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Friedrich Alexander Wernicke (* 3. Januar 1857 in Görlitz; † 30. März 1915 in Braunschweig) war ein deutscher Schulmann und Hochschullehrer.

Leben
Alexander Wernicke wurde 1857 in Görlitz in der Oberlausitz geboren. Sein Vater Adolph Wernicke (1829–1895) war Gewerbelehrer und späterer Direktor der Oberrealschule in Gleiwitz in Oberschlesien. Nach dem 1874 bestandenen Abitur studierte Wernicke von 1875 bis 1879 und 1881 Mathematik, Naturwissenschaften, Philosophie und Germanistik in Heidelberg, Berlin und Göttingen. Er legte in Berlin das Staatsexamen ab und wurde 1879 zum Dr. phil. promoviert. Nach dem Militär- und Probejahr habilitierte er sich 1881 an der Technischen Hochschule Braunschweig für Mathematik und Philosophie mit einer Arbeit zur Kantforschung. Er war in Braunschweig ab 1882 als Gymnasiallehrer und ab 1891 als Dozent am Pädagogischen Seminar tätig. Daneben hielt er weiterhin Vorlesungen an der Technischen Hochschule, wo er 1890 zum außerordentlichen Professor für Mechanik ernannt wurde.

Wernicke wurde 1894 zum Direktor der Oberrealschule, der späteren Herzog-Johann-Albrecht-Oberrealschule (ab 1913) und heutigen Hoffmann-von-Fallersleben-Schule, berufen. Er setzte sich für die Gründung einer zweiten Oberrealschule, der 1909 ins Leben gerufenen Städtischen Realschule für Jungen und späteren Gaußschule (seit 1911), ein. Wernicke förderte die Einrichtung des kaufmännischen Fortbildungswesens. Er erhielt den Titel eines Oberschulrates für seine Mitarbeit in der Schulbehörde. Wernicke machte sich einen Namen als Kämpfer für ein gleichberechtigtes Nebeneinander der höheren Schulformen. Als Pädagoge sah Wernicke die Schulreform als Teil der Sozialreform an. Sein Ziel war die philosophische Durchdringung des mathematischen Unterrichts und die Erziehung zu einem tätigen Idealismus auf dem Grunde eines nationalen Humanismus. Er war von 1906 bis 1908 Vorsitzender des Vereinsverbandes der akademisch gebildeten Lehrer Deutschlands. In der 1908 gegründeten Internationalen Mathematischen Unterrichtskommission (IMUK) setzte er sich für die Verbindung von Mathematikunterricht und philosophischer Propädeutik ein. Wernicke wohnte zuletzt in der Straße Hintern Brüdern in Braunschweig. Dort starb er im März 1915 im Alter von 58 Jahren.

Schriften (Auswahl)
 Die Theorie des Gegenstandes und die Lehre vom Dinge-an-sich bei Immanuel Kant. 1881.
 Die Philosophie als descriptive Wissenschaft. Goeritz und zu Putlitz, Braunschweig 1882.
 Grundzüge der Elementar-Mechanik. 1883.
 Kultur und Schule. 1896.
 mit Max Osterloh: Das Unterrichtsgebäude für Physik und Chemie der Städtischen Oberrealschule zu Braunschweig. Meyer, Braunschweig 1897. (Digitalisat)
 Das Gymnasium und sein sogenanntes Monopol. In: Pädagogisches Archiv, Monatsschrift für Erziehung und Unterricht, zugleich Centralorgan für die gesamten Interessen des Realschulwesens, 39, 6 (1897), S. 413–440.
 Richard Wagner als Erzieher. H. Beyer, 1899.
 Weltwirtschaft und Nationalerziehung. 1900.
 Lehrbuch der Mechanik fester Körper. 3 Bände. 1901–1903.
 Kant ... und kein Ende?. Joh. Heinr. Meyer, Braunschweig 1907.
 Die Oberrealschule und die Schulreformfragen der Gegenwart. Teubner, 1910.
 Mathematik und philosophische Propädeutik. Teubner, Leipzig 1912.

Literatur
 Karl Wilhelm Mügel: Wernicke, Friedrich Alexander, Prof. Dr. In:

Einzelnachweise

Hochschullehrer (Technische Universität Braunschweig)
Schulleiter (Braunschweig)
Pädagoge (19. Jahrhundert)
Pädagoge (20. Jahrhundert)
Schulbuchautor
Deutscher
Geboren 1857
Gestorben 1915
Mann


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A. Gutierrez reached first on an error by ss; A. Gonzalez advanced to third.
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text:
Q: MySQL Update entire table in one query I'm trying to load and update the content of a entire table. I have no problem loading the data but it won't update.. Can someone tell me what I'm doing wrong here:
while($show_table   = mysql_fetch_array($result_table)){
    echo "
<input type='text' name='table_id' value='" .
        $show_table["id"] . "'/><input type='text' name='table_date' value='" . $show_table["date"] . "'/>
        	€ <input type='text' name='table_week' value='" . $show_table["week"] . "'/>
        	€ <input type='text' name='table_midweek' value='" . $show_table["midweek"] . "'/>
        	€ <input type='text' name='table_weekend' value='" . $show_table["weekend"] . "'/>
        	<input type='text' name='table_type' value='" . $show_table["type"] . "'/>
        	<input type='text' name='table_information' value='" . $show_table["information"] . "'/>
";
}

echo "

<input type='submit' id='form_submit' name='update_confirm' value='Tarieven bijwerken'>

</form>";

if ($_POST['update_confirm'] == 'Tarieven bijwerken') {
    $id = $_POST['table_id'];
    $date = $_POST['table_date'];
    $week = $_POST['table_week'];
    $midweek = $_POST['table_midweek'];
    $weekend = $_POST['table_weekend'];
    $type = $_POST['table_type'];
    $information = $_POST['table_information'];

    $update_table = "UPDATE tarieven SET date='$date', week='$week', midweek='$midweek', weekend='$weekend', type='$type', information='$information' WHERE id='$id';";
    $confirm_table  = mysql_query($update_table);

} else {
}

A: Your query updates only 1 row, as specified by UPDATE tarieven SET ... WHERE id='$id' - although you are looping through all the records and displaying them, the update is outside the loop.

redpajama_set_name: RedPajamaStackExchange


text:
Gustav Hermann Unger (* 26. Oktober 1886 in Kamenz; † 31. Dezember 1958 in Köln) war ein deutscher Komponist.

Leben
Hermann Unger war der Sohn des Wandertheaterdirektors Fritz Unger (1858–1922) und seiner Ehefrau Maria geborene Stein. Er wurde in der Klosterstraße 1 in Kamenz geboren. Unger besuchte die Fürstenschule Grimma und studierte an den Universitäten Freiburg, Leipzig und München Germanistik, Archäologie, Musikwissenschaften und klassische Philologie. Musikalisch ausgebildet wurde er während seiner Münchener Studienzeit durch Edgar Istel und Joseph Haas. Letzterer vermittelte ihn 1911 an Max Reger nach Meiningen. Seinen Militärdienst leistete Unger in Meiningen bei der Regimentsmusik. 1910 promovierte Unger bei Otto Crusius in München zum Dr. phil. mit einer Arbeit über den Gebrauch des daktylischen Hexameter in der altattischen Komödie.

1913 kam Unger als Redakteur der Rheinischen Musik- und Theater-Zeitung nach Köln. Im Ersten Weltkrieg kam er zunächst in die Champagne. Danach wurde Unger zu den Kriegsschauplätzen des Osmanischen Reichs versetzt und diente in Aleppo und Konstantinopel. Nach der Rückkehr über Russland 1918/1919 leitete er die Kölner Städtische Bibliothek und hielt Vorlesungen an der Universität zu Köln. 1919 heiratete Unger die Witwe des Stabsarztes Alexander Burger, Leonie geb. Debüser (1894–1970). Aus der Ehe ging der Sohn Klaus (1920–2012) hervor.

Ab 1927 war Unger Professor an der Musikschule in Köln, die sich seit der Reformierung 1925 in eine staatliche Hochschule für Musik (Meisterklassen für Instrumentalspiel und Gesang, Komposition, Musiktheorie, Musikgeschichte, Rhythmik, Opernschule, und die Abteilungen für evangelische und katholische Kirchenmusik sowie Schulmusik) und die städtische Rheinische Musikschule (Vorbereitungsklassen für die Orchesterschule, die Opernchorschule und Klassen für die Laien- und Jugendmusik) mit getrennten Satzungen und Prüfungsordnungen gliederte. Nach der Machtergreifung der Nationalsozialisten wurde der Hochschuldirektor Walter Braunfels entlassen. Auch der Leiter der Musikschule Hermann Abendroth wurde ein Jahr später aus seinem Amt vertrieben. 1935 übernahm Martin Karl Hasse die Leitung der Hochschule. Zum Leiter der Rheinischen Musikschule und Hasses Stellvertreter wurde Hermann Unger ernannt, der im Januar 1932 der NSDAP beigetreten war (Mitgliedsnummer 827.904).

Obwohl Unger vor 1933 noch als Journalist gegen Ämterhäufung und Misswirtschaft in Köln polemisiert hatte, nahm er nach der Machtergreifung 16 systemnahe Ämter an. Der Entnazifizierungshauptsausschuss der Stadt Köln stufte Unger im Januar 1949 deshalb in die Kategorie IV (Mitläufer) ohne Konten- und Vermögenssperre ein. Trotzdem gab es zu Ungers siebzigstem Geburtstag zahlreiche öffentliche Veranstaltungen. Selbst seine nun zum Ostblock gehörende Geburtsstadt Kamenz veranstaltete 1956 in der Gaststätte Stadt Dresden, wie zuvor schon 1936, ein Festkonzert unter musikalischer Leitung des Kamenzer Musikdirektors Höhne. Zur Aufführung kamen unter anderem die Werke Niederrheinische Tänze und Lieder (Op. 100) und Schönsteiner Schlossmusik (Suite in fünf Sätzen nach mittelalterlichen Weisen; op. 105), beide komponiert für Kammerorchester. Die erforderlichen Noten und Unterlagen wurden von Unger, der sich über die Ehrung erfreut zeigte, persönlich nach Kamenz gesandt.

Der Verband deutscher Tonkünstler und Musiklehrer (VDTM) schlug mehrfach vor, Unger das Bundesverdienstkreuz erster Klasse zu verleihen, zuerst rund einen Monat vor Ungers siebzigstem Geburtstag. Das Kultusministerium Nordrhein-Westfalens lehnte dies mehrfach ab. Erst nach einem direkt an den Kultusminister Paul Luchtenberg gerichteten Schreiben Ende 1957 entschied sich dieser zur Ordensverleihung, die dann jedoch erst kurz vor Ungers Tod durch Luchtenbergs Vorgänger und Nachfolger Werner Schütz am "5. Dezember 1958 gegen 19.00 Uhr" in Ungers Wohnung ohne Verständigung der Presse stattfand. Zu den Umständen der Ordensverleihung musste Schütz im Januar 1959 hausintern ausführlich Stellung nehmen.

Am 31. Dezember 1958 verstarb Unger 72-jährig in seiner Wohnung in Köln-Bayenthal. Die Grabstätte der Familie Unger befindet sich auf dem Kölner Südfriedhof (Flur 43).

Ehrungen
 Eisernes Kreuz II. und I. Klasse
 Eiserner Halbmond
 Hanseatenkreuz
 Bundesverdienstkreuz 1. Klasse

Werke (Auswahl)
 Bilder aus dem Orient: op. 17
 Levantinisches Rondo: op. 22
 Hymnus an das Leben: op. 25 (Text Émile Verhaeren)
 Jahreszeiten: op. 26 (Erstaufführung in Berlin und Leipzig durch Arthur Nikisch)
 Richmodis von Aducht: op. 50, Legenden-Volksoper in einem Vorspiel und drei Aufzügen
 Kleine Fuge (Terzen-Sexten Studie) op. 129

Einzelnachweise

Chorleiter
Dirigent
Hochschullehrer (Hochschule für Musik und Tanz Köln)
Komponist (Deutschland)
Musikwissenschaftler (Nationalsozialismus)
Träger des Bundesverdienstkreuzes 1. Klasse
Träger des Hanseatenkreuzes (Verleihungsstadt unbekannt)
Träger des Eisernen Halbmondes
Träger des Eisernen Kreuzes I. Klasse
Deutscher
NSDAP-Mitglied
Geboren 1886
Gestorben 1958
Mann

redpajama_set_name: RedPajamaWikipedia


text:
U2 live!
ilentertainer | September 16, 2009	| 0 Comments
Soldier Field, Chicago
For the longest time, the mega arena rock show was a tired cliche. The symbol of bloated excess reserved for a rock hierarchy that had not only lost touch with the fans, but seemed to see touring as a cash grab. However, with 1991's Zoo TV tour, U2 redefined what a stadium show could be. That multimedia extravaganza rewrote the book and made all giganto outdoor tours after (including their own Pop Mart tour) look like tired wannabes.
For an expanded photo gallery from Saturday's opener, visit www.illinoisentertainerphoto.com!
Having scaled back their road show the past couple of tours, U2 return to the great big outdoors with the 360 Tour to support No Line On The Horizon, their most risk-taking release since Achtung Baby. This time out, instead of massive banks of individual video screens or giant lemons, we get the mammoth setup known as "The Claw." The best way to describe it is: It's a big fuckin' thing. Aside from hanging the wrap-around video monitor and shooting lights into the sky, it really doesn't serve much purpose other than to be a big fuckin' thing. As a result, the band were dwarfed, reduced to a seemingly secondary consideration. And, for a surprising portion of the show, U2 played like it.
Perhaps it was the fact that this was the opener of the U.S. leg of the tour, or maybe something else was going on, but in the many times I've seen them live I've never seen them as they were during the first half of the evening – tentative. After a rousing run-through of No Line's "Breath," the group seemed to step back, as if they were putting a toe in the water to see if it was safe to jump in. On the standard "I Still Haven't Found What I'm Looking For," Bono was content to let the audience do the heavy lifting and sing half of it for him, and throughout the evening gave the obligatory shout-outs to all the Chicago landmarks. He mentioned Soldier Field, Grant Park, the CTA, and other tourist spots so often one half expected the audience to be led out of the stadium to a fleet of double-decker buses. Even "The Unforgettable Fire" – once an absolute show stopper and revived here, arrived tired and uninspired.
Yet something happened at the exact halfway point. With the one-two punch of "Vertigo" and the wisely reworked "I'll Go Crazy If I Don't Go Crazy Tonight" played over the club beat of "Discotheque," the switch was thrown and it seemed as if they remembered what they were capable of.
Earlier in the show, Bono had poked fun at his lack of humility, saying there was no room for humility with a crowd such as this and calling the band "The wind in the Windy City." And as such, his world views were on full display by dedicating "MLK/Walk On" to imprisoned Burmese activist Aung San Suu Kyi and a video introduction for the encore by Bishop Desmond Tutu.
Still, the uneven pace and heavy-handed arena cliches would all be forgiven with a burning delivery of "Where The Streets Have No Name," a song that's always seemed tailormade for this type of venue. Scanning the crowd, it was impossible to find someone who wasn't singing along with the band (instead of for them) and didn't have an ear-to-ear smile. The vibe alone seemed to be enough to push Bono over the top for "Bad," proving to all that he still had the chops to hit the high notes and inspire everyone within earshot.
While the 360 Tour isn't as innovative or ambitious as Zoo TV, there's hope that once U2 starts hitting on all cylinders, the phrase "stadium show" doesn't automatically have to be regarded as a four-letter word.
— Timothy Hiatt
Tags: Bono, U2
Category: Live Reviews, Weekly
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redpajama_set_name: RedPajamaCommonCrawl


text:
Shen Wei Dance Arts Brings Rite of Spring and Folding to Houston
Adam Castaneda May 20, 2013 9:00AM
On May 18, in the Wortham Center's Brown Theater, a stage typically reserved for the artists of Houston Ballet, the Society for the Performing Arts presented Shen Wei Dance Arts and the company's riveting reinterpretation of The Rite of Spring.
Shen Wei's Houston engagement came 11 days before the 100th anniversary of the infamous Paris premiere of Vaslav Nijinsky's The Rite of Spring. Wei's reimagining of the Igor Stravinsky score is a decade old, but it's great to be able to see it so shortly after another major staging of the piece for comparison's sake. (I'm referring to, of course, Houston Ballet's spring engagement of Stanton Welch's version.)
Shen Wei strips the Stravinsky music of narrative theatricality and instead uses a minimalist, almost geometric sensibility to the choreography. Ten dancers take positions on opposing sides of a grid-like floor painting and then move onto it like pieces on a chest board. One by one, the dancers move into one another's space, causing them to react by readjusting their space on the grid. Then the music begins and the careful, strategic placements go haywire.
Despite the dynamism of the Stravinsky score, the movement is not dominated by it, but rather informed by it. The ensemble, which eventually swells to 14 dancers, scurries across the stage in minute steps and mini-chassés. When the music becomes more aggressive, the bodies hurtle to the floor and then shoot upwards in a dizzying relay of level changes. The intention of the dancers is strong, which is seen when they confront the audience in a single downstage line, their chests heaving for breath with faces of stone which underscore the power of this refashioning.
The choreography is at times flowery, harsh and disjointed at others. Much like the music, the movement takes many sharp turns. Because there is no story, there is a startling sense of ominous mystery that is exciting to behold, but what does it mean besides an attempted literal interpretation of the score? Wei's Rite of Spring is a math equation with many possible solutions.
Rite of Spring was the one half of the program that was heavily promoted in press previews, but it was the second dance, Folding, that held me spellbound. Folding, originally staged in 2000, uses Tibetan Buddhist chants to haunting effect. I've heard live Buddhist chanting in Dharamsala, but its calming effects are transfigured into more alarming sensations when paired with the bodies that glide across the stage. The dancers perform in head-to-toe white body paint and are affixed with otherworldly bulbous heads. Clad in blood red skirts, they shuffle onto the stage and off, and then move in unison in simple figure eights.
Black-skirted figures arrive in pairs, their full skirts distorting their dimensions to where it is impossible to discern where one body ends and the other begins. The pairs give the impression of occupying a single body, a folded body to be exact. The monastic movements are eerie and beautiful at the same time, their slow methodical movements suggesting sculptures brought to life. The final image is breathtaking: nine dancers ascend a staircase in the background, a single body is splayed on the floor downstage right and a lone wanderer repeatedly enters and exits the wings on the opposite side. I had the feeling that I had just witnessed a rapture of some sort.
Shen Wei's sparse and carefully structured Rite of Spring gives new meaning to Stravinsky's majestic score, but it is the hypnotizing Folding that caused a sensational flurry of conversation once the curtain fell and the lights came up. The dance has a pureness of movement and simplicity of design that can only be described as elegant, but its power is in its haunting images of large-skirted, ghost-white beings that are without question alien, yet, unmistakably human. Folding is dance that embeds itself in the audience's consciousness and stays there.
KEEP THE HOUSTON PRESS FREE... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we'd like to keep it that way. With local media under siege, it's more important than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" program, allowing us to keep offering readers access to our incisive coverage of local news, food and culture with no paywalls.
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Reviews For The Easily Distracted:
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Wind Band Literature takes a close look at the best of the wind band repertoire, from chamber music to huge symphonic works, from beginning band to professional level. It is not a comprehensive repertoire site, but rather a collection of resources compiled and created by conductor Andy Pease. These are tools to share with students and colleagues to help enhance understanding of what makes the music we play so powerful and meaningful to us.
Also, look for reporting from the Midwest Band and Orchestra Clinic in Chicago this December.
There is more in the works. Stay tuned.
Looking for a recap? Here they are in abundance: Summer 2015, Spring 2015, Fall 2014, Summer 2014, Spring 2014, Fall 2013, Summer 2013, Spring 2013, Fall 2012, Summer 2012, Spring 2012, Fall 2011, Summer 2011, Spring 2011, Fall 2010.
Like this page on Facebook to see even more highlights and updates on the latest new additions to the site. You may also be looking for this site by its former name, Andy Pease's Wind Band Blog. You are in the right place: all of the same content is here.
Is it okay to place part of this in my personal site if I submit a reference to this site?
No problem at all. Thanks.
Could you maby contact me via my e-mail? I have some questions about "Overture" from Dancer in the Dark and Lux Aurumque. I would like to play them pieces with my brass ensemble but dont know where to buy them.
Michel – please use my e-mail address, listed at the top of the page, to get in touch. Yours isn't showing up. Thanks!
hey mr. pease i am a student from the all county band 1 trombone , how do we listen to our peices???
Hi Finlay – if you've made it this far, just click on the titles of the pieces above. I tend to hide the recordings towards the bottom of each post, so be sure to scroll down. Enjoy!
influenced Philip Sparke, Johan de Meij etc, where modern wind band music originated from. If you could point me in the right direction I'd be very grateful, if not then don't worry. Do check my blog out if you can at windbandwonderland.wordpress.com, feedback is appreciated, it's sill a new project. I look forward to hearing more great music from you.
Slow morning here in Cleveland Tennessee and I stumbled onto your blog while I was looking for a recording of Esprit de Corps with what I considered the "correct" tempo for my wind lit kids to listen to. Good reading. You have a bunch of good stuff here. thanks for taking the time to do this.


2019 is Flying H's 15th season, and once again each week throughout the 8 week season, from July 4th through August 24th, begins a new tournament. Teams will be reconfigured each week to give members a chance to play with as many different people as possible. This week to week changing of teams helps to keep the spirit of the polo friendly, however very competitive.
As always, Flying H Polo Club (FHPC) will work hand-in-hand with our next door neighbor, Big Horn Polo Club. BHPC is one of the oldest active clubs in the U.S. Many FHPC players play their young horses at BHPC which strengthens the polo there. A few FHPC members take advantage of BHPC as a place to play with and coach their children.
The Big Horn area has long been a polo pony training area. Horses from nearby ranches have found their way around the world to compete in the best polo for over a 100 years.
Your sponsorship benefits the Downtown Sheridan's long-standing commitment for Goose Creek restoration and revitalization efforts.


One thing my kids look forward to each month is our local FREE Home Depot Kid's Workshops. These are a great way to spend time together as a family, or have an excuse for a one-on-one date with your child.
The hands-on workshops are typically held the first Saturday of the month and run from 9 a.m. – 12 p.m. Projects range from super simple to more intricate, so make sure to take a peek to see what's ahead and if it's a fit for your child.
Once the project is complete, your child can paint and personalize it. All kids get to keep their project, receive a FREE certificate of achievement, a Workshop Apron, and a commemorative pin while supplies last.
The age recommendation is 5-12, but we take our younger ones too if it's not too challenging. If it's more challenging, make sure to have an extra adult to help with extra little hands.
TIP: Make sure to re-use the same apron each month so you can watch your pin collection grow!
See more ideas for FREE fun in SE Michigan here.
What are your favorite places to go for FREE fun?


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The following is a list of brands we are fully authorized to deal. This includes after sales service and warranty work. We update these pricelists all the time and to our knowledge they're all current pricing.
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HomeSportsFootballOwls' offensive turnovers creating large margins of defeat
Owls' offensive turnovers creating large margins of defeat
Temple University football inefficient offense has led the Owls to score 24 points in the last three games played.
04 November 2021 Victoria Ayala Football, Sports
D'Wan Mathis, a freshman quarterback, tries to avoid being tackled by a University of Central Florida player during the Temple Football game at the Lincoln Financial Field on Oct. 30. | AMBER RITSON / TEMPLE NEWS
After losing 49-7 against the University of Central Florida (5-3,3-2, The American Athletic Conference) on Oct. 30, Temple University football's (3-5,1-3, The American) chances for a winning season are slim.
With just four games remaining this season, the Owls are still struggling to find an offensive spark. They must win all of their upcoming matchups, all of which are against conference opponents, to finish with a winning record.
Temple's lack of rhythm on offense stems from slow starts in the first half and multiple three and outs, which conference opponents have capitalized on by scoring with their extended time of possession in the last three games.
Head coach Rod Carey plans to use backup freshman quarterback Justin Lynch in 10 to 15 snaps per game in the team's remaining matchups due to his running ability, and to avoid starting redshirt-freshman quarterback D'Wan Mathis taking additional hits, Carey said.
In Saturday's game against the Knights, Temple failed to score until the fourth quarter for the second time this season. The first came in their 28-3 loss against Boston College on Sept. 18, when the Owls converted a field goal at the start of the fourth quarter.
Temple was nearly shut out by UCF before Lynch managed to throw a 27-yard touchdown pass to redshirt-sophomore wide receiver Jose Barbon with 28 seconds left on the clock.
The Owls have also failed to score during the first quarter in seven of the eight games they've played. The only time Temple scored in the first quarter came against the University of Akron on Sept. 11, when graduate student wide receiver Randle Jones scored off a 70-yard touchdown pass from Mathis.
"We're constantly trying to fix that issue between penalties," Carey added. "Different things that set us back on opening drives that we're overcoming at times but not to a point we have gotten in the endzone consistently enough yet in the first quarter this season."
Though injuries have contributed to the lack of consistency on both sides of the ball, the Owls currently average 5.3 yards per play and 3.7 rushing yards per attempt.
The Owls converted on seven of their 18 third downs and one of their three fourth downs against the Knights, bringing drives to a halt and preventing the offense from generating any scoring plays.
"When you go out there, if you don't execute each and every play then how do you expect to stay on the field," Mathis said. "You get three guaranteed plays and if you don't execute in those first three plays you've got to get off the field."
Part of the Owls' self-inflicted wounds included an accumulation of penalties and turnovers throughout the game, both of which have been persistent issues the team has struggled with this season.
Temple has lost nine fumbles and thrown six interceptions this season, and the Owls are averaging 47.75 yards per game in penalties.
"We were moving the ball on the first drive like we did, you know, at other times like the Memphis game," Carey said. "Then just ended up with a critical penalty that moved us back and put us in a situation where we couldn't stay on the field with the first drive because we were trying to make that up."
Temple will take on East Carolina University (4-4, 2-2 The American) on Nov. 6, who are holding opponents to 26.6 points per game this season and have recorded a total of 19 sacks and six forced fumbles.
ECU has scored 63 points off of turnovers this season. Temple's offense will need to avoid detrimental turnovers to come out on top in this contest.
"We've just got to stay together as a team," said graduate student linebacker George Reid. "We only have each other, so we just have to stick together, keep working every week like we do, put our head down and just work."
Victoria Ayala
can be reached at victoria.ayala@temple.edu. Follow The Temple News @TheTempleNews.
Owls looking for a cohesive offense after missing playoffs
Temple opens COVID-19 booster clinic
Temple football hires Manny Diaz as next football coach
12 December 2018 Michael Zingrone Football, Sports
The Owls will introduce Manny Diaz at a press conference on Thursday.
Temple puts three-QB game plan into action against Buffalo
08 September 2018 Sam Neumann Football, Sports
Graduate student Frank Nutile started his for the second consecutive week, while redshirt sophomore Anthony Russo and redshirt freshman Todd Centeio both played during the Owls' 36-29 loss to the University at Buffalo on Saturday at Lincoln Financial Field.
Temple football backups have chance to fill 11 starting spots
14 January 2020 Dante Collinelli Football, Sports
Temple football must replace major defensive leaders after finishing 8-5 for the second straight season.


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NGC 3697 (другие обозначения — NGC 3697A, UGC 6479, MCG 4-27-42, ZWG 126.61, HCG 53A, PGC 35347) — спиральная галактика с перемычкой (SBb) в созвездии Льва. Открыта Джоном Гершелем в 1827 году.

Этот объект входит в число перечисленных в оригинальной редакции «Нового общего каталога».

Галактика NGC 3697 входит в состав группы галактик . Помимо NGC 3697 в группу также входят PGC 35360, PGC 35355 и PGC 35381.

В 2020 году в галактике наблюдалась сверхновая типа Ia AT2020aavb. В NGC 3697 не наблюдается следов взаимодействия с другими галактиками. Кривая вращения этой галактики достаточно типична, с максимальным значением около 260 км/с. Поле излучения галактики в линии H-альфа асимметрично.

Примечания

3697
Лев (созвездие)


An Exploration for the Senses. An Education in Indulgence. An Escape to Extraordinary.
For 38 years, the Telluride Wine Festival has celebrated of the best in food, wine, and epicurean indulgences set against the breathtaking background of Telluride's box canyon. Over the course of four days, guests are invited to experience luncheons and dining delights hosted by local restaurants, tastings and seminars by some of the world's most revered chefs, and sample wines and spirits from across the globe.


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Gliese 1214 è una stella nana rossa nella sequenza principale di magnitudine 14,7 situata nella costellazione dell'Ofiuco (Ophiuchus, Oph). Dista circa 42 anni luce dal sistema solare. Nel 2009 fu scoperto un esopianeta attorno alla stella, del tipo mininettuno.

Osservazione
Si tratta di una stella situata nell'emisfero celeste boreale, ma molto in prossimità dell'equatore celeste; ciò comporta che possa essere osservata da tutte le regioni abitate della Terra senza alcuna difficoltà, rendendosi invisibile soltanto dalle aree più interne del continente antartico. Nell'emisfero nord invece appare circumpolare solo molto oltre il circolo polare artico, da latitudini superiori a 85° nord circa. Essendo di magnitudine pari a 14,7, non è osservabile ad occhio nudo.

Caratteristiche fisiche
La stella è una nana rossa nella sequenza principale; possiede una magnitudine assoluta di 14,1 e la sua velocità radiale negativa indica che la stella si sta avvicinando al sistema solare.

Ha una massa pari a circa un sesto di quelle del Sole e una temperatura superficiale che si stima pari a circa 3.250 °C. La sua luminosità arriva soltanto allo 0,46% di quella del Sole.

Le stime per il raggio stellare sono del 15% maggiori rispetto a quanto predetto dai modelli teorici.

Sistema planetario
A metà dicembre del 2009, un team di astronomi dello Harvard-Smithsonian ha annunciato la scoperta di un pianeta extrasolare in orbita attorno alla stella. Inizialmente si pensò che un pianeta con queste caratteristiche fosse classificabile come una Super Terra di tipo roccioso, tuttavia da studi degli anni 2010 pianeti con raggi superiori a  sono probabilmente dei nani gassosi con spessi involucri di idrogeno ed elio che li circondano.

Prospetto del sistema

Note

Altri progetti

Stelle con pianeti extrasolari
Stelle di classe spettrale M
Nane rosse


text:
It's not the end for "Snow White And The Huntsman"
Is there going to be another apple to bite for Snow White?
10 June – Considering the commercial success of their latest release, "Snow White And The Huntsman", it is not surprising that Universal Studios is going ahead with their plans for a sequel to the gritty British-American fairy tale, and that preparations have already begun.
According to Deadline, the studio already has "Mission: Impossible" and "Jurassic Park" screenwriter David Koepp working on a script for the sequel, and have begun talks for director Rupert Sanders to return to the director's chair, who is most likely to return seeing how well his debut feature has done in the box office.
It is not mentioned whether Kristen Stewart, Chris Hemsworth and Charlize Theron would be reprising their roles as Snow White, the Huntsman and Queen Ravenna respectively, although the option is very much open to them.
According to the latest takings from Box Office Mojo, "Snow White and the Huntsman" had already passed the US$100 million mark, with a standing of US$118 million worldwide as of 6 June, and has spellbound audiences in Malaysia and Singapore.
News of sequel only confirmed what producer Joe Roth had stated previously; that "Snow White And The Huntsman" was the kick-starter of a trilogy, a la "Lord of the Rings" style, back when production had not even begun.
"This story will end, but there will be questions remaining for these three characters," he said.
How is the sequel going to pick up where the "Snow White and the Huntsman" left off remains to be seen.
Writer: Casey Lee
Disney eyeing Brie Larson in Snow White live-action spin-off


text:
Orhan Ghazi (; , also spelled Orkhan,  1281 – March 1362) was the second bey of the Ottoman Beylik from 1323/4 to 1362. He was born in Söğüt, as the son of Osman I.

In the early stages of his reign, Orhan focused his energies on conquering most of northwestern Anatolia. The majority of these areas were under Byzantine rule and he won his first battle at Pelekanon against the Byzantine Emperor Andronikos III Palaiologos. Orhan also occupied the lands of the Karasids of Balıkesir and the Ahis of Ankara.

A series of civil wars surrounding the ascension of the nine-year-old Byzantine emperor John V Palaiologos greatly benefited Orhan. In the Byzantine civil war of 1341–1347, the regent John VI Kantakouzenos married his daughter Theodora to Orhan and employed Ottoman warriors against the rival forces of the empress dowager, allowing them to loot Thrace. In the Byzantine civil war of 1352–1357, Kantakouzenos used Ottoman forces against John V, granting them the use of a European fortress at Çimpe around 1352. A major earthquake devastated Gallipoli (modern Gelibolu) two years later, after which Orhan's son, Süleyman Pasha, occupied the town, giving the Ottomans a strong bridgehead into mainland Europe.

According to Muslim scholar Ibn Battuta, Orhan was "the greatest of the Turkmen kings and the richest in wealth, lands, and military forces".

Passage of power
Osman Gazi died in either 1323 or 1324, and Orhan succeeded him. According to Ottoman tradition, when Orhan succeeded his father, he proposed to his brother, Alaeddin, that they should share the emerging empire. The latter refused on the grounds that their father had designated Orhan as sole successor, and that the empire should not be divided. He only accepted as his share the revenues of a single village near Bursa.

Orhan then told him, "Since, my brother, thou will not take the flocks and the herds that I offer thee, be thou the shepherd of my people; be my Vizier." The word vizier, vezir in the Ottoman language, from Arabic wazīr, meant the bearer of a burden. Alaeddin, in accepting the office, accepted his brother's burden of power, according to oriental historians. Alaeddin, like many of his successors in that office, did not often command the armies in person, but he occupied himself with the foundation and management of the civil and military institutions of the state.

Government
According to some authorities, it was in Alaeddin's time, and by his advice, that the Ottomans ceased acting like vassals to the Seljuk ruler: they no longer stamped money with his image or used his name in public prayers. These changes are attributed by others to Osman himself, but the vast majority of the oriental writers concur in attributing to Alaeddin the introduction of laws respecting the costume of the various subjects of the empire, and the creation and funding of a standing army of regular troops. It was by his advice and that of a contemporary Turkish statesman that the celebrated corps of Janissaries was formed, an institution which European writers erroneously  fix at a later date, and ascribe to Murad I.

Janissaries

Alaeddin, by his military legislation, may be truly said to have organized victory for the Ottoman dynasty. He organised for the Ottoman Beylik a standing army of regularly paid and disciplined infantry and horses, a full century before Charles VII of France established his fifteen permanent companies of men-at-arms, which are generally regarded as the first modern standing army.

Orhan's predecessors, Ertuğrul and Osman I, had made war at the head of the armed vassals and volunteers. This army rode on horseback to their prince's banner when summoned for each expedition, and were disbanded as soon as the campaign was over. Alaeddin determined to ensure any future success by forming a corps of paid infantry, which was to be kept in constant readiness for service. These troops were called Yaya, or piyade. They were divided into tens, hundreds, and thousands with their commanders. Their pay was high, and their pride soon caused their sovereign some anxiety. Orhan wished to provide a check to them, and he took counsel for this purpose with his brother Alaeddin and Kara Khalil Çandarlı (of House of Candar), who was connected with the royal house by marriage. Çandarlı laid before his master and the vizier a project. Out of this arose the renowned corps of Janissaries, which was considered the scourge of the Balkans and Central Europe for a long time, until it was abolished by Sultan Mahmud II in 1826.

Çandarlı proposed to Orhan to create the Janissary corps, an army entirely composed of the children of conquered places. Çandarlı argued that:

He also claimed that incorporating children of the conquered would induce other people to enlist: their friends and relations, who would come as volunteers to join the Ottoman ranks. Acting on this advice, Orhan selected a thousand of the finest boys from conquered Christian families. The recruits were trained according to their individual abilities, and employed in posts ranging from professional soldier to Grand Vizier. This practice continued for centuries, until the reign of Sultan Mehmed IV.

Politics

Initial expansion

Orhan invaded Byzantine territories in northwest Anatolia. First, in 1321, Orhan captured Mudanya, the port linking the city of Bursa to the Sea of Marmara coast. He then sent a column under Konur Alp towards the west Black Sea coast; another column under Aqueda to capture Kocaeli, and finally a column to capture the southeast coast of the Sea of Marmara. Then, he captured Bursa by persuading its Byzantine commander to defect. As Evrenos Bey, he became a commander of light cavalry, and he and his sons and grandsons led Ottoman troops in the Balkans. Once Bursa was captured, Orhan sent cavalry towards the Bosphorus, capturing Byzantine towns on the Marmara coast. There were even sightings of Ottoman light cavalry along the Bosphorus coast, and Ottoman forces laid siege to Nicaea (second only to Constantinople in the Byzantine Empire).

In 1329, Byzantine Emperor Andronikos III led a mercenary army to relieve Nicaea and regain Kocaeli. In the ensuing battle of Pelekanon (now Darica, near Scutari, now Üsküdar), on 10 or 15 June, Orhan's disciplined troops routed the Byzantines. Thereafter Andronikos abandoned the idea of getting Kocaeli back and never again conducted a field battle against Ottoman forces.

Nicaea surrendered to Orhan after a three-year siege that concluded in 1331. Orhan captured Nicomedia in 1337. Orhan gave the command of Nicomedia to his eldest son, Suleyman Pasha, who had directed the operations of the siege.

In 133, Orhan captured Scutari; most of northwest Anatolia was in Ottoman hands. The Byzantines still controlled the coastal strip from Şile on the Black Sea to Scutari and the city of Amastris (now Amasra) in Paphlagonia, but these were so scattered and isolated as to be no threat to the Ottomans.

In 1345, there was a change of strategy. Instead of aiming to gain land from non-Muslims, Orhan took over a Turkish principality, Karesi (present Balıkesir and surroundings). According to Islamic philosophy of war, the areas under Islamic rule were to be abodes of peace and the other areas abodes of war. Conducting a war in abodes of war was considered a good deed. Karesi principality was a state governed by a Turkish emir and its main inhabitants were Turkish so it was an abode of peace. The Ottomans had to have special justification for conquering fellow Muslim Turkish principalities.

In the case of Karesi, the ruler had died and had left two sons whose claims to the post of emir were equally valid. So there was a fight between the armed supporters of the two claimant princes. Orhan's pretext for invasion was that he was acting as a bringer of peace. In the end of the invasion by Ottoman troops the two brothers were pushed to the castle of their capital city of Pergamum (now Bergama). One was killed and the other was captured. The territories around Pergamum and Palaeocastro (Balıkesir) were annexed to Orhan's domains. This conquest was particularly important since it brought Orhan's territories to Çanakkale, the Anatolian side of the Dardanelles Straits.

With the conquest of Karesi, nearly the whole of northwestern Anatolia was included in the Ottoman Beylik, and the four cities of Bursa, Nicomedia, Nicaea, and Pergamum had become strongholds of its power. At this stage of his conquests, Orhan's Ottoman Principality had four provinces:
Original land grant area of Söğüt and Eskişehir;
Hüdavendigar (Domain of the Sultan) area of Bursa and İznik;
Koca Eli peninsular area around İzmit;
former principality of Karesi around Balıkesir and Bergama.

Consolidation period

A twenty-year period of peace followed the acquisition of Karesi. During this time, the Ottoman sovereign was actively occupied in perfecting the civil and military institutions which his brother had introduced, in securing internal order, in founding and endowing mosques and schools, and in the construction of vast public edifices, many of which still stand. Orhan did not continue with any other conquests in Anatolia except taking over Ankara from the commercial-religious fraternity guild of Ahis.

The general diffusion of Turkish populations over Anatolia, before Osman's time, was in main part a push from the Mongol conquest of Central Asia, Iran and then East Anatolia. Turkish peoples had founded a number of principalities after the demise of the Anatolian Sultanate of Rum, after its defeat by the Ilkhanate Mongols. Although they were all of Turkish stock, they were all rivals for dominant status in Anatolia.

After the Byzantine defeat of the Battle of Pelekanon, Orhan developed friendly relations with Andronicus III Palaeologus, and maintained them with some of his successors. Therefore, the Ottoman power experienced a twenty-year period of general repose.

However, as the Byzantine civil war of 1341–1347 dissipated the last resources of the Byzantine Empire, the auxiliary armies of the Emirs of Turkish principalities were frequently called over and employed in Europe. In 1346, Emperor John VI Cantacuzene recognised Orhan as the most powerful sovereign of the Turks. He aspired to attach the Ottoman forces permanently to his interests, and hoped to achieve this by giving his second daughter, Theodora, in marriage to their ruler, despite differences of creed and the disparity of age. However, in Byzantine and in Western European history, dynastic marriages were quite usual and there are many examples which were much more strange.

The splendour of the wedding between Orhan and Theodora at Selymbria (Silivri) is elaborately described by Byzantine writers. In the following year, Orhan and Theodora visited his imperial father-in-law at Üsküdar, (then Chrysopolis) the suburb of Constantinople on the Asiatic side of the Bosporus where there was a display of festive splendor. However, this close relationship soured when Byzantines suffered from marauding migrant Turcoman bands that had crossed the Marmara Sea and Dardanelles and pillaged several towns in Thrace. After a series of such raids, the Byzantines had to use superior forces to deal with them.

Ibn Battuta gave the following account of Orhan during his reign:

Decline of Byzantine Empire

During Orhan's reign as the Ottoman emir, the Byzantine Empire declined – partly due to the ambitions of Italian maritime states and to the aggression of the Turcomans and other city Turks, but also due to civil wars within the empire.

During these years the Byzantine Empire became so weak that commercial supremacy in the surrounding seas around it became a bone of contention for the Italian maritime commercial city states. The Republic of Genoa possessed Galata, a separate Genoese city across the Golden Horn from Constantinople itself. The Genoese had fought the Byzantines earlier in 1348 when the Byzantines had decreased their customs tariffs in order to attract trade to the Byzantine side of the Golden Horn. In 1352 the rivalry for trade led to a war between Genoa and Venice. The Genoese, in resisting a Venetian fleet attacking their ships in the Golden Horn, bombarded the sea walls of Constantinople and pushed the Byzantines to ally with the Venetians. The Venetians assembled a large naval force, including hired fleets from Peter IV of Aragon and from the Byzantine Empire of John VI Cantacuzene. The sea battle between the Venetian fleet under the command of Niccolo Pisani and the Genoese fleet under Paganino Doria led to defeat of Venetians and their Byzantine allies. Orhan opposed the Venetians, whose fleets and piratical raids were disrupting his seaward provinces, and who had met his diplomatic overtures with contempt. The Venetians were allies of John VI, so Orhan sent an auxiliary force across the straits to Galata, which there co-operated with the Genoese.

In the midst of the distress and confusion that the Byzantine Empire now suffered, Orhan's eldest son, Suleyman Pasha, captured the Castle of Tzympe (Cinbi) in a bold move which gave the Turks a permanent foothold on the European side of the Dardanelles Straits. He also started to settle migrant Turcomans and town-dwelling Turks in the strategic city and castle of Gelibolu (Gallipoli), which had been devastated by a severe earthquake and was therefore evacuated by its inhabitants. Suleyman refused various financial inducements offered by John VI to empty the castle and the city. The emperor pleaded with his son-in-law Orhan to meet personally and discuss the matter, but the request was either rejected or could not be carried out due to Orhan's age and ill-health.

This military situation remained unresolved, in part because of the eruption of hostilities between John VI and his co-emperor and son-in-law John V Palaeologus. John V was dismissed from his imperial post and exiled to Tenedos; Cantacuzene's son Matthew was crowned as the co-emperor. But very soon John V returned from exile with Venetian help and conducted a coup, taking over the government of Constantinople. Although the two men came to an agreement to share power, John VI resigned from his imperial post and became a monk. Each of these two contestants for power was continually soliciting Orhan's aid against the other, and Orhan supported whichever side would benefit the Ottomans.

Last years

Orhan was the longest living and one of the longest reigning of the future Ottoman Sultans. In his last years he had left most of the powers of state in the hands of his second son Murad and lived a secluded life in Bursa.

In 1356 Orhan and Theodora's son, Khalil, was abducted somewhere on the Bay of Izmit. A Genoese commercial boat captain, which was conducting acts of piracy alongside commercial activity, was able to capture the young prince and take him over to Phocaea on the Aegean Sea, which was under Genoese rule. Orhan was very much upset by this kidnapping and conducted talks with his brother-in-law and now sole Byzantine Emperor John V Palaeologos. As to the agreement, John V with a Byzantine naval fleet went to Phocaea, paid the ransom demanded of 100,000 hyperpyra, and brought Khalil back to Ottoman territory.

In 1357 Orhan's eldest and most experienced son and likely heir, Suleyman Pasha, died after injuries sustained from a fall from a horse near Bolayir on the coast of the sea of Marmara. The horse that Suleyman fell from was buried alongside him and their tombs can still be seen today. Orhan was said to have been greatly affected by the death of his son.

Orhan died soon after, likely from natural causes. It seems rather likely that the death of his son was taxing on his health, however. Orhan died in 1362, in Bursa, at the age of eighty, after a reign of thirty-six years. He is buried in the türbe (tomb) with his wife and children, called Gümüşlü Kumbet in Bursa.

Family

Consorts
Orhan had at least seven consorts:
 Asporça Hatun. Noblewoman of Greek or Byzantine origins, mother of two sons and two daughters. Orhan granted her ownership of several villages.
 Nilüfer Hatun. Slave concubine of Greek descent, mother of Murad I and other two sons.
 Melek Hatun. Mother of Sultan Hatun.
 Efendi Hatun. Also called Efendize Hatun, she is listed both as the daughter of Osman I's brother Gündüz Bey (so Orhan's cousin); that of Mahmud Alp.
 Theodora Kantakouzene. Daughter of John VI Kantakouzenos. Remaining a Christian even after her marriage, she undertook to try to convince Muslim converts to return to Christianity. Mother of Halil Bey.
 Bayalun Hatun. Byzantine princess of the Palaeologus family.
 Theodora Uroš. Daughter of Stefan Uroš IV Dušan, Serbian ruler. At the time of the wedding, Orhan was seventy, while she was only twelve. The marriage was supposed to stop hostilities between Serbia and Ottoman Empire, however, the Serbian diplomats were attacked by Nikephoros Orsini, and after which Serbia and the Ottoman state resumed hostilities.

Son
Orhan had at least six sons:
 Süleyman Pasha (1316-1357) - with Nilüfer Hatun. Eldest son, he was at the head of the expansion campaigns in Thrace. He died from a fall from a horse.
 Ibrahim Bey (1316-1362) - with Asporça Hatun. Governor of Eskişehir, was executed by order of his half-brother Murad I.
 Murad I (1326-1389) - with Nilüfer Hatun. Sultan of the Ottoman Empire after his father.
 Kasım Bey (?-1346) - with Nilüfer Hatun.
 Şerefullah Bey - with Asporça Hatun.
 Halil Bey (1347-1362) - with Teodora Kantakouzene. As a child, he was kidnapped by Genoese pirates and ransomed with the help of John V Palaeologus. Subsequently, Halil married John's daughter, Irene.

Daughters
Orhan had at least four daughters:
Hatice Hatun. She married her cousin Süleyman Bey, son of Savci Bey and nephew of Osman I.
 Selçuk Hatun - with Asporça Hatun.
 Fatma Hatun - with Asporça Hatun.
 Sultan Hatun - with Melek Hatun.

In popular culture
In the Turkish television series  (1988), Orhan Gazi has been portrayed.

In the Turkish movie Killing the Shadows, Orhan Gazi is portrayed by Ragıp Savaş.

References
 Incorporates text from "History of Ottoman Turks" (1878)

External links

 The project "involves extracting and analysing detailed information from primary sources, including contemporary chronicles, cartularies, necrologies and testaments."
A listing of descendants of Ertuğrul, alongside other royalty

1281 births
1362 deaths
14th-century Ottoman sultans
Burials in Turkey
Ottoman people of the Byzantine–Ottoman wars
Infectious disease deaths in the Ottoman Empire


A rocky outcrop next to a firehouse is constantly painted to resemble its last dog mascot, who died in 1984.
Montville Fire Station. I-395 exit 79. Drive east on Hwy 163. You'll quickly see the firehouse on the left; the rock is just beyond it, next to the parking lot.
You've gotta love a giant rock with a dog painted on it. Sparky guards over the firemen and makes sure that they get back safe. Roadside America continues to amaze me with all the cool things I can find.
There is a large rock painted as a beloved firehouse dog named Sparky. It is in the parking lot adjacent to the Montville Fire Department.
Sparky was Montville's last fire dog. He died in 1984, but the firehouse keeps his memory alive by constantly repainting the rock that looks like him, kind of. Dec. 2014: Photo added.
Wells Dinosaur Haven, Uncasville, CT - 4 mi.
Mohegan Sun Walk of Fame, Uncasville, CT - 4 mi.
Submarine Force Museum: USS Nautilus, Groton, CT - 4 mi.
House of Doors: Muffler Man No. 2, Cheshire, CT - 42 mi.


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Selby Kiffer
Senior Vice President | International Senior Specialist
Selby Kiffer joined Sotheby's in 1984 and now has principal responsibility for historical American manuscripts, travel and atlases, and natural history books. He has been involved in the sale of many of the most celebrated private libraries offered at auction during the last half century, most notably those of H. Bradley Martin, the Garden Ltd., Frank T. Siebert, Otto Schäfer, Maurice Neville, and James S. Copley. Mr. Kiffer has researched and catalogued the most expensive book ever sold at auction, the 1640 Cambridge, Massachusetts, Whole Booke of Psalmes, as well as the most expensive letters ever sold at auction by Abraham Lincoln, Thomas Jefferson, John Adams, Benjamin Franklin, and many other figures from American history.
He has played a role in the discovery (or rediscovery) of several bibliographical treasures, including three previously unrecorded copies of the Dunlap broadside of the Declaration of Independence; a lost fragment of the autograph manuscript of Abraham Lincoln's 1858 "House Divided" speech; the first half of the autograph manuscript of Adventures of Huckleberry Finn; and four early notebooks of Walt Whitman, which had been missing from the Library of Congress for more than fifty years.
Mr. Kiffer is a frequent lecturer to library friends and other academic groups and is active in professional rare books activities. During the summer of 2011 he spoke about the First Folio at the Folger Shakespeare Library, Washington, D.C., and about the Declaration of Independence at the Rare Book School, University of Virginia. He was a speaker at the Centennial Meeting of the Bibliographical Society of America in 2004; and a panelist at the first Rare Book Forum, "Private Collectors and Special Collections Libraries," held The Library of Congress, Washington, D.C., in 2001. Mr. Kiffer was a featured appraiser on the Public Television series Antiques Road Show and has been the principal subject of three documentaries on C-SPAN2's Book TV. He is a member of the board of directors of the Rare Book School, University of Virginia.
selby.kiffer@sothebys.com
Category: Sotheby's Financial Services
The Value of Art | Episode 2: Condition
The Value of Art | Episode 5: Historical Importance
Category: Books & Manuscripts
John F. Nash Jr.'s Nobel Prize: A Symbol of Human Triumph
The Road to Freedom: Abraham Lincoln's Emancipation Proclamation
Type: auction
Category: Upcoming Auction
Master Works on Paper from Five Centuries
26 January 2022 | 10:00 AM EST | New York
The European Art Sale Part II
21–29 January 2022 | 10:00 AM EST | New York
Napa Valley Library Wine Auction | Direct from the Cellar
5 February 2022 | 4:00 PM EST | New York
Original Film Posters
2–8 February 2022 | 2:00 PM GMT | London
The Louis Vuitton and Nike "Air Force 1" by Virgil Abloh
26 January–8 February 2022 | 10:00 AM EST | New York
Fine Watches including Masterworks of Time, Collector's Watches
The Enigma: 555.55 Carat Fancy Black Diamond
3–10 February 2022 | 2:00 PM GMT | London
Modern Art Online
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A Grand Vision: The David H. Arrington Collection of Ansel Adams Photographs
17 February 2022 | 12:00 PM EST | New York
Important Jewels
18 February 2022 | 2:00 PM HKT | Hong Kong


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AWR Music is a multi-faceted musical services company, offering excellence in live entertainment, tour support, original music composition, orchestration, preparation, and audio production for the recording, film, and new media industries. Artists and projects include: Distant Worlds: music from FINAL FANTASY, Barbie™ at the Symphony, Diana Ross, Il Divo, Andrea Bocelli, Mannheim Steamroller, Sarah Brightman, Charlotte Church, Jewel, The Irish Tenors, Peter Cetera, Dennis DeYoung, Michael McDonald, Lyle Lovett, PBS Soundstage HD, NBC World Children's Day with David Foster, NBC Disson Skating events, The U.S. Tennis Open, The Oprah Winfrey Show, The Tonight Show with Jay Leno, the Today Show, Live with Regis and Kelly, The Martha Stewart Show, and The Rosie Show on OWN.
Arnie Roth is a classically-trained violinist, composer, conductor, producer, and GRAMMY Award-Winning artist.


Tuna sandwiches make for a great light snack or accompanyment with a bowl of soup for a full meal. Of course there are many variations for making a tuna sandwich.
You can add or substitute just about anything but for the purposes of this article, we'll stick with the basics for making your tuna sandwich.
Open your can of tuna with the can opener but keep the lid. Over the sink, press the lid down onto the tuna in the can to force out as much of the liquid as possible. Otherwise your tuna mixture will be too sloppy.
Next, finely chop up your half of a small onion and place it into your bowl. Add your tuna and 1/4 cup of mayonnaise. You can use low-fat mayonnaise but I prefer the normal kind because it just seems to taste better. Now stir it up until you have a creamy mixture.
Thinly slice 3 or 4 pieces of tomato and enough shredded lettuce for one sandwich and arrange it on one of the slices of bread. Then scoop out half of your tuna mixture and spread it evenly on top. Add salt and pepper to taste and place the second slice of bread on tip. Cut your sandwich in half diagonally to make two triangles and serve on a plate with some sliced tomato or green olives on the side.
There are many different ways to make a tuna sandwich. You can use dijon mustard half and half with the mayonnaise for some extra flavor or chop up olives and add instead of the diced onion. However you make it, tuna sandwiches are quick, tasty and healthy.


Value warranty will not be supplied for any consumables. No return and no reimbursements. Trading is granted for unused consumable purchases should you need to exchange it for a unequal width/model/pack and you can simply pay the difference if exchanged pack is of greater value.
This page is part of SalesPrice.co.za and automatically generated at 2019/04/18 22:23:29.


This is the third part of a reflection on introducing grade 1 students at the International School of Phnom Penh to the learning potential offered by online communities. Part 1 of this reflection described how grade 1 homeroom teachers (Rachelle Pia, Carina Corey, and Kelly Davidson), the Tech Coach (Matt Dolmont), and the EAL teacher (me) collaborated to introduce students to the concept of communities of learners by using analog community boards. In part 2 of this reflection I explained how we introduced student interaction in these communities by teaching commenting skills. In this part, I will summarise the unit and discuss how we moved from the analog communities and comments to online communities, enthusiasm for which spread to other grade levels at our school and grade 1 students taught by Tara Barth from Myanmar International School in Yangon.
This reflection appeared in the April – May 2016 edition of the ISPP Pulse.
Effective communication systems allow people to connect locally and globally.
As part of this inquiry, students explored how modern communications systems like the internet can help us create Personal Learning Networks (PLNs) that give us the potential of connecting with learners in other classrooms, schools, and countries in online communities. Students found out how these connective possibilities allow us to share our knowledge about topics that interest us and learn from others who may have a more developed understanding.
This exploration began with the students participating in an online Google Forms survey that helped teachers identify the six most preferred topics of interest amongst Grade 1 students. These topics were: puppies, cats, sea animals, Lego, football, and MineCraft.
Students then chose to become members of one of six communities centered around each of these topics. These communities initially existed as analog communities on art boards erected in the shared Grade 1 and 2 piazza, each of which was posted to by a teacher on the team. Students were at first asked only to lurk, which in terms of digital literacy means to simply enjoy content on the boards and check them for new posts and updates.
The analog communities piazza with teacher posted content. Students initially just joined and lurked.
An example of a one of the analog community boards with teacher posted content.
After a few days, students were invited to contribute oral, then written, comments in response to new posts made on the communities. Teachers modeled comment writing on sticky notes and students soon followed suit on paper speech bubbles. In writing workshop and unit of inquiry lessons, students learned to comment in ways that paralleled responses to art forms students had written during their previous unit of inquiry. Students learned to make: evaluative comments in which they expressed how and why they liked posts; connective comments in which they discussed how the post connected to their personal experiences, other topics, or other aspects of the same topic; inquiring comments where they asked a question of the person who made the post or of the other community members; knowledgeable comments where they added their own knowledge of the subject of the post; reply comments in which they answered another student or teacher comment; and graphical comments that expressed ideas with images or drawings. Students could use key sentence frames involving commenting from this "Commenting Cheat Sheet" that was displayed around the communities with the sticky notes and pencils.
In these photos you can see student comments on content in the yellow speech bubbles. Teacher comments are on pink sticky notes. Some of the content pictures are from students.
After this period of experimenting with commenting, students contributed to their communities by adding content in the form of images, facts, questions, or mini conversations. At the same time, students learned more about gathering images and information from Internet sources, and about how to be responsible and safe digital citizens from Mr. Matt, our Technology Coach.
Teachers, remarking on how interesting these analog communities seemed to be to their members, and other students throughout the school, then posed the questions: "Is it possible for people outside Grade 1 in ISPP to join, comment, and contribute to these communities? How could we make it so our little interesting communities could become GLOBAL systems for communication?" In every class discussion, Grade 1 students ultimately concluded that these analog communities had to be put on the internet somehow.
The medium of instruction and activities then shifted from the analog communities boards in the piazza onto the internet based VoiceThread application. Using this application, teachers created six "VoiceThreads", media-centered slides that could be commented on from computer lab PCs and class iPads with equal utility, based on the analog communities boards. Each Grade 1 student was listed as an identity on each slide and was able to comment on content with written text, recorded voice, video, or annotated explanations. Using identities allowed other members to see the name of the students who made each comment, thereby providing a simulated yet controlled online community experience. Students demonstrated the commenting skills they learned through their experiences of the analog communities, but in various media formats online!
To help students make connections between the lines of inquiry, especially regarding the effectiveness of communication systems and how they allow us to connect globally and locally, the Grade 1 teaching team opened up these VoiceThread communities to Grade 2 ISPP students and Grade 1 students taught by Ms.Tara Barth from Myanmar International School in Yangon. ISPP Grade 1 students soon found their own comments surrounded by those from children in other classes and in another country!
Ultimately, the Grade 1 students showed great engagement in and enthusiasm for both their analog and online communities. As teachers, we hope their collective experience with especially the online VoiceThread communities proves to be an intriguing segue into blogging that begins in Grade 2, and results in an increased awareness of how engaged digital citizens use the internet for research and knowledge sharing.
We also feel that rich online experiences such as these will help students practice and develop behaviors that will lead to illustrative and positive digital footprints. As our Grade 1 students will undoubtedly be assessed and judged by future recruiters and employers according to the nature of these digital footprints, we think the appropriate time to guide students in their uses of technology is NOW.
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Tie Beam vs. Lintel Beam: What's the Difference?
by Coral Isle Builders | Jul 6, 2021 | Blogs
If you feel the only way to get your dream home is to build it from scratch, you aren't alone.
In an ideal world, 60 percent of homebuyers would rather buy a new home than an existing one. Building new allows you to get the features you want and participate in the process.
When you start to build, new terminology begins to fly fast and furious. You start to hear about tie beams, plinth beams, and lintel beams and maybe begin to wonder what the difference is. A beam is a beam, isn't it?
Actually, depending on how you classify them, you can come up with more than 20 beam types based on how they are used in the structure or the beam design.
Let's look at these particular building materials to understand how they work in your custom home.
Defining a Beam
Most of us could walk into a construction site for a custom home and point to a beam. To us, they are the big pieces of wood that run around the top of the framing.
But there is a bit more to what makes something a beam than that. The key features of a beam include:
Holds uploads
Length is more than width and depth
The roof and any part of the house above the ground are heavy. Beams transfer the load of those to the vertical supports like columns or walls. They ensure the building does not collapse under its own weight.
Historically, they have been made of wood and still are in most homes. When you start building really tall buildings, though, you can find them in steel or even concrete.
What Is a Tie Beam?
As a building gets taller, the columns would start leaning if they were not given some structure. That is the role of the tie beam. It's any primary beam that connects — or ties together — two columns anywhere above the floor level to keep them from buckling.
The tie beam is not responsible for carrying the load as other beams might. It is there just to act as a stiffener to the columns as they get taller. It effectively acts as a length breaker for the columns, so they act like two short ones rather than one tall one.
Tie beams are normally required when a column gets above 12 to 15 feet high, but there is some flexibility there for design purposes. They are usually unnecessary at heights below 12 feet.
Primary and secondary beams carry the load of a floor. A tie beam differs because it does not take the load off the floor but rather the walls.
Tie beams help make the entire house structure more firm and stable by increasing stiffness. They help keep the columns from settling — vertical movement — by shifting force between them. The frame they create also helps reduce horizontal deflection.
These beams have to be reinforced with steel. You might hear a tie beam called a grade beam, ground beam, or plinth beam, all of which refer to the location of the tie beam rather than a different type of beam.
What Is a Lintel Beam?
A lintel beam serves a very specific purpose providing structure for openings in walls like windows and doors. The opening means there is nothing to hold up everything above it. A lintel carries the load of the wall above the opening and shifts it to the columns along the sides of the opening. It's thin compared to most other beams.
Lintels can be made of different materials, including concrete, steel, brick, stone, or wood. They can be decorative as well as load-bearing. Wooden lintels are the oldest type but are more expensive, less durable, and can catch fire.
Today's lintels are usually reinforced concrete since it is fire-proof, strong, and easy to make. They can be made on-site to speed up construction or come in precast models. Given the current cost of some building materials, concrete makes for a practical and economical choice.
Steel lintels are used where there is a significant load, like multiple floors or large opening gaps. They can provide great strength without requiring a lot of depth to provide it.
One job of a lintel beam is to help a building manage seismic effects. The weight of the wall above the window or door falls on the lintel, which keeps the opening from failing during an earthquake.
Why We Use Tie Beams
In Southwest Florida, lintel beams meet building standards as they can handle up to 168 mph windspeeds. However, what meets the standard is just an 8 inch wide by 8 inch tall precast beam with one steel bar running through it.
Because we want to build you the strongest house possible, we choose to use tie beams that run all the way around the house instead. Our tie beams are poured solid on site with four rebars in each and a downbar tied to them that then ties into the floor. We use beams that are 16 inches tall and go as high as 24 inches over doorways.
This gives us a much more solid structure that exceeds building standards and can handle more wind than a lintel beam.
Understanding Tie Beam and Lintel Beam
Building a home involves many different elements, including several different beams that serve as the bones. A tie beam makes those vaulted ceilings and second stories possible, while a lintel allows all those windows to let in the beautiful Florida sunshine. But because we're in a hurricane zone, we choose to use bigger, reinforced tie beams to handle both jobs for a stronger house.
If you're interested in custom home building in Lee County, contact us to learn more about our various home plans and build areas.
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