End
End or Ending may refer to:
End
END
Ending
See also
End (graph theory)
In the mathematics of infinite graphs, an end of a graph represents, intuitively, a direction in which the graph extends to infinity. Ends may be formalized mathematically as equivalence classes of infinite paths, as havens describing strategies for pursuit-evasion games on the graph, or (in the case of locally finite graphs) as topological ends of topological spaces associated with the graph.
Ends of graphs may be used (via Cayley graphs) to define ends of finitely generated groups. Finitely generated infinite groups have one, two, or infinitely many ends, and the Stallings theorem about ends of groups provides a decomposition for groups with more than one end.
Definition and characterization
Ends of graphs were defined by Rudolf Halin (1964) in terms of equivalence classes of infinite paths. A ray in an infinite graph is a semi-infinite simple path; that is, it is an infinite sequence of vertices v0, v1, v2, ... in which each vertex appears at most once in the sequence and each two consecutive vertices in the sequence are the two endpoints of an edge in the graph. According to Halin's definition, two rays r0 and r1 are equivalent if there is another ray r2 (not necessarily different from either of the first two rays) that contains infinitely many of the vertices in each of r0 and r1. This is an equivalence relation: each ray is equivalent to itself, the definition is symmetric with regard to the ordering of the two rays, and it can be shown to be transitive. Therefore, it partitions the set of all rays into equivalence classes, and Halin defined an end as one of these equivalence classes.
End (film)
End is a 1984 fiction film by Mahmoud Shoolizadeh; is a story about the children who live near the railways and their lives are full of ups and downs. This film displays the story of a small child who lives in south of Tehran during times of social problems. The film analyses an unjust and unfair society.
Director's View
Inflation, unemployment, divorce and social poverty are the major problems in modern Iran. If the officials, social and cultural experts and planners do not find solutions to these problems, the future society would face crisis due to the consequences.
Technical specifications and Film crew
Generation (1960s TV series)
Generation was a Canadian current affairs television series which aired on CBC Television in 1965.
Premise
The series examined contemporary topics and concerns in the context of the generation gap. Issues such as careers, marriage, Quebec's Quiet Revolution, religion or tobacco were the subject of various episodes.
For most of its run, Generation was a local Toronto programme hosted by Lloyd Robertson. In mid-1965, it was broadcast nationally with selected local episodes supplemented by episodes produced from various regions. June Callwood, Katie Johnson and Bill McVean were additional hosts during the national broadcasts.
Scheduling
The half-hour series aired locally on CBLT from late 1963 until mid-1966. It was broadcast on the national CBC network Wednesdays at 10:30 p.m. (Eastern) from 4 August to 15 September 1965.
References
External links
1837 generation
The 1837 generation (Spanish: Generación del '37) was an Argentine literary group. Influenced by the new romantic ideas, they rejected the cultural Spanish heritage of the country. They considered themselves the "sons of the May Revolution", as they were born shortly after it, and wrote some of the earliest Argentine literary works. They did not acknowledge any national roots in the indigenous peoples or the period of European colonization, focusing instead on the Revolution as the birth of the country.
The group established a literary hall in 1837, hence the name. Initially, they claimed to be neutral in the Argentine Civil Wars, but in time they wrote works biased against the federal governor Juan Manuel de Rosas (such as El Matadero by Esteban Echeverría or Facundo by Domingo Faustino Sarmiento) and became fully Unitarians.
Some notable members of this generation were Esteban Echeverría, Juan Bautista Alberdi, Miguel Cané, Bartolomé Mitre, Andrés Lamas, Antonio Somellera, Vicente Fidel López, Carlos Tejedor, Juan Bautista Peña, Florencio Varela, Juan Cruz Varela, José Mármol, José Rivera Indarte (Buenos Aires), Domingo Faustino Sarmiento, Quiroga Rosas, Antonino Aberastain, Santiago Cortínez (San Juan), Benjamín Villafañe, Félix Frías (Tucumán), Francisco Álvarez, Paulino Paz, Enrique Rodríguez, Avelino Ferreyra, Ramón Ferreyra (Córdoba), Juan Thompson (Corrientes).
Immigrant generations
The term first-generation can refer to either people who were born in one country and relocated to another at a young age, or to their children born in the country they have relocated to. The term second-generation refers to children of first-generation immigrants, and thus exhibits the same ambiguity. The term 1.5 generation is a term coined for people who identify as "first generation" who do not meet the definition.
First generation
The term first-generation, as it pertains to a person's nationality or residency in a country, can imply two possible meanings, depending on context:
This ambiguity is captured and corroborated in The Oxford English Dictionary's definition of "generation":
In the United States, among demographers and other social scientists, the term "first generation" is used to refer to foreign-born residents (excluding those born abroad of American parents).
The Family Way (soundtrack)
The Family Way is a soundtrack recording composed by Paul McCartney, released in January 1967. The album is the soundtrack to the 1966 film of the same name, directed by Roy Boulting and starring Hayley Mills. Produced and arranged by George Martin, the album was credited to "The George Martin Orchestra" and issued under the full title The Family Way (Original Soundtrack Album). A 45rpm single, again credited to the George Martin Orchestra, was issued on 23 December 1966, comprising "Love in the Open Air" backed with "Theme From 'The Family Way'", as United Artists UP1165.
The Family Way won an Ivor Novello Award in 1967. It was remastered and released on CD in 1996 with new musical compositions not on the original 1967 soundtrack album.
The recording took place over November and December 1966, before the Beatles began work on their album Sgt. Pepper's Lonely Hearts Club Band. McCartney's involvement in the project was minimal, according to biographer Howard Sounes, who quotes Martin's recollection that he had to "pester Paul for the briefest scrap of a tune" with which to start writing the score. After McCartney had provided "a sweet little fragment of a waltz tune", Martin continued, "I was able to complete the score."
Podcasts:
