Manslaughter in English law

In the English law of homicide, manslaughter is a less serious offence than murder, the differential being between levels of fault based on the mens rea (Latin for "guilty mind") or by reason of a partial defence. In England and Wales, a common practice is to prefer a charge of murder, with the judge or defence able to introduce manslaughter as an option (see lesser included offence). The jury then decides whether the defendant is guilty or not guilty of either murder or manslaughter. On conviction for manslaughter, sentencing is at the judge's discretion, whereas a sentence of life imprisonment is mandatory on conviction for murder. Manslaughter may be either voluntary or involuntary, depending on whether the accused has the required mens rea for murder.

Voluntary manslaughter
Voluntary manslaughter occurs when the defendant kills with mens rea (an intention to kill or cause grievous bodily harm), but one of those partial defences which reduce murder to manslaughter applies (these consist of mitigating circumstances which reduce the defendant's culpability). The original mitigating factors were provocation and chance medley which existed at common law, but the former has been abolished by statute, the latter has been held no longer to exist and new defences have been created by statute.

The Homicide Act 1957 now provides two defences which may be raised to allow the court to find the accused guilty of voluntary manslaughter: diminished responsibility and suicide pact. The Coroners and Justice Act 2009 creates the defence of "loss of control".

Diminished responsibility

Under section 2 of the Homicide Act 1957 there are three requirements for the defendant to raise the defence of diminished responsibility. The defendant must have suffered from an abnormality of mind at the time of the killing caused by one of the causes specified by the Act which substantially impaired the defendant's mental responsibility for the killing. Under section 2(2) of the Act it is for the defendant to prove he suffered from such a condition on the balance of probabilities.

Abnormality of mind

An abnormality of mind has been defined by Lord Parker CJ "as state of mind so different from that of ordinary human beings that the reasonable man would term it abnormal".  In deciding whether this state of mind exists the jury should consider medical evidence, but also all other evidence including acts and statements of the accused and his demeanour. The jury does not have to accept the medical evidence if other material conflicts with and outweighs it.

Specified causes

The Homicide Act specifies three causes one of which must cause the abnormality; they are a condition of arrested or retarded development of mind, any inherent cause or a disease or injury. Whether the abnormality is caused by one of the specified causes is a matter for medical evidence alone. Alcoholism is capable of being an abnormality of mind even if there is no physical damage to the brain.

Substantial impairment of mental responsibility

Whether the abnormality substantially impaired the defendant's mental responsibility for the killing is a question of degree for the jury. In R v Lloyd the Court of Appeal held that the lack of control must simply be ‘more than trivial’.

Premenstrual tension (PMT) has been accepted as a mitigating factor in several high-profile cases. In 1980, Sandie Smith was convicted of manslaughter for stabbing a barmaid. Dr. Katharina Dalton who examined Smith before the trial diagnosed her with severe PMS. This diagnosis was accepted as a cause of diminished responsibility. Smith was sentenced to three years probation despite previous convictions for violent behavior.

Loss of control
See sections 54 and 55 of the Coroners and Justice Act 2009.

Suicide pacts
Section 4(1) of the Homicide Act 1957 introduced the defence of suicide pact. Parliament's intention was to show some compassion for those who had been involved in a suicide pact but failed to die. Section 4(3) defines a suicide pact as "a common agreement between two or more persons having for its object the death of all of them, whether or not each is to take his own life". Further the accused must have had a "settled intention of dying in pursuance of the pact" to avoid the accused entering into a supposed pact with the real intention of committing murder. The Law Commission has proposed abolishing the defence with deserving cases falling within diminished responsibility, but feels it should be retained pending a review of a new partial defence of mercy killings.

Involuntary manslaughter

Involuntary manslaughter arises where the accused did not intend to cause death or serious injury but caused the death of another through recklessness or criminal negligence. For these purposes, recklessness is defined as a blatant disregard for the dangers of a particular situation. An example of this would be dropping a brick off a bridge, landing on a person's head, killing them. Since the intent is not to kill the victim, but simply to drop the brick, the mens rea required for murder does not exist because the act is not aimed at any one person. But if in dropping the brick, there is a good chance of injuring someone, the person who drops it will be reckless. This form of manslaughter is also termed "unlawful act" or "constructive" manslaughter.

Manslaughter by gross negligence
Under English law, where a person owes a duty of care (either by statute or by the neighbour principle) and is negligent to such a degree that consequently the law regards it as a crime (namely the person has been grossly negligent) and that person causes the victim to die, they may be liable for gross negligence manslaughter. The defendants in such cases are often people carrying out jobs that require special skills or care, such as doctors, teachers, police or prison officers, or electricians, who fail to meet the standard which could be expected from a reasonable person of the same profession. In R v Bateman the Court of Criminal Appeal held that gross negligence manslaughter involved the following elements:
the defendant owed a duty to the deceased to take care;
the defendant breached this duty;
the breach caused the death of the deceased; and
the defendant's negligence was gross, that is, it showed such a disregard for the life and safety of others as to amount to a crime and deserve punishment.
The House of Lords in Seymour sought to identify the mens rea for "motor manslaughter" (negligently causing death when driving a motor vehicle). Reference was made to R v Caldwell and R v Lawrence which held that a person was reckless if:
he did an act which in fact created an obvious and serious risk of injury to the person or substantial damage to property; and
when he did the act he either had not given any thought to the possibility of there being any such risk or had recognised that there was some risk involved and had nonetheless gone on to do it.
The conclusion was that for motor manslaughter (and, by implication, for all cases of gross negligence), it was more appropriate to adopt this definition of recklessness. Consequently, if the defendant created an obvious and serious risk of causing physical injury to someone, there could be liability whether there was simple inadvertence or conscious risk-taking. It was no longer a defence to argue that the negligence had not been gross.

In Adomako an anaesthetist failed to notice that a tube had become disconnected from the ventilator and the patient died. Lord Mackay disapproved Seymour and held that the Bateman test of gross negligence was the appropriate test in manslaughter cases involving a breach of duty, allowing the jury to consider the accused's conduct in all the surrounding circumstances, and to convict only if the negligence was very serious. Individuals have a duty to act in the following situations:
to care for certain defined classes of helpless relatives, e.g. spouses must take care of each other, and parents must look after their dependent children. In R v Stone and Dobinson an elderly woman with anorexia nervosa, came to stay with her brother and his cohabitee, who were both of low intelligence, and subsequently starved herself to death. The Court of Appeal held that the question whether the couple owed a duty to care for the deceased was a question of fact for the jury, which was entitled to take into account the facts that she was a relative of one of the appellants, that she was occupying a room in his house, and that the other appellant had undertaken the duty to care for her by trying to wash her and taking food to her.
where there is a contract (even if the person injured was outside the contractual relationship and, in the civil law would be barred by privity from enforcing the contract). In R v Pittwood 1902 TLR 37, a railway crossing gatekeeper had opened the gate to let a cart pass and forgot to shut it again. Later a hay cart was struck by a train while crossing. He was convicted of manslaughter. It was argued on his behalf that he owed a duty only to his employers, the railway company, with whom he had contracted. Wright J, held, however, that the man was paid to keep the gate shut and protect the public so had a duty to act. In contracts relating both to employment and to the provision of services, R v Yaqoob considered a partner in a taxi firm who was responsible for making all necessary arrangements for the inspection and maintenance of a minibus which had overturned after its tyre burst, killing one of its passengers. He was convicted of manslaughter because the failure properly to maintain the minibus was the direct cause of the accident and there was an implied duty owed both to other members of the partnership and to those renting the vehicle, to inspect and maintain beyond the standard required for an MOT test, council inspections, and other duties imposed by regulation. The jury was competent to assess whether the failure to discharge that implied duty was gross negligence without hearing any expert evidence; these were not technical issues and they did not need expert help. The sentence of four years imprisonment was within the sentencing band and not excessive.

In Attorney-General’s Reference (No 2 of 1999), a case on corporate manslaughter that arose out of the Southall rail crash, the Court of Appeal decided the defendant's subjective state of mind (i.e. whether there was conscious risk-taking) is irrelevant and, therefore, so is the question of recklessness, leaving the objective test as the only test for liability. Rose LJ, said:
Although there may be cases where the defendant’s state of mind is relevant to the jury’s consideration when assessing the grossness and criminality of his conduct, evidence of his state of mind is not a pre-requisite to a conviction for manslaughter by gross negligence. The Adomako test is objective, but a defendant who is reckless as defined in Stone may well be the more readily found to be grossly negligent to a criminal degree.
In our judgment unless an identified individual’s conduct, characterisable as gross criminal negligence, can be attributed to the company, the company is not, in the present state of the common law, liable for manslaughter.
Civil negligence rules are not apt to confer criminal liability...the identification principle remains the only basis in common law for corporate liability for gross negligence manslaughter. (see imputation). This was only persuasive authority for the law of manslaughter at large, but R v DPP, ex p Jones which said that the test of negligent manslaughter is objective, confirmed Attorney General’s Reference (No 2 of 1999) as a correct general statement of law.

Death by dangerous driving
Because of a reluctance by juries to convict when the charge was manslaughter, a statutory offence of "causing death by dangerous driving" was introduced. Following the Road Traffic Law Review Committee (1988), the Road Traffic Act 1991 abandoned recklessness in favour of the pre-statutory objective test of "dangerousness", i.e. did the driving fall far below the standard of the competent and careful driver. The Committee also recommended that manslaughter should be an optional charge for the more serious driving cases. There is the possibility of charging an aggravated taking without consent for less seriously dangerous driving where death results.  An equivalent, in many American states, to motor manslaughter, is vehicular homicide.  An equivalent to causing death by dangerous driving in Canada under the Criminal Code is Causing death by criminal negligence.

Manslaughter by an unlawful and dangerous act
Under English law, according to R v Creamer, a person is guilty of involuntary manslaughter when he or she intends an unlawful act that is likely to do harm to the person, and death results which was neither foreseen nor intended. The name for this crime is 'manslaughter by an unlawful and dangerous act' (MUDA). The term 'constructive manslaughter' is commonly and correctly used as a synonym. Although the accused did not intend to cause serious harm or foresee the risk of doing so, and although an objective observer would not necessarily have predicted that serious harm would result, the accused's responsibility for causing death is constructed from the fault in committing what might have been a minor criminal act.

The case of R v Goodfellow laid out a four-part requirement which if satisfied could lead to liability for MUDA. The person's action must:
 Be intentional
 Be unlawful
 Lead the reasonable person to realise that some other person is at risk of physical harm
 Be the cause of death

A number of authorities clarify the test from R v Goodfellow:
 As to (1): either did the person intend to bring about the commission of the offence, or was the outcome a virtual certainty that the person knew was a virtual certainty?. If the answer to either of these questions is yes then the person's action was intentional.
 As to (2): a full 'base offence' must be established, or else there can be no liability for MUDA.
 As to (3): the test is one of objective reasonableness and is a question for the jury to determine (i.e. to answer the question: "Would a reasonable person realise that the defendant's act was bound to subject some other person to the risk of physical harm?")
 As to (4): was the act a cause in fact and in law? (see Causation (law) for details)

In R v Dawson, a petrol station attendant with a weak heart died of heart failure when the appellant attempted a robbery of the station. In judging whether this act was sufficiently dangerous, the Court of Appeal applied a test based on the "sober and reasonable" bystander who could be assumed to know that the use of a replica gun was likely to terrify people and so be a danger to those with a weak heart. Note the aggravated form of criminal damage with intent to endanger life under section 1(2) of the Criminal Damage Act 1971 which could provide the unlawful act if the damage actually causes death. But R v Carey, C and F limits the scope of unlawful act manslaughter. An argument became violent and the first defendant punched and kicked one victim. The second defendant assaulted the deceased by pulling her hair back and punching her in the face. The third defendant assaulted another. The deceased was one of the first to run away, after which she felt faint, and later died of a heart condition (ventricular fibrillation or dysrhythmia) which was congenital but which had not been diagnosed before her death. The unlawful act was said to be the affray and the judge held that it was legitimate to aggregate the violence by the other defendants in order to decide whether the affray had subjected the deceased to the threat of at least some physical harm, and so had been a cause of death. On appeal, it was inappropriate to hold the defendants liable for the death. There must be an unlawful act that was dangerous in the sense that sober and reasonable persons would recognise that the act was such as to subject Y to the risk of physical harm. In turn, that act must cause the death. When deciding whether an act is dangerous, knowledge of the victim's characteristics may be relevant. In this case, no reasonable person would have been aware of the victim's heart condition which distinguishes this case from Dawson, and from R v Watson in which the victim's approximate age (he was 87 years old) and frail state would have been obvious to a reasonable person. A sober and reasonable person would not have foreseen that an apparently healthy person of 15 years would suffer shock as a result of it. The court held that the deceased's death was not caused by injuries that were a foreseeable result of the affray. The assault by the second defendant was an unlawful act causing death. The other two defendants could have been convicted  by virtue of common purpose given that the death was an accidental departure from the general plan of the affray. But the Crown did not elect to present the case in this way, but pleaded the case as a public order group activity. The result would be that if anyone died in a general disturbance amounting to an affray, all those who participated could be convicted of manslaughter which would be against public policy. Deaths in a general disturbance are too remote to be caused by all participants.

Thus, a punch which causes a person to fall will almost inevitably satisfy the test of dangerousness, and where the victim falls and suffers a fatal head injury the accused is guilty of manslaughter. It is foreseeable that the victim is at risk of suffering some physical harm (albeit not serious harm) from such a punch and that is sufficient. Physical harm includes shock. The reason why the death resulting from the attempted robbery of the 60-year-old petrol station attendant was not manslaughter was that the attempted robbery was not dangerous in the relevant sense. It was not foreseeable that an apparently healthy 60-year-old man would suffer shock and a heart attack as a result of such an attempted robbery. But the jury properly found that it was foreseeable that an obviously frail and very old man was at risk of suffering shock leading to a heart attack as a result of a burglary committed at his home late at night.

In R v Charles James Brown, following the break-up of his relationship with his girlfriend, at about 3 pm., the defendant sent a text message to his mother saying that he did not want to live any more. He then drove his car against the flow of traffic along the hard shoulder of the A1(M) at high speed, before moving into the carriageway, still accelerating and straddling the centre line. He then crashed, head on, into an oncoming car, killing the passenger and injuring many others in the resulting consequential crashes. A sentence of 10 years' detention in a young offender institution was upheld because although the intentional focus might have been only on suicide, the defendant must have known from the way he was driving that he would kill or injure at least one other person (thus enforcing an objective standard on the defendant).

Unlawful (constructive) act manslaughter and the liability imposed on drug suppliers
The law on those who supply the (post) deceased with drugs had been uncertain until the case of R v Kennedy. The defendant supplied heroin to a drug user that asked for something to help them sleep. An hour after administering the drug the victim died. Kennedy was found guilty of manslaughter and appealed on the grounds that there must be an unlawful act which caused the victim's death. In this case the defendant set up the drug and supplied it but did not administer it, therefore it was an act of the victim himself that caused his own death. Kennedy was acquitted of manslaughter. Prior to this House of Lords ruling, the lower courts (in particular the Court of Appeal) struggled to strike a balance between those suppliers considered to have administered the drug (in the subsequent cases, heroin) to the victim themselves, and those suppliers who simply "supply" the drug for the victim to then voluntarily administer themselves.

Defence
Infanticide is a partial defence to manslaughter under the Infanticide Act 1938 (as amended by section 57 the Coroners and Justice Act 2009 to confirm the decision in R v Gore) and reduces the manslaughter to the crime of infanticide.

Mode of trial and sentence
Manslaughter is an indictable-only offence.

A person guilty of manslaughter is liable to imprisonment for life or for any shorter term.

For case law on sentencing see the Crown Prosecution Service sentencing manual:
Involuntary manslaughter
Manslaughter - diminished responsibility
Manslaughter - provocation
Manslaughter - suicide pact

Attempt

In R v Creamer, the court said obiter that attempted manslaughter is not an offence known to law.

History

Voluntary manslaughter - former partial defence of provocation

Provocation in English law was abolished on 4 October 2010 by section 56(1) of the Coroners and Justice Act 2009, but replaced by the similar partial defence of "loss of control".

Acts constituting provocation
At common law, acts of provocation had to be actual violence towards the defendant; words could not amount to provocation. The two exceptions to this rule were a husband discovering his wife committing adultery and a father finding someone buggering his son. There were two limbs to the defence, first the defendant had to have actually been provoked, and second the provocation had to be such as would have made the reasonable man act as the defendant did. The Homicide Act 1957 removed all limits on what could amount to provocation and allowed it to include provocation from someone other than the victim, and aimed at someone other than the accused. Further the defence was not defeated by the fact that the defendant induced the provocation. Section 56 of the Coroners and Justice Act 2009 states that the common law defence of provocation is abolished and replaced by sections 54 and 55; and that section 3 of the Homicide Act 1957 is also abolished and replaced with sections 54 and 55.

Subjective limb: provocation in fact
This was a question of fact for the jury. The loss of control had to be sudden and temporary, however it could be the result of slow burn; the final straw needed not be very bad as long as it led to an actual sudden and temporary loss of control. A delay between the act of provocation and the killing did not always defeat the defence, but often would.

Objective limb: the reasonable man test
Under section 3 of the Homicide Act 1957 the second question to be answered by the jury in order for the defence to succeed was ‘whether the provocation was enough to make a reasonable man act as [the defendant] did?’. The reasonable man for the purposes of this test had the same sex and age as the defendant and shared such characteristics as affect the gravity of the provocation to the defendant, but characteristics irrelevant to the provocation such as unrelated mental disorders were not given to the reasonable man. Finally, the reasonable man always had reasonable powers of self-control and was never intoxicated.

See also
English criminal law
Infanticide
Suicide Act 1961

Notes

References
Gardner, Simon. (1995). "Manslaughter by Gross Negligence" 111 Law Quarterly Review 22

Category:English criminal law
Category:Homicide
Category:Manslaughter in the United Kingdom
Category:Common law offences in England and Wales


Describing Archives: A Content Standard

Describing Archives: A Content Standard (DACS) is a standard used for describing materials in an archive. First adopted by the Society of American Archivists (SAA) in March 2004, DACS was updated with a Second Edition in 2013. DACS is broken down into a set of rules used in crafting archival descriptions, and guidelines for creating authority records in archives.

Overview
When fully adopted in 2005, DACS replaced Archives, Personal Papers, and Manuscripts, the previous SAA archival cataloging standard. It is the United States implementation of ISAD(G).

DACS consists of two parts: Part I, Describing Archival Materials, and Part II, Archival Authority Records. DACS is concerned with providing a framework for creating useful tools for researchers in archives through the description of records, historical agents, historical activities, and the relationships between them.

The elements and frameworks of DACS are closely related to both the library-focused cataloging rules of Resource Description and Access (RDA) and the international description standards formed by ISAD(G). The main goal of archival description is to assist users in finding the documents they are looking for through the creation of access tools such as catalogs or finding aids, and DACS exists to provide a standard for creating those tools. DACS has now been widely adopted by the archival community throughout the United States. It is currently maintained by the SAA's Technical Subcommittee on Describing Archives: A Content Standard and the most up-to-date version is hosted on their GitHub.

Principles of DACS

Current DACS principles, 2019-present

Revision history
TS-DACS began re-evaluating Describing Archives: A Content Standard for alignment with current archival theory and practice in 2016. Following an initial review over the summer of that year, TS-DACS organized an in-person principles revision meeting that took place concurrently with the SAA annual meeting in Atlanta. Later in 2016, TS-DACS requested funds from SAA to facilitate another meeting of TS-DACS members and other invited experts to take place outside of the annual meeting. This request was eventually granted and the second principles revision meeting took place in March of 2017. TS-DACS put out a call for comment on the revised principles in June of 2017. Feedback from this open comment period was analyzed and incorporated throughout 2018. In August of 2018, a final call for comment was published. The final revised principles were submitted to SAA's council and approved in May 2019.

Current principles
 Archival description expresses professional ethics and values.
 Users are the fundamental reason for archival description.
 Because archival description privileges intellectual content in context, descriptive rules apply equally to all records, regardless of format or carrier type.
 Records, agents, activities, and the relationships between them are the four fundamental concepts that constitute archival description.
 Archival description must be clear about what archivists know, what they don’t know, and how they know it.
 Archivists must document and make discoverable the actions they take on records.
 Archival description is accessible.
 Archival description should be easy to use, re-use, and share.
 Each collection within a repository must have an archival description.
 Archivists must have a user-driven reason to enhance existing archival description.
 Archival description is a continuous intellectual endeavor.

DACS founding principles, 2004-2019
At its first publication, DACS was guided by a set of 8 principles, which serve to elucidate why archival description is separate from library description and to give guidance in applying DACS. These have since been superseded. They were as follows:

 "Records in archives possess unique characteristics.
 "The principle of respect des fonds is the basis of archival arrangement and description.
 "Arrangement involves the identification of groupings within the material.
 "Description reflects arrangement.
 "The rules of description apply to all archival materials, regardless of form or medium.
 "The principles of archival description apply equally to records created by corporate bodies, individuals, or families.
 "Archival descriptions may be presented at varying levels of detail to produce a variety of outputs.
 "The creators of archival materials, as well as the materials themselves, must be described."

Part I Describing Archival Materials
The first part of DACS deals with rules for crafting archival description. It can be broken down into levels of description, with each level adding a layer of complexity. DACS discretely describes these levels as Single Level Required, Single Level Optimum, Single Level Added Value, Multilevel Required, Multilevel Optimum, and Multilevel Added Value. Every level requires that the DACS metadata elements from the previous levels are complete, and that the relationship between the current level and previous levels are clearly presented. The rest of Part I defines the metadata elements required for each level of description.

Part II Archival Authority Records
The second part of DACS is concerned with creating records that establish the context in which an archival material was created, appraised, and included in an archive. There are three steps in creating these authority records: identifying the people or organizations involved in creating the record, assembling biographical data relating to those creators, and applying a standard such as Resource Description and Access to the names so that the names can be easily referenced between institutions. These authority records can then either be incorporated into metadata of an archival records or separate authority records can be created, which are then linked with the archival materials.

Relation to Other Standards
While the first edition expanded on the basic rules for describing archival material that are found in chapter 4 of the deprecated library cataloging standard, Anglo-American Cataloguing Rules (AACR2), the second edition of DACS more closely relates to AACR2's successor, Resource Description and Access (RDA). DACS serves as the US implementation of international archival descriptive standards such as ISAD(G) and the International Standard Archival Authority Record. It also provides crosswalks from DACS to MARC, Encoded Archival Description (EAD), RDA, and Encoded Archival Context (EAC-CPF). DACS specifies only the type of content, not the structural or encoding requirements or the actual verbiage to be used; it is therefore suitable for use in conjunction with structural and encoding standards, such as MARC and EAD, and with controlled vocabularies such as Medical Subject Headings, Library of Congress Subject Headings, Art & Architecture Thesaurus, and so on.

See also
 Encoded Archival Description
 Archival processing

References

External links
DACS, 2nd edition

Category:Archival science


Jesús Escobedo

Jesús Escobedo Trejo (June 24, 1918 – October 13, 1978) was a Mexican artist specializing in drawing and engraving, one of the founding members of the Salón de la Plástica Mexicana.

Escobedo was born in El Oro, México, moving to Mexico City to study at the Escuela de Pintura al Aire Libre under Gabriel Fernández Ledesma and at the Academy of San Carlos under Francisco Díaz de León. Escobedo was a politically motivated artist, belonging to the Liga de Escritores y Artistas Revolucionaries and the Taller de Gráfica Popular.  One of his most important exhibitions was that in 1938, when he was part of a collective exhibition at the Palacio de Bellas Artes, organized by the Comité Nacional Femenino Pro-Pago de la Deuda Petrolera. In 1945, he received a Guggenheim Fellowship to create eight lithographs about the city of New York. However, much of his work was as a book illustrator, working for the Secretariat of Public Education in Mexico as well as work with several publishers in the United States. His most important work in that country was the illustration of the book “Lecturas Hispanoamericanas” in 1946. Escobedo died at the age of 60 of heart stoppage and was buried in the San Nicolás Tolentino cemetery in Iztapalapa, Mexico City.

References

Category:1918 births
Category:1978 deaths
Category:Guggenheim Fellows
Category:Mexican artists
Category:Artists from Michoacán
Category:People from Santa Clara del Cobre


Easter Road (road)

Easter Road is a main road in Edinburgh, the capital of Scotland. It is so called as it was known as the "Easter (eastern) road to Leith". As maps of Edinburgh in the late 18th century show, it had a counterpart in "Wester Road" (now Broughton Road and Bonnington Road). Until the creation of Leith Walk in the middle of the 17th century these were the two main routes from Leith to Edinburgh. Historic personages who have ridden up Easter Road have included Mary, Queen of Scots (1561) and Oliver Cromwell (from Leith Links in 1650).

According to Robert Chambers, writing in 1824, Leith Walk, as its name suggests, was a gravel-surfaced footway, only opened to wheeled traffic after the completion of North Bridge in 1772. Before that Easter Road had been the route taken by coaches running between Edinburgh and Leith. The Edinburgh article in the Statistical Account of Scotland (1791–99) contains evidence from the publisher William Creech that coach traffic between Edinburgh and Leith increased from hourly to half-hourly between 1763 and 1783.

Most of the area comprises tenement housing built for the artisan and working classes in the second half of the 19th century on mainly nursery ground feued on the south-eastern side by Baron Norton's Estate, (formerly belonging to the Logans of Restalrig), on the south-western side by the George Heriot's Trust and further north, on both sides of the road, Trinity Hospital. These tenements remain almost wholly intact, except at the northern, Leith end of the road where streets between Thorntree Street and Leith Central railway station were subject to slum clearance in the 1970s and replaced with new housing. The station has since been demolished and replaced by a supermarket and a leisure centre. New housing has also appeared since the 1970s in several locations on and just off Easter Road, for example opposite Thorntree Street, in Albion Road and in Brunswick Road. About a third of the road at the southern, London Road, end is the older retail area, comprising residential tenements with, at ground-floor level, small shops typical of a high street. There are a few corner shops and public houses on the northern two-thirds of the road particularly at the junction with Lorne Street.

Easter Road was the last major road in Scotland to be paved with granite setts replacing tarmac in 1955. After a fatality on the road in the late 1990s the road was re-tarmacked, saving the costly expense of maintaining the setts.

The southward view along the road focuses upon Salisbury Crags.

The area between Easter Road and Leith Walk to the west has long been Edinburgh's most densely populated area. The comparatively lower cost of housing in this part of the city makes the area relatively attractive for buying a house or renting accommodation. It has a high proportion of immigrants, including young Poles and young Spanish people.

See also
 The Singing Street

External links
Bartholomew's Chronological map of Edinburgh (1919)

References

Category:Areas of Edinburgh
Category:Streets in Edinburgh
no:Easter Road


Camillo Mazzella

Camillo Mazzella (10 February 1833 – 26 March 1900) was an Italian Jesuit theologian and cardinal.

Biography
Mazzella was born at Vitulano, near Benevento, and died in Rome.

Expelled with his order from Italy, he taught theology at Fourvières (Lyon, France), and at Georgetown University, Washington, D.C. He was the founder and one of the first professors at Woodstock theological college, Maryland; then he was called to Rome to teach at the Gregorian University, and later became president of the Academy of Saint Thomas.

Mazzella was prefect of the Congregation of the Index, Congregation of Studies, and Congregation of Rites and Cardinal-Bishop of Palestrina.

References

External links

Category:1833 births
Category:1900 deaths
Category:People from the Province of Benevento
Category:Italian Jesuits
Category:Italian cardinals
Category:Cardinals created by Pope Leo XIII
Category:Georgetown University faculty
Category:Cardinal-bishops of Palestrina
Category:Italian Roman Catholic theologians
Category:19th-century Roman Catholic priests


Ekaltadeta

Ekaltadeta is an extinct genus of marsupials related to the modern musky rat-kangaroos. Ekaltadelta was present in what is today the Riversleigh formations in Northern Queensland from the Late Oligocene to the Miocene.

They are hypothesized to have been either exclusively carnivorous, or omnivorous with a fondness for meat, based on their chewing teeth. This conclusion is based mainly on the size and shape of a large buzz-saw-shaped cheek-tooth, the adult third premolar, which is common to all Ekaltadeta. A few specimens actually did also have long predatory "fangs".

Fossils of the animals include two near complete skulls, and numerous upper and lower jaws.

Taxonomy
The description of a new species and genus was published by Mike Archer and Tim Flannery in 1985. The type species is Ekaltadeta ima. It was originally put within the family of Potoroidae, but like the musky rat-kangaroo, the genus was moved to the family Hypsiprymnodontidae.

The name Ekaltadeta is derived from two words in an indigenous language associated with the McDonnell Ranges, combining the words for powerful, ekalta, and eta to describe the "powerful tooth".

The species assigned to this genus are

Ekaltadeta

Ekaltadeta ima Archer and Flannery 1985; the type species.
 Ekaltadeta jamiemulvaneyi Wroe 1996
 Ekaltadeta wellingtonensis, Archer and Flannery, 1985. Tentatively placed as Proleopus wellingtonensis in later revision of the phylogeny of the subfamily Propleopinae  Archer and Flannery, 1985.

References

Category:Prehistoric macropods
Category:Oligocene mammals of Australia
Category:Miocene mammals of Australia
Category:Pliocene mammals of Australia
Category:Pleistocene mammals of Australia
Category:Oligocene marsupials
Category:Miocene marsupials
Category:Prehistoric marsupial genera
Category:Fossil taxa described in 1985
Category:Riversleigh fauna
Category:Diprotodonts


Springbox

Springbox may refer to:

 Springbox (company), an interactive services agency.
 Spring box, a structure engineered to make optimum use of a natural spring.

See also
 Springbok (disambiguation)


Black Rock Gardens Historic District

The Black Rock Gardens Historic District is a historic district in the Black Rock neighborhood of Bridgeport, Connecticut.  It consists of 12 three-story red brick Colonial Revival buildings, clustered on Fairfield Avenue, Nash Lane, and Haddon Street, and set around small quadrangle-like parks.  The complex was built between 1916 and 1920 by the United States Housing Corporation to provide war-time emergency housing for workers in war-related factories, during World War I.

The district was listed on the National Register of Historic Places in 1990.

See also

History of Bridgeport, Connecticut
Black Rock Historic District
National Register of Historic Places listings in Bridgeport, Connecticut

External links
 Black Rock Historic Districts
 Black Rock Gardens Historic District

References

Category:Geography of Bridgeport, Connecticut
Category:Historic districts in Fairfield County, Connecticut
Category:Colonial Revival architecture in Connecticut
Category:National Register of Historic Places in Fairfield County, Connecticut
Category:Historic districts on the National Register of Historic Places in Connecticut


1965 Eastern Michigan Hurons football team

The 1965 Eastern Michigan Hurons football team represented Eastern Michigan University in the Presidents' Athletic Conference (PAC) during the 1965 NCAA College Division football season. In their first season under head coach Jerry Raymond, the Hurons compiled a 3–4–1 record (3–1–1 against PAC opponents) and were outscored by their opponents, 129 to 125.

In the middle of August 1965, Fred Trosko, who had been the head football coach since 1952, abruptly quit. Jerry Raymond, an Eastern Michigan alumnus who had been the school's freshman football coach, was named as Trosko's replacement.

Schedule

References

Eastern Michigan Eagles
Category:Eastern Michigan Eagles football seasons
Eastern Michigan Eagles football


Gyroscopic exercise tool

A gyroscopic exercise tool is a device used to exercise the wrist as part of physical therapy or in order to build palm, forearm and finger strength. It can also be used as a unique demonstration of some aspects of rotational dynamics. The device consists of a tennis ball-sized plastic or metal shell around a free-spinning mass, which is started with a short rip string. Once the gyroscope inside is going fast enough, a person holding the device can accelerate the spinning mass to high revolution rates by moving the wrist in a circular motion.

Mechanics

The device consists of a spinning mass inside an outer shell. The shell almost completely covers the mass inside, with only a small round opening allowing the gyroscope to be manually started. The spinning mass is fixed to a thin metal axle, each end of which is trapped in a circular, equatorial groove in the outer shell. A lightweight ring with two notches in it for the ends of the axle rests in the groove. This ring can slip in the groove; it holds the spinning gyroscope centered in the shell, preventing the two from coming into contact (which would slow the gyro down), but still allowing the orientation of the axle to change.

Since the spinning mass is balanced, the only possibility to speed up the rotation is for the sides of the groove to exert forces on the ends of the axle. Furthermore, the normal and axial forces will have no effect, so tangential force must be provided by friction. If the axle is stationary, the friction will only act to slow down the rotation, but the situation is very different if the axle is turned by applying a torque.

This can be accomplished by tilting the shell in any direction except in the plane of the groove or around an axis aligned with the axle, and results in a shift of the axle ends along the groove. The direction and speed of the shift can be found from the formula for the precession of a gyroscope: the applied torque is equal to the cross product of the angular velocity of precession and the angular momentum of the spinning mass. The most important observation here is that the direction is such that, if the torque is large enough, the friction between the axle and the surface of the groove will speed up the rotation.

This may seem odd. After all, if the axle were shifting in a horizontal groove, the friction on one end that acts to speed up the rotation would be canceled by the friction at the other end, operating in the opposite direction. The difference is that a torque is being applied, so one end of the axle is pushing against one side of the groove, while the other end is pushing against the other side. Likewise, it does not matter in which direction the torque is applied. If the torque is reversed, each end of the axle will then be pressing against the opposite side of the groove, but the direction of precession is also reversed. The only restriction is that the relative speed of the surface of the axle and the side of the groove due to precession, , must exceed the relative speed due to the rotation of the spinning mass, . The minimum torque required to meet this condition is , where I is the moment of inertia of the spinning mass, and ω is its angular velocity.

Since an acceleration of the rotation will occur regardless of the direction of the applied torque, as long as it is large enough, the device will function without any fine-tuning of the driving motion. The tilting of the shell does not have to have a particular phase relationship with the precession or even to have the same frequency. Since sliding (kinetic) friction is usually nearly as strong as static (sticking) friction, it is also not necessary to apply precisely the value of torque which will result in the axle rolling without slipping along the side of the groove. These factors allow beginners to learn to speed up the rotation after only a few minutes of practice.

By applying the proportionality of the force of friction to the normal force, , where  is the kinetic coefficient of friction, it can be shown that the torque spinning up the mass is a factor of  smaller than the torque applied to the shell. Since frictional force is essential for the device's operation, the groove must not be lubricated.

References

Category:Exercise equipment
Category:Physical activity and dexterity toys


Bill Reiter

Bill Reiter is a writer and sports personality for CBS Sports. He is best known for hosting Reiter Than You, CBS Sports' first live primetime digital television show. His early work reporting on LeBron James during Lebron's first season with the Miami Heat also distinguished Fox Sports and its early NBA coverage. Reiter currently hosts "Reiter Than You" as well as "Reiter's Block" and is the national columnist for CBSSports.com.

Career
Reiter graduated from the Missouri School of Journalism in 2000. His early journalism career included writing for the Chicago Tribune and covering Bill Clinton and the Mississippi Delta in Arkansas. He then worked at The Des Moines Register writing long-form features. While at The Des Moines Register, Reiter spent months fully immersed in a story about homeless teenagers which prompted him to start writing about sports. Starting in 2006, Reiter wrote sports features full-time for the Kansas City Star. From there he worked with the Miami Heat as a columnist-beat writer for FoxSports.com before becoming a national columnist. As national columnist he covered the Jerry Sandusky scandal, Linsanity, the UFC, college football, and the NFL playoffs.

Reiter joined CBS Sports in 2017 as a national columnist. In his current role he has covered the NBA, the NFL, the MLB, UFC, the Olympics, Super Bowls, March Madness and more.

Awards and Quotes
He has received seven honors from the Associated Press Sports Editors for his work with the Kansas City Star including Game Story of the Year. Livingston Awards named Reiter a finalist for an investigative piece on Bob Huggins' recruiting practices. Reiter was three times a notable selection in Best American Sportwriting and won the Missouri Lifestyle Journalism Awards for "Our Homeless Children," a six-part narrative on Iowa's homeless youth. He has been honored more than 40 times with various state and regional awards.

Director of Programming at CBS Sports Radio, Eric Spitz said, "The talented Bill Reiter will bring a fresh new voice and an energizing perspective to CBS Sports Radio's already stellar lineup featuring the best sports talk shows and personalities around. His candid commentary and keen analysis will be a welcome addition to the network."

References

Category:CBS Sports
Category:American television personalities
Category:Missouri Lifestyle Journalism Award winners


Davidwache

The Davidwache (David(s) Watch) is the best known police station in Hamburg, which is located in the St. Pauli quarter near Reeperbahn, and, more exact, at the corner of Spielbudenplatz square and Davidstraße. Today, it is the seat of Hamburg Police Department 15. While the Davidwache existed since 1840, the listed brick building was erected by Fritz Schumacher from 1913-1914 and opened on 10 December 1914. Sculptor Richard Kuöhl designed the ceramic elements of the station house. 2004/5 an extension of Davidwache on the backside was added. The building is known from numerous movies and TV series, and it was called Germany's best known police station. Paul McCartney and Pete Best had to spend a night at the Davidwache.

References

Category:Buildings and structures in Hamburg-Mitte
Category:Police stations
Category:Heritage sites in Hamburg


Ballinode (horse)

Ballinode (foaled 1916) was an Irish racehorse who won the 1925 Cheltenham Gold Cup. She was the first mare and the first Irish-trained horse to win the race. She was known as "The Sligo Mare."

Background
Ballinode was a chestnut mare bred in Ireland. She was one of the few horses of any consequence sired by Machakos, a son of the Coventry Stakes winner Desmond. Ballinode's dam, Celia, was a half-sister to the Ascot Gold Cup winner Love Wisely. During her racing career she was owned by Christopher Bentley and trained in Ireland by Frank Morgan. The mare was named after a village in County Sligo where Bentley lived.

Racing career
In her early racing career Ballinode won several races in Ireland, acquiring a reputation for being fast but making occasional jumping errors. In March 1924 she was sent to the Cheltenham Festival for the first time and finished second in the National Hunt Handicap Chase A month later she finished eighth in the Grand National. In the following season she returned to Britain for the autumn meeting at Aintree Racecourse and won the Grand Sefton Steeplechase, beating Ardeen into second place. She won again at Nottingham Racecourse in February 1925. On 11 March 1925 she was one of four horses to contest the second running of the Cheltenham Gold Cup and started the 3/1 second favourite. The other three runners were the odds-on favourite Alcazar, the 1924 runner-up Conjuror and the National Hunt Chase winner Patsey V. Ridden by Ted Leader the Irish mare settled in second place behind Alcazar and the pair soon drew well clear of the other two runners. Ballinode took the lead at the second last and won very easily by five lengths. Eighteen days later the mare started 10/1 second favourite for the Grand National but failed to complete the course.

Assessment and honours
In their book, A Century of Champions, based on the Timeform rating system, John Randall and Tony Morris rated Ballinode a "poor" Gold Cup winner. She is remembered in the name of Ballinode Close, a residential street in Cheltenham.

Pedigree

References

Category:1916 racehorse births
Category:Racehorses bred in Ireland
Category:Racehorses trained in Ireland
Category:Thoroughbred family 11-e
Category:Cheltenham Gold Cup winners
Category:Cheltenham Festival winners
Category:National Hunt racehorses


Million Miles (Reamonn song)

"Million Miles" is the third single from Reamonns fifth studio album Reamonn. It was released on February 13, 2009 in Germany by Universal Music from the label Island Records. The subject of the song is Love.

Music video
In the video the band Reamonn plays in a wood of a snowy mountain range. A woman (Romanian model Madalina Draghici) runs through this forest and is looking for the band. She finds them at the end of the video.

Track listing
 German CD single: [CD1] (black artwork):
 "Million Miles" (Radio Edit) – 3:47
 "Stay" – 3:36

 Germany: [CD2] (gray artwork)
 "Million Miles" (Radio Edit) - 3:47
 "Million Miles" (Piano Version) - 4:00

Charts

References

External links
  Million Miles at Reamonn.com

Category:2009 singles
Category:Reamonn songs
Category:Songs written by Kara DioGuardi
Category:Songs written by Emanuel Kiriakou
Category:Rock ballads
Category:2008 songs
Category:Universal Music Group singles
Category:Island Records singles


Throw (grappling)

In martial arts, a throw is a grappling technique that involves off-balancing or lifting an opponent, and throwing them to the ground, in Japanese martial arts referred to as nage-waza, 投げ技,  "throwing technique". Throws usually involve a rotating motion, the practitioner performing the throw disconnects with the opponent, and ends balanced and on their feet as opposed to a takedown where both finish on the ground. Throws can however also be followed into a top position, in which case the person executing the throw does not disengage from the opponent. Certain throwing techniques called sacrifice throws (sutemi-waza, 捨身技, "sacrifice technique") involve putting oneself in a potentially disadvantageous position, such as on the ground, in order to execute a throw.

Types of throws
There are several major types of throw, among Asian martial arts, Judo has the most developed throwing techniques and throws are considered its specialty.

Most throws are named by describing the circumvention point of the throw (e.g., hip throw, shoulder throw, wrist throw etc.), or the nature of effect of the throw on the opponent (e.g., heaven and earth throw, valley drop, body drop) with variations are given descriptive names. The names used here are attributed to Jujutsu throws (and hence judo/Aikido throws) are descriptions in Japanese. It is conventional for the Japanese to name their throws in this manner, and many western martial art dojos have given English names to the throws feeling that it is easier for English speaking students to remember the names of throws if they can associate the throws by the descriptive nature of the throw name.

In Judo, throws are divided into six categories—hand techniques, leg techniques, hip techniques, shoulder techniques, as well as sacrifice throws to the rear and side.

Shoulder and back throws
A shoulder throw involves throwing an opponent over the shoulder. A shoulder throw which lifts the opponent from the ground is in Japanese referred to as seoi-nage (背負い投げ, "Back Throw"), while a throw which involves upsetting the opponent’s balance and pulling the opponent over the shoulder is referred to as seoi-otoshi (背負落とし, "Back Drop"). Seoi-nage is one of the most used throws in  judo competition. One study indicated that approximately 56% of judokas implemented the technique.

A common shoulder throw is judo's ippon seoinage ("Single-Handed Back Throw") or the similar flying mare in wrestling.

Leg throws, reaps, and trips
In a leg reap, the attacker uses one of their legs to reap one or both of their opponent's legs off the ground. Generally the opponent's weight is placed on the leg that is reaped away. This coupled with the attacker controlling the opponent's body with their hands causes the opponent to fall over. Common leg reaps are judo's Ouchi Gari, Kouchi Gari, Osoto Gari, and Kosoto Gari. There are similar techniques in wrestling, including the inside and outside trips.

Somewhat similar to leg reaps involve a hooking or lifting action with the attacking leg instead of a reaping action. The border between the two types of throw can be unclear, and many throws will exhibit characteristics of both reaps and trips, however, the difference is that a reap is one smooth move, like that of a scythe, whereas a hook is pulling the opponents leg up first, and then swinging it away. Common leg trips are hooking variations of Ouchi Gari and Osoto Gari along with Kosoto Gake, referred to as inside and outside trips in Western wrestling.

Hip throws
A hip throw involves using the thrower's hip as a pivot point, by placing the hip in a lower position than an opponent's center of gravity. There are several types of hip throws such as O Goshi, which is often taught first to novices. Hip throws in Judo are called Koshi Waza, and in Aikido or Sumo they are called koshinage.

Sacrifice throws
Sacrifice throws require the thrower to move into a potentially disadvantageous position in order to be executed, such as falling to the ground. The momentum of the falling body adds power to the throw and requires comparatively little strength, compared to the effect. In Judo (as well as in other martial arts), these throws are called sutemi waza and are further divided into rear (ma sutemi waza) and side (yoko sutemi waza) throws. In Judo, these throws are limited to a specific grade and higher due to the element of danger that is placed upon both the uke (receiver) and the tori (thrower).

Pick-ups
Pickups involve lifting the opponent off the ground and then bringing them down again. Common pick-ups are lifting variations of the double leg takedown, Judo's Te Guruma or sukui nage (both classified as hand throws) and the suplex from wrestling, in which the attacker lifts their opponents body vertically and throws the opponent over their own center of gravity while executing a back fall (usually accompanied by a back arch). Variations of the suplex are common in most forms of wrestling and sometimes used in mixed martial arts competition. In Judo, the ura-nage throw is a version of the suplex, but it is classified as a sacrifice throw.

List of throws

Some of the more common throwing techniques are listed below. This is not an exhaustive list and the techniques may be referred to by other names in different styles. An English translation and a common Japanese equivalent are given.
Major hip throw (O Goshi)
Floating hip (Uki Goshi)
Rear hip throw (Ushiro Goshi)
Stamp throw
Major wheel (O Guruma)
Transitional hip throw (Utsuri Goshi)
Hip wheel (Koshi Guruma)
Sweeping hip throw (Harai Goshi)
Inner Thigh throw (Uchi Mata)
Sweeping knee throw
Sweeping ankle throw
Leg wheel (Ashi Guruma)
Major uter wheel (Osoto Guruma)
Inside hook throw (Kouchi Gake)
Outer hook throw
Cross hook
Knee wheel (Hiza Guruma)
Advancing foot sweep (Deashi Harai)
Lapel Back throw (Eri Seoinage)
Sin throw (Ippon Seoinage)
Double-Handed On-the-back throw (Morote Seoinage)
Major inner reaping, inside trip (Ouchi Gari)
Minor inner reaping (Kouchi Gari)
Major outer reaping, outside trip (Osoto Gari)
Minor outer reap (Kosoto Gari)
Minor outer hook (Kosoto Gake)
Propping ankle throw (Sasae Tsurikomi Ashi)
Floating hip throw (Uki Goshi)
Body drop (Tai Otoshi)
Lifting hip throw (Tsuri Goshi)
Sleeve lifting-pulling hip throw (Sode Tsurikomi Goshi)
Floating drop (Uki Otoshi)
Outside wrap (Soto Makikomi)
Inside wrap (Uchi Makikomi)
Springing hip throw (Hane Goshi)
Double spring hip throw.
Shoulder wheel, fireman's carry (Kata Guruma)
Valley drop (Tani Otoshi)
Stomach throw (Tomoe Nage)
Side circle
Corner throw
Head hip and knee throw
Reverse head hip and knee throw
Rear head hip and knee throw
Front scoop throw
Rear scoop throw
Neck throw (Kubi Nage)
Flying scissors takedown (Kani Basami)
Flying figure ten (Tobi Juji Gatame)
Wrist-based throws, especially Kotegaeshi (forearm return / supinating wrist lock)
Figure ten throw (Juji nage, not closely related to Juji Gatame)
Breath throw (Kokyu Nage, sometimes called timing throw or the twenty-year throw)
Rotary throw (Kaiten nage, sometimes called head-over-heels throw)
Heaven-and-earth throw (Tenchi nage)
Four corner throw (Shiho nage, not to be confused with Corner Drop)
Entering throw (Irimi nage, sometimes also simply called Kokyu nage (it's a specific variant))

See also

 Judo technique - Includes a list of all the throws in Judo
 Takedown

References

External links
  SOMBO A Style of Wrestling: Chapter 5, Throwing and Scoring Techniques
(Wayback Machine copy)
 The 67 Throws of Kodokan Judo
 Collection of the 40 Throws of the Gokyo with Video Demonstrations

Category:Martial art techniques
*
Category:Kickboxing terminology


Sport climbing at the 2014 Asian Beach Games

Sports climbing competition at the 2014 Asian Beach Games was held in Phuket, Thailand from 15 to 16 November 2014 at Saphan Hin Sports Center, Phuket.

Medalists

Men

Women

Medal table

Results

Men

Speed
15 November

Qualifying

Knockout round

Speed relay
16 November

Qualifying

Knockout round

Women

Speed
15 November

Qualifying

Knockout round

Speed relay
16 November

Qualifying

Knockout round

References

External links

Category:2014 Asian Beach Games events
Category:Sport climbing at the Asian Beach Games
Category:2014 in sport climbing


1980–81 Primeira Divisão

The 1980–81 Primeira Divisão was the 47th season of top-tier football in Portugal.

Overview
It was contested by 16 teams, and S.L. Benfica won the championship.

League standings

Season statistics

Top goalscorers

References

External links
 Portugal 1980-81 - RSSSF (Jorge Miguel Teixeira)
 Portuguese League 1980/81 - footballzz.co.uk
 Portugal - Table of Honor - Soccer Library

Category:Primeira Liga seasons
Category:1980–81 in Portuguese football
Portugal


Bjarki Már Elísson

Bjarki Már Elísson (born 16 May 1990) is an Icelandic handball player for TBV Lemgo and the Icelandic national handball team.

He participated at the 2017 World Men's Handball Championship.

References

Elisson, Bjarki Mar
Elisson, Bjarki Mar
Category:Sportspeople from Reykjavík
Category:Icelandic male handball players
Category:Expatriate handball players
Category:Icelandic expatriate sportspeople in Germany
Category:Handball-Bundesliga players
Category:Füchse Berlin Reinickendorf HBC players
Category:UMF Selfoss handball players


WVRH

WVRH (94.3 FM) is a radio station broadcasting a Contemporary Christian format. Licensed to Norlina, North Carolina, United States, the station is currently owned by Liberty University, Inc.

External links

VRH
Category:Liberty University


Bitflu

Bitflu  is an open-source,  BitTorrent client by Adrian Ulrich. It is available for Unix-like systems and is written in Perl.

Features
 Multiple downloads
 IPv6 Support
 Designed to run as a daemon/No GUI: You can connect to the client via telnet and/or http (AJAX)
 Security: The client can chroot itself and drop privileges
 Bandwidth shaping (upload+download)
 Crash-Proof design: Crashes or a full filesystem will never corrupt your downloads again :-)
 Non-Threading/Non-Forking: All connections are handled in non-blocking state using epoll (or kqueue on *BSD)

Reception
Bitflu has received good reviews, both in open-source software sites  and blogs, praising it for being lightweight and feature-complete.

Even so, Bitflu seems to be largely unknown, reportedly commanding only 0.000025% of the total BitTorrent traffic. According to one reviewer, this could be due to its non-automated, relatively elaborated install procedure, which could be putting off a "majority of users who can't do anything more complicated than a click-next-until-finish install".

See also
 Comparison of BitTorrent clients

References

External links

Category:2009 software
Category:Free BitTorrent clients
Category:Unix Internet software


Edward Bullough

Edward Bullough (28 March 1880 – 17 September 1934) was an English aesthetician and scholar of modern languages, who worked at the University of Cambridge. He did experimental work on the perception of colours, and in his theoretical work introduced the concept of psychical distance: that which "appears to lie between our own self and its affections" in aesthetic experience. In languages, Bullough was a dedicated teacher who published little. He came to concentrate on Italian, and was elected to the Chair of Italian at Cambridge in 1933.

Life and work

Early life to "Psychical Distance," 1880–1914

Edward Bullough was born in Thun, Switzerland, on 28 March 1880, to John Bullough and Bertha Schmidlein. As a child he lived mostly in Germany, and was educated at Vitzthum Gymnasium, Dresden. At seventeen Bullough moved to England, and in 1899 matriculated from Trinity College in the University of Cambridge, where he studied Medieval and Modern Languages. He graduated BA (Class I) in 1902, MA in 1906, after which he taught French and German at Cambridge colleges and lectured in the university.

At this time Bullough became interested in aesthetics, and "prepared himself to deal with [its] problems … by a study of physiology and general psychology". In 1907 Bullough gave a course of lectures in aesthetics, the first such at Cambridge, privately printed as The Modern Conception of Aesthetics. He repeated the course annually "until shortly before his death". Bullough conducted experimental work on the perception of colours in the Cambridge Psychological Laboratory, the basis for a series of three papers in the British Journal of Psychology: "The Apparent Heaviness of Colours" (1907), "The 'Perceptive Problem' in the Aesthetic Appreciation of Single Colours" (1908), and "The 'Perceptive Problem' in the Aesthetic Appreciation of Simple Colour-Combinations" (1910). Bullough also had an interest in parapsychology, and was a member of the Society for Psychical Research.

In 1908 Bullough married Enrichetta Angelica Marchetti (daughter of the actor Eleonora Duse), with whom he would have a son and a daughter. He was elected to a Drosier Fellowship at Gonville and Caius College in 1912, and in the same year published his noted theoretical paper, Psychical Distance' as a Factor in Art and an Aesthetic Principle". Psychical distance (Bullough capitalises the words) is that which, in certain situations, "appears to lie between our own self and its affections, using the latter term in its broadest sense as anything which affects our being". Artistic production and appreciation are two such situations.[Psychical Distance] has a negative, inhibitory aspect—the cutting-out of the practical sides of things and of our practical attitude to them—and a positive side—the elaboration of the experience on the new basis created by the inhibitory action of Distance.

The relation between self and object remains a personal one (it is not like the impersonal relation in scientific observation, for example) and Bullough thinks that a "concordance" between them is necessary for aesthetic appreciation. However this must not be such that psychical distance is lost: Bullough imagines a jealous husband watching a performance of Othello, who "will probably do anything but appreciate the play". This "antinomy of Distance" leads Bullough to say that what is desirable in art, "both in appreciation and production", is "the utmost decrease of Distance without its disappearance".

War service to death, 1915–1934

In the First World War, Bullough was recruited as a civilian in the summer of 1915 to the Admiralty's cryptoanalysis section, Room 40. He served for four years, finally as a Lieutenant of the Royal Naval Volunteer Reserve. After the war he returned to Caius, where he had been re-elected to a fellowship in January 1915. He published in the British Journal of Psychology two more papers on aesthetic theory, "The Relation of Aesthetics to Psychology" (1919) and "Mind and Medium in Art" (1920), and a review of experimental work (1921). In 1920, he was appointed College Lecturer in modern languages and University Lecturer in German, and he edited the anthology Cambridge Readings in Italian Literature.

In 1923 Bullough resigned his university post, wishing to concentrate instead on Italian. The same year, he joined the Roman Catholic Church as a Dominican Tertiary, and afterwards was active in the Cambridge University Catholic Association. In the following decade he published translations of Étienne Gilson, Karl Adam, and Achille Ratti (by then Pope Pius XI), and gave three papers on Dante at Catholic summer schools in Cambridge and Salzburg. A colleague believed that his work in Italian studies "all went into his lectures and teaching", rather than research for publication. He was appointed University Lecturer in Italian in 1926.

Bullough was elected to the Chair of Italian at Cambridge in March 1933. In his printed inaugural lecture, titled Italian Perspectives, he claims that the Italian "perspective" is one of "continuity of classical with medieval and modern times", so that tradition is treated "with the easy familiarity of a family possession". He argues that because the European classical tradition is also, for the Italian, the native tradition, "the 'national' inheritance of Italy lies at the same time embedded in the foundations of Europe". In illustration, Bullough proposes Roman law, the Renaissance, and the Romantic movement as "three contributions made by Italy to the patrimony of the civilised world". He offers the contemporary fascist movement as a tentative fourth: a successor to the chair, Uberto Limentani, believed there was "no doubt" that Bullough sympathised with fascism.

After a short illness resulting from an internal operation, Bullough died in a nursing home in Bath on 17 September 1934. He was buried at Woodchester Priory in Stroud. The philosopher Michael Oakeshott, a colleague at Caius, wrote Bullough's obituary for their college record.

The family home on Buckingham Road, Cambridge was offered to the Dominican Order by his widow and is now Cambridge Blackfriars.

Bibliography

Note that Bullough's texts and translations of other authors are collected after the chronological presentation.

Prewar

1904. "Matter and Form." Modern Language Quarterly 7, no. 1: 10–15.
1905. "Bibliographisches zu Schillers Demetrius." Studien zur vergleichenden Literaturgeschichte 5, Ergänzungsheft: 290–293.
1907. "The Apparent Heaviness of Colours." British Journal of Psychology 2, no. 2: 111–152.
1908. The Modern Conception of Aesthetics. Privately printed.
1908. "The 'Perceptive Problem' in the Aesthetic Appreciation of Single Colours." British Journal of Psychology 2, no. 4: 406–463.
1909. As compiler. Bibliography to General Modern Aesthetics. Privately printed? (A pamphlet.)
1910. "The 'Perceptive Problem' in the Aesthetic Appreciation of Simple Colour-Combinations." British Journal of Psychology 3, no. 4: 406–447.
1912. Psychical Distance' as a Factor in Art and an Aesthetic Principle." British Journal of Psychology 5, no. 2: 87–118.
1913. "Ein Beitrag zur genitischen Ästhetik." In Kongress für Ästhetik und allgemeine Kunstwissenschaft, Berlin 7.–9. Oktober 1913: Bericht, 55–72. Stuttgart: Enke, 1914.

Postwar

1919. "The Relation of Aesthetics to Psychology." British Journal of Psychology 10, no. 1: 43–50.
1920. As compiler. Italy in the Nineteenth Century: Chronological Tables, with a List of Works Recommended for Study, etc. Cambridge: Cambridge University Press. (A pamphlet.)
1920. As editor. Cambridge Readings in Italian Literature. Cambridge: Cambridge University Press.
1920. "The Civil Service and Modern Languages." In Year Book of Modern Languages, edited for the Council of the Modern Language Association by Gilbert Waterhouse, 10–24. Cambridge: Cambridge University Press.
1920. "Mind and Medium in Art." British Journal of Psychology 11, no. 1: 26–46.
1921. "Recent Work in Experimental Aesthetics." British Journal of Psychology 12, no. 1: 76–99.
1921. "The Relation of Literature to History." Modern Languages 2: 37–47.
1925. "Dante, the Poet of St Thomas." In St Thomas Aquinas, edited by C. Lattey, 247–284. Cambridge: W. Heffer.
1928. "Broken Bridges." University Catholic Review 2, no. 1: 7–11.
1932? "Dante als Vetreter des XIII. Jahrhunderts." (Cited by Oakeshott, not located and perhaps not published.)
1932? "Dante und die europäische Kultur." (Cited by Oakeshott, not located and perhaps not published.)
1933. "The Relation of Literature and the Arts." Modern Languages 14: 101–112.
1934. Italian Perspectives: An Inaugural Lecture. Cambridge: Cambridge University Press.

Posthumous

1935. Psychical Distance' as a Factor in Art and an Aesthetic Principle." In A Modern Book of Esthetics: An Anthology, edited by Melvin M. Rader, 87–118. New York: Henry Holt. (2nd ed., 1952. 3rd ed., 1960. 4th ed., 1973. 5th ed., 1979.)
1957. Aesthetics: Lectures and Essays. Edited by Elizabeth M. Wilkinson. London: Bowes and Bowes. (New ed., Westport, Conn.: Greenwood Press, 1977.)
1969. Psychical Distance' as a Factor in Art and as an Aesthetic Principle." In Philosophy of Art and Aesthetics: From Plato to Wittgenstein, edited by Frank A. Tillman and Steven M. Cahn, 397–414. New York: Harper and Row.
1977. Psychical Distance' as a Factor in Art and an Aesthetic Principle." In Aesthetics: A Critical Anthology, edited by George Dickie and R. J. Sclafani, 758–782. Boston, Mass.: St Martin's. (2nd ed., 1989.)
1995. "Psychical Distance." In The Philosophy of Art: Readings Ancient and Modern, edited by Alex Neill and Aaron Ridley, 297–311. Boston, Mass.: McGraw-Hill.
1997. La distanza psichica come fattore artistico e principio estetico. Edited by Giuliano Compagno. Palermo: Centro internazional estudi di estetica, 1997.
2008. Psychical Distance' as a Factor in Art and an Aesthetic Principle." In Aesthetics: A Comprehensive Anthology, edited by Steven M. Cahn and Aaron Meskin, 243–260. Malden, Mass.: Blackwell Publishing.

Texts and translations of other authors

1916. Tolstoy, Leo. Sevastopol. Edited by A. P. Goudy and Edward Bullough. Cambridge: Cambridge University Press.
1924. Gilson, Étienne. The Philosophy of St Thomas Aquinas. Edited by G. A. Elrington, translated by Edward Bullough. Cambridge: W. Heffer. (2nd ed., 1929.)
1930. Adam, Karl. Two Essays. Translated by Edward Bullough. London: Sheed and Ward.
1934. Pius XI [Achille Ratti]. Essays in History. Translated by Edward Bullough. London: Burns, Oates and Washbourne.
1945. Bellingshausen, T. The Voyage of Captain Bellingshausen to the Antarctic Seas, 1819–1821. Edited by Frank Debenham, translated by Edward Bullough. London: Hakluyt Society.

References

External links

Category:1880 births
Category:1934 deaths
Category:Academics of the University of Cambridge
Category:Alumni of Trinity College, Cambridge
Category:Linguists from England
Category:English philosophers
Category:English psychologists
Category:Fellows of Gonville and Caius College, Cambridge
Category:Parapsychologists
Category:Philosophers of art
Category:People from Thun


An Artist of the Floating World

An Artist of the Floating World (1986) is a novel by Nobel Prize-winning British author Kazuo Ishiguro. It is set in post-World War II Japan and is narrated by Masuji Ono, an ageing painter, who looks back on his life and how he has lived it. He notices how his once great reputation has faltered since the war and how attitudes towards him and his paintings have changed. The chief conflict deals with Ono's need to accept responsibility for his past actions and in the expostulation to find a path to peace in his good will for the young white collar workers on the streets at lunchbreak. The novel also deals with the  role of people in a rapidly changing environment.

The novel falls under both historical fiction and global literature (Weltliteratur). It is known as historical fiction due to its basis on remembering the past and it draws from historical facts. It is also known as global literature as it has a broad international market and allows for a study on how the world today is interconnected.

Publication history
Originally published in 1986, it has since won major awards. Published by Faber and Faber it is also printed by publishing companies such as Allen and Unwin and Penguin Vintage International. It has become an eBook version additionally and is available on most eBook websites such as kindle and iBook’s, since 2012. Currently, An Artist of the Floating World, has been translated into over 40 languages around the world.

Autobiographical elements
Kazuo Ishiguro was born in Nagasaki, Japan in 1954, eventually moving to England at the age of five, only to return to Japan twenty-nine years later. Growing up Ishiguro had a traditionally Japanese mother, who resultantly influenced his writing when reflecting on Japan. Furthermore, his reading of Japanese novels and comics allowed him to stay connected to his Japanese heritage as well as see the differences between Western and Japanese society, influencing his writing through developing a sense of Japanese ideals.

The inclusion of Ichiro’s cowboy obsession stemmed from Ishiguro’s own fascination with cowboys during his youth. Ishiguro was inspired to write An Artist of the Floating World, due to his original novel A Pale View of Hills, which included an old teacher character, that has to rediscover and invent his own morals. This reflects his own consistent rediscovery and invention of himself throughout his youth and adult years. Furthermore, owing to his childhood of moving countries and subsequently not feeling like he ‘fit-in’ he wrote in a very globalised and international way; through writing Ishiguro explored his background and heritage. The novel overall, is a reflection of Ishiguro's personal feelings of Japanese heritage, a fictional reflection of his sense of identity, as presented through a youthful reconstruction of Japan.

Title
The novel's title is based on the literal translation of Ukiyo-e, a word referring to the Japanese art of prints. Therefore, it can be read as "a printmaker" or "an artist living in a changing world," given both Ono's limited understanding and the dramatic changes his world, Japan in the first half of the twentieth century, has undergone in his lifetime.

The title also refers to an artistic genre. Ono's master was especially interested in depicting scenes from the pleasure district adjacent to the villa in which he and his students lived. Ono mentions the ephemeral nature of the floating world that could be experienced during each night. His master experimented with innovative softer Western-style painting techniques. Ono became estranged from him and forged his own career. He could not help but feel gleeful when his master's paintings fell into disfavour during a return to the use of more traditional bold lines in the paintings used for nationalistic posters.

Structure
An Artist of the Floating World, is structured through the interwoven memories of protagonist Masuji Ono. The novel is set in three distinctly different years however, Ono's memories span as far back to when he was a child. The four different years and title sections of the novel are: October 1948, April 1949, November 1949 and June 1950.

Plot summary
In the buildup to World War II, Ono, a promising artist, had broken away from the teaching of his master, whose artistic aim was to reach an aesthetic ideal, and had gotten involved in far-right politics, making propagandistic art. As a member of the Cultural Committee of the Interior Department and official adviser to the Committee of Unpatriotic Activities, Ono had become a police informer, taking an active part in an ideological witch hunt. After the 1945 defeat and the collapse of jingoistic Imperial Japan, Ono has become a discredited figure, one of the "traitors" who "led the country astray"; meanwhile, the victims of state repression, including people Ono himself had denounced, are reinstated and allowed to lead a normal life. Over the course of the first three sections, spanning October 1948 – November 1949, Ono seems to show a growing acknowledgement of his past "errors", although this acknowledgement is never explicitly stated. However, in the short fourth and last section (June 1950), Ono appears to have returned to his earlier inability to change his viewpoint.

The book is written in the first person and hinges on the exclusive use of a single, unreliable narrator, expressing a viewpoint which the reader identifies as limited and fallible, without any other voice or point of view acting as a test. Ono often makes it clear that he is not sure of the accuracy of his narrative, but this may either make the reader cautious or, on the contrary, suggest that Ono is very honest and, therefore, trustworthy.

The self-image Ono expresses in his narrative is vastly different from the image of him the reader builds from reading the same narrative. Ono often quotes others as expressing admiration and indebtedness to him. Ono's narrative is characterised by denial, so that his interests and his hierarchy of values are at odds with the reader's. Readers, therefore, find that what they are interested in is not the focus of Ono's narrative but at its fringes, presented in an oblique rather than direct fashion. For example, Ono's descriptions of his pictures focus on pictorial technique, mentioning the subjects as if they were unimportant, although they reveal the propagandistic nature of his work. It is not entirely clear whether this focus on style rather than substance should be ascribed to Ono as narrator (showing his retrospective, unconscious embarrassment), or if it was already present in him at the time he was making the pictures (showing that totalitarianism exploits people's capacity to restrain their awareness to limited aspects of their actions). Similarly, when Ono narrates an episode in which he was confronted with the results of his activities as a police informer, it is debatable whether his attempt to mitigate the brutality of the police is a retrospective fabrication devised to avoid his own responsibility, or whether he actually did disapprove of the treatment of the person he had denounced, distancing himself from his actions and refusing to recognise the abusive treatment as a direct and foreseeable consequence of those actions.

Characters

Masuji Ono
Masuji Ono (小野 益次 Ono Masuji) is the narrator and protagonist of the novel. He is presented as an elderly artist, father and grandfather to his family. Throughout the novel he is concerned with his youngest daughter's marriage negotiations. As a child his father was reluctant for him to become a painter, however as he grew older he soon became an artist. He previously worked in his younger years with the nationalist government in the creation of wartime paintings. Presently, whilst his art career before his involvement with propaganda paintings is applauded, his other work is scorned. This results in Ono living a conflicting life.

Noriko
Noriko is Ono's youngest daughter. She lives with him in his house and is seen as sometimes indignant and bad-mannered. She is somewhat bitter to Ono in the beginning of the novel as she believes he was the core reason as to why her original marriage arrangement was cancelled. However, she soon become enamoured with her second marriage arrangement and is happy when she eventually marries him. Noriko views her father, Ono, as someone she must care for forming a small resentment and anger towards him. Noriko is very outspoken and boisterous throughout the novel, contrasting Setsuko.

Setsuko
Setsuko is Ono's eldest daughter. She is a quiet and traditional woman, who is married to Suichi and has a son named Ichiro. She and Ono have a solid relationship and she helps him throughout the marriage arrangement proceedings and dealing with his guilt post-war; she acts as his listener. Setsuko and Noriko have a strong, sisterly relationship, however they are quite different temperament wise.

Ichiro
Ichiro is Ono's grandson, Setsuko's child and Noriko's nephew. He is a young boy in the novel with an active imagination. To Ono, Ichiro can be confusing and alienating owing to his adoption of Western culture such as some English words and his obsession with cowboys and the movie Godzilla. They have a good relationship, and bond over their masculinity frequently.

Suichi
Suichi is Setsuko's husband and son-in-law to Ono. He represents the new and changing ideals of Japan and is quite outspoken regarding Ono's role in the war. He frequently speaks out about his opinions regarding the war. Before the war he was seen as a well-mannered and happy man, however post-war he has seen to have changed into a relatively angry and bitter man as a result of his experiences as a soldier.

Kuroda
Kuroda was Ono's protégé and student. They initially had a strong relationship however after Ono disapproved of the direction of Kuroda's art he gave his name to the Committee of Unpatriotic Activities. This results in his paintings getting destroyed and him being punished. He therefore forms a strong dislike for Ono, and never sees him again.

Chishi Matsuda
Matsuda is characterised as a nationalist who ultimately influences Ono, to create politicised paintings. He disparages artists who do not deal with social and political issues through their art, suggesting them as naïve. After the war, he becomes a sick and elderly individual who Ono visits relatively frequently. He is quite regretful of remaining unmarried and having no heirs to precede him.

Seiji Moriyama
Seiji Moriyama, also known as Mori-san during the novel, was Ono's art teacher during his younger years. He is a strong believer in painting the ‘floating world’ and teaches students in his villa. His main artistic technique is the inclusion of Western techniques such using dark lines in favour of shading. He is a stubborn yet nurturing figure, however once students steer away from his techniques, they are soon told to leave.

Dr. Saito
Dr Saito is a major art professor with a high social standing. Ono believes he is well acquainted with his work, however Setsuko disagrees throughout the novel, raising questions as to the validity of his memory.

Mrs. Kawakami
Mrs. Kawakami is the bar owner of which Ono frequent regularly, in the pleasure district of where he lives. She is a good friend of Ono. She remains hopeful throughout the novel that the pleasure district will have a resurrection, however this is not the case and she thus sells her bar by the end.

Yasunari Nakahara
Nakahara, also referred to as ‘The Tortoise’ due to his slow painting, is a friend of Ono's during his youthful days at Mori-san's villa. He is mocked by many of Mori-san's pupils for his slow painting however Ono soon defends him. However, after Ono alters his painting style to become politically associated he distances himself, believing Ono has become a traitor.

Themes
An Artist of the Floating World discusses several themes through the memories of the narrator, Masuji Ono. The analysis of these themes is facilitated through the transcendence of time, allowing the audience's rumination on Ono's experiences permitting them to judge the narrative objectively. Many of these themes are interwoven together supporting one another.

Among the themes explored in this novel are arranged marriage, the changing roles of women, and the declining status of "elders" in Japanese society since 1945. The novel is narrated by a man who, besides being an artist, is also a father, a grandfather, and a widower. It tells, with a strong voice, much about the "pleasure era" of Japanese society, elaborating on the life of a successful and devoted young artist in a decadent era. The reader learns how attitudes toward Japanese art and society became less tolerant of such extravagance, and what it was like to live with the guilt of such pleasure. The pace is slow and lingers over details, reflecting the central theme.

Politicisation of art
Art is a central theme to the novel, with Ono's role as a propaganda artist the chief story line. Art facilitates the questioning of its ability to influence and inspire action within a community. There is a large conflict between whether art should be politicised or whether it should be simply a source of gratification. Ishiguro both highlights the role of politicised art to be seen as detrimental to society through the impacts of the war, and to be seen as ineffectual and unsubstantial to changing events; the war and its subsequent effect would have occurred with Ono's propaganda, or without it. This theme bleeds into the scene regarding Kuroda and Ono, ultimately suggesting that the politicisation of art will result in the manufacturing of cruel actions. However, this idea is counteracted through the various scenes between Ono and his daughters who confront the idea of his role as a propagandist being highly involved. This allows both sides of arts argument to be explored facilitating the questioning of arts role. Art is therefore transcended into a defining moment of Japanese history, pre and post war life.

Unreliable narrator
The novel is structured as a series of interwoven memories described by Masuji Ono. Ishiguro uses a variety of techniques to convey the fallibility of Ono's recollections to the audience, gradually revealing that Ono is an unreliable narrator and undermining the audience's faith in his story. For example, Ono makes frequent digressions into explanation unrelated topics and events during his narration, downplaying and concealing his cruel actions and misleading the audience as to the significance of unimportant topics. When Ono recounts interactions with family members, events are often referred to indirectly, or with incomplete information, disguising the truth of what has occurred. Because they are given incomplete and confusing information, it becomes more difficult for the audience to determine the extent of Ono's actions and the responsibility he bears for them.

Masuji Ono repeatedly reassesses events from his past throughout the novel, which suggests that he is constantly reconsidering his guilt about his actions and ultimately rethinking both the role of propaganda and the construction of memories. This process of reassessment highlights his status as an unreliable narrator, emphasising his fickle nature. This reflects the concept that memory is processed through an individual's consciousness, making it subjective to that particular person.

Responsibility
Similar to the theme of the politicisation of art, Ishiguro explores the role of responsibility through the narration of, Masuji Ono. This is identified through the conflict between actions and culpability that is created through Ono's inability to take responsibility. This is evident through his attempt at masking his actions and the subsequent consequences. An Artist of the Floating World explores the liability of leaders after the war and how many of them were not held responsible.

Alternatively, the concept of responsibility can be considered abstractly. This is done by placing emphasis on the reader to take responsibility in the determining the ending of the novel; is Ono guilty of his actions or is he simply exaggerating his importance and role in the war.

Changing values
Post-World War II Japan was a time of great change and upheaval of traditional values. Japan's defeat in the war created a large divide between individuals and generations. In the novel, this clash of values is represented in the relationship between Masuji Ono and his grandson Ichiro. Ono represents the traditional values of pre-war Japan, while Ichiro represents post-war Japan and the new generation. Major changes explored include the changing attitudes towards the war, family hierarchy, geography of Japan and the increasing prevalence of Western culture.

This is presented through scenes such as between Ichiro and Ono when watching the Godzilla movie, Ichiro's obsession with cowboys and his lack of interest in Japanese heroes. Ishiguro does not present these changes as either good or bad, instead simply portrays them as reality, allowing the audience to determine their effects on society.

Women are portrayed throughout this novel through both the perspective of Ono and the perspective of the changing Japanese society. The concept of Japanese masculinity altered after Japan's defeat in the war, and whilst changes were made to the role of women, women's stereotypes were not changed drastically. This is explored throughout the novel through Noriko's quest for a husband.

Marriage negotiations are the central tenet to this novel. Through the marriage negotiations Ono reflects on his past facilitating the creation of the story. Overall, the marriage negotiations are the stimulus for Ono to reflect on his past memories. They further facilitate him taking responsibility for his actions as well as allow him to reconsider the changing values of Japan as perhaps positive. They allow for him to admit his mistakes, progressing the narrative and acting as a literary device.

Literary significance
Iain Maloney listed An Artist of the Floating World as an essential novel for Japanophiles. Robert McCrum ranked it the 94th greatest novel ever written.

The novel was shortlisted for the 1986 Booker Prize and won the Whitbread Book of the Year Award for the same year. It was a nominee for ALA best books for young adults.

References

External links
Random House webpage

Category:1986 British novels
Category:Costa Book Award-winning works
Category:Japan in non-Japanese culture
Category:Ukiyo-e
Category:Novels by Kazuo Ishiguro
Category:Novels about artists
Category:Novels set in Japan
Category:Faber and Faber books


Cauroir

Cauroir  is a commune of the Nord department in northern France.

Heraldry

See also
Communes of the Nord department

References
 INSEE commune file

Category:Communes of Nord (French department)


Jean Gaudin

Jean Gaudin may refer to:

 Jean-Claude Gaudin (born 1939), French politician
 Jean François Aimé Théophile Philippe Gaudin (1766–1833), Swiss pastor, professor and botanist
 Jean Gaudin (glass artist) (1879–1954), French painter, glass and mosaic artist

See also
 Gaudin


Ribeirinha (Angra do Heroísmo)

Ribeirinha is a parish in the municipality of Angra do Heroísmo on the island of Terceira in the Azores. The population in 2011 was 2,684, in an area of 7.53 km².

References

Category:Parishes of Angra do Heroísmo


Drama Desk Award for Outstanding Music in a Play

The Drama Desk Award for Outstanding Music in a Play is an annual award presented by Drama Desk in recognition of achievements in the theatre among Broadway, Off Broadway and Off-Off Broadway productions. This category was not created until the 1980 ceremony and has only been regularly awarded since 2009.

† - indicates the performance won the Tony Award
‡ - indicates the performance was also nominated for the Tony Award

Winners and nominees

1980s

1990s

2000s

2010s

See also
 Tony Award for Best Original Score

References

External links
 Drama Desk official website

Play Music


Huawei T201

The Huawei T201 is a mobile phone released in 2008.

References

Category:Huawei mobile phones
Category:Mobile phones introduced in 2008


HC Dobrogea Sud Constanța

HC Dobrogea Sud Constanța is a handball team from Constanța, Romania, formed in July 2015 after the extinction of HCM Constanța (due to high debts that the club had accumulated). After one year in the second division, the team was promoted to the Liga Națională.

Honours
 Liga Națională
Runners-up (1): 2019

Team

Current squad
Squad for the 2019–20 season

Goalkeepers

1  Ionuț Iancu
 16    Dan Vasile
 88  Karim Handawy

Left Wingers
7  Alexandru Andrei
 18  Vencel Csog

Right Wingers
5  Ionuț Nistor
 19  Fábio Chiuffa

Line players
 23  Zoran Nikolić
 33  Nebojša Simović
 34  Daniel Susanu
 66  Marius Mocanu

Left Backs
8  Irakli Chikovani
 10  Gabriel Ilie
 20  Ciprian Sandru
Central Backs
 44  Ionuț Rotaru
 51  Sabin Ignat
Right Backs
4  Dejan Malinović

Coaching Staff
Staff for the 2019–20 season

HCM Constanța
HCM Constanța was founded in 2002 and extinguished in 2015.

Honours
Liga Națională (9):
Gold: 2004, 2006, 2007, 2009, 2010, 2011, 2012, 2013, 2014
Cupa României (6):
Winners: 2006, 2011, 2012, 2013, 2014, 2018
Supercupa României (5):
Winners: 2008, 2011, 2013, 2014, 2017
EHF Cup:
Fourth place: 2014
EHF Cup Winners' Cup:
Semifinalists: 2006
Quarterfinalists: 2007, 2009
EHF Challenge Cup:
Semifinalists: 2004

Famous players
 Mihai Popescu
 Ionuț Stănescu
 Laurențiu Toma
 Marius Sadoveac
 Alexandru Csepreghi
 George Buricea
 Marius Stavrositu
 Bogdan Criciotoiu
 Dalibor Čutura
 Nemanja Mladenović
 Nikola Crnoglavac
 Mladen Rakčević
 Stevan Vujović
 Branislav Angelovski
 Nikola Mitrevski
 Velko Markoski
 Viachaslau Saldatsenka
 Janko Kević

References

External links
HC Dobrogea Sud Official website

Category:Romanian handball clubs
Category:Sport in Constanța
Category:Handball clubs established in 2015
Category:2015 establishments in Romania
Category:Liga Națională (men's handball)


Phil Healy

Phil Healy (born 19 November 1994) is an Irish athlete competing in sprinting events. Her sister Joan Healy is also a sprinter.

A video of Phil Healy winning the final leg of the 4 x 400 metre Irish University Championships in 2016 went viral around the world. Her winning run is often cited as one of the greatest athletics comebacks of all time. As she approaches the finishing line, having closed an 80-metre gap with the lead runners, the TV commentator is heard to shout "UCC from the depths of hell are powering through".

International competitions

1Did not finish in the final

Personal bests
Outdoor
100 metres – 11.28 (+2.0 m/s, Dublin 2018, National Record - NR)
200 metres – 22.99 (0.0 m/s, Cork 2018, NR)
400 metres – 52.19 (Geneva 2018)
Indoor
60 metres – 7.31 (Athlone 2017)
200 metres – 23.55 (Athlone 2017)
400 metres – 52.08 (Vienna 2018)
1200 metres - 02.43.05 (Ballybeg 2018)

References

All-Athletics profile

Category:1994 births
Category:Living people
Category:Irish female sprinters
Category:Sportspeople from County Cork