title: Lunar Saros 134

abstract: Saros cycle series 134 for lunar eclipses occurs at the moon's ascending node, 18 years 11 and 1/3 days. It contains 72 events. This lunar saros is linked to Solar Saros 141.

text:
# Lunar Saros 134

| Member 26 | Member 27 |
| --- | --- |
|
2001 Jan 09 |
2019 Jan 21 |

**Saros cycle series 134 for lunar eclipses** occurs at the moon's ascending node, 18 years 11 and 1/3 days. It contains 72 events.

This lunar saros is linked to Solar Saros 141.

| Cat. | Saros | Mem | Date | Time UT
(hr:mn) | Type | Gamma | Magnitude | Duration
(min) | | | Contacts UT
(hr:mn) | | | | | | Chart |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | Greatest | | | | Pen. | Par. | Tot. | P1 | P4 | U1 | U2 | U3 | U4 | |
| 08546 | 134 | 1 | 1550 Apr 01 | 12:54:38 | Penumbral | 1.5506 | -0.9770 | 12.9 |  |  | 12:48:11 | 13:01:05 |  |  |  |  |  |
| 08590 | 134 | 2 | 1568 Apr 11 | 20:39:00 | Penumbral | 1.4970 | -0.8760 | 85.4 |  |  | 19:56:18 | 21:21:42 |  |  |  |  |  |
| 08633 | 134 | 3 | 1586 May 3 | 4:16:35 | Penumbral | 1.4373 | -0.7639 | 121.9 |  |  | 3:15:38 | 5:17:32 |  |  |  |  |  |
| 08676 | 134 | 4 | 1604 May 13 | 11:49:46 | Penumbral | 1.3732 | -0.6441 | 150.2 |  |  | 10:34:40 | 13:04:52 |  |  |  |  |  |
| 08721 | 134 | 5 | 1622 May 24 | 19:18:16 | Penumbral | 1.3046 | -0.5161 | 174.3 |  |  | 17:51:07 | 20:45:25 |  |  |  |  |  |
| 08765 | 134 | 6 | 1640 Jun 04 | 2:45:05 | Penumbral | 1.2340 | -0.3848 | 194.8 |  |  | 1:07:41 | 4:22:29 |  |  |  |  |  |
| 08809 | 134 | 7 | 1658 Jun 15 | 10:08:00 | Penumbral | 1.1593 | -0.2463 | 213.1 |  |  | 8:21:27 | 11:54:33 |  |  |  |  |  |
| 08854 | 134 | 8 | 1676 Jun 25 | 17:32:06 | Penumbral | 1.0849 | -0.1086 | 228.9 |  |  | 15:37:39 | 19:26:33 |  |  |  |  |  |
| 08900 | 134 | 9 | 1694 Jul 07 | 0:55:25 | Partial | 1.0089 | 0.0317 | 242.8 | 39.0 |  | 22:54:01 | 2:56:49 | 0:35:55 |  |  | 1:14:55 |  |
| 08946 | 134 | 10 | 1712 Jul 18 | 8:21:48 | Partial | 0.9350 | 0.1678 | 254.7 | 87.9 |  | 6:14:27 | 10:29:09 | 7:37:51 |  |  | 9:05:45 |  |
| 08993 | 134 | 11 | 1730 Jul 29 | 15:49:46 | Partial | 0.8619 | 0.3022 | 265.1 | 115.5 |  | 13:37:13 | 18:02:19 | 14:52:01 |  |  | 16:47:31 |  |
| 09039 | 134 | 12 | 1748 Aug 08 | 23:23:28 | Partial | 0.7929 | 0.4287 | 273.8 | 134.9 |  | 21:06:34 | 1:40:22 | 22:16:01 |  |  | 0:30:55 |  |
| 09086 | 134 | 13 | 1766 Aug 20 | 7:01:43 | Partial | 0.7272 | 0.5489 | 281.3 | 149.6 |  | 4:41:04 | 9:22:22 | 5:46:55 |  |  | 8:16:31 |  |
| 09131 | 134 | 14 | 1784 Aug 30 | 14:45:57 | Partial | 0.6662 | 0.6602 | 287.4 | 161.1 |  | 12:22:15 | 17:09:39 | 13:25:24 |  |  | 16:06:30 |  |
| 09176 | 134 | 15 | 1802 Sep 11 | 22:36:46 | Partial | 0.6105 | 0.7615 | 292.6 | 170.0 |  | 20:10:28 | 1:03:04 | 21:11:46 |  |  | 0:01:46 |  |
| 09221 | 134 | 16 | 1820 Sep 22 | 6:35:09 | Partial | 0.5612 | 0.8511 | 296.7 | 176.8 |  | 4:06:48 | 9:03:30 | 5:06:45 |  |  | 8:03:33 |  |
| 09267 | 134 | 17 | 1838 Oct 03 | 14:41:28 | Partial | 0.5182 | 0.9288 | 300.0 | 182.1 |  | 12:11:28 | 17:11:28 | 13:10:25 |  |  | 16:12:31 |  |
| 09313 | 134 | 18 | 1856 Oct 13 | 22:54:33 | Partial | 0.4809 | 0.9960 | 302.7 | 186.2 |  | 20:23:12 | 1:25:54 | 21:21:27 |  |  | 0:27:39 |  |
| 09357 | 134 | 19 | 1874 Oct 25 | 7:16:22 | Total | 0.4510 | 1.0497 | 304.8 | 189.2 | 32.7 | 4:43:58 | 9:48:46 | 5:41:46 | 7:00:01 | 7:32:43 | 8:50:58 |  |
| 09401 | 134 | 20 | 1892 Nov 04 | 15:44:53 | Total | 0.4267 | 1.0930 | 306.5 | 191.5 | 44.1 | 13:11:38 | 18:18:08 | 14:09:08 | 15:22:50 | 16:06:56 | 17:20:38 |  |
| 09444 | 134 | 21 | 1910 Nov 17 | 0:20:52 | Total | 0.4089 | 1.1246 | 307.7 | 193.0 | 50.6 | 21:47:01 | 2:54:43 | 22:44:22 | 23:55:34 | 0:46:10 | 1:57:22 |  |
| 09486 | 134 | 22 | 1928 Nov 27 | 9:01:47 | Total | 0.3952 | 1.1486 | 308.7 | 194.2 | 54.8 | 6:27:26 | 11:36:08 | 7:24:41 | 8:34:23 | 9:29:11 | 10:38:53 |  |
| 09528 | 134 | 23 | 1946 Dec 08 | 17:48:28 | Total | 0.3864 | 1.1639 | 309.5 | 194.9 | 57.3 | 15:13:43 | 20:23:13 | 16:11:01 | 17:19:49 | 18:17:07 | 19:25:55 |  |
| 09569 | 134 | 24 | 1964 Dec 19 | 2:37:54 | Total | 0.3801 | 1.1748 | 310.1 | 195.5 | 58.9 | 0:02:51 | 5:12:57 | 1:00:09 | 2:08:27 | 3:07:21 | 4:15:39 |  |
| 09610 | 134 | 25 | 1982 Dec 30 | 11:29:37 | Total | 0.3758 | 1.1822 | 310.6 | 195.9 | 60.0 | 8:54:19 | 14:04:55 | 9:51:40 | 10:59:37 | 11:59:37 | 13:07:34 |  |
| 09651 | 134 | 26 | 2001 Jan 09 | 20:21:40 | Total | 0.3720 | 1.1889 | 311.0 | 196.3 | 61.0 | 17:46:10 | 22:57:10 | 18:43:31 | 19:51:10 | 20:52:10 | 21:59:49 |  |
| 09692 | 134 | 27 | 2019 Jan 21 | 5:13:27 | Total | 0.3684 | 1.1953 | 311.5 | 196.8 | 62.0 | 2:37:42 | 7:49:12 | 3:35:03 | 4:42:27 | 5:44:27 | 6:51:51 |  |
| 09733 | 134 | 28 | 2037 Jan 31 | 14:01:38 | Total | 0.3619 | 1.2074 | 312.1 | 197.5 | 63.7 | 11:25:35 | 16:37:41 | 12:22:53 | 13:29:47 | 14:33:29 | 15:40:23 |  |
| 09773 | 134 | 29 | 2055 Feb 11 | 22:46:17 | Total | 0.3526 | 1.2246 | 312.9 | 198.4 | 66.0 | 20:09:50 | 1:22:44 | 21:07:05 | 22:13:17 | 23:19:17 | 0:25:29 |  |
| 09814 | 134 | 30 | 2073 Feb 22 | 7:24:53 | Total | 0.3388 | 1.2503 | 313.8 | 199.7 | 69.2 | 4:47:59 | 10:01:47 | 5:45:02 | 6:50:17 | 7:59:29 | 9:04:44 |  |
| 09855 | 134 | 31 | 2091 Mar 05 | 15:58:22 | Total | 0.3212 | 1.2832 | 315.0 | 201.3 | 72.9 | 13:20:52 | 18:35:52 | 14:17:43 | 15:21:55 | 16:34:49 | 17:39:01 |  |
| 09898 | 134 | 32 | 2109 Mar 17 | 0:22:28 | Total | 0.2962 | 1.3296 | 316.4 | 203.3 | 77.5 | 21:44:16 | 3:00:40 | 22:40:49 | 23:43:43 | 1:01:13 | 2:04:07 |  |
| 09940 | 134 | 33 | 2127 Mar 28 | 8:40:17 | Total | 0.2664 | 1.3849 | 318.0 | 205.5 | 82.3 | 6:01:17 | 11:19:17 | 6:57:32 | 7:59:08 | 9:21:26 | 10:23:02 |  |
| 09983 | 134 | 34 | 2145 Apr 07 | 16:48:09 | Total | 0.2285 | 1.4550 | 319.7 | 207.9 | 87.3 | 14:08:18 | 19:28:00 | 15:04:12 | 16:04:30 | 17:31:48 | 18:32:06 |  |
| 10027 | 134 | 35 | 2163 Apr 19 | 0:49:33 | Total | 0.1858 | 1.5338 | 321.5 | 210.2 | 91.8 | 22:08:48 | 3:30:18 | 23:04:27 | 0:03:39 | 1:35:27 | 2:34:39 |  |
| 10070 | 134 | 36 | 2181 Apr 29 | 8:40:08 | Total | 0.1345 | 1.6281 | 323.2 | 212.3 | 95.9 | 5:58:32 | 11:21:44 | 6:53:59 | 7:52:11 | 9:28:05 | 10:26:17 |  |
| 10113 | 134 | 37 | 2199 May 10 | 16:25:22 | Total | 0.0793 | 1.7297 | 324.8 | 214.0 | 98.8 | 13:42:58 | 19:07:46 | 14:38:22 | 15:35:58 | 17:14:46 | 18:12:22 |  |
| 10157 | 134 | 38 | 2217 May 22 | 0:01:35 | Total | 0.0167 | 1.8444 | 326.0 | 215.2 | 100.4 | 21:18:35 | 2:44:35 | 22:13:59 | 23:11:23 | 0:51:47 | 1:49:11 |  |
| 10201 | 134 | 39 | 2235 Jun 02 | 7:32:48 | Total | -0.0495 | 1.7838 | 326.7 | 215.5 | 100.1 | 4:49:27 | 10:16:09 | 5:45:03 | 6:42:45 | 8:22:51 | 9:20:33 |  |
| 10246 | 134 | 40 | 2253 Jun 12 | 14:57:11 | Total | -0.1210 | 1.6520 | 326.9 | 214.8 | 97.6 | 12:13:44 | 17:40:38 | 13:09:47 | 14:08:23 | 15:45:59 | 16:44:35 |  |
| 10292 | 134 | 41 | 2271 Jun 23 | 22:18:46 | Total | -0.1943 | 1.5166 | 326.4 | 212.9 | 92.3 | 19:35:34 | 1:01:58 | 20:32:19 | 21:32:37 | 23:04:55 | 0:05:13 |  |
| 10339 | 134 | 42 | 2289 Jul 04 | 5:36:25 | Total | -0.2703 | 1.3760 | 325.1 | 209.6 | 83.3 | 2:53:52 | 8:18:58 | 3:51:37 | 4:54:46 | 6:18:04 | 7:21:13 |  |
| 10386 | 134 | 43 | 2307 Jul 16 | 12:51:48 | Total | -0.3475 | 1.2329 | 323.0 | 204.9 | 69.1 | 10:10:18 | 15:33:18 | 11:09:21 | 12:17:15 | 13:26:21 | 14:34:15 |  |
| 10432 | 134 | 44 | 2325 Jul 26 | 20:06:28 | Total | -0.4246 | 1.0898 | 320.2 | 198.6 | 45.0 | 17:26:22 | 22:46:34 | 18:27:10 | 19:43:58 | 20:28:58 | 21:45:46 |  |
| 10478 | 134 | 45 | 2343 Aug 07 | 3:21:51 | Partial | -0.5005 | 0.9484 | 316.5 | 190.7 |  | 0:43:36 | 6:00:06 | 1:46:30 |  |  | 4:57:12 |  |
| 10523 | 134 | 46 | 2361 Aug 17 | 10:38:41 | Partial | -0.5740 | 0.8112 | 312.1 | 181.2 |  | 8:02:38 | 13:14:44 | 9:08:05 |  |  | 12:09:17 |  |
| 10568 | 134 | 47 | 2379 Aug 28 | 17:58:09 | Partial | -0.6445 | 0.6792 | 307.1 | 170.1 |  | 15:24:36 | 20:31:42 | 16:33:06 |  |  | 19:23:12 |  |
| 10612 | 134 | 48 | 2397 Sep 08 | 1:22:03 | Partial | -0.7104 | 0.5556 | 301.7 | 157.4 |  | 22:51:12 | 3:52:54 | 0:03:21 |  |  | 2:40:45 |  |
| 10657 | 134 | 49 | 2415 Sep 19 | 8:51:06 | Partial | -0.7713 | 0.4410 | 296.1 | 143.2 |  | 6:23:03 | 11:19:09 | 7:39:30 |  |  | 10:02:42 |  |
| 10701 | 134 | 50 | 2433 Sep 29 | 16:24:45 | Partial | -0.8273 | 0.3352 | 290.4 | 127.2 |  | 13:59:33 | 18:49:57 | 15:21:09 |  |  | 17:28:21 |  |
| 10745 | 134 | 51 | 2451 Oct 11 | 0:05:24 | Partial | -0.8768 | 0.2413 | 284.9 | 109.8 |  | 21:42:57 | 2:27:51 | 23:10:30 |  |  | 1:00:18 |  |
| 10787 | 134 | 52 | 2469 Oct 21 | 7:52:38 | Partial | -0.9196 | 0.1596 | 279.8 | 90.6 |  | 5:32:44 | 10:12:32 | 7:07:20 |  |  | 8:37:56 |  |
| 10829 | 134 | 53 | 2487 Nov 01 | 15:47:25 | Partial | -0.9559 | 0.0900 | 275.3 | 68.9 |  | 13:29:46 | 18:05:04 | 15:12:58 |  |  | 16:21:52 |  |
| 10870 | 134 | 54 | 2505 Nov 12 | 23:47:37 | Partial | -0.9869 | 0.0301 | 271.4 | 40.3 |  | 21:31:55 | 2:03:19 | 23:27:28 |  |  | 0:07:46 |  |
| 10911 | 134 | 55 | 2523 Nov 24 | 7:55:24 | Penumbral | -1.0110 | -0.0168 | 268.4 |  |  | 5:41:12 | 10:09:36 |  |  |  |  |  |
| 10952 | 134 | 56 | 2541 Dec 04 | 16:08:21 | Penumbral | -1.0300 | -0.0543 | 266.2 |  |  | 13:55:15 | 18:21:27 |  |  |  |  |  |
| 10994 | 134 | 57 | 2559 Dec 16 | 0:26:02 | Penumbral | -1.0444 | -0.0832 | 264.6 |  |  | 22:13:44 | 2:38:20 |  |  |  |  |  |
| 11035 | 134 | 58 | 2577 Dec 26 | 8:46:27 | Penumbral | -1.0560 | -0.1065 | 263.5 |  |  | 6:34:42 | 10:58:12 |  |  |  |  |  |
| 11075 | 134 | 59 | 2596 Jan 06 | 17:09:04 | Penumbral | -1.0652 | -0.1251 | 262.8 |  |  | 14:57:40 | 19:20:28 |  |  |  |  |  |
| 11115 | 134 | 60 | 2614 Jan 18 | 1:31:45 | Penumbral | -1.0735 | -0.1418 | 262.1 |  |  | 23:20:42 | 3:42:48 |  |  |  |  |  |
| 11154 | 134 | 61 | 2632 Jan 29 | 9:52:07 | Penumbral | -1.0828 | -0.1600 | 261.1 |  |  | 7:41:34 | 12:02:40 |  |  |  |  |  |
| 11195 | 134 | 62 | 2650 Feb 08 | 18:09:59 | Penumbral | -1.0934 | -0.1803 | 259.7 |  |  | 16:00:08 | 20:19:50 |  |  |  |  |  |
| 11237 | 134 | 63 | 2668 Feb 20 | 2:22:36 | Penumbral | -1.1072 | -0.2063 | 257.4 |  |  | 0:13:54 | 4:31:18 |  |  |  |  |  |
| 11280 | 134 | 64 | 2686 Mar 02 | 10:28:53 | Penumbral | -1.1257 | -0.2405 | 253.9 |  |  | 8:21:56 | 12:35:50 |  |  |  |  |  |
| 11322 | 134 | 65 | 2704 Mar 13 | 18:26:58 | Penumbral | -1.1501 | -0.2852 | 248.7 |  |  | 16:22:37 | 20:31:19 |  |  |  |  |  |
| 11365 | 134 | 66 | 2722 Mar 25 | 2:17:14 | Penumbral | -1.1798 | -0.3398 | 241.7 |  |  | 0:16:23 | 4:18:05 |  |  |  |  |  |
| 11407 | 134 | 67 | 2740 Apr 04 | 9:58:17 | Penumbral | -1.2163 | -0.4063 | 232.3 |  |  | 8:02:08 | 11:54:26 |  |  |  |  |  |
| 11450 | 134 | 68 | 2758 Apr 15 | 17:28:58 | Penumbral | -1.2602 | -0.4867 | 219.8 |  |  | 15:39:04 | 19:18:52 |  |  |  |  |  |
| 11494 | 134 | 69 | 2776 Apr 26 | 0:50:25 | Penumbral | -1.3110 | -0.5794 | 203.5 |  |  | 23:08:40 | 2:32:10 |  |  |  |  |  |
| 11540 | 134 | 70 | 2794 May 7 | 8:02:01 | Penumbral | -1.3690 | -0.6856 | 181.9 |  |  | 6:31:04 | 9:32:58 |  |  |  |  |  |
| 11586 | 134 | 71 | 2812 May 17 | 15:05:07 | Penumbral | -1.4327 | -0.8023 | 153.0 |  |  | 13:48:37 | 16:21:37 |  |  |  |  |  |
| 11634 | 134 | 72 | 2830 May 28 | 21:58:39 | Penumbral | -1.5032 | -0.9315 | 110.1 |  |  | 21:03:36 | 22:53:42 |  |  |  |  |  |


title: Flo-Master

abstract: Flo-Master was a brand of inks and markers in the latter half of the 20th century. These markers were designed for glass, and became popular among graffiti artists in New York City in the 1970s and early 1980s.

text:
# Flo-Master

**Flo-Master** was a brand of inks and markers in the latter half of the 20th century. These markers were designed for glass, and became popular among graffiti artists in New York City in the 1970s and early 1980s.

## History

Cushman & Denison first introduced Flo-Master "refillable markers" in 1951, which targeted store owners and advertisers with limited success. In 1953, Esterbrook America took over the company in the United States, and Esterbrook Pens and Cushman & Denison merged in 1960 in the United Kingdom. To counter a precipitous fall-off in its business following World War II, Esterbrook worked to develop new and innovative products, and the years 1960 to 1967 saw steady progress.

Under the "Gem" brand name, the company launched its highly successful Mark I line of products, featuring the "Valve Marker" and the "Permanent Pen." Flo-Master brand inks were used in many of these products, and was also sold separately for refills, marketed in handy tin cans equipped with "needle-nose" plastic nozzles. In 1967, the Venus Pencil Company bought out the Esterbrook Pen Company, resulting in the formation of Venus Esterbrook.

## Impact

In the Russian language, *фломастер* (*flomaster*) has become a common name for any marker pen (regardless of actual brand). The same is true for many other Slavic languages, e. g. Ukrainian, Polish, Bosnian, Bulgarian, Croatian, Serbian or Slovene, and the Baltic languages (Lithuanian and Latvian), as well as in the Egyptian dialect of Arabic.

In the mid-1960s, the psychedelic liquid light show as visual accompaniment to live electric music became a feature of gigs and Flo-master inks were often used, due to the intensity of their colour and the convenience of the nozzle feature on the refill cans.

When street-writing took to the subways in New York City at the start of the 1970s, Flo-Master opaque inks were chosen by graffiti artists, as they adhered to virtually any surface permanently. In addition, the ink was not only opaque on glass, but also covered up pre-existing writing.

Flo-Master inks were not only colorful and durable; in addition, the design of their cans allowed for portability, quick refilling and artful "pointing" and "edging" of "Uni-Wide" and "Mini-Wide" markers—designed for "ribbon"-style writing on glass—which were extremely popular with early graffiti writers as well.

## Decline

Due to its high lead content—the ingredient which gave Flo-Master inks their distinctive attributes—production was suspended by regulation.


title: Werauhia nutans

abstract: Werauhia nutans is a plant species in the genus Werauhia. This species is endemic to Costa Rica.

text:
# Werauhia nutans

***Werauhia nutans*** is a plant species in the genus *Werauhia*. This species is endemic to Costa Rica.

* Luther, Harry E. (1995). "An Annotated Checklist of the Bromeliaceae of Costa Rica". *Selbyana*. **16** (2): 230–234. ISSN 0361-185X. JSTOR 41759911.

## InfoBox

| *Werauhia nutans* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Poales |
| Family: | Bromeliaceae |
| Genus: | *Werauhia* |
| Species: | ***W. nutans*** |
| Binomial name | |
| ***Werauhia nutans***<br>(L.B.Smith) J.R.Grant | |
|


title: Turgutluspor

abstract: Turgutluspor is a Turkish sports club located in Turgutlu, Manisa Province. The football club currently plays in the TFF Third League.

text:
# Turgutluspor

**Turgutluspor** is a Turkish sports club located in Turgutlu, Manisa Province. The football club currently plays in the TFF Third League.

## InfoBox

Turgutluspor
|  | |
| --- | --- |
| Full name | Turgutluspor |
| Nickname(s) | *Kasaba* (The Town) |
| Founded | 1984 (1984) |
| Ground | 7 Eylül Stadium, Turgutlu |
| Capacity | 4,100 |
| Chairman | Murat Ayhan |
| Manager | İbrahim Cezayir |
| League | TFF Third League |
| 2021–22 | TFF Second League, Red, 17th (relegated) |
| Website | Club website |
|  | |
|  | |
|  | |


title: Pura Lopez

abstract:
Pura Lopez is a Spanish shoe designer, director of the design department of the Pura Lopez brand.
She is a shoe designer for Royal Family members and Spanish cinema.

text:
# Pura Lopez

**Pura Lopez** (born 29 September 1962 in Elche, Spain) is a Spanish shoe designer, director of the design department of the Pura Lopez brand. She is a shoe designer for Royal Family members and Spanish cinema.

## Early life

Pura Lopez was born in Elche, Alicante, Spain, the daughter of Antonio Lopez Moreno, a shoe manufacturer who founded his company as a family business in 1964 during the rapid growth of the shoe industry in \[Spain\].

Lopez was growing surrounded by shoes and everything related to shoe production. Her observations and attention to the techniques gave her deep knowledge of the shoe construction and design concepts. Later, in the interview for the Spanish Magazine *Surrealista*, Lopez admitted that she was always attracted by art and creative process but she never really thought to work neither in the shoe industry nor in fashion.

In 1979 Lopez entered the School of Applied Arts and Creative Careers of Alicante to study the Interior Design.

In 1981 she proceeds with her education entering the School of Arts and Design of Barreira in Valencia, where she studies Fashion Design.

In the summer of 1984 Lopez went to New York City, where she started attending a specialized course on Clothing Fashion Design in the Fashion Institute of Technology. A year later she went to Milan, to study footwear design and construction in ARSUTORIA School. That became a significant period in Lopez's life. She stayed in every-day contact with the fashion world, often attended fashion shows and pret-a-porter runways to learn as much as possible about the trends and fashion world.

In 1986 Lopez joined her family business. She started working in the Department of Design, Development and Production for two significant collections: "Josephine" and "Academia". Soon after her arrival the Lopez family changed their strategy and started a new ladies shoe brand.

In 1987 the concept of Pura Lopez brand was developed. The main figure is a woman of wide culture, fashion-oriented, very feminine whilst strong.

After a family council, the new brand was named after its creator. Currently the second generation of Lopez family conducts all the affairs of the company where Lopez is in charge of the Design Department and her brother, Antonio Lopez Segarra is CEO.

The distinctive particularity of Pura Lopez shoes is the color spectrum of pastels, which vary depending on the season. Thanks to accurate calculations of the form construction Lopez manages to create the models with high heels and platforms without compromising the stability. Lopez chose her moto: "Your shoes should inspire you to walk" and her concept: "a shoe is a main accessory in the woman’s wardrobe" considering it to be an indicator between the platitude and elegance. According to Lopez "The shoes are communication."

Today the Pura Lopez brand is the basis of family business Dalph International founded in 1956.

## Recognition

Admission to the runway became Lopez's big victory. Her models are being used for shows and catwalks by such designers as Cibeles y Gaudí, Juanjo Oliva, Andrés Sardá, Javier Larraínzar and Guillermina Baeza.

Moreover, she collaborates with such houses as La Perla, Devota & Lomba, Joaquim Verdu, Roberto Verino, Roberto Torretta and participates in Madrid Fashion Week.

In 1998 Pura Lopez represented the Spanish shoe industry in 1998 Lisbon World Exposition in Lisbon, Portugal.

Lopez works with Haute couture, creating special occasion shoes for the members of the European Monarchies such as Mary Donaldson, Mary, Crown Princess of Denmark and Queen Letizia of Spain, who prefers to wear Pura Lopez shoes in different occasions of celebrations.

Howbeit the most significant moment in Lopez's career was 22 May 2004 - the wedding day of Queen Letizia of Spain and King Felipe VI, when the bride was wearing the dress of Spanish designer Manuel Pertegas and Pura Lopez shoes. Other guests followed the bride's lead and wore Pura Lopez shoes as well: Infanta Cristina of Spain and her cousin, Princess Alexandra of Greece.

The wedding was watched by more than 25 million television viewers in Spain alone, and was broadcast throughout the world. After that Lopez was adored and requested as wedding shoes designer.

In 2009 Lopez received Fuenso International Shoe Award.

On 30 March 2012 the Association of businessmen, professionals and managers recognized Lopez as the best businesswoman of the year.

At the moment Pura Lopez is present in more than 1000 places worldwide. Those are fashion boutiques, monobrand store and department stores of the whole world. in Galeries Lafayette on Boulevard Haussmann in Paris, France and Galleries Lafayette in Casablanca, Morocco.

The average retail price of Pura Lopez shoes is about 250—350 euro.

In February 2012 Pura Lopez opens their first show room in the center of Milan.

## Shoes

Lopez creates two collections a year that embrace several fashion concepts. As a result, each collection goes up to 200 styles per season.

That large amount is due to the fact that Lopez always has in mind all the types of women that she is designing for. She considers the bone structure, the height and time of the day. First she creates a group of High Fashion - Runway shoes. Then the same process is repeated for classic evergreen style; then for chic and elegant style; then for conservative target etc. But not all the models are then exposed. After the development Lopez chooses only the most interesting and innovative ones and sends them to the production.

Pura Lopez shoes are produced in eight separate factories that belong to the company in Elche, Spain. Only Italian leather is used for the shoes, as well as modern and antique technologies of shoe-making. The designer uses a lot of texture and "crust" nappa and is not afraid to apply a "vintage effect", i.e. artificial leather aging that makes the product more attractive when it is being used a lot.

The production capacity of the company is divided into five lines up to 1800 pairs a week each.

From 2009 Lopez began to expand the bag line and to introduce them to the main collections.

## Cinema

The designs of Pura Lopez models were used in such movies as *La Dama Boba* of Manolo Iborra Martinez based on the play by Lope de Vega, *Insomnia* by Chuz Guttieres, *Kika* by Pedro Almodóvar Caballero, as well as in the French production of *Asterix and Obelix*.

But in all their glory the shoes appeared in the movie *Manolete* with Adrien Brody. Lopez was invited to create the design of the shoes worn by Penélope Cruz. The styles chosen for the movie reflect all the femininity and glamour of the 1940s women — the time when platforms, round pumps and high heels were especially relevant.

Lopez admitted that she liked her experience in the movie industry because it gave her a great possibility to express her creative potential without respecting any limits.

Pura Lopez shoes are worn by such celebrities as: Kylie Minogue, Monica, Penélope Cruz, Isabelle Fuhrman, Lea Michele, Kim Kardashian, and others.

## Interesting facts

* Lopez does not like to repeat the models so she never uses the same design without changing it at least a little bit in two collection in a row. That productivity requires a lot of time. Lopez says that she and her designers team could often stay in the studio for days choosing the colors and materials that match.
* Once Lopez decided to create an exclusive design just for her. But in the end she couldn't resist and included it in the main collection.
* Queen Letizia of Spain who is constantly called the «Princess of Fashion», frequently wears Pura Lopez shoes.
* Lopez doesn't like to give interviews. She can easily be seen in the Fairs and Presentations where she comes incognito.

## InfoBox

| Pura Lopez | |
| --- | --- |
|  | |
| Born | Pura Lopez Segarra
(1962-09-29) 29 September 1962
Elche, Spain |
| Occupation | Shoe designer |
| Years active | 1986–present |
| Parents | * Antonio López Moreno (father) * Josefina Segarra García (mother) |
| Website | Official website |


title: Len Shapiro

abstract: Leonard Shapiro is an American sportswriter who wrote for The Washington Post from 1969 to 2010.

text:
# Len Shapiro

**Leonard Shapiro** (born February 2, 1947) is an American sportswriter who wrote for *The Washington Post* from 1969 to 2010.

## Background

Shapiro was born in Brooklyn in 1947, and grew up in Syosset, New York. He studied journalism with a minor in science at the University of Wisconsin–Madison, graduating in 1968, and received a master's degree from the Missouri School of Journalism the following year.

## Career

Shapiro joined *The Washington Post* in 1969, starting as a copy editor. The following year he was hired to report high school sports, before moving to covering the Washington Redskins in 1973. From 1973 until 1978, he was the Redskins' beat reporter for the Post. In 1979 he became an assistant sports editor for the paper, and was subsequently promoted to deputy sports editor and then to sports editor in 1987. He was the newspaper's chief NFL correspondent, and also covered a variety of other sports. He was president of the Golf Writers Association of America from 2005 to 2006.

Shapiro retired from the *Post* 2010, and subsequently became editor of the *Country ZEST and Style Magazine* of Middleburg, Virginia. He has written seven books, and has taught sports journalism courses at the University of Wisconsin.

In 2001, he received the Dick McCann Memorial Award from the Pro Football Hall of Fame. He was inducted into the Washington Jewish Hall of Fame in 2002.

## Personal life

Shapiro is married to Vicky Moon, an editor and writer; they have three children, Jennifer, Emily, and Taylor.

## InfoBox

| Len Shapiro | |
| --- | --- |
| Born | Leonard Shapiro
(1947-02-02) February 2, 1947 |
| Nationality | American |
| Alma mater | University of Wisconsin–Madison
Missouri School of Journalism |
| Occupation | Sportswriter |
| Spouse | Vicky Moon |
| Children | 3 |


title: To Aganara Tulasi Mun

abstract: To Aganara Tulasi Mu is an Indian Odia language Soap opera which aired on Zee Sarthak. It premiered from 08 October 2012 and ended on 16 March 2019. It is the first longest ran Odia soap opera with 1,863 episodes.

text:
# To Aganara Tulasi Mun

***To Aganara Tulasi Mu*** (transl.I am the basil of your yard) is an Indian Odia language Soap opera which aired on Zee Sarthak. It premiered from 08 October 2012 and ended on 16 March 2019. It is the first longest ran Odia soap opera with 1,863 episodes.

## Plot

The story follows the journey of a young girl named Tulasi, who is in love with Chandan. However, Lisa is also smitten by him and wants to marry him. Tulasi decides to stand by Chandan and his family amid oppositions from Lisa and others. How she faces these is the story.

## Cast

* Swetlana Bhattacharya/Lipsa Mishra/Jessy a.k.a. Pralipta Priyadarshini Samalas Tulasi (aka Iccha)
* Tushar as Chandan
* Chhandita as Lisa
* Bhagaban Behera as Dr. Meher
* Rajesh Mishra
* Aswini Kumar Brahma
* Namrata Das
* Anil Kumar Nayak
* Gyanendra Kumar Pallai
* Mamta Padhi as Nirmala
* Biren Mishra

## Casting

Initially, Svetlana played the role of tulsi. After her exit, Jessy replaced her. In 2016, Jessy was arrested on charges of abetment to suicide of telly actor Ranjit Patnaik aka Raja and Lipsa Misra replaced her. But Jessy got bail within 15 days and reentered the serial. Bhagwan Behera who played the main character Dr. Meher has left the serial protesting her entry.

## Reception

The series was one of the most watched Odia language television program at its run time. In week 18 and 19 of 2014, it garnered a trp of 3.3 and 3.63 being the second most and most watched Odia language television program in the two weeks.

## InfoBox

| *To Aganara Tulasi Mun* | |
| --- | --- |
|  | |
| Genre | Soap opera |
| Directed by | Keshav Malik |
| Starring | See below |
| Country of origin | India |
| Original language | Odia |
| No. of episodes | 1,863 |
| Production | |
| Running time | 22 minutes |
| Original release | |
| Network | Zee Sarthak |
| Release | 8 October 2012 (2012-10-08) <br>16 March 2019 (2019-03-16) |
| Related | |
| *Mo Aganara Tulasi Tu* | |


title: Mike Layton (journalist)

abstract: Myron J. Layton was an American newspaper journalist and author who wrote for The Seattle Post-Intelligencer and The Olympian from the 1960s through the 1980s, often covering Washington state politics. Before and after Pearl Harbor, Layton served in the US Army remote Aleutian Islands. Later, in 1944–45, he served as a paratrooper in the European theater of World War II, in the 82nd Airborne Division. Layton was also a veteran of the Korean War, serving in the 11th Airborne Division and 10th Special Forces Group. Layton wrote the book Easy Blood: Ronald Reagan's Proxy Wars in Central America, about his research and experiences travelling in Central America, and My Very Worst Friend, a memoir and autobiography.

text:
# Mike Layton (journalist)

**Myron J. Layton** (November 24, 1922 – March 20, 2011) was an American newspaper journalist and author who wrote for The Seattle Post-Intelligencer and The Olympian from the 1960s through the 1980s, often covering Washington state politics. Before and after Pearl Harbor, Layton served in the US Army remote Aleutian Islands. Later, in 1944–45, he served as a paratrooper in the European theater of World War II, in the 82nd Airborne Division. Layton was also a veteran of the Korean War, serving in the 11th Airborne Division and 10th Special Forces Group. Layton wrote the book *Easy Blood: Ronald Reagan's Proxy Wars in Central America*, about his research and experiences travelling in Central America (in particular Nicaragua), and *My Very Worst Friend*, a memoir and autobiography.

## InfoBox

| Mike Layton | |
| --- | --- |
| Born | Myron J. Layton
(1922-11-24)November 24, 1922
Nebraska, U.S. |
| Died | March 20, 2011(2011-03-20) (aged 88)
Seattle, Washington, U.S. |
| Alma mater | University of Denver (1950) |
| Occupations |  |
| Notable credit(s) | Seattle Post-Intelligencer (journalist, columnist), The Olympian (at one time *The Daily Olympian*) (journalist); *Easy Blood: Ronald Reagan's Proxy Wars in Central America* (non-fiction book); *My Very Worst Friend* (memoir/autobiography); *The Laytons: A Westering Family* (family history) |


title: Luys Ycart

abstract: Luys Ycart, or Lluís Icart in modern orthography, was a Catalan poet. He left behind fourteen lyric poems and a long poem called Consolació i Avís d'amor. All of his poetry was produced before the composition of the chansonnier Vega-Aguiló (1420–30), into which it was copied soon after it was written.

text:
# Luys Ycart

**Luys Ycart** (fl. 13961433), or **Lluís Icart** (Catalan pronunciation: \[ʎuˈiz iˈkaɾt\]) in modern orthography, was a Catalan poet. He left behind fourteen lyric poems and a long poem called *Consolació i Avís d'amor* ("Consolation and Advice of Love"). All of his poetry was produced before the composition of the chansonnier Vega-Aguiló (142030), into which it was copied soon after it was written.

## Life

Luys was a minor nobleman, the son of Pere Ycart and Johanna de Subirats from Lleida.

As early as 1396 he had a relationship with a woman known as Lionor de Pau. He was dubbed a knight in 1429 or 1430. He married a woman named Blanquina in an unknown year, but his four children were still young in 1433. Luys participated in the Lleidan feuds that dominated the local situation in the 1420s and 1430s. In 1430 the offenders, including Luys and his enemy Felip Claver, were fined by Queen Maria. In 1433 Maria confiscated Luys' property for his complicity in the assassination of the archdeacon of Lleida. Sometimes thereafter he adopted his mother's surname of "de Subirats", a common practice in those times.

## Work

Luys participated in the *jocs florals* of the Consistori del Gay Saber, held annually in Toulouse. One song composed by Luys for judgement in the Consistori's contests has survived, addressed appropriately to *los senhors set* of the *gay sauber*. In this poem the artificial restraints imposed by the Consistori through its *Leys d'amor* (laws of love, i.e. poetic composition) are evident in Luys' verse. The rhyme scheme is a simple *rims capfinits*. The poem is uninspired, repetitive, and forced.

The style of Luys' competitive work was atypical. Martín de Riquer describes his poetry as the pure and fluid unfolding of traditional troubadour themes with discreet ornamentation. His poetry is filled with amorous laments (**planhz**). His most famous love piece is probably his *cobla sparça* dedicated to Lionor, the daughter of the chamberlain Francesc de Pau. Lionor we know to have been in the entourage of Violant de Bar and to have accompanied the six-month-old Joana de Perpinyà (youngest child of John I of Aragon) in 1396, around which time Luys' composed his poem. Using the form of a madrigal, Luys praises "Na Pau" (Lady Peace, a play on her name) and plays on the expression *donar la pau* (give a kiss): *Na Pau, n'he pau*, "Lady Peace, have a kiss".

In several other of his love poems Luys sings to a queen, probably the widowed Margarida de Prades, who also attracted the praise of Jordi de Sant Jordi and Ausiàs March. The feudo-vassallic allegory of love pervades Luys' writings, no more so than in those dedicated to Margarida, wherein he sometimes describes the concrete realities of her court.

The piece of Luys' that most stubbornly resists comprehension is a *tenso* with a certain Regadelh: *Frayres molt cars, meravila•m de vós*. The identity of this Regadelh has never been ascertained: it could be the archdeacon Manuel de Rajadell, to whom Felip de Malla dedicated his *Pecador remut*, or a Bernat Fajadell (or Rajadell), beneficed at Barcelona, who was the inspiration behind a cycle of satires. The uneven *tenso* contains one stanza from Luys, one retort from Regadelh, and a third unassigned paragraph that certainly belongs to Luys. The debate is good-natured and designed to be entertaining, but many of the references and allusions elude interpretation.

The longest of Luys' surviving works is his 523-line, hexasyllabic *Consolació o Avís d'amor*, which ends with a summary stanza in decasyllables. The purpose of the work is as consolation (*consolació*) and counsel (*avís*) to a friend suffering from a disease of love. It is a *lletovari* (electuarium). Unlike similar Catalan works of the same era, such as Johan Basset's *Letovari* and Bernat Metge's *Medicina*, Luys' *Consolació* is heavy and serious in tone. The philosophy espoused is completely that of courtly love, and of Ovid, though whether consciously is doubtful.


title: Wendy Wilkins

abstract: Wendy Wilkins was provost and executive vice president at New Mexico State University until November 2012. She took the post in mid-July 2010 after resigning from the University of North Texas at the end of business day, July 1, 2010. Prior to beginning her service as the University of North Texas Provost and Vice President for Academic Affairs in 2007, Wilkins has served as Dean of the College of Arts and Letters at Michigan State University and as Associate Dean for Academic Personnel in the College of Liberal Arts and Sciences at Arizona State University. Her work in academic administration began with service as Associate Chair, and then Chair, of the Department of English at ASU.

text:
# Wendy Wilkins

**Wendy Wilkins** (born March 1, 1949) was provost and executive vice president at New Mexico State University until November 2012. She took the post in mid-July 2010 after resigning from the University of North Texas at the end of business day, July 1, 2010. Prior to beginning her service as the University of North Texas Provost and Vice President for Academic Affairs in 2007, Wilkins has served as Dean of the College of Arts and Letters at Michigan State University and as Associate Dean for Academic Personnel in the College of Liberal Arts and Sciences at Arizona State University. Her work in academic administration began with service as Associate Chair, and then Chair, of the Department of English at ASU.

## Education

Wilkins’ academic preparation, in Linguistics, includes a PhD from the University of California at Los Angeles, two post-doctoral appointments in Cognitive Science at the University of California at Irvine, and a pre-doctoral appointment in the Department of Linguistics and Philosophy at MIT.

## Employment and research

Wilkins' primary research training was in syntactic theory; more recently she has worked on the evolutionary neurobiology of language and comparative linguistic and musical cognition. As a faculty member, Wilkins has held numerous positions both in the United States and in Mexico. In the U.S, in addition to ASU and MSU, she has served in a visiting capacity at the University of Massachusetts Amherst and at the University of Washington. In Mexico City, she was a professor of Linguistics at Universidad Autónoma Metropolitana, Unidad Ixtapalapa; Centro de Estudios Lingüísticos y Literarios, El Colegio de México; and Departamento de Lingüística, Escuela Nacional de Antropología e Historia. She also held a research position at Instituto de Investigaciones en Matemáticas Applicadas y en Sistemas, Universidad Nacional Autónoma de México.

Since becoming an administrator, Wilkins has remained involved in service to the profession. She engaged actively with the Council of Colleges of Arts and Sciences, including service on the Board of Directors. Within Linguistics, she was elected delegate-at-large for Section Z (Linguistics and Language Science) of the American Association for the Advancement of Science (AAAS) and has accepted numerous service assignments for the Linguistic Society of America (LSA).

## Administrative professional activities

**National and state**

* 2009–Presenter, Panel on Cost Containment and Enhancing Effectiveness, Council on Academic Affairs Summer Meeting, Association of Public and Land-grant Universities (APLU)
* 2008-09 - Participant, Institute for New Chief Academic Officers, American Council on Education (ACE)
* 2002-04 - Member, Board of Directors, Boar’s Head Theatre, Lansing, Michigan
* 2002 - Chair, Workshop for Assistant and Associate Deans, Council of Colleges of Arts and Sciences (CCAS)
* 2002 - Co-Chair, Program Committee, Annual Meeting of Arts and Sciences Deans, Association of American Universities (AAU), Berkeley, CA
* 2001-04 - Member, Board of Directors, East Lansing Film Festival
* 2001 - Organizer, Panel on Budgeting, Annual Meeting of Arts and Sciences Deans, AAU, Tucson, AZ
* 2000-03 - Member, Board of Directors, CCAS
* 2000 - Member, External Review Team, Departments of Modern Languages and Literatures and Language Media Center, University of Iowa
* 2000 - Participant, Re-Envisioning the PhD Project, University of Washington. Project funded by the Pew Charitable Trusts and the Council of Graduate Schools; project directors at the University of Washington, with invited participation of others
* 2000 - Organizer, Case Studies Session, Annual Meeting, CCAS
* 2000 - Member, Program Committee, CCAS
* 1999-2004 - Participant, Imagining America/Imagining Michigan. Project conceived and developed out of White House Millennium Council, with leadership provided by University of Michigan and the Woodrow Wilson Foundation, with invited participation of others
* 1999–Presenter, Dean’s Clinic (Large Institutions), Annual Meeting, CCAS
* 1999-2000 - Member, Committee on the Internationalization of Education, CCAS
* 1998-2004 - Member, Arts and Sciences Deans Group, Committee on Institutional Cooperation (CIC). The CIC comprises the Big Ten universities plus the University of Illinois at Chicago and the University of Chicago.
* 1998-2004 - Member, Arts and Sciences Deans Group, AAU Public Institutions
* 1996-1999 - Member, Resolutions Committee, CCASS. Developed two resolutions, both adopted by CCAS at the 1996 annual meeting, on fair and appropriate use of electronic communications technologies.
* 1996-98 - Founder, Arizona Council of Arts and Sciences Administrators (ACASA). ACASA includes the arts and sciences deans, associate deans, and assistant deans from the Arizona state universities (ASU, UA, NAU).
* 1996 - Panel Chair, CCAS. Panel on information technologies (including technology transfer, the Avirtual@ university, and evaluating technology innovations for personnel reviews)
* 1995–Presenter, CCAS. Panel addressing partner accommodation issues in faculty hiring.
* 1995 - Panel Chair, Association of Departments of English, Summer Seminar. Workshop for newly appointed English department chairs.
* 1992 - Chair, Host Committee, Association of Departments of English, Summer Seminar

**Michigan State University (1998–2004)**

* 2001-04 - Member, Board of Directors, Estate Wealth and Strategies Institute. One of three deans appointed to Board of non-profit institute focusing on inter-generational wealth transfer issues.
* 2001-04 - Member, Board of Directors, Michigan State University Alumni Association. One of two deans who serve on the Association Board, along with elected MSU alumni and other ex-officio members from University central administration.
* 2001-04 - Member, Selection Committee, University Distinguished Professorships. The UDP is MSU’s highest internal honor for an individual faculty members
* 2001-04 - Member, Enrollment Strategy Council. One of three deans on advisory committee working with Director of Admissions.
* 2000-04 - Member, Executive Advisory Committee, Executive Development Center. One of six on-campus members of committee to serve in advisory capacity.
* 1999-2003 - Member, Campaign Strategy Committee (Office of the Provost and University Development). Committee of six deans plus members of the central administration and University Development, involved in developing policies and procedures for MSU’s billion-dollar-plus (sesquicentennial) capital campaign
* 1999-2000 - Chair, Steering Committee, Center for Great Lakes Culture
* 1999-2000 - Member, Planning Committee, Academic Leadership Program
* 1999-2004 - Member, Jewish Studies Program Advisory Board
* 1998-2004 - Lead Dean, Integrative Studies Program. Integrative Studies is the core curriculum in general education at MSU
* 1998-2004 - Member, Study Abroad Deans Group. On-campus committee, advisory to the Dean of International Studies and Programs
* 1998-2004 - Member, Campus Cultural Coordinating Committee
* 1998-99 - Member, MSU Team, Wharton/IRHE Program for the Knight Collaborative, The Wharton School, University of Pennsylvania. Team composed of two deans and four other academic leaders; team project focused on collaborative work

**Arizona State University (1987–1997)**

* 1997-98 - Member, Workforce for the University for the Next Century Project Team. Task force charged with revisioning Human Resources in the University
* 1997 - Member, Search Committee, Director of Faculty Development Program
* 1997-98 - Member, Advisory Network, Employee Career Enrichment Program
* 1996-98 - Member, Main Campus Information Technology Strategic Planning Committee. Committee charged to address both strategic and implementation plans for Information Technology
* 1996-98 - Member, Provost’s Working Group on Diversity
* 1995-98 - Chair, University Information Technology Advisory Committee. Committee advisory to Vice Provost for Information Technology.
* 1995-98 - Member, Employee Assistance Program Advisory Committee. Committee advisory to EAP Program Director.
* 1995-98 - Facilitator, Associate and Assistant Deans Council. Program to coordinate on-campus professional development activities for assistant and associate deans
* 1995-96 - Member, Human Resources Oversight Committee. Committee charged with on-campus review of human resources office.
* 1995-96 - Vice President, Board of Directors, University Club
* 1995 - Member, Coordinating Team, Student Process Re-engineering Project. SPRP was the University-level project with the fundamental goal of improving services to students; Wilkins was the Academic Affairs representative
* 1994-98 - Chair, Strategic Planning and Academic Resources Advisory Committee. Committee responsibilities included advising the Dean on both short- and long-term priorities and writing and revising the College strategic plan.
* 1994-1997 - Member, Chicana and Chicano Studies Advisory Committee. Chicana/o Studies, a new degree program and department, gained Regents’ approval in 1997.
* 1994 - Member, Main Campus Strategic Budgeting Committee. Subcommittee of the Main Campus Strategic Planning Committee.
* 1994 - Member, Preparing Future Faculty project. Graduate student training for the future professoriate; project directed by the Graduate College and funded by the Pew Foundation and the Council of Graduate Schools.
* 1994 - Member, Selection Committee, Legislative Intern Program
* 1994 - Member, University Summer Bridge Program Committee. Committee charged with developing programs to ease transition for marginally prepared high school students becoming first-year ASU students.
* 1994-95 - Member, Commission on New Student Orientation. Committee charged with developing a plan to improve orientation activities.
* 1994-95 - Member, Killer Course Task Force. Task force charged with determining which lower division courses were obstacles to student success, especially first- to second-year persistence.
* 1994-95 - Member, University Strategic Planning Committee for Mathematical Sciences. Committee charged with developing a plan to improve student learning and satisfaction in lower division mathematics.
* 1994 - Member, Search Committee, Humanities Computing Facility director
* 1992-1996 - Member, Board of Directors, University Club
* 1992-93 - Chair, Task Force on Quality and Diversity. College-level subcommittee of University task force charged with developing a plan for enhancing quality and diversity among the students and faculty.
* 1992-93 - Member, Search Committee, Dean of the College of Extended Education
* 1990-92 - Member, CLAS Strategic Planning Committee
* 1988-90 - Chair, CLAS Student Affairs and Grievances Committee
* 1987-89 - Chair, University Interdisciplinary Committee on Adaptive Neural Systems

## Publications

**Books**

* 2007 - *Phrasal and clausal architecture: Syntactic derivation and interpretation*, Amsterdam: John Benjamins (Editor, with S. Karimi and V. Samiian).
* 1988 - *Thematic Relations, Syntax and Semantics*, Vol. 21. New York: Academic Press (Editor).
* 1984 - *Locality in Linguistic Theory*, New York: Academic Press (with P. Culicover).

**Refereed Publications**

* 2010 - Toward an evolutionary biology of language through comparative neuroanatomy, in *The Oxford Handbook of Language Evolution*, Maggie Tallerman and Kathleen Gibson (editors), Oxford University Press, in press.
* 2009 - Mosaic neurobiology and anatomical plausibility, in *The Prehistory of Language*, Rudolph Botha and Chris Knight (editors), Oxford University Press, pp. 390–420.
* 2007 - Layers, mosaic pieces, and tiers, *The Linguistic Review*, 24(4):475–484.
* 2007 - Conceptual space. In Karimi, S., Samiian, V., and Wilkins, W.K. (Eds.), *Phrasal and clausal architecture: Syntactic derivation and interpretation*, Amsterdam: John Benjamins, pp. 365–395 (with J. Wakefield).
* 2005 - Anatomy matters, *The Linguistic Review*, 22(2-4):271-288.
* 1998 - El lexicón posminimista y las construcciones con se en español y macedonio. In De Báez, Y.J., Venier, M.E., Butragueño, P.M., and Barriga Villanueva, R. (Eds.), *Volume to commemorate the 50th anniversary of the Centro de Estudios Lingüísticos y Literarios*, El Colegio de México, pp. 143–163 (with V. Todoroska and C. Agüero Bautista).
* 1997 - Further issues in neurolinguistic preconditions, *Behavioral and Brain Sciences*, 19(4):788-798 (with J. Wakefield).
* 1997 - El lexicón posminimista: el caso de se. In Pool, M. (Ed.), *Estudios de lingúística formal*, El Colegio de México, pp. 67–86.
* 1995 - Issues and non-issues in the origins of language (reply to commentary), *Behavioral and Brain Sciences*, 18(1):205-226 (with J. Wakefield).
* 1995 - Brain evolution and neurolinguistic preconditions, *Behavioral and Brain Sciences*, 18(1):161-182 (with J. Wakefield).
* 1994 - Lexical learning by error detection, *Language Acquisition*, 3(2):121-157.
* 1991 - Autonomy and the nature of the input, *Behavioral and Brain Sciences*, 14(4):638.
* 1990 - In defense of exaptation, *Behavioral and Brain Sciences*, 13(4):763-764 (with J. Dumford).
* 1989 - Linguistics, learnability, and computation. In Brink, J.R. and Haden, C.R. (Eds.), *The Computer and the Brain: Perspectives on Human and Artificial Intelligence*, Amsterdam: Elsevier North-Holland, 197-207.
* 1989 - Why degree-0/?, *Behavioral and Brain Sciences*, 12(2):362-363.
* 1988 - Linguistics and the teaching of science, in Linguistics in the Undergraduate Curriculum, Linguistic Society of America (position paper).
* 1988 - Thematic structure and reflexivization, in Wilkins, W.K. (Ed.), *Thematic Relations*, New York: Academic Press, 191-213.
* 1987 - On the linguistic function of event roles, in *Grammar and Cognition*, Berkeley Linguistics Society, 460-472.
* 1987 - On the learnability of the scope of reflexivization, *Proceedings of the Sixth Annual West Coast Conference on Formal Linguistics*, (WCCFL VI), 317-327.
* 1986 - Control, PRO, and the Projection Principle, *Language*, 62(2):120-153 (with P. Culicover).
* 1986 - El sintagma nominal de infinitivo, *Revista Argentina de Lingüística*, 2(2):209-229.
* 1981 - On the nonnecessity of the Locality Principle, *Linguistic Analysis*, 8(2):111-144.
* 1980 - Adjacency and variables in syntactic transformations, *Linguistic Inquiry*, 11(4):709-758.
* 1977 - Wh-fronting and the Variable Interpretation Convention, *Proceedings of the Seventh Annual Meeting of the Northeastern Linguistics Society*, MIT, 365-381.
* 1975 - Strategies in constructing a definite description: some evidence from KinyaRwanda, *Studies in African Linguistics*, 6 (2):151-169 (with A. Kimenyi).

**Book reviews**

* 2006 - Review of *The Birth of the Mind*, by Gary Marcus, *Language*, Vol. 82, No. 4, 921-924.
* 1992 - Review of *Lexical Semantics Without Thematic Roles*, by Yael Ravin, *Journal of Linguistics*, Vol. 28, No. 1, 241-250.
* 1988 - Review of *The Mind's New Science* by Howard Gardner, *Annals of the History of Computing*, Vol. 10, No. 1, 89-93.
* 1983 - Review of *Approaches to Island Phenomena* by Alexander Grosu, *Language*, Vol. 59, No. 4, 902-905

**Recent Academic Presentations**

* 2008 - Biological plausibility and comparative anatomy, paper presented at the Annual Meeting, Linguistic Society of America, Chicago
* 2008 - Language in the light of evolution, Symposium organized and presented (with James Hurford, University of Edinburgh) at the 2008 Annual Meeting, Linguistic Society of America, Chicago


title: Lush (novel)

abstract: Lush is a young adult fiction novel by Natasha Friend published in 2006 by Milkweed Editions. It focuses on Samantha Gwynn, a thirteen-year-old girl whose father is an alcoholic, which "lush" is another name for. It was listed on the Young Adult Library Services Association's (YALSA) 2007 Quick Picks for Reluctant Young Adult Readers released by the American Library Association (ALA). It was also named a 2008 Rhode Island Teen Book Award nominee. Lush was included in the ALA's Top Ten List of the Most Frequently Challenged Books of 2010 list. In the story, Sam has to confront the problem of alcoholism in her family.

text:
# Lush (novel)

***Lush*** is a young adult fiction novel by Natasha Friend published in 2006 by Milkweed Editions. It focuses on Samantha Gwynn, a thirteen-year-old girl whose father is an alcoholic, which "lush" is another name for. It was listed on the Young Adult Library Services Association's (YALSA) 2007 Quick Picks for Reluctant Young Adult Readers released by the American Library Association (ALA). It was also named a 2008 Rhode Island Teen Book Award nominee.

*Lush* was included in the ALA's Top Ten List of the Most Frequently Challenged Books of 2010 list.

In the story, Sam has to confront the problem of alcoholism in her family.

## Reviews

*School Library Journal* wrote that Friend "candy

hty topic with touches of humor and grace." *Booklist's* review stated that "Friend adeptly takes a teen problem and turns it into a believable, sensitive, character-driven story, with realistic dialogue."

## Characters

* **Samantha Gywnn** \- Samantha, the protagonist in the story, is described with dirty Blonde hair, Green eyes and freckles. She has quite big breasts which are usually the subject of talk with her Nana and the boys at school.
* **Mr. Gwynn** \- Mr. Gwynn is Samantha's almost always drunk father, in other words, alcoholic. He is an architect and has to apologize to his daughter many times.
* **Mrs. Gwynn** \- Mrs. Gwynn is what her daughter calls her, a "Yoga Freak". After her trip to California, she found Yoga and brought it with her. She makes her family repeat different Yoga techniques at breakfast and takes them to the Yogi Palace, often going herself.
* **Luke Gywnn** \- Luke is Samantha's cute four-year-old brother. He likes to "wiggle" on the couch and usually calls his sister Sammy.
* **Vanessa Larton** \- Vanessa is Samantha's cheery and understanding friend. When her other friends are mad at Sam, she is usually easy going. Her three friends always gather at her house on Saturdays for sleepovers.
* **Angie Martillenis** \- Angie is another friend of Samantha. She has an older sister, Marybeth who often gets into trouble for drinking and partying with boys and lectures the four friends on girl stuff. Angie also likes to bring up odd and disgusting topics. Her crush used to be on Danny Harmon, but she decides not to pay attention to him after she finds him making out with Molly Katz in the school hallway.
* **Tracey** \- Tracey is Samantha's third friend. She is easy to gross out, usually Angie's job.
* **Charlie Parker** \- Charlie was friends with Samantha throughout elementary school. They broke up when Samantha blamed him for stealing her bra, a crime he didn't commit. In the ending of the novel, Samantha apologizes and they make up again.
* **Drew Maddox** \- Drew is in high school and shows potential interest on Samantha's chest. He sits at the "Jock" table in the library, otherwise going to parties with girls. Drew is surprised when he learns Samantha is only thirteen and isn't seen in the library since then.
* **Nana** \- Nana, is Mr. Gwynn's mother and Samantha's grandmother. She likes to bake and comes over when her son is missing or is in bad shape. Nana usually comments her granddaughter on her breasts.
* **Molly Katz** \- Molly is the most popular girl in the eighth grade. She likes to find ways to humiliate and tease students whenever possible. One of her targets is Samantha. Molly's reputation is ruined when she farts on a movie date, earning the nickname "Molly La Pew" and a toilet-papered locker.
* **Ms. Fish** \- Ms. Fish is Samantha's grumpy gym teacher. She always calls Samantha "Frances", no matter how many times Samantha corrects her. Her name is laughed upon since, to Samantha, her face features look similar to a fish's.
* **A.J.K** \- A.J.K is who Samantha always writes to for advice. The notes go in a book at the library but that book hasn't been checked out in 13 years. The two of them pass notes in between some of the pages so no one can crack their code and find stuff suspicious. A.J.K also brought Samantha to see her dad which was in rehab at the time.

## InfoBox

Lush
|  | |
| --- | --- |
| Author | Natasha Friend |
| Cover artist | Unknown |
| Language | English |
| Genre | Realistic fiction |
| Publication date | October 1, 2006 |
| Publication place | United States |
| Media type | Hardcover, paperback |
| Pages | 178 pages |
| ISBN | 978-0-439-85347-7 |


title: Pura Maospahit

abstract: Pura Maospahit is a Balinese Hindu temple or pura located in Denpasar, Bali. The pura is known for its bare red brick architecture, reminiscent of the architecture of the 13th-century Majapahit Kingdom, hence the name. Pura Maospahit is the only pura in Bali which was built using a concept known as Panca Mandala where the most sacred area is situated at the center instead of at the direction of the mountain.

text:
# Pura Maospahit

**Pura Maospahit** is a Balinese Hindu temple or pura located in Denpasar, Bali. The pura is known for its bare red brick architecture, reminiscent of the architecture of the 13th-century Majapahit Kingdom, hence the name. Pura Maospahit is the only pura in Bali which was built using a concept known as *Panca Mandala* where the most sacred area is situated at the center instead of at the direction of the mountain.

## History

The history of Pura Maospahit is recorded in the Babad Wongayah Dalem, a stone inscription mentioning the story of Sri Kbo Iwa, an architect of Balinese religious architecture. Sri Kbo Iwa built a shrine structure known as the Candi Raras Maospahit, in 1200 Saka year (or 1278 Gregorian calendar). The Candi Raras Maospahit is mentioned as a "*pelinggih* (shrine) in the form of a large red-brick building with two terracota statues flanking the main entrance". Today, the red-brick building Candi Raras Maospahit still exists and become the main shrine of the Pura Maospahit temple complex.

During the reign of the kingdom of Badung in Denpasar, I Pasek the architect was instructed to construct another candi to be used for wayang performance. Before the construction commenced, I Pasek went to Majapahit to study the proper proportion of the new shrine. After I Pasek completed the design of the new shrine, he returned to Denpasar and construct the new shrine in 1475 Saka yar (or year 1553) known as the Candi Raras Majapahit. The building stands beside the earlier Candi Raras Maospahit.

## Temple compound

Pura Maospahit is the only temple in Bali that was built using the concept of Panca Mandala. Unlike most Balinese Hindu which is arranged with the most sacred inner sanctum (*jero*) to the direction of the mountain, the Panca Mandala concept places the most sacred *jero* area at the center of the temple complex. This form of arrangement is similar to the ancient temples of Majapahit or to the kraton palaces of ancient Java. Pura Maospahit is surrounded by five mandalas or courtyard (*panca mandala* literally means "five mandalas"). The first mandala is located to the west of the main shrine, access to this mandala is marked by a red-brick kori agung gate facing Jalan Sutomo, known as the Candi Kusuma. A bale kulkul (drum tower) is situated in the first mandala. The second mandala to the south of the main shrine is marked by a kori agung gate known as Candi Renggat, which provides access to the second mandala.

The third mandala, known as *jaba sisi* is located to the west of the shrine and can be accessed through a gate known as Candi Rebah. The third mandala is where the kitchen of the temple compound is located used to prepare offerings to the shrine.

The fourth mandala known as *jaba tengah* or *madya mandala* can be accessed through a candi bentar split gate via the east side of the third mandala courtyard. The fourth mandala was used to display sacred art which is only shown during festivals in Pura Maospahit. The fourth mandala is where several bale (Balinese pavilion) is located e.g. *bale pesucian* (purification pavilion), *bale tajuk*, and *bale sumanggen*.

The fifth mandala known as the *jero* or the *utamaning mandala* ("main mandala") is the center most sacred mandala where the main shrines are located: the red-bricked Candi Raras Maospahit and Candi Raras Majapahit. Each of the shrines are dedicated to Ratu Ayu Mas Maospahit and to Ida Bhatara Lingsir Sakti. Other pelinggih shrines similarly built in red bricks and thatched roof dotted the utamaning mandala, each is dedicated toward a local deity.

## Temple festival

The biannual piodalan/pujawali festival of the temple is held every Purnama Jyestha to honor Ratu Ayu Mas Maospahit, and every Purnama Kalima to honor Ida Bhatara Lingsir Sakti.

## Cited works

* Auger, Timothy, ed. (2001). *Bali & Lombok*. Eyewitness Travel Guides. London: Dorling Kindersley. ISBN 0751368709.
* Stuart-Fox, David (1999). Fox, James J. (ed.). *Religion and Ritual: Balinese Hindu Temples*. Indonesian Heritage. Singapore: Archipelago Press. ISBN 9813018585.
* I Putu Suyatra (October 8, 2017). "Pura Maospahit; Satu - Satunya Pura Berkonsep Panca Mandala". *Bali Express*. PT Jawa Pos Group Multimedia. Archived from the original on November 26, 2017. Retrieved November 26, 2017.

## InfoBox

| Pura Maospahit | |
| --- | --- |
| The 13th-century main shrine of Pura Maospahit, the first building to be built in the temple complex. | |
|  | |
| General information | |
| Type | Pura |
| Architectural style | Balinese |
| Location | Denpasar, Indonesia |
| Address | Jl. Sutomo No.6, Pemecutan Kaja, Denpasar Utara, Kota Denpasar, Bali 80231 |
| Country | Indonesia |
| Coordinates | 8°39′14″S 115°12′36″E / 8.653794°S 115.210089°E / -8.653794; 115.210089 |
| Estimated completion | 1278 |
| Design and construction | |
| Architect(s) | Sri Kbo Iwa |


title: Leo Nucci

abstract: Leo Nucci is an Italian operatic baritone, particularly associated with Verdi and Verismo roles.

text:
# Leo Nucci

**Leo Nucci** (born 16 April 1942) is an Italian operatic baritone, particularly associated with Verdi and *Verismo* roles.

## Biography

Born at Castiglione dei Pepoli, near Bologna, Nucci studied with Giuseppe Marchese. He made his stage debut in 1967 in Spoleto as Figaro in *Il barbiere di Siviglia*. He then joined the chorus of La Scala in Milan, going on to make his solo debut there in 1975, again as Rossini's Figaro.

Nucci's career quickly took an international turn. He debuted at London's Royal Opera House in 1978, as Miller in *Luisa Miller*, and at New York's Metropolitan Opera in 1980, as Renato/Ankarström in *Un ballo in maschera*. Renato was his debut role at the Paris Opéra in 1981, and at the Salzburg Festival in 1989, under Herbert Von Karajan. His career is remembered for high-profile performances in opera including appearances with Luciano Pavarotti, Joan Sutherland and Plácido Domingo.

On 6 June 2003, Nucci performed at the Herbert von Karajan memorial concert under the baton of conductor James Allen Gähres in Congress-Centrum Ulm, together with the singers Stella Grigorian and Vera Schoenberg with Italian opera arias and duets.

In January 2016, he performed at La Scala of Milan as Rigoletto in *Rigoletto* with Nadine Sierra as Gilda.

On 10 October 2019, Nucci sang during the celebrations for the anniversary of Giuseppe Verdi, in Parma.

Nucci has enjoyed a long and successful career. His repertoire encompasses the entire Italian repertory from bel canto to verismo, and his technique and acting abilities are displayed in Verdi – notably as Rigoletto, Macbeth, Count di Luna, Giorgio Germont, Rodrigo, Amonasro, Iago, and Falstaff. He has sung the role of Rigoletto alone more than 500 times.

### Personal life

He is married to soprano Adriana Anelli, with whom he has a daughter.

## Videography

## Sources

## InfoBox

| Leo Nucci | |
| --- | --- |
| Leo Nucci | |
| Born | (1942-04-16) 16 April 1942<br>Castiglione dei Pepoli, Province of Bologna |
| Nationality | Italian |
| Citizenship | Italy |
| Occupation | Baritone |
| Years active | 1967–present |
| Notable work | Verdi and *Verismo* roles |
| Spouse | Adriana Anelli |
| Children | 1 |
| Website | Official website |


title: Togliatti surface

abstract: In algebraic geometry, a Togliatti surface is a nodal surface of degree five with 31 nodes. The first examples were constructed by Eugenio G. Togliatti (1940). Arnaud Beauville (1980) proved that 31 is the maximum possible number of nodes for a surface of this degree, showing this example to be optimal.

text:
# Togliatti surface

In algebraic geometry, a **Togliatti surface** is a nodal surface of degree five with 31 nodes. The first examples were constructed by Eugenio G. Togliatti (1940). Arnaud Beauville (1980) proved that 31 is the maximum possible number of nodes for a surface of this degree, showing this example to be optimal.

* Beauville, Arnaud (1980), "Sur le nombre maximum de points doubles d'une surface dans $\mathbf {P} ^{3}(\mu (5)=31)$", *Journées de Géometrie Algébrique d'Angers, Juillet 1979/Algebraic Geometry, Angers, 1979* (PDF) (in French), Alphen aan den Rijn—Germantown, Md.: Sijthoff & Noordhoff, pp. 207–215, MR 0605342.
* Togliatti, Eugenio G. (1940), "Una notevole superficie di 5o ordine con soli punti doppi isolati", *Beiblatt (Festschrift Rudolf Fueter)* (PDF), Vierteljschr. Naturforsch. Ges. Zürich (in Italian), vol. 85, pp. 127–132, MR 0004492.


title: Marcia Bartusiak

abstract: Marcia F. Bartusiak is an author, journalist, and Professor of the Practice Emeritus of the Graduate Program in Science Writing at the Massachusetts Institute of Technology. Trained in both communications and physics, she writes about the fields of astronomy and physics. Bartusiak has been published in National Geographic, Discover, Astronomy, Sky & Telescope, Science, Popular Science, World Book Encyclopedia, Smithsonian, and MIT Technology Review. The author of seven books, she is also a columnist for Natural History magazine.

text:
# Marcia Bartusiak

**Marcia F. Bartusiak** is an author, journalist, and Professor of the Practice Emeritus of the Graduate Program in Science Writing at the Massachusetts Institute of Technology. Trained in both communications (B.A. from American University, 1971) and physics (M.S. from Old Dominion University, 1979), she writes about the fields of astronomy and physics. Bartusiak has been published in *National Geographic*, *Discover*, *Astronomy*, *Sky & Telescope*, *Science*, *Popular Science*, *World Book Encyclopedia*, *Smithsonian*, and *MIT Technology Review*. The author of seven books, she is also a columnist for *Natural History* magazine.

## Education and career

Bartusiak started her career in 1971 as the first female reporter at WVEC-TV (ABC affiliate) in Norfolk, Virginia. She also served for a period as the station's first female anchor before leaving in 1975 to begin a graduate education in physics. After receiving her master's degree, she became a charter member of the writing staff of *Discover* magazine, when it first started up in 1980, and then began a freelance science-writing career in 1982. In 2003, she joined the faculty of the MIT Graduate Program in Science Writing, retiring in 2019 as a professor emeritus.

## Books

* *Dispatches from Planet 3,* a collection of cosmological essays
* *Einstein's Unfinished Symphony,* a narrative overview of the new field of gravitational-wave astronomy
* *Black Hole: How an Idea Abandoned by Newtonians, Hated by Einstein, and Gambled on by Hawking Became Loved*
* *Through a Universe Darkly*, a history of astronomers' centuries-long quest to discover the universe's composition
* *Thursday's Universe*, a layman's guide to the frontiers of astrophysics and cosmology
* *The Day We Found the Universe*, a narrative saga of the birth of modern cosmology
* *Archives of the Universe*, a history of the major discoveries in astronomy told through 100 of the original scientific publications

## Awards

Bartusiak has three times won the American Institute of Physics Science Writing Award: in 2019 for *Dispatches from Planet 3*, in 2001 for *Einstein's Unfinished Symphony* and in 1982 for *The Ultimate Timepiece* in *Discover Magazine*. In 2010 *The Day We Found the Universe* won the History of Science Society's Watson Davis and Helen Miles Davis Prize. Bartusiak won the 2006 American Institute of Physics Andrew W. Gemant Award. "The Andrew Gemant Award recognizes the accomplishments of a person who has made significant contributions to the cultural, artistic, or humanistic dimension of physics given annually." In 2008 she was elected a Fellow of the American Association for the Advancement of Science for “exceptionally clear communication of the rich history, the intricate nature, and the modern practice of astronomy to the public at large" and was also chosen to be a 2022-23 Distinguished Lecturer for Sigma Xi, the scientific research honor society.

## Bibliography

| Year | Title | Publisher | Subject matter |
| --- | --- | --- | --- |
| 1986 | *Thursday's Universe* | Random House | Astronomy and Astrophysics |
|
| 1993 | *Through a Universe Darkly* | HarperCollins | History of Astronomy |
|
| 2000 | *Einstein's Unfinished Symphony: Listening to the Sounds of Space-Time* | Joseph Henry Press | Astronomy |
|
| 2004 | *Archives of the Universe: A Treasury of Astronomy's Historic Works of Discovery* | Pantheon Books | History of Astronomy |
|
| 2009 | *The Day We Found the Universe* | Pantheon Books | History of Astronomy |
|
| 2015 | *Black Hole* | Yale University Press | History of Astronomy |
| 2017 | *Einstein's Unfinished Symphony: The Story of a Gamble, Two Black Holes,* *and a New Age of Astronomy* | Yale University Press | Astronomy and Astrophysics |
| 2018 | *Dispatches from Planet 3* | Yale University Press | Astronomy and Astrophysics |

## InfoBox

| Marcia Bartusiak | |
| --- | --- |
|  | |
| Nationality | American |
| Occupation(s) | Journalist<br>Academic |
| Known for | Science writing, Teaching |
| Awards | American Institute of Physics Science Writing Award (1982, 2001, 2019), History of Science Society Davis Prize (2010), American Institute of Physics Gemant Award (2006), Fellow of the AAAS (2008), Astronomical Society of the Pacific's Klumpke-Roberts Award (2010), NASA Journalist-In-Space Finalist (1987), Sigma Xi Distinguished Lectureship (2022-23) |


title: Mike Lawlor (baseball)

abstract: Michael H. Lawlor, was a Major League Baseball catcher who played two seasons in the majors during the 19th century.

text:
# Mike Lawlor (baseball)

**Michael H. Lawlor**  (March 11, 1854 – August 3, 1918), was a Major League Baseball catcher who played two seasons in the majors during the 19th century.

## InfoBox

| Mike Lawlor | |
| --- | --- |
| **Catcher** | |
| **Born:** (1854-03-11)March 11, 1854
Troy, New York | |
| **Died:** August 3, 1918(1918-08-03) (aged 64)
Troy, New York | |
| **Batted:** Unknown**Threw:** Right | |
| MLB debut | |
| May 27, 1880, for the Troy Trojans | |
| Last MLB appearance | |
| July 23, 1884, for the Washington Nationals | |
| MLB statistics | |
| Batting average | .063 |
| Hits | 1 |
| RBIs | 0 |
|  | |
| Teams | |
|  | |


title: Queen Elizabeth (1940 film)

abstract: Queen Elizabeth is a 1940 Hungarian historical drama film directed by Félix Podmaniczky and starring Katalin Karády, Klári Tolnay and Pál Jávor. It was shot at the Hunnia Studios in Budapest. The film's sets were designed by the art directors Klára B. Kokas and Márton Vincze.

text:
# Queen Elizabeth (1940 film)

***Queen Elizabeth*** (Hungarian: ***Erzsébet királyné***) is a 1940 Hungarian historical drama film directed by Félix Podmaniczky and starring Katalin Karády, Klári Tolnay and Pál Jávor. It was shot at the Hunnia Studios in Budapest. The film's sets were designed by the art directors Klára B. Kokas and Márton Vincze.

## Synopsis

Elisabeth the young wife of Franz Joseph is titular Queen of Hungary, and is popular in the country which has a lesser status within the Austrian Emperor. Following the failure of the Hungarian Revolution of 1848, Hungarian patriots approach her to seek her support in gaining equality and independence within the Empire.

## Cast

## Bibliography

* Frey, David. *Jews, Nazis and the Cinema of Hungary: The Tragedy of Success, 1929-1944*. Bloomsbury Publishing, 2017.
* Juhász, István. *Kincses magyar filmtár 1931-1944: az eredeti forgatókönyvből 1931 és 1944 között létrejött hazai mozgóképekről*. Kráter, 2007.
* Rîpeanu, Bujor. (ed.) *International Directory of Cinematographers, Set- and Costume Designers in Film: Hungary (from the beginnings to 1988)*. Saur, 1981.
* Taylor, Richard (ed.) *The BFI companion to Eastern European and Russian cinema*. British Film Institute, 2000.

## InfoBox

| Queen Elizabeth | |
| --- | --- |
| Italian poster | |
| Directed by | Félix Podmaniczky |
| Written by | Károly Nóti
László Szilágyi |
| Produced by | Károly Rostaházy |
| Starring | Katalin Karády
Klári Tolnay
Pál Jávor |
| Cinematography | Rudolf Icsey |
| Edited by | Zoltán Farkas |
| Music by | Jenö Huszka |
| Production
company | Harmónia Film |
| Release date | * 5 September 1940 (1940-09-05) |
| Running time | 98 minutes |
| Country | Hungary |
| Language | Hungarian |


title: Turris faleiroi

abstract: Turris faleiroi is a species of sea snail, a marine gastropod mollusk in the family Turridae, the turrids.

text:
# Turris faleiroi

***Turris faleiroi*** is a species of sea snail, a marine gastropod mollusk in the family Turridae, the turrids.

## Description

The length of the shell attains 41 mm.

## Distribution

This marine species occurs off Algoa Bay, South Africa.

* Kilburn R.N. (1998). Description of four new neogastropods of superfamilies Muricoidea and Conoidea from South Africa (Gastropoda: Prosobranchia: Neogastropoda). Apex. 13: 155–160.
* Kilburn R.N., Fedosov A.E. & Olivera B.M. (2012) Revision of the genus Turris Batsch, 1789 (Gastropoda: Conoidea: Turridae) with the description of six new species. Zootaxa 3244: 1–58.

## InfoBox

| *Turris faleiroi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Family: | Turridae |
| Genus: | *Turris* |
| Species: | ***T. faleiroi*** |
| Binomial name | |
| ***Turris faleiroi***<br>Kilburn, 1998 | |
|


abstract: The men's 77 kilograms weightlifting event was the fourth lightest men's event at the weightlifting competition, limiting competitors to a maximum of 77 kilograms of body mass. The whole competition took place on August 13, but was divided in two parts due to the number of competitors. Group B weightlifters competed at 10:00, and Group A at 19:00. This event was the ninth weightlifting event to conclude. Each lifter performed in both the snatch and clean and jerk lifts, with the final score being the sum of the lifter's best result in each. The athlete received three attempts in each of the two lifts; the score for the lift was the heaviest weight successfully lifted.

text:
# Weightlifting at the 2008 Summer Olympics – Men's 77 kg

The **men's 77 kilograms** weightlifting event was the fourth lightest men's event at the weightlifting competition, limiting competitors to a maximum of 77 kilograms of body mass. The whole competition took place on August 13, but was divided in two parts due to the number of competitors. Group B weightlifters competed at 10:00, and Group A at 19:00. This event was the ninth weightlifting event to conclude.

Each lifter performed in both the snatch and clean and jerk lifts, with the final score being the sum of the lifter's best result in each. The athlete received three attempts in each of the two lifts; the score for the lift was the heaviest weight successfully lifted.

## Schedule

All times are China Standard Time (UTC+08:00)

| Date | Time | Event |
| --- | --- | --- |
| 13 August 2008 | 10:00 | Group B |
| | 19:00 | Group A |

## Records

Prior to this competition, the existing world and Olympic records were as follows.

| **World Record** | Snatch | Sergey Filimonov (KAZ) | **173 kg** | Almaty, Kazakhstan | 9 April 2004 |
| --- | --- | --- | --- | --- | --- |
| | Clean & Jerk | Oleg Perepetchenov (RUS) | **210 kg** | Trenčín, Slovakia | 27 April 2001 |
| | Total | Plamen Zhelyazkov (BUL) | **377 kg** | Doha, Qatar | 27 March 2002 |
|  | | | | | | |
| **Olympic Record** | Snatch | Taner Sağır (TUR) | **172 kg** | Athens, Greece | 19 August 2004 |
| | Clean & Jerk | Zhan Xugang (CHN) | **207 kg** | Sydney, Australia | 22 September 2000 |
| | Total | Taner Sağır (TUR) | **375 kg** | Athens, Greece | 19 August 2004 |

## Results

| Rank | Athlete | Group | Body weight | Snatch (kg) | | | | Clean & Jerk (kg) | | | | Total |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | 1 | 2 | 3 | Result | 1 | 2 | 3 | Result | |
|  | Sa Jae-hyouk (KOR) | A | 76.46 | 160 | 163 | ~~165~~ | 163 | 201 | 203 | ~~211~~ | 203 | **366** |
|  | Li Hongli (CHN) | A | 76.91 | 163 | 168 | ~~170~~ | 168 | 193 | ~~198~~ | 198 | 198 | **366** |
|  | Gevorg Davtyan (ARM) | A | 76.77 | ~~165~~ | ~~165~~ | 165 | 165 | ~~195~~ | 195 | ~~201~~ | 195 | **360** |
| 4 | Kim Kwang-hoon (KOR) | A | 76.86 | ~~155~~ | 155 | ~~160~~ | 155 | 200 | ~~206~~ | ~~206~~ | 200 | **355** |
| 5 | Oleg Perepetchenov (RUS) | A | 76.80 | 158 | 162 | ~~165~~ | 162 | 192 | ~~199~~ | ~~199~~ | 192 | **354** |
| 6 | Iván Cambar (CUB) | A | 76.53 | 152 | 157 | ~~160~~ | 157 | 190 | ~~196~~ | 196 | 196 | **353** |
| 7 | Ara Khachatryan (ARM) | A | 76.78 | 162 | ~~166~~ | ~~166~~ | 162 | 191 | ~~195~~ | ~~195~~ | 191 | **353** |
| 8 | Krzysztof Szramiak (POL) | A | 76.71 | 157 | 161 | ~~165~~ | 161 | ~~191~~ | 191 | ~~194~~ | 191 | **352** |
| 9 | Vladimir Kuznetsov (KAZ) | A | 76.86 | 155 | ~~160~~ | 160 | 160 | ~~191~~ | 191 | ~~197~~ | 191 | **351** |
| 10 | Siarhei Lahun (BLR) | A | 76.56 | 153 | ~~157~~ | 157 | 157 | 187 | 192 | ~~196~~ | 192 | **349** |
| 11 | Sandow Nasution (INA) | A | 76.92 | 145 | ~~152~~ | 153 | 153 | 185 | 194 | ~~200~~ | 194 | **347** |
| 12 | Mahmoud El-Haddad (EGY) | A | 76.73 | 145 | 150 | ~~155~~ | 150 | 192 | ~~198~~ | ~~198~~ | 192 | **342** |
| 13 | Erkand Qerimaj (ALB) | B | 76.52 | 145 | 150 | 154 | 154 | 182 | 187 | ~~193~~ | 187 | **341** |
| 14 | Giovanni Bardis (FRA) | B | 76.83 | 149 | 153 | 156 | 156 | 173 | ~~178~~ | ~~178~~ | 173 | **329** |
| 15 | Felix Ekpo (NGR) | B | 75.83 | 143 | ~~148~~ | ~~150~~ | 143 | 178 | 182 | ~~185~~ | 183 | **325** |
| 16 | Sherzodjon Yusupov (UZB) | B | 76.24 | 140 | 144 | ~~148~~ | 144 | 178 | ~~185~~ | ~~185~~ | 178 | **322** |
| 17 | José Ocando (VEN) | B | 76.90 | ~~140~~ | ~~140~~ | 140 | 140 | ~~182~~ | 182 | ~~186~~ | 182 | **322** |
| 18 | Răzvan Rusu (ROU) | B | 76.69 | 130 | 135 | 140 | 140 | 170 | ~~175~~ | ~~175~~ | 170 | **310** |
| 19 | Carlos Espeleta (ARG) | B | 76.93 | ~~140~~ | 140 | ~~145~~ | 140 | ~~170~~ | ~~170~~ | 170 | 170 | **310** |
| 20 | Andrei Guțu (MDA) | B | 76.38 | 140 | 145 | ~~147~~ | 145 | 160 | ~~165~~ | ~~165~~ | 160 | **305** |
| 21 | Richie Patterson (NZL) | B | 76.57 | 130 | ~~137~~ | ~~137~~ | 130 | 170 | ~~176~~ | ~~176~~ | 170 | **300** |
| 22 | Darryn Anthony (RSA) | B | 76.98 | ~~135~~ | 135 | ~~144~~ | 135 | 160 | ~~170~~ | ~~173~~ | 160 | **295** |
| 23 | Josefa Vueti (FIJ) | B | 76.15 | 115 | 120 | 124 | 124 | 155 | ~~162~~ | ~~162~~ | 155 | **279** |
| 24 | Romain Marchessou (MON) | B | 75.53 | 105 | 110 | ~~115~~ | 110 | 135 | 140 | ~~145~~ | 140 | **250** |
|  | János Baranyai (HUN) | B | 76.92 | 140 | 145 | ~~148~~ | 145 |  |  |  |  |  |
|  | Octavio Mejías (VEN) | A | 76.53 | 152 | ~~157~~ | ~~157~~ | 152 | ~~185~~ | ~~185~~ | ~~185~~ |  |  |
|  | Taner Sağır (TUR) | A | 76.73 | ~~165~~ | ~~165~~ | ~~165~~ |  |  |  |  |  |  |
|  | Chad Vaughn (USA) | B | 76.81 | ~~144~~ | 144 | 147 | 147 | ~~182~~ | ~~182~~ | ~~182~~ |  |  |

## InfoBox

| Men's 77 kg<br>at the Games of the XXIX Olympiad | |
| --- | --- |
| Venue | Beihang University Gymnasium |
| Date | 13 August |
| Competitors | 28 from 25 nations |
| Medalists | |
| Sa Jae-hyouk  South Korea  Li Hongli  China  Gevorg Davtyan  Armenia | |
|


title: Turnover-pulse hypothesis

abstract: The turnover-pulse hypothesis, formulated by paleontologist Elisabeth Vrba, suggests that major changes to the climate or ecosystem often result in a period of rapid extinction and high turnover of new species across multiple different lineages. Changes may include climate change, tectonic plate shifting, and catastrophes, among other things. It can be seen as an extension of the concept of evolutionary radiation from a single to a multi-clade context.

text:
# Turnover-pulse hypothesis

The **turnover-pulse hypothesis**, formulated by paleontologist Elisabeth Vrba, suggests that major changes to the climate or ecosystem often result in a period of rapid extinction and high turnover of new species (a "pulse") across multiple different lineages. Changes may include climate change, tectonic plate shifting, and catastrophes, among other things. It can be seen as an extension of the concept of evolutionary radiation from a single to a multi-clade context.

## Theory

Ecosystems periodically experience significant disruptions which cause mass extinctions and speciation. Vrba proposes that changes in the climate, through their effect on the physical environment, result in the "division of \[animal\] populations into geographically and genetically isolated groups", which subsequently evolve into separate species. She also predicts that within an ecosystem this should occur for different groups of animals at roughly the same time, creating a "synchronous pulse" across multiple lineages.

The hypothesis was developed to explain the different patterns of evolution seen in African antelopes. Vrba argued that the mammalian fauna of East Africa experienced a rapid burst of extinction and speciation between 2.8Ma and 2.5Ma, caused by a large fluctuation in temperature. During this event, so the hypothesis states, many species attempted to move from their now uninhabitable habitats and later developed different adaptations in their new environments, evolving into different species, such as the antelopes investigated by Vrba, which evolved from woodland browsers to grassland grazers. Vrba's support for the idea that different clades would all adapt synchronously and alongside climate events came from the fossil record of rodents from the Omo river valley.

### Hominins

Vrba later proposed these changes as the spark for the emergence of the *Homo* lineage, as distinct from other hominins, which is dated to around this time. This aligns with the savannah hypothesis (or "aridity hypothesis"), which suggests that increasing aridity led to the growth and expansion of the savannah, requiring the hominins to come down from the trees and walk on two legs. The earliest archaeological sites containing tools also date to this period. However, it is still possible that the genus *Homo* had already evolved before the climate event.

## Criticism

The main opposing viewpoint is the Red Queen hypothesis, proposed by Leigh Van Valen, which holds that extinction occurs in a constant turnover, instead of pulses.

Studies on fossils from Turkana basin at the time of the conjectured dramatic shift 2.5 million years ago found that the rate of adaptation was significantly less than had been predicted by the turnover-pulse hypothesis, with a 50% to 60% species turnover spread over 1 million years instead of a 90% turnover in a few hundred thousand. Suggested explanations for the discrepancy include that "variations in fossil abundance through time skewed Vrba's data, creating a false peak" or that the "Turkana rift valley—which held a river bounded by woodland at this time—was buffered from the dramatic climatic shifts".

A change to a cooler, dryer climate and at some point between 2.8Ma and 2.5Ma is widely accepted (and corroborated by the composition of sediment layers on the seafloor), but peaks of adaptation among different species in East Africa have been noted at different times, meaning that though "large-mammal evidence is consistent with the idea of a faunal change in the late Pliocene, \[...\] there is currently no agreement about its extent and precise date."

While there is a consensus that major climatic events cause widespread extinction, other studies of East Africa and other regions have failed to identify any pulse-like events resulting in synchronous evolution or speciation, and this likely relies on local conditions.


title: Putatan, Muntinlupa

abstract: Putatan is a barangay in Muntinlupa, Metro Manila, Philippines. The total land area of the barangay is 6.746 km⁲ (2.605 sq mi). According to the 2020 census, it has a population of 99,725 as of 2020. Putatan is located at the south of the City of Manila. It is bounded by barangays Alabang and Bayanan on the north, Laguna de Bay on the east, the Muntinlupa Poblacion on the south; and barangay Ayala Alabang on the west. The barangay is also home to the city hall of Muntinlupa and its several departments.

text:
# Putatan, Muntinlupa

**Putatan** is a barangay in Muntinlupa, Metro Manila, Philippines. The total land area of the barangay is 6.746 km2 (2.605 sq mi). According to the 2020 census, it has a population of 99,725 as of 2020.

Putatan is located at the south of the City of Manila. It is bounded by barangays Alabang and Bayanan on the north, Laguna de Bay on the east, the Muntinlupa Poblacion on the south; and barangay Ayala Alabang on the west.

The barangay is also home to the city hall of Muntinlupa and its several departments.

## Etymology

Putatan got its name from the tree called *putat* (Barringtonia asiatica), which grew in the area. Hence, Putatan means where putat blooms. It was also alternatively or erroneously spelled as Pututan.

## Subdivisions

While barangays are the administrative divisions of the city, and are legally part of the addresses of establishments and homes, residents also include their *subdivision*. Listed below are subdivisions in this barangay.

* Agro Homes Subdivision
* Bayfair Subdivision
* Bruger Subdivision
* Camella Townhomes 1
* Camella Townhomes 2
* Camella Homes 1
* Camella Homes 2
* Camella Homes 2-D
* Camella Homes 2-E
* Country Homes
* Express View Subdivision
* Freedom Hills
* Freewill Subdivision
* God's Will Homes
* Gruenville Subdivision
* Jayson Ville
* Joasmerray Subdivision
* La Charina Homes
* Lakeview Homes 1
* Lakeview Homes 2
* Multiland/Midland Subdivision
* Mutual Homes Phase 1 & 2
* Mutual Homes Phase 3
* Neuwrain Subdivision
* PUPA Homes
* RCE Homes
* Segundina Townhomes
* SMB Hills
* Soldiers Hills Subdivision
* South Greenheights Subdivision
* South Superville Subdivision
* Summitville Subdivision
* Treelane Subdivision
* V.M. Townhomes
* Hillsview Homes

## InfoBox

| Putatan | |
| --- | --- |
| Barangay | |
| Manila South Road at the vicinity of Medical Center Muntinlupa | |
|  | |
| Coordinates: 14°23′54.12″N 121°2′10.96″E / 14.3983667°N 121.0363778°E / 14.3983667; 121.0363778 | |
| Country | Philippines |
| Region | National Capital Region |
| City | Muntinlupa |
| District | 1st Legislative district of Muntinlupa |
| Government | |
| Type | Barangay |
| Barangay Captain | Gerardo Teves |
| SK Chairperson | Cyrylle Kate Arciaga |
| Area | |
| Total | 6.746 km2 (2.605 sq mi) |
| Population (2020) | |
| Total | 99,725 |
| Density | 15,000/km2 (38,000/sq mi) |
| Time zone | UTC+8 (PST) |
| Range | Marikina Valley Fault Ridge |


title: Leon Hirszman

abstract: Leon Hirszman was a Brazilian film director, producer and screenwriter, and one of the main figures of Cinema Novo. He is best known for directing the 1981 film They Don't Wear Black Tie which won the Special Jury Prize at the 38th Venice International Film Festival. His other films include Fernanda Montenegro's 1965 film debut The Deceased, the 1972 adaptation of Graciliano Ramos's S. Bernardo and the documentary ABC da Greve. He died from complications of HIV/AIDS at 49.

text:
# Leon Hirszman

**Leon Hirszman** (22 November 1937 – 15 September 1987) was a Brazilian film director, producer and screenwriter, and one of the main figures of Cinema Novo. He is best known for directing the 1981 film *They Don't Wear Black Tie* which won the Special Jury Prize at the 38th Venice International Film Festival. His other films include Fernanda Montenegro's 1965 film debut *The Deceased*, the 1972 adaptation of Graciliano Ramos's *S. Bernardo* and the documentary *ABC da Greve*. He died from complications of HIV/AIDS at 49.

## Filmography

Key
|  | Indicates a documentary |  | Indicates a short film |
| --- | --- | --- | --- |

List of films directed by Leon Hirszman
| Year | Original title | English release title | Language(s) | Notes |
| --- | --- | --- | --- | --- |
| 1962 | *Pedreira de São Diogo* |  | Portuguese | Segment of *Cinco Vezes Favela* (1962). |
| 1964 | *Maioria Absoluta* |  | Portuguese | Short documentary on illiteracy and unequal land distribution in Brazil's countryside. |
| 1965 | *A Falecida* | *The Deceased* / *The Death* | Portuguese |  |
| 1967 | *Garota de Ipanema* | *Girl from Ipanema* | Portuguese |  |
| 1969 | *Nelson Cavaquinho* |  | Portuguese | Short documentary on Nelson Cavaquinho. |
| 1969 | *Sexta-Feira da Paixão, Sábado de Aleluia* |  | Portuguese | Segment of *América do Sexo* (*Sex America*) (1969). |
| 1972 | *S. Bernardo* | *São Bernardo* / *Saint Bernard* | Portuguese |  |
| 1973 | *Megalópolis* |  | Portuguese | Short documentary on urbanization in Brazil, especially in São Paulo and Rio de Janeiro. |
| 1973 | *Ecologia* |  | Portuguese | Short documentary denouncing the exploitation of natural resources in Brazil. |
| 1974 | *Cantos de Trabalho: Mutirão* |  | Portuguese | Short documentary on corn agriculture in Chã Preta, Alagoas. First of three "Cantos de Trabalho" short documentaries. |
| 1976 | *Cantos de Trabalho: Cana-de-Açúcar* |  | Portuguese | Short documentary on sugarcane agriculture in Feira de Santana, Bahia. Second of three "Cantos de Trabalho" short documentaries. |
| 1976 | *Cantos de Trabalho: Cacau* |  | Portuguese | Short documentary on cacao agriculture in Itabuna, Bahia. Third of three "Cantos de Trabalho" short documentaries. |
| 1976 | *Que País É Este?* |  | Portuguese | Brazilian-Italian co-production. Documentary on the history of Brazil. |
| 1978 | *Rio, Carnaval da Vida* |  | Portuguese | Also known as *Carnaval do Povo*. Short documentary on carnival in Rio de Janeiro. |
| 1981 | *Eles Não Usam Black-Tie* | *They Don't Wear Black Tie* | Portuguese |  |
| 1982 | *Partido Alto* | *High Party* | Portuguese | Filmed in 1976. Short documentary on the partido alto samba subgenre. |
| 1988 | *Imagens do Inconsciente* |  | Portuguese | Filmed between 1983 and 1986. Trilogy (*Em Busca do Espaço Cotidiano*, *No Reino das Mães* and *A Barca do Sol*), documentary on Nise da Silveira's cases. |
| 1990 | *ABC da Greve* |  | Portuguese | Filmed in 1979. Documentary on the 1978-1980 workers' strike in the ABC Region. |
|
| 1995 | *Cinema Brasileiro: Mercado Ocupado* |  | Portuguese | Filmed in 1975. Short documentary on the contemporary Brazilian film production conditions. |
| 1996 | *Bahia de Todos os Sambas* |  | Portuguese | Co-directed with Paulo César Saraceni. Concert film filmed in Rome, Italy, between 23 and 31 August, 1983, documenting the *Bahia de Todos os Sambas* festival. |
| 2014 | *Posfácio: Imagens do Inconsciente* |  | Portuguese | Filmed in 1986. Interview with Nise da Silveira. |
|

## InfoBox

| Leon Hirszman | |
| --- | --- |
| Born | 22 November 1937
Rio de Janeiro, Brazil |
| Died | 15 September 1987 (aged 49)
Rio de Janeiro, Brazil |
| Occupation(s) | Film director, producer and screenwriter |
| Notable work | *Eles não usam Black-tie* |


title: Token passing

abstract: On a local area network, token passing is a channel access method where a packet called a token is passed between nodes to authorize that node to communicate. In contrast to polling access methods, there is no pre-defined "master" node. The most well-known examples are IBM Token Ring and ARCNET, but there were a range of others, including FDDI, which was popular in the early to mid 1990s. Token passing schemes degrade deterministically under load, which is a key reason why they were popular for industrial control LANs such as MAP,. The advantage over contention based channel access, is that collisions are eliminated, and that the channel bandwidth can be fully utilized without idle time when demand is heavy. The disadvantage is that even when demand is light, a station wishing to transmit must wait for the token, increasing latency. Some types of token passing schemes do not need to explicitly send a token between systems because the process of "passing the token" is implicit. An example is the channel access method used during "Contention Free Time Slots" in the ITU-T G.hn standard for high-speed local area networking using existing home wires.

text:
# Token passing

On a local area network, **token passing** is a channel access method where a packet called a *token* is passed between nodes to authorize that node to communicate. In contrast to polling access methods, there is no pre-defined "master" node. The most well-known examples are IBM Token Ring and ARCNET, but there were a range of others, including FDDI (Fiber Distributed Data Interface), which was popular in the early to mid 1990s.

Token passing schemes degrade deterministically under load, which is a key reason why they were popular for industrial control LANs such as MAP, (Manufacturing Automation Protocol). The advantage over contention based channel access (such as the CSMA/CD of early Ethernet), is that collisions are eliminated, and that the channel bandwidth can be fully utilized without idle time when demand is heavy. The disadvantage is that even when demand is light, a station wishing to transmit must wait for the token, increasing latency.

Some types of token passing schemes do not need to explicitly send a token between systems because the process of "passing the token" is implicit. An example is the channel access method used during "Contention Free Time Slots" in the ITU-T G.hn standard for high-speed local area networking using existing home wires (power lines, phone lines and coaxial cable).


title: Marcia Ashton

abstract: Marcia Ashton is an actress best known for her soap opera roles as Lily in Compact and as Jean Crosby in Brookside. She has made numerous other television appearances including; EastEnders, Father, Dear Father, The Brothers, On the Buses, Upstairs, Downstairs, The Bill, Rumpole of the Bailey, Footballers' Wives and Holby City. She has also appeared on the West End stage and on Broadway. Her Shakespearian roles include Titania in A Midsummer Night's Dream.

text:
# Marcia Ashton

**Marcia Ashton** (born 1 July 1932 in Sheffield, England) is an actress best known for her soap opera roles as Lily in *Compact* and as Jean Crosby in *Brookside*.

She has made numerous other television appearances including; *EastEnders*, *Father, Dear Father*, *The Brothers*, *On the Buses*, *Upstairs, Downstairs*, *The Bill*, *Rumpole of the Bailey*, *Footballers' Wives* and *Holby City.* She has also appeared on the West End stage and on Broadway. Her Shakespearian roles include Titania in *A Midsummer Night's Dream.*


title: Queen Elizabeth (1811 ship)

abstract: Queen Elizabeth was launched in 1811 at Pownall Bay, Prince Edward Island. She sailed to England and transferred her registry to the Port of Exeter on 20 April 1812. She then traded between England and Canada, was a transport, and traded between London and the Cape of Good Hope. Queen Elizabeth first appeared in Lloyd's Register (LR) in 1812. She arrived at Plymouth on 11 October 1812 with a cargo of timber from Prince Edward Island.

text:
# Queen Elizabeth (1811 ship)

***Queen Elizabeth*** was launched in 1811 at Pownall Bay, Prince Edward Island. She sailed to England and transferred her registry to the Port of Exeter on 20 April 1812. She then traded between England and Canada, was a transport, and traded between London and the Cape of Good Hope.

*Queen Elizabeth* first appeared in *Lloyd's Register* (*LR*) in 1812.

She arrived at Plymouth on 11 October 1812 with a cargo of timber from Prince Edward Island.

| Year | Master | Owner | Trade | Source & notes |
| --- | --- | --- | --- | --- |
| 1812 | Hollett<br>Chandler | Hollett | Cowes–Portsmouth | *LR* |
| 1814 | Hurdle | Welsford | Plymouth transport | *LR* |
| 1820 | S.Amm | Welsford | London–New Brunswick | *LR*; damages repaired 1815 |
| 1825 | G.Griffin | Welsford | London–New Brunswick | *LR*; damages repaired 1815 |
| 1831 | Griffin | Welsford | London–CGH | *LR*; damages repaired 1825 |
|

## Citations

1. Hackman (2001), p. 305.
2. Library and Archives Canada, Ship Registrations 1787-1966 – Item: 57032: QUEEN ELIZABETH.
3. *LR* (1812), Supple. pages "S", Seq.№Q2.
4. "SHIP NEWS". *Morning Chronicle* (London, England), 14 October 1812; Issue 13553.
* Hackman, Rowan (2001). *Ships of the East India Company*. Gravesend, Kent: World Ship Society. ISBN 0-905617-96-7.

## InfoBox

|  | |
| --- | --- |
| History | |
| United Kingdom | |
| Name | *Queen Elizabeth* |
| Namesake | Elizabeth I of England |
| Builder | Pownal Bay, Prince Edward Island |
| Launched | 1811 |
| Fate | Last listed 1831 |
| General characteristics | |
| Tons burthen | 1729094, or 195, or 1955194, or 198 (bm) |
| Armament | 2 × 9-pounder carronades |


title: Turris dickersoni

abstract: Turris dickersoni is an extinct species of sea snail, a marine gastropod mollusk in the family Turridae, the turrids.

text:
# Turris dickersoni

***Turris dickersoni*** is an extinct species of sea snail, a marine gastropod mollusk in the family Turridae, the turrids.

## Description

(Original description) The shell is small and elongate. It contains 10 angular whorls. The spire is elevated and conical. The upper surface of the whorls is concave and ornamented by very faintly developed revolving ribs. A prominent keel is developed upon the angulated portion of each whorl and this is sculptured by three rounded ribs with interspaces of equal width. About thirty similar ribs are present on the lower surface of the body whorl. The longitudinal sculpture is represented by moderately developed lines of growth which conform to the posterior sinus. The aperture is subpyriform. The outer lip is thin. The inner lip is callused with a noticeable groove separating the callus from the ornamented portion of the whorl. The siphonal canal is of moderate length, deeply channeled and nearly straight.

## Distribution

Fossils of this marine species were found in Oligocene strata in Washington, USA

## InfoBox

| *Turris dickersoni* | |
| --- | --- |
|  | |
| Shell of *Turris dickersoni* (holotype) | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Superfamily: | Conoidea |
| Family: | Turridae |
| Genus: | *Turris* |
| Species: | ***T. dickersoni*** |
| Binomial name | |
| ***Turris dickersoni***<br>C.E. Weaver 1916 | |
|
| Synonyms | |
| * *Parasyrinx dickersoni* C.E. Weaver, 1916 * *Spirotropis dickersoni* C.E. Weaver, 1916 | |