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1491_5	Expansion outside Korea Soju sales are soaring and foreign companies are considering buying into one of the few Korean industries to relish the economic crisis. But outsiders face tough, patriotic competition. With HiteJinro's most notable drink, Soju, it has quickly gained momentum and popularity as a vodka substitute. The spirit, which is distilled from rice, barley, and koji, has become a popular import; though, with the company operating in Russia, the US, South Korea, China and Japan, the Korean giant has begun setting its sights on India with a new bottling deal. See also Economy of South Korea References Notes External links Beer in South Korea Food and drink companies established in 1924 1924 establishments in Korea Manufacturing companies based in Seoul South Korean brands
1492_0	Trentino-Alto Adige/Südtirol (, ; ; ; ) is an autonomous region of Italy, located in the northern part of the country. The region has a population of 1.1 million, of whom 62% speak Italian as their mother tongue, 30% speak German dialects and several foreign languages are spoken by immigrant communities. Since the 1970s, most legislative and administrative powers have been transferred to the two self-governing provinces that make up the region: the Province of Trento, commonly known as Trentino, and the Province of Bolzano, commonly known as South Tyrol (Alto Adige in Italian).
1492_1	From the 9th century until 1801, the region was part of the Holy Roman Empire. After being part of the short-lived Napoleonic Republic of Italy and Napoleonic Kingdom of Italy, the region was part of the Austrian Empire and its successor Austria-Hungary from 1815 until its 1919 transfer to Italy in the Treaty of Saint-Germain-en-Laye at the end of World War I. Together with the Austrian state of Tyrol it is represented by the Euroregion Tyrol-South Tyrol-Trentino. In English, the region is known as Trentino-South Tyrol or by its Italian name Trentino-Alto Adige. History
1492_2	The region was conquered by the Romans in 15 BC. After the end of the Western Roman Empire, it was divided between the invading Germanic tribes in the Lombard Duchy of Tridentum (today's Trentino), the Alamannic Vinschgau, and the Bavarians (who took the remaining part). After the creation of the Kingdom of Italy under Charlemagne, the Marquisate of Verona included the areas south of Bolzano, while the Duchy of Bavaria received the remaining part.
1492_3	From the 11th century onwards, part of the region was governed by the prince-bishops of Trent and Brixen, to whom the Holy Roman Emperors had given extensive temporal powers over their bishoprics. Soon, they were overruled by the Counts of Tyrol and Counts of Görz, who also controlled the Puster Valley: in 1363 its last titular, Margarete, Countess of Tyrol ceded the region to the House of Habsburg. The regions north of Salorno were largely Germanized in the early Middle Ages, and important German poets like Arbeo of Freising and Oswald von Wolkenstein were born and lived in the southern part of Tyrol.
1492_4	The two bishoprics were secularized by the Treaty of Lunéville of 1803 and given to the Habsburgs. Two years later, following the Austrian defeat at Austerlitz, the region was given to Napoleon's ally Bavaria (Treaty of Pressburg, 1805). The new rulers provoked a popular rebellion in 1809, led by Andreas Hofer, a landlord from St. Leonhard in Passeier; this rebellion was crushed the same year. At the resulting Treaty of Paris (28 February 1810), Bavaria ceded the southern part of Tyrol (Trentino and the city of Bolzano) to the Napoleonic Kingdom of Italy. During French control of the region, it was called officially Haut Adige (literally "High Adige", Italian: "Alto Adige"; German: "Hochetsch") in order to avoid any reference to the historical County of Tyrol. After Napoleon's defeat, in 1815, the region returned to Austria.
1492_5	Under Austrian rule the territory of today's province of South Tyrol was called südliches Tirol or Deutschsüdtirol, but was occasionally also referred to as Mitteltirol, i.e. Middle Tyrol, due to its geographic position, while Südtirol (), i.e. South Tyrol, indicated mostly today's province of Trentino. Trentino was also called ("Romance Tyrol", ) or ("Romance South Tyrol", ). Sometimes Südtirol also indicated the whole of the Trentino-Alto Adige/Südtirol region. During the First World War, major battles were fought high in the Alps and Dolomites between Austro-Hungarian Kaiserjäger and Italian Alpini, for whom control of the region was a key strategic objective. The collapse of the Austro-Hungarian war effort enabled Italian troops to occupy the region in 1918 and its annexation was confirmed in the post-war treaties, which awarded the region to Italy under the terms of the Treaty of Saint-Germain.
1492_6	Under the dictatorship of Benito Mussolini, the Fascist dictator of Italy (ruled 1922–1943), the German population was subjected to an increased forced programme of Italianization: all references to old Tyrol were banned and the region was referred to as Venezia Tridentina between 1919 and 1947, in an attempt to justify the Italian claims to the area by historically linking the region to one of the Roman Regions of Italy (Regio X Venetia et Histria). Hitler and Mussolini agreed in 1938 that the German-speaking population would be transferred to German-ruled territory or dispersed around Italy, but the outbreak of the Second World War prevented them from fully carrying out the relocation. Nevertheless, thousands of people were relocated to the Third Reich and only with great difficulties managed to return to their ancestral land after the end of the war.
1492_7	In 1943, when the Italian government signed an armistice with the Allies, the region was occupied by Germany, which reorganised it as the Operation Zone of the Alpine Foothills and put it under the administration of Gauleiter Franz Hofer. The region was de facto annexed to the German Reich (with the addition of the province of Belluno) until the end of the war. This status ended along with the Nazi regime and Italian rule was restored in 1945. Italy and Austria negotiated the Gruber-De Gasperi Agreement in 1946, put into effect in 1947 when the new republican Italian constitution was promulgated, that the region would be granted considerable autonomy. German and Italian were both made official languages, and German-language education was permitted once more. The region was called Trentino-Alto Adige/Tiroler Etschland between 1947 and 1972.
1492_8	However, the implementation of the agreement was seen as satisfactory by neither the German-speaking population nor the Austrian government. The issue became the cause of significant friction between the two countries and was taken up by the United Nations in 1960. A fresh round of negotiations took place in 1961 but proved unsuccessful, partly because of popular discontent and a campaign of terrorism and bombings by German-speaking autonomists and separatists led by the South Tyrolean Liberation Committee.
1492_9	The issue was resolved in 1971, when a new Austro-Italian treaty was signed and ratified. It stipulated that disputes in South Tyrol would be submitted for settlement to the International Court of Justice in The Hague, that the province would receive greater autonomy within Italy, and that Austria would not interfere in South Tyrol's internal affairs. The new agreement proved broadly satisfactory to the parties involved and the separatist tensions soon eased. Matters were helped further by Austria's accession to the European Union in 1995, which has helped to improve cross-border cooperation. In May 2006, senator-for-life Francesco Cossiga introduced a bill that would allow the region to hold a referendum, in which the local electorate could decide whether to stay within the Italian Republic, become fully independent or return to Austria. All parties, including the separatists, rejected this measure as potentially causing a revival of ethnic tensions. Geography
1492_10	The region is bordered by East and North Tyrol (Austria) to the north-east and north respectively, by Graubünden (Switzerland) to the north-west, and by the Italian regions of Lombardy to the west and Veneto to the south and south-east. It covers . It is extremely mountainous, covering a large part of the Dolomites and the southern Alps. The region is composed of two provinces, Trentino in the south and South Tyrol in the north. Trentino has an area of , most of it mountainous land (20% is over and 70% over 1,000 m) and covered by vast forests (50% of the territory). The climate is various through the province, from an alpine climate to subcontinental one, with warm and variable summers and cold and quite snowy winters. The region has always been a favourite destination for tourists, both in winter for skiing in the high mountains and in summer to visit the wide valleys and many lakes (the largest being Lake Garda).
1492_11	South Tyrol has an area of , all of it mountainous land and covered by vast forests. The climate is of the continental type, owing to the influence of the many mountain ranges which stand at well over above sea level and the wide valleys through which flow the main river, the Adige, from north to south and its numerous tributaries. In the city of Bolzano, capital of the province, the average air temperature stands at and the average rainfall at . The lowest pass across the Alps, the Brenner Pass, is located at the far north of the region on the border with Austria. Politics
1492_12	The region is divided into two autonomous provinces: Trentino (Autonomous Province of Trento) and South Tyrol (Autonomous Province of Bolzano). The Italian Republic recognised a certain degree of autonomy for the region and its two constituent provinces, which was the result of the Gruber–De Gasperi Agreement of 1946, as well as of the special status of autonomy approved by constitutional law in 1948. This statute gave the region the right to initiate its own laws on a wide range of subjects and to carry out respective administrative functions.
1492_13	In 1972, the introduction of the second Statute of Autonomy, which was in the centre of the discussions between the Italian and Austrian governments, meant the transfer of the main competencies from the region to the two provinces. The autonomy recognized by the special statute covers the political, legislative, administrative, and fiscal institutions. The second statute turned the region de facto into a loose commonwealth with devolved powers to the two autonomous provinces, with very limited legislative or executive competencies left. The capital city is Trento, although the two provincial capitals alternate biennially (the other being Bolzano) as the site of the regional assembly. Administration Economy
1492_14	The fertile valleys of the region produce wine, fruit, dairy products and timber, while its industries include paper, chemical and metal production. The region is a major exporter of hydroelectric power. The most important features of the region's economic structure are the strength of tourism and the special system of co-operation between agriculture and industry. In the last decade, tourism became a very important component of the province's economy. The region, which is a staging-post between the countries of northern Europe and central and southern Italy, has found its true vocation in this leading branch of the services sector with all its spin-offs. The region has a higher concentration of hotels than any other region (6,178 establishments in 2001 with 236,864 hotel beds). The total accommodation capacity of the region counts for 651,426 beds available in hotels and other establishments. Demographics
1492_15	The region has a population of about 1,072,276 people (541,098 in Trentino and 531,178 in South Tyrol). The population density in the region is low compared to Italy as a whole. In 2008, it equalled to , whereas the average figure for Italy was . The population density in Trentino was , slightly higher than the one registered in South Tyrol that was equal to . , the Italian national institute of statistics ISTAT estimated that 90,321 foreigners lived in the region altogether, equal to 8.55% of the total regional population. Languages The main language groups are Italian and German, with small minorities speaking Ladin, Lombard, Mòcheno and Cimbrian. The latter two are Bavarian dialects.
1492_16	In Trentino the majority language is Italian, although there are Cimbrian minorities in the municipality of Luserna and four Mòcheno municipalities in the Mòcheni Valley. There are also Ladin-speaking minorities living in the Fassa Valley and in Non Valley (3.5% of the population). While in Fassa Valley Ladin already enjoys official status, in Non Valley it still does not, despite there being more Ladin speakers in the latter than in the former. Sole Valley also historically belongs to the Ladin area.
1492_17	In South Tyrol the majority language is German (62% of the population), although in the capital city Bolzano 73% of the population speaks Italian as its maternal language due to internal immigration from other regions of Italy. Italian speakers are also a significant component in other major urban centres of the province, such as in Merano (49% Italian as the mother language) and Brixen (26% mother language). More than 90% of the 120,000 Italian speakers live in Bozen/Bolzano, Merano, Leifers and Brixen, and the greater part of the rest in the small towns south of the capital just north of the border with Trentino or scattered about in very small numbers throughout the rest of the province. The Italian language is a majority in 5 of 116 municipalities. Italian is the first language of 26% of the population (down from 35% in 1960) of the population of 453,000 recorded in the 2011 census, not counting the 51,000 who listed Language as 'Other' who are immigrants. Ladin is the additional
1492_18	official language in some municipalities and a majority in 8. According to the census of 2001, 103 out of 116 communes have a majority of German native speakers, eight of Ladin speakers and five of Italian. Today both German and Italian have the status of co-official languages in South Tyrol.
1492_19	Heraldry The coat of arms quarters the arms of Trentino (black eagle) and the arms of South Tyrol (red eagle). See also Tyrol Trentino South Tyrol Districts of Trentino-Alto Adige/Südtirol References External links Official site of Trentino-Alto Adige/Südtirol Autonomous regions of Italy German diaspora in Italy German-speaking countries and territories
1493_0	Die Feen (, The Fairies) is an opera in three acts by Richard Wagner. The German libretto was written by the composer after Carlo Gozzi's La donna serpente. Die Feen was Wagner's first completed opera, but remained unperformed in his lifetime. It has never established itself firmly in the operatic repertory although it receives occasional performances, on stage or in concert, most often in Germany. The opera is available on CD and in a heavily cut, adapted-for-children version, DVD. Although the music of Die Feen shows the influences of Carl Maria von Weber and other composers of the time, commentators have recognised embryonic features of the mature Wagnerian opera. The fantasy plot also anticipates themes such as redemption that were to reappear in his later works.
1493_1	Background and composition Die Feen was Wagner's first completed opera, composed in 1833, when he was 20 years old and working as a part-time chorus master in Würzburg. He gave it the description of Grosse romantische Oper (grand romantic opera). The year before he started composition, Wagner had abandoned his first attempt at writing an opera, Die Hochzeit (The Wedding). There were a number of difficulties facing new German-language opera in the 1830s. First there was deemed to be a lack of good quality libretti to set. This may have influenced Wagner's decision to write the libretto for Die Feen himself. Second, there was a fear among the authorities in Germany and Austria that the performance of operas in German would attract nationalist and revolutionary followers. This would have added to the difficulties faced by a novice composer seeking an opportunity for his new opera to be performed.
1493_2	Although Gozzi's La donna serpente (The Snake Woman) was the source for Wagner's plot, he took the names of Die Feens two principal characters, Ada and Arindal, from Die Hochzeit. The libretto also introduced a fantastic theme that was not in the original play. The libretto displays themes and patterns that were to recur in Wagner's more mature works. These include redemption, a mysterious stranger demanding that their lover not ask their name, and long expository narratives. Wagner revised the score of Die Feen in 1834, when he hoped for a production. Among the changes in the 1834 version was the rewriting from scratch of Ada's grand scene Weh' mir, so nah' die fürchterliche Stunde. However, it remained unperformed during his lifetime.
1493_3	Wagner personally gave the original manuscript of Die Feen to King Ludwig II of Bavaria. The manuscript was later given as a gift to Adolf Hitler, and may have perished with him in flames in his Berlin bunker in the final days of World War II. A draft, in Wagner's hand, of dialogue he wrote to substitute for some of the opera's recitatives, is in the Stefan Zweig Collection at the British Library.
1493_4	Performance and recording history Die Feen was premiered in Munich on 29 June 1888 with a cast including several singers who had created roles in Wagner's later operas. It is the only Wagner opera that has not been recorded for broadcast television or video. There are some audio recordings, the one with the best known performers being a live performance conducted by Wolfgang Sawallisch as part of the celebrations of the centenary of the composer's death. On 11 April, 2020 the Vienna State Opera streamed the performance of the children's version from 3 March, 2012 conducted by Kathleen Kelly on the internet as part of their free offerings during the COVID-19 pandemic.
1493_5	The English premiere was in Birmingham on 17 May 1969 and the American concert premiere was at the New York City Opera on 24 February 1982. In 1981 Friedrich Meyer-Oertel staged Die Feen at the Opernhaus Wuppertal. In 2009, the opera premiered in France at the Théâtre du Châtelet in Paris. The US staged premiere was held by Lyric Opera of Los Angeles on 11 June 2010, conducted by Robert Sage at the Pasadena Playhouse. Roles Synopsis Act 1 While other fairies amuse themselves in a fairy garden, Zemina and Farzana discuss how their mistress Ada, a half-fairy, has renounced her immortality to spend her life with Arindal, the mortal whom she loves. The fairy-king has set a condition which Farzana believes that Arindal will not fulfil even with the help of the magician Groma. Nevertheless, they get the other fairies and spirits to pledge their help in separating Ada from the mortal.
1493_6	In a rocky wilderness Morald and Gunther meet Gernot. The former pair have been sent to find out what has happened to Arindal, who disappeared eight years ago. In the meantime his father, the king, has died from grief and the kingdom is being attacked by their enemy Murold who demands they surrender Arindal's sister Lora as his wife. Gernot relates how he and Arindal had hunted a beautiful doe to a river where it vanished. They heard a voice and jumped into the river where they found a beautiful woman in luxurious surroundings. She declared her love for Arindal and said they could stay together provided Arindal could go eight years without asking who she is. But the day before he did ask her, and Arindal and Gernot found themselves in the wilderness. Morald and Gunther depart before Arindal can know of their presence. Arindal appears and sings of his grief at the loss of Ada (Wo find ich dich, wo wird mir Trost?). Gernot tries to argue him round to believing that Ada is a sorceress
1493_7	who has abandoned him and that he should return to his kingdom. He sings of an evil witch who had disguised herself as a beautiful woman (War einst 'ne böse Hexe wohl). Gunther returns, disguised as a priest, and continues the attempt to persuade Arindal that he will be turned into a wild beast by the witch unless he returns at once; Morald similarly disguises himself as the ghost of Arindal's father and announces that his kingdom is threatened. Each disguise is magically destroyed just as Arindal is about to be convinced. However, the three are finally able to persuade him of his country's need. They agree to depart in the morning, although Arindal fears he will not see Ada again. When he is left alone he falls into an enchanted sleep.
1493_8	The scene changes again to a fairy garden with a palace in the background out of which Ada comes. She sings of how she is willing to sacrifice her immortality and pay the price, however hard it is, necessary to win Arindal (Wie muss ich doch beklagen). Arindal awakens and declares his joy at seeing Ada again, but she announces that he will abandon her the next day. Gernot, Gunther and Morald arrive with companions to fetch Arindal. Those who have not seen her before are struck by Ada's beauty and fear Arindal will not come. A procession of fairies comes out of the palace and Zemina and Farzana tell Ada that her father has died and she is now queen. Ada tells Arindal that they must part now but she will see him tomorrow. She asks him to swear that whatever happens he will not curse her. He swears it even though she takes back her request. She expresses her fear that they will both go under as a result of his breaking the oath.
1493_9	Act 2 The people and warriors in Arindal's capital are panicking because they are under attack. Lora berates them, saying that she herself stands firm even though she has lost father, brother and lover. She reminds them of Groma's prophecy that the kingdom will not fall if Arindal returns, but the chorus express doubts. Just as she begins to fear that they are right (O musst du Hoffnung schwinden), a messenger arrives to announce that Arindal is on his way. The new king is greeted joyously by his people, but Arindal himself expresses his fears that he is not strong enough for battle. Meanwhile, Morald and Lora express their mutual love.
1493_10	Gernot and Gunther talk of the terrible omens of the night and morning. Gernot asks Gunther if Drolla is still beautiful and still loyal to him. Gunther says he believes so but says Gernot should ask her himself as she is nearby. Gernot and Drolla test each other with stories of the many people who love them. Each becomes jealous before they realise that they both truly love each other. Ada is with Zemina and Farzana. She complains to them of how they heartlessly drive her on. They, however, express hope that she will renounce Arindal and remain immortal. She sings (Weh' mir, so nah' die fürchterliche Stunde) of her fears that Arindal will be cursed with madness and death, and she with being turned to a statue, but then expresses hope that Arindal's love will prove strong.
1493_11	Battle is raging outside. Arindal is anxious and refuses to lead the army out. Morald does so instead. Ada appears with her two children by Arindal. She seems to throw them into a fiery abyss. Meanwhile, defeated warriors rush in. Ada refuses to console Arindal saying she has come to torment him instead. More defeated warriors arrive with reports that Morald has disappeared, captured or dead. Then Harald, who was sent to bring reinforcements, comes. He reports that his army was defeated by one led by Ada. Arindal curses her. Zemina and Farzana express joy that Ada will remain immortal. But she sorrowfully explains that the fairy-king had required as a condition of her renouncing her immortality, that she conceal her fairy background from Arindal for eight years and on the last day torment him as best she can. If he cursed her, she would remain immortal and be turned to stone for a hundred years while he would go mad and die. In truth, Morald is not dead, the army Harald led was full
1493_12	of traitors, and the children are still alive. Already Arindal can feel his sanity slipping.
1493_13	Act 3 A chorus hail Morald and Lora as the King and Queen who have brought them peace. The couple say they cannot rejoice, because of Arindal's fate. All pray for the curse to be lifted. Arindal is hallucinating that he is hunting a doe. As it is killed, he realises it is his wife. He continues to experience visions (Ich seh' den Himmel) before falling asleep. The voice of the petrified but weeping Ada is heard calling for him. Then the voice of Groma calls to him too. A sword, shield and lyre appear which Groma says can win Arindal victory and a greater reward. Zemina and Farzana, enter. The former expresses her pity for Arindal while the latter says he deserves punishment for seeking to take Ada from them. They wake him and announce they will lead him to Ada to rescue her. He expresses his willingness to die for her. The two fairies hope this will actually happen.
1493_14	They lead Arindal to a portal guarded by earth spirits. He is about to be defeated when the voice of Groma reminds him of the shield. The earth spirits disappear when he holds it up. The fairies express their surprise but are sure he will not triumph again. Meanwhile, he thanks Groma's power. Next they encounter bronze men who guard a holy sanctuary. The shield fails Arindal but when Groma advises him to hold up the sword, the bronze men vanish. The fairies again express their surprise whilst Groma's spirit urges Arindal on. They now have reached a grotto where Ada has been turned to stone. The two fairies taunt Arindal with the threat that failure will mean that he too is turned to stone. But the voice of Groma urges him to play the lyre. When he does so (O ihr, des Busens Hochgefühle), Ada is freed from the stone. The two fairies realise that Groma is responsible.
1493_15	The scene changes to the fairy king's throne room. He has decided to grant Arindal immortality. Ada invites him to rule her fairyland with her. Arindal grants his mortal kingdom to Morald and Lora. Everyone rejoices; even Zemina and Farzana are happy now that Ada remains immortal. The music As a German Romantic opera, Die Feen imitated the musical style of Carl Maria von Weber. According to Danilo Prefumo's notes to one of the recordings available, it also showed the influence of Italian opera, grand opera and opéra comique. On the other hand, Alan Blyth, Gramophone's regular Wagner reviewer, sees both Weber and Marschner as influences but says that, by avoiding the aping of Italian opera in Das Liebesverbot and of grand opera in Rienzi, the result was an opera more stylistically unified than its successors. "The later works may contain individual passages that are more 'advanced' than anything in the youthfully imitative ways of Die Feen, but as entities they are less satisfying."
1493_16	In The New York Times, critic John Rockwell acknowledges the presence of passages imitative of Weber and Marschner but says that there are "wonderfully original passages too... Some of the instrumental writing is exquisite. And especially in the final two acts, there are ensembles and scenes of undeniable strength of personality. This is not some quaint antiquarian resurrection, but an opera that can work for today's audiences on stage." Blyth is less wholehearted in his support. In 1984, he wrote "The libretto is impossibly awkward, its language stilted, many of its musical structures ill-considered, but much is enjoyable in its own right as much as for the enjoyment in discovering seeds of future triumphs." But fifteen years later he was writing that the work's interest lay only in its evidence of the mature composer, "on its own account it's a bit of a bore."
1493_17	The Weberian overture in E major, the key in which the opera begins and ends, includes many of the opera's principal themes. The work as a whole does not have the complex chains of melody and chromatic harmony that distinguished the composer's mature works. However, there is already a tendency in the opera to move away from a strict numbers form and to present the singers with long challenging passages. Recurring themes or simple leitmotifs associated with characters and situations already show a tendency towards something that Wagner would later use in a far more sophisticated manner in his mature works. Another anticipation of the composer's mature manner is how orchestra often carries the tune while vocal parts are declamatory. Of the various arias, Blyth picks out Ada's "huge Act 2 scene, which calls for a genuine dramatic soprano" noting that Birgit Nilsson had recorded it. He sees the ensembles as anticipating Tannhäuser and Lohengrin but picks out "the delightful buffo duet for
1493_18	Gernot... and Drolla", saying it looks forward more to Das Liebesverbot "except that it surpasses in unassuming tunefulness anything in the following score".
1493_19	Recordings There are ten recordings of Die Feen available as of 2015, only the first of which is a studio recording.
1493_20	Die Feen, conducted by Edward Downes with April Cantelo (Ada), John Mitchinson (Arindal), Della Jones (Farzana), Tom McDonnell (Morald) etc. BBC Northern Symphony Orchestra, BBC Northern Singers. Uncut, studio recording (Manchester College of Music), early May 1974. (Deutsche Grammophon Complete Wagner Edition 00289 479675-7) Die Feen, conducted by Wolfgang Sawallisch, with a cast including John Alexander (Arindal), Linda Esther Gray (Ada), June Anderson (Lora), Cheryl Studer (Drolla), Kurt Moll (Fairy King) etc. live performance with multiple cuts to the score Munich Opera Festival (1983) (ORFEO C 062 833 F) Die Feen, conducted by Gabor Ötvös with Raimo Sirkiä (Arindal), Sue Patchell (Ada), Arthur Korn (Gernot), Birgit Beer (Drolla) etc. live recording from Teatro Comunale di Cagliari (1998) (Dynamic CDS 217/1-3)
1493_21	Die Feen, conducted by Sebastian Weigle with Burkhard Fritz (Arindal), Tamara Wilson (Ada), Thorsten Grümbel (Gernot), Brenda Rae (Lora), etc. live recording from Opern- und Schauspielhaus Frankfurt (2011) (Oehms Classics) Die Feen, conducted by Xiao Juan Chen. Live Recording by the CMD German Opera Company of Berlin, April 2016. (CMD Recordings)
1493_22	Conductors who have recorded the overture include Francesco D'Avalos (Asv Living Era B0000030XD), Marek Janowski (Angel B00005UVAN), Franz Konwitschny (Archipel ARPCD0239), Alexander Rahbari (Naxos B0001Z65J4), Alois Springer (Vox B000001KAH) and Hans Swarowsky (Vox B000001KD3). ReferencesNotesSources'''Die Feen (recording and textbook, 1984), Munich: Orfeo GmbH.Die Feen (recording and booklet including libretto, 1998), Genova, Dynamic. Stanford University Opera Glass site John Rockwell (1982) Opera: Wagner's Feen Bows in U.S. Review of Die Feen 's first American performance, The New York Times, 25 February 1982. (Retrieved 28 November 2011) Morgan, Simon, "Seen and Heard International Opera Review: Wagner Die Feen" on musicweb-international.com (Two 2005 German productions of the opera. Retrieved 13 July 2019) Warrack, John and West, Ewan, The Oxford Dictionary of Opera'' (1992), 782 pages, External links Libretto in German and English at DM's opera site.
1493_23	A video of the opera by R. Sage conducting the Lyric opera of Los Angeles on 11-06-2010 is available on YouTube: Wagner's Die Feen - A Visual Pasticcio. Operas by Richard Wagner Libretti by Richard Wagner German-language operas Romantische Opern Operas 1833 operas 1888 operas Operas set in fictional, mythological and folkloric settings Stefan Zweig Collection
1494_0	Polly Morgan is a British cinematographer who has worked on the studio feature films Lucy in the Sky (2019) and A Quiet Place Part II (2020) and multiple episodes of the TV series Legion (2017–2019). Her first cinematography credits were the films Junkie (2012), The Truth About Emanuel (2013), and The Pretty One (2013). She has also worked as cinematographer on other numerous films and TV series throughout the 2010s.
1494_1	Prior to becoming cinematographer, Morgan worked in the film and television industries since the mid-2000s as a production assistant and in multiple roles of the camera department. She worked under numerous cinematographers and attended the American Film Institute's AFI Conservatory as a Fulbright Scholar, graduating with a Master of Fine Arts degree in cinematography. She is accredited by the British Society of Cinematographers (BSC) and the American Society of Cinematographers (ASC). To date, she is the only woman to be a member of both, and she is the youngest member of ASC. Background
1494_2	Morgan was born in London. She was raised in West Sussex. Her grandfather enjoyed the hobby of drawing, and she became involved in art through him. When she was 13 years old, a film crew from Channel 4 came to her family's farm to film a documentary about composer Edward Elgar. The experience introduced her to filmmaking. As a teenager, she studied art history and photography. At University of Leeds, she earned a Bachelor of Arts degree in broadcasting, which had a program that gave students hands-on experience with single-camera productions. Career Morgan is accredited by the American Society of Cinematographers (ASC) and the British Society of Cinematographers (BSC). To date, she is the only woman to be a member of both, and she is the youngest member of ASC. She describes her cinematography style, "My style is a blend between a naturalistic, free approach with a more classical, conventional approach."
1494_3	Lead-up to cinematography
1494_4	Before Polly Morgan became a cinematographer, she spent around ten years working in film and television, including six years as an assistant. She first started in film working on sets as a production assistant for a Canadian director in Toronto. She then moved to London with her PA experience. In 2002, she was hired as an in-house production assistant at RSA Films (founded by Ridley Scott and Tony Scott), based in London. As a PA on a music video, she met cinematographer Haris Zambarloukos, who hired her as a camera trainee. In the following six years, she worked on commercials for Zamarloukos as a loader and as an assistant camera. Cinematographers she worked with included Wally Pfister, Seamus McGarvey, Dan Mindel, Caleb Deschanel, and Alwin Kuchler. She had met Kuchler when she was an assistant camera. She then worked for him in Canada and the United Kingdom as an assistant, eventually working for him as a camera operator and a second-unit director of photography.
1494_5	In 2006, Morgan attended lighting and camera workshops in the US state of Maine. Zambarloukos encouraged her to attend the American Film Institute's AFI Conservatory. In 2008, she received a Fulbright Fellowship that enabled her to move to Los Angeles and attend the conservatory. In 2012, she was given the Rising Stars of Cinematography award by the ASC. Cinematographer and ASC member Michael Goi became Morgan's mentor for numerous years. While she was at the AFI Conservatory, she assisted Pfister on numerous commercials; she also interned for him as production assistant when he worked on the 2010 film Inception. Initial work as cinematographer
1494_6	Her first feature film credit as cinematographer was Junkie. Filming started in 2011, and it was ultimately released in 2012. After she graduated from the AFI Conservatory with a Master of Fine Arts degree in cinematography, she was cinematographer for two independent feature films: The Pretty One and The Truth About Emanuel. The latter film premiered at the Sundance Film Festival in 2013, and in subsequent film festivals, Morgan was recognized for her cinematography, including the Best Cinematography award at the 2013 Brooklyn Film Festival. Afterward, several films she worked on premiered at Sundance, South by Southwest, and Tribeca Film Festival. She also worked on several TV productions in the United Kingdom and the United States. One of her TV contributions was a result of Goi hiring her to shoot additional photography for almost a dozen episodes of the TV series American Horror Story. Morgan has also worked on music videos and TV commercials.
1494_7	In the late 2010s, Morgan was cinematographer for several works outside of the United Kingdom. She lensed several episodes of the TV series Legion (2017–2019) and the films The Intervention (2016), Slumber (2017), and Spinning Man (2018). The British Film Institute said for Slumber, Morgan "created nightmarish visuals", and for The Intervention, she provided an "intimate, intense look". The BFI said of her cinematography in the latter, "The relaxed aesthetic [gives] way to sharper angles and deeper shadows as the story evolves and motivations are revealed." In 2018, Morgan became a member of the ASC, having been recommended by Goi, Dean Cundey, and Robert Primes. In 2019, she was nominated for an ASC award for Episode of a Series for Commercial Television for her cinematography of the Legion episode "Chapter 23". The Hollywood Reporter wrote that Morgan was "a rare female nominee".
1494_8	Studio feature credits Morgan's cinematography work on Legion led its showrunner Noah Hawley to hire her as cinematographer for his 2019 film Lucy in the Sky, which, as a Fox Searchlight Pictures production, was her first credit for a studio feature. Following that, she was hired as cinematographer for the 2020 film A Quiet Place Part II by Paramount Pictures. Morgan is the cinematographer for the upcoming films Where the Crawdads Sing and The Woman King, both under Sony Pictures Releasing. Credits References Further reading External links AFI Conservatory alumni Alumni of the University of Leeds English cinematographers English women cinematographers Film people from London Living people People from West Sussex Year of birth missing (living people)
1495_0	The Sadducees (; Ṣĕdûqîm) were a socio-religious sect or group of Jews who were active in Judea during the Second Temple period, starting from the second century BCE through the destruction of the Temple in 70 CE. The Sadducees are often compared to other contemporaneous sects, including the Pharisees and the Essenes. Josephus, writing at the end of the 1st century CE, associates the sect with the upper social and economic echelon of Judean society. As a whole, they fulfilled various political, social, and religious roles, including maintaining the Temple in Jerusalem. The group became extinct some time after the destruction of Herod's Temple in Jerusalem in 70 CE.
1495_1	Etymology According to Abraham Geiger, the Sadducaic sect of Judaism drew their name from Zadok, the first High Priest of ancient Israel to serve in the First Temple, with the leaders of the sect proposed as the Kohanim (priests, the "Sons of Zadok", descendants of Eleazar, son of Aaron). The name Zadok is related to the root ṣāḏaq (to be right, just), which could be indicative of their aristocratic status in society in the initial period of their existence. Flavius Josephus mentions in Antiquities of the Jews that "one Judas, a Gaulonite, of a city whose name was Gamala, who taking with him Sadduc, a Pharisee, became zealous to draw them to a revolt". Paul L. Maier suggests that the sect drew their name from the Sadduc mentioned by Josephus. History The Second Temple period The Second Temple period is the period between the construction of the Second Temple in Jerusalem in 516 BCE and its destruction by the Romans in 70 CE.
1495_2	Throughout the Second Temple period, Jerusalem saw several shifts in rule. Alexander's conquest of the Mediterranean world brought an end to Persian control of Jerusalem (539–334/333 BCE) and ushered in the Hellenistic period. The Hellenistic period, which extended from 334/333 BCE to 63 BCE, is known today for the spread of Hellenistic influence.
1495_3	After the death of Alexander in 323 BCE, his generals divided the empire among themselves and for the next 30 years, they fought for control of the empire. Judea was first controlled by the Ptolemies of Egypt (r. 301–200 BCE) and later by the Seleucids of Syria (r. 200–167). King Antiochus Epiphanes of Syria, a Seleucid, disrupted whatever peace there had been in Judea when he desecrated the temple in Jerusalem and forced Jews to violate the Torah. Most prominent of the rebel groups were the Maccabees, led by Mattathias the Hasmonean and his son Judah the Maccabee. Though the Maccabees rebelled against the Seleucids in 164 BCE, Seleucid rule did not end for another 20 years. The Maccabean (a.k.a. Hasmonean) rule lasted until 63 BCE, when the Roman general Pompey conquered Jerusalem.
1495_4	Thus began the Roman period of Judea, leading to the creation of the province of Roman Judea in 6 CE and extending into the 7th century CE, well beyond the end of the Second Temple period. Cooperation between the Romans and the Jews was strongest during the reigns of Herod and his grandson, Herod Agrippa I. However, the Romans moved power out of the hands of vassal kings and into the hands of Roman administrators, beginning with the Census of Quirinius in 6 CE. The First Jewish–Roman War broke out in 66 CE. After a few years of conflict, the Romans retook Jerusalem and destroyed the temple, bringing an end to the Second Temple period in 70 CE.
1495_5	Role of the Temple During the Persian period, the Temple became more than the center of worship in Judea after its reconstruction in 516 BCE; it served as the center of society. It makes sense, then, that priests held important positions as official leaders outside of the Temple. The democratizing forces of the Hellenistic period lessened and shifted the focus of Judaism away from the Temple and in the 3rd century BCE, a scribal class began to emerge. New organizations and "social elites," according to Shaye Cohen, appeared.
1495_6	It was also during this time that the high priesthood, the members of which often identified as Sadducees, was developing a reputation for corruption. Questions about the legitimacy of the Second Temple and its Sadducaic leadership freely circulated within Judean society. Sects began to form during the Maccabean reign (see Jewish sectarianism below). The Temple in Jerusalem was the formal center of political and governmental leadership in ancient Israel, although its power was often contested and disputed by fringe groups. After the Temple destruction After the destruction of the Temple of Jerusalem in 70 CE, the Sadducees appear only in a few references in the Talmud and in some Christian texts. In the beginnings of Karaism, the followers of Anan ben David were called "Sadducees" and set a claim of the former being a historical continuity from the latter.
1495_7	The Sadducee concept of the mortality of the soul is reflected on by Uriel Acosta, who mentions them in his writings. Acosta was referred to as a Sadducee in Karl Gutzkow's play The Sadducees in Amsterdam (1834). Role of the Sadducees
1495_8	Religious The religious responsibilities of the Sadducees included the maintenance of the Temple in Jerusalem. Their high social status was reinforced by their priestly responsibilities, as mandated in the Torah. The priests were responsible for performing sacrifices at the Temple, the primary method of worship in ancient Israel. This included presiding over sacrifices during the three festivals of pilgrimage to Jerusalem. Their religious beliefs and social status were mutually reinforcing, as the priesthood often represented the highest class in Judean society. However, Sadducees and the priests were not completely synonymous. Cohen points out that "not all priests, high priests, and aristocrats were Sadducees; many were Pharisees, and many were not members of any group at all."
1495_9	Political The Sadducees oversaw many formal affairs of the state. Members of the Sadducees: Administered the state domestically Represented the state internationally Participated in the Sanhedrin, and often encountered the Pharisees there. Collected taxes. These also came in the form of international tribute from Jews in the Diaspora. Equipped and led the army Regulated relations with the Roman Empire Mediated domestic grievances. Beliefs General The Sadducees rejected the Oral Torah as proposed by the Pharisees. Rather, they saw the Written Torah as the sole source of divine authority. The written law, in its depiction of the priesthood, corroborated the power and enforced the hegemony of the Sadducees in Judean society.
1495_10	According to Josephus, the Sadducees believed that: There is no fate. God does not commit evil. Man has free will; "man has the free choice of good or evil". The soul is not immortal; there is no afterlife. There are no rewards or penalties after death. The Sadducees did not believe in resurrection of the dead, but believed (contrary to the claim of Josephus) in the traditional Jewish concept of Sheol for those who had died. According to the Christian Acts of the Apostles: The Sadducees did not believe in resurrection, whereas the Pharisees did. In Acts, Paul chose this point of division to gain the protection of the Pharisees. The Sadducees also rejected the notion of spirits or angels, whereas the Pharisees acknowledged them. The Sadducees are said to have favored Sirach.
1495_11	Disputes with the Pharisees According to the Sadducees, spilt water became impure through its pouring. Pharisees denied that this is sufficient grounds for ṭumah "impurity" (). Many Pharisee–Sadducee disputes revolved around issues of ṭumah and ṭaharah (, ritual purity).
1495_12	According to the Jewish laws of inheritance, the property of a deceased man is inherited by his sons, but if the man had only daughters, his property is inherited by his daughters upon his death (). The Sadducees, however, in defiance of Jewish tradition, whenever dividing the inheritance among the relatives of the deceased, such as when the deceased left no issue, would perfunctorily seek for familial ties, regardless and irrespective of gender, so that the near of kin to the deceased and who inherits his property could, hypothetically, be his paternal aunt. The Sadducees would justify their practice by A fortiori, an inference from minor to major premise, saying: "If the daughter of his son's son can inherit him (i.e. such as when her father left no male issue), is it not then fitting that his own daughter inherit him?!" (i.e. who is more closely related to him than his great granddaughter). Rabban Yohanan ben Zakkai tore down their argument, saying that the only reason the
1495_13	daughter was empowered to inherit her father was because her father left no male issue. However, a man's daughter – where there are sons, has no power to inherit her father's estate. Moreover, a deceased man who leaves no issue has always a distant male relative, unto whom is given his estate. The Sadducees eventually agreed with the Pharisaic teaching. The vindication of Rabban Yohanan ben Zakkai and the Pharisees over the Sadducees gave rise to this date being held in honor in the Scroll of Fasting.
1495_14	The Sadducees demanded that the master pay for damages caused by his slave. The Pharisees imposed no such obligation, as the slave may intentionally cause damage in order to see the liability for it brought on his master. The Pharisees posited that false witnesses should be executed if the verdict is pronounced on the basis of their testimony—even if not yet actually carried out. The Sadducees argued that false witnesses should be executed only if the death penalty has already been carried out on the falsely accused.
1495_15	Jewish sectarianism The Jewish community of the Second Temple period is often defined by its sectarian and fragmented attributes. Josephus, in Antiquities, contextualizes the Sadducees as opposed to the Pharisees and the Essenes. The Sadducees are also notably distinguishable from the growing Jesus movement, which later evolved into Christianity. These groups differed in their beliefs, social statuses, and sacred texts. Though the Sadducees produced no primary works themselves, their attributes can be derived from other contemporaneous texts, namely, the New Testament, the Dead Sea Scrolls, and later, the Mishnah and Talmud. Overall, the Sadducees represented an aristocratic, wealthy, and traditional elite within the hierarchy.
1495_16	Opposition to the Essenes
1495_17	The Dead Sea Scrolls, which are often attributed to the Essenes, suggest clashing ideologies and social positions between the Essenes and the Sadducees. In fact, some scholars suggest that the Essenes began as a group of renegade Zadokites, which would indicate that the group itself had priestly, and thus Sadducaic origins. Within the Dead Sea Scrolls, the Sadducees are often referred to as Manasseh. The scrolls suggest that the Sadducees (Manasseh) and the Pharisees (Ephraim) became religious communities that were distinct from the Essenes, the true Judah. Clashes between the Essenes and the Sadducees are depicted in the Pesher on Nahum, which states "They [Manasseh] are the wicked ones ... whose reign over Israel will be brought down ... his wives, his children, and his infant will go into captivity. His warriors and his honored ones [will perish] by the sword." The reference to the Sadducees as those who reign over Israel corroborates their aristocratic status as opposed to the
1495_18	more fringe group of Essenes. Furthermore, it suggests that the Essenes challenged the authenticity of the rule of the Sadducees, blaming the downfall of ancient Israel and the siege of Jerusalem on their impiety. The Dead Sea Scrolls brand the Sadducaic elite as those who broke the covenant with God in their rule of the Judean state, and thus became targets of divine revenge.
1495_19	Opposition to the early Christian church
1495_20	The New Testament, specifically the books of Mark and Matthew, describe anecdotes which hint at hostility between the early Christians and the Sadducaic establishment. These disputes manifest themselves on both theological and social levels. Mark describes how the Sadducees challenged Jesus' belief in the resurrection of the dead. Jesus subsequently defends his belief in resurrection against Sadducaic resistance, stating, "and as for the dead being raised, have you not read in the book of Moses, in the story about the bush, how God said to him "I am the God of Abraham, the God of Isaac, and the God of Jacob?" He is God not of the dead, but of the living; you are quite wrong." According to Matthew's Gospel, Jesus asserts that the Sadducees were wrong because they knew "neither the scriptures nor the power of God". Jesus challenges the reliability of Sadducaic interpretation of biblical doctrine, the authority of which enforces the power of the Sadducaic priesthood. The Sadducees
1495_21	address the issue of resurrection through the lens of marriage, which "hinted at their real agenda: the protection of property rights through patriarchal marriage that perpetuated the male lineage." Furthermore, Matthew records John the Baptist calling the Pharisees and Sadducees a "brood of vipers". The New Testament thus constructs the identity of Christianity in opposition to the Sadducees.
1495_22	Opposition to the Pharisees The Pharisees and the Sadducees are historically seen as antitheses of one another. Josephus, the author of the most extensive historical account of the Second Temple Period, gives a lengthy account of Jewish sectarianism in both The Jewish War and Antiquities of the Jews. In Antiquities, he describes "the Pharisees have delivered to the people a great many observances by succession from their fathers, which are not written in the law of Moses, and for that reason it is that the Sadducees reject them and say that we are to esteem those observance to be obligatory which are in the written word, but are not to observe what are derived from the tradition of our forefathers." The Sadducees rejected the Pharisaic use of the Oral Torah to enforce their claims to power, citing the Written Torah as the sole manifestation of divinity.
1495_23	The rabbis, who are traditionally seen as the descendants of the Pharisees, describe the similarities and differences between the two sects in Mishnah Yadaim. The Mishnah explains that the Sadducees state, "So too, regarding the Holy Scriptures, their impurity is according to (our) love for them. But the books of Homer, which are not beloved, do not defile the hands." A passage from the book of Acts suggests that both Pharisees and Sadducees collaborated in the Sanhedrin, the high Jewish court. References Primary Secondary Mishnah Yadayim 4:6–8, The Pharisee–Sadducee Debate, COJS. External links 2nd-century BCE Judaism 1st-century BCE Judaism 1st-century Judaism Jewish religious movements Judaism-related controversies Israelites
1496_0	Risteard Ó Foghludha (5 March 1871 – 20 August 1957) was an Irish-language teacher, journalist and editor from near Youghal, County Cork. Early life His father Richard (1830–1910) was a farmer and Peg Long was his mother. He was the oldest of seven girls and five boys. Both his parents were native Irish speakers. He won a prize when at the Christian Brothers school in Youghal in the Irish language. He dedicated his first literary work Carn Tighearnaigh (1938) to Mháirtín Ó Buadhacháin from Youghal, the first person who taught him to read and write in the Irish language.(" do Mháirtín Ó Buadhacháin in Eochaill, don té do chéad-thug teagasc dam i léigheamh agus i scríobhadh ár dteangadh dúthchais.")
1496_1	Work Later on, he moved to Dublin, around the year 1888. It is likely that he spent two years in question worked in the Royal Dublin Society, in Leinster House at the time and at this time he started learning shorthand. He became a reporter for the Freeman's Journal, in the early 1890s. It claimed that he was charged with reporting the last speech of Charles Stuart Parnell, made in Creaga, County Galway, on 27 September 1891. He spent eight years in England working with wholesale typing machines and returned to Dublin at the beginning of the 20th century. While in England he started selling Underwood Typewriter Company. This Company sent him back to Ireland at the beginning of the 20th. century. Until 1905 Underwoods did not have an office in Dublin and Ó Foghludha spent long periods in Belfast, but went back to Dublin at the weekend. He was teaching in Blackrock College, between the years 1905–07.
1496_2	He founded a branch of the Gaelic League (Conradh na Gaeilge) 'Craobh an Chéitinnigh' in 1901, along with Seosamh Ó Tórna (Tórna), Seán Ó Cuív and Seán Ó Ceallaigh. He chose the motto for the Craobh (Branch) 'Múscail do mhisneach, a Bhanba' (Awaken your courage, Banba (Ireland)) and served as its honorary secretary for nine years. Personal life Ó Foghludha married Eily Barnes (born in Ranelagh in 1884) in June 1910. They had one son, Garrett. Literary works On 17 August 1901 he published his first work of prose in An Claidheamh Soluis, using the pseudonym 'An Corcaigheach Macánta' (The honest Corkonian). He first used the pseudonym 'Fiachra Éilgeach' whilst in Lough Leane, in November 1903.
1496_3	He spent most of his life's work in the editing of the work of the best poets in Munster Irish: Piaras Mac Gearailt (1905), Donnchadh Ruadh Mac Conmara (1908, 1933), Brian Merriman (1912, 1949), Tadhg Gaelach Ó Súilleabháin (1929), Pádraig Phiarais Cúndún (1932), Seán Clárach Mac Domhnaill (1932), Liam Dall Ó hIfearnáin (1939), Eoghan Rua Ó Súilleabháin (1937), Liam Inglis (1937), Pádraig Denn (1942), Liam Rua Mac Coitir (1937), Eoghan an Mhéirín Mac Carrthaigh (1938), An tAthair Conchubhar Ó Briain (1938), Éamonn de bhFál (1946), Filí na Máighe ( The Maigue Poets) (1952).
1496_4	In 1935, Brown and Nolan published his 'Dictionary of Irish Place-names'. He published other titles as well; Saol-ré Sheathrúin Céitinn, 1908; Imeachtaí an Oireachtais, Sgéalta triúir, 1919; Scoth-duanta, 1933; Duanarán ré 1600–1700, 1935; Mil na hÉigse, 1945; . He also edited other works; Seod-aistí as Conamara, 1943 by Peadar Neilí Ó Domhnaill. Fíoraon le fiarán,(Leo Tolstoy); An Béar, 1923 (Anton Chekhov); Ag Suirghe leis an mBaintreach, 1927 (The Courting of the Widow Malone by Constance P. Anderson); Fiche gearrscéal ar na thionntódh as an bhFraingcis ( 20 short stories translated from French,) 1930; Naoi ngearra-chluichí ar n-a thionntódh by Fiachra Éilgeach, 1930; Maria Chapdelaine, 1933 (Louis Hemon); Cnósach gearr-scéal. Ar n-a dtionntódh ón bhFraingcis, 1934; An Phíb fé sna bántaibh, 1933 (The Pipe in the fields le T.C. Murray); Oilibhéar Dubh, 1935 (the drama Black Oliver by John Guinan); An Bheidhlín Buadha, 1935 (François Coppée); An Sárúchán, 1935 (The Lifting le John
1496_5	Brandane); Eoinín Bocht, 1942 (El Pobrecito Juan le Gregorio Martinez Sierra). Tiarnaí deireanacha Urmhún (1956), translation of The Last Lords of Ormond by Dermot F. Gleason.
1496_6	Ó Foghludha held the position of manager in the company 'Underwood Typewriter Co. ", at 5 Leinster Street, up to April 1936 when he started working for An Gúm. For a period, he was editor at 'Brown and Nolan' before Éamon de Valera appointed him to Coimisiún na Logainmneacha (The Placenames Commission) in the year 1946. He was appointed editor of the translation of the Constitution of Ireland on 11 November 1936. Risteard Ó Foghludha died on 20 August 1957. On 25 August 1974, Tom O'Donnell, Minister for the Gaeltacht, unvailed a plaque on the house where he was born and where his relatives still live. A local primary school is named Scoil Fhiachra Éilgeach in his honour. The National University of Ireland awarded him D. Litt. Celt. it in 1939. References 1957 deaths 1871 births 20th-century Irish people 19th-century Irish people Irish journalists People from Youghal Irish-language writers French–Irish translators Russian–Irish translators
1497_0	Unreal Tournament is a first-person arena shooter video game developed by Epic Games and Digital Extremes. The second installment in the Unreal series, it was first published by GT Interactive in 1999 for Microsoft Windows, and later released on the PlayStation 2 and Dreamcast by Infogrames in 2000 and 2001, respectively. Players compete in a series of matches of various types, with the general aim of out-killing opponents. The PC version supports multiplayer online or over a local area network. Free expansion packs were released, some of which were bundled with a 2000 re-release: Unreal Tournament: Game of the Year Edition.
1497_1	Powered by the Unreal Engine, Unreal Tournament received universal acclaim, often being considered one of the best video games ever made, with reviewers praising the graphics, level design, and gameplay, though the console ports were noted for having limitations. The design of the game shifted the series' focus to competitive multiplayer action with the releases of sequels Unreal Tournament 2003 in 2002, Unreal Tournament 2004 in 2004, and Unreal Tournament 3 in 2007. Gameplay
1497_2	Unreal Tournament is an arena first-person shooter, with head-to-head multiplayer deathmatches being the primary focus of the game. The single-player campaign is a series of arena matches played with bots, where the player competes for the title of Grand Champion. The player moves up the tournament ladder in order to challenge the current champion, Xan Kriegor, a mysterious being with exceptional skill. Also available is a Practice mode, in which, as its name implies, the player practices a match. Match settings (such as score and time limits) can be customized. Also available are "mutators" which drastically alter gameplay aspects, such as "InstaGib", the use of which makes players compete with instant-kill weapons instead of the normal ones. Weapons include Enforcers, Rocket Launchers, and Rippers, which fire ricocheting blades. Each weapon has two firing modes which have different effects: for example, Rippers can also fire non-ricocheting blades which explode on impact. A special
1497_3	weapon is the Redeemer, which causes a very large and powerful explosion.
1497_4	Items such as Body Armor (which reduces damage taken), health packs (which heal players), and Damage Amplifiers are scattered across levels. Levels are set in a variety of environments, including spaceships, outposts, and buildings such as castles and monasteries. Many contain features such as elevators (lifts) and teleporters, and obstacles such as water and lava. The game is backwards compatible with the majority of Unreal multiplayer maps. The PC version includes a level editor in which players can create their own levels, and the PlayStation 2 version supports the use of a USB keyboard and mouse, enabling players to play in a similar manner to the PC version.
1497_5	For team matches, bots are used to fill the roles of the player's teammates. The player can choose the bots' skill level or have it automatically adjust to the player's performance. Bots can be further customized by changing attributes such as names, appearance, and weapon preferences. In team matches, players can give orders to bots on their team. The PC version supports multiplayer mode over the internet or a local area network (the original Unreal was mainly a single-player game).
1497_6	Game types Assault: This game type is played with two teams, one assaulting a "base" and the other defending it. The map is set up with objectives which the attacking team must complete (usually in sequence) such as shutting down a power generator, or entering an area. The team who first attacks then defends, and attempts to defend for the entire time they attacked. If they accomplish this, they win. If the team defending first assaults the base faster than the other team, they win. If both teams defend for the maximum amount of time the match is a tie. The Dreamcast version does not feature this mode. Capture the Flag: Players compete to capture the other team's flag and return it to their base. Competitive teams must use a great deal of teamplay. Both teams must defend the base from incoming attackers and get into the other team's base, take their flag and return to base.
1497_7	Deathmatch: A classic every-man-for-himself player vs. player combat. The objective is to out-kill all opposing players. Domination: Two teams compete to control various control points to earn points. Standard maps contain three control points. Control of these points is initially accomplished through occupation (physically occupying the space), but control of a point continues until a player from another team occupies the space. The first team to reach the point limit, or that has the most points when a time limit has expired, wins. Last Man Standing: Similar to Deathmatch, the player's objective is to remain alive longer than their opponents, putting an emphasis on number of deaths rather than kills. Players start with all weapons (except the Redeemer) available, fully loaded, and have a set number of lives. Power-ups, including health and ammunition packs, are unavailable. Once a player runs out of lives, they lose.
1497_8	Team Deathmatch: Up to four teams compete to out-kill the opponent teams.
1497_9	Four "bonus packs" were released, each adding maps, characters, or features. For example, Bonus Pack 1 adds "relics" as mutators. Relics are special items that grant a significant advantage to their holder. They include (but are not limited to), the Relic of Vengeance, which creates an explosion when its holder dies, the Relic of Regeneration, which regenerates the health of the holder, and the Relic of Redemption, which makes its holder re-spawn elsewhere with full health and weapons intact when they would normally die. Bonus Pack 4 adds a new version of Xan Kriegor. Plot
1497_10	During the Human–Skaarj war, the New Earth Government was formed. Mining was the primary method of financing the war, but was unpopular with the working class, who grew weary of the working conditions and the war. The humans were losing the war, and riots broke out. The Terran system was surrounded by Skaarj forces, but a government team destroyed their mothership, and the Skaarj withdrew. Afterward, revolts and violence among the mining colonies were on the increase, and efforts to deal with them were unsuccessful. The government then came up with the idea of giving the violence an outlet instead. "Consensual murder" was legalized in the year 2291, enabling people to fight to the death under organized conditions. The Liandri Mining Corporation worked with the government and organized leagues and public exhibitions. Soon, these matches became more profitable than mining, and Liandri formed a professional league to compete in a "Grand Tournament", the most popular event in the sport.
1497_11	The game takes place in 2341, fifty years after the fights were first legalized.
1497_12	Development With a budget of $2 million, using 350,000 lines of C++ and UnrealScript, Unreal Tournament took around a year and a half to develop. When Unreal (the first installment of the Unreal series) was released in May 1998, it was well received by the press. However, it soon became apparent that the quality of the network code used for multiplayer matches was hampering the game's further success. In the months following Unreals release, improving the game's multiplayer part became the top priority of the development team. Epic Games started considering an official expansion pack intended to improve the network code while also featuring new maps and other gameplay elements.
1497_13	The team began work on the expansion in summer 1998, but the task became complicated by Epic's organizational structure. During the development of Unreal, the team members at Digital Extremes were working in Ontario, Canada, while the members at Epic were based in North Carolina, United States, requiring regular travel to Ontario. To remedy this, Epic decided to centralize the teams in Raleigh, North Carolina, and by September, work on the expansion could begin. Lead programmer Steve Polge set about laying the foundations for the new game types, such as Capture the Flag and Domination, and level designers created the first round of maps for testing. The content grew quickly, and soon the team realized that it had underestimated the task. In November, after a meeting with publisher GT Interactive, Mark Rein suggested releasing the work as a standalone game instead of an expansion. The team was reticent at first, but soon accepted the idea, and in December the game became known
1497_14	internally as Unreal: Tournament Edition.

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