Plot.

On Christmas Eve, a baby boy at an orphanage crawls into Santa Claus's sack as he is captivated by the sight of a teddy bear, and is unwittingly transported back to the North Pole. When he is discovered at the workshop, the elves name him Buddy after the brand label on his diaper, and Papa Elf adopts and raises him. Buddy grows up at the North Pole, believing he is an elf and accepted by the elf community, but due to his human size, he is unable to keep up with the other elves and demoted to the demeaning job of toy testing. Soon, Buddy overhears that he is a human, and Papa Elf explains that Buddy was born to Walter Hobbs and Susan Wells and given up for adoption. Susan subsequently died, and Walter, who now works for a children's book publisher at the Empire State Building in New York City, is unaware of Buddy's existence. To Buddy's horror, Santa reveals that Walter is on the naughty list due to his selfish and unscrupulous demeanor, but suggests Buddy could help redeem him.  Buddy promptly travels to New York and finds his father at work, but even after he mentions Susan Wells, Walter misinterprets him as a dysfunctional christmas-gram messenger and has him kicked out of the premises. Inspired by a sarcastic remark from a security guard, Buddy heads to a local Gimbels department store, where the manager mistakes him for an employee. At the store's Santa Land, he meets Jovie, an unenthusiastic employee with whom he is instantly smitten. After hearing that Santa will be at the store the following day, Buddy jubilantly decorates Santa Land overnight. When Buddy realizes that the Gimbels Santa is not the real Santa, he unmasks him and causes a wild tumult in the store that lands Buddy in jail.  Walter reluctantly bails him out and takes him to a doctor for a DNA test, which confirms that Buddy is in fact his long-lost son. The doctor convinces Walter to take Buddy home to meet his stepmother Emily and twelve-year-old half-brother Michael, believing once he is faced with reality he will drop the “elf thing” and move on as a regular adult. Walter and Michael are put off by Buddy's strange behavior, but Emily insists that they care for him until he "recovers." Michael eventually warms up to Buddy after Buddy defends him from a gang of bullies in a snowball fight, and Michael encourages Buddy to ask Jovie on a date, which she accepts. During the date, the two fall in love.  Meanwhile, Walter's company is in trouble after their most recent book fails to sell. Walter's boss, Fulton Greenway, lays down a hard deadline for Walter to have a new book ready by Christmas Eve. In desperation, Walter and his team secure a meeting with best-selling children's author Miles Finch. Buddy interrupts the meeting to boast of his newfound love and mistakes Finch, who has dwarfism, for an elf. Buddy unintentionally insults Finch and pesters him into losing his temper. An angered and insulted Finch attacks Buddy and walks out on Walter, who snaps in anger at Buddy for ruining the meeting and harshly disowns him. Heartbroken, Buddy leaves a note for Walter, Emily, and Michael on an Etch A Sketch and wanders about in the streets, lamenting that he does not fit in anywhere.  On Christmas Eve, after finding Finch's notebook full of ideas, Walter and his team scramble to create a book to pitch. As Walter prepares to pitch the book to Greenway that evening, Michael, who found Buddy's note, arrives and informs Walter that Buddy is gone. Realizing he was wrong and forced to choose between his job or his family, Walter confronts Greenway and despite being fired, leaves with Michael to find Buddy.  As Buddy wanders the streets, he watches Santa's sleigh crash in Central Park, attracting a large crowd. Buddy tracks down Santa, who explains that the sleigh has lost its engine and cannot fly without it due to a shortage of Christmas spirit. Buddy finds the engine and is reunited with Walter and Michael. Walter apologizes to Buddy and accepts him as his son. Buddy then takes them to meet Santa, who proves himself to Michael by showing him what he truly wanted for Christmas. Michael takes Santa's list and reads it in front of television news cameras gathered outside the park, proving that Santa Claus is real. The Central Park Rangers, who have a grudge against Santa for placing them on the naughty list, chase the sleigh as Buddy tries to reattach the engine. Jovie leads the crowd in singing "Santa Claus Is Coming to Town," helping raise enough Christmas spirit to fully power the sleigh without the engine for the first time in years.  By the next Christmas, Walter starts his own publishing company with a best-selling book about Buddy's adventures. Buddy and Jovie, now married, bring their newborn daughter Susie to visit Papa Elf.

Production.

Development.

David Berenbaum initially wrote the script in 1993 with Jim Carrey in mind to star. Berenbaum's screenplay underwent uncredited rewrites by Scot Armstrong, Chris Henchy, and the writing team of Adam McKay and Will Ferrell. According to Favreau, the script was initially "much darker" and did not interest him, although he was interested in working with Ferrell's first post-SNL movie. Asked to rewrite it, a turning point came when he realized he could make Buddy's world an homage to the Rankin Bass Christmas specials. This allowed him to conceive of a movie that could be PG rated as opposed to the original script, which he guessed would have been rated PG-13.  Terry Zwigoff was offered to direct, but declined due to his commitment on another Christmas comedy of 2003, "Bad Santa." Jon Favreau eventually directed the film.

Filming.

Principal photography began on December 2, 2002, and wrapped on March 7, 2003. Filming took place in New York City, as well as in Vancouver and at Riverview Hospital in Coquitlam, British Columbia.  The film makes heavy use of forced perspective to exaggerate the size of Buddy compared to all the other elves. Stop motion animation was employed for certain sequences. CGI usage was kept to a minimum due to Favreau's own preference, something that he would later note he "had to fight very hard" for films.

Post-production.

Apart from snow, most of the computer generated imagery (CGI) in the film was created by Rhythm & Hues Studios. Buddy's belch after drinking a two-liter bottle of Coca-Cola was real, as dubbed by voice actor Maurice LaMarche.

Reception.

Box office.

"Elf" grossed $173.4 million in North America and $47 million in other territories for a total gross of $220.4 million, against a budget of $33 million.  The film opened at number two at the box office in the United States with $31.1 million, finishing behind "The Matrix Revolutions", also in its first week. It topped the box office on its second week of release, beating out "". In the United Kingdom, it opened in second behind "Love Actually".

Critical response.

On Rotten Tomatoes, the film holds an approval rating of 84% based on 193 reviews, and an average rating of 7.03/10. The website's critical consensus reads, "A movie full of Yuletide cheer, "Elf" is a spirited, good-natured family comedy, and it benefits greatly from Will Ferrell's funny and charming performance as one of Santa's biggest helpers." On Metacritic, the film has a weighted average score of 64 out of 100, based on 38 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.  Roger Ebert gave it three out of four stars, calling it "one of those rare Christmas comedies that has a heart, a brain and a wicked sense of humor, and it charms the socks right off the mantelpiece." Writing for "Rolling Stone", Peter Travers gave the film two out of four stars, saying: "Ferrell makes the damn thing work. Even though he can't get naked or use naughty words, there's a devil of comedy in Ferrell, and he lets it out to play. Director Jon Favreau has the good sense to just stand out of his way." "The Hollywood Reporter" gave the film a positive review, saying: "While the words "instant holiday classic" might be pushing it, Elf is at the very least a breezily entertaining, perfectly cast family treat." A. O. Scott of "The New York Times" also gave the film a positive review, saying: ""Elf" is a charming, silly family Christmas movie more likely to spread real joy than migraine, indigestion and sugar shock. The movie succeeds because it at once restrains its sticky, gooey good cheer and wildly overdoes it." Anna Smith of "Empire Magazine" gave the film a three out of five stars and said: "Farrell's man-child invites sympathy and sniggers, making this amusing despite some flimsy plotting. Slight gags and a Santa-centered story should keep the kids happy too." "Plugged In" gave the film a positive review, writing: "The elf-reared Buddy has a heart as big as the arctic north. Does his movie match it?"

Accolades.

The film was nominated for nine awards and won two.  Won  Nominated

Critics' rankings.

"Elf" is often ranked among the greatest Christmas films, and airs annually on television during the holiday season. In 2017, Fandango users rated "Elf" the best Christmas film of the 21st century.

Home media.

The film was released on DVD and VHS on November 16, 2004, and on Blu-ray on October 28, 2008. It is also available for the PlayStation Portable with Universal Media Disc. This is one of the only two DVDs to be PG rated under the "Infinifilm" label.

Musical.

A Broadway musical based upon the film ran on Broadway during the 2010 Christmas season. It was directed by Casey Nicholaw, with music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Bob Martin and Thomas Meehan.  The musical officially opened at the Al Hirschfeld Theatre on November 10, 2010, after previews from November 2, 2010. The cast included Sebastian Arcelus as Buddy, Amy Spanger as Jovie, Beth Leavel as Emily, Mark Jacoby as Walter, Matthew Gumley as Michael, Valerie Wright as Deb, Michael McCormick as Mr. Greenway, Michael Mandell as Store Manager, and George Wendt as Santa. It ran through to January 2, 2011.

Music.

The soundtrack was released on New Line Records in November 2003 in the United States and in October 2005 in the United Kingdom, including its signature song "Baby, It's Cold Outside" by Deschanel and Leon Redbone, releasing it as a single. It was certified Gold by the RIAA in April 2011. Having sold 695,000 copies in the United States, it is the second best-selling film soundtrack/holiday album hybrid since Nielsen SoundScan started tracking music sales in 1991, behind only "The Polar Express".  The score to the film, composed and conducted by John Debney and performed by the Hollywood Studio Symphony, was released by Varèse Sarabande.

Animated special.

"Elf: Buddy's Musical Christmas" is an hour-long stop-motion animated musical television special based on the film and the. While Edward Asner was the only cast member from the film to reprise his role, the rest of the cast included Jim Parsons as Buddy, Mark Hamill as Walter Hobbs, Kate Micucci as Jovie, Rachael MacFarlane as Emily Hobbs, Max Charles as Michael Hobbs, and Gilbert Gottfried as Mr. Greenway. It was produced by Warner Bros. Animation and first aired on NBC on December 16, 2014. It features songs from the musical.

Video game.

A video game based on the film was released on November 4, 2004 for the Game Boy Advance, developed by Human Soft and published by Crave Entertainment. The game follows the same plot as the movie; within the game, the player has to collect candies throughout each level while avoiding various objects and polar bears. The game, however, received mixed to negative reviews by critics.

Possible sequel.

In September 2013, Mental Floss reported that Favreau was interested in making a sequel to "Elf", entitled "Elf 2: Buddy Saves Christmas". Later in December 2013, Ferrell stated that he does not want to make a sequel to "Elf". In January 2016, Favreau stated that a sequel to "Elf" could still happen. The next month Ferrell reiterated that a sequel was unlikely, and stated that he was generally reluctant to do sequels unless there was a story that justifies it.

Elf is a 2003 American Christmas comedy film directed by Jon Favreau, written by David Berenbaum, and starring Will Ferrell, James Caan, Zooey Deschanel, Mary Steenburgen, Daniel Tay, Bob Newhart and Ed Asner. The film centers on Buddy, a human who was adopted and raised by Santa's elves. He learns about this and heads to New York City to meet his biological father while also spreading Christmas cheer in a world of cynics in the process.

精灵总动员是2003年美国的耶诞喜剧电影,由强·法夫洛执导,David Berenbaum编剧,主要演员有威尔·法洛、詹姆士·肯恩、柔伊·黛丝香奈、玛丽·史汀柏格、爱德华·阿斯纳、鲍勃·纽哈特。2003年11月7日,新线影业在美发行圣诞精灵总动员电影。电影的剧情是关于一位耶诞老人的精灵(法洛),得知他自己真实身份其实是人类,跑去纽约市找他的亲身父亲(肯恩),在愤怒无常的世界散布耶诞节的欢愉气氛。


Etymology.

This is the third U.S. Navy warship with the name USS "Mason". The first, in service from 1920 to 1941, was named for John Young Mason, well known for his service as the Secretary of the Navy for two American Presidents. The second was named for Ensign Newton Henry Mason, a Naval Aviator who was posthumously awarded the Distinguished Flying Cross. This ship is named for the crew of the second as this was the first ship in the US Navy with this distinction of a predominantly black crew.

Operational history.

USS "Mason" conducted her maiden deployment with the Carrier Strike Group in support of Operation Iraqi Freedom/Operation Enduring Freedom in late 2004. "Mason" returned home after six months on 18 April 2005.  On 3 October 2006, "Mason" departed Naval Station Norfolk for a seven-month deployment to the Persian Gulf in support of the Global War on Terrorism. She participated in Exercise Neon Falcon. "Mason" returned home in May 2007.  "Mason" deployed with the aircraft carrier on 12 September 2008 for a scheduled deployment.  On 12 March 2011, she sailed through the Suez Canal en route to the Mediterranean, to support possible humanitarian or military action in response to the Libyan Civil War. In April 2011, a boarding team from the ship successfully liberated five Yemeni hostages from eleven Somali pirates who had taken over the Yemeni-flagged ship. The pirates had seriously injured two other fishermen in their attack, left the wounded ashore, and then taken "Nasri" to sea as a pirate mothership. Assault weapons, ammunition, rocket propelled grenades, and launchers were destroyed by the boarding team.  On 22 July 2013, she deployed to the 5th and 6th Fleet area of responsibility as part of the "Harry S. Truman" Carrier Strike Group. "Mason" returned to her homeport on 18 April 2014.  On 7 November 2015, "Mason", acting as the flagship for Destroyer Squadron 26, completed the first East Coast Passing Exercise with the People's Republic of China's People's Liberation Army-Navy [PLA(N)] ships and U.S. Navy warships.  On 23 May 2017, "Mason" was awarded the 2016 Battenberg Cup, signifying she was the best all-around ship or submarine in the United States Navy's Atlantic Fleet based on crew achievements. "Mason" was only the fifth destroyer in the last 111 years to receive the award.

Attacks off the coast of Yemen.

On 3 October 2016, "Mason" was deployed off the coast of war-torn Yemen (along with,, and ) following an attack on the United Arab Emirates operated. According to an unnamed US Department of Defense official, the purpose for sending the ships was "to ensure that shipping continues unimpeded in the strait and the vicinity."  On 9 October 2016, "Mason", operating near the Bab-el-Mandeb strait, was targeted by two missiles fired from Houthi-controlled territory. Both missiles fell short and crashed into the water. The Houthi insurgency denied launching the attack on the warship. The United States Naval Institute reported that "Mason" fired two SM-2 Standard missiles and one RIM-162 ESSM missile to intercept the two missiles as well as deploying its Nulka missile decoy. One of two U.S. defense officials cited anonymously added that it was not clear whether the incoming missiles had been shot down or crashed into the water on their own. This marked the first recorded instance of ship-based anti-air missiles being fired from vertical launching cells in combat in response to an actual inbound missile threat (during the Persian Gulf War's Battle of Bubiyan, a British warship intercepted an Iraqi Silkworm missile though that ship was not equipped with VLS).  On 12 October 2016 "Mason" was again targeted by missiles fired from Yemeni territory while operating in the Bab el-Mandeb strait. "Mason" was not hit by the two missiles, which were fired from near the city of Al Hudaydah. While the Navy is not certain whether the first incoming missile was intercepted or it just fell into the sea, officials claim "Mason" successfully intercepted the second missile at a distance of about. On 13 October 2016, the US attacked three radar sites in Houthi-held territory which had been involved in the earlier missile attacks with cruise missiles launched from. The Pentagon assessed that all three sites were destroyed.  On 15 October 2016, "Mason" was targeted in a third attack by five anti-ship cruise missiles while operating in the Red Sea north of the Bab el-Mandeb strait. The Navy Times reported the "Mason" fired a radar decoy, an infrared decoy, and several SM-2 Standard missiles in response, either neutralizing or intercepting four of the five incoming missiles. The Navy claims the fifth incoming missile was neutralized by a radar decoy launched from, after "Mason" alerted her to the threat.  She is currently homeported in Norfolk, Virginia.

Coat of arms.

Shield.

"The shield has background of white with a double chevron across the center. Above are opposing lions and below is a gold trident."  The traditional U.S. Navy colors were chosen for the shield because dark blue and gold represents the sea and excellence respectively. The United States representing colors, red, white and blue, are all represented. The double chevron is to honor DD 191 and DE 529, the former ships named USS Mason. The facing lions are adapted from the Mason family Coat of Arms, denote the Atlantic and Pacific campaigns of World War II. The trident, symbol of sea prowess, represents "Mason’s" modern warfare capabilities which include; AEGIS weapon system, Cooperative Engagement Capability, and Theater Ballistic Missile Defense.

Crest.

"The crest consists of a helm, crossing swords behind and a combined anchor and cross surrounded by a wreath."The helm is symbolic to strong defense with power projection. The anchor refers to the namesake of DD 191, John Young Mason, who was the Secretary of the Navy under President John Tyler and James K. Polk. The cross is in reference to Newton Henry Mason's Distinguished Flying Cross award. The wreath represents all the awards, honors and achievements of the past ships with the namesake Mason and crews who served them.

Motto.

"The motto is written on a scroll of white with a red trim."The ships motto is "Proudly We Serve". The motto is in honor of the high achievement of the African American crew of DE-529 who made history with their selfless bravery in defense of the U.S. in World War II and also marks their contribution to the eventual desegregation of the U.S. Navy.

Seal.

"The coat of arms in full color as in the blazon, upon a white background enclosed within a dark blue oval border edged on the outside with a gold rope and bearing the inscription "USS Mason" at the top and "DDG 87" in the base all gold."

USS "Mason" (DDG-87) is an in the United States Navy. She is named in honor of the non-segregated crew serving onboard USS MASON (DE-259). This ship is the 37th destroyer of its class. USS "Mason" was the 21st ship of this class to be built at Bath Iron Works in Bath, Maine, and construction began on 19 January 2000. She was launched and christened on 23 June 2001. On 12 April 2003, a commissioning ceremony was held at Port Canaveral, Florida. She is currently homeported in Norfolk, Virginia.

梅森号驱逐舰(USS Mason (DDG-87))是美国海军阿利·伯克级驱逐舰的第三十七艘,以美国海军历史上第一艘以黑人船员为主的梅森号护航驱逐舰命名。


Plot.

In 1962 Detroit, Michigan, young car salesman Curtis Taylor Jr. meets a black girl group known as "The Dreamettes", which consists of lead singer Effie White and backup singers Deena Jones and Lorrell Robinson, at an R&B amateur talent show at the Detroit Theatre. Curtis presents himself as The Dreamettes' new manager and arranges for the girls to become backup singers for Chitlin' Circuit R&B star Jimmy "Thunder" Early.  Curtis soon starts his own record label, Rainbow Records, out of his Detroit car dealership, and appoints Effie's brother C.C as his head songwriter. When their first single fails after a white pop group releases a cover version, Curtis, C.C., and their producer Wayne turn to payola to make "Jimmy Early & The Dreamettes" mainstream pop stars. Offstage, Effie becomes infatuated with Curtis while the married Jimmy begins an affair with Lorrell.  Jimmy's manager, Marty Madison, grows weary of Curtis' plans to make his client more pop-friendly and walks out. When Jimmy bombs in front of an all-white Miami Beach supper club audience, Curtis sends Jimmy out on the road alone, keeping The Dreamettes behind to headline in his place. Feeling that Effie's plus-sized figure and distinctive voice will not attract white audiences, Curtis appoints the slimmer and higher-voiced Deena lead singer and renames the group "The Dreams".  With the aid of new songs and a new image, Curtis and C.C. transform The Dreams into a top-selling mainstream pop group. By 1965, however, Effie begins acting out, particularly when Curtis' affections also turn towards Deena. Curtis eventually drops Effie from the group,

Production.

Pre-production.

Since the 1980s and 1990s, several different attempts have been made to produce a film adaptation of "Dreamgirls", a Broadway musical loosely based upon the story of The Supremes and Motown Records, which won six Tony Awards in 1982. David Geffen, the stage musical's co-financier, retained the film rights to "Dreamgirls" and turned down many offers to adapt the story for the screen. He cited a need to preserve the integrity of "Dreamgirls" stage director Michael Bennett's work after his death in 1987. That same year, Geffen, who ran his Warner Bros.-associated Geffen Pictures film production company at the time, began talks with Broadway lyricist and producer Howard Ashman to adapt it as a star vehicle for Whitney Houston, who was to portray Deena. The production ran into problems when Houston wanted to sing both Deena and Effie's songs (particularly "And I Am Telling You I'm

Stage to script changes.

While much of the stage musical's story remains intact, a number of significant changes were made. The Dreams' hometown—the setting for much of the action—was moved from Chicago to Detroit, the real-life hometown of The Supremes and Motown Records. The roles of many of the characters were related more closely to their real-life inspirations, following a suggestion by Geffen.  Warner Bros. had retained the film

Casting and rehearsal.

Mark and Condon began pre-production with the intentions of casting Jamie Foxx and Eddie Murphy, both actors with record industry experience, as Curtis Taylor, Jr. and James "Thunder" Early, respectively. When offered the part of Curtis, Foxx initially declined because DreamWorks could not meet his salary demands. Denzel Washington, Will Smith, and Terrence Howard were among the other actors also approached to play Curtis. Murphy, on the other hand, accepted the role of Jimmy Early after being convinced to do so by DreamWorks co-founder Jeffrey Katzenberg.  While Condon had intended to

Principal photography.

Principal photography began January 6, 2006 with the filming of dance footage for the first half of "Steppin' to the Bad Side," footage later deleted from the film. The film was primarily shot on soundstages at the Los Angeles Center Studios and on location in the Los Angeles area, with some second unit footage shot in Detroit, Miami, and New York City. The award-winning Broadway lighting team of Jules Fisher and Peggy Eisenhauer were brought in to create theatrical lighting techniques for the film's musical numbers.  Beyoncé elected to lose weight to give the mature Deena Jones of the 1970s a different look than the

Music.

"Dreamgirls" musical supervisors Randy Spendlove and Matt Sullivan hired R&B production team The Underdogs — Harvey Mason, Jr. and Damon Thomas — to restructure and rearrange the Henry Krieger/Tom Eyen "Dreamgirls" score so that it better reflected its proper time period, yet also reflected then-modern R&B/pop sensibilities. During post-production, composer Stephen Trask was contracted to provide additional score material for the film. Several musical numbers from the Broadway score were not included in the film version, in particular Lorrell's solo "Ain't No Party".  Four new songs were added for the film: "Love You I Do", "Patience", "Perfect World," and "Listen." All of the new songs feature music composed by original "Dreamgirls" stage composer Henry Krieger. With Tom Eyen having died in 1991, various lyricists were brought in by Krieger to co-author the new songs. "Love You I Do," with lyrics by Siedah Garrett, is performed in the film by Effie during a rehearsal at the Rainbow Records studio. Willie Reale wrote the lyrics

Reception.

Premieres, road show engagements, and general releases.

"Dreamgirls" premiered on December 4, 2006 at the Ziegfeld Theatre in New York City, where it received a standing ovation. The film's Los Angeles premiere was held on December 11 at the Wilshire Theater in Beverly Hills.  Similar to the releases of older Hollywood musicals such as "The Sound of Music", "My Fair Lady", and "West Side Story", "Dreamgirls" debuted with three special ten-day roadshow engagements beginning on December 15, 2006 at the Ziegfeld Theatre in New York City, the Cinerama Dome in Los Angeles, and the AMC Metreon 15 in San Francisco. Tickets for the reserved seats were $25 each; the premium price included a forty-eight page full-color program and a limited-print lithograph. This release made "Dreamgirls" the first American feature film to have a roadshow release since "Man of La Mancha" in 1972. "Dreamgirls" earned a total of $851,664 from the roadshow engagements, playing to sold-out houses on the weekends. The film's national

Critical and celebrity reaction.

"Dreamgirls" received positive reviews from critics. On the review aggregator website Rotten Tomatoes, the film holds a 78% rating based on 207 reviews, with an average rating of 7.24/10. The site's consensus states: ""Dreamgirls" simple characters and plot hardly detract from the movie's real feats: the electrifying performances and the dazzling musical numbers." Metacritic reports a 76 out of 100 rating, based on 37 critics, indicating "generally favorable reviews". "Rolling Stone's" Peter Travers gave the film three and a half stars (out of four)

Awards.

DreamWorks and Paramount began a significant awards campaign for "Dreamgirls" while the film was still in production. In February 2006, the press was invited on set to a special live event showcasing the making of the film, including a live performance of "Steppin' to the Bad Side" by the cast. Three months later, twenty minutes of the film — specifically, the musical sequences "Fake Your Way to the Top", "Family", "When I First Saw You", and "Dreamgirls" – were screened at the 2006 Cannes Film Festival, with most of the cast and crew in attendance. The resulting positive buzz earned "Dreamgirls" the status of "front-runner" for the 2006 Academy Award for Best Picture and several of the other Oscars as well. Following the success of the Cannes screening, DreamWorks and Paramount began a widespread "For Your Consideration" advertisement campaign, raising several eyebrows by

Related promotions and products.

To give the story more exposure for the upcoming film release, DreamWorks and the licenser of the original play, The Tams-Witmark Music Library, announced that they would pay the licensing fees for all non-professional stage performances of "Dreamgirls" for the calendar year of 2006. DreamWorks hoped to encourage amateur productions of "Dreamgirls", and familiarize a wider audience with the play. As a result, more than fifty high schools, colleges, community theaters, and other non-commercial theater

Allusions to actual events.

Aside from the overall plot of the film and elements already present in the stage musical, many direct references to Supremes, Motown, or R&B/soul history in general are included in the film. In one scene, Effie saunters into Curtis' office and discusses Rainbow Records' latest LP, "The Great March to Freedom", a spoken word album featuring speeches by Martin Luther King, Jr. This LP is an authentic Motown release, issued as Gordy 906 in June 1963. A later scene features Curtis and the Dreams recording in the studio, while a riot rages outside. By comparison, Motown's Hitsville U.S.A. studio remained open and active during Detroit's 12th Street Riot in July 1967. The photo shoot montage which accompanies "When I First Saw You", as well as the subplot of Deena being forced to star in Curtis' "Cleopatra" film against her will, reflect both scenes from and the production of "Mahogany", a 1975 Motown film starring Diana Ross and directed by Motown CEO Berry Gordy.  Among the more direct references are the uses of adapted Supremes album cover designs for albums recorded in the film by the Dreams. Three Supremes albums – "Let the Sunshine In", "Cream of the Crop", and "Touch" – were reworked into Deena Jones & The Dreams album designs, with the only differences in the designs being the substitution of the names and images of the Supremes with those of Deena Jones & the Dreams. Another Dreams LP seen in the film, "Meet the Dreams", is represented by an album cover derived from the designs for the Supremes LPs "Meet The Supremes" "More Hits by The Supremes" and "The Supremes A' Go-Go". There is also a solo album, "Just In Time", recorded by Deena Jones shown in the film, the album cover for which is based on Dionne Warwick's 1970 album "Very Dionne".  Diana Ross, long a critic of the Broadway version of "Dreamgirls" for what she saw as an appropriation of her life story, denied having seen the film version. On the other hand, Mary Wilson attended the film's Los Angeles premiere, later stating that "Dreamgirls" moved her to tears and that it was "closer to the truth than they even know".  However, Smokey Robinson was less than pleased about the film's allusions to Motown history. In a January 25, 2007 interview with NPR, Robinson expressed offense at the film's portrayal of its Berry Gordy analogue, Curtis Taylor Jr., as a "villainous character" who deals in payola and other illegal activities. He repeated these concerns in a later interview with "Access Hollywood", adding that he felt DreamWorks and Paramount owed Gordy an apology. On February 23, a week before the Oscars ceremony, DreamWorks and Paramount issued an apology to Gordy and the other Motown alumni. Gordy issued a statement shortly afterwards expressing his acceptance of the apology.  The payola scheme used in the film's script, to which Robinson took offense, is identical to the payola scheme allegedly used by Gordy and the other Motown executives, according to sworn court depositions from Motown executive Michael Lushka, offered during the litigation between the label and its chief creative team, Holland–Dozier–Holland. Several references are also made to Mafia-backed loans Curtis uses to fund Rainbow Records. Gordy was highly suspected, though never proven, to have used Mafia-backed loans to finance Motown during its later years.

Dreamgirls is a 2006 American musical drama film written and directed by Bill Condon and jointly produced and released by DreamWorks Pictures and Paramount Pictures. Adapted from the 1981 Broadway musical of the same name by composer Henry Krieger and lyricist/librettist Tom Eyen, "Dreamgirls" is a film à clef, a work of fiction taking strong inspiration from the history of the Motown record label and one of its acts, The Supremes. The story follows the history and evolution of American R&B music during the 1960s and 1970s through the eyes of a Detroit, Michigan girl group known as the Dreams and their manipulative record executive.

《梦幻女郎》(英语:Dreamgirls)是一部于2006年上映的美国歌舞电影,由比尔·坎登执导。改编自1981年的Dreamgirls。


Change in ownership.

In 1998, Viacom International Media Networks Europe (VIMN Europe) signed a long term agreement with Biz Enterprises to launch a 24-hour music channel in the Russian Federation. MTV became the first US television brand to localize in the Russian state. In 2007, VIMN Europe signed a new agreement with Prof Media to operate and broadcast the channel along with. Under Prof Media's ownership the channel moved from music orientated programming to youth-orientated programming. This move proved to be very unsuccessful for its new owners as research conducted by VIMN showed Russian viewers prefer music programming over reality based programming.  Prof Media announced in December 2012 that they would no longer operate MTV Russia from June 1, 2013 and would replace the channel with a new general entertainment channel called Friday!. On May 30, 2013 Viacom International Media Networks new division VIMA Russia announced it would relaunch MTV in Russia on October 1, 2013 which would be wholly operated by VIMN Russia in London. The relaunch will see many of its international programmes with Russian subtitles. As part of the relaunch MTV will launch 'The Face of MTV Russia' a contest to find a presenter for the channel to host MTV News.  A HD version of MTV Russia also launched on October 1, 2013. Viacom International Media Networks Russia is operated from the London offices of VIMN which now operates MTV Russia, VH1 Russia and Nickelodeon Russia.

History.

MTV Russia Music Awards & MTV Russia Movie Awards.

Following the success of the MTV Europe Music Awards, Viacom International Media Networks launched a localized awards show for Russia called MTV Russia Music Awards. The first awards show began in 2004 and aired on the channel annually until 2009. The awards show celebrated local and international artists. The 'Artist of the Year' award winner would go on to also win the winner of Best Russian Artist on the MTV Europe Music Awards. Russia is still represented at the MTV EMA's. Following on from the success of the local music awards show in Russia, 2006 saw the launch of MTV Russia Movie Awards. The awards show was presented by local and international actors such as Pamela Anderson in 2007 and Paris Hilton in 2008. The show was axed in April 2009.

MTV Russia () is a Russian-language free-to-air 24-hour music and general entertainment channel broadcasting in the Russian Federation. Under a licensing agreement from ViacomCBS Networks EMEAA the channel was operated by. From June 2013, VIMN Russia announced it would operate the channel after the agreement between both media organizations ceased. VIMN Russia relaunched the channel MTV Russia channel on October 1, 2013 and is also served by mtv.ru.

MTV俄罗斯是一项俄语无线电视服务,至今已拥有近2千2百万收视群体,其中大多数分布在莫斯科、圣彼得堡、鄂木斯克、沃罗涅日、新西伯利亚和叶卡捷琳堡,以及其他一些覆盖地区。通过与BIZ Enterprises的一项长期合同,MTV俄罗斯已经成为第一家专门为俄罗斯青少年一代量身定做的西方传媒电视网,在2000年1月,MTV国际电视网成功获得了MTV俄罗斯的一项参股权。 专门正对14-34岁年龄段的收视群体,这个坐落在莫斯科的依靠广告收入盈利的传媒电视网集合了来自于俄罗斯以及国际范围内的各类丰富的音乐录音带资源。MTV俄罗斯的VJ对本土音乐的参与性与传播影响反映出了MTV独到的善变与不羁的风格


History.

"Imari" was simply the trans-shipment port for Arita wares, from where they went to the foreign trading outposts at Nagasaki. It was the kilns at Arita which formed the heart of the Japanese porcelain industry.  Arita's kilns were set up in the 17th century, after kaolin was discovered in 1616. A popular legend attributes the discovery to an immigrant Korean potter, Yi Sam-pyeong (1579–1655), although most historians consider this doubtful. After the discovery, some kilns began to produce revised Korean-style blue and white porcelains, known as Early Imari, or "Shoki-Imari".  In the mid-17th century there were also many Chinese refugees in northern Kyushu due to the turmoil in China, and it is said that one of them brought the overglaze enamel coloring technique to Arita. Thus Shoki-Imari developed into Ko-Kutani, Imari, and later Kakiemon, which are sometimes taken as a wider group of Imari wares. Ko-Kutani was produced around 1650 for both export and domestic market. Kutani ware is characterized by vivid green, blue, purple, yellow and red colors in bold designs of landscapes and nature. Blue and white porcelain pieces continued to be produced and they are called Ai-Kutani. Ko-Kutani Imari for the export market usually adopted Chinese design structure such as kraak style, whereas Ai-Kutani for the domestic market were highly unique in design and are accordingly valued very much among collectors.  Ko-Kutani style evolved into Kakiemon-style Imari, which was produced for about 50 years around 1700. Kakiemon was characterized by crisp lines, and bright blue, red and green designs of dramatically stylized floral and bird scenes. Imari achieved its technical and aesthetic peak in the Kakiemon style, and it dominated the European market. Blue and white Kakiemon is called Ai-Kakiemon. The Kakiemon style transformed into Kinrande in the 18th century, using underglaze blue and overglaze red and gold enamels, and later additional colors.  Imari began to be exported to Europe when the Chinese kilns at Jingdezhen were damaged in the political chaos and the new Qing dynasty government halted trade in 1656–1684. Exports to Europe were made through the Dutch East India Company, and in Europe the designation "Imari porcelain" connotes Arita wares of mostly Kinrande Imari.  Export of Imari to Europe stopped in mid-18th century when China resumed export to Europe, since Imari was not able to compete against Chinese products due to high labor costs. By that time, however, both Imari and Kakiemon styles were already so popular among Europeans that the Chinese export porcelain copied both, a type known as Chinese Imari. At the same time, European kilns, such as Meissen and English potteries such as Johnson Bros. and (Royal) Crown Derby, also imitated the Imari and Kakiemon styles.  Export of Imari surged again in late 19th century (Meiji era) when Japonism flourished in Europe. Thus in the western world today, two kinds of true Japanese Imari can be found: that exported in the mid-Edo period, and that exported in the Meiji era. From the viewpoint of collectors, these two types are completely different, though Kinrande appearances are similar.

Characteristics.

Though there are many types of Imari ware, the type usually so called in the West is called "kinrande" in Japanese, and was produced for export in large quantities from the mid-17th century until the export trade tailed off around 1740. "Kinrande" has underglaze cobalt blue and overglaze red and gold, and sometimes other colors. The color combination was not seen in China at that time. Traditional Ming dynasty color porcelain used dominantly red and green, probably due to scarcity of gold in China, whereas gold was abundant in Japan in those days.  The subject matter of Arita is diverse, ranging from foliage and flowers to people, scenery and abstractions. Some designs such as Kraak porcelain were adopted from China, but most designs were uniquely Japanese owing to the rich Japanese tradition of paintings and costume design. The porcelain has a gritty texture on the base, where it is not covered by glaze.

Chinese Imari.

Though sophisticated wares in authentic Japanese styles were being made at Arita for the fastidious home market, European–style designations of Arita porcelain were formed after blue and white kraak porcelains, imitating Chinese underglaze "blue-and-white" wares, or made use of enamel colors over underglazes of cobalt blue and iron red. The ware often used copious gilding, sometimes with spare isolated sprigged vignettes, but often densely patterned in compartments. There were two quite different styles in these wares. Globular Imari teapots with swan-necked spouts helped establish the classic European form for these new necessities of life.  Dutch traders had a monopoly on the insatiable export trade, the first large order being placed at Arita by the Dutch East India Company in 1656. The trade peaked in the late 17th century and was slowly replaced by Chinese kilns in the early 18th century; it ended in 1756, as social conditions in China settled with the full establishment of the Qing Dynasty. Imitating Arita designs, fine "Chinese Imari" export wares were produced in the 18th century, eclipsing the original Japanese exports.

European Imari.

European centers imitated the style of Imari wares, initially in faience at Delft in the Netherlands. Imari patterns, as well as "Kakiemon" designs and palette of colors, influenced some early Orientalizing wares produced by the porcelain manufactories at Meissen, Chantilly, or later at Vincennes and in Vienna. It was also produced in the early 19th century at Robert Chamberlain's Worcester porcelain factory at Worcester, as well as Crown Derby porcelain, where Imari patterns remain popular to the present.

Typically Imari ware (in the English use of the term) is decorated in underglaze blue, with red, gold, black for outlines, and sometimes other colours, added in overglaze. In the most characteristic floral designs most of the surface is coloured, with "a tendency to overdecoration that leads to fussiness". The style was so successful that Chinese and European producers began to copy it. Sometimes the different overglaze styles of Kakiemon and Kutani ware are also grouped under Imari ware.

伊万里烧(),是日本以有田(佐贺县有田町)为中心的肥前国(今佐贺县与长崎县)所生产的瓷器总称。在壬辰倭乱后的十七世纪初期,使得日本可以在本国生产瓷器,来自朝鲜的制瓷师在有田泉山发现合适的高岭土,从有田北边的伊万里港输出的瓷器遂在国际大放异彩,为了方便称呼就称它为伊万里瓷。随时间推移,制瓷的技术发展完备,产生了许多不同种风格的瓷器,并且影响到中国及海外。


Method.

The pedagogy of philosophy for children is diverse. However, many practitioners including those working in the tradition of Matthew Lipman and the Institute for the Advancement of Philosophy for Children emphasize the use of a community of inquiry method which has roots in the work of philosopher John Dewey. The term "inquiry" is preferred to "lesson" because the emphasis is on the group inquiring together into questions with the teacher as a facilitator rather than the authoritative source of information.

Questions and pictures as stimuli for conversation.

As a basis for discussing philosophy with children, the questions used (“What is friendship?”, “Do animals have feelings?”, and “What is happiness?”) are of crucial importance. The German educational scientist Michael Siegmund recommends asking children a philosophical question along with an inspiring picture. Together, the image and question create an opening for discussing philosophy. Among other things, natural landscapes, pictures of animals and people, certain social situations, or even fantasy pictures can be used. This dual method can be used as early as at daycare for children ages 4 and up, as well as at school or with family.

Stories as stimuli for conversation.

Along with pictures, stories can also lead to discussions of philosophy with children. A story can thus be an occasion to start a philosophical conversation with children. Adults can ask the children philosophical questions while they are reading aloud as well. Stories, combined with profound questions, can inspire children and promote their creativity and imagination. Adults can either add “philosophical questions” to “classic” stories and fairy tales themselves, or use special children's books for discussing philosophy with children. Michael Siegmund recommends stories in which animals are the main characters and child-friendly questions are asked. Possible topics may include poverty and wealth, friendship and family, happiness, freedom, environmental pollution, justice, and more.

Notable proponents and their styles in the world.

One of the salient differences between proponents of philosophy for children is in their choice of stimuli - starting points for discussions. Matthew Lipman, called "the most influential figure" in helping young students develop philosophical thinking by Gareth Matthews, is credited with starting the Philosophy for Children movement in the 1970s. After witnessing political upheaval taking place on University campuses nationwide in the 1960s, Lipman realized that philosophical and critical thinking should be encouraged much earlier in the academic setting. He founded the "Institute for the Advancement of Philosophy for Children" at Montclair State University (then Montclair State College) in 1974. Lipman's method involves reading philosophically stimulating narrative to children and encouraging them to come up with philosophical questions in response. The questions set the agenda for a collaborative inquiry where the teacher acts as both facilitator and co-inquirer. The lessons are dialogue based with students usually sitting in a circle and taking turns at suggesting solutions, expressing opinions, putting forth arguments and counter arguments, providing examples, constructing criteria and building on each other's ideas with the aim of coming to a settlement regarding the initial philosophical questions that stimulated the dialogue. Lipman's ideas about learning, pedagogy and curriculum are heavily influenced by the educational and philosophical ideas of the American pragmatist philosopher John Dewey. Many of the materials used by the IAPC are philosophical children's novels that were published by Lipman, including "Harry Stottlemeier's Discovery", which he published in 1969. Others have built on Lipman's ideas and developed further teaching resources and learning activities that complement his original Philosophy for Children novels and pedagogical approach, such as Phil Cam's popular teaching resources Lipman wrote the world's first systematic pre-college philosophy curriculum and created both masters and doctoral programs in the field of Philosophy for Children. He also founded "Thinking: The Journal of Philosophy for Children".  Gareth Matthews worked with a variety of students, but primarily with students in late primary school (5th grade and thereabouts). Matthews' method was to get the students to actively create philosophical settings, to “make the philosophical problem their own”. One of his best-known techniques was to provide the beginning of a philosophically provocative story. He then recorded/transcribes student comments, put them in the mouths of characters in the story, and brought the story continuation to the next class session for further discussion. Such interactions are compiled in his book "Dialogues With Children".  Karin Murris of Witwatersrand University, South Africa and Joanna Haynes of Plymouth University, England, have popularised the use of children's picture books as an alternative to purpose-written materials. Tom Wartenberg of Mount Holyoke, Massachusetts has also written a large number of discussion plans for philosophising with picture books.  Jana Mohr Lone has written about children's philosophical thinking and the benefits of encouraging children to engage in philosophical inquiry.  Ellen Duthie, together with her team based in Spain, researches and develops the possibilities of Visual Philosophy for Children (and adults), exploring different ways of engaging and stimulating philosophical dialogue through visuals in her Wonder Ponder series of books.  There is particular diversity in the UK, owing to the large number of competing and collaborating freelance trainers each emphasising different strands of the pedagogy. Roger Sutcliffe's practice includes the use of news stories; Steve Williams has emphasised the importance of dialogues that model argument as well as raising philosophical issues; Will Ord emphasises the use of striking photos, often containing contrasts that suggest opposing concepts.; Jason Buckley advocates a more physical, game-based approach and "Philosophy in Role", in which children philosophise within a story as characters confronted with a variety of problems.  SAPERE is the UK's leading provider of P4C training. Registered in 1994, the charity has trained over 27,000 teachers and other individuals in the use of P4C. SAPERE's mission is to advance the educational, personal and social development of young people, especially those facing disadvantage, through the promotion of P4C. The organisation's work gained national prominence in 2015 when Durham University School of Education published results of a randomised control trial of P4C with over 3,000 primary school students. The study was sponsored by the Education Endowment Foundation. The study found that P4C advanced attainment for all students and had a particularly strong impact on children from disadvantaged backgrounds.  Co-founded by Peter Worley and Emma Worley, The Philosophy Foundation's specialist philosophy teachers (all philosophy graduates) specifically use philosophical material, including thought-experiments and stories or activities that lead to questions from the philosophical canon. They make use of carefully structured questioning strategies and also the introduction of thinking skills in order to develop good thinking habits from a young age. The questioning strategies are used to introduce dialectic along Platonic lines and in order to maintain philosophical focus. Uniquely they have a methodology that introduces writing and meta-analysis with older primary and secondary students.  UK based Thinking Space is Grace Robinson, a philosopher and a network of associated philosophers and educators whose work is characterised by playful and experimental collaborations. This work with a range of practitioners, among them artists, scientists, and academics, aims to bring philosophical issues alive for children and young people. Thinking Space's most notable collaboration is with The University of Leeds on 'Leeds Philosophy Exchange'; an accredited undergraduate course in which philosophy students facilitate philosophical enquiry in local primary schools, alongside teachers trained by Thinking Space in P4C.  A particular way of doing philosophy with children is illustrated by the work of Chris Phillips with the Philosophers Club at Cesar Chavez Elementary School in the Mission District, San Francisco, California.  Professor William Barry of Notre Dame de Namur University is pioneering a new approach to p4c called Philosophy for Children and Community (P4c2) in the San Francisco Bay Area. His contribution to evolving the idea of p4c involves young people becoming novice critical theory action researchers and meaningful members of communities of inquiry focused on human flourishing for every person. Another key component of Barry's P4c2 is the importance of children gaining ontological weight from participation in their communities of inquiry by understanding the meaning of quality in praxis in a transformational way through TQ Theory. The Institute of P4c2 has recently been developed by Living Leadership Today, LLC Founder Maria Rachelle in Silicon Valley California and resulted in the creation of the online international scholarly journal, the "International Journal of Transformative Research.

Programs, competitions, and publications.

There are a number of college-level academic philosophy programs in the United States that do outreach to public schools, most notably at the University of Washington, University of Massachusetts - Boston, University of Chicago, California State University Long Beach, Texas A&M University, Mount Holyoke College, Montclair State University, Michigan State University, University of Hawai`i at Manoa, Notre Dame de Namur University, Creighton University, and Plattsburgh State University Of New York.  At the University of Washington, the Center for Philosophy for Children educates University of Washington graduate and undergraduate students about how to facilitate philosophy sessions, and then sends them into Seattle classrooms with supervision and mentoring from experienced instructors. This program has introduced philosophy to thousands of public school students, and runs many year-long weekly philosophy sessions in Seattle public school classrooms. The Center has four graduate fellowships in pre-college philosophy and also runs regular workshops and programs for teachers, parents and other adults about how to introduce philosophy to young people.  At the University of Chicago, students in the college teach in schools on Chicago South Side through the University's Civic Knowledge Project. The class, known as Winning Words, is an after school program that works with elementary, middle and high school students in Chicago. The program aims to engage and inspire local youth through an education in philosophy, reasoning and the verbal arts of dialogue and rhetoric; building self-confidence and exposing its students to a wide range of philosophical material. Recognized by the American Philosophical Association, the program provides an introduction to philosophy and Socratic dialogue and includes writing, public speaking, debate, drama, poetry and art. The material uses the Socratic method to engage students and to encourage the use of critical thinking, reasoning and expression. Such modes of thought and communication foster the sense of wonder that is at the root of serious introspection, intellectual growth, and ethical reflection. February 2012, the American Philosophical Association's Committee on Pre-Collegiate Philosophy featured Winning Words and the Civic Knowledge Project in its Central Division meeting.  Before the Department of Education cut funding for such programs in the early 1990s, there were over 5,000 programs in K-12 schools nationwide which engaged young people in philosophical reflection or critical thinking, more generally. This number has dropped substantially.  The Institute for the Advancement of Philosophy for Children (IAPC), which has been recognized by the APA for excellence and innovation, utilizes Lipman's method, exposing children to philosophically stimulating narrative to encourage them to create and ask their own philosophical questions, actively in the K-12 classroom through a longstanding partnership with the Montclair public school system. Students are encouraged to ask their questions and the philosophical facilitator (a member of the IAPC) helps the children to develop philosophical skills and dispositions of critical, caring, and creative thinking in order to get the young students to come to reasonable judgment about what is "best to do or believe," in response to the initial question. IAPC has a large teacher preparation component and provides teacher manuals that include discussion plans specifically designed to assist in the facilitation of philosophical discussions that are general enough to answer most student questions. In addition to working directly with schoolchildren, members of the IAPC work with several constituencies, including professional and pre-professional educators, educational administrators and policy-makers, and faculty and students of education, philosophy and related disciplines. IAPC has trained educators worldwide to successfully implement their curriculum in their home states and countries. Philosophy and Children organization offers introductory workshops and Certificate courses in schools and graduate teachers in Australia.  The Philosophy Learning and Teaching Organization (PLATO) is a national organization in the USA that provides support and resources for bringing philosophy into pre-college classrooms.  There is an annual "Philosophy Slam" competition for kids in grades K-12. Younger children are encouraged to submit artwork which illustrates their philosophical reflections while older children submit increasingly sophisticated written work.  In the UK the University of Leeds now offers a students into schools programme called Leeds Philosophy Exchange, led by Grace Robinson. The University of Bristol is now working on Bristol Philosophy Exchange applying a similar model in which philosophy students and primary school teachers exchange skills and knowledge in weekly philosophical enquiry with children.  Educational charity The Philosophy Foundation (formerly The Philosophy Shop) trains philosophy graduates to do philosophy with primary and secondary school children, and places them in schools nationwide. They also train teachers in the transferable skills of philosophy (questioning, thinking skills and discourse skills), and are encouraging an enquiry based approach to education at all levels, including tertiary.  SAPERE is a UK charity that trains teachers in P4C nationwide.  Thinking Space works with schools to devise creative philosophy projects that combine the expertise of philosophers and teachers.  The growth of a community between European philosophy with children (PWC) practitioners culminated in the establishment of “Stichting SOPHIA —The European Foundation for the Advancement of Doing Philosophy with Children” in 1993, with Eulalia Bosch (Catalonia) as its President, and Karel van der Leeuw (the Netherlands) Secretary. Following the motto of the European Community (now the EU) – ‘ unity through diversity’, SOPHIA supported the development of doing philosophy with children within all the different European cultures and languages, and nurtured the community among practitioners as the foundation for collaborative work and mutual development. Many groundbreaking and innovative projects have resulted from SOPHIA members working together, often funded by the EU. For example, pwc projects working with art, citizenship, excluded children, architecture, anti-racism, music, community development and more.  In Australasia an extensive P4C network has developed since the 1980s. Associations have been established in each Australian state and also the Federation of Australasian Philosophy in Schools Associations (FAPSA) has been instrumental in promoting P4C throughout Australasia. FAPSA is a professional non-profit organization promoting philosophy in schools and representing the interests of its affiliated associations across Australia, New Zealand and Singapore. The Federation's primary purpose is to facilitate the educational aims and objectives of its affiliated associations. FAPSA has an official journal called the "Journal for Philosophy in Schools"  In 2007 a competition was created in Perth Western Australia called a Philosothon. This competition promotes P4C and has been phenomenally successful over its short history. Each Australian state now holds an annual Philosothon and Australian Association of Philosophy (AAP) hosts the Australasian Philosothon in different states each year. There are over 400 schools involved in Philosothons in Australasia, Europe and the UK.

Journals.

There have been several academic journals devoted to publishing work regarding philosophy for/with children.

Books.

A number of books have been published on philosophy for children other than those mentioned above by Matthews and Lipman. Some are intended to be read by children, others by children with their parents, and still others by philosophers, educators, and policy-makers considering the merits of K-12 philosophy programs. A partial (by no means exhaustive or representative) list includes the books:

References.

Haas, H. J. (1976). The Value of Philosophy for Children within the Piagetian Framework. Metaphilosophy. 7(1). 70-75 Special Issue on Philosophy for Children.  Haas, H. J. (1976). Philosophical Thinking in the Elementary Schools. Report to the National Endowment for the Humanities on "Philosophy for Children". Rutgers University. Newark, NJ. ED 172 910.

Philosophy for Children, sometimes abbreviated to P4C, is a movement that aims to teach reasoning and argumentative skills to children. There are also related methods sometimes called ""Philosophy for Young People"" or ""Philosophy for Kids"". Often the hope is that this will be a key influential move towards a more democratic form of democracy. However, there is also a long tradition within higher education of developing alternative methods for teaching philosophy both in schools and colleges (see ""philosophy education"").

给儿童的哲学(英语:Philosopyhy for Children),有时简写为P4C,是指目标在教给儿童如何推论以及思辨技能的社会运动。相关的方法有时候也称作给年轻人的哲学(Philosophy for Young People)或给孩子的哲学(英语:Philosophy for Kids)。运动目的是希望为民主带来更深化的影响力。然而,在高等教育的范畴中,过去也有开发在大专院校另类哲学教法的传统(详见哲学教育)。


History.

Conception and fundraising.

When Major League Soccer had its inaugural season in 1996, the league resembled its contemporary North American leagues. After the regular season, the campaign culminated with the MLS Cup Playoffs, en route to the postseason championship match, the MLS Cup. The club with the best regular season record received nothing more than the top seed in the playoffs.  In 1997, soccer fan Nick Lawrus on a listserv proposed the notion of a "Supporters' Scudetto", as a result of the Tampa Bay Mutiny earning the best regular season record but failing to win the 1996 MLS Cup final. A committee composed of members of all MLS teams' supporters changed the name to "Supporters' Shield" but, due to disagreements between members of the committee, the proposal failed to come to fruition.  The following year, another group led by soccer enthusiast Sam Pierron tried to revive the idea by giving an award to the regular season champions. Since MLS refused to fund the idea, Pierron began fundraising to purchase a trophy with the help of supporters from various MLS clubs. Fundraising was boosted with donations from ESPN commentator Phil Schoen and MLS commissioner Doug Logan. In the end, nearly $3,000 was donated to commission the trophy, which was a chevron made by artist Paula Richardson out of sterling silver sheet metal, for $2,200.  The process to create and purchase the Supporters' Shield was not completed until the tail end of the 1999 season. While D.C. United were the first MLS club to win the award, the first place finishes between 1996-1998 have all been awarded the honor retroactively, with their names included on the shield at the time of its creation.

Shield awarding and tiebreakers.

Since the 2000 season, the system of awarding points in Major League Soccer is the same as the international standard, three points for a win, one for a draw, and no points for a loss. As of the 2014 season, new rules are in place for breaking ties. In the event of an end-of-season tie in total accumulated points, the following tie-breakers will be used:  These are standard MLS regulations for breaking ties in point totals.  Throughout the early to mid-2000s, the Shield received little praise or recognition from MLS or the general public, as the league awarded the MLS Cup winner and runner-up with spots in continental tournaments.

First Shield incentives arrive.

In February 2006, USSF decided that the Supporters' Shield winner and the MLS Cup winner would represent the United States in the CONCACAF Champions League, formerly the CONCACAF Champions' Cup. If the Supporters Shield winner also wins the MLS Cup, the team with the second highest regular season point total qualifies as well. When the Champions Cup became the CONCACAF Champions League, the United States Soccer Federation gave the Supporters' Shield winner and the MLS Cup winner both direct Group stage spots into the tournament.  On seven occasions (1997, 1999, 2000, 2002, 2008, 2011 and 2017) the winner of the Supporters' Shield also won the MLS Cup that same year. In 2011, the league announced that the Shield winner's opponent in the MLS Cup quarterfinals would be the lowest-seeded team remaining.

Redesign.

As the Shield began to become more prized and grow in significance along with "supporter culture" growing throughout the League, the idea of creating a new Supporters' Shield began at the MLS Supporters Summit during the 2010 MLS Cup in Toronto. The idea continued to gain traction at the then recently formed Independent Supporters Council (ISC) the following two years in Los Angeles and Portland, Oregon. The Supporter's Shield Foundation was created out of the ISC meeting in Portland in 2012 with a mission to fund the creation of a new shield and to promote and manage the trophy going forward. The cost of the new Shield was quoted at $18,000 with a majority of the funds raised through the "I Support the Shield" scarf drive that culminated in the sale of 2000 supporter scarves.  With the fund raising complete, in early 2013 the new Supporter's Shield was created. The new shield weighs and is made of sterling silver and stainless steel. The outside of the shield contains a Telstar soccer ball design while the middle of the shield pays homage to the chevron design of the original trophy. The middle of the trophy was designed to be expandable as its winners' names are added to it annually around the chevron. The newly designed shield was first awarded to the New York Red Bulls on the final day of the 2013 MLS Season.

Winners.

Thirteen different teams have won at least one Supporters Shield, with Los Angeles Galaxy and D.C. United level with the most wins of four each. Nine teams have gone on to win the MLS Cup after winning the Supporters Shield with both Galaxy and D.C. achieving this double twice. While three teams have secured a Supporters' Shield - U.S. Open Cup double, no American team has won a domestic treble of all three major domestic trophies, the Supporters Shield, MLS Cup and U.S. Open Cup, but in the 2017 season, Toronto FC achieved the Canadian equivalent - Supporters Shield, MLS Cup and Canadian Championship.

Records.

Performance in CONCACAF competition.

Before 2006, Shield winners were not guaranteed a berth into CONCACAF competitions. Most regular season champions to earn berths into CONCACAF competitions typically earned them from earning a berth into the MLS Cup, or earning a berth due to the number of berths allocated to the United States for MLS. Most times, the United States was allocated two berths into the tournament, which went to the MLS Cup champion and runner-up.  Since 2007, the Shield winner replaced the MLS Cup runner-up as the second American representative for the CONCACAF Champions' Cup. In 2008, with the arrival of the newly formatted CONCACAF Champions League, the Shield winner, along with the MLS Cup winner both earned direct byes into the group stage of the Champions League.  A Shield winner has never reached the final of a CONCACAF competition. On three separate occasions, D.C. United has reached the tournament semifinal after winning the Shield, the furthest that any Shield winner has progressed in CONCACAF competition. United also holds the record for the earliest exit in a CONCACAF competition as the Shield winner, being eliminated from Group stage in the 2008–09 edition of the Champions League.  Key  Performance table

The Supporters' Shield is an annual award given to the Major League Soccer team with the best regular season record, as determined by the MLS points system. The Supporters' Shield has been annually awarded at the MLS Supporters' Summit since 1999, and has been recognized as a major trophy by the league. It echoes the practice of the top European leagues in which the team with the best record is the champion. Since 2006, the Supporters' Shield winner has earned a berth in the CONCACAF Champions League if they are an American-based team.

美国职业足球大联盟支持者盾(MLS Supporters' Shield)每年举办一次,亦即常规赛冠军,而美国职业足球大联盟的正式冠军则是由「季后赛」产生,这点与其他北美职业联盟十分相似。


玛丽·约瑟芬公主 (普罗旺斯伯爵夫人)

Life.

Marie Joséphine was born at the Royal Palace of Turin on 2 September 1753 as the third child and second daughter of Prince Victor Amadeus of Savoy and Infanta Maria Antonia Ferdinanda of Spain. At the time of her birth, her paternal grandfather Charles Emmanuel III was the King of Sardinia, thus her parents were styled Duke and Duchess of Savoy. Her brothers included the last three kings of Sardinia from the senior line of the House of Savoy: the future Charles Emmanuel IV, Victor Emmanuel I, and Charles Felix.

Marriage.

Marie Joséphine was engaged to the French prince Louis Stanislas, Count of Provence. Her aunts, Maria Luisa of Savoy and Eleonora of Savoy, were once proposed as brides for Louis Stanislas's father Louis. The marriage was arranged as a part of a series of Franco-Savoyard dynastic marriages taking place in a time span of eight years: after the wedding between her cousin Princess Marie Louise of Savoy and Louis Alexandre, Prince of Lamballe, and the wedding between Marie Joséphine and Louis Stanislas, her younger sister Maria Theresa was married to her younger brother-in-law, the Count of Artois (future King Charles X of France) in 1773, and her eldest brother Prince Charles Emmanuel of Savoy (the future king of Sardinia) was married to her sister-in-law Princess Clotilde of France in 1775. Her eldest brother-in-law, Dauphin Louis Auguste (the future Louis XVI of France), had married Marie Antoinette one year earlier. Marie Joséphine was by view of rank and connections deemed very suitable for a marriage to a French prince, and she had been regarded as a suitable bride of the Dauphin prior to his marriage in 1770. The marriage was supported by Madame du Barry, who wished to create an ally within the royal family and who the king allowed to form the household of the new princess with her allies, notably the duchess de Valentinois as the principal lady-in-waiting. Marie Joséphine was married on 16 April 1771 by proxy in the Kingdom of Sardinia, then again in person on 14 May 1771 at the Palace of Versailles. The wedding ceremony by proxy, followed by a bedding ceremony and a banquet, was held at the Savoyard royal court in Turin, after which the bride crossed bridge of Beauvoisin between Savoy and France, where she left her Italian entourage and was welcomed by her new French retinue. She was introduced to the French royal family and court at the Palace of Fontainebleau, where she was met by her cousin the princesse de Lamballe. A ball followed the wedding on 20 May.  Her marriage to a Petit-fils de France ("Grandson of France") allowed her to assume the rank of "petite-fille de France" ("Granddaughter of France"). At the death of her husband's grandfather Louis XV in 1774, her brother-in-law succeeded as Louis XVI; as the eldest brother of the king, her spouse took on the style "Monsieur", and Marie Joséphine was thus under the reign of her brother-in-law known under the style of "Madame".

Countess of Provence.

The marriage of Marie Joséphine had been deemed necessary by Louis XV because the dauphin had not consummated his marriage, and there may thus prove to be necessary to leave the task to provide the next heir to the throne to the count of Provence, who was second in line in succession after his brother. The Franco-Savoyard marriage alliance was greatly disliked by Austria and Empress Maria Theresa, who feared that Marie Joséphine might gain influence upon Louis XV in France in favor of Savoy, which was the rival of Austria in Northern Italy, and that she would undermine the position of the childless Marie Antoinette if she gave birth to an heir to the French throne while the marriage of the Dauphin was still unconsummated.  Marie Joséphine received 300,000 livres' worth of jewels from Louis XV, three-quarters of the Dauphine's casket, and from Provence his portrait as "a pledge of the sentiments that are engraved in my heart for you."  She did not make a good impression upon her arrival in France, and was described as small, plain, with a sallow skin and what Louis XV called “a villainous nose”, and as a person as timid, gauche and "ill educated in all those graces considered so important at Versailles", coming from the more strict Savoyard court, where rouge was found repugnant. It was alleged that she never brushed her teeth, plucked her eyebrows, or used any perfumes. In order to rectify the bad impression of her appearance, the ambassador to France from Savoy was required to ask her father to tell her about the necessity for a careful toilette, in particular with regard to her teeth and hair: “It is embarrassing for me to discuss such things, but these mere details to us are vital matters in this country”, and her chief lady-in-waiting, the, informed her that she must use rouge in order to please her spouse, upon which she agreed to adjust herself to the customs in France.  Her spouse Louis Stanislas, aware of the gossip surrounding the unconsummated marriage of his elder brother the Dauphin, made a point of boasting of vigorous conjugal relations between him and his spouse, so as to avoid the suspicions that the marriage was not consummated. It was however widely doubted that the marriage was consummated. Louis Stanislas suffered from great overweight and difficulty of movement, and Marie Antoinette dismissed the boasting and assured her mother that a consummation of his marriage “would need a miracle”; years later the Savoyard ambassador to France reported that there was never a question of a physical union between them, while Marie Joséphine herself reported in February 1772 that she was quite sure she was not pregnant “and it’s not my fault.” Louis Stanislas reportedly proclaimed his wife to be pregnant merely to spite Louis Auguste and Marie Antoinette, who had not yet consummated their marriage. Marie Joséphine reportedly suffered a miscarriage in 1774. A second pregnancy in 1781 also miscarried, and the marriage remained childless.  During her first years in France, the three royal couples - the count and countess of Provence, the count and countess of Artois, the Dauphin and Dauphine - as well as the princesse de Lamballe, who was the favorite of Marie Antoinette, formed a circle of friends and acted in amateur theater plays together, before an audience only consisting of the dauphin. During these years, the count and countess of Provence is frequently mentioned as accompanying the crown prince couple on sleigh rides, masquerades, opera performances and other entertainments. As the second lady of the French court after the queen, she alternated with the "Mesdames de France" in accompanying Marie Antoinette on official representational assignments.  The seemingly good relationship between the four couples somewhat deteriorated, however, after the succession of Louis XVI to the throne in 1774. Louis XVI and Louis Stanislas did not enjoy a harmonious relationship. They often quarreled, as did their wives. The Count of Provence actually challenged the legitimacy of Marie Antoinette's first child, and until the birth of a male heir by Marie Antoinette, he did everything in his power to promote himself and his wife as better fitted to be next-in-line for the throne. Without children or political influence, Marie Joséphine intrigued against the queen, but without much success, while her spouse orchestrated a true country-wide opposition against her. She was quite well educated in literature - she had her own library installed in her apartments - and was estimated to have been of no small intelligence and with a good ability to accustom to court intrigues. The brother of Marie Antoinette, Emperor Joseph II, said of her during his visit to France in 1777 that she was "ugly and vulgar, not a Piedmontese for nothing, a mess of intrigues."  Marie Joséphine and her spouse lived largely separate lives, and while Louis Stanislaus was reputed to have a romantic relationship with his favorite courtier, the Duke d'Avaray, Marie Joséphine was reputed to have a romantic relationship with her favorite lady-in-waiting Marguerite de Gourbillon. She preferred to reside in her private retreat villa, the "Pavillon Madame" in Montreuil, on which she spent lavishly and constructed a fashionable model village with a pavilion of music, and a model village with twelve houses, dovecotes and windmills, a dairy made of marble with silver vessels, as well as allegorical temples consecrated to love and friendship, a hermitage and a belvedere.  Prior to the meeting of the Estates General, every member of the royal family was publicly mocked by libelous verses, in which Marie Joséphine was satirized for her alleged alcoholism.

Revolution.

In contrast to her sister and brother-in-law the count and countess of Artois, who left France soon after the Storming of the Bastille in July 1789, the count and countess of Provence remained in France after the outbreak of the revolution. They were present at the Palace of Versailles during The Women's March on Versailles, which took place on 5 October 1789.  After the Women's March, they were forced to move to Paris along with Louis XVI and Marie Antoinette. However, while the rest of the royal family stayed in the Tuileries Palace, Marie Joséphine and her spouse lodged in the Luxembourg Palace, which was their normal city residence in Paris. They regularly attended court in the Tuileries and were also present at the evening family suppers, where Marie Joséphine were described as humorous and entertained with character reading of people's faces. Their presence was welcomed by the queen at this point, as Marie Antoinette came to distrust strangers for political reasons and turned to her family for company.  Already in November 1790, the count of Provence made plans for him and his spouse to leave France, but the plans was complicated because it was deemed necessary to leave at the same time as the king and queen, as it was considered dangerous to remain in France after their departure, but risky for the king and queen if the Provence party where to leave before them. Therefore, Provence made sure to ascertain the time plan for the departure of the king, although the escape plans of the two parties where otherwise made separately. Provence planned the escape in cooperation with his favorites Anne de Balbi and d'Avaray; Marie Joséphine was not informed of the plans because she was considered to perceived lack of self-control, but her favorite Gourbillon was informed so as to make all arrangements around her departure. In February 1791, a crowd gathered outside the Luxembourg, alarmed by rumours of a planned escape, and a delegation of women were sent in, to which Provence assured that he had no such plans. On 2 June, de Balbi left for Brussels, leaving an English passport issued for a Monsieur and Mademoiselle Foster, which would be altered by d'Avaray to suit their purpose. When the queen informed Provence of the date of the departure of the king's party, their escape plan could be set in action.  In June 1791, the Provence couple successfully escaped to the Austrian Netherlands in the same operation that led to the royal family's failed Flight to Varennes. On the 20 June, Marie Joséphine attended a dinner with the royal family at the Tuileries with her spouse. On that night, she was awoken in her bed by Gourbillon who announced that she was ordered by the king and her husband to leave the country at once, and swiftly taken to her designed rented carriage by Gourbillon, while Louis Stanislaus left with d'Avaray to a different carriage. The Provence couple was more successful than the royal couple's, as they left separately and more discreetly. Louis Stanislaus left dressed as an English merchant only accompanied by his favorite d'Avraye and travelled by route of Soissons, Laon and Maubeuge to Madame de Balbi in Mons, while Marie Joséphine travelled via the northerly road by Douai and Orchies with her favorite Gourbillon. They each passed the border with no difficulty whatsoever, and reunited in Namur.

Exile.

From Namur, Marie Joséphine followed Louis Stanislaus to Brussels in the Austrian Netherlands, where they reunited with the count of Artois. Provence and Artois unsuccessfully asked the governor of the Austrian Netherlands, Maria Christina, Duchess of Teschen, to intervene with military force across the border before the king and queen, whose party had been arrested, could be brought back to Paris, but she refused as she needed the permission from the emperor to do so, by which time it was already too late.  After a meeting with Gustav III of Sweden at Aix-la-Chapelle, they continued via Bonn to Koblenz, where they were welcomed by their uncle, the Arch Bischop-Elector Clemens Wenceslaus of Saxony, who gave them the Chateau of Schonbornlust to their disposal, and where they installed their émigrée court in exile. Louis Stanislaus, who proclaimed himself regent, installed a court life regulated by the court etiquette of the l'ancien regime, in which Marie Joséphine had a ceremonial role to play. Koblenz where full of French royalist emigrees, and the social life was described as hectic and extravagant, with regular receptions by the Elector and the Princes. However, though formally the first lady of the emigree court, Marie Joséphine seem to have been eclipsed by the aristocratic female emigrees termed as the 'Queens of the Emigration', namely the Prince of Condés mistress the Princess of Monaco, her brother-in-law's mistress Louise de Polastron, and the mistress of her own husband, her lady-in-waiting Anne de Balbi, who was courted for her influence over Louis Stanislaus.  Early on, Marie Joséphine prepared to separate from her husband and return to her birth country. Already in 25 July 1791 the Duke of Genevois wrote in his journal that she was coming home to the court of her father in Turin: She was asked to come without her spouse, as her father was already in a difficult diplomatic situation with the French government due to the great number of aristocratic emigrees in Savoy. She was duly welcomed in her former home country in early 1792.  Her husband, who had lived in Hamm in Westphalia since the eimgree court had been dissolved after the Battle of Valmy, visited her in Turin between December 1793 to May 1794 before continuing to Verona, but she did not join him there. On 8 June 1795, the only surviving son of Louis XVI and Marie Antoinette, referred to by the legitimists as 'Louis XVII of France', died while imprisoned in the Temple, and on 16 June, the exiled French royalists proclaimed the count of Provence king of France as Louis XVIII. Thus, Marie Joséphine became regarded as titular queen consort of France by the legitimists. In the court of Turin, Marie Joséphine came to be regarded as queen and her sister Maria Theresa as 'Madame', but to avoid provocation of the diplomatic relations between France and Savoy, she officially stayed in Turin incognito as 'countess of Lille'.  In April 1796, when Savoy was defeated by France under Napoleon Bonaparte during the Italian campaigns of the French Revolutionary Wars, Marie Joséphine and her sister Maria Theresa left Turin for Novara, in parallel with the departure of Marie Joséphine's husband from Verona. While her sister returned to Turin after the peace between France and Savoy in May, Marie Joséphine continued to Austria and settled with Marguerite de Gourbillon in Budweis in August 1796, while Louis Stanislaus moved to Blankenburg.  During this period of exile, the count and countess fought constantly, though they did keep regular correspondence. Some historians have suggested Marie Joséphine's possible relationship with Marguerite de Gourbillon was the primary cause, while others have named Louis Stanislaus' relationship with Anne de Balbi.  In 1799, Marie Joséphine was asked by Louis to join him in Jelgava in Russian Courland to attend the wedding between her husband's niece Marie Thérèse, the only remaining child of Louis XVI and Marie Antoinette, to her nephew Louis-Antoine, Duke of Angoulême, at the French court-in-exile, which operated under the protection of the Russian Tsar Paul I. Louis demanded that she leave Gourbillon behind. Louis Stanislaus accused Marguerite de Gourbillon of extorting jewels and money from Marie Joséphine and of wearing her clothes, and stated that the kind of relationship she had with Marie Joséphine made her company unsuitable for the new role as queen that Marie Joséphine was expected to play in Mitau. After having written to the Tsar to ask him to intervene on Gourbillon's behalf, and having received no reply, they travelled there together. When Marie Joséphine arrived with Gourbillon, travelling in two separate carriages, the carriage containing Gourbillon was separated from the rest and directed to the Governor's house, where she was arrested. When Marie Joséphine arrived and noticed the absence of Gourbillon, she reacted with a public protest in front of the whole court. She created a public scandal by a scene in which openly declared that she would refuse to change out of her clothes or install herself in her quarters before Gourbillon was given permission to join her. This tactic was unsuccessful, as her husband stated that he forbade her from leaving Mitau, and instead she thereafter refused to leave her rooms, where she isolated herself with a bottle of liquor. Gourbillon, in alliance with Michelle de Bonneuil, later managed to have her revenge by convincing the tsar to expel Louis from Russia in January 1801. Marie Joséphine did participate in the welcoming of Marie Thérèse and the following wedding, but the relationship with her and Louis did not improve and it was noticed that she refused to speak with him.  In 1800, Marie Joséphine left for the health resort of Bad Pyrmont in Germany where she remained for several years under the name comtesse de Lille, with the support of doctors, who deemed the cold climate in Russia as well as the journey there unsuitable for her health.  In 1804, Marie Joséphine was forced to return to Louis against her will, since his deteriorating finances could no longer afford two separate households. In 1808, Marie Joséphine left Mitau in the company of Marie Thérèse to join her spouse in England, where they were allowed to set up a French exile court in Hartwell House, the English residence of the exiled French royal family. She was ill with edema upon her arrival in England and lived very discreetly until her death two years later.

Death.

Marie Joséphine died on 13 November 1810 of that edema. Surrounded in her final days by most of the French court, she begged for forgiveness for any wrongs she might have done them, especially Louis; she assured him that she harboured no ill will toward him. Her funeral was a magnificent occasion attended by all the members of the court-in-exile, whose names were recorded by police spies and reported back to Napoleon. The funeral cortege was followed by the carriage of the British royal family, and Marie Joséphine was laid to rest in the Lady Chapel of Westminster Abbey.  Her body was removed a year later on Louis's orders and buried in the Kingdom of Sardinia; today it lies in Cagliari Cathedral. There, her brother King Charles Felix of Sardinia had an imposing monument erected over her grave, whereon she is described personally as ""sapiens, prudens, pientissima"" ("wise, prudent, kindest") and as ""Galliarum Regina"", literally "Queen of the Gauls", i.e. of France.

In fiction and film.

The Countess of Provence was played by French actress Clémentine Poidatz in the 2006 motion picture "Marie Antoinette" directed by Sofia Coppola. The film portrays her as the mother of the Duke of Angoulême (Louis XIX), who was really the son of her sister Princess Maria Theresa of Savoy.

Marie Joséphine of Savoy (; 2 September 1753 – 13 November 1810) was a Princess of France and Countess of Provence by marriage to the future King Louis XVIII of France. She was, in the opinion of Bourbon Royalists Legitimists, regarded as titular 'Queen of France' when her husband assumed the title of King in 1795 upon the death of his nephew, the titular King Louis XVII of France, until her death. In reality she never had this title, as she died before her husband actually became King in 1814.

萨伏依的玛丽·约瑟芬·路易丝,普罗旺斯伯爵夫人(,1753年-9月2日-1810年-11月13日),是意大利萨伏依公国公主,撒丁国王维托里奥·阿梅迪奥三世的女儿。


Spacecraft design.

The spacecraft was of the Ranger Block I design and consisted of a hexagonal base across upon which was mounted a cone-shaped high tower of aluminum struts and braces. Two solar panel wings measuring from tip to tip extended from the base. A high-gain directional dish antenna was attached to the bottom of the base. Spacecraft experiments and other equipment were mounted on the base and tower. Instruments aboard the spacecraft included a Lyman-alpha telescope, a rubidium-vapor magnetometer, electrostatic analyzers, medium-energy range particle detectors, two triple coincidence telescopes, a cosmic-ray integrating ionization chamber, cosmic dust detectors, and solar X-ray scintillation counters. There was no camera or midcourse correction engine on the Block I spacecraft.  The communications system included the high-gain antenna and an omnidirectional medium-gain antenna and two transmitters, one at 960.1 MHz with 0.25 watts power output and the other at 960.05 MHz with 3 watts power output. Power was to be furnished by 8680 solar cells on the two panels, a silver-zinc battery, and smaller batteries on some of the experiments. Attitude control was provided by a solid-state timing controller, Sun and Earth sensors, and pitch and roll jets. The temperature was controlled passively by gold plating, white paint, and polished aluminum surfaces.

Mission.

The Ranger 1 spacecraft was designed to go into an Earth parking orbit and then move into a Earth orbit. The purpose of the mission was mainly as an engineering test to verify the functionality of the Ranger hardware.

Launch.

During the first half of 1961, Lockheed introduced the new Agena B stage which replaced the early test-model Agena A of 1959-60. Agena B was more powerful and had in-orbit restart capability. Its first flight with the launch of Midas 3 on July 24 was successful. Several frustrating delays in Ranger 1's launch occurred, including one episode where the spacecraft's timer inadvertently activated on the pad, causing the solar panels to be deployed inside the payload shroud. After removing Ranger 1 and repairing it, the launch was carried out at 6:04 AM EST on August 23. All went well up to orbital injection, but the planned Agena restart went awry when the engine shut down after only a few seconds, putting the probe in a 312x105 mile track. Subsequent investigation concluded that an electrical circuit in the Agena had overheated from exposure to the Sun. The unintended orbit made it difficult to operate Ranger 1's systems correctly, although ground controllers tried to work around it. The main problem they faced was with the solar panels; Ranger 1 would experience 90 minutes of darkness while passing around the nighttime side of the Earth. In addition, the antennas at NASA's various tracking stations had difficulty locking onto the probe due to its orbital plane. During this time, the computer system repeatedly fired the attitude control jets in a vain attempt to lock onto the Sun with the effect that only one day after launch, the probe ran out of attitude control gas. At this point, it could not be stabilized and the solar panels lost their lock on the Sun. Ranger 1 thus reverted to battery power and continued transmitting until the batteries ran down on August 27 and all signals from the probe ceased. It was not a total loss; the spacecraft systems had worked well and some data on cosmic rays and radiation was returned, however the low orbit precluded the use of the magnetometer. After four days and 111 orbits, Ranger 1 reentered and burned up over the Gulf of Mexico.

Ranger 1 was a prototype spacecraft launched as part of the Ranger program of unmanned space missions. Its primary mission was to test the performance of those functions and parts necessary for carrying out subsequent lunar and planetary missions; a secondary objective was to study the nature of particles and fields in the space environment. Due to a launch vehicle malfunction, the spacecraft could reach only Low Earth orbit, rather than the high Earth orbit that had been planned, and was only able to complete part of its mission.

游骑兵1号是游骑兵计划使用的太空船,其主要任务是测试后续进行月球和行星任务所需要的函数和机械零件性能是否适用,其次的辅助目的是研究在行星际空间内自然存在的颗粒和场的性质。