest-savanna ecotone. Bonobos were recorded in only a few scattered locations in surveys outside the area defined as the TL2 Conservation Landscape, and the evidence suggests populations are small and scattered. Based on interviews with hunters and villagers, bonobos have disappeared from some of these areas over the last two decades as hunting levels increased.

Forest elephants in the landscape are now restricted mainly to a single area in the watershed of the Tutu River, a tributary of the Lomami. It is an area of approximately 5000 km2, and only a scattering of elephants, all highly mobile, occur elsewhere in the landscape. There is a reasonable prognosis for maintenance of forest elephants over the long term, but existing populations were nearly decimated after a decade of intense poaching, associated with the war and the widespread availability of military-grade firearms.

Okapi occur on both sides of the Lomami River, representing an extension of the species’ known range. Okapi are, however, uncommon in the landscape.

### Primates

Several species or subspecies of primates are limited in their distribution to the TL2 landscape region.

A new species of primate, known vernacularly as the lesula, was discovered in this region in 2007. The lesula is most closely related to the owl-faced monkey, *Cercopithecus hamlyni*. Significant work was subsequently undertaken over the next five years to complete the taxonomic classification of the new species and confirm the importance and significance of the discovery.

On 13 September 2012, the discovery of the lesula (*Cercopithecus lomamiensis*) was announced to have been confirmed. The final classification of the species was based primarily on genomic evidence.


title: Paradise Garden (novel)

abstract: Paradise Garden is a 2023 coming-of-age novel by German writer Elena Fischer. The story follows 14-year-old Billie, who lives with her struggling single mother Marika in a high-rise apartment complex. After a tragic accident claims Marika's life, Billie embarks on a road trip across Germany to find her estranged father. The novel explores themes of resilience, mother-daughter relationships, the power of storytelling, and the impact of class and marginalization. It received widespread acclaim for its moving portrayal of Billie's journey and its nuanced social commentary and was longlisted for the 2023 German Book Prize.

text:
# Paradise Garden (novel)

***Paradise Garden*** is a 2023 coming-of-age novel by German writer Elena Fischer. The story follows 14-year-old Billie, who lives with her struggling single mother Marika in a high-rise apartment complex. After a tragic accident claims Marika's life, Billie embarks on a road trip across Germany to find her estranged father.

The novel explores themes of resilience, mother-daughter relationships, the power of storytelling, and the impact of class and marginalization. It received widespread acclaim for its moving portrayal of Billie's journey and its nuanced social commentary and was longlisted for the 2023 German Book Prize.

## Plot

Fourteen-year-old Billie lives with her mother, Marika, in a high-rise apartment complex on the outskirts of a German city. Marika, a single mother who emigrated from Hungary, works two jobs to make ends meet but struggles to provide for herself and her daughter. Despite their financial difficulties, Marika uses her creativity and optimism to bring joy and magic into their lives.

Their lives are upended when Marika's mother, Billie's grandmother, arrives unexpectedly from Hungary, claiming to be ill and in need of medical treatment. The grandmother moves into their small apartment, causing tension and dredging up old conflicts between her and Marika. One day, a heated argument between the two women leads to a tragic accident, resulting in Marika's death.

Devastated by the loss of her mother, Billie is faced with the decision of either moving to Hungary with her grandmother or being placed in a youth home. Instead, she chooses to embark on a journey to find her father, whom she has never met and knows nothing about, except for a torn photograph left behind by her mother.

Using her mother's old Nissan, which she had taught Billie to drive when she was just twelve, Billie sets off on a road trip across Germany, heading towards the North Sea where she believes her father may be living. Eventually, Billie's journey leads her to a small island off the North Sea coast, where she discovers that her mother had lived with a man for three years after Billie's father abandoned them. This man, who had been a loving figure in Marika's life, welcomes Billie and offers her a place to stay, providing her with a sense of belonging and a connection to her mother's past.

## Themes

A significant theme in the novel is the impact of poverty and social inequality on individuals and families. Through Billie's experiences living in a high-rise housing complex on the outskirts of the city, Fischer sheds light on the daily struggles and prejudices faced by those living in marginalized communities. The contrast between Billie's world and that of her wealthy best friend, Lea, highlights the stark disparities that exist within society and the barriers that can prevent upward mobility.

The novel also delves into the theme of resilience and the human capacity to find joy and beauty in the face of adversity. Despite the hardships they face, Billie and Marika demonstrate an unwavering determination to make the best of their circumstances, finding small moments of happiness and celebration in their everyday lives.

Another theme in *Paradise Garden* is the complex relationship between mothers and daughters, as seen through the lens of Billie's relationship with her mother, Marika, and Marika's relationship with her own mother. The novel explores the challenges and sacrifices that come with motherhood, particularly for single mothers like Marika, who must navigate the delicate balance between their own needs and those of their children.

Finally, the novel explores the transformative power of writing and storytelling as a means of coping with trauma and finding one's voice. For Billie, writing serves as a way to process her grief and make sense of her experiences, ultimately empowering her to take control of her own narrative and shape her future.

## Background

*Paradise Garden* is the debut novel of German author Elena Fischer. When asked about the origin of the story, Fischer stated, "There were many different impulses that I combined in this novel: First, the feeling of having to write a novel about the relationship between a father and a daughter, then it became the absent father and Billie's search for him. This automatically brought the mother, then the grandmother, more into the center."

Fischer also drew inspiration from her own family history, particularly her Hungarian roots. "Both of my grandfathers were Hungarian Germans; one grew up near Budapest and lived in Hungary until his young adulthood. \[...\] Through my grandfather, I learned a lot about culture and customs. Bringing that back to life in the novel gave me a lot of joy."

In an interview with Alexander Jürgs from the *Frankfurter Allgemeine Zeitung*, Fischer discussed her journey to becoming a writer. Despite always having a passion for writing, Fischer initially pursued other careers, such as studying literature and film in Mainz and working in the communications department of a health company. However, she never lost her desire to write. "It always pricked," she said, describing the feeling of envy she experienced when attending readings or seeing others take their first steps as authors. Fischer's breakthrough came when she participated in the Darmstadt Text Workshop in 2019 and 2020, led by writer Kurt Drawert. There, she presented two texts, the second of which was an excerpt from *Paradise Garden*. The positive feedback she received from the group encouraged her to continue working on the novel.

When asked about the challenges of writing about poverty and social inequality, themes central to *Paradise Garden*, Fischer admitted, "It was painful to show how Billie and her mother live, also because they experience classism." She drew inspiration from documentaries about child poverty in Germany and the high-rise apartment complex in Gonsenheim, known as "Elsa," although she emphasized that the building in her novel is fictional and more run-down than its real-life counterpart.

## Reception

*Paradise Garden* received widespread acclaim upon its release. The novel was praised for its poignant portrayal of a mother-daughter relationship and its nuanced exploration of themes such as loss, resilience, and the search for identity. Katharina Teutsch of the *Frankfurter Allgemeine Zeitung* described the novel as "an equally moving and witty family drama," noting that Fischer "has created a heroine in her debut that one does not quickly lose sight of." The novel's protagonist, Billie, has been hailed as a strong and relatable character, with critics praising her resilience and determination in the face of adversity.

Some reviewers have compared *Paradise Garden* to Wolfgang Herrndorf's cult novel *Why We Took the Car*, citing similarities in their coming-of-age themes and road trip narratives. However, critics have also noted that Fischer's novel offers a fresh perspective on these themes, particularly in its depiction of poverty and social inequality. Benedikt Herber of *Die Zeit* praised *Paradise Garden* as a "deeply sad yet so hopeful" debut novel that blends coming-of-age story, social study, and road novel, lauding Fischer's impressive ability to bring her young protagonist Billie to life through "wonderful-childlike yet highly precise allegories, metaphors and aphorisms" that cast a "spell" over the book. Astrid Dornbrach of *Die Rheinpfalz* praised the novel for its "skillful and tight-knit escorting of content," noting that Fischer's style "sometimes loosely plays around it, mitigating it or lending it sharpness."

The novel's exploration of social class and marginalization has also been a point of discussion among critics. Andrea Gerk of *Westdeutscher Rundfunk* noted that the novel "tries to provide careful thoughts and objective information without downplaying its harmful content or implying that there are reasonable perspectives on both sides" when addressing controversial topics. Petra Pluwatsch of the *Frankfurter Rundschau* praised the novel for its "unpretentious and direct" style, noting that it "aims straight for the heart" in its portrayal of Billie's journey. Anne Amend-Söchting of *literaturkritik.de* praised the novel's "excellent narrative competence" and "a narrative voice full of élan and profundity".

## Awards

*Paradise Garden* was longlisted for the 2023 German Book Prize.

## InfoBox

Paradise Garden
| Cover art | |
| --- | --- |
| Author | Elena Fischer |
| Cover artist | Laura Cronin |
| Language | German |
| Genre | Coming-of-age |
| Published | 23 August 2023 |
| Publisher | Diogenes |
| Media type | Print |
| Pages | 345 |
| ISBN | 9783257072501 |


title: Peacock Theatre

abstract: The Peacock Theatre is a West End theatre in the City of Westminster, located in Portugal Street, near Aldwych. The 999-seat house is owned by, and comprises part of the London School of Economics and Political Science campus, who use the theatre for lectures, public talks, conferences, political speeches and open days. The university has a long lease with London's principal centre for contemporary dance, Sadler's Wells, with whom it has negotiated a deal to bring in dance companies under the banner 'Sadler's Wells in the West End'. The venue often plays host to dance performances, conferences, ballet, pop concerts and award ceremonies. The stage is approximately 36 feet (11 m) by 33 feet (10 m).

text:
# Peacock Theatre

The **Peacock Theatre** (previously the **Royalty Theatre**) is a West End theatre in the City of Westminster, located in Portugal Street, near Aldwych. The 999-seat house is owned by, and comprises part of the London School of Economics and Political Science campus, who use the theatre for lectures, public talks, conferences, political speeches and open days.

The university has a long lease with London's principal centre for contemporary dance, Sadler's Wells, with whom it has negotiated a deal to bring in dance companies under the banner 'Sadler's Wells in the West End'. The venue often plays host to dance performances, conferences, ballet, pop concerts and award ceremonies. The stage is approximately 36 feet (11 m) by 33 feet (10 m).

## History

### Former theatres

A theatre has stood on the site since the 17th century. Known as Gibbon's Tennis Court, or the Vere Street Theatre. Mrs Hughes became the first (identified) woman to tread the boards of a London theatre, on 8 December 1660, in a performance of *Othello*. The company left the theatre in 1663 and there is no record of further plays at the theatre. The building was finally destroyed by fire in 1809.

At the beginning of the 20th century, the creation of Aldwych and Kingsway, linking High Holborn and Aldwych, destroyed a number of established London playhouses and the site between Portugal Street and Sardinia Street became available. New York-based theatre impresario Oscar Hammerstein I (the grandfather of Oscar Hammerstein II) commissioned Bertie Crewe to build a new theatre in the Beaux-Arts style. The theatre opened on 13 November 1911 as the London Opera House. It had an approximately 45 feet (13.7 m) by 78 feet (23.8 m) stage, and a capacity of 2,660. As an opera house, it found it difficult to attract audiences from the Royal Opera House, and from 1914 to 1915 the house became the National Theatre of England.

In May 1915 the theatre hosted Vladimir Rosing's *Allied Opera Season*. Rosing presented the English premiere of Tchaikovsky's *The Queen of Spades* and introduced Tamaki Miura as Madama Butterfly, the first Japanese singer to be cast in that role.

The theatre was purchased by Oswald Stoll in 1916 and renamed the Stoll Theatre and, for a time, as the Stoll Picture Theatre, housing cine-variety until the 1950s. *Rose-Marie* played at the Stoll Theatre in 1942, followed by *Kismet* and *Stars on Ice* in 1947. The London transfer of a version of George Gershwin's *Porgy and Bess* that restored it to an operatic form, took place here on 9 October 1952. *Joan of Arc at the Stake* was produced in 1954, starring Ingrid Bergman. The theatre closed on 4 August 1957, and was demolished for the construction of an office block.

### Current building

The present, smaller theatre was built and christened The Royalty Theatre in 1960, located on the ground level of an office building. It was the first West End theatre to be built since the Saville Theatre in 1931. The first production was of a Friedrich Dürrenmatt play, *The Visit*, with Alfred Lunt and Lynn Fontanne. In March 1961 it hosted the William Gibson play about Helen Keller, *The Miracle Worker*.

Later in 1961, MGM leased the theatre to continue the run of the film *Ben Hur* following closure of the Empire, Leicester Square for rebuilding. This ran from 29 May 1961 to 6 May 1962, after which the theatre was closed until 19 November 1962 when *Mutiny on the Bounty* opened. This ran until 10 July 1963, and following a few weeks of revivals (*Quo Vadis* and *Gigi*) MGM closed the theatre on 3 August.

The lease was taken over by the Cinerama Corporation and the theatre was then equipped for screening three-strip Cinerama films becoming London's third Cinerama theatre (the others being the Casino Cinerama and the Coliseum Cinerama). The first presentation was *The Wonderful World of the Brothers Grimm* which transferred from the Coliseum on 27 November 1963. A compilation film entitled *The Best of Cinerama* ran for eleven weeks from 22 March 1964, after which the theatre was converted to 70mm single lens Cinerama to take over the run of *It's a Mad Mad Mad Mad World* from the Coliseum on 16 July. The theatre only premièred one Cinerama film, *The Golden Head*, which opened on 8 April 1965 and ran until 29 July. From 30 July *The Greatest Story Ever Told* transferred from the Casino Cinerama and ran until 27 October. From the 29 October, The Royalty commenced a run of *My Fair Lady* which was still showing at the Warner Leicester Square. This ended on 29 June 1966 to be followed by a revival of *Mediterranean Holiday* until 7 August when Cinerama pulled out and the theatre closed.

The lease was picked up by Gala Film Distributors and the Royalty reopened on 1 December with the X-rated Swedish film *Night Games*. Gala continued with a combination of foreign films and mainstream revivals until 19 December 1969 when the theatre closed as a cinema for the last time and returned to live theatre use. The Royalty Theatre's only successes were a run of the hit *Oh! Calcutta!* and a hit production of *Bubbling Brown Sugar* in the late 1970s. It was also the venue for the first and last concerts on what turned out to be the final tour of the English folk-rock singer Sandy Denny with her band in November 1977, and the venue features on the 1998 posthumous release *Gold Dust* which was produced over 20 years later from the original tapes. Spectacular 'follies' style shows and 'drag' shows didn't find an audience, and the theatre became used as a TV studio for *This Is Your Life*, but was later bought by the London School of Economics and renamed the Peacock Theatre.

When Sadler's Wells determined to build its new theatre in 1996, the company moved to the Peacock Theatre. After the new Sadler's Wells Theatre opened in 1998, the Peacock became a dance venue for the company. *The Rat Pack* played at the theatre in 2002, and *Doldrum Bay* premièred here in 2003. The house is now shared between the London School of Economics (during the day) and Sadler's Wells evening dance productions.

The Peacock Theatre is most noted as the home of one of the West End's most unusual ghosts, a dolphin commonly known as 'Flipper'. An urban myth has grown up that, during one of Paul Raymond's revues at the theatre in the 1970s, a dolphin was kept in a tank beneath the stage, where it lived permanently and later died from neglect. In fact, this is not true. Two dolphins called 'Pennie' and 'Pixie' were indeed kept in a tank at the theatre for three months for a show called 'The Royalty Folies', which was later renamed 'The Great International Nude Show'. However, neither of these animals died while at the theatre and at the close of the show the animals were moved to a dolphinarium in the East Asia.

The remnants of the tank and its lifting equipment still remain below the stage and numerous visitors to the theatre claim to have heard in the vicinity a spectral squeaking, not unlike a crying baby. One possible explanation is that the London Underground Piccadilly line Aldwych spur used to pass very close to the sub-stage areas of the theatre and it is noise from the tunnels that created the sound.

## InfoBox

Peacock Theatre
| Peacock Theatre in 2017 | |
| --- | --- |
|  | |
| Address | Kingsway
London, WC2
United Kingdom |
| Coordinates | 51°30′52″N 0°07′05″W / 51.514444°N 0.118056°W / 51.514444; -0.118056 |
| Public transit | Holborn |
| Owner | London School of Economics |
| Capacity | 999 |
| Current use | Also a lecture theatre |
| Production | Sadler's Wells productions in repertory |
| Construction | |
| Opened | 13 November 1911 (1911-11-13) |
| Rebuilt | 1960 |
| Architect | Bertie Crewe |
| Website | |
| http://www.peacocktheatre.com | |


title: Lila Shanley

abstract: Lila Georgia Everett Finn Shanley, stage name Lila Finn, was an American stuntwoman, stunt double, actress, and athlete. After first working as a stunt double for Dorothy Lamour in The Hurricane (1937), she doubled for many leading Hollywood actresses, including Vivien Leigh, Paulette Goddard, Donna Reed, Betty Hutton, and Sandra Dee, appearing in more than 100 films over nearly six decades. She was the founding president of the Stuntwomen's Association of Motion Pictures, established in 1958, and a founding member of the Screen Actors Guild. She also competed on the United States women's national volleyball team from 1955 to 1960 and won a team silver medal in the 1959 Pan American Games.

text:
# Lila Shanley

**Lila Georgia Everett Finn Shanley** (November 28, 1909  November 15, 1996), stage name **Lila Finn**, was an American stuntwoman, stunt double, actress, and athlete. After first working as a stunt double for Dorothy Lamour in *The Hurricane* (1937), she doubled for many leading Hollywood actresses, including Vivien Leigh, Paulette Goddard, Donna Reed, Betty Hutton, and Sandra Dee, appearing in more than 100 films over nearly six decades. She was the founding president of the Stuntwomen's Association of Motion Pictures, established in 1958, and a founding member of the Screen Actors Guild. She also competed on the United States women's national volleyball team from 1955 to 1960 and won a team silver medal in the 1959 Pan American Games.

## Early life and family

Lila Georgia Everett was born in Los Angeles, California, on November 28, 1909. She was the daughter of Elmer E. Everett and Lila G. Baugh. Her father worked in real estate and her mother was a housewife. Growing up in the beachfront community of Venice, she often dove for coins from tourists at the Venice Hot Salt Water Plunge.

At age 19, she married her first husband, Charles Thornton Finn (born 1899), an American water polo player. She later remarried to Samuel Shanley, with whom she had one son, Barry, an attorney.

## Film career

At age 27, the blonde, 5 ft 3 in-tall (160 cm) Shanley was hired as the stunt double for Dorothy Lamour in *The Hurricane* (1937). An expert swimmer, she handled all of Lamour's swimming and diving scenes shot on location in Pago Pago, American Samoa, and Catalina Island. In one scene, Shanley lowered her sarong and was filmed diving into a lagoon in the nude. After *The Hurricane* became a hit, Shanley was hired to double for Lamour in her subsequent films.

Shanley went on to double for a succession of leading actresses, including Vivien Leigh in *Gone with the Wind*, Paulette Goddard in *Reap the Wild Wind* and *Unconquered*, Donna Reed in *It's a Wonderful Life*, Betty Hutton in *The Perils of Pauline*, and Sandra Dee in *A Summer Place*. She also doubled for Jane Powell, Olivia de Havilland, Ida Lupino, Veronica Lake, Joan Fontaine, Frances Dee, and Sonja Henie. She appeared in more than 100 films. In 1947, Jerry Fairbanks produced *The Stunt Girl*, a short documentary film highlighting her career to date.

Shanley performed a wide range of stunts. In the escape from Atlanta scene in *Gone with the Wind*, she rode in a horse-drawn carriage through the burning warehouses of the railroad depot. In the graduation party scene in *It's a Wonderful Life*, she fell into a swimming pool that lay underneath the retractable floor of a high school gymnasium. In *Unconquered*, she and stuntman Ted Mapes rode a canoe on the rapids then jumped out to grasp an overhanging tree limb; she also sustained an attack of "flaming arrows" in the same film. In *To Catch a Thief*, Shanley leaped from rooftop to rooftop, then rolled down a slanted roof and broke her fall. She had also "jumped out of bombers, been chased by lions, clawed by tigers, and thrown overboard into icy ocean waters at night", and served as the target for a knife-and-hatchet-thrower. Shanley said stair falls were her favorite stunt, explaining, "They are the most rewarding because everyone thinks they look great. They're quite simple, actually".

In 1981, the *Chicago Tribune* said that Shanley, then aged 72, "may be the oldest working stuntwoman in America". It credited her long and injury-free career to her conditioning program, which involved swimming 50 laps daily and playing beach volleyball.

## Volleyball career

Shanley was the manager of the Santa Monica Mariners women's volleyball team, which won several division titles. From 1955 to 1960, Shanley was a member of the United States women's national volleyball team. During this time, the national team competed in two world championships, winning the silver medal in the 1959 Pan American Games. Shanley was the oldest U.S. woman athlete at the 1959 Games.

## Memberships and affiliations

Shanley was the founding president of the Stuntwomen's Association of Motion Pictures, established in 1958. She was also a founding member of the Screen Actors Guild.

Shanley was inducted into the Stuntwomen's Hall of Fame. She received a Lifetime Achievement Award from Women in Film.

## Death

Shanley died from heart failure on November 15, 1996, aged 86, at Saint John's Health Center in Santa Monica.

## Selected filmography

Sources:

## Sources

## InfoBox

| Lila Shanley | |
| --- | --- |
| Born | (1909-11-28)November 28, 1909
Los Angeles, California, US |
| Died | November 15, 1996(1996-11-15) (aged 86)
Santa Monica, California |
| Other names | Lila Finn |
| Occupation(s) | Stuntwoman, stunt double, actress, athlete |
| Children | 1 |


title: Thomas Somerscales

abstract: Thomas Jacques Somerscales was an English teacher, sailor, and landscape and marine painter. He is also considered a Chilean painter as he began his career as an artist there. Many of his landscapes evoke the region and many of his marine paintings feature notable events in Chilean naval history and have become patriotic national icons in that country.

text:
# Thomas Somerscales

**Thomas Jacques Somerscales** (born in Sculcoates, Yorkshire on 29 October 1842; died in Sculcoates, Yorkshire on 27 June 1927) was an English teacher, sailor, and landscape and marine painter. He is also considered a Chilean painter as he began his career as an artist there. Many of his landscapes evoke the region and many of his marine paintings feature notable events in Chilean naval history and have become patriotic national icons in that country.

## Life and career

His father was a shipmaster, who sketched, and his uncle was an amateur painter. However he had no formal training as an artist and originally became a teacher in the Royal Navy.

He joined the Royal Navy in 1863 as a schoolmaster, and served mostly in the Pacific, firstly on HMS Cumberland for six years, then the corvette HMS Clio and finally HMS Zealous, flagship of the Pacific Station. Having caught a fever in Tahiti, he was subsequently invalided ashore at Valparaiso, Chile and discharged from the Royal Navy.

He settled in Chile and from 1874 teaching at The Mackay School in Valparaíso he started working as a professional painter. By 1893 (when he had returned to Britain) he was still being referred to in England as a "little known artist" but had gained some praise.

Although he returned to Britain in 1892 and spent most of the following thirty-five years in his home country, he remains far better known in Chile (where his work is on display in several prestigious locations) than he is in the UK. His life's work has been detailed in the book: "Thomas Somerscales, Marine Artist" by Alex A. Hurst.

He is commemorated with a green plaque on The Avenues, Kingston upon Hull.

## Selected paintings


title: Lodge Zare Zapadu

abstract: Lodge Zare Zapadu #44, known locally as Yellow Brick Hall and also known as Bohemian Brick Hall and Z.G.B.J. Council Hall #44, is a historic clubhouse of the Zapadni Ceska Bratrska Jednota serving the Czech-American community in rural Freeborn County, Minnesota, United States. It is located on County Road #30 about 2.5 miles north of Myrtle in the southeastern part of Freeborn County. It was built in 1909 and cost approximately $3,300. The building was listed on the U.S. National Register of Historic Places in 1986. It was deemed significant as the last surviving one of three fraternal lodge buildings serving immigrants from Bohemia that was located in southeastern Freeborn County. It was a social and cultural center that had an annual festival and parade, and it provided insurance to its members. In 1985, the stage area of the hall still included a historic mural painted by a Mr. Avery early in the 1900s depicting Karlstejn Castle in Bohemia.

text:
# Lodge Zare Zapadu

**Lodge Zare Zapadu** (Glow of the West) **#44**, known locally as **Yellow Brick Hall** and also known as **Bohemian Brick Hall** and **Z.G.B.J. Council Hall #44**, is a historic clubhouse of the Zapadni Ceska Bratrska Jednota serving the Czech-American community in rural Freeborn County, Minnesota, United States.

It is located on County Road #30 about 2.5 miles north of Myrtle in the southeastern part of Freeborn County. It was built in 1909 and cost approximately $3,300.

The building was listed on the U.S. National Register of Historic Places in 1986. It was deemed significant as the last surviving one of three fraternal lodge buildings serving immigrants from Bohemia that was located in southeastern Freeborn County. It was a social and cultural center that had an annual festival and parade, and it provided insurance to its members.

In 1985, the stage area of the hall still included a historic mural painted by a Mr. Avery early in the 1900s depicting Karlstejn Castle in Bohemia.

## InfoBox

|  | |
| --- | --- |
| Lodge Zare Zapadu #44 | |
| U.S. National Register of Historic Places | |
|  | |
| Lodge Zare Zapadu #44 from the east | |
|  | |
| Nearest city | Hayward, Minnesota |
| Coordinates | 43°36′29.7″N 93°10′9″W / 43.608250°N 93.16917°W / 43.608250; -93.16917 |
| Area | 1.5 acres (0.61 ha) |
| Built | 1909 |
| Architect | J.R. Lukes |
| NRHP reference No. | 86000479 |
| Added to NRHP | March 20, 1986 |


title: Victoriano Balasanz

abstract: Victoriano Balasanz Sánchez was a Spanish painter.

text:
# Victoriano Balasanz

**Victoriano Balasanz Sánchez** (23 March 1854 — 27 October 1929) was a Spanish painter.

## Biography

Balasanz was born on 23 March 1854 in Castiliscar, although he was primarily circumscribed to Zaragoza. One of his teachers at the Escuela de Bellas Artes de Zaragoza was Eduardo López del Plano, also studying at the Escuela Especial de Madrid. He cultivated history painting in a "rather cold and awkward" manner, as described by Federico Torralba Soriano, and gained some reputation. Like Plano, he became a pensioner and was in correspondence with Zenón Trigo when there were difficulties with the Ayuntamiento de Zaragoza. Related to spiritism, he died on 27 October 1929 in Montevideo, having emigrated to South America in old age.

### Bibliography


title: List of Hong Kong films of 1956

text:
# List of Hong Kong films of 1956

A list of films produced in Hong Kong in 1956:

## 1956

| Title | Director | Cast | Genre | Notes |
| --- | --- | --- | --- | --- |
| **1956** | | | | | | |
| *The 3 Best Scholars* | Ling Yun |  |  |  |
| *The 7 Heavens* | Writer: Cho Yuan | Patrick Tse Yin |  |  |
| *An Actress In War* |  | Cheung Ying |  |  |
| *Apartment For Women* (aka Lui Ji Gung Yue) | Wong Wik | Cheung Chang, Shi Hui, Betty Loh Ti, Jue Lee | Comedy |  |
| *Autumn Affair* | Yan Jun |  |  |  |
| *Beauty In The Maelstrom* | Wang Yin |  |  |  |
| *Beauty In The Mist* | Wong Hang | Pak Yin, Cheung Wood-Yau, Mui Yee, Lai Cheuk-Cheuk, Lee Yuet-Ching, Ma Siu-Ying, Lai Man, Hui Ying-Ying, Fung Yik-Mei | Drama |  |
| *Beauty Raised From The Dead* | Lee Sun-fung |  |  |  |
| *Beyond The Blue Horizon* | Li Han Hsiang |  |  |  |
| *Black Cat, The Cat Burglar* | Wong Hang | Ng Cho-Fan, Tsang Nam-Sze, Lai Cheuk-Cheuk, Ha Wa, Hui Ying-Ying, Fung Wai-Man | Crime |  |
| *Blind Love* | Evan Yang |  |  |  |
| *Bloodshed In The Chu Palace* | Wong Hok Sing |  |  |  |
| *A Brave Girl Avenges Her Husband's Death* | Chan Pei |  |  |  |
| *Brothers* |  |  |  |  |
| *Chang E's Flight To The Moon* | Wong Hok Sing |  |  |  |
| *The Chase* | Yan Jun |  |  |  |
| *The Clumsy Hero* | Wong Toi |  |  |  |
| *Colorful Tokyo* | Chow See Luk |  |  |  |
| *A Corpse At Sea* | Cho Kei |  |  |  |
| *A Country Bumpking Looks For His Son* | Wong Hok Sing |  |  |  |
| *Country Girl Looks For Her Husband* | Suen Wai |  |  |  |
| *A Dark Wench* | Evan Yang |  |  |  |
| *Dial 999 For Murder* |  |  |  |  |
| *Emperor Qianlong's Adventures In The Bower Of A Million Flowers* | Ling Yun |  |  |  |
| *The Error* | Doe Ching |  |  |  |
| *Fang Shiyu Comes To Hong Xiguan's Rescue* |  |  |  |  |
| *The Fatherless Son* |  |  |  |  |
| *Fatty Marries Skinny* (aka Fatso Married Skinny) | Chiang Wai-Kwong | Sun-Ma Sze-Tsang, Cheng Pik-Ying, Tam Lan-Hing, Lam Kar-Yee, Lai Man, Helena Law Lan | Comedy |  |
| *Feather Fan Under Spring Lantern* | Chow See Luk |  |  |  |
| *Fire* | Cho Kei |  |  |  |
| *Fisherman's Delight* |  |  |  |  |
| *The Flame of Love* | Evan Yang |  |  |  |
| *The Foolish Heart* | Chan Jing Boh, Law Gwan Hung, Zhu Shilin |  |  |  |
| *The Fresh Peony* | Bai Guang, Law Chun |  |  |  |
| *Fruit Of Marriage* | Doe Ching |  |  |  |
| *Funny Girl* | Chiang Wai-Kwong | Fong Yim Fun, Wu Fung, Chu Dan, Tang Kei-Chan, Wong Cho-San, Ma Siu-Ying, Chan Chui-Bing, Leung Siu-Mui, Gam Lau, Lai Man, Lee Ngan | Comedy |  |
| *General "Soaring Tiger"* | Lee Ying Yuen |  |  |  |
| *General Kwan Seduced By Diaochan Under Moonlight* |  |  |  |  |
| *The Ghost Hero* | Ling Yun |  |  |  |
| *Girl in Disguise* | Chan Woon Man |  |  |  |
| *A Girl Named Hong Kong* | Mok Hong See |  |  |  |
| *Gloomy Sunday* | Evan Yang |  |  |  |
| *Golden Phoenix* | Yan Jun |  |  |  |
| *The Grand Reunion* | Chow See Luk |  |  |  |
| *Great Chums* | Fung Fung |  |  |  |
| *Green Hills And Jade Valleys* | Yueh Feng |  |  |  |
| *The Green Jade Hairpin* | Chan Pei |  |  |  |
| *Happy Hall* |  |  |  |  |
| *Heartbreak Weather* | Choi Cheong |  |  |  |
| *Her Envious Beauty* |  |  |  |  |
| *The Heroine Of Deadly Darts* |  |  |  |  |
| *Homeward Flies The Swallow* |  |  |  |  |
| *Hong Xiguan And Third Madam Of Yongchun* |  |  |  |  |
| *How Fangtangjing Made A Fool Of the Unruly Girl* | Cheung Wai Gwong |  |  |  |
| *How Huang Feihong Conquered The Two Tigers* | Wu Pang |  |  |  |
| *How Huang Feihong Fought 5 Dragons Single-Handed* | Wu Pang |  |  |  |
| *How Huang Feihong Pitted 7 Lions Against The Dragon* | Wu Pang |  |  |  |
| *How Huang Feihong Pitted A Lion Against the Unicorn* | Wu Pang |  |  |  |
| *How Huang Feihong Saved The Dragon's Mother's Temple* | Wu Pang |  |  |  |
| *How Huang Feihong Saved The Lovelorn Monk From The Ancient Monastery* | Wu Pang |  |  |  |
| *How Huang Feihong Set Fire To Dashatou* | Wu Pang |  |  |  |
| *How Huang Feihong Thrice Captured Su Shulian In the Water* | Wu Pang |  |  |  |
| *How Huang Feihong Thrice Tricked The Girl Bodyguard* | Wu Pang |  |  |  |
| *How Huang Feihong Vanquished The 12 Tigers* | Wu Pang |  |  |  |
| *How Huang Feihong Vanquished The Bully At The Red Opera Float* | Wu Pang |  |  |  |
| *How Huang Feihong Vanquished The Terrible Hound At Shamian* | Wu Pang |  |  |  |
| *How Liang Hongyu's War Drum Caused The Jin Army To Retreat* | Wong Hok Sing |  |  |  |
| *How Mu Guiying Captured And Released Yang Zongbao 3 Times* | Ling Yun |  |  |  |
| *How Xue Dingshan Thrice Angered Fan Lihua* | Cheung Wai Gwong |  |  |  |
| *How Zhou Yu Was Thrice Defeated By Kong Ming* | Wong Hok Sing |  |  |  |
| *Huang Feihong And The Courtesan's Boat Argument* | Wu Pang |  |  |  |
| *Huang Feihong And The Lantern Festival Disturbance* |  |  |  |  |
| *Huang Feihong At A Boxing Match* |  |  |  |  |
| *Huang Feihong Attends The Joss-Stick Festival At Heavenly Goddess' Temple* | Wu Pang |  |  |  |
| *Huang Feihong Goes To A Birthday Party At Guanshan* | Wu Pang |  |  |  |
| *Huang Feihong Rescues The Fishmonger* | Wu Pang |  |  |  |
| *Huang Feihong Wins the Dragon Boat Race* | Wu Pang |  |  |  |
| *Huang Feihong's 7 Battles With The Fiery Unicorn* | Wu Pang |  |  |  |
| *Huang Feihong's Battle At Mountain Goddess Of Mercy* | Wu Pang, Ling Yun |  |  |  |
| *Huang Feihong's Battle At Shuangmendi* | Wu Pang |  |  |  |
| *Huang Feihong's Fight In Foshan* | Wu Pang |  |  |  |
| *Huang Feihong's Story : Iron Cock Against Centipede* | Wu Pang |  |  |  |
| *Huang Feihong's Victory At Xiaobeijiang* | Wu Pang |  |  |  |
| *A Hymn To Mother* | Chu Kei |  |  |  |
| *I'm In Love With An Unfaithful Man* | Chan Chung Gin |  |  |  |
| *The Ingenious Seduction* | Bu Wancang, Lee Ying |  |  |  |
| *Iron-Palm Versus Eagle-Claw* | Wu Pang |  |  |  |
| *The King And The Beauty* | Lee Tit |  |  |  |
| *The Kunlun Girl Steals The Red Scarf By Night* |  |  |  |  |
| *Lei Zhensheng's Many Adventures* | Chan Gwok Wa |  |  |  |
| *Life And Death Together* |  |  |  |  |
| *Life and Love of a Horse-Craft Driver* | Tong Shiu Wa |  |  |  |
| *The Life Of Zuo Song* | Yeung Kung Leung |  |  |  |
| *Little Sweetheart* | Fung Fung |  |  |  |
| *A Lonely Heart* | Doe Ching |  |  |  |
| *The Long Lane(长巷)* | Bu Wancang |  |  |  |
| *Love And Hate* (aka The Feud) | Lee Tit | Cheung Wood-Yau, Pak Suet-Sin, Lam Kau, Sek Kin, Chan Ho-Kau, Chan Lap-Ban, Lee Yuet-Ching | Martial Arts, Chinese Opera |  |
| *Love Is Like A Running Brook* |  |  |  |  |
| *Lovers' Eternal Union* |  |  |  |  |
| *Love's Elegy* | Tu Guangqi |  |  |  |
| *Madam Du Sinks Her Treasure Chest in Anger* (aka Tenth Madam to Sinks Her Treasure Chest in Anger) | Wong Tin-Lam | Sun-Ma Sze-Tsang, Yam Kim-Fai, Pak Suet-Sin, Lee Bo-Ying, Lam Mui-mui | Historical Drama |  |
| *Madam Mei* | Wong Hang | Mui Yee, Cheung Wood-Yau, Yung Siu-Yi, Lam Mui-mui, To Sam-Ku, Lai Man, Hui Ying-Ying | Historical Drama |  |
| *Madam White Snake* | Toyoda Shirou |  |  |  |
| *Madame Butterfly* (aka Madam Butterfly) | Evan Yang | Li Li-Hua, Huang He, Chung Ching, Lo Wei, Lin Jing, Ma Lik, Chang Yi-Ming, Chen Yu-Hsin, Ma Hsiao-Nung, Lau Yan-Kit | Mandarin Romance Drama |  |
| *A Married Woman's Secret* | Doe Ching |  |  |  |
| *Matching The Beauty And The Handsome* | Ng Wui |  |  |  |
| *Meeting A Fairy While Slaying The Dragon* | Fung Fung |  |  |  |
| *Merry-Go-Round* | Yueh Feng |  |  |  |
| *Miss Kikuko* | Yan Jun |  |  |  |
| *My Lover, The Ghost* | Tu Guangqi |  |  |  |
| *Pleasure Daughter* | Mok Hong-See | Fong Yim-Fen, Cheung Wood-Yau, Leung Sing-Bo, Lam Mui-Mui, Ma Siu-Ying | Comedy |  |
| *The Precious Lotus Lamp* | Ng Wui | Tsi Law-lin, Mui Yee, Chan Ho-Kau, Pak Fung-Sin, Ma Shuk-Kau, Mak Chau-Nung, Wong Sau-Han, Pak Fung-Ying, Ng Yim-Hung, Chu Wai-Yi, Wong Yin-Ling, Fung Siu-Kwan, Yiu Suet-Ying, Yun Siu-Nung, Ho Bing-Bing, Ho Mui-Li | Fantasy Cantonese opera |  |
| *The Story of a Fur Coat* | Tang Huang | Grace Chang, Peter Chen Ho, Chung Ching, Kao Pao-Shu, Tan Ni | Mandarin Comedy |  |
| *The Wall* | Wong Hang | Lee Ching, Tsi Law-lin, Wong Man-lei, Fung Yik-Mei, Wong Oi-Ming, Tang Mei-Mei, Lai Man, Gam Lau | Comedy |  |
| *The Wise Guys Who Fool Around* | Cheung Wai Kwong | Bruce Lee, Wu Fung, Leung Siu-Mui | Comedy |  |
|


title: Talking to Strangers (film)

abstract: Talking to Strangers is a 1988 American drama film directed by Rob Tregenza. It marked Tregenza's debut as a feature-length film director, screenwriter and cinematographer. It is composed of nine scenes, each one filmed only once and presented as an uninterrupted ten-minute take. Except for the first and last scenes, the remaining seven were arranged in a random order chosen by Tregenza's computer. The film was shot in widescreen 35 mm and mixed in Dolby Stereo sound. It was made on location in Baltimore, Maryland where Tregenza and his wife and producer, J.K. Eareckson, were already established as artists and industrial filmmakers, creating advertisements and corporate films to financially support their work in experimental filmmaking.

text:
# Talking to Strangers (film)

***Talking to Strangers*** is a 1988 American drama film directed by Rob Tregenza. It marked Tregenza's debut as a feature-length film director, screenwriter and cinematographer. It is composed of nine scenes, each one filmed only once and presented as an uninterrupted ten-minute take. Except for the first and last scenes, the remaining seven were arranged in a random order chosen by Tregenza's computer.

The film was shot in widescreen 35 mm and mixed in Dolby Stereo sound. It was made on location in Baltimore, Maryland where Tregenza and his wife and producer, J.K. Eareckson, were already established as artists and industrial filmmakers, creating advertisements and corporate films to financially support their work in experimental filmmaking.

## Plot

An aspiring writer works at odd jobs and wanders through a city as he looks for inspiration. Over the course of a day, he has nine distinct encounters with different strangers. They range from a Catholic priest he corners for a philosophical discussion in the confessional to a disturbing episode with a nihilistic thug who has commandeered a city bus.

## Cast

* Ken Gruz - Jesse
* Dennis Jordan - Red Coat
* Marvin Hunter - General
* Caron Tate - Ms. Taylor
* Henry Strozier - Priest
* Richard Foster - Slick
* Sarah Rush \- Potter
* Linda Caryl Chambers - Trigger

## Reception

The film was not offered commercial distribution when it first appeared in 1988, screening primarily at film festivals such as the Berlin International Film Festival and one-off screenings at local arthouse theaters. It eventually received a proper theatrical release in the U.S. on December 27, 1991 when it played for a week at the Film Society of Lincoln Center in New York City.

Jonathan Rosenbaum of *The Chicago Reader* was an early champion of the film, writing that "each sequence was shot only once, so the possibility of accident and error hovers over every moment suspensefully, as in a jazz improvisation. The virtuoso camera movements and stereo sound lead to gradual and unpredictable expositions of physical space; the variety of acting styles creates a feeling of perpetual uncertainty about the registers of reality underlying each sequence...Alternately comic, disturbing, challenging, and demanding, this is a galvanizing, high-level game for adventurous spectators, and a truly remarkable first feature."

Dave Kehr of *The Chicago Tribune* singled out the film when he covered the Berlin International Film Festival in February 1988, writing that it was "an astounding formal tour de force and a film of remarkable and often troubling emotional density...It's rare to encounter a film with such a strong commitment to its characters and situations that also manages to maintain a powerful theoretical thrust in its thinking and rethinking of film style. It isn't an easy film to take, but movies that break new ground seldom are."

Later in the year, Kehr wrote a full-length review for the *Tribune*, writing that "Tregenza has accomplished an astonishing thing \[blending\] the kind of formal experimentation associated with directors on the farthest fringe of the avant-garde (Michael Snow, Jean-Luc Godard, Jean-Marie Straub) with a genuine interest in drama and character. It is a narrative film, but it builds its narrative in a new and provocative way...It's a confrontational film, sometimes off-putting and even deliberately irritating, that prefers to win the viewer with its wit, inventiveness and unshakable integrity." Regarding the film's one-take aesthetic, Kehr noted that "if even one shot goes wrong, the movie is ruined (and Tregenza does have a few heart-stoppingly close calls)."

Jean-Luc Godard would personally select *Talking to Strangers* to screen at the Toronto International Film Festival in 1996, praising Tregenza's work as "remarkable and at times astonishing” with “reality \[walking\] hand in hand with fiction.”

Richard Brody of *The New Yorker* would also praise the film years later, comparing it to the films of "Max Ophüls, whose lyrically vertiginous mastery of the track and the crane is also rhapsodic, also bittersweet — but profoundly, scathingly worldly. Tregenza is a sort of counter-Ophüls: a rhapsodist of the unworldly, whose lyricism depicts a young man of another world whose confrontations with the one at hand give his ideals a pummelling without, for a second, dispelling them, and whose ultimate fulfillment arrives in a sort of transcendent visual nothingness, an ideal image that’s the repudiation of images. Tregenza is after lyricism without cynicism, bitterness and sweetness without bittersweetness, emotions unmixed and irony-free."

## InfoBox

| Talking to Strangers | |
| --- | --- |
| Film poster | |
| Directed by | Rob Tregenza |
| Written by | Rob Tregenza |
| Produced by | J.K. Eareckson |
| Starring | Ken Gruz |
| Cinematography | Rob Tregenza |
| Release date | * February 1988 (1988-02) |
| Running time | 90 minutes |
| Country | United States |
| Language | English |


title: Ethel Weed

abstract: Ethel Berenice Weed was an American military officer who advocated for the rights of Japanese women during the Allied occupation of Japan following World War II.

text:
# Ethel Weed

**Ethel Berenice Weed** (May 11, 1906 – June 6, 1975) was an American military officer who advocated for the rights of Japanese women during the Allied occupation of Japan following World War II.

## Early life

Weed was born on May 11, 1906, in Syracuse, New York, to Grover Cleveland Weed and Berenice (Benjamin) Weed, both of British ancestry. Ethel was the oldest of four children, three daughters and one son. In 1919 Grover Weed, and engineer, moved his family to Cleveland, Ohio. Grover was educated and encouraged a sense of adventure in his children. Berenice worked as a homemaker and supported Ethel's work as a social reformer.

## Education and early career

Ethel attended Lakewood High School in Cleveland. In 1929 Ethel graduated from Western Reserve University (now Case Western Reserve University) with a bachelor's degree in English. After graduation, Weed worked for eight years as a writer for *The Plain Dealer* newspaper in Cleveland, Ohio. She traveled in Europe for a short time, returning to Cleveland in 1937, when she began her career in public relations. She was the assistant executive secretary of the PR for the Women's City Club until 1941. She then started her own public relations firm, working for several women's organizations and civic groups, including Cleveland's Women's City Club.

## Japan

In 1943, after the United States had declared war on Japan, Weed closed her business and enlisted with the Women's Army Corps. After graduating from Officer's Candidate School in Fort Oglethorpe, Georgia, Weed was commissioned as a lieutenant. Two months after the surrender of Japan, Weed was sent to Yokohama to work with the Civil Information and Education Section (CI&E) of Allied command. After expressing an interest in working with Japanese women, Weed was put in charge of CI&E's Women's Affairs program. In this role, Weed worked tirelessly to promote the interests of Japanese women. Her team, in collaboration with Japanese feminist leaders, helped establish the Women's and Minor's Bureau within the Labour Ministry of the Japanese government and worked to reform the Civil and Criminal Codes to establish legal rights for women in Japan. Weed's team also worked to promote civic and political organizations for Japanese women to ensure that these gains would not be short-lived. Today, Weed is remembered as a pivotal figure in establishing women's rights in postwar Japan.

## Death

Weed died of cancer on June 6, 1975, in Newtown, Connecticut.

## Further reading

## InfoBox

| Ethel B. Weed | |
| --- | --- |
| A meeting of Lt. Weed and noted Japanese feminists including the President of the New Japan Women's League, Fujita Taki. | |
| Born | May 11, 1906
Syracuse, New York |
| Died | June 6, 1975
Newton, Connecticut |
| Allegiance | United States of America |
| Service/branch | United States Army |
| Commands | Women's Army Corps |
| Battles/wars | World War II |


title: Tshuapa River

abstract: The Tshuapa River or Rivière Tshwapa is a river in Democratic Republic of the Congo, the main tributary of the Busira River.

text:
# Tshuapa River

The **Tshuapa River** or **Rivière Tshwapa** is a river in Democratic Republic of the Congo, the main tributary of the Busira River.

## Course

The river rises in the south of the Sankuru Nature Reserve and meanders north-northwest to Elinga-Mpango and on to Bondo, from where flows in a west-northwest direction to Boende, above its confluence with the Lomela River to form the Busira River. It is 408 kilometres (254 mi) from this point to the Congo River. The town of Boende is 29 kilometres (18 mi) from the confluence and 444 kilometres (276 mi) from Mbandaka. on the Congo River.

## Environment

The confluence of the Tshuapa and Lomela rivers is in the heart of the central depression of the Congo Basin. Annual rainfall averages 2,000 millimetres (79 in), with no dry season. Throughout parts of the Tshuapa catchment 20–25% of the land is subject to flooding. Permanent swamp forest stretches for 156 kilometres (97 mi) along the Tshuapa, with an area of 160,000 hectares (400,000 acres) between 20°33'E and 22°00'E.

The Tshuapa has a navigable length of 825 kilometres (513 mi) from its confluence with the Lomela up to the terminus at Elinga-Mpango. The section of the river from its mouth up to Ikela, at 555 kilometres (345 mi) can be navigated all year round by 350 ton barges, although a few tight bends must be negotiated. From Ikela up to Bondo at 696 kilometres (432 mi) it can carry 40 ton barges all year round. There is a rocky bench 3 kilometres (1.9 mi) upstream from Bondo. From Bondo to Elinga-Mpango the river narrows and winds more, and is not navigable all year round.

## Sources

* Hughes, R. H. (1992), *A Directory of African Wetlands*, IUCN, ISBN 978-2-88032-949-5, retrieved 2021-03-21
* Lederer, A. (1973), *L'exploitation des affluents du Zaïre et des ports de l'intérieur de 1960 à 1971* (PDF) (in French), Académi e royal e des Sciences d'Outre-Mer: Classe des Sciences Techniques, N.S., XVII-6, Bruxelles, retrieved 2021-03-22
* "Relation: Tshwapa (385008)", *OpenStreetMap*, retrieved 2021-03-21

## InfoBox

| Tshuapa River | |
| --- | --- |
| The Ruki-Busira-Tshuapa River, in red | |
| Mouth location in the Democratic Republic of the Congo | |
| Location | |
| Country | Democratic Republic of the Congo |
| Physical characteristics | |
| Mouth | Busira River |
| coordinates | 0°20′45″S 20°46′59″E / 0.345888°S 20.783018°E / -0.345888; 20.783018 |
| Length | 825 kilometres (513 mi) (navigable) |
| Basin features | |
| River system | Ruki–Busira |


title: Panchalimedu

abstract: Panchalimedu is a hill station and view point near Kuttikkanam in Peerumedu tehsil of Idukki district in the Indian state of Kerala. On the Makar Sankranti day, many Ayyappa devotees camps there to witness the sacred Makaravilakku that appears in the Ponnambalamedu near Sabarimala temple. On Good Fridays, Christians come here to follow the way of the cross here. Presently there is a Hindu temple and a Christian shrine at the two extreme hills.

text:
# Panchalimedu

**Panchalimedu** is a hill station and view point near Kuttikkanam in Peerumedu tehsil of Idukki district in the Indian state of Kerala. On the Makar Sankranti day, many Ayyappa devotees camps there to witness the sacred Makaravilakku (holy flame) that appears in the Ponnambalamedu near Sabarimala temple. On Good Fridays, Christians come here to follow the way of the cross here.

Presently there is a Hindu temple and a Christian shrine at the two extreme hills.

## Topography

Predominantly it is a high altitude region situated at a height of 3,080 ft (940 m) above the mean sea level. The place is surrounded by deep valleys and hills, accompanied by meadows, grasslands and cool refreshing climate. From there, the Koruthodu valley near Mundakkayam with widespread rubber plantations can be seen. Parunthumpara hills and Periyar tiger reserve lies to the east of Panchalimedu. Many tourists arrives there during the summer season for trekking and to get refreshed. When monsoon arrives, the place will be covered by charming mist and thick fog. Although, a pleasant climate is experienced here throughout the year. Apart from Pullumedu, Panchalimedu is another spot in the district where many pilgrims gather to witness the *Makaravilakku*, a holy flame that is believed to a supernatural phenomenon by the devotees, which appears annually on 14 January in the Ponnambalamedu summit.

## Location

Panchalimedu is located on the route to Kanayankavayal in the Azhutha block of Peerumedu tehsil. Geographic coordinates of Panchalimedu is 9°34′15″N 77°00′52″E. The place can be accessed from Murinjapuzha (5 km) and Amalagiri (6 km) on the Kottayam \- Kumily state highway (K.K road). People from west and south can reach there through Mundakkayam \- Thekkemala route. Jeep and auto services are available from Murinjapuzha at fair rates. There are two hills at Panchalimedu, one has the temple dedicated to Bhuvaneswari Devi.

## Nearby attractions

* Parunthumpara: It is about 22 km (14 mi) from here, situated at a height of 3,600 ft (1,100 m) from mean sea level and also a popular tourist destination in Idukki district.
* Peeru hills: It is a panoramic hill station named after 'Peer Mohammed', who was a Sufi saint.
* Valanjanganam falls: It is only 6 km (3.7 mi) from here, a scenic waterfall locally known as *Ninnumullippara* located on the route to Kuttikkanam from Mundakkayam.
* Valliyamkavu Devi Temple: This historic temple lies 10 km (6.2 mi) southeast to Panchalimedu and it is dedicated to Goddess Durga.

## Myths

According to the myths, Pandavas along with their spouse Panchali had a sojourn there at time of one-year exile. Hence the place got its name *Panchalimedu* which derived from the words "Panchali" (Draupadi) and "medu" (hill). The local tribes there offered selfless helps to the Kuru princes. Pandavas left the region before the beginning of one year incognito. They rewarded an idol of Goddess Durga to the tribal chief for their helps and instructed them to worship Devi. But, unexpected incidents occurred when the tribes worshipped Devi by following their own uncivilized puja methods. Hence the place became uninhabitable for them. Later, Devi herself moved to the present Valliyamkavu region and presided there. In light of this myth, people still believe that Panchalimedu is the *moola sthana* or sanctum sanctorum of Devi.

At present, there is a small temple dedicated to the goddess Bhuvaneswari, which can be approached by a walkway from the main road. The temple, which did not have daily poojas in the past, is currently under the administration of Travancore Devaswom Board. The granite edicts found there depicts the linkage of the place to ancient history. Several Shiva lingas, Trishulas (trident) and Nāga idols are also placed near the shrine. A small circular pond known as *Panchalikulam* is situated there, in which Pandavas and Panchali took their daily bath. It is about 5 dm (20 in) in diameter. Even during hot summers, it will be filled by plenty of water. One cave also exist there named *Pandavaguha* (cave of Pandavas), in which the footprints of Bhima can be witnessed. Local folks still believe that it is the footprints of the mighty Bhima himself.

## 2019 controversy

In 2019, the Church authorities installed two crosses on the hill. Meanwhile, a Hindu group installed a Trishula near the cross as a way of protesting the Church's alleged attempt to encroach upon revenue land. This caused controversy. The District Collector sent a notice to church authorities to remove the crosses and soon it was removed. Refuting the claims of the Travancore Devaswom Board, Idukki collector said that Tranvancore Devaswom Board does not have any land in Panchalimedu. Even the temple at the place is located at the revenue land.

## InfoBox

| Panchalimedu | |
| --- | --- |
| Hill station | |
| Sunrise view from Panchalimedu | |
| Etymology: Derived from *Panchali* (Draupadi) and *Medu* (hill), literally means the 'Hill of Panchali'. | |
| PanchalimeduLocation in Kerala, IndiaPanchalimeduPanchalimedu (India) | |
| Coordinates: 9°34′15″N 77°00′52″E / 9.57083°N 77.01444°E / 9.57083; 77.01444 | |
| Country | India |
| State | Kerala |
| District | Idukki |
| Government | |
| Type | Panchayath |
| Body | Peruvanthanam panchayath |
| Elevation | 940 m (3,080 ft) |
| Languages | |
| Official | Malayalam, English |
| Time zone | UTC+5:30 (IST) |
| PIN | 685532 |
| Area code | 04869 |
| Vehicle registration | KL-37 |
| Nearest cities | Peermade, Mundakkayam |
| Website | http://panchalimedu.com |


title: Pavlov (Šumperk District)

abstract: Pavlov is a municipality and village in Šumperk District in the Olomouc Region of the Czech Republic. It has about 700 inhabitants. Pavlov lies approximately 26 kilometres (16 mi) south of Šumperk, 32 km (20 mi) north-west of Olomouc, and 181 km (112 mi) east of Prague.

text:
# Pavlov (Šumperk District)

**Pavlov** is a municipality and village in Šumperk District in the Olomouc Region of the Czech Republic. It has about 700 inhabitants.

Pavlov lies approximately 26 kilometres (16 mi) south of Šumperk, 32 km (20 mi) north-west of Olomouc, and 181 km (112 mi) east of Prague.

## Administrative parts

The villages of Radnice and Veselí are administrative parts of Pavlov.

## Demographics

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1869 | 1,304 |  |
| 1880 | 1,321 | +1.3% |
| 1890 | 1,290 | −2.3% |
| 1900 | 1,259 | −2.4% |
| 1910 | 1,215 | −3.5% |
| 1921 | 1,201 | −1.2% |
| 1930 | 1,143 | −4.8% |
| 1950 | 799 | −30.1% |
| 1961 | 811 | +1.5% |
| 1970 | 728 | −10.2% |
| 1980 | 689 | −5.4% |
| 1991 | 580 | −15.8% |
| 2001 | 585 | +0.9% |
| 2011 | 587 | +0.3% |
| 2021 | 652 | +11.1% |
| Source: Censuses | | |

## InfoBox

| Pavlov | |
| --- | --- |
| Municipality | |
| Centre of Pavlov | |
|  | |
| PavlovLocation in the Czech Republic | |
| Coordinates: 49°44′34″N 16°52′45″E / 49.74278°N 16.87917°E / 49.74278; 16.87917 | |
| Country | Czech Republic |
| Region | Olomouc |
| District | Šumperk |
| First mentioned | 1323 |
| Area | |
| Total | 24.06 km2 (9.29 sq mi) |
| Elevation | 347 m (1,138 ft) |
| Population (2024-01-01) | |
| Total | 663 |
| Density | 28/km2 (71/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal codes | 789 85 |
| Website | www.pavlovulostic.cz |


title: Lincoln Boyhood National Memorial

abstract: Lincoln Boyhood National Memorial is a United States presidential memorial and a National Historic Landmark District in Lincoln City, Indiana. It preserves the farm site where Abraham Lincoln lived with his family from 1816 to 1830. During that time, he grew from a 7-year-old boy to a 21-year-old man. His mother, Nancy Hanks Lincoln, and at least 27 other settlers were buried here in the Pioneer Cemetery. His sister Sarah Lincoln Grigsby was buried in the nearby Little Pigeon Baptist Church cemetery, across the highway at Lincoln State Park. Included in the park is the Lincoln Living Historical Farm. The Lincoln Boyhood Home was named a National Historic Landmark in 1960. In 2005 the site was visited by 147,443 people. On site is a visitor center, featuring a 15-minute orientation film about Lincoln's time in Indiana, and museum and memorial halls. The site is located about ten minutes off the Interstate 64 / U.S. 231 junction and near the new U.S. 231 Route, named the Abraham Lincoln Memorial Parkway in his honor.

text:
# Lincoln Boyhood National Memorial

**Lincoln Boyhood National Memorial** is a United States presidential memorial and a National Historic Landmark District in Lincoln City, Indiana. It preserves the farm site where Abraham Lincoln lived with his family from 1816 to 1830. During that time, he grew from a 7-year-old boy to a 21-year-old man. His mother, Nancy Hanks Lincoln, and at least 27 other settlers were buried here in the Pioneer Cemetery. His sister Sarah Lincoln Grigsby was buried in the nearby Little Pigeon Baptist Church cemetery, across the highway at Lincoln State Park.

Included in the park is the Lincoln Living Historical Farm. The Lincoln Boyhood Home was named a National Historic Landmark in 1960. In 2005 the site was visited by 147,443 people. On site is a visitor center, featuring a 15-minute orientation film about Lincoln's time in Indiana, and museum and memorial halls. The site is located about ten minutes off the Interstate 64 / U.S. 231 junction and near the new U.S. 231 Route, named the Abraham Lincoln Memorial Parkway in his honor.

## Memorial features

### Memorial building

The centerpiece of the memorial is a one-story limestone ashlar memorial building completed in 1945 that features five sculpted panels portraying different phases of Lincoln's life. It has a small theater featuring a 16-minute film about Lincoln's life in Indiana. The museum features several exhibits and artifacts related to Lincoln's life, which are located in an adjoining hall. A private gallery displays Lincoln-related artwork, including numerous portraits and lithographs of Lincoln and his family. The park holds an oil portrait of Nancy Hanks Lincoln, done by an artist long after her death. A chapel and meeting hall can be rented for public weddings and other gatherings.

### Historical farm

Nearby is the site of the original Lincoln cabin; the sandstone foundation clearly outlines the boundary of the house and is visible to visitors. Discovered through a professional archeological excavation, it is now preserved and protected by a wall. A very short distance from the original cabin site stands the replica farm house. Park rangers in full period clothing work the 1820s-style farm, making it a living history site. Visitors can talk with them, take classes and learn more about the many activities and items at the farm. The Living Historical Farm is open seasonally, from mid-spring to early fall; it cultivates crops, raises livestock, and uses and displays historic farm implements.

## History

### Lincoln in Indiana

Abraham's father Thomas Lincoln had lost two previous homes in Kentucky, one at the Sinking Spring Farm where Lincoln was born, in part through problems with land titles. Because Kentucky had not had proper land surveys in its early years, many residents were forced off their farms after surveys were completed and land titles were challenged. The Lincolns were one such family: after Thomas had built some economic and social success in Kentucky, he lost everything. In 1815 he went to Indiana to locate a new homestead for his family. He wanted to live in a free state rather than compete with farmers who used slave labor.

The family took two weeks in 1816 to move to Spencer County (then Perry County) in southern Indiana, settling at the Little Pigeon Creek Community. Lincoln was a talented carpenter who owned better carpentry tools than the average settler. He could build cabins in as little as four days, and was able to have their new home built before the winter began. The next year he built up the homestead, cleared land of trees and rocks before plowing, and planted crops. In early September 1818, some residents started coming down with milk sickness. It was caused by the settlers' consuming dairy products or meat of cows that ate the white snakeroot plant, which had the toxin temetrol. Cows often roamed in woods and underbrush, where the white snakeroot grew. Most of those in Little Pigeon Creek with milk sickness became deathly ill, including Abraham's mother, Nancy Hanks Lincoln. She succumbed and died on October 5, 1818. She was buried in a gravesite behind the family cabin next to the Lincolns' closest neighbor, Nancy Rusher Brooner. Brooner had also been ill with milk sickness, was nursed by Nancy Lincoln, and died two weeks before on September 18. Nancy's maternal aunt and uncle, Elizabeth and Thomas Sparrow, with whom she had grown up, also died of the illness and were buried nearby, at what became known as Pioneer Cemetery. A minister could not reach the frontier settlement until the following spring, when he conducted a funeral service for all of the dead.

Following his mother's death, young Abraham Lincoln continued to work on the farm and was cared for by his older sister Sarah. In 1819 their father married Sarah Bush Johnston, a widow of Elizabethtown, Kentucky whom he had known from the years there. She had three children, all of whom came with her to share the Lincoln cabin. Abraham shared the cabin's loft with his step brother John Johnston and his cousin Dennis Hanks for the rest of his time in Indiana. Sarah treated the Lincoln children as her own, and Abraham grew especially close to her. Early on, the Lincoln family had joined the nearby Little Pigeon Creek Primitive Baptist Church, where Thomas served as a trustee and Abraham briefly as a sexton. The church is preserved in the Lincoln State Park.

In November 1819, the area's first school was opened by Andrew Crawford, and at age 10, Abraham attended a school for the first time, at a cost of two dollars per year. He was a student there for two school years, which were three-month intervals held during the winter months when the children were not needed for farming. In 1822 the Lincolns enrolled the boy in a new school taught by James Swaney. As it was more than 4 miles (6.4 km) away and Abraham had to walk there, his attendance was poor. In 1824 he was transferred to another school closer to home, which he attended until age 16, when he ended formal schooling. In January 1826, Abraham's only sister Sarah died during the birth of her first child, who was stillborn. She was buried in the Little Pigeon Creek Primitive Baptist Church cemetery.

As he grew, Abraham began taking outside jobs, often working for twenty-five cents a day clearing land, plowing fields, and building fences. When he was not working, he spent a great deal of time at the James Gentry General Store and the two nearby grain mills in the small town, where he liked to tell stories and listen to those of older men. He also read widely and borrowed books from anyone who would lend them. During his several trips into the county seat of Rockport, Abraham became acquainted with the lawyers John Pitcher and John Breckenridge, who inspired his interest in the law. Later he followed that profession. During this period, he made his first trip with the businessman Allen Gentry by flatboat down to New Orleans to sell produce and bring home supplies. He earned eight dollars from the trip. It is traditionally believed that this was when he first saw a slave market. From his experiences and the influences of the anti-slavery men in Indiana and locally, Abraham began to form his opinions against slavery. After fourteen years in southern Indiana, in March 1830, Thomas Lincoln moved his family to Central Illinois.

### Making the memorial

The site attracted little attention as a link to Lincoln's past until 1879, during a period of increased activity in the North and the South of memorializing following the American Civil War. When researchers located the grave of Nancy Hanks, Peter Evans Studebaker (of the South Bend, Indiana Studebaker Brothers Manufacturing Company) arranged for a headstone to be placed at the site. For decades, local groups tried to gain recognition for the site as one of historical importance. In 1917 they located the foundation of the cabin and officially marked it on April 28.

In 1927 the Indiana Lincoln Union was formed to raise funds and encourage support for a memorial to recognize Lincoln's years in the Hoosier state. In 1932 the state established the adjacent Lincoln State Park to protect the area and preserve the historic homestead site. The state transferred part of that area to the memorial district, including the grave site of Nancy Lincoln (and what was found to be 29 other graves), now included in what is called Pioneer Cemetery. The Union continued to raise funds to make improvements to the site in the 1930s and 1940s, during the Great Depression and World War II. It completed construction of the Memorial building in 1944. It has five *bas-relief* panels portraying different periods of Lincoln's life, designed by sculptor Elmer Daniels.

In the 1930s the Civilian Conservation Corps (CCC) helped mold much of the memorial's surrounding landscape, including an iconic grass alleyway leading from the memorial center to the pioneer cemetery. In 1934, a CCC crew located and excavated the original hearthstones of the Lincoln family farm. These workers also helped plant more than 22,000 native trees to restore that part of the county to something similar to the wilderness a young Abraham Lincoln would have seen when his family first came to Indiana. Today, high school students continue helping maintain and improve the national park through the Youth Conservation Corps.

In 1962 the Indiana legislature approved donating another 114 acres (46 ha) to the district and the Lincoln Boyhood National Memorial was created. The U.S. Congress authorized the national memorial on February 19, 1962, placing it under the National Park Service. The memorial district was listed on the National Register of Historic Places, on October 15, 1966. In 1968 the NPS created the Living Historical Farm after "meticulous research" about the period, to help visitors better understand the lives of Lincoln, his family and neighbors during the frontier years in the area.

## Sources

## InfoBox

|  | |
| --- | --- |
| Lincoln Boyhood National Memorial | |
| U.S. National Register of Historic Places | |
| U.S. National Historic Landmark District | |
| U.S. National Memorial | |
|  | |
| Lincoln Farm (replica) | |
|  | |
| Location | IN 162, Lincoln City, Indiana, United States |
| Coordinates | 38°7′6″N 86°59′49″W / 38.11833°N 86.99694°W / 38.11833; -86.99694 |
| Area | 200 acres (81 ha) |
| Built | 1816 |
| Architect | Bishop, Richard E.; Olmsted, Frederick Law |
| Website | Lincoln Boyhood National Memorial |
| NRHP reference No. | 66000012 |
| Significant dates | |
| Added to NRHP | October 15, 1966 |
| Designated NHLD | December 19, 1960 |
| Designated NMEM | February 19, 1962 |


title: Youth intervention

abstract: Youth intervention is a practice within the field of youth services. This practice is designed to intervene when young people are at risk of or beginning to make poor decisions that can have lifelong negative impacts. Youth intervention is intended to support academic achievement and prevent juvenile delinquency.

text:
# Youth intervention

**Youth intervention** is a practice within the field of youth services. This practice is designed to intervene when young people are at risk of or beginning to make poor decisions that can have lifelong negative impacts. Youth intervention is intended to support academic achievement and prevent juvenile delinquency.

## Basis

Youth intervention providers work with young people to help them become engaged and contributing members of the community. Typically, youth intervention programs work with young people between 6 and 18 years of age, but may also work with young people between 18 and 24 years of age.

Poor decision-making or engaging in negative behaviors that can lead to interaction with the juvenile justice system can often be a symptom of an underlying problem. Causation factors can include unaddressed mental and emotional health struggles, unhealthy family environments and relationships, as well as stress and adverse childhood experiences (ACES) related to poverty.

With the wide variety of challenges that can lead to poor decision-making, youth intervention encompasses a broad array of program approaches. Youth intervention can include:

The theory of positive youth development underpins most youth intervention programs. Adults working in Youth Intervention programs are part of that needed web of support.

## Outcomes

With a focus on prevention, measuring the impact of youth intervention is challenging. It is difficult to document that behavior did not occur as a result of youth intervention programs. However, research has shown these programs are effective in reducing truancy and improving school performance. They also result in reduced court costs, a reduced need for social services by the youth and/or family and improved health outcomes. Youth intervention produces positive outcomes at a much lower price than incarceration in a juvenile correction facility. Studies show that 70% to 80% of youth who are incarcerated are likely to re-offend.

Both the National Research Council and the Institute of Medicine agree that the benefits of youth intervention programs outweigh the costs of prevention and early intervention programs. The estimated cost per youth for Youth Intervention is $1,000 to $5,000 per year depending on the type of service. The study also estimated that quality Youth Intervention programs result in $4.80 of benefits per dollar spent on the program.

## Structures for youth intervention

In the United States, youth intervention activities are provided on the local, regional, state and federal levels by public agencies and private organizations. They are fiscally supported through government funding, philanthropic grants, and private grants.

At the level of the U.S. federal government, "The Office of Juvenile Justice and Delinquency Prevention (OJJDP) sponsors research, programs and training initiatives in an effort to strengthen the juvenile justice system and serve at risk youth and their families.

One instance of a government agency supporting youth intervention comes from the State of Oregon, which has a program called the Oregon Youth Development Division. The division "also supports the YDC Youth Prevention/Intervention Committee," which focuses on intervening in drug use, alcohol use, underage sex and other activities.

Advocates for Youth is a private national nonprofit organization committed to youth intervention programming focused on pregnancy prevention and other issues. The once-popular Drug Abuse Resistance Education (D.A.R.E.) program and The Center to Prevent Youth Violence are two now-closed organizations that were also intervention-oriented, the former on drug abuse and the latter on youth violence. Similarly, the Massachusetts Tobacco Cessation and Prevention Program is oriented towards ending tobacco abuse.

The membership of the Youth Intervention Programs Association (YIPA) reflects the diverse approaches used in Youth Intervention.


title: Long Ago, Prophets Knew

abstract: "Long Ago, Prophets Knew", also called "Long Ago, Prophets Knew, Christ would come born a Jew", is an English Christian Advent carol written by Reverend Fred Pratt Green in 1970.

text:
# Long Ago, Prophets Knew

"**Long Ago, Prophets Knew**", also called "**Long Ago, Prophets Knew, Christ would come born a Jew**", is an English Christian Advent carol written by Reverend Fred Pratt Green in 1970.

## Textual history

"Long Ago, Prophets Knew" was written by Methodist minister Fred Pratt Green in 1970 at the behest of John Wilson. It was self-published in his "*26 Hymns*" a year later. The carol gained popularity within the Church of England when it was published within the *More Hymns for Today* hymnal in 1980 and *Hymns Ancient and Modern – New Standard*" in 1983. In 1986, when *The New English Hymnal* was being compiled with hymns appropriate for Eucharist services being prioritised, "Long Ago, Prophets Knew" was included at the behest of the former Archdeacon of Hackney, George Timms, in order to fill required spaces in the hymnal for feast days and promote newer hymns. "Long Ago, Prophets Knew" was one of around 50 hymns written after 1950 to be included in the collection of 506 hymns. Though the carol was written for Advent, it has also been used as a Christmas carol. Baptists use the carol in connection with Bible readings from 2 Samuel:7 and Romans 16:17-25. Methodists use the carol on the Fourth Sunday in Advent.

## Tune

Green set it to the tune of "*Personent hodie*". While the carol was written for organ with a 66.666 metre, an additional alternate accompanying supplement for thirteen handbells was also written to tie into the chorus of "ring bells, ring, ring, ring!" The carol was an example of a modern hymn that utilised an older style of including a repetitive monosyllable in the chorus.

## InfoBox

| "Long Ago, Prophets Knew" | |
| --- | --- |
| *The Nativity with the Prophets Isaiah and Ezekiel* by Duccio | |
| Hymn | |
| Published | 1970 |
| Composer(s) | *Traditional*, adapted by Gustav Holst |
| Lyricist(s) | Fred Pratt Green |


title: Masham Town Hall

abstract: Masham Town Hall is a municipal building in the Little Market Place, Masham, North Yorkshire, England. The structure, which is used as an events venue, is a grade II listed building.

text:
# Masham Town Hall

**Masham Town Hall** is a municipal building in the Little Market Place, Masham, North Yorkshire, England. The structure, which is used as an events venue, is a grade II listed building.

## History

Following significant population growth, largely associated with the status of Masham as a market town, the area became an urban district in 1894. In the early 20th century, the new council decided to procure an events venue for the town: they site they chose on the north side of the Little Market Place had been occupied by a row of single-storey houses. The new building was financed by a bequest from Samuel Lister, 1st Baron Masham who had died in 1906.

Construction work on the new building began in 1912. It was designed by John Houfe of Harrogate in the neoclassical style, built in ashlar stone at a cost of £3,751 and was officially opened on 24 May 1913. The design involved a symmetrical main frontage with seven bays facing onto the Little Market Place. The central bay featured a doorway with a fanlight and a keystone, flanked by rusticated pilasters and brackets supporting a stone balcony; there was a French door with a fanlight and keystone, flanked by pilasters, on the first floor. The other bays were fenestrated by casement windows with architraves and keystones on the ground floor and by casement windows with architraves, friezes and pediments on the first floor. At roof level there was a frieze, cornice and parapet as well as a central cupola. Internally, the principal room was the main assembly hall on the first floor.

During the First World War, the town hall was used as a Red Cross Voluntary Aid Detachment auxiliary hospital for wounded service personnel. A wooden plaque commemorating the contribution of local service personnel who had served in the war was unveiled inside the building by Lady Cunnliffe Lister in April 1929.

By the time of the Second World War, the town hall was mainly operating as a cinema but, in the second half of the 20th century, the building began hosting a broader range of community activities again. Fund raising to support the cost of operating the building was undertaken by the Masham Town Hall Association from 1967, and by the Masham Town Hall Community Charity from 2012. In May 2015, the town hall hosted the folk rock band, *Lindisfarne*, with Rod Clements fronting the group for the first time.

## InfoBox

| Masham Town Hall | |
| --- | --- |
| Masham Town Hall | |
| Location | Little Market Place, Masham |
| Coordinates | 54°13′20″N 1°39′19″W / 54.2221°N 1.6554°W / 54.2221; -1.6554 |
| Built | 1913 |
| Architect | John Houfe |
| Architectural style(s) | Neoclassical style |
|  | |
| Listed Building – Grade II | |
| Official name | Town Hall |
| Designated | 28 April 1986 |
| Reference no. | 1167212 |
|  | |
|  | |
| Shown in North Yorkshire | |