Amblyptilia acanthadactyla, also known as the beautiful plume, is a moth of the family Pterophoroidea found in across the Palearctic including Europe. The species was first described by the German entomologist, Jacob Hübner in 1813.

Description
The wingspan is . The moth flies almost year round with two generations, flying in July and from September to June (hibernating as an imago). They fly from dusk and the autumn moths have been found on ivy (Hedera helix). The imago of the beautiful plume is similar in appearance to the brindled plume (Amblyptilia punctidactyla) but is a warm reddish-brown (cf. darker appearing greyish-brown of the brindled plume, which also has distinct white speckling).
Examination of the genitalia is required for certain identification.

The larvae feed on various low growing plants, including, restharrow (Ononis spp.), hedge woundwort (Stachys sylvatica), cranesbills (Geranium species), cultivated geraniums (Pelargonium species), goosefoots (Chenopodium species), heathers (Calluna and Erica species), mints (Mentha species), sage (Salvia), wood sage (Teucrium scorodonia), lavender (Lavandula species), eyebright (Euphrasia species), carline thistles (Carlina species), Vaccinium species, calamints (Calamintha species) and catnip (Nepeta species).

Distribution
The beautiful plume is found in Europe and is also known from Iran and Georgia.

References

External links
 Lepidoptera of Belgium
 Microlepidoptera.nl

Amblyptilia
Moths described in 1813
Moths of Asia
Moths of Europe
Taxa named by Jacob Hübner


The Council of Seleucia-Ctesiphon, also called the Council of Mar Isaac, met in AD 410 in Seleucia-Ctesiphon, the capital of the Persian Sassanid Empire. Convoked by King Yazdegerd I (399–421), it organized the Christians of his empire into a single structured Church, which became known as the Church of the East. It is often compared to Constantine's Edict of Milan, approximately a century earlier.

Previously, the Persian state persecuted those Christians, fearing that their loyalty lay with the Roman Empire, which under Constantine the Great had legalized Christianity and with which the Sassanid Empire was repeatedly at war. Persecution had been most severe under Shapur II (309–379). Shapur I (241–272), the second shahinshah (king of kings) of the Sasanian dynasty had advanced as far as Antioch in 260, and both he and Shapur II deported eastward much of the population of the invaded territories to strengthen the Persian economy.

Yazdegerd I adopted a policy of engagement with the Roman Emperor in Constantinople and with the Christian minority in his own empire. In 409, he allowed the Christians to worship openly and to have churches. Zoroastrianism continued to be the official religion, and apostasy from it was punishable by death.

At the suggestion of a bishop from the Roman side of the frontier, a council of bishops was called to organize the Persian Christians as a single Church, with a single bishop in each diocese and with one bishop to act as their head collectively throughout his empire (See Maruthas of Martyropolis).

Establishment of the Church of the East

The Council, presided over by Mar Isaac, archbishop of Seleucia-Ctesiphon, arranged the Persian Church in ecclesiastical provinces, with the bishops in each province grouped around a metropolitan, the arrangement approved by the First Council of Nicea (325) in the civil provinces of the Roman Empire.

The archbishop of Seleucia-Ctesiphon, the capital city, who is referred to in the acts of the council as the Grand Metropolitan, was to hold authority throughout the Church and for that reason was called (probably only from a later date) the Catholicos.

The 410 council set up six provinces, which became known as the interior provinces, according as other provinces, referred to as exterior provinces, were recognized further afield within the empire and even beyond it.

In order of precedence, the six interior provinces were:
 Seleucia-Ctesiphon, in what is now central Iraq
 Beth Lapat, in western Iran
 Nisibis, on the border between today's Turkey and Iraq
 Prat de Maishan, Basra, southern Iraq
 Arbela, Erbil, Kurdistan region of Iraq
 Karka de Beth Slokh, Kirkuk, northeastern Iraq

The council marked a major milestone in the history of the Church of the East and of Christianity in Asia in general.

Uncertain early example of the Filioque

The synod also declared its adherence to the decisions of the First Council of Nicaea and adopted a form of the Nicene Creed. The creed is found in two different recensions, each of which is recorded in much later manuscripts. The first recension is East Syriac and comes from Church of the East sources. The second is West Syriac and comes from Syriac Orthodox sources.  The East Syriac recension contains: "And in the Holy Spirit" while the West Syriac recension contains: "And we confess the living and Holy Spirit, the living Paraclete, who is from the Father and the Son". There has long been controversy among scholars about the relation between the two texts. The development of the Persian creed is difficult to trace, since there were several recensions prior to 410. The first recension is textually closer to the original Nicene Creed. On the other hand, some scholars claim that the second represents the original text of the Seleucia-Ctesiphon Council, and that the words "who is from the Father and the Son" in the second recension are the earliest example of the Filioque clause.

See also
Catholicos
Dioceses of the Church of the East to 1318
List of patriarchs of the Church of the East
Patriarchs of the Church of the East
Synod of Beth Lapat
Syriac Christianity

References

Sources

Christianity in the Sasanian Empire
Seleucia-Ctesiphon
5th century in Iran
Church of the East
Eastern Christianity in Iraq
Babylonia
410
Ctesiphon


Friedrich Weinbrenner (24 November 1766 – 1 March 1826) was a German architect and city planner admired for his mastery of classical style.

Birth and education
Weinbrenner was born in Karlsruhe, and began his career apprenticed to his father, a carpenter. He worked as a builder in Zürich and Lausanne starting from 1788. He arrived to Vienna in 1790 and began his study of architecture, largely self-taught. In 1790–91 he studied at the Bauakademie of Vienna and Dresden, then, in 1791–92, spent several months in Berlin where he was exposed to Palladian architecture. Carl Gotthard Langhans (1732–1808), David Gilly (1748–1808) and Hans Christian Genelli (1763–1823) were influential in the formation of Weinbrenner's architectural thought. He spent the years 1792 to 1797 in Italy, where he was part of the circle around Carl Ludwig Fernow (1763–1808) in Rome. His study of the ancient buildings of Rome, Pompeii, Herculaneum and, especially, Paestum were foundational to his later work. He was among the first German architects to see the early Doric buildings at Paestum.

Career

Upon returning from Italy, Weinbrenner worked briefly in Strasbourg and Hanover, but established himself in Karlsruhe, where he would make his career as the official architect, working for both government and private clients. Karlsruhe was established in 1715 to replace a former capital and become the capital of the newly created Grand Duchy of Baden – now a central German state but then a sovereign principality. A generation of architects were trained under his supervision, and in 1825 he helped establish the Polytechnic School in Karlsruhe. With the architects he trained and the publication of his work, a "Weinbrenner style" of Classicism developed. Weinbrenner is, of course, the architect principally responsible for creating Karlsruhe as a Classical city and, beginning with his 1797 General Plan, for the development of the city plan with an official Protestant church (Stadtkirche) (1807–15), City Hall (1821–25) on the Triumphal Road leading to the Princely palace. Most of Weinbrenner's buildings were reconstructed in the 1950s following their destruction in the Second World War.

Buildings in Karlsruhe
 Karlsruhe Synagogue (1798–1800, burned 1871)
 Palace (1803–14, partial reconstruction 1960–63)
 Karlsruhe court theater (1804–08, burnt 1847)
 Library (1805, destroyed in World War II)
 City Hall (1805/06 and 1821/25, extensive reconstruction of the facade, interior greatly changed)
 Protestant Church (Stadtkirche), (1807–16, reconstruction after the war with a contemporary interior)
 St Stephan Catholic Church (1808–14, reconstruction without reconstruction of the interior 1951–55)
 Southern city gate, demolished at the end of the 19th century
 Stephanienbad at Karlsruhe-Beiertheim (1811, now used as a church)
 Museum (1813–14, burnt 1918)
 Western city gate (1817–21, partially destroyed in World War II, later demolished)
 Ständehaus (1820–22, destroyed 1944)
 Mint (1826–27)

References

2. Elbert, Claudia; Friedrich Weinbrenner und die Weinbrenner-Schule;  C.F. Müller Verlag; Karlsruhe, Deutschland; 1988.
3. Seneca, Oskar; Friedrich Weinbrenner: Jugend und Lehrhjahre 1907; Gyan Facsimile Publisher; New Delhi, India; 2015.
4. Valdenaire, Arthur; Friedrich Weinbrenner: Sein Leben und seine Bauten; Wentworth Press; Sydney, New South Wales, Australia; 2019.
5. Weinbrenner, Friedrich; Architektonisches Lehrbuch; Triglyph Verlag; Bad Saulgau, Deutschland; 2015.
6. Weinbrenner, Friedrich; Über Die Wesentlichen Theile Der Säulen-ordnungen Und Die Jetzige Bauart Der Italiäner, Franzosen Und Deutschen; Nabu Press; Charleston, South Carolina; 2010.
7. Friedrich Weinbrenner. 1766-1826. Architektur und Städtebau des Klassizismus. Katalogbuch, Städtische Galerie Karlsruhe. Deutschland. 2015.

External links

1766 births
1826 deaths
Architects from Karlsruhe
19th-century German architects
German ecclesiastical architects


The Canton of Romilly-sur-Seine-2 is a former canton of the arrondissement of Nogent-sur-Seine, in the Aube department, in northern France. It had 10,921 inhabitants (2012). It was disbanded following the French canton reorganisation which came into effect in March 2015. It covered part of the commune Romilly-sur-Seine.

References

Romilly-sur-Seine-2nd
2015 disestablishments in France
States and territories disestablished in 2015


HXD3 is an electric locomotive built in Mainland China by CNR Dalian Locomotives.

The locomotive is designed for hauling 5,000t freight trains on main lines. It was jointly developed by CNR Dalian Locomotives and Toshiba.

The first prototype (SSJ3-0001) was rolled out from Dalian and underwent testing on the loop track of Beijing CARS in 2004.

Dalian commenced mass production of the locomotive in 2004 with an order of 60 pieces by the Ministry of Railways (MOR). The first mass-produced locomotive was rolled out in 2006. MOR later increased the order from 60 to 240, than to 640, and finally to 1040 locomotives.

Most locomotives were allocated on Jinghu Railway and Jingguang Railway on freight schedules.

Gallery

External links

 HXD3 Electric Locomotive (CRRC　Dalian)
 Spec Sheet; French
 Locomotive and Container Car System Supporting Modern Distribution and Transportation

25 kV AC locomotives
Co-Co locomotives
HXD3
Toshiba locomotives
CRRC Dalian locomotives
Railway locomotives introduced in 2004
Standard gauge locomotives of China


Success rate is the fraction or percentage of success among a number of attempts to perform a procedure or task. It may refer to:

 Call setup success rate
 When success refers to attempts to induce pregnancy, then pregnancy rate is used:

See also

 Failure rate
 Rate (disambiguation)
 Success (disambiguation)


Bent Peder Benjamin Rasch (31 May 1934 - 26 November 1988) was a Danish sprint canoeist who competed in the early 1950s. At the 1952 Summer Olympics in Helsinki, he won a gold in the C-2 1000 m event.

A native of Copenhagen, Rasch emigrated to Canada where he died in Vancouver in 1988.

References

1934 births
1988 deaths
Canoeists at the 1952 Summer Olympics
Danish male canoeists
Olympic canoeists for Denmark
Olympic gold medalists for Denmark
Sportspeople from Copenhagen
Sportspeople from Vancouver
Danish emigrants to Canada
Canadian people of Danish descent
Olympic medalists in canoeing

Medalists at the 1952 Summer Olympics


Winston Freer (August 10, 1910 – April 21, 1981) was born in St. Albans, Vermont. In 1926, at the age of 16, Freer saw Howard Thurston perform and became interested in magic. He grew up to be one of magic's cleverest inventors.

In the 1930s, Freer worked at Abbott's Magic in Colon, Michigan and performed under the name Alladin and later Doc Maxam.

Freer gained a reputation for performing effects like freezing ice in his bare hand. He also startled magicians by performing a suspension while standing in the middle of a floor entirely surrounded. It was captured on the cover of The Linking Ring, August 1941.

Freer also published his classification of magical effects in The Linking Ring.

Freer also fancied himself a mathematician. One of his most impressive creations was his Tile Puzzle. What makes it so interesting is that neither the pieces nor the frame change shape or size in any way.

Published works
 Alagen Rope (with U.F. Grant) (1939)
 25 Rice Bowl Methods (1954)
 The Magic of Doc Maxam (1954)

Works about
 Adventures of Winston Freer CD (2008)

See also
 List of magicians
 Card magic
 Coin magic
 magic (illusion)

References

External links

 Video of Winston Freer's Tile Puzzle
 Winston Freer effect classification

American magicians
1910 births
1981 deaths
Card magic
Coin magic


Mar Isaac may refer to:

 Mar Isaac (bishop), early bishop of Seleucia
 Isaac the Syrian, d. ca. 700
 Mar Isaac of Firuz Shapur, Gaon of the Jewish Yeshiva academy in Firuz Shapur, Babylon


Finally (or sometimes The Animals & Beyond) is a documentary film about Eric Burdon. It was released in 1991 on VHS and in 2003 on DVD. It features clips from 1964 to 1970 and some from 1991.

People who were interviewed in this documentary including Sammy Hagar, John Steel, Chas Chandler, Zoot Money, Hilton Valentine, Brian Auger and Eric Burdon.

Clips of John Weider, War and Jimi Hendrix were also shown.

The film shows live recordings of "See See Rider", "Talkin' 'Bout You", "Hey Gyp (Dig the Slowness)", "Wild Thing" (Jimi Hendrix), "Good Times", "Don't Let Me Be Misunderstood", "We Gotta Get Out of This Place" and video clips of "Monterey", "When I Was Young", "The House of the Rising Sun", "Spill the Wine" and many more. A short clip of "Don't Let Me Be Misunderstood" (performed by Burdon & Brian Auger Band) is also included.

In October 2008, the film was re-issued.

References

1991 films
Documentary films about singers
Direct-to-video documentary films
1991 documentary films


Dropbox or drop box may refer to:

 Dropbox, a web-based file hosting service
 Drop box, or post box, a physical box for collection of outgoing mail
 Drop box (audio engineering), a device used to connect microphones to a multicore cable
 Drop box (stage lighting), a device used to connect multiple lights to one power source
 Drop box (weaving device), a device invented by Robert Kay for improved working of weaving looms
 The Drop Box, 2014 documentary film
 Dropbox (band), an American rock band
 Dropbox (album), their 2004 album


Finn Haunstoft (8 July 1928 – 12 May 2008) was a Danish sprint canoer who competed in the 1950s. Competing in two Summer Olympics, he won the gold in the C-2 1000 m event at Helsinki in 1952.

References

1928 births
2008 deaths
Canoeists at the 1952 Summer Olympics
Canoeists at the 1956 Summer Olympics
Danish male canoeists
Olympic canoeists for Denmark
Olympic gold medalists for Denmark
Olympic medalists in canoeing
Sportspeople from Aarhus
Medalists at the 1952 Summer Olympics


Katie Doherty, born 1983, is a singer-songwriter based in the North East of England.  In 2007 she won the Journal (Newcastle upon Tyne newspaper) Culture Award for Newcomer of the Year.

She studied music at Newcastle University which included performance time at The Sage Gateshead. Through this she was discovered by the Folkworks initiative, which has championed her work in the past few years. At the Sage, she has supported Karine Polwart, Kate & Anna McGarrigle, and Ray Davies

Doherty has also performed with fellow North Eastern musician Kathryn Tickell and recorded the song "Winter is Past" on Tickell's album Strange But True.

Her first solo album Bridges was released in October 2007, on the Park Records label.

Katie Doherty has worked as musical director for theatre productions at Newcastle's Northern Stage theatre Northern Stage theatre and the RSC RSC under the direction of Samuel West. She works regularly with November Club theatre company.

Doherty is a regular guest with folk band Broom Bezzums. She added vocal harmonies on two tracks on their 2011 album, Wine From a Mug (the title track and "Empire Windrush"). After two German tours with the band she was asked to contribute more vocal performances for the 2012 album, Winterman. On the 2015/16 release, No Smaller Than the World, Doherty contributed the song from which the album title was taken, "Passing Through", also taking on lead vocals. Her singing features on eight further songs on this album.

References

English women songwriters
1983 births
Living people
Place of birth missing (living people)
Alumni of Newcastle University
21st-century English women singers
21st-century English singers


Medana () is a village in the Municipality of Brda in the Slovene Littoral region of Slovenia. It is located in the Gorizia Hills (Slovene: Goriška brda), a wine-producing region on the border with Italy. The parish church in the village is dedicated to the Assumption of Mary and belongs to the Diocese of Koper. Medana is the birthplace of the Slovene poet Alojz Gradnik and is known for its annual Poetry and Wine Days festival, which takes place in late August.

References

External links

Medana on Geopedia

Populated places in the Municipality of Brda


Karl Heim  (20 January 1874 – 30 August 1958) was a professor of dogmatics at Münster and Tübingen. He retired in 1939. His idea of God controlling quantum events that do and would seem otherwise random has been seen as the precursor to much of the current studies on divine action.  His current influence upon religion and science theology has been compared in degree to that of the physicist and theologian Ian Barbour and of the scientist and theological organizer Ralph Wendell Burhoe.  His doctrine on the transcendence of God has been thought to anticipate important points of later religious and science discussions, including the application of Thomas Kuhn's idea of a paradigm to religion and Thomas F. Torrance's theory of multileveled knowledge. Mention of Heim's physical and theological concept of extra-dimensional space can be found in a 2001 puzzle book by the popular mathematics writer Martin Gardner. His concept of space has also been discussed by Ian Barbour himself, who in a review of the book Christian Faith and Natural Science (English translation, 1953, Harper & Brothers) and in a mention of "its more technical sequel" The Transformation of the Scientific World-View (English translation, 1943, Harper & Brothers), found it to be "an illuminating insight."

Place amongst German scholars
Until the late 1960s Karl Heim's call for a religion and science dialogue was a lone voice amongst German theologians. Within the realm of German scientists who were also Christian laity or religious proponents, Heim's views did however have contemporary company. So while German theologians Karl Barth and Rudolph Bultmann discouraged all types of interdisciplinary religious dialogue with science or any other intellectual discipline, scientists such as Max Planck, Werner Heisenberg, Otto Hahn, Gunther Howe, and Carl Friedrich von Weizsacker readily participated in religion and science dialogues from the 1930s onward. In the 1960s Anglo-American Creationism-type  religion and science dialogues (in particular young earth) began to be promoted by A.E. Wilder-Smith and others involved in the Karl-Heim-Gesellschaft (i.e., the Karl Heim Society).

Concept of spaces
Heim's analog of spaces has been subject to some criticism.  He appeared to use a scientific concept to create a new natural-supernatural relationship using a fourth dimension, which, in modern physics, cannot be visualized, and relates to mathematical and physical measurements and is always expressed as a mathematical equation. He proposed a "suprapolar" space which was experiential, interpersonal and non-objectifiable and would exist alongside conventional space-time within an "archetypal" space.  This space would be the abode of God, but also the experiencing subject connecting to God and other beings.

Publications

Christian faith and natural science (1953) full text
The transformation of the scientific world view (1953)
Jesus the Lord; the sovereign authority of Jesus and God's revelation in Christ (1959)
Jesus, the world's perfecter : the atonement and the renewal of the world (1959)
The world: its creation and consummation (1962) full text
God transcendent; foundation for a Christian metaphysic (1935)
Germany's new religion; the German faith movement(1937)
The nature of Protestantism (1963)
The church of Christ and the problems of the day (1935)
Spirit and truth; the nature of evangelical Christianity (1935)
The world : its creation and consummation : the end of the present age and the future of the world in the light of the resurrection (1952)
The Living fountain; a series of sermons (1936)
The new divine order (1930)
The gospel of the cross; a second series of sermons (1937)
The power of God (1937)

Further reading

References

1874 births
1958 deaths
Commanders Crosses of the Order of Merit of the Federal Republic of Germany
Academic staff of the University of Münster
Writers about religion and science


The Metropolitan Poor Act 1867 was an Act of Parliament of the United Kingdom, the first in a series of major reforms that led to the gradual separation of the Poor Law's medical functions from its poor relief functions. It also led to the creation of a separate administrative authority the Metropolitan Asylums Board.

The legislation provided that a single Metropolitan Poor Rate would be levied across the Metropolis: this being defined as the area of the Metropolitan Board of Works. The Poor Law Board (a central government body) was empowered to form the areas of the various parish and poor law unions into districts for the provision of "Asylums for the Sick, Insane, and other Classes of the Poor".

An order was signed on 16 May 1867, combining all the parishes and unions in the Metropolis into a single Metropolitan Asylum District "for the reception and relief of the classes of poor persons chargeable to some union or parish in the said district respectively who may be infected with or suffering from fever, or the disease of small-pox or may be insane." The Metropolitan Asylums Board was established with 60 members: 45 elected by the various poor law boards of guardians and 15 nominated by the Poor Law Board.

The legislation amended the Poor Law Amendment Act 1834 to allow control over parishes that had been excluded from it by local acts. The ten parishes were St James Clerkenwell, St George Hanover Square, St Giles and St George Bloomsbury, St Mary Islington, St James Westminster, St Luke, St Margaret and St John Westminster, St Marylebone, St Mary Newington and St Pancras.

It permitted the employment of probationary nurses who were trained for a year in the sick asylums. These nurses gradually began to replace the employment of untrained paupers.

References

External links

United Kingdom Acts of Parliament 1867
Acts of the Parliament of the United Kingdom concerning London
English Poor Laws
1867 in London
March 1867 events


Franz Faldermann (28 February 1799, Heidelberg – 30 November 1838, St. Petersburg) was a German entomologist who specialised in Coleoptera.

Falderman described many new taxa of Coleoptera. His major works are:

 Faldermann, F.: 1833, Species novae Coleopterorum Mongoliae et Sibiriae ; Bulletin de la Société Impériale des Naturalistes de Moscou, 6: 46 - 72.
 Faldermann, F.: 1835, Fauna Entomologica Transcaucasica ; 1. časť tvoria nasledovné diela: Additamenta Entomologica ad Faunam Rossicam - Coleoptera Persico-Armeniaca ; Nouveaux Mémoires de la Société Impériale des Naturalistes de Moscou, 4: 1 - 314.
 Faldermann, F. 1835, Coleopterorum ab. ill. Bungio in China boreali, Mongolia et montibus Altaicis collectorum, nec non ab ill. Turczaninoffio et Stschukino e provincia Irkutzk missorum illustrationes ; Mémoires de l'Académie Impériale des Sciences de St. Pétersbourg, (6)2: 337 - 464.
 Faldermann, F.: 1836, Bereicherung der Käferkunde des Russischen Reiches ; Bull. Soc. Nat., M.
 Faldermann, F.: 1837, Fauna Entomologica Trans-caucasica ; Pars II. Nouv. Mem. Soc. Nat. Mosc., 5: 1 - 412, pl. I - XV.
 Faldermann, F.: 1838, Fauna Entomologica Transcaucasica ; 3. časť tvoria nasledovné diela: Additamenta Entomologica ad Faunam Rossicam - Coleoptera Persico-Armeniaca ; Nouveaux Mémoires de la Société Impériale des Naturalistes de Moscou, 6 338 pp.
 Faldermann, F.: 1835—1838, Fauna entomologica transcaucasica ; (3 т.)

His insect collections are shared between the Zoological Museum of the Zoological Institute of the Russian Academy of Sciences in St. Petersburg, the Muséum national d'histoire naturelle in Paris, Kiev Polytechnic Institute and the Zoological Museum of Moscow University

References
Mannerheim, C. G. von 1839: M. Le Docteur F. Faldermann Bull. Soc. Imp. Nat. Moscou 12(I) 34-43
Marseul, S. A. de 1884: Les Entomologistes et leurs Écrits. L'Abeille (4) 22(=4) 121-144 140.

German entomologists
Coleopterists
1799 births
1838 deaths


The Castle is a 1997 Australian comedy film directed by Rob Sitch, and written by Sitch, Santo Cilauro, Tom Gleisner and Jane Kennedy of Working Dog Productions, all veteran writers and performers on ABC's The Late Show and The D-Generation. The film stars Michael Caton, Anne Tenney, Stephen Curry, Anthony Simcoe, Sophie Lee and Wayne Hope as the Kerrigan family, as well as Tiriel Mora, Robyn Nevin, Eric Bana, Costas Kilias and Charles 'Bud' Tingwell.

The film's title is based upon the English saying, repeatedly referred to in the film, "a man's home is his castle". Its humour plays on the national self-image, most notably the concept of working-class Australians and their place in modern Australia.

Shot in 11 days on a budget of approximately , The Castle gained widespread acclaim in Australia and New Zealand, where it is considered one of the greatest Australian films ever made. It grossed A$10,326,428 at the box office in Australia.

Plot
The Kerrigan home, in the outer Melbourne blue-collar suburb of Coolaroo, is filled with love as well as pride in their modest lifestyle, but their happiness is threatened when developers attempt the compulsory acquisition of their house to expand the neighbouring airport.

The Kerrigan house is built in a largely undeveloped housing tract, on a toxic landfill, and directly adjacent to an airport runway. Despite all this, sweet-natured family patriarch Darryl (Michael Caton) believes that he lives in the lap of luxury. Blissfully unaware of his family's lack of style or sophistication, he busies himself by driving a tow truck, racing greyhounds, and constantly adding tacky renovations to the house. The rest of the Kerrigan clan shares and supports his enthusiasm in every way.

One day, a property valuer arrives to inspect the house. Though he has no wish to sell, Darryl points out all the features of the property, believing they will add value to the appraisal. A few weeks later, he receives a letter informing him of the compulsory acquisition of his house for the sum of $70,000. His neighbours (elderly Jack, divorcee Yvonne, and Farouk and Tabulah, recent immigrants from Lebanon) all receive similar notices. Believing on common principle that the government cannot evict him unwillingly from his treasured home, Darryl attempts to fight the eviction. Agents from the airport try to bribe and bully the family into giving up, but their actions only stiffen the Kerrigans' resolve. Darryl hires an incompetent lawyer acquaintance, Dennis Denuto (Tiriel Mora), but Dennis's meagre argument that the eviction goes against "the vibe" of the Constitution does not go well in court. While awaiting the court's final decision, Darryl makes pleasant small talk with a man whom he meets outside the courthouse, Lawrence Hammill (Bud Tingwell), who has come to watch his barrister son perform in court in a different case. The court rejects the family's appeal and gives them two weeks to vacate. The purchase price for the home is scarcely enough to cover a small apartment. Dejected in defeat, the family begins to pack.

A new breath of hope comes with the surprise arrival of Lawrence, who reveals himself to be a retired Queen's Counsel. Lawrence has taken an interest in the Kerrigans' case, in part due to his extensive experience in constitutional law, and offers to argue before the High Court of Australia on their behalf, for the public good. Lawrence makes a persuasive case that the Kerrigans have the right to just terms of compensation for acquisition of property under Section 51(xxxi) of the Australian Constitution. He closes by paraphrasing Darryl's own comments that his house is more than just a structure of bricks and mortar, but a home built with love and shared memories. The court rules in favour of the Kerrigans, and their case becomes a landmark precedent on the subject. An epilogue shows that the Kerrigans continue to prosper happily, and Lawrence becomes a lasting friend of the family.

Cast
 Michael Caton as Darryl Kerrigan, the father
 Anne Tenney as Sal Kerrigan, the mother
 Stephen Curry as Dale Kerrigan, the youngest son, digger of holes, and the film's narrator
 Sophie Lee as Tracey Petropoulous (née Kerrigan), the family's only daughter, a newlywed hairdresser
 Eric Bana as Con Petropoulous, Tracey's new husband, an accountant and amateur kickboxer
 Anthony Simcoe as Steve Kerrigan, the second-oldest son and an apprentice mechanic
 Wayne Hope as Wayne Kerrigan, the black sheep, who is serving time for armed robbery but is loved by his family regardless
 Tiriel Mora as Dennis Denuto, a bumbling small-time lawyer who previously failed to defend Wayne on his charge
 Costas Kilias as Farouk, the Kerrigans' neighbour
 Charles 'Bud' Tingwell as Lawrence Hammill QC, a retired barrister who comes to the Kerrigans' aid by representing them pro bono
 John Flaus as Sgt. Kennedy, a local police officer
 Tony Martin as Adam Hammill, Lawrence's son (brief, mostly non-speaking cameo)
 Larry Emdur appears as himself (at the time, Emdur was host of the Australian iteration of The Price Is Right)
 Ian Ross appears as himself (at the time, Ross was a Channel Nine newsreader)
 Bryan Dawe appears as the lawyer Ron Graham

Production
According to Santo Cilauro, the film took five weeks from original inception to final cut. The screenplay was written in two weeks, shot in ten days and taken to rough cut in two weeks.

The Castle was filmed mostly in Melbourne, Victoria. The external shots of the Kerrigan household were shot at 3 Dagonet St, Strathmore, and airport footage was shot at Essendon Airport and Melbourne Airport. Location shots of Brunswick feature in the film, including Brunswick Town Hall and Rocky Porcino Pharmacy at 720 Sydney Rd (Dennis's office). Melbourne's 200 Queen Street and the Supreme Court of Victoria are featured along with the High Court of Australia in Canberra. Some of the film is set in Bonnie Doon, and a very small portion of it was shot there.

The name Kerrigan was chosen for the family so that tow trucks could be borrowed from an existing Melbourne tow-truck company with that name. The company still operates today.

In January 2011, 3491 Maintongoon Road, Bonnie Doon was listed for sale. The property appeared in the film as the Kerrigan family holiday house. The property's real estate agent reported that many people called and after requesting the vendor's asking price, replied with a quote from the movie: "Tell him he's dreamin'."

Legal principles
The film refers to the land rights movement of Aboriginal Australians, with Darryl Kerrigan drawing an explicit parallel between his struggle and theirs. It also draws on one of the few rights protected in the Australian Constitution for subject matter, the right to just terms compensation for acquisition of property under s51(xxxi). Also interspersed in the film are many references to famous Australian Constitutional Law Cases, such as Mabo and the Tasmanian Dams Case. The film also deals with section 109 of the Constitution which provides that in the case of an inconsistency between Federal and State law, the Federal law shall prevail to the extent of the inconsistency.

For the purpose of the drama, some of the relevant legal principles are simplified. For example, the law relating to compulsory acquisition can be complicated and raises more questions than are noted in the film. Section 51 (xxxi) of the Commonwealth Constitution applies to acquisitions only by the Commonwealth, not by the States, and the latter are more likely to compulsorily acquire property. Similarly, in contrast to Kerrigan's idea that the value he places on his own home cannot be bought, the law regularly places a monetary value on intangible human values.

Themes
The Castle can be seen as a social study on the lives and aspirations of the inhabitants of suburban Australia. The central character, Darryl Kerrigan, ties into the stereotypical depiction of an "Aussie battler", a man who will protect and serve his family through bold and sometimes ruthless assertion. The Aussie battler will at times face challenges or adversity, often in the face of oppressive government or economic hardship. Kerrigan, and to a lesser extent his wife and children, are committed to their pursuit of the Australian Dream, a concept considered somewhat outdated. The Castle has also been seen as "a canonised text for Australian settler identity".

Release

Alternative versions
In the US version, there were several minor changes to dialogue. "Rissole" was changed to "meatloaf", "two-stroke" was changed to "diesel", references to the Australian TV show Hey Hey It's Saturday were changed to the more generic Funniest Home Videos (which existed in both markets), and brand names of various cars in the driveway were changed from uniquely Australian cars like the Camira, to ones sold in both countries like the Corolla.

Australian broadcasts for "before-8:30pm screening" has profanity either removed or, where possible, masked by aircraft noises or redubbed when lip movements are not visible. When shown after 8:30pm, all explicit language is intact.

Box office
The Castle previewed on 34 screens in Australia and grossed A$122,256 ranking 14th at the Australian box office for the week. It officially opened on 10 April 1997 on 86 screens and grossed A$1,137,703 for the week, ranking fourth. Its per screen average of A$13,229 was second only just behind the opening of the special edition of The Empire Strikes Back. It became one of the top-10-grossing Australian films of all time with a gross of A$10,326,439 at the box office in Australia, over 13 times its A$750,000 budget.

Paramount Pictures bought distribution rights to the United Kingdom and South Africa, and was also offered North American distribution rights, which it refused to buy. A bidding war for North American rights took place, with Gramercy Pictures, Miramax Films and LIVE Entertainment being the frontrunners and Columbia TriStar also expressing interest in buying the rights. Ultimately, North American rights were bought by Miramax for a rumoured $6 million. The film grossed $877,621 in the United States and Canada.

Critical reception
In Australia, the film received critical acclaim, considered an iconic classic and is frequently listed as one of the greatest Australian films ever made. In 2011, Time Out London named it the 25th-greatest comedy film of all time. The film is a text studied in secondary education in Australia.

The Castle received positive reviews from overseas critics. It has an 87% approval rating from review-aggregation website Rotten Tomatoes, based on 39 reviews, with a weighted average of 6.99/10. Roger Ebert gave the film 3 stars out of 4, calling it "one of those comic treasures like The Full Monty and Waking Ned Devine that shows its characters in the full bloom of glorious eccentricity". Elsewhere around the world, especially in non-English-speaking countries not familiar with Australian humour, mores or issues, the film made little impact.

Accolades

See also

 Australian constitutional law
 Cinema of Australia
 Mabo v Queensland (No 2)

References

External links

 The Castle at Oz Movies
 The Castle movie quotes

 The Castle at the National Film and Sound Archive
 DVD release details for "The Castle: Poolroom Edition" (includes R1 vs. R4 comparison) from MichaelDVD.com.au

1997 films
APRA Award winners
1997 comedy-drama films
Australian comedy-drama films
Films about real estate holdout
Australian aviation films
Courtroom films
Films set in Melbourne
Films set in Victoria (state)
Films shot in Melbourne
1997 directorial debut films
1990s English-language films
Roadshow Entertainment films

it:Casa dolce casa (film)


The Biblioteca Ayacucho (Ayacucho Library) is an editorial entity of the government of Venezuela, founded on September 10, 1974. It is managed by the Fundación Biblioteca Ayacucho. Its name, Ayacucho, comes from the intention to honor the definitive and crucial Battle of Ayacucho that took place on December 9, 1824, between Spain and the territories of the Americas, prior to the full independence of the continent.

From the beginning, the Biblioteca had its sights set on the classic works of all of Latin America and of all the branches of literary culture. It started with a Classical collection, with its first publication being Doctrina del Libertador Simón Bolívar, by Venezuelan independence hero Simón Bolívar, in June 1976. Over time, the Biblioteca has developed several collections, as well as one of the most important Literary Dictionaries of Latin America, the Diccionario Enciclopédico de las Letras de América Latina.

Notable personalities of the intellectual and academic world of Latin America have participated in the formation and development of Biblioteca Ayacucho, such as Ángel Rama and José Ramón Medina. Its director, as of today, is the Venezuelan writer Humberto Mata.

In March 2009 Biblioteca Ayacucho won three categories of the fifth Premio Nacional del Libro, including the category of digital publications, for the Biblioteca Ayacucho Digital. The Biblioteca Ayacucho Digital provides free online access to around 250 Venezuelan and Latin American books, ranging from recent publications to classics by authors such as Simón Bolívar.

References

External links
  www.bibliotecayacucho.gob.ve/fba/
 Biblioteca Ayacucho at Biblioteca Multiversidad

Venezuelan government mass media
Book publishing companies of Venezuela
1974 establishments in Venezuela


Portugal was present at the Eurovision Song Contest 1979, held in Jerusalem.

Before Eurovision

Festival da Canção 1979

The Portuguese national final to select their entry, the Festival da Canção 1979, was held on 24 February at the Cinema Monumental in Lisbon, and was hosted by José Fialho Gouveia and Manuela Moura Guedes. The musical director was Thilo Krasmann.

Three semi-finals in February narrowed the final selection from 27 eligible songs to nine; the top three winners in each of the three heats were chosen by a jury composed of 5 elements, each of them would have to score each song from 1 to 5 points depending on their analysis of each of the themes in the competition.. The regional juries came back, with twenty-two regional juries throughout Portugal, the Azores and the Madeira Islands picking the winner. Each district could vote for each song from zero to 10 points.

The winning entry was "Sobe, sobe, balão sobe", performed by Manuela Bravo and composed by Carlos Nóbrega e Sousa.

At Eurovision
Manuela Bravo was the first performer on the night of the contest, preceding Italy. At the close of the voting the song had received 64 points, placing 9th in a field of 19 competing countries. It was the highest ranking Portugal had received since 1972.

Voting

References

External links
Portuguese National Final 1979

1979
Countries in the Eurovision Song Contest 1979
Eurovision


Maisonneuve Park is an urban park in the Rosemont–La Petite-Patrie borough of Montreal, Quebec, Canada. It is considered to be one of Montreal's large parks.

Established in 1910, it is  in size, in three sections. The primary section is a public space that is bordered by the Montreal Botanical Garden on the west, Rosemont Street to the north, Viau Street to the east, and Sherbrooke Street East to the south. The other two sections, east of Viau Street, are a nine-hole public golf course and a community garden. Originally the primary section contained an 18-hole golf course which was reduced to 9 holes in the mid-1970s in order to construct the Montreal Olympic Park.

It is named in honour of Paul Chomedey de Maisonneuve, founder of Montreal.

The park is a unique place where people enjoy walking day or night, bicycling on its bike trail which runs all the way around the park. The center of the park is a calm area where people enjoy picnics and tranquility and is very popular among young people and families.

The loop section of the bicycle path is  long.  This does not include the path outside the fenced area, along Sherbrooke Street.

It has been the site for Montreal's annual Saint-Jean-Baptiste Day concert on June 24, but in 2015 the festivities were held in the Place des Festivals instead.

References

Parks in Montreal
Golf clubs and courses in Quebec
Rosemont–La Petite-Patrie


Johnston Hastings "Jack" Skelly Jr. (August 4, 1841 – July 12, 1863) was a Union soldier – a corporal in the 87th Pennsylvania Infantry – who died as a result of wounds sustained at the Second Battle of Winchester. He was the friend, and possibly fiancé, of Jennie Wade, the only civilian to die in the Battle of Gettysburg. He was buried in Evergreen Cemetery in Gettysburg, Pennsylvania, near Wade's grave.

Biography
Skelly was born to parents Elizabeth and Johnston Skelly Sr. in Gettysburg. He joined the Union Army, made the rank of corporal, and he and his brother Charles joined Company F of the 87th Pennsylvania Infantry, along with childhood friends William T. Ziegler and William Hotzworth. During the Battle of Carter's Woods near Winchester, Virginia, Jack, his brother, and their two friends were captured by enemy soldiers. After they were called upon to surrender, they attempted to flee, and Skelly was shot in the upper arm on June 15, 1863. He died a month later. The Grand Army of the Republic post in Gettysburg was named after Skelly.

Book
The book My Country Needs Me: the story of Johnston Hastings Skelly Jr., by Enrica D’Alessandro, includes five previously unpublished letters from Jennie Wade to Jack Skelly and is the first book about their relationship.

References

Notes

 Petruzzi, J. David, and Steven Stanley, The Complete Gettysburg Guide, Savas Beatie, 2009, .

External links

1841 births
1863 deaths
Union military personnel killed in the American Civil War
Union Army soldiers
Burials at Evergreen Cemetery (Adams County, Pennsylvania)


Marciel Rodger Back  also known as  Marciel  (born 20 March 1982 in Itapiranga, Santa Catarina) is a Brazilian professional footballer who plays for Americano Futebol Clube.

Marciel last played for Samsunspor in the Turkish Super Lig.

References

External links
 Guardian's Stats Centre

1982 births
Living people
Brazilian men's footballers
Fluminense FC players
Associação Atlética Internacional (Limeira) players
CR Vasco da Gama players
Samsunspor footballers
Macaé Esporte Futebol Clube players
Brazilian expatriate men's footballers
Expatriate men's footballers in Turkey
Brazilian people of German descent
Men's association football midfielders
People from Itapiranga, Santa Catarina
Footballers from Santa Catarina (state)


Egon Drews (1 June 1926 – 13 January 2011) was a West German flatwater canoer who competed in the 1950s. Competing in two Summer Olympics, he won two bronze medals at Helsinki in 1952, earning them in the C-2 1000 m and C-2 10000 m events.

References
 Egon Drews' profile at Sports Reference.com

1926 births
2011 deaths
Canoeists at the 1952 Summer Olympics
Canoeists at the 1956 Summer Olympics
German male canoeists
Olympic canoeists for the United Team of Germany
Olympic canoeists for West Germany
Olympic bronze medalists for West Germany
Olympic medalists in canoeing
Medalists at the 1952 Summer Olympics


Night and Fog () is a 1956 French documentary short film. Directed by Alain Resnais, it was made ten years after the liberation of Nazi concentration camps. The title is taken from the Nacht und Nebel (German for "Night and Fog") program of abductions and disappearances decreed by Nazi Germany.
The documentary features the abandoned grounds of Auschwitz and Majdanek established in occupied Poland while describing the lives of prisoners in the camps. Night and Fog was made in collaboration with scriptwriter Jean Cayrol, a survivor of the Mauthausen-Gusen concentration camp. The music of the soundtrack was composed by Hanns Eisler.

Resnais was originally hesitant about making the film and refused the offer to make it until Cayrol was contracted to write the script. The film was shot entirely in the year 1955 and is composed of contemporary shots of the camps plus stock footage. Resnais and Cayrol found the film very difficult to make due to its graphic nature and subject matter. The film faced difficulties with French censors unhappy with a shot of a French police officer in the film, and with the German embassy in France, which attempted to halt the film's release at the Cannes Film Festival. Night and Fog was released to critical acclaim, and still receives very high praise today. It was re-shown on French television nationwide in 1990 to remind the people of the "horrors of war".

Plot
Night and Fog is a documentary that alternates between past and present, using both black-and-white and colour footage. The first part of Night and Fog shows remnants of Auschwitz while the narrator Michel Bouquet describes the rise of Nazi ideology. The film continues with comparisons of the life of the Schutzstaffel to the starving prisoners in the camps. Bouquet shows sadism inflicted upon the doomed inmates, including scientific and medical experiments, executions, and rape. The next section is shown completely in black-and-white, and depicts images of gas chambers and piles of bodies. The final topic of the film depicts the liberation of the country, the discovery of the horror of the camps, and the questioning of who was responsible for them.

Production

Background and development
From 1954 to 1955, a number of activities took place in observance of the tenth anniversary of the liberation of France and of the concentration camps. One of these was an exhibition curated by Olga Wormser and Henri Michel, Resistance, Liberation, Deportation, which opened on 10 November 1954 at the Institut Pédagogique National (National Teaching Institute) in Paris. The exhibit was based on Michel and Wormser's monograph, which had been published earlier in 1954 in a special issue of Revue d'histoire de la Deuxième Guerre mondiale. The first public notice of a proposed film project was given during a radio broadcast on 10 November 1954, the opening day of the exhibition.

Although Michel was under pressure from veterans' organizations to create a film that would honor French Resistance fighters, Wormser argued for a scholarly approach that would show the concentration camps as a systematic microcosm of the German war economy. Michel recognized that this approach would enable broader financing, and both re-envisioned the film as "communicating historical research through contemporary media." Initially, Michel thought the film could take the form of a montage of news reports. But as a result of the exhibit Resistance, Liberation, Deportation, both he and Wormser had received many items created by former inmates during their internment. They came to believe that they could create a unique perspective by providing an inside view of the camps.

"The genocide of the Jews was treated in French remembrance as more of a side issue—something that was in any case supposedly a matter for the Jews themselves and not for the majority of society. Michel and Wormser might have wanted scholarly objectivity instead of the heroism favoured by the deportees' association...but nevertheless the Holocaust had remained a blind spot even for them."

Film producers Anatole Dauman, Samy Halfton, and Philippe Lifchitz were invited to this exhibit and felt that a film should be made on the subject. Anatole Dauman, originally from Warsaw, undertook the production for Argos Films and arranged for co-financing by Films Polski, the Polish state production company. Dauman approached filmmaker Alain Resnais, who had experience with documentary films since 1948. For more than a week, Resnais resisted the offer, believing that only someone with first-hand experience of concentration camps should attempt the subject matter.

Resnais eventually agreed, providing that poet and novelist Jean Cayrol, who had been a concentration camp prisoner, would collaborate on the project. Resnais officially signed his contract for the film on 24 May 1955. Cayrol had written in 1946 about his experience as a survivor of Mauthausen in Poèmes de la nuit et brouillard ("Poems of night and fog"), from which the documentary was titled. Resnais intended the film to warn of the horrors of Nazism, which he feared could be repeated during the Algerian War, during which torture and internment were already taking place.

The film was commissioned by two organizations: the first was the Comité d'histoire de la Deuxième Guerre mondiale (Committee on the history of the Second World War), a government commission assigned the tasks of assembling documentary material on, and of launching historical inquiries and studies of, the period of the French occupation from 1940 to 1945. The second was the Réseau du souvenir (Network of memory), an association devoted to the memory of those deported to camps. A pre-production meeting was held on 28 May 1955, during which participants decided "to explain clearly how the concentration-camp system (its economic aspect) flowed automatically from fascism". The film's working title, Resistance and Deportation, was changed to the French translation of the German term Nacht und Nebel (Night and Fog). This was the term for handling World War II prisoners according to a decree promulgated by Himmler on 7 December 1941. This decree provided that those resisting the Reich, who were arrested in their own countries but not promptly executed, would be deported to camps where they would vanish without a trace, "into the night and fog".

Another layer of meaning is expressed one quarter of the way through the film: Hanns Eisler's chilling score, which has accompanied images of deportation, is disrupted as the train arrives at Auschwitz. The narrator observes that during the train ride, "death makes its first choice" and "a second is made upon arrival in the night and fog". The visuals cut to a shot of trains arriving in night and fog, which has become a metaphor for the mystery of their situation.

Evolving structure of the film
Michel's and Wormser's 1954 exhibit Resistance, Liberation, Deportation was organized in nine parts:
 The convoys
 Arrival at the camp and quarantine
 Daily life; atmosphere in the camp, the locations and camp sites, the schedule, hygiene, diet, a typical day
 Work in the concentration camps, chores, factory work, secret war factories
 Social categories in the camps, the SS, prisoner administration, the slaves
 The permanence of humanity, spiritual life and resistance
 The sick bay: the anteroom of death, medical organization, the camp pathology, human experiments
 Death: the last station, "natural" death, induced death, massive exterminations
 The camp evacuations and their liberation

This was adapted into seven parts for the first draft of the film (dating from late February/early March 1955):
 Departure and arrival of the transports
 Planning and organization of the camp
 Sketch of the everyday life of a deportee
 Work in a concentration camp
 Sick bay and death
 Escape and resistance
 Liberation, return, reintegration and commemoration (pilgrimage to the camp)

The outline of the film changed dramatically when in April 1955, Wormser and Michel went to Poland to attend commemorations for the tenth anniversary of Auschwitz's liberation. They wanted to include film of how Auschwitz was currently seen.  They were approached by Auschwitz museum staff, who supplied  additional documentation and images.  Visiting Poland gave Wormser and Michel the opportunity to make contact with Polish archives. The result was broadening the scope of the film from a nationalist view toward a broader European perspective.

Once Resnais joined the team, a new script (dated 11 June 1955) emerged with 12 sections:
 The camp, deserted in 1956 (mixture of the four camps)
 An "algebraic" history of Nazism
 Himmler's visit to Dachau; All is in place, the mill starts to grind bones
 The convoys
 Arrival at the camp
 Quarantine and daily life
 The locations of the camp
 Himmler's second visit; Continuation of the history of Nazism
 The proliferation of the system
 The techniques of extermination
 The evacuation of the camps; What the Allies found
 The Auschwitz Museum; The lesson to be learned

Filming
The film draws on several sources, including black-and-white still images from various archives, excerpts from older black-and-white films from French, Soviet, and Polish newsreels, footage shot by detainees of the Westerbork internment camp in the Netherlands, or by the Allies' "clean-up" operations, plus new color and black-and-white footage filmed in 1955 at concentration camps. Resnais filmed his color sequences in Eastmancolor rather than Agfacolor, using the footage to contrast the desolate tranquility of several concentration camps — Auschwitz, Birkenau, Majdanek, Struthof, and Mauthausen — with the horrific events that occurred there during World War II, to muse on the diffusion of guilt, and to pose the question of responsibility.

The film deals briefly with the conditions of prisoners, and shows disturbing footage of prisoners and dead victims in the camps. While Night and Fog states that the Nazis made soap from the corpses, giving the possible impression that this was done regularly, this claim is now considered untrue, with the exception of isolated cases. Researching and making the film were difficult for Resnais. He suffered nightmares during filming and found himself waking up screaming in the night. As Resnais began filming on site in Auschwitz, the nightmares ended.

From 29 September to 4 October 1955, Resnais and his crew filmed at Auschwitz-Birkenau. They next shot scenes at Majdanek from 7 to 10 October. For the archival material, Resnais had to use black-and-white footage, but did not receive any from English, German or French military sources. Some of the stock footage in the film is from Michel and Wormser's exhibit. Other stock footage is from the Rijksinstituut voor Oorlogsdokumentatie (National institute for war documentation) in the Netherlands, and from French television, Gaumont Film Company, and the association of former deportees.

Cayrol was aided by mutual friend and film maker Chris Marker while writing the commentary that was spoken by actor Michel Bouquet. After viewing the images in the editing room, Cayrol became nauseated and was unable to write further. Marker's contribution was to adapt the written text to the rhythm of the images in the film. While editing the film, Resnais felt general discomfort, saying that he "had scruples, knowing that making the film more beautiful would make it more moving - it upset me".

Scoring
Originally Wormser and Michel had wanted to use the song "Chant des Marais" (Peat Bog Soldiers) as a recurring leitmotif, as it was an authentic prisoner song. When Resnais joined the production team, he proposed having an original composed score.  Chris Marker suggested approaching Hanns Eisler, to which Resnais agreed after hearing a recording of his music. Although concerned that the composer's fee would put the film over budget, producer Dauman was supportive.  Eisler was invited to compose the music by Argos Films on 18 October 1955, which offered him 200,000 francs and help in obtaining a visa to enter France. Resnais also sent Eisler a "lyrical" letter.  In what Resnais considered a stroke of luck, Eisler opened the letter in the presence of Vladimir Pozner, who was familiar with Resnais and urged Eisler to accept the offer immediately. Eisler agreed to do it by telegram on 25 October.

Eisler arrived in Paris on 30 November 1955. In a letter to his wife Louise he wrote:
The film is grandiose, horrible, showing monstrous crimes...regrettably, the film people here are putting me under pressure to finish the whole thing in ten days even though the film is barely finished. I hope I can get it all together. I'm living here like a monk, I go to bed at 8 in the evening, eat and drink very little and don't feel at all at ease in this giant city with all the responsibility for the film.

Recording took place on 19 December 1955. Sound editing was completed on 24 December 1955.

The overture in the score had been written before Eisler was offered work on the film. It had been written for Johannes R. Becher's play Winterschlacht (Winter Battle), which had its premiere on 12 January 1955. Eisler's inspiration for this piece was Horatio's monologue from Hamlet, which Eisler had read in Karl Kraus' Weltgericht. Eisler later reworked the overture into his song Monolog Horatio's (Hamlet).

Eisler considered the possibility of conceiving of his music to Night and Fog as a separate orchestral work, although this never came to fruition. He reused portions of the music for his incidental music to The Days of the Commune (Die Tage der Commune) and William Tell (Wilhelm Tell).

The score was published for the first time in 2014 as part of the Hanns Eisler Gesamtausgabe (Hanns Eisler Complete Edition).

Post-production and censorship

After the film was complete, producer Dauman told Resnais that he was "delighted to have produced the film", but that he guaranteed that "It will never see a theatrical release". In December 1955, French censors wanted some scenes cut from Night and Fog. The end of the film showed scenes of bodies being bulldozed into mass graves, which some censors considered too horrifying to be allowed in the film.

Another point of contention was that Resnais had included photographs of French officers guarding a detention center where Jews were gathered before deportation; it was operated by the collaborationist Vichy government located in central France. This scene prompted a call demanding that the shot be cut because it "might be offensive in the eyes of the present-day military". Resnais resisted this censorship, insisting that images of collaboration were important for the public to see. When Resnais refused to cut the French officer scene, the censors threatened to cut the last ten minutes of his film. Finally in compromise, Resnais said that obscuring the contested scene would not change the meaning of the film to him. He painted a fake support beam to obscure the distinctive képi worn by the French officer. In exchange, Resnais was allowed to show the bodies of victims at the end of the film. The censored scene was restored to its original form for a 2003 DVD release.

The second attempted censorship of the film arose when the German embassy in France asked for the film to be withdrawn from the Cannes Film Festival. The French press reacted negatively to the proposed withdrawal, noting that Cayrol and Resnais had been careful to define the difference between Nazi criminals and the German people. Articles were written in French magazines including Libération and L'Humanité, protesting any censorship of the film at Cannes. One of the few writers who supported the withdrawal, Jean Dutourd, felt that Auschwitz and other concentration camps should be forgotten.

Contrary to concerns over the film inciting anti-German hate, the film was shown across many major cities in Germany just months later. Willy Brandt, President of the Berlin House of Commons came out in explicit support of the film and the Paul Bausch, chairman of the Federal Bureau for the Press, Film and Radio, proposed that there should be free screenings for all civil servants in Germany.

Release
A local association of former deported prisoners insisted that the film be shown at Cannes, threatening to occupy the screening room in their camp uniforms unless the festival showed the film. On 26 April 1956 the film was announced to be shown out of competition at Cannes. Night and Fog was shown in commercial theaters in Paris, in May 1956. The film was awarded the 1956 Jean Vigo Prize, a French award for young filmmakers.

Night and Fog was shown on French television as early as 26 April 1959.

On 10 May 1990 a Jewish cemetery at Carpentras was desecrated, and the body of a freshly buried man, Felix Germont, impaled on a stake. Response was strong to this act. Night and Fog was broadcast on all three of the French national television channels at the same time to remind viewers of what took place under the Nazis. The film has been shown since 1991 as a teaching tool in schools in France.

Critical reception
The film received very high acclaim in France on its initial release. Jacques Doniol-Valcroze wrote in Cahiers du Cinéma that the film was a powerful work comparable to the work of artists Francisco Goya and Franz Kafka. French film critic and director François Truffaut referred to Night and Fog as the greatest film ever made. In his film, Une femme Mariée (A Married Woman), Jean-Luc Godard shows the film playing in the cinema where the lovers have their assignation.

Modern reception has also been positive. Todd Gitlin describes it as "an unbearable apotheosis of desolation that speaks to the necessity of our making a mental effort to grasp what is impossible to grasp—a duty that has been imposed upon us by history."

Rotten Tomatoes reported that 100% of critics had given the film a positive rating, based on 24 reviews, with a weighted average of 8.99/10.

As Nitzan Lebovic pointed out, the film was not received as well in Israel; Resnais's universalist approach drew some criticism that reached the Israeli Knesset (the Israeli parliament), immediately after its arrival, in 1956. A political debate opened around the film, dividing supporters and opponents between religious and secular, Ashkenazi and Sepharadi, right wing and left wing, or—as Lebovic showed—between centrists and radicals from both ends of the political map. A centrist demand to ban the film resulted with a small and a limited release until the end of the 1970s.

In a 2014 Sight and Sound poll, film critics voted Night and Fog the fourth best documentary film of all time.

German versions
On 29 June 1956, a contract was signed between Argos Films and the German Office for Press and Information (West Germany) to produce a German language version of the film. Jean Cayrol wished that Paul Celan serve as translator. Despite alterations requested by the German Federal Press Office, Celan refused to change the text. Celan's translation was recorded by narrator Kurt Glass in Paris on 26 October 1956.

Although shown during the Leipzig Film Week in November 1956, the East German state film company DEFA accused Celan of mistranslation—a pretext for creating a version of the text in line with the communist ideals of East Germany. Upon realization that Film Polski owned the distribution rights to the film for the Eastern Bloc, DEFA went ahead and produced a German-language version with a translation by Henryk Keisch, recorded by Raimund Schelcher. Argos Film's dissatisfaction with DEFA and Film Polski's action led to non-renewal of the film's license, resulting in this version of the film shown only between 1960 and 1963.

In 1974, Night and Fog was telecast in East Germany in a series "Films Against Fascism". A new German translation was desired, but as the original film soundtrack components were unavailable, a completely new audio track was created. Evelin Matschke wrote the text, basing it on the French audio track, which was read by Erwin Geschonneck. Manfred Grabs (of the Academy of Arts, Berlin, where Eisler's manuscripts are held) prepared new performance materials.  The orchestral score was recorded by the Berlin Radio Symphony Orchestra (East Berlin) with Eugen Schneider conducting.

Home media
A DVD edition of Night and Fog was released by The Criterion Collection on 23 June 2003. It restores the scene of the French officer that was censored in France on the film's initial release. The film was released on Blu-ray in 2016, remastered in 4K from the original camera negative.

Historical accuracy
The film relates that the Nazis used human corpses to make soap, a claim now seen by modern scholarship as a myth arising from wartime rumours.

Cultural influences
Alan Pakula studied Night and Fog when he was writing the 1982 film adaptation of Sophie’s Choice, William Styron's 1979 novel about a Polish-Catholic survivor of Auschwitz.

Nagisa Oshima titled his 1960 film Night and Fog in Japan after Resnais's film. Though Night and Fog had not premiered in Japan until 1963, Oshima had read about the film and titled his work before seeing Resnais's.

Michael Haneke criticized films such as Downfall (2004) and Schindler's List (1993) for manipulating the audience to perceive events subjectively and not giving any room for an objective point of view. In contrast, he praised Night and Fog for its portrayal of such historical events.

See also
 List of Holocaust films

References

Sources

Further reading

External links

 Lecture in French by Sylvie Lindeperg
 Nuit et Brouillard,  in French. Como-Films, Argos-Films, and Cocinor co-production.
 Night and Fog an essay by Phillip Lopate at the Criterion Collection
 Night and Fog: Origins and Controversy an essay by Peter Cowie at the Criterion Collection

1956 films
1956 documentary films
Films directed by Alain Resnais
1950s short documentary films
1950s French-language films
French short documentary films
Documentary films about the Holocaust
Holocaust films
Night and Fog program
Films produced by Anatole Dauman
1950s French films


{{Taxobox
| name = Cardiobacterium hominis
| image = Cardiobacterium hominis.jpg
| image_caption = Cardiobacterium hominis on blood agar plate
| domain = Bacteria
| phylum = Pseudomonadota
| classis = Gammaproteobacteria
| ordo = Cardiobacteriales
| familia = Cardiobacteriaceae
| genus = Cardiobacterium
| species = C. hominis
}}Cardiobacterium hominis is a Gram-negative bacillus (rod-shaped) bacterium  commonly grouped with other bacteria into the HACEK group. It is one of several bacteria that is normally present in the mouth and upper part of the respiratory tract such as nose and throat. However, it may also rarely cause endocarditis, an infection of the heart valves.

MicrobiologyC. hominis is a catalase-negative, oxidase-positive, indole-producing, Gram-negative rod. Its morphology has classically been described as highly pleomorphic and irregularly staining, although homogeneous bacilli with uniform shapes may be seen with the addition of yeast extract.

Antibiotic sensitivity
Historically, C. hominis has been sensitive to penicillin and penicillin derivatives such as ampicillin. However, penicillin-resistant strains, including those that produce beta-lactamases, have been described with increasing frequency. Clinical guidelines thus recommend that C. hominis and other HACEK organisms be presumed to harbor ampicillin resistance and therefore be treated with a third-generation cephalosporin. C. hominis and other HACEK organisms also exhibit in vitro susceptibility to trimethoprim-sulfamethoxazole, fluoroquinolones, and aztreonam. C. hominis is often resistant to erythromycin. Since cefotaxime use may be not appropriate for C. hominis'' endocarditis, an alternative regimen might include association of co-amoxiclav and gentamicin.

References

External links
  Image: Cardibacterium hominins
Type strain of Cardiobacterium hominis at BacDive -  the Bacterial Diversity Metadatabase

Gram-negative bacteria
Gammaproteobacteria


is a Japanese anime director and supervisor. He is amongst anime's most foremost directors, having directed and helmed the Rurouni Kenshin series (including the original television series, and its subsequent original video animation iterations), Zipang, GetBackers, Hunter × Hunter, Mobile Suit Gundam Unicorn, Dororo, and most recently, Spy × Family.

Early career and biography
He began his career as an animator with the anime adaptation of Rumiko Takahashi's Urusei Yatsura and subsequently into episode direction and as a director with Studio Deen's anime adaptation of another Rumiko Takahashi work, Ranma ½. Furuhashi is particularly well known for realistic portrayals and first person views shown in his directorial and storyboard works and has obtained a good reputation as a director. Furuhashi has often collaborated and supervised numerous extensive and high-quality anime productions with animators Norio Matsumoto, Atsuko Nakajima and Hirofumi Suzuki. Over the years, he has worked in numerous productions with Studio Deen and began his directorial career with the studio.

Works

Anime television
Urusei Yatsura (1981–1986; animation director)
Maison Ikkoku (1986–1988; key animation)
F (1988; key animation)
Ranma ½ (first series and nettō-hen) (1989; storyboards, episode direction)
Super Zugan (1994; ending animation)
Battle Fighters: Garō Densetsu (1992; storyboards, episode direction)
Battle Fighters: Garō Densetsu 2 (1993; director, episode direction)
Kuma no Pūtarō (1995–1996; storyboards)
Rurouni Kenshin (1996–1998; director, storyboards, episode direction)
You're Under Arrest (1996–1997; director)
Hunter × Hunter (1999–2001; director)
GetBackers (2002–2003; director, storyboards) - direction assistance by Keitarō Motonaga
Gunslinger Girl (2004; storyboards of episode 12)
Genshiken (2004; storyboards of episodes 2 and 4)
Maria-sama ga Miteru (2004; storyboards)
Maria-sama ga Miteru ~Haru~ (2004; storyboards, episode direction)
Kyō Kara Maō! (2004; key animation of episode 2)
Zipang (2004–2005; director, screenplay)
Noein: Mō Hitori no Kimi e (2005–2006; storyboards of episode 12)
Binchō-tan (2006; director, series composition, screenplay, storbyoards, episode director, direction and storyboards of OP and ED)
Le Chevalier D'Eon (2006–2007; director, storyboards, episode direction)
Mononoke (2007; storyboards)
Darker than Black: Kuro no Keiyakusha (2007, storyboards of second opening theme)
Higurashi no Naku Koro ni Kai (2007; storyboards of episode 13)
Real Drive (2008; director, storyboards, episode direction, OP direction)
Amatsuki (2008; director, series composition, screenplay, storyboards of episode 1, key animation of episode 13)
Kimi ni Todoke (2009; storyboard of episode 6)
Mobile Suit Gundam Unicorn RE:0096 (2016; director)
Altair: A Record of Battles (2017; director)
Neo Yokio (2017; director)
Dororo (2019; director)
Spy × Family (2022–present; director)
Dog Signal (2023; director)

Anime film
Haikara-San: Here Comes Miss Modern Part 1 (2017; director, screenplay)
Haikara-San: Here Comes Miss Modern Part 2 (2018; screenplay)

OVA
Chōjin Locke: Lord Reon (1989; storyboards)
Ranma ½: Nettō Utagassen (1990; director)
Ranma ½: Kessen Tōgenkyō! Hanayome wo Torimodose!! (1992; director)
Taiho Shichauzo (1994–1995; director, storyboards, episode direction)
Rurouni Kenshin: Trust & Betrayal (1999; director)
Reinō Tantei Miko (2000; director, storyboards)
Rurouni Kenshin: Reflection (2001; director)
Mobile Suit Gundam Unicorn (2010–2014; director)
Rurouni Kenshin: New Kyoto Arc (2011–2012; director)

Games
Tales of Rebirth (2004; director, storyboards and direction of game OP movie)
Tales of the Abyss (2005; director and storyboards of game OP movie)

References

External links

Anime directors
Anime screenwriters
Japanese animators
Japanese film directors
Japanese animated film directors
Japanese animated film producers
People from Hamamatsu
1960 births
Living people


Wilfried Soltau (17 June 1912 – 27 September 1995) was a West German sprint canoer who competed in the 1950s. Competing in two Summer Olympics, he won two bronze medals at London in 1952, earning them in the C-2 1000 m and C-2 10000 m events.

References
Wilfried Soltau's profile at Sports Reference.com

1912 births
1995 deaths
Canoeists at the 1952 Summer Olympics
Canoeists at the 1956 Summer Olympics
German male canoeists
Olympic canoeists for the United Team of Germany
Olympic canoeists for West Germany
Olympic bronze medalists for West Germany
Olympic medalists in canoeing
Medalists at the 1952 Summer Olympics


John Olson (born August 23, 1947 in Minneapolis, Minnesota) is an American poet and novelist. Olson has lived for many years in Seattle, Washington. He has published eleven collections of poetry and five novels, including Souls of Wind, nominated for the 2008 Believer Book Award. In 2004, Seattle's weekly newspaper, The Stranger, for whom he has written occasional essays, gave Olson one of its annual "genius awards." His writing notebooks have been exhibited at the University of Washington. Olson's prose poetry has been reviewed in print and online poetry magazines. The poet Philip Lamantia said that Olson was "extraordinary...the greatest prose poetry [i've] ever read." and Clayton Eshleman said "he is writing the most outlandish, strange, and inventive prose poetry ever in the history of the prose poem."

Bibliography

Poetry
 Weave of the Dream King (Boston: Black Widow Press, 2021)
 Dada Budapest (Boston: Black Widow Press, 2017)
 Larynx Galaxy (Boston: Black Widow Press, 2012)
 Backscatter: New and Selected Poems (Boston: Black Widow Press, 2008)]
 The Night I Dropped Shakespeare On The Cat (New York: Calamari Press, 2006)
 Oxbow Kazoo (Lawrence, Kansas: First Intensity Press, 2005)
 Free Stream Velocity (New York: Black Square Editions, 2003)
 Echo Regime (New York: Black Square Editions, 2000) (lineated poetry)
 Logo Lagoon (San Diego: Paper Brain Press, 1999)
 Eggs & Mirrors (Seattle: Wood Works Press, 1999)
 Swarm of Edges (Seattle: bcc press, 1996)

Fiction
 Mingled Yarn (Ekstatsis Editions, 2020)
 In Advance of the Broken Justy (Quale Press, 2016)
The Seeing Machine (Quale Press, 2012)
The Nothing That Is (Ravenna Press, 2010)
Souls of Wind (Quale Press, 2008)

Essays
 Strange Matter: The physics and poetics of the search for the God particle, published online by The American Scholar, December 1, 2009.
 "A Garden in the Pocket", published online by "the glade of theoric ornithic hermetica"
 "Extreme Reading", published online by "the glade of theoric ornithic hermetica"
 "Gutenberg Blues", published online by "the glade of theoric ornithic hermetica"
 "Lightning on Paper: Poetry Is The Drug Of Choice" The Stranger, Oct 19–Oct 25, 2000 issue

References

External links
 Tillalala Chronicles (Olson's blog)

American male poets
Surrealist poets
Living people
1947 births
Writers from Minneapolis


The Sind cricket team was an Indian domestic cricket team representing the Indian province of Sind. The team played in the Ranji Trophy from 1934–35 season until 1947–48 season in India, before the partition of India.

The team first played first-class cricket in Ranji Trophy in the 1934 season against Western India team. The team continued to appear in the Ranji Trophy until the 1947/48 season, when it played its final first-class match against Bombay. Following the independence and partition of India, the Sind team was succeeded by the Sindh cricket team which went on to represent the Sindh province of Pakistan.

Notable players
 Naoomal Jeoomal
 Gogumal Kishenchand
 Jenni Irani
 Gulabrai Ramchand
 Pananmal Punjabi

References

External links
Sind cricket team at CricketArchive

Indian first-class cricket teams
Former senior cricket clubs of India
Cricket in Sindh
1893 establishments in India
Cricket clubs established in 1893


Nicholas Ronald Ormerod OBE (born 9 December 1951) is a British theatre designer and co-founder of the international theatre company Cheek by Jowl. In 1981 he founded Cheek by Jowl with Declan Donnellan, and they are the company's co-artistic directors. In addition to his Cheek by Jowl productions, Ormerod has made theatre, opera and ballet with companies across the world. He studied law at Trinity College, Cambridge before studying for BA in theatre design at the Wimbledon School of Art.

Biography
Ormerod was born and grew up in London, England. He studied law at Trinity College, Cambridge before studying for a BA in theatre design at the Wimbledon School of Art. In 1981 Ormerod founded Cheek by Jowl with Declan Donnellan. The company has performed across the world, working in over 400 cities in 40 countries spanning six continents. Since 2006 Cheek by Jowl have been part of the Barbican's International Theatre Program (BITE) resulting in co-productions of The Changeling (2006), Cymbeline (2007) and Troilus and Cressida (2008).

In addition to his work with Cheek by Jowl, Ormerod designed the Royal Shakespeare Company’s productions of School for Scandal (1998) and King Lear (2002 Academy Production). In 2005, he co-wrote an adaptation of Charles Dickens’s Great Expectations (2005) for the Royal Shakespeare Company with Declan Donnellan. He designed Shakespeare's Troilus and Cressida for the Burgtheater, Vienna in 2000, and Falstaff for the Salzburg Festival in 2001. In London, Ormerod designed Hay Fever at the Savoy Theatre, and Shakespeare in Love (play) at the Noël Coward Theatre.

For the Royal National Theatre Ormerod designed both parts of Angels in America by Tony Kushner, as well as Sweeney Todd, Peer Gynt and Fuenteovejuna.

In 2000 he and Donnellan formed a company of actors in Moscow, under the auspices of The Chekhov Festival, whose productions include Boris Godunov, Twelfth Night and Three Sisters. For the Bolshoi Theatre he has designed Romeo and Juliet in 2003, and Hamlet in 2015. Other work in Russia includes The Winter's Tale for the Maly Drama Theatre of St. Petersburg in 1997. With Cheek by Jowl he and Donnellan have produced further work in Russian including The Tempest with the Chekhov Festival and Measure for Measure in a co-production with Moscow's Pushkin Theatre.

Ormerod was nominated for the Laurence Olivier Award Designer of the Year in 1988 for A Family Affair, The Tempest and Philoctetes and won the Corral de Comedias Award with Donnellan in 2008. He directed the 2012 film Bel Ami, an adaption of the Maupassant novel.

Ormerod was appointed Officer of the Order of the British Empire (OBE) in the 2017 Birthday Honours for services to theatre design.

Stage productions

Cheek by Jowl

2016-17 The Winter's Tale ... William Shakespeare
2014 Measure for Measure ...William Shakespeare
2013 Ubu Roi ... Alfred Jarry
2011 Tis Pity She's a Whore ... John Ford (dramatist)
2009 Macbeth ... William Shakespeare
2008  Troilus and Cressida ... by William Shakespeare
2008  Boris Godunov ... by Aleksandr Pushkin
2007  Three Sisters ... by Anton Chekhov
2007  Cymbeline ... by William Shakespeare
2006  The Changeling ... by Thomas Middleton and William Rowley
2005  Great Expectations ... adapted from Charles Dickens
2004  Othello ... by William Shakespeare
2002  Homebody / Kabul ... by Tony Kushner ..... British premiere
1998  Much Ado About Nothing ... by William Shakespeare
1997  Out Cry ... by Tennessee Williams ..... British premiere
1995  The Duchess of Malfi ... by John Webster
1994  As You Like It (revival) ... by William Shakespeare
1994  Measure for Measure ... by William Shakespeare
1993  Don't Fool With Love ... by Alfred de Musset
1993  The Blind Men ... by Michel de Ghelderode ..... British premiere
1991  As You Like It ... by William Shakespeare
1990  Hamlet ... by William Shakespeare
1990  Sara ... by Gotthold Ephraim Lessing ... British premiere
1989  Lady Betty ... by Declan Donnellan ..... British premiere
1988  The Tempest ... by William Shakespeare
1988  Philoctetes ... by Sophocles
1988  A Family Affair ... by Alexander Ostrovsky ..... British premiere
1987  Macbeth ... by William Shakespeare
1986  Twelfth Night ... by William Shakespeare
1985  The Man of Mode ... by George Etherege
1985  A Midsummer Night's Dream ... by William Shakespeare
1985  Andromache ... by Jean Racine ..... British premiere
1984  Pericles ... by William Shakespeare
1983  Vanity Fair ... adapted by Donnellan from William Makepeace Thackeray ..... premiere
1982  Othello ... by William Shakespeare
1981  The Country Wife ... by William Wycherly

Other
2014 Shakespeare in Love, Noël Coward Theatre
2005 Great Expectations, with the RSC a new adaptation by Declan Donnellan and Nick Ormerod
2002 King Lear with the RSC Academy Company
2000 Boris Godunov at the Moscow Art Theatre
1996 Martin Guerre, West End
1993 Sweeney Todd: The Demon Barber of Fleet Street, Royal National Theatre
The Winter's Tale for the Maly Theater of St Petersburg
Falstaff at the Salzburg Festival

Bibliography
Approaching the Millennium: Essays on Angels in America, eds. Deborah R. Geis and Steven F. Kruger University of Michigan Press, Ann Arbor, Michigan, 1997 ()
Reade, Simon. Cheek by Jowl: Ten Years of Celebration, Oberon Books (hardback) 1991 () -- currently out of print
In Contact With the Gods?, Directors Talk Theatre, eds. Maria M. Delgado & Paul Heritage, Manchester University Press, Manchester, 1996 ()
National Theatre Platform Papers No. 2 on Angels in America, National Theatre Publications Department

Footnotes

References

External links
Cheek by Jowl official website
nationaltheatre.org.uk
officiallondontheatre.co.uk/awards

British theatre designers
1951 births
Living people
Alumni of Trinity College, Cambridge
Alumni of Wimbledon College of Arts
Artists from London
Officers of the Order of the British Empire


SurveyMonkey Inc. (formerly Momentive Global Inc. for a short period) is an experience management company that offers cloud-based software  in brand insights, market insights, product experience, employee experience, customer experience, online survey development, and a suite of paid back-end programs.

Along with a 200,000 square foot headquarter building in San Mateo, California, SurveyMonkey has offices in Portland, Seattle, Dublin, Ottawa, London, and Sydney. , SurveyMonkey employed around 1,400 people.

On June 9, 2021, SurveyMonkey announced its rebrand to Momentive with the intent to better represent their business-to-business product suite. SurveyMonkey will continue to operate as a subsidiary survey platform. The Momentive Inc. product portfolio includes Momentive, GetFeedback, and SurveyMonkey.

Two years later in June 2023 the company rebranded itself back to SurveyMonkey after getting acquired by an investor group led by Symphony Technology Group.

History

Founding
SurveyMonkey was founded by Ryan Finley and Chris Finley in 1999. In 2009, Spectrum Equity and Bain Capital acquired a majority interest in the company. The same year, Dave Goldberg joined SurveyMonkey as CEO.

The company went public under the name SurveyMonkey (Nasdaq: SVMK) on September 25, 2018.

Expansion
In 2010, the company received $100 million in debt financing from Bank of America Merrill Lynch and SunTrust Robinson Humphrey. By 2013, SurveyMonkey raised $800 million in debt and equity valuing the company at $1.35 billion. In September 2013, the company announced HIPAA-compliant features for premium subscription holders.

In 2014, the company raised $250 million in equity financing from Google Capital (now CapitalG), Tiger Global Management, Baillie Gifford, T. Rowe Price and Morgan Stanley.

Dave Goldberg died in May 2015, and Zander Lurie was named chairman of the board in July of the same year.

On August 3, 2015, Bill Veghte replaced Goldberg as SurveyMonkey CEO. Veghte held top posts at HP and Microsoft. Veghte left the role after fewer than 6 months due to strategic differences with investors and was replaced by Zander Lurie in January 2016.

In February 2016, SurveyMonkey began polling public opinion using the SurveyMonkey platform. Poll aggregator FiveThirtyEight gives the poll a 'C' rating.

In 2017, the company rolled out "SurveyMonkey Genius" which estimates survey performance and makes actionable suggestions to increase survey effectiveness. In August, the company launched "SurveyMonkey CX" which assists organizations in managing their customer experience programs.

On September 26, 2018, SurveyMonkey (SVMK) made its debut on the NASDAQ Exchange. The stock launched at $12 per share and rose 43% on the first day of trading.

Emory University Goizueta Business School dean Erika James joined the SurveyMonkey board of directors in 2018, creating Gender Parity on the company's board.

Acquisitions
The company has acquired three other survey tools: Precision Polling, Wufoo, and Zoomerang, as well as a 49.9 percent stake in the UK-based Clicktools.

In August 2014, SurveyMonkey acquired Canadian company Fluidware, the creator of FluidSurveys.com and FluidReview.com.

SurveyMonkey acquired TechValidate, a Canadian marketing content automation company in August 2015.

By March 2019, SurveyMonkey acquired Usabilla, an Amsterdam-based website and app survey company, for $80 million in cash and stock. That same year, SurveyMonkey acquired GetFeedback, a San Francisco-based customer experience management company, in August.

Transition to Momentive and buyout offers
On June 9, 2021, SurveyMonkey announced its rebrand as Momentive, a new entity that encompasses experience management and corporate insights solutions across a suite of products. Momentive includes SurveyMonkey, GetFeedback, and Momentive Insights.

On October 28, 2021, Zendesk announced that it had agreed to acquire MomentiveAI for about $4.1 billion, in an all-stock deal. Chief executive Mikkel Svane of Zendesk said of the acquisition, "We have a big overlap in customers. It's incredibly powerful. And we believe that it will create a whole new, richer picture of your customers," according to Reuters. Although shareholders of Momentive Global Inc. approved the deal, Zendesk's shareholders voted against the acquisition. Subsequently the deal was terminated.

In March 2023, a private equity consortium led by Symphony Technology Group agreed to acquire Momentive in an all-cash deal valued at $1.5billion. The acquisition completed in June that year.

See also
 Comparison of survey software

References

External links

Companies based in San Mateo, California
Software companies based in the San Francisco Bay Area
Software companies of the United States
Cloud computing providers
Polling companies
Software companies established in 1999
Internet properties established in 1999
American companies established in 1999
1999 establishments in Oregon
Companies formerly listed on the Nasdaq
2018 initial public offerings
2023 mergers and acquisitions


Pen-y-groes is a village in Carmarthenshire, South Wales which developed as a settlement as a result of the anthracite coal trade. The main colliery was the Emlyn colliery, which opened in 1893 and closed in 1939.

The village has a primary school. It also has a Rugby Union club, affiliated to the Welsh Rugby Union, and a cricket team which plays in the Carmarthenshire League.

It is named after Paenygroes Independent Chapel, a large building at the centre of the village. There is also a Baptist chapel, Calfaria, founded in 1896.

The village was well known as the headquarters of the Apostolic Church. The denomination hosted their International Convention in the village every year from 1916 to 2002. The church moved its main office to Swansea in 2002 but they still have their Bible college and substantial land in the locality.

Notable people
 David Eirwyn Morgan (1918–1982), a minister, journalist, Welsh nationalist politician and pacifist.

References

Villages in Carmarthenshire


Stuart H. Altman  (born August 8, 1937) is an American economist whose research interests are primarily in the area of federal and state health policy. He is the Sol C. Chaikin Professor of National Health Policy at Brandeis University, in the Heller School for Social Policy and Management. Altman is considered one of the most influential people in American healthcare. He served as interim president of Brandeis from 1990 to 1991.

Early life and education

Career
Among his professional achievements, he served 12 years as chairman of the congressionally legislated Prospective Payment Assessment Commission (ProPac) formed to advise Congress and the administration on the functioning of the Medicare Diagnostic Related Group (DRG) Hospital Payment System and other system reforms. He is also chair of the Health Industry Forum which brings together diverse group leaders from across the health care field to develop solutions for critical problems facing the healthcare system.

Altman has advised presidents Nixon, Clinton and Obama. From 1997 to 1999, he served on President Bill Clinton's National Bipartisan Commission on the Future of Medicare, a 14-member commission tasked with providing the president with recommendations to help Medicare remain tenable.

Stuart is co-author of a book on the history of healthcare in the United States, Policies for an Aging Society. The book records information gathered from experts in public and health policy, economics, law, and management to identify the salient issues and explore realistic options. From positions ranging from liberal to conservative, the contributors take a wide view of the philosophical, economic, and programmatic aspects of the social protection programs for elderly Americans. They ask broad questions and propose integrated conceptions of how our society can best provide for the needs of its aging population. Altman co-authored another book with David Shactman titled Power, Politics, and Universal Health Care (2011), in which the history of healthcare in the United States during the 20th century and into the 21st is explained, ultimately putting Obama's healthcare plan into historical perspective.

In 2008, Altman was appointed to the board of directors for Inspiris, a privately held, for-profit health care management company. He has also served on the boards of Lincare Holdings and Aveta. Altman is also a director on the not-for-profit boards of EmblemHealth and Tufts-New England Medical Center in Boston.

In 2012, Altman was appointed by Massachusetts Gov. Deval Patrick to head the Massachusetts Health Policy Commission.

Personal life
He is the older brother of Edward Altman and Ellen Altman-Stein.

References

External links
 Biography at Brandeis University

Brandeis University faculty
1937 births
Living people
American economists
Health economists
Presidents of Brandeis University
Members of the National Academy of Medicine