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{"datasets_id": 161055, "wiki_id": "Q15934711", "sp": 22, "sc": 1287, "ep": 30, "ec": 155} | 161,055 | Q15934711 | 22 | 1,287 | 30 | 155 | A Hat in Time | Downloadable content & Sales & Accolades | only be available through Steam and is "one of the first games to premiere" using Valve's Steam Networking API 2.0. The DLC is available at no charge for those that had backed the game's Kickstarter campaign. Sales Two weeks after its release, A Hat in Time had sold 50,000 copies. By July 2018, the game had sold over 500,000 copies. By December 2018, the game had sold over 1 million copies. Accolades The game was nominated for "Best PC Game" in Destructoid's Game of the Year Awards 2017, for "Best Platformer" in IGN's Best of 2017 Awards, and for "Game, |
{"datasets_id": 161055, "wiki_id": "Q15934711", "sp": 30, "sc": 155, "ep": 30, "ec": 234} | 161,055 | Q15934711 | 30 | 155 | 30 | 234 | A Hat in Time | Accolades | Original Family" at the National Academy of Video Game Trade Reviewers Awards. |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 2, "sc": 0, "ep": 8, "ec": 179} | 161,056 | Q16245024 | 2 | 0 | 8 | 179 | Aberdare School Board | The 1871-74 School Board | Aberdare School Board The Aberdare School Board was formed in 1871 and consisted of thirteen members elected for a period of three years. It was abolished, along with other School Boards in 1902 and its responsibilities transferred to Glamorgan County Council.
In the main, the members were local industrialists, tradesmen, nonconformist ministers. In later years, this changed to include a smattering of working men, The 1871-74 School Board In late 1870 a vestry meeting was held at Aberdare, presided over by the rector of Aberdare, John David Jenkins, where it was agreed, on the proposal of Rev Thomas Price, seconded |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 8, "sc": 179, "ep": 8, "ec": 777} | 161,056 | Q16245024 | 8 | 179 | 8 | 777 | Aberdare School Board | The 1871-74 School Board | by Rees Hopkin Rhys, that a School Board be elected as soon as possible. Rev David Price, Siloa, hoped that there would be no contest. ‘A contest’, he argued, ‘would be productive of personal feeling besides being expensive and full of turmoil. It would also rouse a feeling of denominationalism, and he wished that to be entirely sunk. They should forget the sects in their regard for the general objects of the movement, and elect members for fitness alone.’
The first elections were held in 1871. Initially, 42 candidates were nominated for the election. Many withdrew before the poll |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 8, "sc": 777, "ep": 8, "ec": 1432} | 161,056 | Q16245024 | 8 | 777 | 8 | 1,432 | Aberdare School Board | The 1871-74 School Board | but the election was still contested by twenty-three candidates. Of these, six were nonconformist ministers, five colliery agents, managers or proprietors. The first election was a contest between religious bodies but, as one local newspaper noted, none had reason to be disappointed with the result.
James Lewis, who had topped the poll, was proposed by Thomas Price as first chairman of the School Board. Price himself became vice chairman.
The first six months in the history of the Board were uneventful, in contrast to other places. In neighbouring Merthyr Tydfil, for example, the nonconformists were in a minority and a bye-law was |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 8, "sc": 1432, "ep": 12, "ec": 10} | 161,056 | Q16245024 | 8 | 1,432 | 12 | 10 | Aberdare School Board | The 1871-74 School Board & The 1874-77 School Board | passed, supported by the Anglicans and Roman Catholics, to endow their schools.
In 1874 ministers were reduced to three out of fifteen candidates, there were again five colliery officials, and the rest were publicans and drapers. In the 1880s, the pattern is clearer. Apart from David Morgan, the Aberdare miners' agent who topped the poll, the 1886 list included four influential figures connected with the coal industry, five ministers of various denominations, four grocers, two merchants and a solicitor.
By 1889 the Board was responsible for the administration of fourteen schools with accommodation for 1,749 pupils. The 1874-77 School Board Only three |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 12, "sc": 10, "ep": 12, "ec": 619} | 161,056 | Q16245024 | 12 | 10 | 12 | 619 | Aberdare School Board | The 1874-77 School Board | members of the current Board, namely James Lewis, Thomas Price and David Rees Davies, the latter of whom was defeated.
The new Board is composed of gentlemen of talent, education, energy, and experience in practical work of various kinds, all of which combine to fit them for the duties which they have been selected to fulfill. If the qualifications we have enumerated are brought to bear upon the duties of the Board, three years hence the electors will not regret the choice just made. Aberdare is happily free from the bitter controversies which have been connected with School Board elections in |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 12, "sc": 619, "ep": 16, "ec": 257} | 161,056 | Q16245024 | 12 | 619 | 16 | 257 | Aberdare School Board | The 1874-77 School Board & The 1880-83 School Board | various parts of the United Kingdom. With us there has, on the present occasion, been less of the sectarian spirit than even the little which showed itself three years ago.
At the end of its term of office the School Board published its triennial report. James Lewis also announced that he would not seek re-election. The 1880-83 School Board Working men candidates had been elected to School Boards in the late 1870s, notably William Abraham (Mabon) in the Rhondda. However, there was no conscious effort in Aberdare until 1883 when two working men candidates, David Morgan, miners’ agent, and Isaac |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 16, "sc": 257, "ep": 20, "ec": 265} | 161,056 | Q16245024 | 16 | 257 | 20 | 265 | Aberdare School Board | The 1880-83 School Board & The 1886-89 School Board | Jones were nominated by the local miners’ association. This was the one occasion when there was no contested election, and following a ratepayers’ meeting, Morgan was returned. This appears to be the first occasion when a working man was elected to a public body in the Aberdare Valley (Pretty 2001, 508). The 1886-89 School Board A feature of this election was a change in personnel with a number of sitting members being defeated. The vicar topped the poll.
The miners were sufficiently well organised to make a determined attempt to increase their representation and a vote was held to |
{"datasets_id": 161056, "wiki_id": "Q16245024", "sp": 20, "sc": 265, "ep": 20, "ec": 346} | 161,056 | Q16245024 | 20 | 265 | 20 | 346 | Aberdare School Board | The 1886-89 School Board | choose two additional candidates to contest the election alongside David Morgan. |
{"datasets_id": 161057, "wiki_id": "Q22078148", "sp": 2, "sc": 0, "ep": 6, "ec": 47} | 161,057 | Q22078148 | 2 | 0 | 6 | 47 | Adrian Vera | Career | Adrian Vera Career Vera signed with LA Galaxy II on July 20, 2015. |
{"datasets_id": 161058, "wiki_id": "Q55603427", "sp": 2, "sc": 0, "ep": 10, "ec": 15} | 161,058 | Q55603427 | 2 | 0 | 10 | 15 | Aixro XF-40 | Design and development & Specifications (XF-40) | Aixro XF-40 Design and development The XF-40 is a single-rotor twin-cylinder Wankel engine. It is a 294 cc (17.9 cu in) displacement, liquid-cooled, gasoline engine design, with a poly V belt reduction drive with a reduction ratio of 1.25:1. It employs capacitor discharge ignition and produces 36 hp (27 kW) at 6500 rpm. Specifications (XF-40) Data from Tacke |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 2, "sc": 0, "ep": 10, "ec": 383} | 161,059 | Q2892602 | 2 | 0 | 10 | 383 | Al-Mujaydil | History & Ottoman era | Al-Mujaydil History Traces of a Roman road was found close to the village, which may indicate that the region was opened to intensive settlements as early as Roman times. Ottoman era In the 1596 tax records, Al-Mujaydil was part of the Ottoman Empire, nahiyah (subdistrict) of Tabariyya under the Sanjak Safad, with a population of 4 Muslim families. The villagers paid a fixed tax rate of 25% on various agricultural products, including wheat and barley, fruit trees, as well as on goats and beehives; a total of 3,295 akçe. Half of the revenue went to a Waqf. In |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 10, "sc": 383, "ep": 10, "ec": 978} | 161,059 | Q2892602 | 10 | 383 | 10 | 978 | Al-Mujaydil | Ottoman era | 1799 it was named Magidel in the map of Pierre Jacotin.
C.R. Conder, of The Survey of Western Palestine, camped by the place in the 1870s, and described the village as a place being visited by missionaries. The village was also described as being "flourishing", and built of stone and mud. It was on the northern side of a small plateau, and olive groves were cultivated to the south and to the east. The population size was estimated at 800 (in 1859), and they cultivated 100 faddans.
In 1882, Grand Duke Sergei Alexandrovich of Russia, the brother of the Russian Tsar, visited |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 10, "sc": 978, "ep": 10, "ec": 1585} | 161,059 | Q2892602 | 10 | 978 | 10 | 1,585 | Al-Mujaydil | Ottoman era | the village, and donated money for the construction of a Russian Orthodox Church there in the hope that local Christians would be converted to the Orthodox faith. However, the Patriarch of Jerusalem Nikodim opened the church to all denominations in the village and ensured it functioned most of the time as a village school.
A population list from about 1887 showed that el Mujeidel had about 1,000 inhabitants; "for the greater part Muslims".
In 1903, a Roman Catholic church was built in the village. It housed on its first floor a trilingual school for boys and girls, (teaching was in |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 10, "sc": 1585, "ep": 14, "ec": 455} | 161,059 | Q2892602 | 10 | 1,585 | 14 | 455 | Al-Mujaydil | Ottoman era & British Mandate era | Arabic, Italian and French). It also housed a local clinic for the benefit of the villagers. British Mandate era According to the British Mandate's 1922 census of Palestine, Mujaidel had 1,009 inhabitants; 817 Muslims and 192 Christians, where 150 of the Christians were Orthodox, 33 Roman Catholics, 2 were Melkite and 7 were Anglicans.
In 1930, the al-Huda mosque was built in the village, it was 12 meters high and 8 meters wide. A kuttab was nearby. The mosque was famous for the elaborate system it used to collect rainfall from its roof into a well. |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 14, "sc": 455, "ep": 18, "ec": 48} | 161,059 | Q2892602 | 14 | 455 | 18 | 48 | Al-Mujaydil | British Mandate era & 1948 and aftermath | A tall minaret was added in the 1940s.
By the 1931 census the population had increased to 1,241; 1,044 Muslims and 197 Christians, in a total of 293 houses.
In the 1945 statistics the population of Mujeidil was 1,900; 1,640 Muslims and 260 Christians, with a total of 18,836 dunams of land, according to an official land and population survey. Of this, 1,719 dunams of land were for plantations and irrigable land, 15,474 for cereals, while 34 dunams were built-up land. 1948 and aftermath Al-Mujaydil was captured by the Haganah's Golani |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 18, "sc": 48, "ep": 18, "ec": 645} | 161,059 | Q2892602 | 18 | 48 | 18 | 645 | Al-Mujaydil | 1948 and aftermath | Brigade during second half of Operation Dekel the 1948 Arab–Israeli War on 15 July 1948. The attack included a bombing raid by Israeli planes. Most of the population fled to the nearby city of Nazareth, where they live as internal refugees.
In August 1948, a Jezreel Battalion Golani patrol encountered "groups of Arab women working fields" near Al-Mujaydil, and they reported that: "I [squad OC Shalom Lipman] ordered the machine-gun to fire three bursts over their heads, to drive them off. They fled in the direction of the olive grove...". But after the patrol left, the villagers |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 18, "sc": 645, "ep": 18, "ec": 1189} | 161,059 | Q2892602 | 18 | 645 | 18 | 1,189 | Al-Mujaydil | 1948 and aftermath | returned. The patrol came back and encountered "a group of Arab men and women... I opened fire at them and as a result one Arab man died and one Arab man and one woman were injured. In the two incidents, I expended 31 bullets." The following day, 6 August, the same patrol encountered two Arab funeral processions. The commander remarked dryly that "one can only assume that one of yesterday ´s wounded died." A day or two after, the patrol again encountered "a large group of Arab women in the fields of Mujeidil. When we approached them to |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 18, "sc": 1189, "ep": 18, "ec": 1792} | 161,059 | Q2892602 | 18 | 1,189 | 18 | 1,792 | Al-Mujaydil | 1948 and aftermath | drive them off, an Arab male [was found] hiding near them, [and] he was executed by us. The women were warned not to return to this area of Mujeidil." The company commander's commented: "Arab women repeatedly attempt to return to Mujeidil, and they are usually accompanied by men. I gave firm orders to stymie every attempt [lehasel kol nisayon] to return to the village of Mujeidil."
However, in 1950, after intervention from the Pope Pius XII, the Christians of the village were offered the opportunity to move back to the village, but refused to do so without their Muslim neighbours. Israel |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 18, "sc": 1792, "ep": 18, "ec": 2377} | 161,059 | Q2892602 | 18 | 1,792 | 18 | 2,377 | Al-Mujaydil | 1948 and aftermath | then destroyed half of the houses and one of the village mosques.
The Israeli town of Migdal HaEmek was founded by Iranian Jews in 1952 on village land, less than 1 km southwest of the village site. Yifat, established in 1926 on what were traditionally village land, is 2 km to the west of the site of Al-Mujaydil.
The Palestinian historian Walid Khalidi, described the remains of the village in 1992: "Most of the site is covered with a pine forest that serves as an Israeli park. The monastery and parts of the ( destroyed) church are the only remaining buildings |
{"datasets_id": 161059, "wiki_id": "Q2892602", "sp": 18, "sc": 2377, "ep": 18, "ec": 2593} | 161,059 | Q2892602 | 18 | 2,377 | 18 | 2,593 | Al-Mujaydil | 1948 and aftermath | on the site; monks still live in the monastery. Remnants of destroyed houses and the walls of a cemetery are visible. Cactuses and pomegranate, olive, and fig trees grow around the site, which is dotted with wells." |
{"datasets_id": 161060, "wiki_id": "Q17403649", "sp": 2, "sc": 0, "ep": 6, "ec": 606} | 161,060 | Q17403649 | 2 | 0 | 6 | 606 | Albert Elmore | Coaching career | Albert Elmore Coaching career Following his graduation from Alabama, Elmore began coaching in 1931 at the Troy State Teachers College. He is credited with changing the team mascot to "Red Wave" (this was a variation of Alabama's "Crimson Tide", and the current nickname is "Trojans"). In seven years at Troy State, five of which were winning seasons, Elmore compiled a 35–30–3 record.
Elmore then left for the Virginia Military Institute in Lexington, Virginia, where headed the school's freshman football team as well as the basketball team in the 1937–38 season. The Keydets were 4–11 in Elmore's lone season at the Institute. |
{"datasets_id": 161060, "wiki_id": "Q17403649", "sp": 8, "sc": 0, "ep": 10, "ec": 183} | 161,060 | Q17403649 | 8 | 0 | 10 | 183 | Albert Elmore | Personal life | Personal life Elmore was born on November 19, 1904, in Reform, Alabama, to his father Silvanus and Ann Elmore. He grew up with eight brothers and two sisters. Elmore died on July 26, 1998, in Troy. |
{"datasets_id": 161061, "wiki_id": "Q4737990", "sp": 2, "sc": 0, "ep": 6, "ec": 262} | 161,061 | Q4737990 | 2 | 0 | 6 | 262 | Alverthorpe railway station | History | Alverthorpe railway station History Opened by the Bradford, Wakefield and Leeds Railway, it became part of the London and North Eastern Railway during the Grouping of 1923. The line then passed on to the Eastern Region of British Railways on nationalisation in 1948, closing a mere six years later. |
{"datasets_id": 161062, "wiki_id": "Q2843402", "sp": 2, "sc": 0, "ep": 4, "ec": 581} | 161,062 | Q2843402 | 2 | 0 | 4 | 581 | Aminatou Maïga Touré | Aminatou Maïga Touré Aminatou Djibrilla Maiga Touré is a Nigerien diplomat. She was Niger's Ambassador to the United States from 2006 to 2010 and has served in the transitional government as Minister of Foreign Affairs since March 2010.
Touré began working at the Foreign Ministry in 1979. She was assigned to its Department of Legal and Consular Affairs until 1991 and was then posted at the Nigerien Embassy to Germany from 1991 to 1995. Returning to Niger, she served as Mayor of Niamey Commune II from 1996 to 2000. Touré was Permanent Secretary at the Ministry of Foreign Affairs from 2000 |
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{"datasets_id": 161062, "wiki_id": "Q2843402", "sp": 4, "sc": 581, "ep": 4, "ec": 1153} | 161,062 | Q2843402 | 4 | 581 | 4 | 1,153 | Aminatou Maïga Touré | to 2003 and then Secretary-General of the Foreign Ministry's National Commission for La Francophonie from 2003 to 2005.
After being appointed as Ambassador to the United States, Touré presented her credentials on 9 March 2006. She remained in that post for four years. On 18 February 2010, President Mamadou Tandja was overthrown in a military coup in Niamey, and Salou Djibo, the President of the Supreme Council for the Restoration of Democracy (CSRD), then appointed Touré to serve in the transitional government as Minister of Foreign Affairs on 1 March 2010. |
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{"datasets_id": 161063, "wiki_id": "Q22999228", "sp": 2, "sc": 0, "ep": 6, "ec": 706} | 161,063 | Q22999228 | 2 | 0 | 6 | 706 | Anatoly Libgober | Early life | Anatoly Libgober Early life Libgober was born in the Soviet Union, and immigrated to
Israel in 1973 after active participation in the movement to change immigration policies
in Soviet Union. He studied with Yuri Manin at Moscow University and with Boris Moishezon at Tel-Aviv
University where he finished his PhD dissertation in 1977, doing his postdoctorate work at the Institute
for Advanced Studies (Princeton, N.J). He lectured extensively visiting, among others, l'Institut des hautes études scientifiques (Bures sur Ivette, France), the Max Planck Institute in Bonn (Germany), the Mathematical Sciences Research Institute (Berkeley), Harvard University and Columbia University. Currently he is |
{"datasets_id": 161063, "wiki_id": "Q22999228", "sp": 6, "sc": 706, "ep": 10, "ec": 655} | 161,063 | Q22999228 | 6 | 706 | 10 | 655 | Anatoly Libgober | Early life & Professional Profile | Professor Emeritus at the University of Illinois at Chicago where he worked until his retirement in 2010. Professional Profile Libgober's early work studies the diffeomorphism type
of complete intersections in complex projective space. This later led to the discovery of relations between Hodge and Chern numbers.
He introduced the technique of Alexander polynomial
for the study of fundamental groups of
the complements to plane algebraic curves. This led to Libgober's
divisibility theorem and explicit relations
between these fundamental groups, the position of singularities, and local
invariants of singularities (the constants of quasi-adjunction). Later he
introduced the characteristic varieties of the |
{"datasets_id": 161063, "wiki_id": "Q22999228", "sp": 10, "sc": 655, "ep": 10, "ec": 1266} | 161,063 | Q22999228 | 10 | 655 | 10 | 1,266 | Anatoly Libgober | Professional Profile | fundamental
groups, providing a multivariable extension of Alexander polynomials,
and applied these methods to the study of homotopy
groups of the complements to hypersurfaces in projective
spaces and the topology of arrangements of hyperplanes.
In the early 90s he started work on interactions between
algebraic geometry and physics, providing mirror
symmetry predictions for the count of rational curves on
complete intersections in projective spaces and
developing the theory of elliptic genus of singular algebraic varieties. |
{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 2, "sc": 0, "ep": 4, "ec": 598} | 161,064 | Q48780433 | 2 | 0 | 4 | 598 | Apobates Base | Apobates Base The Apobates Base is a marble statue base featuring the scene of an Apobates competition or chariot race. The base, which is part of the collection at the Acropolis Museum in Athens, stands at 42 centimetres (17 in) in height and 86 centimetres (34 in) in width. A charioteer, armed athlete or warrior, and four horse-drawn chariot are depicted in profile relief. Named for the Greek “Apobatai” – literally the “Dismounters” – the base’s relief depicts the racing event or Apobates race, which was a ceremonial part of the Panathenaic Games. In this event athletes would race against other athletes |
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{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 4, "sc": 598, "ep": 8, "ec": 553} | 161,064 | Q48780433 | 4 | 598 | 8 | 553 | Apobates Base | Sculptural style | by dismounting and remounting moving chariots for prizes and renown. Sculptural style The base dates to the Hellenistic period, ca. 300 B.C.E. While the base dates to the Hellenistic era, periodization is not an exact science. In this case, although made during the Hellenistic era, the artistry of the base actually falls into the categorization of Late Classical sculpture style. It is not entirely uncommon for styles to bleed over into other periods simply because specific artistic and stylistic changes are not the sole consideration for the division of periods like Classical and Hellenistic eras. Artistic styles, including that of |
{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 8, "sc": 553, "ep": 12, "ec": 165} | 161,064 | Q48780433 | 8 | 553 | 12 | 165 | Apobates Base | Sculptural style & Depictions in art | the Apobates Base, can fall categorically into a style entirely different from the era to which they date.
This Base’s Classical style is characterized by a great amount of dynamic movement, realistic and defined musculature, and greater sense of depth and dimension in sculptural figures. While a great deal of the base is damaged, the Classical style is most obvious in the dynamic pose of the athlete and figural depth of the horses. Depictions in art This event became entrenched as part of the ritual of the Panathenaic Games. Among the various athletic competitions of the Panathenaic Festival, chariot racing came |
{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 12, "sc": 165, "ep": 12, "ec": 858} | 161,064 | Q48780433 | 12 | 165 | 12 | 858 | Apobates Base | Depictions in art | to prominence - though no research to date can provide a full picture of the event. However, the event is construed to be representative of past military spectacles and was integrated into a sporting event in which athletes would dismount and remount moving chariots during a race.
Contestants who won the Apobates race would commemorate their victory in the Panathenaia by constructing monuments and dedicatory statues. The Apobates base is one such dedication. The victors would place them in sanctuaries and Panhellenic sites. These victory monuments became artistic expressions in antiquity.
Depictions of charioteers and chariot racing became popular thematic elements to |
{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 12, "sc": 858, "ep": 16, "ec": 164} | 161,064 | Q48780433 | 12 | 858 | 16 | 164 | Apobates Base | Depictions in art & Discovery | include in votive and victory dedications, as well as grave markers and sculptural decoration. The chariot became a symbol of wealth and, as a result, contributed to conspicuous consumption in society. The chariot became a prominent feature of Greek art and an important part of festivals like the Panathenaia. It was because of the connotations which chariots and charioteers held in Greek society that it became such a popular subject for Greek art. Discovery Found on the west side of the Athenian Acropolis, the base supported an athletic or military victory dedication, similar to a votive dedication. Unfortunately only |
{"datasets_id": 161064, "wiki_id": "Q48780433", "sp": 16, "sc": 164, "ep": 20, "ec": 558} | 161,064 | Q48780433 | 16 | 164 | 20 | 558 | Apobates Base | Discovery & Iconography | the base survives. Iconography The chariot was introduced to the Greeks through trade and interaction with the Near East ca. 1400 B.C.E. However, the chariot became adopted and integrated into Greek iconography. The same motif is found in some of the earliest sculpture from mainland Greece, namely the sandstone Grave Stele at Mycenae found in Grave Circle A which dates to the 16th Century B.C.E. In ancient Greek culture, the chariot and charioteer became a symbol of power and wealth because horses were very expensive and chariots themselves extremely impracticable for Greek terrain. |
{"datasets_id": 161065, "wiki_id": "Q4782205", "sp": 2, "sc": 0, "ep": 6, "ec": 229} | 161,065 | Q4782205 | 2 | 0 | 6 | 229 | Apt.core | Style and Influences | Apt.core Style and Influences Apt.core's style was described as techno/trance. Both albums took different sounds and moods and mixed them with different words, usually Biblical scripture. Apt.core influences ranged from Middle Eastern to electronica to dance. |
{"datasets_id": 161066, "wiki_id": "Q1138628", "sp": 2, "sc": 0, "ep": 4, "ec": 628} | 161,066 | Q1138628 | 2 | 0 | 4 | 628 | Asadora | Asadora Renzoku Terebi Shōsetsu (連続テレビ小説, "serial TV novel"), also known as asadora (朝ドラ, "Morning Drama"), is a serialized Japanese television drama program series broadcast in the mornings by Japanese public broadcaster NHK. The first such series aired in 1961 with the black-and-white A Daughter and Me (娘と私 Musume to Watashi), starring Takeshi Kitazawa. From 1975 onward, series aired in the first half of the year are produced by the NHK Tokyo Broadcasting station and series in the latter half of the year are produced by the NHK Osaka Broadcasting station; the Osaka branch's first asadora production was Whirlpools (うず潮 Uzushio) |
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{"datasets_id": 161066, "wiki_id": "Q1138628", "sp": 4, "sc": 628, "ep": 4, "ec": 1234} | 161,066 | Q1138628 | 4 | 628 | 4 | 1,234 | Asadora | in 1964.
Due to the practice of wiping commonly in practice around the world in the 1960s and 1970s, not all episodes of all pre-1980 asadora series survive, as the 2-inch Quad videotapes were often wiped and reused; 16 of the produced asadora series in total are incomplete in the NHK archives, with no episodes of By Accident (たまゆら Tamayura) (1965) or Noboko and Granny (信子とおばあちゃん Nobuko to obāchan) (1969) surviving at all. Several late 1970s series are complete in the archive as the result of off-air home video recordings donated by viewers; all series from Big Sister Ma (マー姉ちゃん Mā-nē-chan) |
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{"datasets_id": 161066, "wiki_id": "Q1138628", "sp": 4, "sc": 1234, "ep": 4, "ec": 1870} | 161,066 | Q1138628 | 4 | 1,234 | 4 | 1,870 | Asadora | (1979) onward are retained in full in their original formats.
Asadora currently airs in Japan Monday through Saturday mornings on NHK General TV from 8:00 to 8:15, with a rebroadcast the same day from 12:45 to 13:00. The asadora have become some of the most popular shows on Japanese television, with series such as Oshin, earning an overall 52.6-percent ratings for the series.
Virtually all of the storylines center on the life of a female heroine who faces challenges while working to achieve her dreams. The heroine is chosen by NHK through an audition that involves interviews with several thousand applicants. The |
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{"datasets_id": 161066, "wiki_id": "Q1138628", "sp": 4, "sc": 1870, "ep": 4, "ec": 2240} | 161,066 | Q1138628 | 4 | 1,870 | 4 | 2,240 | Asadora | winning actress not only stars in an asadora, but also becomes a spokeswoman for NHK, and is usually involved in NHK-sponsored events—including the annual Kōhaku Uta Gassen New Year's Eve event. Often, the asadora serves as a springboard for the actress to other opportunities within the Japanese entertainment industry.
The current series is Scarlet (2019-20). |
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{"datasets_id": 161067, "wiki_id": "Q19576878", "sp": 2, "sc": 0, "ep": 6, "ec": 73} | 161,067 | Q19576878 | 2 | 0 | 6 | 73 | Aspiration Quality | History | Aspiration Quality History The race has been held on the Randwick Guineas race card since inception. |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 2, "sc": 0, "ep": 8, "ec": 254} | 161,068 | Q256716 | 2 | 0 | 8 | 254 | Assemblage (composition) | In composition | Assemblage (composition) Assemblage refers to a text "built primarily and explicitly from existing texts to solve a writing or communication problem in a new context". The concept was first proposed by Johndan Johnson-Eilola (author of Datacloud) and Stuart Selber in the journal Computers & Composition in 2007. The notion of assemblages builds on remix and remix practices, which blur distinctions between invented and borrowed work. In composition Johnson-Eilola and Selber write that assemblage is influenced by intertextuality and postmodernism. The authors discuss the intertextual nature of writing and assert that participation in existing discourse necessarily means that composition cannot occur |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 8, "sc": 254, "ep": 8, "ec": 921} | 161,068 | Q256716 | 8 | 254 | 8 | 921 | Assemblage (composition) | In composition | separate from that discourse. They state that "productive participation involves appropriation and re-appropriation of the familiar" in a manner that conforms to existing discourse and audience expectations. In reference to intertextuality, Johnson-Eilola and Selber cite The Social Life of Information by John Seely Brown and Paul Duguid. In this book Brown and Duguid state that the meaning of and use for a text is directly influenced both by its source texts and the broader textual context in which it participates. Building upon this notion, Johnson-Eilola and Selber position assemblage as a style of composition situated within postmodernism. They state that |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 8, "sc": 921, "ep": 8, "ec": 1621} | 161,068 | Q256716 | 8 | 921 | 8 | 1,621 | Assemblage (composition) | In composition | "in a general sense, postmodern theories, and following them, cultural studies, offer a useful way of understanding assemblages (and the related process of remixing) as simultaneously social and textual structures." Johnson-Eilola and Selber suggest that texts should always be treated as assemblages since composition is often highly intertextual.
Johnson-Eilola and Selber believe that composition should be undertaken as a problem solving activity rather than a demonstration of original ideas. They write that "writing situations are, at base, problem-solving situations in one way or another," and offer assemblage as a form of problem solving that can be used alongside the creation of |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 8, "sc": 1621, "ep": 12, "ec": 143} | 161,068 | Q256716 | 8 | 1,621 | 12 | 143 | Assemblage (composition) | In composition & Assemblage and remix | original text. Michael J. Michaud writes that "assemblages are ubiquitous in contemporary workplaces" where problem solving is paramount because assemblage allows authors to "meet discursive needs and to get work done." He further argues that students with workplace experience often transfer assemblage writing into the composition classroom. Assemblage allows such authors to alter existing texts and combine them with original work in order to meet the demands of a writing situation or problem. Assemblage and remix The idea of assemblages is closely tied to the practice of remix. Remix, originally referring to a reworked song, has been extended to describe |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 12, "sc": 143, "ep": 12, "ec": 872} | 161,068 | Q256716 | 12 | 143 | 12 | 872 | Assemblage (composition) | Assemblage and remix | any significant alteration of media, most commonly film and literature. Johnson-Eilola and Selber claim that remix "can aid invention, leverage intellectual and physical resources, and dramatize the social dimensions of composing." However, they also recognize that "remixing as a form of composition inhabits a contested terrain of creativity, intellectual property, authorship, corporate ownership, and power." While the practice of remixing is often marked by legal issues, the authors acknowledge that remix is nevertheless becoming an increasingly common creative form.
While assemblage is closely tied to remix, there are distinctions between the two. In discussing models of writing, Liane Robertson, Kara Taczak, |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 12, "sc": 872, "ep": 12, "ec": 1581} | 161,068 | Q256716 | 12 | 872 | 12 | 1,581 | Assemblage (composition) | Assemblage and remix | and Kathleen Blake Yancey describe remix models of writing as "prior knowledge revised synthetically to incorporate new concepts and practices into the prior model of writing." In contrast, they define assemblage models as “grafting...isolated ‘bits’ of learning onto [a] prior structure without either recognition of differences between prior and current writing conceptions and tasks or synthesis of them." While a remix is a synthesis or incorporation of elements, an assemblage is a combination in which there are recognizable boundaries between elements.
Assemblage and remix are also related to articulation. The sociological practice of articulation, as described by Antonio Gramsci and Stuart |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 12, "sc": 1581, "ep": 16, "ec": 396} | 161,068 | Q256716 | 12 | 1,581 | 16 | 396 | Assemblage (composition) | Assemblage and remix & Assemblage and plagiarism | Hall, among others, refers to the appropriation of elements of culture by various social groups. Johnson-Eilola and Selber connect assemblage, remix, and articulation as examples of meaning being situated in a specific material and social context. Assemblage and plagiarism A central characteristic of assemblages is the challenge to established notions of originality. Johnson-Eilola and Selber claim that the traditional distinction between original and plagiarized work is that original work is superior in terms of creative effort and is not derivative. They further assert that such a distinction is based upon outdated notions of "the lone genius" and is no longer |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 396, "ep": 16, "ec": 1068} | 161,068 | Q256716 | 16 | 396 | 16 | 1,068 | Assemblage (composition) | Assemblage and plagiarism | practical in an academic setting. While they concede that "teachers no longer evaluate writing completely as an isolated, decontextualized artifact," Johnson-Eilola and Selber maintain "at least one set of social forces suggests to students that using citations and quotations from source materials will be valued less than their own original text, a situation that may encourage them to conceal their sources." While the current system of academic evaluation allows, and actually calls, for citation of source materials, Johnson-Eilola and Selber find that the placement of value on original work encourages students to hide sources in an attempt to demonstrate original |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 1068, "ep": 16, "ec": 1779} | 161,068 | Q256716 | 16 | 1,068 | 16 | 1,779 | Assemblage (composition) | Assemblage and plagiarism | thought. The emphasis on original work, according to Johnson-Eilola and Selber, may actually contribute to plagiarism. The authors believe that the emphasis on original work is unnecessary because "rhetorical purposes can be addressed in context by either original or borrowed/quoted texts without a hierarchy of distinction between the two."
Johnson-Eilola and Selber assert that despite shifting attitudes in academia, work produced by students at the scholastic and collegiate level is still evaluated in terms of its originality. They find fault with the current evaluative process for two reasons. First, the authors find that evaluating students for their originality is "increasingly unrealistic |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 1779, "ep": 16, "ec": 2436} | 161,068 | Q256716 | 16 | 1,779 | 16 | 2,436 | Assemblage (composition) | Assemblage and plagiarism | in our postmodern age" as this method is based on antiquated ideas of creativity. Second, they treat the idea of isolating a student's unique composition from the inspiring source materials as unrealistic and futile. For Johnson-Eilola and Selber, the ability to effectively contribute to academic or social discourse is what makes an assemblage valuable, not its "originality." Rather than claiming originality is not to be valued, the authors see it as fundamentally problematic and misleading as an evaluative concept. They suggest that academic evaluation be reconsidered with a new emphasis on affect: "What if the 'final' product a student produces—a |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 2436, "ep": 16, "ec": 3105} | 161,068 | Q256716 | 16 | 2,436 | 16 | 3,105 | Assemblage (composition) | Assemblage and plagiarism | text—is not concerned with original words or images on a page or screen but concerned primarily with assemblages of parts? Importantly, in this reconception, the assemblages do not distinguish primarily between which parts are supposed to be original and which have been found and gathered from someplace else; assemblages are interested in what works, what has social effects." In this model, the role of intertextuality is recognized as central to the composition of "new" material.
In support for their argument against the traditional view of plagiarism, Johnson-Eilola and Selber cite current critiques from other scholars. They refer to Price, who argued |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 3105, "ep": 16, "ec": 3798} | 161,068 | Q256716 | 16 | 3,105 | 16 | 3,798 | Assemblage (composition) | Assemblage and plagiarism | that plagiarism cannot be defined as a single concept, but is dependent upon the cultural practice and conventions in a given situation. They also acknowledge a presentation given by James Porter in 2006 at CCCC. In his presentation Porter described how plagiarism is sometimes encouraged in the academic community, offering examples of "ways teachers plagiarize all the time—among them, sharing syllabi (with plagiarized plagiarism statements!), using boilerplate text for administrative documents, and failing to acknowledge the bibliographic work of others." Johnson-Eilola and Selber also refer to a 1993 article by Rebecca Moore Howard on "patchwriting," which describes a technique used |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 3798, "ep": 16, "ec": 4503} | 161,068 | Q256716 | 16 | 3,798 | 16 | 4,503 | Assemblage (composition) | Assemblage and plagiarism | by new authors. Patchwriting "involves copying from a source text then deleting some words, altering grammatical structures, or plugging in one-to-one synonym-substitutes." This technique can traditionally be viewed as a form of plagiarism, but it is also considered useful for learning how to communicate within expert discourse. Johson-Eilola and Selber reference patchwriting in an attempt to demonstrate the practical uses of otherwise "plagiaristic" practices, not to establish a connection between patchwriting and assemblage. While patchwriting can be a useful learning tool, it is completely distinct from assemblage. Assemblage is more than the systematic replacement of like terms and is closer |
{"datasets_id": 161068, "wiki_id": "Q256716", "sp": 16, "sc": 4503, "ep": 20, "ec": 171} | 161,068 | Q256716 | 16 | 4,503 | 20 | 171 | Assemblage (composition) | Assemblage and plagiarism & Examples | to the artistic style of collage. Examples Paradox, a cut up collage assembled from words and phrases cut from magazines and glued together to form a picture of Abraham Lincoln being assassinated at Ford's Theater. |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 2, "sc": 0, "ep": 4, "ec": 455} | 161,069 | Q1156320 | 2 | 0 | 4 | 455 | Autumn leaf color | Autumn leaf color Autumn leaf color is a phenomenon that affects the normal green leaves of many deciduous trees and shrubs by which they take on, during a few weeks in the autumn season, various shades of red, yellow, purple, black, blue, orange, magenta, and brown. The phenomenon is commonly called autumn colours or autumn foliage in British English and fall colors, fall foliage, or simply foliage in American English.
In some areas |
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{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 4, "sc": 455, "ep": 8, "ec": 268} | 161,069 | Q1156320 | 4 | 455 | 8 | 268 | Autumn leaf color | Chlorophyll and the green/yellow/orange colors | of Canada and the United States, "leaf peeping" tourism is a major contribution to economic activity. This tourist activity occurs between the beginning of color changes and the onset of leaf fall, usually around September and October in the Northern Hemisphere and April to May in the Southern Hemisphere. Chlorophyll and the green/yellow/orange colors A green leaf is green because of the presence of a pigment known as chlorophyll, which is inside an organelle called a chloroplast. When abundant in the leaf's cells, as during the growing season, the chlorophyll's green color dominates and masks out the colors of any |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 8, "sc": 268, "ep": 8, "ec": 915} | 161,069 | Q1156320 | 8 | 268 | 8 | 915 | Autumn leaf color | Chlorophyll and the green/yellow/orange colors | other pigments that may be present in the leaf. Thus, the leaves of summer are characteristically green.
Chlorophyll has a vital function: it captures solar rays and uses the resulting energy in the manufacture of the plant's food — simple sugars which are produced from water and carbon dioxide. These sugars are the basis of the plant's nourishment — the sole source of the carbohydrates needed for growth and development. In their food-manufacturing process, the chlorophylls break down, thus are being continually "used up". During the growing season, however, the plant replenishes the chlorophyll so that the supply remains high and |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 8, "sc": 915, "ep": 8, "ec": 1552} | 161,069 | Q1156320 | 8 | 915 | 8 | 1,552 | Autumn leaf color | Chlorophyll and the green/yellow/orange colors | the leaves stay green.
In late summer, as daylight hours shorten and temperatures cool, the veins that carry fluids into and out of the leaf are gradually closed off as a layer of special cork cells forms at the base of each leaf. As this cork layer develops, water and mineral intake into the leaf is reduced, slowly at first, and then more rapidly. During this time, the chlorophyll begins to decrease. Often, the veins are still green after the tissues between them have almost completely changed color.
Much chlorophyll is in photosystem II (light-harvesting complex II or LHC II), the most abundant membrane protein |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 8, "sc": 1552, "ep": 8, "ec": 2223} | 161,069 | Q1156320 | 8 | 1,552 | 8 | 2,223 | Autumn leaf color | Chlorophyll and the green/yellow/orange colors | on earth. LHC II captures light in photosynthesis. It is located in the thylakoid membrane of the chloroplast and it is composed of an apoprotein along with several ligands, the most important of which are chlorophylls a and b. In the fall, this complex is broken down. Chlorophyll degradation is thought to occur first. Recent research suggests that the beginning of chlorophyll degradation is catalyzed by chlorophyll b reductase, which reduces chlorophyll b to 7‑hydroxymethyl chlorophyll a, which is then reduced to chlorophyll a. This is believed to destabilize the complex, at which point breakdown of the apoprotein occurs. An important enzyme in the breakdown of |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 8, "sc": 2223, "ep": 12, "ec": 33} | 161,069 | Q1156320 | 8 | 2,223 | 12 | 33 | Autumn leaf color | Chlorophyll and the green/yellow/orange colors & Carotenoids | the apoprotein is FtsH6, which belongs to the FtsH family of proteases.
Chlorophylls degrade into colorless tetrapyrroles known as nonfluorescent chlorophyll catabolites.
As the chlorophylls degrade, the hidden pigments of yellow xanthophylls and orange beta-carotene are revealed. These pigments are present throughout the year, but the red pigments, the anthocyanins, are synthesized de novo once roughly half of chlorophyll has been degraded. The amino acids released from degradation of light harvesting complexes are stored all winter in the tree's roots, branches, stems, and trunk until the next spring, when they are recycled to releaf the tree. Carotenoids Carotenoids are present in leaves |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 12, "sc": 33, "ep": 12, "ec": 679} | 161,069 | Q1156320 | 12 | 33 | 12 | 679 | Autumn leaf color | Carotenoids | the whole year round, but their orange-yellow colors are usually masked by green chlorophyll. As autumn approaches, certain influences both inside and outside the plant cause the chlorophylls to be replaced at a slower rate than they are being used up. During this period, with the total supply of chlorophylls gradually dwindling, the "masking" effect slowly fades away. Then other pigments that have been present (along with the chlorophylls) in the cells all during the leaf's life begin to show through. These are carotenoids and they provide colorations of yellow, brown, orange, and the many hues in between.
The carotenoids occur, |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 12, "sc": 679, "ep": 12, "ec": 1355} | 161,069 | Q1156320 | 12 | 679 | 12 | 1,355 | Autumn leaf color | Carotenoids | along with the chlorophyll pigments, in tiny structures called plastids, within the cells of leaves. Sometimes, they are in such abundance in the leaf that they give a plant a yellow-green color, even during the summer. Usually, however, they become prominent for the first time in autumn, when the leaves begin to lose their chlorophyll.
Carotenoids are common in many living things, giving characteristic color to carrots, corn, canaries, and daffodils, as well as egg yolks, rutabagas, buttercups, and bananas.
Their brilliant yellows and oranges tint the leaves of such hardwood species as hickories, ash, maple, yellow poplar, aspen, birch, black cherry, |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 12, "sc": 1355, "ep": 16, "ec": 497} | 161,069 | Q1156320 | 12 | 1,355 | 16 | 497 | Autumn leaf color | Carotenoids & Anthocyanins | sycamore, cottonwood, sassafras, and alder. Carotenoids are the dominant pigment in coloration of about 15-30% of tree species. Anthocyanins The reds, the purples, and their blended combinations that decorate autumn foliage come from another group of pigments in the cells called anthocyanins. Unlike the carotenoids, these pigments are not present in the leaf throughout the growing season, but are actively produced towards the end of summer. They develop in late summer in the sap of the cells of the leaf, and this development is the result of complex interactions of many influences—both inside and outside the plant. Their formation |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 16, "sc": 497, "ep": 16, "ec": 1106} | 161,069 | Q1156320 | 16 | 497 | 16 | 1,106 | Autumn leaf color | Anthocyanins | depends on the breakdown of sugars in the presence of bright light as the level of phosphate in the leaf is reduced.
During the summer growing season, phosphate is at a high level. It has a vital role in the breakdown of the sugars manufactured by chlorophyll, but in the fall, phosphate, along with the other chemicals and nutrients, moves out of the leaf into the stem of the plant. When this happens, the sugar-breakdown process changes, leading to the production of anthocyanin pigments. The brighter the light during this period, the greater the production of anthocyanins and the more brilliant |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 16, "sc": 1106, "ep": 16, "ec": 1758} | 161,069 | Q1156320 | 16 | 1,106 | 16 | 1,758 | Autumn leaf color | Anthocyanins | the resulting color display. When the days of autumn are bright and cool, and the nights are chilly but not freezing, the brightest colorations usually develop.
Anthocyanins temporarily color the edges of some of the very young leaves as they unfold from the buds in early spring. They also give the familiar color to such common fruits as cranberries, red apples, blueberries, cherries, strawberries, and plums.
Anthocyanins are present in about 10% of tree species in temperate regions, although in certain areas — most famously northern New England — up to 70% of tree species may produce the pigment. In autumn forests, they appear |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 16, "sc": 1758, "ep": 24, "ec": 218} | 161,069 | Q1156320 | 16 | 1,758 | 24 | 218 | Autumn leaf color | Anthocyanins & Cell walls & Function of autumn colors | vivid in the maples, oaks, sourwood, sweetgums, dogwoods, tupelos, cherry trees, and persimmons. These same pigments often combine with the carotenoids' colors to create the deeper orange, fiery reds, and bronzes typical of many hardwood species. Cell walls The brown color of leaves is not the result of a pigment, but rather cell walls, which may be evident when no coloring pigment is visible. Function of autumn colors Deciduous plants were traditionally believed to shed their leaves in autumn primarily because the high costs involved in their maintenance would outweigh the benefits from photosynthesis during the winter period of low |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 24, "sc": 218, "ep": 28, "ec": 173} | 161,069 | Q1156320 | 24 | 218 | 28 | 173 | Autumn leaf color | Function of autumn colors & Photoprotection | light availability and cold temperatures. In many cases, this turned out to be oversimplistic — other factors involved include insect predation, water loss, and damage from high winds or snowfall.
Anthocyanins, responsible for red-purple coloration, are actively produced in autumn, but not involved in leaf-drop. A number of hypotheses on the role of pigment production in leaf-drop have been proposed, and generally fall into two categories: interaction with animals, and protection from nonbiological factors. Photoprotection According to the photoprotection theory, anthocyanins protects the leaf against the harmful effects of light at low temperatures. The leaves are about to fall, so protection |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 28, "sc": 173, "ep": 32, "ec": 308} | 161,069 | Q1156320 | 28 | 173 | 32 | 308 | Autumn leaf color | Photoprotection & Coevolution | is not of extreme importance for the tree. Photo-oxidation and photoinhibition, however, especially at low temperatures, make the process of reabsorbing nutrients less efficient. By shielding the leaf with anthocyanins, according to the photoprotection theory, the tree manages to reabsorb nutrients (especially nitrogen) more efficiently. Coevolution According to the coevolution theory, the colors are warning signals to insects like aphids that use trees as a host for the winter. If the colors are linked to the amount of chemical defenses against insects, then the insects will avoid red leaves and increase their fitness; at the same time, trees with red |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 32, "sc": 308, "ep": 32, "ec": 943} | 161,069 | Q1156320 | 32 | 308 | 32 | 943 | Autumn leaf color | Coevolution | leaves have an advantage because they reduce their parasite load. This has been shown in the case of apple trees where some domesticated apple varieties, unlike wild ones, lack red leaves in autumn. A greater proportion of aphids that avoid apple trees with red leaves manage to grow and develop compared to those that do not. A trade-off, moreover, exists between fruit size, leaf color, and aphids resistance as varieties with red leaves have smaller fruits, suggesting a cost to the production of red leaves linked to a greater need for reduced aphid infestation.
Consistent with red-leaved trees providing reduced survival |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 32, "sc": 943, "ep": 32, "ec": 1560} | 161,069 | Q1156320 | 32 | 943 | 32 | 1,560 | Autumn leaf color | Coevolution | for aphids, tree species with bright leaves tend to select for more specialist aphid pests than do trees lacking bright leaves (autumn colors are useful only in those species coevolving with insect pests in autumn).
The coevolution theory of autumn colors was proposed by W. D. Hamilton in 2001 as an example of evolutionary signalling theory. With biological signals such as red leaves, it is argued that because they are costly to produce, they are usually honest, so signal the true quality of the signaller with low-quality individuals being unable to fake them and cheat. Autumn colors would be a signal |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 32, "sc": 1560, "ep": 32, "ec": 2216} | 161,069 | Q1156320 | 32 | 1,560 | 32 | 2,216 | Autumn leaf color | Coevolution | if they are costly to produce, or be impossible to fake (for example if autumn pigments were produced by the same biochemical pathway that produces the chemical defenses against the insects).
The change of leaf colors prior to fall have also been suggested as adaptations that may help to undermine the camouflage of herbivores.
Many plants with berries attract birds with especially visible berry and/or leaf color, particularly bright red. The birds get a meal, while the shrub, vine, or typically small tree gets undigested seeds carried off and deposited with the birds' manure. Poison ivy is particularly notable for having bright-red |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 32, "sc": 2216, "ep": 40, "ec": 67} | 161,069 | Q1156320 | 32 | 2,216 | 40 | 67 | Autumn leaf color | Coevolution & Allelopathy & Tourism | foliage drawing birds to its off-white seeds (which are edible for birds, but not most mammals). Allelopathy The brilliant red autumn color of some species of maple is created by processes separate from those in chlorophyll breakdown. When the tree is struggling to cope with the energy demands of a changing and challenging season, maple trees are involved in an additional metabolic expenditure to create anthocyanins. These anthocyanins, which create the visual red hues, have been found to aid in interspecific competition by stunting the growth of nearby saplings (allelopathy). Tourism Although some autumn coloration occurs wherever deciduous trees are |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 40, "sc": 67, "ep": 44, "ec": 11} | 161,069 | Q1156320 | 40 | 67 | 44 | 11 | Autumn leaf color | Tourism & Climate influences | found, the most brightly colored autumn foliage is found in the northern hemisphere, with region that include: most of southern mainland Canada; some areas of the northern United States; Northern, and Western Europe north of the Alps; the Caucasus region of Russia near the Black Sea; and Eastern Asia (including much of northern and eastern China, and as well as Korea and Japan).
In the southern hemisphere, colorful autumn foliage can be observed in: southern Argentina and Chile; the south and southeast regions of Brazil; southeastern Australia (including Tasmania); and much of New Zealand (particularly South Island). Climate influences Compared to |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 44, "sc": 11, "ep": 44, "ec": 644} | 161,069 | Q1156320 | 44 | 11 | 44 | 644 | Autumn leaf color | Climate influences | Western Europe, North America provides many more arbor species (more than 800 species and about 70 oaks, compared to 51 and three, respectively, in Western Europe) which adds many more different colors to the spectacle. The main reason is the different effect of the Ice ages — while in North America, species were protected in more southern regions along north–south ranging mountains, this was not the case in Europe.
Global warming and rising carbon dioxide levels in the atmosphere may delay the usual autumn spectacle of changing colors and falling leaves in northern hardwood forests in the future, and increase forest |
{"datasets_id": 161069, "wiki_id": "Q1156320", "sp": 44, "sc": 644, "ep": 44, "ec": 1067} | 161,069 | Q1156320 | 44 | 644 | 44 | 1,067 | Autumn leaf color | Climate influences | productivity. Experiments with poplar trees showed that they stayed greener longer with higher CO₂ levels, independent of temperature changes. However, the experiments over two years were too brief to indicate how mature forests may be affected over time. Also, other factors, such as increasing ozone levels close to the ground (tropospheric ozone pollution), can negate the beneficial effects of elevated carbon dioxide. |
{"datasets_id": 161070, "wiki_id": "Q790091", "sp": 2, "sc": 0, "ep": 6, "ec": 551} | 161,070 | Q790091 | 2 | 0 | 6 | 551 | Avalon (Al Jolson song) | Film appearances | Avalon (Al Jolson song) Film appearances The song was included in the biographical films The Jolson Story (1946) and The Benny Goodman Story (1956), and is also being noodled by Sam (Dooley Wilson) at the piano right before he plays "As Time Goes By" in the movie Casablanca (1942). The song was played in the background in the 1932 movie "You Said a Mouthful" which starred Joe E. Brown.
Al Jolson recorded it for Rose of Washington Square (1939); although it was cut from the finished film, the audio recording survives.
It can also be heard in The Helen Morgan Story (1957) |
{"datasets_id": 161070, "wiki_id": "Q790091", "sp": 6, "sc": 551, "ep": 6, "ec": 840} | 161,070 | Q790091 | 6 | 551 | 6 | 840 | Avalon (Al Jolson song) | Film appearances | where it is performed by Ann Blyth (dubbed by Gogi Grant) with chorus girls
It appears in "It's a Wonderful Life" ( 1946). It is playing in the background in the party scene about 35 minutes into the film, where George Bailey's mother urges George to pay a visit to Mary Hatch. |
{"datasets_id": 161071, "wiki_id": "Q4830777", "sp": 2, "sc": 0, "ep": 6, "ec": 561} | 161,071 | Q4830777 | 2 | 0 | 6 | 561 | Aya Sawan Jhoom Ke | Plot summary | Aya Sawan Jhoom Ke Plot summary Wealthy Jaishankar meets and falls in love with Aarti, successfully woos her and agrees to meet with her dad to discuss their marriage. On the way there he ironically runs over him, killing him instantly. Guilt-ridden, he attempts to make amends to look after Aarti, her brother, Pappu, and sister, Mala, but conceals the fact that he was responsible for their father's death. Things get worse after Aarti not only discovers the truth but also witnesses him getting intimate with a cabaret dancer, Rita. Then Jaishankar is first disowned by his father after the |
{"datasets_id": 161071, "wiki_id": "Q4830777", "sp": 6, "sc": 561, "ep": 6, "ec": 902} | 161,071 | Q4830777 | 6 | 561 | 6 | 902 | Aya Sawan Jhoom Ke | Plot summary | family finds out that he had sired a son from Rita, and then subsequently arrested by the Police for killing Rita. However, it turns out that he is saving his sister's husband Rajesh and was being blackmailed by Rita for money. In the end, it is revealed that Rita's real husband shot her for cheating other people and her greed for money. |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 2, "sc": 0, "ep": 6, "ec": 581} | 161,072 | Q1723223 | 2 | 0 | 6 | 581 | Band of Heathens | History | Band of Heathens History The three original principal songwriters - Colin Brooks, Ed Jurdi and Gordy Quist - shared the bill at Momo's, an Austin club. Originally, each singer/songwriter performed his own set. However, they eventually started sharing the stage, and collaborating with bassist Seth Whitney. The Wednesday night series was billed as "The Good Time Supper Club". A misprint in a local paper billed the act as "The Heathens." Drummer John Chipman joined the band in 2007, and Keyboardist Trevor Nealon, who played in the studio during the recording of both "One Foot in the Ether" and "Top Hat |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 581, "ep": 6, "ec": 1214} | 161,072 | Q1723223 | 6 | 581 | 6 | 1,214 | Band of Heathens | History | Crown & the Clapmaster's Son", joined the touring unit in 2011.
Their first recording, "Live from Momo's", recorded at the now closed club on West 6th Street in Austin brought the band national attention and they were voted "Best New Band" at the 2007 Austin Music Awards. Following the Momo's release, the band released a second live recording, the CD/DVD "Live at Antone's" which was recorded at the venerable Austin club.
May 20, 2008 the band released their first, self-titled, studio album. Produced by Ray Wylie Hubbard, and featuring notable guests Patty Griffin, Stephen Bruton, and Gurf Morlix, the record |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 1214, "ep": 6, "ec": 1858} | 161,072 | Q1723223 | 6 | 1,214 | 6 | 1,858 | Band of Heathens | History | went to #1 on the Americana Music Association's radio charts. In November 2008 the album was ranked 8th place on the Americana Music Association's Top 100 Albums of the Americana Charts for 2008.
In July 2009 BOH taped an Austin City Limits show that aired in the Fall of 2009. The year was especially significant for ACL in that Austin City Limits was celebrating its 35th anniversary year. The band's unique genesis and creativity were highlighted during the Austin City Limits interview conducted after their performance.
The TV performance showcased a set by both the Band Of Heathens and Elvis Costello.
Following |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 1858, "ep": 6, "ec": 2462} | 161,072 | Q1723223 | 6 | 1,858 | 6 | 2,462 | Band of Heathens | History | the Austin City Limits PBS show, the band also played on the German television live concert series Rockpalast on October 9, 2009, performing 14 songs, many from the albums "Band Of Heathens" and "One Foot In The Ether.".
"One Foot In The Ether", BOH's second studio release once again charted to the #1 slot on the Americana Radio Charts.
In 2009, the band was nominated for a "New Emerging Artist" award at the Americana Music Honors & Awards. In 2010, the band was again honored by the Americana Music Association as nominees for the "Best Duo/Group of the Year".
In 2011, the |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 2462, "ep": 6, "ec": 3060} | 161,072 | Q1723223 | 6 | 2,462 | 6 | 3,060 | Band of Heathens | History | band released their fifth album overall (third studio album) Top Hat Crown & the Clapmaster's Son. The album was listed in the top 10 most played Americana Albums of 2011, marking the third album in a row to make the year end top 10 list. This album is also the last studio project featuring founding member Colin Brooks, who announced in November of that year that he was leaving the band to pursue other interests after six years.
2013 provided the critically acclaimed album titled "Sunday Morning Record". The "Bakersfield Californian Review" aptly stated "Sunday Morning Record is a |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 3060, "ep": 6, "ec": 3677} | 161,072 | Q1723223 | 6 | 3,060 | 6 | 3,677 | Band of Heathens | History | love letter to the past and, at the same time, a postcard to the future."
The album charted to the number 2 spot on the Americana Charts Americana Music Association and was selected as the Number one album in 2013 by "The Alternative Root". In addition, "The Alternative Root" in referring to its "Top Fifty" Americana Bands stated the following: "The number one spot was the easiest to place. Band of Heathens epitomize Indie, building their band business from the ground up and keeping everything in-house".
Highway Prayer: A Tribute to Adam Carroll, released in late 2016 on Austin-based Eight 30 |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 6, "sc": 3677, "ep": 10, "ec": 309} | 161,072 | Q1723223 | 6 | 3,677 | 10 | 309 | Band of Heathens | History & Live recordings | Records, featured The Band of Heathens' version of Carroll's "Oklahoma Gypsy Shuffler." Additionally, The Band of Heathens' version of "The Dirty South" was included on the satirical album Floater: A Tribute to the Tributes to Gary Floater, released early in 2018 on the Austin-based Eight 30 Records. Live recordings The band started recording all of their live performances in February 2012 and making them available at the conclusion of each show on a USB drive. Each drive contains that night's audio recording, photos from the day of touring, and a video (when possible). Later, the band launched live.bandofheathens.com |
{"datasets_id": 161072, "wiki_id": "Q1723223", "sp": 10, "sc": 309, "ep": 10, "ec": 730} | 161,072 | Q1723223 | 10 | 309 | 10 | 730 | Band of Heathens | Live recordings | where the audio recordings are available either by subscription or a la carte download. Ed Jurdi said the band embraced the idea of sharing as much of their music as possible, "We play different set lists night to night and we’ll play songs differently over time and they will evolve. And that’s another outlet for fans to follow the band and explore what we are doing. So our attitude is to share it as much as we can." |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 2, "sc": 0, "ep": 8, "ec": 127} | 161,073 | Q4856007 | 2 | 0 | 8 | 127 | Bank erosion | Measurement | Bank erosion Bank erosion is the wearing away of the banks of a stream or river. This is distinguished from erosion of the bed of the watercourse, which is referred to as scour.
The roots of trees growing by a stream are undercut by such erosion. As the roots bind the soil tightly, they form abutments which jut out over the water. These have a significant effect upon the rate and progress of the erosion. Measurement There are a variety of methods for measuring river bank erosion rates. A direct method is to insert metal rods (called "erosion |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 8, "sc": 127, "ep": 8, "ec": 695} | 161,073 | Q4856007 | 8 | 127 | 8 | 695 | Bank erosion | Measurement | pins") into the bank and marking the position of the bank surface along the rods at different times. This simple measurement technique can be enhanced with the use of a data logger attached to a rod of photoreceptors; the logger records the voltage, which is an indication of how much of the rod is exposed. Another common method is to survey a stream cross section repeatedly over time. This measures the erosion rate in addition to changes in the geometry of stream banks. Aerial and satellite imagery can be used to measure rates of bank erosion and river channel |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 8, "sc": 695, "ep": 12, "ec": 357} | 161,073 | Q4856007 | 8 | 695 | 12 | 357 | Bank erosion | Measurement & Mechanisms | migration at larger spatial scales by comparing bank locations at various times. Finally, there are a variety of less common methods like using sedimentology or tree age to calculate erosion rates by approximating historic locations of the river channel. Mechanisms There are two primary mechanisms of stream bank erosion: fluvial erosion and mass failure. Fluvial erosion is the direct removal of soil particles by flowing water. The rate of fluvial erosion is determined both by the force of the flowing water (e.g. faster flow equals more force) and the resistance of the bank material to erosion (e.g. clay is generally |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 12, "sc": 357, "ep": 12, "ec": 972} | 161,073 | Q4856007 | 12 | 357 | 12 | 972 | Bank erosion | Mechanisms | more resistant to erosion than sand). Mass failure occurs when the weight of a stream bank is greater than the strength of the soil, causing the bank to collapse. This process is dependent upon a number of factors including the internal strength of the soil (e.g. clay vs. sand), soil-water content, and vegetation. These two erosion processes are linked as fluvial erosion of the bottom of the bank creates a steeper bank angle or overhanging soil blocks which are more unstable and likely to collapse.
Other erosion processes include cycles of wetting and drying or freezing and thawing which weakens the |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 12, "sc": 972, "ep": 16, "ec": 309} | 161,073 | Q4856007 | 12 | 972 | 16 | 309 | Bank erosion | Mechanisms & Vegetation | bank soil and makes it more susceptible to erosion. An additional form of erosion is termed seepage erosion. This occurs when groundwater flows out of a stream bank with enough force to erode the bank material. If concentrated, seepage erosion can be called piping because a “pipe” of soil is eroded. Vegetation Vegetation can have a significant impact on bank erosion. Generally, banks with vegetation erode more slowly than those without. Dense vegetation growing on the bank face can deflect flowing water and prevent fluvial erosion. Roots generally increase the strength of bank material, making a bank less prone to |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 16, "sc": 309, "ep": 20, "ec": 471} | 161,073 | Q4856007 | 16 | 309 | 20 | 471 | Bank erosion | Vegetation & Control | mass failure. However, trees can also add significant weight to the tops of stream banks and may actually decrease stability. Control Bank erosion is a natural process: without it, rivers would not meander and change course. However, land management patterns that change the hydrograph and/or vegetation cover can act to increase or decrease channel migration rates. In many places, whether or not the banks are unstable due to human activities, people try to keep a river in a single place. This can be done for environmental reclamation or to prevent a river from changing course into land that is being |
{"datasets_id": 161073, "wiki_id": "Q4856007", "sp": 20, "sc": 471, "ep": 20, "ec": 784} | 161,073 | Q4856007 | 20 | 471 | 20 | 784 | Bank erosion | Control | used by people. One way that this is done is by placing riprap or gabions along the bank. A common natural method to reduce bank erosion is the re-introduction of native plant species in the area. The expansive root systems of these plants provide support within the soil and prevents erosion due to rain runoff. |
{"datasets_id": 161074, "wiki_id": "Q4860192", "sp": 2, "sc": 0, "ep": 6, "ec": 259} | 161,074 | Q4860192 | 2 | 0 | 6 | 259 | Bardol | Demographics | Bardol Demographics In the 2001 India census, Bardol had a population of 5,537 with 2,942 males and 2,595 females.
In the 2011 census, the population of Bardol was reported as 6,866. Bardol is famous for Grapes production. It's also famous for amenities it equipped with. |
{"datasets_id": 161075, "wiki_id": "Q4862658", "sp": 2, "sc": 0, "ep": 4, "ec": 412} | 161,075 | Q4862658 | 2 | 0 | 4 | 412 | Baron Multon of Gilsland | Baron Multon of Gilsland Baron Multon of Gilsland was a title in the Peerage of England. It was created when on 26 August 1307 Thomas de Multon was summoned to parliament. At his death, his daughter Margaret inherited the title; she married Ralph Dacre, who was summoned to parliament as Baron Dacre and not as Baron Multon in 1321. If the Multon barony was extant thereafter, it can be supposed to have descended with the new Dacre one. |
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{"datasets_id": 161076, "wiki_id": "Q4865407", "sp": 2, "sc": 0, "ep": 4, "ec": 432} | 161,076 | Q4865407 | 2 | 0 | 4 | 432 | Bartlett Inlet | Bartlett Inlet Bartlett Inlet (77°13′S 156°40′W) is a largely ice-filled inlet, about 16 nautical miles (30 km) wide, indenting the north coast of Edward VII Peninsula just east of Cape Colbeck. It was mapped from surveys by the United States Geological Survey and from U.S. Navy air photos (1959–65), and named by the Advisory Committee on Antarctic Names for Lieutenant Eugene F. Bartlett, MC, U.S. Navy, officer in charge at Byrd Station, 1960. |
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{"datasets_id": 161077, "wiki_id": "Q60823629", "sp": 2, "sc": 0, "ep": 10, "ec": 68} | 161,077 | Q60823629 | 2 | 0 | 10 | 68 | Bebe (6ix9ine song) | Production & Music video | Bebe (6ix9ine song) Production "Bebe" has a tempo of 102 BPM. It is 6ix9ine's first song in Spanish. Music video The song's accompanying music video was released on August 31, 2018. |
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