text: FRS

text: Omar Khayyam

text: Georges Chanot III

text: palmistry

text: Mirza Malkom Khan

text: Edward Denison Ross

text: Rubaiyat of Omar Khayyam

text: Bodleian Library

text: Luri

text: Selsey

text: West Sussex

text: local parish church in Selsey

text: Church organ

text: J. W. Walker & Sons Ltd

text: World War I

text: Directorate of Military Intelligence

text: foraminifera

text: Fellow of the Royal Society

text: Natural History Museum, London

text: FRS 1919

text: FLS

text: FGS

text: FZS

text: FRMS

text: MRIrish Academy(Hon)

text: Accademia Nazionale di Santa Cecilia

text: Protozoology

text: National Service

text: Royal Sussex Regiment

text: Grosvenor Crescent

text: Heron-Allen Society

categories: Fellows of the Linnean Society of London,Fellows of the Zoological Society of London,1861 births,1943 deaths,Fellows of the Royal Society,Writers from London,Bowed string instrument makers,Fellows of the Geological Society of London,English writers

paragraph: Edward Heron-Allen

paragraph: Edward Heron-Allen FRS (born "Edward Heron Allen") (17 December 1861 – 28 March 1943) was an English polymath, writer, scientist and Persian scholar who translated the works of Omar Khayyam.

paragraph: Section::::Life.

paragraph: Heron-Allen was born in London, the youngest of four children of George Allen and Catherine Herring. He was educated at Elstree and Harrow School from 1876, where he developed an interest in classics, science and music (particularly in violin playing), however he did not attend university. In 1879 he joined the family firm of Allen and Son, solicitors, in Soho, London. The practice office was located close to the violin making district and Heron-Allen made the acquaintance of Georges Chanot III, a distinguished violin maker, and learnt how to make violins making some himself. He subsequently produced a book on violin making that was still in print over a hundred years later.

paragraph: In 1885 he studied the Turkish language with Garabet Hagopian, the Armenian envoy in London. In addition to Hagopian, Heron-Allen sought the guidance of Charles Wells, a Turkish lexicographer.

paragraph: He was an expert on the art of chiromancy or palmistry, having read palms and analysed the handwriting of luminaries of the period, he wrote several books on the subject and in 1886 went on a lecture tour of the United States.

paragraph: On his return from the USA he returned to his legal practice in London, but found time to develop his other interests, including the study of Persian.

paragraph: He made friends with Mirza Malkom Khan (Nāẓem-al-Molk), the famous Persian Minister in London and in 1896 he studied colloquial Persian with Mirza ʿAlinaqi of the Persian Legation. In 1897 he began studying with Edward Denison Ross, Professor of Persian at University College, London.

paragraph: He published a literal translation of the Rubaiyat of Omar Khayyam(1898) from the then earliest manuscript in the Bodleian Library, followed by other studies of various versions up to 1908. He also published a translation entitled The Lament of Baba Tahir (1901) from a little-known Persian dialect, Luri.

paragraph: When Heron-Allen's father died in 1911, Heron-Allen retired from practising the law and permanently moved to Selsey in West Sussex. There he produced a book on the history and prehistory of Selsey. He compiled a library of 12,000 books, including a collection of rare books on the violin, which he bequeathed to the Royal School of Music.

paragraph: A supporter of his local parish church in Selsey, he donated a Church organ to them. It was built and supplied by J. W. Walker & Sons Ltd in 1912, and dedicated to the memory of Heron-Allen's late father.

paragraph: Heron-Allen also served in World War I and his journal was eventually published in 2002.

paragraph: He joined the staff of the Directorate of Military Intelligence MI7b at the War Office in May 1918, where he dealt specifically with aerial propaganda.

paragraph: He spent many years studying foraminifera, for this work he was eventually elected a Fellow of the Royal Society in May, 1919."

paragraph: Heron-Allen's foraminiferal collections and associated library were bequeathed to the Natural History Museum, London and are now housed in a special room on the second floor of the "Department of Palaeontology" named "The Heron-Allen Library", in his honour. The collection is not just of Heron-Allens books, but also contains the reprints and manuscripts along with the ephemera which Heron-Allen bound with them, including the associated correspondence, photographs, field-notes, the various proof stages, miscellaneous invoices, artwork, as well as postcards and letters from recipients of his reprints.

paragraph: Heron-Allen also wrote on archaeology, Buddhist philosophy, the cultivation, gourmet appreciation of and culture of the asparagus, as well as a number of novels and short stories of science fiction and horror written under his pseudonym of "Christopher Blayre.

paragraph: Heron-Allen was also noted for his fiction writing, especially his stories which were early examples of horror and fantasy.

paragraph: Section::::Life.:Titles and accolades.

paragraph: BULLET::::- FRS 1919 - Fellow of the Royal Society.

paragraph: BULLET::::- FLS - Fellow of the Linnean Society.

paragraph: BULLET::::- FGS - Fellow of the Geological Society.

paragraph: BULLET::::- FZS - Fellow of the Zoological Society.

paragraph: BULLET::::- FRMS - Fellow of the Royal Microscopical Society.

paragraph: BULLET::::- MRIrish Academy(Hon) - Member of the Royal Irish Academy.

paragraph: BULLET::::- Accademia Nazionale di Santa Cecilia - Member of the Academy of St Cecilia, Rome. One of the oldest musical institutions in the world.

paragraph: Section::::Life.:Career.

paragraph: BULLET::::- Admitted Solicitor of Supreme Court, 1884;

paragraph: BULLET::::- Special Commissioner of Music Section of Colonial Exhibition to Italy, 1885;

paragraph: BULLET::::- Lecturing and writing in United States, 1886–89;

paragraph: BULLET::::- Student of, and Lecturer upon, Protozoology;

paragraph: BULLET::::- District Commissioner of Boy Scouts for S.W. Sussex, 1910–19;

paragraph: BULLET::::- District Commissioner S.W. Sussex for National Service, 1916–17;

paragraph: BULLET::::- Lieut 6th Volunteer Battalion Royal Sussex Regiment, 1917 (France, 1918)

paragraph: BULLET::::- Attached to Staff Intelligence Dept War Office, 1918;

paragraph: BULLET::::- President of the Royal Microscopical Society, 1916–18;

paragraph: BULLET::::- Honorary Member Manchester Microscopical Society;

paragraph: BULLET::::- Marine Biologist and Zoologist;

paragraph: BULLET::::- President of the Sette of Odd Volumes, 1927–28;

paragraph: BULLET::::- President of the National Auricula Society, 1928

paragraph: Section::::Select bibliography.

paragraph: Section::::Select bibliography.:Fiction.

paragraph: BULLET::::- "The Princess Daphne" (1885) (novel)

paragraph: BULLET::::- "A Fatal Fiddle" (1890) (collection)

paragraph: BULLET::::- "The Purple Sapphire and Other Posthumous Papers Selected from the Unofficial Records of the University of Cosmopoli" (1921) (collection)

paragraph: BULLET::::- "The Cheetah Girl" (1923) (short story)

paragraph: BULLET::::- "The Strange Papers of Dr Blayre" (1932) (collection)

paragraph: BULLET::::- "The Collected Strange Papers of Christopher Blayre" (1998) (collection)

paragraph: Section::::Select bibliography.:Other Works.

paragraph: BULLET::::- Bābā Ṭāhir ʿOryān, The Lament of Bābā Tāhir: Being the Rubā’iyāt of Bābā Tāhir, Hamandāni (`Uryān). Translated by Edward Heron-Allen and Rendered into English Verse by Elizabeth Curtis Brenton, London, 1902.

paragraph: BULLET::::- ʿOmar Ḵayyām, Edward FitzGerald’s Rubâ’iyât of Omar Khayyâm with Their Original Persian Sources, Collated from his Own MSS., London, 1899.

paragraph: BULLET::::- "The Philosophy of žUmar Khayyám," Edward Fitzgerald, 1809-1909: Centenary Celebrations Souvenir, Ipswich, 1909, pp. 17–20.

paragraph: BULLET::::- "On the Place of the Rubá’i in Persian Poetry with especial reference to the Rubá’iyyát of Omar Khayyám," ThePoetry Review II/5, May 1913, pp. 205–20.

paragraph: BULLET::::- "Presidential Inaugural Address," The Year-Boke of Ye Sette of Odd Volumes: Fiftieth Year, 1927–1928, Oxford, 1929, pp. 2–29.

paragraph: BULLET::::- Some Sidelights Upon Edward FitzGerald's Poem, "The Ruba’iyat of Omar Khayyām": Being the Substance of a Lecture Delivered at the Grosvenor Crescent Club and Women's Institute on 22 March 1898, London, 1898b.

paragraph: BULLET::::- ʿOmar Ḵayyām, Edward FitzGerald's Rubâ’iyât of Omar Khayyâm with Their Original Persian Sources, Collated from his Own MSS., and Literally Translated by Edward Heron-Allen, London, 1899.

paragraph: BULLET::::- The Ruba’iyat: Being a Facsimile of the Manuscript in the Bodleian

paragraph: BULLET::::- Library at Oxford, with a Transcript into Modern Persian Characters, Translated, with an Introduction and Notes, and a Bibliography, by Edward Heron-Allen, London, 1898a.

paragraph: BULLET::::- The Ruba’iyat of Omar Khayyam: Being a Facsimile of the Manuscript in the Bodleian Library at Oxford, with a Transcript into Modern Persian Characters, Translated, with an Introduction and Notes, and a Bibliography, and Some Sidelights upon Edward FitzGerald's Poem by Edward Heron-Allen. Second edition, carefully revised and considerably enlarged, London, 1898c.

paragraph: BULLET::::- The Second Edition of Edward FitzGerald's Rubá’iyyát of žUmar Khayyám,London, 1908.

paragraph: BULLET::::- Memoranda of Memorabilia Encountered in the Course of a Sentimental Journey through the Correspondence of Marie de Rabutin-Chantal, Marquise de Sévigné and her Friends. Oxford, Ye Sette of Odd Volumes, 1928.

paragraph: Section::::External links.

paragraph: BULLET::::- Heron-Allen Society

paragraph: BULLET::::- Museum of Soho with details and photograph of Georges Chanot

description: British writer and scientist

wikidata_label: Edward Heron-Allen

wikipedia_title: Edward Heron-Allen


text: Tsukioka Yoshitoshi

text: Ogata Gekkō

text: noh

text: J. Thomas Rimer

categories: People of Meiji-period Japan,20th-century Japanese painters,Ukiyo-e artists,19th-century Japanese painters,1927 deaths,1869 births,People from Tokyo,20th-century printmakers

paragraph: Kōgyo Tsukioka

paragraph: , sometimes called , (April 18, 1869 – February 25, 1927) was a Japanese artist of the Meiji period. He was a student and adopted son of Tsukioka Yoshitoshi, and also studied with Ogata Gekkō. Although Kōgyo sometimes painted other subjects, for most of his career he made pictures of Japanese noh theatre, either as large-scale paintings or colored woodblock prints. Many of the latter were published in series and sold as multi-volume sets. Some sets, such as "Nōgaku zue", have been preserved as albums in their original bindings, including accordion-style bindings known as "orihon," while other sets such as "Nōga taikan", were issued in sewn bindings known as "yamato toji". Although most bound sets belong to institutional collections, individual prints by Kōgyo can still be found through dealers specializing in Japanese prints.

paragraph: Section::::References.

paragraph: BULLET::::- Mizuta Museum of Art (2005). "Kindai no Nōgakka: Tsukioka Kōgyo ten". Tōgane-shi: Jōsai Kokusai Daigaku Mizuta Bijutsukan.

paragraph: BULLET::::- Merritt, Helen and Nanako Yamada (1992). "Guide to Modern Japanese Prints: 1900-1975." Honolulu: University of Hawai'i Press.

paragraph: BULLET::::- Bondi, Don. "Tsukioka Kôgyo and Nô Ukioyo-e." "Daruma" 52, Vol.13, no.4 (Autumn 2006), 12-24.

paragraph: BULLET::::- Schaap, Robert and J. Thomas Rimer (2010). "The Beauty of Silence: Japanese Nō and Nature Prints by Tsukioka Kōgyo 1869-1927". Leiden: Hotei Publishing.

paragraph: Section::::External links.

paragraph: BULLET::::- Image from 'Nōgaku Zue' at the Walters Art Museum

paragraph: BULLET::::- Kōgyo prints at the Art Institute of Chicago

paragraph: BULLET::::- Kōgyo prints at the Ruth Chandler Williamson Gallery

paragraph: BULLET::::- Kōgyo prints at the Los Angeles County Museum of Art

paragraph: BULLET::::- Kōgyo prints at the Frick Art & Historical Center

paragraph: BULLET::::- Kōgyo prints at the University of Pittsburgh

alias:
Sakamaki Kōgyo
坂卷耕漁
阪卷耕漁
Nenkyū
Bennosuke Tsukioka
Kōgyo
Sadanosuke Hanyu
Kōgyo Sakamaki
Kohan
Kogyo Tsukioka
Kougyo Tsukioka

description: Meiji period artist

wikidata_label: Kōgyo Tsukioka

wikipedia_title: Kōgyo Tsukioka


text: Urdu

text: Delhi

text: Naqshbandi

text: Qadri

text: Chishti

text: Patiala

text: Punjab

text: Qadri

text: tariqah

text: Ali

text: Muhammad

text: Quran

text: Mirza Mazhar Jan-e-Janaan

text: Naqshbandi

text: Naqshbandi

text: Ijazah

text: Naqshbandi

text: Bukhara

text: Baghdad

text: Madinah

text: Turkey

text: Khalid al-Baghdadi

text: Naqshbandi

text: Makkah

text: Madinah

text: Baghdad

text: Bukhara

text: Safar

text: Delhi

text: Mirza Mazhar Jan-e-Janaan

text: Ijazah

text: tariqah

text: Naqshbandi

text: Mirza Mazhar Jan-e-Janaan

text: Ahmed Sirhindi

text: Abdul-Qadir Gilani

text: Mirza Mazhar Jan-e-Janaan

text: Ahmed Sirhindi

text: Abdul Quddus Gangohi

text: Alauddin Sabir Kaliyari

text: Fariduddin Ganjshakar

text: Qutbuddin Bakhtiar Kaki

text: Khwaja Moinuddin Chishti

text: Delhi

text: Medina

text: Bhopal

text: Khalid al-Baghdadi

text: Turkey

text: Medina

text: Bukhara

text: Sirhind

text: Kashmir

text: Herat

text: Makkah

categories: 1743 births,Indian Sufi saints,Sufi teachers,1824 deaths,18th-century Muslim scholars of Islam,Naqshbandi order,People from Patiala

paragraph: Ghulam Ali Dehlavi

paragraph: Shah Abdullah alias Shah Ghulam Ali Dehlavi (1743–1824, Urdu:) was a very prominent Sufi Shaykh in Delhi during the early 19th century. He was a master of the Naqshbandi tradition and also in other major Sufi orders such as Qadri and Chishti.

paragraph: Section::::Biography.

paragraph: He was born in 1156 AH (1743 C.E) in Patiala, Punjab in current-day India. His father was Shah Abdul-Latif, a scholar and Sufi shaykh belonging to the Qadri tariqah. It is reported in his biographies that his father had a dream before his birth in which he saw Sayyadna Ali who told him to name the baby on his name ("Ali"). After he grew up, he modified his own name to be Ghulam Ali (literally meaning slave of Ali, a common name in Indian Muslims today). Similarly, his mother had a dream in which she saw Muhammad who told her to name the baby "Abdullah".Hence his real name is still known to be Abdullah while his alias is Ghulam Ali.

paragraph: He is reported to have memorized the Quran in a single month's duration. In 1170 AH he came to Delhi to take the oath of allegiance to Mirza Mazhar Jan-e-Janaan who was a famous Shaykh of Naqshbandi tariqah in Delhi at that time. After getting trained in the major Sufi orders including Naqshbandi for 15 years, he received complete Khilafat (spiritual Ijazah) from his Shaykh.

paragraph: He had many Khulafa (deputies) who spread the Naqshbandi Sufi order to a vast number of people in the whole Muslim world at that time. His Khulafa went to Bukhara, Baghdad, Madinah and Turkey. His famous khalifa was Mawlana Khalid al-Baghdadi who had hundreds of thousands of followers in his lifetime, and many Naqshbandi's today in Turkey and nearby countries follow him.

paragraph: He is quoted to have said: "My Faid (spirituality) has reached far off countries. Our Halqa is held in Makkah and our Halqa is held in Madinah. Similarly our Halqa is held in Baghdad, Rome (now Turkey and Cyprus) and Maghrib (Parts of Europe and Africa facing Asia). And Bukhara is our parental home."

paragraph: He died on 22 Safar 1240 AH (15/16 October 1824) and was buried alongside his Shaykh's grave in Khanqah Mria in Delhi.

paragraph: Section::::Biography.:Writtings.

paragraph: He wrote multiple books, the most famous of them is Maqamat Mazhari in Persian, which is a complete biography of his shaykh Mirza Mazhar Jan-e-Janaan Shaheed.

paragraph: His other books are:

paragraph: BULLET::::- Edah-e-Tariqat

paragraph: BULLET::::- Ahwal-e-Buzurgaan

paragraph: BULLET::::- Risalah dar Tariqah Ba'yat wa Azkar

paragraph: BULLET::::- Risalah dar Tariqah Naqshband

paragraph: BULLET::::- Risalah Sitri Chand dar Ahwal-e-Shah-e-Naqshband

paragraph: BULLET::::- Risalah-e-Azkar

paragraph: BULLET::::- Risalah-e-Muraqbat

paragraph: BULLET::::- Risalah dar Aitarazat Shaykh Abdul-Haq bar Hazrat Mujaddid

paragraph: BULLET::::- Risalah Mashgooliyah

paragraph: BULLET::::- Sulook Raqia Naqshbandia

paragraph: BULLET::::- Makateeb Shareefa (collection of his letters)

paragraph: BULLET::::- Kamalat-e-Mazhariya

paragraph: BULLET::::- Malfoozat-e-Sharifa

paragraph: Section::::Biography.:Malfuzat(Speech).

paragraph: BULLET::::- He said that,"Mujadddedi tarika have flows the nisbat(fayed) of naqshbandiya,qadiriya,chistiya.among them first one is more powerful."

paragraph: BULLET::::- He said that,'the love and mohabbat of duniya is the main root of all sin'

paragraph: BULLET::::- He said that, Imame rabbani describe the asrar of marifat very clearly no other awliya of ummat can'nt describe like him.

paragraph: Shah Ghulam Ali Dehlavi received Ijazah in multiple tariqahs of Sufism, mainly the Naqshbandi.

paragraph: Section::::Spiritual Chain of Succession.:Qadri chain.

paragraph: Extracted from Maqamat Mazhari by Shah Ghulam Ali Dehlavi

paragraph: BULLET::::1. Shah Ghulam Ali Dehlavi

paragraph: BULLET::::2. Mirza Mazhar Jan-e-Janaan

paragraph: BULLET::::3. Muhammad Abid Sanami

paragraph: BULLET::::4. Abdul Ahad

paragraph: BULLET::::5. Muhammad Said

paragraph: BULLET::::6. Ahmed Sirhindi

paragraph: BULLET::::7. Abdul Ahad Faruqi

paragraph: BULLET::::8. Shah Kamal Kethali

paragraph: BULLET::::9. Shah Fuzail

paragraph: BULLET::::10. Gada e Rahman Sani

paragraph: BULLET::::11. Shamsuddin Arif

paragraph: BULLET::::12. Gada e Rahman Awal

paragraph: BULLET::::13. Shamsuddin Sehrai

paragraph: BULLET::::14. Aqeel

paragraph: BULLET::::15. Abdul Wahhab

paragraph: BULLET::::16. Sharfuddin

paragraph: BULLET::::17. Abdur Razzaq

paragraph: BULLET::::18. Abdul-Qadir Gilani

paragraph: Section::::Spiritual Chain of Succession.:Chishti chain.

paragraph: BULLET::::1. Shah Ghulam Ali Dehlvi

paragraph: BULLET::::2. Mirza Mazhar Jan-e-Janaan

paragraph: BULLET::::3. Muhammad Abid Sanami

paragraph: BULLET::::4. Abdul Ahad Sirhindi

paragraph: BULLET::::5. Muhammad Said

paragraph: BULLET::::6. Ahmed Sirhindi

paragraph: BULLET::::7. Abdul Ahad Faruqi

paragraph: BULLET::::8. Ruknuddin

paragraph: BULLET::::9. Abdul Quddus Gangohi

paragraph: BULLET::::10. Muhammad Arif

paragraph: BULLET::::11. Ahmed Abdul Haq

paragraph: BULLET::::12. Jalaluddin Panipati

paragraph: BULLET::::13. Shamsuddin Turk

paragraph: BULLET::::14. Alauddin Sabir Kaliyari

paragraph: BULLET::::15. Fariduddin Ganjshakar

paragraph: BULLET::::16. Qutbuddin Bakhtiar Kaki

paragraph: BULLET::::17. Khwaja Moinuddin Chishti

paragraph: Section::::His Khulafa.

paragraph: His Khulafa were numerous and many of them were prominent Shaykhs at their times. Following is a list of his most prominent Khulafa as extracted from various sources.

paragraph: BULLET::::1. Mawlana Hafiz Abu-Saeed-Ahmadi Faruqi Mujaddidi Naqshbandi, his successor (Delhi)

paragraph: BULLET::::2. Mawlana Hafiz Shah Ahmed Saeed Faruqi Mujaddidi, son of Hafiz Shah Abu Saeed (Medina)

paragraph: BULLET::::3. Shah Rauf Ahmed Raaft Faruqi Mujaddidi Rampuri (Bhopal)

paragraph: BULLET::::4. Mawlana Khalid al-Baghdadi al-Kurdi al-Rumi (Turkey)

paragraph: BULLET::::5. Mawlana Ismaeel Madani (Medina)

paragraph: BULLET::::6. Mawlana Ghulam Mohiuddin Qusoori

paragraph: BULLET::::7. Mawlana Bashartullah Behra'ichi

paragraph: BULLET::::8. Mawlana Shah Gul Muhammad Ghaznavi (Bukhara)

paragraph: BULLET::::9. Mawlana Muhammad Sharif (Sirhind)

paragraph: BULLET::::10. Mawlana Pir Muhammad (Kashmir)

paragraph: BULLET::::11. Mawlana Jan Muhammad (Herat)

paragraph: BULLET::::12. Mawlana Muhammad Jan (Makkah, d.1266 AH), whose Khulafa spread up to Turkey

paragraph: BULLET::::13. Hazrat Shah Saad'ullah Naqshbandi (Hyderabad)

paragraph: Section::::External links.

paragraph: BULLET::::- Maqamat Mazhari (Urdu translation) by Shah Ghulam Ali Dehlavi: Biography of his shaykh Mirza Mazhar Jan-e-Janaan

paragraph: BULLET::::- 'Halate Mashayekhe Naqshbandiya Mujaddediya' written by mawlana muhammad hasan naqshbandi mujaddedi.first published march,1982.(1402hz).'Narinda khanka Sharif'

description: Islamic scholar

wikidata_label: Shah Ghulam Ali Dehlavi

wikipedia_title: Ghulam Ali Dehlavi


text: United States Navy

text: Medal of Honor

text: Louisville, Kentucky

text: quarter gunner

text: Port of Hamburg

text: Germany

text: Paul Tobin

categories: United States Navy Medal of Honor recipients,Military personnel from Louisville, Kentucky,1840 births,Non-combat recipients of the Medal of Honor,United States Navy sailors,Year of death missing

paragraph: George Holt (Medal of Honor)

paragraph: George Holt (born 1840, year of death unknown) was a United States Navy sailor and a recipient of the United States military's highest decoration, the Medal of Honor.

paragraph: Born in Louisville, Kentucky in 1840, Holt later joined the Navy from that state. By July 3, 1871, he was serving as a quarter gunner on the . On that day, while the "Plymouth" was at the Port of Hamburg, Germany, a small boat approached the ship in a strong current. When the boat capsized, Holt and another sailor, Landsman Paul Tobin, jumped overboard and rescued one of the boat's crewmen. For this action, both he and Tobin were awarded the Medal of Honor a year later, on October 10, 1872.

paragraph: Holt's official Medal of Honor citation reads:

paragraph: On board the U.S.S. "Plymouth", Hamburg Harbor, 3 July 1871. Jumping overboard at the imminent risk of his life, Holt, with a comrade, rescued from drowning one of a party who was thrown from a shore boat into a 4-knot, running tide while the boat was coming alongside the ship.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients during peacetime

description: Recipient of the Medal of Honor

wikidata_label: George Holt

wikipedia_title: George Holt (Medal of Honor)


text: Cuba

text: musicologist

text: Latin American literature

text: "boom" period

text: Lausanne

text: Havana

text: Cuba

text: Fidel Castro

text: music of Cuba

text: Afro-Cuban

text: magical realism

text: El reino de este mundo

text: The Kingdom of this World

text: Baroque

text: Surrealist

text: Lisandro Otero

text: Leonardo Padura

text: Colon Cemetery

text: Lausanne

text: Havana

text: Cuba

text: Cuban Communist Party

text: El Heraldo de Cuba

text: Gerardo Machado y Morales

text: Robert Desnos

text: Pablo Neruda

text: Miguel Ángel Asturias

text: Pablo Picasso

text: Amadeo Roldán

text: Stravinsky

text: Poulenc

text: Le Livre de Christophe Colomb

text: Louis Jouvet

text: Haiti

text: Citadelle Laferrière

text: Henri Christophe

text: Oswald Spengler

text: The Kingdom of this World

text: journalist

text: Cuban music

text: Venezuela

text: santería

text: Latin America

text: Fidel Castro

text: Explosion in a Cathedral

text: Enlightenment

text: French Revolution

text: leitmotifs

text: guillotine

text: Gabriel García Márquez

text: One Hundred Years of Solitude

text: Prix mondial Cino Del Duca

text: Cervantes Prize

text: Prix Médicis

text: Colon Cemetery, Havana

text: École Française de la Havane "Alejo Carpentier"

text: Haitian Revolution

text: Henri Christophe

text: magical realism

text: Pablo Casals

text: Amadeo Roldán

text: Stravinsky

text: Milhaud

text: Ravel

text: Malipiero

text: Poulenc

text: Erik Satie

text: criollo

text: Afro-Cuban

text: Contradanza

text: Contredanse

text: The Kingdom of this World

text: Explosion in a Cathedral

text: Vivaldi

text: Handel

text: Domenico Scarlatti

text: Wagner

text: Stravinsky

text: Motezuma

text: The Rite of Spring

text: Igor Stravinsky

text: Columbus

text: El reino de este mundo

text: Haitian Revolution

text: Haitian vodou

text: Sans-Souci Palace

text: Music of Cuba

text: criollos

text: Baroque

text: Mannerist

text: Rococo

text: Surrealist

text: Robert Desnos

text: Primitivism

text: Cuban American literature

text: List of Cuban-American writers

text: The origin of music in Los pasos perdidos

text: Pérez Firmat, Gustavo

text: Pérez Firmat, Gustavo

text: University of Massachusetts Press

categories: Cuban exiles,Prix mondial Cino Del Duca winners,Cuban people of French descent,Swiss emigrants to Cuba,Male novelists,Musicologists,1904 births,Premio Cervantes winners,Cuban essayists,20th-century novelists,Cuban novelists,1980 deaths,Ambassadors of Cuba to France,People from Lausanne,20th-century essayists,Prix Médicis étranger winners,Cuban communists,Magic realism writers,Male essayists,Cuban male writers

paragraph: Alejo Carpentier

paragraph: Alejo Carpentier y Valmont (December 26, 1904 – April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century. Carpentier was jailed and exiled for his leftist political philosophies.

paragraph: With a developed knowledge of music, Carpentier explored musicology, publishing an in-depth study of the music of Cuba, "La música en Cuba" and integrated musical themes and literary techniques throughout his works. He explored elements of Afro-Cubanism and incorporated the cultural aspects into the majority of his writings. Although Carpentier wrote in a myriad of genres, such as journalism, radio drama, playwrighting, academic essays, opera and libretto, he is best known for his novels. He was among the first practitioners of magical realism using the technique, "lo real maravilloso" to explore the fantastic quality of Latin American history and culture. The most famous example of Afro-Cuban influence and use of "lo real maravilloso" is Carpentier's 1949 novel "El reino de este mundo" ("The Kingdom of this World") about the Haitian revolution of the late 18th century.

paragraph: Carpentier's writing style integrated the resurgent Baroque style, or "New World Baroque" style that Latin American artists adopted from the European model and assimilated to the Latin American artistic vision. With a first-hand experience of the French Surrealist movement, Carpentier also adapted the Surrealist theory to Latin American literature. Always eager to explore more than Cuban identity, Carpentier used his traveling experiences throughout Europe and Latin American to expand his understanding of Latin American identity. Carpentier wove elements of Latin American political history, music, social injustice and art into the tapestries of his writings, all of which exerted a decisive influence on the works of younger Latin American and Cuban writers like Lisandro Otero, Leonardo Padura and Fernando Velázquez Medina.

paragraph: Carpentier died in Paris in 1980 and was buried in Havana's Colon Cemetery with other Cuban political and artistic luminaries.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life and education.

paragraph: Carpentier was born on December 26, 1904, in Lausanne, Switzerland, to Jorge Julián Carpentier, a French architect, and Lina Valmont, a Russian language teacher. For a long time it was believed that he was born in Havana, where his family moved immediately after his birth; however, following Carpentier's death, his birth certificate was found in Switzerland.

paragraph: In 1912, Alejo and his family moved from Cuba to Paris. He also spoke French and as an adolescent, he read Balzac, Flaubert, and Zola. In 1921, Carpentier attended the School of Architecture of the University of Havana. When he was 18, his parents' marriage broke up and his father left. The following year, Carpentier left his studies and tried to find work to support his mother. He turned to journalism, working for the Cuban newspapers "Carteles" and "Social". He also studied music.

paragraph: Section::::Life.:Cuba and exile in France.

paragraph: In 1921, while studying in Havana, Carpentier became a cultural journalist, writing mostly about avant-garde developments in the arts, particularly music." He contributed columns to "La Discusión", a daily journal from Havana. His journalistic work, which was considered leftist, helped establish the Cuban Communist Party.

paragraph: During 1923 and 1924 he continued to work as a columnist and also edited musical and theatre reviews for "La Discusión" and "El Heraldo de Cuba". In 1927, with the help of Jorge Mañach, Juan Marinello, Francisco Ichaso, and Martí Casanovas, he became a founding member of "Revista de Avance", a magazine devoted to nationalism, radicalism and new ideas in the arts.

paragraph: The first issue appeared on March 15, 1927; it lasted until September 15, 1930, and became the "voice of the vanguard" and the primary voice of expression of the Cuban movement. Because of his involvement in such projects, Carpentier was often suspected of having subversive and ultramodern cultural ideas. Carpentier was arrested in 1927 for opposing Gerardo Machado y Morales dictatorship and had signed a democratic and anti-imperialist manifesto against Machado's regime and, as a result, spent forty days in jail. During this brief period in jail he started working on his first novel, "Ecué-Yamba-O", an exploration of Afro-Cuban traditions among the poor of the island. (The book was eventually completed in 1933.)

paragraph: After his release, he escaped Cuba with the help of journalist Robert Desnos who lent him his passport and papers. Carpentier decided on a voluntary exile to France and arrived in Paris in 1928; he remained there until 1939, when he returned to Havana. When he left Cuba, he was fortunate enough to avoid the political conflicts which had occurred during the 1930s. During this time certain positions were unacceptable to the authorities and Cuban intellectuals were forced to define their political position and for these and other political reasons he decided to leave.

paragraph: During this time abroad, his disconnection from Cuba and the interaction with different groups of intellectuals and artists in Paris helped with his ‘critical vision’. Carpentier felt that it was important for him to remain outside the influences of movements because he believed in maintaining a “balance against the insularity of his homeland”. Upon arriving in Paris he immediately began working on poems and editorials in Parisian and Cuban magazines. Contributions to the Parisian Journal such as the short story "Cahiers du Sud" (1933), in French, were an effort to acquire European readers as a way to improve his recognition. He also contributed to the magazines "Documents" and "L’Intransigeant". Carpentier was familiar with the activities of the "Comité de Jeunes Revolutionnaires Cubains", a group of exiled Cuban leftists who had published "La Terreur á Cuba", a brochure against the Machado government. He documented the latest news about this group and their activities in his book "Homenaje a nuestros amigos de Paris". It was also during this time that, with the help of Robert Desnos, Carpentier became part of the surrealist movement which became a positive influence in his work. While in France, Carpentier also founded a literary magazine called "Imán" in 1931, for which he became editor-in-chief. Most of the authors who worked with him in "La Revolution Surrealiste" also contributed works in "Imán" under the title “"Conocimiento de America"”. Carpentier contributed the short story "Histoire de Lunes" (1933); it was experimental for its time as it contained elements of fantasy and folklore characterized as magical reality.

paragraph: Surrealism helped Carpentier to see contexts and aspects, especially those of American life, which he did not see before and after working among the leading artistic figures for some time, Carpentier did not feel overly enthusiastic about his work within surrealism and had felt that his “surrealist attempts ha[d] been in vain” describing his frustration, as he felt he had “nothing to add to this movement in France".

paragraph: As Carpentier became acquainted with those among the arts community he had several encounters to meet other famous authors such as Pablo Neruda, who had sent him a draft of his book “"Residencia el la Tierra"” to review; Guatemalan author Miguel Ángel Asturias, whose work on pre-Columbian mythology influenced his writing; and Pablo Picasso, an introduction made possible through Carpentier's connection with friends in the arts.

paragraph: Throughout his time in France Carpentier was occupied with not only literary works, but also other projects that kept him engaged within the arts. He collaborated with French composer Marins François Gaillard on the musical "Yamba-O", “a burlesque tragedy”, that was presented in the "Théâtre Beriza" in Paris (1928); and with composer Amadeo Roldán helped organize the Cuban premieres of works by Stravinsky and Poulenc. In film, Carpentier wrote text and edited music for the French documentary "Le Vaudou". He continued to earn his living by writing on contemporary culture, both in French and Spanish. He also began working for a French radio station as a sound-technician and producer. From 1932 until 1939 Carpentier worked on several projects produced by Foniric Studios. He directed the production of "Le Livre de Christophe Colomb" and collaborated with Desnos on arranging readings of Edgar Allan Poe's "The Murders in the Rue Morgue", and Walt Whitman’s "Salute to the World". Although abroad, Carpentier still maintained contact with Cuba by sending articles and poems to contribute to Havana publications such as "Ensayos Convergentes".

paragraph: When the Machado regime came to an end in 1933, Carpentier decided to make plans to return to his native land to visit, and in 1936 he made the trip back to Cuba. The time he had spent in Paris for over eleven years had enriched and "oriented his expressive abilities". Carpentier himself indicated that he was tiring of Paris, and "...in 1939 without any other reason than the nostalgia of Cuba, I vacated my apartment and started the return to La Havana".

paragraph: Section::::Life.:Years in Haiti and Return to Cuba.

paragraph: In 1943, accompanied by French theatrical director Louis Jouvet, Carpentier made a crucial trip to Haiti, during which he visited the fortress of the Citadelle Laferrière and the Palace of Sans-Souci, both built by the black king Henri Christophe. This trip, along with readings from Oswald Spengler's cyclical interpretation of history, provided the inspiration for his second novel, "El Reino de Este Mundo" "(The Kingdom of this World)" (1949).

paragraph: Carpentier returned to Cuba and continued to work as a journalist at the outbreak of World War II. He worked on a history of Cuban music, eventually published in 1946 as "La música en Cuba".

paragraph: Section::::Life.:Life in Venezuela.

paragraph: In 1945, Carpentier moved to Caracas as an exile. From 1945 to 1959 he lived in Venezuela, which is the inspiration for the unnamed South American country in which much of his novel "The Lost Steps" takes place.

paragraph: He wrote short stories which were later collected in "The War of Time" (1958). While in Cuba, Carpentier attended a "santería" ceremony that was to further deepen his interest in Afro-Cubanism. In 1949, he finished his novel "The Kingdom of this World". This novel has a prologue that "outlines Carpentier's faith in the destiny of Latin America and the aesthetic implications of its peculiar cultural heritage."

paragraph: Section::::Life.:Later life.

paragraph: Carpentier returned to Cuba after Fidel Castro's Communist revolution in 1959. He worked for the State Publishing House while he completed the baroque-style book, "El Siglo de las Luces" "(Explosion in a Cathedral)" (1962). This novel discusses the advent of the Enlightenment and the ideas of the French Revolution in the New World. It has twin leitmotifs of the printing press and the guillotine and can be read as a "meditation on the dangers inherent in all revolutions as they begin to confront the temptations of dictatorship." After reading the book, Gabriel García Márquez is said to have discarded the first draft of "One Hundred Years of Solitude" and begun again from scratch.

paragraph: In 1966, Carpentier settled in Paris where he served as Cuban ambassador to France. In 1975 he was the recipient of the Prix mondial Cino Del Duca. He received the Cervantes Prize in 1977 and was recipient of the French Laureates Prix Médicis étranger in 1979 for "La harpe et l'ombre".

paragraph: Carpentier was struggling with cancer as he completed his final novel, "El arpa y la sombra", and finally died in Paris on April 24, 1980. His remains were returned to Cuba for interment in the Colon Cemetery, Havana.

paragraph: "École Française de la Havane "Alejo Carpentier"", a French international school in Havana, is named after him.

paragraph: Section::::Themes.

paragraph: Section::::Themes.:Lo real maravilloso.

paragraph: Carpentier is widely known for his theory of "lo real maravilloso". This is the notion that the history and the geography of Latin America are both so extreme as to appear fictional or even magical to outsiders. Thus, Latin America is a region where the line between magic and reality is blurred. It was in the prologue to "The Kingdom of this World", a novel of the Haitian Revolution, that he described his vision of "lo real maravilloso": "But what is the history of Latin America but a chronicle of magical realism?". The novel itself develops the outlandish (but true) history of Henri Christophe, first king of Haiti, as an example of how the real history of Latin America is so strange as to appear fictional. Some critics interpret the "real maravilloso" as being synonymous with magical realism. However, Carpentier's theory and its development in his work are more limited in their scope than is the magical realism of, for example, Gabriel García Márquez. Whereas García Márquez's works include events that the reader never mistakes for reality (rainfall of flowers, old men with wings, etc.), Carpentier, for the most part, simply writes about extreme aspects of the history and geography of Latin America, aspects that are almost unbelievable, but that are in fact true.

paragraph: Section::::Themes.:Music.

paragraph: As a young child Carpentier was exposed to a great deal of music. Carpentier himself played the piano, as did his mother; his father played cello, studying under Pablo Casals, and his grandmother played the organ. Carpentier studied music theory at the Lycée Janson-de-Sailly when he lived in Paris for the first time. Carpentier's own compositions made him an important part of the contemporary Cuban musical landscape, but he also studied the origins and political nuances of Cuban music. His devotion to the adaptations of European artistic styles into Latin American music styles can also be seen in his admiration for Afro-Cuban musical themes.

paragraph: Early in his career Carpentier collaborated with other young musicians eager to explore Cuban musical roots. One such collaborator was Amadeo Roldán, a French musician of Cuban background. They helped to organize the Cuban premiere of popular orchestral music of the era "Conciertos de música nueva" ("Concerts of New Music"), featuring composers such as Stravinsky, Milhaud, Ravel, Malipiero, Poulenc and Erik Satie. In regards to their own music, Carpentier and Roldán were far more interested in integrating African rhythms and melodies into their works and abandoned imitation of European musical styles. "¡Abajo la lira, arriba el bongó!" (Down with the lyre, up with the bongo!) was the popular slogan for their style of music. Carpentier and Roldán collaborated on numerous works, including the 1925 orchestral piece "Obertura sobre temas cubanos" ("Overture on Cuban Themes") which was regarded as scandalous for its betrayal of what was seen as the proper European-style symphony in favor of Afro-Cuban inspired music. Other well-known collaborations between the two included "Tres pequeñas poemas: Oriente, Pregón, Fiesta negra" ("Three little poems") produced in 1926, and two Afro-Cuban ballets: "La Rebambaramba", a colonial ballet in two parts (1928) and "El milagro de Anaquille" (1929).

paragraph: Carpentier's interest in music had great influence on his prose writing. Navarro suggests that readers of Carpentier's works are more listeners than they are readers. Lyrical use of colloquial dialects, literary rhythms such as alliteration and assonance and the theme of music within the world of the narrative (drums, footsteps, etc.) are a few examples of music's influence over Carpentier's work. In an interview the author himself was quoted as saying "Music is present in all of my work." For Carpentier, analysis of Cuban identity was grounded in the analysis of Cuban music. As such, for Carpentier to better understand Cuban identity through his work, he eagerly integrated music into his writing.

paragraph: Section::::Themes.:Ethnomusicology and Afro-Cubanism.

paragraph: With this intrinsic appreciation of music and a fascination with Cuban identity, Carpentier began investigating the origins of Cuban music in a more academic sense. In 1946, Carpentier published the ethnomusicological study "La Música en Cuba" which explores how European music, transplanted African music and the indigenous music of the island all blended together to create Cuban music. Carpentier took particular interest in Afro-Cuban themes.

paragraph: Particularly fascinated with the overwhelming influence of African music in Cuban music, Carpentier introduced Afro-Cuban influenced music called "lo afrocubano", (i.e. heavily improvised and rhythm based music) into what was deemed more formal music venues dependent on European styles, called "lo guajiro". Carpentier once wrote that "lo guajiro" was, "very poetic, but "lo guajiro" is not music...On the other hand, in mestizo and black music...the rich material has an incredible wealth to it...to make it the work of national expression." Because of racial tensions between white Cubans and black and criollo Cubans, such preferences were not well received by the Cuban elite of the mid century. Carpentier devoted the majority of his musicology research to the Afro-Cuban influences present in Cuba. For example, Carpentier paid particular attention to Contradanza, a wildly popular Cuban dance derived from the European style of music and dance, Contredanse. The ample room left for musical improvisation and the element of group dance were easily adapted into African musical tradition where improvisation and dance play integral roles. Hence, a hybrid musical form unique to Cuba was created. Carpentier argued that the improvisation inherent in African influenced music allowed for varied interpretations that catalyzed regional differences and therefore regional identity, and concluded that this was why Cuba had such a varied musical identity.

paragraph: Section::::Major works.

paragraph: Carpentier's major works include:

paragraph: BULLET::::- Novels:

paragraph: BULLET::::- "¡Écue-Yamba-O" (1933) ("Praised Be the Lord!")

paragraph: BULLET::::- "El reino de este mundo" (1949) ("The Kingdom of this World")

paragraph: BULLET::::- "Los pasos perdidos" (1953) ("The Lost Steps")

paragraph: BULLET::::- "El acoso" (1956) ("The Chase", American English translation 1989 by Alfred Mac Adam)

paragraph: BULLET::::- "El siglo de las luces" (1962) ("Explosion in a Cathedral")

paragraph: BULLET::::- "Concierto barroco" (1974) ("Concierto barroco"; English: "Baroque Concert"), based on the 1709 meeting of Vivaldi, Handel and Domenico Scarlatti, with cameo appearances by Wagner and Stravinsky, and fictional characters from the new world who inspire the Venetian composer's opera, "Motezuma".

paragraph: BULLET::::- "El Recurso del método" (1974) ("Reasons of State")

paragraph: BULLET::::- "La consagración de la primavera" (1978) ("The Rite of Spring"; "Le Sacre du Printemps", ballet by Igor Stravinsky)

paragraph: BULLET::::- "El arpa y la sombra" (1979) ("The Harp and the Shadow") dealing with Columbus.

paragraph: BULLET::::- Short Stories:

paragraph: BULLET::::- "Guerra del tiempo" (1956) ("War of Time")

paragraph: BULLET::::- "Otros relatos" (1984) ("Other Stories")

paragraph: BULLET::::- Essays:

paragraph: BULLET::::- "La música en Cuba" (1946) ("The Music of Cuba"), an ethno-musicological study of Cuba starting from the sixteenth century, the arrival of European explorers, till the present day of publication, the mid twentieth century.

paragraph: Section::::Major works.:"El reino de este mundo" (The Kingdom of this World).

paragraph: Carpentier's "El reino de este mundo" (1949) highlights the Haitian Revolution of the 18th century when the African slaves fought the French colonists for their freedom and basic human rights. The novel combines not only historical references of the event with aspects of African faith and rituals, most notably Haitian vodou; but also the connections between corporeal and spiritual self. The story is seen through the eyes of the protagonist Ti Noël, a black slave. Being a white, European/Cuban writer who published on the subject of the Haitian Revolution, it has been implied that Carpentier chose to write from Ti Noël's point of view so that he would avoid being criticized for any racial stereotyping. Carpentier incorporates symbolic architecture throughout the novel; representing the dictatorship of colonial rule with structures such as the Sans-Souci Palace and the fortress of La Ferrière.

paragraph: Section::::Major works.:"La música en Cuba" (The Music of Cuba).

paragraph: "La música en Cuba" ("The Music of Cuba") is an ethno-musicological study of the Music of Cuba starting from the sixteenth century with the arrival of European explorers, until the present day of publication, the mid-twentieth century. The blending of different cultures—black, white, mulattoes, criollos and natives—mirrors the blending of Cuba’s two main musical styles, the Christian European music and the elemental percussion and rhythm-based music of the transported Africans and aboriginal peoples of the island. The book includes a general history of music in colonized Latin America but mainly focuses on Cuban styles of music and dance, influential Cuban musicians and Cuban musical identity. Carpentier devotes a great deal of his study to exploring the influence African descendants had on Cuban music. He has an entire chapter titled, “Los Negros” ("The Blacks") that explores the many substantial ways African music influenced all of Latin American music. According to Carpentier, the African influence on Cuban music in particular was deliberately concealed by the colonist prejudice of 18th and 19th century Cuba. At the time of the book's publication many white Cubans were reluctant to even acknowledge the blending of the cultures much less investigate it. Carpentier, though, was eager to do so and by making bold statements about Cuba’s past and integral relationships with a wide range of cultures he succeeded in giving back to Cuba an in-depth academic perspective of its own cultural identity through its music.

paragraph: Section::::Major works.:"Guerra del tiempo" (The War of Time).

paragraph: "Guerra del tiempo" ("The War of Time") is a set of surrealistic short stories, in a variety of styles, which evidences Carpentier's ability to work with the fantastic and the surreal. The most important is the first one, "El Camino de Santiago" (The Way of Santiago), which narrates the adventures of a commoner, a Spaniard in the Age of Discovery, who is today a soldier, tomorrow pilgrim, then a sailor, a colonizer, prisoner, and so on; he pursues every dream and suffers every disappointment. The second tale is called "Viaje a la semilla" (Journey Back to the Source). This narrative is striking for the function of the time inversion that the narrator operates to tell the life of the main character, Don Marcial (Marqués de Capellanías).

paragraph: Section::::Major works.:"El Acoso" ("The Chase").

paragraph: Carpentier's masterpiece, "El Acoso", was originally published in Spanish in 1956 by , and translated into American English by Alfred Mac Adam as "The Chase" and published by Farrar, Straus and Giroux in 1989, after over three decades of suppression in the United States for Carpentier's affiliation with Fidel Castro's Cuba (Carpentier had been Cuba's ambassador to France during this time). The novel is one of the most influential novels in contemporary Latin American literature, cited by authors such as Gabriel Garcia Marquez, Mario Vargas Llosa, Jose Donoso and others as a major influence in the movement known in North America as Latin American Magical Realism. The novel is highly compressed, richly atmospheric, philosophical, stylistically brilliant, and non-linear; plot is treated almost as an inconsequential side-effect. Though short (121 pages in English), the novel exhibits a certain labyrinthine quality as its fragmented narrative cycles and circles in upon itself. Ostensibly a man is being chased by somewhat shadowy, probably sinister, perhaps governmental, forces. The action starts on a rainy night at a symphonic concert and music plays a part in the clues necessary to piece together what is happening. "The Chase" is perhaps Carpentier's strongest novel, and easily one of the better novels written in the 20th century, though it is almost unknown in the English-speaking world in spite of Mac Adam's superb 1989 translation.

paragraph: Section::::Style.

paragraph: Section::::Style.:Baroque.

paragraph: The Baroque style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes "el barroco" as "un espíritu", and not "un estilo histórico" ("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship".

paragraph: This style strongly presents itself when comparing works such as the early "Ecue-Yamba-O" to the celebrated "El reino de este mundo", regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically-inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use.

paragraph: Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This "contraconquista" (counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with "criollo" culture ...: the awareness of being Other, of being new, of being symbiotic, of being a "criollo"; and the "criollo" spirit is itself a Baroque spirit." This "criollo" of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.

paragraph: Section::::Style.:Influence of travel.

paragraph: Wakefield notes that Carpentier's diverse travels were motivated by his need to incorporate the sights he experienced into familiar descriptions within his novels. Carpentier's "El reino de este mundo" was inspired by his 1943 trip to Haiti, and "Los pasos perdidos" drew on his visit to Venezuela in 1949. Similarly, his travels to Guadeloupe and the Gulf of Sante Fe inspired "El siglo de las luces", and Vera and Enrique's firsthand descriptions of Baku and Mexico in "La consegración de la primavera" were drawn from Carpentier's trips to those places.

paragraph: Section::::Style.:Surrealism.

paragraph: During his visit to France early in his life, Carpentier met and collaborated with many figures of the French Surrealist movement. Taken with Surrealist theory, Carpentier absorbed much of it from his contemporaries, mainly his friend and colleague, the Parisian journalist Robert Desnos. Striving to portray unlikely beauty, termed, "the third beauty", Surrealist theory embraced unique perspectives of the world. Within the Surrealist theory was the concept of Primitivism or a reverence for presiding folkloric tradition. Carpentier, inspired by French Surrealists, learned to view his Cuban home in this new light. He left France with a bursting sense of Cuban and Latin American pride and the artistic goal to capture what it meant to be both.

paragraph: Section::::See also.

paragraph: BULLET::::- Cuban American literature

paragraph: BULLET::::- List of Cuban-American writers

paragraph: Section::::References.

paragraph: BULLET::::- Primary

paragraph: BULLET::::- Carpentier, Alejo (1956) "El acoso", Editorial Losada, SA, English translation Alfred Mac Adam, "The Chase", New York: Farrar, Straus, and Giroux, 1989.

paragraph: BULLET::::- Carpentier, Alejo, (c. 1970s), "A Conversation with Jean-Paul Sartre", and "About the Real Marvelous American Realities, Part 3", trans. in "Confluence, Bakhtin, and Alejo Carpentier's Contextos in Selena and Anna Karenina" Carner, Grant Calvin Sr Doctoral Dissertation 1995 (Comparative Literature) University of California at Riverside.

paragraph: BULLET::::- Secondary

paragraph: Section::::Further reading.

paragraph: BULLET::::- English

paragraph: BULLET::::- Adams, Michael Ian (1975) "Three authors of Alienation: Bombal, Onetti, Carpentier", Austin: University of Texas Press,

paragraph: BULLET::::- Echevarría, Roberto González (1983) "Alejo Carpentier : Bibliographical guide", Westport, Conn.: Greenwood Press,

paragraph: BULLET::::- Brennan, Timothy (Ed. 2001) "Alejo Carpentier Music in Cuba: Edited and with and Introduction by Timothy Brennan", translated by Alan West-Durán, Minneapolis: University of Minnesota Press,

paragraph: BULLET::::- Carner, Grant Calvin Sr (1995) "Confluence, Bakhtin, and Alejo Carpentier's Contextos in Selena and Anna Karenina" Doctoral Dissertation (Comparative Literature) University of California at Riverside.

paragraph: BULLET::::- Cox, Timothy J. (2001) "Postmodern Tales of Slavery in the Americas : From Alejo Carpentier to Charles Johnson", New York: Garland.

paragraph: BULLET::::- Francis, N.The origin of music in Los pasos perdidos. "Revista transcultural de música/Transcultural Music Review" (2013)

paragraph: BULLET::::- Giffuni, Cathe (1993) "An English Bibliography of Alejo Carpentier," Cuban Studies 22. Pittsburgh: University of Pittsburgh Press, (Ed. Jorge I. Dominguez) 1992, pp. 219–229.

paragraph: BULLET::::- Harvey, Sally (1994) "Carpentier's Proustian Fiction : The Influence of Marcel Proust on Alejo Carpentier", London: Tamesis Books,

paragraph: BULLET::::- Janney, Frank (1981) "Alejo Carpentier and his Early Works", London : Tamesis Books,

paragraph: BULLET::::- King, Lloyd (1972) "Alejo Carpentier : His Euro-Caribbean Vision", St. Augustine, Trinidad: Research & Publications Fund Committee.

paragraph: BULLET::::- Pancrazio, James J. (2004) "The Logic of Fetishism : Alejo Carpentier and the Cuban Tradition", Lewisburg: Bucknell University Press.

paragraph: BULLET::::- Pérez Firmat, Gustavo. "The Cuban Condition: Translation and Identity in Modern Cuban Literature". Cambridge: Cambridge University Press, 1989. Rpt. 1997, 2006.

paragraph: BULLET::::- Pérez Firmat, Gustavo. “"Ese idioma": Alejo Carpentier’s Tongue Ties.” "Symposium" 61.3 (2007): 183-197. Reprinted as: “Ese idioma: a(s) língua(s) enredada(s) de Alejo Carpentier.” "No reino de Alejo Carpentier: doze ensaios críticos". Ed. Elena Palmero González. Rio Grande: Editora de Furg, 2010. 147-170.

paragraph: BULLET::::- Shaw, Donald, (1985) "Alejo Carpentier" Twayne World Author's Series,

paragraph: BULLET::::- Tusa, Bobs (1983) "Alchemy of a hero : a Comparative Study of the Works of Alejo Carpentier and Mario Vargas Llosa", Valencia; Chapel Hill : Albatros Hispanofila,

paragraph: BULLET::::- Tusa, Bobs, (1982) "Alejo Carpentier, a Comprehensive Study", Valencia; Chapel Hill : Albatros Hispanofila,

paragraph: BULLET::::- Wakefield, Steve (2004) "Carpentier's Baroque fiction : Returning Medusa's Gaze", Tamesis Books,

paragraph: BULLET::::- Webb, Barbara (1992) "Myth and History in Caribbean Fiction : Alejo Carpentier, Wilson Harris, and Edouard Glissant", Amherst: University of Massachusetts Press.

paragraph: BULLET::::- Young, Richard E. (1983) "Carpentier, El reino de este mundo".

paragraph: BULLET::::- Spanish

paragraph: BULLET::::- Acosta, Leonardo (1981) "Música y épica en la novela de Alejo Carpentier".

paragraph: BULLET::::- Ainsa, Fernando, (2005) "Alejo Carpentier ante la crítica".

paragraph: BULLET::::- Arias, Salvador (1977) "Recopilación de textos sobre Alejo Carpentier".

paragraph: BULLET::::- Barroso, Juan (1977) "Realismo mágico y lo real maravilloso en El reino de este mundo y El siglo de las luces".

paragraph: BULLET::::- Bergh, Klaus Müller (1972) "Alejo Carpentier : Estudio biográfico-critico".

paragraph: BULLET::::- Bergh, Klaus Müller (1972) "Asedios a Carpentier".

paragraph: BULLET::::- Birkenmaier, Anke (2006) "Alejo Carpentier y la cultura del surrealismo en América Latina".

paragraph: BULLET::::- Blanco, Luis (1970) "Alejo Carpentier : tientos y differencias".

paragraph: BULLET::::- Calahorro,Inmaculada López (2006) "Alejo Carpentier y el mundo clasico".

paragraph: BULLET::::- Chaple, Sergio (2004) "Estudios carpenterianos".

paragraph: BULLET::::- Collard, Patrick (1991) "Cómo leer a Alejo Carpentier".

paragraph: BULLET::::- Cvitanovic, Dinko (1997) "Carpentier : una revisión lineal".

paragraph: BULLET::::- Duno-Gottberg, Luis (2003) "Solventando las diferencias: La ideología del mestizaje en Cuba", Iberoamericana – Frankfurt am Main, Vervuert, Madrid.

paragraph: BULLET::::- Echevarría, Roberto González (1993) "Alejo Carpentier, el peregrino en su patria".

paragraph: BULLET::::- Echevarría, Roberto González (2004) "Alejo Carpentier, el peregrino en su patria".

paragraph: BULLET::::- Fama, Antonio (1995) "Las últimas obras de Alejo Carpentier".

paragraph: BULLET::::- Fowler, Víctor (2004) "Diccionario de conceptos de Alejo Carpentier".

paragraph: BULLET::::- González, Eduardo (1978) "Alejo Carpentier : el tiempo del hombre".

paragraph: BULLET::::- Labastida, Jaime (1974) "Casa de las Américas", no.87, "Con Alejo Carpentier".

paragraph: BULLET::::- Martí, José (1974) "Un camino de medio siglo : Homenaje nacional al 70 aniversario de Alejo Carpentier".

paragraph: BULLET::::- Mayo, Edmundo Gómez, "Construcción y lenguaje en Alejo Carpentier".

paragraph: BULLET::::- Mocega-González, Esther P. (1980) "Alejo Carpentier : estudios sobre su narrativa".

paragraph: BULLET::::- Mocega-González, Esther P. (1975) "La narrativa de Alejo Carpentier : el concepto del tiempo como tema fundamental".

paragraph: BULLET::::- Mujica, Héctor (1975) "Conversación con Alejo Carpentier".

paragraph: BULLET::::- Padura, Leonardo (2002) "Un camino de medio siglo : Alejo Carpentier y la narrativa de lo real maravilloso".

paragraph: BULLET::::- Pickenhayn,Jorge Oscar (1978) "Para leer a Alejo Carpentier".

paragraph: BULLET::::- Plaza, Sixto (1984) "El acá y el allá en la narrativa de Alejo Carpentier".

paragraph: BULLET::::- Sáinz, Enrigue (1980) "Conversación con Alejo Carpentier".

paragraph: BULLET::::- Santander, Carlos (1971) "Alejo Carpentier: Viaje a la Semilla y otros relatos".

paragraph: BULLET::::- Selma, José Vila (1978) "El "último" Carpentier".

paragraph: BULLET::::- Rodríguez, Alexis Márquez (1982) "Lo barroco y lo real-maravilloso en la obra de Alejo Carpentier".

paragraph: BULLET::::- Rodríguez, Alexis Márquez (2004) "Nuevas lecturas de alejo Carpentier".

paragraph: BULLET::::- Zurdo, Oscar Velayos (1985) "El diálogo con la historia de Alejo Carpentier".

alias:
Alejo F. Carpentier y Valmont
Alekho Karpentér
Alejo Carpentier y Valmont
Alekho Karpenter

description: Cuban novelist

wikidata_label: Alejo Carpentier

wikipedia_title: Alejo Carpentier


text: Salamis, Cyprus

text: 4th century

text: saint

text: Church Father

text: Orthodox

text: Roman Catholic Church

text: orthodoxy

text: Panarion

text: compendium

text: heresies

text: Ernst Kitzinger

text: Byzantine Iconoclasts

text: Romaniote

text: Christian

text: Romaniote Jew

text: Old Yishuv

text: Eleutheropolis

text: Beit Guvrin

text: monk

text: Valentinian groups

text: Palestine

text: polemics

text: Jerome

text: Rufinus

text: John, Bishop of Jerusalem

text: ordained

text: Hebrew

text: Syriac

text: Egyptian

text: Greek

text: Latin

text: consecration

text: Salamis, Cyprus

text: Metropolitan

text: Church of Cyprus

text: Antioch

text: Trinitarian

text: Apollinarianism

text: Paulinus

text: Meletius of Antioch

text: Council of Rome

text: Origen

text: Jerusalem

text: John II

text: Rufinus

text: John

text: Jerome

text: John

text: Chrysostom

text: Panarion

text: heresies

text: Collyridians

text: Messalians

text: Gospel according to the Hebrews

text: Ebionites

text: Nazarenes

text: Cerinthus

text: Origen

text: Gnostic

text: Ebionites

text: Arianism

text: Origen

text: polemics

text: antiquarian

text: On Weights and Measures

text: Old Testament

text: Palestine

text: metrology

text: history of measurement

text: homilies

text: Physiologus

text: Kitzinger, Ernst

text: JSTOR

text: St Epiphanius of Salamis

text: Some excerpts from the "Panarion"

categories: Cypriot Roman Catholic saints,403 deaths,5th-century Byzantine people,Doctors of the Church,Cypriot non-fiction writers,Saints from the Holy Land,Persecution of pagans in the late Roman Empire,4th-century Romans,Church Fathers,4th-century births,4th-century bishops,Ancient Christians involved in controversies,Christian anti-Gnosticism,Archbishops of Cyprus,4th-century Christian saints,Year of birth unknown,Aniconism,People who died at sea

paragraph: Epiphanius of Salamis

paragraph: Epiphanius of Salamis (; c. 310–320 – 403) was the bishop of Salamis, Cyprus at the end of the 4th century. He is considered a saint and a Church Father by both the Orthodox and Roman Catholic Churches. He gained a reputation as a strong defender of orthodoxy. He is best known for composing the "Panarion", a very large compendium of the heresies up to his own time, full of quotations that are often the only surviving fragments of suppressed texts. According to Ernst Kitzinger, he "seems to have been the first cleric to have taken up the matter of Christian religious images as a major issue", and there has been much controversy over how many of the quotations attributed to him by the Byzantine Iconoclasts were actually by him. Regardless of this he was clearly strongly against some contemporary uses of images in the church.

paragraph: Section::::Life.

paragraph: Epiphanius was either born into a Romaniote Christian family or became a Christian in his youth. Either way, he was a Romaniote Jew who was born in the Old Yishuv in the small settlement of Besanduk, near Eleutheropolis (modern-day Beit Guvrin, Israel), and lived as a monk in Egypt, where he was educated and came into contact with Valentinian groups. He returned to Palestine around 333, when he was still a young man, and he founded a monastery at Ad nearby, which is often mentioned in the polemics of Jerome with Rufinus and John, Bishop of Jerusalem. He was ordained a priest, and lived and studied as superior of the monastery in Ad that he founded for thirty years and gained much skill and knowledge in that position. In that position he gained the ability to speak in several tongues, including Hebrew, Syriac, Egyptian, Greek, and Latin, and was called by Jerome on that account "Pentaglossis" ("Five tongued").

paragraph: His reputation for learning prompted his nomination and consecration as Bishop of Salamis, Cyprus, in 365 or 367, a post which he held until his death. He was also the Metropolitan of the Church of Cyprus. He served as bishop for nearly forty years, as well as travelled widely to combat unorthodox beliefs. He was present at a synod in Antioch (376) where the Trinitarian questions were debated against the heresy of Apollinarianism. He upheld the position of Bishop Paulinus, who had the support of Rome, over that of Meletius of Antioch, who was supported by the Eastern Churches. In 382 he was present at the Council of Rome, again upholding the cause of Paulinus.

paragraph: Section::::Origenist controversy and death.

paragraph: During a visit to Palestine in 394 or 395, while preaching in Jerusalem, he attacked Origen's followers and urged the Bishop of Jerusalem, John II, to condemn his writings. He urged John to be careful of the "offence" of images in the churches. He noted that when travelling in Palestine he went into a church to pray and saw a curtain with an image of Christ or a saint which he tore down. He told Bishop John that such images were "opposed . . . to our religion" (see below). This event sowed the seeds of conflict which erupted in the dispute between Rufinus and John against Jerome and Epiphanius. Epiphanius fuelled this conflict by ordaining a priest for Jerome's monastery at Bethlehem, thus trespassing on John's jurisdiction. This dispute continued during the 390s, in particular in the literary works by Rufinus and Jerome attacking one another.

paragraph: In 399, the dispute took on another dimension, when the Bishop of Alexandria, Theophilus, who had initially supported John, changed his views and started persecuting Origenist monks in Egypt. As a result of this persecution, four of these monks, the so-called Tall Brothers, fled to Palestine, and then travelled to Constantinople, seeking support and spreading the controversy. John Chrysostom, Bishop of Constantinople, gave the monks shelter. Bishop Theophilus of Alexandria saw his chance to use this event to bring down his enemy Chrysostom: in 402 he summoned a council in Constantinople, and invited those supportive of his anti-Origenist views. Epiphanius, by this time nearly 80, was one of those summoned, and began the journey to Constantinople. However, when he realised he was being used as a tool by Theophilus against Chrysostom, who had given refuge to the monks persecuted by Theophilus and who were appealing to the emperor, Epiphanius started back to Salamis, only to die on the way home in 403.

paragraph: Section::::The curtain incident.

paragraph: Letter LI in Jerome's letters gives Jerome's Latin translation, made at Epiphanius' request, of his letter, originally in Greek from c. 394, "From Epiphanius, Bishop of Salamis, in Cyprus, to John, Bishop of Jerusalem" (see previous section for wider context). The final section covers the often quoted incident of the curtain, which unlike other passages attributed to Epiphanius and quoted by the Iconoclasts, is accepted as authentic by modern scholars:

paragraph: 9. Moreover, I have heard that certain persons have this grievance against me: When I accompanied you to the holy place called Bethel, there to join you in celebrating the Collect, after the use of the Church, I came to a villa called Anablatha and, as I was passing, saw a lamp burning there. Asking what place it was, and learning it to be a church, I went in to pray, and found there a curtain hanging on the doors of the said church, dyed and embroidered. It bore an image either of Christ or of one of the saints; I do not rightly remember whose the image was. Seeing this, and being loth that an image of a man should be hung up in Christ’s church contrary to the teaching of the Scriptures, I tore it asunder and advised the custodians of the place to use it as a winding sheet for some poor person. They, however, murmured, and said that if I made up my mind to tear it, it was only fair that I should give them another curtain in its place. As soon as I heard this, I promised that I would give one, and said that I would send it at once. Since then there has been some little delay, due to the fact that I have been seeking a curtain of the best quality to give to them instead of the former one, and thought it right to send to Cyprus for one. I have now sent the best that I could find, and I beg that you will order the presbyter of the place to take the curtain which I have sent from the hands of the Reader, and that you will afterwards give directions that curtains of the other sort—opposed as they are to our religion—shall not be hung up in any church of Christ. A man of your uprightness should be careful to remove an occasion of offence unworthy alike of the Church of Christ and of those Christians who are committed to your charge. Beware of Palladius of Galatia—a man once dear to me, but who now sorely needs God's pity—for he preaches and teaches the heresy of Origen; and see to it that he does not seduce any of those who are intrusted to your keeping into the perverse ways of his erroneous doctrine. I pray that you may fare well in the Lord.

paragraph: Section::::Writings.

paragraph: Section::::Writings.:"Panarion".

paragraph: His best-known book is the "Panarion" which means "medicine-chest" (also known as "Adversus Haereses", "Against Heresies"), presented as a book of antidotes for those bitten by the serpent of heresy. Written between 374 and 377, it forms a handbook for dealing with the arguments of heretics.

paragraph: It lists, and refutes, 80 heresies, some of which are not described in any other surviving documents from the time. Epiphanius begins with the 'four mothers' of pre-Christian heresy – 'barbarism', 'Scythism', 'Hellenism' and 'Judaism' – and then addresses the sixteen pre-Christian heresies that have flowed from them: four philosophical schools (Stoics, Platonists, Pythagoreans and Epicureans), and twelve Jewish sects. There then follows an interlude, telling of the Incarnation of the Word. After this, Epiphanius embarks on his account of the sixty Christian heresies, from assorted gnostics to the various trinitarian heresies of the fourth century, closing with the Collyridians and Messalians.

paragraph: While Epiphanius often let his zeal come before facts – he admits on one occasion that he writes against the Origenists based only on hearsay ("Panarion", Epiphanius 71) – the "Panarion" is a valuable source of information on the Christian Church of the fourth century. It is also an important source regarding the early Jewish gospels such as the Gospel according to the Hebrews circulating among the Ebionites and the Nazarenes, as well as the followers of Cerinthus and Merinthus.

paragraph: One unique feature of the "Panarion" is in the way that Epiphanius compares the various heretics to different poisonous beasts, going so far as to describe in detail the animal's characteristics, how it produces its poison, and how to protect oneself from the animal's bite or poison. For example, he describes his enemy Origen as "a toad noisy from too much moisture which keeps croaking louder and louder." He compares the Gnostics to a particularly dreaded snake "with no fangs." The Ebionites, a Christian sect that followed Jewish law, were described by Epiphanius as "a monstrosity with many shapes, who practically formed the snake-like shape of the mythical many-headed Hydra in himself." In all, Epiphanius describes fifty animals, usually one per sect.

paragraph: Another feature of the "Panarion" is the access its earlier sections provide to lost works, notably Justin Martyr's work on heresies, the Greek of Irenaeus' "Against Heresies", and Hippolytus' "Syntagma". The "Panarion" was first translated into English in 1987 and 1990.

paragraph: Section::::Writings.:Other works.

paragraph: His earliest known work is the "Ancoratus" (the well anchored man), which includes arguments against Arianism and the teachings of Origen. Aside from the polemics by which he is known, Epiphanius wrote a work of biblical antiquarianism, called, for one of its sections, "On Weights and Measures" (περὶ μέτρων καὶ στάθμων). It was composed in Constantinople for a Persian priest, in 392, and survives in Syriac, Armenian, and Georgian translations (this last is found in "Shatberd ms 1141" along with "Physiologus" and "De Gemmis"). The first section discusses the canon of the Old Testament and its versions, the second of measures and weights, and the third, the geography of Palestine. The texts appear not to have been given a polish but consist of rough notes and sketches, as Allen A. Shaw, a modern commentator, concluded; nevertheless Epiphanius' work on metrology was important in the history of measurement.

paragraph: Another work, "On the Twelve Gems" ("De Gemmis"), survives in a number of fragments, the most complete of which is the Georgian. The letter written by Epiphanius to John, Bishop of Jerusalem, in 394 and preserved in Jerome's translation, is discussed above. The collection of homilies traditionally ascribed to a "Saint Epiphanius, bishop" are dated in the late fifth or sixth century and are not connected with Epiphanius of Salamis by modern scholars.

paragraph: Such was Epiphanius's reputation for learning that the "Physiologus", the principal source of medieval bestiaries, came to be widely falsely attributed to him.

paragraph: Section::::Works.

paragraph: BULLET::::- "The Panarion of Epiphanius of Salamis, Book I (Sects 1–46)" Frank Williams, translator, 1987 (E.J. Brill, Leiden)

paragraph: BULLET::::- "The Panarion of Epiphanius of Salamis, Book II and III (Sects 47–80, De Fide)" Frank Williams, translator, 1993 (E.J. Brill, Leiden)

paragraph: BULLET::::- "The Panarion of St. Epiphanius, Bishop of Salamis" Philip R. Amidon, translator, 1990 (Oxford University Press, New York) (This translation contains selections rather than the full work.)

paragraph: BULLET::::- "Epiphanius' Treatise on Weights and Measures: The Syriac Version", James Elmer Dean, ed, 1935. (Chicago) [English translation of "On Weights and Measures"; available at http://www.tertullian.org/fathers/epiphanius_weights_03_text.htm]

paragraph: BULLET::::- "Epiphanius de Gemmis: the Old Georgian Version and the Fragments of the Armenian Version". ed. Robert Pierpont Blake; de Vis, H. (1934). London: Christophers.

paragraph: BULLET::::- "Epiphanius von Salamis, Über die zwölf Steine im hohepriesterlichen Brustschild (De duodecim gemmis rationalis). Nach dem Codex Vaticanus Borgianus Armenus 31 herausgegeben und übersetzt" by Felix Albrecht and Arthur Manukyan (Gorgias Eastern Christian Studies 37), 2014 (Gorgias Press: Piscataway) (German edition).

paragraph: Section::::References.

paragraph: BULLET::::- Kitzinger, Ernst, "The Cult of Images in the Age before Iconoclasm", "Dumbarton Oaks Papers", Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, JSTOR

paragraph: BULLET::::- Kim, Young Richard. "Epiphanius of Cyprus: Imagining an Orthodox World". Ann Arbor: University of Michigan Press, 2015.

paragraph: BULLET::::- Jacobs, Andrew S. "Epiphanius of Cyprus: A Cultural Biography of Late Antiquity". Christianity in Late Antiquity. Oakland: University of California Press, 2016.

paragraph: Section::::External links.

paragraph: BULLET::::- St Epiphanius of Salamis Orthodox Icon and Synaxarion

paragraph: BULLET::::- Epiphanius, On Biblical Weights and Measures English translation of a Syriac text

paragraph: BULLET::::- Some excerpts from the "Panarion"

paragraph: BULLET::::- (The Panarion of Epiphanius of Salamis Book I Sects 1-46)

paragraph: BULLET::::- Letter from Epiphianus, Bishop of Salamis, in Cyprus, to John, Bishop of Jerusalem

paragraph: BULLET::::- Opera Omnia by Migne Patrologia Graeca with analytical indexes

paragraph: BULLET::::- Stephen Craft Goranson, "The Joseph of Tiberias Episode in Epiphanius: Studies in Jewish and Christian Relations" (1990)

description: Christian bishop and saint

enwikiquote_title: Epiphanius of Salamis

wikidata_label: Epiphanius of Salamis

wikipedia_title: Epiphanius of Salamis


text:
Polish
chemist
President of Poland
Mierzanowo
Ciechanów
Congress Poland
Warsaw
chemistry
Riga Polytechnicum
Proletariat
Warsaw
Tsarist
secret police
Siberia
University of Fribourg
nitric acid
Lemberg
Ukraine
Kingdom of Galicia and Lodomeria
Austro-Hungarian Empire
physical chemistry
electrochemistry
Lemberg Polytechnic
rector
Lwów Polytechnic
Warsaw
Warsaw Polytechnic
Józef Piłsudski
May 1926 coup d'état
Polish Socialist Party
president of Poland
National Assembly
Marshal
Edward Rydz-Śmigły
Walery Sławek
colonels' government
Romania
Bolesław Wieniawa-Długoszowski
Władysław Sikorski
Władysław Raczkiewicz
Switzerland
Geneva
Invasion of Poland
Mościce
List of Poles

categories: 1946 deaths,Polish Socialist Party politicians,Polish inventors,People of the Polish May Coup (pro-Piłsudski side),Polish physical chemists,19th-century Polish politicians,Lviv Polytechnic rectors,20th-century Polish politicians,Members of the Lwów Scientific Society,Riga Technical University alumni,People from Ciechanów County,Presidents of Poland,1867 births,People from Płock Governorate

paragraph: Ignacy Mościcki

paragraph: Ignacy Mościcki (; 1 December 18672 October 1946) was a Polish chemist, politician, and President of Poland from 1926 to 1939. He was the longest serving President in Poland's history.

paragraph: Section::::Biography.

paragraph: Ignacy Mościcki was born on 1 December 1867 in Mierzanowo, a small village near Ciechanów, Congress Poland. After completing school in Warsaw, he studied chemistry at the Riga Polytechnicum. There he joined the Polish underground leftist organization, "Proletariat".

paragraph: On graduating, he returned to Warsaw, but was threatened by the Tsarist secret police with life imprisonment in Siberia and was forced to emigrate in 1892 to London. In 1896 he was offered an assistantship at the University of Fribourg in Switzerland. There he patented a method for cheap industrial production of nitric acid.

paragraph: In 1912 Mościcki moved to Lemberg (; modern Lviv, Ukraine), in the Kingdom of Galicia and Lodomeria within the Austro-Hungarian Empire, where he accepted a chair in physical chemistry and technical electrochemistry at the Lemberg Polytechnic. In 1925 he was elected rector of the Lwów Polytechnic (as it was now called), but soon moved to Warsaw to continue his research at the Warsaw Polytechnic.

paragraph: After Józef Piłsudski's May 1926 coup d'état, on 1 June 1926, Mościcki – an erstwhile associate of Piłsudski's in the Polish Socialist Party – was elected president of Poland by the National Assembly, on Piłsudski's recommendation (after Piłsudski himself refused the office).

paragraph: As president, Mościcki was subservient to Piłsudski, never openly showing dissent from any aspect of the Marshal's leadership. After Piłsudski's death in 1935, Piłsudski's followers divided into three main factions: those supporting Mościcki as Piłsudski's successor; those supporting General Edward Rydz-Śmigły; and those supporting Prime Minister Walery Sławek.

paragraph: With a view to eliminating Sławek from the game, Mościcki concluded a power-sharing agreement with Rydz-Śmigły, which saw Sławek marginalized as a serious political player by the end of the year. As a result of this agreement, Rydz-Śmigły would become the "de facto" leader of Poland until the outbreak of the war, while Mościcki remained influential by continuing in office as president.

paragraph: Mościcki was the leading moderate figure in the regime, which was referred to as the "colonels' government" due to the major presence of military officers in the Polish government. Mościcki opposed many of the nationalist excesses of the more right-wing Rydz-Śmigły, but their pact remained more or less intact.

paragraph: Mościcki remained president until September 1939, when he was interned in Romania and was forced by France to resign his office. He transferred the office to General Bolesław Wieniawa-Długoszowski, who held it for only one day before General Władysław Sikorski and the French government ousted him in favor of Władysław Raczkiewicz.

paragraph: In December 1939 Mościcki was released and allowed to move to Switzerland, where he remained through World War II. He died at his home near Geneva on 2 October 1946.

paragraph: Section::::See also.

paragraph: BULLET::::- Invasion of Poland

paragraph: BULLET::::- Mościce

paragraph: BULLET::::- List of Poles

description: Polish physical chemist, politician

wikidata_label: Ignacy Mościcki

wikipedia_title: Ignacy Mościcki


text:
Memphis
Tennessee
stoner rock
earthlings?
Eagles of Death Metal
Rancho De La Luna
Eagles of Death Metal
Queens of the Stone Age
Tex and the Horseheads
earthlings?
Mondo Generator
Masters of Reality
Yellow#5
Smith & Pyle
Smith & Pyle
Rancho de la Luna
Joshua Tree, California
November 2015 Paris attacks
Bataclan
Gibson Flying V
Supro amplifier
Eagles of Death Metal
HipStrap
Jesse Hughes
Maton
Roadrunner
Fender Stratocaster
Gibson Les Paul
Ace Frehley
Jeff Beck
Pat Travers
America
Greg Lake
Emerson, Lake, and Palmer
The Desert Sessions 1 & 2
Queens of the Stone Age
Scraps at Midnight
The Desert Sessions 3 & 4
The Desert Sessions 5 & 6
Rated R
Human Beans
Deep in the Hole
Masters of Reality
Songs for the Deaf
A Drug Problem That Never Existed
The Desert Sessions 9 & 10
Bubblegum
III the EP
Cowboy Coffee and Burnt Knives
Lullabies to Paralyze
I Got a Brand New Egg Layin' Machine
Goon Moon
Death By Sexy
Powder Burns
Dead Planet
Licker's Last Leg
"Neptune"
The Duke Spirit
Prime Motivator
Heart On
Saturnalia
Humalien
earthlings?
Pine Cross Dover
Blues Funeral
Do to the Beast
ecaps
Wild Nights
Your Desert My Mind
Mudda Fudda
The Golden West (album)
Gayle Skidmore
Shared Hallucinations Pt.1

categories: Eagles of Death Metal members,Musicians from Memphis, Tennessee,20th-century American guitarists,American rock guitarists,1961 births,Earthlings? members,Guitarists from Tennessee,November 2015 Paris attacks,Survivors of terrorist attacks,Queens of the Stone Age members,Mondo Generator members,Living people,American male guitarists

paragraph: Dave Catching

paragraph: David Catching (born June 7, 1961) is an American musician and producer from Memphis, Tennessee. He is a founding member of the California stoner rock band earthlings?, a touring member of Eagles of Death Metal and the co-founder of the Rancho De La Luna recording studio.

paragraph: Section::::Recording career.

paragraph: Catching has played the guitar for well-known hard rock bands Eagles of Death Metal, Queens of the Stone Age, Tex and the Horseheads, The Ringling Sisters, earthlings?, Mondo Generator and the Masters of Reality. He is also a member of Yellow#5, and the Gnarltones.

paragraph: Catching has been associated with the desert country rock band, Smith & Pyle. He contributed to the debut album of country rock duo Smith & Pyle, "It's OK to be Happy", which was recorded at Rancho de la Luna and released in 2008. He currently resides in Joshua Tree, California.

paragraph: Catching was on stage with Eagles of Death Metal during the November 2015 Paris attacks, and escaped the Bataclan with the rest of the band.

paragraph: Section::::Musical equipment.

paragraph: With the Eagles of Death Metal, Catching plays his 1980's Gibson Flying V through a tuner and distortion pedal and Supro amplifier with a 2x12 cabinet. In recent shows with EODM, Catching is seen using Orange amplifiers. He also uses an Ampeg Dan Armstrong guitar when playing with Eagles of Death Metal. Catching also uses HipStrap vintage styled guitar straps. He is endorsed by and uses coiled red Bullet Cable. During recordings he also uses some of Jesse Hughes's Matons.

paragraph: Catching released a signature fuzz wah pedal in 2015, the Roadrunner, through Dr. No Effects.

paragraph: With the earthlings?, he uses his 1958 Fender Stratocaster or his 1972 double cutaway Gibson Les Paul through a tuner and a distortion Rat pedal. His Les Paul is 1 of 6 ever made by Strings & Things in Memphis, Tennessee. Other guitars were bought by Ace Frehley, Jeff Beck, Pat Travers, and Michael Woods, guitarist for the group America. Photos have circulated of Dave's very guitar nearly being bought by Greg Lake of Emerson, Lake, and Palmer fame, but opting out at the last minute for an acoustic bass.

paragraph: Section::::Partial discography.

paragraph: BULLET::::- "The Modifiers" (1980's]

paragraph: BULLET::::- "60 Watt Reality" (The Ringling Sisters, 1990)

paragraph: BULLET::::- "The Desert Sessions 1 & 2" (1998)

paragraph: BULLET::::- "Queens of the Stone Age" (Queens of the Stone Age, 1998)

paragraph: BULLET::::- "Scraps at Midnight ((Mark Lanegan 1998)

paragraph: BULLET::::- "The Desert Sessions 3 & 4" (1998)

paragraph: BULLET::::- "The Desert Sessions 5 & 6" (1999)

paragraph: BULLET::::- "Rated R" (Queens of the Stone Age, 2000)

paragraph: BULLET::::- "Human Beans" (earthlings?, 2001)

paragraph: BULLET::::- "Deep in the Hole" (Masters of Reality, 2001)

paragraph: BULLET::::- "Songs for the Deaf" (Queens of the Stone Age, 2002)

paragraph: BULLET::::- "A Drug Problem That Never Existed" (Mondo Generator, 2003)

paragraph: BULLET::::- "The Desert Sessions 9 & 10" (2003)

paragraph: BULLET::::- "Bubblegum" (Mark Lanegan Band, 2004)

paragraph: BULLET::::- "III the EP" (Mondo Generator, 2004)

paragraph: BULLET::::- Cowboy Coffee and Burnt Knives (Hulk 2004)

paragraph: BULLET::::- "Lullabies to Paralyze" (Queens of the Stone Age, 2005)

paragraph: BULLET::::- "I Got a Brand New Egg Layin' Machine" (Goon Moon, 2005)

paragraph: BULLET::::- "Death By Sexy..." (Eagles of Death Metal, 2006)

paragraph: BULLET::::- "Powder Burns" (The Twilight Singers, 2006)

paragraph: BULLET::::- "Dead Planet" (Mondo Generator, 2006)

paragraph: BULLET::::- "Licker's Last Leg" (Goon Moon, 2007)

paragraph: BULLET::::- "Neptune" (The Duke Spirit, 2008)

paragraph: BULLET::::- Prime Motivator (Giraffes 2008)

paragraph: BULLET::::- Heart On (Eagles of Death Metal 2008)

paragraph: BULLET::::- Saturnalia (Gutter Twins 2008)

paragraph: BULLET::::- "Humalien" (earthlings?, 2009)

paragraph: BULLET::::- "Pine Cross Dover" (Masters of Reality, 2009)

paragraph: BULLET::::- "Blues Funeral" (Mark Lanegan Band, 2012)

paragraph: BULLET::::- "Tomorrowland Blues" (Star & Dagger, 2013)

paragraph: BULLET::::- Do to the Beast (Afghan Whigs 2014)

paragraph: BULLET::::- "Unfuckwithable" (Mojave Lords, 2014)

paragraph: BULLET::::- ecaps (earthlings? 2014)

paragraph: BULLET::::- Wild Nights (Pins 2015)

paragraph: BULLET::::- "Your Desert My Mind" (The Mutants, 2016)

paragraph: BULLET::::- Mudda Fudda (earthlings? 2016)

paragraph: BULLET::::- "The Golden West (album)" (Gayle Skidmore, 2017)

paragraph: BULLET::::- Shared Hallucinations Pt.1 (David Catching and Friends 2017)

paragraph: Section::::References.

description: American musician

wikidata_label: Dave Catching

wikipedia_title: Dave Catching