Conditions.

During most of the 20th century, U.S. copyright law required at least one copy of every American film to be deposited at the Library of Congress at the time of copyright registration, but the Librarian of Congress was not required to retain those copies: "Under the provisions of the act of March 4, 1909, authority is granted for the return to the claimant of copyright of such copyright deposits as are not required by the Library." Of American silent films, far more have been lost than have survived, and of American sound films made from 1927 to 1950, perhaps half have been lost.  The phrase "lost film" can also be used in a literal sense for instances where footage of deleted scenes, unedited, and alternative versions of feature films are known to have been created, but can no longer be accounted for. Sometimes, a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a partially lost film. For example, the 1922 film "Sherlock Holmes" was eventually discovered, but some of the footage is still missing.

Stills.

Most film studios routinely had a still photographer with a large-format camera working on the set during production, taking pictures for potential publicity use. The high-quality photographic paper prints that resulted — some produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines — have preserved imagery from many otherwise lost films. In some cases, such as "London After Midnight", the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene from still photographs. Stills have been used to stand in for missing footage when making new preservation prints of partially lost films, for example the Gloria Swanson picture "Sadie Thompson" (1928).

Reasons for film loss.

Most lost films are from the silent film and early talkie era, from about 1894 to 1930. Martin Scorsese's Film Foundation estimates that more than 90% of American films made before 1929 are lost, and the Library of Congress estimates that 75% of all silent films are lost forever.  The largest cause of silent film loss was intentional destruction. Before the era of television (and home video) films were viewed as having little future value when their theatrical runs ended. Similarly, silent films were perceived as worthless after the end of the silent era. Film preservationist Robert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house." Meanwhile, the studios could earn money by recycling the film for their silver content. Many Technicolor two-color negatives from the 1920s and 1930s were thrown out when studios simply refused to reclaim their films, still being held by Technicolor in its vaults. Some used prints were sold to scrap dealers and ultimately cut up into short segments for use with small, hand-cranked 35 mm movie projectors, which were sold as a toy for showing brief excerpts from Hollywood movies at home.  In some cases the destruction was proactive. Following a series of trials (which ultimately acquitted him) for the alleged rape and killing of actress Virginia Rappe in 1921, silent film star Roscoe "Fatty" Arbuckle's name had become so toxic that studios engaged in a program of determined destruction of films in which he had starred.  Many other early motion pictures are lost because the nitrate film used for nearly all 35 mm negatives and prints made before 1952 is highly flammable. When in very badly deteriorated condition and improperly stored (e.g. in a sun-baked shed), nitrate film can spontaneously combust. Fires have destroyed entire archives of films. For example, a storage vault fire in 1937 destroyed all the original negatives of pre-1935 films made by Fox Pictures. The 1965 MGM vault fire resulted in the loss of hundreds more silent films and early talkies.  Nitrate film is chemically unstable and over time can decay into a sticky mass or a powder akin to gunpowder. This process can be very unpredictable: some nitrate film from the 1890s is still in good condition today, while some much later nitrate had to be scrapped as unsalvageable when it was barely 20 years old. Much depends on the environment in which it is stored. Ideal conditions of low temperature, low humidity, and adequate ventilation can preserve nitrate film for centuries, but in practice, the storage conditions were usually far from ideal. When a film on nitrate base is said to have been "preserved", this almost always means simply that it has been copied onto safety film or, more recently, digitized; both methods result in some loss of quality.  Eastman Kodak introduced a nonflammable 35 mm film stock in spring 1909. However, the plasticizers used to make the film flexible evaporated too quickly, making the film dry and brittle, causing splices to part and perforations to tear. By 1911, the major American film studios were back to using nitrate stock. "Safety film" was relegated to sub-35 mm formats such as 16 mm and 8 mm until improvements were made in the late 1940s.  Some pre-1931 sound films made by Warner Bros. and First National have been lost because they used a sound-on-disc system with a separate soundtrack on special phonograph records. If some of a film's soundtrack discs could not be found in the 1950s when 16 mm sound-on-film reduction prints of early "talkies" were being made for inclusion in television syndication packages, that film's chances of survival plummeted: many sound-on-disc films have survived only by way of those 16 mm prints.  As a consequence of this widespread lack of care, the work of many early filmmakers and performers has made its way to the present only in fragmentary form. A high-profile example is the case of Theda Bara; one of the best-known actresses of the early silent era, she made 40 films, but only six are now known to exist. Clara Bow was equally celebrated in her heyday, but 20 of her 57 films are completely lost, and another five are incomplete. Once-popular stage actresses who made the jump to silent films, such as Pauline Frederick and Elsie Ferguson, are now largely forgotten with little left of their film performances; fewer than 10 movies exist from Frederick's work from 1915–28, and Ferguson has just two surviving films: one from 1919 and her only talkie from 1930.  All of the film performances of the stage actress and Bara rival Valeska Suratt have been lost. William Farnum, a Fox player like Bara and Suratt, was one of the early screen's big Western actors, rivalling the likes of William S. Hart, Tom Mix, and Harry Carey. However, today only three of his Fox films are extant. Others, such as Francis X. Bushman and William Desmond, had numerous film credits, but films made in their heyday are missing due to junking, neglect, or studios becoming defunct. Nevertheless, unlike Suratt and Bara, these men continued working into the sound era and even on television, so their later performances can be viewed.  There are occasional exceptions. Almost all of the films made by Charlie Chaplin have survived, as well as extensive amounts of unused footage dating back to 1916. The exceptions are "A Woman of the Sea" (which he destroyed himself as a tax write-off) and one of his early Keystone films, "Her Friend the Bandit" (see "Unknown Chaplin"). The filmography of D. W. Griffith is nearly complete, as many of his early Biograph films were deposited by the company in paper print form at the Library of Congress. Many of Griffith's feature-film works of the 1910s and 1920s found their way to the film collection at the Museum of Modern Art in the 1930s, and were preserved under the auspices of curator Iris Barry. Mary Pickford's filmography is nearly complete; her early years were spent with Griffith, and she gained control of her own productions in the late 1910s and early 1920s. She also backtracked to as many of her Zukor-controlled early Famous Players films as were salvageable. Stars such as Chaplin and Douglas Fairbanks enjoyed stupendous popularity, and their films were reissued over and over throughout the silent era, meaning prints of their films were likely to surface decades later. Pickford, Chaplin, Harold Lloyd, and Cecil B. DeMille were early champions of film preservation, although Lloyd lost a good number of his silent works in a vault fire in the early 1940s.  In March 2019, the National Film Archive of India reported that 31,000 of its film reels had been lost or destroyed.

Later lost films.

An improved 35 mm safety film was introduced in 1949. Since safety film is much more stable than nitrate film, comparatively few films were lost after about 1950. However, color fading of certain color stocks and vinegar syndrome threaten the preservation of films made since about this time.  Most mainstream movies from the 1950s onwards survive today, but several early pornographic films and some B movies are lost. In most cases, these obscure films go unnoticed and unknown, but some films by noted cult directors have been lost, as well:

Lost film soundtracks.

Some films produced from 1926–31 using the Vitaphone sound-on-disc system, in which the soundtrack is separate from the film, are now considered lost because the soundtrack discs were lost or destroyed, while the picture elements survive. Conversely, and more commonly, some early sound films survive only as sets of soundtrack discs, with the picture elements completely missing (e.g. "The Man from Blankley's (1930)", starring John Barrymore) or surviving only in fragmentary form (e.g. "Gold Diggers of Broadway" (1929) and "The Rogue Song" (1930), two highly popular and profitable early musicals in two-color Technicolor).  Many stereophonic soundtracks from the early to mid-1950s that were either played in interlock on a 35 mm fullcoat magnetic reel or single-strip magnetic film (such as Fox's four-track magnetic, which became the standard of mag stereophonic sound) are now lost. Films such as "House of Wax", "The Caddy", "The War of the Worlds", "The 5,000 Fingers of Dr. T", and "From Here to Eternity" that were originally available with 3-track, magnetic sound are now available only with a monophonic optical soundtrack. The chemistry behind adhering magnetic particles to the tri-acetate film base eventually caused the autocatalytic breakdown of the film (vinegar syndrome). As long as studios had a monaural optical negative that could be printed, studio executives felt no need to preserve the stereophonic versions of the soundtracks.

Rediscovered films.

Occasionally, prints of films considered lost have been rediscovered. An example is the 1910 version of "Frankenstein" which was believed lost for decades until the existence of a print (which had been in the hands of an unwitting collector for years) was discovered in the 1970s. A print of "Richard III" (1912) was found in 1996 and restored by the American Film Institute. In 2013, an early Mary Pickford film, "Their First Misunderstanding", notable for being the first film in which she was credited by name, was found in a New Hampshire barn and donated to Keene State College.  "Beyond the Rocks" (1922), with Gloria Swanson and Rudolph Valentino, was considered a lost film for several decades. Swanson lamented the loss of this and other films in her 1980 memoirs, but optimistically concluded: ‘I do not believe these films are gone forever.’ In 2000, a print was found in the Netherlands and restored by the Nederlands Filmmuseum and the Haghefilm Conservation. It turned up among about two thousand rusty film canisters donated by an eccentric Dutch collector, Joop van Liempd, of Haarlem. It was given its first modern screening in 2005, and has since been aired on Turner Classic Movies.  In the early 2000s, the German film "Metropolis" — which had been distributed in many different edits over the years — was restored to as close to the original version as possible, by reinstating edited footage and using computer technology to repair damaged footage. However, at that point, approximately a quarter of the original film footage was considered lost, according to the Kino Video DVD release of the restored film. On July 1, 2008, Berlin film experts announced that a copy of the film had been discovered in the archives of the film museum Museo del Cine in Buenos Aires, Argentina, which contained almost all of the scenes still missing from the 2002 restoration. The film now has been restored very close to its premiere version. The restoration process is featured in the documentary "Metropolis refundada".  In 2010, digital copies of ten early American films were presented to the Library of Congress by the Boris Yeltsin Presidential Library, the first film installment from the Russian state archives to be repatriated.  Television material existing on film has sometimes been recovered. The 1951 pilot of "I Love Lucy" was long believed lost; but in 1990, the widow of one of the actors, Pepito Pérez (who played Pepito the Clown), found a copy. It has since been shown on television. Sometimes, a film believed lost in its original state has been restored, either through the process of colorization, or other restoration methods. "", the original 1964 pilot film for "", survived only in a black-and-white print until 1987, when a film archivist found an unmarked (mute) 35 mm reel in a Hollywood film laboratory with the negative trims of the unused scenes.  Similarly, a number of videotaped television programmes, previously thought lost (see wiping) have been recovered as overseas Kinescope film prints from private collectors and various other sources over the years. For example, nine lost episodes of "Doctor Who" were discovered in storage at a television broadcasting station in Nigeria in 2013.

Stock footage.

Several films that would otherwise be entirely lost survive in the form of stock footage used for later films.  The Universal Pictures feature film "The Cat Creeps" (1930) is a lost film, and its only remaining footage was included in the Universal short film "Boo!" (1932). However, UCLA still has a copy of the soundtrack. The James Cagney film "Winner Take All" (1932) used scenes from the early talkie "Queen of the Night Clubs" (1929) starring Texas Guinan. While "Queen of the Night Clubs" was not a lost film in 1932, no prints of the film have survived through the decades, and the footage included in "Winner Take All" is all that remains.  Actress-turned-gossip columnist Hedda Hopper made her screen debut in the Fox Film "The Battle of Hearts" (1916). The star was William Farnum, then at the beginning of his long Fox contract. Twenty-six years later, in 1942, Hopper produced her short series "Hedda Hopper's Hollywood #2". In the short, Hopper, Farnum, her son William Hopper, and William's wife Jane Gilbert viewed portions of "The Battle of Hearts". These brief portions of that movie survive within the Hopper documentary. More than likely, Hopper had an entire print of the movie in 1942. However, like many early Fox films, "The Battle of Hearts" is now lost or missing.  One of the best-known Charlie Chaplin's works, silent film "The Gold Rush" (1925), was re-released in 1942 to include a musical track and narration by Chaplin himself. The reissue would end up having the unintentional result of preserving the film, as the original 1925 film (though generally not considered a lost film) shows noticeable degradation of image and missing frames, damage not evident in the 1942 version.  The Polish film "" (1939) contains three short fragments of "Arabella" (1917), one of the early films of Pola Negri which later became lost.

In film.

Several films have been made with lost film fragments incorporated into the work. "Decasia" (2002) used nothing but decaying film footage as an abstract tone poem of light and darkness, much like the more historical "Lyrical Nitrate" (Peter Delpeut, 1991) which contained only footage from canisters found stored in an Amsterdam cinema. In 1993, Delpeut released "The Forbidden Quest", combining early film footage and archival photographs with new material to tell the fictional story of an ill-fated Antarctic expedition.  The 2016 documentary "", about the history of Dawson City, Canada and the 1978 discovery of previously lost silent films there, incorporates parts of many of those films.  The mockumentary "Forgotten Silver", made by Peter Jackson, purports to show recovered footage of early films. Instead, the filmmakers used newly shot film sequences treated to look like lost film.  In the double feature "Grindhouse" (2006), both segments - "Planet Terror" (directed by Robert Rodriguez) and "Death Proof" (directed by Quentin Tarantino) - have references to missing reels, used as plot devices.  "Cigarette Burns", an episode of the John Carpenter series "Masters of Horror", deals with the search for a fictional lost film, "La Fin Absolue Du Monde" ("The Absolute End of The World").

A lost film is a feature or short film that is no longer known to exist in any studio archives, private collections, or public archives, such as the U.S. Library of Congress.

Un film perdu est un long ou un court métrage de cinéma qui n'existe plus dans aucune archive de quelque studio que ce soit ou encore qu'on ne peut plus trouver dans aucune collection privée. L'expression « film perdu » est également utilisée dans le sens littéral pour désigner des films dont certaines scènes ou séquences ont été perdues, non éditées ou dont des versions alternatives ont été égarées.


Taxonomy.

The taxonomic history of this species is convoluted. Previously, seven other "C. viridis" subspecies were also recognized, including "C. v. abyssus", "C. v. caliginis", "C. v. cerberus", "C. v. concolor", "C. v. helleri", "C. v. lutosus" and "C. v. oreganus". However, in 2001 Ashton and de Queiroz described their analysis of the variation of mitochondrial DNA across the range of this species. Their results agreed broadly with those obtained by Pook "et al." (2000). Two main clades were identified, east and west of the Rocky Mountains, which they argued were actually two different species: on the one hand "C. viridis", including the conventional subspecies "C. v. viridis" and "C. v. nuntius", and on the other "C. oreganus", including all the other traditional subspecies of "C. viridis". The authors retained the names of the traditional subspecies, but emphasized the need for more work to be done on the systematics of "C. oreganus".  Common names for this species include prairie rattlesnake and Hopi rattlesnake.

Description.

This species commonly grows to more than in length. The maximum recorded size is. In Montana, specimens occasionally exceed in length; the species reaches its maximum size in this region. One of the most characteristic features is the presence of three or more, usually four, internasal scales.  Identification characteristics will vary depending on which subspecies is encountered. Generally, western rattlesnakes are usually lightly colored in hues of brown. Patches of dark brown are often distributed in a dorsal pattern. A color band may be seen at the back of the eye. The western rattlesnake group carries the distinctive triangle-shaped head and pit sensory organs on either side of the head. A key characteristic that can help differentiate a western rattlesnake from other rattlesnakes is the presence of two internasals contacting the rostral.

Distribution and habitat.

They, and the subspecies mentioned below, are found in North America over much of the Great Plains, the eastern foothills and some intermontane valleys of the Rocky Mountains, from southwestern Canada through the United States to northern Mexico. In Canada, they occur in Alberta and Saskatchewan; in the US in eastern Oregon, eastern Washington, southern Idaho, most of Montana (where it is one of 10 snake species and the only venomous one), North Dakota, South Dakota, Wyoming, Nebraska, Colorado, Kansas, Oklahoma, Texas, New Mexico, extreme eastern Arizona, extreme western Iowa, and in Mexico in northern Coahuila and northwestern Chihuahua. Its vertical range is from near the Rio Grande to over in elevation in Wyoming.  Wright and Wright (1957) and Klauber (1997) both mention Utah as within the range of this species, including maps showing it confined to the extreme southeastern part of the state. The type locality is described as "the Upper Missouri [Valley, USA]". An emendation was proposed by H.M. Smith and Taylor (1950) to "Gross, Boyd County, Nebraska."  Habitat characteristics can vary depending on subspecies and range. Generally, western rattlesnakes occupy areas with an abundant prey base. Many subspecies occupy somewhat rocky areas with outcrops serving as den sites. Western rattlesnakes have also been known to occupy burrows of other animals. They seem to prefer dry areas with moderate vegetation coverage. Vegetation cover will vary depending on region and subspecies.

Behavior.

Western rattlesnakes live on the land, but they can sometimes climb in trees or bushes. Some even rest in crevices or caves. They are typically active diurnally in cooler weather and nocturnally during hot weather "C. viridis". This species complex is equipped with powerful venom, using about 20-55 percent of venom in one bite, and will defend themselves if threatened or injured. As with other rattlesnake species, western rattlesnakes will rapidly vibrate their tails, which produces a unique rasping sound to warn intruders.  The venom of the western rattlesnake is a complexly structured mixture of different proteins with enzymes such as proteases and peptidases found among them. Besides the hemotoxine and its tissue destructive effect, the venom also has neurotoxic properties.

Diet.

Western rattlesnakes, because of their expansive distribution, have a wide array of prey. Generally, this species prefers small mammals, such as ground squirrels, ground nesting birds, mice, rats, small rabbits and prairie dogs. They will occasionally feed on amphibians and reptiles, and sometimes even other snakes. This is more commonly seen in juvenile snakes.

Reproduction.

Western rattlesnakes are viviparous and can produce from one to 25 young per reproduction event. The average number of young ranges from four to 12, but can vary greatly due to availability of food and environmental conditions. Males may compete for females during the breeding season, but western rattlesnake females may not necessarily breed every year. They give birth in late summer or early fall, being their breed 22–28 cm long, without the need for parental care. In addition, their pups are toxic as soon as they are born. They reach sexual maturity at three years of age. It is also common for females to give birth at communal den sites with the young born between August and October.

Conservation status.

This species is classified as Least Concern on the IUCN Red List of Threatened Species (v3.1, 2001). Species are listed as such due to their wide distribution, presumed large population, or because they are unlikely to be declining fast enough to qualify for listing in a more threatened category. The population trend was stable when assessed in 2006.

Subspecies.

"Crotalus viridis nuntius", the Hopi rattlesnake, inhabits the United States from northeastern and north-central Arizona, from the New Mexico border to Cataract Creek, including the Little Colorado River basin, the southern section of the Apache Indian Reservation, the Hopi Reservation, and the Coconino Plateau from the southern rim of the Grand Canyon to US Highway 66 in the south.  "Crotalus viridis viridis", the prairie rattlesnake, inhabits the North American Great Plains from the Rocky Mountains to 96° W and from southern Canada to extreme northern Mexico, including southwestern Saskatchewan, southeastern Alberta, eastern Washington, Idaho in the Lemhi Valley, Montana east of the higher Rockies, southwestern North Dakota, west, central and extreme southeastern South Dakota, western Iowa, central and western Nebraska, Wyoming except for the Rockies, Colorado, central and western Kansas, Oklahoma, extreme southeastern Utah, northeastern Arizona, New Mexico, western and southwestern Texas, northeastern Sonora, northern Chihuahua, northern Coahuila.

Crotalus viridis (Common names: prairie rattlesnake, western rattlesnake, Great Plains rattlesnake, and others) is a venomous pit viper species native to the western United States, southwestern Canada, and northern Mexico. Currently, two subspecies are recognized, including the nominate subspecies described here.

Crotalus viridis est une espèce de serpents de la famille des Viperidae. La sous-espèce "Crotalus viridis viridis" est également nommée Crotale des prairies.


Support.

All VMware virtualization products support VMDK; this includes VMware Workstation, VMware Workstation Player, VMware Server, VMware Fusion, VMware ESX, VMware ESXi, and all software-plus-service offerings that incorporate them.  Third-party software that support VMDK include:

Format.

The VMDK format includes multiple differing subformats, some of which store metadata in an external descriptor file, while others embed it with the main data in a single file. A flat image allocates space ahead of time while a sparse images grows as the virtual machine writes to it. Flat images can use the underlying file system's sparse file capability, as is done with the "vmfs" format on ESXi. An image can also refer to a parent image and only store changes made in a copy-on-write fashion. This enables creating a snapshot of a virtual machine's state.

Extents.

The descriptor specifies a series of one or more extents that typically refer to a file or device that holds the actual data, unless for example they are of type codice_1, which emulates a zero-filled extent. Each extent can be marked either codice_2, codice_3, or codice_4 to signify that the virtual machine should have respectively read/write, read-only, or no access to that part of the disk. The number and types of extents in an image depend on its codice_5. An image with codice_6 can contain an arbitrary combination of extents.

Virtual disk provisioning options.

Flat disk images can be provisioned in one of three ways:

VMDK (short for Virtual Machine Disk) is a file format that describes containers for virtual hard disk drives to be used in virtual machines like VMware Workstation or VirtualBox.

VMDK (Virtual Machine Disk) est un format de fichier ouvert permettant de simuler un disque dur virtuel pour les machines virtuelles telles que VMware, Virtualbox ou pour les émulateurs. Il a été créé à la base par les produits VMware.


Geography.

Torre-Pacheco municipality is located in the Campo de Cartagena region. Cabezo Gordo is one of its highest hills, at 312 metres above sea level. It has no rivers with a permanent water flow, although during rainy periods streams in several "arroyos" flow into coastal saltwater lagoon the Mar Menor. Soil in the area mainly comprises sedimentary materials (loam, sandstone and limestone).  Torre-Pacheco is semi-enclosed by mountains. To the north lie the Columbares, Carrascoy, El Puerto, Escalona and Altalona ranges, and to the south the ranges of La Unión, Roldán, La Muela, Las Victorias and Cartagena.  The surrounding mountains have a significant influence on the semi-arid, Mediterranean climate of the municipality. Rainfall is usually below 300 millimetres, but when it occurs rain is often torrential. Highest rainfall occurs in autumn and spring, and the rainiest months are October and April. Temperatures are generally high, with a yearly average of 18 °C. Summers are hot, but can appear mild because of sea breezes. Winters are mild, with an average temperature of 10 °C.  Human activity has had a major impact on the territory, resulting in particular from the mechanization of local agriculture in the 1950s and 1960s.

Demographics.

In 2017, the municipality had a total population of 35,198. Of its towns and villages, Torre-Pacheco had 18,003 inhabitants, with 6,642 in Roldán, 3,181 in Balsicas, 2,271 in Dolores, 1,192 in Jimenado, 1,207 in San Cayetano, 1,076 in Hoyamorena, 585 Hortichuela, 218 in El Abardinal, 185 in Santa Rosalía, and 173 in Los Camachos.

History.

The territory of the current municipality has been inhabited since the Lower Paleolithic. There is evidence of occupation by "Homo heidelbergensis" between 150,000 and 125,000 BC at the Sima de las Palomas site on Cabezo Gordo hill. Neanderthals also lived in the area from 120,000 to 35,000 BC.  The 16 Roman villas found in the area date back to the period of Roman Hispania. The Romans quarried marble from a Cabezo Gordo deposit. Among economic activities in the area, fertile soils made it suitable for crop growing and livestock farming.  The first historic references to Torre-Pacheco date back to the 13th century.  Landowners settling in the area of today's municipality in the Late Middle Ages gave their names to its towns and villages. The Saavedra family came from Galicia, the Roda family from Navarre, and the Pacheco family from Portugal. On 7 November 1478, the council of Murcia granted land to Pedro Pacheco. The tower and country property he built founded the town of Torre-Pacheco and gave it its name.  Settlements became established as families acquired land and built farmhouses, and the defensive towers that were their only protection given their distance from castles and mountains. These tower structures served for communication with the local population, and sheltered inhabitants from Berber raids in the area between the 13th and 18th centuries.  In the mid-16th century, the population increased in the Campo de Cartagena comarca, to which the territory belongs. This trend continued during the 17th century, as more people arrived. Los Álcazares, Fuente Álamo and Torre-Pacheco were the first settlements in the region where before there had only been sparsely scattered buildings. New localities formed between the 16th and 18th centuries. They included Balsicas, Roldán, Dolores, and Lo Ferro, a settlement founded when a Genoese family acquired land and settled in Murcia. Small churches and chapels were built the 17th century, and two of these gave their names to the villages of San Cayetano and Los Dolores.  In 1813, under the first Spanish Constitution of 1812 the Torre-Pacheco area became independent from the municipality of Murcia, and its town council was established. The Constitution was repealed by King Ferdinand VII the following year. During the Trienio Liberal (1820–1823) Torre-Pacheco's town council was reestablished. It was made permanent on 17 September 1836.  In 1900, the population of the area was 8,549. Fifty years later, it had increased to 10,409.  Unemployment in Torre-Pacheco was high for much of this period. Non-irrigated cultivation of cereal crops, almonds, grapes and olives was almost the only farming possible.  Since the 1950s, with the influx of technology and foreign farm workers, agriculture has become a major economic activity in the region. The main crops grown are artichoke, lettuce, broccoli, watermelon and melon.

Economy.

One of the main economy activities of Torre-Pachecho is agriculture. 62.8% of the territory is occupied by crop lands. The most widely grown products are the artichokes, melons and lettuces. 83.12% of the agreements corresponded to agriculture jobs in 2018 and 85.28% were signed by labourers.  Other noteworthy sectors are animal husbandry and services. 14.09% of the contracts existed in the tertiary sector area in Torre-Pacheco.

External links.

"This article contains information from the Spanish Wikipedia article, accessed on January 11, 2008."

Torre-Pacheco () is a municipality in the autonomous community of Murcia in southeastern Spain. It covers an area of 189.4 km2 and its population in 2017 was 35,198. The only high ground in the municipality is Cabezo Gordo hill, the location of the protected Sima de las Palomas archeological site. The town has one secondary education institution, the I.E.S. Gerardo Molina.

Torre-Pacheco est une ville d'Espagne appartenant à la Communauté autonome de Murcie près de Murcie. Elle se situe sur la côte de Murcie.


Reception.

The album received generally positive reviews upon release, earning a rating of 77 out of 100 on Metacritic. "Filter" said of the album "Beck is somehow more aware while puffing out his waves of broken poetry as opposed to the casual seed-spitting he has been known to turn to," and AllMusic said that it was "an effective dosage of 21st century paranoia." Some negative reviews, such as PopMatters, said that the album "lacks the unique resonating timbres one is accustomed to with Beck," and "The Guardian" called it "a vanity project". In December 2008, "Modern Guilt" was nominated for Best Alternative Album at the 51st Grammy Awards, but it later lost to "In Rainbows" by Radiohead.

Charts.

Commercial performance.

The album entered both the "Billboard" 200 and the Canadian Albums Chart at number four, and gave Beck his first ever Top 10 placing on the UK Albums Chart, peaking at number nine. The album has also been Beck's second-best charting album in Australia reaching number 13, behind his twelfth studio album "Morning Phase", which debuted and peaked at number 5 in 2014. In the US, the album sold 84,000 copies in its first week. Although successful, this does not match the first week sales of "The Information", which were 99,000. In Canada, the album sold over 6,000 copies in its first week.  It was awarded a silver certification from the Independent Music Companies Association which indicated sales of at least 30,000 copies throughout Europe.

Modern Guilt is the eighth official studio album and eleventh overall by American alternative artist Beck. "Modern Guilt" features two contributions by Cat Power and was produced by Beck and Danger Mouse. The album lasts 33 minutes, making it the shortest album by Beck to date.

Modern Guilt est le onzième album studio du musicien américain Beck sorti en 2008 par DGC Records. Il contient deux contributions de Cat Power. Cet album est produit par Danger Mouse, producteur entre autres de "Demon Days" de Gorillaz et de "The Grey Album". À sa sortie, "Modern Guilt" récolte des critiques généralement favorables.


Great Britain at the 1896 Summer Olympics

Grande-Bretagne aux Jeux olympiques de 1896

Athletics.

The British athletes took two medals and a fourth-place finish in athletics. The 100 metres and the 800 metres were the two events in which they had little success.

Cycling.

Battell and Keeping each won a medal in the cycling program, earning a 4th place and a 5th-place finish as well.

Gymnastics.

Elliot finished in last place in the rope climbing competition. He did not make it all the way up the 14-metre rope, retiring at some point below 12.5 metres (the distance of the bronze medallist).

Shooting.

Merlin and Machonet were unable to win any medals in the shooting events.

Tennis.

Boland (later best known as an Irish nationalist politician) was by far the best player in the tennis competition, amassing a 6-0 record over both events and two gold medals, though one of them was as part of a mixed team. He defeated Traun in the first round of the singles competition, then teamed up with him for the doubles competition. Robertson was much less successful, losing both of the matches he played, though he was awarded a retroactive bronze medal by the International Olympic Committee as his bye in the doubles quarterfinals put him in third place in that event. Like Boland's doubles gold medal, Robertson's bronze is not counted as part of the British total because the two played on mixed teams.

Weightlifting.

Elliot (born in British India of Scottish ancestry) lifted the same amount as Viggo Jensen in the two handed lift, but was declared by Prince George of Greece to have taken second place based on lifting form. In the one handed lift, he easily defeated Jensen, who lifted only 57 kilograms.

Wrestling.

Elliot was defeated by eventual champion Carl Schuhmann in the first round of the wrestling competition, tying for 4th and last place.

Ten athletes from the United Kingdom of Great Britain and Ireland competed in seven sports at the 1896 Summer Olympics. The Great Britain athletes were the fifth most successful in terms of overall medals (7) and tied for fifth in gold medals (2). The 7 medals came on 23 entries in 14 events.

Dix sportifs britanniques ont participé aux premiers Jeux olympiques d'été à Athènes. La Grande-Bretagne désigne en réalité l'entité du Royaume-Uni de Grande-Bretagne et d'Irlande. Bien que souvent appelée Royaume-Uni, le CIO utilise l'expression Grande-Bretagne pour désigner cette délégation (d'où le code CIO, GBR). Le Drapeau du Royaume-Uni est le drapeau de la délégation de Grande-Bretagne comme celui des colonies australiennes aux Jeux olympiques d'été de 1896.


Career.

Youth and early in professional football in Nuremberg.

After a year in the F-youth of TSV Wendelstein, Tschauner began his career in 1995 with the first 1. FC Nürnberg, where he went through all youth teams. Having already partially helped in the 2003/04 season in goal for the second team of the FCN, he was the third goalkeeper in 2004/05 for the pros and goalkeeper of Bayern League team 1. FC Nuremberg. On 22 October 2005 Tschauner's first game in the Bundesliga was against Arminia Bielefeld.

TSV 1860 Munich.

In the summer of 2006 he moved to 1860 Munich, where he signed a three-year contract. During the 2006/07 season he served as the Regionalliga Süd U23 Lions goalkeeper, and made five appearances in the second division team of 1860 Munich, where he twice replaced Michael Hofmann, who had been injured.  In preparing for the 2007–08 season, coach Marco Kurz stated Tschauner would be primary goalkeeper before Hofmann. On match day however, Tschauner suffered a partial tear of the cruciate ligament in his left knee, so Hofmann replaced him. After being in goal for the Sechzger, Tschauner played in the role of the substitute goalkeeper for several months. On 27 February 2008, Hofmann was injured in the Cup derby against FC Bayern, with Tschauner then making a comeback. Afterward, he became the first choice for goalkeeper in the league. In March 2008, his contract was extended until 2011.  Tschauner also went into the following season (2008/09) as goalkeeper. But when Uwe Wolf replaced Kurz as coach in February 2009, Tschauner was forced to resign to a secondary role while Hofmann became goalkeeper again. However, Hofmann was again injured after the 30. Gameday, so at the end of the season Tschauner was goalkeeper again.  In the summer of 2009, the 1860 Munich took on Gábor Király and immediately declared him as goalkeeper. Tschauner was again assigned as replacement goalkeeper. During the 2009/10 season he played several times for the second team; he only played on the professional team on the final day. In the following season he sat out for 33 games and only played in the last home game. In total Tschauner sat out for 49 league and cup appearances, and was part of five 1860 games and 40 games for 1860 II.

FC St. Pauli.

For the 2011–12 season Tschauner joined FC St. Pauli, where he signed a contract until 2013. There, he became an instant goalkeeper and took part in all 19 league games until in the last game before the winter break—a 2: 0 win over Eintracht Frankfurt—he sustained an acromioclavicular injury, which made him unfit to play for several weeks.  On 1 April 2013, during the 27th round of the Bundesliga 2, Tschauner scored in the 90th minute of the 2:2 final against SC Paderborn 07 with a header after a corner kick from midfielder Dennis Daube.

Hannover 96.

On 14 May 2015 Tschauner signed a contract with the Bundesliga club Hannover 96.  On 2 January 2019, It was announced that he would join FC Ingolstadt on loan until the end of 2018–19 season.

RB Leipzig.

On 30 July 2019, Tschauner joined RB Leipzig on a two-year contract.

International career.

Tschauner played ten times for the youth teams of the DFB. In 2004, he was on reserve for the U-19 European Championship. He later played in the U-20 team a total of nine times, and was also part of the German squad at the 2005 World Junior Championships. Tschauner also played as part of the U21 team on 15 August 2006 against the Netherlands.

Philipp Tschauner (born 3 November 1985) is a German professional footballer who plays as a goalkeeper for RB Leipzig. During his career, he has played for 1. FC Nürnberg, 1860 Munich, FC St. Pauli, Hannover 96 and FC Ingolstadt. Tschauner has played internationally for Germany nine times at under-20 and once at the under-21 level.

Philipp Tschauner (né le à Schwabach) est un footballeur allemand qui évolue au poste de gardien de but au RB Leipzig.


Childhood and early career.

After completing primary and secondary education in Kragujevac he went to study in Belgrade in 1961. Initially he studied dental medicine and then literature. But he quickly left the academic world in order to dedicate himself completely to what he saw as the real literature. "I did not consider it as a profession but as a vocation, a skill that replaces religion, politics and real life."  After the publication of his first collection of stories ("The Scum of Death", Prosveta, 1969), Stevanović became a prominent figure on the Yugoslav literary scene. His writing also made him a subject of political persecution; he was brought into court for a trial which lasted six years. He was neither released nor condemned: the trial simply expired. During those six years the young writer lived in isolation from the public. He stopped working on the second book of his novel "Nišči". The gloomy atmosphere of that period is transposed in his novel "Konstantin Gorča" which ended the Kragujevac cycle. Vidosav turned to his family life, and started working on his Belgrade stories and collecting material for his novel "The Will". His first book of Belgrade stories appeared in 1978. It attracted considerable attention and provoked a few moderate attacks but could not be entered for any awards as he had been blacklisted. Upset by the premature death of his wife Gordana, Vidosav did not pay attention to such things. Fighting with depression, he worked industriously as an editor, gaining respect in his second job. During that period the assaults on him lessened. He became a member of the management of the Writers Society and played an important role in the process of liberation of the poet Gojko Đogo. At the beginning of 1982 he accepted the position of chief editor and then director of BIGZ, a publishing house which was about to collapse. Vidosav changed its programs, activated marketing, reanimated pocketbooks, introduced modern commerce conforming to the principle of the "new Japanese business philosophy": do not produce for storehouses! In the next five years BIGZ turned into the most active and most successful publishing house in Serbia and among the best in Yugoslavia. It published books and authors that others were unwilling to publish. It becomes the main publisher of dissidents.  While Yugoslav life was becoming generally more free in the 1980s, Slobodan Milošević attained power first in the Communist party and then in the whole of Serbia. Just before these events Vidosav Stevanović moved to the publishing house Prosveta, trying to save this ineffective company. But Mirjana Marković, Milošević s spouse, wanted Prosveta for herself. Refusing to work under her supervision, Stevanović submitted his resignation. All of a sudden, at the end of 1988, Vidosav, who had to sustain his family of five, was jobless and expelled. All the cultural institutions, artistic societies and colleagues keep silent. The persecution would end three years later in his exile.

Persecution and exile.

At the beginning of 1989, Stevanović accepted the position of an advisor in the Sarajevo publishing house Svjetlost, which published the second edition of his collected works. The two years he spent in the multiethnic city of Sarajevo were relatively peaceful. With a few like-minded people, Stevanović established the literary association Independent Yugoslav Writers. One of the constitutive documents proposed the foundation of the professional trade union Svjetlost, which still exists, while the other required that the political parties at the time reveal to the public the archives of the secret services; this initiative was supported only by reformists from Serbia. These archives remained undisclosed even at the beginning of the 21st century. Stevanović founded the Liberal Forum in Belgrade, together with a couple of independent intellectuals. It aimed to act as an intermediary between various political options, but with no success. At the first free elections held towards the end of the 1990s, he participated in the campaigns of the presidential candidate Ivan Djuric. "Except the primary liberal and pro-western orientation, we had in our political platform three important aims for Serbia: peace with itself, peace with its neighbors, peace with the world. Still, we couldn’t do much in the middle of the hellish media blitz of Milosevic and the other frenzied nationalists who were everywhere preparing for the war and rapine." (Vidosav Stevanović: Notes). In December of the same year he resigned from his position as advisor in Svjetlost and withdrew to his home village near Kragujevac.  In the first year of democracy, Stevanović, like other people holding the same attitudes as his, could not find publishers for his works. "It happened in the same year that I lost my job and couldn’t have my works published, so I was unable to support my family. Nobody noticed this in the city which was caught up in war fever and nationalistic fanaticism. We had to leave." After a physical assault in the street, he fled to Greece with his wife and sons, and going through the experiences described in his writing, started the trilogy "The Snow and the Dogs". His first book, "The Snow in Athens", was published in Greek, and later on, in Serbian. With help from PEN and his French friends he managed to get to France to promote his book and, following an invitation from the publisher, decided to stay in France. Stevanović gave a number of interviews, appeared in many TV programs, participated in public debates and visited French towns; in all places severely criticizing the regime of Slobodan Milosevic. He joined Ivan Djuric, also an asylum seeker, and his Movement of Democratic Forces. They tried to convince the European public and politicians of how necessary it was to stop the war in the former Yugoslavia. They also tried to help Sarajevo, the city being bombed at the time. After the Dayton Agreement, the two of them criticized the delayed halt of war, the division of Bosnia and the nationalism of the politicians leading the three constitutive nations.  Towards the end of 1995, Stevanović stayed in his house near Kragujevac. Appalled by the political atmosphere, he left again, this time heading first to Prague to write the screenplay for "The Balkan Island", and then to Paris. He publicly opposed the positions held by western governments claiming that Milosevic was a guarantee of stability in the Balkans. Over a span of just two years he lost two of his close friends: Dragisa Pavlovic died in Belgrade, and Ivan Djuric in Paris. For the sake of his sons he returned to Serbia during the big demonstrations of 1996–97, joining the opposition in Kragujevac which soon won the favor of the city radio-television, the first free one in Serbia. Six months later, Stevanović resigned from the position of director and left for Paris. In his diary from that period "Thieves of Their Own Freedom", published in French, there is a sentence saying: "The opposition is the final line of defense against the regime of Slobodan Milosevic." His wife and younger son joined him, and the three of them demanded and were granted political asylum as a clear case of the triple breach of the Geneva Convention. Stevanović prepared and finished his political biography of Milosevic, which was published before the subject was ousted from power. New democratic powers in Serbia did not invite Stevanović to come back. The next years were the most prolific in his life. He wrote with great intensity, publishing in various languages and enjoying the French cultural environment. He won two court cases against a big publisher and was given a French award and French citizenship. But he continued to frequently visit the former Yugoslav republics.  Stevanović eventually accepted the position of culture advisor in the Sarajevo city council and spent the next three years in his favorite city. He then retired, returning to his village near Kragujevac.

Works.

Stevanović published his first and only collection of poems, "Trublje" in 1967, in Belgrade. His second book was a collection of stories, "The Scum of Death", published in 1969. Two years later he brought out his first novel, "Nišći", followed two years later by "Konstantin Gorča". These were followed by two-story collections, "Suburban Dragons" (1978) and "The Cesarean Section" (1984), which was awarded the Andrić Prize. Perhaps his most popular work is the novel "The Will" for which in 1987 he received the Serbian Nin Literary Award.  Later works have included:  He has three as yet unpublished works, and two books of his published journals (1988–1993).  He also has written the following plays:  He wrote two screenplays: "My Lazar!" and "The Balkan Island", with Lordan Zafranović. He is also the author of fifteen radio dramas, numerous literary criticisms, essays and newspaper articles.  The fiftieth anniversary of the beginning of his literary career was accompanied by a book dedicated to his life and writings and an international conference at the University of Kragujevac in March 2011.

Vidosav Stevanović (; born 27 June 1942) is a novelist, story writer, poet, playwright and publicist. he has written over thirty literary works, a political biography of Slobodan Milošević, numerous essays and various other pieces of writing. Stevanović used to write for European newspapers such as Le Monde, Liberation, El País and Expressen.

Vidosav Stevanovic (en serbe cyrillique : ), né le à Cvetojevac près de Kragujevac, Serbie, est un écrivain et dramaturge serbe.


Production and recording.

Initially titled "Beautiful Nightmare", "Sweet Dreams" became one of the first songs composed for the 2008 double album "I Am... Sasha Fierce". Record producer Rico Love regards writing "Sweet Dreams" with Knowles as "the experience of a lifetime". When Knowles went to the South Beat Studios in Miami Beach, Florida, she was not prepared to record and had to attend the opening concert of her husband Jay-Z's tour. However, when she heard a demo of "Sweet Dreams", she was impressed and wanted to record the song immediately.  Knowles, Wayne Wilkins and Jim Jonsin did some additional writing and produced the song alongside Love at the same studio. Knowles and Love worked on the vocal arrangements; Knowles appreciated Love's background vocals in the hook and retained them. Jim Caruana assisted in recording the music. Love then recorded Knowles' vocals; the recording session lasted for an hour. Lastly, Wilkins mixed the track. "Sweet Dreams" appears on the "Sasha Fierce" disc of "I Am... Sasha Fierce" as it allows Knowles to portray her "alter ego" Sasha Fierce, whom Knowles described as "[her] fun, more sensual, more aggressive, more outspoken side and more glamorous side".

Leak and release.

"Sweet Dreams" was leaked under its original title the day after it was recorded in March 2008, eight months before the album's release. It was the first time that a single by Knowles was leaked before its inclusion on an upcoming album. She responded to the leak on her official website, thanking her fans for the positive response towards the song, before clarifying that it was just a work in progress and that she did not intend to release new material in the near future. About the leak, Love told MTV News: I was more concerned that [Beyoncé] would feel that we did it. A lot of times producers or songwriters leak records because they feel if you put the song out there it would go [on to become a hit]. Usually a leak that far in advance of an album release puts the song in serious jeopardy of being excluded from the final track list. It was frustrating. I felt like you work hard to get in the studio to work with Beyoncé. [But] I was blessed... that song turned out [to] have nine lives. Under the song's original title "Beautiful Nightmare", "Sweet Dreams" gained some attention in the United States, where it amassed enough airplay to chart at number forty-five on Hot Dance Club Songs chart and at number fifty-seven on Pop 100 Airplay chart. "Broken-Hearted Girl" was initially intended as the sixth US and fourth international single alongside the stateside-only single "Ego" (2009). However, its release was scrapped at the last minute, and replaced by "Sweet Dreams", which Knowles selected for a summer single release because she wanted an uptempo song that would keep people dancing. She added, "It's very rare to find an uptempo song that means something... that's not just about going to a club or partying or being a sexy girl."  "Sweet Dreams" was added to US contemporary hit radio and rhythmic contemporary radio playlists on June 2, 2009. Dance remixes of the song alongside the album version of "Ego" and its remixes were later released on the same digital EP on August 17, 2009, in the US. In Germany, the album version of "Sweet Dreams" and a radio edit of a remix produced by Steve Pitron and Max Sanna were made available as a digital download and as a CD single on July 13, and July 17, 2009. A different digital EP containing remixes and the music video of the song was released in the same country on July 31, 2011. On July 16, 2009, the album version and the radio edit of "Sweet Dreams" was serviced as a two-track digital single in Oceania and Europe, excluding France, where it was made available on the same format the following day. In the UK, the song was released on CD and as a stand-alone digital single on August 10, 2009. A different digital EP containing four remixes and the album version of "Sweet Dreams" was also released. On the same date, the song was released as a two-sided digital EP in mainland Europe; it contained ten remixes of "Sweet Dreams".

Composition and lyrical interpretation.

"Sweet Dreams" is an electropop song that incorporates elements of rock and old-school funk music. The song is built on undulating electro rhythms and a thumping beat; its groove fits into hip hop phrasing. It is essentially driven by a keyboard and also has guitar, piano, synthesizer, snare drum and bass instrumentation. Many music critics noted that several components of "Sweet Dreams" are reminiscent of the songs on Michael Jackson's 1982 album "Thriller". James Montgomery of MTV News said that the "gnarly low end" sounds like Jackson's song "Beat It" (1983). Nick Levine of Digital Spy noted that the electronic bassline is similar to those used in Jackson's songs "Thriller" (1983) and "Bad" (1987). Arielle Castillo of the "Miami New Times" noted that Jackson could use the beat of "Sweet Dreams" to bring up to date his "Thriller"-era style.  The lyrics of "Sweet Dreams" are about a female protagonist who has some insecurities about her new romantic relationship; she is confused about whether her relationship with her partner is a "sweet dream or a beautiful nightmare". The song starts with a bassline, which is occasionally interrupted by spare snare kicks, drum fills and Knowles' chanting, "Turn the lights on." She then adopts slinky vocals to begin the first verse. The "expansive-yet-molecular" chorus then starts with the line, "You can be a sweet dream or a beautiful nightmare / Either way, I don't wanna wake up from you." The song is written in the key of Eminor with a tempo of 122 beats per minute. Beyoncé's vocals span from D to F in the song.

Critical reception.

Reviews.

"Sweet Dreams" was acclaimed by critics, some of whom praised its dark tone and electropop sound that is different from Knowles' previous work. James Montgomery of MTV News wrote that Knowles' vocals, which he called, "icy and cool, slippery like mercury [and] nothing to scoff at either", help make the song an "undeniable smash" that is unique compared to the work of other artists. Jennifer Vineyard of the same publication argued that the rock elements and smooth vocals contribute to Knowles' "fierce" alter ego, who "dares the listener to dream of her, warning that it might be a 'beautiful nightmare'." Arielle Castillo of "Miami New Times" noted that "Sweet Dreams" is another one of Jim Jonsin's productions with a keyboard-propelled arrangement, but unlike the material Jonsin crafted for Soulja Boy, the song is "swirling, and darker". Joey Guerra of the "Houston Chronicle" and Gary Trust of "Billboard" magazine agreed that the song is one of Knowles' purest dance songs and is "an irresistible call to the dance floor". Describing "Sweet Dreams" as a "cool dance track", Dennis Amith of J!-ENT complimented its arrangement, calling it "experimental" with "cool transitions".  Adam Mazmanian of "The Washington Times" described the song as "a gritty slow grind with a salacious bassline" and noted that Knowles "delivers a near parody of a good-girl voice" while singing the chorus. Ryan Dombal of Pitchfork Media wrote that "Sweet Dreams" sounds like a song Rihanna would sing. Echoing Dombal's sentiments, Nick Levine of Digital Spy wrote that the best song on the "Sasha Fierce" disc is a "dark[ish] electropop track called 'Sweet Dreams', [which] actually sounds like the cousin of Rihanna's 'Disturbia'". On a separate review for the single, Levine awarded "Sweet Dreams" a rating of four stars out of five, and commented that the song seduces listeners with its catchy chorus hook, and thereafter keeps them intrigued by "placing a hint of darkness just beneath the shiny, synthy surface". Spence D. of IGN Music wrote that though "Sweet Dreams" is not a "stellar track", it is superior to other album tracks, including "Diva" and "Radio". Similarly, Vicki Lutas of BBC Music wrote that even though "Sweet Dreams" appears to lack something, it is undeniably a good song overall. She added that "Sweet Dreams" may not be Knowles' finest or most memorable work, but it remains her best offering since her 2003 song "Crazy in Love". Lutas also commended Knowles' vocal delivery, which he described as "beautiful and soft, yet strong and powerful". Talia Kraines of the same publication wrote that "Sweet Dreams" is one of the standout tracks on the "Sasha Fierce" disc though Knowles does not get as experimental as she did on her 2006 song "Ring the Alarm".

Recognition and accolades.

"Sweet Dreams" earned Knowles the Best Female Vocal accolade at the 2009 Music MP3 Awards. It was nominated for Best R&B/Urban Dance Track at the 25th Annual International Dance Music Awards, but lost to The Black Eyed Peas's 2009 song "I Gotta Feeling". It was also nominated for the Viewers Choice Award at the 2010 BET Awards. The American Society of Composers, Authors and Publishers (ASCAP) recognized "Sweet Dreams" as one of the most performed songs of 2009 at the 27th ASCAP Pop Music Awards. On the occasion of Knowles' thirtieth birthday, Erika Ramirez and Jason Lipshutz of "Billboard" magazine ranked the song at number 21 on their list of Knowles' 30 biggest "Billboard" hits, and noted that its electropop sound, which was in contrast to Knowles' previous singles, showcased her range of talent. On "The Village Voice"s 2009 Pazz & Jop singles list, "Sweet Dreams" was ranked at number 114. In 2013, John Boone and Jennifer Cady of E! Online placed the song at number five on their list of ten best Knowles' songs, writing that Knowles "stepped away from R&B roots with this surreal electropop tune, which features these standout lyrics: 'My guilty pleasure, I ain't going nowhere / As long as you're here, I'll be floating on air' (which, from Bey's mouth, sounds like the greatest threat ever)."

Chart performance.

"Sweet Dreams" debuted at number seventy-two on the US "Billboard" Hot 100 chart issue dated August 9, 2009. It peaked at number ten for two non-consecutive weeks on the charts issued dated November 7, and November 21, 2009. The song became Knowles' thirteenth top ten Hot 100 single as a solo artist during 2001–10, and tied her with Ludacris and T-Pain for second-most top tens on the chart since 2000; Knowles' husband Jay-Z leads with fourteen in that period. Knowles' is the third song titled "Sweet Dreams" to reach the top ten of the Hot 100 chart, following "Sweet Dreams" by Air Supply in 1982 and "Sweet Dreams" by Eurythmics in 1983.  "Sweet Dreams" peaked at number forty-eight on the US Hot R&B/Hip-Hop Songs chart, making "I Am... Sasha Fierce" the first album of the 21st century to have seven entries on that chart. For the week ending September 12, 2009, it topped the US Hot Dance Club Songs chart; it became Knowles' eleventh number-one song, and was the fourth song from "I Am... Sasha Fierce" to top that chart. "Sweet Dreams" tied Knowles with Kristine W for second-most number one songs on the Hot Dance Club Songs during 2001–10. The song peaked at number five for three consecutive weeks on the US Pop Songs chart in November 2009. "Sweet Dreams" was certified double platinum by the Recording Industry Association of America (RIAA), denoting sales of two million digital copies. As of October 2012, it had sold 2,091,000 digital downloads in the US.  "Sweet Dreams" also performed well outside the US. In the UK, the song initially entered the UK Singles Chart more than a month before its physical release, on July 5, 2009, at number one hundred and eighty-nine. The following week, it rose to number fifty-two, and thereafter continuously ascended the chart; it peaked at number five on August 9, 2009, and became Knowles' sixth top five single in the UK as a solo artist. The song was last seen on the UK Singles Chart on January 17, 2010, after spending 26 weeks in the top 100. On July 16, 2009, "Sweet Dreams" debuted at number seventeen on the Irish Singles Chart and climbed to its peak position at number four in its fourth charting week. The single stayed in top ten for eight weeks and left the chart after spending nineteen consecutive weeks on it.  For the week ending June 18, 2009, "Sweet Dreams" was the most added song on Australian radio stations. On August 9, 2009, it peaked at number two on the Australian Singles Chart, and became the highest charting single from "I Am... Sasha Fierce" in Australia. The song spent thirty-eight consecutive weeks in the top 100, where it last charted on March 1, 2010; it was certified platinum by the Australian Recording Industry Association (ARIA) for shipping 70,000 copies. In New Zealand, "Sweet Dreams" debuted at number thirty-nine, and peaked at number one for three consecutive weeks. It was the most added song on New Zealand radios as from September 21, 2009 to November 2, 2009. The song was certified platinum by the Recording Industry Association of New Zealand (RIANZ), representing shipment of 15,000 copies.

Music video.

Background and concept.

The accompanying music video for "Sweet Dreams" was directed by Adria Petty, whom Knowles chose because of her intelligence and beautiful visual references. After Knowles learned the choreography in Los Angeles, the video was shot in a studio in Brooklyn, New York City. It was the seventh video released from "I Am... Sasha Fierce", and the second to have complete color throughout; "Halo" was the first. Knowles described it as more "graphic" when compared to the previous six videos; its motive was to "take Sasha [Fierce] to the next level". In the video, Knowles' alter ego is symbolized by the golden robot suit she wears; it was designed by French fashion designer Thierry Mugler.  A green-screen and computer-generated effects were used for the video to create a minimal and performance-based clip. The computer-generated imagery (CGI) was employed to create a context-less void; the CGI effects were used to delete the background and setting before creating a void-like digital canvas for the dance routine that is executed by Knowles and her dancers Saidah Nairobi and Ashley Everett, who all sport numerous flashy and symmetrical costumes throughout the video. Accordingly, there were no concerns of cutting; the images were easily merged into one another using computers. A high number of camera lens glare effects was used in the video, part of which was inspired by British designer Gareth Pugh's Autumn/Winter 2009 video presentation. Knowles further explained that the fashion and choreography were the main elements of the music video: The fashion was extremely important in this video because everything was so minimal... With the choreography, we really focused on hitting all of the accents in the drum beat. What makes this choreography so interesting is that in one instance, it is very staccato and hard... And the next instance; the movement is very smooth and there are lots of melts with inter-kit movement in the fingers and hands. On June 12, 2009, a behind-the-scenes video, which Knowles dance rehearsal, was released; Knowles was dressed in golden costumes and was performing some robotic movements The music video of "Sweet Dreams" was not included on the remixes and video album "Above and Beyoncé – Video Collection & Dance Mixes" as it was not finished when the CD/DVD collection was made; instead, a "Making of Sweet Dreams" video was included. A 30-second clip from the video was posted online on July 8, 2009; it showed Knowles alongside her two female back-up dancers in a virtual desert. The following day, the full video was leaked online but was soon deleted after Knowles' label issued warnings to infringing websites. The video for "Sweet Dreams" premiered on MTV later the same day.

Synopsis and analysis.

The video opens with Knowles tossing and turning in her bed; her idea was to make the opening shot look like "a dark fairy tale ". As she tries to sleep, Brahms's Lullaby plays softly in the background.. Listening to heartbeat before Beyoncé breathing. She then levitates off her bed using her stomach muscles to move the top half of her body. Knowles said that the levitation shot was the hardest one as she had difficulties making her neck look straight. She added that the scene represents the nightmare and the white bird flying above her takes her into her dream, which unfolds after the screech of an electric guitar. Knowles is transported to a desert and several clouds are present in the background. She wears a black Roberto Cavalli dress and boots; as the music begins, her two backup dancers wearing Gareth Pugh pieces appear. The scene changes into a computer-generated sci-fi landscape where Knowles is inscribed with a circle and square in a similar fashion to Leonardo da Vinci's "Vitruvian Man". The first chorus is brought in by a subtle glass-breaking sound effect as the sci-fi special effects disappear and Knowles appears in a silver one-shouldered mini dress on a white background. Accompanied by her backup dancers, she performs sophisticated, street and hip-busting dance moves.  The second chorus shows Knowles wearing a silver lined body suit while smashing mirrors. During the bridge, the video fades to black and white and Knowles appears wearing the gold robot suit, and gold and diamond nail rings valued at $36,000 and designed by Bijules designer Jules Kim. She executes some robotic movements. As the chorus begins to play for the third and final time, digital doubling and mirroring are used to create a collection of dance moves and multiple images Knowles arching her back. The gold outfit is then reused, this time in color. Knowles performs another dance routine with her two backup dancers, then says, "Turn the lights out", and the video ends.

Reception.

James Montgomery of MTV News wrote that the video is "an eye-popping, herky-jerky, high-fashion" one. He praised the way Knowles "[pops] her pelvis in ways never imagined", and the wardrobe changes in the clip, before concluding: "She expands on her burgeoning robot fetish, flashes the crazy eyes and contorts her body in downright unsettling ways. All of which is to say that 'Sweet Dreams' is just like every amazingly crazy Beyoncé video from the past three years, which — to extend the point — also means that it's pretty great." Olivia Smith of "Daily News" noted that in the video, Knowles references Jane Fonda in the movie "Barbarella" (1968), Tin Woodman and Pamela Anderson through the different costumes she wears. Smith further compared the video with the one for "Single Ladies", writing that Knowles reprises some of the moves as she "can only swivel those hips in so many ways". Brandon Soderberg of Slant Magazine described the introductory part of the video as a David Lynch-like mixture of eroticism and symbolism. He wrote that the video was "one part "Victoria's Secret" commercial, another part dream logic anti-narrative, and a CGI-assisted freakout all around". Soderberg commended the video for being "an excess of body and action, not filmic techniques", adding that the dancing in the video "blow[s] our minds anew".  "Rolling Stone" found similarities between the video for "Sweet Dreams", Kanye West's video for "Paranoid" (2009) and the cover artworks of English rock band Yes. Canadian magazine "Dose" also compared the video with "Paranoid" due to their similar dream sequences. Vicki Lutas of the BBC did not appreciate the first 30 seconds of the video, writing that "the dark, horror-type music, the pumping heartbeat, the equally spooky lullaby, the screech of an electric guitar", gave her the impression that she was watching "some [19]80s magician, with a Knowles soundtrack". However, she complimented the rest of the video writing that "things (thankfully) move away from the Hallowe'en cheese and into familiar Beyoncé territory (right from the fact it's proper [19]80s pop through to the video essentially being 'Single Ladies' with Beyoncé and 2 dancers)". Lutas concluded that the video might not be remembered for long or hailed as Beyoncé's finest and more memorable work, but it remains one of the best music videos from Knowles she has seen since "Crazy in Love". Nick Levine of Digital Spy compared the dancing moves in the video with those in "Single Ladies".  The video stayed at number one for several weeks on the UK TV Airplay Chart in August and September 2009. It was ranked at number 13 on BET's "Notarized: Top 100 Videos of 2009" countdown. Tamar Anitai of MTV placed the video at number three on his list of the best five videos of 2009, wrote that it "isn't just another high-fashion look at Beyoncé... " and continued, "It's the dark yin to the brighter, lighter fare of 'Single Ladies.' This is a 360-degree look at Beyoncé's life: Beyoncé the woman, Sasha Fierce the performer, and the powerful force that occupies the spaces in between." In 2013, John Boone and Jennifer Cady of E! Online placed the video at number ten on their list of Knowles' ten best music videos, praising Knowles' sexy robotic look.

Promotion.

Knowles was due to perform "Sweet Dreams" at the 2009 MTV Video Music Awards on September 13. However, last minute changes were brought to her performance that night; wearing a leotard and a silver glove, Knowles sang a short drum-led remix of "Sweet Dreams" before switching to "Single Ladies (Put a Ring on It)", accompanied by two female backup dancers. Wearing a red Agent Provocateur corset, stockings and long satin gloves, Knowles sang "Sweet Dreams" at the MTV Europe Music Awards 2009 on November 5. Charly Wilder of "Spin" magazine commented that Knowles overshadowed American singer Katy Perry's "tweaked-out pinup shtick with her mesmerizing, sexed-up rendition" of "Sweet Dreams".  "Sweet Dreams" was not regularly performed on the I Am... World Tour, a 2009–10 world tour in support of "I Am... Sasha Fierce", but a video interlude featuring the song was included. Knowles sang an acoustic and downtempo rendition of the song live during the revue I Am... Yours that was held at the Encore Theater in Las Vegas on August 2, 2009. She blended it into a romantic medley that also included her 2003 song "Dangerously in Love" and Anita Baker's 1986 song "Sweet Love". The performance was subsequently included on her 2009 CD/DVD live album "". Knowles performed "Sweet Dreams" live at the Glastonbury Festival on June 26, 2011; she mixed it with the 1983 song "Sweet Dreams", originally performed by the British pop music duo Eurythmics. "Sweet Dreams" was used in a commercial for Crystal Geyser bottled water in which Knowles appeared; she dances and drinks water while the song is played in the background. Although acclaimed and with high peaks reached at the charts, Knowles performed the whole song live only on 5 first concerts in I Am... World Tour as show opening, later halving or mixing it with covers or other songs of hers.

Cover versions.

An unofficial remix, featuring American rappers Lil Wayne and Nicki Minaj, was leaked on some websites on March 9, 2010, and was included on Wayne's 2009 mixtape "No Ceilings". The Big Pink, an English electro-rock duo consisting multi-instrumentalists Robbie Furze and Milo Cordell, covered "Sweet Dreams" in a live session for BBC Radio 1 on November 7, 2009. They also performed the song live on at the 2010 Isle of Wight Festival on June 13, 2010. The cover later became a B-side to their 2010 single "Tonight". Jon Caramanica of "The New York Times" commented that The Big Pink's version of "Sweet Dreams" had a "disarmingly flat affect, delivering it as the ramble of a neurotic" when compared to the original recording sung by Knowles. Likewise, Pitchfork Media's Ryan Dombal felt that their cover "obliterates the original's Hi-NRG pulse, turning it into something a lot moodier and creepier". On November 1, 2010, American professional basketball player, Shaquille O'Neal, dressed as his female alter ego Shaquita for Halloween, and gave a lip-synching performance of Knowles' "Sweet Dreams". In September 2011, Jade Collins covered "Sweet Dreams" during an episode of the ninth series of "The X Factor". On October 27, 2012, boy band Union J covered the song during the same season of the show and released the cover through the iTunes Store as a single the same day.

Jessica Sanchez cover.

On March 28, 2012, Jessica Sanchez, a contestant of the eleventh season of "American Idol", covered "Sweet Dreams" performing a slow-tempo ballad version of the song accompanied at the beginning by harps. Her performance received favorable comments and a standing ovation from the judges of the show. Jennifer Lopez commented, "You did a beautiful job on it... If I was Beyoncé and I was home and I heard that, I'd be like 'I got to do that in my next concert, slow that one down.'" Steven Tyler described Sanchez's performance as "great" while Randy Jackson noted that it was "unbelievable, sensational". James Montgomery of MTV News graded her performance with a B, and called the cover "a bit of an odd choice, and yet also a supremely confident one". He added, "For once, she pulled things back, and maybe suffered a bit for doing so, but there were still plenty of subtly great moments, particularly in the verses. Might not have been her best—it definitely lacked in vocal fireworks... And really, it was good enough".  Mellisa Locker of "Rolling Stone" praised Sanchez's performance, calling it a "brilliant job" and adding that "it's risky, but Beyoncé has done it, and if anyone can pull off a dazzling repeat performance, it's Jessica". She further compared the performance with the dream sequence from the 1945 film "Spellbound" but noted that it was "slightly weirder" Jim Farber of the "Daily News" commented that "her take on a song by her clear role model, Beyoncé, showed too much similarity in their timbres and phrasing, making Sanchez's voice seem redundant... despite the fact she switched up the arrangement of the bootylicious song she chose, 'Sweet Dreams.'" Amy Reiter of the "Los Angeles Times" wrote, "Sanchez gave yet another perfectly calibrated performance with Beyoncé's 'Sweet Dreams,' balancing restraint and power. Everything from her voice to her dress to the red door she walked through seemed polished and tour-ready." "The Arizona Republic"s Randy Cordova praised the performance, saying that the slow-tempo version allowed Sanchez "to really delve into the song's emotional core". "The Hollywood Reporter"s Erin Carlson praised the tonned-down theatrical stage during the performance and Sanchez's vibrato voice, further describing the performance as a "near-perfection".

Credits and personnel.

Credits are taken from "I Am... Sasha Fierce" liner notes.

"Sweet Dreams" is a song recorded by American singer Beyoncé from her third studio album "I Am... Sasha Fierce" (2008). Originally titled "Beautiful Nightmare", it leaked online in March 2008. The song was written and produced by Beyoncé, James Scheffer, Wayne Wilkins, and Rico Love. Columbia Records released "Sweet Dreams", the album's sixth single, to mainstream radio and rhythmic contemporary radio playlists in the United States on June 2, 2009, and elsewhere on July 13. It is an electropop song whose instrumentation includes synthesizers, a keyboard, and snare drums. Knowles employs slinky vocals to sing the haunting lyrics, which describe a romantic relationship that the female protagonist believes could be a dream.

Sweet Dreams est une chanson de la chanteuse américaine de R'n'B Beyoncé Knowles tirée de son troisième album studio de 2008, "I Am... Sasha Fierce". Écrite et produite par Beyoncé, James Scheffer, Wayne Wilkins et Rico Love, la piste sort comme le sixième single de l'album. Elle sort aux États-Unis pour le Top 40 et les radios rythmiques contemporaines le 2 juin 2009. Le texte de la chanson décrit une belle relation que la chanteuse croit être un rêve.


Synopsis.

Goofy and his son Goofy Jr. are leaving for a camping trip. As they are packing Goofy tells his son all the things he is going to teach him. Goofy's son is very excited and suggests they might shoot a lion. Later as they are driving out to the mountains in their red woodie station wagon, Goofy tells his son about his past adventures. Each story is taken from previous "Goofy" short films. These include "Californy er Bust", "Tiger Trouble", and "African Diary" (all 1945). A common theme throughout the film is Goofy's exaggeration of his adventures.  After they arrive the scene cuts to Louie the Mountain Lion fleeing from the sound of gunfire. One bullet comes close enough to part his hair, but in the next scene it is discovered that Goofy was unaware of the lion and merely target practicing with an empty can.  Later Goofy and Goofy Jr. set up camp. Goofy ties their meat up on what seems to be a rope to keep it "safe from the little forest creatures." However it turns out to be the lion's tangling tail as he was resting on a tree branch. The lion quickly devours the meat, and when the dry bone is thrown to the ground, Goofy Jr. becomes suspicious that the lion might be present. Goofy Jr. asks if there are animals up in the tree, while the lion lowers his tail hoping for more goodies, but Goofy unknowingly beats the lion up while telling his son what he would do animals in the trees if there were.  Next Goofy teaches his son how to start a fire using a hand drill. The lion sneaks up behind him but Goofy Jr. shoots him with his pop-gun. The continuing gags in the film revolve around Goofy being unaware of the lion while his son is. Goofy Jr. isn't afraid of the lion however, because he thinks Goofy knows about the lion and also because he believes his father's stories about being a great explorer. Meanwhile, the lion makes a continued effort to eat Goofy, but is foiled either by the popgun's cork hitting his nose and making him sneeze or by unintentional, well-timed actions on Goofy's part.  Finally the lion slips into Goofy's sleeping bag, and when Goofy zips up the lions tail in the zipper the lion reacts in pain and roars. Finally a full on chase begins. At last they rid themselves of the lion long enough to break camp. As they are speeding away in the car, Goofy asks his son "Did I ever tell you about the time I was a race car driver?"

Father's Lion is an animated short film in the "Goofy" series, produced in Technicolor by Walt Disney Productions and released to theaters on January 4, 1952 by RKO Radio Pictures. The film tells the story of Goofy taking his son camping and teaching him how to hunt. The plotline of the short is a parody of the book, that loosely based on the novel "The Mountain Lion" by Robert William Murphy.

Papa, c'est un lion ("Father's Lion") est un court métrage d'animation américain de la série de Dingo, sorti le aux États-Unis, réalisé par les studios Disney.


Description.

It is a low growing, prostrate or scrambling herbaceous perennial plant growing to 8–15 cm tall. The basal leaves are oval, 10 mm long and 4–8 mm broad, with a toothed margin; leaves higher on the stems are slender and sometimes untoothed.  The flowers are blue to violet in wild plants, with a five-lobed corolla 8–20 mm across; they are produced in loose panicles. About 0.5 to 4.5 inches long inflorescence stems are about 5 inches long, loose racemose inflorescences with many flowers. The hermaphrodite flower is zygomorphic with a length of up to 1 centimeter and quinate with double perianth. The five sepals are fused. The fan-shaped lower lip is trilobed. The color of the crown varies depending on the variety between white, blue, purple, purple, pink or red the center is yellow or white. The five stamens are 3 to 7 millimeters long.  The fruit is a 5–8 mm capsule containing numerous small seeds.

Range.

The distribution area lies in southern Africa and extends from Malawi, Mozambique, Zambia and Zimbabwe to the south to Botswana, Namibia, Swaziland, Lesotho and the South African provinces.

Cultivation and uses.

"Lobelia erinus" is a very popular edging plant in gardens, especially for hanging baskets and window boxes. In temperate areas of the world, its varieties are popular ornamental plants for gardens and balconies. Some of the varieties are propagated with seeds, other varieties are vegetatively propagated only through cuttings; it depends on whether the varieties are "seedy". It has a particularly long flowering period, from mid spring to early autumn. It is perennial where temperatures remain above freezing, and is often grown as an annual plant in colder areas. It is widely available in Spring as a young plant, but must be kept indoors until all danger of frost has passed.

Cultivars.

Numerous cultivars have been selected, either with a bushy or a trailing habit, in a wide range of flower colours, including white, pink, magenta ("red"), pale to dark blue, and purple, often with a prominent white eye. Some of the better known cultivars include 'Blue Moon', 'Gracilis', 'Crystal Palace', 'Sapphire', 'Rosamund' and 'Riviera Rose'.  In the United Kingdom the following cultivars have gained the Royal Horticultural Society's Award of Garden Merit:

Lobelia erinus (edging lobelia, garden lobelia or trailing lobelia) is a species of flowering plant in the bellflower family Campanulaceae, native to southern Africa.

La Lobélie érine ("Lobelia erinus") est une plante vivace buissonnante ou retombante, de la famille des Campanulaceae, sous-famille des Lobelioideae, cultivée comme annuelle. Elle est originaire d'Afrique de l'Est et du Sud.


History.

The construction of the first two sections near Salzburg started a few weeks after the "Anschluss" annexation of Austria in 1938, as the Nazi authorities had long before set up plans for an eastern continuation of the "Reichsautobahn 26" from Munich to Salzburg (the present-day Bundesautobahn 8) towards Linz and Vienna in what was to become the German "Ostmark". However, only two sections around Salzburg with a total length of were opened to traffic when works discontinued in 1942 due to World War II.  After the war, the interrupted construction works on the third section to Eugendorf were finished, nevertheless, the further continuation could not be resumed under Allied occupation. Between 1947 and 1965 the completed sections northwest of Salzburg were used as a racing track, known as "Little AVUS", the site of an annual motorcycle race, later called "Grand Prix of Austria", with racer Helmut Krackowizer among the first winners.  The construction of the A1 continued upon the signing of the Austrian State Treaty in 1955. The first post-war section up to Mondsee in Upper Austria was opened in 1958, the route from Salzburg to Vienna was completed with the opening of the last segment at Amstetten. Finishing works near Strengberg on the border between Upper and Lower Austria and of parts between Lambach and Vöcklabruck in Upper Austria ended in the 1970s. In Vienna, the West Autobahn intersects with the B1 "Wiener Straße" highway in the Hietzing district at kilometre 9; former plans for a continuation to the city beltway were never carried out.  Traffic significantly increased after the fall of the Iron Curtain in 1989 and the 2004 enlargement of the European Union. Now that it represents such an important connection between East and West, portions of the A1 between the junction of Steinhäusl west of Vienna and the "Voralpenkreuz" interchange with Innkreis Autobahn (A8) and Pyhrn Autobahn (A9) at Sattledt are gradually being expanded by the publicly owned ASFiNAG corporation to three lanes in each direction.

Junctions.

The motorway links to the following additional motorways and major roads:

The West Autobahn (A1) was the first motorway ("Autobahn") to be built in Austria, originating from plans drawn up for the so-called "Reichsautobahn" system. Completed in 1967, today it runs from the outskirts of Vienna via Linz to Salzburg, where it joins the German Bundesautobahn 8 at the Walserberg border crossing.

L'autoroute autrichienne A1 (en, « Autoroute de l'Ouest » et en abrégé A1) est un axe autoroutier qui relie Vienne à Salzbourg via Linz faisant partie de la route européenne 60. Sa longueur est de. C'est la plus ancienne des autoroutes d'Autriche.


List of works.

In the introduction to his "Fianaigecht", Kuno Meyer listed the relevant poems and prose texts between the seventh and fourteenth centuries and further examples can be adduced for later ages:  Twentieth century:

Description.

Finn's conception.

The Finn's father Cumhal is discussed as the leader of the Fianna in "Fotha Catha Cnucha" ("Cause of the Battle of Cnucha"), his elopement and the conception of Finn mac Cumhal is the cause of the battle, in which Cumhal is killed by Goll mac Morna. This work lays down the theme of the rivalry between Cumhall's Clann Baíscne and Goll's Clann Morna, which will resurface time and again under Finn's chieftainship over the Fianna.  The onomastics surrounding Almu, the stronghold of the Fianna is also discussed here, quoting from the Metrical Dindsenchas on this landmark. And it is stated that when Finn grew old enough, he received the estate of Almu as compensation (éraic) from his grandfather who was partly to blame for Cumhal's death.

Finn's boyhood deeds.

Finn's conception and genealogy is also taken up in the "Macgnímartha Finn" ("Boyhood Deeds of Finn").  Cumhal's son is named Demne at birth, but bestowed the name "Finn" after gaining mystical knowledge from eating a salmon. The ability (Thumb of Knowledge, Tooth of Wisdom, "dét fis") is manifested by Finn in other works, e. g., the "Acallmh", the Ossianic poem about the dog from Iruaidhe, or various lays ("duanaire") of the Finn cycle.  Finn's slaying at Holloween (Samain) of the "supernatural burner" Aodh son of Fidga from the síd occurs in the "Macgnímartha Finn", but elaboraed in the "Acallamh" as well, where Aodh manifests himself under a different name, "Aillen". This episode is also told in the poem by Gilla in Chomdéd,

Fionn and Aillén.

Every Samhain, the phantom Aillén mac Midgna, or Aillén the Burner, would terrorise Tara, playing music on his harp that left every warrior helpless. Using a magic spear that rendered him immune to the music, Fionn killed the phantom. As a reward, Fionn was made the leader of the Fianna, replacing Goll, who had to swear fealty to him.

Fionn and Sadhbh.

Fionn was hunting a fawn, but when he caught it, his hounds Bran and Sceolang wouldn't let him kill it, and that night it turned into a beautiful woman, Sadhbh, who had been transformed into a fawn by the druid Fer Doirich. The spell had been broken by the Dun of Allen, Fionn's base, where, as long as she remained within she was protected by the spell. They were married. Some while later, Fionn went out to repulse some invaders and Sadhbh stayed in the Dun. Fer Doirich impersonated Fionn, tempting Sadhbh out of the Dun, whereupon she immediately became a fawn again. Fionn searched for her, but all he found was a boy, whom he named Oisín, who had been raised by a fawn. Oisín became famous as a bard, but Sadhbh was never seen again.

Fionn and Diarmuid.

One of the most famous stories of the cycle. The High King Cormac mac Airt promises the now aging Fionn his daughter Gráinne as his bride, but Gráinne falls instead for a young hero of the Fianna, Diarmuid Ua Duibhne, and the pair runs away together with Fionn in pursuit. The lovers are aided by Diarmuid's foster-father, the god Aengus. Eventually Fionn makes his peace with the couple. Years later, however, Fionn invites Diarmuid on a boar hunt, and Diarmuid is badly gored by their quarry. Water drunk from Fionn's hands has the power of healing, but when Fionn gathers water he deliberately lets it run through his fingers before he gets back to Diarmuid. His grandson Oscar threatens him if does not bring water for Diarmuid, but when Fionn finally returns it is too late; Diarmuid has died.

The Battle of Gabhra.

Between the birth of Oisin and the Battle of Gabhra is the rest of the cycle, which is very long and becomes too complicated for a short summary. Eventually, the High King Cormac dies and his son Cairbre Lifechair wants to destroy the Fianna because he does not like paying the taxes for protection that the Fianna demanded, so he raises an army with other dissatisfied chiefs and provokes the war by killing Fionn's servant. Goll sides with the king against Clan Bascna at the battle. Some stories say five warriors murdered Fionn at the battle, while others say he died in the battle of the Ford of Brea, killed by Aichlech Mac Dubdrenn. In any case, only twenty warriors survive the battle, including Oisín and Caílte.

The Fenian Cycle () or ( ) or the Finn Cycle, also referred to as the Ossianic Cycle after its narrator Oisín, is a body of prose and verse centring on the exploits of the mythical hero Fionn mac Cumhaill (Old, Middle, Modern Irish: Find, Finn, Fionn) and his warriors the Fianna.

Le Cycle Fenian (en irlandais : "an Fiannaíocht") également connu sous le nom de cycle ossianique du nom de son narrateur Oisín est l’un des quatre principaux cycles de la mythologie celtique irlandaise aux côtés du cycle mythologique, du cycle historique et du cycle d’Ulster. Chronologiquement, il s’agit du troisième de ces cycles, placé entre le cycle historique et celui d’Ulster.


Name.

The English name "Inner Carniola", like the Slovene name "Notranjska", is a translation of German "Innerkrain", referring to the southwest part of Carniola. The name was created by analogy with "Inner Austria" (), referring to the southwestern Habsburg hereditary lands.

History.

Inner Carniola was a "kreis" of the Duchy of Carniola, ruled by the archducal House of Habsburg within the Inner Austrian lands starting in the 14th century. The territorial arrangement was described by the scholar Johann Weikhard von Valvasor (1641–1693) in his 1689 work "The Glory of the Duchy of Carniola". Part of the Napoleonic Illyrian Provinces from 1809, Carniola returned to the Austrian Empire by the 1814 Treaty of Paris. First administrated within the Austrian Kingdom of Illyria, the Carniolan duchy again became a Habsburg crown land from 1849 till 1919.

Part of Italy.

After World War One, the western part of the region was occupied by the Italian military. In 1920, the Treaty of Rapallo transferred the western part of the region (with around two-thirds of the population) to the Kingdom of Italy. The eastern third was included into the Kingdom of Serbs, Croats and Slovenes (later renamed Yugoslavia).  Italy was given the districts of Vipava, Postojna, Ilirska Bistrica, Senožeče, and Idrija. The region was divided among the provinces of Gorizia, Trieste, and Fiume (Rijeka). With the rise of Fascism, it was subjected to a policy of violent Italianization until the downfall of Fascism in Italy. In 1947, it was transferred to Yugoslavia, which had occupied it since 1945.

Inner Carniola (; ) is a traditional region of Slovenia, the southwestern part of the larger Carniola region. It comprises the Hrušica karst plateau up to Postojna Gate, bordering the Slovenian Littoral (the Gorizia region) in the west. Its administrative and economic center of the region is Postojna, and other minor centers include Logatec, Cerknica, Pivka, and Ilirska Bistrica.

La Carniole-Intérieure (slovène : "Notranjska"; allemand : Innerkrain) est une région traditionnelle de Slovénie. Elle fit partie de la Carniole qui appartenait à l'empire des Habsbourg. Le centre économique de la région est la localité de Postojna qui est mondialement connue pour sa grotte de Postojna. Les autres localités moins importantes sont Logatec, Cerknica, Pivka et Ilirska Bistrica.