title: Aṅgulimāla

text: The story of Aṅgulimāla is most well known in the Theravāda tradition. Two texts in the early discourses in the Pāli language are concerned with Aṅgulimāla's initial encounter with the Buddha and his conversion, and are believed to present the oldest version of the story. The first is the Theragāthā, probably the oldest of the two, and the second is the Aṅgulimāla Sutta in the Majjhima Nikāya. Both offer a short description of Aṅgulimāla's encounter with the Buddha, and do not mention much of the background information later incorporated into the story (such as Aṅgulimāla being placed under oath by a teacher). Apart from the Pāli texts, the life of Aṅgulimāla is also described in Tibetan and Chinese texts which originate from Sanskrit. The Sanskrit collection called Saṃyuktāgama from the early Mūlasārvastivāda school, has been translated in two Chinese texts (in the 4th–5th century CE) by the early Sarvāstivāda and Kāśyapīya schools and also contains versions of the story. A text translated in Chinese from the Sanskrit Ekottara Agāma by the Mahāsaṃghika school is also known. Furthermore, three other Chinese texts dealing with Aṅgulimāla have also been found, of unknown origin but different from the first three Chinese texts.


title: Aṅgulimāla

text: Apart from these early texts, there are also later renderings, which appear in the commentary to the Majjhima Nikāya attributed to Buddhaghosa (5th century CE) and the Theragāthā commentary attributed to Dhammapāla (6th century CE). The two commentaries do not appear to be independent of one another: it appears that Dhammapāla has copied or closely paraphrased Buddhaghosa, although adding explanation of some inconsistencies. The earliest accounts of Aṅgulimāla's life emphasize the fearless violence of Aṅgulimāla and, by contrast, the peacefulness of the Buddha. Later accounts attempt to include more detail and clarify anything that might not conform with Buddhist doctrine. For example, one problem that is likely to have raised questions is the sudden transformation from a killer to an enlightened disciple—later accounts try to explain this. Later accounts also include more miracles, however, and together with the many narrative details this tends to overshadow the main points of the story. The early Pāli discourses (Pali: sutta) do not provide for any motive for Aṅgulimāla's actions, other than sheer cruelty. Later texts may represent attempts by later commentators to "rehabilitate" the character of Aṅgulimāla, making him appear as a fundamentally good human being entrapped by circumstance, rather than as a vicious killer. In addition to the discourses and verses, there are also Jātaka tales, the Milindapañhā, and parts of the monastic discipline that deal with Aṅgulimāla, as well as the later Mahāvaṃsa chronicle.


title: Aṅgulimāla

text: Having grown up, Ahiṃsaka is handsome, intelligent and well-behaved. His parents send him to Taxila to study under a well-known teacher. There he excels in his studies and becomes the teacher's favorite student, enjoying special privileges in his teacher's house. However, the other students grow jealous of Ahiṃsaka's speedy progress and seek to turn his master against him. To that end, they make it seem as though Ahiṃsaka has seduced the master's wife. Unwilling or unable to attack Ahiṃsaka directly, the teacher says that Ahiṃsaka's training as a true brahman is almost complete, but that he must provide the traditional final gift offered to a teacher and then he will grant his approval. As his payment, the teacher demands a thousand fingers, each taken from a different human being, thinking that Aṅgulimāla will be killed in the course of seeking this grisly prize. According to Buddhaghosa, Ahiṃsaka objects to this, saying he comes from a peaceful family, but eventually the teacher persuades him. But according to other versions, Ahiṃsaka does not protest against the teacher's command.


title: Aṅgulimāla

text: The Buddha sets off to intercept Aṅgulimāla, despite being warned by local villagers not to go. On the road through the forest of Kosala, Aṅgulimāla first sees his mother. According to some versions of the story, he then has a moment of reconciliation with her, she providing food for him. After some deliberation, however, he decides to make her his thousandth victim. But then when the Buddha also arrives, he chooses to kill him instead. He draws his sword, and starts running towards the Buddha. But although Aṅgulimāla is running as fast as he can, he cannot catch up with the Buddha who is walking calmly. The Buddha is using some supernatural accomplishment (Pali: iddhi; Sanskrit: ṛddhi) that affects Aṅgulimāla: one text states the Buddha through these powers contracts and expands the earth on which they stand, thus keeping a distance of Aṅgulimāla. This bewilders Aṅgulimāla so much that he calls to the Buddha to stop. The Buddha then says that he himself has already stopped, and that it is Aṅgulimāla who should stop:


title: Aṅgulimāla

text: The idea that Aṅgulimāla was part of a violent cult was already suggested by the Chinese pilgrim Xuan Zang (602–64 CE). In his travel accounts, Xuan Zang states that Aṅgulimāla's was taught by his teacher that he would be born in the Brahma heaven if he killed a Buddha. A Chinese early text gives a similar description, stating that Aṅgulimāla's teacher followed the gruesome instructions of his guru, to attain immortality. Xuan Zang's suggestion was further developed by European translators of Xuan Zang's travel accounts in the early twentieth century, but partly based on translation errors. Regardless, Gombrich is the first recent scholar to postulate this idea. However, Gombrich's claim that tantric practices existed before the finalization of the canon of Buddhist discourses (two to three centuries BCE) goes against mainstream scholarship. Scholarly consensus places the arising of the first tantric cults about a thousand years later, and no corroborating evidence has been found, whether textual or otherwise, of earlier sanguinary tantric practices. Though Gombrich argues that there other, similar antinomian practices (going against moral norms) which are only mentioned once in Buddhist scriptures and for which no evidence can be found outside of the scriptures, Buddhist Studies scholars Mudagamuwa and Von Rospatt dismiss these as incorrect examples. They also take issue with Gombrich's metrical arguments, thus disagreeing with Gombrich's hypotheses with regard to Aṅgulimāla. They do consider it possible, however, that Angulimāla's violent practices were part of some kind of historical cult. Buddhist Studies scholar L. S. Cousins has also expressed doubts about Gombrich's theory.


title: Aṅgulimāla

text: Among Buddhists, Aṅgulimāla is one of the most well-known stories. Not only in modern times: in ancient times, two important Chinese pilgrims travelling to India reported about the story, and reported about the places they visited that were associated with Aṅgulimāla's life. From a Buddhist perspective, Aṅgulimāla's story serves as an example that even the worst of people can overcome their faults and return to the right path. The commentaries uphold the story as an example of good karma destroying evil karma. Buddhists widely regard Aṅgulimāla as a symbol of complete transformation and as a showcase that the Buddhist path can transform even the least likely initiates. Buddhists have raised Aṅgulimāla's story as an example of the compassion (Pali: karuṇa) and supernatural accomplishment (Pali: iddhi) of the Buddha. Aṅgulimāla's conversion is cited as a testimony to the Buddha's capabilities as a teacher, and as an example of the healing qualities of the teaching of the Buddha (Dharma).


title: Aṅgulimāla

text: The story of Aṅgulimāla illustrates how criminals are affected by their psycho-social and physical environment. Jungian analyst Dale Mathers theorizes that Ahiṃsaka started to kill because his meaning system had broken down. He was no longer appreciated as an academic talent. His attitude could be summarized as "I have no value: therefore I can kill. If I kill, then that proves I have no value". Summarizing the life of Aṅgulimāla, Mathers writes, "e is ... a figure who bridges giving and taking life." Similarly, referring to the psychological concept of moral injury, theologian John Thompson describes Aṅgulimāla as someone who is betrayed by an authority figure but manages to recover his eroded moral code and repair the community he has affected. Survivors of moral injury need a clinician and a community of people that face struggles together but deal with those in a safe way; similarly, Aṅgulimāla is able to recover from his moral injury due to the Buddha as his spiritual guide, and a monastic community that leads a disciplined life, tolerating hardship. Thompson has further suggested Aṅgulimāla's story might be used as a sort of narrative therapy and describes the ethics presented in the narrative as inspiring responsibility. The story is not about being saved, but rather saving oneself with help from others.


title: Aṅgulimāla

text: Ethics scholar David Loy has written extensively about Aṅgulimāla's story and the implications it has for the justice system. He believes that in Buddhist ethics, the only reason offenders should be punished is to reform their character. If an offender, like Aṅgulimāla, has already reformed himself, there is no reason to punish him, even as a deterrent. Furthermore, Loy argues that the story of Aṅgulimāla does not include any form of restorative or transformative justice, and therefore considers the story "flawed" as an example of justice. Former politician and community health scholar Mathura Shrestha, on the other hand, describes Aṅgulimāla's story as "robably the first concept of transformative justice", citing Aṅgulimāla's repentance and renunciation of his former life as a brigand, and the pardon he eventually receives from relatives of victims. Writing about capital punishment, scholar Damien Horigan notes that rehabilitation is the main theme of Aṅgulimāla's story, and that witnessing such rehabilitation is the reason why King Pasenadi does not persecute Aṅgulimāla.


title: Aṅgulimāla

text: Throughout Buddhist history, Aṅgulimāla's story has been depicted in many art forms, some of which can be found in museums and Buddhist heritage sites. In modern culture, Aṅgulimāla still plays an important role. In 1985, the British-born Theravāda monk Ajahn Khemadhammo founded Angulimala, a Buddhist Prison Chaplaincy organization in the UK. It has been recognized by the British government as the official representative of the Buddhist religion in all matters concerning the British prison system, and provides chaplains, counselling services, and instruction in Buddhism and meditation to prisoners throughout England, Wales, and Scotland. The name of the organization refers to the power of transformation illustrated by Aṅgulimāla's story. According to the website of the organization, "The story of Angulimala teaches us that the possibility of Enlightenment may be awakened in the most extreme of circumstances, that people can and do change and that people are best influenced by persuasion and above all, example."


title: Aṅgulimāla

text: In popular culture, Aṅgulimāla's legend has received considerable attention. The story has been the main subject of at least three movies. In 2003, Thai director Suthep Tannirat attempted to release a film named Angulimala. Over 20 conservative Buddhist organizations in Thailand launched a protest, however, complaining that the movie distorted Buddhist teachings and history, and introduced Hindu and theistic influences not found in the Buddhist scriptures. The Thai film censorship board rejected appeals to ban the film, stating it did not distort Buddhist teachings. They did insist that the director cut two scenes of violent material. The conservative groups were offended by the depiction of Aṅgulimāla as a brutal murderer, without including the history which led him to become such a violent brigand. Tannirat defended himself, however, arguing that although he had omitted interpretations from the commentaries, he had followed the early Buddhist discourses precisely. Tannirat's choice to only use the early accounts, rather than the popular tales from the commentaries, was precisely what led to the protests.


title: Aṅgulimāla

text: Aṅgulimāla has also been the subject of literary works. In 2006, peace activist Satish Kumar retold the story of Aṅgulimāla in his short book The Buddha and the Terrorist. The books deals with the Global War on Terror, reshaping and combining various accounts of Aṅgulimāla, who is described as a terrorist. The book emphasizes the passage when the Buddha accepts Aṅgulimāla in the monastic order, effectively preventing King Pasenadi from punishing him. In Kumar's book, this action leads to backlash from an enraged public, who demand to imprison both Aṅgulimāla and the Buddha. Pasenadi organizes a public trial in the presence of villagers and the royal court, in which the assembly can decide what to do with the two accused. In the end, however, the assembly decides to release the two, when Aṅgulimāla admits to his crimes and Pasenadi gives a speech emphasizing forgiveness rather than punishment. This twist in the story sheds a different light on Aṅgulimāla, whose violent actions ultimately lead to the trial and a more non-violent and just society. Writing about Buddhist texts and Kumar's book, Thompson reflects that ahiṃsa in Buddhism may have different shades of meaning in different contexts, and often does not mean passively standing by, or non-violence as usually understood.


title: Dürer Kert

text: The building on Ajtósi Dürer sor used to be a Sacré Coeur Girls' School, later functioned as a socialist party school and then was occupied by Eötvös Lorand University. When the university moved out, an Israeli businessman bought the property in 2007. The building and the practice studios that belonged to it were subsequently rented out to Dürer Kert since 2008. From 2014, the club had a five-year contract to rent the space, but had to fight to keep their tenant rights every year, as property developers envisioned the space as a living quarters and an office building. It was also suggested at one point that the property would host the Capital Circus of Budapest. In 2018, the building was acquired by István Garancsi 's property development business and Dürer Kert started looking for another place to rent. During the Covid19 pandemic, the club had to close down and eventually had to leave the premises. The building was torn down to give way to a modern office building and apartment block.


Although of Course You End Up Becoming Yourself was positively received by critics. In Time magazine, Lev Grossman wrote, "The transcript of their brilliant conversations reads like a two-man Tom Stoppard play or a four-handed duet scored for typewriter." The Atlantic Monthly called the work, "far-reaching, insightful, very funny, profound, surprising, and awfully human"; at National Public Radio, Michael Schaub described the book as "a startlingly sad yet deeply funny postscript to the career of one of the most interesting American writers of all time", calling it "crushingly poignant, both endearing and fascinating. At the end, it feels like you've listened to two good friends talk about life, about literature, about all of their mutual loves". Newsweek noted, "For readers unfamiliar with the sometimes intimidating Wallace oeuvre, Lipsky has provided a conversational entry point into the writer's thought process. It's odd to think that a book about Wallace could serve both the newbies and the hard-cores, but here it is." Publishers Weekly, in a starred review, described the book as "a rollicking dialog ... a candid and fascinating glimpse into a uniquely brilliant and very troubled writer". The Wall Street Journal called it "lovely", and Laura Miller in Salon described it as "exhilarating". Maria Bustillos, in an essay for The Awl, wrote, "I can't tell you how much fun this book is ... It's a road picture, a love story, a contest: two talented, brilliant young men with literary ambitions, and their struggle to understand one another." "Spurred by a rapidly developing feeling of friendship toward Lipsky", wrote critic Richard Brody in The New Yorker, "Wallace speaks of himself with a profuse, almost therapeutic candor, delivering a spoken autobiography ... In Lipsky's book, Wallace's voice is startlingly present, but so are his ideas, his immediate emotional responses to circumstances, and his own complex range of perspectives on the circumstances at hand ... His remarks to Lipsky are as quietly hilarious as they are ingenious."


title: Bank of Saint George

text: I know nothing more remarkable in the government of Genoa, than the bank of St. George, made up of such branches of the revenues, as have been set apart and appropriated to the discharging of several sums, that have been borrowed from private persons, during the exigencies of the commonwealth. Whatever inconveniences the state has labored under, they have never entertained a thought of violating the public credit, or of alienating any part of these revenues to other uses, than to what they have been thus assigned. The administration of this bank is for life, and partly in the hands of the chief citizens, which gives them a great authority in the state, and a powerful influence over the common people. This bank is generally thought the greatest load on the Genoese, and the managers of it have been represented as a second kind of senate, that break the uniformity of government, and destroy in some measure the fundamental constitution of the state. It is, however, very certain, that the people reap no small advantages from it, as it distributes the power among more particular members of the republic, and gives the commons a figure: So that it is no small check upon the aristocracy, and may be one reason why the Genoese Senate carries it with greater moderation towards their subjects than the Venetian.


title: Bank of Saint George

text: Legislators, therefore, ought not to trust the future government of a state entirely to chance, but ought to provide a system of laws to regulate the administration of public affairs. Effects will always correspond to causes; and wise regulations in any commonwealth are the most valuable legacy that can be left to future ages. In the smallest court or office, the stated forms and methods, by which business must be conducted, are found to be a considerable check on the natural depravity of mankind. Why should not the case be the same in public affairs? Can we ascribe the stability and wisdom of the Venetian government, through so many ages, to any thing but the form of government? And is it not easy to point out those defects in the original constitution, which produced the tumultuous governments of Athens and Rome, and ended at last in the ruin of these two famous republics? And so little dependance has this affair on the humours and education of particular men, that one part of the same republic may be wisely conducted, and another weakly, by the same men, merely on account of the difference of the forms and institutions, by which these parts are regulated. Historians inform us that this was actually the case of Genoa. For while the state was always full of sedition, and tumult, and disorder, the bank of St. George, which had become a considerable part of the people, was conducted, for several ages, with the utmost integrity and wisdom.


title: Bank of Saint George

text: No sooner had banking become a separate and important trade, than men began to discuss with earnestness the question whether it would be expedient to erect a national bank... Two public banks had long been renowned throughout Europe, the Bank of Saint George at Genoa, and the Bank of Amsterdam. The immense wealth which was in the keeping of those establishments, the confidence they inspired, the prosperity which they had created, their stability, tried by panics, by wars, by revolutions and found proof against all, were favourite topics. The Bank of Saint George had nearly completed its third century. It had begun to receive deposits and to make loans before Columbus had crossed the Atlantic, before Gama had turned the Cape, when Christian Emperor was reigning at Constantinople, when a Mahomedan Sultan was reigning at Granada, when Florence was a Republic, when Holland obeyed a hereditary prince. All these things has changed. New continents and new oceans had been discovered. The Turk was at Constantinople: the Castilian was at Granada: Florence had its hereditary Prince: Holland was a Republic: but the Bank of Saint George was still receiving deposits and making loans... Why should not the Bank of London be as great and as durable as the Banks of Genoa and of Amsterdam?


title: Russian Youth Theatre

text: The Russian Youth Theatre was the first stationary Russian theatre in North America until 2012. Founded in 1999 by operatic bass Nikolay Cherkasov and pianist Andrew Kartuzov, the theatre promotes stage arts within Canada's Russian community with a number of semi-professional productions for all ages. Staged productions include Samuil Marshak's The Cat's Mansion and Twelve Months, Cinderella and The Dragon by Evgeny Shvarts, Town Musicians of Bremen, The Woes of Wit by Aleksander Griboyedov, There Was a War Tomorrow by Boris Vasiliev, Funtik's Adventures, Nikolai Gogol's The Inspector General, The Nutcracker, Pinocchio, Mama, Karlsson-on-the-Roof, Love's Sublimation, Snow White, Cat Leopold New Year Adventures, Love For Three Oranges and many others. Over the years, the Russian Youth Theatre's creative team has included artistic directors Nikolay Cherkasov, Valentina Souetova, and Gennadiy Dolganov, music director Andrew Kartuzov, choreographer Ekaterina Kornienkova, and costume designers Ekaterina Maryevych and Inessa Gorina.


title: The Chant of Jimmie Blacksmith (film)

text: Jimmie Blacksmith, child of an Aboriginal mother and a white father, is raised to adulthood by the Reverend Neville and his wife Martha, hoping their influence will civilize him and provide him with greater opportunities in early twentieth century Australia. With a letter of recommendation from his foster family, he goes out in search of work to establish himself, but is taken advantage of by multiple parties. His first employer, Healey, repeatedly shortchanges his pay by nitpicking about his fencebuilding work, and refuses to write a job recommendation to avoid having to admit his illiteracy. Jimmie then works for a local constable, Farrell, who uses him as muscle against other Aboriginals, including having to capture a former friend who is later molested and murdered while in custody, and forced to cover up the death. Jimmie finds some stability working on the farm of the Newby family, although they treat him little better than other employers, and decides to summon and marry a white girlfriend, Gilda Marshall, who is already very pregnant when she arrives to move in with him. Gilda later gives birth to a white child, obviously not fathered by Jimmie; while upset at the public embarrassment, he eagerly embraces being a parent.


title: The Chant of Jimmie Blacksmith (film)

text: Shortly after the birth, Jimmie's full-caste half-brother Mort and uncle Tabidgi arrive, and Jimmie enlists their help in his fence-building work. However, Mr. Newby uses their presence as an excuse to deny Jimmie his pay and provisions, claiming the extra men were not part of their arrangement. Meanwhile, Mrs. Newby and a schoolteacher friend Miss Graf try to convince Gilda to take her baby and leave Jimmie for a teaching opportunity in another part of the country, which Gilda refuses. Furious at the mistreatment his family is facing, Jimmie enlists Tabidgi to help put a "scare" into the Newby women while the men are away, planning to threaten them with hatchets. The plan backfires and turns into a rampage that leaves Mrs. Newby, Miss Graf, and all the Newby daughters but one infant dead. Jimmie's family flee the compound, and shortly after Tabidgi, Gilda, and the child are left behind as Jimmie and Mort continue on the run. They soon murder Jimmie's previous employer Healey as well, with Jimmie announcing that he has declared war, in the manner he once heard the fighting against the Boers described. As press coverage about Jimmie's killings become nationwide news, a reporter makes regular probing inquiries to his butcher, who he is aware doubles as the city's hangman, about what may take place when Jimmie is captured. Tabidgi, captured and sentenced to death for accessory to murder, tells the court that the killings were not part of the plan and happened on an impulse.


title: The Chant of Jimmie Blacksmith (film)

text: Still uncaptured, Jimmie and Mort come upon a schoolteacher, McCready, whom they initially wound by gunfire; he convinces them not to kill him by showing them a newspaper article about their notoriety. They decide to take him as a hostage. As the brothers argue about the morality of their killing of women and children, McCready makes bitterly humorous observations about the influence of white people on the Aborigines. He convinces Jimmie to abandon Mort by indicating that Mort's soul has had none of Jimmie's detrimental white influences. Mort in turn takes McCready to a farm to recover, but is killed by a pursuing group led by the Newby males and Miss Graf's fiancee Dowie Steed. Jimmie himself is shot at in a lake, but manages to crudely tend to his wounds and hide out in a convent. He is found by police, who vainly try to prevent townspeople from beating him as they take him to jail. In the final scene, Jimmie is read the last rites by Rev. Neville in his cell, as the butcher/hangman observes them, and declares that despite the (perceived) unique physical characteristics of Jimmie, his hanging will likely go as normal as any other.


title: Indian cricket team in Australia in 2007–08

text: Day Five Australia started the final day at a slower rate then what was expected. Hussey went on to make his first century against India ending on 145 not out. Symonds also scored a half century before getting out at slip. With two overs available to bowl before lunch, Australia declared setting India a target of 333 to win. Many commentators opined that Ponting had declared too late in the innings. The situation of the game meant that India needed a run rate of well over 4, nearly impossible on the decaying SCG pitch. Australia needed 10 wickets to win in a minimum of 72 overs. Before lunch Jaffer fell to Lee, as he had in all four innings to date on the tour. The rest of the top and middle order fell without a large change on the scoreboard. The highest score was that of Ganguly who fell to a controversial decision on 51. Captain Anil Kumble led by example after the Laxman dismissal scoring 45 not out and spending over 2 hours at the crease. With just 2 overs remaining on day 5, India had 3 wickets in hand and were 122 runs behind. The game looked destined to be a draw. However, Michael Clarke took 3 wickets in 5 balls to give Australia victory with just 7 balls remaining.


text: Day Four Ricky Ponting and Mike Hussey stayed at the crease for a major part of the morning session. Ishant Sharma troubled Ponting throughout this period, with the Australian captain unable to take control. After a seven-over spell, Anil Kumble was about to replace Sharma with RP Singh, when Virender Sehwag asked him to retain Sharma. The ploy worked and Ponting was dismissed off the first ball of that over. This triggered the fall of the Australian resistance, as they lost four wickets in the session after lunch (including the contentious dismissals of Hussey and Andrew Symonds). Sehwag was brought in to bowl and responded with the prize scalps of Adam Gilchrist and Brett Lee. Towards the end, Michael Clarke (61) kept up the resistance in partnerships of 50 and 24 with Gilchrist and Mitchell Johnson. Johnson himself made his first Test fifty and was involved in a whirlwind partnership of 74 with Stuart Clark, but once last man Shaun Tait came in at the fall of Clark, it was only a matter of time before India took the match; RP Singh did the honours with a yorker that went hit Tait's foot outside the leg stump and rolled onto his stumps, half an hour before the close of the day's play.


text: Day Two Tendulkar and Dhoni took the overnight score to 336 before Dhoni was out, caught by Symonds off the bowling of Johnson, early on the second day. India suffered a blow when Tendulkar's was the next wicket to fall, caught by Hogg off the bowling of Lee; his final score was 153. At lunch, India had reached 405/7 with Kumble and Harbhajan Singh at the crease. The pair ended up putting on a 107-run partnership when Harbhajan was finally out, caught by Gilchrist off Symonds, in the 131st over. Harbhajan's dismissal meant Gilchrist beat Mark Boucher's record for wicket-keeper dismissals; Gilchrist became the new record-holder with 414 dismissals. Following the day's play, Gilchrist announced that the Adelaide Test would be his last, effectively retiring from Test cricket and from all international cricket once the one-day series with India and Sri Lanka concluded in March. India were finally dismissed for 526 after tea on the second day, they now needing to dismiss Australia cheaply to be in a good position of winning the Test and thereby squaring the series. Johnson proved to be the most effective of the Australian bowlers, finishing up with innings figures of 4/126. With Australia having to face 21 overs before stumps on the second day, India were disappointed not to take a wicket, Australia ending the day on 62/0.


text: Day Four The Adelaide pitch continued to hold up for the batsmen and Ponting and Clarke took off largely from where they left the previous day. The pair ended up making a 210-run partnership before Ponting was bowled by Sehwag after lunch on the fourth day. He had ended up with 140 runs off 396 balls, the cautious batting reflecting Australia's desire not to be dismissed cheaply and risk losing the Test and a series victory. Clarke had become the fourth batsman in the Test to make a century after he reached 100 in the over where Ponting was dismissed; he was out finally to Sharma, caught by Laxman, on 118 and Australia's score was 490/5. His dismissal brought Gilchrist to the crease in what was looking increasingly like his last Test innings given that it was the fourth day and India were still to bat again. However, any hope of final innings glory was dashed when Gilchrist was dismissed cheaply by a catch from Sehwag in the covers off the bowling of Pathan. His final Test score was 14 and he finished up with career figures of 5,570 runs at an average of 47.60. The score was now 506/6 and 30 from Symonds, with some late contributions from Hogg and Johnson, allowed Australia's innings to conclude at 563, a slight first innings lead of 37. The wickets were spread relatively evenly among India's bowlers, with both Pathan and Sharma taking three wickets each. With a further 17 overs to play, India started their second innings and had reached 45/1 at stumps on the fourth day.


text: The Second Test witnessed many controversial umpiring decisions from the two on-field umpires - Steve Bucknor and Mark Benson - and even the third umpire. The first of Bucknor's gaffes occurred when he did not give Andrew Symonds out caught behind at 30 when TV replays clearly showed that the ball had touched the bat's edge. The second was when Bucknor did not refer a stumping call against Symonds (now 148) to the third umpire. Replays showed the Australia all-rounder's foot wasn't grounded inside the crease when the bails came off. Symonds went on to make 162 not out and brought Australia back into the game. After these incidents, Symonds said, "I was very lucky. I was out when I was 30, given not out. That's cricket though, I can sit here and tell you about my bad decisions as well - but I won't." On the fifth day, Bucknor declared Rahul Dravid out caught behind though television replays later showed the ball had brushed his pad without touching his bat. In response to an official complaint about Bucknor's umpiring from the BCCI, the International Cricket Council (ICC) withdrew Bucknor from umpiring in the Third Test, and assigned Billy Bowden as his replacement. The other incident was when Benson consulted the fielding captain, Ricky Ponting, instead of Bucknor at square leg on whether Michael Clarke had taken the catch of Sourav Ganguly cleanly; he gave Ganguly out but the replay showed that the ball was touching the ground. (There had been a pre-series agreement between the captains about taking the fielder's word on catches; it was dropped after this Test.) These and other umpiring errors created a huge backlash against the Australian cricket team for not playing in the spirit of the game.


title: Imhoff family

text: The family was originally from Lauingen where they belonged to the patrician families. Hans im Hof is the first mentioned member and Sigmund Imhof was mayor of Lauingen in 1277. The city belonged to the hereditary Duchy of the Hohenstaufen emperors. After the death of their last offspring, Conradin, in 1268, Lauingen fell to Louis II, Duke of Bavaria, following which a number of young patricians left the city, including Konrad and Hans II Imhoff, to settle in the free imperial city of Nuremberg. Hans II married Lucia Gross, a granddaughter of the famous Nuremberg patrician Konrad Gross, donator of the Heilig-Geist-Spital, and was accepted as a citizen and incorporated into the ruling Nuremberg patriciate. They were listed in the Dance Statute as new lines. The Nuremberg Imhoff family belonged to the circle of families that had an exclusive access to the Inner Council of Nürnberg, to which the family sent representatives between 1402 and 1806, with only short interruptions. The family was related to other protestant patrician families of Nuremberg like the Tucher or Haller.


title: Imhoff family

text: Hans IV Imhoff founded a second trading company which, from the second half of the 15th century, concentrated on the trading centers of Western Europe. He had eight sons who not only maintained the older trading branches in Venice, Salzburg, Linz, Prague, Brno and Olomouc, but also founded new retail branches in Naples, Águilas, Messina, Lyon, Zaragoza, Lisbon, Antwerp and Amsterdam. In 1510 the Imhoffs founded a trading post in Bari, Italy, to ship Indian saffron via Venice to Germany. A brother of Hans V, Ludwig , went there and founded an Italian branch that remained in Bari until its extinction in 1719. In the saffron trade the Imhoffs became big competitors of the Tuchers. In 1505 three Imhoffs, as well as members of the Hirschvogel and Welser families, took part in an expedition on the first trade trip of Upper German merchants to India. Around 1500, the Imhoff expanded trading and barter into money and banking and became involved in silver and gold mining in Saxony and Silesia. From 1540 onwards they financed European courts with loans. Around 1520 they briefly had a monopoly on the trade in pepper and ginger from the Portuguese colony of Goa in India. Around 1565, the Imhoff trading company reached its greatest extent.


title: George William Rusden

text: In 1882 Rusden retired to England on a pension of £500 a year. He had for some time been working on his History of Australia and his History of New Zealand, which were published in 1883, each in three volumes. Rusden made great use of the library of Edward Petherick even staying for weeks at the latter's home in Brixton Hill, London, where the book collection was stored. Unfortunately for Rusden he had accepted statements, made by a bishop in New Zealand and forwarded by a governor of the colony, without verifying them. These reflected on the conduct of John Bryce, a well-known politician in New Zealand, who brought an action for damages and obtained a verdict for £5000. On an appeal for reduction of damages in which Rusden conducted his own case with great ability , the parties to the suit came to an agreement, that Bryce should be paid £3675 in satisfaction of all claims. In 1888 Rusden published his Aureretanga; Groans of the Maoris, and a new edition of his History of New Zealand appeared in 1895. The second edition of the History of Australia was published in 1897 and his last work, William Shakespeare, was in the press at the time of his death. It is largely a collection of extracts from the plays with a running commentary. In addition to the works already mentioned, Rusden published some verse, Moyarra: An Australian Legend, 1851, second edition 1891, and Translations and Fragments, published c. 1876. He also published several pamphlets. Rusden returned to Australia on medical advice in January 1893 and lived in South Yarra. Rusden died in Melbourne on 23 December 1903.


title: C. M. Russell Museum Complex

text: C. M. Russell Museum Complex is an art museum located in the city of Great Falls, Montana, in the United States. The museum's primary function is to display the artwork of Great Falls "cowboy artist" Charles Marion Russell, for whom the museum is named. The museum also displays illustrated letters by Russell, work materials used by him, and other items which help visitors understand the life and working habits of Russell. In addition, the museum displays original 19th, 20th, and 21st century art depicting the American Old West and the flora, fauna, and landscapes of the American West. In 2009, the Wall Street Journal called the institution "one of America's premier Western art museums." Located on the museum property is Russell's log cabin studio, as well as his two-story wood-frame home. The house and log cabin studio were designated a National Historic Landmark in 1965, and added to the National Register of Historic Places in 1966. In 1976, the listing boundaries were amended to account for moving the house.


title: C. M. Russell Museum Complex

text: Emma Josephine Trigg (usually known only by her middle and last name) was the daughter of Albert Trigg, owner of the Brunswick Saloon in Great Falls. She became an art teacher in the Great Falls Public Schools, and in 1911 became the children's librarian at the Great Falls Public Library. Trigg later was briefly married to W. T. Ridgley, a local printer who published books of Russell's works as well as an autobiography of a local civic leader which Russell illustrated. The Brunswick Saloon was one of Russell's favorite bars, and Albert Trigg allowed Russell to use one of his back rooms as an art studio. In 1900, Russell built a two-story clapboard house near the Trigg home, and in 1903 built a log cabin studio on an empty lot between the two houses. Russell became acquainted with "Miss Josephine" (as he referred to her) when Trigg was a teenager, and they remained friends for the rest of Russell's life. Trigg often accompanied Russell and his wife on vacations, and she provided calligraphy for many of his letters, postcards, and illustrated items (such as place settings at dinner parties).


title: C. M. Russell Museum Complex

text: Charles M. Russell was a professional artist for the last 30 years of his life. He created an estimated 4,000 to 4,500 works of art. His wife, Nancy Russell, retained some works, including a large number of models and molds from which bronze sculptures had been cast, as well as nearly all of Charlie Russell's papers. When she died in 1940, the papers were given to her adopted son, Jack. But most of Russell's artwork had been sold during his lifetime. Sid Willis, proprietor of the Mint Saloon in Great Falls (another of Russell's favorite bars), allowed Russell to drink there in exchange for paintings, and by the time of Russell's death had amassed a collection of 90 oil paintings, watercolors, drawings, models, wax sculptures, and ephemera. In 1948, Willis put his collection up for sale. A "Charles Russell Memorial Committee" unsuccessfully attempted to raise the purchase price to keep the "Mint Collection" in Montana. Texas newspaper publisher Amon G. Carter purchased the collection for $200,000 in 1952 and established the Amon Carter Museum to house it. C. R. Smith, chief executive officer of American Airlines, purchased 46 bronzes (which comprised about half of the artwork in Nancy Russell's estate) in 1940, while oil company executive Charles S. Jones purchased the remainder. The Amon Carter Museum eventually purchased the Smith bronzes as well, and as of 2000 owned about 60 Russell bronzes. Dr. Philip G. Cole, a New York City tire company executive, had collected 46 Russell paintings and 27 bronzes, and these passed into the collection of oilman Thomas Gilcrease in 1944. Wall Street financier Malcolm S. Mackay collected another 60 paintings, watercolors, ink drawings, bronzes, letters, Christmas cards, and photographs. These were loaned to the Northern Hotel in Billings in 1942, and in 1952 were purchased by the Montana Historical Society Museum for $59,000 (although the collection had been priced at over $3 million). A collection of 16 works, held by the family of Cleveland, Ohio, banker and philanthropist George Gund, was permanently loaned to the Eiteljorg Museum of American Indians and Western Art.


title: C. M. Russell Museum Complex

text: Also in 1960, the Great Falls chapter of the Junior League (a women's civic organization) paid for a study which analyzed expanding the museum. In 1962, the Amon Carter Museum's "Mint Collection" was exhibited at the museum. Promotion of the museum, its expanding collection, and the "Mint Collection" exhibit dramatically raised visitorship to more than 23,000 people in 1963. With visitorship rising, local construction company owner and philanthropist John L. McLaughlin agreed to give the museum $100,000 to build an expansion if, in turn, the museum raised $350,000 in matching funds. With the fundraising campaign moving ahead swiftly, the local firm of Page-Werner Architects was retained to design the addition. To boost the campaign, the Montana Stockgrowers Association, owner of Russell's famous 1887 watercolor "Waiting for a Chinook" (also known as "Last of the 5,000"), agreed to let the museum exhibit the artwork which had made Russell a national name. Construction on the $307,000 addition began in 1968 (with McLaughlin Construction doing the work), and the new galleries opened in 1969.


title: C. M. Russell Museum Complex

text: The "Trails to the Future" capital campaign closed in 2000 with a total of $6.5 million raised. The planned expansion added 30,000 square feet (2,800 m2) to the museum's total interior space, and with other renovations increased the gallery space by 33,000 square feet (3,100 m2). The building itself cost $5 million, with the rest going for other purposes. The new gallery space was used to house more Russell artworks, as well as the horse-drawn hearse used during Russell's 1926 funeral. It also included a new exhibition space, the New West Gallery, intended to feature contemporary artists. Other new galleries included a children's space, a photography gallery, and the "Good Medicine" gallery dedicated to depictions of Native Americans and their culture. The museum also opened a new gallery dedicated to the work of Russell contemporary O.C. Seltzer, a sculpture garden featuring 20 works by sculptor Bob Scriver, and a new Frederic G. Renner Library and Research Center to house the museum's reference and archival materials.


title: C. M. Russell Museum Complex

text: The new expansion opened in 2001. According to the Great Falls Tribune, a local newspaper, "With the expansion, the museum reached a sort of critical mass that tipped it into the ranks of the world's major Western art museums." One of the biggest logistical changes the expansion made was moving the main entrance of the museum from the south to the north side. The new galleries featured walls in warm earth tones, hundreds of artworks in storage were put on display. The expansion also allowed the museum to display the Mint Saloon's original safe. T.D. Kelsey's bronze sculpture of two bison, Change of Seasons, was placed near the east entrance. The next year, the Allen Foundation for the Arts gave the museum a $10,000 grant to help it build visitorship. Also in 2002, an anonymous bidder purchased the Russell watercolor "Waiting" for $240,000 and then donated it to the museum. In 2003, facing high costs to keep the museum open, the C.M. Russell Museum closed the Bair Family Museum. In March 2003, the museum purchased Russell's oil painting "Four Generations." The work had been owned by the local salvage firm Carl Weissman & Sons, Inc., but in 1962 the company gave the museum a one-third interest in it. The firm went bankrupt in 2002 and was ordered to sell its remaining interest in the painting. The purchase price for the $260,000 work was $173,342. Later that year, clay sculptures depicting the museum through the years were installed in the sculpture garden.


title: C. M. Russell Museum Complex

text: In 2004, the museum changed the way it displayed its Russell works. Previously, the museum had displayed the best-known and biggest pieces more prominently, with smaller pieces surrounding them to enhance their appearance. The museum now began displaying pieces chronologically, to show how Russell developed as an artist. Among the early works were two small oil paintings Russell did at the age of 13 and another painted when he was 14. That same year, the Institute of Museum and Library Sciences (an agency of the U.S. federal government), gave the museum $150,000 to enhance is curatorial capacity. The museum raised another $305,000 to match the grant. A month later, the Dufresne Foundation (a local philanthropic foundation) gave the museum $100,000. Restructuring of the galleries continued in 2005. The museum moved the 200-piece Browning Firearms Collection to the front of the museum and installed the original back bar of the Mint Saloon in one of the galleries. The museum also opened a cafe in the museum, which proved to be highly popular. Two steel sculptures by Billings artist Lyndon Pomeroy, "Cow in the Mountains" and "Wheat", were installed on the boulevard on the far side of the north parking lot.


title: C. M. Russell Museum Complex

text: In 2007, the Mitch family donated more than 50 Scriver bronzes to museum. The Mitches owned the foundry where Scriver had his works cast, and bartered their services to him for artwork. The following year, the museum received a $375,000 grant from the National Endowment for the Arts (NEA) in support of its new exhibition, "The Bison: American Icon, Heart of Plains Indian Culture." The total cost of the exhibit was $1.5 million. NEA's Tom Phelps called the show "a nationally significant exhibition". The following year, the NEA gave the museum another $50,000 stimulus funds to cover a severe shortfall in visitorship. In March 2011, the John "Jack" McDowell Hoover donated three works by Russell and one by Seltzer to the museum. The three Russell works were: "The Lone Wolf" , a large oil painting depicting solitary wolf on the plains; "The Last Laugh" , a bronze of a wolf standing on a human's skull; and "When the Longest Blade Was Right" , a watercolor of knight on horseback threatening a court jester with a sword. The C.M. Russell Museum was re-accredited in 2011 by the American Alliance of Museums for another 10 years.


title: C. M. Russell Museum Complex

text: In 1896, Charlie Russell and his new wife, Nancy, were living in a shack in back of a house in Cascade, Montana. In 1897, the couple moved into a rented four-room home on Seventh Avenue North in Great Falls. In December 1899, Russell's father Charles Silas Russell gave the couple $500. The estate of Mary Mead Russell, Russell's mother who died in 1895, was finally probated shortly thereafter, and in the spring of 1900 the Russells began building a new home on the corner of 13th Street and 4th Avenue North. A friend and neighbor, George Calvert, was the likely architect and constructed the house for them. The two-story wood-frame building had clapboard siding, gable roof, and wooden shake roofing shingles. It had little exterior ornamentation. The house faced south, with gable fronted dormers on the east and west and another project slightly from the southwest corner of the house. The front door led to a small front hall, and a parlor ran across the south face of the home. Also on the first floor were dining room, bathroom, kitchen, and a small maid's room off the kitchen. Some of the furniture on first floor (such as two seats, a china closet, a bookcase) were built into the home. A steep stairway led to three small bedrooms (under the gables) and a small bathroom on the second floor. The interior was paneled in dark wood. A small exterior porch ran around the southeast corner of the home. The architectural style was in the Arts and Crafts genre. The Russells occupied the home in the summer of 1900.


title: C. M. Russell Museum Complex

text: That same year, Charlie Russell expressed interest in constructing a log cabin studio to work in. There was a lack of good logs in Great Falls at the time, but telephone service had arrived in 1890. Russell purchased a large number of Western red cedar telephone poles, and constructed the one-room cabin from these materials. He also built a rock fireplace and chimney on the east side of the structure. The log cabin was 24 feet (7.3 m) north-south by 30 feet (9.1 m) east-west, and had a porch extending across the entire south side, on top of which Russell threw numerous elk antlers. A skylight was built into the gabled roof, and another door cut through the northeast corner of the structure. A small storage shed was attached to the cabin near this door. At some point between 1903 and 1926, Charlie Russell had the roof raised by two logs in order to accommodate a large canvas. The interior was furnished with rough, hand-made stools and benches; carpeted with buffalo and bear skins; and contained hundreds of pieces of Indian and cowboy gear. Russell also built two birdhouses against the exterior of the eastern wall.


title: C. M. Russell Museum Complex

text: In early 1966—as National Historic Landmark status was about to be awarded to the Russell house—the city of Great Falls actually proposed tearing down the structure in order to build a parking lot for the museum. The city's mayor, other city officials, and several private parties all advocated tearing the structure down. The Montana Historical Society, U.S. Senator Mike Mansfield, and the Montana Federation of Garden Clubs strongly opposed this action. City officials provided a range of rationales for demolishing the Russell house: Close friends of the Russells had approved of the action, all the original furnishings were gone, the Russells did not actually occupy the house for any length of time, the house was a fire hazard, Charlie Russell "hated" the house, and that the house "detracted" from the altered studio and the non-historic museum. At one point, the city even argued that the 1928 agreement with Nancy Russell required the city to maintain a park-like appearance around the cabin—an objective which could be achieved only by demolishing the house (now that the museum had taken up all the grassy space on the lots). Although National Park Service officials repeatedly emphasized their view that the house should be retained, extensive miscommunication led city officials at various times over the next few years to believe that the federal government approved of the demolition or approved of moving the house. Demolition of the house was stayed only by the threat of legal action from the Montana Federation of Garden Clubs, which noted that the 1928 agreement required the city to maintain both structures built by the Russells. Much of the city's demand for demolition came because the plan for a park around the museum called for the home's removal. Despite a threat by the National Park Service to revoke the site's National Historic Landmark status if the house was moved, the Garden Clubs brokered a deal with the city in which the house was moved to its current location.


title: Kenneth E. Tyler

text: Encouraged by his school music teacher, Tyler developed an interest in the visual arts and subsequently studied at the School of the Art Institute of Chicago, from 1950 to 1951. Coming from a family of modest means, Tyler sought paid employment throughout his student years. From 1951 to 1952, he studied liberal arts at Indiana University, which, according to Tyler, consisted of "one semester at the campus in Bloomington, Indiana and one semester at Gary, Indiana extension while I worked full time in the Gary steel mill and attended evening classes at the extension". Originally Tyler had planned further studies at the Sorbonne in Paris. It was during the Korean War, and while applying for his passport in September 1952, he was drafted for military service. After undergoing basic training, he excelled as an officer candidate and won the opportunity to return to college, where he was given the title of 'Regimental Staff Artist', maintained an active private painting studio and also edited the Officer Corps newspaper.


title: Kenneth E. Tyler

text: In 1965, Ken Tyler established his own print atelier, Gemini Ltd., at 8221 Melrose Avenue in Los Angeles with his former wife Kay Tyler. From this modest workshop was born Gemini G.E.L. (Graphic Editions Ltd.). The following year Tyler, with the backing of his partners, Sidney Felsen and Stanley Grinstein, began to develop this print and publishing workshop into a large and influential organisation that attracted American artists including Josef Albers, Jasper Johns and Robert Rauschenberg. The clean, crisp look and flawless finish of many Gemini G.E.L. prints, as well as Tyler's apparent preference for collaborating with well-established artists, was criticized by some commentators. Participants in the 1971 Gemini G.E.L. exhibition Technics and Creativity, for example, were accused of commercialism and too great an emphasis on technique. These criticisms tended to ignore Tyler's use of many complex, time-consuming traditional methods, which he often combined with less orthodox printing processes. Works such as Robert Rauschenberg's iconic Booster , which was an experimental and labor-intensive "hybrid" of lithography and screen printing, exemplify this approach. Tyler's work with well-known artists also created the economic and technically innovative foundation for lesser known artists to print and be published through Gemini G.E.L.


title: Kenneth E. Tyler

text: Ken Tyler has had a formative influence on the art and science of printmaking for close to five decades. His contributions to printing technology were driven by his industrial background and his recognition that "most traditional methods, as well as some recent practices of the hand-printing crafts, were not compatible with the images of major contemporary artists. As a collaborator I left the ranks of this revival to aid the major artist in his search for new graphic expression and new work environments." Tyler became renowned for printing works on paper that were massive in size and required the co-ordination of complicated mixed media and multiple printing matrices (Frank Stella's The Fountain, for example, measures over 2 metres x over 7 metres, used hundreds of plates and was printed on a specially constructed press). Tyler also custom-designed paper and equipment to his own specifications; built his own paper mill, which contributed to a resurgence in the use of handmade papers among printmakers; and travelled to Japan to investigate traditional printing and papermaking methods.


title: Kenneth E. Tyler

text: To ensure that the workshop's momentum continued, Tyler encouraged artists to return for additional projects using a variety of methods and materials, maintaining that "you couldn't just keep inviting back to make a lithograph or inviting them back to make a silk screen. You to keep giving them something new to chew on". According to Tyler, it was sufficient to offer the option to work on a large scale. He also wanted to present artists with the opportunity to work with handmade paper. This began with a project with Robert Rauschenberg in 1985-94, who explored handmade papermaking in his series Pages and fuses at the paper mill in Ambert in France. A further collaboration using handmade paper occurred between Tyler and David Hockney, who produced a series of paper pulp works in 1978. Later, Frank Stella explored the notion of papermaking further in his Moby Dick Domes series, notable for their technical complexity and their three-dimensional nature. After years of research to work out ways of making shaped paper, Tyler developed a vacuum method to produce the required sculptural form.


title: Kenneth E. Tyler

text: Tyler's legacy will continue through his contributions to many international collections, both of artworks and archival material. In the United Kingdom, the Tate Gallery holds a significant collection of prints focusing on the latter half of Tyler's career. In the United States, the National Gallery of Art in Washington, DC, has a comprehensive Gemini G.E.L. collection and has also produced an online catalogue raisonné. Other major collections of Tyler prints include those at the Walker Art Center in Minneapolis, USA; the Center for Contemporary Graphic Art in Fukushima, Japan; and the Singapore Art Museum. The latter collection was acquired with the assistance of the Singapore government, who in 2002 also supported the establishment of the Singapore Tyler Print Institute. The Institute contains all the original printing presses and equipment shipped from Tyler's workshops in America, including a 100 tonne hydraulic platen press. In Canberra, Australia, the National Gallery of Australia holds a collection of over 7000 Tyler works, as well as an archive of related film, sound and photographic material.


title: Akkadian literature

text: One of the most famous of these was the Epic of Gilgamesh, which first appears in Akkadian during the Old Babylonian period as a circa 1,000 line epic known by its incipit, šūtur eli šarrī, ''Surpassing all other kings,'' which incorporated some of the stories from the five earlier Sumerian Gilgamesh tales. A plethora of mid to late second millennium versions give witness to its popularity. The Standard Babylonian version, ša naqba īmeru, ''He who saw the deep,'' contains up to 3,000 lines on eleven tablets and a prose meditation on the fate of man on the twelfth which was virtually a word-for-word translation of the Sumerian "Bilgames and the Netherworld." It is extant in 73 copies and was credited to a certain Sîn-lēqi-unninni and arranged upon an astronomical principle. Each division contains the story of a single adventure in the career of Gilgamesh, king of Uruk. The whole story is a composite product, and it is probable that some of the stories are artificially attached to the central figure.


title: Akkadian literature

text: Among the other legends of Babylonia may be mentioned those of Namtar, the plague-demon; of Erra, the pestilence; of Etana and of Anzu. Hades, the abode of Ereshkigal or Allatu, had been entered by Nergal, who, angered by a message sent to her by the gods of the upper world, ordered Namtar to strike off her head. She, however, declared that she would submit to any conditions imposed on her, and would give Nergal the sovereignty of the earth. Nergal accordingly relented, and Allatu became the queen of the infernal world. Etana conspired with the eagle to fly to the highest heaven. The first gate, that of Anu, was successfully reached; but in ascending still farther to the gate of Ishtar, the strength of the eagle gave way, and Etanna was dashed to the ground. As for the storm-god Anzu, we are told that he stole the tablets of destiny, and therewith the prerogatives of Enlil. God after god was ordered to pursue him and recover them, but it would seem that it was only by a stratagem that they were finally regained.


title: Olivet Discourse

text: There is considerable debate about the correct translation of the word genea. The most common English translation is currently "generation", which seem to suggest that the author of the olivet discourse expected Jesus' second coming to be witnessed by Jesus' contemporaries. In most German Bibles however, genea is instead translated as "family/lineage" (geschlecht). Likewise for Danish, Swedish and Norwegian (slægt, släkte and slekt, respectively). The Danish linguist Iver Larsen argues that the word "generation" as it was used in the English King James Version of the Bible had a much wider meaning than it has today, and that the correct current translation of genea (in the specific context of the second coming story) should be "kind of people." (specifically the "good" kind of people; the disciple's kind of people, who, like the words of Jesus, will endure through all the tribulations). In Psalm 14, the King James version clearly uses "generation" in this now outdated sense, when it declares that "God is in the generation of the righteous." According to Larsen, the Oxford Universal Dictionary states that the latest attested use of genea in the sense of "class, kind or set of persons" took place in 1727. Larsen concludes that the meaning of "generation" in the English language has narrowed considerably since then.


title: mCherry

text: mCherry is a member of the mFruits family of monomeric red fluorescent proteins (mRFPs). As an RFP, mCherry was derived from DsRed of Discosoma sea anemones, unlike green fluorescent proteins (GFPs) which are often derived from Aequorea victoria jellyfish. Fluorescent proteins are used to tag components in cells so that they can be studied using fluorescence spectroscopy and fluorescence microscopy. mCherry absorbs light between 540 and 590 nm and emits light in the range of 550-650 nm. mCherry belongs to the group of fluorescent protein chromophores used as instruments to visualize genes and analyze their functions in experiments. Genome editing has been improved greatly through the precise insertion of these fluorescent protein tags into the genetic material of many diverse organisms. Most comparisons between the brightness and photostability of different fluorescent proteins have been made in vitro, removed from biological variables that affect protein performance in cells or organisms. It is hard to perfectly simulate cellular environments in vitro, and the difference in environment could have an effect on the brightness and photostability.


title: mCherry

text: DsRed is isolated from Discosoma sea anemones, and is a tetrameric protein. Most red fluorescent proteins come from DsRed. DsRed has low photostability (resistance to change under the influence of light) and a slow maturation rate (time until half the protein is folded). mRFP1 is derived from DsRed and is a monomer so it is smaller, but its quantum yield and photostability are less than that of DsRed. mCherry and other mFruits have improved brightness and photostability over both DsRed and mRFP1. mCherry was developed through directed evolution from mRFP1 by the group of Roger Tsien at UCSD. The mFruits in general were developed because, while different colored proteins could be found from other anthozoans, the proteins would mostly be tetramers, which would most likely have the same issues as DsRed. These tetramers would require derivations like those done to DsRed to be done in order to make them useful fusion partners. As a result, the mFruits were derived from mRFP1 by adjusting key amino acids in order to adjust the excitation and emission wavelengths. Different colors allow for the tracking of different cell types, transcriptional activity, and fusion in proteins. mCherry, out of all of the true monomers developed, has the longest wavelengths, highest photostability, fastest maturation, excellent pH resistance, and is closest to mRFP1 in its excitation and emission maxima. However, mCherry has a lower quantum yield than mRFP1.


title: mCherry

text: The gene for mCherry is 711bp long, and the protein is made up of 236 residues with a mass of 26.722 kDa. The crystal structure of mCherry was determined in 2006. It contains 3 alpha helices and 13 beta sheets which make up the beta barrel. The chromophore in mCherry is made up of three amino acids, methionine, tyrosine, and glycine, which are post-translationally modified into an imidazolinone. The number of these residues in sequence are 71, 72, and 73 respectively. The extended pi-electron conjugation gives mCherry its red-shifted absorbance and emission. The chromophore forms from a central helix which is shielded from solvent in an 11-stranded beta barrel. This structure is almost identical to the tertiary structure of DsRed which also has an 11-stranded beta barrel, and is similar to GFPs tertiary structure. This makes the environment around the chromophore in mCherry more hydrophobic than the environment around the chromophore of DsRed. The end termini on mCherry are GFP-like, which allows it to be incorporated in to systems where GFP can be used and mRFP1 could not have been used.


title: mCherry

text: mCherry is valued where constitutive gene expression is desired, and other experimental approaches require the coordinated control of multiple genes. While multiple venues have been developed for use in E. coli and other models, the utility and functionality of such techniques does not always translate to other species. For example, for the Gram-negative pathogen Legionella pneumophila, a vector for Legionnaires' Disease, the Ptac system represents the only well-established expression control system. In order to enhance the tools available to study bacterial gene expression in L. pneumophila, mCherry was developed, which confers constitutive gene expression from a mutagenized LacI binding site. mCherry neither interferes with other plasmids harboring an intact LacI-Ptac expression system nor alters the growth of Legionella species during intracellular growth. The broad-host-range plasmid backbone of mCherry allowed constitutive gene expression in a wide variety of Gram-negative bacterial species, making mCherry a useful tool for the greater research community.


title: Characters of Persona 4

text: The plot of Atlus's 2008 role-playing video game Persona 4 is centered on a group of high-school students dedicated to capturing the culprit responsible for the murders and kidnappings that happened in their small town of Inaba starting on April 11, 2011. The case is linked by the TV world, a dimension where the characters use alter-egos known as "Personas" to defeat the Shadows, beings that represent people's hidden thoughts that killed the first two victims. The protagonist is Yu Narukami, a high-school student who moved into the town from the city. He is met by Yosuke Hanamura, the son of the local department store manager; Chie Satonaka, an energetic girl with a strong interest in kung fu; Yukiko Amagi, a calm and refined girl whose family owns the local inn; Kanji Tatsumi, a first-year student whose punk reputation hides a softer side; Teddie, a mysterious figure from the TV world who exists in the form of a cartoonish bear costume; Rise Kujikawa, a popular teen idol who has taken a break from showbiz; and Naoto Shirogane, a well-known junior detective.


title: Characters of Persona 4

text: Yosuke's Shadow becomes the Persona Jiraiya (ジライヤ), a red-scarved humanoid whose head vaguely resembles that of a cartoon ninja frog decked with shuriken on his hands, as well as bell-bottoms. As the first Shadow, Soejima designed it to make it similar to Jiraiya to convey the fact that Shadows and Personas are the same thing. Yosuke dual wields blades ranging from blunt wrenches to knives to kunai in battle. Throughout the player's interaction with Yosuke, he overcomes Saki's death and confronts his feelings about Inaba accepting it as an enjoyable town despite his initial feelings. After this, Jiraiya evolves into Susano-o (スサノオ), a humanoid wearing a blue jumpsuit surrounded by a large sawblade with a flame rising from his head. Apparently, unused audio suggests that Yosuke could have been a romance option for the protagonist, but was removed at the last minute for unknown reasons. In the re-release Persona 4 Golden, Yosuke's Persona can evolve once more into Takehaya Susano-o (タケハヤスサノオ), gaining a fireman's outfit, a large afro-like fireball spouting from his head, and sawblades beneath his feet.


title: Characters of Persona 4

text: Rise Kujikawa (久慈川 りせ, Kujikawa Rise) is a cheerful girl and one of the most popular idols in Japan known as "Risette" ("Risechie" (りせちー, Risechī) in Japanese). Supposedly, she had even performed in Iwatodai (the setting of Persona 3) two years in the past, though a blackout implied to be caused by the Arcana Hermit boss ruined that particular concert. However, she quits her job and moves to Inaba to live with her grandmother, tired of the spotlight. Shortly after arriving to Inaba, Rise is kidnapped and taken to the TV world, where her other self is manifested. Rise's Shadow represents her anger at being stereotyped as an airheaded popstar, represented as a sex symbol. When the protagonist and his friends come to rescue her, Rise accepts her Shadow as part of herself, stating she does not have a real self. Immediately after, she gains the Persona Himiko (ヒミコ), a black humanoid in a white dress with a satellite dish in place of a head, which she uses to help the Investigation Team to stop Teddie's Shadow. In an interview, Atlus's Masaru Nanba noted that "Risechie" would not translate well into roman letters for the west, and that the French-sounding "Risette" was chosen instead. This also changed her catchphrase from "Rise-Cheese" (りせチーズ, Risechīzu) to "Push Risette" (as in "push the reset button").


title: Characters of Persona 4

text: Recovering from her experience in the TV world, Rise joins the Investigation Team to track the culprit behind the murders in the town, taking Teddie's spot in fights, analyzing enemies and advising her comrades. During Yu's interactions with Rise, she is initially happy for leaving behind the title Risette. However, numerous reminders of her time in the spotlight, a new replacement idol and a letter from her biggest fan, make her regret her departure. Depending on the player's actions, Rise may end having an intimate relationship with Yu. Realizing that Risette is also part of her true identity, she voices her plans to return to her idol job by spring. Following this, Himiko evolves into Kanzeon (カンゼオン), a white humanoid with a more complex satellite dish than Himiko. In Persona 4 Golden, Rise's Persona can evolve once more into Kouzeon (コウゼオン, Kōzeon), gaining a head resembling a telescope instead of a satellite, two more pairs of arms, and green skin. In Golden, Rise also takes more of an active part in battle, enabling her to directly support the party by giving powerful buffs or picking up fallen fighters.


title: Characters of Persona 4

text: Teddie (クマ, Kuma, lit. "Bear") is a strange part-clown, part-bear-like creature, who resides inside the TV world. Learning that somebody has been throwing people in the TV world to kill them, thus causing mayhem, Teddie makes a promise with Yu Narukami and Yosuke Hanamura to find the culprit. Teddie helps the Investigation Team by giving them advice about how to defeat Shadows or track the people who were thrown into the world. As he interacts with the characters, Teddie starts questioning his own existence and grows curious of mankind's habits such as dating girls. In the game Teddie also starts making puns referencing his name. The translation of these jokes to the English version was noted to be difficult by the Atlus staff. In a 2013 interview, Atlus's senior project manager Masaru Nanba stated that the change of "Kuma" to "Teddie" in the western localizations was a result of the familiarity of the concept of the teddy bear to American and European players, and specifically noted the change of Kuma's verbal tic of adding his name to the end of sentences to the "very" to "beary" change in the English translation.


title: Characters of Persona 4

text: When fighting Rise Kujikawa's Shadow, Teddie seemingly sacrifices himself to save his friends, defeating the Shadow but becoming flattened in the process. After Rise accepts her other self, saying that there is "no real me", Teddie has an existential crisis; this causes his Shadow Self to manifest, representing Teddie's fear that his existence is superficial and "hollow". Aided by his friends, Teddie accepts his doubts regarding his existence and his Shadow turns into the Persona Kintoki-Douji (キントキドウジ, Kintoki-Dōji), a robotic figure that resembles a rotund red boiler with stubby arms and legs and armed with a tomahawk missile as a pun to the original mythological figure. Afterward, through restoring his body through extensive training, Teddie "grows" a human-like body inside of him and leaves the TV world. Using his bear suit, Teddie starts working in Junes and living with Yosuke. He also becomes an active member in battle utilizing a claw as his weapon, with Rise taking his place for support.


title: Characters of Persona 4

text: Naoto Shirogane (白鐘 直斗, Shirogane Naoto) is a young detective who moves to Inaba in order to aid the police in investigating the serial-murder case. Although Naoto is female, she dresses in a masculine fashion and everyone in Inaba believes her to be a boy. In an attempt to solve the murder case, Naoto uses herself as bait by appearing on TV and allowing herself to be kidnapped by the culprit. The group follows Naoto to the TV world, where Naoto is confronted by her shadow, who expresses her frustration at being treated like a child by the police. Naoto explains after Shadow Naoto has been defeated that because "…the police department is a male-oriented society they had the slightest "concrete" reason to look down on me, no one would need me anymore," which is why she had been presenting as male. Once Naoto has come to terms with her feelings, her Shadow turns into the Persona Sukuna-Hikona (スクナヒコナ), a robotic humanoid wearing a blue suit jacket that has an insect-like head and butterfly-like wings.


title: Characters of Persona 4

text: Naoto appears in Persona 4 Arena and its sequel Ultimax along with Sukuna-Hikona. During the story, Naoto investigates Mitsuru Kirijo's group that fights Shadows and follows them to the TV world where they end up becoming involved in the Persona-users fighting tournament twice. Before the occurrence of the second tournament in the day after rescuing Aigis' sister unit, Labrys, Naoto was in a middle of researching relating to Shadow Operatives/S.E.E.S.' involvement histories with Dark Hour and the late-Shuji Ikutsuki at night, but was interrupted by the news from Labrys of Mitsuru's usual team being kidnapped earlier on daylight during their missions, and the second tournament's occurrence turns Inaba into a second Dark Hour area at a same time. Naoto manage to a track a safer landing location for Labrys' new team to land at Inaba before Inaba completely becoming a second Dark Hour area. She had a short encounter with a mysterious culprit named Sho Minazuki (or rather, his half, Minazuki), until Labrys' team arrive on time saving Naoto, then split up to find their missing friends and saving the world from a dangerous outcome planned by Sho and General Teddie. Naoto is also the protagonist of the non-canon light novel Persona X Detective Naoto by Natsuki Mamiya that focuses on one of their works a year after the events of Persona 4 as they investigate the disappearance of one of their childhood friends in Yagakoro City; in this story they awaken a new Persona, Amatsu-Mikaboshi (アマツミカボシ).


title: Characters of Persona 4

text: The player can trap Namatame in the TV world where his Shadow will kill him as the police would not send him to prison for finding him mentally unstable, which automatically ends the game. If Yu convinces his friends to spare him as they need to learn Namatame's true motives. In reality, Namatame had figured out after Mayumi's death that her appearance on the Midnight Channel had foreshadowed her murder, and he sought out Saki Konishi in order to warn her. After she died as well, Namatame tried to contact the police and Tohru Adachi tricked him into throwing people into the TV to "protect" them from the killer; after the victims began to turn up alive after his kidnappings, he believed he was truly helping them. Like Yu and Adachi, he was given the power to enter the TV world by Izanami. During the epilogue of Persona 4 Golden, with Kunino-Sagiri revealed to be a splintered fragment of Izanami, Namatame has been cleared of all charges due to lack of evidence and is running for the position of Mayor of Inaba, inspired by the protagonists' work.


title: Characters of Persona 4

text: Tohru Adachi (足立 透, Adachi Tōru) is a young police officer in the Inaba police department, and Ryotaro Dojima's junior partner. He often accidentally reveals crucial information regarding the investigation to the protagonist, and is constantly reprimanded by Dojima for running his mouth. Following the revelation that Taro Namatame is not the culprit behind the murders and was not aware that the TV world was dangerous until he escaped into it, it is revealed that Adachi is actually behind the two first murders. He became interested in Mayumi Yamano and Saki Konishi until he pushed them into TVs when they spurned his feelings. After the two initial murders, he tricked Namatame into kidnapping people under the idea that he was keeping them from danger, which is reinforced as every person Namatame "rescues" is then saved by the protagonist's group. He manages to evade suspicion until Naoto becomes baffled at a comment he makes at the site of Dojima's accident and the protagonist realizes that he is the only person in Inaba who cannot be ruled out as a suspect, and he accidentally confirms their suspicions by revealing knowledge of specifics that the police were never privy to.


title: Characters of Persona 4

text: Ryotaro Dojima (堂島 遼太郎, Dōjima Ryōtarō) is Yu Narukami's uncle (younger brother of Yu's mother) who works as a detective on the Inaba police force mostly alongside the rookie Tohru Adachi. Dojima is Nanako's hard-working single father, but mostly spends his time away from family due to the murders. When Yu starts getting related with the incidents, Dojima starts questioning him, but wishes to avoid doubting him. Nevertheless, he comes to appreciate him as another member of his family. While interacting with him, Dojima reveals his obsession with a hit-and-run accident that killed his wife Chisato (千里) and continues to investigate it, to the point where he neglects his daughter. Dojima later realizes he was scared of seeing Nanako who reminds him of his late wife, and decides to spend more time with his family. However, he still continues to search for Chisato's killer, but as his duty as detective. Dojima also makes an appearance in Persona 4 Arena having dinner with his family following Yu's return to Inaba.


title: Characters of Persona 4

text: Kou Ichijo (一条 廣, Ichijō Kō) is a member of Yasogami's Basketball Team and is very passionate about the sport. He often hangs out with the Soccer Club's Daisuke Nagase. An adopted child of a rich family, he becomes concerned regarding his place in the world without knowing his roots. He explains to the protagonist and Daisuke that he feels pressure to uphold the family name and do as he is asked. Soon, his grandmother tells him that his playing basketball is fine by her; Kou had been freed from his family responsibility, since his adopted parents had a biological daughter that was recently born. After this, Kou finds everything in his life meaningless since he felt he had nothing to live for. It is through Yu and Daisuke that Kou realizes that he has to choose his own path in life and find his own meaning in living. Near the game's ending, Kou decides he will study abroad once finishing school to give recognition to see family in his own way. He and Daisuke both serve as the player's Social Link to Strength; in the anime, Kou Ichijo serves as this link and is represented by Yu Narukami's usage of the Persona Rakshasa (ラクシャーサ, Rakushāsa).


title: Characters of Persona 4

text: Ai Ebihara (海老原 あい, Ebihara Ai) is a quiet student from Yasogami High who becomes the sports team manager. However, she is more interested in shopping, and befriends Yu in the meantime. Ai later confesses her crush in the club's team captain (either Daisuke Nagase or Kou Ichijo, depending on which club the protagonist has joined) to Yu. As Yu befriends Ai, she reveals that as a child she was overweight and called ugly by her peers. After her family struck its fortune and moved to Inaba, she decided to change herself and studied fashion while working to slim down until she became as attractive and popular as she wanted to be. After learning the team captain she follows is interested in another girl, Ai contemplates suicide but is stopped by Yu. Afterwards, Yu and Ai can pose as a couple, or remain friends until Ai falls for Yu. In either case, she grows to trust him. Ai Ebihara represents the player's Social Link to The Moon, which is represented in the anime by Yu's ability to summon the Persona Yamata no Orochi (ヤマタノオロチ).


title: Characters of Persona 4

text: Shu Nakajima (中島 秀, Nakajima Shū) is a young student whom the protagonist can tutor part-time. As Yu spends more time with Shu, it is revealed that Shu is depressed because of all the pressure he feels to be the best in everything alongside the constant stream of praise he receives from his mother. He also mentions a transfer student whom he envies, as this student surpasses Shu in almost every way. In order to stay on top and live up to his mother's expectations, Shu cheats on a test and ends up being suspended from school, much to his mother's disappointment and disdain. Yu helps Shu realize that he should find more meaning in his life than just trying to face forward and be number one at everything; he and his mother reconcile and start over. During the last month in game, when Yu converses with Shu, he mentions that he and that same transfer student are now great friends and his own popularity has also increased as a result. He represents the player's Social Link to The Tower; which is shown in Persona 4: The Animation by Yu's summon of the Persona Abaddon (アバドン, Abadon).


title: Characters of Persona 4

text: Sayoko Uehara (上原 小夜子, Uehara Sayoko) is a nurse from the hospital where Yu can work part-time as a janitor. Yu learns that she has a cynical view on her profession as patients leave her, whether by dying or recovering and leaving the hospital. As such, she attempts to seduce the protagonist often. Her attitude changes when she discovers that one of her patients from the hospital she previously worked at has died. When she learns of his death, she becomes a strict workaholic. During one of the days that Yu is working, Sayoko collapses and realizes while talking with him that she was overworking herself and her coworkers to escape the loneliness of her patients leaving her and the pain of losing a patient under her care. She decides she will be leaving the hospital to rediscover why she originally became a nurse in the first place. It is later revealed that she went to Africa as a volunteer. Sayoko represents the player's Social Link to The Devil; in the animated series, this is represented by Yu's ability to fusion summon the Persona Beelzebub (ベルゼブブ, Beruzebubu).


title: Characters of Persona 4

text: Aika Nakamura (中村 あいか, Nakamura Aika) is introduced in Persona 4: The Animation, where she is one of Yu Narukami's classmates. She has a meek personality, though often unfazed by others' outbursts, and does not talk very much. Her family owns the Chinese Diner Aiya, where she works; this surprises Yosuke, who never knew this despite their being classmates. She is also in charge of delivery, acting as the Investigation Team's "catering service" in some episodes. A running gag is that she will deliver anywhere and at any time, regardless of the customer's circumstances. This first occurs in episode 6, when she delivers two orders of nikudon to Chie while the four are being chased by Kanji (much to Yosuke's disbelief). She also seems to appear in any restaurant that the group goes to, such as when she takes part-time jobs in Tatsumi Port Island and the Amagi Inn. The second drama CD released through the Blu-ray box sets titled "Perfect Delivery" features Aika being assisted by Yu on her daily rounds.


title: Characters of Persona 4

text: Zen and Rei are amnesiacs encountered in Persona Q: Shadow of the Labyrinth: they are residents of a mysterious haven in the rift which takes the shape of Yasogami High (part of the setting for Persona 4), and due to story events do not appear in any other Persona title involving the members of SEES or the Investigation Team. Zen is a taciturn young man who is unfamiliar with people's habits and has a tendency to take things too literally, but is otherwise devoted to Rei's well-being, while Rei is a cheerful and innocent girl who has a strange metabolism that causes her to be forever hungry. Depending on which protagonist was chosen at the start, either SEES or the Investigation Team will encounter them first. If the Persona 4 Protagonist is chosen, then he, Chie, Teddie, and Yukiko start exploring the first labyrinth only to encounter Zen and Rei not far from the entrance. Lacking other leads, the Investigation Team agrees to let them tag along for the time being. When they meet SEES, the Investigation Team decides to attempt to restore Zen and Rei's memories as this is their only lead to a way out of the haven in the rift. Zen is later revealed to be a part of Chronos, a being presiding over death, who was sent to take a young girl named Niko who had died of illness to "where all life returns". At this stage, Rei is abducted and the school's clock tower undergoes a Tartarus-esque transformation, and although Zen at first decides to save her on his own, SEES and the Investigation Team resolve to stay and help him out.


title: Characters of Persona 4

text: Hikari (ひかり) is a character introduced in Persona Q2: New Cinema Labyrinth. She is a teenage girl that one day wakes up in the movie theater, she is the last person to enter the cinema. At first, she is very shy and quiet and will have difficulties speaking to anyone that isn't Nagi, another resident of the theater. Her shyness is due to the trauma and depression of her bad past: she was often bullied and made fun of by others for being different, although due to psychogenic amnesia, she can't properly remember her past during the game. Unable to cope with the pain of living, she ends up in the Cinema in the collective unconsciousness during a dream, there she meets Nagi, who promises to protect Hikari from any harm by isolating her from reality. As our heroes change the endings of the movies, Hikari slowly starts to open up and begins communicating with them, and later in the game. After finishing the third labyrinth, Hikari follows Doe to one of the movies, titled ???, where she faces all of her past traumas, causing her to fully remember her memories and forcing her into a change of heart, revealing the title of the movie being named after her, "Hikari". After facing her memories with courage and accepting them, Hikari successfully rehabilitates from her depression and acts as a combat support. After the ending of the game, Hikari wakes up from her dream and is now able to speak to her father again, confessing her desire to continue the production of the movie that she was creating before she fell into depression.


title: Characters of Persona 4

text: Nagi (ナギ) is a character introduced in Persona Q2: New Cinema Labyrinth. Curator of the Cinema, Nagi is a woman that protects Hikari from all harm by keeping her in the Cinema, and Hikari thinks she is the only person who can trust due to her kind and caring personality. She congratulates our heroes every time they clear a labyrinth, even claiming that she doesn't have a choice. However, near the end of the game, she drops off her guise and reveals herself as Enlil, an administrator of the collective unconsciousness with a delusional and patronizing view towards humanity, believing that they are weak willed and the only way to give them salvation is to trap them inside her cinema domain, putting an end to their thoughts and isolating them from the hardships of life, at the cost of their freedom and increasing their depression even further. After our heroes defeat her, she returns into the form of the black-haired Nagi and vanishes into light, finally acknowledging the possibilities and strengths of humanity, but not before leaving a warning that she will return as long as people wish for her to, finally allowing the party to leave the Cinema.


title: Characters of Persona 4

text: Doe (ドー) is a character introduced in Persona Q2: New Cinema Labyrinth. He is a weird shadow-like figure that is mostly quiet, that one day appeared in the theater, acting as a weird projectionist that would play the same movies over and over again. He would generate a key able to unlock the Cinema exit every time a labyrinth was completed. Hikari is very afraid of him, and has a lot of trouble communicating or getting near with him, although she starts to become less fearful as the game progresses. After Hikari consensually followed Doe, leading her to ???, she decides to face her own past and so that she can recollect her memories lost from her amnesia. Our heroes, thinking that Doe kidnapped Hikari, they fight him in the deepest part of the labyrinth, after he goes berserk due to Hikari rejecting him. After they defeat him the truth is revealed: Doe is nothing more than a cognition of Hikari's father, created by her due to her depression and low self-esteem, starting to make her develop an inability to differ what is actually harmful to her and what actually isn't. This causes her to develop paranoia towards her father's supposed goodwill that results in the creation of Doe, whom she perceives as a terrifying figure that she could not even get close to. Realizing this, Hikari steps forward and hugs him, as he turns into an image of her father. She tearfully confesses all of her negative thoughts to him, and after the confession, he turns into one of the keys and fades into light.


title: Characters of Persona 4

text: The characters of Persona 4 have received major positive critical response as a result of the players' interactions with them and the themes discussed. The protagonist's role has been noted for allowing the player to build his own "self" along the game while questioning their own. Various comparisons were made regarding the social interactions from Persona 3 as the development of the social links are relatively faster and more important for the game's battles. The tone was noted to be sometimes lighter than in the prequel as it avoided touching depressing themes, but at the same time the characters' struggles were much more complex. Additionally, the protagonist's relationships with his relatives who he starts living with were commented for adding more variants to the relationships with these ones focusing on family relationships. Moreover, the inclusion of Shadow versions of the playable characters were praised for the themes they discussed, leading to personal crisis regarding which are their real traits. Kanji Tatsumi's storyline and his ambiguous sexuality received mixed responses, with many fans wishing he could have been portrayed as unquestionably gay with no ambiguity. Naoto Shirogane's storyline also received mixed responses, with some fans taking issue with how the parts of Naoto's narrative that reflect the experiences of transgender people were dismissed and contradicted by canonical insistence that Naoto is a cisgender girl.


title: Loke Yew

text: Loke Yew was unusual for his era in that he was a serial monogamist when polygamy was more commonly practised and accepted. He married four times upon the deaths of each of his prior wives. His first wife, Leung Suet, bore him three sons: Wan Piu, Wan Chok and Wan Chiew. His second wife, Leung Jun, bore him a daughter, Yuen Hing. He also adopted a hardworking employee named Hon Chow as a son during this marriage (this adopted son subsequently changed his surname to Loke but left his given name unchanged and so was the only son without the generational component in his name of "Wan" common to all the biological male children of Loke Yew who were born before and after him). Loke Yew's third wife, Lim Shuk Kwei bore him three children – a daughter, Yuen Ying (a.k.a. "Juliann") and two sons, Wan Wye (a.k.a. "Alan") and Wan Yat. His fourth wife, Lim Cheng Kim, whom he married in 1914, bore him three children – a son, Wan Tho, and two daughters, Yuen Theng and Yuen Peng. In total the elder Loke had 11 children from all 4 marriages, including his adopted son. In a deviation from custom where children, biological or otherwise (and their descendants, if any), who predeceased the parent receiving nothing in inheritance and despite Loke Hon Chow predeceasing Loke Yew, Loke Yew ensured that Loke Hon Chow's male descendants bearing the Loke surname (this rule also extended to his biological children) were included in his Will. In another deviation from custom, Loke Yew also attempted to formally educate both his sons and daughters (in those days, daughters were seldom formally educated since they were married off into other clans while sons brought their wives into the clan). He sent some of his children to Robert Gordon's College in Aberdeen, Scotland, for their formal education that was unfortunately interrupted by the onset of World War II whereupon they returned home to British Malaya.


title: Loke Yew

text: The Loke Yew Family Graveyard was built in 1910. The graveyard was originally located at what was known as Hawthornden Estate , and today it is surrounded by Jalan Jelatek and Jalan Semarak, near the Desa Tun Hussein Onn (a housing complex for army personnel) in Setiawangsa, Kuala Lumpur, where it is difficult for civilians to access the site. The Loke Yew Tombs complex consists of two buildings: The grand Tsui Lan Memorial Hall built with timber pavilions with its eclectic blend of Chinese and Western styles and the impressive larger-than-life bronze statue of Loke Yew erected inline with his tomb. The statue was designed by Mr. Frederick J. Wilcoxson. It is currently in less than ideal condition but repairs (funded by his grandchildren, Ruby Loke Yuen Kin and Choo Mei Leen) have been effected as much as possible within the constraints of custom and the lack of skilled artisans nowadays (a lot of the decorations involve bas-relief, which were chipped off and otherwise damaged by unknown vandals and would entail wholesale replacement of the underlying material for complete restoration and thus would amount to desecration of the gravesite if done). The current location of the MinDef facilities surrounding the gravesite ensure future vandalism would be minimised if not altogether prevented.


title: WHAS-TV

text: WHAS-TV lost ABC programming for nearly 30 years when WLKY (channel 32) signed on September 16, 1961, as that network's Louisville affiliate, with channel 11 becoming an exclusive CBS affiliate. Nearly three decades later as mentioned on September 8, 1990, channel 11 terminated its prolonged relationship with CBS and rejoined ABC, this time as an exclusive affiliate of the network, of which it remains to this day. At the time of the switch, ABC was the second-most-watched network in the country (after NBC), and the network was concerned with perennial third-place WLKY's ratings. At the same time, CBS was at a distant third during the midway-point of president Laurence Tisch's helming of the network. WLKY, which became the market's CBS affiliate, has since made strong strides in the market as cable penetration allowed WLKY's traditional disadvantage of being on the UHF band to fade, and other factors allowed the station to strengthen its news operation and adequately compete with WHAS-TV's newscasts. In addition, WLKY became the local home for the NCAA Division I men's basketball tournament, and owing to the region's status as a college basketball hotbed with local teams such as Kentucky, Louisville and Indiana being longtime fixtures in the tournament, NCAA tournament games on WLKY are consistently among the highest-rated programs in the market during the tournament's run. Channel 11 has seen some struggles over the years during television seasons when ABC suffers from a weaker-rated schedule, while WLKY's ties to CBS have boosted that station through most of the 2000s. With ABC's current schedule, both stations usually exchange the top rankings in the Louisville market's news ratings.


title: WHAS-TV

text: WHAS-TV originated the first television broadcast of the Kentucky Derby locally in 1950 and 1951, and once network lines were extended to Louisville in 1952, the station originated a national telecast for CBS that year. Through CBS, WHAS-TV continued to carry the Derby through 1974. When the Derby's broadcast rights moved to ABC (which was affiliated with WLKY at the time) in 1975, Churchill Downs included a provision in the contract requiring ABC to allow channel 11 to produce its own local Derby coverage, including the race itself. The provision became moot when WHAS-TV joined ABC fifteen years later. However, after the Triple Crown races moved to NBC in 2001, WHAS-TV lost the Kentucky Derby rights to that network's Louisville affiliate, WAVE. Channel 11, through ABC, regained the rights to the Belmont Stakes in 2006, and the station also simulcast the 2006 Breeders' Cup from Churchill Downs that aired on ESPN. With the departure of the Belmont to NBC in 2011, WHAS-TV no longer broadcasts any Triple Crown horse races.