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Polar bears, cartoon characters

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About nutcrackers

A nutcracker consists of a mechanical device for cracking nuts. It works on the principle of moments as described in Archimedes' analysis of the lever.



Decorative


Nutcrackers in the form of wooden carvings of a soldier, knight, king, or other profession have existed since at least the 15th century. These nutcrackers portray a person with a large mouth which the operator opens by lifting a lever in the back of the figurine. Originally one could insert a nut in the big-toothed mouth, press down and thereby crack the nut. Modern nutcrackers in this style serve mostly for decoration, mainly at Christmastime.


The carving of nutcrackers — as well as of religious figures and of cribs —developed as a cottage industry in forested rural areas of Germany. The most famous nutcracker carvings come from Sonneberg in Thuringia (also a center of dollmaking) and from the Ore Mountains. Wood-carving usually provided the only income for the people living there. Today the travel industry supplements their income by bringing visitors to the remote areas.


Nutcrackers have become popular in the United States as well, and a recreated "Bavarian village" of Leavenworth, Washington even features a Nutcracker Museum. Many other materials also serve to make decorated nutcrackers, such as porcelain, silver, and brass; the museum displays samples.


Carvings by famous names like Junghanel, Klaus Mertens, Karl, Olaf Kolbe, Petersen, Christian Ulbricht and especially the Steinbach nutcrackers have become collectors' items. Herr Christian Steinbach, also known as the "King of Nutcrackers", started the tradition of hand-carving nutcrackers and is being continued by his daughter, Karla Steinbach. Steinbach Nutcrackers vary greatly in price, anywhere from $200 to over $1000, depending on the collectibility factor and availability.



Functional


Manufacturers produce modern nutcrackers — designed solely to crack nuts — usually somewhat resembling pliers, but with the pivot point at the end beyond the nut, rather than in the middle. End-users also utilise them for cracking the shells of crab and lobster in order to make the meat inside available for eating.


Parrots use their beaks as natural nutcrackers, in much the same way smaller birds crack seeds. In this case, the pivot point stands opposite the nut, at the jaw.



External links




------------------------------
All text of this article is available under the terms of the GNU Free Documentation License.


------------------------------
Addendum:
Here are some images that are available under GNU Free Documentation License:

Image:Nußknacker aus Seiffen.jpg
Nutcracker made in Seiffen (Germany)

Image:Nussknacker.jpg
Nutcracker from Erzgebirge (East Germany)

The Nutcracker, fairy-ballet

From Wikipedia, the free encyclopedia




The Nutcracker (Russian: Щелкунчик, English: Shchelkunchik), Op. 71, is a fairy-ballet in two acts, three tableaux, by Pyotr Ilyich Tchaikovsky, composed in 18911892, and based on The Nutcracker and the Mouse King (German: Nußknacker und Mausekönig), a story by E. T. A. Hoffmann (1816). Alexandre Dumas' adaptation of the story was set to music by Tchaikovsky (after the libretto of Marius Petipa) and has become the most popular ballet performed around Christmas time. It is appealing to children and adults alike and has been a standard yearly feature of theatres in many cities. A selection of eight of the more popular numbers from the ballet was made by the composer, forming The Nutcracker Suite, designed for concert performance. The titles of the ballet (simply The Nutcracker) and the suite (The Nutcracker Suite) are frequently confused.







Contents





Story


The story has been published in many book versions including colorful children's versions. The plot revolves around a blonde German girl named Clara Stahlbaum, or Clara Silverhaus. In some Nutcracker productions, Clara is called Marie. [1] (In Hoffmann's tale, the girl's name actually is Marie or Maria, while Clara - or "Klärchen" - is the name of one of her dolls.)



Act I


The curtain opens to see the Stahlbaums' house, where a Christmas party is being held. Clara, her little brother Fritz, and their mother and father are celebrating with friends and family, when the mysterious godfather, Herr Drosselmeyer, enters. He quickly produces a large bag of gifts for all the children. All are very happy, except for Clara, she being the only one who does not receive a gift. Herr Drosselmeyer then produces three life-sized dolls, who each take a turn to dance. When the dances are done, Clara approaches Herr Drosselmeyer asking for a gift. Sadly, Drosselmeyer is out of presents. Clara runs to her mother in a fit of tears.


Drosselmeyer conjures up a Nutcracker. Clara is happy, but her brother Fritz is jealous, and breaks the Nutcracker. Drosselmeyer chases him off and mends the toy.


The party ends and the Stahlbaum family go to bed, but Clara is concerned about her Nutcracker, and comes out to the Christmas tree to see it. She falls asleep with the Nutcracker in her arms. When the clock strikes midnight, Clara hears the sound of mice. She wakes up and tries to run away, but the mice stop her. The Nutcracker and his band of soldiers rise to defend Clara, and the Mouse King leads his mice into battle.


A conflict ensues, and when Clara helps the Nutcracker by throwing her slipper at the Mouse King, the Nutcracker seizes his opportunity and stabs him. The mouse dies. The mice retreat, taking their dead leader with them. Clara cries for her Nutcracker, who is also dead, and her tears bring him back to life.


The two then dance, and the Nutcracker turns into a prince, who leads her into the land of the Sugar Plum Fairy, where dancing Snow Flakes greet them.



Act II


The people of the Land of Sweets dance for Clara and the Prince in the dances of Dew Drop Fairy, Spanish, Chinese, Arabian, Russian, Mother Ginger, Polichinelle, Marzipan, Sugar Plum Fairy, and Waltz of the Flowers. Clara wakes up under the Christmas tree with the Nutcracker toy in her arms.



History of the ballet


Tchaikovsky composed the ballet in 18911892, but he was unsatisfied with it and considered it to be one of his less successful pieces.


The first performance of the ballet was held as a double premiere together with Tchaikovsky's last opera Iolanta on December 6/18, 1892, at the Mariinsky Theatre in St Petersburg, Russia. The ballet was conducted by Riccardo Drigo and choreographed by Lev Ivanov. However, this performance had just limited success.


The current popularity of The Nutcracker is due in part to Willam Christensen, former Ballet master of the San Francisco Ballet, who imported the work to the United States in 1944. The success of the ballet and George Balanchine's choreography for his own 1954 version created a winter tradition of Nutcracker performances in the United States.



The music


The music in Tchaikovsky's ballet is some of the composer's most popular. The music belongs to the Romantic tradition and contains some of his most memorable melodies which are frequently used in television and film. The Trepak, or Russian dance, is one of the most recognizable pieces in the ballet, along with the famous Waltz of the Flowers and March, as well as the ubiquitous Dance of the Sugar-Plum Fairy. The ballet contains surprisingly advanced harmonies and a wealth of melodic invention unsurpassed in ballet music. Nevertheless, the composer's reverence for Rococo and late 18th-century music can be detected in passages such as the Overture, the "entrée des parents," and "Tempo di Grossvater" in Act I.


One novelty in Tchaikovsky's original score was the use of the celesta, a new instrument Tchaikovsky had discovered in Paris. He wanted it genuinely for the character of the Sugar-Plum Fairy to characterise her because of its "heavenly sweet sound". It appears not only in her "Dance," but also in other passages in Act II. Tchaikovsky also uses toy instruments during the Christmas party scene.


Suites derived from this ballet became very popular on the concert stage. The composer himself extracted a suite of eight pieces from the ballet, but that authoritative move has not prevented later hands from arranging other selections and sequences of numbers. Eventually one of these ended up in Disney's Fantasia. In any case, The Nutcracker Suite should not be mistaken for the complete ballet.


Although the original ballet is only ninety minutes long, and therefore much shorter than Swan Lake or The Sleeping Beauty, some modern staged performances have omitted or re-ordered some of the music, or inserted selections from elsewhere, thus adding to the confusion over the suites. In fact, most of the very famous versions of the ballet have had the order of the dances slightly re-arranged, if they have not actually altered the music.




  • A filmed German-American co-production, first telecast in the United States in 1965, hosted and narrated by Eddie Albert, and choreographed by Kurt Jacob, featured a cast made up from several companies, including Edward Villella, Patricia McBride and Melissa Hayden from the New York City Ballet. It cut the ballet down to a one-act version lasting slightly less than an hour, and drastically re-ordered all the dances, even to the point of altering the storyline (Clara and the Nutcracker must now journey to the Castle of the Sugar Plum Fairy, where the Fairy will wave her wand and turn the Nutcracker back into a Prince). But all of the music was from the actual "Nutcracker" ballet, and not from any other source.



  • In Baryshnikov's American Ballet Theatre version, staged in 1976 and first broadcast on TV in 1977, all of the original Tchaikovsky score is used, but the order of most of the dances in Act II (the section of the ballet with the least plot) is changed, and the "Arabian Dance" had to be omitted in the television version in order to bring the program in at ninety minutes with three commercial breaks. Baryshnikov also turned the "Intrada" (slow section) from the "Pas de Deux" into a dance for Clara and the Prince rather than one for the Sugar Plum Fairy and her Cavalier. He made it the emotional climax of the ballet by placing it just before the Final Waltz and Apotheosis, rather than just before the Tarantella - this in a scene that ordinarily has no big emotional moment.



  • In the Royal Ballet, London's 1985 version, Tchaikovsky's score is used and the original order of the dances is not changed at all, but the Mother Ginger dance is omitted. This version was re-staged with some of the same dancers taking different roles, as well as with new dancers, in 2001. In the 2001 version, Alina Cojocaru danced the role of Clara, a role danced in 1985 by Julie Rose. Anthony Dowell, who had danced the Sugar Plum Fairy's Cavalier in 1985, danced the role of Drosselmeyer in the 2001 version.



  • The 1954 George Balanchine New York City Ballet version, first broadcast on TV in 1957, and filmed for movie theatres in 1993, adds to Tchaikovsky's complete score an entr'acte that the composer wrote for Act II of "The Sleeping Beauty". It is used as a transition between the departure of the guests and the battle with the mice. During this transition, Clara's mother appears in the living room and throws a blanket over the girl, who has crept downstairs and fallen asleep on the sofa; then Drosselmeyer appears, repairs the Nutcracker, and binds the jaw with a handkerchief. And the "Dance Of The Sugar Plum Fairy" is moved from near the end of Act II of "The Nutcracker" to near the beginning of the second act, just after the Sugar Plum Fairy makes her first appearance.



  • Rudolf Nureyev's 1967 version for the Royal Ballet, in which he dances both the roles of Drosselmeyer and the Prince, but not the Nutcracker, changes the order of some of the musical numbers, repeating the music of the "mice attack" near the end. It was filmed in 1968.



  • Finally, Pacific Northwest Ballet's "Nutcracker", staged in 1983 and filmed for movie theatres in 1986, with sets and costumes by Maurice Sendak, adds a duet from Tchaikovsky's opera The Queen of Spades which is heard during the Christmas party sequence. Also, the Dance of the Sugar Plum Fairy is placed very early in the second act, rather than its traditional place toward the end, and is danced by the dream Clara.


However, nearly all of the CD and LP recordings of the complete ballet present Tchaikovsky's score exactly as he originally conceived it.



Pop version


In 1962 a novelty boogie piano arrangement of the "Marche", entitled "Nut Rocker", was a #1 single in the UK, and #21 in the USA. Credited to B. Bumble and the Stingers, it was produced by Kim Fowley and featured studio musicians Al Hazan (piano), Earl Palmer (drums), Tommy Tedesco (guitar) and Red Callender (bass). "Nut Rocker" has subsequently been covered by many others including The Shadows, Emerson, Lake & Palmer, and the Dropkick Murphys. "Nut Rocker" is commonly connected to the NHL team the Boston Bruins.



Source


"Taking the Nutcracker Home" by Jeffrey Gantz http://www.bostonphoenix.com/boston/movies/reviews/documents/03372380.asp This article, however, has one glaring error - it states that the Baryshnikov "Nutcracker" was first telecast on PBS, when in fact, it was first telecast on CBS, complete with three commercial breaks - one between the Overture and Act I, one between Acts I and II, and one placed after the ballet ended and before the closing credits appeared onscreen. It moved to PBS in later years, when commercial TV began to telecast even fewer classical music programs than they were showing already. On PBS, it was/ is usually shown during Pledge drives, where the pause between Acts I and II provides the opportunity for a pledge break.



Ballet


(Numbers given according to the piano score from the Soviet collected edition of the composer's works, as reprinted Melville, NY: Belwin Mills [n.d.], in English where possible, with explanations added here in square brackets).





Act One


Tableau I



  • 1. Scene of decorating and lighting the Christmas tree

  • 2. March

  • 3. Little Gallop [of the children] and entry of the parents

  • 4. Scene dansante [Drosselmeyer's arrival and distribution of presents]

  • 5. Scene and dance of the Grandfather

  • 6. Scene [Departure of the guests -- night]

  • 7. Scene [the battle]


Tableau II



  • 8. Scene [a pine forest in winter]

  • 9. Waltz of the Snowflakes




Act Two


Tableau III



  • 10. Scene [Introduction]

  • 11. Scene [Arrival of Clara and the Prince]

  • 12. Divertissement

    • a. Chocolate (Spanish dance)

    • b. Coffee (Arabian dance)

    • c. Tea (Chinese dance)

    • d. Trepak (Russian Dance)

    • e. Dance of the Mirlitons [also known as "Dance of the Reed-Flutes," "Dance of the Shepherdesses," and "Marzipan"]

    • f. Mother Ginger and the clowns [or "Mother Ginger and her children"]



  • 13. Waltz of the Flowers [also known as "Dew Drops"]

  • 14. Pas de Deux (Sugar-Plum Fairy and the Prince)

    • Variation I (for the male dancer) [Tarantella]

    • Variation II (for the female dancer) [Dance of the Sugar-Plum Fairy]

    • Coda



  • 15. Final Waltz and Apotheosis



Suite


The suite derived and abridged from the ballet became more popular for a time than the ballet itself, partly due to its inclusion in Walt Disney's Fantasia. The outline below represents the selection and sequence of the Nutcracker Suite culled by the composer.



  • I. Overture

  • II. Danses caractéristiques

    • A. Marche

    • B. Dance of the Sugar-Plum Fairy [ending altered from ballet-version]

    • C. Russian Trepak

    • D. Arabian Coffee

    • E. Chinese Tea

    • F. Reed-Flutes



  • III. Waltz of the Flowers


The version heard in Fantasia, however, omitted the Overture and the March, and the dances left were placed in a different order:



  • I. Dances caractéristiques

    • A. Dance of the Sugar-Plum Fairy

    • B. Chinese Tea

    • C. Reed-Flutes

    • D. Arabian Coffee

    • E. Russian Trepak



  • II. Waltz of the Flowers


The pianist and conductor Mikhail Pletnev adapted some of the music into a virtuosic concert suite for piano solo:



  • A. March

  • B. Dance of the Sugar-Plum Fairy

  • C. Tarantella

  • D. Intermezzo

  • E. Russian Trepak

  • F. China Dance

  • G. Andante



Footnotes



  •   In E.T.A. Hoffmann's original version of 1814, the family was named Stahlbaum. In Alexandre Dumas' French adaptation of 1844 the name was changed to Silberhaus.



External links




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This License applies to any manual or other work, in any medium, that contains a notice placed by the copyright holder saying it can be distributed under the terms of this License. Such a notice grants a world-wide, royalty-free license, unlimited in duration, to use that work under the conditions stated herein. The "Document", below, refers to any such manual or work. Any member of the public is a licensee, and is addressed as "you". You accept the license if you copy, modify or distribute the work in a way requiring permission under copyright law.


A "Modified Version" of the Document means any work containing the Document or a portion of it, either copied verbatim, or with modifications and/or translated into another language.


A "Secondary Section" is a named appendix or a front-matter section of the Document that deals exclusively with the relationship of the publishers or authors of the Document to the Document's overall subject (or to related matters) and contains nothing that could fall directly within that overall subject. (Thus, if the Document is in part a textbook of mathematics, a Secondary Section may not explain any mathematics.) The relationship could be a matter of historical connection with the subject or with related matters, or of legal, commercial, philosophical, ethical or political position regarding them.


The "Invariant Sections" are certain Secondary Sections whose titles are designated, as being those of Invariant Sections, in the notice that says that the Document is released under this License. If a section does not fit the above definition of Secondary then it is not allowed to be designated as Invariant. The Document may contain zero Invariant Sections. If the Document does not identify any Invariant Sections then there are none.


The "Cover Texts" are certain short passages of text that are listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says that the Document is released under this License. A Front-Cover Text may be at most 5 words, and a Back-Cover Text may be at most 25 words.


A "Transparent" copy of the Document means a machine-readable copy, represented in a format whose specification is available to the general public, that is suitable for revising the document straightforwardly with generic text editors or (for images composed of pixels) generic paint programs or (for drawings) some widely available drawing editor, and that is suitable for input to text formatters or for automatic translation to a variety of formats suitable for input to text formatters. A copy made in an otherwise Transparent file format whose markup, or absence of markup, has been arranged to thwart or discourage subsequent modification by readers is not Transparent. An image format is not Transparent if used for any substantial amount of text. A copy that is not "Transparent" is called "Opaque".


Examples of suitable formats for Transparent copies include plain ASCII without markup, Texinfo input format, LaTeX input format, SGML or XML using a publicly available DTD, and standard-conforming simple HTML, PostScript or PDF designed for human modification. Examples of transparent image formats include PNG, XCF and JPG. Opaque formats include proprietary formats that can be read and edited only by proprietary word processors, SGML or XML for which the DTD and/or processing tools are not generally available, and the machine-generated HTML, PostScript or PDF produced by some word processors for output purposes only.


The "Title Page" means, for a printed book, the title page itself, plus such following pages as are needed to hold, legibly, the material this License requires to appear in the title page. For works in formats which do not have any title page as such, "Title Page" means the text near the most prominent appearance of the work's title, preceding the beginning of the body of the text.


A section "Entitled XYZ" means a named subunit of the Document whose title either is precisely XYZ or contains XYZ in parentheses following text that translates XYZ in another language. (Here XYZ stands for a specific section name mentioned below, such as "Acknowledgements", "Dedications", "Endorsements", or "History".) To "Preserve the Title" of such a section when you modify the Document means that it remains a section "Entitled XYZ" according to this definition.


The Document may include Warranty Disclaimers next to the notice which states that this License applies to the Document. These Warranty Disclaimers are considered to be included by reference in this License, but only as regards disclaiming warranties: any other implication that these Warranty Disclaimers may have is void and has no effect on the meaning of this License.



2. VERBATIM COPYING


You may copy and distribute the Document in any medium, either commercially or noncommercially, provided that this License, the copyright notices, and the license notice saying this License applies to the Document are reproduced in all copies, and that you add no other conditions whatsoever to those of this License. You may not use technical measures to obstruct or control the reading or further copying of the copies you make or distribute. However, you may accept compensation in exchange for copies. If you distribute a large enough number of copies you must also follow the conditions in section 3.


You may also lend copies, under the same conditions stated above, and you may publicly display copies.



3. COPYING IN QUANTITY


If you publish printed copies (or copies in media that commonly have printed covers) of the Document, numbering more than 100, and the Document's license notice requires Cover Texts, you must enclose the copies in covers that carry, clearly and legibly, all these Cover Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on the back cover. Both covers must also clearly and legibly identify you as the publisher of these copies. The front cover must present the full title with all words of the title equally prominent and visible. You may add other material on the covers in addition. Copying with changes limited to the covers, as long as they preserve the title of the Document and satisfy these conditions, can be treated as verbatim copying in other respects.


If the required texts for either cover are too voluminous to fit legibly, you should put the first ones listed (as many as fit reasonably) on the actual cover, and continue the rest onto adjacent pages.


If you publish or distribute Opaque copies of the Document numbering more than 100, you must either include a machine-readable Transparent copy along with each Opaque copy, or state in or with each Opaque copy a computer-network location from which the general network-using public has access to download using public-standard network protocols a complete Transparent copy of the Document, free of added material. If you use the latter option, you must take reasonably prudent steps, when you begin distribution of Opaque copies in quantity, to ensure that this Transparent copy will remain thus accessible at the stated location until at least one year after the last time you distribute an Opaque copy (directly or through your agents or retailers) of that edition to the public.


It is requested, but not required, that you contact the authors of the Document well before redistributing any large number of copies, to give them a chance to provide you with an updated version of the Document.



4. MODIFICATIONS


You may copy and distribute a Modified Version of the Document under the conditions of sections 2 and 3 above, provided that you release the Modified Version under precisely this License, with the Modified Version filling the role of the Document, thus licensing distribution and modification of the Modified Version to whoever possesses a copy of it. In addition, you must do these things in the Modified Version:



  • A. Use in the Title Page (and on the covers, if any) a title distinct from that of the Document, and from those of previous versions (which should, if there were any, be listed in the History section of the Document). You may use the same title as a previous version if the original publisher of that version gives permission.

  • B. List on the Title Page, as authors, one or more persons or entities responsible for authorship of the modifications in the Modified Version, together with at least five of the principal authors of the Document (all of its principal authors, if it has fewer than five), unless they release you from this requirement.

  • C. State on the Title page the name of the publisher of the Modified Version, as the publisher.

  • D. Preserve all the copyright notices of the Document.

  • E. Add an appropriate copyright notice for your modifications adjacent to the other copyright notices.

  • F. Include, immediately after the copyright notices, a license notice giving the public permission to use the Modified Version under the terms of this License, in the form shown in the Addendum below.

  • G. Preserve in that license notice the full lists of Invariant Sections and required Cover Texts given in the Document's license notice.

  • H. Include an unaltered copy of this License.

  • I. Preserve the section Entitled "History", Preserve its Title, and add to it an item stating at least the title, year, new authors, and publisher of the Modified Version as given on the Title Page. If there is no section Entitled "History" in the Document, create one stating the title, year, authors, and publisher of the Document as given on its Title Page, then add an item describing the Modified Version as stated in the previous sentence.

  • J. Preserve the network location, if any, given in the Document for public access to a Transparent copy of the Document, and likewise the network locations given in the Document for previous versions it was based on. These may be placed in the "History" section. You may omit a network location for a work that was published at least four years before the Document itself, or if the original publisher of the version it refers to gives permission.

  • K. For any section Entitled "Acknowledgements" or "Dedications", Preserve the Title of the section, and preserve in the section all the substance and tone of each of the contributor acknowledgements and/or dedications given therein.

  • L. Preserve all the Invariant Sections of the Document, unaltered in their text and in their titles. Section numbers or the equivalent are not considered part of the section titles.

  • M. Delete any section Entitled "Endorsements". Such a section may not be included in the Modified Version.

  • N. Do not retitle any existing section to be Entitled "Endorsements" or to conflict in title with any Invariant Section.

  • O. Preserve any Warranty Disclaimers.


If the Modified Version includes new front-matter sections or appendices that qualify as Secondary Sections and contain no material copied from the Document, you may at your option designate some or all of these sections as invariant. To do this, add their titles to the list of Invariant Sections in the Modified Version's license notice. These titles must be distinct from any other section titles.


You may add a section Entitled "Endorsements", provided it contains nothing but endorsements of your Modified Version by various parties--for example, statements of peer review or that the text has been approved by an organization as the authoritative definition of a standard.


You may add a passage of up to five words as a Front-Cover Text, and a passage of up to 25 words as a Back-Cover Text, to the end of the list of Cover Texts in the Modified Version. Only one passage of Front-Cover Text and one of Back-Cover Text may be added by (or through arrangements made by) any one entity. If the Document already includes a cover text for the same cover, previously added by you or by arrangement made by the same entity you are acting on behalf of, you may not add another; but you may replace the old one, on explicit permission from the previous publisher that added the old one.


The author(s) and publisher(s) of the Document do not by this License give permission to use their names for publicity for or to assert or imply endorsement of any Modified Version.



5. COMBINING DOCUMENTS


You may combine the Document with other documents released under this License, under the terms defined in section 4 above for modified versions, provided that you include in the combination all of the Invariant Sections of all of the original documents, unmodified, and list them all as Invariant Sections of your combined work in its license notice, and that you preserve all their Warranty Disclaimers.


The combined work need only contain one copy of this License, and multiple identical Invariant Sections may be replaced with a single copy. If there are multiple Invariant Sections with the same name but different contents, make the title of each such section unique by adding at the end of it, in parentheses, the name of the original author or publisher of that section if known, or else a unique number. Make the same adjustment to the section titles in the list of Invariant Sections in the license notice of the combined work.


In the combination, you must combine any sections Entitled "History" in the various original documents, forming one section Entitled "History"; likewise combine any sections Entitled "Acknowledgements", and any sections Entitled "Dedications". You must delete all sections Entitled "Endorsements."



6. COLLECTIONS OF DOCUMENTS


You may make a collection consisting of the Document and other documents released under this License, and replace the individual copies of this License in the various documents with a single copy that is included in the collection, provided that you follow the rules of this License for verbatim copying of each of the documents in all other respects.


You may extract a single document from such a collection, and distribute it individually under this License, provided you insert a copy of this License into the extracted document, and follow this License in all other respects regarding verbatim copying of that document.



7. AGGREGATION WITH INDEPENDENT WORKS


A compilation of the Document or its derivatives with other separate and independent documents or works, in or on a volume of a storage or distribution medium, is called an "aggregate" if the copyright resulting from the compilation is not used to limit the legal rights of the compilation's users beyond what the individual works permit. When the Document is included in an aggregate, this License does not apply to the other works in the aggregate which are not themselves derivative works of the Document.


If the Cover Text requirement of section 3 is applicable to these copies of the Document, then if the Document is less than one half of the entire aggregate, the Document's Cover Texts may be placed on covers that bracket the Document within the aggregate, or the electronic equivalent of covers if the Document is in electronic form. Otherwise they must appear on printed covers that bracket the whole aggregate.



8. TRANSLATION


Translation is considered a kind of modification, so you may distribute translations of the Document under the terms of section 4. Replacing Invariant Sections with translations requires special permission from their copyright holders, but you may include translations of some or all Invariant Sections in addition to the original versions of these Invariant Sections. You may include a translation of this License, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the original English version of this License and the original versions of those notices and disclaimers. In case of a disagreement between the translation and the original version of this License or a notice or disclaimer, the original version will prevail.


If a section in the Document is Entitled "Acknowledgements", "Dedications", or "History", the requirement (section 4) to Preserve its Title (section 1) will typically require changing the actual title.



9. TERMINATION


You may not copy, modify, sublicense, or distribute the Document except as expressly provided for under this License. Any other attempt to copy, modify, sublicense or distribute the Document is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance.



10. FUTURE REVISIONS OF THIS LICENSE


The Free Software Foundation may publish new, revised versions of the GNU Free Documentation License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns. See http://www.gnu.org/copyleft/.


Each version of the License is given a distinguishing version number. If the Document specifies that a particular numbered version of this License "or any later version" applies to it, you have the option of following the terms and conditions either of that specified version or of any later version that has been published (not as a draft) by the Free Software Foundation. If the Document does not specify a version number of this License, you may choose any version ever published (not as a draft) by the Free Software Foundation.



How to use this License for your documents


To use this License in a document you have written, include a copy of the License in the document and put the following copyright and license notices just after the title page:



Copyright (c) YEAR YOUR NAME.

Permission is granted to copy, distribute and/or modify this document

under the terms of the GNU Free Documentation License, Version 1.2

or any later version published by the Free Software Foundation;

with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts.

A copy of the license is included in the section entitled "GNU

Free Documentation License".


If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, replace the "with...Texts." line with this:



with the Invariant Sections being LIST THEIR TITLES, with the

Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.


If you have Invariant Sections without Cover Texts, or some other combination of the three, merge those two alternatives to suit the situation.


If your document contains nontrivial examples of program code, we recommend releasing these examples in parallel under your choice of free software license, such as the GNU General Public License, to permit their use in free software.

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