Sir John Tenniel was an English illustrator, graphic humorist, political cartoonist prominent in the second half of the 19th century. He was knighted for his artistic achievements in 1893. Tenniel is remembered as the principal political cartoonist for Punch magazine for over 50 years, for his illustrations to Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking-Glass, What Alice Found There. Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing and dancing master of Huguenot descent, Eliza Maria Tenniel. Tenniel had five siblings. One sister, was to marry Thomas Goodwin Green, owner of the pottery that produced Cornishware. Tenniel was a quiet and introverted person, both as an adult, he was content to remain out of the limelight and seemed unaffected by competition or change. His biographer Rodney Engen wrote that Tenniel's "life and career was that of the supreme gentlemanly outside, living on the edge of respectability."In 1840, while practising fencing with his father, received a serious eye wound from his father's foil, which had accidentally lost its protective tip.
Over the years, Tenniel lost sight in his right eye. In spite of his tendency towards high art, Tenniel was known and appreciated as a humorist and his early companionship with Charles Keene fostered and developed his talent for scholarly caricature. Tenniel became a student of the Royal Academy of Arts in 1842 by probation – he was admitted because he had made enough copies of classical sculptures to fill the necessary admission portfolio. So it was here. While Tenniel's more formal training at the Royal Academy and other institutions was beneficial in nurturing his artistic ambitions, it failed in Tenniel's mind because he disagreed with the school's teaching methods, so set about educating himself for his career. Tenniel studied classical sculptures through painting. However, he was frustrated in this. Tenniel would draw the classical statues at London's Townley Gallery, copy illustrations from books of costumes and armour in the British Museum, draw animals from the zoo in Regent's Park, as well as actors from London theatres, which he drew from the pits.
These studies taught Tenniel to love detail, yet he became impatient in his work and was happiest when he could draw from memory. Though he was blessed with a photographic memory, it undermined his early formal training and restricted his artistic ambitions. Another "formal" means of training was Tenniel's participation in an artists' group, free from the rules of the Academy that were stifling him. In the mid-1840s he joined the Artist's Society or Clipstone Street Life Academy, it could be said that Tenniel first emerged as a satirical draughtsman. Tenniel's first book illustration was for Samuel Carter Hall's The Book of British Ballads, in 1842. While engaged with his first book illustrations, various contests were taking place in London, as a way in which the government could combat the growing Germanic Nazarenes style and promote a national English school of art. Tenniel planned to enter the 1845 House of Lords competition amongst artists to win the opportunity to design the mural decoration of the new Palace of Westminster.
Despite missing the deadline, he submitted a 16-foot cartoon, An Allegory of Justice, to a competition for designs for the mural decoration of the new Palace of Westminster. For this he received a £200 premium and a commission to paint a fresco in the Upper Waiting Hall in the House of Lords; as the influential result of his position as the chief cartoon artist for Punch, John Tenniel remained Britain's steadfast witness to sweeping changes in political and social reform through satirical radical, at times vitriolic images of the world. At Christmas 1850 he was invited by Mark Lemon to fill the position of joint cartoonist on Punch, having been selected on the strength of recent illustrations to Aesop's Fables, he contributed his first drawing in the initial letter appearing on p. 224, vol. xix. This was entitled "Lord Jack the Giant Killer" and showed Lord John Russell assailing Cardinal Wiseman. In 1861, Tenniel was offered John Leech's position at Punch, as political cartoonist, but Tenniel still maintained a sense of decorum and restraint in the heated social and political issues of the day.
His task was to follow the wilful choices of his Punch editors, who took their cue from The Times and would have felt the suggestions of political tensions from Parliament as well. Tenniel's work could be scathing in effect; the restlessness in the issues of working-class radicalism, war and other national themes were the targets of Punch, which in turn settled the nature of Tenniel's subjects. His cartoons of the 1860s popularised a portrait of the Irishman as a sub-human being, wanton in his appetites and resembling an orangutan in facial features and posture. Many of Tenniel's political cartoons expressed strong hostility to Irish Nationalism, with Fenians and Land leagues depicted as monstrous, ape-like brutes, while "Hibernia" – the personification of Ireland – was depicted as a beautiful, helpless girl threatened by such "monsters" and turning for protection to an "elder sister" in the shape of a powerful, armoured Britannia. "An Unequal Match", his drawing published in Punch on 8 October 1881, depicted a police officer fighting a criminal with only a baton for protection, trying to put a point across to the public that policing meth
Diana Louise Strassmann is an American economist Carolyn and Fred McManis Distinguished Professor of Humanities at Rice University, co-founder of International Association for Feminist Economics and its journal Feminist Economics. After graduating from East Lansing High School in East Lansing, Michigan in 1973, Strassmann completed her AB in Economics at Princeton University in 1977, her MA from Harvard University in Economics from in 1982 and her PhD from Harvard in 1983. Strassman is Director of the Rice University Program on Poverty and Human Capabilities, co-founder of International Association for Feminist Economics and founding editor of the IAFFE journal Feminist Economics. In 2011 she co-authored Feminist economics: feminism and well-being a "major three-volume research collection that demonstrates the breadth and significance of feminist scholarship in economics."
A drillship is a merchant vessel designed for use in exploratory offshore drilling of new oil and gas wells or for scientific drilling purposes. In most recent years the vessels are used in deepwater and ultra-deepwater applications, equipped with the latest and most advanced dynamic positioning systems; the first drillship was the CUSS I, designed by Robert F. Bauer of Global Marine in 1955; the CUSS I had drilled in 400 feet deep waters by 1957. Robert F. Bauer became the first president of the Global Marine in 1958. In 1961 Global Marine started a new drillship era, they ordered several self-propelled drillships each with a rated centerline drilling of 20,000 foot-wells in water depths of 600 feet. The first was named a 5,500-deadweight-ton vessel, Costing around $4.5 million. Built by a Gulf Coast shipyard, the vessel was twice the size of the CUSS I, became the world’s first drillship built as new construction which set sail in 1962. In 1962 The Offshore Company elected to build a new type of drillship, larger than that of the Glomar class.
This new drillships would feature a first anchor mooring array based on a unique turret system. The vessel was named Discoverer I; the Discoverer I had no main propulsion engines, meaning they needed to be towed out to the drill site. The drillship can be used as a platform to carry out well maintenance or completion work such as casing and tubing installation, subsea tree installations and well capping. Drillships are built to the design specifications set by the oil production company and/or investors. From the first drillship CUSS I to the Deepwater Asgard the fleet size has been growing since. In 2013 the worldwide fleet of drillships tops 80 ships, more than double its size in 2009. Drillships are not only growing in size but in capability with new technology assisting operations from academic research to ice-breaker class drilling vessels. U. S. President Barack Obama's decision in late March 2010 to expand U. S. domestic exploratory drilling seems to increase further developments of drillship technology.
Drillships are just one way. This function can be performed by semi-submersibles, barges, or platform rigs. Drillships have the functional ability of semi-submersible drilling rigs and have a few unique features that separate them from all others. First being the ship-shaped design. A drillship has greater mobility and can move under its own propulsion from drill site to drill site in contrast to semi-submersibles and jackup barges and platforms. Drillships have the ability to save time sailing between oilfields worldwide. A drillship takes 20 days to move from the Gulf of Mexico to the Offshore Angola. Whereas, a semi-submersible drilling unit takes 70 days. Drillship construction cost is much higher than that of a semi-submersible, but although mobility comes at a high price, the drillship owners can charge higher day rates and get the benefit of lower idle times between assignments. The table below depicts the industry’s way of classifying drill sites into different vintages, depending on their age and water depth.
The drilling operations are detailed and in depth. A simple way to understand what a drillship is to do in order to drill, a marine riser is lowered from the drillship to the seabed with a blowout preventer at the bottom that connects to the wellhead; the BOP is used to disconnect the riser from the wellhead in times of emergency or in any needed situation. Underneath the derrick is an opening through the hull covered by the rig floor; some of the modern drillships have larger derricks that allow dual activity operations, for example simultaneous drilling and casing handling. There are different types of offshore drilling units such as the oil platform, jackup rig, submersible drilling rig, semi-submersible platform and of course drillships. All drillships have what is called a ”moon pool”; the Moon pool is an opening on the base of the hull and depending on the mission the vessel is on, drilling equipment, small submersible crafts and divers may pass through the moon pool. Since the drillship is a vessel, it can relocate to any desired location.
But due to their mobility, drillships are not as stable compared to semi-submersible platforms. To maintain its position, drillships may utilize their anchors or use the ship’s computer-controlled system on board to run off their Dynamic positioning. One of the world’s renowned drillship is Japan’s ocean-going drilling vessel the Chikyū, a research vessel; the Chikyū has the remarkable ability to drill four miles down the seabed, which brings it at a depth of 23,000 feet below the seabed, bringing that to two to four times that of any other drillship. In 2011 the Transocean drillship the Dhirubhai Deepwater KG1 set the world water-depth record at 10,194 feet of water while working for Reliance - LWD and Directional drilling done by Sperry Drilling in India. Diamond Offshore Drilling Noble Corporation Seadrill Transocean Türkiye Petrolleri Anonim Ortaklığı Valaris plc International Ocean Discovery Program
The Garrick Bar is a pub in Belfast, Northern Ireland, situated at 29 Chichester Street in the city centre. It is one of the oldest pubs in Belfast, it serves a range of locally-sourced pub food. The Front Bar in the Garrick hosts traditional music sessions, while the Back Bar hosts the Belfast Music Club and resident and guest DJs, it is a traditional pub with a Victorian atmosphere, featuring dark wood ceilings and panelling, snug booths with buttoned leather benches, tiled floors, old brass oil lamps, a real coal fire in each room. The traditional top floor room features a quirky display of barometers and beautiful Venetian mirrors. In 2006, the bar was sold for £1.7 million to Bangor entrepreneur Bill Wolsley’s Beannchor leisure group. It was closed for six weeks for refurbishment, taking out all the gambling machines, TV's, jukeboxes to create a classic pub with music rooms
Skull Hill is an archaeological site hill located at Tampi Tampi Road, about 10 kilometres south of Semporna town. The hill is a part of volcano mouth of 2 kilometres in diameter, it is surrounded by numerous isolated hills and mountains with most representing the sites of extinct volcanoes ranging from Pliocene to Quaternary in age. Between 1994–95, joint archaeological research was undertaken by Centre for Archaeological Research of Malaysia and Sabah Museum team at the hill. Based on the findings from two seasons of excavations until the base of the undisturbed cultural deposits for about a period of five weeks at two volcanic outcrops near the hill summit, the subsequent layers contained undisturbed artefacts. A broad range of archaeological materials were recovered during the excavations which include large quantities of potsherds, chert and obsidian stone tools, polished stone adzes, a stone barkcloth beater as well as some shell and bone artefacts. Abundant of food remains discovered being the marine molluscs, fish bones and some terrestrial animal bones.
The site has been identified as the largest pottery making factory in Southeast Asia during the Neolithic period. The hill slopes are littered with numerous pottery shards with various patterns dating 3,000 BP. An ethno-archaeological study shows that such pottery making is still practised by the Bajau community in Semporna until this day; this pottery site has links between local traders from around the Andaman Sea. The hill provides evidence of prehistoric sea trade and one of the world's longest human movement dating back to 3,000 years
Finding Hope Now is a 2010 Gang/Crime film starring Stelio Savante, Michael Badalucco, Avan Jogia, Rolando Monge and Nick Rey Angelus. Stelio Savante Michael Badalucco as Roger Minassian Avan Jogia as Santos Delgado Nick Rey Angelus as Reynaldo Sanchez Raymond Castelan as Gabriel Deep Rai as Basketball player Heidi Harian as Mrs. Hurtado Christopher Maleki as Mr. Delgado Danny Mora as Rev. Sergio Martinez Tia Texada as Mrs. Villanueva Sean Michael Thomas as Guy pushed in fountain Mick Wingert as Young Roger Scott Seargeant as Pizza Pit Manager The film was shot in Fresno, principal photography wrapping in June 2009, it is based on Roger Minassian's 2003 book Gangs to Jobs. Official website Finding Hope Now on IMDb