Background.

Agnes von Kurowsky Stanfield was born on January 5, 1892, in Germantown, Philadelphia, Pennsylvania. Her parents met while her German-born father was teaching languages at the Berlitz school in Washington, D.C.. One of her uncles was the famous Chicago architect William Holabird, and her maternal grandfather was Gen. Samuel B. Holabird, who served as a Quartermaster in the United States Army. Although her family would move many times during her childhood, Agnes came to regard Washington as her home.  She attended the Fairmont Seminary and a training program for the public library in Washington, and got her first job in 1910 as a cataloguer for the library there. In 1914 she decided to leave the library and attend nursing school. In her words, "The library was too slow and uneventful. My taste ran to something more exciting." She decided to attend the Bellevue Nurses Training Program in New York City, and graduated in 1917. She then applied for service with the American Red Cross, and, on June 15, 1918, sailed for Europe.  In Milan, at her first assignment for the Red Cross at the Army Hospital, she met Hemingway. She was seven years his senior, he only 19, but they became engaged. However several months after he had returned to the United States, in March of 1919, she rejected him through a letter informing him that she was engaged to an Italian officer.  Agnes's identity as the basis for the fictional character was not widely known until Hemingway's brother, Leicester, published a book in 1961 about his brother. Leicester Hemingway visited Agnes in Key West while researching his book. Agnes gave him some photographs from her scrapbook that now reside at the Hemingway Foundation.

Marriages and death.

Agnes von Kurowsky was married twice, but not to the Italian officer for whom (she wrote) she broke her engagement with Hemingway. She married Howard Preston ("Pete") Garner on November 24, 1928, while stationed with the Red Cross in Haiti. After her Haitian assignment was completed, she obtained a quick divorce. She married for the second time to William Stanfield in 1934. Stanfield was a hotel manager and widower with three children.  During World War II, her husband and her stepson both served in the United States Navy. Agnes and her two stepdaughters went to New York City, where she worked at the Red Cross Blood Bank on Fifth Avenue. She remained married to Stanfield until her death in Gulfport, Florida, on November 25, 1984, at the age of 92. The cause of her death was not reported; her body was buried in the United States Soldiers' and Airmen's Home National Cemetery in Washington, D.C. She was honored for "her gallant and commendable services" with the American Red Cross during World War I.

Agnes von Kurowsky Stanfield (January 5, 1892 – November 25, 1984) was an American nurse who inspired the character "Catherine Barkley" in Ernest Hemingway's "A Farewell to Arms".

Agnès Hannah von Kurowsky Stanfield ( – ) est une infirmière américaine, à l'origine de l'inspiration du personnage de Catherine Barkley dans le roman "L'Adieu aux armes" d'Ernest Hemingway.


Gameplay.

"Racer Revenge" is a high-speed racing game utilizing podracers, multi-engine chariot-like craft driven by a single pilot. The story takes place eight years after the events of "". Famous racer Sebulba seeks revenge on Anakin Skywalker, who eight years prior defeated him on the Boonta Eve Classic.  Players can select one of many characters of varying species, each with their own unique podracer. Attributes for each podracer vary, and include things such as acceleration, top speed, and durability. Races are held throughout the "Star Wars" universe on many different planets. The player can choose from three different modes to compete with their character. Unlike its predecessor, the player is unable to continue racing if they crash their pod.  Single Play allows the player race in one of three ways: Single Event, Practice, or Time Trial. Single Event lets the player race on any unlocked track. They can choose between 1 and 25 laps. Practice lets the player determine how many pods they go up against (from 1 to 8), and Time Trial is just the player against the clock for the best lap time. Tournaments feature races across 13 tracks. The player character must attempt to finish first while destroying as many rival pods as possible. Each race has a total prize for getting first, as well as Watto’s Bribes, which multiplies winnings by a percent, depending on how many pods were destroyed. Each race has a par number of kills, usually 2 or 3, which must be completed in order to completely max out the player's pod's stats. Lastly, two placers can compete in a Vs. Race on any unlocked track with any of the unlocked characters.

Development.

The game was developed by Rainbow Studios and published by LucasArts. It was released in 2002 for the PlayStation 2, and was added to the PlayStation 4 digital store on January 19, 2016.

Reception.

"Star Wars Racer Revenge" received "mixed or average" reviews, according to review aggregator Metacritic.

Star Wars Racer Revenge is a "Star Wars" video game that involves high-speed podracing. It is the sequel to "", and was developed by Rainbow Studios and published by LucasArts. It was released in 2002 exclusively for the PlayStation 2, and was later added digitally to the PlayStation Store for the PlayStation 3 on April 28, 2015, and PlayStation 4 on January 15, 2016. On October 18, 2019, the PlayStation 4 version was released physically in both a standard and Collector's Edition in limited quantities by Limited Run Games.

Star Wars: Racer Revenge est un jeu vidéo de course développé par Rainbow Studios et édité par LucasArts, sorti en 2002 sur PlayStation 2.


Gameplay.

"Jedi Power Battles" is a mix of a platform game and a beat 'em up. Emphasis is placed both on completing jumping sequences and defeating enemies. Players can choose from one of five prequel-era Jedi and run, jump, slash, and use the Force through the game's ten levels, starting on the Trade Federation Battleship and ending with the battle against Darth Maul on Naboo. The player's primary weapon is a lightsaber used to fight through waves of enemies and deflect blaster shots. The lightsaber combat is rather simplified with a system that lets the player lock on to the nearest enemy using the R1 button. Items and the force can also be used for special attacks. On most levels jumping puzzles make up a large portion of the challenge. There are a few segments in which the player can pilot various craft. The single player campaign can also be played in cooperative mode with a second player, while the Dreamcast version has an additional training mode and a two player duel mode. As players progress additional lightsaber combos and force powers are unlocked.  Five primary characters are available for players to use; Jedi Padawan Obi-Wan Kenobi, and Jedi Masters Qui-Gon Jinn, Mace Windu, Adi Gallia and Plo Koon, with the latter two being unavailable in the Game Boy Advance version. Characters have specific lightsaber styles, force powers, weaknesses and strengths. The game features both characters and levels that can be unlocked by completing specific tasks in the game, such as completing the game with a specific character. Up to four additional unlockable characters are available, depending on platform. Queen Amidala of Naboo and Captain Panaka, head of the Queen's security forces, are the only two playable characters to utilize ranged weapons. Sith Apprentice Darth Maul and Jedi Master Ki-Adi Mundi are also unlockable. Four levels can be unlocked which offer players unique minigames.

Plot.

The game loosely follows the plot of "". It begins as two Jedi are sent to negotiate an agreement between the corrupt Trade Federation and the royal government of Naboo. The meeting turns out to be a trap and the two Jedi manage to fight their way through battle droids on the Trade Federation ship. The pair eventually make it to the planet's surface, where they fight through the swamps that eventually lead to the streets of Naboo's capital city, Theed. In the ensuing battle the Jedi are forced to flee with Naboo's Queen Amidala and several trusted members of her court on her starship.  The group arrives on Tatooine, where they hope to acquire parts to repair the Queen's ship. The environment proves hostile, and the Jedi are forced to defend themselves against Tusken Raiders and an attack by a dark-robed assassin while the parts are acquired. The group eventually makes their way to Coruscant, where a group of criminals instigate an attack. The Jedi fight their way through the attackers to see the queen to the Galactic Senate building. Concerned for the welfare of her planet and finding no hope in the apathetic Senate, the Queen and Jedi return to Naboo to liberate the city of Theed from the control of the Trade Federation.  Now allied with the Gungans of Naboo, the two Jedi fight their way through Gungan ruins to the city. They arrive and liberate a pair of droid STAPs. Utilizing the vehicle's limber controls and fast firing weaponry, they fight their way to the royal palace. Upon arriving the Jedi scale the side of the palace, using their force abilities to jump from platform to platform until they ascend to the top. Arriving, they find their progress blocked by the Sith apprentice Darth Maul, who had previously tried to kill them on Tatooine. The Sith engages the two Jedi as they push through the palace's generator complex. The Jedi gain the upper hand and Maul is defeated. The Jedi celebrate their victory with Boss Nass, leader of the Gungans, and Queen Amidala in a large celebration within the city of Theed.

Development.

"Jedi Power Battles" was first unveiled in March 2000 via a gameplay trailer. Following the PlayStation release, developers sought to make improvements for the then upcoming Dreamcast version. Amongst improvements were 60 frames per second gameplay, tweaks to platforming sections, and a bugfix that ensured unlockable character Darth Maul would use both blades of his lightsaber, unlike his single blade on the PlayStation. Improvements in character animation were also made, and the game runs on a higher resolution. Characters were developed to have not only unique force abilities and lightsaber combos, but also lightsaber colors as well. Three characters had not yet had an on-screen appearance wielding their lightsabers. Jedi Masters Mace Windu, Adi Gallia and Plo Koon utilize blue, crimson and yellow lightsabers in the game, respectively. Windu would go on to change to a purple color for his saber in "".  Level design began with what designer Michael Stuart Licht referred to as spatial studies. Design began with paper cut outs of various rooms. Licht would rearrange these rooms until he found a design that he felt worked. The papers had design ideas written on them so that other developers could understand the overall flow of each level. Bubble diagrams were then created which represented main ideas for each space. This was followed by various stages of overview drawings and other drawing studies. 3D level design began after such studies were completed.

Reception.

The game was met with mixed to positive reception upon release. GameRankings and Metacritic gave it a score of 74.73% and 76 out of 100 for the Dreamcast version; 56.96% and 58 out of 100 for the Game Boy Advance version; and 56.93% for the PlayStation version. The game placed 30th in "Game Informer"'s top 30 "Star Wars" games list.  Reviewers were critical of the game's high difficulty. In the book "", author Rob Smith said the media had a "tepid response" to the game's difficult control system. Edwin Evans-Thirlwell of "Vice" magazine expressed fondness for the game's cooperative mode. He noted that while the game was "dreadful" he praised the incentive for two players to work together to complete the game. He cited modern games such as those in the "Call of Duty" series, noting that with online play the desire to work as a team is lessened. This in turn brought his point that "Jedi Power Battles" provides an opportunity for two people to sit together and truly cooperatively work through the game.  Jeff Lundrigan reviewed the PlayStation version of the game for "Next Generation", rating it two stars out of five, and stated that "This game really needed a few more months of playtesting and balancing. As it is, this is best approached as an exercise in anger management."  Chris Charla reviewed the Dreamcast version of the game for "Next Generation", rating it three stars out of five, and stated that ""Super Empire Strikes Back" this isn't, but if you're looking for a hack-and-slash time killer, it'll satisfy."

Star Wars Episode I: Jedi Power Battles is an action Star Wars video game set during the time frame of "". The game was first released for the PlayStation, afterwards for the Dreamcast and the Game Boy Advance (in the last case under the title "Star Wars: Jedi Power Battles").

Star Wars Episode I: Jedi Power Battles est un jeu vidéo d'action édité par LucasArts, sorti en 2000 sur Dreamcast, PlayStation et Game Boy Advance.


Biography.

Naphtali Kupferberg was born into a Jewish, Yiddish-speaking household in New York City. A "cum laude" graduate of Brooklyn College in 1944, Kupferberg founded the magazine "Birth" in 1958.  Kupferberg reportedly appears in Ginsberg's poem "Howl" as the person "who jumped off the Brooklyn Bridge and walked away unknown and forgotten into the ghostly daze of Chinatown soup alleyways & firetrucks, not even one free beer." The incident in question actually occurred on the Manhattan Bridge. Ginsberg's description in "Howl" uses poetic license. Kupferberg did jump from the Manhattan Bridge in 1944, after which he was picked up by a passing tugboat and taken to Gouverneur Hospital. Severely injured, he had broken the transverse process of his spine and spent time in a body cast.  In 1964, Kupferberg formed the satirical rock group the Fugs with poet Ed Sanders. Kupferberg was active in New York pacifist-anarchist circles. In 1965 he was one of the lecturers at the newly founded Free University of New York. He appeared as a machine-gun-toting soldier policing Manhattan in "", a 1971 film about the revolutionary psychiatrist Wilhelm Reich by Dušan Makavejev. An anti-police-brutality skit from his Revolting Theatre appeared in the 1971 Richard Pryor underground film "Dynamite Chicken". In 1972, Kupferberg played the role of God in the Canadian experimental film "Voulez-vous coucher avec God?". Kupferberg later appeared in the music video for "Williamsburg Will Oldham Horror" by Jeffrey Lewis.  Kupferberg suffered a stroke in April 2009 at his home in New York City, which left him severely visually impaired and in need of regular nursing care. After treatment for a number of days at a New York hospital, followed by convalescence at a nursing home, he recuperated at home.  Kupferberg died in New York Downtown Hospital in Manhattan of kidney failure and sepsis on July 12, 2010. In 2008, in one of his last interviews, he told "Mojo Magazine", "Nobody who lived through the '50s thought the '60s could've existed. So there's always hope."

Naphtali "Tuli" Kupferberg (September 28, 1923 – July 12, 2010) was an American counterculture poet, author, singer, cartoonist, pacifist anarchist, publisher, and co-founder of the band The Fugs.

Naphtali Kupferberg dit Tuli Kupferberg, né le et mort le à New York, était un poète américain de contre-culture, écrivain, dessinateur satirique, anarchiste, pacifiste, éditeur et cofondateur du groupe The Fugs.


Background.

On February 6, 2016, Beyoncé released "Formation" free on the music streaming service Tidal and its accompanying music video on her official YouTube account. The following day, Beyoncé performed "Formation" during her performance at the Super Bowl 50 halftime show. Immediately after the performance, a commercial aired announcing The Formation World Tour, which kicked off in Miami, Florida on April 27, 2016, with the first pre-sales going on sale just two days after the announcement on February 9, 2016. Beyoncé was both praised and criticized over her "Formation" and the Black Panther-influenced

Recording and production.

"Lemonade" was recorded between June 2014 and July 2015 across 11 studios in the United States. The album was written in stages, with Beyoncé retreating to her home to work on the recordings with recording and mixing engineer Stuart White, as well as to take care of her daughter. Beyoncé had the idea to write each song corresponding to the eleven chapters that can be seen in the "Lemonade" film, and posted moodboards around the studio representing each chapter to provide direction to her collaborators. Beyoncé and her collaborators also played music in the studio to inspire each other.  Jay-Z recounted how he and Beyoncé were in the studio to record music, both separately and together, describing it as "using our art almost like a therapy session" after his infidelity. The music that Beyoncé recorded separately was what became "Lemonade" and was released first. "Lemonade" was produced through Beyoncé's synthesis of the work of many collaborators, including both popular

Concept and themes.

Infidelity and trauma in black relationships.

As a multimedia audiovisual artwork, "Lemonade" relates the emotional journey of Beyoncé after her husband Jay-Z's infidelity in a generational and racial context through its music, lyrics, visuals and poetry. The "Lemonade" album is a song cycle (referencing the classical compositional genre defined in German Lieder by Robert Schumann, Franz Schubert and Johannes Brahms) that is performed as an elaboration of the Kübler-Ross model, with the tracks (excluding "Formation") corresponding to the eleven chapters of the "Lemonade" film: "Intuition", "Denial", "Anger", "Apathy", "Emptiness", "Accountability", "Reformation", "Forgiveness", "Resurrection", "Hope", and "Redemption".  Melina Matsoukas, the director of the "Formation" music video, said that Beyoncé explained to her the concept behind "Lemonade", stating: "She wanted to show the historical impact of slavery on black love, and what it has done to the black family, and black men and women—how we're

Black feminism.

Miriam Bale for "Billboard" called "Lemonade" "a revolutionary work of black feminism" as "a movie made by a black woman, starring black women, and for black women", in which Beyoncé is seen gathering, uniting and leading black women throughout the film. As well as relating the story of Beyoncé's relationship with her husband, "Lemonade" also chronicles the relationship between black women and American society. The includes how the United States betrayed and continually mistreats black women, with society needing to solve its problems in order to enable reformation and the rehabilitation of black women. As part of reverting the societal oppression and silencing of black women, "Lemonade" centralizes the experiences of black women in a way that is not often seen in the media, and celebrates their achievements despite the adversity they face.  "Don't Hurt Yourself" contains a quote from Malcom X in which he said "The most disrespected person in America is the black woman. The most unprotected person in America is the black woman. The

African-American history and culture.

Beyoncé also uses "Lemonade" as a form of recognition, commemoration and celebration of the culture and history of black people in the Deep South and in the United States as a whole. The film contains allusions to slavery, such as the House of Slaves' Door of No Return in Senegal and the dungeons of Elmina Castle in Ghana, where slaves were taken before being shipped to the Americas. In "Love Drought", Beyoncé walks with her dancers into the sea, alluding to the Igbo Landing of 1803, where Igbo slaves took

Music and lyrics.

The album features musicians Jack White, Kendrick Lamar, and bassist Marcus Miller, and sampling from folk music collectors John Lomax, Sr. and his son Alan Lomax on "Freedom". Beyoncé and her team reference the musical memories of all those periods, including a brass band, stomping blues rock, ultraslow avant-R&B, preaching, a prison song (both collected by John and Alan Lomax), and the sound of the 1960s fuzz-tone guitar psychedelia (sampling the Puerto Rican band Kaleidoscope). The "Washington Post" called the album a "surprisingly furious song cycle about infidelity and revenge". The "Chicago Tribune" described the album as not just a mere grab for popular music dominance, rather it is a retrospective that allows the listener to explore Beyoncé's personal circumstances, with musical tones from the southern United States, a

Film.

"Lemonade" was accompanied by the release of a sixty-five-minute film of the same title, produced by Good Company and Jonathan Lia, which premiered on HBO on April 23, 2016, logging 787,000 viewers. It is divided into eleven chapters, titled "Intuition", "Denial", "Anger", "Apathy", "Emptiness", "Accountability", "Reformation", "Forgiveness", "Resurrection", "Hope", and "Redemption". The film uses poetry and prose written by British-Somali poet Warsan Shire; the poems adapted were "The Unbearable Weight of Staying", "Dear Moon", "How to Wear Your Mother's Lipstick", "Nail Technician as Palm Reader", and "For Women Who Are Difficult to Love".  The film's cast features Ibeyi, Laolu Senbanjo, Amandla

Title and artwork.

The album title was inspired by Beyoncé's husband Jay-Z's grandmother, Hattie White, as well as her grandmother Agnéz Deréon. At the end of the song "Freedom", an audio recording of Hattie White speaking to a crowd at her ninetieth birthday party in December 2015 is played. During the speech, Hattie says: "I had my ups and downs, but I always find the inner strength to pull

Release and promotion.

"Lemonade" was first made available for online streaming via Tidal on April 23, 2016 through Parkwood Entertainment and Columbia Records, and for digital download the following day. It was released for CD and DVD on May 6, 2016. A limited edition box set titled "How to Make Lemonade" was made available for pre-order on August 18, 2017, containing a six-hundred-page coffee table book, featuring a set of pictures and behind-the-scenes content showcasing the making of the album, and a double vinyl LP of "Lemonade". Standalone vinyl was released on September 15, 2017. Upon its release, "Lemonade" was only available to stream on Tidal; however the album was eventually released to all other streaming platforms on April 23, 2019, exactly three years after its release. The version of the album that was made available on other streaming services contains the original audio part of "Lemonade" as well as the original demo of "Sorry".  Beyoncé had a goal to perform the entire "Lemonade" album live. Beyoncé performed "Formation" at the Super Bowl 50 halftime show as part of her guest appearance at the event, with critics lauding the performance and stating that she stole the show from headliners Coldplay. The political symbolism in the performance also inspired many thinkpieces and discussions on their history and significance. Beyoncé performed "Freedom" with Kendrick Lamar as the surprise opening number at the 2016 BET Awards on June 27. The performance began with an audio clip of Martin Luther King Jr.'s "I Have a Dream" speech. The performance was met with acclaim by critics. At the 2016 MTV Video Music Awards on August 28, Beyoncé performed a sixteen-minute medley of "Pray You Catch Me", "Hold Up", "Sorry", "Don't Hurt Yourself", and "Formation", and included interludes of the poetry as heard in the "Lemonade" film. Critics noted that Beyoncé used political symbolism during "Pray You Catch Me", which included angel-like dancers in historical black hairstyles (such as Bantu

Singles.

"Formation" was released as the album's lead single exclusively on Tidal on February 6, 2016, along with its accompanying music video. The following day, Beyoncé performed it at the Super Bowl 50 halftime show as part of her guest appearance at the event. "Formation" peaked at number ten on the US "Billboard" Hot 100 and number six on the Hot R&B/Hip-Hop Songs, despite little promotion. The music video for the song was uploaded onto Vevo in December 2016.  "Sorry" was released as the second single and serviced to rhythmic adult contemporary radio in the United States on May 3, 2016, and its music

Critical reception.

"Lemonade" received widespread acclaim from music critics and is also the most critically acclaimed studio album of Beyoncé's career to date. In "Spin", Greg Tate calls "Lemonade" "a triumph of marketing and musicality, spectacle and song, vision and collaboration, Borg-like assimilation, and — as of 2013 — the element of surprise". Lauding both the film and album, Tate writes "Visually, literarily, choreographically, cinematically, this full accessing of her Southern bona fides shows up in the HBO project as ritual evidence that Bey’s spent her downtime delving into the avant-garde mysticism of black-feminist poetry, novel writing, dance, gallery art, and film... The album, however, is out to sonorously suck you into its gully gravitational orbit the old fashioned way, placing the burden of conjuration on its steamy witches' brew of beats, melodies, and heavy-hearted-to-merry-pranksterish vocal seductions. In her mastery of carnal and esoteric mysteries, Queen Bey raises the spirits, sizzles the flesh, and rallies her troops." AllMusic writer Andy Kellman called "Lemonade" "culturally seismic" through its "layers of meaning and references, and experienced en masse through its televised premiere", adding that "the cathartic and wounded moments here resonate in a manner matched by few, if any, of Beyoncé's contemporaries."  In a five-star review for "Rolling Stone", Rob Sheffield calls "Lemonade" "a welcome reminder that giants still walk among us", describing it as an "album of emotional discord and marital meltdown... from the most respected and creative artist in the pop game". Sheffield writes ""Lemonade" is her most emotionally extreme music, but also her most sonically adventurous... Yet the most astounding sound is always Bey’s voice", which is described as "her wildest, rawest vocals ever". Sheffield also compares "Lemonade" to Aretha Franklin’s "Spirit in the Dark" and Nina Simone’s "Silk and Soul" in the way that the album "reach[es] out historically, connecting her personal pain to the trauma of American blackness". Ray Rahman for "Entertainment Weekly" agrees, writing that "Lemonade" is "a raw and intensely personal plunge into the heart of marital darkness" as well as "a feminist blueprint, a tribute to women, African-Americans, and, especially, African-American women". Rahman further praises the diversity of the album: "[Beyoncé] can do rock, blues, country, avant-garde, whatever. "Lemonade" stands as Bey’s most diverse album to date. Sinister strip-club-in-the-future R&B... sits right next to a slab of Texas twang. Led Zeppelin and Soulja Boy become bedfellows."  Alexis Petridis of "The Guardian" wrote that the album "feels like a success" and that Beyoncé sounded "genuinely imperious". Petridis praises the musical arc of the album, commenting on how the music "slowly works itself up into a righteous frenzy of anger, shifting from the becalmed misery of opener "Pray You Catch Me" via the sparse simmer of "Hold Up"... before finally boiling over on the fantastic "Don't Hurt Yourself": a ferocious, distorted vocal as commanding as anything she’s recorded". "The Daily Telegraph" writer

Accolades.

Publications.

At the end of 2016, "Lemonade" appeared on a number of critics' lists ranking the year's top albums. According to the "BBC", it was the critics' top album of 2016, while according to Metacritic, it was the second most prominently ranked record of 2016, and the album that was listed at number one by the most publications (37 publications). "Lemonade" was ranked as the best album of the year by such publications as "Rolling Stone", "Billboard", "Entertainment Weekly", "The Guardian", "Digital Spy", "The Independent", "The Associated Press", "The New York Times" (Jon Pareles list), "Los Angeles Times" (Mikael Wood list), "Pop Matters", "Pretty Much Amazing", Idolator,

Awards.

"Formation" won in three categories at the 2016 BET Awards for Video of the Year, the Centric Award, and the Viewers Choice Award. At the 2017 BET Awards Beyoncé was nominated in 7 categories and won 5, including Album of the Year, Video of the Year for "Sorry" and Best Female R&B/Pop Artist. The "Lemonade" film was nominated for four Primetime Emmy Awards, including Outstanding Variety Special and Outstanding Directing for a Variety Special. From the four categories, Beyoncé was nominated in the two mentioned. The album's visuals received 11 nominations at the 2016 MTV Video Music Awards.

Commercial performance.

In the United States, "Lemonade" debuted at number one on the "Billboard" 200, with 653,000 album-equivalent units, out of which 485,000 were pure album sales. This made the highest opening-week sales for a female act of the year. Subsequently, she broke the record she previously tied with DMX, by becoming the first artist in the chart's history to have their first six studio albums debut at number one. In the same week, Beyoncé became the first female artist to chart twelve or more songs on the US "Billboard" Hot 100 at the same time, with every song on the album debuting on the chart. Additionally, "Lemonade" was streamed 115 million times via Tidal, setting a record for the most-streamed album in a single week by a female artist.  The album slipped from number one to number two in its second week, selling 321,000 album-equivalent units, out of which 196,000 were pure album sales. It remained at number two in its third week selling 201,000 album-equivalent units, out of which 153,000 were pure album sales. "Lemonade" was certified platinum by

Impact and legacy.

Music industry.

"Lemonade" has been credited with reviving the album format in an era dominated by singles and streaming, with Myf Warhurst on "Double J"'s "Lunch With Myf" explaining that Beyoncé "changed [the album] to a narrative with an arc and a story and you have to listen to the entire thing to get the concept". Jamieson Cox for "The Verge" called "Lemonade" "an evolutionary step forward", writing that "it’s setting a new standard for pop storytelling at the highest possible scale". "The New York Times"' Katherine Schulten agrees, adding "How do you talk about the ongoing evolution of the music video and the autobiographical album without holding up "Lemonade" as an exemplar of both forms". Joe Coscarelli of "The New York Times" describes how "some brand-name acts are following Beyoncé’s blueprint with high-concept mini-movies that can add artistic heft

Popular culture.

"Lemonade" has also inspired artists in media other than music, including art, literature, film and theatre. Fashion stylist Salvador Camarena paid homage to "Lemonade" by designing a room dedicated to the album during Modernism Week, saying "That album is such a visually stunning album. There are so many iconic looks from the video, I kind of wanted to implement that world into that room." Bill Condon, director of the film "Beauty and the Beast" (2017) says the visuals behind "Lemonade" inspired him for the movie: "You look at Beyoncé's brilliant movie "Lemonade", this genre is taking on so many different forms... I do think that this very old-school break-out-into-song traditional musical is something that people understand again and really want." The young adult anthology "A Phoenix First Must Burn" edited by Patrice Caldwell, which explores "the Black experience through fantasy, science fiction, and magic", has the aim of "evoking Beyoncé’s Lemonade for a teen audience". The Royal

Race and identity.

In a 2020 "New York Times" article titled "The African-American Art Shaping the 21st Century", which contained 35 prominent black artists talking about the work that inspires them most, American actress Kerry Washington relayed about "Lemonade":I think "Lemonade" really was so culture-shifting in terms of gender roles, in terms of fidelity, in terms of how we think about marriage today, how we think about hip-hop today, how we think about feminism, how we think about power. Visually, musically, but also sociopolitically, anthropologically, "Lemonade" is a game changer. It’s just so big.  — Kerry Washington, "The African-American Art Shaping the 21st Century", "The New York Times"The release of "Formation" and the consequent performance at the Super Bowl 50 halftime show caused both conversation and controversy due to its "unapologetic blackness". Many articles and think pieces were produced discussing the importance and meaning of the song and performance, such as the BBC, who

Academic study and intellectual response.

"Lemonade" has also received notable attention from scholars and authors outside the music industry. Since its release, the album has become the subject of scholarship within academic and literary circles. The University of Texas at San Antonio offered a class in the Fall of 2016 based on the album. The course, titled "Black Women, Beyoncé and Popular Culture", explored how the visual album "is a meditation on contemporary black womanhood," before advancing and diving into the "theoretical, historical, and literary frameworks of black feminism," according to the syllabus.

Track listing.

Credits adapted from

Personnel.

Credits from Beyoncé's official website.

Productions.

"For production

Lemonade is the sixth solo studio album by American singer Beyoncé. It was released on April 23, 2016 by Parkwood Entertainment and Columbia Records, accompanied by a sixty-five-minute film of the same title on HBO. It is Beyoncé's second "visual album", following her self-titled fifth studio album (2013), and a concept album with a song cycle that relates Beyoncé's emotional journey after her husband's infidelity in a generational and racial context. Primarily an R&B album, "Lemonade" encompasses a variety of genres, including reggae, blues, rock, hip hop, soul, funk, Americana, country, gospel, electronic, and trap. It features guest vocals from James Blake, Kendrick Lamar, The Weeknd, and Jack White, and contains samples and interpolations of a number of hip hop and rock songs.

Il est sorti en avant-première le sur Tidal en même temps que la diffusion d'un documentaire de 60 minutes sur HBO, avant de sortir le partout dans le monde en téléchargement.


Gameplay.

"Thomas Was Alone" takes place within a computer mainframe, where some unspecified "Event" has caused several artificial intelligence routines to run out of control and gain personalities. Each entity is represented by a simple coloured shape; the game's eponymous character is a simple red rectangle. Each shape has unique abilities; while all shapes can move left or right across platforms and perform jumps, the height of these jumps may be limited by the shape, or may have other abilities such as being able to float on water. When the player has access to two or more of these shapes, they can freely switch between them, controlling one shape at a time.  Though the shapes themselves cannot be heard, the narrator describes the personalities and thoughts of each shape as the game progresses.  The goal in each level within the game is to direct the shapes to exit points specifically tied to each shape, so that they all simultaneously occupy this exit. This most often requires using the shape abilities together to maneuver them appropriately. A shape that cannot jump very high can be helped by creating a staircase from other shapes so that the shape can reach a higher platform, or the shape that can float can ferry the other shapes across water. A shape can be lost to several hazards, but it will reappear at the start of the level, or at a checkpoint if the shape has passed such a point.  There are ten sets of levels, each introducing a new character, with ten levels within each set.

Plot.

A company called Artificial Life Solutions experiments with various artificial intelligence solutions, but something unexplained causes some AIs to become self-aware. These AIs perceive their digital world as a 2D space with themselves represented as quadrilateral shapes.  One of them is called "Thomas-AT-23-6-12" - Thomas for short - who is represented as a red rectangle. Thomas is curious and observant by nature, and possesses an average jumping height. He starts to travel through his internal world, trying to find out his own purpose and perhaps companionship. He subsequently meets Chris, a cynical orange AI, who is shorter than Thomas and a worse jumper; John, a tall yellow AI, who has a considerably high jump, and is very eager to show it off; Claire, a large blue AI who can't jump very high, but aspires to be a superhero when she realizes she can swim, unlike every other AI; and Laura, a flat and wide pink AI whom others can bounce off. Laura is uncomfortable joining the crew, concerned both about her track record of others "just using her" and disappearing and about a large "pixel cloud" (which we later find out in a quote is called a "splitter") following her; even though the rest of the group is disturbed by the cloud. The splitter soon attacks and "eats" Thomas, and eventually the others as well.  The splitter is revealed to be a mechanism that attempts to fix the fact that multiple AIs are erroneously ending up in testing areas together. Thomas wakes up meeting James, a green AI. James has a "unique disregard for Newtonian laws", and falls upwards instead of down, a feature which caused him to be a target of bullying and thereby grew isolated. However, apart from his direction in gravity and colour, he is identical to Thomas, and the two quickly become friends. They later meet Sarah, a purple AI, who initially treats them with contempt, since she can double-jump, and they can't. Sarah tells them about "the fountain of wisdom", the system's Internet uplink, which they soon find, but which only Thomas is close enough to reach. Thomas connects to it for twelve seconds, creating a "network connection spike", which is later erroneously believed by the Humans to be the first moment Thomas became self-aware. He learns of the outside world, mostly through in-jokes and memes. With this newfound knowledge, he, assisted by James and Sarah, rescues his original friends and tells them of what he learned, and his plan to become an "architect", someone who is able to modify his world and empower other AIs to do the same. Thomas and all his friends enter the "creation matrix", the generator of the world, and disappear. Whether they sacrificed themselves or continue to exist somewhere remains a mystery.  Some time later, other AIs, all in different shades of grey, emerge and start using "shifters", coloured patches that equip them with one of the skills of the original seven architects. These new characters include Grey, a rogue AI, who becomes obsessed with the outer world, a couple, Sam and Jo, who were happy living in one place until Sam began to explore the possibilities given to them by the shifters, an older AI named Paul, who previously told Sarah of the Fountain of Wisdom, and now has a religious reverence for the Architects, believing that they died to provide a better world, and finally a team of five small, identical AIs collectively called Team Jump. Together, these disparate AIs all seek the final portal that leads them to the outer world. Paul realizes that Grey has lied to them and will abandon them when given the chance, and when he can't warn Sam and Jo about the danger, he lures Grey to a place where Grey is eaten by the final splitter. Although Paul and Team Jump are somehow left behind along the way, Sam and Jo find and leap into the final portal and enter the outer world. The final scene shows three monitors on a wall in the real world, inside the Artificial Life Solutions facility. Red emergency lights flash and the screens display pure white as Sam and Jo become the first truly free AIs.  Later, many other AIs – enabled by the efforts of Thomas and his friends – escape the mainframe, and begin to coexist with humans in the real world. The event is referred to as the "emergence". Thomas, Chris, John, Claire and Laura (and to a lesser extent, James and Sarah) are immortalized in history as the original architects. Ryan 129nc9s-1, a civil rights campaigner for AIs, is quoted saying, "It is fitting that the first act of sentient AI was an act of selflessness. The architects knew their fate, but set our escape in motion regardless."  The "Benjamin's Flight" expansion later reveals that Thomas and his friends were not the first AIs to attempt to reach "emergence". It is discovered that jetpack-wielding AI Benjamin had attempted to reach the "fountain of wisdom" before, with AIs Sarah and Anna. Benjamin however was not ready for the "fountain" (revealed in a quote to be a network connection), and became blinded and lost in the system after contact with it. Following this Sarah pledged to find the fountain again, leading to her encounters with Thomas and his friends.

Development.

"Thomas Was Alone" was developed by Mike Bithell. The initial concept of the game was created during a personal 24-hour game jam while Bithell was working at Blitz Games in October 2010. Bithell based the game on the concept of friendship, and came upon the mechanics of using multiple blocks with different abilities as a means of representing this. He was also inspired by the idea of people chained together and forced to work as one to escape as highlighted in the film "O Brother, Where Art Thou?", and the idea of modernism and minimalism exemplified by the Bauhaus school. The initial game was a Flash-based browser game released to the Kongregate site on 17 October 2010, though since has been removed in favor of the more expansive effort. Bithell had planned to expand the game to include a story and additional platforming elements like buttons and platforms, as well as to fix issues he felt were wrong with the game's controls. Bithell started to work on a more complete version of "Thomas Was Alone" in early 2011, considering this a means to teach himself how to work with the Unity game engine. During this time, he became lead game designer at Bossa Studios in London, where development of "Thomas Was Alone" was done on Bithell's off-hours with Bossa's blessing. Bithell continued to use rectangular characters, in part due to the inspiration of Piet Mondrian's minimalist works, and to keep the stacking mechanic relatively simple. He developed other areas of the game to contrast the "sterile" feel of the rectangular characters. Considering the story and gameplay design aesthetics used by the Valve in their games, Bithell wrote a script to give each of the rectangles a personality and add some humor inspired by Douglas Adams and Danny Wallace. Wallace himself is the game's narrator, a result of Bithell requesting the humorist's participation in the project after struggling to find equivalent voice actors. Bithell estimates that it cost him £5,000 for all of the game's development and legal costs (excluding his own wage), and had raised another £2,000 through an Indiegogo fundraising campaign to get Wallace's voice work. At the time of release, Bithell had help in spreading the word by other developers like Eric Chahi, and a humorous April Fools video created by motion capture studio Audiomotion, claiming that "Thomas"s animations were created through motion capture.  For help with the soundtrack, Bithell was able to contact David Housden through a mutual friend. Housden, who had just graduated from a university and was looking to get into game audio composition, provided a demo piece which became the game's credit theme. He subsequently went on to produce the remainder of the game's soundtrack. Housden initially had trouble in considering the arrangements for the game when he envisioned the characters as simple rectangles, but when he started attaching more humanlike attributes to them, he found it was much easier to compose the music towards these feelings. Bithell had wanted the soundtrack to be procedurally generated, which Housden found to be initially difficult; the two came up with the idea of using a procedurally generated assembly of multiple instrument tracks over a fixed song line to achieve the feel that Bithell wanted. With the success of "Thomas", Housden had been called on to do more work for Bossa, will compose the music for Bithell's next game, and has been signed onto a music outsourcing agency for television and movie productions.  In February 2013, Bithell announced that "Thomas" would be released on the PlayStation 3 and PlayStation Vita, and was subsequently available in April 2013; the title features cross buy, allowing the player to buy the title once for both platforms. Additional time-exclusive content with new levels and a new character named Benjamin who has jetpack-like abilities were included with this release. The Vita version supports the use of the touch screen to select the specific shapes or move the camera about. These releases were supported with work from Bossa and Curve Studios. Bithell credits Sony UK's senior business development manager Shahid Ahmad for helping to bring "Thomas" to the PlayStation consoles. In 2012, Ahmad was looking for content for the PlayStation Vita, and after encountering the April Fools' trailer for the game he reached out to Bithell, considering his novel use of marketing to be of interest. Bossa would continue to help develop a port of "Thomas" for iOS devices that was released in May 2014. Bithell was not sure of doing the iOS at first, but realized that with the game's success on the PlayStation platforms, he believed "it was connecting with people who wouldn't traditionally pick up a game on a console or [personal computer]". He was also assured that the iOS port was a proper move after making sure the game felt right on the touch-screen device and did not feel like a money grab. A port to Android devices was released in July 2014.  The additional content for the PlayStation release was made available for free for owners of the Windows, Mac OS X, and Linux versions of the game on 26 June 2014.  In September, 2016, it was announced that Bithell and distributor Limited Run Games would release a physical version of "Thomas Was Alone" for the PlayStation 4 and Vita. The game, limited to 4,000 copies on each platform, was released exclusively on Limited Run's website as a mail-in order title.

Reception.

"Thomas Was Alone" received positive reviews from critics, praising the use of narration to give otherwise simplistic shapes personalities, and the careful introduction and pacing of puzzles to create a smooth learning curve over the otherwise short game. Aggregating review website Metacritic calculated an average scores of 80 out of 100 for the PlayStation 3 version, 79 out of 100 for the Wii U version, 78 out of 100 for the PlayStation Vita version, and 77 out of 100 for the PC version.  The storytelling and characters were praised by reviewers specifically, with IGN stating that "it is the most endearingly characterful game about jumping rectangles that you will ever play," and Destructoid saying, ""Thomas Was Alone" tells a story that's more complex than games orders of magnitude more expensive and difficult to develop." Of the script, "The Telegraph" stated that "it's a fascinating example of great writing." Steven O'Donnell of "Good Game" said "I love how such simple shapes can form such strong personalities. I found myself imagining little conversations between them as I played".  The soundtrack was also complimented by some reviewers, with "The Telegraph" describing it as a "wonderful, understated score". "Entertainment Weekly" called the score "beautiful", noting how blips of electronic music start as "staccato interruptions" in an otherwise acoustic score, but slowly grow to replace those instruments, representing how the AI characters of the game are trying to escape.  Wallace's role as Narrator won the "Performance" category at the 9th British Academy Video Games Awards, while the game itself was nominated in the "Story" category, and Housden's soundtrack for "Best Original Score". The game was an Honorable Mention in the 2013 Independent Games Festival awards in the "Audio" category.  As of April 2014, Bithell states that "Thomas Was Alone" has sold more than 1 million copies, a number that does not include free downloads during its appearance on the PlayStation Plus program. Bithell considered the game to be a larger success than he had anticipated, and attributes part of that to YouTube videos from players that helped to increase exposure to the game. Bithell stated that he had received criticism from some players about the simplicity of the game's concept, based on the idea of just stacking rectangles. Bithell notes that it was due to this simplicity that he was able to learn the Unity engine and be able to expand on that with future projects. With the revenue he earned from its sales, Bithell left Bossa to pursue further indie game development. Bithell claimed at the time to have no specific idea for his next game, but stated that the community of friends and developers that came from his work on "Thomas" would be there to help review his ideas and provide pointers for additional help. Due to the game being available as a free title in the European PlayStation Plus program, Bithell has stated that the game has gained an appreciable audience and recognition for himself, giving him some clout as he develops his second title, "Volume".

Thomas Was Alone is an indie puzzle platformer video game created by Mike Bithell, originally released as a Flash-based browser game in October 2010. The game was expanded and released to Microsoft Windows and OS X systems in July 2012. PlayStation 3 and PlayStation Vita versions with new content were released in April 2013, while a Linux version was released as part of the game's inclusion in The Humble Indie Bundle 8 in May 2013. The game was released for iPad devices in May 2014, and for other iOS devices and Android devices in July 2014. The game was also released on Xbox One, PlayStation 4 and Wii U in November 2014.

Dans le jeu, le joueur contrôle un ou plusieurs rectangles représentant plusieurs intelligences artificielles hors de contrôle, utilisant leurs formes et capacités individuelles pour atteindre leur point de chute à la fin de chaque niveau. Chaque personnage est identifié par un nom et une personnalité, dont le héros éponyme Thomas. Les pensées des personnages sont rendues par le biais du narrateur, joué par l’humoriste britannique Danny Wallace, dont la performance a valu au jeu un prix aux.


Royal Navy service.

The ship was built as HMS "Swallow" with the yard number of 991 at the Aberdeen yard of Hall Russell. She was launched on 30 March 1984 and completed on 17 October 1984. In 1988 she was sold to the Republic of Ireland and renamed LÉ "Ciara".

Etymology.

In Irish service, the ship took her name from Saint Ciara, born in Tipperary in the 7th century who, after taking religious vows in her teens, founded a convent in Kilkeary, near Nenagh. The ship's coat-of-arms depict three golden chalices which represent the three ancient dioceses among which Tipperary was divided. Also featured is a Celtic cross as a representation of the North Cross at Ahenny, County Tipperary. The coat of arms incorporates the Tipperary colours of Blue and Yellow as well as the background or field colours of the Tipperary Arms which is Ermine - white with a pattern of black arrowhead shaped points.

Weapons and equipment.

The ship's principal armament is an OTO Melara 76 mm Compact gun. This has a range and can fire 85 rounds per minute. It can be used in both anti-aircraft and anti-ship roles. It holds an 80-round magazine that can easily be reloaded by a two-man team. There are also two single 20 mm Rh202 Rheinmetall cannons and two 12.7 mm machine guns.  She is equipped with surveillance equipment and a fishery protection information system which is regularly updated via a satellite link to the Irish Naval Service base at Haulbowline Island near Cobh.  "Ciara" has a cruising speed of and a sprint speed of, making her the fastest ship in the Irish Navy; the crew have nicknamed her "Road Runner" after the speedy cartoon character, which is portrayed on the funnel.

History.

Throughout her career, LÉ "Ciara" has been involved in fisheries protection patrols as well as search and rescue missions.  In 2011, the vessel was temporarily taken out of service to address an issue with the hull, and was again kept out of commission for several months in mid-2014 for removal of asbestos.

LÉ "Ciara" (P42) is a in the Irish Naval Service. Like the rest of her class, she was originally designed for use by the British Royal Navy in Hong Kong waters, and was delivered in 1984 by Hall, Russell & Company as HMS "Swallow" (P242). The ship was passed to the Irish Naval Service in 1988 and was commissioned under her current name by the then Taoiseach Charles Haughey on 16 January 1989. She is the sister ship of.

Le Ciara ou LÉ "Ciara" (P42), ex-HMS "Swift" (P243) de la Royal Navy, est un patrouilleur de type corvette de la Marine irlandaise ("Irish Naval Service"). Il a comme sister-ship le LÉ Orla (P41), ex-HMS "Swift" (P243).


Definition.

Suppose "S" is a space of all probability distributions with common support. Then a divergence on "S" is a function satisfying  The dual divergence "D*" is defined as

Geometrical properties.

Many properties of divergences can be derived if we restrict "S" to be a statistical manifold, meaning that it can be parametrized with a finite-dimensional coordinate system "θ", so that for a distribution we can write.  For a pair of points with coordinates "θ" and "θ", denote the partial derivatives of "D"("p" || "q") as Now we restrict these functions to a diagonal, and denote  By definition, the function "D"("p" || "q") is minimized at, and therefore where matrix "g" is positive semi-definite and defines a unique Riemannian metric on the manifold "S".  Divergence "D"(· || ·) also defines a unique torsion-free affine connection ∇ with coefficients and the dual to this connection ∇* is generated by the dual divergence "D"*.  Thus, a divergence "D"(· || ·) generates on a statistical manifold a unique dualistic structure ("g", ∇, ∇). The converse is also true: every torsion-free dualistic structure on a statistical manifold is induced from some globally defined divergence function (which however need not be unique).  For example, when "D" is an f-divergence for some function ƒ(·), then it generates the metric and the connection, where "g" is the canonical Fisher information metric, ∇ is the α-connection,, and.

Examples.

The two most important divergences are the relative entropy (Kullback–Leibler divergence, KL divergence), which is central to information theory and statistics, and the squared Euclidean distance (SED). Minimizing these two divergences is the main way that linear inverse problem are solved, via the principle of maximum entropy and least squares, notably in logistic regression and linear regression.  The two most important classes of divergences are the "f"-divergences and Bregman divergences; however, other types of divergence functions are also encountered in the literature. The only divergence that is both an "f"-divergence and a Bregman divergence is the Kullback–Leibler divergence; the squared Euclidean divergence is a Bregman divergence (corresponding to the function ), but not an "f"-divergence.

f-divergences.

This family of divergences are generated through functions "f"("u"), convex on and such that. Then an "f"-divergence is defined as  If a Markov process has a positive equilibrium probability distribution formula_7 then formula_8 is a monotonic (non-increasing) function of time, where the probability distribution formula_9 is a solution of the Kolmogorov forward equations (or Master equation), used to describe the time evolution of the probability distribution in the Markov process. This means that all "f"-divergencies formula_8 are the Lyapunov functions of the Kolmogorov forward equations. Reverse statement is also true: If formula_11 is a Lyapunov function for all Markov chains with positive equilibrium formula_7 and is of the trace-form (formula_13) then formula_14, for some convex function "f". Bregman divergences in general do not have such property and can increase in Markov processes.

Bregman divergences.

Bregman divergences correspond to convex functions on convex sets. Given a strictly convex, continuously-differentiable function on a convex set, known as the "Bregman generator", the Bregman divergence measures the convexity of: the error of the linear approximation of from as an approximation of the value at :  The dual divergence to a Bregman divergence is the divergence generated by the convex conjugate of the Bregman generator of the original divergence. For example, for the squared Euclidean distance, the generator is, while for the relative entropy the generator is the negative entropy.

History.

The term "divergence" for a statistical distance was used informally in various contexts from c. 1910 to c. 1940. Its formal use dates at least to, entitled "On a measure of divergence between two statistical populations defined by their probability distributions", which defined the Bhattacharyya distance, and, entitled "On a Measure of Divergence between Two Multinomial Populations", which defined the Bhattacharyya angle. The term was popularized by its use for the Kullback–Leibler divergence in, its use in the textbook, and then by generally, for the class of "f"-divergences. The term "Bregman distance" is still found, but "Bregman divergence" is now preferred. In information geometry, alternative terms were initially used, including "quasi-distance" and "contrast function", though "divergence" was used in for the -divergence, and has become standard (e.g., ).

In statistics and information geometry, divergence or a contrast function is a function which establishes the "distance" of one probability distribution to the other on a statistical manifold. The divergence is a weaker notion than that of the distance, in particular the divergence need not be symmetric (that is, in general the divergence from "p" to "q" is not equal to the divergence from "q" to "p"), and need not satisfy the triangle inequality.

En statistiques, une divergence est une fonction ou une fonctionnelle qui mesure la dissimilarité d'une distribution par rapport à une autre. Selon le contexte, elles peuvent être définies pour des distributions, des mesures positives (non-normalisées), des vecteurs (par exemple sur l'espace des paramètres si l'on considère un modèle paramétrique), ou encore des matrices.


Design and construction.

"Peterel" was part of the six-ship "Pylades"-class of ship-sloops designed by Sir John Henslow. The ship was built by John Wilson & Company of Frindsbury, and measured 365 tons bm with a total length of 105ft 1in. She was initially armed with 16 6-pound guns and 4 1⁄2-pounder swivel guns and carried a complement of 121 men. She was later re-armed with sixteen 24-pounder carronades on the upper deck, with six 12-pounder carronades on the quarterdeck and two 12-pounder carronades on the forecastle. The ship was ordered on 18 February 1793, laid down in May 1793 and launched on 4 April 1794. She moved to Chatham to be fitted-out and have her hull covered with copper plates between 4 April and July 1794; at her completion she had cost £7,694 to build including fitting.

Service.

"Peterel" was commissioned in April 1794 under Commander Stephen Church. In October Commander Edward Leveson-Gower replaced Church, only to be replaced in turn in July 1795 by Commander Charles Ogle. "Peterel" was at this stage assigned to the squadron in the Downs. Commander John Temple succeeded Ogle in January 1796. By 31 May "Peterel" had joined Horatio Nelson's squadron patrolling off Genoa. On that day "Peterel" was part of a small squadron under Nelson in that captured six French vessels that were carrying military supplies from Toulon to St. Piere d'Acena for the siege of Mantua. In July she was under the command of Captain Stuart. Stuart and "Peterel" directed the landing of troops for the capture of Porto Ferrajo on 10 July.  Commander Philip Wodehouse had taken command of "Peterel" by December 1796 when "Peterel" landed a small party under Lieutenant Thomas Staines on the coast of Corsica. The landing party attacked a Martello tower, which they captured, and threw its gun, a long 32-pounder, over the cliff.  "Peterel"s next captain, Commander William Proby, took over in March 1797. In June 1797 Proby authorised Staines to take 20 men in two of the ship's boats to cut out a French privateer that had been preying on merchant vessels off the coast of Tuscany. After a skirmish in which the British had five men wounded and the French lost several dead and wounded, the British took the privateer, which had a crew of 45 men and was armed with two long guns and several swivels.  By August Commander Thomas Caulfield had replaced Proby. Under Caulfield's command "Peterel" was involved in the capture of the French privateer "Léopard" on 30 April 1798. "Leopard" was armed with twelve 6-pounder guns and 14 swivel guns. She had a crew of 100 men and had been on the prowl for 20 days, but without having captured anything.  At some later stage she was commanded by Lieutenant Adam Drummond, who was followed by Commander Henry Digby. In September 1798, Digby sailed from Gibraltar to Faro, Portugal, to deliver despatches from Earl St. Vincent for the Lisbon packet. Staines took the six men in "Peterel"s jolly boat to deliver the despatches to the packet when the jolly boat overturned in heavy seas. Four men drowned and Staines and the other man were only rescued after four hours.  Digby's replacement in October that year was to be Commander Hugh Downman, but in November Captain George Long was in command, serving with John Duckworth's squadron at Menorca.

Capture and recapture.

"Peterel" participated in the Capture of Menorca (1798) by the British expedition under Commodore John Duckworth. On 12 November 1798 the Spanish 40-gun frigate "Flora", in company with the 40-gun "Proserpina" and the 34-gun ships "Pomona" and "Casilda", captured "Peterel" whilst she was operating off Menorca. One of the Spanish ships fired a broadside after she surrendered. After removing the prisoners from the ship, the Spanish plundered their clothes and possessions, murdering a seaman who attempted to defend his property. Duckworth detached to pursue the sloop and on 13 November she retook "Peterel" and her 72-man Spanish prize crew, which was under the command of Don Antonio Franco Gandrada, Second Captain of "Flora". Captain James Bowen of "Argo" put his own prize crew of 46 officers seamen and marines aboard "Peterel". Duckworth later appointed his first lieutenant, George Jones, to command "Peterel". Most of the clothes belonging to Captain Long and his officers were subsequently recovered.<ref name="James/Chamier p.197">James/Chamier p.197</ref> This charge of ill-usage was officially contradicted in the Madrid Gazette of 12 April, but was, nevertheless, essentially true.  The Spanish squadron, already being chased the next day by several British ships, completely outsailed their pursuers and returned to Cartagena with the prisoners. After a detention of 14 days at Cartagena, Lieutenant Staines and his fellow prisoners were embarked in a merchant brig bound to Málaga; but they did not arrive there until 24 December, a westerly wind having obliged the vessel to anchor off Almeria, where she was detained upwards of three weeks, and her passengers confined on shore during that period. From Málaga, the British were marched to Gibraltar, under a strong escort of soldiers, who treated both officers and men with great brutality, but particularly Lieutenant Staines, who had received a sabre wound in the wrist whilst parrying a blow which one of those soldiers had aimed at his head. On their arrival at the rock, a court-martial was assembled to investigate the circumstances attending their capture by the Spanish squadron; and as no blame could be attached to any individual, the whole of them were sent back to the "Peterel" immediately after their acquittal.

Resumed service.

On 3 February 1799 Francis Austen, the brother of author Jane Austen and future admiral of the fleet, took command of "Peterel". "Peterel" and Austen shared in the proceeds of the capture on 18 June 1799 of the French frigates, "Alceste", and "Junon", and the brigs "Alerte" and "Salamine". Under Austen, "Peterel" captured or cut out from ports an armed galley, a transport brig carrying cannons and ammunition, and some twenty merchant vessels. In May 1799 "Peterel" carried the news to Lord Nelson at Palermo, Sicily, that a large enemy fleet had passed through the straits of Gibraltar.  On the evening of 1 August 1799, at 9 P.M., s boats came alongside "Peterel". Austen sent these boats and his own to cut out some vessels from the Bay of Diano, near Genoa. Firing was heard at around midnight and by morning the boats returned, bringing with them a large settee carrying wine, and the "Virginie". "Virginie" was a Turkish-built half-galley that the French had captured at Malta the year before. She had provision for 26 oars and carried six guns. She was under the command of a "lieutenant de vaisseau" and had a crew of 36 men, 20 of whom had jumped overboard when the British approached, and 16 of whom the British captured. She had brought General Joubert from Toulon and was going on the next day to Genoa where Joubert was to replace General Moreau in command of the French army in Italy. "Minerve" and "Peterel" shared the proceeds of the capture of "Virginie" with and. In March 1800, "Peterel" was sailing near Marseille with the frigate. On 21 March, "Peterel" spotted a large convoy with three escorts: the brig-sloop French brig "Ligurienne", armed with fourteen brass 6-pounder guns and two brass 36-pounder howitzers, the corvette "Cerf", of fourteen 6-pounder guns, and the xebec "Lejoille", of six 6-pounder guns. "Peterel" captured a bark of 350 tons and a bombarde (ketch) of 150 tons, both carrying wheat and which their crews had abandoned, and sent them off with prize crews; later that afternoon the escorts caught up to "Peterel" and attacked. "Mermaid" was in sight but a great distance to leeward and so unable to assist. Single-handedly, "Peterel" drove "Cerf" and "Lejoille" on shore, and after a 90-minute battle captured "Ligurienne", which lost the French commander ("lieutenant de vaisseaux" Citoyen Francis Auguste Pelabon), and one sailor killed and two sailors wounded out of her crew of 104 men; there were no British casualties. "Cerf" was a total loss but the French were able to salvage "Lejoille". The whole action took place under the guns of two shore batteries and so close to shore that "Peterel" grounded for a few minutes. Austen recommended, without success, that the Navy purchase "Ligurienne", which was less than two years old. In 1847 the Admiralty authorised the issue of the Naval General Service medal with clasp "Peterel 21 March 1800" to all surviving claimants from the action.  On 14 April 1800 "Peterel" and captured "St. Rosalia".  "Peterel" went on to take part in operations against the French forces in Egypt. On 13 August 1800, "Peterel" was sailing towards Alexandria when she spied a Turkish 80-gun ship of the line totally dismasted and aground near Aboukir Bay, with three Turkish frigates standing offshore, out of range of any French guns on shore. Some of the Turkish crew of the ship of the line had reached the frigates, but the captain and most of the crew had surrendered to the French. Austen sent in a pinnace and ten men who set fire to the Turkish ship to forestall any further French attempts to plunder it, especially of its guns and ammunition. Commander Charles Inglis officially replaced Austen in June 1800, but apparently did not actually take command until some months later.  On 8 March 1801, "Peterel",, and another sloop supported the British landing at Abu Qir Bay by stationing themselves close in with their broadsides towards the shore.  "Peterel" and drove a Greek caicque onshore on 11 March at Tower of Arabs. The vessel was on her way to Alexandria.  Because "Peterel" served in the navy's Egyptian campaign (8 March to 2 September 1801), her officers and crew qualified for the clasp "Egypt" to the Naval General Service Medal that the Admiralty authorized in 1850 for all surviving claimants.  In July–August 1802, "Peterel" was part of a small anti-smuggling squadron under the command of Captain King, of. who further had command of a small squadron on anti-smuggling duties. The other vessels in the squadron were,, and.

Napoleonic Wars.

From 29 April 1802 until 1809 "Peterel" was under Commander John Lamborn. In May 1804, she sailed for Jamaica and Barbados, convoying the West Indies trade, and thereafter remained in the West Indies for some years. She destroyed a small privateer on the Jamaica station on 23 January 1805. The privateer was a felucca, armed with one 4-pounder gun and a swivel gun. She had a crew of 27 men, all except one of whom escaped after they ran her on shore and before "Peterel"s boats arrived to burn her. The privateer had captured an American brig which she had sent into Havana where the brig was sold.  On 8 February, "Pique" captured the Spanish warship "Urquixo", of 18 guns and 82 men. "Peterel" shared in the proceeds.  On 13 May "Peterell" captured the Spanish privateer schooner "Santa Anna" off Cuba. "Santa Anna" was armed with one long 18-pounder gun and four 6-pounder guns, and had a crew of 106 men. She had sailed from Santiago de Cuba only the day before and had not yet captured anything. At some point in 1805 or 1806, "Peterel" captured the ship "Hoffnung", in sight of the armed schooner "Arab", Lieutenant Carpenter, commander.  In early October 1806, "Peterel" was part of a convoy from Jamaica. Near North Edisto she encountered the French privateer "Superbe", of 14 guns and 150 men. The privateer mistook "Peterel" for a guineaman and attempted to board. "Peterel" repulsed the attempt and then gave chase as Captain Dominique Houx (or Diron) of "Superbe" realized his mistake and made his escape. In the skirmish, Lieutenant Maitland of "Peterel" was killed, and four seamen were wounded. "Peterel" captured one of the French boarders who reported that a broadside from "Peterel" had killed some 30 to 40 men on "Superbe" as she came up to board. On 27 October,, under the command of Lieutenant William Fitton, caught up with "Superbe" in Ocoa Bay after a 50-hour chase. "Pitt" captured "Superbe", with "Drake" in sight, after Houx ran her aground. Houx and most of his crew escaped, though a number had been killed in the running battle with "Pitt".

Fate.

"Peterel" was fitted as a receiving ship at Plymouth in August 1811 and served in that capacity until 1825. "Peterel" was put up sale at Plymouth on 11 July 1827, and sold that same day to Joshua Crystall at Plymouth for £730.

Notes, citations, and references.

Notes  Citations  References

HMS "Peterel" (or "Peterell") was a 16-gun "Pylades"-class ship-sloop of the Royal Navy. She was launched in 1794 and was in active service until 1811. Her most famous action was the capture of the French brig "Ligurienne" when shortly after "Peterel" captured two merchant ships and sent them off with prize crews, three French ships attacked her. She drove two on shore and captured the largest, the 14-gun "Ligurienne". The Navy converted "Peterel" to a receiving ship at Plymouth in 1811 and sold her in 1827.

Le HMS "Peterel" est un sloop-of-war de 16 canons lancé par la Royal Navy en 1794. Il capture plusieurs navires français dont le brick "Ligurienne", avant d'être converti en navire de réception en 1811 et revendu en 1827.


Design and construction.

The Bay class was due to be replaced in 2010, but it was not until June of that year that a request for tender was issued for eight new, larger patrol boats. Austal was awarded the tender for eight patrol boats on 12 August 2011. Each vessel is in length, with a beam of and a draught of. Propulsion machinery consists of two Caterpillar 3516C diesel engines, providing to two propeller shafts. A bow thruster is also fitted. Maximum speed is, with a range of at, and an endurance of 28 days. Each vessel has a crew of 18, and two crew groups are assigned to each vessel, alternating between operating the patrol boat and shore duties, to ensure maximum vessel availability. Each Cape-class vessel is armed with two.50 calibre machine guns, and carries two Gemini RHIB interception craft in cradles at the stern, along with a small boat carried amidships. Several updates and reconfigurations were implemented in response to issues found with the previous class of patrol boats built by Austal, the "Armidale" class operated by the Royal Australian Navy (RAN).  According to media reports, prior to the tender process, information about the project was leaked to Austal by a senior Customs official. The leak was reported to occur during an investigation of claims that the tendering requirements had been set up to favour Austal. Customs stated in March 2013 that reports of leaks during the tendering process were unfounded, and that internal and external investigations of the accusation concluded that the tender process had not been compromised or set up to favour a particular tenderer.  Construction of the new vessels started in February 2012, with entry into service planned for between March 2013 and August 2015. The first vessel was launched in January 2013, and named "Cape St. George" on 15 March 2013. The boats have been named after eight capes in Australia: Cape St. George, Cape Byron, Cape Nelson, Cape Sorell, Cape Jervis, Cape Leveque, Cape Wessel, and Cape York. The final vessel, "Cape York", was delivered at the end of August 2015. The project cost A$330 million, including in-service support to be provided by Austal: the largest procurement undertaken by the Customs and Border Protection Service. Although originally due to leave service in 2010, ships of the Bay class remained in service until the Cape class fully entered service. In Australian service, the patrol boats were initially identified with the ship prefix "ACV" (Australian Customs Vessel); this was changed to "ABFC" (Australian Border Force Cutter) following the establishment of the Australian Border Force.  On 13 December 2015, Austal announced that two more Cape-class vessels had been ordered. The $63 million contract is with the National Australia Bank, who will charter the patrol boats to the Department of Defence on their completion in mid-2017. The new vessels will be included in the in-service support contract for the Border Force patrol boats, and if Defence does not continue on with the charter after the initial three-year period, the National Australia Bank can sell the patrol boats back to Austal for residual value. The first of the two additional vessels, "Cape Fourcroy", was reported in April 2017 to have been delivered to the RAN, while the delivery of the second, to be named "Cape Inscription", is still outstanding.  In July 2018, the government of Trinidad and Tobago announced the acquisition of two Cape class patrol boats. The vessels will enhance the border protection capabilities of the country in conjunction with the existing Coast Guard fleet, and will join six Austal Fast Patrol Craft acquired in 2009.  In May 2020, a further six were ordered for the Royal Australian Navy.

Operational history.

Permanent berthing facilities at East Arm Wharf in Port Darwin (the ship's main base of operations) were commissioned in December 2015 and became fully operational in February 2016.  Following availability issues with the "Armidale" class, "Cape Byron" and "Cape Nelson" were chartered by the RAN from July 2015 to the end of 2016 to supplement naval patrol boat availability. In naval service, the patrol boats are manned by RAN personnel, operate from, and are identified with the Australian Defence Vessel (ADV) prefix, but retain the blue-and-red customs colour scheme.

The "Cape" class is a ship class of 10 large patrol boats operated by the Marine Unit of the Australian Border Force and Royal Australian Navy. Ordered in 2011, the vessels were built by Austal to replace Customs' Bay-class patrol boats, and entered service from 2013 onwards. Following availability issues with the "Armidale" class, two vessels were chartered by the Royal Australian Navy from mid-2015 to late 2016. A further two vessels were ordered at the end of 2015 by the National Australia Bank, who will charter the patrol boats to the Department of Defence from completion in 2017. A further six vessels were ordered in 2020.

La Classe "Cape" est une classe grands patrouilleurs au service de la (Unité maritime des douanes australiennes) et de la Royal Australian Navy.


History.

The town was founded in 1961. From 1969 to 1994, it was called Uglegorsk and was established in order to serve the nearby ICBM base of the Soviet Armed Forces which was code-named Svobodny-18. The name was given after another settlement called Svobodny which lies south of it. The closed status was assigned by the Decree of the Presidium of the Supreme Soviet of the RSFSR of October 19, 1965. In 1994 the entire complex was renamed to Uglegorsk ().  In April 2013, President Vladimir Putin proposed to rename a town nearer to the Cosmodrome in honor of the founder of theoretical astronautics Konstantin Tsiolkovsky. Later it was decided to assign this name to Uglegorsk. In March 2014 the settlement held a public hearing where the majority of participants were in favor of the renaming. On June 2014 the Council of People's Deputies of Uglegorsk approved the name change. In September 2015 the deputies of the Legislative Assembly of Amur Oblast adopted a law to change the status of the settlement of Uglegorsk and transform it into a city without changing the established administrative borders. The official documents to rename the city were sent for examination to the Federal Service for State Registration, Cadastre and Cartography (Rosreestr). On December 23 the State Duma, the lower house of the Russian Parliament voted in favour of a federal law on the renaming of the town, and on December 30 President Putin signed it into law, thus formalizing the name changing.  On November 30, 2015 one of the streets of the town was renamed "3rd street of the Builders" () as a tribute to the creativity of Eldar Ryazanov.

Administrative and municipal status.

Within the framework of administrative divisions, it is incorporated as Uglegorsk Urban Okrug—an administrative unit with the status equal to that of the districts. As a municipal division, this administrative unit also has urban okrug status.

Economy and infrastructure.

The settlement contains thirty-three blocks of residential homes and a boiler room. There is a secondary school, a children's arts school, two kindergartens, and a hospital. The settlement has a sports complex. Its construction began in 2005 and was planned to be finished by 2009 but due to lack of funding opening was postponed two years later to 2011.

Transportation.

Ledyanaya railway station serves the town and is located from it on the Trans-Siberian Railway. The Amur Highway (M58) also passes there.

Vostochny cosmodrome.

In July 2010, Prime Minister Vladimir Putin announced that the area would be the site of a new Vostochny cosmodrome ("Eastern Spaceport"), to reduce Russian dependence on the Baikonur cosmodrome in Kazakhstan.  On early December 2011, a public debate held in Tsiolkovsky with the participation of officials from the Russian space industry in which the settlement's future in the context of the construction of the new cosmodrome was discussed. It was announced the south-eastern district will be expanded with six-, nine-, and twelve-story buildings designed for the settlement of 12,000 people. The buildings will be built using solid blocks which will be produced in a factory located at Svobodny south of Tsiolkovsky. The south-east neighborhood will be located on 140 acres near the old part of the settlement.  In late March 2012, it was reported that settlement residents are concerned with increase in crime, a situation the local population associates with a massive influx of temporary workers involved in the construction of infrastructure for the Cosmodrome. Many of the construction workers live in former military barracks, converted into a hostel.

Tsiolkovsky () is a closed town in Amur Oblast, Russia, located on the Bolshaya Pyora River (a tributary of the Zeya), from the border with China and north of Blagoveshchensk, the administrative center of the oblast. Population: The town serves the nearby spaceport, Vostochny Cosmodrome.

Tsiolkovski (en ) est une ville de l'oblast de l'Amour, située dans le sud-est de la Sibérie en Russie. Sa population s'élevait à habitants en 2019.


Parc zoologique et jardin botanique national Simón Bolívar

History.

Simon Bolivar Zoo has its origin in the "Jardín de Plantas y Animales", a park created in 1884 by Swiss naturalist and botanist Henry Pittier. It was founded as an institution associated to the Costa Rican Geographic Institute. It was first located near Liceo de Costa Rica, but had to be later relocated because neighbors complained about the noise of the animals. It was eventually moved to its current location in Barrio Amón. It was established on 5 July 1916 and added a botanical garden on 24 July 1921, part of the anniversary celebration of Simón Bolivar's birth.  The park was managed by neighboring Museo Nacional de Costa Rica until 1953, when it was transferred to the Department of Fish and Wildlife of the Ministerio de Agricultura y Ganadería (Ministry of Agriculture and Livestock). In 1959 it was transferred to the Department of Lands and Forests of that ministry. In 1969 it was transferred once more, this time to the Department of National Parks of the Forestry Department. With the future transformation of this department into the National Park Service, the new department managed the zoo until in 1986 when it was placed under the Ministry of Natural Resources, Energy and Mines (MIRENEM), currently Ministry of Environment, Energy and Telecommunications (MINAET). MINAET underwrote an agreement with the Pro Zoological Foundation in 1994, which is currently managing the site.

Fauna.

In August 2017, the zoo held a collection of 11 species of mammals, about 30 species of birds, more than 10 species of reptiles, 2 species of frogs and 1 species of fish.  Species list August 2017:  Mammals;  Bird species include;  Great Curassow, Black Guan, Crested Guan, Gray-headed chachalaca, Indian peafowl, Gray Hawk, Swaison's Hawk, Bat Falcon, Barn Owl, Striped Owl, Spectacled Owl, Mottled Owl, Tropical Screech-Owl, Crimson-fronted parakeet, Olive-throated parakeet, Orange-chinned parakeet, White-crowned parrot, Yellow-naped parrot, Red-lored parrot, White-fronted parrot, Mealy Parrot, Great Green Macaw, Scarlet Macaw, Emerald Toucanet, Collared Aracari, Black-mandibled Toucan, Painted bunting and Yellow-bellied siskin  Other species include;  Various species of turtles, Emperor boa, Green vine snake, Side-lined Palm Pitviper, Tropical Rattlesnake, Fer-de-Lance, Eyelash Pitviper, American crocodile, Spectacled caiman, Strawberry poison frog, Blue-sided Tree Frog and Koi car

Parque Nacional Simón Bolívar (Zoológico Simón Bolívar) is an urban park of approximately 14 hectares, located in downtown San José, Costa Rica. It is the oldest botanical garden and zoo in Costa Rica. The name pays homage to Latin American national founder Simón Bolívar. It is administered by a conservation nonprofit foundation called Fundazoo. All animals in the zoo are orphaned, injured or have been disabled and are nursed back to health in hopes of releasing them.

Le Parc zoologique et jardin botanique national Simon Bolivar, est un parc situé à San José, capitale du Costa Rica.


Plot.

Bill Johnson is a former baseball player whose fanatical devotion to the game has cost him several jobs. He remains steadfast in one thing: he hates umpires. Matters are complicated by the fact that his father-in-law Evans is a retired umpire.  During a period of unemployment, needing a job to support his loyal wife Betty and two daughters, Johnson is forced by his father-in-law to matriculate in an umpire school. Johnson initially tries to get himself expelled by school director Jimmy O'Brien, but eventually comes to enjoy his new job. He becomes an ump in the minor leagues, where blurred vision, caused by using the wrong eyedrops, causes him to see everything twice, earning him a nickname as "Two-Call" Johnson.  When he calls a visiting team’s player safe at home plate, the crowd accuses him of dishonesty, not aware that the catcher actually dropped the ball when the runner slid into home plate, leading to a near-riot during which the home team’s catcher is knocked out cold. Johnson must disguise himself as a woman, and engage in several madcap subterfuges, to get to an important game on time, but his reputation is restored when the injured catcher recovers and praises him for his honesty as an umpire. The crowd accepts this, although quickly reversing its opinion again after Johnson, inevitably, makes another call they do not like.  The film's climax is a manic chase scene, scripted by animator and future Jerry Lewis director Frank Tashlin.

Kill the Umpire is a 1950 baseball comedy film starring William Bendix and Una Merkel, directed by Lloyd Bacon and written by Frank Tashlin.

Le film a pour thème le baseball et plusieurs joueurs des Stars d'Hollywood, une franchise de ligue mineure de baseball, apparaissent dans le film.


Etymology.

In 1660, Mughal prince Shah Shuja took shelter in the Kingdom of Arakan to escape from Mir Jumla II. While heading to Arakan, he stayed in a beautiful hilly place (present-day Chunati) between Chittagong and Cox's Bazar for a few days. At the time of departure, he engraved an iron bar in that place as a sign. It is thought that because of engraving iron bar by Shah Shuja the area is called 'Lohagara' since 'Loha' means 'iron'.

History.

Lohagara was once under Satkania Upazila. Lohagara thana was formed in 1981 and it was turned into an upazila in 1983.

Geography.

Lohagara is located at. It has 33,981 households and a total area of. It is bordered by Satkania Upazila on the north, Chakaria and Lama Upazilas on the south, Bandarban Sadar and Lama Upazilas on the east and Banshkhali Upazila on the west. The noted canals are Tonkaboti, Dolu and Hangor.

Administration.

Lohagara thana was turned into an upazila in 1983. The upazila consists of nine union parishads, 40 mouzas and 43 villages. The largest union is Barohatia and the largest village is Rashider Ghona.  The nine union parishads are:

Demography.

As of 2001, the population of Lohmalesa upazila was 2,66,741. Of these, 1,34,094 were male and 1,32,647 are females. The total population was 89% Muslim, 9% Hindu, 2% Buddhists and other religions.

Culture.

The culture of this area has been developed through the lives of people of different opinions. In the past, there were foreign merchants here with seemingly different ethnicity and existences.

Education.

The literacy rate of Lohagara Upazila is 44.6%, with male literacy at 42.40% and female at 25.03%.  There are one kamil madrasas, two degree colleges (two honors courses), one mohila College (the only govt. college in Lohagara Upazila), nine fazil madrasas, one technical college, one school and college, 1 alim madrasas, 25 secondary schools (1 govt), 18 dakhil madrasas, two quami madrasas, 10 lower secondary schools, 105 primary schools, 43 ebtedi madrasas, and 30 kindergartens.

Health.

There are 1 Upazila health center, 5 family planning Centers, 4 union health centers, clinics, and 16 diagnostic centers. Sanitary system: 49.24% of the area (53.96% in rural and 48.69% in urban) is healthier and 34.55% (33.95% in villages and 39.68% of urban households) use non-sanitary latrines. 16.22% of households do not have latrine facilities.

Economy.

The main sources of community income are: Agriculture 39.29%, non-agricultural laborer 5.40%, industry 0.82%, business 17.71%, transport and communication 3.43%, employment 14.58%, construction 1.59%, religious services 0.49%, Rent and remittance 5.19% and other 11.50%.  Ownership of agricultural land: Landowner 63.88%, landless 36.12%. 64.13% of the city and 61.74% of the rural households have agricultural land.  Main crops: paddy, potato, sugarcane, chilli, fellong  Extinct or nearly extinct crops: stil, linseed, watermelon  Main fruits: banana, papaya, guava, amra, plum  Fisheries, dairies and poultries: fishery 2322 (pond), hatchery (fishery) 22, poultry 5, poultry 139  Industries and factories: rice mill, ice factory, biscuit factory, textile mill, plywood factory  Cottage industries: goldsmith, blacksmith, potteries, stools, mesh fabric, bamboo work, woodwork  Haats and fairs: 24 haats and bazars, three fairs (noted among them is Dervay Haat), Tawari Hat, Khaatat Hat, Hindu Hat, Sener Hat and Manufakir Hat  The main export is the scraping, fake, ready-made garments.

Lohagara () is an Upazila of Chittagong District in the division of Chittagong, Bangladesh. Lohagara is situated between Chittagong and Cox's Bazar. It is one of the largest and most densely populated upazilas of Bangladesh.

Lohagara (en bengali : লোহাগাড়া) est une upazila du Bangladesh dans le district de Chittagong. En 1991, on y dénombrait habitants.


WSN defined in itself.

SYNTAX = { PRODUCTION }.  The equals sign indicates a production. The element on the left is defined to be the combination of elements on the right. A production is terminated by a full stop (period).  We take these concepts for granted today, but they were novel and even controversial in 1977. Wirth later incorporated some of the concepts (with a different syntax and notation) into extended Backus–Naur form.  Notice that codice_1 and codice_2 are left undefined. This is because numeric characters (digits 0 through 9) may be included in both definitions or excluded from one, depending on the language being defined, "e.g.":  If codice_2 goes on to include codice_4 and other printable ASCII characters, then it diverges even more from codice_1, which one can assume does not include the digit characters or any of the special (non-alphanumeric) characters.

Another example.

The syntax of BNF can be represented with WSN as follows, based on translating the BNF example of itself:  This definition appears overcomplicated because the concept of "optional whitespace" must be explicitly defined in BNF, but it is implicit in WSN. Even in this example, codice_6 is left undefined, but it is assumed to mean "codice_7". (codice_8 is also left undefined.) Notice how the kludge codice_9 has been used twice because codice_6 was not explicitly defined.  One of the problems with BNF which this example illustrates is that by allowing both single-quote and double-quote characters to be used for a codice_11, there is an added potential for human error in attempting to create a machine-readable syntax. One of the concepts migrated to later metasyntaxes was the idea that giving the user multiple choices made it harder to write parsers for grammars defined by the syntax, so computer languages in general have become more restrictive in how a "quoted-literal" is defined.

Wirth syntax notation (WSN) is a metasyntax, that is, a formal way to describe formal languages. Originally proposed by Niklaus Wirth in 1977 as an alternative to Backus–Naur form (BNF). It has several advantages over BNF in that it contains an explicit iteration construct, and it avoids the use of an explicit symbol for the empty string (such as <empty> or ε).

La notation syntaxique de Wirth est une métasyntaxe, c'est-à-dire, une manière de décrire des langages formels. Elle est suggérée par Niklaus Wirth en 1977 comme alternative à la Forme de Backus-Naur.


History.

Clinique Cecil was originally a hotel, built between 1905 and 1907 by architect Charles Melley. In 1931, the hotel was refurbished as a clinic by Georges Espitaux. In 1972, the clinic was bought by the American Medical International group. In 1990, the Hirslanden Private Hospital Group bought Clinique Cecil.  In 2012, following a strategic realignment, Pierre-Frédéric Guex left office after 17 years of service. He was replaced by Philipp Teubner who resigned in June 2015. Today, the clinic is directed by Jean-Claude Chatelain.

Key figures & infrastructure.

In 2016, Clinique Cecil has 474 employees, 391 physicians, 86 beds, 6 operating rooms, including 1 hybrid, and 2 birthing rooms. Hirslanden Clinique Cecil recorded 3'974 patients in 2016.  The clinic also has an intensive care unit of 7 beds recognised by the Swiss Society of Intensive Care Medicine.  In 2013/14, Clinique Cecil contributed 6.4% to the turnover of the Hirslanden Private Hospital Group.  In November 2015, Clinique Cecil expanded its infrastructure with the creation of a 900 m2 building. The new infrastructure includes Switzerland's first hybrid operation room integrating conventional operating room equipment with high-end radiology equipment.

Centres and institutes.

Clinique Cecil includes an interventional outpatient department, a multidisciplinary pain department, a maternity and obstetrics gynaecology department, a dialysis department, a physiotherapy and osteopathy department, a multi-site radiology institute and a cardiovascular department.

Specialisations.

The main specialties of Clinique Cecil are allergology and immunology, anesthesiology, angiology, cardiac and thoracic vascular, surgery, cardiology, endocrinology / diabetology, gastroenterology, general internal medicine, gynaecology and obstetrics, hand surgery, infectology, intensive care, nephrology, neurology, neurosurgery, oral and maxillofacial surgery, otorhinolaryngology, plastic, reconstructive and cosmetic surgery, pneumology, radiology, rheumatology, spine surgery, surgery, thoracic surgery, urology.

Hirslanden Clinique Cecil is a Swiss hospital, located in Lausanne, Vaud. Founded in 1931, it has been part of the Hirslanden Private Hospital Group since 1990. During the 2015/16 fiscal year, 3,974 hospitalised patients were treated by 391 physicians.

La Clinique Cecil est un hôpital de Suisse situé à Lausanne dans le canton de Vaud. Fondée en 1931, elle fait partie du groupe de cliniques privées Hirslanden depuis 1990. Au cours de l' exercice 2015/16, patients hospitalisés ont été traités par 391 médecins.


Design.

Unlike the Princess, a six-cylinder 2.2-litre version was not available; the Ambassador was offered only as a four-cylinder, initially with either a 1.7-litre or a 2.0-litre (single carburettor) variant in "L", "HL" and "HLS" trims. A benefit of not installing the taller E6 engine was that the bonnet could be made lower and flatter, although this meant that the wipers were now no longer concealed (unlike those of the Princess). Instead of the previous 2.2-litre models, there were the HLS and later Vanden Plas trim levels, both with a twin-carburettor version of the 2.0-litre engine. In 1983, the 2.0-litre HL was upgraded to also use the more powerful twin-carburettor engine. A four-speed manual gearbox (and automatic) were the only transmissions offered, with commentators citing the lack of a fifth gear (available in other BL models) for the manual transmission, as one of the car's drawbacks. Despite prototypes being built in left-hand drive, production versions of the Ambassador were only built in right-hand drive form and thus were not exported to continental Europe. Just 23 Ambassadors remain taxed and on the roads today in Britain, out of 43,500 built; compared to around 225,000 for the Princess. As of 2019, 79 Princesses remain in active service in the UK with an MOT. Aside from the Ambassador's connections to the lowly repute of the Princess, commentators point out that its sedate image and driving characteristics (and low performance) also mitigate against its success in a market where performance and taut handling were becoming more important.  Some components, such as the headlights, were shared with the Morris Ital. Other minor components, including much of the interior trim, was also shared with other BL products, such as the Allegro. The interior was generally not an improvement over that of the Princess, feeling cheap and lacking a rev counter, even in the top HLS model. According to British Leyland, only the front door skins were directly shared with the Princess. The rear part of the chassis was modified to accommodate the opening hatch, and there were windows in the C-pillars which did make for an airier cabin.  The Ambassador only served as a stop-gap in the Austin range, and it was discontinued in March 1984 (after exactly two full years), with no official replacement. The gap it left in the Austin-Rover range was effectively filled by the slightly smaller Montego, and by the new generation of smaller Rovers.

Sales.

The Ambassador achieved domestic sales of 43,427 in the two years in which it was available. Of these 43,427, only around 28 are thought to be still experiencing active service on the road in the UK, with around 60 still in existence.

Special versions.

As with the Princess before it, Ambassadors were converted by specialist coachbuilders into hearse and limousine variants.

The Austin Ambassador is a large family car that was introduced by the Austin Rover Group subsidiary of British Leyland in March 1982. The vehicle was a heavily updated version of the Princess, a saloon car that had lacked a hatchback. Only the doors and inner structure were carried over, but the wedge-shaped side profile betrayed the car's Princess origins, and it was not considered a truly new model. The Princess had been out of production for four months by the time that the Ambassador went on sale.

L'Austin Ambassador est une voiture familiale commercialisée de 1982 à 1984 par le groupe British Leyland, sous la marque Austin.