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[Creeperopolis]

The Yugoslav monitor Sava is a Temes-class river monitor that was built for the Austro-Hungarian Navy as SMS Bodrog. She fired the first shots of World War I just after 01:00 on 29 July 1914, when she and two other monitors shelled Serbian defences near Belgrade. She was part of the Danube Flotilla, and fought the Serbian and Romanian armies from Belgrade to the mouth of the Danube. In the closing stages of the war, she was the last monitor to withdraw towards Budapest, but was captured by the Serbs when she grounded on a sandbank downstream from Belgrade. After the war, she was transferred to the newly created Kingdom of Serbs, Croats and Slovenes (later Yugoslavia), and renamed Sava. She remained in service throughout the interwar period, although budget restrictions meant she was not always in full commission.

During the German-led Axis invasion of Yugoslavia in April 1941, Sava served with the 1st Monitor Division. Along with her fellow monitor Vardar, she laid mines in the Danube near the Romanian border during the first few days of the invasion. The two monitors fought off several attacks by the Luftwaffe, but were forced to withdraw to Belgrade. Due to high river levels and low bridges, navigation was difficult, and Sava was scuttled on 11 April. Some of her crew tried to escape cross-country towards the southern Adriatic coast, but all were captured prior to the Yugoslav surrender. The vessel was later raised by the navy of the Axis puppet state known as the Independent State of Croatia and continued to serve as Sava until the night of 8 September 1944 when she was again scuttled.

Following World War II, Sava was raised once again, and was refurbished to serve in the Yugoslav Navy from 1952 to 1962. She was then transferred to a state-owned company that was eventually privatised. In 2005, the government of Serbia granted her limited heritage protection after citizens demanded that she be preserved as a floating museum, but little else was done to restore her at the time. In 2015, the Serbian Ministry of Defence and Belgrade's Military Museum acquired the ship. She was restored by early 2019 and opened as a floating museum in November 2021.

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English offensives in 1345–1347, during the Hundred Years' War, resulted in repeated defeats of the French, the loss or devastation of much French territory and the capture by the English of the port of Calais. The war had broken out in 1337 and flared up in 1340 when the king of England, Edward III, laid claim to the French crown and campaigned in northern France. There was then a lull in the major hostilities, although much small-scale fighting continued.

Edward determined early in 1345 to renew full-scale war. He despatched a small force to Gascony in south-west France under Henry, Earl of Derby and personally led the main English army to northern France. Edward delayed the disembarkation of his army and his fleet was scattered by a storm, rendering this offensive spectacularly successful. The following spring a large French army, led by the heir to the French throne, John, Duke of Normandy, counter-attacked Derby's forces.

Edward responded by landing an army of 10,000 men in northern Normandy. The English devastated much of Normandy and stormed and sacked Caen, slaughtering the population. They cut a swath along the left bank of the Seine to within 20 miles (32 km) of Paris. The English army then turned north and inflicted a heavy defeat on a French army led by their king, Philip VI, at the Battle of Crécy on 26 August 1346. They promptly exploited this by laying siege to Calais. The period from Derby's victory outside Bergerac in late August 1345 to the start of the siege of Calais on 4 September 1346 became known as Edward III's annus mirabilis (year of marvels).

After an eleven-month siege, which stretched both countries' financial and military resources to the limit, the town fell. Shortly afterwards, the Truce of Calais was agreed; it ran for nine months to 7 July 1348, but was extended repeatedly until it was formally set aside in 1355. The war eventually ended in 1453 with the English expelled from all French territory except Calais, which served as an English entrepôt into northern France for more than two hundred years.

[Creeperopolis]

Nil Battey Sannata (lit. 'Zero Divided by Zero Equals Nothing'; slang for "Good for Nothing"), released internationally as The New Classmate, is a 2015 Indian Hindi-language comedy drama film directed by Ashwiny Iyer Tiwari in her feature debut. Produced by Aanand L. Rai, Ajay Rai, and Alan McAlex under the banners of Colour Yellow Productions and JAR Pictures, the film was co-written by Iyer, Neeraj Singh, Pranjal Choudhary, and Nitesh Tiwari. Swara Bhaskar starred as Chanda Sahay, a high-school drop-out household maid and single mother of a sullen young girl named Apeksha, played by Riya Shukla. The film's theme is a person's right to dream and change their lives, irrespective of social status.

Released in India on 22 April 2016, Nil Battey Sannata was distributed by Eros International and garnered critical and audience acclaim. Reviewers praised most aspects of the production, especially its narrative and realism, and the performances of the cast, Bhaskar's in particular. At the 62nd Filmfare Awards, Iyer won the Filmfare Award for Best Debut Director, while Bhaskar and Shukla won the Screen Awards for Best Actress (Critics) and Best Child Artist respectively. The film did well at the box-office, collecting a total of around ₹69 million (US$830,000) during its entire theatrical run. The same year, the film was remade in Tamil as Amma Kanakku, with Iyer returning to direct. The following year, it was remade in Malayalam as Udaharanam Sujatha.

[TruncateVirus99]

:)

[The Eltran]

I haven't posted on this thread in ages

[Creeperopolis]

The Homeric Hymns (Ancient Greek: Ὁμηρικοὶ ὕμνοι, romanized: Homērikoì húmnoi) are a collection of thirty-three ancient Greek hymns and one epigram.[a] The hymns praise deities of the Greek pantheon and retell mythological stories, often involving a deity's birth, their acceptance among the gods on Mount Olympus, or the establishment of their cult. In antiquity, the hymns were generally, though not universally, attributed to the poet Homer: modern scholarship has established that most date to the seventh and sixth centuries BCE, though some are more recent and the latest, the Hymn to Ares, may have been composed as late as the fifth century CE.

The Homeric Hymns share compositional similarities with the Iliad and the Odyssey, also traditionally attributed to Homer. They share the same artificial literary dialect of Greek, are composed in dactylic hexameter, and make use of short, repeated phrases known as formulae. It is unclear how far writing, as opposed to oral composition, was involved in their creation. They may initially have served as preludes to the recitation of longer poems, and have been performed, at least originally, by singers accompanying themselves on a lyre or other stringed instrument. Performances of the hymns may have taken place at sympotic banquets, religious festivals and royal courts.

There are references to the Homeric Hymns in Greek poetry from around 600 BCE; they appear to have been used as educational texts by the early fifth century BCE, and to have been collected into a single corpus after the third century CE. Their influence on Greek literature and art was relatively small until the third century BCE, when they were used extensively by Alexandrian poets including Callimachus, Theocritus and Apollonius of Rhodes. They were also an influence on Roman poets, such as Lucretius, Catullus, Virgil, Horace and Ovid. In late antiquity (c. 200 – c. 600 CE), they influenced both pagan and Christian literature, and their collection as a corpus probably dates to this period. They were comparatively neglected during the succeeding Byzantine period (that is, until 1453), but continued to be copied in manuscripts of Homeric poetry; all the surviving manuscripts of the hymns date to the fifteenth century. They were also read and emulated widely in fifteenth-century Italy, and indirectly influenced Sandro Botticelli's painting The Birth of Venus.

The Homeric Hymns were first published in print by Demetrios Chalkokondyles in 1488–1489.[b] George Chapman made the first English translation of them in 1624. Part of their text was incorporated, via a 1710 translation by William Congreve, into George Frideric Handel's 1744 musical drama Semele. The rediscovery of the Homeric Hymn to Demeter in 1777 led to a resurgence of European interest in the hymns. In the arts, Johann Wolfgang von Goethe used the Hymn to Demeter as an inspiration for his 1778 melodrama Proserpina. Their textual criticism progressed considerably over the nineteenth century, particularly in German scholarship, though the text continued to present substantial difficulties into the twentieth. The Homeric Hymns were also influential on the English Romantic poets of the early nineteenth century, particularly Leigh Hunt, Thomas Love Peacock and Percy Bysshe Shelley. Later poets to adapt the hymns included Alfred, Lord Tennyson, and Constantine P. Cavafy. Their influence has also been traced in the works of James Joyce, the films of Alfred Hitchcock, and the novel Coraline by Neil Gaiman.

[Creeperopolis]

Charles Edward (Leopold Charles Edward George Albert;[note 1] 19 July 1884 – 6 March 1954) was at various points in his life a British prince, a German duke and a Nazi politician. He was the last ruling duke of Saxe-Coburg and Gotha, a state of the German Empire, from 30 July 1900 to 14 November 1918. He was later given multiple positions in the Nazi regime, including leader of the German Red Cross, and acted as an unofficial diplomat for the German government.

Charles Edward's parents were Prince Leopold, Duke of Albany, and Princess Helen of Waldeck and Pyrmont. His paternal grandparents were Queen Victoria of the United Kingdom and Prince Albert of Saxe-Coburg and Gotha. Prince Leopold died before his son's birth. Charles Edward was born in Surrey, England, and brought up as a British prince. The boy was a sickly child who developed a close relationship with his grandmother and his only sibling, Alice. He was privately educated, including at Eton College. In 1899, the Prince was selected to succeed to the throne of Saxe-Coburg and Gotha because he was deemed young enough to be re-educated as a German. He moved to Germany at the age of 15. Between 1899 and 1905, Charles Edward was put through various forms of education, guided by his cousin, German emperor Wilhelm II.

The Prince ascended the ducal throne in 1900 but reigned through a regency until 1905. In 1905, he married Princess Victoria Adelaide of Schleswig-Holstein. The couple had five children, including Sibylla, the mother of King Carl XVI Gustaf of Sweden. The Duke was a conservative ruler with an interest in art and technology. He tried to emphasise his loyalty to his adopted country through various symbolic gestures. Still, his continued close association with the United Kingdom was off-putting both to his subjects and to the German elite. He chose to support the German Empire during the First World War. The Duke had a disability and assisted the Imperial German Army without participating in combat. He was deposed during the German Revolution like the other German princes. He also lost his British titles due to his decision to side against the British Empire.

During the 1920s, the former Duke became a moral and financial supporter of violent far-right paramilitary groups in Germany. By the early 1930s, he was supporting the Nazi Party and joined it in 1933. Charles Edward helped to promote eugenicist ideas which provided a basis for the murder of many disabled people. He was involved in attempting to shift opinion among the British upper class in a more pro-German direction. His attitudes became more pro-Nazi during the Second World War, though it is unclear how much of a political role he played. After the war, he was interned for a period and was given a minor conviction by a denazification court. He died of cancer in 1954.

[Creeperopolis]

Free and Candid Disquisitions[note 1] is a 1749 pamphlet written and compiled by John Jones, a Welsh Church of England clergyman, and published anonymously. The work promoted a series of specific reforms to both the Church of England and its mandated book for liturgical worship, the 1662 Book of Common Prayer. Through these proposed changes, Jones hoped that the more Protestant independent Dissenters – who had largely broken with the Church of England in 1662 and been legally tolerated since 1689 – could be reintegrated into the church.

Free and Candid Disquisitions followed a failed attempt at a revised Book of Common Prayer in 1689 and other unsuccessful efforts towards reintegrating the independent Protestant Dissenters. Jones's proposals included combining and abbreviating the Sunday liturgies, removing latent Catholic influences from several rites, and providing improved hymns and psalms. He also challenged the requirement that clergy subscribe to the doctrinal statements of the Thirty-nine Articles. The text included an appendix of statements from historical figures and Jones's contemporaries supporting his positions.

The pamphlet's contents were the subject of significant discussion, with several responding texts both lauding and criticizing Jone's work. Despite a positive reception by Thomas Herring, the Archbishop of Canterbury, Jones's proposals were generally not accepted by the Church of England. However, his suggested alterations to the prayer book and advocacy of privately published liturgies were influential upon several Dissenter liturgical texts – including Theophilus Lindsey's liturgy and successive Unitarian prayer books – and the first editions of the American Episcopal Church's prayer book. Until the beginning of the Tractarian movement in the 19th century, Free and Candid Disquisitions remained a major influence on proposed liturgical changes in the Church of England.

[Creeperopolis]

The Aston Martin Rapide (/rəˈpiːd/) is an executive saloon car that was produced from 2010 until 2020 by the British carmaker Aston Martin. Aston Martin began developing the Rapide in 2005—the first series produced, four-door automobile from the company.[note 1] The initial design was completed in about seven weeks by Marek Reichman. After more than four months of development, a prototype was completed and displayed at the 2006 North American International Auto Show. The production version of the Rapide debuted at the 2009 International Motor Show Germany, and official manufacture began in May 2010 at the Magna Steyr facility in Graz, Austria.

The "vertical/horizontal" (VH) platform, which the Rapide uses, extensively incorporates aluminium throughout the body, reducing weight. In 2012, Aston Martin ended its partnership with Magna Steyr and shifted production to Gaydon, a Warwickshire village where the other VH platformed cars—including the DB9, the DBS, the Vantage and the second-generation Vanquish—were produced. In 2015, Aston Martin began developing an electric version of the car, named the "Rapide E". The production-ready model debuted in 2019 but was never series produced.

[Creeperopolis]

Alice of Champagne (French: Alix; c. 1193 – 1246) was the queen consort of Cyprus from 1210 to 1218, regent of Cyprus from 1218 to 1232, and regent of Jerusalem from 1243 to 1246. She was the eldest daughter of Queen Isabella I of Jerusalem and Count Henry II of Champagne. In 1210, Alice married her stepbrother King Hugh I of Cyprus, receiving the County of Jaffa as her dowry. After her husband's death in 1218, she assumed the regency for their infant son, King Henry I, but her maternal uncle Philip of Ibelin became the actual head of state administration as bailli (governor).

Alice began seeking contacts within her father's counties in France to bolster her claim to Champagne and Brie against her cousin, Theobald IV, but the kings of France never acknowledged her claim. After a dispute with Philip of Ibelin, she left the island in 1223. She married Bohemond, heir apparent to the Principality of Antioch and the County of Tripoli, but their marriage was annulled on grounds of consanguinity—they were too closely related according to canon law. In 1229, she laid claim to the Kingdom of Jerusalem against the infant Conrad (the son of her niece Queen Isabella II of Jerusalem and the Holy Roman Emperor, Frederick II) who was absent from the kingdom, but the High Court of Jerusalem rejected her claim. When her son reached the age of majority in 1232, Alice abdicated her regency and departed for France to claim Champagne and Brie. She subsequently renounced her claim and returned to the Holy Land.

In 1240, she married Raoul of Nesle who was about half of her age at the time. The High Court of Jerusalem proclaimed Alice and her husband regents for Conrad in 1243, but their power was only nominal. Raoul of Nesle left the kingdom, and Alice, before the end of the year. Alice retained the regency until her death in 1246.