prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which three-time Olivier Award winning English actress starred in the 1981 BBC television serial, Sons and Lovers?

The following are given passages.
Context 1: Passage 1:
Juliet Aubrey
Juliet Emma Aubrey (born 17 December 1966) is a British actress of theatre, film, and television  She won the 1995 BAFTA TV Award for Best Actress for playing Dorothea in the BBC serial Middlemarch (1994)  She is also known for her role as Helen Cutter in the ITV series Primeval (2007–2011)  Her film appearances include Still Crazy (1998), The Constant Gardener (2005) and The Infiltrator (2016) 

Career
The youngest of three siblings, Aubrey was born and brought up in Fleet, Hampshire  Aubrey attended King's College London from 1984, where she studied Classics and Archaeology  While there, however, her love of acting grew, and during a year studying in Italy where she joined a travelling theatre company, Aubrey decided to apply for drama school on her return  She went on to train for three years at the Central School of Speech and Drama 
Her first job was with the Oxford Stage Company playing Miranda in The Tempest  Italian director Roberto Faenza gave Aubrey her first film role playing opposite Jean-Hugues Anglade in Look to the Sky, a film produced by Elda Ferri, and set during the Nazi Holocaust   Antony Page and Louis Marks then cast Aubrey as Dorothea in the BBC adaptation of Middlemarch opposite Rufus Sewell, for which she won a BAFTA award for Best Actress, and the Broadcasting Press Guild for Best Actress  She then joined Haris Pasovic's Sarajevo Theatre Company  She appeared in several plays with the company, all created through the actors' improvisation  She continued to build her career as a theatre actress, appearing next in Trevor Nunn's Summerfolk and Katie Mitchell's Ivanov at the National Theatre, Tim Crouch's An Oak Tree for Karl James at the Soho Theatre, and Three Sisters, Twelfth Night and The Collection, all for Chris White  Michael Winterbottom then cast her opposite Robert Carlyle and James Nesbitt in the television film Go Now 
Aubrey's subsequent films include Winterbottom's Welcome to Sarajevo, Stephen Poliakoff's Food of Love — for which she won Best Actress at La Baule European Film Festival — Faenza's Lost Lover, Giacomo Campiotti's Time to Love, Richard Eyre's Iris, Fernando Meirelles's Constant Gardener and Brian Gibson's Still Crazy, nominated for two Golden Globes  Other features include Matt Lipsey's Caught in the Act, and Mat Cod's Super Eruption  Television work includes The Village; The White Queen, Criminal Justice, Vera, Hunted, and Five Daughters   Her recent feature films are Scott Hicks's Fallen; Mitch Davis's Stuck; Fabio Guaglione's Mine; and Brad Furman's Infiltrator  Aubrey played Lily Hill in the 2017 web television series Snatch 

Personal life
In 2001, Aubrey married production designer Steve Ritchie, whom she had met several years earlier while filming in Newcastle upon Tyne  They have two daughters She is a cousin of David Howell Evans (a k a  "The Edge"), guitarist of the Irish band U2 

Filmography
Passage 2:
Paul Baker (actor)
Paul Baker (born April 26, 1966?) is an Olivier Award winning British musical theatre actor  He is noted for his roles in Taboo, for which he won his Olivier Award, and the 2000 West End Mega-flop Napoleon in the title role   He is featured on the cast recordings of these two musicals 
He won Best Supporting Actor in a Musical in the 2003 Olivier Awards for playing the character Philip Salon in the musical Taboo Baker last appeared in the concert version of A Tale of Two Cities as the evil Marquis St  Evermonde in Brighton, England  He can be seen in the DVD release of the concert 
Passage 3:
Michelle Terry
Michelle Terry is an Olivier Award–winning English actress and writer, known for her extensive work for Shakespeare's Globe, the Royal Shakespeare Company and the Royal National Theatre, as well as her television work, notably writing and starring in the Sky One television series The Café  Terry took up the role of artistic director at Shakespeare's Globe in April 2018 

Early life
Terry was born in Nuneaton, moving whilst still a child to grow up in Weston-super-Mare  She was raised in Kewstoke, and attended Priory Community School and Broadoak Sixth Form Centre Terry aspired to be an actress from an early age  She attended an amateur dramatic society and took LAMDA exams at school in poetry, prose and spoken verse  At the age of fourteen she joined the National Youth Theatre  She read English literature at Cardiff University before training at the Royal Academy of Dramatic Art, graduating in 2004 

Career
Theatre
Terry made her professional debut in the touring and subsequent West End production of Blithe Spirit, playing the Maid and understudying Elvira  Her other theatre credits include The War on Terror, 50 Ways to Leave Your Lover, The Man Who Had All the Luck, Tribes and As You Like It  Her work at the National Theatre includes London Assurance, All's Well That Ends Well and England People Very Nice  She also appeared in broadcast versions of London Assurance and All's Well That Ends Well as part of National Theatre Live  For the Royal Shakespeare Company, Terry has appeared in productions of Days of Significance, Pericles, The Winter's Tale, The Crucible and Love's Labour's Lost, playing Rosaline  She was among the writers of Sudden Loss of Dignity, staged at the Bush Theatre in 2009 Terry won critical acclaim for her work at Shakespeare's Globe Theatre, for her performance of Rosalind in As You Like It   London's Financial Times wrote "I'm not sure it's possible to see Michelle Terry on a stage without falling a little in love with her  She has the intelligence, inventiveness and vivacity to play the character and the show simultaneously, not setting herself above the material but relishing her immersion in the role and inviting us to share it with her " She also appeared in productions of Love's Labour's Lost and A Midsummer Night's Dream at that venue, both of which were released on DVD  On 24 July 2017 she was announced as its fourth Artistic Director, to succeed Emma Rice in April 2018 

Hamlet 2018
Terry starred in the lead role in a 2018 gender fluid version of Hamlet   The Spectator said in their review "No one but Ms Terry would have hired Ms Terry for this role  She’s a decent second-tier actress without any special vocal or physical endowments "The Guardian called the play "A perfectly decent production and a welcome relief from the work of the previous Globe regime, which seemed to assume that the plays were a bit boring unless jazzed up "The Stage said "It's a production that places clarity of verse and emotion over directorial fireworks  One of the most striking elements is Terry's costume  When she assumes her antic disposition, she also dons a white clown suit with a jagged lipstick grin  By making Hamlet a jester, it licenses her to behave in different ways  It shifts her status in the family  It grants her power and marks her apart  Laughter can be a weapon after all  It's an interesting idea that is under-explored "

Macbeth 2018
Terry starred in the lead role of Lady Macbeth opposite her husband Paul Ready in Macbeth at the Globe's candlelit Sam Wanamaker Playhouse 

Television
Her television credits include episodes of Extras, Law & Order: UK and the Mike Bullen pilot Reunited, playing "Sara"  She was co-writer, with Ralf Little, of the comedy drama TV series, The Café, which aired on Sky1 from 2011–13, in which she played "Sarah Porter"  The series was set and filmed in her own hometown, Weston-super-Mare 

Personal life
Terry is married to the actor Paul Ready  They have one daughter 

Theatre credits
Blithe Spirit Savoy Theatre: London (2005)
As You Like It New Vic Theatre: Newcastle-under-Lyme (2005)
The Crucible Royal Shakespeare Theatre: Stratford Upon Avon (2006)
Pericles Swan Theatre: Stratford Upon Avon (2006/7)
The Winter's Tale Swan Theatre: Stratford Upon Avon (2006/07)
Love's Labour's Lost Shakespeare's Globe Theatre: London (2007)
The War on Terror Bush Theatre: London (2008)
50 Ways to Leave Your Lover Bush Theatre: London (2008)
The Man Who Had All the Luck Donmar Warehouse: London (2008)
Tribes Royal Court Theatre London (2010)
England People Very Nice National Theatre: London (2009)
All's Well That Ends Well National Theatre: London (2009)
London Assurance National Theatre: London (2010)
Light Shining in Buckinghamshire Arcola Theatre: London (2010)
The Comedy of Errors National Theatre: London (2011/12)
In The Republic of Happiness Royal Court Theatre: London (2012/13)
Before the Party Almeida Theatre: London (2013)
A Midsummer Night's Dream Shakespeare's Globe Theatre: London (2013)
Love's Labour's Lost and Much Ado About Nothing (Love's Labour's Won) Royal Shakespeare Theatre: Stratford Upon Avon (2014)
Privacy Donmar Warehouse (2014)
As You Like It Shakespeare's Globe: London (2015)
Cleansed National Theatre: London (2016)
Henry V Regents Park Theatre: London (2016)
Hamlet Shakespeare's Globe: London (2018)
Macbeth Shakespeare's Globe: London (2019)
Henry IV, Part 1 Shakespeare's Globe: London (2019)

Filmography
Television
Awards
Terry won Best Actress in a Visiting Production at the 2008 Manchester Evening News Theatre Awards, for the Donmar Warehouse production of The Man Who Had All the Luck She won Best Actress in a Supporting Role at the 2011 Olivier Awards, for her portrayal of Sylvia in the Royal Court Theatre production of Tribes 
Passage 4:
Eileen Atkins
Dame Eileen June Atkins,  (born 15 June 1934) is an English actress and occasional screenwriter  She has worked in the theatre, film, and television consistently since 1953  In 2008, she won the BAFTA TV Award for Best Actress and the Emmy Award for Outstanding Supporting Actress in a Miniseries or Movie for Cranford  She is also a three-time Olivier Award winner, winning Best Supporting Performance in 1988 (for Multiple roles) and Best Actress for The Unexpected Man (1999) and Honour (2004)  She was appointed Commander of the Order of the British Empire (CBE) in 1990 and Dame Commander of the Order of the British Empire (DBE) in 2001 
Atkins joined the Royal Shakespeare Company in 1957 and made her Broadway debut in the 1966 production of The Killing of Sister George, for which she received the first of four Tony Award nominations for Best Actress in a Play in 1967  She received subsequent nominations for, Vivat! Vivat Regina! (1972), Indiscretions (1995) and The Retreat from Moscow (2004)  Other stage credits include The Tempest (Old Vic 1962), Exit the King (Edinburgh Festival and Royal Court 1963), The Promise (New York 1967), The Night of the Tribades (New York 1977), Medea (Young Vic 1985), A Delicate Balance (Haymarket, West End 1997) and Doubt (New York 2006) 
Atkins co-created the television dramas Upstairs, Downstairs (1971–1975) and The House of Elliot (1991–1994) with Jean Marsh  She also wrote the screenplay for the 1997 film Mrs Dalloway  Her film appearances include I Don't Want to Be Born (1975), Equus (1977), The Dresser (1983), Let Him Have It (1991), Wolf (1994), Jack and Sarah (1995), Gosford Park (2001), Cold Mountain (2003), Vanity Fair (2004), Scenes of a Sexual Nature (2006), Evening (2007), Last Chance Harvey (2008), Robin Hood (2010) and Magic in the Moonlight (2014) 

Early life
Atkins was born in the Mothers' Hospital in Lower Clapton, a Salvation Army maternity hospital in East London  Her mother, Annie Ellen (née Elkins), was a barmaid who was 46 when Eileen was born, and her father, Arthur Thomas Atkins, was a gas meter reader who was previously under-chauffeur to the Portuguese Ambassador  She was the third child in the family and when she was born the family moved to a council home in Tottenham  Her father did not, in fact, know how to drive and was responsible, as under-chauffeur, mainly for cleaning the car  At the time Eileen was born, her mother worked in a factory the whole day and then as a barmaid in the Elephant & Castle at night  When Eileen was three, a Gypsy woman came to their door selling lucky heather and clothes pegs  She saw little Eileen and told her mother that her daughter would be a famous dancer  Her mother promptly enrolled her in a dance class  Although she hated it, she studied dancing from age 3 to 15 or 16  From age 7 to 15, which covered the last four years of the Second World War (1941–45), she danced in working men's club circuits for 15 shillings a time as "Baby Eileen"  During the war, she performed as well at London's Stage Door canteen for American troops and sang songs like "Yankee Doodle " At one time she was attending dance class three or four times a week Once, when she was given a line to recite, someone told her mother that she had a Cockney accent  Her mother was appalled but speech lessons were too expensive for the family  Fortunately, a woman took interest in her and paid for her to be educated at Parkside Preparatory School in Tottenham  Eileen Atkins has since publicly credited the Principal, Miss Dorothy Margaret Hall, for the wise and firm guidance under which her character developed  From Parkside she went on to The Latymer School, a grammar school in Edmonton, London  By 12, she was a professional in panto in Clapham and Kilburn  One of her grammar school teachers who used to give them religious instruction, an Ernest J  Burton, spotted her potential and, without charge, rigorously drilled away her Cockney accent  He also introduced her to the works of William Shakespeare  She studied under him for two years  When she was 14 or 15 and still at Latymer's, she also attended "drama demonstration" sessions twice a year with this same teacher  At around this time (though some sources say she was 12), her first encounter with Robert Atkins took place  She was taken to see Atkins' production of King John at the Regent's Park Open Air Theatre  She wrote to him saying that the boy who played Prince Arthur was not good enough and that she could do better  Atkins wrote back and asked that she come to see him  On the day they met, Atkins thought she was a shop girl and not a school girl  She gave a little prince speech and he told her to go to drama school and come back when she was older  Burton came to an agreement with Eileen's parents that he would try to get her a scholarship for one drama school and that if she did not get the scholarship he would arrange for her to do a teaching course in some other drama school  Her parents were not at all keen on the fact that she would stay in school until 16 as her sister had left at 14 and her brother at 15 but somehow they were persuaded  Eileen was in Latymer's until 16  Out of 300 applicants for a RADA scholarship, she got down to the last three but was not selected, so she did a three-year course on teaching at the Guildhall School of Music and Drama  But, although she was taking the teaching course, she also attended drama classes and in fact performed in three plays in her last year  This was in the early 1950s  In her third and last year she had to teach once a week, an experience she later said she hated  She graduated from Guildhall in 1953 As soon as she left Guildhall she got her first job with Robert Atkins in 1953: as Jaquenetta in Love's Labour's Lost at the same Regent's Park Open Air Theatre where she was brought to see Atkins' King John production years before  She was also, very briefly, an assistant stage manager at the Oxford Playhouse until Peter Hall fired her for impudence  She was also part of repertory companies performing in Billy Butlin's holiday camp in Skegness, Lincolnshire  It was there when she met Julian Glover 
It took nine years (1953–62) before she was working steadily 

Stage
Atkins joined the Guild Players Repertory Company in Bangor, County Down, Northern Ireland, as a professional actress in 1952  She appeared as the nurse in Harvey at the Repertory Theatre, Bangor, in 1952  In 1953 she appeared as an attendant in Love's Labours Lost at the Regent's Park Open Air Theatre  Her London stage debut was in 1953 as Jaquenetta in Robert Atkins's staging of Love's Labour's Lost at the Open Air Theatre in Regent's Park Atkins has regularly returned to the life and work of Virginia Woolf for professional inspiration  She has played the writer on stage in Patrick Garland's adaptation of A Room of One's Own and also in Vita and Virginia, winning the Drama Desk Award for Outstanding One-Person Show and an Obie Award for A Room of One's Own in which she also played in the 1990 television version; she also provided the screenplay for the 1997 film adaptation of Woolf's novel Mrs  Dalloway, and made a cameo appearance in the 2002 film version of Michael Cunningham's Woolf-themed novel, The Hours 
Atkins joined the Stratford Memorial Theatre Company in 1957 and stayed for two seasons  She was with the Old Vic in its 1961–62 season (she appeared in the Old Vic's Repertoire Leaflets of February–April 1962 and April–May 1962) 

Film and television
She appeared as Maggie Clayhanger in all six episodes of Arnold Bennett's Hilda Lessways from 15 May to 19 June 1959, produced by BBC Midlands with Judi Dench and Brian Smith  In the 1960 Shakespeare production An Age of Kings she played Joan of Arc 
She helped create two television series  Along with fellow actress, Jean Marsh, she created the concept for an original television series, Behind the Green Baize Door, which became the award-winning ITV series Upstairs, Downstairs (1971–75)  Marsh played maid Rose for the duration of the series but Atkins was unable to accept a part because of stage commitments  The same team was also responsible for the BBC series The House of Eliott (1991–93) 
Her film and television work includes Sons and Lovers (1981), Smiley's People (1982), Oliver Twist (1982), Titus Andronicus (1985), A Better Class of Person (1985), Roman Holiday (1987), The Lost Language of Cranes (1991), Cold Comfort Farm (1995), Talking Heads (1998), Madame Bovary (2000), David Copperfield (2000), Wit (2001) and Bertie and Elizabeth (2002), Cold Mountain (2003), What a Girl Wants (2003), Vanity Fair (2004), Ballet Shoes (2005) and Ask the Dust (2006) 
In the autumn of 2007, she co-starred with Dame Judi Dench and Sir Michael Gambon in the BBC One drama Cranford playing the central role of Miss Deborah Jenkyns  This performance earned her the 2008 BAFTA Award for best actress, as well as the Emmy Award  In September 2007 she played Abigail Dusniak in Waking the Dead Yahrzeit (S6:E11-12) 
In 2009 Atkins played the evil Nurse Edwina Kenchington in the BBC Two black comedy Psychoville  Atkins replaced Vanessa Redgrave as Eleanor of Aquitaine in the blockbuster movie Robin Hood, starring Russell Crowe, which was released in the UK in May 2010  The same year, she played Louisa in the dark comedy film Wild Target 
Atkins and Jean Marsh, creators of the original 1970s series of Upstairs, Downstairs, were among the cast of a new BBC adaptation, shown over the winter of 2010–11  The new series is set in 1936  Marsh again played Rose while Atkins was cast as the redoubtable Maud, Lady Holland  In August 2011, it was revealed that Atkins had decided not to continue to take part as she was unhappy with the scripts  In September 2011, Atkins joined the cast of ITV comedy-drama series Doc Martin playing the title character's aunt, Ruth Ellingham  She returned as Aunt Ruth for the show's sixth series in September 2013, the seventh in September 2015 and eighth in September 2017 
Atkins starred as Lady Spence with Matthew Rhys in an adaptation of Daphne du Maurier's The Scapegoat, shown in September 2012 She has portrayed Queen Mary on two occasions, in the 2002 television film Bertie and Elizabeth and in the 2016 Netflix-produced television series The Crown 
Atkins portrayed graduate school professor Evelyn Ashford to Vivian Bearing (Emma Thompson) in Wit, a 2001 American television movie directed by Mike Nichols  The teleplay by Nichols and Emma Thompson is based on the 1999 Pulitzer Prize winning play of the same title by Margaret Edson  The film was shown at the Berlin International Film Festival on 9 February 2001 before being broadcast by HBO on 24 March  It was shown at the Edinburgh Film Festival and the Warsaw Film Festival later in the year 

Radio
Atkins had a guest role in BBC Radio 4's long-running rural soap The Archers in September 2016, playing Jacqui, the juror who persuades her fellow jurors to acquit Helen Titchener (née Archer) of the charge of attempted murder and wounding with intent of her abusive husband, Rob 

Personal life
Atkins was married to actor Julian Glover in 1957; they divorced in 1966  (A day after his divorce, Glover married actress Isla Blair ) She married her second husband, Bill Shepherd, on 2 February 1978  Shepherd died on 24 June 2016 In 1997, she wrote the screenplay for Mrs Dalloway, starring Vanessa Redgrave  The film received positive reviews but was a box-office failure  It was a financial disaster for Atkins and her husband, who had invested in it  She said of this incident: "I have to work  I was nearly bankrupted over Mrs Dalloway, and if you are nearly bankrupted, you are in trouble for the rest of your life  I don't have a pension  In any case, it doesn't hurt me to work  I think it's quite good, actually ""All through my career, I have tried to do new work, but there is a problem in the West End as far as new work is concerned  As a theatregoer, I get bored with seeing the same old plays again and again  I felt terrible the other night because I bumped into Greta Scacchi and she asked me if I was coming to see her in The Deep Blue Sea  I said, 'Greta, I'm so old, I've seen it so many times  I've seen it with Peggy Ashcroft, with Vivien Leigh, with Googie Withers, with Penelope Wilton and I played it myself when I was 19  I can't bring myself to see it again ' She was very sweet about it "In 1995, Atkins was diagnosed with breast cancer and treated for the condition  She has recovered  Living alone in widowhood during the COVID lockdown, Atkins (at age 87) completed her autobiography Will She Do?  She read an abridged version on BBC Radio 4 

Filmography
Film
Television
Theatre
Honours
Atkins was appointed a Commander of the Order of the British Empire (CBE) in the 1990 Birthday Honours  She was promoted to Dame Commander of the Order of the British Empire (DBE) on her 67th birthday in the 2001 Queen's Birthday Honours "for services to Drama " On 23 June 2010, she was awarded the degree of Doctor of Letters, honoris causa, by Oxford University  On 5 December 2005 she received the degree of Doctor of Arts, honoris causa, from City University London  She is a member of the American Theater Hall of Fame; she was inducted in 1998 

Awards and nominations
Theatre Awards
Tony Awards

Drama Desk Awards

Olivier Awards

Film and Television Awards
Notes
Passage 5:
Sons and Lovers (1981 TV serial)
Sons and Lovers is a 1981 BBC television serial based on D  H  Lawrence's 1913 book Sons and Lovers   It starred Eileen Atkins, Tom Bell, Karl Johnson, Lynn Dearth and Leonie Mellinger   It was adapted by Trevor Griffiths and directed by Stuart Burge, and originally shown as seven episodes   It aired in the US as part of the PBS's Masterpiece Theatre program in 1982 Writer Trevor Griffiths said in 1981, "I chose to do this work because, under all the incipient mysticism of the perception, under the incipient derogation of women, under the increasingly ugly politics, there is, in this Lawrence, and vibrantly so, a powerful and radical celebration of dignity in resistance within working-class culture in industrial class-societies; as well as a dark, tortured cry against the waste of human resources such societies require as part of their logic   It is no bad thing to be saying when unemployment has reached over three million ”
Passage 6:
Jessica Swale
Jessica Swale (born 27 February 1982) is a British playwright, theatre director and screenwriter  Her first play, Blue Stockings, premiered at Shakespeare's Globe in 2013  It is widely performed by UK amateur companies and is also studied on the Drama GCSE syllabus  In 2016, her play Nell Gwynn won the Olivier Award for Best New Comedy, after it transferred from the Globe to the West End, starring Gemma Arterton as the eponymous heroine  She also wrote and directed the feature film Summerland (2020) 

Early life and education
Born in Reading, Berkshire, Swale completed her secondary education at Kendrick School, Reading, before studying drama at the University of Exeter  She completed her training at the Royal Central School of Speech and Drama (MA Advanced Theatre Practice), where she trained as a director 

Career
After drama school, she worked as Max Stafford-Clark's associate director at Out of Joint Theatre Company, on productions including The Overwhelming (2006) at the National Theatre and Andersen's English (2010) at Hampstead  In 2006, she set up Red Handed Theatre Company with Katie Bonna, to perform new works and revive lost classics  She was nominated for an Evening Standard Award for Best Director for her production of The Belle's Stratagem and received the Peter Brook Empty Space Award for Best Ensemble for Red Handed in 2012 Swale is also an associate artist with NGO Youth Bridge Global, using theatre as a development tool in war-torn countries, and the author of a series of drama games books, published by Nick Hern 

Stage directing
In 2010, Swale directed the first play by a woman ever to be staged at Shakespeare's Globe, Nell Leyshon's Bedlam  For Red Handed Theatre Company, she directed The Busy Body (2012), The Rivals (2010), Someone Who'll Watch Over Me (2012) at Southwark Playhouse, The School for Scandal (2013) at the Park Theatre and Palace of the End (2010) at Arcola Theatre  Other credits include Fallen Angels (Salisbury Playhouse), Winter (Theatre Newfoundland, Canada), Sleuth, Sense and Sensibility and Far from the Madding Crowd (Watermill Theatre) 

Playwriting
As a playwright, Swale's first play Blue Stockings premiered at Shakespeare's Globe in 2013 and won her an Evening Standard Most Promising Playwright nomination  Nell Gwynn premiered at Shakespeare's Globe in 2015, starring Gugu Mbatha-Raw, and transferred to the West End with Gemma Arterton in the title role  The production received four Olivier nominations, winning Best New Comedy, and is currently being developed as a feature film with Working Title Other plays includes All's Will that Ends Will (Bremen Shakespeare Company), Thomas Tallis (Sam Wanamaker Playhouse), The Playhouse Apprentice (Sam Wanamaker Playhouse) and The Mission about illegal adoptions in the 1920s  Her adaptations include Sense and Sensibility, Far from the Madding Crowd (Watermill), The Secret Garden and Stig of the Dump (Grosvenor Park, Chester) 

Film and television
Her first short film, the Time's Up movement-inspired comedy Leading Lady Parts, starring Catherine Tate, Gemma Arterton, Felicity Jones, Florence Pugh, Lena Headey, Emilia Clarke, Tom Hiddleston and Gemma Chan, premiered on BBC Four in 2018 and is available for free on YouTube  She then co-wrote the screenplay for Horrible Histories: The Movie – Rotten Romans (2019) In 2012, she won the BAFTA JJ Screenwriting Bursary for which she developed an original screenplay, Summerland  She also directed the film herself, and in 2020 it was released by IFC Films and Lionsgate  In 2022, she shot two episodes of Ten Percent for Amazon Prime Video, featuring guest stars Dominic West, Emma Corin, and Himesh Patel She is currently writing an original feature with Blueprint and StudioCanal and other projects for Fox Searchlight and Monumental Pictures 

Personal life
Swale lives in South London with a photographer, Michael Wharley 

Writing credits
Plays
The Playhouse Apprentice (2016)
Nell Gwynn (2015) premiered at Shakespeare's Globe and transferred to the Apollo Theatre, West End, in 2016
Thomas Tallis (2014): premiered at The Sam Wanamaker Playhouse
All's Will that ends Will (2014): premiered at Bremer Shakespeare Company
Blue Stockings (2013): premiered at Shakespeare's Globe

Adaptations
Stig of the Dump (2016): adapted from the novel by Clive King and premiered at Grosvenor Park Open Air Theatre
Far from the Madding Crowd (2015): adapted from the novel by Thomas Hardy and premiered at the Watermill Theatre
The Secret Garden (2014): adapted from the novel by Frances Eliza Hodgson Burnett, premiered at Grosvenor Park Open Air Theatre
Sense and Sensibility (2014): adapted from the novel by Jane Austen and premiered at the Watermill Theatre

Books
Drama Games: For Rehearsals (2016)
Drama Games: For Devising (2012)
Drama Games: For Classrooms and Workshops (2009)

Directing credits
Film and television
Plays
Fallen Angels (2015) at Salisbury Playhouse
Far from the Madding Crowd (2015): adapted from the novel by Thomas Hardy, premiered at The Watermill Theatre
Sense and Sensibility (2014): adapted from the novel by Jane Austen, premiered at The Watermill Theatre
Winter (2011) at Newfoundland Theatre, Canada
Bedlam (2010) at Shakespeare's Globe
For Red Handed Theatre Company: The Busy Body (2012), The Rivals (2010), Someone Who'll Watch Over Me (2012) at Southwark Playhouse, The School for Scandal (2013) at the Park Theatre and Palace of the End (2010) at Arcola Theatre
Passage 7:
Alex Jennings
Alex Michael Jennings (born 10 May 1957) is an English actor of the stage and screen, who worked extensively with the Royal Shakespeare Company and National Theatre  For his work on the London stage, Jennings received three Olivier Awards, winning for Too Clever by Half (1988), Peer Gynt (1996), and My Fair Lady (2003)  He is the only performer to have won Olivier awards in the drama, musical, and comedy categories He is known for his film work, in particular for his performance as Prince Charles in Stephen Frears' film The Queen (2006) opposite Helen Mirren  His other film appearances include The Wings of the Dove (1997), Bridget Jones: The Edge of Reason (2004), Babel (2006), Belle (2013), and The Lady in the Van (2015) starring Maggie Smith 
Jennings won acclaim for his performances in television including for his portrayal of Edward VIII, the Duke of Windsor, in the Netflix series The Crown acting opposite Claire Foy  He also starred in the ITV series Victoria (2016–2019) opposite Jenna Coleman, as well as Stephen Frears' A Very English Scandal (2018) alongside Hugh Grant and Ben Whishaw, and most recently Steve McQueen's Small Axe: Mangrove (2020) starring Letitia Wright 

Early life
Jennings was born in Romford, Essex, the son of Peggy Patricia (née Mahoney) and Michael Thomas Jennings  He attended Abbs Cross Technical High School in Hornchurch and studied English and Theatre studies at the University of Warwick, graduating in 1978  He said he saw his first theatre while in high school and went to the Old Vic Theatre, which inspired him to be an actor He trained as an actor for two years at the Bristol Old Vic Theatre School 

Career
1980s
In the early 1980s, Jennings began his career in regional repertory theatre  In 1985, playing a range of roles including Maximilien Robespierre in The Scarlet Pimpernel  Jennings met director Nicholas Hytner during this production and has worked with him many times since  For his performance as Gloumov in Too Clever by Half at the Old Vic, he won the Olivier Award for Best Comedy Performance in 1988  He was nominated in the same category the following year for portraying Dorante in The Liar  He has performed for the Royal National Theatre in a number of plays, including Leontes in The Winter's Tale and the title role in Albert Speer 
Jennings' work in television includes appearances in The State Within, Smiley's People, The Franchise Affair, Inspector Morse, Lewis, Alfonso Bonzo, the title role in Ashenden, Dead Poets Society, Inspector Alleyn, Hard Times, Bad Blood, and Peter Ackroyd's London  His many radio credits include Casino Royale, The Way of the World, Strange Meeting, Vorbis in Small Gods, and The Old Curiosity Shop 

1990s
His Royal Shakespeare Company roles include the title role in Peer Gynt (for which he won an Olivier Award 1995-06 for Best Actor), the title role in Richard II (opposite Anton Lesser as Henry Bolingbroke), Theseus/Oberon in A Midsummer Night's Dream (UK, American tour and Broadway), Angelo in Measure for Measure, and the title role in Hamlet He also appeared in War Requiem, the RSC's film version of A Midsummer Night's Dream, and Joseph and the Amazing Technicolor Dreamcoat (1999)  Jennings also appeared as Lord Mark in the romantic drama film The Wings of the Dove starring Helena Bonham Carter, Elizabeth McGovern, Charlotte Rampling, and Sir Michael Gambon  The film received great acclaim and many awards nominations including four Academy Award nominations and five British Academy Film Award nominations 

2000s
In 2002, he appeared in the Cameron Mackintosh/Trevor Nunn revival of My Fair Lady at the Theatre Royal, Drury Lane and won an Olivier Award as Best Actor in a Musical  He was an Associate Artist at the Royal Shakespeare Company  That year he also appeared in The Four Feathers (2002) as Colonel Hamilton alongside Heath Ledger, Kate Hudson, and Michael Sheen 
In 2006, Jennings' made his breakthrough film role as Charles, Prince of Wales opposite Helen Mirren as Queen Elizabeth II in The Queen  The film was directed by Stephen Frears, and written by Peter Morgan  The film depicts the death of Diana, Princess of Wales on 31 August 1997 and the reaction from the British public and the British royal family  The film was an immense critical and box office success after it premiered at the Venice Film Festival  The film received six Academy Award nominations including a win for Mirren's performance 
In 2007, he played the role of Garry Essendine in Noël Coward's Present Laughter at the NT  Also in 2007, he portrayed the Rev  Hutton in the BBC miniseries Cranford starring Judi Dench  He also played John Le Mesurier in the one-off BBC drama Hancock and Joan  In 2009, he appeared in The Habit of Art as Benjamin Britten 
In June 2008, he made his debut in the Operetta at the ENO in Robert Carsen's production of Bernstein's Candide, in which he played Voltaire and Doctor Pangloss 
He has recorded the audio versions of the books: Sins of the Father by Jeffrey Archer, The Kraken Wakes by John Wyndham, The Horse and His Boy, Out of the Silent Planet, and Perelandra by C S  Lewis, 20,000 Leagues Under the Sea by Jules Verne, and Attention All Shipping by Charlie Connelly, which was selected in June 2008 as one of the top 40 audiobooks of all time  In 2006, he recorded an abridgement of A Spot of Bother by Mark Haddon  He is also a regular narrator on BBC Radio 4's Book at Bedtime  He was also a member of the BBC's Radio Drama Company 

2010s
In 2010, he played Captain Shipshape in the CBeebies second series of Grandpa in my Pocket and starred in the film Belle  After that, he played Henry Tizard in Castles in the Sky 
In 2011, he played Mikhail Bulgakov in the National Theatre's production of Collaborators  In 2014, he played the role of Willy Wonka in Charlie and the Chocolate Factory the Musical, which was directed by Sam Mendes and was performed on London's West End theatre district  He took over the role from Douglas Hodge in 2014 From 2011 to 2014, Jennings played Alan Cowdrey QC in the BBC One legal drama Silk  He has also appeared in the PBS/Masterpiece Theatre television series Inspector Lewis (2012), and Foyle's War (2015) 
Jennings portrayed playwright Alan Bennett in the 2015 film The Lady in the Van opposite Academy Award winner Dame Maggie Smith in the title role  The film is directed by Nicolas Hytner, who is a long-time collaborator from the theatre  The film also featured performances from Jim Broadbent, Claire Foy, Frances de la Tour, and James Corden  The film premiered at the 2015 Toronto International Film Festival to great acclaim, specifically for Smith's performance  To promote the film Maggie Smith, and Jennings, appeared on The Graham Norton Show, this is Smith's first chat show appearance in over 40 years 
In 2016, he reprised his role as Professor Henry Higgins in the Australian 60th anniversary production of My Fair Lady, directed by Julie Andrews On television, from 2016 to 2017, he appeared in the Netflix series The Crown alongside Claire Foy and Jared Harris, as Prince Edward, Duke of Windsor, uncle to Queen Elizabeth and great-uncle to Prince Charles (whom Jennings played in The Queen)  The series has received widespread acclaim from audiences and critics alike  Jennings also portrayed King Leopold I of Belgium in the ITV/PBS series Victoria (2016–2019) alongside Jenna Coleman 
In 2018 he played Liberal MP Peter Bessell in the BBC One series, A Very English Scandal alongside Hugh Grant, and Ben Whishaw, a miniseries about the Jeremy Thorpe affair directed by Stephen Frears  The film received widespread critical acclaim with a 97% on Rotten Tomatoes with the critics consensus reading, "Hugh Grant and Ben Whishaw impress in A Very English Scandal, an equally absorbing and appalling look at British politics and society"  The series also received four Primetime Emmy Award nominations including a win for Whishaw for his performance 
In 2019, he played Andrew Aldridge, a Conservative MP, in the TV miniseries Four Weddings and a Funeral

2020s
In 2020, Jennings appeared in the Small Axe miniseries directed by Steve McQueen, specifically the television movie, Mangrove as Judge Edward Clarke alongside Letitia Wright as physician and British Black Panther Altheia Jones-LeCointe  In Mangrove, the story revolves around the true story based on the Mangrove Nine who were British black activists tried for inciting a riot at a protest, in 1970, against the police targeting of the Mangrove restaurant, Notting Hill, in West London  The film received widespread critical acclaim, with the critics consensus on Rotten Tomatoes reading, "Anchored by strong performances and an even stronger sense of conviction, Mangrove is a powerful indictment of institutional racism "

Work
Film
Television
Theatre
Filmed Theatrical Events

1999: Joseph and the Amazing Technicolor Dreamcoat as Butler
2010: National Theatre Live: The Habit of Art as Henry / Benjamin Britten
2011: National Theatre Live: Collaborators as Mikhail Bulgakov
2013: National Theatre Live: 50 Years on Stage as Henry Higgins
2019: National Theatre Live: Hansard as Robin Hesketh

Awards and nominations
Passage 8:
Sarah Solemani
Sarah Solemani (born 4 September 1982) is an English actress, writer and activist  She is best known for starring in the BAFTA winning sitcom Him & Her and playing Renee Zellweger's best friend Miranda in Bridget Jones's Baby, for which she was nominated for an Evening Standard Best Actress Award  She also had roles in the British comedy TV series Bad Education and The Wrong Mans 

Early life
Solemani was born in the London Borough of Camden and grew up in Crouch End  Her father is a Persian Jewish mathematics lecturer (now retired)  After passing her A levels at the Henrietta Barnett School, she took a gap year before reading Social and Political Sciences (now the Human, Social and Political Sciences Tripos) at New Hall, Cambridge and graduating with an MA (Hons)  At Cambridge, she joined the Footlights performance troupe, becoming social secretary during her first year and later vice president 

Career
Theatre
Solemani was a member of the National Youth Theatre during her gap year, during which time she appeared as Elaine in the West End theatre production of The Graduate and as Ayesha in the critically acclaimed National Theatre production of Sanctuary  
She was a member of the Young Writer's Group attached to the Royal Court Theatre, and a writer at the Young Vic Theatre  Two plays she wrote were produced at Soho Theatre  Another of her works, The Cost of Things (2010), was presented at the Public Theater New York under the aegis of the Old Vic Theatre as part of the TS Eliot Project  In 2011, she wrote The Baron which received the Old Vic New Voices 'Ignite' award In 2009, Solemani appeared in Simon Stephens' play Pornography at the Tricycle Theatre in London and, in 2012, as Maryam in The House of Bernarda Alba at the Almeida Theatre  She wrote Up the Royal Borough, part of an evening of plays in response to Owen Jones' Chavs at the Lyric Hammersmith  It gained good reviews 

Television and film
Solemani's first film role was as a tableaux girl in Mrs Henderson Presents, which she performed during her third year of college  Her first major TV role was as Becky in BBC Three sitcom Him & Her, which was first broadcast in September 2010, and ran for four series, before ending in 2013 From 2012 until 2014, Solemani starred in the BBC Three comedy, Bad Education, including its spin off movie The Bad Education Movie and a one-off special in 2022  In 2013, she featured in the BBC and Hulu's The Wrong Mans alongside James Corden  She reprised the role for the show's second series  She wrote and starred in an episode of the Sky TV series Love Matters, titled "Aphrodite Fry", that aired in 2013  In 2014, she wrote the television film The Secrets  It aired on BBC One to critical acclaim 
In Hollywood, Solemani was chosen by Bill Hader and Alec Berg to be part of their writing team on Hader's new HBO show Barry  While working in the United States, she has found the American television industry has a more positive attitude towards commissioning work by women and featuring female characters in their series In 2019 it was announced she would adapt Jo Bloom's novel Ridley Road into a television drama  Published in 2014, Bloom's book was the result of research into the anti-Nazi London 62 Group and events involving it in the summer of 1962, with the group's activities serving as a backdrop, the title coming from the street in the East End where fascists held meetings and around which battles took place  It was broadcast by BBC One in October 2021  In 2022 she co-wrote and co-starred with Steve Coogan in Chivalry, a six episode comedy-drama  about "sexual politics in the wake of the #MeToo movement" for Channel 4 

Print
Solemani has contributed to the New Statesman, The Guardian, The Independent and Harper's Bazaar  She writes regularly for the publications Red and Glamour 

Awards and acclaim
Solemani was awarded third place in the Barry Amiel and Norman Melburn Trust/New Statesman Prize for New Political Writing on the subject: "Do women's rights remain the privilege of the developed world?" in 2005 In 2011, Solemani won the Royal Television Society award for best Comedy Performance for her role in Him & Her along with her co-star Russell Tovey  In 2012, Solemani was named one of the year's Broadcast Hot Shots 

Activism
Solemani is against the criminalisation of sex work, and has been a champion for sex worker rights since 2002  She was nominated by the English Collective of Prostitutes (ECP) to represent them in Parliament in order to halt further efforts to criminalise clients  She was an active supporter of former shadow Home Secretary Yvette Cooper in the 2015 Labour leadership contest  She has introduced Cooper at various Labour Party events and has contributed to her speeches 

Personal life
Solemani married Daniel E  Ingram, a sustainable investment expert specialising in climate change, in Petah Tikva, Israel, on 3 June 2012  Their daughter was born in December 2013 and their son was born in May 2018  Raised by an Orthodox Jewish father and a Plymouth Brethren evangelical mother, Solemani has formally converted to Judaism along with her husband 

Filmography
Film and television
Stage
Passage 9:
Frances de la Tour
Frances J  de Lautour (born 30 July 1944), better known as Frances de la Tour, is an English actress  She is known for her role as Miss Ruth Jones in the television sitcom Rising Damp from 1974 until 1978  She is a Tony Award winner and three-time Olivier Award winner 
She performed as Mrs  Lintott in the play The History Boys in London and on Broadway, winning the 2006 Tony Award for Best Featured Actress in a Play  She reprised the role in the 2006 film  Her other film roles include Madame Olympe Maxime in Harry Potter and the Goblet of Fire (2005)  Television roles include Emma Porlock in the Dennis Potter serial Cold Lazarus (1996), headmistress Margaret Baron in BBC sitcom Big School and Violet Crosby in the sitcom Vicious 

Early life and family
De la Tour was born on 30 July 1944 in Bovingdon, Hertfordshire, to Moyra (née Fessas) and Charles de la Tour (1909–1982)  The name was also spelled De Lautour, and it was in this form that her birth was registered in Hemel Hempstead, Hertfordshire, in the third quarter of 1944  She has French, Greek, and Irish ancestry  She was educated at London's Lycée Français and the Drama Centre London She is the sister of actor and screenwriter Andy de la Tour, and was briefly married to playwright Tom Kempinski  She has a son and a daughter An episode of the BBC series Who Do You Think You Are?, first broadcast on 22 October 2015, revealed de la Tour to be a descendant of the aristocratic Delaval family 

Career
Theatre
After leaving drama school, she joined the Royal Shakespeare Company (RSC) in 1965  Over the next six years, she played many small roles with the RSC in a variety of plays, gradually building up to larger parts such as Hoyden in The Relapse and culminating in Peter Brook's acclaimed production of A Midsummer Night's Dream, in which she played Helena as a comic "tour de force" In the 1970s, she worked steadily both on the stage and on television  Some of her notable appearances were Rosalind in As You Like It at the Playhouse, Oxford in 1975 and Isabella in The White Devil at the Old Vic in 1976  She enjoyed a collaboration with Stepney's Half Moon Theatre, appearing in the London première of Dario Fo's We Can't Pay? We Won't Pay (1978), Eleanor Marx's Landscape of Exile (1979), and in the title role of Hamlet (1980) In 1980, she played Stephanie, the violinist with MS in Duet for One, a play written for her by Kempinski, for which she won the Olivier for Best Actress  She played Sonya in Uncle Vanya opposite Donald Sinden at the Theatre Royal, Haymarket in 1982  Her performance as Josie in Eugene O'Neill's A Moon for the Misbegotten won her another Olivier for Best Actress in 1983  She joined the Royal National Theatre for the title role in Saint Joan in 1984 and appeared there in Brighton Beach Memoirs in 1986  She again won the Olivier, this time for Best Supporting Actress for Martin Sherman's play about Isadora Duncan, When She Danced, with Vanessa Redgrave at the Globe Theatre in 1991 and played Leo in Les Parents terribles at the Royal National Theatre in 1994, earning another Olivier nomination 
In 1994, de la Tour co-starred with Maggie Smith in Edward Albee's Three Tall Women at the Wyndham's and with Alan Howard in Albee's The Play About the Baby at the Almeida in 1998  In 1999, she returned to the RSC to play Cleopatra opposite Alan Bates in Antony and Cleopatra, in which she did a nude walk across the stage  In 2004, she played Mrs  Lintott in Alan Bennett's The History Boys at the National and later on Broadway, winning both a Drama Desk Award and a Tony Award for Best Featured Actress in a Play  She would also later appear in the film version  In December 2005, she appeared in the London production of the highly acclaimed anti-Iraq War one-woman play Peace Mom by Dario Fo, based on the writings of Cindy Sheehan  In 2007, she appeared in a West End revival of the farce Boeing-Boeing  In 2009, she appeared in Alan Bennett's new play The Habit of Art at the National  In 2012, she returned to the National in her third Bennett premiere, People 

Film and television
Her many television appearances during the 1980s and 1990s include the 1980 miniseries Flickers opposite Bob Hoskins, the TV version of Duet for One, for which she received a BAFTA nomination, the series A Kind of Living (1988–89), Dennis Potter's Cold Lazarus (1996), and Tom Jones (1997)  Of all her TV roles, however, she is best known for playing spinster Ruth Jones in the successful Yorkshire Television comedy Rising Damp, from 1974 to 1978  De la Tour told Richard Webber, who wrote a 2001 book about the series, that Ruth Jones "was an interesting character to play  We laughed a lot on set, but comedy is a serious business, and Leonard took it particularly seriously, and rightly so  Comedy, which is so much down to timing, is exhausting work  But it was a happy time " Upon reprising her Rising Damp role in the 1980 film version, she won Best Actress at the Evening Standard British Film Awards 
In the mid-1980s, de la Tour was considered, along with Joanna Lumley and Dawn French, as a replacement for Colin Baker on Doctor Who  The idea was scrapped and the job was given to Sylvester McCoy 
In 2003, de la Tour played a terminally ill gay woman in the film Love Actually with the actress Anne Reid, although her scenes were cut from the film's theatrical release and appear only on the DVD In 2005, she portrayed Olympe Maxime, headmistress of Beauxbatons Academy, in Harry Potter and the Goblet of Fire  In 2010, she reprised Maxime as a cameo in Harry Potter and the Deathly Hallows Part 1  Notable television roles during this time include Agatha Christie's Poirot: Death on the Nile (2004), Waking the Dead (2004), the black comedy Sensitive Skin (2005), with Joanna Lumley and Denis Lawson, Agatha Christie's Marple: The Moving Finger (2006) and New Tricks as a rather morbid Egyptologist, also in 2006 
She was nominated for the 2006 BAFTA Award for Actress in a Supporting Role for her work on the film version of The History Boys 
She later appeared in several well-received films, including Tim Burton's 2010 Alice in Wonderland as Aunt Imogene, a delusional aunt of Alice's, opposite Johnny Depp, Anne Hathaway, Helena Bonham Carter, and Mia Wasikowska and a supporting role in the film The Book of Eli, directed by the Hughes brothers  In 2012, she appeared in the film Hugo 
Until 2012, she was also a patron for the performing arts group Theatretrain 
From 2013 to 2016, de la Tour played the role of Violet Crosby in ITV sitcom Vicious with Ian McKellen and Derek Jacobi 
From 2013 to 2014, she portrayed headmistress Ms Baron in the BBC One sitcom Big School 
In April 2016, she joined the second series of Outlander as Mother Hildegarde 
In 2021, de la Tour appeared in an ITV production, initially released on BritBox - Professor T  - in which she played the mother of the titular character 

Personal life
Politically, de la Tour is a socialist and was a member of the Workers' Revolutionary Party in the 1970s 

Filmography
Awards and nominations
Stage
Context 2: Passage 1:
List of word board games
This is a list of board games  See the article on game classification for other alternatives, or see Category:Board games for a list of board game articles 

Single-player board games
Some board games have solo variants, such as Arkham Horror and Agricola  Others are specifically designed for one player 

Two-player abstract strategy games
In abstract strategy games, players know the entire game state at all times, and random generators such as dice are not used 

Two-player board games
Multi-player elimination board games
Participants are typically eliminated before game end 

European race games
Multiplayer games without elimination
Everyone can play along to the end  These games are especially suited for mixed play with adults and children 

Economics strategy games
Games involving scarce resources and strategy 

Games of physical skill
Coordination, finesse, or other physical skills are necessary  Also known as dexterity games 

Children's games
The rules are easy to learn and the outcome is mostly or entirely due to chance 

Cooperative games
Cooperative games in which all players need to work together to win 

Word games
These games are based on construction of words to score points 

Gaming systems
These are sets that can be used to play multiple games 

See also
Spiel des Jahres (Game of the Year)
Games 100
List of board wargames
List of Japanese board games
List of mancala games
List of board game publishers
List of game manufacturers
List of cross and circle games

External links
Board Game Geek
Boardgames org
A Zen Guide to Board Games
Gamerate Game database
Board Games Land
Board Game Theories
Passage 2:
Glossary of board games
This glossary of board games explains commonly used terms in board games, in alphabetical order  For a list of board games, see List of board games; for terms specific to chess, see Glossary of chess; for terms specific to chess problems, see Glossary of chess problems 

A
active  
See in play 

B
bear off  
To remove game piece(s) from the board and out of play  Past tense: borne off 

bit  
See piece 

Black  
Used often to refer to one of the players in two-player games  Black's pieces are typically a dark color but not necessarily black (e g  in English draughts official play they are red)  Cf  White  See also White and Black in chess 

board  
Short for gameboard 

C
capture  
A method that removes another player's piece(s) from the board  For example: in checkers, if a player jumps an opponent's piece, that piece is captured  Captured pieces are typically removed from the game  In some games, captured pieces remain in hand and can be reentered into active play (e g  shogi, Bughouse chess)  See also Game mechanics § Capture/eliminate 

card  
A piece of cardboard often bearing instructions, and usually chosen randomly from a deck by shuffling 

cell  
See hex and space 

checker  
See piece 

checkerboard 
A square gameboard with alternating dark and light-colored squares 

chessboard 
The square gameboard used in chess, having 64 squares of alternating dark and light-colors 

column  
See file 

component  
A physical item included in the game  E g  the box itself, the board, the cards, the tokens, zipper-lock bags, inserts, rule books, etc  See also equipment 

counter  
See piece 

currency  
A scoring mechanic used by some games to determine the winner, e g  money (Monopoly) or counters (Zohn Ahl) 

custodian capture 
A capture method whereby an enemy piece is captured by being blocked on adjacent sides by opponent pieces  (Typically laterally on two sides as in Tablut and Hasami shogi, or laterally on four sides as in Go  Capture by blocking on two sides diagonally is done in Stone Warriors, and surrounding on three sides is required in Bizingo ) Also called escort capture and interception capture 

custodian method 
See custodian capture 

D
deck  
A stack of cards 

die  
sing  of dice 

dice  
Modern cubic dice are used to generate random numbers in many games – e g  a single die in Trivial Pursuit, or two dice per player in backgammon  Role-playing games typically use one or more polyhedral dice  Games such as Pachisi and chaupur traditionally use cowrie shells  The games Zohn Ahl and Hyena chase use dice sticks  The game yut uses yut sticks 

direction of play  
The order of turns in a multiplayer game, e g  clockwise around the board means the player to the left has the next turn  
  
disc  
See piece    
 
displacement capture  
A capture method whereby a capturing piece replaces the captured piece on its square, cell, or point on the gameboard 

doublet  
1   The same number displayed by two dice 
2   The number displayed by one or more die is doubled 
3   The union of two game pieces to move as one 

E
empty board  
Many games start with all pieces out of play; for example, Nine men's morris, Conspirateurs, Entropy, and Go (if a handicap is not employed)  Some gameboards feature staging areas for the pieces before any are put into play; for example, Ludo and Malefiz 

enemy  
An enemy piece is a piece in the same army or set of pieces controlled by the opponent; or, in a multiplayer game, a piece controlled by the partner of an opponent 

Engine-building  
A board game genre and gameplay mechanic that involves adding and modifying combinations of abilities or resources to assemble a virtuous circle of increasingly powerful and productive outcomes  A successfully built engine can create a snowball or domino effect 

equipment  
Refers to physical components required to play a game, e g  pieces, gameboard, dice 

escort capture  
See custodian capture 

exchange  
For games featuring captures, the capture of a piece followed immediately by the opponent's recapture 

F
file 
A straight line of spaces running from top to bottom of a gameboard at right angle to a rank  Also called column 

friendly  
A piece in the same army or set of pieces controlled by a player; or, in a multiplayer game, a piece controlled by a player's partner 

G
gameboard  
Or game board  The (usually quadrilateral) marked surface on which one plays a board game  The namesake of the board game, gameboards would seem to be a necessary and sufficient condition of the genre, though card games that do not use a standard deck of cards (as well as games that use neither cards nor a gameboard) are often colloquially included  Most games use a standardized and unchanging board (chess, Go, and backgammon each have such a board), but some games use a modular board whose component tiles or cards can assume varying layouts from one session to another, or even during gameplay 

game component  
See component 

game equipment  
See equipment 

game piece  
See piece 

gameplay  
The execution of a game; or specifically its strategy, tactics, conventions, or mechanics 

gamer  
A person who plays board game(s)  See also player 
 
gamespace  
A gameboard for a three-dimensional game (e g , the 5×5×5 cubic board for Raumschach) 

grace  
An extra turn 

H
handicap  
An advantage given to a weaker side at the start of a game to level the winning chances against a stronger opponent  Go has formal handicap systems (see Go handicaps); chess has traditional handicap methods not used in rated competitions (see Chess handicap) 

hex  
In hexagon-based board games, this is the common term for a standard space on the board  This is most often used in wargaming, though many abstract strategy games such as Abalone, Agon, hexagonal chess, GIPF project games, and connection games use hexagonal layouts 

huff  
The forfeiture of a piece as a penalty for infringing a rule 

I
in hand  
A piece in hand is one currently not in play on the gameboard, but may be entered into play on a turn  Examples are captured pieces in shogi or Bughouse chess, able to be dropped into play as a move; or pieces that begin the game in a staging area off the main board, as in Ludo or Chessence 

in play  
A piece active on the main board, not in hand or in a staging area  Antonym: out of play 

interception capture  
See custodian capture 

intervention capture  
A capture method the reverse of the custodian method: a player captures two opponent pieces by moving to occupy the empty space between them 

J
jump  
To move a piece over one or more pieces or spaces on the gameboard  Depending on the context, jumping may include  capturing an opponent's piece  See also Game mechanics § Capture/eliminate 

L
leap  
See jump 

M
man  
In chess, a piece or a pawn  In draughts, an uncrowned (i e  not a king) piece 

meeple  
A game piece that represents a person in concept, shaped like an approximation of a person 

mill  
Three or more pieces in a line of adjacent spaces 

move  
See turn 

O
odds  
See handicap 

open board  
A gameboard with no pieces, or one piece, in play  Typically for demonstration or instruction 

order of play  
See direction of play 

orthogonal  
A horizontal (straight left or right) or vertical (straight forward or backward) direction a piece moves on a gameboard 

out of play  
A piece not active on the main board, it might be in hand or in a staging area  Antonym: in play 

over the board 
A game played face to face with the opponent, as opposed to playing remotely (online or other means, for e g  correspondence chess) 

P
pass  
The voluntary or involuntary forfeiture of a turn by a player 

pie rule  
Used in some two-player games to eliminate any advantage of moving first  After the first player's opening move, the second player may optionally swap sides 

piece  
Or bit, checker, chip, counter, disc, draughtsman, game piece, man, meeple, mover, pawn, player piece, playing piece, singleton, stone, token, unit  A player's representative on the gameboard made of a piece of material made to look like a known object (such as a scale model of a person, animal, or inanimate object) or otherwise general symbol  Each player may control one or more pieces  Some games involve commanding multiple pieces, such as chess pieces or Monopoly houses and hotels, that have unique designations and capabilities within the parameters of the game; in other games, such as Go, all pieces controlled by a player have the same capabilities  In some modern board games, such as Clue, there are other pieces that are not a player's representative (i e  weapons)  In some games, such as mancala games, pieces may not represent or belong to any particular player  Mancala pieces are undifferentiated and  typically seeds but sometimes beans, coins, cowry shells, ivory balls, or pebbles  Note that in chess usage the term piece in some contexts only refers to some of the pieces, which are also known as chessmen  See also Counter (board wargames) 
playboard  
See gameboard 

player  
The participant(s) in the game  See also gamer 

playing area 
The spaces on a gameboard for use by pieces in play 

playspace 
See playing area 

point  
See space 

polyhedral dice  
Dice that are not cubes, usually some kind of Platonic solid  Polyhedral dice are generally referred to through the construction "d + number of sides" (ex  d4, d8, d12, d20)  See also dice 

R
rank 
A straight line of spaces running from one side to the other across a gameboard at right angle to a file  Also called row 

replacement capture  
See displacement capture 

row  
See rank 

rule  
A condition or stipulation by which a game is played 

ruleset  
The comprehensive set of rules which define and govern a game 

S
singleton  
A game piece that is isolated and often prone to attack 

space  
A physical unit of progress on a gameboard delimited by a distinct border, and not further divisible according to the game's rules  Alternatively, a unique position on the board on which a piece in play may be located  For example, in Go, the pieces are placed on grid line intersections called points, and not in the areas bounded by the borders, as in chess  The bounded area geometries can be square (e g  chess), rectangular (e g  shogi), hexagonal (e g  Chinese Checkers), triangular (e g  Bizingo), quadrilateral (e g  three-player chess), cubic (e g  Raumschach), or other shapes (e g  Circular chess)  Cf  gamespace  See also Game mechanics § Movement 

square  
See space 

staging area  
A space set aside from the main gameboard to contain pieces in hand  In Ludo, the staging areas are called yards  In shogi, pieces in hand are placed on komadai 

starting area  
See staging area   
  
stone  
See piece 

swap  
See exchange 

T
take  
See capture 

token  
See piece 

trade  
See exchange 

triplet  
The same number displayed by three dice 

turn  
A player's opportunity to move a piece or make a decision that influences gameplay  Turns to move usually alternate equally between competing players or teams  See also Turn-based game 

W
White  
Used often to refer to one of the players in two-player games  White's pieces are typically a light color but not necessarily white (e g  backgammon sets use various colors for White; shogi sets have no color distinction between sides)  White often moves first but not always (e g  Black moves first in English draughts, shogi, and Go)  Cf  Black  See also White and Black in chess 

Worker Placement 
A genre of board games in which players take turns selecting an action while optimizing their resources and making meaningful decisions 

Notes
Passage 3:
Bear games
Bear games is a category of board games of which many have historical roots in the Roman Empire  They were played in parts of the Empire as far away as Turkey and France and are still played today, especially in Italy   All of the games are two-player abstract strategy board games   Normally, the game is played with three hunters and one bear on a patterned board   It bears similarity to the hunt games such as the Fox games, Rimau-rimau, and Bagha-Chall, however, there are no captures involved   The three hunters are trying to hem in the bear, and block its movements 
The closest relative of the Bear games are the Hare games   In this case, the hares are the "hunters" (a reversal in the naming procedure where the bear in the Bear games is the "hunted"), and there are three of them which is the same number of hunters in the Bear games   The difference is that the hares cannot move backwards in any way, whereas, the hunters can move in any direction   As a result, the boards used are also different   Another close relative is the game called Watermelon Chess   In one of the Bear game variants, the board is the same as that of Watermelon Chess   Furthermore, the game Sz'Kwa also uses the same board, although it is not actually related to the Bear games since the rules and game play are completely different 

Goal
The hunters attempt to hem in the bear and block its movements   The goal of the bear is to avoid this fate   As an optional rule, if the hunters cannot stalemate the bear in a given number of moves, e g  40 moves, the bear wins 

Equipment
There are a variety of patterned boards anywhere from round to rectangular boards   The first link below shows seven   There are normally three hunters, and one bear, however, these quantities especially for the hunters can change drastically depending upon the variant 

Rules
Initial positions of the pieces vary depending upon the variant   Usually the bear is placed in the middle of the board, and the hunters are placed together on one end of the board   One player plays the hunters (normally three pieces), and the other player plays the bear 
Both hunters and bears move one space at a time following the pattern on the board   Only one piece may be moved by each player   Players alternate their turns   There are no captures in this game 
As an optional rule – the bear wins if the hunters cannot stalemate the bear in a given number of moves, e g  40 moves 

Analysis
With perfect play, the hunters win 
This is a great example of a game where the humans have an edge over the computer   In some variants, the Zillions of Games program takes longer to win a game for the hunters as compared to human players 

Related Games
Hare games
Watermelon Chess
Sz'Kwa
Fox games
Rimau-rimau
Bagha-Chall
Main Tapal Empat
Adugo
Passage 4:
BoardGameGeek
BoardGameGeek (BGG) is an online forum for board gaming hobbyists and a game database that holds reviews, images and videos for over 125,600 different tabletop games, including European-style board games, wargames, and card games  In addition to the game database, the site allows users to rate games on a 1–10 scale and publishes a ranked list of board games As of 10 March 2019, boardgamegeek com has an Alexa rank of
1,745 

History
BoardGameGeek was founded in January 2000 by Scott Alden and Derk Solko, and marked its 20th anniversary on 20 January 2020 Since 2005, BoardGameGeek hosts an annual board game convention, BGG CON, that has a focus on playing games, and where winners of the Golden Geek Awards are announced  New games are showcased and convention staff is provided to teach rules  There is also an annual Spring BGG CON which is family friendly, and an annual BGG@Sea which is held on a cruise 
In 2010, BoardGameGeek received the Diana Jones Award, which recognized it as "a resource without peer for board and card gamers, the recognized authority of this online community " The New York Times has called BoardGameGeek "the hub of board gaming on the Internet "In 2020, BoardGameGeek was inducted into the Origins Award Hall of Fame The site has branched out into other fields by using the same system for RPGs and video games (rpggeek com and videogamegeek com) 

Golden Geek Award
Since 2006, the site annually awards the best new board games of the year with the Golden Geek Award  Winners are selected based on a vote by registered users 

2006–2009
2010–2019
RPG and Video Game awardsRPG and Video game awards were introduced in 2014 and awarded through 2017  Only 1 category was awarded in 2018, and none in following years 

2020–present
2020 saw many awards replaced with new categories, such as "Board Game of the Year" replaced with "Game of the Year, Light", "Medium" and "Heavy" 

See also
Going Cardboard (documentary)
Passage 5:
David Parlett
David Parlett (born 18 May 1939 in London) is a games scholar, historian, and translator from South London, who has studied both card games and board games  He is the president of the British Skat Association 

Life
David Sidney Parlett was born in London on 18 May 1939 to Sidney Thomas Parlett and Eleanor May Parlett, née Nunan  He is one of three brothers  During the Second World War, Parlett lived in Barry, Glamorgan  Parlett was educated at Battersea Grammar School and the University College of Wales in Aberystwyth  He has a BA in Modern Languages  Parlett was a technical writer with PR companies and later a freelance write for Games & Puzzles magazine  He is married to Barbara and they have a son and a daughter 

Works
His published works include many popular books on games such as Penguin Book of Card Games, as well as the more academic volumes The Oxford Guide to Card Games and The Oxford History of Board Games, both now out of print  Parlett has also invented many card games and board games   The most successful of these is Hare and Tortoise (1974)  Its German edition was awarded Spiel des Jahres (Game of the Year) in 1979 
Parlett is a Quaker 

Books
Games and gaming
All the Best Card Games
Anarquía y Otros Juegos Sociales de Cartas
Botticelli and Beyond
Card Games for Everyone
Family Card Games
Know the Game: Patience
Original Card Games
Solitaire: Aces Up and 399 other Card Games
Teach Yourself Card Games
Teach Yourself Card Games for Four
Teach Yourself Card Games for One
Teach Yourself Card Games for Three
Teach Yourself Card Games for Two
Teach Yourself Poker and Brag
The Guinness Book of Word Games
The Oxford Dictionary of Card Games
The Oxford Guide to Card Games / A History of Card Games
The Oxford History of Board Games reprinted as History of Board Games
The Penguin Book of Card Games
The Penguin Book of Patience
The Penguin Book of Word Games
The Penguin Encyclopedia of Card Games
The Popular Dictionary of Card Games

Other subjects
A Short Dictionary of Languages
Dalcroze Today (translation of Marie-Laure Bachmann's work)
Learning a Language Alone
Selections from the Carmina Burana (translations)

Games invented
Board games
Since 1974, David Parlett has published numerous games, including the following:
Around the World in 80 Days (2016)
Asterix: Das Kartenspiel (1990)
Chicken Out! (2017)
Die Wilden Kerle (The Wild Kids) (2017)
Hare and Tortoise (1973)
Katarenga (Colorado) (2017)
LifeCards
Metal Mickey's All Around the House Game (1982)
Ninety-Nine (1974) / Four Seasons (2016)
Pot Black: Snooker Dice (1980)
Rainbow Junior Scrabble (1989)
Roman Poker (2015)
Shoulder to Shoulder (1975)
Star Wars: Duell der Mächte (2015)
Sushi Spiel (Chinese Take-Away)
The Gnümies Party Game (2001)
The Puzzle of Oz (2012)
Zoo Party / 7Safari (2000) / Alles für die Katz

Card games
Parlett has invented more than 70 original card games that can be played with a standard deck of playing cards 

Solitaire games
Archway
Black Hole
Gay Gordons
Penguin
Passage 6:
Yut
Yut nori, also known as yunnori, nyout, and yoot, is a traditional board game played in Korea, especially during Korean New Year  The game is also called cheok-sa (척사; 擲柶) or sa-hui (사희; 柶戲)  The combining-form -nori means 'game' 
Although the origins of this popular family game are unclear, some research suggests that yut was played as early as the Three Kingdoms (57 BCE – 668 CE)  The Taiping Imperial Reader states that people of Baekje played a board game similar to po yut, which is believed to be similar to Pachisi, a board game originating in India There is a folk explanation for the game, describing a bet by some villagers to raise five different kind of livestock: pigs, dogs, sheep, cows and horses  Each of the villagers would raise only one type 
The board and the game are known to have been used in casting hexagrams, particularly in mountain-areas and small farming-villages, but this is no longer practiced 

Equipment
The board (mal-pan, 말판) is normally made of stitched cloth  The modern board is a rectangular shape, but historically there was also a round variation  There are four straight courses and two diagonal ones  Each of the straight courses comes with five stations, the diagonal ones have five stations, too, but one is shared  This brings the number of stations to twenty-nine in total  The board is also known to sometimes be drawn onto the floor 
Instead of dice, yut-sticks are used  (These are similar to those used in the Egyptian board game Senet ) There are two kinds of yut-stick: jang-jak yut (장작 윷) and bam yut (밤 윷)  Jang-jak yut are made of firewood  There are four sticks of about 15 cm in length and from 2 cm to 3 cm  in diameter  These sticks are split into halves  Chestnut-wood is most commonly used, but birch-wood is also common  These woods are chosen for their weight and the fresh sound they make when playing  Bam yut, on the other hand, are wooden sticks of about 3 cm in length  They have a diameter of about 1 cm, and also are split into halves  The bam yut are played in a small bowl, shaken in the palm, and then released 
There are small tokens (marks) used for the game, called mal (말, literally a "horse")  There are four tokens for each team, although there are no common rules what a token can be made of  The only rule is that the mals of the opponent teams must be clearly distinguishable  Apart from black and white plastic tokens generally found today, common mals are coins, buttons, small pebbles, or even chess beads (both from Western chess and Korean chess)  When choosing the mal, some Koreans consider its speed, because the faster a horse runs, the better it is thought to run 

Yut sticks
The sticks are cast to determine how far a token can advance  The score is determined by counting the sticks that are over, and those that are up  Each combination has a name  One stick over (flat side up) and three sticks up (round side up) is called "do" (도, pig)  Two sticks up and two sticks over is called "gae" (개, dog)  One stick up and three sticks over is called "geol" (걸, sheep)  All sticks over is called "yut" (윷, cow), whereas all sticks up is called "mo" (모, horse)  A "do" is worth one space advancement, a "gae" is worth two space advancement, a "geol" is worth 3 space advancement, "yut" is worth 4 space advancement, and "mo" is worth 5 space advancement  When the sticks come to the result of either "yut" or "mo", the player has another chance of throwing the sticks up again (optional- some people prefer not to play with this rule)  If you get "yut" or "mo" consecutively, you play (throw) again 

Game rules
The game is played between two partners or two teams who play in turns, sometimes it is played with more teams  There is no limit in the number of participants in a game, which means that the game can be played by a considerable group  When played with large groups it is not uncommon for some group members never to cast the sticks: they still participate discussing the strategy 
The start of the game is determined by each team casting the yut-sticks  The team with the highest score starts first 
Each team then casts the sticks in turn, then moves a mal according to the score achieved  One turn usually consists of only one cast   However, a player achieving a yut or mo earns an extra cast for the turn; if the player casts a yut or mo at the second cast, they earn an extra cast again, so there is no limit to the number of times a player can cast again before the end of a turn, provided they keep casting yuts or mos  The respective scores can be played separately if wished, each given to another mal (or group of mals, see below), but a score earned from one cast cannot be split into two moves—for example, a geol (advance three steps) cannot be split into a do (one step) and a gae (two steps) 

As long as there are mals outside the board, a team can either put a new mal onto the board according to the scores it got, or move a mal already on the board  The mals travel around the board and can move forward only  However, when landing on one of the big stations (in the corner and the centre), the team can choose to take the shorter way should they wish to  There are four possible courses, the default course being longest one with no abbreviation (No  4) 
If a mal lands on a station occupied by the opponent's team, the opponent's mal is removed from the course and returned to the starting position, and the current player is allowed to cast again 
If a mal lands on a station occupied by the own team, these mals can form a group and travel together from that point on   However, this bears a risk: If an opponent lands their mal on a station occupied by a group of mals of the opponent, all mals in the group are removed from the course 
For example, if one casts two yuts and one do at their first turn in the game, possible moves would include (see The Stations below for the station names):

Put a mal on the board at the yut station (uses the first yut score); advance to mo (uses the do score), then to sok-yut (uses the second yut) 
Put a mal on the board at the yut station (uses first yut score); put another mal on the board at the same yut station (uses the second yut score), causing the two mals to move together from then on; advance them to mo (uses the do) 
Put a mal on the board at the yut station (uses the first yut); advance to duet-geol (uses the second yut), then to duet-yut (uses the do) The game is won by the team who brings all their mals home first, that is complete the course with all their mals  A course is completed if a mal passes the station where the game is started (cham-meoki)  Landing on cham-meoki is no finish, but any score going "beyond" this station completes a home run  Yut is often played for three or more wins 

Special rules
The game is sometimes enhanced by labeling one, two, or three of the yut stick on their flat side  The Seoul rule can be played if one of the sticks is labelled Seoul (서울)  If this stick is the only one facing down (do so that the letters Seoul can be read), a mal can be placed directly into the centre (bang), which in this case is called Seoul  If all the mals are already on the course, this counts as a do  The Busan rule is similar  One of the yut sticks is labelled Busan (부산)  Rather than to the centre, the mal travels directly to the far corner (mo)  Again, this only applies if this is the only stick facing down, and not all mals are on the course already 
There is also the back rule, where one of the sticks is labelled back (후퇴)  If this is the only stick facing down, one of the mals has to go back one step  Depending on the rules used, if none of the mals are on the course, then this is counted as either a do or a skipped turn   Alternatively, if the do rule is not being used, the other most common rule is for a mal to be placed onto the arrow next to the start  The mal remains there until another back is cast  In this case, however, the mal completes the course at once  Furthermore, if a mal is placed on the do spot, and then gets a back, then they will be on the cham-meoki spot and then will exit the malpan when a do, gae or geul, yut or mo is thrown  Another back will put them on the nal-yut spot 

Social meaning
The game is a popular board game throughout Korea, and it is considered a game of deep tradition  The game is often treated as a social spectacle with onlookers and team members shouting loudly, encouraging each other, or wishing for a certain score  This game is played in almost every Seollal gathering and is commonly played in almost any region of the world with a significant Korean population   The rare scores of yut and mo in particular cause excitement, particularly if cast more than one at a time 
The Australian film and theatre group, Yut Art, takes its names from the game as a result of the excitement and crowd participation associated with its activities 

The stations
Each station of the gameboard has its own name, although they are obscure to most Koreans  It is thought that the outer stations symbolize heaven, and the inner square, the earth  The whole board can be also interpreted as a reflection of universal symmetry and celestial procession, reflecting elements of Korean shamanism The mid-Joseon writer Gim Munpyo described the Yut board as symbolising the circle of the cosmos, with the North Star in the centre, surrounded by 28 constellations 

Yut Fortune
According to the Dongguksesigi (literally meaning a Book on Eastern Country's Annual Observances), a book listing 22 Korean annual observances, on New Year's Eve or New Year's Day, there was a game of fortune-telling good and bad with a hand-thrown out of yut  The possible combinations of yut are do, gae, geol, yut, and mo, but yut and mo hit the same thing  As a result, there are 64 fortune tellings in total, and in each case, matters to be careful about behavior and the answer for the year's luck are set 

See also
Lambs and Tigers
Korean culture
List of cross and circle games
Passage 7:
Francis Tresham (game designer)
Francis Tresham (1936 – 23 October 2019) was a British board game designer who produced board games since the early 1970s  Tresham founded and ran games company Hartland Trefoil (founded 1971), a company well-known for its Civilization board game, until its sale to MicroProse in 1997  His 1829 game was the first of the 18xx board game series and some of his board games inspired Sid Meier computer games such as Railroad Tycoon 
Francis Tresham was the first to introduce a technology tree into his boardgames  This idea had a large influence on later board and computer games 
He was managing director of Tresham Games, which produced 18xx-style board games  In 2013, he was one of the first inductees in the UK Games Expo Hall of Fame  He died on 23 October 2019 

Published board games
1825
1829
1829 Mainline
1830
1853
Civilization
Revolution: The Dutch Revolt 1568–1648
Shocks & Scares
Spanish Main
The Game of Ancient Kingdoms
Passage 8:
Days of Wonder
Days of Wonder is a board game publisher founded in 2002 and owned by Asmodee Group since 2014  Days of Wonder distributes its games to 25 countries  It specializes in German-style board games and has branched out to include some online games  Days of Wonder has published games in several languages including English, Dutch, French, German, Russian, and Greek  Days of Wonder was co-founded by Eric Hautemont, Mark Kaufmann and Yann Corno 

History
Days of Wonder was founded in 2002 by Mark Kaufmann, Eric Hautemont and Yann Corno  It released its first game, Gang of Four in 2002  In March 2004, the company released Ticket to Ride, designed by Alan R  Moon  In 2004, Ticket to Ride was awarded the Spiel des Jahres  In 2006, the company released a digital version of Ticket to Ride  Also in 2006, the company's game Shadows Over Camelot was named the Best Fantasy Game at the 2006 Spiel des Jahres In 2009, Smallworld received three awards including "Best Game of the Year", "Best Family Game", and "Best Game Artwork" from the Dice Tower Gaming Awards In 2014, Days of Wonder was acquired by French game distributor Asmodee Group 

Games Published
Below are all of the games published by Days of Wonder from 2002 to 2018:

Small Box games
Awards and honors
See also
Going Cardboard (Documentary)
Passage 9:
Tsuro
Tsuro is a tile-based board game designed by Tom McMurchie, originally published by WizKids and now published by Calliope Games 
Tsuro is a board game for two to eight players  To play, players compete to have the last playing piece remaining on the board  Player turns consist of placing tiles on the board from the player's hand  Then they move their respective pieces along these paths  Players are eliminated by following a path that ends at the board edge 
There have also been a number of differently themed Tsuro editions and expansions released, beginning with Tsuro of the Seas  Although core gameplay remains the same, some versions feature expanded rules or larger boards 
The name of the game is taken from the Japanese word tsūro (wikt:通路) meaning "route"   The word, written in kanji, appears in the art on the game board 

Gameplay
The game is played on a square board that is divided into a six-by-six grid of squares  There are eight player markers, thirty-five standard path tiles, and one Dragon tile  Before the game begins, the Dragon tile is set aside 
To start, each player chooses a different colored playing piece and places their marker on any of the white notches that surround the edge of the board; each edge has twelve notches  The path tiles are shuffled and each player is dealt three path tiles; the remainder are left as a draw pile  Each turn includes a tile-laying phase and then a marker movement phase  The turn ends with the active player drawing another path tile In each turn, the active player must place a tile in the square adjacent to their piece  Once placed, the piece moves along the line in front of it  If the placed tile connects to the path that another player's piece is on, the other (inactive) player must move their piece to the end of the line on the newly-placed tile  Sometimes this will cause the piece to go off the board, in which case that player is eliminated  The active player may not choose to connect their path to the edge of the board (eliminating that player), unless no other move is available  If two pieces end up on the same path, both players are out  The unused path tiles of the players that are eliminated are shuffled into the draw pile  The winner is the player with the last remaining marker on the board 
The Dragon tile is only used when there are three or more players  When there are no more tiles to draw from, the player takes the Dragon tile  This is to indicate that they will draw from the pile after the eliminated players give up their unplayed tiles, regardless of whether they are the active player or not  The Dragon tile is set aside once the draw pile has been restocked 

Tiles
There are thirty-five possible permutations for a four-sided tile with two entry points per side and four paths linking the eight points  In the table below, tiles are named according to the connected points  Points are numbered sequentially anti-clockwise from the left point on the bottom edge, so the bottom edge contains points 1 (left) and 2 (right), the right edge contains points 3 (lower) and 4 (upper), the top edge contains points 5 (right) and 6 (left), and the left edge contains points 7 (upper) and 8 (lower)  The nomenclature AB-CD-EF-GH indicates that points A and B are connected, C and D are connected, E and F are connected, and G and H are connected  A single 90° rotation anti-clockwise will increment each number by 2 (modulo 8) to determine path connections when rotated 

Alternate Editions and Expansions
History
McMurchie received a patent for the "Squiggle game" in 1979  The 1979 patent described two different implementations; the first, commercialized largely intact as Tsuro, used the square tiles with two entry points per side and four paths, while the second used square tiles similarly with eight entry points and four paths per tile, but the entry points were changed to the middle of each side and at each corner instead  In both cases, the preferred board size was a 6×6 grid and what became the Dragon tile was initially called the NEXT card  The patent also provided specific names for player actions:
SHORT CUTS: when a player is connected to a previously unused path, the player is required to advance their piece to the end of the newly-connected path 
SUICIDE: an illegal move in which a player connects their own path to the edge of the board, unless no other legal move is possible) 
MEDDLING: a player's legal move which extends the path of another player; the other player is required to advance their piece to the end of the newly-connected path 
COLLISIONS: connecting the paths of two players, forcing them both out of the game  In effect, the start of one player's path serves as the connection to the edge for the other player and vice versa 
INHERITANCE: when a player's action results in another player (or players) being eliminated, the active player may exchange any number of cards in their own hand with the cards held by the eliminated player(s); the remaining cards from the eliminated player(s) are shuffled back into the draw pile 
One of the patents cited by the examiner was US3309092A (1963) by Hardesty and Schenck, entitled "Competitive road building and travel game", which included a variety of square tiles, including what they called "tiles with two, three or four roads" similar in pattern to the Tsuro tiles  Dawne and Jordan Weisman, the owners of Games and Gizmos in Redmond, Washington watched McMurchie playing Squiggles and asked him if he would be interested in publishing the game  The Weismans had founded the games publishing company WizKids and reworked Squiggles into Tsuro, switching the original 1950s theme to one that was Japanese-inspired  The game was released in 2005 
WizKids was later acquired by Topps and then NECA, and the rights for the game reverted back to Tom McMurchie  Ray Wehrs, who had been the director of sales for WizKids, purchased a license from McMurchie and founded Calliope Games in 2011 with Tsuro as its flagship product  In 2012, actor and blogger Wil Wheaton featured the game in one of his YouTube videos, causing sales to spike 

Variants
After Calliope Games began publishing Tsuro, different versions and spin-offs of the game were created   The game also has an app for mobile devices created by Thunderbox Entertainment  The game also has been published in multiple languages including a German, a Greek and a multilingual version 
The German version of Tsuro was published in 2007 by KOSMOS  In addition to the language translation, the game's individual player pieces were little tree figures instead of the dragon stones, and the board was made two-sided, with the other side being a 7×7 grid  The 35 unique tiles were expanded to a set of 64, with some duplication of paths, and players would randomly choose 35 (plus the Dragon/Next tile) for play on the 6×6 side of the board  The KOSMOS-published variant was licensed by a Greek publisher, Kaissa, and released in that market The first Tsuro spin-off created was a Star Wars-themed spin-off called Asteroid Escape  This version of Tsuro was published in 2011 by Abysse Corp, exclusively in France  Asteroid Escape has additional asteroid tiles, which remove any player that lands on them instantly  They are placed on the board randomly at the start of (and occasionally during) the game, and move randomly as the game progresses, consuming any tiles or players in their path  The board is also slightly larger, 7x7 instead of 6x6  In addition, the player's individual pieces are cardboard spaceships In 2012, Calliope Games published Tsuro of the Seas, which included similar changes, after receiving funding from Kickstarter  The game's creators included the original creator of Tsuro, Tom McMurchie, and Jordan Weisman  Tsuro of the Seas has a few changed gameplay aspects and visuals, including player pieces shaped like boats and daikaiju tiles, which are equivalent to the asteroid tiles Tsuro of the Seas later received an expansion called Veterans of the Seas, published in 2013 by Calliope Games  This expansion includes four new types of tiles that all do different things   There is the mystical portal tile that moves ships and daikaiju tiles to new paths on the board   The tsunami tile moves steadily across the board, giving players a new obstacle they must overcome by rolling a die  If the player does not roll high enough they are eliminated from the game   The whirlpool tile destroys all ships and daikaiju tiles it comes in contact with   The cannon tiles are a defensive card players can use to defend themselves from daikaiju Tsuro: Phoenix Rising was initially funded by Kickstarter and released in 2019 by Calliope  Like the original game, Phoenix Rising is played on a 6×6 board with 36 square tiles, each with four paths  However, the tiles in Phoenix are classified as either "center" tiles (total of 16 "center" tiles) or "edge" tiles (20 "edge" tiles)  These tiles have additional entry points at the corners and the center tiles are pre-placed in the center of the board prior to starting play  Tiles are flipped or rotated during play, and the goal of the game is to create and collect seven stars by traversing paths In 2022, Calliope Games announced that a "Luxury Limited Edition" of the original Tsuro would be released later that year; changes included upgraded materials, including carved stone tiles, satin tile storage bag, bamboo rules scroll, and wooden box, individually numbered  The limited edition set was priced at US$350 

Reviews
Pyramid

See also
Black Path Game
Passage 10:
Robert Charles Bell
Robert Charles Bell (1917–2002) was the author of several books on board games, most importantly Board and Table Games 1 & 2 (reprinted as Board and Table Games from Many Civilizations)   This work won the Premier Award of the Doctors' Hobbies Exhibition, London   He was instrumental in popularizing traditional games, and is acknowledged as one of 11 "principal sources" in David Parlett's The Oxford History of Board Games 

Life
He was born 1917 in Sudbury, Ontario and moved to England in 1928; and was educated at Haileybury College, Hertfordshire and St Bartholomew's Hospital by 1941  He became a consultant plastic surgeon and was on the editorial board of the British Journal of Plastic Surgery   Outside medicine, Bell was a polymath who became an international authority on board games and wrote books for collectors on Tyneside Pottery and Trade Tokens  His first work on games was Board and Table Games (1960), and he later produced many articles on coin collecting for World Coins He died in 2002  As of 2007, much of his extensive collection of games and game paraphernalia resides at the University of Durham 

Categories of board and table games
Bell gives origins, history and some game-playing details for some 180 games in the 2 volumes of his main work (Board and Table Games)  He divides board games into four main categories:

A race game requires the pieces to move from a start point to a finish point usually based on the throw of dice (e g  Ludo) 
A wargame involves movement (and occasionally placement) and is typically won with the capture of all opponent pieces (e g  draughts) or a special opponent piece (e g  chess) 
A positional game requires the winning player to form a pattern or shape by merely placing (noughts and crosses and Go are respectively the simplest and most complex examples) or placing and moving pieces on a board (nine men's morris) 
Mancala games involve players distributing seeds across a series of holes and collecting the contents of holes that achieve specific numeric or numeric/positional status  Typically one wins by collecting the most seeds, or rendering the opponent unable to move Bell used the basic categories suggested by Murray with some alterations   Because his treatment extended beyond board games, Bell also included the categories of dice and domino games; and in his second volume added "Games of Words and Numbers", "Card Games Requiring Boards", and "Games of manual dexterity"  In addition, there is mention of the subgenre of solitaire and puzzle games 
Bell drew on a wide range of sources, including Edward Falkener, Stewart Culin, Willard Fiske, H  J  R  Murray, John Scarne, and many others; as well as his own research and collection 

Publications
Books about board and table games
Robert Charles Bell MB, FRCS (R  C  Bell)

Board And Table Games From Many Civilizations 1 – Oxford University Press, 1960 
Board And Table Games From Many Civilizations 2 – Oxford University Press, 1969 Board And Table Games From Many Civilizations (revised edition with above two volumes bound into a single book) - Dover Publications, Mineola, New York, 1979  ISBN 0-486-23855-5; reprinted by Exeter Books, New York City, 1983 Tangram Teasers: A Selection Of Ch'i Ch'iau Puzzles – Corbitt & Hunter, Newcastle upon Tyne, 1965  ISBN 978-0900309069 
Discovering Old Board Games – Shire Publications #182, 1973  ISBN 0-85263-235-5
Discovering Backgammon – Shire Publications  #201, 1975  ISBN 0-85263-263-0
Discovering Mah-Jong – Shire Publications #222, 1976  ISBN 0 85263 444 7
Discovering Chess – Shire Publications #221, 1976  ISBN 0 85263 478 1  A second edition, revised by Ken Whyld, was published in 1979 
The Boardgame Book – Bookthrift Company / Marshall Cavendish / Knapp Press / Viking Press / Penguin Books, London, 1979  ISBN 0 89535 007 6 Les Plus Beaux Jeux Du Monde (French edition of the above) – Fernand Nathan, 1979  ISBN 978-2092846216 
Das Große Buch Der Brettspiele (German edition of the above) – ?, 1979? Discovering Dice And Dominoes - Shire Publications #255, 1980  ISBN 0 85263 532 X 
Oriental Games - Gulbenkian Museum of Oriental Art / University of Durham, 1981 
Board And Table Game Antiques - Shire Publications (Shire Album 60), 1981  ISBN 0 85263 538 9 
Games to Play: Board And Table Games For All The Family - Michael Joseph / Penguin Group / Guild Publishing, 1988  ISBN 0 7181 2993 8 
A Compendium Of Games: Family Entertainment From Around The World – Smithmark Publications, 1999  ISBN 978-0765117083 Robbie Bell and Michael Cornelius

Board Games Round The World: A Resource Book For Mathematical Investigations – Cambridge University Press, 1988  ISBN 0 521 35924 4 

Other books
R  C  Bell

Commercial Coins 1787–1804 – Corbitt & Hunter, Newcastle upon Tyne, 1963 
Copper Commercial Coins 1811–1819 – Corbitt & Hunter, Newcastle upon Tyne, 1964 
Tradesmen's Tickets And Private Tokens 1785-1819 – Corbitt & Hunter, Newcastle upon Tyne, 1966 
Specious Tokens And Those Struck For General Circulation 1784-1804 – Corbitt & Hunter, Newcastle upon Tyne, 1968 
Tyneside Pottery - Littlehampton Book Services Ltd, 1971  ISBN 978-0289700532 
Monographs On Plastic Surgery, volume 1: The Use Of Skin Grafts – Oxford University Press, 1973 
Unofficial Farthings 1820-1870 – B A  Seaby, London, 1975  ISBN 978-0900652400 
The Building Medalets Of Kempson And Skidmore 1796-1797 – Frank Graham, Newcastle upon Tyne, 1978  ISBN 978-0859831055 
Maling And Other Tyneside Pottery – Shire Publications, 1986  ISBN 978-0852637920 
Political And Commemorative Pieces Simulating Tradesmen's Tokens 1770-1802 - ?, Felixstowe, 1987 
Bell's Unofficial Farthings: A Supplement – Whitmore, 1994  ISBN 978-0951325735 R  C  Bell and M  A  V  Gill

Potteries Of Tyneside – Frank Graham, 1973  ISBN 978-0902833777 R  C  Bell and Simon Rodway

Fun at the Lathe - Guild of Master Craftsman Publications Ltd, 1998 Edited by R  C  Bell

Diaries From The Days Of Sail (with an Introduction by Alan Villiers) – Holt Rinehart & Winston, 1974  ISBN 978-0030129414 

Miscellaneous
Token Tales – a series of articles, originally appearing in 'World Coins' in the 1960s and 1970s, republished by the Conder Token Collector's Club from 2003
Games of the World – this book, edited by Frederic V  Grunfeld and published by Ballantine Books of New York in 1975, cited R C  Bell and Léon Vié as Editorial Consultants 

Notes
Context 3: Passage 1:
Dhussa
Dhusha, now Benighat Rorang is a Rural Municipality in Dhading District in the Bagmati Zone of central Nepal  At the time of the 1991 Nepal census it had a population of 6350  The Dhusha VDC office is located at Charaundi Bazar, which is one of the Commencing place of the White Water Rafting in Trishuli River which started longway back  The bazar is also the main business area for the whole VDC which is located along the Prithvi Highway  Like the general geographical status of the whole country, Dhusha rises from low altitude to medium - high altitude region  Charaundi Khola (Charaundi Stream), flows very close to the bazar 
Dhusha proudly boasts as it is one of the few Rural Municipality (VDCs) in the country which serves the country producing tonnes and tonnes of vegetables all the year round which mainly comprises Cabbage, Brinjal, Bitter Gourd, Tomato etc  The vegetable are sent to Kalimati Vegetable Market in Kathmandu and also various cities and towns in the country including Mugling, Narayanghat, Pokhara, Biratnagar, Dharan  It's one of the gateway to the Chitwan District via walking trail 
Tourism can be the next source of income in the VDC as the area is rich with natural resources  White water rafting is the main attraction in the area  Trishuli River, which is one of the famous river for White Water Rafting in the country, flows in between Dhusha (Dhading District) and Ghaylchowk VDC (Gorkha District)  The main rafting spots which are within the VDC are just 80 km (approx ) with some good resorts (Royal Beach Camp, Himalika Camp/Resort  etc )mainly targeted for tourist are opened in the area  The VDC is just 80 km (approx ) from Kathmandu, the capital city  "Nohak Gupha (Nohak Cave)" also lies within the VDC which can be one of the longest cave in the country though it is yet to be publicized and verified  Canyoning in also a major attraction for local and foreign tourist in the VDC 
Passage 2:
Old Bazaar, Gjakova
The Old Bazaar (Albanian: Pazari i vjetër; Serbian: Стари базар / Stari bazar) in Gjakova is the oldest bazaar in Kosovo (also known as Çarshia e Madhe (Grand Bazaar) or Dakovica  Mëhalla e Hadumit, the historical neighborhood where it is located also houses the city's oldest mosque, the Hadum Mosque (Xhamia e Hadumit), which dates from the 15th century 
The Grand Bazaar (from the Turkish: Çarşı meaning marketplace Albanian: Çarshia e Vjetër) was the heart of the economy in Gjakova, a city of trade and merchandise which served the villages around the municipality of Gjakova, the Junik zone and Gjakova’s highlands (Malësia e Gjakovës) on the border between Kosovo and Albania  The Old Bazaar was burnt and destroyed and then it was reconstructed after suffering damage during the 1999 war (the last war in Kosovo) 
Around the mosque lie the graves with sculpted decorations, with inscriptions engraved in the old Ottoman language  In the past, it was used to bury members of the popular families in Gjakova  Within the mosque’s complex were the hamam (Turkish bath) which was destroyed in 2008, the building of the old library, from 1671 (burnt by Serbian forces during the war of 1999 and totally ruined in 2000) and also meytepi from 1777 
The bazaar is linked to the city centre, just five minutes away via the IslamBegu Bridge  The bazaar covers an area of about  35,000 m2 (380,000 sq ft) and the length of its main road is 1 km, with about 500 shops situated along it  It is, however, still home to an active mosque, several türbes, and a clock tower, which was destroyed during the First Balkan War and was recently rebuilt 

History
Grand Bazaar of Gjakova arose with the appearance of the first craftsmen and the artisan processing produce; it arose then when Gjakova obtained the kasaba (small town) status, when in 1003 H (1594/95), Selman Hadim Aga donated some public facilities, which he had built himself to religious institutions the Hadum Mosque, a meytep (elementary religious school), a library, a muvakit-hane, “a building for measuring the time and determining the calendar by means of astrolabic quadrates", a public bath (hamam), an inn and some shops  For the maintenance of these facilities he asked from sultan to attach to his “vakif” some lands of sultan properties (hases), whose income should be used for the maintenance of the mentioned buildings and for the payment of the staff that would work there 
However, the first direct facts about the Grand Bazaar were provided by the Turk traveloguer Evlia Çelebi, who visited Gjakova in 1662 and, it seems, was amazed by the beauty and treasure of the city and of Gjakovar citizens  Among other things, he wrote: “Jakova has two thousand decorated houses located in a vast field  It has two beautiful mosques, mosques without a minaret (“mesjide”), inns covered in lead  It has a beautiful public bath (hamam) that pleases your heart and about three hundred shops with one thousand kinds of crafts  Referring to the impressions the Gjakovars left on him, he continues "Since it has a lovely climate, the inhabitants are good looking and kind" 
As it can be seen from the beginnings, there was a great number of shops in the Grand Bazaar, in which almost all kinds of trades were developed aiming at fulfilling all the needs of the population of the region of Gjakova and of export such as those of metal processors, leather processors, textile processors, tinsmiths, saddlers, (shag-makers) white woolen cap-makers, rug-makers etc 
The metal processing included some very important trades for that time, such as gunsmiths, silversmith, copper dishes productions, tinsmith etc  In the 18th century the famous gun master Tush the gunsmith was mentioned in Gjakova, who dealt not only with their producing, but also with their decoration  As a master of luxurious guns producing, which at that time were requested without any distinction by all the social classes, he managed to create, in this century, “the people's school" of this trade, known until today by his name 

Hadum Mosque
A shepherd from the Guskë village was looking after his sheep and goats  The Turkish (Ottoman) guards noticed that a bird was flying over him, which according to the saint books, meant that he was a good and wise man, so they went and talked to him  He invited them as guests for a night and hosted them with all he had  The shepherd also was a good talker and the Turkish guards learned that his name was Hadum and understood that he was very smart and wanted to be educated  Hadum was taken to Istanbul, where he finished the preacher school  After that, he wanted his own mosque so the Turkish administration helped him again  The Turkish guards searched for an appropriate place for a mosque, not far from the Guskë village  They noticed a flat field, close to a hill (now known as the Çabrati hill), and found the owners of the land, with whom they talked about buying a piece of land  The owners were Jak and his brother Vulë, and they didn’t want to sell any land  The Turkish guards managed to change their minds and they told them they only needed land as much as the skin of an ox, and the brothers agreed  In fact, they were really crafty  They took the skin of an ox, cut all of its big, long hair and they put it in a sack  The other day they went to the field, took the hair out and started to put them on the ground  The brothers saw that the Turkish guards had lied to them, but since they had nothing to say, they only wanted the place’s name to be Jakovë (the combination of the brothers’ names Jakë and Vulë)  The Turkish administration accepted the name, which later was changed to Gjakovë  
70 years later, Evliya Çelebi said that around the plain of Jak Vula and Hadum Mosque were 2000 houses, some masjid and two monumental mosques, inns covered in lead, a beautiful hamam and 300 shops  The Hadum Mosque as an architectural building belongs to the classic forms of the mosques in the group of the Kosovar style  It is covered with cubes; it has a right-angled rectangular base and a minaret which comes out of the south-west wall, in a right-angled base  The blueprint and the compositional scheme contain these parts: the hall of praying, Hayat and the minaret 

Crafts
The craft of cutlers, that used to be practised also in Gjakova, was older than the one of gunsmiths  The craftsmen dealing with this craft used to produce different knives, such as "dimi", daggers, yatagans, etc , whose handles they decorated with beautiful ornaments 
According to the English author Night, Gjakova was one of the most interesting towns with quite craftily inhabitants in metal processing  He would express himself that “the most beautiful saddles, filigree products, the golden sword handles making and the decorations of yatagans and pistols were produced here from hard-working people  He would, further continue: “Albanians of Shkodra, Gjakova and Prizren are well-known masters in the production of guns and other items of metal  J  Mueller claimed in 1838, about Gjakova, that the guns of this town especially the pistols enjoy a special respect also in Sarajevo 
Luxury personal objects and other artistic items, worked in gold, silver and pearls were constructed here  The silversmiths' works matched not only the taste and requirements of the local population, but also those of foreign countries  Therefore, the silversmiths became well-known with their artistic products everywhere  Th  Ippen wrote that the silver products of Gjakova were traded everywhere and “are famous all over Albania”  The English journalist Mehew wrote, among other things: “Albanians are not only hardworking and capable of different handwork, but the country has some rare products, which do not remain behind some artistic products of our western capitals at all  Can this be said for Montenegrins, Bosnians or Serbs? In the towns of Peja and Gjakova filigree works in gold and silver are made, which are much better than those of Malta, both from the artistic sense expressed in their motives and in the weaving and wonderful finesse of these items  These excellent works of Gjakova, similar to laces, are demanded in every market, as well as very precious “golden cups made in filigree, made to protect the hand from burning”- as Lord Byron mentioned them in his work Don Juan, which usually are put under the little coffee cups, are always of Albanian production 
Among Gjakovar silversmiths' products for personal decoration were the rings, earrings, wrist rings, “feses”, etc  that were used in local rich families and were exported to Istanbul  Also, the silversmiths used to decorate the pipes, mirror frames, etc 

Guns
According to the 19th-century Bulgarian scholar, Ivan Mihov, Gjakova was also among most important centers of luxurious guns production  The Shkodra French consul, Hecardy, would write that “same as all the other Albanians, also the highlanders like luxurious guns", which were decorated with a lot of art (passion), with carving, with mother-of pearls (“sedef”) and pearls, which were produced in Prizren, Gjakova and in Tetova  Gunsmiths of Gjakova, had become well known for the production of "Gjakova pistols”, “whose value consisted especially in the beauty of the round but pommel or rosary" 
As better known Gjakovar gunsmiths are mentioned Tusha from the 18th century, whose name is related to the development of gunsmithery and silversmithery in this town, whereas in the 19th century Emin Kazari, Murat Nuka, Ramadan Nuka, Çaush Basha, Beqir Pula, etc  are mentioned  Referring to the gunsmithery tradition, Theodor Ippen, among other things, wrote, “…Earlier, in Shkodra, Prizren, and in Gjakova, there were large gunsmith, long rifle, and side-handgun and yataghan workshops  These old guns were then in wide use  There are facts, according to which Gjakovar gunsmiths set up workshops also outside their place, competing successfully the products of those places where they established their shops  Thus they caused the discontent of the local gunsmiths  In a letter sent to prince Milos, on 6 October 1837, it is said that in Gurgusovac there is a gunsmith from Gjakova, Bajram Mustafa with his two sons-apprentices, against whom the local craftsmen were complaining 
Tushe was considered as the most talented master for producing and decoration of celinas  The long rifles and those of waist of Gjakova, produced "in the Albanian fashion", decorated with gold and silver had become well-known all over Europe since the 18th century  However, according to Franz Noptsche, Gjakova became well-known later also for the producing of "martin" type guns and was a strong competitor in selling this product in the home market  But this gun model as well as other guns of Albanian fashion were sold also abroad in most distant markets  Gjakovar gunsmiths used to produce also other necessary equipment for the use of guns, such as circles, which were in use until the 1860s and 1870s, until the beginning of use of fire guns with “viaskas”  Although initially the Gjakovar gunsmiths produced rifles, later they shifted exclusively to bullet producing  Among other things, they would go to cattle fairs in Ivanjica, where they would successfully sell their products  The Gjakova craftsmen used to produce cartridges for the rebels of Karageorge  According to Sami Frashëri in Gjakova guns, silver, Albanian national costumes and some kinds of silk fabrics were produced  The trade was very much developed there  Often Albanian guns were called (labelled) by the names of places of production  Thus, among other things, the Gjakovars (the hunt guns) were well known, guns that were decorated according to the “people’s school” style of the 18th century of the famous gunsmith and silversmith Tusha 

Clothing
The working of national costumes, which were decorated with autochthonous ornaments, had the priority for both women and men  It is known that the Albanian national costumes were distinguished for their beauty and for the fine taste of Albanian tailors  Therefore, it is no wonder why Byron had bought Albanian costumes, in which he was painted in front of European artists  The Russian academic Alexander Hilferding, who visited Gjakova in 1857, wrote among other things: "The mydyrr of Gjakova, an Albanian of extraordinary beauty, dressed in a wide faultless white kilt and with a short red jacket stitched (embroidered) in gold, sent me to the clergyman's house     The tailors of Gjakova worked costumes according to the taste and requests of different social categories and according to the needs of different countries, where they sold their products  They embroidered with modest equipment with gold or silver fibers and, from time to time, in lace (galloons) gowns, waistcoats, tight woolen trousers, sleeveless dresses (fermens), vests (doublets-for women), dolmans, shirts (mintans), etc 

Weavers
The weavers of Gjakova produced out of silk and wool fibers of all kinds for the decoration of different parts of national wear galloons, strips, buttons, silk thread (ibrisimi) etc  for the town and their weavers  They would sell these products successfully also in other towns  According to original (local) legends, in 1864, they sent to the international fair of Prilep, 20 bales (bundles) with items of an amount of 120 thousand groshes 
Gjakova was well known for its talented white woollen cap producers, since the establishment of the Grand Bazaar, because the white cap was part of Albanian national costume  It is known that the type of the white round cap (kësulë) similar to present day cap (plis) represents a part of Illyrian wear  The Albanians who took part in the battle of Kosovo, in 1389, according to the legend, came with white woollen caps, as the present day ones  In addition to this, the type of white woollen cap called the Scanderbeg grave speaks of the antiquity of the Albanian woollen white cap  
Thanks to ethnic structure of the population of Gjakova, which the Russian academic Hilferding, called, in 1857, the Albanian city Gjakova was from the beginning the only town of this craft, whereof it spread also into other regions of Kosovo, Northern Albania, Western Macedonia, Sanjak of Jeni Pazar, etc , whilst another town for the South and Middle Albania was Tirana  The mentioned places were supplied in the 18th and 19th centuries with white woollen caps from Gjakova 
White woollen cap makers from Gjakova set up their workshops also in Shkup, in Tetova, in Pazar i Ri, in Sjenica and in Sarajevo  
The oldest way of making the white woollen caps with a log (block) (taslak), that was used until the end of the 19th century, was called the "Gjakovar” way (fashion), which differed way from the most perfect way of "Tirana" with two logs (blocks) (taslaks), which started being practised also in Gjakova around the end of 19th century and beginning of the century  The foreman of white woolen cap makers’ guild in Gjakova, which was not as strong as the others in the time of Turkey, was mentioned to have been Jup Bakalli  The Craftsmen Chamber of Gjakova had registered 16 white woollen cap shops before the World War II 

Tailors
Since the 18th century, especially in the 20th century, along with the metal processing, the processing of wool and silk, etc , went also on  In the Grand Bazaar of Gjakova felt cloth, woollen and silk fabrics (cloths), woollen and silk pipings (galloons) etc  used to be produced and sold in great amounts and were exported in even greater amounts in the markets and fairs of the neighboring provinces of Balkan countries, in Medieval countries and in Central European countries, too  Beautiful and high quality carpets and rugs were produced and sold there  The year book ("Salname") of Prizren Vilayet of 1874 used to mention the great number of tailors (“terzis”), tanners (“tabaks”) and embroiderers  The tailors used to work, according to it, first class cord dolmans and waistcoats for women and men, but these products used to meet only the country's needs  But for their own needs, the inhabitants of kasaba (the town) used to produce a kind of rough woollen cloth-worsted cloth  This shows that the textile artisan production had exceeded the patriarchal borders and had entered widely into the road of production of goods for market  
In Gjakova the tailors were divided into categories according to the town social classes  The first category for example, worked for the rich city classes with selected import cloths which were with high prices  Sami Frasheri claimed that the Gjakova craftsmen “sew nice costumes weave the galloon, produce "sole", shoes and other products”  In Peje and Gjakova, he would continue, “guns, silver dishes, national Albanian costumes and some silk fabrics were produced”  This craft (trade) existed in Gjakova until the 1970s  This craft is nowadays practised only by women “which is a unique and characteristic phenomenon for this craft and typically for Gjakova”  However, until recently it was practised also by men in their houses, like Him Xhama, Reshyt Xharra etc  In fact even today this craft is practiced by Mr  Fehmi Shllaku  The tailors' guild in Gjakova was the most powerful guild 
According to Ivan Stepanovich Jastrebov, the tailors' guild was distinguished for its wealth  It had 200 shops, which were always busy  Let us mention that the Gjakova craftsmen of national costumes for brides and other young women, with luxurious decorations with gold and silver fibers (filaments), practised this craft until recently only in Gjakova, whereof it spread also in other regions of Kosovo, because these wears got again in trend  The waistcoats and shirts (mintans) became an obligatory part of costumes for brides and young women  In the period 1945- 1963 Gjakova had twice more tailors than any other center of Kosova  Pristina had 39 tailor and tailor shops, Mitrovica had 61, Prizren 60, Peja 56, whilst Gjakova 112, of which 69 were registered as old tailors (terzis), whereas 47 as modern tailors 

Leather production
The leather production gave impetus also to the development of the craft of furrier (leather worker), craft of leather processing  The furriers produced boxes for tobacco and money, saddlebags, cartridge belts, wallets, sashes (leather waistbands), saddles, reins, bridles, belts and other necessary products for the supply of transport and pack animals  Saddles were the most precious articles produced by the furriers  They were decorated with silver, with colorful and metal decorations etc  In Shkodra, in Gjakova, and in Manastir, according to Mueller, saddles were produced, which differed from the others, because their rear and front parts were more lifted  The furriers (leather workers), same as tanners and slipper makers, used to sell their products inland and abroad  But around the end of the 19th century the fall of these crafts started 
The making of moccasins was a craft related to the leather production and spread in the Grand Bazaar since early times  However, the production of shoes influenced in the fall of this production in the 1890s  According to the yearbook (salname) of Kosovo vilayet of 1887 “low-heel shoes and slipper of Gjakova have fallen and they do not have the previous value” 
An old craft practised until recently was the one of fur processing with domestic and wild animal leather, such as those of suckling lambs, of foxes, of beech marten etc  The furs that were produced in Gjakova, which had a good tradition in this production, were also sold in outer market  Mueller wrote “the processing of wild leather into furs and of sheep leather is done in Peja, Gjakova and Dibra  In Gjakova the craft of goat-wool rug makers was developed, which was related to the way of goods transportation on horses, in caravans   The raw material of these craftsmen was the goat wool for producing rags, rugs, sacks, saddle-bags, different bags, breast collars and horse covers, large sacks, different rugs (halis) for bedding etc  In the early 20th century the rug makers of Gjakova processed 2 thousand kg of goat wool 

Pipe makers
It is worth mentioning that Gjakova was known in the whole region of Dukagjini Plain mostly for the development of pipe-makers craft, whilst the center for Kosovo was Pristina  This craft existed in these two centers until the late 1960s  Other craftsmen like clog (wooden sandal) makers, carpenters, and wood carvers from villages etc  used to deal with production of pipes, long pipes (chibouks, çubuks), and cigarette-boxes  In the past this craft was carried out also by silversmiths, who took care particularly of decoration of long pipes and weavers, who wove with silky galloons parts of the smoking set  The raw material used for the production of chibouks, long pipes, cigarette boxes and pipes was wood and horn, but in the past, ivory and bones were used  The terminology of this craft in Gjakova was in Albanian, whereas in Pristina it was in Turkish language 
The oldest chibouk-makers family was the one of Zejnullah Ramadani, who until around 1958 kept his shop in the Little Bazaar  Until then also the brothers Dan and Shaban Dema and Ahmet Muhaxhiri had their shops in the end of 19th century, due to better profit conditions  Beqir Tirana moved in (settled) in Gjakova, who returned to his hometown in the early 20th century 

Carpentry
The carpenters, who had their shops, many in the Box-makers Street, but also in other parts of the Grand Bazaar and other parts of the city, worked and carved with hand tools objects for daily needs in household, in building and in artisan workings, such as boxes and housewife boxes for brides, cradles and hammocks for children, boards for braziers and brassieres; school desks, folding chairs for reading, bookcases, shelves and ceiling decorations, decorations and carvings for rifle butts, coffins and equipment for Muslim and Christian corpses etc  They decorated luxurious products with paints and carving  They learned the painting craft, the combination of eleven paints, from the master Rexhep Shkodra  Inspired from him, they became later themselves authors of different ornaments of floral world with the wood carving that they had inherited from ancient times  
The most famous carpenters were the families of Qarri, Kusari, Canamusa, Alushi and Cana of Dallt, Rasim and Ymer Tullumi, Tafil Morinaa, Ismet Saliuka etc 

Bookbinding
Another interesting characteristic, it seems, only for Gjakova, was the bookbinders' craft (mucelits), who, dealt with the binding of different books and manuscripts; repairing old books damaged by long usage or of any other physical damage and, above all they dealt with copying the works of different authors, which, they then distributed to libraries, or gave as gifts to their friends or to well-known scholars



ground_truth: Dame Eileen June Atkins

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Are Yut and Tsuro both board games?

The following are given passages.
Context 3:  They were usually people who cultivated nice handwriting  Their work tools were usual, simple of wood, which were made, in our concrete case, by the bookbinders themselves  This craft was practiced traditionally in Gjakova, from generation to generation by the members of Doli family until recently  In the second half of the 19th century Bajram Jusuf Doli (1833–1917), a non-exhausting handwriting copier was mentioned, who, in addition to the craft of the bookbinder, also practiced the profession of a teacher  Almost all the writing in Albanian with the Arabic alphabet such as those of Mullah Beqir, of Mullah Dervish, etc , were copied with his hand  He constructed the tools for binding the manuscripts and books made of wood  There is not a town in Kosovo in which one cannot find of his manuscripts  We can say one that over one hundred manuscripts that are kept in different collections in Kosovo have been copied and bound by this great sympathizer of the written word  About Mullah Bajram Efendi Doli, as well-known copier of old oriental literature and other manuscripts written in Arabic Ottoman alphabet we have data from different authors and old citizens Mullah Bajram copied rare and unique specimens with an artistic handwriting, bound, sow and made the covers 
One of four works in manuscript, unknown until now, of Tahir Efendi Boshnjaku-Gjakova, found and identified recently, Hyda Rabbem (God is my Lord), written in lyrics, in Ottoman language in 1832, is kept only in three copies, two of which were copied by Bajram Jusuf Doli, whereas one by Muhamed Tahir Jaka, also from Gjakova  The son of Mullah Bajram, Mullah Hamdi Efendi Doli (1897–1994) was the last bookbinder from this family, who practiced this craft at home  He spent all his life on books, cleaned them page per page, folded them up and bound them with a special passion  The tools, he worked with were old and very interesting " He copied the books so nice that it was difficult to distinguish them from those of the printing house  He put them within the cover bound them with a needle and rope or with glue, according to the demands of the requester  He also arranged the archives of administrative documents, which he bound in the form of a book and was well paid for that, but he distributed this profit to the poor  The existence of this craft itself speaks of the high cultural-educational level of this prospering artisan and trade center (town) 

Musical instruments
Another craft, about which there are very few data available, is that of musical instruments production  We know only that in Gjakova used to live in the second half of the 19th century the well-known singer and musician Ramadan Gunga, who supported his family by his craft of a master of musical instruments production, such as sharkhis, two-stringed lutes, etc , that his beautiful sharkhis were decorated with a mother-of-pear eagle and with ivory spots, that he had a shop and that on the market day he played nice melodies to advertise his ware  We also know that his pupil and later his friend, the singer and instrumentalist, Din Bakija, had made himself a sharkhi and a personal box  This craft was practiced, along with their basic vocation, also by the carpenters and wood-carvers, who mostly dealt with mending the broken instruments, such as the well-known master in Gjakova, Rasim Tullumi  He had acquired his basic knowledge on the features of different kinds of wood that he used in different parts of a musical instrument, from his father Malush  In the production and repair of musical instruments Rasim was aided by his brother Ymer, who, as an instrumentalist of bugan (sort of a musical instrument), his father Malush, had brought him from Istanbul, participated in the musical group of Ymer Riza 

Trade
According to some statistics in the early 20th century in Gjakova there were 400 craftsmen  The vigorous development of craftsmanship stimulated also the development of trade  "The people of Gjakova have a tendency agriculture, but they are more betrothed to trade  They go to distant places where they open their shops, inns etc  to provide for their living" was written in the yearbook (salname) of the vilayet of Kosova in 1887  The Gjakovar traders and craftsmen used to sell their product not only in Grand Bazaar, but also in many markets in other towns of Ottoman Empire, of Serbia and Austria  According to the facts, in the 1720s, the traders of Pristina and Gjakova transported their goods firstly to Dubrovnik and then to Italy  In 1803 the trader (merchant) from Gjakova, Jonuz Spahiu, had sold 114 bales of small leathers in Venice  In 1827 Salih Gjakova and Kërsto Gjakova sent gunpowder, rifles and flint stone to Sarajevo, whilst a year later, Hasan Gjakova and his nephew Hamza sent three bales of rifles to Serbia  According to the minutes of customs duty (cymryks) of Pozhega, of Aleksinac, of Kragujevac, of Mokra Gora, of Belgrade, etc , the traders from Gjakova sold their goods such as silk galloons, tobacco, rice, maize, eels, razors, soles, double-barrel sporting rifles, pistols, long rifles, cartridges, gunpowder, flint stones, wax, snuff, different leathers, salt, oil, cotton, cotton breast collars, cotton ribbons, silver galloons, scarfs, figs etc  Ali Sulejmani from Gjakova, in 1837, transported 56 loads of sheep leathers and other goods in an amount of 283 38 groshes, through Belgrade to Austria whereas in 1841, Halil Dobruna transported through Serbia to Austria galloons in an amount of 1800 groshes and 21,5 loads of Morocco leather (saftjan)  
In Serbian folk songs Gjakova is mentioned as "the Albanian market" (Arnaut Pazar in Turkish)  According to Mueller: “Sheep are developed, especially around Gjakova, and their wool makes a considerable item of export  Among better known traders, the rich family of Hajdar’s is mentioned, which dealt with wool foreign trade  They had their branches in Vidin, in Budapest, in Vienna, in Thessaloniki, in Istanbul etc  In addition to this, they had large properties in the district of Nish, Leskocvac and Vranje which they kept until 1878 

Hostels
The dense development of foreign trade suggested the need for hotel-keeping facilities, where the traders and pack animals, as the only means of goods transport, would rest  Almost all the houses of the citizens of Gjakova had alongside the large front door at the end of the large yard, a dwelling/housing facility, which consisted a room for known and unknown guests, with a fireplace, a bathroom and a separate toilet; a livery stable for placing the pack animals and the hayloft above it for keeping the animal food (nutrition), then the wheat wooden case (granary), maize case etc  In this part of the house the guests, who didn't manage to complete all the works during the market day, were placed and fed, which in some cases, when the Grand Bazaar reached its peak of development, lasted until three days sometimes it was organized even twice a week  The houses of beys, agas and of middle classes were in the form of towers with two or three floors, in a more beautiful style than those of the village, like fortresses with large yards, at the end of which was the guests' quarter (selamllek)  Such was the yard of the house of Avdi beg in the center of town next to Hadum Mosque  
On the other hand, there were other public hotel-keeping facilities- the inns and caravanserais  Inns were similar in function to the present-day hotels, whilst caravanserais, as the word itself suggests, served for placing the passengers and their pack animals that participated in the caravan for carrying the goods  In 1835, the Haraqia Inn was known in Gjakova  During the 1870s and 1880s Gjakova had 16 inns  Mueller mentions in 1838 the large caravansary of Gjakova that hosted up to 100 guests traders with their animals and where the Armenian money ex-changers (sarafs) had their large halls as well  A hotel was also mentioned in Gjakova, which was state owned property to hotel-keepers with high fees, who often reached up to 300 thousand piastres a year  According to an old Byzantine tradition, which was developed even more in the period of Ottoman rule, each craft or trade had its street or road (square)  This style of arrangement was organized by guilds, which had imposed a strict discipline and a rigorous control in production, both regarding the quality and quantity of the goods that were allowed to be produced and especially to brindle the competition between the craftsmen and the trader members of the guild 

Shejh Emin Tekke
The Shejh Emin Tekke is situated at the complex of the Gjakova Big Bazaar, at the part called the "main market"  It was built in the XVII ct   The building belongs to Saadi sect, and the constructor was Shejh Emin  His profession was also professional layer (called "kadi") educated at the Ottoman Empire centres  The inheritor of the tekke is now Shejh Ruzhdi  A characteristic of the tekke is that during its building it was applied the traditional building method  The foundation and the ground floor were built by the carved stone, while the first floor was built by bricks, the roof is a wooden construction with extended eaves and there are decorations on the walls and on the ceiling  On its floor it is situated the zone of "samahane" which is the praying quarter while the cupola is wood carved  Architecture concept of the object belongs to the citizen folk architecture and presents a complex of buildings with tekkes, tyrbes (small mausoleums), samahane (ritual prayer hall), fountains, houses and other following buildings  Interior and exterior are rich in carved woodwork  This building is explicit for its guestroom on the second floor shaped in octagon form  It's very interesting monument architecture wise, because it presents a rare sample of sacral architecture that will serve for studying, as tourism attraction, but also as a religious building encumbered with many tangible and spiritual heritage values 

Bektashi Tekke
The Bektashi Tekke in Gjakova (Đakovica) was established in 1790, and it is the only building of its kind in Kosovo  It is the headquarters of the country's Islamic Sufi order  This building was reconstructed after being demolished during the last Kosovo conflict 
The message of Kosovo's Bektashi spiritual leader, father Mumin Lamas, “Without the homeland there is no religion ” This tekke—or temple—used to be an education center for many generations, but during the last conflict, its rich library was completely destroyed  “Bektashi is known as a mystic belief in the Muslim religion  Its aim is the spiritual sophistication of human kind ”  It does not discriminate by race, gender, language or national origin  In the last war of Kosovo, the Tekke was burnt and destroyed, losing so a library with thousands of book and tens of manuscripts  "Everything was burnt, including 58 manuscripts  One of them contained 100 pages but there were also 400 pages manuscripts," said father Mumin Lama 
On the right side of the temple, seven of Bektashi's nine fathers, who have served in this building since 17th century, are buried  It is worth noting that father Qazim Bakalli, a clever calm man who impressed people with his remarkable wisdom, is buried here Home to Gjakova’s mystical Bektashi order, this modern tekke painted in traditional green and white colours was built in 2007 on the foundations of the original  Located in the centre of the Çarshia e Madhe, it's open by appointment, and it's under the leadership of Baba Mumin Lama  Like all other Bektashi tekkes, this one in Gjakova is open for men and women to pray at the same time and is the property of all believers 

Clock tower
Clock tower stands in the historic center of the Grand Bazaar, at a place known as the “Field of the Clock“  According to the Islamic calendar it was built in the year 1002, which is 1597 in the Gregorian calendar  As a town experiencing rapid economic development, Gjakova acquired its clock tower shortly after the construction of the Hadum’s Mosque  The building was destroyed during the Balkan wars (1912)  The belfry was removed and transported to Montenegro  A new tower close to the foundations of the previous clock tower was erected recently, with the intention of recreating the original building on the basis of archived photographic material  The tower is a square building with 4 10 m long sides, reaching a height of about 30 m  The construction is mainly of stone, with the walls up to the observation area in a combination of stone and brick: the part of the tower above the observation area is wooden  The roof is covered with lead  On the western facade of this reconstructed tower are some inscribed stones from the original tower 

See also
Bazaar
Gjakova
Kosovo
Passage 3:
Grand Bazaar, Isfahan
The Grand Bazaar (in Persian: Bazar Bozorg, بازار بزرگ)  is a historical market located in Isfahan, Iran, also known as the Qeysarriyeh Bazaar (in Persian: بازار قيصريه), Qeysarie bazaar or Soltani bazaar  The main commercial activities in the Qeysarie bazaar are carpet and kilim selling 
The bazaar was one of the greatest and most luxurious trading centers in the Safavid era  It was built in 1620 on the northern side of Naqsh-e Jahan Square  It connects the Naqsh-e Jahan Square to the Kohneh Square and Seljukid part of Isfahan The Qeysarie bazaar includes the following parts:

Orian bazaar
Harounie
Nimavard-e Golshan
Makhlas
Samavarsazha (Samovarmakers)
MaqsudbeykIn the Qeysarie bazaar, there are many historical buildings such as Nimavar school, Sadr school, Khayyatha mosque, No mosque, Zolfaghar mosque, Shishe mosque and Jarchi mosque  The Qeysarie gate is the main entrance of the bazaar 

History
It was originally constructed during the 11th century on the southwest wing of the Jameh Mosque and Kohneh Square, but various arcades and rooms were later added  The present remnant dates from the Safavid period, during which the Qaysariya Bazaar was built on the north wing of Naqsh-e Jahan Square, a square which was developed as a substitute for Kohneh Square 
The bazaar, one of the oldest and largest in the Middle East, dates to Seljukid and Safavid era and is the longest roofed market in the world   The site has been destroyed several times and the contemporary bazaar dates to the 17th century  The bazaar is a vaulted two-kilometre street linking the old city with the new In the Middle-East, bazaars were typically situated in close proximity to the mosque and the Isfahan Bazaar is no exception  The Bazaar of Isfahan is located in downtown old Isfahan, Iran, in the northern section of the Naqsh-e Jahan Square  The main entrance called Qeisarieh stretches through to Jameh Mosque, the oldest mosque in Isfahan, and one of the oldest in Iran Before entering the Grand Bazaar, visitors can see views of the square, which is one of the largest squares in the world  All around the square are bazaars full of Persian handicrafts 

See also
List of the historical structures in the Isfahan province
Passage 4:
Ramaipur
Ramaipur is a village in Bhadohi district, Uttar Pradesh, state India  The village is located on the link road which connects Chauri Bazar at Varanasi-Bhadohi road to Maharazganj Bazar on Varanasi-Allahabad road  The nearest railway station is Parasipur railway station on the line connecting Lucknow to Varanasi via Bhadohi  The Parasipur railway station is 7 kilometres (4 3 miles) from the village  The village market is spread adjacent to the pitch road  The bazaar has at least 10 grocery shops, three primary schools, four barber shops at least half a dozen sweet shops and dozen chai and pan shops  The weekly sabzi bazar is conducted on Thursday  The market provides daily use items to nearby villages too  there are more than twenty self-appointed medical practitioners, none qualified academically  However, these jhola chap doctors offer primary health services to many people around Ramaipur 

Worker
The major economic activity of the village is agriculture, mainly subsistence based, and carpet weaving  The landless people weave the famous bhadohi woolen carpets but not the people from higher caste of Brahmins  Many people have migrated to Kolkata and Mumbai and post order money is a very prominent source of income  There is one rabi crop of wheat and another kharif crop of rice mainly with help of irrigation by ground water pumped through a government-installed bore well and a couple of private ones  There is hardly any commercial cropping  Much of land is alkaline, posing a great difficulty to agricultural activity 
Passage 5:
Begum Bazaar
Begum Bazaar is the biggest commercial market in Hyderabad, India  It was established during the Qutb Shahi rule  Begum Bazar is located about a half of a kilometer from the Naya Pul bridge in the Old City  It is an old retail and wholesale market for household commodities  Several popular brassware merchants and copper brassware traders are based here   The bazar is also known for its congestion and heavy traffic  Deals worth crores of rupees are struck daily  It is also famous for spices and the markets nearby Charminar, a historic monument 
Begum Bazar also boasts the second biggest fish market in Hyderabad, only behind the one at Musheerabad 
The adjoining Moazzam Jahi Market is the largest fruit and vegetable market in the city  This market is being slowly replaced by the one at Kothapet, beyond Dilsukhnagar 
It is also close to the historic Osmania General Hospital and the Musi River  The Jumerat Bazaar is specially hosted on Thursdays where all kinds of household commodities are sold  Mangal Bazaar is the main place in Begum Bazaar where  household utensils are sold 

History
The land of Begum Bazaar was gifted to the merchants of Hyderabad by Humda Begum, the wife of His Highness Nizam Ali Khan, Asaf Jah II, for trade and commerce  After developing into a market, this bazaar came to be known as Begum Bazaar 

Transport
The TSRTC buses connect Begum Bazaar with all parts of the city  Afzal Gunj is the nearest bus stop 
The closest MMTS railway station is at Malakpet while the Nampally station is also nearby 
The nearest metro station is MGBS 

Political
Begum Bazaar falls under the Goshamahal Assembly Constituency which is part of Hyderabad's Lok Sabha Seat  T Raja Singh Lodh is a BJP MLA from Goshamahal (Assembly constituency), Hyderabad 

See also
Passage 6:
Bazaar
A bazaar (Persian: بازار) or souk (Arabic: سوق, romanized: sūq; also transliterated as souq or suq) is a marketplace consisting of multiple small stalls or shops, especially in the Middle East, the Balkans, North Africa and South Asia  However, temporary open markets elsewhere, such as in the West, might also designate themselves as bazaars  The ones in the Middle East were traditionally located in vaulted or covered streets that had doors on each end and served as a city's central marketplace  Street markets are the European and North American equivalents 
The term bazaar originates from Persian, where it referred to a town's public market district  The term bazaar is sometimes also used to refer collectively to the merchants, bankers and craftsmen who work in that area  The term souk comes from Arabic and refers to marketplaces in the Middle East and North Africa Although the lack of archaeological evidence has limited detailed studies of the evolution of bazaars, the earliest evidence for the existence of bazaars or souks dates to around 3000 BCE  Cities in the ancient Middle East appear to have contained commercial districts  Later, in the historic Islamic world, bazaars typically shared in common certain institutions, such as the position of the muḥtasib, and certain architectural forms, such as roofed streets and courtyard buildings known in English as caravanserais  The exact details of their evolution and organization varied from region to region 
In the 18th and 19th centuries, Western interest in oriental culture led to the publication of many books about daily life in Middle Eastern countries  Souks, bazaars and the trappings of trade feature prominently in paintings and engravings, works of fiction and travel writing 
Shopping at a bazaar or market-place remains a central feature of daily life in many Middle-Eastern and South Asian cities and towns and the bazaar remains the beating heart of West Asian and South Asian life; in the Middle East, souks tend to be found in a city's old quarter  Bazaars and souks are often important tourist attractions  A number of bazaar districts have been listed as UNESCO World Heritage Sites due to their historical and/or architectural significance 

Terminology by region
Bazaar
In general a souk is synonymous with a bazaar or marketplace, and the term souk is used in Arabic-speaking countries, with the Hebrew cognate shuk used in Israel 
The origin of the word bazaar comes from Persian bāzār, from Middle Persian wāzār, from Old Persian vāčar, from Proto-Indo-Iranian *wahā-čarana  The term, bazaar, spread from Persia into Arabia and ultimately throughout the Middle East The term bazaar is a common word in the Indian subcontinent: Hindi: बाज़ार, romanized: bāzār; Bengali: বাজার, romanized: bājār; Nepali: बजार, romanized: bajār 

Differing meanings of "bazaar"
In North America, the United Kingdom and some other European countries, the term charity bazaar can be used as a synonym for a "rummage sale", to describe charity fundraising events held by churches or other community organisations in which either donated used goods (such as books, clothes and household items) or new and handcrafted (or home-baked) goods are sold for low prices, as at a church or other organisation's Christmas bazaar, for example 
Although Turkey offers many famous markets known as "bazaars" in English, the Turkish word "pazar" refers to an outdoor market held at regular intervals, not a permanent structure containing shops  English place names usually translate "çarşı" (shopping district in a downtown or downtown itself) as "bazaar" when they refer to an area with covered streets or passages  For example, the Turkish name for the Grand Bazaar in Istanbul is "Kapalıçarşı" (gated shopping area), while the Spice Bazaar is the "Mısır Çarşısı" (Egyptian shopping area) 
In Czech, the word "bazar" means second-hand shop  "Autobazar" is a shop which purchases and sells pre-owned cars 

Variations
In Indonesian, the word pasar means "market"  The capital of Bali province, in Indonesia, is Denpasar, which means "north market" 

Souk
The Arabic word is a loan from Aramaic "šūqā" ("street, market"), itself a loanword from the Akkadian "sūqu" ("street")



ground_truth: yes

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: The historical Nimavar school in the Nimavar Bazaar, or bazar, is located in which country?

The following are given passages.
Context 3:  The spelling souk entered European languages likely through French during the French occupation of the Arab countries Morocco, Algeria, and Tunisia in the 19th and 20th centuries  Thus, the word "souk" mostly refers to Arabic and North African traditional markets  Other spellings of this word involving the letter "Q" (sooq, souq, and so'oq) were likely developed using English and thus refer to Western Asian or Arab traditional markets, as there were several British colonies there during the 19th and 20th centuries 
In Modern Standard Arabic the term al-sooq refers to markets in both the physical sense and the abstract economic sense (e g , an Arabic-speaker would speak of the sooq in the old city as well as the sooq for oil, and would call the concept of the free market السوق الحرّ as-sūq al-ḥurr) 

Variations on "souk"
In northern Morocco, the Spanish corruption socco is often used as in the Grand Socco and Petit Socco of Tangiers 
In the Indian subcontinent the 'chowk' is often used to name a place with four-way crossroad, and comes from Sanskrit चतवार, meaning four  In Western Asia (the Middle East), this term is  generally used to designate the market, but may also be used in Western cities, particularly those with a Muslim community 

In Israel, the term shuk or shuq (Hebrew: שׁוּק, romanized: šūq) shares a common Aramaic origin of the Arabic souk, and holds a prominent role in everyday life  Markets such as Mahane Yehuda in Jerusalem are often covered rows of stalls much like those seen elsewhere in the region, selling produce, spices, halvah, and even clothing 
In Malta, the terms suq and sometimes monti are used for a marketplace 
In the United States, especially in Southern California and Nevada, an indoor swap meet is a type of bazaar, i e  a permanent, indoor shopping center open during normal retail hours, with fixed "booths" or counters for the vendors 

History
Origins in Antiquity
Scholar Mohammad Gharipour has pointed out that in spite of the centrality of souks and bazaars in Middle Eastern history, relatively little is known due to the lack of archaeological evidence  Historical records document the concept of a bazaar existing in Iran as early as 3000 BCE, where some large cities contained districts dedicated to trade and commerce  Archeological data also suggests the existence of market districts in ancient Mesopotamia  Markets centers must have existed in Egypt to conduct international trade, but no archeological evidence for them has been found  In Achaemenid Persia (550–330 BCE), documents indicate that crafts were sold in markets close to Persepolis  A network of bazaars had sprung up alongside ancient caravan trade routes  Bazaars located along these trade routes, formed networks, linking major cities with each other and in which goods, culture, people and information could be exchanged  Sources from around the same era also indicate that ancient Greeks regulated trade in areas at the center of their cities around stoa buildings  The ideas of Greek city planning were spread to the Middle East during the Seleucid period, following the conquests of Alexander the Great The Greek historian, Herodotus, noted that in Egypt, roles were reversed compared with other cultures and Egyptian women frequented the market and carried on trade, while the men remain at home weaving cloth  He also described The Babylonian Marriage Market Sassanid rule in Iran was an important period for the development of urbanization and commerce  In Sassanid Iran the bazaar was usually the heart of a town or city, where it spread outwards and affected the development of other neighbourhoods  The bazaar usually contained, or was adjoined by, an open-air plaza that served as a forum of socio-economic activity Historically, souks were also held outside cities at locations where incoming caravans stopped and merchants displayed their goods for sale  Souks were established at caravanserai, places where a caravan or caravans arrived and remained for rest and refreshments  Since this might be infrequent, souks often extended beyond buying and selling goods to include major festivals involving various cultural and social activities  Any souk may serve a social function as being a place for people to meet in, in addition to its commercial function In pre-Islamic Arabia, two types of bazaar existed: permanent urban markets and temporary seasonal markets  The temporary seasonal markets were held at specific times of the year and became associated with particular types of produce  Suq Hijr in Bahrain was noted for its dates while Suq 'Adan was known for its spices and perfumes  In spite of the centrality of the Middle East in the history of bazaars, relatively little is known due to the lack of archaeological evidence  However, documentary sources point to permanent marketplaces in cities from as early as 550 BCE 

Islamic period
According to traditional Muslim narratives, Muhammad established a market place (sūq) in Medina shortly after arriving there during the Hijrah in 622 CE  He designated an open, unbuilt space as the market area and forbade both the construction of permanent structures and the levying of taxes in this area  Eight years later, he is said to have appointed a market inspector ('āmil 'alā l-sūq), a position that likely evolved into the later muḥtasib in Islamic cities, an official in charge of overseeing public morality and regulating weights and measures Despite the importance of the bazaar to economic life and the prominence of marketplace terminology in the Quran, not much is known about the early history of bazaars and it remains a topic of ongoing research  Most of the surviving urban commercial structures in Islamic world date from the 16th century or later, though some preserved urban caravanserais (commonly known as a funduq, khān, or wakāla) date from earlier periods  The oldest of these is the Khan al-Mirjan in Baghdad, built in 1359 as part of a larger architectural complex 

Muhammad's prohibition against constructing permanent buildings and levying taxes in the market began to be disregarded as early as the Umayyad period (7th to 8th centuries)  The Umayyad caliphs Mu'awiya I and Hisham ibn Abd al-Malik both built structures in the market of Medina and levied taxes there, while purpose-built markets were built in early Islamic cities further abroad such as Basra in Iraq, Fustat in Egypt, and Kairouan in Tunisia  This process seems to have accelerated during the reign of Hisham ibn Abd al-Malik (r  724–743) in particular  Markets that sold the most important or expensive goods were usually located near the city's central Friday mosque  In some cities, such as Cairo and Aleppo, the main bazaar was initially focused along one important street and then progressively grew and branched off into the surrounding streets 
During the Islamic period in Iran, bazaars developed along the same lines as those of the Sassanid period  Up to the 11th century, the bazaar developed more commonly in the suburbs outside the city walls that enclosed the shahristān, the formal city  This was especially true in Central Asia, though there were exceptions in some regions where the bazaar was grouped with the citadel and the city's Friday mosque inside the city walls  After the 11th century, the growing importance of the suburbs and the commercial districts resulted in most of them being enclosed within newly expanded city walls  From the 10th century onward, the bazaar became the financial center of a city and was heavily patronized and developed by ruling elites  The grouping of a bazaar, citadel, and Friday mosque also became more common 
In the Mamluk Sultanate (13th to 16th centuries) and in the Ottoman Empire (14th to 20th centuries), the construction of commercial buildings in and around the bazaar was often sponsored by sultans, ruling elites, or by members of the Ottoman royal family  The revenues generated by these buildings were typically earmarked to support the upkeep of religious complexes sponsored by these same patrons, through the legal framework of a waqf (legal endowment) 

21st century
In the Middle East, the bazaar is considered to be "the beating heart of the city and a symbol of Islamic architecture and culture of high significance " Today, bazaars are popular sites for tourists and some of these ancient bazaars have been listed as world heritage sites or national monuments on the basis of their historical, cultural or architectural value 
The Medina of Fez, Morocco, which includes numerous long market streets (e g  Tala'a Kebira) and bazaar areas (e g  Kissariat al-Kifah), was listed as a UNESCO World Heritage Site in 1981  Al-Madina Souk in Aleppo is the largest covered historic market in the world, with an approximate length of 13 kilometers  It is part of the Ancient Aleppo, a UNESCO World Heritage Site since 1986 in Syria  The Bazaar complex in Tabriz, Iran, was listed by UNESCO in 2010  The Bazaar of Qaisiyariye in Lar, Iran, is on the tentative list of UNESCO World Heritage Sites since 2007  Kemeraltı Bazaar in İzmir was placed on tentative list in 2020 

Organization and institutions
Shopping at a souk or market place is part of daily life throughout much of the Middle East  Prices are commonly set by bargaining, also known as haggling, between buyers and sellers Bazaars or souks are traditionally divided into specialized sections dealing in specific types of product, each usually housed in a few narrow streets and named after the product it specializes in such as the gold souk, the texitle souk, the spice souk, the leather souk, the booksellers' souk, etc  This promotes competition among sellers and helps buyers easily compare prices  Merchants specialized in each trade were also organized into guilds, which provided support to merchants but also to clients  The exact details of the organizations varied from region to region   Each guild had rules that members were expected to follow, but they were loose enough to allow for competition  Guilds also fulfilled some functions similar to trade unions and were able to negotiate with the government on behalf of merchants or represent their interests when needed Though each neighbourhood within the city would have a local souk selling food and other essentials, the main bazaar was one of the central structures of a large city, selling durable goods, luxuries and providing services such as money exchange  Workshops where goods for sale are produced (in the case of a merchant selling locally-made products) are typically located away from the souk itself  
Historically, in Islamic cities, the muḥtasib was the official in charge of regulating and policing the bazaar and other aspects of urban life  They monitored things such as weights and measures, pricing, cleanliness, noise, and traffic circulation, as well as being responsible for other issues of public morality  They also investigated complaints about cheating or the quality of goods  The equivalent official could be known by other titles in different regions, such as the kedkhoda in Istanbul or the amir-i bazariyan in Delhi  In the Maghreb (northwestern Africa), the muḥtasib also shared responsibilities with other officials such as the qadi or the hakim 

Layout and architecture
Permanent bazaars were established in urban zones, usually within the city walls and close to the heart of the city  In much of the Middle East and North Africa, the bazaar is a network of interconnected spaces, including streets and buildings, with diverse architectural forms  Its boundaries are not sharply defined and can vary according to circumstance, as the bazaar is closely integrated with its urban surroundings and with other important institutions of the city 
Although there is great variety among the bazaars of this region, there are three recurring elements, in addition to the general network of market streets  One element is the individual shops or booths that line each side of a market street  The shops are usually small spaces open to the street and occupied by merchants  They are typically equipped with large shutters which can be closed and locked when the shopkeeper is away  Another element is a more secure market area, usually centrally located and consisting of streets that were covered or roofed  This complex is variably known as a qayṣariyya, bedesten, or khān, depending on the city or historical period  It usually hosted the most prestigious and profitable trades such as jewelry, perfumes, and textiles  In order to protect these goods, the entrances to this area could be closed and locked at night or in times of danger  The other recurring element is the presence of courtyard buildings entered via a single large doorway  Often translated into English as a caravanserai, this type of building is known in different regions as a funduq, khān, samsara, or wakāla  They could serve a variety of functions including an inn for travelers and merchants, a manufacturing center, a trade venue, or a warehouse 

In Iran and Central Asia, the permanent bazaar is likewise in the centre of a city and had common architectural elements  These bazaars acted as financial centers of the city and were traditionally overseen by the state  Some Iranian bazaars are organized around one long market street from which other market streets branch off (e g  in Isfahan or Tehran), while others are large rectangular zones with a grid-like network of parallel and intersecting streets (e g  as in Tabriz)  The streets are lined with structures of one or two storeys that contain spaces for shops  The streets are typically roofed with brick vaults, pierced by skylights to allow for light and air circulation  The shops are often adjacent or connected to the workshops where the goods are also produced, so that manufacturing and retail are often concentrated in the same areas, though some production (especially of textiles) was also distributed in other parts of the city  Like the bazaars further west, there were also many khāns (caravanserais) built in the area  They acted as warehouses, production centers, wholesale centers, hostels for merchants, and offices for conducting business 

In the cities that developed under the Ottoman Empire, there was generally one central bazaar area, known in Turkish as the çarşı  The Grand Bazaar in Istanbul, known locally as the Kapalıçarşı ('covered market'), is a famous example  Additionally, several types of market structures were common: the bedesten, the arasta, and the han (Turkish cognate of khān)  The Ottoman bedesten was a solid stone building, typically rectangular and roofed by domes, with shops inside  Like the qayṣariyya or bedesten in other regions, it hosted the most important and luxurious trades  The arasta is usually an elongated market structure or market street with shops lining its façades  Arastas could be independent markets built outside the main bazaar area, such as those built as part of large religious complexes like the Selimiye Mosque complex in Edirne or the Sultanahmet Mosque complex in Istanbul  The Spice Bazaar or Mısır Çarşısı ('Egyptian Market') in Istanbul is also one of the largest and best-known examples  The han is similar in function to other khān or caravanserai buildings elsewhere, with a courtyard enclosed by two storeys  The ground floor was usually used for storage and for stabling horses, while the upper floor housed merchants 

Temporary souks
A temporary, seasonal souk is held at a set time that might be yearly, monthly or weekly  The oldest souks were set up annually, and were typically general festivals held outside cities  For example, Souk Ukadh was held yearly in pre-Islamic times in an area between Mecca and Ta’if during the sacred month of Dhu al-Qi'dah   While a busy market, it was more famous for its poetry competitions, judged by prominent poets such as Al-Khansa and Al-Nabigha  An example of an Islamic annual souk is Al Mirbid just outside Basra, also famed for its poetry competitions in addition to its storytelling activities  Temporary souks tended to become known for specific types of produce  For example, Suq Hijr in Bahrain was noted for its dates while Suq 'Adan was known for its spices and perfumes  Political, economic and social changes have left only the small seasonal souks outside villages and small towns, primarily selling livestock and agricultural products 
Weekly markets have continued to function throughout the Arab world  Most of them are named from the day of the week on which they are held  They usually have open spaces specifically designated for their use inside cities  Examples of surviving markets are the Wednesday Market in Amman that specializes in the sale of used products, the Ghazl market held every Friday in Baghdad specializing in pets; the Fina’ Market in Marrakech offers performance acts such as singing, music, acrobats and circus activities 
In tribal areas, where seasonal souks operated, neutrality from tribal conflicts was usually declared for the period of operation of a souk to permit the unhampered exchange of surplus goods  Some of the seasonal markets were held at specific times of the year and became associated with particular types of produce such as Suq Hijr in Bahrain, noted for its dates while Suq 'Adan was known for its spices and perfumes  In spite of the centrality of the Middle Eastern market place, relatively little is known due to the lack of archaeological evidence 

In art and literature – Orientalism
During the 18th and 19th centuries, Europeans conquered and excavated parts of North Africa and the Levant  These regions now make up what is called the Middle East, but in the past were known as the Orient  Europeans sharply divided peoples into two broad groups – the European West and the East or Orient; us and the other  Europeans often saw Orientals as the opposite of Western civilization; the peoples could be threatening- they were "despotic, static and irrational whereas Europe was viewed as democratic, dynamic and rational " At the same time, the Orient was seen as exotic, mysterious, a place of fables and beauty  This fascination with the other gave rise to a genre of painting known as Orientalism  A proliferation of both Oriental fiction and travel writing occurred during the early modern period 

Subject-matter
Many of these works were lavishly illustrated with engravings of every day scenes of Oriental lifestyles, including scenes of market places and market trade  Artists focused on the exotic beauty of the land – the markets, caravans and snake charmers  Islamic architecture also became favorite subject matter  Some of these works were propaganda designed to justify European imperialism in the East, however many artists relied heavily on their everyday experiences for inspiration in their artworks  For example, Charles D'Oyly, who was born in India, published the Antiquities of Dacca featuring a series of 15 engraved plates of Dacca [now Dhaka, Bangladesh] featuring scenes of markets, commerce, buildings and streetscapes  European society generally frowned on nude painting – but harems, concubines and slave markets, presented as quasi-documentary works, satisfied European desires for pornographic art  The Oriental female wearing a veil was a particularly tempting subject because she was hidden from view, adding to her mysterious allure 

Notable Orientalist artists
Notable artists in the Orientalist genre include: Jean-Léon Gérôme Delacroix (1824–1904), Alexandre-Gabriel Decamps (1803–1860), Frederic Leighton (1830-1896), Eugène Alexis Girardet 1853-1907 and William Holman Hunt (1827–1910) who all found inspiration in Oriental street scenes, trading and commerce  French painter Jean-Étienne Liotard visited Istanbul in the 17th century and painted pastels of Turkish domestic scenes  British painter John Frederick Lewis who lived for several years in a traditional mansion in Cairo, painted highly detailed works showing realistic genre scenes of Middle Eastern life  Edwin Lord Weeks was a notable American example of a 19th-century artist and author in the Orientalism genre  His parents were wealthy tea and spice merchants who were able to fund his travels and interest in painting  In 1895 Weeks wrote and illustrated a book of travels titled From the Black Sea through Persia and India  Other notable painters in the Orientalist genre who included scenes of street life and market-based trade in their work are Jean-Léon Gérôme Delacroix (1824–1904), Alexandre-Gabriel Decamps (1803–1860), Frederic Leighton (1830–1896), Eugène Alexis Girardet 1853–1907 and William Holman Hunt (1827–1910), who all found inspiration in Oriental street scenes, trading and commerce 

Orientalist literature
A proliferation of both Oriental fiction and travel writing occurred during the early modern period Many English visitors to the Orient wrote narratives around their travels  British Romantic literature in the Orientalism tradition has its origins in the early eighteenth century, with the first translations of The Arabian Nights (translated into English from the French in 1705–08)  The popularity of this work inspired authors to develop a new genre, the Oriental tale  Samuel Johnson's History of Rasselas, Prince of Abyssinia, (1759) is mid-century example of the genre  Byron's Oriental Tales, is another example of the Romantic Orientalism genre Although these works were purportedly non-fiction, they were notoriously unreliable  Many of these accounts provided detailed descriptions of market places, trading and commerce  Examples of travel writing include: Les Mysteres de L'Egypte Devoiles by Olympe Audouard published in 1865 and Jacques Majorelle's Road Trip Diary of a Painter in the Atlas and the Anti-Atlas published in 1922

Gallery of paintings, drawings, and watercolours
Selected illustrations of bazaar scenes

Gallery of photographs
List of bazaars and souks
See also
List of Orientalist artistsTypes of markets, bazaars and souksBazaari
Bedesten (also known as bezistan, bezisten, bedesten) refers to a covered bazaar and an open bazaar in the Balkans 
Haat bazaar – (also known as a hat) an open air bazaar or market in South Asia 
Landa bazaar – a terminal market or market for second hand goods (South Asia), such as Medina quarter 
Meena Bazaar – a bazaar that raises money for non-profit organisations 
Pasar malam – a night market in Malaysia, Indonesia and Singapore that opens in the evening, typically held in the street in residential neighbourhoods 
Pasar pagi – a morning market, typically a wet market that trades from dawn until midday, found in Malaysia, Indonesia and Singapore  A Wet market sells fresh meat, and produce  See also Dry goods Markets and retail in generalArcade – a covered passageway with stores along one or both sides 
History of marketing
Marketplace
Merchant
Peddler
Retail
Shopping mall
Shōtengai - a style of Japanese commercial district, typically in the form of a local market street that is closed to vehicular traffic 
Passage 7:
Nimavar school
Nimavar school (Persian: مسجد نیماور) is a historical school in Isfahan, Iran  It's located in Nimavar Bazaar and belongs to Safavid era  This school was built in 1691 in the era of Suleiman I 
Passage 8:
Dava Bazaar
Dava Bazaar (also spelled Dawa Bazaar and Dava Bazar) is an area in South Mumbai famous for medical and scientific instruments, and lab chemicals  It is located near Lohar Chawl, Crawford Market and opens into Princess Street  Dava in Hindi means medicine 
The word Aushadhi Khana has generic usage as pharmaceutical trade markets in various parts of India 



ground_truth: Iran