Allocation de Solidarité aux Personnes Agées

Eligibility.

To qualify for ASPA, the recipient must live in France or French territory, and meet age and financial need criteria.

Lawful residence in France.

A French citizen must have their main residence on French territory. The allowance is suspended if the recipient moves to another country. A foreign national must also meet at least one of these conditions:

Minimum age.

The recipient must be at least 65 years old, except in two special cases for which the criterion is reduced to the minimum legal age of retirement [5] :

Financial need.

Assets taken into account include all earnings and property, pensions and disability and the (AAH). Family benefits, the allocation of social housing, and military pensions are not taken into account [6]. The annual income limit is adjusted on 1 April each year. [8].  In 2014, the annual income limit is €9503.89 for a single person, and €14755.32 for a couple.

Value.

The ASPA provides an income up to the annual income limit (currently €9,503.89 for a single person, and €14,755.32 for a couple), taking into account the above assets. ASPA will be upgraded in 2014 as part of French pension reforms. The single person's annual income limit is expected to be increased to €9,600 in October 2014.  The ASPA is transferable and seizable in settlement of debts.

Recovery.

ASPA is conceived of as an advance from the State rather than a grant, and payments can be reclaimed by the State after the person's death if their estate is worth more than €39,000. Reclaimed payments will not reduce the value of the estate to less than this amount. To prevent the recipient artificially reducing the value of their estate by making gifts or taking out life insurance, for example, these payments are included in the calculation of net assets.

The Allocation de solidarité aux personnes âgées (solidarity allowance for the elderly) (ASPA) is a French state pension for elderly people, whether former employees or not, on low incomes. It replaced the multiple components of the minimum pension ("") from 1 January 2006. Existing recipients of the minimum pension are not automatically transferred to the ASPA, but may do so on request.


History.

Zion Wildlife Gardens.

Craig Busch established Zion Wildlife Gardens in 2002 from bare land situated on Gray Road, Kamo, Whangarei. Busch had previously had the zoo based at Kerikeri.  During 2006 Zion Wildlife Gardens became financially troubled. Busch accepted a bail out package from his mother Patricia Busch, and in accordance with an agreement dated 13 July 2006, he resigned as director and appointed Mrs Busch, as sole director.  Busch continued working at Zion until his dismissal on 3 November 2008.  During November 2008, media reports revealed an investigation into the welfare of the cats at the zoo had been conducted by Ministry of Agriculture and Forestry. Concerns included animals being kept in unsanitary conditions, damaged enclosures and the surgical declawing of 21 lions and 9 tigers.  In February 2009, the Ministry of Primary Industries (formerly MAF) released the results of its investigation into the surgical declawing of 21 lions and 9 tigers at the facility between the years 2000 to May 2008. The contents of the report revealed vets had been initially approached by Mr Busch to have the procedures done. Busch had requested the procedures were to be kept in confidence. The findings in the report found any question of prosecutions under the Animal Welfare Act 1999 were problematic due to Ministry of Primary Industries veterinarians being aware, but not questioning the procedures at the time.  On 27 May 2009 a zookeeper, South African National Dalu Mncube, was mauled to death by a white tiger while cleaning an enclosure. The tiger was shot dead in order to reach Mncube. The same tiger, a male named Abu, had bitten another handler earlier the same year, who was rescued by Mncube. The park closed and re-opened after less than one month, following changes to the big cat enclosures to improve safety for handlers and the public.  During June 2013 Zion Wildlife Gardens operator Patricia Busch lost her assets. The finance company that held the security over the property took possession, after Mrs Busch was unable to continue the mortgage payments.  In December 2013, the Coroner's report on the inquest into the death of senior cat handler Dalu Mncube cleared the management and staff of any wrongdoing in relation to the incident. Shortland recommended regulatory reform and new legislation for health and safety in zoos and animal parks.

Receivership.

David Bridgman and Colin McCloy of Price Waterhouse Coopers Limited were appointed receivers of the company that operated Zion Wildlife Gardens, Zion Wildlife Gardens Limited (In Receivership & In Liquidation), on 26 July 2011. Subsequent to this, the official assignee was appointed liquidator of the company on 22 August 2011, after the Inland Revenue made a successful application to the High Court to have Zion Wildlife Gardens Ltd placed into liquidation.  On 31 January 2012 the receivers announced the sale of Zion Wildlife Gardens Ltd. to Zion Wildlife Kingdom Ltd. The receivers had been on site that morning to advise those at the park of the sale. Details of the sale were considered to be commercially sensitive and as a result, the receivers did not comment further on the sale and purchase agreement or the new owners.

Kingdom of Zion.

On 31 January 2012, the park with land and assets, was sold to Zion Wildlife Kingdom Ltd, owned by Tauranga-based accountant Ian Stevenson and Cambridge based businesswoman Tracey McVerry and Nicholas Mes. On 5 April 2012 the facility was reopened as Kingdom of Zion. The day-to-day management of the facility was through Earth Crest Limited which had as its sole shareholder Suzanne Eisenhut.  On May 10, 2012, Zion Wildlife Kingdom co-director and shareholder, Tauranga based chartered accountant Ian Stevenson, was censured by the New Zealand Institute of Chartered Accountants, and was ordered to pay the $42,889 cost of his prosecution. Stevenson pleaded guilty to three charges arising from a client complaint; dealing with client monies through his practice account rather than a trust account, withdrawing fees without authority and preparing accounts without due care and diligence.  In April 2013, Tauranga based business consultant Sam Bailey failed when he applied the High Court in Tauranga to have the park's operating company Earth Crest Limited, placed into liquidation.. Associate High Court Judge Jeremy Doogue reserved his decision into the application made by Bailey to liquidate Earth Crest Ltd (trading as Kingdom of Zion Ltd) after the hearing in May 2013.  In October 2013, the Employment Relations Authority gave former worker Neville Bradford leave to pursue an unjustified dismissal claim against Kingdom of Zion's operating company Earth Crest Limited. Bradford had been dismissed in July 2012, after working at Kingdom of Zion as a groundsman since the end of January 2012.  In November 2013, Zion Wildlife Kingdom Ltd co-director and shareholder Ian Stevenson, was struck off by the New Zealand Institute of Chartered Accountants. Stevenson was charged with conduct unbecoming of an accountant and negligence and/or incompetence in a professional capacity. He was also charged with breaching the NZICA's rule 21.4(b) and breaching the institute's code of ethics.  On January 31, 2014 the shareholding and directorship of Zion Wildlife Kingdom Ltd, was transferred to Bolton Equities Ltd an Auckland-based investment company.  During May 2014, the Employment Relations Authority ruled Earth Crest Ltd, the company operating the business Kingdom of Zion, was required to pay former employee Neville Bradford the sum of $11,000. The amount related to unpaid wages owed to Bradford by his employer. The Authority also found Bradford had not been unjustifiably dismissed by Earth Crest Limited.  In July 2014, the Ministry of Primary Industries ordered the zoo to close to the public until the enclosures were upgraded to meet containment requirements.  During early August, the business operated by Earth Crest Limited was purchased by Bolton Equities. The company planned to upgrade the zoo facility for a future major tourist attraction with the name changed to Kamo Wildlife Sanctuary.

Kamo Wildlife Sanctuary.

Kamo Wildlife Sanctuary was established in 2014 by Bolton Equities after the Ministry of Primary Industries closed its predecessor Kingdom of Zion citing compliance issues. In 2015 it was reported the zoo was still closed as Kamo Wildlife Sanctuary management worked its way through a list of remedial work required.

Kamo Wildlife Sanctuary is a privately owned zoo located near Kamo, Whangarei, New Zealand. The facility houses a collection of four species of large cats and was formerly used as a location for the filming of the television series "The Lion Man".


Ancient Rome.

According to tradition, Servius Tullius, sixth king of Rome, first divided the city into "regiones", numbering four. During administrative reorganization after the Roman Republic collapsed, the first emperor Augustus created the 14 "regiones" of Rome that were to remain in effect throughout the Imperial era, as attested by the 4th-century "Cataloghi regionari", that name them and provide data for each. All but "Transtiberim" (the modern Trastevere) were on the left bank of the river Tiber. The regions were:

Middle Ages.

After the fall of the Western Roman Empire and the decline of Rome, the population decreased and the division into "regiones" was lost. During the 12th century a division in 12 parts started being used, though not officially, but simply by the common use of the people. Even if the areas were different from the ancient ones, they still used the same name: "regio" in Latin and "rione" in the vulgar language.  The limits of the rioni became more definitive and official in the 13th century: their number increased to 13 and it remained the same until the 16th century. In this period, anyway, the limits were quite uncertain. The "rione" was not a political entity, but only an administrative one. The chief of a "rione" was the "Caporione".

Modern ages.

During the Renaissance there was a deep reorganization and expansion of the city, so it became necessary to delimit the rioni exactly.  In 1586 Sixtus V added to the 13 rioni another one: Borgo, which before had been administered separately from the city. This situation, thanks to the low population increase, did not change until the 19th century.  In 1744 Pope Benedict XIV, because of frequent misunderstanding, decided to replan the administrative division of Rome, giving the responsibility of it to Count Bernardini. The marble plates defining the borders of each rione, many of which still exist, were installed in that year on the facades of houses lying at each rione's border.  In 1798, during the Roman Republic, there was a rationalization of the administrative division of the city creating 12 rioni (with the modern rione in parentheses):  Soon after this, during the domination of Napoleon, Rome was split up in 8 parts, now called "Giustizie" (meaning "justices" in Italian):  So the smaller rioni were united to the large ones. At this time the French affixed in each street a plate with its name and the areas it belonged to.

Today.

After Napoleon lost his power there were no significant changes in the organization of the city until Rome became the capital of the newborn Italy. The needs of the new capital caused a great urbanization and an increase of the population, both within the Aurelian walls and outside them. In 1874 the rioni became 15, with the addition of Esquilino, created by taking a portion from Monti. At the beginning of the 20th century some rioni started being split up and the first parts outside the Aurelian walls started being considered part of the city.  In 1921 the number of the rioni increased to 22. Prati was the last rione to be established and the only one outside the walls of Urbanus VIII.  The latest reform, which is still mostly valid, was made in 1972: Rome was divided in 20 "circoscrizioni" (later renamed "municipi", one of which became later the independent municipality of Fiumicino) and 20 rioni (which together form the "Centro Storico") constituted the first one, Municipio I. The two remaining, "Borgo" and "Prati", belonged to Municipio XVII until 2013. Since then they belong with the rest of the rioni as part of Municipio I.  The complete list of the modern rioni, in order of number, is the following:

A rione of Rome (, pl. "rioni") is a traditional administrative division of the city of Rome. "Rione" is an Italian term used since the 14th century to name a district of a town. The term was born in Rome, originating from the administrative divisions of the city. The word comes from the Latin word "regio" (pl. "regiones", meaning region); during the Middle Ages the Latin word became "rejones", from which "rione" comes. Currently, all the rioni are located in Municipio I of Rome.


Origins.

Esperanto occupies a middle ground between "naturalistic" constructed languages such as Interlingua, which take words "en masse" from their source languages with little internal derivation, and "a priori" conlangs such as Solresol, in which the words have no historical connection to other languages. In Esperanto, root words are borrowed and retain much of the form of their source language, whether the phonetic form ("eks-" from "ex-") or orthographic form ("teamo" from "team"). However, each root can then form dozens of derivations that may bear little resemblance to equivalent words in the source languages, such as "registaro" (government), which is derived from the Latinate root "reg" (to rule).

Word formation.

One of the ways Zamenhof made Esperanto easier to learn than ethnic languages was by creating a regular and highly productive derivational morphology. Through the judicious use of lexical affixes (prefixes suffixes), the core vocabulary needed for communication was greatly reduced, making Esperanto a more agglutinative language than most European languages. It has been estimated that on average one root in Esperanto is the communicative equivalent of ten words in English.  However, a contrary tendency is apparent in cultured and Greco-Latin technical vocabulary, which most Europeans see as "international" and therefore take into Esperanto "en masse", despite the fact they are not truly universal. Many Asians consider this to be an onerous and unnecessary burden on the memory, when it is so easy to derive equivalent words internally (for example by calquing them, which is what Chinese often does). This sparks frequent debates as to whether a particular root is justified, and sometimes results in duplicates of native and borrowed vocabulary. An example is "calligraphy", which occurs both as a calqued "belskribo" ("writing of beauty") and as the direct borrowing "kaligrafio". A similar development has also occurred in English ("brotherly" vs. "fraternal"), German ("Ornithologie" vs. "Vogelkunde" for "ornithology"), Japanese ("beesubooru" vs. "yakyuu" for "baseball"), Spanish ("básquetbol" vs. "baloncesto" for "basketball"), French ("le week-end" vs. "la fin de semaine"), and other languages. However, although the debates in ethnic languages are motivated by nationalism or issues of cultural identity, in Esperanto the debates are largely motivated by differing views on how to make the language practical and accessible.

Affixes.

One of the most immediately useful derivational affixes for the beginner is the prefix "mal-", which derives antonyms: "peza" (heavy), "malpeza" (light); "supren" (upwards), "malsupren" (downwards); "ami" (to love), "malami" (to hate); "lumo" (light), "mallumo" (darkness). However, except in jokes, this prefix is not used when an antonym exists in the basic vocabulary: "suda" (south), not "malnorda" from 'north'; "manki" (to be lacking, intr.), not "malesti" from 'to be'.  The creation of new words through the use of grammatical (i.e. inflectional) suffixes, such as "nura" (mere) from "nur" (only), "tiama" (contemporary) from "tiam" (then), or "vido" (sight) from "vidi" (to see), is covered in the article on Esperanto grammar. What follows is a list of what are usually called "affixes". Most of them, however, are actually lexical roots, in that they can be used as independent words and their relative order in a compound is determined by semantics, not grammar. They are called "affixes" mainly because they derive from affixes in Esperanto's source languages. Some are true affixes in that, although they may be used independently, their order within a word is fixed by the grammar. Only a few cannot be used independently and so correspond to how a typical affix behaves in English.  When a root receives more than one affix, their order matters, because affixes modify the entire stem they are attached to. That is, the outer ones modify the inner ones. Most affixes are themselves roots, and as such have an inherent part of speech. This is indicated by the final part-of-speech vowel in the suffix list below. A few affixes do not affect the part of speech of the root; for the suffixes listed in the tables below, this is indicated by a hyphen in place of the final vowel.

List of prefixes.

There are, in addition, affixes not listed here: technical affixes, such as the biological family suffix "-edo" seen in "numidedo" (Guineafowls), and a few taken from Ido, such as "-oza" (full of) in "montoza" (mountainous), "muskoloza" (muscular), "poroza" (porous). A proposed suffix "-ala" makes adjectives out of nouns made from adjectives: "varmala" (caloric, from "varma" warm), "ŝtataligi" (nationalize).  Lexical (i.e. derivational) affixes may act as roots by taking one of the grammatical suffixes: "mala" (opposite), "eta" (slight), "ano" (a member), "umo" (a doohickey), "eble" (possibly), "iĝi" (to become), "ero" (a bit, a crumb). Also, through compounding, lexical roots may act as affixes: "vidi" (to see), "povi" (to be able to), "vidpova" (able to see, not blind); "ĉefo" (head, chief), "urbo" (a city), "ĉefurbo" (a capital). It is quite common for prepositions to be used as prefixes: "alveni" (to arrive), from "al" (to) and "veni" (come); "senespera" (hopeless), from "sen" (without) and "espero" (hope); "pripensi" (to consider), from "pri" (about) and "pensi" (to think); "vendi pogrande" (sell wholesale), from "po" (at the rate of) and "grande" (large [quantity]), etc. There is even "aliĝilo" (registration form), from the preposition "al" (to) and the suffixes "-iĝ-" (to become) and "-ilo" (an instrument).

Compounds.

Compound words in Esperanto are similar to English, in that the final root is basic to the meaning. The roots may be joined together directly, or with an epenthetic (linking) vowel to aid pronunciation. This epenthetic vowel is most commonly the nominal suffix "-o-", used regardless of number or case, but other grammatical suffixes may be used when the inherent part of speech of the first root of the compound needs to be changed.  Prepositions are frequently found in compounds, and behave much like prefixes,  Since affixes may be used as root words, and roots may combine like affixes, the boundary between the two is blurred. Indeed, many so-called affixes are indistinguishable from other roots. However, "true" affixes are grammatically fixed as being either prefixes or suffixes, whereas the order of roots in compounds is determined by semantics.  Although Zamenhof did not prescribe rules for which consonant sequences are not acceptable and therefore when the epenthetic "-o-" is required, he generally omitted it when the result was a sequence of two consonants, as in "velŝipo" above. However, he inserted an "-o-",

Reduplication.

Reduplication is only marginally used in Esperanto. It has an intensifying effect similar to that of the suffix "-eg-". The common examples are "plenplena" (chock-full), from "plena" (full), "finfine" (finally, at last), from "fina" (final), and "fojfoje" (once in a while), from "foje" (once, sometimes). So far, reduplication has only been used with monosyllabic roots that don't require an epenthetic vowel when compounded.

Some examples.

Affixes may be used in novel ways, creating new words that don't exist in any national language. Sometimes the results are poetic: In one Esperanto novel, a man opens an old book with a broken spine, and the yellowed pages "disliberiĝas" [from the root "libera" (free) and the affixes "dis-" and "-iĝ-"]. There is no equivalent way to express this in English, but it creates a very strong visual image of the pages escaping the book and scattering over the floor. More importantly, the word is comprehensible the first time one hears it.  Derivation by affix greatly expands a speaker's vocabulary, sometimes beyond what they know in their native language. For instance, the English word "ommatidium" (a single lens of a compound eye) is rather obscure, but a child would be able to coin an Esperanto equivalent, "okulero", from "okulo" 'an eye' (or perhaps, more precisely, "okularero", by first coining "okularo" for 'a compound eye'). In this way the Esperanto root "vid-" (see) regularly corresponds to some two dozen English words: "see (saw, seen), sight, blind, vision, visual, visible, nonvisual, invisible, unsightly, glance, view, vista, panorama, observant" etc., though there are also separate Esperanto roots for some of these concepts.  In the "Fundamento", Zamenhof illustrated word formation by deriving the equivalents of "recuperate, disease, hospital, germ, patient, doctor, medicine, pharmacy", etc. from "sana" (healthy). Not all of the resulting words translate well into English, in many cases because they distinguish fine shades of meaning that English lacks: "Sano", "sana", "sane", "sani", "sanu", "saniga", "saneco", "sanilo", "sanigi", "saniĝi", "sanejo", "sanisto", "sanulo", "malsano", "malsana", "malsane", "malsani", "malsanulo", "malsaniga", "malsaniĝi", "malsaneta", "malsanema", "malsanulejo", "malsanulisto", "malsanero", "malsaneraro", "sanigebla", "sanigisto", "sanigilo", "resanigi", "resaniĝanto", "sanigilejo", "sanigejo", "malsanemulo", "sanilaro", "malsanaro", "malsanulido", "nesana", "malsanado", "sanulaĵo", "malsaneco", "malsanemeco", "saniginda", "sanilujo", "sanigilujo", "remalsano", "remalsaniĝo", "malsanulino", "sanigista", "sanigilista", "sanilista", "malsanulista". Perhaps half of these words are in common use, but the others (and more) are available if needed.

Correlatives.

The "correlatives" are a paradigm of pro-forms, used to ask and answer the questions "what, where, when, why, who, whose, how, how much", and "what kind". They are constructed from set elements so that correlatives with similar meanings have similar forms: There are nine endings corresponding to the nine "wh-" questions, and five initial elements that perform the functions of asking, answering, denying, being inclusive, and being indefinite about these nine questions. For example, the words "kiam" (when) and "kiu" (who, which), with the initial "ki-" of questions, "ask" about time and individuals, whereas the words "tiam" (then) and "tiu" (this/that one), with the same endings but the initial "ti-" of demonstratives, "answer" those questions, and the words "neniam" (never) and "neniu" (no-one) deny those questions. Thus by learning these 14 elements the speaker acquires a paradigm of 45 adverbs and pronouns.  The correlatives beginning with "ti-" correspond to the English demonstratives in "th- (this, thus, then, there" etc.), whereas "ĉi-" corresponds to "every-" and "i-" to "some-". The correlatives beginning with "ki-" have a double function, as interrogative and relative pronouns and adverbs, just as the "wh-" words do in English: "Kiu ĉevalo?" (Which horse?); "La ĉevalo, kiu forkuris" (The horse that ran away).  The adjectival determiners ending in "-u" have the usual dual function of adjectives: standing alone as proforms, as in "ĉiu" (everyone); and modifying a noun, as in "ĉiu tago" (every day). Those ending in "-io" are exclusively used standing alone: "ĉio" (everything).  The correlatives have a genitive case ending in "-es". Therefore, the adjectival correlatives, ending in "-ia" and "-iu", do not play that role, as adjectival personal pronouns such as "mia" "my" do. However, adjectival correlatives do agree in number and case with the nouns they modify, as any other adjectives: "La ĉevaloj, kiujn mi vidis" (The horses which I saw). They, as well as the independent determiners ending in "-io", also take the accusative case when standing in for the object of a clause. The accusative of motion is used with the place correlatives in "-ie", forming "-ien" (hither, whither, thither, etc.).

Correlative particles.

Several adverbial particles are used primarily with the correlatives: "ajn" indicates generality, "ĉi" proximity, and "for" distance. (Without these particles, demonstratives such as "tiu" and "tio" are not specific about distance, though they are usually translated as "that".)

An extension of the original paradigm.

Sometimes the correlative system is extended to the root "ali-" (other), at least when the resulting word is unambiguous, "Alie", however, would be ambiguous as to whether the original meaning "otherwise" or the correlative "elsewhere" were intended, so "aliloke" (from "loko" "place") is used for "elsewhere".  As a practical matter, only "aliel" and "alies" are seen with any frequency, and even they are condemned by many speakers.

Interrogative "vs" relative pronouns.

Examples of the interrogative versus relative uses of the "ki-" words:  Also,  Note that standard Esperanto punctuation puts a comma before the relative word (a correlative in "ki-" or the conjunction "ke", "that"), a feature common to many Slavic languages.

Derivatives.

Various parts of speech may be derived from the correlatives, just as from any other roots: "ĉiama" (eternal), "ĉiea" (ubiquitous), "tiama" (contemporary), "kialo" (a reason), "iomete" (a little bit), "kioma etaĝo?" (which floor?) [This last requests an ordinal answer of how many floors up, like "la dek-sesa" (the 16th), rather than asking someone to simply point out which floor, which would be asked with "kiu etaĝo?". The same form is used for asking time: "Kioma horo estas?", literally "How-manyeth hour is it?"]  Although the initial and final elements of the correlatives are not roots or affixes, in that they cannot normally be independently combined with other words (for instance, there is no genitive case in "-es" for nouns), the initial element of the "neni-" correlatives is an exception, as seen in "neniulo" (a nobody), from "neni-" plus "-ulo", or "neniigi", to nullify or destroy, from "neni-" plus the causative "-ig".

Gender.

Usually, feminine nouns are derived from epicene (genderless) roots via the suffix "-ino". A relatively small number of Esperanto roots are semantically masculine or feminine. In some but not all cases, masculine roots also have feminine derivatives via "-ino". Usage is consistent for only a few dozen words. For others, people may differ in usage, or it may be difficult to tell whether a word is gendered because of social custom or because of the word itself.

Masculine roots.

A small (and decreasing) number of noun roots, mostly titles and kinship terms, are inherently masculine unless the feminine suffix "-ino" or the inclusive prefix "ge-" are added. For example, there are "patro" (father), "patrino" (mother), and "gepatroj" (parents), whereas there is no proper word for "parent" in the singular (as explained in a following section). There are other words, such as "papo" (pope), which are generally assumed to be masculine due to historical reality, but there is no reason a feminine form "papino" couldn't be used in fiction, or if customs change.

The original setup.

In the early twentieth century, members of a profession were assumed to be masculine unless specified otherwise with "-ino", reflecting the expectations of most industrial societies. That is, "sekretario" was a male secretary, and "instruisto" was a male teacher. This was the case for all words ending in "-isto", as well as "-ulo (riĉulo" "a rich "man""), "-ano" and ethnicities ("kristano" "a male Christian", "anglo" "an English"man"), -estro (urbestro" "a male mayor"), and the participles "-into, -anto, -onto, -ito, -ato, -oto (komencanto" "a male beginner"). Many domestic animals were also masculine ("bovo" "bull", "kapro" "billygoat", "koko" "rooster"). These generally became gender-neutral over the course of the century, as many similar words did in English, because of social transformation.  Once such a word is used ambiguously by a significant number of speakers or writers, it can no longer be assumed to be masculine. Language guides suggest using all ambiguous words neutrally, and many people find this the least confusing approach—and so the ranks of masculine words gradually dwindle.

The current situation.

There is still variation in many of the above words, depending on the social expectations and language background of the speaker. Many of the words are not clearly either masculine or epicene today. For example, the plural "bovoj" is generally understood to mean "cattle", not "bulls", and similarly the plurals "angloj" (Englishpeople) and "komencantoj" (beginners); but a masculine meaning reappears in "bovo kaj bovino" "a bull & cow", " kaj anglino" (an Englishman & Englishwoman), "komencanto kaj komencantino" (a male & female beginner).  There are several dozen clearly masculine roots:  Some of these, such as "masklo" and the dedicated words for male animals, are fundamentally masculine and are never used with the feminine suffix. The others remain masculine mainly because Zamenhof did not establish a way to derive masculine words the way he did for feminine words. To partially remedy this, the root "vir" (man) has long been used to form the masculine of animal words. Originally a suffix, since the 1926 publication of the Esperanto translation of the Bible it has shifted in use to a prefix, but either way the resulting words are ambiguous. "Bovoviro" "bovine-man" and "virbovo" "man-bovine", for example, could mean either "minotaur" or "bull", and therefore both "taŭro" (bull) and "minotaŭro" (minotaur) have been borrowed into the language to disambiguate. Adjectival usage of "vira" is also found, but is similarly ambiguous. More recently, the word "maskla" (masculine) was created as an unambiguous alternative.

Feminine roots.

There are several dozen feminine roots that do not normally take the feminine suffix "-ino":  Like the essentially masculine roots (those that do not take the feminine suffix), feminine roots are rarely interpreted as epicene. However, many of them are feminine because of social custom or the details of their mythology, and there is nothing preventing masculine usage in fiction. Even outside of fiction, words such as "muzo" (muse) and "nimfo" (nymph) may be used metaphorically for males, and a collection of Goethe's poetry has been translated under the title "La Muzino" ('The [female] Muse'), with gendered metaphorical usage. Similarly, "sireno" is also the biological name for sea-cows (Latin "Sirenia"), and as such one can speak of "sirenino" (a female sea-cow).

Feminine personal names.

The ending of all assimilated nouns in Esperanto with "-o", including personal names, clashes with Romance languages such as Italian and Spanish, in which "-o" marks masculine names, and feminine names end in "-a". For example, the fully Esperantized form of 'Mary' is "Mario", which resembles Spanish masculine "Mario" rather than feminine "María". (Though suffixed "Mariino" is also available, it is seldom seen.) This has resulted in some writers using a final "-a" for feminine names with cognates in Romance languages, such as "Johano" "John" vs. "Johana" "Joanna", rather than using the feminine suffix "-in" for a more fully assimilated "Johano" and "Johanino", or "Jozefo" "Joseph" and "Jozefino" "Josephine". Some writers extend this "-a" convention to all female names.

Gendered pronouns.

Esperanto personal pronouns distinguish gender in the third-person singular: "li" (he), "ŝi" (she); but not in the plural: "ili" (they). There are two practical epicene third-person singular pronouns: expanding the use of the demonstrative pronoun "tiu" (that one), and Zamenhof's suggestion, "ĝi".  See the discussions at Esperanto personal pronouns and gender reform in Esperanto.

Antonyms.

People sometimes object to using the prefix "mal-" to derive highly frequent antonyms, especially when they are as long as "malproksima" (far). There are a few alternative roots in poetry, such as "turpa" for "malbelega" (very ugly) and "pigra" for "mallaborema" (lazy) – some of which originated in Ido – that find their way into prose. However, they are rarely used in conversation. This is a combination of two factors: the great ease and familiarity of using the "mal-" prefix, and the relative obscurity of most of the alternatives, which would hamper communication. This results in English borrowings – such as "ĉipa" (cheap) for "malmultekosta" (inexpensive) – failing to find favor even among native English speakers.  Two root antonyms are frequently encountered: "eta" (little), and "dura" (hard [not soft]). However, their popularity is due to their iconicity. "Eta" is derived from the diminutive suffix and more properly means "slight", but it's a short word, and its use for "malgranda" (little) is quite common. The reason for the popularity of "dura" may be similar: perhaps official "malmola", with the repeated continuants "m_l", sounds too soft to mean "hard", while "dura" begins with a stop consonant. Other antonymic words tend to have a different scope. For example, instead of "malbona" (bad) we may see "aĉa" (of poor quality) or "fia" (shameful), but these are not strict antonyms.  The antonymic prefix is highly productive among native-speaking children.

Proper names.

Proper names may either be The last method is usually used only for names or transliterations of names in Latin script. As noted under Gender, feminine personal names may take the suffix "a" rather than "o" even when fully assimilated.  When a name ending in a vowel is fully assimilated, the vowel is often changed to inflectional "o", rather than the "o" being added to the full root. As with borrowed common nouns, this may be criticized if the vowel is part of the root rather than inflectional in the source language, because the resulting form may not be readily recognized by native speakers of the source language. However, it is a common phenomenon in inflectional languages such as Russian or Latin. If a name is not fully assimilated, the accusative case may be tacked on with a hyphen, as "-n" if the name ends in a vowel, or as "-on" if it does not ("Zamenhof-on").

Idioms and slang.

Some idiomatic expressions have either been borrowed from Esperanto's source languages, or developed naturally over the course of Esperanto's history. There are also various expletives based on body functions and religion, as in English.

Idioms.

In addition to the root words and the rules for combining them, a learner of Esperanto must learn some idiomatic compounds that are not entirely straightforward. For example, "eldoni", literally "to give out", means "to publish"; a "vortaro", literally "a compilation of words", means "a glossary" or "a dictionary"; and "necesejo", literally "a place for necessities", is a toilet. Almost all of these compounds, however, are modeled after equivalent compounds in native European languages: "eldoni" after the German "herausgeben" or Russian "издавать", and "vortaro" from the Russian "словарь" "slovar’".

Contractions.

"Saluton" (hello) is sometimes clipped to "sal" or even "sa", and "saluĝis" (from "saluton – ĝis la revido") is seen as a quick hello–goodbye on internet chatrooms. Similarly: In the contraction "’stas" the stress shifts to the temporal suffix, which makes the tenses easier to distinguish than they are in formal "estas", and effectively recapturing some of the stress patterns of Proto-Esperanto (see below).

Word play.

Sometimes Esperanto derivational morphology is used to create humorous alternatives to existing roots. For instance, with the antonym prefix "mal-", one gets, As in English, some slang is intentionally offensive, such as substituting the suffix "-ingo" (a sheath) for the feminine "-ino" in "virino" (a woman), for "viringo", meaning a woman as a receptacle for a man. However, such terms are usually coined to translate from English or other languages, and are rarely heard in conversation.

Cultural "in" words.

Esperanto has some slang in the sense of in-group talk as well. Some of this is borrowed; for example, "fajfi pri io" (to whistle about something) means not to care about it, as in German. Other expressions deriving from Esperanto history or dealing with specifically Esperantist concerns have arisen over the years. A "volapukaĵo", for example, is something needlessly incomprehensible, derived from the name of the more complex and less immediately readable constructed language Volapük, which preceded Esperanto by a few years.  Words and phrases reflect what speakers of a language talk about. Tellingly, Esperanto has a slang expression "krokodili" (to crocodile) for speaking a language other than Esperanto when Esperanto would be more appropriate, such as at an Esperanto convention, whereas there is nothing equivalent in English.

Jargon.

Technical jargon exists in Esperanto as it does in English, and this is a major source of debate in the language: whether international jargon should be borrowed into Esperanto, or whether more transparent equivalents should be constructed from existing roots.  However, the normal wordplay people use for amusement is occasionally carried to the extreme of being jargon. One such style is called "Esperant’", found in chat rooms and occasionally used at Esperanto conventions. "(See Esperantido.)"

Artificial variants.

One line of verse, taken from the sole surviving example of the original "Lingwe uniwersala" of 1878, is used idiomatically: If this stage of Esperanto had been preserved, it would presumably be used to occasionally give a novel the archaic flavor that Latin provides in the modern European languages.  Various approaches have been taken to represent deviant language in Esperanto literature. One play, for example, originally written in two dialects of Italian, was translated with Esperanto representing one dialect, and Ido representing the other. Other approaches are to attempt to reconstruct proto-Esperanto, and to create "de novo" variants of the language.

Reconstructions.

With so little data available, various attempts have been made to reconstruct what proto-Esperanto may have been like. However, these reconstructions rely heavily on material from the intermediate period of Esperanto development, between the original "Lingwe Uniwersala" of 1878 and the "Unua Libro" of 1887. "(See Proto-Esperanto.)"

"De novo" creations.

There are various "dialects" and pseudo-historical forms that have been created for literary uses in Esperanto. Two of the more notable are a substandard jargon, "Popido", and a fictitious "archaic" version of Esperanto called "Arcaicam Esperantom". Neither are used in conversation. "(See Esperantido.)"

False cognates.

Because Esperanto vocabulary is largely international, it shares many cognates with English. However, because they were often taken from languages other than English, these do not always have their English meanings. Some of the mismatches are:

Dictionaries.

La Plena Ilustrita Vortaro de Esperanto (English: The Complete Illustrated Dictionary of Esperanto, abbreviated PIV) is the largest monolingual dictionary of the language and is generally regarded as the standard. (There is a free online version at vortaro.net.) However, it is subject to criticism, for example for failure to distinguish rare, idiosyncratic, redundant, or even erroneous words attested in a few written texts from their conversational equivalents, and for giving French approximations of some difficult words rather than their Zamehofian meanings. The older "Plena Vortaro de Esperanto", originally published in 1930 and reissued with an appendix in 1953, is still widely used, as more portable and less expensive than the PIV, and perhaps more accurate, even if somewhat dated. The "Etimologia vortaro de Esperanto" (five volumes, 1989–2001) gives source-language etymologies of all fundamental and official root words (tentative and uncertain in a few cases), along with comparisons of equivalent words in four other constructed international auxiliary languages.

The word base of Esperanto was originally defined in "Unua Libro" ("First Book"), published by L. L. Zamenhof in 1887. It contained around 900 root words. The rules of the language allow speakers to borrow words as needed, recommending only that they look for the most international words, and that they borrow one basic word and derive others from it, rather than borrowing many words with related meanings. In 1894, Zamenhof published the first Esperanto dictionary, "Universala vortaro", which was written in five languages and supplied a larger set of root words.


Ethnic composition of regions.

The composition of regions of Brazil according to autosomal genetic studies focused on the Brazilian population (which has been found to be a complex melting pot of European, African and Native Americans components):  A 2011 autosomal DNA study, with nearly 1000 samples from all over the country ("whites", "pardos" and "blacks"), found a major European contribution, followed by a high African contribution and an important Native American component. The study showed that Brazilians from different regions are more homogeneous than previously thought by some based on the census alone. "Brazilian homogeneity is, therefore, a lot greater between Brazilian regions than within Brazilian regions."  According to an autosomal DNA study from 2010, a new portrayal of each ethnicity contribution to the DNA of Brazilians, obtained with samples from the five regions of the country, has indicated that, on average, European ancestors are responsible for nearly 80% of the genetic heritage of the population. The variation between the regions is small, with the possible exception of the South, where the European contribution reaches nearly 90%. The results, published by the scientific "American Journal of Human Biology" by a team of the Catholic University of Brasília, show that, in Brazil, physical indicators such as colour of skin, eyes and hair have little to do with the genetic ancestry of each person, which has been shown in previous studies (regardless of census classification). Ancestry informative SNPs can be useful to estimate individual and population biogeographical ancestry. Brazilian population is characterized by a genetic background of three parental populations (European, African, and Brazilian Native Amerindians) with a wide degree and diverse patterns of admixture. In this work we analyzed the information content of 28 ancestry-informative SNPs into multiplexed panels using three parental population sources (African, Amerindian, and European) to infer the genetic admixture in an urban sample of the five Brazilian geopolitical regions. The SNPs assigned apart the parental populations from each other and thus can be applied for ancestry estimation in a three hybrid admixed population. Data was used to infer genetic ancestry in Brazilians with an admixture model. Pairwise estimates of F(st) among the five Brazilian geopolitical regions suggested little genetic differentiation only between the South and the remaining regions. Estimates of ancestry results are consistent with the heterogeneous genetic profile of Brazilian population, with a major contribution of European ancestry (0.771) followed by African (0.143) and Amerindian contributions (0.085). The described multiplexed SNP panels can be useful tool for bioanthropological studies but it can be mainly valuable to control for spurious results in genetic association studies in admixed populations."  An autosomal DNA study from 2009 found a similar profile "all the Brazilian samples (regions) lie more closely to the European group than to the African populations or to the Mestizos from Mexico."  According to another autosomal DNA study from 2008, by the University of Brasília (UnB), European ancestry dominates in the whole of Brazil (in all regions), accounting for 65.90% of heritage of the population, followed by the African contribution (24.80%) and the Native American (9.3%); the European ancestry being the dominant ancestry in all regions including the Northeast of Brazil.  A study from 1965, "Methods of Analysis of a Hybrid Population" ("Human Biology", vol 37, number 1), led by geneticists D. F. Roberts and R. W. Hiorns, found out the average Northeastern Brazilian to be predominantly European in ancestry (65%), with minor but important African and Native American contributions (25% and 9%).

Brazil is geopolitically divided into five regions (also called macroregions) by the Brazilian Institute of Geography and Statistics (); each region is composed of three or more states. Although officially recognized, the division is merely academic, considering geographic, social and economic factors, among others, and has no political effects other than orientating Federal-level government programs. Under the state level, there are also mesoregions and microregions.


Description.

Kawasaki Superbike Challenge is a motorcycle racing game that uses the same engine as the Sega Genesis game, "F1". It includes 14 standard-length race tracks, plus the Suzuka 8 Hours endurance race, available in both training and Championship modes. The game is unlicensed (except by Kawasaki), so all riders and teams are fictional.  The game has more polygonal roadside objects than "F1", and there is still a Turbo mode, allowing for faster racing at the expense of some of the detail. Players are given the ability to turn on or off weather (during rainy days the graphics are darker and the bike has less traction). The number of laps on each course can be 5, 10 or 15, and there are four skill levels. Some changes have been made to how the vehicle handles, to emphasize the switch from cars to bikes.

Reception.

Reviewing the Genesis version, "GamePro" praised the numerous options, responsive controls, complex tracks, and balanced challenge with "enough variety to suit all skill levels", but criticized the undetailed landscapes, "blocky" polygons, and lack of visual effects to accentuate the action. They more wholeheartedly approved of the Game Gear version, applauding the graphics, fast pace, two-player mode, and most particularly the numerous modes and customization options, and concluding that "Handheld racing doesn't get much better than this."  A critic for "Next Generation" panned the Super NES version, chiefly for the lack of any sense of speed. He further remarked that "Flat-shaded 'polygon' blocks dot the sides of the road, which only serves to confuse rather than decorate, the 'first-person' perspective rather effectively hides the road, and you could even describe the control as sluggish, except that sluggish isn't strong enough a word." He gave it one out of five stars.  "Next Generation" reviewed the Genesis version of the game, rating it two stars out of five, and stated that "eventually the redundant, mundane races and lack of character traits in bikers make this game uninteresting."

Kawasaki Superbike Challenge (known in Europe as Kawasaki Superbikes) is a multiplatform racing video game where the player takes the role of a Kawasaki factory rider in an unnamed fictional racing series.


History.

Zoé's history begins in Mexico in 1994, as Britpop was becoming popular in the United Kingdom. Mainly inspired by this movement, with slight influences from Seattle's grunge, Zoé would go through a period of changing lineups and varying styles before stabilizing in 1997, with León Larregui (guitar and voice), Sergio Acosta (guitar), Alberto Cabrera (drums), Ángel Mosqueda (bass), and Jesus Báez (keyboards). By this time, a clear influence from The Beatles could be seen alongside the aforementioned Britpop and grunge stylings.

1998–2004: Debut album and "Rocanlover".

Faced with a lack of venues in which to showcase their music, Zoé relied upon self-organized concerts, the Internet, and a self-published demo. All of these efforts, plus a good deal of positive word of mouth, helped them gain popularity in Spanish-language radio stations in the United States. They signed their first recording contract in 1998, but nothing came of it. They independently released a debut album in 2000 that attracted the attention of Sony Music, who in turn took over distribution of the album. Popular songs from this recording included "Asteroide" and "Miel." Following the success of this album, some of their songs were included in the soundtracks of movies like "Amar Te Duele", "Ladies Night", and "The Dreamer".  In November 2003, Zoé launched their second album, produced by Phil Vinall, who had previously worked with the likes of Placebo and Elastica. This new album was titled "Rocanlover", and the main singles were "Peace and Love," "Love," and "Veneno." Although their musical style was becoming more clearly defined, the band still had not found an identity. In 2017, looking back at this period, Larreguí characterized this as a time of experimentation and trying different things; for example the band hadn't yet decided if they wanted to record more songs in English.

2004–2007: "The Room", "Rocanlover", and "Memo Rex Commander".

Zoé left Sony in early 2004; the band kept on working and touring during the whole year without a label behind them and started to gain a big following with the self-promoted singles "Love" and "Veneno." In early 2005, the band started working on new songs for their next album. By mid-2005, the band recorded the song "Dead" with their own resources. Also by this time Beto Cabrera left the band and Rodrigo Guardiola joined. Some major labels in Mexico were very interested in signing the band, but Zoé, tired of their bad past experiences, surprised everyone and signed an indie deal with Noiselab, a fast-growing independent label from Mexico. New songs to complete the EP, named "The Room", were written. The EP became an instant hit, going Gold after selling more than 50,000 units. Some new songs were recorded in English, and some producers, like Alan McGee, expressed interest in taking them to the UK and Europe. The release of the EP was followed by two sold-out shows at the Metropolitan Theater in Mexico City and a national tour.  The first six months of 2006 were quite active for Zoé; they kept playing strategic shows like the Vive Latino Festival and devoted themselves to the production of their third studio album. In January, the band went to Manzanillo to start preproduction with British producer Phil Vinall. February followed with shows and more preproduction in México City, and March was used for basic tracking at Sonic Ranch Studios in Tornillo, Texas. In April, postproduction and more shows; the songs were mixed in May; and the album was finished by early June.  "Memo Rex Commander y el Corazón Atómico de la Vía Láctea" (Memo Rex Commander and the Atomic Heart of the Milky Way) came out on July 12, 2006, going straight in at number one in the Mexican charts. The first single from the album, "Vía Láctea," had some rotation in local music channels like MTV Latin America and Telehit. The album achieved gold record status after more than 40,000 units sold in the four weeks after its release and it received very good reviews from the specialized press.  On September 1, 2006, Zoé performed in Mexico's National Auditorium, a sold-out show in one of the most important stages for music in Mexico; later, at the Palacio de los Deportes, they performed along with Nick McCarthy, guitarist (and sometimes vocalist) from Scottish band Franz Ferdinand. In November 2006, they toured with Gustavo Cerati and Los Tres in Mexico and the United States. On November 28, 2007 they recorded their first live CD/DVD, in the Palacio de los Deportes "Sports Palace", the CD version is available with the title of 281107.

2008–2010: "Reptilectric".

In the fall of 2008, Zoé released their fourth album, entitled "Reptilectric". Containing 11 tracks, all in Spanish, Reptilectric signalled the end of Zoé's experimentation with writing and recording songs in English. It was produced by Phill Vinall. The title track was released as the first single on September 8. The album debuted at number one in the Mexican charts and it was subsequently certified platinum for over 80,000 copies sold in that country. The band toured in support of the album throughout Mexico, Latin America, the United States, and Spain. A remix album called "Reptilectric Revisitado" was released in October 2009, featuring remixed versions of the songs on the original album as well as cover versions by other Latin American artists. In Spain, the band released "01-10", a compilation album of some of the band's biggest hits and new versions of songs from "Reptilectric" and "Memo Rex Commander" featuring Spanish artists Enrique Bunbury, Anni B. Sweet, Dorian, and Vetusta Morla. The band performed at Coachella in support of "Reptilectric".

2011-2012: "Música de Fondo".

In March 2011 the band released an MTV Unplugged album titled "Música de Fondo" ("Ambient Music"), featuring new interpretations of their biggest hits as well as new music. Guest performers included Adrian Dargelos, Enrique Bunbury, Chetes, and Denise Gutiérrez of Hello Seahorse! Four singles were released from the album: "Soñé", "Labios Rotos", "Luna", and a cover of "Bésame Mucho". With this album, the band was nominated for awards at the Latin Grammy, Lunas Del Auditorio, and MTV Europe Music Awards. In October 2011 the album went Gold in Colombia, making it the band's first album to reach Gold outside of Mexico. As a personal thank you for the overwhelming success of this album, the band released a special single called "Energía" (""Energy"") in February 2012.

2013-present: "Prográmaton" and "Aztlán".

Zoé released their fifth album, titled "Prográmaton", and announced an extended tour of 75 shows in 16 countries. In this new stage, Zoé presents what can be labeled their most mature and experimental work. The elements that achieve this combination of music, lyrics and instrumental talents are Leon Larregui (vocals, guitar), Sergio Acosta (guitar), Jesús Báez (keyboards), Angel Mosqueda (bass) and Rodrigo Guardiola (drums).  After a two year hiatus where they launched a documentary called "Panoramas" and where vocalist León Larregui released his second solo album, Zoé released the single "Azul" on 1 March 2018. Weeks after, the singles "Temor y Temblor" and "Clarividad" where also released, announcing their inclusion in the album "Aztlán_(album)", which was released on 20 April 2018.

Zoé is a Grammy Award and Latin Grammy Award-winning Mexican rock band. They initially formed in Mexico City in 1994, although membership started to stabilize in 1997. The band has achieved success in Mexico and most Spanish-speaking countries with albums such as "Rocanlover", "Memo Rex Commander y el Corazón Atómico de la Vía Láctea" and "Reptilectric".


Life.

Little information has survived about Besson's early life; he described himself as being from Colombières, part of Escarton de Oulx, now in Cesana Torinese, Italy. He was most likely born around 1540. In the early 1550s he is recorded as teaching mathematics in Paris, following which the next account of him dates from April 1557, when he is recorded in the minutes of the town council of Lausanne, Switzerland, as being paid for models of pumps and fountains.  In 1559 he published his first treatise in Zurich, the "De absoluta ratione extrahendi olea et aquas e medicamentis simplicibus" (on the complete doctrine of extracting oils and waters from simple drugs), featuring an introduction by Conrad Gesner. That same year he moved to Geneva where in 1561 he requested permission to become a citizen of Geneva. His entry in Geneva's "Livre de Bourgeois" notes that citizenship was awarded as a result of his services "in teaching the art and science of mathematics"  In 1562 Besson became the pastor of the Protestant Reformed Church in Villeneuve-de-Berg, France, Olivier de Serres having sent a request to the Company of Pastors for a minister. However, less than two years later he was forced out by a rival. By 1565 he was back in Paris, where in 1567 he published his second treatise, "Le Cosmolabe", which described an elaborate instrument based on the astrolabe which could be used for navigation, surveying, cartography, and astronomy. "Le Cosmolabe" also introduced a number of mechanical inventions that he hoped to describe in more detail in a future work. Besson was described as a professor of mathematics from Orléans.

"Theatrum Instrumentorum".

When King Charles IX of France made a royal visit to Orléans in 1569, Besson presented to the King a draft of his new treatise, what was to become the "Theatrum Instrumentorum". and returned with him to Paris as "master of the King's Engines". Charles gave Besson exclusive rights to his designs in that same year. While employed by the court, Besson also created an ingenious screw-cutting lathe that was semi-automatic, in that the operator only needed to pull and release a cord.  Besson's "Theatrum Instrumentorum" (Theater of Machines), was completed and published in 1571 or 1572. It was a unique work; previously, works on engineering and technology such as Valturio's "De re militari" (1472), Biringuccio's "Pirotechnia" (1540) and Agricola's "De re metallica" (1556), had had only limited descriptions of new inventions or recounted inventions of the past without much detail. In contrast, Besson's work was a collection of his own new inventions with detailed illustrations of each engraved by Jacques Androuet du Cerceau to his specifications. Some of his designs suggested important improvements to lathes and the waterwheel. The Latin captions to the highly detailed drawings were sparse, however, which would seem to indicate that the text was probably produced in a hurry. Even the title page does not give the name of the printer or the date of publication. The rush in publishing the book may have been due to the crackdown on French Protestants that culminated in the St. Bartholomew's Day Massacre of 1572.  Although Besson was favoured by King Charles IX, he feared the increasing anti-Protestant sentiment in France, and emigrated to England shortly after the St. Bartholomew's Day Massacre of 1572, where he died in 1573.  The "Theatrum Instrumentorum" had proved so popular that a second edition appeared in 1578, with more detailed descriptions of the instruments and machines by François Béroalde de Verville. The copper plates from the original edition were reused, except for four which were replaced by new engravings produced by René Boyvin.

Jacques Besson (1540? - 1573) was a French Protestant inventor, mathematician, and philosopher, chiefly remembered for his popular treatise on machines "Theatrum Instrumentorum" (1571–72), which saw many reprints in different languages.


Education.

Ruhollah Khāleghi was born in Mahan, a small town near Kerman, in a musically minded family. He first became acquainted with the tar, but later started to learn to play the violin. As soon as Ali-Naqi Vaziri established his School of Music, Khāleghi left school and joined Vaziri's school, where he studied for eight years. Soon he became his master's assistant and was placed in charge of teaching music theory. He later continued his education and obtained a BA degree in Persian Language and Literature from the University of Tehran.

Career.

In 1944 Khāleghi established the National Music Society and in 1949, thanks to the efforts of this great artist, the School of National Music was founded. After his first journey to the former U.S.S.R. in 1955, he became involved in the Iran-Soviet Society and was selected as a member of its board of directors.  He also began to serve as the director of the Payām-e-Novin Magazine. His work, The "History of Persian Music", which was published in two volumes, took shape during these years. His other published works include: "Harmony of Western Music", "Theory of Eastern Music", and "Theory of Persian Music".  For many years Khāleghi worked as a musical advisor for Radio Iran and was one of the founders of the program known as "Gol'hā" (Flowers). He also conducted the "Gol'hā" Orchestra, for which he composed many pieces and revised the original compositions of his contemporaries as well as older masters, such as Āref and Sheydā. Although revised, the compositions retained all their original characteristics.  Khāleghi's compositions are not limited to what he wrote for "Gol'hā". In addition to such masterpieces as "Mey-e Nāb" (Pure Wine), "Āh-e Sahar" (Sigh at Dawn), "Hālā Cherā" (Why Now?), and "Chang-e Rudaki" (Rudaki's Harp), he composed many other lyrical pieces and hymns, which were mostly patriotic. These include such works as "Ey Iran" (see Gholām-Hossein Banān) and the Hymn for Azarbaijan. Khāleghi established The "National Music Society" and "Persian National Music Conservatory" in 1949 in Tehran.  He believed Persian classical music must turn into a polyphonic music to become more attractive.  He died in 1965 in Salzburg, Austria and was buried in Zahir o-dowleh cemetery, Darband, Tehran.

Rūhollāh Khāleghi (, "Ruhollâ Xâleqi"; born 1906 in Kerman, Iran – 12 November 1965 in Salzburg, Austria), also spelled as "Khaleghi", was a prominent Iranian musician, composer, conductor and author.


Geography.

The country consists of 607 islands extending across the Caroline Islands Archipelago. They are east of the Philippine Islands, and north of the island of New Guinea. The federal capital is Palikir, on Pohnpei island.  The 607 islands are grouped into four states, and from west to east are:  Separated from the main islands in southern Pohnpei State are the two islands of Nukuoro and Kapingamarangi. They are geographically part of the Micronesia region, but are linguistically and culturally part of the Polynesia region. The indigenous languages spoken on these two islands are in the Samoic family of Polynesian languages.

Location.

The Federated States of Micronesia are an island group in the Caroline Islands Archipelago of the western Pacific Ocean, in the Micronesia sub-region of Oceania.  Located about three-quarters of the way from Hawaii to Indonesia at Geographic coordinates: Map references are Oceania and Micronesia.

Dimensions.

Area:  The country's total area is four times the size of Washington, D.C. in the U.S.  Coastline: The combined coastlines of the country's 607 islands equal.  Maritime claims:

Terrain.

The country's 607 islands vary from high mountainous ones to low coral atolls. Geologically, there are volcanic rock outcroppings on the islands of Pohnpei, Kosrae, and Chuuk.

Extreme points.

The extreme points of the Federated States of Micronesia, the landforms that are farther north, south, east or west — than any other location in the country.

Environment.

Environment—current issues: Overfishing, land and water pollution.  Environment—international agreements:

Land use.

Products: Tropical woods and lumber, marine products, deep-seabed minerals, surface mined phosphate.

Climate.

The Federated States of Micronesia enjoys a tropical climate, with quite even, warm temperatures throughout the year.  Precipitation is generally plentiful, with heavy year-round rainfall. Pohnpei reputedly is one of the wettest places on earth, with up to 330 inches (8.4 m) of rain per year. Nevertheless, drought conditions do occur periodically throughout FSM, especially when the El Niño condition moves into the Western Pacific, when groundwater supplies can dwindle to emergency proportions.

Natural hazards.

Tropical typhoons are an annual threat, from June to December. The country is located on southern edge of the typhoon belt, with occasionally severe damage, particularly to the low-lying atolls.  Tsunamis and rising sea levels are other natural threats.

Geography of the Federated States of Micronesia (FSM), a country located in the western Pacific Ocean, and in the Micronesia cultural and ecological sub-region of Oceania. The total size very small. However, it has the 14th largest exclusive economic zone of.


Early life.

Bournonville was the son of the actors Louis-Amable Bournonville and Jeanne Evrard, born as the twin of his brother Guillame. He became the student of Noverre in 1769, at the age of nine, and toured in Vienna, Paris and London before he was employed in the Royal Swedish Ballet at the Royal Swedish Opera in Stockholm with his sister Julie Alix de la Fay in 1782.

Career.

Sweden.

Bournonville was premier dancer and ballet instructor at the Royal Swedish Opera in Stockholm until 1792. During his time in Sweden, he was described as beautiful as Apollo: "His appearance was that of a true Apollo. On top of that he had a form of virtuosity in all kinds of dance, which he used with the finest taste". King Gustav III of Sweden was at one point so enthusiastic about his performance and beauty that he called out to him to untie the ribbon of his hair so that he could see his loose hair fly during his pirouette.  His favourite student and dancing partner in Sweden was Charlotte Slottsberg, with whom he made a successful pair in the ballets. It was Antoine Bournonville himself who asked to have her as his partner, after he recognized her talent as an artist and, in 1784, by his own initiative gave her a part in "Les Meunieres Provencaux", which is considered to have been the starting point of Slottberg's true maturity as an artist. Charlotte Slottsberg was said to have been infatuated by his beauty, which at one occasion made her lover, Prince Charles to scream at Bournonville in his jealousy.  He was also active as an actor, a singer and a choreographer. During his stay in Sweden he wrote the ballets "Les Meuniers provençaux" (1785) and " Les Pêcheurs" (1789).

Denmark.

He left Sweden in 1792 after the assassination of king Gustav III of Sweden and was employed at the Royal Danish Ballet in Copenhagen in Denmark after a guest performance there. His favourite dance partner in Denmark was Marie Christine Björn. In 1816–1823, he was the ballet master of the Royal Danish Ballet.

Private life.

Bournonville was married first to the Danish dancer Mariane Jensen, second to his Swedish housekeeper Lovisa Sundberg (the mother of August Bournonville) and also had a child with the Danish dancer Karen Olsen.

Antoine Bournonville (19 May 1760 – 11 January 1843) was a French ballet dancer a choreographer, active in the Royal Swedish Ballet and the Royal Danish Ballet and eventually ballet master in the latter. He is considered to have played a great role in the development of the ballet in Scandinavia. He was the father of August Bournonville.


Early life and career.

Russell Alexander Alger was born on February 27, 1836, in Lafayette Township in Medina County, Ohio. His parents were Russell and Caroline (Moulton) Alger. He was orphaned at age 13 and worked on a farm to support himself and two younger siblings. He attended Richfield Academy in Summit County, Ohio, and taught country school for two winters. He studied law in Akron, Ohio, and was admitted to the bar in March 1859. He first began to practice law in Cleveland and moved to Grand Rapids, Michigan, in 1860, where he engaged in the lumber business.  On April 2, 1861, he married Annette Huldana Squire Henry of Grand Rapids. They had six children; Henrietta Fay Huldana (Alger) Bailey, Caroline Annette (Alger) Shelden, Frances Aura (Alger) Pike, Russell Alexander Alger, Jr., Frederick Charles Moulton Alger and Allan Alger. Frederick graduated from Harvard in 1899, served as a lieutenant colonel with the American Expeditionary Force (AEF) in France during the First World War and was awarded the French Legion of Honor.  Alger was the scion of a prominent family, many of whom became involved in 20th century Michigan politics and active in the Republican Party.  His son, Russell A. Alger, Jr., was instrumental in persuading the Packard Motor Car Company to move to Michigan from Ohio; he also built in Grosse Pointe, Michigan, a palatial Italian Renaissance style estate, "The Moorings", which was donated in 1949 and became the Grosse Pointe War Memorial, honoring veterans of World War II.  Russell A. Alger had a home in Black River which is in Alcona Township, Michigan, which he maintained while overseeing his lumbering operations.

Civil War.

He enlisted as a private soldier in the American Civil War on September 2, 1861. He was commissioned and served as a captain and major in the 2nd Michigan Cavalry Regiment.  At the Battle of Boonesville, July 11, 1862, he was sent by Colonel Philip Sheridan to attack the enemy's rear with ninety picked men. The Confederate forces were soundly defeated, and although Alger was wounded and taken prisoner, he escaped the same day. On October 16, he was made lieutenant colonel of the 6th Michigan Cavalry.  On February 28, 1863, he was promoted to colonel of the 5th Michigan Cavalry. His command was the first to enter Gettysburg, Pennsylvania, on June 28, and he was specially mentioned in the report of General George Armstrong Custer on cavalry operations there. Alger was considered a military strategist and stood with President Lincoln on the battlefield surveying the Union supplies and while pursuing the enemy on July 8, he was severely wounded at Boonesborough, Maryland. He participated in General Sheridan's Valley Campaigns of 1864 in Virginia. On June 11, 1864, at Trevillian Station, he captured a large force of Confederates with a brilliant cavalry charge. Alger resigned from the army on September 20, 1864. On January 13, 1866, President Andrew Johnson nominated Alger for the award of the grade of brevet brigadier general of volunteers to rank from June 11, 1865, and the U.S. Senate confirmed the award on March 12, 1866. On February 28, 1867, President Johnson nominated Alger for the award of the grade of brevet major general of volunteers to rank from June 11, 1865, and the U.S. Senate confirmed the award on March 2, 1867.  In three years, he served in 66 different battles and skirmishes. In 1868, he was elected the first commander of the Michigan department of the Grand Army of the Republic, and in 1889 became its national Commander-in-chief at the Twenty-Third National Encampment in Milwaukee, Wisconsin. He was also a member of the Michigan Commandery of the Military Order of the Loyal Legion of the United States (MOLLUS). Alger's two sons, Frederick W. Alger and Russell A. Alger, Jr. were hereditary companions of MOLLUS.

Lumber baron.

After the Civil War, Alger settled in Detroit as head of Alger, Smith & Company and the Manistique Lumbering Company. His great pine forest on Lake Huron comprised more than and produced annually more than of lumber. In order to transport the lumber, Alger led his company to create the Detroit, Bay City and Alpena Railroad, of which Alger served as president.  At the turn of the 20th century (following Alger's service as Secretary of War), he and Florida landowner Martin Sullivan established the Alger-Sullivan Lumber Company, which milled lumber in Foshee, Alabama and Century, Florida.

Politics.

In 1884, Alger was elected Governor of Michigan, serving from January 1, 1885, to January 1, 1887. He declined renomination in 1886 and was a presidential elector on the Republican ticket in 1888. Alger's name was placed in nomination for president at the 1888 Republican National Convention. He rose in balloting to 142 votes, with 416 necessary to win, but Benjamin Harrison ultimately obtained the nomination and went on to win the general election. In 1888, Alger was elected as the Commander of the Michigan Department of the Grand Army of the Republic and as the 18th Commander-in-Chief of the GAR in 1889.  Alger was appointed Secretary of War in the Cabinet of U.S. President William McKinley on March 5, 1897. As Secretary, he recommended pay increases for military personnel serving at foreign embassies and legations. He recommended legislation to authorize a Second Assistant Secretary of War and recommended a constabulary force for Cuba, Puerto Rico, and the Philippines. He was criticized for the inadequate preparation and inefficient operation of the department during the Spanish–American War, especially for his appointment of William R. Shafter as leader of the Cuban expedition. "Algerism" became an epithet to describe the claimed incompetence of the army, especially as compared to the more stellar performance of the navy. Alger resigned at President McKinley's request, August 1, 1899, though he perhaps got the last word on his critics by publishing "The Spanish–American War" in 1901.  One sidelight of Alger's career in the McKinley Administration was his personal vendetta against former Confederate partisan Col. John Singleton Mosby. Mosby, a famous (or notorious) figure, had been United States Consul at Hong Kong, China, under Hayes but had been replaced with the election of Democrat Grover Cleveland. Upon his return to the United States, Mosby had taken a position obtained for him by his close friend former President Ulysses S. Grant with the Southern Pacific Railroad which he held for fifteen years. When the railroad changed ownership, Mosby lost his position so when McKinley became President, he returned east to seek out a position with the new administration. Mosby had known McKinley for many years through his involvement in Republican politics both in Virginia and California.  Unknown to Mosby as he headed east with hopes of a good position with the new administration, Alger was doing all in his power to thwart the former Confederate guerrilla. His hatred for Mosby was personal. While Alger served with Sheridan in the Shenandoah in 1864, a number of his command had been caught burning homes in the Valley and had been executed by members of Mosby's command as war criminals. Alger never forgot nor forgave what had happened for though Mosby was not present at the time of the events, he had concurred with the actions of his men. So despite having been asked to send a list to the McKinley administration of what posts he desired, by the time he arrived from the west coast Mosby found that all had been "unexpectedly" given to someone else and he was forced to return to the west coast disappointed and unemployed. But Alger's involvement with the defeat of Mosby's hopes did not remain hidden. It was reported in the May 11, 1898, San Francisco Call under the headline "Alger Dislikes Mosby" and it is probable that until he read that article, the 65-year-old Mosby had no idea that his failure to obtain a position was anything other than bad luck.  On September 27, 1902, Alger was appointed by Michigan Governor Aaron T. Bliss to the United States Senate to fill the vacancy caused by the death of James McMillan. He was subsequently elected by the Michigan State Legislature to the Senate in January 1903. He served until his death in Washington, D.C. in 1907. During a memorial address in remembrance of Senator Alger, Senator John Spooner of Wisconsin said of the late senator: "No man without noble purpose, well-justified ambitions, strong fiber, and splendid qualities in abundance could have carved out and left behind him such a career." He was chairman of the Senate Committee on Pacific Railroads during the 59th Congress. He is interred in Elmwood Cemetery in Detroit, Michigan.

Legacy.

Alger, Michigan, a small community in Michigan's lower peninsula was named after him in 1882. It is a small community located in the area of the lower peninsula where he oversaw lumbering and railroad operations. In addition, Alger County, in Michigan's Upper Peninsula, was founded in 1885.  In May 1898, his War Department established Camp Russell A. Alger on a farm of called "Woodburn Manor" near the small communities of Falls Church and Dunn Loring, Virginia. In its brief existence, 23,000 men trained there for service in the Spanish–American War. Faced with a typhoid fever epidemic, it was abandoned the month that the War ended (in August 1898), and sold the following month. It is commemorated by an official Virginia historical marker.  Also in 1898, a movie was made, entitled "General Wheeler and Secretary of War Alger at Camp Wikoff", that documents an official visit as Secretary of War. Camp Wikoff was in New York, and this was an early event that permitted the McKinley administration to garner support from the New York newspapers.  A monument by Detroit sculptor Carlo Romanelli, consisting of a bronze bust of Alger mounted on a stone pedestal, is located on the grounds of the William G. Mather Building in Munising, Michigan. It was erected in June 1909, with funds provided by the heirs of Alger and by the Board of Education of the Munising Township Schools. A memorial fountain in Grand Circus Park, where it intersects East Adams and Woodward in downtown Detroit by sculptor Daniel Chester French and architect Henry Bacon was dedicated in Detroit in 1921. Russell A. Alger street is in Black River, Michigan, and the town contains an eponymous "Alger" street. So too does Lincoln, Michigan. Alger's Camp was located a short distance from Mud Lake (now Jewell Lake) in Alcona County, Michigan.  The Grosse Pointe War Memorial is housed in one of the Alger family's former homes.  The Southeast side Grand Rapids, Michigan neighborhood Alger Heights is named after him.  In 1942, a United States Liberty ship named the was planned, but cancelled before construction.  Retrieved on 2008-02-11

Russell Alexander Alger (February 27, 1836January 24, 1907) was the 20th Governor and U.S. Senator from the state of Michigan and also U.S. Secretary of War during the Presidential administration of William McKinley. He was supposedly a distant relation of Horatio Alger; although Russell Alger lived his own "rags-to-riches" success tale, eventually becoming an army officer, financier, lumber baron, railroad owner, and government official in several high offices.


Publications.

Among his regular writers were many female authors including Regina Maria Roche ("The Maid of Hamlet", 1793; "Clermont", 1798); Mrs. Eliza Parsons ("The Castle of Wolfenbach", 1793; "The Mysterious Warning", 1796); E. M. Foster; and Eleanor Sleath ("The Orphan of the Rhine", 1798) whose Gothic fiction is included in the list of the seven Northanger Horrid Novels, recommended by the character Isabella Thorpe in Jane Austen's novel of similar name. Six of the Northanger Seven were published by Minerva. However many titles were anonymous, including such novels as "Count Roderic's Castle" (1794), "The Haunted Castle" (1794), "The Animated Skeleton" (1798) and "The New Monk" (1798), and the five novels of Helen Craik. Authors such as Emma Parker ("Emma de Lisle") and Amelia de Beauclerc, who wrote for Minerva Press in the 1800s, are obscure today, and the market for Minerva's books became negligible after the death of its charismatic founder.  Lane was succeeded as proprietor of the Minerva Press by his partner, Anthony King (A. K.) Newman, who gradually dropped the Minerva name from his books' title pages during the 1820s. Later books published by the press bear the imprint "A. K. Newman & Co."  In the 20th century, the name Minerva Press has appeared at least once, unconnected with the original firm, e.g. Minerva Press, Delhi.

Valancourt Books reprints.

Valancourt Books began reprinting Minerva Press titles in 2005, beginning with their first release, the anonymously written "The Animated Skeleton". They have gone on to print over twenty of these titles, mostly with scholarly introductions.

Minerva Press was a publishing house, noted for creating a lucrative market in sentimental and Gothic fiction in the late 18th century and early 19th century. It was established by William Lane (c. 1745–1814) at No 33 Leadenhall Street, London, when he moved his circulating library there in about 1790.


Club career.

Kaizer Chiefs.

Following a great season with "The Students", Fernández was signed by Kaizer Chiefs from Wits University in 2001 along with midfielder Stanton Fredericks. Fernández was to be an understudy to Brian Baloyi, who was on the verge of landing a lucrative contract in Europe.  Fernández initially struggled to break into the first team, as Baloyi put up solid performances week in and week out. The big break finally came, when he made his debut in the Vodacom Challenge against Ghanaian side Hearts of Oak at Royal Bafokeng Stadium on 30 June 2001. Chiefs won the game 2–0. He made his PSL debut for Chiefs in a 2–1 win against Classic on 22 August 2001.  "Spider", as he is known due to his amazing love for creepy crawlies (snakes and spiders), was hospitalised in April 2003 after he was bitten by one of his spiders. He had also battled to command a first team place in the same season and only got a run in the 5–0 ABSA Cup first round victory against Sporting at Ellis Park.  However, the 2003–04 season started off very well for Fernández who was handed the number one jersey as Baloyi struggled with a niggling injury.  The former national under-23 star began his playing career at Benoni amateur side "Benoni Northerns" before joining Wits where he caught the eye of the under-23 selectors. He has six under-23 caps. During the 2006–07 season he scored two goals. He kicked his way into the history books in February 2007 when he pounced on the rebound, after Brian Baloyi of Mamelodi Sundowns could only parry his retaken spot kick and knocked the ball home from close range. The fact that Rowen had missed the kick and scored on the rebound meant that his thirty second-minute equaliser against Sundowns was not classified as a penalty, but instead it was recorded as a goal scored from open play. The other goal resulted from a spot kick in a match against his former club Wits in September 2006.

Arminia Bielefeld.

Fernández joined German Bundesliga side Arminia Bielefeld in June 2007 on a free transfer after being out of contract with Chiefs to team up with former Chiefs coach Ernst Middendorp who then coached Arminia. Fernández lost his place as first choice goalkeeper to Dennis Eilhoff after injury. On 1 January 2011, during the January transfer window, Fernández left Arminia Bielefeld for SuperSport United.

International career.

He made his full international debut in a 2–0 win against Tunisia in August 2004. He had hoped to be a part of his country's squad at the 2010 FIFA World Cup to be held in South Africa, but was omitted from the final 23 by coach Carlos Alberto Parreira in favour of Itumeleng Khune, Moeneeb Josephs and Shu-Aib Walters.

Rowen Fernández (born 28 February 1978) is a retired South African footballer. He is known for his ability to save penalties and his accurate goal kicks.


Gameplay.

"Granada" is a multidirectional shooter game similar to "Jackal" where players assume the role of mercenary Leon Todo taking control of the titular Maneuver Cepter tank unit through eight stages of varying themes set on Africa in order to complete a series of objectives as attempts to fight against the enemies and ultimately end the ongoing conflict in the region. Before starting a new game, players have access to the configuration menu at the title screen, where various settings can be adjusted such as controls and choosing any of the four levels of difficulty, each one applying a different stipulation during gameplay depending on the version that is being played.  The players are situated in a large field full of enemies, obstacles, and enemy generators that may be freely moved upon, unlike most conventional shooter titles and the main goal of each level is to destroy each main enemy signalized as red dots on the HUD located on the bottom right corner of the screen, with the last objective being a boss that must be fought at the end of the stage in order to progress further before the timer runs out. Players can also collect items scattered across the stage to increase their available arsenal.  Controlling the tank is done with a directional pad, which moves and rotates the unit across 16 directions and players have two methods of attacking enemies and bosses; The main fire button unleashes rapid-fire shots, while pressing both fire buttons at the same time activates a powerful energy shot capable of pushing back the tank with a recoil effect. Pressing the secondary fire button locks the tank's firing position and players can strafe on any direction until the button is pressed again to unlock the firing position. The Sega Genesis port uses a three-button configuration instead of the original two-button setup, assigning every action into their respective button. The tank will explode if it sustains too much enemy damage, with the players losing a life as a result and once all lives are lost, the game is over.

Plot.

The plot summary of "Granada" varies between the two versions. In October 2016, the "African Civil War" that broke out over the interests of rare metals was steadily intensified by the introduction of new tactical weapons known as Maneuver Cepter, or MC for short, on the behalf of long-range nuclear weapons. About a while after the war, abnormality occurred on the front line, where heavy mobile weapons from both north and south factions were destroyed by an unknown MC unit only known as "Granada", which would eventually be referred to as "God of Africa" or "Ghost of a soldier", whose origins remain uncertain and is piloted by mercenary Leon Todo. A month prior, Leon accepted a request from a female agent that led him to Japan, where he finds the titular MC tank unit but the agent who informed Leon of his request passed away soon after. While holding a suspicion, Leon boards the tank and quickly learns that he was deceived, with the engine roaring in the skies of Africa and heading towards Nigeria, with the main purpose being retribution.

Development and release.

"Granada" was created by Wolf Team over the course of two years, serving as their ninth title to be developed and published for the Sharp X68000 after "Arcshu: Kagerō no Jidai o Koete". In a 1990 interview with Japanese publication "Micom BASIC Magazine", the company and its members recounted about the creation process of the game, with designer and writer Kazuyoshi Inoue stating that Namco's "Grobda" and "Assault" were influences on the title, as co-designer and programmer Toshio Toyota was a fan of arcade games, while Toyota himself also claimed the team revisited some of the larger sprites until those they felt satisfied with were used in the final product. Producer Masahiro Akishino also stated the game became their first project that placed heavy emphasis on gameplay instead of plot, as he felt that previously published Wolf Team titles had poorly balanced sections in terms of structure. Composers Masaaki Uno, Motoi Sakuraba and Yasunori Shiono were responsible for co-writing the soundtrack, while Uno stated that the project was also the company's first commercial title to present full MIDI support.  "Granada" was first released for the X68000 on 20 April 1990. Early previews showcased a different GUI design during gameplay, before the game was ultimately polished prior to release. The game was ported to the Sega Genesis seven months later and was first released in Japan on 16 November by Wolf Team, serving as their second title for the platform after "Final Zone", then in North America a month later by Renovation Products and finally in Brazil by Tectoy during the same period. A European release of the Sega Genesis version was planned to be published by UbiSoft as a result of a multi-game licensing deal with Renovation, however it was never officially released in the region for unknown reasons.  Both the original X68000 version and the later Genesis port are similar but have a number of key differences between each other such as the latter having a smaller color palette that lead to sprites being recolored in different ways, lack of both introductory and intermission sequences and minor level redesigns compared with the original, among other changes. However, the Genesis port retains most of the special effects featured in the original X68000 version, includes a brand-new seventh level and runs at 60 frames per second instead of 30 frames but suffers a greater amount of slowdown. The original X68000 version has since been re-released in digital form for Microsoft Windows through D4 Enterprise's Project EGG service on 21 February 2004.

Reception.

"Granada" became a popular title among the X68000 userbase from Wolf Team during its release for a brief period and was eventually nominated for a "Game of the Year" award by "Oh!X" magazine but lost against other titles such as "Dungeon Master". The Sega Genesis port garnered generally positive reception from critics who commended several aspects such as the presentation, graphics, sound design, controls, gameplay and replay value. In their respective retrospective reviews, gaming websites "HonestGamers" and "IGN" praised the Genesis version as well. In 2019, Den of Geek placed the Genesis version on their top 50 underrated Sega Mega Drive games at number 22.

Developed over the course of two years, "Granada" became the first project by Wolf Team that placed emphasis on gameplay instead of plot and was influenced by various arcade games like "Grobda" and "Assault" by Namco. Initially launched for the X68000 home computer, the title was later ported to the Sega Genesis, which was published across several regions during the same year such as Japan by Wolf Team and North America by Renovation Products respectively, featuring several changes compared with the original version. The X68000 version has since been re-released only in Japan through download services for Microsoft Windows.


Biography.

Born in Huatusco, Veracruz, García Cabral's first known work appeared in a newspaper in 1900. Because of his talent, he taught drawing at his school from the age of 12 years.  In December 1906 Huatusco mayor Joaquín Castro, wrote the governor of Veracruz, Teodoro A. Dehesa, seeking a scholarship for García Cabral, which once granted allowed him to enter the Academy of San Carlos, where he studied with Germán Gedovius, at the time an collaborator, and there García Cabral discovered classicism, as well as through the foreign currents that arrived in imported magazines. He began his professional career in 1909, as illustrator and caricaturist at "The Tarantula", run at the time by Fortunato Herrerías, who later became one of his best friends. During the suppression of the lifting of Aquiles Serdán eyewitness to the facts, that later described telegráficamente to García Cabral so that it illustrated the report. These illustrations (10 in total) are the first known images of the Mexican Revolution.  In spite of this, when the revolution broke out, the publications of Herrerías and the works of García Cabral adopted a strong anti-maderista tone. Later García Cabral worked in 1911 at Mario Vitoria's "Multicolor" magazine, also anti-maderista. During the revolution, García Cabral drew caricatures of people like Francisco I. Madero, Enrique Creel, Pancho Villa, Bernardo Reyes, María Conesa and Emiliano Zapata. In February 1912 Madero awarded García Cabral a scholarship to study in Paris. In addition to his studies, García Cabral worked in France for the publications "La Baïonnette", "Le Rire" and "La Vie Parisienne", forced to do so by need when president Victoriano Huerta withdrew his scholarship.  Gradually developing his personal and dramatic style, in 1915 García Cabral left France in the middle of the deprivation caused by the wartime economy, making his way to Madrid, and from there to Buenos Aires, Argentina. He drew there for newspapers La Nación, El Mundial and El Tiempo; likewise he also worked for Caras y Caretas, I.G.B., Proteo and "La Pluma", as well as the Chilean publications Revista Popular and Los Diez de Chile. It became added of the Mexican embassy in Argentina.  On his return to Mexico in 1918, Ernesto García Cabral devoted himself to working with colours and shortly afterwards worked as a caricaturist for Novelties, Thursday of Excélsior and Fufurufu, in addition to the magazine Fantoche. However it is his work as illustrator of covers for the publication of Magazine of Magazines the one who awarded him deserved fame, giving to know his innovative and fluent style that helped to enter the Art Deco to the American continent.  Eventually he would collaborate likewise for the magazines Today, Revista de Revistas, Ferronales, Icarus and Socrates among others. Winning in 1961 of the prize Mergenthaler conceded by the Inter-American Society of Press, the Chango Cabral died in Mexico City on 8 August 1968.

Ernesto García "The Chango" Cabral (Huatusco, Veracruz, 18 December 1890 – 8 August 1968) was a Mexican cartoonist and painter, famous for his contributions as a caricatures to the publication "Revista de Revistas;" his work numbers almost 25 000 pieces.


History.

One of the oldest populated places in the Ural region, it was founded in 1761 and was granted town status on April 26, 1940.

Administrative and municipal status.

Within the framework of administrative divisions, it is, together with fourteen rural localities, incorporated as the Town of Verkhny Ufaley—an administrative unit with the status equal to that of the districts. As a municipal division, the Town of Verkhny Ufaley is incorporated as Verkhneufaleysky Urban Okrug.

Economy.

Verkhny Ufaley is rich in mineral deposits (nickel and iron ores, marble, fire clay) and the economy of the town and the surrounding areas is heavily dependent on metallurgical factories, such as "UZMM" (Ufaley Metallurgical Machinery Works) and "Ufaleynickel". The latter, in particular, is the town's largest industrial enterprise, responsible for 75% of the total volume of the goods produced and much of the town's employment.

Lake Itkul.

Lake Itkul, located at the altitude of above sea level, is one of the notable natural wonders in Verkhny Ufaley. It is fed by springs, creeks, and small rivers, so its waters renew within a year and are fresh and clean. The lake is clear but has a brownish reflection. The lake and its vicinity have become a popular destination for Verkhny Ufaley's residents and visitors alike.

Sports.

The bandy club Nikelshchik plays in the second highest division, Russian Bandy Supreme League. Their spectator numbers stand out. Whereas it's unusual in their division to reach 1 000, they usually have a couple of thousand.

Verkhny Ufaley () is a town in Chelyabinsk Oblast, Russia, located on the Ufaley River (a tributary of the Ufa River), northwest of Chelyabinsk, the administrative center of the oblast. Population: