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American League Division Series

In Major League Baseball, the American League Division Series determines which two teams from the American League will advance to the American League Championship Series. The Division Series consists of two best-of-five series, featuring the three division winners and the winner of the wild-card play-off; the Division Series was implemented in 1981 as a one-off tournament because of a midseason strike, with the first place teams before the strike taking on the teams in first place after the strike. In 1994, it was returned permanently when Major League Baseball restructured each league into three divisions, but with a different format than in 1981. In 1981, a split-season format forced the first divisional playoff series, in which the New York Yankees won the Eastern Division series over the Milwaukee Brewers in five games while in the Western Division, the Oakland Athletics swept the Kansas City Royals. Including the 2018 postseason, the Yankees have played in the most division series, with twenty appearances.

In 2015, the Toronto Blue Jays and Houston Astros were the final American League teams to make their first appearances in the ALDS. The Astros had been in the National League through 2012, had played in the National League Division Series seven times. From 1998 to 2011, the wild card team was assigned to play the division winner with the best winning percentage in one series, the other two division winners met in the other series. However, if the wild-card team and the division winner with the best record were from the same division, the wild-card team played the division winner with the second-best record, the remaining two division leaders played each other. Beginning with the 2012 season, the wild card team that advances to the Division Series was to face the number 1 seed, regardless of whether or not they are in the same division; the two series winners move on to the best-of-seven ALCS. Home field advantage goes to the team with the better regular season record, except for the wild card team, which never receives the home field advantage.

Beginning in 2003, MLB has implemented a new rule to give the team from the league that wins the All-Star Game with the best regular season record a greater advantage. In order to spread out the Division Series games for broadcast purposes, the two ALDS series follow one of two off-day schedules. Starting in 2007, after consulting the MLBPA, MLB has decided to allow the team with the best record in the league that wins the All-Star Game to choose whether to use the seven-day schedule or the eight-day schedule; the team only gets to choose the schedule. The best-of-5 series played in a 2-3 format, with the first two games set at home for the lower seed team and the last three for the higher seed. Since 1998, the series has followed a 2-2-1 format, where the higher seed team plays at home in Games 1 and 2, the lower seed plays at home in Game 3 and Game 4, if a Game 5 is needed, the teams return to the higher seed's field; when MLB added a second wild card team in 2012, the Division Series re-adopted the 2-3 format due to scheduling conflicts.

It reverted to the 2-2-1 format in 2013. Team names link to the season in which each team played Team is no longer in the American League National League Division Series MLB division winners MLB postseason List of American League pennant winners List of National League pennant winners List of World Series champions Baseball-Reference.com - annual playoffs MLB.com - MLB's Division Series historical reference - box scores, etc

Maximilian von Speidel

Maximilian "Max" Freiherr von Speidel was a Bavarian general and State Council at the Bavarian Ministry of War. Von Speidel was born in Munich. In the rank of a General der Kavallerie, von Speidel was commander of the 6th Bavarian Reserve Division from 30 October to 16 November 1914, the unit in which Hitler served during World War I. In the "Hertling Cabinet" he was acting as War Minister for a short time in 1916. Before he became State Council from 26 November 1916 to 21 January 1919. Upon agreement with Kurt Eisner and Albert Roßhaupter, on 10 November 1918 after the revolution, he and Otto von Dandl went to Schloss Wildenwart in the district of Rosenheim, where Von Speidel planned to persuade King Ludwig III to issue a declaration in which he would release the army officers of their oath, but Ludwig had left Schloss Wildenwart. Two days Von Dandl could convince the king of the release of the officers of their oath. Von Speidel was married to Gräfin von Arco auf Valley, he died in his hometown.

Commendador of the Order of the Rose Photos: 1, 2

Frame-based terminology

Frame-based terminology is a cognitive approach to terminology developed by Pamela Faber and colleagues at the University of Granada. One of its basic premises is that the conceptualization of any specialized domain is goal-oriented, depends to a certain degree on the task to be accomplished. Since a major problem in modeling any domain is the fact that languages can reflect different conceptualizations and construals, texts as well as specialized knowledge resources are used to extract a set of domain concepts. Language structure is analyzed to obtain an inventory of conceptual relations to structure these concepts; as its name implies, frame-based terminology uses certain aspects of frame semantics to structure specialized domains and create non-language-specific representations. Such configurations are the conceptual meaning underlying specialized texts in different languages, thus facilitate specialized knowledge acquisition. Frame-based terminology focuses on: conceptual organization. In frame-based terminology, conceptual networks are based on an underlying domain event, which generates templates for the actions and processes that take place in the specialized field as well as the entities that participate in them.

As a result, knowledge extraction is text-based. The terminological entries are composed of information from specialized texts as well as specialized language resources. Knowledge is configured and represented in a dynamic conceptual network, capable of adapting to new contexts. At the most general level, generic roles of agent, patient and instrument are activated by basic predicate meanings such as make, do, use, etc. which structure the basic meanings in specialized texts. From a linguistic perspective, Aktionsart distinctions in texts are based on Van Valin's classification of predicate types. At the more specific levels of the network, the qualia structure of the generative lexicon is used as a basis for the systematic classification and relation of nominal entities; the methodology of frame-based terminology derives the conceptual system of the domain by means of an integrated top-down and bottom-up approach. The bottom-up approach consists of extracting information from a corpus of texts in various languages related to the domain.

The top-down approach includes the information provided by specialized dictionaries and other reference material, complemented by the help of experts in the field. In a parallel way, the underlying conceptual framework of a knowledge-domain event is specified; the most generic or base-level categories of a domain are configured in a prototypical domain event or action-environment interface. This provides a template applicable to all levels of information structuring. In this way a structure is obtained which facilitates and enhances knowledge acquisition since the information in term entries is internally as well as externally coherent. LexiCon Research Group Frame-Based Terminology

Janette Bertrand

Janette Bertrand is a Quebec journalist, actor and writer. She was born in Montreal, grew up there, studied journalism at the Université de Montréal, she began work at the Petit Journal. She next moved to radio, becoming the host of the Radio-Canada program Déjeuner en musique in the early 1950s. Bertrand married the actor Jean Lajeunesse; the couple hosted the program Jean et Janette, Mon mari et nous at radio station CKAC. She began appearing on television for Radio-Canada, Télé-Métropole and Radio-Québec, she developed the television series Grand-Papa, L'Amour avec un Grand A, Parler pour parler. Bertrand received a Governor General's Performing Arts Awards in 2000, she received several Gemini Awards, including one for Lifetime Achievement, the Order of Merit from the Canadian Association of Radio Broadcasters, was named a Chevalier in the National Order of Quebec in 1992, was named Woman of the Century by the Salon de la femme de Montréal in 1990. Bertrand wrote the lyrics for the Celine Dion song "Berceuse", included on the D'Elles album.

In 2003, she received the Prix Condorcet, awarded annually to a public figure who has contributed to secularity and freedom of conscience in Quebec. Bertrand supported the Parti Québécois' proposed Charter of Values, arguing that accommodating religious minorities could lead to the erosion of women's rights. Moi Tarzan, Toi Jane, play Dis moi si j'dérange, play Ma vie en trois actes, biography Janette Bertrand on IMDb

Lake Erie AVA

The Lake Erie AVA is an American Viticultural Area that includes 2,236,800 acres of land on the south shore of Lake Erie in the U. S. states of Ohio, New York, Pennsylvania. Over 42,000 acres of the region are planted in grapevines, predominantly in the Concord grape variety. Grapes were first cultivated in the area in the early 19th century, many wineries survived Prohibition in the 20th century by selling grapes to home winemakers, marketing their products for religious purposes such as kosher wines, converting to grape juice production for local companies such as Welch's, or illegally selling wine to consumers in Canada; the wine industry in the Lake Erie region did not thrive after the repeal of Prohibition, by 1967 there were fewer than 20 commercial wineries in the area. Lake Erie wineries have begun planting and vinifying Vitis vinifera varieties in an attempt to improve wine quality; the region has a humid continental climate and is in hardiness zones 6a and 6b

Selznick International Pictures

Selznick International Pictures was a Hollywood motion picture studio created by David O. Selznick in 1935, dissolved in 1943. In its short existence the independent studio produced two films that received the Academy Award for Best Picture—Gone with the Wind and Rebecca —and three that were nominated, A Star Is Born, Since You Went Away and Spellbound. In the Tradition of Quality Selznick International Pictures was founded in 1935 by producer David O. Selznick and investor Jock Whitney after Selznick left Metro-Goldwyn-Mayer and leased a section of the RKO Pictures lot in Culver City, California; the studio itself had been built in 1918–19 by film pioneer Thomas Ince. When Ince died in 1924 the studio was taken over by Cecil B. DeMille. Pathe took over and in the 1930s it became part of RKO. In 1957 it would become Desi Arnaz's company, Desilu. Selznick leased offices at the studio during the first year or so and at the beginning of 1937 Selznick International Pictures took over the entire lot.

The SIP name went up over the entrance of the historic Southern Plantation style administration building and that view of the front of the building became the iconic studio logo seen at the beginning of SIP films. Though the studio reverted to RKO in the 1940s, Selznick kept offices there for the rest of his life. Selznick raised the initial funding of US$400,000 in Los Angeles, with half of that amount coming from his brother Myron Selznick, a Hollywood agent, the other half from MGM production chief Irving Thalberg and his wife actress Norma Shearer, he raised an additional $300,000 from "small" investors in New York, the final $2.4 million from Jock Whitney and his family. Whitney himself became chairman of the board, Selznick president, of the new company; because Whitney and his cousin Cornelius Vanderbilt Whitney owned Pioneer Pictures, an independent studio they formed in 1933 on facilities rented at the RKO studios, Pioneer was informally merged with Selznick International Pictures in 1936.

Selznick International assumed Pioneer's contract to make at least six pictures in the new full-color Technicolor process, of which the Whitneys owned a 15 percent share."Unlike his peers in the major studios," wrote film historian Leonard J. Leff, "Selznick produced films as medieval architects built cathedrals: one by one."Selznick intended to produce a few features each year, a plan which he hoped would allow him to be as picky and careful as he liked and to create the best films possible. He said to his company's board in 1935, "There are only two kinds of merchandise that can be made profitably in this business, either the cheap pictures or the expensive pictures." Selznick believed, "there is no alternative open to us but to attempt to compete with the best."Although Selznick foresaw a production schedule of six to eight features per year, the studio in fact made only two or three per year, due to Selznick's meticulous attention to detail and protracted writing and editing processes.

But in its short life, Selznick International Pictures produced two winners of the Academy Award for Best Picture: Gone with the Wind and Rebecca, three nominees, A Star Is Born, Since You Went Away and Spellbound. By 1940, Selznick International Pictures was the top-grossing film studio in Hollywood, but without a major studio set-up in which to re-invest his profits, Selznick faced enormous tax problems; that year, to draw down their profits as capital gains, he and the other owners made an agreement with the Internal Revenue Service to liquidate Selznick International within three years, which they did by dividing and selling to each other the company's assets. Jock Whitney and his sister Joan Whitney Payson acquired Gone with the Wind, which they resold at a substantial profit to Metro-Goldwyn-Mayer in 1944. At the time of the final dissolution in 1943, three features were in production or pre-production, although they were released in 1944 and 1945. To complete his obligation to deliver two more pictures to United Artists, Selznick formed David O. Selznick Productions in 1940 at the same studio location.

The new company took over the old company's contracts with individual directors and actors. After the dissolution of Selznick International, Selznick established Vanguard Films, Inc. in 1943 and Selznick Releasing Organization in 1946. Vanguard was created to continue his productions, while Selznick Releasing was made to distribute output by Vanguard. Vanguard released through United Artists, of which Vanguard owned one-third of its stock; as with Selznick International, Vanguard was located at the RKO studio. Films were distributed by United Artists. Selznick formed Vanguard Films to complete projects in progress at the time Selznick International Pictures was dissolved. Films were distributed by United Artists; the rights to the Selznick library have been scattered. 1943: Jock Whitney sold to Film Classics, Inc. the rights to A Star Is Born and Nothing Sacred, the Selznick International productions Little Lord Fauntleroy, Made for Each Other, The Young in Heart. 1947: Cinecolor Corporation acquired Film Classics, Inc. 1949: Cinecolor Corp. resold the company to Film Classics' officers.

1950: Film Classics was merged with Eagle-Lion Films to form Eagle Lion Classics. 1951: When Eagle Lion Classics collapsed, United Artists acquired its assets. David O. Selznick retained ownership of The Garden of Allah, The Prisoner of Zenda, The Adventures of Tom Sawyer and Rebecca after the liquidation of Selznick International Pictures. Most of the Selznick films ar