Plot.

Karan (Shahid Kapoor) is a shy and nerdy canteen boy and college student, running a café with his friend Murugan (Johnny Lever), and Tanya (Rimi Sen) is a student in the same college. She is the most popular girl on campus. Karan is in love with Tanya but is too shy to tell her. After he musters some courage and rescues her step-brother from some goons, he catches her attention and is eventually able to invite her to a fake birthday party. On her way there, Tanya witnesses the murder of a scientist, Khurana (Om Puri) by his evil twin brother, the underworld don Mehboob, and as a result is forced to flee the country to save her own life, since the law had been bought out by the very same killers. The scientist had stored a secret code in a stuffed toy, a parrot, now being sought by Mehboob, and Khurana was able to hide the toy in Tanya's car before being killed. Unawares, Tanya leaves the toy at home before fleeing the country, and the toy is later picked up by Karan, ignorant of Tanya's fate.  Three years later, still in love with Tanya, but depressed by her sudden and complete disappearance, Karan stumbles across old schoolmates of hers at a café, and learns from them that she had been living in Dubai all this time. Karan coaxes Murugan to help him track down Tanya in Dubai. They enlist the aid of a local hustler and bounty hunter, Rocky (Akshay Kumar).  Rocky travels to Dubai, where his friend Babloo (Vijay Raaz) has already tracked down Tanya, who has become Natasha, a successful singer and performer. Rocky and Babloo stakeout Natasha's villa to make sure they are on the right track, but as soon as Rocky spots Natasha, it's love at first sight. While he has Natasha under surveillance, Karan and Murugan arrive at the Dubai airport from India. Faced with a potential competitor to woo Natasha, Rocky attempts to eliminate Karan from the picture by lying to him about Tanya. He says that Tanya had taken up drinking and smoking, had had two husbands, six children and also an affair with a gangster, with whom she had a further illegitimate child. He further lies that Tanya had been left wheelchair bound after a drunk driving accident. Karan is heartbroken to hear all this, and decides to go back to Mumbai. He is about to board his flight, when at the last moment, he spots a picture of Tanya as Natasha on a club advertisement printed across an airport Taxi. He is overjoyed, and assumes that Rocky made a mistake, not being aware that Rocky is in fact trying to deceive him.  Things are about to get more complicated, since not only has Rocky to contend with Karan, there are two other people already in her life, trying to catch her in their web of deceit. Local plumber, Sanju Malvani (Sunil Shetty) has been currying favours for Natasha by pretending to be a paraplegic on crutches. Every time Natasha meets someone she likes, Sanju eliminates the competitor using a unique trick. He edits and prints out a fake newspaper featuring an article showing that person as a crook, and comes over to Natasha and shares "the news" with her while acting all shocked himself, thus earning her admiration. On the other hand, there is Tanya's physically disabled live-in friend Tommy (Paresh Rawal), who also has a soft spot for her. Having heard of the death of Tanya's disabled brother a year ago, Tommy has since faked being run over in a car accident and now acts like he himself is disabled and mentally challenged, thus managing to stay close to Natasha by seamlessly filling in the void left behind by her deceased brother.  Nonetheless, Rocky begins his attempted seduction of Natasha. Having wired the villa, and thus overheard what Natasha craves in a man, Rocky shows up at the local shopping mall, pretending to be an architect. Natasha, who is shopping at the mall, is ambushed in the parking lot by a bunch of thugs (who it later transpires are simply mugs hired by Rocky himself). Rocky intervenes, and after seemingly beating the living daylights out of the supposed thugs (the scene is similar to Jean-Claude Van Damme's introductory action sequence from Hard Target (1993)), introduces himself to Natasha, and proceeds to show himself off as a charming professional with a heart of gold. Somewhat awed, Natasha offers Rocky an invitation for tea later in the evening, which he accepts.  When Rocky arrives at her villa later in the evening, he is confronted by several obstacles, Natasha's sister Sweety (Supriya Pilgaonkar), the jealous Tommy and the family's pet dog. Rocky is easily able to charm Sweety, but has to drug the dog, who dies due to an overdose while the sisters are making Rocky a drink in the kitchen. Crisis is avoided when Rocky is able to revive the dog by electrocution using wiring from a lamp in the living room. The parties then quickly depart to the grand opening of Natasha's latest album at a social event, where Rocky now comes face to face with Sanju, who puts Rocky on the spot right away, as he himself is pretending to be an architect!  With Natasha and company under surveillance, Rocky now intercepts Sanju trying to discredit him at Natasha's home. Later, when the shocked Natasha confronts Rocky about him being an alleged impostor, Rocky is able to fast-talk his way out of the situation and convince the gullible Natasha that he is indeed not an architect, but a captain on a ship, something his mother does not approve of, thus the ruse. Tommy, however behaves in a somewhat jealous manner and puts Rocky in a confusing situation, involving him jumping on Rocky's back and then accusing the latter of having twisted and bitten his arm. A food bill from a bar drops out of Tommy's pocket during his supposed accusation. This arouses Rocky's suspicions about his supposed "condition".  The next day using that food bill, Rocky and Babloo track down Tommy at a local disco where, unaware that he is being followed, Tommy shows up every week, for a little fun and dance away from his daily existence as a fake disabled victim. Rocky confronts Tommy while he is on the disco floor and threatens to expose him in front of Natasha. At the end, Rocky lets Tommy go, on the condition that the latter will no longer attempt to get in his way of seducing Natasha.  The scene now shifts to the harbour, where Rocky has invited Natasha over for a cruise. While he is coddling her on the harbour front, Natasha spots Karan and Murugan sitting at the grounds. Unaware that Karan is in Dubai searching for her, she is overjoyed to see an old friend from her past. She introduces Karan to Rocky, unaware that they know each other quite well already! Karan, however, seeing Rocky and Natasha all smiles and happy, simply wants to leave them alone out of his love for Tanya. He just wants her to be happy, even if it is with Rocky and not himself, much to Murugan's frustration. While he tries to leave the scene, pretending that he and Murugan have a flight to catch, Natasha convinces Karan to stay one more night in Dubai, and come over for dinner later in the day.  Sanju shows up later at the party, and pulls Natasha aside to reveal his latest newspaper creation, showing Rocky as an international crook, murderer and serial killer wanted by many crime agencies the world over, whose M.O, as Sanju explains is to trap and seduce innocent girls like Natasha and then destroy their lives. Rocky overhears the conversation and while Natasha is occupied elsewhere, chases Sanju outside in the club parking lot. Sanju drops the pre tense of being crippled, throws his crutches on the ground, and runs for dear life. Later, Rocky, Sanju and Tommy are seen sitting in a bar nearby after a confrontation, exposing each other as fraudsters and having a drink together, cursing their luck at the emergence of Karan as the new love in Natasha'a life.  With Rocky having bugged Natasha again, the trio now listen to Natasha's views about them and find out, in a hilarious manner, that all is not what it seems, since she views Sanju as a brother like figure, Tommy as something similar to her deceased brother, and Rocky as a fraud and murderer. They then go to Natasha's house, where she is having coffee with Karan. Rocky uses a gun to shoot some specially medicated pills into the drawing room to be consumed by the dog. One of them is consumed by the dog, but the other is consumed by Sweety. The effects are hilarious as Sweety suddenly becomes hyperactive and so does the dog. Confusion ensues as the dog attacks Karan and he ends up throwing it out the window.  The next day, Karan goes to Natasha's house to propose to her and finds that she has been sent an anonymous letter, informing her that he indeed had hired Rocky to follow her. In a spate of anger, she sends him out of the house. Later, when he goes to Rocky's house to confront him about this, he finds Sanju and Tommy there as well, who also reveal themselves to have been conning Natasha. Further, Sanju reveals that he had written the anonymous letter to Natasha and goes on to reveal his trick with the newspapers, disgusting Karan. Meanwhile, Mehboob and his family, including Sunny, (his illegitimate son, who has also been obsessed with Tanya since college) arrive at Natasha's house and interrogate her about the stuffed toy. Realising that his father had used his obsession to track down Natasha, Sunny turns on his father and kidnaps her. Sweety informs Sanju about this and he along with Rocky, Karan and Tommy follow them after having gotten directions from Murugan, who happened to see them from a taxi. The chase takes them to the middle of a desert, where after some confusion, it is revealed that Khurana had stored the code of a vault in the stuffed toy. The vault had carried a secret solution, two drops of which could decrease a person's age by 25 years. The night Khurana had died, he had found that his brother wanted to use the formula for his own consumption and had tried to escape in Natasha's car as she had been passing by. He had slipped the toy into a package, a birthday present she had been carrying for Karan's fake birthday dinner, thus explaining how he had the toy. Khurana used the toy to counteract his forgetfulness. Natasha sent him out of the car at first, but, undergoing a change of heart, had gone back later just in time to witness Mehboob's son Baljeet kill Khurana.  Rocky intervenes and cleverly destroys the toy after having it speak the code into Natasha's ear, making sure she cannot be killed, the code being in her mind now. A gunfight ensues, during which Natasha discovers Tommy and Sanju's deceit, much to her shock and disgust. After the commotion, Baljeet, wanting the solution all for himself, to sell to a Chinese buyer and make millions, kidnaps Natasha. Rocky and Sanju follow them on bikes and finally manage to catch up with them. After beating up all the men, they take Natasha to her house where a further argument ensues as to who should be more worthy of Natasha. The argument ends when Karan arrives with Raj Sinha (Aftab Shivdasani) and tells Natasha about Sanju's newspaper scams (which the latter confesses), one of which had exposed Raj as a drug dealer and addict earlier. Raj and Natasha are reunited. Wishing them luck, Karan leaves in sadness after the others are left cursing.  Natasha realises her love for Karan and stops him as he is leaving, saying that she and Raj had had no future ever since their earlier break up. She then accepts and reciprocates his love and they finally unite. This tearful union is once again being witnessed by a grumbling Rocky, Sanju and Tommy along with Sunny. Rocky impatiently tells them to stop cursing and asks them to admit to the fact that they were never worthy enough for her. He then turns to Babloo and suggests, in a whisper, that they try to find out where Karan and Tanya are going for their honeymoon and they eagerly put on a pair of earphones. In the last frame, the camera pans to Tanya and Karan walking away towards the sunset, hand in hand.  At the end, the narrator says that after all the effort he had undertaken to acquire the solution, Mehboob had become too overexcited and had consumed the whole quantity instead of two drops. He had ended up becoming a baby and Sunny unwittingly became his father. The film ends as the narrator requests the audience not to forget him.

Soundtrack.

The music for all the songs were composed by Anu Malik and the lyrics for this film were by penned by Sameer.

Reception.

The film received favourable reviews upon release. However, it didn't manage to succeed at the box office. It grossed Rs.26.5 crore fully and was given the final verdict of flop. Though after the release of this movie it was accepted very well by audience on TV. The film's producer Firoz Nadiadwala had said that he had done a mistake by releasing this movie right after another Akshay Kumar movie Garam Masala (2005 film), which was the reason behind it becoming a flop.

Deewane Huye Paagal ("Lovers Gone Mad") is a 2005 masala film directed by Vikram Bhatt, and produced by Firoz A. Nadiadwala. The film features Akshay Kumar, Shahid Kapoor, Sunil Shetty, Rimi Sen, Paresh Rawal along with many others. Aftab Shivdasani and Vivek Oberoi make guest appearances. Amisha Patel was first approached to play the lead role but she refused to work with Shahid Kapoor.


Biography.

Heller was born at Chomutov in Bohemia (then within Austria-Hungary, now the Czech Republic), to the family of a Jewish physician. He graduated a doctor of law from the German University in Prague (Deutsche Universität in Prag, Juridische Fakultät) on 11 February 1935, at the age of 23. In 1939 he emigrated to the United Kingdom, where he began his professional career as a Germanist, being active at Cambridge and London (England) and at Swansea (Wales). Heller became a British subject in 1947. From 1960 onwards he was based in the United States, primarily at Northwestern University in Evanston, Illinois, where he was initially Professor of German, and subsequently Avalon Professor of the Humanities until his retirement in 1979.  For Heller, German letters as an academic discipline was something of an avocation, a marriage of convenience to supply a vehicle for the conveyance of thought of a wider scope. He kept a certain distance from the scholarly community around him, believing (with Jacob Burckhardt) this community's pedantry and unremitting quest for precision to be 'one of the most cunning enemies of truth', their cumulative effect being 'the absence of true comprehension'.

Main currents of his thought: "anima naturaliter religiosa".

Not a religious philosopher (and an agnostic by personal persuasion), he could show religious sensibility, as when he wrote, in an essay on Heinrich von Kleist that bridges Heideggerian and Biblical idioms, that:  Heller accepted the Fall, or rather its philosophical consequences. Writing elsewhere about Friedrich von Schiller Heller states that Schiller presented

"Disinherited Mind"; or the Creed of Ontological Invalidity.

Heller's "The Disinherited Mind", a seminal work published in 1952 (US ed., expanded, 1957), earned him a following among intellectuals. The project of "The Disinherited Mind" was to analyse the disappearance of Truth from the immediate environment of man, and the ensuing compulsions of Art to fill the void. Such an intervention on the part of Art, in the circumstances, results in the impoverishment of the world, not in its enrichment. It entails the loss of'significant external reality'.  "The Disinherited Mind" was first published in Britain; two years later it was issued under the title "Enterbter Geist" by Suhrkamp in Frankfurt. An Italian translation followed in 1965, and a Japanese rendering in 1969.

Formulating the 'Creed'.

For Heller, Truth could be defined in the terms proposed by Paul Roubiczek in "Thinking in Opposites", a book that appeared in the same year as did "The Disinherited Mind": Truth must be "embodied" in external reality. (Heller says the same in "The Disinherited Mind" when he points out that the question, What is Truth? becomes irrelevant 'in the face of its embodiment'.) Roubiczek's grasp of the meaning of Truth is more philosophical than Goethe's, according to whom Truth is 'a revelation emerging at the point where the inner world of man meets external reality...'  Heller saw Truth as the first casualty of the mechanistic theory of nature, set on its course by Darwin and others, which in alliance with applied sciences roots out the intrinsic meaning of things in favour of the 'how?' of their causal interrelatedness. The thing in itself is forgotten, and with it the meaning of Reality as such. Such theories succeed merely in feeding 'the body of superstitious beliefs that had grown rampant ever since medieval scholasticism suffered its final defeat at the hands of Francis Bacon'.  This process, of Reality's being eviscerated of deeper meaning in the course of being 'explained' by modern science, constitutes the main charge that Heller laid against supporters of what he called the Creed of Ontological Invalidity. The practical result of its implementation is that nothing can exist in and of itself: things' scientific explanation deprives them of their individual "being" as entities and reduces them to the position of mere links in a much more broadly conceived chain. Here there are echoes — and indeed a defence — of Martin Heidegger's "das Sein des Seinden", although Heller would probably have rejected these. This state of affairs leads to spiritual perdition, he felt, whereby man's own true significance as a higher being (his 'ontological mystery') is obscured, and whereby any attempt at a meaningful response to the world is stymied. For such a response can only take place "vis-à-vis" the question of what the world fundamentally "is", not simply how it works.  The meaningful response that the fully realised human being makes to the world differs from the attitude of the frog-in-the-well scientist in the most fundamental of ways: the former — through his theorising, which is the 'highest intellectual achievement' — actually shapes the Reality, rather than passively'recording' it in the manner of the latter whose mere 'looking at a thing is of no use whatsoever'. Heller's best-known quotation is: "Be careful how you interpret the world; it "is" like that." The admonition is not addressed to those who 'find and accept' (as he put it), but to those who through the 'intuitive, visionary faculty of... [their] genius' essentially "create" the world we know.

Objections.

An objection levelled against "The Disinherited Mind" (and registered in the Postscript, Part 4 of the essay entitled "The Hazard of Modern Poetry," which Heller appended to the US edition of 1957) was that the "Weltanschauung" at the heart of its critique was in some aspects excessively "Holocaust-centric". (Heller took exception to this term, preferring the English word 'genocide', or the Semitic words "sho'ah" and "hurban" (Hebrew, 'annihilation'), to 'Holocaust'.)  Heller chose not to contest this charge. However, the book itself throws some light on this question. In the chapter 'Goethe and the Avoidance of Tragedy', a non-Jewish philosopher of stature, Karl Jaspers, is quoted on Goethe's having become – in an important sense – obsolete after 1945. This is on account of his inadequate grasp of the problems of theodicy, that is, chiefly, of the problem of the existence of Evil. The question posed is not whether the Holocaust was central to Erich Heller (as it was to all the Jews who survived), but whether any human being can avoid being conscious of its centrality.  For Heller, the Body was central to human identity. The Body was the "principium individuationis" (in the sense in that Nietzsche understood or misunderstood that expression, which was good enough for Heller). He once confessed privately that it is precisely because religions like Christianity offered a redemption that, for him, entailed the greatest sacrilege – a divestiture of the Body in Paradise in favour of some 'transfigured' entity that seemed to merge the individual personhood, eschatologically speaking, into a single collective state of all the blessed – it is for this reason that he was not interested in those religions. The Holocaust had a theological dimension for him, also. With its mass destruction of bodies it violated the principle of the sacred, of the spiritual, as manifested in the world. For Heller, the spiritual was never a tissue of 'vague abstractions': it was always incarnate. The spiritual needed the Body in exactly the same measure in which it needed transcendence: the spiritual had to be 'known and felt to be real'. ‘Genius’ alone, he once wrote, 'is never the whole man'.

On Nietzsche.

Heller points out that Nietzsche's and Rilke's opposition to "valid" distinctions — in particular Nietzsche's "relativisation of Good and Evil" — was an over-reaction. It took against what both writers diagnosed as the 'barbarism of concepts' of a 'crudely interpreted world' (the expression is Nietzsche's), whereby the dual aspects of immanence and transcendence — closer to each other than human thought has been prepared to allow over the centuries — open the floodgates to a series of specious distinctions. Pre-eminent among the latter is the false distinction between thought and feeling. But, in their zeal to uncover the fraud of such bifurcations, the two thinkers carry their denunciation too far: Nietzsche, in particular, overstates his case when he links Good with Evil.

Borrowing.

In a critique of T. S. Eliot's views on Shakespeare – who supposedly modelled himself on Montaigne in formulating the character of Hamlet – Heller took a commonsensical approach to "literary borrowing". His position has broader applications. Eliot – Heller writes —  Heller adduces another case in point: 'If Dante's thought is Thomas Aquinas's, it is yet Dante's: not only by virtue of imaginative sympathy and assimilation, and certainly not as a reward for the supply of an "emotional equivalent" ["sc." in its unique capacity as poetry]. It is Dante's property by birthright. He has reborn it within himself –– poetically.'  The argument preempts criticism of Heller's philosophy, based on its roots in Nietzsche and Rilke, and ("mutatis mutandis") of Kafka. The title of "The Disinherited Mind" itself might have been suggested by Rilke's Seventh Elegy.

Other works; or the Last Days of Mankind.

Bibliographies are a dull business (as Erich Heller remarks in his 'The Last Days of Mankind'). "The Disinherited Mind" was followed by another collection of essays, "The Artist’s Journey into the Interior" (1965; German ed., "Die Reise der Kunst ins Innere und andere Essays", 1966; Japanese translation, 1972); then by "The Poet’s Self and the Poem: Essays on Goethe, Nietzsche, Rilke and Thomas Mann" (1976); and finally by "Im Zeitalter der Prosa: literarische und philosophische Essays", published simultaneously in German and in English editions (the latter under the title "In the Age of Prose: Literary and Philosophical Essays") in 1984.  Heller’s early article on Karl Kraus, 'The Last Days of Mankind', was originally published in the "Cambridge Journal" in 1948, its title taken from one of Kraus's plays, "Die letzten Tage der Menschheit" (1919).

Writings on Nietzsche.

Heller's German-language "Nietzsche: 3 Essays" appeared in 1964, establishing him as an authority on Friedrich Nietzsche. An English-language collection of –– chiefly cross-cultural –– essays on the subject was brought out by the University of Chicago Press as "The Importance of Nietzsche" in 1988 to wide acclaim on both sides of the Atlantic. The collection was posthumously published in Germany four years later. His essay on ‘Wittgenstein and Nietzsche’ appears in "Portraits of Wittgenstein" (1999).  Heller also contributed an introduction to R. J. Hollingdale's (1930–2001) translation of Nietzsche's "Menschliches, Allzumenschliches" ("Human, All Too Human"), published by Cambridge University Press in 1986.

Writings on Thomas Mann.

Already in 1940, soon after his arrival at Cambridge, the 29-year-old Heller annotated a collection of Thomas Mann's short stories for a British publisher. Thomas Mann's writings were collectively the subject of Heller's doctoral dissertation, written under the supervision of Edwin Keppel Bennett (1887–1958), which was presented to the University of Cambridge (where, it may be noted, he was a member of Peterhouse and the Faculty of Modern and Medieval Languages) in February 1949: in this work he considered Mann's "corpus" in relation to the main currents of thought in nineteenth-century Germany.  Heller's well-known study of Thomas Mann ("The Ironic German", 1958; German ed., "Thomas Mann, der ironische Deutsche", 1959; Jap. transl. (from the revised German), "Tômasu Man: hangoteki doitsu-jin", 1975) is based on information derived from his personal acquaintance of the subject. Gabriel Josipovici (b. 1940) called it in March 2006 one 'of the most important books in my intellectual formation'.  Later, Heller would also write an introduction to the 1972 reissue of Kenneth Burke's translation of Thomas Mann's "Der Tod in Venedig" (originally published in 1925), and to the American translation of Mann's "Wagner und unsere Zeit" (ed. Erika Mann).

Writings on Kafka; and the Question of Negative Transcendence.

Heller shared Franz Kafka's background. He also studied at the same university, in the same department, and took the same degree as did Kafka, 29 years before him. The essay on Kafka ("Kafka", London: Fontana Modern Masters, 1974; US ed., "Franz Kafka", New York, 1975) is still valuable for its author's synthesis of his subject's multifaceted, cross-pollinated mindset and cultural heritage. Decades before this essay was published Heller had used the expression negative transcendence, for which he is still remembered, to describe the particular quality of the visible reality adumbrated in Kafka's compositions, and particularly discernible in "The Castle".  In Kafka’s world, contingent reality has been completely unhitched from the realm of the intelligible, from Truth that is—a positivistically ruled domain where the mutual causal relations between things preclude any reference to the transcendent in the elucidation of their meaning. Yet, it is the transcendent that constitutes a major part of that meaning (if indeed it does not exhaust it completely). In this situation, the meaning of reality methodically purged of what are taken to be illegitimate, because scientifically ‘unprovable’, elements becomes truncated, grossly incomplete, thereby producing a spiritual vacuum that, sealed off (as it were) ‘from above’, has no choice but to resolve the tension between the void and the plenum by sucking up ‘from below’ the stuff from Hell to replenish itself with. This is "negative transcendence". For where the positive values are suppressed, Evil will take over with the force and inevitability of a physical necessity. One might call it Heller’s law.  Erich Heller had earlier been, famously, the co-editor of Kafka’s love-letters addressed to Felice Bauer (1887–1960), the revealing 782-page "Briefe an Felice...", published in 1967, to which he wrote an introduction that became something of a classic in itself, being retained for the French translation of the correspondence in question. Subsequently Heller also contributed an introduction to an English translation of "Der Prozess", and edited Kafka's "Der Dichter über sein Werk", and his "Über das Schreiben".

German writings.

A selection of his essays on Nietzsche, Thomas Mann, T. S. Eliot, and Karl Kraus appeared in Germany in 1977 under the title "Die Wiederkehr der Unschuld": this collection includes the beautiful essay 'Vom Menschen, der sich schämt' in which Erich Heller surveys the human attitude the Greeks called "aidos", as manifested in later history. "Die Wiederkehr der Unschuld" followed upon essays on Rilke, "Nirgends wird Welt sein als innen" (1975), and "Essays über Goethe", which saw the light of day in 1970. These in turn were preceded by his "Studien zur modernen Literatur" of 1963. His article ‘Karl Kraus und die schwarze Magie der Sprache’ appeared in "Der Monat" (VI/64) in 1954; while his paper on Rilke, ‘Improvisationen zur ersten der Duineser Elegien’, presented at a congress in Italy in 1982, is published in a collective volume.

Life in letters.

Heller corresponded with a number of thinkers of his day, whose names include (in the chronological order of the date of birth, not necessarily in the order of the respective correspondents’ importance) the following.  Perhaps his most notable correspondent had been Hannah Arendt; perhaps, indeed.  Many important biographical details shared with him by other writers could only with the greatest difficulty, if at all, find their way into conventional studies and biographies, and remain hidden from public view (such as, for example, Thomas Mann's verbal confession, made to Heller, concerning the circumstances attending upon the destruction, by his own hand, of his early diaries [their homosexual content was the immediate cause], or another concerning his reading and re-reading of Xenophon's "Symposium" 'nine times' before writing his own narrative on love's vicissitudes, "Der Tod in Venedig").  Erich Heller's vivid intellect made him on occasion a principled controversialist, as evidenced by his long-running –– and sometimes acrimonious –– public exchanges with another prominent British Germanist, T. J. Reed, in the weekly pages of the "Times Literary Supplement" in the 1970s.

Private life.

Heller was a lifelong bachelor who cultivated several meaningful intellectual friendships, including with the Chicago writer Joseph Epstein. W. H. Auden is also known to have been an early friend.

Views on America.

Although he apparently never sought to become a citizen of the United States, a country where he spent upwards of a third of his life, Heller nevertheless had a deep respect for American democracy, which he felt embodied values directly opposed to those that informed the political realities of the Central Europe he fled in 1939. This pietistic stance however never prevented him from espousing views considered by the mainstream opinion in America to be outdated or otherwise 'politically incorrect' whenever he thought them valid on objective grounds; nor did he shrink from considering America an intellectual desert.

The Heidegger Question.

Much interested in the thought of Nietzsche and Wittgenstein (he contributed a 'Vorwort zum "Tractatus logico-philosophicus), Heller had also a natural attraction for the basic issues raised by Martin Heidegger in his works on Being, which were directly relevant to his own reflections on the nature of Reality. An obstacle to a deeper analysis of Heidegger's "œuvre" was presented by that writer's questionable but imperfectly explored association with National Socialism. At an early stage in his life Heller, in a bid to 'absolve' Heidegger in his own mind, went so far as to undertake a special trip to post-war Germany to meet the renowned philosopher in person; but his 'Why?' was met by stony silence. The encounter seemed to convince Heller that there was little one could add, by way of moral comment on Heidegger, that has not been expressed in Paul Celan's poem 'Todtnauberg', written later but in similar circumstances, with its well-known "topos" of suffocation at what Celan calls "Krudes" (an instance of smuttiness).  This turn of events must needs be adjudged a most unfortunate one, given that much of Heller's best thought can be viewed as a continuation in one sense or another of Heidegger's preoccupation with Being; certainly Heidegger's "Sein und Zeit", in its original edition, was a prized possession and remained part of Heller's personal library to his last day (surviving the substantial paring down of his collection upon his moving into a retirement home in the final stages of his life). It is possible, and indeed probable, that if the outcome of his meeting with Heidegger, which might have taken place "c".1947, had been more positive in providing answers to some of the burning questions, the final shape of "The Disinherited Mind", Heller's first book, would have been substantially different, and that we would have been presented therein with manifold instances of direct engagement with Heidegger's propositions. As things stand, there are just a couple of perfunctory references to Heidegger in this, "nolens volens", most 'Heideggerian' of books. (Those references do nevertheless reveal intimate acquaintance with his thought.) Just as Heidegger had not a single word for Heller during their meeting, so also he has barely a word to spare for Heidegger.

"Festschrift".

On his 65th birthday in 1976 (the year of Heidegger's death) Erich Heller was presented with a commemorative volume of Goethe studies written in his honour, entitled "Versuche zu Goethe" (ed. Volker Dürr and Géza von Molnár), which includes an extensive bibliography of his own works.  Another tribute from an unexpected quarter came five years later from the aforementioned Hans Egon Holthusen (see Life in Letters, above), who also taught at Northwestern between 1968 and 1981, and who, despite the criticisms meted out to him in "The Disinherited Mind", delivered himself of a ‘Geburtstagsgruß an Erich Heller’ in "Merkur" (35, 1981; pp. 340–342) on the occasion of Heller’s 70th birthday.

The end; and the "Nachlass".

Erich Heller died on 5 November 1990 in a retirement home in Evanston, Illinois. He was 79. His body was subsequently cremated. His library, including the complete set of the Musarion-"Ausgabe" of Nietzsche’s works with which he never parted during his lifetime, became dispersed among second-hand bookshops.  Heller's personal papers, including private correspondence and manuscripts, are preserved in parts at the Northwestern University Archives in Evanston, and in parts at the Deutsches Literaturarchiv (Schiller-Nationalmuseum) in the southwestern German city of Marbach am Neckar (Baden-Württemberg). The files of the Northwestern University Archives contain some photographs. The Library of Congress in Washington, D.C., for its part, holds facsimiles of some of his letters (in particular those addressed to Hannah Arendt and Robert B. Silvers), in addition to the sound recordings of two of his lectures, the one on 'The Modern German Mind: The Legacy of Nietzsche’, which he delivered in the Coolidge Auditorium of the Library of Congress on 8 February 1960, the other on ‘The Works of Nietzsche’, recorded in 1974.  In 2015, Random House published "Reading Claudius: A Memoir in Two Parts" by Erich Heller's niece, Caroline, the daughter of his brother Paul. In the book, Caroline Heller writes of her father, mother, and uncle's lives in pre-war Prague, emphasizing the rich mix of the cultural, literary, and political before the Nazi invasion. She writes of her mother and uncle's escape from Prague as Hitler's power grew, as well as Paul Heller's arrest by the Gestapo the night Hitler invaded Poland. "Reading Claudius" uses excerpts from Paul Heller's writings to chronicle his six years subsequent years in Buchenwald and Auschwitz. "Reading Claudius" received praise from the Sunday "New York Times" Book Review and the "Boston Globe", among other newspapers and journals.  Erich Heller lacks an entry in the "Encyclopædia Britannica", as he does in Bautz’ "Biographisch-Bibliographisches Kirchenlexikon", although he does command a mention in the "Brockhaus Enzyklopädie".

Supplementary references (not included in Notes, below).

The sources listed below provide further information on the man and his thought or document the latter’s reception.

Erich Heller (27 March 1911 – 5 November 1990) was a British essayist, known particularly for his critical studies in German-language philosophy and literature of the nineteenth and twentieth centuries.


Frontier conflict.

The conflict arose after a quarrel between Wurundjeri-william people and settler, James Anderson, over the right to harvest a potato crop on Wurundjeri land at what is now known as Warrandyte. A stand-off occurred and the clansmen moved to William Ryrie's Yering Station. Troopers of the Border Police led by Captain Henry Gisborne, who was Commissioner of Crown Lands, lured Jaga Jaga (Jacky-Jacky) and some of the Wurundjeri men to Yering station homestead where Jaga Jaga was captured and handcuffed. The other Wurundjeri men quickly retreated.  Wurundjeri men then approached the homestead with muskets and spears, whereupon Gisborne and his troopers mounted a counterattack, during which several shots were exchanged, the Wurundjeri choosing to retreat into the nearby billabongs. Having lured the troopers away as a diversion, other warriors approached the homestead and freed Jaga Jaga.  No white settlers or troopers were injured in the exchange, and injuries on the part of the Wurundjeri are unknown.  Gisborne later wrote to Superintendent (later Governor) Charles La Trobe saying "I am unable to account for their never having hit us as they are capital marksmen". There was no investigation of the incident initiated, no charges laid, and the incident was passed over.  Jaga Jaga, was also known as "Bor-rer bor-rer" and was the nephew of Billibellary, a ngurungaeta of the Wurundjeri people.

Commemoration.

On 13 January 2007 at the Yarra Flats Billabongs the Shire of Yarra Ranges with Murrundindi, ngurungaeta of the Wurundjeri people, unveiled a historical plaque and pictograph commemorating the "Battle of Yering" 167 years previously. The plaques were organised by "The Friends of the Yarra Flats Billabongs" in conjunction with "Yarra Ranges Friends in Reconciliation" and "Nillumbik Reconciliation Group".

The Battle of Yering was a conflict between Indigenous Australians of the Wurundjeri nation and the Border Police which occurred on 13 January 1840, on the outskirts of Melbourne.


Background.

Geography.

After being defeated by General of Division Bonaparte's French army at the Battle of Borghetto, the Austrian army led by Feldzeugmeister Johann Beaulieu abandoned the line of the Mincio River, left a strong garrison in the fortress of Mantua, and retreated north to Trento. On 31 May, the French tried to rush the fortress but the attempt failed. The French invested the place on 3 June.  Together with Legnago, Verona, and Peschiera, Mantua forms part of the famous Quadrilateral of fortresses. To this day, the city is bounded on its north and east sides by a large lake formed by the Mincio River. In 1796, Mantua was nearly surrounded by water and connected by causeways to the fortified suburbs of Cittadella to the north and San Giorgio to the east. In the 18th century, the city was notoriously unhealthy in the warm months. The nearby marshes and lakes were an ideal breeding ground for malaria-carrying mosquitoes, though no one understood this at the time.  Mantua lies in the Po River basin. The Po lies 13 km to the south of the city and Peschiera on Lake Garda is 32 km north. Running due east, a major road connected with Padua via Legnago. Another highway went northeast to Verona and Vicenza. Both roads linked with the Austrian frontier. A number of north-to-south running rivers provide defensible positions on the north side of the Po. The most important river is the Adige which rises in the Alps and runs south on the east side of Lake Garda, going past Verona and Legnago.  From Trento in the north, Austrian armies had secure communications with Innsbruck across the Brenner Pass. An Austrian army at Trento had three ways to reach the Po valley in 1796. The first route used the roads running parallel with the Adige on the east side of Lake Garda. The second route went west of Lake Garda via Riva and Lake Idro to either Brescia or Lonato del Garda. The third route lay to the east through Levico Terme and Borgo Valsugana, then south along the Brenta River valley to Bassano del Grappa. By holding both Trento and Bassano, an Austrian army could move troops and supplies through the mountains without the French being able to interfere.

Siege and blockade.

First relief.

"The Castiglione 1796 Campaign Order of Battle shows French and Austrian units and organizations during the first relief of Mantua."  By requisitioning cannon from all over northern Italy, Bonaparte assembled a siege train of 179 heavy guns. Siege parallels were opened on 4 July and General of Division Jean-Mathieu-Philibert Sérurier put in command of operations. Feldmarschall-Leutnant Josef Franz Canto d'Irles commanded the 14,000-man Austrian garrison. Meanwhile, the Austrians replaced Beaulieu with Feldmarschall Wurmser as army commander in Italy.  Wurmser launched the first relief of Mantua at the end of July as a three-pronged attack by 49,000 men. Feldmarschall-Leutnant Peter Vitus von Quosdanovich led a column of 18,000 soldiers to the west of Lake Garda. Wurmser commanded 24,000 men of the two center columns which moved down the Adige River east of Lake Garda. Feldmarschall-Leutnant Johann Mészáros von Szoboszló and 5,000 troops hovered to the east near Vicenza. Bonaparte, who had only 44,000 soldiers, posted his divisions in an arc to protect his siege of Mantua. General of Division André Masséna's 15,000 men held Rivoli Veronese on the upper Adige, General of Division Pierre Augereau with 5,000 troops held Legnago, Sérurier's 10,000 soldiers besieged Mantua, General of Division Pierre François Sauret's 4,500 men defended the west side of Lake Garda, General of Division Hyacinthe Francois Joseph Despinoy's 5,500 covered Peschiera, and 4,000 others were in reserve or on the march.  Wurmser pushed Masséna back and Quosdanovich quickly seized Brescia, forcing Bonaparte to lift the siege on 1 August. The siege cannon being too heavy to move quickly, the French burned the gun carriages and withdrew. The garrison retrieved the abandoned gun tubes and dragged them into the city. Up to this point, the French besiegers suffered 1,200 killed and wounded, plus 898 captured. The defenders lost 492 killed or died of disease, 395 wounded, and 87 captured or deserted. There were also 3,275 soldiers on the sick list.  After a complex series of actions, Quosdanovich's column came to grief at the Battle of Lonato on 3 August and retreated. Bonaparte then turned on Wurmser and defeated him at the Battle of Castiglione on 5 August. Before retreating up the Adige valley, Wurmser threw two brigades into the fortress and evacuated some of the sick. Because of the loss of his heavy cannons, Bonaparte could no longer try to reduce Mantua by breaching its walls. Instead, he was forced to blockade the city.

Second relief.

"The Bassano 1796 Campaign Order of Battle shows French and Austrian units and organizations during the second relief of Mantua." At the beginning of September, 14,000 Austrians under Feldmarschall-Leutnant Paul Davidovich held the upper Adige valley to the north. With the rest of the army, Wurmser marched down the Brenta valley to the vicinity of Bassano. The Austrian plan was for both corps to probe cautiously forward. If an opportunity arose, they were to march to Mantua's relief. Wurmser's chief-of-staff, Feldmarschall-Leutnant Franz von Lauer believed that the French were incapable of quickly reacting to an Austrian offensive. This proved to be a serious miscalculation. Bonaparte sent General of Division Claude-Henri Belgrand de Vaubois and 10,000 men north on the west side of Lake Garda. Masséna with 13,000 and Augereau with 10,000 men advanced north up the Adige valley. General of Division Charles Edward Jennings de Kilmaine blockaded Mantua with 8,000 in General of Division Jean Sahuguet's division and a 2,000-man reserve.  Bonaparte's concentration of three divisions overwhelmed Davidovich at the Battle of Rovereto on 4 September. Leaving Vaubois in Trento to watch the remnants of Davidovich's corps, Bonaparte boldly decided to cut loose from his supply line and follow in Wurmser's wake. He directed Masséna and Augereau east through Levico and Borgo, then south down the Brenta valley. Augereau dispersed the Austrian rearguard at Primolano on 7 September. The two French divisions fell upon Wurmser and beat him badly at the Battle of Bassano on 8 September. Instead of retreating to the east, Wurmser joined the division of Mészáros and headed west for Mantua with Bonaparte in hot pursuit. Hoping to annihilate his adversary before he reached Mantua, the French commander sent Augereau to Padua to prevent Wurmser from escaping to the east and Masséna through Vicenza and Arcole.  Masséna intercepted General-major Peter Karl Ott von Batorkez's vanguard at Cerea on 11 September, but the Austrian gamely held on until Wurmser's main force came up to deal the French a bloody repulse. Aided by a local guide, Wurmser slipped past Sahuguet's blocking force to reach the fortress the next day. The 1,600-man Austrian rearguard surrendered to Augereau at Legnago on 13 September.  Wurmser arrived at the fortress with 10,367 infantry and 2,856 cavalry. On 15 September, the Austrian field marshal stood to fight a pitched battle on the east side of the Mincio, with his left flank at La Favorita Palace and his right in front of the San Giorgio suburb. Bonaparte sent Sahuguet to attack La Favorita and Augereau's division (temporarily led by General of Brigade Louis André Bon) to assault Wurmser's right. Masséna advanced in the center. Ott fought off Sahuguet all day, but the Austrian right and center crumbled. The Austrians withdrew into Cittadella and the French captured San Giorgio. Austrian losses numbered 2,452 men and 11 guns, while the French lost 1,500 and nine guns.  At this time, there were nearly 30,000 Austrians crowded into Mantua. Within six weeks, 4,000 died from wounds or sickness. During the next two weeks Wurmser organized foraging expeditions to the south of the city which gathered some supplies for the beleaguered garrison. On 23 September, a sortie by Ott and General-major Ferdinand Minckwitz suffered a stinging defeat at Governolo with 1,000 casualties. By 29 September, Kilmaine closely reinvested the fortress.

Third relief.

"The Arcola 1796 Campaign Order of Battle shows French and Austrian units and organizations during the third relief of Mantua."  Feldzeugmeister József Alvinczi began the third relief attempt in early November. Alvinczi and Quosdanovich led the 28,000 troops of the Friaul Corps from the Piave River toward the west. Meanwhile, Davidovich's Tyrol Corps was reinforced to 19,000 men. Bonaparte planned to hold the Austrians by deploying Vaubois with 10,500 men near Trento and Masséna with 9,500 at Bassano. Augereau lay at Verona with 8,500, Kilmaine blockaded Mantua with about 10,000 men, and there were 5,000 more in reserve units. After a clash at Cembra on 2 November, Davidovich pressed the outnumbered Vaubois back and captured Trento. At the Battle of Calliano the Tyrol Corps routed Vaubois on 7 November. Meanwhile, Bonaparte brought forward Augereau and Francois Macquard to attack Alvinczi at the Second Battle of Bassano on 6 November with 19,500 troops. In a bitter fight, the French were defeated. Bonaparte pulled the divisions of Augereau and Masséna back to Verona. He then sent Masséna to stabilize the situation in the Adige valley. Believing incorrectly that Masséna's division was present, Davidovich slowed his advance to a crawl. Issuing out of Verona, Bonaparte attacked the Austrians at the Battle of Caldiero on 12 November and was repulsed again.  At this point, the French commander almost decided to retreat to the Adda River. But Bonaparte soon realized that the Austrian generals were being slow to take advantage of their opportunities. He determined to attack the Austrians again, leaving Macquard and 3,000 men to hold Verona in Alvinczi's front. Taking every spare soldier from Vaubois and Kilmaine, Bonaparte sent Masséna and Augereau to cross the Adige south of the Austrian positions and turn the enemy left flank. In the Battle of Arcole which lasted from 15 to 17 November, Bonaparte defeated Alvinczi and caused him to withdraw to the east. Also on the 17th, Davidovich smashed Vaubois at Rivoli. Having temporarily disposed of Alvinczi, Bonaparte turned on the Tyrol Corps and sent it fleeing northward. While this was going on, Alvinczi reoccupied his former position at Caldiero and Arcole. But when he heard that Davidovich was no longer in the field, he withdrew the Friaul Corps to Bassano. With a horrible sense of timing, Wurmser tried to break out of Mantua on 23 November. The Austrians lost 789 men and captured 200 Frenchmen. When his prisoners informed him that Davidovich's corps was routed, Wurmser pulled back into the fortress. One source noted that the Arcole campaign cost the Austrians 17,832 casualties while estimating French losses at 19,500.

Fourth relief.

"The Rivoli 1797 Campaign Order of Battle shows French and Austrian units and organizations during the fourth relief of Mantua."  Alvinczi massed his main body of 28,000 men in the north for the fourth attempt to relieve Mantua. The Austrian commander sent Feldmarschall-Leutnant Adam Bajalics von Bajahaza with 6,200 men to move southeast from Bassano and demonstrate in front of Verona. Alvinczi ordered Feldmarschall-Leutnant Giovanni Marchese di Provera with 9,000 soldiers and a bridging train to advance from Padua, cross the Adige near Legnago, and relieve Mantua.  To defend against these forces, Bonaparte deployed Brevet General of Division Barthélemy Catherine Joubert's 10,300-man division near Rivoli in the upper Adige valley, Masséna's 9,000 men at Verona, Augereau's 9,000 troops behind the Adige near Legnago, General of Division Gabriel Venance Rey's 4,000 soldiers west of Lake Garda, and Sérurier's 10,000 blockading Mantua. A 2,000-man infantry brigade under General of Brigade Claude Perrin Victor and three small cavalry brigades remained in reserve.  On 7 January, Provera began to move and Bajalics started his advance the next day. By 10 January, Provera and Bajalics were menacing Legnago and Verona, while Alvinczi's army started its march from the north. On the afternoon of 13 January, Bonaparte realized the main Austrian attack was coming from the north. Accordingly, he ordered Masséna, Rey, and Victor to march to Joubert's aid. That night, Provera crossed the Adige above Legnago at Angiari and marched for Mantua, leaving 2,000 men as a bridge guard.  On 14 January, Bonaparte inflicted a severe drubbing on Alvinczi's army at the Battle of Rivoli. Leaving Joubert, Rey, and Victor to finish off Alvinczi's crippled army, the French commander ordered Masséna south the next day. Meanwhile, Augereau captured Provera's bridge guard and moved west. Provera's advance guard failed to break through Sérurier's blockade and a breakout attempt by Wurmser was repelled at dawn on 16 January. That day, surrounded by Masséna, Augereau, and Sérurier, and unable to get through to Mantua, Provera surrendered at La Favorita with 6,000 men. By this time, Alvinczi's main body lost 4,000 killed and wounded, plus a staggering 8,000 soldiers captured. The French suffered 3,200 casualties at Rivoli.

Capitulation.

After the Rivoli disaster, Wurmser held out two more weeks before capitulating on 2 February. During the siege and blockade, the Austrians reported 16,333 killed and wounded in action or died of disease. In recognition of his stout defense, the old field marshal was freed with his staff and an escort of 700 soldiers and 6 cannon. The rest of the garrison marched out with the honors of war and were paroled on the condition not to fight against France until exchanged. Only 16,000 Austrians were fit enough to march out under their own power. Historian David G. Chandler reports that as many as 18,000 Austrians and 7,000 French died during the siege. His health ruined, Canto d'Irles died shortly afterward. The fortress, with 325 cannon, passed into French control. Bonaparte also recovered the 179 guns lost in August 1796. While the Austrians desperately scraped together another army, Bonaparte consolidated his position in northern Italy by crushing the army of the Papal States at the Battle of Faenza. In March he launched a final offensive against Vienna.

Commentary.

It did not help their cause that the Austrian generals faced a military genius in Bonaparte. But they also pursued a flawed strategy. Chandler wrote, "Throughout the whole year, the lure of Mantua continued to exert a fatal attraction over the Austrian field forces and led them to one costly failure after another."  Chandler added, "In each of the four attempts to relieve Mantua, the Austrian high command divided their forces into unconnected parts routed along divergent lines of advance, which made coordinated effort impossible, hoping thereby to divert Bonaparte's attention and cause the fragmentation of his forces. In the event, however, they only laid their own forces open to defeat in detail, throwing away the chance of commanding a decisive numerical superiority on the critical battlefield, thus violating the principle of true economy of force."

During the Siege of Mantua, which lasted from 4 July 1796 to 2 February 1797 with a short break, French forces under the overall command of Napoleon Bonaparte besieged and blockaded a large Austrian garrison at Mantua for many months until it surrendered. This eventual surrender, together with the heavy losses incurred during four unsuccessful relief attempts, led indirectly to the Austrians suing for peace in 1797. The siege occurred during the War of the First Coalition, which is part of the French Revolutionary Wars. Mantua, a city in the Lombardy region of Italy, lies on the Mincio River.


Biography.

Hatton was born in either Steubenville or Youngstown, Ohio (sources differ). His father, Rev. Robert Clopton Hatton, was a Methodist preacher. Early in his life, in 1842, his family moved to Tennessee. He graduated from Cumberland University, then studied law there at Cumberland School of Law. He established a successful practice in Lebanon, Tennessee, after passing the bar exam in 1850. He joined the Whig Party and was elected to the State Legislature in 1855. He unsuccessfully ran for governor in 1857. In 1858, he was elected US Representative from the 5th District as an Opposition Party candidate (the Whig party had collapsed). In the Thirty-sixth Congress, he served as chairman of the Committee on Expenditures in the Department of the Navy.  Hatton believed that the Union should be preserved and initially opposed secession. However, after President Lincoln called for volunteers to put down rebellion, Hatton became a secessionist. He formed a Confederate military unit, the Lebanon Blues, which became a part of the 7th Tennessee Infantry. Hatton was soon elected as colonel of the regiment, which was sent to western Virginia in July 1861.  In 1862, Hatton and his men were ordered to the Richmond area to oppose the Federal drive on the Confederate capital. During the resulting Peninsula Campaign, Hatton served with distinction, and on May 23, 1862, he was promoted to brigadier general of the 4th Brigade, 1st Division, Army of Northern Virginia; this appointment was not confirmed by the Confederate Congress. Just eight days later, he was shot in the head and killed while leading his Tennessee Brigade at the Battle of Fair Oaks.  His body was returned to Tennessee for burial, but because Middle Tennessee was occupied by Federal troops, he was temporarily buried at Knoxville. On March 23, 1866, he was reburied in Lebanon's Cedar Grove Cemetery. A statue of him was erected in Lebanon's town square in 1912.

Honors.

The Robert H. Hatton Camp #723 of the Sons of Confederate Veterans is named in his memory and honor.

External links.

Retrieved on 2009-05-03

Robert Hopkins Hatton (November 2, 1826 – May 31, 1862) was a lawyer and politician from Tennessee. He was a state legislator and US Representative, and a Confederate General during the American Civil War.


Biography.

Davis was born in Bedford County, Tennessee, son of McLin H. and Christina Lee (Shoffner) Davis; and brother of Norman Hezekiah Davis. He attended public schools, including The Webb School in Bell Buckle, Tennessee and Woolwine School in Tullahoma, Tennessee. From 1895 to 1897 he was a student at Vanderbilt University in Nashville, Tennessee. He married Carolyn Windsor on December 28, 1898, and they had five children, Windsor, Margaret, Ewin, Latham, and Carolyn. He graduated from Columbian (now The George Washington University Law School) in Washington, D.C. in 1899. He was admitted to the bar the same year and commenced practice in Tullahoma, Tennessee.

Career.

Davis was a delegate to all state Democratic conventions from 1900 to 1910. From 1910 through 1918, he was a judge of the Seventh Judicial Circuit of Tennessee. He also acted as Chairman of the district exemption board for the middle district of Tennessee in 1917 and 1918.  From 1903 to 1940, Davis was the director of the Traders National Bank of Tullahoma, and was a trustee of the Tennessee College for Women from 1906 to 1939. He was also a member of the Federal Trade Commission from May 23, 1923 until his death, serving as Chairman in 1935, 1940, and 1945.  Davis was elected as a Democrat to the Sixty-sixth Congress and to the six succeeding Congresses, serving from March 4, 1919 until March 3, 1933. During the Seventy-second Congress he was the chairman of the United States House Committee on Merchant Marine and Fisheries. He was an unsuccessful candidate for renomination in 1932. In 1936, he was a member of the American National Committee of the Third World Power Conference.  Among Davis's legislative acts was the so-called "Davis Amendment" to the 1927 Radio Act. The 1928 reauthorization of the Radio Act included a provision, sponsored by Davis, that required each region of the country to have equal allocations of radio licenses, station power, etc. This greatly complicated things for the Federal Radio Commission, who was in charge of licensing radio stations; they were required to deny station applications to otherwise qualified candidates simply because the new station would put a particular state or region over its quota. For example, the northeast had a greater population than the southwest, but was limited to the same number of stations as more sparsely populated areas. Likewise, many small communities in the southwest could have added a local station without increasing interference (because of their remoteness), but were prevented from doing so by the Davis Amendment. The Davis Amendment was ultimately repealed on June 5, 1936.

Death.

Davis died in Washington, D.C. on October 23, 1949 (age 73 years, 260 days) and is interred in Oakwood Cemetery in Tullahoma, Tennessee.

Ewin Lamar Davis (February 5, 1876October 23, 1949) was an American politician and a member of the United States House of Representatives for the 5th congressional district of Tennessee.


Applications.

This mechanism is found very commonly in everyday life, including central heating, air conditioning, steam turbines and in many other machines. Forced convection is often encountered by engineers designing or analyzing heat exchangers, pipe flow, and flow over a plate at a different temperature than the stream (the case of a shuttle wing during re-entry, for example).

Mixed convection.

In any forced convection situation, some amount of natural convection is always present whenever there is gravitational forces present (i.e., unless the system is in free fall). When the natural convection is not negligible, such flows are typically referred to as mixed convection..

Mathematical analysis.

When analyzing potentially mixed convection, a parameter called the Archimedes number (Ar) parametrizes the relative strength of free and forced convection. The Archimedes number is the ratio of Grashof number and the square of Reynolds number, which represents the ratio of buoyancy force and inertia force, and which stands in for the contribution of natural convection. When Ar » 1, natural convection dominates and when Ar « 1, forced convection dominates.  When natural convection isn't a significant factor, mathematical analysis with forced convection theories typically yields accurate results. The parameter of importance in forced convection is the Péclet number, which is the ratio of advection (movement by currents) and diffusion (movement from high to low concentrations) of heat.  When the Peclet number is much greater than unity (1), advection dominates diffusion. Similarly, much smaller ratios indicate a higher rate of diffusion relative to advection.

Forced convection is a mechanism, or type of transport in which fluid motion is generated by an external source (like a pump, fan, suction device, etc.). Alongside natural convection, thermal radiation and thermal conduction it is one of the methods of heat transfer and allows significant amounts of heat energy to be transported very efficiently.


History.

Alba was officially incorporated in 1968 and began operations in 1971 with an annual capacity of 120,000 metric tonnes per annum. After modernisation and expansion works the smelter's capacity rose to 450,000 tonnes in 1992. In March 2005 Alba commissioned a new reduction line, Line 5, which increased the company's capacity to over 860,000 tonnes of aluminium at that time.

Ownership.

The shareholders of Alba are Bahrain Mumtalakat Holding Company (69.38%), SABIC Investment Company (20.62%) and the General Public (10%).  The company went public in 2010, launched its first IPO, and was listed on the Bahrain Bourse and the London Stock Exchange, under the symbol "ALBH".

Plant.

The Alba plant comprises five reduction lines, two cast houses, a dedicated carbon plant, a 550,000 mtpa coke calcining plant, a water desalination plant, 11 fume treatment plants, a marine terminal, and a 2,249 MW ISO power plant, consisting of 4 power stations. The plant also features a 13 hectare oasis, with more than 15,000 trees and shrubs, a fruit and vegetable garden, and an artificial lake.

Product Range.

Aluminium Products.

Standard Ingots.

Standard ingots are for downstream users who wish to re-melt this residual form of aluminium in their own furnaces, and then cast it to produce a variety of end products. Alba's production capacity of standard ingots stands at approximately 400,000 metric tonnes per annum.

Rolling Slabs.

Sheet ingots, or rolling slabs, are used in rolling mills for manufacturing aluminium foil and sheet products. The total annual production capacity of rolling slabs currently stands at approximately 140,000 metric tonnes per annum.

Foundry Alloy Ingots.

Foundry alloy ingots are mainly used by the automotive industry for manufacturing automotive wheels, truck hubs and gas pump nozzles.

Extrusion Billets.

Extrusion ingots are widely used in the construction industry (for windows and door frames), transportation, engineering, and consumer durables. Alba produces around 380,000 metric tonnes per annum of extrusion ingots.

Liquid Metal.

The Liquid is supplied in liquid form to downstream industries in Bahrain and is transferred in crucibles. It takes 5 hours for the liquid metal to solidify.

Other Products.

Calcined Coke.

Alba is one of only two smelters in the world to have a dedicated coke calciner, its production capacity is nearly 550,000 metric tonnes per annum.

Anodes.

Alba has three carbon plants that produce about 550,000 metric tonnes of anodes every year. Carbon anodes are produced from calcined petroleum coke and coal tar pitch.

Power.

With its four natural gas turbine power stations having a total power generating capacity of 2,249 MW ISO, equivalent to the average power consumed in Bahrain as a whole, Alba's energy needs are fulfilled independently. With waste heat recovery, some of the power stations have an efficiency of 54%.

Water.

Alba's seawater desalination plant was commissioned in 2001. It utilises waste heat from the calcining process to generate steam for the production and supply of 41,000 cubic metres per day of potable water.

Environment Conservation.

Alba has invested more than US$589 million environmental conservation and earned international praise and recognition for being committed to implementing highest environmental standards across the organisation.

Line 6 Expansion Project.

Alba's Line 6 Expansion Project is one of the largest brownfield developments in the region. Expected to begin production by January 1, 2019, this Project will boost the smelter's per-annum production by 540,000 metric tonnes, bringing its total production capacity to 1.5 million metric tonnes per year.  The Line 6 Expansion Project will make Alba the world's largest single-site aluminium smelter and be a significant economic boost for the Kingdom of Bahrain due to the many co-investment opportunities through local and foreign aluminium investments.

Aluminium Bahrain B.S.C., or simply Alba, is one of the largest industrial companies in the Middle East and is one of the largest aluminium producers in the world. The company is based in Bahrain and 84% of its total workforce are Bahraini nationals.


Background.

Late May 1723 Bach took office as Thomaskantor (Kantor at St. Thomas) and director musices (music director) in Leipzig. He remained in that office until his death in 1750. From the first Sunday after Trinity in 1723, that year falling on 30 May, to Trinity Sunday of the next year he presented a series of church cantatas known as his first cantata cycle. The cantatas of that cycle were often based on music he had composed before his Leipzig period. From the first Sunday after Trinity in 1724, that year falling on 11 June, he started his second cantata cycle with forty chorale cantatas composed to new librettos. Each of these librettos was based on the text of a known chorale, usually a Lutheran hymn, the tune of which was adopted by Bach in his setting.  The first weeks of the post Trinitatem (after Trinity) season included the Feast of John the Baptist (24 June) and the Feast of the Visitation (2 July). In Bach's time Protestant Leipzig observed three Marian feasts requiring. In the context of the liturgical year Visitation was the third of such occasions, after Purification, falling in the period of the Sundays after Epiphany, and Annunciation, falling around Easter. Several traditions regarding these Marian feasts, such as the selection of readings for the church services, were continued from the period before Leipzig had adopted Lutheranism. Cantatas with a text in the native language had, since the early 18th century, become the dominant genre of figural music in Reformed German regions. Practices rooted in older traditions included the occasional performance of a Latin Magnificat on occasions such as Marian Feasts or Christmas.  "Meine Seel erhebt den Herren", BWV 10, for Visitation, is the fifth chorale cantata Bach presented in 1724. Its text is based on Luther's German translation of the Magnificat. The singing tune associated with that version of the Magnificat, a German variant of the tonus peregrinus, appears in Bach's composition.

Readings, text and tune.

The prescribed readings for the feast day were from the Book of Isaiah, the prophecy of the Messiah (), and from the Gospel of Luke the narration of Mary's visit to Elizabeth, which includes her song of praise, the Magnificat (). This gospel reading is a biblical episode that is often represented in art, especially in music where it has become a traditional part of Vesper services. In Bach's time, the German Magnificat was regularly sung in Leipzig in vespers in a four-part setting of the ninth psalm tone (tonus peregrinus) by Johann Hermann Schein. Different from the other chorale cantatas of the cycle, the base for text and music is not a chorale, but the German Magnificat. It is a canticle, a biblical song in prose concluded by the traditional doxology. The text is based on Luther's translation of the biblical song to German in the Luther Bible, and on the doxology.  In the format of the chorale cantata cycle, an unknown librettist retained some parts of Luther's wording, while he paraphrased other passages for recitatives and arias. He used the original verses 46–48 for the first movement, verse 54 for the fifth movement, and the doxology for the seventh movement. He paraphrased verse 49 for the second movement, verses 50–51 for the third, verses 52–53 for the fourth, and verse 55 for the sixth movement, the latter expanded by a reference to the birth of Jesus. Bach's music is based on the traditional ninth psalm tone which was familiar to the Leipzig congregation.

Magnificats and Visitation cantatas in Bach's Leipzig.

One of Bach's predecessors as director musices of the Neukirche in Leipzig was Melchior Hoffmann. Around 1707 he composed a German Magnificat based on Luther's German translation of the Magnificat. The portfolio of performance parts of this composition was updated until well into Bach's time in Leipzig. The work, known as Kleines Magnificat (Little Magnificat), was for some time attributed to Bach, but later listed as spurious in the BWV catalogue (BWV Anh. 21 / Anh. III 168‐>). BWV 189, a Visitation cantata on a libretto that paraphrases the text of the Magnificat canticle, also seems rather to have been composed by Hoffmann than by Bach, to whom this work used to be attributed.  Johann Kuhnau, Bach's predecessor as Thomaskantor, composed a Latin Magnificat in two versions: one version with only the Latin text of the Magnificat for Marian feasts such as Visitation, and another version expanded with four German and Latin "laudes" relating to Christmas. When Bach presented his Latin Magnificat in 1723 (E-flat major version, BWV 243a) it had the same expandable format: without "laudes" for Visitation, and with four "laudes", on the same text as Kuhnau's, for Christmas. Another composition presented by Bach at that year's feast of the Visitation was "Herz und Mund und Tat und Leben", BWV 147, an expanded version of an Advent cantata composed before his Leipzig period (BWV 147a).  A repeat performance of BWV 243a may have accompanied the first performance of BWV 10 on 2 July 1724. The libretto of the cantata performed in Leipzig at the feast of the Visitation of 1725 survives. Maria Aurora von Königsmarck is the possible author of this Magnificat paraphrase. Around a decade before the libretto was reprinted in Leipzig it had already been set by Reinhard Keiser and Johann Mattheson. It is not known whether Bach set the libretto, neither which setting of the libretto was used for the 1725 Visitation feast in Leipzig. A year later Bach performed "Der Herr wird ein Neues im Lande", JLB 13, a Visitation cantata by his second cousin Johann Ludwig Bach. Picander's libretto for the Visitation cantata of 1728 may have been set as part of Bach's fourth cantata cycle: the libretto, surviving without music, starts with a "dictum" quoted from Luther's German translation of Luke 1:46–47.  Around 1733 Bach transposed his Latin Magnificat to D major (BWV 243). Besides transposing, he also applied a few modifications: for instance in the movement that has Luke 1:54 as text he replaced the trumpet as performer of the cantus firmus by two oboes. Around a decade later Bach prepared two Latin Magnificats by other composers for performance (BWV 1082, BWV Anh. 30). Probably around the same time Bach performed BWV 10 again.  Several characteristics of the Magnificats and Visitation cantatas of the first half of the 18th century are combined in Bach's German Magnificat: it uses text of Luther's translation of the Magnificat, like BWV Anh. 21 and Picander's 1728 libretto, and it uses text paraphrased from the Magnificat like BWV 189 and the 1725 Visitation cantata. Like the Meiningen libretto used for JLB 13 the cantata not only starts with a "dictum" but also has a second "dictum", directly quoted from Luther's translation of the New Testament, near the middle of the cantata (movement 4, "Meine Seele erhebt den Herrn", in Johann Ludwig's cantata, and movement 5, "Er denket der Barmherzigkeit" in BWV 10). This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.  Some musical similarities between BWV 10 and Bach's Latin Magnificat have been described. Philipp Spitta sees a similar musical treatment at the end of the respective movements based on the Luke 1:51 text, which are the central "Fecit potentiam" movement of the Latin Magnificat and the third "Des Höchsten Güt und Treu" movement of BWV 10. The movements with respectively the German and Latin text of Luke 1:54 present the tonus peregrinus melody associated with Luther's German Magnificat as a cantus firmus played by wind instruments. The "Suscepit Israel" movement of the BWV 243a version of the Latin Magnificat has that cantus firmus performed by a trumpet. In the later BWV 243 version of the same movement the trumpet has been replaced by two oboes. In the corresponding movement of BWV 10 ("Er denket der Barmherzigkeit") the cantus firmus is performed by the trumpet and the two oboes. Masaaki Suzuki assumes that this should be interpreted as trumpet for the original 1724 version, replaced by two oboes in the 1740s revival version, the same modification that occurred to the related movement of the Latin Magnificat.

Place of BWV 10 in Bach's chorale cantata cycle.

Bach followed a specific structure for most of the cantatas of his chorale cantata cycle, especially the 40 he presented consecutively from the first Sunday after Trinity of 1724 to Palm Sunday of 1725. In this chorale cantata format he retained the original text and melody of the chorale on which the cantata was based in the outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were reworded by a librettist as the basis for recitatives and arias, usually with music independent of the chorale tune.  19th-century Bach scholars were largely unaware of the composition history of the chorale cantatas, and how Bach conceived the cycle of these cantatas:  Details about the history, organisation and coherence of the cycle were only elucidated in the second half of the 20th century, by scholars such as Alfred Dürr. According to this research the chronology of the first six chorale cantatas Bach presented in 1724 is updated as follows (K numbers of the first edition of the chronological Zwang catalogue are given between brackets):  The strong coherence between the first four cantatas of this series, as belonging to the same set, has been described for instance by Christoph Wolff. The first of these cantatas begins with a chorale fantasia in the form of a French overture, with the soprano singing the cantus firmus of the chorale. The opening movement of the cantata for the next Sunday is in motet style, with the cantus firmus sung by the alto. For the next occasion, St. John's Day, Bach wrote a cantata with an opening movement in the style of an Italian violin concerto, in which the cantus firmus was given to the tenor. The next day followed a cantata opening with a movement in vocal and instrumental counterpoint with the cantus firmus sung by the bass. Conductor John Eliot Gardiner writes about these first four cantatas of the chorale cantata cycle: "Together they make a fascinating and contrasted portfolio of choral[e] fantasia openings."  Libretto publications in Bach's Leipzig more than once grouped the first four cantatas after Trinity, or started a new publication with the cantata for the fifth occasion after Trinity. In 1724 that fifth occasion was Visitation, for which Bach composed. It is not a typical second cycle chorale cantata in the sense that it was based on a prose text (lacking the metre of a hymn text) and a Gregorian chant melody (lacking a musical metre). Further, the unmodified canticle text and chant melody not only appeared in the outer movements but also in one of the middle movements (the duet, No. 5). The text of the final movement was a generic doxology which could be appended to any religious chant, while other chorale cantatas commonly ended with a text that only appeared in the hymn from which it was quoted. BWV 125, Bach's chorale cantata for Purification based on the "Canticle of Simeon" (Luke 2:29–32), does not have these exceptions to the second cycle format: it is based on Luther's versified paraphrase of the canticle and its metrical hymn melody. Nonetheless Dürr writes about BWV 10 (here rendered in Richard D. P. Jones' translation): "if ever a work deserved the description 'chorale cantata' it is this, for it is based on a genuine (Gregorian) chorale melody".  In 1724 the feast of the Visitation fell on the fourth Sunday after Trinity, thus the next cantata Bach composed was a chorale cantata for the fifth Sunday after Trinity. Bach did apparently not compose a cantata for the sixt Sunday after Trinity in 1724 while absent from Leipzig. Bach's second year in Leipzig passed without composing a chorale cantata specifically for the fourth Sunday after Trinity. He composed one for this occasion in 1732, "Ich ruf zu dir, Herr Jesu Christ", BWV 177, one of the later additions to the chorale cantata cycle. Also for Trinity VI Bach composed a chorale cantata at a later date (BWV 9).

Music.

Structure and scoring.

Bach structured the cantata in seven movements. The first and last are set for choir, and are based on the chant melody. They frame recitatives, arias and a duet of the soloists. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: trumpet (Tr), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc). The trumpet is only used to highlight the cantus firmus and may have been a tromba da tirarsi, a slide trumpet. The title page of the original parts reads: "Festo Visitationis | Mariae | Meine Seel erhebt den Herren. | â | 4. Voc: | Tromba. | 2. Hautbois. | 2. Violini. | Viola | e | Continuo | di Sigl. | J. S. Bach." The duration of the piece has been stated as 23 minutes.  In the following table of the movements, the column text holds first the verse from the biblical Magnificat, adding "Luther" for the movements kept in his translation, and "anon." if the unknown librettist paraphrased and expanded his translation. The scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from the book by Bach scholar Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.

Movements.

1.

The opening chorale fantasia is marked vivace (lively). Bach begins the movement with an instrumental introduction that is unrelated to the psalm tone. It is a trio of the violins and the continuo, with the oboes doubling the violin, and the viola filling the harmony. The main motif stands for joy and is set in "rhythmical propulsion".  The chorus enters after 12 measures with "" (My soul magnifies the Lord). The cantus firmus is in the soprano, doubled by a trumpet, whereas the lower voices add free polyphony on motifs from the introduction. Bach treats the second verse similarly, but with the third verse, "" (for he has looked at the humble state of his handmaid), the cantus firmus appears in the alto. Certain words, such as "freuet" (rejoice) and "selig preisen" (call me blessed) are adorned with melismas. The movement is concluded by a vocal setting without cantus firmus embedded in the music of the introduction, framing the movement.

2.

The soprano aria "" (Lord, you who are strong and mighty) is a concerto of the voice and the oboes, accompanied by the strings. It is the first soprano aria in the chorale cantata cycle.

3.

The recitative "" (The goodness and love of the Highest) ends on an arioso. Spitta compares the end of this movement with the end of the 7th movement of Bach's Latin Magnificat: textually both movements treat the same part of the Magnificat (the end of Luke 1:51), and, although the other movement is set for five-part chorus and tutti orchestra, he considers the closure of this recitative of the "German Magnificat" cantata "equally picturesque".

4.

The following aria "" (The mighty God casts from their thrones) is set for bass and continuo. A descending bass line in the continuo over two octaves illustrates the fall, which the voice also suggests in descending phrases. The second aspect of the text, the exaltation of the humble, is shown by rising figures, and the final emptiness ("bloß und leer", bare and empty) by pauses.

5.

In the fifth movement, "" (He remembers his mercy), the text returns to the original German Magnificat, and the music to the psalm tone. It is played by oboes and trumpet as the cantus firmus, while alto and tenor sing in imitation. Klaus Hofmann interprets the bass line of "emphatic downward semitone intervals" as "sighs of divine mercy".

6.

The recitative for tenor, "" (What God, in times past, to our forefathers), referring to God's promise, begins secco.

7.

In the final movement, the two verses of the doxology are set on the psalm tone for four parts, with all instruments playing colla parte. Wind instruments and violin I join the soprano part. The setting is mostly in homophony, but turns to polyphony for the final "von Ewigkeit zu Ewigkeit" (for ever and ever).

Manuscripts and editions.

Both Bach's autograph score and the parts used for the cantata's first performance survive. The score, previously owned by Wilhelm Friedemann Bach, Philipp Spitta and Paul Wittgenstein, among others, came in the possession of the Library of Congress in 1948. The original parts remained in Leipzig, where they were entrusted to the Bach Archive in the 20th century.  BWV 648 is a chorale prelude for organ transcribed from the cantata's fifth movement. It was first published around 1748 as fourth of the "Schübler Chorales". The music of the cantata's closing movement is included in the Dietel collection, a 1730s manuscript containing 149 of Bach's four-part chorales. C. P. E. Bach published the same music of BWV 10 as No. 357 in Part IV of his 1780s collected edition of four-part chorales by his father.  The entire cantata was published in 1851 in the first volume of the Bach-Gesellschaft Ausgabe (BGA), edited by Moritz Hauptmann. The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1995, edited by Uwe Wolf, with the critical commentary published the same year.  The cantata was also published with a singable English version of the text:

Concert performances and recordings.

Karl Richter programmed BWV 10 along Bruckner's 150th Psalm at his first concert in Ottobeuren in 1957. In the 1960s, Paul Steinitz's and Fritz Werner's recordings of the cantata were released on LPs which also featured another German cantata by Bach. On Richter's 1978 LP release BWV 10 was also combined with other German Bach cantatas. Karl Münchinger's 1968 recording and Hans-Joachim Rotzsch's 1978 recording of BWV 10 were issued on LPs which included their respective performances of Bach's Latin Magnificat. Also Michael Gielen's concert at the 1991 combined Bach's German and Latin Magnificat. Teldec's, Hänssler's, Koopman's, Brilliant Classics' and Suzuki's complete Bach cantata recordings include a recording of BWV 10.  Roland Büchner's 2000 recording, with the Regensburger Domspatzen, combined Bach's "German Magnificat" with the 1723 Christmas version of his Latin Magnificat (BWV 243a). Gardiner's Bach Cantata Pilgrimage featured BWV 10 in a concert recorded in 2000. Ton Koopman's concert at the 2003 Leipzig Bach Festival combined BWV 10 with the Christmas versions of Bach's and Kuhnau's Magnificat, thus allowing to compare similar works of two consecutive Thomaskantors. Sigiswald Kuijken recorded BWV 10 for his "Cantatas for the Complete Liturgical Year" series in 2007. The same year, a concert at the Indiana University combined Bach's "Meine Seel erhebt den Herren" cantata with a 2005 Magnificat by Sven-David Sandström.  Gustav Leonhardt, Pieter-Jan Leusink and Ton Koopman used period instruments for their complete Bach cantata recordings. Also Musica Florea, the orchestra on Büchner's recording, performs on historic instruments.

Sources.

"By author or editor"  "By title as issued"

In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren,, as part of his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle ("Meine Seele erhebt den Herren"), the title translates as "My soul magnifies the Lord". Also known as Bach's "German Magnificat", the work follows his chorale cantata format.


Sports career.

As late as in 2009, Rosindale turned to triathlon and won the British Universities Triathlon Championships. In 2010, Rosindale placed third at the European U23 Duathlon Championships and second at the U23 World Championships. In 2011, she placed 25th at the European Elite Championships. At the Mix Relay, however, the British elite triathletes did not take part although they would have achieved an excellent result thanks to the winners of the individual ranking Alistair Brownlee and Jonathan Brownlee, both from Leeds like Rosindale.  In France, Rosindale takes part in the prestigious Club Championship Series "Lyonnaise des Eaux". In 2011, Rosindale represents the club "Stade Poitevin." At the opening triathlon in Nice (24 April 2011), however, Rosindale did not finish the race, and at the second triathlon in Dunkirk (22 May 2011) she was not present. "Stade Poitevin" had to nominate Natalia Shliakhtenko in order to have five triathletes although she was not a member of the club any more and her name did not show in the start lists.  In 2010, Rosindale represented the club "Montpellier Agglo Tri" and took part in four of the five triathlons of the circuit. At Dunkirk (23 May 2010) she placed 29th and was not among the three, but in Paris (18 July 2010) she placed 8th and thus was among the club's top three (behind Bárbara Riveros Díaz and Non Stanford), at Tourangeoux (29 August 2010) she placed 8th again and was among the three (behind Bárbara Riveros Díaz and Liz Blatchford). At the Grand Final in La Baule (Triathlon Audencia, 18 September 2010) Rosindale placed 18th and again she was the third of the club's top three (Bárbara Riveros Díaz, Liz Blatchford).  Rosindale is a Sports and Exercise student at the Leeds Metropolitan University and represents Leeds & Bradford TC. Rosindals's coach is Jack Maitland.

ITU competitions.

In 2010, Rosindale took part in four ITU events and achieved two medals. The following list is based upon the official ITU rankings and the ITU "Athletes's Profile Page." Unless indicated otherwise, the following events are triathlons (Olympic Distance) and refer to the "Elite" category.

Lois Rosindale (born 17 April 1990 in Leeds) is an English professional triathlete, 2011 British Champion, and 2010 U23 Duathlon Vice World Champion. Rosindale is a member of the "High Performance Triathlon Squad" based in Leeds.


Geography.

Piedimonte Matese borders the following municipalities: Alife, Campochiaro, Castello del Matese, Cusano Mutri, Guardiaregia, San Gregorio Matese, San Potito Sannitico and Sant'Angelo d'Alife. Up until 1945, Piedimonte Matese was located within the Province of Benevento. Before 1970 Piedimonte was known as Piedimonte d'Alife.

History.

The Matese Legion was a group of 240 Italian volunteers that joined Giuseppe Garibaldi in the war for Italian unification in 1861. It was formed in the Piedimonte D'Alife district, now called Piedimonte Matese, in June 1860, and was officially established on 25 August in the same year.

Main sights.

The church of "San Biagio" (15th century) houses late-Gothic frescoes with scenes from the Old and New Testament and histories of St. Blaise. The church of St. Thomas (or St. Dominic) was built in 1414. The Baroque church of "San Salvatore" was designed by Cosimo Fanzago. The Ducal Palace of Gaetani d'Aragona has kept some late Renaissance details. Its patron saint is San Marcellino. The church of Ave Gratia Plena, also known as the Church of the Annunciation (Chiesa dell’Annunziata), retains much of its baroque decoration.  The Civic Museum Raffaele Marrocco is an archaeology and arts museum in Piedimonte Matese.

Sports.

Based in the Sepicciano area of Piedimonte Matese is the 4,000-seater Stadio Pasqualino Ferrante, a municipal stadium and home of Eccellenza (Molise) club A.S.D. Tre Pini Matese and Promozione (Molise) side F.W.P. Matese.

International relations.

Piedimonte Matese is twinned with:

Piedimonte Matese, is a "comune" (municipality) in the Province of Caserta in the Italian region of Campania, located about 82 km north of Naples and about 40 km north of Caserta.


Procedure.

Though pneumoencephalography was the single most important way of localizing brain lesions of its time, it was, nevertheless, extremely painful and generally not well tolerated by conscious patients. Pneumoencephalography was associated with a wide range of side-effects, including headaches and severe vomiting, often lasting well past the procedure. During the study, the patient's entire body would be rotated into different positions in order to allow air to displace the CSF in different areas of the ventricular system and around the brain. The patient would be strapped into an open backed chair which allowed the spinal needle to be inserted, and they would need to be secured well, for they would be turned upside down at times during the procedure and then somersaulted into a face down position in a specific order to follow the air to different areas in the ventricles. This further added to the patient's already heightened level of discomfort (if not anesthetized). A related procedure is pneumomyelography, where gas is used similarly to investigate the spinal canal.

Limitations.

Pneumoencephalography makes use of plain X-ray images. These are very poor at resolving soft tissues, such as the brain. Moreover, all the structures captured in the image are superimposed on top of each other, which makes it difficult to pick out individual items of interest (unlike modern scanners which are able to produce fine virtual slices of the body, including of soft tissues). Therefore, pneumoencephalography did not usually image abnormalities directly, rather their secondary effects. The overall structure of the brain contains crevices and cavities which are filled by the CSF. Both the brain and the CSF produce similar signals on an X-ray image. However, draining the CSF allows for greater contrast between the brain matter and the (now drained) crevices in and around it, which then show up as dark shadows on the X-ray image. The aim of pneumoencephalography is to outline these shadow-forming air-filled structures so that their shape and anatomical location can be examined. Following the procedure, an experienced radiologist reviews the X-ray films to see if the shape or location of these structures have been distorted or shifted by the presence of certain kinds of lesions. This also means that in order to show up on the images, lesions have to either be located right on the edge of the structures or if located elsewhere in the brain, be large enough to push on surrounding healthy tissues to an extent necessary to cause a distortion in the shape of the more distant air-filled cavities (and hence more-distant tumors detected this way tended to be fairly large).  Despite its overall usefulness, there were major portions of the brain and other structures of the head that pneumoencephalography was unable to image. This was partially compensated by increased use of angiography as a complementary diagnostic tool, often in an attempt to infer the condition of non-neurovascular pathology from its secondary vascular characteristics. This additional testing was not without risk though, particularly due to the rudimentary catheterization techniques and deleterious radiocontrast agents of the day. Another drawback of pneumoencephalography was that the risk and discomfort it carried meant that repeat studies were generally avoided, thus making it difficult to assess disease progression over time.

Current use.

Modern imaging techniques such as MRI and CT have rendered pneumoencephalography obsolete. Widespread clinical use of diagnostic tools using these newer technologies began in the mid-to-late 1970s. These revolutionized the field of neuroimaging by not only being able to non-invasively examine all parts of the brain and its surrounding tissues, but also by doing so in much greater detail than previously available with plain X-rays, therefore making it possible to directly visualize and precisely localize soft-tissue abnormalities inside the skull. This led to significantly improved patient outcomes while reducing discomfort. Today, pneumoencephalography is limited to the research field and is used under rare circumstances.

Popular culture.

Pneumoencephalography appears in popular culture in the movie "Jimmy P" starring Benicio Del Toro and Mathieu Amalric. Pneumoencephalography is referred to in Episode 7, Season 7 of "House M.D." (2010) as an example of a dangerous procedure. In the non-fiction book and later movie "The Immortal Life of Henrietta Lacks" the procedure is referenced as being conducted experimentally on "Elsie Lacks" in the Crownesville State Hospital ultimately resulting in her death. In a 1961 episode of the TV series "Naked City" entitled "Which is Joseph Creeley?" the procedure was used to detect the presence of a brain lesion in an amnesiac murderer. Perhaps its most well-known depiction on screen however is as one of the painful tests Regan undergoes to check for a brain lesion in the 1973 film "The Exorcist".

Pneumoencephalography (sometimes abbreviated PEG; also referred to as an "air study") was a common medical procedure in which most of the cerebrospinal fluid (CSF) was drained from around the brain by means of a lumbar puncture and replaced with air, oxygen, or helium to allow the structure of the brain to show up more clearly on an X-ray image. It was derived from ventriculography, an earlier and more primitive method where the air is injected through holes drilled in the skull.


First years.

Born in Kars Oblast in 1893, he entered service in the Imperial Russian Army as a volunteer and fought during World War I in Persia and also on the Caucasus Front, where many Armenians, Caucasus Greeks, Georgians, and Russians fought against the forces of the Ottoman Empire. During the Russian Civil War Kromiadi joined the White movement, achieving the rank of colonel. After the war he emigrated to Munich where he worked as automobilist.

In Axis army.

During World War II, Kromiadi was a Nazi official and a pioneer of the Russian Liberation Movement. In 1942, he headed the Russian National People's Army, an armed unit of Russians, under the pseudonym of Sanin, together with engineer Sonderführer Sergei Ivanov of Russian fascist party. He was relieved by the Germans along with other Russian émigrés, at that time he tried unsuccessfully to take command of another Russian unit, the Druzhina Brigade. The dissolution of the group was heavily influenced with the view of the Slavic people as "Untermenschen" (sub-humans) by the Germans.  Kromiadi became close with captured Soviet general Andrey Vlasov, thus becoming Vlasov's first white émigré ally. In 1943, Vlasov gave Kromiadi command of his headquarters. Kromiadi made several attempts to attract white émigrés to General Vlasov, and was finally successful by the time of the Prague Manifesto, having secured the support of two branches of the Russian Orthodox Church.  Kromiadi's point of view was that the Russian Liberation Army was a 30-year Christian liberation war against Communism.

Radio Free Europe.

After the war's end, Kromiadi was hiding for years until 1948 and he continued to play an active role against communism, living in West Germany and afterwards working for Radio Free Europe and as a partner of the CIA. In 1980, he wrote a book on his experience in the Russian Liberation Movement called "For Land, for Freedom...", which was published in San Francisco. He died in 1990 in Munich.

Constantine Gregorievich Kromiadi (, ; 1893 – 1990) was a Caucasus Greek-born military officer and anti-communist who served in the Imperial Russian Army, the White Army, later he headed Russian National People's Army and finally commanded the headquarters of the Nazi-collaborating Russian Liberation Army. In his latter years he was employed by Radio Liberty where he also worked with the CIA.


Origin of the concept.

The noun "peeve", meaning an annoyance, is believed to have originated in the United States early in the twentieth century, derived by back-formation from the adjective "peevish", meaning "ornery or ill-tempered", which dates from the late 14th-century.  The term "pet peeve" was introduced to a wide readership in the single-panel comic strip "The Little Pet Peeve" in the Chicago Tribune during the period 1916–1920. The strip was created by cartoonist Frank King, who also created the long-running "Gasoline Alley" strip. King's "little pet peeves" were humorous critiques of generally thoughtless behaviors and nuisance frustrations. Examples included people reading the inter-titles in silent films aloud, cracking an egg only to smell that it's gone rotten, back-seat drivers, and rugs that keep catching the bottom of the door and bunching up. King's readers submitted topics, including theater goers who unwrap candy in crinkly paper during a live performance, and (from a 12 year old boy) having his mother come in to sweep when he has the pieces of a building toy spread out on the floor.

Current usage and examples.

Pet peeves often involve specific behaviors of someone close, such as a spouse or significant other. These behaviors may involve disrespect, manners, personal hygiene, relationships, and family issues. A key aspect of a pet peeve is that it may well seem acceptable or insignificant to others, while the person is likewise not bothered by things that might upset others. For example, a supervisor may have a pet peeve about people leaving the lid up on the copier, when others interrupt when speaking, or their subordinates having messy desks.  "Pet Peeve" is the twenty-ninth book of the Xanth series by fantasy author Piers Anthony.

A pet peeve, pet aversion, or pet hate is a minor annoyance that an individual identifies as particularly irritating to them, to a greater degree than would be expected based on the experience of others. The phrase analogizes that feeling of annoyance as a pet animal that one does not wish to give up, despite its objective lack of importance.