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Khandoba is described as doing odd jobs under Banai's orders. Banai first assigns him the task of sweeping the entire vada. He is responsible for cleaning the sheep pens and taking the sheep and lambs for grazing. He completes all tasks by spreading his magical bhandara. The shepherds are astonished how a single old man can handle all the animals. Their vanity is crushed. Banai assigns him the additional responsibility of taking care of five hundred children. She commands if any sheep or lamb is lost or a child cries, she will not give him his food. But Khandoba fulfils the tasks again by spraying his bhandara. She assigns him the job of washing the sheep and lambs. Instead, Khandoba kills all her sheep and lambs to humble the shepherds and Banai. He skins the sheep and separates the meat. A repentant Banai begs his forgiveness; he agrees to revive her flock on the condition that Banai marries him. Khandoba revives the sheep by spreading his bhandara and reveals his true form.
== Worship and iconography ==
Europium is a ductile metal with a hardness similar to that of lead. It crystallizes in a body-centered cubic lattice. Some properties of europium are strongly influenced by its half-filled electron shell. Europium has the second lowest melting point and the lowest density of all lanthanides.
2 Eu + 6 H2O → 2 Eu (OH) 3 + 3 H2
Overall, europium is overshadowed by caesium-137 and strontium-90 as a radiation hazard, and by samarium and others as a neutron poison.
== Production ==
Europium compounds tend to exist trivalent oxidation state under most conditions. Commonly these compounds feature Eu (III) bound by 6 – 9 oxygenic ligands, typically water. These compounds, the chlorides, sulfates, nitrates, are soluble in water or polar organic solvent. Lipophilic europium complexes often feature acetylacetonate-like ligands, e.g., Eufod.
=== Chalcogenides and pnictides ===
Although europium is present in most of the minerals containing the other rare elements, due to the difficulties in separating the elements it was not until the late 1800s that the element was isolated. William Crookes observed the phosphorescent spectra of the rare elements and observed spectral lines later assigned to europium.
It is a dopant in some types of glass in lasers and other optoelectronic devices. Europium oxide (Eu2O3) is widely used as a red phosphor in television sets and fluorescent lamps, and as an activator for yttrium-based phosphors. Color TV screens contain between 0.5 and 1 g of europium oxide. Whereas trivalent europium gives red phosphors, the luminescence of divalent europium depends on the host lattice, but tends to be on the blue side. The two classes of europium-based phosphor (red and blue), combined with the yellow / green terbium phosphors give "white" light, the color temperature of which can be varied by altering the proportion or specific composition of the individual phosphors. This phosphor system is typically encountered in helical fluorescent light bulbs. Combining the same three classes is one way to make trichromatic systems in TV and computer screens. Europium is also used in the manufacture of fluorescent glass. One of the more common persistent after-glow phosphors besides copper-doped zinc sulfide is europium-doped strontium aluminate. Europium fluorescence is used to interrogate biomolecular interactions in drug-discovery screens. It is also used in the anti-counterfeiting phosphors in euro banknotes.
=== World War II ===
In early 1943, Japan was still believed to be capable of invading, or at least bombing, the Torres Strait islands, and NEA had only No. 7 Squadron, now operating from Horn Island, to counter the threat. It was reinforced in April by No. 84 Squadron, flying CAC Boomerang fighters. The same month, No. 72 Wing was formed at Townsville, before deploying to Merauke, New Guinea. Controlling No. 84 Squadron, No. 86 Squadron (flying Kittyhawks), and No. 12 Squadron (Vultee Vengeance dive bombers), the wing was responsible for Torres Strait's air defence, as well as offensive operations against infrastructure and shipping in Dutch New Guinea. In October, No. 84 Squadron converted to Kittyhawks and transferred to the newly formed No. 75 Wing, which was given responsibility for units at Horn Island, Thursday Island, and Higgins Field on Cape York Peninsula. In February 1944, No. 75 Wing headquarters moved from Horn Island to Higgins Field, where it was soon joined by other units under its control, Nos. 7 and 23 Squadrons; the latter operated Vengeances until being declared non-operational in June, prior to re-equipping with B-24 Liberators for duty in North-Western Area. By May, NEA's order of battle on the Australian mainland consisted of Nos. 7, 9, 13 (operating Lockheed Venturas from Cooktown), 20 and 23 Squadrons.
RAAF Station Amberley
No. 4 Fighter Sector Headquarters, Port Moresby
== Taxonomy and evolution ==
The former chairman of the South Glamorgan County Council environment committee, Councillor Paddy Kitson, called the road a "necklace of opportunity" due to its shape and also the opportunities for regeneration. By 1 April 1996 the responsibility for the road was transferred from South Glamorgan County Council to the unitary authority of Cardiff Council. Much of the funding for the road had been grant aided from the European Community and the UK Government on the basis that it would improve the economic viability of the area and bring in new jobs and industry. However, since the completion of the Butetown Link Road, funding for further developments have been at a stand still, and to date 22 kilometres (14 mi) including spurs are open to traffic with plans for a further 5.53 km (3.44 mi). The "missing link", the Eastern Bay Link Road, is still to be built.
The GB £ 14.5 million Capel Llanilltern – Culverhouse Cross Link Road (Welsh: Ffordd Gyswllt Capel Llanilltern – Croes Cwrlwys), also known as the A4232 Trunk Road (as it is the only section of the PDR which is a trunk road), between the Capel Llanilltern Interchange (51.506481°N 3.310425°W / 51.506481; -3.310425 ( Capel Llanilltern Interchange ( M4 J33) ) ) and the Culverhouse Cross Interchange (51.466350°N 3.271110°W / 51.466350; -3.271110 ( Culverhouse Cross Interchange) ) was opened in 1985. It was designed to provide a by-pass for traffic from the M4 to the Vale of Glamorgan. It is 5.47 km (3.40 mi) in length and includes the Ely Viaduct close to Michaelston-super-Ely. The trunk road is maintained by the South Wales Trunk Road Agency (SWTRA) on behalf of the Welsh Assembly Government (WAG). The remainder of the PDR is a primary route, which is maintained by Cardiff Council. In 2006 variable message signs were installed on the Capel Llanilltern – Culverhouse Cross Link Road by Techspan Systems to display messages giving motorists warning of road and weather conditions, accidents, congestion and major events held in the area.
The contract to build the Butetown Link Road was eventually won by a local company Davies Middleton & Davies Ltd in a joint venture with an Italian contractor, Cogefar-Impresit UK Ltd. The bid of £ 60 million undercut all other bids by £ 10 million, Davies Middleton & Davies Ltd have subsequently gone into administrative receivership.
The Eastern Bay Link Road, along with other schemes have been subject to many planning proposals since the last link road (the Butetown Link Road) was finished in 1995, namely a local transport plan (Local Transport Plan 2000 – 2016) in August 2000, a green paper (A Change of Gear) in December 2002 and a white paper (Keeping Cardiff Moving) in May 2003. The cost of the link road was estimated to cost GB £ 162 million in 2001 and this increased to GB £ 180 million by August 2002. It could be paid for by congestion charging, although a public-private partnership is also possible.
Enhance road safety and reduce casualties
=== Central Link Road (A4234) ===
== Services ==
The high-profile and protracted five-year development of Fez led to its status as an "underdog darling of the indie game scene". The 2012 puzzle platform game built around rotating between four 2D views of a 3D space was developed by indie developer Polytron Corporation and published by Polytron, Trapdoor, and Microsoft Studios. Over the course of the game's development, Fez designer and Polytron founder Phil Fish received celebrity for his outspoken public persona and prominence in the 2012 documentary Indie Game: The Movie, which followed the game's final stages of development and Polytron's related legal issues. The game was released to critical acclaim as an Xbox Live Arcade timed exclusive, and was later ported to other platforms. It had sold one million copies by the end of 2013.
Development continued with a more experimental ethos until the company began to run out of capital. The Canadian government loan that had funded Polytron's prototyping phase was not renewed for their production phase. They also lost funding from the organization that preceded the Indie Fund as Polytron's producer left the company. Fish borrowed money from friends and family for three months to keep the company open. In dire straits, he considered canceling the project. In March 2011, the nearby Québécois developer-publisher Trapdoor offered to help Polytron, having just signed a deal with Electronic Arts to publish their own game, Warp. Trapdoor assisted with Polytron's finances and operations and offered to treat them as part of their company and let them keep their intellectual property rights in exchange for a portion of Fez's earnings. Fish felt that partnership rescued the game.
Bédard planned to leave Polytron after finishing Fez to experience work with a full development team, but stayed to port the Windows release before joining Toronto's Capybara Games. He credited the game's long development cycle to his own inexperience in game development (compounded by the team's small size and difficulty in setting reasonable milestones), the game's scope, and Fish's perfectionism. Fish had hoped that players would discuss Fez's nuances online after the game's release. Players collaborated online for a week to solve the final "monolith" puzzle by brute force. Ars Technica described the apparent end to the game's harder puzzles as "anticlimactic", but Fish told Eurogamer in March 2013 that hidden in-game secrets remain to be found.
The game's mechanics were inspired by the Nintendo Entertainment System games Fish played in his youth, particularly Super Mario and The Legend of Zelda. Fish cited Fumito Ueda's Ico as the game's third inspiration, and he sought to emulate its feeling of nostalgic and isolated loneliness. Fish also sought to emulate Ueda's "design by subtraction" philosophy, where the Ico development team would periodically remove parts of the game so as to leave only what was essential to their vision. In this way, ideas like player health and object weight puzzles were gradually struck from Fez. Fish made a personal challenge of designing a game without relying on "established mechanics". As such, Fez was always a peaceful game and there was never an enemy coded into the game. So as to better emulate Hayao Miyazaki's signature "open blue sky", "feel-good" atmosphere, Fish watched all of the director's films one weekend early in the development cycle.
Walpole's output was large and varied. Between 1909 and 1941 he wrote thirty-six novels, five volumes of short stories, two original plays and three volumes of memoirs. His range included disturbing studies of the macabre, children's stories and historical fiction, most notably his Herries Chronicle series, set in the Lake District. He worked in Hollywood writing scenarios for two Metro-Goldwyn-Mayer films in the 1930s, and played a cameo in the 1935 version of David Copperfield.
Mildred Walpole found it hard to settle in New Zealand, and something of her restlessness and insecurity affected the character of her eldest child. In 1889, two years after the birth of the couple's daughter, Dorothea ("Dorothy"), Somerset Walpole accepted a prominent and well-paid academic post at the General Theological Seminary, New York. Robert ("Robin"), the third of the couple's children, was born in New York in 1892. Hugh and Dorothy were taught by a governess until the middle of 1893, when the parents decided that he needed an English education.
From 1903 to 1906 Walpole studied history at Emmanuel College, Cambridge. While there he had his first work published, the critical essay "Two Meredithian Heroes", which was printed in the college magazine in autumn 1905. As an undergraduate he met and fell under the spell of A C Benson, formerly a greatly loved master at Eton, and by this time a don at Magdalene College. Walpole's religious beliefs, hitherto an unquestioned part of his life, were fading, and Benson helped him through that personal crisis. Walpole was also attempting to cope with his homosexual feelings, which for a while focused on Benson, who recorded in his diary in 1906 an unexpected outburst by his young admirer: "[H] e broke out rather eagerly into protestations – He cared for me more than anyone in the world. I could not believe it ... It is extraordinarily touching. ... It is quite right that he should believe all this passionately; it is quite right that I should know that it will not last ... I tried to say this as tenderly as I could ..."
A C Benson was a friend of Henry James, to whom Walpole wrote a fan letter late in 1908, with Benson's encouragement. A correspondence ensued and in February 1909 James invited Walpole to lunch at the Reform Club in London. They developed a close friendship, described by James's biographer Leon Edel as resembling a father and son relationship in some, but not all, respects. James was greatly taken with the young Walpole, though clear-eyed about the deficiencies in the artistry and craftsmanship of his protégé's early efforts. According to Somerset Maugham, Walpole made a sexual proposition to James, who was too inhibited to respond. Nevertheless, in their correspondence the older man's devotion was couched in extravagant terms.
The "Sanitar" is the part of the Red Cross that does the rough work at the front, carrying men out of the trenches, helping at the base hospitals in every sort of way, doing every kind of rough job. They are an absolutely official body and I shall be one of the few (half-dozen) Englishmen in the world wearing Russian uniform.
=== Legacy ===
Possibly the most pervasive influence on Walpole was Walter Scott, whose romanticism is reflected in much of the later writer's fiction. Such was Walpole's love of Scott that he liked to think of himself as the latter's reincarnation. He amassed the largest collection in Britain of Scott manuscripts and early editions, and constantly reread the novels. With the Herries stories Walpole restored the popularity of the historical novel, a form for which Scott was famous but which had been out of fashion for decades. The Herries series begins in the 18th century and follows a Lakeland family through the generations up to modern times.
In 1924 Ernest Hemingway wrote into a short story a comparison of G K Chesterton and Walpole, concluding that the former was the better man, the latter a better writer and both were classics. Walpole could be sensitive about his literary reputation and often took adverse criticism badly. When Hilaire Belloc praised P G Wodehouse as the best English writer of their day, Walpole took it amiss, to the amusement of Wodehouse who regarded Belloc's plaudit as "a gag, to get a rise out of serious-minded authors whom he disliked". Wodehouse was not a great admirer of Walpole; his own scrupulous craftsmanship, with drafts polished over and over again, was the opposite of Walpole's hastily written and seldom-revised prose. He also viewed Walpole's sensitivity to criticism as absurd. Walpole was not always as oversensitive as Wodehouse supposed. The critic James Agate was a friend despite his regular rude remarks about Walpole's prose, and when Walpole discovered that Agate had written a spoof of the Herries "Lakeland" style, he made him promise to print it in the next published volume of his diaries.
Two full-length studies of Walpole were published after his death. The first, in 1952, was written by Rupert Hart-Davis, who had known Walpole personally. It was regarded at the time as "among the half dozen best biographies of the century" and has been reissued several times since its first publication. Writing when homosexuality was still outlawed in England, Hart-Davis avoided direct mention of his subject's sexuality, so respecting Walpole's habitual discretion and the wishes of his brother and sister. He left readers to read between the lines if they wished, in, for example, references to Turkish baths "providing informal opportunities of meeting interesting strangers". Hart-Davis dedicated the book to "Dorothy, Robin and Harold", Walpole's sister, brother, and long-term companion.
Domnall's rise to power in the Kingdom of Dublin took place in 1075, after the expulsion of the reigning Gofraid mac Amlaíb meic Ragnaill, King of Dublin by the latter's overlord, Toirdelbach Ua Briain, King of Munster. The circumstances surrounding Domnall's accession are uncertain. He may have collaborated with Gofraid to wrench the kingdom from the grip of the Uí Briain, or he may have been installed in the kingship by Toirdelbach himself, and ruled under the latter's overlordship. Whatever the case, Domnall died within the year, and Toirdelbach placed his own son, Muirchertach, upon the throne.
In 1075, Toirdelbach drove Gofraid from the kingship and Ireland itself. There is uncertainty concerning the circumstances of Gofraid's expulsion, and of Domnall's accession. On one hand, it is possible that Gofraid was involved in lending assistance to Anglo-Danish resistance against the Norman regime in the recently conquered Kingdom of England. If correct, Gofraid would appear to have been at odds with Toirdelbach, a monarch who appears to have cultivated close links with the Norman regime. Domnall, therefore, may have had Toirdelbach's consent to rule in Dublin as Gofraid's replacement. In fact, Toirdelbach's placement of Domnall in Dublin, and his allowance of the latter's aforesaid cousin in Leinster, may have been a way in which the Uí Briain exploited the fractured Uí Chennselaig. Certainly, Domnall's cooperation would have been a valuable asset to Toirdelbach, considering the prominence of his father amongst the Dubliners, and the likelihood that Domnall himself may have lived most of his life there. On the other hand, it is possible that Gofraid was driven from the kingship because he had aligned himself with the Leinstermen against the Uí Briain. If such a sequence of events is correct it could mean that, even though Gofraid was unable continue on with the revolt, it was his Uí Chennselaig confederates who succeeded in securing Dublin from the Uí Briain.
Some time later, Fox Mulder and Dana Scully are summoned to Minneapolis by Moe Bocks, an FBI field agent who is investigating the exhumation and desecration of a body in a local cemetery. Mulder discounts Bocks' theory that this act is a variation of extraterrestrial cattle mutilation, and suggests they search for a human culprit. Scully is disturbed at the sight of the disheveled corpse. Two more bodies are found exhumed, with their hair cut and fingernails removed. Mulder develops a psychological profile of the criminal, believing him to be an escalating "death fetishist" who may resort to murder to satisfy his desires. Scully keeps her discomfort with the case to herself, and writes up a field report on necrophilia.
The episode is one of the few in the series that has no paranormal elements to it. Carter said of the episode's conception, "My first chance to work with David Nutter in a long time, and I wanted to give him something he could sink his teeth into. It's a little bit different for us. It doesn 't really have a paranormal aspect, except for Scully's perceptions of her deepest fears. I felt that I had to figure out what she is most afraid of, and she is most afraid of those things that most of us are afraid of. The idea of dying at the hands of someone — creature or not — and she is helpless to do anything about it. I thought it was a very good way to explore Scully's character." The scene where Dana Scully imagines Pfaster appearing as a devil was influenced by real-life accounts, as described by Carter: "There are reports of people who had been under the spell of Jeffrey Dahmer, who actually claimed that he shape-shifted during those hours when they were held hostage; that his image actually changed." Nutter said "In many ways, Chris wanted to sell the idea that, as established in Mulder's closing dialogue in the show, not all terror comes from the paranormal. It could come from the person next door."
== Storyline ==
With the engineer Brains and Jeff's elderly mother, as well as the Malaysian manservant Kyrano and his daughter Tin-Tin, the family reside in a luxurious villa on Tracy Island, their hidden base in the South Pacific Ocean. In this location, IR is safe from criminals and spies who envy the organisation's technology and seek to acquire the secrets of its machines.
The series'title was derived from a letter written by Gerry's brother, Lionel, while he had been serving overseas as an RAF flight sergeant during World War II. While stationed in Arizona, Lionel had made reference to Thunderbird Field, a nearby United States Army Air Forces base. Drawn to the "punchiness" of "Thunderbirds", Anderson dropped his working title of "International Rescue" and renamed both the series and IR's rescue vehicles, which had previously been designated Rescues 1 to 5. His inspiration for the launch sequences of Thunderbirds 1, 2 and 3 originated from contemporary United States Air Force launch procedure: Anderson had learnt how the Strategic Air Command would keep its pilots on permanent standby, seated in the cockpits of their aircraft and ready for take-off at a moment's notice.
Tony Barwick, who had impressed Pattillo and the Andersons with an unsubmitted script that he had written for Danger Man, was recruited to assist in the writing of subplots and filler material. He found that the longer format created opportunities to strengthen the characterisation. Science-fiction writer John Peel suggests that "small character touches" make the puppet cast of Thunderbirds "much more rounded" than those of earlier APF series. He compares the writing favourably to that of live-action drama. The new footage proved useful during the development of the first series finale, "Security Hazard": since the previous two episodes had overspent their budgets, Pattillo devised a flashback-dominated clip show containing only 17 minutes of new material to reduce costs.
In the interest of transatlantic appeal, it was decided that the main characters would be mostly American and therefore actors capable of producing an appropriate accent were used. British, Canadian and Australian actors formed most of the voice cast; the only American involved was stage actor David Holliday, who was noticed in London's West End and given the part of Virgil Tracy. Following the completion of the first series, Holliday returned to the US. The character was voiced by English-Canadian actor Jeremy Wilkin for Series Two.
The puppet stages used for the filming of Thunderbirds were only one-fifth the size of those used for a standard live-action production, typically measuring 12 by 14 by 3 metres (39.4 by 45.9 by 9.8 ft) in length, width and height. Bob Bell, assisted by Keith Wilson and Grenville Nott, headed the art department for Series One. During the simultaneous filming of Series Two and Thunderbirds Are Go in 1966, Bell attended mainly to the film, entrusting set design for the TV series to Wilson.
The appearances of the main characters were inspired by those of actors and other entertainers, who were typically selected from the show business directory Spotlight. According to Glanville, as part of a trend away from the strong caricature of previous series, APF was seeking "more natural faces" for the puppets. The face of Jeff Tracy was based on that of Lorne Greene, Scott on Sean Connery, Alan on Robert Reed, John on Adam Faith and Charlton Heston, Brains on Anthony Perkins and Parker on Ben Warriss. Sylvia Anderson brought the character of Penelope to life in likeness as well as voice: after her test moulds were rejected, sculptor Mary Turner decided to use Anderson herself as a template. Terry Curtis was also an original sculpture of Supermarionation puppets.
The effects for all the APF series from Supercar to UFO were directed by Derek Meddings, who later worked on the James Bond and Superman films. Knowing that Thunderbirds would be the "biggest project [APF] had worked on", Meddings found himself struggling to manage his workload with the single filming unit that had produced all the effects for Stingray. He therefore established a second unit under technician Brian Johncock, and a third exclusively for filming airborne sequences. This expansion increased the number of APF crews and stages to five each. A typical episode contained around 100 effects shots; Meddings' team completed up to 18 per day.
Critic David Garland suggests that the challenge facing the Thunderbirds effects department was to strike a balance between the "conventional science-fiction imperative of the 'futuristic'" and the "seeping hyper-realist concerns mandated by the Andersons'approach to the puppets". Thunderbirds has been praised for the quality of its effects. Jim Sangster and Paul Condon, writers of Collins Telly Guide, consider the model work "uniformly impressive". To Paul Cornell, Martin Day and Keith Topping, writers of The Guinness Book of Classic British TV, the effects are "way beyond anything seen on TV previously". Impressed by their work on Thunderbirds, film director Stanley Kubrick hired several members of Meddings' staff to supervise the effects shooting for 2001: A Space Odyssey.
=== Music ===
The presentation of smoking in Thunderbirds was the subject of a study published in the medical journal Tobacco Control in 2002. Despite identifying examples in 26 episodes, Kate Hunt of the University of Glasgow concluded that Thunderbirds does not actively promote smoking – a view opposed by the Roy Castle Lung Cancer Foundation (RCLCF) at the time of the series'relaunch on BBC 2. Rejecting the RCLCF's proposal that the remastered episodes be edited to digitally erase all visible cigarettes and cigars, the BBC stated that the series "does not glorify or encourage smoking" and described the activity as "incidental to the plot".
== Later productions ==
Plans for a live-action film adaptation were first announced in 1993. These eventually culminated in the 2004 film Thunderbirds, directed by Jonathan Frakes and produced by StudioCanal and Working Title Films. It was a critical and commercial failure and was poorly received by fans of the TV series.
In July 2015, to celebrate the series' 50th anniversary, Filmed in Supermarionation documentary director Stephen La Rivière launched a Kickstarter campaign to raise the funds necessary to produce three new puppet episodes based on the Thunderbirds mini-albums of the 1960s. The project, titled "Thunderbirds 1965", is supported by ITV, Sylvia Anderson and the estate of Gerry Anderson.
During the 1960s, APF produced themed TV advertisements for Lyons Maid and Kellogg's. Aspects of Thunderbirds have since been used in advertising for Swinton Insurance, Nestlé Kit Kat, Specsavers and the UK Driver and Vehicle Licensing Agency.
== Education ==
In 2006, Cottam's film Carbuncle competed at the Milano Film Festival, alongside another U.S. film titled The Blood of my Brother by Andrei Berends. Carbuncle received a nomination in the category of "Best Feature Film" at the Milan Film Festival. Cottam's 2006 film Filthy Food was featured in the San Francisco Underground Short Film Festival, and received the award for "Best Experimental Short Film" at the festival CineKink NYC. In 2010, Cottam's film 52 Takes of the Same Thing, Then Boobs was an entrant in the International Short Film Festival in Piombino, Italy. It was featured in a section of the International Short Film Festival which included selections of films that were considered "visionary" and contributed a "visual impact" to cinema. 52 Takes of the Same Thing, Then Boobs was featured in AFI FEST 2010, where Lane Kneedler associate director of programming called it "the most outrageously' out there ' film that we have scheduled". In an interview with Girami, Cottam stated he had intended to direct a feature-length film for some time, and wanted to combine his talents with actors who could improvise in front of the camera. Cottam said he had a great experience working with the actors on the film Carbuncle, and stated he let improvisation be the tool by which the actors could show emotions and create their characters. In September 2010, 52 Takes of the Same Thing, Then Boobs was shown at the Black Rock City Film Festival located at the Burning Man site in the Nevada desert.
=== Theatre ===
Partington, first recorded in 1260, was in the medieval and post-medieval parish of Bowdon. The name derives from Old English: the first element may be a personal name such as Pearta or Pærta, or part "land divided up into partitions" followed by inga, meaning "people of"; the suffix tun means "farmstead". The village consisted of dispersed farmsteads, with no nucleated centre. It was surrounded by wetlands on all sides, reducing the amount of land available for agriculture. According to the hearth tax returns of 1664, Partington had a population of 99.
According to the Office for National Statistics, at the time of the United Kingdom Census 2001, Partington had a population of 7,723. The 2001 population density was 5,348 inhabitants per square mile (2,065 / km2), with a 100 to 93.1 female-to-male ratio. Of those over 16 years old, 34.7 % were single (never married), 34.9 % married, and 10.5 % divorced. Partington's 3,354 households included 33.5 % one-person, 28.7 % married couples living together, 8.8 % were co-habiting couples, and 16.3 % single parents with their children. Of those aged 16 – 74, 38.9 % had no academic qualifications, significantly higher than the averages of Trafford (24.7 %) and England (28.9 %). It has been described as one of the most deprived places in the Greater Manchester conurbation.
The town was served by a railway station to the north of the town, the Cheshire Lines Committee Glazebrook to Stockport Tiviot Dale Line. The station was opened in 1873, eight years after the line opened, and was in use until 30 November 1964. A grant of £ 312,000 was made by the government to set up Partington Cooperative Transport (PACT) with the purpose of improving public transport in the town.
= Key (basketball) =
Each level of play has different specifications for the size and shape of the key: in American leagues, where the basketball court is measured in imperial units, the shape is rectangular, while in FIBA-sanctioned events, which use the metric system, the shape was trapezoidal, before being changed to a rectangle as well. In addition to the bounding rectangle, the key includes a free-throw circle at its "head" or "top".
Men's professional basketball in the United States (notably the National Basketball Association) widened it further to 16 feet (4.9 m) in the 1964 – 65 NBA season to lessen the effectiveness of centers, especially Wilt Chamberlain. The NCAA retains the 12 feet key to this day.
The lane is a restricted area in which players can stay for only a limited amount of time. On all levels, a team on the offensive (in possession of the ball) is prohibited to stay inside the lane for more than three seconds; after three seconds the player will be called with a three-second violation which will result in a turnover.
Following the success of others of his works such as One Hundred Years of Solitude and Love in the Time of Cholera, García Márquez decided to write about the "Great Liberator" after reading an unfinished novel about Bolívar by his friend Álvaro Mutis. He borrowed the setting — Bolívar's voyage down the Magdalena River in 1830 — from Mutis. After two years of research that encompassed the extensive memoirs of Bolívar's Irish aide-de-camp, Daniel Florencio O 'Leary, as well as numerous other historical documents and consultations with academics, García Márquez published his novel about the last seven months of Bolívar's life.
The General never leaves South America. He finishes his journey in Santa Marta, too weak to continue and with only his doctor and his closest aides by his side. He dies in poverty, a shadow of the man who liberated much of the continent.
At the beginning of the novel, the General is 46 years old and slowly dying on his last journey to the port of Cartagena de Indias, where he plans to set sail for Europe. As Palencia-Roth notes, "Bolívar is cast here not only as a victim but as an agent of Latin America's tragic political flaws". The fortunes of the historical Simón Bolívar began to decline in 1824 after the victory of his general Antonio José de Sucre at Ayacucho. The novel draws on the fact that the historical Bolívar never remarried after the death of his wife, María Teresa Rodríguez del Toro y Alayza. García Márquez uses other documented facts as starting points for his fictional portrait of Bolívar – for example, his dedication to the army above all else, his premature aging, and his bad temper. Of the latter, Bolívar's aide-de-camp O 'Leary once remarked that "his imperious and impatient temperament would never tolerate the smallest delay in the execution of an order".
The historian Ben Hughes commented on the novel: "The Liberator's British confidants, including Daniel O'Leary, were amongst the closest figures to the general in this period. Nevertheless, they are ignored in the novel. Instead, Márquez uses the character of a fictional Colombian servant, José Palacios, as The Liberator's final sounding board, thereby neatly sidestepping the more complex reality." In Hughes's view modern South American literature has played a role in cleansing the national memory of British soldiers' assistance to The Liberator.
In a summary of Edward Hood's book La ficcion de Gabriel García Márquez: Repetición e intertextualidad, García Márquez is characterized as an author who uses repetition and autointertextualidad (intertextuality between the works of a single author) extensively in his fiction, including in The General in His Labyrinth. Hood points out some obvious examples of repetition in García Márquez's works: the themes of solitude in One Hundred Years of Solitude, tyranny in Autumn of the Patriarch, and the desire for a unified continent expressed by Bolívar in The General in His Labyrinth. An example of intertextuality can be seen in the repetition of patterns between books. For example, both Jose Arcadio Buendia in One Hundred Years of Solitude and Bolívar in The General in his Labyrinth experience labyrinthian dreams.
The original Spanish version of The General in His Labyrinth was published simultaneously in Argentina, Colombia, Mexico, and Spain in 1989. The first American edition was listed as a best seller in The New York Times the following year.
=== Background ===
When the organization purchased the property, it was an empty lot next to a tire store. Steve Carlin, founder of the Oxbow Public Market, believed that Copia's establishment helped expand Napa, its downtown area, and the Oxbow District. Construction of the facility triggered a significant growth in development of a gourmet marketplace, hotels and restaurants in downtown Napa. The museum began construction in 1999 and hosted opening celebrations on November 18, 2001. In 2005, Copia sold 3.5 acres (1.4 ha) to Intrawest for construction of a Westin hotel.
=== Aftermath ===
It had a 13,000-square-foot (1,200 m2) gallery for art, history, and science exhibits. It also had a 280-seat indoor theater, a 500-seat outdoor theater, classrooms, an 80-seat demonstration kitchen, a rare book library, a wine-tasting area, a café (named American Market Cafe), gift shop (named Cornucopia), and 3.5 acres (1.4 ha) of landscaped edible gardens. The building's architect was Polshek Partnership Architects. Julia's Kitchen was a restaurant inside the Copia building that focused on seasonal dishes and was named for honorary trustee Julia Child, who loaned part of her kitchen to the restaurant, a wall of 49 pans, pots, fish molds, and other tools and objects. Within a year of the center's closing, the items were sent to the Smithsonian Institution's National Museum of American History, where they are included in the Julia Child's kitchen exhibit, which up until that point was only missing that portion. The restaurant had a 1,700-square-foot (160 m2) dining room (for 180 seats), an outdoor seating area (4,300 square feet ( 400 m2) ) and a 2,500-square-foot (230 m2) kitchen. The gardens had fruit orchards, a pavilion with a kitchen and large dining table, and a small vineyard with 60 vines and 30 different grape varieties. The restaurant and café were both operated by local caterer Seasoned Elements, and later Patina Restaurant Group.
Etty chose to illustrate Gray's words literally, creating what has been described as "a poetic romance". Youth and Pleasure depicts a small gilded boat. Above the boat, a nude figure representing Zephyr blows on the sails. Another nude representing Pleasure lies on a large bouquet of flowers, loosely holding the helm of the boat and allowing Zephyr's breeze to guide it. A nude child blows bubbles, which another nude on the prow of the ship, representing Youth, reaches to catch. Naiads, again nude, swim around and clamber on the boat. Although the seas are calm, a "sweeping whirlwind" is forming on the horizon, with a demonic figure within the storm clouds. (Deterioration and restoration means this demonic figure is now barely visible.) The intertwined limbs of the participants were intended to evoke the sensation of transient and passing pleasure, and to express the themes of female sexual appetites entrapping innocent youth, and the sexual power women hold over men.
We take this opportunity of advising Mr. Etty, who got some reputation for painting "Cleopatra's Galley", not to be seduced into a style which can gratify only the most vicious taste. Naked figures, when painted with the purity of Raphael, may be endured: but nakedness without purity is offensive and indecent, and on Mr. Etty's canvass is mere dirty flesh. Mr. Howard, whose poetical subjects sometimes require naked figures, never disgusts the eye or mind. Let Mr. Etty strive to acquire a taste equally pure: he should know, that just delicate taste and pure moral sense are synonymous terms.
As a result, in an attempt to avoid a naval conflict with the superior British Royal Navy, Portugal adjusted the borders of her colony and the modern borders of Mozambique were established in May 1881. Control of Mozambique was left to various organisations such as the Mozambique Company, the Zambezi Company and the Niassa Company which were financed and provided with cheap labour by the British Empire to work mines and construct railways. These companies penetrated inland from the coastline, setting up plantations and taxing the local populace who had until then resisted encroachment by the colonists.
The Mozambique Liberation Front or FRELIMO (Frente de Libertação de Moçambique), formally (Marxist-Leninist as of 1977 but adherent to such positions since the late 1960s), was formed in Dar es Salaam, the largest city in neighbouring Tanzania, on June 25, 1962. It was created during a conference, by political figures who had been forced into exile, by the merging of various existing nationalist groups, including the Mozambican African National Union, National African Union of Independent Mozambique and the National Democratic Union of Mozambique which had been formed two years earlier. It was only in exile that such political movements could develop, due to the strength of Portugal's grip on dissident activity within Mozambique itself.
Eduardo Mondlane's successor, future President of Mozambique, Samora Machel, acknowledged assistance from both Moscow and Peking, describing them as "the only ones who will really help us. ... They have fought armed struggles, and whatever they have learned that is relevant to Mozambique we will use." Guerrillas received tuition in subversion and political warfare as well as military aid, specifically shipments of 122 mm artillery rockets in 1972, with 1600 advisors from Russia, Cuba and East Germany. FRELIMO adopted Marxism-Leninism at an early stage.
At the war's outset, FRELIMO had little hope for a conventional military victory, with a mere 7000 combatants against a far larger Portuguese force. Their hopes rested on urging the local populace to support the insurgency, in order to force a negotiated independence from Lisbon. Portugal fought its own version of protracted warfare, and a large military force was sent by the Portuguese government to quell the unrest, with troop numbers rising from 8,000 to 24,000 between 1964 and 1967. The number of local soldiers recruited for the Portuguese cause rose to 23,000 in the same period. 860 Special Forces operatives were also being trained in Commando Instruction Centres by 1969.
In 1964, weak-hearted attempts at peaceful negotiation by FRELIMO were abandoned and, on September 25, 1964, Eduardo Mondlane began to launch guerrilla attacks on targets in northern Mozambique from his base in Tanzania. FRELIMO soldiers, with logistical assistance from the local population, attacked the administrative post at Chai Chai in the province of Cabo Delgado. FRELIMO militants were able to evade pursuit and surveillance by employing classic guerrilla tactics: ambushing patrols, sabotaging communication and railroad lines, and making hit-and-run attacks against colonial outposts before rapidly fading into accessible backwater areas. The insurgents were typically armed with rifles and machine pistols, and the attackers took full advantage of the monsoon season in order to evade pursuit.
In 1969, General António Augusto dos Santos was relieved of command, with General Kaúlza de Arriaga taking over officially in March 1970. Kaúlza de Arriaga favoured a more direct method of fighting the insurgents, and the established policy of using African counter-insurgency forces was rejected in favour of the deployment of regular Portuguese forces accompanied by a small number of African fighters. Indigenous personnel were still recruited for special operations, such as the Special Groups of Parachutists in 1973, though their role less significant under the new commander. His tactics were partially influenced by a meeting with United States General William Westmoreland.
During the entire period of 1970 – 74, FRELIMO intensified guerrilla operations, specialising in urban terrorism. The use of landmines also intensified, with sources stating that they had become responsible for two out of every three Portuguese casualties. During the conflict, FRELIMO used a variety of anti-tank and anti-personnel mines, including the PMN (Black Widow), TM-46, and POMZ. Even amphibious mines were used, such as the PDM. Mine psychosis, an acute fear of landmines, was rampant in the Portuguese forces. This fear, coupled with the frustration of taking casualties without ever seeing the enemy forces, damaged morale and significantly hampered progress.
By 1972, the Portuguese military had changed its strategy, adapting the British / American search and destroy operations utilising small shock troop sweeps. They also initiated a hearts and minds campaign, named the Aldeamentos Programme, which was a forced relocation program. But on November 9, 1972, FRELIMO – not numbering more than 8,000 fighters – launched a large offensive in Tete Province. The response from the Portuguese military was fierce, leading to reprisal attacks in an attempt to unbalance the local population's continuing faith in FRELIMO.
Fighting colonial wars in Portuguese colonies had absorbed forty-four percent of the overall Portuguese budget. This led to an obvious diversion of funds from necessary infrastructural developments in Portugal itself. This contributed to the growing unrest in the European nation. Portugal's GDP growth during the colonial war period (1961 – 1974), was strong and reached a 6 % rate (a percentual GDP growth which were not achieved in any other comparable period after 1974).
Samora Machel became Mozambique's first president. The Reverend Uria Simango, his wife, and other FRELIMO dissidents were arrested in 1975 and detained without trial. Within about two years, fighting resumed with the Mozambican Civil War against RENAMO insurgents plied with Rhodesian and South African military support. Industrial and social recession, Marxist-style totalitarianism, corruption, poverty, inequality and failed central planning eroded the initial revolutionary fervour. Peace returned only in 1992, when the nation achieved relative stability for the first time in several decades.
The game's plot, as described by Dave Grossman: “ It ’ s a story about this young man who comes to an island in search of his life ’ s dream. He ’ s pursuing his career goals and he discovers love in the process and winds up thinking that was actually more important than what he was doing to begin with. You ’ re laughing, but there ’ s actually something deeper going on as well. ” When work on the plot began, Gilbert discovered that Schafer's and Grossman's writing styles were too different to form a cohesive whole: Grossman's was "very kind of a dry, sarcastic humor" and Schafer's was "just a little more in your face". In reaction, Gilbert assigned them to different characters and story moments depending on what type of comedy was required. Grossman believed that this benefited the game's writing, as he and Schafer "were all funny in slightly different ways, and it worked well together". Schafer and Grossman wrote most of the dialogue while they were programming the game; as a result, much of it was improvised. Some of the dialogue was based on the designers'personal experiences, such as Guybrush's line "I had a feeling in hell there would be mushrooms", which came from Schafer's own hatred of fungi.
The Secret of Monkey Island sold well and received positive reviews from critics. Hartley, Patricia, and Kirk Lesser of Dragon praised the designers'attention to detail, and cited the game's humor as a high point. Although they believed that the game was too expensive, they summarized it as "a highly enjoyable graphic adventure replete with interesting puzzles, a fantastic Roland soundtrack, superb VGA graphics, smooth-scrolling animation, and some of the funniest lines ever seen on your computer screen." Duncan MacDonald of Zero praised the graphics and found the game "quite amusing". His favorite aspect was the fine-tuned difficulty level, which he believed was "just right". He ended his review, "At last an adventure game that's enjoyable rather than frustrating." Paul Glancey of Computer and Video Games consider the game superior to Lucasfilm's earlier adventure titles, and wrote that, "Usually the entertainment you get from an adventure is derived solely from solving puzzles, but the hilarious characters and situations, and the movie-like presentation ... make playing this more like taking part in a comedy film, so it's much more enjoyable." He considered the puzzles to be "brilliantly conceived" and found the game's controls accessible. He summarized it as "utterly enthralling".
The myth of Eshmun was related by the sixth century Syrian Neoplatonist philosopher Damascius and ninth century Patriarch of Constantinople, Photius. They recount that Eshmun, a young man from Beirut, was hunting in the woods when Astarte saw him and was stricken by his beauty. She harassed him with her amorous pursuit until he emasculated himself with an axe and died. The grieving goddess revived Eshmun and transported him to the heavens where she made him into a god of heaven.
During the Lebanese Civil War and the Israeli occupation of South Lebanon (1985 – 2000), the temple site was neglected and was invaded by vegetation overgrowth; it was cleared and recovered its former condition after the Israeli withdrawal. Today the Eshmun sanctuary can be visited all year round and free of charge, it is accessible from an exit ramp off the main Southern Lebanon highway near Sidon's northern entrance. The site holds a particular archaeological importance since it is the best preserved Phoenician site in Lebanon; it was added to the UNESCO World Heritage Tentative List's Cultural category on July 1, 1996.
== Architecture and description ==
Later vestiges date from the Roman epoch and include a colonnaded road lined with shops. Of the large marble columns bordering the Roman street only fragments and bases remain. The Romans also built a monumental staircase adorned with mosaic patterns that leads to the top of the podium. To the right of the Roman road, near the entrance of the site stands a nymphaeum with niches where statues of the nymphs once stood. The floor of the nymphaeum is covered by a mosaic depicting the Maenads. Across the colonnaded road, facing the nymphaeum, are the ruins of a Roman villa; only the villa's courtyard has survived along with the remains of a mosaic depicting the four seasons. To the right of the processional Roman staircase stands a cubic altar, also of Roman construction. Other Roman period structures include two columns of a great portico leading to pools and other cultic installations.
Apart from the large decorative elements, carved friezes and mosaics which were left in situ, many artifacts were recovered and moved from the Eshmun Temple to the national museum, the Louvre or are in possession of the Lebanese directorate general of antiquities. Some of these smaller finds include a collection of inscribed ostraca unearthed by Dunand providing rare examples of cursive Phoenician writing in the Phoenician mainland. One of the recovered ostracon bears the theophoric Phoenician name "grtnt" which suggests that veneration of the lunar-goddess Tanit occurred in Sidon.
== Family background ==
=== Childhood ===
Busch was ravaged by disease, and for five months spent time painting and collecting folk tales, legends, songs, ballads, rhymes and fragments of regional superstitions. Busch's biographer Joseph Kraus saw these collections as useful additions to folklore, as Busch noted the narrative background to tales and the idiosyncrasies of storytellers. Busch tried to release the collections, but as a publisher could not be found at the time they were issued after his death. During the Nazi era Busch was known as an "ethnic seer".
Between 1860 and 1863 Busch wrote over one hundred articles for the Münchener Bilderbogen and Fliegende Blätter, but he felt his dependence on publisher Kaspar Braun had become constricting. Busch appointed Dresden publisher Heinrich Richter, the son of Saxon painter Ludwig Richter, as his new publisher — Richter's press up to that time was producing children's books and religious Christian devotional literature. Busch could choose themes, although Richter raised some concerns regarding four suggested illustrated tales that were proposed. However, some were published in the 1864 as Bilderpossen, proving a failure. Busch then offered Richter the manuscripts of Max and Moritz, waiving any fees. Richter rejected the manuscript as sales prospects seemed poor. Busch's former publisher, Braun, purchased the right to Max and Moritz for 1,000 gulden, corresponding to approximately double the annual wage of a craftsman.
=== Later life ===
=== Critique of the Heart ===
In the first part of the trilogy, Knopp is depressed and will look for a wife. He visits his old friends and their wives who he finds in unenviable relationships. Still not convinced that the life of a bachelor is one for him, he returns home, and without further ado proposes to his housekeeper. The following marriage proposal is, according to Busch biographer Joseph Kraus, one of the shortest in the history of German literature:

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