Early life.

Childhood.

He was born in the late Qing Dynasty in Wutai County, Xinzhou, Shanxi, to a family that had been bankers and merchants for generations (Shanxi was known for its many successful banks until the late 19th century). As a young man he worked for several years at his father's bank while pursuing a traditional Confucian education at a local

Experience in Japan.

Over the five years that Yan studied in Japan, he became impressed by the country's efforts to successfully modernize. He observed the progress made by the Japanese (whom the Chinese had previously considered unsophisticated and backward) and began to worry about the consequences if China were to fall behind the rest of the world. This formative experience was later cited as a period of great inspiration for his later efforts to modernize Shanxi.  Yan eventually concluded that the Japanese had successfully modernized largely due to the government's abilities to mobilize its populace in support of its policies and to the close, respectful relationship that existed between the military and civilian populations. He attributed the surprising Japanese victory in the 1905 Russo-Japanese War to the enthusiastic mobilization of

Return to China.

When he returned to China in 1909 he was assigned as a division commander of the New Army in Shanxi, but secretly worked to overthrow the Qing. During the 1911

Career in the early Republic.

Conflict with Yuan Shikai.

In 1911 Yan hoped to join forces with another prominent Shanxi revolutionary, Wu Luzhen, in order to undermine Yuan Shikai's control of north China, but these plans were aborted after Wu was assassinated. Yan was elected military governor by his comrades but was unable to prevent a subsequent invasion by the troops of Yuan Shikai, who occupied most parts of Shanxi in 1913. During the period of Yuan's invasion, Yan was only able to survive by withdrawing northward and aligning himself with a friendly insurgent group in neighboring Shaanxi province. By avoiding a decisive military confrontation with Yuan, Yan was able to preserve his own base of power. Though he was friends with Sun Yat-sen, Yan

Efforts to modernize Shanxi.

By 1911, Shanxi was one of the poorest provinces in China. Yan believed that, unless he was able to modernize and revive Shanxi's economy and infrastructure, he would be unable to prevent Shanxi from being overrun by rival warlords. A military defeat in 1919 inflicted by a rival warlord convinced Yan that Shanxi was not sufficiently developed to compete for hegemony with other warlords, and he avoided the violent national politics of the time by enforcing a neutrality policy on Shanxi, freeing his province from the civil wars. Instead of participating in the ongoing civil wars,

Involvement in the Northern Expedition.

In order to maintain Shanxi's neutrality and free it from serious military confrontations with rival warlords, Yan developed a strategy of shifting alliances between various warring cliques, inevitably joining only winning sides. Although he was weaker than many of the warlords that surrounded him, he often held the balance of power between neighboring rivals, and even those that he betrayed hesitated to retaliate against him in case they might need

Involvement in the Central Plains War.

Yan's alliance with Chiang was interrupted in 1929 when Yan joined Chiang's enemies to establish an alternative national government in northern China. His allies included the northern warlord Feng Yuxiang, the Guangxi Clique led by Li Zongren, and the left-leaning Kuomintang faction led by Wang Jingwei. While Feng and Chiang's armies were annihilating each other, Yan marched virtually unopposed through Shandong, capturing the provincial capital of Jinan in June 1930. After these victories Yan attempted to forge a new national government, with himself as President, by calling an "Enlarged Party Conference". Under his plan Yan was to be president and Wang Jingwei was to serve as his prime minister. This conference attempted to draft a national constitution and involved the participation of numerous high-ranking Chinese militarists and politicians from among Chiang's rivals. These deliberations were interrupted by Chiang who, after decisively defeating Feng's armies, invaded Shandong and virtually annihilated Yan's army. When the governor of Manchuria, Zhang Xueliang, publicly declared his allegiance

Return to Shanxi.

Yan was only able to return to Shanxi through a complex effort of intrigue and politicking. Much of Chiang's failure to immediately and permanently eject Yan or his subordinates from Shanxi was due largely to the influence of Zhang Xueliang and the Japanese, who were anxious to prevent the extension of Chiang's authority into Manchuria. In Yan's absence the civil government of Shanxi ground to a halt, and the various military leaders of Shanxi struggled with each other to fill the vacuum, forcing Chiang's government to appoint Shanxi's leaders from among Yan's subordinates. Although he did not immediately declare his return to provincial politics, Yan returned to Shanxi in 1931 with the support and protection of Zhang. This move was not protested by Chiang due to his involvement in suppressing the forces of Li Zongren, who had marched up to northern Hunan from his base in Guangxi in support of Yan.

Subsequent relationship with the Nationalist government.

After 1931, Yan continued to give nominal support to the Nanjing government while maintaining de facto control over Shanxi, alternatively cooperating with and fighting against Communist agents active in his province. Although he was not an active participant, Yan supported the 1936 Xi'an Incident, in which Chiang Kai-shek was arrested by Nationalist officers led by Zhang Xueliang and Yang Hucheng and released only when he agreed to make peace with the Communists and form a "united front" to resist the impending Japanese invasion of China. In his correspondence with Zhang Xueliang in 1936 Yan indicated that the growing rift between him and Chiang was due to Yan's anxieties over the potential for a Japanese invasion and a concern for the subsequent fate of China, and because Yan was not convinced of the correctness of focusing China's resources on anti-Communist campaigns. During the

Public policies.

In Shanxi, Yan implemented numerous successful reforms in an effort to centralize his control over the province. Although embracing the traditional values of the landed gentry, he denounced their "oppression" of the peasantry and took steps to initiate land reform and weaken the power of landowners over the populace in the countryside. These reforms also weakened potential rivals in his province, in addition to benefiting Shanxi farmers.  Yan attempted to develop his army as a locally recruited force which cultivated a public image of being servants, rather than masters, of the people. He developed an all-encompassing, idiosyncratic ideology (literally "Yan Xishan Thought") and disseminated it by sponsoring a network of village newspapers and traveling dramatic troupes. He coordinated dramatic public meetings in which participants confessed their own misdeeds and/or denounced those of others. He devised a system of public education, producing a population of trained workers and farmers literate enough to be indoctrinated without difficulty. The early date by which Yan devised and implemented these reforms (during the Warlord Era) contradicts later claims that these reforms were modeled on Communist programs and not vice versa.

Military policies.

When Yan returned from Japan in 1909, he was a firm proponent of militarism, and proposed a system of national conscription along German and Japanese lines. Germany's defeat in World War I and Yan's defeat in Henan in 1919 caused him to reassess the value of militarism as a way of life. He then decreased the size of the army until 1923 (in order to save money), until a rumor circulated that rival warlords were planning on invading Shanxi. Yan then introduced military reforms designed to train a rural militia of 100,000 men, along the lines of Japanese and American reserves.  Yan attempted, via conscription, to create a civilian reserve that would become the foundation of society in Shanxi. His troops were perhaps the only army in the Warlord era drawn exclusively from the province in which they were stationed, and because he insisted that his soldiers perform work to improve Shanxi's infrastructure—including

Attempts at social reform.

Yan went to great lengths to eradicate social traditions which he considered antiquated. He insisted that all men in Shanxi abandon their Qing-era queues, giving police instructions to clip off the queues of anyone still wearing them. In one instance, Yan lured people into theatres in order to have his police systematically cut the hair of the audience. He attempted to combat widespread female illiteracy by creating in each district at least one vocational school in which

Attempts to eradicate opium use.

In 1916, at least 10% of Shanxi's 11 million people were addicted to opium, and Yan attempted to eradicate opium use in Shanxi after he came to power. At first, he dealt with opium dealers and addicts severely, throwing addicts in prison and exposing them and their families to public humiliation. Many convicted of opium-related offenses then died of sudden withdrawal from the drug. After 1922, partly due to public opposition to harsh punishment, Yan abandoned punishing addicts in favor of attempting to rehabilitate them, pressuring individuals through their families, and constructing sanitariums designed to slowly cure addicts of their addictions.  Yan's attempts to suppress the opium trade in Shanxi were largely successful, and the number of opium addicts in the province was reduced by 80% by 1922. In the absence

Limitations of economic reforms.

Yan's efforts to stimulate Shanxi's economy mostly consisted of state-led investment in a broad variety of industries, and he generally failed to encourage private investment and trade. Though gains were made to improve the economy of Shanxi, his efforts were limited by the fact that he himself had little formal

Yan Xishan Thought.

Throughout his life Yan Xishan attempted to identify, formulate and disseminate a comprehensive ideology that would improve the morale and loyalty of his officials and the people of Shanxi. During his time of study in Japan, Yan became attracted to militarism and Social Darwinism, but he renounced these after World War I. Throughout the rest of Yan's life he identified with the position of most Chinese conservatives at the time: that social and economic reform would progress from ethical reform, and that the problems confronting China could only be solved by the moral rehabilitation of the Chinese people. Believing that no single ideology existed to unify the Chinese people at the time that he came to power, Yan attempted to generate an ideal ideology himself, and once boasted that he had succeeded in creating a comprehensive system of belief that embodied the best features of "militarism, nationalism, anarchism, democracy, capitalism, communism, individualism, imperialism, universalism, paternalism and utopianism". Much of Yan's attempts to spread his ideology were through a network of semi-religious organizations known as "Heart-Washing Societies".

Influence of Confucianism.

Yan was emotionally attached to Confucianism by virtue of his upbringing, and because he identified its values as a historically effective solution to the chaos and disorder of his time. He justified his rule via Confucian political theories and attempted to revive Confucian virtues as being universally accepted. In his speeches and writing Yan developed an extravagant admiration for the virtues of moderation and harmony associated with the Confucian Doctrine of the Mean. Many of the reforms that Yan attempted were undertaken with the intention of demonstrating that he was a "junzi", the epitome of Confucian

Influence of Christianity.

Yan attributed much of the West's vitality to Christianity, and believed that China could only resist and overtake the West by generating an ideological tradition that was equally inspiring. He appreciated the efforts of missionaries (mostly Americans who maintained a complex of schools in Taigu) to educate and modernize Shanxi. He regularly addressed the graduating classes of these schools, but was generally unsuccessful in recruiting these students to serve his regime. Yan supported the indigenous Christian church in Taiyuan, and

Influence of Chinese Nationalism.

In 1911, Yan came to power in Shanxi as a disciple of Chinese nationalism, but subsequently came to view nationalism as merely another set of ideas that could be used to achieve his own objectives. He stated that the primary goal of the Heart-Washing Society was to encourage Chinese patriotism by reviving the Confucian church, leading foreigners to accuse him of attempting to create a Chinese version of Shinto.  Yan attempted to moderate some aspects of Sun Yat-sen's ideology that he viewed as potentially

Influence of socialism and communism.

In 1931 Yan returned from his exile in Dalian impressed with the apparent successes of Soviet Union's first five-year plan, and attempted to reorganize the economy of Shanxi using Soviet methods, according to a local "Ten-Year Plan" that Yan himself developed. Throughout the 1930s Yan bluntly equated economic development with state control of industry and finance, and he was successful in bringing most major industry and commerce under state control by the late 1930s.  Yan's speeches after 1931 reflect an interpretation of Marxist economics (mostly drawn from "Das Kapital") that he gained while in exile in Dalian. Following this interpretation, Yan attempted to change the economy of Shanxi to become more like that of the USSR, inspiring a scheme of economic "distribution according to labour". When the threat of Chinese Communists became a significant threat to Yan's rule, he defended the Communists as courageous and self-sacrificing fanatics who were

Extent of success.

In spite of his efforts, Yan did not succeed in making Yan Xishan Thought widely popular in Shanxi, and most of his subjects refused to believe that his true objectives differed substantially from those of past regimes. Yan himself blamed the failure of his ideology to become

Threats to Yan's rule.

Early conflict with Japan.

Yan did not come into serious conflict with the Japanese until the early 1930s. While he was in exile in Dalian in 1930, Yan became aware of Japanese plans to invade Manchuria, and feigned collaboration with the Japanese in order to pressure Chiang Kai-shek into allowing him to return to Shanxi before warning Chiang of Japan's intent. Japan's subsequent success in taking Manchuria in 1931 terrified Yan, who stated that a major objective of his Ten-Year Plan was to strengthen Shanxi's defense against the Japanese. In the early 1930s he supported anti-Japanese riots, denounced the Japanese occupation of Manchuria as "barbarous" and "evil", publicly appealed to Chiang to send troops to Manchuria and arranged for his arsenal to arm partisans fighting the Japanese occupation in Manchuria.  In December 1931 Yan was warned that, after taking control of Manchuria, the Japanese would attempt to take control of Inner Mongolia by subverting Chinese authority in Chahar and Suiyuan. In order to prevent

Early conflict with the Chinese Communist Party.

Although Yan admired its philosophy and economic methods, he feared the threat posed by Chinese communists almost as much as the Japanese. In the early 1930s he observed that, if it invaded Shanxi, the Red Army would enjoy the support of 70% of his subjects, and would readily be able to recruit one million men from among the most desperate citizens of Shanxi. He remarked that "the job of suppressing communism is 70% political and only 30% military, while the job of preventing its growth altogether is 90% political." In order to prevent a Communist threat to Shanxi, Yan sent troops to fight the Communists in Jiangxi and (later) Shaanxi, organized the gentry and village authorities into anti-corruption and anti-communist

Invasion by Mengguguo.

In March 1936, Manchukuo troops occupying the Inner Mongolian province of Chahar invaded northeastern Suiyuan, which Yan controlled. These Japanese-aligned forces seized the city of Bailingmiao in northern Suiyuan, where the pro-Japanese Inner Mongolian Autonomous Political Council maintained its headquarters. Three months later the head of the Political Council, Prince De (Demchugdongrub), declared that he was the ruler of an independent Mongolia (Mengguguo), and organized an army with the aid of Japanese equipment and training. In August 1936 Prince De's army attempted to invade eastern Suiyuan, but it was defeated by Yan's forces under the command of Fu Zuoyi. Following this defeat, Prince De planned another invasion while Japanese agents carefully sketched and photographed Suiyuan's defenses.  To prepare for the imminent threat of Japanese invasion that he felt after Suiyuan was invaded, Yan attempted to force all students to undergo several months of compulsive military training and formed an informal alliance with the Communists for the purpose of fighting the Japanese, several months before the Xi'an Incident compelled Chiang Kai-shek to do the same. In November 1936

The Second Sino-Japanese War.

During the Second Sino-Japanese War (1937–45), most regions of Shanxi were quickly overrun by the Japanese, but Yan refused to flee the province even after losing the provincial capital, Taiyuan. He relocated his headquarters to a remote corner of the province, effectively resisting Japanese attempts to completely seize Shanxi. During the Second Sino-Japanese War, the Japanese made no less than five attempts to negotiate peace terms with Yan and hoped that he would become a second Wang Jingwei, but Yan refused and stayed on the Chinese side.

Alliance with the Communists.

After the failed attempt by the Chinese Red Army to establish bases in southern Shanxi in early 1936, the subsequent continued presence of Nationalist soldiers there and the Japanese attempts to take Suiyuan that summer, Yan became convinced that the Communists were lesser threats to his rule than either the Nationalists or the Japanese. He then negotiated a secret anti-Japanese "united front" with the Communists in October 1936 and, after the Xi'an Incident two months later, successfully influenced Chiang Kai-shek to enter into a similar agreement with the Communists. After establishing his alliance with the

Early campaigns.

In July 1937, after the Marco Polo Bridge Incident provoked the Japanese into attacking Chinese forces in and around Beijing, the Japanese sent a large number of warplanes and Manchurian soldiers to reinforce Prince De's army. This caused Yan to believe that a Japanese invasion of Shanxi was imminent, and he flew to Nanjing to communicate the situation to Chiang Kai-shek. Yan left his meeting in Nanjing with an appointment as commander of the Second War Zone, comprising Shanxi, Suiyuan, Chahar and northern Shaanxi.  After returning to Shanxi, Yan encouraged his officials to be suspicious of enemy

Fall of Taiyuan.

By executing commanders guilty of retreating, Yan succeeded in improving the morale of his forces. During the Battle of Pingxingguan Yan's troops in Shanxi successfully resisted numerous Japanese assaults, while the Eighth Route Army harassed the Japanese from the rear and along their flanks. Other units of Yan's army successfully defended other nearby passes. After the Japanese successfully broke into the Taiyan Basin, they continued to encounter ferocious resistance. At Yuanping, a single brigade of Yan's troops held out against the Japanese advance for over a week, allowing reinforcements sent by the central government to take up defensive positions at Xinkou. The Communist generals Zhu De and Peng Dehuai criticized Yan for what they called "suicidal tactics", but Yan was confident that the heavy losses suffered by the Japanese would eventually demoralize them, forcing them to abandon their effort to take Shanxi.  During the Battle of Xinkou, the Chinese defenders resisted the efforts of Japan's elite Itakagi Division for over a month, despite Japanese advantages in artillery

Re-establishment of Yan's authority.

Shortly before losing Taiyuan Yan moved his headquarters to Linfen, in southwestern Shanxi. Japanese forces halted their advance in order to focus on combating Communist guerrilla units still active in their territory and communicated to Yan that they would exterminate his forces within a year, but that he and his supporters would be treated with consideration if they severed relations with the central government and assisted the Japanese in suppressing the Communists. Yan responded by repeating his promise not to surrender until Japan had been defeated. Possibly because of the severity of his losses in northern Shanxi, Yan abandoned a plan of defense based on positional warfare, and began to reform his army as a force capable of waging guerrilla warfare. After 1938 most of Yan's followers came to refer to his regime as a "guerrilla administration".  Yan's intransigence obliged the Japanese to invade Linfen. His forces, under the command of Wei Lihuang, put up a stiff defense at Lingshi Pass but were eventually forced to abandon the position when a Japanese column broke through a different pass and threatened Linfen from the east. Wei was successful in preventing the

Negotiations with the Japanese.

In 1940 Yan's friend, Ryūkichi Tanaka, became chief of staff of the Japanese First Army, which was stationed in Shanxi. After Yan's animosity with the Communists became apparent, Tanaka began negotiations with Yan in an effort to induce him to enter into an anti-Communist alliance with Japan. Yan agreed to send a high-level representative to meet with the Japanese, and obtained permission from the central government to negotiate with them for an agreement to remove all troops from Shanxi in exchange for Yan's cooperation. Perhaps because the Japanese were unwilling to meet these demands, Yan withdrew from negotiations in December 1940, when Tanaka's superiors recalled him to Japan. Two months later the Japanese repeated their charge that Yan was a "dupe" of the Communists.  In May 1941 Tanaka returned to Shanxi and reopened negotiations with Yan, despite a general resistance from other Japanese military leaders in North China. Tanaka returned to Tokyo in August 1941, paving the way for talks between Yan and Gen. Yoshio Iwamatsu, then the commander of the Japanese First Army in Shanxi. In the summer of 1942 Yan told the Japanese

Relationship with the Japanese after 1945.

After the surrender of Japan and the end of the Second World War, Yan Xishan was notable for his ability to recruit thousands of Japanese soldiers stationed in northwest Shanxi in 1945, including their commanding officers, into his army. He was known to have successfully used a variety of tactics to achieve these defections: flattery, face-saving gestures, appeals to idealism and genuine expressions of mutual interest. In cases where these were not completely successful, he sometimes resorted to "bribes and women". His tactics in both convincing the Japanese to stay and in preventing them from leaving were highly successful, as the efforts of the Japanese were instrumental in keeping the area surrounding Taiyuan free from Communist control for the four years before the Communists won the Chinese Civil War.  Yan was successful in keeping the presence of the Japanese from American and Nationalist observers. He was known for making shows

Civil war.

After the Second World War, Yan's forces (including thousands of former Japanese troops) held out against the Communists during the Chinese Civil War for four years. They held out until April 1949, after the Nationalist government had lost control of northern China, allowing the PLA to encircle and besiege his forces. The area surrounding the provincial capital of Taiyuan was the longest to resist Communist control.

The Shangdang Campaign.

The Shangdang Campaign was the first battle between Communist and KMT forces after World War II. It began as an attempt by Yan (authorized by Chiang Kai-shek) to re-assert control over southern Shanxi, where the People's Liberation Army was known to be especially active. At the same time Yan's former general, Fu Zuoyi, had captured several important cities in Inner Mongolia: Baotou and Hohhot. If both Yan and Fu had been successful, they would have cut off the Communist headquarters in Yan'an from their forces in Northeast China. The local commander, Liu Bocheng (later named one of China's "Ten Great Marshals), decided to direct his forces against Yan in order to prevent this from happening. Liu's

The Taiyuan Campaign.

By 1948 Yan's forces had suffered a succession of serious military defeats by the PLA, losing control of southern and central Shanxi, and were surrounded on all sides by territory controlled by the Communists. Anticipating an assault on northern Shanxi, Yan prepared his armies by fortifying over 5,000 bunkers, constructed over the rugged natural terrain surrounding Taiyuan. The Nationalist 30th Army was airlifted from Xian to Taiyuan to fortify the city, which was protected by over 600 pieces of artillery. Yan repeatedly declared his intentions to die in the city during this period. The total number of Nationalist troops present in northern Shanxi by the fall of 1948 was 145,000.  To overcome these defenses, the Communist commander Xu Xiangqian developed a strategy of engaging positions on the outskirts

Last Years.

Premier of the Republic of China.

In March 1949 Yan flew to the capital of Nanjing for the purpose of asking the central government for more food and ammunition, taking most of the provincial treasury with him, and did not return before Taiyuan fell to Communist forces. Shortly after arriving in Nanjing, Yan insinuated himself into a quarrel between the acting president of the Chinese Republic, Li Zongren, and Chiang Kai-shek, who had resigned from the presidency in January 1949. Although Chiang had resigned, many officials and generals remained loyal to him, and Chiang retained over US$200 million, which he did not allow Li to use in order to fight the Communists or to stabilize the currency. The ongoing power struggle between Li and Chiang seriously disrupted the larger effort to defend Nationalist territory from Communist forces.  Yan focused his efforts on attempting to promote greater cooperation between Li and Chiang. On one occasion he broke down in

Retirement in Taiwan.

Yan's final years were filled with disappointment and sadness. After following Chiang to Taiwan he enjoyed the title of Chiang's "senior advisor", but in reality he was utterly powerless. Chiang may have held a long-term grudge against Yan due to his activities on behalf of Li in Guangdong. On more than one occasion Yan requested permission to go to Japan, but was not allowed to leave Taiwan.  Yan was deserted by all but a handful of followers, and spent most of his remaining years writing books on philosophy, history and contemporary events, which he frequently had translated into English. His

Legacy.

After the civil war Yan, like most Nationalist generals who did not switch sides, was demonized by Communist propaganda. It was not until after 1979, with new reforms in China, that he began to be viewed more positively (and thus, more realistically) as a pragmatic anti-Japanese hero. The contributions by Yan during his period in office are beginning to be recognized by the current Chinese government. One of his achievements—his success in containing one of the epidemics in Shanxi—was cited recently by various Chinese governmental organizations as an example to follow to contain the bird flu and SARS epidemics in China, and was used to criticize the incompetence of Chinese governmental officials in handling such epidemics.  Yan was sincere about his attempts to modernize Shanxi, and achieved success in some regards. By the time he was forced out of Shanxi by the Communists, the province was a major producer of coal, iron, chemicals, and munitions. Yan's generous support for the Research Association for the Improvement of Chinese Medicine generated a body of teaching and publication in modern Chinese medicine that became one of the foundations of the national institution of modern traditional Chinese medicine that was adopted in the 1950s. Throughout his rule he attempted to promote social reforms that later came to be taken for granted, but which were highly controversial in his time: the abolition of foot binding; work for women outside the home; universal primary education; and the existence of peasant militias as a fundamental unit of the army. He was possibly the warlord most committed to his province in his era, but was constantly challenged by his own dilettantism and the selfishness and incompetence of his own officials.  Although Yan constantly spoke of the desirability and need for reforms, until the 1930s he remained too conservative to implement anything resembling the kind of reforms needed to successfully modernize Shanxi. Many of his attempts at reform in the 1920s had been attempted generations before, during the Tongzhi Restoration. These Qing Dynasty reformers had found their reforms inadequate solutions to the problems of their time, and under the Model Governor these reforms proved equally unsatisfactory. During the 1930s Yan became increasingly open to radical social and economic policies, including wealth redistribution via graduated taxation, state-led industrialization, opposition to the money economy, an orientation towards functional (vs. "moral") education and the large-scale assimilation of Western technology. Despite his adoption of Soviet-style economic policies and increasingly radical attempts at social reform, Yan was regarded as a "conservative" throughout his career, suggesting that the term "conservative" must be used carefully within the context of modern Chinese history.  After Yan's time Shanxi became the site of Mao Zedong's "model brigade" of Dazhai: a utopian communist scheme in Xiyang County that was supposed to be the model for all other peasants in China to emulate. If the people of Dazhai were especially suited for such an experiment, it is possible that decades of Yan's socialist indoctrination may have prepared the people of Shanxi for Communist rule. After the death of Mao, the experiment was discontinued, and most peasants reverted to private farming.

Yan Xishan ; 8 October 1883 – 22 July 1960) was a Chinese warlord who served in the government of the Republic of China. He effectively controlled the province of Shanxi from the 1911 Xinhai Revolution to the 1949 Communist victory in the Chinese Civil War. As the leader of a relatively small, poor, remote province, he survived the machinations of Yuan Shikai, the Warlord Era, the Nationalist Era, the Japanese invasion of China and the subsequent civil war, being forced from office only when the Nationalist armies with which he was aligned had completely lost control of the Chinese mainland, isolating Shanxi from any source of economic or military supply. He has been viewed by Western biographers as a transitional figure who advocated using Western technology to protect Chinese traditions, while at the same time reforming older political, social and economic conditions in a way that paved the way for the radical changes that would occur after his rule.

Jen Si-šan (Yan Xishan) (zjednodušené znaky:阎锡山, tradiční znaky: 閻錫山, pchin-jin: Yán Xíshān) (8. listopadu 1883 — 22. července 1960) byl čínský vojenský generál, který byl členem vlády Čínské republiky. V letech 1911 až 1949 byl neomezený vládce provincie Šan-si.


Tectonic setting.

Peru lies above the destructive plate boundary where the Nazca Plate subducts beneath the South American Plate. The plates converge at a rate of 70 mm per year. The country has been affected by many large megathrust earthquakes caused by slip along the plate interface, such as the 1868 Arica earthquake. There are also large earthquakes of intermediate depth caused by faulting within the downgoing Nazca Plate.

Earthquake.

On 26 May 2019, at 07:41 UTC (2:41 a.m., local time), a 8.0 earthquake struck northern Peru. The earthquake lasted for about 60 seconds, with most of the energy being released within a period of about 40–60 seconds. The earthquake's epicenter was in the northern region of Peru, near Ecuador. This intermediate depth event (122.8 km) was caused by normal faulting within the Nazca Plate. Out of the two possible solutions of the moment tensor, analysis of seismic waveforms suggests that the causative fault dips towards the east.

Damage and casualties.

Two people were killed and 15 others were injured in Peru, while a further 15 people were injured in Ecuador.

Peru.

The President Martín Vizcarra of Peru called for calm and said that he, along with his transportation minister, would evaluate the damage to roadways. Vizcarra also stated that other officials would evaluate damage to structures and any effects on a nearby reservoir. Many people evacuated homes and stores when the earthquake struck late at night. Some buildings, streets, and bridges suffered damage from the earthquake.  The earthquake damaged 833 homes and left 404 of them uninhabitable. 38 health facilities were damaged, with 4 of them being rendered unusable. 111 schools were affected with 7 being put out of action.

Ecuador.

Some damage was reported from the parts of Ecuador closest to the epicenter.

An earthquake measuring 8.0 struck Peru and the surrounding areas on 26 May 2019 at 02:41 local time. It had a maximum perceived intensity of VIII ("Severe") on the Modified Mercalli intensity scale. Two people died and a further 30 were injured. It was the strongest earthquake in 2019 by magnitude.

K tektonickému zemětřesení v Peru 26. května 2018 došlo v 07:41:15 UTC, 02:41:15 místního času (09:41:15 našeho času) a magnitudo dosáhlo síly 8,0 stupňů Richterovy stupnice. Hypocentrum zemětřesení se nacházelo ve hloubce 122,8 km pod regionem Loreto zhruba 75 km jihovýchodně od města Lagunas.


Concept and creation.

The premise for both the Bella Swan character and the "Twilight" series originated in a dream Stephenie Meyer had in which an "average girl" and a "fantastically beautiful, sparkly... vampire... were having an intense conversation in a meadow in the woods." In this dream, the pair "were discussing the difficulties inherent in the facts that... they were falling in love with each other while... the vampire was particularly attracted to the scent of her blood, and was having a difficult time restraining himself from killing her."  Meyer's original characters were unnamed; she took to calling the characters, who would later become Edward Cullen and Bella, 'he' and'she' for the purpose of convenience as she, "didn't want to lose the dream." The name 'Isabella' was decided upon, Meyer explains, because "after spending so much time with [the character], I loved her like a daughter.... Inspired by that love, I gave her the name I was saving for my daughter... Isabella."  Bella's positive reception at her new school in Forks, particularly her popularity with male characters, was modelled after Meyer's real life move from high school to college. Meyer has said that there are similarities between Bella and the title character of Charlotte Brontë's "Jane Eyre", a novel which she has cited as an influence on the "Twilight" series.

Appearances.

"Twilight".

Bella, who first appears in "Twilight", is a young 17-year-old human girl, who moves from her mother's home in Phoenix, Arizona, to live with her father, Charlie Swan, a police chief, in her birthplace of Forks, Washington. There, she is enrolled at Forks High School, where she becomes intrigued by a young 17-year-old vampire student, Edward Cullen and his family. When Edward saves her life, he exhibits super-human qualities. Bella learns from Jacob Black that Quileute legends say the Cullen family are Cold Ones. Edward eventually admits that he is a vampire, though his family have what they call a "vegetarian" diet-only hunting animals. Edward constantly warns Bella against being with him, perceiving her life to be at constant risk because her blood's scent is more seductive to him than any other human he has ever met. Bella's love and confidence in Edward's restraint is such that his warnings go unheeded, While playing baseball with the Cullen family, she becomes the target of a sadistic vampire, James. Edward saves Bella from James' predation, though Edward is still unwilling to change Bella into a vampire himself.

"New Moon".

"New Moon" begins on Bella's eighteenth birthday. She has a dream where she is an old woman while her vampire boyfiend, Edward Cullen is perpetually young. During a birthday celebration at the Cullen residence, Bella gets a small paper cut while unwrapping a present. Edward's brother, Jasper, instinctively thirsting for her blood, lunges for Bella but Edward and Emmett restrain him. In a misguided attempt to protect Bella, Edward moves away with his family. Edward's departure results in Bella falling into a deep depression and isolation lasting months.  Charlie, concerned about Bella, wants her to live with her mother in Jacksonville, hoping a new environment will help. In an effort to stay in Forks, Bella begins seeing her old friends and attends a movie with Jessica. While there, she carelessly approaches a group of dangerous-looking bikers gathered outside a bar; she discovers she can hear Edward's voice when her adrenaline runs high. Desperate to hear his voice again, Bella continually seeks out danger and convinces Jacob to repair two old motorcycles and teach her how to ride. Their friendship deepens and Jacob admits his romantic feelings for Bella, though she does not reciprocate them. When the vampire Laurent returns to Forks, he tries to attack Bella. She is saved by a pack of giant wolves. Later, Bella learns that Jacob and other tribe members are shape-shifters who phase into wolf form to protect humans from vampires. Bella also discovers that Victoria has also returned to Forks, seeking to kill Bella to avenge her vampire mate, James' death.  To hear Edward's voice again, Bella attempts cliff jumping and nearly drowns, but Jacob rescues her. Alice returns to Forks after having a vision that Bella jumped off a cliff and has died, only to discover that Bella is alive. After Harry Clearwater died from a heart attack, her vision misread his funeral for Bella's. Edward, believing Bella has committed suicide, travels to Volterra, Italy, to request the Volturi to destroy him, though they refuse his request.  Alice and Bella follow Edward to Italy, barely in time prevent him from showing himself in daylight to humans, an act that would result in his execution. The trio is taken to the Volturi. Because Bella knows about vampires, the Volturi would either kill her or have her become a vampire. Alice shows Aro a vision she had of Bella as a vampire, and they are free to leave and are given a strict warning that there will be consequences if Bella remains human.  Upon returning home, Edward tells Bella that he never stopped loving her and only left Forks to protect her. Edward promises never to leave Bella again. Edward still opposes Bella becoming a vampire and intends to fool the Volturi. Intent on becoming an immortal, Bella asks the Cullens to vote on her fate. Only Rosalie and Edward oppose it. Later, Jacob reminds Edward about the treaty, and biting any human will nullify it. Bella insists it is her choice. Edward later agrees he will change her if she will marry him.

"Eclipse".

"Eclipse" continues the paranormality of 18-year-old human Bella and the vampire Edward's relationship. Edward is reluctant to change Bella into a vampire, believing that becoming a vampire will destroy her soul. Bella agrees to marry Edward on the condition that he will make love to her while she is still human and then turn her into a vampire. Edward initially declines, saying that he could easily lose control and unintentionally kill her. He reminds Bella that he is from another era, where relationships had fewer complications and couples remained celibate until marriage.  The plot is driven by the machinations of the vampire Victoria, who first encountered Bella and the Cullens during the first novel, "Twilight". Victoria, seeking to avenge her lover, James' death, hunts Bella while building a new vampire army to wipe out the Cullen coven. To combat this threat, a reluctant truce is struck between the Cullen s, and the shape-shifting wolf pack led by Sam Uley. Jacob Black pits himself against Edward as a love interest for Bella, but she considers him as a friend. Despite her love for Edward, she shares a kiss with Jacob and realizes she loves him, too, but loves Edward more. Bella acknowledges that Edward is the most important person in her life. After Victoria is killed and Edward has formally proposed, Bella must now tell her father Charlie, knowing he will oppose her marrying Edward.

"Breaking Dawn".

"Breaking Dawn" begins with the wedding of human Bella and vampire, Edward at the Cullen residence. They spend their honeymoon on Isle Esme, a small island off the coast of Rio de Janeiro, Brazil the Cullens own. Their lovemaking sparks a conflict between the newlyweds: Edward is horrified that he has bruised Bella, but she insists she is fine and wants Edward to make love to her again. Although he vows not to do so again while she is still human, he eventually gives in.  Two weeks into their honeymoon, Bella thinks she may be pregnant, even though it is believed a vampire cannot father a child. Edward and Bella return to Forks. Carlisle, a doctor, confirms that Bella is indeed pregnant. Her health quickly deteriorates as the baby's growth accelerates. Edward wants the pregnancy terminated to save Bella. Bella refuses, and asks her sister-in-law, Rosalie, to intervene as her advocate and protector. Edward comes to love the baby after hearing its thoughts, and learns it loves Bella and does not mean to harm her.  Bella goes into labor and Edward is forced to perform an emergency cesarean to deliver their daughter, Renesmee. As Bella lies dying, Edwards repeatedly injects his venom into Bella's body. During Bella's transformation and recovery, Jacob imprints—an involuntary process in which a shape-shifter finds his soulmate — on Edward and Bella's baby, Renesmee.  After the Cullens' vampire cousin, Irina, mistakes Renesmee for an immortal child (a forbidden creation in the vampire world), she reports it to the Volturi. Alice foresees the Volturi arriving to destroy the Cullen coven for the alleged transgression. The Cullens gather vampire witnesses to verify Renesmee's mortality, only to realize later the Volturi always intended to destroy their coven and recruit Alice for her foresight ability. Meanwhile, Bella learns that she is a "shield" and can block other's mental thoughts and senses. She can also project a protective barrier around others. Edward and Bella stand with the other Cullens and their allies to convince the Volturi that Renesmee is not an immortal child or poses a threat to their existence. Once the Volturi are impelled to leave or else face their own destruction as Alice has foreseen, Edward, Bella, Renesmee, and the other Cullens can finally live their lives in peace.

Characterization.

Physical appearance.

Bella is described as being petite, with a height of roughly 5'4", and a very translucent, pale complexion. She has thick, long, brown hair, with a wide forehead, and a widows peak. Her eyes are described as being "chocolate brown" and widely spaced. She has a small, thin nose, prominent cheekbones, lips a bit too full for her slim jawline, and thin eyebrows that are straighter than they are arched. Her fingernails are described as stubby from being bitten down.  The scent of her O negative blood is incredibly attractive to vampires, described by Bree Tanner to be the "sweetest scent she'd ever smelled", though it is a thousand times more intense to Edward Cullen.  As for distinguishing features, Bella has a small crescent-shaped scar on her hand where she was bitten by James, a tracker vampire, in "Twilight". The scar is described as being pale, always a few degrees colder than the rest of her body, and it shines like a vampire's skin when exposed to the sunlight. After Bella is changed into a vampire by Edward, she becomes extremely beautiful with even paler skin, straight waist-length hair, and crimson red eyes that will eventually turn gold after months of drinking animal blood. Her features are also heightened and perfected by the transformation.  Bella wears plain shirts, jeans, and sneakers for everywhere she goes, as she lacks care in her appearance.

Personality.

Bella is described as being clumsy, having a weak constitution, being nonathletic and hating anything physical. Bella is also described as a reclusive loner, insecure, and very sensitive. She also cares for the rest of the Cullen family, her husband Edward, her daughter Renesmee, her parents Charlie and Renée, and her friend Jacob Black. She has a tendency to underestimate the people around her mainly because of her concerns for their safety.  Having learned to take care of her mother over the years and being naturally responsible, Bella had developed into a very mature person, especially for her age. She mostly prefers to spend her free time reading classics from school.  When it comes to fashion, Bella is not traditionally feminine. She hates dressing up, saying that makeup "is a pain" and that she feels uncomfortable in impractical, elegant clothes; however, Alice does not care what Bella thinks and continues to persuade her to dress up and look glamorous. She is not materialistic and does not like spending money on luxurious items, telling Edward in "New Moon" "not to spend a dime on [her] birthday," and that fast cars are unnecessary, saying that Edward gave her himself and anything else he gives her would throw their relationship off balance. She hates being singled out and does not like her birthday being celebrated. She also has very negative views on teen marriage due to her parents' early experience but learns to overcome them later.  She is an extremely private person who keeps her thoughts and feelings to herself and hates when someone tries to understand her, which is thought to be why Edward is unable to hear her thoughts. She is also known to be incredibly stubborn with herself, because of her determination to become a vampire in order to be with Edward forever. She is also said to possess poor acting skills. Ironically, she demonstrates good acting ability in Twilight when she makes her father believe that she has dumped Edward and is leaving Forks. She is a very reserved girl with a stiff uptight position, habit of biting her lip, which she shares with Kristen Stewart. Bella knits together her eyebrows when feeling strong emotions such as nervousness. As a human, Bella easily fainted at the sight of blood, though it changes after she became a vampire. Bella is also shown in Breaking Dawn, to have a good mood climate, and is able to run away from the smell of human blood when she goes on her first hunting trip as a vampire.  Bella has a sarcastic sense of humor, especially when she gets mad; Bella is almost always a very soft and forgiving person who is hard to anger. She can surprisingly be very brave, able to block painful thoughts and memories (hence her special vampire ability), and tends to come face-to-face with life-threatening danger head-on, even though she can get scared later. She puts Edward before herself and everybody and everything else, but several'selfish' tendencies emerge (as when she asked Edward to stay with her instead of fighting vampires in Eclipse). Meyer has stated that Bella's "tragic flaw" in "Eclipse" is her lack of self-knowledge. This is most obviously illustrated in her consistent denial of any romantic feelings for Jacob Black, despite the fact that she later realizes that she is, indeed, in love with him.  Bella is also a very bad liar except to herself. According to Eclipse, Jacob and Edward saying that she's a terrible liar, are evidence to this. Besides, she also admits this throughout the whole saga, though she seemingly manages to lie to herself about her romantic feelings for Jacob.  In contrary to her low profile demeanor, Bella, according to Edward in Midnight Sun, has no sense of fear when she finds out Edward is a vampire. Instead of running away, as she should have, she decides to ask lots of questions with extreme curiosity. This makes Edward believe that it is not bad luck that follows her around, but that she has no sense of self-preservation. Bella isn't very rational nor sensible as she lacks common sense and street intelligence.  She hates anything cold and wet, even snow, which is why she initially hated to live in Forks. However, after meeting Edward, she found the town much more comfortable, even calling it "home". As a vampire, she also dislikes the idea of feeding on humans, but is glad to have found the strength she needed to protect her loved ones.  Bella inherited her mother's high perceptiveness to some degree, as she was able to guess Edward was a mind reader, the first human to do so. However, she was not able to guess that Edward was in love with her.  After being turned into a vampire, she describes having a much clearer view of the world. She is also very self-controlled, being able to ignore the scent of human blood on her first hunting trip. Bella's private mind that was able to repel some vampires' mental abilities while she was human evolved after she became a vampire; her skill strengthened, allowing her to shield herself and those around her from other vampires' mental gifts. By the end of "Breaking Dawn", she is able to cast the shield away from herself. She is also described by Edward as "very graceful", even for a vampire, in comparison to her earlier clumsiness as a human.

Film portrayal.

In the film adaptations, Bella is portrayed by actress Kristen Stewart. Meyer stated that she was "very excited" to see Stewart play the part and that she was "thrilled to have a Bella who has practice [in a vast array of film genres]", since, according to Meyer, "Twilight" has moments that fit into many genres. Stewart wears contact lenses in the films in order to achieve a chocolate brown eye color as described in the books.

Reception.

Bella has received a generally negative reception from critics. "Publishers Weekly" states that, after her transformation into a vampire, "it's almost impossible to identify with her" in "Breaking Dawn". Lilah Lohr of the "Chicago Tribune" compares Bella's character to the story of the Quileute wolves and describes it as "less satisfying." During "Twilight", Kirkus Reviews stated that "Bella's appeal is based on magic rather than character", but that her and Edward's "portrayal of dangerous lovers hits the spot". In the review of "New Moon", "Kirkus Reviews" said that Bella's personality was "flat and obsessive". Laura Miller of "salon.com" said, in regards to Edward and Bella, "neither of them has much personality to speak of." "Entertainment Weekly"'s Jennifer Reese, in her review of "Breaking Dawn" noted, in regard to Bella, "You may wish she had loftier goals and a mind of her own, but these are fairy tales, and as a steadfast lover in the Disney Princess mold, Bella has a certain saccharine appeal", and that during Bella's pregnancy "she is not only hard to identify with but positively horrifying, especially while guzzling human blood to nourish the infant." "Washington Post" journalist Elizabeth Hand noted how Bella was often described as breakable and that "Edward's habit of constantly pulling her onto his lap or having her ride on his back further emphasize her childlike qualities", continuing to write that "the overall effect is a weird infantilization that has repellent overtones to an adult reader and hardly seems like an admirable model to foist upon our daughters (or sons)." Gina Dalfonzo, in an article posted on the "National Review" website, calls Bella "self-deprecating" before her transformation into a vampire, and afterwards she is "insufferably vain". Dalfonzo also states that Bella gets what she wants and discovers her worth "by giving up her identity and throwing away nearly everything in life that matters."

Isabella Marie Swan (later Isabella Marie Cullen) is a character and the protagonist of the Twilight novel series, written by Stephenie Meyer. The "Twilight" series, consisting of the novels "Twilight", "New Moon", "Eclipse", and "Breaking Dawn", is primarily narrated from Bella's point of view, but partway through "Breaking Dawn" it is written from Jacob Black's perspective. In the film series, Bella is portrayed by actress Kristen Stewart.

Isabella Marie "Bella" Swanová Cullenová je fiktivní postava románové ságy Stmívání. Ve filmovém provedení ztvárnila hlavní hrdinku herečka Kristen Stewartová.


Life.

Pervushin was born in Perm Oblast, a district in the southeast of European Russia. He claimed his birthplace to be the town of Lysva (where his grandfather, John Pervushin, was a priest) but other sources suggest Pashii, in Gornozavodsk. Though, according to recently found archival parish registers of 1827 from Lysva church, he was born in Lysva. He graduated from Kazan clerical academy in 1852. Upon graduation, Pervushin was required to become a priest; he stayed for some time in Perm, then moved to a remote village of Zamaraevo, some 150 miles from Ekaterinburg, where he lived for 25 years.  In Zamaraevo, Pervushin founded a rural school in 1859. He moved to the nearby town of Shadrinsk in 1883, where he published an article that ridiculed the local government. As a punishment, he was exiled to the village of Mehonskoe in 1887.  Pervushin died in Mehonskoe at the age of 73.

Number theory.

The priest's job provided for Pervushin's life and left him plenty of free time to spend on mathematics. Pervushin was particularly interested in number theory. In 1877 and in the beginning of 1878 he presented two papers to the Russian Academy of Sciences. In these papers, he proved that the 12th and 23rd Fermat numbers are composite:  and  In 1883 Pervushin demonstrated that the number is a Mersenne prime, and that correspondingly is a perfect number. At the time, these were the second largest known prime, and the second largest known perfect number, after formula_7 and formula_8, proved prime and perfect by Édouard Lucas seven years earlier. They remained the second largest until 1911, when Ralph Ernest Powers proved that formula_9 is prime and formula_10 is perfect.  Pervushin was a contributor to the International World Congress of Mathematicians of 1893, a part of the World's Columbian Exposition in Chicago that became a precursor to the later International Congresses of Mathematicians. However, he did not attend.

Ivan Mikheevich Pervushin (, sometimes transliterated as Pervusin or Pervouchine) (—) was a Russian clergyman and mathematician of the second half of the 19th century, known for his achievements in number theory. He discovered the ninth perfect number and its odd prime factor, the ninth Mersenne prime. Also, he proved that two Fermat numbers, the 12th and 23rd, were composite.

Ivan Michejevič Pervušin (, 27. ledna 1827 Lysva – 29. června 1900 Mechonskoje) byl ruský kněz a matematik pracující zejména v teorii čísel.


History.

Recently, archaeologists have discovered evidence suggesting that the simple transverse flutes (though without the distinctive "mokong" of the "dizi") have been present in China for over 9,000 years. Fragments of bone flutes from this period are still playable today, and are remarkably similar to modern versions in terms of hole placement, etc. The Jiahu neolithic site in central Henan province of China has yielded flutes dating back to 7,000 BC - 5,000 BC that could represent the earliest playable instruments ever found. These flutes were carved with five to eight holes, and is capable of producing varied sounds in a nearly accurate octave. The "dizi" as we know it today roughly dates to the 5th century BC, although form of transverse flute have existed as early as the 9th century BC. There are examples of bamboo "dizi" that date back to 2nd century BC that has been found. These flutes share common features of other simple flutes from cultures all around the world, including the "ney", an end-blown cane flute which was depicted in Egyptian paintings and stone carvings. In fact, recent archeological discoveries in Africa suggest that the history of such flutes may date back a very long way in human history.

Modern modifications.

Traditionally "dizi" is made by using a single piece of bamboo. While simple and straightforward, it is also impossible to change the fundamental tuning once the bamboo is cut, which made it a problem when it was played with other instruments in a modern Chinese orchestra. In the 1920s musician Zheng Jinwen (, 1872-1935) resolved this issue by inserting a copper joint to connect two pieces of shorter bamboo. This method allows the length of the bamboo to be modified for minute adjustment to its fundamental pitch.  On traditional "dizi" the finger-holes are spaced approximately equidistant, which produces a temperament of mixed whole-tone and three-quarter-tone intervals. Zheng also repositioned the figure-holes to change the notes produced. During the middle of the 20th century "dizi" makers further changed the finger hole placements to allow for playing in equal temperament, as demanded by new musical developments and compositions, although the traditional "dizi" continue to be used for purposes such as "kunqu" accompaniment.  In the 1930s, an 11-hole fully chromatic version of the "dizi" was created, pitched in the same range as the western flute. However, the modified dizi's extra tone holes prevent the effective use of the membrane, so this instrument lacks the inherent timbre of the traditional "dizi" family.  While both the "bangdi" (pitched in the same range as western piccolo) and "qudi" (pitched a fourth or fifth lower than the "bangdi") are the most predominant, other "dizi" include the "xiaodi"/"gaoyindi" (pitched a fourth of fifth higher than the "bangdi"), the "dadi"/"diyindi" (pitched a fourth or fifth lower than "qudi"), and the "deidi"/"diyindadi" (pitched an octave lower than "qudi".)

Membrane.

Whereas most simple flutes have only a blowing hole (known as "chui kong" () in Chinese) and finger-holes, the "dizi" has a very different additional hole, called a "mo kong" (), between the embouchure and finger-holes. A special membrane called "dimo" (, lit. ""di" membrane"), made from an almost tissue-like shaving of reed (made from the inner skin of bamboo cells), is made taut and glued over this hole, traditionally with a substance called "ejiao", an animal glue. Garlic juice may also be used to adhere the "dimo", but it is not recommended as a permanent replacement. This application process, in which fine wrinkles are created in the centre of the "dimo" to create a penetrating buzzy timbre, is an art form in itself.  The "dimo"-covered "mo kong" has a distinctive resonating effect on the sound produced by the "dizi", making it brighter and louder, and adding harmonics to give the final tone a buzzing, nasal quality. "Dizi" have a relatively large range, covering about two-and-a-quarter octaves.

Playing techniques.

"Dizi" are often played using various "advanced" techniques, such as circular breathing, slides, popped notes, harmonics, "flying finger" trills, multiphonics, fluttertonguing, and double-tonguing. Most professional players have a set of seven "dizi", each in a different key (and size). Additionally, master players and those seeking distinctive sounds such as birdsong may use extremely small or very large "dizi".  Circle Breathing is a technique characteristic of wind instruments such as the Dizi, in which the performer breathes through the nose while expelling air through the mouth at the same time to create a continuous sound.

Fingerings.

M = Tongue Piece
 D = Membrane
 ● = Closed Hole
 ○ = Open Hole
 ◒ = Half Open Hole
 FOR LOW A FLUTE(A LOW A DIZI)
 01. M D | ● ● ● | ● ● ● = E
 02. M D | ● ● ● | ● ● ○ = F#
 03. M D | ● ● ● | ● ◒ ○ = G
 04. M D | ● ● ● | ● ○ ○ = G#
 05. M D | ● ● ● | ○ ○ ○ = A
 06. M D | ● ● ○ | ○ ○ ○ = B
 07. M D | ● ○ ○ | ○ ○ ○ = C#6
 08. M D | ○ ● ● | ○ ○ ○ = D
 09. M D | ○ ○ ○ | ○ ○ ○ = D#
 10. M D | ○ ● ● | ● ● ● = E
 11. M D | ● ● ● | ● ● ○ = F#
 12. M D | ● ● ● | ● ◒ ○ = G
 13. M D | ● ● ● | ● ○ ○ = G#
 14. M D | ● ● ● | ○ ○ ○ = A
 15. M D | ● ● ○ | ○ ○ ○ = B
 16. M D | ● ○ ○ | ○ ○ ○ = C#7
 17. M D | ○ ● ○ | ● ● ● = D
 18. M D | ○ ○ ○ | ○ ○ ○ = D#
 19. M D | ○ ● ● | ● ● ● = E
 20. M D | ● ● ○ | ● ● ○ = F#
 21. M D | ● ○ ● | ● ○ ● = G#
 22. M D | ● ○ ● | ○ ○ ○ = A
 23. M D | ○ ● ● | ● ● ○ = B

Styles.

Contemporary 'dizi' styles or schools based on the professional conservatory repertory are divided into two: Northern and Southern, each style having different preferences in "dizi" and playing techniques, with different methods for embellishment and ornamentation of the melody.

Performers.

There have been several major performers of the 20th century who have contributed to "dizi" playing in the new conservatory professional concert repertory, often based on or adapted from regional folk styles.  Feng Zicun (, 1904–1987) was born in Yangyuan, Hebei province. Of humble origins, Feng had established himself as a folk musician by the time of the founding of the People’s Republic of China, playing the "dizi" as well as the four-string fiddle "sihu" in local song and dance groups, folksongs and stilt dances. He also introduced "Errentai", the local opera of Inner Mongolia, to Hebei after spending four years there as a musician in the 1920s.  In 1953, Feng was appointed to the state-supported Central Song and Dance Ensemble in Beijing as "dizi" soloist, and accepted a teaching post at the China Conservatory of Music (Beijing) in 1964.  Feng adapted traditional folk ensemble pieces into dizi solos, such as "Xi xiang feng" (Happy Reunion), "Wu bangzi" (Five Clappers), contributing to the new Chinese conservatory curricula in traditional instrument performance. Feng’s style, virtuosic and lively, has been known as representative of the folk musical traditions of northern China.  Liu Guanyue (, 1918-1990) was born in An'guo county, Hebei. Born to a poor peasant family, Liu was a professional folk musician who had earned a meagre living playing the "guanzi", "suona", and "dizi" in rural ritual ensembles before becoming a soloist in the Tianjin Song-and-Dance Ensemble "(Tianjin gewutuan)" in 1952.  Liu together with Feng Zicun are said to be representatives of the Northern "dizi" style. His pieces, including "Yin zhong niao" (Birds in the Shade), "He ping ge" (Doves of Peace) and "Gu xiang" (Old Home village) have become part of the new conservatory professional concert repertory. Lu Chunling (, 1921-2018) was born in Shanghai. In pre-1949 Shanghai, Lu worked a trishaw driver, but was also an amateur musician, performing the Jiangnan sizhu folk ensemble repertory. In 1952, Lu became "dizi" soloist with the Shanghai Folk Ensemble "(Shanghai minzu yuetuan)", and also at the Shanghai Opera Company "(Shanghai geju yuan)" from 1971 to 1976. In 1957 he taught at the Shanghai Conservatory of Music, and became Associate Professor in 1978.  Lu has performed in many countries as well as throughout China and has made many recordings. His "dizi" playing style has become representative of the Jiangnan "dizi" tradition in general. He is well known as a longtime member of the famous "Jiangnan sizhu" music performance quartet consisting of Lu Chunling, Zhou Hao, Zhou Hui, and Ma Shenglong. His compositions include "Jinxi" (Today and Yesterday).  Zhao Songting (, 1924–2001) was born in Dongyang county, Zhejiang. Zhao trained as a teacher in Zhejiang, and studied law and Chinese and Western music in Shanghai. In the 1940s he worked as a music teacher in Zhejiang, and became the "dizi" soloist in the Zhejiang Song and Dance Ensemble ("Zhejiang Sheng Gewutuan") in 1956. He also taught at the Shanghai Conservatory of Music and the Zhejiang College of Arts ("Zhejiang Sheng Yishu Xuexiao").  Because of his middle-class background, Zhao suffered in the political campaigns of the 1950s and 1960s and was not allowed to perform, instead he taught many students who went on to become leading professional "dizi" players, and to refine "dizi" design. He was reinstated in his former positions in 1976.  Zhao's compositions include "San Wu Qi" (Three-Five-Seven), which is based on a melody from "Wuju" (Zhejiang traditional opera).  Yu Xunfa (, 1946–2006) was a prominent "dizi" soloist and composer from Shanghai. He performed with the Shanghai National Orchestra and served as Head of the Chinese Dizi Culture Research Centre of Shanghai. The State Council of the People's Republic of China gave him a Life Achievement Award as well as a Lifelong Special Allowance from the State. He is also known for having invented the "koudi" in 1971.  Ma Di (馬迪) is a current composer and soloist known for his technique on the instrument.

Use in other music genres.

Ron Korb ( or phonetically translated to ""), born in Toronto, Canada, is the first renowned western musician playing "dizi" along with numerous other world woodwinds. He graduated from the Faculty of Music at the University of Toronto with an honors degree in performance. On many of his recordings, he uses the "dizi" as the lead instrument. He has also used "dizi" in the film soundtracks of "The White Countess", "Relic Hunter", "China Rises", and "Long Life, Happiness, & Prosperity".

The dizi (, pronounced ), is a Chinese transverse flute. It is also sometimes known as the "di" () or "héngdi" (), and has varieties including the "qǔdi" () and "bāngdi" (). It is a major Chinese musical instrument that is widely used in many genres of Chinese folk music, Chinese opera, as well as the modern Chinese orchestra. The "dizi" is also a popular instrument among the Chinese people as it is simple to make and easy to carry.

Ti-c’ (čínsky 笛子, přepisem pchin-jin "dízi", také jen 笛, "ti", přepisem pchin-jin "dí", nebo 橫笛, "cheng-ti", přepisem pchin-jin "héngdí") je tradiční čínská bambusová flétna. Patří v čínské hudbě mezi nejoblíbenější nástroje. Vznik této flétny se datuje do 5. století př. n. l.


Early life.

María de los Angeles Félix Güereña was born in Álamos, Sonora, Mexico on 8 April 1913. Her birth was registered on 4 May, which was later misreported as her date of birth.  She was the daughter of Bernardo Félix Flores, a military officer. Her mother was Josefina Güereña Rosas. She had fifteen siblings: Josefina, María de la Paz, Pablo, Bernardo, Miguel, María de las Mercedes, Fernando, Victoria Eugenia, Ricardo, Benjamín and Ana María del Sacramento.  She spent her childhood in Álamos. During her childhood, she had a close relationship with her brother Pablo. Her mother separated the two siblings, thinking they might be involved in an incestuous relationship. For that reason, Pablo was sent to the Colegio Militar, in Mexico City.  Later, the Félix family moved to Guadalajara. When María was 17, her beauty soon began to attract attention. She was crowned Beauty Queen at the University of Guadalajara. It was at this time that she met Enrique Álvarez Alatorre, a salesman for the cosmetics firm Max Factor. After a brief romance, the couple married in 1931. In 1935, Félix gave birth to her only child, Enrique, nicknamed "Quique". Her marriage with Álvarez was unsuccessful and the couple divorced in 1937. After her divorce, Félix returned to Guadalajara with her family, where she was the subject of gossip and rumors due to her status as a divorcée. Because of this situation, Félix decided to move to Mexico City with her son.  In Mexico City, she worked as a receptionist in a plastic surgeon's office, and lived in a guest house. One day, the father of her son visited the child, and deliberately refused to give the boy back to his mother. Álvarez took the child to Guadalajara. Félix's son was recovered with the help of Agustín Lara, her second husband. They planned an elaborate recovery that tricked the grandmother and took the child.

Career.

First years.

One afternoon after work when walking down the street in Mexico City, director and filmmaker Fernando Palacios approached her asking if she wanted to make movies. Her response was:  Palacios finally persuaded her to break into the movies. Becoming her "Pygmalion", he began to train her and present her in film circles. She made her first appearance in the "White and Black Ballroom" of the Mexico City Country Club where some of the great Mexican movie stars of the era (Esther Fernández, Lupe Vélez, Andrea Palma) gathered. Eventually she was taken to Hollywood, to the Metro-Goldwyn-Mayer Studios, where she met Cecil B. DeMille, who offered to launch her film career in Hollywood, but Félix was not interested. She preferred to begin her career in her own country. Finally, thanks to Palacios, she was offered the female lead role in a film by Grovas Productions: "El Peñón de las Ánimas", directed by Miguel Zacarías.  In the film "El Peñón de las Ánimas", Félix starred opposite the popular Mexican actor and singer Jorge Negrete. María Félix and Jorge Negrete got off to a bad relationship during the filming because he had asked that his girlfriend, the actress Gloria Marín, be given the lead role. For this reason the filming of the movie was difficult and led to a direct confrontation between Félix and Negrete. That confrontation helped to cement the reputation of Félix as a tough and arrogant woman.  In her second film, "María Eugenia", Félix would be projected in a role out of her temperamental film personality. However, the film is remembered as the only movie where Félix appeared in swimwear. The same happened with the film "La china poblana" (1943), where Félix claimed to have paid a debt of gratitude to her discoverer Fernando Palacios, who directed the film. Nobody has heard from this movie (the second color film of the Mexican cinema), so it is considered lost. She called both films "her beginner sins".  Félix was known as "La Doña" for her role in the movie "Doña Bárbara" (1943), based on the like-named novel by the Venezuelan writer Rómulo Gallegos. For the film, another actress (Isabela Corona) was already hired, but when Gallegos first saw Félix, he was charmed by her and said: "Here is my Doña Bárbara!" This movie was filmed in Venezuela with Mexican and Venezuelan actors. "Doña Bárbara" was to be the start of her major collaborations with the Mexican film director Fernando de Fuentes. Félix and de Fuentes filmed together another two films: "La Mujer sin Alma" (1944) and "La Devoradora" (1946). As María Félix herself said, ""With these films, I became the number one enemy of the Mexican family morals.""  Without her stereotyped role of a "femme fatale", María Félix filmed two sophisticated films: "El monje blanco" (1945), directed by Julio Bracho, and "Vertigo" (1946), directed by Antonio Momplet. Both characters required a great dramatic intensity.  Under the direction of the famous Mexican film director Emilio Fernández, María Félix made three successful films: "Enamorada" (1946 ), "Río Escondido" (1947), and "Maclovia" (1948). The relationship between Félix and Fernández was cordial and smooth, despite the strong and famous temperament of the film director. In "Enamorada", María Félix found her perfect film partner, the actor Pedro Armendáriz. The films of María Félix with Fernández and his team (writer Mauricio Magdaleno, photographer Gabriel Figueroa, and Armendáriz) had strong presence in several international film festivals. In turn, they gave María Félix her first Ariel Award for "Enamorada" and "Río Escondido".  Between the films with Fernández, María Félix also worked with Roberto Gavaldón, another director who showcased some of her best performances. Their first collaboration was in "La diosa arrodillada" (1947) with Arturo de Córdova. Thanks to these films, María Félix's fame crossed the Atlantic.  In 1948 she was contracted by the Spanish film producer Cesáreo González. In this manner María Félix began her film adventure in Europe. She made only one more film in Mexico ("Doña Diabla", 1949) until her return in 1952.

Europe.

Félix debuted in the European cinema in Spain, with the film "Mare Nostrum" (1948), directed by Rafael Gil. With Gil as director, she realized another two films in 1950: "Una mujer cualquiera" and "La noche del sábado". In 1951, she filmed the French-Spanish production "La Couronne Noire" directed by Luis Saslavsky based on a story by Jean Cocteau. She debuted in Italy with the film "Incantesimo Tragico" (1951). In the same year, she filmed "Messalina" (1951), directed by Carmine Gallone (at the time, the most expensive film of the Italian cinema). During the filming of this movie Félix suffered an emotional shock: her father died of a heart attack in Navojoa.  In 1952, Félix traveled to Argentina, where she filmed "La pasión desnuda" of the Argentine filmmaker Luis César Amadori. In the same year Félix returned to Mexico. She concluded her working relationship with Cesáreo González with the film "Camelia" filmed in her native country. Her stay in Mexico was mainly based on her marriage to the actor and singer Jorge Negrete, her former film rival, with whom she filmed "El rapto", directed by Emilio Fernández, Negrete's last film.  After the death of Jorge Negrete, on 5 December 1953, Félix returned to Europe. In France she made the films "La Belle Otero" (1954), and "Les Héros sont Fatigués" (1955), alongside Yves Montand. However, the most important film of Félix in this period was "French Cancan" (1954) directed by Jean Renoir with the legendary French actor Jean Gabin. Her last film shot entirely in Europe was the Spanish film "Faustina".

Last films.

Félix returned to Mexico in 1955. This period of her career was characterized by performing films inspired by the Mexican Revolution. This cycle begins with "La Escondida" (1955). In this film, as well as in stories like "Canasta de cuentos mexicanos" (1955) and "Café Colón" (1958), she worked again with Pedro Armendáriz. In 1956 she starred in "Tizoc" with the popular Mexican actor and singer Pedro Infante. However, the film was not liked by the actress, despite her international success. Eventually she filmed "Beyond All Limits" (1957) with Jack Palance, and the melodramas "Ash Wednesday" and "The Empty Star" (both 1958). In 1959 she played the titular role in "The Soldiers of Pancho Villa" with top billing lead Dolores del Río. In 1959 she performed in the Spanish-Mexican co-production "Sonatas" directed by Juan Antonio Bardem and the French-Mexican co-production "La Fièvre Monte à El Pao", directed by Luis Buñuel.  In the 1960s Félix's presence in the cinema was limited to only a few films. The most prominent were "Juana Gallo" (1960), "La bandida" (1963), "Amor y sexo" ("Sapho '63", 1963)), and "La Valentina" (1966). In 1970 she filmed "La Generala", which would be her last film. The Mexican historical telenovela "La Constitución" (1971) would be her last professional acting job. Félix attempted to return to the cinema twice. First, in 1982, with the film "Toña Machetes", and again in 1986 with the film "Insólito resplandor". Neither project crystallized, and Félix never reappeared in film.

Roles declined in Hollywood.

Almost from the beginning of her career, Félix received job offers in Hollywood, but Félix herself said: "They only give me huehuenche (Indian) roles". While she was in France, Hollywood offered her the female role of "Duel in the Sun", but she passed and the part went to Jennifer Jones. Another proposal was "The Barefoot Contessa" with Humphrey Bogart, but she refused it, instead making "La Belle Otero" in France. Ava Gardner ended up with the part. Later, the director Robert Aldrich sent her the script of "The Legend of Lylah Clare", but she did not reach an agreement with the director and Kim Novak got the role.

Personal life.

Félix was married four times. Her first marriage (1931–1938) was with the cosmetics sales agent Enrique Álvarez Alatorre. He fathered her only child, actor Enrique Álvarez Félix. According to journalist Sergio Almázon, once she found her son wearing a white dress and necklace. Infuriated, she beat him unconscious. Álvarez retaliated by taking their son to Guadalajara. Years later Félix was able to get her son back with the help of her second husband, Agustín Lara.  Félix's relationship with her son was distant in his early years because she sent him to schools abroad "to discipline" him. Years later, Enrique returned to Mexico and started a career as an actor in film and television. Regarding her son, Félix said: "Enrique is a very gifted man, with admirable common sense. He's my best friend. I have so much fun with him. He's not a'mama's boy' as many believe. Self-employed, fight like being independent. He has his own career, his audience, his poster and assumes his responsibilities without relying on me." The unexpected death of Enrique from a heart attack in 1996 affected Félix greatly.  Her second marriage (1945–1947) was to the famous Mexican composer Agustín Lara. Félix was a fan of Lara since her adolescence. They were formally introduced by a mutual friend, the actor Tito Novaro. The couple began a highly publicized relationship, which culminated in marriage in 1945. Lara immortalized Félix in a number of songs, such as ""Humo en los ojos"" ("Smoke in the eyes"), ""Cuando vuelvas"" ("When you come back"), ""Dos puñales"" ("Two daggers"), ""Madrid"" and especially the famous theme ""María Bonita"", composed in Acapulco during their honeymoon. ""María Bonita"" would become one of Lara's most popular Lara songs. However, the relationship ended in 1947 due to Lara's jealousy. Félix said that Lara even tried to kill her in a fit of violent jealousy.  After her second divorce, Félix had romances with some well-known men, such as Mexican aviation entrepreneur Jorge Pasquel, Spanish bullfighter Luis Miguel Dominguín, and Argentine actor Carlos Thompson. In 1953, when Félix returned to Mexico after her stay in Europe and Argentina, she was reunited with an "old enemy": the actor and singer Jorge Negrete. Unlike their difficult first meeting ten years ago on the set of "El peñón de las ánimas", Félix found Negrete, in her own words: ""surrendered to my feet"". After a brief romance, the couple married in 1953, transmitted by radio to all Latin America, held at the House of Catipoato in Tlalpan. Unfortunately. Negrete was already ill when the marriage took place. Negrete died eleven months later at a hospital in Los Angeles, California, while Félix was in Europe shooting "La Belle Otero". Félix's appearance at his funeral, dressed in trousers, caused a huge scandal, which led Félix to take refuge in Europe.  During her stay in France, Félix was introduced by the painter Leonor Fini to French writer Jean Cau, assistant of the writer Jean Paul Sartre. Félix had a brief romance with Cau.  Her fourth marriage (1956–1974), was with the Romanian-born French banker Alexander Berger. Félix met Berger in the 1940s, when they were both married. Years later they met again. Félix was married to Berger for 18 years. She tried becoming a mother again, but an accident during a filming in 1957 caused Félix to lose the child. It was at this time that she built her famous home, "La Casa de las Tortugas" (The House of Turtles), designed by Pepe Mendoza and resembling an Italian villa, in Cuernavaca. Berger died in 1974 of lung cancer months after the death of María's mother, which plunged her into a deep depression. To overcome this depression, she developed a new passion: horses. Some of her horses won major international equestrian awards. Félix kept her horses for 11 years.  Her last romantic relationship was the Russian-French painter Antoine Tzapoff. About him, Félix said: "I don't know if he's the man who has most loved me, but he's who has loved me better."  The press speculated about a strong rivalry between Félix and Dolores del Río, the other leading female figure of Mexican cinema and a successful Hollywood star. Regarding this "rivalry", Félix said: "With Dolores I had no rivalry. On the contrary, we were friends and always treated each other with great respect, each with our own personality. We were completely different. She was refined, interesting, gentle on the deal, and I'm energetic, arrogant and bossy."

In music, art and fashion.

During her life, Félix was a model for many renowned painters. In her adolescence she was painted in Guadalajara by José Clemente Orozco, but Félix said: "He paint me like a make-up skull". Félix met the famous Mexican artist Diego Rivera during the filming of "Río Escondido" (1947). Félix developed a friendship with him and his wife, Frida Kahlo. In 1949, Rivera painted a portrait of her, which Félix classified as "muy malo" ("very bad"). Later years Diego Rivera asked to borrow the painting to be displayed as part of a retrospective on Rivera's work, but Félix refused. Maria Félix did not like the painting and she sold it to Juan Gabriel for 15 Million Pesos. In a later interview said “Nunca me ha gustado la pintura de Rivera, yo se lo decía a él. Yo quería que me pintara de Tehuana, pero él dijo que era muy vulgar, entonces me pintó como él quería... desnuda, porque él estaba muy enamorado de mí. Después, Diego quería ese retrato para una exposición en Bellas Artes, pero como no se lo presté, me dejó de hablar más de un año. Un día estaba un albañil arreglando mi casa, y le mandé a poner blanco para tapar un poco todo aquello y así quedó. Lo vendí, muy mal vendido por cierto”. Translated- “I've never liked Rivera's painting, I told him. I wanted him to paint me Tehuana, but he said it was very vulgar, so he painted me as he wanted... naked, because he was very much in love with me. Later, Diego wanted that portrait for an exhibition in Fine Arts, but since I did not lend it to him, he stopped talking to me for more than a year. One day there was a bricklayer fixing my house, and I sent him to put white to cover a bit of everything and that's how it was. I sold it, very badly sold by the way ".  Other renowned artists who recorded Félix in their canvases were the Surrealists Leonor Fini, Leonora Carrington, Remedios Varo and Bridget Tichenor among others. In the 1980s, the Russian-French artist Antoine Tzapoff (Félix's last partner), captured her in numerous portraits.  Félix also had dealings with numerous Mexican and foreign writers and playwrights some of whom have dedicated several novels. Among them they are Renato Leduc, Xavier Villaurrutia, Salvador Novo, Pita Amor, Jean Cocteau and Octavio Paz. Luis Spota was inspired by her life for his novel "The Empty Star", and Félix even starred in the film version in 1958. Carlos Fuentes did the same in the novel "Zona sagrada". Her relationship with Fuentes was terminated when the author made the play "Orchids in the Moonlight", in which he parodies the figures of Félix and Dolores del Río. Félix, angry, called him ""mujerujo"" ("womanish").  Songs were composed for Félix, including "María de Todas las Marías" by Juan Gabriel and Je l'aime à mourir by Francis Cabrel.  In fashion, Félix was dressed by designers like "Christian Dior", "Givenchy", Yves Saint Laurent, "Chanel", and "Balenciaga". The "House of Hermès" (Couture Department) designed extravagant creations just for her. She was a noted collector of fine antiques, favoring pieces like her famous collection of Second French Empire furniture. She was also a jewelry connoisseur and had an extensive jewelry collection, including the 41.37 carat (8.274 g), D-flawless "Ashoka" diamond. In 1968, she commissioned a serpent diamond necklace from Cartier Paris. The result was a completely articulated serpent made out of platinum and white gold and encrusted with 178.21 carats (35.642 g) of diamonds. In 1975, she again asked Cartier to create a necklace for her, this time in the shape of two crocodiles. The two crocodile bodies were made of 524.9 grams of gold, one covered with 1,023 yellow diamonds, while the other was adorned with 1,060 circular cut emeralds. Later she sold most of her jewelry back to Cartier's. She also left a Rolls Royce in Paris.  Since Félix's death, these jewelry pieces have been displayed as part of "The Art of Cartier Collection" in several museums around the world. To pay tribute to the actress, in 2006 Cartier debuted its "La Doña de Cartier collection". "The La Doña de Cartier watch" with reptilian links was created to impress by its wild look. The case of the "La Doña de Cartier" features a trapezoid shape with an asymmetrical profile reminiscent of a crocodile's head. The wristband of the watch resembles the contours of a crocodile in large, bold and gold scales. The "La Doña de Cartier Collection" also includes jewelry, accessories, and handbags.

Death and legacy.

María Félix died in her sleep on 8 April 2002, her 88th birthday in Mexico City. She was buried in her family's tomb alongside her son Enrique and her parents at Panteón Francés in Mexico City. In 2018, Google celebrated Felix's 104th birthday with a Google Doodle.  Side one: Side two:

María de los Ángeles Félix (; 8 April 1914 – 8 April 2002) was a Mexican film actress and singer. Along with Pedro Armendáriz and Dolores del Río, she was one of the most successful figures of Latin American cinema in the 1940s and 1950s. Considered one of the most beautiful actresses of Mexican cinema, her taste for the finesse and strong personality garnered her the title of diva early in her career. She was known as "La Doña", a name derived from her character in the film "Doña Bárbara" (1943), and "María Bonita", thanks to the anthem composed exclusively for her, as a wedding gift by her second husband, the Mexican composer Agustín Lara. She completed a film career that included 47 films made in Mexico, Spain, France, Italy and Argentina.

María Félixová, celým jménem María de los Ángeles Félix Güereña (8. dubna 1914 Álamos – 8. dubna 2002 Ciudad de México) byla mexická herečka, zpěvačka a modelka. Pocházela z šestnácti dětí, její rodina měla jakijské kořeny. Patřila k hlavním postavám tzv. zlatého věku mexické kinematografie, který trval od roku 1936 do roku 1959, a byla známá jako "La Doña" (Paní) podle svého nejslavnějšího filmu "Doña Barbara", natočeného podle stejnojmenného románu Rómula Gallegose. Byla sexuálním idolem své doby, hrála ve 47 filmech v Latinské Americe a jižní Evropě, nabídky na hollywoodské angažmá však odmítala. Vydala autobiografii "Todas mis guerras". Získala cenu Zlatý Ariel a Řád umění a literatury. Byla čtyřikrát vdaná, jejím druhým manželem byl hudební skladatel Agustín Lara, který pro ni napsal hit „María Bonita“. Jejím synem byl herec Enrique Álvarez Félix.


Plot.

Season 1.

On the night of her thirteenth birthday, Andi Mack's world is turned upside down when she discovers that the woman whom she believed to be her sister, Bex, is actually her mother. Andi joins her middle school frisbee team to get close to Jonah, whom both she and her best friend Cyrus are developing romantic feelings for, while also competing with Jonah's high school girlfriend Amber. Andi reveals her family revelation to her best friends, Cyrus and Buffy, and begins to embrace her mother Bex and bond with her newfound father Bowie.

Season 2.

Andi tries to convince her parents, Bex and Bowie, to marry each other, but neither proposal is successful. Jonah breaks up with Amber. Cyrus comes out to Buffy. Buffy joins the basketball team and is later asked by her math teacher to tutor the team captain, TJ; when TJ becomes ineligible to be on the team due to his math grades, Cyrus gives him advice about his learning disability to allow him to play. Cyrus comes out to Andi. Andi and Jonah enter into a relationship. Buffy seemingly moves far away, but it is later revealed that she still lives closely. Bex competes with Miranda for Bowie’s affection, while conflict ensues between Andi and Miranda’s daughter Morgan, which eventually leads Bowie to criticize Miranda for causing him to distrust his daughter Andi; Bex and Bowie rekindle their relationship.

Season 3.

Bex and Bowie are engaged. Andi tells Jonah that she would like to just be friends with him, to which he agrees. Buffy is dating Walker, which makes Andi uncomfortable. Cyrus joins TJ and his two friends Reed and Lester on a dirt biking adventure, but when Cyrus discovers that Reed has a gun, he tells Principal Metcalf and is later questioned by a police officer about it after TJ reported the incident to the police. Buffy attempts to improve the girls' basketball team, but are crushed by their opponents in their first game. Cyrus comes out to Jonah. Costume Day is held at Jefferson Middle School. Bex cancels her planned wedding to Bowie. Andi, Cyrus, Buffy, and Jonah are arrested for giving out a company's thrown away clothes for free without the owner's permission. Buffy gets a foot injury which causes her to sit out her team's games for the rest of the season. Andi's art project to combat stereotypes gets a lot of attention, leading her to apply and get accepted to a magnet school for visual arts. Bex plans a surprise wedding for her and Bowie. Marty's girlfriend breaks up with him because of his feelings for Buffy. After denying their feelings for each other, Buffy and Marty eventually admit liking each other. When Buffy kicks Kira out of her basketball team, Kira befriends TJ to get back at Buffy by hurting Cyrus. Eventually, TJ stands up to Kira, after which he and Cyrus acknowledge their feelings for each other by holding hands.

Production.

Development of the series began in 2015 when Disney Channels Worldwide president Gary Marsh convinced writer and producer Terri Minsky to consider developing another series for Disney Channel. Minsky had created the popular sitcom "Lizzie McGuire", which aired from 2001 to 2004, but was initially reluctant to create another teen-oriented series. Minsky eventually found inspiration for the series in an article on how actor Jack Nicholson had learned as an adult that the woman whom he believed to be his sister was actually his mother. Disney Channel ordered a pilot based on the concept in November 2015, and subsequently ordered "Andi Mack" to series in August 2016. The series started filming in Salt Lake City in September 2016, and finished filming in December 2016.  The first episode became available on the Disney Channel App, On-Demand, Disney Channel's YouTube, iTunes, Amazon, and Google Play on March 10, 2017, while the second episode became available the same day via Disney Channel On-Demand as well as to subscribers using the Disney Channel App. The series premiered on Disney Channel on April 7, 2017. A total of 13 episodes were ordered for the first season; however, only 12 episodes were aired.  Disney Channel renewed the series for a second season on May 25, 2017. The filming of the second season began in July 2017.  On August 20, 2017, five additional episodes were ordered for the second season. One week prior to the season two premiere, a music video for the full version of the series' theme song was released, starring the entire cast. On October 25, 2017, TVLine revealed that in the second season, Cyrus would begin to realize that he has romantic feelings for Jonah, following through from several hints in the first season, making him the first gay main character with a coming out storyline on Disney Channel. The second season premiered on Disney Channel on October 27, 2017.  On February 19, 2018, Disney Channel announced that "Andi Mack" had been renewed for a third season, with the cast informed about the renewal live on "Good Morning America" by the creator that day. The third season premiered on October 8, 2018. On November 13, 2018, "Deadline Hollywood" reported that the series would be featuring a two-episode arc—"Cookie Monster" and "The New Girls"—revolving around gun safety and peer pressure. On December 14, 2018, "Deadline Hollywood" reported that Stoney Westmoreland was fired by Disney Channel because of his arrest by the Salt Lake City Police Department on charges of "enticing a minor" and "dealing in materials harmful to a minor", with scenes from episodes yet to air that would have featured him removed.  On April 24, 2019, it was announced that "Andi Mack" would come to an end after its third season and the series finale would premiere on July 26, 2019.

Reception.

Critical.

The series has been praised for accurately representing the lives of young teenagers, with examples including a learning disability, panic attacks, a bar mitzvah, and the unplanned pregnancy of the mother of the title character. It is the first series on Disney Channel to feature a gay main character, Cyrus Goodman, a distinction which has drawn considerable media attention and was reported in the news as being historic and groundbreaking. "Andi Mack" became the first series on Disney Channel in which a character has stated the phrase "I'm gay", which occurs when Cyrus comes out to Jonah in "One in a Minyan".

Ratings.

The series is the top-rated series on cable television among all children ages 6–14. The introduction of the coming out storyline caused the series to experience a ratings surge.

Awards and nominations.

The series is the first on Disney Channel to feature a coming out storyline, for which it has been nominated for and won awards, including the 2018 GLAAD Media Award for Outstanding Kids & Family Programming and the 2018 Academy of Television Arts & Sciences award for Television with a Conscience.

Andi Mack is an American family comedy-drama television series created by Terri Minsky that aired on Disney Channel from April 7, 2017 to July 26, 2019. The series stars Peyton Elizabeth Lee, Joshua Rush, Sofia Wylie, Asher Angel, Lilan Bowden, Lauren Tom, and Trent Garrett. It follows 13-year-old Andi Mack and her best friends, Cyrus Goodman and Buffy Driscoll, as they attend middle school.

Andi Mack je americký rodinný komediálně-dramatický televizní seriál vysílaný na Disney Channel. Seriál vytvořila Terri Minsky a první díl měl premiéru 7. dubna 2017.