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Uniform title

A uniform title in library cataloging is a title assigned to a work which either has no title or has appeared under more than one title. It is part of authority control; the phrases conventional title and standard title are sometimes used. There are many instances. Anonymous works such as sacred texts and folk tales may lack an obvious title: for instance, the Bible, Epic of Gilgamesh, Beowulf or the Chanson de Roland. Works of art and music may contain no text. A uniform title allows all of the works to fall under one title and will reference all of the items to which the uniform title applies. For example, if a library has 10 copies of Crime and Punishment, each in a different language, an online library catalogue can display all of the copies of the book together under the chosen uniform title; the library could list any copies of Crime and Punishment in other media, such as film adaptations or abridged editions, under the same uniform title. This can help a library patron when searching the online catalog find all of the versions of Crime and Punishment at once instead of searching for each foreign title or film individually.

Uniform titles are useful when cataloguing music, where pieces of music are known by multiple valid titles and those titles are known in multiple languages, or when an individual work has been adapted as a contrafactum. The Library of Congress provides an example of how books of the New Testament are referred to in the Anglo-American Cataloging Rules: - Bible. N. T. Acts - Bible. N. T. Colossians - Bible. N. T. Corinthians, 1st - Bible. N. T. Corinthians, 2nd - Bible. N. T. Ephesians... Example:edition being cataloged: Othello / William Shakespeareestablished uniform title: Shakespeare, William... Othellono uniform title assigned to the edition being catalogedExample:edition being cataloged: The tempest / William Shakespeareestablished uniform title: Shakespeare, William... TempestThe complementary situation occurs with a single work that exists with more than one title when translated into another language, excerpted or collected with other works. In this case, the name of the language or a phrase such as'Selections' is added to distinguish works with the same uniform title.

The MARC 21 standard uses fields 243, 630, 730 and 830 for uniform titles. Reitz, Joan M. ODLIS: Online Dictionary for Library and Information Science. U

Cour des miracles

Cour des miracles was a French term which referred to slum districts of Paris, France where the unemployed migrants from rural areas resided. They held "the usual refuge of all those wretches who came to conceal in this corner of Paris, dirty and tortuous, their pretended infirmities and their criminal pollution." The areas grew during the reign of Louis XIV and in Paris were found around the Filles-Dieu convent, Rue du Temple, the Court of Jussienne, Reuilly Street, Rue St. Jean and Tournelles Beausire, Rue de l'Echelle and between the Rue du Caire and Rue Reaumur; the latter served as inspiration for The Hunchback of Notre-Dame. In pre-modern Paris a large portion of the population relied on begging for its survival. Since those with a clear handicap could expect more alms, a number of beggars faked terrible injuries and diseases. By the time they came back to their homes in the slum, they dropped their characters. A beggar who had pretended to be blind or crippled the whole day could see or walk again once back in the slum.

This phenomenon gave the generic name to these areas where so many "miracles" occurred every day: courts of miracles. The people of the Court of Miracles were thought to have organized a counter-society devoted to crime and thievery with its own hierarchy and institutions. However, this is a common theme at the time and is to have been little else than a literary fantasy. For instance, the archissupots were meant to be former students in charge of teaching the local slang to the new recruits; the relationship between outlaws and the student world in the 17th century – a time of crisis – has however been observed. The 17th century historian Henri Sauval claimed that the area was "a great cul-de-sac, stinking, muddy and unpaved." He argued that the area had its own language and a subculture of crime and promiscuity: "everyone lived in great licentiousness. As crime and destitution worsened, Parisian authorities sought to reduce these areas. Gabriel Nicolas de la Reynie was tasked in 1667 with utilising the fledgling Prefecture of Police to curb the growth of crime in the areas.

By 1750, a new tactic of improving health and social care became prominent over law enforcement, as great areas of the slums were demolished they were taken over by fishmongers and blacksmiths. The last vestiges of the old cour des miracles were eliminated with the redevelopment of the Filles-Dieu site during the French Revolution and the Haussmannisation of the area in the 19th century." Cour des miracles is one of the most important contemporary Greek theater plays written by Iakovos Kambanellis and performed for first time in Athens during 1957-1958. The play projects the life stories and relationships of a group of neighbors in the working-class neighborhood of Vyronas in Athens that are facing displacement from their humble housing units surrounding a courtyard due to a new building project that the landlord initiated. Jones, Colin. Paris: The Biography of a City. Penguin Group. ISBN 978-0-14-303671-5

The Age of Decadence

The Age of Decadence is a turn-based role-playing video game for Microsoft Windows developed by Iron Tower Studio, led by the pseudonymous "Vince D. Weller". Set in a low-magic, post-apocalyptic world inspired by the fall of the Roman Empire, the game aims to return to the'golden era' of role-playing games by emphasizing choices and consequences and providing a comprehensive skill set, multiple solutions to quests, extensive dialogue trees; the player can choose from eight backgrounds and professions for their character at the start of the game. These range from the honor-bound knight to the crafty grifter; the player can choose to start with no background at all. Different backgrounds result in different gameplay styles. A background determines a character's initial relationship to various factions. A thief, for example, starts as a member of the Thieves Guild and gets reputation bonuses with other thieves but reputation penalties with enemies. Backgrounds are not classes, they do not guide a character's future attributes or skills.

The Age of Decadence uses a skill-based system, not a class-based system. Characters do not gain levels; the Age of Decadence supports some customization. Players may choose their gender; the choice of gender affects gameplay. Some quests are only available to males or females, character can receive bonuses to some skills depending on their gender Characters have several primary stats: strength, constitution, perception and charisma. Stats range from 4 to 10 and characters who achieve 10 can gain bonus traits; the Age of Decadence features 23 distinct skills. These range from those pertaining to combat to those that meet miscellaneous needs; the Age of Decadence is purported to have a detailed alchemy system. These skills can be used to forge new ones, poison weapons, create acid, etc.. Combat in The Age of Decadence is turn-based and focuses on tactical options; the options available depend on the attributes and equipment of the character. For instance, hammers allow a character to knock down enemies, axes can split shields, swords can disarm opponents, daggers ignore armor, so on.

Characters can aim for specific body parts. The game does not have party-based combat—the main character does not have any "followers." However, in some situations a character will receive aid from guards, from members of his own faction, etc. These non-player characters are controlled by scripts, not the player; the best fighters are only capable of taking on a few people at the same time. Healing potions cannot be used to recover hitpoints during combat; the Age of Decadence features extensive dialog trees. Certain dialog options require skill checks; these skill checks are against set numbers. There is no rolling. There will be more than 100 quests in The Age of Decadence and they will have multiple solutions, including options for pacifism and diplomacy; each quest can be handled in a variety of ways, depending on the character's skills and connections to different factions. Furthermore, different quest solutions have different consequences. There are no plot-critical NPCs. There is always more than one way to acquire plot-critical information.

The player is not restricted from killing certain'special' NPCs. The story of The Age of Decadence explores several themes: the dangers of a post-apocalyptic world, the thin line between historical fact and fiction, the competition among political factions. According to the Imperial Scrolls, the wicked kingdom of Qantaar and the Empire were locked in a bloody magical war that devastated much of the known world; each side called upon powers both arcane and divine, summoning gods and other beings of immense power, whose contest destroyed both sides. Cities of the once glorious Empire lay in ruin, bodies of the dead were strewn across the land. Centuries the world still suffers from the shadow of civilization's collapse. Where there once was unity, there are now factions struggling for dominance in the ruined world. Where there was once knowledge, there is ignorance of both magic. Where there was once chivalry and honor, there is only betrayal, and it is in this uneasy divided land of myth and fable that the player discovers an ancient map offering a hint to the Empire's true past.

The player's character has an active role in shaping the plot of The Age of Decadence, nonlinear. The world reacts dynamically to the player's actions. Players can choose from among seven factions, play them off against each other, or reject them all; the game is purported to have seven endings. The Iron Tower Studio team started work on the game in March 2004; the team developed the game for Microsoft Windows using the Torque video game engine. A Linux port is unlikely due to team's concerns about inability to properly support the release on this platform. Software releases began with a combat demo in December 2009. Two releases of the combat demo fixed bugs and addressed issues like game balance. In March 2012, Iron Tower Studios released a public beta of the game, feature-complete except for Alchemy but only had one town. In January 2013, Valve announced that The Age of Decadence had been selected for advancement through the Steam Gre

State Street (Boston)

State Street in Boston, Massachusetts, is one of the oldest streets in the city. Located in the financial district, it is the site of some historic landmarks, such as Long Wharf, the Old State House and the Boston Custom House. In 1630 the first Puritan settlers, led by John Winthrop, built their earliest houses along what is today "State Street." The Puritans originally built the meeting house for the First Church in Boston on the street across from the marketplace, located where the Old State House stands today. By 1636 the thoroughfare was known as Market Street. From 1708 to 1784 it was renamed King Street. In 1770 the Boston Massacre took place in front of the Customs House. During the Revolutionary War, it assumed its non-royalist name. In the 19th century State Street became known as Boston's primary location for banks and other financial institutions; the Blue Line of the MBTA subway runs below State Street. Two stations have entrances on State Street: Aquarium, State; the Faneuil Hall Marketplace can be found nearby.

The east end of State Street is at Long Wharf, where ferries are available to several places, including the airport. "State Street". Ballou's Pictorial. Boston, Mass. 8. 1855. State Street: a brief account of a Boston way. Boston: State Street Trust Company, 1906

Chris Jack

Christopher Raymond Jack is a former New Zealand rugby union player who played as a lock. He played for Canterbury and the Tasman Mako in the National Provincial Championship and its successor, the Air New Zealand Cup, his test debut for the All Blacks was against Argentina on 23 June 2001 in Christchurch. With his size and athleticism, he established himself as a regular in the All Blacks side, it was announced on 7 June 2006 that Jack had signed a two-year contract with the newly formed Tasman Rugby Union. He spent two years with the English Premiership side Saracens joining after the 2007 Rugby World Cup, joining another New Zealand player, Glen Jackson. In April 2009 he re-signed with the New Zealand Rugby Union until 2011, he played with South African side Western Province and made a return to Super 14 side Crusaders for the 2010 season. Retiring in 2015, Jack has taken up a builders apprenticeship. Based in Nelson, Jack has taken up the position as the Nelson Child Cancer Foundation ambassador.

His father is involved in the building industry. In 2002, Jack was named the New Zealand rugby player of the year. Scored a try 11 minutes after coming on as a replacement against Argentina on his international debut in 2001. Scored a try in New Zealand’s opening match of the RWC 2007 against Italy. Played in six RWC matches, five in 2003 and one in 2007. Chris Jack at AllBlacks.com

1952 World Professional Match-play Championship

The 1952 World Professional Match-play Championship was a snooker tournament held at the Tower Circus in Blackpool, England. The event was created following a dispute between the Professional Billiards Players' Association and the Billiards Association and Control Council; the BACC thought the championship is about honour, financial consideration should come at second place. The PBPA established an alternative'world championship' called the PBPA Snooker Championship. Fred Davis won his fourth World title by defeating Walter Donaldson 38–35 in the final. Davis compiled the highest break of tournament with 140. Ten players entered the event; the two finalists in the 1951 World Snooker Championship, Fred Davis and Walter Donaldson were given byes to the semi-final stage in opposite halves of the draw. The remaining eight played two rounds to determine the other two semi-finalists. Sources