title: Move Over

abstract: "Move Over", also known as "Generationext", is a song by English girl group the Spice Girls from their second studio album, Spiceworld (1997). The song was originally co-written by Clifford Lane with Mary Wood as a jingle for PepsiCo's "GeneratioNext" advertising campaign and used in television ads released in January 1997. Through Abbott Mead Vickers BBDO, the Spice Girls signed an endorsement deal with Pepsi in early 1997, that consisted of the release of an exclusive CD single, TV commercials, on-can and bottle promotion and the group's first live concerts in Turkey. The Spice Girls co-wrote with Lane and Wood a new extended version of "Move Over", which was produced by Matt Rowe and Richard Stannard. The version is a dance-pop song with influences of pop-rock, which is thematically linked to the concepts of merchandising and consumerism. The Spice Girls filmed three television ads using their own version of the song and later included it as a track on Spiceworld, while a one-track CD featuring a live performance of the song during the Istanbul concerts was released as a promotional single by Pepsi. The inclusion of "Move Over" as a track on Spiceworld garnered divisive opinions from music critics, while the song itself received a mixed reception for its production and lyrical content. The group performed the song for their first live concert, later released on video as Girl Power! Live in Istanbul (1998). It was also added to the setlist of their 1998 Spiceworld Tour.

text:
# Move Over

"**Move Over**", also known as "Generationext", is a song by English girl group the Spice Girls from their second studio album, *Spiceworld* (1997). The song was originally co-written by Clifford Lane with Mary Wood as a jingle for PepsiCo's "GeneratioNext" advertising campaign and used in television ads released in January 1997. Through Abbott Mead Vickers BBDO, the Spice Girls signed an endorsement deal with Pepsi in early 1997, that consisted of the release of an exclusive CD single, TV commercials, on-can and bottle promotion and the group's first live concerts in Turkey.

The Spice Girls co-wrote with Lane and Wood a new extended version of "Move Over", which was produced by Matt Rowe and Richard Stannard. The version is a dance-pop song with influences of pop-rock, which is thematically linked to the concepts of merchandising and consumerism. The Spice Girls filmed three television ads using their own version of the song and later included it as a track on *Spiceworld*, while a one-track CD featuring a live performance of the song during the Istanbul concerts was released as a promotional single by Pepsi.

The inclusion of "Move Over" as a track on *Spiceworld* garnered divisive opinions from music critics, while the song itself received a mixed reception for its production and lyrical content. The group performed the song for their first live concert, later released on video as *Girl Power! Live in Istanbul* (1998). It was also added to the setlist of their 1998 Spiceworld Tour.

## Background

In May 1995, the Spice Girls met with artist manager Simon Fuller, who signed them with 19 Entertainment. The group considered a variety of record labels in London and Los Angeles, signing a deal with Virgin Records in July. From this point on until the summer of 1996, the Spice Girls continued to write and record tracks for their debut album, set to be released at the end of 1996. On 8 July 1996, the Spice Girls released their debut single "Wannabe" in the United Kingdom, with it topping the UK Singles Chart for seven weeks. Following an international promotional campaign, the song became a commercial success across Asia, Europe and Oceania. In October, their second single "Say You'll Be There" debuted at number one in the UK. On 4 November 1996, the Spice Girls released their debut studio album *Spice*, selling 1.5 million copies in the UK by the end of the year. The album's third single, "2 Become 1", topped the UK Singles Chart in December.

From the beginning of the Spice Girls, Fuller envisioned the group as their own particular brand, and soon after, they became involved in an unprecedented marketing phenomenon that led to a prolific number of merchandise and sponsorship deals, a situation that at the time "proved ground-breaking" in pop music. The sponsorship agency Broadcast Innovations conceived the idea to link the Spice Girls with PepsiCo's then upcoming advertising campaign. The agency subsequently approached Abbott Mead Vickers BBDO (AMV BBDO) in London with the marketing strategy for the endorsement deal, which was then presented to Pepsi. Negotiations with Fuller started in October 1996, for a deal that initially only covered the UK and the rest of Europe. In early 1997, the Spice Girls signed a multimillion-pound deal with the company to front its latest ad campaign, which had been expanded to 78 countries worldwide. Robert Dodds, president of 19 Entertainment, commented about the collaboration: "They \[Pepsi\] were smart in believing in the girls \[...\] They got in early, \[...\] by the time they actually wanted to run the activity, the girls were the biggest thing on the planet. It genuinely built their business globally."

## Writing and release

In January 1997, Pepsi announced its new global marketing campaign under the "GeneratioNext" slogan, a continuation of the "Pepsi Generation" advertisement theme. The new slogan aimed to replace the various catch phrases used in the United States such as "Nothing else is a Pepsi", and those used in international markets such as "Change the script" and "Choice of a new generation". Pepsi bought around four minutes of commercial time during the Super Bowl XXXI, which happened on 26 January 1997. The commercial was fast-paced and featured young boxers, waitresses and fun-seekers. Brian Swette, executive vice president and chief marketing officer at Pepsi, described the characters in it as "positive, in control and lay claim to the future—the antithesis of Generation X".

The ads featured the jingle "Move Over", written by Mary Wood and Clifford Lane of the BBDO advertising agency in New York City. In an interview with *Billboard*, Wood commented that during the process of creating "Move Over", it was more important to have a "great song first" before any product placement; she commented: "We started writing all these hooks—'next phase, next wave, next craze'—to define what this idea of 'Generation Next' meant, and then we kind of went, 'Oh, no, the product. We got to go back and get the product.'" The lyrics of the song mock past musical styles such as "rave, rap, punk, metal" urging listeners to not "do it over, cause that's over", while embracing the "next page, next stage, next craze, next wave".

The Spice Girls recorded their own version of the jingle for the commercials they did for Pepsi, at Abbey Road Studios in London. The complete un-edited two-minutes 46-seconds version of the song, was officially unveiled on 6 October 1997, during a press conference in Granada, Spain, as the sixth track of the group's second studio album *Spiceworld*, set to be released on 3 November 1997. The album credits Wood, Lane and the Spice Girls as writers and the songwriting team Richard "Biff" Stannard and Matt Rowe as the producers of the song. "Move Over" was later included as the sixth track on the group's 2007 *Greatest Hits* compilation album.

## Composition and lyrics

Musically, "Move Over" is an uptempo dance-pop song, with influences from rock music. David Sinclair of *The Times* characterized the song as a "Joan Jett-ish pop-rock anthem", while the *Chicago Tribune*'s Greg Kot described it as "bubblegum industrial rock". The song is written in the key of G minor, with a time signature set in common time, and moves at a moderate tempo of 104 beats per minute. It starts with a drums introduction that is followed by the repeated use of the phrase "Generation Next" while using the sequence of Gm–F–C–F as the chord progression. The song features an energetic "burbling beat", and well as a "rousing" chorus that combines the Spice Girls' voices with a "metallic power chord".

The song's lyrics has been described as "slogan-mongering", while thematically some critics linked it to merchandising and consumerism. Geri Halliwell commented about the meaning of the song: "It's about the next generation breaking free". The "English accented, hip-hopped", rap during the song's bridge was described by J. D. Considine of *The Baltimore Sun* as "mildly funky". It uses word association rhymes with the word "Generation" ("Dedication /Celebration /Phenomination /Good Vibration").

## Sponsorship deal

### Promotional campaign

The sponsorship deal signed between Pepsi and the Spice Girls consisted of the release of 30-second television ads, on-can and bottle promotion featuring pictures of the group and their first live concerts, reportedly worth £1 million. The campaign ran worldwide and helped expand the Spice Girls brand globally, in particular in Southeast Asia and both North and South America. Ray Cooper, deputy managing director at Virgin commented about the deal: "It's millions and millions of pounds worth of film and television advertising that we couldn't even contemplate. But Pepsi can build that into their game plan." As part of the deal, British advertising agency Claydon Heeley International devised the release of "Step to Me" during the summer of 1997, an exclusive CD single only available to customers who had collected 20 pink ring pull tabs from promotional Pepsi cans, not accessible through traditional retailers. This resulted in the company redeeming 12,000 applications a day. An accompanying extensive campaign also ran in the British national and regional press, teen magazines and radio ads on Capital FM's the *Pepsi Chart Show*.

The Spice Girls filmed three television ads using their version of "Move Over" as part of the campaign. AMV BBDO began shooting the ads in March 1997, with American director Sam Bayer. Located in a deserted alley in downtown Los Angeles, the shoot required armed guards for the crew because of the menacing setting. The ads featured the group throwing cans in the air, as well as singing and dancing to the song while gyrating around buildings with a silver backdrop containing the Pepsi logo. They premiered the first week of June 1997 in the US, before later expanding to TVs and cinemas in 60 countries. On 12–13 October 1997, the Spice Girls performed two live concerts in Istanbul, Turkey, a location chosen because it was one of the most important marketing drive areas for Pepsi. The company distributed 40,000 tickets that were for the most part only available to the winners of one of the largest ever staged competitions in Europe.

### Aftermath

In late July 1997, 92 million promotional packs of Pepsi cans and bottles featuring the Spice Girls were produced worldwide. Britvic, Pepsi's UK franchise holder, estimated that between 450,000 and 600,000 CDs of "Step to Me" were redeemed during the campaign, becoming the most successful on-pack promotion in the history of the British soft-drink market. In the UK, sales of Pepsi increased by 30% during the week of promotion for the Istanbul concerts. Simon Lowden, marketing director for Pepsi Europe commented that by October 1997, the company achieved a 23.5% volume share up from their usual 18.7% in the country, while in the rest of Europe its share of the cola market reached 20%, increasing by up to 1.6% since the beginning of the promotional campaign with the Spice Girls.

In November 1997, Pepsi signed a new deal with the group for a European promotional campaign during the first months of 1998. Similar to the previous deal, it offered consumers the chance to collect exclusive live CDs by the Spice Girls and three other acts, Coolio, Hanson and Eternal, by gathering 18 ring pull tabs from Pepsi cans. The company backed the campaign with TV, press and poster ads during May and June 1998. The group released a one-track promotional single CD featuring a live performance of the song taken from their Istanbul concerts as "Move Over/Generationext (Live)".

## Critical reception

Music critics had divisive positions about the inclusion of "Move Over" on *Spiceworld*. *Melody Maker*'s Ian Watson called the song an "extended advert" and considered it one of the tracks that "ruin what could have been a sublime record". Writing for *Slate* magazine, David Plotz remarked that the song "is what businesspeople call synergy and musicians call prostitution. Whatever it is, it pays." The *Hartford Courant*'s music critic Roger Catlin was critical of the addition, commenting that the Spice Girls appear to be "blissfully blind to the commercial overkill of turning their Pepsi commercial into a track of its own". Considine of *The Baltimore Sun* had a similar impression, wondering if "any of them stoop to adding a jingle to their repertoire". Jim Sullivan of *The Boston Globe* was unconcerned with the addition as he thought that "there's no credibility to lose. The walls between overt commercialism and pop music are pretty thin anyway." Ruth Kinane of *Entertainment Weekly* believed that "Move Over" helped in "paving the way for even more acceptable pop/product marketing collaborations for generations to come". *The Guardian*'s Alexis Petridis felt that it is "a bit hard to hear as a song rather than an advertising jingle". David Wild of *Rolling Stone* magazine's had a more positive opinion, calling the track "a nifty cross-promotion of a song", while Deborah J. Wolfinsohn of the *Austin American-Statesman* characterized the collaboration as "a bizarre and thoroughly modern sensation".

The song itself was met with mixed opinions from critics. Sarah Davis of *Dotmusic* regarded "Move Over" as one of "the most eagerly anticipated tracks on the album, if one of the more repetitive". The *Los Angeles Times* critic Natalie Nichols considered it the album's "most engaging number", an opinion shared by *Newsday*'s Scott Schinder, who highlighted the song as one of the album's "more appealing tracks". In a review of the group's entire catalogue, *Vulture.com*'s Anne T. Donahue placed the track as their sixth best song, describing it as "an anthem so powerful it inspired countless listeners \[...\] to abandon Coke for Pepsi". Ilana Kaplan of *Billboard* magazine thought the song was "the perfect anthem for the Gen Y". Caroline Sullivan of *The Guardian* commented that of all the songs on *Spiceworld* "only 'Stop' and 'Move Over' live up to their vulgar potential". David Browne of *Entertainment Weekly* was mixed on the track; although he described it as "a laughably vague call for universal togetherness", Browne added that "suddenly the hearttakes over, and you find yourself lying in front of the stereo speakers bowing before the great goddesses of Spice". Edna Gundersen, writing for *USA Today*, had a more critical view of the song, calling it a "tiresome chant that goads 'generation next'" and pointed it out as an example of the album's "stream of cliched 'Girl Power' pep talks". While reviewing *Spiceworld*, Craig D. Lindsey of the *Houston Press* called "Move Over" one of the album's "two grating songs", while Charlie Porter of *The Times* dismissed it as the "awful song from their Pepsi advert".

## Live performances

In October 1997, the Spice Girls performed "Move Over" as part of the encore of their first live concert at the Abdi İpekçi Arena in Istanbul. For the performance, the group returned to the stage after a small break, wearing silver boilersuits while the background screens showed visuals of the Pepsi logo. The concert was broadcast on Showtime in a pay-per-view concert special titled *Spice Girls in Concert: Wild!*, and later included on the VHS and DVD release *Girl Power! Live in Istanbul* (1998). The Spice Girls added the song to the setlist for their 1998 Spiceworld Tour. During the performance, the group portrayed supermodels on a runway, dressed in over the top clothes designed by British stylist Kenny Ho. A group of male dancers dressed in black coats played the role of photographers at the side of a catwalk show. The song was included on the setlist of the Spice World – 2019 Tour as part of the first interlude.

## Format and track listing

* **UK/European Promotional CD**

1. "Move Over/Generationext" (Live) – 5:30

## Credits and personnel

Credits of "Move Over" adapted from the booklet of *Spiceworld*.

**Citations**

**Bibliography**

## InfoBox

| "Move Over" | |
| --- | --- |
|  | |
| Song by Spice Girls | |
| from the album  *Spiceworld* | |
| Released | 3 November 1997 |
| Recorded | 1997 |
| Studio | Abbey Road |
| Genre | Dance-pop |
| Length | 2:46 (Album version)<br>5:30 (Promotional single) |
| Label | Virgin |
| Songwriter(s) | * Clifford Lane * Mary Wood * Spice Girls |
| Producer(s) |  |
|  | |
| Audio video | |
| "Move Over" on YouTube | |
|  | |


title: Move On Up

abstract: "Move On Up" is a song by Curtis Mayfield from his 1970 debut album, Curtis. Nearly nine minutes long on the album version, it was released as a single in the United States, but failed to chart. An edited version of the song spent 10 weeks in the top 50 of the UK Singles Chart in 1971, peaking at number 12, and it has become a soul classic over the years. In 2021, it was listed at No. 474 on Rolling Stone's "The 500 Greatest Songs of All Time".

text:
# Move On Up

"**Move On Up**" is a song by Curtis Mayfield from his 1970 debut album, *Curtis*. Nearly nine minutes long on the album version, it was released as a single in the United States, but failed to chart. An edited version of the song spent 10 weeks in the top 50 of the UK Singles Chart in 1971, peaking at number 12, and it has become a soul classic over the years. In 2021, it was listed at No. 474 on *Rolling Stone*'s "The 500 Greatest Songs of All Time".

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United Kingdom (BPI) | Platinum | 600,000 |
| Sales+streaming figures based on certification alone.
 | | |

## Other cover versions and sampling

In 1979, disco trio Destination recorded a medley, incorporating "Keep On Pushing", a 1964 hit by the Impressions, also written by Mayfield. Along with the tracks "Up Up Up" and "Destination's Theme", "Move On Up" hit number one on the disco chart for four weeks. It peaked at number sixty-eight on the soul singles chart.

The Jam, an English rock band active in the late 1970s to the early 1980s led by Paul Weller, released a version of the song on an extended play record in 1982, as did Weller's The Style Council in 1985.

Kentucky-based jam-band My Morning Jacket frequently covers the song in their live shows.

Just Blaze heavily sampled the song for Kanye West's 2006 single "Touch the Sky", using a slowed-down version of the horns.

The song was also used in the credits for the 2024 film *Lift*.

English football club Arsenal adopted the song as a popular post-game anthem at their Emirates Stadium.

The song appears on the soundtrack of the 2002 British film *Bend It Like Beckham*.

The song can also be heard on the radio in the 2014 video game *Watch Dogs*.

The song was used by Joe Biden following the end of his speeches during his 2020 presidential campaign.

## InfoBox

| "Move On Up" | |
| --- | --- |
| Single by Curtis Mayfield | |
| from the album  *Curtis* | |
| B-side | * "Brother of Mine" * "Give It Up" |
| Released | June 25, 1971 |
| Studio | RCA Studios, Chicago |
| Genre |  |
| Length | * 8:49 (album version) * 2:53 (single) |
| Label | Curtom |
| Songwriter(s) | Curtis Mayfield |
| Producer(s) | Curtis Mayfield |
| Curtis Mayfield singles chronology | |
| "(Don't Worry) If There's a Hell Below, We're All Going to Go"
(1970) "**Move On Up**"
(1971) "Get Down"
(1971) | |
|  | |
| Official audio | |
| "Move On Up" on YouTube | |
|  | |


title: Woman Reading (Susan Macdowell Eakins)

abstract:
Woman Reading is a 19th-century by Susan Macdowell Eakins. It is in the collection of the Metropolitan Museum of Art. Woman Reading probably depicts the artist's sister Elizabeth Macdowell Kenton. It is one of Eakins' many portraits of her family members in interior settings. It was in the collection of Julius Rauzin, who donated it in 1995. Julius Rauzin knew Susan Macdowell Eakins and her sister Elizabeth, and corresponded with them regularly for many
years.

text:
# Woman Reading (Susan Macdowell Eakins)

***Woman Reading*** is a 19th-century (portrait painting) by Susan Macdowell Eakins. It is in the collection of the Metropolitan Museum of Art.

*Woman Reading* probably depicts the artist's sister Elizabeth Macdowell Kenton. It is one of Eakins' many portraits of her family members in interior settings. It was in the collection of Julius Rauzin, who donated it in 1995. Julius Rauzin knew Susan Macdowell Eakins and her sister Elizabeth, and corresponded with them regularly for many years.

## InfoBox

| Woman Reading | |
| --- | --- |
|  | |
| Artist | Susan Macdowell Eakins |
| Year | 19th century |
| Medium | oil paint, canvas |
| Dimensions | 96.5 cm (38.0 in) × 71.1 cm (28.0 in) |
| Location | Metropolitan Museum of Art |
| Accession No. | 1995.27 |
| Identifiers | The Met object ID: 14981 |
| \[edit on Wikidata\] | |


title: Mrčkovina

abstract: Mrčkovina is a village in the municipality of Prijepolje, Serbia. According to the 2002 census, the village has a population of 33 people.

text:
# Mrčkovina

**Mrčkovina** is a village in the municipality of Prijepolje, Serbia. According to the 2002 census, the village has a population of 33 people.

43°13′N 19°46′E / 43.217°N 19.767°E / 43.217; 19.767

## InfoBox

| Mrčkovina | |
| --- | --- |
| Village | |
| Mrčkovina | |
| Coordinates: 43°13′N 19°46′E / 43.217°N 19.767°E / 43.217; 19.767 | |
| Country | Serbia |
| District | Zlatibor District |
| Municipality | Prijepolje |
| Population (2002) | |
| Total | 33 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Mtel Bosnia and Herzegovina

abstract: Telekomunikacije Republike Srpske a.d. Banja Luka, doing business as m:tel, is a telecommunications company based in Banja Luka, Republika Srpska, Bosnia and Herzegovina. The company is owned by Telekom Srbija, and is the second largest telecommunications company in Bosnia and Herzegovina and the biggest one listed on the Banja Luka Stock Exchange, with the market capitalisation of about 540 million euros.

text:
# Mtel Bosnia and Herzegovina

**Telekomunikacije Republike Srpske a.d. Banja Luka**, doing business as **m:tel**, is a telecommunications company based in Banja Luka, Republika Srpska, Bosnia and Herzegovina. The company is owned by Telekom Srbija, and is the second largest telecommunications company in Bosnia and Herzegovina and the biggest one listed on the Banja Luka Stock Exchange, with the market capitalisation of about 540 million euros.

## History

Telekom Srpske was established on 20 December 1996. It was privatized in 2006, through a public tender. Telekom Srbija, made the highest bid with 646 million euros for a 65% majority stake, while the second highest bidder was Telekom Austria with an offer of 467 million euros.

The Government of Republika Srpska declared Telekom Srpske a company of strategic importance and, therefore, the state capital has been privatised according to the special privatisation program enacted by the Government. Raiffeisen Investment was appointed as the financial advisor to the government. The criteria that potential bidders had to fulfil, included a current minimum of 800,000 fixed-line and 1.5m mobile users, suggesting that the Government is hoping for an outside operator who is capable of investing in Telekom Srpske's infrastructure.

The company's main business is fixed and mobile telecommunications in domestic and international traffic. Other businesses include:

* directory inquires
* internet services provider
* design, construction, reconstruction and installation of TC devices, etc.

## Ownership structure

The ownership structure of the company is as follows (as of 31 December 2017):

## Subsidiaries

The company owns the founding status shares in three companies, with a 100% ownership of the company "Telekard telefonske usluge", d.o.o. Banja Luka and TT "Inženjering" d.o.o. Banja Luka, and 20% of share in the Institute for International Law and International Cooperation, d.o.o. Banja Luka.

## InfoBox

m:tel
|
|  |
| Formerly | Telekom Srpske |
| Company type | Joint-stock company |
| Traded as | BLSE: |
| Industry | Telecommunications |
| Founded | 20 December 1996 (1996-12-20) (Founded) |
| Headquarters | Banja Luka, Bosnia and Herzegovina |
| Key people | Jelena Trivan (General director) |
| Services | Fixed and mobile lines, internet provider, ADSL, IPTV |
| Revenue | 217.88 million (2017) |
| Net income | €30.63 million (2017) |
| Total assets | €430.25 million (2017) |
| Total equity | €343.20 million (2017) |
| Number of employees | 2,137 (2017) |
| Website | mtel.ba |


# Muaythai at the 2017 World Games – Men's 81 kg

The men's 81 kg muaythai event at the 2017 World Games was held from 28 to 30 July 2017 at the Orbita Hall. 8 Muay Thai practitioners from 8 nations are expected to compete.

## Competition schedule

All times are in local time (UTC+2), according to the official schedule.

|
|  |
Legend
| QF | Quarterfinals | SF | Semifinals | F | Finals |

M = Morning session, A = Afternoon session, E = Evening session

| Date → | Jul 28 | | | Jul 29 | | | Jul 30 | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Event ↓ | M | A | E | M | A | E | M | A | E |
| Men's 81 kg |  |  | QF |  | SF |  |  | F |  |

## Results

### Legend

* **WO** — Won by walkover

### Gold medal match

|  | Gold medal match | |  |
| --- | --- | --- | --- |
|  |  |  |  |
|  | Constantino Nanga (SWE) | 28 |  |
|  | **Ali Dogan (TUR)** | **29** |  |

### Main bracket

|  | Quarterfinals | |  |  | Semifinals | |  |  | Gold medal match | |  |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|  |  |  |  |  |  |  |  |  |  |  |  |
|  | **Mikita Shostak (BLR)** | **30** |  |  | | | |  | | | |
|  | | | | ||
|  | Ayoob Saki (IRI) | 27 |  | ||
|  | | | |  | Mikita Shostak (BLR) | 27 |  | |
|  | | | | |  | |  | |
|  | |  |  | **Constantino Nanga (SWE)** | **30** |  ||
|  | Manuel Magi (ITA) | | | | |  |  | |
|  | | | |  | | | | |
|  | | **Constantino Nanga (SWE)** | **WO** |  ||
|  | | | |  | Constantino Nanga (SWE) | 28 |  |
|  | | | | |  | | | | | |  |
|  | |  |  | **Ali Dogan (TUR)** | **29** |  |
|  | Mohammad Salama (JOR) | | | | | 27 |  |  | | | |
|  | | | | |  | | | |
|  | | **Ali Dogan (TUR)** | **30** | |  |
|  | | | |  | **Ali Dogan (TUR)** | **30** |  |
|  | | | | |  | |  |
|  | |  |  | Rafał Korczak (POL) | 27 |  |
|  | | | | | | Ivan Valenzuela (MEX) | 28 |  |
|  | | | |  | | | |
|  | | **Rafał Korczak (POL)** | **29** |  |

### Bronze medal match

|  | Bronze medal match | |  |
| --- | --- | --- | --- |
|  |  |  |  |
|  | **Mikita Shostak (BLR)** | **WO** |  |
|  | Rafał Korczak (POL) |  |  |

1. "Muaythai". International World Games Association. Retrieved 20 May 2022.
2. "International Federation of Muaythai Associations". International Olympic Committee. Retrieved 20 May 2022.
3. "International Federation of Muaythai Associations". Association of IOC Recognised International Sports Federations. Archived from the original on 24 March 2023. Retrieved 20 May 2022.
4. "Venues – The World Games 2017". The World Games 2017. Archived from the original on 31 July 2017. Retrieved 20 May 2022.
5. "The World Games 2017, Wrocław (POL) – Main Schedule from the Official Result Provider". Tissot. Retrieved 20 May 2022.
6. "The World Games 2017, Wrocław (POL) – Muaythai Detailed Schedule from the Official Result Provider". Tissot. Retrieved 20 May 2022.

## InfoBox

| Men's 81 kg<br>at the 2017 World Games | |
| --- | --- |
| Muaythai pictogram | |
| Venue | Orbita Hall |
| Dates | 28–30 July 2017 |
| Competitors | 8 from 8 nations |
| Medalists | |
| Ali Dogan  Turkey  Constantino Nanga  Sweden  Mikita Shostak  Belarus | |
|


title: Wonder Wizard

abstract: The Wonder Wizard is a dedicated first-generation home video game console which was manufactured by Magnavox and released by General Home Products in June 1976 only in the United States. The console features two paddle-based game controllers attached to the system and contains the same circuit board as the Magnavox Odyssey 300 and the same bottom part housing as the Magnavox Odyssey. The paddles are larger than those of the Odyssey 300. The console had a dealer cost of $39 but initial retail price was set at $60.

text:
# Wonder Wizard

The **Wonder Wizard** (model number: 7702) is a dedicated first-generation home video game console which was manufactured by Magnavox and released by General Home Products (GHP for short) in June 1976 only in the United States.

The console features two paddle-based game controllers attached to the system and contains the same circuit board as the Magnavox Odyssey 300 and the same bottom part housing as the Magnavox Odyssey. The paddles are larger than those of the Odyssey 300.

The console had a dealer cost of $39 but initial retail price was set at $60 (compared to the MSRP of the Odyssey 300 at $70).

## Games

The system contains three built-in *Pong*-based games:

* Handball
* Tennis
* Hockey

Just like the Odyssey 300, the Wonder Wizard uses a switch so that the players can choose between the three preset difficulty levels.

## Technical specifications

* **CPU**: General Instrument AY-3-8500 ("Pong-on-a-Chip")
* **Input**: Two game controllers/game selection, difficulty (pro, intermediate, beginner), and power button (on/off/reset)
* **Graphics**: Monochrome
* **Sound**: Built-in speaker
* **Dimensions**: 14.5 by 9 by 4 inches (370 mm × 230 mm × 100 mm) (l x h x w)
* **Power**: 9 V AC adapter (100 ma) or 6 x C batteries

The switch box in the scope of delivery is the same as those of the Odyssey 100 to 4000. The top of the console was available in two versions: one with silver colored knobs and a woodgrain design in the upper section of the housing, and one with black knobs and a full woodgrain design.

1. "Wonder Wizard". *retrogamingconsoles*. Retrieved 2020-07-03.
2. "TheGameConsole.com: Magnavox Video Game Consoles". *www.thegameconsole.com*. Retrieved 2020-08-27.
3. "Pong-Story : Wonder Wizard models". *www.pong-story.com*. Retrieved 2020-07-03.
4. "OLD-COMPUTERS.COM : The Museum". *www.old-computers.com*. Retrieved 2020-07-03.
5. "Zwolle Computermuseum PONGs/DSC03312". *computarium.lcd.lu*. Retrieved 2020-08-07.
6. "Evolution of Home Video Game Consoles: 1967 - 2011". *Hongkiat*. 2011-04-13. Retrieved 2020-08-27.
7. "More Magnavox Games". Vol. 16, no. 36. Television Digest Inc. 1976-09-06. Retrieved 19 August 2023.

## InfoBox

Wonder Wizard
| A Wonder Wizard in a showcase | |
| --- | --- |
| Manufacturer | Magnavox, General Home Products |
| Type | Dedicated home video game console |
| Generation | First generation |
| Release date | **USA**: June 1976 |
| CPU | AY-3-8500 |
| Graphics | Black & white |
| Sound | Via internal speaker |
| Controller input | 2 attached paddle-based game controllers |
| Power | 9 V AC adapter (100 ma) or 6 x C batteries |
| Dimensions | 14.5" x 9" x 4" |


abstract: The 2018 Women's World Chess Championship Match was a match held between Tan Zhongyi, the 2017 Women's World Chess champion, and her challenger Ju Wenjun to determine the new women's world chess champion. Ju Wenjun qualified by winning the FIDE Women's Grand Prix 2015–16. The match took place from 2 to 20 May 2018 and was played in two halves, the first in Shanghai, the latter in Chongqing. Ju Wenjun won 5½ - 4½.

text:
# Women's World Chess Championship 2018 (May)

The **2018 Women's World Chess Championship Match** was a match held between Tan Zhongyi, the 2017 Women's World Chess champion, and her challenger Ju Wenjun to determine the new women's world chess champion. Ju Wenjun qualified by winning the FIDE Women's Grand Prix 2015–16.

The match took place from 2 to 20 May 2018 and was played in two halves, the first in Shanghai, the latter in Chongqing. Ju Wenjun won 5½ - 4½.

## Competitors

### 2015–16 Grand Prix winner

The challenger qualified by winning the FIDE Women's Grand Prix 2015–16. Hou Yifan had won the first tournament but then withdrew from the Grand Prix. After four of five tournaments, the leader was Koneru Humpy with 335 points, who had already played her three tournaments. In second place followed Ju Wenjun with 253⅓ and one event left. The final tournament was held from 11 to 31 October 2016, and Ju Wenjun won the tournament convincingly, thus overtaking Koneru Humpy. Koneru Humpy thereby finished overall runner-up for the fourth time.

### 2017 knock-out world champion

The winner of the Women's World Chess Championship 2017 has the right to defend her title in the match. The 64-player knockout tournament was initially scheduled for October 2016, but postponed due to the lack of an organizer. The tournament was played in Teheran, Iran, from 10 to 28 February 2017.

Ju Wenjun advanced to the quarter-finals, where she was knocked out. Had she won, the challenger would have been the Grand Prix runner-up Koneru Humpy.

The final was played between Tan Zhongyi and Anna Muzychuk as a four-game match. After a calm draw in game 1, Tan Zhongyi won game 2 with the white pieces.

## Head-to-head record

Prior to the match the two players had met 16 times at classical time control. Tan Zhongyi led the pairing, having won 3, drawn 11, and lost 2 games.

## Match

The match was contested over ten games at classical time control, with additional rapid and blitz tie-breaks if needed.

Colors were drawn at the opening ceremony. Colors are also reversed after game 4 to even out any advantage of first playing White. The time control is set at 90 minutes for the first 40 moves with the addition of 30 minutes for the rest of the game. There is an increment of 30 seconds per move from move 1.

### Schedule

### Results

Women's World Chess Championship Match 2018
| Player | Rating | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | Points |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Tan Zhongyi (China) | 2522 | ½ | 0 | 0 | 1 | 0 | 1 | ½ | ½ | ½ | ½ |  |
| **Ju Wenjun (China)** | 2571 | ½ | 1 | 1 | 0 | 1 | 0 | ½ | ½ | ½ | ½ |  |
| Game Links | |  |  |  |  |  |  |  |  |  |  |  |

## Future

Due to various hosting and timing issues, the championships had varied from their intended annual calendar, pushing the 2017 event into early 2018. FIDE's plan is to get back on schedule by holding a second Women's World Chess Championship 2018 (tournament), with the full 64-player knock-out in November, culminating with the final two players competing for the championship title. The event was held in Khanty-Mansiysk, Russia. Ju Wenjun entered the tournament as top rated player.

## InfoBox

Women's World Chess Championship Match 2018
| Shanghai & Chongqing, China | | | |
| --- | --- | --- | --- |
| 3–18 May 2018 | | | |
|  | Defending champion | Challenger |
|  |  |  |
|  | **Tan Zhongyi** | **Ju Wenjun** |
|  | Scores    Game 1 ½ 63 move draw ½  Game 2 0 55 moves  1  Game 3 0 27 moves  1  Game 4 1  35 moves 0  Game 5 0 35 moves  1  Game 6 1  125 moves 0  Game 7 ½ 33 move draw ½  Game 8 ½ 32 move draw ½  Game 9 ½ 80 move draw ½  Game 10 ½ 70 move draw ½ | | |
|  | Born 29 May 1991
26 years old | Born 31 January 1991
27 years old |
|  | Winner of the Women's World Chess Championship 2017 | Winner of the FIDE Women's Grand Prix 2015–16 |
|  | Rating: 2522
(World No. 10) | Rating: 2571
(World No. 2) |
|  | | | |


title: Women's World Chess Championship 2020

abstract: The 2020 Women's World Chess Championship was a chess match for the Women's World Chess Championship title. It was contested by Ju Wenjun and her challenger, Aleksandra Goryachkina, the winner of a newly established Candidates Tournament that was held in 2019. The match was planned in two parts, one held in Shanghai (China) and one in Vladivostok (Russia), from 3 to 24 January 2020. It marked a return to a match-only format for the title with a qualifying Candidates Tournament, after new FIDE president Arkady Dvorkovich had expressed his dissatisfaction with the knock-out tournaments and resulting frequently changing world champions. Ju Wenjun successfully defended her title.

text:
# Women's World Chess Championship 2020

The **2020 Women's World Chess Championship** was a chess match for the Women's World Chess Championship title. It was contested by Ju Wenjun (world champion as winner of the 2018 knock-out championship) and her challenger, Aleksandra Goryachkina, the winner of a newly established Candidates Tournament that was held in 2019.

The match was planned in two parts, one held in Shanghai (China) and one in Vladivostok (Russia), from 3 to 24 January 2020. It marked a return to a match-only format for the title with a qualifying Candidates Tournament, after new FIDE president Arkady Dvorkovich had expressed his dissatisfaction with the knock-out tournaments and resulting frequently changing world champions.

Ju Wenjun successfully defended her title.

## Candidates Tournament

The newly-established Candidates Tournament was held from 29 May to 19 June 2019 in Kazan, Russia. The format was an eight-player double round-robin tournament.

Three players qualified by virtue of reaching the semi-finals of the last championship. All remaining players came from the rating list, by taking the average of all twelve monthly ratings in 2018. Aleksandra Goryachkina replaced Hou Yifan, who declined an invitation.

### Qualifiers

| Place | Player | Points | Women's
world no. | Elo
(May 2019) | Women's World champion |
| --- | --- | --- | --- | --- | --- |
| 1 | **Aleksandra Goryachkina** | 9.5 | 9 | 2522 |  |
| 2 | Anna Muzychuk | 8 | 7 | 2539 |  |
| 3 | Kateryna Lagno | 7 | 4 | 2554 |  |
| 4 | Tan Zhongyi | 7 | 10 | 2513 | 2017 |
| 5 | Nana Dzagnidze | 6.5 | 11 | 2510 |  |
| 6 | Mariya Muzychuk | 6.5 | 3 | 2563 | 2015 |
| 7 | Alexandra Kosteniuk | 6 | 6 | 2546 | 2008 |
| 8 | Valentina Gunina | 5.5 | 13 | 2506 |  |

Goryachkina won with two rounds to spare.

### Crosstable

Leading player after each round in green.

| No. | Player | Elo
(May 2019) | 1 | | 2 | | 3 | | 4 | | 5 | | 6 | | 7 | | 8 | | Pts | Tie-breaks | | Results by round | | | | | | | | | | | | | | Place |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | H2H | | Wins | | 1 | | 2 | | 3 | | 4 | | 5 | | 6 | | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 ||
| **1** | Valentina Gunina (RUS) | 2506 |  | | 1 | 0 | 0 | 0 | ½ | ½ | 0 | 1 | ½ | 1 | 0 | 0 | 1 | 0 |  |  |  | ½ | ½ |  |  | 2 | 2 | 3 |  |  |  |  |  |  |  | 8 |
| **2** | Alexandra Kosteniuk (RUS) | 2546 | 0 | 1 |  | | ½ | 0 | ½ | ½ | 1 | 0 | 0 | 1 | ½ | ½ | ½ | 0 | **6** |  |  | ½ | 1 | 1 |  |  |  | 3 | 3 |  |  |  |  |  | 6 | 7 |
| **3** | Aleksandra Goryachkina (RUS) | 2522 | 1 | 1 | ½ | 1 |  | | 1 | ½ | 1 | ½ | ½ | 0 | ½ | ½ | 1 | ½ |  |  |  | ½ |  |  | 3 | 4 | 5 |  |  |  | 8 |  | 9 |  |  | **1** |
| **4** | Kateryna Lagno (RUS) | 2554 | ½ | ½ | ½ | ½ | 0 | ½ |  | | ½ | ½ | 1 | ½ | ½ | 0 | 1 | ½ | **7** |  |  | ½ | 1 | 1 | 2 |  |  | 4 |  | 5 |  | 6 | 6 |  | 7 | 3 |
| **5** | Nana Dzagnidze (GEO) | 2510 | 1 | 0 | 0 | 1 | 0 | ½ | ½ | ½ |  | | 1 | ½ | 1 | 0 | ½ | 0 |  |  |  | ½ |  |  |  |  |  | 4 | 4 | 4 |  |  |  | 6 |  | 5 |
| **6** | Mariya Muzychuk (UKR) | 2563 | ½ | 0 | 1 | 0 | ½ | 1 | 0 | ½ | 0 | ½ |  | | ½ | ½ | ½ | 1 |  | ½ |  | ½ | 1 | 1 | 1 |  |  | 3 |  |  | 5 |  |  |  |  | 6 |
| **7** | Anna Muzychuk (UKR) | 2539 | 1 | 1 | ½ | ½ | ½ | ½ | ½ | 1 | 0 | 1 | ½ | ½ |  | | 0 | ½ | **8** |  |  | ½ | ½ | ½ | 1 |  |  | 3 |  |  | 5 |  |  |  | 8 | 2 |
| **8** | Tan Zhongyi (CHN) | 2513 | 0 | 1 | ½ | 1 | 0 | ½ | 0 | ½ | ½ | 1 | ½ | 0 | 1 | ½ |  | | **7** | ½ |  | ½ | 1 | 2 |  |  |  |  |  |  | 4 | 5 |  | 6 | 7 | 4 |

## Championship match

As in 2018, the match was divided into two parts, hosted by the countries of the players. One stage was held in Shanghai, China and the other in Vladivostok, Russia. In Shanghai the match was played in the InterContinental Shanghai Jing'An Hotel, in Vladivostok at the Far Eastern Federal University on Russky Island. The format was increased to twelve games, the last championships having consisted of only 10 scheduled games.

The classical time-control portion of the match ended with a tied score of 6-6, after 3 victories for Ju, 3 victories for Goryachkina, and 6 draws. On 24 January, 4 games of rapid chess were used as a tie-breaker; and Ju Wenjun retained the title with 1 win and 3 draws.

### Schedule

The match started off in Shanghai and ended in Vladivostok.

| Shanghai | 4 Jan | Opening ceremony |
| --- | --- | --- |
| | 5–6 Jan | Games 1–2 |
| | 8–9 Jan | Games 3–4 |
| | 11–12 Jan | Games 5–6 |
| Vladivostok | 15 Jan | Opening ceremony |
| | 16–17 Jan | Games 7–8 |
| | 19–20 Jan | Games 9–10 |
| | 22–23 Jan | Games 11–12 |
| | 24 Jan | Tiebreak games and closing ceremony |

### Results

Women's World Chess Championship 2020
| Player | Rating | Standard Time Control | | | | | | | | | | | | Points | Rapid Tie-Breaks | | | | Tie-Break
Points |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | | R1 | R2 | R3 | R4 | |
| **Ju Wenjun (China)** | 2584 | ½ | ½ | ½ | 1 | 0 | ½ | ½ | 0 | 1 | 1 | ½ | 0 | **6** | ½ | ½ | 1 | ½ |  |
| Aleksandra Goryachkina (Russia) | 2578 | ½ | ½ | ½ | 0 | 1 | ½ | ½ | 1 | 0 | 0 | ½ | 1 | **6** | ½ | ½ | 0 | ½ |  |
| Game Links | |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |

## InfoBox

Women's World Chess Championship 2020
| Shanghai, China & Vladivostok, Russia | | | |
| --- | --- | --- | --- |
| 5–24 January 2020 | | | |
|  | Defending champion | Challenger |
|  |  |  |
|  | **Ju Wenjun** | **Aleksandra Goryachkina** |
|  | 6 (2½) Scores 6 (1½)   Game 1 ½ 97 move draw ½  Game 2 ½ 40 move draw ½  Game 3 ½ 85 move draw ½  Game 4 1  63 moves 0  Game 5 0 51 moves  1  Game 6 ½ 105 move draw ½  Game 7 ½ 67 move draw ½  Game 8 0 45 moves  1  Game 9 1  62 moves 0  Game 10 1  62 moves 0  Game 11 ½ 40 move draw ½  Game 12 0 60 moves  1  Tiebreak Game 13 ½ 67 move draw ½  Tiebreak Game 14 ½ 72 move draw ½  Tiebreak Game 15 1  45 moves 0  Tiebreak Game 16 ½ 77 move draw ½ | | |
|  | Born 31 January 1991
28 years old | Born 28 September 1998
21 years old |
|  | Winner of the Women's World Chess Championship 2018 | Winner of the Women's Candidates Tournament 2019 |
|  | Rating: 2584
(World No. 2) | Rating: 2578
(World No. 4) |
|  | | | |


title: Wong May

abstract: Wong May is a poet who was born in China, grew up in Singapore, and now lives in Ireland. She won the Windham-Campbell Literature Prize for poetry in 2022. She was born in Chongqing, China in 1944 and moved to Singapore with her mother in 1950. Her mother, Wang Mei-Chuang, was a classical Chinese poet who taught history and Chinese literature. Wong May received her Bachelor of Arts degree in English Literature, from the University of Singapore in 1965. She used to be Singaporean, but had to relinquish her citizenship after Singapore stopped allowing dual citizenship. Wong May has described the relinquishing of her Singapore citizenship as “a severance which still pains me”. In 1966 she went to the Iowa Writers' Workshop where she received her Master of Fine Arts degree from the University of Iowa in 1968. A first book of poetry, A Bad Girl's Book of Animals, was published by Harcourt, Brace and Jovanovich in 1969. While at MacDowell Colony in 1969, Wong May met Hilda Morley. Stylistically their poetry is closely associated. Wong May's next book, Reports, published by Harcourt Brace Jovanovich, came out in 1972. Her Wannsee Poems, written during a DAAD fellowship in Berlin, were translated as Wannsee Gedichte by Nicolas Born. In 1973, Wong May married Michael Coey, Professor of Physics at Trinity College in Dublin, Ireland. They have two sons. In 1978 she published a collection of poetry called Superstitions. In 2014 Picasso's Tears, her fourth book of poems including work from 1978–2013, was published by Octopus Books. In the Same Light: 200 Tang Poems for Our Century appeared in 2022 with UK publisher Carcanet and US publisher The Song Cave. This is a collection of Tang dynasty poems translated from the Chinese, in Wong's distinctive poetic voice and style. The 'Afterword' to the book is a poetic-prose meditation on Tang poetry, its historical background and its translation, and more besides. The book was awarded one of the US Windham–Campbell Literature Prizes for 2022. It was also the UK's Poetry Book Society Spring 2022 Translation Choice. Wong May lives in Dublin, where she writes poetry and paints. She has stated a preference to describe herself as a “cultural worker” who writes poetry and paints, rather than a poet.

text:
# Wong May

**Wong May** is a poet who was born in China, grew up in Singapore, and now lives in Ireland. She won the Windham-Campbell Literature Prize for poetry in 2022.

She was born in Chongqing, China in 1944 and moved to Singapore with her mother in 1950. Her mother, Wang Mei-Chuang, was a classical Chinese poet who taught history and Chinese literature.

Wong May received her Bachelor of Arts degree in English Literature, from the University of Singapore in 1965. She used to be Singaporean, but had to relinquish her citizenship after Singapore stopped allowing dual citizenship. Wong May has described the relinquishing of her Singapore citizenship as “a severance which still pains me”.

In 1966 she went to the Iowa Writers' Workshop where she received her Master of Fine Arts degree from the University of Iowa in 1968.

A first book of poetry, *A Bad Girl's Book of Animals*, was published by Harcourt, Brace and Jovanovich in 1969.

While at MacDowell Colony in 1969, Wong May met Hilda Morley. Stylistically their poetry is closely associated.

Wong May's next book, *Reports*, published by Harcourt Brace Jovanovich, came out in 1972. Her *Wannsee Poems*, written during a DAAD (German Academic Exchange Service) fellowship in Berlin, were translated as *Wannsee Gedichte* by Nicolas Born.

In 1973, Wong May married Michael Coey, Professor of Physics at Trinity College in Dublin, Ireland. They have two sons.

In 1978 she published a collection of poetry called *Superstitions*.

In 2014 *Picasso's Tears*, her fourth book of poems including work from 1978–2013, was published by Octopus Books.

*In the Same Light: 200 Tang Poems for Our Century* appeared in 2022 with UK publisher Carcanet and US publisher The Song Cave. This is a collection of Tang dynasty poems translated from the Chinese, in Wong's distinctive poetic voice and style. The 'Afterword' to the book is a poetic-prose meditation on Tang poetry, its historical background and its translation, and more besides. The book was awarded one of the US Windham–Campbell Literature Prizes for 2022. It was also the UK's Poetry Book Society Spring 2022 Translation Choice.

Wong May lives in Dublin, where she writes poetry and paints. She has stated a preference to describe herself as a “cultural worker” who writes poetry and paints, rather than a poet.


title: Women letter writers

abstract: Women letter writers in early modern Europe created lengthy correspondences, where they expressed their intellect and their creativity; in the process, they also left a rich historical legacy. Over time, a large number of women's correspondences have been made the subject of publications. Some among them ignored the literary value of these missives that were sometimes circulated by their recipients. Some correspondences were, on the other hand, strictly private and their literary value—and historic value, as well—was not revealed until the rediscovery of these letters, perhaps long after the death of their authors, as in the case of Élisabeth Bégon, whose correspondence was not discovered until 1932 in the archives of the French Ministry of the Navy. It is usually agreed that what makes these letters distinctive emanates from their spontaneity. Marie de Sévigné was the incarnation of this quality, to the point of becoming considered by many as the archetype of the woman letter writer, and an altogether literary author, even among her contemporaries, such as Suzanne Curchod: It is this precious collection that seems to flow into the reputation of all women: because it is always repeated, ever since Madame de Sévigné, that women write better than men and that they feel things more delicately than them. Suzanne Curchod In 1669, the famous Letters of a Portuguese Nun appeared, presented as a translation of five letters sent by a Portuguese nun to a French officer. For a long time, these letters were accepted as authentic letters written by Mariana Alcoforado, before being definitively shown by a modern critic to be a work of literary fiction, attributed to Gabriel de Guilleragues. Some women who wrote letters did not lead remarkable lives. For instance Nellie Weeton was born in Lancashire and she was poorly treated by her brother and husband. She copied all the letters to her brother into journals and because some of these are extant they supply an insight into life in her time. The frontier between reality and fiction becomes blurry between literature and correspondence, above all when novelists turned this writing technique into a literary device that would become the epistolary novel, a genre that reached its peak during the Enlightenment when writers tried to persuade readers that between their hands was a real correspondence, which is what Jean-Jacques Rousseau more or less achieved with Julie, or the New Heloise.

text:
# Women letter writers

**Women letter writers** in early modern Europe created lengthy correspondences, where they expressed their intellect and their creativity; in the process, they also left a rich historical legacy.

Over time, a large number of women's correspondences have been made the subject of publications. Some among them ignored the literary value of these missives that were sometimes circulated by their recipients. Some correspondences were, on the other hand, strictly private and their literary value—and historic value, as well—was not revealed until the rediscovery of these letters, perhaps long after the death of their authors, as in the case of Élisabeth Bégon, whose correspondence was not discovered until 1932 in the archives of the French Ministry of the Navy.

It is usually agreed that what makes these letters distinctive emanates from their spontaneity. Marie de Sévigné was the incarnation of this quality, to the point of becoming considered by many as the archetype of the woman letter writer, and an altogether literary author, even among her contemporaries, such as Suzanne Curchod:

> It is this precious collection that seems to flow into the reputation of all women: because it is always repeated, ever since Madame de Sévigné, that women write better than men and that they feel things more delicately than them. Suzanne Curchod

In 1669, the famous *Letters of a Portuguese Nun* appeared, presented as a translation of five letters sent by a Portuguese nun to a French officer. For a long time, these letters were accepted as authentic letters written by Mariana Alcoforado, before being definitively shown by a modern critic to be a work of literary fiction, attributed to Gabriel de Guilleragues.

Some women who wrote letters did not lead remarkable lives. For instance Nellie Weeton was born in Lancashire and she was poorly treated by her brother and husband. She copied all the letters to her brother into journals and because some of these are extant they supply an insight into life in her time.

The frontier between reality and fiction becomes blurry between literature and correspondence, above all when novelists turned this writing technique into a literary device that would become the epistolary novel, a genre that reached its peak during the Enlightenment when writers tried to persuade readers that between their hands was a real correspondence, which is what Jean-Jacques Rousseau more or less achieved with *Julie, or the New Heloise*.

## Some famous women letter writers

### Sources

* Lettres de femmes: textes inédits et oubliés du XVIe au XVIIIe", (éd.) Elisabeth C. Goldsmith and Colette H. Winn, Paris, H. Champion, 2005, 448 p. ISBN 2-7453-1123-9
* *L’épistolaire au féminin : correspondances de femmes, XVIIIe au XXe*, (éd.) Brigitte Diaz, Jürgen Siess, Caen, Presses universitaires de Caen, 2006 ISBN 2-84133-240-3
* Marie-France Silver, Marie-Laure Girou-Swiderski, *Femmes en toutes lettres : les épistolières du XVIIIe", Oxford, Voltaire Foundation, 2000 ISBN 0-7294-0741-1*
* Josée Chomel, Philippe Chomel, Michel Cabaud, *Madame de Sévigné à Grignan, une épistolière en Provence*, Lyon, Aubanel, 1996 ISBN 2-7006-0213-7
* Lionel Duisit, *Madame Du Deffand, épistolière*, Genève, Droz, 1963
* Daniel Des Brosses, *La Palatine : l’incorrigible épistolière aux 60,000 lettres*, Paris, France, 2004 ISBN 2-913451-20-9
* Rodolphe Trouilleux, *N’oubliez pas Iphigénie : biographie de la cantatrice et épistolière Sophie Arnould, 1740-1802*, Grenoble, Alzieu, 1999 ISBN 2-910717-00-3
* Sophie Marcotte, *Gabrielle Roy épistolière*, Ottawa, Bibliothèque nationale du Canada, 2003 ISBN 0-612-69903-X
* Catherine Blondeau, *Julie de Lespinasse épistolière", 1761-1776*, Lille, A.N.R.T, Université de Lille III, 1994
* Josette Chéry-Sobolewski, *Madame Riccoboni épistolière*, Paris, Université de Paris-Sorbonne, 1993
* Mireille Bossis, Charles. A. Porter, *L’épistolarité à travers les siècles : geste de communication et/ou geste d’écriture*, Stuttgart, Franz Steiner, 1987


abstract: This timeline of women in warfare and the military (1900–1945) deals with the role of women in the military around the world from 1900 through 1945. The two major events in this time period were World War I and World War II. Please see Women in World War I and Women in World War II for more information. For articles specifically pertaining to the United States, see: Timeline of women in war in the United States, pre-1945 and Timeline of women in warfare in the United States from 1900 to 1949.

text:
# Women in warfare and the military (1900–1945)

This timeline of **women in warfare and the military (1900–1945)** deals with the role of women in the military around the world from 1900 through 1945. The two major events in this time period were World War I and World War II. Please see Women in World War I and Women in World War II for more information.

For articles specifically pertaining to the United States, see: Timeline of women in war in the United States, pre-1945 and Timeline of women in warfare in the United States from 1900 to 1949.

## Timeline of women in warfare from 1900 until 1945 worldwide (except present US)

### 1900s

### 1910s

### World War I

* **Austria**: Viktoria Savs serves as a soldier in the imperial Austrian army in the guise of a man and is awarded with the Medal for Bravery (Austria-Hungary) for valor in combat for her service in the Dolomitian front.
* **Australia**: More than 3,000 Australian civilian nurses volunteer for active service.

* **Britain**: The British form the Women's Army Auxiliary Corps in 1917; the Corps is renamed the Queen Mary's Army Auxiliary Corps in 1918. Members of this corps serve as clerical staff, cooks and medical personnel. It is disbanded in September 1921. Also in 1917, the British form the Women's Royal Naval Service as a branch of the Royal Navy. Members of this corps serve as clerks, cooks, electricians and air mechanics. The British disband the unit in 1919.
* **Canada**: Over 2,800 women serve in the Royal Canadian Army Medical Corps during the war. Women also receive training in small arms, first aid and vehicle maintenance in anticipation of being used as home guards.
* **New Zealand**: Nurses in the New Zealand Army Nursing Service serve on hospital ships and in hospitals at the front in France.
* **Romania**: During the 1916 battle in the Jiu Valley, Ecaterina Teodoroiu transfers from the Romanian Army's all-female nurse corps to the Reconnaissance Corps. She is taken prisoner while serving as a scout, but escapes after killing several German soldiers. In November she is wounded and hospitalized, but returns to the front; she is decorated, promoted to *Sublocotenent* (second lieutenant) and given the command of a 25-man platoon. For her valor she is awarded the Military Virtue Medal, First Class. On 3 September 1917 (22 August Old Style) she is killed in the Battle of Mărăşeşti (in Vrancea County) after being hit in the chest by German machine-gun fire. According to some accounts, her last words before dying were "Forward, men, I'm still with you!"
* **Russia**: Russia fields 15 formations of female battalions for several months in 1917; two (the 1st Russian Women's Battalion of Death and the Perm Battalion) are deployed to the front. By the end of the year, all battalions are dissolved.
* **United States**: The United States Navy formally accepts women nurses into the Nurse Corps. The first twenty women are known collectively as the Sacred Twenty.

### 1920s

### 1930s

### 1940s

## Further reading


title: Mudnakudu Chinnaswamy

abstract: Mudnakudu Chinnaswamy is an Indian Kannada language poet. He received Kendra Sahitya Academy award in 2022, for his work "Bahutvada Bhaaratha mattu Bouddha Thaatvikate".

text:
# Mudnakudu Chinnaswamy

**Mudnakudu Chinnaswamy** (22 September 1954) is an Indian Kannada language poet. He received Kendra Sahitya Academy award in 2022, for his work "Bahutvada Bhaaratha mattu Bouddha Thaatvikate".

## Awards and honours

## InfoBox

| Mudnakudu Chinnaswamy | |
| --- | --- |
|  | |
| Born | Chinnaswamy |
| Occupation | * Writer * Poet |
| Notable works | *Bahutvada Bhaaratha mattu Bouddha Thaatvikate* |


title: Mudoko dako

abstract: A mudoko dako is an effeminate male who is considered by Langi society to be a different gender, though were mostly treated as woman among the Langi in Uganda. Mudoko dako also could be found among the Teso and the Karamojan people. Recognition of the mudoko dako can be traced back prior to colonialism in Africa. Mudoko dako was considered an "alternative gender status" and were able to marry men with no social sanctions. The word, dako, in the Lango language means "woman". In his work, The Lango: A Nilotic Tribe of Uganda (1923), anthropologist Jack Herbert Driberg describes the mudoko dako people among the Langi. Driberg describes how men, known as Jo Apele or Jo Aboich, go on to become mudoko dako, dressing in the manner of women and taking on women's traditional roles. Driberg even observed mudoko dako simulating menstruation.

text:
# Mudoko dako

A ***mudoko dako*** (also known as ***mudoko daka*** or ***dano mulokere***) is an effeminate male who is considered by Langi society to be a different gender, though were mostly treated as woman among the Langi in Uganda. *Mudoko dako* also could be found among the Teso and the Karamojan people. Recognition of the *mudoko dako* can be traced back prior to colonialism in Africa.

*Mudoko dako* was considered an "alternative gender status" and were able to marry men with no social sanctions. The word, *dako*, in the Lango language means "woman". In his work, *The Lango: A Nilotic Tribe of Uganda* (1923), anthropologist Jack Herbert Driberg describes the *mudoko dako* people among the Langi. Driberg describes how men, known as *Jo Apele* or *Jo Aboich*, go on to become *mudoko dako*, dressing in the manner of women and taking on women's traditional roles. Driberg even observed *mudoko dako* simulating menstruation.


title: Womey

abstract: Womey is a town and sub-prefecture in the Nzérékoré Prefecture in the Nzérékoré Region of Guinea. The sub-prefecture is 494 km⁲ in area and has a population of 13,196.

text:
# Womey

**Womey**  (or **Womé** or **Ouomé**) is a town and sub-prefecture in the Nzérékoré Prefecture in the Nzérékoré Region of Guinea.

The sub-prefecture is 494 km2 in area and has a population of 13,196 (2014 census).

## Incident on 16 September 2014

On 16 September 2014, a local Guinean government team arrived in Womey to educate the population about ebola. They were set upon by local people, and later the bodies of eight of them were found in a public latrine pit.

## InfoBox

| Womey | |
| --- | --- |
| Sub-prefecture and town | |
| WomeyLocation in Guinea | |
| Coordinates: 8°04′41″N 8°46′55″W / 8.078°N 8.782°W / 8.078; -8.782 | |
| Country | Guinea |
| Region | Nzérékoré Region |
| Prefecture | Nzérékoré Prefecture |
| Time zone | UTC+0 (GMT) |


title: Wommack Kiln

abstract: The Wommack Kiln is a history pottery site in central rural Dallas County, Arkansas. Built in 1891 by John Welch, it is the best-preserved of a series of pottery works established in Dallas County in the later decades of the 19th century. Welch established this site after abandoning an earlier site he set up in the 1880s. The kiln site was listed on the National Register of Historic Places in 1975. It is located off County Road 302, roughly midway between its junctions with CR 301 and CR 314.

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# Wommack Kiln

The **Wommack Kiln** is a history pottery site in central rural Dallas County, Arkansas. Built in 1891 by John Welch, it is the best-preserved of a series of pottery works established in Dallas County in the later decades of the 19th century. Welch established this site after abandoning an earlier site he set up in the 1880s.

The kiln site was listed on the National Register of Historic Places in 1975. It is located off County Road 302, roughly midway between its junctions with CR 301 and CR 314.

## InfoBox

|  | |
| --- | --- |
| Wommack Kiln | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
| Nearest city | Wave, Arkansas |
| Coordinates | 34°1′10″N 92°40′56″W / 34.01944°N 92.68222°W / 34.01944; -92.68222 |
| Area | less than one acre |
| Architect | Welch, John |
| NRHP reference No. | 75000384 |
| Added to NRHP | June 10, 1975 |


title: Womey massacre

abstract: The Womey massacre was a deadly attack on and murder of eight members of a team of healthcare workers, journalists, and government officials who were affiliated with the conflict resolution non-profit Search for Common Ground and WHO in mid-September 2014, traveled to the village of Womey in Guinea's southwest region to educate the local population during the West African Ebola virus epidemic outbreak. The team had come to warn the village about dangers of the Ebola virus disease. By 24 September 2014, Ebola disease was reported to have killed over 600 people in Guinea during previous months.

text:
# Womey massacre

The **Womey massacre** was a deadly attack on and murder of eight members of a team of healthcare workers, journalists, and government officials who were affiliated with the conflict resolution non-profit Search for Common Ground and WHO in mid-September 2014, traveled to the village of Womey in Guinea's southwest region to educate the local population during the West African Ebola virus epidemic outbreak. The team had come to warn the village about dangers of the Ebola virus disease. By 24 September 2014, Ebola disease was reported to have killed over 600 people in Guinea during previous months.

## Context

The attack on the Ebola Health Team in Womey, Guinea is related to the mistrust and miscommunication between villagers and the Guinean government. After the attack, a local police officer named Richard Haba explained the villagers' belief that Ebola "is nothing more than an invention of white people to kill black people". The underlying problem is believed to be fear. A coordinator with Search for Common Ground, Aly Badara, said, "In that part of Guinea, there is no faith between those people and their government."

## Summary

ConakryNzérékoréclass=notpageimage|Location of Nzérékoré nearby where the team was killed is shown in relation to the capital Conakry. Womey is 900 kilometres (560 mi) from the capital city.

On 18 September, it was reported that the bodies of a team of Guinean health and government officials, accompanied by journalists, who had been distributing Ebola information and doing disinfection work, were found in a latrine in the town of Womey, 50 kilometres (31 mi) from Nzérékoré. The workers had been murdered by residents of the village after they initially went missing after a riot against the presence of the health education team. Government officials said "the bodies showed signs of being attacked with machetes and clubs" and "three of them had their throats slit."

## Incident

When the group first arrived at the village, people threw stones at them, causing the group to split up, with nine people trying to hide near the town of Womey, and others taking refuge near Nzérékoré. Of those nine people, only one successfully hid and survived. The other eight members of the group were killed. The survivor, a journalist, said that they heard the villagers searching around for them. The team consisted of health workers, government officials, one priest, and journalists.

The bodies were found in a latrine with evidence of being struck with clubs and machetes, and three were found with their throats slit. The bodies were found in the septic tank of the local school. As the evidence was found, six were arrested in connection with the attack(s). By 22 September 2014 twenty people were arrested, and by 24 September 2014 Guinea police had arrested 27 suspects in connection with the attack. By 21 April 2015, the courts convicted eleven of those and issued life sentences.

## Victims

The team included at least two doctors, including the Health Director of the prefecture and the Deputy Director of the hospital in the area. Also a pastor who worked at a local Christian church and was one of the founders of Hope Clinic, which provides medical care and surgeries. One of the journalists, Facely Camara, worked for Zaly Liberté FM while two others, Sidiki Sidibé and Molou Chérif, worked for Radio Rurale de N'Zérékoré. They are local radio stations based in Nzérékoré (N'Zérékoré). Nzérékoré is the second largest city in Guinea with a population greater than 300 thousand in 2008, and is the capital of Nzérékoré Prefecture.

## Impact

After the attack, the Ebola crisis was seen as both a worldwide health crisis as well as a security risk.

## Reactions

Irina Bokova, the director-general of UNESCO condemned the killings of the health care team. Bokova's statement emphasized the important role that the media plays in fighting this outbreak, saying "with the virus spreading as it is, the role of the media in providing populations with up to date and relevant information is more important than ever".

Several media organizations -- the Union of Free Radio and Television Stations of Guinea, Guinean Association of Private Newspaper Publishers, and Guinean On-Line Media Association -- also jointly condemned the massacre.

Later in September 2014, a Red Cross Team in Guinea was attacked while trying to collect corpses. Another medical charity had already pulled out of Guinea after multiple stoning attacks on their teams. In August 2014, there were riots in Nzérékoré when a team tried to disinfect a market. Nzérékoré is about 50 kilometres (31 mi) from Womey.


title: Woodrow Procter

abstract: Woodrow Collacott Procter was a South African cricketer. He played in two first-class matches for Eastern Province in 1939 and 1940. His sons, Anthony and Mike, also played first-class cricket, and Mike played Test cricket for South Africa.

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# Woodrow Procter

**Woodrow Collacott Procter** (29 November 1921  26 July 2003) was a South African cricketer. He played in two first-class matches for Eastern Province in 1939 and 1940. His sons, Anthony and Mike, also played first-class cricket, and Mike played Test cricket for South Africa.

## InfoBox

Woodrow Procter
| Personal information | |
| --- | --- |
| Full name | Woodrow Collacott Procter |
| Born | (1921-11-29)29 November 1921
Keiskammahoek, Cape Province, South Africa |
| Died | 26 July 2003(2003-07-26) (aged 81)
Westville, KwaZulu-Natal, South Africa |
| Batting | Right-handed |
| Bowling | Right-arm leg-spin |
| Relations | Anthony Procter (son)
Mike Procter (son) |
| Domestic team information | |
| Years | Team |
| 1938/39–1939/40 | Eastern Province |
|  | |
| Source: Cricinfo, 29 March 2020 | |


title: Muiredach Bolgrach

abstract:
Muiredach Bolgrach, son of Siomón Brecc, was, according to medieval Irish legend and historical tradition, a High King of Ireland. He took power after killing his predecessor, and his father's killer, Dui Finn, ruled for 13 months or four years depending on the source consulted, and was then killed by Dui's son Énna Derg. The Lebor Gabála Érenn synchronises his reign with that of Artaxerxes I of Persia. The chronology of Geoffrey Keating's Foras Feasa ar Éirinn dates his reign to 674–670 BC, that of the Annals of the Four Masters to 894–893 BC.
His son was Fíachu Tolgrach.

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# Muiredach Bolgrach

**Muiredach Bolgrach**, son of Siomón Brecc, was, according to medieval Irish legend and historical tradition, a High King of Ireland. He took power after killing his predecessor, and his father's killer, Dui Finn, ruled for 13 months or four years depending on the source consulted, and was then killed by Dui's son Énna Derg. The *Lebor Gabála Érenn* synchronises his reign with that of Artaxerxes I of Persia (465–424 BC). The chronology of Geoffrey Keating's *Foras Feasa ar Éirinn* dates his reign to 674–670 BC, that of the *Annals of the Four Masters* to 894–893 BC. His son was Fíachu Tolgrach.


title: Mullaghmullan

abstract: Mullaghmullan is a townland in the civil parish of Kildallan, barony of Tullyhunco, County Cavan, Ireland.

text:
# Mullaghmullan

**Mullaghmullan** (Irish derived place name, Mullach Maoiláin meaning either ‘The Summit of the Hillock’ or ‘The Summit of Maolán’) is a townland in the civil parish of Kildallan, barony of Tullyhunco, County Cavan, Ireland.

## Geography

Mullaghmullan is bounded on the north by Druminiskill townland, on the west by Killygowan townland and on the east by Coolnashinny, Drummully West and Drummully East townlands. Its chief geographical features are Mullaghmullan Hill which reaches a height of 310 feet, small streams, spring wells and a dug well. Mullaghmullan is traversed by the local L5503 road, minor public roads and rural lanes. The townland covers 104 acres.

## History

From medieval times up to the early 1600s, the land belonged to the McKiernan Clan. Up until the 1650s, Mullaghmullan formed part of Coolnashinny or Croaghan townland and its history is the same until then.

An inquisition of 1629 spells the name as *Mullaghnemullin*.

An Inquisition held at Ballyconnell on 2 November 1629 stated that Sir James Craig owned the four polls of *Craghan* which contained, inter alia, a sub-division named *Mullaghnemullin*. Sir James Craig met his demise during the siege of Croaghan Castle on 8 April 1642. Following his death, his land passed on to his brother, John Craig of Craig Castle, County Cavan, and of Craigston, County Leitrim. John Craig held the esteemed position of chief doctor to both King James I and Charles I.

Lord John Carmichael (1710–1787), the 4th Earl of Hyndford of Castle Craig, County Cavan, inherited the lands from the Craig estate. In 1758 Carmichael sold the lands to the Farnham Estate of Cavan. The estate papers are now in the National Library of Ireland. The documents mentioning Mullaghmullan are at reference numbers MS 41,114 /7 and MS 41,114 /17.

In the Cavan Poll Book of 1761, there was one person registered to vote in *Mullaghnamullen* in the Irish general election, 1761 \- Reverend George Carson who resided in Crohan and was entitled to cast two votes. George Carson was the Presbyterian minister at Coolnashinny from 1735 to 1780. He died on 10 January 1782. The four election candidates in 1761 were Charles Coote, 1st Earl of Bellomont and Lord Newtownbutler (later Brinsley Butler, 2nd Earl of Lanesborough), both of whom were then elected Member of Parliament for Cavan County. The losing candidates were George Montgomery (MP) of Ballyconnell and Barry Maxwell, 1st Earl of Farnham. Absence from the poll book either meant a resident did not vote or more likely was not a freeholder entitled to vote, which would mean most of the inhabitants of Mullaghmullan.

The 1790 Cavan Carvaghs list spells the townland name as *Mullaghamullin*.

The 1825 Tithe Applotment Books list one tithepayer in the townland.

The Mullaghmullan Valuation Office books are available for April 1838.

Griffith's Valuation of 1857 lists five landholders in the townland.

The will of John Burns of *Mullaghnamullen* died 9 May 1897.

In the 19th century the landlord of Mullaghmullan was Richard Carson.

## Census

| Year | Population | Males | Females | Total Houses | Uninhabited |
| --- | --- | --- | --- | --- | --- |
| 1841 | 21 | 13 | 8 | 4 | 0 |
| 1851 | 44 | 21 | 23 | 6 | 1 |
| 1861 | 32 | 17 | 15 | 5 | 1 |
| 1871 | 21 | 13 | 8 | 5 | 0 |
| 1881 | 8 | 4 | 4 | 3 | 0 |
| 1891 | 14 | 5 | 9 | 3 | 0 |

In the 1901 census of Ireland, there were six families listed in the townland.

In the 1911 census of Ireland, there were four families listed in the townland.


title: Working fluid

abstract: For fluid power, a working fluid is a gas or liquid that primarily transfers force, motion, or mechanical energy. In hydraulics, water or hydraulic fluid transfers force between hydraulic components such as hydraulic pumps, hydraulic cylinders, and hydraulic motors that are assembled into hydraulic machinery, hydraulic drive systems, etc. In pneumatics, the working fluid is air or another gas which transfers force between pneumatic components such as compressors, vacuum pumps, pneumatic cylinders, and pneumatic motors. In pneumatic systems, the working gas also stores energy because it is compressible. For passive heat transfer, a working fluid is a gas or liquid, usually called a coolant or heat transfer fluid, that primarily transfers heat into or out of a region of interest by conduction, convection, and/or forced convection. The working fluid of a heat engine or heat pump is a gas or liquid, usually called a refrigerant, coolant, or working gas, that primarily converts thermal energy into mechanical energy by phase change and/or heat of compression and expansion. Examples using phase change include water↔steam in steam engines, and refrigerants in vapor-compression refrigeration and air conditioning systems. Examples without phase change include air or hydrogen in hot air engines such as the Stirling engine, air or gases in gas-cycle heat pumps, etc. Working fluids other than air or water are necessarily recirculated in a loop. Some hydraulic and passive heat-transfer systems are open to the water supply and/or atmosphere, sometimes through breather filters. Heat engines, heat pumps, and systems using volatile liquids or special gases are usually sealed behind relief valves.

text:
# Working fluid

For fluid power, a **working fluid** is a gas or liquid that primarily transfers force, motion, or mechanical energy. In hydraulics, water or hydraulic fluid transfers force between hydraulic components such as hydraulic pumps, hydraulic cylinders, and hydraulic motors that are assembled into hydraulic machinery, hydraulic drive systems, etc. In pneumatics, the working fluid is air or another gas which transfers force between pneumatic components such as compressors, vacuum pumps, pneumatic cylinders, and pneumatic motors. In pneumatic systems, the working gas also stores energy because it is compressible. (Gases also heat up as they are compressed and cool as they expand; this incidental heat pump is rarely exploited.) (Some gases also condense into liquids as they are compressed and boil as pressure is reduced.)

For passive heat transfer, a **working fluid** is a gas or liquid, usually called a coolant or heat transfer fluid, that primarily transfers heat into or out of a region of interest by conduction, convection, and/or forced convection (pumped liquid cooling, air cooling, etc.).

The **working fluid** of a heat engine or heat pump is a gas or liquid, usually called a refrigerant, coolant, or working gas, that primarily converts thermal energy (temperature change) into mechanical energy (or vice versa) by phase change and/or heat of compression and expansion. Examples using phase change include water↔steam in steam engines, and refrigerants in vapor-compression refrigeration and air conditioning systems. Examples without phase change include air or hydrogen in hot air engines such as the Stirling engine, air or gases in gas-cycle heat pumps, etc. (Some heat pumps and heat engines use "working solids", such as rubber bands, for elastocaloric refrigeration or thermoelastic cooling and nickel titanium in a prototype heat engine.)

Working fluids other than air or water are necessarily recirculated in a loop. Some hydraulic and passive heat-transfer systems are open to the water supply and/or atmosphere, sometimes through breather filters. Heat engines, heat pumps, and systems using volatile liquids or special gases are usually sealed behind relief valves.

## Properties and states

The working fluid's properties are essential for the full description of thermodynamic systems. Although working fluids have many physical properties which can be defined, the thermodynamic properties which are often required in engineering design and analysis are few. Pressure, temperature, enthalpy, entropy, specific volume, and internal energy are the most common.

If at least two thermodynamic properties are known, the state of the working fluid can be defined. This is usually done on a property diagram which is simply a plot of one property versus another.

When the working fluid passes through engineering components such as turbines and compressors, the point on a property diagram moves due to the possible changes of certain properties. In theory therefore it is possible to draw a line/curve which fully describes the thermodynamic properties of the fluid. In reality however this can only be done if the process is reversible. If not, the changes in property are represented as a dotted line on a property diagram. This issue does not really affect thermodynamic analysis since in most cases it is the end states of a process which are sought after.

## Work

The working fluid can be used to output useful work if used in a turbine. Also, in thermodynamic cycles energy may be input to the working fluid by means of a compressor. The mathematical formulation for this may be quite simple if we consider a cylinder in which a working fluid resides. A piston is used to input useful work to the fluid. From mechanics, the work done from state 1 to state 2 of the process is given by:

$$W=-\int \_{1}^{2}\mathbf {F} \cdot \mathrm {d} \mathbf {s} $$

where *ds* is the incremental distance from one state to the next and *F* is the force applied. The negative sign is introduced since in this case a decrease in volume is being considered. The situation is shown in the following figure:

The force is given by the product of the pressure in the cylinder and its cross sectional area such that

$$\begin{aligned}W&=-\int \_{1}^{2}PA\cdot \mathrm {d} \mathbf {s} \\\&=-\int \_{1}^{2}P\cdot \mathrm {d} V\end{aligned}$$

Where *Ads = dV* is the elemental change of cylinder volume. If from state 1 to 2 the volume increases then the working fluid actually does work on its surroundings and this is commonly denoted by a negative work. If the volume decreases the work is positive. By the definition given with the above integral the work done is represented by the area under a pressure–volume diagram. If we consider the case where we have a constant pressure process then the work is simply given by

$$\begin{aligned}W&=-P\int \_{1}^{2}\mathrm {d} V\\\&=-P\cdot \left(V\_{2}-V\_{1}\right)\end{aligned}$$

## Selection

Depending on the application, various types of working fluids are used. In a thermodynamic cycle it may be the case that the working fluid changes state from gas to liquid or vice versa. Certain gases such as helium can be treated as ideal gases. This is not generally the case for superheated steam and the ideal gas equation does not really hold. At much higher temperatures however it still yields relatively accurate results. The physical and chemical properties of the working fluid are extremely important when designing thermodynamic systems. For instance, in a refrigeration unit, the working fluid is called the refrigerant. Ammonia is a typical refrigerant and may be used as the primary working fluid. Compared with water (which can also be used as a refrigerant), ammonia makes use of relatively high pressures requiring more robust and expensive equipment.

In air standard cycles as in gas turbine cycles, the working fluid is air. In the open cycle gas turbine, air enters a compressor where its pressure is increased. The compressor therefore inputs work to the working fluid (positive work). The fluid is then transferred to a combustion chamber where this time heat energy is input by means of the burning of a fuel. The air then expands in a turbine thus doing work against the surroundings (negative work).

Different working fluids have different properties and in choosing one in particular the designer must identify the major requirements. In refrigeration units, high latent heats are required to provide large refrigeration capacities.

## Applications and examples

The following table gives typical applications of working fluids and examples for each:

| Application | Typical working fluid | Specific example |
| --- | --- | --- |
| Gas turbine cycles | Air |  |
| Rankine cycles | Watersteam, pentane, toluene |  |
| Vapor-compression refrigeration, heat pumps | Chlorofluorocarbons, hydrochlorofluorocarbons, fluorocarbons, propane, butane, isobutane, ammonia, sulfur dioxide | Commercial refrigerators, Air conditioners |
| Reusable launch vehicle extensible vertical-landing legs | Helium | SpaceX reusable launch system development program |

* Eastop & McConkey (1993). *Applied Thermodynamics for Engineering Technologists* (5th ed.). Singapore: Prentice Hall. pp. 9–12. ISBN 0-582-09193-4.


title: Working fluid selection

abstract: Heat engines, refrigeration cycles and heat pumps usually involve a fluid to and from which heat is transferred while undergoing a thermodynamic cycle. This fluid is called the working fluid. Refrigeration and heat pump technologies often refer to working fluids as refrigerants. Most thermodynamic cycles make use of the latent heat of the working fluid. In case of other cycles the working fluid remains in gaseous phase while undergoing all the processes of the cycle. When it comes to heat engines, working fluid generally undergoes a combustion process as well, for example in internal combustion engines or gas turbines. There are also technologies in heat pump and refrigeration, where working fluid does not change phase, such as reverse Brayton or Stirling cycle. This article summarises the main criteria of selecting working fluids for a thermodynamic cycle, such as heat engines including low grade heat recovery using Organic Rankine Cycle (ORC) for geothermal energy, waste heat, thermal solar energy or biomass and heat pumps and refrigeration cycles. The article addresses how working fluids affect technological applications, where the working fluid undergoes a phase transition and does not remain in its original phase during all the processes of the thermodynamic cycle. Finding the optimal working fluid for a given purpose – which is essential to achieve higher energy efficiency in the energy conversion systems – has great impact on the technology, namely it does not just influence operational variables of the cycle but also alters the layout and modifies the design of the equipment. Selection criteria of working fluids generally include thermodynamic and physical properties besides economical and environmental factors, but most often all of these criteria are used together.

text:
# Working fluid selection

Heat engines, refrigeration cycles and heat pumps usually involve a fluid to and from which heat is transferred while undergoing a thermodynamic cycle. This fluid is called the **working fluid**. Refrigeration and heat pump technologies often refer to working fluids as refrigerants. Most thermodynamic cycles make use of the latent heat (advantages of phase change) of the working fluid. In case of other cycles the working fluid remains in gaseous phase while undergoing all the processes of the cycle. When it comes to heat engines, working fluid generally undergoes a combustion process as well, for example in internal combustion engines or gas turbines. There are also technologies in heat pump and refrigeration, where working fluid does not change phase, such as reverse Brayton or Stirling cycle.

This article summarises the main criteria of selecting working fluids for a thermodynamic cycle, such as heat engines including low grade heat recovery using Organic Rankine Cycle (ORC) for geothermal energy, waste heat, thermal solar energy or biomass and heat pumps and refrigeration cycles. The article addresses how working fluids affect technological applications, where the working fluid undergoes a phase transition and does not remain in its original (mainly gaseous) phase during all the processes of the thermodynamic cycle.

Finding the optimal working fluid for a given purpose – which is essential to achieve higher energy efficiency in the energy conversion systems – has great impact on the technology, namely it does not just influence operational variables of the cycle but also alters the layout and modifies the design of the equipment. Selection criteria of working fluids generally include thermodynamic and physical properties besides economical and environmental factors, but most often all of these criteria are used together.

## Selection criteria of working fluids

The choice of working fluids is known to have a significant impact on the thermodynamic as well as economic performance of the cycle. A suitable fluid must exhibit favorable physical, chemical, environmental, safety and economic properties such as low specific volume (high density), viscosity, toxicity, flammability, ozone depletion potential (ODP), global warming potential (GWP) and cost, as well as favorable process characteristics such as high thermal and exergetic efficiency. These requirements apply both to pure (single-component) and mixed (multicomponent) working fluids. Existing research is largely focused on the selection of pure working fluids, with vast number of published reports currently available. An important restriction of pure working fluids is their constant temperature profile during phase change. Working fluid mixtures are more appealing than pure fluids because their evaporation temperature profile is variable, therefore follows the profile of the heat source better, as opposed to the flat (constant) evaporation profile of pure fluids. This enables an approximately stable temperature difference during evaporation in the heat exchanger, coined as temperature glide, which significantly reduces exergetic losses. Despite their usefulness, recent publications addressing the selection of mixed fluids are considerably fewer.
Many authors like for example O. Badr et al. have suggested the following thermodynamic and physical criteria which a working fluid should meet for heat engines like Rankine cycles. There are some differences in the criteria concerning the working fluids used in heat engines and refrigeration cycles or heat pumps, which are listed below accordingly:

### Common criteria for both heat engines and refrigeration cycles

1. The saturation pressure at the maximum temperature of the cycle should not be excessive. Very high pressures lead to mechanical stress problems, and therefore, unnecessarily expensive components may be required.
2. The saturation pressure at the minimum temperature of the cycle (i.e. the condensing pressure) should not be so low as to lead to problems of sealing against infiltration of the atmospheric air into the system.
3. The triple point should lie below the expected minimum ambient temperature. This ensures that the fluid does not solidify at any point during the cycle nor whilst being handled outside the system.
4. The working fluid should possess a low value of the liquid viscosity, a high latent heat of vaporisation, a high liquid thermal conductivity and a good wetting capability. These ensure that the working fluid pressure drops in passing through the heat exchangers and the auxiliary piping are low and that the heat transfer rates in the exchangers are high.
5. The working fluid should have low vapour and liquid specific volumes. These properties affect the rates of heat transfer in the heat exchangers. The vapour specific volume relates directly to the size and cost of the cycle components. Moreover, a high vapour specific volume leads to larger volumetric flows requiring a multiplicity of exhaust ends of the expander at heat engines or compressor in refrigeration cycles and resulting in significant pressure losses. The specific volume of the liquid at the condenser pressure should be as small as possible in order to minimise the required feedwater pump work.
6. Non-corrosivity and compatibility with common system materials are important selection criteria.
7. The fluid should be chemically stable over the whole temperature and pressure range employed. The thermal decomposition resistance of the working fluid in the presence of lubricants and container materials is a highly important criterion. In addition to making the replacement of the working fluid necessary, chemical decomposition of the fluid can produce non-condensable gases which lower the heat transfer rate in the heat exchangers, as well as compounds, which have corrosive effects on the materials of the system.
8. Non-toxicity, non-flammability, non-explosiveness, non-radioactiveness and current industrial acceptability are also desirable attributes.
9. The fluid should meet the criteria of environmental protection requirements such as a low grade ozone depletion potential (ODP) and global warming potential (GWP).
10. The fluid should possess good lubrication properties to reduce friction between surfaces in mutual contact, which reduces the heat generated when the surfaces move and ultimately increases cycle performance.
11. The substance should be of low cost and readily available in large quantities.
12. Long-term (operational) experience with the working fluid and possible fluid recycling is also beneficial.

### Special criteria for heat engines (like Rankine cycle)

1. The critical temperature of the fluid should be well above the highest temperature existing in the proposed cycle. Evaporation of the working fluid — and thus the significant addition of heat — can then ensue at the maximum temperature of the cycle. This results in a relatively high cycle efficiency.
2. The slope d*s*/d*T* of the saturated vapour line in *T**s* diagram (see Chapter Classification of pure (single-component) working fluids) should be nearly zero in the applied pressure ratio of the expander. This prevents significant moisture (liquid droplet) formation or excessive superheat occurring during the expansion. It also ensures that all the heat rejection in the condenser occurs at the minimum cycle temperature, which increases the thermal efficiency.
3. A low value for the specific heat of the liquid or, alternatively, a low ratio of number of atoms per molecule divided by the molecular weight and a high ratio of the latent heat of vaporisation to the liquid's specific heat should appertain. This reduces the amount of the heat required to raise the temperature of the subcooled liquid of the working fluid to the saturation temperature corresponding to the pressure in the Rankinecycle's evaporator. So most of the heat is added at the maximum cycle temperature, and the Rankine cycle can approach more closely the Carnot cycle.

### Special criteria for refrigeration cycles or heat pumps

1. The slope d*s*/d*T* of the saturated vapour line in *T**s* diagram (see Chapter Classification of pure (single-component) working fluids) should be nearly zero, but never positive in the applied pressure ratio of the compressor. This prevents significant moisture (liquid droplet) formation or excessive superheat occurring during the compression. Compressors are very sensitive to liquid droplets.
2. The saturation pressure at the temperature of evaporation should not be lower than atmospheric pressure. This mainly corresponds to open-type compressors.
3. The saturation pressure at the temperature of condensation should not be high.
4. The ratio of condensation and evaporation pressures should be low.

## Classification of pure (single-component) working fluids

### Traditional classification

Traditional and presently most widespread categorisation of pure working fluids was first used by H. Tabor et al. and O. Badr et al. dating back to the 60s. This three-class classification system sorts pure working fluids into three categories. The base of the classification is the *shape of the saturation vapour curve* of the fluid in temperature-entropy plane. If the slope of the saturation vapour curve in all states is negative (d*s*/d*T*\<0), which means that with decreasing saturation temperature the value of entropy increases, the fluid is called wet. If the slope of the saturation vapour curve of the fluid is mainly positive (regardless of a short negative slope somewhat below the critical point), which means that with decreasing saturation temperature the value of entropy also decreases (d*T*/d*s*\>0), the fluid is dry. The third category is called isentropic, which means constant entropy and refers to those fluids that have a vertical saturation vapour curve (regardless of a short negative slope somewhat below the critical point) in temperature-entropy diagram. According to mathematical approach, it means a (negative) infinite slope (d*s*/d*T*=0). The terms of wet, dry and isentropic refer to the quality of vapour after the working fluid undergoes an isentropic (reversible adiabatic) expansion process from saturated vapour state. During an isentropic expansion process the working fluid always ends in the two-phase (also called wet) zone, if it is a wet-type fluid. If the fluid is of dry-type, the isentropic expansion necessarily ends in the superheated (also called dry) steam zone. If the working fluid is of isentropic-type, after an isentropic expansion process the fluid stays in saturated vapour state. The quality of vapour is a key factor in choosing steam turbine or expander for heat engines. See figure for better understanding.

### Novel classification

Traditional classification shows several theoretical and practical deficiencies. One of the most important is the fact that no perfectly isentropic fluid exists. Isentropic fluids have two extrema (d*s*/d*T*=0) on the saturation vapour curve. Practically, there are some fluids which are very close to this behaviour or at least in a certain temperature range, for example trichlorofluoromethane (CCl3F). Another problem is the extent of how dry or isentropic the fluid behaves, which has significant practical importance when designing for example an Organic Rankine Cycle layout and choosing proper expander. A new kind of classification was proposed by G. Györke et al. to resolve the problems and deficiencies of the traditional three-class classification system. The new classification is also based on the shape of the saturation vapour curve of the fluid in temperature-entropy diagram similarly to the traditional one. The classification uses a *characteristic-point based method* to differentiate the fluids. The method defines three primary and two secondary characteristic points. The relative location of these points on the temperature-entropy saturation curve defines the categories. Every pure fluid has primary characteristic points A, C and Z:

* Primary point A and Z are the lowest temperature points on the saturation liquid and saturation vapour curve respectively. This temperature belongs to the melting point, which practically equals the triple point of the fluid. The choice of A and Z refers to the first and last point of the saturation curve visually.
* Primary point C refers to the critical point, which is an already well-defined thermodynamic property of the fluids.

The two secondary characteristic points, namely M and N are defined as local entropy extrema on the saturation vapour curve, more accurately, at those points, where with the decrease of the saturation temperature entropy stays constant: d*s*/d*T*=0. We can easily realise that considering traditional classification, wet-type fluids have only primary (A, C and Z), dry-type fluids have primary points and exactly one secondary point (M) and redefined isentropic-type fluids have both primary and secondary points (M and N) as well. See figure for better understanding.

The ascending order of entropy values of the characteristic points gives a useful tool to define categories. The mathematically possible number of orderings are 3! (if there are no secondary points), 4! (if only secondary point M exists) and 5! (if both secondary points exist), which makes it 150. There are some physical constraints including the existence of the secondary points decrease the number of possible categories to 8. The categories are to be named after the ascending order of the entropy of their characteristic points. Namely the possible 8 categories are ACZ, ACZM, AZCM, ANZCM, ANCZM, ANCMZ, ACNZM and ACNMZ. The categories (also called sequences) can be fitted into the traditional three-class classification, which makes the two classification system compatible. No working fluids have been found, which could be fitted into ACZM or ACNZM categories. Theoretical studies confirmed that these two categories may not even exist. Based on the database of NIST, the proved 6 sequences of the novel classification and their relation to the traditional one can be seen in the figure.

## Multicomponent working fluids

Although multicomponent working fluids have significant thermodynamic advantages over pure (single-component) ones, research and application keep focusing on pure working fluids. However, there are some typical examples for multicomponent based technologies such as Kalina cycle which uses water and ammonia mixture, or absorption refrigerators which also use water and ammonia mixture besides water, ammonia and hydrogen, lithium bromide or lithium chloride mixtures in a majority. Some scientific papers deal with the application of multicomponent working fluids in Organic Rankine cycles as well. These are mainly binary mixtures of hydrocarbons, fluorocarbons, hydrofluorocarbons, siloxanes and inorganic substances.