title: Mass media in Haiti

text:
# Mass media in Haiti

As in many developing countries, radio reaches the widest audience in Haiti. Estimates vary, but more than 300 radio stations are believed to broadcast throughout the country. Talk show programs serve as one of the few ways in which ordinary Haitians can speak out about politics and the government. A law passed in 1997 declares the airwaves to be the property of the government, but at least 133 unlicensed radio stations operate freely. In addition, there are 50 community-based stations throughout the country.

Television has experienced in the last 12 months, a dramatic expansion with, in the metropolitan area, no fewer than 25 stations broadcasting on the airwaves. Tele Haiti, the oldest TV station, offers on its cable network many foreign channels.

Haiti's three French-language newspapers have a total circulation of less than 20,000. Small, Creole-language newspapers are printed irregularly.

## History

The media sector in Haiti has a long history and its situation today might be understood in the light of its progress through the years.

* **1724:** Media existed for the first time in Haiti, with the newspaper of French journalist Joseph Payen who received an authorization from the King of France.
* **1764:** Antoine Marie, a printer from France, founded in Cap-Haïtien the weekly publication: "Gazette de Saint-Domingue". The publication was forced to change locations to Port-au-Prince. lt had 1500 subscribers in 1788.
* The French Revolution in **1789** brought some freedom for the press, and other papers went into print. In 1802, fifty newspapers have been listed in Saint-Domingue.
* **1804:** The « Gazette politique et commerciale d'Haïti», the first publication in the new independent country. This publication dropped out of circulation.
* **1806:** When the Emperor Jean-Jacques Dessalines died on October 17, 1806, «Sentinelle d'Haïti» replaced the Gazette. lts name will change several times but spreading the government ideology remained its main objective.
* **From 1804 to 1949.** Max Bissainthe has counted 885 newspapers, some of which exist until today, such as *Le Moniteur* (1845), *Le Nouvelliste* (1898) and *Le Matin* (1907). The period before the American occupation was characterized by the breach and violation of ethical and professional rules. Successive governments and their opponents seized the press sector to their profit.
* **Between 1914 and 1934**, during the American occupation, three laws were adopted to regulate the press sector. These laws restricted freedom of the press. The more outspoken journalists were put in jail, e.g. Georges J. Petit, who went to prison seventeen times between 1915 and 1960. He wrote an article in *Le Petit Impartial,* along with Jacques Roumain who was also critical of the occupation and advocated that the youth take a stand.
* **1930:** Emergence of the broadcasting media. Print media was almost completely abandoned. Broadcasting imposed itself as a real alternative in the country where nearly 85% people were illiterate. Several of today's well-known stations were created during this time period, such as Radio Haiti (1935) and Radio Caraïbes in Port-au-Prince (1949). The provinces, Radio Voix du Nord (1945), Radio Citadelle (1950) and Voix Évangélique in the North department and Radio Indépendance in Gonaïves/Artibonite (1953) emerged.
* **19571986.** The coming of TV established the domination of audiovisual media. Télé Haiti, in 1959, became the first TV station in the country as a callsign 4VMR-TV. During the twenty-nine year Duvalier dictatorship, there is systematic violation of basic freedoms of the press; harassment, torture of journalists, censorship. Many journalists went into exile.
* In **1979**, the government launched the Télévision Nationale d'Haïti (TNH) a TV "real" mass medium. Unfortunately, since its creation TNH has remained an instrument of propaganda for the government.
* Since **1986**, the press sector has experienced constant change. Indeed, several journalists have been imprisoned or killed for their ideology, their affinity for political groups or their objectivity.
* The hope for a free media vanished with the military coup against Jean-Bertrand Aristide.

When Aristide returned from exile in 1994, the press was expecting an improvement in freedom. The assassination of Jean-Léopold Dominique, owner and director of Radio Haiti-Inter in 2000, and Brignol Lindor, political columnist and editorial director in Radio Echo 2000 in 2001 showed that the hope for assuring press freedom was destined for disillusionment. v

## Governmental policy and Regulation

The decree of October 12, 1977, published during Jean Claude Duvalier's regime, the principal document governing the operation of the sector of telecommunications in Haiti gives the Haitian State the monopoly of services in telecommunications. The authority placed in control of this sector is the National Council of Telecommunications (CONATEL).

The press and media sector is running under a Decree issued on July 31, 1986 by the General' Henri Namphy's government. This publication makes provision for aIl press industries, which outline the privileges and duties that go with the media professions.

"Press" refers to the followings:

* Newspapers or all kind of periodical publications
* Broadcasting and television
* Printing house, bookshop, publishing house
* Press agencies

Journalists are the press enterprise's editors, radio broadcast announcers, TV presenters, cameramen, researchers, columnists, contributors to the editing, editors, translators, reporters, picture editors, and photojournalists.

The Ministry of Information and Coordination issue accreditation cards, renewable each year, to the press enterprises that have legal registration. The conditions for obtaining a professional card that attest the capacity of a journalist include a University degree or equivalent, and a credential card from a registered organ of the press.

Foreign journalists who want to practice their profession in Haiti have to request a professional card from the Ministry of Information and Coordination.

The creation of the press enterprise is subject to a prior declaration addressed to the Ministry of Information and Coordination, the National Archives and the National Library for a registration of copyright. The owner of an audiovisual media makes a declaration to the Ministry of Publics Works, Transport and Communication, and the Ministry of Justice.

## Media landscape

In Haiti, three news agencies, two daily and two weekly newspapers published in the capital, Port-au-Prince, form the core of the written press. Other periodicals (political journals and varieties magazines) exist, but appear to be very irregular.

Nearly **400 radio and TV stations** broadcast on Haitian territory. Only half work legally, with a license of Conatel, the agency that regulates communications.

Experts talk of a large territorial coverage by those 400 media, for a country of 10 million people and 27,750 sq km. However, the statistics for measuring the audience ratings and penetration are non-existent. In a country where the literacy rate is 53% and the standard of living low, we know that radio is the most popular medium.

The majority of 400 radios and TVs are small independent businesses, mainly concentrated in big cities. They broadcast on FM. AM transmitters are too costly to operate.

Public media, grouped in the consortium RTNH (Radio Télévision Nationale d’Haïti), despite the out datedness of their equipment, cover much of the territory.

Haiti has thirty community radio stations, which are located in rural areas. They are managed by farmers' organizations. They diffuse news, educational programs on health, agriculture and environment.

The religious stations are present in many localities. Excepted the stations of the Baptist network Radio Lumière, these Christian media are managed by local churches or dioceses.

Unlike other countries in the region, there are no big press groups, with large financial resources in Haiti. However, a movement of grouping of stations begins with the constitution of two groups of media, from the two dailies in the country: Le Nouvelliste group and Le Nouveau Matin SA group, which manage each a daily journal, a weekly magazine (respectively, Ticket Magazine and Spotlight Magazine), online newspapers including Balistrad and Ayibopost, one or two radio stations, and soon television channels.

Another group, Caraïbes FM, consists of seven radio stations and two TV channels network. There is a trend for most important radio stations to have their own TV channel.

Many stations of the capital work in network with radios of province, through the country. They broadcast especially news.

All major Haitian media have their own websites, which distributes audio or written contents. These texts or audio signals are widely relayed by other media in the Haitian Diaspora. Three television channels are broadcast by the site JumpTV.com. Four news agencies publish only on the Internet: Balistrad, Agence Haitienne de Presse, Haiti Press Network and MediAlternatif.

## Formats

### Newspapers

Newspapers in Haiti include the following:

### Radio

Radio stations in Haiti include the following:

Defunct stations include:

### Television

TV stations in Haiti include the following:

### Cinema

## Media’s development: challenges and advantages

### Challenges

The Haitian press faces many challenges with limited resources.

* First challenge: survive as a company - or nonprofit institution - in a country economically weak and politically fragile. The majority of the Haitian media are small businesses operating in a very risky and very competitive.

The media fail to operate properly and to meet their financial obligations, as renew their equipment and improve working conditions and salaries of technicians and journalists. In Haiti, due to major economic difficulties facing the country, the advertising market is low and is concentrated mainly in the capital, Port-au-Prince. Because of rationing electricity, the operating budget of the media is burdened by the cost of fuel and maintenance of generators. The media in the Diaspora, Canada and the United States, operating in a more structured, less confront these problems, due also to the greater access to funding sources, such as advertising and subsidies.

* The second challenge: to manage the precarious and the low skill level of its employees. Very few journalists are able to live decently on their wages. Very few are trained properly, even though the number of training schools tends to increase.
* Third challenge: to carry out its mission of information. Because of the deficiencies in the education system, it is incumbent upon the media, particularly radio, to inform and educate the Haitian people. This requires large financial resources and adequate human resources.

Illiteracy and low enrolment rates are obstacles that prevent the spread of the media, including the written press. The Haitian journalists often become mercenaries, against ethics and professional ethics. This is a serious credibility problem.

* Fourth challenge: working in security. Journalists can cope with various acts of violence: persecution, threats, intimidation, arrests, attacks on the facilities. These physical attacks can be fatal. Example murder of Jean Dominique, were never punished until today.
* Fifth challenge: master the new technologies. As elsewhere in the world, the Haitian Press faces the benefits but also the constraints created by the new information technologies and communication.

The development of the Internet and cellular phones over the past five years has allowed the media to benefit from a better flow of information. But it has also revealed other media competitors, such as webradios, webTV, sites for sharing videos, such YouTube, blogs, and so on.

Despite the cyclical and structural problems, the Haitian media manage to reflect a certain vitality of journalism in Haiti and to forge a sense that the media have a crucial role to play in the country's future.

## Advantages

The development of the Internet and cellular phones over the past five years has allowed the media to benefit from a better flow of information. But it also revealed other media competitors, including web radios, web TV, sharing sites like YouTube videos, blogs, and so on.

## Bibliography

in English in French


abstract:
Masters W45 javelin world record progression is the progression of world record improvements of the javelin throw W45 division of Masters athletics. Records must be set in properly conducted, official competitions under the standing IAAF rules unless modified by World Masters Athletics. The W45 division consists of female athletes who have reached the age of 45 but have not yet reached the age of 50, so exactly from their 45th birthday to the day before their 50th birthday. The W45 division throws exactly the same 600 g implement as the Open division. These competitors all threw their records in open competition.
  - Key
  -   Incomplete information
  Pending

text:
# Masters W45 javelin world record progression

**Masters W45 javelin world record progression** is the progression of world record improvements of the javelin throw W45 division of Masters athletics. Records must be set in properly conducted, official competitions under the standing IAAF rules unless modified by World Masters Athletics.  The W45 division consists of female athletes who have reached the age of 45 but have not yet reached the age of 50, so exactly from their 45th birthday to the day before their 50th birthday. The W45 division throws exactly the same 600 g implement as the Open division. These competitors all threw their records in open competition.

Key

*Incomplete information*   *Pending*

| Distance | Athlete | Nationality | Birthdate | Location | Date |
| --- | --- | --- | --- | --- | --- |
| 53.89 | Indrė Jakubaitytė | Lithuania | 24 January 1976 | Jelgava | 16 May 2021 |
| 53.88 | Lavern Eve | Bahamas | 16 June 1965 | Nassau | 26 June 2010 |
| 50.47 | Elisabeth Wahlander | Sweden | 14 March 1960 | Helsingborg | 21 August 2005 |
| 47.23 | Sofia Sakorafa | Greece | 29 April 1957 | Hania | 28 June 2004 |
| 43.10 | Isabelle Accambray | France | 9 July 1956 | Cannes | 15 May 2003 |
| 42.99 | Ibolya Torma Paech | Hungary | 22 September 1955 | Tata | 20 July 2002 |
| 40.83 | Elisabeth Dubowski Wormsen | Norway | 11 February 1955 | Notodden | 23 September 2000 |
| 37.79 | Jean Lintern | United Kingdom | 13 March 1951 | Gateshead | 29 July 1999 |

## Old javelin

| Distance | Athlete | Nationality | Birthdate | Location | Date |
| --- | --- | --- | --- | --- | --- |
| 47.74 | Anneliese Gerhards | Germany | 04.07.1935 | Düsseldorf | 30.05.1981 |

Masters Athletics Javelin list


title: Villar de Sapos

abstract: Villar de Sapos is a parish in Allande, a municipality within the province and autonomous community of Asturias, in northern Spain. It is situated 18 km (11 mi) from the capital, Pola de Allande The elevation is 560 m (1,840 ft) above sea level. It is 2.42 km⁲ (0.93 sq mi) in size. The population is 24. The postal code is 33890.

text:
# Villar de Sapos

**Villar de Sapos** (Asturian: *Viḷḷar de Sapos*) is a parish in Allande, a municipality within the province and autonomous community of Asturias, in northern Spain. It is situated 18 km (11 mi) from the capital, Pola de Allande

The elevation is 560 m (1,840 ft) above sea level. It is 2.42 km2 (0.93 sq mi) in size. The population is 24 (INE 2011). The postal code is 33890.

## Villages and hamlets

* Almoño
* Selce
* Villar de Sapos (Viḷḷar de Sapos)

## InfoBox

| Villar de Sapos | |
| --- | --- |
| Parish | |
| Villar de Sapos | |
| Coordinates: 43°12′17″N 6°35′36″W / 43.20461°N 6.5933°W / 43.20461; -6.5933 | |
| Country | Spain |
| Autonomous community | Asturias |
| Province | Asturias |
| Municipality | Allande |
| Population (2011) | |
| Total | 24 |


title: Maryn McKenna

abstract: Maryn McKenna is an American author and journalist. She has written for Nature, National Geographic, and Scientific American, and spoke on antibiotics at TED 2015.

text:
# Maryn McKenna

**Maryn McKenna** is an American author and journalist. She has written for *Nature*, *National Geographic*, and *Scientific American*, and spoke on antibiotics at TED 2015.

## Fellowships

In 2009, McKenna received a Dart Center Ochberg Fellowship from The Journalism School at Columbia University. In 2012, she was awarded an Ethics & Justice Investigative Journalism Fellowship at The Schuster Institute for Investigative Journalism at Brandeis University. In 2013, she joined the Knight Science Journalism program at the Massachusetts Institute of Technology to work on a Fellowship.

## Writing

McKenna has written for *Nature*, *Scientific American*, *Wired* and the *National Geographic*, and has been a staff reporter for *The Cincinnati Enquirer*, the *Boston Herald* and *The Atlanta Journal-Constitution*.

Her book *Beating Back the Devil: On the Front Lines with the Disease Detectives of the Epidemic Intelligence Service* is about the Epidemic Intelligence Service of the Centers for Disease Control and Prevention. Her book *Superbug: The Fatal Menace of MRSA* is about methicillin-resistant *Staphylococcus aureus*; a review on the CDC website called it "an extensively researched and detailed review".

Her article "Imagining the Post-Antibiotics Future" is included in *The Best American Science and Nature Writing 2014*.

## Bibliography

* *Beating Back the Devil: On the Front Lines with the Disease Detectives of the Epidemic Intelligence Service* (2004)
* *Superbug: The Fatal Menace of MRSA* (2010)
* *Big Chicken: The Incredible Story of How Antibotics Created Modern Agriculture and Changed the Way the World Eats* (2017)
* "Return of the germs". *Scientific American*. **323** (3): 48–54. September 2020.

## Recognition

McKenna received a Byron H. Waksman Award for Excellence in the Public Communication of Life Sciences in 2013, and a Leadership Award from the Alliance for the Prudent Use of Antibiotics in 2014.

## InfoBox

| Maryn McKenna | |
| --- | --- |
| Occupation(s) | author, journalist |
| Years active | since 1985 |
| Notable work | * *Superbug: The Fatal Menace of MRSA* * *Beating Back the Devil* |


title: Monoculture (computer science)

abstract: In computer science, a monoculture is a community of computers that all run identical software. All the computer systems in the community thus have the same vulnerabilities, and, like agricultural monocultures, are subject to catastrophic failure in the event of a successful attack.

text:
# Monoculture (computer science)

In computer science, a **monoculture** is a community of computers that all run identical software. All the computer systems in the community thus have the same vulnerabilities, and, like agricultural monocultures, are subject to catastrophic failure in the event of a successful attack.

## Overview

With the global trend of increased usage and reliance on computerized systems, some vendors supply solutions that are used throughout the industry (such as Microsoft Windows) - this forms algorithmic monocultures. Monocultures form naturally since they utilize economies of scale, it is cheaper to manufacture and distribute a single solution. Furthermore, by being used by a large community bugs are discovered relativity fast.

Like agricultural monocultures, algorithmic monocultures are not diverse, thus susceptible to correlated failures - a failure of many parts participating in the monoculture. In complete non-monocultures, where the outcome of all components are mutually independent thus un-correlated, the chance of catastrophic event (failure of all the parts in the monoculture) is the multiplication of each component failure probability (exponentially decreasing).

On the other end, perfect monocultures are completely correlated, thus have a single point of failure. This means that the chance of a catastrophic event is constant - the failure probably of the single component.

## Examples

Since operating systems are used in almost every workstation they form monocultures. For example Dan Geer has argued that Microsoft is a monoculture, since a majority of the overall number of workstations connected to the Internet are running versions of the Microsoft Windows operating system, many of which are vulnerable to the same attacks.

Large monocultures can also arise from software libraries, for example the Log4Shell exploit in the popular Log4j library estimated to affect hundreds of millions of devices.

## Individual level concerns

The concept is significant when discussing computer security and viruses, the main threat is exposure to security vulnerabilities. Since monocultures are not diverse, any vulnerability found exists in all the individual members of the monoculture increasing the risk of exploitation. An example to that is exploit Wednesday in which after Windows security patches are released there is an increase exploitation events on not updated machines.

Clifford Stoll wrote in 1989 after dealing with the Morris worm:

> A computer virus is specialized: a virus that works on an IBM PC cannot do anything to a Macintosh or a Unix computer. Similarly, the Arpanet virus could only strike at systems running Berkeley Unix. Computers running other operating systems—like AT&T Unix, VMS, or DOS—were totally immune.
>
> Diversity, then, works against viruses. If all the systems on the Arpanet ran Berkeley Unix, the virus would have disabled all fifty thousand of them. Instead, it infected only a couple thousand. Biological viruses are just as specialized: we can't catch the flu from dogs.
>
> Bureaucrats and managers will forever urge us to standardize on a single type of system: "Let's only use Sun workstations" or "Only buy IBM systems." Yet somehow our communities of computers are a diverse population—with Data General machines sitting next to Digital Vaxes; IBMs connected to Sonys. Like our neighborhoods, electronic communities thrive through diversity.

Another main concern is increased spread of algorithmic bias. In the light of increased usage of machine learning there is a growing awareness of the biases introduced by algorithms. The nature of monocultures exacerbate this problem since it makes the bias systemic and spreading unfair decisions.

## Social level concerns

Monocultures may lead to Braess's like paradoxes in which introducing a "better option" (such as a more accurate algorithm) leads to suboptimal monocultural convergence - a monoculture whose correlated nature results in degraded overall quality of the decisions. Since monocultures form in areas of high-stakes decisions such as credit scoring and automated hiring, it is important to achieve optimal decision making.

This scenario can be studied through the lens of mechanism design, in which agents are choosing between a set of algorithms, some of which return correlated outputs. The overall impact of the decision making is measured by social welfare.

### Suboptimal monocultures convergence in automated hiring

This section demonstrates the concern of suboptimal monoculture convergence using automated hiring as a case study. Hiring is the process of ranking a group of candidates and hiring the top-valued. In recent years automated hiring (automatically ranking candidates based on their interaction with an AI powered system) became popular.

As shown by Kleinberg, under some assumptions, suboptimal automated hiring monocultures naturally form, namely, choosing the correlated algorithm is a dominant strategy, thus converging to monoculture that leads suboptimal social welfare.

#### Framework

In this scenario we will consider two firms and a group $S$ of $n$ candidate with hidden utilities of $x\_{i}$. For hiring process - each firm will produce a noisy-ranking of the candidates, then each firm (in a random order) hires the first available candidate in their ranking. Each firm can choose to use either an independent human rankers or use a common algorithmic ranking.

The ranking algorithm $\mathcal {F}\_{\theta }$ is modeled as a noisy distribution above permutations of $S$ parametrized by an accuracy parameter $\theta \>0$.

In order for $\mathcal {F}\_{\theta }$ to make sense it should satisfy these conditions:

1. **Differentiability:** The probability of each permutation $\pi $ is continues and differentiable in $\theta $
2. **Asymptotic optimality:** For the true ranking $\pi ^{\*}$: $\lim \_{\theta \to \infty }Pr\[\pi ^{\*}\]=1$
3. **Monotonicity:** The expected utility of the top-ranked candidate gets better as $\theta $ increases, even if any subset of $S$ is removed.

These conditions state that a firm should always prefer higher values of $\theta $, even if it is not first in the selection order.

Both the algorithmic and human ranking methods are of the form of $\mathcal {F}\_{\theta }$ and differ by the accuracy parameters $\theta \_{A},\theta \_{H}$. The algorithmic ranking output is corotated - it always outputs the same permutation. In contrast, a human ranked premutation is drawn from $\mathcal {F}\_{H}$ independently for each of firms.

For $s\_{1},s\_{2}\in \\{A,H\\}$ strategies of the first and second firm, Social welfare $W\_{1},s\_{2}$ is defied as the sum of utilities of the hired candidates.

#### Conditions to suboptimal convergence

The Braess's like paradox in this framework is suboptimal monocultures converges. That is, using the algorithmic ranking is dominant strategy thus converging toward monoculture yet it yields suboptimal welfare $W\_{A,A}\<W\_{H,H}$ (welfare in a world without algorithmic ranking is higher).

The main theorem proved by Kleinberg of this model is that for any $\theta \_{H}$ and any noisy ranking family $\mathcal {F}\_{\theta }$ that satisfy these conditions:

1. **Preference for the first position:** For all $\theta \>0$ if $\pi ,\sigma \sim {\mathcal {F}\_{\theta }}$ then $\mathbb {E} \[\pi \_{1}-\pi \_{2}|\pi \_{1}\neq \sigma \_{1}\]\>0$.
2. **Preference for weaker competition:** For all $\theta \_{1}\>\theta \_{2},\sigma \sim {\mathcal {F}\_{1}and\ \pi ,\tau \sim {\mathcal {F}\_{2}:\mathbb {E} \[\pi \_{1}^{(-\sigma \_{1})}\]\<\mathbb {E} \[\pi \_{1}^{(-\tau \_{1})}\]}}$.

there exists a $\theta \_{A}\>\theta \_{H}$ such that both firms prefer using the sherd algorithmic ranking even though the social welfare is higher when both use the human evaluators. In other words - regardless of the accuracy of the human rankers there exists a more accurate algorithm whose introduction leads to suboptimal monoculture convergence.

The implications of this theorem is that under these conditions, firms will choose to use the algorithmic ranking even though that the correlated nature of algorithmic monocultures degrades total social welfare. Even though algorithmic rankings are more accurate.

The first condition on $\mathcal {F}\_{\theta }$ (Preference for the first position) is equivalent to a preference of firms to have independent ranking (in our setting - non algorithmic). This means that a firm should prefers independent ranking methods given all else is equal.

The intuition behind preference for weaker competition is that when a candidate is removed (hired by a different firm), the best remaining candidate is better in expectation when the removed candidate is chosen based on a less accurate ranking. Thus, a firm should always prefer that its competitors would be less accurate.

These conditions are met for $\mathcal {F}\_{\theta }$ that is the Mallows Model distributions and some types of random utility models (Gaussian or Laplacian noise).


title: Lunenburg English

abstract: Lunenburg English is a moribund, German-influenced dialect of English, spoken in the town of Lunenburg and Lunenburg County in the province of Nova Scotia. It is sometimes called "Lunenburg Dutch". The dialect shows unique features in pronunciation, e.g. unusual handling of rhotic consonants, in syntax and vocabulary, which portray the various sociohistorical influences.

text:
# Lunenburg English

**Lunenburg English** is a moribund, German-influenced dialect of English, spoken in the town of Lunenburg and Lunenburg County in the province of Nova Scotia. It is sometimes called "Lunenburg Dutch". The dialect shows unique features in pronunciation, e.g. unusual handling of rhotic consonants, in syntax and vocabulary, which portray the various sociohistorical influences.

## History

Lunenburg was founded in 1753. Troops from Braunschweig-Lüneburg settled in Nova Scotia as well as many Germans, some Swiss and French (from Montbéliard). In addition, around 8,000 New Englanders settled in Nova Scotia between 1759 and 1768; they also had a great influence upon the dialect in the county.

Although German emigrants at this time were mostly from the Electoral Palatinate and Württemberg, the town Lüneburg where the name originates from was in the Electorate of Brunswick-Lüneburg. That might be caused by some German veterans who had been in the King's service. During the early years of the settlement German, French, and English were all spoken privately and in church. However, French died out first, while German prevailed longer. The majority of the Lunenburg settlers belonged either to Lutheranism or Calvinism. Several Lutheran churches used German for sermons and received German-speaking clergy from Germany or Pennsylvania, United States, until the end of the 19th century. Thus, the Lutheran church helped to preserve the language in public use.

German was more commonly used in the countryside than in the town itself. Most families who used German in the town were engaged in farming or simple labour. It is no longer spoken in the town. The ninth census of Canada, in 1951, revealed that 15,531 out of 33,183 of the population in Lunenburg show a German ethnic background. However, only 78 residents, all of whom presumably came from the oldest generation, listed German as their mother tongue.

Pronunciation in Lunenburg county "is known to be the only mainland White Canadian community to be non-rhotic." That shibboleth, however, cannot be traced back to influence from German since in the 18th century, it was highly rhotic. However, New England speech is non-rhotic, and one suggestion is that the New Englanders who settled seven or eight years after the non-English-speaking Foreign Protestants taught them English and so they greatly influenced the dialect.

## Pronunciation

There are several unique characteristics regarding the pronunciation. The most distinctive is that it is nonrhotic and so vowel length is phonemic, like in Australian English. However, some homonyms and some smaller particularities are also limited to the region.

|  | Front | | Central | Back | |
| --- | --- | --- | --- | --- | --- |
| | short | long | short | short | long |
| Close |  |  |  |  |  |
| Near-close |  | ɪː |  |  | ʊː |
| Mid |  | ɛː |  |  | ɔː |
| Open |  |  |  |  | ɑː |
| Diphthongs | ɑɪ   ɔɪ   ɑʊ | | | | | |

The accent is nonrhotic and so in terms of lexical sets, LETTER is merged with COMMA, NORTH and FORCE are merged with THOUGHT /ɔː/ (making *or*, *oar*, and *awe* homophonous as /ɔː/), and START is merged with PALM /ɑː/. /ɪː/ and /ɛː/ are the NEAR and SQUARE vowels, which are the long versions of KIT and DRESS (and so *shared* is differentiated from *shed* only by vowel length: /ˈʃɛːd, ˈʃɛd/). Both CURE and NURSE are rendered /ʊː/, the long counterpart of /ʊ/ as in *foot* /ˈfʊt/: *sure* /ˈʃʊː/, *curb* /ˈkʊːb/. There is word-internal linking /r/, as in *story* /ˈstɔːriː/ (compare *store* /ˈstɔː/).

Not all people in Lunenburg still speak that way, especially since younger people tend to reintroduce the etymological /r/. That is caused by the influence of newcomers who come from other parts of the province or from Massachusetts.

The ending points of the diphthongs (as in *go* /ˈɡoʊ/) tend to be fully close (\[ˈɡou\]), more similar to syllable-initial \[j w\] (as in *yet* and *wet*) than to \[ɪ̯ ʊ̯\].

The accent features Canadian raising and so *flight* \[ˈflʌɪt\] has a different vowel from *fly* \[ˈflɑɪ\], and the noun *house* \[ˈhoʊs\] has a different vowel from the verb *house* \[ˈhɑʊz\]. The raising is phonemic in the latter case and so the stressed vowel in the former word belongs to the /oʊ/ phoneme (/ˈhoʊs/), and the corresponding verb has /ɑʊ/: /ˈhɑʊz/. In Lunenburg, the phrase *about a boat* contains two identical stressed and two identical unstressed vowels: /əˌboʊt ə ˈboʊt/, rather than the Standard Canadian English /əˌbaʊt ə ˈboʊt/, with distinct stressed vowels.

### German influence

The non-rhoticity derives from the New England settlers (also proved by the fact that NEAR and SQUARE are monophthongs \[ɪː ɛː\], rather that opening diphthongs of the \[iɐ̯ eɐ̯\] type found in German), there are also characteristics in the pronunciation that probably come from the German settlers.

One example is the tendency to pronounce /w/ in ***w**itch* (including the historical /hw/ in ***wh**ich*, which does not exist in Lunenburg) the same as /v/ as in ***v**an*, which is particular to the Lunenburg County and probably rooted in German, which has only /v/.

Another example is the lack of the dental fricatives /θ/ and /ð/, which are replaced by the alveolar stops /t/ and /d/ (rendering *thank* and *tank* homophonous as /ˈtæŋk/).

Sample of a conversation between two people: "De kids vere over der in da woods, gettin inda dis an dat." "Dey never did?" "Yeah, an now dey gone da get some of dem der apples you see." "You don't say?" "no foolin, dey over der now." "Dey brung some of dem apples over heera da day before." "Oh, dey vere some good eatin I bet." "Now look, you make no nevermind, dose vere da best apples I ever did have, dey vas some good." "Oh, here dey come now, dey bedda know da wash der feet off."

The "t" at the end of words is usually silent: "get" becomes "ge."

## Syntax

The few syntactical characteristics that are following are now very rare or have slowly stopped being used.

One example is separable verbs, which are very common in German and used in Lunenburg as well.

German: *mitgehen* ('to go with someone') **Examples**: Will you go with? I am going with. Come on with! German: *Abwaschen* ('to wash off') **Example**: Wash your face off!

Thus, *use*, *once*, and *with* can be found at the end of a sentence.

## Vocabulary

Much vocabulary is from German stock, but a few extraordinary New England features are also rare or not used in the rest of southwestern Nova Scotia.

* *get awake* instead of wake up
* *all* in the sense of all gone (as in German); for example: My money is all
* /ˈfrɛs/ from German *fressen* "to eat greedily"
* raised doughnuts have the name /ˈfɑːsnɑːk/ which comes from the German word *Fastnacht*
* /ˈæpəlsnɪts/: slices of dried apple, /ˈsnɪt/ (singular) derives from the German word *Schnitte*
* /ˈlɛpɪʃ/ means insipid and derives from the German *läppisch*

### Bibliography


title: Napoleon and Samantha

abstract: Napoleon and Samantha is a 1972 American adventure drama film directed by Bernard McEveety and written by Stewart Raffill. Filmed in and around John Day, Oregon, it stars Johnny Whitaker and Jodie Foster in the title roles.

text:
# Napoleon and Samantha

***Napoleon and Samantha*** is a 1972 American adventure drama film directed by Bernard McEveety and written by Stewart Raffill. Filmed in and around John Day, Oregon, it stars Johnny Whitaker and Jodie Foster (in her feature film debut) in the title roles.

## Plot

Eleven-year-old Napoleon lives with his grandfather. He and his grandfather adopt a lion named Major when by chance they meet an old clown who cannot take him back to Europe. The old lion has bad teeth and only drinks milk so they put Major in the chicken cage to look after him. When Napoleon's grandfather dies of old age, Napoleon asks a young grad student named Danny to help bury his grandfather. Uncertain about his future Napoleon runs off with the lion, a pet rooster, and his eight year old friend Samantha to try to find Danny, now a goat herder who lives in the mountains, and so Napoleon can avoid being sent to an orphanage.

Along their way, the two children encounter many dangers. Napoleon nearly falls off a cliff, but Major manages to pull him up with a rope. They have to cross a river which Major does not like, since most cats are afraid of water. A cougar attacks Napoleon's rooster, but Major easily defeats the much smaller cat and chases it up a tree. While Napoleon is out looking for wood he comes across an angry black bear that chases him back to where Samantha is resting with Major. At first, Major is too tired and wants to sleep while Samantha desperately tries to wake him. But as soon as the lion hears the roar of the bear, he stands up to challenge his opponent and protect the children. As the bear is much closer in size to Major than the cougar was, the two beasts fight hard but Major eventually gains the upper hand and the bear runs away.

Eventually the children find Danny's cabin and he takes them in with the hope of convincing Napoleon that orphanages really aren't that bad. Danny leaves the kids with a man named Mark Pierson and attempts to find Samantha's family to notify them, but he is arrested and accused of kidnapping the children. While at the police station, Danny notices a photo of Mark, who happens to be a dangerous psychopath and escapes to rescue them. He steals a motorcycle and the police chase him all the way back to his cabin where they find and arrest the wanted man.

When things are back to normal, Napoleon takes Major and tries to run away again to live with the Indians but Danny catches up. Danny explains that the Indians don't really live out in the wild anymore and that Napoleon should give foster care a try with a promise that Major could stay in the mountains and live with him. Napoleon agrees and they go back to Danny's cabin.

## Cast

## Production

It was the second film written by Stewart Raffill, who was an animal supervisor-turned-writer-and-director. He sold the script to Disney and worked on the film as an animal supervisor and producer.

The film was largely shot in John Day, Oregon. Foster was mauled by a substitute lion used on the film set and still has scars on her back and stomach (the same lion nearly mauled Bob Denver in the *Gilligan's Island* episode "Feed the Kitty", also as a stand-in for Zamba). "I was walking ahead of him. He was on an invisible leash, some piano wire. He got sick of me being slow, picked me up and held me sideways and shook me like a doll." "I was in shock and thought it was an earthquake. I turned around and saw the entire crew running off in the other direction. The trainer then said, 'Drop it' and he opened his mouth and dropped me." The incident left her with lifelong ailurophobia.

In response to claims that Zamba (the main lion in the movie) was involved in the mauling incident, Foster fiercely defended Zamba, insisting that the lion that attacked her was a substitute.

* Alaxander, Julia (2023-11-14). "Disney+ launch lineup: every movie and TV show available to stream in the US on day one". The Verge. Retrieved 13 February 2023.
* List of American films of 1972

## InfoBox

| Napoleon and Samantha | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Bernard McEveety |
| Written by | Stewart Raffill |
| Produced by | Winston Hibler |
| Starring | Johnny Whitaker
Jodie Foster
Michael Douglas |
| Cinematography | Monroe P. Askins |
| Edited by | Robert Stafford |
| Music by | Buddy Baker |
| Production
company | Walt Disney Productions |
| Distributed by | Buena Vista Distribution |
| Release date | * July 5, 1972 (1972-07-05) |
| Running time | 92 minutes |
| Country | United States |
| Language | English |


title: Nancy Crooker

abstract: Nancy U. Crooker is an American physicist and professor emerita of space physics at Boston University, Massachusetts. She has made major contributions to the understanding of geomagnetism in the Earth's magnetosphere and the heliosphere, particularly through the study of interplanetary electrons and magnetic reconnection.

text:
# Nancy Crooker

**Nancy U. Crooker** (born April 1, 1944) is an American physicist and professor emerita of space physics at Boston University, Massachusetts. She has made major contributions to the understanding of geomagnetism in the Earth's magnetosphere and the heliosphere, particularly through the study of interplanetary electrons and magnetic reconnection.

## Early life and education

Crooker was born in Chicago in 1944. Her father, Michael Uss, a Lithuanian who emigrated to America as a child, was a foreman at the freight yards of the Chicago & Northwestern Railroad, and her mother, Helen Narovec, was a housewife.

Crooker holds a BA in physics from Knox College, Illinois, and an MSc in Meteorology from the University of California, Los Angeles (UCLA). In 1972 Crooker was awarded her PhD in Atmospheric Sciences, also from UCLA, with her doctoral dissertation entitled, "*The Low-Latitude Asymmetric Disturbance in the Geomagnetic Field*".

## Research career

Crooker has published 207 peer-reviewed articles (as of 8 October 2019) across a range of topics within space physics. Her early career was as a postdoctoral researcher at Cornell University and then the Massachusetts Institute of Technology in the 1970s. There, together with Joan Feynman in their seminal Nature paper, she was one of the first physicists to use geomagnetic data as a way to reconstruct solar activity prior to the space age. Crooker then developed the concept of anti-parallel merging of magnetic field lines in Earth's magnetosphere published in *Journal of Geophysical Research* in 1979.

In 1990, she returned to UCLA as an adjunct professor before making her final move to Boston University as a research professor in 1994. Around this time, Crooker switched focus from the magnetosphere to the heliosphere, in particular the interplanetary manifestations of coronal mass ejections. In 1997, she co-edited a monograph on coronal mass ejections. In 2002, she coined the term "interchange reconnection" for describing the dynamic process by which heliospheric magnetic flux introduced by coronal mass ejections is subsequently removed, a term which has been comprehensively adopted in the field.

Crooker was president of the American Geophysical Union (AGU) Space Physics & Aeronomy Section from 2004 to 2006. She is a fellow of the American Geophysical Union, where the fellowship program recognizes AGU members who have made exceptional contributions to Earth and space science through a breakthrough, discovery, or innovation in their field. She also received the prestigious Eugene Parker Lecture award from the AGU in 2013, only the third woman to do so.

She has worked closely over decades with several other prominent space physicists, including John T. Gosling, Marcia Neugebauer, Mike Lockwood, Chris Russell and Thomas Zurbuchen.

## Scientific Citizenship

Crooker has served on numerous committees, panels and taskforces throughout her career, including:

## Awards and honors

* The Eugene Parker Lecture is presented two out of every three years to a space scientist who has made significant contributions to the fields of solar and heliospheric science by the American Geophysical Union. Crooker received this honor in 2013.
* President of the AGU Space Physics & Aeronomy Section (2004 to 2006)
* Member of the Solar Heliospheric and Interplanetary Environment (SHINE) Steering Committee (1995-2002)
* Solar Heliospheric Secretary for Space Physics & Aeronomy Section of AGU (2000-2002)
* Fellow of the American Geophysical Union (2000)
* Member of the NASA Magnetospheric Management Operations Working Group (1995-6)
* Editor's Citation for Excellence in Refereeing for the *Journal of Geophysical Research* (1993) and Geophysical Research Letters (1996)

## InfoBox

| Nancy Crooker | |
| --- | --- |
|  | |
| Born | (1944-04-01) April 1, 1944<br>Chicago, USA |
| Citizenship | United States |
| Alma mater | University of California, Los Angeles |
| Occupation | Researcher |
| Employer | Boston University |


title: Old Broadway Theatre

abstract: The Broadway Theatre, called the Old Broadway Theatre since its demise, was at 326–30 Broadway, between Pearl and Anthony Streets in Lower Manhattan, New York City. With over 4000 seats, it was the largest theater ever built in New York when it opened. During its brief existence, many prominent performers of the era appeared on its stage. It presented plays, opera, ballet, hippodrama, and circus performances in a space that was reconfigured several times. The operators always struggled to make money, however, and after twelve years the Broadway Theatre was replaced by a more profitable building, for the textile trade.

text:
# Old Broadway Theatre

40°42′57″N 74°00′16″W / 40.7158°N 74.0045°W / 40.7158; -74.0045

The **Broadway Theatre** (September 27, 1847 – April 2, 1859), called the **Old Broadway Theatre** since its demise, was at 326–30 Broadway, between Pearl and Anthony (now Worth) Streets in Lower Manhattan, New York City. With over 4000 seats, it was the largest theater ever built in New York when it opened. During its brief existence, many prominent performers of the era appeared on its stage. It presented plays, opera, ballet, hippodrama, and circus performances in a space that was reconfigured several times. The operators always struggled to make money, however, and after twelve years the Broadway Theatre was replaced by a more profitable building, for the textile trade.

## The founding

The original projector of the Old Broadway Theatre was Thomas S. Hamblin, in an agreement with James R. Whiting. But on April 25, 1845, just as Hamblin was about to begin construction, his Bowery Theatre burned to the ground, involving him in a loss of $100,000. At first he announced he was carrying on with his plan. Then he was publicly opposed by David Hale, editor of *The Journal of Commerce* and prominent member of the Broadway Tabernacle, across Anthony Street, which was used as a venue for concerts and other events. The *New York Herald* thought Hale objected to the prospect of competition so close by. Hamblin gave the project up.

Col. Alvah Mann, a well-known circus proprietor, then commenced the erection of it. After spending $14,000, he was obliged to call in the aid of James R. Raymond, a wealthy touring-menagerie owner, in order to complete the building. George Barrett was the initial acting and stage manager, and assembled the stock company of actors. On January 24, 1848, a few months after the theatre opened, Mann took a partner, E. A. Marshall, manager of the Walnut Street Theatre in Philadelphia, with "\[t\]he sole management of the Theatre, so far as its dramatic and theatrical arrangements are concerned, ... in the hands of Mr. Marshall. ... " Barrett left and was replaced by William Rufus Blake on February 21. The partnership was dissolved on October 25, 1848, Mann relinquished the building to Raymond, who held a mortgage on it, and Marshall became sole lessee and manager. He remained with the theater nearly ten more years.

## The building

One writer called the location "the very best spot in the city. It is accessible by all the omnibus lines, in the midst of the hotels, on high and wholesome ground." John M. Trimble was the theater's architect, and Addison Alger was the contracted mason and carpenter. The L-shaped lot had 75 feet on the south side of Anthony Street and the same on the east side of Broadway, the main entrance; it was 175 feet deep west to east. The façade on Broadway was three stories high and finished to look like stone. The upper stories each had six colored-glass windows. A balcony with thirteen large gas-lit globes overlooked the sidewalk from the second floor. (All the gas for the theater was manufactured in the rear basement from oil, to save money.) There was a square observatory on top. *The Evening Post* called the theater "a decided ornament to Broadway".

The effect on entering the house was called "brilliant in the extreme". It was lighted by thirteen chandeliers, each under a colorful grotesque figure of a Moor in the attitude of feeding it with oil. The stage curtain was of fringed crimson silk looped up by cords, and the drop depicted a Swiss landscape. The ornaments throughout the theater were gold on a white ground, and the fronts of the boxes represented a chase beginning on the lowest front, and continuing on the other two, turning alternately from right to left and from left to right. The top of the stage was adorned with portraits of Washington and Lafayette with the arms of New York State and the United States. The orchestra pit, surrounded by an open balustrade, was twelve feet by twenty-seven, with a double floor and a sounding chamber to increase the body of tone, especially of the cellos and basses. The stage was ninety-five feet wide by eighty-seven deep, and forty-seven feet across the proscenium.

The arrangement of seats was unusual for the period. The pit was transferred from the ground floor to the gallery (third tier), and in its place the inclined plane of the dress circle (first tier) was extended with the slope of an amphitheatre clear down to the stage. These seats were all entered from the dress circle, and cost the same price: one dollar. They were "well-stuffed sofas of luxurious width and inclination, leaving ample room between them for the 'largest liberty' of the feet." One writer contrasted the "personal comfort and luxury" with the Park Theatre's "system of torture applied to legs and arms" and "old fashioned filth, darkness and discomfort", adding, "all that is over".

The family circle (second tier) cost 50 cents and had 13 rows of benches. The third tier had "upper boxes", for which seats cost 50 cents, and the gallery, which cost 25 cents and had 20 rows of benches plus three additional rows, in the back, for African-American customers. The third tier included an unconnected female section with a separate entrance, on Anthony Street; the rest was for males. A newspaper editorial published October 2, 1847, addressed this arrangement in the context of sexual activity in theaters.

(On October 18, 1847, prices for the upper boxes and gallery were reduced by half. On January 10, 1848, prices for the rest of the house were reduced by half, as well.)

A large reservoir on the top of the building held a hundred tons of water, in case of fire.

## Performers and performances

As at other theaters, the resident stock company presented familiar plays in repertory, with guest stars – touring actors – playing the leading roles during engagements of one or more weeks. Sometimes a new play or special production had a run of consecutive performances. A bill opened with an overture by the house orchestra and comprised a full-length play plus a curtain-raiser or afterpiece, and perhaps another musical, dance, or specialty act, as well. Sometimes the main piece was an opera or ballet by a guest troupe. Summers the company was off, and the house was rented to touring acts. The performers who played the Broadway were the same as those who played the city's other theaters, such as the Park, the Bowery, Niblo's Garden, and the Academy of Music.

### 1847–50

The first season began September 27, 1847, with *The School for Scandal*. Lester Wallack made his American debut (using the name John Lester) in the afterpiece, *Used Up*. The company also presented *Love's Sacrifice*, *The Rivals*, *Temper* (a new comedy by Robert Bell), *Money*, Buckstone's *Flowers of the Forest*, *Ernestine*, *George Barnwell*, *She Would Be a Soldier*, *Robert Macaire*, *Old Heads and Young Hearts*, and *London Assurance*, the last two starring Blake. Thomas Talfourd's new play, *Glencoe*, and H. P. Grattan's new drama, *Advocate*, were also produced. Short pieces included *Ladies, Beware*; *The Jacobite*; Thomas Haynes Bayly's *Ladder of Love*; *Captain of the Watch*; *Box and Cox*; and a new farce, *Young America*.

Guest actors included James E. Murdoch in *Hamlet* and *The Lady of Lyons*, Samuel Lover in his own play, *Emigrant's Dream*, Mrs. George Percy Farren (née Mary Ann Russell) in *The Stranger*, *The Gamester*, and *The Ransom*, Mr. and Mrs. James W. Wallack Jr. in *Macbeth* with guest actor James Stark, W. B. Chapman, James Robertson Anderson in *Othello* and *Romeo and Juliet*. John Brougham's comedy, *Romance and Reality*, starring the author, was a big hit and ran two weeks, as did John Collins, the Irish singer and actor.

Professor Risley & Sons, a popular gymnastics act, was on the bill for two weeks in October. The popular Italian ballerina Giovanna Ciocca, with Gaetano Morra, played two weeks. The French Ballet Company directed by Victor Bartholomin and featuring Hippolyte Monplaisir and his wife Adèle Monplaisir was on the bill from October 21 to November 29. Another French ballet company played April 3 – 15, starring Mlle. Hermine Blangy, with Mons. Bouxary, in *L'Illusion d'un Peintre* and *Giselle*. Anna Bishop's Dramatic Company presented *Lucrezia Borgia* in Italian and *Linda of Chamouni* in English. The Monplaisirs returned on July 6 for four weeks (sans Bartholomin), presenting the ballets *L'Almee* and *Le Diable a Quatre*.

The stock company was not successful the first season; audiences were meager and the press critical.

Edwin Forrest opened the second season August 28, 1848, in *Othello*. He played a total of eight weeks over three engagements during the season, in the roles of Macbeth, Virginius, Richelieu, Damon in *Damon and Pythias*, and Spartacus in *The Gladiator*. Ann Childe Seguin and her husband Edward Seguin, singers of opera in English, performed October 11 – 24, and performed *The Enchantress* by Michael William Balfe for 20 nights beginning March 30. December 4 – 9 General Tom Thumb acted in *Hop o' My Thumb, or the Seven League Boots*, written especially for him. On Christmas night, Lester Wallack (John Lester) played the title part in the premiere of *The Count of Monte Cristo*, adapted by G. H. Andrews for this theatre, the first dramatization of the Alexandre Dumas novel to be performed in America. It ran 50 nights (dress circle and parquette raised to 75 cents), and was revived May 14–23, 1849. Henry Placide played March 5 – 24; with John Collins from March 12. April 18 – 21 James Henry Hackett played Falstaff in Henry IV. The Monplaisir Ballet Company ran May 28 – June 23, which ended the season. There followed a summer engagement of Italian opera, and ballet featuring Mlle. Blangy, August 13 – September 15.

The third season opened September 17, 1849, with Blake as acting and stage manager. James Hudson made his American debut, performing six weeks during the season. Charles Walter Couldock also made his American debut, appearing with Charlotte Cushman a total of six weeks. John Collins played five weeks. The Seguin troupe played two weeks. Mrs. George Barrett appeared 14 nights. Ellen and Kate Bateman, four and six years of age, respectively, made their first appearance in New York; they played a week, as did each of Murdoch, Hackett, and McKean Buchanan. *Extremes*, a new comedy, was played for a month beginning February 25. Barrett returned as manager on March 21, after a grand benefit March 20 for Blake, who left the company at the end of the week. May 1 – 11, Mrs. Farren appeared. May 13 Jean Margaret Davenport appeared as *Evadne*, sharing a bill with dancers Giovanna Ciocca and Gaetano Neri in a new ballet, *The Magic Flute*.Her engagement ended May 25. July 4–6, 1850, Madame Augusta's production of the ballet *Nathalie*, and Felix Carlo and family, pantomimists and gymnasts, formed a bill, closing the season.

### 1850–53

The fourth season opened August 19, 1850, with Barrett as stage manager, and the American debuts of William Davidge, Frederick B. Conway, and Henry Scharf, and Sarah Anderton. During the season, Conway played opposite Cushman in *The Stranger* and other plays, and also appeared in *The School for Scandal*, Morton's *All That Glitters is Not Gold*, Douglas Jerrold's comedy *Retired From Business*, a new drama called *Presented at Court*, James Planché's *A Day of Reckoning*, a French drama called *Belphœger*, a new spectacle from the French called *Azael, the Prodigal*, *The Husband of My Heart*, *The Idol of My Heart*, G. H. Boker's *The Betrothal*, and Sullivan's *Old Love and New*. Playing opposite Conway in the last four was Madame Ponisi (Mrs. Elizabeth Wallis), who made her New York debut November 11, as Lady Teazle in *The School for Scandal*, and was so successful that she was at once given "leading business". She held that position almost continuously until the house was closed. September 2 – 7 Anna Bishop presented *Judith*. Collins played three weeks in two engagements. Sir William Don's American debut was September 28; he played for two weeks. December 16 – 28 brought a ballet troupe, Celestine and Victorine Franck with Messrs. Espinosa and Gredelue. April 7, 1851, *Vision of the Sun* was revived; it starred Miss Anderton and ran five weeks. June 23 saw Cushman as Lady Macbeth. The season ended July 12.

Marshall's friends arranged a benefit for him at Castle Garden, August 12, 1851. It lasted from morning until late at night, and ticket-holders could leave and reenter at will. The next day, the report of this remarkable event took up two and one half columns in the *New York Herald*.

Its interior entirely remodeled and renovated—the parquet enlarged to more than double its original size, the lower tier of boxes rebuilt, new gas fixtures introduced throughout the building, and a new stage laid, among other alterations before and behind the curtain—the Broadway Theatre opened for its fifth season on August 27, 1851, with Thomas Barry, formerly of the Park Theatre, as stage manager. The company played a week and a half of mixed bills including ballet by the Rousset Family, who danced *Les Fees*, *Catarina*, and the first act of *Giselle*. Forrest appeared fifteen weeks over three engagements this season, performing King Lear, Jack Cade, and Metamora, in addition to his other roles. Madame Céleste played seven weeks in two engagements: in *St. Mary's Eve* and a new drama, *The Queen's Secret*; as Miami in *The Green Bushes*, Cynthia in *The Flowers of the Forest*, and Mazourka in *Taming a Tartar*; and as the French Spy, Naramattah, Marie Ducange, and the Cabin Boy. She also appeared opposite Conway in Boucicault's *The Willow Copse*. On June 7, Mr. and Mrs. Seguin and Mr. T. Bishop appeared with her in *La Bayadare*. Collins appeared five weeks over two engagements, in Edward Fitzball's version of *Paul Clifford*; in a new play by C. P. T. Ware, *The Irish Genius*; and as Sir Patrick O'Plenipo. Starting December 1 *Ingomar the Barbarian* was produced for one week, featuring Ponisi and Conway. Lola Montez, Countess of Landsfeld, opened December 29, 1851 for three weeks in the ballet *Betley, the Tyrolean*. On May 18 she returned for two weeks in *Lola Montes in Bavaria*, by C. P. T. Ware, in which she played herself. Mr. and Mrs. Barney Williams made their first appearance at this house June 21, 1852, running until July 7, 1852, on which date Forrest also appeared, in *Jack Cade*, and the season ended.

The sixth season opened August 30, 1852 with *The Hunchback* by James Sheridan Knowles, in which Julia Dean made her first appearance at this theater. Collins arrived for two weeks, one of them with the Bateman Children in *The Young Couple* and *The Spoiled Child*. Forrest began five weeks on September 20, followed by Mr. and Mrs. Barney Williams for one week. November 1, *Ingomar, the Barbarian* with Dean and Conway. November 8, *The Duke's Wager*, by Mrs. Kemble Butler, with Dean, Ponisi, and Conway. November 15, a new petite drama by the Brothers Mayhew, with the Bateman Children and their father. November 29, Mrs. Mowatt for two weeks, who played Parthenia in *Ingomar*, Blanche in her play *Armand*, Rosalind, Mrs. Haller, Ion, and Martha Gibbs, and the title character in *Anne Blake, the Poor Dependent*, by John Westland Marston. Nine weeks of opera began December 13, 1852, with the world premiere of the opera *The Peri* with words by S. J. Burr and music by James Gaspard Maeder (1809–1876), featuring Mr. Bishop, Caroline Richings, Ponisi, and Davidge. It was performed twelve times. December 27, *La Cenerentola* with Marietta Alboni performing for the first time in New York City, supported by Signors Sangiovanni, Rovere, and Barili. Alboni appeared as Norma, Amina, Rosina, and Marie in *Child of the Regiment*, through January 28, 1853. February 14 for the first time in America, Jerrold's comedy *St. Cupid* was presented. February 24, Forrest acted Othello. His engagement was interrupted by illness, and on the 28th, *The White Slave of England* was produced, with Ponisi, Conway, Barry, and Mrs. Vernon. March 7, Forrest resumed, as Jack Cade. April 26, a new comedietta by Charles Mathews (the younger) called *Little Toddlekins* was given, with Davidge and Mrs. Vernon. On May 2 a new and lavish production of *Macbeth* opened, with Forrest, Conway, and Ponisi; it played 20 nights. The season closed July 18, 1853. The summer season by the Williamses (July 4 – August 6) was very successful.

### 1853–56

The seventh season opened August 15, 1853, with *Forest Rose*, by Samuel Woodworth. The Williamses played eight weeks over four engagements, with constantly increasing popularity; their repertory included *Shandy Maguire*. Julia Dean played six weeks over three engagements, including *Isabel* and Boker's drama *Leonora di Guzman*, both with Ponisi and Conway. Forrest played eight weeks in two engagements, performing in *Hamlet* and *The Merchant of Venice*, among other plays. J. R. Anderson played six weeks over two engagements, in *Hamlet*, *The Lady of Lyons*, *Ingomar*, *Othello*, *Richard III*, John H. Wilkins' *Civilization*, *King Lear*, Rev. James White's *The King of the Commons*, *Macbeth*, Gerald Griffin's *Gisippus*, and *The Robbers*. On November 1, he played Charles in *The Elder Brother* and Delaval in *Matrimony*, for the American debut of Fanny Morant. On November 28, Miss Davenport began a two-week engagement which included *Adrienne, the Actress*, *Camille*, and the Countess in *Love*. Collins played December 12, as Major Bagnal O'Daly and Paddy Murphy. On January 23, 1854, Sterling Coyne's comedy *The Hope of the Family* began, with *The Cataract of the Ganges*, playing a six-week run. On February 6 a lavish new production of *A Midsummer Night's Dream* began a run which ended March 11. (It competed with a production of the same play at Burton's Theatre, running at the same time.) May 29 began three weeks of *Faustus*, with Charles Pope and Ponisi and Conway. The season closed July 8, 1854. (*Putnam's Monthly* disdained the building, its management, and its audience in a February 1854 article.)

The eighth season opened August 21, 1854, with Barrett as stage manager, replacing Mr. Barry. Miss Davenport played two engagements totaling four weeks, in *Camille* and *Adrienne* and opposite Conway in both *Ingomar* and *Evadne*. E. L. Davenport played five weeks, two of them with his wife, Fanny Vining, who made her American debut (opposite her husband) March 2 in *Love's Sacrifice*. He performed as Richard III, Brutus, Rolla in *Pizarro*, Hercule in *Civilization*, St. Pierre in James Sheridan Knowles' *The Wife*, and William in *Black-Eyed Susan*, and in two plays by J. H. Wilkins, *The Egyptian*, and *St. Marc*, the latter with Ponisi and Conway. Vining played opposite her husband in *Hamlet*, *The Lady of Lyons*, *Othello*, *Much Ado About Nothing*, and W. Robson's *Love and Loyalty*. She also played a week without him, opposite Conway, in *Romeo and Juliet*, *The Love Chase*, and a new comedy called *Charity's Love*. A double bill of *A New Way to Pay Old Debts* (Davenport only), and *Charity's Love* (Vining and Conway) closed their engagement on May 26. Forrest appeared nine weeks in two engagements, performing in *Pizarro*, *Brutus*, *The Lady of Lyons*, and *Coriolanus*, among his other roles. William Harrison and Louisa Pyne performed twelve and a half weeks of opera, including *La sonnambula*, *The Bohemian Girl*, William Vincent Wallace's *Maritana*, *Fra Diavolo*, *The Crown Diamonds*, *The Beggars' Opera*, *Guy Mannering*, *The Enchantress*, and *Cinderella*. Agnes Robertson played three weeks, in *The Maid With the Milking Pail*, *The Young Actress*, and *Asmodeus*, as Carlo. She also appeared as Andy Blake, Don Leander, the Fairy Star, and Bob Nettles. Her husband, Dion Boucicault, appeared with her the last week. *A Midsummer Night's Dream* was revived for one week. Eloise Bridges began a two-week run March 12. The season ended on June 2, 1855. There followed summer seasons by Mr. and Mrs. Barney Williams (June 25 – July 31) and Gabriel Ravel et al. (August 6 – September 15).

The ninth season opened September 17, 1855, with Blake as stage director. Opening night featured E. L. Davenport in '*Richard III*, with Charles Fisher as Richmond. *King Charming* opened Christmas Eve, 1855, and *Sea of Ice* was added to the bill January 14. These extravaganzas closed January 26. J. W. Wallack Jr. played January 28 – February 6, including the New York premiere of *Leon, or The Iron Mask,* an historical play by William Bayle Bernard, with Ponisi and Fisher in the cast. Wallack also acted in *Romeo and Juliet*, *The Stranger*, *Love's Sacrifice*, and *The Lady of Lyons*, opposite Jane Coombs. *King Charming* played again February 7 – 15. On February 18, the equestrian dramatic spectacle *Herne, the Hunter*, adapted by Mr. N. B. Clarke from an historical romance by William Harrison Ainsworth, began a three-week run, with a stud of horses from Nixon & Myers. This was followed on March 10 by *The Cataract of the Ganges* for one week, and then *Timour the Tartar* was added to the bill (with *The Cataract of the Ganges*) for one week. Finally, a week of *Mazeppa* was given, ending the six-week equestrian run. The Keller Company, famous for their stage tableaux, appeared for two weeks beginning March 31. The Williamses played seven weeks, April 14 – May 31, followed by three weeks of the stock company, ending the season on June 21, 1856.

### 1856–59

By that time, the fashionable residential, hotel, and theater district was moving northward, to the area of Union Square. Simultaneously, the city's burgeoning wholesale dry goods trade was expanding northward along Broadway from downtown, transforming the neighborhood of the Broadway Theatre.

Owing to excavation for a new dry goods warehouse adjoining the Broadway Theatre on the south, its walls were dangerously undermined and new foundations were needed beneath them. The theater was therefore not ready to open for its tenth season (1856–57) until December 22, 1856.

The opening performance was *The Lady of Lyons* with Claude Melnotte played by Henry Loraine, an English provincial actor making his American debut, as a guest. He played leading parts in repertory eight nights. December 29 – January 22, a German opera troupe, starring soprano Bertha Johannsen and conducted by Carl Bergman, with Theodore Thomas as concertmaster, gave twelve performances, including *Fidelio*, *Der Freischütz*, *Martha*, *The Child of the Regiment*, *Czar and Carpenter*, and Daniel Auber's *The Mason and Locksmith*. Ticket prices were increased for the opera: one dollar for dress circle and a newly railed-off portion of the parquet. Forrest performed 23 nights, playing Sheridan Knowles' William Tell in addition to his other roles. The rest of his announced performances were canceled owing to his indisposition. January 26 – February 13, Gabriel and Francois Ravel, along with Mlle. Yrca Matthias, the Martinetti family, and a pantomime and ballet corps, performed eleven times. Ponisi played Romeo to Mrs. Lizzie Weston Davenport's Juliet. Monday, March 16, saw the premiere of the "grand dramatic Eastern spectacular drama" *The Usurper of Siam*, with Sands, Nathans & Co.'s trained elephants, Victoria and Albert. The week of Monday March 30 – April 4, the elephants appeared in a "Grand Divertisement" on a bill with a drama and a farce by the stock company. April 6 – 17, *The Last Days of Pompeii* was given, including the eruption of Mount Vesuvius. April 20, Mr. and Mrs. E. L. Davenport began an engagement with a new tragedy, *De Soto*, by the American playwright, George Henry Miles. The spectacle *The Son of the Night* played two weeks from May 4 through May 16, 1857. This was followed by a two-week revival (from November 1854) of the spectacle *Faustus*, which closed the (unprofitable) season on May 30, 1857. On June 3, a benefit was given to Marshall at the Academy of Music.

The eleventh season began September 14, 1857, when Mathews began a critically acclaimed run of six weeks in two engagements. The Ronzani Ballet Troupe performed October 6 – November 7. McKean Buchanan played one week. The theater was closed the week of December 7 to remodel its interior. When it reopened, on December 14, James M. Nixon was "equestrian director", R. White was "director of the arena", and Van Amburgh & Co. presented its "grand equestrian, zoological, and hippo-dramatic company". The Van Amburgh run closed March 31. On April 5, the house reverted to drama for a four-week engagement by Emma Waller and her husband, Daniel Waller. (The acting manager was N. L. Griffin and the stage manager F. C. Wemyss.) They closed May 1, 1858, and E. A. Marshall ended his association with the Broadway Theatre. It was then offered for nightly or weekly lease. A testimonial to Thomas D. Rice was held May 14, and a benefit for H. B. Phillips on May 22. Lola Montez lectured May 24 and continued for about two weeks, sometimes acting with A. W. Fenno.

The house was leased by Edward Eddy, a popular actor who had the previous season managed the Bowery Theatre, where he had acted since 1851. He made considerable alterations to the Broadway and reopened it for its twelfth season October 18, 1858. Fenno was stage manager. The prices were: dress circle, 50 cents; parquette and family circle, 25 cents; "a new and commodious amphitheatre, comprising the entire third and fourth tiers, capable of seating 2,000 persons, 12 cents". The opening play was *The Lady of Lyons* with Eddy opposite Julia Dean Hayne, who began an engagement of three weeks. Hackett played November 8 – 15, followed by Ponisi as Lady Macbeth, with Eddy as her husband. Barry Sullivan made his American debut November 22, playing various roles for one week. On November 29, Eddy presented the circus of Sands, Nathans & Co., which gave six weeks of ring performances, after which the company furnished the horses for a series of hippodramas: *Putnam, the Iron Son of '76*; *Rookwood*; *Mazeppa*; *The Cataract of the Ganges*; and *Ivanhoe*. Harry Pearson made his American debut on February 14, 1859, running one week, followed by Lucille and Helen Western, known as the Star Sisters, for two weeks.

## Closing and demolition

At some point Whiting had acquired ownership of the building. On February 28, a newspaper reported he had decided to replace the theatre with warehouses, beginning the work in April. A four-week run of Shakespeare's *Antony and Cleopatra* opened March 7, and the Broadway Theatre closed forever April 2, 1859.

Demolition began by April 11, 1859, and was accomplished by June 11. The new warehouses were completed by June 9, 1860.

In 1867 one writer summarized the theater's history this way:

> By many it was anticipated that it would take the place of the old Park Theatre in public esteem, and that within its walls, as in times gone by, the wealthy, the fashionable, the intellectual, and the refined would seek their amusement and relaxation from the cares and fatigues of the day. These anticipations were not realized. It was never patronized by the best society as a body, and a career of ten years served to dissipate all the popularity it acquired in its earlier stages, while a year or two longer found it razed to the ground ... .

**Notes**

**Sources**

* (ed.). "Olympians of the Sawdust Circle N". *Circus Historical Society*. Nathans, John Jay (1814-December 26, 1891); Nixon, James M. (1820-September 16, 1899). Archived from the original on April 3, 2016. Retrieved May 5, 2017.
* (ed.). "Olympians of the Sawdust Circle Ra–Ri". *Circus Historical Society*. Raymond, James R. (1795-1854). Archived from the original on April 3, 2016. Retrieved March 30, 2017. ... formed a menagerie in the 1820s and toured for some 30 years \[with various partners\]. ... Died ... leaving property valued at $1,500,000, which included the Broadway Theatre, NYC.

## InfoBox

| Old Broadway Theatre | |
| --- | --- |
|  | |
|  | |
| General information | |
| Location | Manhattan, New York City |
| Opened | 1847 |
| Demolished | 1859 |


title: Oskar Hackman

abstract: Walter Oskar Hackman was a Swedish-speaking Finnish folklorist.

text:
# Oskar Hackman

**Walter Oskar Hackman** (27 July 1868 in Vyborg – 2 August 1922 in Helsinki) was a Swedish-speaking Finnish folklorist.

## Life

Walter Oskar Hackman was born on 27 July 1868 in Vyborg, the third son of Woldemar Hackman (1831-1871) and Emilie Hackman (1841-1922), sister of Julius Krohn. Due to his German roots - the Hackman family came from Bremen, from where his great-grandfather Johan Friedrich Hackman the Elder (1755-1807) emigrated to Vyborg in 1777 – he received his schooling in Leipzig. In 1887 he matriculated at the University of Helsinki, studied there with Kaarle Krohn and received his doctorate in 1904 on The Polyphemus Legend in folk tradition.

Together with Kaarle Krohn, Hackman assisted Antti Aarne in compiling a type catalog of European fairy tales; so Hackman himself took over the numbers 1000 to 1199. His main interest, however, was the Finnish-Swedish fairy tales: in 1911 he published his catalog of fairy tales of the Finnish Swedes and in 1917 and 1920 a volume Finlands svenska folkdiktning, in which he gave an overview of the fairy tale variants recorded by the Finnish Swedes, which he divided into 404 narrative types , with some deviations from Aarne's system. A catalog of types of mythical sagas begun by Hackman remained unfinished.

Oskar Hackman worked for the Swedish Literary Society from 1909 until his death and, after Axel Olrik's death, from 1918 co-editor of the Folklore Fellows' Communications.

His two older brothers are archaeologist Alfred Leopold Frederik Hackman (1864–1942) and geologist Victor Axel Hackman (1866–1941)).

## Works

* *Die Polyphemsage in der Volksüberlieferung*, Helsinki 1904. (Die Polyphemsage in der Volksüberlieferung at the Internet Archive)
* *Katalog der Märchen der finnländischen Schweden mit Zugrundelegung von Aarnes Verzeichnis der Märchentypen*, FFC 6, Leipzig 1911
* *Finlands svenska folkdiktning*, 2 Bände, Helsinki 1917/20

## Citations

### Literature

* Gun Herranen (1990), "Hackman, Walter Oskar", *Enzyklopädie des Märchens* (in German), vol. 6, col.  350–351

### References

1. Kai Laitinen (1973), *Aino Kallas 1897–1921* (in German), Helsinki: Otava, p. 177, ISBN 951-100677-0
2. *Krohn-suvun haarat*
3. Antti Aarne (1910), *Verzeichnis der Märchentypen*, Suomalaisen Tiedeakatemian toimituksia. FF Communications 3 (in German) (1. ed.), Helsinki: Druckerei der Finnischen Litteraturgesellschaft, pp. X


title: 1967–68 Irish League

abstract: The 1967–68 Irish League was the 67th edition of the Irish League, the highest level of league competition in Northern Irish football. The league consisted of 12 teams, and Glentoran won the championship.

text:
# 1967–68 Irish League

**Belfast**ArdsBallymena UnitedBangorColeraineDerry CityGlenavonPortadown**Belfast teams** : Cliftonville
Crusaders
Distillery
Glentoran
Linfieldclass=notpageimage|Location of teams in the Irish League from **1949–1972** CliftonvilleCrusadersDistilleryGlentoranLinfieldclass=notpageimage|Location of Belfast-based teams in the Irish League from **1949–1971**

The **1967–68 Irish League** was the 67th edition of the Irish League, the highest level of league competition in Northern Irish football. The league consisted of 12 teams, and Glentoran won the championship.

## League standings

| Pos | Team | Pld | W | D | L | GF | GA | GR | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Glentoran (C) | 22 | 17 | 3 | 2 | 79 | 24 | 3.292 | 37 | Qualification for the European Cup first round |
| 2 | Linfield | 22 | 16 | 4 | 2 | 85 | 32 | 2.656 | 36 | Participated in the Inter-Cities Fairs Cup |
| 3 | Coleraine | 22 | 15 | 5 | 2 | 76 | 33 | 2.303 | 35 |  |
| 4 | Ards | 22 | 14 | 2 | 6 | 51 | 34 | 1.500 | | 30 |
| 5 | Derry City | 22 | 11 | 1 | 10 | 51 | 54 | 0.944 | | 23 |
| 6 | Glenavon | 22 | 9 | 4 | 9 | 51 | 45 | 1.133 | | 22 |
| 7 | Ballymena United | 22 | 8 | 3 | 11 | 55 | 63 | 0.873 | | 19 |
| 8 | Crusaders | 22 | 5 | 8 | 9 | 57 | 59 | 0.966 | 18 | Qualification for the European Cup Winners' Cup first round |
| 9 | Portadown | 22 | 8 | 1 | 13 | 34 | 57 | 0.596 | 17 |  |
| 10 | Distillery | 22 | 6 | 1 | 15 | 33 | 62 | 0.532 | | 13 |
| 11 | Bangor | 22 | 3 | 3 | 16 | 39 | 89 | 0.438 | | 9 |
| 12 | Cliftonville | 22 | 2 | 1 | 19 | 26 | 85 | 0.306 | | 5 |

Source: Irish League Archive
(C) Champions

## Results

| Home \ Away | ARD | BAN | BLM | CLI | COL | CRU | DIS | DER | GLV | GLT | LIN | POR |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Ards |  | 4–3 | 5–1 | 6–0 | 1–2 | 1–1 | 4–1 | 2–3 | 2–1 | 1–4 | 4–1 | 4–2 |
| Bangor | 2–4 |  | 4–4 | 3–2 | 0–5 | 4–4 | 0–1 | 1–5 | 2–3 | 0–5 | 0–4 | 3–2 |
| Ballymena United | 0–1 | 3–1 |  | 5–2 | 3–7 | 2–2 | 3–1 | 3–1 | 4–3 | 2–5 | 4–5 | 5–2 |
| Cliftonville | 4–2 | 6–4 | 1–5 |  | 0–4 | 1–3 | 0–3 | 0–1 | 2–8 | 0–5 | 1–4 | 2–2 |
| Coleraine | 1–2 | 2–3 | 7–2 | 5–1 |  | 2–2 | 3–1 | 3–1 | 4–1 | 1–0 | 5–5 | 7–1 |
| Crusaders | 3–1 | 5–5 | 3–1 | 6–2 | 1–5 |  | 3–3 | 3–5 | 2–2 | 0–2 | 1–3 | 10–3 |
| Distillery | 0–1 | 3–1 | 0–2 | 3–2 | 3–4 | 2–1 |  | 2–4 | 2–5 | 1–3 | 1–5 | 0–3 |
| Derry City | 6–1 | 2–0 | 3–1 | 5–0 | 1–1 | 2–1 | 5–1 |  | 2–1 | 1–6 | 0–2 | 1–2 |
| Glenavon | 5–1 | 3–1 | 3–1 | 3–1 | 0–0 | 4–4 | 0–1 | 0–1 |  | 0–2 | 1–6 | 2–1 |
| Glentoran | 4–2 | 10–1 | 2–2 | 5–0 | 2–2 | 2–1 | 4–1 | 3–0 | 4–2 |  | 2–2 | 4–1 |
| Linfield | 8–1 | 11–1 | 3–1 | 3–0 | 1–3 | 5–0 | 8–3 | 1–1 | 1–1 | 3–1 |  | 1–0 |
| Portadown | 2–1 | 1–0 | 2–1 | 1–0 | 2–3 | 2–1 | 2–1 | 0–1 | 1–3 | 1–4 | 1–3 |  |

Source: Irish League Archive
Legend: Blue = home team win; Yellow = draw; Red = away team win.

## InfoBox

Irish League
| Season | 1967–68 |
| --- | --- |
| Champions | Glentoran<br>13th Irish title |
| Matches played | 132 |
| Goals scored | 637 (4.83 per match) |
| Top goalscorer | Sammy Pavis (30) |
| 1966–67 1968–69 | |


title: 1959–60 Coppa Italia

abstract: The 1959–60 Coppa Italia was the 13th Coppa Italia, the major Italian domestic cup. The competition was won by Juventus.

text:
# 1959–60 Coppa Italia

The **1959–60 Coppa Italia** was the 13th Coppa Italia, the major Italian domestic cup. The competition was won by Juventus.

## First round

| Home team | Score | Away team |
| --- | --- | --- |
| Como | 2-1 (aet) | Lecco |
| Messina | 1-0 | Catanzaro |
| Udinese | 3-2 (aet) | Triestina |
| Brescia | 2-2 (p: 4–6) | Modena |
| Vicenza | 1-0 | Marzotto |
| Parma | 1-5 | SPAL |
| Bari | 3-1 | Taranto |
| Napoli | 4-0 | Sambenedettese |
| Roma | 4-0 | Cagliari |
| Padova | 3-2 (aet) | Hellas Verona |
| Sampdoria | 1-0 | Novara |
| Reggiana | 3-2 (aet) | Mantova |
| Monza | 0-1 | Alessandria |
| Palermo | 2-0 | Catania |

*p=after penalty shoot-out*

## Second round

Milan and Atalanta are added.

| Home team | Score | Away team |
| --- | --- | --- |
| Padova | 3-2 | Udinese |
| SPAL | 1-0 | Vicenza |
| Reggiana | 2-1 | Modena |
| Atalanta | 5-0 | Alessandria |
| Roma | 0-2 | Sampdoria |
| Napoli | 1-0 | Bari |
| Palermo | 1-0 | Messina |
| Milan | 0-1 (aet) | Como |

## Round of 16

Genoa, Torino, Venezia, Fiorentina, Juventus, Bologna, Lazio, Internazionale are added.

| Home team | Score | Away team |
| --- | --- | --- |
| Atalanta | 2-0 | Genoa |
| Padova | 0-2 | Torino |
| Venezia | 2-1 | SPAL |
| Fiorentina | 2-0 | Como |
| Juventus | 5-4 (aet) | Sampdoria |
| Bologna | 1-0 | Napoli |
| Lazio | 2-1 (aet) | Palermo |
| Internazionale | 5-2 | Reggiana |

## Quarter-finals

| Home team | Score | Away team |
| --- | --- | --- |
| Atalanta | 2-2 (p: 6-6) * | Juventus |
| Fiorentina | 2-1 | Internazionale |
| Torino | 1-0 | Venezia |
| Bologna | 2-3 (aet) | Lazio |

* Juventus qualify after drawing of lots.

## Semi-finals

| Home team | Score | Away team |
| --- | --- | --- |
| Juventus | 3-0 | Lazio |
| Fiorentina | 5-3 | Torino |

## Third place match

| Home team | Score | Away team |
| --- | --- | --- |
| Lazio | 2-1 | Torino |

## Final

| Juventus | 3–2 (a.e.t.) | Fiorentina |
| --- | --- | --- |
| Charles  10', 73'
Orzan  97' (o.g.) |  | Montuori  45'
Da Costa  60' |

San Siro, MilanAttendance: 70,000Referee: Raoul Righi

## Top goalscorers

| Rank | Player | Club | Goals |
| --- | --- | --- | --- |
| 1 | Mario Pistacchi | Reggiana | 5 |
| 2 | Gianfranco Petris | Fiorentina | 4 |
| 3 | Mario Corso | Internazionale | 3 |
| | Alessandro Vitali | Napoli | |
| | Lennart Skoglund | Sampdoria | |
| | Orlando Rozzoni | Lazio | |
| | John Charles | Juventus | |
| | Angelo Ogliari | Reggiana | |

## InfoBox

1959–60 Coppa Italia
| Juventus captain Giampiero Boniperti (right) receives and raises the trophy of the 1959-60 Italian Cup. | |
| --- | --- |
| Tournament details | |
| Country | Italy |
| Dates | 6 Sept 1959 –
18 Sept 1960 |
| Teams | 38 |
| Final positions | |
| Champions | Juventus (4th title) |
| Runner-up | Fiorentina |
| Tournament statistics | |
| Matches played | 38 |
| Goals scored | 126 (3.32 per match) |
| Top goal scorer(s) | Mario Pistacchi
(5 goals) |
|  | |


abstract: The 1968 United States Senate election in Oklahoma was held November 3, 1968. Incumbent Democratic U.S. Senator Mike Monroney was running for re-election to a fourth term, but was defeated by Republican Henry Bellmon. This is the last time that a Senator from Oklahoma lost re-election. This election was the first time since 1942 that a Republican won a United States Senate election in Oklahoma and the first time since 1920 that a Republican won a United States Senate election in Oklahoma for this seat.

text:
# 1968 United States Senate election in Oklahoma

The **1968 United States Senate election in Oklahoma** was held November 3, 1968. Incumbent Democratic U.S. Senator Mike Monroney was running for re-election to a fourth term, but was defeated by Republican Henry Bellmon. This is the last time that a Senator from Oklahoma lost re-election.

This election was the first time since 1942 that a Republican won a United States Senate election in Oklahoma and the first time since 1920 that a Republican won a United States Senate election in Oklahoma for this seat.

## Major candidates

### Democratic

### Republican

## Results

General election
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Republican** | **Henry Bellmon** | **470,120** | **51.71%** |
|  | Democratic | Mike Monroney (incumbent) | 419,658 | 46.16% |
|  | American Independent | George Washington | 19,341 | 2.13% |

## InfoBox

1968 United States Senate election in Oklahoma
| --- | |
| --- | --- |
|  | |
| Nominee **Henry Bellmon** Mike Monroney   Party Republican Democratic  Popular vote **470,120** 419,658  Percentage **51.71%** 46.16% | |
| ---  County results
**Bellmon:**      40-50%      50-60%      60-70%      70-80%
**Monroney:**      40–50%      50–60%      60–70% | |
| ---  **U.S. senator before election**
Mike Monroney
Democratic **Elected U.S. Senator**
Henry Bellmon
Republican | |


title: William H. Clagett

abstract: William Horace Clagett was a nineteenth-century politician and lawyer from various places in the United States. He was the uncle of Samuel B. Pettengill. Born in Upper Marlboro, Maryland, Clagett moved to Keokuk, Iowa with his father in 1850 where he attended the public schools as a child. He studied law in Keokuk and at a law school in Albany, New York and was admitted to the bar in 1858, commencing practice in Keokuk. He married Mary E. Hart, a niece of Oliver P. Morton, in Iowa in 1861, and they would have nine children. He moved to Carson City, Nevada in 1861 and to Humboldt City, Nevada in 1862 where he commenced practicing law. Clagett was a member of the Nevada Territorial House of Representatives in 1862 and 1863, was a member of the Nevada Assembly in 1864 and 1865 and practiced law in Virginia City, Nevada, Helena, Montana and Deer Lodge, Montana. He was elected a Republican from the Montana Territory to the United States House of Representatives in 1870, serving from 1871 to 1873, being unsuccessful for reelection in 1872. On December 18, 1871, at the urging of Ferdinand Vandeveer Hayden and after learning of the findings of the Hayden Geological Survey of 1871, Clagett introduced the Act of Dedication bill into the House that ultimately led to the creation of Yellowstone National Park. Clagett Butte in Yellowstone is named for his honor. Afterwards leaving Congress, Clagett resumed practicing law in Deer Lodge, Montana, Denver, Colorado, Deadwood, Dakota, Portland, Oregon and Coeur d'Alene, Idaho. He was president of the Idaho Constitutional Convention in 1889 and was an unsuccessful candidate for the United States Senate from Idaho in 1891 and 1895. He moved to Spokane, Washington and resumed practicing law until his death there on August 3, 1901. Clagett was interred in Greenwood Cemetery in Spokane.

text:
# William H. Clagett

**William Horace Clagett** (September 21, 1838  August 3, 1901) was a nineteenth-century politician and lawyer from various places in the United States. He was the uncle of Samuel B. Pettengill.

Born in Upper Marlboro, Maryland, Clagett moved to Keokuk, Iowa with his father in 1850 where he attended the public schools as a child. He studied law in Keokuk and at a law school in Albany, New York and was admitted to the bar in 1858, commencing practice in Keokuk. He married Mary E. Hart, a niece of Oliver P. Morton, in Iowa in 1861, and they would have nine children. He moved to Carson City, Nevada in 1861 and to Humboldt City, Nevada in 1862 where he commenced practicing law. Clagett was a member of the Nevada Territorial House of Representatives in 1862 and 1863, was a member of the Nevada Assembly in 1864 and 1865 and practiced law in Virginia City, Nevada, Helena, Montana and Deer Lodge, Montana. He was elected a Republican from the Montana Territory to the United States House of Representatives in 1870, serving from 1871 to 1873, being unsuccessful for reelection in 1872.

On December 18, 1871, at the urging of Ferdinand Vandeveer Hayden and after learning of the findings of the Hayden Geological Survey of 1871, Clagett introduced the *Act of Dedication* bill into the House that ultimately led to the creation of Yellowstone National Park. Clagett Butte in Yellowstone is named for his honor.

Afterwards leaving Congress, Clagett resumed practicing law in Deer Lodge, Montana, Denver, Colorado, Deadwood, Dakota, Portland, Oregon and Coeur d'Alene, Idaho. He was president of the Idaho Constitutional Convention in 1889 and was an unsuccessful candidate for the United States Senate from Idaho in 1891 and 1895. He moved to Spokane, Washington and resumed practicing law until his death there on August 3, 1901. Clagett was interred in Greenwood Cemetery in Spokane.

## InfoBox

| William H. Clagett | |
| --- | --- |
|  | |
|  | |
| Delegate to and President of the Idaho Constitutional Convention | |
| **In office**
July 4, 1889  August 6, 1889 | |
| Constituency | Shoshone County |
| Delegate to the U.S. House of Representatives from Montana Territory | |
| **In office**
March 4, 1871  March 3, 1873 | |
| Preceded by | James M. Cavanaugh |
| Succeeded by | Martin Maginnis |
| Member of the Nevada Assembly | |
| **In office**
1874–1875 | |
| Member of the Nevada Territorial House of Representatives | |
| **In office**
1862–1863 | |
|  | |
| Personal details | |
| Born | (1838-09-21)September 21, 1838
Upper Marlboro, Maryland, U.S. |
| Died | August 3, 1901(1901-08-03) (aged 62)
Spokane, Washington, U.S. |
| Political party | Republican |
| Spouse | Mary E. Hart (m. 1861) |
| Children | 9 |
| Signature |  |
|  | |


title: Turbonilla decora

abstract: Turbonilla decora is a species of sea snail, a marine gastropod mollusk in the family Pyramidellidae, the pyrams and their allies.

text:
# Turbonilla decora

***Turbonilla decora*** is a species of sea snail, a marine gastropod mollusk in the family Pyramidellidae, the pyrams and their allies.

## Distribution

The type specimen of this marine species was found off Port Alfred, South Africa.

## InfoBox

| *Turbonilla decora* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Family: | Pyramidellidae |
| Genus: | *Turbonilla* |
| Species: | ***T. decora*** |
| Binomial name | |
| ***Turbonilla decora***<br>E. A. Smith, 1904 | |
|
| Synonyms | |
| *Turbonilla (Mormula) decora* Smith, 1904 | |


title: Rhinoglottophilia

abstract: In linguistics, rhinoglottophilia refers to the connection between laryngeal (glottal) and nasal articulations. The term was coined by James A. Matisoff in 1975. There is a connection between the acoustic production of laryngeals and nasals, as can be seen from the antiformants both can produce when viewed via a spectrogram. This is because both sounds in a sense have branched resonators: in the production of nasal sound, both the oral cavity and the nasal cavity act as resonators. For laryngeals, the space below the glottis acts as a second resonator, which in turn can produce slight antiformants. In Krim, a language without contrastive nasal vowels, vowels are nonetheless strongly nasalized after. A similar correspondence occurs after and in Pirahã. It is also attested in some varieties of American English, such as for Harvard by the Kennedys. Rhinoglottophilia may have occurred historically in the development of Inor, one of the Gurage languages. Inor has nasal vowels, unusual for a Gurage language, and in many cases these occur where the language etymologically had a pharyngeal or laryngeal consonant. Rhinoglottophilia has been documented elsewhere in Gurage, also. Similar processes have also been reported for Irish, Basque, North-Central Hlai and in Nyole, where Bantu *p appears as rather than as as in other Luhya dialects. Avestan also shows the effects of rhinoglottophilia: Proto-Indo-Iranian *s normally becomes h in Avestan, but becomes a velar nasal between a/ā and r, i̯, u̯, or a/ā. Examples include aŋra 'evil', aŋhat̰ 'he may be', and vaŋ́hō 'better'. Rhinoglottophilia may occur with any laryngeal sound, not just specifically glottal ones. For example, correspondences such as Khoekhoe xárà 'meerkat' and Khwe xánà 'banded mongoose' have been explained as pharyngealization of the vowel in proto-Khoe.

text:
# Rhinoglottophilia

In linguistics, **rhinoglottophilia** refers to the connection between laryngeal (glottal) and nasal articulations. The term was coined by James A. Matisoff in 1975.

There is a connection between the acoustic production of laryngeals and nasals, as can be seen from the antiformants both can produce when viewed via a spectrogram. This is because both sounds in a sense have branched resonators: in the production of nasal sound, both the oral cavity and the nasal cavity act as resonators. For laryngeals, the space below the glottis acts as a second resonator, which in turn can produce slight antiformants.

In Krim, a language without contrastive nasal vowels, vowels are nonetheless strongly nasalized after /h/. A similar correspondence occurs after /h/ and /ʔ/ in Pirahã. It is also attested in some varieties of American English, such as \[hɑ̃ːvəd\] for *Harvard* by the Kennedys.

Rhinoglottophilia may have occurred historically in the development of Inor, one of the Gurage languages. Inor has nasal vowels, unusual for a Gurage language, and in many cases these occur where the language etymologically had a pharyngeal or laryngeal consonant. Rhinoglottophilia has been documented elsewhere in Gurage, also. Similar processes have also been reported for Irish, Basque, North-Central Hlai and in Nyole, where Bantu \*p appears as /ŋ/ rather than as /h/ as in other Luhya dialects.

Avestan also shows the effects of rhinoglottophilia: Proto-Indo-Iranian **s* normally becomes *h* in Avestan, but becomes a velar nasal between *a/ā* and *r*, , , or *a/ā*. Examples include *aŋra* 'evil' (Sanskrit *asra*), *aŋhat̰* 'he may be' (Sanskrit *ásat*), and *vaŋ́hō* 'better' (Sanskrit *vasyas*).

Rhinoglottophilia may occur with any laryngeal sound, not just specifically glottal ones. For example, correspondences such as Khoekhoe *xárà* 'meerkat' and Khwe *xánà* 'banded mongoose' (and similar correspondences between nasalized and nonnasalized clicks) have been explained as pharyngealization of the vowel in proto-Khoe.

## InfoBox

| Nasalized and glottalized | |
| --- | --- |
| ◌̰̃ | |


title: Napoleon and Uncle Elby

abstract: Napoleon and Uncle Elby was a popular syndicated newspaper comic strip created by Clifford McBride, which launched on June 6, 1932. Over a span of 29 years it was distributed to both American and foreign newspapers. By the mid-1940s, the strip was carried by 80 newspapers.

text:
# Napoleon and Uncle Elby

***Napoleon and Uncle Elby*** was a popular syndicated newspaper comic strip created by Clifford McBride, which launched on June 6, 1932. Over a span of 29 years it was distributed to both American and foreign newspapers. By the mid-1940s, the strip was carried by 80 newspapers.

## Publication history

While drawing such features as *McBride's Cartoon* (1927) and *Clifford McBride's Pantomime Comic* (1932), McBride introduced Elby, a character based on his uncle, Wisconsin lumberman Henry Elba Eastman. He soon began to add situations involving Elby's dog, Napoleon.

For a minor syndicate, Lafave Newspaper Features, McBride began *Napoleon* as a daily strip on June 6, 1932. His Sunday strip was added on March 12, 1933, and the following year, the title was changed to *Napoleon and Uncle Elby*.

McBride's assistant on the strip was former Disney artist Roger Armstrong (1917–2007). After McBride's 1951 death in Altadena, California, his second wife, Margot Fischer McBride, wrote the strip, and she hired Armstrong as the illustrator. In 1952, the team switched to the Mirror Enterprises Syndicate in Los Angeles, keeping the strip going for the next eight years.

The strip was drawn by Joseph Messerli from 1953 to 1956, by Ed Nofziger from 1956 to 1958, and then Armstrong returned for the final two years. The Sunday page ended on November 27, 1955, and the daily strip ended in 1960.

## Characters and story

Elby was based on McBride's uncle, Henry Elba Eastman. McBride soon began to add situations involving Elby's dog, Napoleon.

Comics historian Don Markstein described the characters:

> **Napoleon** was a big, clumsy, ungainly dog, most likely an approximation of an Irish wolfhound. As dogs go, he had a remarkably broad facial range, able to convey surprise, dismay, haughty disdain, grudging satisfaction and much more, as recognizable to readers as the expressions of any human character, and yet completely dog-like in every panel. Napoleon's alleged "master", **Uncle Elby**, was no more able to impose his will on the dog than was Si Keeler on Maud the Mule. The difference was that Maud acted out of pure orneriness, whereas Napoleon was just playful, headstrong, and not overly concerned about any damage he might cause. Uncle Elby wasn't quite what you'd call elderly, but getting pretty close. He was overweight and kind of fussy, just the sort of guy who would be most disconcerted by the antics of a dog like Napoleon — whom he clearly loved, no matter how hard it was to deal with the beast, or how upset he became as a result of those antics. Other than Napoleon, Uncle Elby lived alone, but his young nephew, **Willie**, was also part of the cast.

## Licensing and merchandising

Napoleon became a spokesdog during the 1940s for Red Heart Dog Food. Merchandising included a stuffed toy of Napoleon. Although Napoleon was an Irish Wolfhound, McBride's own dog was Ace, a 190-pound St. Bernard, who sometimes was used for promotional purposes with McBride, including two short films, *Unusual Occupations* (1941) and *Artist's Antics* (1946).

## Bibliography

* *Clifford McBride's Immortal Napoleon and Uncle Elby*. 1932.
* *Napoleon and Uncle Elby* Clifford McBride. 1945.
* *Napoleon: A Complete Compilation, 1932-1933*. Clifford McBride. Introduction by Jack Herbert. Westport, Connecticut: Hyperion Press, 1977.

## InfoBox

| Napoleon and Uncle Elby | |
| --- | --- |
| Clifford McBride's *Napoleon* | |
| Author(s) | Clifford McBride (1932–1951)
Margot Fischer McBride (1951–1961) |
| Illustrator(s) | Roger Armstrong (1950–1953, 1958–1960), Joseph Messerli (1953-1956), Ed Nofziger (1956-1958) |
| Current status/schedule | Daily and Sunday; concluded |
| Launch date | June 6, 1932 |
| End date | 1960 |
| Alternate name(s) | *Napoleon* |
| Syndicate(s) | Lafave Newspaper Features (1932–1952)
Mirror Enterprises Syndicate (1952–1961) |
| Genre(s) | Humor |


title: Zana Krasniqi

abstract: Zana Krasniqi is a Kosovar fashion model and beauty pageant titleholder who won Miss Universe Kosovo 2008. She represented Kosovo for the first time in Miss Universe and placed in the Top 10 of the Miss Universe 2008.

text:
# Zana Krasniqi

**Zana Krasniqi** (born September 17, 1988 in Pristina) is a Kosovar fashion model and beauty pageant titleholder who won Miss Universe Kosovo 2008. She represented Kosovo for the first time in Miss Universe and placed in the Top 10 of the Miss Universe 2008.

## Personal life

Zana Krasniqi comes from a background of entertainers including her father Naim Krasniqi, a singer in Kosovo. On April 4, 2008, Fadil Berisha, the photographer of Miss Universe's official photos, hosted the inaugural "Miss Universe Kosova" pageant where Krasniqi was crowned and represented Kosovo in the Miss Universe pageant. Zana was trained by photographer Fadil Berisha. who worked with the Miss Universe organization, and is a fellow Kosovar Albanian. Her interests include singing, performing and modelling. Her career ambition is to be a fashion designer.

## InfoBox

| Zana Krasniqi | |
| --- | --- |
| Born | Zana Krasniqi
(1988-09-17) September 17, 1988
Pristina, Kosovo, Yugoslavia |
| Height | 1.71 m (5 ft 7 in) |
| **Beauty pageant titleholder** | |
| Hair color | Brown |
| Eye color | Green |
| Major
competition(s) | Miss Universe Kosovo 2008
(Winner)
Miss Universe 2008
(Top 10) |
|  | |