Hamilton is a lunarimpact crater that is located near the southeastern limb of the Moon. From the Earth this crater is viewed nearly from the edge, limiting the amount of detail that can be observed. It can also become hidden from sight due to libration, or brought into a more favorably viewing position.
This crater is situated almost due east of the lava-flooded crater Oken, near the uneven Mare Australe. To the northeast of Hamilton, along the lunar limb, is the flooded crater Gum. Less than three crater diameters to the south is the flooded walled plain Lyot.
This is a nearly circular crater, although the rim to the north is somewhat straightened. It has a well-formed edge that has not been noticeably degraded through impact erosion. There are terraces along the interior sides, particularly along the western edge (which is hidden from view from the Earth.) The interior floor is deep and uneven, with an impact feature joining the midpoint to the north-northwestern inner wall.
In the early 1990s, GO Transit provided service out of two different facilities in Hamilton: trains were routed along the CN Grimsby subdivision to the Hamilton CNR Station 1.6km to the north, and buses operated out of an older bus station at on the northern edge of Hamilton's Central Business District at John Street North and Rebecca Street. In order to better connect GO Transit service to Hamilton's CBD, improve the interface with the Hamilton Street Railway, and consolidate train and bus services at a single site, renovations were undertaken to convert the TH&B station into the Hamilton GO Centre. The new facility, designed by Garwood-Jones & Hanham Architects, opened on April 30, 1996.
Initially an agricultural service centre, Hamilton now has a growing and diverse economy and is the third fastest growing urban area in New Zealand (behind Pukekohe and Auckland). Education and research and development play an important part in Hamilton's economy, as the city is home to approximately 40,000 tertiary students and 1,000 PhD-qualified scientists.
Discovery is the debut studio album by American R&B/pop singer Shanice Wilson, released October 21, 1987 by A&M Records. Shanice at the time was fourteen years old with a very mature singing voice. Singer Teena Marie originally produced the majority of the album, but A&M Records felt the songs were too mature for her age. Bryan Loren was then chosen by A&M Records to produce new tracks that were used for the album. The singles "(Baby Tell Me) Can You Dance," and "No 1/2 Steppin'" were top 10 R&B hits. "The Way You Love Me," and "I'll Bet She's Got A Boyfriend" were the final singles from the album.
Anagnorisis (/ˌænəɡˈnɒrᵻsᵻs/; Ancient Greek: ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonisticcharacter in Aristoteliantragedy.
In his Poetics, as part of his discussion of peripeteia, Aristotle defined anagnorisis as "a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune" (1452a). It is often discussed along with Aristotle's concept of catharsis.
In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's King Lear) or of someone else's identity or true nature (e.g. Lear's children, Gloucester's children) by the tragic hero.
Recorded in 1979 shortly after the completion of the Discovery studio album. The track listing is identical to the studio LP; each of the album's songs has its own corresponding promotional video. It received TV airings on The Blue Jean Network in 1980 among others, with releases on VHS in 1979, then later on the "Out of the Blue Tour" Live at Wembley/Discovery 1998 DVD/VHS. The video album was produced because Jeff Lynne refused to go on tour to promote the album as was customary but instead presented it in the relatively new video format. This helped launch the nascent long-form music video market. The song's videos marked the last appearance for the band's cellists.