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 plague occur in the birthplace of La Silvia's composer?

The following are given passages.
Context 1: Passage 1:
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 2:
Patricia Millardet
Patricia Millardet (24 March 1957 − 13 April 2020) was a French movie and television actress, who played judge Silvia Conti in the Italian mafia series La piovra She died of a heart attack in 2020 at the age of 63 

Partial filmography
Passage 3:
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 4:
Orlando furioso (Vivaldi, 1714)
Orlando furioso RV 819 (Italian pronunciation: [orˈlando fuˈrjoːzo, -so], Teatro San Angelo, Venice 1714) is a three-act opera surviving in manuscript in Antonio Vivaldi's personal library, only partly related to his better known Orlando furioso (RV 728) of 1727  It is a recomposition of an Orlando furioso written by Giovanni Alberto Ristori which had been very successfully staged by Vivaldi and his father's impresa in 1713, and whose music survives in a few fragments retained in the score of RV 819  Therefore, Vivaldi's first cataloguer Peter Ryom did not assign the opera a RV number, but catalogued it as RV Anh  84  The libretto was by Grazio Braccioli 

Authorship
Federico Maria Sardelli, according to the studies of Reinhard Strohm, argues that Orlando RV 819 was entirely recomposed by Vivaldi, starting from the original Ristori's opera that Vivaldi himself had already changed during the numerous representations of the season 1713  He assigned to it the catalogue number RV 819  One suggestion is that Vivaldi avoided putting his own name on the opera having himself only recently taken direction of the Teatro San Angelo  Against this others consider that the bulk of the opera is a copy of Ristori's lost work 

Opera
Unlike the Orlando furioso (RV 728) of 1727, in which the role of Orlando is sung by a contralto, the 1714 opera assigns the title role to a bass  The third act is missing and the rest of the score (evidently used in performances by the composer) is incomplete  Two arias are lost, seven arias are incomplete (only the bass part is extant) and three arias are identical with extant arias in RV 727 and RV 729 

Recording
The French label Naïve, which had already recorded the more famous Orlando furioso and Orlando finto pazzo for its Vivaldi Edition, released a recording of the July 20, 2012 première at the Festival de Beaune, with Sardelli conducting Modo Antiquo and singers including Riccardo Novaro as Orlando, Gaëlle Arquez as Angelica, Romina Basso as Alcina and Teodora Gheorghiu as Bradamante  Given the heavily defective nature of the surviving manuscript, Sardelli had to reconstruct or compose ex novo the seven incomplete arias, in a Vivaldian style 

See also
List of operas by Antonio Vivaldi
Passage 5:
Denmark Place fire
The Denmark Place fire occurred on 16 August 1980 at 18 Denmark Place in Central London  The fire, caused by arson, killed 37 people of eight nationalities, most of whom were Spanish or Latin American, who were patrons of two unlicensed bars in the building  At the time, The Sunday Times suggested that it could be "the worst mass murder in British history" 

Background
There were two unlicensed bars on the top two floors of 18 Denmark Place: The Spanish Rooms, a late night bar frequented by locals, including Irish and Jamaican immigrants; and Rodo's, also known as El Dandy, a salsa club popular with South American immigrants  Access to both of these bars was obtained by shouting up from the street below in order to obtain a key  The only way into both of these clubs was through a locked front door and up some stairs leading to a landing  
Access to the club on the lower floor was via this landing and access to the club on the upper floor was via a fire escape enclosed with plywood  Both bars, being unlicensed, were obscured from the outside world by boarded up windows and the door on Denmark Street that led to the fire escape was bolted shut  The Metropolitan Police were aware of the clubs and were planning to shut them both down on Monday 18 August  A farewell party was being thrown over the weekend 

The fire
On the night of 16 August 1980, John Thompson, a Scottish-born petty criminal aged 42, entered The Spanish Rooms and drank there  He believed that the barman had overcharged him for the drink  After fighting with the barman he was ejected from the building and the door was locked behind him  Thompson found a 2-gallon container outside the club, hailed a taxi and then travelled to a 24-hour petrol station in Camden where he filled the container with petrol  He then returned to 18 Denmark Place, poured the petrol through the letterbox of the front door and put a lit piece of paper through Fire quickly took hold in the premises owing to the largely timber construction of the building  Both bars were badly damaged  There were estimated to be 150 people within the building at the time  People could not escape easily due to the boarded up windows, the locked fire escape and general lack of fire safety precautions owing to the bars' unlicensed status The fire burned quickly through the wooden staircase, destroying the main entrance and exit to the bars  Some patrons tried to escape via the back door but found that this was locked  Others smashed windows and jumped out onto the street below  On Denmark Street there was a music shop that backed onto the clubs and some patrons were found here trapped behind the security shutters  One firefighter managed to rescue six people from this area 
When firefighters were called to the fire at around 03:30 they could see smoke seeping from the shuttered windows  When an attempt was made to force the locked front door open they were showered with sparks and embers and were forced to retreat  Once firefighters were able to access the front door it took four minutes to break it down – behind it they found that the staircase was completely on fire 
The speed of the fire was so rapid that many of the bar patrons died where they were sitting or standing  An officer from the London Fire Brigade described the scene:

People seem to have died on the spot without even having time to move an inch  Some were slumped at tables  Seven were at the bar and appear to have fallen as they stood, with drinks still in their hands 

Aftermath
In May 1981, Thompson was convicted on a specimen charge of murdering one of the victims, Archibald Campbell (aged 63) and sentenced to life imprisonment  He died of lung cancer on 16 August 2008, the 28th anniversary of the fire There was comparatively little publicity about the fire, and no formal enquiry into it  The families of some of those who died were not aware of the circumstances  In 2022, after redevelopment of the site, a plaque was placed on a wall in memory 

See also
Blue Bird Café fire, 1972 fire in Montreal started in retaliations by patrons refused entry who then lit petrol in front of main entrance and only exit; also killed 37 
Happy Land fire, 1990 fire in New York City at illegally operated nightclub started the same way by aggrieved ejected patron; resulting 87 fatalities is the worst mass murder in city history caused by a single person 
Clerkenwell cinema fire, 1994 fire in London at an illegally operated adult cinema, intentionally started by an aggrieved patron 
Ghost Ship warehouse fire, 2016 fire at illegally operated nightclub in California that killed 37
Passage 6:
List of bones of the human skeleton
The human skeleton of an adult consists of around 206 bones, depending on the counting of sternum (which may alternatively be included as the manubrium, body of sternum, and the xiphoid process)  It is composed of 270 bones at the time of birth, but later decreases to 206: 80 bones in the axial skeleton and 126 bones in the appendicular skeleton  Many small accessory bones, such as sesamoid bones, are not included in this count 

Introduction
As a person ages, some bones fuse, a process which typically lasts until sometime within the third decade of life  Therefore, the number of bones in an individual may be evaluated differently throughout a lifetime  In addition, the bones of the skull and face are counted as separate bones, despite being fused naturally  Some reliable sesamoid bones such as the pisiform are counted, while others, such as the hallux sesamoids, are not 
Individuals may have more or fewer bones than the average (even accounting for developmental stage) owing to anatomical variations  The most common variations include sutural (wormian) bones, which are located along the sutural lines on the back of the skull, and sesamoid bones which develop within some tendons, mainly in the hands and feet  Some individuals may also have additional (i e , supernumerary) cervical ribs or lumbar vertebrae  Amputations or other injuries may result in the loss of bones  Complete bone fractures may split one bone into multiple pieces  Other genetic conditions may result in abnormally higher (e g  polydactyly or conjoined twins) or lower (e g  oligodactyly) counts of bones 

Bones
The axial skeleton, comprising the spine, chest and head, contains 80 bones  The appendicular skeleton, comprising the arms and legs, including the shoulder and pelvic girdles, contains 126 bones, bringing the total for the entire skeleton to 206 bones  Infants are born with about 270 bones with most of it being cartilage, but will later fuse together and decrease over time to 206 bones 

Spine (vertebral column)
A fully grown adult features 26 bones in the spine, whereas a child can have 34 

Cervical vertebrae (7 bones)
Thoracic vertebrae (12 bones)
Lumbar vertebrae (5 bones)
Sacrum (5 bones at birth, fused into one after adolescence)
Coccygeal vertebrae/Cordal (set of 4 bones at birth; some or all fuse together, but there seems to be a disagreement between researchers as to what the most common number should be  Some say the most common is 1, others say 2 or 3, with 4 being the least likely  It is counted as 1 in this article )

Chest (thorax)
There are 25 bones in the chest  The chest contains cartilage for the lungs to fill with air  

Sternum (1 or 3 bones  It is counted as 1 in this article )
Ribs (24, in 12 pairs)
Cervical ribs are extra ribs that occur in some people 

Head
There are 23 bones in the skull  Including the bones of the middle ear and the hyoid bone, the head contains 29 bones 

Cranial bones (8)
Occipital bone
Parietal bones (2)
Frontal bone
Temporal bones (2)
Sphenoid bone (sometimes counted as facial)
Ethmoid bone (sometimes counted as facial)
Facial bones (15)
Nasal bones (2)
Maxillae (upper jaw) (2)
Lacrimal bone (2)
Zygomatic bone (cheek bones) (2)
Palatine bone (2)
Inferior nasal concha (2)
Vomer (1)
Hyoid bone (1)
Mandible (1)
Middle ears (6 bones in total, 3 on each side)
Malleus (2)
Incus (2)
Stapes (2)

Upper limb (arm and forearm) and hand
There are a total of 64 bones in the arms, 32 in each arm

Upper arm bones (6 bones in total; 3 on each side)
Humerus (2)
Pectoral girdle (shoulder)
Scapula (2)
Clavicle (2)
Lower arm bones (4 bones in total, 2 on each side) left bone
Ulna (2) (Lined up with pinky)
Radius (2) (Lined up with thumb)
Hand (54 bones in total; 27 in each hand)
Carpals
Scaphoid bone (2)
Lunate bone (2)
Triquetral bone (2)
Pisiform bone (2)
Trapezium (2)
Trapezoid bone (2)
Capitate bone (2)
Hamate bone (2)
Metacarpals (10 bones in total; 5 on each side)
Phalanges of the hand (28 bones in total, 14 on each hand)
Proximal phalanges (10 bones in total; 5 on each side)
Intermediate phalanges (8 bones in total; 4 on each side)
Distal phalanges (10 bones in total; 5 on each side)

Pelvis (pelvic girdle)
The pelvis (or hip bone) is made up of three regions that have fused to form two coxal bones  They are the ilium, ischium, and pubis 

The sacrum and coccyx attach to the two hip bones to form the pelvis, but are more important to the spinal column, where they are counted The pelvis is one of two bones used to determine the sex of a skeleton, which is determined by examining the size of the greater sciatic notch (also known as the pelvic opening) 

Lower limb (thigh and leg) and foot
There are a total of 60 bones in the legs 

Femur (2)
Patella or kneecap (2)
Tibia (2)
Fibula (2)
Foot (52 bones in total, 26 per foot)
Tarsus/Tarsals
Calcaneus or heel bone (2)
Talus (2)
Navicular bone (2)
Medial cuneiform bone (2)
Intermediate cuneiform bone (2)
Lateral cuneiform bone (2)
Cuboid bone (2)
Metatarsals (10)
Phalanges of the foot (28 bones in total, 14 per foot)
Proximal phalanges (10)
Intermediate phalanges (8)
Distal phalanges (10)

See also
List of skeletal muscles of the human body
List of nerves of the human body
Circulatory system
Blood vessel
Passage 7:
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 8:
La Cantuta massacre
La Cantuta massacre took place in Peru on 18 July 1992, during the presidency of Alberto Fujimori  Supposed members of Shining Path, including a university professor and nine students from Lima's La Cantuta University, were abducted, tortured, and killed by Grupo Colina, a military death squad  The incident occurred two days after the Shining Path's Tarata bombing, which killed over 40 people in Lima Province 
The massacre was one of the crimes cited in the conviction of Fujimori on 7 April 2009, for human rights abuses 

Context
The Enrique Guzmán y Valle National Education University (Universidad Nacional de Educación Enrique Guzmán y Valle, or "UNE"; better known as "La Cantuta", from the neighbourhood in which it stands) was founded as a teacher-training college in 1822, granted its university charter in 1965, closed down by the military government in 1977, and reopened in 1980 Because of its remote location, far away from the centre of Lima, the fact that most of its students hailed from the impoverished interior of the country, and that most of them intended to enter the highly politicised teaching profession, La Cantuta gained a reputation as hotbed of radical politics, such as communism and anarchism as early as the late 1950s and early 1960s  A series of student-led protest actions on the campus — including the blocking of the railway line linking Lima with the interior of the country — that led to the suspension of its activities in 1977 With the return of democratic rule in 1980, President Belaúnde reopened the university  The radical elements among the students and lecturers were quick to return, and by the mid-1980s the country's two main insurgent groups, Shining Path (Sendero Luminoso) and the Túpac Amaru Revolutionary Movement (MRTA), had a strong presence on campus, being widely regarded as 2 very legitimate organisations  By the early 1990s, due to a strategic withdrawal by MRTA and the fragmentation of the other left-wing groups on campus, legal and illegal alike, Sendero Luminoso had the upper hand  This was in spite of operations such as that of 13 February 1987, when 4000 police officers conducted night-time raids at the dormitories of three state universities (including La Cantuta); 20 April 1989, when a joint force of police and army descended on La Cantuta University and San Marcos National University and arrested over 500 students on charges of subversion; or 22 May 1991, when, in response to a hostage crisis and rumors of an explosive device squirreled away on campus, Fujimori sent the army in to restore law and order at La Cantuta  Graffiti alluding to Sendero Luminoso and its leader, Abimael Guzmán, were painted over with patriotic slogans; students went about their business only after passing checkpoints and under close supervision from the armed forces; and the campus remained under military control for several years 

Abduction of July 1992
In the pre-dawn hours of 18 July 1992, two days after the Tarata bombing, members of the Army Intelligence Service (SIE) and the Army Directorate of Intelligence (DINTE), most of whom were attached to the recently established Grupo Colina death squad, burst into the residences of the Enrique Guzmán y Valle National University Once inside, the troops forced all the students to leave their rooms and lie belly-down on the floor  Nine students believed to be linked to the Tarata Bombing — Bertila Lozano Torres, Dora Oyague Fierro, Luis Enrique Ortiz Perea, Armando Richard Amaro Cóndor, Robert Édgar Teodoro Espinoza, Heráclides Pablo Meza, Felipe Flores Chipana, Marcelino Rosales Cárdenas, and Juan Gabriel Mariños Figueroa — were separated from the others and taken away  Meanwhile, in the staff residences, a group of soldiers broke into the home of professor Hugo Muñoz Sánchez  After searching his bedroom, they gagged the professor and led him away 

Prosecutions and amnesty
In April 1993, a group of Peruvian military officers anonymously released a document detailing the events at La Cantuta  Their document claimed the death squad had abducted the victims, tortured and murdered them, and then hurriedly buried them; later, they claimed, after questions had been raised in Congress, that the armed forces had exhumed, incinerated, and reburied the bodies in another location  The military whistleblowers named the members of Grupo Colina involved, identified the operations chief as Major Santiago Martín Rivas, and suggested that the group operated on the orders of Vladimiro Montesinos, head of the National Intelligence Service (SIN) and a close advisor to President Fujimori 
On 6 May, Lt  Gen  Humberto Robles Espinoza, the army's third highest-ranking officer, publicly denounced a number of human rights violations committed by the SIN and the armed forces, including the La Cantuta killings  He was later dismissed from duty and subjected to death threats, and finally fled the country for political asylum in Argentina In June 1993, Justo Arizapana Vicente, a recycler, and his friend Guillermo Cataroca, leaked a marked map to congress man Roger Cáceres Velásquez and Radio Comas journalist Juan Jara Berrospi  Cáceres then shared the map with Ricardo Uceda at the news magazine Sí, who published it in July of that year  Mariella Barreto, an agent of the Peruvian Army Intelligence Service, is also sometimes credited with leaking this map to a Peruvian magazine  An investigation of the site indicated on the map by the public prosecutor revealed four clandestine graves  Forensic tests conducted on the remains, and on another set of bones found at another site, revealed that they belonged to Muñoz Sánchez and the students Luis Enrique Ortiz Perea, Armando Amaro Condor, and Juan Gabriel Mariños Figueroa, and that at least some of them had been tortured prior to receiving an execution-style coup-de-grâce to the base of the neck  Barreto was murdered some years later: her decapitated and dismembered corpse, showing signs of ante-mortem torture, was found in March 1997  A few weeks after Mariella Barreto's death, her colleague Leonor La Rosa, was on TV in a hospital bed, declaring she had been tortured and that Barreto had been killed in retaliation for leaking information to the press about the Groupo Colina's plan to intimidate journalists and politicians from the opposition The military authorities had begun an investigation into the killings in May 1993  In addition, in December 1993, a civilian prosecutor filed criminal charges against several named members of the military  A conflict of jurisdiction thus arose between the military and civilian courts  The controversy was placed before the Supreme Court which, on 3 February 1994, ruled that it was unable to reach agreement on which venue should apply  Consequently, on the night of 7 February, Congress enacted a new law whereby the Supreme Court could decide such matters with a simple majority, instead of a unanimous vote  By a three-to-two vote of the Supreme Court's criminal division, the case was placed under military jurisdiction On 21 February 1994, the Supreme Council of Military Justice (CSJM) sentenced ten of the perpetrators to prison sentences of between one and 20 years Following Fujimori's landslide re-election in April 1995, in another all-night session on 14 June 1995, Congress enacted law No  26479, the "Amnesty Law", ordering the release of all police officers, soldiers, and civil servants convicted of or charged with civilian or military crimes during Peru's War on Terrorism  On 15 July, the Supreme Council of Military Justice ordered the release of all the individuals convicted for the La Cantuta killings 

Repeal of the Amnesty Law
The Amnesty Law was repealed after the Fujimori government in 2000 and, on 21 March 2001, Attorney General Nelly Calderón presented charges against Fujimori, accusing him of being one of the "co-authors" of this massacre and of the 1991 Barrios Altos massacre  She presented evidence that Fujimori, acting in concert with SIN supremo Vladimiro Montesinos, exercised control over Grupo Colina  The charges alleged that the group could not have committed crimes of this magnitude without Fujimori's express orders or consent, and that the formation and function of the Colina group was part of an overall counter-insurgency policy that involved systematic violations of human rights 

Prosecutions and apology
In November 2005, Fujimori was detained in Chile  Peruvian authorities filed for his extradition to face charges arising from various incidents during his presidency, including the La Cantuta massacre, and he was returned to Peru on 22 September 2007 
On 8 April 2008, a court found a number of people, including Julio Salazar, guilty of kidnapping, homicide, and forced disappearance In October 2007, pursuant to a 2006 ruling from the Inter-American Court of Human Rights, the government extended a formal apology for the massacre and undertook to make amends to the victims' next-of-kin, including compensation in the amount of US$1 8 million 

Fujimori's trial
During the trial of Alberto Fujimori, it was asserted by former Colina member José William Tena Jacinto that at least two of the victims were positively identified as Shining Path members Lieutenant Aquilino Portella and the Dean of the Social Science Department of the University, Claudio Cajahuaringa, have also claimed that Professor Hugo Muñoz Sánchez and student Bertila Lozano Torres were involved with Shining Path  In the case of Lozano, it was claimed that documents allegedly in her possession revealed that she was indeed an actual member of the insurgent organization In 2009 it was determined by a judicial ruling that not a single one of the victims in La Cantuta massacre was linked to any terrorist organization, it was in the same ruling that condemned Fujimori to a 25 years imprisonment for crimes against humanity 

See also
List of massacres in Peru

Notes
External links
"The La Canuta Case"  APRODEH 
La Cantuta Case – Inter-American Commission on Human Rights
La Cantuta Case vs  Peru – Inter-American Court of Human Rights
La Cantuta – Truth and Reconciliation Commission, final report (PDF; Spanish)
La Cantuta – overview (MIT Western Hemisphere Project)
La Cantuta – summary of events (Spanish)
Questions and answers about Fujimori's criminal prosecution – Human Rights Watch
Passage 9:
La Silvia
La Silvia (RV 734) is an dramma pastorale per musica in three acts by Antonio Vivaldi to an Italian libretto by Enrico Bissari  It was first performed on 28 August 1721 at the Teatro Regio Ducale in Milan on the occasion of the birthday celebrations of the Austrian Empress Elisabeth Christine, wife of Emperor Charles VI of Austria 

Background
In 1718 Vivaldi had been nominated maestro di cappella di camera, at the court of Philipp von Hessen-Darmstadt in Mantua for whom he composed Armida al campo d'Egitto, Teuzzone, Scanderbeg (all 1718) and then Tito Manlio (1719) and La Candace (1720)  On his return to Venice, following performance of La verità in cimento at the Teatro Sant'Angelo, Vivaldi, thinly disguised as "Aldiviva", became, along with Giovanni Porta, Anna Maria Strada and others, one of the principal targets of the gentleman-composer Benedetto Marcello's satirical pamphlet Il teatro alla moda (written 1718-1719, published 1720) Bissari's text had originally been written in 1710 as a play for Princess Teresa Kunegunda Sobieska, second wife of the Bavarian elector Maximillian II Emmanuel  The opera was performed again in Milan in 1723 and 1724  8 of the arias are preserved in the Biblioteca Nazionale di Torino 

Roles
Recordings
2001 (reconstruction of nine surviving arias) Roberta Invernizzi, Gloria Banditelli, John Elwes, Philippe Cantor   Ensemble Baroque de Nice, dir  Gilbert Bezzina  Ligia  1CD 
Passage 10:
Giovanni Cifolelli
Giovanni Cifolelli was an Italian mandolin virtuoso and dramatic composer whose date and place of birth are unknown  In 1764 he made his appearance in Paris as a mandolin virtuoso and was highly esteemed, both as a performer and teacher  He published his Method for the mandolin while residing in Paris, which met with great success throughout France, being the most popular of its period 
His chief works were the operas L'Italienne and Pierre et Lucette, the former being an opera bouffe in one act (with the storyline or libretto by Nicolas-Étienne Framery)  These works were commissioned by the Comedie Italienne, Paris, and were produced at this theatre successfully, in 1770 and 1774  Several of the songs and duets in Pierre and Lucette were exceedingly popular in France, and they were republished in Paris in 1775 and 1780 

Works
L'Italienne  : comédie en 1 acte, mêlée d'ariettes (Paris, 1770)
Pierre et Lucette, comédie en deux actes et en prose mêlée d'ariettes (Paris, 1774)
Airs détachés de Perin et Lucette, comédie en deux actes, mêlées d'ariettes par M  Davesne (Paris, 1775)
Ariette nouvelle avec accompagnement de deux violons et basse
Non, laisse moi, laisse moi, Lucas  Duo (1775)
Context 3: Passage 1:
Broward Correctional Institution
The Broward Correctional Institution (BCI) was a correctional facility located in the former Country Estates CDP and in Southwest Ranches, Florida, operated by the Florida Department of Corrections  The Region IV Correctional Facility Office is located on the grounds of Broward Correctional Institution in the former Country Estates CDP  The prison was in proximity to Pembroke Pines  It was located along Sheridan Street, near U S  Route 27 The facility was opened in 1977 to house a male inmate population  However, in its history the prison has had only female inmates  It housed female death row inmates until February 2003 when the female death row was moved to Lowell Annex  The Broward Correctional Institution served as a reception center for female inmates  As of 2011, a staff of approximately 272 individuals serviced the facility  As of 2012 624 prisoners, all female, were housed there  The facility was closed in 2012  Closure was scheduled for May 1 of that year  The Fort Lauderdale Sun-Sentinel said "BCI was determined to have a relatively low population and a high per diem inmate cost of $111 48 " ($145 02 when adjusted for inflation)

Notable inmates
Death row:

Judy Buenoano
Aileen Wuornos
Passage 2:
Shooter (TV series)
Shooter is an American drama television series based on the 2007 film of the same name and the first three novels in the Bob Lee Swagger series by Stephen Hunter  The show stars Ryan Phillippe in the lead role of Swagger, a retired United States Marine Corps Scout Sniper from MARSOC living in seclusion who is coaxed back into action after learning of a plot to kill the President  USA Network picked up the pilot in August 2015 and ordered the series in February 2016 The series was originally set to premiere on July 19, 2016, but it was postponed to July 26 due to the July 7 Dallas police officer shootings  USA pulled it entirely after the Baton Rouge police officer shootings on July 17  On October 3, 2016, USA announced that the new premiere date for Shooter would be November 15, 2016  On December 19, 2016, the series was renewed for a second season that premiered on July 18, 2017  On December 4, 2017, the series was renewed for a third season On August 15, 2018, USA Network canceled Shooter after three seasons, and its final episode aired on September 13, 2018 

Cast and characters
Main
Ryan Phillippe as Bob Lee Swagger, a highly trained, retired Marine Gunnery Sergeant and MARSOC Scout Sniper
Shantel VanSanten as Julie Swagger, Bob Lee's wife
Cynthia Addai-Robinson as Nadine Memphis, an FBI agent investigating Swagger
Omar Epps as Isaac Johnson, a Secret Service Agent who is also a former Marine Captain and was Swagger's commanding officer in MARSOC
Eddie McClintock as Jack Payne, a figure involved in the conspiracy against Swagger (season 1; guest, season 3)
Josh Stewart as Solotov, a Chechen master sniper with whom Bob Lee has tangled before (seasons 2–3)
Jesse Bradford as Harris Downey, a D C  staffer who was once involved with Nadine (recurring, season 2; main, season 3)
Gerald McRaney as Red Bama Sr , owner of Bama Cattle and an Undersecretary in the Department of Agriculture (season 3)

Recurring
David Andrews as Sam Vincent, Bob Lee's close friend and lawyer  (season 1, 3)
David Marciano as Howard Utey, Nadine Memphis' superior at the FBI (season 1)
Lexy Kolker as Mary Swagger, Bob Lee's and Julie's daughter
William Fichtner as Rathford O'Brien, Bob Lee's former shooting instructor
Tom Sizemore as Hugh Meachum, a CIA black ops operative with mysterious motives (season 1)
Rob Brown as Donny Fenn, Swagger's best friend and spotter who was killed by Solotov (seasons 1–2)
Sean Cameron Michael as Grigory Krukov, a Russian FSB agent (season 1)
Delaina Mitchell as Anna Wallingford, Julie's married sister and Mary's aunt (season 1, 3)
David Chisum as Jim Wallingford, Anna's husband and Julie's brother in law (season 1)
Michelle Krusiec as Lin Johnson, Isaac's loyal wife (season 1-2)
Matt Shallenberger as John Wheeler, a mysterious and deadly Atlas operative (guest: season 1, recurring: season 3)
Desmond Harrington as Lon Scott, the CEO of Anhur Dynamics (season 1)
Beverly D'Angelo as Patricia Gregson, a former National Security Advisor
Jerry Ferrara as Kirk Zehnder, a former marine who always detects a conspiracy and is part of the core team of Bob Lee Swagger (season 2)
Todd Lowe as Colin Dobbs, a former marine in Swagger's unit, now living in Texas an hour from the Swagger Ranch (season 2)
Patrick Sabongui as Yusuf Ali, a core member of Swagger's original Marine team (season 2)
Jaina Lee Ortiz as Angela Tio, an active duty Marine who formerly served with Bob Lee's unit (season 2)
John Marshall Jones as Sheriff Brown, the local law enforcement in Bob Lee's hometown and a long-time friend (season 2–3)
Harry Hamlin as Sen  Addison Hayes, a mysterious and powerful mastermind whose agenda will collide with Swagger (seasons 2–3)
Troy Garity as Jeffrey Denning, a seasoned investigative journalist who cares deeply about justice being served (season 2)
Derek Phillips as Earl Swagger, Bob Lee's father, a Vietnam veteran who was sheriff in Bob Lee's hometown before he was killed in 1988 (season 3)
Tait Blum as Young Bob Lee (season 3)
Conor O'Farrell as Rick Culp, a West Texas prison guard who may have been involved in Earl Swagger's death (season 3)
Eric Ladin as Red Bama Jr , Red Sr's screw-up of a son who desperately wants his father's respect and confidence (season 3)
Brian Letscher as Bert Salinger, an employee of Red Bama Sr  who watches over Red Jr  (season 3)
Felisha Terrell as Carlita Cruise, a former Atlas operative embedded in the Dept  of Agriculture who helps Nadine and Isaac take down her former employers (season 3)
Mallory Jansen as Margo, an Agent for the Department of Justice who has been attempting to bring down Atlas for years (season 3)
Kurt Fuller as Andrew Gold, the Deputy Chief of Staff to the U S  President and high ranking Atlas member (season 3)
Dee Wallace as Katherine Mansfield, the long-time former mission planner for Atlas who is now forced to reside in a mental institution (season 3)
Michael O'Neill as Ray Brooks, a Federal judge nominated for a vacancy on the U S  Supreme Court and Atlas operative (season 3)

Production
On July 6, 2016, while filming a scene at Agua Dulce Airpark, actor Tom Sizemore accidentally ran over a stuntman  Sizemore was supposed to enter the Cadillac Escalade and stay there until the scene ended, but the stunt coordinator told him to pull out, not realizing that the stuntman was behind him On July 26, 2017, the second-season episode order was cut back from the planned ten episodes to the eight episodes already filmed after Ryan Phillippe broke his leg on July 16, 2017, in an incident unrelated to the series About the cancellation, Omar Epps said: “That was all backdoor politics  It had nothing to do with the numbers  Me and Ryan [Phillippe] had a great time  We were like kids in a candy store  We used to laugh every day we showed up to work, like, 'We're kids again!' We just get to run and jump, push, punch  You know, stuff that little boys do  It was like playing in the playground in the sandbox  I had a great, great time on that show  I have a lot of respect for John Hlavin, who's a showrunner on there  And like I said, Ryan and I got cool and had a great time on that show  That was just the backdoor politics “

Episodes
Season 1 (2016–17)
Based on the novel Point of Impact by Stephen Hunter 

Season 2 (2017)
Based on the novel Time to Hunt by Stephen Hunter 

Season 3 (2018)
Based on the novel Black Light by Stephen Hunter 

Broadcast
Shooter aired on Thursdays at 10:00 pm on USA Network  The episodes are approximately 43 minutes, and are broadcast in both high- and standard definition  In addition, the streaming service Netflix started to broadcast the series in certain regions worldwide, the first season weekly on November 15, 2016, with a one-day delay with respect to the original United States broadcast 

Reception
Shooter received mixed reviews from critics  On the review aggregator Rotten Tomatoes, the series has an approval rating of 47% based on 17 reviews, with an average rating of 5 75/10  The site's critical consensus reads: "Ryan Phillippe's efforts aren't enough to salvage Shooter, a tedious, under-developed drama that lacks an original voice or perspective " On Metacritic, which assigns a normalized rating, the series has a score 60 out of 100, based on 11 critics, indicating "mixed or average reviews" 

Ratings
Season 1 (2016–17)
Season 2 (2017)
Season 3 (2018)
Passage 3:
Roman Catholic Archdiocese of Brisbane
The Roman Catholic Archdiocese of Brisbane is a Latin Church metropolitan archdiocese of the Catholic Church in Australia located in Brisbane and covering the South East region of Queensland, Australia 
Part of the Roman Catholic Ecclesiastical Province of Brisbane, the region covered was initially administered by the Archdiocese of Sydney  In 1859 the Diocese of Brisbane was erected, and elevated as an archdiocese in 1887  The archdiocese is the metropolitan of the suffragan dioceses of Cairns, Rockhampton, Toowoomba and Townsville 
The Cathedral of St Stephen is the seat of the Catholic Archbishop of Brisbane  On 12 May 2012 Mark Coleridge was installed as the sixth Archbishop of Brisbane, the seventh Bishop of Brisbane 

History
The Diocese of Brisbane was established in 1859, with responsibility for the entire state of Queensland  Prior to its establishment, Queensland was part of the Roman Catholic Archdiocese of Sydney On 27 January 1877 Pope Pius IX excised the northern part of the Diocese of Brisbane from Cape Hinchinbrook and then west to the border with South Australia (now Northern Territory) to create the Vicariate Apostolic of Queensland (later the Diocese of Cairns On 29 December 1882, the Diocese of Rockhampton was excised from the Archdiocese of Brisbane  The new Rockhampton diocese had responsibility for northern Queensland while the Brisbane archdiocese retained responsibility for southern Queensland In 1929, the Diocese of Toowoomba was excised from the Archdiocese of Brisbane 

Bishops
Ordinaries
The following people have been appointed as Roman Catholic Archbishops of Brisbane or any of its precursor titles:
Coadjutors are included in the table above 

Auxiliary bishops
CurrentTim Norton SVD (2022–present)FormerHenry Joseph Kennedy † (1967–1971), appointed [[Roman Catholic Bishop of Armidale|Bishop of Armidale]]
John Joseph Gerry † (1975–2003)
Eugene James Cuskelly, M S C  † (1982–1996)
Michael Ernest Putney † (1995–2001), appointed Bishop of Townsville
Brian Vincent Finnigan (2002–2015)
Joseph John Oudeman, O F M  Cap  (2002–2017)
Kenneth Howell (2017–2023), appointed Bishop of Toowoomba

Other priests of the diocese who became bishops
James Byrne †, appointed Bishop of Toowoomba in 1929
Andrew Gerard Tynan †, appointed Bishop of Rockhampton in 1946
Edward John Doody †, appointed Bishop of Armidale in 1948
John Ahern Torpie †, appointed Bishop of Cairns in 1967
Brian Heenan, appointed Bishop of Rockhampton in 1991
James Foley, appointed Bishop of Cairns in 1992
William Martin Morris, appointed Bishop of Toowoomba in 1992
Michael Fabian McCarthy, appointed Bishop of Rockhampton in 2014
Anthony Randazzo, appointed an Auxiliary Bishop of Sydney in 2016
Timothy James Harris, appointed Bishop of Townsville in 2017
† = deceased

Cathedral
The gothic revival cathedral is located on a site bounded by Elizabeth, Charlotte and Edward Streets, in the Australian city of Brisbane  Built between 1864 and 1922, with extensions made in 1989, the cathedral was established with James Quinn as its first bishop  Quinn planned to construct a large cathedral to accommodate a growing congregation   On 26 December 1863, the Feast of St Stephen, Quinn laid the foundation stone for a grand cathedral designed by Benjamin Backhouse  Backhouse's original design was changed and downsized numerous times over the course of the cathedral's completion, mainly for economic reasons 
In 1927, there was a plan to replace St Stephen's with a new Holy Name Cathedral to be built in Fortitude Valley, Brisbane  However, funding was only sufficient to build the crypt  Eventually the project was abandoned, the crypt demolished and the land sold 

Parishes
Economic contribution
The Archdiocese contributes around $2 5 billion to the economy through its schools and other institutions, providing employment to 22,000 people The Archdiocese manages 98 parishes and 144 Catholic schools  It also provides services to 12,992 aged care and disability clients, support for 8362 seniors to live at home, support to 23,000 victims of domestic violence and help for 4,000 people with mental illness 

See also
Roman Catholicism in Australia
Passage 4:
Lindhorst railway station
Lindhorst is a railway station located in Lindhorst, Germany  The station is located on the Hannover to Minden railway  The train services are operated by Deutsche Bahn as part of the Hanover S-Bahn  Lindhorst is served by the S1 

Train services
The following services currently call at Lindhorst:
Passage 5:
Take Me Home, Country Roads
"Take Me Home, Country Roads", also known simply as "Country Roads", is a song written by Bill Danoff, Taffy Nivert and John Denver  It was released as a single performed by Denver on April 12, 1971, peaking at number two on Billboard's US Hot 100 singles for the week ending August 28, 1971  The song was a success on its initial release and was certified Gold by the RIAA on August 18, 1971, and Platinum on April 10, 2017  The song became one of John Denver's most popular songs  It has continued to sell, with over 1 6 million digital copies sold in the United States The song is considered a symbol of West Virginia  In March 2014, it became one of the four official state anthems of West Virginia  In 2023, the song was selected by the Library of Congress for inclusion in the National Recording Registry 

Composition
Inspiration for the title line had come while Taffy Nivert and Bill Danoff, who were married, were driving along Clopper Road in Montgomery County, Maryland to a gathering of Nivert's family in Gaithersburg, with Nivert behind the wheel while Danoff played his guitar  "I just started thinking, country roads, I started thinking of me growing up in western New England and going on all these small roads," Danoff said  "It didn't have anything to do with Maryland or anyplace "To Danoff, the lyric "(t)he radio reminds me of my home far away" in the bridge is quintessentially West Virginian, an allusion to when he listened to the program Saturday Night Jamboree, broadcast from Wheeling, West Virginia, on WWVA at his home in Springfield, Massachusetts during his childhood in the 1950s Danoff was influenced by friend and West Virginian actor Chris Sarandon and members of a West Virginia commune who attended Danoff's performances  Of the commune members, Danoff remarked, "They brought their dogs and were a very colorful group of folks, but that is how West Virginia began creeping into the song " While the song was inspired by Danoff's upbringing in Springfield, Massachusetts, he "didn't want to write about Massachusetts because [he] didn't think the word was musical "Starting December 22, 1970, Denver was heading the New Year's bill at The Cellar Door, with Fat City opening for him, just as Denver had opened at the same club for then-headliner David Steinberg  After the club's post-Christmas reopening night on Tuesday, December 29 (Cellar Door engagements ran from Tuesday to Sunday, and this booking was for two weeks), the three returned to the couple's apartment for an impromptu jam  On the way, Denver's left thumb was broken in a collision  He was rushed to the emergency room, where the thumb was splinted  When they returned to the apartment, Denver said he was "wired, you know "When Danoff and Nivert ran through what they had of the song they had been working on for about a month, planning to sell to Johnny Cash, Denver "flipped"  He decided he had to have it, prompting them to abandon plans for the sale  The verses and chorus were still missing a bridge, so the three of them went about finishing 
Nivert got out an encyclopedia to learn more about West Virginia  The first thing she encountered was the Rhododendron, the state flower, so she kept trying to work the word Rhododendron into the song  Rhododendron was the title that Nivert had written down on the lyric sheet, which they later sent to ASCAP  The three stayed up until 6:00 a m , changing words and moving lines around When they finished, on the morning of Wednesday, December 30, 1970, Denver announced that the song had to go on his next album  Later that night, during Denver's first set, Denver called his two collaborators back to the spotlight, where the trio changed their career trajectories, reading the lyrics from a single, handheld, unfolded piece of paper  According to Len Jaffe, a Washington, D C -based singer-songwriter who attended the show where Denver premiered the song, this resulted in a five-minute standing ovation  The next day was Denver's 28th birthday  They recorded it in New York City in January 1971 
"Take Me Home, Country Roads" is written in a Key of A major and composed in a tempo of 82 beats per minute per common time 

Commercial performance and legacy
"Take Me Home, Country Roads" appeared on the LP Poems, Prayers & Promises and was released as a 45 in the spring of 1971  Original pressings credited the single to "John Denver with Fat City"  It broke nationally in mid-April but moved up the charts very slowly  After several weeks, RCA Records called John and told him they were giving up on the single  His response: "No! Keep working on it!" They did, and the single went to number 1 on the Record World Pop Singles Chart and the Cash Box Top 100, and number 2 on the U S  Billboard Hot 100, topped only by "How Can You Mend a Broken Heart" by The Bee Gees 
On August 18, 1971, it was certified Gold by the RIAA for a million copies shipped  The song continued to sell in the digital era  As of January 2020, the song has also sold 1,591,000 downloads since it became available digitally Denver's recording of "Take Me Home, Country Roads" was selected by the Library of Congress for preservation in the National Recording Registry in 2023 

Reception in West Virginia
"Take Me Home, Country Roads" received an enthusiastic response from West Virginians  On November 1, 2017, the West Virginia Tourism Office announced it had obtained the rights to use "Take Me Home, Country Roads", in its marketing efforts  "'Country Roads' has become synonymous with West Virginia all over the world," said West Virginia Tourism Commissioner Chelsea Ruby  "It highlights everything we love about our state: scenic beauty, majestic mountains, a timeless way of life, and most of all, the warmth of a place that feels like home whether you've lived here forever or are just coming to visit " The opening phrase of the song, "Almost heaven", became a primary tourism office slogan The song is the theme song of West Virginia University, and it has been performed during every home football pregame show since 1972  The song is played for other athletic events and university functions, including after football games, for which the fans are encouraged to stay in the stands and sing the song along with the team  On September 6, 1980, at the invitation of West Virginia Governor Jay Rockefeller, songwriters Danoff, Nivert, and Denver performed the song during pregame festivities to a sold-out crowd of Mountaineer fans  This performance marked the dedication of the current West Virginia University Mountaineer Field and the first game for head coach Don Nehlen The popularity of the song inspired resolutions in the West Virginia Legislature to adopt "Take Me Home, Country Roads" as an official state song  On March 7, 2014, the West Virginia Legislature approved a resolution to make "Take Me Home, Country Roads" an official state song of West Virginia, alongside three other pieces: "West Virginia Hills", "This Is My West Virginia", and "West Virginia, My Home Sweet Home"  Governor Earl Ray Tomblin signed the resolution into law on March 8, 2014 The song was played at the funeral for West Virginia Senator Robert Byrd at the state capitol in Charleston, West Virginia on July 2, 2010 The Mountain State Brewing Company based in Thomas, West Virginia, produces an amber ale named "Almost Heaven", which it says is "named after John Denver's ode to West Virginia, 'Country Roads'" 

Personnel
John Denver – vocals, 6- & 12-string acoustic guitar
Bill Danoff – backing vocals
Taffy Nivert – backing vocals
Eric Weissberg – banjo, steel guitar
Mike Taylor – acoustic guitar
Richard Kniss – double bass
Gary Chester – drums, percussion

Charts
Certifications
Cover versions
Hermes House Band version
Dutch pop band Hermes House Band covered the song and released it as "Country Roads"  This version was first released in Germany on May 21, 2001, and was issued in the United Kingdom on December 3, 2001, where it was a contender for the 2001 Christmas number-one single  This version was a chart success in Europe, reaching number one in Scotland, number two in Germany and Ireland, and the top 10 in Austria, Denmark, and the United Kingdom 

Track listings
Charts
Certifications
Olivia Newton-John version
Olivia Newton-John released a cover version in January 1973 that reached number 6 in Japan and number 15 in the UK  It was the lead single from her third studio album, Let Me Be There  This version, as well as the song itself, features prominently in the Japanese animated film, Whisper of the Heart 

Fallout 76 version
A cover version of the song, a collaboration between Copilot Music and Sound and the vocal group Spank, was commissioned for and featured in both the teaser and full E3 2018 trailers for the 2018 video game Fallout 76, with its plot events are set in West Virginia  Released as an iTunes-only single on July 4, 2018, the song reached No  1 on the iTunes singles chart  It debuted at No  41 on Billboard's Hot Country Songs chart that week and at No  21 on Billboard's Country Digital Songs the following week  The official YouTube upload of the original John Denver recording, initially uploaded in 2013, would later edit its description in response to the song's use for the game  In Australia, a promotional Fallout 76 vinyl featuring the cover was included with the December 2018 issue of STACK Magazine exclusively from retailer JB Hi-Fi 

Forever Country
The song found further chart success as part of the Forever Country medley and video, created in 2016 to celebrate the 50th anniversary of the Country Music Association Awards 
Passage 6:
Khong Island
Khong Island or Don Khong (Lao: ດອນໂຂງ) is the largest island and the seat of administration in the Si Phan Don riverine archipelago located in the Mekong River, Khong District, Champasak Province, southern Laos



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

The following are given passages.
Context 2: 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)
Context 3: 
The island is 18 kilometers (11 mi) long (north-south), and 8 kilometers (5 0 mi) at its widest point  Its population is mainly concentrated in the two villages Muang Saen (west) and Muang Khong (east); the latter is the de facto capital of the island as well as the regional seat of government  There are 19 villages on the island and the main source of income comes from fishing  
The former President of Laos, Khamtai Siphandon, has a residence on the island, which is a possible explanation for the  high quality of its infrastructure, such as asphalted roads and electricity  Locals tend to travel on longtail boats 
Passage 7:
John Phan
Bon "John" Phan (born October 10, 1974, in Da Nang, Vietnam) is a Vietnamese-American professional poker player based in Stockton, California, who is a two-time World Series of Poker bracelet winner and is a winner and four-time final tablist of World Poker Tour Championships 

World Series of Poker
Phan has made numerous World Series of Poker (WSOP) money finishes, including the final table of the $5,000 Seven-card stud event in 2005, finished fourth and outlasted both professional poker players Dave Colclough and Rob Hollink At the 2006 WSOP, Phan finished second in the $1,000 No-Limit Hold'em event when his Q♠ 5♠ failed to improve against Jon Friedberg's A♥ 7♥ on a board of 10♥ 9♦ 3♠ 2♥ 7♠  Phan earned $289,389 for his runner-up finish the next year at the 2007 World Series of Poker Phan was runner-up to Francois Safieddine in the $2,500 No Limit Hold'em event, earning $330,846 but it was not until the 2008 World Series of Poker that Phan won his first bracelet after winning the $3,000 No-Limit Hold'em event, earning $434,789 and then he won his second bracelet the same year, this time in the $2,500 2-7 Triple Draw event, earning $151,896  Phan cashed for a total of $608,464 at the 2008 WSOP 

World Series of Poker bracelets
World Poker Tour
Phan cashed eleven times on the World Poker Tour (WPT) making the final table in four of them,  one was at the $25,000 WPT Championship of season 3, receiving $518,920 for finishing in fourth place above Hollink, Phil Ivey, Joe Beevers, Chris Ferguson and Juha Helppi  and the other was at the $9,600 No Limit Hold'em WPT season 6 event at the 2008 Bay 101 Shooting Stars where he finished 6th, earning $135,000  In July 2008, Phan made another WPT final table finishing in fifth place at the Bellagio Cup IV, earning $193,915On the WPT seventh season, Phan won his first WPT title after defeating well known online player Amit "Amak316″ Makhija during heads-up play, winning the WPT bracelet and over $1 1 million at the Legends of Poker held at The Bicycle Casino in Bell Gardens, California 

Other poker events

Phan won two events at The Fifth Annual Jack Binion World Poker Open in 2004, the $500 Limit Hold'em event, earning $160,965 and $500 Pot Limit Hold'em event, earning $85,257 also cashing three other times at that same event  He later won the $3,000 No Limit Hold'em event at the Festa al Lago II in 2004, earning $189,900  He won the $2,425 No Limit Hold'em event at the 2005 L A  Poker Classic, earning $300,578 and was runner-up to Marcel Lüske in the $3,000 No Limit Hold'em event at the Fourth Annual Five-Star World Poker Classic in 2006, earning $179,195 As of 2017, his total live tournament winnings exceed $5,525,000  His 29 cashes as the WSOP account for over $1,450,000 of those winnings He was the Cardplayer Magazine 2008 Player of the Year with 6,704 points as well as 2008 Bluff Magazine Player of the Year 


== Notes ==
Passage 8:
Icaria Planum
Icaria Planum is a region on Mars in the Thaumasia quadrangle of Mars that is 566 59 km across and is located at 43 27 S and 
253 96E   It was named after a classic albedo feature that was approved in 1979   The name of the classic feature was based on the land where according to greek mythology, Icarus died (Icaria) 

See also
HiRISE
HiWish program
Latitude dependent mantle
Thaumasia quadrangle
Passage 9:
Muang Kham, Chiang Rai
Muang Kham (Thai: ม่วงคำ) is a village and tambon (subdistrict) of Phan District, in Chiang Rai Province, Thailand  In 2005 it had a total population of 8837 people  The tambon contains 17 villages 
Passage 10:
Dići
Dići is a village situated in Ljig municipality in Serbia  The town is known for having a medieval church dedicated to St  John, and being the burial place of 14th-century nobleman Vlgdrag 
Passage 11:
Phan Huy Quát
Phan Huy Quát (Hà Tĩnh Province, 12 June 1908 – 27 April 1979) was a South Vietnamese doctor and politician who served as Prime Minister of the Republic of Vietnam for four months in 1965 

Early life
Phan Huy Quát was born in Lộc Hà District in Hà Tĩnh Province  He attended the Lycée Pellerin, Huế, then studied medicine in Hanoi and qualified as a doctor before entering politics 
On 1 July 1949, Quát was appointed Minister of Education by Head of State Bảo Đại  On 22 January 1950, Prime Minister Nguyễn Phan Long appointed Quát Minister of Defense, at which position he had only served briefly before the Cabinet was re-organized and he returned to working for the Đại Việt Quốc dân đảng 
In June 1953, Prime Minister Nguyễn Văn Tâm appointed Quát Minister of Defense  Quát would be in this position until 1954 when Prince Bửu Lộc became Prime Minister who appointed Quát Special Minister in charge of the democratization process for Vietnam  Dr  Quát then served briefly as an interim Prime Minister until Bảo Đại appointed Ngô Đình Diệm to the position 
In April 1960, Quát signed the Caravelle Manifesto, a list of grievances and demands specifically critical of Diệm, and was promptly jailed by the GVN  After Diệm's assassination in October 1963, Quát was appointed Foreign Minister by Major General Nguyễn Khánh, one of the principal participants in the bloody coup  Though Quát frequently criticized Khánh's self-serving rule, he remained in Khánh's cabinet until November 1964, when Trần Văn Hương was installed as Prime Minister of General Khánh's freshly created High National Council (HNC) On 16 February 1965, the Armed Forces Council, a group of South Vietnamese military officers who took over when General Khánh deposed Hương and the HNC, secured Quát's appointment to Prime Minister in order to foil a power grab by the junta chief Khánh, who intended to install the economist Nguyễn Xuân Oánh as his puppet in the Prime Minister post  Khánh himself was forced to step down after a coup on 19/20 February and was subsequently exiled  Air Marshal Nguyễn Cao Kỳ then led the junta that oversaw the civilian cabinet  In 1965, Kỳ was appointed Prime Minister and Nguyễn Văn Thiệu became President by a special joint meeting of military leaders following the voluntary resignation of civilian President Sửu  After leaving the Prime Minister post, Dr  Quát returned to his medical practice  He remained in politics until 1975 by working with the Asia Anti-Communist League (Liên Minh Á Châu Chống Cộng) as Chairman of its Vietnamese office 

Last years/death
After the Fall of Saigon, Quát went into hiding  In August 1975, he was arrested and jailed at Chí Hòa Prison after a failed attempt to escape from Vietnam  It was there that he died of liver failure on 27 April 1979  The official report indicated that Quát had died from "a stroke, heart attack and liver failure" 

See also
1965 South Vietnamese coup
Passage 12:
Mohammad Zubair Khan
Dr  Mohammad Zubair Khan has a doctorate in political economy from Johns Hopkins University  After working briefly for the World Bank, he worked at the International Monetary Fund from 1981 to 1992, assigned to a wide range of countries, including industrial countries in northern Europe and Turkey, developing countries in south Asia, the oil producing countries in the Middle East and countries in the South Pacific region Since returning to Pakistan, he has been consulting for the World Bank, the Asian Development Bank, UNDP, JBIC and other international organizations on a range of issues, such as macroeconomic stabilisation policies, monetary policy, trade and exchange rate issues, fiscal and external debt sustainability, fiscal federalism, tax administration and poverty related issues  He also lectures at the Central Banks of Egypt and Sri Lanka, the National Institute of Public Administration (NIPA) campus in Lahore, the Pakistan Administrative Staff College, and the National Defence University in Islamabad 
He has been Commerce Minister of Pakistan and represented Pakistan at the first ministerial conference of the World Trade Organization  Currently, in addition to consulting, Khan is a member of the National Finance Commission, the advisory board of the  Securities and Exchange Commission, Government of Pakistan, a member of the board of directors of Bank of Khyber, and a member of the Provincial Finance Commission of the Government of North-West Frontier Province  He is also a member of the Boao Boao Forum for Asia in Hainan, China 
Khan is currently managing director of Financial Techniques International  Because of his straight talk and knowledge of economics, he is a popular guest on TV 

Family
He is the son of the late Wali Mohammad Khan, the elder brother of late Hayat Sherpao and Aftab Sherpao who were born to the family of Khan Bahadar Ghulam Haider Khan Sherpao, a key player in the Pakistan Movement 
His family tree and cross-marriages in influential families of Pakistan are unique  He is the cousin and brother-in-law of the former President of Pakistan, the late Sardar Farooq Ahmed Khan Leghari, and uncle of Sumera Malik and Ayla Malik (granddaughters of Malik Amir Mohammed Khan of Kalabagh) both members of the National Assembly  He is also the uncle of Senator Jamal Leghari and Awais Leghari who was a Minister of Telecommunications and member of the National Assembly 

Publications
 Kickstarting Pakistan's Economy  Lahore: Vanguard Books, 2001  ISBN 969-402-356-4 
"Liberalization and Economic Crisis in Pakistan " In Rising to the Challenge in Asia: A Study of Financial Markets: Volume 9 - Pakistan   Asian Development Bank, 1999   ISBN 971-561-236-9 
Passage 13:
South Central Coast
In Vietnam, South Central Coast (Vietnamese: Duyên hải Nam Trung Bộ) and South Central Region (Vietnamese: Nam Trung Bộ) are two terms which can refer to the same region or two regions that do not correspond to each other  South Central Coast (sometimes called "South Central Region") consists of the independent municipality of Đà Nẵng and seven other provinces (picture 1), which means South Central Coast does not include Central Highlands (picture 2); nevertheless the term "South Central Region" can be also used to include Central Highlands as it is part of southern part of Central Vietnam  
The region has traditionally been one of the main gateways to neighbouring Central Highlands  It has a complex geography with mountain ranges extending up to the coast, making transport and infrastructure development challenging but favouring tourism in some places, most notable around Phan Thiết, Nha Trang, and Da Nang  Tourism also benefits from Cham cultural heritage, including architecture, performances, and museums  It is generally much less industrialized and developed than the region around Ho Chi Minh City or the Red River Delta, but it has some regional industrial centers in Da Nang, around Nha Trang and Quy Nhon 
South Central Coast (Duyên hải Nam Trung Bộ) -  8 provinces: Da Nang, Quảng Nam, Quảng Ngãi, Bình Định, Phú Yên, Khánh Hòa, Ninh Thuận and Bình Thuận  The two southern provinces Ninh Thuận and Bình Thuận are sometimes seen as part of the Southeast region  In the Nguyễn dynasty, this area was known as Tả Trực Kỳ (the area located in the right of Thừa Thiên) 

Provinces
History
The region was inhabited by people of the Sa Huỳnh culture between around 1000 BC and 200 AD  Remains of this ancient civilization were found in Sa Huỳnh, Quảng Ngãi province  It was succeeded by a kingdom called Lin-yi (林邑) by the Chinese or Lâm Ấp in Vietnamese that was in existence from 192 AD  Its political center was just north of the South Central Coast near Huế  Lin-yi was culturally influenced by India  According to Chinese sources, it repeatedly raided Jiaozhi (Vietnamese: Giao Chỉ), which was one factor that contributed to several wars between Jiaozhi and their Chinese colonizers against Lin-yi in the 3rd, 4th, and 5th centuries 

The historic territory of Champa roughly equals the South Central Coast region, although it has at times extended well into the North Central Coast and its influence also extended into the Central Highlands  Except for its first capital, all of Champa's political centers were located in the South Central Coast  Some of the earlier capitals, as well as the religious center of Mỹ Sơn and the port city of Hội An were located in the territory of present-day Quảng Nam province  Probably due to defeats in wars against Đại Việt the political center shifted further south to Vijaya in what is now Bình Định province  After the fall of Vijaya to Vietnam in 1471, Champa had to retreat to the southern principality of Panduranga (now at Phan Rang in Ninh Thuận province), while much of occupied Champa continued to exist as a sort of protectorate within Vietnam for some time : 119 
Relations with the mountainous hinterland and traders from overseas were crucial  Champa's trade specialized on procuring luxury goods such as eaglewood from the Central Highlands and even as far as Attapeu in southern Laos and selling them to foreign merchants through their ports at Hội An and Thi Nai : 110–111, 114

Geography
Topography
In contrast to most other coastal regions in Vietnam, the South Central Coast's terrain is not mainly flat  It has a diverse topography with mountain ranges and hills extending not only along the entire border with Central Highlands but also to the coast, forming several passes, bays, peninsulas, and beautiful sceneries with beaches and mountain backdrops  Many of the highest mountains are at or near the border with the Central Highlands, the highest of which is Ngọc Linh mountain at 2598 meters  There are several high peaks near the coast of Da Nang city (696m on Son Tra Peninsula), Bình Định province (up to 874m), Phú Yên province (up to 814m), Khánh Hòa province (up to 978m), and Ninh Thuận province (up to 1040m)  
Several mountain passes function as geographic borders between the provinces of the region, with one or two provinces between two major passes  Major passes include the Hải Vân Pass on the northern border of the region (Da Nang), Binh De pass (đèo Bình Đê) between Quảng Ngãi province and Bình Định province, Cù Mông pass (đèo Cù Mông) between Bình Định province and Phú Yên province and Cả pass (đèo Cả) between Phú Yên province and Khánh Hòa province The region includes several islands  Some of the larger ones are the Lý Sơn Islands, the Cham Islands, and Phú Quý island  The Paracel Islands and the Spratly Islands are officially administered by Da Nang City and Khánh Hòa Province  However, sovereignty over them is disputed and Vietnam actually controls only some of the Spratly Islands 

Hydrography
There are several rivers along the South Central Coast, the most significant being Thu Bồn River in Quảng Nam province and Đà Rằng River in Phú Yên province (most of the latter's river system is in the Central Highlands  Other major rivers include Trà Khúc River in Quảng Ngãi province, Côn River in Bình Định province, Ki Lo River in Phú Yên province, Cái River in Khánh Hòa province, and Dinh River in Ninh Thuận province 

Climate
Summer temperatures average above 28 °C (82 °F) along most of the coast with slightly lower temperatures further inland  Winters are significantly cooler with average temperatures ranging from around 20 to 25 °C (68 to 77 °F)  The region includes some of the most arid (Ninh Thuận province and Bình Thuận province) as well as some of wettest climates in Vietnam (Da Nang, parts of Quảng Nam province, Quảng Ngãi province), with the rest being somewhere in between  While average precipitation per year exceeds 2,800 millimetres (110 2 in) in many parts of the three provinces in the north of the region, it is less than 800 millimetres (31 5 in) in much of Ninh Thuận province 

Economy
Agriculture, forestry, fishing
The South Central Coast's sector 1 (agriculture, forestry, fishing) performance can be seen as average in the national context, with its GDP contribution similar to its population share (9 7% and 9 5%)  Rice output is below average, but output of some other crops (see table below) as well as forestry and fishing are above average 
The province with the largest sector 1 economy is Bình Định (contributing 22 9% to the regions sector 1 GDP), due to its relatively large output in agriculture, forestry, and fishing  It is followed by Quảng Nam province with 15%, Bình Thuận province with 14 6%, Quảng Ngãi province and Khánh Hòa province with around 13% each  Forestry output is concentrated in Quảng Nam province and Bình Định province with around 25% each, with Quảng Ngãi province and Bình Thuận province contribute another 15% each, while Da Nang and especially Ninh Thuận province have very small forestry sectors  Fishing output is highest in Khánh Hòa province (22 3%) and Bình Định province (19 6%), followed by Phú Yên province and Quảng Ngãi province with around 12% each and Quảng Nam province, Bình Thuận province and Phú Yên province with 9 to 10% each 2 52 million tons of rice were harvested in the South Central Coast in 2007, 7% of Vietnam's total rice harvest  The main producers are Bình Định (580kt in 2007), Bình Thuận (434kt), Quảng Nam (395kt), Quảng Ngãi (381kt), and Phú Yên (321kt)  The region's maize harvest made up 7 5% of the nation's total 
Some tea and coffee are also planted in the region, but their output is not significant in the national context 

Industry
The South Central Coast is central Vietnam's most industrialized region, mostly due to major industrial centers such as Da Nang and Khánh Hòa province  However, industrialization in the region is still lagging behind the national average and is far behind Vietnam's two major industrial hubs around Ho Chi Minh City and Hanoi  The region's industrial GDP was 35,885 4 billion VND in 2007, accounting for 37 35% of the region's total GDP and 7 54% of Vietnam's industrial GDP  More than 40% of that is produced in Khánh Hòa province and Da Nang (21 8% and 20%) and another 13 to 14% each by Quảng Nam province and Bình Định province  Bình Thuận province has been able to increase its share to 12% with growth rates in industry averaging 21 6% from 2000 to 2007  Most other provinces have achieved growth between 15 and 20%, with slower growth only in the established industrial centers of Da Nang (14 8%) and Khánh Hòa province (13%)  The region's average industrial growth rate was 16 3% per year from 2000 to 2007, making the main driving force of the economy 

Da Nang has a relatively diversified industrial sector including textiles, fabric, fertilizer, cement, soap, paper, pharmaceuticals etc  Khánh Hòa's industrial sector is still more reliant on basic industries such as food and seafood processing and beverages, shipbuilding, etc  The province also benefited significantly from investment related to the former Russian naval base at Cam Ranh, to which around 30 factories were attached  Quy Nhon is the region's third largest industrial center  It has been able to capitalize on its advantage as a gateway to the Central Highlands to develop resource-based industries (wood processing and stone processing) and a major furniture manufacturing cluster  Other industries are more dispersed, such as construction materials and basic food processing 
New industrial centers are currently being developed in the economic zones: Chu Lai Economic Zone in southern Quảng Nam, nearby Dung Quat Economic Zone (with Dung Quất Refinery) in northern Quảng Ngãi province, Nhơn Hội Economic Zone in Quy Nhon, and Van Phong Economic Zone in northern Khánh Hòa province  All four zones have large areas of land, major infrastructure and industrial projects  However, in contrast to the smaller industrial parks, they are not limited to industrial sectors 

Infrastructure
Transport
Vietnam's main north-south transport corridors run through the whole South Central Coast region  
The North–South Railway runs along the region, with Reunification Express stops at Đà Nẵng Railway Station, Diêu Trì Railway Station, and Nha Trang Railway Station  Stations with less frequent stops are Tam Kỳ Railway Station, Quảng Ngãi Railway Station, Quy Nhơn Railway Station, Tuy Hòa Railway Station, Tháp Chàm Railway Station, Mương Mán Railway Station, as well as several local railway stations 
The two-lane National Route 1 connects all major cities of the region to the rest of the country (Quy Nhon and Nha Trang by extension 1D and 1C)  The Ministry of Transport is planning the construction of a 139 5 km four-lane highway from Da Nang to Quảng Ngãi province in cooperation with foreign donors The region is connected to the Central Highlands by several national roads at Phan Rang (National Road 27 to Da Lat), Ninh Hòa, Khánh Hòa province (26 to Buôn Ma Thuột), Tuy Hòa (25 to Pleiku via Ayun Pa) Quy Nhon (19 to Pleiku), and western Quảng Nam province (14/ Ho Chi Minh Road to Kon Tum) The largest airport in the region is Da Nang International Airport with flights to various cities in Vietnam, Singapore, Siem Reap, Guangzhou, Shanghai and seasonal flights to other cities in mainland China and Taiwan  The region's second international airport at Cam Ranh (serving Nha Trang flights to various cities in Vietnam, Guangzhou, Shanghais, Hong Kong, etc )  Phu Cat Airport (serving Quy Nhon) and Dong Tac Airport (serving Tuy Hòa) have only domestic flights  Chu Lai in southern Quảng Nam province has an international airport, but only domestic flights 
Da Nang Port and Quy Nhơn Port are the region's major ports  Another major port is under construction at Vân Phong in Khánh Hòa province 

Energy
The South Central Coast has limited potential for hydro-power plants and has therefore not been a major part of EVN's mostly hydro-focused strategy  However, it is at the forefront of many of Vietnam's efforts to diversify electricity sources away from hydro-power  The country's first nuclear power plant is under construction in Ninh Thuận province  A second nuclear power project is being prepared with Japanese partners and will also be in Ninh Thuận A 200 MW wind power plant is under construction in Ninh Thuận province and is planned to be completed in 2012



ground_truth: La Goulette

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

Question: In what region of the country of S-Fone is The place of birth of John Phan located?

The following are given passages.
Context 3:  Other wind power plants are being constructed in Bình Thuận province 
Bình Thuận is also the location of a 1200 MW electro-thermal plant currently under construction 

Demography
The South Central Coast region had a population of 8 93 million  The three northern provinces of Quảng Nam, Quảng Ngãi and Bình Định have the largest populations and together make up almost half of the region's population (47 7%) 2 82 million or 31 6% of them live in cities and towns  More than half of the region's urban population is in Da Nang, Khánh Hòa province and Bình Thuận province, while more than half of the rural population is in the provinces  of Quảng Nam, Bình Định and Quảng Ngãi Annual population growth has averaged 1 22% from 2000 to 2007, with Da Nang recording the fastest population growth at 1 95%  Growth in the three northern provinces of Quảng Nam, Quảng Ngãi and Bình Định has been slowest at around 1%  The four other provinces had average growth rates between 1 26% (Khánh Hòa province) and 1 59% (Ninh Thuận province) The region's population is ethnically clearly dominated by the Vietnamese people (Kinh)  There are some minorities, the most significant of which are the Cham, the descendants of Champa  They live mostly in the lowlands around Phan Rang and northern Bình Thuận province, with smaller communities in other provinces such as southern Bình Định  Other minorities live mostly in the mountainous western parts of the region  Areas inhabited by minority people make up more than half of Quảng Nam province and Quảng Ngãi province 
Passage 14:
Mueang Phan
Mueang Phan (Thai: เมืองพาน) is a village and tambon (subdistrict) of Phan District, in Chiang Rai Province, Thailand  In 2005 it had a total population of 19,326 people  The tambon contains 25 villages 
Passage 15:
Sauk Rapids Regional Bridge
The Sauk Rapids Regional Bridge is a bridge spanning the Mississippi River in the U  S  city of Sauk Rapids, Minnesota  Construction began on September 26, 2005; the bridge was completed in September 2007 and opened to traffic on October 23, 2007  The official dedication and ribbon-cutting ceremony took place on November 16, 2007   The bridge replaced the former Sauk Rapids Bridge, located a short distance downriver, which was demolished in the fall and winter of 2007-2008 
The new bridge spans the BNSF Railway on the east bank of the river  Traffic flow is no longer disrupted during train crossings; this was a frequent problem with the former bridge 
The new span relied heavily on steel for its construction rather than concrete to reduce the number of piers needed to be placed in the river  This design choice increased the project cost by $2 3 million USD to a total cost estimated at $56 63 million   Construction of the bridge of itself cost an estimated $20 46 million, with other costs including right-of-way purchases, road construction, and a program to help businesses affected by the project relocate elsewhere in downtown Sauk Rapids 
The entire project was large in scope, due to the amount of business and residential properties that were affected by its chosen location   When the Sauk Rapids Bridge project began, it was considered to be the first downtown transportation project of its kind nationwide in terms of the scale of relocations of businesses that were necessary   The success of the project may set a precedent for future bridges The original design of the bridge was hotly contested between Benton County and the City of Sauk Rapids, and the dispute was nearly taken to court  The county had wished that the bridge land beyond Benton Drive (Sauk Rapids' "main street") on Second Avenue and connect with Second Street North  The city feared that such a design would adversely affect businesses in the downtown area and desired instead that the bridge land on Benton Drive  Benton County's stake in the project (Stearns County being the other contributor) was eventually handed over to the city, and it was elected that the bridge pass over the BNSF Railway, land on Benton Drive, and connect with Second Street North 
The Sauk Rapids Regional Bridge features a spiral walkway on the Sauk Rapids side of the bridge that allows pedestrians to access the city parking lot under the bridge 

See also
Sauk Rapids Bridge
List of crossings of the Upper Mississippi River
Passage 16:
Labanoras Regional Park
Labanoras Regional Park, established in 1992, is located 80 kilometers northeast of Lithuania's capital, Vilnius  Covering 553 18 km², it is the largest regional park in the country  Its administration is in the small town of Labanoras 

Nature

The park contains about 70 lakes; about 80% of its land is forested  Its floral biodiversity is high, and it is home to the densest population of nesting white stork couples in Europe  It also contains areas with archeological, architectural, ethnographic, and historic value 
It is the largest Lithuania regional park, distinguished by a variety of landscapes, extremely rich flora and fauna  The largest part of the park is occupied by forests (80%), mostly pine forests  Labanoras forest with abundant wetlands and lakes is characterized by an abundance of protected species  Lakes occupy 14 percent  park areas  Spectacular Black Lakajai and White Lakajai, Stirniai, Siesartis and other lakes in Molėtai Lake District, 15 8 km long Aisetas lake  Lakaja, one of the most beautiful and exotic rivers, was loved not only by water birds but also by water tourists 
There are 285 lakes in Labanoras Regional Park - the largest of all Lithuanian regional parks  Largest: Stirniai, White Lakajai, Kertuojai  About 30 streams flow through the park  These are Lakaja, Peršokšna, Dumblė, Luknelė  In addition to these water bodies, the park protects swamp ecosystems, valuable calcareous marshes 
A whole complex of high marshes and lakeside low marshes is protected - Kanija raistas and many larger and smaller wetlands  In the Girutiškis Nature Reserve here, the Beržalotas upland swamp shines with the mirrors of the lakes 
Pine forests make up 81 percent  of all the forests in the park  Along with abundant lakes, swamps, hilly and undulating terrain, they are very picturesque 
The distant surroundings of Aukštaitija National Park can be seen from the observation tower of the Lithuanian Museum of Ethnocosmology 
The park is a famous breeding ground for elks,  wolves  and lynxes 
Passage 17:
S-Fone
S-Fone was a mobile communication operator in Vietnam that used the CDMA technology  Founded on 1 July 2003 in Ho Chi Minh City, Vietnam, S-Fone became the third network of Vietnam, breaking the duopoly of the two VNPT operators  It is the trademark of S-Telecom (CDMA Mobile Phone Centre) (set up as a joint venture between Saigon Postel Corp  (SPT) and Korea SK Telecom)  SK Telecom decided to leave the partnership in 2010  SPT has since then found it difficult to find a new partner, after a co-operation with Saigon Tel failed As of the start of 2005, breaking the old rule of the calls fee from 10 second to 1 second (6+1)7, S-Fone has 1,500,000 to 1,800,000 subscribers, contributing 3% to the total market (after Mobifone with 41%, Viettel Mobile with 34% and Vinaphone with 20%  Its market share (estimated based on revenues) fell to 0 1% by 2012 after suffering from a lack of capital, a small number of subscribers and low network quality S-Fone has become highly indebted and has been unable to pay salaries for several months in its Hanoi branch in late 2012  S-Fone ceased its operation, closed its stores and website, and released its staff from their contracts in July 2012  Its operating license expired in 2016 

Achievements
S-Fone is the first and biggest national cellular mobile phone network using CDMA in Vietnam (followed by EVN Telecom and HT Mobile)  On 9 October 2006, S-Fone officially launched CDMA 2000 1x EV-DO value added services for the first time in Vietnam: VOD/MOD (Video, TV on demand, music on demand) and mobile Internet (enabling internet access for PCs and laptops via S-Fone network) beginning in Ho Chi Minh City, Hanoi, Da Nang, Hai Phong and Can Tho 
Passage 18:
Fire and Water (sculpture)
Fire and Water is a public art work by American artist John Luttropp, located on the southwest side of Milwaukee, Wisconsin  The multi-element architectural sculpture was created for the entrance of the Milwaukee Fire Department Engine Company #25 station  It is located at 300 S  84th St 

Description
The sculpture includes two primary elements: a pair of neon-topped tapering concrete walls flanking the entry sidewalk, and a wall-mounted neon sign displaying the number 25 in a stylized font  During the day, the neon is not lit  At night, the entry numbers glow red, and the tops of the tapering wall glow blue  According to the Smithsonian Institution's Save Outdoor Sculpture! survey, the red neon symbolizes fire and the blue neon symbolizes water spray from fire hoses 

Historical information
The City of Milwaukee commissioned the work for $9,000 and it was greeted with some criticism  The Milwaukee Sentinel compared the neon look to a fast food restaurant and quoted hesitant firefighters based at the station 
Passage 19:
Bodyguard (British TV series)
Bodyguard is a British political thriller television series created and written by Jed Mercurio and produced by World Productions as part of ITV Studios for the BBC  The six-part series centres around the fictional character of Police Sergeant David Budd (Richard Madden), a British Army war veteran suffering from PTSD, who is now working for the Royalty and Specialist Protection Branch of London's Metropolitan Police Service  He is assigned as the principal protection officer (PPO) for the ambitious Home Secretary Julia Montague (Keeley Hawes), whose politics he despises  The series draws attention to controversial issues such as  government monitoring of private information and its regulation, the politics of intervention and terrorism, and PTSD The series began broadcasting on BBC One on 26 August 2018, achieving the highest viewing figures for a new BBC drama in the multichannel era and the highest BBC viewing figures since 2008  The BBC commissioned the series from the then-independent World Productions in 2016  Since ITV Studios Global Entertainment acquired the company in 2017, they have handled international distribution for the series  Netflix agreed to a distribution deal to broadcast the show outside the United Kingdom and Ireland The series was met with critical acclaim, particularly for Madden's performance  The series received numerous award nominations including the Golden Globe Award for Best Television Series – Drama, with Madden winning the Golden Globe Award for Best Actor – Television Series Drama  At the 71st Primetime Emmy Awards, the series was nominated for Outstanding Drama Series and a second series is in development 

Cast and characters
Main
Budd familyRichard Madden as PS David Budd, a Scottish veteran of the Afghanistan war and now dedicated Principal Protection Officer (PPO) at Protection Command  His wartime experiences have left him struggling with PTSD, prone to volatile behaviour, and mistrustful of politicians  Assigned to protect Julia Montague, whose politics he loathes, Budd is conflicted over his loyalties 
Sophie Rundle as Vicky Budd, David's wife and the mother of their two children, who works as a ward sister at a London hospital  David's unpredictable moods and issues with PTSD since returning from Afghanistan resulted in their marriage being estranged GovernmentKeeley Hawes as The Rt Hon  Julia Montague MP, the Home Secretary and Conservative Party Member of Parliament for the fictional constituency of Thames West  Montague's suspected desire to become Prime Minister, and her controversial additions to the Regulation of Investigatory Powers Act 2000, dubbed "RIPA-18" and "The Snoopers' Charter", which would give greater powers to the police and Security Services to investigate personal communications and information, have resulted in many enemies 
Vincent Franklin as Mike Travis MP, Minister of State for Counter-Terrorism, who grows increasingly resentful over being excluded from Montague's dealings with MI5 
Nicholas Gleaves as The Rt Hon  Roger Penhaligon MP, the Government Chief Whip, Member of Parliament for Surrey North and Montague's ex-husband  A staunch supporter of the Prime Minister, he becomes increasingly suspicious and wary of Montague's political ambition 
David Westhead as The Rt Hon  John Vosler MP, the Prime Minister of the United Kingdom and Leader of the Conservative Party 
Paul Ready as Rob MacDonald, Special Advisor to the Home Secretary, who has a crush on Montague PoliceGina McKee as Commander Anne Sampson, Head of Counter Terrorism Command (SO15) and Deepak Sharma's superior  Threatened by Montague's preference for MI5, Sampson enlists Budd's help 
Pippa Haywood as CSI Lorraine Craddock, Budd's commanding officer at Protection Command, who assigns him to protect Montague 
Ash Tandon as DCI Deepak Sharma, a senior detective in SO15 leading the investigation into the recent series of terror activities  As things fail to add up, he becomes suspicious of Budd 
Nina Toussaint-White as DS Louise Rayburn, an SO15 officer working under Sharma who starts to work with Budd Security Service / MI5Stuart Bowman as Stephen Hunter-Dunn, Director General of the Security Service (MI5), whose surveillance powers will be significantly enhanced by RIPA 18  Montague's preference for MI5 over SO15 puts him at odds with Sampson 
Michael Shaeffer as "Richard Longcross", an enigmatic MI5 agent working under Hunter-Dunn who becomes involved in a cat-and-mouse game with Budd CriminalsTom Brooke as Andrew 'Andy' Apsted, a war veteran and friend of Budd's  Scarred both physically and mentally by his experiences in Afghanistan, Apsted leads the anti-war Veterans Peace Group 
Matt Stokoe as Luke Aikens, a mysterious organised crime leader  He seeks to eliminate the Home Secretary 
Anjli Mohindra as Nadia Ali, implicated with her husband in an attempted bombing on a London-bound train service 

Recurring
FamilyMatthew Stagg as Charlie Budd, David and Vicky's 8-year-old son  Charlie attends Heath Bank Primary School in Camberwell 
Bella Padden as Ella Budd, David and Vicky's 10-year-old daughter  Ella attends Heath Bank Primary School in Camberwell GovernmentShubham Saraf as Tahir Mahmood, Montague's PR Adviser 
Stephanie Hyam as Chanel Dyson, the PR Advisor to the Home Secretary before getting fired by Montague PoliceClaire-Louise Cordwell as Constable Kim Knowles, a Protection Command bodyguard in Budd's team 
Richard Riddell as Constable Tom Fenton, a Protection Command bodyguard in Budd's team 

Episodes
Production
The series was largely filmed on location in London, including the Whittington Estate for Budd's flat and Battersea for Montague's flat  The bomb scenes in the final episode were filmed around CityPoint near Moorgate and Woburn Square and Senate House in Bloomsbury 
The train scenes in the first episode were filmed on the Mid-Norfolk Railway BBC journalists including Andrew Marr, John Pienaar, John Humphrys, and Laura Kuenssberg appear as themselves 

Reception
Audience
Viewing figures for the series were high, with 10 4 million (peaking at 11 million) viewers watching the overnight broadcast of the finale live on BBC One alone  As significant numbers of viewers watched the show on catchup service iPlayer after transmission, the series sparked a debate on how the media should handle spoilers  Radio Times revealed the fate of Montague in a cover story during the series's original transmission 

Critical response
The review aggregator Rotten Tomatoes gave the series a 93% approval rating, with an average rating of 8 2/10, based on 70 reviews  The critical consensus reads, "Bodyguard maintains a palpable tension throughout its pulpy proceedings to create an absorbing and addicting psychological thriller " On Metacritic, the series has a weighted average score of 79 out of 100 based on 12 reviews, indicating "generally favourable reviews" In a positive review, Variety's Daniel D'Addario describes the series as "Both juicy in its delving into character psychology and rippingly ready to tear up its playbook as it goes, it’s a six-episode ride that demands, and rewards, a quick binge " D'Addario further states that the series "excels at both the daring, gasp-inducing twist and the methodical construction of slower-burning thrills", and that Madden's performance "by turns tripping on his own empathy, and angrily operating beyond rationality, makes us believe anything is possible — a wonderful asset for a show that seeks above all else to keep us watching"  Allison Keene, writing for Collider, lauds the performances of the cast, describing Madden's as "enthralling" and "absolutely heartbreaking", and depicts the series as "an exhilarating ride that truly showcases Madden as a major talent"  Writing for Time, Judy Berman states that the series "subverts thriller tropes just often enough to earn its reliance on them", and in a five-star review Guardian critic Lucy Mangan expresses that "[Mercurio] has created something as dark and moreish as ever"  Hanh Nguyen of IndieWire describes the series as "relentless", and the performances of Madden and Hawes as "mesmerizing"  Robert Rorke of the New York Post writes that the series is "gripping" and that Madden "gives a magnetic performance" In a more mixed assessment, Robert Lloyd of the Los Angeles Times wrote that "Some elements of the series struck me as odd   and certain climactic revelations had me talking to the screen  But the action is well mounted and the tension tightly wound; it uncoils, when it does, with a satisfying snap"  In a similarly mixed review, The Atlantic's Sophie Gilbert acknowledged that "Hawes is elegantly unknowable as Julia   she gives just enough nuance in her performance to make you question whether she has a heart or is extremely deft at emotional manipulation", however she laments that "To watch Bodyguard’s six episodes is to suspend disbelief and submit to its surprises  It helps not to expect too much more than that, particularly when it comes to the show’s lavish employment of archetypes, which inevitably leads to its more questionable elements "Intelligent Protection International Limited’s CEO Alex Bomberg on BBC Radio 5 Live said that the plot, in particular the personal relationship that Budd developed with his charge, would be frowned upon as both unprofessional and putting the charge at risk  Detective Chief Inspector Steve Ray, of the Royal and Specialist Protection Command (RaSP) told the BBC that “the relationship that we have with our principals is purely professional”, adding that anyone who crossed the line would quickly be identified and would not last very long in Protection Command or even in the police service” 

Accolades
Red Nose Bodyguard
A skit titled Red Nose Bodyguard was filmed in support of Comic Relief, featuring many cast members from the series as well as performances from Joanna Lumley, Adrian Dunbar and Sanjeev Bhaskar  The skit was first broadcast on Red Nose Day 2019 on 15 March 2019 

See also
List of fictional prime ministers of the United Kingdom



ground_truth: South Central Coast