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George Mercer Dawson

George Mercer Dawson was a Canadian geologist and surveyor. He was born in Pictou, Nova Scotia, the eldest son of Sir John William Dawson, Principal of McGill University and a noted geologist, his wife, Lady Margaret Dawson. By age 11, he was afflicted with tuberculosis of the spine that resulted in a deformed back and stunted growth. Physical limitations, did not deter Dawson from becoming one of Canada's greatest scientists. Tutors and his father provided his education during his slow recovery from the illness. Dawson attended the High School of Montreal and McGill University before moving to London to study geology and paleontology at the Royal School of Mines in 1869. Dawson graduated after three years with the highest marks in his class. Dawson began his career in the 1870s as a professor of chemistry at Morrin College in Quebec City. From 1873 to 1875, Dawson worked for the British North American Boundary Commission surveying the International Boundary; the result was the 387-page Report on the Geology and Resources of the Region in the Vicinity of the Forty-Ninth parallel from the Lake of the Woods to the Rocky Mountains, which established Dawson’s reputation as a respected scientist.

Dawson joined the Geological Survey of Canada in 1875 and led many field parties in Canada’s north and west. His work is credited as having laid the foundations of much of our knowledge of the geology and natural history of these regions. For example, during 1883 and 1884, Dawson travelled through the Canadian Rockies where he mapped out the major mountains, mountain passes, rivers; some of the many peaks he charted were Mount Assiniboine, 3,618 meters, Mount Temple, 3,543 meters. As a result of his field research, a map of his work was published in 1886 covering the Canadian Rockies from the U. S. border to the Red Deer River Kicking Horse Pass. In addition to his geological work, Dawson was keenly interested in the languages and cultures of the First Nations peoples he met in his travels. While studying the coal deposits of the Queen Charlotte Islands in 1878, he prepared a comprehensive report on the Haida people, which included a vocabulary of their language, his photographs of Haida villages and totem poles remain a unique record.

He published papers about the Indigenous peoples of the Yukon and northern British Columbia, the Kwakiutl people of Vancouver Island and the Shuswap people of central British Columbia. The field season of 1887 saw Dawson and his assistant R. G. McConnell exploring northern British Columbia and the headwaters of the Yukon River, during which they made an arduous circuit by separate routes, on foot and by boat, of an area of 63,200 square miles, unknown except for First Nations accounts and those of a few prospectors; the results of the work included some of the first maps of the Yukon. His report was republished ten years to satisfy interest in the region as a result of the Klondike Gold Rush. Dawson City, was named in his honour, as was Dawson Creek, British Columbia. In 1898, Dawson lead a field expedition with the intent of surveying resources, along with the famed Anarchist, Peter Kropotkin. Kropotkin was awed by the skill he saw in Dawson, writing that he knows "the Rocky Mountains and the coast ranges as his own garden."Dawson became assistant director of the GSC in 1883 and was appointed its third director in 1895.

Under his leadership, the GSC continued its far-flung expeditions to study all aspects of Canada’s geology and natural history. Reflecting Dawson’s interest in ethnology, the GSC’s museum increased its indigenous collections, these formed the basis of what is now the Canadian Museum of History, he lobbied the government tirelessly to secure funding for a more suitable building to house the GSC’s museum and scientific staff. This funding was granted just one month before his death in 1901; the building that resulted from his efforts was the Victoria Memorial Museum Building. Dawson received an LL. D. from Queen's University in 1890 and from McGill University in 1891. In 1891, Dawson was named a fellow of the Royal Society of London. In 1892, he was made a Companion of the Order of St George, he was president of the Geological Society of America in 1900, just seven years after his father served in the same role. Barkhouse, Joyce. George Dawson: The Little Giant. Dundurn. ISBN 978-1-4597-2100-5. Bonney, Thomas George.

"Dawson, George Mercer". Dictionary of National Biography. London: Smith, Elder & Co. pp. 480–481. Jenkins, Phil. Beneath My Feet: the Memoirs of George Mercer Dawson. Toronto: McLelland and Stewart. ISBN 978-0-7710-4388-8. Morgan, Henry James, ed.. The Canadian men and women of the time: a handbook of Canadian biography. Toronto: Williams Briggs. Pp. 250–251. Vodden, Christy. A World Inside: A 150-year History of the Canadian Museum of Civilization. Canadian Museum of Civilization. ISBN 978-0-660-19558-2. Zeller, Suzanne E.. "George Mercer Dawson". The Canadian Encyclopedia. Historica Canada. Zeller, Suzanne. "Dawson, George Mercer". Oxford Dictionary of National Biography. Oxford University Press. Doi:10.1093/ref:odnb/32753. The History of the Geological Survey of Canada in 175 Objects L’histoire de la Commission géologique du Canada illustrée par 175 objets

Spring Waltz OST

Spring Waltz is the name of a soundtrack in 2006 for the KBS drama Spring Waltz. Spring Waltz O. S. T Teardrop Waltz One Love - Loveholic Childhood Cannonball - Damien Rice Clementine - Lee Ji-soo Flower - U-NA 봄의 왈츠 내 인생의 봄날 - S. Jin A Sad Memory - Jang Se-yong 이젠 사랑할 수 있어요 - Yurisangja Shadow Waltz - Jang Se-yong 무지개 - Bada Song of Island - Lee Ji-soo 수호천사 - S. Jin Flashback 마음으로 부르는 노래 - Myung In-hee Tears for RemembranceSpring Waltz - Love Poem by Lee Ji Soo Love Poem Flying Petals Nocturns For Clementine 꿈속에서 Love Poem 꿈속에서 Flying Petals Spring Waltz Disc 1 By Yoon Jae Ha Spring Waltz - 봄의 왈츠 - 이루마 Day Dream - 박종훈 Sunday Afternoon Waltz - 박종훈 Dreaming Island's Story - 섬의 이야기 - 이루마 Lost in Island - 잃어버린 섬 - 이루마 A Sad Motive - 박종훈 Vivace - Broken Blossoms - 이루마 Clementine - To My Little Girl I - 이루마 I Think You Love Me - 박종훈 Before Stars Sleeping - 별이 지기 전에 - 이루마 Dreaming Island's Story - 이루마 Autumn-Colored Spring - 가을을 닮은 봄 I - 이루마 Men's Tears - 박종훈 Autumn-Colored Spring - 가을을 닮은 봄 II - 이루마 Lost in Island - 잃어버린 섬 - 이루마 Silence - 박종훈 너의 뒷모습 - 박종훈 Clementine - To My Little Girl II - 이루마 Guten Morgen - 박종훈 Spring Waltz - 이루마 Clementine - To My Little Girl III - 이루마 Lost in Island - 잃어버린 섬 - 이루마 Spring Waltz Disc 2 By Yoon Jae Ha Chopin Nocturne in C # minor Schumann Humoreske Chopin Waltz in B minor Chopin Prelude in E minor, Op.28-4 Chopin Etude in E major, op.10-3 - 이별의 노래 Tchaikovsky'Autumn Song' Chopin Nocturne in E♭major, op.9-2 Chopin Etude in E♭minor, op.10-6 Chopin Prelude in D♭Major, op.28-15 - 빗방울 Tchaikovsky Nocturne in C# minor KBS' Official Site

Christian Djoos

Christian Djoos is a Swedish professional ice hockey defenseman playing for the Anaheim Ducks of the National Hockey League. Djoos was selected by the Washington Capitals in the 7th round of the 2012 NHL Entry Draft. Djoos won the Stanley Cup in 2018 with the Capitals, he is the son of Pär Djoos. Djoos made his Elitserien debut, playing one game with Brynäs IF during the 2011–12 season, by the 2013–14 season, at the age of 19, he had developed into a regular SHL player for Brynäs, he signed a three-year, entry-level contract with the Capitals on 16 May 2014. Djoos made the Capitals opening night roster to start the 2017–18 season. In his NHL debut, on 11 October 2017, he scored his first NHL goal, first NHL assist, with the Capitals against the Pittsburgh Penguins. Subsequently, Djoos became the first defenseman in Capitals history to score two points during his NHL debut. In the 2019–20 season, Djoos was unable to make the Capitals opening night roster, re-assigned to continue in the AHL with the Hershey Bears.

In a top-pairing role, Djoos added 32 points in 42 games with Hershey, appearing in a further 2 scoreless games with the Capitals. With limited NHL opportunities with the Capitals at the NHL trade deadline, on 24 February 2020, Djoos was dealt to the Anaheim Ducks in exchange for Daniel Sprong. Biographical information and career statistics from, or, or, or The Internet Hockey Database

T. Vijayaraghavacharya

Diwan Bahadur Sir Thiruvalayangudi Vijayaraghavacharya KBE was an Indian civil servant and administrator who served as the Diwan of Cochin kingdom from 1919 to 1922. Vijayaraghavacharya was a member of the Constituent Assembly of India representing Udaipur. Vijayaraghavacharya was born in Erode on 27 August 1875 and was educated at the Presidency College, Madras. Vijayaraghavacharya completed his B. A. in 1894 and obtained an M. A. in 1898. Early careerVijayaraghavacharya joined the provincial civil service in 1898 and served as a district officer. From 1912 to 1917, he served as Secretary in the Board of Revenue, Madras Corporation and as Deputy Director of Industries from 1918 to 1919. In 1919, he was appointed Diwan of the Cochin kingdom and served from 1919 to 1922. Cochin kingdomDuring his tenure, Vijayaraghavacharya started the industrialization of Cochin kingdom; the Nair Regulation was introduced in 1920. Female literacy increased during this period. Local Self-governing bodies such as village panchayats and municipal councils were given increased powers and privileges.

Indian governmentIn 1922, he was appointed Commissioner for India at the British Empire Exhibition and was, in 1926, made Director of Industries. He served for a short time as member of the Public Service Commission and in 1929, was appointed Vice-Chairman of the Imperial Council for Agricultural Research. Vijayaraghavacharya retired from the civil service on 25 December 1935. Four years he was appointed Diwan of Udaipur. Vijayaraghavacharya died on 28 February 1953 at the age of 77. Sir Stanley Reed; the Times of India directory and year book including who's who, Volume 38. Bennett, Coleman & Co. p. 808. The International who's who, Volume 13. Europa Publications Ltd. 1949. P. 948. "Diwan Bahadur Sir T. Vijayaraghavacharya". Current Science. 4: 307–308. November 1935

Clelia scytalina

Clelia scytalina known as the Mexican snake eater or zopilota de altura, is a species of snake in the family Colubridae. The species is endemic to the New World. C. scytalina is found in Southern Mexico, Central America, Colombia. The head of C. scytalina is somewhat distinct from the neck. The eye is moderate in size, with a vertically elliptical pupil; the body is cylindrical, the tail is moderately long. The smooth dorsal scales are arranged in 17 rows at midbody; the coloration of juveniles is different from that of adults. Juveniles have a black head, a yellow or white nuchal crossband, a red body. Juveniles are mistaken for coral snakes and killed. Adults are uniform bluish black dorsally, cream-colored ventrally. C. scytalina is a terrestrial animal which inhabits old-growth and second-growth forests and their borders. It is found in open areas in submontane and montane life zones. Like other species of mussurana, C. scytalina is known to feed on other snakes. C. scytalina is oviparous. Clelia scytalina at the Encyclopedia of Life.

Cope ED. "Fifth Contribution to the HERPETOLOGY of Tropical America". Proc. Acad. Nat. Sci. Philadelphia 18: 317–323.. Muñoz Chacón, Federico. Amphibians and Reptiles of Costa Rica: A Pocket Guide. Ithaca, New York: Comstock. 170 pp. ISBN 0801478693

Egyptian faience

Egyptian faience is a sintered-quartz ceramic displaying surface vitrification which creates a bright lustre of various colours, with blue-green being the most common. Defined as a "material made from powdered quartz covered with a true vitreous coating in a transparent blue or green isotropic glass", faience is distinct from the crystalline compound Egyptian blue. Faience is more porous than glass proper, it can be cast in molds to create vessels and decorative objects. Although it contains the major constituents of glass and no clay until late periods, faience is discussed in surveys of ancient pottery, as in stylistic and art-historical terms objects made of it are closer to pottery styles than ancient Egyptian glass. Egyptian faience was widely used for small objects from beads to small statues, is found in both elite and popular contexts, it was the most common material for scarabs and other forms of amulet and ushabti figures, used in most forms of ancient Egyptian jewellery, as the glaze made it smooth against the skin.

Larger applications included cups and bowls, wall tiles used for temples. The well-known blue figures of a hippopotamus, placed in the tombs of officials, can be up to 20 cm long, approaching the maximum practical size for faience, though the Victoria and Albert Museum in London has a 215.9-centimetre faience sceptre from Egypt dated 1427–1400 BC. It is called "Egyptian faience" to distinguish it from faience, the tin-glazed pottery associated with Faenza in northern Italy. Egyptian faience was both exported in the ancient world and made locally in many places, is found in Mesopotamia, around the Mediterranean and in northern Europe as far away as Scotland; the term is used for the material wherever it was made and modern scientific analyses are the only way of establishing the provenance of simple objects such as the common beads. The term is therefore unsatisfactory in several respects, although clear in an Ancient Egyptian context, is rejected in museum and archaeological usage; the British Museum now calls this material "glazed composition", with the following note in the "information" box on their online collection database: "The term is used for objects with a body made of finely powdered quartz grains fused together with small amounts of alkali and/or lime through partial heating.

The bodies are colourless but natural impurities give them a brown or greyish tint. Colourants can be added to give it an artificial colour, it can be modelled by hand, thrown or moulded, hardens with firing. This material is used in the context of Islamic ceramics. Glazed composition is related to glass, but glass is formed by fusing the ingredients in a liquid melted at high temperature; this material is popularly called faience in the contexts of Ancient Egypt and Ancient Near East. However, this is a misnomer as these objects have no relationship to the glazed pottery vessels made in Faenza, from which the faience term derives. Other authors use the terms sintered quartz, glazed frit, composition, Egyptian Blue, paste or porcelain, although the last two terms are inappropriate as they describe imitation gems and a type of ceramic. Frit is technically a flux." From the inception of faience in the archaeological record of Ancient Egypt, the elected colors of the glazes varied within an array of blue-green hues.

Glazed in these colours, faience was perceived as substitute for blue-green materials such as turquoise, found in the Sinai Peninsula, lapis lazuli from Afghanistan. According to the archaeologist David Frederick Grose, the quest to imitate precious stones "explains why most all early glasses are opaque and brilliantly colored" and that the deepest blue color imitating lapis lazuli was the most sought-after; as early as the Predynastic graves at Naqada, Badar, el-Amrah, Harageh, Avadiyedh and El-Gerzeh, glazed steatite and faience beads are found associated with these semi-precious stones. The association of faience with turquoise and lapis lazuli becomes more conspicuous in Quennou's funerary papyrus, giving his title as the director of overseer of faience-making, using the word which means lapis lazuli, which by the New Kingdom had come to refer to the'substitute', faience; the symbolism embedded in blue glazing could recall both the Nile, the waters of heaven and the home of the gods, whereas green could evoke images of regeneration and vegetation.

The discovery of faience glazing has tentatively been associated with the copper industry: bronze scale and corrosion products of leaded copper objects are found in the manufacture of faience pigments. However, although the likelihood of glazed quartz pebbles developing accidentally in traces in copper smelting furnaces from the copper and wood ash is high, the regions in which these processes originate do not coincide. Although it appears that no glass was intentionally produced in Egypt before the Eighteenth Dynasty, it is that faience and glass were all made in close proximity or in the same workshop complex, since developments in one industry are reflected in others; such close relationship is reflected in the prominent similarity of the formulations of faience glaze and contemporary glass compositions. Despite the differences in the pyrotechnology of glass and faience, faience being worked cold, archaeological evidence suggests that New Kingdom glass and faience production was undertaken in the same workshops.

Faience has been defined as the first high technology ceramic, to emphasize its status as an