text: American

text: avant-garde

text: jazz

text: saxophonist

text: composer

text: bebop

text: free jazz

text: John Coltrane

text: Ornette Coleman

text: timbre

text: harmony

text: melody

text: brass band

text: improvisations

text: Louis Armstrong

text: Cleveland, Ohio

text: Spiritual Unity

text: oboe

text: Charlie "Bird" Parker

text: Little Walter

text: Stanley Turrentine

text: Harold Budd

text: Cecil Taylor

text: Revenant Records

text: Niels-Henning Ørsted Pedersen

text: Summertime

text: Don Cherry

text: John Tchicai

text: Roswell Rudd

text: New York Eye and Ear Control

text: Michael Snow

text: Donald Ayler

text: Impulse Records

text: Beaver Harris

text: Henry Grimes

text: the Cricket

text: Henry Vestine

text: Canned Heat

text: Bobby Few

text: Fondation Maeght

text: Allen Blairman

text: East River

text: suicide

text: Statue of Liberty

text: Liberty Island

text: The New York Times Magazine

text: 2008 Universal fire

text: John Coltrane

text: timbre

text: tenor saxophone

text: vibrato

text: Sun Ra

text: Milford Graves

text: Charles Gayle

text: Ken Vandermark

text: Peter Brötzmann

text: David S. Ware

text: Frank Lowe

text: Frank Wright

text: Charles Tyler

text: Marion Brown

text: Pharoah Sanders

text: Kasper Collin

text: My Name Is Albert Ayler

text: Folkjokeopus

text: guitarist

text: singer-songwriter

text: Roy Harper

text: liner notes

text: Stan Douglas

text: George Lewis

text: Douglas Ewart

text: Marc Ribot

text: Henry Grimes

wikipedia_title:
United States
Avant-garde
Jazz
Saxophone
Composer
Bebop
Free jazz
John Coltrane
Ornette Coleman
Timbre
Harmony
Melody
Brass band
Free improvisation
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Cleveland
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Oboe
Charlie Parker
Little Walter
Stanley Turrentine
Harold Budd
Cecil Taylor
Revenant Records
Niels-Henning Ørsted Pedersen
Summertime (George Gershwin song)
Don Cherry (trumpeter)
John Tchicai
Roswell Rudd
New York Eye and Ear Control
Michael Snow
Donald Ayler
Impulse! Records
Beaver Harris
Henry Grimes
The Cricket (magazine)
Henry Vestine
Canned Heat
Bobby Few
Fondation Maeght
Allen Blairman
East River
Suicide
Statue of Liberty
Liberty Island
The New York Times Magazine
2008 Universal fire
John Coltrane
Timbre
Tenor saxophone
Vibrato
Sun Ra
Milford Graves
Charles Gayle
Ken Vandermark
Peter Brötzmann
David S. Ware
Frank Lowe
Frank Wright (jazz musician)
Charles Tyler
Marion Brown
Pharoah Sanders
Kasper Collin
My Name Is Albert Ayler (film)
Folkjokeopus
Guitarist
Singer-songwriter
Roy Harper (singer)
Liner notes
Stan Douglas
George Lewis (trombonist)
Douglas Ewart
Marc Ribot
Spiritual Unity (Marc Ribot album)
Henry Grimes

categories: ESP-Disk artists,African-American jazz musicians,Avant-garde jazz saxophonists,American musicians who committed suicide,American male saxophonists,20th-century male musicians,Musicians from Cleveland,20th-century saxophonists,Suicides in New York City,Jazz musicians from Ohio,Male suicides,Jazz musicians who committed suicide,1970 deaths,Impulse! Records artists,Free jazz saxophonists,1936 births,Suicides by drowning,African-American woodwind musicians,20th-century American musicians,American jazz saxophonists

paragraph: Albert Ayler

paragraph: Albert Ayler (; July 13, 1936 – November 25, 1970) was an American avant-garde jazz saxophonist, singer and composer.

paragraph: After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s. However, some critics argue that while Ayler's style is undeniably original and unorthodox, it does not adhere to the generally accepted critical understanding of free jazz. In fact, Ayler's style is difficult to categorize in any way, and it evoked incredibly strong and disparate reactions from critics and fans alike. His innovations have inspired subsequent jazz musicians.

paragraph: His trio and quartet records of 1964, such as "Spiritual Unity" and "The Hilversum Session", show him advancing the improvisational notions of John Coltrane and Ornette Coleman into abstract realms where whole timbre, and not just mainly harmony with melody, is the music's backbone. His ecstatic music of 1965 and 1966, such as "Spirits Rejoice" and "Truth Is Marching In", has been compared by critics to the sound of a brass band, and involved simple, march-like themes which alternated with wild group improvisations and were regarded as retrieving jazz's pre-Louis Armstrong roots.

paragraph: Section::::Biography.

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

paragraph: Born in Cleveland, Ohio, Ayler was first taught alto saxophone by his father Edward, who was a semiprofessional saxophonist and violinist. Edward and Albert played alto saxophone duets in church and often listened to jazz records together, including swing era jazz and then-new bop albums. Ayler's upbringing in the church had a great impact on his life and music, and much of his music can be understood as an attempt to express his spirituality, including the aptly titled "Spiritual Unity", and his album of spirituals, "Goin' Home", which features "meandering" solos that are meant to be treated as meditations on sacred texts, and at some points as "speaking in tongues" with his saxophone. Ayler's experience in the church and exposure to swing jazz artists also impacted his sound: his wide vibrato was similar to that of gospel saxophonists, who sought a more vocal-like sound with their instruments, and to that of brass players in New Orleans swing bands.

paragraph: Ayler attended John Adams High School on Cleveland's East Side, and graduated in 1954 at the age of 18. He later studied at the Academy of Music in Cleveland with jazz saxophonist Benny Miller. Ayler also played the oboe in high school. As a teenager, Ayler's understanding of bebop style and mastery of standard repertoire earned him the nickname of "Little Bird", after Charlie "Bird" Parker, in the small Cleveland jazz scene.

paragraph: In 1952, at the age of 16, Ayler began playing bar-walking, honking, R&B-style tenor with blues singer and harmonica player Little Walter, spending two summer vacations with Walter's band. In 1958, after graduating from high school, Ayler joined the United States Army, where he switched from alto to tenor sax and jammed with other enlisted musicians, including tenor saxophonist Stanley Turrentine. Ayler also played in the regiment band, along with future composer Harold Budd. In 1959 he was stationed in France, where he was further exposed to the martial music that would be a core influence on his later work. After his discharge from the army, Ayler tried to find work in Los Angeles and Cleveland, but his increasingly iconoclastic playing, which had moved away from traditional harmony, was not welcomed by traditionalists.

paragraph: Ayler relocated to Sweden in 1962, where his recording career began, leading Swedish and Danish groups on radio sessions and jamming as an unpaid member of Cecil Taylor's band in the winter of 1962-63. (Long-rumored tapes of Ayler performing with Taylor's group were released by Revenant Records in 2004, as part of a 10-CD set.) The album "My Name Is Albert Ayler" is a session of standards recorded for a Copenhagen radio station with local musicians including Niels-Henning Ørsted Pedersen and drummer Ronnie Gardiner, with Ayler playing tenor and soprano on tracks such as "Summertime".

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

paragraph: In 1963, Ayler returned to the US and settled in New York City, where he continued to develop his personal style and occasionally played alongside free jazz pianist Cecil Taylor.

paragraph: 1964 was the most well-documented year of Ayler's career, during which he recorded many albums, the first of which was "Witches and Devils" in March of that year. Ayler also began his rich relationship with ESP-Disk Records in 1964, recording his breakthrough album (and ESP's very first jazz album) "Spiritual Unity" for the then-fledgling record label. ESP-Disk came to play an integral role in recording and disseminating free jazz. "Spiritual Unity" featured the trio that Ayler had just assembled that summer, including bassist Gary Peacock and drummer Sunny Murray. The liner notes of "Spiritual Unity" include a brief description of the musicians on that day, July 10, 1964, in the Variety Arts Recording Studio.

paragraph: On July 17, 1964, the members of this trio, along with trumpet player Don Cherry, alto saxophonist John Tchicai, and trombonist Roswell Rudd, collaborated in recording "New York Eye and Ear Control", a freely improvised soundtrack to Canadian artist and filmmaker Michael Snow's film of the same name.

paragraph: During this time, Ayler began to garner some attention from critics, although he was not able to foster much of a fan following. However, later in 1964, Ayler, Peacock, Murray, and Cherry were invited to travel to Europe for a brief Scandinavian tour, which too yielded some new recordings, including "The Copenhagen Tapes", "Vibrations", and "The Hilversum Session".

paragraph: Ayler recorded "Bells" on May 1, 1965. It is a ferociously-paced 20-minute improvisation featuring his signature military-march influenced melodies. "Spirits Rejoice" was recorded on September 23, 1965, at Judson Hall in New York City, and features a much larger band than the sparse trio of his earlier album "Spiritual Unity". "The Encyclopedia of Popular Music" describes "Spirits Rejoice" as a "riotous, hugely emotional and astonishingly creative celebration of the urge to make noise." Both albums feature Albert's brother, trumpet player Donald Ayler, who translated his brother's expansive approach to improvisation to the trumpet. Donald played with Albert until he experienced a debilitating nervous breakdown in 1967.

paragraph: In 1966 Ayler was signed to Impulse Records at the urging of Coltrane, the label's star attraction at that time. But even on Impulse, Ayler's radically different music never found a sizable audience. Ayler's first set for Impulse was recorded a few weeks before Christmas in 1966, entitled "Albert Ayler in Greenwich Village". Ayler performed with his brother, Michel Samson, Beaver Harris, Henry Grimes, and Bill Folwell, while Coltrane was in attendance. For a tune titled "For John Coltrane," Ayler returned to the alto saxophone for the first time in years.

paragraph: Ayler first sang on a recording in a version of "Ghosts" performed in Paris in 1966, in which his vocal style was similar to that of his saxophone, with an eerie disregard for pitch. Ayler continued to experiment with vocals for the rest of his career.

paragraph: In 1967, John Coltrane died of liver cancer, and Ayler was asked to perform at his iconic funeral. It is said that during his performance, Ayler ripped his saxophone from his mouth at two points: once, to emit a cry of anguish, the other a cry of joy to symbolize his friend and mentor's ascension into heaven.

paragraph: Section::::Biography.:Final years and death.

paragraph: For the next two -and-a-half years Ayler began to move from a mostly improvisatory style to one that focused more closely on compositions. This was largely a result of pressures from Impulse who, unlike ESP-Disk, placed heavier emphasis on accessibility than artistic expression. In 1967 and 1968, Ayler recorded three LPs that featured the lyrics and vocals of his girlfriend Mary Maria Parks and introduced regular chord changes, funky beats, and electronic instruments.

paragraph: Ayler himself sang on his album "New Grass", which hearkened back to his roots in R&B as a teenager. However, this album was remarkably unsuccessful, scorned by Ayler fans and critics alike. Ayler staunchly asserted that he wanted to move in this R&B and rock-and-roll direction, and that he was not simply succumbing to the pressures of Impulse and the popular music of that day, and it is true that Ayler heavily emphasizes the spirituality that seems to define the bulk of his work. "New Grass" begins with the track "Message from Albert," in which Ayler speaks directly to his listener, explaining that this album was nothing like his ones before it, that was of "a different dimension in [his] life." He claims that, "through meditation, dreams, and visions, [he has] been made a Universal Man, through the power of the Creator…"

paragraph: In 1968, Ayler submitted an impassioned, rambling open letter to "the Cricket" magazine entitled "To Mr. Jones—I Had a Vision," in which he describes startling apocalyptic spiritual visions. He "saw in a vision the new Earth built by God coming out of Heaven," and implores the readers to share the message of Revelations, insisting that "This is very important. The time is now."

paragraph: His final album, "Music Is the Healing Force of the Universe", featured rock musicians such as Henry Vestine of Canned Heat alongside jazz musicians like pianist Bobby Few. This was a return to his blues-roots with very heavy rock influences, but did feature more of Ayler's signature timbre variations and energetic solos than the unsuccessful "New Grass".

paragraph: In July 1970 Ayler returned to the free jazz idiom for a group of shows in France (including at the Fondation Maeght), but the band he was able to assemble (Call Cobbs, bassist Steve Tintweiss and drummer Allen Blairman) was not regarded as being of the caliber of his earlier groups.

paragraph: Ayler disappeared on November 5, 1970, and he was found dead in New York City's East River on November 25, a presumed suicide. For some time afterwards, rumors circulated that Ayler had been murdered, with a long-standing urban legend that the Mafia had tied him to a jukebox. Later, however, Parks would say that Ayler had been depressed and feeling guilty, blaming himself for his brother's problems. She stated that, just before his death, he had several times threatened to kill himself, smashed one of his saxophones over their television set after she tried to dissuade him, and then took the Statue of Liberty ferry and jumped off as it neared Liberty Island. Ayler was also seen several times in the weeks before his death dressed in a full, buttoned overcoat while walking through Central Park in temperatures above . He is buried in Highland Park Cemetery in Beachwood, Ohio.

paragraph: On June 25, 2019, "The New York Times Magazine" listed Albert Ayler among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

paragraph: Section::::Artistry.

paragraph: Ayler routinely showcased his highly untraditional personal saxophone style in very conventional musical contexts, including children's songs, march melodies, and gospel hymns. However, Ayler's wild energy and intense improvisations transformed them into something nearly unrecognizable. Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era. Phil Hardy says that Ayler "dismantled" melody and harmony in order to more deeply explore "the physical properties" of his saxophone. Ayler wished to free himself and his bandmates to improvise, relate to one another, and relate to their instruments on a more raw, "primal" level.

paragraph: The intensely spiritual aspect of Ayler's music was clearly aligned with the beliefs of jazz saxophonist John Coltrane, who was profoundly affected by the "otherworldly" sounds of Ayler's music. This effect is especially evident in Coltrane's albums "Meditations" and "Stellar Regions". Coltrane served as a mentor throughout Ayler's life, providing financial and professional support. This intensity, the extremes to which Ayler took his tenor saxophone, is the most defining aspect of his sound. His style is characterized by timbre variations, including squeaks, honks, and improvisation in very high and very low registers. He possessed a deep blistering tone—achieved by using the stiff plastic Fibrecane no. 4 reeds on his tenor saxophone—and used a broad, pathos-filled vibrato.

paragraph: Ayler experimented with microtonality in his improvisations, seeking to explore the sounds that fall between the notes in a traditional scale. This technique was best showcased when he played, as he often did, without a piano, backed only by bass and drums. Ayler also resisted the standard swing beat, and instead built momentum through the frenetic speed of his improvisatory lines, which he forcefully overblew from his saxophone.

paragraph: Jazz historian Ted Gioia describes Ayler as a "virtuoso of the coarse and anomalous," and claims that Ayler aimed to break away from the constraints of playing notes and instead to "enter into a new realm in which the saxophone created ""sound""." Ayler undeniably succeeded in doing this; he produced sounds that were unlike any made by jazz saxophonists before him. However, while some found a powerful artistic voice, even musical genius, in these sounds, others found only noise.

paragraph: Section::::Influence and legacy.

paragraph: At no point in his career was Ayler allowed the comfort of a steady audience. Despite largely positive critical reception, he remained poor for his entire life and often sought financial support from his family and fellow musicians, including Coltrane.

paragraph: However, Ayler's influence is still felt, and not only among jazz musicians. His wild sound foreshadowed contemporary hardcore, noise, and experimental rock styles. Albert Ayler is one of the most revered historical figures in the genre of free jazz along with the likes of Sun Ra, Cecil Taylor, John Coltrane, Ornette Coleman, and Milford Graves (who drummed with Ayler). To this day his albums are among the best selling in the narrow genre of "free jazz", along with the aforementioned legends. The so-called "titans" of free jazz in the 21st century who play saxophone, such as Charles Gayle, Ken Vandermark, Peter Brötzmann, and the late David S. Ware, were all heavily influenced by Albert Ayler. Ayler was also a crucial influence on some of his renowned contemporaries such as Frank Lowe, Rev. Frank Wright, Charles Tyler (on Ayler's album "Bells"), Marion Brown, and Frank Smith (on ESP-Disk "Burton Greene Quartet"). He was also a crucial influence on John Coltrane and Pharoah Sanders, who played together on Coltrane's tune "The Father and the Son and the Holy Ghost", a tune that was based almost entirely on Albert Ayler's musicianship as Coltrane explained in the liner notes of his album "Meditations", an album which brought Sanders into notoriety and marked a momentous change in the direction of Coltrane's music.

paragraph: The Swedish filmmaker Kasper Collin was so inspired by Ayler's music and life that he produced a documentary, "My Name Is Albert Ayler", which includes interviews with ESP-Disk founder Bernard Stollman, along with interviews with Ayler's family, girlfriends and bandmates. The film includes footage of Albert Ayler (from 1962, 1964, 1966 and 1970) and is built around his music and recordings of his voice (from interviews made between 1963 and 1970).

paragraph: On his 1969 album "Folkjokeopus", English guitarist/singer-songwriter Roy Harper, dedicated the song "One for All" (""One for Al"") to Albert Ayler, "who I knew and loved during my time in Copenhagen". Harper considered Ayler to be "one of the leading jazzmen of the age". In the "Folkejokeopus" liner notes, Harper states, "In many ways he [Ayler] was the king".

paragraph: Canadian artist Stan Douglas's video installation "Hors-champs" (meaning "off-screen") addresses the political context of free jazz in the 1960s, as an extension of black consciousness. Improvising Ayler's "Spirits Rejoice", four American musicians, George Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums), who lived in France during the free jazz period in the 1960s, perform in the installation, a recreation of 1960s French television.

paragraph: Composer and guitarist Marc Ribot recorded an album dedicated to Ayler's "Spiritual Unity" in 2005 with former Ayler bassist and free jazz leader Henry Grimes.

paragraph: Section::::References.

paragraph: BULLET::::- "Ayler, Albert—Spirits Rejoice", "Encyclopedia of Popular Music". Oxford University Press, November 17, 2006. Web.

paragraph: BULLET::::- Ayler, Albert. "To Mr. Jones—I Had a Vision". "The Cricket" 4.

paragraph: BULLET::::- Brody, Richard. "My Name is Albert Ayler", "The New Yorker", November 12, 2007.

paragraph: BULLET::::- Claghorn, Charles Eugene. "The Biographical Dictionary of Jazz". Prentice-Hall, 1982.

paragraph: BULLET::::- ESP-Disk' Discography. Esp-Disk.

paragraph: BULLET::::- Gioia, Ted. "The History of Jazz". Oxford University Press, 2011.

paragraph: BULLET::::- Hardy, Phil. "Albert Ayler", "The Faber Companion to 20th Century Popular Music", 2001. Web.

paragraph: BULLET::::- Jenkins, Todd S. "Free Jazz and Free Improvisation: An Encyclopedia", Volume 1. Greenwood Press, 2004.

paragraph: BULLET::::- Jost, Ekkehard. "Free Jazz". Da Capo Press, 1975.

paragraph: BULLET::::- Kernfeld, Barry. "Albert Ayler." Grove Music Online. Oxford University Press. Web.

paragraph: BULLET::::- Lewis, John. "John Coltrane's Funeral", "The Guardian", June 16, 2011.

paragraph: BULLET::::- Litweiler, John. "The Freedom Principle: Jazz After 1958". William Morrow and Company, Inc, 1984.

paragraph: BULLET::::- Mandel, Howard. "Albert Ayler's Fiery Sax, Now on Film", NPR, June 7, 2008.

paragraph: BULLET::::- Richardson, Mark. "Funerals and Ghosts and Enjoying the Push", "Pitchfork". August 13, 2010.

paragraph: BULLET::::- Schwartz, Jeff. "Review: Healing Force: The Songs of Albert Ayler." "American Music", Vol. 27. JSTOR.

paragraph: BULLET::::- Shipton, Alyn. A New History of Jazz. Continuum, 2001.

paragraph: BULLET::::- Weiss, Jason. "Always in Trouble: An Oral History of ESP-Disk: The Most Outrageous Record Label in America". Wesleyan University Press, 2012.

paragraph: BULLET::::- Whitehead, Kevin. "Albert Ayler: Testifying the Breaking Point", NPR, May 8, 2001.

paragraph: BULLET::::- Wilmer, Valerie. "As Serious As Your Life: John Coltrane and Beyond", London, Serpent's Tail, 1993

paragraph: BULLET::::- Wilmer, Valerie. "Obituary: Donald Ayler", "The Guardian", November 15, 2001.

paragraph: BULLET::::- Woideck, Carl. "The John Coltrane Companion: Five Decades of Commentary". Schirmer Books, 1998.

paragraph: Section::::External links.

paragraph: BULLET::::- "Albert Ayler: His Life and Music" (e-book by Jeff Schwartz, 1992)

paragraph: BULLET::::- Albert Ayler

paragraph: BULLET::::- , in German language.

paragraph: BULLET::::- Albert Ayler Discography Project

paragraph: BULLET::::- Albert Ayler at NPR Music

description: American jazz saxophonist

wikidata_label: Albert Ayler

wikipedia_title: Albert Ayler


text: French

text: Baroque

text: Duchy of Lorraine

text: chiaroscuro

text: Vic-sur-Seille

text: Diocese of Metz

text: Holy Roman Empire

text: Jacques Bellange

text: Nancy

text: Baroque

text: naturalism

text: Caravaggio

text: Utrecht School

text: French

text: Dutch

text: Hendrick Terbrugghen

text: Lunéville

text: Duchy of Lorraine

text: Anthony Blunt

text: Gerrit van Honthorst

text: Franciscan

text: Caravaggio

text: The Fortune Teller

text: Jacques Bellange

text: chiaroscuro

text: Jusepe de Ribera

text: Tenebrist

text: Frick Collection

text: Vermeer

text: Peter Greenaway

text: The Draughtsman's Contract

text: Job Mocked by His Wife

text: Francis Veber

text: Le Dîner de Cons

text: Merchant Ivory

text: Le Divorce

text: Magdalene with the Smoking Flame

text: Part of Your World

text: The Little Mermaid

text: Musée des Beaux-Arts de Dijon

text: Musée des Beaux-Arts de Nancy

text: Nancy

text: Musée des Beaux-Arts de Nantes

text: Rennes

text: Bergues

text: Vic-sur-Seille

text: Museum of Grenoble

text: Musée du Louvre

text: Albi

text: Gemaldegalerie

text: The National Museum of Western Art

text: Museo del Prado

text: Nationalmuseum

text: Preston Hall

text: Stockton-on-Tees

text: New Walk Museum

text: Lviv National Art Gallery

text: Getty Center

text: Kimbell Art Museum

text: Los Angeles County Museum of Art

text: Metropolitan Museum of Art

text: Tenebrism

text: Joseph Wright of Derby

text: Georges de La Tour at Gallery of Art

text: Georges de La Tour. Pictures

text: and Biography

categories: People from Lunéville,1653 deaths,People from Lorraine (duchy),1593 births,French Baroque painters,People from Moselle (department)

paragraph: Georges de La Tour

paragraph: Georges de La Tour (March 13, 1593 – January 30, 1652) was a French Baroque painter, who spent most of his working life in the Duchy of Lorraine, which was temporarily absorbed into France between 1641 and 1648. He painted mostly religious chiaroscuro scenes lit by candlelight.

paragraph: Section::::Personal life.

paragraph: Georges de La Tour was born in the town of Vic-sur-Seille in the Diocese of Metz, which was technically part of the Holy Roman Empire, but had been ruled by France since 1552. Baptism documentation revealed that he was the son of Jean de La Tour, a baker, and Sybille de La Tour, née Molian. It has been suggested that Sybille came from a partly noble family. His parents had seven children in all, with Georges being the second-born.

paragraph: La Tour's educational background remains somewhat unclear, but it is assumed that he traveled either to Italy or the Netherlands early in his career. He may possibly have trained under Jacques Bellange in Nancy, the capital of Lorraine, although their styles are very different. His paintings reflect the Baroque naturalism of Caravaggio, but this probably reached him through the Dutch "Caravaggisti" of the Utrecht School and other Northern (French and Dutch) contemporaries. In particular, La Tour is often compared to the Dutch painter Hendrick Terbrugghen.

paragraph: In 1617 he married Diane Le Nerf, from a minor noble family, and in 1620 he established his studio in her quiet provincial home-town of Lunéville, part of the independent Duchy of Lorraine which was occupied by France, during his lifetime, in the period 1641–1648. He painted mainly religious and some genre scenes. He was given the title "Painter to the King" (of France) in 1638, and he also worked for the Dukes of Lorraine in 1623–4, but the local bourgeoisie provided his main market, and he achieved a certain affluence. He is not recorded in Lunéville between 1639 and 1642, and may have traveled again; Anthony Blunt detected the influence of Gerrit van Honthorst in his paintings after this point. He was involved in a Franciscan-led religious revival in Lorraine, and over the course of his career he moved to painting almost entirely religious subjects, but in treatments with influence from "genre" painting.

paragraph: Georges de La Tour and his family died in 1652 in an epidemic in Lunéville. His son Étienne (born 1621) was his pupil.

paragraph: Section::::Works.

paragraph: La Tour's early work shows influences from Caravaggio, probably via his Dutch followers, and the genre scenes of cheats—as in "The Fortune Teller"—and fighting beggars clearly derive from the Dutch Caravaggisti, and probably also his fellow-Lorrainer, Jacques Bellange. These are believed to date from relatively early in his career.

paragraph: La Tour is best known for the nocturnal light effects which he developed much further than his artistic predecessors had done, and transferred their use in the genre subjects in the paintings of the Dutch "Caravaggisti" to religious painting in his. Unlike Caravaggio his religious paintings lack dramatic effects. He painted these in a second phase of his style, perhaps beginning in the 1640s, using chiaroscuro, careful geometrical compositions, and very simplified painting of forms. His work moves during his career towards greater simplicity and stillness—taking from Caravaggio very different qualities than Jusepe de Ribera and his Tenebrist followers did.

paragraph: He often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between their work in versions of La Tour's compositions is difficult. The version of the "Education of the Virgin" in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings (example left), of great skill but claimed to be different in style to those of La Tour, have been attributed to an unknown "Hurdy-gurdy Master". All show older male figures (one group in Malibu includes a female), mostly solitary, either beggars or saints.

paragraph: After his death at Lunéville in 1652, La Tour's work was forgotten until rediscovered by Hermann Voss, a German scholar, in 1915; some of La Tour's work had in fact been confused with Vermeer, when the Dutch artist underwent his own rediscovery in the nineteenth century.

paragraph: Section::::In film.

paragraph: Director Peter Greenaway has described La Tour's work as a primary influence on his 1982 film "The Draughtsman's Contract".

paragraph: "Job Mocked by His Wife" by La Tour appears in the 2003 Francis Veber film "Le Dîner de Cons".

paragraph: A reference to a work purportedly by La Tour is featured prominently in the 2003 Merchant Ivory film "Le Divorce".

paragraph: "Magdalene with the Smoking Flame" (not "Penitent Magdalene") is the painting in Ariel's grotto she longingly motions toward when she yearns to know about fire while singing "Part of Your World" in Disney's 1989 film "The Little Mermaid".

paragraph: Section::::Galleries containing La Tour's works.

paragraph: BULLET::::- Canada

paragraph: BULLET::::- Art Gallery of Ontario, Musée des Beaux-Arts de l'Ontario, Toronto, Ontario

paragraph: BULLET::::- France

paragraph: BULLET::::- Musée des Beaux-Arts de Dijon

paragraph: BULLET::::- Musée des Beaux-Arts de Nancy in Nancy, former capital of Lorraine, has the largest collection.

paragraph: BULLET::::- Musée des Beaux-Arts de Nantes

paragraph: BULLET::::- Musée des Beaux-Arts de Rennes

paragraph: BULLET::::- Musée de Bergues

paragraph: BULLET::::- Musée départemental d'Art ancien et contemporain, Épinal

paragraph: BULLET::::- Musée Georges de La Tour, Vic-sur-Seille

paragraph: BULLET::::- Museum of Grenoble

paragraph: BULLET::::- Musée du Louvre, Paris, and many provincial galleries (Nantes, Rennes etc.).

paragraph: BULLET::::- Musée Toulouse-Lautrec, Albi

paragraph: BULLET::::- Germany

paragraph: BULLET::::- Gemaldegalerie, Berlin

paragraph: BULLET::::- Japan

paragraph: BULLET::::- The National Museum of Western Art, Tokyo

paragraph: BULLET::::- Spain

paragraph: BULLET::::- Museo del Prado, Madrid

paragraph: BULLET::::- Sweden

paragraph: BULLET::::- Nationalmuseum, Stockholm

paragraph: BULLET::::- UK

paragraph: BULLET::::- Preston Hall Museum in Stockton-on-Tees, England, has "".

paragraph: BULLET::::- Leicester's New Walk Museum holds 'The Choirboy'

paragraph: BULLET::::- Ukraine

paragraph: BULLET::::- Lviv National Art Gallery

paragraph: BULLET::::- USA

paragraph: BULLET::::- Cleveland Museum of Art, Cleveland, Ohio

paragraph: BULLET::::- Chrysler Museum of Art, Norfolk, Virginia

paragraph: BULLET::::- Seattle Art Museum, Seattle, Washington

paragraph: BULLET::::- De Young, San Francisco

paragraph: BULLET::::- Frick, New York

paragraph: BULLET::::- Getty Center, Los Angeles, California

paragraph: BULLET::::- Kimbell Art Museum, Fort Worth, Texas

paragraph: BULLET::::- Los Angeles County Museum of Art, Los Angeles, California

paragraph: BULLET::::- Metropolitan Museum of Art, New York

paragraph: BULLET::::- National Gallery of Art, Washington, D.C.

paragraph: Section::::See also.

paragraph: BULLET::::- Tenebrism

paragraph: BULLET::::- Joseph Wright of Derby

paragraph: Section::::References.

paragraph: BULLET::::- Le Floch, Jean-Claude. "La Tour, Le Clair et L'Obscur", Herscher, 1995.

paragraph: BULLET::::- Le Floch, Jean-Claude. "Le signe de contradiction : essai sur Georges de La Tour et son oeuvre", Presses Universitaires de Rennes 2, 1995.

paragraph: BULLET::::- Thuilier, Jacques. "Georges de La Tour", Flammarion, 1992.

paragraph: BULLET::::- Wright, Christopher. "The Art of the Forger", 1984, Gordon Fraser, London. .

paragraph: Section::::External links.

paragraph: BULLET::::- Georges de La Tour at Gallery of Art

paragraph: BULLET::::- Attributed painting at the Kimbell Art Museum of Fort Worth

paragraph: BULLET::::- Georges de La Tour. Pictures and Biography

paragraph: BULLET::::- Judovitz, Dalia. Georges de La Tour and the Enigma of the Visible, 2017.

alias:
Georges du Mesnil De La Tour
Georges du Mesnil de La Tour
Dumesnil La Tour
Claude du Menil De La Tour
Claude du Menil de La Tour
Georges du Mesnil La Tour
Georges Du Mesnil de La Tour
Georges Du Mesnil La Tour
Zhorzh dʹo La Tur
Georges Dumesnil La Tour
Georges De La Tour
Georges de la Tour
Ménil La Tour
Georges Latour
Georges de Latour
Georges du Mesnil Latour
Georges Dumesnil Latour
Georges Du Mesnil De La Tour
George see La Tour For de La Tour
Menil La Tour
georges latour
de la Tour
Sr. Latour
g. de la tour
Latour
La Tour
georges de la tour

description: Lorrain painter

wikidata_label: Georges de La Tour

wikipedia_title: Georges de La Tour


text:
India
women's welfare
Government of India
Bharat Ratna
Maharshi
Marathi
Murud, Ratnagiri
Murud.
Murud
Raghunath Dhondo Karve
Murud
Murud
Fergusson College
Pune
Maharashtra
Vasant Kanetkar
Amol Palekar
Doctor of Letters
Banaras Hindu University
Pune University
S.N.D.T. University
Padma Vibhushan
University of Mumbai
Bharat Ratna
Maharshi Karve Stree Shikshan Samstha

categories: Women's education in India,Recipients of the Bharat Ratna,Indian social reformers,Hindu revivalists,Recipients of the Padma Vibhushan in literature & education,1962 deaths,Indian centenarians,19th-century Indian educators,20th-century Indian educators,Activists from Maharashtra,1858 births,People from Ratnagiri district

paragraph: Dhondo Keshav Karve

paragraph: Dhondo Keshav Karve (18 April 1858 – 9 November 1962), popularly known as Maharshi Karve, was a social reformer in India in the field of women's welfare. In his honour, Queen's Road in Mumbai (Bombay) was renamed to Maharshi Karve Road. Karve was a pioneer in promoting widows' education. The Government of India awarded him with the highest civilian award, the Bharat Ratna, in 1958, the year of his 100th birthday."

paragraph: The appellation Maharshi, which the Indian public often assigned to Karve, means ”a great sage”. He was also sometimes affectionately called "Annā Karve"; in the Marathi-speaking community to which Karve belonged, the appellation "Annā" is often used to address either one's father or an elder brother. He was also the first living Indian to appear on a postal stamp of India.

paragraph: Section::::Personal life.

paragraph: Karve was born at Sheravali, his ancestral home, but spent most of his childhood at Murud, Ratnagiri. He completed his primary education at a government school in Murud. Since childhood, Anna was very brilliant, intelligent and obedient. Apart from good upbringing, daily recitations of religious texts like Ramavijay, Harivijay & Shivalilamrut, made his pronunciations clear and his language pure. It was on his guru’s advice that Karve used to read newspapers in Durga temple near the school, from 5 pm till sunset because it was during this time that the devotees flooded the temple, which served the intention of making maximum people aware of public issues. When he started earning, Anna took the lead and repaired the decaying baton of the same temple. His inspiring life as a responsible citizen truly started from this place. He loved Murud with all his heart and hence he did a lot of work for this place through ‘Murud development fund’.

paragraph: It was Murud where he spent pleasant time with his first wife, Radhabai. Raghunath Dhondo Karve (Anna Karve’s elder son) too was born in Murud. After the death of Radhabai, he remarried a widow. This spread far and wide throughout Murud and Maharashtra. The then narrow minded society of Murud did not accept Anna’s decision. It was truly unfortunate. He took it as a challenge and eventually Pune became the place where he did most of his social work for women’s education.

paragraph: Section::::Career as a college professor.

paragraph: During 1891–1914, Karve taught mathematics at Fergusson College in Pune, Maharashtra.

paragraph: Section::::Autobiographical works.

paragraph: Karve wrote two autobiographical works: Ātmawrutta (1928) in Marathi, and Looking Back (1936) in English.

paragraph: Section::::Depictions in popular culture.

paragraph: The Marathi play Himalayachi Saavli (The Shadow of the Himalayas) by Vasant Kanetkar, published in 1972, is loosely based on the life of Karve. The character of Nanasaheb Bhanu is a composite character based on Karve and other Marathi social reformers of the late 19th and early 20th century. The play itself depicts the tension between Bhanu/Karve's public life as a social reformer and his family life due to the social backlash and economic hardships his children and wife had to endure.

paragraph: The 2001 film DhyasParva by Amol Palekar, based on the life of Karve's son Raghunath, also depicts the Karve family, and their social reformation projects. Taluka Dapoli, a research based initiative, made a documentary on life of Maharshi Dhondo Keshav Karve in 2017.

paragraph: Section::::Awards and honours.

paragraph: BULLET::::- 1952 – awarded Doctor of Letters (D. Litt.) by Banaras Hindu University

paragraph: BULLET::::- 1951 – awarded D.Litt. by Pune University

paragraph: BULLET::::- 1954 – awarded D.Litt. by S.N.D.T. University

paragraph: BULLET::::- 1955 – awarded Padma Vibhushan by the Government of India

paragraph: BULLET::::- 1957 – awarded LL.D. by University of Mumbai

paragraph: BULLET::::- 1958 – awarded Bharat Ratna, the highest civilian award of India, by the Government of India

paragraph: Section::::See also.

paragraph: BULLET::::- Maharshi Karve Stree Shikshan Samstha

description: Indian social reformer

wikidata_label: Dhondo Keshav Karve

wikipedia_title: Dhondo Keshav Karve


text:
Japanese mythology
Ninigi-no-Mikoto
Konohanasakuya-hime
Emperors of Japan
Emperor Jimmu
Kojiki
Nihon Shoki
Hoderi
Toyotama-hime
Ryūjin
Ugayafukiaezu
dragon
wani
Emperor Jimmu
Emperor of Japan
Takachiho
Hyuga Province
cereal
grain

paragraph: Hoori

paragraph: , also known as , is in Japanese mythology, the third and youngest son of Ninigi-no-Mikoto and the blossom princess Konohanasakuya-hime. He is one of the ancestors of the Emperors of Japan as the grandfather of Emperor Jimmu. He is also known as .

paragraph: Section::::Mythology.

paragraph: Hoori's legend is told in both the "Kojiki" and the "Nihon Shoki". Hoori was a hunter, and he had an argument with his brother Hoderi, a fisherman, over a fish-hook that Hoori had forced his elder brother to lend him and had lost. Hoderi claimed that Hoori should give back the fish-hook, for he refused to accept another one (due to the belief that each tool is animated and hence unique). Hoori then descended to the bottom of the sea to search, but was unable to find it. Instead, he found Toyotama-hime, the daughter of the sea god, Ryūjin. The sea god helped Hoori find Hoderi's lost hook, and Hoori later married Toyotama-hime.

paragraph: Hoori lived with his wife in a palace under the sea for three years, but after that Hoori became home-sick and wished to return to his own country. His brother forgave him after he returned the hook, and Toyotama-hime gave birth to a son named Ugayafukiaezu. During the time when Toyotamahime was giving birth to her child, she had Hoori swear not to attempt to see her real figure. But he broke his promise and discovered her true form was a dragon (specifically a "wani"). She was ashamed and returned to her father, never to return. Ugayafukiaezu married Toyotama-hime's sister, Tamayori-hime, who brought him up, and she gave birth to Emperor Jimmu, who was the first Emperor of Japan. Hoori reigned in Takachiho, Hyuga Province for 560 years.

paragraph: Hoori is often associated with both his parents and his wife. He is worshiped mainly as a god of cereals or grain. In Japanese mythology, it was said that the part of his name meant fire, but etymologically, it is a different character pronounced , which refers to crops, particularly rice. indicates a crop that is so rich, it bends under its own weight. His alias Hohodemi means "many harvests".

paragraph: Section::::External links.

paragraph: BULLET::::- "Hoderi and Hoori" from "Myths and Legends of Japan" by F. Hadland Davis.

description: mythical character

wikidata_label: Hoori

wikipedia_title: Hoori


text: fl.

text: Provençal

text: jongleur

text: troubadour

text: Gapençais

text: Occitan

text: Albertet Cailla

text: vida

text: jongleur

text: cansós

text: Uc de Lescura

text: Orange

text: Lombardy

text: Savoy

text: Montferrat

text: Malaspina

text: Genoa

text: Este

text: Ferrara

text: Guillem Augier Novella

text: Aimeric de Pegulhan

text: Aimeric de Belenoi

text: Montferrand

text: Dalfí d'Alvernha

text: Gaucelm Faidit

text: Peirol

text: Spain

text: Sisteron

text: Forcalquier

text: Beatrice of Savoy

text: Raymond Berengar IV of Provence

text: tensó

text: tornada

text: descort

text: strophic

text: lai

text: trouvère

text: Colin Muset

text: Mahieu le Juif

text: syllabic

text: melisma

text: phrases

text: through-composed

text: "Mahieu le Juif."

text: Jeanroy, Alfred

text: image of MS R 4,4 fol. 227ro

text: Biblioteca Estense

text: Modena

text: "Old Provençal Miscellany."

text: "Two Provençal Tenzoni."

categories: 1194 births,12th-century French composers,French male classical composers,People from Gap, Hautes-Alpes,13th-century French poets,French male poets,12th-century French poets,13th-century French composers,1221 deaths,Troubadours

paragraph: Albertet de Sestaro

paragraph: Albertet de Sestaro, sometimes called Albertet de Terascon (fl. 1194–1221), was a Provençal jongleur and troubadour from the Gapençais ("Gapensés" in Occitan). Of his total oeuvre, twenty three poems survive. "Albertet" or "Albertetz" is the Occitan diminutive of Albert. Unqualified it usually refers to Albertet de Sestaro, but there was an Albertet Cailla.

paragraph: According to his "vida" he was the son of a noble jongleur named Asar, one of whose pieces may survive. Albertet was reputed for his voice and for the innovative melodies of his short "cansós", but not for his lyrics. Fellow troubadour Uc de Lescura praised Albertet's "votz a ben dir" ("well-spoken-of voice"). He was a welcomed performer and conversationalist in court society. Much of his life was spent at Orange, where he grew wealthy before moving to Lombardy, where he remained from 1210 to 1221. In Italy he frequented the courts of Savoy, Montferrat, Malaspina, Genoa, and the Este in Ferrara. At the Este court he probably came into contact with Guillem Augier Novella, Aimeric de Pegulhan, and Aimeric de Belenoi. He also travelled west of Provence as far as Montferrand, where he met Dalfí d'Alvernha, Gaucelm Faidit, and Peirol, and by some accounts he even took refuge in Spain at some point. Eventually he returned to Sisteron in the Forcalquier, where he died.

paragraph: One of Albertet's most famous works is a satire which heaps praise on seven prominent women of his time, notably Beatrice of Savoy, wife of Raymond Berengar IV of Provence. There is also a "tensó" between Albertet and Aimeric de Pegulhan: "N'Albertz, chausetz a vostre sen". This "tensó" is evidence that Albertet called himself Albert, though later scribes usually employed the diminutive. Albertet also composed a "tenso" with Aimeric de Belenoi. He praised Augier and Gaucelm Faidit, and he honoured Peirol by name in one "tornada":

paragraph: Asides from this request to Peirol, Albertet elsewhere begged his lady to learn his poems, possibly with an eye to the propagation through further singing and recitation:

paragraph: Despite his reputation as a musician, only two of his surviving works— the "Mos coratges m'es camjatz" and "A! mi no fai chantar foilla ni flors" (both "cansós")—have complete melodies, though one other ("En mon cor ai un' aital encobida") is partially extant. There is another piece, a "descort" entitled "Bel m'es oimais", which does not survive with music in its only manuscript but which might have been the model for the strophic lai "Bel m'est li tans" of the trouvère Colin Muset. Another trouvère, Mahieu le Juif, was probably influenced by a piece of Albertet's in composing the text for his song beginning "Par grant". Each piece of Albertet's surviving musical work is distinct, though on the whole it is conservative, written within one tenth interval, syllabic with melismas only at the ends of phrases. "Mos coratges" is conventional but ornate; "En mon cor" appears to have been through-composed; and "A! mi no fai chantar" is complex and subtle, written in a simple style, but with unique intervals and phrasing.

paragraph: Section::::Sources.

paragraph: BULLET::::- Aubrey, Elizabeth. "The Music of the Troubadours". Indiana University Press, 1996. .

paragraph: BULLET::::- Egan, Margarita, ed. and trans. "The Vidas of the Troubadours". New York: Garland, 1984. .

paragraph: BULLET::::- Falck, Robert. "Mahieu le Juif." "Grove Music Online". "Oxford Music Online". Accessed 20 September 2008.

paragraph: BULLET::::- Falvy, Zoltán. "La cour d'Alphonse le Sage et la musique européenne." "Studia Musicologica Academiae Scientiarum Hungaricae", 25, Fasc. 1/4. (1983), pp. 159–170.

paragraph: BULLET::::- Jeanroy, Alfred (1898). "Une imitation d'Albert de Sisteron par Mahieu le Juif," "Romania", 27, with an image of MS R 4,4 fol. 227ro from the Biblioteca Estense in Modena.

paragraph: BULLET::::- Lewent, Kurt. "Old Provençal Miscellany." "The Modern Language Review", 38:2 (Apr., 1943), pp. 106–116.

paragraph: BULLET::::- Parker, Ian R. "Albertet de Sestaro", "Grove Music Online" ed. L. Macy, http://www.grovemusic.com

paragraph: BULLET::::- Shepard, William P. "Two Provençal Tenzoni." "Modern Philology", 23:1 (Aug., 1925), pp. 17–28.

description: French poet

wikidata_label: Albertet de Sestaro

wikipedia_title: Albertet de Sestaro


text: Cecil B. DeMille

text: The Greatest Show on Earth

text: Kellogg

text: Honey Smacks

categories: 1886 births,1964 deaths,People from Barnesville, Ohio,American circus performers

paragraph: Charlie Bell (clown)

paragraph: Charles D. Chase (1886 - September 26, 1964), known professionally as Charlie Bell, was a circus performer for Ringling Bros. and Barnum & Bailey Circus known for his work in Cecil B. DeMille's The Greatest Show on Earth. Known early in his career as the "world's greatest tumbler," he was part of an acrobatic troupe known as Rice, Bell and Baldwin. He joined Ringling Brothers in 1921 and worked there until his retirement in 1956. He was inducted into the International Circus Hall of Fame in 1969. He was also one of four clowns featured on boxes of Kellogg's Honey Smacks cereal in 1956. Bell would often perform with a small dog which he would dress up to look like other animals such as a rabbit or an elephant.

paragraph: Section::::Personal life.

paragraph: Bell married Getrude Bell and had one daughter Charlotte Bell Kora. His two granddaughters, Tessie and Tosca Kora Fornasari, were both circus performers as is his great granddaughter Nicolette Fornasari.

description: American circus performer

wikidata_label: Charlie Bell

wikipedia_title: Charlie Bell (clown)


text: fl.

text: Aquitainian

text: troubadour

text: Provence

text: lyrics

text: vida

text: Agen

text: Pujols

text: castle

text: Agen

text: Pérols-sur-Vézère

text: Limousin

text: vida

text: vidas

text: jongleur

text: Alfonso II of Provence

text: Barjols

text: Ramon Berenguer IV, count of Provence

text: Garsenda of Sabran

text: Beatrice of Savoy

text: Ramon Berenguer IV, count of Provence

text: Fratres Pontifices

text: Beneic

text: Avignon

text: trobar leu

text: descort

text: partimen

text: cansos

text: sirventes

text: cansos

text: descort

text: Bertran de Born

text: Giraut IV Trencaleon d'Armagnac

text: Garin lo Brun

text: Dalfi d'Alvernha

text: Peire de Gavaret

text: Raimon de Miraval

text: Pons de Capdoill

text: Bertran II de la Tor

text: tornada

text: Beatrice of Savoy

text: Ramon Berenguer IV of Provence

text: Blacatz

text: Emperor Frederick II

text: Jaufre Reforzat de Trets

text: Ferdinand III of Castile-León

text: "One should with one's good lord"

categories: 12th-century births,13th-century deaths,French male poets,Troubadours

paragraph: Elias de Barjols

paragraph: Elias de Barjols (fl. 1191–1230) was a bourgeois Aquitainian troubadour who established himself in Provence and retired a monk. Eleven of his lyrics survive, but none of his music.

paragraph: According to his "vida" Elias was the son of a merchant and came from Agenais. The name of his birthplace is "peiols" in the manuscripts, but such a name can not be found in Agenais nor elsewhere: the most recent edition suggests that "peiols" is a scribal error for "Poiols", ancient name of Pujols, castle placed in Agenais, about 25 km from Agen. The identification of "peiols" as Pérols-sur-Vézère, as Stronski proposed in 1906, is untenable, because this place was not a castle and was not in Agenais, but in Limousin. According to his "vida" he was the greatest singer of his age (but such a statement is very frequent in the "vidas") and he travelled widely from court to court as a jongleur with a fellow jongleur named Oliver. They eventually found favour with Alfonso II of Provence: a document dated to 1208 seems to confirm this. Alfonso gave them wives and land in Barjols, where Elias is witness in a document of Ramon Berenguer IV, count of Provence (Alfonso's son) in 1222.

paragraph: According to his "vida" Elias fell in love with (i. e. celebrated) Garsenda of Sabran, the widow of Alfonso II (died 1209), and composed songs for her "as long as she lived", but none of his songs names her explicitly, whereas three of them are dedicated to Beatrice of Savoy, wife of Ramon Berenguer IV, count of Provence. The "vida" is therefore inaccurate in this case.

paragraph: He later entered a hospital of the Fratres Pontifices founded by Beneic in Avignon, where he died.

paragraph: Elias was a practitioner of the "trobar leu" style. Among his works are a "descort", a "partimen", and nine "cansos;" a "sirventes", two "cansos" and another "descort" have a questionable attribution. Probably around 1200 Elias (but attribution is uncertain) wrote a poem describing the "cavalier" "soissebut" (or "cavalher benestan": ideal, or model, knight) with his characteristics taken from his contemporaries, in imitation of a work by Bertran de Born in which the "domna soissebuda" (or "dompna soiseubuda") is described by features of the exemplary noblewomen of Bertran's time. Elias constructs this knight for his lady from the "elegance" of Aimar, the "affability" of Giraut IV Trencaleon d'Armagnac, the "generosity" of Randon (a lord of this name died before 1219, when he is mentioned in the testament of his son-in-law; he was the nephew of the troubadour Garin lo Brun), the "good responses" of Dalfi d'Alvernha, the "wits" of "Peir cui es Monleos" (maybe the troubadour Peire de Gavaret), the "chivalry" of Brian, the "wisdom" of Bertran, the "courtesy" of a "Bels Castellas" (beautiful castellan), the "conviviality" of a certain "Neblos", the "songs" ("chansos") of Raimon de Miraval, the "gaiety" ("guaieza") of Pons de Capdoill, and the "probity" of Bertran II de la Tor.

paragraph: Another poem, "Ben deu hom son bon senhor", written probably around 1225, has two "tornadas" referring to Beatrice of Savoy, husband of Ramon Berenguer IV of Provence, and the lord Blacatz respectively. The stanza preceding them is full of praise for the Emperor Frederick II, suzerain of Provence, who had good relations with both Raymond Berengar and Blacatz at the time.

paragraph: Besides Beatrice and Blacatz, Elias wrote poems to Jaufre Reforzat de Trets and Ferdinand III of Castile-León.

paragraph: Section::::Sources.

paragraph: BULLET::::- Gaunt, Simon, and Kay, Sarah (edd.) "The Troubadours: An Introduction". Cambridge: Cambridge University Press, 1999. .

paragraph: BULLET::::- Harvey, Ruth. "Courtly culture in medieval Occitania" (pp. 8–27). "The Troubadours: An Introduction". Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. .

paragraph: BULLET::::- Stronski, Stanislas, ed. "Le Troubadour Elias de Barjols". Toulouse: Edouard Privat, 1906.

paragraph: BULLET::::- Topsfield, L. T. "Raimon de Miraval and the Art of Courtly Love." "The Modern Language Review", 51:1 (January 1956), pp. 33–41.

paragraph: Section::::External links.

paragraph: BULLET::::- "One should with one's good lord" at Epistolæ: Medieval Women's Latin Letters.

description: French troubadour

wikidata_label: Elias de Barjols

wikipedia_title: Elias de Barjols


text:
king
Kongo
Álvaro I
São Salvador
Soyo
Order of Christ
Portuguese
Pope
King of Portugal
Grand Master
Order of Christ (Kongo Empire)
São Salvador
Portuguese Congo
Angola
Padroado
Portuguese Angola
King of Spain
Iberian Union
Pope Paul V
Emanuele Ne Vunda

categories: 1614 deaths,Manikongo of Kongo,16th-century births,16th-century monarchs in Africa

paragraph: Álvaro II of Kongo

paragraph: Álvaro II Nimi a Nkanga was king of Kongo from 1587 to 1614. He was one of Kongo's most powerful and important kings, who succeeded his father Álvaro I, but not until resolving a dispute with his brother. Both sides brought armies to São Salvador but to avoid bloodshed they agreed to single combat, won by Álvaro.

paragraph: Álvaro faced serious problems with other nobles besides his brother, and in 1590-91 was racked by a serious, though poorly documented, civil war. In order to reestablish his authority, Álvaro had to accept the virtual independence of Miguel, the count of Soyo. In order to recognize those nobles who had been loyal to him during this struggle, Álvaro began granting habits of the Order of Christ to his followers. Although the Portuguese crown complained to the Pope about this, claiming that the King of Portugal, as Grand Master of the Order was the only one to grant such habits, in fact, Kongo kings would establish this order (see Order of Christ (Kongo Empire)) and continued to knight their followers in it right through the nineteenth century.

paragraph: During Álvaro's reign, the capital city, São Salvador was recognized as the capital of the diocese of then Portuguese Congo and Angola, and the first bishop was appointed, in 1596. However, because the kings of Portugal claimed the right of Padroado (patronage), they chose their own bishop. Constant struggles between the king and the bishop followed.

paragraph: Kongo's relations with Portuguese Angola worsened during Álvaro's reign, and he complained bitterly about the behaviour of the governors to the King of Spain (then also ruling Portugal during the period of the Iberian Union).

paragraph: In 1604–1608, Alvaro II sent an ambassador to Pope Paul V in the person of Emanuele Ne Vunda.

description: King of Kongo

wikidata_label: Álvaro II of Kongo

wikipedia_title: Álvaro II of Kongo


text:
literally
Caucasian Albania
Gardman
Parthia
Mihranid family
House of Mihran
seven Parthian clans
Sasanian Empire
Varaz Grigor
Gardman
Mihranid
Christianity
Caucasian Albania
Caucasian Albania
Muslim conquest of Persia
Sasanian Empire
Yazdegerd III
Drafsh e Kavian
Armenian
Mushegh III Mamikonian
Syunik
Battle of al-Qādisiyyah
Caucasian Albania
Constans II
Byzantine Empire
patrikios
Syunik
Iberia
Adarnase I
Derbent
Aras river
Khazar
Varaz Tiridates I
Armenian
Movses Kaghankatvatsi
Davtak Kertogh
Armenia
Caucasian Albania
Javanshir Fortress

categories: Rebellions against the Sasanian Empire,680 deaths,616 births,Christians in the Sasanian Empire,7th-century monarchs in Asia,Mihranids,Year of birth unknown,Converts to Christianity from Zoroastrianism,Patricii,7th-century Iranian people,Vassal rulers of the Sasanian Empire,People of the Muslim conquest of Persia

paragraph: Javanshir

paragraph: Javanshir (alternate spellings: Javansher, Juansher, Jivanshir; ""; literally "young lion"), was the prince of Caucasian Albania from 637 to 680, hailing from the region of Gardman. His life and deeds were the subject of legends that were recorded in Armenian medieval texts. He was from the Parthian Mihranid family, an offshoot of the House of Mihran, one of the seven Parthian clans of the Sasanian Empire.

paragraph: Section::::Early life.

paragraph: Javanshir was the second son of Varaz Grigor, a prince of Gardman who belonged to the Mihranid family, and an Iberian princess named Goridouxt. In 637 Varaz Grigor was baptised and declared Christianity as the official religion of Caucasian Albania, thus making his son, Javanshir, convert too. However, Varaz was deposed by the Sasanian king who didn't acknowledge his conversion to Christianity. Thus Javanshir became the king of Caucasian Albania.

paragraph: Section::::Reign.

paragraph: Javanshir was known for his bravery and intelligence; he fought against the Arabs during the Muslim conquest of Persia on the side of the Sasanian Empire, and was rewarded by the Sasanian king Yazdegerd III himself two golden spears, two golden shields and a flag, probably the Drafsh e Kavian. In 636, he led an Albanian army, which alongside the Armenian prince Mushegh III Mamikonian and Grigor of Syunik, took part in the Battle of al-Qādisiyyah between the Persian and Arab armies. However, the Sasanians were defeated, which made Javanshir lose hope. He then made a mutiny against his overlords and retreated to Caucasian Albania. Where he wrote a letter to Constans II and became ally with the Byzantine Empire. He was then awarded with the title of "patrikios", and recognized as king of the East. He also married to a noble from a princely family of Syunik.

paragraph: After his alliance with the Byzantines, he joined his forces with the Iberian king Adarnase I in an attack on Sasanian garrisons in Albania. He later expanded his dominion from Derbent to Aras river.

paragraph: Facing the threat of the Arab invasion on the south and the Khazar offensive on the north, Javanshir had to recognize the Caliph’s suzerainty, a move, which would prove to be a turning point in the country's history.

paragraph: Javanshir was assassinated, in 680, by the rival nobles, whose power he had tried to restrict. He was succeeded by Varaz Tiridates I.

paragraph: Section::::Depiction in Armenian Poetry and Historical Texts.

paragraph: The only historical source about the life and deeds of Javanshir comes from the Armenian text by Movses Kaghankatvatsi, known as "History of the Land of Aghvank". Movses Kaghankatvatsi's text includes a poem dedicated to Javanshir "Elegy on the Death of the Great Prince Jevansher" by Davtak Kertogh ("Davtak the Poet"), a 7th-century Armenian poet and the first secular writer in Armenian literature.

paragraph: The only surviving poem by Kertogh is written in Armenian, in alphabetical acrostic verse.

paragraph: Section::::See also.

paragraph: BULLET::::- Caucasian Albania

paragraph: BULLET::::- Javanshir Fortress

description: King of Caucasian Albania

wikidata_label: Javanshir

wikipedia_title: Javanshir


text: Dramatists Guild of America

text: Pulitzer Prize for Drama

text: Icebound

text: First World War

text: Police Gazette

text: Tenderloin, Manhattan

text: pseudonyms

text: Portland, Maine

text: Bangor

text: Owen Davis Jr.

text: Donald Davis

text: William Hammatt Davis

text: National War Labor Board

text: Internet Broadway Database

text: Paramount Pictures

text: They Had to See Paris

text: So This Is London

text: old-time radio

text: The Gibson Family

text: Nellie, the Beautiful Cloak Model

text: What Happened to Mary

text: Icebound

text: Pulitzer Prize for Drama

text: William C. deMille

text: motion picture of the same name

text: Up in Arms

text: Whoopee!

text: Broadway

text: Whoopee!

text: F. Scott Fitzgerald

text: novel

text: motion picture

text: Humphrey Bogart

text: Pearl S. Buck

text: novel

text: 1937 motion picture

text: 1938 motion picture

text: Edith Wharton

text: novel

text: Richard Lockridge

text: Frances Lockridge

text: motion picture

text: Richard Shattuck

categories: American dramatists and playwrights,1874 births,Writers from Bangor, Maine,1956 deaths,Pulitzer Prize for Drama winners,Writers from Portland, Maine

paragraph: Owen Davis

paragraph: Owen Gould Davis (January 29, 1874 – October 14, 1956) was an American dramatist. In 1919, he became the first elected president of the Dramatists Guild of America. He received the 1923 Pulitzer Prize for Drama for his 1923 play "Icebound", and penned hundreds of plays and scripts for radio and film. Before the First World War, he also wrote racy sketches of New York high jinks and low life for the "Police Gazette" under the name of Ike Swift. Many of these were set in the Tenderloin, Manhattan. Davis also wrote under several other pseudonyms, including Martin Hurley, Arthur J. Lamb, Walter Lawrence, John Oliver, and Robert Wayne.

paragraph: Section::::Personal life.

paragraph: Davis was born in Portland, Maine, and lived in Bangor until he was 15. His parents were iron manufacturer Owen Warren Davis and Abigail Augusta Gould.

paragraph: He was the father of actor Owen Davis Jr., and playwright Donald Davis. His brother William Hammatt Davis was chairman of the National War Labor Board in Franklin D. Roosevelt's administration. Davis died in New York City.

paragraph: As a boy, Owen Davis wrote plays for his eight brothers and sisters, who performed them for the town.

paragraph: He attended the University of Tennessee in 1888-1889 and then transferred to Harvard University in 1890, spending three years there. At Harvard, he was active with the Society of Arts drama organization. For a time, he coached a New York preparatory school's football team.

paragraph: He married Elizabeth Drury Breyer, an actress, in 1901 or 1902, and they had two sons.

paragraph: Section::::Career.

paragraph: For the first two decades of his writing career, Davis produced melodramas that followed a formula. His entry in the "Encyclopedia of American Drama", edited by Jackson R. Bryer and Mary C. Hartig, noted, "The plays all contain life-threatening, visually exciting predicaments out of which the good emerge at the ultimate expense of the villains who put them there."

paragraph: Section::::Career.:Stage.

paragraph: In 1897, "Through the Breakers", Davis's first play, opened in Bridgeport, Connecticut. It ran for three years. His first Broadway play was "Reaping the Whirlwind", which opened on September 17, 1900. The Internet Broadway Database lists 75 additional productions that were written by him, either under his own name or as John Oliver, or in which he was involved in some way.

paragraph: Section::::Career.:Film.

paragraph: Davis was on the staff of Paramount Pictures as a screenwriter from 1927 to 1930. His work during that time included "They Had to See Paris" (1929) and "So This Is London" (1930), both of which starred Will Rogers.

paragraph: Section::::Career.:Radio.

paragraph: Davis wrote scripts for the old-time radio program "The Gibson Family", which presented each episode in the form of a Broadway musical.

paragraph: Section::::Career.:Books.

paragraph: Davis wrote two autobiographies, "I'd Like to Do It Again", which was published in 1931, and "My First Fifty Years in the Theatre", which focused on the years 1897-1947.

paragraph: Section::::Death.

paragraph: On October 13, 1956, Davis died in New York City at age 82. He had recently been released from a hospital after a three-year stay. He was survived by his wife, one of their sons, a brother, and a sister.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Sketches of Gotham" (as Ike Swift)(1906)

paragraph: BULLET::::- "Nellie, the Beautiful Cloak Model" (1906)

paragraph: BULLET::::- "Deadwood Dick's Last Shot" (1907)

paragraph: BULLET::::- "What Happened to Mary" (1913)

paragraph: BULLET::::- "The Scrap of Paper" (1917)

paragraph: BULLET::::- "The Detour" (1921)

paragraph: BULLET::::- "Icebound" (1923), for which he was awarded the Pulitzer Prize for DramaAdapted into a 1924 silent film "Icebound" directed by William C. deMille

paragraph: BULLET::::- "The Nervous Wreck" (1923), play, later made into the 1926 motion picture of the same name, and the 1944 motion picture "Up in Arms"; later produced as a musical, "Whoopee!", staged on Broadway in 1928 and 1979 and made into the 1930 "Whoopee!"

paragraph: BULLET::::- "The Haunted House" (1924)

paragraph: BULLET::::- "Lazybones" (1924), made into the 1925 motion picture of the same name

paragraph: BULLET::::- "Beware of Widows" (1925)

paragraph: BULLET::::- "Easy Come, Easy Go" (1926), play later produced as a musical, "Lady Fingers" (1929)

paragraph: BULLET::::- "The Great Gatsby" (1926), play based on the F. Scott Fitzgerald novel, made into the 1949 motion picture

paragraph: BULLET::::- "Just to Remind You" (1931), play which premiered at Lakewood Theatre in Maine, with Humphrey Bogart in lead

paragraph: BULLET::::- "The Good Earth" (1932), dramatization of the Pearl S. Buck novel, later produced as the 1937 motion picture, all of the same name

paragraph: BULLET::::- "Jezebel" (1933), original play turned into the 1938 motion picture of the same name

paragraph: BULLET::::- "The Convict's Sweetheart"

paragraph: BULLET::::- "Ethan Frome" (1935), play based on the Edith Wharton novel, produced on Broadway in 1936

paragraph: BULLET::::- "Mr. and Mrs. North" (1941), dramatization from short stories by Richard Lockridge and Frances Lockridge, made into the 1942 motion picture

paragraph: BULLET::::- "The Snark Was a Boojum" (1943), dramatization of a novel by Richard Shattuck

paragraph: BULLET::::- "No Way Out" (1944)

description: American dramatist

wikidata_label: Owen Davis

wikipedia_title: Owen Davis


text:
Warsaw
Polish
Art Nouveau
Polish Academy of Literature
Thus Spoke Zarathustra
Friedrich Nietzsche
Władysław Reymont
Young Poland
social novel
Positivist
bohemianism
art for art's sake
Revolution of 1905
Romanticism
Kontusz

categories: Polish male writers,1878 births,Members of the Polish Academy of Literature,Polish translators,1940 deaths,Writers from Warsaw

paragraph: Wacław Berent

paragraph: Wacław Berent (Warsaw, 28 September 1878 – 19 November or 22 November 1940, Warsaw) was a Polish novelist, essayist and literary translator from the Art Nouveau period, publishing under the pen names S.A.M. and Wł. Rawicz. He studied Natural Science in Kraków and Zurich, and obtained a PhD in Munich before returning to Warsaw and embarking on a literary career around the turn of the century. Berent became a member of the prestigious Polish Academy of Literature () in 1933.

paragraph: Section::::Literary output.

paragraph: Berent translated into Polish "Thus Spoke Zarathustra" by the German philosopher Friedrich Nietzsche. Along with Władysław Reymont, he was a leading representative of the realist trend in the Young Poland movement (). His main work, a social novel "Żywe kamienie" ("Stones Alive"), depicted the circumstances which threatened traditional moral values in the industrial era.

paragraph: He was a critic of late nineteenth-century Positivist slogans, modernist Polish philosophy and European bohemianism, which postulated "art for art's sake". In his novel "Ozimina" ("Winter Crop") he depicted the emergence of the Polish independence movement prior to the Revolution of 1905. He was an aesthetic opponent of Romanticism.

paragraph: Section::::Works.

paragraph: BULLET::::- "Próchno" ("Rotten Wood", 1903)

paragraph: BULLET::::- "Ozimina" ("Snowy Crop", 1911)

paragraph: BULLET::::- "Żywe kamienie" ("Stoneing Alive", 1918)

paragraph: BULLET::::- "Nurt" ("Trend", 1934)

paragraph: BULLET::::- "Diogenes w kontuszu" ("Diogenes in a Kontusz", 1937)

paragraph: BULLET::::- "Zmierzch wodzów" ("The Dusk of the Commanders", 1939)

paragraph: Section::::References.

paragraph: BULLET::::- Urbanowski, M. 2003. ‘Berent Wacław’. In: Słownik Pisarzy Polskich. ed. A. Latusek. Cracow: Wydawnictwo Zielona Sowa. pp. 27–28. in Polish

paragraph: BULLET::::- Mortkowicz-Olczakowa, Hanna (1961). "Bunt wspomnień." Państwowy Instytut Wydawniczy.

description: Polish novelist and translator

wikidata_label: Wacław Berent

wikipedia_title: Wacław Berent


text: Kurdish

text: polymath

text: nationalist

text: Kurdistan

text: Kurdish cultural heritage

text: Kurdish language

text: Yazidi

text: Batman

text: Ottoman Empire

text: Amude

text: Qamishli

text: Syria

text: Qamishli

text: Syria

text: Damascus

text: Suwayda

text: Iraqi Kurdistan

text: Kurdish

text: Mustafa Barzani

text: Lebanon

text: Syria

text: Stockholm

text: Qamishli

text: Sheikh Said

text: Kurdish

text: Syria

text: Kurdish

text: romanticism

text: realism

text: Kurdish

text: feudal

text: Kurdish language

text: Kurmanji

text: University of Baghdad

text: Kurdish

text: Kurmanji

text: Kurdistan

text: Jaziri

text: Ahmad Khani

text: Kurdistan

text: folklore

text: Yazidis

text: List of Books written by Cegerxwîn

text: Ismail Besikci

categories: Historians of the Middle East,Swedish people of Kurdish descent,1984 deaths,Kurdish poets,1903 births,Kurdish people of the Ottoman Empire,Literary critics,Lexicographers,Kurdish-language writers,Kurdish people

paragraph: Cigerxwîn

paragraph: Cigerxwîn or Cegerxwîn (pronounced "Jigar Khwin"; 1903 – October 22, 1984) was a renowned Kurdish polymath and nationalist.

paragraph: He is known to be one of the most influential Kurdish writers and poets in the Kurdistan region of the Middle East, and his work has been renewed for the creation of hundreds of songs and played a crucial role in the preservation of Kurdish cultural heritage.

paragraph: Section::::Biography.

paragraph: Cigerxwîn's real name was Sheikhmous Hasan. His pen name, "Cigerxwîn", means "bleeding liver" in the Kurdish language. He was born to a Yazidi mother in the Kurdish village of Hesar close to the city of Batman, within the then-Ottoman Empire, now in southeastern Turkey. The year of his birth is known, but no documentation exists to indicate the day and month. In 1914, at the beginning of World War I, his family became refugees and fled to Amude near the city of Qamishli in present-day north-eastern Syria.

paragraph: Cigerxwîn studied theology and became a cleric in 1921. He and his compatriots established a Kurdish association in Amude. In 1946 he moved to Qamishli and became involved in politics. In the same year, he became the secretary of "Civata Azadî û Yekîtiya Kurd" (Kurdish Freedom and Union Front). In 1948 he joined the Communist Party of Syria and became the Party's candidate for the Syrian Parliament in 1954. He left the Communist Party in 1957 to create the "Azadî" (Freedom) organization. After a period of time, this new party was united with the Kurdish Democratic Party of Syria.

paragraph: Cigerxwîn was arrested and jailed in Damascus in 1963 and was eventually exiled to the city of Suwayda. In 1969 he moved to Iraqi Kurdistan, where he became involved in the Kurdish uprising led by Mustafa Barzani. In 1973 he went to Lebanon where he published his widely publicized poetry collection "Kîme Ez?" (Who Am I?). In 1976, he returned to Syria, but three years later, at the age of 75 or 76, he again fled to Sweden. He was able to publish several collections of poetry in Sweden.

paragraph: Cigerxwîn died in Stockholm at the age of 80 or 81. His body was returned to Kurdistan and buried at his house in Qamishli.

paragraph: Section::::Works.

paragraph: Cigerxwîn began writing poetry in 1924. After the collapse of Sheikh Said's rebellion, he became a member of "Xoybûn" (Independence) party, which was established by the exiled Kurdish intellectuals in Syria.

paragraph: He started contributing to the Kurdish Journal "Hawar" in 1927 by publishing poems. His poetry expresses the ideas of modern romanticism and realism while maintaining the classical form of traditional Kurdish poetry. In his poems, he sharply criticizes the backward feudal and religious establishments which were considered as the main reason for the Kurdish workers' and peasants' miserable living conditions. He also maintained that these backward forces are the main obstacle to ultimate Kurdish freedom and independence. In 1961, he created a new Kurdish language department, focused on Northern Kurdish (Kurmanji), at the University of Baghdad. During the same period, he was working in the Kurdish section of Radio Baghdad.

paragraph: Cigerxwîn (Jigarkhwin) wrote in the Kurmanji dialect and his poetry has had such an enormous influence on the Kurdish people and culture throughout the Kurdistan region in the Middle East, that the time period during his writing is often called the Jigerkhwin-period in Kurdish poetry. He took good care of the old heritage from classical Kurdish poets like Jaziri and Ahmad Khani. His poetry is simple and revolutionary with a strong popular appeal often at the expense of the aesthethic.

paragraph: He published eight collections of his poems, a book on Kurdistan's history, a Kurdish language dictionary and a book on Kurdish folklore.

paragraph: Section::::Published works.

paragraph: Section::::Published works.:Poem collections.

paragraph: BULLET::::1. First Collection of Poems, "Dîwana yekem: Prîsk û Pêtî", 1945 Damascus.

paragraph: BULLET::::2. Second Collection of Poems, "Dîwana diwem: Sewra Azadî", 1954 Damascus.

paragraph: BULLET::::3. Third Collection of Poems, "Dîwana sêyem: Kîme Ez?", 1973 Beirut.

paragraph: BULLET::::4. Fourth Collection of Poems, "Dîwana çarem: Ronak", Roja Nû Publishers, 1980 Stockholm.

paragraph: BULLET::::5. Fifth Collection of Poems, "Dîwana pêncem: Zend-Avista", Roja Nû Publishers, 1981 Stockholm.

paragraph: BULLET::::6. Sixth Collection of Poems, "Dîwana şeşem: Şefeq", Roja Nû Publishers, 1982 Stockholm.

paragraph: BULLET::::7. Seventh Collection of Poems, "Dîwana heftem: Hêvî", Roja Nû Publishers, 1983 Stockholm.

paragraph: BULLET::::8. Eighth Collection of Poems, "Dîwana heştem: Aştî", Kurdistan Publishers, 1985 Stockholm.

paragraph: Section::::Published works.:Language and Culture.

paragraph: BULLET::::1. "Destûra Zimanê kurdî" ("The Grammar of Kurdish Language"), 1961 Baghdad.

paragraph: BULLET::::2. "Ferheng, perçê yekem" ("Kurdish Dictionary, First Part"), 1962 Baghdad.

paragraph: BULLET::::3. "Ferheng, perçê diwem" ("Kurdish Dictionary, Second Part"), 1962 Baghdad.

paragraph: Section::::Published works.:History.

paragraph: "Tarîxa Kurdistan" ("History of Kurdistan"), 3 Volumes, 1985, 1987 Stockholm.

paragraph: Section::::See also.

paragraph: BULLET::::- Yazidis

paragraph: Section::::References.

paragraph: BULLET::::- A list of famous Kurdish poets, writers and philosophers, see CEGERXWÎN

paragraph: BULLET::::- "Classic and Modern Kurdish Poetry", by Farhad Shakely/a

paragraph: BULLET::::- List of Books written by Cegerxwîn

paragraph: BULLET::::- Ismail Besikci, "International Colony Kurdistan", (London: Parvana) 2004, 160 pp., map, .

alias: Cigerxwin Cegerxwîn

description: Kurdish polymath and nationalist

wikidata_label: Cigerxwîn

wikipedia_title: Cigerxwîn


text: Douai

text: Englishman

text: Catholicism

text: martyr

text: Saint Edmund Gennings

text: English Reformation

text: Rheims

text: priesthood

text: Ludgate Hill

text: Mass

text: Swithun Wells

text: Gray's Inn

text: hanged, drawn, and quartered

text: Saint-Omer

text: Douai College

text: ordained

text: mission

text: Franciscans

text: William Staney

text: Commissary

text: English friars

text: habit

text: convent

text: Ypres

text: Flanders

text: Christopher Davenport

text: Franciscus a Sancta Clara

text: seal

text: Gravelines

text: minister general

text: Poor Clares

text: jurisdiction

text: Canon law

text: provincial

text: chapter

text: Brussels

text: Advent

text: third order

text: Woodchester

text: Franciscans

text: Franciscan Order in modern times

text: Richard Challoner

categories: English Franciscans,17th-century English clergy,1660 deaths,17th-century Roman Catholic priests,Converts to Roman Catholicism,1570s births,16th-century English Roman Catholic priests,16th-century English people

paragraph: John Gennings

paragraph: John Gennings (c. 1570 – 12 November 1660 in Douai) was an Englishman who was converted to Catholicism through the martyrdom of his elder brother Saint Edmund Gennings during the English Reformation. He restored the English province of Franciscan friars. His name is sometimes spelled "Jennings."

paragraph: Section::::Martyrdom of Edmund Gennings.

paragraph: Edmund Gennings converted to Catholicism at the age of about sixteen, and soon after went to Rheims to study for the priesthood. On returning to England, he met his younger brother, John, near Ludgate Hill, and spoke to him without disclosing his identity. He said merely that he was a kinsman, and asked the young man what had become of his brother Edmund. John told him that "He had heard he was gone to Rome to the Pope, and was become a notable Papist and a traitor both to God and his country, and that if he did return he would be hanged infallibly." Edmund, not judging the time right to begin an attempt at converting his brother, told him who he was, but without mentioning his priesthood. The brothers separated soon after, and Edmund continued his short ministry until he was arrested on 7 November 1591, after saying Mass in the house of Swithun Wells at Gray's Inn. He was hanged, drawn, and quartered on 10 December, outside that house.

paragraph: Section::::Conversion of John Gennings.

paragraph: John Gennings, who subsequently wrote a "Life" of his brother, recounts his own conversion through his brother's martyrdom. On page 98, of the "Life" (which was published in 1614 at Saint-Omer), speaking of himself in the third person, he writes,

paragraph: Being received into the Church, he entered Douai College, was ordained as a priest in 1607, and the following year was sent upon the English mission. Here he conceived a wish for the restoration of the English province of Franciscans, and sought out Father William Staney, the Commissary of the English friars, and from him received the habit (became a Franciscan), either in 1610 or 1614 (the date is uncertain). After this, he went for a time to a convent of the Franciscan order at Ypres, in Flanders, where he was joined by several English companions, amongst whom was Christopher Davenport, known in religion as Franciscus a Sancta Clara, afterwards a famous controversialist. Thus was the foundation of a new English province laid, and Father William Staney recognising the zeal of John Gennings, now gave into his hands the seal of the old province of the English Observants.

paragraph: Gennings next proceeded to procure a house for the English friars at Gravelines, but in 1618 he obtained leave from the minister general to establish a settlement at Douai. As a matter of fact, most of the friars who had joined Gennings were graduates of Douai College, and in transferring the residence to that town he hoped to obtain a continuous supply of recruits.

paragraph: The work of restoring the English province was definitely entrusted to him by the general chapter of 1618, and he was nominated "Vicar of England". To assist him in the work of restoration, the commissary general of the Belgian nation was empowered to gather together all the English and Scottish friars from any province in the order. A decree of the same general chapter placed the English Poor Clares of Gravelines under the jurisdiction of English friars.

paragraph: Section::::The Restoration of the English Franciscans.:Custos.

paragraph: In 1625, the number of the English friars having greatly increased, Gennings sent Father Franciscus a Sancta Clara to Rome to plead (to provide an argument for) that the English province be canonically established (i.e. accepted according to Canon law). The request was granted with the simple restriction that the superior of the province should not assume the title of provincial, but that of custos.

paragraph: Section::::The Restoration of the English Franciscans.:Establishment of the Convent at Taunton.

paragraph: In 1629, this restriction was taken away and Friar John Gennings was appointed minister provincial. The first chapter of the new province was held at Brussels in Advent (roughly, December) of the same year, in the convent of the English sisters of the third order, which Gennings had himself founded in 1619. This community of tertiary sisters was established at Taunton, in England, with a branch house at Woodchester. Father John Gennings was re-elected provincial in 1634, and again in 1643. John Gennings died in Douai on 12 November 1660.

paragraph: Section::::Notes.

paragraph: BULLET::::1. Catholic Where Catholic is used in the article it refers to "Roman" Catholic. Catholic (on its own) has been mainly used in the article to aid the flow and to remain true to the primary source.

paragraph: BULLET::::2. Franciscans More correctly, "Order of Friars Minor"

paragraph: BULLET::::3. Observants. Such a vigorous and sturdy order as the Franciscans were bound to develop various strands. The central point of division over the ages was the extent to which the austere (severe?) regime laid down by the Saint need be followed. There was usually a distinction made by those followers who wished to retain the austerity of Francis, the "Observants" were such a group. See Franciscans for a wider treatment of this and a description of Francis' "Testament"

paragraph: BULLET::::4. Custos, A superior in the Franciscan order, also used in England as guardian.

paragraph: BULLET::::5. Sisters of the Third Order The Sisters have traditionally divided into two branches, one an enclosed contemplative order, the other, the Third Order, an 'open' order who undertook such work as teaching, nursing, or the Missions. They should not be confused with the male Third Order, which St Francis created for those of his followers who could not leave their homes.

paragraph: BULLET::::6. Wider View See Franciscan Order in modern times for a wider view of which this English Restoration is but a part.

paragraph: Section::::External links.

paragraph: BULLET::::- "Catholic Encyclopedia": Edmund and John Jennings

paragraph: BULLET::::- "North West Catholic History Society": The Recusant Historian's Handbook

paragraph: Section::::Sources.

paragraph: BULLET::::- Richard Challoner: "Memoirs of Missionary Priests"

paragraph: BULLET::::- Encyclopædia Britannica, 15th Edition

description: English martyr

wikidata_label: John Gennings

wikipedia_title: John Gennings


text: United States Attorney

text: New Jersey

text: Supreme Court of New Jersey

text: Governor of New Jersey

text: United States District Judge

text: Newark

text: Province of New Jersey

text: British America

text: William Sandford

text: hatter

text: Continental Army

text: American Revolutionary War

text: second lieutenant

text: brevet

text: Act of Congress

text: New Jersey General Assembly

text: New Jersey Legislative Council

text: read law

text: Elias Boudinot

text: New Jersey

text: Essex County

text: United States Attorney

text: Supreme Court of New Jersey

text: Governor of New Jersey

text: Democratic-Republican

text: recess appointment

text: James Madison

text: Robert Morris

text: United States Senate

text: William Pennington

text: Governor of New Jersey

text: Society of the Cincinnati

text: New Jersey Historical Society

text: Pennington

text: List of Governors of New Jersey

categories: Governors of New Jersey,19th-century American judges,United States Attorneys for the District of New Jersey,Members of the New Jersey General Assembly,Democratic-Republican Party state governors of the United States,Judges of the United States District Court for the District of New Jersey,Politicians from Newark, New Jersey,New Jersey Supreme Court justices,New Jersey Democratic-Republicans,1826 deaths,United States federal judges appointed by James Madison,Members of the New Jersey Legislative Council,Continental Army officers from New Jersey,1757 births,Lawyers from Newark, New Jersey

paragraph: William Sanford Pennington

paragraph: William Sanford Pennington (1757 – September 17, 1826) was a United States Attorney for the District of New Jersey, an Associate Justice of the Supreme Court of New Jersey, the 6th Governor of New Jersey and a United States District Judge of the United States District Court for the District of New Jersey.

paragraph: Section::::Early life and military service.

paragraph: Born in 1757, in Newark, Province of New Jersey, British America, His parents were Samuel Pennington (c. 1726-1791) and Mary Sandford (c. 1726-1805). He was the namesake of his grandfather William Sandford (III) and great-great-grandson of William Sandford. Pennington likely was trained as a hatter and likely engaged in that profession during his early years. He joined the Continental Army during the American Revolutionary War. In 1777, he was promoted to sergeant in the Second Regiment of Artillery. He was promoted to second lieutenant in 1780. At the end of the war he was brevetted a captain by an Act of Congress. Pennington served in the New Jersey General Assembly in 1797, 1798, and 1797, was elected to the New Jersey State Council (now the New Jersey Legislative Council) in 1801, and 1802.

paragraph: Section::::Education and career.

paragraph: Pennington read law in 1802, with Elias Boudinot. He entered private practice in Newark, New Jersey from 1802 to 1816. He was county clerk for Essex County, New Jersey in 1803. He was the United States Attorney for the District of New Jersey from 1803 to 1804. He was an Associate Justice of the Supreme Court of New Jersey from 1804 to 1813. He was reporter for the Supreme Court of New Jersey from 1806 to 1813. He was the 6th Governor of New Jersey from 1813 to 1815, elected as a Democratic-Republican.

paragraph: Section::::Federal judicial service.

paragraph: Pennington received a recess appointment from President James Madison on June 19, 1815, to a seat on the United States District Court for the District of New Jersey vacated by Judge Robert Morris. He was nominated to the same position by President Madison on January 8, 1816. He was confirmed by the United States Senate on January 9, 1816, and received his commission on January 16, 1816. His service terminated on September 17, 1826, due to his death in Newark.

paragraph: Section::::Family.

paragraph: Pennington was the son of Mary Sanford and Samuel Penningston. He married Phoebe Wheeler around 1786. They had ten children including William Pennington (1796–1862) who became Governor of New Jersey and Speaker of the United States House of Representatives. After the death of his wife in 1804, he married Elizabeth Pierson (c. 1765–1840) on July 13, 1805.

paragraph: Section::::Membership.

paragraph: Pennington joined other New Jersey officers in becoming a founding member of the Society of the Cincinnati in the State of New Jersey..

paragraph: Section::::Legacy.

paragraph: Pennington's papers are archived with the New Jersey Historical Society in Newark. Pennington, New Jersey is named for Pennington.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Governors of New Jersey

description: United States federal judge

wikidata_label: William Sanford Pennington

wikipedia_title: William Sanford Pennington


text: Alberta

text: Canada

text: Edmonton

text: Simcoe, Ontario

text: Winnipeg

text: mercantilism

text: Fort Saskatchewan

text: 1897 municipal election

text: Edmonton Town Council

text: 1900 election

text: 1903 election

categories: 1922 deaths,People from Norfolk County, Ontario,Edmonton city councillors

paragraph: Phillip Heiminck

paragraph: Phillip Heimink (May 17, 1849 – September 11, 1922) was a politician in Alberta, Canada and a municipal councillor in Edmonton.

paragraph: Section::::Biography.

paragraph: Heiminck was born in Simcoe, Ontario, and moved to Winnipeg in 1870. There he married Isabella Green in 1873 and was involved in mercantilism before moving to Edmonton in 1881. In 1883 he moved to Fort Saskatchewan for ten years, returning to Edmonton in 1893. Upon his return, he engaged in real estate, building among other things the so-called "Heiminck Block" in downtown Edmonton.

paragraph: He first ran for office in the 1897 municipal election, running for alderman on the Edmonton Town Council. He was defeated, finishing seventh of nine candidates in a race in which the top six were elected. He was similarly unsuccessful in the 1900 election, when he finished fifth among eight candidates; owing to Edmonton's newly staggered aldermanic terms only the top three candidates were elected in that election.

paragraph: He was finally elected to a two year term in the 1903 election. He did not seek re-election at its conclusion.

paragraph: Phillip Heiminck died September 11, 1922. He was survived by his wife, one son, and two daughters.

paragraph: Section::::References.

paragraph: BULLET::::- Edmonton Public Library biography of Phillip Heiminck

paragraph: BULLET::::- City of Edmonton biography of Phillip Heiminck

description: Canadian politician

wikidata_label: Phillip Heiminck

wikipedia_title: Phillip Heiminck


text: martyr

text: saint

text: Eastern Orthodox Church

text: Catholic Church

text: Saint Agatha

text: patron

text: Catania

text: Sicily

text: Bible

text: Diocletian persecution

text: torture

text: beheaded

text: patron saint

text: Francavilla di Sicilia

text: Trevico

text: Stesicoro

text: Catholic Online: St. Euplius

text: Sant' Euplo (Euplio) di Catania

categories: 4th-century Christian martyrs,Year of birth unknown,4th-century Romans,Catania,Sicilian saints,304 deaths

paragraph: Euplius of Catania

paragraph: Saint Euplius (Euplus) (, ) (d. ca. AD 304) is venerated as a martyr and saint by the Eastern Orthodox Church and the Catholic Church. With Saint Agatha, he is a co-patron of Catania in Sicily.

paragraph: Section::::Biography.

paragraph: His name in Greek means "good sailing" which is played upon in the text of the Orthodox Christian Vespers service in his honor.

paragraph: The "Passion of Saint Euplius" states that he was a deacon and that he was arrested for owning and reading from a copy of the Bible during the Diocletian persecution. He was brought before the governor of the city, Calvinianus (Calvinian), who asked the saint to read him extracts from the book. He was then tortured and beheaded.

paragraph: Section::::Veneration.

paragraph: He is also the patron saint of Francavilla di Sicilia and Trevico. Ruins of the old church of Saint Euplius are located in Catania near Piazza Stesicoro. This urban site coincides with the place of his martyrdom. His feast day is August 12.

paragraph: Section::::External links.

paragraph: BULLET::::- Catholic Online: St. Euplius

paragraph: BULLET::::- OCA.org: Life of St. Euplus OCA.org: Life of St. Euplus

paragraph: BULLET::::- http://files.oca.org/service-texts/2013-0811-texts.doc Service honoring St. Euplus

paragraph: BULLET::::- Sant' Euplo (Euplio) di Catania

paragraph: BULLET::::- Trevico –Le reliquie di Sant’Euplio al centro del turismo religioso

description: Martyr and saint

wikidata_label: Euplius

wikipedia_title: Euplius of Catania


text:
Evergreen Park, Illinois
professional baseball
San Francisco Giants
Arizona League Giants
Montreal Expos
spring training
St. Louis Cardinals
Midland Angels
Triple-A
Edmonton Trappers
Edgar Martínez
Hanshin Tigers
San Diego Padres
Portland Beavers
Texas Rangers
Edmonton Cracker-Cats
Northern League
Atlantic League
Camden Riversharks
Uni-President 7-Eleven Lions
Golden Baseball League
Dorados de Chihuahua
Mexican League

categories: San Jose Giants players,Cleveland Indians players,Dorados de Chihuahua players,Edmonton Trappers players,Harrisburg Senators players,Portland Beavers players,American expatriate baseball players in Japan,Salt Lake Stingers players,De La Salle Institute alumni,Tiburones de La Guaira players,Oklahoma RedHawks players,Arizona League Giants players,Hanshin Tigers players,Midland Angels players,Edmonton Capitals players,Tomateros de Culiacán players,Camden Riversharks players,American expatriate baseball players in Taiwan,Bakersfield Blaze players,Caribbean Series players,1971 births,Major League Baseball pitchers,Edmonton Cracker-Cats players,Kishwaukee Kougars baseball players,Living people,American expatriate baseball players in Canada,Frisco RoughRiders players,Baseball players from Illinois,People from Evergreen Park, Illinois,Arizona League Rangers players,Anaheim Angels players,Arkansas Travelers players,Everett Giants players,Mexican League baseball pitchers,Sacramento River Cats players,Shreveport Captains players

paragraph: Lou Pote

paragraph: Louis William Pote (born August 21, 1971 in Evergreen Park, Illinois) is a former American professional baseball player.

paragraph: Section::::Early career.

paragraph: Pote was originally drafted by the San Francisco Giants in 1990. He began his professional career the following season with the Arizona League Giants, and continued to pitch in the Giants farm system until 1995, when he was traded to the Montreal Expos. He was released by Montreal near the end of spring training in 1997, eventually signing with the St. Louis Cardinals in August. He became a free agent at the end of the season, signing with the Angels.

paragraph: Section::::Anaheim Angels.

paragraph: After pitching for the Midland Angels in 1998, he was promoted to the Triple-A Edmonton Trappers in 1999. He was called up to the major leagues in August, making his debut on August 11. It was in 2001, while pitching for the Angels, that Pote caused mild-mannered Seattle Mariners DH Edgar Martínez to charge the mound for the first and only time in his career.

paragraph: Section::::Japan.

paragraph: Pote was released by the Angels in January 2003, signing with the Hanshin Tigers in Japan. He spent one season in NPB before returning to North America.

paragraph: Section::::Later career.

paragraph: Pote returned to the Cardinals prior to the 2004 season, but his contract was sold to the Indians in May. He returned to the major leagues in June, pitching in two games for Cleveland, before being released from his contract. He signed with the San Diego Padres organization, finishing the season with their top farm club, the Portland Beavers.

paragraph: After spending 2005–06 in the Texas Rangers organization, Pote signed a contract with the Edmonton Cracker-Cats for the 2007 Northern League season and finished in the top 10 in pitching; he also played for the Atlantic League's Camden Riversharks. In 2008, he played for Chinese Professional Baseball League's Uni-President 7-Eleven Lions.

paragraph: In 2009, Pote returned to Edmonton with the Capitals, who at the time played in the Golden Baseball League. He started the 2010 season with the Dorados de Chihuahua in the Mexican League, but pitched in just eight games before returning to the Capitals. He retired with the Capitals in 2011 after winning the NABL championship and getting the honors of MVP.

alias:
Louis Pote
Louis William "Lou" Pote

description: American baseball player

wikidata_label: Lou Pote

wikipedia_title: Lou Pote