History.

It was originally developed in Borland Delphi in 1995 by Nick Bradbury. Bradbury wrote HomeSite after using HotDog and being frustrated with it. In March 1997 Allaire Corporation from Cambridge, Massachusetts (founded by brothers Jeremy and J.J. Allaire) acquired HomeSite and Nick Bradbury joined Allaire. After leaving Allaire in 1998, Bradbury went on to work on the CSS/xHTML editor TopStyle and the RSS reader FeedDemon. Macromedia acquired Allaire in 2001 and was in turn acquired by Adobe in 2005.  At Allaire, a version of HomeSite was created as an IDE for ColdFusion, selling as "ColdFusion Studio". This version was later merged into Coldfusion MX under Macromedia, and was then called HomeSite+. Development of HomeSite continued in parallel, though the standalone HomeSite was still sold separately.  In the days that HomeSite was under Nick Bradbury, and then part of Allaire, it had an enthusiastic following from its user community. While many software companies at the time had WYSIWYG (What You See Is What You Get) website creation tools where the user never saw the code, Nick Bradbury created a product that was code centric and popular with those that preferred to work directly in the code, a concept that was dubbed "What You See Is What You Need." Further he built in a variety of ways that users could customize the user interface and extend the functionality. Allaire kept this concept going as its target market of ColdFusion users were code-centric as well. Allaire developers expanded upon Nick's original HomeSite capabilities by adding features like built-in scripting, improved syntax coloring, and VTML for tag insight and tag editors.  Macromedia licensed a copy of HomeSite to include in Windows versions of Dreamweaver 1.0 (Mac versions bundled BBEdit). This OEM deal started the relationship between the companies and eventually led to the acquisition of Allaire by Macromedia in 2001. Although Macromedia improved the hand coding features in Dreamweaver 6.0 (MX) to be more on par with HomeSite, the company continued to produce both products separately, stating that "both products are excellent for their specific purposes." Macromedia was then acquired by Adobe in 2005. In May 2009, Adobe elected to cease development of HomeSite, and no longer supports the product, though they still maintain a forum for active users. Instead, existing HomeSite users are asked to consider switching to the newest version of Dreamweaver.

Versions.

There was also another version called HomeSite+ which was included in Dreamweaver MX 2004 and greater. HomeSite+ had additional functionality for ColdFusion application development, and was generally comparable to the version of HomeSite formerly called ColdFusion Studio. HomeSite+/CF Studio versions parallel standalone HomeSite versions.

HomeSite was an HTML editor originally developed by Nick Bradbury. Unlike WYSIWYG HTML editors such as FrontPage and Dreamweaver, HomeSite was designed for direct editing, or "hand coding", of HTML and other website languages.

HomeSite ist ein HTML-Editor. Er bietet viele Hilfsfunktionen („Wizards“), um Standard-Aufgaben lösen zu können. HomeSite wurde 1995 ursprünglich von Nick Bradbury entwickelt und im März 1997 von der Allaire Corp. übernommen. 2001 wurde Allaire wiederum von Macromedia und Macromedia 2006 von Adobe übernommen. Am 26. Mai 2009 gab Adobe bekannt, dass die Entwicklung und der Vertrieb von HomeSite eingestellt wird; als Upgrade-Pfad wird Adobe Dreamweaver empfohlen.


Definition.

The Virasoro algebra is spanned by generators for and the central charge. These generators satisfy formula_1 and  The factor of is merely a matter of convention. For a derivation of the algebra as the unique central extension of the Witt algebra, see derivation of the Virasoro algebra.  The Virasoro algebra has a presentation in terms of 2 generators (e.g. and ) and 6 relations.

Representation theory.

Highest weight representations.

A highest weight representation of the Virasoro algebra is a representation generated by a primary state: a vector formula_2 such that where the number called the conformal dimension or conformal weight of formula_2.  A highest weight representation is spanned by eigenstates of formula_5. The eigenvalues take the form formula_6, where the integer formula_7 is called the level of the corresponding eigenstate.  More precisely, a highest weight representation is spanned by formula_5-eigenstates of the type formula_9 with formula_10 and formula_11, whose levels are formula_12. Any state whose level is not zero is called a descendant state of formula_2.  For any pair of complex numbers and, the Verma module formula_14 is the largest possible highest weight representation. (The same letter,, is used for both the element of the Virasoro algebra and its eigenvalue in a representation.)  The states formula_9 with formula_10 and formula_11 form a basis of the Verma module. The Verma module is indecomposable, and for generic values of and it is also irreducible. When it is reducible, there exist other highest weight representations with these values of and, called degenerate representations, which are cosets of the Verma module. In particular, the unique irreducible highest weight representation with these values of and is the quotient of the Verma module by its maximal submodule.  A Verma module is irreducible if and only if it has no singular vectors.

Singular vectors.

A singular vector or null vector of a highest weight representation is a state that is both descendent and primary.  A sufficient condition for the Verma module formula_14 to have a singular vector at the level formula_19 is formula_20 for some positive integers formula_21 such that formula_22, with In particular, formula_24, and the reducible Verma module formula_25 has a singular vector formula_26 at the level formula_27. Then formula_28, and the corresponding reducible Verma module has a singular vector formula_29 at the level formula_30.  This condition for the existence of a singular vector at the level formula_19 is not necessary. In particular, there is a singular vector at the level formula_19 if formula_33 with formula_34 and formula_35. This singular vector is now a descendent of another singular vector at the level formula_36. This type of singular vectors can however only exist if the central charge is of the type

Hermitian form and unitarity.

A highest weight representation with a real value of formula_39 has a unique Hermitian form such that the adjoint of formula_40 is formula_41, and the norm of the primary state is one. The representation is called unitary if that Hermitian form is positive definite. Since any singular vector has zero norm, all unitary highest weight representations are irreducible.  The Gram determinant of a basis of the level formula_19 is given by the Kac determinant formula, where the function "p"("N") is the partition function, and "A" is a positive constant that does not depend on formula_44 or formula_39. The Kac determinant formula was stated by V. Kac (1978), and its first published proof was given by Feigin and Fuks (1984).  The irreducible highest weight representation with values and is unitary if and only if either ≥1 and ≥0, or and "h" is one of the values for "r" = 1, 2, 3,..., "m"−1 and "s"= 1, 2, 3,..., "r".  Daniel Friedan, Zongan Qiu, and Stephen Shenker (1984) showed that these conditions are necessary, and Peter Goddard, Adrian Kent, and David Olive (1986) used the coset construction or GKO construction (identifying unitary representations of the Virasoro algebra within tensor products of unitary representations of affine Kac–Moody algebras) to show that they are sufficient.

Characters.

The character of a representation formula_48 of the Virasoro algebra is the function The character of the Verma module formula_50 is where formula_52 is the Dedekind eta function.  For any formula_53 and for formula_54, the Verma module formula_55 is reducible due to the existence of a singular vector at level formula_36. This singular vector generates a submodule, which is isomorphic to the Verma module formula_57. The quotient of formula_55 by this submodule is irreducible if formula_55 does not have other singular vectors, and its character is  Let formula_61 with formula_62 coprime, and formula_63 and formula_64. (Then formula_65 is in the Kac table of the corresponding minimal model). The Verma module formula_55 has infinitely many singular vectors, and is therefore reducible with infinitely many submodules. This Verma module has an irreducible quotient by its largest nontrivial submodule. (The spectrums of minimal models are built from such irreducible representations.) The character of the irreducible quotient is This expression is an infinite sum because the submodules formula_57 and formula_69 have a nontrivial intersection, which is itself a complicated submodule.

Applications.

Conformal field theory.

In two dimensions, the algebra of local conformal transformations is made of two copies of the Witt algebra. It follows that the symmetry algebra of two-dimensional conformal field theory is the Virasoro algebra. Technically, the conformal bootstrap approach to two-dimensional CFT relies on Virasoro conformal blocks, special functions that include and generalize the characters of representations of the Virasoro algebra.

String theory.

Since the Virasoro algebra comprises the generators of the conformal group of the worldsheet, the stress tensor in string theory obeys the commutation relations of (two copies of) the Virasoro algebra. This is because the conformal group decomposes into separate diffeomorphisms of the forward and back lightcones. Diffeomorphism invariance of the worldsheet implies additionally that the stress tensor vanishes. This is known as the Virasoro constraint, and in the quantum theory, cannot be applied to all the states in the theory, but rather only on the physical states (compare Gupta–Bleuler formalism).

Generalizations.

Super Virasoro algebras.

There are two supersymmetric N=1 extensions of the Virasoro algebra, called the Neveu–Schwarz algebra and the Ramond algebra. Their theory is similar to that of the Virasoro algebra, now involving Grassmann numbers. There are further extensions of these algebras with more supersymmetry, such as the N = 2 superconformal algebra.

W-algebras.

W-algebras are associative algebras which contain the Virasoro algebra, and which play an important role in two-dimensional conformal field theory. Among W-algebras, the Virasoro algebra has the particularity of being a Lie algebra.

Affine Lie algebras.

The Virasoro algebra is a subalgebra of the universal enveloping algebra of any affine Lie algebra, as shown by the Sugawara construction. In this sense, affine Lie algebras are extensions of the Virasoro algebra.

Meromorphic vector fields on Riemann surfaces.

The Virasoro algebra is a central extension of the Lie algebra of meromorphic vector fields with two poles on a genus 0 Riemann surface. On a higher-genus compact Riemann surface, the Lie algebra of meromorphic vector fields with two poles also has a central extension, which is a generalization of the Virasoro algebra. This can be further generalized to supermanifolds.

Vertex Virasoro algebra and conformal Virasoro algebra.

The Virasoro algebra also has vertex algebraic and conformal algebraic counterparts, which basically come from arranging all the basis elements into generating series and working with single objects.

History.

The Witt algebra (the Virasoro algebra without the central extension) was discovered by É. Cartan (1909). Its analogues over finite fields were studied by E. Witt in about the 1930s. The central extension of the Witt algebra that gives the Virasoro algebra was first found (in characteristic "p" > 0) by R. E. Block (1966, page 381) and independently rediscovered (in characteristic 0) by I. M. Gelfand and (1968). Virasoro (1970) wrote down some operators generating the Virasoso algebra (later known as the Virasoro operators) while studying dual resonance models, though he did not find the central extension. The central extension giving the Virasoro algebra was rediscovered in physics shortly after by J. H. Weis, according to Brower and Thorn (1971, footnote on page 167).

In mathematics, the Virasoro algebra (named after the physicist Miguel Angel Virasoro) is a complex Lie algebra, the unique central extension of the Witt algebra. It is widely used in two-dimensional conformal field theory and in string theory.

Die Virasoro-Algebra ist eine unendlichdimensionale Lie-Algebra und gehört damit in den Bereich der Mathematik. Sie findet Verwendung in der mathematischen Physik, insbesondere in der Stringtheorie und in der konformen Feldtheorie. Dort wird sie als Algebra über den komplexen Zahlen behandelt, anstelle der komplexen Zahlen sind aber auch beliebige Körper der Charakteristik 0 verwendbar. Sie wurde 1970 von Miguel Virasoro im Rahmen der Stringtheorie eingeführt. In der Mathematik spielt sie eine wichtige Rolle bei der Konstruktion der Monstergruppe.


Life.

In 1930, aged 16, Carmi left Moscow for Paris, travelling via Poland, Germany and Italy. He then studied ethnology at the Sorbonne and at the same time began to take photographs. He travelled to Danzig in 1936, intending to emigrate to Palestine. He was granted permission to do so three years later and arrived there in 1939 on board a freighter. He worked in a warehouse for several years until he could become a professional photographer.  During World War II Carmi served in the British Army, working on aerial photography and map-making in Italy and Egypt. A self-taught photographer, he was the first photographer of "BeMahaneh", the newspaper of the Israeli Army, and documented the 1948 Palestine war and other contemporary Israeli history. He was one of few photographers active in Israel at this time and recorded historically important moments, construction projects, transit camps and waves of immigration as well as wartime scenes. In 1949 he Hebraized his surname to Carmi.  He worked for various newspapers and magazines producing reports on immigrants and their new beginnings and portraits of artists and politicians. From 1952 to 1976 he mainly worked as Chief Editor of a daily newspaper and a leading figure in the Israeli Press Association. During the 1956 war with Egypt, he tended to photograph the deserted landscape of the Sinai Peninsula with Egyptian soldiers' bootprints rather than casualties or scenes of destruction.  In 1959 Carmi held his first solo exhibition in Tel Aviv - in the following decades he produced several further exhibitions and publications, including volumes of portrait and landscape photography and a children's book entitled "The wonderful adventures of the flamingos". From 1960, he also started to photograph international subjects. He was given lifetime achievement awards from the Tel Aviv Museum of Art and the Israel Museum in Jerusalem. He continued producing photographs until shortly before his death. However, his first solo exhibition in Europe was held posthumously, at the Berlin Academy of Arts in 2004 and at the Jewish Museum Frankfurt in 2005 - this showed over 100 images, under the patronage of Johannes Rau and Moshe Katzav.

Boris Carmi (1 January 1914 in Moscow, as Boris Winograd – 18 September 2002 in Tel Aviv) was a Russian-born Israeli photographer. He is considered as one of the pioneers of Israeli photojournalism and documented the very beginnings of the foundation of the state of Israel. His work totals around 60,000 negatives in all.

Boris Carmi (* 1. Januar 1914 in Moskau/Russisches Kaiserreich als Boris Winograd; † 18. September 2002 in Tel Aviv/Israel) war ein russisch-israelischer Fotograf. Er gilt als einer der Pioniere des israelischen Photojournalismus, der von Beginn an die Entstehung des Staates Israel dokumentierte.


Technologies.

Most desktop search engines build and maintain an index database to improve performance when searching large amounts of data. Indexing usually takes place when the computer is idle and most search applications can be set to suspend indexing if a portable computer is running on batteries, in order to save power. There are notable exceptions, however: Voidtools' Everything Search Engine, which performs searches over only file names, not contents, is able to build its index from scratch in just a few seconds. Another exception is Vegnos Desktop Search Engine, which performs searches over filenames and files' contents without building any indices. An index may also not be up-to-date, when a query is performed. In this case, results returned will not be accurate (that is, a hit may be shown when it is no longer there, and a file may not be shown, when in fact it is a hit). Some products have sought to remedy this disadvantage by building a real-time indexing function into the software. There are disadvantages to not indexing. Namely, the time to complete a query can be significant, and the issued query can also be resource-intensive.  Desktop search tools typically collect three types of information about files:  Long-term goals for desktop search include the ability to search the contents of image files, sound files and video by context.

Platforms & their histories.

Windows.

Indexing Service a "a base service that extracts content from files and constructs an indexed catalog to facilitate efficient and rapid searching" was originally released in August 1996, it was built in order to speed up manually searching for files on Personal Desktops and Corporate Computer Network. Indexing service helped by using Microsoft web servers to index files on the desired hard drives. Indexing was done by file format. By using terms that users provided, a search was conducted that matched terms to the data within the file formats. The largest issue that Indexing service faced was the fact that every time a file was added, it had to be indexed. This coupled with the fact that the indexing cached the entire index in RAM, made the hardware a huge limitation. This made indexing large amounts of files require extremely powerful hardware and very long wait times.  In 2003, Windows Desktop Search (WDS) replaced Microsoft Indexing Service. Instead of only matching terms to the details of the file format and file names, WDS brings in content indexing to all Microsoft files and text-based formats such as e-mail and text files. This means, that WDS looked into the files and indexed the content. Thus, when a user searched a term, WDS no longer matched just information such as file format types and file names, but terms, and values stored within those files. WDS also brought "Instant searching" meaning the user could type a character and the query would instantly start searching and updating the query as the user typed in more characters. Windows Search apparently used up a lot of processing power, as Windows Desktop Search would only run if it was directly queried or while the PC was idle. Even only running while directly queried or while the computer was idled, indexing the entire hard drive still took hours. The index would be around 10% of the size of all the files that it indexed, e.g. if the indexed files amounted to around 100GB, the index size would be 10GB.  With the release of Windows Vista came Windows Search 3.1. Unlike its predecessors WDS and Windows Search 3.0, 3.1 could search through both indexed and non indexed locations seamlessly. Also, the RAM and CPU requirements were greatly reduced, cutting back indexing times immensely. Windows Search 4.0 is currently running on all PCs with Windows 7 and up.

Mac OS.

In 1994 the AppleSearch search engine was introduced, allowing users to fully search all documents within their Macintosh computer, including file format types, meta-data on those files, and content within the files. AppleSearch was a client/server application, and as such required a server separate from the main device in order to function. The biggest issue with AppleSearch were its large resource requirements: "AppleSearch requires at least a 68040 processor and 5MB of RAM." At the time, a Macintosh computer with these specifications was priced at approximately $1400; equivalent to $2050 in 2015. On top of this, the software itself cost an additional $1400 for a single license.  In 1997, Sherlock was released alongside Mac OS 8.5. Sherlock (named after the famous fictional detective Sherlock Holmes) was integrated into Mac OS's file browser – Finder. Sherlock extended the desktop search function to the World Wide Web, allowing users to search both locally and externally. Adding additional functions—such as internet access—to Sherlock was relatively simple, as this was done through plugins written as plain text files. Sherlock was included in every release of Mac OS from Mac OS 8, before being deprecated and replaced by Spotlight and Dashboard in Mac OS X 10.4 Tiger. It was officially removed in Mac OS X 10.5 Leopard  Spotlight was released in 2005 as part of Mac OS X 10.4 Tiger. It is a Selection-based search tool, which means the user invokes a query using only the mouse. Spotlight allows the user to search the Internet for more information about any keyword or phrase contained within a document or webpage, and uses a built-in calculator and Oxford American Dictionary to offer quick access to small calculations and word definitions. While Spotlight initially has a long startup time, this decreases as the hard disk is indexed. As files are added by the user, the index is constantly updated in the background using minimal CPU & RAM resources.

Linux.

There are a wide range of desktop search options for Linux users, depending upon the skill level of the user, their preference to use desktop tools which tightly integrate into their desktop environment, command-shell functionality (often with advanced scripting options), or browser-based users interfaces to locally running software. In addition, many users create their own indexing from a variety of indexing packages (e.g. one which does extraction and indexing of PDF/DOC/DOCX/ODT documents well, another search engine which works w/ vcard, LDAP, and other directory/contact databases, as well as the conventional find and locate commands.

Ubuntu.

Ubuntu Linux didn't have desktop search until release Feisty Fawn 7.04. Using Tracker desktop search, the desktop search feature was very similar to Mac OS's AppleSearch and Sherlock. It not only featured the basic features of file format sorting and meta-data matching, but support for searching through emails and instant messages was added. In 2014 Recoll was added to Linux distributions, working with other search programs such as Tracker and Beagle to provide efficient full text search. This greatly increased the types of queries and file types that Linux desktop searches could handle. A major advantage of Recoll is that it allows for greater customization of what is indexed; Recoll will index the entire hard disk by default, but can be made to index only selected directories, omitting directories that will never need to be searched.

openSUSE.

Starting with KDE4, the NEPOMUK was introduced. It provided the ability to index a wide range of desktop content, email, and use semantic web technologies (e.g. RDF) to annotate the database. The introduction faced a few glitches, much of which seemed to be based on the triplestore. Performance improved (at least for queries) by switching the backend to a stripped-down version of the Virtuoso Open Source Edition, however indexing remained a common user complaint. Based on user feedback, the Nepomuk indexing and search has been replaced with the Baloo framework based on Xapian.

Desktop search tools search within a user's own computer files as opposed to searching the Internet. These tools are designed to find information on the user's PC, including web browser history, e-mail archives, text documents, sound files, images, and video. A variety of desktop search programs are now available; see this list for examples. Most desktop search programs are standalone applications. Desktop search products are software alternatives to the search software included in the operating system, helping users sift through desktop files, emails, attachments, and more.

Eine Desktopsuche, auch Dateisuche, durchsucht den gesamten PC, also Festplatten und SSDs. In Hinblick auf Mobilgeräte kann man auch allgemeiner von Dateisystemsuche sprechen. Bei Rechnernetzen, also dem Mitdurchsuchen von Netzlaufwerken und Dateiservern, sagt man Netzwerksuche (netzwerkweite Suche). Alle grafischen Betriebssysteme enthalten eine Desktopsuche, es gibt auch spezielle Desktop-Suchprogramme.


Biography and career.

Vávra attended universities in Brno and Prague, where he studied architecture. During 1929–30, while still a student, he participated in the making of a handful of documentaries and wrote movie scripts. In 1931, he produced the experimental film "Světlo proniká tmou". The first movie he directed was 1937's "Panenství".  His 1938 film "The Merry Wives" was praised in Variety for "first-rate direction, a salty yarn and elaborate production effort", even though it had undergone certain cuts because it was considered too "ribald" by American censors.  Vávra was a member of the Communist Party from 1945 to 1989. After the Communists seized power in 1948, Vávra adapted quickly to the new political climate and produced films praising the current regime and supporting the new, official interpretation of the past.  In the 1950s he filmed the "Hussite Trilogy", one of his most famous works, consisting of "Jan Hus" (1954), "Jan Žižka" (1955) and "Against All" (1957).  In the 1960s, Vávra made his most celebrated films "Zlatá reneta" (1965), "Romance for Bugle" (1966) and "Witchhammer" (1969). "Romance for Bugle" was entered into the 5th Moscow International Film Festival where it won the Special Silver Prize.  In the 1970s Vávra produced his "War Trilogy" consisting of semi-documentary movies "Dny zrady", "Sokolovo" and "Osvobození Prahy", all being heavily influenced by communist propaganda. The film "Dny zrady" ("Days of Betrayal", 1973) was entered into the 8th Moscow International Film Festival where it won a Diploma. In 1979 he was a member of the jury at the 11th Moscow International Film Festival.  Since the 1950s Vávra taught film direction at Film and TV School of the Academy of Performing Arts in Prague. Among his students were several directors of the "Czech New Wave".

Awards.

In 2001, he was awarded the "Czech Lion" for his lifelong contribution to the Czech cinema. In 2004, he received the presidential "Medal of Merit" ("Medaile za zásluhy").

Criticism.

Vávra's critics point to his willingness to accommodate the Communist regime. In a 2003 article ("Playing the Villain", "The Globe and Mail", May 15, 2003) about his documentary film, "Hitler and I" that he shot in Prague, David Cherniack described the following encounter with his former FAMU Head Professor:

Otakar Vávra (28 February 1911 – 15 September 2011) was a Czech film director, screenwriter and pedagogue. He was born in Hradec Králové, Austria-Hungary, now part of the Czech Republic.

Otakar Vávra (* 28. Februar 1911 in Königgrätz, Österreich-Ungarn; † 15. September 2011 in Prag) war ein tschechischer Filmregisseur, Dramaturg und Pädagoge.


Life.

Riccardo Eugenio Drigo was born in Padua, Italy on 30 June 1846. His father Silvio Drigo was a barrister and his mother, a noble Lupati, was active in politics. None of Drigo's family was distinguished in music, but at the age of five he began taking his first piano lessons from a family friend, the Hungarian Antonio Jorich. Drigo excelled quickly, and by his early teens he attained some local celebrity as a pianist. His father eventually agreed to allow Drigo to attend the prestigious Venice Conservatory, where he studied under Antonio Buzzolla, a student of Gaetano Donizetti. Drigo scored his first compositions in his early teens, which were primarily romances and waltzes. In 1862 he was allowed to perform some of his pieces with the local amateur orchestra in Padua. Through this performance, the young Drigo began to show interest in conducting.  Drigo obtained his earliest position in an opera house as a rehearsal pianist and copyist to the Garibaldi Theatre, Padua in 1866. His first major opportunity as a theatrical conductor occurred in 1867 when the Garibaldi Theatre's kapellmeister fell ill on the eve of the premiere of Costantino Dall'Argine's three act opera bouffe "I Due Orsi" ("The Two Bears"). When the concertmaster refused to conduct the performance, he recommended Drigo, if only because the rehearsal pianist would know the score intimately. Drigo's conducting was successful, and soon he was named second kapellmeister.  In 1878 during the opera season in Padua the director of the Saint Petersburg Imperial Theatres, Baron Karl Karlovich Kister, attended a performance of Donizetti's "L'elisir d'amore" which Drigo conducted. Kister was much impressed with Drigo's conducting talent, which was done without the aid of a score. Drigo then presented Kister with some of his own compositions, which prompted Kister to offer Drigo a six-month contract to conduct the Saint Petersburg Imperial Italian Opera.

Russia.

Almost immediately after arriving in Saint Petersburg, Drigo was conducting the entire repertory of the Imperial Italian Opera, which at that time performed at the Imperial Mariinsky Theatre. He impressed the management a great deal, conducting such works as Verdi's "Aida" and "Un ballo in maschera" from memory. It was custom in Imperial Russia for all theatrical performances to be reported in detail in the newspapers, and Drigo's performances were always reported with praise — ""... the young gentleman will stay here a long time..."" commented one columnist after attending an opera which Drigo conducted.

Composer and conductor.

The Imperial Italian Opera was disbanded by Emperor Alexander III in 1884 in an effort to solidify the art of Russian operetta. This left Drigo, the company's kapellmeister, without a position. In 1886 the Saint Petersburg Imperial Ballet's kapellmeister, Alexei Papkov, retired after thirty-four years of service, leaving the company without a principal conductor. Drigo took over the position before the beginning of the 1886–1887 season, making his debut as ballet conductor on with a performance of the old grand ballet "The Pharaoh's Daughter", set to the score of Cesare Pugni, which was the most popular work in the repertory of the Imperial Ballet. In attendance for the performance was the Emperor and the Empress Maria Fyodorovna, both of whom were fanatic balletomanes and maintained the Imperial Theatres lavishly. So impressed was the Emperor by Drigo's conducting that during the final curtain calls he gave the conductor a standing ovation, and ordered the rest of the house to follow suit.  The Imperial Theatre's official composer of ballet music, the Austrian Ludwig Minkus, retired from his post in 1886. The director of the Saint Peterbsurg Imperial Theatres, Ivan Vsevolozhsky then abolished the position of staff ballet composer in an effort to diversify the music supplied for new works. Since Drigo was well known as a composer, Vsevolozhsky employed him in the dual capacity of kapellmeister and Director of Music, a position which would require Drigo to fulfill all of the duties of the staff composer with regard to adapting and correcting scores at the behest of the Ballet Master.  The Imperial Theatre's renowned Premier Maître de Ballet, the Frenchman Marius Petipa, revived Jules Perrot's 1841 romantic masterpiece "La Esmeralda" for the visiting Italian ballerina Virginia Zucchi in 1886. For the revival Drigo was assigned the task of refurbishing the old score of Cesare Pugni. Drigo was commissioned to compose a four-part "Pas d'action" to showcase the dramatic gifts of the ballerina Zucchi that also included virtuoso solos for violin and cello, with the violin solo crafted especially for the great Leopold Auer, principal violinist in the Imperial Theatre's orchestra. The revival of "La Esmeralda" premiered to great success on with the Imperial family in attendance. Drigo's "Pas d'action" remains part of the performance score for "La Esmeralda" to the present day, and is often extracted from the full-length work as "La Esmeralda Pas de Six". With the success of his work on the score of "La Esmeralda", the director Vsevolozhsky gave Drigo his first commission to compose for a complete ballet score. This was "La Forêt enchantée" ("The Enchanted Forest"), which was not only Drigo's first full-length ballet but also the first original work choreographed by the Imperial Theatre's newly appointed second Maître de Ballet Lev Ivanov. "La Forêt enchantée" was staged especially for the annual graduation performance of the Imperial Ballet School, with the top graduates in the leading roles. The work premiered on on the stage of the school's theatre, and was subsequently transferred to the stage of the Mariinsky Theatre, where it premiered on with the Italian ballerina Emma Bessone in the lead role of Ilka. Although Ivanov's choreography was not well-received, Drigo's score was highly praised. A critic from the Saint Petersburg newspaper "The New Time" reviewed that  In 1888 Marius Petipa was preparing his next work, "La Vestale", set in the ancient Roman Empire. The score was written by the music critic Mikhail Ivanov, who provided what was at that time considered to be a highly symphonic score for ballet. The work was produced for the Italian Elena Cornalba, who appealed to Petipa for additional, more "dansante" music for her solo numbers. Having just witnessed a performance of "La Forêt enchantée", she requested that Drigo should be the composer responsible for the supplemental dances she required. Drigo composed two additional variations for Cornalba known as "L'echo" ("The Echo"), which was written as a "canon"; and a "Valse mignonne" ("Sweet Waltz"). Drigo also wrote an extra variation for the character of Cupid known as "L'amour", and a variation for the ballerina Maria Gorshenkova. Three of these pieces were later published.

"Le Talisman".

When plans were made for the next ballet starring Elena Cornalba, the ballerina requested that Drigo should be the composer responsible for the entire score. This was "Le Talisman" ("The Talisman"), a work which told the story of a Hindu Goddess who descends from heaven in order to test her heart against the temptations of earthly love. The ballet premiered on on the occasion of Cornalba's benefit performance. Despite a sumptuous production with many inspired choreographic episodes, the ballet's plot was something that critics and audiences alike found tedious. Nevertheless, Drigo's score was hailed as a masterwork of ballet music by contemporary critics. The artist Alexander Benois told in his memoirs of his extreme delight with Drigo's score, which he said inspired a "short infatuation" in him as a young student at Saint Petersburg State University:  In the ensuing years, Drigo repeatedly received commissions from both Marius Petipa and Lev Ivanov to compose supplemental "variations", "pas" and incidental dances for insertion into older ballets. By the time Drigo left Russia in 1919, nearly every ballet in the repertory of the Saint Petersburg Imperial Theatres contained many of the composer's own additional pieces. Drigo later commented in his memoirs that he composed about 80 such pieces, and rarely received any additional payment for them. During the late 19th century, Petipa began to mount revivals of older ballets with increasing frequency, and the ballet master invariably called upon Drigo to revise and supplement the scores accordingly.  Drigo took up residence in the Saint Petersburg Grand Hotel in 1889, which was to remain his home for the next thirty years. It was at this time that Drigo developed a close friendship with Pyotr Ilyich Tchaikovsky, who was in the process of composing the score for Petipa's "The Sleeping Beauty". On the eve of the general rehearsal of the ballet Drigo fell ill, and asked Tchaikovsky if he could conduct the orchestra himself. To Drigo's astonishment Tchaikovsky insisted that if he conducted the orchestra he would ruin his score, and so Drigo, still ill, consented to conduct the rehearsal. The shy and reserved Tchaikovsky was ever after grateful to Drigo for his exceptional conducting, particularly after the premiere on. Drigo eventually conducted nearly 300 performances of "The Sleeping Beauty" at the Mariinsky Theatre. Two years later Drigo conducted the premiere of Tchaikovsky's next work, "The Nutcracker", on.

"La Flûte magique" and "Le Réveil de Flore".

Drigo composed another score for the annual graduation performance of the Imperial Ballet school in 1893. This was the one-act ballet "La Flûte magique" ("The Magic Flute"), which told the story of an enchanted instrument that compelled all within earshot to dance when it was played. The ballet was staged by Lev Ivanov, and premiered on to great success on the stage of the ballet school's theatre. Among the cast was a young Mikhail Fokine in the lead role of Luc. Due to the success of the student performance, "La Flûte magique" was transferred to the Mariinsky Theatre, where it was presented in an expanded staging on. Drigo's score was highly praised by critics:  Drigo's next score was written for Petipa's ballet "Le Réveil de Flore" ("The Awakening of Flora"), an anacreontic ballet in one-act that was produced especially for the celebrations held at Peterhof Palace in honor of the wedding of the Grand Duchess Xenia Alexandrovna to the Grand Duke Alexander Mikhailovich. The premiere on was a grand occasion, with an audience composed of the whole of the Imperial court. For his score for "Le Réveil de Flore", Emperor Alexander III granted Drigo the Order of St. Anna.  As with "La Flûte magique", "Le Réveil de Flore" was transferred to the stage of the Mariinsky Theatre, where it was given for the first time on. The ballet soon became a favorite of the ballerinas of the era, among them Mathilde Kschessinska (who created the principal role of Flora), Tamara Karsavina and particularly Anna Pavlova, who included an abridged version of the work on her legendary world tours.

"Swan Lake".

In late 1894 Drigo prepared an important revision of Tchaikovsky's score for "Swan Lake", originally produced at the Imperial Bolshoi Theatre of Moscow in 1877. Following the success of "The Sleeping Beauty" and "The Nutcracker", Ivan Vsevolozhsky—director of the Saint Petersburg Theatres—expressed interest in reviving the ballet. Drigo later recalled:  Tchaikovsky died on just as plans to revive "Swan Lake" were beginning to come to fruition. A revival of the complete work was then planned for the Imperial Ballet's 1894–1895 season, in a staging by Marius Petipa and Lev Ivanov. Tchaikovsky's brother Modest approved that Drigo should be entrusted with the task of revising the score, which the composer did in accordance with Petipa's instructions. In his memoirs Drigo touched on his revision to the score:  The revival premiered on at the Mariinsky Theatre with the Prima ballerina assoluta Pierina Legnani in the dual role of Odette/Odile. Drigo's version of Tchaikovsky's score has remained the definitive performance edition of "Swan Lake", and is still used to one degree or another by ballet companies throughout the world. Nevertheless, Drigo is rarely given credit when his revisions are performed.

"La Perle".

Drigo's next score for the ballet was the grand "piece d'occasion" "La Perle" (sometimes known in Russian as "Прелестная жемчужина" — "Pretty Pearl"), produced especially for the gala held at the Imperial Bolshoi Theatre of Moscow in honor of the coronation of Tsar Nicholas II and Empress Alexandra Fyodorovna. The ballet premiered on after a performance of Glinka's "A Life for the Tsar".

"Les Millions d'Arléquin".

In 1899 Petipa began work on the scenario for a ballet based on episodes from the Italian "commedia dell’arte", which he called "Les Millions d'Arléquin" ("The Millions of Harlequin"). The ballet premiered at the Imperial Theatre of the Hermitage on with Mathilde Kschessinska in the role of Columbine and the danseur Gyorgy Kyaksht in the role of Harlequin. The audience included the Emperor and Empress as well as the whole of the Imperial court. Within moments of the final curtain, the typically subdued courtly audience erupted into thunderous applause. The composer received a tumultuous reception as he went before the curtain and was mobbed by several Grand Dukes who tripped over one another in their enthusiasm to congratulate him for his music.  Due to her delight in Drigo's score, the Empress commanded two additional court performances of "Les Millions d'Arléquin" on the stage of the Mariinsky Theatre, the first given on. When plans were under way to publish Drigo's score in piano reduction by the publisher Zimmermann, many of Drigo's colleagues urged the composer to dedicate his score to the Empress. Drigo's request was then submitted to the Minister of the Imperial Court, which brought about a lengthy correspondence by a commission set up to investigate whether or not Drigo's character, background and music were worthy of his offering a dedication to a Russian Empress. The response was favorable and the dedication was graciously accepted.

Later years in Russia.

In the spring of 1902, Drigo and a group of dancers from the Imperial Ballet were invited by Raoul Gunsbourg, director of the Opéra de Monte-Carlo, to produce a ballet in Monaco. Drigo composed the music for the ballet-divertissement titled "La Côte d'Azur" ("The French Riviera"), set to a libretto by Prince Albert I. The ballet premiered at the Salle Garnier on 30 March 1902, and featured the Prima ballerina Olga Preobrajenska.  Drigo's final original full-length ballet score was also Marius Petipa's final work — the fantastical "La Romance d'un Bouton de rose et d'un Papillon" ("The Romance of a Rosebud and a Butterfly"). The ballet was to have had its premiere at the Imperial Theatre of the Hermitage on but was abruptly canceled, the official reason given being the outbreak of the Russo-Japanese War.  Drigo was vacationing in his native Italy during the outbreak of World War I in 1914, which prevented him from returning to Russia for another two years. Soon after his arrival in Petrograd he was evicted from his home at the Grand Hotel, which was converted to offices for the newly established Soviet government. For a time Drigo was forced to live in considerable poverty in a camp with a group of his fellow Italian émigrés. He later recalled in his memoirs of the many cold evenings he spent with his close friend and colleague Alexander Glazunov waiting for hours in bread lines and subsequently carrying their rations home through the snow on a sled. Upon his first engagement as conductor after his return to the former Imperial Mariinsky Theatre, Drigo received a fifteen-minute standing ovation from the audience.

Drigo returns to Italy.

In 1919 Drigo was finally repatriated to his native Italy. For his farewell gala at the former Imperial Mariinsky Theatre, the Ballet Master Fyodor Lopukhov mounted a new version of Drigo and Petipa's final collaboration, the ballet "La Romance d'un Bouton de rose et d'un Papillon" which Lopukhov staged under the title "Le Conte du bouton" ("The Tale of the Rosebud"). At the close of the gala, the renowned bass Feodor Chaliapin read an emotional farewell speech in both Italian and Russian. Allowed to take only 60 kilograms with him, Drigo left all of his belongings in Russia with the exception of a collection of his manuscript scores, which he used as a pillow during his two-month journey to Padua via Odessa and Constantinople.  In 1920 Drigo accepted the post of kapellmeister to the Teatro Garibaldi in Padua where he had begun his career many years before. In 1926 he composed the comic opera "Flaffy Raffles" for the Opera company of Padua's Teatro Verdi, and in 1929 his last work was given, the opera "Il garofano bianco" ("The White Carnation") at the Teatro Garibaldi. He spent the remainder of his life conducting and composing masses and various songs.  Riccardo Drigo died on 1 October 1930 at the age of 84, in his birthplace, Padua. There is now a street in Padua which is named "Via Riccardo Drigo" in his honor.

Riccardo Eugenio Drigo (ru. Риккардо Эудженьо Дриго) (30 June 18461 October 1930) was an Italian composer of ballet music and Italian opera, a theatrical conductor, and a pianist.

Riccardo Drigo (* 20. Juni 1846 in Padua; † 1. Oktober 1930 ebenda) war ein italienischer Dirigent und Ballettkomponist. Er studierte bei Jorich und Bresciani in Padua und bei Antonio Buzzolla am Konservatorium in Venedig. Er unterrichtete Klavier und erlangte in seiner Heimatstadt einigen Erfolg als Komponist und Dirigent. 1878 ging er nach Russland, wo er mehr als 40 Jahre lebte. 1879 wurde er als Dirigent an die italienische Oper in Sankt Petersburg berufen. 1886 gab er diese Stelle zugunsten der wichtigeren Position des Dirigenten und Komponisten des Kaiserlichen Balletts auf. Er arbeitete mit den meisten führenden Tänzern und Choreografen Russlands (Marius Petipa, Lew Iwanow) und dirigierte die ersten Aufführungen von Tschaikowskis "Dornröschen" und "Der Nussknacker". 1899 komponierte er die Musik für den berühmten Pas de deux aus dem II. Akt von "Le Corsaire", zu einer Choreografie von Marius Petipa (St. Petersburg, 1899). Seine eigenen Ballettwerke waren ebenfalls sehr populär. Das Ballett "Die Millionen des Harlekin", erstmals 1900 aufgeführt, genoss internationales Ansehen. Während seines freiwilligen Exils besuchte Drigo gelegentlich noch Italien. 1920 schließlich kehrte er nach Padua zurück, weil ihm Russland nach der Oktoberrevolution nicht mehr behagte.


Life.

Maximilian grew up with his older brother, Joachim Mörlin, as the sons of Jodok Mörlin ( Jodocus Morlinus, ca. 1490 – 1550 ), the Professor of Philosophy at the University of Wittenberg. After a harsh upbringing, when he learned the trade of a tailor, he switched to the profession of a scholar. Like his brother, he studied at Wittenberg in 1533 and came under the influence of Martin Luther and especially Philipp Melanchthon. From 1539, he was the pastor in Pegau and Zeitz and, after 1543, in Schalkau. On the recommendation of his teacher, he came to Coburg in 1544 as a court preacher ( "Hofprediger" ) and visited the city’s churches and schools on the behalf of the Duke of Saxony.  After Maximilian graduated in 1546 under Caspar Cruciger the Elder at Wittenberg to the rank of Doctor, he was appointed as a Superintendent. In the theological debates of the times, he was at first on the side of Matthias Flacius. He pursued the condemnation of Justus Menius, participated in the Colloquy of Worms in 1557 and wrote with and Johann Stössel the "Weimarer Konfutationsbuch" [ the Weimarer Book of Refutations ], which was mandatory for the Lutheran churches throughout Thuringia. The Duke of Saxony, John Frederick the Middle, also took him to Heidelberg to prevent his father-in-law, Frederick III the Pious, the Elector Palatinate of the Rhine, from going over to the Reformed side. The "Heidelberger Abendmahlsgespräch" [ Heidelberger Discussion of the Lord’s Supper ], with which Mörlin was involved on 3 and 4 July 1560, remained unsuccessful.  However, from the side of the Radicals, Flacius struck, distancing Mörlin from the Philippists. He fought against Andreas Osiander and helped in 1556 to enforce the Reformation to the Margraviate of Baden-Durlach on the behalf of its ruler, Charles II. As the Spiritual Assessor for the Consistory of Weimar, he pleaded in 1561 for peace with the terms of the mediating theologian Melanchthon. In Jena, he served in 1564 as the Pro-Chancellor and Vice-Dean in the first program for theological doctorates and upgraded Stössel’s academic degree from "Magister" to Doctor.  The next Duke of Saxony, John William, himself the supporter of Flacius, expelled Mörlin from the Duchy in 1569. A year later, Mörlin was appointed to Dillenburg and later Siegen, where he represented his side against the Reformed tendencies of the ruler, the Count of Nassau-Dillenburg, John VI, but without success. In 1573, he returned from Siegen to Coburg, where he was restored to his old offices. He dismissed the Gnesio-Lutherans and used his influence to add to the "Formula Concordiae" [ Formula of Concord ] and to contend with its effects.  Mörlin gained importance as a preacher and the representative of church administrators.  In 1581, he married for the second time. He was survived by twelve sons.

Maximilian Mörlin ( 14 October 1516, Wittenberg, Electorate of Saxony — 20 April 1584, Coburg, Duchy of Saxe-Coburg-Eisenach ) was a Lutheran theologian, court preacher, Superintendent in Coburg, and Reformer.

Maximilian Mörlin (* 14. Oktober 1516 in Wittenberg; † 20. April 1584 in Coburg) war evangelischer Theologe, Hofprediger, Superintendent in Coburg und Reformator.


Orbit and classification.

"Hyperborea" is a non-family asteroid of the main belt's background population. It orbits the Sun in the outermost asteroid belt at a distance of 2.7–3.7 AU once every 5 years and 9 months (2,098 days; semi-major axis of 3.21 AU). Its orbit has an eccentricity of 0.15 and an inclination of 10° with respect to the ecliptic.  The body's observation arc begins at Heidelberg Observatory with its first observations as in September 1919, or 12 years prior to its official discovery observation at Simeiz.

Physical characteristics.

"Hyperborea" has been characterized as a carbonaceous C-type asteroid by Pan-STARRS photometric survey.

Rotation period.

Between 2002 and 2017, four rotational lightcurves of "Hyperborea" were obtained from photometric observations by astronomers Francisco Sold and Pierre Antonini, as well as by astronomers at the Oakley Southern Sky and Rozhen Observatory in Australia and Bulgaria, respectively (). The consolidated lightcurve gave a rotation period of 13.88 hours with a brightness amplitude between 0.34 and 0.41 magnitude.

Diameter and albedo.

According to the surveys carried out by the Infrared Astronomical Satellite IRAS, the Japanese Akari satellite and the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, "Hyperborea" measures between 55.14 and 64.40 kilometers in diameter and its surface has an albedo between 0.03 and 0.0450.  The "Collaborative Asteroid Lightcurve Link" derives an albedo of 0.0411 and a diameter of 57.11 kilometers based on an absolute magnitude of 10.3.

Naming.

This minor planet was named after Hyperborea, the homeland of the Hyperboreans, a Greek mythical race of giants associated with the cult of Apollo. Herodotus placed the region far to the north of Thrace beyond the North Wind. It was therefore believed to be a region of perpetual sunshine. Lutz Schmadel, the author of the "Dictionary of Minor Planets", learned about the naming from Russian astronomer Nataliya Sergeevna Samoilova-Yakhontova "(see )".

1309 Hyperborea is a carbonaceous background asteroid from the outermost regions of the asteroid belt, approximately 57 kilometers in diameter. It was discovered on 11 October 1931, by Soviet astronomer Grigory Neujmin at the Simeiz Observatory on the Crimean peninsula, and given the provisional designation. The asteroid was named after Hyperborea, the northern homeland of a Greek mythical race of giants.

(1309) Hyperborea ist ein Asteroid des Hauptgürtels, der am 11. Oktober 1931 vom russischen Astronomen Grigori Nikolajewitsch Neuimin in Simejis entdeckt wurde.


History.

Demand for a new county emerged when the residents of the rapidly growing town of Lewiston complained of the long distance they had to travel to reach Wiscasset, the county seat of Lincoln County, in which Lewiston was originally located. It was also an impractical circumstance as Lewiston's neighbor, Auburn, was part of Cumberland County. As the growing partnership of the two towns emerged, the case for the towns to be in the same county grew. Different plans were discussed, including Lewiston joining Cumberland County. Eventually, the idea of a new county came to the table. The debate then became over which town would be the center of the new county. Bath, Brunswick, and Lewiston each desired the distinction. Lewiston eventually won the debate. Androscoggin County was created in 1854 from towns originally in Cumberland County, Lincoln County, Kennebec County, and Oxford County.  The next issue centered on where to put the county seat, as both Lewiston and Auburn desired to be named the county seat. It would eventually be put to a vote, with both towns putting different offers on the table, including ideas to cut the costs of the new county buildings for surrounding towns. Auburn would eventually win a convincing victory, with the towns on each side of the river voting for the town on their side. As more people then lived to the west of the Androscoggin River, Auburn won the vote.

Geography.

According to the U.S. Census Bureau, the county has a total area of, of which is land and (5.9%) is water. It is the second-smallest county in Maine by total area

Demographics.

2000 census.

As of the census of 2000, there were 103,793 people, 42,028 households, and 27,192 families living in the county. The population density was 221 people per square mile (85/km2). There were 45,960 housing units at an average density of 98 per square mile (38/km2). The racial makeup of the county was 96.98% White, 0.66% Black or African American, 0.27% Native American, 0.55% Asian, 0.04% Pacific Islander, 0.28% from other races, and 1.22% from two or more races. 0.95% of the population were Hispanic or Latino of any race. 24.5% were of French Canadian, 19.4% French, 14.3% English, 9.7% United States or American and 8.4% Irish ancestry. 9.6% of the population speak French and 1.5% of the population speak Spanish at home.  Of the 42,028 households 30.90% had children under the age of 18 living with them, 49.60% were married couples living together, 10.80% had a female householder with no husband present, and 35.30% were non-families. 28.30% of households were one person and 11.00% were one person aged 65 or older. The average household size was 2.38 and the average family size was 2.91.  The age distribution was 23.90% under the age of 18, 9.10% from 18 to 24, 29.70% from 25 to 44, 22.90% from 45 to 64, and 14.40% 65 or older. The median age was 37 years. For every 100 females there were 94.30 males. For every 100 females age 18 and over, there were 91.20 males.  The median household income was $35,793 and the median family income was $44,082. Males had a median income of $31,622 versus $22,366 for females. The per capita income for the county was $18,734. About 7.50% of families and 11.10% of the population were below the poverty line, including 13.80% of those under age 18 and 11.00% of those age 65 or over.

2010 census.

At the 2010 census, there were 107,702 people, 44,315 households, and 28,045 families living in the county. The population density was. There were 49,090 housing units at an average density of. The racial makeup of the county was 92.8% white, 3.6% black or African American, 0.7% Asian, 0.4% American Indian, 0.4% from other races, and 2.0% from two or more races. Those of Hispanic or Latino origin made up 1.5% of the population. In terms of ancestry, 21.2% were English, 20.5% were French Canadian, 20.1% were French, 15.5% were Irish, 8.1% were German, and 5.0% were American.  Of the 44,315 households, 30.2% had children under the age of 18 living with them, 45.8% were married couples living together, 12.0% had a female householder with no husband present, 36.7% were non-families, and 28.3% of households were made up of individuals. The average household size was 2.37 and the average family size was 2.88. The median age was 39.8 years.  The median household income was $44,470 and the median family income was $55,045. Males had a median income of $41,554 versus $31,852 for females. The per capita income for the county was $22,752. About 9.7% of families and 14.3% of the population were below the poverty line, including 20.0% of those under age 18 and 12.4% of those age 65 or over.

Politics.

Presidential elections.

In Presidential elections, Androscoggin County has been one of the most consistently, though not always the most strongly, Democratic counties in the state. It was the only county in Maine to be won by Franklin D. Roosevelt in 1932 and George McGovern in 1972. Jimmy Carter also carried the county twice. In 1984 and 1988, it went for Republican candidates Ronald Reagan and George H.W. Bush, who also won the state of Maine. In 2016, it went for the Republican Donald Trump; whereas, the state was won by Democrat Hillary Clinton.

State politics.

In 2012, the county voted 54% against Maine Question 1, 2012 – a measure to legalize same-sex marriage, but the referendum passed in the state by 53%.

County government.

Androscoggin County is governed by an elected county commission consisting of seven members representing single-member districts. Currently, the county commissioners are:

Androscoggin County is a county in the U.S. state of Maine. As of the 2010 census, the county's population was 107,702. Its county seat is Auburn.

Androscoggin County ist ein County im Bundesstaat Maine der Vereinigten Staaten. Der Sitz der Countyverwaltung (County Seat) befindet sich in Auburn.


Plot.

The game starts with Robin Hood, arriving in Lincoln from the Crusades, and finding out that his inheritance has been stolen by the notorious Sheriff of Nottingham. After the player finishes the first and second missions, meets Maid Marian in the Nottingham cathedral, and subsequently tries to meet the Prince, it is understood that King Richard has been kidnapped by Leopold of Austria for a ransom, and that the Regent Prince John is unlawfully usurping the rightful king. The responsibility of getting the ransom of £100,000 to save the king falls into the player's hands. In the final mission, Robin must fight the Sheriff, thereby defeating the Prince.

Gameplay.

While the merry men can kill or wound enemy soldiers, their resources are limited to a certain extent, with main characters having more than minor miscellaneous ones. In addition, in every town, the player can give money to beggars, who, when given coins and purses, help by providing hints and tips. Common folk sometimes offer help as well (although this happens very rarely). On the other hand, there are two types of folk, who flee at the sight of a merry man, and alert nearby enemy soldiers. One is a woman, who wears a red apron; the other, a man, who wears a red-and-blue shirt. The greed of enemy soldiers is also limited, with money purses not affecting sergeants, while ale does affect them. Sometimes, money can be found in knights, cavalry units, sergeants, and more rarely, normal soldiers.

Reception.

The PC version received "favorable" reviews according to the review aggregation website Metacritic.

Awards.

The game received awards for Best Game Design and Best Animation at the 2003 Animago Awards.

Robin Hood: The Legend of Sherwood is a 2002 stealth-based real-time tactics video game developed by Spellbound Studios. It is similar to games such as "" and the "Commandos" series. In the game, the player controls up to five characters in a setting based on the stories of the protagonist, Robin Hood. The player can also control Robin Hood's Merry Men, including Little John, Friar Tuck, Will Scarlet, Will Stutely, and Maid Marian. Robin and his crew must evade the cruel Sheriff of Nottingham and his henchmen and stop the machinations of the vile usurper to England's throne, Prince John. However, Robin must avoid killing enemies as much as possible, or he will not be able to recruit as many new Merry Men.

Robin Hood – Die Legende von Sherwood ist ein Echtzeit-Strategiespiel, das von Spellbound Entertainment entwickelt und von Wanadoo Edition erstmals am 15. November 2002 für Windows veröffentlicht wurde.


History.

The Metropolitan Railway (Harrow and Uxbridge Railway) constructed the line between Harrow-on-the-Hill and Uxbridge and commenced services on 4 July 1904 with, initially, Ruislip being the only intermediate stop. At first, services were operated by steam trains, but track electrification was completed in the subsequent months and electric trains began operating on 1 January 1905. The formation was made wide enough at Ruislip to enable another pair of tracks to be constructed as passing loops or additional platform roads. Neither has ever occurred.  On 1 March 1910, an extension of the District line from South Harrow to connect with the Metropolitan Railway at Rayners Lane was opened enabling District line trains to serve stations between Rayners Lane and Uxbridge from that date. On 23 October 1933, District line services were replaced by Piccadilly line trains.  Currently, only the station's eastbound (Central London) platform has step-free access. Passengers who wish to travel in the Uxbridge direction must travel to Northwick Park or Sudbury Town and change direction there. In 2018, it was announced that the station will be made fully accessible, as part of a £200m investment to increase the number of accessible stations on the Tube.  It is possible to reverse trains from west to east at Ruislip. Trains must detrain in the westbound platform and then continue for approximately half a mile to a reversing siding leading to Ruislip Depot. After reversing, the train must come back the way it came and enter the eastbound platform by means of a crossover. Unfortunately, while this manoeuvre is carried out, both the westbound and eastbound services are held up. Therefore, this manoeuvre is usually only done by some peak-hour Piccadilly line trains due to the inconvenience it causes. There was formerly a crossover to the east of the station enabling trains to leave the westbound platform in an easterly direction, and a goods yard to the north of the line.

Services.

Metropolitan line.

The Metropolitan Line is the only line to operate an express service, though currently for Metropolitan Line trains on the Uxbridge branch this is eastbound only in the morning peaks (06:30 to 09:30) Monday to Friday.  The off-peak service in trains per hour (tph) is:  The morning peak service in trains per hour (tph) is:  The evening peak service in trains per hour (tph) is:

Piccadilly line.

Between Rayners Lane and Uxbridge there is no Piccadilly Line service before approximately 06:30 (Monday - Friday) and 08:45 (Saturday - Sunday), except for one early morning departure from Uxbridge at 05:18 (Monday - Saturday) and 06:46 (Sunday).  The off-peak service in trains per hour (tph) is:  The peak time service in trains per hour (tph) is:

Connections.

London Buses routes 114, 278, 331, 398, E7, H13, U1 and U10 serve the station.

See also.

Other London Underground stations in Ruislip:

Ruislip is a London Underground station in Ruislip in west London. The station is on the Uxbridge branch of both the Metropolitan line and Piccadilly line, between Ruislip Manor and Ickenham stations. The station is located on Station Approach. It is in Travelcard Zone 6. It is the oldest station on the Uxbridge branch and was originally the only intermediate station on the line between Uxbridge and Harrow-on-the-Hill.

Ruislip ist eine oberirdische Station der London Underground im Stadtbezirk London Borough of Hillingdon. Sie liegt in der Travelcard-Tarifzone 6 an der West End Road. Die von der Metropolitan Line und der Piccadilly Line bediente Station wurde im Jahr 2013 von 1,71 Millionen Fahrgästen genutzt.


Language-specific examples.

Ada.

Ada provides method overriding by default. To favor early error detection (e.g. a misspelling), it is possible to specify when a method is expected to be actually overriding, or not. That will be checked by the compiler.

C#.

C# does support method overriding, but only if explicitly requested using the modifiers and or. abstract class Animal {  class Cat : Animal {  When overriding one method with another, the signatures of the two methods must be identical (and with same visibility). In C#, class methods, indexers, properties and events can all be overridden.  Non-virtual or static methods cannot be overridden. The overridden base method must be "virtual", "abstract", or "override".  In addition to the modifiers that are used for method overriding, C# allows the hiding of an inherited property or method. This is done using the same signature of a property or method but adding the modifier in front of it.  In the above example, hiding causes the following: Cat cat = new Cat();  cat.Name =...; // accesses Cat.Name cat.Eat(); // calls Cat.Eat() cat.Go(); // calls Cat.Go() ((Animal)cat).Name =...; // accesses Animal.Name! ((Animal)cat).Eat(); // calls Cat.Eat()! ((Animal)cat).Go(); // calls Animal.Go()!

C++.

C++ does not have the keyword that a subclass can use in Java to invoke a superclass version of a method that it wants to override. Instead, the name of the parent or base class is used followed by the scope resolution operator. For example, the following code presents two classes, the base class, and the derived class. overrides the class's method, so as also to print its height. class Rectangle {  void Rectangle::Print() const {  class Box : public Rectangle {  // Print method of derived class. void Box::Print() const {  The method in class, by invoking the parent version of method, is also able to output the private variables and of the base class. Otherwise, these variables are inaccessible to.  The following statements will instantiate objects of type and, and call their respective methods: int main(int argc, char** argv) {  In C++11, similar to Java, a method that is declared codice_1 in the super class cannot be overridden; also, a method can be declared codice_2 to make the compiler check that it overrides a method in the base class.

Delphi.

In Delphi, method overriding is done with the directive override, but only if a method was marked with the dynamic or virtual directives.  The inherited reserved word must be called when you want to call super-class behavior type

Eiffel.

In Eiffel, feature redefinition is analogous to method overriding in C++ and Java. Redefinition is one of three forms of feature adaptation classified as redeclaration. Redeclaration also covers effecting, in which an implementation is provided for a feature which was deferred (abstract) in the parent class, and undefinition, in which a feature that was effective (concrete) in the parent becomes deferred again in the heir class. When a feature is redefined, the feature name is kept by the heir class, but properties of the feature such as its signature, contract (respecting restrictions for preconditions and postconditions), and/or implementation will be different in the heir. If the original feature in the parent class, called the heir feature's precursor, is effective, then the redefined feature in the heir will be effective. If the precursor is deferred, the feature in the heir will be deferred.  The intent to redefine a feature, as in the example below, must be explicitly declared in the clause of the heir class. class feature end  class inherit feature end In class the feature is given an implementation that differs from that of its precursor in class.  Consider a class which uses instances for both and : class create feature end When instantiated, class produces the following output: I feel like I am diagonally parked in a parallel universe. Warning: Dates in calendar are closer than they appear. Within a redefined feature, access to the feature's precursor can be gained by using the language keyword. Assume the implementation of is altered as follows: Invocation of the feature now includes the execution of, and produces the following output: Warning: Dates in calendar are closer than they appear. I feel like I am diagonally parked in a parallel universe.

Java.

In Java, when a subclass contains a method that overrides a method of the superclass, it can also invoke the superclass method by using the keyword (Lewis & Loftus, 2006). Example: class Thought {  public class Advice extends Thought { Class represents the superclass and implements a method call. The subclass called inherits every method that could be in the class. However, class overrides the method, replacing its functionality from. Thought parking = new Thought(); parking.message(); // Prints "I feel like I am diagonally parked in a parallel universe."  Thought dates = new Advice(); // Polymorphism dates.message(); // Prints "Warning: Dates in calendar are closer than they appear." The reference can be  public class Advice extends Thought {  There are methods that a subclass cannot override. For example, in Java, a method that is declared final in the super class cannot be overridden. Methods that are declared private or static cannot be overridden either because they are implicitly final. It is also impossible for a class that is declared final to become a super class.

Kotlin.

In Kotlin we can simply override a function like this: note that function must be open  fun main(args: Array<String>) {  open class test(var a : Int){ class test2(var b : Int) : test(b){

Python.

In Python, when a subclass contains a method that overrides a method of the superclass, you can also call the superclass method by calling instead of. Example: class Thought(object):  class Advice(Thought):  t = Thought() t.message()  a = Advice() a.message()  isinstance(t, Thought)  isinstance(a, Advice)  isinstance(a, Thought)

Ruby.

In Ruby when a subclass contains a method that overrides a method of the superclass, you can also call the superclass method by calling super in that overridden method. You can use alias if you would like to keep the overridden method available outside of the overriding method as shown with'super_message' below.  Example: class Thought end  class Advice < Thought end

Method overriding, in object-oriented programming, is a language feature that allows a subclass or child class to provide a specific implementation of a method that is already provided by one of its superclasses or parent classes. The implementation in the subclass overrides (replaces) the implementation in the superclass by providing a method that has same name, same parameters or signature, and same return type as the method in the parent class. The version of a method that is executed will be determined by the object that is used to invoke it. If an object of a parent class is used to invoke the method, then the version in the parent class will be executed, but if an object of the subclass is used to invoke the method, then the version in the child class will be executed. Some languages allow a programmer to prevent a method from being overridden.

Der Begriff Überschreiben (, wörtlich ‚außer Kraft setzen‘, ‚überwinden‘) beschreibt eine Technik in der objektorientierten Programmierung, die es einer abgeleiteten Klasse erlaubt, eine eigene Implementierung einer von der Basisklasse geerbten Methode zu definieren.


History.

In its first electoral test, the 2004 European parliamentary elections, it was by far the most successful party, gaining 30.2% of the vote and returning 5 MEPs. It joined the European Democratic Party and thus the Alliance of Liberals and Democrats for Europe (ALDE) Group. At the legislative elections of 2004, the party won 28.4% of the popular vote and 39 out of 141 seats, making it the largest single party in the Parliament of Lithuania. After the election Labour formed a coalition government with the Social Democratic Party of Lithuania, New Union and Lithuanian Peasant Popular Union.  In June 2006 the party moved to opposition, while some of its members (including Speaker of the Seimas Viktoras Muntianas) founded the Civic Democratic Party and joined the new coalition led by Gediminas Kirkilas. At the legislative elections of 2008 the party lost heavily, retaining only 10 seats in the Seimas from its previous 39 and obtaining 9% of the national vote.  In 2011, the New Union (Social Liberals) merged with the party. In May 2012, the Labour Party joined the Alliance of Liberals and Democrats for Europe (ALDE) party.  At the 2012 parliamentary election the party had considerable success, obtaining 19.82% of the votes (+11.83% compared with the 2008 election) in the proportional representation quota and a total tally of 29 seats. Following the results, the Labour Party joined the coalition cabinet led by Algirdas Butkevičius, with 4 portfolio ministers out of 15. In 2013, the Christian Party merged with the party.  At the 2016 parliamentary election the party obtained just 4.88% of the votes in the proportional representation quota (5% of the votes are needed for representation) and won only 2 seats in single member constituencies. In 2017 the party started massively to lose its members (including long–time members like former chairman Živilė Pinskuvienė), which formed various movements in local government or joined Social Democratic Labour Party of Lithuania in 2018.  On April 15, 2018 former chairman Viktor Uspaskich was selected as the new chairman of the party.

The Labour Party (, DP) is a social-liberal and populist political party in Lithuania. The party was founded in 2003 by the Russian-born millionaire businessman Viktor Uspaskich.

Die Darbo partija (leiboristai) ("DP", deutsch: "Arbeitspartei (Laboristen)") ist eine populistische Partei in Litauen, die in der linken Mitte verortet wird. Sie trägt Züge einer sozialpopulistischen Partei. Ihr Gründer und Anführer ist der Millionär Viktor Uspaskich. Sie spricht vor allem Wähler an, die mit der wirtschaftlichen Lage unzufrieden sind, sowie Angehörige der russischen und polnischen Minderheit und wird vorwiegend außerhalb der größeren Städte gewählt.


Early life and background.

Tansen's date and place of birth are unclear, but most sources place his birth about 1500 CE, or between 1493 and 1506. His biography is also unclear and many conflicting accounts exist, with some common elements. Historical facts about Tansen are difficult to extract from the extensive and contradictory legends that surround him.  According to the common elements in the various stories, Tansen's name as a child was Ramtanu. His father Mukund Pandey (also known as Makrand Pandey, Mukund Mishra, or Mukund Ram) was a wealthy poet and accomplished musician, who for some time was a Hindu temple priest in Varanasi.  Tansen learnt and perfected his art in the region around Gwalior, in modern Madhya Pradesh. He began his career and spent most of his adult life in the court and patronage of the Hindu king of Rewa (princely state), Raja Ramchandra Singh, where Tansen's musical abilities and studies gained him widespread fame and following. He was a close confidant of Raja Ramchandra Singh, and they used to make music together. Tansen's reputation brought him to the attention of the Mughal Emperor Akbar, who sent messengers to Raja Ramchandra Singh, requesting Tansen to join the musicians at the Mughal court. Tansen initially refused to go, sought to retire instead into solitude, but Raja Ramchandra Singh, encouraged him to gain wider audience, and sent him along with gifts to Akbar. In 1562, about the age of sixty, Tansen still a Vaishnava musician arrived for the first time in Akbar's court.  Tansen's influence was central to create the Hindustani classical ethos as we know today. A number of descendants and disciples trace him to be their lineage founder. Many gharanas (schools) of Hindustani classical music claim some connection to his lineage. To these "gharanas", Tansen is the founder of Hindustani classical music.

Schooling.

The legendary oral versions about Tansen's early life and schooling particularly differ depending on whether the story has origins in Hindu legends (Vaishnavism) or Muslim legends (Sufism). In Hindu versions, the Hindu bhakti saint and poet-musician Swami Haridas was the major influence on Tansen. In Islamic biographies, the Sufi Muslim mystic named Muhammad Ghaus is said to have influenced Tansen. According to Bonnie Wade – a professor of Music specializing in South Asia Studies, Swami Haridas is widely accepted to have been Tansen's teacher, and it is clear that Tansen connected with Muhammad Ghaus as well, but the evidence suggests that Tansen is less affiliated with either religion, more with music.  As Tansen's teacher Swamy Haridas had interaction with Purandaradasa, who was the great composer and father of carnatic music, Hindustani music has had a lot of influence from carnatic music.  Tansen showed musical talent at the age of 6. At some point, he was discipled for some time to Swami Haridas, the legendary composer from Vrindavan and part of the stellar Gwalior court of Raja Man Singh Tomar (1486–1516 AD), specialising in the Dhrupad style of singing. His talent was recognised early and it was the ruler of Gwalior who conferred upon the maestro the honorific title 'Tansen'. Haridas was considered to be a legendary teacher in that time. It is said that Tansen had no equal apart from his teacher. From Haridas, Tansen acquired not only his love for dhrupad but also his interest in compositions in the local language. This was the time when the Bhakti tradition was fomenting a shift from Sanskrit to the local idiom (Brajbhasa and Hindi), and Tansen's compositions also highlight this trend. At some point during his apprenticeship, Tansen's father died, and he returned home, where it is said he used to sing at a local Shiva temple.  Hagiographies mention Tansen met the Sufi mystic Muhammad Ghaus. The interaction with Ghaus brought Sufi influences on Tansen. Late into his life, he continued to compose in Brajbhasha invoking traditional motifs such as Krishna and Shiva.  The presence of musicians like Tansen in Akbar's court was an attempt to accept and integrate the Hindu and Muslim traditions within the Mughal Empire. Tansen became one of the treasured Navaratnas (lit. "nava"=nine, "ratna"=jewel) of Akbar's court. He received the honorific title "Mian" there, and the name Mian Tansen.

Compositions.

Tansen's musical compositions covered many themes, and employed Dhrupad. Most of these were derived from the Hindu Puranas, composed in Braj Bhasha, and written in praise of gods and goddesses such as Ganesha, Sarasvati, Surya, Shiva, Vishnu (Narayana and Krishna avatar). He also composed and performed compositions dedicated to eulogizing kings and emperor Akbar.

Family.

He had two wives and one of his wife Mehrunisa was daughter of Emperor Akbar. Tansen's children including Tanras Khan, Bilaas Khan, Hamirsen, Suratsen and Saraswati Devi, were all musicians. In JahangirNama, it is mentioned that Mehrunisa married with Tansen & due to this, Akbar forced Tansen to accept Islam. After this incident Akbar stopped Mughal princess from marriage.  Akbar used to grant mansab mostly to Safavids, Ottomans and other Muslims Mughal warriors. Only exception to this was a very few Hindu warriors like Man Singh (5000 mansab dar).

Tansen award.

A national music festival known as 'Tansen Samaroh' is held every year in December, near the tomb of Tansen at Behat as a mark of respect to his memory. The Tansen Samman or Tansen award is given away to exponents in Hindustani Classical music.

Buildings.

The fort at Fatehpur Sikri is strongly associated with Tansen's tenure at Akbar's court. Near the emperor's chambers, a pond was built on a small island in the middle, where musical performances were given. Today, this tank, called "Anup Talao", can be seen near the public audience hall "Diwan-i-Aam" – a central platform reachable via four footbridges. It is said that Tansen would perform different ragas at different times of day, and the emperor and his select audience would honour him with coins. Tansen's supposed residence is also nearby.

Miracles and legends.

The bulk of Tansen's biography as found in the Akbar court historian accounts and "gharana" literature consists of inconsistent and miraculous legends. Among the legends about Tansen are stories of his bringing down the rains with Raga Megh Malhar and lighting lamps by performing Raga Deepak. Raga Megh Malhar is still in the mainstream repertoire, but raga Deepak is no longer known; three different variants exist in the Bilawal, Poorvi and Khamaj thaats. It is not clear which, if any, corresponds to the Deepak of Tansen's time. Other legends tell of his ability to bring wild animals to listen with attention (or to talk their language). Once, a wild white elephant was captured, but it was fierce and could not be tamed. Finally, Tansen sang to the elephant who calmed down and the emperor was able to ride him.

Death.

The year of death of Tansen, like much of his biography, is unclear. According to one version, written by Islamic historians, Tansen died in 1586 in Delhi, and that Akbar and much of his court attended the funeral procession which was completed according to Muslim customs. Other versions, written by Hindu historians, give 26 April 1589 as the date of his death and that his funeral observed mostly Hindu customs. Tansen remains were buried in the mausoleum complex of his Sufi master Shaikh Muhammad Ghaus in Gwalior. Every year in December, an annual festival, the "Tansen Samaroh", is held in Gwalior to celebrate Tansen.

Popular culture.

Several Hindi films have been made on Tansen's life, with mostly anecdotal story lines. Some of them are "Tansen" (1943), a musical hit produced by Ranjit Movietone, starring K. L. Saigal and Khursheed Bano. "Tansen" (1958) and "Sangeet Samrat Tansen" (1962). Tansen is also a central character, though remaining mostly in the backdrop, in the historical musical "Baiju Bawra" (1952), based on the life of his eponymous contemporary.  Tansen's story was extensively researched and showcased in a Pakistan Television's series in the late 1980s where the classical singer's entire life was explored. The series was written by Haseena Moin.  A film titled 'Tansen' was to be made in 1977, but due to some financial difficulties, the producer left the film; which ended the production. A song from the film titled 'Shadjane Paya', written and composed by Ravindra Jain and sung by K. J. Yesudas, was released years later through YouTube. This song goes through various ragas and even many pitches, describing Tansen's singing.

Tansen (c. 1500 – 1586), also referred to as Tan Sen or Ramtanu, was a prominent figure of Hindustani classical music. Born in a Hindu family, he learned and perfected his art in the northwest region of modern Madhya Pradesh. He began his career and spent most of his adult life in the court and patronage of the Hindu king of Rewa, Raja Ramchandra Singh (r.1555–1592), where Tansen's musical abilities and studies gained widespread fame. This reputation brought him to the attention of the Mughal Emperor Akbar, who sent messengers to Raja Ramchandra Singh, requesting Tansen to join the musicians at the Mughal court. Tansen did not want to go, but Raja Ramchandra Singh encouraged him to gain a wider audience, and sent him along with gifts to Akbar. In 1562, about the age of 60, the Vaishnava musician Tansen joined the Akbar court, and his performances became a subject of many court historians.

Tansen (* um 1506 in Gwalior, Indien; † 1589 in Delhi) war Hofmusiker des Mogulkaisers Akbar I. Er gilt als Vater der heutigen nordindischen Kunstmusik und als einer der bedeutendsten indischen Musiker überhaupt.


History.

The history of the League of the Islanders is relatively obscure, as no literary sources about it have survived. The only evidence comes from inscriptions. In 314/3 BC, Antigonus I Monophthalmus sent a fleet under his nephew Dioscurides to the Aegean islands, in order to defend them against the fleet of Ptolemy I and secure their allegiance to his cause. Although the League of the Islanders does not appear until 306 BC, modern scholarship is unanimous in placing its establishment in the immediate aftermath of that campaign. The League was centred on Delos and stood under the protection of Antigonus, in whose honour annual games, the "Antigoneia" (Ἀντιγόνεια), after 306 BC alternating with games (Δημητρίεια, "Dēmētrieia") in honour of Antigonus' son Demetrius Poliorcetes, were celebrated. Despite the defeat and death of Antigonus at the Battle of Ipsus in 301 BC, Demetrius retained control of the Antigonid fleet and thus of the League until, when he was defeated and captured by Seleucus I. As a result, the islands passed under the hegemony of the Ptolemaic Kingdom, and the games were renamed as "Sotēria Ptolemaia" (Σωτήρια Πτολεμαῖα) and "Philadelphia" (Φιλαδέλφεια) in honour of Ptolemy I Soter and his son Ptolemy II Philadelphus.  The islands remained under Ptolemaic control until sometime in the middle of the 3rd century BC. The last documents pertaining to the League date approximately to the second quarter of the century; no "nēsiarchos" is attested after, and the number of Ptolemaic offerings to Delos also drops off sharply at the same time. This indicates that the League collapsed, and the Ptolemies lost control of the Aegean, either during the Chremonidean War (268/7–261) or the Second Syrian War (260–253). Modern research connects this with the Ptolemaic naval defeats at the hands of the Macedonians and the Rhodians at Cos, Ephesus, and Andros—the precise dating of these battles has been heavily disputed among historians, but they are now usually dated to 261 BC,, and 246/5 BC respectively. It appears that when Ptolemaic control was first interrupted, after Ephesus, the Rhodians stepped into the power vacuum, concluding alliances with some of the islands like Ios. Ptolemaic control was possibly re-asserted to some degree after the end of the Second Syrian War, and a "Ptolemaia" festival was once again celebrated in 249 and 246 BC, but the evidence is meager. As the historian Gary Reger writes, the celebration of the festival "can be attributed as much to piety and tradition as to advertisement of political hegemony". At any rate, the Ptolemaic position collapsed completely after Andros, both as a result of the military losses as due to the lack of strategic interest: unlike earlier in the century, when the Cyclades had served as a springboard for interference in the Greek mainland, at this point the Ptolemies had more vital concerns in the Levant and Asia Minor to pursue. Consequently, except for Thera, where they maintained a garrison, the Ptolemies abandoned the central Aegean. Many scholars, like William Woodthorpe Tarn and Maurice Holleaux, suggested that the Ptolemaic withdrawal resulted in a Macedonian hegemony over the Cyclades, while others, like Hendrik van Gelder, or P. M. Fraser and G. E. Bean, posited a Rhodian hegemony, either in direct succession of the Ptolemies, or, more often, after the 230s/220s BC. Reger, however, considers that the available epigraphic and other evidence shows few indications of a Rhodian predominance, while the Macedonian kings seem to have limited their interest to the islands closest to the Greek mainland—Macedonian control is attested for Andros and possibly Keos and Kythnos, with some influence, probably temporary, in Amorgos and Paros in the direct aftermath of the Battle of Andros—and the panhellenic sanctuary at Delos. According to Reger, by and large the individual Cycladic islands appear to have remained free and autonomous for the rest of the century.  In the meantime, Rhodes rose to become the chief naval power in the Aegean and even beyond. In order to protect their political and commercial interests, such as the grain trade, where Rhodes held a dominant position, the Rhodians were active against pirates such as Demetrius of Pharos or the Cretan cities and the Aetolian League; both of the latter secretly sponsored by King Philip V of Macedon. By, according to Polybius ("The Histories", IV.47.1), the Rhodians "were considered the supreme authority in maritime matters" and were called upon by merchants to intervene in cases such as the imposition of tolls by the Byzantines on passage of ships through the Bosporus. In 201 BC, during the Cretan War, Philip V of Macedon subdued the Cyclades at the head of his fleet, but already in the next year, the Rhodians took over of most of the islands except for the Macedonian-garrisoned islands of Andros, Paros, and Kythnos. Followed by further Macedonian setbacks in the Second Macedonian War (200–197 BC), the Cycladic islands, already bound individually to Rhodes by treaties of alliance, were soon after—an exact date cannot be ascertained—formed into a "Second Nesiotic League" under the hegemony of Rhodes. The motivations for Rhodes' move are unclear, but the historian Kenneth Sheedy has suggested that they stemmed at least partly from a desire to preempt other powers, whether the Kingdom of Pergamon or the Roman Republic, from establishing control over the area. Unlike the original League however, the Second League appears to have been a more voluntary association. The Second Nesiotic League is commonly held to have lasted until the end of Rhodian independence at the conclusion of the Third Macedonian War in 167 BC, but Sheedy suggests that it may have started to disintegrate earlier, as the Rhodians focused their attention on maintaining their grip over their Asian holdings and could no longer afford to maintain the costly hegemony over the Cyclades.

Institutions.

The League's institutions are well attested through a series of inscriptions for its Ptolemaic period, but it appears that the main characteristics were present already under Antigonus, and according to Richard Billows "the evidence for the Ptolemaic period can be used (with due caution) for the Antigonid period" as well. As Walther Schwahn commented, the constitution of the League of Islanders shows "distinct differences" from the constitutions of other contemporary Greek leagues, since "the League did not exist in the interests of its members, but to the advantage of a powerful patron". The exact membership of the League can not be determined with accuracy, but it certainly comprised Mykonos, Kythnos, Keos, and probably also Ios under Antigonus, while Naxos, Andros, Amorgos, and Paros are also attested under the Ptolemies. It is possible, but unlikely, that Samos and others of the Southern Sporades were also members during the Ptolemaic period. The membership of the sacred island of Delos, which played a central role in the League, has been disputed by Walther Kolbe, who argued that Delos remained independent of the League; most scholars however consider it to have been a full member of the League.  The League was headed by the "nēsiarchos" (νησίαρχος, "ruler of the islands") and a council (συνέδριον, "synedrion"). Unlike similar leagues, there is no evidence for an assembly of the citizens, probably since the distances made this impractical. The League had a strongly federal character, exemplified by the fact that the conferment of citizenship by any member automatically conferred citizenship in all other member states. There was no distinct League citizenship, but the League could grant foreign benefactors the citizenship for each of its members, as well as the rights of "proxenia", "prosodos", and "asylia". In effect, this arrangement meant that "citizens of the member states enjoyed isopolity in each other's communities" (Billows).  The League's centre in Antigonid and Ptolemaic times was the sacred island of Delos, where the annual festivals were held, and where the "synedrion" assembled—a single, and probably exceptional, convocation by the Ptolemaic commander Philocles on Samos is also attested—and where its decrees were set up. In the Rhodian period, where Delos was not a member of the League, the "synedrion" assembled on Tenos. As the League's sole collective organ, the "synedrion" was a sort of legislative council with representatives (σύνεδροι, "synedroi") appointed by the member states. It assembled on an "ad hoc" basis. Since no chairman is mentioned, it was probably headed by the "nēsiarchos". The "synedrion" awarded honours and distinctions to benefactors, and levied both regular and extraordinary financial contributions (συντάξεις, "syntaxeis" or εἰσφοραί, "eisphorai") for maintenance of the League's military and for the common festivals. These funds were administered by a treasurer (ταμίας, "tamias"). Surplus funds were available for other projects, e.g. the setting up of the League's decrees on inscribed "stelae" in the member states. In another indication of the Leagues' federal character, the "synedrion" could not only require financial contributions from its members, but also punish them for non-compliance. In practice, both the League as well as the member states often had to resort to taking loans from the Sanctuary of Apollo on Delos to cover expenses. The "synedrion" also appears to have appointed the overseers (ἐπιμεληταὶ, "epimelētai") for the festivals and the sacrifices to Ptolemy Soter and Ptolemy Philadelphos, as well as arbitrators for judicial disputes between member states.  The "nēsiarchos" was appointed by the League's suzerain king, and, again in contrast to most other such leagues, was not an islander. He wielded executive power and was responsible for carrying out the "synedrion"s decisions, collect the member states' contributions, command the League military, and safeguard shipping in the Aegean. Only a handful are known by name: Apollodorus, son of Apollonius of Cyzicus, who was "nēsiarchos" sometime before 279, perhaps during the last years of Antigonid control; Bakchon, "nēsiarchos" in ; and Hermias, possibly from Halicarnassus, attested only once in 267. Under Rhodian hegemony, he was replaced by a Rhodian "archōn" "in charge of the islands and the islands' ships" (). The history of the League shows a number of cases of direct intervention by the suzerain power, often irrespective of local laws. In addition, both the Ptolemies and later the Rhodians secured some islands by installing appointed governors (ἐπιστάται, "epistatai"). Elsewhere the traditional institutions of a Greek "polis" remained in force.

The League of the Islanders () or Nesiotic League was a federal league ("koinon") of ancient Greek city-states encompassing the Cyclades islands in the Aegean Sea. Organized under the auspices of Antigonus Monophthalmus in, it remained under Antigonid control until. It then passed under the aegis of the Ptolemaic Kingdom until Ptolemaic control over the central Aegean collapsed and the League was dissolved sometime in the mid-3rd century BC. The Cycladic islands reverted to independence, except for a few that passed under Macedonian control. The league was re-established ("Second Nesiotic League") under the leadership of Rhodes in, and survived until.

Der Nesiotenbund (gr. "τὸ κοινὸν τῶν νησιωτῶν") war ein Zusammenschluss von Bewohnern verschiedener griechischer Ägäisinseln am Ende des 4. und in der ersten Hälfte des 3. Jahrhunderts v. Chr. Der wohl von Antigonos I. Monophthalmos 315/314 v. Chr. (nach manchen Quellen wohl fälschlicherweise 308 v. Chr. durch Ptolemaios I. Soter) begründete Bund hatte sein Zentrum in Delos.