text:
condottiero
Cesare Borgia
Vitellozzo Vitelli
foot soldiers
Borgia
Colonna
mercenary
warrior
head wound
battle of Garigliano

categories: Orsini family,1476 births,1504 deaths,Condottieri

paragraph: Fabio Orsini

paragraph: Fabio Orsini (1476-29 December 1504) was an Italian condottiero and lord of Mentana. He was son of Paolo Orsini, who was murdered in 1503 by Cesare Borgia.

paragraph: Cesare Borgia apprehended Vitellozzo Vitelli and Paolo Orsini, so Fabio fled when he saw the arrest of them. On August 23, Ludovico of Pitigliano and Fabio Orsini came with 400 horse and 500 foot soldiers. The alliance between the Borgia and the Colonna saved Caesar from, and on August 24 Ludovico was yielded and Fabio dismayed.

paragraph: At nineteen, he became a mercenary and brave and ruthless warrior, took many battles and died of a head wound on 29 December 1503 during the battle of Garigliano.

description: Italian condottiero

wikidata_label: Fabio Orsini

wikipedia_title: Fabio Orsini


text: Canadian American

text: Noël Coward

text: Eugene O'Neill

text: William Shakespeare

text: Academy Award

text: Best Actress

text: The Divorcee

text: Mick LaSalle

text: Scottish

text: English

text: Irish

text: Montreal

text: Montreal High School for Girls

text: Westmount High School

text: Andrew Shearer

text: manic depression

text: vaudeville

text: cast

text: Athole

text: East Coast

text: Florenz Ziegfeld

text: Ziegfeld Follies

text: Universal Pictures

text: Way Down East

text: D. W. Griffith

text: William Bates

text: Broadway

text: Ina Claire

text: Lynn Fontanne

text: Katharine Cornell

text: B-movie

text: Louis B. Mayer Pictures

text: Louis B. Mayer

text: Irving Thalberg

text: Ernest Palmer

text: Metro Pictures

text: Samuel Goldwyn Company

text: Metro-Goldwyn-Mayer

text: Lon Chaney

text: John Gilbert

text: He Who Gets Slapped

text: Hollywoodland sign

text: Greta Garbo

text: Chaplin

text: The Gold Rush

text: Louise Brooks

text: Dreiser's

text: Genius

text: Ernst Lubitsch

text: The Student Prince in Old Heidelberg

text: Irving Thalberg, Jr.

text: converted

text: Judaism

text: The Jazz Singer

text: feature-length

text: silent motion-picture

text: Douglas Shearer

text: The Trial of Mary Dugan

text: The Last of Mrs. Cheyney

text: Their Own Desire

text: Ramón Novarro

text: George Hurrell

text: The Divorcee

text: Academy Award for Best Actress

text: pre-Code

text: Let Us Be Gay

text: Strangers May Kiss

text: A Free Soul

text: Leslie Howard

text: Clark Gable

text: Private Lives

text: Joan Crawford

text: Greta Garbo

text: Jean Harlow

text: Smilin' Through

text: Fredric March

text: Eugene O'Neill

text: Strange Interlude

text: Clark Gable

text: Production Code

text: The Barretts of Wimpole Street

text: Katharine Cornell

text: Romeo and Juliet

text: Marie Antoinette

text: Academy Award for Best Actress

text: A Free Soul

text: Marion Davies

text: San Simeon

text: Marie Antoinette

text: Idiot's Delight

text: Robert E. Sherwood

text: Clark Gable

text: Strange Interlude

text: The Women

text: Scarlett O'Hara

text: Gone With The Wind

text: Rhett

text: Escape

text: Nazi

text: concentration camp

text: Now, Voyager

text: Mrs. Miniver

text: We Were Dancing

text: Her Cardboard Lover

text: Louella Parsons

text: James Stewart

text: George Raft

text: bronchial pneumonia

text: Motion Picture Country Home

text: Woodland Hills, California

text: Forest Lawn Memorial Park

text: Glendale, California

text: Turner Network Television

text: Turner Classic Movies

text: Gavin Lambert

text: San Francisco Chronicle

text: Irving Thalberg

text: George Hurrell

text: Adrian

text: Janet Leigh

text: Robert Evans

text: Hollywood Walk of Fame

text: Canada Post

text: Raymond Burr

text: Marie Dressler

text: Chief Dan George

text: Crazy Sunday

text: F. Scott Fitzgerald

text: Warner Home Video

text: Canada's Walk of Fame

text: Academy Award

text: Photographs of Norma Shearer

categories: Deaths from bronchopneumonia,20th-century American actresses,Actresses from Montreal,Metro-Goldwyn-Mayer contract players,Jewish female models,Canadian female models,American film actresses,Converts to Judaism,1902 births,California Republicans,Canadian people of Scottish descent,Canadian emigrants to the United States,1983 deaths,Anglophone Quebec people,American female models,Infectious disease deaths in California,Canadian silent film actresses,Best Actress Academy Award winners,Jewish American actresses,People with acquired American citizenship,20th-century Canadian actresses,Burials at Forest Lawn Memorial Park (Glendale),Canadian film actresses,Canadian expatriate actresses in the United States,High School of Montreal alumni,People from Westmount, Quebec,Jewish Canadian actresses,American silent film actresses

paragraph: Norma Shearer

paragraph: Edith Norma Shearer (August 11, 1902 – June 12, 1983) was a Canadian American actress and Hollywood star from 1925 through 1942. Shearer often played spunky, sexually liberated ingenues. She appeared in adaptations of Noël Coward, Eugene O'Neill, and William Shakespeare, and was the first person to be nominated five times for an Academy Award for acting, winning Best Actress for her performance in the 1930 film "The Divorcee".

paragraph: Reviewing Shearer's work, Mick LaSalle called her "the exemplar of sophisticated 1930s womanhood ... exploring love and sex with an honesty that would be considered frank by modern standards". As a result, Shearer is celebrated as a feminist pioneer, "the first American film actress to make it chic and acceptable to be single and not a virgin on screen".

paragraph: Section::::Early life.

paragraph: Shearer was of Scottish, English, and Irish descent. Her childhood was spent in Montreal, where she was educated at Montreal High School for Girls and Westmount High School. Her life was one of privilege, due to the success of her father's construction business. However, the marriage between her parents was unhappy. Andrew Shearer was prone to manic depression and "moved like a shadow or a ghost around the house", while her mother Edith Fisher Shearer was attractive, flamboyant, and stylish. Young Norma was interested in music, as well, but after seeing a vaudeville show for her ninth birthday, announced her intention to become an actress. Edith offered support, but as Shearer entered adolescence, became secretly fearful that her daughter's physical flaws would jeopardize her chances. Shearer herself "had no illusions about the image I saw in the mirror". She acknowledged her "dumpy figure, with shoulders too broad, legs too sturdy, hands too blunt", and was also acutely aware of her small eyes that appeared crossed due to a cast in her right eye. By her own admission, though, she was "ferociously ambitious, even as a young girl" and planned to overcome her deficiencies through careful camouflage, sheer determination, and charm.

paragraph: The childhood and adolescence that Shearer once described as "a pleasant dream" ended in 1918, when her father's company collapsed and older sister, Athole, suffered her first serious mental breakdown. Forced to move into a small, dreary house in a "modest" Montreal suburb, the sudden plunge into poverty only strengthened Shearer's determined attitude: "At an early age, I formed a philosophy about failure. Perhaps an endeavor, like my father's business, could fail, but that didn't mean Father had failed."

paragraph: Edith Shearer thought otherwise. Within weeks, she had left her husband and moved into a cheap boarding house with her two daughters. A few months later, encouraged by her brother, who believed his niece should try her luck in "the picture business", then operating largely on the East Coast, Edith sold her daughter's piano and bought three train tickets for New York City. Also in her pocket was a letter of introduction for Norma, acquired from a local theatre owner, to Florenz Ziegfeld, who was currently preparing a new season of his famous "Ziegfeld Follies".

paragraph: Section::::Career.

paragraph: Section::::Career.:Early career.

paragraph: In January 1920, the three Shearer women arrived in New York, each of them dressed up for the occasion. "I had my hair in little curls", Shearer remembered, "and I felt very ambitious and proud." Her heart sank, however, when she saw their rented apartment: "There was one double bed, a cot with no mattress and a stove with one gas jet. The communal bathroom was at the end of a long, dimly lit hallway. Athole and I took turns sleeping with mother in the bed, but sleep was impossible anyway—the elevated trains rattled right past our window every few minutes."

paragraph: The introduction to Ziegfeld proved equally disastrous. He turned Shearer down flat, reportedly calling her a "dog", and criticized her crossed eyes and stubby legs. She continued doing the rounds with her determination undimmed: "I learned that Universal Pictures was looking for eight pretty girls to serve as extras. Athole and I showed up and found 50 girls ahead of us. An assistant casting director walked up and down looking us over. He passed up the first three and picked the fourth. The fifth and sixth were unattractive, but the seventh would do, and so on, down the line until seven had been selected—and he was still some ten feet ahead of us. I did some quick thinking. I coughed loudly, and when the man looked in the direction of the cough, I stood on my tiptoes and smiled right at him. Recognizing the awkward ruse to which I'd resorted, he laughed openly and walked over to me and said, 'You win, Sis. You're Number Eight.'"

paragraph: Other extra parts followed, including one in "Way Down East", directed by D. W. Griffith. Taking advantage of a break in filming and standing shrewdly near a powerful arc light, Shearer introduced herself to Griffith and began to confide her hopes for stardom. "The Master looked down at me, studied my upturned face in the glare of the arc, and shook his eagle head. Eyes no good, he said. A cast in one and far too blue; blue eyes always looked blank in close-up. You'll never make it, he declared, and turned solemnly away."

paragraph: Still undeterred, Shearer risked some of her savings on a consultation with Dr. William Bates, a pioneer in the treatment of incorrectly aligned eyes and defective vision. He wrote out a series of muscle-strengthening exercises that after many years of daily practice would successfully conceal Shearer's cast for long periods of time on the screen. She spent hours in front of the mirror, exercising her eyes and striking poses that concealed or improved the physical flaws noted by Ziegfeld or Griffith. At night, she sat in the galleries of Broadway theatres, studying the entrances of Ina Claire, Lynn Fontanne, and Katharine Cornell.

paragraph: In desperate need of money, Shearer resorted to some modeling work, which proved successful. On her modeling career, she commented: "I could smile at a cake of laundry soap as if it were dinner at the Ritz. I posed with a strand of imitation pearls. I posed in dust-cap and house dress with a famous mop, for dental paste and for soft drink, holding my mouth in a whistling pose until it all but froze that way." She became the new model for Kelly-Springfield Tires, was bestowed with the title "Miss Lotta Miles" and depicted seated inside the rim of a tire, smiling down at traffic from a large floodlit billboard.

paragraph: Finally, a year after her arrival in New York, she received a break in film: fourth billing in a B-movie titled "The Stealers" (1921). In January 1923, Shearer received an offer from Louis B. Mayer Pictures, a studio in Northeast Los Angeles that was run by a small-time producer, Louis B. Mayer. Irving Thalberg had moved to Louis B. Mayer Pictures as vice president on February 15, 1923, but had already sent a telegram to Shearer's agent, inviting her to come to the studio. After three years of hardship, she found herself signing a contract. It called for $250 a week for six months, with options for renewal and a test for a leading role in a major film called "The Wanters".

paragraph: Section::::Career.:Hollywood.

paragraph: Shearer left New York around February 17. Accompanied by her mother, she felt "dangerously sure of herself" as her train neared Los Angeles. When she was not welcomed, even an hour after her arrival, she realized that there would be no star treatment from her new studio. Dispirited, she allowed Edith to hail a taxi.

paragraph: The next morning, Shearer went to the Mayer Company on Mission Road to meet with Thalberg. Shearer was momentarily thrown by their confused introduction, but soon found herself "impressed by his air of dispassionate strength, his calm self-possession and the almost black, impenetrable eyes set in a pale olive face".

paragraph: Section::::Career.:The actress.

paragraph: Shearer was less impressed, however, with her first screen test: "The custom then was to use flat lighting, to throw a great deal of light from all directions, in order to kill all shadows that might be caused by wrinkles or blemishes. But the strong lights placed on either side of my face made my blue eyes look almost white, and by nearly eliminating my nose, made me seem cross-eyed. The result was hideous."

paragraph: The day after the test had been screened for Mayer and Thalberg, cameraman Ernest Palmer found Shearer frantic and trembling in the hallway. Speaking with her, he was struck by her "fierce, almost raging disappointment", and after viewing the test himself, agreed that she had been "poorly handled". Under Palmer's own supervision, a second test was made and judged a success by the studio brass. The lead in "The Wanters" seemed hers, until the film's director objected, finding her "unphotogenic". Again, Shearer was to be disappointed, relegated to a minor role.

paragraph: She accepted her next role in "Pleasure Mad", knowing "it was well understood that if I didn't deliver in this picture, I was through". After only a few days of shooting, things were not looking good. Shearer was struggling. Finally, the film's director complained to Mayer that he could get nothing out of the young actress, and when summoned to Mayer's office, she fully expected the axe to fall: "But to my surprise, Mr. Mayer's manner was paternal. 'There seems to be a problem', he said, 'tell me about it.' I told him that the director had shouted at me and frightened me. Nobody had warned me that Mayer was a better actor than any of us, and I was unprepared for what happened next. He staged an alarming outburst, screaming at me, calling me a fool and a coward, accusing me of throwing away my career because I couldn't get on with a director. It worked. I became tearful, but obstinate. 'I'll show you!' I said to him. 'You'll see!' Delighted, Mayer resumed the paternal act. 'That's what I wanted to hear', he said, smiling." Returning to the set, Shearer plunged into an emotional scene. "I took that scene lock, stock, and barrel, fur, fins and feathers", she remembered, earning her the respect of her director and her studio. As a reward, Thalberg cast her in six films in eight months.

paragraph: The apprenticeship served Shearer well. On April 26, 1924, Louis B. Mayer Pictures was merged with Metro Pictures and the Samuel Goldwyn Company to form Metro-Goldwyn-Mayer. Shearer was cast with Lon Chaney and John Gilbert in the studio's first official production, "He Who Gets Slapped". The film was a conspicuous success and contributed to the meteoric rise of the new company, and to Shearer's visibility. By late 1925, she was carrying her own films, and was one of MGM's biggest attractions, a "bona fide" star. She signed a new contract; it paid $1,000 a week and would rise to $5,000 over the next five years. She bought a house for herself and Edith at 2004 Vine Street, which was located under the Hollywoodland sign.

paragraph: Section::::Career.:Irving Thalberg.

paragraph: Having become a star, Shearer's new challenge was to remain one. Many other talented actresses were at the studio, and she realized she would have to fight hard to stay ahead of the pack. Seeing that sensational newcomer Greta Garbo was one of a kind, she went to Thalberg and "demanded recognition as one of another kind". It was just one of the many visits she paid to his office, always to plead for better material, better parts. Thalberg would listen patiently, then invariably advise Norma to keep toeing the line, that MGM knew best, and that the movies she complained about had made her a popular actress. Occasionally, Shearer would burst into tears, but this seemed to make "no more impression than rain on a raincoat".

paragraph: Privately, Thalberg was very impressed by Shearer. In a story conference, when her name was suggested to him for the part of a girl threatened with rape, Thalberg shook his head, and with a wry smile, said, "She looks too well able to take care of herself."

paragraph: Shearer, for her part, found herself increasingly attracted to her boss. "Something was understood between us, an indefinite feeling that neither of us could analyze." Thalberg's appeal was not primarily sexual. What attracted Shearer was his commanding presence and steely grace, the impression he gave that wherever he sat was always the head of the table. In spite of his youth – he was only 26 – Thalberg became a father figure to the 23-year-old actress.

paragraph: At the end of a working day in July 1925, Shearer received a phone call from Thalberg's secretary, asking if she would like to accompany Thalberg to the premiere of Chaplin's "The Gold Rush". That night, they made their first appearance as a couple. A few weeks later, Shearer went to Montreal to visit her father. While there, she had a reunion with an old school friend, who remembered: "At the end of lunch, over coffee, Norma leant in across the table. 'I'm madly in love', she whispered. 'Who with?' I asked. 'With Irving Thalberg', she replied, smiling. I asked how Thalberg felt. 'I hope to marry him', Norma said, and then, with the flash of the assurance I remembered so well, 'I believe I will.'"

paragraph: Over the next two years, both Shearer and Irving saw other people. Louise Brooks remembered: "I held a dinner party sometime in 1926. All the place cards at the dinner table were books. In front of Thalberg's place was Dreiser's "Genius", and in front of Norma's place, I put "The Difficulty of Getting Married". It was so funny because Irving walked right in and saw "Genius", and sat right down, but Norma kept walking around. She wouldn't sit down in front of "The Difficulty of Getting Married" – no way!"

paragraph: By 1927, Shearer had made a total of 13 silent films for MGM. Each had been produced for under $200,000 and had, without fail, been a substantial box-office hit, often making a $200,000+ profit for the studio. She was rewarded for this consistent success by being cast in Ernst Lubitsch's "The Student Prince in Old Heidelberg", her first prestige production, with a budget over $1,000,000. While she was finishing "The Student Prince", Shearer received a call summoning her to Thalberg's office. She entered to find Thalberg sitting at his desk before a tray of diamond engagement rings. He granted her the option to choose her own ring; she picked out the biggest. After weeks of rumors, provoked by wearing the ring, it was announced in August 1927 that they were to wed. On September 29, 1927, they were married in the Hollywood wedding of the year. Shearer had two children with Thalberg – Irving Thalberg, Jr. (1930–1987) and Katherine (1935–2006). Before they were married, Shearer converted to Judaism so she could marry Thalberg.

paragraph: Section::::Career.:Early talkies.

paragraph: One week after the marriage, "The Jazz Singer" was released. The first feature-length motion picture with sound, it effectively changed the cinematic landscape overnight and signaled the end of the silent motion-picture era. It also spelled the end of many silent careers, and Shearer was determined hers would not be one of them. Her brother, Douglas Shearer, was instrumental in the development of sound at MGM, and every care was taken to prepare her for the microphone.

paragraph: Her first talkie, "The Trial of Mary Dugan" (1929), turned out to be a tremendous success. Shearer's "medium-pitched, fluent, flexible Canadian accent, not quite American, but not at all foreign", was critically applauded, and thereafter widely imitated by other actresses, nervous about succeeding in talkies. Despite the popularity of her subsequent early talking films, "The Last of Mrs. Cheyney" and "Their Own Desire" (both 1929), Shearer feared the public would soon tire of her "good girl" image, and took the advice of friend and co-star Ramón Novarro to visit an unknown photographer named George Hurrell. There, she took a series of sensual portraits that convinced her husband that she could play the lead in MGM's racy new film, "The Divorcee" (1930).

paragraph: Section::::Career.:Pre-Code.

paragraph: Shearer won an Academy Award for Best Actress for her role in "The Divorcee", and a series of highly successful pre-Code films followed, including "Let Us Be Gay" (1930), "Strangers May Kiss" (1931), "A Free Soul" (1931) with Leslie Howard and Clark Gable, "Private Lives" (1931), and "Strange Interlude" (1932). All of these were box-office hits, placing Shearer in competition with Joan Crawford, Greta Garbo, and Jean Harlow as MGM's top actress through the remainder of the decade.

paragraph: Shearer's marriage to Thalberg gave her a degree of power in Hollywood that was resented by rivals such as Crawford, who complained that Shearer would always be offered the best roles and best conditions: "How can I compete with Norma when she's sleeping with the boss?"

paragraph: Shearer's pre-Code films included period dramas and theatrical adaptations. "Smilin' Through" (1932), which co-starred Fredric March, was one of the most successful films of the period. An adaptation of Eugene O'Neill's four-hour experimental "Strange Interlude" (1932), which also starred Clark Gable, was a disappointing adaptation of O'Neill, but a showcase for Shearer, thus a major hit.

paragraph: Section::::Career.:The First Lady of MGM.

paragraph: The enforcement of the Production Code in 1934 forced Shearer to drop her celebrated "free soul" image, and move exclusively into period dramas and "prestige" pictures. Of these, "The Barretts of Wimpole Street" (1934) proved her most successful at the box office, making a profit of $668,000, in part because the film contained elements that slipped by the newly instituted Production Code. In that film, she played a role made famous by Katharine Cornell. Shearer also took on another play popularized by Cornell in "Romeo and Juliet" (1936) (her first film of the 1930s to lose money), and "Marie Antoinette" (1938) (a budget of almost $2,500,000 was too great for the studio to expect a profit), though their elaborate sets and costumes helped make the films immensely popular with audiences.

paragraph: Shearer was nominated for an Academy Award for Best Actress on six occasions, winning only for "The Divorcee" in 1930. She was nominated the same year for "Their Own Desire", for "A Free Soul" in 1931, "The Barretts of Wimpole Street" in 1934, "Romeo and Juliet" in 1936, and "Marie Antoinette" in 1938. Marion Davies later recalled that Shearer came to a party at San Simeon in her Marie Antoinette costume; Davies said she was not about to remove the door so Shearer could enter, so Norma made her grand entrance through wider doors leading from another room. Four chairs were arranged so she could sit at the table in her voluminous skirts.

paragraph: In 1939, she attempted an unusual role in the dark comedy "Idiot's Delight", adapted from the 1936 Robert E. Sherwood play. It was the last of Shearer's three films with Clark Gable, after "A Free Soul" (1931) and "Strange Interlude" (1932). "The Women" (1939) followed, with an entirely female cast of more than 130 speaking roles.

paragraph: Shearer was also one of the many actresses considered for the role of Scarlett O'Hara in "Gone With The Wind" (1939). However, she expressed no interest, joking, "Scarlett is a thankless role. The one I'd really like to play is Rhett!".

paragraph: Critics praised the suspenseful atmosphere in her next film, "Escape" (1940), where she played the lover of a Nazi general who helps an American free his mother from a concentration camp. With increasing interest in the war in Europe, the film performed well at the box office, but Shearer made errors in judgement, passing up roles in the highly successful films "Now, Voyager" and "Mrs. Miniver", to star in "We Were Dancing" and "Her Cardboard Lover" (1942), which both failed at the box office. In 1942, Shearer unofficially retired from acting.

paragraph: Section::::Retirement.

paragraph: After Thalberg's unexpected death on September 14, 1936, Shearer retained a lawyer to ensure that Thalberg's percentages of films on which he had worked were still paid to his estate, which was contested by MGM. When she took the story to gossip columnist Louella Parsons, the studio was forced to give in and granted all the profits from MGM movies made and released from 1924 to 1938, meaning the estate eventually received over $1.5 million in percentage payments. Nevertheless, Shearer's contract was renewed for six films at $150,000 each. During this time, she embarked on a brief romance with the younger actor James Stewart, and then with the married actor George Raft (Raft had separated from his wife years earlier, soon after they married). He stated publicly that he wanted to marry Shearer. However, his wife's refusal to allow a divorce and the disapproval of MGM studio head Louis B. Mayer caused Shearer to end the affair.

paragraph: Following her retirement in 1942, she married Martin Arrougé (March 23, 1914 – August 8, 1999), a former ski instructor 11 years her junior. Despite often attending public events in her later life, Shearer gradually withdrew from the Hollywood social scene. In 1960, her secretary stated: "Miss Shearer does not want any publicity. She doesn't talk to anyone. But I can tell you that she has refused many requests to appear in motion pictures and TV shows." Arrougé and Shearer remained married until her death.

paragraph: Section::::Death.

paragraph: On June 12, 1983, Shearer died of bronchial pneumonia at the Motion Picture Country Home in Woodland Hills, California, where she had been living since 1980.

paragraph: She is entombed in the Great Mausoleum at Forest Lawn Memorial Park in Glendale, California, in a crypt marked Norma Arrouge, along with her first husband, Irving Thalberg.

paragraph: Section::::Legacy.

paragraph: Shearer's fame declined after her retirement in 1942. She was rediscovered in the late 1950s, when her films were sold to television, and in the 1970s, when her films enjoyed theatrical revivals. By the time of her death in 1983, she was best known for her "noble" roles in "Marie Antoinette" and "The Women".

paragraph: A Shearer revival began in 1988, when Turner Network Television began broadcasting the entire Metro-Goldwyn-Mayer film library. In 1994, Turner Classic Movies began showcasing her films, most of which had not been seen since the reconstitution of the Production Code in 1934. Shearer's work was seen anew, and the critical focus shifted from her "noble" roles to her pre-Code roles.

paragraph: Shearer's work gained more attention in the 1990s through the publication of a series of books. The first was a biography by Gavin Lambert. Next came "Complicated Women: Sex and Power in Pre-Code Hollywood" by Mick LaSalle, film critic at the "San Francisco Chronicle". Mark A. Vieira published three books on subjects closely related to Shearer: a biography of her husband, producer Irving Thalberg; and two biographies of photographer George Hurrell. Shearer was noted not only for the control she exercised over her work, but also for her patronage of Hurrell and Adrian, and for discovering actress Janet Leigh and actor-producer Robert Evans.

paragraph: For her contribution to the motion-picture industry, Shearer has a star on the Hollywood Walk of Fame, at 6636 Hollywood Boulevard.

paragraph: On June 30, 2008, Canada Post issued a postage stamp in its "Canadians in Hollywood" series to honour Norma Shearer, along with others for Raymond Burr, Marie Dressler, and Chief Dan George.

paragraph: Shearer and Thalberg are reportedly the models for Stella and Miles, the hosts of the Hollywood party in the short story "Crazy Sunday" (1932) by F. Scott Fitzgerald.

paragraph: Most of Shearer's MGM films are broadcast on Turner Classic Movies, and many of them are also available on DVD from Warner Home Video. In 2008, she was inducted into Canada's Walk of Fame. In 2015, a number of Shearer films became available in high-definition format, authored by Warner Home Video, in most cases, from the nitrate camera negatives: "A Free Soul", "Romeo and Juliet", "Marie Antoinette", and "The Women".

paragraph: Section::::Awards and nominations.

paragraph: Shearer was the first person to receive five Academy Award nominations for acting. Her brother Douglas Shearer and she are the first Oscar-winning siblings.

paragraph: Section::::See also.

paragraph: BULLET::::- List of actors with Academy Award nominations

paragraph: Section::::References.

paragraph: Section::::References.:Sources.

paragraph: BULLET::::- Sarris, Andrew. 1998. ""You Ain't Heard Nothin' Yet." The American Talking Film History & Memory, 1927–1949". Oxford University Press.

paragraph: BULLET::::- Jack Jacobs and Myron Braum (1976). "The Films of Norma Shearer". South Brunswick and New York: A. S. Barnes and Company.

paragraph: Section::::External links.

paragraph: BULLET::::- Photographs of Norma Shearer

description: Canadian-American actress

wikidata_label: Norma Shearer

wikipedia_title: Norma Shearer


text:
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categories: Deaths from quinsy,Muslims of the Second Crusade,Turkic rulers,People from Aleppo,Atabegs,Zengid rulers,1174 deaths,1118 births

paragraph: Nur ad-Din (died 1174)

paragraph: Nūr ad-Dīn Abū al-Qāsim Maḥmūd ibn ʿImād ad-Dīn Zengī (February 1118 – 15 May 1174), often shortened to his "laqab" Nur ad-Din (, "Light of the Faith"), (), was a member of the Oghuz Turkish Zengid dynasty which ruled the Syrian province of the Seljuk Empire. He reigned from 1146 to 1174.

paragraph: Section::::War against Crusaders.

paragraph: Nur ad-Din was the second son of Imad ad-Din Zengi, the Turkish "atabeg" of Aleppo and Mosul, who was a devoted enemy of the crusader presence in Syria. After the assassination of his father in 1146, Nur ad-Din and his older brother Saif ad-Din Ghazi I divided the kingdom between themselves, with Nur ad-Din governing Aleppo and Saif ad-Din Ghazi establishing himself in Mosul. The border between the two new kingdoms was formed by the Nahr al-Khabur River. Almost as soon as he began his rule, Nur ad-Din attacked the Principality of Antioch, seizing several castles in the north of Syria, while at the same time he defeated an attempt by Joscelin II to recover the County of Edessa, which had been conquered by Zengi in 1144. (See Siege of Edessa.) In 1146, after the Frankish attempt to reoccupy Edessa, Nur ad-Din massacred the local Armenian Christian population of the city and destroyed its fortifications, in punishment for assisting Joscelin in this attempt. According to Thomas Asbridge, the women and children of Edessa were enslaved. He secured his hold on Antioch after crushing Raymond of Poitiers at the Battle of Inab in 1149, even presenting to the caliph, Raymond's severed head and arms.

paragraph: Nur ad-Din sought to make alliances with his Muslim neighbours in northern Iraq and Syria in order to strengthen the Muslim front against their Crusader enemies. In 1147 he signed a bilateral treaty with Mu'in ad-Din Unur, governor of Damascus. As part of this agreement, he also married Mu'in ad-Din's daughter Ismat ad-Din Khatun. Together Mu'in ad-Din and Nur ad-Din besieged the cities of Bosra (see Battle of Bosra) and Salkhad, which had been captured by a rebellious vassal of Mu'in ad-Din named Altuntash, but Mu'in ad-Din was always suspicious of Nur ad-Din's intentions and did not want to offend his former crusader allies in Jerusalem, who had helped defend Damascus against Zengi. To reassure Mu'in ad-Din, Nur ad-Din curtailed his stay in Damascus and turned instead towards the Principality of Antioch, where he was able to seize Artah, Kafar Latha, Basarfut, and Balat.

paragraph: In 1148, the Second Crusade arrived in Syria, led by Louis VII of France and Conrad III of Germany. Nur ad-Din's victories and the Crusader's losses in Asia Minor however had made the recovery of Edessa – their original goal – practically impossible. Given that Aleppo was too far off from Jerusalem for an attack and Damascus, recently allied with the Kingdom of Jerusalem against Zengi, had entered into an alliance with Nur ad-Din, the Crusaders decided to attack Damascus, the conquest of which would preclude a combination of Jerusalem's enemies. Mu'in ad-Din reluctantly called for help from Nur ad-Din, but the crusader siege collapsed after only four days.

paragraph: Nur ad-Din took advantage of the failure of the Crusade to prepare another attack against Antioch. In 1149, he launched an offensive against the territories dominated by the castle of Harim, situated on the eastern bank of the Orontes, after which he besieged the castle of Inab. The Prince of Antioch, Raymond of Poitiers, quickly came to the aid of the besieged citadel. The Muslim army destroyed the Crusader army at the Battle of Inab, during which Raymond was killed. Raymond's head was sent to Nur ad-Din, who sent it along to the Caliph in Baghdad. Nur ad-Din marched all the way to the coast and expressed his dominance of Syria by symbolically bathing in the Mediterranean. He did not, however, attack Antioch itself; he was content with capturing all Antiochene territory east of the Orontes and leaving a rump state around the city, which in any case soon fell under the suzerainty of the Byzantine Empire. In 1150, he defeated Joscelin II for a final time, after allying with the Seljuk Sultan of Rüm, Mas'ud (whose daughter he also married). Joscelin was blinded and died in his prison in Aleppo in 1159. In the Battle of Aintab, Nur ad-Din tried but failed to prevent King Baldwin III of Jerusalem's evacuation of the Latin Christian residents of Turbessel. In 1152 Nur ad-Din captured and burned Tortosa, briefly occupying the town.

paragraph: Section::::Unification of sultanate.

paragraph: It was Nur ad-Din's dream to unite the various Muslim forces between the Euphrates and the Nile to make a common front against the crusaders. In 1149 Saif ad-Din Ghazi died, and a younger brother, Qutb ad-Din Mawdud, succeeded him. Qutb ad-Din recognized Nur ad-Din as overlord of Mosul, so that the major cities of Mosul and Aleppo were united under one man. Damascus was all that remained as an obstacle to the unification of Syria.

paragraph: After the failure of the Second Crusade, Mu'in ad-Din had renewed his treaty with the crusaders, and after his death in 1149 his successor Mujir ad-Din followed the same policy. In 1150 and 1151 Nur ad-Din besieged the city, but retreated each time with no success, aside from empty recognition of his suzerainty. When Ascalon was captured by the crusaders in 1153, Mujir ad-Din forbade Nur ad-Din from travelling across his territory. Mujir ad-Din, however, was a weaker ruler than his predecessor, and he also agreed to pay an annual tribute to the crusaders in exchange for their protection. The growing weakness of Damascus under Mujir ad-Din allowed Nur ad-Din to overthrow him in 1154, with help from the population of the city. Damascus was annexed to Zengid territory, and all of Syria was unified under the authority of Nur ad-Din, from Edessa in the north to the Hauran in the south. He was cautious not to attack Jerusalem right away, and even continued to send the yearly tribute established by Mujir ad-Din; meanwhile he briefly became involved in affairs to the north of Mosul, where a succession dispute in the Sultanate of Rum threatened Edessa and other cities.

paragraph: In 1157 Nur ad-Din besieged the Knights Hospitaller in the crusader fortress of Banias, routed a relief army from Jerusalem led by King Baldwin III, and captured Grand Master Bertrand de Blanquefort. However, he fell ill that year and the crusaders were given a brief respite from his attacks. In 1159 the Byzantine emperor Manuel I Comnenus arrived to assert his authority in Antioch, and the crusaders hoped he would send an expedition against Aleppo. However, Nur ad-Din sent ambassadors and negotiated an alliance with the emperor against the Seljuks, much to the crusaders' dismay. Nur ad-Din, along with the Danishmends of eastern Anatolia, attacked the Seljuk sultan Kilij Arslan II from the east the next year, while Manuel attacked from the west. Later in 1160, Nur ad-Din captured the Prince of Antioch, Raynald of Châtillon after a raid in the Anti-Taurus mountains; Raynald remained in captivity for the next sixteen years. By 1162, with Antioch under nominal Byzantine control and the crusader states further south powerless to make any further attacks on Syria, Nur ad-Din made a pilgrimage to Mecca. Soon after he returned, he learned of the death of King Baldwin III of Jerusalem, and out of respect for such a formidable opponent he refrained from attacking the crusader kingdom: William of Tyre reports that Nur ad-Din said "We should sympathize with their grief and in pity spare them, because they have lost a prince such as the rest of the world does not possess today."

paragraph: Section::::Unification of sultanate.:The problem of Egypt.

paragraph: As there was now nothing the crusaders could do in Syria, they were forced to look to the south if they wanted to expand their territory. The capture of Ascalon had already succeeded in cutting off Egypt from Syria, and Egypt had been politically weakened by a series of very young Fatimid caliphs. By 1163, the caliph was the young al-Adid, but the country was ruled by the vizier Shawar. That year, Shawar was overthrown by Dirgham; soon afterwards, the King of Jerusalem, Amalric I, led an offensive against Egypt, on the pretext that the Fatimids were not paying the tribute they had promised to pay during the reign of Baldwin III. This campaign failed and he was forced to return to Jerusalem, but it provoked Nur ad-Din to lead a campaign of his own against the crusaders in Syria in order to turn their attention away from Egypt. His attack on Tripoli was unsuccessful, but he was soon visited by the exiled Shawar, who begged him to send an army and restore him to the vizierate. Nur ad-Din did not want to spare his own army for a defense of Egypt, but his Kurdish general Shirkuh convinced him to invade in 1164. In response, Dirgham allied with Amalric, but the king could not mobilize in time to save him. Dirgham was killed during Shirkuh's invasion and Shawar was restored as vizier.

paragraph: Shawar immediately expelled Shirkuh and allied with Amalric, who arrived to besiege Shirkuh at Bilbeis. Shirkuh agreed to abandon Egypt when Amalric was forced to return home, after Nur ad-Din attacked Antioch and besieged the castle of Harenc. There, Nur ad-Din routed the combined armies of Antioch and Tripoli, but refused to attack Antioch itself, fearing reprisals from the Byzantines. Instead he besieged and captured Banias, and for the next two years continually raided the frontiers of the crusader states. In 1166 Shirkuh was sent again to Egypt. Amalric followed him at the beginning of 1167, and a formal treaty was established between Amalric and Shawar, with the nominal support of the caliph. The crusaders occupied Alexandria and Cairo and made Egypt a tributary state, but Amalric could not hold the country while Nur ad-Din still held Syria, and he was forced to return to Jerusalem.

paragraph: In 1168 Amalric sought an alliance with Emperor Manuel and invaded Egypt once more. Shawar's son Khalil had had enough, and with support from Caliph al-Adid requested help from Nur ad-Din and Shirkuh. At the beginning of 1169 Shirkuh arrived and the crusaders once more were forced to retreat. This time Nur ad-Din gained full control of Egypt. Shawar was executed and Shirkuh was named vizier of the newly conquered territory, later succeeded by his nephew Saladin. One last invasion of Egypt was launched by Amalric and Manuel, but it was disorganized and came to nothing.

paragraph: Section::::Death and succession.

paragraph: During this time Nur ad-Din was busy in the north, fighting the Ortoqids, and in 1170 he had to settle a dispute between his nephews when his brother Qutb ad-Din died. After conquering Egypt, Nur ad-Din believed that he had accomplished his goal of uniting the Muslim states, but Saladin did not wish to be subject to his authority. He did not participate in the invasions led by Nur ad-Din against Jerusalem in 1171 and 1173, hoping that the crusader kingdom would act as a buffer state between Egypt and Syria. Nur ad-Din realized that he had created a dangerous opponent in Saladin, and the two rulers assembled their armies for what seemed to be the inevitable war.

paragraph: However, when Nur ad-Din was on the verge of invading Egypt, he was seized by a fever due to complications from a peritonsillar abscess. He died at the age of 56 on 15 May 1174 in the Citadel of Damascus. He was initially buried there, before being reburied in the Nur al-Din Madrasa. His young son As-Salih Ismail al-Malik became his legitimate heir, and Saladin declared himself his vassal, although he really planned to unify Syria and Egypt under his own rule. He married Nur ad-Din's widow, defeated the other claimants to the throne and took power in Syria in 1185, finally realizing Nur ad-Din's dream.

paragraph: Section::::Legacy.

paragraph: According to William of Tyre, although Nur ad-Din was "a mighty persecutor of the Christian name and faith," he was also "a just prince, valiant and wise, and according to the traditions of his race, a religious man." Nur ad-Din was especially religious after his illness and his pilgrimage. He considered the crusaders foreigners in Muslim territory, who had come to Outremer to plunder the land and profane its sacred places. Nevertheless, he tolerated the Christians who lived under his authority, aside from the Armenians of Edessa, and regarded the Emperor Manuel with deep respect. In contrast to Nur ad-Din's respectful reaction to the death of Baldwin III, Amalric I immediately besieged Banias upon learning of the emir's death, and extorted a vast amount of money from his widow.

paragraph: During Nur ad-Din's reign, forty-two madrasas were built in Syria, of which half he personally sponsored. Through the construction of these madrasas Nur ad-Din was ensuring the creation of Sunni Islamic qadis and imams. Nur ad-Din himself enjoyed to have specialists read to him from the Hadith, and his professors even awarded him a diploma in Hadith narration. He had bimaristans(hospitals) constructed in his cities as well, and built caravanserais on the roads for travellers and pilgrims. He held court several times a week so that people could seek justice from him against his generals, governors, or other employees who had committed some crime.

paragraph: Nur ad-Din's Sunni orthodoxy can be seen in his public works. His repair of the Roman aqueduct in Aleppo insinuated an anti-Shia polemic, and the conversion of two Shia mosques into madrasas, one Shafi'i another Hanafi, reinforce his insistence of promoting Sunni Islam. Consequently, in November 1148, he forbade the Shia call to prayer in Aleppo and any public displays of Shi'ism.

paragraph: In the Muslim world he remains a legendary figure of military courage, piety, and modesty. Sir Steven Runciman said that he loved, above all else, justice.

paragraph: The Damascene chronicler Ibn al-Qalanisi generally speaks of Nur ad-Din in majestic terms, although he himself died in 1160, and unfortunately did not witness the later events of Nur ad-Din's reign.

paragraph: The Islamist group Harakat Nour al-Din al-Zenki, active in the Syrian Civil War in Aleppo since 2011, is named after Nur ad-Din.

paragraph: Nur ad-Din, or known as Nourn Dinh, is one of the martyrs venerated by the syncretistic Vietnamese religion of Cao Dai.

paragraph: Section::::Sources.

paragraph: BULLET::::- "The Damascus Chronicle of the Crusades, Extracted and Translated from the Chronicle of Ibn al-Qalanisi". H.A.R. Gibb, 1932 (reprint, Dover Publications, 2002)

paragraph: BULLET::::- 121

paragraph: BULLET::::- William of Tyre, "A History of Deeds Done Beyond the Sea", trans. E.A. Babcock and A.C. Krey. Columbia University Press, 1943

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Steven Runciman, "A History of the Crusades, vol. II: The Kingdom of Jerusalem". Cambridge University Press, 1952

description: Emir of Damascus and Aleppo

wikidata_label: Nur ad-Din Zangi

wikipedia_title: Nur ad-Din (died 1174)


text: Uppsala

text: Swedish

text: Kaipa

text: The Flower Kings

text: Kaipa

text: progressive rock

text: Fantasia

text: Foxtrot Music

text: The Lonely Heartbeat

text: Landberk

text: Änglagård

text: Jonas Hellborg

text: Samla Mammas Manna

text: Hasse Bruniusson

text: The Flower King

text: Michael Stolt

text: Tomas Bodin

text: Hydrophonia

text: Frank Zappa

text: Steve Howe

text: supergroup

text: Transatlantic

text: Kaipa

text: The Flower Kings

text: Neal Morse

text: Transatlantic

text: Transatlantic

text: Neal Morse

text: Mike Portnoy

text: Steve Hackett

text: Jon Anderson

text: Invention of Knowledge

text: The Sea Within

categories: The Flower Kings members,1956 births,Transatlantic (band) members,The Tangent members,Swedish rock guitarists,Living people

paragraph: Roine Stolt

paragraph: Roine Stolt (born 5 September 1956 in Uppsala) is a Swedish guitarist, vocalist and composer.

paragraph: A major figure in Sweden's rock history, Stolt led two of his country's most successful progressive rock bands: Kaipa in the 1970s and The Flower Kings in the 1990s onward.

paragraph: Section::::Biography.

paragraph: Stolt started his career in the late 1960s playing bass guitar in local rock bands. He switched to guitar in 1973 and in the brief sojourn with Allman Brothers-influenced Orexis. In 1974 he became the guitarist in Kaipa, a professional progressive rock band, he was 17 years old at that time, the group made three successful albums and toured more than 100 gigs a year, including national TV and radio performances in Scandinavia.

paragraph: In 1979 he left Kaipa to form his own group Fantasia and made two albums. The group split up in 1983 and Stolt started working as a solo and session musician, arranger and producer.

paragraph: In the late 80's he started his own publishing and recording label called Foxtrot Music and was also involved in various projects including live performances and recording sessions with other artists going from symphonic rock towards more traditional rock, funk, pop, folk, blues and jazz. Under the "Stolt" project he released "The Lonely Heartbeat" in 1989, the sound is a mix of pop and complex rock.

paragraph: Witnessing the progressive rock revival of the 1990s, a movement that partly originated from Sweden with bands like Landberk and Änglagård, Roine Stolt was quick to come back to his ancient love. Recruiting ex-Jonas Hellborg drummer Jaime Salazar and ex-Samla Mammas Manna percussionist Hasse Bruniusson, he released The Flower King in mid-August 1994. Stimulated by the warm response, he enlisted brother Michael Stolt (bass, vocals) and longtime friend Tomas Bodin (keyboards) and formed the Flower Kings, which would remain his principal musical project for years to come.

paragraph: In 1998 he released his second solo album Hydrophonia which reveals major influences by early progressive musicians such as Frank Zappa and Steve Howe among others.

paragraph: In the year 2000 Stolt worked in two different projects, the supergroup Transatlantic, and the re-launch of Kaipa in which he was involved in three albums from 2002–2005. He re-entered the studio with Transatlantic in 2009, for an album release later in the year.

paragraph: In 2013, Stolt and The Flower Kings joined Neal Morse for a co-headlining tour in which the members of both bands collaborated for an encore consisting of Transatlantic songs, as 3 of the 4 members of Transatlantic were present (Roine Stolt, Neal Morse, and Mike Portnoy).

paragraph: In 2015 Stolt joined Steve Hackett's touring band as bassist and guitarist for Hackett's Acolyte to Wolflight with Genesis Revisited Tour.

paragraph: On 24 June 2016, the duo Stolt and Jon Anderson had formed released their debut studio album entitled "Invention of Knowledge".

paragraph: In 2017, Stolt co-formed the supergroup The Sea Within.

paragraph: Section::::Family.

paragraph: Stolt and his wife Lilian have two sons, Johan Sebastian and Peter Gabriel, named after two of his all-time musical idols.

paragraph: Section::::External links.

paragraph: BULLET::::- Roine Stolt biography at The Flower Kings official site

paragraph: BULLET::::- [ Article in AMG by François Couture]

description: Swedish rock musician

wikidata_label: Roine Stolt

wikipedia_title: Roine Stolt


text: King of Pamplona

text: County of Aragon

text: Castile

text: Álava

text: Monzón

text: Ribagorza

text: Kingdom of León

text: García Sánchez II

text: García Sánchez II the Tremulous

text: Fernando Bermúdez

text: Cea

text: Leonese

text: San Millán de la Cogolla

text: Sancho VI

text: Leyre

text: Sancho Ramírez of Viguera

text: Jimeno Garcés

text: García Sánchez I

text: council of regency

text: Urraca Fernández

text: taifa

text: Battle of Calatañazor

text: Muniadona of Castile

text: Sancho García of Castile

text: Raymond III

text: Pallars Jussà

text: Berengar Raymond I of Barcelona

text: French king

text: Zaragoza

text: counts of Toulouse

text: Muniadona

text: Sancho García of Castile

text: García Sánchez

text: Cea

text: Pisuerga

text: Ferdinand

text: Duchy of Gascony

text: suzerain

text: vassal

text: Cluny

text: Santiago de Compostela

text: Saint James Way

text: Sancho VI of Gascony

text: Reconquista

text: Robert II of France

text: William V of Aquitaine

text: Saint-Jean d'Angély

text: Garonne

text: Labourd

text: Bayonne

text: Baztán

text: Bermudo III

text: Astorga

text: Zamora

text: León

text: diocese of Palencia

text: García

text: Basque country

text: suzerainty

text: Gonzalo

text: Ferdinand

text: Ramiro

text: baiulus

text: Pons, Count of Toulouse

text: Nájera

text: Pamplona

text: Pyrenees

text: Robert II of France

text: William V of Aquitaine

text: William II

text: Odo II of Blois and Champagne

text: Cluniac reform

text: Cluny

text: San Juan de la Peña

text: Mozarabic rite

text: Justo Pérez de Urbel

text: Roman rite

text: Encyclopædia Britannica

text: denier

text: Carolingian

text: Moors

text: Catalan

text: Jiménez

text: Middle Ages

text: Basque nationalism

text: Moslem

text: Catholic Monarchs

text: IMPERATOR

text: Abbot Oliva

text: Muniadona of Castile

text: Sancho García of Castile

text: Castile

text: Álava

text: García Sánchez III

text: Nájera

text: King of Pamplona

text: Stephanie of Foix

text: Fernando Sánchez

text: King of León

text: Emperor of all Spain

text: Sancha of León

text: Queen consort of León

text: Bermudo III of León

text: Gonzalo Sánchez

text: Sobrarbe and Ribagorza

text: Ramiro Sánchez

text: King of Aragon

text: Map of the division of Sancho's realm

categories: 1035 deaths,Medieval child rulers,11th-century people from the Kingdom of Pamplona,Counts of Aragon,House of Jiménez,990s births,Navarrese monarchs

paragraph: Sancho III of Pamplona

paragraph: Sancho Garcés III ( 994 – 18 October 1035), also known as Sancho the Great (, ), was the King of Pamplona from 1004 until his death in 1035. He also ruled the County of Aragon and by marriage the counties of Castile, Álava and Monzón. He later added the counties of Sobrarbe (1015), Ribagorza (1018) and Cea (1030), and would intervene in the Kingdom of León, taking its eponymous capital city in 1034.

paragraph: He was the eldest son of García Sánchez II and his wife Jimena Fernández.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Birth and succession.

paragraph: The year of Sancho's birth is not known, but it is no earlier than 992 and no later than 996. His parents were García Sánchez II the Tremulous and Jimena Fernández, daughter of Fernando Bermúdez, count of Cea on the Leonese frontier. García and Jimena are first recorded as married in 992, but there is no record of their son Sancho until 996. The first record of the future king is a diploma of his father's granting the village of Terrero to the monastery of San Millán de la Cogolla. The king describes Sancho merely as "my son" ("filius meus"). The same diploma also shows the future duke of Gascony, Sancho VI, at the court of Pamplona.

paragraph: Sancho was raised in Leyre. His father last appears in 1000, while Sancho is first found as king in 1004, inheriting the kingdom of Pamplona (later known as Navarre). This gap has led to speculation as to whether there was an interregnum, while one document shows Sancho Ramírez of Viguera reigning in Pamplona in 1002, perhaps ruling as had Jimeno Garcés during the youth of García Sánchez I three generations earlier. On his succession, Sancho initially ruled under a council of regency led by the bishops, his mother Jimena, and grandmother Urraca Fernández.

paragraph: Section::::Biography.:Pyrenean politics.

paragraph: Sancho aspired to unify the Christian principalities in the face of the fragmentation of Muslim Spain into the taifa kingdoms following the Battle of Calatañazor. In about 1010 he married Muniadona of Castile, daughter of Sancho García of Castile, and in 1015 he began a policy of expansion. He displaced Muslim control in the depopulated former county of Sobrarbe. In Ribagorza, another opportunity arose. The 1010 partition of the county left it divided between William Isarn, illegitimate son of count Isarn, and Raymond III of Pallars Jussà and his wife, Mayor García of Castile, who was both niece of Isarn and aunt of Sancho's wife. In 1018, William Isarn tried to solidify his control over the Arán valley, but was killed, and Sancho jumped on the opportunity to take his portion, presumably based on some loose claim derived from his wife. Raymond and Mayor annulled their marriage, creating a further division finally resolved in 1025 when Mayor retired to a Castilian convent and Sancho received the submission of Raymond as vassal. He also forced Berengar Raymond I of Barcelona to become his vassal, though he was already a vassal of the French king. Berengar met Sancho in Zaragoza and in Navarre many times to confer on a mutual policy against the counts of Toulouse.

paragraph: Section::::Biography.:Acquisition of Castile.

paragraph: In 1016, Sancho fixed the border between Navarre and Castile, part of the good relationship he established by marrying Muniadona, daughter of Sancho García of Castile. In 1017, he became the protector of Castile for the young García Sánchez. However, relations between the three Christian entities of León, Castile, and Navarre soured after the assassination of Count García in 1027. He had been betrothed to Sancha, daughter of Alfonso V, who was set thus to gain from Castile lands between the rivers Cea and Pisuerga (as the price for approving the marital pact). As García arrived in León for his wedding, he was killed by the sons of a noble he had expelled from his lands.

paragraph: Sancho III had opposed the wedding and the expected expansion of Leonese power to Castile, and used García's death to reverse this. Using the pretext of the protectorship he had exercised over Castile, he immediately occupied the county and named as successor his own younger son Ferdinand, who was nephew of the deceased count, bringing it fully within his sphere of influence.

paragraph: Section::::Biography.:Gascon suzerainty.

paragraph: Sancho established relations with the Duchy of Gascony, probably of a suzerain–vassal nature, him being the suzerain. In consequence of his relationship with the monastery of Cluny, he improved the road from Gascony to León. This road would begin to bring increased traffic down to Iberia as pilgrims flocked to Santiago de Compostela. Because of this, Sancho ranks as one of the first great patrons of the Saint James Way.

paragraph: Sancho VI of Gascony was a relative of King Sancho and spent a portion of his life at the royal court in Pamplona. He also partook alongside Sancho the Great in the Reconquista. In 1010, the two Sanchos appeared together with Robert II of France and William V of Aquitaine, neither of whom was the Gascon duke's suzerain, at Saint-Jean d'Angély. After Sancho VI's death in 1032, Sancho the Great extended his authority definitively into Gascony, where he began to mention his authority as extending as far as the Garonne in the documents issued by his chancery.

paragraph: In southern Gascony, Sancho created a series of viscounties: Labourd (between 1021 and 1023), Bayonne (1025), and Baztán (also 1025).

paragraph: Section::::Biography.:Acquisition of León.

paragraph: After the succession of Bermudo III to León, Sancho negotiated the marriage of his son Ferdinand to Sancha, the former fiancée of García Sánchez and Bermudo's sister, and along with it a dowry that included disputed Leonese lands. Sancho was soon engaged in a full-scale war with León, and combined Castilian and Navarrese armies quickly overran much of Bermudo's kingdom, occupying Astorga. By March 1033, he was king from Zamora to the borders of Barcelona.

paragraph: In 1034, even the city of León, the "imperiale culmen" (imperial capital, as Sancho saw it), fell, and there Sancho had himself crowned again. This was the height of Sancho's rule which now extended from the borders of Galicia in the west to the county of Barcelona in the east. In 1035, he refounded the diocese of Palencia, which had been laid waste by the Moors. He gave the see and its several abbacies to Bernard, of French or Navarrese origin, to whom he also gave the secular lordship (as a "feudum"), which included many castles in the region. However, he died on 18 October 1035 and was buried in the monastery of San Salvador de Oña, an enclave in Burgos, under the inscription "Sancius, gratia Dei, Hispaniarum rex".

paragraph: Section::::Biography.:Succession.

paragraph: Before his death in 1035, Sancho divided his possessions among his sons. Of the three surviving sons by Muniadona, the eldest, García, had already appeared as "regulus" in Navarre, inheriting the kingdom including the Basque country as well as exercising suzerainty over the kingdom's lands given to his brothers. Gonzalo had been placed in control of the counties of Sobrarbe and Ribagorza, which he would hold as "regulus". Ferdinand had been given Castile on the death of count García Sánchez in 1027, holding it first under his father and later of Vermudo III of León, before killing that king to take León and the royal title. Ramiro, the eldest but illegitimate son of Sancho by mistress Sancha of Aybar, was given property in the former county of Aragón with the provision that he should ask for no more lands of García, under whom he first acted as "baiulus" but from whom he later achieved "de facto" independence. Documents report two further sons, a second Ramiro and Bernard, but scholarship is divided on whether they were legitimate sons who died in youth, or if their appearance instead results from either scribal error or forgery. Sancho left two daughters, Mayor and Jimena, the former perhaps the wife of Pons, Count of Toulouse, the latter wife of Vermudo III.

paragraph: Section::::Legacy.

paragraph: Taking residence in Nájera instead of the traditional capital of Pamplona, as his realm grew larger, he considered himself a European monarch, establishing relations on the other side of the Pyrenees.

paragraph: He introduced French feudal theories and ecclesiastic and intellectual currents into Iberia. Through his close ties with the count of Barcelona and the duke of Gascony and his friendship with the monastic reformer Abbot Oliva, Sancho established relations with several of the leading figures north of the Pyrenees, most notably Robert II of France, William V of Aquitaine, William II and Alduin II of Angoulême, and Odo II of Blois and Champagne. It was through this circle that the Cluniac reforms first probably influenced his thinking. In 1024 a Navarrese monk, Paterno of San Juan de la Peña from Cluny, returned to Navarre and was made abbot of San Juan de la Peña, where he instituted the Cluniac custom and founded thus the first Cluniac house in Iberia west of Catalonia, under the patronage of Sancho. The Mozarabic rite continued to be practiced at San Juan, and the view that Sancho spread the Cluniac usage to other houses in his kingdom has been discredited by Justo Pérez de Urbel. Sancho sowed the seeds of the Cluniac reform and of the adoption of the Roman rite, but he did not widely enact them.

paragraph: Sancho also began the Navarrese series of currency by minting what the Encyclopædia Britannica calls "deniers of Carolingian influence." The division of his realm upon his death, the concepts of vassalage and suzerainty, and the use of the phrase "by the grace of God" ("Dei gratia") after his title were imported from France, with which he tried to maintain relations. For this he has been called the "first Europeaniser of Iberia."

paragraph: His most obvious legacy, however, was the temporary union of all Christian Iberia. At least nominally, he ruled over León, the ancient capital of the kingdom won from the Moors in the eighth century, and Barcelona, the greatest of the Catalan cities. Though he divided the realm at his death, thus creating the enduring legacy of Castilian and Aragonese kingdoms, he left all his lands in the hands of one dynasty, the Jiménez, which kept the kingdoms allied by blood until the twelfth century. He made the Navarrese pocket kingdom strong, politically stable, and independent, preserving it for the remainder of the Middle Ages. It is for this that his seal has been appropriated by Basque nationalism. Though, by dividing the realm, he isolated the kingdom and inhibited its ability to gain land at the expense of the Moslems. Summed up, his reign defined the political geography of Iberia until its union under the Catholic Monarchs.

paragraph: Section::::Titles.

paragraph: Throughout his long reign, Sancho used a myriad of titles. After his coronation in León, he styled himself "rex Dei gratia Hispaniarum", or "by the grace of God, king of the Spains", and may have minted coins with the legend ""NAIARA/IMPERATOR"". The use of the first title implied his kingship over all the independently founded Iberian kingdoms and the use of the form "Dei gratia", adopted from French practice, stressed that his right to rule was of divine origin and sustenance. The latter, imperial title was only rarely employed, for it is not documented, being found only on coins only probably datable to his reign. It is not unlikely, however, that he desired to usurp the imperial title which the kings of León had thitherto carried.

paragraph: Despite this, the contemporary ecclesiastic Abbot Oliva only ever acknowledged Sancho as "rex Ibericus" or "rex Navarrae Hispaniarum", while he called both Alfonso V and Vermudo III emperor. The first title considers Sancho as king of all Iberia, as does the second, though it stresses his kingship over Navarre alone as if it had been extended to authority over the whole Christian portion of the peninsula.

paragraph: Section::::Marriage and family.

paragraph: Sancho III was married to Muniadona of Castile, daughter of Sancho García of Castile, count of Castile and Álava. They had the following children:

paragraph: BULLET::::- García Sánchez III, nicknamed ""the one from Nájera"", King of Pamplona from 1035 until his death in 1054 and married to Stephanie of Foix.

paragraph: BULLET::::- Fernando Sánchez, nicknamed ""the Great"", already Count of Castile, he became King of León from 1037 until his 1065 death, being Emperor of all Spain from 1056, married to Sancha of León.

paragraph: BULLET::::- Jimena Sánchez, Queen consort of León by her marriage to Bermudo III of León.

paragraph: BULLET::::- Gonzalo Sánchez, petty king of Sobrarbe and Ribagorza.

paragraph: Before marrying Muniadona of Castile, Sancho III had a son with Sancha of Aibar:

paragraph: BULLET::::- Ramiro Sánchez, initially receiving lands in Aragon, he would come to be viewed as the first King of Aragon after succeeding to his brother Gonzalo's lands, he died in 1063.

paragraph: Section::::External links.

paragraph: BULLET::::- Sancho III el Mayor in Medieval History of Navarre

paragraph: BULLET::::- Map of the division of Sancho's realm.

description: king of Navarre

wikidata_label: Sancho III of Navarre

wikipedia_title: Sancho III of Pamplona


text: Anglicized

text: Messina

text: Sicily

text: Italian Renaissance

text: Early Netherlandish painting

text: Giorgio Vasari

text: Messina

text: Pietro Summonte

text: Niccolò Colantonio

text: Naples

text: Sibiu Crucifixion

text: Rogier van der Weyden

text: Jan van Eyck

text: Alfonso V of Aragon

text: Petrus Christus

text: Reggio Calabria

text: Jacobello

text: brigantine

text: Amantea

text: Calabria

text: Salting Madonna

text: Piero della Francesca

text: Museo Nazionale della Magna Grecia

text: Reggio Calabria

text: Netherlandish model

text: John Pope-Hennessy

text: Syracuse

text: St. Jerome in His Study

text: Venice

text: Giovanni Bellini

text: San Cassiano Altarpiece

text: St. Sebastian

text: sacra conversazione

text: Giovanni Bellini

text: Duke of Milan

text: Virgin Annunciate

text: Palazzo Abatellis

text: Palermo

text: San Gregorio Polyptych

text: Flemish

text: Marco Costanzo

text: Sibiu Crucifixion

text: Crucifixion

text: Abraham Served by the Angels

text: Ecce Homo

text: Ecce Homo

text: St. Jerome Penitent

text: San Gregorio Polyptych

text: Ecce Homo

text: Portrait of a Man

text: Madonna with Child (Salting Madonna)

text: Portrait of a Man

text: Annunciation

text: St. Jerome in His Study

text: Ecce Homo

text: Portrait of a Man (Il Condottiere)

text: Crucifixion

text: Portrait of a Man

text: Portrait of a Man

text: Portrait of a Man

text: San Cassiano Altarpiece

text: The Dead Christ Supported by an Angel

text: Christ at the Column

text: Virgin of the Annunciation

text: Portrait of a Man

text: Virgin of the Annunciation

text: St. Sebastian

text: Portrait of a Young Man

text: (online)

text: “Antonello da Messina (ca. 1430–1479).”

text: Web Gallery of Art

categories: 1430s births,People from Messina,Italian male painters,Italian Renaissance painters,1479 deaths,Kingdom of Sicily people,Quattrocento painters,Paintings by Antonello da Messina,Italian portrait painters,Sicilian painters

paragraph: Antonello da Messina

paragraph: Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina ( 1430February 1479), was an Italian painter from Messina, Sicily, active during the Early Italian Renaissance. His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy. Unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life and training.

paragraph: Antonello was born at Messina around 1429–1431, to Garita (Margherita) and Giovanni de Antonio Mazonus.

paragraph: According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte, in about 1450 he was a pupil of the painter Niccolò Colantonio at Naples, where Netherlandish painting was then fashionable. This account of his training is accepted by most art historians.

paragraph: Section::::Biography.:Early career.

paragraph: Antonello returned to Messina from Naples during the 1450s. In around 1455, he painted the so-called "Sibiu Crucifixion", inspired by Flemish treatments of the subject, which is now in the Muzeul de Artǎ in Bucharest. A "Crucifixion" in the Royal Museum of Antwerp dates from the same period. These early works shows a marked Flemish influence, which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon.

paragraph: In his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Jan Van Eyck (the "Lomellini Tryptych") belonging to King Alfonso V of Aragon at Naples and consequently introduced oil painting to Italy.. Recent evidence indicates that an Antonello di Sicilia (di Siclia meaning from Sicily) was in contact with Van Eyck's most accomplished follower, Petrus Christus, in Milan in early 1456. It appears likely that Antonello di Sicilia was in fact Antonello da Messina as this would explain why Messina was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective. Messina's paintings after that date show an observation of almost microscopic detail and of minute gradations of light on reflecting or light absorbent objects that is very close to the style of the Netherlandish masters, suggesting Messina had personal instruction from Christus. As well, his works' calmer expressions on peoples' faces and calmness in the works' overall composition also appears to be a Netherlandish influence.

paragraph: Between the years of 1456 and 1457, Antonello proved himself to be a master painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria. The artist's earliest documented commission, in 1457, was for a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria, where he set up a workshop for the production of such banners and devotional images. At this date, he was already married, and his son Jacobello had been born.

paragraph: In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria. In that year, Antonello painted the so-called "Salting Madonna", in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures, probably indicating a knowledge of works by Piero della Francesca. Also from around 1460 are two small panels depicting "Abraham Served by the Angels" and "St. Jerome Penitent" now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonello's younger brother Giordano entered his workshop, signing a three-year contract. In that year Antonello painted a "Madonna with Child" for the Messinese nobleman Giovanni Mirulla, now lost.

paragraph: Historians believe that Antonello painted his first portraits in the late 1460s. They follow a Netherlandish model, the subject being shown bust-length, against a dark background, full face or in three-quarter view, while most previous Italian painters had adopted the medal-style profile pose for individual portraits. John Pope-Hennessy described him as "the first Italian painter for whom the individual portrait was an art form in its own right".

paragraph: Although Antonello is mentioned in many documents between 1460 and 1465, establishing his presence in Messina in those years, a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland. In 1474, he painted the "Annunciation", now in Syracuse, and the "St. Jerome in His Study" also dates from around this time.

paragraph: Section::::Biography.:Venice.

paragraph: Antonello went to Venice in 1475 and remained there until the fall of 1476. His works of this period begin to show a greater attention to the human figure, regarding both anatomy and expressivity, indicating the influence of Piero della Francesca and Giovanni Bellini. His most famous pictures from this period include the "Condottiero" (Louvre), the "San Cassiano Altarpiece" and the "St. Sebastian". The "San Cassiano Altarpiece" was especially influential on Venetian painters, as it was one of the first of the large compositions in the "sacra conversazione" format which was perfected by Giovanni Bellini (Antonello's surviving work in Vienna is only a fragment of a much larger original). It is also likely that Antonello passed on both the techniques of using oil paints and the principles of calmness on subjects' faces and in the composition of paintings to Giovanni Bellini and other Venetian painters during that visit. While in Venice he was offered, but did not accept, the opportunity to become the court portrait painter to the Duke of Milan.

paragraph: Section::::Biography.:Return to Messina and death.

paragraph: Antonello had returned to Sicily by September 1476. Works from near the end of his life include the famous "Virgin Annunciate", now in the Palazzo Abatellis in Palermo, and the San Gregorio Polyptych.

paragraph: He died at Messina in 1479. His testament dates from February of that year, and he is documented as no longer alive two months later. Some of his last works remained unfinished, but were completed by his son Jacobello.

paragraph: Section::::Style and legacy.

paragraph: Antonello's style is remarkable for its union of Italian simplicity with Flemish concern for detail. He exercised an enormous influence on Italian painting, not only by the introduction of the Flemish invention, but also by the transmission of Flemish tendencies. However, no school of painting formed after his death, with the exception of the Sicilian Marco Costanzo.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Sibiu Crucifixion" (1455)

paragraph: BULLET::::- "Crucifixion" (1455)

paragraph: BULLET::::- "Abraham Served by the Angels"

paragraph: BULLET::::- "Ecce Homo" (c. 1470)

paragraph: BULLET::::- "Ecce Homo" (1470)

paragraph: BULLET::::- "St. Jerome Penitent"

paragraph: BULLET::::- "San Gregorio Polyptych" (1473)

paragraph: BULLET::::- "Ecce Homo" (c. 1473)

paragraph: BULLET::::- "Portrait of a Man" (1474)

paragraph: BULLET::::- "Madonna with Child (Salting Madonna)"

paragraph: BULLET::::- "Portrait of a Man" (1474)

paragraph: BULLET::::- "Annunciation" (1474)

paragraph: BULLET::::- "St. Jerome in His Study" (c. 1474)

paragraph: BULLET::::- "Ecce Homo" (1475) -

paragraph: BULLET::::- "Portrait of a Man (Il Condottiere)" (1475)

paragraph: BULLET::::- "Crucifixion" (1475)

paragraph: BULLET::::- "Portrait of a Man" (c. 1475)

paragraph: BULLET::::- "Portrait of a Man" (1475–1476)

paragraph: BULLET::::- "San Cassiano Altarpiece" (1475–76)

paragraph: BULLET::::- "The Dead Christ Supported by an Angel" (1475–78)

paragraph: BULLET::::- "Christ at the Column" (c. 1475–1479)

paragraph: BULLET::::- "Portrait of a Man" (1476)

paragraph: BULLET::::- "Virgin of the Annunciation" (c. 1476)

paragraph: BULLET::::- "St. Sebastian" (1477–1479)

paragraph: BULLET::::- "Portrait of a Young Man" (c. 1478)

paragraph: BULLET::::- "Portrait of an unknown man"

paragraph: BULLET::::- "Madonna and Child"

paragraph: Section::::Sources.

paragraph: BULLET::::- (online).

paragraph: BULLET::::- Christiansen, Keith. “Antonello da Messina (ca. 1430–1479).” In "Heilbrunn Timeline of Art History". New York: The Metropolitan Museum of Art, 2000–. (March 2010)

paragraph: Section::::External links.

paragraph: BULLET::::- Antonello da Messina in the "History of Art"

paragraph: BULLET::::- Antonello da Messina – Biography and Works

paragraph: BULLET::::- "Best of Sicily" Magazine article on Antonello da Messina and the technique of egg tempera / oil media

paragraph: BULLET::::- Web Gallery of Art

paragraph: BULLET::::- "Guardian" article on "Portrait of a Man"

paragraph: BULLET::::- "Petrus Christus: Renaissance master of Bruges", a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Antonello da Messina (see index)

alias: preésumé de Antonello Da Messina Antique

description: Italian Renaissance painter

wikidata_label: Antonello da Messina

wikipedia_title: Antonello da Messina


text:
American football
defensive tackle
Kansas City Chiefs
National Football League
college football
Mississippi State University
2016 NFL Draft
Houston High School
Houston, Mississippi
high school football
Mississippi State University
sacks
2016 NFL Draft
NFL Combine
Pro Day
Kansas City Chiefs
2016 NFL Draft
Jaye Howard
Allen Bailey
Nick Williams
Jimmy Staten
San Diego Chargers
Houston Texans
New Orleans Saints
Andrew Luck
Indianapolis Colts
Carolina Panthers
Cam Newton
Oakland Raiders
Philadelphia Eagles
Jacksonville Jaguars
Andrew Norwell
Simon Fletcher
Mississippi State Bulldogs bio
Kansas City Chiefs bio

categories: Players of American football from Mississippi,Kansas City Chiefs players,Mississippi State Bulldogs football players,American football defensive tackles,1994 births,Living people

paragraph: Chris Jones (defensive tackle, born 1994)

paragraph: Christopher Deshun Jones (born July 3, 1994) is an American football defensive tackle for the Kansas City Chiefs of the National Football League (NFL). He played college football at Mississippi State University, and was drafted by the Chiefs in the second round of the 2016 NFL Draft.

paragraph: Section::::Early years.

paragraph: Jones attended Houston High School in Houston, Mississippi, where he played high school football for the Hilltoppers. Jones was considered a five-star recruit and was ranked among the top players in his class. He committed to Mississippi State University to play college football.

paragraph: Section::::College career.

paragraph: Jones appeared in all 13 games and made three starts as a true freshman at Mississippi State in 2013. He had 32 tackles and three sacks. As a sophomore, he appeared in all 13 games and had 26 tackles and three sacks. As a junior, he started all 13 games, recording 44 tackles and 2.5 sacks. Following the conclusion of his junior year, Jones made the decision to forgo his senior year and enter the 2016 NFL Draft.

paragraph: Section::::Professional career.

paragraph: Coming out of college, Jones was projected by analysts and scouts to be drafted in the second round. He was ranked the eighth-best defensive tackle and the 48th-best prospect by NFLDraftScout.com. Jones was invited to the NFL Combine and completed the entire workout and all the positional drills. While running the 40-yard dash, Jones had a wardrobe malfunction and exposed himself before falling to the ground to fix the issue. He attended Mississippi State's Pro Day, but decided he was satisfied with his combine performance and only performed positional drills.

paragraph: Section::::Professional career.:2016.

paragraph: The Kansas City Chiefs drafted Jones in the second round (37th overall) in the 2016 NFL Draft. Jones was the fifth defensive tackle drafted in 2016.

paragraph: On May 8, 2016, the Chiefs signed Jones to a four-year, $6.23 million contract with $3.44 million guaranteed and a signing bonus of $2.73 million.

paragraph: He entered training camp competing with Jaye Howard, Allen Bailey, Nick Williams, and Jimmy Staten to be the starting defensive end. Jones was named the backup left defensive end, behind Jaye Howard, to begin the regular season.

paragraph: Jones made his professional regular season debut in the Kansas City Chiefs' season-opening 33–27 victory over the San Diego Chargers. The following week, he recorded his first tackle and finished with two solo tackles in a 19–12 loss to the Houston Texans. On October 18, 2016, he was named the starting right defensive end after Allen Bailey was placed on injured-reserve with a shoulder injury. On October 23, 2016, Jones earned his first career start and recorded two solo tackles in a 27–21 win against the New Orleans Saints. The next game, he made a solo tackle and his first career sack on Andrew Luck in a 30–14 victory over the Indianapolis Colts. In a Week 10 matchup with the Carolina Panthers, Jones made three solo tackles and sacked Cam Newton in a 20–17 win. On December 8, 2016, he recorded a season-high five combined tackles in a 21–13 win against the Oakland Raiders. On January 1, 2017, Jones recorded a season-high four solo tackles in a 37–27 win against the San Diego Chargers. He finished his rookie season with 28 combined tackles, two sacks, and four pass deflections in 16 games and 11 starts.

paragraph: Section::::Professional career.:2017.

paragraph: On September 17, 2017, in Week 2, Jones recorded three sacks, two forced fumbles, and an interception in a 27–20 win over the Philadelphia Eagles, earning him AFC Defensive Player of the Week. Overall, he finished the 2017 season with 6.5 sacks, 32 total tackles, one interception, seven passes defensed, and four forced fumbles with five starts and 16 appearances.

paragraph: Section::::Professional career.:2018.

paragraph: During Week 5 against the Jacksonville Jaguars, Jones returned an interception 20 yards for a touchdown in the 30–14 victory. Later in the same game, he was ejected for punching Andrew Norwell in his right thigh after an extra point attempt. Jones has recorded a sack in all games from Week 5 to Week 16, setting an NFL record of 11 consecutive games with a sack. Jones broke the NFL record held previously by Simon Fletcher who recorded a sack from Week 11 of 1992 to Week 3 of 1993. He finished the season third in the league with 15.5 sacks, which led the Chiefs, along with 40 combined tackles, five passes defensed, two forced fumbles, and an interception. He was named second-team All-Pro for his performance in 2018.

paragraph: Section::::External links.

paragraph: BULLET::::- Mississippi State Bulldogs bio

paragraph: BULLET::::- Kansas City Chiefs bio

alias:
Christopher Deshun Jones
Christopher Jones

description: American football defensive end

wikidata_label: Chris Jones


text:
Mulhouse
Biarritz
German literature
agrégation
German studies
Paris
University of Nancy
comparative literature
Harvard University
A.M. Ludovici
Koppel S. Pinson
German language
Richard Wagner
Friedrich Nietzsche
Heinrich Heine
André Lichtenberger
Alsace-Lorraine
Johann Wolfgang Goethe

categories: Germanists,1864 births,Nancy-Université faculty,People from Mulhouse,French literary historians,University of Paris faculty,1941 deaths

paragraph: Henri Lichtenberger

paragraph: Henri Lichtenberger (12 March 1864, Mulhouse – 4 November 1941, Biarritz) was a French academic who specialized in German literature.

paragraph: Section::::Biography.

paragraph: In 1885 he received his agrégation in German studies at Paris, and two years later, began work as a lecturer at the University of Nancy. In 1891 he became a full professor of foreign literature at Nancy, and in 1905 returned to Paris, where he served as a professor of German language and literature. In 1914-15 he was a visiting professor of comparative literature at Harvard University.

paragraph: Section::::Selected works.

paragraph: BULLET::::- Books by Lichtenberger that have been translated into English:

paragraph: BULLET::::- "The gospel of superman; the philosophy of Friedrich Nietzsche", 1910; translated from the French of Henri Lichtenberger, with an introduction, by J.M. Kennedy.

paragraph: BULLET::::- "Germany and its evolution in modern times", 1913; translated from the French by A.M. Ludovici.

paragraph: BULLET::::- "Relations between France and Germany", Washington, D.C. : Carnegie Endowment for International Peace, Division of Intercourse and Education 1923.

paragraph: BULLET::::- "The Third Reich", 1937; translated from the French and edited by Koppel S. Pinson.

paragraph: BULLET::::- Works by Lichtenberger with French titles:

paragraph: BULLET::::- "Histoire de la langue allemande", 1893 – History of the German language.

paragraph: BULLET::::- "Richard Wagner : poète et penseur", 1898 – Richard Wagner : Poet and thinker.

paragraph: BULLET::::- "Friedrich Nietzsche : ein Abriss seines Lebens und seiner Lehre", 1899 – Friedrich Nietzsche: A summary of his life and his teachings.

paragraph: BULLET::::- "Henri Heine penseur", 1905 – Heinrich Heine, thinker.

paragraph: BULLET::::- "La guerre européenne et la question d'Alsace-Lorraine", 1915 (with brother André Lichtenberger) – The European war and the question regarding Alsace-Lorraine.

paragraph: BULLET::::- "L'opinion américaine et la guerre", 1915 – The American opinion and the war.

paragraph: BULLET::::- "L'Allemagne d'aujourd'hui dans ses relations avec la France", 1922 – The Germany of today in its relations with France.

paragraph: BULLET::::- "Goethe", 1937-39 – Johann Wolfgang Goethe.

description: French germanist

wikidata_label: Henri Lichtenberger

wikipedia_title: Henri Lichtenberger


text:
Neo-Confucian
Yuan Dynasty
Zi names
Hao name
Yinzhou
Ningbo
Zhejiang
Six Classics
Cheng-Zhu school
Zhu Xi
Imperial Examination
Yuanshi
Ming
Qing

categories: Neo-Confucianism,14th-century educators,1345 deaths,1271 births,Educators from Ningbo,Writers from Ningbo,Yuan dynasty writers

image: 512px-四明人鑑·元鉛山教授程公端礼.png

paragraph: Cheng Duanli

paragraph: Cheng Duanli (, 1271–1345) was a Neo-Confucian scholar of the Yuan Dynasty in China, educator, poet, and philologist. He was also known under Zi names Jìngshū (敬叔) and Jìnglǐ 敬禮，and Hao name Wèizhāi (畏齋).

paragraph: Section::::Biography.

paragraph: He came from Qingyuan Prefecture (now Yinzhou of Ningbo City in Zhejiang).

paragraph: Cheng Duanli was very talented in the childhood, at the age of 15 he was able to recite the "Six Classics" and had a good knowledge of the Cheng-Zhu school. He studied under Shǐ Méngqīng (史蒙卿) and spent a lifetime teaching scores of students.

paragraph: He became the director of Jiandong Academy. He also served in official educational positions. He wrote a book "Chronological Syllabus for Study in the Cheng Family School", which used Zhu Xi's educational ideas to understand the canon.

paragraph: He supported a focused reading method and a graded approach to learning, which had to begin with Elementary learning and continue to studying of history and prose.

paragraph: Cheng Duanli's writings strove to enshrine Confucian orthodoxy. His best-known work was "The Graded Everyday Schedule of Study" (程氏家塾讀書分年日程). Published in 1315, it corresponded with the re-opening of the system of Imperial Examination (that had mostly been defunct during the Yuan Dynasty rule) and was adopted officially across China posthumously earning its author an entry in Yuanshi, the official history of the dynasty. The legacy of his book lasted further through Ming and Qing, serving as the basis of school curricula.

alias: Jingshu Weizhai

description: Neo-Confucian educator in Yuan China

wikidata_label: Cheng Duanli

wikipedia_title: Cheng Duanli


text:
Mamluk
an-Nasir Muhammad
as-Salih Ismail
al-Muzaffar Hajji
Mamluk
an-Nasir Muhammad
Kujuk
an-Nasir Ahmad
as-Salih Ismail
al-Muzaffar Hajji
Alexandria
Ibn Taghribirdi

categories: 14th-century births,Bahri sultans,14th-century Mamluk sultans,1346 deaths

paragraph: Al-Kamil Sha'ban

paragraph: Al-Kamil Sayf ad-Din Sha'ban ibn Muhammad ibn Qalawun, better known as al-Kamil Sha'ban, was the Mamluk sultan of Egypt between August 1345 and January 1346. He was the fifth son of an-Nasir Muhammad to serve as sultan, having succeeded his brother as-Salih Ismail. Sha'ban was toppled and killed during a revolt against his rule organized by Emir Shams ad-Din Aqsunqur on behalf of his brother al-Muzaffar Hajji.

paragraph: Section::::Biography.

paragraph: Sha'ban was a son of the long-reigning and autocratic Mamluk sultan an-Nasir Muhammad and one of his concubines, whose name is not provided by the Mamluk-era sources. When an-Nasir Muhammad died, several of his sons succeeded him as sultan, with Abu Bakr, Kujuk, an-Nasir Ahmad and as-Salih Ismail assuming the post in succession, although many of them held power in name only; influential Mamluk emirs often held real power. In August 1345, Sha'ban's full brother as-Salih Ismail died from an illness, and was succeeded by Sha'ban, thenceforth known as al-Kamil Sha'ban.

paragraph: Sha'ban made a pact with the leading Mamluk emirs, chief among them Arghum al-Ala'i, his stepfather. Despite the pacts he made with the leading emirs, Sha'ban alienated them relatively quickly, along with the Mamluk governors of Syria and the officers of his personal guard. Consequently, a revolt against his rule occurred in September 1346. The revolt was organized by the Mamluk emir Shams ad-Din Aqsunqur on behalf of Sha'ban's brother al-Muzaffar Hajji. Sha'ban was subsequently captured and executed on 21 September 1346, while Arghum was imprisoned in Alexandria and died there. Sha'ban was buried alongside Yusuf ibn Muhammad, one of his brothers. Before he died Sha'ban had a son who died in infancy and a daughter named A'isha, who married a certain Emir Rajab.

paragraph: The Mamluk-era historian Ibn Taghribirdi described Sha'ban as "one of the worst rulers as far as injustice and immorality were concerned. During his days the country was ruined because of his passion for entertainment and adherence to the drinking places and fondness for singers."

description: Sultan

wikidata_label: Al-Kamil Shaban

wikipedia_title: Al-Kamil Sha'ban


text:
Governor-General of Taiwan
University of Tokyo

categories: Politicians from Fukushima Prefecture,1942 deaths,1866 births,Recipients of the Order of the Rising Sun with Paulownia Flowers,Governors-General of Taiwan,University of Tokyo alumni

paragraph: Ishizuka Eizō

paragraph: Ishizuka Eizō () (October 31, 1866 – July 28, 1942) was the 13th Governor-General of Taiwan (1929–1931). He was a graduate of the University of Tokyo.

wikidata_label: Ishizuka Eizō

wikipedia_title: Ishizuka Eizō


text: Léon Gambetta

text: Besançon

text: Legion of Honor

text: Henri Hauser

text: Besançon

text: republican

text: Lycée Charlemagne

text: École Normale Supérieure

text: Journal des Débats

text: Revue politique et littéraire

text: Revue des Deux Mondes

text: Ernest Picard

text: French Third Republic

text: Republican

text: Société des Études Juives

text: Léon Gambetta

text: antisemitic

text: Édouard Drumont

text: La France juive

text: La Libre Parole

text: tuberculosis

text: Montparnasse Cemetery

text: Zadoc Kahn

text: Proust

text: Le Figaro

text: À la recherche du temps perdu

categories: People from Besançon,1842 births,1885 deaths,French people of Jewish descent,École Normale Supérieure alumni,French journalists,Burials at Montparnasse Cemetery,Chevaliers of the Légion d'honneur

paragraph: Henry Aron

paragraph: Henry Aron (11 November 1842 – 13 November 1885) was a French journalist and political essayist. He wrote for several prominent Parisian journals and was director of the "Journal officiel de la République française" from 1876 until 1881. He also served in the government of Léon Gambetta, France's 45th Prime Minister. Aron was born in Besançon and died in Paris at the age of 43. He was awarded the Legion of Honor in 1878.

paragraph: Section::::Life and career.

paragraph: Aron, the maternal uncle of the historian Henri Hauser, was born in Besançon to a middle-class Jewish family of republican sympathies. His father, Charles Aron, was a merchant and exporter. Aron began his education at the Lycée Charlemagne in Paris. He went on to the École Normale Supérieure and obtained a fellowship there in 1865, but gave up teaching to pursue a career in journalism, initially writing for the "Journal des Débats" and the "Revue politique et littéraire". He later became the secretary of the "Revue des Deux Mondes".

paragraph: On the suggestion of Ernest Picard, France's Interior Minister in the early days of the French Third Republic, he was appointed director of the "Journal officiel de la République française" in 1876. He left his post on the resignation of the government in May 1877 but resumed it in October upon the reelection of a Republican majority. The following year he was decorated with the Legion of Honor for his service to the journal. Aron became one of the founding council members of the Société des Études Juives in 1880. He resigned his post at the "Journal officiel" in 1881 when it came under state control and then served in the government of Léon Gambetta as Director of Political Affairs in the Ministry of Foreign Affairs from 1881 to 1882. Afterwards, he returned to the "Journal des Débats" as its literature and theatre critic, but his deteriorating health eventually forced him to retire.

paragraph: Aron figured several times in the antisemitic tracts of Édouard Drumont, his old classmate at Lycée Charlemagne, who deeply resented Aron's success. In "La France juive" in which Drumont attacked the role of Jews in French society and argued for their exclusion, he accused Aron of firing him from a minor position at the "Journal officiel" because he was a Christian. Drumont later wrote in "La Libre Parole", five years after Aron's death:

paragraph: I had been a student at the Lycée Charlemagne, where I was a classmate of the Jew Aron, who was undoubtedly a Jew, since he was already director of the "Journal officiel" and holder of the Legion of Honour, while I was still struggling to earn a living.

paragraph: Henry Aron died of tuberculosis in Paris at the age of 43 and was buried in Montparnasse Cemetery on 15 November 1885. His funeral was conducted by the Chief Rabbi of Paris, Zadoc Kahn, with the eulogy given by Tony Baugier, the director of the "Journal officiel" at the time.

paragraph: Aron had married Pauline Veil-Picard, the daughter of a wealthy banker in Besançon, on 26 May 1879. The couple had one daughter, Germaine-Jeanne Aron de Faucompré, who was only a year old when her father died. She was later adopted by Pauline's third husband, Xavier-Gustave-Édouard, comte de Faucompré. Germaine-Jeanne married the aristocrat Armand de Rafelis de Saint-Sauveur in 1905. According to Proust, their marriage announcements in "Le Figaro" were the inspiration for the marriage of the characters Gilberte Swann and Robert de Saint-Loup in his novel "À la recherche du temps perdu".

wikidata_label: Henry Aron

wikipedia_title: Henry Aron