Paragraph 1: "When I arrived these animals were as common, even in the settled areas, as they are rare today. They are hunted for their meat, for their fat, for young individuals, throughout all the summer, all the autumn and part of the winter, by whites with a gun, by negros with nets. The species must continue to decline, and in a short time. In abandoning populated areas to retreat to those that are yet to be so, and into the interior of the island, fugitive negros do not spare them when they can get them .... I ought to put in here what little I know about rougettes. One never sees them flying by day. They live communally in the large hollows of rotten trees, in numbers sometimes exceeding four hundred. They only leave in the evening as darkness falls and return before dawn. One is assured, and it is taken in this island for granted, that, however many individuals make up one of these associations, there is but a single male. I have not been able to verify this fact. I should only say that these sedentary animals become fat; that at the beginning of the colony, numerous poorly off and unfastidious people, taught no doubt by the Malacasses, provided themselves plentifully with this fat for preparing their food. I have seen the time when a bat-tree (it is thus that one used to call the retreats of our rougettes) was a real find. It used to be easy, as far as one can judge, to prevent these animals leaving, than to take them out alive one by one, or to suffocate them with smoke, and in one way or another discover the number of males or females of which the association was composed; I do not know any more about this species.

Paragraph 2: On June 7, he, BxB Hulk and PAC captured the Triangle Gate titles from CIMA, Gamma & KAGETORA, and they held them for three months before dropping them to Masaaki Mochizuki, Don Fujii & Akebono. On July 11, 2010, Yoshino defeated YAMATO to win the Open the Dream Gate Championship for the first time. On August 14, 2010, Yoshino defeated Tigers Mask to win the Open the Brave Gate Championship for the fifth time, but immediately afterwards vacated the title, due to also holding the Open the Dream Gate Championship. On August 24, 2010, Yoshino and Naruki Doi won their third Summer Adventure Tag League by defeating Genki Horiguchi and Ryo Saito in the finals. On October 13, 2010, Doi, bitter about Yoshino winning the Open the Dream Gate Championship, turned on him and BxB Hulk and joined the former Deep Drunkers and Takuya Sugawara to form a new heel stable. On December 26, 2010, at Final Gate 2010 Yoshino successfully defended the Open the Dream Gate Championship against Doi. On January 30, 2011, Yoshino and PAC defeated Chuck Taylor and Johnny Gargano to become Dragon Gate USA's first ever Open the United Gate Champions. On April 14, 2011, Yoshino lost the Open the Dream Gate Championship to Masaaki Mochizuki. At the same event, World-1 failed to win the Open the Triangle Gate Championship from Blood Warriors and was as a result forced to disband. On April 24 former World-1 members Yoshino, BxB Hulk, PAC and Susumu Yokosuka agreed to form a new alliance with Masaaki Mochizuki to battle Blood Warriors. On June 8, the new group was named Junction Three in reference to it being a union between the former members of World-1, KAMIKAZE and the Veteran-gun. On June 18, Yoshino, Gamma and YAMATO defeated the Blood Warriors team of CIMA, Naruki Doi and BxB Hulk to win the vacant Open the Triangle Gate Championship. They would go on to lose the title to the Blood Warriors team of Kzy, Naoki Tanisaki and Naruki Doi on September 2. On September 11, Yoshino and PAC lost the Open the United Gate Championship to Open the Twin Gate Champions, CIMA and Ricochet, in a title vs. title match. On February 9, 2012, Junction Three was forced to disband, after losing a fourteen-man elimination tag team match to Blood Warriors. Yoshino then reunited with Naruki Doi to form World-1 International.  On March 30, 2012, he and Ricochet defeated Ronin's Chuck Taylor and Johnny Gargano at a Dragon Gate USA event in Miami, Florida, to win the vacant Open the United Gate Championship. On May 6, Yoshino, Doi and Pac won the Open the Triangle Gate Championship.  On June 21, 2012, Yoshino and Ricochet were stripped of the United Gate Championship due to Yoshino being forced to miss Dragon Gate USA's July 2012 events. On May 5, 2013, Yoshino defeated Dragon Kid to win the Open the Brave Gate Championship for the sixth time. He vacated the title on August 30 after he, Chihiro Tominaga and Ryotsu Shimizu lost to the debuting Millennials (T-Hawk, Eita and U-T), saying he felt the title should be competed for within the new generation. On September 12, Naruki Doi turned on Yoshino, signaling the end of World-1 International. Yoshino quickly formed a new stable named Monster Express with Akira Tozawa, Ricochet, Shachihoko Boy, Shingo Takagi and Uhaa Nation. On October 10, Yoshino defeated YAMATO to win the Open the Dream Gate Championship for the second time. On March 2, 2014, Yoshino dropped the Open the Dream Gate Championship to Monster Express stablemate Ricochet. On May 30, 2015, Yoshino defeated T-Hawk in the finals to win the 2015 King of Gate tournament. On June 14, Yoshino defeated BxB Hulk to win the Open the Dream Gate Championship for the third time. He lost the title to Shingo Takagi on August 16. On November 23, 2015, Yoshino defeated Mr. Nakagawa via fan decision the Open the Owarai Gate Championship. He was stripped of the title on April 3 due to failure to defend it within the previous three months. On October 12, Monster Express was forced to disband after losing a match to VerserK.

Paragraph 3: Scholars generally attribute the origins of riad gardens in the western Islamic world to its antecedents in the eastern Persian world. The ancient Roman city of Volubilis also provided reference for the beginnings of domestic architecture during the Idrisid Dynasty in Morocco. Important examples of riads, or riad-like gardens, in al-Andalus are found at Madinat al-Zahra (10th century), the Aljaferia (11th century), the Castillejo of Monteagudo (near Murcia, 12th century) and the Alhambra (13th-15th centuries). However, it is unclear to what extent Moroccan riads and houses were inspired by models imported by immigrants from al-Andalus or to what extent they developed locally in parallel with Andalusi versions. What is certain, however, is that there was historically a close cultural and geopolitical relationship between the two lands on either side of the Strait of Gibraltar. When the Almoravids (who were based in Morocco) conquered al-Andalus in the 11th century they commissioned Muslim, Christian and Jewish artisans from al-Andalus to work on monuments in Morocco and throughout their empire, further contributing to a shared architectural and artistic heritage between al-Andalus and North Africa. The earliest known example of a true riad garden (with a symmetrical four-part division) in Morocco was found in the Almoravid palace built by Ali ibn Yusuf in Marrakesh in the early 12th century, which was part of the older Ksar al-Hajjar fortress. The era of the Almoravids and their successor dynasties (such as the Almohads, the Marinids, and the Nasrids) was a formative period of Moroccan architecture and of wider Moorish architecture during which the model of the riad garden was perfected and established as a standard feature of interior secular or palace architecture in the region. It was particularly successful and common in Marrakesh, where the combination of climate and available space made it well-suited to the architecture of the bourgeois mansions and royal palaces built in the city.

Paragraph 4: Cells of the genus Oedogonium are narrow and cylindrical in shape. The algal body consists of green, un-branched, and multi-cellular filaments, arranged end to end. Every cell of the filamentous algal body (called the thallus) is similar in shape apart from the apical cell (the uppermost) and the holdfast cell (the lowermost). The apical cell is wider and always rounded at its tip (having a cap) relative to the other cells of the thallus. The holdfast cell, however, produces elongated growths from both unattached sides which aid in firmly attaching the filament to substrate. The holdfast is also the only colourless cell of the filament. All other cells in the filament exist as green structures very similar in nature, with only some cells having caps. The number of caps per cell illustrates the number of times that cell has divided. Every cell of the filament has a cell wall consisting of three layers – the innermost is made of cellulose, the middle of pectose, and the outermost is made of chitin. These three layers provide rigidity and protection for these benthic species. Most cells are attached to the substrate by the holdfast and are vegetative cells, although some are free-floating.Species of Oedogonium are divided into two major groups based on distribution of the sex organs: macrandous and nannandrous species. Macrandous species have a male sex organ (the antheridia) and female sex organ (the oogonia) produced on filaments of normal size. This group is further subdivided into macrandous monoecious and macrandous dioecious. In macrandous monoecious species, the antheridia and oogonia are always found on the same filament. In contrary, in macrandous dioecious species, the antheridia and oogonia are produced on different filaments. Although filaments bearing antheridia and oogonia are morphologically similar, they differ physiologically. In nannandrous species, filaments producing antheridia and oogonia show morphological distinction. The antheridia, which are much smaller than the oogonia, are called dwarf male. Nannandrous species are always dioecious; i.e. antheridia and oogonia are always produced on different filaments. Small male filaments are likely to be attached to a female filament, near an oogonium.

Paragraph 5: Promotion for the album began on 4 May 2002 with a secret fan-club show. Suede played to one hundred fans at their London rehearsal studio the Depot. The secret gig coincided with the tenth anniversary release of debut single "The Drowners", which was marked by an earlier club night at the Liquid Rooms in King's  Cross. Fans were then transported to the rehearsals in two buses where the band performed fifteen songs, including eight new songs from the new album. The album was released 30 September 2002 and peaked at number 24, which is the lowest chart position of all the band's studio albums, and the only album not to chart in the top ten. The album remains the only studio album from Suede's catalogue not to be released in the US. The lead single for the album was "Positivity", which received a large amount of criticism from fans and the press. NME writer Julian Marshall wrote that "Positivity" was "[G]reeted with an apathetic shrug by everyone but the most devoted." Although it peaked at No. 16 on the charts and Anderson initially felt happy about the song, his feelings towards it would change in time. He later said of "Positivity" that "When I first wrote it I thought it was a masterpiece but soon realized that many people were genuinely offended by it." "Obsessions" was the second single released and despite being better received than "Positivity", the song charted at a lower position and was ultimately the final single released from the album. The album had first-week sales of 10,152 units, and went on to sell 21,943 units after 12 weeks.

Paragraph 6: Cells of the genus Oedogonium are narrow and cylindrical in shape. The algal body consists of green, un-branched, and multi-cellular filaments, arranged end to end. Every cell of the filamentous algal body (called the thallus) is similar in shape apart from the apical cell (the uppermost) and the holdfast cell (the lowermost). The apical cell is wider and always rounded at its tip (having a cap) relative to the other cells of the thallus. The holdfast cell, however, produces elongated growths from both unattached sides which aid in firmly attaching the filament to substrate. The holdfast is also the only colourless cell of the filament. All other cells in the filament exist as green structures very similar in nature, with only some cells having caps. The number of caps per cell illustrates the number of times that cell has divided. Every cell of the filament has a cell wall consisting of three layers – the innermost is made of cellulose, the middle of pectose, and the outermost is made of chitin. These three layers provide rigidity and protection for these benthic species. Most cells are attached to the substrate by the holdfast and are vegetative cells, although some are free-floating.Species of Oedogonium are divided into two major groups based on distribution of the sex organs: macrandous and nannandrous species. Macrandous species have a male sex organ (the antheridia) and female sex organ (the oogonia) produced on filaments of normal size. This group is further subdivided into macrandous monoecious and macrandous dioecious. In macrandous monoecious species, the antheridia and oogonia are always found on the same filament. In contrary, in macrandous dioecious species, the antheridia and oogonia are produced on different filaments. Although filaments bearing antheridia and oogonia are morphologically similar, they differ physiologically. In nannandrous species, filaments producing antheridia and oogonia show morphological distinction. The antheridia, which are much smaller than the oogonia, are called dwarf male. Nannandrous species are always dioecious; i.e. antheridia and oogonia are always produced on different filaments. Small male filaments are likely to be attached to a female filament, near an oogonium.

Paragraph 7: Reviewing the album for PopMatters, Adrien Begrand was very positive. He said that although the band's sample-based EPs are just as essential, "it's the band's irreverent genius and the meticulous arrangements on D. I. Go Pop that stick in your mind the longest" and commented that "unlike that grouchy landlady [featured at the end of the album], you'll be wanting to turn this music up, not down." In the May 2005 issue of Spin, Andrew Beaujon, reviewing Joy Division's Unknown Pleasures, told readers to "also try" D. I. Go Pop, describing it as "English goofballs [finding] beauty in frustration, futility and a computer lab's worth of obsolete machines losing their shit." David James of Optimistic Underground said in 2009 that he "won't try to describe the sounds [on the album] other than, generally speaking, they were far ahead of their time in the use of sampling, presaging everything from Matmos to The Books to Animal Collective's later albums," calling it a "truly worthy yet well-hidden gem." Will Hermes of Rolling Stone said the album was a "shot heard 'round the corner, if that: a lost masterpiece of evocative blur channeling Joy Division's melodic gloom through My Bloody Valentine's blissful noise-swarms, with sample loops outgunning the guitars."Tiny Mix Tapes were also very positive, saying "Disco Inferno simply wanted to shine on us the light of a fundamentally strange hue, a new context in which to enjoy pop music forms. This won't decimate society and crush your religion. It will tweak your eardrums, and may just plant a knowing grin on your face." Scott Plagenhoef of Pitchfork rated the album 9.3/10, saying "D. I. Go Pop retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia" and said it was "nearly as urgent and key" as the band's sample-based EPs. In 2011, Eye Plug noted that Pitchforks review resulted in a swell of activity across internet message boards, and "appears to have left a continued wake of interest." Andrew Unterberger of Stylus Magazine, although a fan of the album, found it imperfect without the inclusion of several of the songs from the prior EPs, and chose the album for a "Playing God" feature for the magazine in which he picked a definitive, personalised track list for the album.

Paragraph 8: Dain: Dain was originally a nervous servant to Doom and a member of the Resistance. He was cultured, polite, respectful, and often afraid, yet noble in battle and showing evidence of a great spirit. He saved Lief, Barda, and Jasmine from the Ols, before they knew what an Ol was, and helped them escape from Doom, when Doom held them prisoner for his own reasons. However, Dain was kidnapped by pirates. When the trio later encountered the same pirates, Dain had just freed himself with the help of a polypan, and he came with them to Tora, the magical city. Dain had hoped to meet his parents in Tora, but the city was deserted. He seemed to be all but destroyed by the news, but once they left the city he seemed to feel more hopeful. In the final book, Lief assembles representatives of all seven tribes to pledge loyalty to the heir and thus hope that the Belt will lead them to the heir. It seems clear that Dain is the heir (his name is even made of the same letters as the first king, Adin), but just then he gets kidnapped. Lief picks up his fallen dagger and carries it with him. Knowing that they must get the Belt to the true heir, the team makes plans to get into the city. However, their plans are all anticipated and most of the group is captured. It turns out Dain is not the heir, but a Grade 3 Ol, capable of assuming even inanimate shapes, and sent to spy on the Resistance and eventually on the trio. The fact that he had killed other Ols is not surprising; they were less talented varieties and the Shadow Lord's creations don't have anything resembling a conscience. Ols think only of furthering their own usefulness to the Shadow Lord. The fact that he was an Ol was the reason he was weakened when he entered the magical city of Tora, as its magic weakens evil. In the end, it is the Belt of Deltora itself that destroys Dain.

Paragraph 9: "When I arrived these animals were as common, even in the settled areas, as they are rare today. They are hunted for their meat, for their fat, for young individuals, throughout all the summer, all the autumn and part of the winter, by whites with a gun, by negros with nets. The species must continue to decline, and in a short time. In abandoning populated areas to retreat to those that are yet to be so, and into the interior of the island, fugitive negros do not spare them when they can get them .... I ought to put in here what little I know about rougettes. One never sees them flying by day. They live communally in the large hollows of rotten trees, in numbers sometimes exceeding four hundred. They only leave in the evening as darkness falls and return before dawn. One is assured, and it is taken in this island for granted, that, however many individuals make up one of these associations, there is but a single male. I have not been able to verify this fact. I should only say that these sedentary animals become fat; that at the beginning of the colony, numerous poorly off and unfastidious people, taught no doubt by the Malacasses, provided themselves plentifully with this fat for preparing their food. I have seen the time when a bat-tree (it is thus that one used to call the retreats of our rougettes) was a real find. It used to be easy, as far as one can judge, to prevent these animals leaving, than to take them out alive one by one, or to suffocate them with smoke, and in one way or another discover the number of males or females of which the association was composed; I do not know any more about this species.

Paragraph 10: The author of the figure, unknown by name, was once called by art historians the Master of Beautiful Madonnas or currently the Master of Beautiful Madonna of Toruń. His unknown career, as well as his oeuvre, origin and influence are the subject of many years of scientific discussions, although as a result of more recent research, the Master is credited, among others, with Praying Christ from the Church of St. John the Baptist in Malbork (currently in the collection of the local Castle Museum) and is associated with Pieta in the Church of St. Barbara in Krakow. However, the factors complicating the research on the work of the Toruń Master are the similarities of many other works in terms of composition, stylistics and ideological content, which were found in various places in Central Europe, hence the "international" character of art around 1400. The problem of the origin of the style of Toruń's work reflects to a large extent the unresolved issues of the sources of the beautiful style. The Czech Republic with Prague, Silesia with Wrocław, France with Paris, Austria with Salzburg and the Rhineland with Cologne are considered to be the main centres that were to shape the style around 1400. The court culture and the Parler's trend are important foundations for the beautiful style, these two tendencies have marked a large part of Europe. The Eastern Pomerania, which belonged to the Teutonic Knights' state, became an important artistic region around 1400, with the artistic centres in Gdansk, Torun, Elblag and the capital of the monastic state - Malbork. A number of works from around 1400 have been preserved in Toruń (including St. Mary Magdalene carried by angels from Toruń Cathedral), but each of them has its own characteristics, independent of the form of the Beautiful Madonna, with the exception of the Madonna of Good Hope (also known as the Pregnant Madonna) from Toruń City Hall, which went missing during the recent war. Researchers emphasize a strong link between the Beautiful Madonna of Toruń and the Beautiful Madonna of Wrocław, some of them associate both works with the same sculptor. Numerous similarities to the figure from Toruń can be observed in the Sternberg Madonna, or the statues of Mary and the Child in Bonn, as well as in Gdańsk (e.g. Pietà in the church of the Blessed Virgin Mary). Apart from Toruń, researchers point to Prague as the place of the creation of the Beautiful Madonna. Numerous stone sculptures were made in this city around 1400, including the Beautiful Madonna from Český Krumlov (currently in the collection of the Kunsthistorisches Museum in Vienna); however, according to most art historians, this figure has no direct workshop connection with sculptures from Wroclaw and Torun. The capital of the Czech Crown during the reign of the last Luxembourgers, mainly King Wenceslas IV (1378-1419), and his father Charles IV, belonged to the main art centres of Central Europe.

Paragraph 11: Reviewing the album for PopMatters, Adrien Begrand was very positive. He said that although the band's sample-based EPs are just as essential, "it's the band's irreverent genius and the meticulous arrangements on D. I. Go Pop that stick in your mind the longest" and commented that "unlike that grouchy landlady [featured at the end of the album], you'll be wanting to turn this music up, not down." In the May 2005 issue of Spin, Andrew Beaujon, reviewing Joy Division's Unknown Pleasures, told readers to "also try" D. I. Go Pop, describing it as "English goofballs [finding] beauty in frustration, futility and a computer lab's worth of obsolete machines losing their shit." David James of Optimistic Underground said in 2009 that he "won't try to describe the sounds [on the album] other than, generally speaking, they were far ahead of their time in the use of sampling, presaging everything from Matmos to The Books to Animal Collective's later albums," calling it a "truly worthy yet well-hidden gem." Will Hermes of Rolling Stone said the album was a "shot heard 'round the corner, if that: a lost masterpiece of evocative blur channeling Joy Division's melodic gloom through My Bloody Valentine's blissful noise-swarms, with sample loops outgunning the guitars."Tiny Mix Tapes were also very positive, saying "Disco Inferno simply wanted to shine on us the light of a fundamentally strange hue, a new context in which to enjoy pop music forms. This won't decimate society and crush your religion. It will tweak your eardrums, and may just plant a knowing grin on your face." Scott Plagenhoef of Pitchfork rated the album 9.3/10, saying "D. I. Go Pop retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia" and said it was "nearly as urgent and key" as the band's sample-based EPs. In 2011, Eye Plug noted that Pitchforks review resulted in a swell of activity across internet message boards, and "appears to have left a continued wake of interest." Andrew Unterberger of Stylus Magazine, although a fan of the album, found it imperfect without the inclusion of several of the songs from the prior EPs, and chose the album for a "Playing God" feature for the magazine in which he picked a definitive, personalised track list for the album.

Paragraph 12: Reviewing the album for PopMatters, Adrien Begrand was very positive. He said that although the band's sample-based EPs are just as essential, "it's the band's irreverent genius and the meticulous arrangements on D. I. Go Pop that stick in your mind the longest" and commented that "unlike that grouchy landlady [featured at the end of the album], you'll be wanting to turn this music up, not down." In the May 2005 issue of Spin, Andrew Beaujon, reviewing Joy Division's Unknown Pleasures, told readers to "also try" D. I. Go Pop, describing it as "English goofballs [finding] beauty in frustration, futility and a computer lab's worth of obsolete machines losing their shit." David James of Optimistic Underground said in 2009 that he "won't try to describe the sounds [on the album] other than, generally speaking, they were far ahead of their time in the use of sampling, presaging everything from Matmos to The Books to Animal Collective's later albums," calling it a "truly worthy yet well-hidden gem." Will Hermes of Rolling Stone said the album was a "shot heard 'round the corner, if that: a lost masterpiece of evocative blur channeling Joy Division's melodic gloom through My Bloody Valentine's blissful noise-swarms, with sample loops outgunning the guitars."Tiny Mix Tapes were also very positive, saying "Disco Inferno simply wanted to shine on us the light of a fundamentally strange hue, a new context in which to enjoy pop music forms. This won't decimate society and crush your religion. It will tweak your eardrums, and may just plant a knowing grin on your face." Scott Plagenhoef of Pitchfork rated the album 9.3/10, saying "D. I. Go Pop retains the arpeggios and fractured melodicism of their then-recent singles, and adds increasing layers of disorienting samples and paranoia" and said it was "nearly as urgent and key" as the band's sample-based EPs. In 2011, Eye Plug noted that Pitchforks review resulted in a swell of activity across internet message boards, and "appears to have left a continued wake of interest." Andrew Unterberger of Stylus Magazine, although a fan of the album, found it imperfect without the inclusion of several of the songs from the prior EPs, and chose the album for a "Playing God" feature for the magazine in which he picked a definitive, personalised track list for the album.

Paragraph 13: Promotion for the album began on 4 May 2002 with a secret fan-club show. Suede played to one hundred fans at their London rehearsal studio the Depot. The secret gig coincided with the tenth anniversary release of debut single "The Drowners", which was marked by an earlier club night at the Liquid Rooms in King's  Cross. Fans were then transported to the rehearsals in two buses where the band performed fifteen songs, including eight new songs from the new album. The album was released 30 September 2002 and peaked at number 24, which is the lowest chart position of all the band's studio albums, and the only album not to chart in the top ten. The album remains the only studio album from Suede's catalogue not to be released in the US. The lead single for the album was "Positivity", which received a large amount of criticism from fans and the press. NME writer Julian Marshall wrote that "Positivity" was "[G]reeted with an apathetic shrug by everyone but the most devoted." Although it peaked at No. 16 on the charts and Anderson initially felt happy about the song, his feelings towards it would change in time. He later said of "Positivity" that "When I first wrote it I thought it was a masterpiece but soon realized that many people were genuinely offended by it." "Obsessions" was the second single released and despite being better received than "Positivity", the song charted at a lower position and was ultimately the final single released from the album. The album had first-week sales of 10,152 units, and went on to sell 21,943 units after 12 weeks.

Paragraph 14: The Swedish Princess Hedwig Elizabeth Charlotte described him, as well as his family, at the time of a visit in August 1799: Our cousin, the Duke, arrived immediately the next morning. As a noted military man he has won many victories, he is witty, literate and a pleasant acquaintance, but ceremonial beyond description. He is said to be quite strict, but a good father of the nation who attends to the needs of his people. After he left us, I visited the Dowager Duchess, the aunt of my consort. She is an agreeable, highly educated and well respected lady, but by now so old that she has almost lost her memory. From her I continued to the Duchess, sister to the King of England and a typical English woman. She looked very simple, like a vicar's wife, has I am sure many admirable qualities and are very respectable, but completely lacks manners. She makes the strangest questions without considering how difficult and unpleasant they can be. Both the Hereditary Princess as well as Princess Augusta — sister of the sovereign Duke — came to her while I was there. The former is delightful, mild, lovable, witty and clever, not a beauty but still very pretty. In addition, she is said to be admirably kind to her boring consort. The Princess Augusta is full of wit and energy and very amusing. [...] The Duchess and the Princesses followed me to Richmond, the country villa of the Duchess a bit outside of town. It was small and pretty with a beautiful little park, all in an English style. As she had the residence constructed herself, it amuses her to show it to others. [...] The sons of the Ducal couple are somewhat peculiar. The Hereditary Prince, chubby and fat, almost blind, strange and odd — if not to say an imbecile — attempts to imitate his father but only makes himself artificial and unpleasant. He talks continually, does not know what he says and is in all aspects unbearable. He is accommodating but a poor thing, loves his consort to the point of worship and is completely governed by her. The other son, Prince Georg, is the most ridiculous person imaginable, and so silly that he can never be left alone but is always accompanied by a courtier. The third son is also described as an original. I never saw him, as he served with his regiment. The fourth one is the only normal one, but also torments his parents by his immoral behavior. 

Paragraph 15: It is favored among beekeepers for several reasons, not the least being its ability to defend itself successfully against insect pests while at the same time being extremely gentle in its behavior toward beekeepers. These bees are particularly adept at adjusting worker population to nectar availability.  It relies on these rapid adjustments of population levels to rapidly expand worker bee populations after nectar becomes available in the spring, and, again, to rapidly cut off brood production when nectar ceases to be available in quantity. It meets periods of high nectar with high worker populations and consequently stores large quantities of honey and pollen during those periods. They are resistant to some diseases and parasites that can debilitate hives of other subspecies.

Paragraph 16: It is favored among beekeepers for several reasons, not the least being its ability to defend itself successfully against insect pests while at the same time being extremely gentle in its behavior toward beekeepers. These bees are particularly adept at adjusting worker population to nectar availability.  It relies on these rapid adjustments of population levels to rapidly expand worker bee populations after nectar becomes available in the spring, and, again, to rapidly cut off brood production when nectar ceases to be available in quantity. It meets periods of high nectar with high worker populations and consequently stores large quantities of honey and pollen during those periods. They are resistant to some diseases and parasites that can debilitate hives of other subspecies.

Paragraph 17: Promotion for the album began on 4 May 2002 with a secret fan-club show. Suede played to one hundred fans at their London rehearsal studio the Depot. The secret gig coincided with the tenth anniversary release of debut single "The Drowners", which was marked by an earlier club night at the Liquid Rooms in King's  Cross. Fans were then transported to the rehearsals in two buses where the band performed fifteen songs, including eight new songs from the new album. The album was released 30 September 2002 and peaked at number 24, which is the lowest chart position of all the band's studio albums, and the only album not to chart in the top ten. The album remains the only studio album from Suede's catalogue not to be released in the US. The lead single for the album was "Positivity", which received a large amount of criticism from fans and the press. NME writer Julian Marshall wrote that "Positivity" was "[G]reeted with an apathetic shrug by everyone but the most devoted." Although it peaked at No. 16 on the charts and Anderson initially felt happy about the song, his feelings towards it would change in time. He later said of "Positivity" that "When I first wrote it I thought it was a masterpiece but soon realized that many people were genuinely offended by it." "Obsessions" was the second single released and despite being better received than "Positivity", the song charted at a lower position and was ultimately the final single released from the album. The album had first-week sales of 10,152 units, and went on to sell 21,943 units after 12 weeks.

Paragraph 18: The author of the figure, unknown by name, was once called by art historians the Master of Beautiful Madonnas or currently the Master of Beautiful Madonna of Toruń. His unknown career, as well as his oeuvre, origin and influence are the subject of many years of scientific discussions, although as a result of more recent research, the Master is credited, among others, with Praying Christ from the Church of St. John the Baptist in Malbork (currently in the collection of the local Castle Museum) and is associated with Pieta in the Church of St. Barbara in Krakow. However, the factors complicating the research on the work of the Toruń Master are the similarities of many other works in terms of composition, stylistics and ideological content, which were found in various places in Central Europe, hence the "international" character of art around 1400. The problem of the origin of the style of Toruń's work reflects to a large extent the unresolved issues of the sources of the beautiful style. The Czech Republic with Prague, Silesia with Wrocław, France with Paris, Austria with Salzburg and the Rhineland with Cologne are considered to be the main centres that were to shape the style around 1400. The court culture and the Parler's trend are important foundations for the beautiful style, these two tendencies have marked a large part of Europe. The Eastern Pomerania, which belonged to the Teutonic Knights' state, became an important artistic region around 1400, with the artistic centres in Gdansk, Torun, Elblag and the capital of the monastic state - Malbork. A number of works from around 1400 have been preserved in Toruń (including St. Mary Magdalene carried by angels from Toruń Cathedral), but each of them has its own characteristics, independent of the form of the Beautiful Madonna, with the exception of the Madonna of Good Hope (also known as the Pregnant Madonna) from Toruń City Hall, which went missing during the recent war. Researchers emphasize a strong link between the Beautiful Madonna of Toruń and the Beautiful Madonna of Wrocław, some of them associate both works with the same sculptor. Numerous similarities to the figure from Toruń can be observed in the Sternberg Madonna, or the statues of Mary and the Child in Bonn, as well as in Gdańsk (e.g. Pietà in the church of the Blessed Virgin Mary). Apart from Toruń, researchers point to Prague as the place of the creation of the Beautiful Madonna. Numerous stone sculptures were made in this city around 1400, including the Beautiful Madonna from Český Krumlov (currently in the collection of the Kunsthistorisches Museum in Vienna); however, according to most art historians, this figure has no direct workshop connection with sculptures from Wroclaw and Torun. The capital of the Czech Crown during the reign of the last Luxembourgers, mainly King Wenceslas IV (1378-1419), and his father Charles IV, belonged to the main art centres of Central Europe.

Paragraph 19: Roggenkamp's first published "novel" appeared only in 2004.   "Familienleben" ("Family life"), which can be described as an "autobiographically inspired novel", was well received by leading critics.   Recommended to television viewers by the influential presenter and literary critic Elke Heidenreich, it quickly proved a commercial success, notwithstanding its unfashionable length.   It runs to more than 400 pages and has been translated into a number of different languages.   The narrator-protagonist is a 13 year-old child called Fania.   Fania is the younger of the parents' two daughters.   The narrative deals with the daily life of a German-Jewish family living in Hamburg in 1967.   In her powerfully positive review of the book in Der Spiegel, Jana Hensel provides a little context:  "For three decades Viola Roggenkamp kept her project for a novel to herself.   The result, now, is an almost eerily perfect book ... All the characters in it are perfectly defined with great dramatic clarity, replete with their psychological contradictions".   The relationship between holocaust survivors and their children in Germany was the underlying theme both of "Familienleben" and of Roggenkamp's next book, "Die Frau im Turm" ("The woman in the tower") which appeared in 2009.    "Tochter und Vater" (2011) again incorporated as its starting point and at its core, the author's own experiences, and what she had discerned of her parents' lives in Silesia during the war.   Her mother was dead by the time she started writing this third book, and had, with tact but also evident difficulty, refrained from asking questions about the earlier work, "Familienleben" after Viola had admitted that she was writing it.   Nevertheless, the author sent her mother a copy in the mail and was surprised by the reaction:  "After she read the book, she told me she was surprised to discover that I was aware of the trauma she carried with her. She always thought she protected me and my sister from all that."   The three books driven by her own experiences of growing up as the child of holocaust survivors in Hamburg only came after years of soul searching and quiet enquiry about the experiences of German Jews who had grown up in Germany as the children of holocaust survivors.  By the end of the twentieth century there had been plenty published by then children of parents who had perpetrated holocaust killings and other acts of persecution -  or simply quietly colluded, taking care not to follow up the rumours of what was going on in the camps.   But there had been virtual silence from the children in Germany of holocaust survivors who simply wanted to forget, and lived under the shadow of a deeply entrenched terror that somehow, it could all happen again one day.   There were, in any case, not too many holocaust survivors who had ended up bringing up children still living in Germany.   From the perspective of a writer with insights to share, as Roggenkamp has told at least one interviewer, her "family suffered, but [she is] lucky to have [her] non-typical background."   But her experiences are nevertheless in many respects far from unique:  before publishing the three books based on her own childhood experiences she had already, in 2002, published "Tu mir eine Liebe. Meine Mamme" (loosely, "Be a love...  My mummy").   The subtitle is more enlightening than the main title:  "Jüdische Frauen und Männer in Deutschland sprechen von ihrer Mutter" ("Jewish women and men in Germany talk about their mothers").   The volume is based on 26 interview-portraits in which higher-profile Germans talk about their mothers, all of whom are holocaust survivors.   The interviewees include Stefan Heym, Esther Dischereit, Wladimir Kaminer, Rachel Salamander, Stefanie Zweig, and Michael Wolffsohn. Most of these are members of Roggenkamp's own generation or younger, and so unable to remember the holocaust on their own account:  yet all of them have had their lives defined by the holocaust, primarily through the effect the experiences of it had on their mothers.   Survivor guilt is, perhaps, the most frequently recurring of the Leitmotiven identified in the interviews.   Prior to the volume's publication the interview-portraits had already been published individually in Jüdische Allgemeine.

Paragraph 20: It is favored among beekeepers for several reasons, not the least being its ability to defend itself successfully against insect pests while at the same time being extremely gentle in its behavior toward beekeepers. These bees are particularly adept at adjusting worker population to nectar availability.  It relies on these rapid adjustments of population levels to rapidly expand worker bee populations after nectar becomes available in the spring, and, again, to rapidly cut off brood production when nectar ceases to be available in quantity. It meets periods of high nectar with high worker populations and consequently stores large quantities of honey and pollen during those periods. They are resistant to some diseases and parasites that can debilitate hives of other subspecies.

Paragraph 21: Quill had a longstanding distaste for racism and any other kind of discrimination. Beginning immediately in the 1930s with his ascension to the leadership of the TWU, he had made it a point not to tolerate any kind of racial discrimination under his watch. From the outset, the TWU vowed to support workers ‘regardless of race, creed, color or nationality’, making it an anomaly in the still racially segregated America and amongst other Trade Unions in New York City. The TWU matched their words with action in 1938 when the Union supported the rights of Black transit workers. At that time, Black workers could only work as either porters or cleaners, but the TWU forced the IRT to allow black workers to better positions within the company. In 1939 the TWU held the first desegregated trade union meeting in New Orleans since the Reconstruction era. In 1941 Quill pledged to fight to see that ‘the color-line is wiped out . . . and that the Negro and white workers will have equal rights in this country’. Two years later he spoke at dozens of workplace meetings in New York, warning of the consequences for all workers of the wave of race riots then occurring in the US. In 1945 the TWU ran a nationwide campaign against lynching.  

Paragraph 22: Wilde transforms the dance from a public performance for his guests, as in the Bible, to a personal dance for the king himself. He gives no description of the dance beyond the name, but the idea of a series of veils has been connected to a process of unveiling. As Malik says, "although Wilde does not describe Salome's dance or suggest that she remove any veils, her dance is invariably assumed to be one of unveiling, thus revealing herself." Wilde's play has even been proposed as the origin of striptease. Toni Bentley writes "Wilde's bracketed brevity allowed for a world of interpretation. Can the invention of striptease be traced to a single innocuous stage direction in a censored play that could barely find a theater or audience? Can Oscar Wilde be considered the unlikely father of modern striptease?"

Answer: 21