Facilities.

The forest offers over 35 miles (50 km) of various hiking trails, including several which offer views of downtown Louisville. Several discrete usage areas are featured, including the Tom Wallace Recreation Area, with the Tom Wallace Lake; the Paul Yost Recreation Area, and the Horine Conference Center. Camping and fishing are both permitted. Tom Wallace Lake is stocked with trout and catfish once a year. Tom Wallace Recreation Area features various handicapped-accessible facilities, including a fishing dock and a -long natural trail, the Tuliptree Trail. The Horine Conference Center is a popular field trip destination for Louisville schools.  The forest property is operated as parkland by Louisville Metro Government.  A hiking trail, the Siltstone Trail, traverses much of the forest from east to west. There are several local hiking trails, in addition. Horine also features many hiking trails and both the Paul Yost and Tom Wallace Recreation Areas have horse trails. No mountain biking is permitted in the forest at this time, but the low traffic roads and hilly terrain afford road cyclists many challenging routes through the forest and surrounding areas.

History.

In 1946, Jefferson County, Kentucky, undertook to establish a working forest preserve in the southern part of the county. The Jefferson County Memorial Forest was originally envisioned to be and was named as a memorial to the area's dead of World War II. Since then, the forest has been redesignated to remember all who served in the armed forces. The original purchases were guided by Paul Yost, who was appointed as the county forester. Through 1954, some were purchased. No further properties were purchased until a single tract was acquired in 1965. The next acquisition was not until 1979, and from then until the mid-1980s, the forest was expanded to about. Since then, acquisition has proceeded again slowly.  In the late 1990s, the old ranger station, a former country schoolhouse, was renovated as a visitor and welcome center.  On May 30, 2004 parts of the park were ravaged by a tornado, which caused several trails to be temporarily closed.

Natural history.

There are some fifty types of trees, including ten species of oaks, and a rich flora of wildflowers and seventeen species of ferns and fern allies. A wide variety of animals can be seen, including bobcats, coyotes, red foxes, white-tailed deer, great blue herons and horned owls.  Like many other natural areas in the eastern United States, the forest has a significant problem with invasive exotics, including tree-of-heaven (Ailanthus altissima), autumn olive (Eleagnus umbellata), Amur honeysuckle (Lonicera maackii), Japanese honeysuckle (Lonicera japonica), and princess tree (Paulownia tomentosa).  The forest is located in the Knobs region of Kentucky, also known as the Muldraugh Escarpment. This is a belt of rugged hills lying between the Bluegrass and the Pennyrile regions. The underlying geology of these hills is primarily siltstone and shale, with the siltstone creating extremely steep hillsides. The most important of these in the forest area is the Holtzclaw Siltstone, named after Holsclaw Hill.

The Jefferson Memorial Forest is a forest located in southwest Louisville, Kentucky, in the Knobs region of Kentucky. At, it is the largest municipal urban forest in the United States.


Biography.

Fornari was born in Rivergaro (a hamlet about 20 km south of Piacenza), on April 18, 1921, and died in Milan on May 20, 1985. He graduated in Medicine and Surgery and specialized in neuropsychiatry at the University of Milan. He was interested in psychoanalysis and under the leadership of Caesare Musatti (of whom he was the first student analyst) he became an analyst member of the Italian Psychoanalytic Society and the International Psychoanalytic Society. He married and had five children. His wife, Bianca Fornari, is also a psychoanalyst, as is his daughter, Gigliola Fornari Spoto.  In the Sixties he became interested in polemology and founded the first "anti-H group" and the Italian Institute of Polemology (ISTIP).  In 1962 he became professor of developmental psychology at the School of Specialization in Psychiatry and Psychology at the University of Milan. In 1968 he obtained the chair of Dynamic Psychology, the first chair of psychoanalysis in Italy, at the Faculty of Sociology of Trento, which, as Fornari affirmed, he also chose because he was "stimulated by being with young people who wanted to engage in social activities". In 1972 he became director of the Institute of Psychology at the University of Milan. From 1973 to 1978 he was president of the Italian Psychoanalytic Society.  He died from a sudden heart attack at his home in Milan in Via Plinio, in the late morning of May 20, 1985 after returning from teaching at the State University where he held the chair in Psychology.

Scientific activities.

His teaching and research have changed the history of psychology in Italy, breaking the traditional separation that characterized the relationship between psychology and psychoanalysis, and further bridging the divides between experimental and clinical.  Fornari began introducing in Italy the thoughts and the ideas of Melanie Klein. His early writings deepen psychotic dimension both in reference to man's original psychic development, such as "La vita affettiva originaria del bambino": 1963 (translation: "The original affective life of the child"), and to the treatment of schizophrenia and depression, the dynamics of groups and social conflict. His research on these subjects appeared in an essay titled "Nuovi orientamenti nella psicoanalisi": 1966 (translation: "New directions of Psychoanalysis").  Fornari's Kleinian belief reaches its peak in the specifics of warfare research ["Psicoanalisi della guerra atomica": 1964 (translation: "Psychoanalysis of the Atomic War"); "Psicoanalisi della guerra": 1966 (translation: "Psychoanalysis of War"); "Dissacrazione della guerra": 1969 (translation: "Desecration of War"); "Psicoanalisi della situazione atomica": 1970 (translation: "Psychoanalysis of the Atomic Situation"). In these works Fornari located the anxieties and psychotic fantasies that govern the behavior of individuals in groups, and he revealed the ensuing loss of responsibility in various social and political situations. “War - as he says - arises from the outward projection of an internal danger and from denial of death and alienation in an external persecutor, who must be destroyed in order for others to survive.”  The next line of research was sexuality in relation to processes of affective symbolization. In "Genitalità e Cultura": 1975 (translation: "Genitality and Culture") Fornari reconsiders the concept of perversion, with no culture as antithetical to sexuality, as Freud had argued, but to pregenitality, which would be based on a lack of symbolization of infantile nature and on the primacy of the destructive impulsive behavior. Though elements of symbolization are already present in the above-mentioned "Genitalità e cultura", Fornari directly studied this topic in "Simbolo e codice": 1976 (translation: "Symbol and Code"), "I fondamenti di una teoria psicoanalitica del linguaggio":1979 (translation: "Foundations of a psychoanalytic theory of language") and "Codice vivente": 1981 (translation: "Living Code").  In these essays Fornari also revisited the psychoanalytic theories in cognitive terms, laying the foundations for a true psychoanalytic anthropology, usable by non-psychoanalytic specialists. He resolved the relation between body and mind by positing a code that preserves and transmits information in both directions between body and mind. Such a code, which he called the "living code," is assumed in the programming of affects, which in fact is driven by one's erotic materiality and parental bonds. Fornari developed a "coinemic" theory, in which the minimum unit of affective meaning is the "coineme", which unites affects and the language presiding to the various forms of communication. In fact, Fornari saw this living code as an instrument and methodology that could be used to apply psychoanalysis to a broad range of cultural phenomena: literary texts, speech, music, images and behavior.

Fornari and Polemology.

Franco Fornari dealt specifically with the psychoanalytic aspects of war. According to him, war is an elaboration of the paranoid or projective mourning [Fornari: 1975]. The state plays an unconscious maternal-type role for its citizens. War and violence originate and develop by the need for love, by the desire to preserve and defend the sacred object to which humans are emotionally attached, especially the mother-figure and the merging with her. For adults, nations are sacred objects that generate war. Sacrifice is the essence of war: it translates into the willingness of humans to die for their country by offering their bodies to it. Fornari called war "the spectacular development of a general human situation in which death takes on an absolute value" in the certainty that ideas for which we die are true and this is why "death becomes a demonstrative process."

Franco Fornari (Rivergaro, 18 April 1921 - Milan, 20 May 1985) was an Italian psychiatrist, who was influenced by Melanie Klein and Wilfred Bion. He was a professor at the University of Milan and the University of Trento. From 1973 to 1978 he served as president of the.


Background.

The group, fresh off the major success of their debut "A Fever You Can't Sweat Out", took a break after non-stop touring and began formulating ideas for their next record together during the winter of 2006. After a short period of development regarding the ideas of the album, the band arrived at a cabin in the rural mountains of Mount Charleston, Nevada in March 2007 to begin the writing process for the new album. At the time, the band set a tentative release date for autumn and had not yet settled on a producer. By April, the band had four songs completed and planned to leave the cabin to head to Los Angeles to continue work on what Ross called "a modern fairy tale with a romantic twist." Shortly before departing from the area, bassist Jon Walker remarked the album would be similar to a concept album and that the entire band would be involved in writing (all previous material had been composed by guitarist Ryan Ross). "Nearly Witches (Ever Since We Met...)" was also written for this album; however, it was rejected for inclusion for "Pretty. Odd.", due to not fitting within the concept of the album. Urie and Smith later finished the song for the band's next studio album "Vices & Virtues".  When the group began settling back in Los Angeles in June 2007, they began tracking the album, and at that point, eight new songs had been written. After recording the new tracks and performing them live over the summer, the band returned to their native Las Vegas as well as their old rehearsal studio, where they wrote their debut record. During this time, the band picked producer Rob Mathes to work on the album, who had previously worked with them on a cover of "This Is Halloween" from "The Nightmare Before Christmas" (1993). The band grew uninterested in the songs previously written and by August scrapped the entire new album (which Ross later revealed was "three-quarters" done) and started over. "We wanted to approach these songs in the most basic form," Ross said. "We wrote them all on one acoustic guitar and with someone singing. I think that we kind of skipped that part of songwriting on the first record, and this time we're sort of paying attention to that. [...] We've written a bunch of songs since we've been home [Las Vegas]. I think it's the most fun and the happiest we've been since we started." With simplicity the new focus and the old album shelved, the group settled in and began recording what would become "Pretty. Odd."

Recording and production.

The band continued writing for their follow-up in September 2007. In one month, the band had completed writing "six or seven songs" that contained a much more positive outlook to them, according to Ross. In October, the band entered the Studio at the Palms Casino Resort in Las Vegas to begin recording the album. Ross became the primary spokesman for the band, remarking to MTV the band was "working backwards" for the release, stripping down its sound and going for a more classic rock approach. With "Pretty. Odd." the band was not concerned with succumbing to the pressures of living up to the success of their debut, instead writing and recording songs that made them happy.  The first song written for the album was actually a hold-over from the scrapped record, "Nine in the Afternoon". "We wanted to have a song people could just get on the first listen.... It was one of those spur-of-the-moment songs that came together in a couple of hours. It's just a fun song; it's not really meant to be taken seriously," said Ross of the song. The song inspired the band to write happier tracks, and, from there, the band buckled down, ripping through eight new songs in a little more than six weeks, then writing a couple more while ensconced at the Palms. By the end of the year, the group was well on their way to finishing production on the album. The album came together quickly and each song written made the cut, with "Mad as Rabbits" being the final recorded.  In January 2008, the band wrapped up recording at their home studio over one week, and headed to London's Abbey Road Studios to record strings and horns, which the band regarded as "truly a dream come true for us". While there, the band also mixed the album with Peter Cobbin. Mathes was involved in the instrumentation of the album, performing keyboards, acoustic piano, and the mandolin. Mathes arranged and conducted the orchestra at Abbey Road for all tracks except "Nine in the Afternoon". A wurlitzer can be found on "Mad as Rabbits", played by Rick Ronick.

Music.

Musically the album has been described as psychedelic pop, psychedelic rock, pop rock, baroque pop, and folk rock. The sound of the album was described by the band as "more organic and mellower" than "A Fever You Can't Sweat Out", as well as unintentionally and coincidentally similar to music of The Beatles, in both songwriting and scope. "We all like all of that, from "Rubber Soul" to "The White Album" and all of that, but even before, we were into that theatrical element of things. We didn't want to do a "Sgt. Pepper's" thing," explained Ross. The band never had the intention of music similar to The Beach Boys and The Beatles, according to both Ross and Walker. "It was like before we were writing these songs, we were writing things that were almost entirely orchestrated - and it kind of carried over into this stuff," continued Ross. "And I do think that half this record does sort of have that kind of 'fantastical instrumentation' thing, but we were just trying to fit the mood of each song. And in some cases, we just thought, 'We've got to have this.' " The difference in age did not take negative effect on the band, instead inspiring them to look through a more mature perspective, according to singer Brendon Urie.  Although there was no "clear vision" behind "Pretty. Odd.", the band knew that they "wanted to write songs differently in the sense that not all the songs sounded the same or were part of one set genre, you know, just doing something different. With this record, we listened to a bunch of different stuff, too, so that kind of helped broaden our musical taste." Thanks to the new collaborative relationship with producer Rob Mathes, the roles within the band became blurred. Although most songs on the record are attributed to Ryan Ross, the entire band collaborated on each track, with Urie writing two tracks himself and Walker and Smith adding additional lyrics to several tracks. "The Washington Post" reviewed the new sound of Panic positively: "Everything is new, if old, from the baroque instrumentation (the use of a fluegelhorn), songwriting (less wordy, more obtuse) and vocal phrasing (streamlined) to the Beatlesque chord progressions, melodies, hooks and stacked vocal harmonies, which also owe a minor debt to Brian Wilson." The lyrics mingle ruined romances and neo-psychedelic aphorisms.  "Nine in the Afternoon" received positive reviews and critics noted the change in direction from the band's debut and "Pretty. Odd." James Montgomery of MTV regarded the song similar to The Band's "Music from Big Pink", and called final single "Northern Downpour" reminiscent of "an "Abbey Road" outtake". "When the Day Met the Night", the record's eighth track, was heavily praised by music publications. "Spin" regarded it as the centerpiece of the record, calling it "a sunshine pop sing-along that's as blindingly bright" and a stark contrast to the "embarrassing" "A Fever You Can't Sweat Out". Gigwise called the song "the track everyone will want to see the band play live," and noting that its "brass backing and glorious string-based crescendo are that of "Pet Sounds"-era Beach Boys." National Public Radio commented that "Pretty. Odd." "experimented with psychedelic pop, vaudeville and unusual instrumentation."

Promotion.

The entire marketing campaign for "Pretty. Odd." was based solely on grassroots and viral marketing. The band's original intention with the record, according to drummer Spencer Smith, was to have a single out by Christmas 2007 and the album out by February. The band first began promotion for the album in November 2007, with a snippet of "Nine in the Afternoon" audible in the "Heroes" episode "Cautionary Tales". On December 12, 2007 the group released a cryptic MySpace bulletin containing a link to their website and a message mysteriously stating "And so it begins..." The link led to the band's official website, where a puzzle revealed what most seemed to agree read "You Don't Have to Worry." Inspired by an idea when the band got drunk while recording according to manager Bob McLynn, the viral marketing campaign was the first clues to what would reveal several more clues over the following weeks, including the album title, artwork and first single.  "Nine in the Afternoon" was revealed as the first single from "Pretty. Odd." through the puzzle aforementioned on December 14, 2007. The original message was revealed to be a disclaimer in the record's first track, "We're So Starving", which debuted in a rough mix on the band's MySpace on January 2, 2008. The demo gained 45,000 listens by the end of the day, before it was removed. The album's title, "Pretty. Odd.", was hinted at during the music video shoot for "Nine in the Afternoon" on December 22, where each band member wore a sash bearing the title. The title was revealed by a spokesperson for Atlantic Records on January 9, 2008. On the same date, the band unveiled a new logo and dropped the exclamation point from their name, effectively becoming Panic at the Disco, which soon caused outrage among the band's fanbase. In April 2008, the band released a short film to promote the album, titled "Panic at the Disco in: American Valley".

Artwork and title.

"It seems like [Panic have] put some thought into the changes... they're not just changes for changes' sake. "Pretty. Odd." works because it conjures up images of something that is both pretty "and" odd, which is interesting, And it's grammatically interesting, because without the period, the word 'pretty' would be modifying the word 'odd.' So it takes on a completely different context."  - Geraldine Woods, the author of "Webster's New World Punctuation: Simplified and Applied"  The entirety of the art direction for "Pretty. Odd." was headed by Alex Kirzhner, with inspiration from Panic at the Disco. The inside liner notes, which include the lyrics to each song, were illustrated by graphic designer Connie Makita, and the majority of the rest of the illustrations were designed by Kirzhner with designer Tanapan "Bang" Puangpakdee. The album art was revealed via the band's official website on January 23, 2008. The album cover art consists of painted flowers and butterflies, which "Slant" regarded as a tribute to The Beach Boys. The deluxe edition vinyl package was nominated for Best Boxed Or Special Limited Edition Package at the 2009 Grammy Awards, but lost to Radiohead's "In Rainbows" (2007).  The album's title, "Pretty. Odd." was conceived randomly while recording and the name stuck. "It just happened one night. We were working on a new song, and we weren't even talking about album titles, but it was just something I wrote down, and I brought it up to the guys," Ross explained. "Like, "Pretty. Odd." And then they all liked it, and that was a couple of months ago, so we just kept it since then." Smith added that the band thought it was "more fun" with the punctuation present in the title. Meanwhile, the lack of punctuation in the band's name outraged fans and brought about a strange amount of press. Geraldine Woods compared the punctuation to e.e. cummings and likened it to a form of "rebellion for creative people."

Release.

"Pretty. Odd." was released on March 21, 2008 in the United States and Canada, as well as various other dates for other countries. The album debuted at number two on the US "Billboard" 200 chart, with first-day sales of 54,000, and first-week sales of 139,000 copies in the United States. Those figures marked the band's biggest sales week to that date, beating a previous record held by "A Fever You Can't Sweat Out" (which sold 45,000 during the winter of 2006). The record also debuted at "Current Alternative Albums" chart and #2 on the "Digital Albums" chart, the latter of which accounted for 26 percent of the disc's overall sales. Online sales were very important to the early success of "Pretty. Odd."; when the iTunes Store allowed customers to pre-order the album two months ahead of its release, it had already sold 8,000 copies the day before it was released. By May, the album had sold 235,280 copies according to Nielsen SoundScan. By June, it had sold over 500,000 copies through online music services. The number one position on the "Billboard" 200 chart was the self-titled debut from Day26, enjoying its second week at the top of the chart.  The album also debuted at number two on the UK Albums Chart. However, weekly sales for the album sharply declined and the album dropped from number two to eleven within the next week, and it spent only six weeks within the top 100. "Pretty. Odd." debuted at number two on both the Canada's Albums Chart and the Mexican Albums Chart. The album peaked within the top 10 of the charts of New Zealand, Austria, and Ireland. The album debuted at number one in Australia. The album was less commercially successful in countries such as Sweden and France, where the album barely cracked the top 40. The album eventually went gold in the UK only, and went gold in the US in 2016.  Although the album has been commercially viable and certified gold, the record failed to match the sales of the band's debut, "A Fever You Can't Sweat Out". "Pretty. Odd." received relatively poor sales in competition with its predecessor, which was certified platinum in a matter of months. "It's really hard to judge how the album is doing based on record sales, you know?" Ross told MTV News. "We look at that, and we don't really know what that even means. All we can go off is being on [the Honda Civic Tour] and seeing that people are getting into the new stuff, and that's the only way we can tell firsthand if things are going well or not." "It's a really weird time for music, and it's hard to tell where you stand, and all the things that used to tell you about your band have kind of gone away. So how you perceive yourself has changed," Smith added. "Luckily for us, rock bands have always been about playing live, [which is] good for us, because we're a real band who plays our own instruments, so we love being able to do it. And luckily that's always going to be there, because you can't download the concert ticket." As of June 2008, the album has sold 600,000 copies worldwide.

Reception.

"Pretty. Odd." created fan confusion and received a mostly mixed critical response, so much so that in 2011 "Rolling Stone" called the record one of the boldest moves in rock history. At Metacritic, it currently holds a score of 70 out of 100 based on 22 reviews from mainstream critics, indicating "generally favourable reviews". Of the original reviews, "Spin" generally was the most enthusiastic: ""Pretty. Odd." lives up to its title because it dares to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility." "Billboard" also was generally positive, calling the record "15 tracks of welcomed live drum sounds, symphonies and stacked harmonies." "Time" called the record's songs smarter and said it provided a more exciting outcome for the band's future: "Where this band goes now is unclear, but the journey is a lot more interesting." British publication "NME" viewed the album in a positive light, calling it a "victory for artistic ambition over cynical careerism" and "one of the feel-good psych-pop albums of the year."  "Alternative Press" called "Pretty. Odd." ambitious, while "Blender" called several songs on the record a "brush with greatness." Rob Sheffield of "Rolling Stone" agreed with the latter statement, calling the songs "often beautiful," rounding out a less-than-impressed review with "Even when it's over the top, which is basically always, "Pretty. Odd." sounds cheerful." "Entertainment Weekly"s Leah Greenblatt called it "more pretty than odd," calling it a "headphones album, a dense, largely enjoyable layer cake of ideas and instrumentation that might actually alienate its teenage fans." "The A.V. Club" Aaron Burgess stated that "Pretty. Odd." deserves "far more than a casual listen," praising the baroque orchestration and multilayered harmonies. Stephen Thomas Erlewine of AllMusic called the album "a deliriously jumbled, left field delight." Paul Schrodt of the online "Slant Magazine" dismissed the record as generic, but commended the "exuberant delivery" of the pop hooks.  "Mojo" called the LP "too clinical and calculated" considering the young age of band members. Fellow British music magazine "Q" expressed similar sentiments: "Ultimately, you're left wishing that Panic at the Disco had more to say about their own generation, instead of mimicking that of their parents'." "The Boston Globe" reviewer Matthew Shaer agreed: ""Pretty" borrows liberally from the things that made those bands superficially interesting - the practiced eccentricity, the constant innovation - without paying tribute to the cultural and political sensibilities that made them great." "The New York Times" called the record "wildly elaborate" and a "brave change," but offered less kind words to summarize: "For all its craftsmanship, "Pretty. Odd." comes across as mannered and overbearing, more studied than exuberant." "The Village Voice" called the record earnest and triumphant, but criticized the "hard to grasp" overarching narrative strand. "Uncut" held that the album "tried too hard to be obtuse," but praised the band's artistic evolution.  James Montgomery of MTV News has described "Pretty. Odd." in retrospect as overlooked, writing that, "Give this one a decade... we could have another "Pinkerton" on our hands," referencing the Weezer album that received a mixed response upon release but was heralded as a classic in later years.

Touring.

The band announced plans to headline the 2008 Honda Civic Tour in January 2008, which took up the majority of early touring for the album. Motion City Soundtrack, The Hush Sound and Phantom Planet opened for the tour, which April 10 to July 14, 2008 across North America. Throughout October and November 2008, the band toured with Dashboard Confessional and The Cab on the "Rock Band" Live Tour promoting the video game "Rock Band 2".  As expected and predicted by several music publications, Panic at the Disco adopted a very different style for the touring in support of "Pretty. Odd.", in contrast to the dark, circus-themed elements of their previous stage shows. Each show contained "woodsy set pieces, projections of flora and fauna, and mic stands wrapped in lights and flowers," and each band member dressed in a vest. While reflecting on the theatrical nature of "A Fever You Can't Sweat Out" touring, Urie commented "We did it and it was a lot of fun when we did it, but this time around I think we wanted to get back to a more intimate, personal setting, and scale it down a little bit." Ryan Ross explained that "It's more about connecting with the audience and seeing what's gonna happen every night. It's not as scripted out and pre-planned. It makes it more exciting for us, and less monotonous every night." A live album, "...Live in Chicago", based on live recordings from Chicago during the Honda Civic Tour, was released December 2, 2008. An accompanying DVD contains photos from the tour, each music video from the album as well as behind-the-scenes footage of the videos and the tour, the short film "Panic at the Disco In: American Valley", and the documentary feature based on the tour, "All In A Day's".  "Pretty. Odd." touring was also defined by a larger effort to remain environmentally conscious. On the tour, the band worked with two non-profit eco organizations: Reverb, which facilitates environmentally friendly touring; and Global Inheritance, which seeks to inspire more eco-activism. In a 2008 interview, Ross revealed that the band was traveling on a biodiesel bus, re-using plastics, and recycling more backstage. The band also printed tour booklets on recycled paper, with soy ink, and organized an "eco-contest," in which profits from the tour went straight to environmental organizations.

Personnel.

Adapted from AllMusic. Panic at the Disco  Additional musicians

Pretty. Odd. is the second studio album by American pop rock band Panic! at the Disco. Recorded at the Studio at the Palms in Paradise, Nevada with additional production at Abbey Road Studios in London with producer Rob Mathes, the album was released March 21, 2008 on Decaydance and Fueled by Ramen. Inspired by baroque pop and the works of The Beatles and The Beach Boys, the psychedelic-styled rock album differs greatly from the techno-influenced pop punk of "A Fever You Can't Sweat Out" (2005).


Story.

The character Emmanuelle in the game is a wife of French business man whose job requires constant travelling, thus leaving his wife unfulfilled. Emmanuelle has taken a lover, Marc, but later suffers pangs of conscience, because she still loves her husband. Emmanuelle travels to Rio de Janeiro in Brazil, to escape him, but is followed by Marc. The aim of the game is to augment Marc's erotic potential so he can seduce Emmanuelle again.  The player's 'erotic potential' is increased by following the three laws of eroticism: law of numbers (seduce as much ladies as you can), law of asymmetry (try to seduce an odd number of ladies) and a law of surprise (seduce preferably concealed/masked ladies). Furthermore, the player should find three erotique statuettes. There's not any hardcore scenes present in the game, but Marc might catch Emmanuelle disrobing while looking through a certain keyhole, although more often he will see only an old gentleman washing his feet.

Gameplay.

The DOS version supports EGA, CGA and monochrome graphics, while the Amiga and Atari ST versions uses 16 colours. "Emmanuelle" is a point-and-click adventure, but the DOS version has no mouse support. The game uses multiple-choice dialogues for conversations. The game includes sub-games such as gambling at a casino where the player has to raise money for flight tickets. The player might also end up fighting with angry husbands and smugglers due to their exploits.

Reception.

The reviewer of ST-Computer praised the game's graphics, but criticized the lack of sounds and the ease of the puzzles. The "PC Power Play" review stated that the game was boring and only titillating in the casino sequences; it also criticized the poor graphics and the lack of sound. A later issue "PC Power Play" gave "Emmanuelle" an award for being the game with the most idiotic dialogue.

Emmanuelle is an erotic graphical adventure game from Coktel Vision, originally released in 1989 for Amiga, Atari ST, and MS-DOS. The game was developed by Muriel Tramis (better known from her games in the "Gobliiins" series, "Fascination" & "Lost in Time"), and is loosely inspired by Emmanuelle Arsan's Emanuelle series of novels.


2004-2005.

The team was founded in 2004 when Marty Roth purchased the Indy Pro Series equipment of Panther Racing and a new Dallara IndyCar chassis and competed in three Pro Series events and the Indianapolis 500 with himself doing the driving. The team ran a full Pro Series schedule with Roth finishing 8th in points in 2005 as well as the Indy 500 in conjunction with PDM Racing where Roth provided his chassis and funding and PDM provided their Chevrolet engine lease and technical expertise.

2006.

Roth sold his Pro Series equipment following the St. Petersburg race in April 2006 to focus on IndyCars and specifically his attempt to qualify for the 2006 Indianapolis 500. However, the team never managed to hit on a comfortable set-up for the race car and Roth crashed on bump day trying to find the speed necessary to bump PDM Racing rookie Thiago Medeiros from the field. The team then regrouped and participated in several tests on intermediate and large ovals and returned to the series at Michigan International Speedway in July and ran at Kentucky and Chicagoland to close out the season. Sponsored by Barabco, Roth managed to finish all three of the races he competed in though his best finish was eighteenth. Roth ended up twenty second in points just behind P. J. Chesson.

2007.

The team returned in 2007 to race on specific ovals and ran at Homestead and Kansas sponsored by Fountain Powerboats. Handling problems forced him to withdraw early from both races. Roth Racing returned to Indianapolis but wrecked the car on the 148th lap. Shortly after Indy, the team decided to participate in the IRL's new TEAM program to race full-time. Roth then decided to purchase Sam Schmidt Motorsports' IndyCar equipment and move into a larger shop in Indianapolis with the goal of expanding to a two-car operation. The team returned to the series in the 2007 finale at Chicagoland Speedway with the second car driven by P. J. Chesson and both cars finished the race, although several laps down. The team was sponsored by Dussault Apparel's Gene Simmons "Moneybag" clothing line.

2008.

The team announced on November 26, 2007 that they had signed Jay Howard to drive their second car for the 2008 IndyCar Series season and that Marty Roth would compete full-time in 2008 Sponsored by Cirrus Aircraft. Roth qualified well at Homestead starting eighth but Howard crashed while qualifying. The team began to struggle with finding sponsors after a three race deal with Cirrus Aircraft ran out. Lids and 1-800-Las Vegas sponsored the 25 and 24 cars at Indy but the team was without sponsors until Men's Wearhouse came aboard at Infineon. The team engineer David Cripps left after the Kansas race and was replaced by Vision Racing's Larry Curry who left the team after Watkins Glen. On the morning of Pole Day Roth hired veteran John Andretti to drive the team's #24 car replacing Jay Howard and he quickly posted the team's highest speeds of the month. Team president Margaret Roth confirmed that Howard will return after the Indy 500. However, on May 30 it was announced that Andretti would continue in the #24 car in the Milwaukee Mile and Texas Motor Speedway races. Andretti also stayed to drive at Iowa and Richmond. Due to lack of sponsorship the team ran one car and the team only fielded Jay Howard in the 24 car at Watkins Glen. In Nashville Roth drove the 24 car and the #25 car did not make an appearance. Roth drove the #25 car in the majority of the season's remaining races. Following being informed that his league license would not be renewed in 2009, Roth placed the team up for sale in October 2008.  It was rumored that former Champ Car World Series driver Nelson Philippe, brother Richard Philippe and their family had bought the team's equipment and race shop and would continue the team as Team France. but this did not come to fruition.

2009.

Roth Racing entered two cars in the 2009 Indianapolis 500, number 25 and 52. Neither car actually appeared at the track, although Roth Racing banners had been placed above the garages.  In August 2009, the teams' race equipment was sold to the new FAZZT Race Team.

Roth Racing was a race team owned by Canadian real estate magnate and racecar driver Marty Roth. It competed in the Indy Racing League IndyCar Series.


Background.

After the major success of the debut album, Lear teamed up again with Anthony Monn to work on her second LP. "Sweet Revenge" was recorded between December 1977 and February 1978 between various studios in Munich, and consisted of mainstream disco material, with all lyrics written by Lear herself. The album incorporates elements of cabaret music in "Comics" and rock in "The Stud". All songs from the side A of the original LP release are a lyrically linked non-stop medley, making "Sweet Revenge" a concept album. The songs tell the story of "a girl who sold her soul to the Devil and won", as Amanda explained in the liner notes. The girl surrenders to the Devil's temptation, who promises her fame and fortune, but eventually runs away and finds real love with a man, which is her "sweet revenge over the Devil's offer". In a 1997 interview, Lear considered "Sweet Revenge" the album she is the most proud of.  The album's gatefold cover was designed by Amanda Lear. The pictures, taken by Denis Taranto, reference sadomasochism and present Amanda as a dominatrix, holding a whip. Other images depict Lear channeling Marlene Dietrich, sitting on a barrel, wearing stockings and a top hat, what refers to the image of Dietrich in her iconic 1930 film "The Blue Angel". Included are also two pictures of Amanda performing in concert as well as a topless photograph from her "Playboy" shoot. The album came with a big poster of the front cover image, with lyrics printed on the back.  "Follow Me" was released as the lead single and went on to become a Top 10 hit in many European countries, including No. 3 in Belgium, Germany and the Netherlands. The song now remains Lear's signature tune. "Enigma (Give a Bit of Mmh to Me)" was also met with a commercial success, reaching the Top 10 in certain territories, and "Gold" became a minor hit in Belgium. "Run Baby Run" received a single release, but did not match the chart success of other singles from the album. The 1977 hit single "Queen of Chinatown", previously available on Lear's debut album, was released as a bonus track on Italian editions of "Sweet Revenge". In Spain, a cassette version of the album was released as "Dulce Venganza (Sweet Revenge)".  "Sweet Revenge" was accompanied by a concert tour, which was bigger and more elaborate than her previous shows. A promotional tournée was also launched in the United States, however, to no success. The publicity campaign again focused around Amanda's scandalous sex symbol image. The album was met with a commercial success, placing in the Top 10 in several European charts, including No. 4 in Germany, her most successful market at that time. It was certified gold in Germany and France, for selling 250,000 and 100,000 copies respectively. It is also her best-selling album to date, with an estimated 4 million copies shifted around the world.  The rights to the Ariola-Eurodisc back catalogue are currently held by Sony BMG Music Entertainment. "Sweet Revenge" was re-released on CD in 1992, excluding much of the visual content of the original double cover and syncing all songs from the side A into one CD track. For two decades, "Sweet Revenge" remained the only original Ariola album by Amanda Lear to have been re-released on compact disc worldwide, until her debut LP, "I Am a Photograph", received a CD re-release in 2012 and 2013.

Sweet Revenge is the second studio album by French singer Amanda Lear, released in 1978 by West German label Ariola Records. The album turned out a major commercial success, spawning European hit disco singles "Follow Me" and "Enigma (Give a Bit of Mmh to Me)". "Sweet Revenge" remains Lear's best-selling album. It was released in CD format in 1992.


History.

Prehistory.

Owsley Brown Frazier was a wealthy businessman and philanthropist in Louisville. When a tornado struck the city during the 1974 Super Outbreak, it destroyed Frazier's home, and a rare Kentucky long rifle that he owned — a family heirloom made for his great-great-grandfather in Bardstown in the 1820s and gifted to him by his grandfather in 1952 — disappeared. Frazier would never find the rifle, but his search for it would spark a passion for collecting antique weapons.  In 2000, the year he stepped down as Vice-Chairman of Brown-Forman, Frazier loaned his arms collection to the Kentucky History Center in Frankfort for a special exhibit titled "The Weapon As Art". The exhibit ran for two months, but it was attended by about 10,000 people. Inspired by the turnout, Frazier decided to found a museum where he could showcase his private collection on permanent public display.  On May 25, 2001, "The Courier-Journal" announced the Frazier Historical Arms Museum, a visitor attraction planned for downtown Louisville that was scheduled to open in fall 2002 or spring 2003. The museum was to be located in the building complex at 829 West Main Street, one of the two neighboring properties that Mr. Frazier had recently purchased. In 2002, a website was launched for the Owsley Brown Frazier Historical Arms Museum, an institution whose stated mission was “to acclaim the artistry, craftsmanship, and technological innovation of weapons and their makers.”  In February 2003, Mr. Frazier signed a formal agreement entering into a partnership with the Royal Armouries Museum in Leeds, also known as the United Kingdom's National Museum of Arms and Armour, an ancient institution of the Tower of London that was originally founded to manufacture armor for the Kings of England. The agreement outlined plans for the Frazier Museum to borrow and display arms and armament from the Royal Armouries. It was the first time that a British national museum had engaged in an ongoing collaboration with an organization beyond its shores.  Construction on the museum started in 2001 and ended in 2003. Mr. Frazier provided most of the funds for the $32 million project and backed the loans that were taken out to finance the development.

Frazier Historical Arms Museum.

The Frazier Historical Arms Museum opened to the public on May 22, 2004.  The initial collection consisted of roughly 1,500 objects from the personal collection of Owsley Brown Frazier, dating from 1492 to World War I, and approximately 350 objects borrowed from the Royal Armouries, dating from 1066 to the 1960s. Combined the collections included guns, cannons, swords, daggers, arrows, and other historical arms and armor sourced from Flanders, France, Germany, Italy, and the United Kingdom, as well as life-size tableaux of mannequins and horse figures depicting battle scenes from European history.

Frazier International History Museum.

On May 17, 2006, the museum changed its name to the Frazier International History Museum, a nod to the multinational origins of its collection. That year, the museum received another influx of foreign arms and military artifacts from the Royal Armouries. Over time, the museum began to shift its focus away from war and weaponry toward more general topics of state, national, and global history. The permanent collection was gradually de-emphasized as the Frazier moved toward larger, temporary exhibitions.  In August 2010, the Frazier unveiled the Bloedner Monument, a limestone marker that is thought to be the nation's oldest surviving Civil War memorial. Acquired as a long-term loan from the National Cemetery Administration, the historic monument honors the soldiers of the U.S. 32nd Indiana Volunteer Regiment who died at the Battle of Rowlett's Station.  In October 2010, the Frazier introduced a theatrical performance series based on the works of Gothic horror fiction writer Edgar Allan Poe. The series became "An Evening With Poe", an annually recurring, week-long Halloween tradition. The performances were adapted and staged by Tony Dingman, Kelly Moore, and Eric Frantz, three of the Frazier's Teaching Artists, and featured live music performed by The Tamerlane Trio.

Frazier History Museum.

In 2011, the museum was renamed the Frazier History Museum.  In May 2012, a bronze sculpture of a Japanese warrior riding horseback into battle by Douwe Blumberg titled "Way of Horse and Bow" was gifted to the Frazier by actor William Shatner and his wife Elizabeth. In August, the museum's founder and chief benefactor Owsley Brown Frazier died.  The last remaining objects on loan from the Royal Armouries were returned in January 2015.  In 2017, the museum hosted "The Hunger Games: The Exhibition", a special exhibition about the dystopian film franchise starring Jennifer Lawrence. Lawrence, a Louisville native, partnered with the Frazier to help promote the exhibition.  Lonely Planet named Kentucky Bourbon Country as one of the top 10 U.S. destinations to visit in 2018 and cited the Frazier Museum as a main attraction. In March 2018, the Frazier sold the first 250 bottles of "Final Reserve: James Thompson and Brother Bourbon, a" whiskey that had been aged 45 years in the barrel, making it the most mature bourbon ever bottled.  With the opening of the Kentucky Bourbon Trail Welcome Center on August 30, 2018, the Frazier became the official starting point of the Kentucky Bourbon Trail, a project launched in 1999 by the Kentucky Distillers' Association to promote bourbon tourism in the state.  In November 2019, the tenth and final season of "An Evening With Poe" wrapped. During the course of the program's ten-year run, the Frazier's staff adapted a total of 33 of Poe's works, including poems, short stories, plays, and a novel. According to Dr. Hal Poe, a former president of The Poe Foundation and living relative of Edgar Allan Poe, the Frazier has staged and performed more of Poe's works than anyone in the world.

Operations.

Hours of operation are Monday through Saturday, 9 a.m. – 5 p.m., and Sunday, noon – 5 p.m. The museum is closed on Thanksgiving, Christmas Eve, and Christmas. During museum hours, the Gateway Garden and the Kentucky Bourbon Trail Welcome Center remain open to museum visitors and the general public with no cost of admission.  The museum rents out its atrium, loft, champagne parlor, boardroom, outdoor park, and rooftop garden for private events.  It is a non-profit organization funded by private donations.

Building.

Located on Museum Row in the Bourbon District of downtown Louisville, the museum occupies a late 19th century, Chicago-style commercial structure of 100,000 square feet that was originally called the “Doerhoefer Building.”

Prehistory.

As river-based commerce and trade fueled Louisville's early growth following its settlement in 1779, West Main Street became the first street established by residents.  Because of its close proximity to Main Street and the Ohio River, the intersection of Ninth and Main Streets came to serve important commercial purposes. A tobacco warehouse built at the northeast corner of the intersection began operating in the 1850s. The firm of Meguiar, Harris & Co. managed the so-called 9th Street Tobacco Warehouse until the 1890s.  On March 27, 1890, a tornado measuring F4 on the Fujita scale visited Louisville, carving a path from the Parkland neighborhood to Crescent Hill. Labeled "the whirling tiger of the air" by "The Courier-Journal", the tornado killed an estimated 76 to 120 people and destroyed 766 buildings, one of which was the 9th Street Tobacco Warehouse.  A rapid reconstruction effort led to the building of more cast-iron façades along West Main between Sixth and Ninth Streets — in all, what would amount to the second largest number of cast-iron façades in the country behind SoHo in New York.  A small article published in the March 23, 1897 issue of "The Courier-Journal" announced that John Doerhoefer, the president of National Tobacco Works, would build “four handsome business houses at Ninth and Main Streets” on the site of the old 9th Street Tobacco Warehouse.

Architecture.

Mr. Doerhoefer hired D. X. Murphy and Bros., the architectural firm that two years earlier had designed the iconic Twin Spires atop the grandstand at Churchill Downs, to draw the plans. It was to be made of brick, stone, and iron with a tower at the corner.  Established in 1898 and built of cast iron and yellow-buff brick, the Doerhoefer Building was actually built as a complex of four adjoining buildings with common walls and a single façade. The structure spans four typical Main Street fronts (827 – 833) before it rounds the corner of Ninth Street with an oriel topped with a cornice roof.  Each façade is separated by pilasters with simple ornamentation. Machine-made festoons decorate the horizontal bandcourse which divides each major section between the second and third floors. Windows on the fourth floor are separated by brick pilasters with stone capitals, which continue into arches of radiating bricks with some trim.  Much of the original stone ornamentation has gone missing.

Ox Breeches.

In 1900, Ox Breeches Manufacturing Company began operating a garment factory in the Doerhoefer complex. The self-proclaimed “largest producer of pants in America,” the firm employed some 350 workers at the factory — 25 men, the rest women and girls.  On April 7, 1905, the day its contract with the union was set to expire, the firm announced three imminent changes: first, it would henceforth run the factory as an open shop; second, the 10% pay raise the workers had won upon unionizing in 1903 would be repealed; and third, the length of the work week would be extended from 54 to 60 hours. In response, 250 of the workers walked out and unanimously voted to go on strike. Over the summer, 106 of the strikers sued Ox Breeches for damages and back pay, claiming they had been blacklisted by the company managers. In December, a judge ruled for the defendant in what has been called “a decision of importance, both to organized labor and to capitalists.”  During the night of January 6, 1916, a fire broke out on the third or fourth floor of the Ox Breeches factory, causing large scale damage. The story was reported in newspapers from Connecticut to Hawaii, including in Cincinnati's German language paper. The fire completely destroyed the building at 825 West Main Street, leaving a vacant space at what is now the site of the Frazier's vestibule and outdoor park. A Louisville Metro government history of the Louisville Fire Department calls the event "the first major recorded fire in the early 20th century."  Charring is still visible on some of the timber joists on the southeast side of the building.

Renovations.

In 2001, when Mr. Frazier purchased the complex, he had much of the interior gutted and rebuilt. A copper-topped cupola was installed on the crest of the structure's southwest corner, as the original cupola had been removed sometime between 1936 and 1966.  In 2012, a $700,000 renovation project, funded through grants and public contributions, expanded the museum's exhibit space from 2,700 to 7,500 square feet. The Frazier also purchased 821 West Main Street, a neighboring, four-story brick building of 18,000 square feet.  In 2018, the museum opened a new vestibule and an outdoor park designed by landscape artist Jon Carloftis.

Layout.

Basement.

Objects in the museum's permanent collection are kept in storage in the basement when not on display. Offices and work spaces for security personnel and employees of the collections and exhibits departments are located in the basement.

First floor.

Exterior.

In 2018, the Frazier opened the Gateway Garden, a public park situated at 825 West Main between the museum and the neighboring brick structure to its east.  The park is bordered to the south by the vestibule and to the north by a rolling steel gate on Washington Street. It consists of a linear courtyard populated with native Kentucky plants and furnished with wooden furniture. A staircase at the south end of the courtyard leads to a second-story rooftop garden with a balcony overlooking Main Street.

Interior.

Visitors can enter the Frazier from either Main Street or Washington Street. Both points of entry lead to the Cube, a glass vestibule with a front entrance facing Main Street.  Attached to the Cube is the Kentucky Bourbon Trail Welcome Center, a facility that houses the museum's admissions desk. The Kentucky Bourbon Trail Welcome Center abuts the Museum Store, which is located in the southwest corner of the building.  The Great Hall, a large atrium with a sweeping terrazzo staircase, occupies the center of the building. Mounted along its perimeter are low-slung cases featuring highlights from The Stewart Collection organized by theme: “Introduction,” “Local Connection,” “Events as They Happened,” “Evolution of Toy Soldiers,” “Not Just Toy Soldiers,” and “Why Napoleonic?” Southwest of the Great Hall is the Marshall Charitable Foundation Education Center, a classroom where visiting students learn history through hands-on activities.  The north wing (1 North) houses large, temporary exhibitions, as well as the Brown-Forman Theater, a 120-seat auditorium used for live interpretations of historical events. Alcoves of the Great Hall, 1 East and 1 West, are used for smaller, temporary exhibits.

Second floor.

2 South contains The Charles W. Stewart Historic Miniatures Gallery and The German Gallery, which together house hundreds of the sets of toy soldiers and historical miniatures from The Stewart Collection that are on public display, as well as an adjacent gallery. Low-slung cases around the second floor's perimeter include “Revolutionary War,” “Civil War,” and “World War II.”  2 West is a champagne parlor with a bar, Victorian furniture, and "Southern Exposition". The mezzanine houses "The Founder's Gallery". 2 North is reserved for temporary exhibitions.

Third floor.

3 South houses "The Spirit of Kentucky" exhibition. 3 North houses "The Lewis and Clark Experience".

Fourth floor.

4 North contains a boardroom and offices for the museum staff. 4 South contains an expansive, New York-style loft with a wooden dance floor, dimmable track lighting, and brick walls lined with 25 windows with shutters.

Rooftop.

The rooftop garden features seasonal blooming flowers and looks out across the Ohio River.

Collection.

The permanent collection features a wide array of historically significant arms, artifacts of war, and other objects of American, American Indian, Asian, and European origin, most of which were donated to the museum by its founder.

Historical arms.

Among the oldest firearms in the museum's permanent collection are a Netherlandish or South German snap matchlock target rifle, c. 16th century; a German sporting crossbow, c. 17th century; and an Austrian wheellock rifle, c. 18th century. Other early model firearms include a variety of rifles and handguns made by Collier, Colt, Winchester, Remington, Smith & Wesson, and Marlin during the 19th century. One of the museum's best-known artifacts is a 1908 Holland & Holland, Ltd. Royal Grade Double Rifle that belonged to President Theodore Roosevelt. In January 1909, conservationist Edward North Buxton, together with a group of 55 British zoologists and hunting enthusiasts, presented it to Roosevelt, his personal friend, who then used it to hunt elephant, buffalo, and rhinoceros during a year-long safari in Africa. The rifle has since acquired the modern, unofficial nickname of "The Big Stick," from Roosevelt's famous quote, "speak softly and carry a big stick," derived from a West African proverb.  Other arms of notable provenance include Buffalo Bill's lever-action rifle, George Armstrong Custer's ivory-gripped pistols, George Washington's flintlock hunting rifle, Geronimo's bow and quiver of arrows, the James-Younger Gang's revolvers, Josiah Bartlett's saber and scabbard, and a half-stock percussion rifle made by Meshek “Mose” Moxley, a gunsmith who had escaped slavery via the Underground Railroad.  Most of the weapons at the Frazier were either manufactured or owned by veterans of American or European military conflicts, including the French and Indian War, the American Revolution, the War of the Second Coalition, the Anglo-Russian invasion of Holland, the Seminole Wars, the Texas Revolution, the Creek Alabama Uprising, the Mexican–American War, the Apache Wars, the Crimean War, the Sioux Wars, and the American Civil War.

Other artifacts.

Artifacts of the American Civil War include the First National Confederate Flag, which was likely carried into the Battle of Seven Pines.  American Indian Wars artifacts include beaded apparel designed for Cheyenne, Lakota Sioux, or Shoshone Indians employed as scouts by the U.S. Army and a surplus marble grave marker from the Battle of Little Bighorn.  Asian and European artifacts include a battle helmet modified for the "Gioco del Ponte" games in Medieval Italy, a Japanese "jingasa", Samurai suits of armor, and Schützenfest targets.  Among the rare and noteworthy books, documents, and artworks on display are the arrest warrant issued for Mary Todd Lincoln, who was declared “insane” in 1875 and institutionalized; the Boone family bible, a first edition copy of "Uncle Tom's Cabin", and an oil painting of Geronimo by Elbridge Ayer Burbank, the only artist for whom the Apache resistance leader ever sat.  Other objects in the permanent collection include ammunition, clothes, dolls, furniture, helmets, jewelry, military uniforms, miniatures, musical instruments, photographs, postcards, statues, textiles, tools, and toys.

Exhibitions.

Permanent exhibitions.

"The Founder's Gallery".

This exhibition commemorates Owsley Brown Frazier, the museum's founder, with a cast of historically significant artifacts, arms, and implements of warfare drawn from the permanent collection.

"The Spirit of Kentucky".

A visual guide to the history, craft, and culture of bourbon whiskey, "The Spirit of Kentucky" exhibition divides into three themed rooms: "Enchanted" looks at how the mix of limestone, water, grain crops, and white oak trees in Kentucky lends itself to the production of bourbon, "Gracious" celebrates the camaraderie of bourbon distillers and proprietors, and "Refined" examines the culture of bourbon consumers and collectors.  Visitors enter through a covered bridge and exit through the Bottle Hall, a corridor stocked with a growing collection of bottles that will ultimately include every brand of bourbon being produced in Kentucky.

The Stewart Collection.

According to "Old Toy Soldier", The Charles W. Stewart Historic Miniatures Collection constitutes “one of the finest collections of rare historic toy soldiers on permanent public display in the world today.” Originally donated in 2011, the collection has grown substantially in the years since. As of 2019, the collection consists of about 30,000 figurines, vehicles, and accessories, over 10,000 of which are currently on display, and represents approximately 170 different makers, including Barclay, Courtenay, Heinrichsen, Heyde, Lucotte, Märklin, Mignot, M.I.M., Vertunni, and W. Britain.  Dioramas in the collection depict scenes from the Punic Wars, the Germanic Wars, the Crusades, the Frankokratia, the Hundred Years' War, the Mongol Yoke, the Anglo-Scottish Wars, the American Indian Wars, the American Revolution, the French Revolution, the Napoleonic Wars, the Mexican–American War, the American Civil War, the Franco-Prussian War, the Montenegrin-Ottoman War, the Anglo-Zulu War, the Boer Wars, the Mahdist War, the Anglo-Egyptian War, the Spanish–American War, the Russo-Japanese War, World War I, and World War II.

"The Lewis and Clark Experience".

This immersive exhibition simulates the Lewis and Clark Expedition, a journey undertaken by the U.S. Army's Corps of Discovery from 1804 to 1806 with the mission of gathering scientific and commercial information about the flora, fauna, and geography of the territory within and northwest of the newly-acquired Louisiana Purchase.

Special exhibitions.

"Southern Exposition".

A champagne parlor in 2 West doubles as an event space and exhibit about the Southern Exposition, an annual, civic convention in Louisville modeled after the World's Fair which ran from 1883 — when President Chester A. Arthur presided over the inaugural opening ceremony — to 1887.

Interpretations.

A staff of costumed actors known as teaching artists writes and stages live interpretations at the Frazier. The performances cover a breadth of historical material dating from the Middle Ages to the 1930s.  Subjects of performances have included legends of Norse mythology and English folklore, the trial of Joan of Arc, the execution of Anne Boleyn, the Golden Age of Piracy, the reign of Catherine the Great, the Whiskey Rebellion, the Burning of Washington, the Blackburn race riots, the sinking of, the founding of the Girl Scouts of the USA, and the kidnapping of an Oklahoma oil tycoon by Kathryn and Machine Gun Kelly.  Stories relayed as firsthand accounts have included a sailmaker's captivity aboard, a surveyor's incursions into Shawnee hunting grounds, a sharpshooter's missions in the Peninsular War, a riverboat gambler's card games aboard the Kansas Pacific Railway, and a Louisville seamstress's achievements in bridal wear.

The Frazier History Museum, previously known as the Frazier Historical Arms Museum and the Frazier International History Museum, is a history museum located on Museum Row in the West Main District of downtown Louisville, Kentucky. An affiliate of the Smithsonian Institution, the Frazier documents and reinterprets stories from history using artifacts, gallery talks, and live interpretations that are written and performed in costume by a staff of teaching artists.


Biography.

Courlay was the daughter of Cardinal Richelieu's sister, Françoise du Plessis, and her husband René du Vignerot.  In 1620 Courlay married a nephew of the constable de Luynes, Antoine de Beauvoir du Roure, sieur de Combalet, who died in 1622. In 1625, through her uncle's influence, she was made a lady-in-waiting ("dame d'atour") to the queen-mother Marie de Medici, and in 1638 was created duchess of Aiguillon.  The Duchess did not marry a second time, although Richelieu wished to marry her to a prince, either to the comte de Soissons or to the king's brother. After the death of the cardinal in 1642, the Duchess retained her honours and titles, but withdrew from the court and devoted herself entirely to works of charity. She became a patron of work involving science and the arts, providing funding for many notable initiatives. She died on 17 April 1675.

Patron of science and arts.

The Duchess worked with St. Vincent de Paul and helped him to establish the Bicêtre Hospital for foundlings. She also took part in re-organizing the Hôtel-Dieu de Paris and establishing several others in the provinces. Additionally, she founded and funded the establishment of the Hôtel-Dieu de Québec for the colonists of New France.  The Duchess was the patroness of Pierre Corneille, who in 1636 dedicated his tragedy "Le Cid" to her. She also had the vision to provide patronage to Marie Crous, a mathematician who introduced the decimal system to France with her published research.

Marie Madeleine de Vignerot du Pont de Courlay, Duchesse d'Aiguillon (160417 April 1675) was a French aristocrat, also remembered for her charitable work and her patronage of artists and mathematicians.


Ancient inhabitants of Shandong area.

Oracle bone inscriptions from the early 11th century BCE refer to campaigns by the late Shang king Di Yi against the "Rénfāng" (), a group occupying the area of southern Shandong and northern Jiangsu. Many Chinese archaeologists apply the historical name "Dongyi" to the archaeological Yueshi culture (1900–1500 BCE). Other scholars, such as Fang Hui, consider this identification problematic because of the high frequency of migrations in prehistoric populations of the region.

"Yi" (夷).

The Chinese word "yí" in "Dōngyí" has a long history and complex semantics.

Characters.

The modern Chinese regular script character for "yí" combines radicals (recurring character elements) "da" "big" and "gong" "bow", which are also seen in the seal script. However, "yí" was written in the earlier bronze script as a person wrapped with something, and in the earliest oracle bone script as a person with a bent back and legs.  The (121 CE) "Shuowen Jiezi" character dictionary, defines "yí" as "men of the east". The dictionary also informs that "yí" 夷 is not dissimilar from the "Xià", which means referred to the Chinese. Elsewhere in the "Shuowen Jiezi", under the entry of "qiang", the term "yí" is associated with benevolence and human longevity. "Yí" countries are therefore virtuous places where people live long lives. This is why Confucius wanted to go to "yí" countries when the "dao" could not be realized in the central states.  The scholar Léon Wieger provided multiple definitions to the term "yí": "The men 大 armed with bows 弓, the primitive inhabitants, barbarians, borderers of the Eastern Sea, inhabitants of the South-West countries."  Bernhard Karlgren says that in the bronze script for "yí" inscribed on Zhou Dynasty (c. 1045 BCE – c. 256 BCE) Chinese bronze inscriptions, "The graph has'man' and 'arrow', or 'arrow' with something wound around the shaft."  The Yi, or Dongyi, are associated with the bow and arrow: K. C. Wu says the modern character designating the historical "Yí peoples", is composed of the characters for 大 "big (person)" and 弓 "bow"; which implies a big person carrying a bow, and also that this old form of this Chinese Character was composed with an association of a certain group of people with the use of the bow in mind. Some classic Chinese history records like "Zuo Zhuan", "Shuowen Jiezi", "Classic of Rites", all have some similar records about this.  The earliest records of "yi" were inscribed on oracle bones dating from the late Shang Dynasty (c. 1600 – c. 1046 BCE). This oracle bone script was used interchangeably for "yí" 夷, "rén" "human", and "shī" "corpse; personator of the dead; inactive; lay out". The archeologist and scholar Guo Moruo believed the oracle graph for "yi" denotes "a dead body, i.e., the killed enemy", while the bronze graph denotes "a man bound by a rope, i.e., a prisoner or slave". The historical linguist explains this oracle character depicts either a "corpse"' with two bent legs or a "barbarian" custom of sitting with one's legs stretched out instead of the Chinese norm of squatting on one's heels. The early China historian Li Feng says the Western Zhou bronze graph for "Yí" was "differentiated from "rén" 人 (human) by its kneeling gesture, clearly implying a population that was deemed a potential source of slaves or servants", thus meaning "foreign conquerable". Axel Schuessler hypothesizes an Old Chinese etymological development from *"li" 夷 "extend; expose; display; set out; spread out" to *"lhi" 尸 "to spread out; lie down flat (in order to sleep); motionless; to set forth (sacrificial dishes)", to "personator of a dead ancestor", and to "corpse".

Etymology.

Historical linguists have tentatively reconstructed "yí" 夷's ancient pronunciations and etymology. The Modern Standard Chinese pronunciation "yí" descends from (c. 6th–9th centuries CE) Middle Chinese and (c. 6th–3rd centuries BCE) Old Chinese. Middle and Old Chinese reconstructions of "yí" 夷 "barbarian; spread out" include "i" < *"djər", "yij" < *"ljɨj", "jiɪ" < *"lil", and "ji" < *"ləi". As to the most recent reconstruction, William H. Baxter and Laurent Sagart (2014) reconstruct the Old Chinese name of "yí" 夷 as *ləj.  As Yuèjuèshū () states that the Yue word for "sea" is also 夷 (*"li" → "yí"), Sinologist Axel Schuessler proposes an Austroasiatic etymology for the ethnonym *"li" by comparing to Khmer "dhle" "sea", from Pre-Angkorian Old Khmer "danle(y)" "large expanse of water"; thus the ethnonym might have referred to a people living by the sea.

Usages.

The sinologist Edwin G. Pulleyblank describes how "Yi" usages semantically changed. "Their name furnished the primary Chinese term for 'barbarian' and is sometimes used in such a generalized sense as early as the Spring and Autumn period. At the same time it continued to have a specific reference, denoting especially the Yi of the Huai river region, who constituted a recognized political entity. Paradoxically the Yi were considered the most 'civilized' of the non-Chinese peoples."

Pre-Qin usages.

It is not easy to determine the times of people that a Classical Chinese document reflects.  Literature describing a pre-Xia Dynasty period does not use the character "yi". As for the Xià Dynasty, some groups of people are referred to as the Yi. For example, the "Yu Gong" chapter of the "Shu Ji" or "Book of Documents" terms people in Qingzhou and Xuzhou Laiyi (), Yuyi () and Huaiyi (). Another yi-related term is Jiu-yi (), literally "Nine Yi", which could have also had the connotation "The Numerous Yi" or "The Many Different Kinds of Yi", and which appears in a passage in The Analects that reads, "The Master (i.e., Confucius) desired to live among the Nine Yi." The term "Dongyi" is not used for this period.  Shang Dynasty oracle shell and bone writings record "yi" but not "Dongyi". Shima Kunio's concordance of oracle inscriptions lists twenty occurrences of the script for 夷 or 尸, most frequently (6 times) in the compound "zhishi" 祉尸 "bless the personator; blessed personator". Michael Carr notes some contexts are ambiguous, but suggests, "Three compounds refer to 'barbarians' (in modern characters, "fayi" 伐夷 'attack barbarians', "zhengyi" 征夷 'punish barbarians', and "yifang" 夷方 'barbarian regions')." Oracle inscriptions record that Shang King Wu Ding (r. c. 1250–1192 BCE) made military expeditions on the Yi, and King Di Xin (r. c. 1075–1046 BCE) waged a massive campaign against the Yifang 夷方 "barbarian regions". It appears that the Yifang were the same people as Huaiyi (Huai River Yi), Nanhuaiyi (Southern Huai Yi), Nanyi (Southern Yi) and Dongyi according to bronzeware inscriptions of the Western Zhou Dynasty. The Zhou Dynasty attempted to keep the Yi under its control. The most notable example of which is the successful campaign against the Huaiyi and the Dongyi led by the Duke of Zhou.  On the other hand, historian Huang Yang notes that in the Shang period, "the term "yi" probably did not carry the sense of 'barbarian'. Rather it simply denoted one of the many tribes or regions that were the target of the Shang military campaigns... We see, therefore, that at the beginning the "yi" might haven been certain particular tribe or group of people that was neighboring the Shang."  During the Spring and Autumn period, Jin, Zheng, Qi and Song tried to seize control of the Huai River basin, which was occupied by the Huaiyi, but the region ultimately fell under the influence of Chu to the south. At the same time, people in the east and south ceased to be called Dongyi as they founded their own states. These Yifang states included the states of Xu, Lai, Zhongli, Ju and Jiang. The small state of Jie was based around present-day Jiaozhou. The state of Xu occupied large areas of modern Jiangsu and Anhui provinces between the Huai and Yangtze Rivers. Eventually, after warring with Chu and Wu, it was conquered by the State of Wu in 512 BC. Chu annexed the State of Jiang, destroyed the State of Ju whose territory was annexed by the State of Qi. Recent archaeological excavations reveal that the State of Xu's presence extended to western Jiangxi in modern Jing'an County. This includes bronzeware inscriptions about the State of Xu and also a tomb with many nanmu coffins containing sacrificial female victims. Dongyi customs include burials with many sacrificial victims and veneration of the sun.  References to Dongyi became ideological during the Warring States period, owing to cultural changes in Chinese concepts of Self and Other. When the (c. 4th BCE) "Classic of Rites" recorded stereotypes about the "Siyi" "Four Barbarians" ("Dongyi", "Xirong", "Nanman", and "Beidi") in the four directions, "Dongyi" had acquired a clearly pejorative nuance. The people of those five regions – the Middle states, and the [Rong], [Yi], (and other wild tribes round them) – had all their several natures, which they could not be made to alter. The tribes on the east were called [Yi]. They had their hair unbound, and tattooed their bodies. Some of them ate their food without its being cooked. Those on the south were called Man. They tattooed their foreheads, and had their feet turned in towards each other. Some of them (also) ate their food without its being cooked. Those on the west were called [Rong]. They had their hair unbound, and wore skins. Some of them did not eat grain-food. Those on the north were called [Di]. They wore skins of animals and birds, and dwelt in caves. Some of them also did not eat grain-food. The people of the Middle states, and of those [Yi], Man, [Rong], and [Di], all had their dwellings, where they lived at ease; their flavours which they preferred; the clothes suitable for them; their proper implements for use; and their vessels which they prepared in abundance. In those five regions, the languages of the people were not mutually intelligible, and their likings and desires were different. To make what was in their minds apprehended, and to communicate their likings and desires, (there were officers) – in the east, called transmitters; in the south, representationists; in the west, [Di-dis]; and in the north, interpreters.

Post-Qin usages.

The more "China" expanded, the further east the term "Dongyi" was applied to. The "Records of the Grand Historian" by Sima Qian uses the term "Manyi" (), but not "Dongyi". It puts the section of "Xinanyi (southwestern Yi) liezhuan (biographies)", but not "Dongyi liezhuan". The "Book of Han" does not put this section either but calls a Dongye () chief in the Korean Peninsula as Dongyi. The "Book of Later Han" puts the section of "Dongyi liezhuan (東夷列傳)" and covers Buyeo, Yilou, Goguryeo, Eastern Okjeo, Hui, Samhan and Wa, in other words, eastern Manchuria, Korea, Japan and some other islands. The "Book of Jin" positioned Dongyi inside the section of "Siyi" (barbarians in four directions) along with "Xirong", "Nanman" and "Beidi". The "Book of Sui", the "Book of Tang" and the "New Book of Tang" adopt the section of "Dongyi" and covers eastern Manchuria, Korea, Japan and optionally Sakhalin and Taiwan. During the Song Dynasty, the official history books replaced Dongyi with Waiguo () and Waiyi ().

The Dongyi or Eastern Yi () was a collective term for ancient peoples found in Chinese records. The definition of Dongyi varied across the ages, but in most cases referred to inhabitants of eastern and northeastern China, the Korean peninsula, or Japan. They were one of the Four Barbarians in Chinese culture, along with the Northern Di, the Southern Man, and the Western Rong; as such, the name "Yí" was something of a catch-all and was applied to different groups over time.


Origins.

The European Commission created the Port Working Group in 1974 with membership consisting of delegates from the port authorities of the major ports of Europe. The PWG process culminated in 1993 with the founding of the ESPO. ESPO functions as an independent organisation which lobbies for the interests of its member port authorities. Ferdinand Suykens, former director-general of the port of Antwerp, became the first chairman of ESPO.

Governance.

The highest body in the organisation is the General Assembly which consists of three members from each member state. It is responsible for creating policy based on the recommendations of the technical committees and convenes twice a year at a minimum. The Executive committee consists of a chairperson, two vice chairmen and two members of the General Assembly which are chosen to serve on the committee. The Executive committee is responsible for liaising with the European Commission and the other European institutions. The technical committees include the transport committee, the marine committee and the environment committee.

Environment.

In 2003 the ESPO published an environmental code of practice regulating environmental practices amongst its member port authorities. The ESPO-developed Environmental Code of Practice is used in conjunction with the Ports Environmental Review System (PERS) to develop policy, management and performance standards compliant with the environmental code. PERS was developed as part of the mandate of the ESPO-created ECOPORTS project.

Conferences.

ESPO organises annual Port conferences. The 12th annual ESPO conference was on 30 April 2015 and was held in Athens, Greece.

The European Sea Ports Organisation or ESPO, founded in 1993, is the representative body of the port authorities, port associations and port administrations of the seaports of the member states of the European Union and of Norway. Its membership includes ports from non-member states of the European Union which are admitted under observer status.


Background.

During Ringo Starr's tenure with the Beatles he had dabbled with country music: the band covered the country song "Act Naturally", and Starr co-wrote the country-influenced track "What Goes On" and wrote the country song "Don't Pass Me By". While playing on sessions for George Harrison's "All Things Must Pass", Starr – a long-time country and western fan – met American guitarist Pete Drake, in May 1970. Starr had to pick up Drake from the airport so that the pair could record with Harrison; Drake noticed the number of country albums Starr had in his vehicle. Realising Drake's deep connection to country, Starr asked him if they could collaborate on an album together. Drake told Starr his musician friends could compose more than an album's worth of material in a week, which Starr thought was "impossible". Starr was very keen and agreed. Starr promptly flew to Nashville on 22 June.

Recording.

Starr's original idea was to have the sessions take place in England and send the master tapes of the finished tracks to Drake. However, Drake convinced him to have the sessions take place in Nashville instead. All of the tracks were cut in three days, on 25, 26 and 27 June, at Music City Recorders. Sessions were engineered by Scotty Moore. All the material for the album was written purposely for Starr. Guitarist Charlie Daniels recalled the sessions as "pretty typical Nashville sessions. You know, three songs in three hours. It was go in, sit down and work. Here's the songs, here's the chords, let's get it done. It was not a Beatles-type leisurely session. It was work."  Starr sang a duet with Jeannie Kendall on the track "I Wouldn't Have You Any Other Way". Also recorded during the sessions was the B-side to the title track, "Coochy Coochy", which originally ran to 28 minutes in length. The sessions went exceedingly well, according to Starr, who has said that they recorded "a few other tracks that we didn't put out" and ended the sessions with two long jam sessions, one lasting 18 minutes and the other 20 minutes. Session drummer D. J. Fontana recalled that Starr "never varied from that tempo. He had the greatest conception of tempo I've ever heard in my life. I have never heard anybody play that steady in my life, and that's a long time." Acetate discs of the album, which were titled "Ringo in Nashville", were sold at an auction in August 1992, featured a different track order and included songs not featured on the released version of the album. It was clear to all that Starr's vocals were much more suited to the genre of country than the old standards that characterised "Sentimental Journey". For Starr, making "Beaucoups of Blues" had fulfilled a lifelong ambition.

Release.

"Beaucoups of Blues" was released on 25 September 1970 in the UK and on 28 September in the US. The title track was released as a single only in the US, backed with the non-album track "Coochy Coochy" on 5 October 1970. As with "Sentimental Journey", the fan base was bemused by Starr's abrupt change in style. "Beaucoups of Blues" did not perform nearly as well as its predecessor, missing the UK charts and reaching only number 65 in the US. The album fared better in other countries, peaking at number 34 in Canada, number 33 in Australia, and number 21 in Norway.  The front cover of "Beaucoups of Blues", according to Sorrells Pickard, was taken outside musician Tracy Nelson's (Mother Earth – The Blues Broads) smokehouse in Nashville by Marshall Fallwell, Jr. The back cover featured a photo of a large majority of the musicians that appeared on the album. In light of the tepid commercial reaction, Starr would refrain from further album releases for the time being, preferring to concentrate on his second vocation, film acting. On 18 October, Apple announced that a second album of the Nashville recordings would be released; however, the album never materialised. "Beaucoups of Blues" was remastered and reissued on CD in 1995, on 1 May in the UK, and on 1 August in the US. This edition came with two bonus tracks: "Coochy Coochy" and a jam with all the musicians titled "Nashville Jam".

Critical reception.

Writing for "Rolling Stone", Charles Burton remarked: "If "Beaucoups of Blues" reminds one of any record, it's "Nashville Skyline", only instead of being lovable, spaced-out Bobby Dylan in front of those luxurious Nashville backups, it's lovable Richard Starkey who is crooning his heart out." In an interview with Jann Wenner of "Rolling Stone" on 8 December 1970, John Lennon called the album "a good record", but qualified that comment by saying he "didn't feel as embarrassed as I did about [Starr's] first record".  In "Melody Maker", Richard Williams remarked on Starr's limitations as a vocalist but found that his "conviction and charm" were such that "Beaucoups of Blues" "forces one to abdicate from any hip posture and admit, just this once, to sheer uncomplicated enjoyment". Williams acknowledged the key roles played by Drake and guitarist Chuck Howard, before concluding: "One can imagine... that Ringo had a ball making this album. I had a ball listening to it." In his combined review of all the former Beatles' 1970 solo releases, Geoffrey Cannon of "The Guardian" rated "Beaucoups of Blues" as his favourite, saying: "The result is superb. Not because Ringo is a good singer, but because, this time, he's let himself be used well. People who work with men like Pete Drake and Charlie McCoy don't go wrong." Writing in "Saturday Review" magazine, Ellen Sander described the LP as "so protective and perfect a presentation of a vastly underestimated singing talent" and paired it with Harrison's "All Things Must Pass" as solo albums that "delight in their individuality while recognizing, but not relying on, a former mode of expression". "Village Voice" critic Robert Christgau believed Starr was trying to impersonate Buck Owens while singing flat, if not entirely faint, but concluded that "both the songs and Pete Drake's production bespeak a high-quality obsession — the music sticks. And Ringo is still Ringo, which means he's good at making himself felt."  Although it was only moderately successful at the time, some critics have since stated that "Beaucoups of Blues" is one of Starr's best albums. Bob Woffinden wrote in his 1981 book "The Beatles Apart": "Ringo took his chance well and his homely lugubrious voice suited those typically maudlin country songs like a charm. It's one of the best Beatle solo albums." Among reviews of the 1995 reissue, "Q" magazine described it as "always likable and original" and "a collection of contemporary country songs, delivered by Ringo Starr in a languidly melancholic style curiously reminiscent of Michael Nesmith". "Mojo" editor Paul Du Noyer admired the "stellar cast of country players" on the recordings and added that "the groove is loose and fluent."

Beaucoups of Blues is the second studio album by the English rock musician and former Beatle Ringo Starr. It was released in September 1970, five months after his debut solo album, "Sentimental Journey". "Beaucoups of Blues" is very far removed in style from its pop-based predecessor, relying on country and western influences. A longtime fan of the genre, Starr recorded the album over three days in Nashville with producer Pete Drake. "Beaucoups of Blues" failed to chart in Britain but achieved moderate commercial success in the United States, where it reached number 35 on "Billboard"s Country Albums list and number 65 on the "Billboard" Top LPs chart.


Life.

Oğuz Atay was born October 12, 1934, in the Turkish town of İnebolu, in the province of Kastamonu. His father, Cemil Atay was a judge and also a Member of Parliament from Republican People's Party (Turkey). He went to elementary and middle school in Ankara, completed his high school education at Ankara Maarif Koleji, and his undergraduate degree at ITU School of Civil Engineering. He joined the same university as a faculty member, and became an Associate Professor in 1975.  His most notable novel Tutunamayanlar was published in 1971-72, and his second novel Tehlikeli Oyunlar was published in 1973. He wrote several plays, short-stories, and a biography. He died of a tumor inside his brain in December 13, 1977 before he could complete his final great project "Türkiye'nin Ruhu".

Works.

The literary works are now all published by Iletişim. What he had hoped would be his magnum opus, "Türkiye'nin Ruhu" (The Spirit of Turkey), was cut short by his death. It is not known what form he intended for it.

Influences and achievements.

The secondary literature, mostly in Turkish but also in German and English, is very extensive. See, for example, the report of a conference on his work, "Oğuz Atay'a Armağan" (2007), with some 150 contributions and a bibliography of over 500 items. This brief account does not attempt to summarise this material.  Atay was of a generation deeply committed to the westernising, scientific, secular culture encouraged by the revolution of the 1920s; he had no nostalgia for the corruption of the late Ottoman Empire, though he knew its literature, and was in particular well versed in Divan poetry. Yet the Western culture he saw around him was largely a form of colonialism, tending to crush what he saw was best about Turkish life. He had no patience with the traditionalists, who countered Western culture with improbable stories of early Turkish history. He soon lost patience with the underground socialists of the 1960s. And, although some good writers, such as Ahmet Hamdi Tanpınar, had written fiction dealing with the modernisation of Turkey, there were none that came near to dealing with life as he saw it lived. In fact, almost the only Turkish writer of the Republican period whose name appears in his work is the poet Nâzim Hikmet.  The solution lay in using the West for his own ends. His subject matter is frequently the detritus of Western culture — translations of tenth-rate historical novels, Hollywood fantasy films, trivialities of encyclopaedias, Turkish tangos. To the fracturing of Turkish life there corresponds the fracturing of language: the flowery Ottoman, the artificial purified Turkish, the rank colloquialism. From the West Atay took one of his favourite motifs, but so changed as to be new, intercourse between people as playing games: the free games of love and friendship, the ritualised games of superficial acquaintance, the mechanical games of bureaucracy.  Since the publication of "Tutunamayanlar" many Turkish novelists have broken away from traditional styles, first the slightly older writer Adalet Ağaoğlu, then others including Orhan Pamuk and Latife Tekin.

Oğuz Atay (October 12, 1934 – December 13, 1977) was a pioneer of the modern novel in Turkey. His first novel, "Tutunamayanlar" ("The Disconnected"), appeared 1971-72. Never reprinted in his lifetime and controversial among critics, it has become a best-seller since a new edition came out in 1984. It has been described as “probably the most eminent novel of twentieth-century Turkish literature”: this reference is due to a UNESCO survey, which goes on: “it poses an earnest challenge to even the most skilled translator with its kaleidoscope of colloquialisms and sheer size.” In fact three translations have so far been published: into Dutch, as "Het leven in stukken", translated by Hanneke van der Heijden and Margreet Dorleijn (Athenaeum-Polak & v Gennep, 2011); into German, as "Die Haltlosen", translated by Johannes Neuner (Binooki, 2016); into English, as "The Disconnected", translated by Sevin Seydi (Olric Press, 2017: ): an excerpt from this won the Dryden Translation Prize in 2008 (Comparative Critical Studies, vol. V (2008) 99).