click links in text for more info
SUMMARY / RELATED TOPICS

Bavarian Alps

Bavarian Alps is a summarizing term of several mountain ranges of the Northern Limestone Alps in the German state of Bavaria. The term in its wider sense refers to that part of the Eastern Alps that lies on Bavarian state territory; however it is traditionally understood that the Bavarian Alps are only those ranges between the rivers Lech and Saalach. In this narrower sense, the Allgäu Alps in Swabia, which have only been part of Bavaria in more recent times, the Berchtesgaden Alps in the east are not considered part of the Bavarian Alps; the term is used, but does not correspond to the common classification of the Eastern Alps developed by the German and South Tyrol Alpine Clubs. It should not be confused with the term Bavarian Prealps either; the latter only covers the Bavarian section of the prealps between the River Loisach in the west and the River Inn in the east. According to the Italian Partizione delle Alpi classification, the Bavarian Alps comprise the Allgäu and Lechtal Alps as well as the adjacent Achen Lake mountains.

The Bavarian Alps in their broader sense include the following parts of the mountain ranges listed − in this tabular overview sorted according to AVE from west to east and with maximum heights above sea level. The highest peaks and elevations shown relate to that part of the mountain group that lies in Bavaria, not to the overall group. For example, the highest mountain of the Allgäu Alps, the 2,657 m above sea level high Großer Krottenkopf, lies in Tyrol and is not shown in the table; the highest peak in the Bavarian Alps and in Germany as a whole is the Zugspitze. It lies in the western part of the Wetterstein range and has a high Alpine character with its height of 2,962 m above NN as well as its two small glaciers. By clicking on the word "List" in the various rows of the Lists column, a list other mountains in the particular range may be viewed; the table may be sorted by clicking on the sort symbols in the column headers. Like the Alps as a whole, the Bavarian Alps as part of the Northern Limestone Alps were influenced by the last ice age.

Cirques and typical U-shaped valleys were formed by the glaciers. Depositions by ice age rivers and glaciers left behind a rolling landscape in the Alpine Foreland with lakes and bogs. DAV. Alpenvereins-Jahrbuch, "Berg'84": Die Einteilung der Ostalpen Bogner Franz X.. Die deutschen Alpen aus der Luft. Rosenheimer Verlag, ISBN 978-3475540752. Tour descriptions for the Bavarian Alps

Adelaide Pereira da Silva

Adelaide Pereira da Silva is a Brazilian pianist and painter. Adelaide Pereira da Silva was born in Sao Paulo, she started studying piano with her mother from an early age, with Nair de Souza. She became a well-accomplished pianist, when she took advanced interpretation classes with Professor Hans Bruch. According to the renowned pianist Gilberto Tinetti, she was one of Bruch's most talented students. In her thesis as well as in an article about Adelaide Pereira da Silva's compositions, Maria Mati Sakamoto quotes Gilberto Tinetti, who referred to Prof. Pereira da Silva's "exuberant sonority" as a pianist. Adelaide Pereira da Silva studied composition with Dinorah de Carvalho and Osvaldo Lacerda, she was Camargo Guarnieri's student, became one of the major figures of his composition school, along with famous composers such as Osvaldo Lacerda himself, Almeida Prado, Sérgio Vasconcelos Correia, Nilson Lombardi, Lina Pires de Campos and Kilza Setti. She began working as a music teacher in 1960, was a Professor at Santa Marcelina College and Belas Artes College.

She composed a number of works based on Brazilian folk themes. Her knowledge and expertise in Brazilian folk music were acquired through studies developed under Rossini Tavares de Lima's guidance. Professor Pereira da Silva was one of the founders of the "Brazilian Pro Music Society"; as a composer, Adelaide Pereira da Silva was awarded many prizes, decorations and honors: - First prize by the Gazeta Burajiruforukurore Association composition competition with "Três canções sobre temas do folclore brasileiro" - Second prize in Santos Composition Contest for the song "É tão pouco o que desejo".- Medal - José Bonifácio de Andrada e Silva - Medal - Marechal Cândido Mariano da Silva Rondon - Medal - Legião Joana D'Arc - Medal - Ana Neri - Medal João Amos Comenius - Decoration - Silver Jubileum - Marechal Cândido Rondon and its founding president Agenor Couto de Magalhães - Medal - Euclides da Cunha - Spring Medal - Agenor Couto de Magalhães - Medal - José Vieira Couto de Magalhães ( awarded by Sociedade Geográfica Brasileira - Brazilian Geographic Society - Decoration - Carlos Gomes Da Silva composed for orchestra, chamber ensemble and solo instrument.

Selected works include: 1962 Variations for piano 1965 Suite No. 1 1965 Ponteio N. 1 1965 Ponteio N. 2 1965 Chôro N. Waltz 1 1965 Chôro N. Waltz 2 1966 Ponteio N. 3 1966 Ponteio N. 4 1966 Ponteio N. 5 1967 Suite N. 2 1970 Ponteio N. 6 1970 Ponteio N. 7 1970 Chôro N. Waltz 3 1970 Chôro N. Waltz 4 1970 Chôro N. Waltz 5 1970 Cantiga naive 1978 Recollection 1981 Echoes of Childhood 1993 Ponteio N. 8 Da Silva's works have been recorded and issued on CD, including: Revelando o Brasil, Composições de Adelaide Pereira da Silva Teclas Brasileiras Brasileira: Piano Music by Brazilian Women Centaur Records Mulheres Compositoras França - Brasil 4. Sakamoto, Maria Mati. A compositora Adelaide Pereira da Silva e suas obras para piano. In: Anais do III ENCONTRO DE PESQUISA EM MUSICA- Título: A Música Brasileira na atualidade, Universidade Estadual de Maringá, UEM, 2006, Maringá- PR. Anais do III ENCONTRO DE PESQUISA EM MUSICA- UEM- Maringá -PR. Maringá- PR: Editora Massoni, 2006. v. II. P. 1-177. 5. Anspach, Silvia Simone PhD

Last of the Comanches

Last of the Comanches is a 1953 American Technicolor Western film directed by Andre DeToth, starring Broderick Crawford, Barbara Hale, Johnny Stewart and Lloyd Bridges. The film is a remake of the 1943 World War II film Sahara. Lloyd Bridges appeared in both films. Sgt. Matt Trainor leads the survivors of a massacred cavalry troop from the ruins of the destroyed frontier town of Dry Buttes, along with a ragtag group of stagecoach passengers, in a fight for survival against fierce Comanches led by Black Cloud at a desert ruin. Broderick Crawford as Sgt. Matt Trainor Barbara Hale as Julia Lanning Johnny Stewart as Little Knife Lloyd Bridges as Jim Starbuck Mickey Shaughnessy as Rusty Potter George Mathews as Romany O'Rattigan Hugh Sanders as Denver Kinnaird Ric Roman as Martinez Chubby Johnson as Henry Ruppert Martin Milner as Billy Creel Milton Parsons as Satterlee the Prophet Jack Woody as Cpl. Floyd John War Eagle as Black Cloud Avon Periodicals: Last of the Comanches Last of the Comanches on IMDb Last of the Comanches at AllMovie Last of the Comanches at the TCM Movie Database Last of the Comanches at the American Film Institute Catalog

Arnsburger

Arnsburger is a white variety of grape used for wine. It was created 1939 by Heinrich Birk at the Geisenheim Grape Breeding Institute by crossing two clones of Riesling, clone 88 and clone 64. Arnsburger did not receive varietal protection until 1984, it was named after Arnsburg Abbey, a ruin of a Cistercian abbey in Wetterau, as a homage of the importance of Cistercians in the history of German wine. Plantations of Arnsburger is small. Other than in Germany, small plantation on Madeira, in Italy and on New Zealand are known. Arnsburger has low susceptibility to gray rot, a fruitiness similar to Riesling, it lower must weights. The only synonym of Arnsburger is its breeding code Geisenheim 22- 74. Arnsburg was used as a crossing partner for Saphira

Gender paradox

The gender paradox is a sociolinguistic phenomenon first observed by William Labov, in which "Women conform more than men to sociolinguistic norms that are overtly prescribed, but conform less than men when they are not." The "paradox" arises from sociolinguistic data showing that women are more to use prestige forms and avoid stigmatized variants than men for a majority of linguistic variables, but that they are more to lead language change by using innovative forms of variables. William Labov identifies three main principles, they illuminate the juxtaposing roles of women, who display both conformist and nonconformist behavior in the treatment of linguistic variables. The first of the three principles states that "For stable sociolinguistic variables, women show a lower rate of stigmatized variants and a higher rate of prestige variants than men." This principle gives the most general understanding of women's treatment of linguistic variables, in that when variables are not undergoing any change, women tend to prefer the standard form of the variable to the non-standard form.

It is a occurring phenomenon that sociolinguists have observed in a wide array of societies. Peter Trudgill's study of the variable in Norwich, England provides evidence to support this principle. In his 1968 study, Trudgill studied the frequency of the variable among sixty random subjects, calculating the usage of the standard form versus that of the non-standard form, he classified his results into categories of class and sex. Women tended to avoid the stigmatized form, preferring the standard form more than men did, which hold true for nearly all English dialects. Females were more careful with their choice in variable when speaking formally, indicating a high level of linguistic awareness. Considered a corollary to the first principle, the second principle states: "In linguistic change from above, women adopt prestige forms at a higher rate than men." These are language changes that individuals are conscious of. People are aware of the prestige associated with formal styles and thus are prone to hypercorrection – a product of linguistic insecurity.

Several studies have shown that women are leaders both in eliminating stigmatized forms and adopting incoming prestige forms, they do so at a notably higher rate than men. This finding is widespread across languages and can be seen in examples such as -pronunciation in New York City, the reversal of the Parisian French chain shift, entire language shifts, like that from Hungarian to German in Austria; the third principle is as follows: "In linguistic change from below, women use higher frequencies of innovative forms than men do." These changes, which occur below the level of social consciousness, are "the primary form of linguistic change that operates within the system." In these cases, women are the leaders of changes in progress. The Northern Cities Shift offers a clear example of women leading change from below. For instance, the Atlas of North American English provides data on the regression analysis of 56 speakers in the Inland North, in which the most significant factor regarding sound change advancement is gender, making women the leading innovators.

Women-led sound change from below is salient for new and vigorous changes, like that of the palatalization of /t/ and /d/ in Cairo Arabic. Researchers in sociolinguistics have attempted to provide a unified account and explanation for the gender paradox with varying levels of success. One proposed explanation from J. K. Chambers is the notion that women lead sound change due to some inherent biological verbal advantage. Under this view, women command a greater range of variants and styles, despite similar gender roles, because of sex differences; this view is contradicted by the varying size of the "gender gap," and the fact that differences have not remained constant over time. Labov asserts that if Chambers' biological explanation were to hold true, it would need to produce a robust effect across generations. Greater verbal ability would predict more accurate self-representation in women. In fact, women tend to over-report usages of prestige forms, give less accurate self-reports of language variants than men.

Another possible explanation for women's leadership in language change is their greater sensitivity to the social status associated with certain variants. As women have been denied access to the standard economic capital available to men through education and job opportunities, this may have motivated the usage of prestige forms to help them gain social capital and advance their social standing, both consciously for cases of change from above and subconsciously for change from below; the notion that women's speech is in fact the "language of powerlessness" is supported by findings that some features of stereotypical women's speech were used by men when in a position of subverted power. However, this view fails to address the higher use of prestige forms in contemporary societies with high levels of gender equality. Studies of language variation in central Sweden show that gender differences in speech have been maintained or increased since 1967, despite the fact that recent legislation in Sweden has led to widespread gender equality.

Nonetheless, the legislation may be too recent to have any great effect on the power entrenched in language and the inherent sexism that might remain despite various new laws, although this would not explain the increases, belies the likelihood that 57 years - three or four generations - of legislation is more than enough time to produce a effect. Gendered patterns of speech can be explained by social n

Minuscule 214

Minuscule 214, ε 1401, is a Greek minuscule manuscript of the New Testament, on paper. Paleographically it has been assigned to the 14th century, it has marginalia. The codex contains a complete text of the four Gospels, on 227 paper leaves; the text is written in one column per 27 lines per page. The text is divided according to the κεφαλαια. There is no τιτλοι at the top of the pages. There is a division according to the Ammonian Sections, it contains prolegomena, tables of the κεφαλαια, before each Gospel, αναγνωσεις, lectionary markings at the margin for liturgical reading, synaxaria and subscriptions at the end of each Gospel. The Greek text of the codex is a representative of the Byzantine text-type. Hermann von Soden classified it to the textual family Kr. Aland placed it in Category V. According to the Claremont Profile Method it belongs to the textual family Kr in Luke 1. In Luke 10 and Luke 20 it belongs to Kx, it was examined by Burgon. C. R. Gregory saw it in 1886, it is housed at the Biblioteca Marciana, at Venice.

List of New Testament minuscules Biblical manuscript Textual criticism Gregory, Caspar René. Textkritik des Neuen Testaments. 1. Leipzig: J. C. Hinrichs'sche Buchhandlung. P. 168