Paragraph 1: Since the implementation of the Group Representation Constituency (GRC), critics have accused the governing party of gerrymandering. The electoral system reduces the chances of opposition representation in Parliament with a "winner takes all" system. As pointed by NGO group Maruah Singapore, it "creates a barrier to entry" for smaller opposition political parties to contest in the general elections as they may find it hard to field a five-member team of talents, it also allows for the "free-riding of untested candidates" who get in on the back of stronger team members, such as the PAP candidates brought in to the Tanjong Pagar GRC, which was uncontested for 14 years when helmed by Prime Minister Lee Kuan Yew. The Elections Department, in charge of redrawing electoral boundaries without the need of parliamentary approval, was established as part of the executive branch under the Prime Minister's Office (PMO), rather than as an independent body. Critics have accused it of giving the governing party the power to decide polling districts and polling sites through electoral engineering, based on poll results in previous elections. Opposition politician Sylvia Lim has stated in Parliament, “The entire electoral boundary re-drawing process is completely shrouded in secrecy, chaired by the secretary to the Cabinet. There are no public hearings, no minutes of meeting published. The revised boundaries are released weeks or even days before Nomination Day. The report makes no attempt to explain why certain single seats are retained while others are dissolved, nor why new GRCs are created or old ones re-shaped.” Cheng San GRC and Eunos GRC were examples of constituencies dissolved by the Elections Department after opposition parties gained ground in elections, with voters redistributed to other constituencies.

Paragraph 2: The William Volker Fund was a charitable foundation established in 1932 by Kansas City, Missouri, businessman and home-furnishings mogul William Volker.  Volker founded the fund with the purposes of aiding the needy, reforming Kansas City's health care and educational systems, and combating the influence of machine politics in municipal governance.  Following Volker's death in 1947, Volker's nephew Harold W. Luhnow continued the fund's previous mission, but also used the fund to promote and disseminate ideas on free-market economics.  During Luhnow's tenure as the fund's primary manager, the William Volker Fund was one of the few libertarian organizations with significant amounts of money at its disposal, making it a key leader in developing the modern libertarian and conservative movements in the United States.

Paragraph 3: The girls volleyball team won the Group III state championship in 1982 (vs. River Dell Regional High School), 1983 (vs. Ramsey High School), 1985 (vs. Tenafly High School), 1986 (vs. Ramsey), 1987 (vs. Paramus High School), 1990 (vs. Pascack Valley High School), 1991 (vs. Tenafly), 1992 (vs. Ramapo), 2010 (vs. West Windsor-Plainsboro High School South), 2013 (vs. Northern Valley Regional High School at Demarest), 2015 (vs. Paramus), 2016 (vs. Mount Olive High School) and 2017 (vs. Wayne Valley High School); the team's 13 state titles are the third-most of any school in the state and the 21 appearances in group finals are tied for second statewide. The team has won the Tournament of Champions in 2010 (vs. Ramapo) and in 2015 and 2016 (vs. Immaculate Heart Academy both years). The 1982 team won the program's first title with a victory against River Dell in two games (16–14 and 15–8) in the tournament finals. The 1983 team won the Group III title for the second consecutive year, defeating Ramsey in the final match of the tournament in three games (15-12, 8-15 and 15-11). The 1985 team defeated Tenafly in the finals of the Group III tournament to finish the year at 19-3. Behind in both games, the team finished the season at 21-3 in 1986 after holding off Ramsey in two games (16-14 and 16-14) in the tournament final. The 1990 team finished the season with a record of 25-1 after winning the Group II title by defeating Pascack Valley in two games (15-3, 15-13) in the tournament final. The 2007 team won the NBIL league title ending with a record of 21–3. The 2010 team won the Tournament of Champions, having already won the county, sectional and Group III titles, earning recognition from The Record as having "proved that they're the best team in New Jersey." The finished the 2010–11 season with a record of 26–1, winning the Bergen County championship and the Group III state title, on their way to winning the program's first Tournament of Champions with a two-game sweep of Ramapo High School in the tournament final, 25-20 and 25–12.

Paragraph 4: The 1948 tour of England by the Australian team captained by Donald Bradman, and subsequently labelled The Invincibles, provided convincing evidence of the weakness in international terms of English cricket at the time. Two heavy defeats in the first two Test matches led to a recall for Pollard, then 36 years old, for the third match, which was played at Old Trafford. The move was a success, for England were well on top until rain intervened and the match ended in a draw. Pollard's most significant contribution as a batsman in Tests was a "full-blooded pull" from the off spin of Ian Johnson, which caught the Australian opening batsman Sid Barnes, who was fielding at short leg on the edge of the pitch, under the ribs. Barnes was carried off on a stretcher, batted low in the Australian order and then had to retire hurt. He spent 10 days in hospital after the match and missed the next Test. The Australians were made uncomfortable by the accuracy of Alec Bedser and Pollard. Pollard's three wickets included Bradman, leg before wicket for just seven runs. The draw at Old Trafford encouraged the selectors to persevere with the same fast-medium combination in the fourth Test, at Leeds, but in a high scoring match on a good pitch the lack of spin bowling was decisive. Pollard's contribution was to take, in the space of three balls in the first innings, the wickets of Hassett and Bradman, the latter bowled for 33. But that was the extent of his success, and Australia made 404 for three wickets to win the match, at the time the highest total to win a Test match. For the final match of the series at The Oval, on what was seen as very definitely a pitch that was more suited to spin than quick bowling, Pollard was the bowler dropped to make way for an extra spin bowler.

Paragraph 5: For conspicuous gallantry and intrepidity at risk of life above and beyond the call of duty. Pvt. Mills, undergoing his baptism of fire, preceded his platoon down a draw to reach a position from which an attack could be launched against a heavily fortified strongpoint. After advancing about 300 yards, Pvt. Mills was fired on by a machinegun only 5 yards distant. He killed the gunner with 1 shot and forced the surrender of the assistant gunner. Continuing his advance, he saw a German soldier in a camouflaged position behind a large bush pulling the pin of a potato-masher grenade. Covering the German with his rifle, Pvt. Mills forced him to drop the grenade and captured him. When another enemy soldier attempted to throw a hand grenade into the draw, Pvt. Mills killed him with 1 shot. Brought under fire by a machinegun, 2 machine pistols, and 3 rifles at a range of only 50 feet, he charged headlong into the furious chain of automatic fire shooting his M 1 from the hip. The enemy was completely demoralized by Pvt. Mills' daring charge, and when he reached a point within 10 feet of their position, all 6 surrendered. As he neared the end of the draw, Pvt. Mills was brought under fire by a machinegunner 20 yards distant. Despite the fact that he had absolutely no cover, Pvt. Mills killed the gunner with 1 shot. Two enemy soldiers near the machinegunner fired wildly at Pvt. Mills and then fled. Pvt. Mills fired twice, killing 1 of the enemy. Continuing on to the position, he captured a fourth soldier. When it became apparent that an assault on the strongpoint would in all probability cause heavy casualties on the platoon, Pvt. Mills volunteered to cover the advance down a shallow ditch to a point within 50 yards of the objective. Standing on the bank in full view of the enemy less than 100 yards away, he shouted and fired his rifle directly into the position. His ruse worked exactly as planned. The enemy centered his fire on Pvt. Mills. Tracers passed within inches of his body, rifle and machine pistol bullets ricocheted off the rocks at his feet. Yet he stood there firing until his rifle was empty. Intent on covering the movement of his platoon, Pvt. Mills jumped into the draw, reloaded his weapon, climbed out again, and continued to lay down a base of fire. Repeating this action 4 times, he enabled his platoon to reach the designated spot undiscovered, from which position it assaulted and overwhelmed the enemy, capturing 22 Germans and taking the objective without casualties.

Paragraph 6: Büchner was born at Darmstadt on 29 March 1824. From 1842 to 1848 he studied physics, chemistry, botany, mineralogy, philosophy and medicine at the University of Giessen, where he graduated in 1848 with a dissertation entitled Beiträge zur Hall'schen Lehre von einem excitomotorischen Nervensystem (Contributions to the Hallerian Theory of an Excitomotor Nervous System). Afterwards, he continued his studies at the University of Strasbourg, the University of Würzburg (where he studied pathology with the great Rudolf Virchow) and the University of Vienna. In 1852 he became lecturer in medicine at the University of Tübingen, where he published his magnum opus Kraft und Stoff: Empirisch-naturphilosophische Studien (Force and Matter: Empiricophilosophical Studies, 1855). Büchner was one of the founding members of the Freies Deutsches Hochstift (Free German Foundation).

Paragraph 7: On 2 October 1939, the Japanese army captured the walled city. Three months after Japan's unconditional surrender on August 15, 1945, Gaoyou Japanese and fake troops, surrounded by the military and civilians in the liberated areas, resisted and refused to lay down their arms. At this time, there were two brigades and one artillery squadron of the 90th Independent Mixed Brigade of the Japanese Army stationed in Gaoyou city, with more than 1,100 men, as well as the 42nd Division of the False Second Front Army and the False County Security Brigade and Police Brigade with more than 5,000 men. In order to crush the plot of the Kuomintang army to collude with the Japanese and fake troops in Gaoyou to divide and attack the Central China Liberation Area, the Central Military Commission agreed on December 5 to launch the Battle of Gaoyou and seize Gaoyou City.The Battle of Gaoyou destroyed more than 1,100 Japanese troops, including 892 prisoners; destroyed more than 4,000 pseudo-army, including 3,493 prisoners; captured more than 80 artillery pieces and 6,000 guns. The Battle of Gaoyou was the last battle of the New Fourth Army against the Japanese invasion of China, and the last battle against the Japanese in Central China, ending with the surrender of the Japanese and the complete victory of the New Fourth Army.On 19 January 1949, the CPC controlled the walled city. The former site where the invading Japanese army surrendered to the New Fourth Army has been announced by the State Council as the second batch of 100 national anti-war memorial facilities and sites.

Paragraph 8: In a Persian tale published by professor  with the title "Бибинегар и Майсаскабар" ("Bibinegar and Maysaskabar"), a childless woman promises her unborn child to a tree stump. A girl is born and given the name Bibinegar. A voice emerges from the tree stump to remind her mother to give what it is owed. Bibinegar cries but decides to sit beside the tree stump. A man comes out of it with a grand retinue, introduces himself as Maysaskabar and gives the girl a coat. He tells her that she can never part with the coat, lest he will disappear. Bibinegar's aunt burns the coat in order to get rid of him and to marry the girl to her son. The man disappears, his only memento a turquoise ring. Bibinegar decides to seek him out, and passes by a flock of sheep, a caravan of camels and a herd of cows - all presents from Maysaskabar to Bibinegar. She reaches a fountain where a boy is getting water. She begs for a drink and the boy refuses, and she curses the water the boy is carrying to become pus and blood. The boy returns to fetch water again and she drops his ring inside it. Maysaskabar notices the ring and gets the maiden to a house of divs. He convinces the divs to take her as a servant. He plans to escape with her that night after he kills the wife he was forced to marry. They escape in a "Magic Flight" sequence as the man's mother-in-law pursues them. She is killed, but lets a drop of blood drip on the ground and become a gazelle. Maysaskabar decides to take the gazelle as a pet, but once he is away the animal attacks Bibinegar. One night, the gazelle becomes human, hides everyone in bottles and prepares a cauldron of boiling water to drop Bibinagar in. Bibinegar tricks the woman and goes to the roof to pray, to buy herself some time, and a fairy appears. The fairy tells the girl to break the bottle Maysaskabar is in. She does and he is released. The man tosses the gazelle into the cauldron, reveals it is all a setup by his aunt and sends Bibinegar with a bottle with his aunt's life inside to his aunt. He advises her to feed the dog and the camel with the correct food, water the garden, clean the rug and the bed, and to delouse his aunt when she asks for it. She follows through with the instructions, slams the aunt's head against the floor and runs away. The dog attacks Maysaskabar's aunt. Bibinegar returns to her beloved, now human.

Paragraph 9: Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, the same rating he gave the first film, writing: "In every way the equal of del Toro's original Hellboy, although perhaps a little noisier, it's another celebration of his love for bizarre fantasy and diabolical machines." Michael Rechtshaffen writing in The Hollywood Reporter said Hellboy II was an uncompromised vision of del Toro's imagination. He said that with the director given free rein, the film came across as an amalgam of the best moments from his previous films, only with better visual effects. John Anderson of Variety wrote of a rococo precision to the visuals that exceeded that of the first film. He cited del Toro's "clockmaker's preoccupation with detail" and ability to blend state-of-the-art technology with more classical visuals as the reasons for the film's success. Owen Gleiberman of Entertainment Weekly said that the plot did not often deviate from its comic-book traditions, but that del Toro staged the action "brilliantly". He said that while the visual effects deserved recognition, what made the film so exciting was the personality they were imbued with. Chuck Wilson of The Village Voice said that del Toro was on autopilot, but that he and his Pan's Labyrinth crew, cinematographer Guillermo Navarro in particular, staged the steady stream of action set-pieces expertly. Mike Goodridge of Screen International wrote that del Toro had retained the B movie tone of the first film, saying the film managed to avoid the self-importance of The Incredible Hulk and the Batman film series and that del Toro was simply a "great storyteller" providing a "good time". Stuart Levine in Premiere praised the visuals and "beautiful" set-pieces, but said del Toro's script fell a little short of his direction. Alonso Duralde writing for msnbc.com said it represented a backwards step for del Toro, saying that despite several creepy sequences, the film was a return to the muddled storytelling and pretty visuals of his pre-Pan's Labyrinth films. He said del Toro's screenplay lacked energy or momentum. However, Peter Bradshaw, of The Guardian, said almost the opposite was the case, as he thinks "it is a crackingly enjoyable and exciting sequel, with something that the memory of Pan's Labyrinth might have entirely erased: a sense of humour." Noting that "this spectacular movie seethes and fizzes with wit and energy, absorbing and transforming influences such as Ghostbusters and even Harry Potter and the secret world of Diagon Alley."

Paragraph 10: Fiore was born in Cosenza, and he began his professional footballing career with his domestic club in 1992. He played just 11 games before moving to Parma in 1994. He made his Serie A debut with the club at the age of nineteen, in a 0–0 away draw against Genoa, on 11 December 1994. During that season, Parma came in third in Serie A, and reached the final of the Coppa Italia. Their most prestigious success was achieved with their UEFA Cup victory over season rivals Juventus, and Fiore was inserted into the starting eleven by manager Nevio Scala, in the return leg of the final, which finished 1–1. This allowed Fiore to gain international experience alongside his established teammates such as Gianfranco Zola, Fernando Couto, and Dino Baggio. His limited playing time with them persuaded him to move to Padova for the following season, where he scored one goal in 24 games. In the 1996–97 season, Fiore moved to Serie B side Chievo, where he was impressive, notching up two goals and plenty of assists. This prompted former club, Parma, to re-sign the midfielder in 1997. For the next two seasons he became a more permanent member of the squad; although he was mainly left on the bench during the 1997–98 season, he looked far more impressive than his main starting eleven contender, the ageing Dino Baggio, when he was given a chance, and he became a member of the starting line-up during the following 1998–99 season. This season was Fiore's most successful season, as Parma finished fourth in Serie A, and won the Coppa Italia over Fiorentina. Fiore also won his second career UEFA Cup with Parma that season, as they defeated Marseille 3–0 in the final in Moscow. Fiore was one of the protagonists of Parma's triumphant European campaign that season, notching two goals in ten UEFA Cup appearances.

Paragraph 11: They are propagated by cuttings since they are established easily without rooting hormones. It is grown in a manner similar to its relatives such as the tomato, though it grows naturally upright by habit and can thus be cultivated as a free-standing bush, though it is sometimes pruned on . Additionally, supports are sometimes used to keep the weight of the fruit from pulling the plant down. It has a fast growth rate and bears fruit within 4 to 6 months after planting. It is a perennial, but is usually cultivated as an annual. Seedlings are intolerant of weeds, but it can later easily compete with low growing weeds. Like their relatives tomatoes, eggplants, tomatillos and tamarillos, pepinos are extremely attractive to beetles, aphids, white flies and spider mites.  Pepinos are tolerant of most soil types, but require constant moisture for good fruit production. Established bushes show some tolerance to drought stress, but this typically affects yield. The plants are parthenocarpic, meaning it needs no pollination to set fruit, though pollination will encourage fruiting. The plant is grown primarily in Chile, New Zealand and Western Australia. In Chile, more than 400 hectares are planted in the Longotoma Valley with an increasing proportion of the harvest being exported. Colombia, Peru, and Ecuador also grow the plant, but on a more local scale. Outside of the Andean region, it has been grown in various countries of Central America, Morocco, Spain, Israel, and the highlands of Kenya. In the United States   several hundred hectares of the fruit are grown on a small scale in Hawaii and California. More commercially viable cultivars have been introduced from New Zealand and elsewhere in more recent times. As a result, the fruit has been introduced into up-scale markets in Japan, Europe and North America and it is slowly becoming less obscure outside of South America.

Paragraph 12: Objections to the feasibility of a common upper ontology also do not take into account the possibility of forging agreement on an ontology that contains all of the primitive ontology elements that can be combined to create any number of more specialized concept representations.  Adopting this tactic permits effort to be focused on agreement only on a limited number of ontology elements. By agreeing on the meanings of that inventory of basic concepts, it becomes possible to create and then accurately and automatically interpret an infinite number of concept representations as combinations of the basic ontology elements.  Any domain ontology or database that uses the elements of such an upper ontology to specify the meanings of its terms will be automatically and accurately interoperable with other ontologies that use the upper ontology, even though they may each separately define a large number of domain elements not defined in other ontologies.  In such a case, proper interpretation will require that the logical descriptions of domain-specific elements be transmitted along with any data that is communicated; the data will then be automatically interpretable because the domain element descriptions, based on the upper ontology, will be properly interpretable by any system that can properly use the upper ontology.  In effect, elements in different domain ontologies can be *translated* into each other using the common upper ontology. An upper ontology based on such a set of primitive elements can include alternative views, provided that they are logically compatible.  Logically incompatible models can be represented as alternative theories, or represented in a specialized extension to the upper ontology.  The proper use of alternative theories is a piece of knowledge that can itself be represented in an ontology.  Users that develop new domain ontologies and find that there are semantic primitives needed for their domain but missing from the existing common upper ontology can add those new primitives by the accepted procedure, expanding the common upper ontology as necessary.

Paragraph 13: Toney Mountain is an elongated volcanic massif that rises from a basaltic lava plateau. A  wide summit caldera tops the volcano, and is elongated in east-west direction; this orientation is shared with calderas on other volcanoes in Marie Byrd Land and reflects regional tectonic stress. The slopes of the volcano feature parasitic vents and glacial corries, and are much steeper north of the volcano than south of it. Most of the mountain is covered by ice and its eastern sector may be a crater. That the mountain is mostly ice covered makes it difficult to determine its composition, the origin of the elongated shape of the volcano and the volcanological relation between the parasitic cinder cones and the main volcanic pile. Its volume may be about .

Paragraph 14: While the songs on High Voltage showcase a glam rock influence that the band would soon discard in favour of a more riff-based hard rock sound, the foundation for the band's songwriting structures are clearly evident.  As Angus told Benjamin Smith of VH1 in 2014, "I think the '60s was a great time for music, especially for rock and roll. It was the era of the Beatles, of the Stones, and then later on the Who and Led Zeppelin. But at one point in the '70s it just kind of became...mellow. When Malcolm put the band together, it was obvious what was missing at the time: another great rock band. So it was basically a reaction to that, because the music at that point had just turned into that soft, melodic kind of period, and that seemed to be all over the world. For us, it was a pretty easy choice, especially because Malcolm and myself – we’re two guitarists – so from the get-go, it was going to be a guitar band." Six of its eight songs were written by the Young brothers and Scott, with "Soul Stripper" being credited to the Young brothers alone. "Soul Stripper" evolved from an unrecorded song called "Sunset Strip", also written by Malcolm and Dave Evans. "Soul Stripper" is similar in theme and structure to "Squealer," a song that would be included on Dirty Deeds Done Dirt Cheap in 1976. "Baby, Please Don't Go" is a cover version of a Big Joe Williams song and was chosen as the LP's first single, leading to the third appearance on Australia's Countdown music program. The band's appearance included the now-legendary live performance of "Baby, Please Don't Go" featuring Scott dressed as a blonde schoolgirl.  "Love Song" evolved from an unrecorded song called "Fell In Love", also written by Malcolm and Dave Evans. This earlier version of the song had different lyrics, and the finished lyrics as heard on the album were added by Scott. In 1994, Bon Scott biographer Clinton Walker speculated that the uncharacteristically maudlin lyric to "Love Song" was likely a leftover from Scott's previous band Fraternity. "Love Song" was released as the album's first single (under the title "Love Song (Oh Jene)") and was backed with "Baby, Please Don't Go", but radio preferred the flip. "She's Got Balls" (about Scott's ex-wife Irene) was the first song that Scott and the Young brothers put together, while "Little Lover" had been a song Malcolm Young had been tinkering with since he was about 14 and had been originally titled "Front Row Fantasies" (Scott, who wrote the song about Angus, mentions glam rock star Gary Glitter by name in the song).

Paragraph 15: The New Peace Process commenced with the first Bastar Dialogue, a three-day consultation event held at Tilda Chhattisgarh on 8th June 2018. Just before the December election of 2018, combined efforts by some Left-leaning intellectuals, peace activists, non-governmental organisations and civil society and tribal leaders of Bastar were aimed at opening channels of communication between representatives of the state government and the Maoist rebels. With the central theme of the event being “Finding an alternative path”, the tribal communities caught in the crossfire were the focus of the meeting at Tilda and tribal groups from northeastern states, Andhra Pradesh-Telangana, Jharkhand, Maharashtra came down to Chhattisgarh. Self-rule/autonomy in tribal areas was discussed with emphasis on the sixth Schedule of the constitution. The Bodoland autonomous council, healthcare and educational facilities in Naxal areas and need for tribal leadership to emerge were scrutinised heavily. Among many, the key speakers included the Chairman of the National Commission of Scheduled Tribes (NCST), Nand Kumar Sai; the pioneer of peace negotiations, Prof. Haragopal; former Central Cabinet Minister, Arvind Netam; former Chhattisgarh Finance Minister, Ramchandra Singhdeo; former Madhya Pradesh Chief Secretary, Sharad Chandra Behar; Deshbandhu Chief Editor, Lalit Surjan; Prof. Madhulika Banerjee; and BPS Netam of Sarv Adivasi Samaj. Various activists and journalists also addressed the gathering and expressed their concern for violence in Central India and advocated community-based growth and peaceful living of Adivasis, Dalits and other communities.  A 200km yatra from Andhra Pradesh to Jagdalpur was proposed, symbolic of the route taken by Maoists in 1980. This non-partisan walk would facilitate dialogue as opposed to confrontation. Another key discussion point was the relevance of existing mass media platforms and cultural initiatives that are happening in Central India and how they can be mobilised further to promote peace. Two prominent initiatives were Deepa Kiran's session on storytelling, which emphasised on the need to shift the storytelling paradigm from far removed English speaking western concepts to more experience-based stories, and CGNet’s work on the democratisation of media. As per the report on proceedings of Vikalp Sangam, the 3-day event ‘engaged in understanding the various non-violent alternatives created by people in the field, such as strengthening gram sabhas under PESA; getting access to rights, privileges and dues under the Forest Rights Act (FRA); undertaking a march advocating for peace; and creating alternative models in education, health, media, agriculture and cottage industry. The Sangam was an endeavour to envision an alternative future for the Adivasis, Dalits and the poor through strengthening egalitarianism in self-rule and eco-centric development practices.’ A poll taken on the 3rd and final day of the event revealed that there were 70 people from 11 states, and a majority of people (73%) were from rural India.

Paragraph 16: In 2001, the director made his first feature film, To the Left of the Father (Lavoura Arcaica), in which he was responsible for directing, screenplay and editing, with cinematography by Walter Carvalho, art direction by Yurika Yamazaki and costume design by Beth Filipecki.  The cast included Selton Mello, Raul Cortez, Simone Spoladore, Leonardo Medeiros, Caio Blat and Juliana Carneiro da Cunha. Aiming to maintain the connection with the poetic prose of Raduan Nassar's book, the director elected to film without a defined script, based entirely on the actors' improvisations on the theme. This involved intensive coaching of the cast, secluded on a farm for four months. The film's creation and production process was discussed in the book About To the Left of The Father ("Sobre Lavoura Arcaica"), in which the director is interviewed by José Carlos Avellar, Geraldo Sarno, Miguel Pereira, Ivana Bentes, Arnaldo Carrilho and Liliane Heynemann, launched in Portuguese, English and French by the publisher Ateliê Editorial. It was success with the critics and the public, reaching 300 thousand viewers with just two copies, one in Rio de Janeiro and the other in São Paulo. It is considered one of the 100 best Brazilian films of all times, according to the Brazilian Film Critics Association (Abraccine). It had a successful career in a number of national and international festivals, receiving over 50 awards at the Montreal World Film Festival, the Rio Film Festival, the São Paulo International Film Festival, the Grand Prix for Brazilian Film, the Brasília Film Festival, the Havana Film Festival, the Cartagena Film Festival, the Guadalajara International Film Festival, the Buenos Aires International Festival of Independent Cinema, among others. In the opinion of writer and psychoanalyst Renato Tardivo, author of Porvir que vem antes de tudo – literatura e cinema em Lavoura Arcaica, the film is one of the most important works of Brazilian cinema “of all times”. The critic Carlos Alberto de Mattos described it as the first work of art of the Brazilian cinema in the 21st century. The film was acclaimed by the critics of various countries and, according to the French magazine Cahiers du Cinéma, To the Left of the Father is a "barbarous poem verging on hallucination, of extraordinary power".

Paragraph 17: In the early days of the township, there was no system of public instruction; the means for acquiring an education were very limited and discouraging. Then a few settlers joined together and erected a log cabin, in which was a fireplace extending several feet across one end. In this the fire, for warming the house, was built of logs its entire length, requiring several boys to carry each log into the house and place it in position. A log was sawn out of each side of the building and the spaces were closed with paper which had been oiled with lard; this oiled paper served as windows. The seats were logs split into halves and supported by round sticks; the writing desks were of similar pattern, and the door was constructed of split logs, fastened together with wooden pine and hung with wooden hinges. In the construction of these pioneer seminaries not a nail was used. It was not unusual for boys to travel three or four miles (6 km) through dense woods, to school, blazing their way the first time going over the route. Those seats of learning are now gone, and the recollection of them is rapidly fading from memory. Wonderful, indeed, are the changes and advances made within the last sixty years in the means for acquiring an education. The township has now a system of free schools of which any people should be proud. It is now divided into ten districts, and in each is located a comfortable and substantial school-house of modern architecture, within a short distance of each child. Every boy and girl in the township, between the ages of six and twenty-one years, can now obtain an education that will fit them to transact the ordinary business of life. The following statistics show the present status of education in the township: Number of schools taught, 9; number of public school-houses, 10; value of school-houses, $5,000; value of school apparatus, $480; amount of special revenue, $820.33; amount of revenue for tuition, $5,790.31; average compensation paid to teachers per day, $1.36; daily average attendance, 336; average number of days taught during the year, 180; township library volumes, 375. There is no public school taught in district No. 2; the people of this district are Catholic, and patronize their church parochial school. In not sustaining a public school they are deprived of the district's share of the public school fund.'

Paragraph 18: Siglap in its early days had four kampongs, side by side each other along the coastline, they were from east to west starting from Jalan Hajijah, Kampong Hajijah, Kampong Goh Choo, Kampong Siglap and Kampong Lim Choo which ended near Siglap Road. There were also a small community of Japanese fishermen living in the area, although by the end of World War II (WWII) they had mostly vanished. The inland areas of Siglap consisted mostly of coconut and nutmeg plantations and in 1912 the Frankels bought over these plantations. The Frankels were wealthy Jewish business people originating from Lithuania and had decided to settle in Singapore after accumulating considerable wealth from their sale of rubber, bread and even furniture in Singapore and around the region. They settled in the estate and developed the area by building roads named after famous Operas of their time including Carmen and Aida, which gave rise to the name of Opera Estate as it is known today. They were influential people that welcomed distinguished guests like Albert Einstein to visit and tour the area. At the onset of WWII the Frankels left for the United States. The area as well as along the wider East Coast Stretch saw machine gun pillbox being installed by the British in anticipation of a sea-bound attack by the Japanese that never materialise. During the Japanese Occupation, the coasts of Siglap and several of the nearby hills were used as execution sites in the Sook Ching operation carried out by the Japanese to clear out anti-Japanese personnel, the operation mostly targeted the Chinese population. At the end of the war many mass graves had been found in the area, one of such place was near the junction of Bedok South Avenue 1 and Upper East Coast Road. In 1953 during the heydays of Singapore film making, Cathay-Keris Studio, one of two major film companies in Singapore, set up its studio along Jalan Keris and the surrounding area was commonly used for shooting scenes in the films. In 1962 a huge fire broke out at Kampong Siglap when firecrackers were burnt out of control and set the village ablaze. The few HDB flats built in the area were built in the aftermath of the fire to house the homeless victims. Starting from the mid-1960s, the Government embarked on an ambitious land reclamation project that saw the coastline of the entire East Coast Region shift outwards. As a result, many villagers in the area could not depend on fishing as a form of livelihood and many eventually settled away or were relocated to the neighbouring estates. The reclaimed land was then redeveloped with numerous high rise flats built and the East Coast Parkway was also constructed. The area has throughout history been home to several of Singapore's Presidents, including the first President of Singapore, Yusof Bin Ishak.

Paragraph 19: Dirty jokes were once considered subversive and underground, and rarely heard in public. Comedian Lenny Bruce was tried, convicted, and jailed for obscenity after a stand up performance that included off-color humor in New York City in 1964. Comedian and actor Redd Foxx was well known in nightclubs in the 1960s and 1970s for his raunchy stand-up act, but toned it down for the television shows Sanford and Son and The Redd Foxx Comedy Hour, stating in the first monologue of the latter show that the only similarity between the show and his nightclub act was that "I'm smoking". American society has become increasingly tolerant of off-color humor since that time. Such forms of humor have become widely distributed and more socially acceptable, in part due to the mainstream success in the 1970s and 1980s of comedians like Peter Cook and Dudley Moore's alter-egos Derek and Clive, Dolemite, and Andrew Dice Clay. George Carlin and Richard Pryor have used it as an effective tool for social commentary.

Paragraph 20: From the second half of the nineteenth century until the 1920s, "German horn" meant the most common type of F horn, with a bore as wide as  in the cylindrical valve portion of the instrument. It had three rotary valves and was fitted with a slide-crook which also served as a master tuning slide. The German horn had a broader bell than the "French" single horn and was played using a conical mouthpiece with a flat-edged rim. French makers, by contrast, preferred to preserve as much as possible the character of the natural horns exemplified by the instruments built in the eighteenth century by Raoux, which meant a narrower bore between  and, in many earlier models, a removable set of piston valves which could be replaced by a simple centre crook to transform the instrument for hand-horn use. After about 1847, the French generally used an "ascending" third valve which normally sends the air through the extra length of the valve slide but, when, depressed, cuts out the slide instead of adding it as in the German horn and older French horns. Single horns use a single set of tubes connected to the valves. This allows for simplicity of use and a much lighter weight. They are usually in the keys of F or B, although many F horns have longer slides to tune them to E, and most B horns have a fourth valve to put them in the key of A. The problem with single horns is the inevitable choice between accuracy or tone. While the F horn has the "typical" horn sound, above third-space C accuracy is a concern for the majority of players because, by its nature, one plays high in the horn's harmonic series where the overtones are closer together. This led to the development of the B horn, which, although easier to play accurately, has a less desirable sound in the mid and especially the low register where it is not able to play all of the notes.  The solution has been the development of the double horn, which combines the two into one horn with a single lead pipe and bell.  Both main types of single horns are still used today as student models because they are cheaper and lighter than double horns.  In addition, the single B horns are sometimes used in solo and chamber performances and the single F survives orchestrally as the Vienna horn. Additionally, single F alto and B alto descants are used in the performance of some baroque horn concertos and F, B, and F-alto (an octave above the usual F horn) singles are occasionally used by jazz performers.

Paragraph 21: It is governed by a body of executives, selected by the Assam Government's Cultural Department and is headed by a Director of the Assam Civil Service or Indian Administrative Service cadre. The Kalakshetra is divided into several complexes. The Central Museum exhibits the articles used by different ethnic groups of Assam. The museum also houses several cultural objects of the state within it. The open-air theater can accommodate 2000 people and hosts cultural programs in its premises. Traditional dance and drama performances are conducted in this theater. The Kalakshetra also has the Artists' Village, which replicates the village society of Assam. The Sahitya Bhavan is the library in the Kalakshetra, which has a huge collection of rare books and manuscripts. It is a repository of the literature of the region. Another section of the art complex is the Lalit-Kala Bhavan. It is the center used for exhibitions and workshops on art and culture. A heritage park is also a part of the huge complex of the Shankardev Kalakshetra. Now a cable car facility is also available inside the park to commute the tourists. Nice view of the hills of Shillong plateau can be seen from the fields of Kalakshetra. The museum provides you a summary of Assamese Culture. The Bhupen Hazarika museum is another attraction of Kalakshetra.

Paragraph 22: A 1999 study found for people in the F2, F3 and F4 classes in the discus, elbow flexion and shoulder horizontal abduction are equally important variables in the speed at which they release the discus. For F2, F3 and F4 discus throwers, the discus tends to be below shoulder height and the forearm level is generally above elbow height  at the moment of release of the discus. F2 and F4 discus throwers have limited shoulder girdle range of motion.  F2, F3 and F4 discus throwers have good sitting balance while throwing. F5, F6 and F7 discus throwers have greater angular speed of the shoulder girdle during release of the discus than the lower number classes of F2, F3 and F4. F2 and F4 discus throwers have greater average angular forearm speed than F5, F6, F7 and F8 throwers.  F2 and F4 speed is caused by use of the elbow flexion to compensate for the shoulder flexion advantage of F5, F6, F7 and F8 throwers. A study of javelin throwers in 2003 found that F2 throwers have angular speeds of the shoulder girdle less than that of other classes. A study of was done comparing the performance of athletics competitors at the 1984 Summer Paralympics. It found there was little significant difference in performance in distance between women in 1A (SP1, SP2) and 1B (SP3) in the club throw. It found there was little significant difference in performance in distance between men in 1A and 1B in the club throw. It found there was little significant difference in performance in distance between men in 1A and 1B in the discus. It found there was little significant difference in performance in distance between men in 1A and 1B in the javelin. It found there was little significant difference in performance in distance between men in 1A and 1B in the shot put. It found there was little significant difference in performance in times between women in 1A and 1B in the 60 meters. It found there was little significant difference in performance in times between men in 1A and 1B in the 60 meters. It found there was little significant difference in performance in times between women in 1A and 1B in the slalom. It found there was little significant difference in performance in distance between women in  1A, 1B and 1C  in the discus. It found there was little significant difference in performance in distance between women in 1A, 1B and 1C  in the club throw.

Paragraph 23: Teck-Hughes Gold Mines Limited was established in 1913 in Ontario, following the discovery of gold in 1912 by prospectors Sandy McIntyre and James Hughes, in Teck Township—now known as Kirkland Lake. An American group of investors led by Charles Land Denison, including International Nickel Company (INCo)'s Ashton W. Johnston, acquired two thirds of Teck-Hughes' shares. It was Ontario's first gold mine in commercial production. When the ore was exhausted in the 1960s, after 50 years of production, it had produced 3.7 million ounces of gold worth C$104 million. The Beaverdell Mine, purchased by Teck in 1969, went back even further to 1898, and produced silver until 1991. Norman B. Keevil (b.1910 in Pike Lake, Saskatchewan) a mining entrepreneur with a background in geophysics, acquired Teck-Hughes in the 1960s. In 1963, his son, geoscientist Norman Keevil Jr., then 25-years old, became vice-president of exploration at Teck. Keevil Jr. was named Mining Man of the Year in 1979 for having presided over a series of mine constructions in the 1970s. From 1979 to 2015, Keevil oversaw Teck's major mining projects including Hemlo, Voisey's Bay and Antamina. Over the same time period, Teck became "one of the world's largest producers of metallurgical coal." In 2012, as Chairman of Teck Resources Limited, Keevil Jr. was named as the Entrepreneur Of The Year for his significant contributions to British Columbia.

Paragraph 24: Largo often appears to be delusional, confusing reality with video games. As a result, he occasionally causes chaos and destruction as he battles against zombies and other (occasionally imagined) threats. However, because of the nature of the Megatokyo world, much of what Largo gets himself involved into is what really is happening. A good example is the battle against the undead swarm, which he describes while drinking at a Beer Garden, which he fought off with the help of Dom. While it's unclear how much of Largo's story is exaggeration and how much is truth, the Tokyo Police Cataclysm Division throws him in jail for being involved in the combat, proving that the battle did take place (and judging from Largo's amazing combat ability, he may really have fought off the entire horde). There is a possibility that Largo's story was actually his own version of what happened near the end of the first volume. After going down a manhole and finding "the long lost Book of Necrowombicon," he calls Dom to tell him he accidentally unleashed a horde of zombies. Then, Largo goes through Junpei's weapons, finds a crossbow, and goes to the Cave of Evil, which is actually a rave. He takes one look at the ravers and screams, "ZOMBIES!!!" After apparently firing the crossbow, he gets thrown in jail by the police. Then, Junpei (the "L33t N1nj4" and Largo's apprentice in l33t) arrives and summons a Rent-A-Zilla. A Godzilla-like creature busts through the building and Largo rides away on him. After Rent-A-Zilla destroys a few buildings, Largo gets off and meets up with Piro again. Conversely, Largo's obsession with gaming has led him to develop a number of remarkably profound concepts which guide his life, such as when one "plays" with others, they should support each other, not just "camp" and "snipe". Also, one shouldn't "play games"(seek out experiences) that aren't "worth playing"(provide enjoyment and fulfillment).

Paragraph 25: Male. Wings, upperside, tawny or russet tawny, sometimes much shaded with black. Forewing: upper angle of cell mostly blackish, generally with some white scales, which occasionally are so numerous as to form a distinct spot; bar D heavy in front; median bars SC5—R2  joined to the black outer area, seldom isolated, and then obsolete, sometimes also joined to bar D, in which case the white discal band is, between R2 and SC4-5,  represented by two or four small spots only; median bar R2—R3 close to bar D, with which it is often fused, bars R3—M2 always present, arched, the second occasionally small, bars M2-SM2  thinner, seldom absent; discal bars all fused with, or joined to, the black outer area, postdiscal interspaces R1—SM2 seldom all marked, then the upper ones minute, more or less white, often only the submedian, double, spot present, seldom all these spots absent; discal interspace white, or slightly yellowish as a rule, this colour mostly extending a little basad along R2—M1, and M2, so that the median bars R3—M2 have in most specimens some white scaling at their proximal side; seldom are these bars entirely separated from the tawny area; the white band is distally concave between the veins, the veins themselves more or less black within the band, the partitions R2—M1 of the band often less than a third the size of partition M2—SM2, the band generally not extending beyond SM2, but in some individuals there is white scaling also behind SM2. Hindwing: median bars C—R2 more or less obvious, with pale tawny or whitish scaling at outside, at least between C and SC2 this scaling palest in the darkest individuals; postdisco-submarginal patches varying in size, patches C—R1  large, but generally ill-defined, the black colour extending basad along veins, about as broad as the interspace between them and the median bars, patches R2—SM2 much smaller, separated from one another, the white submarginal dots situated just at their proximal edge or a little within the black patches; the upper white submarginal dots seldom marked; admarginal line brown: the disco-marginal area often much shaded with black, the tawny admarginal interspaces sometimes obsolete; discal lunules faintly indicated in the darkest examples by dark clouds. Underside very constant in general appearance, blackish bistre brown, outer marginal region pale sepia and olive; sub-basal to median bars conspicuously edged with white, no white discal patches. Forewing: median bars R3—SM2 more or less angle-shaped, bar R2—R'3 more proximal than bar R2—M2; upper postdiscal bars replaced by more or less obvious, but ill-defined, spots. Hindwing: discal, deeply arched, lunule C—SC2 closer to the respective median bar than this is to submedian bar C—SC2; upper two or three submarginal dots absent; upper tail short, triangular, second just indicated. Female: Wings, upperside darker than in male. Forewing: interspace between median bars SC5—M1 and cell filled up with black, of the three black patches thus formed the middle one is much shorter than the others, median bar M1—M2 more proximal than the outer edge of the black patch in front of it, also somewhat dilated; discal band extending to internal margin, where it is, however, shaded with tawny; postdiscal spots R1—SM2  generally larger than in male, the upper two or the second sometimes absent. Hindwing: median bars C—R1 black, the following ones down to M1 more or less vestigial; discal bars R1— SM2 marked as dark luniform clouds, the bars C—R1 completely fused with the postdisco-submarginal patches; discal interspaces white or yellowish white in front, this colour shading off behind into tawny, forming an irregular band which extends to near abdominal fold, that is very indistinct behind; postdiscal-submarginal patches R1—SM2 larger than in male, often touching each other, sometimes their postdiscal portions well developed, in which case the linear, white, submarginal spots stand in the centres of the patches, outer edges of the patches (submarginal bars), however, always deeper black than rest of the patches; admarginal line more distinct than in male. Underside similar to that of male, but proximal portions of discal interspaces cream colour, outer marginal region of both wings also much paler than in male, the discal lunules bordered with cream colour distally; submedian interspaces more or less creamy, at least at bars. Forewing: median bar R3—M1 much more distal than the bars R2—R3 and M1—M2, interspace between median bars SC5—R2 and cell coloured like rest of median interspaces. Hindwing: line of median bars much broken; postdiscal bars broad, deeply triangularly concave, proximally shading into the raw umber colour of the postdiscal interspaces, bar SC2— R1 sometimes absent; upper tail 7 mm. long, not spatulate, second tail just indicated. Length of forewing: male, 41 —45 mm.: female, 47—50 mm. Hab. Borneo  Sumatra; Malay Peninsula; much rarer than Ch. polyxena.

Paragraph 26: As the dialogue-integrated "tutorial" in the first Ace Attorney was well received, the inclusion of one in Justice for All was considered a "major point". While the first game's tutorial involved Phoenix being helped through his first trial by his mentor Mia and the judge, this could not be used twice, which led to the idea of giving Phoenix a temporary amnesia from a blow to the head. Takumi included a circus and magic in the game's third episode; he really wanted to do this, as performing magic was a hobby of his. The episode includes two themes that he wanted to explore: the difficulties in forming a cohesive team with different people, and a person who against the odds tries to make something whole. The former was reflected in how the circus members come together at the end, while the latter was reflected in the character Moe. Several different versions of the fourth episode were created, partially because of them running out of memory on the game's cartridge, but also because of the popularity of the character of Miles Edgeworth: Takumi had originally planned to let Edgeworth be the prosecutor in all episodes, but when they were in full production the development team learned that the character had become popular, which led to Takumi feeling that he had to use the character more carefully and sparingly. Because of this, he created the character Franziska von Karma, to save Edgeworth for the game's last case, and avoid a situation where he – a supposed prodigy – loses every case. The character Pearl Fey was originally intended to be a rival character around the same age as Maya, only appearing in the game's second episode; one of the game's designers suggested that it would be more dramatic if she were much younger, so Takumi wrote her as an eight-year-old. As he ended up liking her, he included her in other episodes as well.

Paragraph 27: Trust is the fifth studio album by the English singer-songwriter Elvis Costello, and his fourth with the Attractions—keyboardist Steve Nieve, bassist Bruce Thomas and drummer Pete Thomas (no relation). It was released on 23January 1981 through F-Beat Records in the United Kingdom. His fifth consecutively produced album by Nick Lowe, who was assisted by engineer Roger Béchirian, the album was recorded in London from October to November 1980 between DJM and Eden Studios. The sessions were riddled with alcohol and drug issues and tensions were high between the band members. Squeeze vocalist Glenn Tilbrook and the Rumour guitarist Martin Belmont made guest appearances on "From a Whisper to a Scream".

Paragraph 28: Pushpagiri Zamindar's (Prabhakar Reddy) only daughter Janaki (Pushpalata) loves and marries an ordinary man, Ranganna (Kanta Rao). After some time, the couple blessed with a baby boy, Kalyan. Knowing this, the Zamindar sends his nephew Dhananjay (Dhulipala) to get them back when Dhanunjaya makes ploy, tries to kill the child in the name of the Zamindar. Ranganna & his younger brother Jaggu (Jaggayya) obstructs their way when Janaki escapes and hands over the child to a loyal servant Balaram (Rao Gopal Rao). At that moment, Balaram handovers his children Anand & Madhavi to Janaki for the rear sends Kalyan to Singapore through his brother Banerjee (Rajanala) and he grows up as Rajesh. Meanwhile, Ranganna dies in that quarrel and Jaggu becomes a dacoit to take avenge against the Zamindar. Years roll by, Rajesh (N. T. Rama Rao) becomes the king of martial arts who defeats many worldwide champions. Latha, granddaughter of Zamindar is a hardcore fan of Rajesh and they both fall in love. Once in a competition, Anand (Chandra Mohan) competes with Rajesh to protect his deceased mother Janaki. In the ring, Rajesh asks Anand to back out because he understands Anand is not capable. But he does not listen, gets badly wounded and dies. Before dying, he calls and explains his situation. Now Rajesh decides to make penance, so, he stops his profession and moves to take care of Anand's mother & sister. After reaching there, Madhavi requests him not to reveal the truth to their mother. Rajesh brings them to the city, joins Janaki in the hospital and starts working as a taxi driver for their livelihood. One night, while escaping from goons Latha is saved by Rajesh when he learns that she is the granddaughter of the Zamindar and has a life threat from her maternal uncle Dhanunjaya and his son Maruthi Rao (Satyanarayana) for the property. Here Latha requests Rajesh to arrive as her absconding cousin Kalyan and he agrees. Knowing that Kalyan is arriving, Dhanunjay and Maruti Rao want to eliminate him, fortunately, they contact Rajesh for this crime when he plays a double game and enters the house as Kalyan. Hereabouts, he gets affectionate towards his grandfather and starts teaching these culprits a lesson and makes his grandfather normal. After that, Rajesh is informed that the Zamindar has a hazard from Jaggu. So, he wants to catch him and reaches his horizon. In the combat, Jaggu recognises Rajesh as Kalyan by the tattoo on his chest when Rajesh brings out the reality regarding Zamindar to Jaggu. Sensing it, Dhanunjaya & Maruthi Rao kidnaps the entire family. At last, Rajesh sees their end and protects them. Finally, the movie ends on a happy note with the marriage of Rajesh & Latha.

Paragraph 29: The Easter Plays represented in their day the highest development of the secular drama; nevertheless this most important event in the life of Jesus did not suffice: the people wished to see his whole life, particularly the story of the Passion. Thus a series of dramas originated, which were called Passion Plays, the sufferings of Jesus being their principal subject. Some of them end with the entombment of Christ; in others the Easter Play was added, in order to show the Saviour in His glory; others again close with the Ascension or with the dispersion of the Apostles. But, since the persecution of the Saviour is intelligible only in the light of His work as teacher, this part of the life of Christ was also added, while some authors of these plays went back to the Old Testament for symbolical scenes, which they added to the Passion Plays as "prefigurations"; or the plays begin with the Creation, the sin of Adam and Eve, and the fall of the Angels. Again two short dramas were inserted: the Lament of Mary and the Mary Magdalene Play. The sequence "Planctus ante nescia", which was brought to Germany from France during the latter half of the 12th century, is the basis for the Lamentations of Mary. This sequence is merely a monologue of Mary at the foot of the Cross; by the introduction of John, the Saviour, and the bystanders as taking part in the lamentations, a dramatic scene was developed which became a part of almost all Passion Plays and has been retained even in their latest survivor. The Magdalene Play represents the seduction of Mary Magdalene by the devil and her sinful life up to her conversion. In Magdalene's sinfulness the people saw a picture of the depraved condition of mankind after the sin of the Garden of Eden, from which it could be redeemed only through the sacrifice of Christ. This profound thought, which could not be effaced even by the coarse reproduction of Magdalene's life, explains the presence of this little drama in the Passion Play.

Paragraph 30: The Romanian campaign plan defined the 1st Army's mission as safeguarding the left flank of the Romanian forces liberating Transylvania. The intermediate objective called for Culcer's army to cross the border and head towards the designated assembly area, which for the Jiu Valley Group constituted the Merișor Valley and the Petroșani Basin, and for the Olt Group the area between Sibiu and the northern exit from the Red Tower Pass. The assembly area was scheduled to be reached no later than 13 September. The distance between the two approaches, between 60 and 65 miles, prevented the two invading columns from aiding one another until they converged on the Mureș River, their ultimate objective. On 27 August 1916, at 8:45 p.m., the Romanian ambassador to Austria-Hungary handed Romania's declaration of war to the Austro-Hungarian foreign minister. Culcer's Olt-Lotru Group subsequently entered the Red Tower Pass and advanced towards Sibiu. Romanian bullets fell on the Hungarian gendarmes at the large border gate, taking them completely by surprise. By dawn, the Romanians occupied the villages of Porcești and Sebeș, and later that day, the village of Boița at the head of the pass was taken. On 29 August, Tălmaciu was taken, followed by Cisnădie – a local district capital – on the 30th. Following an entire day of fighting, the Romanians defeated the 51st Honvéd Division and the 143rd Brigade, causing the Austro-Hungarian defenders to retreat to the heights on both sides of Sibiu. Instead of advancing into the city, however, the Romanians began to dig in south of Sibiu on the night of 30 August. General Matei Castriș – commander of the Olt-Lotru Group and later of the 23rd Division – ordered his columns to halt, establishing three lines of trenches running from Veștem to the Red Tower Pass. Although invited to occupy Sibiu by civilian representatives of the population, Castriș was unwilling to take such a step without permission. Although permission was granted for the capture of the town, there were additional delays while the commander of the 23rd Division made detailed plans for a victory march. Sixty-five miles to the west, the 11th Division (Brigadier-General ) crossed the border at the Vulcan and Surduc Passes and occupied the vital Transylvanian coal-mining center at Petroșani – a local district capital – on 29 August. The Romanians easily swept aside the weak resistance offered by the Hungarian coal-miner battalions, inflicting heavy losses. This was the first location of any military or commercial value to fall into Romanian hands, a region of valuable coal mines whose output was vital for the Hungarian railway system. The 11th Division subsequently pushed west into the Merișor Valley, stopping 15 miles from Hațeg. This halt complied with the directions received by Culcer. Although criticized for not advancing north of Hațeg, Culcer never received orders to move forward. He was actually restricted from moving because the Romanian campaign plan stated that general headquarters would direct the operations of the covering forces.

Question: The text discusses the origins and development of Passion Plays, which were dramas that depicted the life and sufferings of Jesus Christ. The plays initially focused on the events surrounding Easter, but later expanded to include scenes from the Old Testament and the life of Mary Magdalene. These additions aimed to provide a more comprehensive portrayal of Jesus' life and teachings, as well as to convey the idea of redemption through his sacrifice. Despite their often coarse depiction, the inclusion of the Magdalene Play in particular was meant to highlight the sinful nature of humanity and the need for salvation.
Answer: Paragraph 29