Overview.

The first written documentation of bastinado in Europe dates to the year 1537, in China to 960. References to bastinado have been hypothesised to be found in the Bible (Prov. 22:15; Lev. 19:20; Deut. 22:18), suggesting the practice since antiquity.  This subform of flagellation differentiates from most other forms by limiting the strokes to a very narrow section of the body. The beatings typically aim at the vaults of the feet where the soles are particularly pain sensitive, usually avoiding hitting the balls and heels directly but concentrating on the small area in between.  As the skin texture under the soles of the feet can naturally endure high levels of strain, injuries demanding medical attention, such as lacerations or bruises, are rarely inflicted if certain precautions are observed by the executant. The undersides of the feet have therefore become a common target for corporal punishment in many cultures while basically different methods exist.  Foot whipping is typically carried out within prisons and similar institutions. Besides inflicting intense physical suffering, it trades on the significance of bare feet as a dishonouring socio-cultural attribute; consequently it is regarded as a particularly humiliating as well as degrading form of punishment.  Because wearing shoes is an integral element of societal appearance since antiquity, the visual exposure of bare feet is a traditional and sometimes even ritualistic practice to display the subjection or submission of a person under a manifestation of superior power. It was often used as a visual indicator of subservient standing within a social structure and to display the imbalance in power, and was therefore routinely imposed as a visual identifier on slaves and prisoners who had often been divested of rights and liberties in a similar manner. Exploiting its socio-cultural significance, people have been forced to go barefoot as a formal shame sanction and for public humiliation as well. Keeping prisoners barefoot is common practice in several countries of today.  Foot whipping therefore poses a distinct threat and is often particularly dreaded by potential victims (usually prisoners). Exploiting these effects, prisons typically used this penalty to maintain discipline and compliance.  Bastinado is commonly associated with Middle and Far Eastern nations, where it is occasionally performed in public, and thus documented by occasional reports and photographs. However it has been frequently practised in the Western World as well, particularly in prisons, reformatories, boarding schools and similar institutions.  In Europe bastinado was a frequently encountered form of corporal punishment particularly in German areas, where it was mainly carried out to enforce discipline within penal and reformatory institutions, culminating during the Third Reich era. In several German and Austrian institutions it was still practised during the 1950s. Although bastinado was practised in penal institutions of the Western world until the late 20th century, it was barely noticed as there is no reference to its ever being adjudged on a high level. Instead, it was carried out on a rather low level within the confines of the institutions, typically to punish inmates during incarceration. If not specifically authorized, the practice was usually condoned, while happening unbeknownst to the public. Also, foot whipping rarely attracts public interest in general, as it appears unspectacular and relatively inoffensive compared to other punishment methods. Because it was not carried out publicly in the western world, it was usually witnessed only by those individuals directly involved. Given that bastinado is widely perceived as a degrading punishment and a public humiliation, former prisoners rarely report incidents, while the perpetrators are usually obliged to confidentiality.  Bastinado is still used as prison punishment in several countries. Since it causes a high level of suffering for the victim and physical evidence remains largely undetectable for some time, it is frequently used in interrogation and torture.

Appearance.

Bastinado usually requires a certain amount of collaborative effort and an authoritarian presence on the executing party to be enforced. Therefore, it typically appears in settings where corporal punishment is officially approved to be exerted on predefined group of people. This can be situations of imprisonment and incarceration as well as slavery. This moderated subform of flagellation is characteristically prevalent where subjected individuals are forced to remain barefoot.

Regional.

Foot whipping was common practice as means of disciplinary punishment in different kinds of institutions throughout Central Europe until the 1950s, especially in German territories.
 In German prisons this method consistently served as the principal disciplinary punishment. Throughout the Nazi era it was frequently used in German penal institutions and labour camps.
It was also inflicted on the population in occupied territories, notably Denmark and Norway.  During the era of slavery in Brazil and the American South it was often used whenever so-called "clean beating" instead of the prevalent more radical forms of flagellation was demanded. This was the case when a loss in market value through visible injuries especially on females was to be avoided. As many so-called "slave-codes" included a barefoot constraint, bastinado required minimal effort to be performed. As it was sufficiently effective but usually left no visible or relevant injuries, bastinado was often used as an alternative for female slaves with higher market value.  Bastinado is still practised in penal institutions of several countries around the world. In a 1967 survey 83% of the inmates in Greek prisons reported about frequent infliction of bastinado. It was also used against rioting students. In Spanish prisons 39% of the inmates reported about this kind of treatment. The French Sûreté reportedly used it to extract confessions. British occupants used it in Palestine, French occupants in Algeria. Within colonial India it was used to punish tax offenders. Within penal institutions in Europe bastinado was reportedly used in Germany, Austria, France, Spain, Greece, Poland, Romania, Bulgaria, Portugal, Macedonia, Lithuania, Georgia, Ukraine, Cyprus, Slovakia and Croatia. Other nations with documented use of bastinado are Syria, Israel, Turkey, Morocco, Iran, Egypt, Iraq, Libya, Lebanon, Tunisia, Yemen, Saudi Arabia, Kuwait, Brazil, Argentina, Nicaragua, Chile, South Africa, Venezuela, Rhodesia, Zimbabwe, Paraguay, Honduras, Bolivia, Ethiopia, Somalia, Kenya, Cameroon, Mauritius, Philippines, South Korea, Pakistan and Nepal.

Methods.

The prisoner is barefooted and restrained in such manner that the feet cannot be shifted out of position. The intention is to avert serious injuries of the forefoot by stray hitting, especially of the fracturable toes. The energy of the stroke impacts is typically meant to be absorbed by the muscular tissue inside the vaults of the feet.  In the Middle Eastern "falaka" method, the victim is forced to lie on his or her back while the feet are elevated and bound. The beating is generally performed with a rigid wooden stick, a club or a truncheon. The term "falaka" describes the wooden plank used to tie up the ankles; however, different items are used for this purpose. This approach is very painful to the bare ankles.  The Middle Eastern "falaka" method can cause more serious injuries, such as bone fractures and nerve damage, than the German method, since the person undergoing falaka can, to a certain degree, move their body and feet; as a result, strokes land more or less randomly and injury-prone areas are frequently affected. As falaka is usually carried out with a rigid and often heavy stick, it accordingly causes blunt trauma leaving the person unable to walk and often impeded for life. In the German method, the prisoner was principally unable to move and the beatings were performed with more lightweight objects, thinner in diameter and usually slightly flexible. The physical aftereffects of the procedure were mostly superficial and unwanted injuries were relatively rare. Therefore, the person usually was able to walk immediately following punishment. Nonetheless, the German form of bastinado caused severe levels of pain and suffering for the receiving person.  An alternative form of the torture is inflicted in Saudi Arabia as a penalty for, among other offenses, selling alcohol to Muslims. After the naked feet are immobilized, their soles are repeatedly struck with a heavy leather bullwhip. The whip is wielded by an expert who can cause the tip to crack so that bleeding wounds are inflicted and the feet are paralyzed with agony. Twenty to fifty lashes on the naked soles is a typical duration for the torture.

Effects.

The beatings usually aim at the tender longitudinal arch of the foot avoiding the bone structure of the ball and the heel. The vaults are particularly touch-sensitive and therefore susceptible to pain due to the tight clustering of nerve endings.

Corporal.

When exerted with a thin and flexible object of lighter weight the corporal effects usually remain temporary. The numerous bones and tendons of the foot are sufficiently protected by muscular tissue so the impact is absorbed by the skin and muscular tissue. The skin under the soles of the human feet is of high elasticity and consistence similar to the palms of the hands. Lesions and hematoma therefore rarely occur while beating marks are mostly superficial. Depending on the characteristics of the beating device in use and the intensity of the beatings the emerging visible aftereffects remain ascertainable over a time frame of a few hours to several days. The receiving person usually remains able to walk without help right after the punishment.  When the beating is executed with heavy sticks like clubs or truncheons according to the falaka method, bone fractures commonly occur as well as nerve damage and severe hematoma. The sustained injuries can take a long time to heal with even lasting or irreversible physical damage to the human musculoskeletal system.  When thin and flexible instruments are used the immediate experience of pain is described as acutely stinging and searing. The instant sensations are disproportionally intense compared to the applied force and reflexively radiate through the body. The subsequent pain sensations of a succession of strokes are often described as throbbing, piercing or burning and gradually ease off within a few hours. A slightly stinging or nagging sensation often remains perceptible for a couple of days, especially while walking.  As the nerve endings under the soles of the feet do not adapt to recurring sensations or impacts, the pain reception does not alleviate through continuous beatings. On the contrary the perception of pain is further intensified over the course of additional impacts through the activation of nociceptors. Over a sequence of impacts applied with nearly constant force the perception of pain is therefore progressively intensifying until a maximum level of activation is reached. For that reason a relatively gentle impact can cause an acute pain sensation after a certain number of preceding strokes.  The subjective experience of corporal suffering can however largely diverge according to a person's individual pain tolerance. The pain reception itself is hereby aggravated through feelings of anxiety and agitation. The subjective pain susceptibility is accordingly higher the more apprehensive the individual feels about it.

Mental.

Seizing and withholding the footwear from a person in a situation of imprisonment, which is commonplace in many countries, often has a disconsolating and victimizing effect on the individual. As bare feet are traditionally regarded as a token of subjection and captivity, the unaccustomed and largely reluctant exposure is often perceived as humiliating or oppressive. The increased physical vulnerability by having to remain barefoot often leads to trepidation and the feeling of insecurity. This measure alone can therefore already cause significant distress.  This circumstance is usually aggravated if the bare feet are the target for corporal punishment. The feet are typically hidden away and protected by footwear in most social situations, hereby avoiding unwanted exposure. Therefore, the enforced exposure for the purpose of punishment is mostly perceived as a form of harassment. The obligatory restraints further add to the anxiety and humiliation of the captive.  Any form of methodical corporal punishment typically causes a high level of distress through the inflicted pain and the experience of being defenseless and unable to evade the situation. The mostly occurring loss of composure during the punishment as well as the experience of weakness and vulnerability often permanently damages a person's self-esteem.  Beating the undersides of a person's feet moreover conveys an especially steep imbalance in power between the executing party (prison staff or similar) towards the receiving individual (typically prison inmate). A rather private area of the body, which traditionally remains covered or not visible in the presence of other people, is forcibly exposed and beaten. This act represents a blunt intrusion into the sphere of personal privacy and an according elimination of personal boundaries. By this means the receiving person experiences his or her individual powerlessness against the executing authority in a particularly manifest way. This experience can also change or deconstruct the individual's self-perception and self-awareness.  As a result, the experience of bastinado leads to drastic physical and mental suffering for the receiving individual and is therefore regarded as a highly effectual method of corporal punishment. Exploiting the effects of bastinado on a person, it is still frequently employed on prisoners in several countries.

Foot whipping or bastinado is a method of corporal punishment which consists of hitting the soles of a person's bare feet. Unlike most types of flogging, this punishment was meant to be more painful than it was to cause actual injury to the victim. Blows were generally delivered with a light rod, knotted cord, or lash.

Bičování chodidel je forma tělesného trestu a mučení, při níž jsou plosky bosých chodidel člověka bičována různými předměty (například rákoskou nebo holí). Nejstarší zmínky o tomto druhu trestu v Evropě pochází z roku 1537 a v Číně z roku 960, odkazy na tuto praktiku však lze nalézt i v Bibli. Je znám pod řadou názvů, vycházejících z různých jazyků, mezi něž patří bastinado (počeštěně "baštonáda") nebo falaka. Druhý zmíněný název pochází z oblasti Blízkého východu.


Biography.

Early life.

Sidney Nolan was born in Carlton, at that time an inner working-class suburb of Melbourne, on 22 April 1917. He was the eldest of four children. His parents, Sidney (a tram driver) and Dora, were both fifth generation Australians of Irish descent. Nolan later moved with his family to the bayside suburb of St Kilda. He attended the Brighton Road State School and then Brighton Technical School and left school aged 14. He enrolled at the Prahran Technical College (now part of Swinburne University), Department of Design and Crafts, in a course which he had already begun part-time by correspondence. From 1933, at the age of 16, he began almost six years of work for Fayrefield Hats, Abbotsford, producing advertising and display stands with spray paints and dyes. From 1934 he attended night classes sporadically at the National Gallery of Victoria Art School.

Years at Heide (1941–1947).

Nolan was a close friend of the arts patrons John and Sunday Reed, and is regarded as one of the leading figures of the so-called "Heide Circle" that also included Albert Tucker, Joy Hester, Arthur Boyd and John Perceval. Boyd and Perceval were members of the Boyd artistic family who were centered at "Open Country", Murrumbeena.  In 1938, he met and married his first wife, graphic designer Elizabeth Paterson, with whom he had a daughter, but his marriage soon broke up because of his increasing involvement with the Reeds. He joined the Angry Penguins in the 1940s, after deserting from the army during World War II; indeed he was an editor of the "Angry Penguins" magazine and painted the cover for the Ern Malley edition published in June 1944. The Ern Malley hoax poems were seen by Nolan and Sunday Reed as being uncannily prescient in touching on their own personal circumstances. The Malley poems remained a real presence to him throughout his life. He painted and drew literally hundreds of Malley-themed works and in 1975 said it inspired him to paint his first Ned Kelly series: "It made me take the risk of putting against the Australian bush an utterly strange object."  He lived for some time at the Reeds' home, "Heide" outside Melbourne (now the Heide Museum of Modern Art). Here he painted the first of his famous, iconic "Ned Kelly" series, reportedly with input from Sunday Reed. Nolan also conducted an open affair with Sunday Reed at this time although he married John Reed's sister, Cynthia in 1948, after Sunday refused to leave her husband. He had lived in a ménage à trois with the Reeds for several years and although he spoke to them, and visited Heide, but once again in their lifetimes, the years there together have been seen as a dominating factor in the subsequent lives of them all.  In November 1976, Cynthia Nolan ended her life by taking an overdose of sleeping pills in a London hotel. In 1978, Nolan married Mary née Boyd (1926-2016), youngest daughter within the Boyd family and previously married to John Perceval.

Career.

Nolan painted a wide range of personal interpretations of historical and legendary figures, including explorers Burke and Wills, and Eliza Fraser. With time his paintings of Mrs Fraser came to be associated with his growing animus towards Sunday Reed. However, when first painted on Fraser Island in 1947 after he had left Heide, he remained on friendly terms with the Reeds and sent them photos of the works for their approval. Indeed, he gave one Fraser Island painting to Sunday Reed as a Christmas gift that year.  Probably his most famous work is a series of stylised descriptions of the bushranger Ned Kelly in the Australian bush. Nolan left the famous 1946–47 series of 27 Ned Kellys at "Heide", when he left it in emotionally charged circumstances. Although he once wrote to Sunday Reed to tell her to take what she wanted, he subsequently demanded all his works back. Sunday Reed returned 284 other paintings and drawings to Nolan, but she refused to give up the 25 remaining Kellys, partly because she saw the works as fundamental to the proposed Heide Museum of Modern Art. Possibly also because she collaborated with Nolan on the paintings. Eventually, she gave them to the National Gallery of Australia in 1977 and this resolved the dispute. Nolan's "Ned Kelly" series follow the main sequence of the Kelly story. However Nolan did not intend the series to be an authentic depiction of these events. Rather, these episodes/series became the setting for the artist's meditations upon universal themes of injustice, love and betrayal. The Kelly saga was also a way for Nolan to paint the Australian landscape in new ways, with the story giving meaning to the place.  Although the Depression and World War II happened during this period, Nolan decided to concentrate on something other than people struggling in life. Nolan wanted to create and define episodes in Australian nationalism, to retell the story of a hero. A hero which now has become a metaphor for humankind—the fighter, the victim, and the hero—resisting tyranny with a passion for freedom. Nolan recognised that the conceptual image of the black square (Kelly's helmet and armour) had been part of modern art since World War I. Nolan just placed a pair of eyes into Kelly's helmet which animates its formal shape. As in most of the series, Kelly's steel head guard dominates the composition. Nolan also concentrates on the Australian outback and shows a different landscape in nearly every painting. Nolan's paintings give the audience an insight into the history of Australia but also show others from the world how beautiful Australia is. The intensity of the colours of the land and bush along with its overall smooth texture help create harmony between legend, symbol and visual impact. Kelly is in the centre of the painting but the colours around him help make him stand out. It's a very simplistic picture but highlights that Ned Kelly is an Australian icon. Nolan never relied upon one style or technique, but rather experimented throughout his lifetime with many different methods of application, and also devised some of his own. Nolan was inspired by children's art and modernist painting of the early 20th century. During this time many younger artists were veering towards abstraction, Nolan remained committed to the figurative potential of painting. In terms of art history Nolan rediscovered the Australian landscape (Australia has not been an easy country to paint). His love of literature is seen as visually evident in his work. Other key influences were the modernist artists such as Paul Cézanne, Pablo Picasso, Henri Matisse and Henri Rousseau. Locally, the arrival of the Russian artist Danila Vassilieff in Melbourne, with his simple and direct art, was significant for Nolan.  In his series, Kelly is a metaphor for Nolan himself. Nolan, like the bushranger, was a fugitive from the law. In July 1944, facing the possibility that he would be sent to Papua New Guinea on front-line duty, Nolan went absent without leave. He adopted the alias Robin Murray, a name suggested by Sunday Reed, whose affectionate nickname for him was "Robin Redbreast". So when he created this series he viewed himself as the misunderstood hero/artist like the protagonist, Kelly. "Nolan like this Kelly figure has also been a hero, a victim, a man who armoured himself against Australia and who faced it, conquered it, lost it.... ambiguity personified."  Nolan's Ned Kelly series is one of the greatest sequences of Australian paintings of the 20th century. His simplified depiction of Kelly in his armour has become an iconic Australian image. In 1949, when the series was exhibited at the Musée National d'Art Moderne in Paris, the museum's director Jean Cassou called the works "a striking contribution to modern art" and that Nolan "creates in us a wonder of something new being born". Works from Nolan's second Kelly series (ca. mid-1950s) were acquired by major international galleries, including the Museum of Modern Art in New York and the Tate Modern in London. English critic Robert Melville wrote in 1963 that Nolan's Kelly belonged to "the company of twentieth-century personages which includes Picasso's minotaur, Chirico's mannequins, Ernst's birdmen, Bacon's popes and Giacometti's walking man".  Paintings of Dimboola landscapes by Sidney Nolan, who was stationed in the area while on army duty in World War II, can be found in the National Gallery of Victoria.  In 1951, Nolan moved to London, England. He travelled in Europe, spending a year in 1956 painting themes based on Greek Mythology while in Greece. In Paris, he studied engraving and lithography with S. W. Hayter at Studio 17t two years there. He became friends with the poet Robert Lowell and produced illustrations for some of his books. Nolan was a prolific book cover illustrator, his images enhancing the dust jackets of over 70 publications.  In 1965, Nolan completed a large mural (20 m by 3.6 m) depicting the 1854 Eureka Stockade, rendered in enamelled jewellery on 1.5 tonnes of heavy gauge copper. Nolan employed the "finger-and-thumb" drawing technique of Indigenous Australian sandpainters to create the panoramic scene. Commissioned by economist H. C. Coombs, the mural is located at the entrance to the Reserve Bank of Australia's Melbourne office on Collins Street.  During the period of 1968-1970, Nolan embarked on the creation of a monumental mural entitled "Paradise Garden". This project consisted of 1,320 floral designs split into three subsections that were created using crayon and dyes. The intent of the subsections was to show the lifecycles of the plants, starting with the primeval plants emerging from the mud, transitioning to their full burst of colour in springtime, and the completion of the life cycle with the withering plants returning to the earth.  In England, Nolan attended the Aldeburgh Festival and become influenced by the organiser and composer Benjamin Britten, exhibiting paintings at the festivals. He continued to travel widely in Europe, Africa, China, Australia, and even Antarctica.

Death.

Nolan died in London on 28 November 1992 at the age of 75, he was survived by his wife and two children. He was buried in the Eastern part of Highgate Cemetery, London.

Work.

Stage designs.

Nolan's lifelong engagement with the theatre began in 1939 when he was commissioned to create décor for French ballet dancer Serge Lifar's revised version of "Icare". Lifar, then on tour in Australia with the Original Ballet Russe, offered Nolan the job after a chance encounter with his abstract work. "Icare" premiered on 16 February 1940 at the Theatre Royal in Sydney.  In 1964, Robert Helpmann enlisted Nolan to design the set and costumes for his ballet "The Display". Set at a bush picnic, the piece relates the mating rituals of the lyrebird to the masculine posturing of Australian males. Nolan created a series of green-blue gauze panels to evoke the filtered light of the forest. One contemporary critic remarked that Nolan's décor "not merely recreates the haunt of the lyrebird. It is the deep, rich mysterious gloom of a sunlight shafted Australian rainforest with the pillars of its ghostly white gums rising through its depths."

Honours and awards.

In 1981, Nolan was appointed a Knight Bachelor for service to art, despite his war desertion. He received the Order of Merit (OM) in 1983. In 1983, Nolan settled in Herefordshire. The Sidney Nolan Trust, chaired by Lord Lipsey, was established in 1985 to support artists and musicians, and provide exhibition space for works by Nolan and others at The Rodd, north of Kington, Herefordshire.  He was made a Companion of the Order of Australia (AC) in 1988. He was also elected an honorary member of the American Academy of Arts and Letters and a member of the Royal Academy of Arts.

Legacy.

During the Tin Symphony segment of the 2000 Summer Olympics opening ceremony, a multitude of performers donned stylised costumes based on Nolan's distinctive Ned Kelly imagery, and a painting from Nolan's original 1946-47 Ned Kelly series was displayed on a giant screen in the stadium.  In 2010, "First-class Marksman" (1946) became the most expensive Australian painting ever sold. Dubbed "the missing Nolan", the painting was the only one in Nolan's first series of 27 Ned Kelly paintings not in the collection of the National Gallery of Australia. It was purchased by the Art Gallery of New South Wales for $5.4 million.  The cinematography for English film director Nicolas Roeg's 1971 Australian film "Walkabout" was heavily influenced by Nolan. The small boy's hallucination of camel riders in the desert was a direct reference to Nolan's Burke and Wills paintings.  Two of Nolan's paintings, "The Abandoned Mine" (1948) and "Ned Kelly" (1955) were included in Quintessence Editions Ltd.'s 2007 book "1001 Paintings You Must See Before You Die".  Melbourne writer Steven Carroll's 2011 novel "Spirit of Progress" is inspired by "Woman and Tent" (1946) by Nolan, who based the painting on Carroll's eccentric great-aunt. The young artist in the novel, Sam, is based on Nolan. Nolan's relationship with Sunday Reed provided the framework for Alex Miller's 2011 novel "Autumn Laing".  Nolan will be the subject of an upcoming film titled "When We Were Modern", directed by Philippe Mora and starring Clayton Watson. This film had not been made as of July 2014. Mora's film "Absolutely Modern" premiered in 2013. Based on 1940s Heide, it tells of Modernism, the female muse and the role of sexuality in Art.  David Rainey's 2014 play "The Ménage at Soria Moria" is a fictitious performance piece exploring the relationship between Nolan and the Reeds – both the heady days at Heide during the 1940s, and the less well known degeneration over the next 35 years.  Several documentary films have been made about Nolan. "This Dreaming, Spinning Thing" was commissioned by ABCTV as a companion film to Nolan's 1967 retrospective exhibition at the Art Gallery of New South Wales. It was made with a script by Australian novelist George Johnston. "Kelly Country" (1972), directed by Stuart Cooper with commentary by Orson Welles, explores Australia's landscape and folklore through Nolan's imagery. Nolan's "Paradise Garden" poems and drawings are examined in British director Jonathan Gili's 1974 film of the same name. A 2009 documentary by filmmaker Catherine Hunter, "Mask and Memory" charts the course of Nolan's personal life, including his complex relationship with the Reeds at Heide. Narrated by Judy Davis, the film concludes that the three main women in Nolan's life, Sunday Reed, Cynthia Nolan and Mary Nolan, played bigger roles in the development of his art than is often discussed.  Among Australian artists, Nolan's estate was identified as the third largest in Australia in 2013, following those of Brett Whiteley and Russell Drysdale.

Sir Sidney Robert Nolan (; 22 April 191728 November 1992) was one of Australia's leading artists of the 20th century. Working in a wide variety of mediums, his oeuvre is among the most diverse and prolific in all of modern art. He is best known for his series of paintings on legends from Australian history, most famously Ned Kelly, the bushranger and outlaw. Nolan's stylised depiction of Kelly's armour has become an icon of Australian art.

Sidney Robert Nolan (22. dubna 1917 Melbourne — 28. listopadu 1992 Londýn) byl australský malíř a vizuální umělec. Malovat začal bez uměleckého vzdělání v 21 letech. Zpočátku byl ovlivněn abstraktním uměním Paula Klee a László Moholy-Nagye. Roku 1940 navrhl kostýmy pro balet Serge Lifara "Ikarus". V letech 1942-1945 sloužil v armádě. V té době změnil styl a začal malovat typicky australské pouštní krajiny. Posléze začaly v jeho díle přibývat motivy z australských dějin, například postava proslulého zločince Neda Kellyho. Roku 1955 odešel do Anglie, kde zintenzivnil spolupráci s divadlem. Navrhl například scénu pro Stravinského balet "Svěcení jara" či pro operu Camilla Saint-Saënse "Samson a Dalila". Velkou část jeho děl zakoupila Tate Gallery v Londýně a Muzeum moderního umění v New Yorku. Roku 1981 byl britskou královnou uveden do šlechtického stavu.


Personal life.

Born in Liège, Saive began playing as a small boy. His father was the tenth-ranked Belgian player, and his mother won the Belgian ladies' doubles championships when she was pregnant with him.  At the age of thirteen, Saive was the fourth-ranked Belgian player and joined the national team.  His younger brother Philippe Saive is also a table tennis player.

Career.

In 1985 Saive was ranked best player in Belgium, a place which he kept until 2011 without interruption. In 1994 he made it to world number one for 515 days (from 9 February 1994 to 8 June 1995 and from 26 March 1996 to 24 April 1996).  Jean-Michel Saive won a total of 130 medals (51 gold, 38 silver and 41 bronze) in international singles tournaments. Some of his important titles are: He was also individual world vice champion in 1993, finalist at the World Cup in 1994 and 2003, and he was finalist at the world championship for teams with Belgium in 2001.  He competed in seven consecutive Summer Olympic Games, from 1988, when table tennis became an official Olympic sport in Seoul, to 2012 in London. He was honored as the national flag bearer at the opening ceremony of the Summer Olympics of 1996 and 2004. At the 2008 Summer Olympics, the 20 highest ranked ITTF players were to be selected for the Olympics. Saive expected to be selected as he was tied in 20th position together with the Swede Jörgen Persson and there was no rule to decide what to do in case of ties. The ITTF decided they needed to play an extra playoff to determine who got the last spot. However, they refused to play as they agreed they should both get a ticket. The ITTF then recalculated the rankings and placed Persson in 20th position and Saive in 21st. Eventually, Saive did play an extra qualification tournament in Budapest, finishing third and thus qualified for his seventh successive Summer Olympics. Saive and Persson, along with Croatian Zoran Primorac, were the first table tennis players to compete at seven Olympics, having been at all games since the sport was introduced in 1988.  His successes made him the best Belgian table tennis player. He is also considered to be one of Belgium's most prolific athletes as he was elected as Sports Personality of the Year in 1991 and 1994. Jean-Michel Saive is known for his victories but also for his sportsmanship. He was awarded the UNESCO World Award of Fair Play in 1989.  He is also famous for the funniest table tennis match in history, staged at the Tai-Ben International with good friend and Taiwan player Chuang Chih-Yuan.  On 4 December 2015, Saive officially announced his retirement as a player.  Saive was narrowly beaten in his first attempt to be elected President of the International Table Tennis Federation in May 2017.

Jean-Michel Saive (born 17 November 1969) is a former professional table tennis player from Belgium. Saive competed at seven consecutive Olympics between 1988 and 2012, and he was also a winner in singles at European Championship 1994.

Jean-Michel Saive (* 17. listopadu 1969 Lutych) je bývalý belgický stolní tenista. Jako šestnáctiletý se stal nejlepším hráčem své země a tento post držel více než čtvrt století. Světovým hráčem číslo 1 na žebříčku Mezinárodní federace stolního tenisu byl od února 1994 do června 1995 a od března do dubna 1996.


Description/Contents.

The Bamberg Codex is bound in ivory pigskin with embroidered gold lettering. The codex is written on parchment and consists of eighty pages classified into ten groups and arabic numerals appear in pencil in the top right-hand corner of each page. The codex is mostly associated with Franconian notation, although it does include motets. This points to how popular secular music was becoming towards the end of the 13th century and also how music was becoming more accessible to the common folk, many of whom never learned to speak Latin other than reciting it in church services. This is consistent with the Montpellier Codex containing many secular songs in its collection as well, showing the extent of this phenomenon, not constraining it to just one musical school in the period. In fact, different aspects of the manuscript such as the trimming and coloring of the pages, the format of the text, and the amount of wear and tear points to the notion that the codex was actually compiled in a manner that would allow people to perform the songs without any prior rehearsal.  Most of these motets are three-voice motets, meaning they have three different voices in the written music. There are more than 100 of these motets contained in the codex. Forty-four of these have Latin texts, forty-seven have French texts, and nine have macaronic texts. Macaronic texts are written in a hybrid between two languages, in this case Latin and the vernacular French. There is only one motet in the Codex with four voice parts, the rest have three parts. All of the motets in the Codex of Bamberg are polyphonic and polytextual. The codex also contains two treatises, one by an anonymous writer, and the other by Amerus. This treatise, "Practica artis musice", was intended to explain notation systems while also discussing polyphony. Amerus’ work is believed to be among the first treatises from Italy using rhythmic notation. The techniques used for most of the composition of the motets and songs included basic practices used in the era of medieval motets during the 13th century. This included the use of rhythmic modes and an early developed form of the staff. This provided a basis for exact pitch along with a form of our modern staff.  After the main section of the previously mentioned motets, a "conductus" and 7 "hockets" follow. A conductus is a type of sacred, but non-liturgical vocal composition for one or more voices. A hocket is a rhythmic linear technique that utilizes the differentiation of certain rhythmic and scale elements. In the medieval practice of a hocket, a single melody is usually shared between two voices so one voice sounds while the other rests and this act alternates between the voices.  List of Pieces from the Codex

Significant.

The Bamberg Codex is an important collection of thirteenth-century motets; it provides source material of significant historical and musicological significance. As such, it offers a compact and concise database for the music of the time. Not only does this show the advancement of music both in complexity and the notation but also the spread of secular music through the writings of Amerus. Today the Bamberg Codex and its perception about the origin and provenance of the manuscript continues to be contested, with some pointing to more French motets than Latin motets in the codex, as proof that the codex belongs to French repertory.

The Bamberg Codex ("Bamberg State Library, Msc.Lit.115") is a manuscript containing two treatises on music theory and a large body of 13th-century French polyphony.

Codex Bamberg neboli Bamberský kodex, či rukopis (Státní knihovna v Babmerku, Msc.Lit.115, "Bamberger Motettenhandschrift", zkr. "Ba") je středověký rukopis obsahující dva traktáty o hudební teorii a obsáhlou sbírku francouzské polyfonie 13. století a společně s Montpellierským kodexem jsou nejvýznamnějšími sbírkami motet. Vědci předpokládají, že místem původu kodexu je Paříž, částečně jižní Francie a možná též Itálie.


Original series.

The protagonists utilize a system of symbolic logic to project themselves into the worlds they visit, but it is an inexact science, and they miss their target realities as often as they hit them. For example, in the first story, "The Roaring Trumpet", Shea intends to visit the world of Irish mythology, and instead ends up in Norse mythology. Most of the worlds visited have systems of physics different from ours, usually magical, which the heroes devote a considerable amount of effort to learning and applying. Much humor is drawn both from the culture shock of their encounters and from the reality that they usually do not understand the local systems well enough to be able to predict the actual effects of the spells they attempt.  Much of the series' attraction stems from the interaction of the psychologists' logical, rationalistic viewpoints with the wildly counterintuitive physics of the worlds they visit. Their attitudes provide something of a deconstructionist look at the basic rationales of these worlds, hitherto unexamined either by their inhabitants or even their original creators. Essentially, they allow the reader to view these worlds from a fresh viewpoint. The "worlds" so examined include not only the Norse world of "The Roaring Trumpet", but also the worlds of Edmund Spenser's "The Faerie Queene" in "The Mathematics of Magic", Ludovico Ariosto's "Orlando Furioso" (with a brief stop in Samuel Taylor Coleridge's Xanadu from "Kubla Khan") in "The Castle of Iron", the "Kalevala" in "The Wall of Serpents", and, at last, Irish mythology in "The Green Magician".  With "The Green Magician" the original collaboration ended, Pratt's early death precluding any additional entries. A final planned story set in the world of Persian mythology was never written, nor was a projected response to L. Ron Hubbard's misuse of their hero in his novella "The Case of the Friendly Corpse" (1941). (De Camp would finally address the latter issue in "Sir Harold and the Gnome King".)  Reviewing the 1950 edition of "The Castle of Iron", Boucher and McComas described the series as "a high point in the application of sternest intellectual logic to screwball fantasy.". Damon Knight characterized the series as "relaced, ribald adventure... priceless," saying that "no fantasy reader should be without them." In 1977 Richard A. Lupoff described the series as "whole planes above the hackneyed gut-spillers and skull-smashers that pass for heroic fantasy."

Second series.

De Camp was reluctant to continue the series on his own, feeling that the collaboration with Pratt had a flavor impossible for either of them to duplicate alone. When he finally did revive the series in company with younger authors nearly forty years later, this impression was seemingly borne out; while not without interest, his own solo contributions to the second series exhibit a wryer, more cynical view of the worlds toured, and the protagonists' problematic use of magic is abandoned. His interest appears to have shifted to debunking the less credible aspects of the universes visited, rather than taking these as a given and extrapolating the fantasy worlds' physical or magical laws from them, as in the previous sequence. On the other hand, some of the new authors made efforts to duplicate de Camp and Pratt's original achievement, exploring fresh venues where their heroes once again have to learn the world's fundamental magical rules from the ground up. Holly Lisle ("Knight and the Enemy"), John Maddox Roberts ("Arms and the Enchanter") and Tom Wham ("Harold Shakespeare") were among the authors who recreated the original formula.  The initial impulse for the continuation may have been the successful adaptation of the characters into Tom Wham's authorized gamebook adventure "Prospero's Isle", published by Tor Books in October 1987 (the basis of "Harold Shakespeare"), to which de Camp had contributed an admiring introduction. This may have encouraged him to wrap up long-unresolved loose ends from the original series, such as the stranding of Walter Bayard in the world of Irish mythology, and to resolve the unaddressed complication introduced by L. Ron Hubbard's "borrowing" of Harold Shea for use in his novel "The Case of the Friendly Corpse". Both of these goals he accomplished in "Sir Harold and the Gnome King" (1990 chapbook). When the decision was made to continue the series further, this story was revised slightly to reconcile it with the other new stories, though the fit is somewhat awkward.  Once the loose ends are resolved, most of the action in the second sequence involves Shea and Chalmers' quest across several universes to rescue Florimel, who has been kidnapped by the malevolent enchanter Malambroso. After Florimel is finally recovered, a similar effort must be made to recover Shea and Belphebe's daughter Voglinda, likewise seized by the unrepentant Malambroso. A final tale sends Shea and Belephebe on an unrelated adventure precipitated by the foolishness of Shea's colleague Polacek.  Milieus encountered in the second series include the worlds of Irish myth and the "Orlando Furioso" (again) in "Professor Harold and the Trustees", L. Ron Hubbard's setting from "The Case of the Friendly Corpse" and L. Frank Baum's land of Oz in "Sir Harold and the Gnome King", the classical Chinese epic novel "Journey to the West" in "Sir Harold and the Monkey King," the romantic fantasies of Miguel de Cervantes' "Don Quixote" (with the unique twist of its being "Quixote's" version of reality rather than Cervantes') in "Knight and the Enemy", Virgil's Graeco-Roman epic the "Aeneid" in "Arms and the Enchanter", the old Russian "Tale of Igor's Campaign" in "Enchanter Kiev," Bhavabhuti's "Baital Pachisi" (or "Vikram and the Vampire"), a proto-"Arabian Nights" collection of Indian tales, in "Sir Harold and the Hindu King", Edgar Rice Burroughs' "Barsoom" in "Sir Harold of Zodanga", and William Shakespeare's "The Tempest" in "Harold Shakespeare".  There exists one additional contribution to the series; "Return to Xanadu" by Lawrence Watt-Evans, which revisits the world of "Kubla Khan" and transfers a minor character appearing therein to that of "The Arabian Nights" by the agency of an unnamed magician who appears to be intended to represent L. Sprague de Camp himself. "Return to Xanadu" was first published in "" edited by Harry Turtledove and published by Baen Books in 2005.

Publication.

The original publication of the first three Pratt and De Camp collaborations ("Roaring Trumpet", "Mathematics of Magic", and "The Castle of Iron") was in "Unknown Magazine" during its brief run. The remaining two appeared in "Beyond Fantasy Magazine" and "Fantasy Magazine" a few years later. "Sir Harold and the Gnome King" first appeared in the World Fantasy Convention program book in 1990 and as a chapbook the following year. It was later revised and appeared with the remainder of the later continuations in regular trade books.

Yngvi.

In the original story a character in a jail comes to the bars every hour on the hour to announce that "Yngvi is a louse!". This phrase has moved into the lexicon and has taken on a life of its own in certain SF-related circles. Who, or what, Yngvi may be is not mentioned in the book, though in Old Norse, Yngvi is another name for the god Freyr.

Bibliography.

Collected editions.

"The Incomplete Enchanter" and "The Castle of Iron" have also been issued together as "The Compleat Enchanter" (1975); "Wall of Serpents" has also been issued under the title "The Enchanter Compleated" (1980); all three volumes of the original series have also been issued together as "The Complete Compleat Enchanter" (1989). The original tales and de Camp's additions from the 1990s were issued together as "" (2007).

The "Harold Shea" Stories is a name given to a series of five science fantasy stories by the collaborative team of L. Sprague de Camp and Fletcher Pratt and to its later continuation by de Camp alone, Christopher Stasheff, Holly Lisle, John Maddox Roberts, Roland J. Green, Frieda A. Murray, Tom Wham, and Lawrence Watt-Evans. De Camp and Stasheff collectively oversaw the continuations. The series is also known as the "Enchanter" series, the "Incomplete Enchanter" series (after the first collection of stories) or the "Compleat Enchanter" series.

Harold Shea je hlavní postava cyklu fantasy novel, který ve spolupráci s dalšími autory vytvořil americký spisovatel Lyon Sprague de Camp. Je to psycholog, který buď sám nebo se svými kolegy cestuje do různých paralelních světů, zejména severské či irské mytologie, kde jsou prastaré mýty a pověsti realitou. V těchto světech pak prožívá různá humorná dobrodružství.


Biography.

Wesley was born the son of a high school teacher and big band leader in Columbus, Georgia, and raised in Mobile, Alabama. As a child he took piano and later trumpet lessons. He played baritone horn and trombone in school, and at around age 12 his father brought a trombone home, whereupon he switched (eventually permanently) to trombone.  During the 1960s and 1970s he was a pivotal member of James Brown's bands, playing on many hit recordings including "Say it Loud - I'm Black and I'm Proud," "Mother Popcorn" and co-writing tunes such as "Hot Pants." His slippery riffs and pungent, precise solos, complementing those of saxophonist Maceo Parker, gave Brown's R&B, soul, and funk tunes their instrumental punch. In the 1970s he also served as band leader and musical director of Brown's band the J.B.'s and did much of the composing and arranging for the group. His name was credited on 'Fred Wesley & the J.B.'s' recording of "Doing It to Death," which sold over one million copies, and was awarded a gold disc by the R.I.A.A. in July 1973. He left Brown's band in 1975 and spent several years playing with George Clinton's various Parliament-Funkadelic projects, even recording a couple of albums as the leader of a spin-off group, The Horny Horns.  Wesley became a force in jazz in 1978 when he joined the Count Basie Orchestra. He released his first jazz album as a leader, "To Someone" in 1988. It was followed by "New Friends" in 1990, "Comme Ci Comme Ca" in 1991, the live album "Swing and Be Funky", and "Amalgamation" in 1994.  In the early 1990s Wesley toured with his colleagues from the James Brown band, Pee Wee Ellis and Maceo Parker, as the JB Horns. With the departure of Ellis the band became The Maceo Parker Band. Wesley was featured trombonist with Parker until 1996 when he formed his own band, The Fred Wesley Group, now known as Fred Wesley and the New JBs. Wesley's 35-year career includes playing with and arranging for a wide variety of other artists including Ray Charles, Lionel Hampton, Randy Crawford, Vanessa Williams, The SOS Band, Cameo, Van Morrison, Socalled and rappers De La Soul, to name a few. Many other artists have sampled his work. In 2002 Wesley wrote "Hit Me, Fred: Recollections of a Sideman", an autobiography about his life as a sideman. Also in 2002 he recorded an album entitled "Wuda Cuda Shuda."  Wesley served as an adjunct professor in the Jazz Studies department of the School of Music at the University of North Carolina at Greensboro from 2004 to 2006, and now works with students as a visiting artist at numerous other schools including Berklee College of Music and Columbia College of Chicago. In addition to performing with his own band, he tours as part of a collaboration called Abraham Inc. along with Klezmer artist David Krakauer and Klezmer/hip-hop artist Socalled.  In 2007, Wesley accepted an invitation to contribute to "" (Vanguard). He participated with Lenny Kravitz, the Rebirth Brass Band, Troy "Trombone Shorty" Andrews, Pee Wee Ellis and Maceo Parker to contribute their version of Domino's "Whole Lotta Lovin'."  In 2010, Wesley contributed to "Kings" (Freestyle Records), the fourth album by Israeli funk and groove ensemble, The Apples. Specific sessions on the album were dedicated to working with Wesley, one of the group's heroes.

Discography.

As sideman.

With George Benson  With James Brown  With George Clinton  With Bootsy Collins  With Hank Crawford  With Deee-Lite  With Pee Wee Ellis  With J.B. Horns  With Maceo Parker  With Parliament  With Bernie Worrell  With others

Fred Wesley (born July 4, 1943) is an American trombonist who worked with James Brown in the 1960s and 1970s and Parliament-Funkadelic in the second half of the 1970s.

Fred Wesley (* 4. července 1943) je americký pozounista. V dětství hrál na klavír a později trubku. V šedesátých a sedmdesátých letech byl členem doprovodné skupiny Jamese Browna. Jeho kapelu opustil v roce 1975 a následně řadu let působil v projektech George Clintona. V roce 1978 zahájil spolupráci s Count Basiem. Během své kariéry spolupracoval s mnoha dalšími hudebníky, mezi něž patří například Maceo Parker, Hank Crawford a George Benson. Rovněž vydal řadu vlastních alb.


Early life and education.

David Furnish was born in Toronto, Ontario, the son of Gladys and Jack Furnish, a director at the Bristol-Myers pharmaceutical company. He has an older brother, John, and a younger brother, Peter. Furnish graduated from the Sir John A. Macdonald Collegiate Institute in 1981 and received a B.A. in Honours Business Administration from the Richard Ivey School of Business at the University of Western Ontario in London, Ontario in 1985.

Career.

He was recruited by the advertising agency Ogilvy & Mather, eventually transferred to the London, England, office and was appointed to their Board.  Furnish is co-chief of Rocket Pictures along with his husband, Sir Elton John. Furnish serves on the board of the Elton John AIDS Foundation, attending fundraisers and other events in support of that cause.  Furnish is a contributing editor for "Tatler" magazine and also is a regular columnist for "Interview" and "GQ".  In 2015, he was named one of "GQ"s 50 best dressed men in Britain.  In June 2019, to mark the 50th anniversary of the Stonewall riots, "Queerty" named him, along with John, as one of the "Pride50" "trailblazing individuals who actively ensure society remains moving towards equality, acceptance and dignity for all queer people".

Personal life.

Furnish began a relationship with singer Elton John in 1993. John proposed to Furnish in May 2005 at a dinner party with friends and family at one of their homes in Old Windsor. Furnish and John entered into a civil partnership on 21 December 2005, the first day that civil partnerships could be performed in England, in the town of Windsor, Berkshire. Their first child, son Zachary Jackson Levon Furnish-John, was born in December 2010 in California via surrogacy. In January 2013, the couple's second son, Elijah Joseph Daniel Furnish-John, was born through the same surrogate. After same-sex marriage became legal in England and Wales in March 2014, John and Furnish retroactively converted their civil partnership into a marriage and marked the occasion with a ceremony in Windsor, Berkshire, on 21 December 2014, the ninth anniversary of their civil partnership.

David James Furnish (born 25 October 1962) is a Canadian filmmaker and former advertising executive. He is married to English musician Sir Elton John.

David Furnish (* 25. října 1962) je kanadský režisér a producent. Pracoval pro reklamní agenturu Ogilvy & Mather. Počínaje rokem 1993 byl ve vztahu s hudebníkem Eltonem Johnem, o němž v roce 1997 natočil dokumentární film "". V roce 2005 vstoupili do registrovaného partnerství. V prosinci 2010 se jim díky náhradnímu mateřství narodil první syn. V lednu 2013 následoval další syn. Počínaje rokem 2014 je ve Spojeném království legální stejnopohlavní manželství. Svatbu měli 21. prosince toho roku.


Etymology.

The genus name "Pelargonium", in scientific Latin, derives from the Greek "pelargós (πελαργός)", designating the stork, the shape of the fruit evoking the beak of the bird. The specific epithet "zonale" is the neutral inflected form of the Latin "zonalis" "relative to the zone", with reference to the brown zone on the leaf.  "Pelargonium zonale" was collected by Henrik Bernard Oldenland in 1689 at Meiringspoort Pas. The species was described by the Dutch botanist Jan Commelijn (1629–1692) and illustrated with a watercolor by Maria Moninckx.

Description.

"Pelargonium zonale" is an upright or scrambling shrub, normally growing to about in height. Its stems are succulent, hairy when young and becoming woody with age. The leaves often have a narrow, dark, zigzag "zone" of pigmentation, giving rise to both the scientific and common names. The flowers are borne in an umbel; individual flowers are markedly zygomorphic. The petals are narrow and a bright, deep pink, with reddish lines along the petals' length. Leaves are reniform and petiolate with an average diameter of 5 to 8 cm.

Cultivation.

In the 16th century, Pelargonium seeds were transported from Africa to Leiden in the Netherlands, where the plant was grown in the botanical garden there. Within a few years, it reached the British Isles, France, Italy and Spain and became popular. It gradually reached the islands of the Caribbean, and in the 17th century it was already known in North America. Today it is naturalized in many subtropical and tropical countries and in colder areas must be grown indoors.  Plants can be obtained from seeds or vegetatively. The hard-coated seeds germinate within 14 days at about 20° C. once the seed coat is compromised. Micropropagation has been used commercially since the 20th century.  In temperate climate zones, plants are set out in gardens in the spring, then can be dug prior to the first freeze and brought indoors to overwinter; they can be re-planted in the spring.

Hybridization.

This species, when hybidized with closely related species, has yielded a group of hybrid plants referred to as Pelargonium x hortorum. These hybrids are usually referred to by the common name "zonal geranium".

Pelargonium zonale, known as wildemalva in Afrikaans, is a species of "Pelargonium" native to southern Africa west of the Cape Province, in the geranium family. It is one of the parents of the widely cultivated plant "Pelargonium" × "hortorum", often called "geranium", "zonal geranium" or "zonal pelargonium".

Pelargonie páskatá ("Pelargonium zonale") je kvetoucí, okrasná rostlina pěstovaná v zahradách od mírného po tropické pásmo. Je součásti širokého rodu pelargonie tvořeného asi 280 druhy a endemit Jihoafrické republiky. Roste tam v pobřežních provinciích, od jihu Západního Kapska přes Východní Kapsko po sever provincie KwaZulu-Natal v horských údolích, proláklinách a na úpatích skal v prostředí, kde po dlouhé období neprší a je sucho.


Kostel svatého Alexandra Něvského (Kodaň)

History.

From the middle of the 18th century, the Russian delegation held services in Copenhagen, first in a small chapel in Laksegade and later in Store Kongensgade. The Alexander Nevsky Church was built from 1881 to 1883 by the Russian government; Tsar Alexander III personally provided funds for the construction, a project prompted by his Danish-born wife Maria Feodorovna, a daughter of Christian IX of Denmark. The acquisition of the site on Bredgade (Broad Street) was arranged by Carl Frederik Tietgen and it has been reported that the Tsar disapproved of the selected location for religious reasons, since tradition called for a free-standing building.  The church was designed by Russian architect David Ivanovich Grimm who was a professor at the Imperial Academy of Arts in Saint Petersburg. His project had previously been chosen among 15 entries in architectural competition. The Danish architect Albert Nielsen was charged with the practical execution of the building under supervision of Ferdinand Meldahl.  In September 1883 Provost Yanysev, Chancellor of the Theological Academy in St. Petersburg, came to Copenhagen to consecrate the church, assisted by the congregation's priest and a monk from Alexander Nevsky Lavra in St. Petersburg. Representatives of the Danish, Russian and Greek Royal families were present at the ceremony.

Architecture.

The exterior of the church is dominated by the three onion domes which top the gable facing the street. The design takes its inspiration from 17th century Muscovite architecture. The facade is executed in red and grey bricks with sandstone ornamentations. High on the facade, in a niche above the bells, is an icon of Alexander Nevsky, the church's patron saint, painted by Fyodor Bronnikov.

The Alexander Nevsky Church () is the only Russian Orthodox church in Copenhagen. It was built by the Russian Government between 1881 and 1883, prompted by Princess Dagmar of Denmark's marriage to Alexander Alexandrovich on 9 November 1866 and their later ascent to the Russian throne as Tsar Alexander III of Russia and Tsaritsa Maria Feodorovna. The church is dedicated to the Russian patron saint Alexander Nevsky.

Kostel svatého Alexandra Něvského (rusky Церковь благоверного князя Александра Невского, dánsky Aleksandr Nevskij Kirke) je chrám Ruské pravoslavné církve v hlavním městě Dánska Kodani.


Career.

Early life and career (1955–1998).

Gottfried was born in Brooklyn, New York, the son of Lillian (Zimmerman), a homemaker, and Max Gottfried, who ran a hardware store with his own father, above which the family lived. At age 15, Gottfried began doing amateur stand-up in New York City and, after a few years, became known around New York as "the comedian's comedian." In 1980, "Saturday Night Live" was being retooled with a new staff and new comedians; the producers noticed Gottfried and hired him as a cast member for season 6. Gottfried's persona in "SNL" sketches was very different from his later characterization: he rarely (if ever) spoke in his trademark screeching, obnoxious voice and never squinted. During his 12-episode stint, he was given very little airtime and seldom used in sketches. Gottfried recalls a low point was having to play a corpse in a sketch about a sports organist hired to play inappropriate music at a funeral. Despite this, he had one recurring character (Leo Waxman, husband to Denny Dillon's Pinky Waxman on the recurring talk show sketch, "What's It All About?") and two celebrity impersonations: David A. Stockman and controversial film director Roman Polanski.  Gottfried also played accountant Sidney Bernstein in the 1987 film "Beverly Hills Cop II" which reunited him with friend and fellow "SNL" alumni Eddie Murphy.  Although not a regular, he also appeared in "The Amazing Live Sea Monkeys", as well as voicing the crazed dentist Dr. Bender and his son Wendell in "The Fairly OddParents" and the voice of Jerry the Belly Button Elf on "Ren and Stimpy". Three of his most prominent roles came in 1990, 1991, and 1992, when he was cast as the adoption agent Igor Peabody in "Problem Child" and "Problem Child 2" and the parrot Iago in "Aladdin". When asked how he prepared for the role, Gottfried said, "I did the whole DeNiro thing. I moved to South America! I lived in the trees!" Gottfried reprised the role in "", "Aladdin and the King of Thieves", the television series and various related media, such as "Kingdom Hearts" and "House of Mouse". However, the character was ultimately recast to Alan Tudyk for the 2019 remake. Gottfried also voiced Berkely Beetle in 1994's Thumbelina.  Gottfried was the host of the Saturday edition of "USA Up All Night" for its entire run from 1989 to 1998.

Voice acting, television and films (1999–present).

Gottfried was a recurring guest star during the Tom Bergeron era of "The Hollywood Squares" and became the central figure in a bizarre episode that aired October 1, 1999. In this episode, the two contestants made nine consecutive incorrect guesses, six of which were to be game-deciding questions asked to Gottfried. Penn Jillette, who, with his partner Teller was a guest on the same episode, berated a contestant earlier for giving an incorrect guess by shouting "You fool!", which Gottfried himself then began to use, with most of the other stars including host Bergeron himself eventually joining in with every successive wrong guess. As a consequence, it took the entire half hour to play only one game. Appropriately, the episode became known as the "You Fool!" episode. Gottfried has provided the voice of the duck in the Aflac commercials and Digit in "Cyberchase", as well as Mister Mxyzptlk in "". He reprised his role as Mxyzptlk in "", "Justice League Action", and "Lego DC Super-Villains". He also voiced a nasty wisecracking criminal genius named Nick-Nack in two episodes of "Superboy" (he also co-wrote an issue of "", which featured Nick-Nack's origin). On "The Tonight Show with Jay Leno", Gottfried has made regular appearances.  In 2004, Comedy Central featured Gottfried's stand-up material for "Shorties Watchin' Shorties". Gottfried was part of an online advertising campaign for Microsoft's Office XP software, showing, in a series of Flash-animated cartoons, that the Clippy office assistant would be removed. In 2006, Gottfried topped the "Boston Phoenix"<nowiki>'</nowiki>s tongue-in-cheek list of the world's 100 Unsexiest Men. In April 2006, Gottfried performed with the University of Pennsylvania's Mask and Wig Club in their annual Intercollegiate Comedy Festival. Also in 2006, he made an appearance on the "Let's Make a Deal" portion of "Gameshow Marathon" (as a baby in a large high chair, he says "Hey Ricki, I think I need my diaper changed!"), and in the Dodge Viper in the big deal (where he tells the contestants "What were you thinking?!" because neither one picked it). He also guest-starred in "The Grim Adventures of Billy and Mandy" as Santa Claus in the one-hour Christmas Special. He voiced Rick Platypus in an episode of "My Gym Partner's a Monkey" entitled "That Darn Platypus". He appeared as Peter's horse in an episode of "Family Guy" entitled "Boys Do Cry" (in which Peter Griffin is enthused to learn that Gottfried is providing the horse's voice). He also guest-starred in "Hannah Montana" as Barny Bittmen. In January 2009, Gottfried worked again with David Faustino for an episode of Faustino's show "Star-ving". In 2011, Gottfried appeared in the episode "Lost Traveler" on "" as Leo Gerber, a sarcastic computer professional working for the NYPD's Technical Assistance Response Unit, which producer Warren Leight said could become a recurring character. Gottfried read a section from the hit book "Fifty Shades of Grey" in a June 2012 YouTube video, which was created with the aim of using Gottfried's trademark voice to make fun of the book's graphic sexual content.  In 2013, Gottfried became a member of "Team Rachael" on the second season of Food Network's "". In March 2013 he appeared on ABC's "Celebrity Wife Swap". He swapped wives with Alan Thicke. He is also a commentator on "".  On May 28, 2014, Sideshow Network premiered "Gilbert Gottfried's Amazing Colossal Podcast", an interview series where Gottfried and his co-host Frank Santopadre discuss classic movies and talk to "Hollywood legends and behind-the-scenes talents" who shaped Gottfried's childhood and influenced his comedy. His first guest was Dick Cavett.  Gottfried was the third contestant fired during the fourteenth season of the NBC reality show "The Celebrity Apprentice". In 2016 he played the 'Pig Man' in a comedy/fantasy film "Abnormal Attraction". In 2017 he appeared as himself in "Episodes", where a contestant on a fictional TV endurance gameshow is penalised with "48 hours of Gilbert Gottfried".  On June 10, 2018 he appeared in a special segment of "Last Week Tonight with John Oliver" where, for UK viewers only, a segment about the UK's law restricting broadcast of debates from the Houses of Parliament was replaced by five minutes of him reading "3 star Yelp reviews", along with host John Oliver telling the audience "you brought this on yourself because of your stupid law". He returned on November 18, 2018 in the show's last episode of the year to read out extracts from the Brexit agreement, again for UK viewers only. He had previously performed as "the real voice of Jared Kushner" in dubbed film clips on the show.  On July 31, 2019 he appeared on episode 170 of the "Angry Video Game Nerd" YouTube channel Cinemassacre. The title of the video is Life of Black Tiger with Gilbert Gottfried (PS4) - Angry Video Game Nerd (AVGN). Quoted from the description of the video, The AVGN is playing the most modern game he's ever played before on the PlayStation 4. But, of course it might be one of the worst games he's ever played. Life of Black Tiger is a mobile game ported to the PS4 where you play as an emo tiger fighting the wild and humanity to save his cute baby. Gilbert Gottfried guest stars as a certain game designer that's never been seen on the show before. "James Rolfe" invited Gilbert as a guest to be in the episode in order to pretend to be a made up developer of the game Life of Black Tiger.

Personal life.

In the late 1990s, Gottfried met Dara Kravitz at a Grammy Awards party. They were married in 2007 and have two children together, daughter Lily and son Max. They reside in the Chelsea neighborhood of Manhattan. Gottfried was raised in a Jewish family, but he has commented on his podcast that he did not have a bar mitzvah. One of his sisters is Arlene Gottfried, a New York street photographer, who died in 2017.

Comedic style.

Danny Gallagher of the "Dallas Observer" wrote that "Gottfried has one of the most original formulas in the history of comedy", adding:  Gottfried is known for speaking in a loud and grating voice, which is not his natural speaking voice. Mark Binneli of "Rolling Stone" described Gottfried as a "squinting, squawking mass of contradictions", noting his status as "one of America's filthiest stand-ups and one of the most successful voice-over artists in children's entertainment." Gottfried is known for joking about recent tragedies. In a July 2012 op-ed for CNN, he wrote:

Controversial jokes.

1991 Emmy Awards.

At the 43rd Primetime Emmy Awards, Gottfried made "an endless series of masturbation jokes" in reference to Paul Reubens' arrest for masturbating in an adult movie theater. Viewers on the East Coast saw the entire set live, but Fox censored the broadcast for the West Coast delay. Fox issued an apology, stating that Gottfried's jokes were "irresponsible and insulting". Gottfried said that producers stated he would not be invited back, and "Rolling Stone" wrote that the monologue resulted in his being "blacklisted".

September 11 joke.

During his monologue at a Friars Club roast of Hugh Hefner three weeks after the September 11 attacks, Gottfried joked that he had intended to catch a plane, but could not get a direct flight because "they said they have to stop at the Empire State Building first". This was one of the first public examples of 9/11 humor. Audience members responded with hisses and a cry of "Too soon!" Gottfried then abandoned his prepared remarks and launched into the venerable Aristocrats joke, winning back the audience. Penn Jillette and Paul Provenza used Gottfried's monologue as a segment in their 2005 film "The Aristocrats".

Japanese tsunami jokes.

In March 2011, Gottfried made a series of jokes on his Twitter account about the earthquake disaster in Japan. Aflac, which does 75% of its business in Japan, responded by dismissing Gottfried from voicing its duck mascot on March 14, 2011, and announced a casting call for his replacement as the voice of the duck. He was replaced by Daniel McKeague (who did an impression of Gottfried) on April 26, 2011.

Gilbert Jeremy Gottfried (born February 28, 1955) is an American stand-up comedian, actor and voice actor. Gottfried's persona as a comedian features an exaggerated shrill voice and emphasis on crude humor. His numerous roles in film and television include voicing the parrot Iago in Disney's "Aladdin" animated films and TV show, Digit in the PBS Kids Go! show "Cyberchase", and Kraang Subprime in "Teenage Mutant Ninja Turtles". Gottfried was also the voice of the Aflac Duck until 2011. He appeared in the critically panned commercial hit "Problem Child" in 1990.

Gilbert Gottfried (* 28. února 1955) je americký herec a komik. Narodil se v Brooklynu a od patnácti let začal po New Yorku vystupovat jako komik. V roce 1980 vystupoval v pořadu "Saturday Night Live". V roce 1992 daboval postavu jménem Iago v animovaném filmu "Aladin". Jako herec se představil například ve filmech "Kdopak to mluví 2" (1990), "Lovec žen" (1997) a "Všechny cesty vedou do hrobu" (2014).


Original zarzuela version.

In 1913, Peruvian songwriter Daniel Alomía Robles composed "El Cóndor Pasa", and the song was first performed publicly at the Teatro Mazzi in Lima. The song was originally a musical piece in the Peruvian zarzuela (musical play), "El cóndor pasa".  Its music was composed by Daniel Alomía Robles in 1913 and its script was written by Julio de La Paz (pseudonym of the Limenian dramatist Julio Baudouin). The piano arrangement of this play's most famous melody was legally registered on May 3, 1933 by The Edward B. Marks Music Corp. in the Library of Congress, under the number 9643. The zarzuela is written in prose and consists of one musical play and two acts.  In July 2013, the Colectivo Cultural Centenario El Cóndor Pasa cultural association re-edited the original script which had been lost for a period of time, and published it together with a CD containing the recorded dialogues and seven musical pieces. The music from the original score was reconstructed by musicologist Luis Salazar Mejía with the collaboration of musicians Daniel Dorival and Claude Ferrier and the support of cultural promoter Mario Cerrón Fetta, and re-released on November 14, 15, and 16, 2013 at the Teatro UNI in Lima to celebrate its first centenary. The zarzuela included the famous melody of the same name, without lyrics, based on the traditional Andean music of Peru, where it was declared a National Cultural Heritage in 2004.

Simon and Garfunkel version.

In 1965, the American musician Paul Simon heard for the first time a version of the melody by the band Los Incas in a performance at the "Théâtre de l'Est parisien" in Paris in which both were participating. Simon became friendly with the band, later even touring with them and producing their first US-American album. He asked the band for permission to use the song in his production. The band's director and founding member Jorge Milchberg, who was collecting royalties for the song as co-author and arranger, responded erroneously that it was a traditional Peruvian composition. Milchberg told Simon he was registered as the arrangement's co-author and collected royalties.  In 1970, the Simon & Garfunkel duo covered the Los Incas version, adding some English lyrics which in turn added Paul Simon to the author credits under the song name "El Cóndor Pasa (If I Could)". The instrumental version by Los Incas was used as the base track. They included the song on the 1970 album "Bridge Over Troubled Water". Simon & Garfunkel released their version as a single in the U.S., which reached #18 on the Billboard Pop Singles chart and #6 on the Easy Listening chart, in fall 1970. This cover achieved major international success and fame.  In regard to the Simon & Garfunkel version, Daniel Alomía Robles, Jorge Milchberg, and Paul Simon are now all listed as songwriters, with Simon listed alone as the author of the English lyrics. However, Daniel Alomía Robles was not originally listed as the composer because Jorge Milchberg had told Simon that the song was considered an Andean folk melody. He further stated that he was the registered co-author and arranger of the composition.

Copyright lawsuit.

In late 1970, Daniel Alomía Robles' son Armando Robles Godoy, a Peruvian filmmaker, filed a successful copyright lawsuit against Paul Simon. The grounds for the lawsuit extended that the song had been composed by his father, who had copyrighted the song in the United States in 1933. Armando Robles Godoy said that he held no ill will towards Paul Simon for what he considered a "misunderstanding" and an "honest mistake".  "It was an almost friendly court case because Paul Simon was very respectful of other cultures. It was not carelessness on his part", said Armando Robles Godoy. "He happened to hear the song in Paris from a vernacular group Los Incas. He liked it, he went to ask the band for permission and they gave him the wrong information. Jorge Milchberg told him it was a traditional folk song from the 18th century and not my father's composition. It was a court case without further complications."  Later that year, Perry Como released a cover of Paul Simon's English version on his album "It's Impossible", while Julie Felix had a UK Top 20 hit with it, taking advantage of Simon & Garfunkel's decision not to release their version as a UK single.  Armando Robles Godoy subsequently wrote new Spanish lyrics for the song, taking Paul Simon's version as a reference.

El Cóndor Pasa (, Spanish for "The Condor Passes") is an orchestral musical piece from the zarzuela "El Cóndor Pasa" by the Peruvian composer Daniel Alomía Robles, written in 1913 and based on traditional Andean music, specifically folk music from Peru.

„El cóndor pasa“ je píseň pocházející ze stejnojmenné zarzuely peruánského skladatele Daniela Alomía Roblese. Vznikla v roce 1913 a je založena na tradičních andských lidových písních. Americké duo Simon & Garfunkel nahrálo svou verzi písně na své album "Bridge over Troubled Water", jež vyšlo v roce 1970. Autorem anglického textu je Paul Simon. Český zpěvák Karel Gott nahrál píseň s českým textem, jehož autorem byl Jiří Štaidl. Píseň nahrála řada dalších hudebníků.


Plots.

In the beginning, Sazae was more interested in being with her horse than dressing up in kimono and makeup to attract her future husband. Hasegawa was forward-thinking in that, in her words, the Isono/Fuguta clan would embody the image of the modern Japanese family after World War II.  Sazae was a very "liberated" woman, and many of the early plotlines revolved around Sazae bossing around her husband, to the consternation of her neighbors, who believed that a man should be the head of his household. Later, Sazae became a feminist and was involved in many comical situations regarding her affiliation with her local women's lib group.  Despite the topical nature of the series, the core of the stories revolved around the large family dynamic, and were presented in a lighthearted, easy fashion. In fact, the final comic, in 1974, revolved around Sazae's happiness that an egg she cracked for her husband's breakfast produced a double yolk, with Katsuo remarking about the happiness the "little things" in life can bring.  As of now, the popular "Sazae-san" anime is frequently taken as nostalgia for traditional Japanese society, since it alludes to a simpler time before modern technology, despite the fact that it was leftist to the point of controversy when it originally ran in Japanese newspapers.

Characters.

Hama family.

A next-door neighbor of the Isono family.

Meanings of the names.

The names of many of the characters are derived from marine animals and things relating to the sea, although they have the form of regular Japanese names. For example, Katsuo is a fairly common name that could be written 勝男, 勝夫, 勝雄 or 嘉葎雄); Sazae is not a common name, but ends with "-e", so it has one moderately common form of a feminine name.  The inspiration for the characters is said to have come to Hasegawa as she was strolling along the beach one day.  Although the comic ran for twenty-eight years, the characters never aged: Sazae was always 27 years old, her husband 28, her father and mother were always 54 and 48, and Sazae's siblings were around eleven and seven years of age, respectively.

Publishing of the manga.

The comic strip was published in book form by, which Machiko ran with her sister, Mariko. In April 1993, this publishing company went out of business and the comic books went out of print. The same year, "Asahi Shimbun" purchased the right to publish the forty-five paperback volumes. Twelve bilingual (Japanese-English) manga volumes were published by Kodansha between 1997 and 1999 as "The Wonderful World of Sazae-San". The volumes were re-released in 2004, and in 2015 another three bilingual manga volumes were released as "The Best of Sazae-san".

Sazae-san on television.

Anime series.

In October 1969, Fuji Television started an anime comedy series, which is still on the air today and currently in production, making it one of the longest-running scripted TV series in history and the longest running animated show. It has been broadcast every Sunday from 6:30 to 7:00 p.m. and contains three vignettes. The anime series has some characters, like Katsuo's classmates, who have not appeared in Hasegawa's original works.  The end credits for each episode include brief animations of the original comic strips, with dialogue appearing in word balloons. Since November 1991, after the closing credits and the next episode previews, each show has ended with a janken match between Sazae and the viewers at home, in which Sazae holds up a sign representing one of the appropriate hand gestures. From 1969 until October 1991, Sazae ended each episode by tossing a bean or rice cake in the air and catching it in her mouth. Fuji Television switched to the janken match after doctors at Tohoku University Hospital and the National Center for Child Health and Development raised concerns that children may try to imitate Sazae and potentially choke on food.  On November 16, 2008, the series' 2000th 30-minute broadcast was aired in celebration of the 40th anniversary of the anime series; this special episode also featured Sazae-san wearing five costumes based on submissions from viewers.  The anime series was originally sponsored solely by Toshiba—including placement of its products within the show—but later expanded to other sponsors.  "Sazae-san" was the last animated television series to use traditional cel animation, although as of April 2009, the opening credits were digital; the series finally switched to fully digital animation in 2015. Despite the series being a hit, Hasegawa stated that she never wanted any merchandise to be made for it, including home video rights, making availability of past episodes, especially those prior to the introduction of the VCR, very rare. Following her death, her request to prohibit older episodes from being released in home media was honored. Despite this however, Fuji TV made an agreement with Amazon Prime Video on December 2018 to release the 1969 and early-to-mid 1970s episodes available on their streaming service. The episodes from the mid 2000s happened to also be on the service.  On September 5, 2013, "Sazae-san" was awarded the Guinness World Record for the longest running animated television series in the world. As of November 2015, there have been 7332 episodes aired.  On January 27, 2014, while recording narration for a program in Hiroshima, Nagai suffered a bout of myocardial infarction and was found by a hotel employee. He was rushed to a hospital, where he was pronounced dead; Nagai was 82 years old at the time of his death. The Daily Sports newspaper reported that the role of Sazae's father Namihei in Sazae-san, which was previously voiced by Ichirō Nagai, will now be filled by the show's staff. The first Sazae-san episode after Nagai's passing was recorded on January 30, 2014. On February 10, 2014, Fuji Television announced that Chafurin was succeeded Ichirō Nagai as the voice of Sazae-san's father Namihei Isono.  On April 4, 2020, Midori Kato stated that voice recordings have been halted due to COVID-19 concerns.  On May 9, 2020, it was announced that the anime will be put on hiatus for the first time since 1975 because of COVID-19. On June 14, 2020, it was announced that the anime will resume on June 21, 2020.

Live-action series.

In 1955, a radio station aired a serial drama based on the comic strip.  The same year, a short-lived live-action television series was started, and was aired on what is now TBS.  In November 1965, TBS started a dramatic television series modeled after the comic strip. It aired until September 1967.  In 1979, NHK made a dramatic serial which ran for six months, focusing on the creation of "Sazae-san" and Machiko Hasegawa in her younger days.  In 2010, Fuji Television debuted a live-action situation comedy series,, followed the following year with. The series is patterned after the anime series and uses the same elements, including the theme music and the closing janken match.

Other.

In 2008, Glico showed the family in the "25 years later" commercials, as adults, for the firms "Otona Glico" chocolates. The characters were portrayed by Eita (as Fuguta Tarao), Asano Tadanobu (as Isono Katsuo), Rie Miyazawa (as Isono Wakame) and Shun Oguri (as Namino Ikura). In 2017, the characters Sazae and Masao were depicted in a Cup Noodles commercial drawn by Katsuya Kondō.

"Sazae-san" won the 8th Bungeishunjū Manga Award in 1962. An anime television adaptation by TCJ (later renamed Eiken) began airing in Japan in October 1969 and holds the Guinness World Record for the longest-running animated television series. It has also been adapted into a radio show, theatrical plays and songs.

Sazae-san ( サザエさん) je japonská jonkoma manga, kterou vytvořila Mačiko Hasegawa v 1946 až 1974. První strip publikovala Hasegawa v regionálních novinách "Fukuniči šinbun" 22. dubna 1946. Později dostala nabídku publikování mangy v novinách "Asahi šinbun", již přijala a roku 1949 se přestěhovala do Tokia. Souběžně s vlastním přestěhováním nechala přestěhovat z Kjúšú do Tokia i hlavní postavy své mangy. Roku 1962 vyhrála "Sazae-san" osmý ročník manga soutěže nakladatelství Bungeišundžú. Adaptace v podobě stejnojmenného animovaného seriálu se začala v Japonsku vysílat v říjnu 1969. Seriál se stále vysílá a roku 2013 byl zapsán v Guinnessově knize rekordů jako nejdéle vysílaný animovaný seriál na světě.