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In phonetics and phonology, a semivowel or glide is a sound, phonetically similar to a vowel sound but functions as the syllable boundary, rather than as the nucleus of a syllable. Examples of semivowels in English are the consonants w, in yes and west, respectively. Written in IPA, y and w are near to the vowels ee and oo in seen and moon, written in IPA; the term glide may alternatively refer to any type of transitional sound, not a semivowel. Semivowels form a subclass of approximants. Although "semivowel" and "approximant" are sometimes treated as synonymous, most authors use the term "approximant" for a more restricted set. For example, Ladefoged & Maddieson do not consider the labiodental approximant to be a semivowel while Martínez Celdrán proposes that it should be considered one. In the International Phonetic Alphabet, the diacritic attached to non-syllabic vowel letters is an inverted breve placed below the symbol representing the vowel: U+032F ̯ COMBINING INVERTED BREVE BELOW; when there is no room for the tack under a symbol, it may be written above, using U+0311 ̑ COMBINING INVERTED BREVE.

Before 1989, non-syllabicity was represented by U+0306 ̆ COMBINING BREVE, which now stands for extra-shortness. Additionally, there are dedicated symbols for four semivowels that correspond to the four close cardinal vowel sounds: The pharyngeal approximant is equivalent to the semivowel articulation of the open back unrounded vowel. In addition, some authors consider the rhotic approximants, to be semivowels corresponding to R-colored vowels such as; as mentioned above, the labiodental approximant is considered a semivowel in some treatments. An unrounded central semivowel, equivalent to, is uncommon, though rounded, equivalent to, is found in Swedish and Norwegian. Semivowels, by definition, contrast with vowels by being non-syllabic. In addition, they are shorter than vowels. In languages as diverse as Amharic and Zuni, semivowels are produced with a narrower constriction in the vocal tract than their corresponding vowels. Semivowels may be phonemically equivalent with vowels. For example, the English word fly can be considered either as an open syllable ending in a diphthong or as a closed syllable ending in a consonant.

It is unusual for a language to contrast a semivowel and a diphthong containing an equivalent vowel, but Romanian contrasts the diphthong /e̯a/ with /ja/, a perceptually similar approximant-vowel sequence. The diphthong is analyzed as a single segment, the approximant-vowel sequence is analyzed as two separate segments. In addition to phonological justifications for the distinction, there are phonetic differences between the pair: /ja/ has a greater duration than /e̯a/ The transition between the two elements is longer and faster for /ja/ than /e̯a/ with the former having a higher F2 onset. Although a phonological parallel exists between /o̯a/ and /wa/, the production and perception of phonetic contrasts between the two is much weaker because of lower lexical load for /wa/, limited to loanwords from French, a difficulty in maintaining contrasts between two back rounded semivowels in comparison to front ones. According to the standard definitions, semivowels contrast with fricatives in that fricatives produce turbulence, but semivowels do not.

In discussing Spanish, Martínez Celdrán suggests setting up a third category of "spirant approximant", contrasting both with semivowel approximants and with fricatives. Though the spirant approximant is more constricted and unspecified for rounding, the distributional overlap is limited; the spirant approximant can only appear in the syllable onset. The two overlap in distribution after /l/ and /n/: enyesar aniego and although there is dialectal and ideolectal variation, speakers may exhibit other near-minimal pairs like abyecto vs abierto. One potential minimal pair is ya visto vs y ha visto. Again, it is not present in all dialects. Other dialects differ in either merging the two or in enhancing the contrast by moving the former to another place of articulation. Diphthong Hiatus List of phonetics topics Mater lectionis Syllabic consonant Voiced labio-velar approximant

John Elliott (artist)

John Elliott was an artist and muralist. Born in Lincolnshire, England, he studied in Paris at the Académie Julian under Carolus-Duran. In 1878, he went to Rome to study with José Villegas Cordero and there met his future wife, Maud Howe, Pulitzer-prize-winning American writer and the daughter of Julia Ward Howe, the author of "The Battle Hymn of the Republic." Elliott is known for his epic Symbolist murals including working alongside his friend and colleague John Singer Sargent to provide murals for the Boston Public library. As well as creating a mural in the National Museum; the Making of the First Musical C. 1900 Oil on Canvas. Large Mural of Pan reclining by a stream...previously in the Private Collection of Maud Howe Elliott.. In the Private Collection of Joe Nouveau a series red-chalk drawings making up a memorial collection of the Lafayette Escadrille and other Americans who died in the First World War in the National Museum of American Art, Washington. Triumph of Time,c. 1901, a two-panel mural on the ceiling of the Elliott room of the McKim Building of the Boston Public Library.

The mural shows 12 female figures representing the Hours spread among twenty horses representing Christian Centuries. The horses are pulling a chariot carrying a male figure representing Time. Julia Ward Howe, 1901, red chalk drawing on gray wove paper. Given to the Metropolitan Museum of Art in 1904. Diana of the Tides, 1908, a mural in the National Museum, now the Smithsonian National Museum of Natural History. In the paleontology hall, but not visible due to a wall. Julia Ward Howe, a portrait in oil on canvas, finished c. 1925 by William Henry Cotton after Elliott's death. On display at the National Portrait Gallery, Smithsonian Institution. Chevalier, a portrait in oil on canvas Samuel Gridley Howe as Surgeon General in the Greek War for Independence, wearing the costume of a Greek soldier, it hangs in the John Hay Library at Brown University. Terrace Garden, Rome, an oil painting on canvas depicting the artist's terrace at his apartment in Rome, it was painted at the request of Larz Anderson, who met his wife Isabel Weld Perkins for the first time at this location.

John Elliott: The Painter of "Diana of the Tides" John Elliott at Find a Grave Elliott, Maud Howe. John Elliott: The Story of an Artist. Boston: Houghton Mifflin Company. ISBN 1199494879

Don Kessinger

Donald Eulon Kessinger is an American former professional baseball player and manager. He played in Major League Baseball as a shortstop from 1964 to 1979 for the Chicago Cubs, St. Louis Cardinals and the Chicago White Sox. A six-time All-Star, he was a light-hitting, defensive specialist who spent the majority of his career as the Chicago Cubs starting shortstop. In the late 1960s and early 1970s, he was considered one of the best shortstops in baseball. Kessinger is notable for being the last player-manager in American League history. A four sport All-State and All-America athlete for the Forrest City High School Mustangs, Kessinger graduated high school in 1960 and went on to the University of Mississippi. During his collegiate years, he earned All-Conference, All-SEC, All-America honors in both basketball and baseball for the Rebels, was initiated into the Sigma Nu fraternity. Kessinger played for the Peoria Pacers, of the Central Illinois Collegiate League in its founding year, 1963, he was signed by the Chicago Cubs as an amateur free agent on June 19, 1964.

Kessinger was assigned to play for the Double-A Fort Worth Cats before making his major league debut on September 7, 1964. He returned to the minor leagues with the neophyte Dallas-Fort Worth Spurs for the 1965 season, but was brought back by the Cubs in June of that year and became their starting shortstop; the 1965 season would mark the first of nine consecutive seasons in which Kessinger would work alongside Cubs' second baseman Glenn Beckert. He ended the season hitting for a.201 batting average and led the National League shortstops in errors but, showed some promise by leading the league in range factor. As the 1966 season got underway, Kessinger continued to struggle with his hitting when, new Cubs manager Leo Durocher encouraged him to become a switch hitter. With the help of coach Pete Reiser, his hitting began to improve, posting for a.304 batting average during the second half of the season. Durocher made Kessinger his lead off hitter, a spot, he ended the year with a career-high.274 batting average and led the league's shortstops with 474 assists.

Kessinger continued to improve his fielding and in 1968, he was recognized as one of the top shortstops in the league when he was voted to be the starting shortstop for the National League in the 1968 All-Star Game. At the end of the season, he ranked first among the league's shortstops in range factor and, led the entire league in assists. While he led the league in errors, he attributed this to the fact that he reached more ground balls than the average shortstop. Kessinger repeated as an All-Star in 1969, in a year which saw the entire Chicago Cubs infield join him on the 1969 All-Star team, with Kessinger and Cubs' third baseman Ron Santo in the starting line-up. In 1969, he set a major league single-season record for shortstops by playing in 54 games without committing an error, breaking the record set by Chico Carrasquel in 1951; the Cubs were in first place in the National League Eastern Division for 180 days of the 1969 season, before going 8-17 in their final 25 games, while the New York "Miracle" Mets went 37-11 in their final 48 games to clinch the Eastern Division pennant.

Despite the Cubs' late-season collapse, Kessinger scored 109 runs, hit for a.273 batting average with a career-high 181 hits, including 38 doubles. He led the league's shortstops in putouts, finished second in fielding percentage and once again led the entire National League in assists, he finished in 15th place in balloting for the 1969 National League Most Valuable Player Award and won his first Gold Glove Award. In his book, The Bill James Historical Baseball Abstract, baseball historian Bill James cited manager Durocher's method of using his regular players everyday without any rest days as a factor in the Cubs' collapse. On September 9, 1969, Kessinger was in the batters box at Shea Stadium when a black cat emerged from under the stands. After staring at Kessinger and Santo, it headed toward the Cubs' bench, where Durocher received a raised tail and hiss. During a July 4 interview in 1969 with St. Louis Cardinals sportscaster Harry Caray, Cubs pitcher, Ferguson Jenkins, gave a name to Kessinger's trademark play at shortstop—The Down Pat.

Children from throughout WGN's viewing audience copied it on playgrounds and in Little League games, his fellow players stood in awe. Carey noted that Kessinger would go to his right, toward left field, spear the ground ball and demonstrating a unique agility, reverse while in the air as he whipped the ball toward first base. "Do you think it might be because Don was a great basketball player?" asked Caray. Without hesitation, Jenkins responded, "In the past five games he's made many great plays to his right. Don has this play down pat."Kessinger had another good season in 1970, producing a.266 batting average while scoring 100 runs. He led the entire league in assists for the third consecutive year and claimed his second Gold Glove Award. On June 17, 1971 he went 6-for-6, he continued to be one of the cornerstones of the Cubs' infield, earning three more All-Star berths in 1971, 1972 and 1974. In October 1975, after 11 seasons with the Cubs, Kessinger was traded to the St. Louis Cardinals—for pitcher Mike Garman and infielder Bobby Hrapmann.

He was the last remaining Cub from the 1969 season when they won the pennant. The 33-year-old Kessinger still played well in St. Louis, ending the season with a.320 on-base percentage and was second in the league in range factor. In August 1977, he was traded to the Chicago White Sox—for pitcher Steve

Andrey Shibko

Andrey Shibko is a Russian pianist. Shibko was born on 8 March 1975 in Minsk, he received his first musical instruction at the Music School for Children in his home city, went on to study under Professor E. Poukst at the Byelorussian College of Music. In 1992 he became a student of the renowned teacher Valery Kastelsky at the Moscow State Conservatory named after P. I. Tchaikovsky. Under his guidance Andrey Shibko took post-graduate course there, his first international success came in April 1995 when he was awarded First Prize at The 19th D’Angelo International Artist Competition in Erie. "He gave a stunning performance of Liszt Piano Concerto in Es…If a competition can discover one unique talent, it is an overwhelming success", said Sam Rotman, executive director of this competition. Mr. Shibko has unique ability to communicate power and delicacy with unusual control In 1996 Shibko gave a recital in the framework of “The Great Performers Series” together with Andre Watts, Janos Starker, Kathleen Battle, the Juilliard String Quartet, as well as a performance with D’Angelo Symphony Orchestra at the D’Angelo Art Performing Center.

He is a laureate of the International Piano Competitions in Europe: Porto, Géza Anda, World Competition in London. His concert activity is extensive – he has played in the US, Korea, Germany, Poland, Spain, Switzerland and England. Many famous orchestras invited him as a soloist: Zürich, London Philharmonic Orchestra, Porto National, D’Angelo, Osaka and others, he participated in festivals: Carintischer Sommer, Viersener Klaviersommer, Maratea Musica, played in Santory Hall, Queen Elizabeth Hall, Royal Festival Hall, Tonhalle. Shibko has records on radio and television, he plays in chamber music concerts as well as performances with singers. He travels a lot as a soloist and with masterclasses in Russia and Asia. In 1993 he gave first performance of Sonata in F sharp minor of Igor Stravinsky in Russia. Since 1999 he has been teacher at piano faculty of the Moscow State Conservatory. Since 2012 he has been associate professor. Official website International Piano Conservatory Moscow Conservatory

Lake Cathie, New South Wales

Lake Cathie is a town in New South Wales, Australia about 15 minutes drive south of Port Macquarie. At the 2016 census, it had a population of 3,494; the town is a popular holiday destination on the Mid North Coast because of its tranquil location which hosts the lake and beaches. It has a Woolworths supermarket, local Tavern, Lake Cathie Bowling Club, fish & chip shop, coffee shop, post office, a newsagent and a bargain shop, its main feature is a tidal lake fed by the ocean daily. Several times throughout the year the lake is closed over by shifting sands and becomes dark in colour due to the tannins in the local flora. Tourism centres on the lake as it is a popular swimming and fishing spot all year round when the lake is open. According to the 2016 census of Population, there were 3,494 people in Lake Cathie. Aboriginal and Torres Strait Islander people made up 3.6% of the population. 86.8% of people were born in Australia. The next most common country of birth was England at 4.0%. 94.1% of people spoke only English at home.

The most common responses for religion were Anglican 28.1%, No Religion 25.2% and Catholic 24.9%. Trent Milton, Paralympic snowboarder List of World's Largest Roadside Attractions - Lake Cathie Fishing Club - Lake Innes and Lake Cathie, Estuaries of NSW


Jašiūnai is a town in Lithuania. It is situated on an edge of the Rūdninkai Forest. According to the 2001 census, it had population of 1,879; the town's population is Polish, with Lithuanian and Russian minorities. The town was first mentioned in written sources in 1402. From the 15th to 18th century, the town belonged to the Radziwiłł family. In 1811 it was bought by father of historian Michał Baliński, his wife from the Śniadecki family initiated construction of the neoclassical Jašiūnai Manor, designed by architect Karol Podczaszyński. The construction was undertaken between 1824 and 1828; the manor became a cultural center: it was a residence of Jan Śniadecki and Juliusz Słowacki visited by Adam Mickiewicz, Tomasz Zan, Stanisław Bonifacy Jundziłł, Józef Mianowski. This generation of Polish Romantics studied and idealized the history and culture of the former Grand Duchy of Lithuania; these studies had great influence on the worldview of the szlachta of the Vilnius Region: they would identify themselves as Poles while remaining loyal to the Grand Duchy.

Alongside cultural life, the manor owners encouraged small industry: a ceramics workshop, a factory of resin and turpentine, paper factory. After the Uprising of 1863 and Baliński's death, Jašiūnai lost its position as a cultural center; the valuable library collection was lost during the wars. As part of the Wilno Voivodeship, Jašiūnai belonged to the Second Polish Republic during the interwar period. During World War II, Jews were locked there. In September 25, 1941, the Jews of Jašiūnai were shot, together with those from other villages by the Vilnius Special Squad. According to the Jäger Report, 575 Jews were murdered that day: 229 women and 131 children. Three Roma people were buried together with the Jews; the first church, named after St. Anna, was built in 1515; when the Radziwiłłs converted to Protestantism, the church was transformed from a Catholic to a Protestant church. The church was destroyed during the Great Northern War with Sweden. For a long time the town had only a chapel; the current church was built in 1929.

It is half-wooden church with a single rectangular tower. Its central nave is separated from the aisles by wooden pillars; the wooden ceiling attempts to imitate vaults. The main altar is decorated with a copy of Our Lady of the Gate of Dawn. There was a synagogue in Jašiūnai containing 800 books in the Jewish language. In 2001 the town received its coats of arms, designed by Arvydas Každailis; the coat of arms depict a silver column in a red shield with two golden stars on each side. The column represents the manor, it carries symbolical meaning of strength and power. The two stars are dedicated to the two families prominent in town's history – Balińskis and Śniadeckis