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

Question: How many times did the plague occur in the city where Flora's painter died?

The following are given passages.
Context 1: Passage 1:
The Martyrdom of Saint Lawrence (Titian)
The Martyrdom of Saint Lawrence is a 1558 painting by Titian, now in the church of I Gesuiti in Venice  It so impressed Philip II of Spain that he commissioned a second version in 1567 for the basilica at El Escorial 

See also
List of works by Titian
Passage 2:
Black Death
The Black Death (also known as the Pestilence, the Great Mortality or the Plague) was a bubonic plague pandemic occurring in Western Eurasia and North Africa from 1346 to 1353  It is the most fatal pandemic recorded in human history, causing the deaths of 75–200 million people, peaking in Europe from 1347 to 1351  Bubonic plague is caused by the bacterium Yersinia pestis spread by fleas, but during the Black Death it probably also took a secondary form, spread by person-to-person contact via aerosols, causing pneumonic plague The Black Death was the beginning of the second plague pandemic  The plague created religious, social and economic upheavals, with profound effects on the course of European history 
The origin of the Black Death is disputed  Genetic analysis points to the evolution of Yersinia pestis in the Tian Shan mountains on the border between Kyrgyzstan and China 2,600 years ago  The immediate territorial origins of the Black Death and its outbreak remains unclear with some pointing towards Central Asia, China, the Middle East and Europe  The pandemic was reportedly first introduced to Europe during the siege of the Genoese trading port of Kaffa in Crimea by the Golden Horde army of Jani Beg in 1347  From Crimea, it was most likely carried by fleas living on the black rats that travelled on Genoese ships, spreading through the Mediterranean Basin and reaching North Africa, Western Asia and the rest of Europe via Constantinople, Sicily and the Italian Peninsula  There is evidence that once it came ashore, the Black Death mainly spread person-to-person as pneumonic plague, thus explaining the quick inland spread of the epidemic, which was faster than would be expected if the primary vector was rat fleas causing bubonic plague  In 2022, it was discovered that there was a sudden surge of deaths in what is today Kyrgyzstan from the Black Death in the late 1330s; when combined with genetic evidence, this implies that the initial spread may not have been due to Mongol conquests in the 14th century, as previously speculated The Black Death was the second great natural disaster to strike Europe during the Late Middle Ages (the first one being the Great Famine of 1315–1317) and is estimated to have killed 30 percent to 60 percent of the European population, as well as about one-third of the population of the Middle East  The plague might have reduced the world population from c  475 million to 350–375 million in the 14th century  There were further outbreaks throughout the Late Middle Ages and, with other contributing factors (the Crisis of the Late Middle Ages), the European population did not regain its level in 1300 until 1500  Outbreaks of the plague recurred around the world until the early 19th century 

Names
European writers contemporary with the plague described the disease in Latin as pestis or pestilentia, 'pestilence'; epidemia, 'epidemic'; mortalitas, 'mortality'  In English prior to the 18th century, the event was called the "pestilence" or "great pestilence", "the plague" or the "great death"  Subsequent to the pandemic "the furste moreyn" (first murrain) or "first pestilence" was applied, to distinguish the mid-14th century phenomenon from other infectious diseases and epidemics of plague The 1347 pandemic plague was not referred to specifically as "black" in the time of occurrence in any European language, though the expression "black death" had occasionally been applied to fatal disease beforehand  "Black death" was not used to describe the plague pandemic in English until the 1750s; the term is first attested in 1755, where it translated Danish: den sorte død, lit  'the black death'  This expression as a proper name for the pandemic had been popularized by Swedish and Danish chroniclers in the 15th and early 16th centuries, and in the 16th and 17th centuries was transferred to other languages as a calque: Icelandic: svarti dauði, German: der schwarze Tod, and French: la mort noire  Previously, most European languages had named the pandemic a variant or calque of the Latin: magna mortalitas, lit  'Great Death' The phrase 'black death' – describing Death as black – is very old  Homer used it in the Odyssey to describe the monstrous Scylla, with her mouths "full of black Death" (Ancient Greek: πλεῖοι μέλανος Θανάτοιο, romanized: pleîoi mélanos Thanátoio)  Seneca the Younger may have been the first to describe an epidemic as 'black death', (Latin: mors atra) but only in reference to the acute lethality and dark prognosis of disease  The 12th–13th century French physician Gilles de Corbeil had already used atra mors to refer to a "pestilential fever" (febris pestilentialis) in his work On the Signs and Symptoms of Diseases (De signis et symptomatibus aegritudium)  The phrase mors nigra, 'black death', was used in 1350 by Simon de Covino (or Couvin), a Belgian astronomer, in his poem "On the Judgement of the Sun at a Feast of Saturn" (De judicio Solis in convivio Saturni), which attributes the plague to an astrological conjunction of Jupiter and Saturn  His use of the phrase is not connected unambiguously with the plague pandemic of 1347 and appears to refer to the fatal outcome of disease The historian Cardinal Francis Aidan Gasquet wrote about the Great Pestilence in 1893 and suggested that it had been "some form of the ordinary Eastern or bubonic plague"  In 1908, Gasquet said use of the name atra mors for the 14th-century epidemic first appeared in a 1631 book on Danish history by J  I  Pontanus: "Commonly and from its effects, they called it the black death" (Vulgo & ab effectu atram mortem vocitabant) 

Previous plague epidemics
Research from 2017 suggests plague first infected humans in Europe and Asia in the Late Neolithic-Early Bronze Age  Research in 2018 found evidence of Yersinia pestis in an ancient Swedish tomb, which may have been associated with the "Neolithic decline" around 3000 BCE, in which European populations fell significantly  This Y  pestis may have been different from more modern types, with bubonic plague transmissible by fleas first known from Bronze Age remains near Samara The symptoms of bubonic plague are first attested in a fragment of Rufus of Ephesus preserved by Oribasius; these ancient medical authorities suggest bubonic plague had appeared in the Roman Empire before the reign of Trajan, six centuries before arriving at Pelusium in the reign of Justinian I  In 2013, researchers confirmed earlier speculation that the cause of the Plague of Justinian (541–542 CE, with recurrences until 750) was Y  pestis  This is known as the first plague pandemic  In 610, the Chinese physician Chao Yuanfang described a "malignant bubo" "coming in abruptly with high fever together with the appearance of a bundle of nodes beneath the tissue " The Chinese physician Sun Simo who died in 652 also mentioned a "malignant bubo" and plague that was common in Lingnan (Guangzhou)  Ole Jørgen Benedictow believes that this indicates it was an offshoot of the first plague pandemic which made its way eastward to Chinese territory by around 600 

14th-century plague
Causes
Early theory
The most authoritative contemporary account is found in a report from the medical faculty in Paris to Philip VI of France  It blamed the heavens, in the form of a conjunction of three planets in 1345 that caused a "great pestilence in the air" (miasma theory)  Muslim religious scholars taught that the pandemic was a "martyrdom and mercy" from God, assuring the believer's place in paradise  For non-believers, it was a punishment  Some Muslim doctors cautioned against trying to prevent or treat a disease sent by God  Others adopted preventive measures and treatments for plague used by Europeans  These Muslim doctors also depended on the writings of the ancient Greeks 

Predominant modern theory
Due to climate change in Asia, rodents began to flee the dried-out grasslands to more populated areas, spreading the disease  The plague disease, caused by the bacterium Yersinia pestis, is enzootic (commonly present) in populations of fleas carried by ground rodents, including marmots, in various areas, including Central Asia, Kurdistan, Western Asia, North India, Uganda and the western United States Y  pestis was discovered by Alexandre Yersin, a pupil of Louis Pasteur, during an epidemic of bubonic plague in Hong Kong in 1894; Yersin also proved this bacillus was present in rodents and suggested the rat was the main vehicle of transmission  The mechanism by which Y  pestis is usually transmitted was established in 1898 by Paul-Louis Simond and was found to involve the bites of fleas whose midguts had become obstructed by replicating Y  pestis several days after feeding on an infected host  This blockage starves the fleas and drives them to aggressive feeding behaviour and attempts to clear the blockage by regurgitation, resulting in thousands of plague bacteria being flushed into the feeding site, infecting the host  The bubonic plague mechanism was also dependent on two populations of rodents: one resistant to the disease, which act as hosts, keeping the disease endemic, and a second that lacks resistance  When the second population dies, the fleas move on to other hosts, including people, thus creating a human epidemic 

DNA evidence
Definitive confirmation of the role of Y  pestis arrived in 2010 with a publication in PLOS Pathogens by Haensch et al  They assessed the presence of DNA/RNA with polymerase chain reaction (PCR) techniques for Y  pestis from the tooth sockets in human skeletons from mass graves in northern, central and southern Europe that were associated archaeologically with the Black Death and subsequent resurgences  The authors concluded that this new research, together with prior analyses from the south of France and Germany, "ends the debate about the cause of the Black Death, and unambiguously demonstrates that Y  pestis was the causative agent of the epidemic plague that devastated Europe during the Middle Ages"  In 2011, these results were further confirmed with genetic evidence derived from Black Death victims in the East Smithfield burial site in England  Schuenemann et al  concluded in 2011 "that the Black Death in medieval Europe was caused by a variant of Y  pestis that may no longer exist" Later in 2011, Bos et al  reported in Nature the first draft genome of Y  pestis from plague victims from the same East Smithfield cemetery and indicated that the strain that caused the Black Death is ancestral to most modern strains of Y  pestis Since this time, further genomic papers have further confirmed the phylogenetic placement of the Y  pestis strain responsible for the Black Death as both the ancestor of later plague epidemics including the third plague pandemic and as the descendant of the strain responsible for the Plague of Justinian  In addition, plague genomes from significantly earlier in prehistory have been recovered DNA taken from 25 skeletons from 14th century London have shown plague is a strain of Y  pestis almost identical to that which hit Madagascar in 2013  Further DNA evidence also proves the role of Y  Pestis and traces the source to the Tian Shan Mountains in Kyrgyzstan 

Alternative explanations
It is recognised that an epidemiological account of plague is as important as an identification of symptoms, but researchers are hampered by the lack of reliable statistics from this period  Most work has been done on the spread of the disease in England, and even estimates of overall population at the start vary by over 100% as no census was undertaken in England between the time of publication of the Domesday Book of 1086 and the poll tax of the year 1377  Estimates of plague victims are usually extrapolated from figures for the clergy 
Mathematical modelling is used to match the spreading patterns and the means of transmission  A research in 2018 challenged the popular hypothesis that "infected rats died, their flea parasites could have jumped from the recently dead rat hosts to humans"  It suggested an alternative model in which "the disease was spread from human fleas and body lice to other people"  The second model claims to better fit the trends of death toll because the rat-flea-human hypothesis would have produced a delayed but very high spike in deaths, which contradict historical death data Lars Walløe complains that all of these authors "take it for granted that Simond's infection model, black rat → rat flea → human, which was developed to explain the spread of plague in India, is the only way an epidemic of Yersinia pestis infection could spread", whilst pointing to several other possibilities  Similarly, Monica Green has argued that greater attention is needed to the range of (especially non-commensal) animals that might be involved in the transmission of plague Archaeologist Barney Sloane has argued that there is insufficient evidence of the extinction of numerous rats in the archaeological record of the medieval waterfront in London and that the disease spread too quickly to support the thesis that Y  pestis was spread from fleas on rats; he argues that transmission must have been person to person  This theory is supported by research in 2018 which suggested transmission was more likely by body lice and fleas during the second plague pandemic 

Summary
Although academic debate continues, no single alternative solution has achieved widespread acceptance  Many scholars arguing for Y  pestis as the major agent of the pandemic suggest that its extent and symptoms can be explained by a combination of bubonic plague with other diseases, including typhus, smallpox and respiratory infections  In addition to the bubonic infection, others point to additional septicaemic (a type of "blood poisoning") and pneumonic (an airborne plague that attacks the lungs before the rest of the body) forms of plague, which lengthen the duration of outbreaks throughout the seasons and help account for its high mortality rate and additional recorded symptoms  In 2014, Public Health England announced the results of an examination of 25 bodies exhumed in the Clerkenwell area of London, as well as of wills registered in London during the period, which supported the pneumonic hypothesis  Currently, while osteoarcheologists have conclusively verified the presence of Y  pestis bacteria in burial sites across northern Europe through examination of bones and dental pulp, no other epidemic pathogen has been discovered to bolster the alternative explanations 

Transmission
Lack of hygiene
The importance of hygiene was recognised only in the nineteenth century with the development of the germ theory of disease; until then streets were commonly filthy, with live animals of all sorts around and human parasites abounding, facilitating the spread of transmissible disease By the early fourteenth century so much filth had collected inside urban Europe that French and Italian cities were naming streets after human waste  In medieval Paris, several street names were inspired by merde, the French word for "shit"  There were rue Merdeux, rue Merdelet, rue Merdusson, rue des Merdons and rue Merdiere—as well as a rue du Pipi Pigs, cattle, chickens, geese, goats and horses roamed the streets of medieval London and Paris  Medieval homeowners were supposed to police their housefronts, including removing animal dung, but most urbanites were as careless as William E  Cosner, a resident of the London suburb of Farringdon Without  A complaint lodged against Cosner charges that "men could not pass [by his house] for the stink [of]       horse dung and horse piss "One irate Londoner complained that the runoff from the local slaughterhouse had made his garden "stinking and putrid", while another charged that the blood from slain animals flooded nearby streets and lanes, "making a foul corruption and abominable sight to all dwelling near " In much of medieval Europe, sanitation legislation consisted of an ordinance requiring homeowners to shout, "Look out below!" three times before dumping a full chamber pot into the street Early Christians, who thought self-abnegation a cardinal virtue, considered bathing, if not a vice, then a temptation  "Who knows what impure thoughts might arise in a tub of warm water? With this danger in mind, St  Benedict declared, "To those who are well, and especially to the young, bathing shall seldom be permitted " St  Agnes took the injunction to heart and died without ever bathing 

Territorial origins
According to a team of medical geneticists led by Mark Achtman that analysed the genetic variation of the bacterium Yersinia pestis "evolved in or near China" over 2,600 years ago  Later research by a team led by Galina Eroshenko places the origins more specifically in the Tian Shan mountains on the border between Kyrgyzstan and China  However more recent research notes that the previous sampling had a very heavy East Asian bias and that sampling since then has discovered strains of Y  pestis in the Caucasus region that were previously thought to be restricted to China  There is also no physical or specific textual evidence of the Black Death in 14th century China  As a result, China's place in the sequence of the plague's spread is still debated to this day  According to Charles Creighton, records of epidemics in 14th century China suggest nothing more than typhus and major Chinese outbreaks of epidemic disease post-date the European epidemic by several years  The earliest Chinese descriptions of the bubonic plague do not appear until the 1640s Nestorian graves dating to 1338–1339 near Issyk-Kul in Kyrgyzstan have inscriptions referring to plague, which has led some historians and epidemiologists to think they mark the outbreak of the epidemic; this is supported by recent direct findings of Y  pestis DNA in teeth samples from graves in the area with inscriptions referring to "pestilence" as the cause of death  Epidemics killed an estimated 25 million across Asia during the fifteen years before the Black Death reached Constantinople in 1347 
The evidence does not suggest, at least at present, that these mortality crises were caused by plague  Although some scholars, including McNeill and Cao, see the 1333 outbreak as a prelude to the outbreaks in Europe from the late 1340s to the early 1350s, scholars of the Yuan and Ming periods remain skeptical about such an interpretation  Nonetheless, the remarkably high mortality rates during the Datong mortality should discourage us from rejecting the possibility of localized/regional outbreaks of plague in different parts of China, albeit differing in scale from, and unrelated to, the pandemic mortality of the Black Death  What we lack is any indication of a plague pandemic that engulfed vast territories of the Yuan Empire and later moved into western Eurasia through Central Asia 
According to John Norris, evidence from Issyk-Kul indicates a small sporadic outbreak characteristic of transmission from rodents to humans with no wide-scale impact  According to Achtman, the dating of the plague suggests that it was not carried along the Silk Road, and its widespread appearance in that region probably postdates the European outbreak  There are no records of the symptoms of the Black Death from Mongol sources or writings from travelers east of the Black Sea prior to the Crimean outbreak in 1346  Finally, the Silk Road had already been heavily disrupted before the spread of the Black Death  Western and Middle Eastern traders found it difficult to trade on the Silk Road by 1325 and impossible by 1340, making spread of the plague less likely Others still favor an origin in China or even Kurdistan, and not Central Asia  According to the theory of Chinese origin, the disease may have traveled along the Silk Road with Mongol armies and traders, or it could have arrived via ship, but this theory is still contested  It is speculated that rats aboard Zheng He's ships in the 15th century may have carried the plague to Southeast Asia, India and Africa 
Research on the Delhi Sultanate and the Yuan Dynasty shows no evidence of any serious epidemic in fourteenth-century India and no specific evidence of plague in fourteenth-century China, suggesting that the Black Death may not have reached these regions  Ole Benedictow argues that since the first clear reports of the Black Death come from Kaffa, the Black Death most likely originated in the nearby plague focus on the northwestern shore of the Caspian Sea 
Demographic historians estimate that China's population fell by at least 15 percent, and perhaps as much as a third, between 1340 and 1370  This population loss coincided with the Black Death that ravaged Europe and much of the Islamic world in 1347–52  However, there is a conspicuous lack of evidence for pandemic disease on the scale of the Black Death in China at this time  War and famine – and the diseases that typically accompanied them – probably were the main causes of mortality in the final decades of Mongol rule 
Monica H  Green suggests that the reason why other parts of Eurasia outside the west do not contain the same evidence of the Black Plague is because there were actually four strains of Yersinia pestis that became predominant in different parts of the world  Mongol records of illness such as food poisoning may have been referring to the Black Plague  Another theory is that the Black Death originated near Europe and cycled through the Mediterranean, Northern Europe and Russia before making its way to China  Other historians such as John Norris and Ole Benedictaw believe the Black Death likely originated in Europe or the Middle East and never reached China 

European outbreak
Plague was reportedly first introduced to Europe via Genoese traders from their port city of Kaffa in the Crimea in 1347  During a protracted siege of the city, in 1345–1346 the Mongol Golden Horde army of Jani Beg, whose mainly Tatar troops were suffering from the disease, catapulted infected corpses over the city walls of Kaffa to infect the inhabitants, though it is more likely that infected rats travelled across the siege lines to spread the epidemic to the inhabitants  As the disease took hold, Genoese traders fled across the Black Sea to Constantinople, where the disease first arrived in Europe in summer 1347 The epidemic there killed the 13-year-old son of the Byzantine emperor, John VI Kantakouzenos, who wrote a description of the disease modelled on Thucydides's account of the 5th century BCE Plague of Athens, but noting the spread of the Black Death by ship between maritime cities  Nicephorus Gregoras also described in writing to Demetrios Kydones the rising death toll, the futility of medicine, and the panic of the citizens  The first outbreak in Constantinople lasted a year, but the disease recurred ten times before 1400 Carried by twelve Genoese galleys, plague arrived by ship in Sicily in October 1347; the disease spread rapidly all over the island  Galleys from Kaffa reached Genoa and Venice in January 1348, but it was the outbreak in Pisa a few weeks later that was the entry point to northern Italy  Towards the end of January, one of the galleys expelled from Italy arrived in Marseilles From Italy, the disease spread northwest across Europe, striking France, Spain (the epidemic began to wreak havoc first on the Crown of Aragon in the spring of 1348), Portugal and England by June 1348, then spread east and north through Germany, Scotland and Scandinavia from 1348 to 1350  It was introduced into Norway in 1349 when a ship landed at Askøy, then spread to Bjørgvin (modern Bergen) and Iceland  Finally, it spread to northwestern Russia in 1351  Plague was somewhat more uncommon in parts of Europe with less developed trade with their neighbours, including the majority of the Basque Country, isolated parts of Belgium and the Netherlands, and isolated Alpine villages throughout the continent According to some epidemiologists, periods of unfavourable weather decimated plague-infected rodent populations and forced their fleas onto alternative hosts, inducing plague outbreaks which often peaked in the hot summers of the Mediterranean, as well as during the cool autumn months of the southern Baltic region  Among many other culprits of plague contagiousness, malnutrition, even if distantly, also contributed to such an immense loss in European population, since it weakened immune systems 

Western Asian and North African outbreak
The disease struck various regions in the Middle East and North Africa during the pandemic, leading to serious depopulation and permanent change in both economic and social structures  As infected rodents infected new rodents, the disease spread across the region, entering also from southern Russia 
By autumn 1347, plague had reached Alexandria in Egypt, transmitted by sea from Constantinople; according to a contemporary witness, from a single merchant ship carrying slaves  By late summer 1348 it reached Cairo, capital of the Mamluk Sultanate, cultural centre of the Islamic world, and the largest city in the Mediterranean Basin; the Bahriyya child sultan an-Nasir Hasan fled and more than a third of the 600,000 residents died  The Nile was choked with corpses despite Cairo having a medieval hospital, the late 13th century bimaristan of the Qalawun complex  The historian al-Maqrizi described the abundant work for grave-diggers and practitioners of funeral rites, and plague recurred in Cairo more than fifty times over the following one and a half centuries During 1347, the disease travelled eastward to Gaza by April; by July it had reached Damascus, and in October plague had broken out in Aleppo  That year, in the territory of modern Lebanon, Syria, Israel and Palestine, the cities of Ascalon, Acre, Jerusalem, Sidon and Homs were all infected  In 1348–1349, the disease reached Antioch  The city's residents fled to the north, but most of them ended up dying during the journey  Within two years, the plague had spread throughout the Islamic world, from Arabia across North Africa  The pandemic spread westwards from Alexandria along the African coast, while in April 1348 Tunis was infected by ship from Sicily  Tunis was then under attack by an army from Morocco; this army dispersed in 1348 and brought the contagion with them to Morocco, whose epidemic may also have been seeded from the Islamic city of Almería in al-Andalus Mecca became infected in 1348 by pilgrims performing the Hajj  In 1351 or 1352, the Rasulid sultan of the Yemen, al-Mujahid Ali, was released from Mamluk captivity in Egypt and carried plague with him on his return home  During 1348, records show the city of Mosul suffered a massive epidemic, and the city of Baghdad experienced a second round of the disease 

Signs and symptoms
Bubonic plague
Symptoms of the disease include fever of 38–41 °C (100–106 °F), headaches, painful aching joints, nausea and vomiting, and a general feeling of malaise  Left untreated, of those that contract the bubonic plague, 80 percent die within eight days Contemporary accounts of the pandemic are varied and often imprecise  The most commonly noted symptom was the appearance of buboes (or gavocciolos) in the groin, neck and armpits, which oozed pus and bled when opened  Boccaccio's description:

In men and women alike it first betrayed itself by the emergence of certain tumours in the groin or armpits, some of which grew as large as a common apple, others as an egg     From the two said parts of the body this deadly gavocciolo soon began to propagate and spread itself in all directions indifferently; after which the form of the malady began to change, black spots or livid making their appearance in many cases on the arm or the thigh or elsewhere, now few and large, now minute and numerous  As the gavocciolo had been and still was an infallible token of approaching death, such also were these spots on whomsoever they showed themselves 
This was followed by acute fever and vomiting of blood  Most people died two to seven days after initial infection  Freckle-like spots and rashes, which could have been caused by flea-bites, were identified as another potential sign of plague 

Pneumonic plague
Lodewijk Heyligen, whose master the Cardinal Colonna died of plague in 1348, noted a distinct form of the disease, pneumonic plague, that infected the lungs and led to respiratory problems  Symptoms include fever, cough and blood-tinged sputum  As the disease progresses, sputum becomes free-flowing and bright red  Pneumonic plague has a mortality rate of 90 to 95 percent 

Septicaemic plague
Septicaemic plague is the least common of the three forms, with a mortality rate near 100%  Symptoms are high fevers and purple skin patches (purpura due to disseminated intravascular coagulation)  In cases of pneumonic and particularly septicaemic plague, the progress of the disease is so rapid that there would often be no time for the development of the enlarged lymph nodes that were noted as buboes 

Consequences
Deaths
There are no exact figures for the death toll; the rate varied widely by locality  In urban centres, the greater the population before the outbreak, the longer the duration of the period of abnormal mortality  It killed some 75 to 200 million people in Eurasia  A study published in 2022 of pollen samples across Europe between 1250 and 1450 was used to estimate changes in agricultural output before and after the Black Death  The authors found great variability in different regions, with evidence for high mortality in areas of Scandinavia, France, western Germany, Greece and central Italy, but uninterrupted agricultural growth in central and eastern Europe, Iberia and Ireland The mortality rate of the Black Death in the 14th century was far greater than the worst 20th-century outbreaks of Y  pestis plague, which occurred in India and killed as much as 3% of the population of certain cities  The overwhelming number of deceased bodies produced by the Black Death caused the necessity of mass burial sites in Europe, sometimes including up to several hundred or several thousand skeletons  The mass burial sites that have been excavated have allowed archaeologists to continue interpreting and defining the biological, sociological, historical and anthropological implications of the Black Death According to medieval historian Philip Daileader, it is likely that over four years, 45–50% of the European population died of plague  Norwegian historian Ole Benedictow suggests it could have been as much as 60% of the European population  In 1348, the disease spread so rapidly that before any physicians or government authorities had time to reflect upon its origins, about a third of the European population had already perished  In crowded cities, it was not uncommon for as much as 50% of the population to die  Half of Paris' population of 100,000 people died  In Italy, the population of Florence was reduced from between 110,000 and 120,000 inhabitants in 1338 down to 50,000 in 1351  At least 60% of the population of Hamburg and Bremen perished, and a similar percentage of Londoners may have died from the disease as well, with a death toll of approximately 62,000 between 1346 and 1353  Florence's tax records suggest that 80% of the city's population died within four months in 1348  Before 1350, there were about 170,000 settlements in Germany, and this was reduced by nearly 40,000 by 1450  The disease bypassed some areas, with the most isolated areas being less vulnerable to contagion  Plague did not appear in Douai in Flanders until the turn of the 15th century, and the impact was less severe on the populations of Hainaut, Finland, northern Germany and areas of Poland  Monks, nuns and priests were especially hard-hit since they cared for people with the Black Death 

The physician to the Avignon Papacy, Raimundo Chalmel de Vinario (Latin: Magister Raimundus, lit  'Master Raymond'), observed the decreasing mortality rate of successive outbreaks of plague in 1347–48, 1362, 1371 and 1382 in his 1382 treatise On Epidemics (De epidemica)  In the first outbreak, two thirds of the population contracted the illness and most patients died; in the next, half the population became ill but only some died; by the third, a tenth were affected and many survived; while by the fourth occurrence, only one in twenty people were sickened and most of them survived  By the 1380s in Europe, it predominantly affected children  Chalmel de Vinario recognised that bloodletting was ineffective (though he continued to prescribe bleeding for members of the Roman Curia, whom he disliked), and said that all true cases of plague were caused by astrological factors and were incurable; he himself was never able to effect a cure The most widely accepted estimate for the Middle East, including Iraq, Iran and Syria, during this time, is for a death toll of about a third of the population  The Black Death killed about 40% of Egypt's population  In Cairo, with a population numbering as many as 600,000, and possibly the largest city west of China, between one third and 40% of the inhabitants died within eight months Italian chronicler Agnolo di Tura recorded his experience from Siena, where plague arrived in May 1348:

Father abandoned child, wife husband, one brother another; for this illness seemed to strike through the breath and sight  And so they died  And none could be found to bury the dead for money or friendship  Members of a household brought their dead to a ditch as best they could, without priest, without divine offices     great pits were dug and piled deep with the multitude of dead  And they died by the hundreds both day and night     And as soon as those ditches were filled more were dug     And I, Agnolo di Tura     buried my five children with my own hands  And there were also those who were so sparsely covered with earth that the dogs dragged them forth and devoured many bodies throughout the city  There was no one who wept for any death, for all awaited death  And so many died that all believed it was the end of the world 

Economic
It has been suggested that the plague, like some others in history, disproportionately affected the poorest people, who were already in generally worse physical condition than the wealthier citizens   Nevertheless, with such a large overall population decline from the pandemic, wages soared in response to a labour shortage  On the other hand, in the quarter century after the Black Death in England, it is clear many labourers, artisans and craftsmen, those living from money-wages alone, did suffer a reduction in real incomes owing to rampant inflation  Landowners were also pushed to substitute monetary rents for labour services in an effort to keep tenants 

Environmental
A study performed by Thomas Van Hoof of the Utrecht University suggests that the innumerable deaths brought on by the pandemic cooled the climate by freeing up land and triggering reforestation  This may have led to the Little Ice Age 

Persecutions
Renewed religious fervour and fanaticism bloomed in the wake of the Black Death  Some Europeans targeted "various groups such as Jews, friars, foreigners, beggars, pilgrims", lepers and Romani, blaming them for the crisis  Lepers, and others with skin diseases such as acne or psoriasis, were killed throughout Europe 
Because 14th-century healers and governments were at a loss to explain or stop the disease, Europeans turned to astrological forces, earthquakes and the poisoning of wells by Jews as possible reasons for outbreaks  Many believed the epidemic was a punishment by God for their sins, and could be relieved by winning God's forgiveness There were many attacks against Jewish communities  In the Strasbourg massacre of February 1349, about 2,000 Jews were murdered  In August 1349, the Jewish communities in Mainz and Cologne were annihilated  By 1351, 60 major and 150 smaller Jewish communities had been destroyed  During this period many Jews relocated to Poland, where they received a warm welcome from King Casimir the Great 

Social
One theory that has been advanced is that the devastation in Florence caused by the Black Death, which hit Europe between 1348 and 1350, resulted in a shift in the world view of people in 14th-century Italy and led to the Renaissance  Italy was particularly badly hit by the pandemic, and it has been speculated that the resulting familiarity with death caused thinkers to dwell more on their lives on Earth, rather than on spirituality and the afterlife  It has also been argued that the Black Death prompted a new wave of piety, manifested in the sponsorship of religious works of art This does not fully explain why the Renaissance occurred in Italy in the 14th century  The Black Death was a pandemic that affected all of Europe in the ways described, not only Italy  The Renaissance's emergence in Italy was most likely the result of the complex interaction of the above factors, in combination with an influx of Greek scholars following the fall of the Byzantine Empire  As a result of the drastic reduction in the populace the value of the working class increased, and commoners came to enjoy more freedom  To answer the increased need for labour, workers travelled in search of the most favorable position economically Prior to the emergence of the Black Death, the workings of Europe were run by the Catholic Church and the continent was considered a feudalistic society, composed of fiefs and city-states  The pandemic completely restructured both religion and political forces; survivors began to turn to other forms of spirituality and the power dynamics of the fiefs and city-states crumbled Cairo's population, partly owing to the numerous plague epidemics, was in the early 18th century half of what it was in 1347  The populations of some Italian cities, notably Florence, did not regain their pre-14th century size until the 19th century  The demographic decline due to the pandemic had economic consequences: the prices of food dropped and land values declined by 30–40% in most parts of Europe between 1350 and 1400  Landholders faced a great loss, but for ordinary men and women it was a windfall  The survivors of the pandemic found not only that the prices of food were lower but also that lands were more abundant, and many of them inherited property from their dead relatives, and this probably destabilised feudalism The word "quarantine" has its roots in this period, though the concept of isolating people to prevent the spread of disease is older  In the city-state of Ragusa (modern Dubrovnik, Croatia), a thirty-day isolation period was implemented in 1377 for new arrivals to the city from plague-affected areas  The isolation period was later extended to forty days, and given the name "quarantino" from the Italian word for "forty" 

Recurrences
Second plague pandemic
The plague repeatedly returned to haunt Europe and the Mediterranean throughout the 14th to 17th centuries  According to Jean-Noël Biraben, the plague was present somewhere in Europe in every year between 1346 and 1671  (Note that some researchers have cautions about the uncritical use of Biraben's data ) The second pandemic was particularly widespread in the following years: 1360–63; 1374; 1400; 1438–39; 1456–57; 1464–66; 1481–85; 1500–03; 1518–31; 1544–48; 1563–66; 1573–88; 1596–99; 1602–11; 1623–40; 1644–54; and 1664–67  Subsequent outbreaks, though severe, marked the retreat from most of Europe (18th century) and northern Africa (19th century)  The historian George Sussman argued that the plague had not occurred in East Africa until the 1900s  However, other sources suggest that the Second pandemic did indeed reach Sub-Saharan Africa According to historian Geoffrey Parker, "France alone lost almost a million people to the plague in the epidemic of 1628–31 " In the first half of the 17th century, a plague killed some 1 7 million people in Italy  More than 1 25 million deaths resulted from the extreme incidence of plague in 17th-century Spain The Black Death ravaged much of the Islamic world  Plague could be found in the Islamic world almost every year between 1500 and 1850  Sometimes the outbreaks affected small areas, while other outbreaks affected multiple regions  Plague repeatedly struck the cities of North Africa  Algiers lost 30,000–50,000 inhabitants to it in 1620–21, and again in 1654–57, 1665, 1691 and 1740–42  Cairo suffered more than fifty plague epidemics within 150 years from the plague's first appearance, with the final outbreak of the second pandemic there in the 1840s  Plague remained a major event in Ottoman society until the second quarter of the 19th century  Between 1701 and 1750, thirty-seven larger and smaller epidemics were recorded in Constantinople, and an additional thirty-one between 1751 and 1800  Baghdad has suffered severely from visitations of the plague, and sometimes two-thirds of its population had died 

Third plague pandemic
The third plague pandemic (1855–1859) started in China in the mid-19th century, spreading to all inhabited continents and killing 10 million people in India alone  The investigation of the pathogen that caused the 19th-century plague was begun by teams of scientists who visited Hong Kong in 1894, among whom was the French-Swiss bacteriologist Alexandre Yersin, after whom the pathogen was named Twelve plague outbreaks in Australia between 1900 and 1925 resulted in well over 1,000 deaths, chiefly in Sydney  This led to the establishment of a Public Health Department there which undertook some leading-edge research on plague transmission from rat fleas to humans via the bacillus Yersinia pestis The first North American plague epidemic was the San Francisco plague of 1900–1904, followed by another outbreak in 1907–1908 

Modern-day
Modern treatment methods include insecticides, the use of antibiotics, and a plague vaccine  It is feared that the plague bacterium could develop drug resistance and again become a major health threat  One case of a drug-resistant form of the bacterium was found in Madagascar in 1995  A further outbreak in Madagascar was reported in November 2014  In October 2017, the deadliest outbreak of the plague in modern times hit Madagascar, killing 170 people and infecting thousands An estimate of the case fatality rate for the modern bubonic plague, following the introduction of antibiotics, is 11%, although it may be higher in underdeveloped regions 

See also
Black Death in England
Black Death in medieval culture
Crisis of the Late Middle Ages
Flagellant
Globalization and disease
List of epidemics
Second plague pandemic
Timeline of plague
Passage 3:
Black Death in England
The Black Death was a bubonic plague pandemic, which reached England in June 1348  It was the first and most severe manifestation of the second pandemic, caused by Yersinia pestis bacteria  The term Black Death was not used until the late 17th century 
Originating in Asia, it spread west along the trade routes across Europe and arrived on the British Isles from the English province of Gascony  The plague was spread by flea-infected rats, as well as individuals who had been infected on the continent  Rats were the reservoir hosts of the Y  pestis bacteria and the Oriental rat flea was the primary vector 
The first-known case in England was a seaman who arrived at Weymouth, Dorset, from Gascony in June 1348  By autumn, the plague had reached London, and by summer 1349 it covered the entire country, before dying down by December  Low estimates of mortality in the early twentieth century have been revised upwards due to re-examination of data and new information, and a figure of 40–60 percent of the population is widely accepted 
The most immediate consequence was a halt to the campaigns of the Hundred Years' War  In the long term, the decrease in population caused a shortage of labour, with subsequent rise in wages, resisted by the landowners, which caused deep resentment among the lower classes  The Peasants' Revolt of 1381 was largely a result of this resentment, and even though the rebellion was suppressed, in the long term serfdom was ended in England  The Black Death also affected artistic and cultural efforts, and may have helped advance the use of the vernacular 
In 1361–62 the plague returned to England, this time causing the death of around 20 per cent of the population  After this the plague continued to return intermittently throughout the 14th and 15th centuries, in local or national outbreaks  From this point on its effect became less severe, and one of the last outbreaks of the plague in England was the Great Plague of London in 1665–1666 

Background
England in the mid-14th century
It is impossible to establish with any certainty the exact number of inhabitants in England at the eve of the Black Death, and estimates range from 3 to 7 million  The number is probably in the higher end, and an estimate of around 6 million inhabitants seems likely  Earlier demographic crises—in particular the Great Famine of 1315–1317—had resulted in great numbers of deaths, but there is no evidence of any significant decrease in the population prior to 1348  England was still a predominantly rural and agrarian society; close to 90 per cent of the population lived in the countryside  Of the major cities, London was in a class of its own, with perhaps as many as 70,000 inhabitants  Further down the scale were Norwich, with around 12,000 people, and York with around 10,000  The main export, and the source of the nation's wealth, was wool  Until the middle of the century the export had consisted primarily of raw wool to cloth makers in Flanders  Gradually though, the technology for cloth making used on the Continent was appropriated by English manufacturers, who started an export of cloths around mid-century that would boom over the following decades Politically, the kingdom was evolving into a major European power, through the youthful and energetic kingship of Edward III  In 1346, the English had won a decisive battle over the Scots at the Battle of Neville's Cross, and it seemed that Edward III would realise his grandfather Edward I's ambition of bringing the Scots under the suzerainty of the English crown  The English were also experiencing military success on the continent  Less than two months before the Battle of Neville's Cross, a numerically inferior English army led by the king himself won a spectacular victory over the French royal forces at the Battle of Crécy  The victory was immediately followed by Edward laying siege to the port city of Calais  When the city fell the next year, this provided the English with a strategically important enclave that would remain in their possession for over two centuries 

The Black Death
The term "Black Death"—which refers to the first and most serious outbreak of the second pandemic—was not used by contemporaries, who preferred such names as the "Great Pestilence" or the "Great Mortality"  It was not until the 17th century that the term under which we know the outbreak today became common, probably derived from Scandinavian languages  It is generally agreed today that the disease in question was plague, caused by Yersinia pestis bacteria  These bacteria are carried by fleas, which can be transferred to humans through contact with rats  Flea bites carry the disease into the lymphatic system, through which it makes its way to the lymph nodes  Here the bacteria multiply and form swellings called buboes, from which the term bubonic plague is derived  After three or four days the bacteria enter the bloodstream, and infect organs such as the spleen and the lungs  The patient will then normally die after a few days  A different strain of the disease is pneumonic plague, where the bacteria become airborne and enter directly into the patient's lungs  This strain is far more virulent, as it spreads directly from person to person  These types of infection probably both played a significant part in the Black Death, while a third strain was more rare  This is the septicaemic plague, where the flea bite carries the bacteria directly into the blood stream, and death occurs very rapidly A study reported in 2011 of skeletons exhumed from the Black Death cemetery in East Smithfield, London, found Yersinia pestis DNA  An archaeological dig in the vicinity of Thornton Abbey in Lincolnshire was reported in the science section of The Guardian for 30 November 2016, not only confirming evidence of the Y  pestis DNA in the human remains exhumed there but also dating the remains to mid-1349 
Genotyping showed that it was [at that time] a newly evolved strain, ancestor of all modern strains and proved the Black Death was bubonic plague  Modern medical knowledge suggests that because it was a new strain, the human immune system would have had little or no defence against it, helping to explain the plague's virulence and high death rates The Black Death seems to have originated in Central Asia, where the Y  pestis bacterium is endemic in the rodent population  It is unknown exactly what caused the outbreak, but a series of natural occurrences likely brought humans into contact with the infected rodents  The epidemic reached Constantinople in the late spring of 1347, through Genoese merchants trading in the Black Sea  From here it reached Sicily in October that same year, and by early 1348 it had spread over the entire Italian mainland  It spread rapidly through France, and had reached as far north as Paris by June 1348  Moving simultaneously westward, it arrived in the English province of Gascony around the same time 

Progress of the plague
According to the chronicle of the grey friars at King's Lynn, the plague arrived by ship from Gascony to Melcombe in Dorset—today normally referred to as Weymouth—shortly before the Feast of St  John the Baptist on 24 June 1348  Other sources mention different points of arrival, including Bristol and Southampton  Though the plague might have arrived independently at Bristol at a later point, the Grey Friars' Chronicle is considered the most authoritative account  If it is assumed that the chronicle reports the first outbreak of the plague, rather than its actual arrival, then the arrival most likely happened around 8 May From Weymouth the disease spread rapidly across the south-west  The first major city to be struck was Bristol  The disease reached London in the autumn of 1348, before most of the surrounding countryside  This had certainly happened by November, though according to some accounts as early as 29 September  Arrival in London happened by three principal roads: overland from Weymouth—through Salisbury and Winchester—overland from Gloucester, and along the coast by ship  The full effect of the plague was felt in the capital early the next year  Conditions in London were ideal for the plague: the streets were narrow and flowing with sewage, and houses were overcrowded and poorly ventilated  By March 1349 the disease was spreading haphazardly across all of southern England During the first half of 1349 the Black Death spread northwards  A second front opened up when the plague arrived by ship at the Humber, after which it spread both south and north  In May it reached York, and during the summer months of June, July and August, it ravaged the north  Certain northern counties, like Durham and Cumberland, had been the victim of violent incursions from the Scots, and were therefore left particularly vulnerable to the devastations of the plague  Pestilence is less virulent during the winter months, and spreads less rapidly  The Black Death in England had survived the winter of 1348–49, but during the following winter it gave in, and by December 1349 conditions were returning to relative normality  It had taken the disease approximately 500 days to traverse the entire country 

Medical practice
Various methods were used including sweating, bloodletting, forced vomiting and urinating to treat patients infected with the plague  Several symptoms of the illness included blotches, hardening of the glands under the groin and underarms, and dementia  Within the initial phase of the disease, bloodletting was performed on the same side of where the physical manifestations of the buboes or risings appeared  For instance, if a rising appeared on the right side of the groin the physician would bleed a vein in the ankle on the same side  In the case of sweating, it was achieved with such medicines as Mithridate, Venice-Treacle, Matthiolus, Bezoar-Water, Serpentary Roots and Electuarium de Ovo  Sweating was used when measures were desperate; if a patient had tokens, a severe version of risings, the physician would wrap the naked patient in a blanket drenched in cold water  This measure was only performed while the patient still had natural heat in his system  The desired effect was to make the patient sweat violently and thus purge all corruption from the blood which was caused by the disease Another practice was the use of pigeons when treating swellings  Swellings which were white in appearance and deep were unlikely to break and were anointed with Oil of Lillies or Camomil  Once the swelling rose to a head and was red in appearance and not deep in the flesh, it was broken with the use of a feather from a young pigeon's tail  The feather's fundament was held to the swelling and would draw out the venom  However, if the swelling dropped and became black in appearance, the physician had to be cautious when drawing the cold from the swelling  If it was too late to prevent, the physician would take the young pigeon, cut it open from breast to back, break it open and apply the pigeon (while still alive) over the cold swelling  The cupping therapy was an alternative method which was heated and then placed over the swellings  Once the sore was broken, the physician would apply Mellilot Plaister with Linimentum Arcei and heal the sore with digence 

Victims
Death toll
Although historical records for England were more extensive than those of any other European country, it is still extremely difficult to establish the death toll with any degree of certainty  Difficulties involve uncertainty about the size of the total population, as described above, but also issues regarding the proportion of the population that died from the plague  Contemporary accounts are often grossly inflated, stating numbers as high as 90 per cent  Modern historians give estimates of death rates ranging from around 25 per cent to more than 60 per cent of the total population 
The pioneering work in the field was made by Josiah William Russell in his 1948 British Medieval Population  Russell looked at inquisitions post mortem (IPMs)—taken by the crown to assess the wealth of the greatest landowners after their death—to assess the mortality caused by the Black Death, and from this arrived at an estimate of 23 6 per cent of the entire population  He also looked at episcopal registers for the death toll among the clergy, where the result was between 30 and 40 per cent  Russell believed the clergy was at particular risk of contagion, and eventually concluded with a low mortality level of only 20 per cent Several of Russell's assumptions have been challenged, and the tendency since has been to adjust the assessment upwards  Philip Ziegler, in 1969, estimated the death rate to be at around one third of the population  Jeremy Goldberg, in 1996, believed a number closer to 45 per cent would be more realistic  A 2004 study by Ole Jørgen Benedictow suggests the exceptionally high mortality level of 62 5 per cent  Assuming a population of 6 million, this estimate would correspond to 3,750,000 deaths  Such a high percentage would place England above the average that Benedictow estimates for Western Europe as a whole, of 60 per cent  A death rate at such a high level has not been universally accepted in the historical community In 2016, Carenza Lewis reported the results of a new method of assessing the death toll  She argued that pottery before and after the Black Death is datable because there was a change at that time from the high medieval to the late medieval style, and that counts of pottery of each type therefore provide a useful proxy for long term changes in population  She and her colleagues analysed pottery sherds from test pits in more than 50 continuously occupied rural settlements in eastern England, and found a decline in the number of pottery producing pits of 45 per cent  Norfolk had the greatest drop of 65 per cent, while there was no drop in 10 per cent of settlements, mostly commercial centres 

Impact of the Black Death: 1349
Archbishop Zouche of York issued a warning throughout the diocese in July 1348 (when the epidemic was raging further south) of "great mortalities, pestilences and infections of the air" 
The Great Mortality, as it was then known, entered Yorkshire around February 1349 and quickly spread through the diocese  The clergy were on the front line of the disease, bringing comfort to the dying, hearing final confessions and organising burials  This, almost by necessity, put them at a greater risk of infection 
Estimates suggest that the death rate of clergy in some parts of the archdiocese could have been as high as 48 per cent  This is reflected in the Ordination Register, which shows a massive rise in ordained clergy over the period—some being recruited before the arrival of plague in a clerical recruitment drive, but many once plague had arrived, replacing those who had been killed  In 1346, 111 priests and 337 acolytes were recruited  In 1349, 299 priests and 683 acolytes are named, with 166 priests being ordained in one session alone in February 1350 "

Social distribution
Russell had trusted the IPMs to give a true picture of the national average, because he assumed death rates to be relatively equal across the social spectrum  This assumption has been proven wrong, and studies of peasant plague mortality from manor rolls have returned much higher rates  This could be a consequence of the elite's ability to avoid infection by escaping plague-infected areas  It could also result from lower post-infection mortality among those more affluent, due to better access to care and nursing  If so, this would also mean that the mortality rates for the clergy—who were normally better off than the general population—were no higher than the average 

The manorial records offer a good opportunity to study the geographical distribution of the plague  Its effect seems to have been about the same all over England, though a place like East Anglia, which had frequent contact with the Continent, was severely affected  On a local level, however, there were great variations  A study of the Bishop of Worcester's estates reveal that, while his manors of Hartlebury and Hanbury had a mortality of only 19 per cent, the manor of Aston lost as much as 80 per cent of its population  The manor rolls are less useful for studying the demographic distribution of the mortality, since the rolls only record the heads of households, normally an adult male  Here the IPMs show us that the most vulnerable to the disease were infants and the elderly There seem to have been relatively few deaths from the Black Death at higher levels of society  The only member of the royal family who can be said with any certainty to have died from the Black Death was in France at the time of her infection  Edward III's daughter Joan was residing in Bordeaux on her way to marry Pedro of Castile in the summer of 1348  When the plague broke out in her household she was moved to a small village nearby, but she could not avoid infection, and died there on 2 September  It is possible that the popular religious author Richard Rolle, who died on 30 September 1349, was another victim of the Black Death  The English philosopher William of Ockham has been mentioned as a plague victim  This, however, is an impossibility  Ockham was living in Munich at the time of his death, on 10 April 1347, two years before the Black Death reached that city 

Consequences
Economic, social and political effects
Among the most immediate consequences of the Black Death in England was a shortage of farm labour, and a corresponding rise in wages  The medieval world-view was unable to interpret these changes in terms of socio-economic development, and it became common to blame degrading morals instead  The landowning classes saw the rise in wage levels as a sign of social upheaval and insubordination, and reacted with coercion  In 1349, King Edward III passed the Ordinance of Labourers, fixing wages at pre-plague levels  The ordinance was reinforced by Parliament's passing of the Statute of Labourers in 1351  The labour laws were enforced with ruthless determination over the following decades 

These legislative measures proved largely inefficient at regulating the market, but the government's repressive measures to enforce them caused public resentment  These conditions were contributing factors to the Peasants' Revolt in 1381  The revolt started in Kent and Essex in late May, and once the rebels reached London they burnt down John of Gaunt's Savoy Palace, and killed both the Chancellor and the Treasurer  They then demanded the complete abolition of serfdom, and were not pacified until the young King Richard II personally intervened  The rebellion was eventually suppressed, but the social changes it promoted were already irreversible  By around 1400 serfdom was virtually extinct in England, replaced by the form of tenure called copyhold It is conspicuous how well the English government handled the crisis of the mid-fourteenth century, without descending into chaos and total collapse in the manner of the Valois government of France  To a large extent this was the accomplishment of administrators such as Treasurer William de Shareshull and Chief Justice William Edington, whose highly competent leadership guided the governance of the nation through the crisis  The plague's greatest effect on the government was probably in the field of war, where no major campaigns were launched in France until 1355 Another notable consequence of the Black Death was the raising of the real wage of England (due to the shortage of labour as a result of the reduction in population), a trait shared across Western Europe, which in general led to a real wage in 1450 that was unmatched in most countries until the 19th or 20th century  The higher wages for workers combined with sinking prices on grain products led to a problematic economic situation for the gentry  As a result, they started to show an increased interest for offices like justice of the peace, sheriff and member of parliament  The gentry took advantage of their new positions and a more systematic corruption than before spread  A result of this was that the gentry as a group became highly disliked by commoners 

Religious and cultural consequences
The omnipresence of death also inspired greater piety in the upper classes, which can be seen in the fact that three Cambridge colleges were founded during or shortly after the Black Death  England did not experience the same trend of roving bands of flagellants, common on the continent  Neither were there any pogroms against the Jews, since the Jews had been expelled by Edward I in 1290 The high rate of mortality among the clergy naturally led to a shortage of priests in many parts of the country  The clergy were seen to have an elevated status among ordinary people and this was partly due to their purported closeness with God, being his envoys on earth  However, as the church itself had given the cause of the Black Death to be the impropriety of the behaviour of men, the higher death rate among the clergy led the people to lose faith in the Church as an institution—it had proved as ineffectual against the horror of Y  pestis as every other medieval institution  The corruption within the Catholic priesthood also angered the English people  Many priests abandoned the terrified people  Others sought benefits from the rich families who needed burials  The dissatisfaction led to anti-clericalism and the rise of John Wycliffe, an English priest  His ideas paved a path for the Christian reformation in England  Some people did not lose their Christian faith, if anything it was renewed; they began to long for a more personal relationship with God—around the time after the Black Death many chantries (private chapels) began to spread in use from not just the nobility, but to among the well-to-do  This change in the power of the papacy in England is demonstrated by the statutes of Praemunire 
The Black Death also affected arts and culture significantly  It was inevitable that a catastrophe of such proportions would affect some of the greater building projects, as the amount of available labour fell sharply  The building of the cathedrals of Ely and Exeter was temporarily halted in the years immediately following the first outbreak of the plague  The shortage of labour also helped advance the transition from the Decorated style of building to the less elaborate Perpendicular style  The Black Death may also have promoted the use of vernacular English, as the number of teachers proficient in French dwindled, contributing to the late-14th-century flowering of English literature, represented by writers such as Geoffrey Chaucer and John Gower 

Recurrences
The Black Death was the first occurrence of the second pandemic, which continued to strike England and the rest of Europe more or less regularly until the 18th century  The first serious recurrence in England came in the years 1361−62  Little is known about the death rates caused by these later outbreaks, but the so-called pestis secunda may have had a mortality of around 20 per cent  Genetic analysis performed on remains recovered from the abbey of St  Mary's Graces dating between 1353 and 1364 found the pPCP1 plasmid, a plasmid only found in Yersinia pestis and not the related environmental agent Yersinia pseudotuberculosis, revealing that this outbreak was also caused by Yersinia pestis just as the initial outbreak had been  This epidemic was also particularly devastating for the population's ability to recover, since it disproportionately affected infants and young men  This was also the case with the next occurrence, in 1369, where the death rate was around 10−15 per cent Over the following decades the plague would return—on a national or a regional level—at intervals of five to 12 years, with gradually dwindling death tolls  Then, in the decades from 1430 to 1480, the disease returned in force  An outbreak in 1471 took as much as 10–15 per cent of the population, while the death rate of the plague of 1479–80 could have been as high as 20 per cent  From that point outbreaks became fewer and more manageable, due largely to conscious efforts by central and local governments—from the late 15th century onward—to curtail the disease  This included quarantines on people and goods coming from infected places, bans on public gatherings (such as fairs), enforced household quarantine for the infected (known as 'locking up') and quarantines on ships and crews coming from ports where Plague outbreaks had occurred  From the early seventeenth century there was also greater use of quarantine facilities, called pesthouses, in preference to household quarantine  Some of these, such as the Forlorn Hope Pesthouse established by Bristol in 1665–6, appear to have been proper quarantine hospitals, staffed by doctors  The establishment of such a hospital may help to explain why the death rate in Bristol in the 1665–66 outbreak was "only" c 0 6 percent  This was much lower than the mortality rate of 10–20 percent witnessed in Bristol's Plague epidemics of 1565, 1575, 1603–04 and 1645  The Great Plague of 1665–66 was the last major outbreak in England  It is best known for the famous Great Plague of London, which killed 100,000 people (20 per cent of the population) in the capital  Other places hit hard included Eyam in Derbyshire, Derby itself and Norwich 

See also
Passage 4:
2013 Houphouët-Boigny stampede
The 2013 Houphouët-Boigny stampede occurred as crowds departed a New Year's Eve fireworks display in the early hours of 1 January 2013 near the Félix Houphouët-Boigny Stadium in Abidjan, Ivory Coast  It resulted in 61 deaths and over 200 injuries, mostly women and children  This was the second time in four years that a fatal stampede occurred at the stadium 
President Alassane Ouattara declared three days of mourning and promised an investigation 

Incident
At some time between 1 and 4 am according to sources, following the New Year's Eve celebration and fireworks display, crowds stampeded as they exited the stadium into the Boulevard de la République near the Hotel Tirama  This was the second year that fireworks had been held by the government to commemorate the end of the 2010–2011 Ivorian crisis and the Second Ivorian Civil War, following the controversial 2010 presidential election  According to official reports, 61 individuals were killed, with upwards of 200 injured  According to Alain Lobognon, the Minister of Youth, 26 children were among the dead, most of whom were between the ages of 8 and 15, as well as 28 women and six men 

Investigation and reaction
The cause of the stampede is not yet clear, however a senior police spokesman has confirmed they are investigating  Lieutenant Colonel Issa Sako, the officer in charge of the military responding to the disaster, said that the deaths were caused when "people were walked over and suffocated by the crowd"  According to an Ivorian government official, approximately "50,000 people [were] on the streets     going home" after the New Year's celebrations  Witnesses have alternatively claimed that two large crowds moving in opposite directions collided, and that security forces attempting to break up the crowd leaving the stadium caused a panic Visiting the injured in hospital, President Alassane Ouattara said that the national tragedy would be investigated  Minister of the Interior Hamed Bakayoko stated in a national television broadcast on Radiodiffusion Television Ivoirienne that "the government extends its condolences to the families of those deceased and assures them of its solidarity" and that the Ivorian government would help by "all means possible " Bakayoko went on to say that "the precise circumstances of this tragic occurrence are being looked into by the security services" 
Passage 5:
2010 Elazığ earthquake
The 2010 Elazığ earthquake was a 6 1 Mw earthquake that occurred on 8 March 2010 at 02:32 UTC (04:32 local time)  The epicentre was Başyurt in Elazığ Province, in eastern Turkey  Initial reports in global media said as many as 57 people had died  By 10 March, reports in the Turkish media placed the death toll at 41 and later, the death toll rose to 42  Another 74 were injured, many after falling and jumping from buildings  A stampede through the streets led to further injuries The earthquake came one week to the day after the Turkish Chamber of Civil Engineers sent a report to parliament detailing inadequate building projects and the possibility that Istanbul would be destroyed by an earthquake, which could kill tens of thousands of people, at some point in the next three decades 

Earthquake
The quake occurred on the East Anatolian Fault, a major transform fault which represents  the boundary between the Anatolian Plate and the Arabian Plate 

Damage
According to officials, most of the deaths occurred in three villages: Okçular, Yukarı Kanatlı and Kayalı  At least five villages, though, suffered loss of life  Villagers fled buildings, spending the night outside and lighting fires in the streets for warmth Thirty houses collapsed in Okçular, and the death toll is at least 17  Reports from the scene indicate "the village is totally flattened" and "everything has been knocked down – there is not a stone in place" At least 25 people died in Yukarı Demirci, and emergency services went to Kovancılar Many people used vehicles and taxis to drive to the hospital  Most were asleep at the time the quake struck, with four sleeping sisters perishing in one house  Farm animals were also killed, and minarets fell down 

Aftershocks
Several aftershocks were felt, the strongest measuring 5 5 (at 09:47 local time), 5 1 (at 12:14) and 5 3 (at 13:12)  A total of over 20 aftershocks were counted within a short time following the quake  Villagers were told to stay away from buildings for several days due to the potential of further aftershocks Onur Tan et al  (2011) analyzed 2130 aftershocks (ML≥0 3) and reported in Geophysical Research Letters 

Response
Turkey: Four government ministers, including Deputy Prime Minister Cemil Çiçek, visited the scene as soon as news of the earthquake was reported  The Red Crescent and Turkey's disaster management centre donated blankets and tents  Prime Minister Recep Tayyip Erdoğan later arrived  Pakistan: Prime Minister Yousaf Raza Gillani sent a condolence message to his Turkish counterpart Recep Tayyip Erdoğan over the loss of lives and property and said that "We have learnt with utter sense of shock and profound sadness the news of the massive earthquake that has hit your beautiful country, today  Our hearts go out to our Turkish brethren over the loss of precious lives and destruction of property  I wish to convey, on behalf of the people and Government of Pakistan and on my own behalf our deepest condolences and commiserations to the people and Government of Turkey in bearing this enormous natural calamity " Israel: Defense Minister Ehud Barak ordered an aid proposal to be put together but later said that Turkey informed Israel that it did not require assistance at this time 

See also
2020 Elazığ earthquake
List of earthquakes in 2010
List of earthquakes in Turkey
Passage 6:
Flora (Titian)
Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence 

History
The work was reproduced in numerous 16th century etchings  Later, it followed an unclear series of changes of hands at Brussels and Vienna  In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York  Later included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi 
In the 18th century, it was erroneously attributed to Palma the Elder 

Description
It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his Laura  Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves 
The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations  The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one  The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands 

See also
List of works by Titian

Notes
Context 2: Passage 1:
Randall Munroe
Randall Patrick Munroe (born October 17, 1984) is an American cartoonist, author, and engineer best known as the creator of the webcomic xkcd  Munroe has worked full-time on the comic since late 2006  In addition to publishing a book of the webcomic's strips, he has written four books: What If?, Thing Explainer, How To: Absurd Scientific Advice for Common Real-World Problems, and What If? 2 

Early life
Munroe was born in Easton, Pennsylvania, and his father has worked as an engineer and marketer  He has two younger siblings, including a brother named Doug, and was raised as a Quaker  He was a fan of comic strips in newspapers from an early age, starting off with Calvin and Hobbes  After graduating from the Chesterfield County Mathematics and Science High School at Clover Hill in Midlothian, Virginia, he graduated from Christopher Newport University in 2006 with a degree in physics 

Career
NASA
Munroe worked as a contract programmer and roboticist for NASA at the Langley Research Center, before and after his graduation with a physics degree  In late 2006, he left NASA and moved to Boston to focus on webcomics full time 

Webcomic
Munroe's webcomic, entitled xkcd, is primarily a stick figure comic  Its tagline describes it as "A webcomic of romance, sarcasm, math, and language" Munroe had originally used xkcd as an instant messaging screenname because he wanted a name without a meaning so he would not eventually grow tired of it  He registered the domain name, but left it idle until he started posting his drawings, perhaps in September 2005  The webcomic quickly became very popular, garnering up to 70 million hits a month by October 2007  Munroe has said, "I think the comic that's gotten me the most feedback is actually the one about the stoplights" Munroe now supports himself by the sale of xkcd-related merchandise, primarily thousands of t-shirts a month  He licenses his xkcd creations under the Creative Commons attribution-noncommercial 2 5, stating that it is not just about the free culture movement, but that it also makes good business sense In 2010, he published a collection of the comics  He has also toured the lecture circuit, giving speeches at places such as Google's Googleplex in Mountain View, California The popularity of the strip among science fiction fans resulted in Munroe being nominated for a Hugo Award for Best Fan Artist in 2011 and again in 2012  In 2014, he won the Hugo Award for Best Graphic Story for the xkcd strip "Time" 

Other projects
Munroe is the creator of the now defunct websites "The Funniest", "The Cutest", and "The Fairest", each of which presents users with two options and asks them to choose one over the other In January 2008, Munroe developed an open-source chat moderation script named "Robot9000"  Originally developed to moderate one of Munroe's xkcd-related Internet Relay Chat (IRC) channels, the software's algorithm attempts to prevent repetition in IRC channels by temporarily muting users who send messages that are identical to a message that has been sent to the channel before  If users continue to send unoriginal messages, Robot9000 mutes the user for a longer period, quadrupling for each unoriginal message the user sends to the channel  Shortly after Munroe's blog post about the script went live, 4chan administrator Christopher Poole adapted the script to moderate the site's experimental /r9k/ board  Twitch trialed R9K mode but it did not pass beta In October 2008, The New Yorker magazine online published an interview and "Cartoon Off" between Munroe and Farley Katz, in which each cartoonist drew a series of four humorous cartoons In early 2010, Munroe ran the xkcd Color Name Survey, in which participants were shown a series of RGB colors and asked to enter a suitable name for each specific color  Munroe wanted to identify colors which were given identical or highly similar names by a large number of survey participants, which would then serve as an approximate list of the most common colors rendered similarly across a range of computer monitors  Over 200,000 people eventually completed the survey, and Munroe published the resulting list of 954 named RGB web colors on the xkcd website  They have since been adopted as conventional color identifiers in various programming and markup languages, including Python and LaTeX 

What If?
Munroe has a blog entitled What If?, where he has answered questions sent in by fans of his comics  These questions are usually absurd and related to math or physics, and he explains them using both his knowledge and various academic sources  In 2014, he published a collection of some of the responses, as well as a few new ones and some rejected questions, in a book entitled What If?: Serious Scientific Answers to Absurd Hypothetical Questions  Starting in November 2019, Munroe began writing a monthly column in the New York Times titled Good Question, answering user-submitted questions in the same style as What If 
A sequel, What If? 2: Additional Serious Scientific Answers to Absurd Hypothetical Questions, was published in September 2022 

Radioactivity visualization
In response to concerns about the radioactivity released by the Fukushima Daiichi nuclear disaster in 2011, and to remedy what he described as "confusing" reporting on radiation levels in the media, Munroe created a radiation chart of comparative radiation exposure levels  The chart was rapidly adopted by print and online journalists in several countries, including being linked to by online writers for The Guardian, and The New York Times  As a result of requests for permission to reprint the chart and to translate it into Japanese, Munroe placed it in the public domain, but requested that his non-expert status be clearly stated in any reprinting Munroe published an xkcd-style comic on scientific publishing and open access in Science in October 2013 

Thing Explainer
Munroe's book Thing Explainer, announced in May 2015 and published later that year, explains concepts using only the 1,000 most common English words  The book's publisher, Houghton Mifflin Harcourt, saw these illustrations as potentially useful for textbooks, and announced in March 2016 that the next editions of their high-school-level chemistry, biology, and physics textbooks will include selected drawings and accompanying text from Thing Explainer 

How To
In February 2019, Munroe announced his next book, How To, which was released in September of that year  The book deals with everyday problems by using physics to find absurd, and generally extreme, solutions to them 

Influence
In September 2013, Munroe announced that a group of xkcd readers had submitted his name as a candidate for the renaming of asteroid (4942) 1987 DU6 to 4942 Munroe  The name was accepted by the International Astronomical Union 

Personal life
As of May 2008, Munroe lives in Somerville, Massachusetts In October 2010, Munroe's fiancée was diagnosed with stage three breast cancer; there had been no prior family history  The emotional effect of her illness was referenced in the comic panel "Emotion", published 18 months later in April 2012  In September 2011, he announced that they had married  In November 2012, he published a comic entitled "Two Years', and in December 2017, Munroe followed this with a comic entitled "Seven Years"  He revisited the subject in November 2020 in a comic entitled "Ten Years" His hobbies and interests include kite photography, in which cameras are attached to kites and photographs are then taken of the ground or buildings 

Publications
Publications by Munroe
xkcd: volume 0  Breadpig  2009  ISBN 9780615314464 
What If?: Serious Scientific Answers to Absurd Hypothetical Questions  London: John Murray  2014  ISBN 9781848549579 
Thing Explainer  Boston: Houghton Mifflin Harcourt  2015  ISBN 9780544668256 
How To: Absurd Scientific Advice for Common Real-World Problems  John Murray  2019  ISBN 9780525537090 
What If? 2: Additional Serious Scientific Answers to Absurd Hypothetical Questions  Riverhead Books  2022  ISBN 9780525537113 

Publications with contributions by Munroe
North, Ryan; Matthew, Bennardo; Malki, David (2010)  Machine of Death (PDF)  ISBN 9780982167120  Archived from the original on August 15, 2014 
Passage 2:
Aaron Spelling
Aaron Spelling (April 22, 1923 –  June 23, 2006) was an American film and television producer and occasional actor  His productions included the TV series Family (1976–1980), Charlie's Angels (1976–1981), The Love Boat (1977–1986), Hart to Hart (1979–1984), Dynasty (1981–1989), Beverly Hills, 90210 (1990–2000), Melrose Place (1992–1999), 7th Heaven (1996–2007), and Charmed (1998–2006)  He also served as producer of The Mod Squad (1968–1973), The Rookies (1972–1976), and Sunset Beach (1997–1999) 
Through his production company Spelling Television, Spelling holds the record as the most prolific television producer in US television history, with 218 producer and executive producer credits  Forbes ranked him the 11th top-earning deceased celebrity in 2009 

Early life
Spelling was born in Dallas, Texas  He was the son of Pearl (née Wald) and David Spelling, Russian Jewish immigrants  His father worked as a tailor and changed his surname from Spurling to Spelling after emigrating to the United States  Spelling was the youngest of five children  He had three older brothers: Maxwell “Max” Seltzer (circa 1909–?), Sam Spelling (1916–2001) and Daniel Spelling (1921–2009) and an older half-sister, Becky Seltzer Giller (1910–1978) At the age of eight, Spelling psychosomatically lost the use of his legs due to trauma caused by constant anti-semitic bullying from his schoolmates, and was confined to bed for a year  He made a full recovery After attending Forest Avenue High School in Dallas, he served in the United States Army Air Corps as a pilot during World War II 
Spelling later graduated from Southern Methodist University in 1949, where he was a cheerleader 

Career
Spelling made his first appearance as an actor in a film as Harry Williams in Vicki, directed by Harry Horner, in 1953  That same year, he appeared in the TV series I Led Three Lives and Dragnet (six episodes, 1953–55)  Spelling appeared in episode 112 of I Love Lucy ("Tennessee Bound," season 4, 1955) and Alfred Hitchcock Presents ("Breakdown", 1955) , as Weed Pindle in Gunsmoke's season one, episode 35, "The Guitar" (1956); He continued to appear in films and TV (often uncredited) over 25 times by 1957, appearing briefly as an actor in 1963, 1995, and 1998 (all uncredited )Spelling sold his first script to Jane Wyman Presents in 1954  He guest-starred that same year as a dogcatcher in the premiere episode of the CBS situation comedy, Willy, starring June Havoc as a young lawyer in New Hampshire, who later relocates to New York City to represent a vaudeville troupe Two years later, Spelling gained experience as a producer and additional credits as a script writer working for Four Star Television on the series Zane Grey Theater, which aired between 1956 and 1961  Of the 149 episodes in that series, he wrote 20 of the teleplays and produced many others  Spelling produced Burke's Law while at Four Star   The show was the first success for Spelling and pioneered the multiple guest star format, later seen on The Love Boat and Fantasy Island  Thomas-Spelling Productions was a television production company formed by comedian Danny Thomas and producer Aaron Spelling on April 15, 1966, as a partnership with 24 properties  Thomas continued his existing partnership, T&L Productions, with Sheldon Leonard  The company adapted its name by July 18, 1966, when it announced the financial involvement of ABC with its first show, Range (later Rango), a half-hour comedy western starring Tim Conway and its rented space on Desilu Productions' Gower lot  ABC also picked up another show for a pilot, just in an outline treatment, in The Guns of Will Sonnett   Thomas-Spelling Productions' active operations ended with the last season of The Mod Squad in 1972   Spelling formed a new partnership with Leonard Goldberg, Spelling-Goldberg Productions 
Beginning in 1965, Spelling began producing successful television shows including The Mod Squad, The Rookies, Family, Charlie's Angels, Fantasy Island, The Love Boat, Dynasty, Beverly Hills, 90210 (which starred his daughter Tori), Melrose Place, 7th Heaven, Charmed, Jane's House and Sunset Beach  Spelling founded Spelling Entertainment in 1965, alongside partnerships with comedian/actor Danny Thomas (Thomas-Spelling Productions, 1966–1972), and television/film producer Leonard Goldberg (Spelling-Goldberg Productions, 1972–1986) He produced the unsuccessful situation comedy The San Pedro Beach Bums in 1977 
In 2004, Spelling was portrayed in two television movies: Dan Castellaneta portrayed Spelling in Behind the Camera: The Unauthorized Story of Charlie's Angels, and Nicholas Hammond portrayed Spelling in television movie Dynasty: The Making of a Guilty Pleasure 

Personal life
Spelling married actress Carolyn Jones in 1953, in California when he was 30 and she was 23  They divorced in 1964  He briefly dated actress Jill Haworth when he was 42 and she was 19  Spelling married Candy Gene (née Marer) in 1968 when he was 45 and she was 23  The couple had daughter Tori in 1973 and son Randy in 1978 In 1988, Spelling bought the 6-acre (2 4 ha) property of Bing Crosby's former Los Angeles house  He demolished the property and built a 123-room home on the lot in 1991  Known as "The Manor", it has 56,500 square feet (5,250 m2) of floor space and as of 2006 was the largest single-family home in Los Angeles  Spelling's widow Candy listed the home for sale in 2008 for $150 million  Heiress Petra Ecclestone ultimately purchased the property for $85 million in 2011 through a brokered agreement that was developed by Brandon Davis, the brother of Jason Davis and grandson of wealthy industrialist, Marvin Davis In 1992, Candy, Spelling's second wife, commissioned pinball manufacturer Data East to produce a personalized table as a gift to Spelling  The game, a modified version of Data East's Lethal Weapon 3 table, has since appeared publicly at collector's expos 

Legacy and death
On September 15, 1978, Spelling was honored with a star on the Hollywood Walk of Fame located at 6667 Hollywood Blvd  In 1996, he was inducted into the Television Hall of Fame 
In 1983, he was accorded the NAACP Humanitarian Award for his monetary donation that permitted a 21-year-old's heart transplant operation In 2001, Spelling was diagnosed with oral cancer On June 23, 2006, Spelling died at The Manor, his estate in Holmby Hills, Los Angeles, from complications of a stroke he suffered five days prior  He also suffered from Alzheimer's disease  A private funeral was held several days later, and Spelling was entombed in a mausoleum in Culver City's Hillside Memorial Park Cemetery 
On August 27, 2006, Spelling was posthumously honored at the 58th Annual Primetime Emmy Awards by former employees Joan Collins, Stephen Collins, Heather Locklear, Farrah Fawcett, Kate Jackson and Jaclyn Smith 
7th Heaven's May 13, 2007, episode, the last before the series finale, was dedicated to Spelling  When 7th Heaven ended its run, it was touted by the network as being Spelling's longest-running series and the longest-running "family drama" in American television history 

Filmography
Spelling was a producer in all films unless otherwise noted 

Film
As writerAs an actor

Television
As writerAs an actorMiscellaneous crewSoundtrackAs directorThanks

Awards and nominations
See also
Norman Lear
David L  Wolper
Alan Landsburg
Passage 3:
Arman Arian
Arman Arian (Persian: آرمان آرین; born 1 September 1981) is an Iranian author, novelist and researcher, best known for his first trilogy, Persians and I (Persian:  پارسیان و من: کاخ اژدها)  He is the youngest winner of the annual “The Book of The Year of Iran”  In addition to many national awards, he received the honorary diploma in the 31st IBBY World Congress in Copenhagen, Denmark (2008) by the International Board on Books for Young People the highest recognition available to creators of children's books 
Although Arian is known as a children and young adults fantasy writer, he doesn't limit his genre to fantasy and also, his books are well received by wide range of readers from all age groups  Persians and I became the best-selling novel in the 19th Tehran International Book Fair, 2006 In his writings, Arman Arian has combined an affluent academic background in Cinema studies with an extensive knowledge of myths, religions and history “We need to look back to our cultural heritage to survive in the intricate modern life”, says this Iranian young author in an interview with Borna News in order to explain his intention to dig into Iranian ancient literature, history, mythical and epical stories 

Awards
Winner of the annual prize by The Children's Book Council of Iran for the trilogy of "Ash vaz dang heh" as the best fiction book of the year, 2016 
Winner of the annual book prize of "Payvar" for the trilogy of "Ashvazdangheh", 2016,
Winner of the diploma of the first book prize of Mehdi Azar Yazdi for the trilogy of "Ash vaz dang heh", 2016
The board of appreciation in “the Millennium Festival of Ferdowsi” For young researchers in Ferdowsi's Shaahname by the Youth Institute of Tehran's Municipality  2010 
Winner of the honorary diploma in the 31st IBBY World Congress in Copenhagen, Denmark by the International Board on Books for Young people 2008, for the book the Persians and I
The annual prize of “The Book of The Year of the Islamic Republic of Iran” was featured as the youngest recipient of this prestigious prize since its establishment in 1955, 2005 
The annual prize of -“Mehrgan e Adab” for writers and publishers, 2005

List of books
Patash Khoargar 2,(Persian:پَتَش خوآرگر 2: مردی از تبار اژدها), Ofogh publishing house, 2016
Writing about Writing, (نوشتن درباره نوشتن), Moaj publishing house, 2016
Shahnamag:Myths Six volumes,(Persian:شاهنامَگ: اسطوره ها), Chekke publishing house, 2015
Patash Khoargar 1,(Persian:پَتَش خوآرگر۱: حماسه سرآغاز), Ofogh publishing house, 2015
Ash vaz dang heh 2: Invincible Demons,(Persian: اشوزدنگهه 2), Moaj publishing house, 2014
Ash vaz dang heh 3: Emancipatory Epic,(Persian: اشوزدنگهه 3), Moaj publishing house, 2013
Shadowy light (Persian: تاریک روشنا), Ghatreh Publication House, 2014
Ancient Future3: The First Night Story (Persian: آینده کهن), Safran Publication House, 2013
Ancient Future2: The First Night Story (Persian: آینده کهن), Safran Publication House, 2013
Ancient Future1: The Last Night Story (Persian: آینده کهن), Safran Publication House, 2013
The book of spell(Persian: افسون نامه), Iranban publishing house, 2011
The nightmare of the dark garden(Persian: کابوس باغ سیاه), Iranban publishing house, 2011
The encyclopedia of the Avesta’s dramatic elements(Persian:دانشنامه تصویری و نمایشی اوستا), Moaj publishing house, 2011
The Book of Wisdom (Persian: صد پند هزار بار شنیده), Iranban publishing house, 2012
The quiet hubbub, a collection of thoughts and articles (Persian: غوغای خموش ), Moaj publishing house, 2011
The dream of the white garden(Persian: رویای باغ سپید), Iranban publishing house, 2010
The guide to storytelling for computer games(Persian:راهنمای بازی نامه نویسی ), Co-authored, The National Computer game organization, 2010 
Sepit maan: the story of Zoroaster's life (Persian: سپیتمان), Iranban publishing house, 2009
Ash vaz dang heh 4:God, The World, and Thoughts: Ash vaz dang heh's Six-Thousand-Year-Old Manuscripts  (Persian: اشوزدنگهه 4), Moaj publishing house, 2009
Ash vaz dang heh 1: the myth now,(Persian: اشوزدنگهه 1), Moaj publishing house, 2008
Bitter Earrings: a collection of short stories(Persian: گوشواره تلخ), Moaj publishing house, 2007  Bitter Earring is published in Turkish (Turkish: Acı Küpe)by Demavand Publication House, 2015
The Trilogy of the Persians and I(Persian: سه گانه پارسیان و من), Moaj publishing house, 2006 
Persians and I: the resurrection begins(Persian: پارسیان و من، رستاخیز فرا می رسد), Moaj publishing house, 2005
Persians and I: the secret of the bird mountain (Persian: پارسیان و من، راز کوه پرنده)),  Moaj publishing house, 2004
Persians and I: Azh dahak Fortress(Persian: کاخ اژدها), Moaj publishing house, 2003

Computer games and script
Ario: The little hero: An animated serial, produced by Saba & paarsima corporations, 2007  It participated in the 27th International Children Film Festival under the name of Legend of the Jewels Land, 2013 

Other activities
Conducting the "Creative Writing Workshop" in Eastern Mediterranean University, North Cyprus, 2014
He teaches the first professional workshop of scenario writing held by Iran National Foundation of Computer Game, 2010 
Conducting and teaching in a "Myths and Legends" workshop, 2009
He was a juror of the 1st International Tehran Game Expo and Festival, 2011
He was the judge in the First NoGhalam (Persian:نوقلم) amateur Story-writing Competition, 2009 
Passage 4:
Living Out Loud
Living Out Loud is a 1998 American comedy-drama film written and directed by Richard LaGravenese and set in New York City, starring Holly Hunter, Danny DeVito, Queen Latifah, Martin Donovan, and Elias Koteas 

Plot
Judith Moore had what she thought was a perfect marriage, with both her and her husband studying to be doctors  But after she puts her studies on hold to find a job and support them, many years pass until suddenly he leaves Judith to be with another doctor  Depressed, she holes up in her apartment, where the middle-aged Pat Francato serves as a building superintendent and elevator operator  He is as lonely as she is, beset with gambling problems, and Judith and Pat make a connection  Yet what he wishes to pursue as a romantic relationship, Judith sees only as a friendship  Her friend Liz Bailey, who sings at a nightclub, makes attempts to improve Judith's love life as well as her own 

Cast
Holly Hunter as Judith Moore
Danny DeVito as Pat Francato
Queen Latifah as Liz Bailey
Martin Donovan as Robert Nelson
Elias Koteas as The Kisser
Richard Schiff as Philly Francato
Mariangela Pino as Donna
Suzanne Shepherd as Mary
Eddie Cibrian as The Masseur
Tamlyn Tomita as Mrs  Nelson
Carmit Bachar as Dancer

Reception
Living Out Loud received mixed reviews from critics  On Rotten Tomatoes the film has an approval rating of 59% rating based on 34 reviews  The site's consensus states: "Unoriginal, with one-dimensional characters " On Metacritic the film has a weighted average score of 64% based on reviews from 24 critics  Audiences surveyed by CinemaScore gave the film a grade "B−" on scale of A to F Roger Ebert of the Chicago Sun-Times gave the film three and a half stars and wrote that he enjoyed that the movie provided "the comfort of these lives flowing briefly in the same stream  The sense that the unexpected was free to enter the story, and would not be shouldered aside by the demands of conventional plotting "  Ebert gave particular praise to writer and director Richard LaGravenese, who he wrote is "more interested in characters and dialogue than in shaping everything into a conventional story   He aims for the kind of bittersweet open ends that life itself so often supplies; he doesn't hammer his square pegs into round holes " Mark Caro of the Chicago Tribune also gave the film a positive review, but noted that the "story also has a tendency to wander, which enhances the slice-of-life feel but at the expense of the movie feeling fully formed "  The New York Times critic Janet Maslin was less favorable, writing that LaGravenese "has borrowed from Chekhov the soul-baring introspection that can be so ineffable on the page or stage yet becomes so damply sensitive and dramatically vague on the screen" and, in describing some of the "wild flights of fancy springing from Judith's imagination," observed that "free-spirited as the film hopes to be, it can't easily reconcile such flamboyant departures with an otherwise static pace " Maslin credited Latifah as the film's "one big saving grace," and also offered praise for DeVito for "turning Pat into a three-dimensional figure and singing They Can't Take That Away from Me with brio on the nightclub's amateur night "
Passage 5:
A Kid for Two Farthings
A Kid for Two Farthings may refer to:

A Kid for Two Farthings (novel)
A Kid for Two Farthings (film)
Passage 6:
Dan Mirvish
Dan Mirvish is an American filmmaker and author, best known as the co-founder of the Slamdance Film Festival and co-creator of the Martin Eisenstadt hoax during the 2008 Presidential election 

Early life and education
Mirvish was born to a Jewish family in Omaha, the son of Linda  and Sidney Mirvish  His father was a prominent cancer researcher at the University of Nebraska Medical Center  In 1985, Mirvish graduated from Omaha Central High School  He graduated Phi Beta Kappa from Washington University in St  Louis  After school, he worked as a freelance journalist and as a speechwriter for Tom Harkin, U S  Senator from Iowa before taking a sabbatical to travel around the world  He then returned to California to complete his education in film at the University of Southern California film school 

Career
In 1994, while still in school, he released his first feature film entitled Omaha as his master’s thesis for and then founded the Slamdance Film Festival in Park City, Utah after the film was not accepted at the Sundance Film Festival In 2004, Mirvish spearheaded the effort to get the Academy of Motion Picture Arts & Sciences to reactivate their Best Original Musical Oscar category  In a controversial move, the Academy canceled the category after Mirvish and others submitted the requisite number of films, including two by Mirvish In 2009, he co-authored the satirical novel I Am Martin Eisenstadt: One Man's (Wildly Inappropriate) Adventures with the Last Republicans published by Farrar, Straus and Giroux ISBN 978-0-86547-914-2 Mirvish directed the film Between Us, based on the play of the same name by Joe Hortua  The four-person drama stars Taye Diggs, Melissa George, David Harbour and Julia Stiles   The original play premiered at Manhattan Theatre Club, and Hortua and Mirvish co-wrote the screenplay adaptation   The film version won the grand jury prize at the 2012 Bahamas International Film Festival, and was the Closing Night Film at the 50th Annual Gijón International Film Festival in Spain  The film had its world premiere at the Oldenburg International Film Festival, and also screened at such festivals as Athens International Film Festival, the Hamptons, Woodstock Film Festival, Slamdance Film Festival, Napa Valley Film Festival, and Whistler Film Festival In 2016, Mirvish wrote the nonfiction book The Cheerful Subversive's Guide to Independent Filmmaking  The phrase "cheerful subversive" comes from a New York Times article describing the original Slamdance filmmakers In 2016, Mirvish directed the feature film Bernard and Huey written by Oscar/Pulitzer/Obie-winner Jules Feiffer Mirvish directed the feature film 18½ which had its world premiere at the 2021 Woodstock Film Festival  The film had its international premiere at the São Paulo International Film Festival The film had its European premiere at the Gijón International Film Festival  The film won the Stubbornly Independent Award at the Tallgrass Film Festival in 2021 Mirvish is widely credited as the discoverer of the Hathaway effect, which indicates that when actress Anne Hathaway is in the news, the share price for Warren Buffett's Berkshire Hathaway increases He was also a speechwriter for Senator Tom Harkin of Iowa 

Filmography
18½ (2021)
Bernard and Huey (2017)
Between Us (2012)
The Last Republican (2008)
Sheldon (2007)
The Few & the Proud (2007)
Half Empty (2006)
A Message from the President of Iran (2006)
Open House (2004)
Omaha (1994)
Passage 7:
Growing Up American
Growing Up American: How Vietnamese Children Adapt to Life in the United States, by Min Zhou and Carl L  Bankston III is one of the most influential books on the Vietnamese American experience  Published in 1998 by the Russell Sage Foundation, it is widely used in college classes on international migration, contemporary American history, and Asian Studies  The book emphasizes the role of Vietnamese communities in promoting the adaptation of Vietnamese American young people  
One of the unique characteristics of the book is its combination of a general history of the growth and nature of Vietnamese American communities around the United States with an in-depth study of one specific Vietnamese community, on the eastern edge of New Orleans, Louisiana 

Organization of the book
Chapter 1 traces the history of Vietnamese settlement in the United States, giving special attention to how the process of refugee resettlement and popular opinions of the American public have influenced Vietnamese American children  Chapter 2 gives a description of the demographic and socioeconomic characteristics of the U S  Vietnamese population and describes the social and economic challenges facing the Vietnamese  Chapter 3 offers examples of how families and surrounding ethnic communities can serve as sources of social capital for young people  Chapter 4 discusses the patterns of social and kinship relations in Vietnamese ethnic communities  Here, Zhou and Bankston develop their theory that ethnic social relations can serve as a form of social capital for young people growing up in immigrant communities  Chapter 5 examines how Vietnamese language abilities promote the adaptation of young Vietnamese to American society by connecting them to the supports of their families and communities  Chapter 6 considers Vietnamese American adaptation to American schools and argues that generally high levels of school performance are products of tightly integrated ethnic communities  Chapter 7 examines bicultural conflict and gender role issues faced by Vietnamese growing up in the United States  Chapter 8 discusses peer group associations and problems of juvenile delinquency  It provides evidence that young people who follow delinquent patterns tend to be those who assimilate to the youth culture of Vietnamese and other subgroups, rather than remain bound within their ethnic communities  Chapter 9 gives a general summary and offers conclusions of relevance to the study of immigrant and minority groups in the United States 

Critical reception
Growing Up American has received widespread critical praise  Writing in the journal Social Forces, reviewer Jiannbin Shiao described the analysis of delinquency in the Vietnamese community as “contestable but refreshingly bold” and described it as “a fine contribution to the sociology of education, social stratification, social demography, Asian American Studies, and, one hopes, also U S  urban policy ” In the International Migration Review, Kimberly Goyette praised the book for “…elaborat[ing] a detailed and elegant framework for conceptualizing the relationship between children and their various environments and also the relationship between these environments ” Kelly Chong, reviewing the book for the American Journal of Sociology, observed “this comprehensive investigation of the adaptation process of second generation Vietnamese in the United States fills an important gap in the study of contemporary “new” immigrants and the second generation assimilation experience ”
In addition to the praise, though, reviewers have also had some reservations  In particular, critics have questioned the generalizability of the books findings to other ethnic groups and they have suggested the book may be too optimistic in its account of the future of young Vietnamese Americans  Critics of more radical orientations have often objected the authors’ acceptance of American society and the focus on adapting to that society  For example, Karin Aguilar-San Juan, in the book Little Saigons: Staying Vietnamese in America, accuses Zhou and Bankston of ignoring the processes of racialization and systemic racism in encouraging Asian immigrant achievement while frustrating black American achievement 

Awards
1999 Thomas and Znaniecki Award, Outstanding Book in International Migration, American Sociological Association
2000 Distinguished Book Award, Mid-South Sociological Association

See also
Asian American
Diaspora studies
List of U S  cities with large Vietnamese American populations
List of Vietnamese Americans
Little Saigon
Overseas Vietnamese
Refugees
Vietnamese people

External links
Article title
Article title
http://tulane edu/liberal-arts/sociology/carlbankston cfm
http://www eric ed gov/PDFS/ED439180 pdf
http://blogs bauer uh edu/vietDiaspora/contributors-5/
Passage 8:
The Loud House
The Loud House is an American animated television series created by Chris Savino that premiered on Nickelodeon on May 2, 2016  The series revolves around the chaotic everyday life of a boy named Lincoln Loud, who is the middle child and only son in a large family of 11 children  It is set in a fictional town in southeastern Michigan called Royal Woods, based on Savino's hometown of Royal Oak  The series was pitched to the network in 2013 as a two-minute short film entered in the annual Animated Shorts Program  It entered production the following year  The series is based on Savino's own childhood growing up in a large family, and its animation is largely influenced by newspaper comic strips 
Since its debut, the series has gained high ratings, becoming the top-rated children's animated series on American television within its first month on the air  The series has received considerable media attention and nominations at both the 28th and the 29th GLAAD Media Awards for its inclusion of Howard and Harold McBride, two supporting characters who are an interracial gay married couple  Their introduction into the series was reported in the news as being historic and caused a ratings surge  In May 2017, the characters of Lincoln Loud and Clyde McBride were featured on the front cover of Variety as an example of diverse characters in children's television As of May 2023, seven seasons of the series have been broadcast  The series has spawned a multimedia franchise, including the spin-off series The Casagrandes, which aired from October 2019 to September 2022, an animated feature film that was released on Netflix in August 2021, a live-action television film that premiered in November 2021, and live-action series The Really Loud House that premiered in November 2022  Additionally, a second live-action television film is in development, set to premiere in fall 2023 

Premise
Lincoln Loud is the only boy and the middle child in a family of eleven children residing in the fictional town of Royal Woods, Michigan  He has ten sisters with distinctive personalities consisting of bossy eldest child Lori, ditzy fashionista Leni, musician Luna, comedian Luan, athletic Lynn Jr , gloomy poetic goth Lucy, polar opposite twins Lana and Lola, child genius Lisa, and baby Lily  Lincoln occasionally breaks the fourth wall to explain to the viewers the chaotic conditions and sibling relationships of the household, and continually devises plans to make his life in the Loud House better 
During the first four seasons, Lori, Leni, Luna, and Luan were in high school, Lynn was in middle school, and Lincoln, Lucy, Lana, Lola, and Lisa were in elementary school  In the fifth season, the Loud siblings aged up a year with Lori going to Fairway University, Lincoln going to middle school, and Lily going to preschool 

Episodes
Production
Development
The Loud House was created by Chris Savino for Nickelodeon  Savino based the series on his own experiences growing up in a large family  Early in development, the Loud family was going to be composed of rabbits, but this was terminated when an executive, Jenna Boyd, asked Savino to make them human  The idea of the Loud family being rabbits became used as Lincoln's dream in the Season 3 episode "White Hare"  He pitched the idea to Nickelodeon in 2013 as a 2+1⁄2-minute short for their annual Animated Shorts Program  In June 2014, Nickelodeon announced that The Loud House had been picked up for a season of 13 episodes  The episode order was later increased to 26  On May 25, 2016, Nickelodeon announced that the series had been picked up for a second season of 14 episodes later increased to 26  On October 19, 2016, the series had been picked up for a third season of 26 episodes  Savino has cited Peanuts and Polly and Her Pals as influences on the show's characterizations and animation  Newspaper comic strips are also influences on the show's background art 
Episodes are produced at Nickelodeon Animation Studio in Burbank, California, USA and animated by Canadian studio Jam Filled Entertainment 

Savino's firing
On October 17, 2017, Cartoon Brew reported that Chris Savino was suspended from the studio due to allegations of sexual harassment, the report noting that rumors of Savino's behavior have existed for "at least a decade " On October 19, a Nickelodeon spokesperson confirmed that Savino had been fired from the studio, and that the series will continue production without him  Six days later on October 23, Savino spoke for the first time since his firing saying he said he was "deeply sorry" for his actions  Alongside the announcement of the series being greenlit for a fourth season, it was revealed that story editor Michael Rubiner had now been named executive producer and showrunner  On May 30, 2018, Savino was suspended from The Animation Guild, IATSE Local 839, for one year 

Broadcast
The series debuted on Nickelodeon on May 2, 2016, with new episodes premiering every weekday that month  The first trailer for the series premiered on March 13, 2016  The series also aired on AFN Family 
Internationally, the series premiered in Israel and Italy on May 15  It premiered in Latin America, Brazil, Poland, Germany, France and Africa the following day  It began airing in Southeast Asia on May 20  Australia, New Zealand, the United Kingdom and Ireland's Nickelodeon channels premiered the series on May 30  In Canada, YTV aired a sneak peek of the series on September 5, 2016, which was followed by an official premiere on September 6, 2016 The series premiered on May 15, 2016, in the Middle East and North Africa on Nickelodeon, dubbed in Gulf Arabic 
In India, the series premiered on Nick HD+ on May 18, 2020 

Home media
Reception
Critical
The Loud House has received positive reviews, specifically for its animation, voice acting, characterization, and the heartwarming themes of each episode  Emily Ashby of Common Sense Media praised the show's voice cast and thematic messages, writing that "kids will come to The Loud House for the laughs, but they'll return for the ensemble cast and the surprisingly heartwarming themes that dominate every story " Kevin Johnson of The A V  Club gave the series a B+, noting that "the female characters are defined by their traits, but never judged for them "It attracted negative attention from some fans and critics later on for its heavy amount of spin-offs and merchandising  Ryan Lewis of CBR com wrote that "Nickelodeon tried too hard to match SpongeBob's influence and immediately took to creating spin-offs, a Netflix movie, and countless merchandise  These efforts may have been justified had The Loud House not been written with one-note stock characters making up its main cast "

LGBTQIA+ representation
The characters of Howard and Harold McBride have received praise for being a positive representation of an interracial gay married couple  They are the first married gay couple to be featured in a Nicktoon  Laura Bradley of Vanity Fair stated that The Loud House "handles the topic [of same-sex marriage] in exactly the right way   this kind of casual representation in children's programming is a milestone " De Elizabeth of Teen Vogue wrote, "The best part is that the show doesn't treat these characters any differently, or even introduce them with a heavy asterisk about their marital status " The Frisky's Tai Gooden mentioned that "kids who have two dads (or moms) will be more than thrilled to see a family they can identify with on TV " Time reported that "people are thrilled about Nickelodeon's decision" to include a gay couple  Some conservative groups, by contrast, have criticized the introduction of the characters  The One Million Moms division of the American Family Association objected to scenes featuring the McBride parents and unsuccessfully pushed for the episode in which they first appeared to be edited to exclude the couple, saying that "Nickelodeon should stick to entertaining instead of pushing an agenda " The Kenya Film Classification Board also called for the suspension of the series on pay television service DStv, saying that the animated series "promotes the Lesbian, Gay and Transgender agenda "
Kenya's film and classification board (KFCB) has called for the suspension of several US-produced children's programs running on channels provided by TV company MultiChoice  The board said the cartoons featured "disturbing content glorifying homosexual behavior" which was not suitable for children 
The animation programs are The Loud House, The Legend of Korra, and Hey Arnold, which run on the Nickelodeon channel, and Clarence, Steven Universe, and Adventure Time which air on Cartoon Network 
   

It's wasn't immediately clear if the supposedly offending Nickelodeon episodes ever aired in Kenya  Viacom Africa, which licenses the Nickelodeon shows said last July it would not be airing such shows in South Africa and the rest of sub Saharan Africa 

Ratings
The Loud House became the number-one children's animated series on television within its first month on the air  Throughout May 2016, it received an average of 68% more viewers in its target audience of children aged 6–11 than broadcasts on Nickelodeon in May of the previous year  As of June 2016, it was Nickelodeon's highest-rated program, beating SpongeBob SquarePants with an average Nielsen rating of 4 9 among the 2–11 demographic at the time The Los Angeles Times cited The Loud House as a major factor in maintaining Nickelodeon's position as the highest-rated children's network in summer 2016  During the show's fourth week of premieres, Cyma Zarghami announced that it was continuing to draw more viewers than any other program on the channel The show's highest-rated episode, with 2 28 million viewers upon its premiere, is "Two Boys and a Baby"  This was the first episode to air after it was announced that Howard and Harold McBride would be debuting on the program  The first episode of The Loud House shown at prime time, "11 Louds a Leapin'", was the seventh most-viewed telecast across all U S  households on November 25, 2016 

Awards and nominations
The Loud House's portrayal of interracial gay married couple Howard and Harold McBride led the series to be nominated for Outstanding Individual Episode at the 28th GLAAD Media Awards and for Outstanding Kids & Family Programming at the 29th, 31st and 32nd GLAAD Media Awards  The series has also been nominated for Favorite Cartoon at the Kids' Choice Awards every year since 2017 

Franchise
The Loud House has spawned a multimedia franchise, including several video game, graphic novel, and book series adaptations, the spin-off animated series The Casagrandes, which aired from October 2019 to September 2022, an animated feature film which was released on Netflix in August 2021, a live-action television film pilot that premiered in November 2021, and live-action series, The Really Loud House, that premiered in November 2022 

Graphic novel series
The series has spawned a graphic novel series by publisher Papercutz  The graphic novels are by either crew members or other incoming artists, and dive into the world of the show and the characters within  They are usually anthology comics, however, others are arranged on certain themes, while others have overarching storylines  The first graphic novel, There Will Be Chaos, was released on May 9, 2017  There are currently two series, a running series and a special series focusing on the seasons and certain holidays 

Running series
List current as of April 2023 

Seasonal/holiday series
Chapter book series
The series has also produced a series of chapter books with original stories, initially published by Random House before switching to Scholastic 

Podcast
Listen Out Loud
Nickelodeon and its YouTube channel have done a series of podcasts called Listen Out Loud, where each member of the Loud family does a podcast revolving around their topics 

"Meet the Loud Family" – The Loud siblings start their very first podcast, but they can't come up with a topic about it 
Luna Loud – Luna and her roadie Chunk give the listeners a virtual tour of Luna's home music studio (which is actually her and Luan's bedroom) where Luna talks about her musical instruments and her inspirations, but some of her instruments keep disturbing Bud Grouse 
Lola Loud – Lola does her podcast called "The Lowdown with Lola" where she starts dishing out the latest Loud family gossip much to the dismay of her siblings 
Leni Loud – With help from Lincoln as her producer, Leni gives the listeners a virtual tour of the Royal Woods Mall, where she shows her favorite stores and the different shopkeepers that she knows 
Luan Loud – Luan teaches her listeners the basics of playing pranks on anyone  She demonstrates a few on some of her siblings much to their annoyance  But little does Luan know that she might get pranked right back 
Lori Loud – With Bobby on her phone helping out from Great Lakes City and Luna providing musical accompaniment, he and Lori talk about how they first met and eventually started dating  However, they over-romanticize the details on their first date so Luan and Lynn Jr  chime in and tell them what really happened and how they had spied on them during the date to make sure that Bobby was good for Lori 
Lincoln Loud – Lincoln and Clyde give the listeners a virtual tour of their treehouse  When their hammock goes missing, Lincoln and Clyde become Ace Savvy and One-Eyed Jack to find out who stole it  While Lincoln suspects that it's one of his sisters, they soon discover that the culprit is someone they'd least suspect 
Lynn Loud Jr  – Lynn Jr  leads the listeners in her own at-home workout, arguing that gym memberships are expensive and mentioning how some gyms tend to ban people from bringing spicy submarine sandwiches into the sauna  During every single part of the workout, Lynn causes fitness-type chaos in the house which annoys her family 
Lana Loud – Lana teaches the listeners how to handle and take care of vehicles  Using the family van Vanzilla as an example, Lana gets some more help from her faithful frog Hops, her parents (Lynn Sr  and Rita), and two of her sisters, Lori and Leni, as they are the ones who drive Vanzilla 
Lucy Loud – Lucy talks about the five main features of the Royal Woods Cemetery with the help of Lincoln since Luan was unavailable  Though they soon find evidence that there is a ghost in the area 
Rita Loud – Rita discusses what she does at her dentist job as she runs the dental office while Dr  Feinstein is away at Cavity Con  While she does the dental work on Lola, Lori, and a reluctant Lynn Loud Sr , Rita also has to deal with some malfunctioning equipment which leads to her calling Lana in to take care of them 
Lisa Loud – Lisa takes a break from solving her family's problems so that she can use her brainpower to solve the greater challenges of humankind by hosting a call-in called "Ask a Brainiac"  Though the people who call her up are Lynn Loud Sr , Luan, Rita, Lincoln, and Lynn with their respectful questions 
Lincoln & Clyde Review Gus' Games & Grub - Lincoln and Clyde work to review Gus's Games & Grub only to find it crowded  While working on reviewing the games, they have a hard time trying to get a table due to the different actions done by Lynn and Chandler 
Lola Loud's Pageant Tips - With the aid of her pageant coach Lincoln, Lola gives pageant tips to the listeners while preparing for the Little Miss Iron Ore pageant that Cheryl is helping out with  When Lola's ribbon for her ribbon dance routine goes missing, Lincoln works to find it as Lola suspects that Lindsey Sweetwater is responsible 
Lucy and the Morticians Club - Lucy and the Morticians Club (consisting of Haiku, Persephone, Boris, Dante, and Morpheus) hold a séance to speak to Royal Woods Elementary School's mascot Ricky the Rooster  They try to hold it at different locations like the Royal Woods Cemetery where the groundskeeper Hank is dealing with owls, Lucy's home where the antics of Lynn and Lana disrupt it, and Boris's house where his home decorating mother tries to treat them  When it comes to attempting a séance at Royal Woods Elementary School, Principal Huggins allows it since he still misses Ricky 
Clyde's Explosive Cooking Problems - Clyde visits Lynn's Table to find out how to run a restaurant from Lynn Loud Sr  as Clyde works as his sous chef for the day  It becomes difficult for Clyde in the kitchen during the lunch rush as Kotaro mentions that it's the weekend of the Rattlesnake Roundup where some of the guests are from the Poconos  While also dealing with Scoots' demands, Clyde does some table service to Mr  Grouse and Flip 
Lana Loud Rescues Animals - As mentioned two podcasts ago, Lana is volunteering at the Royal Woods Animal Shelter  She is assisted by Sam Sharp who is working as the head volunteer as Lana learns about its Adoption Day  They work to find pets for every one of its visitors like Rocket the German Pinscher, Feline Dion the tabby, and Captain Ron the cockatoo  While Sam goes to pick up lunch, Lana makes efforts to sell pets to possible adopters like Mayor Davis, Cheryl, and Dante 
Luan Loud Teaches Comedy - Luan and Mr  Coconuts teach a comedy workshop at the Royal Woods Community Center, though Luan gets nervous when she finds that Benny is the co-teacher alongside his marionette, Mrs  Appleblossom  After setting up the classroom, Luan and Benny get Leni, Flip, Boris, and Mrs  Bernardo who arrived on a horse named Hamlet after finishing her directing debut for Sunset Canyon's afternoon dinner theater  Mr  Coconuts makes comments towards the students that cause them to leave one by one 

Films
Feature film
On March 28, 2017, Paramount Pictures' president Marc Evans announced a film based on the series, that was originally set for a February 7, 2020 theatrical release  However, in January 2019, Paramount removed the film from their schedule for unknown reasons  On February 5, 2019, it was announced that the film would instead be produced for a release on Netflix  On January 12, 2021, it was reconfirmed that the film would release on Netflix within the same year, with the film's plot focusing on the Loud family traveling to Scotland, where they discover that they are part of Scottish royalty  In April 2021, it was revealed that the film would be released in summer 2021  On June 10, 2021, Netflix announced the film would be released on August 20, 2021 

Television films
A live-action film based on the series, titled A Loud House Christmas, premiered on Nickelodeon on November 26, 2021  The film was first announced on February 19, 2020, originally titled The Loud House: A Very Loud Christmas!, and was set to premiere in late 2020  The film depicts Lincoln and Clyde working to preserve the Christmas traditions when the Loud sisters plan to have their Christmas plans elsewhere  Filming took place in Atlanta in mid-2021  On March 18, 2021, it was announced that Wolfgang Schaeffer and Jahzir Bruno were cast as Lincoln and Clyde, respectively  On August 23, 2021, other cast members of the film were announced, including Lexi Janicek as Lisa, Ella and Mia Allan as Lola and Lana, Aubin Bradley as Lucy, Morgan McGill as Lynn, Catherine Ashmore Bradley as Luan, Sophia Woodward as Luna, Dora Dolphin as Leni, Lexi DiBenedetto as Lori, Charlotte Ann Tucker as Lily, Brian Stepanek reprising his regular series voice role as Lynn Loud Sr , and Muretta Moss as Rita Loud In April 2023, a live-action Halloween movie titled A Really Haunted Loud House was announced 

Spin-off
A spin-off, entitled The Casagrandes, was put into development by Nickelodeon in March 2018  It features Bobby and Ronnie Anne Santiago as well as their extended Casagrande family living in Great Lakes City  On May 7, 2019, it was revealed that Eugenio Derbez, Ken Jeong, and Melissa Joan Hart had joined the cast as Bobby and Ronnie Anne's father Dr  Arturo Santiago and new neighbors Stanley and Rebecca Chang, respectively  The series premiered on October 14, 2019  On February 17, 2022, the series was reported to be cancelled, with its characters set to make more appearances in The Loud House  The series concluded September 30, 2022 

Live-action series
On March 24, 2022, a live-action series of The Loud House was originally announced for Paramount+  The main cast members of A Loud House Christmas reprise their roles for the series, including Wolfgang Schaeffer as Lincoln and Jahzir Bruno as Clyde  Filming for the series began in Albuquerque, New Mexico in June 2022  In September 2022, it was announced that the series, entitled The Really Loud House, would premiere on Nickelodeon in November 2022  On October 5, 2022, it was announced that the series would premiere on November 3, 2022  The show was renewed for a second season in April 2023 

Games
A mobile game based on the series called The Loud House: Ultimate Treehouse was released on September 20, 2018, for iOS and Android  The Loud House: Outta Control was released on Apple Arcade on February 14, 2020  In the game, the siblings try to get through to their goals without running into each other Lincoln, Lucy, and Clyde appear as playable characters, with the rest of Lincoln's sisters appearing as unlockable pit crew characters, in the 2020 racing video game Nickelodeon Kart Racers 2: Grand Prix  Lincoln, Lucy and Clyde return in the 2022 sequel Nickelodeon Kart Racers 3: Slime Speedway, with Bentley Griffin, Jessica DiCicco, and Jaeden White reprising their roles from the show Lincoln and Lucy are also playable in the 2021 title Nickelodeon All-Star Brawl; a patch to the game added voice acting with their roles being reprised by Bentley Griffin and Jessica DiCicco 
Passage 9:
MacGruder and Loud
MacGruder and Loud is an American crime drama from Aaron Spelling Productions that aired on ABC from January 20 to April 30, 1985 

Premise
The series stars John Getz and Kathryn Harrold as married police officers Malcolm MacGruder and Jenny Loud in a Los Angeles Police Department-styled police agency (where strict anti-fraternization policies were in effect)  They fought a battle every day to keep it a closely guarded secret from their boss, Sgt  Hanson (played by veteran actor Lee de Broux) Malcolm and Jenny lived in a duplex-type apartment complex where there was a secret door behind the grandfather clock in her apartment, where Malcolm could sneak in and enjoy her company 

Cast
John Getz as Det  Malcolm MacGruder
Kathryn Harrold as Det  Jenny Loud MacGruder
Ted Ross as Det  Sgt  Debbin
Frank McCarthy as Sgt  Myhrum

Episodes
Production
This was one of the few failures from Aaron Spelling's production company in its history, since it was picked by ABC to debut right after the Super Bowl in 1985 and was heavily promoted  during the game  The promotion resulted in high ratings at first, but the series was cancelled three months into its run  The ratings decline was blamed on ABC's repeated changing of the show's timeslot before settling on Monday nights at 10:00 p m , known as "the graveyard slot"  It ranked 36th out of 77 shows with a 14 9 rating and a 23 share Because of the frequent commercials during the Super Bowl, the following night Johnny Carson asked rhetorically during his monologue on The Tonight Show, "Did you see that new show, 'Frequent and Loud'?"The series was rushed into production by ABC in order to capitalize on the popularity of another crime drama at that time, Cagney & Lacey (which aired on CBS) 
Passage 10:
The Weight of the Nation
The Weight of the Nation is a four-part documentary series produced by American cable television network HBO  Addressing the growing obesity epidemic in the United States, it was first aired in May 2012  The documentary series included collaboration with National Institutes of Health, Centers for Disease Control and Prevention and the Institute of Medicine  The series was produced by John Hoffman The scientific commentators featured in the documentary include Francis Collins, Samuel Klein, Rudolph Leibel, Robert Lustig, and Kelly D  Brownell 

Content
The series consists of four approximately hour-long films:

Consequences
Choices
Children in Crisis
Challenges
Passage 11:
List of Italian musical terms used in English
Many musical terms are in Italian because, in Europe, the vast majority of the most important early composers from the Renaissance to the Baroque period were Italian  That period is when numerous musical indications were used extensively for the first time 

Italian terms and English translations
Musical instruments
Voices
Tempo
Dynamics – volume
Moods
Musical expression (general)
Patterns within the musical score
Directions
Techniques
Roles
Criticism
Musical direction and staging
See also
Musical terminology
Sheet music
Passage 12:
Scorpion Swamp
Scorpion Swamp is a single-player adventuring gamebook written by Steve Jackson (the American game designer, as opposed to the series co-creator), illustrated by Duncan Smith and originally published in 1984 by Puffin Books  It forms part of Steve Jackson and Ian Livingstone's Fighting Fantasy series  It is the 8th in the series in the original Puffin series (ISBN 0-14-031829-1)  It was the first Fighting Fantasy book to be written by an author other than the co-creators of the series 

Rules
Story
Scorpion Swamp is a fantasy scenario  Having acquired a magical Brass Ring (which detects evil and always indicates which direction is north) from a mysterious old woman, the player enters the notorious Scorpion Swamp 
Gameplay differed from previous titles in several ways:

The story allows the player to choose one of three quests: the patrons of said quests being either good (locate a rare plant for the wizard Selator), evil (acquire the amulets of animal/insect avatars for the wizard Grimslade) or neutral (map a trade route for the trader Poomchukker) respectively 
Gameplay has a non-linear design, allowing "free roaming": the player may explore the swamp at will and return to locations previously visited 
The game design employed a grid system of locations to explore  Whereas in previous titles choosing an option to follow a point of the compass was nebulous and backtracking almost impossible, in this title each location was equidistant from all others and options only led in the four primary compass directions  On entering a location, the player was asked if they had visited previously, and instructed accordingly  This format was an innovation for Fighting Fantasy 
The 400th reference does not contain an ending to the adventure 
Passage 13:
Liliana Mumy
Liliana Berry Davis Mumy (; born April 16, 1994) is an American actress  Between 2002 and 2006, she appeared as Jessica Baker in Cheaper by the Dozen and its sequel, as well as  Lucy Miller in the second and third films of The Santa Clause trilogy 
In animation, Mumy performed the voice of Mertle Edmonds in the Lilo & Stitch franchise as well as Twinkle in Higglytown Heroes  For Cartoon Network, she has voiced Panini in Chowder  For Nickelodeon, she has voiced Human Kimberly in Catscratch, Roxy in the Nickelodeon revival of Winx Club, and Leni Loud in The Loud House 

Personal life
Mumy was born in San Marcos, California, the daughter of Eileen Joy Mumy (née Davis), a childbirth educator, and former child star Bill Mumy  She is the younger sister of former child actor Seth Mumy  She graduated from Laurel Hall School in North Hollywood, California and attended Campbell Hall School  She left there and graduated from Notre Dame High School in Sherman Oaks, California in 2012 
Liliana appeared with her father, Bill Mumy, in the Twilight Zone revival series' episode "It's Still a Good Life" 

Career
Mumy has appeared in several motion pictures  Her most notable film appearances are in Cheaper by the Dozen, Cheaper by the Dozen 2, The Santa Clause 2, as well as The Santa Clause 3: The Escape Clause  In 2002, Mumy played Audrey Fremont, the daughter of her father Bill's character Anthony, in a sequel to the classic The Twilight Zone episode "It's a Good Life" called "It's Still a Good Life" 
Mumy provided the voice of Mertle Edmonds (Lilo Pelekai's rival) in Stitch! The Movie, Lilo & Stitch: The Series, Lilo & Stitch 2: Stitch Has a Glitch, and Leroy & Stitch, and voicing a character with a smaller role on American Dragon: Jake Long as Haley's rival at school  She is also the voice of Twinkle on Higglytown Heroes and the voice of Human Kimberly on Nickelodeon's Catscratch  Lesser roles included TV appearances playing Rachael/Rachel in six episodes on My Wife and Kids from 2002 to 2004 as well as young Donna on That '70s Show and guest starring in Scrubs as a girl at her birthday party (whose face J D  daydreams of shoving into her cake)  She also voiced Panini in the cartoon Chowder, airing on Cartoon Network and played Lula in The Cleaner in 2008  She also voiced a feisty, fashionable, pink-loving, golden retriever puppy named Rosebud in the Disney movies Snow Buddies, Space Buddies, and Santa Buddies  In June 2012, Mumy started voice work as 'Beth' in Bravest Warriors, an animated series created by Pendleton Ward, produced by Frederator Studios for their channel, Cartoon Hangover, a premium content partner of YouTube  Mumy also provided the voice of Roxy on Nickelodeon's Winx Club and Leni Loud on Nickelodeon's The Loud House 

Filmography
Television
Films
Passage 14:
A Perfect Sky
"A Perfect Sky" is Bonnie Pink's twenty-fifth single and first from the album Thinking Out Loud  The single was released under the Warner Music Japan label on June 28, 2006 

Track listing
A Perfect Sky
Free
Interlude -Siesta-
A Perfect Sky (Instrumental)


== Oricon Sales Chart ==
Passage 15:
Loud Planes Fly Low
Loud Planes Fly Low is the fifth album by the American band The Rosebuds, released in 2011 on Merge Records 

Track listing
Passage 16:
Ilyasah Shabazz
Ilyasah Shabazz (born July 22, 1962) is an American author, most notably of a memoir, Growing Up X, community organizer, social activist, and motivational speaker, and the third daughter of Malcolm X and Betty Shabazz 

Early life
Shabazz was born in Brooklyn, New York, on July 22, 1962  She was named after Elijah Muhammad, leader of the Nation of Islam, the religious and Black nationalist group to which her parents belonged  Shabazz is of African-American, African-Grenadian, English and Scottish descent  
In February 1965, when she was two years old, Shabazz was present, with her mother and sisters, at the assassination of her father  She says she has no memory of the event Shabazz had an apolitical upbringing in a racially integrated neighborhood in Mount Vernon, New York  Her family never took part in demonstrations or attended rallies  Together with her sisters, she joined Jack and Jill, a social club for the children of well-off African Americans  She considered an acting career, though her mother was not supportive  Her mother instead took interest in trying to keep her father's presence alive, and baked her cookies, which she would break a piece off to give the impression that her father had eaten it before she arrived Concerning her father, Shabazz told an interviewer, "My mother always talked about our father, her husband, but     she didn't talk about these things that defined my father as the icon " To learn about her father, Shabazz read his autobiography as a college student, and enrolled in a class to learn more Shabazz was a student at Hackley School  After high school, she attended State University of New York at New Paltz  When she arrived, other African-American students expected her to be a firebrand  They had already elected her an officer of the Black Student Union After graduating, Shabazz earned a master's degree in Education and Human Resource Development from Fordham University 

Career
Shabazz worked for the city of Mount Vernon for more than a dozen years, serving at different times as Director of Public Relations, Director of Public Affairs and Special Events, and Director of Cultural Affairs Shabazz wrote Growing Up X, her memoir of her childhood and her personal views on her father, in 2002  It was nominated for an NAACP Image Award for Outstanding Literary Work, Nonfiction  A devout Muslim, she made the pilgrimage to Mecca, the hajj, in 2006 as her father had in 1964 and her mother did in 1965 In 2014, Shabazz wrote Malcolm Little: The Boy Who Grew Up to Become Malcolm X, a children's book about her father's childhood  It was nominated for an NAACP Image Award for Outstanding Literary Work, Children's  The following year, she wrote a young-adult novel, X, about the same subject  The book was among the ten finalists considered for the National Book Award for Young People's Literature and it won an NAACP Image Award for Outstanding Literary Work, Youth/Teens  It also won honors from the Coretta Scott King Awards and the Walter Dean Myers Awards for Outstanding Children's Literature and was named as a 2016 Bank Street Children's Book Committee's Best Book of the Year  Her middle-grade novel about her mother's childhood, Betty Before X, was published in January 2018 alongside co-author Renée Watson  It was one of the 2019 Bank Street Children's Book Committee Best Books of the Year and received an "Outstanding Merit" recognitionShabazz is a trustee for the Malcolm X and Dr  Betty Shabazz Memorial and Educational Center, the Malcolm X Foundation, and the Harlem Symphony Orchestra  As of 2017, she is an adjunct professor at John Jay College of Criminal Justice 

Personal life
Shabazz is a longtime resident of Southern Westchester  She grew up in Mount Vernon and presently lives in New Rochelle 

Bibliography
with Kim McLarin (2002)  Growing Up X: A Memoir by the Daughter of Malcolm X  New York: One World  ISBN 978-0-345-44495-0 
——— (2014)  Malcolm Little: The Boy Who Grew Up to Become Malcolm X  Illustrated by A G  Ford  New York: Atheneum Books for Young Readers  ISBN 978-1-4424-1216-3 
Boyd, Herb; ———, eds  (2014)  The Diary of Malcolm X: 1964  Chicago: Third World Press  ISBN 978-0-88378-351-1 
with Kekla Magoon (2015)  X: A Novel  Somerville, Mass : Candlewick Press  ISBN 978-0-763-66967-6 
with Renée Watson (2018)  Betty Before X  New York: Farrar, Straus and Giroux  ISBN 978-0-374-30610-6 
with Tiffany D  Jackson (2021)  The Awakening of Malcolm X  Farrar, Straus and Giroux  ISBN 9780374313296 



ground_truth: 22

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

Question: Who is the author of Growing Up this nationality of the creator MacGruder and Loud?

The following are given passages.
Context 4: Passage 1:
1894–95 FA Cup
The 1894–95 FA Cup was the 24th season of the world's oldest association football competition, the Football Association Challenge Cup (more usually known as the FA Cup)  The cup was won by Aston Villa, who defeated West Bromwich Albion 1–0 in the final of the competition, played at Crystal Palace in London  This was Villa's second victory in the FA Cup 
The Trophy was stolen from a display in the shop window of W  Shillcock (a football fitter) in Newton Row, Birmingham, after the Final and never recovered despite a £10 reward  According to the Police, it was taken sometime between 21:30 on Wednesday 11 September and 7:30 the following morning, along with cash from a drawer  The cup was replaced by a copy of the original, made by Howard Vaughton, the former Aston Villa player and England international, who had opened a silversmith's business after his retirement from the game 
Matches were scheduled to be played at the stadium of the team named first on the date specified for each round, which was always a Saturday  If scores were level after 90 minutes had been played, a replay would take place at the stadium of the second-named team later the same week  If the replayed match was drawn further replays would be held at neutral venues until a winner was determined  If scores were level after 90 minutes had been played in a replay, a 30-minute period of extra time would be played 

Calendar
The format of the FA Cup for the season had a preliminary round, four qualifying rounds, three proper rounds, and the semi-finals and final 

First round proper
The first round proper contained sixteen ties between 32 teams  The 16 First Division sides were given a bye to this round, as were Notts County, Darwen, Bury, Newcastle United, Newton Heath and Woolwich Arsenal from the Second Division  The other Second Division sides were entered into the first round qualifying, with the exceptions of Burton Swifts, who started in the second round qualifying, and Manchester City, who played no part in the season's competition  Of the qualifying League sides, only Burton Wanderers and Leicester Fosse qualified to the FA Cup proper  Eight non-league sides also qualified 
The matches were played on Saturday, 2 February 1895  One match was drawn, with the replay taking place in the following midweek fixture  The Barnsley St Peter's – Liverpool game was voided following a dispute over extra time being played   The match was replayed nine days later, resulting in a 4–0 win to Liverpool 

Second round proper
The eight Second Round matches were scheduled for Saturday, 16 February 1895  There were two replays, played in the following midweek fixture 

Third round proper
The four Third Round matches were scheduled for Saturday, 2 March 1895  There were no replays 

Semi-finals
The semi-final matches were both played on Saturday, 16 March 1895  Aston Villa and West Bromwich Albion went on to meet in the final at Crystal Palace 

Final
The Final was contested by Aston Villa and West Bromwich Albion at Crystal Palace  Aston Villa won 1–0, with Bob Chatt being credited with scoring the fastest goal in FA Cup Final history, scored after just 30 seconds  Devey found Hodgetts, whose cross was laid off by Athersmith to Chatt, whose half volley took a deflection 

Match details
See also
FA Cup Final Results 1872-
Passage 2:
Arsenal F C 
Arsenal Football Club is an English professional football club based in Islington, London  Arsenal play in the Premier League, the top flight of English football  The club has won 13 league titles (including one unbeaten title), a record 14 FA Cups, two League Cups, 16 FA Community Shields, one European Cup Winners' Cup, and one Inter-Cities Fairs Cup  In terms of trophies won, it is the third-most successful club in English football 
Arsenal was the first club from the South of England to join the Football League in 1893, and they reached the First Division in 1904  Relegated only once, in 1913, they continue the longest streak in the top division, and have won the second-most top-flight matches in English football history  In the 1930s, Arsenal won five League Championships and two FA Cups, and another FA Cup and two Championships after the war  In 1970–71, they won their first League and FA Cup Double  Between 1989 and 2005, they won five League titles and five FA Cups, including two more Doubles  They completed the 20th century with the highest average league position  Between 1998 and 2017, Arsenal qualified for the UEFA Champions League for nineteen consecutive seasons 
Herbert Chapman, who changed the fortunes of Arsenal forever, won the club its first silverware, and his legacy led the club to dominate the 1930s decade  He helped introduce the WM formation, floodlights, and shirt numbers; he also added the white sleeves and brighter red to the club's jersey  Arsène Wenger is the longest-serving manager and won the most trophies  He won a record seven FA Cups, and his title-winning team set an English record for the longest top-flight unbeaten league run at 49 games between 2003 and 2004, receiving the nickname The Invincibles 
In 1886, munitions workers at the Royal Arsenal in Woolwich founded the club as Dial Square  In 1913 the club crossed the city to Arsenal Stadium in Highbury, becoming close neighbours of Tottenham Hotspur, and creating the North London derby  In 2006, they moved to the nearby Emirates Stadium  With an annual revenue of £367 1m in the 2021–22 season, Arsenal was estimated to be worth US$2 26 billion by Forbes, making it the world's tenth most valuable football club, while it is one of the most followed on social media  The motto of the club has long been Victoria Concordia Crescit, Latin for "Victory Through Harmony" 

History
1886–1919: from Dial Square to Arsenal
In October 1886, Scotsman David Danskin and fifteen fellow munitions workers in Woolwich formed Dial Square Football Club, named after a workshop at the heart of the Royal Arsenal complex  Each member contributed sixpence and Danskin also added three shillings to help form the club  Dial Square played their first match on 11 December 1886 against Eastern Wanderers and won 6–0  The club had renamed to Royal Arsenal by January 1887, and its first home was Plumstead Common, though they spent most of their time playing at the Manor Ground  Their first trophies were the Kent Senior Cup and London Charity Cup in 1889–90 and the London Senior Cup in 1890–91; these were the only county association trophies Arsenal won during their time in South East London  In 1891, Royal Arsenal became the first London club to turn professional Royal Arsenal renamed for a second time upon becoming a limited liability company in 1893  They registered their new name, Woolwich Arsenal, with The Football League when the club ascended later that year : 5–21  Woolwich Arsenal was the first southern member of The Football League, starting out in the Second Division and reaching the First Division in 1904  Falling attendances, due to financial difficulties among the munitions workers and the arrival of more accessible football clubs elsewhere in the city, led the club close to bankruptcy by 1910 : 112–149  Businessmen Henry Norris and William Hall became involved in the club, and sought to move them elsewhere : 22–42 
In 1913, soon after relegation back to the Second Division, the club moved across the river to the new Arsenal Stadium in Highbury  In 1919, The Football League controversially voted to promote The Arsenal, instead of relegated local rivals Tottenham Hotspur, into the newly enlarged First Division, despite only finishing fifth in the Second Division's last pre-war season of 1914–15  Later that year, The Arsenal started dropping "The" in official documents, gradually shifting its name for the final time towards Arsenal, as it is generally known today 

1919–1953: Bank of England club
With a new home and First Division football, attendances were more than double those at the Manor Ground, and Arsenal's budget grew rapidly  Their location and record-breaking salary offer lured star Huddersfield Town manager Herbert Chapman in 1925  Over the next five years, Chapman built a new Arsenal  He appointed an enduring new trainer Tom Whittaker, implemented Charlie Buchan's new twist on the nascent WM formation, captured young players like Cliff Bastin and Eddie Hapgood, and lavished Highbury's income on stars like David Jack and Alex James  With record-breaking spending and gate receipts, Arsenal quickly became known as the Bank of England club Transformed, Chapman's Arsenal claimed their first national trophy, the FA Cup in 1930, and League Championships followed in 1930–31 and 1932–33  Chapman also presided over off the pitch changes: white sleeves and shirt numbers were added to the kit; a Tube station was named after the club; and the first of two opulent, Art Deco stands was completed, with some of the first floodlights in English football  Suddenly, in the middle of the 1933–34 season, Chapman died of pneumonia  His work was left to Joe Shaw and George Allison, who saw out a hat-trick with the 1933–34 and 1934–35 titles, and then won the 1936 FA Cup and 1937–38 title 
World War II meant The Football League was suspended for seven years, but Arsenal returned to win it in the second post-war season, 1947–48  This was Tom Whittaker's first season as manager, after his promotion to succeed Allison, and the club had equalled the champions of England record  They won a third FA Cup in 1950, and then won a record-breaking seventh championship in 1952–53  However, the war had taken its toll on Arsenal  The club had had more players killed than any top flight club, and debt from reconstructing the North Bank Stand bled Arsenal's resources 

1953–1986: mediocrity, Mee and Neill
Arsenal were not to win the League or the FA Cup for another 18 years  The '53 Champions squad had aged, and the club failed to attract strong enough replacements  Although Arsenal were competitive during these years, their fortunes had waned; the club spent most of the 1950s and 1960s in mid-table mediocrity  Even former England captain Billy Wright could not bring the club any success as manager, in a stint between 1962 and 1966 Arsenal tentatively appointed club physiotherapist Bertie Mee as acting manager in 1966  With new assistant Don Howe and new players such as Bob McNab and George Graham, Mee led Arsenal to their first League Cup finals, in 1967–68 and 1968–69  Next season saw a breakthrough, with Arsenal's first competitive European trophy, the 1969–70 Inter-Cities Fairs Cup  The season after, Arsenal achieved an even greater triumph with their first League and FA Cup double, and a new champions of England record  This marked a premature high point of the decade; the Double-winning side was soon broken up and the rest of the decade was characterised by a series of near misses, with Arsenal finishing as FA Cup runners up in 1972, and First Division runners-up in 1972–73 Former player Terry Neill succeeded Mee in 1976  At the age of 34, he became the youngest Arsenal manager to date  With new signings like Malcolm Macdonald and Pat Jennings, and a crop of talent in the side like Liam Brady and Frank Stapleton, the club reached a trio of FA Cup finals (1978 FA Cup, 1979 FA Cup and 1980 FA Cup), and lost the 1980 European Cup Winners' Cup Final on penalties  The club's only trophy during this time was the 1979 FA Cup, achieved with a last-minute 3–2 victory over Manchester United, in a final is widely regarded as a classic 

1986–1996: George Graham
One of Mee's double winners, George Graham, returned as manager in 1986, with Arsenal winning their first League Cup in 1987, Graham's first season in charge  New signings Nigel Winterburn, Lee Dixon and Steve Bould had joined the club by 1988 to complete the "famous Back Four", led by homegrown player Tony Adams  They immediately won the 1988 Football League Centenary Trophy, and followed it with the 1988–89 Football League title, snatched with a last-minute goal in the final game of the season against fellow title challengers Liverpool  Graham's Arsenal won another title in 1990–91, losing only one match, won the FA Cup and League Cup double in 1993, and the European Cup Winners' Cup in 1994  Graham's reputation was tarnished when he was found to have taken kickbacks from agent Rune Hauge for signing certain players, and he was dismissed in 1995  His replacement, Bruce Rioch, lasted for only one season, leaving the club after a dispute with the board of directors 

1996–2018: Wenger years
The club metamorphosed during the tenure of French manager Arsène Wenger, who was appointed in 1996  Attacking football, an overhaul of dietary and fitness practices, and efficiency with money
have defined his reign  Accumulating key players from Wenger's homeland, such as Patrick Vieira and Thierry Henry, Arsenal won a second League and Cup double in 1997–98 and a third in 2001–02  In addition, the club reached the final of the 1999–2000 UEFA Cup, were victorious in the 2003 and 2005 FA Cup finals, and won the Premier League in 2003–04 without losing a single match, an achievement which earned the side the nickname "The Invincibles"  This feat came within a run of 49 league matches unbeaten from 7 May 2003 to 24 October 2004, a national record Arsenal finished in either first or second place in the league in eight of Wenger's first nine seasons at the club, although they never won the title in two consecutive seasons 
The club had never progressed beyond the quarter-finals of the Champions League until 2005–06; in that season they became the first club from London to reach the final in the competition's fifty-year history, but were beaten 2–1 by Barcelona  In July 2006, they moved into the Emirates Stadium, after 93 years at Highbury 
Arsenal reached the final of the 2007 and 2011 League Cups, losing 2–1 to Chelsea and Birmingham City respectively  The club had not gained a trophy since the 2005 FA Cup until, spearheaded by club record acquisition Mesut Özil, Arsenal beat Hull City in the 2014 FA Cup Final, coming back from a 2–0 deficit to win the match 3–2 
A year later, Arsenal completed another victorious FA Cup campaign, and became the most successful club in the tournament's history by winning their 13th FA Cup in 2016–17  However, in that same season, Arsenal finished fifth in the league, the first time they had finished outside the top four since before Wenger arrived in 1996  After another unspectacular league season the following year, Wenger departed Arsenal on 13 May 2018 

Since 2018: post-Wenger era
After conducting an overhaul in the club's operating model to coincide with Wenger's departure, Spaniard Unai Emery was named as the club's new head coach on 23 May 2018  He became the club's first ever 'head coach' and second manager from outside the United Kingdom  In Emery's first season, Arsenal finished fifth in the Premier League and as runner-up in the Europa League  On 29 November 2019, Emery was dismissed as manager and former player and assistant first team coach Freddie Ljungberg was appointed as interim head coach On 20 December 2019, Arsenal appointed former club captain Mikel Arteta as the new head coach  Arsenal finished the league season in eighth, their lowest finish since 1994–95, but beat Chelsea 2–1 to earn a record-extending 14th FA Cup win  After the season, Arteta's title was changed from head coach to manager  On 18 April 2021, Arsenal were announced as a founding club of the breakaway European competition The Super League; they withdrew from the competition two days later amid near-universal condemnation  Arsenal finished the season in eighth place once again, not qualifying for a European competition for the first time in 26 years  In the 2022–23 Premier League season, Arsenal returned to the Champions League by coming second to Manchester City after leading for most of the season 

Crest
Unveiled in 1888, Royal Arsenal's first crest featured three cannons viewed from above, pointing northwards, similar to the coat of arms of the Metropolitan Borough of Woolwich (nowadays transferred to the coat of arms of the Royal Borough of Greenwich)  These can sometimes be mistaken for chimneys, but the presence of a carved lion's head and a cascabel on each are clear indicators that they are cannons  This was dropped after the move to Highbury in 1913, only to be reinstated in 1922, when the club adopted a crest featuring a single cannon, pointing eastwards, with the club's nickname, The Gunners, inscribed alongside it; this crest only lasted until 1925, when the cannon was reversed to point westward and its barrel slimmed down In 1949, the club unveiled a modernised crest featuring the same style of cannon below the club's name, set in blackletter typography, and above the coat of arms of the Metropolitan Borough of Islington and a scroll inscribed with the club's newly adopted Latin motto, Victoria Concordia Crescit – "victory comes from harmony" – coined by the club's programme editor Harry Homer  For the first time, the crest was rendered in colour, which varied slightly over the crest's lifespan, finally becoming red, gold and green  Because of the numerous revisions of the crest, Arsenal were unable to copyright it  Although the club had managed to register the crest as a trademark, and had fought (and eventually won) a long legal battle with a local street trader who sold "unofficial" Arsenal merchandise,
Arsenal eventually sought a more comprehensive legal protection  Therefore, in 2002 they introduced a new crest featuring more modern curved lines and a simplified style, which was copyrightable 
The cannon once again faces east and the club's name is written in a sans-serif typeface above the cannon  Green was replaced by dark blue  The new crest was criticised by some supporters; the Arsenal Independent Supporters' Association claimed that the club had ignored much of Arsenal's history and tradition with such a radical modern design, and that fans had not been properly consulted on the issue 
Until the 1960s, a badge was worn on the playing shirt only for high-profile matches such as FA Cup finals, usually in the form of a monogram of the club's initials in red on a white background The monogram theme was developed into an Art Deco-style badge on which the letters A and C framed a football rather than the letter F, the whole set within a hexagonal border  This early example of a corporate logo, introduced as part of Herbert Chapman's rebranding of the club in the 1930s, was used not only on Cup Final shirts but as a design feature throughout Highbury Stadium, including above the main entrance and inlaid in the floors 
From 1967, a white cannon was regularly worn on the shirts, until replaced by the club crest, sometimes with the addition of the nickname "The Gunners", in the 1990s In the 2011–12 season, Arsenal celebrated their 125th anniversary  The celebrations included a modified version of the current crest worn on their jerseys for the season  The crest was all white, surrounded by 15 oak leaves to the right and 15 laurel leaves to the left  The oak leaves represent the 15 founding members of the club who met at the Royal Oak pub  The 15 laurel leaves represent the design detail on the six pence pieces paid by the founding fathers to establish the club  The laurel leaves also represent strength  To complete the crest, 1886 and 2011 are shown on either sides of the motto "Forward" at the bottom of the crest 

Colours
For much of Arsenal's history, their home colours have been bright red shirts with white sleeves and white shorts, though this has not always been the case  The choice of red is in recognition of a charitable donation from Nottingham Forest, soon after Arsenal's foundation in 1886  Two of Dial Square's founding members, Fred Beardsley and Morris Bates, were former Forest players who had moved to Woolwich for work  As they put together the first team in the area, no kit could be found, so Beardsley and Bates wrote home for help and received a set of kit and a ball  The shirt was redcurrant, a dark shade of red, and was worn with white shorts and socks with blue and white hoops In 1933, Herbert Chapman, wanting his players to be more distinctly dressed, updated the kit, adding white sleeves and changing the shade to a brighter pillar box red  Two possibilities have been suggested for the origin of the white sleeves  One story reports that Chapman noticed a supporter in the stands wearing a red sleeveless sweater over a white shirt; another was that he was inspired by a similar outfit worn by the cartoonist Tom Webster, with whom Chapman played golf 
Regardless of which story is true, the red and white shirts have come to define Arsenal and the team have worn the combination ever since, aside from two seasons  The first was 1966–67, when Arsenal wore all-red shirts; this proved unpopular and the white sleeves returned the following season  The second was 2005–06, the last season that Arsenal played at Highbury, when the team wore commemorative redcurrant shirts similar to those worn in 1913, their first season in the stadium; the club reverted to their normal colours at the start of the next season  In the 2008–09 season, Arsenal replaced the traditional all-white sleeves with red sleeves with a broad white stripe Arsenal's home colours have been the inspiration for at least three other clubs  In 1909, Sparta Prague adopted a dark red kit like the one Arsenal wore at the time; in 1938, Hibernian adopted the design of the Arsenal shirt sleeves in their own green and white strip 
In 1941, Luis Robledo, an England-schooled founder of Santa Fe and a fan of Arsenal, selected the main colors for his newly created team  In 1920, Sporting Clube de Braga's manager returned from a game at Highbury and changed his team's green kit to a duplicate of Arsenal's red with white sleeves and shorts, giving rise to the team's nickname of Os Arsenalistas 
These teams still wear those designs to this day 
For many years Arsenal's away colours were white or navy blue  However, in 1968 the FA banned navy shirts (they looked too similar to referees' black kit) so in the 1969–70 season, Arsenal introduced an away kit of yellow shirts with blue shorts  This kit was worn in the 1971 FA Cup Final as Arsenal beat Liverpool to secure the double for the first time in their history  The yellow and blue strip became almost as famous as their iconic red and white home kit  Arsenal reached the FA Cup final again the following year wearing the red and white home strip and were beaten by Leeds United  Arsenal then competed in three consecutive FA Cup finals between 1978 and 1980 wearing their "lucky" yellow and blue strip, which remained the club's away strip until the release of a green and navy away kit in 1982–83  The following season, Arsenal returned to the yellow and blue scheme, albeit with a darker shade of blue than before 
When Nike took over from Adidas as Arsenal's kit provider in 1994, Arsenal's away colours were again changed to two-tone blue shirts and shorts  Since the advent of the lucrative replica kit market, the away kits have been changed regularly, with Arsenal usually releasing both away and third choice kits  During this period the designs have been either all blue designs, or variations on the traditional yellow and blue, such as the metallic gold and navy strip used in the 2001–02 season, the yellow and dark grey used from 2005 to 2007, and the yellow and maroon of 2010 to 2013 
Until 2014, the away kit was changed every season, and the outgoing away kit became the third-choice kit if a new home kit was being introduced in the same year Since Puma began manufacturing Arsenal's kits in 2014, new home, away and third kits were released every single season  In the 2017–18 season, Puma released a new color scheme for the away and third kits  The away kit was a light blue, which fades to a darker blue near the bottom, while the third kit was black with red highlight  Puma returned to the original color scheme for the 2018–19 season From the 2019–20 season Arsenal's kits are manufactured by Adidas  In the 2020–21 season, Adidas unveiled the new away kit to 
mark the 15-year anniversary since leaving Highbury  The new away kit is white, with a marbled pattern all across to replicate the iconic marble hall in the East stand of Highbury 

Kit suppliers and shirt sponsors
Stadiums
Before joining the Football League, Arsenal played briefly on Plumstead Common, then at the Manor Ground in Plumstead, then spent three years between 1890 and 1893 at the nearby Invicta Ground  Upon joining the Football League in 1893, the club returned to the Manor Ground and installed stands and terracing, upgrading it from just a field  Arsenal continued to play their home games there for the next twenty years (with two exceptions in the 1894–95 season), until the move to north London in 1913 Widely referred to as Highbury, Arsenal Stadium was the club's home from September 1913 until May 2006  The original stadium was designed by the renowned football architect Archibald Leitch, and had a design common to many football grounds in the UK at the time, with a single covered stand and three open-air banks of terracing  The entire stadium was given a massive overhaul in the 1930s: new Art Deco West and East stands were constructed, opening in 1932 and 1936 respectively, and a roof was added to the North Bank terrace, which was bombed during the Second World War and not restored until 1954 Highbury could hold more than 60,000 spectators at its peak, and had a capacity of 57,000 until the early 1990s  The Taylor Report and Premier League regulations obliged Arsenal to convert Highbury to an all-seater stadium in time for the 1993–94 season, thus reducing the capacity to 38,419 seated spectators  This capacity had to be reduced further during Champions League matches to accommodate additional advertising boards, so much so that for two seasons, from 1998 to 2000, Arsenal played Champions League home matches at Wembley, which could house more than 70,000 spectators 

Expansion of Highbury was restricted because the East Stand had been designated as a Grade II listed building and the other three stands were close to residential properties  These limitations prevented the club from maximising matchday revenue during the 1990s and first decade of the 21st century, putting them in danger of being left behind in the football boom of that time  After considering various options, in 2000 Arsenal proposed building a new 60,361-capacity stadium at Ashburton Grove, since named the Emirates Stadium, about 500 metres south-west of Highbury  The project was initially delayed by red tape and rising costs, and construction was completed in July 2006, in time for the start of the 2006–07 season  The stadium was named after its sponsors, the airline company Emirates, with whom the club signed the largest sponsorship deal in English football history, worth around £100 million  Some fans referred to the ground as Ashburton Grove, or the Grove, as they did not agree with corporate sponsorship of stadium names  The stadium will be officially known as Emirates Stadium until at least 2028, and the airline will be the club's shirt sponsor until at least 2024  From the start of the 2010–11 season on, the stands of the stadium have been officially known as North Bank, East Stand, West Stand and Clock end  The capacity of the Emirates now stands at 60,704 Arsenal's players train at the Shenley Training Centre in Hertfordshire, a purpose-built facility which opened in 1999 
Before that the club used facilities on a nearby site owned by the University College of London Students' Union  Until 1961 they had trained at Highbury 
Arsenal's Academy under-18 teams play their home matches at Shenley, while the reserves play their games at Meadow Park, which is also the home of Boreham Wood F C  Both the Academy under-18 & the reserves occasionally play their big games at the Emirates in front of a crowd reduced to only the lower west stand 

Supporters and rivalries
Arsenal's fanbase are referred to as "Gooners" – the name derived from the club's nickname "The Gunners"  Virtually all home matches sell out; in 2007–08 Arsenal had the second-highest average League attendance for an English club (60,070, which was 99 5% of available capacity), and, as of 2015, the third-highest all-time average attendance  Arsenal have the seventh highest average attendance of European football clubs only behind Borussia Dortmund, FC Barcelona, Manchester United, Real Madrid, Bayern Munich, and Schalke  The club's location, adjoining wealthy areas such as Canonbury and Barnsbury, mixed areas such as Islington, Holloway, Highbury, and the adjacent London Borough of Camden, and largely working-class areas such as Finsbury Park and Stoke Newington, has meant that Arsenal's supporters have come from a variety of social classes  Much of the Afro-Caribbean support comes from the neighbouring London Borough of Hackney and a large portion of the South Asian Arsenal supporters commute to the stadium from Wembley Park, North West of the capital  There was also traditionally a large Irish community that followed Arsenal, with the nearby Archway area having a particularly large community, but Irish migration to North London is much lower than in the 1960s or 1970s 
Like all major English football clubs, Arsenal have a number of domestic supporters' clubs, including the Arsenal Football Supporters' Club, which works closely with the club, and the Arsenal Independent Supporters' Association, which maintains a more independent line  The Arsenal Supporters' Trust promotes greater participation in ownership of the club by fans  The club's supporters also publish fanzines such as The Gooner, Gunflash and the satirical Up The Arse!  In addition to the usual English football chants, supporters sing "One-Nil to the Arsenal" (to the tune of "Go West") 
There have always been Arsenal supporters outside London, and since the advent of satellite television, a supporter's attachment to a football club has become less dependent on geography  Consequently, Arsenal have a significant number of fans from beyond London and all over the world; in 2007, 24 UK, 37 Irish and 49 other overseas supporters clubs were affiliated with the club  A 2011 report by SPORT+MARKT estimated Arsenal's global fanbase at 113 million  The club's social media activity was the fifth highest in world football during the 2014–15 season 

Rivalries
Arsenal's longest-running and deepest rivalry is with their nearest major neighbour, Tottenham Hotspur; matches between the two are referred to as the North London derby  There also exists a rivalry between Arsenal and Chelsea  In addition, Arsenal and Manchester United developed a strong on-pitch rivalry in the late 1980s, which intensified in the early 2000s when both clubs were competing for the Premier League title 

Mascot
The club mascot is Gunnersaurus Rex, a smiling, 7-foot-tall green dinosaur, who first appeared at a home match against Manchester City in August 1994 (or 1993)  He is based on a drawing by then 11-year-old Peter Lovell, whose design and another similar idea won a Junior Gunners contest; his official back story is that he hatched from an egg found during renovations at Highbury The same person, Jerry Quy, has been inside the suit from the start; in early October 2020, as part of cost-cutting brought about by the COVID-19 pandemic, the club made him redundant from that and his other part-time job in supporter liaison, together with 55 full-time employees, although they later said Gunnersaurus could return after spectators were allowed back in stadiums  An online fundraiser was begun for Quy, and Mesut Özil offered to pay his salary himself as long as he remains with Arsenal  In November 2020, in advance of COVID-19 regulations being relaxed to allow supporters to attend home games from 3 December, Arsenal announced that Gunnersaurus would return, to be played by a roster of people that could include Quy if he wished 

Ownership and finances
The largest shareholder on the Arsenal board is American sports tycoon Stan Kroenke  Kroenke first launched a bid for the club in April 2007, and faced competition for shares from Red and White Securities, which acquired its first shares from David Dein in August 2007  Red & White Securities was co-owned by Russian billionaire Alisher Usmanov and Iranian London-based financier Farhad Moshiri, though Usmanov bought Moshiri's stake in 2016  Kroenke came close to the 30% takeover threshold in November 2009, when he increased his holding to 18,594 shares (29 9%)  In April 2011, Kroenke achieved a full takeover by purchasing the shareholdings of Nina Bracewell-Smith and Danny Fiszman, taking his shareholding to 62 89%  In May 2017, Kroenke owned 41,721 shares (67 05%) and Red & White Securities owned 18,695 shares (30 04%)  In January 2018, Kroenke expanded his ownership by buying twenty-two more shares, taking his total ownership to 67 09%  In August 2018, Kroenke bought out Usmanov for £550m  Now owning more than 90% of the shares, he had the required stake to complete the buyout of the remaining shares and become the sole owner  There has been criticism of Arsenal's poor performance since Kroenke took over, which has been attributed to his ownership  Ivan Gazidis was the club's Chief executive from 2009 to 2018 Arsenal's parent company, Arsenal Holdings plc, operates as a non-quoted public limited company, whose ownership is considerably different from that of other football clubs  Only 62,219 shares in Arsenal have been issued, and they are not traded on a public exchange such as the FTSE or AIM; instead, they are traded relatively infrequently on the ICAP Securities and Derivatives Exchange, a specialist market  On 29 May 2017, a single share in Arsenal had a mid price of £18,000, which sets the club's market capitalisation value at approximately £1,119 9m  Most football clubs are not listed on an exchange, which makes direct comparisons of their values difficult  Consultants Brand Finance valued the club's brand and intangible assets at $703m in 2015, and consider Arsenal an AAA global brand  Business magazine Forbes valued Arsenal as a whole at $2 238 billion (£1 69 billion) in 2018, ranked third in English football  Research by the Henley Business School ranked Arsenal second in English football, modelling the club's value at £1 118 billion in 2015 Arsenal's financial results for the 2019–20 season showed an after tax loss of £47 8m, due in part to the impact of the COVID-19 pandemic  The Deloitte Football Money League is a publication that homogenises and compares clubs' annual revenue  Deloitte put Arsenal's footballing revenue in 2019 at £392 7m (€445 6m), ranking Arsenal eleventh among world football clubs  Arsenal and Deloitte both listed the match day revenue generated in 2019 by the Emirates Stadium as €109 2m (£96 2m) 

In popular culture
Partly due to their proximity to the Alexandra Palace transmitter, Arsenal have appeared in a number of media "firsts"  On 22 January 1927, their match at Highbury against Sheffield United was the first English League match to be broadcast live on radio  A decade later, on 16 September 1937, an exhibition match between Arsenal's first team and the reserves was the first football match in the world to be televised live  Arsenal also featured in the first edition of the BBC's Match of the Day, which screened highlights of their match against Liverpool at Anfield on 22 August 1964  Sky's coverage of Arsenal's January 2010 match against Manchester United was the first live public broadcast of a sports event on 3D television As one of the most successful teams in the country, Arsenal have often featured when football is depicted in the arts in Britain  They formed the backdrop to one of the earliest football-related novels, The Arsenal Stadium Mystery (1939), which was made into a film in the same year  The story centres on a friendly match between Arsenal and an amateur side, one of whose players is poisoned while playing  Many Arsenal players appeared as themselves in the film and manager George Allison was given a speaking part  The book Fever Pitch by Nick Hornby was an autobiographical account of Hornby's life and relationship with football and Arsenal in particular  Published in 1992, it formed part of the revival and rehabilitation of football in British society during the 1990s  The book was twice adapted for the cinema – the 1997 British film focuses on Arsenal's 1988–89 title win, and a 2005 American version features a fan of baseball's Boston Red Sox Arsenal have often been stereotyped as a defensive and "boring" side, especially during the 1970s and 1980s  In the 1997 film The Full Monty the principal characters move forward in a line and raise their hands, deliberately mimicking the Arsenal defence's offside trap, in an attempt to co-ordinate their striptease routine 
Fifteen years later an almost identical scene was included in the 2012 Disney science-fiction film John Carter (director and co-writer Andrew Stanton, a notable overseas supporter of the club), along with other visual cues and oblique dialogue hints and references to the club throughout the film 
Another film reference to the club's defence comes in the film Plunkett & Macleane, in which two characters are named Dixon and Winterburn after Arsenal's long-serving full backs – the right-sided Lee Dixon and the left-sided Nigel Winterburn In August 2022, Amazon Prime Video released an eight-episode docuseries called All or Nothing: Arsenal  It documented the club by spending time with the coaching staff and players behind the scenes both on and off the field throughout their 2021–22 season, in which they were the youngest team in the Premier League with an average starting age of 24 years and 308 days – more than a whole year younger than the next team 

In the community
In 1985, Arsenal founded a community scheme, "Arsenal in the Community", which offered sporting, social inclusion, educational and charitable projects



ground_truth: Min Zhou

Carl L. Bankston

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

Question: Where was the person who acted in the film Sous les pieds des femmes born?

The following are given passages.
Context 3: Passage 1:
A Summer in La Goulette
A Summer in La Goulette (French: Un été à La Goulette, Arabic: صيف حلق الوادي, romanized: ṣayf Ḥalq el-Wādī) is a 1996 film by Tunisian director Férid Boughedir  It is a narrative of how intercommunal relations deteriorated in cosmopolitan La Goulette after the end of French rule, especially Muslim-Jewish relations affected by the Six-Day War and the rising impact of Islam on Tunisian society 
The film also features La Goulette native Claudia Cardinale as herself  The film was entered into the 46th Berlin International Film Festival 

Plot
Youssef (Mustapha Adouani) is a Muslim who works on the TGM and lives in La Goulette  His best friends are Jewish Jojo the brik seller and Sicilian Catholic Giuseppe the fisherman, who are also his neighbours  Their daughters grow up together and share their prospects for life, but the landlord Hadj Beji (Gamil Ratib) has his eyes on Youssef's daughter Meriem (Sonia Mankaï) 

Cast
Gamil Ratib : Hadj Beji
Mustapha Adouani : Youssef
Guy Nataf : Jojo
Ivo Salerno : Giuseppe
Michel Boujenah : TSF
Claudia Cardinale : herself
Sonia Mankaï : Meriem
Ava Cohen-Jonathan : Tina
Sarah Pariente : Gigi
Kais Ben Messaoud : Chouchou
Mohamed Driss : Miró

See also
Le Chant des mariées
Passage 2:
Isabelle Carré
Isabelle Carré (born 28 May 1971) is a French actress  She has appeared in more than 70 films since 1989  She won a César Award for Best Actress for her role in Se souvenir des belles choses (2001), and has been nominated a further six times for Beau fixe (1992), Le Hussard sur le toit (1995), La Femme défendue (1997), Les Sentiments (2003), Entre ses mains (2005) and Anna M  (2007) 
Since 26 August 2006, she has been married to film producer Bruno Pésery, with whom she has a son, Antoine, born on 11 October 2008  Her brother, Benoît Carré, is a member of the band Lilicub 

Selected filmography
Theatre
1990: Une nuit de Casanova
1990: The Cherry Orchard
1992: L'École des Femmes
1993: On ne badine pas avec l'amour
1993: Il ne faut jurer de rien
1993: Le Mal court
1995: Dostoïevsky va à la plage
1995: Le Père humilié
1995: Arloc
1996: Slaves
1999: Mademoiselle Else
2000: Résonances
2001: The Tragedy of Othello, the Moor of Venice
2001: Léonce et Léna
2002: Hugo à deux voix
2003: La Nuit chante
2004: L'Hiver sous la table
2006: Blanc
2009: Un garçon impossible (by Petter S  Rosenlund, directed by Jean-Michel Ribes)

Awards
Prix Romy Schneider, 1998
Lumières Award for Best Actress, Se souvenir des belles choses, 2003
César Award for Best Actress, Se souvenir des belles choses, 2003

Nominations
1993: Nominated for the César Award for Most Promising Actress for Beau fixe
1996: Nominated for the César Award for Most Promising Actress for Le Hussard sur le toit
1998: Nominated for the César Award for Most Promising Actress for La Femme défendue
2004: Nominated for the César Award for Best Actress for Les Sentiments
2006: Nominated for the César Award for Best Actress for Entre ses mains (In His Hands)
2006: Nominated for the Globes de Cristal Award for Best Actress for Entre ses mains (In His Hands)
2008: Nominated for the César Award for Best Actress for Anna M 
2008: Nominated for the Globes de Cristal Award for Best Actress for Anna M 
2011: Nominated for the César Award for Best Actress for Les Émotifs anonymes

Theatre
1999: Molière Award for Best Actress, Mademoiselle Else
2004: Molière Award for Best Actress, L'Hiver sous la table

Decorations
Officer of the Order of Arts and Letters (2016)
Passage 3:
La femme enfant
La femme enfant (German: Die Stumme Liebe) is a 1980 French drama film directed by Raphaële Billetdoux and starring Klaus Kinski  It competed in the Un Certain Regard section at the 1980 Cannes Film Festival 

Cast
Klaus Kinski – Marcel
Pénélope Palmer – Élisabeth
Michel Robin – Le père
Hélène Surgère – La mère
Ary Aubergé – L'épicier
Georges Lucas – Le curé

Production
According to Raphaële Billetdoux, the shooting with Klaus Kinski was a nightmare and at one point she had the temptation to stop there, as it was no longer possible to continue  For example, during the bathing scene that Kinski is preparing for the girl, then 14-year-old Pénélope Palmer was already very anxious about shooting a nude scene, even shot in a very modest way  So Billetdoux had reduced the technical team to and set the stage so that Kinski had his back to her (and to the camera), as Palmer was about to enter the bathtub  He then freaked out: "What ?! I turn my back ?! Never ! And then, I want to see her naked     "

See also
Klaus Kinski filmography
Passage 4:
La Rosiere de Pessac
La Rosière de Pessac (The Virgin of Pessac) is the title of two hour-long films directed by Jean Eustache (in 1968 and 1979 respectively)   The films cover an annual ceremony, held in Eustache's place of birth, in which the mayor and his associates nominate a girl as the town's most virtuous   Thus, the girls chosen in those two years are eponymous subjects of these documentaries 

External links
La Rosière de Pessac at IMDb
La Rosière de Pessac at IMDb
Passage 5:
Cubism
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture  In Cubist works of art, the subjects are analysed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context  Cubism has been considered the most influential art movement of the 20th century  The term cubism is broadly associated with a variety of artworks produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s 
The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger  One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne  A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907 In France, offshoots of Cubism developed, including Orphism, abstract art and later Purism  The impact of Cubism was far-reaching and wide-ranging  In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism  Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements  Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life 

History
Historians have divided the history of Cubism into phases  In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France  A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity  English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch  According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement  Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement 

Proto-Cubism: 1907–1908
Cubism burgeoned between 1907 and 1911  Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work 
In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes" Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes"  The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes  The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities)  Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings  The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes  But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [   ]"The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them  Alternative interpretations of Cubism have therefore developed  Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e g , Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918)  More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation "John Berger identifies the essence of Cubism with the mechanical diagram  "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures  A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations "

Early Cubism: 1909–1914
There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists  Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works  Kahnweiler sold only to a small circle of connoisseurs  His support gave his artists the freedom to experiment in relative privacy  Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War  Léger was based in Montparnasse In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris  They were inevitably more aware of public response and the need to communicate  Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger  They met regularly at Henri le Fauconnier's studio near the boulevard du Montparnasse  These soirées often included writers such as Guillaume Apollinaire and André Salmon  Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing the human body, the site, to pallid cubes " At the 1910 Salon d'Automne, a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude), which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913) The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911  This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to the attention of the general public for the first time  Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R  Guggenheim Museum, New York) 

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka  The exhibition was reviewed in the October 8, 1911 issue of The New York Times  This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism  The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon  The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do 
Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school  In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition  [   ]
In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable  Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement 

What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?

Salon des Indépendants
The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912) was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No  2, which itself caused a scandal, even amongst the Cubists  It was in fact rejected by the hanging committee, which included his brothers and other Cubists  Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work  Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911–1912 (National Gallery of Denmark)  Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris), were also exhibited 

Galeries Dalmau
In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism  worldwide (Exposició d'Art Cubista), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912)  The Dalmau exhibition comprised 83 works by 26 artists  Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which was fully translated and reproduced in the newspaper La Veu de Catalunya  Duchamp's Nude Descending a Staircase, No  2 was exhibited for the first time Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe  While press coverage was extensive, it was not always positive  Articles were published in the newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text  Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion 

Salon d'Automne
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork  The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912  The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art  The Cubists were defended by the Socialist deputy, Marcel Sembat It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913)  Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source (The Spring) (Museum of Modern Art, New York) 

Abstraction and the ready-made
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction  Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely  Kupka's two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation  Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes  Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete  In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form  His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life  Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated  But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism  The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage)  The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself  In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right 

Section d'Or
The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants  The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience  Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years) The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon  The group's title was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci's Trattato della Pittura by Joséphin Péladan 
During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art  Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures  Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks  They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art  Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism 

The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907"  Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture  This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist  The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit  Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it "The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins  This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed " Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia  The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms  Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e g , Parade de Cirque, Le Chahut and Le Cirque), was another important influence  There were also parallels in the development of literature and social thought In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones  However, the cubists explored this concept further than Cézanne  They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time  This new kind of depiction revolutionized the way objects could be visualized in painting and art 

The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire  It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris  The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s  Both terms are historical impositions that occurred after the facts they identify  Neither phase was designated as such at the time corresponding works were created  "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition "The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists  It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all  According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake "The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context  However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay:

"M  Metzinger is a mosaicist like M  Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [   ]" The critical use of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic  One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments " (Robert Herbert, 1968, p  221)The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger  In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants  The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris)  Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible  The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie  It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication  The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i e , the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire  Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public)  Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal 

Crystal Cubism: 1914–1918
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity  This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg  The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism  Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference Crystal Cubism, and its associative rappel à l'ordre, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict  The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture 

Cubism after 1918
The most innovative period of Cubism was before 1914  After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris  Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925  Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson  In France, however, Cubism experienced a decline beginning in about 1925  Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini  In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris  Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes  The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war  Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture  Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes  Cubism as a publicly debated movement became relatively unified and open to definition  Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared 

Influence in Asia
Japan and China were among the first countries in Asia to be influenced by Cubism  Contact first occurred via European texts translated and published in Japanese art journals in the 1910s  In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at the École nationale supérieure des Beaux-Arts, brought back with them both an understanding of modern art movements, including Cubism  Notable works exhibiting Cubist qualities were Tetsugorō Yorozu's Self Portrait with Red Eyes (1912) and Fang Ganmin's Melody in Autumn (1934) 

Interpretation
Intentions and criticism
The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work  "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne " The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects  Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future  The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future  One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson  With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged  Linear perspective developed during the Renaissance was vacated  The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i e , as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Metzinger's Nu à la cheminée, exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris, exhibited at the Indépendants in 1912  These ambitious works are some of the largest paintings in the history of Cubism  Léger's The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force  The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston  In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works  Jacques Villon exhibited seven important and large drypoints, while his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No  2 (1912)  Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912)  Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works  Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works 

Cubist sculpture
Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones)  And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism 
Cubist sculpture developed in parallel to Cubist painting  During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa  According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time " These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking  Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards  They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine Indeed, Cubist construction was as influential as any pictorial Cubist innovation  It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture 

Architecture
Cubism formed an important link between early-20th-century art and architecture  The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia  Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn  Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective  Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships  Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass 

Cubism was relevant to an architecture seeking a style that needed not refer to the past  Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world"  The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture  The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris  De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes  However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918  Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture  Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting  In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres  His theoretical studies soon advanced into many different architectural projects 

La Maison Cubiste (Cubist House)
At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), with architecture by Raymond Duchamp-Villon and interior decoration by André Mare along with a group of collaborators  Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art  Decorative work, to them, was the "antithesis of the picture"  "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself  It can be moved from a church to a drawing-room, from a museum to a study  Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides  It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism   " La Maison Cubiste was a fully furnished model house, with a  facade, a staircase, wrought iron banisters, and two rooms:  a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung, and a bedroom  It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life  Spectators at the Salon d'Automne passed through the plaster facade, designed by Duchamp-Villon, to the two furnished rooms  This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale) 

The furnishings, wallpaper, upholstery and carpets of the interior were designed by André Mare, and were early examples of the influence of cubism on what would become Art Deco   They were composed of very brightly colored roses and other floral patterns in stylized geometric forms 
Mare called the living room in which Cubist paintings were hung the Salon Bourgeois  Léger described this name as 'perfect'  In a letter to Mare prior to the exhibition Léger wrote: "Your idea is absolutely splendid for us, really splendid  People will see Cubism in its domestic setting, which is very important "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", Christopher Green wrote, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye" In 1927, Cubists Joseph Csaky, Jacques Lipchitz, Louis Marcoussis, Henri Laurens, the sculptor Gustave Miklos, and others collaborated in the decoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architect Paul Ruaud and owned by the French fashion designer Jacques Doucet, also a collector of Post-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which he bought directly from Picasso's studio)  Laurens designed the fountain, Csaky designed Doucet's staircase, Lipchitz made the fireplace mantel, and Marcoussis made a Cubist rug 

Czech Cubist architecture
The original Cubist architecture is very rare  Cubism was applied to architecture only in Bohemia (today Czech Republic) and especially in its capital, Prague  Czech architects were the first and only ones to ever design original Cubist buildings  Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I  After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes 

In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer  This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture  In this way, the entire surfaces of the facades including even the gables and dormers are sculpted  The grilles as well as other architectural ornaments attain a three-dimensional form  Thus, new forms of windows and doors were also created, e  g  hexagonal windows  Czech Cubist architects also designed Cubist furniture 
The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol  They worked mostly in Prague but also in other Bohemian towns  The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient  Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad  A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913 

Cubism in other fields
The influence of Cubism extended to other artistic fields, outside painting and sculpture  In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters  Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08)  Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well  In turn, Picasso was an important influence on Stein's writing  In the field of American fiction, William Faulkner's 1930 novel As I Lay Dying can be read as an interaction with the cubist mode  The novel features narratives of the diverse experiences of 15 characters which, when taken together, produce a single cohesive body 
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy  As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture  This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada " Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet " Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work  Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry John Berger said: "It is almost impossible to exaggerate the importance of Cubism  It was a revolution in the visual arts as great as that which took place in the early Renaissance  Its effects on later art, on film, and on architecture are already so numerous that we hardly notice them "

Gallery
Press articles and reviews
See also
Fourth dimension in art
Precisionism
Proto-Cubism
Rayonism
Section d'Or
Vorticism
Passage 6:
Pour Un Maillot Jaune
Pour Un Maillot Jaune is a French 1965 documentary – described as a cinematic tribute – about the 1965 Tour de France  It was made by the French film director, Claude Lelouch  Lelouch is best known as the director of Un Homme et Une Femme (A Man and a Woman in English) in 1966 

The film
Pour Un Maillot Jaune (For a yellow jersey) follows the 1965 Tour de France not as a sports documentary but an atmospheric film of the events that surround it  Where riders are shown racing, it is an illustration of the hardship or the danger they face  The main events are the daily routines of the competitors, the bossing about of spectators by officials (which Lelouch emphasises by adding animal noises to the soundtrack), the monotonous days of journalists who follow the race for hours to write only a few hundred words, and the evening entertainment laid on by the Europe-1 radio station 
The film starts with a scene of riders arriving at the start by train and then of race organisers Jacques Goddet and Félix Lévitan and an anonymous man with a cigarette in his mouth supervising the cutting of a blue, white and red ribbon across the road as a band plays the Marseillaise, the French national anthem  The film then jumps – as it does throughout its 30 minutes – to an open-air mass for riders wearing their race clothes 
There are dramatic shots of riders climbing mountains, often with breathtaking views, a struggle which Lelouch emphasises by slowly fading down the heartbeat-like music to near silence, stressing each rider's lone and silent battle with himself  In more light-hearted scenes, the team manager Raphael Géminiani is shown angrily realising he has been filmed while he has been asleep, and the soigneur Louis Guerlacher is shown kneading a rider's muscles as though they were soggy baguettes 

The technique
Unlike Vive Le Tour, an earlier film by Louis Malle and with which Pour Un Maillot Jaune is inevitably associated, Claude Lelouch uses no narrator and depends on the film to tell its own story  He portrays the spirit of the moment with repeated musical themes, some of them not always perfectly edited  Only occasionally does the sound of the moment reach the screen and in one scene, when riders are descending at speed from a mountain, Lelouch has made the error of adding the sound of squealing brakes that would never have happened in real life Throughout, the film jumps from colour to black and white and back 

The race
The 1965 Tour de France was won by a young Italian called Felice Gimondi, riding only as a late inclusion  The French had hoped that the winner would be Raymond Poulidor relieved for once of riding against Jacques Anquetil who had always beaten him  By the Chartreuse, however, Gimondi was unbeatable and even attacked Poulidor and left him behind "just to show Raymond that I could go faster and that I was the better man "
The film ends as Gimondi takes his lap of honour at the Parc des Princes Paris 
The charm of the film to cycling enthusiasts is to see the Tour as it was four decades ago, when the winners stood on rickety podiums of scaffold poles, slept in shabby hotels and retrieved a spanner from their pockets to change the height of their handlebars as they rode 

External links
   pour un maillot jaune at IMDb
Passage 7:
Women's Games
Women's Games (French: Jeux de femmes) is a 1946 French comedy film directed by Maurice Cloche and starring Jacques Dumesnil, Hélène Perdrière and Saturnin Fabre The film's sets were designed by the art director Raymond Nègre 

Cast
Passage 8:
Le casseur de pierres
Le casseur de pierres is a 1989 Tunisian short drama film directed by Mohamed Zran  It was screened in the Un Certain Regard section at the 1990 Cannes Film Festival 

Cast
Abdallah Maymoun - Sabeur
Monia Tkitik - Monia
Fatha Mahdoui - Fatima
Moufida Zran - Scheherezade
Passage 9:
Les Accords de Bella
Les Accords de Bella (lit  'Bella's Accords') is a 2007 anthropological documentary film directed by David Constantin  It was selected by the African Film Festival of Cordoba - FCAT 

Synopsis
Rodrigues Island, lost in the middle of the Indian Ocean, has something particular: There are more than 500 accordions for 35,000 people  Polkas, mazurkas and waltzes are part of the history and mestization of an island forgotten by all for a very long time  Here, the accordion is not a forgotten instrument, quite the contrary; its sound mixes with African drums so that young and old can dance  With Philippe Imbert's help, a French craftsman, the Rodrigues Accordion Association has set out on a new adventure: Making their own accordion  The first one, the prototype, completely made on the island, is called Bella 
Passage 10:
Sous les pieds des femmes
Sous les pieds des femmes (also known as Under Women's Feet) is a 1997 French drama film written and  directed by Rachida Krim and starring Claudia Cardinale 

Plot
Cast
Claudia Cardinale  as  Aya   in 1996
Fejria Deliba	  as  Aya  in 1958
Nadia Farès  as Fouzia
Mohammad Bakri  as Amin
Yorgo Voyagis as  Moncef
Bernadette Lafont as Suzanne
Samy Naceri  as Mohammed
Éric Atlan as Captain Bertrand
Roland Bertin  as Le Président du tribunal
Guy Bedos as  Le Procureur
Kader Boukhanef as  Mourad
Safy Boutella as  Addellah
Olivier Brunhes as  Jacques
Arnaud Meunier as  Jeannot
Catherine Samie as  La Voisine
Passage 11:
Gai pied
Gai pied or Gai pied hebdo was a monthly, then weekly (hence the name Hebdo), French gay magazine, founded by Jean Le Bitoux  Its name, which literally means "Gay foot", is a homophone of guêpier, which means a hornet's nest or, figuratively, a trap or pitfall — a reference to the magazine's determination to torment the status-quo 

History and profile
The magazine's name was suggested by Michel Foucault, who wrote an article for the first issue and continued to contribute material to the magazine throughout its existence 
The first issue was sold at two thousand kiosks throughout France on 1 April 1979  It was published by Pink Triangle publications and printed by the Revolutionary Communist League 
Among the magazine's collaborators were Yves Navarre, Tony Duvert, Gianni De Martino, Guy Hocquenghem, Renaud Camus, Alain Pacadis, Copi, Hugo Marsan, Emmanuel Dreuilhe and others  The magazine enjoyed great success among French gays, and increased their visibility  Apart from its articles, the magazine published personal ads and erotic photographs 
In 1980, Jean-Paul Sartre agreed to an interview with the magazine, as did artists David Hockney and Barbara and politicians Pierre Bérégovoy and Gaston Defferre, showing their support for the magazine's cause 
In 1987, minister of the interior Charles Pasqua attempted to ban the publication of Gai pied  A demonstration on 19 March, along with statements of support from many public figures including minister of culture François Léotard, prevented the ban 
Between 1987 and 1990 the magazine controlled FG DJ Radio 
Despite early success, the magazine struggled to respond to the menace of AIDS, and was dealt a financial blow by the success of Minitel  After losing much of its readership, the magazine ended publication in 1991 

See also
Illico
Têtu
Passage 12:
Family Pack
Family Pack may refer to:

Family Pack (2000 film), a French-Balgian drama film directed by Chris Vander Stappen
Family Pack (2022 film), an Indian comedy film directed by Arjun Kumar S 
Passage 13:
Eriq Ebouaney
Eriq Ebouaney (born 3 October 1967) is a French actor  He is best known for his portrayal as the Congolese Prime Minister Patrice Lumumba in the 2000 film Lumumba, as "Blacktie" in Brian De Palma's Femme Fatale and as "Ice" in the 2008 action film Transporter 3 in which he starred opposite Jason Statham 

Early life
Ebouaney was born in Angers, France, the son of Cameroonian immigrants  As a child he didn't show an interest in acting and was set on becoming a businessman  However, at the age of 30, he joined a theatre company and left his job as a sales manager to become a professional actor 

Career
He made his film debut in 1996 in the Cédric Klapisch directed film Chacun cherche son chat  He landed a leading role in the 2000 film Lumumba in which he portrayed Prime Minister Patrice Lumumba  The film was shot in Beira, Mozambique 
In 2002, he starred in Brian De Palma's Femme Fatale alongside Antonio Banderas  In 2004, he played the character of Jean Claude in Mark Bamford's debut feature Cape of Good Hope  In 2005 he starred in the award-winning Ridley Scott film, Kingdom of Heaven, in which he starred alongside Michael Sheen, Liam Neeson, Orlando Bloom, David Thewlis, Martin Hancock and Nathalie Cox 
In 2006, he starred in The Front Line and La piste 
In 2008, he played a supporting role in the critically acclaimed Australian film Disgrace featuring American actor John Malkovich, a small role in the Italian film Bianco e nero and later was cast as "Ice" in Transporter 3, featuring British actor Jason Statham 

Filmography
Passage 14:
Les Sous-doués en vacances
Les Sous-doués en vacances is a 1982 French comedic film, directed by Claude Zidi  It is the sequel to Les sous-doués (1980) 

Production
The film was shot between 10 August and 3 October 1981  Roland Moreno, the real life inventor of the smart card, was cast in the film as a "mad inventor" who creates a "love computer "Florence Guérin recalls how she gave her first line to the cinema in this film: "After passing a day doing a walk-on part, I knew that the next day they needed a girl for a nude scene, but she had a line in it  I begged Claude Zidi, going in front of his boat and he gave in, telling me that maybe the scene would be cut and that they already had another actress  Finally I shot, the scene was not cut, and the end credits read: B B 1: Florence Guérin "Sandrine Bonnaire in an extra in the movie 

Release
The film was released in 1982  It was shown in Paris for 22 weeks 
Passage 15:
Vaux-sous-Aubigny
Vaux-sous-Aubigny (French pronunciation: ​[vo su z‿obiɲi]) is a former commune in the Haute-Marne department in north-eastern France  On 1 January 2016, it was merged into the new commune Le Montsaugeonnais  Its population was 710 in 2019  It is the natal village of beekeeper Charles Dadant 

See also
Communes of the Haute-Marne department
Passage 16:
La naissance d'Osiris
La naissance d'Osiris, ou La fête Pamilie (The Birth of Osiris, or The Festival of Pamylia) is a one-act opera by Jean-Philippe Rameau, first performed on 12 October 1754 at Fontainebleau to celebrate the birth of the future King Louis XVI  The libretto is by Rameau's frequent collaborator Louis de Cahusac  Cahusac styled the work a ballet allégorique ("allegorical ballet"), but it is usually categorised as an acte de ballet  Its slender plot tells of Jupiter's announcement to a group of Egyptian shepherds of the birth of the god Osiris, who symbolises the baby prince  The piece may have started life as part of a larger work, Les beaux jours de l'Amour, an opéra-ballet Rameau and Cahusac planned but never completed for reasons which are still uncertain 

Background and performance history
Musicologists now think that Rameau and Cahusac originally intended La naissance d'Osiris to be part of a multi-act opéra-ballet called Les beaux jours de l'Amour  There is some evidence this work was substantially complete by May 1751, but for unknown reasons it was never staged  The other acts were Nélée et Myrthis (never completed and unperformed until the 20th century) and Anacréon, first performed separately at Fontainebleau on 23 October 1754  The Rameau scholar Sylvie Bouissou believes that La naissance would have been the first act of Les beaux jours de l'Amour Like Anacréon, La naissance d'Osiris was salvaged for performance before the court at Fontainebleau  It thus became one of a series of operas celebrating the births of the children of the Dauphin of France and his wife Maria Josepha  On this occasion the royal baby was the Duc de Berry, the future King Louis XVI  The conductor Hugo Reyne notes the historical irony of identifying Louis XVI with Osiris, a god who was murdered, just as Louis was to be guillotined in 1793  The opera appeared on 12 October 1754 as part of a triple bill alongside revivals of Rameau's Pigmalion and Les incas de Pérou (the second act of the 1735 opéra-ballet Les Indes galantes)  Documents show it went into rehearsal on 26 August, three days after the birth of the prince  The manuscripts show it was adapted for the occasion from Les beaux jours de l'Amour; originally Pamilie was merely an unnamed "shepherdess" A lengthy account of the premiere appeared in the October 1754 edition of the journal Le Mercure de France  In the same issue, Cahusac explained the Egyptian background of the work:

As she was leaving the temple of Jupiter, a Theban woman named Pamyles heard a voice announcing the birth of a hero who would one day bring happiness to Egypt  This hero was Osiris, whom Pamyles brought up and who was subsequently one of the most illustrious benefactors of humanity  To preserve the memory of this event, the Egyptians established the Festival of Pamylia 
Osiris had already featured in the first act of Rameau's opéra-ballet Les fêtes de l'Hymen et de l'Amour (premiered 1747 and revived in July 1754)  The reviewer in Le Mercure de France described the richness of the scenery in La naissance: the pillars of the temple were carved with hieroglyphics; there were sphinxes and a palm-tree  He also gave a detailed account of the final dance in which the ballerina Mademoiselle Catinon played Cupid and Mademoiselle Puvigné a shepherdess  The reviewer praised the singing of the prima donna Marie Fel as Pamylie There is no evidence La naissance d'Osiris was ever revived in the 18th century, probably because it was too closely linked with the occasion of the premiere  However, Rameau did reuse some of the music in his later works: Anacréon, Les Paladins and Les Boréades 

Music
The work is predominantly pastoral in style, containing four musettes (numbers which employ a musette de cour, a type of bagpipe)  "La flamme des éclairs, les éclats du tonnerre" is unusually virtuosic for a bass aria  It appears that the performers found some of the music so technically challenging that it was omitted from the premiere; this virtuosic writing probably derives from Italian musical style  The overture too shows Italian influence; it is in three parts (quick-slow-quick) and the music of the last section is reprised in the final chorus of the opera 

Roles
Synopsis
Scene: The stage shows the temple of Jupiter
The shepherds rejoice at the peace their land enjoys; there is only one thing missing to make their happiness complete (chorus: "Coulez jours de paix, coulez jours heureux")  They bring their presents into the temple of Jupiter  A shepherd sings a musette celebrating the return of Spring and his love for Sylvie (musette: "Du printemps sur l'herbe fleurie")  A shepherdess vows to remain faithful to her lover (ariette: "Non, non, une flamme volage")  The sky darkens, lightning flashes and thunder rumbles; believing it is the wrath of Jupiter, the terrified shepherds start to flee (chorus: "Jupiter s'arme de la foudre"), but the High Priest reassures them that the god is pleased with their sacrifices and has good news for them (ariette: "La flamme des éclairs, les éclats du tonnerre")  The sky clears and Jupiter himself descends accompanied by Cupid and the Graces  He promises the people an era of peace and announces the birth of a hero (air: "Il est né, ce héros que vos vœux demande")  The priests pay homage to Jupiter and the shepherds rejoice (chorus: "Chants d'allégresse et de victoire", ariette for a shepherdess: "Volez, plaisirs, régnez, aimables jeux")  Jupiter returns to heaven, leaving Cupid behind to rule the earth  The opera concludes with a divertissement of dances, choruses and airs in praise of Cupid 

Recordings
La naissance d'Osiris Stéphanie Révidat (Pamilie), Céline Ricci (Une bergère), François-Nicolas Geslot (Un berger), Bertrand Chuberre(Le grand prêtre), Florian Westphal (Jupiter), La Simphonie du Marais, conducted by Hugo Reyne (Musiques à la Chabotterie, 2006)
On Rameau, Maître à Danser along with Daphnis et Eglé, Les Arts Florissants conducted by William Christie (1 DVD, Alpha, 2014)
Orchestral suite, Capella Savaria, conducted by Mary Térey-Smith (Naxos, 1997)
Passage 17:
Pauvres Diables
"Pauvres Diables" is a song by Julio Iglesias recorded in 1979  The song is also commonly known as "Vous les femmes" based on the opening lyrics  The song was also recorded in Spanish language by Iglesias as "Pobre diablo" 
The song has been recorded by many artists including Johnny Hallyday and later by Arno in the film score for 2013 film Les Garçons et Guillaume, à table! (English title Me, Myself and Mum)
In 2014, the song was reinterpreted by Nuno Resende, Julio Iglesias Jr  and Damien Sargue as "Vous les femmes (Pobre diablo)" in the covers compilation album Latin Lovers 
Passage 18:
Gaspard Manesse
Gaspard Manesse (born 25 March 1975 in Paris) is a French actor, composer and musician  He is best known for his starring role as Julien Quentin in the film Au revoir, les enfants (1987)  He acted in and composed the music for the film Comme il vient  Gaspard is a composer and musician - he tours throughout the heart of France playing the trumpet with a group called "Surnatural Orchestra" from the Ile-de-France 

Filmography
Comme il vient – 2002
Erreur de jeunesse (fr)   –  1989
Au revoir, les enfants (Goodbye, Children)  – 1987

External links
Gaspard Manesse at IMDb
http://surnaturalorchestra free fr/ (in French)



ground_truth: La Goulette