Plot summary.

Charles Dexter Ward is a young man from a prominent Rhode Island family who has disappeared from a mental asylum. He had been incarcerated during a prolonged period of insanity, during which he exhibited minor and inexplicable physiological changes. His empty cell is found to be very dusty. The bulk of the story concerns the investigation conducted by the Wards' family doctor, Marinus Bicknell Willett, in an attempt to discover the reason for Ward's madness and physiological changes. Willett learns that Ward had spent the past several years attempting to discover the grave of his ill-reputed ancestor, Joseph Curwen.  The doctor slowly begins to reveal the truth behind the legends surrounding Curwen, an eighteenth-century shipping entrepreneur and alleged alchemist, who was in reality a necromancer and mass murderer. A raid on Curwen's farm was remarkable for the shouted incantations, lights, explosions, and some not-quite-human figures shot down by the raiders. The raiders swore any witnesses to strict secrecy about what they saw and heard.  As Willett's investigations proceed, he finds that Charles had recovered Curwen's ashes, and through the use of magical formulae contained in documents found hidden in Curwen's home in Providence, was able to call forth Curwen from his "essential saltes" and resurrect him. Willett also finds that Curwen, who resembles Charles enough to pass for him, murdered and replaced his modern descendant and resumed his evil activities. Although Curwen convinces onlookers that he is Charles, his anachronistic mindset and behavior lead authorities to certify him insane and imprison him in an asylum.  While Curwen is locked up, Willett's investigation leads him to a bungalow in Pawtuxet Village, which Ward had purchased while under the influence of Curwen. The house is on the site of the old farm which was Curwen's headquarters for his nefarious doings; beneath is a vast catacomb that the wizard had built as a lair during his previous lifetime. During a horrific journey through this labyrinth, in which Willett sees a deformed monster in a pit, he discovers the truth about Curwen's crimes and also the means of returning him to the grave. It is also revealed that Curwen has been engaged in a long-term conspiracy with certain other necromancers, associates from his previous life who have somehow escaped death, to resurrect and torture the world's wisest people to gain knowledge that will make them powerful and threaten the future of mankind. While in Curwen's laboratory, Willett accidentally summons an ancient entity who is an enemy of Curwen and his fellow necromancers. The doctor faints, awakening much later in the bungalow. The entrance to the vaults has been sealed as if it had never existed, but Willett finds a note from the being written in Latin instructing him to kill Curwen and destroy his body.  Willett confronts Curwen at the asylum and succeeds in reversing the resurrection spell, returning the sorcerer to dust. News reports reveal that Curwen's prime co-conspirators and their households have met brutal deaths, and their lairs have been destroyed.

Characters.

Charles Dexter Ward.

Ward is born in 1902; he is 26 in 1928, at the time the story takes place. Though considered one of Lovecraft's autobiographical characters, some details of the character seem to be based on William Lippitt Mauran, who lived in the Halsey house and, like Ward, was "wheeled...in a carriage" in front of it. Like the Wards, the Maurans also owned a farmhouse in Pawtuxet, Rhode Island.

Joseph Curwen.

Ward's ancestor (great-great-great-grandfather) and dead ringer, a successful merchant, shipping magnate, slave trader, and highly accomplished sorcerer, born in what is now Danvers, Massachusetts, seven miles from Salem, on February 18, 1662. He flees to Providence from the Salem witch trials in 1692. He dies, at least temporarily, in 1771 in the course of a raid on his lair by a group of important Providence citizens (Abraham Whipple, John and Moses Brown and Esek Hopkins among them) who have got wind of only a few of his crimes. He is killed again, presumably for good, by Dr Willett using Curwen's own sorcery. Curwen perfects a method of reducing the effects of aging to an uncanny degree. He also has the ability to resurrect the dead and converse with them from either the complete corpse or its "essential saltes" (derived from the ashes of said corpse). This ability is used to obtain privileged intelligence from long-defunct wise men. To this end his agents scour the graveyards and tombs of the world for the corpses of illustrious persons which are then smuggled back to Providence, where Curwen temporarily raises them to torture their secrets out of them. In this endeavour he is assisted by two fellow necromancers and Salem exiles; Jedediah/Simon Orne, alias Joseph Nadek, who lives in Prague, and Edward Hutchinson, who masquerades as Baron Ferenczy in Transylvania. He is able to summon entities such as Yog-Sothoth to assist him in his magic. The ultimate goal of these men's activities, i.e. the nature or the use for the information extracted from the resurrected wise persons, is not completely specified and its interpretation is largely left to the reader. This ambiguity also affects, notably, the exact circumstances of Curwen's "first" death. It is evident he was betrayed and probably killed by the entity summoned in his defense during the siege to the hidden grounds of his farm, but the identity of this being, as well as its possible connection with Yog-Sothoth (whose name is mentioned in the incantations) is left open to speculation. It is significant, however, that the entity's irruption during the confrontation elicits a "An unmistakable human shout or deep chorused scream", as well as "a yell of utter, ultimate fright and stark madness [that] wrenched from scores of human throats—a yell which came strong and clear despite the depth from which it must have burst", and that the participants of the raid are left with psychological sequels far beyond those expected in any episode of unconventional warfare. Prior to his first death, Curwen finds a way to create a spell that would transcend time and inspire a descendant to become interested in him and his work and attempt to bring him back should he ever be slain. When later resurrected by Ward, Curwen initially goes in disguise as a bearded, spectacled "Dr. Allen" to avoid suspicion due to his close resemblance to Ward. Curwen immediately makes contact with Orne and Hutchinson, who have been alive and active all the while, and starts up his old plots once again. He soon murders Ward when he starts having doubts about what they are doing and assumes his identity. Curwen never hesitates to stoop to murder, torture or blackmail to achieve his ends; he also uses – and kills – vast numbers of living slaves as subjects for his experiments. He also feigns some degree of civic spirit and decency, both to his fellow citizens and to his wife, as part of a clever ruse—a social gambit aimed at producing an heir, as well as improving his public image to avoid forced displacement.

Marinus Bicknell Willett.

"An H. P. Lovecraft Encyclopedia" compares Willett's character to other "valiant counterweight[s]" in Lovecraft such as Thomas Malone in "The Horror at Red Hook" (1925) and Henry Armitage in "The Dunwich Horror"; like Willett, Armitage "defeats the 'villains' by incantations, and he is susceptible to the same flaws—pomposity, arrogance, self-importance—that can be seen in Willett."

Inspiration.

In August 1925, Lovecraft's Aunt Lillian sent him an anecdote about the house at 140 Prospect Street, built in 1801 by Colonel Thomas Lloyd Halsey in Providence, Rhode Island. Lovecraft wrote back, "So the Halsey house is haunted! Ugh! That's where Wild Tom Halsey kept live terrapins in the cellar—maybe it's their ghosts. Anyway, it's a magnificent old mansion, & a credit to a magnificent old town!" Lovecraft would make this house—renumbered as 100 Prospect—the basis for the Ward house. The following month, September 1925, Lovecraft read "Providence in Colonial Times", by Gertrude Selwyn Kimball, a 1912 history that provided him the anecdotes about John Merritt and Dr. Checkley that he incorporated into his novel.  A possible literary model is Walter de la Mare's novel "The Return" (1910), which Lovecraft read in mid-1926. He describes it in his essay "Supernatural Horror in Literature" as a tale in which "We see the soul of a dead man reach out of its grave of two centuries and fasten itself on the flesh of the living."  The theme of a descendant who closely resembles a distant ancestor may come from Nathaniel Hawthorne's "The House of the Seven Gables", which Lovecraft called "New England's greatest contribution to weird literature" in "Supernatural Horror in Literature".  Another proposed literary source is M. R. James' short story "Count Magnus", also praised in "Supernatural Horror in Literature", which suggests the resurrection of a sinister 17th century figure.  The germ of inspiration came from Lovecraft reading Cotton Mather and running across a quote from Borellus. Borellus is Petrus Borellus aka Dr Pierre Borel, a well-known French doctor and alchemist. The quote refers to old experiments of the alchemists in creating life/rebirth from death using essential salts. The entire quote (which is actually a paraphrasing by Mather) is as follows:

Reception.

Lovecraft himself was displeased with the novel, calling it a "cumbrous, creaking bit of self-conscious antiquarianism". He made little effort to publish the work, leaving it to be published posthumously in "Weird Tales" by August Derleth and Donald Wandrei.  Writing in the "New York Times," reviewer William Poster described "Ward" as "a good story in the New England witchcraft tradition, well seasoned with alchemy, vampirism, ancient documents and mummy-stealing". Horror historian Les Daniels called "The Case of Charles Dexter Ward" Lovecraft's "finest novel". E. F. Bleiler noted that the short novel, "despite its being strangely tired and routine, has interesting concepts and good moments". Baird Searles found that "HPL's great knowledge of New England history provides a convincing background" for the story. Douglas Robillard stated Lovecraft's negative assessment of "The Case of Charles Dexter Ward" was "too harsh; this is one of his finest works".

Cthulhu Mythos.

"The Case of Charles Dexter Ward" contains the first mention of the Cthulhu Mythos entity Yog-Sothoth, who appears repeatedly as an element in an incantation. Joseph Curwen is the owner of a copy of the "Necronomicon" (disguised as a book labelled "Qanoon-e-Islam") and there are hints of cult activities in a fishing village that refer obliquely to the events narrated in "The Festival". The story also contains references to the Dream Cycle: Dr. Willett notices the "Sign of Koth" chiselled above a doorway, and remembers his friend Randolph Carter drawing the sign and explaining its powers and meaning.  Brian Lumley expanded on the character of Baron Ferenczy, mentioned but never met in "The Case of Charles Dexter Ward", in his "Necroscope" series, specifically "Book IV: Deadspeak", where Janos Ferenczy uses the Yog-Sothoth formula to call forth whole bodies from ash remains, and to return them to that state.  When Dexter's mother hears chanting ("per adonai eloim, adonai jehova, adonai sabaoth, metraton on agla mathon, verbum pythonicum, mysterium salamandrae, conventus, antra gnomorum, daemonia coeli gad, almousin, gibor, jehosua, evam, zariatnatmik, veni, veni, veni."), the chanting is quoted (along with many other incantations in the story) from Eliphas Levi's "Transcendental Magic", which translates the passage as “By Adonaï Eloïm, Adonaï Jehova, Adonai Sabaoth, Metraton On Agla Adonaï Mathon, the pythonic word, the mystery of the salamander, the assembly of sylphs, the grotto of gnomes, the demons of the heaven of Gad, Almousin, Gibor, Jehosua, Evam, Zariatnatmik, Come, Come, Come!" The incantation invokes several divine names, such as Adonai, Eloim, and Jehova, and references the Salamander, Sylphs, and Gnomes, which are the alchemical representatives of Fire, Air, and Earth respectively, as described by Paracelsus. The "mystery of the salamander" is also referenced in other short stories.

The Case of Charles Dexter Ward is a short horror novel (51,500 words) by American writer H. P. Lovecraft, written in early 1927, but not published during the author's lifetime. Set in Lovecraft's hometown of Providence, Rhode Island, it was first published (in abridged form) in the May and July issues of "Weird Tales" in 1941; the first complete publication was in Arkham House's "Beyond the Wall of Sleep" collection (1943). It is included in the Library of America volume of Lovecraft's work.

L'Affaire Charles Dexter Ward (titre original : "") est une longue nouvelle fantastique de Howard Phillips Lovecraft, publiée en décembre 1941 dans "Weird Tales" (volume 35, ). La nouvelle s'inscrit dans l'univers du mythe de Cthulhu. Il s'agit d'un des plus longs textes de Lovecraft situé à la frontière entre le roman et la nouvelle. Écrit au début 1927, il reste inédit du vivant de Lovecraft, bien qu'il s'agisse sans doute de l'un de ses textes majeurs.


Background.

In 113 BC a large migrating Germanic-Celtic alliance headed by the Cimbri and the Teutones entered the Roman sphere of influence. They invaded Noricum (located in present day Austria and Slovenia) which was inhabited by the Taurisci people, friends and allies of Rome. The Senate commissioned Gnaeus Papirius Carbo, one of the consuls, to lead a substantial Roman army to Noricum to force the barbarians out. An engagement, later called the battle of Noreia, took place, in which the invaders completely overwhelmed the Roman Legions and inflicted a devastating loss on them.  After the Noreia victory, the Cimbri and Teutones moved westward towards Gaul. In 109 BC, they moved along the Rhodanus River towards the Roman province of Transalpine Gaul. The Roman consul, Marcus Junius Silanus, was sent to take care of the renewed Germanic threat. Silanus marched his army north along the Rhodanus River to confront the migrating Germanic tribes. He met the Cimbri approximately 100 miles north of Arausio where a battle was fought and the Romans suffered another humiliating defeat. The Germanic tribes then moved to the lands north and east of Tolosa in south-western Gaul.  To the Romans, the presence of the Germanic tribes in Gaul posed a serious threat to the stability in the area and to their prestige. Lucius Cassius Longinus, one of the consuls of 107 BC, was sent to Gaul at the head of another large army. He first fought the Cimbri and their Gallic allies the Volcae Tectosages just outside Tolosa, and despite the huge number of tribesmen, the Romans routed them. Unfortunately for the Romans, a few days later they were ambushed while marching on Burdigala. The Battle of Burdigala destroyed the Romans' hopes of definitively defeating the Cimbri and so the Germanic threat continued.  In 106 BC the Romans sent their largest army yet; the senior consul of that year, Quintus Servilius Caepio, was authorized to use eight legions in an effort to end the Germanic threat once and for all. While the Romans were busy getting their army together, the Volcae Tectosages had quarrelled with their Germanic guests, and had asked them to leave the area. When Caepio arrived he only found the local tribes and they sensibly decided not to fight the newly arrived legions. In 105 BC, Caepio's command was prorogued and a further six legions were raised in Rome by Gnaeus Mallius Maximus, one of the consuls of 105 BC. Mallius Maximus led them to reinforce Caepio who was near Arausio. Unfortunately for the Romans, Caepio who was a patrician, and Mallius Maximus, who was a 'new man', clashed with each other. Caepio refused to take orders from Mallius Maximus who as consul outranked him. All this led to a divided Roman force with the two armies so uncooperative that they were unwilling to support each other when the fighting started. Meanwhile, the Germanic tribes had combined their forces. First they attacked and defeated Caepio's army and then, with great confidence, took on Mallius Maximus's army and defeated it too. The Battle of Arausio was considered the greatest Roman defeat since the slaughter suffered at the Battle of Cannae during the Punic Wars.  In 104 BC the Cimbri and the Teutones seemed to be heading for Italy. The Romans sent the senior consul of that year, Gaius Marius, a proven and capable general, at the head of another large army. The Germanic tribes never materialized so Marius subdued the Volcae Tectosages capturing their king Copillus. In 103 BC, Sulla, one of Marius's lieutenants, succeeded in persuading the Germanic Marsi tribe to become friends and allies of Rome; they detached themselves from the Germanic confederation and went back to Germania. In 102 BC Marius marched against the Teutones and Ambrones in Gaul. Quintus Lutatius Catulus, Marius's consular colleague, was tasked with keeping the Cimbri out of Italy. Catulus's army suffered some losses when the Cimbri attacked him near Tridentum, but he retreated and kept his army intact. Meanwhile, Marius had completely defeated the Ambrones and the Teutones in a battle near Aquae Sextiae in Transalpine Gaul. In 101 BC the armies of Marius and Catulus joined forces and faced the Germanic invaders in Galia Cisalpina (Italian Gaul).  By July 101 BC the Cimbri were heading westwards along the banks of the Po River. Unfortunately for them, the armies of Marius and Catulus had merged and now camped around Placentia. Marius had been elected consul again (his fifth consulship) and was therefore in supreme command. He began negotiations with the Cimbri, who demanded land to settle on. Marius refused and instead sought to demoralize the Cimbri by parading captured Teuton nobles before them. Neither side genuinely sought negotiations; the Romans not intending to hand over their land to foreign invaders and the Cimbri believing themselves to be the superior force.  Over the next few days, the armies manoeuvred against each other, the Romans initially refusing to give battle. Eventually Marius chose the optimal location for the battle, an open plain (the Raudine Plain) near Vercellae, and then met with the Cimbri leader Boiorix to agree on the time and place of battle. Marius had some 52,000-54,000 men (mainly heavy infantry), the Cimbri had 120,000-180,000 warriors. (Modern historians are always somewhat sceptical about the overwhelming numbers the legions are reported to have fought, but there is no way to determine the true numbers today.)

Prelude.

Marius and Catulus had stationed their army in a defensible position near the River Po, to prevent the Cimbri from moving into Italy. The combined force was led by Marius who held senior rank. Seeing that the Cimbri were not advancing towards them, he crossed the river and neared their position. The Cimbri sent an embassage to the Roman camp. Marius offered battle, but the envoys refused, claiming they were waiting for their allies. They, in their turn, demanded land to be settled on for themselves and for their allies. Marius inquired as to which allies they were referring. The emissaries responded they meant the Teutones and/or Ambrones. Marius replied: 'Then don't trouble yourself with your brethren, for they have land, and they will have it forever – land which we have given them.' The Cimbri did not understand, therefore, Marius produced a number of captive Teutonic kings, possibly including Teutobod, from a nearby tent.  The envoys returned to the Cimbric camp and informed their leaders of the fate of their allies. The Cimbric king, Boiorix, convinced his people to fight the Romans as soon as possible as he wanted to settle the conflict sooner rather than later. Boiorix met with Marius and offered battle, he gave the Romans the choice of where and when the battle would take place. Marius informed the king that the Romans did not allow the enemy to dictate their military affairs. However, Marius, was willing to make an exception for the Cimbri. He instructed the king to meet him near Vercellae, also called the Raudian Plain.

Location.

Traditionally, most historians locate the location of the battle in or near the modern Vercelli, Piedmont, in northern Italy. Some historians think that "vercellae" is not a proper name and may refer to any mining area at the confluence of two rivers.  The latter historians think that the Cimbri followed the river Adige after having crossed the Brenner Pass, instead of "unreasonably" turning west to the modern Vercelli; this way, the location of the battle would be in the modern Polesine instead, possibly near the modern Rovigo. At Borgo Vercelli, near the river Sesia, 5 km from Vercelli, items have been found that supposedly strengthen the tradition.  Another suggested location is the hamlet of Roddi, in what is now the province of Cuneo, Piedmont.

Battle.

On 30 July 101 BC, the Roman army marched onto the Raudine Plain. Marius split up his own 30,000-32,000 men strong army in two lots each forming the wings of the army while Catulus and his 20,000-24,000 less experienced troops formed the centre. Marius took command of the left wing, with Sulla commanding the cavalry on the extreme right. Marius had also very sensibly formed up his lines facing west, therefore the Cimbri had to fight with the afternoon sun in their eyes. The winds was blowing towards the enemy so any dust kicked up by the manoeuvering blew towards the Cimbri, impairing their eyesight. The Cimbri arrived second, marching onto the plain in a basic square formation with their warriors as deep as they were wide covering an area of over ten square miles. The 15,000 strong Cimbric cavalry rode in front of the square forming the vanguard.  According to Plutarch, Marius made a final sacrifice to the gods: "Marius washed his hands, and lifting them up to heaven, vowed to make a sacrifice of 100 beasts should victory be his" while Catulus promised the day's spoils to the gods for their help.  The Romans took a position first and remained stationary, the sun reflected off their bronze helmets. Since the Romans held their position, the Cimbri had to come to them, forcing them to expend additional energy. Meanwhile, the sun kept reflecting of the Romans helmets giving the Cimbri the impression the sky was on fire, unnerving them. Sensing their anxiety, the Romans attacked. Marius led his wing against the Cimbri right. He marched into a huge dust cloud created by thousands of men on the move across dry fields. When he emerged, he did not find the enemy, the battle was taking place somewhere else. The Cimbri had launched themselves in a huge wedge towards Catulus's centre, their cavalry to the front. The Cimbri cavalry then suddenly turned right hoping to draw the Romans out of their ordered ranks or trying to outflank them. Some of the legionaries fell for the ruse and pursued the Cimbri cavalry. While these legionaries were in pursuit, another segment of the Cimbri advanced and attacked the vulnerable and disorderly Romans. Unfortunately for the Cimbri, their horsemen were taken completely by surprise by the superior Roman cavalry under the command of Sulla. The Cimbri horse were forced back into the main body of their infantry, causing chaos. Seeing an opportunity, Catulus ordered his legions to advance and attack. When they reached the Cimbri they threw their pila into their disorganized ranks, the legionaries drew their swords and were soon in hand-to-hand combat. The other wings of the Roman army moved in on the Cimbri flanks, hemming them in. The Roman forces were smaller but more highly trained and disciplined. Furthermore, Roman legionaries excelled at close-quarters combat and, being so tightly packed, were in their element. The summer heat also worked against the barbarians who were not accustomed to fighting in these temperatures, unlike the Romans. The battle became a rout, stopped by the wagons drawn up (as was customary among Germanic and Celtic peoples) at the rear of the battlefield. At this point, the rout became a massacre that stopped only when the Cimbri began to surrender "en masse". Boiorix and his noblemen made a last stand in which they were all killed. The Romans had won a complete and stunning victory.

Aftermath.

The victory of Vercellae, following close on the heels of Marius' destruction of the Teutones at the Battle of Aquae Sextiae the previous year, put an end to the Germanic threat to Rome's northern frontiers. The Cimbri were virtually wiped out, with Marius claiming to have killed 100,000 warriors and capturing and enslaving many thousands, including large numbers of women and children. Children of the surviving captives may have been among the rebelling gladiators in the Third Servile War.  The news of the decisive victory at Vercellae was brought to Rome by Marius's brother-in-law, Gaius Julius Caesar (father of the famous Julius Caesar), who in the next year would become father to his only son.  Marius and Catulus were soon at odds with each other about who deserved the most credit. Marius tried to claim all the credit for the victory (which was his right as overall commander), but Catulus took citizens of nearby Parma to the battlefield and showed them the bodies of the Cimbri many of whom still had the pilums that killed them embedded in their corpses, and the vast majority of these pilums (pila) carried the markings of Catulus' legionaries.  Eventually, Marius and Catulus held a joint Triumph with Marius getting the most praise as overall commander.  Politically, this battle had great implications for Rome as well. The main reason (the Germanic threat) for Marius's string of continuous consulships (104 BC-101BC) was gone. Although Marius, riding a wave of popularity after the Vercellae victory, was elected consul (for 100 BC) again, his political opponents exploited this. The end of the war also saw the beginning of a growing rivalry between Marius and Sulla, which would eventually lead to the first of Rome's great civil wars. As a result of his role in the Vercellae victory Sulla's prestige had risen considerably. Marius's career was at its peak while Sulla's was still on the rise.  Immediately after the battle Marius granted Roman citizenship to his Italian allied forces without consulting or asking permission from the Senate first. When some senators questioned this action, he would claim that in the heat of battle he could not distinguish the voice of a Roman from that of an ally. From that day, all Italian legions would be regarded as Roman legions.  This action by Marius was the first time a victorious general had openly defied the Senate but it would not be the last. In 88 BC, Sulla, in defiance of both the Senate and tradition, would lead his troops into the city of Rome itself. And Julius Caesar, when ordered by the Senate to lay down his command and return to Rome to face misconduct charges, would instead lead one of his legions across the Rubicon in 49 BC. This would mark the start of the civil war between himself and senatorial forces under Pompey which would lead to the end of the Roman Republic.

The Battle of Vercellae, or Battle of the Raudine Plain, was fought on 30 July 101 BC on a plain near Vercellae in Gallia Cisalpina (modern day Northern Italy). A Germanic-Celtic confederation under the command of the Cimbric king Boiorix was defeated by a Roman army under the joint command of the consul Gaius Marius and the proconsul Quintus Lutatius Catulus. The battle marked the end of the Germanic threat to the Roman Republic.

La bataille de Vercellæ ou de Verceil, dite aussi bataille des Champs Raudiens ("Raudii Campi"), eut lieu le 30 juillet de l'an 101 av. J.-C.. Ce combat décisif entre les Cimbres et les Romains se termina par l'extermination des « barbares », mettant fin à leur épopée.


Classifications.

The most common approach is for the events of the second work to directly follow the events of the first one, either resolving remaining plot threads or introducing a new conflict to drive the events of the second story. This is often called a direct sequel. A legacy sequel is a work which follows the continuity of the original work(s), but takes place further along the timeline, often focusing on new characters with the original ones still present in the plot. Legacy sequels are sometimes also direct sequels that ignore previous installments entirely, effectively retconning preceding events. An example of this is "Halloween" (2018) which is a direct sequel to "Halloween" (1978). When a work is set in the same universe, yet has very little if any narrative connection to its predecessor, and can stand on its own without a thorough understanding of the series, the work can be referred to as a standalone sequel. "2 Fast 2 Furious", "", "", "Son of the Mask" and "Cars 3" are examples of stand-alone movie sequels. A sequel to the first sequel might be referred to as a "third installment", a threequel, or a second sequel.  An installment that is made following the original product, that portrays events prior those of the original work is called a prequel. Parallels, paraquels, or sidequels are stories that run at the same point in time within the timeline of the story. For example, in "The Lion King 11⁄2", Timon and Pumbaa tell their adventures that took place during the events of "The Lion King". Midquel is a term used to refer to works which take place between events. There are different types of "midquels", such as interquels. Interquels are stories that take place in between two preceding stories and serve as a sequel to one, and a prequel to another simultaneously. For example, if'movie C' is an interquel of'movies A' and 'B', the events of'movie C' take place after the events of'movie A', but before the events of'movie B'. "Rogue One" of the "Star Wars" Saga is an "interquel" since it takes place between "" and "". Intraquels on the other hand are works which focus on events that place between the events of a single film. Examples include "" which takes place during Christmas between the beginning and the end of "Beauty and the Beast", and "Bambi II", which takes place during the gap between the death of Bambi's mother and the character's reappearance as a young adult in "Bambi".

History.

In "The Afterlife of a Character", David Brewer describes a reader's desire to "see more", or to know what happens next in the narrative after it has ended.

Sequels of the novel.

The origin of the sequel as we think of it in the 21st century developed from the novella and romance traditions in a slow process that culminated towards the end of the 17th century.  The substantial shift toward a rapidly growing print culture and the rise of the market system by the early 18th-century meant that an author's merit and livelihood became increasingly linked to the number of copies of a work he or she could sell. This shift from a text-based to an author-centered reading culture led to the "professionalization" of the author — that is, the development of a "sense of identity based on a marketable skill and on supplying to a defined public a specialized service it was demanding." In one sense, then, sequels became a means to profit further from previous work that had already obtained some measure of commercial success. As the establishment of a readership became increasingly important to the economic viability of authorship, sequels offered a means to establish a recurring economic outlet.  In addition to serving economic profit, the sequel was also used as a method to strengthen an author's claim to his literary property. With weak copyright laws and unscrupulous booksellers willing to sell whatever they could, in some cases the only way to prove ownership of a text was to produce another like it. Sequels in this sense are rather limited in scope, as the authors are focused on producing "more of the same" to defend their "literary paternity". As is true throughout history, sequels to novels provided an opportunity for authors to interact with a readership. This became especially important in the economy of the 18th century novel, in which authors often maintained readership by drawing readers back with the promise of more of what they liked from the original. With sequels, therefore, came the implicit division of readers by authors into the categories of "desirable" and "undesirable"—that is, those who interpret the text in a way unsanctioned by the author. Only after having achieved a significant reader base would an author feel free to alienate or ignore the "undesirable" readers.  This concept of "undesirable" readers extends to unofficial sequels with the 18th century novel. While in certain historical contexts unofficial sequels were actually the norm (for an example, see Arthurian literature), with the emphasis on the author function that arises in conjunction with the novel many authors began to see these kinds of unauthorized extensions as being in direct conflict with authorial authority. In the matter of "Don Quixote" (an early novel, perhaps better classified as a satirical romance), for example, Cervantes disapproved of Alonso Fernández de Avellaneda's use of his characters in "Second Volume of the Ingenious Gentleman Don Quixote of La Mancha", an unauthorized sequel. In response, Cervantes very firmly kills the protagonist at the end of the Second Part to discourage any more such creative liberties. Another example is Samuel Richardson, an 18th-century author who responded particularly strongly against the appropriation of his material by unauthorized third parties. Richardson was extremely vocal in his disapproval of the way the protagonist of his novel "Pamela" was repeatedly incorporated into unauthorized sequels featuring particularly lewd plots. The most famous of these is Henry Fielding's parody, entitled "Shamela".  In "To Renew Their Former Acquaintance: Print, Gender, and Some Eighteenth Century Sequels", Betty Schellenberg theorizes that whereas for male writers in the 18th century sequels often served as "models of paternity and property", for women writers these models were more likely to be seen as transgressive. Instead, the recurring readership created by sequels let female writers function within the model of "familiar acquaintances reunited to enjoy the mutual pleasures of conversation", and made their writing an "activity within a private, non-economic sphere". Through this created perception women writers were able to break into the economic sphere and "enhance their professional status" through authorship.  Dissociated from the motives of profit and therefore unrestrained by the need for continuity felt by male writers, Schellenberg argues that female-authored sequel fiction tended to have a much broader scope. He says that women writers showed an "innovative freedom" that male writers rejected to "protect their patrimony". For example, Sarah Fielding's "Adventures of David Simple" and its sequels "Familiar Letters between the Principal Characters in David Simple" and "David Simple, Volume the Last" are extremely innovative and cover almost the entire range of popular narrative styles of the 18th century.

Video games.

As the cost of developing a triple-A video game has risen, sequels have become increasingly common in the video game industry. Today, new installments of established brands make up much of the new releases from mainstream publishers and provide a reliable source of revenue, smoothing out market volatility. Sequels are often perceived to be safer than original titles because they can draw from the same customer base, and generally keep to the formula that made the previous game successful.

Media franchises.

In some cases, the characters or the settings of an original film or video game become so valuable that they develop into a series, lately referred to as a media franchise. Generally, a whole series of sequels is made, along with merchandising. Multiple sequels are often planned well in advance, and actors and directors may sign extended contracts to ensure their participation. This can extend into a series/ franchise's initial production's plot to provide story material to develop for sequels called sequel hooks.

Box office.

Movie sequels do not always do as well at the box office as the original, but they tend to do better than non-sequels, according to a study in the July 2008 issue of the "Journal of Business Research". The shorter the period between releases, the better the sequel does at the box office. Sequels also show a faster drop in weekly revenues relative to non-sequels.

Media shifting.

Sequels are most often produced in the same medium as the previous work (e.g. a film sequel is usually a sequel to another film). Producing sequels to a work in another medium has recently become common, especially when the new medium is less costly or time-consuming to produce.  A sequel to a popular but discontinued television series may be produced in another medium, thereby bypassing whatever factors led to the series' cancellation.  Some highly popular movies and television series have inspired the production of multiple novel sequels, sometimes rivaling or even dwarfing the volume of works in the original medium.  For example, the 1956 novel "The Hundred and One Dalmatians", its 1961 animated adaptation and that film's 1996 live-action remake each have a sequel unrelated to the other sequels: respectively "The Starlight Barking" (1967), "" (2003, direct to video) and "102 Dalmatians" (2000).

Unofficial sequels.

Sometimes sequels are produced without the consent of the creator of the original work. These may be dubbed unofficial, informal, unauthorized, or illegitimate sequels. In some cases, the work is in the public domain, and there is no legal obstacle to producing sequels. An example would be books and films serving as sequels to the book "The Wonderful Wizard of Oz," which is in the public domain (as opposed to its 1939 film adaptation). In other cases, the original creator or their heirs may assert copyrights, and challenge the creators of the sequels.

References.

Notes

A sequel is a work of literature, film, theatre, television, music or video game that continues the story of, or expands upon, some earlier work. In the common context of a narrative work of fiction, a sequel portrays events set in the same fictional universe as an earlier work, usually chronologically following the events of that work.

La suite d'une œuvre littéraire, cinématographique, télévisuelle, d'une bande dessinée ou d'un jeu vidéo, est une œuvre se déroulant dans le même univers de fiction que la première œuvre, et qui raconte une histoire ayant lieu après celle qui est narrée dans cette œuvre originelle.


History.

A Richmond Hill commuter train service had been announced in 1969 by the provincial government, but its implementation was cancelled in 1970 in favour of bus commuter service.  Following a promotional opening on Saturday April 29, the Richmond Hill line became the fourth GO Transit rail line on Monday, May 1, 1978. The opening had been delayed because the BiLevel coaches ordered for the Lakeshore line were not delivered on time, so existing Lakeshore line trains were not available to be redeployed on the Richmond Hill line.  The layout of the line remained generally unchanged from 1978 to 2016, when the line was extended north to the new Gormley station. This extension was part of the GO 2020 strategy, which aims to extend the line north to Aurora Road in Whitchurch-Stouffville. Phase I of the project, which was completed in late 2016, established the Gormley GO Station where the line intersects Stouffville Road, created a train layover facility at Bethesda Road, and graded the corridor for the extension. Phase II of the project will extend the line further north to the new Bloomington GO Station, which is planned to open by 2020.

Route.

The Richmond Hill line operates over the CN Bala Subdivision, which is owned by Metrolinx between Union Station and Doncaster Diamond, where the line crosses the CN York Subdivision. North of Doncaster Diamond, the line is owned by Canadian National and is part of its transcontinental freight route.  The Via Rail Canadian transcontinental service from Vancouver to Toronto operates along the entire route of the Richmond Hill line, but does not stop at any stations other than Union.

Future.

As a part of the GO Transit Regional Express Rail (RER) initiative, train service along the Richmond Hill line is planned to be expanded over the next decade. During peak hours, trains would run in peak direction every 15–30 minutes along this line. To implement the planned RER service, the Richmond Hill line would need $1 billion in flood mitigation and a grade separation in the Doncaster area.

Richmond Hill is one of the seven train lines of the GO Transit system in the Greater Toronto Area, Ontario, Canada. It operates between Union Station in Toronto to Gormley GO Station in the north in Richmond Hill. Trains on the line operate only during weekday peak hours (morning trains southbound, afternoon trains northbound), while off-peak weekday times are served by the GO bus route 61.

La ligne de Richmond Hill est une des sept lignes de train de banlieue du réseau GO Transit à Toronto en Ontario. Son terminus sud est à la Gare Union de Toronto, et son terminus nord se trouve à Richmond Hill. Il y a des connexions aux autobus (Go Transit, Toronto Transit Commission, et York Region Transit) à partir de presque toutes les gares.


Host selection.

Bids :  Rejected Bids :  On 4 September 2006, the Confederation of African Football (CAF) approved a compromise between rival countries to host the Africa Cup of Nations after it ruled out Nigeria. CAF agreed to award the next three editions from 2010 to Angola, Equatorial Guinea, Gabon and Libya respectively. They assigned Angola in 2010, Equatorial Guinea and Gabon, which submitted a joint bid in 2012, and Libya for 2014.  This edition was awarded to Libya for the second time after 1982 African Cup of Nations.  Two-time former host Nigeria is the reserve host for the 2010, 2012 and 2014 tournaments, in the event that any of the host countries fails to meet the requirements established by CAF.  The 2014 tournament was pushed forward to 2013 and subsequently held in odd-numbered years to avoid year-clash with the FIFA World Cup.

Libyan withdrawal.

Due to the Libyan Civil War, Libya traded years with South Africa, so that South Africa hosted in 2013 and Libya will be hosting in 2017. This was ratified in September 2011 at CAF's Executive Committee in Cairo, Egypt.

Qualification.

A total of 47 countries entered the qualification, including South Africa, which automatically qualified. Libya was not allowed to keep its automatic qualification after being stripped of its hosting rights due to the Libyan Civil War. Many teams made their return to the finals in this tournament. The hosts, South Africa returned after a 4-year absence. Ethiopia appeared for the first time since 1982 (a 31-year absence). Other teams absent from the 2012 finals that featured in 2013 were Nigeria, Togo, DR Congo, and Algeria. Cape Verde made its finals debut. Teams that didn't qualify for this tournament from the 2012 African Cup of Nations were both co-hosts, Gabon and Equatorial Guinea, Libya, Senegal, Sudan, Guinea and Botswana. South Sudan was ineligible to participate as the qualifying competition had already started by the time its membership of CAF was confirmed.

Venues.

Host cities.

The South African Football Association opened bidding to all 2010 FIFA World Cup host cities however a maximum of seven venues would be used. The final list of stadiums was initially to be announced by 30 March, but was pushed back to 4 April, 20 April, and then 3 May 2012.  The venues were announced on 4 May 2012. FNB Stadium hosted the opening match and the final. The other venues selected for matches were Mbombela Stadium, Nelson Mandela Bay Stadium, Royal Bafokeng Stadium and Moses Mabhida Stadium.  The average daytime temperature of the host cities ranges from to.

Match ball.

The official match ball for the 2013 Africa Cup of Nations was manufactured by Adidas and named the "Katlego", which means "success" in Sotho language. The name was chosen by African football fans via an online voting competition where it beat alternate names, "Khanya" (light) and "Motswako" (mixture).

Mascot.

The official mascot of the tournament was Takuma, a hippo wearing sports kit in South Africa's official yellow and green. The mascot was designed by Tumelo Nkoana, a 13-year-old South African student from Hammanskraal in Gauteng.

Draw.

The draw for the final tournament took place on 24 October 2012 in Durban. Positions A1 and C1 were already assigned to the hosts (South Africa) and holders (Zambia) respectively. The other 14 qualified teams were ranked based on their performances during the last three Africa Cup of Nations, i.e. the 2008, 2010 and 2012 editions. Moreover, a weighted coefficient on points was given to each of the last three editions of the Africa Cup of Nations as follows:  The teams were then divided into four pots based on the ranking. Each group contained one team from each pot.

Match officials.

The following referees were chosen for the 2013 Africa Cup of Nations.

Squads.

Each team can register a squad of 23 players.

Group stage.

The schedule of the final tournament was released on 8 September 2012.  If two or more teams end the group stage with the same number of points, their ranking is determined by the following criteria:  All times South African Standard Time ()

Knockout phase.

In the knockout stages, if a match is level at the end of normal playing time, extra time shall be played (two periods of 15 minutes each) and followed, if necessary, by kicks from the penalty mark to determine the winner, except for the play-off for third place where no extra time shall be played.

Player awards.

The following awards were given for the tournament:

Marketing.

Sponsorship.

Orange Standard Bank Pepsi Samsung Nissan Ifd Doritos Adidas

Media.

South African public broadcaster SABC was the host broadcaster of the tournament. It paid R65 million (US$7.5 million) for the rights, which entitle it to transmit all of the games across its radio and television platforms.

The 2013 Africa Cup of Nations, also known as the Orange Africa Cup of Nations South Africa 2013 for sponsorship reasons, held from 19 January to 10 February 2013, was the 29th Africa Cup of Nations, the football championship of Africa organized by the Confederation of African Football (CAF). Starting from this edition, the tournament was switched to being held in odd-numbered years instead of even-numbered years so that it does not clash with the FIFA World Cup.

La Coupe d'Afrique des nations de football 2013 est la de la Coupe d'Afrique des nations de football, compétition organisée par la Confédération africaine de football et rassemblant les meilleures équipes masculines africaines. Elle se déroule en Afrique du Sud du 19 janvier au.


Design and development.

In 1953, North American Aviation began a private study for a carrier-based, long-range, all-weather strike bomber, capable of delivering nuclear weapons at supersonic speeds. This proposal, the North American General Purpose Attack Weapon (NAGPAW) concept, was accepted by the United States Navy, with some revisions, in 1955. A contract was awarded on 29 August 1956. Its first flight occurred two years later on 31 August 1958 in Columbus, Ohio.  At the time of its introduction, the Vigilante was one of the largest and by far the most complex aircraft to operate from a Navy aircraft carrier. It had a high-mounted swept wing with a boundary-layer control system (blown flaps) to improve low-speed lift. It had no ailerons; roll control was provided by spoilers in conjunction with differential deflection of the all-moving tail surfaces. The use of aluminum-lithium alloy for wing skins and titanium for critical structures was also unusual. The A-5 had two widely spaced General Electric J79 turbojet engines (the same as used on the McDonnell Douglas F-4 Phantom II fighter), fed by intake ramps, and a single large all-moving vertical stabilizer. Preliminary design studies had employed twin vertical fin/rudders. The wings, vertical stabilizer and the nose radome folded for carrier stowage. The Vigilante had a crew of two seated in tandem, a pilot and a bombardier-navigator (BN) (reconnaissance/attack navigator (RAN) on later reconnaissance versions) seated on individual North American HS-1A ejection seats.  Designated by the US Navy as a "heavy", the A-5 was surprisingly agile; without the drag of bombs or missiles, even escorting fighters found that the clean airframe and powerful engines made the Vigilante very fast at high and low altitudes. However, its high approach speed and high angle of attack at landing made returning to the aircraft carrier a challenge for inexperienced or unwary pilots.  The Vigilante had advanced and complex electronics when it first entered service. It had one of the first "fly-by-wire" systems on an operational aircraft (with mechanical/hydraulic backup) and a computerized AN/ASB-12 nav/attack system incorporating a head-up display ("Pilot's Projected Display Indicator" (PPDI), one of the first), multi-mode radar, radar-equipped inertial navigation system (REINS, based on technologies developed for North American's Navaho missile), closed-circuit television camera under the nose, and an early digital computer known as "Versatile Digital Analyzer" (VERDAN) to run it all. Given its original design as a carrier-based, supersonic, nuclear heavy attack aircraft, the Vigilante's main armament was carried in a novel "linear bomb bay" between the engines in the rear fuselage, which allowed the crew to drop its bomb at supersonic speeds. The single nuclear weapon, commonly the Mk 28 bomb, was attached to two disposable fuel tanks in the cylindrical bay in an assembly known as the "stores train". A set of extendable fins was attached to the aft end of the most rearward fuel tank. These fuel tanks were to be emptied during the flight to the target and then jettisoned with the bomb by an explosive drogue gun. The stores train was propelled rearward at about per second (30 knots) relative to the aircraft. It thereafter followed a typical ballistic path.  In practice, the system was not reliable and no live weapons were ever carried in the linear bomb bay. In the RA-5C configuration, the bay was used solely for fuel. On three occasions, the shock of the catapult launch caused the fuel cans to eject onto the deck; this resulted in one aircraft loss.  The Vigilante originally had two wing pylons, intended primarily for drop tanks. The second Vigilante variant, the A3J-2 (A-5B), incorporated internal tanks for an additional 460 gallons of fuel (which added a pronounced dorsal "hump") along with two additional wing hardpoints, for a total of four. In practice the hardpoints were rarely used. Other improvements included blown flaps on the leading edge of the wing and sturdier landing gear.  The reconnaissance version of the Vigilante, the RA-5C, had slightly greater wing area and added a long canoe-shaped fairing under the fuselage for a multi-sensor reconnaissance pack. This added an APD-7 side-looking airborne radar (SLAR), AAS-21 infrared line scanner, and camera packs, as well as improved electronic countermeasures. An AN/ALQ-61 electronic intelligence system could also be carried. The RA-5C retained the AN/ASB-12 bombing system, and could, in theory, carry weapons, although it never did in service. Later-build RA-5Cs had more powerful J79-10 engines with afterburning thrust of 17,900 lbf (80 kN). The reconnaissance Vigilante weighed almost five tons more than the strike version with almost the same thrust and an only modestly enlarged wing. These changes cost it acceleration and climb rate, though it remained fast in level flight.  The Royal Australian Air Force considered the RA-5C Vigilante as a replacement for its English Electric Canberra. The McDonnell F-4C/RF-4C, Dassault Mirage IVA, and the similar BAC TSR-2 was also considered. However, the TFX (later the F-111C Aardvark) was accepted.

Operational history.

Designated A3J-1, the Vigilante first entered squadron service with Heavy Attack Squadron THREE (VAH-3) in June 1961 at Naval Air Station Sanford, Florida, replacing the Douglas A-3 Skywarrior in the heavy attack, e.g., "strategic nuclear strike" role. All variants of the Vigilante were built at North American Aviation's facility at Port Columbus Airport in Columbus, Ohio, alongside the North American T-2 Buckeye, T-39 Sabreliner and OV-10 Bronco.  Under the Tri-Services Designation plan implemented under Robert McNamara in September 1962, the Vigilante was redesignated A-5, with the initial A3J-1 becoming A-5A and the updated A3J-2 becoming A-5B. The subsequent reconnaissance version, originally A3J-3P, became the RA-5C.  The Vigilante's early service proved troublesome, with many teething problems for its advanced systems. Although these systems were highly sophisticated, the technology was in its infancy and its reliability was poor. Although most of these reliability issues were eventually worked out as maintenance personnel gained greater experience with supporting these systems, the aircraft tended to remain a maintenance-intensive platform throughout its career.  The A-5's service coincided with a major policy shift in the U.S. Navy's strategic role, which switched to emphasize submarine-launched ballistic missiles rather than manned bombers. As a result, in 1963, procurement of the A-5 was ended and the type was converted to the fast reconnaissance role. The first RA-5Cs were delivered to VAH-3, the A-5A and A-5B Replacement Air Group (RAG)/Fleet Replacement Squadron (FRS), subsequently redesignated as Reconnaissance Attack Squadron Three (RVAH-3), at NAS Sanford, Florida in July 1963. As they transitioned from the attack version to the reconnaissance version, all Vigilante squadrons were subsequently redesignated from VAH to RVAH.  Under Commander, Reconnaissance Attack Wing One (COMRECONATKWING ONE), a total of 10 RA-5C squadrons were ultimately established. RVAH-3 continued to be responsible for the stateside-based RA-5C training mission of flight crews, maintenance and support personnel, while RVAH-1, RVAH-5, RVAH-6, RVAH-7, RVAH-9, RVAH-11, RVAH-12, RVAH-13 and RVAH-14 routinely deployed aboard,,,,,,,, and eventually the s to the Atlantic, Mediterranean and Western Pacific. Eight of ten squadrons of RA-5C Vigilantes also saw extensive service in the Vietnam War starting in August 1964, carrying out hazardous medium-level post-strike reconnaissance missions. Although it proved fast and agile, 18 RA-5Cs were lost in combat: 14 to anti-aircraft fire, 3 to surface-to-air missiles, and 1 to a MiG-21 during Operation Linebacker II. Nine more RA-5Cs were lost in operational accidents while serving with Task Force 77. Due, in part, to these combat losses, 36 additional RA-5C aircraft were built from 1968 to 1970 as attrition replacements.  In 1968, Congress closed the aircraft's original operating base of NAS Sanford, Florida and transferred the parent wing, Reconnaissance Attack Wing One, all subordinate squadrons and all aircraft and personnel to Turner AFB, a Strategic Air Command (SAC) Boeing B-52 Stratofortress and Boeing KC-135 base in Albany, Georgia. The tenant SAC bomb wing was then inactivated and control of Turner AFB was transferred from the Air Force to the Navy with the installation renamed Naval Air Station Albany. In 1974, after barely six years of service as a naval air station, Congress opted to close NAS Albany as part of a post-Vietnam force reduction, transferring all RA-5C units and personnel to NAS Key West, Florida.  Despite the Vigilante's useful service, it was expensive and complex to operate and occupied significant amounts of precious flight deck and hangar deck space aboard both conventional and nuclear-powered aircraft carriers at a time when carrier air wings, with the introduction of the F-14 Tomcat and S-3 Viking, were averaging 90 aircraft, many of which were larger than their predecessors. With the end of the Vietnam War, disestablishment of RVAH squadrons began in 1974, with the last Vigilante squadron, RVAH-7, completing its final deployment to the Western Pacific aboard USS "Ranger" in late 1979. The final flight by an RA-5C took place on 20 November 1979 when a Vigilante departed NAS Key West, Florida. Reconnaissance Attack Wing One was subsequently disestablished at NAS Key West, Florida in January 1980.  The Vigilante did not end the career of the A-3 Skywarrior, which would carry on as photo reconnaissance aircraft, electronic warfare platforms, aerial refueling tankers, and executive transport aircraft designated as RA-3A/B, EA-3A/B, ERA-3B, EKA-3B KA-3B, and VA-3B, into the early 1990s.  Fighters replaced the RA-5C in the carrier-based reconnaissance role. The RF-8G version of the Vought F-8 Crusader, modified with internal cameras, had already been serving in two light photographic squadrons (VFP-62 and VFP-63) since the early 1960s, operating from older aircraft carriers unable to support the Vigilante. The Marine Corps' sole photographic squadron (VMFP-3) would also deploy aboard aircraft carriers during this period with RF-4B Phantom II aircraft. These squadrons superseded the Vigilante's role by providing detachments from the primary squadron to carrier air wings throughout the late 1970s and early-to-mid-1980s, until the transfer of the recon mission to the Navy's fighter squadron (VF) community operating the F-14 Tomcat. Select models of the F-14 Tomcat would eventually carry the multi-sensor Tactical Airborne Reconnaissance Pod System (TARPS) and the Digital Tactical Air Reconnaissance Pod (D-TARPS). Up to present day, the weight of carrier-based fighters such as the F-14 Tomcat and Boeing F/A-18E/F Super Hornet have evolved into the same class as the Vigilante.

Records.

On 13 December 1960, Navy Commander Leroy Heath (Pilot) and Lieutenant Larry Monroe (Bombardier/Navigator) established a world altitude record of in an A3J Vigilante carrying a 1,000 kilogram payload, beating the previous record by over. This new record held for more than 13 years. The attempt was accomplished by reaching a speed of Mach 2.1, then pulling up to create a ballistic trajectory beyond the altitude at which its wings could continue to function. The engines flamed out in the thin atmosphere, and the aircraft rolled onto its back. This had already been experienced in previous flights, and so the pilot simply released the controls and the aircraft regained control naturally as it descended back into the thicker air of the lower atmosphere.

Aircraft on display.

An additional example of an A-5A destined for restoration as a museum aircraft, BuNo 146698, was destroyed when it was being relocated by Army helicopter from Naval Air Engineering Station Lakehurst, New Jersey to a new location. When the A-5A became unstable in flight, the helicopter crew was forced to jettison the aircraft from altitude.

The North American A-5 Vigilante was an American carrier-based supersonic bomber designed and built by North American Aviation for the United States Navy. It set several world records, including long-distance speed and altitude records. Prior to 1962 unification of Navy and Air Force designations, it was designated the A3J Vigilante.

L'A-5 "Vigilante" est un avion embarqué à bord de porte-avions. Construit par la société américaine "North American", il fut initialement conçu comme un bombardier supersonique emportant une arme nucléaire, mais fut en fait presque uniquement utilisé comme avion de reconnaissance.


Exhibits.

The Great Elephant (2007) is a mechanical elephant, and meters wide, made from 45 tons of wood and steel. It can take up to 49 passengers for a 45-minute walk. It is an inexact replica of The Sultan's Elephant from Royal de Luxe, which toured the world from 2005 to 2007; the main difference being that this elephant is designed to carry spectators.  The Marine Worlds Carousel (2012) is a huge carousel, rising nearly 25m high and measuring 20m in diameter. It features 35 moving underwater creatures on three levels: the ocean floor, the depths, and sea and boats. Visitors will be able to move about amidst a ballet of aquatic animals and sea carriages, as well as climb aboard and guide the movements of the Machines.  The Heron Tree (2014) is a steel structure 45 meters in diameter and 28 meters in height, topped with two herons. The project plans to allow visitors to climb either onto the back or onto the wings of the birds for a circular flight over the hanging gardens of the tree.  The Machine Gallery is an exhibition place to illustrate the background story of the machines. Some visitors are invited to control marine animals or the European Flight Test Center. The entire process of the construction is on display by sketches, models and films. In July 2008, three new machines were added into the gallery.  The Workshop is the site of fabrication for people to observe the ongoing building process. Today, the construction of the Marine Worlds occupies one part of the workshop.

The Machines of the Isle of Nantes (Les Machines de l'île) is an artistic, touristic and cultural project based in Nantes, France. In the old covered buildings of the former shipyards in Nantes that were at one time used for ship construction ("les nefs"), and later used as business sites, the Machines of the Isle are created by two artists, François Delarozière (of "La Machine" production company) and Pierre Orefice (of "Manaus" association).

Les Machines de l’île sont un espace d'exposition et d'animation situé à Nantes, en France. Créé par François Delarozière (directeur Artistique) et Pierre Orefice, il se trouve sur l'Île de Nantes, dans le parc des Chantiers, à l'emplacement d'anciens chantiers navals désaffectés.


Early life.

Richardson was born in Newton Abbot, Devon, England and lived in a house near Denbury. His parents ran a children's summer camp school. The family moved to Dartmoor when Richardson was ten. The family did not have a television, but his father had a cine camera with which they would make films. Richardson credits this as the beginning of his interest in filmmaking. He moved to London when he was seventeen, having decided he wanted to be an actor. At one point he was a lifeguard at a swimming pool.

Career.

Early career.

Richardson appeared as one of the schoolboys in Alan Bennett's Forty Years On. This work led to him getting an agent and performing in TV plays as an extra. He then attended the Bristol Old Vic Theatre School. It was here in the second year he became reacquainted with Nigel Planer, who he knew from working at Richardson's parent's summer camp. The pair shared an interest in rock music, and wanted to mix music with a comedy show, in Richardson's words "we felt we'd like to try something like what Frank Zappa was doing on records, which was being funny but using music as well.". Around this time Richardson and Planer were heavily influenced by U.S. comedians Sal's Meat Market, an early duo of John Ratzenberger and Ray Hassett, as well as the group Alberto y Lost Trios Paranoias.  With the assistance of Caroline Jay, they produced a show called "Rank", inspired by the police raid of the 1974 Windsor Free Festival, which premiered at the Roundhouse Downstairs in August 1976. Planer and Richardson played all the characters in the play, which numbered around forty. The play was well received and enabled the pair to get an Arts Council grant to take it on tour. Despite the critical acclaim, at the end of the tour Richardson and Planer found themselves with no money and had to pursue other work, with Richardson squatting in London.  After "Rank" Richardson toured with a band in Italy and also helped run drama courses for children at his parents’ house in Devon. One of the dramas produced from these courses became a show called "The Wild Boys", based on the book by William Burroughs. Richardson performed this show at the ICA in London as well as touring the show with the group Furious Pig. Through this Richardson first met Michael White with whom he planned to take the show into the West End, although this came to nothing. He worked as an extra on Michael Palin's Ripping Yarns second series in 1979, appearing as a German spy, pretending to be a Cornish fisherman, in Whinfrey's Last Case.

"The Outer Limits".

Reunited with Planer the pair started performing at London's Comedy Store in 1979, calling themselves "The Outer Limits". They performed short sketches parodying different television styles, for example sitcom and American police drama. They used visual comedy and often mimed over-the-top scenes of cartoon violence. At this point, various television companies were taking note of the rapidly growing "alternative comedy" scene, BBC producer Paul Jackson being the first to commission a programme from regular performers at the Comedy Store. This became 1980's "Boom Boom...Out Go The Lights". However, Jackson's decision to only showcase solo performers, featuring Planer's Neil character instead of The Outer Limits as a duo angered Richardson, who began a long-standing feud with Jackson. Mike in BBC comedy "The Young Ones" was originally written with Richardson in mind; however, he did not take part for reasons partly connected to his earlier disagreement with Paul Jackson and due his commitments with The Comic Strip. Richardson was replaced by Christopher Ryan.  The Outer Limits were hired by Kevin Rowland as an opening act for Dexy's Midnight Runners on their tour of "The Projected Passion Revue "in 1981.

The Comic Strip Presents....

As a result of searching for a West End venue to stage "The Wild Boys", Richardson and Michael White sourced a new possible venue for his own comedy club, the Boulevard Theatre in the Raymond Revue Bar, run by Paul Raymond. Richardson called it "The Comic Strip", taking with him a core group from the Comedy Store. It opened in October 1980 and ran until 1981, when the troupe went on a national tour. Richardson approached producer Mike Bolland, the newly appointed Channel Four youth and entertainment commissioning editor to propose a series of Comic Strip films for the channel. Bolland agreed to his proposal, his first commission for the station and Jeremy Isaacs quickly approved the budget. The series opener, "Five Go Mad in Dorset" was the first comedy shown on the new channel on its opening night in November 1982.  "The Comic Strip Presents..." ran from 1982 to 1988 on Channel 4, and then continued from 1990 to 1993 on the BBC. Richardson wrote more than half of the shows together with his longtime writing partner Pete Richens, and he also directed most of the BBC series. In 1998 Richardson, Planer, Mayall and Edmonson reunited to appear in new film "Four Men in a Car", about four obnoxious sales representatives. This was followed up by 2000s "Four Men in a Plane". Richardson returned to Channel 4 with the Comic Strip film, "Sex Actually" in 2005. In 2011, he wrote and directed "The Hunt for Tony Blair". In 2012, he wrote and directed, "Five Go To Rehab" which premiered on Gold.

Feature film work.

Richardson's success on the small screen has not always translated well to cinematic releases. 1985's The Supergrass, was the first feature length theatrical release for a Comic Strip film and was funded through Film4 Productions. Reviews were mixed but mostly favourable and the film has a cult following. Richardson himself expressed the opinion in retrospect that maybe it was too gentle for a Comic Strip film.  Richardson followed this up with the 1987 film "Eat the Rich", written by himself and Pete Richens, about a waiter at an exclusive restaurant called "Bastard's", who stages a rebellion against the government. Critics were mixed in their opinions on the film. Hal Hinson writing in the Washington Post gave the film a lukewarm review and said "The punk jaggedness they bring to their derivations is the only hint of originality, but this, too, seems a little staid. It feels like punk on the downward swing, after most of its rude energy has dissipated." Vincent Canby in the New York Times was more favourable and drew comparisons to "an upscale John Waters satire" and "Jean-Luc Godard's pre-Maoist period" In January 1988 the film was one of several attacked in the Sunday Times by Oxford University historian Norman Stone for their critique of Thatcherite society and values, Stone describing them as "worthless and insulting" and "riddled with left wing bias".  Richardson ran into controversy with a proposed three part papal satire which he pitched to Channel 4 in 1988. Several British newspapers picked up on the fact the script was being considered, generating anger amongst the Catholic establishment and after some unfavourable press attention Channel 4 scrapped the project. Shortly after this Richardson moved "The Comic Strip Presents..." to the BBC and produced two episodes based on the original trilogy screenplay, although they were heavily changed. He reworked the remainder of the story and again with backing from Film4 used elements of it to write the 1991 film "The Pope Must Die", starring Comic Strip regulars Robbie Coltrane and Adrian Edmondson along with Herbert Lom and Paul Bartel. Richardson again directed. The film experienced problems placing advertising in several countries, particularly the US due to its controversial title, received mixed reviews from critics and struggled to make back its £2.5 million budget, grossing $2,544,770 overall (approximately £1.7 million).  Richardson appeared in the 1992 revival of the Carry On franchise, Carry On Columbus, alongside other Comic Strip members Rik Mayall, Alexei Sayle and Nigel Planer. The film was badly received, with Gerald Thomas for Time Out London saying "None of the new crew of Sayle, Richardson, Mayall and Planer is remotely endearing in their awfulness"  In 2003 Richardson began filming on his return to the big screen, directing Christian Slater and Neve Campbell in, which was released in December 2004. The film was a return to the universe of Comic Strip films "The Strike" and "GLC", where Hollywood remakes and distorts events from British historical events and portrayed Winston Churchill as a gun toting U.S. G.I. similar to Bruce Willis. Phillip French writing in the Observer called it "a hit and miss affair" Peter Bradshaw in the Guardian gave it three stars and said "It's wildly uneven and very broad, but there are some laughs in Peter Richardson's Comic Strip fantasy of Churchill's real life as a kickass action hero." However Nev Peirce on the BBC's website panned the film, saying "Sadly, Peter Richardson suffers the fate of many satirists; in trying to mock bad films, he's simply made a bad film" The film grossed £148,326 on its opening weekend across 170 screens in the UK The same year Richardson released a feature-length film of Stella Street through his new production company. Richardson co-wrote and directed the film. It received unfavourable reviews, Anita Gates in the New York Times writing "the concept doesn't translate well to the longer form. The sense of the absurd is watered down." while Michael Rechtshaffen in the Hollywood Reporter said "What might have achieved a degree of cult status across the pond when it was aired in 10-minute installments, struggles to pass big-screen scrutiny in a feature-length treatment that hinges on the flimsiest of plot lines." However Derek Elley in Variety thought it "Manages to sustain its single-joke premise...over feature length." The film opened in 10 screens in the USA and took $2,574 on the opening weekend.

Other television work.

During the last series of Comic Strip films, Peter introduced a new group of performers, Doon Mackichan, Mark Caven, Phil Cornwell, Sara Stockbridge, George Yiasoumi and Gary Beadle, and went on to star them in "The Glam Metal Detectives". The series was a hit with critics, and did well enough in the ratings, but spiralling production costs and internal wranglings at the BBC meant it only ran for one series.  Apart from the Comic Strip, Richardson's best-known work is the sitcom "Stella Street", which he directs and co-writes with impressionists John Sessions and Phil Cornwell. A Stella Street feature film was released in 2004. He also directed the mock documentary "Lust for Glorious" about comedian Eddie Izzard with Mark Caven and Phil Kay.

Production work.

In 2004, Richardson co-founded the production company Great Western Features with Nick Smith, which is based in Totnes, Devon. The company produced Churchill: The Hollywood Years, feature film "The Golden Road" and the Comic Strip production "Sex Actually". They also produced a feature-length film of Stella Street, which Richardson also directed. They currently are due to start filming a new Comic Strip entitled 'It Ends Badly' in August 2013. They have also produced commercials for recycling, Flybe, Harris Tweed and the Devon Tourist Board.

Peter Richardson (born 15 October 1951) is an English director, screenwriter, actor, and comedian. Richardson founded the Comic Strip troupe of performers, which showcased his double act with Nigel Planer and launched the careers of French and Saunders, Rik Mayall and Adrian Edmondson, and Alexei Sayle. Richardson approached Channel 4 to make a series of short, self-contained one-off comedy films with this group, which led to "The Comic Strip Presents...", many of which were written, directed by and featured him in acting roles.

Peter Richardson est un acteur, scénariste, réalisateur, producteur, directeur de la photographie, monteur et compositeur britannique né le à Devon (Royaume-Uni).


History.

Ancient Rome.

The Rome of Romulus and his immediate successors possessed a very restricted territory, as did neighbouring Latin cities such as Praeneste. Such territories were marked by boundary stones, or cippi, used to define and limit the legitimate area of influence of cities, and the boundaries of private landholdings. According to tradition, Rome rapidly outgrew the "ager" established by its founder, and rather than accept its confinement, Tullus Hostilius razed the Latin city of Alba Longa ca. 635 BC, and incorporated its former territories within the "ager Romanus".  With the proclamation of the Roman Republic in 509 BC, all the territory occupied by Romans in "Latium vetus" came to be proclaimed ager publicus, equivalent to state lands today, which were held by the state and could be granted to private citizens. The Roman municipal authorities of this era were the consuls. In effect, Rome was a gigantic city-territory continuously expanding across Europe.  Octavian Augustus founded the office of praefectus urbis and other offices which divided the administration of the city of Rome from that of the Roman Empire. Thus was solved the problem of delimiting the territory of the municipium of Rome from the territory of the rest of the empire - besides the "Regio I Latii et Campaniae" administered by a specific governor, the confines of the municipal authority of Rome came to be fixed at the "centesimum lapidem" (i.e. one hundred miles) on each of the converging on Rome. So, "de iure", the Roman municipal authority controlled the whole of Lazio and part of Tuscany from Talamone to Terracina and also parts of Abruzzo and Umbria.  The same territorial division was confirmed by the re-subdivision of the provinces by Diocletian.

Medieval era.

After the fall of the empire, the "praefectus urbis" continued to be elected and did not come to be totally deprived of their power even by the advancing papal power which effectively became the municipal government of Rome.  The Ager Romanus, as a political zone subject to the municipium of Rome, theoretically continued to extend "ad centesimum lapidem", but in practice many of its regions ended up in Lombard hands, with still others managed by the religious authorities or the pope, who were beginning to manage their territories by means of "patrimonia" and "domuscultae".

Today.

The "motu proprio" of 6 July 1817 by Pope Pius VII established the boundaries of the municipium of Rome, assigning to the capital its present communal territory as well as the present communes of Fiumicino, Pomezia and Ardea. The confines of the Comunità di Roma were thus finally defined and no longer nebulous, and these limits ended at the constitution of the commune of Pomezia (also including present-day Ardea) following its lasting foundation during the "bonifica fascista" and—in the 1990s—of Fiumicino.

The Ager Romanus (literally, "the field of Rome"') is the geographical rural area (part plains, part hilly) that surrounds the city of Rome. Politically and historically, it has represented the area of influence of Rome's municipal government. It is limited to the south by the Monti Prenestini range, Alban hills and Pontine Marshes; to the west by the Tyrrhenian Sea; to the north by the hills surrounding Lake Bracciano and to the east by the Monti Tiburtini range.

Dans la Rome antique, l’expression latine Ager romanus désigne le territoire propre de la ville de Rome, seul susceptible pendant longtemps de propriété civile ("dominium ex jure Quiritium"). Quelques auteurs cependant ont parfois appliqué ces mots à des terres conquises, assez éloignées de la ville, mais jamais à celles qui étaient en dehors de l'Italie.


Name.

Theia was named for the titaness Theia, who in Greek mythology was the mother of Selene, the goddess of the moon, which parallels the planet Theia's collision with the early Earth that is theorized to have created the Moon.  Orpheus is a legendary musician, poet, and prophet in ancient Greek religion.

Orbit.

Theia is thought to have orbited in the L or L configuration presented by the Earth–Sun system, where it would tend to remain. In that case, it would have grown, potentially to a size comparable to Mars. Gravitational perturbations by Venus could have eventually put it onto a collision course with the early Earth.

Collision.

According to the giant-impact hypothesis, Theia orbited the Sun, nearly along the orbit of the proto-Earth, by staying close to one or the other of the Sun–Earth system's two more stable Lagrangian points (" i.e.", either L4 or L5). Theia was eventually perturbed away from that relationship by the gravitational influence of Jupiter and/or Venus, resulting in a collision between Theia and Earth.  Computer simulations suggest that Theia was traveling no faster than when it struck Earth at an estimated 45 degree angle.  Originally, the hypothesis supposed that Theia had struck Earth with a glancing blow and ejected many pieces of both the proto-Earth and Theia, those pieces either forming one body that became the Moon or forming two moons that eventually merged to form the Moon. Such accounts assumed that if Theia had struck the proto-Earth head-on both planets would have been destroyed, creating a short-lived second asteroid belt between the orbits of Venus and Mars.  In contrast, evidence published in January 2016 suggests that the impact was indeed a head-on collision and that Theia's remains can be found in both the Earth and the Moon.

Hypotheses.

From the beginning of modern astronomy, there have been at least four hypotheses for the origin of the Moon:  The lunar rock samples retrieved by Apollo astronauts were found to be very similar in composition to Earth's crust, and so were likely removed from Earth in some violent event.

Theia or Orpheus ( ) is a hypothesized ancient planet in the early Solar System that, according to the 'giant-impact hypothesis', collided with the early Earth around 4.5 billion years ago. According to one hypothesis, Theia was an Earth trojan about the size of Mars, with a diameter of about. Models of the impact indicate that Theia's debris gathered around Earth to form the early Moon.

Selon une hypothèse dominante, la formation de la Lune est due à la collision de la Terre (ou proto-Terre) avec un impacteur de la taille de Mars. Théia (ou parfois Orphée) est le nom donné à cet impacteur.