title: Introduction (writing)

text: Not all introductions include summaries. For example, the "American Journal of Physics" ("AJP") specifically advises authors that an introduction “need not summarize”. Instead, the introduction can provide “background and context”, and/or indicate “purpose and importance”, and/or describe the raison d'être for an article (i.e. motivation) in a way that is “informative and inviting”. But the introduction need not summarize or even state the main points of the rest of an article. In contrast to the introduction, the abstract should do the job of summarizing an article, according to "AJP".


title: Introduction (writing)

text: It is not difficult to find other examples of journals that do recommend for introductions to include summaries. Consider the journal "Biochemistry", whose editors write the following (emphasis added):


title: Introduction (writing)

text: The Introduction should state the motivation for the investigation and its relationship to other work in the field. Extensive reviews of the literature should be avoided. The last paragraph of the introduction "should summarize" the major findings, conclusions, and significance of the work, without reproducing the abstract.


title: Natya Shastra

text: The Nāṭya Śāstra (, "Nāṭyaśāstra") is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.


title: Natya Shastra

text: The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance.


title: Natya Shastra

text: The "Nāṭya Śāstra" is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions. The text further inspired secondary literature such as the Abhinavabharati – an example of a classic Sanskrit bhasya ("reviews and commentaries") – written by the 10th century Abhinavagupta.


title: Natya Shastra

text: The title of the text is composed of two words, "Nāṭya" and "Śhāstra". The root of the Sanskrit word "Nāṭya" is "Naṭa" (नट) which means "act, represent". The word "Śhāstra" (शास्त्र) means "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the Indian literature context, for knowledge in a defined area of practice.


title: Natya Shastra

text: The composition date of "Nāṭyaśāstra" is unknown, estimates vary between 500 BCE to 500 CE. The text may have started in the 1st millennium BCE, expanded over time, and most scholars suggest, based on mention of this text in other Indian literature, that the first complete version of the text was likely finished between 200 BCE to 200 CE. The "Nāṭyaśāstra" is traditionally alleged to be linked to a 36,000 verse Vedic composition called "Adibharata", however there is no corroborating evidence that such a text ever existed.


title: Natya Shastra

text: The text has survived into the modern age in several manuscript versions, wherein the title of the chapters varies and in some cases the content of the few chapters differ. Some recensions show significant interpolations and corruption of the text, along with internal contradictions and sudden changes in style. Scholars such as PV Kane state that some text was likely changed as well as added to the original between the 3rd to 8th century CE, thus creating some variant editions, and the mixture of poetic verses and prose in a few extant manuscripts of "Natyashastra" may be because of this. According to Pramod Kale, who received a doctorate on the text from the University of Wisconsin, the surviving version of "Natya Shastra" likely existed by the 8th-century.


title: Natya Shastra

text: The author of the "Natya Shastra" is unknown, and the Hindu tradition attributes it to the "Rishi" (sage) Bharata. It may be the work of several authors, but scholars disagree. Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by Kapila Vatsyayan. The "Agni Purana", a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the "Natyashastra" format, but enumerates more styles and types of performance arts, which states Winternitz, may reflect an expansion in studies of the arts by the time "Agni Purana" was composed.


title: Natya Shastra

text: The "Natyashastra" is the oldest surviving ancient Indian work on performance arts. The roots of the text extend at least as far back as the "Natasutras", dated to around the mid 1st millennium BCE.


title: Natya Shastra

text: The "Natasutras" are mentioned in the text of Panini, the sage who wrote the classic on Sanskrit grammar, and who is dated to about 500 BCE. This performance arts related Sutra text is mentioned in other late Vedic texts, as are two scholars names Shilalin (IAST: Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. The "Natyashastra" refers to drama performers as Śhailālinas, likely because they were so known at the time the text was written, a name derived from the legacy of the vedic sage Śilālin credited with "Natasutras". Richmond et al. estimate the "Natasutras" to have been composed around 600 BCE.


title: Natya Shastra

text: According to Lewis Rowell, a professor of Music specializing on classical Indian music, the earliest Indian artistic thought included three arts, syllabic recital ("vadya"), melos ("gita") and dance ("nrtta"), as well as two musical genre, "Gandharva" (formal, composed, ceremonial music) and "Gana" (informal, improvised, entertainment music). The "Gandharva" subgenre also implied celestial, divine associations, while the "Gana" was free form art and included singing. The Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient Tamil classics make it “abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries”.


title: Natya Shastra

text: The art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and the Kalpasutras and Srautasutras, may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values. The Vedanga texts such as verse 1.4.29 of "Panini Sutras" mention these as well. The roots of the "Natyashastra" thus likely trace to the more ancient vedic traditions of integrating ritual recitation, dialogue and song in a dramatic representation of spiritual themes. The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (~800–700 BCE), for example, are written in the form of a riddle play between two actors.


title: Natya Shastra

text: The most studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters. The tradition believes that the text originally had 12,000 verses. Somewhat different versions of the manuscripts exist, and these contain 37 or 38 chapters. Predominant number of its verses are in precise Anustubh meter (4x8, or exactly 32 syllables in every "shloka"), some verses are in Arya meter (a morae-based Sanskrit meter), and the text has some text that is in prose particularly in chapters 6, 7 and 28.


title: Natya Shastra

text: The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters. The text opens with the mythical genesis and history of drama, mentions the role of different Hindu deities in various aspects of the arts, and the recommended Puja (consecration ceremony) of a stage for performance arts. The text, states Natalia Lidova, then describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures.


title: Natya Shastra

text: Chapters 6 and 7 present the "Rasa" theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting. Stage instruments such as methods for holding accessories, weapons, relative movement of actors and actresses, scene formulation, stage zones, conventions and customs are included in chapters 10 to 13 of the "Natyashastra".


title: Natya Shastra

text: The chapters 14 to 20 are dedicated to plot and structure of underlying text behind the performance art. These sections include the theory of Sanskrit prosody, musical meters and the language of expression. Chapter 17 presents the attributes of poetry and figures of speech, while chapter 18 presents the art of speech and delivery in the performance arts. The text lists ten kinds of play, presents its theory of plot, costumes, and make-up. The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female theater. The training of actors is presented in chapters 26 and 35 of the text.


title: Natya Shastra

text: The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of the importance of performance arts on culture.


title: Natya Shastra

text: The contents of the "Natyashastra", states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology". It is the oldest surviving encyclopedic treatise on dramaturgy from India, with sections on the theory and practice of various performance arts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance. "Natya" topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu Devas and Devis. Performance arts, states "Natyashastra", are a form of Vedic ritual ceremony (yajna).


title: Natya Shastra

text: The general approach of the text is treated entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The text allows, states Schwartz, the artists "enormous innovation" as they connect the playwright and the spectators, through their performance, to "Rasa" (the essence, juice).


title: Natya Shastra

text: The "rasa theory" of "Natyashastra", states Daniel Meyer-Dinkgräfe, presumes that bliss is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means. Performance arts aim to empower man to experience this "rasa", or re-experience it. Actors aim to journey the spectator to this aesthetic experience within him. Rasa is prepared, states "Natya Shastra", through a creative synthesis and expression of "vibhava" (determinants), "anubhava" (consequents) and "vyabhicharibhava" (transitory states). In the process of emotionally engaging the individual in the audience, the text outlines the use of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous.


title: Natya Shastra

text: The "Natyashastra" defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The "Natya" connects through "abhinaya", that is applying body-speech-mind and scene, wherein asserts "Natyashastra", the actors use two practices of "dharmi" (performance), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to achieve "siddhi" (success in production). Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness.


title: Natya Shastra

text: The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to a supersensual state of discovery and understanding. The stories and plots were provided by the Itihasas (epics), the Puranas and the Kathas genre of Hindu literature.


title: Natya Shastra

text: The text states that the playwright should know the "bhavas" (inner state of being) of all characters in the story, and it is these bhavas that the audience of that drama connects with. The hero is shown to be similar to everyone in some ways, trying to achieve the four goals of human life in Hindu philosophy, then the "vastu" (plot) emerges through the "representation of three worlds – the divine, the human, the demonic". Drama has dharma, it has artha, it has kama, it has humor, fighting and killing. The best drama shows the good and the bad, actions and feelings, of each character, whether God or man.


title: Natya Shastra

text: According to "Natyashastra", state Sally Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, then through the art performed, it provides enjoyment to those wanting pleasure, solace to those in grief, calmness to those who are worried, energy to those who are brave, courage to those who are cowards, eroticism to those who want company, enjoyment to those who are rich, knowledge to those who are uneducated, wisdom to those who are educated. Drama represents the truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness.


title: Natya Shastra

text: The function of drama and the art of theatre, as envisioned in "Natyashastra" states Daniel Meyer-Dinkgräfe, is to restore the human potential, man's journey of "delight at a higher level of consciousness", and a life that is enlightened.


title: Natya Shastra

text: The text goes into specifics to explain the means available within dramatic arts to achieve its goals. Just like the taste of food, states "Natyashastra", is determined by combination of vegetables, spices and other articles such as sugar and salt, the audience tastes dominant states of a drama through expression of words, gestures and temperaments. These dominant states are love, mirth, sorrow, anger, energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience. There are eight temperamental states that a drama can deploy to carry its message. The text describes four means of communication between the actors and the audience – words, gestures, dresses and "aharya" (make ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama. The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist can use to express these states, in chapters 6 through 7.


title: Natya Shastra

text: The "Natyashastra" describes the stage for performance arts as the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on the stage, and such architectural features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand the message and the meaning being communicated. After the 10th-century, Hindu temples were designed to include stages for performance arts (for example, "kuttampalams"), or prayer halls (for example, "namghar") that seconded as dramatic arts stage, based on the square principle described in the "Natyashastra", such as those in the peninsular and eastern states of India.


title: Natya Shastra

text: The "Natyashastra" discusses Vedic songs, and also dedicates over 130 verses to non-Vedic songs. Chapter 17 of the text is entirely dedicated to poetry and the structure of a song, which it states is also the template for composing plays. Its chapter 31 asserts that there are seven types of songs, and these are "Mandraka", "Aparantaka", "Rovindaka", "Prakari", "Ullopyaka", "Ovedaka" and "Uttara". It also elaborates on 33 melodic alankaras in songs. These are melodic tools of art for any song, and they are essential. Without these melodic intonations, states the text, a song becomes like "a night without the moon, a river without water, a creeper without a flower and a woman without an ornament". A song also has four basic architectural "varna" to empower its meaning, and these tone patterns are ascending line, steady line, descending line and the unsteady line.


title: Natya Shastra

text: The ideal poem produces bliss in the reader, or listener. It transports the audience into an imaginative world, transforms his inner state, and delivers him to a higher level of consciousness, suggests "Natyashastra". Great songs do not instruct or lecture, they delight and liberate from within to a state of godlike ecstasy. According to Susan Schwartz, these sentiments and ideas of "Natyashastra" likely influenced the devotional songs and musical trends of the Bhakti movement that emerged in Hinduism during the second half of the 1st millennium CE.


title: Natya Shastra

text: Indian dance ("nritta", नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in the aesthetics of "Natyashastra". The text defines the basic dance unit to be a "karana", which is a specific combination of the hands and feet integrated with specific body posture and gait ("sthana" and "chari" respectively). Chapter 4 describes 108 "karanas" as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions.


title: Natya Shastra

text: The "Natyashastra" is, states Emmie te Nijenhuis, the oldest surviving text that systematically treats "the theory and instruments of Indian music". Music has been an integral part of performance arts in the Hindu tradition since its Vedic times, and the theories of music found in the "Natyashastra" are also found in many Puranas, such as the Markandeya Purana.


title: Natya Shastra

text: The ancient Indian tradition, before the "Natyashastra" was finalized, classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of). The "Natyashastra" accepts these four categories as given, and dedicates four separate chapters to them, one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones).


title: Natya Shastra

text: Chapters 15 and 16 of the text discuss Sanskrit prosody in a manner similar to those found in more ancient Vedanga texts such as the "Pingala Sutras". Chapters 28 through 34 are dedicated to music, both vocal and instrument based. Chapter 28, discusses the harmonic scale, calling the unit of tonal measurement or audible unit as "Shruti", with verse 28.21 introducing the musical scale as follows,


title: Natya Shastra

text: The music theory in the "Natyashastra", states Maurice Winternitz, centers around three themes – sound, rhythm and prosody applied to musical texts. The text asserts that the octave has 22 "shrutis" or microintervals of musical tones or 1200 cents. This is very close to the ancient Greek system, states Emmie Te Nijenhuis, with the difference that each "shruti" computes to 54.5 cents, while the Greek enharmonic quartertone system computes to 55 cents. The text discusses "gramas" (scales) and "murchanas" (modes), mentioning three scales of seven modes (21 total), some of which are the same as the Greek modes. However, the Gandhara-grama is just mentioned in "Natyashastra", while its discussion largely focuses on two scales, fourteen modes and eight four "tanas" (notes). The text also discusses which scales are best for different forms of performance arts.


title: Natya Shastra

text: The "Natyashastra" describes from chapter 28 onwards, four types of regular musical instruments, grouping them as stringed giving the example of veena, covered giving the example of drums, solid giving the example of cymbals, and hollow stating flutes as example. Chapter 33 asserts team performance, calling it "kutapa" (orchestra) which it states to have one male and one female singer with nine to eleven musical instruments accompanied by players.


title: Natya Shastra

text: The "Natyashastra" enshrines the male and female actors in any performance art to be the most important. The brightness of performance, or its lack, impacts everything; a great play that is poorly performed confuses and loses the audience, while a play that is inferior in significance or meaning becomes beautiful to the audience when brilliantly performed, states "Natyashastra". A performance art of any form needs auditors and director, states the text, whose role is to work together with the actors from the perspective of the audience and the significance or meaning the playwright of the art work is attempting to convey.


title: Natya Shastra

text: The text dedicates significant number of verses on actor training, as did the Indian dramaturgy literature that arose in its wake. The ideal actor training, states "Natyashastra", encourages self-development within the actor and raises the actor's level of consciousness, which in turn empowers him or her to express ideas from that higher state of consciousness. Acting is more than physical techniques or rote recitation, it is communication through emotions and expression of embedded meaning and levels of consciousness in the underlying text.


title: Natya Shastra

text: The actor, states the text, should understand the three Guṇas, that is "Sattva", "Rajas" and "Tamas" qualities, because human lives are an interplay of these. The actor must feel a specific state within, to express it without. Thus, states Daniel Meyer-Dinkgräfe, the guidelines in "Natyashastra" employ the ideas in Yoga school of Hindu philosophy, with concepts mirroring "asanas", "pranayama" and "dhyana", both for actor training and the expression of higher levels of consciousness.


title: Natya Shastra

text: Specific training on gestures and movements for actors, their performance and significance, are discussed in chapters 8 through 12 of the "Natyashastra". Chapter 24 is dedicated to females in performance arts, however other chapters on actor training include numerous verses that mention women along with men.


title: Natya Shastra

text: The "Natyashastra" and other ancient Hindu texts such as the Yajnavalkya Smriti assert that arts and music are spiritual, with the power to guide one to moksha, through empowering the concentration of mind for the liberation of the Self (soul, Atman). These arts are offered as alternate paths ("marga" or yoga), in strength similar to the knowledge of the Shrutis (Vedas and Upanishads). Various medieval scholars, such as the 12th-century Mitaksara and Apararka, cite "Natyashastra" and Bharata in linking arts to spirituality, while the text itself asserts that beautiful songs are sacred and performance arts are holy.


title: Natya Shastra

text: The goal of performance arts, states "Natyashastra" is ultimately to let the spectator experience his own consciousness, then evaluate and feel the spiritual values innate in him, and rise to a higher level of consciousness. The playwright, the actors and the director (conductor) all aim to transport the spectator to an aesthetic experience within him to eternal universals, to emancipate him from the mundane to creative freedom within.


title: Natya Shastra

text: "Abhinavabhāratī" is the most studied commentary on "Natyashastra", written by Abhinavagupta (950–1020 CE), who referred to "Natyashastra" also as the "Natyaveda". Abhinavagupta's analysis of "Natyashastra" is notable for its extensive discussion of aesthetic and ontological questions, such as "whether human beings comprehend performance arts as "tattva" (reality and truth in another plane), or is it an error, or is it a form of superimposed reality ("aropa")?


title: Natya Shastra

text: Abhinavagupta asserts that "Natyashastra" and performance arts appeal to man because of "the experience of wonder", wherein the observer is pulled in, immersed, engaged, absorbed, and satisfied. The performance arts in "Natyashastra", states Abhinavagupta, temporarily suspends man from his ordinary world, transfers him into another parallel reality full of wonder, where he experiences and reflects on spiritual and moral concepts, and in there is the power of arts to transform the inner state of man, where the beauty of the art lifts him into the goals of Dharma (correct living, virtues, duties, right versus wrong, responsibilities, righteous). Abhinavagupta is also known for his Advaita Vedanta treatises and a commentary on the Bhagavad Gita, where he touches upon the aesthetics in "Natyashastra".


title: Natya Shastra

text: The detailed "Natyashastra" review and commentary of Abhinavagupta mentions older Sanskrit commentaries on the text, suggesting the text was widely studied and had been influential. His discussion of pre-10th century scholarly views and list of references suggest that there once existed secondary literature on the "Natyashastra" by at least Kirtidhara, Bhaskara, Lollata, Sankuka, Nayaka, Harsa and Tauta. However, all text manuscripts of these scholars have been lost to history or are yet to be discovered.


title: Natya Shastra

text: The first chapter of the text declares that the text's origins came after the four Vedas had been established, and yet there was lust, covetousness, wrath and jealously among human beings. The text was written as a fifth Veda, so that the essence of the Vedas can be heard and viewed, in "Natya" form to encourage every member of the society to dharma, artha and kama. The text originated to enable arts that influence the society and encourage each individual to consider good counsel, to explain sciences and demonstrate arts and crafts widely. The text is a guide and progeny of what is in the Vedas, asserts the "Natysashastra". The text re-asserts a similar message in the closing chapter, stating for example, in verses 36.20–21 that performance arts such as drama, songs, music, and dance with music are equal in importance as the exposition of the Vedic hymns, and that participating in vocal or instrumental music once is superior to bathing in river Ganges for a thousand days.


title: Natya Shastra

text: Nāṭyaśāstra, states Natalia Lidova, has been far more than "a mere compendium on drama". It provided the foundation of theatrical and literary works that followed, which shaped the post-Vedic culture. It has been an important source book of Hindu performance arts and its cultural beliefs regarding the role of arts in the social (dharmic) as well as the personal inner life of man in Hinduism.


title: Natya Shastra

text: The "Natysashastra" text has been influential in other arts. The 108 dance forms described in the "Natyashastra", for example, have inspired Shiva sculptures of the 1st-millennium BCE, particularly the Tandava style which fuses many of these into a composite image found at the Nataraja temple of Chidambaram. The movements of dance and expression in the "Natyashastra" are found carved on the pillars, walls and gateways of 1st-millennium Hindu temples.


title: Natya Shastra

text: The specifications provided in the "Natyashastra" can be found in the depiction of arts in sculpture, in icons and friezes across India.


title: Natya Shastra

text: The "Rasa" theory of "Natyashastra" has attracted scholarly interest in communication studies for its insights into developing texts and performances outside the Indian culture.


title: Aalavandhan

text: Aalavandhan () is a 2001 Indian Tamil-language psychological thriller film directed by Suresh Krissna and produced by S. Thanu. An adaptation of the novel "Dhayam" that was written by Kamal Haasan in 1984, The film stars Haasan in dual roles, with Raveena Tandon, Manisha Koirala, Sarath Babu, Gollapudi Maruti Rao, Madurai G.S. Mani and Milind Gunaji in supporting roles. It has elements of magic realism.


title: Aalavandhan

text: The film was simultaneously filmed in Hindi with the title Abhay () with three different actors. Although a commercial failure during its release, "Aalavandhan" and "Abhay" won the National Film Award for Best Special Effects.


title: Aalavandhan

text: Major Vijay Kumar and his group of the Black Cats save a group of tourists held hostage by terrorists in a Kashmir valley. Meanwhile, at a military hospital, Vijay meets his girlfriend Tejaswini aka Teju, a news presenter who he is ready to marry. Teju reveals she is pregnant after she presents her HCG report to Vijay after one of their dates gone wrong. Vijay then reveals to Teju about his plan to visit his twin brother, Nandhakumar "Nandhu", in a mental asylum who is incarcerated for murdering his stepmother.


title: Aalavandhan

text: Nandhu is a cleverly scheming and with good physical strength, yet paranoidal schizophrenic man who has spent most of his life in the asylum, often communicating using metaphors and poetic expressions. Vijay cares about Nandhu and looks forward to his release, but Nandhakumar's doctor tells him that Nandhu has developed into a psychopath. He is now a danger to society and should not be released.


title: Aalavandhan

text: Vijay and Teju visit Nandhu to share the news about their impending marriage, which turns disastrous as Nandhu begins to see Teju in the image of his stepmother. Seeking to save Vijay from Teju, Nandhu manages to escape custody after killing two other inmates Sulthan and Paasha, for a clean getaway, thus leaving no trail. He later meets his maternal uncle, who was responsible for incarcerating him. The man dies of choking upon seeing his nephew. Vijay and Teju get married. The next day Vijay and Teju are shocked to learn of Nandhu's escape. Vijay initially refuses to believe it was Nandhu who escaped. But, Nandhu's doctor believes it was Nandhu who escaped, because of the similarity that both Nandhu and his murdered buddy Sulthan are circumcised due to health reasons after the postmortem of Sulthan's beheaded corpse, thus proving Nandhu is circumcised. Later, Vijay is convinced that it was Nandhu.


title: Aalavandhan

text: Nandhu visits Vijay's home when he is not there and leaves a message about wanting to kill Teju. He keeps hallucinating his deceased mother in his imagination. While searching for Teju, Nandhu kills a drug peddler and falls in love with a socialite Sharmilee by looking at her promotional posters. By chance, he stumbles across Sharmilee at a hotel. Sharmilee ecstatically falls for Nandhu upon his antics, and both become close. Both being drugged, Sharmilee playfully whips Nandhu, which inadvertently causes him to visualise his stepmother's whippings and brutally murders her as a result. After returning to his senses, he regrets his actions and tearfully burns Sharmilee's corpse before exiting the room, but leaves behind evidence through which Vijay deduces him as the murderer.


title: Aalavandhan

text: Vijay and Teju leave for Vijay's ancestral home in Ooty to stay safe from Nandhu, but he secretly follows them. Vijay and Teju find Nandhu's old diary in the house through which they read his past: Vijay and Nandhu's mother committed suicide after realising that Santhosh, their father was having an affair with Jayanthi, who later became their stepmother. Both brothers hate her, especially Nandhu. The teacher complains about this, and Nandhu justifies that he is only reflecting the home environment. Enraged, Santhosh beats both his sons for disliking his new wife.


title: Aalavandhan

text: One day, Vijay learn that Jayanthi is having an affair with another man and Nandhu tries telling this to his father, who pays no heed, and instead beats him. Nandhu pleads to his maternal uncle to take him along with him. But as he is suffering from throat cancer, he refuses and suggests a boarding school. Eventually, Vijay leaves with his uncle to a boarding school while Nandhu remains home.


title: Aalavandhan

text: The situation gets worse at home with Nandhu and Jayanthi turning violent, and Santhosh gets a heart attack. Nandhu overhears a conversation between Jayanthi and a lawyer, and realises that she is only after his father's wealth. Seeing this, Santhosh dies due to another heart attack. Nandhu now starts to see both his deceased parents in his hallucinations, as a result of being turned into a psychopath due to his stepmother's cruel antics. His mother gives him the mission of killing Jayanthi, granting him a military knife. Nandhu stabs Jayanthi with the knife, but before dying, she vows that she will return. Nandhu stays with Jayanthi's corpse in the house before being incarcerated at the asylum.


title: Aalavandhan

text: In the present, Vijay learns from his old friend Tenoosh Kooth that Nandhu has reached Ooty. Vijay reaches on time to save Teju from Nandhu, who entered their hotel room and leaves with her. Nandhu, after getting a serpent styled tattoo all over his body which resembles the bond between the brothers by Tenoosh Kooth, decides to exact revenge on Teju. He chases the couple wreaking havoc across the road. After a while, they escape from the clutches of Nandhu, Vijay manages to push Nandhu's car into an abyss and assumes he is dead. However, Nandhu escapes and continues his trail. Vijay plans to leave the city and notices Nandhu coming to the hotel secretly.


title: Aalavandhan

text: Vijay and his commandos try to nab him, but he takes on everyone and kills many. Finally, the brothers have a fight where Nandhu overcomes Vijay. He corners Teju, who starts whacking him with a belt in self-defense, reminding Nandhu of Jayanthi's manner of punishing him. Vijay reaches by then, and there is another fight between the brothers. Nandhu visualises his mother asking him to join her as Jayanthi is torturing her up there. He realises his mistake and apologises to Vijay for chasing Teju. To kill his stepmother, he lights up some cylinders which explode and he dies.


title: Aalavandhan

text: Some months later, Teju is revealed to be pregnant with twins. She fears they will have the same traumatic childhood Vijay and Nandhu had, but Vijay comforts her by telling her that they shall provide good parental care and such thing will not happen.


title: Aalavandhan

text: All characters mentioned above in the Tamil version are the same in the Hindi version except Nandu's name, the doctor's character, and Tejaswini's parent's characters have been played by different actors.


title: Aalavandhan

text: In the early 1980s, Kamal Haasan wrote a story titled "Dhayam" for the journal, "Idhayam Pesugiradhu". He had discussed making the story into a film with K. Balachander during the period, but felt that the story was ahead of its time. In 2000, he picked up the story again and agreed to make the film with director Suresh Krissna, a former assistant of Balachander, and producer S. Thanu. When Thanu had agreed to produce a film for Haasan, he had initially rejected the storylines of "Pammal K. Sambandam" and "Nala Damayanthi". This prompted the pair to begin work on "Dhayam" instead, and the film was revealed to be called "Aalavandhan" in Tamil and "Abhay" in Hindi. "Abhay" was distributed by reputed Shringar Films. Mahesh Mahadevan was signed on to compose the background music, Tirru was selected to be the cinematographer and Sameer Chanda was picked to be the art director. Actor Jayam Ravi also worked on the film as an assistant director.


title: Aalavandhan

text: The film was first announced with Haasan and Simran and Bollywood actress Rani Mukerji in a special appearance. Both actresses left the project for its delay in start, being replaced by Raveena Tandon and Manisha Koirala. Producer Dhanu had initially tried to cast Aishwarya Rai in the film, but the actress did not sign the project.


title: Aalavandhan

text: Composer Harris Jayaraj was first approached by the producer to do music for the movie, and he assured to introduce him as a music composer before Minnale. But Harris refused as he owed to do his first movie with Gautham Vasudev Menon. Later, music trio Shankar–Ehsaan–Loy was signed as music composers.


title: Aalavandhan

text: The soundtrack of the movie was composed by the music trio Shankar–Ehsaan–Loy making their debut in Tamil, and the film score is composed by Mahesh Mahadevan. The film features six tracks in both Tamil and Hindi


title: Aalavandhan

text: The album of the film's Tamil version was released on 24 September 2001, and it created a record by selling over 2,00,000 copies in less than eight hours of its release. However, according to Rediff, it "did not live up to expectations."


title: Aalavandhan

text: Started on a budget of 7 crore, "Aalavandhan" costs tripled by the time of release. The film was released on 16 November 2001, during Diwali. The Hindi version "Abhay" was bought over in Maharashtra by the reputed Shringar Films. The number of prints in Tamil Nadu had been increased by almost 5 times the average. Both "Aalavandhan" and "Abhay" got A (adults only) certificate from the CBFC. Later, both were re-examined upon request to get a UA certificate.


title: Aalavandhan

text: The film was the top opener of the Diwali weekend at the box office but was not successful. According to Bollywood Hungama, "Abhay" collected 93.35 lakh at the box Office.


title: Aalavandhan

text: Initial reviews at the time of the film's release were mixed. Malathi Rangarajan of "The Hindu" said, "Too much publicity can sometimes affect a film adversely, because of the great expectations triggered. In the case of "Aalavandhan", the hype and hoopla built up for months seems justified — to a certain extent". The film won the National Film Award for Best Special Effects at the 49th National Film Awards in 2002.


title: Aalavandhan

text: Reviewing the Hindi version "Abhay", Taran Adarsh said, "On the whole, "Abhay" has nothing to offer to the masses or the classes. Poor". Rediff author R. Swaminathan said, "What happens when an exceptionally talented actor develops an inexplicable urge to delve into the dark side of the human psyche, and worse, decides to paint the town red about it? Well, for one, you get a film called "Abhay"." Vijay Ramanan of Planet Bollywood rated the film 5.5 out of 10, saying, "The film falls flat on its face because of its failure in the two most important departments of filmmaking – scriptwriting, and direction [...] It almost seems as if Kamal Haasan and Suresh Krishna were high on drugs while making this film." Smriti Kashyap of "fullhyd.com" said "The movie is a huge letdown. It lacks the pop, snap and crackle to fill you with enough guts to potter down to the theater and watch it. Catch it on the CD, it's easier on the brains."


title: Aalavandhan

text: Although the film failed commercially, it was positively received over the next few years, subsequently becoming a cult classic, with some critics stating that the film was "way ahead of its time". The film was shown in the 2016 Fantastic Fest, where it was acclaimed by the American audiences. In 2013, Rediff included the film in its list, "The 10 Best Films of Kamal Haasan".


title: Aalavandhan

text: Following the film's positive response at the 2016 Fantastic Fest, a digitally restored version was announced.


title: Belinda Lang

text: Belinda L. Lange (born 23 December 1953), known professionally as Belinda Lang, is an English actress. She is known for playing Liza in the ITV sitcom "Second Thoughts" (1991–94), and Bill Porter in the BBC sitcom "2point4 Children" (1991–99). Her theatre credits include London productions of the Noël Coward plays, "Present Laughter" (1981), "Blithe Spirit" (1997), and "Hay Fever" (2006). Her radio/audio credits include voicing narrator Madeleine in the podcast "Wooden Overcoats".


title: Belinda Lang

text: Lang is perhaps best known for her starring roles in three sitcoms – as Kate in "Dear John", as Bill Porter in "2point4 Children" and as Liza Ferrari in "Second Thoughts".


title: Belinda Lang

text: After a small part as 'Girl in Bath' in "Play for Today" in 1980 she appeared in the 1980 miniseries "To Serve Them All My Days", following this she had several one-off appearances and small parts until her role in "Dear John". Following "Dear John" (1986–1987), she played Martha in "The Bretts" (1987–1988) during which she acted alongside her future husband, Hugh Fraser and during the same period also appeared as Sheila Walsh in "Bust". Lang also had a lead part in the television series "Inspector Alleyn Mysteries", in which she played the artist Agatha Troy between 1990 and 1994.


title: Belinda Lang

text: In 1991, she took a lead role in "2point4 Children" alongside Gary Olsen. The sitcom would run for 8 series until it ended in 1999 due to the illness of Olsen leading to his death in 2000. In 2000, she appeared as Christine Hamilton in the television film "Justice in Wonderland".


title: Belinda Lang

text: Following "2point4 Children", Lang has rarely appeared on television, instead taking on more stage work. She has, however, made guest appearances in several programmes including; playing the ill-fated business woman, Elspeth Inkpen-Thomas, in "Midsomer Murders", alongside John Nettles and television presenter Quinnie Dorrell in "The Gongoozlers", a 2004 episode of the murder mystery series "Rosemary and Thyme", and a couple of episodes of the BBC daytime soap opera "Doctors". In 2009, she made a brief return to sitcom, playing Margot in an episode of BBC sitcom "My Family", and then in 2014 playing Marina Fairchild in "Citizen Khan", another BBC series.


title: Belinda Lang

text: In 1988, Lang appeared in the BBC Radio 4 play "Hard of Hearing" opposite Graham Blockey. She took part in "Stilgoe's Around", also broadcast on Radio 4 and BBC Radio 2. "Second Thoughts" was based on a radio programme originally broadcast on Radio 4. From 2015 to 2022, a hiatus for production required due to the COVID-19 pandemic, she voiced the anthropomorphic mouse and narrator Madeleine in the sitcom audio podcast "Wooden Overcoats".


title: Belinda Lang

text: Lang has taken on many stage roles. She is part of the cast of the touring play "Seven Deadly Sins Four Deadly Sinners" and "Ladies in Lavender" starring alongside Hayley Mills


title: Steel (1997 film)

text: Steel is a 1997 American superhero film loosely based on the DC Comics character of the same name. The film stars Shaquille O'Neal as John Henry Irons and his alter-ego Steel, Annabeth Gish as his wheelchair-using partner Susan Sparks, and Judd Nelson as their rival Nathaniel Burke. The plot centers on an accident caused by Burke which leaves Sparks paralyzed. The accident results in Irons quitting his job. Burke begins mass-producing weapons and selling them to criminals. In order to stop Burke, Irons and Sparks create a suit of armor that leads Irons to become the superhero Steel.


title: Steel (1997 film)

text: Written and directed by Kenneth Johnson, the film separates itself from the comic book series (and John Henry Irons' status as a supporting character of Superman) by using original protagonists and antagonists. On its initial release, "Steel" was a box office bomb and was panned by critics, who complained about the film's "cheesiness" and bad acting.


title: Steel (1997 film)

text: John Henry Irons (Shaquille O'Neal) is a weapons designer who invents high-tech laser guns, protective armor, and sonic sound cannons for the United States military. One soldier, Nathaniel Burke (Judd Nelson), decides to show just what Irons' weapons can do and sets one of Irons' sonic cannons at the highest power setting, firing the device at an abandoned building. However, the weapon backfires and destroys the building the team is situated in. Irons' partner, Susan "Sparky" Sparks (Annabeth Gish), is crushed by a large slab of concrete in the ensuing chaos. In court, Irons reveals Burke's role in the incident and Burke is dismissed from the military. Because his weapons resulted in Sparks becoming a paraplegic, Irons resigns in disgust. Meanwhile, Burke hatches a plot to sell Irons' weapons to criminal gangs, recruiting a video arcade manager to help him carry out this deed.


title: Steel (1997 film)

text: Irons witnesses a bank robbery organized by gang members wielding Burke's modified guns; they escape before he can interrogate them on where they obtained the weapons. The gang does not tell Irons anything when confronted directly in their hideout. Irons visits Sparks in a veteran's hospital and takes her to his own assembled laboratory, where he hopes he and Sparks can create weapons needed to combat the criminals. With the help of Uncle Joe (Richard Roundtree), they forge a suit of armor and the weaponry necessary for Irons to carry out his war on crime and become the vigilante "Steel". However, during his crusade against crime, Irons is pursued by the cops and is forced to return to his lair. The next night, the robbers arrange to rob another bank. Irons, as Steel, tries to stop them, but is hindered by the robbers' weapons. When Irons returns to his grandmother's (Irma P. Hall) house, he is arrested.


title: Steel (1997 film)

text: Meanwhile, Burke prepares to auction off all his modified weapons to every criminal organization in the world over the Internet. When Irons is released from jail, Sparky is captured by Burke's thugs. Irons, as Steel, attempts to infiltrate Burke's headquarters, but is captured himself in the process. When Burke continues with the auction, he is tricked by Steel, which allows him and Sparks to rebel and destroy Burke's lair. Burke himself is killed when a laser he fires towards Steel reflects back towards him due to Steel's suit. After this, Steel, Sparky, Joe, and Martin (Ray J) escape Burke's lair.


title: Steel (1997 film)

text: The following day, Col. David (Charles Napier) talks to actor Arnold Schwarzenegger (actually Irons via voice changer) about Steel and the events on what happened the day before and offers him to help before realising it is actually Irons who he is talking to and after that, Irons declines David's offer.


title: Steel (1997 film)

text: In the grand opening of her restaurant, Irons' grandmother tells him about Steel and then tells Joe that everyone would be proud of his heroism. After Sparky shows the new modifications of her wheelchair that allows her to walk, Irons smiles and hugs her.


title: Steel (1997 film)

text: Production of the film "Steel" started with music producer Quincy Jones and his partner David Salzman. Both Jones and Salzman were fans of the Steel character, especially Jones, who found personal reasons to support the project. Jones stated that he found children's "perspective on the future has changed for the worse, and I hate seeing young people who don't believe in the future. Steel—and I don't want to use that word 'superhero,' because he doesn't fly or anything like that—represents a role model. Let's just call him a 'super human being.'" Jones and Salzman had initially approached Shaquille O'Neal and his agent Leonard Armato regarding a Hardware adaptation, but the basketballer said he related himself more to Steel.


title: Steel (1997 film)

text: Kenneth Johnson was the screenwriter and director of "Steel". Johnson was originally uninterested in doing a superhero film, having previously turned down similar projects after the success of his television series "The Bionic Woman", "Alien Nation", and "The Incredible Hulk". Film producer Joel Simon described Steel as being different, stating that he was "a knight in shining armor in a contemporary setting". Johnson removed Steel's cape from his costume to reflect this.


title: Steel (1997 film)

text: Johnson described Steel's persona as a "blue-collar Batman" and removed Steel from his comic book storyline and replaced it with protagonists and antagonists of his own invention. To aid with the urban aspects of the dialog Johnson took a copy of the script to South Central Los Angeles and spent a day with a group of kids to ensure that the language of some of the characters was more believable. Throughout the film and script, Johnson created several allusions to his previous television series "Alien Nation".


title: Steel (1997 film)

text: The filming schedule consisted of fifty-one days with thirty-two full nights of shooting in downtown Los Angeles. The shooting schedule presented difficulties for the director due to the schedule of the star Shaquille O'Neal. O'Neal was already committed for playing in the 1996 Summer Olympics, and training at the Los Angeles Lakers' camp in Hawaii. This left Johnson with five weeks to complete filming all scenes with O'Neal. O'Neal had one read-through of the script before the Olympics and then worked with acting coach Ben Martin in between games to work on his character. When O'Neal returned to act with the rest of the cast, he had all his lines memorized.


title: Steel (1997 film)

text: As well as acting in the film, Shaquille O'Neal contributed to the soundtrack for the film. The single "Men of Steel" has him featured alongside rappers KRS-One, Ice Cube, B-Real, and Peter Gunz. The soundtrack was released on Quincy Jones' record label Qwest Records and included songs featured in the film and songs inspired by it. The album charted in the United States on the "Billboard" 200 at number 185 and on the Top R&B/Hip-Hop Albums at number 26.


title: Steel (1997 film)

text: "Steel" was released in the United States on August 15, 1997, making only $870,068 across 1,260 theaters on its opening weekend. The film ended up considered a large box office bomb, earning just $1.7 million domestically with an estimated budget of $16 million.


title: Steel (1997 film)

text: "Steel" was critically panned upon its original release. On Rotten Tomatoes, the film has a rating of , based on reviews, with an average rating of . The site's consensus reads, ""Steel" is a badly-acted movie that indulges not only in superhero clichés, but also the sappy TV-movie-of-the-week ones." Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: Steel (1997 film)

text: Leonard Kladly of "Variety" wrote that the film is "too broad and episodic to attract anything other than the most undemanding crowd." Peter Stack of the "San Francisco Chronicle" described it as a "tolerable stinker of a film" that "plays like a Saturday morning cartoon." Lawrence Van Gelder of "The New York Times" stated that the film is "slow to gather momentum and generates little excitement or tension." Shaquille O'Neal earned a Razzie Award nomination as Worst Actor for his performance in the film, but lost against Kevin Costner for "The Postman".


title: Steel (1997 film)

text: Despite negative reception of the film, critics praised Annabeth Gish in the role of the wheelchair-using Susan Sparks. "The New York Times" called Gish's role a "strong performance." The "San Francisco Chronicle" noted that she "becomes the first woman-in-wheelchair action hero in a Hollywood movie, too. Gotta give "Steel" some credit for that."


title: Hosea

text: In the Hebrew Bible, Hosea ( or ; – "Hōšēaʿ", 'Salvation'; – "Hōsēé"), son of Beeri, was an 8th-century BCE prophet in Israel and the nominal primary author of the Book of Hosea. He is the first of the Twelve Minor Prophets, whose collective writings were aggregated and organized into a single book in the Jewish Tanakh by the Second Temple period, forming the last book of the Nevi'im; but which writings are distinguished as individual books in Christianity. Hosea is often seen as a "prophet of doom", but underneath his message of destruction is a promise of restoration. The Talmud claims that he was the greatest prophet of his generation. The period of Hosea's ministry extended to some sixty years, and he was the only prophet of Israel of his time who left any written prophecy.


title: Hosea

text: The name "Hosea" (meaning 'salvation', 'he saves' or 'he helps'), seems to have been common, being derived from a related verb meaning "salvation". Numbers 13:16 states that "Hosea" was the original name of Joshua, son of Nun until Moses gave him the longer, theophoric name Yehoshua () incorporating an abbreviated form of the Tetragrammaton. Rashi explains in Sotah 34b that Joshua is a compound name of יה (Yah) and הושע (Hosea, "God may save").


title: Hosea

text: Although it is not expressly stated in the Book of Hosea, it is apparent from the level of detail and familiarity focused on northern geography, that Hosea conducted his prophetic ministries in the northern Kingdom of Israel, of which he was a native. In Hosea 5:8 ff., there seems to be a reference to the Syro-Ephraimite War which led to the capture of the kingdom by the Assyrians (c. ). Hosea's long ministry, from the reign of Jeroboam II (787–747) to the reign of Hoshea (731–722), seems to have ended before the fall of Samaria in 722/721.


title: Hosea

text: Little is known about the life or social status of Hosea. According to the Book of Hosea, he married Gomer, the daughter of Diblaim, but she proved to be unfaithful. Hosea knew she would be unfaithful, as God says this to him immediately in the opening statements of the book. This marriage was arranged in order to serve to the prophet as a symbol of Israel's unfaithfulness to the Lord. His marriage will dramatize the breakdown in the relationship between God and His people Israel. Hosea's family life reflected the "adulterous" relationship which Israel had built with other gods.


title: Hosea

text: Similarly, his children's names represent God's estrangement from Israel. They are prophetic of the fall of the ruling dynasty and the severed covenant with God – much like the prophet Isaiah a generation later. The name of Hosea's daughter, Lo-ruhamah, which translates as 'not pitied', is chosen as a sign of displeasure with the people of Israel for following false gods. The name of Hosea's son, Lo-ammi, which translates as 'not my people', is chosen as a sign of the Lord's displeasure with the people of Israel for following those false gods.


title: Hosea

text: One of the early writing prophets, Hosea used his own experience as a symbolic representation of God and Israel. The relationship between Hosea and Gomer parallels the relationship between God and Israel. Even though Gomer runs away from Hosea and sleeps with another man, he loves her anyway and forgives her. Likewise, even though the people of Israel worshipped false gods, God continued to love them and did not abandon his covenant with them.


title: Hosea

text: The Book of Hosea was a severe warning to the northern kingdom against the growing idolatry being practiced there; the book was a dramatic call to repentance. Christians extend the analogy of Hosea to Christ and the church: Christ the husband, his church the bride. Christians see in this book a comparable call to the church not to forsake the Lord Jesus Christ. Christians also take the buying back of Gomer as the redemptive qualities of Jesus Christ's sacrifice on the cross.


title: Hosea

text: Other preachers, like Charles Spurgeon, saw Hosea as a striking presentation of the mercy of God in his sermon on Hosea 1:7 titled The LORD's Own Salvation. “But I will have mercy upon the house of Judah, and will save them by the Lord their God, and will not save them by bow, nor by sword, nor by battle, by horses, nor by horsemen.” – "Bible", Hosea 1:7


title: Hosea

text: The Qur'an mentions only some prophets by name but makes it clear that many were sent who are not mentioned. Therefore, many Muslim scholars, such as Ibn Ishaq, speak of Hosea as one of the true Hebrew prophets of Israel. The Book of Hosea has also been used in Qur'anic exegesis by Abdullah Yusuf Ali, especially in reference to Qur'anic verses which speak of the backsliding of Israel.


title: Hosea

text: He is commemorated with the other Minor prophets in the Calendar of saints of the Armenian Apostolic Church on July 31. He is commemorated on the Eastern Orthodox liturgical calendar, with a feast day on October 17 (for those churches which follow the Julian Calendar, October 17 currently falls on October 30 of the modern Gregorian Calendar). He is also commemorated on the Sunday of the Holy Fathers (the Sunday before the Nativity of the Lord).


title: Hosea

text: Several haftarot are taken from Hosea, including those for "Vayetze, Vayishlach, Bamidbar, Naso, Shabbat Shuvah," and (Sephardic only) Tisha B'Av.


title: Hosea

text: Jewish tradition holds that the tomb of Hosea is a structure located in the Jewish cemetery of Safed; however, Emil G. Hirsch and Victor Ryssel, writing in "The Jewish Encyclopedia", say that this tradition is "historically worthless".


title: Flybe

text: The airline traces its history back to Jersey European Airways, which was set up in 1979 following the merger of Intra Airways and Express Air Services. The firm was renamed British European in 2000 and Flybe in 2002. In November 2006, Flybe purchased BA Connect, thereby becoming the largest regional airline in Europe.


title: Flybe

text: On 19 October 2020, reports emerged that Lucien Farrell, in charge of former shareholder Cyrus Capital's European office, had formed a new company, Thyme Opco, to purchase the Flybe brand and relaunch the airline, subject to regulatory approvals. The new owner planned to "start small and restore regional connectivity in the UK" from 2021. On 1 December 2020, Thyme Opco applied for a UK operating licence.


title: Flybe

text: Thyme Opco also registered a 21-year-old de Havilland Canada Dash 8 Q400, which was expected to be the first aircraft for the 'new Flybe', though this particular aircraft was subsequently transferred to PAL Airlines in Canada.


title: Flybe

text: In April 2021, the British Civil Aviation Authority granted the new airline an operating licence as well as Type A and B route licences, enabling the carrier to operate both charter and scheduled services. The new company also obtained 86 slots at Heathrow for the summer 2021 season, to be used for flights to Edinburgh and Aberdeen, though the airline has since transferred them to use on other European routes.


title: Flybe

text: The 'original' Flybe company was renamed FBE Realisations 2021 Limited, with Thyme Opco Limited becoming Flybe Limited.


title: Flybe

text: On 3 June 2021, the operating licence for the original company was revoked following an unsuccessful appeal to the Transport Secretary. Despite initial beliefs that its legacy slots at UK airports had returned to the slot coordinator, this was shown not to be the case by coordinator ACL. The new operating company also leased Heathrow slots from British Airways for routes to Edinburgh and Aberdeen.


title: Flybe

text: On 26 October 2021, the new Flybe Limited confirmed that it had appointed David Pflieger as its Chief Executive. This closely followed the appearance of an ex-Flybe Q400, registered as G-JECX, which had been painted with a new purple-and-white livery. In November 2021, the airline announced that it had picked Birmingham Airport as its new base, with operations scheduled to begin in early 2022 to "key regions across the UK and EU".


title: Flybe

text: On 16 March 2022, Flybe announced that Belfast would be the airline's second operating base. The company slogan is "Smile and go the extra mile", although "Let's flybe" is used as a tagline. The first flight took place between Birmingham and Belfast on 13 April 2022. The company aims to operate up to 530 flights per week on 23 routes, using a fleet of up to 32 Q400s.


title: Flybe

text: Throughout its first months of operation, Flybe faced several operational issues, which it blamed on late aircraft deliveries. 12 weeks after its launch, the company cancelled 3 routes, and reduced frequencies on 5 others, however stated they would return to their original frequencies during the winter. Planned services from Aberdeen to Belfast, as well as Inverness to both Belfast and Birmingham never commenced. In September, the airline announced new service to the Isle of Man from Belfast and London, however cancelled both services less than a month later, two days before the inaugural flights. The company was criticised for giving Isle of Man's airport less than 30 minutes notice of its intention to cancel service, and subsequently announcing similar routes from Newcastle on a near identical schedule, despite stating the cancellation was due to aircraft shortages. In November, Flybe suspended flights between Leeds and London, originally planning to resume the service in Summer 2023, however later confirming the service would be cancelled permanently. In the same month, the airline suspended flights to Glasgow and Southampton until February 2023, and further reduced frequencies again blaming late aircraft deliveries, despite having taken delivery of two additional aircraft.


title: Flybe

text: The company's head office is on the second floor of Diamond House at Birmingham Airport, within the Metropolitan Borough of Solihull.


title: Flybe

text: Flybe Limited, founded in September 2020 as Thyme Opco, is a private limited company which is owned by Thyme Investco Limited - the majority of whose shares are held by DLP Holdings SARL, an affiliate of American hedge fund Cyrus Capital Partners. This is the same company which was involved in the purchase of the original Flybe in 2019.


title: Flybe

text: Flybe's Q400 airliners are outfitted with 78 all-economy seats and several different ticketing options are available:


title: Flybe

text: Nordic Aviation Capital expects to lease 12 aircraft to Flybe, and Aergo Capital is to supply a further five.


title: Timing belt (camshaft)

text: In a piston engine, either a timing belt (also called a "cambelt") or timing chain or set of timing gears is used to synchronize the rotation of the crankshaft and the camshaft. This synchronisation ensures that the engine's valves open and close at the correct times in relation to the position of the pistons.


title: Timing belt (camshaft)

text: In most piston engines, the camshaft(s) are mechanically connected to the crankshaft. The crankshaft drives the camshaft (via a timing belt, timing chain or pushrods), which in turn actuates the intake and exhaust valves. These valves allow the engine to inhale air (or an air/fuel mixture) and exhale the exhaust gasses.


title: Timing belt (camshaft)

text: The most common devices to transfer the drive are toothed rubber belts, metal timing chains or a set of gears. The teeth of the belt/chain/gears mesh with both the crankshaft and camshaft(s), thereby synchronising their motion.


title: Timing belt (camshaft)

text: In many older overhead valve engines, the camshaft is located in the block near the crankshaft, therefore a simple gear system is often used to drive the camshaft. Overhead camshaft engines mostly use timing belts or timing chains, since these are better suited to transferring drive over larger distances. Timing chains were common on mass-production cars until the 1970s and 1980s, however since the 1990s timing chains have become more common due to the replacement intervals required when using timing belts.


title: Timing belt (camshaft)

text: The phrase "timing belt" usually refers to a rubber toothed belt. The advantages of timing belts are typically a lower cost, reduced friction losses, less noise and that belts traditionally do not require lubrication. The main disadvantage is that belts wear over time, therefore belt replacement is recommended at specific intervals. Replacement of the engine's water pump at the same time is often recommended, since the water pump is also subject to wear and easily accessed during the replacement of the timing belt.


title: Timing belt (camshaft)

text: Timing belts are typically located in front of the engine and are often behind a cover for protection against dust and debris. However a few engines since 2008 have used "wet timing belts", whereby the belt is lubricated by engine oil to reduce friction. In some engine designs the timing belt may also be used to drive other components, such as the water pump and oil pump.


title: Timing belt (camshaft)

text: A timing belt is typically made from rubber, although some belts are instead made from polyurethane or neoprene. The structure of the belt is reinforced with corded fibres (acting as tension members) and the toothed surface is reinforced with a fabric covering.


title: Timing belt (camshaft)

text: Rubber degrades with higher temperatures, and with contact with motor oil. Thus the life expectancy of a timing belt is lowered in hot or leaky engines. Also, the life of the reinforcing cords is also affected by water and antifreeze, so it is important that belt that can be exposed to water is able to drain the water away quickly.


title: Timing belt (camshaft)

text: Older belts have trapezoid shaped teeth leading to high rates of tooth wear. Newer manufacturing techniques allow for curved teeth that are quieter and last longer.


title: Timing belt (camshaft)

text: Manufacturer-specification timing belts may stretch at high rpm, retarding the cam and therefore the ignition. Stronger, aftermarket belts, will not stretch and the timing is preserved. When designing the timing belt, a wider belt increases its strength however a narrower belt reduces weight and friction.


title: Timing belt (camshaft)

text: The usual failure modes of timing belts are either stripped teeth (which leaves a smooth section of belt where the drive cog will slip) or delamination and unraveling of the fiber cores. Breakage of the belt, because of the nature of the high tensile fibers, is uncommon. Often overlooked, debris and dirt that mix with oil and grease can slowly wear at the belt and materials advancing the wear process, causing premature belt failure.


title: Timing belt (camshaft)

text: Toothed belts were invented in the early 1940s, for use in textile mills. The first known automobile engine to use a timing belt was the American 1954 Devin-Panhard racing car, used an engine converted from pushrods to overhead camshafts through the use of a toothed belt made by the Gilmer Company. This car won the Sports Car Club of America (SCCA) National Championship in 1956.


title: Timing belt (camshaft)

text: The 1962 Glas 1004 was the first mass-produced vehicle to use a timing belt. The 1966 Pontiac "OHC Six" engine was the first US mass-produced vehicle to use a timing belt, while the 1966 Fiat Twin Cam engine was the first mass-produced engine to use a timing belt with twin camshafts.


title: Timing belt (camshaft)

text: Metal timing chains have become more widespread in car engines produced since the 1990s, due to the lack of the regular maintenance task of replacing a rubber timing belt. While the chains themselves are subject to minimal wear, lubrication of the chain or failure of the tensioner and chain guides can cause maintenance issues. Early symptoms of a timing chain system is becoming worn include a rattling noise from the front of the engine.


title: Timing belt (camshaft)

text: Most pushrod engines, where the crankshaft and camshaft are very close together, use a short chain drive rather than a direct gear drive. This is because gear drives suffer from frequent torque reversal as the cam profiles "kick back" against the drive from the crank, leading to excessive noise and wear.


title: Timing belt (camshaft)

text: Timing gears are used in various overhead valve engines, due to the close proximity of the camshaft to the crankshaft.


title: Timing belt (camshaft)

text: Fiber or nylon covered gears, with more resilience, are often used instead of steel gears where direct drive is used. However, commercial engines and aircraft engines use steel gears only, as these other materials can fail suddenly and without warning.


title: Timing belt (camshaft)

text: Failure of the timing system will prevent an engine from running. Many modern cars use interference engines, which can suffer catastrophic damage in the event of timing system failure, since the loss of synchronization between the crankshaft and the camshaft will cause the valves to collide with the pistons.


title: Timing belt (camshaft)

text: Aside from the belt/chain itself, also common is a failure of the tensioner, and/or the various gear and idler bearings, causing the belt/chain to derail. Furthermore, in engines where the timing belt drives the water pump, failure of the water pump can cause the pump to seize, which can break the timing belt or chain. For this reason, timing belts and chains are often sold as part of a kit with the water pump, tensioner, and idler pulleys so that these parts can be replaced to prevent timing belt or chain failure due to failure of these parts.


title: Demographics of Portugal

text: This article is about the demographic features of the population of Portugal, including population density, ethnicity, education level, health of the populace, economic status, religious affiliations and other aspects of the population.


title: Demographics of Portugal

text: Portugal is a fairly linguistically and religiously homogeneous country. Ethnically the Portuguese people form 95% of the total population in Portugal. The Portuguese people are mainly a combination of ancient paleolithic populations, and the proto-Celtic, Celtic and Iberian tribes, para-Celtic Lusitanians. Some other groups, like the Romans, Germanic (Visigoths, Suevi, Buri, Alans and Vandals) and later the Moorish (Arabs and Berber), Sephardic Jewish, and the French also passed through the country.


title: Demographics of Portugal

text: Today, Ukrainians, Moldovans, Romanians, Russians, Bulgarians, Brazilians, Venezuelans and members of PALOP countries (Portuguese-speaking African countries) are the immigrants and form the major foreign communities in the country. Portuguese is spoken throughout the country, with only the villages of Miranda do Douro's Mirandese language recognised as a locally co-official language.


title: Demographics of Portugal

text: The total fertility rate is the number of children born per woman. It is based on fairly good data for the entire period. Sources: Our World In Data and Gapminder Foundation.


title: Demographics of Portugal

text: Roman Catholic 81%, other Christian 3.3%, other (includes Jewish, Muslim, other) 0.6%, none 6.8%, unspecified 8.3%


title: Demographics of Portugal

text: As of 2001 Census, Portugal had two significant agglomerations: Lisbon Metropolitan Region (3.34 million inhabitants) and Northern Littoral Urban-Metropolitan Region (or Porto Metropolitan Agglomeration) with 2.99 million people, the later with a polycentric nature. These broader agglomerations are distinct from the political metropolitan areas of Lisbon and Porto – "Grande Área Metropolitana de Lisboa" (2,9 million) and "Grande Área Metropolitana do Porto" (1,7 million). Together they hold 45% of the total population.


title: Demographics of Portugal

text: When considering the number of inhabitants in consistent single urban areas, de facto cities in mainland Portugal, per the new with increased density of human-created structures, and excluding suburban and rural areas, Portugal has two cities with about one million inhabitants each (Lisbon and Porto), ten others with more than 50,000 inhabitants and 14 cities with populations between 20,000 and 40,000 inhabitants.


title: Demographics of Portugal

text: "Note: the following table does not include cities in the Portuguese islands of Madeira and Azores in mid-Atlantic Ocean."


title: Demographics of Portugal

text: Portugal has 151 localities with city status ("cidade"). Every city is included into a municipality ("município"). This is a list of population by city, which means that it refers to the number of inhabitants in the city proper, excluding inhabitants from the same municipality but living outside the urban area of the city in other civil parishes ("freguesias") of the municipality. In some cases, the entire municipality and the city proper cover the same territory.


title: Demographics of Portugal

text: "Denotes the number of inhabitants in the municipality area; area is in km; only for populations of over 100,000 inhabitants."


title: Demographics of Portugal

text: The main language is Portuguese. "Mirandês" (the Mirandese language), is also recognised, and has special protection in the area of Miranda do Douro.


title: Demographics of Portugal

text: In 1992, 1.3% of the population was foreign, by 2021 the number had grown to almost 7% or 698,887 people.


title: Demographics of Portugal

text: Since the independence of the former African colonies, Portugal saw a steady immigration from Africa, most notably Cape Verde, Angola and Guinea-Bissau, but also São Tomé and Príncipe, Mozambique and former Portuguese India in Asia.


title: Demographics of Portugal

text: Portugal saw migration waves due to labor shortages since 1999, first from Eastern Europe (1999–2002), in two distinctive groups, a "Slav" (Ukraine, Russia and Bulgaria) and an "East Latin" (Romania and Moldavia), that stopped and started declining as the labour market became saturated.


title: Demographics of Portugal

text: Since 2003, most of the immigrants came from Brazil, China and the Indian subcontinent. Family reunification was seen as important for a successful integration in the country, thus the government eased it, and in 2006, more than 6 in 10 new immigrants were family members of legal foreign residents in the country.


title: Demographics of Portugal

text: There is also a significant number of elderly Western European residents in search of quality of life, namely from France, Germany, the Netherlands and United Kingdom.


title: Demographics of Portugal

text: More recently, there is significant migration from the former Portuguese colony of Brazil, as since 2017 more than 30,000 Brazilians emigrate to Portugal annually.


title: Demographics of Portugal

text: Anti-racism laws prohibit and penalize racial discrimination in housing, business, and health services. In 2007 approximately 332,137 legal immigrants live in the country, representing approximately 5% of the population. The country also has a resident Romani (Gypsy) population of approximately 40,000 people.


title: Demographics of Portugal

text: Discrimination against persons with disabilities in employment, education, access to health care, or the provision of other state services is illegal. The law mandates access to public buildings and to newly built private buildings for such persons.


title: Demographics of Portugal

text: The great majority of the Portuguese population belongs to the Roman Catholic Church. Religious observance remains strong in northern areas, with the population of Lisbon and southern areas generally less devout and strongly anticlerical. Religious minorities include a little over 300,000 Protestants and Mormons. There are also about 50,000 Muslims and 10,000 Hindus. Most of them came from Goa, a former Portuguese colony on the west coast of India (Some Muslims also came from former two Portuguese African colonies with important Muslim minorities: Guinea-Bissau and Mozambique). There are also about 1,000 Jews. Portugal is also home to less than 10,000 Buddhists, mostly Chinese from Macau and a few Indians from Goa. Portugal is still one of the most religious countries in Europe, most Portuguese believe with certainty in the Existence of God and religion plays an important role in the life of most Portuguese. According to the Pew Research Center, 40% of Portuguese Catholics pray daily.


title: Carleton University

text: Carleton University is an English-language public research university in Ottawa, Ontario, Canada. Founded in 1942 as Carleton College, the institution originally operated as a private, non-denominational evening college to serve returning World War II veterans. Carleton was chartered as a university by the provincial government in 1952 through "The Carleton University Act," which was then amended in 1957, giving the institution its current name. The university is named for the now-dissolved Carleton County, which included the city of Ottawa at the time the university was founded. Carleton County, in turn, was named in honour of Guy Carleton, 1st Baron Dorchester, who was Governor General of The Canadas from 1786 to 1796. The university moved to its current campus in 1959, growing rapidly in size during the 1960s as the Ontario government increased support for post-secondary institutions and expanded access to higher education.


title: Carleton University

text: Carleton offers a diverse range of academic programs, and is organized into six faculties and more than 65 degree programs. It has several specialized institutions well-regarded in their fields, including the Arthur Kroeger College of Public Affairs, the Norman Paterson School of International Affairs, the Carleton School of Journalism, the School of Public Policy and Administration, and the Sprott School of Business.


title: Carleton University

text: As of 2021, Carleton yearly enrolls more than 27,000 undergraduate and 4,000 graduate students. Carleton has a 150-acre campus located west of Old Ottawa South, close to The Glebe and Confederation Heights. It is bounded to the North by the Rideau Canal and Dow's Lake and to the South by the Rideau River. Carleton has more than 165,000 alumni worldwide, producing 7 Rhodes Scholars, 2 Pulitzer Prize awardees, 8 Killam Prize recipients, and several Emmy winners. Additionally, the university is affiliated with 53 Royal Society Fellows and members and 3 Nobel laureates. Carleton is also home to 28 Canada Research Chairs, 1 Canada 150 Chair, 13 IEEE Fellows and 10 3M National Teaching Award winners.


title: Carleton University

text: Carleton competes in the U Sports league as the Carleton Ravens. The Carleton Ravens are nationally renowned for their men's basketball team; a team which has won 16 of 19 national championships since 2003.


title: Carleton University

text: I learned very early the life lesson that it is people, not buildings, that make up an institution. And if we put our hearts to it we can do something worthwhile.


title: Carleton University

text: Discussions on establishing a second post-secondary institution in Ottawa began in the fall of 1938 among a committee of members from the local YMCA chapter, who looked to create a school to meet the educational needs of Ottawa's sizeable non-Catholic population. While the Second World War abruptly ended the committee's activities, a new committee was organized by Henry Marshall Tory as the Ottawa Association for the Advancement of Learning at a meeting held in December 1941, with formal incorporation in June 1942.


title: Carleton University

text: Established in 1942 as Carleton College, a non-denominational institution, the school began offering evening courses in rented classrooms at the High School of Commerce, now part of the Glebe Collegiate Institute. Classes offered during the first academic year included English, French, history, algebra, trigonometry, chemistry, physics, and biology. With the end of the war in 1945 and return of veterans from the frontlines, the college experienced an unexpected upsurge in student enrolment during the 1945–46 academic year, enrolling about 2,200 new students.


title: Carleton University

text: To accommodate increased enrolment, the school rented facilities in various buildings throughout the city, including classrooms at the Lisgar Collegiate Institute, Ottawa Technical High School, and the basements of several local churches. Higher enrolment also gave way to an expansion of the college's academic offerings with the establishment of the Faculty of Arts and Science, and new coursework in journalism and engineering.


title: Carleton University

text: In 1946, the college gained possession of its first campus, situated at the corner of Lyon Street and First Avenue in The Glebe neighbourhood. The four-story building was the former location of the Ottawa Ladies' College, which was purchased during the Second World War for use as barracks for the Canadian Women's Army Corps. Carleton's first degrees were conferred in 1946 to graduates of its Journalism and Public Administration programs.


title: Carleton University

text: For nearly a decade after opening, the college operated on a shoestring budget, using funds raised mainly through community initiatives and modest student fees. Student fees during the school's first academic year from 1942 to 43 were modest at about $10.00 per course for first-year students, equivalent to $ in dollars. Fundraising efforts spearheaded by the college's president, Henry Marshall Tory, worked to raise $1 million for the institution from donors throughout the Ottawa area, with half of the proceeds going towards the debt incurred by the purchase of the new building, and the other to endow the college. Carleton's faculty then was composed largely of part-time professors who worked full-time in the public service, some of whom were eventually convinced to leave government for full-time tenure positions.


title: Carleton University

text: In 1946, Carleton began the process of developing a crest and motto, as was tradition with other institutions of higher learning. The first motto proposed by Tory in 1946 was a crest with a maple leaf and open book surrounded by a scroll which read "Carleton College" and another scroll reading ""Mos Inter Bellum Natus"." The Board of Governors did not approve the motto and instead changed it to ""Quaeceumque Vera"." In 1948, the Board of Governors agreed to change the motto yet again as it was determined to also be the motto of the University of Alberta. James Gibson, chair of the Committee on Symbols and Ceremonials, proposed a Latin motto, ""Opera nobis aeterna"" derived from the Walt Whitman poem Pioneers! O Pioneers!, a translation of the phrase "We take up the task eternal". The Board of Governors rejected the Latin motto as it was perceived as too pretentious for an institution focused on egalitarianism, leading to Carleton's current motto, "Ours the task eternal". In October 1951, the Board of Governors formally adopted the new crest and motto. and the approval to draft the artist's rendering of it by Mrs. Elizabeth Harrison was approved in April 1951.


title: Carleton University

text: In 1952, the "Carleton College Act" was passed by the Ontario Legislature, changing the school's corporate name to Carleton College and conferring upon it the power to grant university degrees. Carleton thus became the province's first private, non-sectarian college. The governance system was modelled on the provincial "University of Toronto Act" of 1906 which established a bicameral system of university government consisting of a Faculty Senate, responsible for academic policy, and a Board of Governors composed of local community members, exercising exclusive control over the institution's finances and formal authority over all other matters. The President, appointed by the Board, was to provide a link between the two bodies and to perform institutional leadership.


title: Carleton University

text: Though the acquisition of land tracts now part of the current campus began in 1947, it was only in 1952 that the college gained possession of the entire 150-acre property, a significant portion of which was donated by Harry Stevenson Southam, a prominent Ottawa business magnate. In March 1956, the college released a 75-year master plan for the development of the campus in stages, with the first stage costing an estimated $4.2 million, equivalent to $ in dollars, foreseeing the development of academic buildings, student residences, and athletic facilities on the new site.


title: Carleton University

text: In October 1956, the beginning of construction at the Rideau River campus was celebrated with a ceremonial sod-turning by Dana Porter, then Treasurer of Ontario.


title: Carleton University

text: In 1957, the "Carleton University Act" was enacted as an amendment to the "Carleton College Act", granting Carleton nominal status as a public university and resulting in its current name, Carleton University. This did not result in substantive changes to the school's governance and academic organization as it had already been granted university powers through the existing legislation.


title: Carleton University

text: The completion of initial construction at the Rideau River campus in 1959 saw the university move to its current location at the beginning of the 1959–60 academic year. Completed at a cost of $6.5 million, the first three buildings, the Maxwell MacOdrum Library, Norman Paterson Hall and the Henry Marshall Tory Building became the centre for academic life at Carleton, with Paterson Hall and Tory Building respectively serving the arts and sciences disciplines.


title: Carleton University

text: The 1960s saw meteoric growth in student enrolment, with the number of full-time students ballooning from 857 to 7,139 within the decade, which coincided with a sharp uptick in financial support from the provincial and federal governments towards post-secondary institutions.


title: Carleton University

text: An increasing share of these students came to the school from outside the National Capital Region, prompting the university to open its first purpose-built residence halls, Lanark and Renfrew Houses in the fall of 1962. The residences were initially segregated by sex, with Lanark House reserved for male students and Renfrew for female students. However, Carleton did away with the practice of mandatory sex segregation in 1969 in favour of co-educational housing, becoming the first university in North America to adopt this practice. By the end of the decade, the increased need for space to accommodate the growing faculty and student body saw the completion of several major academic buildings, including the Loeb Building in 1967 and the Mackenzie Building in 1968.


title: Carleton University

text: In 1967, a Catholic liberal arts college, Saint Patrick's College, became affiliated with Carleton. Saint Patrick's College was founded by the Missionary Oblates of Mary Immaculate to meet the higher educational needs of Ottawa's growing English-speaking Catholic population. Originally housed in a separate building Old Ottawa East, now the campus of Immaculata High School, a new building for the school was erected on the north end of the Carleton campus in 1973.


title: Carleton University

text: The arrival of a new decade ushered in the inauguration of the long-awaited University Centre, designed to be the linchpin for student life on campus, housing a student-operated pub and other administrative services. With growing restrictions in physical space, the university hailed the completion of Dunton Tower, then referred to as the Arts Tower, in September 1972, which was the then-tallest academic building in Canada.


title: Carleton University

text: Rising attention towards recreation and fitness, coupled with generous grants from the provincial government, spurred the construction of the Athletics Centre in 1974, housing a multiplicity of different sports facilities, including a pool, squash courts, and gymnasium.


title: Carleton University

text: In 1979, Saint Patrick's College was dissolved and merged into Carleton with Gerald Clarke, a professor at the school since 1954, serving as its final Dean. While Carleton is a secular institution, the name of the St. Patrick's Building was kept as a nod to Carleton's historical relationship to the Catholic institution.


title: Carleton University

text: Although Carleton experienced a temporary decline in student enrolment toward the latter half of the 1970s, the 1980s saw a resurgence in the number of students attending the school, representing an increase of 76%, or 5,582 students over the course of the decade, leading to overcrowding in many of the school's buildings. Responding to the demands of a larger student population during the 1980s, the university built the Life Sciences Research Centre, the Minto Centre of Advanced Studies in Engineering (CASE), and funded an extension to MacOdrum Library.


title: Carleton University

text: Following renovations led by Toronto-based architect Michael Lundholm, 1992 saw the opening of the Carleton University Art Gallery in the St. Patrick's Building, supported by a fundraising drive within the local community and the bequest of several pieces of Canadian art from the estate of Frances and Jack Barwick. In fall 1994, a new computing system was introduced at Carleton, extending Internet and e-mail access to all students and faculty, where this had previously been only accessible to graduate and undergraduate students in specific courses.


title: Carleton University

text: The new millennium brightened prospects for Carleton's finances, allowing it to fund the construction of several new buildings during the 2000s. These include, "inter alia", the $30-million construction of new athletics facilities, the $22-million, 9,011 m (97,000 ft) Human Computer Interaction (HCI) Institute Facility and Centre for Advanced Studies in Visualization and Simulation (V-SIM), and the $17-million upgrade and expansion to the University Centre. In 2008, a sustainably-designed residence hall was added named Frontenac House, primarily serving returning second-year students. During this decade, Carleton inaugurated its first female President and Vice Chancellor, Roseann Runte in 2008, who served in this position until 2017, resigning to fulfill a new position as president and CEO of the Canada Foundation for Innovation. Runte's leadership also pushed forward the planning and construction of three new academic buildings, Canal Building (2010), and River Building (2011), and the Health Sciences Building (2018), as well as a new residence building, Lennox and Addington House in 2011.


title: Carleton University

text: At the behest of Runte's successor, Benoit-Antoine Bacon, Carleton has continued to pursue several major construction projects, notably the Advanced Research and Innovation and Smart Environments (ARISE) Building, replacing the existing Life Sciences Building, to house applied research in smart technology.


title: Carleton University

text: In 2018, Carleton purchased the Dominion-Chalmers United Church located in Ottawa's Centretown neighbourhood to serve as a community and cultural hub, and host to artistic performances and academic lectures. The facility represents Carleton's first building situated in Ottawa's downtown area.


title: Carleton University

text: In 2021, Carleton completed construction on the Nicol Building, the new home of the Sprott School of Business. Located in the heart of Carleton's campus, the Nicol Building was designed by Hariri Pontarini Architects and provides 115,000 square feet of new, collaborative learning space. The cost of the building was estimated at around $65 million, but was offset through a sizeable donation of $10 million from the late Ottawa real estate developer and Carleton alumnus, Wes Nicol, for whom the building is namesake.


title: Carleton University

text: In response to the COVID-19 pandemic, Carleton joined other Canadian post-secondary institutions in a decision to suspend in-person classes for the remainder of the 2019–2020 academic year, effectively moving instruction online. This move also saw the temporary withdrawal of non-essential services, such as athletics facilities, in order to contain the spread of COVID-19 on campus. Unlike other institutions, Carleton did not immediately move to evict students from residence buildings, but instead allowed students to leave early at their own discretion.


title: Carleton University

text: To accommodate the disruption to the semester resulting from the abrupt suspension of in-person classes, the Carleton University Senate approved an unprecedented proposal to provide students with the option to receive a SAT or UNSAT grade in place of typical letter and grade point for their courses. The school also cancelled in-person classes for the summer semester, allowing courses to only be delivered online.


title: Carleton University

text: In July 2020, Carleton announced that classes for the Fall 2020 semester would be held entirely online, citing the potential risk posed by a second wave of COVID-19 and inequities to accessing physical classes for international students, who may encounter difficulties coming to Canada due to travel restrictions. Additional waves of COVID-19 in Ontario in early 2021 prompted the university to continue with online course delivery for the remainder of the academic year.


title: Carleton University

text: With the implementation of a mass COVID-19 vaccination program, and widespread uptake of the COVID-19 vaccine in Canada, Carleton prepared for a gradual return of in-person learning for the 2021–22 academic year, offering a number of course delivery methods to students, including fully in-person classes, hybrid classes, and virtual classes. In August 2021, announced that all students, staff, and faculty would need to receive a complete series of a Health Canada or World Health Organization-approved COVID-19 vaccine to receive full access to campus, including attending in-person classes. In May 2022, Carleton suspended its COVID-19 vaccine mandate, following similar decisions made at other Ontario schools. The following month, the university indefinitely paused its mask mandate, while maintaining strong recommendations to students, staff, and visitors to continue wearing masks indoors.


title: Carleton University

text: The university's governing framework is established through the "Carleton University Act, 1952", enabling legislation which sets out the basic legal obligations and purposes of the institution. The Act establishes Carleton as a bicameral institution, governed by a Board of Governors and Senate. The "Act" establishes the objects and purpose of the university as the advancement of learning; the dissemination of knowledge; the intellectual, social, and moral development of its members and the community at large; and the establishment of a non-sectarian institution within the City of Ottawa.


title: Carleton University

text: The Board of Governors oversees the corporate affairs of the institution, including finances, real property, risk management, and strategic direction. The Board is also responsible for appointing the President and Chancellor, and determines the compensation of staff, faculty, and members of the senior administration. The Board of Governors is composed of 36 members, with 18 members derived from the students, staff, and administration of Carleton. These include four students, two faculty members, two members of the University Senate, two alumni, two staff, as well as the President and Chancellor, who are ex-officio members of the Board. The remainder of the representatives are selected from the local community at large.


title: Carleton University

text: To support its mandate and oversight function, the Board has six standing committees, with each Governor holding membership in one or two of these committees over the course of a year. These standing committees include Executive, Audit & Risk, Building Program, Advancement and University Relations, Governance, and Finance.


title: Carleton University

text: The Board is led by the board chair, who presides over meetings, evaluates executive performance, advises senior administration, and represents the university's interests to government. The current board chair is Dan Fortin, former President of IBM Canada and Carleton alumnus.


title: Carleton University

text: The Senate is the Carleton's highest academic body and is responsible for university's academic governance. The Senate's duties include conferring degrees, approving recipients of honorary degrees, developing scholarships and selecting recipients thereof, approving new programs and curricular changes, in addition to overseeing academic regulations.


title: Carleton University

text: The Senate comprises 86 members, including 40 faculty members, two contract instructors, 10 undergraduate students, three graduate students, 23 ex-officio members, four members of the Board of Governors, and up to four special appointments.


title: Carleton University

text: For the 2020–21 academic year, Carleton reported an estimated annual operating budget of $502 million, with the largest expenditures for the institution being employee salaries, campus infrastructure, and student support services.


title: Carleton University

text: The largest annual sources of revenue for Carleton are tuition fees, which generate 50% of the university's income, representing $336 million in earnings, and provincial government funding, representing 26% of the university's income, or $174 million.


title: Carleton University

text: Carleton has an endowment fund of $353 million as of April 2021, with an increase of $54.4 million over the previous year.


title: Carleton University

text: Carleton is a mid-sized comprehensive and research-intensive public university, and is part of several pan-institutional bodies, including Universities Canada and the Association of Commonwealth Universities. As of the 2020–21 academic year, Carleton received 23,544 applications, producing a first-year cohort of 6,227 In 2021, the school reported an enrolment of 32,116 students, comprising 27,829 undergraduate and 4,287 graduate students, supported by 969 full-time faculty members and 835 contract instructors. Carleton's graduation rate within seven years is approximately 70.4% as of the 2017–18 academic year, with a graduate employment rate of 92.7% within two years of graduation.