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and graduated from Kyoto University's Faculty of Law in March 1985. After graduation, he joined the Ministry of Foreign Affairs after attending Osaka Prefectural Tennoji High School. Diplomatic career After joining the Ministry of Foreign Affairs, he studied abroad at Nanjing University in 1986 and at the University of California, San Diego in 1988. In 1989, he moved to China where he was assigned as First Secretary at the Embassy of Japan in Beijing till 1990. After returning to Japan in 1990, he served in the Second Division of the Cultural Exchange Department and the Economic Cooperation Bureau of the Ministry of Foreign Affairs. In 1994, he was the Chief Secretary of the Research Planning Division of the Economic Cooperation Bureau. In 1995, he returned to work at the Embassy of Japan in China. In 1999, he moved to Hong Kong where he served as Director of Political Affairs at the Consulate-General of Japan in Hong Kong. From	the Japan–Taiwan Exchange Association office in Taipei, Taiwan. In 2003, he was assigned as the Planning Officer and Director of the Japan-Korea Economic Coordination Office, Northeast Asia Division, Asian and Oceania Affairs Bureau. In 2004, he served International Intelligence Officer with the Intelligence and Analysis Service within the Third International Information Office and in Asia-Oceania Bureau from February 2007. In August 2008, he was the Chief of the Southeast Asia Division one of Southern Asia Department of the State Bureau, and the Chief of the China and Mongolia Division in the Asian and Oceania Affairs Bureau. In September 2011, he returned to the Embassy of Japan in Beijing, where he served as a political minister. From 2013, he served as Secretariat, Secretariat of General Affairs Division Manager and Secretariat Deputy Director of Minister of Foreign Affairs, and its Asia-Pacific and South Asia Department. In August 2016, he served in the Japan–Taiwan Exchange Association office in Taipei till March 2017. Tarumi was appointed Director of the Consular Section of the Ministry of Foreign Affairs on July 20, 2018, and was appointed Director of the Minister's Secretariat of the Ministry of Foreign Affairs on July 2, 2019. Ambassador to China On July 15, 2020, it was reported
as National Route 14 and Provincial Route 5, and generated interruptions in fiber optic internet connectivity in Caá Catí. According to a survey carried out by the Natural Resources Group of INTA in Corrientes, the Ituzaingó Department has the largest area affected by the fires, exceeding 138,000 hectares burned. In turn, considered proportionally to the total surface, it is the San Miguel Department that presents the highest percentage of its affected surface, with more than 30%. Between 7 and 16 February, the rate of growth of the fire was 30,000 hectares per day, an area 33% larger than Buenos Aires. Response Governor Gustavo Valdés issued Decree 200/22 declaring the entire province of Corrientes in a state of agricultural emergency and, later, the province was established as an ecological and environmental disaster zone. In this context, tax and credit benefits and the possibility of direct assistance for rural producers were provided. Valdés also said that Juan Cabandié, the nation's minister of environment and sustainable development, called him concerning about political positioning to complain about criticism made by Mauricio Macri. More than 2,600 firefighters and brigade members were deployed throughout Corrientes. The provincial governments of Mendoza, Jujuy, Córdoba, Chaco, Buenos Aires, Misiones, Santiago del Estero, San Juan and Entre Ríos sent personnel and equipment, as did the national government and that of the City of Buenos Aires. The head of the Buenos Aires government, Horacio Rodríguez Larreta, and the Buenos Aires Minister of Security, Sergio Berni, personally attended the coastal province as part of the assistance	than 2,600 firefighters and brigade members were deployed throughout Corrientes. The provincial governments of Mendoza, Jujuy, Córdoba, Chaco, Buenos Aires, Misiones, Santiago del Estero, San Juan and Entre Ríos sent personnel and equipment, as did the national government and that of the City of Buenos Aires. The head of the Buenos Aires government, Horacio Rodríguez Larreta, and the Buenos Aires Minister of Security, Sergio Berni, personally attended the coastal province as part of the assistance provided by their districts. At the international level, the president of Brazil, Jair Bolsonaro, announced that the federal government of the neighboring country would send firefighters to fight the flames. Similarly, the Bolivian government arranged a delegation of brigadistas to collaborate with the tasks of fighting against fire. For his part, Valdés announced that he had requested help from the United States government through its ambassador in Argentina, Marc Stanley. Different well-known personalities from the media called for solidarity donation campaigns such as influencer Santiago Maratea who, in less than 20 hours, raised more than 100 million pesos. At the judicial level, although the existence of intentional fires was made known, few actions were initiated and, in most cases, those responsible
The Circle (1925) Man and Maid (1925) Daddy's Gone A-Hunting (1925) The Gentle Cyclone (1926) The First Year (1926) Love Makes 'Em Wild (1927) Women's Wares (1927) Night Life (1927) Nameless Men (1928) The Gateway of the Moon (1928) Mother Machree (1928) Clothes Make the Woman (1928) A Woman Against the World (1928) The Power of the Press (1928) The Naughty Duchess (1928) Bachelor's Paradise (1928) Lucky Star (1929) They Had to See Paris (1929) Fugitives (1929) Lightnin' (1930) Not Damaged (1930) Song o' My Heart (1930) Liliom (1930) Bad Girl (1931) Young as You Feel (1931) Deception (1932) Bombshell (1933) What Price Decency (1933) Sequoia (1934) Under the Pampas Moon (1935) Mad Love (1935) White Hunter (1936) Robin Hood of El Dorado (1936) Three Live Ghosts (1936) References Bibliography Dixon, Wheeler Winston. Black and White Cinema: A Short History. Rutgers University Press, 2015. Kear,	Homer Comes Home (1920) Get-Rich-Quick Wallingford (1921) The Bootlegger's Daughter (1922) The Valley of Silent Men (1922) The Good Provider (1922) Sisters (1922) Back Pay (1922) The Pride of Palomar (1922) The Nth Commandment (1923) The Man Life Passed By (1923) Children of Dust (1923) Just Like a Woman (1923) The Age of Desire (1923) Happiness (1924) Flaming Love (1925) The Only Thing (1925) The Circle (1925) Man and Maid (1925) Daddy's Gone A-Hunting (1925) The Gentle Cyclone (1926) The First Year (1926) Love Makes 'Em Wild (1927) Women's Wares (1927) Night Life (1927) Nameless Men (1928) The Gateway of the Moon (1928) Mother Machree (1928) Clothes Make the Woman (1928) A Woman Against the World (1928) The Power of the Press (1928) The Naughty Duchess (1928) Bachelor's Paradise (1928) Lucky Star (1929) They
may refer to: The public Audience measurement Audience	Audiences, used in the motion picture content rating systems of various countries
with The Toronto Regiment to form The Royal Regiment of Toronto Grenadiers (now The Royal Regiment of Canada). Lineage The Royal Grenadiers Originated on 14 March 1862, in Toronto, Ontario, as The 10th Battalion Volunteer Militia Rifles, Canada. Redesignated on 21 November 1862, as The 10th Battalion Volunteer Militia (Infantry), Canada. Redesignated on 10 April 1863, as the 10th or "Royal Regiment of Toronto Volunteers"'. Redesignated on 5 August 1881, as the 10th Battalion, Royal Grenadiers. Redesignated on 8 May 1900, as the 10th Regiment, Royal Grenadiers. Redesignated on 1 May 1920, as The Royal Grenadiers. Amalgamated on 15 December 1936, with The Toronto Regiment and Redesignated as The Royal Regiment of Toronto Grenadiers (now The Royal Regiment of Canada). Perpetuations 58th Battalion, CEF 123rd Battalion (Royal Grenadiers), CEF History Early History On 14 March 1862, The 10th Battalion Volunteer Militia Rifles, Canada was authorized for service in Toronto, Canada West (now Ontario) with its Headquarters and line companies in Toronto. As in common with most Canadian Militia infantry regiments being raised at the time, they were as a rifle regiment. However around the same time of the regiments founding, the members of the unit requested to the militia department that they be organized and uniformed as an line infantry unit instead. As a result on 21 November 1862, the regiment was Redesignated as The 10th Battalion Volunteer Militia (Infantry) Canada and again on 10 April 1863, as the 10th or Royal Regiment of Toronto Volunteers. The Fenian Raids The 10th or Royal Regiment of Toronto Volunteers was called out on active service from 8 to 31 March and from 1 to 22 June 1866. The battalion served on the Niagara frontier and would take part in the mopping up operations after the disastrous Battle of Ridgeway. 1880’s On 5 August 1881, the regiment was Redesignated as the 10th Battalion Royal Grenadiers. At the time, this unit would be the only other regiment of its type in the entire British Empire: the other regiment being The Grenadier Guards. The North-West Rebellion On 27 March 1885, the 10th Battalion, Royal Grenadiers was called to arms and turned out in marching order the following day. The Battalion served with General Middleton's column of the North West Field Force, until they returned from active service on 24 July 1885. The 10th Royal Grenadiers would see action at the Battle of Fish Creek (24 April), and the Battle of Batoche (9-12 May), serving with distinction during the campaign and earning the regiment its first battle honours. The South African War During the South African War, the	The Royal Regiment of Toronto Grenadiers (now The Royal Regiment of Canada). Lineage The Royal Grenadiers Originated on 14 March 1862, in Toronto, Ontario, as The 10th Battalion Volunteer Militia Rifles, Canada. Redesignated on 21 November 1862, as The 10th Battalion Volunteer Militia (Infantry), Canada. Redesignated on 10 April 1863, as the 10th or "Royal Regiment of Toronto Volunteers"'. Redesignated on 5 August 1881, as the 10th Battalion, Royal Grenadiers. Redesignated on 8 May 1900, as the 10th Regiment, Royal Grenadiers. Redesignated on 1 May 1920, as The Royal Grenadiers. Amalgamated on 15 December 1936, with The Toronto Regiment and Redesignated as The Royal Regiment of Toronto Grenadiers (now The Royal Regiment of Canada). Perpetuations 58th Battalion, CEF 123rd Battalion (Royal Grenadiers), CEF History Early History On 14 March 1862, The 10th Battalion Volunteer Militia Rifles, Canada was authorized for service in Toronto, Canada West (now Ontario) with its Headquarters and line companies in Toronto. As in common with most Canadian Militia infantry regiments being raised at the time, they were as a rifle regiment. However around the same time of the regiments founding, the members of the unit requested to the militia department that they be organized and uniformed as an line infantry unit instead. As a result on 21 November 1862, the regiment was Redesignated as The 10th Battalion Volunteer Militia (Infantry) Canada and again on 10
each with a different type of battery and is available with two powertrain setups. The base model is rear-motor, rear-wheel-drive and powered by a 25 kW electric motor and 105 Nm of torque, powered by an 11.52 kWh lithium battery. Capable of a range of 130 km. For the medium variant, the 25 kW motor is shared and also rear-motor, rear-wheel-drive with the battery increased to a capacity of 17.28 kWh, supporting a range up to 185 kilometers. The third option increases the power of the motor up to 35 kW while being front-motor, front-wheel-drive, and is paired with a higher capacity battery of 29.44 kWh, and	105 Nm of torque, powered by an 11.52 kWh lithium battery. Capable of a range of 130 km. For the medium variant, the 25 kW motor is shared and also rear-motor, rear-wheel-drive with the battery increased to a capacity of 17.28 kWh, supporting a range up to 185 kilometers. The third option increases the power of the motor up to 35 kW while being front-motor, front-wheel-drive, and is paired with a higher capacity battery of 29.44 kWh, and 300 km of range. The interior of the Letin Mango city car is equipped with a 9-inch central control screen and a full LCD instrument panel, supporting the Internet of Vehicles functions, and an additional 19 storage spaces are designed within the interior of the car. The vehicle is also equipped with ADAS assisted driving system and automatic parking function. References External links Letin Mango Cars introduced
on Italian traditions, and also contains certain dramatic and compositional shortcomings. The May Night, which Sokalsky wrote in 1862-1876 based on Gogol's short story, was not staged either. And in this opera the fragmentary nature of both the libretto (combining the texts of folk songs, Gogol, T. Shevchenko) and musical material (both peasant and urban folklore is used) prevails. "According to the story of M. Gogol" Taras Bulba "; The piano of this opera was published in 1884, but the opera was not staged and was marked by eclecticism. Semyon Gulak-Artemovsky's Zaporozhye on the Danube was the first opera to be staged in Ukrainian (the 1863 premiere was in St. Petersburg). Gulak-Artemovsky, a famous singer of the Tsarist Opera, wrote this comic opera for the St. Petersburg Theater, and he played the lead role in it. This opera became very popular after the composer's death and was staged in Ukrainian in Lviv (1881) and by the troupe of Mark Kropyvnytsky (1884), although a number of songs from the opera became popular in the 70's. Zaporozhets has even been screened several times and is still an integral part of the Ukrainian repertoire. This opera combines elements of Western (especially Italian) opera with situations and characters from the Ukrainian National Theater and is based on Ukrainian folklore. This approach, which was continued by Mykola Lysenko, became for a long time the starting point for Ukrainian opera in general. Mykola Lysenko Mykola Vitaliyovych Lysenko is considered to be the de facto founder of Ukrainian opera. His friendship with Mykhailo Starytsky (1840-1904) played a key role in Lysenko's development as an opera composer. Lysenko wrote his first works on his or his texts: The Remaining Unrashiada (1866-1877), Chornomorets (1872) and the operetta Christmas Night (1874) based on Gogol. The latter was transformed into an opera house in St. Petersburg in 1874–1875, and was first staged in 1883, just after the repeal of the Ems Decree. The next opera, Drowned, was written on Gogol's plot. [14] In these works Lysenko gradually created a model of romantic-comic opera on themes from the life of the Ukrainian countryside, with simple action, but distinctive characters and situations, with a detailed depiction of folk customs and rituals, with conversational dialogues, song and choral music and dance numbers. in Ukrainian folk music, sometimes through direct citation, sometimes through stylization, but always in professional musical processing. Lysenko's adaptation of Kotlyarevsky's vaudeville "Natalka Poltavka" (1889) was the most popular, however. This opera remains the most frequently performed among the works of M. Lysenko and now. Later M. Lysenko turned to the genre of historical opera. Taras Bulba (1880-1891) became the first Ukrainian opera in the tradition of Western European great opera. It is noteworthy that there was no Ukrainian theater that could stage it at that time, but the composer refused to provide this opera for professional performance in Russian, as he was aware that in this case the opera would lose its symbolic significance as a national opera, and became just another folk song curiosity. [22] Thus, Taras Bulba was never staged during the composer's lifetime. Around the same time, Lysenko wrote three children's operas ("Goat-dereza", "Mr. Kotsky" and "Winter and Spring") for children's bard groups and based on folk tales and melodies; thus establishing the tradition of Ukrainian music pedagogy. In the later period of his life Lysenko sought new ways to develop the folklore direction. In 1896–1904, he worked on the ancient Greek-language opera Sappho and used ancient Greek themes, but never finished. The satirical opera Aeneid (1910) is close to Jacques Offenbach's operettas and contains a scathing parody of the autocracy, numerous folklore scenes (the Olympic gods dance the hopak and the Trojans the Cossack). Lysenko's last work was Nocturne (1912), which poetically reflects the contrast between the old romantic world that is passing and the modern one. Times of the Ukrainian state and "Ukrainization" (1917-1932) The collapse of the Russian Empire and the formation of the Ukrainian state opened new opportunities for the development of Ukrainian opera. The Hetman's administration took a consistent and concrete position in the field of cultural development, as evidenced by the Resolution of the Council of Ministers on the mobilization of literary, scientific, artistic and technical forces of Ukraine. "La Traviata", "Shoes", "Hoffman's Tales", "Bohemia", "Sold Bride", "Mermaid", "Village Honor", "Jew", "Madame Butterfly". The national press wrote that the Ukrainian State Opera has every reason and potential to become one of the best theaters of its time, while warning that "Ukrainian State Opera should not repeat the history of Petrograd state theaters, which gave foreign culture and citizenship culture…" that it is necessary to "organize the work of the opera artistically strong, national and cultural" . In 1919, the State Ukrainian Music and Drama Theater in Kyiv was founded, headed by the great avant-garde director Les Kurbas. In particular, M. Lysenko's opera "Drowned" was staged here. Ukraine's defeat in the war against Soviet Russia determined the difficult fate of Ukrainian musical art, and opera in particular in the twentieth century. The Bolsheviks' position on opera ranged from outright condemnation as a bourgeois genre (the proletarian cult considered opera a "disgrace to the dictatorship of the proletariat") to its desire to bring it closer to the working masses. As early as 1919, all theaters in the Soviet-occupied territories were nationalized, and the Russian-language Karl Liebknecht State Opera House was established in Kyiv. , however, faced significant organizational and financial obstacles and soon ceased to exist. In the 1920s, opera houses in Kyiv, Odesa, and Kharkiv were renovated under state control. The repertoire includes classical works performed in Russian. The Odessa Theater, where the director VA Lossky (1919–1920) worked, was distinguished by the best quality and novelty of productions. Instead, the Ukrainian Musical Theater, which ceased operations with the capture of Kyiv by Denikin's troops, did not resume operations. Plans to create a Ukrainian opera in Kharkiv, then the capital of the Ukrainian republic, were not realized. [69] Productions of some works in Ukrainian ("Pebbles" and "Village Honor" in Kiev, "Pebbles" and "May Night" in Odessa, "Katerina" and "Pebbles" in Kharkiv) initially did not have much success: there was a lack of Ukrainian works suitable for the big stage, as well as quality translations. In the mid-1920s, a policy of indigenization began in the USSR. In Ukraine, this policy was pursued under the leadership of Mykola Skrypnyk, and the Ukrainization of opera houses became an integral part of it. A significant event was the premiere in Kharkiv of M. Lysenko's opera Taras Bulba on October 3, 1924. Due to the success of this production, on April 23, 1925, the Council of People's Commissars of the USSR decided to establish the State Ukrainian Opera Theater in Kharkiv, which was opened on October 3, 1925, by the Russian composer M. Mussorgsky's Sorochinsky Fair. The following year, the opera houses in Kyiv and Odesa were also reorganized and "Ukrainianized." [38] [68] [79] At the turn of the 1920s and 1930s, the network of state theaters was supplemented by nomadic theaters: state groups whose task was to give opera performances in small towns. In 1928 the State Workers' Opera Theater (DROT) was established in Poltava, but in 1931 the theater moved to Dnipropetrovsk. In 1929, the State Ukrainian Right Bank Theater with its base in Vinnytsia was established. Finally, in the 1930s, the Nomadic Ukrainian Opera based in Kherson and the State Ukrainian Left Bank Theater based in Poltava emerged. Early Soviet theater productions were characterized by experimental and avant-garde technologies inherent in expressionism or constructivism; they have found great application in Ukrainian opera scenes. Operas such as Viktor Kosenko's Karmelyuk (1930) (1896–1938) and V. Yorysh's opera of the same name were created on historical themes, telling of the leader of the peasant uprising in Podillia in the first third of the 19th century. 68] [93] V. Zolotarev in his one-act opera-duma "Hvesko Andiber" (1927) first used the Ukrainian Duma and addressed the Cossack environment. B. Yanovsky followed the same path and on a larger scale in his opera The Black Sea Duma (1928), which takes place during the Turkish captivity of the Cossacks, but unlike the famous Cossack on the Danube decided in a serious way, the musical style is based on Russian tradition. classics and Giuseppe Verdi, to whom the score is dedicated. The most striking example of Ukrainian historical opera was Borys Lyatoshynsky's opera The Golden Hoop (1930) based on the novel by Ivan Franko. The libretto combines historical and social themes with mythology, such a combination is embodied in the musical language, which organically combines modern at that time means of musical expression with the archaic Ukrainian folklore. The opera is built as a musical drama, has an extensive system of Leitmotifs. In the history of Ukrainian opera, the Golden Hoop is also the first characteristic representative of the "symphonic opera", i.e. opera with a rich use of orchestral means. This opera appeared at the end of the era of creative experiments, but the attack on creative freedom in the Stalinist era led to its short stage life. The Fall of the USSR to Today Since the 1990s, the Ukrainian Opera House has been operating under the pressure of a market economy, and for this reason concentrates on the popular world repertoire and only a limited range of classical Ukrainian works of the XIX century. Of the domestic works of the Soviet era, only a few works on historical themes have survived in the repertoire: Yaroslav the Wise by G. Maiboroda, Bohdan Khmelnytsky by K. Dankevych, and Stolen Happiness by Yu. Meitus. The works of contemporary composers, on the other hand, are represented on the opera	(allegorical instructive drama) and historical dramas. From the beginning, they had distinct musical (vocal and instrumental) and dance components. School drama was performed on two levels: serious acts were performed at the upper level, and the characters used foreign languages - Church Slavonic, Polish, Russian or Latin, and between serious acts at the lower level acted out an interlude whose characters were ordinary people. and they used the local language. Various music was used in the performances, often folk or close to folk. Nativity scene Also from the 17th century on the territory of Ukraine the tradition of the national theater was established, which was called the nativity scene. His dramaturgy is similar to school dramas: it has two parts, religious (most of which play Christmas) and secular, which are symbolically divided into two levels of the stage. The nativity scene reached a special development after 1765, when school dramas were banned at the Kyiv-Mohyla Academy. This popular puppet show was accompanied by live music. There was also the so-called "living nativity scene", in which ordinary actors played instead of dolls. In addition, the nativity scene was more detailed "earthly" part, crystallized typical characters and situations full of humor. The main character could be a brave Zaporozhian Cossack, also performed nedovtipný grandfather and quarrelsome grandmother, beautiful Daryna Ivanovna, frivolous bartender Khvasya, hedonistic deacon (chaplain), as well as characters representing other nationalities: Muscovites, Hungarians or Poles, Gypsies. 27] [30] These scenes often included folk rites or games and contained folk songs and dances. Ivan Petrovich Kotlyarevsky played an important role in the formation of the Ukrainian theater. As the author of the first example of Ukrainian satirical epic - the poem Aeneid, in 1819 he wrote two comedies for the Poltava National Theater - "Natalka Poltavka" and Moskal-magician, 1819. These plays, which take place in the Ukrainian countryside, take the form of vaudeville, contain songs and choirs, whose songs Kotlyarevsky partly wrote himself, but mostly used well-known urban and rural songs (the author's part is not fully understood). In drama, the author uses the traditions of interlude, nativity scene and his knowledge of Ukrainian folklore. [32] [33] Natalka Poltavka became the most popular of her time, performing both amateur and traveling, as well as fully professional theaters; famous playwright and theater organizer Ivan Karpenko-Kary called her "the mother of the Ukrainian National Theater." Soon other similar plays appeared, authored by Hryhoriy Kvitka-Osnovyanenko, author of the popular comedies The Matchmaking at Honcharivka (1835) and Shelmenko the Batman (1837), or the Cossack General Yakiv Kukharenko (1799/1800). -1862), author of the ethnographic comedy "Black Sea beating in the Kuban between 1794-1796" (1836) . Compared to other European cultures (including Russian), where this genre gradually went out of fashion, Ukrainian vaudeville was very popular during the 19th century: for example, The Deceased Opanas, Anton Yankovsky, "Like a sausage and a glass, a quarrel will pass" or Mark Kropyvnytsky's "After the Audit." [14] All of these vaudeville were widely performed in various adaptations and musical editions, and individual songs and even scenes that were not rigidly tied to the plot moved from one performance to another. Operetta In the second half of the 19th century, an operetta became an intermediate step between a play with singing and an opera. The operetta genre quickly spread from the French court and in the early 60's was already popular in German and Polish theaters in Lviv. With the opening of a professional Ukrainian theater in this city, Mykhailo Verbytsky turned to the genre of operetta, based on the traditions of Ukrainian vaudeville. In particular, his operetta Pidhiryany (1865) became very popular, and other works soon appeared, such as Rural Plenipotenti (1879) on the subject of redemption from labor. Already "Pidhiryany" has the characteristic features of the Ukrainian "folk" operetta, and the Ukrainian rural environment and folk music. Another popular operetta author was Sidir Vorobkevich, author of the operettas Gnat Pribluda, Poor Martha, and Golden Pug. Ukrainian Musical Theater in the Russian and Austrian Empires The obstacle to the development of opera in the Ukrainian language at that time was the lack of professional theater. There was no shortage of Ukrainian audiences for the organization of permanent theaters: with the exception of Poltava, Ukrainians were in the minority in large Ukrainian cities. In addition, the attitude of the tsarist government to Ukrainian cultural activities was mostly negative. The tsar's attitude towards non-Russian national cultures deteriorated especially after the failed Polish uprising of 1863, and in 1876 the Ems decree banned even theatrical productions in Ukrainian (the ban lasted until 1881). The center of Ukrainian (musical-) theatrical culture in these circumstances was the Austrian Lviv, where in 1864 the first permanent Ukrainian theater was founded, which worked under the auspices of the organization Russian Conversation. Only in the early 1880s was the persecution of Ukrainian culture somewhat weakened, and the first professional Ukrainian-language theater emerged in the Russian Empire, the Mark Kropyvnytsky Nomadic Theater (1882). The theater was a success, and soon contributed to the emergence of new nomadic theater companies - Mikhail Staritsky, Panas Saksagansky, Ivan Karpenko-Kary and Nikolai Sadovsky. [44] The last of them, after the revolution of 1905, finally (in 1907) managed to create a permanent Ukrainian theater in Kiev. Virtually all current Ukrainian theaters, amateur or professional, were musical and dramatic and their repertoire was dominated by productions with music (vaudeville, games, songs, operettas or even operas - in particular popular operas were "Pebbles" by S. Monyushko, Sold Bride by B. Smetana and "Village Honor" by P. Mascagni). However, at that time the capabilities of these theaters did not allow them to perform full-fledged opera productions. [39] Some theaters numbered up to 30-50 performers, orchestras were small - about 15 performers, and soloists were mostly broad-based actors, while talented singers went to Russian theaters early. [14] Even M. Sadovsky's theater did not have a larger troupe, although its composition was constantly updated by graduates of the music and drama school founded by M. Lysenko. [35] The number of Ukrainian opera productions in the territories controlled by the Russian Empire remained insignificant and until the First World War was inferior to productions organized by the Lviv society Ruska Besida, although its plans to open its own theater also failed to materialize. The first operas on Ukrainian-language librettos Peter Sokalsky The situation in the Ukrainian theatrical business hampered the appeal of Ukrainian composers to the opera genre. The range of possible themes of operas was limited not only by the orientation of theaters to public audiences, but also by tsarist censorship, which tolerated funny or sentimental folk tales, but did not allow serious social or historical themes.In addition, the works were performed by amateur groups, or, later, professional actors, rather than trained singers and without a large orchestra. As a result, until 1917, musical works could not actually get on the big stage until the author decided to write a work on a Russian text. Thus, the low operas of this period remained unfinished, unfinished or only in the design stage, in addition, most Ukrainian composers, respectively, lacked mastery of orchestration and musical drama. Such was the fate of the first operas on Ukrainian texts by Petro Petrovich Sokalsky. His historical opera Mazepa of 1857-1859 depicts the fate of the Cossack Hetman Ivan Mazepa based on Pushkin's poem Poltava, but for practical and censorship reasons it is not performed. The Ukrainian reality in this opera is shown mainly through choirs, but in other respects the opera retains its focus on Italian traditions, and also contains certain dramatic and compositional shortcomings. The May Night, which Sokalsky wrote in 1862-1876 based on Gogol's short story, was not staged either. And in this opera the fragmentary nature of both the libretto (combining the texts of folk songs, Gogol, T. Shevchenko) and musical material (both peasant and urban folklore is used) prevails. "According to the story of M. Gogol" Taras Bulba "; The piano of this opera was published in 1884, but the opera was not staged and was marked by eclecticism. Semyon Gulak-Artemovsky's Zaporozhye on the Danube was the first opera to be staged in Ukrainian (the 1863 premiere was in St. Petersburg). Gulak-Artemovsky, a famous singer of the Tsarist Opera, wrote this comic opera for the St. Petersburg Theater, and he played the lead role in it. This opera became very popular after the composer's death and was staged in Ukrainian in Lviv (1881) and by the troupe of Mark Kropyvnytsky (1884), although a number of songs from the opera became popular in the 70's. Zaporozhets has even been screened several times and is still an integral part of the Ukrainian repertoire. This opera combines elements of Western (especially Italian) opera with situations and characters from the Ukrainian National Theater and is based on Ukrainian folklore. This approach, which was continued by Mykola Lysenko, became for a long time the starting point for Ukrainian opera in general. Mykola Lysenko Mykola Vitaliyovych Lysenko is considered to be the de facto founder of Ukrainian opera. His friendship with Mykhailo Starytsky (1840-1904) played a key role in Lysenko's development as an opera composer. Lysenko wrote his first works on his or his texts: The Remaining Unrashiada (1866-1877), Chornomorets (1872) and the operetta Christmas Night (1874) based on Gogol. The latter was transformed into an opera house in St. Petersburg in 1874–1875, and was first staged in 1883, just after the repeal of the Ems Decree. The next opera, Drowned, was written on Gogol's plot. [14] In these works Lysenko gradually created a model of romantic-comic opera on themes from the life of the Ukrainian countryside, with simple action, but distinctive characters and situations, with a detailed depiction of folk customs and rituals, with conversational dialogues, song and choral music and dance numbers. in Ukrainian folk music, sometimes through direct citation, sometimes through stylization, but always in professional musical processing. Lysenko's adaptation of Kotlyarevsky's vaudeville "Natalka Poltavka" (1889) was the most popular, however. This opera remains the most frequently performed among the works of M. Lysenko and now. Later M. Lysenko turned to the genre of historical opera. Taras Bulba (1880-1891) became the first Ukrainian opera in the tradition of Western European great opera. It is noteworthy that there was no Ukrainian theater that could stage it at that time, but the composer refused to provide this opera for professional performance in Russian, as he was aware that in this case the opera would lose its symbolic significance as a national opera, and became just another folk song curiosity. [22] Thus, Taras Bulba was never staged during the composer's lifetime. Around the same time, Lysenko wrote three children's operas ("Goat-dereza", "Mr. Kotsky" and "Winter and Spring") for children's bard groups and based on folk tales and melodies; thus establishing the tradition of Ukrainian music pedagogy. In the later period of his life Lysenko sought new ways to develop the folklore direction. In 1896–1904, he worked on the ancient Greek-language opera Sappho and used ancient Greek themes, but never finished. The satirical opera Aeneid (1910) is close to Jacques Offenbach's operettas and contains a scathing parody of the autocracy, numerous folklore scenes (the Olympic gods dance the hopak and the Trojans the Cossack).
of Defence and the Australian Department of Defence. The United States Air Force, United States Navy, the Royal Australian Air Force Headquarters and the Australian Defence Science and Technology Group are working with contractors Boeing, Lockheed Martin and Raytheon. The project is an "outgrowth" of the 2007-initiated HIFiRE project, which involved the same partners and explored scramjet engine technology and tested the flight dynamics of a Mach 8 hypersonic glide vehicle. The project officially commenced in	F/A-18F Super Hornet, EA-18G Growler, F-35A Lightning II or a P-8A Poseidon maritime surveillance aircraft. Flight testing is expected to occur in the RAAF Woomera Range Complex in South Australia. As of 2021, the missile is expected to enter service within 5 to 10 years. The Australian Government considers the missile to be a potential deterrent to
(1831 – 1884) was an English painter. Joseph Middleton Jopling, born in 1831, was son of Joseph Jopling, a clerk in the Horse Guards, Whitehall, and occupied a similar position from the age of seventeen for some years. Though self-taught, he was a clever painter in water-colours, and in 1859 was elected an associate of the New Society of Painters in Water-colours, but resigned in 1876. Jopling was an active member of the 3rd Middlesex Volunteers, and distinguished himself frequently in the National Rifle competitions at Wimbledon, winning the Queen's Prize in 1861. He was employed officially to make drawings of the Queen reviewing the troops. At the	Water-colours, but resigned in 1876. Jopling was an active member of the 3rd Middlesex Volunteers, and distinguished himself frequently in the National Rifle competitions at Wimbledon, winning the Queen's Prize in 1861. He was employed officially to make drawings of the Queen reviewing the troops. At the time of the Philadelphia International Exposition, Jopling acted as director of the fine art section. He was a frequent exhibitor at
cricket team are scheduled to tour Ireland in June 2022 to play two Twenty20 International (T20I) matches. On 1 March 2022, Cricket	in June 2022 to play two Twenty20 International (T20I) matches. On 1 March 2022, Cricket Ireland announced
architect. Together with their other brothers, Ivan and Karl, they enrolled at the Imperial Academy of Arts in 1797, on a scholarship. Within a short time, his projects were receiving awards. His official graduation came in 1803 but, at his request, he remained at the academy for another year to "gain great success not as a student, but as an artist". After completing his extra year, he joined the civil service; drafting projects for the construction of government buildings. In 1817, he became a member of the building committee of the "Department of State Economy and Public Buildings" at the Ministry of Internal Affairs. From 1821 to 1822, at the behest of Viktor Kochubey, the Minister of the Interior, he developed a series of projects for buildings that would employ medicinal waters and balneotherapy. Beginning in 1826, his plans were used to build the St. Nicholas Baths in Pyatigorsk; under the	would also become an architect. Together with their other brothers, Ivan and Karl, they enrolled at the Imperial Academy of Arts in 1797, on a scholarship. Within a short time, his projects were receiving awards. His official graduation came in 1803 but, at his request, he remained at the academy for another year to "gain great success not as a student, but as an artist". After completing his extra year, he joined the civil service; drafting projects for the construction of government buildings. In 1817, he became a member of the building committee of the "Department of State Economy and Public Buildings" at the Ministry of Internal Affairs. From 1821 to 1822, at the behest of Viktor Kochubey, the Minister of the Interior, he developed a series of projects for buildings that would employ medicinal waters and balneotherapy. Beginning in 1826, his plans were used to build the St. Nicholas Baths in Pyatigorsk; under the direction of the Swiss architect . His activities were not limited to the area around Saint Petersburg. As a court architect, he often travelled with, or on behalf of, members of the Royal Family. For example, in 1825, shortly after
of stock fell.” They were indebted to Eliza's father who had loaned them money or guaranteed loans. Thomas had to resort to cutting sandalwood to earn a living. On 15 December 1844, their son, Aubrey drowned in the River Avon. Vernon was born in 1845 and Matilda was born on 25 November 1847. Education was also a problem for Eliza, she wrote: Champion Bay In 1850, Brown joined a party exploring the Champion Bay district. Brown selected 40,000 acres (160 km2) on the Greenough River, and the following year established a homestead there, which he called Glengarry. Eliza was left to manage the farm at York. A daughter Janet was born in 1850. In May and June 1851, Eliza herself rode with her husband and others to Champion Bay, and was persuaded by the Governor to write her account of the journey, which was published in the Inquirer. She explained to her father why she joined the journey to Champion Bay: Fremantle The Browns did not move to Champion Bay because in May 1851, the Governor appointed Thomas as a Member of the Western Australian Legislative Council and they moved to Perth. In October 1851, Brown was appointed acting Police Magistrate in Fremantle, during the absence of Thomas Yule. Brown accepted the position and he and Eliza and family moved to Fremantle. Grass Dale was let. He was appointed Resident Magistrate for Fremantle the	emigrated to Western Australia, arriving on the Sterling in March 1841, having travelled in a steerage cabin with 14 other emigrants. Eliza started writing letters to her father during the voyage. Grass Dale The Browns purchased from Revett Henry Bland a farm called Grass Dale, near York. A son Aubrey was born in 1841 at York. Eliza wrote to her father about this: In 1843, Maitland was born. There was a depression in Western Australia and they struggled financially. “Costs remained high, but the price of stock fell.” They were indebted to Eliza's father who had loaned them money or guaranteed loans. Thomas had to resort to cutting sandalwood to earn a living. On 15 December 1844, their son, Aubrey drowned in the River Avon. Vernon was born in 1845 and Matilda was born on 25 November 1847. Education was also a problem for Eliza, she wrote: Champion Bay In 1850, Brown joined a party exploring the Champion Bay district. Brown selected 40,000 acres (160 km2) on the
depending on the particular crop being grown. The fourth method, iri rakan, was essentially a commutation of khasgi rent into cash, based on the average market price over a period of six months. Besides land rents, the Talpur mirs also collected revenue in various other ways. These included river customs, town duties, and ferry tolls, as well as specific taxes levied on the population. The Talpur mirs often farmed out all types of revenue collection in order to get as much money in advance as possible. Estimates of how much they received annually from the Chanduka pargana range from 5-8 lakh rupees. The British author H. James left an account of economic activity in Chandko around 1847. Weaving was an especially common profession; all but the poorest villages had weavers. Cotton was usually the fabric of choice, although silk was also imported from Kandahar and then woven and sometimes dyed locally. Except for cleaning the cotton at the beginning, the entire process was done within the weaver's household. Spinning was done by women: either the weaver's wife or, if the weaver was unmarried, by hired workwomen. On average, a weaver made about a rupee per day then, but the author noted that they had previously made much more under the Talpur mirs because then, without competition from foreign imported textiles, the price for cloth was significantly higher. Another common profession was dyeing. Five different colours were used: red, yellow, saffron, green, and indigo. Indigo, as well as the safflower used to make the saffron dye, were locally sourced, but the madder used in the red dye, the turmeric used in the yellow and green dyes, and the alum used in the red, yellow, and green dyes had to be imported. Other industries included mustard oil pressing (the leftover pressed seeds were fed to cattle), processing cane sugar into gur, leather tanning, and salt production. Paper was also	Nizamuddin's reign. The Ain-i-Akbari lists Chanduka (misspelled as "Jandola") as one of the mahals under the sarkar of Bhakkar. It was assessed at a revenue value of 3,102,709 dams and contributed a force of 400 cavalry and 800 infantry for the Mughal army. A detailed description of the pargana of Chanduka appears in the Mazhar-i-Shahjahani by Yusuf Mirak. It is described as a very large pargana that was home to several large and powerful clans: the Bukya Samejas, the Sangis, the Abras, and the Mahdeja Shaykhs. Chanduka apparently had significant forest coverage then, which Yusuf Mirak described as thorny and difficult to traverse – an advantageous defensive position, which the local clans exploited whenever they came into conflict with the Mughal authorities. Yusuf Mirak considered Chanduka's clans semi-rebellious. “If there is a strong army stationed in the region of Bhakkar which subdues them at the beginning of every season,” he wrote, “and if they are not required to pay more than what is justified by the regulations, and are treated with consideration, they pay the revenue obediently.” However, if the army presence was lacking, then the clans would withhold payment. If an army was then sent to collect the payment by force, then the clans would send their families and cattle to stay with some of the various Baluch tribes that lived in the region (evidently they were on friendly terms) and then put up a fight, taking full advantage of the forested terrain. In order to enforce Mughal authority in the pargana, Yusuf Mirak recommended “constant deployment of force” in Chanduka. He suggested the construction of a strong fort in the middle of the pargana and a permanent thana be garrisoned there. The pargana of Chanduka continued under the Talpur dynasty. The pargana's mukhtiarkar, or accountant, was based at Larkana. Revenue collection was left to the kardars of tappas, and the kardars were assisted by village kotwals. All the lands in each village were generally held
Fred Miller as Colored Servant References Bibliography Connelly, Robert B. The Silents: Silent Feature Films, 1910-36, Volume 40, Issue 2. December Press, 1998. Munden, Kenneth White. The American Film Institute Catalog of Motion Pictures Produced in the United States, Part 1. University of California Press, 1997. External links 1922 films 1922 drama	Joe King as Martin Lloyd Tom Guise as Dr. Strickland Robert Schable as Justin Little Frances Miller as Colored Mammy Fred Miller as Colored Servant References Bibliography Connelly, Robert B. The Silents: Silent Feature Films, 1910-36, Volume 40, Issue 2. December Press, 1998. Munden, Kenneth White. The American Film Institute
season in the top flight of German football. First-team squad Squad at end of season Left club during season	Cottbus were relegated after finishing 16th and losing to 1. FC Nürnberg in the relegation play-off. As
to moderate Felicity Wilson. In 2022 he was preselected to run for the Liberal Party in the 2022 Willoughby state by-election, unexpectedly defeating Gail Giles-Gidney. He held the seat on 12 February 2022 despite a large swing to independent candidate Larissa Penn. References Living people Liberal Party of Australia members of the Parliament of New South Wales Members of the New	the New South Wales Legislative Assembly at the 2022 Willoughby state by-election. James joined the Liberal Party in 1993 and was an adviser to the Howard federal government. A member of the Right faction, he unsuccessfully contested Liberal preselection for the 2017 North Shore by-election, losing to moderate Felicity Wilson. In 2022 he was preselected to run for the Liberal Party in the 2022 Willoughby state by-election, unexpectedly
on Queanbeyan City Council. In 2021 she was chosen as the National Party candidate for the Monaro by-election caused by party leader John Barilaro's resignation. She won the by-election on 12 February 2022. References Living people National Party of Australia members of the Parliament of New South Wales Members of the New South Wales Legislative Assembly Year of	state by-election. Overall studied communications at the University of Canberra before working as a journalist for the Tumut and Adelong Times. She later ran a business in Queanbeyan. Her husband, Tim Overall, was a long-serving councillor and mayor on Queanbeyan City Council. In 2021 she was chosen as the National Party candidate for the Monaro by-election caused by party leader John Barilaro's resignation.
The district is in Mercer County and includes Mercer and a portion of Ravanna. History Dan Owens is the superintendent; his contract was extended by the school board in 2020. Additionally there is one principal, for all grades, Wes Guilkey. His	extended in 2020, and his contract was still in place in 2021. Academics In 1995, Lineville-Clio Community School District students taking Spanish classes did so at the school in Mercer. Athletics In 2005 the district made a sports team sharing arrangement with the Princeton School District, so North Mercer handles boys' softball for both districts while Princeton handles American football.
her as his student, and Yoshiko moves to Tokyo. Tokio begins to fall in love with Yoshiko, but does not confess his feelings towards her due to his fear of societal consequences. Yoshiko starts dating a man, and Tokio decides to have her stay on the second floor to keep an eye on her. Tokio contacts Yoshiko's parents to inform them of the relationship. Upon learning the couple had sex, Tokio contacts her father in anger and jealousy, who calls her home. Tokio returns to his old life, and out of loneliness, buries his face in Yoshiko's futon and cries. Writing Unlike	of Tokio Takenaka, a 34 year old novelist in a loveless marriage, who hates his day job and finds nothing in life interesting besides fantasizing about younger women. One day, he receives a letter from Yoshiko Yokoyama, a young female student and admirer, asking to become Tokio's disciple. Hesitant at first, after exchanging multiple letters with the girl, he agrees to take her as his student, and Yoshiko moves to Tokyo. Tokio begins to fall in love with Yoshiko, but does not confess his feelings towards her due to his fear of societal consequences. Yoshiko starts dating a man, and Tokio decides to have her stay on the second floor to keep an eye on her. Tokio contacts Yoshiko's parents to inform them of the relationship. Upon learning the couple had sex, Tokio contacts her father in anger and jealousy,
concerns around maternity practices at Moruya Hospital. In 2021 he was preselected to run for the Labor Party in the 2022 Bega state by-election, held following the resignation of Liberal MP Andrew Constance.	He was elected to the New South Wales Legislative Assembly at the 2022 Bega state by-election. Holland is an obstetrician and gynaecologist who resigned from the Southern NSW Local Health District over concerns around maternity practices at Moruya Hospital. In 2021 he was preselected to run for the Labor Party
Jacopo Coletta (born 19 April 1992) is an Italian professional footballer who plays as a goalkeeper for club Lucchese. Club career Born in Rome, Coletta started his career in ChievoVerona youth sector. For the 2012–13 season, he was loaned to	season, he was loaned to Lega Pro club Lumezzane. He made his professional debut on 20 January 2013 against Pavia. On 10 October 2019, he signed with Serie D club
is and the area of is drainage basin . It is the second most important tributary of the Penzhina after the Belaya. The name of the river comes from the Koryak "yalan" (Ыӄлан), meaning "icy way". History Russian Cossack explorers reached the Oklan river basin in the 17th century and built the Aklansk fort. The fort was abandoned in 1804. At that time the indigenous Koryaks were engaged in reindeer herding and fishing. The settlement was revived in the 20th century as a state farm dedicated to reindeer-breeding. Course The Oklan has its source in Mount Stolovaya, located in the western part of the Ichigem Range, at the NW end of the Koryak Highlands. It flows roughly eastwards along the southern limits of the range area, descending into a swampy floodplain with numerous small lakes where it splits	time the indigenous Koryaks were engaged in reindeer herding and fishing. The settlement was revived in the 20th century as a state farm dedicated to reindeer-breeding. Course The Oklan has its source in Mount Stolovaya, located in the western part of the Ichigem Range, at the NW end of the Koryak Highlands. It flows roughly eastwards along the southern limits of the range area, descending into a swampy floodplain with numerous small lakes where it splits into branches. Finally it
the UCI Europe Tour calendar. The race returns regular professional cycling to Galicia for the first time since the Tour of Galicia, which was last held as a professional event in 2000; however, the two events are not related. The inaugural edition of the event will take place in late February 2022 and will consist	held in the autonomous community of Galicia in northwestern Spain. The race is rated as a category 2.1 event on the UCI Europe Tour calendar. The race returns regular professional cycling to Galicia for the first time since the Tour of Galicia, which was last held as a professional event in 2000; however, the two events are not related. The inaugural edition of the event will
, , and each entered six riders. With one late non-starter, was reduced to six riders. In total, 115 riders started the race, of which 109 finished. UCI WorldTeams UCI ProTeams UCI Continental Teams Efapel Cycling Route Stages Stage 1 24 February 2022 — O Porriño to Vigo, Stage 2 25 February 2022 — Bertamiráns to Mirador de Ézaro, Stage 3 26 February 2022 — Maceda to Luintra, Stage 4 27	to Vigo, Stage 2 25 February 2022 — Bertamiráns to Mirador de Ézaro, Stage 3 26 February 2022 — Maceda to Luintra, Stage 4 27 February 2022 — Sarria to Sarria, (ITT) Classification leadership table On stage 2, Giovanni Lonardi, who was second in the points classification, wore the violet jersey, because first-placed Magnus Cort wore the yellow jersey as the leader of the general classification. On stage 2, Erik Fetter, who was second in the young rider classification, wore the white jersey, because first-placed Jon Barrenetxea wore the blue jersey as the leader of the mountains classification. Final classification standings General classification Points classification Mountains classification Young rider classification Team classification References Sources External links O Gran Camiño O Gran Camiño O Gran
Yashodhara. It was a biographical film based on the life of Gautama Buddha. The movie was released in over 20 countries and became the highest-grossing film in the history of Sri Lankan Cinema, earning many accolades. Mahinda Rajapaksa, the then President of Sri Lanka personally congratulated Singh on her performance. After a successful debut, Singh was a part of another Singalese film - Akarsha a story set in the backdrop of a war, the film portrayed a love affair between a beautiful Tamil music teacher and a Sinhala Army Officer. Following her Sri Lankan debut, she made her Tollywood debut in a lead role in Rambala's Dhilluku Dhuddu, with Santhanam. In 2019, Singh made her debut in the Punjabi film industry with - PunjKhaab alongside Gurpreet Ghuggi and Monica Gill, a film directed by Gurcharan Singh under Prabh Films for Punjabi Cinema. The film was announced in 2017. The cinematographer of the film was Anushul Chaobey. Punjkhaab was based various types of societal stereotypes and stigmas that	when she was called for a commercial for Dena Bank. Career In 2013, Singh made her film debut with Sri Siddhartha Gautama, in which she played Princess Yashodhara. It was a biographical film based on the life of Gautama Buddha. The movie was released in over 20 countries and became the highest-grossing film in the history of Sri Lankan Cinema, earning many accolades. Mahinda Rajapaksa, the then President of Sri Lanka personally congratulated Singh on her performance. After a successful debut, Singh was a part of another Singalese film - Akarsha a story set in the backdrop of a war, the film portrayed a love affair between a beautiful Tamil music teacher and a Sinhala Army Officer. Following her Sri Lankan debut, she made her Tollywood debut in a lead role in Rambala's Dhilluku Dhuddu, with Santhanam. In 2019, Singh made her debut in the Punjabi film industry with - PunjKhaab alongside Gurpreet Ghuggi and Monica Gill, a film directed by Gurcharan
be conscripted and forced to fight. Development Director Alina Gorlova planned to film in the disputed territory of Donbas as it came to notice globally in March 2014 due to the conflict between Russia and Ukraine. A friend introduced her to Andriy Suleyman, who had escaped a war in Syria to find himself in another in Donbas. After some consideration, she realized that Suleyman's perspective was even better than a Donbas native, which she had originally sought. She was interested in how each of Suleyman's homelands were at war and that he had chosen to work with the Red Cross, as if "trapped by war". She also felt that the "cold and shy" nature of Suleyman worked for the film, causing audiences to focus on his surroundings. Originally envisioned as a short, character-driven documentary, Gorlova realized during filming that it could be greatly expanded to convey a broad message about war beyond the conflicts in Syria and Ukraine. While living among the people of the war-torn region, she also sought to convey the empathy she felt for them. After talks with DocuDays UA International Human Rights Documentary Film Festival, Gorlova developed the project into a full feature. Periods of filming followed Suleyman on humanitarian missions and visits to family members in Germany and Kurdish Iraq. Gorlova kept the narrative politically neutral, believing that this followed naturally from the neutrality of the Red Cross and wishing to avoid a judgemental tone while exploring the desires of people living in war zones. The film was developed under the working title Between Two Wars. The name changed several times during filming, as the family's story unfolded. Its release title, This Rain Will Never Stop, refers to the rains which flooded an international bridge, damming it with garbage and submerging it, which blocked Suleyman from crossing into Syria to visit family. This alludes to the needless obstacles individuals face from the overwhelming detritus of war. Production The film is a Ukrainian-Latvian-German-Qatari co-production. It received 2.2 million Ukrainian hryvnia of its ₴6.5 million budget from the State Cinema of Ukraine, with additional funding from the Latvian Film Centre, the IDFA Bertha Fund and the Doha Film Institute. Production was by Maksym Nakonechnyi for Tabor Production (Ukraine), co-produced by Ilona Bičevska for Avantis Promo (Latvia) and Patrick Hamm for Bulldog Agenda (Germany). The film was shot entirely in black-and-white, which is how Gorlov first remembered seeing the Donbas region with its "slag heaps in industrial landscapes". She also chose this to help draw parallels between Donbas and Syria. Director of photography Viacheslav Tsvietkov shared this aesthetic, which he had used in his previous projects. The most difficult technical and ethical scene was Lazgin's funeral, which Gorlova filmed with a Syrian camera crew, without the aid of Tsvietkov or direct sound. She had convinced Suleyman family elder Mezgin to allow the filming as a way of bringing the family together, since they were	people in Iraqi Kurdistan, and Suleyman tries to cross the border into Syria but is prevented by the war. After the unexpected death of his father Lazgin, Suleyman tries to honour his wishes by bringing his body to Syria for burial but again faces obstacles. If he crosses into Syria, there is a likelihood that he will be conscripted and forced to fight. Development Director Alina Gorlova planned to film in the disputed territory of Donbas as it came to notice globally in March 2014 due to the conflict between Russia and Ukraine. A friend introduced her to Andriy Suleyman, who had escaped a war in Syria to find himself in another in Donbas. After some consideration, she realized that Suleyman's perspective was even better than a Donbas native, which she had originally sought. She was interested in how each of Suleyman's homelands were at war and that he had chosen to work with the Red Cross, as if "trapped by war". She also felt that the "cold and shy" nature of Suleyman worked for the film, causing audiences to focus on his surroundings. Originally envisioned as a short, character-driven documentary, Gorlova realized during filming that it could be greatly expanded to convey a broad message about war beyond the conflicts in Syria and Ukraine. While living among the people of the war-torn region, she also sought to convey the empathy she felt for them. After talks with DocuDays UA International Human Rights Documentary Film Festival, Gorlova developed the project into a full feature. Periods of filming followed Suleyman on humanitarian missions and visits to family members in Germany and Kurdish Iraq. Gorlova kept the narrative politically neutral, believing that this followed naturally from the neutrality of the Red Cross and wishing to avoid a judgemental tone while exploring the desires of people living in war zones. The film was developed under the working title Between Two Wars. The name changed several times during filming, as the family's story unfolded. Its release title, This Rain Will Never Stop, refers to the rains which flooded an international bridge, damming it with garbage and submerging it, which blocked Suleyman from crossing into Syria to visit family. This alludes to the needless obstacles individuals face from the overwhelming detritus of war. Production The film is a Ukrainian-Latvian-German-Qatari co-production. It received 2.2 million Ukrainian hryvnia of its ₴6.5 million budget from the State Cinema of Ukraine, with additional funding
1910-36, Volume 40, Issue 2. December Press, 1998. Munden, Kenneth White. The American Film Institute Catalog of Motion Pictures Produced in the United States, Part 1. University of California Press, 1997. External links 1927 films 1927 drama films English-language films American films American silent feature films American drama films American black-and-white films Tiffany Pictures films	Lionel Braham as War Profiteer Kitty Barlow as Wife of War Profiteer Anne Shirley as Daughter of War Profiteer Mary Jane Irving a Daughter of War Profiteer Audrey Sewell as Daughter of War Profiteer Earl Metcalfe as Swain Patricia Avery as Maid Snitz Edwards as Merry-Go-Round Manager Violet Palmer as Beer Garden Waitress Lydia Yeamans as Landlady References Bibliography Connelly, Robert B. The Silents: Silent Feature Films, 1910-36, Volume 40, Issue 2. December Press, 1998. Munden, Kenneth White. The American Film Institute Catalog of Motion
Singles Doubles External links ITF search 2022 establishments in California Recurring sporting events established in 2022 ITF Women's Circuit Hard court tennis tournaments Tennis tournaments in California Tennis tournaments in the	is classified as a $60,000 ITF Women's World Tennis Tour tournament and has been held in Arcadia, California since 2022. Past finals
entry using protected rankings: Louisa Chirico Priscilla Hon The following player received entry using a junior exempt: Linda Fruhvirtová The following players received entry from the qualifying draw: Reese Brantmeier Kayla Day Ellie Douglas Quinn Gleason Ashlyn Krueger Maegan Manasse Robin Montgomery Ena Shibahara Champions Singles TBD vs. TBD	It is the first edition of the tournament which is part of the 2022 ITF Women's World Tennis Tour. It takes place in Arcadia, California, United States between 28 February and 6 March 2022. Singles main draw entrants Seeds 1 Rankings are as of 21 February 2022. Other entrants The following players received wildcards into the singles main draw: Katie Codd Liv Hovde Elvina Kalieva Raveena Kingsley The following players received entry using protected rankings: Louisa Chirico Priscilla Hon The following player received entry using a junior exempt: Linda Fruhvirtová The following
a master's degree in legal studies. She previously worked as teacher and librarian for the Riverview Gardens School District from 1960 until 1986. Her husband Stanley A. Harrell who worked for McDonnell-Douglas Aircraft died in 2013. References 20th-century American politicians 21st-century American politicians Members of the Missouri House of Representatives Missouri Democrats People from Cape Girardeau, Missouri	Chaffee High School and graduated from Southeast Missouri State University with a bachelor's degree in education and from George Peabody University, now part of Vanderbilt University, in Nashville with a master's degree in legal studies. She previously worked as teacher and librarian for the
the Naples Anatomical Institute. He is especially known for studies of the human tongue and arterio-venous anastomoses in humans and other animals. Vastarini-Cresi was born in Taranto. He became a lecturer at the	humans and other animals. Vastarini-Cresi was born in Taranto. He became a lecturer at the Naples Anatomical Institute where he became a professor and in 1919, the head
were so badly dismembered that their bodies were never found. The 13 homes closest to the explosion caught fire and were flattened. A total of 67 residences were damaged and 15 families were left homeless. 5 more people died from their injuries, bringing the total number of deaths to 22. Investigation Judge Samuel P. Hadley of the Lowell Police Court presided over an inquest into the deaths caused by the explosions. According to Hadley's report, the disaster was caused by carpentry foreman Clarendon Goodwin, who poured an unknown substance onto the floor to clean it. This caused a chemical reaction with spilled nitroglycerin which was hastened by scrubbing the floor with a broom. He also held the government of Tewksbury responsible for the deaths because they did not shut down the magazines after a neighborhood was built near them. Lastly, he found that the United States Cartridge Company, American Powder Company, and DuPont were responsible because they did not move their explosives from the area even though they knew it posed a threat to the lives of the people who lived near the magazines. Lawsuits The United States Cartridge Company and American Powder Company settled about 170 claims for damages out of court. The estates of four of the deceased went to trial and were awarded $4,500 each. The decision was appealed to the Massachusetts Supreme Judicial Court, who upheld the verdict. References 1903 disasters in the	structure. The explosions killed 17 people and the men who were working closest to the building when it exploded were so badly dismembered that their bodies were never found. The 13 homes closest to the explosion caught fire and were flattened. A total of 67 residences were damaged and 15 families were left homeless. 5 more people died from their injuries, bringing the total number of deaths to 22. Investigation Judge Samuel P. Hadley of the Lowell Police Court presided over an inquest into the deaths caused by the explosions. According to Hadley's report, the disaster was caused by carpentry foreman Clarendon Goodwin, who poured an unknown substance onto the floor to clean it. This caused a chemical reaction with spilled nitroglycerin which was hastened by scrubbing the floor with a broom. He
= 24 \|year = 2022 \|time = 17:31 \|timestamp =	\|timestamp = 20220224173115 \|content= REDIRECT 2022 Russian invasion
the club had a fierce competition with Addis Ababa Clubs. Wolaita Tussa won Ethiopian Cup in 1997. Wolaita Tussa, first ever club represented Ethiopia in CAF Confederation Cup from south before any other clubs playing in the southern region next to Hawassa Flour FC. Stadium Wolaita Tussa uses	club had a fierce competition with Addis Ababa Clubs. Wolaita Tussa won Ethiopian Cup in 1997. Wolaita Tussa, first ever club represented Ethiopia in CAF Confederation Cup from south before any other clubs playing in the southern region next to Hawassa Flour FC. Stadium Wolaita Tussa uses Wolaita Sodo Stadium
faced competition from the All India Kisan Sabha, a peasant-oriented socio-political campaigning group run by the Communists. The appeal of the Triveni Sangh had waned significantly by 1947 but had achieved a measure of success away from the ballot box, notably by exerting sufficient influence to bring an end to the begar system of forced unpaid labour and by providing a platform for those voices seeking reservation of jobs in government for people who were not upper castes. Many years later, in 1965, there was an abortive attempt to revive the defunct federation. In the post Mandal phase Kurmi, Koeri and Yadav, the three backward castes who constitute the upper-OBC due to their advantageous position in the socio-economic sphere of agrarian society became the new political elite of the state. Present circumstances It is shown in the Bengal Census Report that 80 per cent of the Ahirs in Bihar are engaged in agriculture. According to a report of Institute Of Human Development Studies, among the upper-backwards, castes like Kushwahas and Kurmis earn Rs 18,811 and Rs 17,835 respectively as their average per capita income, which is slight lesser than those earned by upper-caste, who earn 20,655 as their average per capita income. In contrast, Yadavs’ income is one of the lowest	the Kurmis and Koeris to form the Triveni Sangh, a caste federation that by 1936 claimed to have a million supporters. This coalition followed an alliance for the 1930 local elections which fared badly at the polls. The new grouping had little electoral success: it won a few seats in the 1937 elections but was stymied by a two-pronged opposition which saw the rival Congress wooing some of its more wealthy leading lights to a newly formed unit called the "Backward Class Federation" and an effective opposition from upper castes organised to keep the lower castes in their customary place. Added to this, the three putatively allied castes were unable to set aside their communal rivalries and the Triveni Sangh also faced competition from the All India Kisan Sabha, a peasant-oriented socio-political campaigning group run by the Communists. The appeal of the Triveni Sangh had waned significantly by 1947 but had achieved a measure of success away from the ballot box, notably by exerting sufficient influence to bring an end to the begar system of forced unpaid labour and by providing a platform for those voices seeking reservation of jobs in government for people who were not upper castes. Many years later, in 1965, there was an abortive attempt to revive the defunct federation. In the post Mandal phase Kurmi, Koeri and Yadav, the three backward castes who constitute the upper-OBC due to their advantageous position in the
petiole long with egg-shaped stipules long at the base, but that fall off as the leaf develops. The upper surface of the leaves is glabrous and the lower surface has greyish white hairs pressed against the surface. The flowers are borne in pyramid-shaped panicles long with up to 100 yellow, white or cream-coloured flowers, each on a pedicel long. The sepals are long with silvery simple star-shaped hairs, and the petals are about long. Flowering occurs in September and October. Taxonomy This pomaderris was first formally described in 1997 by Neville Grant Walsh and F. Coates who gave it the name Pomaderris argyrophylla subsp. graniticola in the journal Muelleria from specimens Walsh collected in Girraween National	This pomaderris was first formally described in 1997 by Neville Grant Walsh and F. Coates who gave it the name Pomaderris argyrophylla subsp. graniticola in the journal Muelleria from specimens Walsh collected in Girraween National Park in 1994. In 2005, Keith Leonard McDougall and Jacqueline C. Millott raised the subspecies to species status as Pomaderris graniticola in the journal Telopea. The specific epithet (graniticola) means "granite dweller". Distribution and habitat This
it had a population of 223,727 across 115 villages. There were 113,560 males and 110,167 females. Villages As of 2011, the following villages were assigned to Ramdurg taluka. Aneguddi Aribenchi Awaradi Bannur Batakurki Beedaki Bennur Bhagojikoppa Bijaguppi Bochabal Boodanur Budnikhurd Channatti Chennapur Chetan Nagar Chikkamulangi Chikkoppa K.S. Chikkoppa S.K. Chiktadashi Chilamur Chinchakhandi Chippalkatti Chunchanur Dadibhavi Salapur Dodamangadi Durganagar Ghatakanur Godachi Gokulnagar Gonaganur Gonnagar Gudagoppa Gudagumnal Gudakatti Guttigoli Halagatti Haletoragal Halolli Hampiholi Hanama Sagar Hanamapur S.U. Hirekoppa K.S.	Chinchakhandi Chippalkatti Chunchanur Dadibhavi Salapur Dodamangadi Durganagar Ghatakanur Godachi Gokulnagar Gonaganur Gonnagar Gudagoppa Gudagumnal Gudakatti Guttigoli Halagatti Haletoragal Halolli Hampiholi Hanama Sagar Hanamapur S.U. Hirekoppa K.S. Hiremulangi Hiretadashi Hosakeri Hosakoti Huligoppa Hulkund Idagal Jalikatti K.Chandargi K.Junipeth Kadampur Kadlikoppa Kalamad Kalhal Kallur Kamakeri Kamanakoppa Kankanwadi Karadigudda Katakol Kesaragoppa Khanapeth Kilabanur Kittur Kolachi Krishnanagar Kullur Kunnal Lakhanayakanakoppa Lingadal M.Chandargi M.Kallapur M.Khanapur M.Timmapur Maganur Mallapur Manihal Maradagi Mudakavi Mudenkoppa Mudenur Mullur Murakatnal Naganur Nandihal Narasapur Obalapur Padamandi Panchagaon Ramapur Rankalkoppa Revadikoppa Rokkadakatti Sangal Sarakote
Tudeh Party Workers' Union. History and profile Zafar was first published in Tehran on 22 June 1944. The license of the paper belonged to Rıza Rusta, head of the Tudeh Party Workers' Union. The paper was a daily publication and an official media outlet of the Union. Until 1947 the paper was banned several times and replaced by other publications. For instance, on 8 December 1946 Zafar and its sister publication Rahbar were shut down by the Iranian government due to their harsh criticisms over the policies towards the US. Under such conditions it was clandestinely distributed in the	and an official media outlet of the Union. Until 1947 the paper was banned several times and replaced by other publications. For instance, on 8 December 1946 Zafar and its sister publication Rahbar were shut down by the Iranian government due to their harsh criticisms over the policies towards the US. Under such conditions it was clandestinely distributed in the country. Zafar reappeared in January 1947 when its ban
Ethiopia", where "Ethiopia" was then a synonym for Nubia) is a monumental work by Karl Richard Lepsius published in Prussia in the years 1849 - 1859. Like the French Description de l'Égypte, published forty years previously, the work is still regularly consulted by Egyptologists today. It records the scientific documentation obtained by Lepsius's Prussian expedition to Egypt and Nubia from the years 1842 - 1845 in order to gather knowledge about the local monuments of ancient Egyptian civilization. This expedition was modelled after the earlier Napoléonic mission, and consisted of surveyors, draftsmen, and other specialists. The mission reached Giza in November 1842 and spent six months making some of the first scientific studies of the pyramids of Giza, Abusir, Saqqara, and Dahshur. They discovered 67 pyramids, recorded in the pioneering Lepsius list of pyramids, and more than 130 tombs. During the mission, the Prussian team collected around 15,000 objects and plaster casts, which today form the core of the collection of the Egyptian Museum of Berlin. The work was published in twelve large-format volumes, later supplemented	volumes, later supplemented by five volumes of notes. It contains highly accurate maps for its time, as well as nearly 900 plates of monuments and copies of inscriptions. Contents Abtheilung I Topographie Und Architektur (Section I :Topography And Architecture) Vol. I: Blatt I-LXVI Vol. II: Blatt LXVII-CXLV Abtheilung II Denkmaeler Des Alten Reichs (Section II: Monuments Of The Old Kingdom) Vol. III: Blatt I-LXXXI Vol. IV: Blatt LXXXII-CLIII Abtheilung III Denkmaeler Des Neuen Reichs (Section III: Monuments Of The New Kingdom) Vol. V: Blatt I-XC Vol. VI: Blatt XCI-CLXXII Vol. VII: Blatt CLXXIII-CCXLII Vol. VIII: Blatt CCXLIII-CCCIV Abtheilung IV Denkmaeler Aus Der Zeit Der Grichischen und Roemischen Herrschaft (Section IV Monuments from the Period of Greek and Roman Domination) Vol. IX: Blatt I-XC Abtheilung V Aethiopische Denkmaeler (Section V Ethiopian Monuments) Vol. X: Blatt I-LXXV Abtheilung VI Inschriften Mit Ausschluss Der Hieroglyphischen (Section VI: Inscriptions Excluding Hieroglyphic Sheets)
this year La 1 El hombre y la Tierra (1974-1980) El Mundo de la música (1976-1980) Fantástico ( 1978-1980) Mundo noche (1978-1980) 003 y medio (1979-1980) Canciones de una vida (1979-1980) La 2 Tribuna internacional (1979-1980) Foreign series debuts in Spain Births Deaths 15 March - Félix Rodríguez de la Fuente, host,	in 1980. Events 10 January: Spanish Parliament pasess Law 4/1980, that regulates the Radio & Television Organization in Spain. RTVE was configured, by statute, as a legal public entity with its own jurisdiction. Debuts Television shows La 1 Ending