The River Turia (Valencian: Riu Túria; Spanish: Río Turia) is a waterway running through the Valencian Country and reaching the sea at the City of Valencia.
After a catastrophic flood in 1957 which devastated the city, the river was divided in two at the western city limits, the old course of the river continues, dry, through the city centre, almost to the sea. The water is diverted southwards along a new course that skirts the city, until eventually reaching the sea.
The old riverbed is now a beautiful sunken park that allows cyclists and pedestrians to traverse the entire city without crossing a road. The park, called the 'Garden of the Turia' (Jardí del Túria/Jardín del Turia) is full of ponds, fountains, flowers, sports courts, paths, and people enjoying it all. The many bridges overhead carry traffic across the park.
Near the end of the Garden of the Turia is the Gulliver Park (Parc Gulliver/Parque Gulliver), a children's adventure playground featuring a huge fibreglass model of Lemuel Gulliver tied to the ground with ropes, made so that it incorporates slides and ladders to play on.
Turia was born in 1944 to an American father and MÄori mother, and has roots in the Whanganui, Ngati Apa, Nga Rauru, and Tuwharetoa iwi.
Turia described the Te Tai Hauauru by-election of 10 July 2004 as a chance to test her mandate, and to ensure that she had the support of her voters, but doubts remained about the significance of the by-election, since none of the major parties put forward candidates.
Turia received 92.74% of the vote in the by-election, and resumed her seat in Parliament on 27 July 2004.
At this point, it is time to put Turia into context and ask first of all what image we have of her from her husband's epitaph and secondly, how well it accords with what we know about women of this period.
There is no question that Turia exemplifies the potential for strength in the conventional model of Roman womanhood She was raised to expect to live an entirely private life, as Roman matrons were expected to do.
The epitaph is consistent with this language and depicts Turia successfully negotiating the treacherous gulf between praise and blame in a way that casts credit on herself and on her husband.
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