Union County is a county in the U. S. state of Oregon. As of the 2010 census, the population was 25,748, its county seat is La Grande. Union County comprises OR Micropolitan Statistical Area, it is one of the eight counties of eastern Oregon. According to Oregon Geographic Names, the county is named for the town of Union. Union County was part of Wasco County; the northern end of the Grande Ronde Valley was the first part to be settled. During the 1860s, population growth in eastern Oregon prompted the State Legislature to split Umatilla and Baker Counties from Wasco County in 1862. Further settlement in the Grande Ronde Valley led to the division of Baker County to create Union County on October 14, 1864; the county doubled in population between 1880 and 1890. The choice of a county seat resulted in competition, based on geography and on economic and population growth, between La Grande and the city of Union; the county seat alternated between Union and La Grande until it permanently came to rest at La Grande in 1905.
Between 1875 and 1913, adjustments were made between Union County's borders and the borders of Baker and Wallowa counties. According to the U. S. Census Bureau, the county has a total area of 2,039 square miles, of which 2,037 square miles is land and 1.9 square miles is water. The Forest Service owns 47% of the land in the county. Umatilla County Wallowa County Baker County Grant County As of the census of 2000, there were 24,530 people, 9,740 households, 6,516 families living in the county; the population density was 12 people per square mile. There were 10,603 housing units at an average density of 5 per square mile; the racial makeup of the county was 94.29% White, 0.85% Native American, 0.85% Asian, 0.62% Pacific Islander, 0.51% Black/African American, 1.22% from other races, 1.67% from two or more races. Hispanics and Latinos of any race constitute 2.45% of the population. 20.2 % were of 15.5 % American, 12.2 % English and 10.5 % Irish ancestry. There were 9,740 households out of which 30.00% had children under the age of 18 living with them, 55.10% were married couples living together, 8.50% had a female householder with no husband present, 33.10% were non-families.
26.10% of all households were made up of individuals and 10.80% had someone living alone, 65 years of age or older. The average household size was 2.45 and the average family size was 2.94. In the county, the population was spread out with 24.60% under the age of 18, 12.10% from 18 to 24, 23.50% from 25 to 44, 25.00% from 45 to 64, 14.70% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 95.10 males. For every 100 females age 18 and over, there were 92.40 males. The median income for a household in the county was $33,738, the median income for a family was $40,520. Males had a median income of $33,028 versus $21,740 for females; the per capita income for the county was $16,907. About 8.50% of families and 13.80% of the population were below the poverty line, including 13.60% of those under age 18 and 9.50% of those age 65 or over. As of the 2010 United States Census, there were 25,748 people, 10,501 households, 6,804 families living in the county; the population density was 12.6 inhabitants per square mile.
There were 11,489 housing units at an average density of 5.6 per square mile. The racial makeup of the county was 93.1% white, 1.1% American Indian, 0.9% Pacific islander, 0.8% Asian, 0.5% black or African American, 1.3% from other races, 2.3% from two or more races. Those of Hispanic or Latino origin made up 3.9% of the population. In terms of ancestry, 25.2% were German, 17.8% were Irish, 17.3% were English, 6.9% were American. Of the 10,501 households, 28.2% had children under the age of 18 living with them, 51.3% were married couples living together, 9.5% had a female householder with no husband present, 35.2% were non-families, 27.6% of all households were made up of individuals. The average household size was 2.38 and the average family size was 2.89. The median age was 40.0 years. The median income for a household in the county was $42,162 and the median income for a family was $52,558. Males had a median income of $40,720 versus $30,373 for females; the per capita income for the county was $22,947.
About 10.5% of families and 16.1% of the population were below the poverty line, including 22.6% of those under age 18 and 10.2% of those age 65 or over. Like the rest of eastern Oregon, the majority of registered voters who are part of a political party in Union County belong to the Republican Party. In the 2016 presidential election, 65 percent of Union County voters voted for Republican Donald Trump, while 25 percent voted for Democrat Hillary Clinton and 10 percent of voters either voted for a Third Party candidate or wrote in a candidate; these numbers show a large shift away from the Democratic party towards third party candidates when compared to the 2012 presidential election, when 63.2% of Union Country voters voted for Mitt Romney, 32.9% voted for Barack Obama, 3.8% of voters either voted for a third party candidate or wrote in a candidate. Union County is located in Oregon State House District 58, represented by Greg Baretto, it is located in Oregon State Senate District 29, represented by Bill Hansell.
Both Barreto and Hansell are registered Republicans. Union County is governed by three commissioners; the Union County Board of Commissioners is made up of Paul Anderes, Matt Scarfo, Donna Beverage. The initial economic interest in Union County was mining, but most of the mines were in the area annexed by Baker County in 1901; the local economy continues to be based on natural
Madhumadhawa Aravinda, colloquially known as Madhu, is a Sri Lankan singer, actor and politician. He is a past president of the Sri Lankan Singers Association. Coming from a family of artists, Aravinda's father Sunil Siriwardana is a musician in Sri Lanka, his younger brother Dananjaya Siriwardana is a popular actor in television and cinema. He was married to popular actress Nilmini Tennakoon, they have one daughter Shvetha Mandakini, he met Nilmini during the teledrama Pini Bindu in 1992. They got married on May 5 in 1996, they divorced in early 2000s. In 2011, Aravinda married Muslim girl Renusha; the wedding was celebrated on 14 February 2011 Pegasas Reef Hotel, Wattala. They divorced in late 2015 due to racial differences. In March 2019, he married Niluka Boteju, Aravinda's third marriage, he served as a party councillor. He was elected to the Colombo Municipal Council and contested the Western Provincial Council election under the United People's Freedom Alliance ticket, but failed to secure a seat.
He is serving as one of chief organisers in the Colombo district. In July 2014 the CID recorded a statement from Aravinda and questioned him over the unrest occurred in Aluthgama and Beruwala on 15 June. In November 2019, Aravinda was filmed making a speech where he urged voters to support the SLPP candidate Gotabhaya Rajapaksa in the 2019 Sri Lankan presidential election if they wanted to stop Islamism from spreading. Aravinda commenced his singing career in 1990 along with Namal Udugama, he sang his first song in 1990 and the producer of that program was his father Sunil Siriwardena. Although he only recorded few handful of songs, when compared with his fellow musicians, songs such as Lamba Sawan and Sith Sith gain enormous popularity. Aravinda along with Suranga Lakmal Senevirathne produced the television show, Kium Kerum, based on expressions, proverbs, imagery in Sinhala, he performed in season one of Derana Star City. He participated in Sirasa Superstar generation 4 as a judge. Aravinda acted few films in his career.
He played supporting roles in Siri Aba. No. Denotes the position of the film in the list of Sri Lankan movies in chronological order. 2016.09.10 – Danna Kenek “දන්න කෙනෙක්” Interview with Madumadawa Aravinda මධුමාධව අරවින්ද පිළිතුරු දෙයි අරවින්ද යායක මධුමාධව මධුමාධව අරවින්ද කියන සුන්දර කතාව
The Pilgrimage of the Soul or The Pylgremage of the Sowle was a late medieval work in English, combining prose and lyric verse, translated from Guillaume de Deguileville's Old French Le Pèlerinage de l'Âme. It circulated in manuscript in fifteenth-century England, was among the works printed by William Caxton. One manuscript forms part of the Egerton Collection in the British Library. Nothing in the English work gives any indication of who the translator may have been, except for one rather cryptic indication in the verba translatoris at the end of two manuscript copies: And I the symple and vnsuffisaunt translatoure of this lytel book pr and beseke as lowely as I kan to the reder or herer of this processe to for geue it me þat I haue not translated worde for word as in was in the Frensche, somewhat be cause of ille writyng of myn exampler,somewhat be cause of hard Frensch -- specially sith I am but litel expert in þat langage -- somewhat be cause of somme thinges þat were diffuse and in som place ouerderk.
Wherfore, I haue in dyuers places added and with drawe litel as what me semed needful, no thing chaunging the progresse ne substaunce of the mater, but as it myght be most lusti to the reder or herer of the matier. I must excuse me to the reders or herer of the matier in som place, thei it be ouer fantastyk, nought grounded nor foundable in holy scripture, ne in douctoures wordes, for I myght not go from myn auctor. In myn addicions, specially inpletyng of mercy and in the sermon of Doctrine of nature of the soule, her at the ende in the matier of the Trinite, if I haue said owt othir than autentik, I beseche you all to amen de it, which þat haue kunnyng in þat matier more than haue I, for myn is symple and of litel value; this is the mark at the begynnyng of m yn addicion,'A K', this at the ende.'i z'.6. But whom these letters may refer to, is unknown. In addition to the lack of internal evidence in the Soul, there is no external evidence from any source to indicate the identity if the translator.
Two English poets have been put forward as possible translators of the French work, but neither of them convincingly. These are John Thomas Hoccleve, both of whom can be considered disciples of Chaucer. In the Verba Translatoris at the end of the Spencer manuscript, the translator addresses the "ful worshipeful and gracious ladishipe" who "commaunded to take this occupacioun". If the translator was Hoccleve, this literary patron could well have been Joan FitzAlan; the Middle English Pilgrimage of the Soul exists complete or in part in at least ten fifteenth-century manuscripts and one printed edition. London, The British Library, Egerton MS 615. Fols. 1r-106r contain The Pilgrimage of the Soul, including a table of contents on 1r-3v and the translator's epilogue on 106r. The hand of Egerton MS 615 and the style of its border decorations suggest a date somewhat than Spencer 19. From the same workshop; the language, according to the Linguistic Atlas of Late Mediaeval English shows characteristics associated with the border area between Norfolk and Ely, occasional forms associated with Rutland.
Produced at the end of the second quarter of the fifteenth century.5 London, British Library, Add MS 34193. Fols. 4r-97v contain The Pilgrimage of the Soul, without a scribal colophon. BL Add. 34193 is an anthology of English and Latin texts with historical, moral and devotional topics. It contains several charters, the Rule of Celestine, a treatise on the Westminster Synod of 1125, which suggests that the compilation was made by an ecclesiastical community; the language, according to LALME, shows characteristics of East Leicestershire. Oxford, Corpus Christi College, MS 237. Omits words of the translator; this copy of Soul is the least elaborate of all. The manuscript is an anthology of texts that are of a religious nature. Amongst other texts, it contains Lydgate's Dance Macabre, its language shows a mixture of dialectal forms. The scribe of Soul gives his initials as ‘EC’ on fol 137r, is the Edmund Carpenter whose ownership of the manuscript is indicated in a fifteenth- century hand as the first inscription on the front pastedown: ‘iste liber constat Edmondus Carpenter.’ Oxford, Bodleian Library, MS Bodley 770.
Folios 1r-99v contain a copy of Soul without the translator's scribal colophon. This manuscript's inconsistencies and idiosyncratic features indicate that it is a provincial product of the middle of the fifteenth century. According to LALME, the language of the manuscript shows the characteristics of the border area of Norfolk and Ely. Sir James Ley, the first Earl of Marlborough, donated this manuscript to the Bodleian Library in 1612. Oxford, University College, MS 181; this manuscript consists of 155 leaves. Fols. 1r-153v contain a copy of Soul without a scribal colophon. The language shows characteristics associated by LALME with Northamptonshire; the craftsmanship of the manuscript indicates that it is the work of professional artists working in the middle of the fifteenth century. A erased inscription shows that the book was given to Henry Percy, prior of the Augustinian priory of St. Paul in Newham, Bedfordshire by his predecessor John Renhall in 1491. Cambridge and Caius College, MS 124/61.
This manuscript consists of 130 vellum leaves. Omits 2 quires at the beginning, the words of the translator, a scribal colophon; this is one of the earliest known copies of Soul. LALME associates the characteristics of its language with Norfolk, with some features of Ely and Lincolnshire; the manusc
Reiter In is the thirteenth album by singer-songwriter and guitarist, Chris Whitley. It is his eleventh studio album and the last he made before his death in November 2005; the album was recorded as a band effort and is billed as "Chris Whitley & The Bastard Club". Kenny Siegal produced, co-wrote, played on the album, it was recorded all analog and live on a two-inch tape Sony MCI JH24 tape deck through a Trident board at Old Soul Studios in Catskill, New York. It was mixed by John Holbrook. All tracks written by Chris Whitley. "I Wanna Be Your Dog" – 4:08 "Bring It On Home" – 3:43 "Inn" – 4:06 "Mountain Side" – 5:15 "Cut the Cards" – 4:38 "I'm in Love with a German Film Star" – 4:28 "Are'Friends' Electric?" – 5:11 "Reiter In" – 5:16 "I Go Evil" – 4:30 "All Beauty Taken from You in This Life Remains Forever" – 7:04 "Come Home" – 3:19 Chris Whitley – lead vocals and guitars Heiko Schramm – bass guitar and backing vocals Brian Geltner – drums, acoustic guitar, backing vocals Tim Beattie – harmonica, lap steel, backing vocals Kenny Siegal – baritone guitar, electric guitar, acoustic guitar, backing vocals Sean Balin – violin Gwen Snyder – vocals and tambourine Susann Bürger – spoken word
Reverse painting on glass is an art form consisting of applying paint to a piece of glass and viewing the image by turning the glass over and looking through the glass at the image. Another term used to refer to the art of cold painting and gilding on the back of glass is verre églomisé, named after the French decorator Jean-Baptiste Glomy, who framed prints using glass, reverse-painted. In German it is known as Hinterglasmalerei; this art form has been around for many years. It was used for sacral paintings since the Middle Ages; the most famous was the art of icons in the Byzantine Empire. The painting on glass spread to Italy, where in Venice it influenced its Renaissance art. Since the middle of the 18th century, painting on glass became favored by the Church and the nobility throughout Central Europe. A number of clock faces were created using this technique in the early-to-mid-19th century. Throughout the 19th century painting on glass was popular as folk art in Austria, Moravia and Slovakia.
During the inter-war period this traditional "naive" technique fell nearly to a complete oblivion and its methods of paint composition and structural layout had to be re-invented by combining acrylic and oil paints. A new method of reverse painting emerged using polymer glazing methods that permitted the artworks to be painted direct to an acrylic UV coating on the glass; the unique under glass effect retains a curious depth though the layered painting on the glass was bonded to a final linen support and now stretcher bar mounted after being removed from the original'glass easel'. Current glass painting may disappear with the advent of using aerospace mylar as a preliminary support; this style of painting is found in traditional Romanian icons originating from Transylvania. Jesuit missionaries brought it to China, it spread to Japan from China during the Edo period. Japanese artists took up the technique during the nineteenth century. Reverse glass painting was popular in India and Senegal in the nineteenth century.
Two American artists, Marsden Hartley and Rebecca Salsbury James, made artworks using reverse glass painting. Both were inspired by American folk art that included painting on glass, for instance, tinsel painting. Hartley's work in this medium began in 1917, he painted about a dozen still lifes of curvilinear vessels with flowers using this method, but after his initial enthusiasm, he gave up reverse glass painting in less than a year. James began reverse painting in 1928. Over the next three decades, she created some 200 floral still lifes, desert landscapes, non-objective portraits in this medium
James S. Gale was a Canadian Presbyterian missionary and Bible translator in Korea. Gale was born on February 19, 1863 in Alma, Canada, his father John Gale was a Scottish immigrant who moved to Canada in 1832. His Pennsylvania Dutch mother Miami Bradt was from Ontario. Together they had six children. In 1882 Gale entered St. Catharine's Collegiate Institute, St. Catharines, Ontario. From 1884 to 1888 Gale studied arts at the University of Toronto, including the summer of 1886 at the Collège de France, Paris on a language course. During his first year of study he heard Dwight L. Moody preach and was impressed. Gale graduated with a B. A. from the University College of the University of Toronto in 1898. After graduation, on April 12, 1888, he was appointed a missionary of Toronto University's YMCA and was sent to Korea. On November 13, 1888, he set sail from Vancouver, arriving in Pusan on 12 December, from where he took a coastal vessel to Jemulpo, present-day Incheon. In 1889 he visited Haeju, in Hwanghae province and from there moved to Sollae village, in Jangyeon District, Hwanghae from March to June.
This village was home to Seo Sang-ryun, one of the first Korean Protestants and his brother, baptized by Horace Grant Underwood. From August 1889 to May 1890 he lived in Pusan. In 1890 he taught English at the "Christian School". In February 1891 he and Samuel A. Moffet visited John Ross in Mukden and returned to Seoul in June. In August 1891, terminating the relationship with the Toronto University YMCA, he moved to the American Presbyterian Mission Board, North. From 1892-1897 the Gales lived in Wonsan while Gale served as member of the "Board of Official Translators" of the Korean Bible, he worked with Henry G. Appenzeller, Horace G. Underwood, William B. Scranton, William D. Reynolds. In 1897 he returned to Canada and the US, on May 13 was ordained as a Presbyterian minister at New Albany Presbytery, Indiana. In 1900 he became the first minister of Yondong Presbyterian Church in Seoul; as an educationalist, he founded the Jesus Church Middle School, present Kongsin Middle and High School, as well as Yondong Girls’ School, presently Chongsin Girls’ School, in Seoul.
He was a professor of Pyongyang Theological Seminary. In 1904 he organized the Association of Korean Education with the members of the Yondong Church. In 1917 he founded the Korean Music Society. In May 1927 he resigned as pastor of Yondong Church, leaving Korea on June 22, a year before official retirement. Gale died January 1937 at the age of 74 in Bath, England, he is buried in Bath. He married twice. On April 7, 1892, he married to Harriet E. Gibson Heron, the widow of John W. Heron, M. D. of the American Presbyterian Mission, who had died in Korea on June 26, 1890. Harriet Gale died on March 29, 1908, aged 48. On April 7, 1910, he was remarried to Ada Louisa Sale, her father, George Sale, was a businessman in Japan. Gale was talented in so many ways, his influence was great, although he was frustrated by the rivalries and personality clashes that too characterized the missionary community in Korea, his linguistic skills were essential in the work of Bible translation, while his literary and poetic sensitivity gave his writing an added charm.
He was unable to publish a considerable portion of what he wrote or translated and much remains to be published in his papers in the University of Toronto. Gale commenced work as part of Henry G. Appenzeller's Bible translation team in 1892 and worked on part of Gospel of Matthew and Ephesians the Book of Acts and Gospel of John Gale's work has considerable influence on all following Korean versions. In 1890 Gale worked with Horace G. Underwood on A Concise Dictionary of the Korean Language, a small booklet, his own Korean-English Dictionary appeared in 1897. A Korean-English Dictionary followed in 1914. In 1893 he was the translator of the first work of Western literature to be printed in the Korean hangul script, Pilgrim's Progress by John Bunyan. Gale translated some pages of ancient Korean history from the Dongguk Tonggam publishing them in the monthly magazine Korean Repository between 1893–1896, he translated a number of sijo poems, publishing them in the same magazine In 1897 Gale published the book Korean Sketches, a collection of amusing essays about daily life in Korea, some published in the Repository.
In 1899 Gale became correspondent for "North China Daily News" of China. He was editor "Kurisdo Sinmun" 1905 and "Yesukyo Sinbo" 1907. In 1900 the first Mrs. Gale, suffering from tuberculosis, went to Switzerland with her daughters, where they remained for six years. In 1900 Gale founded Yeondong Church in Seoul. In the same year, he was one of the founding members of the Royal Asiatic Society Korea Branch, of which he became Corresponding Secretary, on October 24 he presented the first paper, on "The Influence of China upon Korea." In 1915, he served as the Society's President. In 1903 Gale travelled via the Trans-Siberian Railway to Switzerland. At this time he published his only work of fiction, the novel The Vanguard. 1909, a year before Korea was annexed by Japan, Gale published Korea in Transition which focusses on