Language.

"Welfare capitalism" or "welfare corporatism" is somewhat neutral language for what, in other contexts, might be framed as "industrial paternalism", "industrial village", "company town", "representative plan", "industrial betterment", or "company union".

History.

In the 19th century, some companies—mostly manufacturers—began offering new benefits for their employees. This began in Britain in the early 19th century and also occurred in other European countries, including France and Germany. These companies sponsored sports teams, established social clubs, and provided educational and cultural activities for workers. Some offered housing as well. Welfare corporatism in the United States developed during the intense industrial development of 1880 to 1900 which was marked by labor disputes and strikes, many violent.

Cooperatives and model villages.

One of the first attempts at offering philanthropic welfare to workers was made at the New Lanark mills in Scotland by the social reformer Robert Owen. He became manager and part owner of the mills in 1810, and encouraged by his success in the management of cotton mills in Manchester (see also Quarry Bank Mill), he hoped to conduct New Lanark on higher principles and focus less on commercial profit. The general condition of the people was very unsatisfactory. Many of the workers were steeped in theft and drunkenness, and other vices were common; education and sanitation were neglected and most families lived in one room. The respectable country people refused to submit to the long hours and demoralising drudgery of the mills. Many employers also operated the truck system, whereby payment to the workers was made in part or totally by tokens. These tokens had no value outside the mill owner's "truck shop". The owners were able to supply shoddy goods to the truck shop and charge top prices. A series of "Truck Acts" (1831–1887) eventually stopped this abuse, by making it an offence not to pay employees in common currency.  Owen opened a store where the people could buy goods of sound quality at little more than wholesale cost, and he placed the sale of alcohol under strict supervision. He sold quality goods and passed on the savings from the bulk purchase of goods to the workers. These principles became the basis for the cooperative stores in Britain that continue to operate today. Owen's schemes involved considerable expense, which displeased his partners. Tired of the restrictions on his actions, Owen bought them out in 1813. New Lanark soon became celebrated throughout Europe, with many leading royals, statesmen and reformers visiting the mills. They were astonished to find a clean, healthy industrial environment with a content, vibrant workforce and a prosperous, viable business venture all rolled into one. Owen’s philosophy was contrary to contemporary thinking, but he was able to demonstrate that it was not necessary for an industrial enterprise to treat its workers badly to be profitable. Owen was able to show visitors the village’s excellent housing and amenities, and the accounts showing the profitability of the mills.  Owen and the French socialist Henri de Saint-Simon were the fathers of the utopian socialist movement; they believed that the ills of industrial work relations could be removed by the establishment of small cooperative communities. Boarding houses were built near the factories for the workers' accommodation. These so-called model villages were envisioned as a self-contained community for the factory workers. Although the villages were located close to industrial sites, they were generally physically separated from them and generally consisted of relatively high quality housing, with integrated community amenities and attractive physical environments.  The first such villages were built in the late 18th century, and they proliferated in England in the early 19th century with the establishment of Trowse, Norfolk in 1805 and Blaise Hamlet, Bristol in 1811. In America, boarding houses were built for textile workers in Lowell, Massachusetts in the 1820s. The motive behind these offerings was paternalistic—owners were providing for workers in ways they felt was good for them. These programs did not address the problems of long work hours, unsafe conditions, and employment insecurity that plagued industrial workers during that period, however. Indeed, employers who provided housing in company towns (communities established by employers where stores and housing were run by companies) often faced resentment from workers who chafed at the control owners had over their housing and commercial opportunities. A noted example was Pullman, Illinois—a site of a strike that destroyed the town in 1894. During these years, disputes between employers and workers often turned violent and led to government intervention.

Welfare as a business model.

In the early years of the 20th century, however, business leaders began embracing a different approach. The Cadbury family of philanthropists and business entrepreneurs set up the model village at Bournville, England in 1879 for their chocolate making factory. Loyal and hard-working workers were treated with great respect and relatively high wages and good working conditions; Cadbury pioneered pension schemes, joint works committees and a full staff medical service. By 1900, the estate included 313 'Arts and Crafts' cottages and houses; traditional in design but with large gardens and modern interiors, they were designed by the resident architect William Alexander Harvey.  The Cadburys were also concerned with the health and fitness of their workforce, incorporating park and recreation areas into the Bournville village plans and encouraging swimming, walking and indeed all forms of outdoor sports. In the early 1920s, extensive football and hockey pitches were opened together with a grassed running track. Rowheath Pavilion served as the clubhouse and changing rooms for the acres of sports playing fields, several bowling greens, a fishing lake and an outdoor swimming lido, a natural mineral spring forming the source for the lido's healthy waters. The whole area was specifically for the benefit of the Cadbury workers and their families with no charges for the use of any of the sporting facilities by Cadbury employees or their families. Port Sunlight in Wirral, England was built by the Lever Brothers to accommodate workers in its soap factory in 1888. By 1914, the model village could house a population of 3,500. The garden village had allotments and public buildings including the Lady Lever Art Gallery, a cottage hospital, schools, a concert hall, open air swimming pool, church, and a temperance hotel. Lever introduced welfare schemes, and provided for the education and entertainment of his workforce, encouraging recreation and organisations which promoted art, literature, science or music.  Lever's aims were "to socialise and Christianise business relations and get back to that close family brotherhood that existed in the good old days of hand labour." He claimed that Port Sunlight was an exercise in profit sharing, but rather than share profits directly, he invested them in the village. He said, "It would not do you much good if you send it down your throats in the form of bottles of whisky, bags of sweets, or fat geese at Christmas. On the other hand, if you leave the money with me, I shall use it to provide for you everything that makes life pleasant—nice houses, comfortable homes, and healthy recreation." In America in the early 20th century, businessmen like George F. Johnson and Henry B. Endicott began to seek new relations with their labor by offering the workers wage incentives and other benefits. The point was to increase productivity by creating good will with employees. When Henry Ford introduced his $5-a-day pay rate in 1914 (when most workers made $11 a week), his goal was to reduce turnover and build a long-term loyal labor force that would have higher productivity. Turnover in manufacturing plants in the U.S. from 1910 to 1919 averaged 100%. Wage incentives and internal promotion opportunities were intended to encourage good attendance and loyalty. This would reduce turnover and improve productivity. The combination of high pay, high efficiency and cheap consumer goods was known as Fordism, and was widely discussed throughout the world.  Led by the railroads and the largest industrial corporations such as the Pullman Car Company, Standard Oil, International Harvester, Ford Motor Company and United States Steel, businesses provided numerous services to its employees, including paid vacations, medical benefits, pensions, recreational facilities, sex education and the like. The railroads, in order to provide places for itinerant trainmen to rest, strongly supported YMCA hotels, and built railroad YMCAs. The Pullman Car Company built an entire model town, Pullman, Illinois. The Seaside Institute is an example of a social club built for the particular benefit of women workers. Most of these programs proliferated after World War I—in the 1920s.  The economic upheaval of the Great Depression in the 1930s brought many of these programs to a halt. Employers cut cultural activities and stopped building recreational facilities as they struggled to stay solvent. It wasn't until after World War II that many of these programs reappeared—and expanded to include more blue-collar workers. Since this time, programs like on-site child care and substance abuse treatment have waxed and waned in use/popularity, but other welfare capitalism components remain. Indeed, in the U.S., the health care system is largely built around employer-sponsored plans.  In the late 19th and early 20th centuries, Germany and Britain created "safety nets" for their citizens, including public welfare and unemployment insurance. These government-operated welfare systems is the sense in which the term 'welfare capitalism' is generally understood today.

Modern welfare capitalism.

The 19th century German economist, Gustav von Schmoller, defined welfare capitalism as government provision for the welfare of workers and the public via social legislation. Western Europe, Scandinavia, Canada and Australasia are regions noted for their welfare state provisions, though other countries have publicly financed universal healthcare and other elements of the welfare state as well. Esping-Andersen categorised three different traditions of welfare provision in his 1990 book "The Three Worlds of Welfare Capitalism"; social democracy, Christian democracy (conservatism) and liberalism. Though increasingly criticised, these classifications remain the most commonly used in distinguishing types of modern welfare states, and offer a solid starting point in such analysis.

In Europe.

European welfare capitalism is typically endorsed by Christian democrats and social democrats. In contrast to social welfare provisions found in other industrialized countries (especially countries with the Anglo-Saxon model of capitalism), European welfare states provide universal services that benefit all citizens (social democratic welfare state) as opposed to a minimalist model that only caters to the needs of the poor.  In Northern European countries, welfare capitalism is often combined with social corporatism and national-level collective bargaining arrangements aimed at balancing the power between labor and business. The most prominent example of this system is the Nordic model, which features free and open markets with limited regulation, high concentrations of private ownership in industry, and tax-funded universal welfare benefits for all citizens.  An alternative model of welfare exists in Continental European countries, known as the social market economy or German model, which includes a greater role for government interventionism into the macro-economy but features a less generous welfare state than is found in the Nordic countries.  In France, the welfare state exists alongside a dirigiste mixed economy.

In the United States.

Welfare capitalism in the United States refers to industrial relations policies of large, usually non-unionised, companies that have developed internal welfare systems for their employees. Welfare capitalism first developed in the United States in the 1880s and gained prominence in the 1920s.  Promoted by business leaders during a period marked by widespread economic insecurity, social reform activism, and labor unrest, it was based on the idea that Americans should look not to the government or to labor unions but to the workplace benefits provided by private-sector employers for protection against the fluctuations of the market economy. Companies employed these types of welfare policies to encourage worker loyalty, productivity and dedication. Owners feared government intrusion in the Progressive Era, and labor uprisings from 1917 to 1919—including strikes against "benevolent" employers—showed the limits of paternalistic efforts. For owners, the corporation was the most responsible social institution and it was better suited, in their minds, to promoting the welfare of employees than government. Welfare capitalism was their way of heading off radicalism and regulation then.  The benefits offered by welfare capitalist employers were often inconsistent and varied widely from firm to firm. They included minimal benefits such as cafeteria plans, company-sponsored sports teams, lunchrooms and water fountains in plants, and company newsletters/magazines—as well as more extensive plans providing retirement benefits, health care, and employee profit-sharing. Examples of companies that have practiced welfare capitalism include Kodak, Sears, and IBM, with the main elements of the employment system in these companies including permanent employment, internal labor markets, extensive security and fringe benefits, and sophisticated communications and employee involvement.

Anti-unionism.

Welfare capitalism was also used as a way to resist government regulation of markets, independent labor union organizing, and the emergence of a welfare state. Welfare capitalists went to great lengths to quash independent trade union organizing, strikes, and other expressions of labor collectivism—through a combination of violent suppression, worker sanctions, and benefits in exchange for loyalty. Also, employee stock-ownership programs meant to tie workers to the success of companies (and accordingly to management). Workers would then be actual partners with owners—and capitalists themselves. Owners intended these programs to ward off the threat of "Bolshevism" and undermine the appeal of unions.  The least popular of the welfare capitalism programs were the company unions created to stave off labor activism. By offering employees a say in company policies and practices and a means for appealing disputes internally, employers hoped to reduce the lure of unions. They dubbed these employee representation plans "industrial democracy."

Efficacy.

In the end, welfare capitalism programs benefited white-collar workers far more than those on the factory floor in the early 20th century. The average annual bonus payouts at U.S. Steel Corporation from 1929 to 1931 were approximately $2,500,000; however, in 1929, $1,623,753 of that went to the president of the company. Real wages for unskilled and low-skilled workers grew little in the 1920s, while long hours in unsafe conditions continued to be the norm. Further, employment instability due to layoffs remained a reality of work life. Welfare capitalism programs rarely worked as intended, company unions only reinforced that authority of management over the terms of employment.  Wage incentives (merit raises and bonuses) often led to a speed-up in production for factory lines. As much as these programs meant to encourage loyalty to the company, this effort was often undermined by continued layoffs and frustrations with working conditions. Employees soured on employee representation plans and cultural activities, but they were eager for opportunities to improve their pay with good work and attendance and to gain benefits like medical care. These programs gave workers new expectations for their employers. They were often disappointed in the execution of them but supported their aims. The post-World War II era saw an expansion of these programs for all workers, and today, these benefits remain part of employment relations in many countries. Recently, however, there has been a trend away from this form of welfare capitalism, as corporations have reduced the portion of compensation paid with health care, and shifted from defined benefit pensions to employee-funded defined contribution plans.

Welfare capitalism is capitalism that includes social welfare policies. Welfare capitalism is also the practice of businesses providing welfare services to their employees. Welfare capitalism in this second sense, or industrial paternalism, was centered on industries that employed skilled labor and peaked in the mid-20th century.

福利资本主义是一种包含一系列社会福利政策的资本主义,这些福利政策包括:社会保障、医疗保障、集体谈判权、工业安全守则等。福利资本主义亦是指公司给员工提供福利的习惯。就后者来说,福利资本主义——又称工业家长制——主要盛行于聘用技术劳工的行业,并在二十世纪中叶最为盛行。


History.

The land was occupied for thousands of years by the Yokuts. Beginning in the eighteenth century, Spain established missions to colonize California and convert the American Indians to Christianity. Comandante Pedro Fages, while hunting for deserters in the Central Valley in 1772, discovered a great lake surrounded by marshes and filled with rushes; he named it "Los Tules" (the tules). It is from this lake that the county derives its name. The root of the name "Tulare" is found in the Nahuatl word "tullin", designating cattail or similar reeds. In 1805, 1806 and again in 1816, the Spanish out of Mission San Luis Obispo explored Lake Tulare. Bubal was a native village located on the Western side of Lake Tulare. In 1816, Fr. Luis Martinez of Mission San Luis Obispo arrived at Bubal with soldiers and armed Christian Northern Chumash pressuring the people to send their children for baptism at his mission on the coast. Conflict broke out, and Martinez' party burned Bubal to the ground, destroying the cache of food harvested for the winter. Although Bubal's relationship with the Christian Salinan under Fr. Cabot at Mission San Miguel was better, between 1816 and 1834, Bubal was a center of native resistance. The marshes around Lake Tulare were impenetrable by Spanish horses, which gave the Yokuts a military advantage. At one point, the Spanish considered building a presidio with 100 soldiers at Bubal to control the resistance, but that never came to pass. The Spanish called the natives of the area Tulareños, and before 1816 and after 1834, they were incorporated into Mission San Miguel and Mission San Luis Obispo.  After Mexico achieved independence, it continued to rule California. After the Mexican Cession and the Treaty of Guadalupe Hidalgo in 1848, the area became part of the United States. Tulare County was soon formed from parts of Mariposa County only 4 years later in 1852. There were two early attempts to split off a new Buena Vista County in 1855, and Coso County in 1864, but both failed. Parts of the county's territory were given to Fresno County in 1856, to Kern County and to Inyo County in 1866 and to Kings County in 1893.  The infectious disease Tularemia caused by the bacterium "Francisella tularensis" is named after Tulare County.  In 1908 Colonel Allen Allensworth and associates founded Allensworth as a black farming community. They intended to develop a place where African Americans could thrive free of white discrimination. It was the only community in California founded, financed and governed by African Americans. While its first years were highly successful, the community encountered environmental problems from dropping water tables which eventually caused it to fail. Today the historic area is preserved as the Colonel Allensworth State Historic Park, which is listed on the National Register of Historic Places.

Geography.

According to the U.S. Census Bureau, the county has a total area of, of which is land and (0.3%) is water.

National protected areas.

Sequoia National Park.

Sequoia National Park is a national park in the southern Sierra Nevada, east of Visalia. It was established in 1890 as the second U.S. national park, after Yellowstone. The park spans. Encompassing a vertical relief of nearly, the park contains among its natural resources the highest point in the contiguous 48 United States, Mount Whitney, at above sea level. The park is south of and contiguous with Kings Canyon National Park; the two are administered by the National Park Service as one unit, called Sequoia and Kings Canyon National Parks.

Flora.

Tulare County is rich in native plant species due in part to a diversity in habitats, including creeks, rivers, hills, and mountains. Native plants include incense cedar ("Calocedrus decurrens"), valley oak ("Quercus lobata"), California bay ("Umbellularia californica"), manzanita ("Arctostaphylos manzanita"), "Salvia spathacea", mountain mahogany ("Cercocarpus betuloides"), milkweed ("Asclepias speciosa"), "Epilobium cleistogamum", monkeyflower ("Mimulus"), "Penstemon", California melic ("Melica californica"), and deer grass ("Muhlenbergia rigens").

Government and policing.

Administration.

Tulare County is a general law county under the California Constitution. That is, it does not have a county charter. The county is governed by a five-member Board of Supervisors. Supervisors are elected by districts for four-year terms. There are no term limits in effect. The Chairman and Vice-Chairman are elected annually by the Board of Supervisors from among its members.

Sheriff.

The Tulare County Sheriff provides court protection, county jail operation, patrol and detective functions in the unincorporated areas of the county. Incorporated towns have municipal police departments or contract with the Sheriff for their police operations.

Transportation.

Public transportation.

Tulare County Transit provides a countywide bus service linking the population centers. A connection to Delano in Kern County is also operated.  The cities of Tulare, Porterville, and Visalia have their own local bus services.  Greyhound and Orange Belt Stages provide long-distance, intercity bus service.

Airports.

The Porterville Municipal Airport located 3 nautical miles from Downtown Porterville has very limited commercial passenger service with WestAir. The airport offers general aviation to the public, it is also home to Porterville Air Attack Base on the south part of the airport. The Visalia Municipal Airport is a city-owned airport for the city of Visalia, California. Mefford Field is a city-owned general aviation airport located in Tulare.  The nearest full operation commercial airports are Bakersfield's Meadows Field Airport to the South, and Fresno's Fresno Yosemite International Airport to the North.

Crime.

The following table includes the number of incidents reported and the rate per 1,000 persons for each type of offense.

Demographics.

2010.

The 2010 United States Census reported that Tulare County had a population of 442,179. The racial makeup of Tulare County was 265,618 (60.1%) White, 7,196 (1.6%) African American, 6,993 (1.6%) Native American, 15,176 (3.4%) Asian, 509 (0.1%) Pacific Islander, 128,263 (29.0%) from other races, and 18,424 (4.2%) from two or more races. There were 268,065 people (60.6%) of Hispanic or Latino origin, of any race.

2000.

As of the census of 2000, there were 368,021 people, 110,385 households, and 87,093 families residing in the county. The population density was 76 people per square mile (29/km2). There were 119,639 housing units at an average density of 25 per square mile (10/km2). The racial makeup of the county was 58.1% White, 1.6% Black or African American, 1.6% Native American, 3.3% Asian, 0.1% Pacific Islander, 30.8% from other races, and 4.6% from two or more races. 50.8% of the population were Hispanic or Latino of any race. 6.2% were of American, 5.7% German and 5.0% English ancestry according to Census 2000. 56.3% spoke English, 38.9% Spanish and 1.1% Portuguese as their first language.  There were 110,385 households out of which 44.9% had children under the age of 18 living with them, 58.1% were married couples living together, 14.5% had a female householder with no husband present, and 21.1% were non-families. 17.1% of all households were made up of individuals and 7.7% had someone living alone who was 65 years of age or older. The average household size was 3.28 and the average family size was 3.67.  In the county, the population was spread out with 33.8% under the age of 18, 10.6% from 18 to 24, 27.6% from 25 to 44, 18.2% from 45 to 64, and 9.8% who were 65 years of age or older. The median age was 29 years. For every 100 females there were 100.0 males. For every 100 females age 18 and over, there were 97.7 males.  The median income for a household in the county was $33,983, and the median income for a family was $36,297. Males had a median income of $30,892 versus $24,589 for females. The per capita income for the county was $14,006. About 18.8% of families and 23.9% of the population were below the poverty line, including 32.6% of those under age 18 and 10.5% of those age 65 or over.

Metropolitan Statistical Area.

The United States Office of Management and Budget has designated Tulare County as the Visalia-Porterville, CA Metropolitan Statistical Area. The United States Census Bureau ranked the Visalia-Porterville, CA Metropolitan Statistical Area as the 111th most populous metropolitan statistical area of the United States as of July 1, 2012.  The Office of Management and Budget has further designated the Visalia-Porterville, CA Metropolitan Statistical Area as a component of the more extensive Visalia-Porterville-Hanford, CA Combined Statistical Area, the 80th most populous combined statistical area and the 92nd most populous primary statistical area of the United States as of July 1, 2012.

Politics.

Overview.

Tulare is a strongly Republican county in Presidential and congressional elections. The last Democratic candidate for President to win a majority in the county was Lyndon Johnson in 1964. In the 2016 presidential election, Republican candidate and overall winner, Donald Trump, won Tulare by a 9.39% margin of victory, the closest margin of victory for a Republican in the county since Richard Nixon's 8.37% margin in 1960.  In the United States House of Representatives, Tulare County is split between 3 congressional districts:  In the California State Senate, it is split between 3 legislative districts:  In the California State Assembly, the county is split between, and.

Economy.

The dairy industry, with sales of milk products, brings in the most revenue for the county, typically more than US$ 1 billion a year annually. Oranges, grapes, and cattle-related commodities also earn hundreds of millions of dollars annually.  In 2001, Tulare became the most productive county in the U.S. in terms of agricultural revenues, at US$3.5 billion annually. It surpassed Fresno County's US$3.2 billion, which had held the top spot for over two decades. Due to the importance of agriculture in the county as well as its location in the state, since 1968 the city of Tulare has been the site of the annual World Ag Expo, the world's largest agricultural exposition.  Minor league sports teams, such as the baseball Visalia Rawhide of the class-A level California League (an affiliate to the Arizona Diamondbacks), two teams of the Minor League Football Association in Tulare and Visalia, and four teams of the Central California Basketball League based in Porterville, attract many residents and add to the amenities in the county.

Top employers.

According to the County's "2010 Comprehensive Annual Financial Report", the top employers in the county are:

Utlities and Infrastructure.

Electricity service in Tulare Cunty is served by Southern California Edison. TV and internet is served by Charter Spectrum.

Communities.

Population ranking.

The population ranking of the following table is based on the 2010 census of Tulare County.  † "county seat"

Tulare County ( ) is a county in the U.S. state of California. As of the 2010 census, the population was 442,179. Its county seat is Visalia. The county is named for Tulare Lake, once the largest freshwater lake west of the Great Lakes. Drained for agricultural development, the site is now in Kings County, which was created in 1893 from the western portion of the formerly larger Tulare County.

图莱里县(英语:Tulare County)是美国加利福尼亚州中央谷地内的一个县,面积12,533.2平方公里。根据2010年人口普查,本县共有人口368,021人。本县县治为维塞利亚。


Statement.

Let "A" be a symmetric square matrix of order "n" with real entries. Any non-singular matrix "S" of the same size is said to transform "A" into another symmetric matrix, also of order "n", where "S" is the transpose of "S". It is also said that matrices "A" and "B" are congruent. If "A" is the coefficient matrix of some quadratic form of R, then "B" is the matrix for the same form after the change of basis defined by "S".  A symmetric matrix "A" can always be transformed in this way into a diagonal matrix "D" which has only entries 0, +1 and −1 along the diagonal. Sylvester's law of inertia states that the number of diagonal entries of each kind is an invariant of "A", i.e. it does not depend on the matrix "S" used.  The number of +1s, denoted "n", is called the positive index of inertia of "A", and the number of −1s, denoted "n", is called the negative index of inertia. The number of 0s, denoted "n", is the dimension of the null space of "A", known as the nullity of "A". These numbers satisfy an obvious relation  The difference,, is usually called the signature of "A". (However, some authors use that term for the triple consisting of the nullity and the positive and negative indices of inertia of "A"; for a non-degenerate form of a given dimension these are equivalent data, but in general the triple yields more data.)  If the matrix "A" has the property that every principal upper left minor "Δ" is non-zero then the negative index of inertia is equal to the number of sign changes in the sequence

Statement in terms of eigenvalues.

The law can also be stated as follows: two symmetric square matrices of the same size have the same number of positive, negative and zero eigenvalues if and only if they are congruent (formula_3, for some non-singular formula_4).  The positive and negative indices of a symmetric matrix "A" are also the number of positive and negative eigenvalues of "A". Any symmetric real matrix "A" has an eigendecomposition of the form "QEQ" where "E" is a diagonal matrix containing the eigenvalues of "A", and "Q" is an orthonormal square matrix containing the eigenvectors. The matrix "E" can be written "E" = "WDW" where "D" is diagonal with entries 0, +1, or −1, and "W" is diagonal with "W" = √|"E"|. The matrix "S" = "QW" transforms "D" to "A".

Law of inertia for quadratic forms.

In the context of quadratic forms, a real quadratic form "Q" in "n" variables (or on an "n"-dimensional real vector space) can by a suitable change of basis (by non-singular linear transformation from x to y) be brought to the diagonal form  with each "a" ∈ {0, 1, −1}. Sylvester's law of inertia states that the number of coefficients of a given sign is an invariant of "Q", i.e., does not depend on a particular choice of diagonalizing basis. Expressed geometrically, the law of inertia says that all maximal subspaces on which the restriction of the quadratic form is positive definite (respectively, negative definite) have the same dimension. These dimensions are the positive and negative indices of inertia.

Generalizations.

Sylvester's law of inertia is also valid if "A" and "B" have complex entries. In this case, it is said that "A" and "B" are *-congruent if and only if there exists a non-singular complex matrix "S" such that.  In the complex scenario, a way to state Sylvester's law of inertia is that if "A" and "B" are Hermitian matrices, then "A" and "B" are *-congruent if and only if they have the same inertia. A theorem due to Ikramov generalizes the law of inertia to any normal matrices "A" and "B":  If "A" and "B" are normal matrices, then "A" and "B" are congruent if and only if they have the same number of eigenvalues on each open ray from the origin in the complex plane.

Sylvester's law of inertia is a theorem in matrix algebra about certain properties of the coefficient matrix of a real quadratic form that remain invariant under a change of basis. Namely, if "A" is the symmetric matrix that defines the quadratic form, and "S" is any invertible matrix such that "D" = "SAS" is diagonal, then the number of negative elements in the diagonal of "D" is always the same, for all such "S"; and the same goes for the number of positive elements.

在代数学中,西尔维斯特惯性定理(英语:Sylvester's law of inertia)是指在实数域中,一个形如formula_1的二次型通过线性变换可以化简成惟一的标准型formula_2。其中的正项数(称为正惯性系数)、负项数(称为负惯性系数)以及 0 的数目惟一确定,其中的formula_3为系数矩阵的秩。正惯性系数formula_4-负惯性系数formula_5的值formula_6称作符号差。


Etymology.

First attested in English in 1467, the word "tapestry" derives from Old French, from, meaning "to cover with heavy fabric, to carpet", in turn from, "heavy fabric", via Latin ( ), which is the Latinisation of the Greek (;, ), "carpet, rug". The earliest attested form of the word is the Mycenaean Greek,, written in the Linear B syllabary.

Function.

The success of decorative tapestry can be partially explained by its portability (Le Corbusier once called tapestries "nomadic murals"). Kings and noblemen could roll up and transport tapestries from one residence to another. In churches, they were displayed on special occasions. Tapestries were also draped on the walls of castles for insulation during winter, as well as for decorative display.  In the Middle Ages and the Renaissance, a rich tapestry panel woven with symbolic emblems, mottoes, or coats of arms called a baldachin, canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The seat under such a canopy of state would normally be raised on a dais.  The iconography of most Western tapestries goes back to written sources, the Bible and Ovid's "Metamorphoses" being two popular choices. Apart from the religious and mythological images, hunting scenes are the subject of many tapestries produced for indoor decoration.

Historical development.

Tapestries have been used since at least Hellenistic times. Samples of Greek tapestry have been found preserved in the desert of Tarim Basin dating from the 3rd century BC.  The form reached a new stage in Europe in the early 14th century AD. The first wave of production occurred in Germany and Switzerland. Over time, the craft expanded to France and the Netherlands. The basic tools have remained much the same. In the 14th and 15th centuries, Arras, France was a thriving textile town. The industry specialised in fine wool tapestries which were sold to decorate palaces and castles all over Europe. Few of these tapestries survived the French Revolution as hundreds were burnt to recover the gold thread that was often woven into them. "Arras" is still used to refer to a rich tapestry no matter where it was woven. Indeed, as literary scholar Rebecca Olson argues, Arras were the most valuable objects in England during the early modern period and inspired writers such as William Shakespeare and Edmund Spenser to weave these tapestries into their most important works such as "Hamlet" and "The Faerie Queene".  By the 16th century, Flanders, the towns of Oudenaarde, Brussels, Geraardsbergen and Enghien had become the centres of European tapestry production. In the 17th century, Flemish tapestries were arguably the most important productions, with many specimens of this era still extant, demonstrating the intricate detail of pattern and colour embodied in painterly compositions, often of monumental scale.  In the 19th century, William Morris resurrected the art of tapestry-making in the medieval style at Merton Abbey. Morris & Co. made successful series of tapestries for home and ecclesiastical uses, with figures based on cartoons by Edward Burne-Jones.  Kilims and Navajo rugs are also types of tapestry work.  In the mid-twentieth century, new tapestry art forms were developed by children at the Ramses Wissa Wassef Art Centre in Harrania, Egypt, and by modern French artists under Jean Lurçat in Aubusson, France. Traditional tapestries are still made at the factory of Gobelins and a few other old European workshops, which also repair and restore old tapestries.

Contemporary tapestry.

While tapestries have been created for many centuries and in every continent in the world, what distinguishes the contemporary field from its pre-World War II history is the predominance of the artist as weaver in the contemporary medium. This trend has its roots in France during the 1950s, where one of the "cartoonists" for the Aubusson tapestry studios, Jean Lurçat spearheaded a revival of the medium by streamlining color selection, thereby simplifying production, and by organizing a series of Biennial exhibits held in Lausanne, Switzerland. The Polish work submitted to the first Biennale, which opened in 1962, was quite novel. Traditional workshops in Poland had collapsed as a result of the war. Also art supplies in general were hard to acquire. Many Polish artists had learned to weave as part of their art school training and began creating highly individualistic work by using atypical materials like jute and sisal. With each Biennale the popularity of works focusing on exploring innovative constructions from a wide variety of fiber resounded around the world.  There were many weavers in pre-war United States, but there had never been a prolonged system of workshops for producing tapestries. Therefore, weavers in America were primarily self-taught and chose to design as well as weave their art. Through these Lausanne exhibitions, US artists/weavers, and others in countries all over the world, were excited about the Polish trend towards experimental forms. Throughout the 1970s almost all weavers had explored some manner of techniques and materials in vogue at the time. What this movement contributed to the newly realized field of art weaving, termed "contemporary tapestry", was the option for working with texture, with a variety of materials and with the freedom for individuality in design  In the 1980s it became clear that the process of weaving weft-faced tapestry had another benefit, that of stability. The artists who chose tapestry as their medium developed a broad range of personal expression, styles and subject matter, stimulated and nourished by an international movement to revive and renew tapestry traditions from all over the world. Competing for commissions and expanding exhibition venues were essential factors in how artists defined and accomplished their goals.  Much of the impetus in the 1980s for working in this more traditional process came from the Bay Area in Northern California where, twenty years earlier, Mark Adams, an eclectic artist, had two exhibits of his tapestry designs. He went on to design many large tapestries for local buildings. Hal Painter, another well-respected artist in the area became a prolific tapestry artist during the decade weaving his own designs. He was one of the main artists to "...create the atmosphere which helped give birth to the second phase of the contemporary textile movement – textiles as art – that recognition that textiles no longer had to be utilitarian, functional, to serve as interior decoration."  Early in the 1980s many artists committed to getting more professional and often that meant traveling to attend the rare educational programs offered by newly formed ateliers, such as the San Francisco Tapestry Workshop, or to far-away institutions they identified as fitting their needs. This phenomenon was happening in Europe and Australia as well as in North America. Opportunities for entering juried tapestry exhibits were beginning to happen by 1986, primarily because the American Tapestry Alliance (ATA), founded in 1982, organised biennial juried exhibits starting in 1986. The biennials were planned to coincide with the Handweavers Guild or America's "Convergence" conferences. The new potential for seeing the work of other tapestry artists and the ability to observe how one's own work might fare in such venues profoundly increased the awareness of a community of like-minded artists. Regional groups were formed for producing exhibits and sharing information.  The desire of many artists for greater interaction escalated as an international tapestry symposium in Melbourne, Australia in 1988 lead to a second organization committed to tapestry, the International Tapestry Network (ITNET). Its goal was to connect American tapestry artists with the burgeoning international community. The magazines were discontinued in 1997 as communicating digitally became a more useful tool for interactions. As the world has moved into the digital age, tapestry artists around the world continue to share and inspire each other's work.  By the new millennium however, fault lines had surfaced within the field. Many universities that previously had strong weaving components in their art departments, such as San Francisco State University, no longer offered handweaving as an option as they shifted their focus to computerized equipment. A primary cause for discarding the practice was the fact that only one student could use the equipment for the duration of a project whereas in most media, like painting or ceramics, the easels or potters wheels were used by several students in a day. Worldwide, people from all different cultures began adopting these forms of decor for profession and personal use.  At the same time, "fiber art" had become one of the most popular mediums in their art programs. Young artists were interested in exploring a wider scope of processes for creating art through the materials classified as fiber. This shift to more multimedia and sculptural forms and the desire to produce work more quickly had the effect of pushing contemporary tapestry artists inside and outside the academic institutions to ponder how they might keep pace in order to sustain visibility in their art form.  Susan Iverson, a professor in the School of the Arts at Virginia Commonwealth University, explains her reasons: I came to tapestry after several years of exploring complex weaves. I became enamored with tapestry because of its simplicity — its straightforward qualities. It allowed me to investigate form or image or texture, and it had the structural integrity to hold its own form. I loved the substantial quality of a tapestry woven with heavy threads—its object quality.  Another prominent artist, Joan Baxter, states: My passion for tapestry arrived suddenly on the first day of my introduction to it in my first year at ECA [Edinburgh College of Art.] I don't remember ever having consciously thought about tapestry before that day but I somehow knew that eventually I'd be really good at this. From that day I have been able to plough a straight path deeper and deeper into tapestry, through my studies in Scotland and Poland, my 8 years as a studio weaver in England and Australia and since 1987 as an independent tapestry artist. The demanding creative ethos of the tapestry department gave me the confidence, motivation and self-discipline I needed to move out into the world as a professional tapestry weaver and artist. What was most inspiring for me as a young student was that my tutors in the department were all practising, exhibiting artists engaging positively with what was then a cutting edge international Fibre Art movement.  Archie Brennan, now in his sixth decade of weaving, says of tapestry: 500 years ago it was already extremely sophisticated in its development-- aesthetically, technically and in diversity of purpose. Today, its lack of a defined purpose, its rarity, gives me an opportunity to seek new roles, to extend its historic language and, above all, to dominate my compulsive, creative drive. In 1967, I made a formal decision to step away from the burgeoning and exciting fiber arts movement and to refocus on woven tapestry’s long-established graphic pictorial role.

Jacquard tapestries, colour and the human eye.

The term "tapestry" is also used to describe weft-faced textiles made on Jacquard looms. Before the 1990s tapestry upholstery fabrics and reproductions of the famous tapestries of the Middle Ages had been produced using Jacquard techniques but more recently, artists such as Chuck Close, Patrick Lichty, and the workshop Magnolia Editions have adapted the computerised Jacquard process to producing fine art. Typically, tapestries are translated from the original design via a process resembling paint-by-numbers: a cartoon is divided into regions, each of which is assigned a solid colour based on a standard palette. However, in Jacquard weaving, the repeating series of multicoloured warp and weft threads can be used to create colours that are optically blended – i.e., the human eye apprehends the threads’ combination of values as a single colour.  This method can be likened to pointillism, which originated from discoveries made in the tapestry medium. The style's emergence in the 19th century can be traced to the influence of Michel Eugène Chevreul, a French chemist responsible for developing the colour wheel of primary and intermediary hues. Chevreul worked as the director of the dye works at Les Gobelins tapestry works in Paris, where he noticed that the perceived colour of a particular thread was influenced by its surrounding threads, a phenomenon he called “simultaneous contrast". Chevreul's work was a continuation of theories of colour elaborated by Leonardo da Vinci and Goethe; in turn, his work influenced painters including Eugène Delacroix and Georges-Pierre Seurat.  The principles articulated by Chevreul also apply to contemporary television and computer displays, which use tiny dots of red, green and blue (RGB) light to render colour, with each composite being called a pixel.

Tapestry is a form of textile art, traditionally woven by hand on a loom. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colors worked over portions of the warp to form the design.

缂织壁毯,又称缂织挂毯,是指一种以缂织工艺纺织而成、挂在墙壁廊柱上的一种装饰用的艺术品。早期用羊毛、棉线等纺织,高档壁毯也有用丝绸、金线、银线等纺织,现在多用合成纤维,由织布机制作。缂织壁毯最初的功能是悬挂于房屋内部,以起到挡风御寒的作用。


Location.

The church is located about 200 m south of the grand-ducal palace in Darmstadt. The Fürstengruft in the crypt contains the graves of the reigning family of Hessen-Darmstadt. Additional graves can be seen inside the church. A graveyard around the church however is no longer existent.  The tower is 63 metre high and one of the tallest buildings in Darmstadt.

Tales.

Originally a tunnel may have connected the crypt and the palace. However, only a small tunnel actually remains.

History.

The church was first mentioned in the 12th century. However all parts remaining date from the 17th century or later. Until 1929 it contained a princely seat dated 1844 which was removed that year. Air raids in 1943 and 1944 damaged the church considerably. It was reconstructed 1946-1952.

Monuments.

The church contains various monuments to the ruling family dated 1576 1972. These include:

Jazz.

The "Live! Jazz in der Stadtkirche!" series began with the "Round Midnight" series in the summer of 2005, followed by regular spring and autumn jazz concerts and festivals in the church. The church sees jazz performances as part of its old function as a cultural mediator. Jazz opens the church to an audience beyond the parish. In the summer of 2013 the "Round Midnight – Jazz und Gedanken für Nachschwärmer" series in the church included pianist Rainer Böhm and guitarist Norbert Scholly. In spring of 2014 the "Live! Jazz in der Stadtkirche!" series included the "Live! Ladies of Jazz" program in January–February with performers such as pianist Anke Helfrich. Between September and December 2014 performers in this series included the drummer Billy Hart, pianist Michael Wollny and accordionist Vincent Peirani.

The Stadtkirche Darmstadt () is the main Protestant church of the city of Darmstadt and one of its parish churches, but no longer the bishopric seat of the local Evangelische Kirche in Hessen und Nassau, which is the Pauluskirche in Darmstadt.

达姆施塔特城市教堂 () 是德国达姆施塔特的主要新教教堂,但不再是黑森和拿骚福音教会的主教驻地(在圣保罗堂)。


History.

In March 2000, the UK government announced its plans to create a separate Wales & Borders franchise. In October 2001, the two National Express-operated franchises, Valley Lines and Wales & West, were reorganised, after which the new Wales & Borders franchise assumed responsibility for the majority of services in Wales as shown on its map. The services from Birmingham New Street to Chester, Aberystwyth, and Pwllheli operated by Central Trains were also transferred.  On 1 August 2003, the Strategic Rail Authority awarded Arriva the new franchise. The new franchise was for fifteen years, with performance reviews every five years; Arriva Trains Wales took over the services operated by Wales & Borders on 7 December 2003. The next five-yearly review period concluded on 31 March 2013. On 28 September 2003, the services from Birmingham New Street, Crewe and Manchester Piccadilly to Llandudno and Holyhead as well as those between Bidston and Wrexham Central and between Llandudno and Blaenau Ffestiniog, operated by First North Western, were transferred to the new Wales & Borders franchise.  As a result of the Railways Act 2005 and the Transport (Wales) Act 2006, responsibility for the franchise was later devolved to the Welsh Government. Accordingly, the Welsh Government worked closely with Arriva Trains Wales to manage and develop the railway network within Wales. Changes included the introduction of direct services between North and South Wales, and the reintroduction of passenger services on previously freight-only portions of the Vale of Glamorgan Line and Ebbw Vale Line.  At its height, ATW operated over a route length of 1691 km, with 253 DMU cars and 22 locomotive-hauled passenger carriages. Its busiest Welsh stations were, and in South Wales, and and in North Wales.  ATW operated almost all services in Wales, with the exception of:

Performance.

In October 2006, ATW was ranked seventh best (out of 21 companies) with an above average 89.9% of trains 'on time' according to Network Rail statistics. The latest figures released by NR (Network Rail) rate punctuality (Public Performance Measure) at 96.1% for period 7 of the 2013/14 financial year. The MAA (Monthly Annual Average) figure for the 366 days up to 12 October 2013 is currently at 93.9%.  In September 2017, a review on the conditions during a regular peak commute was published by 'Stu's Reviews'. The review was publicised through national news networks such as Wales Online. BBC Wales

Welsh-language services.

The Welsh Language Act 1993 requires all public bodies to provide services to the public through the medium of Welsh as well as English. As a private company and not a public body, Arriva Trains Wales was not legally required to provide service in Welsh, but it did conduct some business in Welsh. All stations previously run by Arriva Trains Wales where the Welsh and English names differed had both names displayed, with a few minor omissions. Arriva did not display Welsh names in the English stations which it managed, such as Chester (), Shrewsbury (), or Hereford (), but included the Welsh names in its now discontinued printed timetables and other publicity material. There were bilingual signs at Hereford, for example, warning against trespassing on the railway.  Arriva Trains Wales had introduced bilingual display screens and announcements in at least 46 stations.  In 2004, ATW introduced a Welsh-language telephone line. Its website was named the "Best Website of The Year in the Technology Wales Awards 2004".

Services.

Typical ATW weekday off-peak service was as follows:

Routes.

North Wales.

Services along the North Wales Coast Line terminated at and. Llandudno services ran every hour to Manchester Piccadilly via and. Holyhead services ran every hour, to via Chester and, then alternately to or. Request stations west of Llandudno Junction (Conwy,,,,,, and ) were generally served by alternate trains. The Conwy Valley Line were operated by a single train running between Llandudno and, with six return journeys a day. The private Ffestiniog Railway operated connecting services between Blaenau Ffestiniog and Minffordd near Porthmadog.  Services on the Borderlands Line ran from to on the Wirral Peninsula, crossing the North Wales Coast Line at. This line connected with main-line services at Wrexham General; with North Wales Coast line services at Shotton; and with electrified lines operated by Merseyrail at Bidston. It may be converted to electric operation in the future.

Mid Wales.

Cambrian Line services consisted of trains from to, Birmingham New Street and every two hours. Services from joined this train at. Services were operated exclusively by Class 158 "Express Sprinters", as they were the only units fitted with the necessary equipment for the ERTMS system used on the line.  The single-track nature of this line, coupled with the busy terminus at Birmingham New Street, meant that delays had in some cases resulted in partial cancellation of services on this line. Beginning December 2008, most services had been extended to the less busy Birmingham International station, giving more flexibility in making up any lost time; this was also intended to help international students at Aberystwyth University gain easier access to an airport. The Heart of Wales Line had services from to Shrewsbury via and four or five times a day. It was marketed by Arriva Trains Wales as a scenic, rural line, with special rover tickets available.

South Wales.

As of February 2017, ATW operated an hourly long-distance service from to Manchester Piccadilly via and the Welsh Marches Line. Some off-peak services terminated at or originated from Cardiff Central, and continued to or came from every two hours. There was also one service per day from Fishguard Harbour to Manchester Piccadilly, but not in the other direction. Some services operated to Tenby, Pembroke Dock, Carmarthen and Maesteg from Manchester Piccadilly.  ATW also operated a service every two hours from Cardiff Central to via, other branches of the West Wales Line as served by trains from Swansea and Cardiff Central. Trains operated a shuttle service between Swansea and Cardiff Central (known as Swanline), calling at more minor stations than the Great Western Railway InterCity services did.  ATW also operated the Heart of Wales line between Shrewsbury and Swansea via, with four trains per day in each direction. Special trains extending into South East Wales operated to Builth Road during the Royal Welsh Show annually in July.

Cardiff and Valleys.

The Valley Lines network, previously operated as a separate franchise, was a collection of urban lines in Cardiff and the surrounding area, including the South Wales Valleys and the Vale of Glamorgan. Arriva Trains Wales also operated a service from to. Stations in the valleys north of Cardiff experienced strong passenger growth, as a result of which there was a new half-hourly service launched (Pontypridd-Treherbert, Abercynon-Aberdare, Abercynon-Merthyr Tydfil and in the future Bargoed to Rhymney). Service frequency growth at the fringes was a significant problem because of often lengthy single-track sections. Between the larger towns and Cardiff, these services combined to provide at least one train every 15 minutes, with six trains previously ran per hour between Pontypridd and Cardiff, and four trains per hour between Bargoed and Cardiff. Stations on the Treherbert and Rhymney branch lines were lengthened to accommodate six-car trains to cope with future growth demand for commuting into and out of the capital.  On 6 February 2008, the Ebbw Valley Railway was partially re-opened to passenger services for the first time in over 40 years. It provided an hourly service from Ebbw Vale Town railway station (opened 17 May 2015) to Cardiff Central calling at Ebbw Vale Parkway,, Newbridge,,,, Pye Corner, and Cardiff Central. One year after opening, the line had carried 573,442 passengers, beating all targets set by the Welsh Assembly Government. Saturday trains ran as four-car formations instead of the standard two. Extra carriages were also added during school holidays when demand was high. Possible developments that never saw the light of day also included restoring the service between Ebbw Vale and Newport; before Arriva discontinued operations, the proposal awaited Network Rail and Welsh Government approval. If it has been implemented, it would have provided an hourly service between Newport and Ebbw Vale. Any further plans will now be implemented under TFW.  In July 2012 the Department for Transport announced that the Cardiff Valley Lines would be electrified, although no timescale has been given. This will entail replacement of the life-expired "Pacer" railbuses by new or cascaded stock. This project will now become reality under TFW, since Arriva Trains Wales is no longer operating.

Welsh Marches and Border.

Services between and Newport form part of other ATW services already mentioned, such as to, or to Manchester Piccadilly. Coming north, after calling at (for connections to Mid-Wales), trains for North Wales go to via Wrexham General, and trains for Manchester go to.

Premier Service.

A weekday Premier Service between Holyhead and Cardiff was introduced on 15 December 2008. This was run under contract to the Welsh Government. Wrexham & Shropshire and Grand Central expressed an interest in operating the service, but the contract was awarded to Arriva Trains Wales. At the time of the launch it was known as "Y Gerallt Gymro" (Gerald of Wales) but it then became known as the Premier Service.  It departed Holyhead at 05:34, returning from Cardiff departing at 17:16. It featured first-class accommodation and a full dining car with a travelling chef. Normal standard-class fares were valid on the train. First class attracted a supplement and included a complementary breakfast on the morning service and a three-course meal on the evening service. This was the only ATW service to offer first-class accommodation.  It originally ran via Crewe but in September 2012 was rerouted via Wrexham General, which required the train to change direction at Chester in addition to having its evening departure moved from 16:15.  In December 2014, the Premier Service was renamed to be the Business Class Service in an attempt by Arriva Trains Wales to make the service more appealing to those travelling to and from Cardiff to work. Ticket prices remained the same and were still sold as first class, and the restaurant service remains although tablecloths and antimacassars were been removed to promote a more work-like environment.

Special services.

For special events such as football or rugby matches, ATW operated additional services to the venue. Wales & Borders had arranged in the past a stopping service to. Numerous other services have been operated. ATW usually operates shuttle services to Newport on match days. When rugby international matches are held at the Millennium Stadium, ATW often ran an extra Holyhead to Cardiff service using the "Premier Service" rolling stock. In April 2015, ATW were highly criticised and issued an apology for their continual poor performance when dealing with the Judgement Day rugby matches at the Millennium Stadium. Passengers were left queuing for hours due to the lack of services and lack of carriages available, some had to abandon their journeys for other means such as taxi and van hire. A spokesman for the company said “I want to assure all customers that every single train in Wales was out [on Saturday].” He added that the event differed to international rugby events, because the majority of those travelling to the matches travelled from south and south west Wales, placing huge pressure on specific routes.

Past services.

Arriva Trains Wales used to operate services from Manchester Piccadilly, Pembroke Dock, Carmarthen and Swansea to London Waterloo, Brighton, Portsmouth Harbour, Plymouth and Penzance via Cardiff, Bristol and Westbury. Services south of Cardiff are operated by Great Western Railway, while the Bristol Temple Meads to London Waterloo service is run by South Western Railway

Rejected services.

ATW applied to reinstate a direct Aberystwyth to London Marylebone service serving all stations to Birmingham International and additionally calling at Leamington Spa and Bicester North. Two off-peak trains would have operated each day, while a further service would have been added on Saturdays in high summer. Rolling stock would have been Class 158 "Sprinters".  There were worries that, if ATW were granted this service, it would push Wrexham General to London Marylebone operator Wrexham & Shropshire out of business, with Wrexham & Shropshire Managing Director, Andy Hamilton, saying "We believe that this proposal – if approved – would push the date of profitability of WSMR by at least a year. As a result of this our owning group would be unable to sustain additional and continuing losses and the WSMR service would cease to exist." The application was rejected by the Office of Rail Regulation in March 2010 due to concerns about the financial viability of the service and the potentially high level of revenue abstraction from other operators. Wrexham & Shropshire ceased to operate a year later.

Stations served.

Fleet at end of franchise.

Arriva Trains Wales services were operated by diesel trains only, as there were no electrified railway lines in Wales. Arriva Trains Wales operated a fleet of 125 diesel multiple units. It also leased 3 locomotive-haul units for express services between Holyhead and Cardiff, and had occasionally used hired-in locomotives to run extra services for sporting events.  ATW inherited a fleet of Class 142, 143, 150, 153, 158 and 175s from Wales & Borders. The Class 175s were a common-user fleet, with 11 required by First TransPennine Express each day.  In the early years of the franchise, ATW operated locomotive-hauled services using Mark 2 carriages on services from Cardiff Central to Rhymney and Fishguard Harbour hauled by English Welsh & Scottish Class 37s and FiftyFund Class 50s, and from Crewe and Manchester Piccadilly to Holyhead hauled by Freightliner Class 47s and Virgin Trains Class 57s. ATW built up a fleet of 20 Mark 2 carriages to operate these; all had been withdrawn by 2007, most of them being stored at Long Marston.  ATW received 12 Class 150s cascaded from First ScotRail and another from One in 2004/05. In December 2006 another eight were transferred from First Great Western, notionally to provide stock for the Borderlands Line and Ebbw Valley Railway services. Following the delivery of new stock to First TransPennine Express in 2006, all of the Class 175s became available to ATW, resulting in 16 Class 158s being released for transfer to other operators.  In 2006, heritage unit 121032 was purchased by ATW for use on the Cardiff Bay Shuttle. The unit was overhauled by LNWR, Crewe, entering service with ATW on 17 August 2006. In 2013, the unit suffered an engine failure. This could not be rectified, meaning that the unit was withdrawn. It was then used as a source of spare parts by sister company Chiltern Railways.  In November 2007, another 9 Class 150s were transferred from Central Trains. From February 2008, 5 Class 150s (150278-282) were subleased to Great Western Railway. This was later reduced to 4 and then 2, the last returning in 2011.  In December 2008, the loco-hauled Holyhead to Cardiff "Premier Service" was inaugurated. It was hauled by Class 57s on hire from Virgin Trains, initially in top-and-tail formation and later singularly, hauling three standard class MK2s and a MK3 first/buffet. 4 Class 57s were repainted at Cardiff Canton and six Mark 2s were refreshed at Eastleigh Works. Class 67s took over from the Class 57s in March 2012, and MK3s refurbished by Pullman Rail from the Mark 2s in October 2012. From October 2011 until August 2012, 150280 was subleased to National Express East Anglia/Abellio Greater Anglia. In December 2014, a further MK3 set was introduced on services from Manchester Piccadilly-Holyhead/Llandudno.

Depots.

Arriva Trains Wales' fleet were stabled at three depots.

Future franchise.

The Invitation to Tender for the next franchise was issued in September 2017 and the contract as awarded in May 2018. The new franchise started in October 2018. In October 2016, Abellio, Arriva, Keolis/Amey and MTR Corporation were shortlisted to bid. Arriva withdrew from the tendering process in October 2017. Abellio followed in February 2018 after its partner Carillion entered liquidation in January.  On 23 May, it was announced that Transport for Wales would run the next Wales & Borders franchise for 15 years after Arriva Trains Wales' franchise expired. The company runs under the name Transport for Wales Rail Services, as the delivery partner of Transport for Wales.

Arriva Trains Wales () (ATW) was a British train operating company owned by Arriva UK Trains that operated the Wales & Borders franchise. It ran urban and inter-urban passenger services to all railway stations in Wales, including,,,, and, as well as to certain stations in England such as,,, Crewe, and.

Arriva威尔士铁路(英语:Arriva Trains Wales,,ATW)是英国一家提供铁路客运服务的公司,其路线范围包括威尔士及其附近地区。Arriva威尔士铁路是Arriva英国列车公司的一部分(Arriva Trains Wales)。Arriva威尔士铁路提供的客运服务范围包括了威尔士各主要线路和全部车站,此外Arriva威尔士铁路的列车也停靠在一些英格兰的车站,包括切斯特和伯明翰新街等。Arriva威尔士铁路的所有列车均为柴联车。


Plot.

An English knight of 'The Old Code', Bowen, mentors a Saxon prince named Einon, in his ideals with the hope that he will be a better king than his tyrannical father King Freyne. While suppressing a peasant rebellion, the king is killed in an ambush and Kara, a young peasant girl, accidentally causes Einon to be mortally wounded in the chest. Einon's Celtic mother, Queen Aislinn, has him taken before a dragon and asks it to save the boy's life. The dragon replaces Einon's wounded heart with half of its own on the promise that Einon will rule with justice and virtue. However, Einon proves even more tyrannical than his father by enslaving the former rebels that killed his father and forcing them to rebuild a Roman castle. Bowen, believing the dragon's heart twisted Einon, swears vengeance on all dragons by hunting them down.  Twelve years later, an adult Einon's castle is rebuilt. Kara asks that her father be freed after years of slavery; Einon agrees, but instead kills him to "free" him. Meanwhile, Bowen has become a very skilled dragonslayer. Brother Gilbert, a monk and aspiring poet, observes Bowen's prowess and follows him to record his exploits. Bowen stalks a dragon to its cave, but the confrontation ends in a stalemate. The dragon states that he is the last of his kind and they agree not to kill each other, instead forming a partnership to defraud local villagers with staged dragonslayings. Bowen names the dragon Draco, after the constellation. Unknown to Bowen, Draco is the dragon who shared his heart with Einon and feels any pain Einon feels.  Kara, seeking revenge on Einon, is imprisoned after a failed assassination attempt. Realizing she is responsible for his near-death as a boy, Einon attempts to seduce her and make her his queen. Aislinn, despising what her son has become, helps Kara escape the castle. Kara tries to rally her village's people against Einon, but they instead offer her as a sacrifice to Draco. After she is taken to Draco's lair, Einon arrives to recapture her and fights Bowen. As they fight, Einon demoralizes Bowen by declaring that he never believed in the code and was only using Bowen to learn how to fight. He gains the upper hand and nearly kills Bowen; Draco intervenes and reveals his half-heart, causing Einon to flee in horror. Kara asks Bowen to help overthrow Einon, but the disillusioned knight refuses.  Bowen and Draco come upon Gilbert at another village. Kara, disgusted by their actions, attempts to expose them, but the villagers do not believe her until after the staged slaying, while Draco is playing dead. When the villagers decide to carve him up for meat, he takes flight, revealing the scam. They then surround Bowen, Kara, and Gilbert, declaring to make "them" their meat instead. Draco rescues the trio and takes them to Avalon, where they take shelter among the tombs of the Knights of the Round Table. Draco tells Bowen about himself and Einon: he had hoped that by saving Einon, it would change his nature, reunite the races of Man and Dragon, and earn Draco a place in the stars, where worthy dragons go after they die. Instead, he fears his actions have cost him his soul and agrees to help fight against Einon. After a vision of King Arthur reminds him of his knightly honor, Bowen agrees as well.  Bowen and Draco organize the villagers into a formidable army, and they are nearly victorious against Einon's forces when Gilbert strikes Einon in the heart with an arrow. Draco, feeling Einon's pain, falls from the sky and is captured. Einon, realizing he is effectively immortal so long as Draco lives, is determined to keep the dragon safe. Aislinn, knowing of the connection, attempts to kill Draco during the night, but Einon intercepts and kills her instead.  The rebels invade Einon's castle, and Bowen throws Einon from the top of a tower. While he tries to free Draco, the dragon begs Bowen to kill him and end Einon's reign. Bowen can't bring himself to kill his friend, but Einon rises up and charges at Bowen. Reluctantly, Bowen throws an ax into Draco's exposed half-heart, killing Einon and Draco. Draco's body dissipates as his soul becomes a new star in the constellation, and Bowen and Kara lead the kingdom into an era of justice and brotherhood.

Production.

Patrick Read Johnson, who wrote the story for "Dragonheart", first proposed the idea for the film to producer Raffaella De Laurentiis. Johnson described it as ""The Skin Game" with a dragon in it...or "Butch Cassidy and the Sundance Dragon"", and that he wanted "the idea of a dragon and a knight conning villages for money" because he thought that the concept was "not only funny, but kind of sweet". De Laurentiis originally intended for John Badham, Rob Cohen's then-partner, to work on "Dragonheart". According to Cohen, Badham "didn't respond" to the material, so Johnson was then asked to direct the film. According to Johnson, before the film was ever called "Dragonheart" and had the element of the shared heart, it began with the premise of  Johnson and Charles Edward Pogue collaborated on the script and submitted it to Universal Pictures on a Friday, and two days later on Monday morning, Universal gave Johnson the green light to start making the film as the script produced such a strong emotional response from studio executives. After Universal approved the script and gave the go-ahead on the film, Johnson and De Laurentiis scouted Spain for filming locations. Johnson described "Dragonheart" as its own phenomenon that took off in Hollywood since it was "a movie that everybody wanted to be in, and everybody wanted to score, and everybody wanted to be the cinematographer of, and everybody wanted to direct." For a test of a campfire scene, Johnson had the then-unknown Clive Owen stand in for Liam Neeson as Bowen opposite an animatronic Draco made by Jim Henson's Creature Shop.  As tests for Draco were being done by the Creature Shop, Universal believed it would be better to wait as Industrial Light & Magic (ILM) were doing computer-generated imagery (CGI) tests for "Jurassic Park" that could potentially benefit "Dragonheart". Additionally, according to Johnson, Universal saw the Creature Shop test footage as the pretext for the quality of the final film, and went behind his back trying to remove him from the project and give it to an A-list director since Johnson only had one film to his name at the time. Raffaella De Laurentiis tried to negotiate the budget to one the studio would accept at around $21 million but Universal wouldn't accept an amount lower than $23 million, and would ironically end up spending roughly triple the amount on the film. When Universal ended his contract, Johnson was only paid and given credit as executive producer and for writing the story. For his desired direction for the film, Johnson said  Then as Universal sought a replacement director, Richard Donner was approached and Kenneth Branagh was declined when the studio said the amount he asked for to both star in the film and direct it was too expensive. After working with De Laurentiis on "" in 1993, Rob Cohen agreed to take over as director for the film. Johnson said he harbored no ill will for Cohen taking over the project until he "started hearing the horror stories about how Chuck Pogue was being treated, and then I started seeing Rob taking credit for things that weren't his to take credit for"—e.g., in the ""Making of Dragonheart"" featurette on the DVD, Cohen says he was aware of the project for years before he got the directing job, and that Johnson was merely involved with the script. Cohen also took credit for Draco's design and Sean Connery being Draco's voice actor. Johnson cites an article from "Cinescape" magazine "where Rob is again asked about the origin of the project and he basically tries to sell the idea that I was some film student that somehow got attached to this great project that somehow pre-existed my involvement."

Writing.

Patrick Read Johnson's manager Melinda Jason also managed screenplay writer Charles Edward Pogue, who previously wrote for David Cronenberg's remake of "The Fly" and was working on an adaptation of "A Princess of Mars" for Disney. When meeting for drinks in Bora Bora, Johnson pitched the idea for "Dragonheart" to Pogue and he agreed to work on the film. Together, Johnson and Pogue worked on the script, developing the characters and the Old Code. According to Pogue, the script for "Dragonheart" is among his best work and it moved countless people to tears. After the script was completed in 1990, it went unchanged for the next four years, but since it got such a resounding response, Universal fired Johnson in the hopes of getting a more experienced director like Steven Spielberg. Since "Jurassic Park" was released and Universal Studios sought to have Draco made with CGI like the dinosaurs, this meant the script had to be altered in accordance with Draco's allowed screen time based on the film's budget. As a result, Draco would be seen in the film less often compared to his appearances in the original script, which included a sequence with Bowen flying around on Draco's back.  According to Pogue, production on the film became troublesome after Rob Cohen was hired as he felt the director "had neither the poetry in his soul nor the panache to bring "Dragonheart" to the screen." Changes to the script under Cohen's direction include the Queen Aislinn character being reduced to "a glorified bit player", the deletion of a scene between Pete Postlethwaite and Dennis Quaid by a riverbank where their characters Gilbert and Bowen talk about their goals and motivations, and scenes showing the developing love story between Bowen and Kara, which is only alluded to in the final film without any proper resolution. For example, there's a scene that was filmed of Kara and Bowen declaring their love for each other, during which Bowen asks Kara for her "lady's favor", Kara reveals she was raped by Einon and therefore has nothing to give Bowen, and ends with Bowen kneeling and giving her a chaste kiss on the hand. Cohen reportedly removed the scene because he felt Kara should be more of an action-oriented character swinging axes around and didn't believe she would go around making "sappy speeches", but according to Pogue, the scene was cut because Cohen couldn't get the desired performance, which involved having Kara and Bowen in an intimate embrace instead of the kiss on the hand, and got into conflict with Dina Meyer. This also caused the deletion of a scene with the peasant army giving Bowen a suit of armor they make for him and Bowen being overwhelmed with emotion, which Pogue considered Dennis Quaid's best scene. Cohen's desire to showcase Draco as the film's main attraction caused vital "connective tissue" scenes of the film to be dropped and as a result made the film feel inconsistent and rushed. Pogue said the film also suffered because of Universal aiming to turn "Dragonheart" into more of a kids' movie as the dark and serious elements were either removed or dumbed-down. As said by Johnson, "They messed with the script and started adding things like, "Ready or not here I come! It's Draco!" I mean, we never had that stuff in our script! All this cheesy crap that just juvenilized the picture."  Another change Cohen made to the script that was a bone of contention to Pogue was the lack of logic in the addition of the pigs to the swamp village scene. In Johnson's words,  Pogue explains that Draco uses the scams he and Bowen do as a way to "pick at Bowen's conscience and test his morality" as each village they go to is more poverty-stricken than the last. This point would come to a head and serve Bowen's character arc at the swamp village where its people are beyond poor and Bowen feels he can no longer justify the scams as a way of being a thorn in Einon's side. When Cohen added the pigs to the scene, Pogue told De Laurentiis this would make everyone look stupid because the villagers were supposed to be starving, trying to eat a seemingly dead Draco for an easy meal before turning on Bowen, Kara, and Gilbert for being the victims of a joke, and yet they're surrounded by pigs that would have sustained them. Both Pogue and De Laurentiis brought the illogical nature of adding the pigs to Cohen's attention but he disregarded their concerns, so the pigs stayed in the film and the elements that would serve Bowen's arc were rendered moot.  According to Johnson, the script changes also damaged the character of Einon. Johnson envisioned Kenneth Branagh or a similar actor in the role of Einon as a quiet and confident villain with a sense of unpredictability that would go crazy once he realized that his fate is connected to Draco's. To Johnson, the script revisions turned Einon into a brat who constantly shouted and a character that couldn't be developed.

Casting.

During his time location scouting in Spain, Johnson created the character of Draco and he and Pogue shaped it for Sean Connery, a client of Creative Artists Agency (CAA) at the time, who was Johnson's only choice in mind to voice Draco. According to Johnson, he wanted to "animalize" Connery's voice by giving it "deep resounding rumbles, and make the vocabulary such that it didn't sound quite human" so that instead of how it's heard in the final film, "it wasn't just gonna be Sean Connery's voice coming out of the dragon".  After location scouting was done, CAA sent numerous English actors to meet with Johnson for the part of Bowen including Gabriel Byrne, Timothy Dalton, and Pierce Brosnan, while English actresses sent for the role of Kara included Elizabeth Hurley and Patsy Kensit. Johnson then met the then-up-and-coming Liam Neeson and the two hit it off, with Johnson noting how Neeson could be both brooding and funny. However, much to Johnson's chagrin, the studio refused to believe Neeson could pull off the action hero role due to him just completing "Darkman". Wanting a big name lead actor for the film, Universal sent the "Dragonheart" script to actors such as Tom Hanks, Kevin Bacon, and Arnold Schwarzenegger as potential candidates to replace Neeson as Bowen, and even suggested that Whoopi Goldberg do the voice of Draco instead of Connery. Other actors considered to replace Neeson included Harrison Ford, Mel Gibson, and Patrick Swayze, who was Cohen's first choice for Bowen before Dennis Quaid accepted the role. With the castings of Quaid as Bowen and Dina Meyer as Kara, Johnson said  Johnson also claimed that David Thewlis' performance as Einon was greatly hindered by how the scenes with Lee Oakes as young Einon were shot first, and Oakes spoke with a thick Northern English accent, therefore forcing Thewlis to mimic the child actor's accent.

Dragon design and animation.

To be able to stay within the budget that Universal was willing to shell out with Johnson directing, the developers approached Jim Henson's Creature Shop to create the Draco through traditional means. The dragon model, including a full-size head that could speak in real-time, was done within eight weeks time, and the crew then went to Shepperton Studios in England to begin shooting the film, starting with the campfire scene. The crew faced difficulties in keeping within the budget.  Phil Tippett, a visual effects producer specializing in creature design and character animation, and ILM were hired to work on animating Draco for "Dragonheart". Tippett states that the responsibilities that his studio had for "Dragonheart" differed from what they did for "Jurassic Park" in that they were mostly responsible for the actual look and design of the dragon as well as the storyboards, blocking, and the timing of action sequences.  Tippett worked closely with sculptor Pete Konig in designing Draco. Konig crafted several maquettes that they showed to Cohen, and they worked on improving the ones that Cohen said "[felt] right", adding forearms to the design. Cohen's ideas for Draco's design stemmed from the traditional Chinese guardian lion, which Cohen describes as having "a lion-like elegance, a fierceness", and that it is "ultimately a proud...visually powerful creature". He also drew ideas from nature, such as the boa constrictor's jaw structure and the musculature of horses. Tippett also took into consideration how the scenes with Draco in it would be framed, the size difference between Draco and the human actors, and what he would actually be doing throughout the film. Draco's hide and wings were originally going to have an iridescent quality and his eyes were to be more detailed such as being able to dilate, but those design elements were dropped due to software issues and running out of time.  Tippett and his crew created a five-foot model of Draco for lighting reference, and an articulated model that could be used as a reference for Draco's poses. Because Draco would have more screen time than the CGI dinosaurs in "Jurassic Park" (23 minutes for Draco, as opposed to six and a half for the dinosaurs), visual effects producer Julie Weaver and her team did a screen test for "Dragonheart" six to eight months before actual storyboarding, using a "stretched out" version of the "Tyrannosaurus rex" from "Jurassic Park".  The film is notably the first to use ILM's Caricature software as it was developed to help lip-sync Draco's animation to Sean Connery's voiceover work, and noted for having the first realistic computer-generated dragon in film.

Filming.

Actual filming began in July 1994 in Slovakia. During sequences with Draco and Bowen in them, visual effects supervisor Scott Squires and his teams used what they called a "monster stick"—a pole with a bar and two red circles at the top—as an indicator for where Draco's eyes would be for Quaid's reference. They also set up speakers through which Cohen would read Draco's lines for Quaid, which Quaid said "helped [him] out a lot."  While filming the scenes involving Draco in flight, the crew used a microlight as reference, and then edited the footage to "put Draco over the top of that and remove any traces of the aircraft."  Although Draco is fully rendered in CGI, full-sized models of some of Draco's body parts were used for some of the scenes. One of them was Draco's foot, which was used to pin Bowen to the ground, and the other was Draco's jaw during the scene where Bowen gets trapped inside it. While the foot was a non-moving prop, the jaw had moving parts and was operated by a puppeteer.  According to Cohen, they spent an additional thirteen months working on the film after making the final cut of the film. He was in Rome to shoot "Daylight" on-location during this period, and had to review animation sequences with ILM and give them his comments and instructions through a satellite hookup.

Music.

Originally, after reading the script, Jerry Goldsmith personally requested Johnson to let him score "Dragonheart" when Johnson was set to direct the film. However, Goldsmith never got to write any music for the film as things fell through during "Dragonheart"'s production and left the project when Johnson was let go.  The score was composed by Randy Edelman. The main theme song, "The World of the Heart" and "To the Stars", were used in film trailers such as "Two Brothers", "Mulan", "Anna and the King", and "Seven Years in Tibet", clip montages at the Academy Awards, "numerous" other film trailers, and the closing credits of the U.S. broadcasts of the Olympic Games, making it a well-known film score. MCA Records released the film's soundtrack album on May 28, 1996, which contains 15 music tracks.

Release.

Box office.

The film was released on May 31, 1996 and grossed $115 million against the budget of $57 million.

Home video.

"Dragonheart" was released on VHS on November 19, 1996, and on DVD as a "Collector's Edition" on March 31, 1998. The film was later released on HD DVD on May 29, 2007. "Dragonheart" and "Dragonheart: A New Beginning" were released together on a one-disc print known as "2 Legendary Tales" on March 2, 2004. "Dragonheart" was released on Blu-ray Disc on March 27, 2012.

Novelization.

Charles Edward Pogue wrote a 262-page novelization of "Dragonheart", published by The Berkley Publishing Group in June 1996, based on his original screenplay with "several new inspirations that weren’t in any of the various drafts" and true to his vision of "Dragonheart" as the transcendent film it should have been. It has been released in several languages and in five editions in the U.S. to widespread critical acclaim, with readers praising Pogue's writing, how the book develops the story, setting, and characters more than the film, also noting its darker and more serious tone compared to that of the film. In 1999, the film was adapted into a junior novelization by Adriana Gabriel.

Differences from the film.

Some of the notable differences from the film are:

Reception.

Based on reviews from 30 critics compiled retrospectively, Rotten Tomatoes gives the film a score of 50% with an average rating of 5.7 out of 10. Critics praised the premise, visual effects, and character development but panned the script as confusing and clichéd.  Roger Ebert gave the film 3 stars out of 4, saying "While no reasonable person over the age of 12 would presumably be able to take it seriously, it nevertheless has a lighthearted joy, a cheerfulness, an insouciance, that recalls the days when movies were content to be fun. Add that to the impressive technical achievement that went into creating the dragon, and you have something to acknowledge here. It isn't great cinema, but I'm glad I saw it." Jami Bernard of "The New York Daily News" described the film as "a movie for people young enough to keep dragons in the menageries of their imaginations", and went on to say that "the dragon is the most believable part of the whole movie." Ken Tucker of "Entertainment Weekly" gave the movie a positive review, but criticized the fact that Sean Connery provided the voice for Draco, saying that "If only Sean Connery didn't have such a wonderfully distinctive voice, Draco might live and breathe as his own creature."

Legacy.

In the years following its release and strong home media sales, "Dragonheart" gained a following and is considered a cult classic. The character of Draco also gained popularity, often being ranked as one of cinema's most memorable dragons, with fans noting him as ILM's best work on the heels of "Jurassic Park" and praising Sean Connery's vocal performance. In 2006, Draco was ranked no. 6 on a Top 10 list of movie dragons by Karl Heitmueller for "MTV Movie News".

20th anniversary.

On various days throughout the year in Toronto, a fully restored "20th anniversary edition" of "Dragonheart" with never-before-seen footage, enhanced visual effects, and a digitally remastered soundtrack is screened at the AMC Yonge & Dundas 24 theatre. On May 31, 2016, in celebration of the film's 20th anniversary, a retrospective article was published on the making of DragonHeart featuring Scott Squires and Phil Tippett among others who worked on the film.

Sequel and prequels.

A direct-to-video sequel to the film, "", was released in 2000, followed by three prequels, "" in 2015, "" in 2017, "", was released on February 4th, 2020.

Remake.

In a 2013 MTV interview about his then-upcoming film "5-25-77", "DragonHeart" creator Patrick Read Johnson expressed a desire to remake the film with Sean Connery and Liam Neeson, who was the original choice for the role of Bowen before Johnson was fired from the project. In April 2016, Matthew Feitshans, screenwriter of "Dragonheart 3" and "Dragonheart 4", stated that Universal wants to use the prequels to keep up the film series' momentum, mentioning the possibility and the hopes of them leading to a big-budget remake of the original film. In 2018, Patrick Read Johnson reiterated that he was still interested in the project, "I would love to give that a go."

Video games.

After its release, "Dragonheart" spawned a spin-off 2D hack and slash game for the PlayStation and Saturn called "", made by Acclaim Entertainment.

Dragonheart (stylized as DragonHeart) is a 1996 British-American fantasy action-adventure film directed by Rob Cohen. It stars Dennis Quaid, David Thewlis, Pete Postlethwaite, Dina Meyer, and the voice of Sean Connery. It was nominated for the Academy Award for Best Visual Effects and various other awards in 1996 and 1997. The film received mixed reviews but was a box office success. It was dedicated in memory of Steve Price and Irwin Cohen.

是一部1996年上映的奇幻冒险电影,罗伯·柯汉执导,由丹尼斯·奎德、彼得·普斯特李威、大卫·休里斯、迪娜·迈耶等人主演,史恩·康纳莱在此部电影担任魔龙一角之配音。这部影片于1996年和1997年获得包含奥斯卡最佳视觉效果奖在内等多个奖项提名。


Club career.

Peterborough United.

Born in Haverfordwest, Davies grew up in nearby Solva and played locally as a junior for Solva AFC, before becoming a trainee at Norwich City and then moving to Peterborough United at the age of 15. After graduating from the side's academy system, he quickly established himself as a first team player with the club, amassing over 50 first team appearances before he turned 20.  At the end of the 98/99 season he was named in the Division Three team of year, and as Peterborough's player of the year.  After a trial with Manchester United in July 1999, Davies' performances for Peterborough encouraged Tottenham Hotspur manager George Graham to spend £700,000 to take him, along with fellow winger Matthew Etherington, to White Hart Lane on 31 December 1999.

Tottenham Hotspur.

Davies made his Spurs debut on 9 April 2000 during a 2–0 defeat against Liverpool.  Davies spent the early months of the 2000–01 season as a substitute. However, after coming on for the injured Øyvind Leonhardsen early in the FA Cup fifth round tie against Stockport County on 17 February 2001, Davies scored twice. This game marked the beginning of his transformation into a first-team regular for the club.  In the five years that Davies played for Tottenham, during which time he suffered a number of injuries, he made 154 appearances and scored 24 goals in all competitions.

Everton.

On 26 May 2005, he completed a transfer to Everton for a fee which could have reached £4m depending on appearances. The move meant that Davies received his first chance to play in Europe's premier football competition, the UEFA Champions League. On the whole, Davies had a poor first season in Everton's disappointing 2005–06 campaign. He did, however, score a winning goal at Birmingham City to give Everton their first win in over two months, a result which prompted a change in fortunes for the Merseysiders.

Fulham.

In January 2007, he left Everton for Fulham, for an undisclosed fee. He was brought in as the long-term replacement for Steed Malbranque on the right side of midfield. On 30 January 2007, he played his first Premier League match for Fulham against Sheffield United. Since joining Fulham from Everton, he became a mainstay on the right hand side of midfield contributing with some spectacular goals (free kick against Sunderland and full volley against Reading) and great crosses. His pace, along with his high work rate made him a crowd favourite and earned him the respect of then-manager Lawrie Sanchez. Davies was voted Fulham's player of the season in 2007–08.  Davies scored a dramatic equaliser in the second leg of Fulham's UEFA Europa League semi-final against Hamburg on 29 April 2010; Fulham went on to win the game and the tie 2–1. He followed that up with a volleyed goal in the first half of the final against Atlético Madrid in Hamburg that made the score 1–1, although Fulham went on to lose 2–1 in extra time.  Davies signed a new deal with Fulham on 16 August 2010 that saw him playing for the club until 2013. However, Davies later career at Fulham faded after suffering injuries. This first occurred when he suffered a knee injury, which lead Davies sidelined for five months following surgery. Four months later, on 10 December 2011, Davies made his first start of the 2011/12 season, in a 2–0 loss against Swansea City. Davies went on to make six appearances before suffering a hip injury. Davies was told by Manager Martin Jol will only be a bit-part player to make way for youngsters ahead of the 2012–13 season.  Despite being included in the club's Premier League squad, Davies played his first match in the club's reserve match in a 2–2 against Wycombe Wanderers reserve team. Davies was one of 12 players released by Fulham at the end of the 2012–13 Premier League season.

Solva.

In July 2013, he returned to his boyhood club, Solva AFC, and played 40 minutes in a game against St Ishmael's at Maes-y-Mor. He formally signed for the amateur Pembrokeshire League Division Two club in September 2014, paying £3 per game'subs' for the privilege.

International career.

Davies made his debut for Wales in a World Cup qualifier against Ukraine on 6 June 2001, and scored his first goal against Croatia on 21 August 2002. Arguably, his best performance for his country came on 16 October 2002 when he scored the team's opening goal in a 2–1 victory over Italy.  Davies played for Wales 58 times and scored six goals, captaining his country during their 2010 World Cup qualifiers and he was Welsh Footballer Of The Year in 2002.  He announced his retirement from international football on 9 August 2010.

Simon Davies (born 23 October 1979) is a Welsh former professional footballer who played as a winger. Davies started his career at Peterborough United before playing for Premier League clubs Tottenham Hotspur, Everton and Fulham, earning a runner-up medal during the 2009–10 UEFA Europa League with Fulham. Davies made more than 350 appearances at senior club level in England, along with earning 58 caps for the Welsh national team.

西蒙·戴维斯(英语:Simon Davies,1979年-10月23日)是一名威尔士前职业足球运动员及前威尔士国脚。他擅长担任右边前锋或右边前卫,但必要时也能客串左路位置。