D. Iacobescu in both English and Welsh. In 2016, YesCymru was launched. A non party-political campaign for an independent Wales which held its first rally in Cardiff in 2019. Support for Welsh independence has reached as high as 40% in 2021. Modern history of Wales The modern history of Wales starts in the 19th century when South Wales became heavily industrialised with ironworks; this, along with the spread of coal mining to the Cynon and Rhondda valleys from the 1840s, led to an increase in population. The social effects of industrialisation resulted in armed uprisings against the mainly English owners. Socialism 	Modern history of Wales
11901062	Zakavoliai Zakavoliai Zakavoliai is a village in Varėna district municipality, in Alytus County, in southeastern Lithuania. According to the 2001 census, the village has a population of 10 people. Zakavoliai Zakavoliai is a village in Varėna district municipality, in Alytus County, in southeastern Lithuania. According to the 2001 census, the village has a population of 10 people. 	Zakavoliai
11901063	D. rosacea D. rosacea D. rosacea may refer to: D. rosacea D. rosacea may refer to: 	D. rosacea
11901064	Čebatoriai Čebatoriai Čebatoriai is a village in Varėna district municipality, in Alytus County, in southeastern Lithuania. According to the 2001 census, the village has a population of 114 people. Čebatoriai Čebatoriai is a village in Varėna district municipality, in Alytus County, in southeastern Lithuania. According to the 2001 census, the village has a population of 114 people. 	Čebatoriai
11901065	Čižiūnai (Varėna) Čižiūnai (Varėna) Čižiūnai is a village in (Valkininkai) eldership, Varėna district municipality, Alytus County, southeastern Lithuania. According to the 2001 census, the village had a population of 199 people. At the 2011 census, the population was 129. Čižiūnai (Varėna) Čižiūnai is a village in (Valkininkai) eldership, Varėna district municipality, Alytus County, southeastern Lithuania. According to the 2001 census, the village had a population of 199 people. At the 2011 census, the population was 129. 	Čižiūnai (Varėna)
11901066	Šarkiškės (Varėna) Šarkiškės (Varėna) Šarkiškės is a village in Varėna district municipality, in Alytus County, southeastern Lithuania. According to the 2001 census, the village has a population of 48 people. Šarkiškės (Varėna) Šarkiškės is a village in Varėna district municipality, in Alytus County, southeastern Lithuania. According to the 2001 census, the village has a population of 48 people. 	Šarkiškės (Varėna)
11901067	Amy McCann (footballer) Amy McCann (footballer) Amy McCann (born 26 October 1983 in Walsall) is an English–born Northern Irish footballer, who has represented clubs including Wolverhampton Wanderers Women, Everton and Birmingham City Ladies as a striker. McCann has played for Northern Ireland at senior international level. Club career. McCann's 21 goals for Wolves won the golden boot in 2004–05, as the club finished runners–up to Sunderland Women in the FA Women's Premier League Northern Division. After a season with Everton, McCann signed for Birmingham City in 2006. During 2009–10 she returned to Wolves on dual–signing terms, to regain 	Amy McCann (footballer)
11901068	fitness after the birth of her child. International career. McCann was called up to a Northern Ireland training camp in November 2007, after Birmingham City's programme editor alerted them to her eligibility. McCann's grandfather Henry was from Portadown. She made her international debut on 16 February 2008, as a 77th-minute substitute in a 4–0 defeat in Spain. Personal life. McCann is a season ticket holder at Walsall F.C. Amy McCann (footballer) Amy McCann (born 26 October 1983 in Walsall) is an English–born Northern Irish footballer, who has represented clubs including Wolverhampton Wanderers Women, Everton and Birmingham 	Amy McCann (footballer)
11901069	Athletics at the 2000 Summer Olympics – Women's 5000 metres Athletics at the 2000 Summer Olympics – Women's 5000 metres The Women's 5000 metres at the 2000 Summer Olympics as part of the athletics programme was held at Stadium Australia on Friday 22 September, and Sunday 25 September 2000. The top four runners in each of the initial three heats automatically qualified for the final. The next three fastest runners from across the heats also qualified. There were a total number of 50 participating athletes. Results. All times shown are in seconds. Athletics at the 2000 Summer Olympics – Women's 5000 metres The Women's 5000 metres at the 	Athletics at the 2000 Summer Olympics – Women's 5000 metres
11901070	D. Iacobescu D. Iacobescu D. Iacobescu or Dumitru Iacobescu (; born Armand Iacobsohn; 1893 – October 9, 1913) was a Romanian Symbolist poet. His literary activity only lasted about two years, between his high school graduation and his death from tuberculosis, but made him a critically acclaimed presence inside Romania's Symbolist movement. Much of Iacobescu's work remained unpublished during his lifetime, and survived as autographed notebooks. Once rediscovered and published some twenty years after his death, it brought him posthumous recognition as a writer of talent, but one whose introversion and nostalgia ran contrary to the main currents in modernism. Romanticizing his 	D. Iacobescu
11901071	own physical suffering while adopting stylistic elements from French Symbolist classics such as Paul Verlaine, D. Iacobescu left lyric poetry that is either resigned or visionary in dealing with mortality. His other contributions display an interest in Decadent, pre-modernist, themes, as well as a taste for black comedy. The contrast between his approach and that of other, more avant-garde, Romanian Symbolists did not prevent Iacobescu's affiliation with the modernist circle at Ion Minulescu's Insula" magazine. Biography. Born in Craiova as the son of physician Iacobsohn and his wife Doroteea, the future D. Iacobescu belonged to the  Jewish-Romanian community, being one of several Jewish members of his early modernist generation to make an impact on Romanian literature. D. Iacobescu had a short life, marked by his losing battle with tuberculosis. He was however active on the literary scene of Bucharest, just shortly after completing his high school studies. In spring 1912, Iacobescu became an affiliate of the literary circle formed by Minulescu around the short-lived review "Insula" (the existence of which marked a coming of age in Romanian Symbolism). At the time, Iacobescu met the modernist poet Ion Vinea, who later contributed his obituary in  Facla magazine. According to this text, Iacobescu, who rallied with "the purifying and insect repelling" "Insula", represented a "multicolored ray, vibrating far away from [...] the mediocre talents." In addition to lending his contribution to "Insula", Iacobescu had his various poems published by several other literary magazines or newspapers: "Flacăra", "Noua Revistă Română", "Ramuri", "Ilustrația Națională", "Arta", "Biruința" and "Noi Pagini Literare". D. Iacobescu died in Bucharest at age nineteen. He left behind several calligraphed manuscripts of his lifelong poetry (most of it previously unpublished), including a notebook carrying the title "Quasi". In a memoir written during or shortly after World  War I, literary historian Tudor Vianu, who noted having "read and admired" Iacobescu while he was still alive, reviewed these unpublished pieces, and argued that their title probably alluded to an "indecisive atmosphere" to be discerned in Iacobescu's creative process. The notebooks included Iacobescu's first mention of being bedridden, with "Zile de vară" ("Summer Days", dated August 6, 1913), as well as his last known work in verse, "Capriccio-Fantazie" (August 13). Work. Generic traits. D. Iacobescu's short career, overlapping with Symbolist mutations into the avant-garde, was still characterized by a focus on the mainstays of  Symbolist aesthetics. In his obituary piece, Ion Vinea described the "dreamer's verse" contributed by Iacobescu as complementing "the fastidious and strange plangency" of Minulescu's work. Writing in 1929, the modernist critic and poet Benjamin Fondane assessed that Minulescu himself was not a Symbolist, but rather one who adopted the label as "the pretext of revolt", and that Iacobescu, Ștefan Petică, and ("to a lesser degree") Vinea or Adrian Maniu were the actual voices of Romania's Symbolist school. In Tudor Vianu's opinion, Iacobescu was primarily a pre-modernist and "minor poet of great talent", whose work evidenced  a stage in Romanian poetry that preceded the wartime effort. Himself a war veteran, Vianu noted: "This poet never once smiled. Wrapped up in his singularity, he was cultivating his nostalgia. This is how people wrote before the war. [...] Our souls demand basic touches and of the most generally human category. Had he been alive, Iacobescu, a less virile talent, could not have resisted." A particular trait of Iacobescu's poetry, which placed him in line with the stylistic choices of many Romanian Symbolists, was its use of color-related epithets, particularly "synesthesic" ones (and, according to researcher Carmen Niculescu , with a personal palette of black, gray and blood red). Tudor Vianu argued that, in his more humorous works in particular, Iacobescu displays "the "extraordinary" precision of detail [Vianu's italics]", condensed into "dynamic evocations". As noted by critics, Iacobescu's poetry was indebted to models in French or Francophone literature. A special influence on Iacobescu's style was France's Symbolist forerunner Paul Verlaine—according to literary historian Paul Cernat, the Romanian writer was a "Verlainian poet". The various echoes from "French poets active after 1885", as found in Iacobescu's style, were attributed by Vianu to three distinct  sources: "through their unrealness and bizarreness some of them display, [Iacobescu's poems] border on Baudelaire's, and through their melodiousness and sweet sentimentality, place themselves beneath the autumnal skies of Verlaine and Samain." The overall impact of such borrowings was assessed by literary historians George Călinescu and Tudor Vianu alike. While noting that Iacobescu found in French Symbolism "images suited to his own nostalgia, ships, ports, arctic seas, gulls, parks, fountains", Călinescu suggests that the parallel imagery of "fêtes galantes" is excessive: "Pierrots, Columbinas, lords, misses, minuets, gavottes, pianos, mandolins, guitars, pinkish, purple, gray salons, all in a too  specifically French atmosphere, pushed to the point where it evokes the Bourbons". Expanding on his view about Iacobescu's poetry being essentially Decadent, Vianu exclaimed: "Bourbons! Lilies! Chinaware! Silk! Our soul—I'm being told by something that comes from deep within—demands different realities nowadays. Iacobescu took to his grave a something from his age." Poems about disease and death. Călinescu believes the "personal note" of Iacobescu's literary contribution is to be found in lyric poems which deal with his sickness, with solitude and depression, detailing states such as "the strain of hearing to the vibrations of silence" or  the sensitivity in relation to rain. One such sample reads: Several such poems deal more or less explicitly with the symptoms of Iacobescu's disease. In one piece, titled "Poem de amiază" ("Noon Poem"), the author talks about his episodes of hemoptysis (or, according to Călinescu, "the obsession of hemorrhages"). It reads: In the end, Călinescu notes, Iacobescu displayed the "fixation of death, which he sees as a descent into an aquatic environment". This is in reference to stanzas where Iacobescu talks about a spiritual vision or an apparition: According to Vianu, Iacobescu's "Quasi" poems are in large part  determined by the "premonition of death", showing his struggle with the notion and his coming to terms with it. In the end, the same critic argues, Iacobescu turned to "the illusion of historical fatality" in order to explain his condition. He finds proof of this in Iacobescu's lines: Black comedy. Iacobescu's sad and meditative poetry was contrasted by his other works, where he turns to depicting the irony of life, often highlighted by his use of grotesque imagery. Focusing on the Symbolist contribution to Romanian humor, literary historian Ștefan Cazimir argues that, among Iacobescu's writings, such samples  echo either Verlaine (in cases where Iacobescu discusses his "hypothetical love affairs" in self-mocking tones) or Jules Laforgue (in those pieces where his texts veer into black comedy). Cazimir suggests that the latter influence is to be found in the poem "Prin ceață" ("Through the Fog"), where Iacobescu likens streetlights to ghosts that have no choice but to play audience to tomcats in heat. In his 1918 note on Iacobescu, Vianu also assessed: "I do believe I have managed to capture an especially original tone in his poetry [...]. I mean a certain "sentimental grotesque" [Italics in the original] where  laughter merges into a flinch of pain." This trait, Vianu notes, is especially observable in settings such as "Scenă de seară" ("Evening Scene"), where patients in a mental institution marvel as one of them plays the ballerina, and where contentment suddenly becomes violence: Legacy. The poet's notebooks were preserved by his friends, but, according to Vianu, they were unable to persuade publishers to issue them as a volume. "Quasi" was eventually published in 1930. After being reviewed by Vinea and Vianu, Iacobescu's work was revisited by critics of the interwar period, including Călinescu and the modernist critic Eugène  Ionesco. The latter's articles, which center on the idea of radical cultural innovation, attacked the substance of Iacobescu's poems in terms deemed "full of hate" by cultural historian Marta Petreu. Being Jewish, Iacobescu was implicitly banned during the antisemitic regime of Ion Antonescu (1940–1944). In late 1941, when an anthology of Romanian poetry was supposed to be published in Italy, his name was crossed out by Alexandru Busuioceanu of the Romanian Propaganda Ministry. In the 1970s, former Symbolist Barbu Solacolu was among those who suggested revisiting Iacobescu's work, calling him a "great poet". Iacobescu was again the  object of critical interest only after 2008, when semiologist and critic Marin Mincu published the anthology "Poezia română actuală" ("Timely Romanian Poetry"). In what was equated with an actual recovery by literary reviewer Bogdan Crețu, it placed Iacobescu alongside other representatives of lyrical Romanian Symbolism. Mincu's work also placed Iacobescu's taste for the ballade poetic form in relation to the balladesque poetry of the 1940s, in particular with that produced by the modernist Sibiu Literary Circle. In 2014, Ștefan Bolea republished Iacobescu's only volume, "Quasi", along with literary references and personal commentary in a critical edition, praised  by Oliviu Crâznic in "Apostrof" . D. Iacobescu D. Iacobescu or Dumitru Iacobescu (; born Armand Iacobsohn; 1893 – October 9, 1913) was a Romanian Symbolist poet. His literary activity only lasted about two years, between his high school graduation and his death from tuberculosis, but made him a critically acclaimed presence inside Romania's Symbolist movement. Much of Iacobescu's work remained unpublished during his lifetime, and survived as autographed notebooks. Once rediscovered and published some twenty years after his death, it brought him posthumous recognition as a writer of talent, but one whose introversion and nostalgia ran contrary to the main