title: Perry M. Ratliff

abstract: Perry Michael Ratliff is an officer of the United States Navy and a former director of Naval Intelligence. Since retiring from active duty with the Navy, Mike Ratliff served as Executive Director of the American Civic Literacy Program, and, since 2004, first as Executive Director and then President of the Jack Miller Center, a non-profit educational foundation.

text:
# Perry M. Ratliff

**Perry Michael Ratliff** (born 1947) is an officer of the United States Navy and a former director of Naval Intelligence. Since retiring from active duty with the Navy, Mike Ratliff served as Executive Director of the American Civic Literacy Program, and, since 2004, first as Executive Director and then President of the Jack Miller Center, a non-profit educational foundation (see below).

## Education

Mike Ratliff graduated from Towson University in 1968. He was a Fulbright Scholar at the London School of Economics, as well as a Woodrow Wilson Fellow at the Johns Hopkins University. In 1997 he was a Capstone fellow at the National Defense University. Towson University has honored Rear Admiral Ratliff as both a distinguished graduate and with a Doctor of Letters degree.

## Initial training

Mike Ratliff enlisted in the Naval Reserve while a graduate student at Johns Hopkins University in July 1969. Upon completion of his study as a Woodrow Wilson Fellow he reported for active duty to Officer Candidate School in Newport, Rhode Island. He was commissioned an ensign and designated an intelligence officer in March 1971.

### Tours

His initial operational assignment was on board *William C. Lawe* (DD-763) in the Indian Ocean, South Atlantic, and Caribbean. He was subsequently assigned to the Fleet Intelligence Center, US Naval Forces Europe, and then reported to the Navy Field Operational Intelligence Office in Washington, D.C. In June 1977 he returned to sea with Commander, United States Sixth Fleet, on board *Albany* (CA-123). In 1979 he reported to the Commander-in-Chief Atlantic as a CINC briefer and team chief. He then was assigned to Monterey for nine months of Japanese language training en route to assignments in the Pacific. Initially he served with Commander United States Forces Japan, and then he was assigned as N2, United States Third Fleet on board *Coronado* (AGF-11).

Returning to the Atlantic, Commander Ratliff was assigned as Director of Current Intelligence for the United States Atlantic Command. Following a year in the Pentagon on the staff of the Chief of Naval Operations, he returned to the Atlantic Command as Special Assistant to the J2.

In August 1992, upon promotion to the rank of captain, he was assigned as Commanding Officer, Fleet Ocean Surveillance Information Facility, Rota, Spain. He subsequently returned to Washington D.C., where he was first Director of Intelligence within the Office of Naval Intelligence and then Executive Assistant to the Director of Naval Intelligence. Selected for Rear Admiral (lower half), he returned to the Asia-Pacific region as Director for Intelligence with the Commander-in-Chief, United States Pacific Command. In 1999 he returned to Washington, where he once again served on the Chief of Naval Operations (CNO) staff, this time as the 58th Director of Naval Intelligence.

### Present day

Ratliff is now President of the Jack Miller Center (JMC), located in Philadelphia, Pennsylvania, which provides support for university and college professors working to strengthen education in American history and institutions. The JMC provides support to a national community of more than 630 professors, who teach at more than 190 colleges and universities, as well as a network of over 50 institutionally recognized partner programs such as the *Yale Center for the Study of Representative Institutions* focused on increasing student access to quality courses in areas such as American history and political thought. In addition, the center conducts academic conferences that allow scholars to explore a range of subjects, such as how higher education might respond to the special needs of immigrants. In 2008 the JMC launched a $10 million *National Postdoctoral Fellowship* Initiative that by 2013 already had provided more than 100 fellowships to help young professors just starting.

To provide an outlet for the scholarship from this growing community of scholars, as well as others interested in advancing the understanding of the ideas that shape American institutions, the JMC partnered with the University of Chicago Press to establish *American Political Thought*, a peer reviewed journal edited by Michael Zuckert of the University of Notre Dame. In order to expand its support for this education, the JMC seeks to interest donors in supporting both its own programs as well as the partner centers on various campuses, and Mike Ratliff contributed an article to the 2011 volume, *Teaching America, The Case for Civic Education*, on "donor intent."

## Awards

Ratliff's awards include the Legion of Merit (2 awards), Defense Meritorious Service Medal, and the Meritorious Service Medal (2 awards).

This article contains information from the United States Federal Government as well as other public sources such as Yale University's Office of Public Affairs and Communications and is in the public domain.


title: Maulden Heath

abstract: Maulden Heath is a 7.6-hectare (19-acre) Site of Special Scientific Interest in Maulden in Bedfordshire. It was notified in 1986 under Section 28 of the Wildlife and Countryside Act 1981, and the local planning authority is Central Bedfordshire Council. The site is owned by the Forestry Commission and managed by The Greensand Trust. There are two separate meadows in the site. The eastern meadow has two ridges, which have short grass, a moss layer and many herbs. The western meadow is a steep-sided valley which has similar habitats. There is access by a footpath from the Deadman's Hill car park.

text:
# Maulden Heath

**Maulden Heath** is a 7.6-hectare (19-acre) Site of Special Scientific Interest in Maulden in Bedfordshire. It was notified in 1986 under Section 28 of the Wildlife and Countryside Act 1981, and the local planning authority is Central Bedfordshire Council. The site is owned by the Forestry Commission and managed by The Greensand Trust.

There are two separate meadows in the site. The eastern meadow has two ridges, which have short grass, a moss layer and many herbs. The western meadow is a steep-sided valley which has similar habitats. There is access by a footpath from the Deadman's Hill car park.

52°02′06″N 0°26′31″W / 52.035°N 0.442°W / 52.035; -0.442

## InfoBox

Maulden Heath
| Site of Special Scientific Interest | |
| --- | --- |
| The western meadow | |
| Location | Bedfordshire |
| Grid reference | TL070386<br>TL 068384 |
| Interest | Biological |
| Area | 7.6 hectares |
| Notification | 1986 |
| Location map | *Magic Map* |


title: Hylton Philipson

abstract: Hylton "Punch" Philipson was a cricketer who played first-class cricket for Oxford University between 1887 and 1889 and for Middlesex between 1895 and 1898. He played five Test matches for England between 1892 and 1895.

text:
# Hylton Philipson

**Hylton** "**Punch**" **Philipson** (8 June 1866 in Tynemouth, Northumberland, England – 4 December 1935(1935-12-04) (aged 69) at Hyde Park, London, England) was a cricketer who played first-class cricket for Oxford University between 1887 and 1889 and for Middlesex between 1895 and 1898. He played five Test matches for England between 1892 and 1895.

## Cricketing career

Throughout his career, Philipson was competing for the wicket-keeper's spot in the English Test side with Gregor MacGregor, which resulted in him playing in only five Test matches for England, which he did on the 1891/92 and 1894/95 tours of Australia. He also toured India with George Vernon in 1889/90, though this tour did not include any Tests.

Philipson went to Eton and had a good record as a schoolboy cricketer before going to Oxford, where he got his blue and where he became captain in 1889. He also represented Oxford at tennis, rackets and Association football. His highest first-class innings was his 150 for the University against Middlesex in 1887, which is when he was selected to play for the Gentlemen at both Lord's and The Oval.

## Family

At birth his name was registered as "Hilton Philipson". He was the uncle of multi-talented sportsman Maxwell Woosnam, an Olympic and Wimbledon champion at lawn tennis and one-time captain of the England national football team. Philipson has been described as "one of those late Victorian gentleman amateurs quite indecently blessed by fortune". He owed his own wealth to the Northumbrian coal mines.

Philipson married in 1896 the Honourable Nina Charlotte Murray (1875–1966), daughter of Montolieu Oliphant-Murray, 10th Lord Elibank (later created Viscount Elibank), by his wife Blanche Alice Scott. They had children:

* Nina Clare Philipson (b.1899)
* Hylton Ralph Philipson (b.1902)
* Oliphant James Philipson (b.1905)

He lived at Middleton Hall in Northumberland, but in 1905 bought the estate of Stobo Castle, near Peebles, in the Scottish Borders. Stobo had originally been in the family of Philipson's wife, until their exile following the Jacobite rising of 1745.

## Gardening

Philipson was a noted gardener. A visit to Japan on the way back from the Test series in Australia in 1895 inspired him to apply knowledge that he acquired there to the estate of Stobo Castle. The Japanese-style water garden that Philipson created at Stobo between 1909–13 has been maintained, despite a succession of owners after the estate was sold shortly after his death. The Stobo estate was acquired in 1971 by Leo Seymour, whose family still own it (but not the castle), and the Water Gardens are occasionally open to the public.

## InfoBox

Hylton Philipson
| Philipson as caricatured by Spy (Leslie Ward) in Vanity Fair, June 1889 | |
| --- | --- |
| Cricket information | |
| Batting | Right-handed |
| Role | Wicket-keeper |
| International information | |
| National side |  |
|  | |
| Career statistics | |
| Competition Tests First-class  Matches 5 85  Runs scored 63 1,951  Batting average 9.00 17.41  100s/50s 0/0 2/7  Top score 30 150  Balls bowled 0 0  Wickets 0 0  Bowling average n/a n/a  5 wickets in innings 0 0  10 wickets in match 0 0  Best bowling n/a n/a  Catches/stumpings 8/3 103/47 | |
|  | |
| Source: | |


title: Garluche

abstract: Garluche is a French liqueur and apéritif.

text:
# Garluche

**Garluche** is a French liqueur and apéritif.

## Etymology

Garluche is named after the similarly coloured French endemic variety of sandstone that has long served as a construction material. That name in turn derives from the Gascon *garluisha*, derived from pre-Latin root *kar / gar*. Its literal meaning is "the wrong stone."

## Alcohol

Garluche is made of white wine, rum and bitter orange peel. Sometimes the white wine can be replaced with champagne or cremant from Bordeaux.


title: Urbanowo, Greater Poland Voivodeship

abstract: Urbanowo is a village in the administrative district of Gmina Opalenica, within Nowy Tomyśl County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 5 kilometres (3 mi) south of Opalenica, 19 km (12 mi) east of Nowy Tomyśl, and 39 km (24 mi) south-west of the regional capital Poznań.

text:
# Urbanowo, Greater Poland Voivodeship

**Urbanowo** \[urbaˈnɔvɔ\] is a village in the administrative district of Gmina Opalenica, within Nowy Tomyśl County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 5 kilometres (3 mi) south of Opalenica, 19 km (12 mi) east of Nowy Tomyśl, and 39 km (24 mi) south-west of the regional capital Poznań.

## InfoBox

| Urbanowo | |
| --- | --- |
| Village | |
| Urbanowo | |
| Coordinates: 52°16′N 16°24′E / 52.267°N 16.400°E / 52.267; 16.400 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Nowy Tomyśl |
| Gmina | Opalenica |


title: Fundão, Espírito Santo

abstract: Fundão is a municipality in Espírito Santo, south eastern Brazil. Its population was 21,948 (2020) and its area is 280 km⁲.

text:
# Fundão, Espírito Santo

**Fundão** (Portuguese pronunciation: \[fũˈdɐ̃w\]) is a municipality in Espírito Santo, south eastern Brazil. Its population was 21,948 (2020) and its area is 280 km2.

## History

This municipality was created on the 5 July 1923. It was created from part of Nova Almeida municipality, which today is no longer a municipality but a town (*distrito* in Portuguese) of Serra municipality.

## Geography

Situated about 57 km from the state capital Vitória. Bordering municipalities include: Aracruz and Ibiraçu (N), Santa Teresa and Santa Leopoldina (W), Serra, Espírito Santo (S) and the Atlantic Ocean (E).

The coastline of the municipality is protected by the 112,545 hectares (278,100 acres) Costa das Algas Environmental Protection Area, created in 2010.

## InfoBox

| Fundão | |
| --- | --- |
| Municipality | |
| Municipality of Fundão | |
| View of Fundão from peak of Goiapaba-Açu | |
|  | |
| Location in the Espírito Santo | |
|  | |
| Coordinates: 19°55′58″S 40°24′25″W / 19.93278°S 40.40694°W / -19.93278; -40.40694 | |
| Country | Brazil |
| Region | Southeast |
| State | Espírito Santo |
| Founded | 5 July 1923 |
| Government | |
| Mayor | Pretinho Nunes (PDT) |
| Area | |
| Total | 279.648 km2 (107.973 sq mi) |
| Elevation | 41 m (135 ft) |
| Population (2020 ) | |
| Total | 21,948 |
| Density | 63.05/km2 (163.3/sq mi) |
| Time zone | UTC−3 (BRT) |
| Postal Code | 29185-000 |
| Area code | +55 27 |
| Website | Fundão, Espírito Santo |


title: Music of Costa Rica

abstract: The country of Costa Rica has many kinds of music. Though its music has achieved little international credit, Costa Rican popular music genres include an indigenous calypso scene, which is distinct from the more widely known Trinidadian calypso sound, as well as a thriving disco audience that supports nightclubs in cities such as San José. American and British rock and roll and pop are very popular and common among the youth, while dance-oriented genres including soca, salsa, merengue, cumbia and Tex-Mex have an appeal among a somewhat older audience. Mexican music is very popular among older people and some people in the countryside. During the middle years of the 20th century, Costa Rica was exposed to much Mexican cultural influence. Another new genre explored in Costa Rica is Celtic with the group Peregrino Gris.

text:
# Music of Costa Rica

The country of Costa Rica has many kinds of music.

| **Music of Costa Rica** Topics | |
| --- | --- |
| Calypso | Rock |
| Soca | Rumba |
| Reggaeton | Hip hop |  |
| Pop | Cumbia |
| Merengue | Salsa |
| Bachata | Classical music |
| Tex-Mex | Guanacaste |
| Marimba music | Folklorico |
| Afro-Caribbean music | Metal |  |
| Punk | Ska |
| Timeline and Samples | |
| Central American music | |
| Belize \- Costa Rica - El Salvador \- Guatemala \- Honduras \- Nicaragua \- Panama | |

Though its music has achieved little international credit, Costa Rican popular music genres include an indigenous calypso scene, which is distinct from the more widely known Trinidadian calypso sound, as well as a thriving disco audience that supports nightclubs in cities such as San José. American and British rock and roll and pop are very popular and common among the youth (especially urban youth), while dance-oriented genres including soca, salsa, merengue, cumbia and Tex-Mex have an appeal among a somewhat older audience.

Mexican music is very popular among older people and some people in the countryside. During the middle years of the 20th century, Costa Rica was exposed to much Mexican cultural influence.

Another new genre explored in Costa Rica is Celtic with the group Peregrino Gris.

## Folk Music

The Caribbean coast shows a strong African influence in the complex percussion rhythms such as sinkit. Like its northerly neighbors in Central America, the marimba is a very popular instrument, and Costa Rican marimba music is very popular. In modern times, groups such as Cantares have helped to popularize Costa Rican folk music, and were a leading part of the New Costa Rican Song movement .

Costa Rica's pre-Columbian population has contributed a large part of the country's folk heritage, include rare musical scales, certain ceremonial songs and ocarinas. The Guanacaste region, in the Nicoya Peninsula, is home to the best-known folk traditions. Along the Atlantic coast, the African musical heritage is more pronounced, and Afro-Caribbean music including rumba, calypso and reggae are popular.

In most of Costa Rica, ancient instruments such as ocarinas are being replaced by international instruments such as accordions and guitars. There are still folk styles, even outside of Guanacaste, such as the Talamanca (canton)'s Danza de los Huelos and the Boruca people's Danza de los Diablitos.

Guanacaste is the major center for Costa Rican folk music, especially pre-Columbian styles such as the Danza del Sol and Danza de la Luna of the Chorotega, who also popularized the ancient quijongo (a single-string bow and gourd resonator) and native oboe, the chirimia .

Costa Rica's population never developed a major rhythm or style that became a major part of popular music, but there have been exceptions, such as the Costa Rican landscape school of painting in the 1920s. The Andean peña tradition (an international gathering of like-minded persons) is strong in Costa Rica as well, introduced by immigrants from Chile and Argentina.

In the late 1980s some local artists and bands became famous for having their own style and original material, such as José Capmany, Distorsión, Café con Leche, Modelo Para Armar and Inconsciente Colectivo; some of them had fans from outside of Costa Rica, such as Editus, a Grammy winning contemporary jazz ensemble. At around that time a popular Latin genre developed, chiqui-chiqui (a mixture of merengue, cumbia and other Latin rhythms along with afro-pop influences) as it was known, led by bands such as Los Hicsos,Jaque Mate, La Pandylla, Manantial and La Banda with well-known classic hits such as La Avispa, El cangrejo, Julieta, El criticon, El hula hula etc.

After losing popularity around the 1990s, chiqui chiqui has resurfaced and established itself as one of the most popular and recognizable music among Costa Ricans, thanks in part to the release of CD re-editions of many classic hits. Some examples of Costa Rican hits with Chiqui chiqui are:

| Bands | Song | Year |
| --- | --- | --- |
| La Banda | Avispa (Suavecito) | 1978 |
| Los Abejorros | La Fiesta | 1982 |
| La Banda | Panamá Me Tombé | 1982 |
| La Pandylla | A Comer Mamey | 1985 |
| Marfil | Menealo | 1985 |
| Jaque Mate | El Pipiribao | 1985 |
| Blanco Y Negro | El Güiri Güiri | 1986 |
| Jaque Mate | El Cangrejo | 1986 |
| Manantial | Julieta | 1986 |
| Marfil | Represento | 1986 |
| La Banda | La Pastilla Del Amor | 1987 |
| La Maffia | Con Medio Peso | 1988 |
| Los Alegrísimos | El Delicuente | 1988 |
| La Empresa | Latino Soy | - |
| Los Hicsos | El Hula Hula | - |

From the late 1990s to the present time, there has emerged a newer local rock style led by bands such as Gandhi, Evolución, Tango India, Suite Doble, Alma Bohemia, and Kadeho, all of which have been accepted positively by Costa Rican youths. There are Metal bands, including Grecco, Advent of Bedlam, Corpse Garden, Catarsis Incarne, Heresy, to name but a few.

The rock bands begins a new standard to CR's music with bands such as Time's Forgotten, Pneuma and Sight of Emptiness making really high albums and concerts. The international community starts to take a look at Costa Rica where bands such as Time's Forgotten plays in BajaProg (Rock Festival) and have several reviews in the best progressive magazines, sites, and radios. For example, Dividing Line put the album "Dandelion" between the best 15 album in the 2009.

Costa Rica has become a centerfold for international Rock and Metal concerts. Bands such as: Deep Purple, Aerosmith, Anthrax, Red Hot Chili Peppers, Pearl Jam, Cannibal Corpse, Apocalyptica, Arch Enemy, Green Day, Helloween, Rhapsody Of Fire, Epica, Nightwish, had come to play in the country, as well as international singers and musicians like Paul McCartney and Carlos Santana.

It became better with the coming of Iron Maiden back in 2008 for the Somewhere Back in Time World Tour, according to sponsors and the Flight 666 documentary, the concert held in Costa Rica was the largest in Central America, with over 27,000 attendants. With that concert, Costa Rica is now becoming an important stop for Metal bands. Examples of this are Metallica, Megadeth, Slayer, Judas Priest, Black Sabbath and Opeth.

Also bands venturing into Reggae and Ska are popular, one example is Mekatelyu and Michael Livingston.

Malpaís, a band emerging from the Guanacaste-area, is one of the central bands of the Costa Rican rock and music scene of today, mixing traditional Costa Rican folk and Latin music with jazz and rock and has met great success in Costa Rica and surrounding countries. Cantoamerica is a band led by Manuel Monestel that for many years has developed research and promotion of the music of the Costa Rican Caribbean coast. Calypso music and other caribbean sounds are included in the band´s repertoire. Cantoamerica has traveled all over the world as ambassador of Afro Costa Rican music.

For all the fanfare of rock, electronic or world music, Latin music is somehow the most common music genre in some specific sectors, and visitors will find that most Costa Ricans of certain generations favor Latin music (Cuban, Mexican and Colombian).

Costa Rica's music also includes hip hop,Reggae and electronic. Such artist as Sirius the Dogg Starr, Tiko305, Crypy 626, Huba, Toledo, Gtermis (Ragga by Roots), Charli VL, AXB, Bega, Tapon, shel, gonin, banton y ghetto, kike, Tinez, Original Warrior Street Reggae Artist, Poeta, Mr Pray, Jahricio, Rude Boy, Talawa Reggae Army. Hip hop, Reggae, electronic producers such as DJ P, Zion, Killa, aRNine, Chino Artavia, Rooper Francheschi, Kastro, Del Bloke, DJ Arturo morales, DJ Cole, DJ accion, DJ juan, DJ gerarld, DJ action, Marfil (group), moonlight dub (group) have a huge Hip Hop, Reggae, electronic influence in their music. Many of these artists have recorded and produced for local artists and international artists. Starting in the Mids 90s Costa Rican Hip Hop and Reggae culture has grown. Artist Tapon and group Ragga by Roots were the most famous artists in the late 90s with Hits such as "Creada a mi manera" by Tapon and "Sentimientos" by Ragga by Roots. DJ P working mainly on his mixtape and Toledo's CDs. Tiko has released 2 successful mixtapes, Tiko's Blood Vol. 1 and Tiko's Blood vol. 2.

## Classical music

Costa Rica also has a youth symphony orchestra, founded by ex-President José Figueres Ferrer in the 1970. "Concertina Ana Gabriela Castro-Rosabal" was the first 4-year-old girl/ child/Costa Rican to direct the Youth Symphony Orchestra into tuning in its 1970 Debut, and first 4-year-old violin soloist to play Mozart under the direction of director Gerald Brown. Violinist Ana Gabriela Castro-Rosabal, master in violin performance was the key performer for the youth symphony orchestra Debut in 1970. "La niña violinista del Taburete" was how newspapers used to refer to 4-year-old violin "Concertina Ana Gabriela Castro-Rosabal". This affectionate title, was given due to the fact, that she was so small, that she used a wooden box, made by her father Enrique, to rest her feet. The wooden box, became the "symbol" of how young this talented girl was.

## Music institutions

Classical music performing organizations include the Costa Rican National Symphony Orchestra (formed in 1970), which has been conducted by Americans Gerald Brown and Irwin Hoffman, followed by the Japanese Chosei Komatsu. In 2014, Carl. St. Clair assumed the position as music director . The country is also home to an opera company, one of the first professional choirs in Central America, and a state-subsidized youth orchestra, which belongs to the National Symphony Orchestra. The Universidad de Costa Rica has a concert band and an orchestra, besides an early-music group and several chamber music groups.

The National University, Universidad Nacional, has a resident string quartet and a Symphony Orchestra, which had its very successful premiere at the National Theatre in San José on May 10, 2007, conducted by Dieter Lehnhoff. It has also a highly successful piano school led by the Russian virtuoso, Alexandr Sklioutovsky. Other well-known groups are the El Café Chorale and the Sura Chamber Choir and also the pianist Ismael Pacheco, who was the first Costa Rican pianist to have been performed at the prestigious Carnegie Hall in 2001 and also at the Musikverein in 2007 .

Both the Universidad de Costa Rica (UCR), in San José, and the Universidad Nacional (UNA), in Heredia, have well-structured programmes in Music, where students can pursue bachelor's degrees in instrumental and vocal performing, composition, and conducting. The latter also has a doctoral degree in Central American Arts and Letters, with an emphasis in Music.

Contemporary composers include Mario Alfagüell, Marvin Camacho, Alejandro Cardona, Bernal Flores, Benjamín Gutiérrez, Luis Diego Herra, and Eddie Mora, to name but a few.

Costa Rican folk institutions include the *Fantasía Folklorica*. Every August, Costa Rica is home to an International Festival of Music.

In recent years the government, led by the Ministerio de Cultura, has aimed to revitalize traditional Costa Rican music.

### Articles


title: Peng Jin-lung

abstract: Peng Jin-lung is a Taiwanese academic. In the 2000s, Peng was a professor and chair of the risk management and insurance department at Shih Chien University. By 2011, he had joined the faculty of National Chengchi University. He remained a professor through 2019, and became chair of the NCCU Department of Risk Management and Insurance by 2020. At the time of his appointment as chair of the Financial Supervisory Commission on 16 April 2024, Peng was associate dean of NCCU's College of Commerce.

text:
# Peng Jin-lung

**Peng Jin-lung** (Chinese: 彭金隆) is a Taiwanese academic.

In the 2000s, Peng was a professor and chair of the risk management and insurance department at Shih Chien University. By 2011, he had joined the faculty of National Chengchi University. He remained a professor through 2019, and became chair of the NCCU Department of Risk Management and Insurance by 2020.

At the time of his appointment as chair of the Financial Supervisory Commission on 16 April 2024, Peng was associate dean of NCCU's College of Commerce.


title: O'Shaughnessy

abstract: Ó Seachnasaigh, O'Shaughnessy, collectively Uí Sheachnasaigh, clan name Cinél nAedha na hEchtghe, is a family surname of Irish origin. The name is found primarily in County Galway and County Limerick. Their name derives from Seachnasach mac Donnchadh, a 10th-century member of the Uí Fiachrach Aidhne, which the Ó Seachnasaigh were the senior clan of. The town of Gort, Ireland, was the main residence of the family since at least the time of their ancestor, King Guaire Aidne mac Colmáin.

text:
# O'Shaughnessy

**Ó Seachnasaigh**, **O'Shaughnessy**, collectively **Uí Sheachnasaigh**, clan name **Cinél nAedha na hEchtghe**, is a family surname of Irish origin. The name is found primarily in County Galway and County Limerick. Their name derives from Seachnasach mac Donnchadh, a 10th-century member of the Uí Fiachrach Aidhne, which the Ó Seachnasaigh were the senior clan of. The town of Gort, Ireland, was the main residence of the family since at least the time of their ancestor, King Guaire Aidne mac Colmáin.

## Naming conventions

| Male | Daughter | Wife *(Long)* | Wife *(Short)* |
| --- | --- | --- | --- |
| Ó Seachnasaigh | Ní Sheachnasaigh | Bean Uí Sheachnasaigh | Uí Sheachnasaigh |
|

## History

Up until the late 17th century the Ó Seachnasaighs held the sub-district of Uí Fiachrach Aidhne known as Cenél Áeda na hEchtge (modern Irish, Cinéal nAedha na hEchtghe), meaning "kindred of Aedh of the Slieve Aughty", which was also their clan name. Cinéal nAedha na hEchtghe / Kinelea consisted roughly of the civil parishes of Beagh, Kilmacduagh and Kiltartan and also parts of the civil parishes of Kibeacanty and Kilthomas. Their closest related kinsmen were the Ó Cathail / O Cahill clan, originally chiefs of eastern Kinelea, and the other clans of Uí Fhiachrach Aidhne the most prominent of which were the Ó hEidhin / O Hynes, Ó Cléirigh / O Cleary and Mac Giolla Cheallaigh / Kilkelly septs. Up until the mid-17th century, the O'Hynes clan were still styled lords of Uí Fhiachrach Aidhne even though the Ó Seachnasaighs had become more powerful than their kinsmen during this century. In the 1690s, Captain Roger O'Shaughnessy had his lands confiscated for supporting the Jacobite cause against William of Orange, with the lands going to Sir Thomas Prendergast, 1st Baronet. A legal battle raged on into the first half of the 18th century between the Ó Seachnasaigh and the Prendergasts, the family who were granted the lands, with the Ó Seachnasaigh eventually losing the case. The senior line of the Ó Seachnasaighs may have died out in the 1900s.

O'Shaughnessy castles include Gort Castle, Fiddaun Castle, Ardamullivan Castle, Newtown Castle, Derryowen, which is just inside the County Clare border, Ballymulfaig, and a castle on one of the islands in Lough Cutra. According to a list naming the castles of County Galway and their owners, drawn up in 1574 by the English administration in Ireland, Islandmore Castle (now Thoor Ballylee) was listed as being owned by a John O'Shaughnessy.

The last *de facto* Ó Seachnasaigh lord of Kinelea died at Gort after returning home from the Battle of Aughrim on 12 July 1691. Thousands of bearers of the name still survive both in their homeland and further abroad.

## Notable O'Shaughnessys

Notable people with this surname include:

Thomas Michael O'Shaughnessy Jr. Born 1956

Some with relation to the O'Shaughnessy clan may spell it O'Shaughnessey or Shaughnessy.

## InfoBox

| O'Shaughnessy<br>**Ó Seachnasaigh** | |
| --- | --- |
|  | |
| Parent house | Connachta (Uí Fiachrach Aidhne) |
| Country | Kingdom of Connacht |
| Place of origin | Irish Gaels |
| Founder | Seachnasach mac Donnchadh |
| Final ruler | Diarmaid Ó Seachnasaigh |
| Titles |  |


title: Persuasive Percussion Volume 4

abstract: Persuasive Percussion Volume 4 is a studio album by Enoch Light and The Command All Stars. It was produced by Enoch Light and released in 1961 on Light's Command Records label. Persuasive Percussion Volume 4 debuted on the Billboard magazine pop album chart on March 3, 1962, peaked at the No. 34 spot, and remained on the chart for five weeks. AllMusic gave the album a rating of four-and-a-half stars.

text:
# Persuasive Percussion Volume 4

***Persuasive Percussion Volume 4*** is a studio album by Enoch Light and The Command All Stars. It was produced by Enoch Light and released in 1961 on Light's Command Records label (catalog no. RS 830-SD).

*Persuasive Percussion Volume 4* debuted on the *Billboard* magazine pop album chart on March 3, 1962, peaked at the No. 34 spot, and remained on the chart for five weeks.

AllMusic gave the album a rating of four-and-a-half stars.

## Track listing

**Side A**

1. "Oh Lady Be Good" \[3:03\]
2. "I May Be Wrong" \[2:27\]
3. "It's De Lovely" \[2:13\]
4. "Hello Young Lovers" \[4:13\]
5. "Am I Blue" \[2:56\]
6. "Besame Mucho" \[3:22\]

**Side B**

1. "Hold Me" \[2:02\]
2. "You Brought A New Kind Of Love To Me" \[3:35\]
3. "In The Mood" \[2:27\]
4. "Got A Date With An Angel" \[3:08\]
5. "Can't Get Enough For My Baby" \[2:40\]
6. "My Blue Heaven" \[2:50\]

## InfoBox

| Persuasive Percussion Volume 4 | |
| --- | --- |
|  | |
| Studio album by Enoch Light and The Command All Stars | |
| Released | 1961 |
| Label | Command |
| Producer | Enoch Light |
| Enoch Light and The Command All Stars chronology | |
| *Provocative Percussion Vol. III*
(1961) ***Persuasive Percussion Volume 4***
(1961) *Provocative Percussion Volume 4*
(1962) | |


title: Matt Perushek

abstract: Matthew Perushek is an American curler. He played second on Chris Plys' team that won the 2008 World Junior Curling Championship.

text:
# Matt Perushek

**Matthew Perushek** (born December 8, 1987) is an American curler. He played second on Chris Plys' team that won the 2008 World Junior Curling Championship.

## Curling career

Perushek started curling in 1995. With teammates Chris Plys and Aanders Brorson, he won the Minnesota Junior State Championship in 2007, 2008, and 2009. Each of those years his team continued on to win the United States Junior Championship. He won the "All-Star Second" award at the 2008 and 2009 U.S. Junior National Championships. Winning the United States Junior Championships earned Perushek the chance to compete in three World Junior Championships. In 2007, in Eveleth, Minnesota, his home town and home club, they finished in fifth place when they lost a tiebreaker to Denmark's Rasmus Stjerne. The following year, now with Matt Hamilton at lead, World's was in Östersund, Sweden and after finishing the round-robin with a 7–2 record they defeated the number one seed Canada in the semifinals and the number two seed Sweden, skipped by Oskar Eriksson, in the final to win the gold medal. The same team returned to the World Junior Championships one more time in 2009, in Vancouver, where they beat Sweden's Eriksson to win the bronze medal. They also played at the U.S. Olympic Trials in 2009, placing seventh.

1. "Junior Men's State Champions". *Minnesota Curling Association*. Retrieved 2020-02-16.
2. "Minnesota sweeps national curling titles". *Bemidji Pioneer*. 2007-02-11. Retrieved 2020-02-17.
3. "Matt Perushek". *USA Curling*. Archived from the original on January 1, 2016. Retrieved 2020-02-16.
4. "World Junior Curling Championships 2007". *World Curling Federation*. Retrieved August 26, 2020.
5. "World Junior Curling Championships 2008". *World Curling Federation*. Retrieved August 26, 2020.
6. "Curling: Duluth-based team wins world championship". *Duluth News Tribune*. 2008-03-10. Retrieved 2020-02-17.
7. "World Junior Curling Championships 2009". *World Curling Federation*. Retrieved August 26, 2020.
8. Hautamaki, Mike (March 15, 2009). "Plys rink wins bronze". *Mesabi Tribune*. Retrieved August 26, 2020.

## InfoBox

| Matthew Perushek | |
| --- | --- |
| Curler | |
| Born | December 8, 1987 (1987-12-08) (age 36)<br>Eveleth, Minnesota |
| Medal record      Curling  Representing  United States  World Junior Championships  2008 Östersund    2009 Vancouver | |


title: Urbano–Vulsteke Cycling Team

abstract: Urbano–Vulsteke Cycling Team is a Belgian road cycling team founded in 2005. The team held UCI Continental status from 2005 to 2009 under the sponsor Profel, before moving down to club status, which it has held since.

text:
# Urbano–Vulsteke Cycling Team

**Urbano–Vulsteke Cycling Team** is a Belgian road cycling team founded in 2005. The team held UCI Continental status from 2005 to 2009 under the sponsor Profel, before moving down to club status, which it has held since.

## Major wins

2005 Beverbeek Classic, Jarno Van Mingeroet 2006 Chrono Champenois, Matti Helminen 2009 Omloop Het Nieuwsblad U23, Laurens De Vreese

## InfoBox

Urbano–Vulsteke Cycling Team
| The team in 2014 | |
| --- | --- |
| Team information | |
| UCI code | * CRP (2005) * PZC (2006–2009) |
| Registered | Belgium |
| Founded | 2005 |
| Discipline(s) | Road |
| Status |  |
| Key personnel | |
| General manager | Benny Willems |
| Team manager(s) | Pascal Bellemans |
| Team name history | |
| 2005
2006–2007
2008–2009
2010
2011
2012–2014
2015–2018
2019
2020–2021
2022– | Profel Cycling Team
Profel Ziegler Continental Team
Profel Continental Team
Profel–Colossi
Profel–Bofrost–Prorace
Bofrost–Prorace
Prorace Cycling Team
Prorace–Urbano Cycling Team
Urbano Cycling Team
Urbano–Vulsteke Cycling Team |


title: Satkaya

abstract: Satkaya is a village in Homalin Township, Hkamti District, in the Sagaing Region of northwestern Burma.

text:
# Satkaya

**Satkaya** is a village in Homalin Township, Hkamti District, in the Sagaing Region of northwestern Burma.

## InfoBox

| Satkaya | |
| --- | --- |
| Village | |
| SatkayaLocation in Burma | |
| Coordinates: 24°49′N 95°2′E / 24.817°N 95.033°E / 24.817; 95.033 | |
| Country | Burma |
| Region | Sagaing Region |
| District | Hkamti District |
| Township | Homalin Township |
| Time zone | UTC+6.30 (MST) |


title: Pitcairnia agavifolia

abstract: Pitcairnia agavifolia is a species of flowering plant in the family Bromeliaceae, endemic to Venezuela. It was first described by Lyman Bradford Smith in 1957.

text:
# Pitcairnia agavifolia

***Pitcairnia agavifolia*** is a species of flowering plant in the family Bromeliaceae, endemic to Venezuela. It was first described by Lyman Bradford Smith in 1957.

## InfoBox

| *Pitcairnia agavifolia* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Poales |
| Family: | Bromeliaceae |
| Genus: | *Pitcairnia* |
| Subgenus: | *Pitcairnia subg. Pepinia* |
| Species: | ***P. agavifolia*** |
| Binomial name | |
| ***Pitcairnia agavifolia***<br>L.B.Sm. | |
|
| Synonyms | |
| * *Pepinia agavifolia* (L.B.Sm.) G.S.Varad. & Gilmartin | |


title: Physics of optical holography

abstract: Optical holography is a technique which enables an optical wavefront to be recorded and later re-constructed. Holography is best known as a method of generating three-dimensional images but it also has a wide range of other applications. A hologram is made by superimposing a second wavefront on the wavefront of interest, thereby generating an interference pattern which is recorded on a physical medium. When only the second wavefront illuminates the interference pattern, it is diffracted to recreate the original wavefront. Holograms can also be computer-generated by modelling the two wavefronts and adding them together digitally. The resulting digital image is then printed it onto a suitable mask or film and illuminated by a suitable source to reconstruct the wavefront of interest.

text:
# Physics of optical holography

**Optical holography** is a technique which enables an optical wavefront to be recorded and later re-constructed. Holography is best known as a method of generating three-dimensional images but it also has a wide range of other applications.

A hologram is made by superimposing a second wavefront (normally called the reference beam) on the wavefront of interest, thereby generating an interference pattern which is recorded on a physical medium. When only the second wavefront illuminates the interference pattern, it is diffracted to recreate the original wavefront. Holograms can also be computer-generated by modelling the two wavefronts and adding them together digitally. The resulting digital image is then printed it onto a suitable mask or film and illuminated by a suitable source to reconstruct the wavefront of interest.

## Basic physics

To understand the process, it is helpful to understand interference and diffraction. Interference occurs when one or more wavefronts are superimposed. Diffraction occurs when a wavefront encounters an object. The process of producing a holographic reconstruction is explained below purely in terms of interference and diffraction. It is somewhat simplified but is accurate enough to give an understanding of how the holographic process works.

For those unfamiliar with these concepts, it is worthwhile to read those articles before reading further in this article.

A simple hologram can be made by superimposing two plane waves from the same light source on a light recording medium such as a photographic emulsion. The two waves interfere, giving a straight-line fringe pattern whose intensity varies sinusoidally across the medium. The spacing of the fringe pattern is determined by the angle between the two waves, and by the wavelength of the light.

The recorded light pattern is a diffraction grating, which is a structure with a repeating pattern. A simple example is a metal plate with slits cut at regular intervals. A light wave that is incident on a grating is split into several waves; the direction of these diffracted waves is determined by the grating spacing and the wavelength of the light.

When the recorded light pattern is illuminated by only one of the plane waves used to create it, it can be shown that one of the diffracted waves is a re-construction of the other plane wave.

When a plane wave is added to a point source and the resulting interference pattern recorded, a point source hologram is produced. This is effectively a Fresnel zone plate which acts as a lens. If the plane wave is normally incident on the recording plate, three waves are diffracted by the plate

the original plane wave a wave which appears to diverge from the point source - this is a reconstruction of the original point source wave a wave which is focused to a point on the other side of the plate at the same distance as the original point source

This is known as an in-line hologram. Its usefulness is limited by the fact that all three waves are superimposed.

If the plane wave illuminates the recording plate at non-normal incidence, then the three diffracted waves are now as follows:

the original plane wave a wave which appears to diverge from the original point source - this is the re-constructed wave a wave which converges to a point which is deflected from the normal by twice the angle of incidence of the plane wave - this is known as the conjugate wave.

The three waves are now separated in space. This is known as an off-axis hologram. It was first developed by Leith and Upatnieks and was a vital step in enabling 3-d images to be produced with holography.

## Theory underlying the holographic process

### General form

The complex amplitude of a monochromatic electromagnetic wave can be represented by

$$\mathbf {U} (\mathbf {r} )=A\exp {i\[\varphi (\mathbf {r} )\]}$$

where A represents the amplitude of the vector, and $\varphi (\mathbf {r} )$ its phase.

To make a hologram, two waves are added together to give a total complex amplitude which can be represented as

$$\mathbf {U} \_{\text{T}=\mathbf {U} \_{\text{R}+\mathbf {U} \_{\text{O}=A\_{\text{R}\exp {i(\varphi \_{\text{R})}+A\_{\text{O}\exp {i(\varphi \_{\text{O})}}}}}}}}$$

where **R** refers to the recording wavefront, known as the reference wavefront, and **O** refer to the wavefront being recorded. The dependence on **r** has been omitted for clarity.

The intensity of the combined beams is the average value of the complex amplitude times its complex conjugate:

$$\mathbf {I} \_{T}=\left\langle \mathbf {U} \_{\text{T}\mathbf {U} \_{\text{T}^{\*}\right\rangle =A\_{\text{R}^{2}+A\_{\text{O}^{2}+A\_{\text{R}A\_{\text{O}\exp {i(\varphi \_{\text{R}-\varphi \_{\text{O})}+A\_{\text{R}A\_{\text{O}\exp {-i(\varphi \_{\text{R}-\varphi \_{\text{O})}}}}}}}}}}}}}$$

A recording medium is exposed to the two beams and then developed. Assume that the amplitude transmittance, $\mathbf {t} $ of the developed photographic plate is linearly related to the intensity of the interference pattern.

$$\mathbf {t} =\mathbf {t} \_{0}+\beta \left\[A\_{\text{R}^{2}+A\_{\text{O}^{2}+A\_{\text{R}A\_{\text{O}\exp {i(\varphi \_{\text{R}-\varphi \_{\text{O})}+A\_{\text{R}A\_{\text{O}\exp {-i(\varphi \_{\text{R}-\varphi \_{\text{O})}\right\]}}}}}}}}}}$$

where $\mathbf {t} \_{0}$ is a constant background transmittance and $\beta $ is constant,

When the developed photographic plate is illuminated only by the reference beam, $\mathbf {U\_{R} }$, the amplitude of the light transmitted through the plate, **U**H, is given by

$$\mathbf {U} \_{H}=\mathbf {t} A\_{\text{R}\exp {i\varphi \_{\text{R}=\left\[\mathbf {t} \_{0}+\beta \left\[A\_{\text{R}^{2}+A\_{\text{O}^{2}+A\_{\text{R}A\_{\text{O}\exp {i(\varphi \_{\text{R}-\varphi \_{\text{O})}+A\_{\text{R}A\_{\text{O}\exp {-i(\varphi \_{\text{R}-\varphi \_{\text{O})}\right\]\right\]A\_{\text{R}\exp {i\varphi \_{\text{R}}}}}}}}}}}}}}}}}$$

This can be split into three terms:

$$\begin{aligned}\mathbf {U} \_{1}&=\left\[\mathbf {t} \_{0}+\beta A\_{\text{R}^{2}+\beta A\_{\text{O}^{2}\right\]A\_{\text{R}\exp {i\varphi \_{\text{R}\\\mathbf {U} \_{2}&=\beta A\_{\text{R}^{2}A\_{\text{O}\exp i\varphi \_{\text{O}\\\mathbf {U} \_{3}&=\beta A\_{\text{R}^{2}A\_{\text{O}\exp {i(2\varphi \_{\text{R}-\varphi \_{\text{O})}\end{aligned}}}}}}}}}}}}}$$

$\mathbf {U} \_{1}$ is a modified version of the reference wave. The first term is a reduced amplitude version, the second is also a reduced amplitude version if the reference wave amplitude is uniform. The third term produces a halo round the transmitted reference wave which is negligible when the amplitude of the object wave is much less than that of the reference wave

$\mathbf {U} \_{2}$ is the **reconstructed** object wave which is identical to the original wave except that its amplitude is reduced. When the object wave is generated by light scattered from an object or objects, a virtual image of the object(s) is formed when a lens is placed in the reconstructed wave.

$\mathbf {U} \_{3}$ is known as the **conjugate** wave. It is similar to the object wave but has the opposite curvature. When the object wave is generated by light scattered from an object or a series of objects, a real image is formed on the opposite side of the hologram plate to where the object was located and is deflected from the normal axis by twice the angle between the reference wave and the normal direction.

### Two plane waves

The reference and object wave are monochromatic plane waves of uniform amplitude

$$\begin{aligned}\mathbf {U\_{\text{R} (\mathbf {r} )&=A\_{\text{R}\exp \left\[i\mathbf {k\_{\text{R} \cdot \mathbf {r} \right\]\\\mathbf {U\_{\text{O} (\mathbf {r} )&=A\_{\text{O}\exp \left\[i\mathbf {k\_{\text{O} \cdot \mathbf {r} \right\]\end{aligned}}}}}}}}}}}$$

where the vectors $\mathbf {k} $ are related to the unit vectors $\mathbf {n} $ which define the direction of travel and the wavelength $\lambda $ of the two waves by

$$\mathbf {k} =2\pi {\frac {\mathbf {n} }{\lambda }}$$

The expression for $\mathbf {t} $ in the previous section can be written as

$$\mathbf {t} =\mathbf {t} \_{0}+\beta \left\[A\_{\text{O}^{2}+A\_{\text{R}^{2}+A\_{\text{O}A\_{\text{R}\cos {\left(\[\mathbf {k\_{O} -\mathbf {k\_{R} \]\cdot \mathbf {r} \right)}\right\]}}}}}}$$

from which it can be seen that the transmission of the holographic recording varies sinusoidally, i.e.it is a diffraction grating, where spacing of the fringes depends on the angle between the two waves and the orientation of the holographic plate.

The reconstructed wave is:

$$\mathbf {U} \_{2}=\beta A\_{\text{R}^{2}A\_{\text{O}\exp i(\mathbf {k} \_{O}\cdot \mathbf {r} )}}$$

which is a plane wave travelling in the direction $\mathbf {k} \_{O}$, i.e. it is the reconstructed object wave with a modified amplitude.

The conjugate wave is:

$$\mathbf {U} \_{3}=A\_{\text{O}A\_{\text{R}\exp\[i(2\mathbf {k} \_{R}-\mathbf {k} \_{O})\cdot \mathbf {r} \]}}$$

which is a plane wave travelling in the direction $2\mathbf {k} \_{R}-\mathbf {k} \_{O}$

This shows that the transmission of the photographic plate varies sinusoidally so it acts as a diffraction grating. If one of the waves is normally incident to the hologram plate, and the other is incident at an angle $\theta $, the spacing of the fringes is $d=\lambda /\sin {\theta }$ and the first order diffracted waves will be at angles given by $\sin {\gamma }=\pm \lambda /d=\sin {\theta }$. One of these is the reconstructed object plane wave, the other is the conjugate wave.

### Plane wave and point source

Consider a point source located at the origin which illuminates a photographic plate which is located at a distance $l$ normal to the z axis. The phase difference between the source and a point (x, y, z) is given approximately by

$$\phi \_{O}={\frac {\pi r^{2}{\lambda l}}}$$

where $r={\sqrt {x^{2}+y^{2}}}$

The complex amplitude of the object beam is then given by

$\mathbf {U\_{O} =A\_{0}\exp i{\frac {\pi r^{2}{\lambda l}}}}$.

The form of the interference pattern for various directions of incidence for the reference wave are shown on the right.

The reference plane wave is

$$\mathbf {U\_{\text{R} (\mathbf {r} )=A\_{\text{R}\exp\[i\mathbf {k\_{\text{R} \cdot \mathbf {r} \]}}}}}$$

The reconstructed wave is described by the second term:

$$\mathbf {U} \_{2}=\beta A\_{\text{R}^{2}A\_{\text{O}\exp i{\frac {\pi r^{2}{\lambda l}}}}}$$

The conjugate wave is described by the third term

$$\mathbf {U} \_{3}=A\_{\text{O}A\_{\text{R}\exp i\left(\mathbf {k\_{\text{R} \cdot \mathbf {r} -{\frac {\pi r^{2}{\lambda l}\right)}}}}}}$$

It emerges at twice the angle between the object and references wave and converges to a point which is at the same distance from the plate as the original point source.

### General object and a point source

When light is scattered off a general object, the amplitude of the scattered light at any point $(\mathbf {r} )$ can be represented by

$$\mathbf {U\_{\text{O} (\mathbf {r} )=A\_{\text{O}(\mathbf {r} )\exp {i\[\varphi \_{\text{O}(\mathbf {r} )\]}}}}}$$

where both the phase and the amplitude vary with $\mathbf {r} $.

The distance travelled by a wave emitted from a point source located at a point $\mathbf {r} \_{\text{R}}$ to a point $\mathbf {r} $ travels a distance $\mathbf {r} -\mathbf {r} \_{\text{R}}$, so that the phase change is $\textstyle \phi \_{\text{R}={\frac {2\pi (\mathbf {r} -\mathbf {r} \_{\text{R})}{\lambda }}}}$ so that its amplitude is given by

$$\mathbf {U} \_{\text{R}(\mathbf {r} )=A\_{\text{R}\exp {\frac {2\pi i(\mathbf {r} -\mathbf {r} \_{\text{R})}{\lambda }}}}}$$

where $A\_{\text{R}}$ is constant.

The reconstructed object wave is

$$\mathbf {U} \_{2}=\beta A\_{\text{R}^{2}A\_{\text{O}(\mathbf {r} )\exp {i\[\varphi \_{\text{O}(\mathbf {r} )\]}}}}$$

The conjugate wave is given by

$$\mathbf {U} \_{3}=\beta A\_{\text{R}\exp {\frac {4\pi i(\mathbf {r} -\mathbf {r} \_{\text{R})}{\lambda }A\_{\text{O}(\mathbf {r} )\exp {i\varphi \_{\text{O}(\mathbf {r} )}}}}}}$$

## Recording a hologram

### Items required

To make a hologram, the following are required:

* a suitable object or set of objects
* part of the laser beam to be directed so that it illuminates the object (the object beam) and another part so that it illuminates the recording medium directly (the reference beam), enabling the reference beam and the light which is scattered from the object onto the recording medium to form an interference pattern
* a recording medium which converts this interference pattern into an optical element which modifies either the amplitude or the phase of an incident light beam according to the intensity of the interference pattern.
* a laser beam that produces coherent light with one wavelength.
* an environment which provides sufficient mechanical and thermal stability that the interference pattern is stable during the time in which the interference pattern is recorded.

These requirements are inter-related, and it is essential to understand the nature of optical interference to see this. Interference is the variation in intensity which can occur when two light waves are superimposed. The intensity of the maxima exceeds the sum of the individual intensities of the two beams, and the intensity at the minima is less than this and may be zero. The interference pattern maps the relative phase between the two waves, and any change in the relative phases causes the interference pattern to move across the field of view. If the relative phase of the two waves changes by one cycle, then the pattern drifts by one whole fringe. One phase cycle corresponds to a change in the relative distances travelled by the two beams of one wavelength. Since the wavelength of light is of the order of 0.5 μm, it can be seen that very small changes in the optical paths travelled by either of the beams in the holographic recording system lead to movement of the interference pattern which is the holographic recording. Such changes can be caused by relative movements of any of the optical components or the object itself, and also by local changes in air-temperature. It is essential that any such changes are significantly less than the wavelength of light if a clear well-defined recording of the interference is to be created.

The exposure time required to record the hologram depends on the laser power available, on the particular medium used and on the size and nature of the object(s) to be recorded, just as in conventional photography. This determines the stability requirements. Exposure times of several minutes are typical when using quite powerful gas lasers and silver halide emulsions. All the elements within the optical system have to be stable to fractions of a μm over that period. It is possible to make holograms of much less stable objects by using a pulsed laser which produces a large amount of energy in a very short time (μs or less). These systems have been used to produce holograms of live people. A holographic portrait of Dennis Gabor was produced in 1971 using a pulsed ruby laser.

Thus, the laser power, recording medium sensitivity, recording time and mechanical and thermal stability requirements are all interlinked. Generally, the smaller the object, the more compact the optical layout, so that the stability requirements are significantly less than when making holograms of large objects.

Another very important laser parameter is its coherence. This can be envisaged by considering a laser producing a sine wave whose frequency drifts over time; the coherence length can then be considered to be the distance over which it maintains a single frequency. This is important because two waves of different frequencies do not produce a stable interference pattern. The coherence length of the laser determines the depth of field which can be recorded in the scene. A good holography laser will typically have a coherence length of several meters, ample for a deep hologram.

The objects that form the scene must, in general, have optically rough surfaces so that they scatter light over a wide range of angles. A specularly reflecting (or shiny) surface reflects the light in only one direction at each point on its surface, so in general, most of the light will not be incident on the recording medium. A hologram of a shiny object can be made by locating it very close to the recording plate.

### Hologram classifications

There are three important properties of a hologram which are defined in this section. A given hologram will have one or other of each of these three properties, e.g. an amplitude modulated, thin, transmission hologram, or a phase modulated, volume, reflection hologram.

#### Amplitude and phase modulation holograms

An amplitude modulation hologram is one where the amplitude of light diffracted by the hologram is proportional to the intensity of the recorded light. A straightforward example of this is photographic emulsion on a transparent substrate. The emulsion is exposed to the interference pattern, and is subsequently developed giving a transmittance which varies with the intensity of the pattern – the more light that fell on the plate at a given point, the darker the developed plate at that point.

A phase hologram is made by changing either the thickness or the refractive index of the material in proportion to the intensity of the holographic interference pattern. This is a phase grating and it can be shown that when such a plate is illuminated by the original reference beam, it reconstructs the original object wavefront. The efficiency (i.e., the fraction of the illuminated object beam which is converted into the reconstructed object beam) is greater for phase than for amplitude modulated holograms.

#### Thin holograms and thick (volume) holograms

A thin hologram is one where the thickness of the recording medium is much less than the spacing of the interference fringes which make up the holographic recording. The thickness of a thin hologram can be down to 60 nm by using a topological insulator material Sb2Te3 thin film. Ultrathin holograms hold the potential to be integrated with everyday consumer electronics like smartphones.

A thick or volume hologram is one where the thickness of the recording medium is greater than the spacing of the interference pattern. The recorded hologram is now a three dimensional structure, and it can be shown that incident light is diffracted by the grating only at a particular angle, known as the Bragg angle. If the hologram is illuminated with a light source incident at the original reference beam angle but a broad spectrum of wavelengths; reconstruction occurs only at the wavelength of the original laser used. If the angle of illumination is changed, reconstruction will occur at a different wavelength and the colour of the re-constructed scene changes. A volume hologram effectively acts as a colour filter.

#### Transmission and reflection holograms

A transmission hologram is one where the object and reference beams are incident on the recording medium from the same side. In practice, several more mirrors may be used to direct the beams in the required directions.

Normally, transmission holograms can only be reconstructed using a laser or a quasi-monochromatic source, but a particular type of transmission hologram, known as a rainbow hologram, can be viewed with white light.

In a reflection hologram, the object and reference beams are incident on the plate from opposite sides of the plate. The reconstructed object is then viewed from the same side of the plate as that at which the re-constructing beam is incident.

Only volume holograms can be used to make reflection holograms, as only a very low intensity diffracted beam would be reflected by a thin hologram.

Examples of full-color reflection holograms of mineral specimens:

### Holographic recording media

The recording medium has to convert the original interference pattern into an optical element that modifies either the amplitude or the phase of an incident light beam in proportion to the intensity of the original light field.

The recording medium should be able to resolve fully all the fringes arising from interference between object and reference beam. These fringe spacings can range from tens of micrometers to less than one micrometer, i.e. spatial frequencies ranging from a few hundred to several thousand cycles/mm, and ideally, the recording medium should have a response which is flat over this range. Photographic film has a very low or even zero response at the frequencies involved and cannot be used to make a hologram – for example, the resolution of Kodak's professional black and white film starts falling off at 20 lines/mm – it is unlikely that any reconstructed beam could be obtained using this film.

If the response is not flat over the range of spatial frequencies in the interference pattern, then the resolution of the reconstructed image may also be degraded.,

The table below shows the principal materials used for holographic recording. Note that these do not include the materials used in the mass replication of an existing hologram, which are discussed in the next section. The resolution limit given in the table indicates the maximal number of interference lines/mm of the gratings. The required exposure, expressed as millijoules (mJ) of photon energy impacting the surface area, is for a long exposure time. Short exposure times (less than 11000 of a second, such as with a pulsed laser) require much higher exposure energies, due to reciprocity failure.

General properties of recording materials for holography,
| Material | Reusable | Processing | Type | Theoretical max. efficiency | Required exposure (mJ/cm2) | Resolution limit (mm−1) |
| --- | --- | --- | --- | --- | --- | --- |
| Photographic emulsions | No | Wet | Amplitude | 6% | 1.5 | 5000 |
| | | | Phase (bleached) | 60% | | |
| Dichromated gelatin | No | Wet | Phase | 100% | 100 | 10,000 |
| Photoresists | No | Wet | Phase | 30% | 100 | 3,000 |
| Photothermoplastics | Yes | Charge and heat | Phase | 33% | 0.1 | 500–1,200 |
| Photopolymers | No | Post exposure | Phase | 100% | 10000 | 5,000 |
| Photorefractives | Yes | None | Phase | 100% | 10 | 10,000 |

### Copying and mass production

An existing hologram can be copied by embossing or optically.

Most holographic recordings (e.g. bleached silver halide, photoresist, and photopolymers) have surface relief patterns which conform with the original illumination intensity. Embossing, which is similar to the method used to stamp out plastic discs from a master in audio recording, involves copying this surface relief pattern by impressing it onto another material.

The first step in the embossing process is to make a stamper by electrodeposition of nickel on the relief image recorded on the photoresist or photothermoplastic. When the nickel layer is thick enough, it is separated from the master hologram and mounted on a metal backing plate. The material used to make embossed copies consists of a polyester base film, a resin separation layer and a thermoplastic film constituting the holographic layer.

The embossing process can be carried out with a simple heated press. The bottom layer of the duplicating film (the thermoplastic layer) is heated above its softening point and pressed against the stamper, so that it takes up its shape. This shape is retained when the film is cooled and removed from the press. In order to permit the viewing of embossed holograms in reflection, an additional reflecting layer of aluminum is usually added on the hologram recording layer. This method is particularly suited to mass production.

The first book to feature a hologram on the front cover was *The Skook* (Warner Books, 1984) by JP Miller, featuring an illustration by Miller. The first record album cover to have a hologram was "UB44", produced in 1982 for the British group UB40 by Advanced Holographics in Loughborough. This featured a 5.75 inch square embossed hologram showing a 3D image of the letters UB carved out of polystyrene to look like stone and the numbers 44 hovering in space on the picture plane. On the inner sleeve was an explanation of the holographic process and instructions on how to light the hologram. *National Geographic* published the first magazine with a hologram cover in March 1984. Embossed holograms are used widely on credit cards, banknotes, and high value products for authentication purposes.

It is possible to print holograms directly into steel using a sheet explosive charge to create the required surface relief. The Royal Canadian Mint produces holographic gold and silver coinage through a complex stamping process.

A hologram can be copied optically by illuminating it with a laser beam, and locating a second hologram plate so that it is illuminated both by the reconstructed object beam, and the illuminating beam. Stability and coherence requirements are significantly reduced if the two plates are located very close together. An index matching fluid is often used between the plates to minimize spurious interference between the plates. Uniform illumination can be obtained by scanning point-by-point or with a beam shaped into a thin line.

## Reconstructing and viewing the holographic image

When the hologram plate is illuminated by a laser beam identical to the reference beam which was used to record the hologram, an exact reconstruction of the original object wavefront is obtained. An imaging system (an eye or a camera) located in the reconstructed beam 'sees' exactly the same scene as it would have done when viewing the original. When the lens is moved, the image changes in the same way as it would have done when the object was in place. If several objects were present when the hologram was recorded, the reconstructed objects move relative to one another, i.e. exhibit parallax, in the same way as the original objects would have done. It was very common in the early days of holography to use a chess board as the object and then take photographs at several different angles using the reconstructed light to show how the relative positions of the chess pieces appeared to change.

A holographic image can also be obtained using a different laser beam configuration to the original recording object beam, but the reconstructed image will not match the original exactly. When a laser is used to reconstruct the hologram, the image is speckled just as the original image will have been. This can be a major drawback in viewing a hologram.

White light consists of light of a wide range of wavelengths. Normally, if a hologram is illuminated by a white light source, each wavelength can be considered to generate its own holographic reconstruction, and these will vary in size, angle, and distance. These will be superimposed, and the summed image will wipe out any information about the original scene, as if superimposing a set of photographs of the same object of different sizes and orientations. However, a holographic image can be obtained using white light in specific circumstances, e.g. with volume holograms and rainbow holograms. The white light source used to view these holograms should always approximate to a point source, i.e. a spot light or the sun. An extended source (e.g. a fluorescent lamp) will not reconstruct a hologram since its light is incident at each point at a wide range of angles, giving multiple reconstructions which will "wipe" one another out.

White light reconstructions do not contain speckles.

### Volume holograms

A reflection-type volume hologram can give an acceptably clear reconstructed image using a white light source, as the hologram structure itself effectively filters out light of wavelengths outside a relatively narrow range. In theory, the result should be an image of approximately the same colour as the laser light used to make the hologram. In practice, with recording media that require chemical processing, there is typically a compaction of the structure due to the processing and a consequent colour shift to a shorter wavelength. Such a hologram recorded in a silver halide gelatin emulsion by red laser light will usually display a green image. Deliberate temporary alteration of the emulsion thickness before exposure, or permanent alteration after processing, has been used by artists to produce unusual colours and multicoloured effects.

### Rainbow holograms

In this method, parallax in the vertical plane is sacrificed to allow a bright, well-defined, gradiently colored reconstructed image to be obtained using white light. The rainbow holography recording process usually begins with a standard transmission hologram and copies it using a horizontal slit to eliminate vertical parallax in the output image. The viewer is therefore effectively viewing the holographic image through a narrow horizontal slit, but the slit has been expanded into a window by the same dispersion that would otherwise smear the entire image. Horizontal parallax information is preserved but movement in the vertical direction results in a color shift rather than altered vertical perspective. Because perspective effects are reproduced along one axis only, the subject will appear variously stretched or squashed when the hologram is not viewed at an optimum distance; this distortion may go unnoticed when there is not much depth, but can be severe when the distance of the subject from the plane of the hologram is very substantial. Stereopsis and horizontal motion parallax, two relatively powerful cues to depth, are preserved.

The holograms found on credit cards are examples of rainbow holograms. These are technically transmission holograms mounted onto a reflective surface like a metalized polyethylene terephthalate substrate commonly known as PET.

### Fidelity of the reconstructed beam

To replicate the original object beam exactly, the reconstructing reference beam must be identical to the original reference beam and the recording medium must be able to fully resolve the interference pattern formed between the object and reference beams. Exact reconstruction is required in holographic interferometry, where the holographically reconstructed wavefront interferes with the wavefront coming from the actual object, giving a null fringe if there has been no movement of the object and mapping out the displacement if the object has moved. This requires very precise relocation of the developed holographic plate.

Any change in the shape, orientation or wavelength of the reference beam gives rise to aberrations in the reconstructed image. For instance, the reconstructed image is magnified if the laser used to reconstruct the hologram has a longer wavelength than the original laser. Nonetheless, good reconstruction is obtained using a laser of a different wavelength, quasi-monochromatic light or white light, in the right circumstances.

Since each point in the object illuminates all of the hologram, the whole object can be reconstructed from a small part of the hologram. Thus, a hologram can be broken up into small pieces and each one will enable the whole of the original object to be imaged. One does, however, lose information and the spatial resolution gets worse as the size of the hologram is decreased – the image becomes "fuzzier". The field of view is also reduced, and the viewer will have to change position to see different parts of the scene.

## Categories


title: Peng Kang Hill MRT station

abstract: Peng Kang Hill MRT station is a future elevated Mass Rapid Transit (MRT) station on the Jurong Region line in Western Water Catchment, Singapore. It will be the terminus of the West Branch of the Jurong Region line. Trains entering service at this station will terminate at Choa Chu Kang via Bahar Junction.

text:
# Peng Kang Hill MRT station

**Peng Kang Hill MRT station** is a future elevated Mass Rapid Transit (MRT) station on the Jurong Region line in Western Water Catchment, Singapore.

It will be the terminus of the West Branch of the Jurong Region line. Trains entering service at this station will terminate at Choa Chu Kang via Bahar Junction.

## History

On 9 May 2018, LTA announced that Peng Kang Hill station would be part of the proposed Jurong Region line (JRL). The station will be constructed as part of Phase 3, consisting of a total of 7 stations. A 4-station extension to Jurong Pier at Boon Lay and a 3 station extension to Peng Kang Hill from Tawas. It is expected to be completed in 2029.

This station was named after the nearby Peng Kang Hill, in the SAFTI Live Firing Area.

Contract J115A for the design and construction of Peng Kang Hill Station and associated viaducts was awarded to Hwa Seng Builder Pte Ltd at a sum of S$148 million. Construction will start in 3Q 2022, with completion in 2029. Previously, the station was to be built under contract J115 which also included the design and construction of a stabling facility next to the station and associated viaducts.

Initially expected to open in 2028, the restrictions on the construction due to the COVID-19 pandemic has led to delays in the JRL line completion, and the date was pushed to 2029.

## Location

The station complex will be straddled over the existing Nanyang Drive, north of the junction with Peng Kang Avenue and Nanyang Link in Nanyang Technological University (NTU). It is located in the Western Water Catchment planning area, serving the Lee Kong Chian School of Medicine (Yunnan Garden Campus), Wee Kim Wee School of Communication and Information, and School of Electrical and Electronics Engineering.

Access to the station will be via 3 exits along Nanyang Drive.

## InfoBox

| **JW5**
Peng Kang Hill
秉光山
பெங் காங் ஹில்
 | |
| --- | --- |
| Future Mass Rapid Transit (MRT) terminus | |
| Peng Kang Hill MRT station site | |
| General information | |
| Coordinates | 1°20′36″N 103°40′43″E / 1.34326°N 103.67849°E / 1.34326; 103.67849 |
| Owned by | Land Transport Authority |
| Line(s) | Jurong Region Line |
| Platforms | 2 (1 island platform) |
| Tracks | 2 |
| Construction | |
| Structure type | Elevated |
| Platform levels | 1 |
| Parking | Yes |
| Bicycle facilities | Yes |
| Accessible | Yes |
| History | |
| Opening | 2029 (2029) |
| Electrified | Yes |
|  | |
| Services | |
| Preceding station Mass Rapid Transit Following station  Nanyang Crescenttowards Choa Chu Kang  Jurong Region LineFuture service  *Terminus* | |
|  | |
|  | |
|  | |
| Location  Peng Kang HillPeng Kang Hill station in Singapore | |


title: O'Ryan (singer)

abstract: O'Ryan Omri Browner is an American R&B singer. He is the younger brother of R&B singer Omarion. He was set to release a self-titled album in 2004 which aimed at the teen pop audience.

text:
# O'Ryan (singer)

**O'Ryan Omri Browner** (born February 12, 1987) is an American R&B singer. He is the younger brother of R&B singer Omarion. He was set to release a self-titled album in 2004 which aimed at the teen pop audience.

## Background

He dated American singer Jhene Aiko from 2005 to 2008. Aiko gave birth to their daughter on November 19, 2008.

## Discography

### Albums

| Year | Title | Chart positions | |
| --- | --- | --- | --- |
| | | US | US R&B |
| 2004 | *O'Ryan* | 75 | 21 |

### Singles

| Year | Song | Chart positions | | Album |
| --- | --- | --- | --- | --- |
| | | US | US R&B | |
| 2004 | "Take It Slow" |  | 110 | *O'Ryan* |
| 2010 | "America's Most Wanted" (featuring Tank) |  |  | *Ocean's O* |


title: YOYOW

abstract: YOYOW is an acronym for a phrase coined by Stewart Brand when he launched The WELL, short for "You Own Your Own Words". It is a storied example of Internet slang. Members of The WELL have fought about the implications of the term for many years. In the book "The Well: A story of love, death and real life in the seminal online community," historian Katie Hafner quotes Brand as saying, "I was doing the usual thing of considering what could go wrong... One of the things that could go wrong would be people blaming us for things that people said on The Well. And the way I figured you get around that was to put the responsibility on the individual. It meant that you're responsible for your own words, and if you libel somebody they sue you, not us. And what that turned into was copyright insanity, where people thought that their precious words should not be copied in other contexts." Beyond The WELL, this term has also been interpreted variously over the years. In March 2007, Chris Locke used it to defend refusing to remove trolling that Kathy Sierra reported as threatening messages that made her afraid to leave her house, but defending removing the whole site instead. On her blog, Creating Passionate Users, she denounced a pattern of intimidation. Chris Locke stated that his motivation for not removing hurtful posts was inspired by YOYOW. The WELL now has a more specific members agreement.

text:
# YOYOW

**YOYOW** is an acronym for a phrase coined by Stewart Brand when he launched The WELL, short for "You Own Your Own Words". It is a storied example of Internet slang.

Members of The WELL have fought about the implications of the term for many years. In the book "The Well: A story of love, death and real life in the seminal online community," historian Katie Hafner quotes Brand as saying, "I was doing the usual thing of considering what could go wrong... One of the things that could go wrong would be people blaming us for things that people said on The Well. And the way I figured you get around that was to put the responsibility on the individual. It meant that you're responsible for your own words, and if you libel somebody they sue you, not us. And what that turned into was copyright insanity, where people thought that their precious words should not be copied in other contexts."

Beyond The WELL, this term has also been interpreted variously over the years. In March 2007, Chris Locke used it to defend refusing to remove trolling that Kathy Sierra reported as threatening messages that made her afraid to leave her house, but defending removing the whole site instead. On her blog, *Creating Passionate Users*, she denounced a pattern of intimidation. Chris Locke stated that his motivation for not removing hurtful posts was inspired by YOYOW.

The WELL now has a more specific (and longer) members agreement.


title: Persulfidation

abstract: Persulfidation (also called sulfhydration) is a type of post-translational modification of proteins involving addition of a sulfur molecule onto a reactive thiol (-SH) group of a cysteine residue. Persulfidation occurs in plants, animals, and throughout all kingdoms. It is a redox mechanism that regulates diverse biological processes in hydrogen sulfide (H2S) signaling by regulating protein functions and/or subcellular localizations. The added sulfur atom (or atoms) are in a chain (R-S-SH, R-S-S-SH. These sulfur chains are unstable and react readily, making identification and quantification difficult. This modification can be reversed back into a thiol by exogenous chemical reducing agents such as dithiothreitol (DTT) or TCEP, biological reducing agents such as glutathione, and proteins such as thioredoxin or glutaredoxin.

text:
# Persulfidation

**Persulfidation** (also called **sulfhydration**) is a type of post-translational modification of proteins involving addition of a sulfur molecule onto a reactive thiol (-SH) group of a cysteine residue. Persulfidation occurs in plants, animals, and throughout all kingdoms. It is a redox mechanism that regulates diverse biological processes in hydrogen sulfide (H2S) signaling by regulating protein functions and/or subcellular localizations.

The added sulfur atom (or atoms) are in a chain (R-S-SH, R-S-S-SH. These sulfur chains are unstable and react readily, making identification and quantification difficult.

This modification can be reversed back into a thiol by exogenous chemical reducing agents such as dithiothreitol (DTT) or TCEP, biological reducing agents such as glutathione, and proteins such as thioredoxin or glutaredoxin.


title: Hymenobacter kanuolensis

abstract: Hymenobacter kanuolensis is a Gram-negative, rod-shaped, radiation-resistant and non-motile bacterium from the genus Hymenobacter which has been isolated from soil from the Qinghai-Tibet Plateau in Tibet in China.

text:
# Hymenobacter kanuolensis

***Hymenobacter kanuolensis*** is a Gram-negative, rod-shaped, radiation-resistant and non-motile bacterium from the genus *Hymenobacter* which has been isolated from soil from the Qinghai-Tibet Plateau in Tibet in China.

## InfoBox

| *Hymenobacter kanuolensis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Bacteroidota |
| Class: | Cytophagia |
| Order: | Cytophagales |
| Family: | Hymenobacteraceae |
| Genus: | *Hymenobacter* |
| Species: | ***H. kanuolensis*** |
| Binomial name | |
| ***Hymenobacter kanuolensis***<br>Su et al. 2014 | |
|
| Type strain | |
| ACCC 05760, T-3, KCTC 32407 | |


title: Viva il cinema!

abstract: Viva il cinema! is a 1952 Italian comedy film directed by Giorgio Baldaccini and Enzo Trapani.

text:
# Viva il cinema!

***Viva il cinema!*** is a 1952 Italian comedy film directed by Giorgio Baldaccini and Enzo Trapani.

## Cast

## InfoBox

| Viva il cinema! | |
| --- | --- |
|  | |
| Directed by | Giorgio Baldaccini<br>Enzo Trapani |
| Narrated by | Alberto Sordi |
| Release date | * 1952 (1952) |
| Country | Italy |
| Language | Italian |


title: Marguerite Steen

abstract: Marguerite Steen was a British writer, most popular in the 1930s and 1940s. In 1951, she was elected a Fellow of the Royal Society of Literature.

text:
# Marguerite Steen

**Marguerite Steen** (12 May 1894 – 4 August 1975) was a British writer, most popular in the 1930s and 1940s. In 1951, she was elected a Fellow of the Royal Society of Literature.

## Life

Daughter of Capt. George Connolly Benson (King's Shropshire Light Infantry) (killed in action in Ashanti in 1900) and Margaret Jones who her father married shortly before his death, Marguerite was adopted by Joseph and Margaret Jane Steen. Educated at a private school and subsequently, with much more success, at Kendal High School, at 19 she became a teacher in a private school. After three years she abandoned that career and went to London to fulfil her ambition of working in the theatre. Failing to gain entry to the theatrical world, she accepted instead an offer to teach dance in Yorkshire schools. This earned her a comfortable living (rising to over £500 a year) which enabled her to spend long periods travelling in France and Spain—the latter becoming her adopted homeland.

In 1921, she joined the Fred Terry / Julia Neilson drama company, at £3 per week, and spent three years touring with them. She was befriended by Ellen Terry, and when she found herself unemployed in 1926, took her advice and wrote a novel (not her first, strictly speaking, as she had made an attempt at the age of 8). This work, *The Gilt Cage*, was published in 1927, and was followed by some 40 more books.

Very much at home among creative people, she wrote biographies of the Terrys, of her friend Hugh Walpole, of the 18th-century poet and actress (and sometime mistress to the George IV) Mary 'Perdita' Robinson, and of her own lover, the artist Sir William Nicholson. According to Steen's account in *Looking Glass*, they met in Andalucia in May 1935, and by mid-June were living together at Nicholson's mews studio in Apple Tree Yard, off Jermyn Street. Nicholson had been separated from his second wife Edith Stuart-Wortley for some years, but they remained on good terms; although Edie promised to give him a divorce, she never did so. Steen had a fair artistic talent herself, as evidenced by the illustrations in *Oakfield Plays*, and in a surviving watercolour sketch of Ellen Terry in the V&A. In the 1930s she wrote several plays, but her forte was the historical novel.

Steen's first major success was *Matador* (1934), for which she drew on her love of Spain, and of bullfighting. This was picked up by both the Book Society in Britain, and the Book of the Month Club in the US. Also a best-seller on both sides of the Atlantic was her massive saga of the slave-trade and Bristol shipping, *The Sun Is My Undoing* (1941); this was the first part of a trilogy, but the remaining volumes were far less popular. Though never quite accepted by literary critics- *Sun...*, for example, was described as "vigorous but tinselly"- she was elected a Fellow of the Royal Society of Literature in 1951. Her two volumes of autobiography, *Looking Glass* (1966) and *Pier Glass* (1968) offer some delightful views of the English creative set from the 1920s to the 1950s. *The Sun Is My Undoing* was dramatised for radio by Brian Gear, and broadcast in five parts on BBC Radio 4 in 1973.

Steen's literary agent was A.M. Heath of Holborn, London. The present-day agency recalls her as follows: "Marguerite Steen, whose 1934 novel Matador was one of the agency’s biggest successes to date, would publish more than thirty novels in her career – but, after her death, would have to wait until the emergence of e-books and new markets in the 21st century to be rediscovered."

Her home at the time of her death was the cottage she had shared with Nicholson during the last years of his life, in the village of Blewbury, Berkshire, bought after their London home was destroyed by a Second World War bomb.

## Published works

The published works of Marguerite Steen include:

### Novels

* *The Gilt Cage*, London: Geoffrey Bles (1926)
* *Duel in the Dark*, London: Geoffrey Bles (1928)
* *The Reluctant Madonna*, London: Cassell & Co. (1929)
* *They that Go Down*, London: Cassell & Co. (1930)
* *When the Wind Blows*, London: Cassell & Co. (1931)
* *Unicorn*, London: Victor Gollancz (1931)
* *The Wise and the Foolish Virgins*, London: Victor Gollancz (1932)
* *Stallion*, London: Victor Gollancz (1933)
* *Spider*, London: Victor Gollancz (1933)
* *Matador*, London: Victor Gollancz (1934)
* *Return of a Heroine*, London: Victor Gollancz (1936)
* *Who Would Have Daughters?*, London: Collins (1937)
* *The Marriage Will Not Take Place*, London: Collins (1938)
* *Family Ties*, London: Collins (1939)
* *"A Kind of Insolence" and other stories*, London: Collins (1940)
* *The Sun is My Undoing*, London: Collins (1941)
* *Shelter* (as Jane Nicholson), London: G. G. Harrap & Co. (1941)
* *Rose Timson*, London: Collins (1946) - published in the U.S. as *Bell Timson*
* *The One-Eyed Moon*, London: Falcon Press (1949)
* *Twilight on the Floods*, London: Collins (1949)
* *The Swan*, with illustrations by Walter Goetz, London: Rupert Hart-Davis (1951)
* *Phoenix Rising* (1952). (Perhaps Bath: Chivers)
* *Stallion*, London: Falcon Press (1953)
* *Anna Fitzalan*, London: Collins (1953)
* *Bulls of Parral*, London: Collins (1954)
* *The Unquiet Spirit*, London: Collins (1955)
* *The Woman in the Back Seat*, London: Collins (1959)
* *The Tower*, London: Collins (1959)
* *A Candle in the Sun*, London: Longmans (1964)
* *The Tavern*, London: Nicholas Vane (1964)

### Biography

* *Hugh Walpole: A Study*, \[S.l.\]: Ivor Nicholson and Watson (1933)
* *The Lost One: A Biography of Mary Perdita Robinson*, \[S.l.\]: Methuen and Co Ltd (1937)
* *William Nicholson*, London: Collins (1943)
* *A Pride of Terrys*, London: Longmans (1962)
* *Looking Glass: An Autobiography*, London: Longmans (1966)
* *Pier Glass: More Autobiography*, London: Longmans (1968)

### Plays

* *Oakfield Plays: Including the Inglemere Christmas play*, London: Ivor Nicholson and Watson (1932)
* *Peepshow*, London: I. Nicholson & Watson (1933)
* *French for Love: a comedy in three acts*, with Derek Patmore. London: Collins (1940)

### Belles lettres

* *Granada Window*, \[S.l.\]: \[s.n.\] (1949).
* *Little White King* (on cats), London: Michael Joseph (1956).

### Contributor

* *Paintings and drawings of the gypsies of Granada*. Jo Jones, with text by Augustus John, Laurie Lee, Sir Sacheverell Sitwell, Walter Starkie, Marguerite Steen. London: Athelnay Books (1969).

### Short stories

* "Strange Guest", *The Strand Magazine* (March 1933), pp. 270–281.

### Illustration

* *Oakfield Plays: Including the Inglemere Christmas play*, London: Ivor Nicholson and Watson (1932)
* *Racing without Tears*. Caroline Ramsden. London: Rupert Hart-Davis (1952). (This ran to many editions, with later ones illustrated by Norman Thelwell rather than Steen)

## InfoBox

| Marguerite Steen | |
| --- | --- |
| Born | 12 May 1894<br>Liverpool, England |
| Died | 4 August 1975 (aged 81) |
| Occupation | Writer |
| Genre | Fiction, biography, drama |
| Notable works | *The Sun is My Undoing* |


title: Music of Hubei

abstract: Hubei is a province of China, known for the Huangmei and Chu opera styles and a wide array of folk songs; Huangmei opera is especially renowned, and has spread to Shanghai, Beijing and Anhui, among other places. In 1986, the Hubei Folk Arts Association published several versions of Darkness, believed to be an ancient Han creation myth, collected mostly in song form by Hu Chongjun. Modern popular performers from Hubei include Li Qiong and the Hubei Song and Dance Ensemble.

text:
# Music of Hubei

**Hubei** is a province of China, known for the Huangmei and Chu opera styles and a wide array of folk songs; Huangmei opera is especially renowned, and has spread to Shanghai, Beijing and Anhui, among other places. In 1986, the Hubei Folk Arts Association published several versions of *Darkness*, believed to be an ancient Han creation myth, collected mostly in song form by Hu Chongjun.

Modern popular performers from Hubei include Li Qiong and the Hubei Song and Dance Ensemble.

1. China Daily (April 3, 2002). "Ancient Chinese Folk Epic Published". *china.org.cn*. China Org. Retrieved 2022-07-27. The Story of Darkness, compiled by Hu Chongjun, published by the Changjiang Art Publishing House


title: Phyllocnistis tectonivora

abstract: Phyllocnistis tectonivora is a moth of the family Gracillariidae, known from Java, Indonesia. The hostplant for the species is Tectona grandis.

text:
# Phyllocnistis tectonivora

***Phyllocnistis tectonivora*** is a moth of the family Gracillariidae, known from Java, Indonesia. The hostplant for the species is *Tectona grandis*.

## InfoBox

| *Phyllocnistis tectonivora* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Gracillariidae |
| Genus: | *Phyllocnistis* |
| Species: | ***P. tectonivora*** |
| Binomial name | |
| ***Phyllocnistis tectonivora***<br>(Meyrick, 1936) | |
|


title: Pitcairnia aequatorialis

abstract: Pitcairnia aequatorialis is a species of plant in the family Bromeliaceae. It is endemic to Ecuador, where it is known from only three subpopulations in Chimborazo Province. It grows in forested habitat. It is sometimes found in disturbed habitat. None of its populations are in protected territory.

text:
# Pitcairnia aequatorialis

***Pitcairnia aequatorialis*** is a species of plant in the family Bromeliaceae. It is endemic to Ecuador, where it is known from only three subpopulations in Chimborazo Province.

It grows in forested habitat. It is sometimes found in disturbed habitat. None of its populations are in protected territory.

## InfoBox

| *Pitcairnia aequatorialis* | |
| --- | --- |
| Conservation status | |
|
Endangered  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| *Clade*: | Commelinids |
| Order: | Poales |
| Family: | Bromeliaceae |
| Genus: | *Pitcairnia* |
| Species: | ***P. aequatorialis*** |
| Binomial name | |
| ***Pitcairnia aequatorialis***
L.B.Sm. | |
|


title: Pentagenia robusta

abstract: Pentagenia robusta, the robust burrowing mayfly, is a recently extinct species of mayfly in the family Ephemeridae. It was endemic to the United States, found in the states Indiana, Kentucky, and Ohio. It was known only from the Ohio River area and it was not described until 1926. This riverine species was probably sensitive to changes in river flow and water quality, especially increasing sedimentation as are many closely related species.

text:
# Pentagenia robusta

***Pentagenia robusta***, the **robust burrowing mayfly**, is a recently extinct species of mayfly in the family Ephemeridae. It was endemic to the United States, found in the states Indiana, Kentucky, and Ohio.

It was known only from the Ohio River area and it was not described until 1926. This riverine species was probably sensitive to changes in river flow and water quality, especially increasing sedimentation as are many closely related species.

## InfoBox

| *Pentagenia robusta* | |
| --- | --- |
| Conservation status | |
|
Extinct  (IUCN 2.3) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Ephemeroptera |
| Family: | Palingeniidae |
| Genus: | *Pentagenia* |
| Species: | ***P. robusta*** |
| Binomial name | |
| ***Pentagenia robusta***
McDunnough, 1926 | |
|
| Synonyms | |
| *Pantagenia robusta* McDunnough, 1926 \[orth. error\] | |


title: My Dead Boyfriend

abstract: My Dead Boyfriend is a 2016 American comedy film directed by Anthony Edwards and starring Heather Graham, Katherine Moennig, Scott Michael Foster, and John Corbett. The film is based on Arthur Nersesian's 2000 novel Dogrun. It was released on November 3, 2016 by Orion Pictures and Momentum Pictures.

text:
# My Dead Boyfriend

***My Dead Boyfriend*** is a 2016 American comedy film directed by Anthony Edwards and starring Heather Graham, Katherine Moennig, Scott Michael Foster, and John Corbett. The film is based on Arthur Nersesian's 2000 novel *Dogrun*.

It was released on November 3, 2016 by Orion Pictures and Momentum Pictures.

## Plot

Mary's life has been defined by a string of temp jobs and a half-hearted attempt to become a writer, but all that changes when she comes home to find her couch potato boyfriend dead in front of the TV set.

## Cast

## Reception

The film received negative reviews and has a 0% rating on Rotten Tomatoes based on reviews from 11 critics. On Metacritic the film has a score of 25% based on reviews from 6 critics.

Neil Genzlinger of *The New York Times* wrote that the film "desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star."

Frank Scheck of *The Hollywood Reporter* wrote that the film "never achieves a consistent narrative or stylistic tone. Instead, it relies far too heavily on the charms of its wide-eyed star, who, despite her best efforts, can't overcome the fact that her role should be played by a much younger actress. Twenty years ago, this comedy might have been a slightly amusing diversion. Now it just exudes an air of sweaty desperation."

Christy Lemire of RogerEbert.com gave the film one star.

## InfoBox

| My Dead Boyfriend | |
| --- | --- |
| Film poster | |
| Directed by | Anthony Edwards |
| Screenplay by | Billy Morrissette |
| Based on | *Dogrun*
by Arthur Nersesian |
| Produced by | Jen Gatien |
| Starring |  |
| Cinematography | Aaron Phillips |
| Edited by | Andy Keir |
| Music by | Mark Wike |
| Production
companies | * Cohen Media Group * Cohen Film Collection |
| Distributed by |  |
| Release date | * November 3, 2016 (2016-11-03) |
| Running time | 90 minutes |
| Country | United States |
| Language | English |


title: O'Shannassy Reservoir

abstract: The O'Shannassy Reservoir is an Australian man-made water supply dammed reservoir. The 3.123 GL water store across the O'Shannassy River is located near the locality of McMahons Creek, approximately 80 kilometres (50 mi) east of Melbourne, Victoria. The dam that creates the impoundment is called the O'Shannassy Dam.

text:
# O'Shannassy Reservoir

The **O'Shannassy Reservoir** is an Australian man-made water supply dammed reservoir. The 3.123 GL (687 million imp gal; 825 million US gal) water store across the O'Shannassy River is located near the locality of McMahons Creek, approximately 80 kilometres (50 mi) east of Melbourne, Victoria. The dam that creates the impoundment is called the **O'Shannassy Dam**.

## Location and features

The reservoir is part of Melbourne's water supply system. Water flows under gravity to Silvan Reservoir, then to storage and distribution reservoirs around Melbourne. It is the smallest of the water storage reservoirs managed by Melbourne Water, with a capacity of approximately 3.123 GL (687 million imp gal; 825 million US gal), but it is on a very productive catchment, with stream flow averaging 80 GL (18 billion imp gal; 21 billion US gal) per annum.

The location was selected as it is at sufficient altitude for gravity supply to the elevated eastern suburbs of Melbourne. A diversion weir on the O'Shannassy River and aqueduct to the Surrey Hills Reservoir in Melbourne were completed in 1914. The weir was complemented by the construction of the dam and its reservoir in 1928, but the weir was still used to divert river flows into the aqueduct. The construction of the Yarra-Silvan conduits in the 1950s resulted in reduced requirements for the aqueduct which was decommissioned in 1997.

## InfoBox

| O'Shannassy Dam | |
| --- | --- |
| Location of the O'Shannassy Reservoir in Victoria | |
| Country | Australia |
| Location | McMahons Creek, Victoria |
| Coordinates | 37°40′30″S 145°48′20″E / 37.67500°S 145.80556°E / -37.67500; 145.80556 |
| Purpose | Water supply |
| Status | Operational |
| Construction began | 1922 |
| Opening date | 1928 |
| Operator(s) | Melbourne Water |
| Dam and spillways | |
| Type of dam | Embankment with an internal reinforced concrete wall |
| Impounds | O'Shannassy River |
| Height | 34 m (112 ft) |
| Length | 226 m (741 ft) |
| Dam volume | 245,000 m3 (8.7 million cu ft) |
| Spillways | 1 |
| Spillway type | Uncontrolled |
| Spillway capacity | 500 cubic metres per second (18,000 cu ft/s) |
| Reservoir | |
| Creates | O'Shannassy Reservoir |
| Total capacity | 3.123 GL (687 million imp gal; 825 million US gal) |
| Catchment area | 11.9 ha (29 acres) |
| Surface area | 27 ha (67 acres) |
|  | |


title: Hymenocallis duvalensis

abstract: Hymenocallis duvalensis is a plant species in the genus Hymenocallis, family Amaryllidaceae. It is a bulb-forming herb with showy white flowers, native to floodplains and streambanks in Florida and Georgia.

text:
# Hymenocallis duvalensis

***Hymenocallis duvalensis*** (**Dixie spiderlily**) is a plant species in the genus *Hymenocallis*, family Amaryllidaceae. It is a bulb-forming herb with showy white flowers, native to floodplains and streambanks in Florida and Georgia.

## Taxonomy

The species was first named in 1967 by Hamilton Paul Traub. The name was invalid according to Article 8.1 of the then International Code of Botanical Nomenclature, since Traub listed two specimens as the holotype. The name was validated by Joseph E. Laferrière in 1996.

## InfoBox

| *Hymenocallis duvalensis* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Asparagales |
| Family: | Amaryllidaceae |
| Subfamily: | Amaryllidoideae |
| Genus: | *Hymenocallis* |
| Species: | ***H. duvalensis*** |
| Binomial name | |
| ***Hymenocallis duvalensis***<br>Traub ex Laferr. | |
|