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1807 in architecture

The year 1807 in architecture involved some significant events. John Smith is appointed official city architect of Aberdeen in Scotland. St Mark's Basilica in Venice is consecrated as a cathedral; the church of San Pietro di Cremeno, Italy, is built. The Templo de la Virgen del Carmen church in Celaya, Mexico, designed by Francisco Eduardo Tresguerras, is completed. Saint Petersburg Manege, designed by Giacomo Quarenghi, is completed. "Old Academy" building for Perth Academy, designed by Robert Reid, is completed. Chester City Club in England, designed by Thomas Harrison, is built as the Commercial Coffee Room. Huguang Guild Hall in Beijing, is built. Royal Crescent, England is completed. In Lincoln County, the Nichols-Sortwell House and Castle Tucker, examples of federal architecture, are built at Wiscasset's seaport on the Sheepscot River. Grand Prix de Rome, architecture: Jean-Nicolas Huyot. April 28 – Alan Stevenson, Scottish lighthouse engineer September 26 – John Hayward, English architect February 22 – John Carr, English architect

Alan Stivell

Alan Stivell is a Breton and Celtic musician and singer, recording artist, master of the Celtic harp. From the early 1970s, he revived global interest in the Celtic harp and Celtic music as part of world music; as a bagpiper and bombard player, he modernized traditional Breton music and singing in the Breton language. He was the precursor of Celtic rock, he is a staunch defender of the Breton culture. Alan Stivell was born in the Auvergnat town of Riom, his father, Georges Cochevelou, was a civil servant in the French Ministry of Finance who achieved his dream of recreating a Celtic or Breton harp in the small town of Gourin and his mother Fanny-Julienne Dobroushkess was of Lithuanian-Jewish descent. In 1953, Alan began playing the instrument at the age of nine under the tutelage of his father and Denise Megevand, a concert harpist. Alan learned Celtic mythology and history, as well as the Breton language, traditional Breton dance, the Scottish bagpipe and the bombarde, a traditional Breton instrument, from the oboe family.

Alan began playing concerts at the age of eleven and studied traditional Breton, Irish and Welsh folk music learning the drum, Irish flute, tin whistle. He competed in, won, several Breton traditional music competitions in the Bleimor Pipe band. Alan spent his childhood with its cosmopolitan influences, but he fell in love with Breton music and Celtic culture, in general, went back in his teens to Brittany. Stivell's first recording came in 1960, a single, followed by the LP Telenn Geltiek in 1964, he recorded solo harp and harp backing singers in 1959 with Breiz ma bro and a Mouez Breiz EP with the female singer Andrea Ar Gouilh. His stage name, means "fountain" or "spring" in Breton; the name refers both to his surname Cochevelou. With a new bardic harp with bronze strings, Stivell began experimenting with modernized styles of music that became known as Celtic rock. In 1966, Alan Stivell began to record as a singer; the following year, he was signed by Philips Records. This was during the birth of Celtic music movement.

In 1968, after two years of touring and regular appearances at the American Students and Artists Center in Paris, Alan joined the Moody Blues onstage to perform in London's Queen Elizabeth Hall. In 1970, Stivell released his first hits, the single "Broceliande" and the album Reflets, both on the Philips record label, he became associated with the burgeoning Breton roots revival after the release of the purely instrumental 1971 album Renaissance of the Celtic Harp, which won one of the most famous awards in France, the prize of the Académie Charles Cros. The music critic Bruce Elder wrote of the album Renaissance of the Celtic Harp: People who hear this record are never the same again. Renaissance of the Celtic Harp, one of the most beautiful and haunting records made by anybody, introduced the Celtic harp to many thousands of listeners around the world. To call this music gorgeous and ravishing would be the height of understatement—indeed, there aren't words in the English language to describe this record adequately.

The opening work,'Ys', is a piece inspired by the legend of the fifth century capital of the kingdom of Cornwall, engulfed by a flood as punishment for its sins.. The reflective "Marv Pontkellec" is every bit as sublimely beautiful, but the highlight of this record is "Gaeltacht," a 19-minute musical journey by Stivell's harp across the Gaelic lands of Ireland and the Isle of Man. On 28 February 1972, Stivell performed a concert in the Olympia theater, a famous music hall in Paris, where Alan and his band played music combining traditional Celtic music with modern sounds; this concert made his music well known throughout France. At this time, Stivell's eclectic approach to music was new and was considered risky, but it soon became popular. Over 1,500,000 records of that concert were sold. Alan Stivell's new found fame propelled him to tour across France, the United Kingdom and the United States, he continued recording, published a collection of Breton poetry in 1976. With his 1980 Symphonie Celtique, he mixed for the first time elements of rock, a symphonic orchestra, Celtic instruments and such non-European ethnic elements as Berber vocalist Djourha and sitarist Narendra Bataju.

The folk music revival faded somewhat in the 1980s. Though Alan Stivell still maintained a popular following, he did not reach the heights of popularity that he had in the 1970s, he continued recording for a loyal fanbase. He worked with the English singer Kate Bush. In the 1990s, Stivell recorded with the French singer Laurent Voulzy, Irish traditional performer Shane MacGowan and Senegalese singer Doudou N'Diaye Rose; the album was Again, it became popular in France, the beginning of a Celtic new wave. Stivell's records in the late 1990s contained more pronounced rock elements, he performed at a rock festival called Transmusicales in Rennes, he continued working with a variety of musicians, inviting Paddy Moloney, Jim Kerr and Youssou N'Dour t


The Caribbean-Canada Trade Agreement known as is a Canadian government programme, established in 1986 by the Parliament of Canada. The agreement was created to promote trade and provide industrial cooperation through the preferential access of duty-free goods from the countries of the Commonwealth-Caribbean to the Canadian market. Features of the agreement include: seminars for businesspersons of the Caribbean region to learn more about developing a market for their products in the Canadian market, a programme to expand exports capabilities by Caribbean businesses and the assistance of the Canadian Department of Industry and Technology in the Caribbean region for regional trade commissioners with the aim of trade promotion efforts to the Canadian market. According to the DFAIT: the "CARIBCAN's basic objectives are to enhance the Commonwealth Caribbean's existing trade and export earnings. Canada -- Anguilla and Barbuda, the Bahamas, Barbados, the British Virgin Islands, the Cayman Islands, The Commonwealth of Dominica, the Co-operative Republic of Guyana, Montserrat, Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, the Republic of Trinidad and Tobago, the Turks and Caicos Islands.

The CARIBCAN agreement does not cover duty-free access for the following items: Textiles and apparel, footwear and handbags, leather garments, lubricating oils and methanol. Other items are eligible for duty-free status if they can be certified as being either grown, manufactured or produced within the Commonwealth-Caribbean or Canada; the definition to be designated as Caribbean as its origin is. The goods must be exported directly from the Caribbean to Canada with no other work carried out at foreign transshipment points; this agreement after running its course for around twenty years, has been slated to be replaced by a full composit Caribbean-Canada Free Trade Agreement, with reciprocal equal access for Canadian companies to the Caribbean market as well. The Caribbean Basin Trade and Partnership Act - Involving the United States, Commonwealth Caribbean, Costa Rica, the Dominican Republic, El Salvador, Haiti, the Netherlands Antilles and Panama. Department of Foreign Affairs and International Trade More: GO-Invest - Guyana United States: Caribbean Basin Economic Recovery Act or Caribbean Basin Initiative European Union: Lomé Convention Between CARICOM: Affiliated Caribbean states


Cystoisospora is a genus of parasitic alveolates belonging to the phylum Apicomplexa. This genus was created by J. K. Frenkel in 1977, its use was discontinued but was resurrected in 2005. This genus includes species that have oocysts containing two sporocysts with four sporozoites in each without Stieda bodies; these species are transmitted by the orofaecal route. DNA analysis has shown; the type species of this genus is Cystoisospora felis. This parasite has been isolated from dogs and raccoons. C. belli has been isolated from immunosuppressed humans — those with HIV infection. These parasites infect the enterocytes of the small intestine and are spread by the orofaecal route; the definitive hosts are cats but other species including various species of rodents may be infected. No further development occurs in these paratenic hosts and the parasites remain dormant until ingested by a definitive host; this genus has been recorded worldwide. C. felis and C. rivolta occur in up to 40% of cats in some tropical countries.

Clinical signs include watery diarrhea, vomiting and weight loss. The diagnosis is made by microscopic examination of the stool. Distinguishing between the species of Cystoisospora is most done with PCR; this method can be used to make the diagnosis. Treatment is based on trimethoprim-sulfonamides with clindamycin or toltrazuril for resistant strains. Hygiene on the premises is important in prevention. Good litter tray hygiene is critical in multi-cat households. Utensils, runs and other implements should be steam-cleaned or washed in boiling water; because of the importance of paratenic hosts such as cockroaches, insect control is critical

Dead Corps

Dead Corps, subtitled Dead Corpse, is a four-issue comic book mini-series published in 1998 by Helix, a short-lived imprint of American company DC Comics. Written by Christopher Hinz and illustrated by Steve Pugh, the story is set in a near-future earth where medical technology has opened the possibility for the re-animation of human beings and the dead play an active but sometimes unwilling role in everyday society; the title met with little success commercially as it was published by Helix some time after the cancellation of the entire imprint had been announced. The year is 2101 and thirty three years have passed since the first successful brain tissue remodulation and body reanimation of a human being. Vitals, ordinary living human beings, share their lives with Expireds, an underclass of once dead people who have been restored to life to perform a variety of specialist but unwanted tasks. Apart from the pallor of their skin and the putrid chemical unction which they are forced to consume as a food-substitute, the dead are otherwise indistinguishable from ordinary functioning human beings.

Detective Sergeant CJ Rataan is the senior officer in a squad of the Paladin Dead Corps an elite but poorly respected team of mixed expired and vital police officers based out of North Nome, Alaska. CJ himself is an Expired, having been murdered and revived several years prior to the narrative owing to his role thwarting the operations of a gangland syndicate of body-poachers and killing the leader's brother; as the tale develops, CJ and his rag-tag crew of Expireds and Vitals are engaged to investigate the circumstances surrounding CJ's death. However, in addition to robbing him of his first life, CJ has been targeted for PR