text:
Indian independence activist
Malayalam literature
writer, ￼
humanist
freedom fighter
Balyakalasakhi
Shabdangal
Pathummayude Aadu
Mathilukal
Ntuppuppakkoranendarnnu
Janmadinam
Anargha Nimisham
Padma Shri
Sahitya Akademi Fellowship
Kerala Sahitya Akademi Fellowship
Kerala State Film Award for Best Story
Thalayolaparambu
Kottayam District
Vaikom
Mahatma Gandhi
Indian independence movement
Vaikom
satyagraha
Vaikom Satyagraham
Khādī
swadeshi
Kochi
Malabar district
Salt Satyagraha
Kannur Prison
Bhagat Singh
Sukhdev Thapar
Shivaram Rajguru
Gandhi-Irwin pact
Hindu
Sufi
Himalayas
Ganges
Ajmer
Peshawar
Kashmir
Calcutta
Ernakulam
Ente Thankam
Trivandrum
Kottayam
Thiruvananthapuram central jail
M. P. Paul
Balyakalasakhi
Premalekhanam
M. K. Sanu
Ernakulam
Beypore
Kozhikode
Pathummayude Aadu
Thrissur
Malayalam
Pathummayude Aadu
Muslim
Malayali
Mucheettukalikkarante Makal
Card sharp
Somerset Maugham
Steinbeck
Maupassant
Flaubert
Romain Rolland
Gorky
Chekhov
Hemingway
Pearl S. Buck
Shakespeare
Galsworthy
Shaw
Premalekhanam
caste
Nair
dowry
P. A. Backer
Soman
Swapna
Aneesh Anwar
Farhaan Faasil
Joy Mathew
Sheela
Premalekhanam
Balyakalasakhi
magnum opus
M. P. Paul
Sasikumar
the same name
the same title
Pramod Payyannur
Isha Talwar
Janmadinam
Shabdangal
vulgarity
Ntuppuppakkoranendarnnu
Pathummayude Aadu
Mathilukal
film with same name
Adoor Gopalakrishnan
Mammootty
Mucheettukalikkarante Makal
Thalayolaparambu
Chennai
Premalekhanam
Mucheettukalikkarante Makal
Basheer Malayalathinte Sultan
Sahitya Akademi
fellowship
distinguished fellowship
Kerala Sahitya Akademi
Government of India
Padma Shri
University of Calicut
Doctor of Letters
Kerala State Film Award for Best Story
Adoor Gopalakrishnan
Mathilukal
Lalithambika Antharjanam Award
Prem Nazir
Muttathu Varkey Award
Vallathol Award
Jeddah
festschrift
India Post

categories: Indian male screenwriters,1908 births,Writers from Kerala,1994 deaths,Malayalam short story writers,Indian male short story writers,Screenwriters from Kerala,Indian diarists,Malayalam novelists,20th-century Indian novelists,20th-century Indian musicians,Malayalam-language dramatists and playwrights,Writers in British India,Indian male essayists,20th-century Indian dramatists and playwrights,Recipients of the Padma Shri in literature & education,Indian Muslims,Mappilas,Indian independence activists from Kerala,Indian memoirists,Indian male dramatists and playwrights,Kerala State Film Award winners,Malayali people,Malayalam screenwriters,20th-century Indian essayists,20th-century Indian short story writers,Malayalam-language writers,Vaikom Muhammad Basheer,People from Vaikom,Indian male songwriters,Indian male novelists

paragraph: Vaikom Muhammad Basheer

paragraph: Vaikom Muhammad Basheer (21 January 1908 – 5 July 1994), fondly known as Beypore Sultan, was an Indian independence activist and writer of Malayalam literature . He was a writer, ￼humanist, freedom fighter, novelist and short story writer, noted for his path-breaking, down-to-earth style of writing that made him equally popular among literary critics as well as the common man. His notable works include "Balyakalasakhi", "Shabdangal", "Pathummayude Aadu", "Mathilukal", "Ntuppuppakkoranendarnnu", "Janmadinam" and "Anargha Nimisham" and the translations of his works into other languages have earned him worldwide acclaim. The Government of India awarded him the fourth highest civilian honour of the Padma Shri in 1982. He was also a recipient of the Sahitya Akademi Fellowship, Kerala Sahitya Akademi Fellowship, and the Kerala State Film Award for Best Story.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life.

paragraph: Basheer was born on January 21, 1908 in Thalayolaparambu (near Vaikom) Kottayam District, to Kayi AbduRahman, a timber merchant, and his wife, Kunjathumma, as their eldest child. After completing his primary education at a local Malayalam medium school, he joined an English medium school in Vaikom, five miles away, fr higher education. It was during this time, he met Mahatma Gandhi, when the Indian independence movement leader came to Vaikom for the satyagraha, which later came to be known as Vaikom Satyagraham, and became his follower. He started wearing Khādī, inspired by the swadeshi ideals of Gandhi. Basheer would later write about his experiences on how he managed to climb on to the car in which Gandhi was traveling and touched his hand.

paragraph: Section::::Biography.:Freedom struggle involvement.

paragraph: He resolved to join the fight for an Indian Independence, leaving school to do so while he was in the fifth form. Basheer was known for his secular attitude, and he treated all religions with respect. Since there was no active independence movement in Kochi – being a princely state – he went to Malabar district to take part in the Salt Satyagraha in 1930. His group was arrested before they could participate in the satyagraha. Basheer was sentenced to three months imprisonment and sent to Kannur Prison. He became inspired by stories of heroism by revolutionaries like Bhagat Singh, Sukhdev Thapar and Shivaram Rajguru, who were executed while he was in the jail. His release, along with 600 of his fellow prisoners, came in March 1931 following the Gandhi-Irwin pact. Once free, he organised an anti-British movement and edited a revolutionary journal, "Ujjivanam", because of which an arrest warrant was issued on him and he left Kerala.

paragraph: Section::::Biography.:Journey.

paragraph: Having left Kerala, he embarked upon a long journey that took him across the length and breadth of India and to many places in Asia and Africa for seven years, doing whatever work that seemed likely to keep him from starvation. His occupations ranged from that of a loom fitter, fortune teller, cook, newspaper seller, fruit seller, sports goods agent, accountant, watchman, shepherd, hotel manager to living as an ascetic with Hindu saints and Sufi mystics in their hermitages in Himalayas and in the Ganges basin, following their customs and practices, for more than five years. There were times when, with no water to drink, without any food to eat, he came face to face with death.

paragraph: After doing menial jobs in cities such as Ajmer, Peshawar, Kashmir and Calcutta, Basheer returned to Ernakulam in the mid-1930s. While trying his hands at various jobs, like washing vessels in hotels, he met a manufacturer of sports goods from Sialkot who offered him an agency in Kerala. And Basheer returned home to find his father's business bankrupt and the family impoverished. He started working as an agent for the Sialkot sports company at Ernakulam, but lost the agency when a bicycle accident incapacitated him temporarily. On recovering, he resumed his endless hunt for jobs. He walked into the office of a newspaper "Jayakesari" whose editor was also its sole employee. He did not have a position to offer, but offered to pay money if Basheer wrote a story for the paper. Thus Basheer found himself writing stories for "Jayakesari" and it was in this paper that his first story "Ente Thankam" (My Darling) was published in the year 1937. A path-breaker in Malayalam romantic fiction, it had its heroine a dark-complexioned hunchback. His early stories were published between 1937 and 1941 in "Navajeevan", a weekly published in Trivandrum in those days.

paragraph: Section::::Biography.:Imprisonment and after.

paragraph: At Kottayam (1941–42), he was arrested and put in a police station lock-up, and later shifted to another lock up in Kollam Kasba police station. The stories he heard from policemen and prisoners there appeared in later works, and he wrote a few stories while at the lock-up itself. He spent a long time in lock-up awaiting trial, and after trial was sentenced to two years and six months imprisonment. He was sent to Thiruvananthapuram central jail. While at jail, he forbade M. P. Paul from publishing "Balyakalasakhi". He wrote "Premalekhanam" (1943) while serving his term and published it on his release. "Baalyakaalasakhi" was published in 1944 after further revisions, with an introduction by Paul. M. K. Sanu, critic and a friend of Basheer, would later say that M. P. Paul's introduction contributed significantly in developing his writing career. He then made a career as a writer, initially publishing the works himself and carrying them to homes to sell them. He ran two bookstalls in Ernakulam; Circle Bookhouse and later, Basheer's Bookstall. After Indian independence, he showed no further interest in active politics, though concerns over morality and political integrity are present all over his works.

paragraph: Basheer got married in 1958 when he was over forty eight years old and the bride, Fathima, fondly called by Basheer as "Fabi" (combining the first syllables of Fathima and Basheer), was twenty years of age. The couple had a son, Anees and a daughter, Shahina, and the family lived in Beypore, on the southern edge of Kozhikode. During this period he also suffered from mental illness and was twice admitted to mental sanatoriums. He wrote one of his most famous works, "Pathummayude Aadu" (Pathumma's Goat), while undergoing treatment in a mental hospital in Thrissur. The second spell of paranoia occurred in 1962, after his marriage when he had settled down at Beypore. He recovered both times, and continued his writings.

paragraph: Basheer, who earned the sobriquet, "Beypore Sultan", after he wrote about his later-day life in Beypore as a Sultan, died there, on July 5, 1994, at the age of 84, survived by his wife and children. Fabi Basheer outlived him for over two decades and died on July 15, 2015, at the age of 77, succumbing to complications following a pneumonia attack.

paragraph: Section::::Legacy.

paragraph: Section::::Legacy.:Language.

paragraph: Basheer is known for his unconventional style of language. He did not differentiate between literary language and the language spoken by the commons and did not care about the grammatical correctness of his sentences. Initially, even his publishers were unappreciative of the beauty of this language; they edited out or modified conversations. Basheer was outraged to find his original writings transcribed into "standardised" Malayalam, devoid of freshness and natural flow, and he forced them to publish the original one instead of the edited one. Basheer's brother Abdul Khader was a Malayalam teacher. Once while reading one of the stories, he asked Basheer, "where are aakhyas and aakhyathas (elements of Malayalam grammar) in this...?". Basheer shouted at him saying that "I am writing in normal Malayalam, how people speak. and you don't try to find your stupid 'aakhya and aakhyaada' in this"!. This points out to the writing style of Basheer, without taking care of any grammar, but only in his own village language. Though he made funny remarks regarding his lack of knowledge in Malayalam, he had a very thorough knowledge of it.

paragraph: Basheer's contempt for grammatical correctness is exemplified by his statement "Ninte Lodukkoos Aakhyaadam!" ("Your 'silly stupid' grammar!") to his brother, who sermonises him about the importance of grammar ("Pathummayude Aadu").

paragraph: Section::::Legacy.:Themes.

paragraph: Basheer's characters were also marginalised people like gamblers, thieves, pickpockets and prostitutes, and they appeared in his works, naive and pure. An astute observer of human character, he skilfully combined humour and pathos in his works. Love, hunger and poverty, life in prison are recurring themes in his works. There is enormous variety in them – of narrative style, of presentation, of philosophical content, of social comment and commitment. His association with India's independence struggle, the experiences during his long travels and the conditions that existed in Kerala, particularly in the neighbourhood of his home and among the Muslim community – all had a major impact on them. Politics and prison, homosexuality, all were grist to his mill. All of Basheer's love stories have found their way into the hearts of readers; perhaps no other writer has had such an influence on the way Malayalis view of love. The major theme of all Basheer stories is love and humanity. In the story "Mucheettukalikkarante Makal" (The Card sharp's Daughter), when Sainaba comes out of the water after stealing his bananas, Mandan Muthappa says only one thing: "Sainaba go home and dry your hair else you may fall sick." This fine thread of humanism can be experienced in almost all his stories.

paragraph: About the influence of Western literature in his works, Basheer once wrote: "I can readily say that I have not been influenced by any literature, Western or Eastern, for, when I started writing I had no idea of literature. Even now it is not much different. It is only after I had written quite a bit, that I had opportunities to contact Western literature. I read all that I could get hold of—Somerset Maugham, Steinbeck, Maupassant, Flaubert, Romain Rolland, Gorky, Chekhov, Hemingway, Pearl S. Buck, Shakespeare, Galsworthy, Shaw... In fact, I organised one or two bookstalls so that I could get more books to read. But I read these books mainly to know their craft. I myself had plenty of experience to write about! I have even now! I am unable to ascertain who has influenced me. Perhaps Romain Rolland and Steinbeck—but even they, not much."

paragraph: Section::::Legacy.:Works.

paragraph: Almost all of Basheer's writing can be seen as falling under the heading of prose fiction – short stories and novels, though there is also a one-act play and volumes of essays and reminiscences. Basheer's fiction is very varied and full of contrasts. There are poignant situations as well as merrier ones – and commonly both in the same narrative. There are among his output realistic stories and tales of the supernatural. There are purely narrative pieces and others which have the quality of poems in prose. In all, a superficially simple style conceals a great subtlety of expression. His works have been translated into 18 languages.

paragraph: His literary career started off with the novel "Premalekhanam", a humorous love story between Keshavan Nair – a young bank employee, an upper caste Hindu (Nair) – and Saramma – an unemployed Christian woman. Hidden underneath the hilarious dialogues we can see a sharp criticism of religious conservatism, dowry and similar conventions existing in society. The film adaptation of the story was by P. A. Backer in 1985, with the lead roles played by Soman and Swapna. It was remade again by Aneesh Anwar in 2017, featuring Farhaan Faasil, Joy Mathew and Sheela.

paragraph: "Premalekhanam" was followed by the novel "Balyakalasakhi" – a tragic love story between Majeed and Suhra – which is among the most important novels in Malayalam literature in spite of its relatively small size (75 pages), and is commonly agreed upon as his magnum opus work. In his foreword to "Balyakalasakhi", "Jeevithathil Ninnum Oru Aedu" (A Page From Life), M. P. Paul brings out the beauty of this novel, and how it is different from run-of-the-mill love stories. The novel was later adapted into a film by Sasikumar, under the same name. It was again remade with the same title in 2014, by Pramod Payyannur, with Mammootty and Isha Talwar playing the lead.

paragraph: The autobiographical "Janmadinam" ("Birthday", 1945) is about a writer struggling to feed himself on his birthday. While many of the stories present situations to which the average reader can easily relate, the darker, seamier side of human existence also finds a major place, as in the novel "Shabdangal" ("Voices", 1947), which faced heavy criticism for violence and vulgarity.

paragraph: "Ntuppuppakkoranendarnnu" ("My Gran'dad 'ad an Elephant", 1951) is a fierce attack on the superstitious practices that existed among Muslims. Its protagonist is Kunjupathumma, a naive, innocent and illiterate village belle. She falls in love with an educated, progressive, city-bred man, Nisaar Ahamed. Illiteracy is fertile soil for superstitions, and the novel is about education enlightening people and making them shed age-old conventions. "Velichathinentoru Velicham" (a crude translation can be 'brightness is very bright!') one of the most quoted Basheer phrases occurs in "Ntuppuppaakkoraanaendaarnnu". People boast of the glory of days past, their "grandfather's elephants", but that is just a ploy to hide their shortcomings. The book was later translated into English by R. E. Asher.

paragraph: His next novel was "Pathummayude Aadu", an autobiographical work published in 1959, featuring mostly his family members. The book tells the story of everyday life in a Muslim family. "Mathilukal" (Walls) deals with prison life in the pre-independence days. It is a novel of sad irony set against a turbulent political backdrop. The novelist falls in love with a woman sentenced for life who is separated from him by insurmountable walls. They exchange love-promises standing on two sides of a wall, only to be separated without even being able to say good-bye. Before he "met" Naraayani, the loneliness and restrictions of prison life was killing Basheer; but when the orders for his release arrive he loudly protests, "Who needs freedom? Outside is an even bigger jail." The novel was later made into a film with same name by Adoor Gopalakrishnan with Mammootty playing Basheer.

paragraph: "Sthalathe Pradhana Divyan", "Anavariyum Ponkurishum", "Mucheettukalikkarante Makal" and "Ettukali Mammoonju" featured the life of real life characters in his native village of Thalayolaparambu (regarded as "Sthalam" in these works). Perch, a Chennai based theatre, has adapted portions from "Premalekhanam" and "Mucheettukalikkarante Makal" as a drama under the title, ;;The Moonshine and the Sky Toffee".

paragraph: Section::::Legacy.:Trivia.

paragraph: New application on Basheer named "Basheer Malayalathinte Sultan" is now available as an iPad application which includes eBooks of all the works of the author, animation of his prominent works like "Pathumayude Aadu", "Aanapuda", audio book, special dictionaries encloses words used by Basheer, sketches of characters made by renowned artistes and rare photos among others. Fabi Basheer published her memoirs, "Basheerinte Ediye", which details her life with her husband.

paragraph: Section::::Awards and honours.

paragraph: Sahitya Akademi honoured Basheer with their fellowship in 1970, the same year as he was honoured with the distinguished fellowship by the Kerala Sahitya Akademi. The Government of India awarded him the fourth highest civilian honour of the Padma Shri in 1982 and five years later, the University of Calicut conferred on him the honourary degree of the Doctor of Letters on January 19, 1987. He received the Kerala State Film Award for Best Story for the Adoor Gopalakrishnan film, "Mathilukal" in 1989 and the inaugural Lalithambika Antharjanam Award in 1992 followed by the Prem Nazir Award the same year. He received two awards in 1993, the Muttathu Varkey Award and the Vallathol Award. The "Thamrapathra"'of the Government of India (1972), Abu Dhabi Malayala Samajam Literary Award (1982), Samskaradeepam Award (1987) and Jeddah Arangu Award (1994) were some of the other awards received by him. Mathrubhumi issued a festschrift on him, "Ormmayile Basheer" (Basheer - Reminiscences) in 2003 which featured several articles and photos and the India Post released a commemorative postage stamp, depicting his image, on January 21, 2009.

description: Indian author

wikidata_label: Vaikom Muhammad Basheer

wikipedia_title: Vaikom Muhammad Basheer


text:
cuneiform
Akkadian
Marduk
Kassite
Babylon
short chronology
Melišipak
received lands
kudurru
Dūr-Kurigalzu
Elam
akitu
Borsippa
Enlil
Chronicle of the Market Prices
Assyria
Ninurta-apal-Ekur
kudurru
Uballissu-Marduk
Kurigalzu II
forced labor
Adad-šuma-uṣur
Nazi-Maruttaš
Land grant to Marduk-zākir-šumi kudurru
Land grant to Munnabittu kudurru
Nazimaruttaš kudurru stone
Shutruk-Nahhunte
Zababa-šuma-iddina

categories: 12th-century BC Babylonian kings,Babylonian kings,Kassite kings

paragraph: Marduk-apla-iddina I

paragraph: Marduk-apla-iddina I, contemporarily written in cuneiform as "na" and meaning in Akkadian: "Marduk has given an heir", was the 34th Kassite king of Babylon ca. 1171–1159 BC (short chronology). He was the son and successor of Melišipak, from whom he had previously received lands, as recorded on a kudurru, and he reigned for 13 years, during a time when the Dark Ages cast a heavy cloud over the contemporary events.

paragraph: Section::::Biography.

paragraph: He claimed, like his father, descent from Kurigalzu and evidently kept court in Dūr-Kurigalzu itself because tablets found in the burnt ruins of the Tell-el-Abyad quarter which marked the later Elamite destruction of the city, are dated in the first two years of his reign. These include lists of garments received or distributed for the New Year, or akitu, festival and indicate a normal economic relationship with Babylonia's western and eastern neighbors, the Subarians and Elamites respectively, whose singers apparently entertained the royal household. Documents surviving from his reign date only as late as his sixth year and include his repair of the E-zida temple at Borsippa, where he credited the god Enlil with raising him to kingship despite recording this in an inscription wholly dedicated to Marduk.

paragraph: There is evidence of thriving commerce in woolen garments with Assyrian traders, and numerous royal land grants in northern and especially northeastern Babylonia. The "Chronicle of the Market Prices" references his 21st year, but neither king with this name ruled longer than 13 years. Like his two predecessors, some of the economic texts show a curious double-dating formula which has yet to be satisfactorily explained. The "Synchronistic King List" gives his Assyrian contemporary as Ninurta-apal-Ekur, which is unlikely as he is also shown against the earlier two Kassite kings, despite his short reign.

paragraph: Section::::Biography.:Kudurrus.

paragraph: Several inscribed kudurrus, or boundary stones, survive which document large donations of land and tax exemptions during his reign. Marduk-zākir-šumi, the bēl pīḫati, or provincial governor, was the beneficiary of a piece of land as a perquisite from the king. He was son of Nabû-nadin-aḫe, grandson of Rimeni-Marduk, great grandson of Uballissu-Marduk, who had been "šatammu", or an official under Kurigalzu II’s regime and descendant of Arad-Ea, um-mi-a-niğ-kas, scholar of accounting. His responsibilities included inspector of temple and land and controller of forced labor. One of the witnesses was Nabû-šakin-šumi, also described as “son of” Arad-Ea. Another stele records that Ina-Esağila-zēra-ibni, “son of” Arad-Ea, measured a field, after replacing the previous land surveyor.

paragraph: The symbol of the stylus, representing the god of writing and wisdom, Nabû, makes its first appearance on one of his kudurrus. A kudurru comes with an unusual trinity of gods in its invocation of a divine curse, “May Nabû, Nanaya and Tašmētum, lords of the decrees and decisions, surround him with evil and search him out for misfortune.”

paragraph: The continuity of the reign with those earlier in the dynasty is evident in a kudurru providing confirmation of an earlier land grant by Adad-šuma-uṣur and a copy of a kudurru from the reign of Nazi-Maruttaš, the original of which was destroyed when a wall collapsed on it. Kudurrus were also used to record legal settlements, and two examples include a lawsuit concerning land in Ḫudadu (Baghdad?) province, on the Elamite border east of the Tigris from his accession year, and one recording legal actions over a field.

paragraph: Section::::Biography.:List of kudurrus dated to this reign.

paragraph: Around eighteen kudurrus could be assigned to his reign based upon the art-history of their iconography. The following lists those which actually identify him as the monarch in their texts.

paragraph: BULLET::::- Land grant to Marduk-zākir-šumi kudurru, the bēl pīḫati

paragraph: BULLET::::- Land grant to Munnabittu kudurru

paragraph: BULLET::::- Uzbi-Enlil kudurru

paragraph: BULLET::::- Broken kudurru of Marduk-apla-iddina

paragraph: BULLET::::- Adad-bēl-kala kudurru confirming a gift by the earlier king Adad-šuma-uṣur

paragraph: BULLET::::- Fragmentary kudurru of Marduk-apla-iddina

paragraph: BULLET::::- The Tehran kudurru

paragraph: Also dated to his reign is the stone copy of the Nazimaruttaš kudurru stone

paragraph: Section::::Biography.:End of his reign.

paragraph: The events at the end of his reign are uncertain, but it is clear from later sources that it ended dramatically, when Elamite troops led by Shutruk-Nahhunte, who had married a sister of Marduk-apla-iddina, invaded Babylonia and sacked several cities, including the capital. Whether these events were the cause of his demise, or whether they followed a succession crisis in which Zababa-šuma-iddina, an individual whose relationship with Marduk-apla-iddina is unknown, attempted to succeed him to the kingship, has yet to be determined.

paragraph: The "Prophecy A" text may portray him in the figure of the 4th king, whose 13-year reign ends with an Elamite attack on Akkad, the booty of Akkad taken away, confusion, social disorder, usurpation and famine, events which seem to mirror much of what is known about this period.

description: babylonian king

wikidata_label: Marduk-apla-iddina I

wikipedia_title: Marduk-apla-iddina I


text: Spanish

text: Civil War

text: Nava de la Asunción

text: bourgeois

text: literary society

text: AIDS

text: Anglophile

text: peninsular

text: T. S. Eliot

text: Four Quartets

text: Francophile

text: Luis Cernuda

text: Oxford

text: T. S. Eliot

text: English

text: W. H. Auden

text: Stephen Spender

text: Anglo-America

text: Anglophone

text: Manila

text: England

text: Anglo-Saxon

text: Civil War

text: Ángel González

text: Francisco Brines

text: democracy

text: class struggle

text: Luis Cernuda

text: homosexual

text: discrimination

text: Spanish Communist Party

text: Franco

text: Esperanza Aguirre Gil de Biedma

text: Autonomous Community

text: Madrid

text: Partido Popular

text: Andreas Dorschel

text: Süddeutsche Zeitung

text: Carole Viñals

categories: AIDS-related deaths in Spain,Gay writers,LGBT writers from Spain,1929 births,Catalan poets,1990 deaths,LGBT poets,20th-century Spanish poets,20th-century English poets,20th-century British male writers,English male poets

paragraph: Jaime Gil de Biedma

paragraph: Jaime Gil de Biedma y Alba (November 13, 1929 – January 8, 1990) was a Spanish post-Civil War poet.

paragraph: He was born in Nava de la Asunción on November 13, 1929. He stopped writing poetry some ten years before his death. He insisted that the character he had invented, the "poet" Jaime Gil de Biedma, as opposed to the respectable bourgeois businessman of the same name, had nothing left to say and he refused to go on playing the role of a poet in literary society.

paragraph: He died on January 8, 1990, of complications due to AIDS.

paragraph: Section::::English influence.

paragraph: Among his readers, he is considered one of the most consummate Anglophiles in the field of contemporary peninsular literature. This Anglophilia was initiated when he first read T. S. Eliot's "Four Quartets" (translated in 1952).

paragraph: He was also a considerable Francophile as befitted a young Spaniard of his elevated social class, bearing in mind that Spanish society had always been notoriously 'afrancesada' until well into the 20th century. This state of affairs begin to change under the influence of poets like Gil de Biedma and Luis Cernuda. His lifelong adherence to and assimilation of Anglo-American culture was consolidated by his studies in Oxford in 1953 where he read T. S. Eliot for the first time in English (along with W. H. Auden and Stephen Spender), thus beginning a lifelong fascination with the work of the Anglo-American poet. Moreover, the long periods spent in the largely Anglophone circles of Manila would also contribute to his Anglophile literary sensibility and on numerous occasions he would declare England to be his 'segunda patria', his second country, and would also say that he was 'in great measure, a product of the Anglo-Saxon literary tradition. Even though, also shows conscious relations with Spanish and French tradition.

paragraph: Section::::Generation of '50.

paragraph: Poetically, Gil de Biedma belongs to the group of poets known as the "Generation of '50", a loose term referring to poets who come from the cultivated social realism in the wake of the Civil War. While earlier post-war poets focus strongly on social issues and lack attention to the poem itself, poets from Generation of '50 as Gil de Biedma, Ángel González, José Ángel Valente or Francisco Brines, while still concerned with democracy or class struggle, are aware about the literary character of their work. They all introduced in Spain, partly because of the late Cernuda's influence, what Langbaum called poetry of experience', the main poetic trend in Spain from the 1980s. In their writings from 1950 to 1970, at least, they all tried to rearrange intellectually immediate experience, by the means of a fictional-self.

paragraph: Section::::Common topics.

paragraph: In his early poems, he displays a strong criticism of Spanish dictatorship, titling his first important publication "Compañeros de viaje", after a Trotskyist expression for Communist sympathizers. Gil de Biedma was known for his hard-partying ways and his unrepentant social life, and addressed the schism between public and private personae in several famous poems, arguably the most well-known being 'Contra Jaime Gil de Biedma' ('Against Jaime Gil de Biedma') or 'Después de la muerte de Jaime Gil de Biedma' ('After the death of Jaime Gil de Biedma'). Along with Francisco Brines, he helped to reinvigorate homoerotic topics on poetry, probably inspired by the exiled Luis Cernuda.

paragraph: Section::::Homosexuality.

paragraph: As a homosexual in a strongly conservative environment, Jaime Gil de Biedma was forced to lead a double life for most of his life, and he suffered discrimination and even blackmail at different times. He was rejected for membership of the then illegal Spanish Communist Party, allegedly because Franco's dictatorship could use his sexuality to threaten him if he were discovered to be a communist. Living in Franco's Spain, being part of a conservative family and holding an important position in the Compañía General de Tabacos de Filipinas, Gil de Biedma smartly played a two-faced game: in the eyes of his family and the general public he was an discreet and respectable executive, while in the company of close friends and peers he was openly gay, quick-witted and with a sharp tongue. In many ways his poetry was a reflection of this duality, for while it very directly address themes of love, sex and the routine of romance, the gender of the loved one is never disclosed.

paragraph: Referring to Gil de Biedma's poetry as "gay poetry" is a gross misconception. Even at the end of his life he was adamant about keeping it neutral: in the late 80s a journalist contacted Gil de Biedma to let him know he was doing an analysis of his poetry from the point of view of gay literature. Learning this Gil de Biedma was terrible distressed and went to great lengths to make sure the journalist didn't go through with his plans.

paragraph: Section::::Personal life.

paragraph: Gil de Biedma's niece is the liberal conservative politician Esperanza Aguirre Gil de Biedma, former president of the Autonomous Community of Madrid and one of the main policy-makers in the Partido Popular, Spain's most important liberal-conservative party.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Versos a Carlos Barral (1952)

paragraph: BULLET::::- Segun sentencia del tiempo (1953)

paragraph: BULLET::::- Compañeros de viaje (1959)

paragraph: BULLET::::- Moralidades (1966)

paragraph: BULLET::::- Poemas póstumos (1969)

paragraph: BULLET::::- Las personas del verbo (Complete Poetry -1982)

paragraph: BULLET::::- Longing: Selected Poems (1993)

paragraph: Section::::Critical studies of Biedma.

paragraph: BULLET::::- Andreas Dorschel, 'Ich bin das Gedicht. Eine Entdeckung: Der Lyriker Jaime Gil de Biedma', in: "Süddeutsche Zeitung" Nr. 158 (12 July 2001), p. 16 (in German)

paragraph: BULLET::::- Carole Viñals, "Jaime Gil de Biedma: une poésie violemment vivante", Paris: L'Harmattan 2009. (in French)

description: Spanish poet

wikidata_label: Jaime Gil de Biedma

wikipedia_title: Jaime Gil de Biedma


text:
Dutch
German
Nijkerk
Netherlands
Ferdinand Böhme
Carl Reinecke
Leipzig Conservatory
Theodor Kullak
Louis Brassin
François-Auguste Gevaert
Cologne Conservatory
Hoch Conservatory
Klindworth-Scharwenka
Stern
Brahms
Clara Schumann
Variations on a Theme by Haydn
Hans Pfitzner
Carl Friedberg
Percy Grainger
Ethel Leginska
Walter Braunfels
Otto Klemperer
Ilse Fromm-Michaels
Walter Burle Marx
Edith Weiss-Mann
Hermann Zilcher
Bach
Joseph Haydn
Ferdinand Hiller
Hans Pfitzner
Frida Hodapp
Ferruccio Busoni
Max Reger
Eric Blom

categories: Dutch composers,Dutch classical pianists,German classical pianists,Hochschule für Musik und Tanz Köln faculty,Dutch music educators,Piano pedagogues,People from Nijkerk,1927 deaths,19th-century classical pianists,1852 births,German music educators,German composers

paragraph: James Kwast

paragraph: James Kwast (23 November 185231 October 1927) was a Dutch-German pianist and renowned teacher of many other notable pianists. He was also a minor composer and editor.

paragraph: Section::::Biography.

paragraph: Jacob James Kwast was born in Nijkerk, Netherlands, in 1852. After studies with his father and Ferdinand Böhme in his home country, he became a student of Carl Reinecke at the Leipzig Conservatory, and had later studies in Berlin under Theodor Kullak, and Brussels under Louis Brassin and François-Auguste Gevaert. He settled in Germany in 1883, initially as a teacher at the Cologne Conservatory, and later at the Hoch Conservatory in Frankfurt and the Klindworth-Scharwenka (1903–06) and Stern conservatories in Berlin.

paragraph: He participated in the first performance in England of Brahms’s Piano Trio in C minor, with Carl Fuchs and Carl Deichmann.

paragraph: Clara Schumann played her last public concert in Frankfurt on 12 March 1891. The last work she played was Brahms's "Variations on a Theme by Haydn", in the piano-duet version, with Kwast as her partner.

paragraph: He died in Berlin in 1927, aged 74.

paragraph: Section::::Teacher.

paragraph: His reputation as a teacher reached far and wide. The list of his students includes:

paragraph: BULLET::::- Hans Pfitzner (his future son-in-law)

paragraph: BULLET::::- Carl Friedberg

paragraph: BULLET::::- Percy Grainger

paragraph: BULLET::::- Ethel Leginska

paragraph: BULLET::::- Walter Braunfels (whom he introduced to the music of Pfitzner)

paragraph: BULLET::::- Otto Klemperer (who studied under Kwast at three institutions and credited him with the whole basis of his music development)

paragraph: BULLET::::- Ilse Fromm-Michaels

paragraph: BULLET::::- Walter Burle Marx, and

paragraph: BULLET::::- Edith Weiss-Mann.

paragraph: BULLET::::- Hermann Zilcher

paragraph: Section::::Compositions.

paragraph: He wrote a piano concerto and various piano pieces, as well as piano transcriptions of Bach organ works. He edited the keyboard works of Joseph Haydn.

paragraph: Section::::Personal life.

paragraph: His first wife was Antonie (“Tony”), the daughter of Ferdinand Hiller. Their daughter Mimi Kwast married his pupil, the composer Hans Pfitzner.

paragraph: He later married a pupil of his, Frida Hodapp (13 August 1880 - 14 September 1949). She was also a pupil of Ferruccio Busoni, the soloist in the first performance of Busoni's Concertino, and the dedicatee of Max Reger's F minor Concerto, which she premiered in 1910. She also premiered Reger's Variations and Fugue on a Theme of Telemann, Op. 134, on 14 March 1915 at the Leipzig Gewandhaus. The work was dedicated to her husband.

paragraph: His brother was the conductor Jan Albert Kwast (Quast).

paragraph: Section::::Sources.

paragraph: BULLET::::- Grove’s Dictionary of Music and Musicians, 5th ed (1954), ed. Eric Blom, Vol IV, p. 880

description: Dutch-German pianist

wikidata_label: James Kwast

wikipedia_title: James Kwast


text:
Film Your Issue
Barack Obama
George Clooney
Dalai Lama
United Nations
Hollywood
Los Angeles
Sundance
Park City
Kevin Bacon
Mandy Moore
Walt Disney Pictures
Collegiate Times
Roy Disney
Queen Mary
Film Your Issue
summa cum laude
Ben Stiller
DreamWorks Pictures
Tropic Thunder
Warner Brothers
ABC
NBC
Apartment 1303 3D
America's Got Talent
United Nations Chronicle
"Life" magazine
Official website
YouTube

categories: Film directors from Virginia,Artists from Richmond, Virginia,Virginia Tech alumni,1983 births,Living people

paragraph: Tim Leaton

paragraph: Tim Leaton (born December 9, 1983) is an editor, assistant editor, and filmmaker of several short films.

paragraph: He won significant critical attention in 2006 when he was awarded the grand prize of the 2006 Film Your Issue competition, judged by President Barack Obama, George Clooney and the Dalai Lama, among others. Leaton presented his winning film "Orphans in Africa" and gave acceptance speeches, covered by the press, at three awards ceremonies: at the United Nations Headquarters where he was introduced by the President of "USA Today", then again in Hollywood where he was introduced by the Mayor of Los Angeles, and finally during Sundance in Park City with Kevin Bacon and Mandy Moore. Leaton also received the 2006 grand prize Walt Disney Pictures paid internship. His mentors included some of the top executives, and he began getting hands-on experience on various Disney films. Years later when Lindsey Brookbank of the "Collegiate Times" asked him what his favorite memory was from his grand-prize internship, he replied "Having dinner with Roy Disney on board the Queen Mary." According to Brookbank, this internship gave Leaton the connections and experience that would help him land jobs in Hollywood after finishing college. He returned to Film Your Issue as a member of the jury the following year, and has also judged other student film contests.

paragraph: Tim graduated from Virginia Tech in 2007 with the top academic honor of "summa cum laude" in each of his two separate degrees, and moved to Los Angeles on August 1, 2007.

paragraph: From 2007 to 2008 he worked with Ben Stiller at DreamWorks Pictures on the Academy Award-nominated film "Tropic Thunder" in the editing department, and received a letter of recommendation from Ben Stiller.

paragraph: In 2009 he moved up to become an assistant editor, and has since assistant edited dozens of TV shows for various studios such as Warner Brothers, ABC, and NBC. His recent credits include the theatrical feature "Apartment 1303 3D", and the #1 show of the summer, "America's Got Talent". Leaton has been assistant editing "America's Got Talent" since 2012. In April 2014, the show set the Guinness World Record for World's Most Successful Reality TV Format.

paragraph: Leaton has been featured in many media outlets, including the "United Nations Chronicle", distributed to leaders around the world in various languages. In 2011, he was pictured in "Life" magazine.

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- YouTube

description: Filmmaker and Assistant Editor

wikidata_label: Tim Leaton

wikipedia_title: Tim Leaton


text: Italian

text: Divisionism

text: Scapigliatura

text: Tranquillo Cremona

text: Daniele Ranzoni

text: Giovanni Segantini

text: Emilio Longoni

text: Angelo Morbelli

text: Hague School

text: Anton Mauve

text: Vincent van Gogh

text: Emilio Longoni

text: Divisionism

text: Gaetano Previati

text: Symbolism

text: triptych

text: polyptych

text: Miazzina

text: Lake Maggiore

text: Carlo Carrà

text: Pietro Angelini

text: Arturo Tosi

text: Giuseppe Pellizza da Volpedo

categories: 1920 deaths,People from Milan,Italian male painters,Milanese painters,20th-century Italian painters,1851 births,Divisionist painters,19th-century Italian painters

paragraph: Vittore Grubicy de Dragon

paragraph: Vittore Grubicy de Dragon (15 October 1851 – 4 August 1920) was an Italian painter, art critic and art gallery owner who was largely responsible for introducing into Italian painting the optical theories of Divisionism. His writings and paintings influenced a generation of late 19th-century Italian painters. In addition, the Grubicy Gallery became one of the first art enterprises to be run on the concept of exhibiting living artists that were represented as clients of the gallery.

paragraph: Section::::Biography.

paragraph: Grubicy grew up in a well-to-do family in Milan. Both of his parents were great art lovers, and from an early age he was introduced to the art circles in Milan and other European cities.

paragraph: After his father died in 1870, Grubicy became involved with a bohemian group of Milanese artists, poets and writers known as the Scapigliatura, who sought to blur the differences between art and life. He was so taken with this new lifestyle that he convinced his brother Alberto to join him in buying an art gallery, which came to be known as the Galleria Fratelli Grubicy. His brother ran the financial aspects of the gallery while Vittore traveled throughout Europe looking for the newest art trends. Their gallery initially specialized in Scapigliatura artists such as Tranquillo Cremona and Daniele Ranzoni, but within a few years it began to feature newer Italian artists that included Giovanni Segantini, Emilio Longoni and Angelo Morbelli.

paragraph: Between 1882 and 1885 Grubicy spent most of his time in the Netherlands, where he became friends with artists of the Hague School, especially Anton Mauve. Mauve strongly influenced Grubicy as an artist and in his critical approach to art. When he returned to Italy Grubicy encouraged the artists he represented to emulate the styles of Mauve and Mauve's cousin-in-law, Vincent van Gogh. Painter Emilio Longoni wrote, "Vittore Grubicy has brought Divisionism from abroad. He's having Segantini, Morbelli and me do it ourselves." Grubicy's passion for Divisionism was so strong that he convinced Segantini to rework an already finished painting, "Ave Maria by the Lake", in a Divisionist technique.

paragraph: In 1886 Grubicy became the art critic for the newspaper "La Riforma", where for the next four years he used his position to further promote his artistic opinions. In that publication and in "Cronaca d'Arte", the most Italian important art review of the time, Grubicy wrote extensively about "the perception of light as the tool best able to translate onto canvas subjective emotions…"

paragraph: In 1889 Vittore left the gallery business over conflicts with his brother, and he began to devote most of his time to his own painting and to writing about other artists. He continued to act as an independent talent scout, and in 1891 he helped organize the first large exhibition of Italian Divisionist painting at Milan's Brera Tiennale. Conservative art critics wrote scathing reviews of many of the works, but Grubicy wrote very positive reviews in several newspapers. One of the most important paintings shown at that exhibition was Gaetano Previati's "Maternity". In writing about this work Grubicy introduced the concept of Symbolism in Italian painting when he hailed the piece as embodying a new aesthetic which he called "mystico-ideist."

paragraph: Grubicy also influenced his fellow artists through his compositions of multiple paintings arranged as triptychs and polyptychs. In the early 1890s he began planning a polyptych of sixteen panels under the title of "Winter in Miazzina". The work took shape as an interchangeable sequence of paintings that reflected his emotional experiences over the long winters at Miazzina on the shore of Lake Maggiore. Each canvas was subjected to continued revisions by Grubicy over many years, depending upon his mood and his interests. Finally, in 1911, the polyptych assumed its final form in an arrangement of only eight paintings that he called "Winter in the Mountains". In spite of all his work to create it, he did not exhibit it during his lifetime. It was first shown together at the Rome Biennale in 1921, the year after his death. After that the assemblage did not remain as a polyptych, and the individual paintings were sold to different collectors and museums. Grubicy took a photograph of the polyptych as he intended it to be seen, and based upon that image the work has been reassembled for several exhibitions since his death, most recently at the Kunsthaus Zürich in 2009.

paragraph: His health deteriorated after 1910, and during the last decade of his life he had to give up painting altogether. He remained an active promoter of new artists during this period, especially Carlo Carrà, Pietro Angelini and Arturo Tosi.

paragraph: Grubicy died at his home in Milan in 1920.

paragraph: Section::::References.

paragraph: BULLET::::- Fraquelli, Simonetta and others. "Radical Light: Italy's Divisionist Painters, 1891–1910." London: National Gallery, 2008.

paragraph: BULLET::::- Greene, Vivian. "Divisionism  Neo-Impressionism, Arcadia & Anarchy." NY: Guggenhim Museum, 2007.

paragraph: BULLET::::- "Omaggio a Vittore Grubicy de Dragon, 1851–1920." Como: Galleria d'arte Cavour, 1985.

paragraph: BULLET::::- Quinsac, Annie-Paule. "Vittore Grubicy e l'Europa: Alle Radici del Divisionismo." Milan: Skira, 2005.

paragraph: BULLET::::- Rapetti, Rodolphe. "Symbolism." Paris: Flammaron, 2005.

paragraph: BULLET::::- Rebora, Sergio. "Vittore Grubicy De Dragon. Pittore divisionista (1851–1920)." Roma: Jandi Sapi, 1995.

paragraph: BULLET::::- Rebora, Sergio. "Vittore Grubicy De Dragon. Poeta del divisionismo 1851–1920." Milan: Silvana, 2005.

paragraph: BULLET::::- Scotti Tosini, Aurora. "Pelliza e i Grubicy. Il carteggio di Giuseppe Pellizza da Volpedo con Vittor e Alberto Grubicy de Dragon." Tortona: Fondazione Cassa di Risparmio di Tortona, 2006.

alias:
Vittore Grubicy
Vittore Grubicij
Vittore Grubicy De Dragon

description: Italian painter, engraver and art critic

wikidata_label: Vittore Grubicy de Dragon

wikipedia_title: Vittore Grubicy de Dragon


text:
King of Polonnaruwa
Kingdom of Polonnaruwa
Lilavati
General Ayasmantha
Kalyanavati
Nissanka Malla
History of Sri Lanka
List of Sri Lankan monarchs
Kings & Rulers of Sri Lanka
Codrington's Short History of Ceylon

categories: Monarchs of Polonnaruwa,House of Kalinga,Sinhalese kings,13th-century Sinhalese monarchs

paragraph: Sahassa Malla of Polonnaruwa

paragraph: Sahassa Malla (also known as "the lion-hearted king") was King of Polonnaruwa in the thirteenth century. He ruled the Kingdom of Polonnaruwa from 1200 to 1202. He succeeded Lilavati, who was removed from the throne by her co-ministers. He was deposed by General Ayasmantha and succeeded by Kalyanavati. He was the younger brother of Nissanka Malla.

paragraph: Section::::See also.

paragraph: BULLET::::- History of Sri Lanka

paragraph: BULLET::::- List of Sri Lankan monarchs

paragraph: Section::::External links.

paragraph: BULLET::::- Kings & Rulers of Sri Lanka

paragraph: BULLET::::- Codrington's Short History of Ceylon

wikidata_label: Sahassa Malla of Polonnaruwa

wikipedia_title: Sahassa Malla of Polonnaruwa


text:
muralist
Leroy, Illinois
Lois Lenski
Margaret Covey Chisholm
Southwestern College
School of the Art Institute of Chicago
Cherokee Strip Land Run
Toledo, Ohio
display windows
Lasalle & Koch
Kohler Company
Sheboygan County, Wisconsin
Section
Bridgeport, Connecticut
Torrington, Connecticut
Archives of American Art
Smithsonian Institution
National Academy of Design
Tarpon Springs, Florida

categories: Federal Art Project artists,20th-century American painters,American male painters,National Academy of Design members,Painters from Illinois,American muralists,1960 deaths,School of the Art Institute of Chicago alumni,1877 births,Southwestern College (Kansas) alumni,19th-century male artists,School of the Art Institute of Chicago faculty,Section of Painting and Sculpture artists,19th-century American painters

paragraph: Arthur Covey

paragraph: Arthur Sinclair Covey (1877–1960) was an American artist. Best known as a muralist, he created paintings of industrial workers doing their jobs.

paragraph: Section::::Personal life.

paragraph: He was born in Leroy, Illinois on June 13, 1877

paragraph: and was married to Mary Dorothea Sale from 1908 until her death in 1917. In 1921, Covey married the artist and children's book writer Lois Lenski (1893–1974). Covey and Lenski remained married until his death in 1960. Covey's daughter from his first marriage Margaret Covey Chisholm was also a painter and muralist.

paragraph: Section::::Education.

paragraph: Covey attended Southwestern College and studied for three years at the School of the Art Institute of Chicago, where he graduated in 1899. He later taught at the School of the Art Institute of Chicago. At the age of 16, Covey participated in the Cherokee Strip Land Run in Oklahoma on September 16, 1893. During his subsequent career as an artist, one of his frequently-reproduced drawings (from 1953) depicted this Cherokee Strip Run.

paragraph: Section::::Works.

paragraph: His works include a 1927 series of images of workers at industries in Toledo, Ohio which were first exhibited in display windows of a Toledo department store, Lasalle & Koch

paragraph: and

paragraph: seven murals showing foundry workers for the Kohler Company in Sheboygan County, Wisconsin.

paragraph: He was commissioned in 1936 by the Section to paint a mural in Bridgeport, Connecticut and another in Torrington, Connecticut.

paragraph: The papers and much of the artwork of Arthur Covey, dating from 1882 to 1960, are stored in a collection at the Archives of American Art of the Smithsonian Institution. In 1929, Covey was elected into the National Academy of Design as an Associate Academician, and became a full Academician in 1934.

paragraph: Section::::Death.

paragraph: Arthur Covey died in Tarpon Springs, Florida on February 5, 1960.

description: American artist

wikidata_label: Arthur Covey

wikipedia_title: Arthur Covey


text:
Dillenburg
John Louis I
Maria of Nassau-Dillenburg

categories: 1596 births,Counts of Nassau,1605 deaths,Counts of Nassau-Wiesbaden-Idstein,House of Nassau,17th-century German people,16th-century German people

paragraph: John Louis II, Count of Nassau-Wiesbaden-Idstein

paragraph: Count John Louis II of Nassau-Wiesbaden-Idstein (born: 21 May 1596; died: 9 June 1605 at Dillenburg) was the youngest and only surviving son of John Louis I and Maria of Nassau-Dillenburg. He was only a few weeks old when his father died and he inherited Nassau-Wiesbaden and Nassau-Idstein. However, he died when he was nine years old. With his death, the Nassau-Wiesbaden-Idstein line died out. Wiesbaden and Idstein fell back to Nassau-Weilburg, thereby reuniting all the territories of the Nassau-Walram ΙΙ line in one hand.

description: Count of Nassau-Idstein (1599-1605)

wikidata_label: John Louis II of Nassau-Idstein


text:
engraver
Gronau
Wurtemberg
Klengel
Dresden
Claude
Poussin
Annibale Carracci
P. Bril
Tyrol
Woollett
Wilson
Musée Napoléon
Heilbronn
Stuttgart

categories: 1846 deaths,German engravers,People from Ludwigsburg (district),1778 births

paragraph: Christian Friedrich Traugott Duttenhofer (4 August 1778 – 16 April 1846) was a German engraver.

paragraph: Duttenhofer was born at Gronau in Wurtemberg in 1778. He studied under Klengel at Dresden, and is chiefly known by his landscapes after Claude, Poussin, Annibale Carracci, P. Bril, and various views in Tyrol. He also copied Woollett's print of "Solitude," after Wilson, and was one of the artists employed on the "Musée Napoléon". He died at Heilbronn in 1846. His son, Anton Duttenhofer, who was likewise an engraver, and was a pupil of his father, died at Stuttgart in 1843, at the age of 31.

description: German engraver


text:
film actor
Virginia Fábregas
Fanny Schiller
The Tiger of Jalisco

categories: Spanish emigrants to Mexico,1996 deaths,1921 births,Spanish male film actors,Mexican male film actors,People from Vigo

paragraph: Manolo Fábregas

paragraph: Manolo Fábregas (1921–1996) was a Spanish-born Mexican film actor. He was from an established acting family. His grandmother was Virginia Fábregas while his mother was Fanny Schiller, with whom he appeared in the western film "The Tiger of Jalisco" in 1947.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Mora, Carl J. "Mexican Cinema: Reflections of a Society, 1896-2004". McFarland, 2005.

alias:
Manuel Sánchez Navarro
Manuel Sanchez Navarro
Manolo Fabregas

description: Spanish-Mexican actor

wikidata_label: Manolo Fábregas

wikipedia_title: Manolo Fábregas


text: abbess

text: Fontevrault

text: John II, Duke of Brittany

text: Beatrice of England

text: Amesbury Abbey

text: Eleanor, Fair Maid of Brittany

text: Fontevrault Abbey

text: nun

text: gradual

text: Limoges

categories: 1275 births,13th-century Christian nuns,14th-century French people,1342 deaths,Benedictine nuns,13th-century French people,14th-century French women,Anglo-Norman Roman Catholic abbesses,Abbesses of Fontevraud,13th-century French women,14th-century Christian nuns

paragraph: Eleanor of Brittany (abbess)

paragraph: Eleanor of Brittany (1275 – 16 May 1342) was the sixteenth abbess of Fontevrault.

paragraph: She was born in England to John II, Duke of Brittany and Beatrice of England, and in 1281 at the age of seven entered Amesbury Abbey, a priory of the Fontevrault order (her first cousin, twice removed, Eleanor, Fair Maid of Brittany is buried there).

paragraph: In 1290 she moved to Fontevrault Abbey in the Loire region of France, the parent abbey of the order, where she took her vows and became a nun. A richly illuminated gradual was presented to her upon her induction. In 1304 she became abbess. Upon her death in 1342 she bequeathed the gradual to the abbey. It survives to this day and is held by the public library of Limoges.

paragraph: Section::::References.

paragraph: BULLET::::- Berenice M. Kerr, "Religious life for women, c.1100-c.1350 : Fontevraud in England." Oxford: Oxford University Press, 1999.

paragraph: BULLET::::- Célestin Port, "Dictionnaire historique, géographique et biographique de Maine-et-Loire et de l'ancienne province d'Anjou : A-C", t. 1, Angers, H. Siraudeau et Cie, 1965, 2nd edition.

paragraph: BULLET::::- Digitized copy of the Gradual of Eleanor of Brittany provided by the Public Library of Limoges

description: Eleanor of Brittany (1275–1342), abbess of Fontevrault

wikidata_label: Eleanor of Brittany

wikipedia_title: Eleanor of Brittany (abbess)


text: domestic servant

text: King Louis XV

text: public execution

text: drawing and quartering

text: regicide

text: La Thieuloye

text: Arras

text: northern France

text: domestic servant

text: Jesuits

text: Paris

text: Catholic

text: holy sacraments

text: Jansenist

text: Palace of Versailles

text: penknife

text: confessor

text: torture

text: Parlement

text: Place de Grève

text: boots

text: sulphur

text: wax

text: lead

text: oil

text: Charles Henri Sanson

text: dismembered

text: burnt at the stake

text: Henry IV

text: Maximilien Robespierre

text: French Revolution

text: royalist

text: Giacomo Casanova

text: Cesare Beccaria

text: "On Crimes and Punishments"

text: Thomas Paine

text: Rights of Man

text: Michel Foucault

text: James Morrow

text: trial of God

text: Peter Weiss

text: Marat/Sade

text: Hanns Heinz Ewers

text: frame story

text: Mark Twain

text: Baroness Orczy

text: Mam'zelle Guillotine

text: Scarlet Pimpernel

text: Charles Dickens

categories: 1757 crimes,People executed for attempted murder,18th-century executions by France,People executed by dismemberment,18th-century French criminals,1715 births,People from Arras,French regicides,Louis XV of France,Failed regicides,1757 deaths,People executed by the Ancien Régime in France,Executed people from Nord-Pas-de-Calais,Executed French people,18th-century French people

paragraph: Robert-François Damiens

paragraph: Robert-François Damiens (; surname also recorded as "Damier"; 9 January 1715 – 28 March 1757) was a French domestic servant whose attempted assassination of King Louis XV in 1757 culminated in his notorious and controversial public execution. He was the last person to be executed in France by drawing and quartering, the traditional and gruesome form of death penalty reserved for regicides.

paragraph: Section::::Early life.

paragraph: Damiens was born on 9 January 1715 in La Thieuloye, a village near Arras in northern France. He enlisted in the army at an early age. After his discharge, he became a domestic servant at the college of the Jesuits in Paris, and was dismissed from this as well as from other employments for misconduct, earning him the epithet of "Robert le Diable" (Robert the Devil).

paragraph: Damiens' motivation has always been debated, with some historians considering him to have been mentally unstable. From his answers under interrogation, Damiens seems to have been put into a state of agitation by the uproar that followed the refusal of the French Catholic clergy to grant the holy sacraments to members of the Jansenist sect. He appears to have laid the ultimate blame for this on the king, and so to have formed a plan to punish him.

paragraph: Section::::Assassination attempt.

paragraph: On 5 January 1757, as the King was entering his carriage at the Palace of Versailles, Damiens rushed past the King's bodyguards and stabbed him with a penknife, inflicting only a slight wound. He made no attempt to escape, and was apprehended at once. Louis XV's thick winter clothes were protective, and the knife penetrated less than half an inch into his chest. Nevertheless, Louis was bleeding and called for a confessor to be brought to him, as he feared he might die. When the Queen ran to Louis's side, he asked forgiveness for his numerous affairs.

paragraph: Damiens was arrested on the spot and taken away to be tortured to force him to divulge the identity of any accomplices or those who had sent him. This effort was unsuccessful. He was tried and condemned as a regicide by the Parlement of Paris, and sentenced to be drawn and quartered by horses at the Place de Grève.

paragraph: Section::::Torture and execution.

paragraph: Fetched from his prison cell on the morning of 28 March 1757, Damiens allegedly said ""La journée sera rude"" ("The day will be hard"). He was first subjected to a torture in which his legs were painfully compressed by devices called "boots". He was then tortured with red-hot pincers; the hand with which he had held the knife during the attempted assassination was burned using sulphur; molten wax, molten lead, and boiling oil were poured into his wounds. He was then remanded to the royal executioner, Charles Henri Sanson, who harnessed horses to his arms and legs to be dismembered. But Damiens' limbs did not separate easily: the officiants ordered Sanson to cut Damiens' tendons, and once that was done the horses were able to perform the dismemberment. Once Damiens was dismembered, to the applause of the crowd, his reportedly still-living torso was burnt at the stake. (Some accounts say he died when his last remaining arm was removed.)

paragraph: Section::::Aftermath.

paragraph: After his death, the remains of Damiens' corpse were reduced to ashes and scattered in the wind. His house was razed, his brothers and sisters were forced to change their names, and his father, wife, and daughter were banished from France.

paragraph: France had not experienced an attempted regicide since the killing of Henry IV in 1610. Damiens' infamy endured. Forty years after his death, the memory of Arras' most notorious citizen was used against another Arras native, Maximilien Robespierre. The polarizing figure of the French Revolution was described frequently by his enemies as the nephew of Damiens. Though untrue, the libel held considerable credibility among royalists and foreign sympathizers.

paragraph: Section::::Legacy.

paragraph: The execution was witnessed by famous 18th-century adventurer Giacomo Casanova, who included an account in his memoirs:

paragraph: Section::::Legacy.:Philosophical and political responses.

paragraph: The philosopher Cesare Beccaria explicitly cited Damiens' fate when he condemned torture and the death penalty in his classic treatise "On Crimes and Punishments" (1764). Thomas Paine in "Rights of Man" (1791) mentions Damiens' execution as an example of the cruelty of despotic governments; Paine argues that these methods were the reason why the masses dealt with their prisoners in such a cruel manner when the French Revolution occurred. Damiens's execution is also described and discussed at length by Michel Foucault in illustration of the shift which took place in western culture in attitudes toward punishment in the 100 years following.

paragraph: Section::::Legacy.:Literary legacy.

paragraph: Science fiction writer James Morrow draws on the incident for the trial of God in his novel "Blameless in Abaddon". There is also a description of the death of Damiens in Peter Weiss' play "Marat/Sade". The incident figures prominently in Hanns Heinz Ewers' frame story "The Execution of Damiens". An allusion to Damiens' attack and execution, and Casanova's account of it, are used by Mark Twain to suggest the cruelty and injustice of aristocratic power in chapter XVIII of "A Connecticut Yankee in King Arthur's Court". Baroness Orczy refers to the incident in "Mam'zelle Guillotine" (part of the Scarlet Pimpernel series), which features the fictionalised character of his daughter Gabrielle Damiens. The execution is referenced by Charles Dickens in , Chapter XV:

description: French domestic servant and attempted assassin

enwikiquote_title: Robert-François Damiens

wikidata_label: Robert-François Damiens

wikipedia_title: Robert-François Damiens


text:
Lord Burghley
John Maynard
MP
St Albans
Mary I of England
Pope
Lord High Treasurer
recusancy
knight of the shire
Essex
High Sheriff of Essex
Elizabeth
James I
Deputy Lieutenant
Lord Lieutenant
Earl of Sussex
Tooting Graveney
gentleman-usher
Star Chamber
William
Lord Maynard
John
Knight of the Bath
Charles II
Sir William Maynard, 1st Baronet
Little Easton
Easton Lodge
Queen Elizabeth

categories: High Sheriffs of Essex,English MPs 1586–1587,17th-century English people,1547 births,1610 deaths,English MPs 1589,People of the Stuart period,English MPs 1593,People of the Tudor period

paragraph: Henry Maynard

paragraph: Sir Henry Maynard (1547–1610) was an English politician and secretary to Lord Burghley, and became (by steady accretion) a substantial landowner.

paragraph: Section::::Origins.

paragraph: Maynard was the son of John Maynard, who had been MP for St Albans in the first Parliament of Mary I of England in 1553–1554 (being one of the 39 members who absented themselves, rather than acknowledge the authority of the Pope), and his second wife, Dorothy, daughter of Robert Perrot.

paragraph: Section::::Political career.

paragraph: He was secretary to Lord Burghley, the Lord High Treasurer, and by virtue of his position he was able to take advantage of troubled assets and gradually became a major landowner, especially in Essex. He served as MP for St. Albans in the parliaments of 1586, 1588, 1592 and 1597. "He sat on committees concerning recusancy, horse and cattle stealing, privileges, penal laws, painters and stainers, and fustians". He was also summoned to the parliament of 1601 as a knight of the shire for Essex. He was High Sheriff of Essex in the last year of Elizabeth’s reign (1603) and was knighted by her. In July 1603, following the accession of James I, he was appointed as Deputy Lieutenant for Essex (the new Lord Lieutenant being the Earl of Sussex). He also developed a reputation as a moneylender.

paragraph: In 1595–96, he acquired the manor of Tooting Graveney from James Harrington. When the Queen visited in 1600, she was probably his guest.

paragraph: Section::::Family.

paragraph: He married Susan, the daughter and co-heir of Thomas Pearson, gentleman-usher of the Star Chamber (whose property included two inns in Queen Anne’s Gate called the White Hart and the Saracen’s Head), and had eight sons by her. The eldest, William, became the first Lord Maynard. Another, John, became a Knight of the Bath. Yet another son, Charles Maynard, was Auditor of the Exchequer during the reign of Charles II and the father of Sir William Maynard, 1st Baronet.

paragraph: Section::::Death and posterity.

paragraph: He made his will on 20 August 1609 and it was proved on 18 May 1610. Among other bequests, he left £2,000 to each of his daughters, Elizabeth and Mary, his London properties to his son Charles, and £500 and his leasehold properties in Warwickshire to his son Francis. He was buried at Little Easton, Essex, near Easton Lodge, a property granted to him by Queen Elizabeth in 1590.

paragraph: His epitaph reads:

description: English politician

wikidata_label: Henry Maynard

wikipedia_title: Henry Maynard


text: Baroque composer

text: Bokemeyer collection

text: Staatsbibliothek

text: Magdeburg

text: Augsburg

text: Central Germany

text: cantor

text: Johann Theile

text: Thomasschule zu Leipzig

text: Johann Schelle

text: plague

text: Hamburg

text: Gelehrtenschule des Johanneums

text: alto

text: Leipzig University

text: tenor

text: Oper am Gänsemarkt

text: Johann Theile

text: Anton Ulrich

text: Duchy of Brunswick-Wolfenbüttel

text: Wolfenbüttel

text: castrati

text: contrapuntal

text: page (servant)

text: valet

text: Schleswig

text: Duchy of Holstein-Gottorp

text: Hamburg

text: Duke Christian Albrecht

text: King Christian V

text: Charles VI, Holy Roman Emperor

text: Kapellmeister

text: Frederick IV, Duke of Holstein-Gottorp

text: Coburg

text: reichsthaler

text: Johann Gottfried Walther

text: Albert V, Duke of Saxe-Coburg

text: Coburg residence

text: Karl XII

text: Northern War

text: Battle of Klissow

text: Brunswick Wolfenbüttel

text: Brunswick

text: cantor

text: Georg Caspar Schürmann

text: Johann Kusser

text: Heinrich Bokemeyer

text: Berlin State Library

text: musicologists

text: Kapellmeister

text: world wars

text: Ferdinand Albert II

text: Augustus William of Brunswick-Lüneburg

text: major general

text: Blankenburg (Harz)

text: World War II

text: Johann Gottfried Walther

text: musicologist

text: Die Musik in Geschichte und Gegenwart

text: Gustaf Düben

text: Dietrich Buxtehude

text: Nicolaus Bruhns

text: Johann Rosenmüller

text: Matthias Weckmann

text: Vincent Lübeck

text: Johann Philipp Krieger

categories: 1664 births,German classical composers,German male classical composers,People from Magdeburg,1735 deaths,18th-century classical composers,German Baroque composers

paragraph: Georg Österreich

paragraph: Georg Österreich (baptized on 17 March 1664 – 6 June 1735) was a German Baroque composer and collector. He is regarded as the founder of the so-called "Bokemeyer collection" (German: "Sämmlung Bokemeyer") which is now housed in the Staatsbibliothek in Berlin and is considered one of the most important music collections of the late 17th and early 18th century.

paragraph: Section::::Life.

paragraph: Section::::Life.:Youth (1664–1686).

paragraph: Österreich was born in March 1664, the son of brewer Johann (or Hans) Österreich and Elisabeth Österreich and was baptized on March 17 in the Johanniskirche in Magdeburg. The Österreich family came originally from Augsburg and belonged to a very distinguished patrician family. In 1552, they fell out of favor with the Emperor when they tried to reinstate the guild government which had been in place prior to 1547. As a result, they lost many of the rights associated with their position and were forced to leave Augsburg. A majority of the family settled in Central Germany.

paragraph: Österreich received his first musical education from his godfather, Magdeburg cantor Johan Scheffler, who also instructed Johann Theile and was one of the most respected musicians of his time. However, little is known of Scheffler's life and there is no record of his skil as a composer.

paragraph: Österreich appears to have been very musically gifted and in 1678, at age 14, he applied, with a letter of recommendation from Scheffler, for a position at the Thomasschule zu Leipzig (St. Thomas School of Leipzig) where his brother, Michael, had also attended. The headmaster of the school noted in his diary: "Michael Oesterreich [...] presented to me his brother Georg (entering his 14th year) son of Johann, townsman and beer brewer in Magdeburg: to date has gone to school in Magdeburg and sat in Class II. [...] In music, the cantor gave him praise and a good recommendation.

paragraph: Österreich committed to attend the Tomasschule for at least two years and offered to stay many more years. His teacher at this time was the cantor Johann Schelle who recognized the exceptional abilities of his young student and granted him as much support as possible. He soon became an important part of the weekly choir at the St. Thomas Church.

paragraph: In the summer of 1680, the plague broke out in Leipzig. Despite strict safety measures by the school leadership, many at the school fell ill. A general panic spread, and the students who had not yet fallen ill fled the city. Among them were Georg and his brother Michael, who returned to Magdeburg. At that point, Österreich's parents sent him to Hamburg, to the Gelehrtenschule des Johanneums to continue his education, which was being led at that time by the Baroque composer, Joachim Gerstenbüttel. On account of his voice, Österreich soon achieved a modest celebrity in Hamburg and was hired as an alto in the council choir. In this position he took part in all the important religious and secular celebrations in the city and made the acquaintance of influential merchants and townspeople. Exactly how long Österreich kept his position in Hamburg is not certain. Likely the breaking of his voice brought on the end of this position. In the fall of 1683, he enrolled at Leipzig University, though this was probably only to fill the time as his voice finished changing, because by the end of 1684 he was once again working as a singer, now as a tenor, in the Oper am Gänsemarkt theater in Hamburg.

paragraph: Section::::Life.:Brunswick-Wolfenbüttel (1686–1689).

paragraph: Critical for Österreich's career was his lifelong friendship with Johann Theile. When the arts-lover Anton Ulrich was appointed co-regent of the Duchy of Brunswick-Wolfenbüttel and made funds available for the fine arts, it was Theile who attached Österreich to the Wolfenbüttel court, took him into his house, and gave him lessons in composition. Alongside this, Österreich continued his voice studies with two Italian castrati who were also at the court, Giuliano Giuliani and Vincentino Antonini. His time at Brunswick-Wolfenbüttel was a formative period in every respect and marked the beginning of his activity as a composer. His first weres date from the years 1687 and 1688. These three religious concertos, "Laetatus sum in his," "Levavi oculos meos," and "Ich will den Hern Loben allezeit" more strongly reflect the contrapuntal tradition of Johann Theile. His official duties at court were limited to participation as a tenor in the ducal choir and duties as a "Cammer-Diener", a page (servant) or valet. He had no official duties as a composer, though his works of the time were almost certainly performed in the court church.

paragraph: In Wolfenbüttel, he married Magdalena Darnedden, the daughter of a brewer, on October 15, 1689, shortly before his move to Schleswig. His father-in-law, Hans Darnedden, was successful and respected and left the couple a house, a garden, and a considerable sum of money at his death in 1702.

paragraph: Section::::Life.:Schleswig (1689–1702).

paragraph: At the end of the 17th century, the Duchy of Holstein-Gottorp was in an extremely unstable political situation. Several times, the dukes has been forced out of their residence in Schleswig into exile in Hamburg. These exiles generally led to a large reduction, if not the dissolution of the court's musical ensemble. In 1689, Duke Christian Albrecht had been in exile in Hamburg for years when King Christian V of Denmark and Norway was forced by the Charles VI, Holy Roman Emperor to sign the so-called "Altonaer Vergleich" (Altona Compromise) which permitted Christian Albrecht to return to Schleswig. Johann Philipp Förtsch, who had officially been the Duke's Kapellmeister (music director) since 1680 but had probably only sporadically performed any duties related to this office because of the exile. In the meantime, he had begun pursuing a medical career and was already serving as a court physician for his employer and did not intend to resume his activity as Kapellmeister. With the return of the court to Schleswig, however, it became necessary to find a capable person to fill the position. Förtsch, who had worked with Theile and Österreich for a time at the Hamburger Oper, suggested Österreich for this post. Österreich led his first performance as the Gottorfer Hofkapellmeister not later than the Advent of 1689. During the tenure, the Gottorfer court ensembele became one of the most important in the German-speaking world.

paragraph: Section::::Life.:Schleswig (1689–1702).:Interval in Coburg.

paragraph: The surviving works of the Gottorfer Court Ensemble testify to a high level of musical performance. However, the period of flourishing was cut short when Christian Albrecht died on December 27, 1694. his son, Frederick IV, Duke of Holstein-Gottorp, then 23 years old, soon began dismissing members of the ensemble in order to increase his military expenditures. As a result, the courtly music was disrupted and assumed a position as Kapellmeister in Coburg from 1695 to 1697. The exact details of this position are not entirely known. It is possible it was merely a "loan" of his services for the time that the Gottorfer Court Ensemble was dormant since the Gottorfer accounts reflect salary payments of 80 reichsthaler during that period - a fraction of his full salary which had been 350 reichsthaler in 1694. Musical historian Johann Gottfried Walther described it somewhat differently in 1732; according to Walther, Albert V, Duke of Saxe-Coburg had invited Österreich to his Coburg residence and commissioned some of his work "to be used at festivities of the time." The Duke was so enthusiastic about Österreich that he invited him to stay to replace his recently deceased court Kapellmeister.

paragraph: Whether by a temporary appointment or an invitation from the Duke of Saxe-Coburg, Österreich desired to remain in Coburg on account of the relatively stable political situation. Frederick IV, however, did not want to lose Österreich permanently and promised that if he would return to his old position in Schleswig, he would reverse the cutbacks to the court's music budget. It is not clear whether the Duke kept his promise. Some documents from the period 1698-1702 reference the court ensemble and works from the time would require a considerable number of performers. However, court accounts reflect salaries only for the Kapellmeister and one organist, though it may be the case that non-resident musicians were used for larger performances and were paid by the project.

paragraph: Section::::Life.:Schleswig (1689–1702).:Decline of the Gottorfer Court Ensemble.

paragraph: In 1701, when Frederick IV set off to the east to serve at the side of his brother-in-law Karl XII of Sweden in the Northern War the court at Schleswig was dissolved once again. Only Österreich retained his position, though the duke permitted him to leave and make his living by music elsewhere as long has he returned and resume his duties as soon as the court was reconstituted. In the meantime, Österreich had inherited a brewery in Brunswick from his father-in-law where he moved with his family in 1702. But in December of that year, he had to resume his duties in Gottdorf for Frederick IV's burial after he was killed in the Battle of Klissow.

paragraph: Section::::Life.:Brunswick Wolfenbüttel (1702–1735).

paragraph: It is difficult to reconstruct Österreich's employment after he moved to Brunswick. Initially, he and his family probably lived off of the inheritance from his father-in-law and the income from the brewery. However, as a 1704 letter shows, these savings began to run short and Österreich would have needed to find a new position even if he had not been dismissed from service in Gottorf. One biographer writes that he participated in the Church music and took over as cantor of the castle church but his position as castle cantor can only be confirmed from 1724, though it cannot be ruled out that he held the position earlier. It is certainly the case that Österreich was participating in opera performances at the Theater am Hagenmarkt in Brunswick by at least 1708, when he was named in connection with a staging of Georg Caspar Schürmann's "Der erfreuten Ocker Schäfer eingestelltes Fest," though he was likely involved earlier than that. The opera was founded by Anthony Ulrich, Duke of Brunswick-Wolfenbüttel in 1690 and staged productions twice a year during the local fairs. He continued to work in connection with the opera until at least 1721.

paragraph: In Brunswick Wolfenbüttel, Österreich came into contact with the modern musical currents of the age. In the late 17th centurty, the French style of Kapellmeister Johann Kusser was the fashion. However, at the beginning of the 18th century, a dramatic shift took place when, in 1701, the Duke sent Schürmann to study in Italy to adapt to the new musical tastes. Österreich was not unaffected by these changes. He also changed his musical vocabulary drastically. Unfortunately, few works from this transitional period (1704-1719) survive so the development of his style can only be partially reproduced.

paragraph: In addition to his duties as singer, cantor, and singing instructor, Österreich also taught composition, passing on what he had learned from Johann Theile, above all regarding counterpoint. His most important student was Heinrich Bokemeyer who was Cantor at the princely Schule zu Wolfenbüttel and from 1739 was a member of Lorenz Christoph Mizler's Corresponding Society of Musical Sciences. How long Bokemeyer was Österreich's student is not known (the documents state "around 1706) but they developed a close friendship. In the 1720s, Österreich successively sold Bokemeyer the music collection, primarily church music, that he had established in Gottorf. Bokemeyer added to the collection with mainly secular works from contemporary composers. At least half of the collection survives today and is maintained by the Berlin State Library. It includes currently 1839 titles, which are primarily scores. Most musicologists call it the "Bokemeyer Collection" though 1702 of the works go back to the Gottorf collection, rendering the name somewhat misleading.

paragraph: It is written in various places that Österreich held the position of vice-Kapellmeister in Wolfenbüttel. However, this cannot be confirmed in surviving contemporary documents, as many archives of the time were lost or destroyed during the world wars. In any event, it appears that at the very least he de facto held such a position, even if he was never formally appointed.

paragraph: By the end of the 1720s, in his mid-sixties, Österreich was gradually withdrawing from the musical events in Brunswick-Wolfenbüttel. Likely not least due to the growing popularity of Italian composers and the changes in fashionable tastes. On May 9, 1735, Georg Caspar Schürmann was sent into retirement by the new Duke, Ferdinand Albert II, who found his style too old-fashioned. Österreich was supposed to remain in his position as court cantor, but died a few weeks later. His death is recorded in the court's church register for 6 June 1735: "in the evening at 10 o'clock, after a short illness, died gently and peacefully, and was buried on the 10th."

paragraph: Section::::Children.

paragraph: Österreich had four children with his wife Magdalena:

paragraph: BULLET::::- Johann Samuel (25 May 1691 – 27 May 1712)

paragraph: BULLET::::- Anton August (19 December 1692 – 1745)

paragraph: BULLET::::- Georg Christoph (5 November 1694 – 1762)

paragraph: BULLET::::- Sophie Amalie (20 June 1696 – ?)

paragraph: The social standing which he attained in his position as court Kapellmeister is apparent in the list of his children's godparents. Among them are found such prominent names as Anthony Ulrich, Duke of Brunswick-Wolfenbüttel; crown prince and later duke Augustus William of Brunswick-Lüneburg; and Augustus William's second wife, Sophie Amalie, born Duchess of Holstein-Gottorf, in addition to Österreich's predecessor and teacher Johann Theile.

paragraph: Österreich's sons all pursued careers in the church and held high ecclesiastical offices in northern Germany. Only his daughter, Sophie Amalie, devoted herself to music and became a celebrated opera singer at the Brunswick Theater.

paragraph: Section::::Biographical sources.

paragraph: Österreich's family tree was reconstructed in the 20th century. His last known direct descendant was the wife of a major general in the German Army who lived in Blankenburg (Harz). She died childless in the 1950s. In the possession of the family were several letters of Österreich's along with a handwritten autobiography in his own hand. A student at the time, Adam Soltys, was writing his dissertation on Österreich in 1922. This document came to his attention and he cited it several times in his work. Despite intensive searches, the present whereabouts of the manuscript have not be ascertained. The only reliable sources of information about Österreich's life are letters and the records of the courts where he was employed. The state archive in Schleswig maintains many valuable documents from Österreich's time in Gottorf, while a majority of the archive of Brunswick-Wolfenbūttel was lost in World War II.

paragraph: Another important biographical source is the article on Österreich in Johann Gottfried Walther's "Musicalisches Lexicon" from 1732. Based on the detail in the article, it can be assumed that he received his information from Österreich himself. It is possible Österreich wrote his biography specially for Walther and accordingly some statements, particularly those regarding his motives for his various changes of employment must be treated with caution.

paragraph: Section::::Reputation.

paragraph: Harald Kümmerling, a musicologist who has researched and catalogued the Bokemeyer collection, wrote in the musical encyclopedia "Die Musik in Geschichte und Gegenwart", was critical of Österreich's work, saying "Österreich, like, Gustaf Düben was a great collector but a sterile composer."

paragraph: It is true, Düben's and Österreich's passion for collecting – Düben in Sweden and Österreich in Gottorf and Brunswick-Wolfenbüttel – is almost unique in the history of music. These great musical libraries are of enormous value, providing unique insight into the musical practice of the late 17th and early 18th centuries. Thanks to his collection, the works of famous composers like Dietrich Buxtehude, Nicolaus Bruhns, Johann Rosenmüller, Matthias Weckmann, Vincent Lübeck, and Johann Philipp Krieger, among others have been preserved.

paragraph: For Österreich, counterpoint and canon were concrete manifestations of the "order of God" ("Ordnung Gottes"), their elaboration revealing the divine, inscrutable essence of God's creation, not merely as a metaphor for His order, but as "the" concrete actualization of that order. Österreich was certainly not a particularly innovative composer but he understand his work very well and was held in high regard during his lifetime.

description: German composer and music collector

wikidata_label: Georg Österreich

wikipedia_title: Georg Österreich


text: Warwick Fairfax

text: Warsaw

text: Australia

text: Presbyterian Ladies College, Sydney

text: Fairfax family

text: Judaism

text: Catholicism

text: Warwick Jr.

text: "Fairwater"

text: Fairfax family

text: Manhattan

text: penthouse apartment

text: Pierre Hotel

text: Martin Zweig

text: Howard Lutnick

text: Cantor Fitzgerald

text: John Paul Getty

text: Elizabeth Taylor

text: Yves Saint-Laurent

text: Mohamed al-Fayed

text: Member of the Order of Australia

text: Companion of the Order of Australia

text: BRW

text: Harrington Park

text: Camden

text: New South Wales

text: The Australian Ballet

text: Australian Opera

text: St Vincent's Foundation

text: Garvan Foundation

text: Fairfax family

text: "Fairwater" (Double Bay)

categories: People educated at the Presbyterian Ladies' College, Sydney,Converts to Roman Catholicism from Judaism,Polish Jews,Fairfax family (publishers),1922 births,Naturalised citizens of Australia,Australian women in business,Australian Roman Catholics,2017 deaths,Companions of the Order of Australia,Australian people of Polish-Jewish descent,Australian philanthropists,Polish emigrants to Australia,Businesspeople from Sydney,Australian Officers of the Order of the British Empire

paragraph: Mary Fairfax

paragraph: Mary Fairfax, (formerly Symonds, born Marie Wein; 15 August 1922 – 17 September 2017) was a Polish-born Australian businesswoman and philanthropist. As the third wife of wealthy media proprietor Sir Warwick Fairfax, she became known as Lady Fairfax upon his knighthood in 1967. She inherited most of his vast fortune upon his death in January 1987, becoming one of Australia's richest women.

paragraph: Section::::Biography.

paragraph: Marie Wein was born into a Jewish family in Warsaw, the daughter of Anna (née Szpiegelglass) and Kevin Wein, the son of a miller. She came to Australia with her parents in the late 1920s to escape European anti-Semitism. She attended the Presbyterian Ladies College, Sydney, where she won prizes for history and chemistry. She eventually came to own several Sydney dress shops. In 1945, Wein married solicitor Cedric Symonds, with whom she had one son, Garth. She began having an affair with Warwick Oswald Fairfax, a scion of the Fairfax family, in the late 1950s. She divorced her husband in 1958 and married Fairfax on 4 July 1959, the day after he divorced his second wife. She converted from Judaism to Catholicism before the wedding. They had three children: Warwick Jr., Anna and Charles.

paragraph: After the death of her husband Sir Warwick in 1987, Fairfax continued to live in the family home, "Fairwater", which was owned by the Fairfax family since 1900. She moved to Manhattan, New York, in 1988, purchasing a penthouse apartment known as the "Chateau in the Sky", atop the Pierre Hotel, Fifth Avenue, for US$12 million. She sold the apartment in 1999 to financier Martin Zweig for $21.5 million and returned to Australia. The penthouse in Manhattan eventually became New York's most expensive penthouse and was put up for sale in 2013 for an asking price of US$125 million. However, after four years on the market, the property sold at a deep discount for $44 million to Howard Lutnick, the CEO of Cantor Fitzgerald. At the time of Fairfax's purchase of the property, previous tenants had included John Paul Getty, Elizabeth Taylor, Yves Saint-Laurent and Mohamed al-Fayed.

paragraph: Lady Fairfax died of natural causes at her family home on 17 September 2017.

paragraph: Section::::Honours, wealth and philanthropy.

paragraph: In recognition of her service to the community, Fairfax was appointed an Officer of the Order of the British Empire (OBE) in 1976. She was made a Member of the Order of Australia (AM) in 1988, and upgraded to Companion of the Order of Australia (AC) in 2005, for "service to the community of wide ranging social and economic benefit through support and philanthropy for ongoing medical research initiatives, improved health care opportunities, nurturing artistic talent in young performers, and preservation of diverse cultural heritage".

paragraph: Fairfax's personal wealth in 2012 was estimated by the "BRW" at 418 million. Her assets include the residential land development, Harrington Park, near Camden in New South Wales. Harrington Park was the name of the cattle property once owned by Sir Warwick and Lady Fairfax.

paragraph: Lady Fairfax was a chairman, founder and president of the Friends of The Australian Ballet and was the president of the Australian Opera Foundation during the 1970s. Her philanthropy includes gifts of 750,000 to St Vincent's Foundation and 250,000 to the Garvan Foundation in 2002 on the occasion of her eightieth birthday.

paragraph: Section::::See also.

paragraph: BULLET::::- Fairfax family

paragraph: BULLET::::- "Fairwater" (Double Bay)

alias:
Lady Mary Fairfax
Mary, Lady Fairfax
Mary Symonds
Maire Wein
Lady Fairfax

description: Polish-born Australian philanthropist

wikidata_label: Mary Fairfax

wikipedia_title: Mary Fairfax


text: Black Patriot

text: American Revolutionary War

text: Mississippi River

text: Montrose Cemetery

text: Montrose, Iowa

text: 4th Connecticut Regiment

text: Continental Army

text: John Durkee

text: Norwich, Connecticut

text: John McGregor

text: Valley Forge

text: smallpox

text: Daughters of the American Revolution

categories: African Americans in the American Revolution,People of Connecticut in the American Revolution,1846 deaths,Year of birth uncertain,American slaves,Connecticut militiamen in the American Revolution,People from Iowa

paragraph: Cato Mead

paragraph: Cato Mead (ca. 1761–1846; also spelled Meed) is the only known Black Patriot (American Revolutionary War veteran) buried west of the Mississippi River. Mead is buried in or near Montrose Cemetery in Montrose, Iowa.

paragraph: According to historian Barbara MacLeish, who is researching a book on Cato Mead, he joined the 4th Connecticut Regiment of the Continental Army commanded by Colonel John Durkee of Norwich, Connecticut in 1776 or 1777. Other sources reveal that Mead was born in 1762 and that he enlisted as private on 1 March 1778 for a one year enlistment serving in Captain John McGregor's Company. It is not entirely clear if he was a former slave. He served at Valley Forge from December 1777 through June 1778, where he contracted smallpox, spending two months in a Pennsylvania hospital. Early military records show Mead received solder's pay of $10.04 for service his in the Continental Army in July 1783. It is not known why he migrated to Iowa. While the exact grave location of Cato Mead is unknown, a marker stands at the Montrose Cemetery.

paragraph: Section::::References.

paragraph: BULLET::::- Abigail Adams Chapter, Daughters of the American Revolution. "Revolutionary War soldiers and patriots buried in Iowa". 1978.

paragraph: BULLET::::- "Pierce's Register: Register of the Certificates Issued by John Pierce, Esquire, Paymaster General and Commissioner of Army Accounts for the United States, to Officers and Soldiers of the Continental Army Under Act of July 4, 1783, Issue 2 Volume 9, Issue 988 of Document, United States 63d Cong., 3d sess.", 1915.

paragraph: Section::::External links.

paragraph: BULLET::::- Cato Mead (1764-1846) - Find A Grave Memorial

description: American slave

wikidata_label: Cato Mead

wikipedia_title: Cato Mead


text: Braunschweig

text: Leipzig

text: pianist

text: music educator

text: Carl Reinecke

text: Leipzig Conservatory

text: Günther Ramin

text: Sigfrid Karg-Elert

text: Siegfried Rapp

text: Harry Dean

text: Kurt Hessenberg

text: Eileen Joyce

text: Rudolf Wagner-Régeny

text: Herbert Albert

text: Rudolf Mauersberger

text: Elinor Kaland

text: Ernst Oster

text: Photo of Teichmüller

categories: University of Music and Theatre Leipzig faculty,19th-century German musicians,1939 deaths,19th-century pianists,20th-century German musicians,Piano pedagogues,German pianists,German music educators,1863 births,20th-century pianists

paragraph: Robert Teichmüller

paragraph: Robert Teichmüller (4 May 1863, in Braunschweig – 6 May 1939, in Leipzig) was a German concert pianist and music educator.

paragraph: He studied piano and music theory with Carl Reinecke at the Leipzig Conservatory where he later became a faculty member in 1897, promoted to professor in 1908. He became one of the most influential piano teachers of his time. His students included notable pianists Günther Ramin, Sigfrid Karg-Elert, Siegfried Rapp, Harry Dean, Kurt Hessenberg, Eileen Joyce, Rudolf Wagner-Régeny, Herbert Albert, Rudolf Mauersberger, Elinor Kaland (maiden name Loose) and Ernst Oster, who became a music theory teacher. He also edited piano music of Mozart and Max Reger. In 1927 he wrote an ongoing survey of "International Modern Piano Music" with Kurt Hermann.

paragraph: Section::::Literature.

paragraph: Section::::Literature.:In German.

paragraph: BULLET::::- Baresel, Alfred: "Robert Teichmüller und die Leipziger Klaviertradition". Peters, Leipzig 1934.

paragraph: BULLET::::- Baresel, Alfred (ed.): "Robert Teichmüller als Mensch und Künstler". Leipzig 1922.

paragraph: BULLET::::- Jarck, Horst-Rüdiger & Scheel, Günter (eds.): "Braunschweigisches Biographisches Lexikon. 19. und 20. Jahrhundert". Hannover 1996, S. 606

paragraph: Section::::Literature.:In English.

paragraph: BULLET::::- VanWart, Helen: "Letters from Helen." Sybertooth. Sackville, New Brunswick 2010. [Letters from a student of Teichmüller, from 1913–14.]

paragraph: Section::::External links.

paragraph: BULLET::::- Photo of Teichmüller

paragraph: BULLET::::- Full text (English) of International Piano Music, 1927

description: German pianist

wikidata_label: Robert Teichmüller

wikipedia_title: Robert Teichmüller