Paragraph 1: Next, Heidegger writes of art's ability to set up an active struggle between "Earth" and "World". "World" represents meaning which is disclosed, not merely the sum of all that is ready-to-hand for one being but rather the web of significant relations in which Dasein, or human being(s), exist (a table, for example, as part of the web of signification, points to those who customarily sit at it, the conversations once had around it, the carpenter who made it, and so on - all of which point to further and further things). So a family unit could be a world, or a career path could be a world, or even a large community or nation. "Earth" means something like the background against which every meaningful "worlding" emerges. It is outside (unintelligible to) the ready-to-hand.  Both are necessary components for an artwork to function, each serving unique purposes. The artwork is inherently an object of "world", as it creates a world of its own; it opens up for us other worlds and cultures, such as worlds from the past like the ancient Greek or medieval worlds, or different social worlds, like the world of the peasant, or of the aristocrat. However, the very nature of art itself appeals to "Earth", as a function of art is to highlight the natural materials used to create it, such as the colors of the paint, the density of the language, or the texture of the stone, as well as the fact that everywhere an implicit background is necessary for every significant explicit representation.  In this way, "World" is revealing the unintelligibility of "Earth", and so admits its dependence on the natural "Earth". This reminds us that concealment (hiddenness) is the necessary precondition for unconcealment (aletheia), i.e. truth. The existence of truth is a product of this struggle—the process of art—taking place within the artwork. 

Paragraph 2: While still attending high school in Tokyo, Katsu began training professional wrestling at the dojo of the JWP Joshi Puroresu promotion. On January 20, 2011, she passed a traditional audition held in front of her trainers and JWP management and officially graduated to the main roster of the promotion, becoming its first ever member still in high school. Katsu made her debut on March 21, 2011, wrestling JWP Openweight Champion Leon to a draw in a five-minute "exhibition match". She made her "official" debut in Korakuen Hall on April 3, 2011, losing to Sendai Girls' Pro Wrestling representative Dash Chisako. On April 17, Katsu entered the J-1 Grand Prix 2011 and was defeated in her first round-robin match by masu-me. On May 22, she was defeated in her second match in the tournament by Sachie Abe. On June 12, Katsu was again defeated by masu-me, this time in a match to determine the number one contender to the JWP Junior and Princess of Pro-Wrestling Championships. Katsu won her first match on June 26, when she, Ebessan and Kaori Yoneyama defeated Gami, Kanjyuro Matsuyama and Kyusei Ninja Ranmaru, though she did not take part in the finish of the match. Katsu finally scored her first pinfall win on July 18, when she defeated freelancer Mika Iida in a singles match. On August 14, Katsu entered the annual Natsu Onna Kettei Tournament, but was eliminated in her first round match by Ice Ribbon representative Hikari Minami. On September 23, Katsu entered the Souseiseki Cup / Blue Star Cup round-robin tournament for rookies, defeating Ice Ribbon's Dorami Nagano in her first match. She followed that up by also defeating Aoi Yagami on October 10, Mexican wrestler Lady Afrodita on November 13, and masu-me on November 20. During the tournament, on October 16, Katsu also made her debut for Oz Academy, facing Nao Komatsu in a losing effort. On December 16, Katsu suffered her first loss in the tournament against Nana Kawasa, but still won her block to advance to the finals of the tournament. On December 23, Katsu defeated Rabbit Miu to win the 2011 Souseiseki Cup / Blue Star Cup tournament. The following day, Katsu was named JWP's rookie of the year. As a result of her tournament win, Katsu received a shot at the JWP Junior and Princess of Pro-Wrestling Championships on January 9, 2012, but was defeated by the defending champion, Osaka Joshi Pro Wrestling representative Sawako Shimono.

Paragraph 3: By the Late Saxon period the estates of Kent were divided up into lathes and hundreds. The Wainscott area lay in the Lathe of Aylesford and the Hundred of Shamwell. In the late eleventh century the hamlet of Wainscott may have been established by this time at the junction of the crossroads, although there is no written evidence for it. Its name probably means ‘wagon shelter’, suggesting a subordinate role in the larger estate of Frindsbury. At the time of the Domesday survey in 1086 the manor of Frandesberie (Frindsbury) was held by the bishop of Rochester. It had been assessed at 10 sulungs (971 ha) in 1066. There was a separate manor of Wainscott which had emerged from the parent manor of Frindsbury by the early 14th century. It was also called ‘Parlabien’s Yoke’ (or ‘Perleben’s Yoke’) after the family which held it at this time. It afterwards descended to the Colepeper family, which held it until the late 16th century. In the years 1494–1504 it was divided into two halves, and court records survive for one of these moieties. However, very little business was transacted beyond the collection of fines from tenants who failed to attend. If the extent of the manor was really one yoke, it would not have been more than 50 acres (c. 20.2 ha). The fields underlying the north excavation area to the north of Hoo Road were in the manor, as were a series of smaller fields along the south side of the road as far as the stream. Beyond the stream to the north-east were the fields of Islingham manor; to the south of the road lay parts of the manors of Frindsbury and Chattenden. At the dissolution of the monasteries in the 1530s, the manor of Frindsbury with its appendages was confiscated from Rochester Priory by Henry VIII, but was subsequently passed on to the Dean and Chapter of Rochester in 1542. The manor of Wainscott was sold in the late 16th century, and passed by a series of descents and sales to John Boghurst, who held it in the late 18th century. He still held a court leet and a court baron for the manor at this time. Post-medieval and modern maps and documents indicate that the area of the site comprised a number of agricultural fields, both within Islingham and Wainscott manors.

Paragraph 4: From its roots in the sonic acoustic that refers to basically all the vibration that can be listened by the humans and the animals, but also what still very hard for us to be audible and heard. The radio art of Schafer and his colleague, has found expression in many different fields.While most have taken some inspiration from Schafer's writings, in recent years there have also been healthy divergences from the initial ideas. The expanded expressions of acoustic ecology are increasing due to the sonic impacts of road and airport construction that affect the soundscapes in and around cities where the human population is more dense. There has also been a broadening of bioacoustics (the use of sound by animals) to consider the subjective and objective responses of animals to human noise, with ocean noise capturing the most attention. Acoustic ecology can also inform us of changes in the climate or other environmental changes since every day we listen to sounds in the world to identify their source such as bird, car, plane, wind, water. But we don't listen those sounds as a network , a mesh of relationships that form an ecology; Acoustic ecology finds expression in many different fields that characterize a soundscape, which are biophony, geophony, and anthrophony. Biophony is the study of the sounds coming from plants and animals, where we are going to analyze how their behavior are, and what we learn from their way of living. Geophony is more the study of the earth's sounds like the wind blowing or waves crashing in the ocean, it is interesting to discover how the natural movements that are occurring on Earth are happening and throughout those studies it is possible to learn that. Finally, the anthrophony is described as the study of sounds of any noise created by humans such as talking, car, horns or music.

Paragraph 5: While still attending high school in Tokyo, Katsu began training professional wrestling at the dojo of the JWP Joshi Puroresu promotion. On January 20, 2011, she passed a traditional audition held in front of her trainers and JWP management and officially graduated to the main roster of the promotion, becoming its first ever member still in high school. Katsu made her debut on March 21, 2011, wrestling JWP Openweight Champion Leon to a draw in a five-minute "exhibition match". She made her "official" debut in Korakuen Hall on April 3, 2011, losing to Sendai Girls' Pro Wrestling representative Dash Chisako. On April 17, Katsu entered the J-1 Grand Prix 2011 and was defeated in her first round-robin match by masu-me. On May 22, she was defeated in her second match in the tournament by Sachie Abe. On June 12, Katsu was again defeated by masu-me, this time in a match to determine the number one contender to the JWP Junior and Princess of Pro-Wrestling Championships. Katsu won her first match on June 26, when she, Ebessan and Kaori Yoneyama defeated Gami, Kanjyuro Matsuyama and Kyusei Ninja Ranmaru, though she did not take part in the finish of the match. Katsu finally scored her first pinfall win on July 18, when she defeated freelancer Mika Iida in a singles match. On August 14, Katsu entered the annual Natsu Onna Kettei Tournament, but was eliminated in her first round match by Ice Ribbon representative Hikari Minami. On September 23, Katsu entered the Souseiseki Cup / Blue Star Cup round-robin tournament for rookies, defeating Ice Ribbon's Dorami Nagano in her first match. She followed that up by also defeating Aoi Yagami on October 10, Mexican wrestler Lady Afrodita on November 13, and masu-me on November 20. During the tournament, on October 16, Katsu also made her debut for Oz Academy, facing Nao Komatsu in a losing effort. On December 16, Katsu suffered her first loss in the tournament against Nana Kawasa, but still won her block to advance to the finals of the tournament. On December 23, Katsu defeated Rabbit Miu to win the 2011 Souseiseki Cup / Blue Star Cup tournament. The following day, Katsu was named JWP's rookie of the year. As a result of her tournament win, Katsu received a shot at the JWP Junior and Princess of Pro-Wrestling Championships on January 9, 2012, but was defeated by the defending champion, Osaka Joshi Pro Wrestling representative Sawako Shimono.

Paragraph 6: His inspiration, his example and his architecture, still live, Professor Schalk W le Roux (erstwhile  Head of the Department of Architecture University of Pretoria) wrote as follows in his obituary: During the second half of the Twentieth Century Johan de Ridder was an influential South African architect. He is best known for a fresh and personal approach to Reformed Church architecture, but this is not the only building type where his example was studied and emulated. It is because he reached beyond the simple requirement of function in his search and design, thus consciously allowing for local realities of climate, terrain, building material, building science and craftsmanship to be realistic and creative generators of structures. The resultant buildings and places celebrated land- and cityscapes with which they were contextually interwoven and expedited the development of a South African way of architectural thought, based on and advocating a contemporary worldview. The same values, fuelled by a love of history, language and country, found expression in restoration work, such as at Paul Kruger’s farm house at Boekenhoutfontein, where he paid tribute to past achievements, and also in houses and bigger buildings, such as the Land Bank building in Pretoria, where again he was true to the present – the time in which he lived and worked. Closest to his heart was possibly the building of churches and his pursuit was for a worthy and meaningful architecture embracing worship. His experimentation to achieve this can be traced in many of his subsequent buildings and designs. As a young architect, he was outspoken about the unchanging and "distinctive style of Gerard Moerdyk and Henry Vermooten" and inspired by the "refreshing modern work of Verhoef Smit and Viljoen who served as inspiration for me." He takes it further when he says: “[My] designs reflect a quest for a new form and aesthetic to express what is essential in a church building.” His striving was for a simplicity in form, line and plane that derives from and reflects the basic nature of worship in the Reformed Church, and its execution within the constraints of available funds. “The function of a church," he said to architecture students in 1955, shortly after the completion of his best known church in Parys, Free State, "is determined by public worship: it is the master builder. The building emerges from a plan and, in its turn, the plan is determined by the function of the building.” In addition, he argued, there was an inherent symbolism and aesthetic in his churches suggesting the Word of God moving from the pulpit, over the congregation and, through the windows, to the world beyond. Referring to the church in Parys he said: "As in many other designs, symbolism, based on biblical truth, is embedded in this structure. It is the symbolism of the church as a tent trekking through the desert of this temporary existence on the journey towards eternity.” The church is therefore a visual symbol of transience with the tent-shape a direct architectural translation of the concept of having no fixed abode. The architect's real contribution is to give form to the symbolic. De Ridder’s three principles, applied to both religious and secular buildings, were firstly that the architecture should be contemporary, secondly that form should emerge from the meaning of the function and thirdly that the structure should be economic and affordable. A faithful adherence to these principles is probably one of the reasons his buildings have withstood the test of time. As an architect, he had the rare experience that his designs remained appreciated and current in his lifetime, and are still being studied and analysed as historically significant in a quest for authenticity. His work was published widely in South Africa and also internationally in both acknowledged academic journals and more popular monthly architectural magazines where his ideas and decisions are revisited and re-evaluated. His inspiration, his example and his architecture live on. 

Paragraph 7: The theatrical agent Hooper recognizes Sally's talent during her performance at the Elm Tree Inn, and becomes her agent, convincing Sally to impersonate a famous Russian dancer named Noskerova (who has reneged on her contract) and perform at a party hosted by Mrs. Ten Brock. When Pops Stendorff discovers that Sally is missing, he crashes the party, intending to take her back to the Elm Tree Inn for a performance. Sally is revealed to be an imposter and Mrs. Ten Brock insists that she leave immediately.  However, before leaving Sally hears Mrs. Ten Brock announce of the engagement of Blair and Marcia. Sally is devastated, but terribly hurt, but later learns that she has been discovered by none other than Florenz Ziegfeld, a guest at the party. Sally's manager, presents her with a contract to star in Ziegfeld's next Follies on Broadway. After a successful opening night, Sally returns to her flower-filled dressing room, to the congratulations of her friends and manager. After they leave so she can change out of her costume, Pop Stendorff arrives with a large bouquet of red roses, containing a card from Blair (having ended his engagement with Marcia), apologizing and requesting the return of a single rose, to signify her forgiveness. Sally gives Stendorff a rose, exiting to change behind a screen. Stendorff states that he will deliver the rose even if it takes a week or a month, while silently waving Blair into the room. Sally hears the door close and peeks out from behind the screen, and is delighted to find Blair, who again requests her forgiveness. She gives him her hand, and the scene changes to that of a large wedding party exiting a church, to await the bride and groom: Sally and Blair. As the happy couple emerges, photographers rush them, urging them to kiss as the film ends.

Paragraph 8: By the Late Saxon period the estates of Kent were divided up into lathes and hundreds. The Wainscott area lay in the Lathe of Aylesford and the Hundred of Shamwell. In the late eleventh century the hamlet of Wainscott may have been established by this time at the junction of the crossroads, although there is no written evidence for it. Its name probably means ‘wagon shelter’, suggesting a subordinate role in the larger estate of Frindsbury. At the time of the Domesday survey in 1086 the manor of Frandesberie (Frindsbury) was held by the bishop of Rochester. It had been assessed at 10 sulungs (971 ha) in 1066. There was a separate manor of Wainscott which had emerged from the parent manor of Frindsbury by the early 14th century. It was also called ‘Parlabien’s Yoke’ (or ‘Perleben’s Yoke’) after the family which held it at this time. It afterwards descended to the Colepeper family, which held it until the late 16th century. In the years 1494–1504 it was divided into two halves, and court records survive for one of these moieties. However, very little business was transacted beyond the collection of fines from tenants who failed to attend. If the extent of the manor was really one yoke, it would not have been more than 50 acres (c. 20.2 ha). The fields underlying the north excavation area to the north of Hoo Road were in the manor, as were a series of smaller fields along the south side of the road as far as the stream. Beyond the stream to the north-east were the fields of Islingham manor; to the south of the road lay parts of the manors of Frindsbury and Chattenden. At the dissolution of the monasteries in the 1530s, the manor of Frindsbury with its appendages was confiscated from Rochester Priory by Henry VIII, but was subsequently passed on to the Dean and Chapter of Rochester in 1542. The manor of Wainscott was sold in the late 16th century, and passed by a series of descents and sales to John Boghurst, who held it in the late 18th century. He still held a court leet and a court baron for the manor at this time. Post-medieval and modern maps and documents indicate that the area of the site comprised a number of agricultural fields, both within Islingham and Wainscott manors.

Paragraph 9: According to Matthew Esser, “Sexual maturity is reached after one year of age.” The brown mouse lemur also has an established mating ritual. A male will use “soft squeak calls and tail-lashing” to signal the female. The female shows that she is willing to mate by “ano-genital rubbing and mouth wiping." When the mating has ended, the female will making a threatening sound. Some of the males who are more dominant will have multiple mates. ”Brown mouse lemurs mate between September and October.” The offspring are usually born between November and December. There are usually one to three young for each litter; females are capable of having one to two litters each year. In the winter months following their birth, the males of the species leave the areas where they were born.

Paragraph 10: According to Matthew Esser, “Sexual maturity is reached after one year of age.” The brown mouse lemur also has an established mating ritual. A male will use “soft squeak calls and tail-lashing” to signal the female. The female shows that she is willing to mate by “ano-genital rubbing and mouth wiping." When the mating has ended, the female will making a threatening sound. Some of the males who are more dominant will have multiple mates. ”Brown mouse lemurs mate between September and October.” The offspring are usually born between November and December. There are usually one to three young for each litter; females are capable of having one to two litters each year. In the winter months following their birth, the males of the species leave the areas where they were born.

Paragraph 11: The theatrical agent Hooper recognizes Sally's talent during her performance at the Elm Tree Inn, and becomes her agent, convincing Sally to impersonate a famous Russian dancer named Noskerova (who has reneged on her contract) and perform at a party hosted by Mrs. Ten Brock. When Pops Stendorff discovers that Sally is missing, he crashes the party, intending to take her back to the Elm Tree Inn for a performance. Sally is revealed to be an imposter and Mrs. Ten Brock insists that she leave immediately.  However, before leaving Sally hears Mrs. Ten Brock announce of the engagement of Blair and Marcia. Sally is devastated, but terribly hurt, but later learns that she has been discovered by none other than Florenz Ziegfeld, a guest at the party. Sally's manager, presents her with a contract to star in Ziegfeld's next Follies on Broadway. After a successful opening night, Sally returns to her flower-filled dressing room, to the congratulations of her friends and manager. After they leave so she can change out of her costume, Pop Stendorff arrives with a large bouquet of red roses, containing a card from Blair (having ended his engagement with Marcia), apologizing and requesting the return of a single rose, to signify her forgiveness. Sally gives Stendorff a rose, exiting to change behind a screen. Stendorff states that he will deliver the rose even if it takes a week or a month, while silently waving Blair into the room. Sally hears the door close and peeks out from behind the screen, and is delighted to find Blair, who again requests her forgiveness. She gives him her hand, and the scene changes to that of a large wedding party exiting a church, to await the bride and groom: Sally and Blair. As the happy couple emerges, photographers rush them, urging them to kiss as the film ends.

Paragraph 12: According to Matthew Esser, “Sexual maturity is reached after one year of age.” The brown mouse lemur also has an established mating ritual. A male will use “soft squeak calls and tail-lashing” to signal the female. The female shows that she is willing to mate by “ano-genital rubbing and mouth wiping." When the mating has ended, the female will making a threatening sound. Some of the males who are more dominant will have multiple mates. ”Brown mouse lemurs mate between September and October.” The offspring are usually born between November and December. There are usually one to three young for each litter; females are capable of having one to two litters each year. In the winter months following their birth, the males of the species leave the areas where they were born.

Paragraph 13: According to Matthew Esser, “Sexual maturity is reached after one year of age.” The brown mouse lemur also has an established mating ritual. A male will use “soft squeak calls and tail-lashing” to signal the female. The female shows that she is willing to mate by “ano-genital rubbing and mouth wiping." When the mating has ended, the female will making a threatening sound. Some of the males who are more dominant will have multiple mates. ”Brown mouse lemurs mate between September and October.” The offspring are usually born between November and December. There are usually one to three young for each litter; females are capable of having one to two litters each year. In the winter months following their birth, the males of the species leave the areas where they were born.

Paragraph 14: From its roots in the sonic acoustic that refers to basically all the vibration that can be listened by the humans and the animals, but also what still very hard for us to be audible and heard. The radio art of Schafer and his colleague, has found expression in many different fields.While most have taken some inspiration from Schafer's writings, in recent years there have also been healthy divergences from the initial ideas. The expanded expressions of acoustic ecology are increasing due to the sonic impacts of road and airport construction that affect the soundscapes in and around cities where the human population is more dense. There has also been a broadening of bioacoustics (the use of sound by animals) to consider the subjective and objective responses of animals to human noise, with ocean noise capturing the most attention. Acoustic ecology can also inform us of changes in the climate or other environmental changes since every day we listen to sounds in the world to identify their source such as bird, car, plane, wind, water. But we don't listen those sounds as a network , a mesh of relationships that form an ecology; Acoustic ecology finds expression in many different fields that characterize a soundscape, which are biophony, geophony, and anthrophony. Biophony is the study of the sounds coming from plants and animals, where we are going to analyze how their behavior are, and what we learn from their way of living. Geophony is more the study of the earth's sounds like the wind blowing or waves crashing in the ocean, it is interesting to discover how the natural movements that are occurring on Earth are happening and throughout those studies it is possible to learn that. Finally, the anthrophony is described as the study of sounds of any noise created by humans such as talking, car, horns or music.

Paragraph 15: According to Matthew Esser, “Sexual maturity is reached after one year of age.” The brown mouse lemur also has an established mating ritual. A male will use “soft squeak calls and tail-lashing” to signal the female. The female shows that she is willing to mate by “ano-genital rubbing and mouth wiping." When the mating has ended, the female will making a threatening sound. Some of the males who are more dominant will have multiple mates. ”Brown mouse lemurs mate between September and October.” The offspring are usually born between November and December. There are usually one to three young for each litter; females are capable of having one to two litters each year. In the winter months following their birth, the males of the species leave the areas where they were born.

Paragraph 16: While still attending high school in Tokyo, Katsu began training professional wrestling at the dojo of the JWP Joshi Puroresu promotion. On January 20, 2011, she passed a traditional audition held in front of her trainers and JWP management and officially graduated to the main roster of the promotion, becoming its first ever member still in high school. Katsu made her debut on March 21, 2011, wrestling JWP Openweight Champion Leon to a draw in a five-minute "exhibition match". She made her "official" debut in Korakuen Hall on April 3, 2011, losing to Sendai Girls' Pro Wrestling representative Dash Chisako. On April 17, Katsu entered the J-1 Grand Prix 2011 and was defeated in her first round-robin match by masu-me. On May 22, she was defeated in her second match in the tournament by Sachie Abe. On June 12, Katsu was again defeated by masu-me, this time in a match to determine the number one contender to the JWP Junior and Princess of Pro-Wrestling Championships. Katsu won her first match on June 26, when she, Ebessan and Kaori Yoneyama defeated Gami, Kanjyuro Matsuyama and Kyusei Ninja Ranmaru, though she did not take part in the finish of the match. Katsu finally scored her first pinfall win on July 18, when she defeated freelancer Mika Iida in a singles match. On August 14, Katsu entered the annual Natsu Onna Kettei Tournament, but was eliminated in her first round match by Ice Ribbon representative Hikari Minami. On September 23, Katsu entered the Souseiseki Cup / Blue Star Cup round-robin tournament for rookies, defeating Ice Ribbon's Dorami Nagano in her first match. She followed that up by also defeating Aoi Yagami on October 10, Mexican wrestler Lady Afrodita on November 13, and masu-me on November 20. During the tournament, on October 16, Katsu also made her debut for Oz Academy, facing Nao Komatsu in a losing effort. On December 16, Katsu suffered her first loss in the tournament against Nana Kawasa, but still won her block to advance to the finals of the tournament. On December 23, Katsu defeated Rabbit Miu to win the 2011 Souseiseki Cup / Blue Star Cup tournament. The following day, Katsu was named JWP's rookie of the year. As a result of her tournament win, Katsu received a shot at the JWP Junior and Princess of Pro-Wrestling Championships on January 9, 2012, but was defeated by the defending champion, Osaka Joshi Pro Wrestling representative Sawako Shimono.

Paragraph 17: Next, Heidegger writes of art's ability to set up an active struggle between "Earth" and "World". "World" represents meaning which is disclosed, not merely the sum of all that is ready-to-hand for one being but rather the web of significant relations in which Dasein, or human being(s), exist (a table, for example, as part of the web of signification, points to those who customarily sit at it, the conversations once had around it, the carpenter who made it, and so on - all of which point to further and further things). So a family unit could be a world, or a career path could be a world, or even a large community or nation. "Earth" means something like the background against which every meaningful "worlding" emerges. It is outside (unintelligible to) the ready-to-hand.  Both are necessary components for an artwork to function, each serving unique purposes. The artwork is inherently an object of "world", as it creates a world of its own; it opens up for us other worlds and cultures, such as worlds from the past like the ancient Greek or medieval worlds, or different social worlds, like the world of the peasant, or of the aristocrat. However, the very nature of art itself appeals to "Earth", as a function of art is to highlight the natural materials used to create it, such as the colors of the paint, the density of the language, or the texture of the stone, as well as the fact that everywhere an implicit background is necessary for every significant explicit representation.  In this way, "World" is revealing the unintelligibility of "Earth", and so admits its dependence on the natural "Earth". This reminds us that concealment (hiddenness) is the necessary precondition for unconcealment (aletheia), i.e. truth. The existence of truth is a product of this struggle—the process of art—taking place within the artwork. 

Paragraph 18: The theatrical agent Hooper recognizes Sally's talent during her performance at the Elm Tree Inn, and becomes her agent, convincing Sally to impersonate a famous Russian dancer named Noskerova (who has reneged on her contract) and perform at a party hosted by Mrs. Ten Brock. When Pops Stendorff discovers that Sally is missing, he crashes the party, intending to take her back to the Elm Tree Inn for a performance. Sally is revealed to be an imposter and Mrs. Ten Brock insists that she leave immediately.  However, before leaving Sally hears Mrs. Ten Brock announce of the engagement of Blair and Marcia. Sally is devastated, but terribly hurt, but later learns that she has been discovered by none other than Florenz Ziegfeld, a guest at the party. Sally's manager, presents her with a contract to star in Ziegfeld's next Follies on Broadway. After a successful opening night, Sally returns to her flower-filled dressing room, to the congratulations of her friends and manager. After they leave so she can change out of her costume, Pop Stendorff arrives with a large bouquet of red roses, containing a card from Blair (having ended his engagement with Marcia), apologizing and requesting the return of a single rose, to signify her forgiveness. Sally gives Stendorff a rose, exiting to change behind a screen. Stendorff states that he will deliver the rose even if it takes a week or a month, while silently waving Blair into the room. Sally hears the door close and peeks out from behind the screen, and is delighted to find Blair, who again requests her forgiveness. She gives him her hand, and the scene changes to that of a large wedding party exiting a church, to await the bride and groom: Sally and Blair. As the happy couple emerges, photographers rush them, urging them to kiss as the film ends.

Paragraph 19: By the Late Saxon period the estates of Kent were divided up into lathes and hundreds. The Wainscott area lay in the Lathe of Aylesford and the Hundred of Shamwell. In the late eleventh century the hamlet of Wainscott may have been established by this time at the junction of the crossroads, although there is no written evidence for it. Its name probably means ‘wagon shelter’, suggesting a subordinate role in the larger estate of Frindsbury. At the time of the Domesday survey in 1086 the manor of Frandesberie (Frindsbury) was held by the bishop of Rochester. It had been assessed at 10 sulungs (971 ha) in 1066. There was a separate manor of Wainscott which had emerged from the parent manor of Frindsbury by the early 14th century. It was also called ‘Parlabien’s Yoke’ (or ‘Perleben’s Yoke’) after the family which held it at this time. It afterwards descended to the Colepeper family, which held it until the late 16th century. In the years 1494–1504 it was divided into two halves, and court records survive for one of these moieties. However, very little business was transacted beyond the collection of fines from tenants who failed to attend. If the extent of the manor was really one yoke, it would not have been more than 50 acres (c. 20.2 ha). The fields underlying the north excavation area to the north of Hoo Road were in the manor, as were a series of smaller fields along the south side of the road as far as the stream. Beyond the stream to the north-east were the fields of Islingham manor; to the south of the road lay parts of the manors of Frindsbury and Chattenden. At the dissolution of the monasteries in the 1530s, the manor of Frindsbury with its appendages was confiscated from Rochester Priory by Henry VIII, but was subsequently passed on to the Dean and Chapter of Rochester in 1542. The manor of Wainscott was sold in the late 16th century, and passed by a series of descents and sales to John Boghurst, who held it in the late 18th century. He still held a court leet and a court baron for the manor at this time. Post-medieval and modern maps and documents indicate that the area of the site comprised a number of agricultural fields, both within Islingham and Wainscott manors.

Paragraph 20: The theatrical agent Hooper recognizes Sally's talent during her performance at the Elm Tree Inn, and becomes her agent, convincing Sally to impersonate a famous Russian dancer named Noskerova (who has reneged on her contract) and perform at a party hosted by Mrs. Ten Brock. When Pops Stendorff discovers that Sally is missing, he crashes the party, intending to take her back to the Elm Tree Inn for a performance. Sally is revealed to be an imposter and Mrs. Ten Brock insists that she leave immediately.  However, before leaving Sally hears Mrs. Ten Brock announce of the engagement of Blair and Marcia. Sally is devastated, but terribly hurt, but later learns that she has been discovered by none other than Florenz Ziegfeld, a guest at the party. Sally's manager, presents her with a contract to star in Ziegfeld's next Follies on Broadway. After a successful opening night, Sally returns to her flower-filled dressing room, to the congratulations of her friends and manager. After they leave so she can change out of her costume, Pop Stendorff arrives with a large bouquet of red roses, containing a card from Blair (having ended his engagement with Marcia), apologizing and requesting the return of a single rose, to signify her forgiveness. Sally gives Stendorff a rose, exiting to change behind a screen. Stendorff states that he will deliver the rose even if it takes a week or a month, while silently waving Blair into the room. Sally hears the door close and peeks out from behind the screen, and is delighted to find Blair, who again requests her forgiveness. She gives him her hand, and the scene changes to that of a large wedding party exiting a church, to await the bride and groom: Sally and Blair. As the happy couple emerges, photographers rush them, urging them to kiss as the film ends.

Answer: 9