title: Toyota Mirai

text:
The  (from , Japanese for 'future') is a mid-size hydrogen fuel cell vehicle (FCV) manufactured by Toyota, and is the first FCV to be mass-produced and sold commercially. The Mirai was unveiled at the November 2014 Los Angeles Auto Show. , global sales totaled 21,475 units; the top-selling markets were the U.S. with 11,368 units, Japan with 7,435 and the rest of the world with 2,622.

Under the U.S. Environmental Protection Agency (EPA) cycle, the 2016 model year Mirai has a total range of  on a full tank. The MPG-equivalent combined city/highway fuel economy rating was , making the Mirai the most fuel-efficient hydrogen fuel cell vehicle rated at the time by the EPA, and the one with the longest range. In August 2021, the second-generation Mirai set a world record of traveling  with a full tank of  of hydrogen.

Sales in Japan began on 15 December 2014 at  (~) at Toyota Store and Toyopet Store locations. The Japanese government plans to support the commercialization of fuel-cell vehicles with a subsidy of  (~). Retail sales in the U.S. began in August 2015 at a price of  before any government incentives. Deliveries to retail customers began in California in October 2015. Toyota scheduled to release the Mirai in the Northeastern States in the first half of 2016. , the Mirai was available for retail sales in the UK, Denmark, Germany, Belgium, and Norway. Pricing in Germany started at  (~) plus VAT ().

History

FCV concept
The Mirai is based on the Toyota FCV-R (Fuel Cell Vehicle) concept car, which was unveiled at the 2011 Tokyo Motor Show and the Toyota FCV (Fuel Cell Vehicle) concept car, which was unveiled at the 2013 Tokyo Motor Show. The unveiled FCV concept was a bright blue sedan shaped like a drop of water "to emphasize that water is the only substance that hydrogen-powered cars emit from their tailpipes." The FCV has a large grille and other openings to allow cooling air and oxygen intake for use by the fuel cell. According to Toyota, the FCV concept is close in appearance to the expected production version of the car. The FCV size is similar to the Camry. The FCV range is expected to be approximately  under Japan's JC08 test cycle.

According to Toyota, the FCV features a fuel cell system with an output power density of 3.0 kW/L, which is twice as high as that of its previous fuel cell concept, the Toyota FCHV-adv, delivering an output power of more than 100 kW, despite significant unit downsizing. The FCV uses Toyota's proprietary, small, light-weight fuel cell stack and two 70 MPa high-pressure hydrogen tanks placed beneath the specially designed body. The Toyota FCV concept can accommodate up to four occupants. For the full-scale market launch in 2015, the cost of the fuel cell system is expected to be 95% lower than that of the 2008 Toyota FCHV-adv.

The FCV concept also uses portions of Toyota's Hybrid Synergy Drive technology including the electric motor, power control unit and other parts and components from its hybrid vehicles to improve reliability and minimize cost. The hybrid technology is also used to work together with the fuel cell. At low speeds such as city driving, the FCV runs just like any all-electric car by using the energy stored in its battery, which is charged through regenerative braking. At higher speeds, the hydrogen fuel cell alone powers the electric motor. When more power is needed, for example during sudden acceleration, the battery supports the fuel cell system as both work together to provide propulsion.

In June 2014, Toyota showcased an FCV with an exterior design close to production, announced details about pricing in Japan, and set a domestic market launch before April 2015, with initial sales limited to regions where hydrogen refueling infrastructure is being developed.

Timeline

 1992: Toyota starts development of FCV technology.
 1996: The EVS13, an FCV with a metal hydride hydrogen tank, takes part in a parade in Osaka.
 2001: Toyota shows the FCHV-4, FCHV-5, and Daihatsu MOVE FCV-K-II fuel-cell cars at the Tokyo Motor Show.
 2002: The Highlander-based FCHV is available for limited sales in the U.S. and Japan. The fuel-cell stack outputs 90 kW. The cruising range is . Two FCHVs are delivered to the Irvine and Davis campuses of University of California, four go to government departments in Japan.
 2003: Toyota and Daihatsu begin road testing of the MOVE FCV-K-II, a fuel-cell Kei car.
 2005: FCHV receives type certification in Japan.
 2008: The FCHV-adv has increased range of  for the 10-15 test cycle and better cold start capabilities.
 2009: U.S. government drops funding for hydrogen fuel-cell cars.
 2010: A Toyota/Hino FCHV Bus services daily commercial routes between Tokyo's Haneda Airport and the city center.
 2011: Satoshi Ogiso, deputy chief officer Product Planning Group, declares all technical problems as solved, says “the only remaining real issue that stands in the way of fuel-cell electric vehicles is mass production cost.”
 2011: Toyota shows an FCV concept vehicle, dubbed "FCV-R," at the Tokyo Motor Show.
 2012: Toyota Chairman Takeshi Uchiyamada says: “The current capabilities of electric vehicles do not meet society’s needs, whether it may be the distance the cars can run, or the costs, or how it takes a long time to charge.”
 2013: Reporters drive test mules of the fuel cell vehicle. Toyota demonstrates that fueling takes less than three minutes.
 2013: Toyota shows FCV sedan at Tokyo Motor Show.
 June 2014: Toyota shows close-to-production FCV to the press. Announces early 2015 availability in Japan at around .
 November 2014: Toyota launches a press release and photos detailing the production version of the fuel cell vehicle. Also announced is the official model name of Mirai which means "future".
 April 2015: The Mirai was the first hydrogen fuel cell vehicle to pace a NASCAR race at the Toyota Owners 400 at Richmond, US.
 June 2015: The Mirai was the pace car at the Toyota/Save Mart 350 at Sonoma, US.
 21 October 2015: Start sale and deliver in California, the same day to which the fusion-powered flying car in the film Back to the Future Part II time-travelled.
 August 2018: A Mirai was refilled in Australia with hydrogen separated from ammonia using a membrane technology.
 October 2019: The second-generation Mirai for 2021 model year is announced, based on the rear-wheel drive TNGA platform. It is significantly longer, wider and lower than the first-generation model.

Testing
Toyota began fuel cell development in Japan in the early 1990s and has developed a series of fuel cell vehicles, subjecting them to more than  of road testing.

Since 2012, fuel cell test vehicles have logged thousands of miles on North American roads. This includes hot testing in Death Valley, cold testing in Yellowknife, Canada, steep grade hill climbs in San Francisco and high altitude trips in Colorado. The Toyota-designed carbon fiber hydrogen tanks have also undergone extreme testing to ensure their strength and durability in a crash.

Between September 2015 and February 2016, one Mirai was driven  in 107 days on different roads in Hamburg, using just over one tonne of hydrogen.

Toyota started testing two Mirai fuel cells in an electric Class 8 semi-trailer truck in the Port of Los Angeles in 2017 as part of Project Portal.

First generation (JPD10; 2014)

Specifications

The Mirai uses the Toyota Fuel Cell System (TFCS), which features both fuel cell technology and hybrid technology, and includes proprietary Toyota-developed components including the fuel cell (FC) stack, FC boost converter, and high-pressure hydrogen tanks. The TFCS is more energy-efficient than internal combustion engines and emits no  at the point of operation or substances of concern (SOCs) when driven. The system accelerates Mirai from 0 to 97 km/h (0 to 60 mph) in 9.0 seconds and delivers a passing time of 3 seconds from . The Mirai refueling takes between 3 and 5 minutes, and Toyota expected a total range of  on a full tank. The Mirai has a button labeled  that opens a gate at the rear, dumping the water vapor that forms from the hydrogen-oxygen reaction in the fuel cell. The exhaust  or water volume is 240 mL per 4 km running.

At the end of the journey, there is still some water left in the pipes. Using the  button the water from the vehicle is pumped through the pipes out of the car. The video shows the process after about  drive.

Fuel economy and range
Under the United States Environmental Protection Agency (EPA) cycle, the 2016 model year Mirai has a range of  on a full tank, with a combined city/highway fuel economy rating of  equivalent (MPG-equivalent).

The official Toyota consumption declaration states hydrogen is consumed at the rate of  on the combined urban/extra urban cycle.

Fuel cell stack

The first generation of Toyota FC Stack achieved a maximum output of . Electricity generation efficiency was enhanced through the use of 3D fine mesh flow channels. These channels—a world first, according to Toyota—were arranged in a fine three-dimensional lattice structure to enhance the dispersion of air (oxygen), thereby enabling uniform generation of electricity on cell surfaces. This, in turn, provided a compact size and a high level of performance, including the stack's world-leading power output density of 3.1 kW/L (2.2 times higher than that of the previous Toyota FCHV-adv limited-lease model), or 2.0 kW/kg. Each stack comprises 370 (single-line stacking) cells, with a cell thickness of 1.34mm (0.05 in) and weight of . The compact Mirai FC stack generates about 160 times more power than the residential fuel cells on sale in Japan. The Mirai has a new compact (), high-efficiency, high-capacity converter developed to boost voltage generated in the Toyota FC Stack to 650 volts.

High-pressure hydrogen tanks

The Mirai has two hydrogen tanks with a three-layer structure made of carbon fiber-reinforced plastic consisting of nylon 6 from Ube Industries and other materials. The tanks are  combined, and store hydrogen at . The tanks have a combined weight of , and  capacity.

Electric traction motor and battery
Toyota's latest generation hybrid components were used extensively in the fuel cell powertrain, including the electric motor, power control and main battery. The electric traction motor delivers  and  of torque. The Mirai has a 245V (1.6 kWh) sealed nickel-metal hydride (NiMH) traction rechargeable battery pack, similar to the one used in the Camry hybrid.

Safety

At Toyota's Higashi-Fuji Technical Center, the Mirai has been subjected to extensive crash testing to evaluate a design specifically intended to address frontal, side and rear impacts and to provide claimed excellent protection of vehicle occupants. A high level of collision safety has also been achieved to help protect the fuel cell stack and high-pressure tanks against body deformation. The high pressure hydrogen tanks are claimed to have excellent hydrogen permeation prevention performance, strength, and durability. Hydrogen sensors provide warnings and can shut off tank main stop valves. The hydrogen tanks and other hydrogen-related parts are located outside the cabin to ensure that if hydrogen leaks, it will dissipate easily. The vehicle structure is enhanced with carbon-fiber-reinforced polymers from Toray and designed to disperse and absorb impact energy across multiple parts to ensure a high-impact safety performance that protects the Toyota FC Stack and high-pressure hydrogen tanks during frontal, side or rear impacts.

Second generation (JPD20; 2020)

The second-generation Mirai was unveiled in October 2019 and went on sale in December 2020. It has a target of 30 percent increase in driving range with increased hydrogen capacity.

In April 2021, Toyota announced that it would offer its "Teammate" level 2 driver assistance system on Mirai. The system offers two modes, Advanced Drive and Advanced Park. Advanced Drive provides "hands off" driving on supported roads with a driver monitoring system verifying that the operator keeps their eyes on the road. Advanced Park is an advanced parking assistance system.

In March 2023, the Mirai received a new infotainment system.

Safety

Euro NCAP
In September 2021, the second-generation Mirai achieved a five star Euro NCAP overall rating.

The car received a score of 33.8 points (88%) for adults, 42 points (85%) for children occupants, 43.7 points (80%) for pedestrians and 13.2 points (82%) for safety assist.

Infrastructure

, Japan had ten demonstration hydrogen fueling stations. Toyota operated three of these stations. To support commercialization of hydrogen fuel-cell vehicles by Toyota and other manufacturers, the Japanese government announced a goal to build approximately 100 hydrogen fueling stations by March 2016 in Japanese cities where the vehicles were to be launched initially. By May 2016, there were approximately 80 hydrogen fueling stations in Japan.

California had ten hydrogen fueling stations in 2015, and the government provided about $47 million for 28 additional stations there. As of December, 2017, there are 19 True Zero hydrogen stations and 33 total hydrogen stations operating in California.

, the province of British Columbia in Canada has 3 hydrogen stations in Metro Vancouver, one in Victoria and one station in Kelowna.

Production
Production of the fuel cell parts began in the Toyota Boshoku factory in November 2014.

Markets and sales

In January 2015, it was announced that production of the Mirai fuel cell vehicle would increase from 700 units in 2015 to approximately 2,000 in 2016 and 3,000 in 2017. , global sales totaled 5,300 Mirais. The top selling markets were the U.S. with 2,900 units, Japan with 2,100 and Europe with 200.

Japan
Sales in Japan began on 15 December 2014. Pricing starts at   (~) before taxes and a government incentive of  (~). Initially sales are limited to government and corporate customers. , domestic orders had already reached over 400 Mirais, surpassing Japan's first-year sales target, and as a result, there is a waiting list of more than a year. The dimensions of the Mirai place it in a higher tax bracket outlined in the Japanese Governments dimension regulations, and the weight of the vehicle is also taxed annually during the annual road tax obligation.

The Japanese government also provides a subsidy of 50% of the installation costs, with  (~) allocated for fiscal year 2014. A hydrogen station in Japan costs  (~), which is about  (~) more than in Europe, which allows more generic materials.

Toyota delivered the first market placed Mirai to the Prime Minister's Official Residence and announced it received 1,500 orders in Japan in one month after sales began on 15 December 2014, against a sales target of 400 for 12 months. By mid-February 2017, about 1,500 Mirais have been sold in Japan, and a total of about 2,100 at the end of 2017.

United States

The first 57 units were delivered to retail customers in California in October and November 2015. Toyota hoped to release the Mirai in the five Northeastern States in the first half of 2016, as hydrogen fueling infrastructure is built in the Boston and New York City regions. Toyota will provide free hydrogen fueling for the first three years to initial buyers of the Mirai, just as Hyundai does for lessees of its Hyundai Tucson-ix35 Fuel Cell in California. Toyota planned for cumulative sales of 3,000 Mirais in the U.S. by the end of 2017.

In the American market, the 2016 model year Toyota Mirai started at  before any government incentives, and a leasing option for 36 months was available with a $3,649 down payment and a lease rate of $499 per month. Several states have established incentives and tax exemptions for fuel cell vehicles. As a zero-emission vehicle (ZEV), the Mirai is eligible for a purchase rebate in California of  through the Clean Vehicle Rebate Project. The federal tax credit for fuel cell vehicles originally expired on 31 December 2014, but was retroactively extended through 31 December 2016. By September 2016, Toyota had reduced down-payment from  to  and leasing price to /month with several benefits, and sold 710 Mirais.

, U.S. sales totaled about 2,900 Mirais. Sales in California passed the 3,000 unit mark in January 2018, where there were 31 retail hydrogen stations in operation. , Mirai sales represent more than 80% of all hydrogen fuel cell vehicles on the road in the United States.

Canada
In January 2018, Toyota Canada announced that the Mirai for the Canadian market would first become available in Quebec, in line with the provincial government's zero-emission vehicle standard adopted the previous month. Previously, a fleet of 50 Mirai vehicles had been internally tested by the Quebec government under the direction of Quebec's Minister of Natural Resources, Pierre Moreau. The first public demonstrations for the vehicle took place at the January 2018 Montreal International Auto Show. Toyota is partnering with, among other agencies, Quebec's Ministry of Energy and Hydro-Québec, to introduce hydrogen fueling infrastructure in the province.

Europe
The market launch in Europe was in September 2015 and the UK became the first country to sell a Mirai outside Japan delivering the first car to ITM Power. Germany and Denmark were also in the first group of European countries where the Mirai was released, to be followed by additional markets in 2017. In Germany, pricing started at  (~) plus VAT. , the Mirai is available for retail sales across most of Europe including in the UK, Denmark, Germany, Belgium, France, the Netherlands, Italy, Spain, Sweden, and Norway. About 640 Mirai had been sold in Europe by the end of 2019. Copenhagen added 100 taxis in 2021.

Former European Parliament President Pat Cox estimated that Toyota would initially lose between  and  ( to  at 2014 exchange rates) on each Mirai sold in 2015.

Recognition

The Toyota Mirai won the 2016 World Green Car of the Year Award, announced at the 2016 New York International Auto Show.

In April 2018 the Mirai became first hydrogen powered fuel cell electric vehicle to travel the length of Great Britain from John O'Groats in Scotland to Land's End in England (Land's End to John o' Groats), a historic milestone in British motoring. Driven by Richard Bremner and Luc Lacey from Autocar magazine and Jon Hunt from Toyota they started the journey from Kirkwall in the Orkney Islands. To reach the hydrogen refuelling infrastructure at the time they travelled via Aberdeen, Sunderland, Rotherham and Beaconsfield covering  at an average speed of . The journey took 19 hours 40 minutes with hydrogen consumption of 0.9 kg per 100 km (16.1 kg of hydrogen consumed).

The second generation Mirai was awarded in May 2021 by the Hispanic Motor Press for 'Car Technology of the Year', noting the commitments towards zero emissions and Toyota Safety Sense.

Marketing

In 2015, Toyota released Fueled By..., a series of video commercials for the Mirai which show how hydrogen to power fuel cells like the ones that Mirais use could come from various unexpected sources. The last commercial, Fueled by the Future, features Michael J. Fox, Christopher Lloyd and YouTube science personality Go Tech Yourself.  It recalls the Back to the Future franchise and illustrates how the idea of converting trash into fuel (which had been introduced with the "Mr. Fusion" reactor that Dr. Emmett Brown (Lloyd) had brought back from the future at the end of the first film) had become reality. The commercial was released on 21 October — the same date in 2015 in Back to the Future Part II when Marty McFly (Fox), Jennifer Parker (Claudia Wells/Elisabeth Shue) and Brown traveled.

Recalls
On 15 February 2017 Toyota recalled all of the roughly 2,800 zero-emission Mirai cars on the road due to problems with the output voltage generated by their fuel cell system. According to Toyota, under unique driving conditions, such as if the accelerator pedal is depressed to the wide open throttle position after driving on a long descent while using cruise control, there was a possibility the output voltage generated by the fuel cell boost converter could exceed the maximum voltage. Toyota dealers announced they will update the fuel cell system software at no cost to the customer, claiming the process will take about half an hour.

See also

List of fuel cell vehicles
Toyota FCHV
Toyota FINE series

References

External links

Toyota Mirai official website (US)
Toyota Mirai official website (global)

 Video
Toyota fuel cell - How does it work? (YouTube), Nov 2014.

Mirai
Cars introduced in 2014
2020s cars
Executive cars
Sedans
Front-wheel-drive vehicles
Rear-wheel-drive vehicles
Fuel cell vehicles
Hydrogen cars
Euro NCAP executive cars


title: Polesie State Radioecological Reserve

text:
The Polesie State Radioecological Reserve (PSRER; ; ) is a radioecological nature reserve in the Polesie region of Belarus, which was created to enclose the territory of Belarus most affected by radioactive fallout from the Chernobyl disaster. The reserve adjoins the Chernobyl Exclusion Zone in Ukraine. The environmental monitoring and countermeasure agency, Bellesrad, oversees the agriculture and forestry in the area.

History

Two years after the Chernobyl disaster, the Belarusian part of the Chernobyl Exclusion Zone was extended to a more highly contaminated area. Then, a closed-to-the-public nature reserve was established in Belarus with a total area of . The reserve was established on July 18, 1988. Before the disaster, over 22,000 people lived there in 96 settlements. The population was evacuated after the disaster. In 1993 it was expanded by , making it the largest Belarusian nature reserve and one of the largest in Europe.

Geography

Overview
The area, located in southern Gomel Region and bordering the Ukrainian Exclusion Zone, includes part of the raions (districts) of Brahin, Khoiniki and Narowlya. It is crossed by the Pripyat River, and the city of Mazyr is  from the northwestern entrance, in Narowlya. The southern strip is crossed by the Chernihiv–Ovruch railway, which passes through the villages of Kaporanka, Kalyban and Pasudava.

Abandoned villages
The following list shows the abandoned villages included in the reserve. Population refers to the 1959 census. "fam." refers to the number of families evacuated after the 1986 disaster.

Fauna and flora

The reserve hosts many rare and endangered species, which thrive there thanks to the virtual absence of humans. They include European bison, Przewalski horse, moose, brown bear, golden eagle, and white-tailed eagle. It is home to the world's largest population of the European pond turtle. According to PSRER administration, there are 7 reptile, 11 amphibian, 46 mammal, 213 bird and 25 fish species. Of those, 70 are listed in the International Red Book and the Red Book of the Republic of Belarus. Flora includes 1251 registered plants, which is more than two-thirds of the flora of the country, and 18 of the plant species are listed in the Red Book. It was found that voles have higher rates of cataracts, useful populations of bacteria on the wings of birds in the zone are lower, partial albinism is common among barn swallows, cuckoos have become less common. Serious animal mutations, though, happened only right after the accident.

Activities
Although the reserve was established for the purpose of radiobiological and environmental research, it is of interest to other biologists. Due to the minimal human presence, it is possible to observe the natural development of wildlife in the conditions of Belarus. "In connection with the removal of anthropogenic load and the wealth of flora the ideal conditions for the recovery of the animal world have been created here", states the report of the Committee on the Health Effects of the Chernobyl disaster at the Council of Ministers of Belarus. Some new species, including European bison, have been introduced on the territory of the reserve.

Main activities
Administration of PSRER is located in the town of Khoiniki. The annual budget of PSRER is 4 million USD. Main activities include:
 Measures to prevent radioactive material from spreading beyond the reserve's borders,
 Wildfire prevention.
 Radiation monitoring.
 Research of nuclear decontamination of soil.
 Preventing unauthorized persons from entering the reserve.
 Planting trees to prevent air and water erosion, which could spread contaminated material.

Extra-budgetary activities
The administration uses land in the reserve to earn income in addition to its budget. The purpose is to increase the self-sufficiency of the reserve, save money, increase the salaries of employees and contribute positively to the GDP of Belarus. Activities include:
 Forestry and woodworking, including the sale of timber, firewood, and individual carpentry orders
 Growing crops as fodder for animals or for human consumption
 Purebred horse breeding using forage resources in the reserve
 Pig farming, cattle farming, dairy farming
 Beekeeping, honey production
 Production of fruit tree seedlings
 Providing services to citizens and organizations (transport, sanitation, human decontamination, research on the concentration of radionuclides).

As of 2004, the herd at the reserve's horse farm numbered 230 horses. Cattle are being bred to endure the conditions of radioactive contamination, and young individuals are sold for further breeding.

During all activities, radionuclide concentrations are monitored to ensure they do not exceed certain limits.

Neighboring nature reserves
Mizhrichynskyi Regional Landscape Park
Pripyatsky National Park
Zalissia National Nature Park

Proposed for nature reserves
Dnieper-Teterivske State Forestry

See also
Protected areas of Belarus

References

External links

 Polesie State Radiation and Ecological Reserve (official website)
  (map showing borders)
 Полесский государственный радиационно-экологический заповедник
 Charnobyl 30 Years Later – Belarus Photo Digest
 Chernobyl: Fact And Legacy

Biosphere reserves of Belarus
Geography of Gomel Region
Aftermath of the Chernobyl disaster
Radioactively contaminated areas


title: Theodore von Kármán bibliography

text:
This is a bibliography of works by Theodore von Kármán.

Books

Papers

1900s

1910s

1920s

1930s

1940s

1950s

1960s

Patents

References

Lists of books
Engineering books


title: Aurangabad railway station

text:
Aurangabad railway station (code AWB) is a railway station located on the –Manmad section which mainly services Aurangabad City. This railway station comes under the Nanded division of the South Central Railway zone and has rail connectivity with major cities such as Parbhani, Nanded, Hyderabad, Delhi, Nizamabad, Nagpur, Nasik, Pune, Gangakhed, Purna, Udgir, Raichur jn, Ahmedabad, Ahmednagar, Kadpa, and Latur Road.

History

Aurangabad railway station was opened in 1900. It was made by the 7th Nizam of Hyderabad Mir Osman Ali Khan. His highness Nizam made Godavari Valley Railway Company under the Nizam's Guaranteed State Railway. In 1876 work began during the regime of 6th Nizam Mir Mahbub Ali Khan. The first line between Hyderabad and Bezwada was constructed.

The first broad-gauge line between Secunderabad and Wadi was constructed in 1885. Hyderabad–Manmad line work completed in 1900. Hyderabad–Jaipur metre-gauge line work started and was completed in 1906.

In 1950 Nizam's Guaranteed Railway was nationalized and merged in India railway. In 1992, 94-metre-gauge work of Secunderabad–Manmad line was completed. In 2004, the Nizam railway line was made broad gauge by Indian Railways.

Administration

Aurangabad railway station falls under Nanded Sub-Division of South Central Railway. It is situated in between Manmad Junction (Central Railway) to Hazur Sahib Nanded station (South Central Railway) line. Aurangabad railway station is the only station in Nanded division that has A1 category status. Aurangabad station is one of the model stations in the country. It has 5 platforms of which 3 are used for passenger services. All four are covered. Aurangabad station has many facilities but it could use expansion because the city is the tourism capital of Maharashtra.

Connectivity

Aurangabad has rail connectivity with Mumbai, Delhi, Hyderabad, Chennai Central, Nizamabad, Latur Road, Nanded, Nagpur, Nasik, Pune, Yadgir, Raichur, Hyderabad, Secunderabad, Ahmedabad, Ahmednagar, Visakhapatnam. The Aurangabad Jan Shatabdi Express is the fastest train connecting it with Mumbai.Aurangabad Renigunta weekly express is train connects the aurangabad to major railway stations like Raichur and Yadgir.
Some of the important trains from Aurangabad are Sachkhand Express, Devagiri Express, Ajanta Express, Aurangabad Jan Shatabdi

Aurangbad has two more stations within the city limits. One is Chikhalthana railway station the other is newly constructed Mukundwadi railway station.

References

External links

 website

Nanded railway division
Railway stations in Aurangabad district, Maharashtra
Transport in Aurangabad, Maharashtra


title: James II of Avesnes

text:
James II of Avesnes (d. ca. 1205) was a knight of the Fourth Crusade. He was probably the son of James of Avesnes of Hainaut, who was a leading protagonist of the Third Crusade.

After the conquest of Constantinople James was one of the followers of Boniface of Montferrat, who had become king of Thessalonica. As part of the forces of Boniface in Greece he fought against Leo Sgouros, a Greek local ruler who had become independent. James received of Boniface in the spring of 1205 the island of Euboea (Triarchy of Negroponte) as a fief. James died around 1205 and Euboea was divided into three fiefs for Boniface.

Sources
 John B. Bury: The Lombards and Venetians in Euboia. (1205–1303). In: The Journal of Hellenic Studies. 7, 1886, , pp. 309–352.
 Louis de Mas Latrie: Les Seigneurs tierciers de Négropont. In: Revue de l'Orient latin. 1, 1893, , pp. 413–432.

1205 deaths
Christians of the Fourth Crusade
People from the Kingdom of Thessalonica
Medieval Euboea
Year of birth missing
12th-century births


title: Nudol

text:
Nudol is a phenanthrenoid of the orchids Eulophia nuda, Eria carinata, Eria stricta and Maxillaria densa.

References

Phenanthrenoids


title: 2014 GAIL pipeline explosion

text:
On 27 June 2014 a massive fire broke out following a blast in Gas Authority of India Limited (GAIL) 18" size underground gas Pipeline at Nagaram in East Godavari district of Andhra Pradesh, India. The accident took place near Tatipaka refinery of Oil and Natural Gas Corporation (ONGC), about 180 km from state capital Vijayawada.

Casualties
About 23 people were reportedly killed and around 40 injured in the accident. The injured were shifted to hospitals at Amalapuram and Kakinada towns.

Accident
State Finance Minister Yanamala Rama Krishnudu told reporters that 22 people were killed and many others were injured when the fire broke out around 5.30 a.m. in Nagaram village in Mamidikuduru Mandal of the coastal district.
The minister said: "The fire caused massive losses. Coconut trees, other crops, cattle, and wild birds in over 10 acres were reduced to ashes."

See also
List of pipeline accidents

References

Explosions in 2014
2014 disasters in India
Pipeline accidents
History of Andhra Pradesh (2014–present)
2010s in Andhra Pradesh
Disasters in Andhra Pradesh
2014 industrial disasters
2014 in the environment
Explosions in India
East Godavari district
Oil and Natural Gas Corporation
June 2014 events in India


title: Searle–Derrida debate

text:
The Searle–Derrida debate refers to a famous intellectual controversy opposing John Searle and Jacques Derrida, after Derrida responded to J. L. Austin's theory of the illocutionary act in his 1972 paper "Signature Event Context". In his 1977 essay Reiterating the Differences: A Reply to Derrida, Searle argued that Derrida's apparent rejection of Austin was unwarranted, but later refused to let this 1977 ″reply″ be printed along with Derrida's papers in the 1988 collection Limited Inc — in which a new text by Derrida ridiculed Searle's positions on the topic. In the 1990s, Searle clarified why he did not consider Derrida's approach to be legitimate philosophy.

Commentators have sometimes interpreted the seemingly failed nature of the exchange between Searle and Derrida as a prominent example of a confrontation between analytical and continental philosophy, some having considered it a series of elaborate misunderstandings while others have seen either Searle or Derrida gaining the upper hand. While the fundamental opposition between the two philosophers lay in their different understanding of intentionality, the debate is famous for its degree of mutual hostility, which can be seen from Searle's statement that "It would be a mistake to regard Derrida's discussion of Austin as a confrontation between two prominent philosophical traditions", to which Derrida replied that that sentence was "the only sentence of the 'reply' to which I can subscribe".

"Signature Event Context" (1972)
Studying J. L. Austin's theory of the illocutionary act in the perspective of deconstruction, Derrida argued in his 1972 paper "Signature Event Context" that Austin had missed the fact that any speech event is framed by a "structure of absence" (the words that are left unsaid due to contextual constraints) and by "iterability" (the repeatability of linguistic elements outside of their context). He also took issue with the way Austin had excluded the study of fiction, non-serious or "parasitic" speech, wondering whether this exclusion was because Austin had considered these speech genres governed by different structures of meaning, or simply due to a lack of interest.

In other words, while sympathetic to Austin's departure from a purely denotational account of language to one that includes "force", Derrida was sceptical of the framework of normativity employed by Austin. He argued that the focus on intentionality in speech-act theory was misguided because intentionality is restricted to that which is already established as a possible intention.

John Searle's ″reply″
In his 1977 essay Reiterating the Differences: A Reply to Derrida, Searle argued that Derrida's critique was unwarranted because it assumed that Austin's theory attempted to give a full account of language and meaning when its aim was much narrower. Searle considered the omission of parasitic discourse forms to be justified by the narrow scope of Austin's inquiry. Searle also argued that Derrida's disagreement with Austin turned on his having misunderstood Austin's (and Peirce's) type–token distinction and his failure to understand Austin's concept of failure in relation to performativity.

Searle agreed with Derrida's proposal that intentionality presupposes iterability, but did not apply the same concept of intentionality used by Derrida, being unable or unwilling to engage with the continental conceptual apparatus. (This, in turn, would cause Derrida to criticize Searle for not being sufficiently familiar with phenomenological perspectives on intentionality.)

Critics have suggested that Searle, by being so grounded in the analytical tradition that he was unable to engage with Derrida's continental phenomenological tradition, was at fault for the unsuccessful nature of the exchange.

In 1983, Searle wrote in The New York Review of Books that he was surprised by "the low level of philosophical argumentation, the deliberate obscurantism of the prose, the wildly exaggerated claims, and the constant striving to give the appearance of profundity by making claims that seem paradoxical, but under analysis often turn out to be silly or trivial."

In 1994, Searle argued that the ideas upon which deconstruction is founded are essentially a consequence of a series of conceptual confusions made by Derrida as a result of his outdated knowledge or are merely banalities.  He insisted that Derrida's conception of iterability and its alleged corrupting effect on meaning stems from Derrida's ignorance of the type–token distinction that exists in current linguistics and philosophy of language. As Searle explains, "Most importantly, from the fact that different tokens of a sentence type can be uttered on different occasions with different intentions, that is, different speaker meanings, nothing of any significance follows about the original speaker meaning of the original utterance token." The substance of Searle's criticism of Derrida in relation to topics in the philosophy of language—referenced in Derrida's Signature Event Context—was that Derrida had no apparent familiarity with contemporary philosophy of language nor of contemporary linguistics in Anglo-Saxon countries.  Searle explains, "When Derrida writes about the philosophy of language he refers typically to Rousseau and Condillac, not to mention Plato. And his idea of a "modern linguist" is Benveniste or even Saussure."  Searle describes Derrida's philosophical knowledge as pre-Wittgensteinian—that is to say, disconnected from analytic tradition—and consequently, in his perspective, naive and misguided, concerned with issues long-since resolved or otherwise found to be non-issues.

Derrida's response
Claiming that a clear sender of Searle's message could not be established, Derrida in Limited Inc suggested that Searle had formed with Austin a société à responsabilité limitée (a "limited liability company") due to the ways in which the ambiguities of authorship within Searle's reply circumvented the very speech act of his reply. Searle did not respond. Later in 1988, Derrida tried to review his position and his critiques of Austin and Searle, reiterating that he found the constant appeal to "normality" in the analytical tradition to be problematic from which they were only paradigmatic examples.

He continued arguing how problematic was establishing the relation between "nonfiction or standard discourse" and "fiction," defined as its "parasite", "for part of the most original essence of the latter is to allow fiction, the simulacrum, parasitism, to take place-and in so doing to 'de-essentialize' itself as it were".
He would finally argue that the indispensable question would then become:

In the debate, Derrida praises Austin's work, but argues that he is wrong to banish what Austin calls "infelicities" from the "normal" operation of language. One "infelicity," for instance, occurs when it cannot be known whether a given speech act is "sincere" or "merely citational" (and therefore possibly ironic, etc.). Derrida argues that every iteration is necessarily "citational", due to the graphematic nature of speech and writing, and that language could not work at all without the ever-present and ineradicable possibility of such alternate readings. Derrida takes Searle to task for his attempt to get around this issue by grounding final authority in the speaker's inaccessible "intention". Derrida argues that intention cannot possibly govern how an iteration signifies, once it becomes hearable or readable. All speech acts borrow a language whose significance is determined by historical-linguistic context, and by the alternate possibilities that this context makes possible. This significance, Derrida argues, cannot be altered or governed by the whims of intention.

Searle on il n'y a pas de hors-texte
According to Searle, the consistent pattern of Derrida's rhetoric is:
(a) announce a preposterous thesis, e.g. "there is no outside-text" (il n'y a pas de hors-texte);
(b) when challenged on (a) respond that you have been misunderstood and revise the claim in (a) such that it becomes a truism, e.g. "' means nothing else: there is nothing outside contexts";
(c) when the reformulation from (b) is acknowledged then proceed as if the original formulation from (a) was accepted. The revised idea—for example that everything exists in some context—is a banality, but a charade ensues as if the original claim—nothing exists outside of text [sic]—had been established.

In 1995, Searle gave a brief reply to Derrida in The Construction of Social Reality. He called Derrida's conclusion "preposterous" and stated that "Derrida, as far as I can tell, does not have an argument. He simply declares that there is nothing outside of texts (Il n'y a pas de 'hors-texte''')." Then, in Limited Inc., Derrida "apparently takes it all back", claiming that he meant only "the banality that everything exists in some context or other!" Derrida and others like him present "an array of weak or even nonexistent arguments for a conclusion that seems preposterous".

See also
Searle on intentionality
Science Wars
Chomsky-Foucault debate
Habermas-Foucault debate

References

Further reading
Moati Raoul (2009), Derrida/Searle, déconstruction et langage ordinaire.

External links

Mackey, Louis (1984) with a reply by Searle. An Exchange on Deconstruction, in New York Review of Books, 2 February 1984.
Searle (1983). The Word Turned Upside Down, in The New York Review of Books, October 1983.
Searle (2000). Reality Principles: An Interview with John R. Searle''. Reason.com. February 2000 issue. Retrieved 30 August 2010.
Koblizek (2012), Tomas: How to Make the Concepts Clear: Searle's Discussion with Derrida. Organon F, Suppl. Issue 2, pp.157–165. (Searle's reply to Koblizek: ibid., pp.217–220.).

Philosophical debates
Deconstruction
Analytic philosophy
Jacques Derrida
Philosophy of language


title: Éloi Firmin Féron

text:
Éloi Firmin Féron (1802–1876) was a French neoclassicist painter.
A student of  Antoine-Jean Gros, he won the Prix de Rome for his   Damon et Pythias in 1826, aged "twenty-four and a half".
He went on to become a favourite of Louis Philippe I and his sons, contributing much to the galleries of Versailles., where most of his major works are now on exhibit, including Entrée de Charles VIII à Naples (1837), Bataille de Fornoue (1838), Prise de Rhodes (1840), besides various portraits.

References

1802 births
1876 deaths
French neoclassical painters
19th-century French painters
French male painters
Prix de Rome for painting
19th-century French male artists


title: Alberto Soriano

text:
Alberto Soriano (5 February 1915 – 1981) was an Argentine composer and ethnomusicologist. He was born in Santiago del Estero.

Background
Soriano was born on February 5, 1915, in Santiago del Estero, (Argentina),  where his family had settled in temporarily. But it was in Bahia (Brazil) where he spent his childhood and early youth. He began his musical studies at an early age at the El Salvador Music Conservatory, becoming a distinguished pupil of Maestro Dante de Souza in violin and of Maestro Silvio Deolindo Froes in harmony, composition and counterpoint.

This academic formation, added to a permanent contact with the musical expressions of afro origins cultivated by the people of Bahia, left a mark on him for the rest of his life as a composer, also dedicated to ethno musicological investigation, music criticism, and teaching. He has written poetry in his early youth and published "Las cinco llegadas de la Madre d Agua" (Mother of Waters five arrivals), book than was prefaced by Jorge Amado and illustrated by Augusto Torres García.

The practice of music dictation and the participation in popular rites and festivities, allowed Soriano to write down more than one hundred "Magical Chants" while also gaining a deep knowledge of that  telluric root which he would years later examine in depth in his works "Some of the ethno-musicological immanences" (University of the Republic, Montevideo, 1967) and "Three Auguric Prayers and Other Chants in  Black Liturgy", (University of the Republic, Montevideo, 1968), as well as in his chair as professor of musical ethnology at the Faculty of Science and Humanities in Montevideo.

Research trips to the interior of Argentina, Brazil and finally Uruguay, where he settled from 1950 onwards, allowed him to widen his continental vision.  This immersion into American cultural anthropology had influenced his music which, far from any superficial garment and in its apparent nakedness which may at times become disconcerting, is, according to the expressions of Colombian musicologist Andrés Pardo Tovar, "a sign of a temperament which, notwithstanding its originality, finds in the roots of vernacular tradition the most profound and true sources of his musical aesthetics".

In addition to many symphonic works, including concerts to soloist and orchestra and chorals, Soriano is author of two guitar concerts, (for five and for four guitars), a large collection of chamber music and many pieces for piano.

In an environment little prone to local musical creation, and almost hostile to it, Soriano leads a permanent and tenacious fight to make known Latin American music.  Thus, in conversations held in Rio de Janeiro with Hector Villa Lobos, Camargo Guarnieri, Radamés Gnatali and the critics Jorge Andrade Murici and Enrico Nogueira France, the idea comes up to do Latin American  music festivals, the first of which was held in Caracas in 1954, and then  in 1957.

In 1958, Soriano undertakes, together with students of different disciplines at the Faculty of Science and Humanities of Montevideo, the Association of American Cultural Relations (ARCA), which took its motto from the proverb, "Better to light one candle than to curse the darkness." and it is in this spirit that the institution manages to publish an important series of booklets and the first serious collection of recordings dedicated to the works of Uruguayan composers.
Among the instrumentalists of recognized prestige who have interpreted works by Alberto Soriano stand out pianists Hugo Balzo, Celia Roca, Cecilia Platero, Fanny Ingold, Wanda Lesmann and cellists Ernest Davies and Mstislav Rostropovich.

Works by Soriano have been performed under conductors of the stature of Jasha Horestein, who premiered his "Four Symphonic Rituals" in 1957 with the Symphony Orchestra of Venezuela; Yosif Conta, conductor of the symphony orchestra of Bucarest that interprets on 19 June 1964 "Three Symphonic Sketches on the life of Artigas.", and Kurt Masur who, in front of the Symphony Orchestra of Radio Berlin performs the "Prague Triptych" (1961).

As a result of his investigations about the man who lives in rural areas in relation to the world of sound around him, Alberto Soriano made more than 900 recordings, part of which he also used in his composition "Madrigals for the Walker", (1970), original assembly of bird songs, croaking of batrachians, voices of herdsmen and sheep-shearers, work where he undoubtedly combines his creative facet with the result of his work as investigator.

Alberto Soriano has written more than a hundred articles on musical ethnology subjects published in the Sunday supplement of the Uruguayan paper "El Dia, in "La Nación" from Buenos Aires and in specialized magazines as Polyfonia and Chilean Musical Magazine.

In the year 1976, his artistic links with countries at that time belonging to the Easter block, was reason enough  to Uruguayan dictatorship to exile him to Argentine,
Alberto Soriano spends his last days in Concepción del Uruguay, (Entre Ríos, Argentina), where he founds the Municipal School of Music and practices teaching at the "Justo José de Urquiza" High School until a few days before his death on October 16, 1981.

Books

Las cinco lllegadas de la Madre d Agua"  (Mother of Waters five arrivals) Poseidón. Buenos Aires 1943
"Esencialidad Musical: ritualismo y humanismo en este arte"  Essential in music, ritual and humanism in that art)  ABC Montevideo  1940
"Algunas de las inmanencias etnomusicológicas" (Some of the ethno-musicological immanences) Universidad de la República, Montevideo, 1967
"Tres rezos augúricos y otros cantares de la liturgia negra" /Three Auguric Prayers and Other Chants in  Black Liturgy) Universidad de la República, Montevideo, 1968

Discography
 Concert Nº 1 for five guitars and Concert Nº2 for four guitars. Olga Pierri ensemble ARCA  FH001 1958. Digital CD 2010
  Four Symphonic Rituals.. Three Symphonic Sketches on the life of Artigas. Symphonic orchestra of Rumanian Radio and TV. Conductor Yosif Conta. Qualiton Argentina Q14005
  Prague Triptych. Radio Berlin Symphonic orchestra. Conductor Kurt Masur. Qualiton Q14009
  Sonata for violin and piano. Francisco Museti (violin), Celia Roca (piano) ARCA FH007
 Divertimento for bassoon and orchestra. Gerhard Hasse (bassoon), SODRE orchestra. Montevideo. ARCA FH 007
 Symphonic movement for the victims of Buchemwald. Leipzig Symphonic orchestra. Conductor Adolf Frits Guhl . Qualiton Q1 4009
  Madrigals for the walker. Sound constructions. Qualiton SQ14015

References

Bibliography
 "Musicos de Aquí". (Musicians from here)  Six volumes work by several authors. CEMAU 1985 Centro de Estudios Musicales Argentino Uruguayo. (Argentinean Uruguayan Musical Research Center)  The chapter about Alberto Soriano is in Volume !!, written by Lic. Elsa Sabatés.
 La música en el Uruguay. (Music in Uruguay). Lic. Mirtha Amarilla. El Eclipse. 2000.
 Acotaciones a la Sinfonía Los Rituales  de Alberto Soriano. (Some comments about Los Rituales Symphony by Alberto Soriano) Ricardo Nahiosi . ARCA 1956
 Indice general alfabético suplemento dominical del diario "El Día". (General alphabetical index  Sunday supplement "El Día"). Luis Alberto Musso Ambrosi. Ministerio de Educación y Cultura. Biblioteca Nacional de Montevideo. 1997. (Ministry of Education and Culture. National Library. Montevideo)
 Con el compositor Alberto Soriano.(With the composer Alberto Soriano)  Revista Musical ilustrada Ritmo. Madrid. España Nº 335 mar 1963
 Breve introducción a la música hispanoamericana. (Short introduction to Hispano American music) Ritmo Nº 335. June 1963
 El idioma de los pájaros. (The language of birds)  Revista Periscopio. (Magazine Periscopio) Buenos Aires. Argentina. Nº11. Diciembre 1969

1915 births
1981 deaths
Argentine composers
People from Santiago del Estero
Argentine ethnomusicologists
20th-century composers
20th-century musicologists


title: Dox (poet)

text:
Jean Verdi Salomon Razakandraina (1913–1978), commonly known as Dox, was a Malagasy writer and poet considered one of the most important literary figures in the country's history. He is principally renowned for his poetry and plays, but was also a painter, wrote and performed musical compositions, and translated several major French and English language works into Malagasy. His works have formed part of the language arts curriculum in Madagascar at every grade level since the country regained independence in 1960.

Dox began writing in 1930 while studying at a fine arts school in Antananarivo, where fellow students gave him the nickname "Dox". In 1932, after briefly conceding to his father's wish that he study medicine, Dox dedicated himself fully to the arts and joined with other notable Malagasy poets in advancing the Mitady ny very movement ("search for lost values"), launched by Jean-Joseph Rabearivelo, Charles Rajoelisolo and Ny Avana Ramanantoanina. His work during this period reflected the movement's aim to reaffirm the value of Malagasy identity, which had been eroded under the influence of the French colonial administration. In 1941, he printed his first collection of poems, Ny Hirako, which was written in the Malagasy language. When a major nationalist uprising erupted in 1947, Dox rallied behind the Mouvement démocratique de la rénovation malgache and suffered a gunshot wound during a protest. He also actively took part in the student protests of 1972 that brought down the Tsiranana administration. In 1971 he published his only compilation of French language poems, Chants Capricorniens. Over the span of his career, he produced nine poem anthologies, numerous books in prose, and sixteen plays featuring folk tales, Biblical stories or Malagasy historical themes, in addition to countless privately commissioned works.

Throughout his life, Dox enjoyed strong popular support for his work, which combined elements of romanticism and the sensibilities of traditional Malagasy poetry and proverbs.  He established himself as a leader in the promotion of Malagasy literary arts, co-founding the Union of Malagasy Poets and Writers and Tsiry, an association dedicated to publishing the works of creative Malagasy youth.  Dox also served as President of the Committee of United Malagasy Artists, Vice President of the Andrianampoinimerina Academy, and a member of the Académie Malgache. He died in Antananarivo on 14 June 1978.

Biography

Childhood
Jean Verdi Salomon Razakandraina was born on 13 January 1913 in Manankavaly, Madagascar, to an observant Christian family of the noble class. His father, Samuel Salomon, was a medical doctor and frequently traveled to care for patients. His mother, Raolina, moved to the nearby town of Antsirabe with young Jean Verdi, who was often ill as a child. There she entrusted his education to her father, a farmer and schoolteacher, who provided his elementary education, taught him Malagasy proverbs and stories, introduced him to Christianity, and taught him to paint and play music. Razakandrainy's grandfather taught him the history of their royal family line and the people of the Anjanapara valley in southern Imerina. This education instilled in the child a traditional love of the land, respect for ancestral traditions and appreciation for the beauty of the Malagasy countryside.

In 1930 he enrolled at the École des Beaux-Arts in Antananarivo. The following year he transferred to the illustrious Paul Minault middle school, a private Protestant institution that had earned a reputation as a center for intellectual and creative excellence, partly because the school featured well-known thought leaders like nationalist poet Pastor Ravelojaona among their teaching staff. Its reputation also derived from its innovative teaching methods, based on individual reading and research, followed by debates guided by the teacher. This focus on reading allowed Razakandraina to discover a range of French novelists, among whom his favorites were Victor Hugo, Alfred de Musset, Charles Baudelaire, and Albert Samain. While enrolled at Paul Minault, Razakandraina was given two nicknames: Sorajavona ("colors of the clouds", an acronym formed from the initials of his name), and later Dox, from both the English "ox", and from "paradox".

The school had a student-run journal for publishing student works, and weekly sessions for showcasing student artistic talent. These avenues provided Razakandraina the opportunity to publish his first works of poetry, which were composed in the romantic genre, and write and organize the performance of his first theatrical plays. During this period, his poetry explored themes of sensuality, desire and love.  While this earned him commendation from peers and other poets of his generation, he was reprimanded by his high school teacher and respected poet, Pastor Ravelojaona, who declared "it is inappropriate for Christians to exalt love in their poetry." Although his first theater troupe also enjoyed popular success, and performed in both Antananarivo at the Centre Culturel Albert Camus and in the coastal city of Toamasina, it was soon disbanded upon the insistence of his father, who wished his son to pursue a career in medicine as he had.

Early period
Dox abandoned his studies in medicine in favor of agriculture, which gave him the freedom to focus on writing poetry. He moved to Mandoto, where he worked as a farmer and continued to develop his art. There he met Perle Razanabololona, and the couple married and started a family. In 1932, he joined with other notable Malagasy poets in advancing the Mitady ny very movement ("search for lost values"), launched by Jean-Joseph Rabearivelo, Charles Rajoelisolo and Ny Avana Ramanantoanina, which exalted precolonial Malagasy identity and culture. Many of the poems Dox wrote in Mandoto were published in literary journals printed in Antananarivo, such as Ny Mpandinika, Ny Tantsinanana, Ny Fandrosoam-Baovao, Ny Kintan'ny Maraina, and Lakolosy Volamena. In 1941, he printed his first collection of poems, Ny Hirako. When the nationalist uprising erupted in 1947, Dox rallied behind the Mouvement démocratique de la rénovation malgache (for which his father was the secretary of the Antsirabe branch), and suffered a gunshot wound during a protest.

Late period
Several members of Dox's died in the subsequent decade. The poet successively lost two children, his father, and then his wife in 1954. Dox gave up his work as a farmer and consecrated his energies to writing, often working as a newspaper vendor to make ends meet. He started his own newspaper, Sakaizan'ny Mpianatra, which was short-lived. In 1952 he co-founded the Union of Malagasy Poets and Writers (Union des Poètes et Écrivains Malgaches - UPEM). A publishing house he launched in 1955, Imprimerie Mazava, proved a short term venture.  He also co-founded Tsiry, an association dedicated to publishing the works of creative Malagasy youth. In the early 1960s, Dox translated three major novels from French to Malagasy:  El Cid (1961), Horace (1962) and Andromaque (1964). He omitted several passages of El Cid, most likely believing they would not find appeal in the Malagasy cultural milieu. The popularity and quality of his poetry led the Ministry of Education to include it in the national curriculum beginning shortly after independence in 1960.

In 1971 he published his only compilation of French language poems, Chants Capricorniens, which included a number of hainteny translated into French. He actively took part in the student protests of 1972 that brought down the Tsiranana administration, appearing at protests and publishing poems in favor of the popular cause.  He applied his art to champion the causes of the most marginalized and disempowered segments of the population. During this time, he wrote and performed numerous songs, often in collaboration with major stars of the period, including Wilson Ramaroson, Naly Rakotofiringa, Fredy Raolifahanana, Bessa, and Dédé Sorajavona; many of these songs were highly successful and have become classics.

Dox was named President of the Komitin'ny Artista Malagasy Mitambatra (K.A.MA.MI., Committee of United Malagasy Artists) and Vice President of the Andrianampoinimerina Academy, then became member of the Académie Malgache on 28 August 1975.

On 14 June 1978, an unknown individual bumped into Dox on the stairway between the Analakely and Ambondrona neighborhoods of Antananarivo. The poet lost his balance and died from injuries sustained while tumbling down the stairs.  He is interred in the family tomb at Anjanapara, several kilometers outside Antsirabe.

Style and influences
Academic Dominique Ranaivoson characterized his poetry in two broad categories. The first category are poems that are imbued with rich detail of daily life, using short stanzas and simple vocabulary. These poems recall the Malagasy poetic tradition of hainteny with their emphasis on nostalgia and longing. The second category consists of poems that offer philosophical musings on the nature of identity, and are rich with Malagasy proverbs and Madagascar's symbolic places and objects. Both types reflected the sensibilities and conventions of romanticism. The majority of the poetic works written by Dox were in the form of sonnets. He would frequently compose poems spontaneously and give them away to friends or passers by. His work often explored the theme of "Malagasy love" (amour a la Malgache), and he was among the first Malagasy poets to write on themes related to sexuality and desire. The themes of Malagasy identity and everyday beauty also feature prominently in his work. According to writer François-Xavier Razafimahatratra, the former theme allowed the poet to express his personal vision of the world, while the latter allowed him to use poetry to educate the Malagasy public.

Dox wrote prolifically over the course of his career, yielding nine poem anthologies, numerous books in prose, and sixteen plays along Biblical themes or Malagasy history and folk tales. In addition, he wrote a number of plays on commission for various clients, with many commissioned by Boy Scout troupes, although these have since been lost. His translation from French to Malagasy of three major Western novels was significant because they enriched Malagasy literature by introducing elements of the novel form that had never before been attempted in Malagasy language. These efforts demonstrated to other Malagasy language writers the versatility of the language and the possibility that it could be used for any literary form.

Legacy

The Dictionnaire universel des littératures (1994) describes Dox as the "Verlaine or Baudelaire of Madagascar."  The works of Dox have formed part of the public school curriculum in Madagascar from primary to university level since independence in 1960. Similarly, many of the songs composed and performed by Dox are considered classics in Madagascar.

Works

Poetry:
 Ny Hirako. 1941.
 Hira Va? Antananarivo: Imprimerie Faneva, 1949; Imarivolanitra, 1970.
 Rakimalala. Antananarivo: Imprimerie Mazava, 1955.
 Ny Fitiavany. 1957.
 Fahatsiarovan-tena. 1958.
 Telomiova. 1959.
 Folihala. 1968.
 Dindona Fitia. 1973; 2005.
 Chants Capricorniens. 1975; Éditions du CIDST, 1991; 1995.

Theatrical plays:
 Amboninkazo. 1945.
 Apokalipsy. 1957.
 Amina Batsola, tantara mampangitakitaka nisy marina tokoa taminʹny andron-dRanavalona III. Antananarivo: Imprimerie Mazava, 1957.
 Mavo Handray Fanjakana. 1958.
 Tsimihatsaka. 1960.
 Savik'Ombalahy. 1960.
 Ny Ombalahibemaso. 1960.
 Ny Andron'Andrianampoinimerina. 1961.
 Andriamihaja. 1961.
 Rasalama Martiora. 1961.
 Rainandriamampandry. 1962.
 Ataon-karena inona aho? Bedohoka sy Rondro ary Imalo. 1962.
 Varavaran'ny Fahazavana. 1968.
 Tritriva. (sd).
 Ravahiny Maritiora. (sd).
 Estera. (sd).

Prose:
 Izy Mirahavavy. 1946; 1967; 2005.
 Solemita, na Tsantan-ny fitia (namboarina tamin-ny tononkiran-i Solomona). Antananarivo: Imprimerie Faneva, 1949.
 Izy Mirahalahy. 1958.
 Mangidy nefa mamy. 1962.
 Iarivo. 1965.
 Voninkazon'ny tanteraka. Antananarivo: Imprimerie Mazava, 1955.

Discography:
 Fo mihira, UPEM-HAVATSA poets reciting the works of Dox. Audio CD. France, 2006.
 Dox, Sorajavona. Audio CD. Label Bleu, Antananarivo.

Translations by Dox:
French to Malagasy language:
 El Cid, Pierre Corneille: Ilay Andrianina, performed in 1958, published in 1965.
 Horace, Pierre Corneille.
 Polyeucte, Pierre Corneille.
 Andromaque, Racine: Ny Avelon'ny vady lalaina sa ny Ain'ny menaky ny aina?

English to Malagasy language:
 Itomanio, ry fireneko (Cry, the Beloved Country), Alan Paton, (1958).
 Romeo and Juliet, William Shakespeare (sd).

Further reading
 Ranaivoson, Dominique. Dox: écrivain et musicien à Madagascar. Saint-Maur-des-Fossés: Sépia; Antananarivo: Tsipika, 2009.
 Randrianarisoa-Rasendra, Irène. Dox, poésie malgache et dialogue des cultures preface by Elie Rajaonarison; Antananarivo: Tsipika, 2011.
 Takila Voafantina, Florilège. Dox, l'écrivain aux multiples talents. Antananarivo: Tsipika, 2003.

See also

 Jean-Joseph Rabearivelo
 Jacques Rabemananjara
 Ny Avana Ramanantoanina
 Aimé Césaire
 Léon Damas
 Harlem Renaissance

Notes

References

Malagasy male poets
Malagasy dramatists and playwrights
Malagasy male writers
People from Antananarivo
20th-century Malagasy poets
20th-century dramatists and playwrights
20th-century translators
20th-century Malagasy painters
Malagasy painters
Malagasy translators
1913 births
1978 deaths
20th-century Christians
20th-century Malagasy people
Malagasy Christians
20th-century male writers
Malagasy-language writers


title: Amnesia (5 Seconds of Summer song)

text:
"Amnesia" is a song by Australian pop rock band 5 Seconds of Summer, taken from their self-titled debut album 5 Seconds of Summer (2014). The mellow pop rock slow jam was announced as a new single during a live stream by the band on 1 July 2014, and was released to American contemporary hit radio as the third single from the album on 15 July 2014.

Music video
A lyric video was produced for the song. Filmed in Los Angeles, it was posted on the official Vevo and YouTube channel of the band on 2 July 2014, at midnight, after their live stream. The video, focuses on a bedroom, though in some scenes, the members of the band appear in a close up. During the whole video, the lyrics are projected in the room or on the members' faces.

A music video directed by Isaac Rentz was also filmed, in which the band members and some girls and boys play around in several different scenes, diving into a pool fully clothed, playing golf on cars, etc. There are also several close-ups of the band-members singing along to the words of the song throughout the video. There are only three girls because they see the watcher and fans as the fourth one. The video was filmed from the fourth girl's perspective.

The video is also the third most viewed by 5 Seconds of Summer. It reached 100 million views on 11 August 2016. As of March 2022, it has 188 million views.

Extended play
An extended play was released in 2014 which contains four tracks: "Amnesia", "Daylight", "American Idiot", and "Amnesia - Live At Wembley".

B-side
A B-side was released in 2016 which contains three tracks: Daylight", "American Idiot", and "Amnesia - Live At Wembley".

Track listing

7" vinyl
"Amnesia" – 3:57
"American Idiot" – 3:03

Charts

Weekly charts

Year-end charts

Certifications

Release history

Personnel
Luke Hemmings – lead vocals
Michael Clifford – backing vocals, acoustic guitar
Calum Hood – lead vocals
Ashton Irwin – backing vocals, drums

Covers
 During the summer of 2015, the French singer Whities released a French version of the song. "Amnésia (French Version)": which was released in July with an accompanying video available on YouTube and Dailymotion.

References

2014 songs
2014 singles
2010s ballads
5 Seconds of Summer songs
Capitol Records singles
Pop ballads
Rock ballads
Song recordings produced by Sam Watters
Songs written by Benji Madden
Songs written by Joel Madden
Songs written by Louis Biancaniello
Songs written by Sam Watters


title: Benjamín Gutiérrez

text:
Benjamín Gutiérrez (born January 3, 1937 in Guadalupe, Costa Rica) is a celebrated composer in Costa Rica. He is a conductor, composer, and pianist. Gutiérrez began by studying music with his grandmother, Rosa Jiménez Nuñez, daughter of the composer Pilar Jiménez.” Gutiérrez then studied music in Guatemala City, Boston, Ann Arbor, Aspen, and Buenos Aires. The following were several of his teachers: Ross Lee Finney, Darius Milhaud, and Alberto Ginastera. Gutiérrez has written music for piano, orchestra, violin, viola, clarinet, flute, saxophone, trombone quartet, bassoon quartet, marimba, opera, and several other instruments.

Early years
Benjamín Gutiérrez was born into a musical family outside of San José; they all played instruments. Gutiérrez's father was an amateur violinist who owned a shoe factory. His mother, Lupita Sáenz Jiménez-Núñez, played the piano.  Gutiérrez's grandmother recommended that he join the Conservatorio de Música in San José. Gutiérrez took piano lessons from the conservatory under the tutelage of Professor Miguel Angel Quesada until he was thirteen years old. Gutiérrez was persuaded by one of his professors to drop out of high school and enroll at Omar Dengo School which held classes at night, this allowed Gutiérrez to practice during the day. Gutiérrez studied at the conservatory with Miguel Angel Quesada for four years. After four years, his teacher suggested that he further his musical development in Guatemala.

Gutiérrez received a scholarship to attend the Concervatoria Nacional de Música de Guatemala in 1956. He studied piano and composition with Augusto Ardenois at the Conservatory.  It was at the Conservatory that Gutiérrez decided to become a composer. Gutiérrez returned to Costa Rica after he received his Bachelor of Arts with an emphasis in piano.

When Gutiérrez returned to Costa Rica, he returned to being a teacher at Liceo de Heredia high school; he taught, practiced, and developed his compositional skills while at the school. When Gutiérrez was twenty years old, his opera Marianela was premiered in San José's National Theater. The opera was premiered on October 7, 1957. The work included an overture in the form of a fantasia that featured Gutiérrez at the piano with the orchestra. The orchestra who first performed the work was the National Symphony and the founder of the orchestra, Hugo Mariani, conducted it. After the overture Gutiérrez took the podium and conducted the rest of the work. The opera is based on the novel of the same name by the great Spanish writer Benito Pérez Galdós (1843-1920); the libretto was created by Gutiérrez's Guatemalan friend Roberto Paniagua. The cast included the following singers in leading roles: Albertina Moya and Luis Pacheco in the leading roles. Marianela was the first opera written and premiered by a Costa Rican composer.

Because of the success of his opera, Gutiérrez was offered a scholarship to the New England Conservatory in Boston. While Gutiérrez was in Boston, he studied with Francis Judd Cook and Carl McKinley. Gutiérrez gained a style that he refers to as "lyric dodecaphonic writing, similar to the style of Alban Berg." While at the Conservatory, Gutiérrez met Sherman Friedland, a clarinetist. Gutiérrez developed a friendship with Friedland and dedicated two compositions to him: his Sonata for Clarinet and Piano (1959) and his Concerto for Clarinet and Orchestra (1960). Both works were written while in New England and premiered by Friedland. The Sonata for Clarinet and Piano is in three movements (Moderato, Adagio, and Molto Allegro); it is primarily in a neoclassical style with clear lines, freedom in the use of tonal resources, counterpoint that is dissonant, the use of quartel/quintal intervals, and an integrity in the structure that is used by composers such as Hindemith, Milhaud, and Stravinsky. All of the movements are compact and have a very brief period of time in which the maximum intensity is reached. The last movement of the work contains some rhythms that are related to dances from the region. The concerto, which became Gutiérrez's masters thesis, was premiered in 1960 by Friedland with the Manhattan School of Music orchestra in New York City. Gutiérrez received a scholarship to attend the Aspen Music Festival in Colorado as well as the Casals Music Festival in Puerto Rico.  Gutiérrez met Daris Milhaud while he was at Aspen.

Gutiérrez received a scholarship to continue studying in the United States at the University of Michigan in Ann Arbor for a master's degree in music education. While he was working on his master's degree, Gutiérrez also pursued a minor in composition. He studied with Ross Lee Finney. During this time, he also wrote the Pavana para Cuerdas (Pavane for Strings). This work was premiered in January 1968 and become one of his most popular works. The piece is in the neo-classic style. It was written in memory of a girl named Carmen María. The girl belonged to a family Gutiérrez knew.

Gutiérrez returned to Costa Rica in 1962 and began teaching at the School of Education of the University of Costa Rica. While teaching at the University, he formed a women's choir and also began working on a large scale work that was premiered in Costa Rica. The work was an oratorio for four soloists, choir, and symphony.

Middle years
Gutiérrez took a leave of absence from the School of Education of the University of Costa Rica in 1965. He obtained a fellowship from the University of Costa Rica to study with Alberto Ginastera at the Instituto Torcuato di Tella in Buenos Aires. Gutiérrez studied in Argentina for two years.

Gutiérrez's most popular concerto is his Concerto for Violin and Orchestra. This Concerto was commissioned by Hugo Mariani (who was the conductor of the National Symphony). The work was premiered in 1963 by Walter Field, the concertmaster and dedicatee.

Works

Operas
"Marianela"
"San Josè, Nacional"
"El Regalo de los Reyes, o las dos Evas" (1960)
"El Pájaro del Crepúsculo"

Vocal
"Absolutio poast Missam pro Defunctis’s Canciones"
"Jorge Debravo"
"Coplas a Federico"
"Vocalise" (female chorus)

Orchestra
Clarinet Concerto (1960)
"Improvización", Strings 1961
"Pavana", Strings, 1963
Violin Concerto, 1964
"Tramas", Strings, 1966
"Homenaje a Juan Santamaría", 1967
"Variaciones Concetantes", Pianoforte, Orchestra, 1969
"Preludio Sinfónico", 1970
"Pequeña Obertura", Band, 1974
"Suite", 1975
"Concierto Barroco", 1976
"Variaciones Rítmicas", chamber orchestra, 1978
Symphony No. 1 “En Recuerdo de Johannes Brahms”, 1980
"Flute Concerto", 1981
"Viola Concerto", 1983

Chamber and solo instruments
"Trio, Flute, Clarinet, Bassoon", 1959
"Toccata y Fuga", pianoforte, 1960
"Música para 7 Instrumentistas", 1965
"Sexteto", winds and pianoforte, 1968
"Dúo", violin and pianoforte, 1971
Pianofrote Trio, 1972
"Toccatina", violin and violincello, 1973
"Danza de la Pena Negra", pianoforte, 1988
"Douze minutes á Neuchátel", strings and percussion, 1989.

References

Andrade, Juan Pablo. Costa Rican composer Benjamin Gutiérrez and his piano works. (2008). Greensboro, N.C.: University of North Carolina at Greensboro. http://libres.uncg.edu/ir/listing.aspx?id=340.
Ficher, Migel, Martha Furman Schleifer, and John M. Furman, editors. Latin American Classical Composers: A Biographical Dictionary, Second Edition. Maryland: Scarecrow Press, Incorporated, 2002.
Martin, Ray. “Music Reviews: ‘Sonata for B-Flat Clarinet and Piano,’ by Benjamín Gutiérrez.” The Clarinet vol. 25, no. 1 (1997): 86.
Sider, Ronald R. “Contemporary Composers of Latin America.” University of Texas Press Vol. 5, No. 2 (1984): 263-276. Accessed September 19, 2014. doi: 10.2307/780075.
Vargas, Jorge Luis Acevedo. "Gutiérrez Sáenz, Benjamín." Grove Music Online. Oxford Music Online. Oxford University Press, accessed September 20, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/46344.

External links
 Benjamin Gutierrez's Website
 Benjamin Gutierrez: Su música by Leonardo Gell

1937 births
Living people
Costa Rican composers
Costa Rican conductors (music)
University of Michigan School of Music, Theatre & Dance alumni


title: Saint Vincent and the Grenadines–United Kingdom relations

text:
Saint Vincent and the Grenadines and the United Kingdom have a long history, tracing back to early British settlements and British conflicts with the French during the Colonial era.

History

Control of the island of Saint Vincent was ceded to Britain by the French following the signing of the Treaty of Paris in 1763. The French recaptured the island but ceded it again after the second Treaty of Paris in 1783.

The British began a program of agricultural development and established plantations across the island; a program opposed by local Black Caribs.

Saint Vincent remained under French colonial rule for the until independence movements began in the 20th century.

Saint Vincent was granted "associate statehood" status by Britain on 27 October 1969. This gave Saint Vincent complete control over its internal affairs but was short of full independence. On 27 October 1979, following a referendum under Milton Cato, Saint Vincent and the Grenadines became the last of the Windward Islands to gain independence. Independence came on the 10th anniversary of Saint Vincent's associate statehood status.

Current relations

Saint Vincent and the Grenadines maintains a High Commission in South Kensington in London and a consulate-general in Comber, Northern Ireland. In turn, the United Kingdom maintains a High Commission in Kingstown.

References

External links
High Commission for Saint Vincent and the Grenadines, UK
British High Commission, Bridgetown

United Kingdom
Saint Vincent and the Grenadines
Relations of colonizer and former colony


title: Interstitial site

text:
In crystallography, interstitial sites, holes or voids are the empty space that exists between the packing of atoms (spheres) in the crystal structure.

The holes are easy to see if you try to pack circles together; no matter how close you get them or how you arrange them, you will have empty space in between. The same is true in a unit cell; no matter how the atoms are arranged, there will be interstitial sites present between the atoms. These sites or holes can be filled with other atoms (interstitial defect).  The picture with packed circles is only a 2D representation.  In a crystal lattice, the atoms (spheres) would be packed in a 3D arrangement.  This results in different shaped interstitial sites depending on the arrangement of the atoms in the lattice.

Close packed

A close packed unit cell, both face-centered cubic and hexagonal close packed, can form two different shaped holes.  Looking at the three green spheres in the hexagonal packing illustration at the top of the page, they form a triangle-shaped hole.  If an atom is arranged on top of this triangular hole it forms a tetrahedral interstitial hole. If the three atoms in the layer above are rotated and their triangular hole sits on top of this one, it forms an octahedral interstitial hole. In a close-packed structure there are 4 atoms per unit cell and it will have 4 octahedral voids (1:1 ratio) and 8 tetrahedral voids (1:2 ratio) per unit cell. The tetrahedral void is smaller in size and could fit an atom with a radius 0.225 times the size of the atoms making up the lattice.  An octahedral void could fit an atom with a radius 0.441 times the size of the atoms making up the lattice. An atom that fills this empty space could be larger than this ideal radius ratio, which would lead to a distorted lattice due to pushing out the surrounding atoms, but it cannot be smaller than this ratio.

Face-centered cubic (FCC)

If half of the tetrahedral sites of the parent FCC lattice are filled by ions of opposite charge, the structure formed is the zincblende crystal structure. If all the tetrahedral sites of the parent FCC lattice are filled by ions of opposite charge, the structure formed is the fluorite structure or antifluorite structure. If all the octahedral sites of the parent FCC lattice are filled by ions of opposite charge, the structure formed is the rock-salt structure.

Hexagonal close packed (HCP)

If half of the tetrahedral sites of the parent HCP lattice are filled by ions of opposite charge, the structure formed is the wurtzite crystal structure. If all the octahedral sites of the anion HCP lattice are filled by cations, the structure formed is the nickel arsenide structure.

Simple cubic
A simple cubic unit cell, with stacks of atoms arranged as if at the eight corners of a cube would form a single cubic hole or void in the center. If these voids are occupied by ions of opposite charge from the parent lattice, the cesium chloride structure is formed.

Body-centered cubic (BCC)
A body-centered cubic unit cell has six octahedral voids located at the center of each face of the unit cell, and twelve further ones located at the midpoint of each edge of the same cell, for a total of six net octahedral voids. Additionally, there are 24 tetrahedral voids located in a square spacing around each octahedral void, for a total of twelve net tetrahedral voids. These tetrahedral voids are not local maxima and are not technically voids, but they do occasionally appear in multi-atom unit cells.

Interstitial defect

An interstitial defect refers to additional atoms occupying some interstitial sites at random as crystallographic defects in a crystal which normally has empty interstitial sites by default.

References

Crystallography
Crystals
Materials science


title: Gerald L. Alexanderson

text:
Gerald Lee Alexanderson (1933–2020) was an American mathematician. He was the Michael & Elizabeth Valeriote Professor of Science at Santa Clara University, and in 1997–1998 was president of the Mathematical Association of America. He was also president of The Fibonacci Association from 1980 to 1984.

Education and career
Alexanderson did his undergraduate studies at the University of Oregon, graduating with a B.A. in 1955. He earned a master's degree from Stanford University in 1958, and in the same year joined the Santa Clara University faculty. At Santa Clara, he chaired the department of mathematics for 35 years, from 1967 to 2002.

He was the co-author, editor, or co-editor of 15 books, and was editor of Mathematics Magazine from 1986 to 1990. Abraham Hillman was his most frequent co-author.

Awards and honors
In 2005, Alexanderson won both the Deborah and Franklin Haimo Awards for Distinguished College or University Teaching of Mathematics, and the Yueh-Gin Gung and Dr. Charles Y. Hu Award for Distinguished Service to Mathematics, both from the Mathematical Association of America.

Selected publications

as author
 with Abraham Hillman:
 with Abraham Hillman:  4 editions
 with Abraham Hillman:  7 editions
 with Abraham Hillman:  16 editions
 with Donald J. Albers and Constance Reid: ;  29 editions
 with Abraham Hillman and Richard M. Grassi:  8 editions

as editor
 with Donald J. Albers:   26 editions
 with Leonard F. Klosinski and Loren C. Larson:   25 editions
  15 editions
 with Donald J. Albers and Constance Reid:  13 editions
 with Dale H. Mugler:  15 editions (See Ralph P. Boas Jr.)

 with Donald J. Albers:  18 editions
 with Tatiana Shubin and David Hayes:

 with Donald J. Albers and William Dunham:

References

External links
Home page

1933 births
2020 deaths
20th-century American mathematicians
21st-century American mathematicians
University of Oregon alumni
Stanford University alumni
Santa Clara University faculty


title: José Moreno Gans

text:
José Moreno Gans (Algemesi, 1897-1976) was a Spanish composer. He was primarily a regional composer, with his works being performed in his native Valencia.

Works
Algemesienses for piano
Tres canciones del mar

References

1897 births
1976 deaths
Spanish composers
Spanish male composers
Musicians from Valencia
20th-century composers
20th-century Spanish musicians
20th-century Spanish male musicians


title: Sun FM (Sri Lanka)

text:
Sun FM (98.9 FM or 98.7 FM) is an English language radio station in Sri Lanka.  The station is owned by Asia Broadcasting Corporation.  It has broadcast since 1 July 1998.  Its current format is pop music.

Sun FM sponsors an annual music festival known as Sunfest.

References

External links

English-language radio stations in Sri Lanka


title: Euclides Danicus

text:
Euclides Danicus (the Danish Euclid) is one of three books of mathematics written by Georg Mohr. It was published in 1672 simultaneously in Copenhagen and Amsterdam, in Danish and Dutch respectively. It contains the first proof of the Mohr–Mascheroni theorem, which states that every geometric construction that can be performed using a compass and straightedge can also be done with compass alone.

The book is divided into two parts. In the first part, Mohr shows how to perform all of the constructions of Euclid's Elements using a compass alone. In the second part, he includes some other specific constructions, including some related to the mathematics of the sundial.

Euclides Danicus languished in obscurity, possibly caused by its choice of language, until its rediscovery in 1928 in a bookshop in Copenhagen. Until then, the Mohr–Mascheroni theorem had been credited to Lorenzo Mascheroni, who published a proof in 1797, independently of Mohr's work. Soon after the rediscovery of Mohr's book, publications about it by Florian Cajori and Nathan Altshiller Court made its existence much more widely known. The Danish version was republished in facsimile in 1928 by the Royal Danish Academy of Sciences and Letters, with a foreword by Johannes Hjelmslev, and a German translation was published in 1929.

Only eight copies of the original publication of the book are known to survive. In 2005, one of these original copies was sold at auction, to Fry's Electronics, for what Gerald L. Alexanderson calls a "ridiculously low price": US$13,000.

References

Wikicommons has a copy of the original: https://commons.wikimedia.org/wiki/File:Georg_Mohr%27s_Euclides_Danicus.pdf

Further reading
.

1672 books
Danish non-fiction books
Dutch non-fiction books
Mathematics books


title: Pumacancha

text:
Pumacancha (possibly from Quechua puma cougar, puma, kancha enclosure, enclosed place, yard, a frame, or wall that encloses) is a mountain in the Cusco Region in Peru, about  high. It is situated in the Paucartambo Province, Caicay District.

See also
 Curi

References

Mountains of Peru
Mountains of Cusco Region


title: Martin Isepp

text:
Martin Johannes Sebastian Isepp (30 September 1930 – 25 December 2011) was an Austrian‐born British pianist, harpsichordist, conductor and teacher. He had an international career, and worked with leading singers for several decades. Among those with whom he performed were Janet Baker, Hugues Cuénod, Hans Hotter and Elisabeth Schwarzkopf. For more than forty years he was associated with Glyndebourne Festival Opera, and he held posts in opera houses and music academies in Britain, continental Europe and North America.

Life and career
Isepp was born in Vienna, the son of , who was an artist and art restorer, and his wife, a singer and teacher Hélène Isepp, née Hammerschlag, whose pupils after she moved to Britain included Janet Baker, Bernadette Greevy, Heather Harper and Jeannette Sinclair. In 1938 the Isepps fled from Vienna to Britain, where Sebastian secured posts at the National Gallery in London and the Ashmolean Museum in Oxford.

After studying at Lincoln College, Oxford and the Royal College of Music, Isepp joined Benjamin Britten's English Opera Group in 1954. In 1957 he joined the music staff of Glyndebourne Festival Opera, where he served for 34 years, in capacities including chief music coach 1973–78 and head of the music staff 1978–93. From 1994 until 2007 he returned annually as chief guest coach. Apart from his work at Glyndebourne, Isepp was head of opera training at the Juilliard School in New York from 1973 to 1977. He was appointed head of music studies at the National Opera Studio in London in 1978, and was head of the academy of singing at the Banff Centre in Alberta, Canada, from 1981 to 1993.

Isepp frequently conducted performances by Glyndebourne's touring company, and was an associate conductor of the Metropolitan Opera, New York. Between 2006 and 2008 he was head of music at the Opera Akademie of the Royal Danish Opera in Copenhagen. As an accompanist, Isepp performed with singers including Janet Baker, Hugues Cuénod, Hans Hotter, Elisabeth Schwarzkopf, John Shirley-Quirk, Elisabeth Söderström and Frederica von Stade. As a harpsichordist or pianist he took part in recordings of operas by Britten and Handel.

Isepp died in London at the age of 81. He was survived by his widow, Rose (née Harris), whom he married in 1966. They had three sons, one of whom predeceased him. Janet Baker described Isepp as "one of the most deeply sensitive musicians I have ever met ... I do not know of anyone in our profession who is regarded with more affection". The obituarist in The Independent wrote:

Videography
 Glyndebourne Festival Opera: a Gala Evening (1992), Arthaus Musik DVD, 100-432, 2004

Notes

1930 births
2011 deaths
Classical accompanists
Austrian refugees
British classical pianists
Male classical pianists
British harpsichordists
British male conductors (music)
British music educators
English people of Austrian descent
20th-century classical pianists
20th-century British conductors (music)
20th-century British male musicians


title: César Pérez Sentenat

text:
César Pérez Sentenat (1896-1973) was a Cuban pianist and composer. He has been recognized as an important professor  of classical piano in Cuba.

Professional background

César Pérez Sentenat began to study piano in 1913 with Hubert de Blanck, Rafaela Serrano and Antonio Saavedra, and music theory with José Molina. In 1922 he travelled to Paris, where he studied with Joaquín Nin Castellanos. He also studied musical pedagogy and musicology at the Schola Cantorum. Upon his return to Havana he studied contemporary harmony with Pedro Sanjuán and Amadeo Roldán, between 1924 and 1926. At a later time he travelled to the US, where he continued studying Children Musical Pedagogy with John M. Williams from 1939 to 1940. In 1953 he travelled to Madrid to take courses on Musical Folklore at the Madrid Conservatory, with professor Manuel García.

Professor

In 1922, Pérez Sentenat was appointed as professor of piano and harmony at the National Conservatory, and in 1940 he served as associate professor at the Sherwood Music School in Chicago.

Sentenat served as professor at the Conservatorio Municipal de Música, and in 1931 he was appointed as director of that educational institution. Also in 1931, he founded the Escuela Normal de Música along with composer Amadeo Roldán, where he expanded the courses and organized a night school. He also participated in the foundation of the Conservatorio Internacional de Música, directed by María Jones de Castro, in collaboration with Caridad Benítez, where they implemented the first musical Pre-school and College in Cuba.

In 1945 he was designated as Provincial Inspector of Music in Havana, and in 1948 as General Inspector. In 1961 he was appointed as professor of piano and director of the Guillermo M. Tomás Conservatory in Guanabacoa, and in 1965 he served as General Music Director of the National Culture Council and President of the Musical Education Reform Commission. His students included renowned musicians such as Solomon Mikowsky, Magaly Ruiz, Juan Piñera and Horacio Gutiérrez.

Pianist

In 1933, Pérez Sentenat performed Spanish composer Manuel de Falla’s Noche en los Jardines de España (Night in the Spanish gardens) and Concert for Clavicembalo and Orchestra with the Habana Philharmonic Orchestra, conducted by Amadeo Roldán. César Pérez Sentenat offered his last piano concert at the Palacio de Bellas Artes of Havana, in 1972. He died on May 4, 1973.

Composer

Cesar Pérez Sentenat also dedicated himself to musical composition, though his activity in this field was overshadowed by his pedagogical work. As a composer he didn’t produce a large catalogue of works and mainly focused on a didactical approach and a structural simplicity. In regard to style, he adhered to nationalism with an accent on rural elements.

Other activities

In 1922, Sentenat participated, along with Gonzalo Roig and Ernesto Lecuona, in the founding of the Symphony Orchestra of Havana, with which he collaborated as a pianist and Secretary General. In 1942, he joined Amadeo Roldán to create the Philharmonic Orchestra of Havana.

Musical compositions

Pieces for piano:
 El jardín de Ismaelillo (Didactical pieces), 1931
 La pequeña Rebambaramba, 1932
 Transcription for piano of Danza de los congos from Amadeo Roldán, 1945
 Transcription for four hands of the Six two part inventions of Juan Sebastián Bach, 1950.
 Dos estampas españolas, 1954
 Carnaval humorístico, 1955
 Suite cubana en sol menor, 1956
 Preludio en todos los tonos, 1957
 Cuatro estampas para un pionero, 1962

Pieces for voice and piano:
 Martianas, 1931
 Tres canciones campesinas, 1931-1957
 La tierra colorá... de siembra, pregón, 1947
 Tríptico de villancicos cubanos, 1949
 Aguinaldo del negro cristiano, 1952
 Cuatro estampas para un pinero, for singer and piano

References

1896 births
1973 deaths
20th-century composers
20th-century classical pianists
Cuban classical pianists


title: Miss Eswatini

text:
The Miss Eswatini is a national beauty pageant in Eswatini. The pageant was named Miss Swaziland beauty pageant and rebranded to be Miss Eswatini Organization in 2018. The pageant winner aims to be an ambassador of her country. Eswatini last competed at Miss Universe 1994 when Nicola Smith, Miss Swaziland 1994 competed for the crown. This year winner is Tania Nunn who crowned on November 28, 2022.

History
Miss Eswatini pageant was held for first time in 1975. The pageant was run by Eswatini Beauty Pageant Association (ESBPA) in Swaziland. The winner of Miss Eswatini has competed at Miss World pageant ever since the inception of the pageant in 1975 with Vinah Mamba as the country's first international representative. Miss Eswatini will be taking pride in its ability to produce and nurture independent and motivated young ladies who will play an important role in our society through their different skills and abilities through this year's Miss Eswatini pageant. Since 2010 Eswatini does not compete at the Miss World, the last candidate is Nompilo Mncina (as Miss Swaziland 2009). In 2017 the Miss Eswatini held for the first time after 3 years left. Eswatini National Arts and Culture (ESNCAC) partnered to the Miss Eswatini committee. Nowadays the winner will take act as goodwill ambassador in the Kingdom of Eswatini and will go to Miss Africa beauty pageant. It's unsure that the kingdom will automatically return at Miss Universe or even Miss World competition.

The new foundation after renaming the country's name, the Miss Eswatini holds mission is to empower and provide opportunities for young, diverse, goal women who have the desire and passion for public service and charity while progressively moving forward in their personal and professional life during their year of service and beyond.

In 2022 the committee planned to get the license of Miss Universe. The winner of Miss Eswatini expected to represent the kingdom at the next edition of Miss Universe.

Ownership
Swaziland Beauty Pageant Association (SBPA) (1975-2018)
Miss Eswatini Organization, Musawenkosi Mantinto directorship (2022-present)

Titleholders

1975—Present
 Miss Universe Swaziland/Eswatini

Representatives to international beauty pageants

Miss Universe Eswatini

References

External links
misseswatini.com
missuniverse.com

Recurring events established in 1975
Swazi awards
Annual events in Eswatini
1975 establishments in Swaziland
Eswatini
Eswatini
Women in Eswatini