text:
Elizabethan
Jacobean
Wardington
Oxfordshire
Middle Temple
London
Coventry
Brasenose College, Oxford
King James's
chaplain
epyllion
satire
Ovid
Satires of Juvenal
satyr play
Joseph Hall
flyting
William Shakespeare
Thersites
Iago
King Lear
Archbishop of Canterbury
John Whitgift
Bishop of London
Richard Bancroft
Philip Henslowe
Bishops' Ban of 1599
boy player
Inns of Court
1599
War of the Theatres
Robert Chester
Lust's Dominion
Ben Jonson
Drummond
Every Man Out of His Humour
What You Will
The Return from Parnassus (II)
St. John's College, Cambridge
1607
George Chapman
Eastward Ho
Virginia
Denmark
Latin
masque
Earl of Huntingdon
philosophy
Bodleian library
Oxford
deacon
priest
Christchurch, Hampshire
Middle Temple Church
hubris
Anthony à Wood
Restoration
droll
Commonwealth
Aphra Behn
Thomas Betterton
Gerard Langbaine
Hamlet
Thomas Warton
Henry Hallam
William Gifford
Romantic
William Hazlitt
Swinburne
T. S. Eliot
Histriomastix (play)
Antonio and Mellida
Jack Drum's Entertainment
Antonio's Revenge
What You Will
The Malcontent
Blackfriars Theatre
Parasitaster, or The Fawn
Eastward Ho
George Chapman
Ben Jonson
The Dutch Courtesan
The Wonder of Women
Sophonisba
Ashby-de-la-Zouch
Leicestershire
The Insatiate Countess
William Barksted
Whitefriars Theatre
T. Creede
Ben Jonson
William Shakespeare
George Chapman
V. Simmes
W. Aspley
G. Eld
T. Thorp
William Barksted
T. Snodham
Nonce Collection
The Spanish Moor's Tragedy
Thomas Dekker
John Day
William Haughton
The Works of John Marston, vol. 1.
The Works of John Marston, vol. 2.
The Works of John Marston, vol. 3.

categories: English male dramatists and playwrights,17th-century English poets,1634 deaths,1576 births,17th-century English dramatists and playwrights,17th-century male writers,English dramatists and playwrights,English Renaissance dramatists,Alumni of Brasenose College, Oxford,People of the Stuart period,Members of the Middle Temple,16th-century dramatists and playwrights,English satirists,16th-century English poets,People of the Tudor period

paragraph: John Marston (poet)

paragraph: John Marston (baptised 7 October 1576 – 25 June 1634) was an English poet, playwright and satirist during the late Elizabethan and early Jacobean periods. His career as a writer lasted a decade, and his work is remembered for its energetic and often obscure style, its contributions to the development of a distinctively Jacobean style in poetry, and its idiosyncratic vocabulary.

paragraph: Section::::Life.

paragraph: Marston was born to John and Maria Marston "née" Guarsi, and baptised October 7, 1576 at Wardington, Oxfordshire. His father was an eminent lawyer of the Middle Temple who first argued in London and then became the counsel to Coventry and ultimately its steward. John Marston entered Brasenose College, Oxford in 1592 and received his BA in 1594. By 1595, he was in London, living in the Middle Temple, where he had been admitted a member three years previously. He had an interest in poetry and play writing, although his father's will of 1599 expresses the hope that he would give up such vanities. He married Mary Wilkes in 1605, daughter of the Reverend William Wilkes, one of King James's chaplains.

paragraph: Section::::Life.:Early career.

paragraph: Marston's brief career in literature began with a foray into the then-fashionable genres of erotic epyllion and satire. In 1598, he published "The Metamorphosis of Pigmalion's Image and Certaine Satyres", a book of poetry in imitation of, on the one hand, Ovid, and, on the other, the Satires of Juvenal. He also published another book of satires, "The Scourge of Villanie", in 1598. (Marston issued these satires under the pseudonym "W. Kinsayder.") The satire in these books is even more savage and misanthropic than is normal for the decade's satirists. Marston's style is, moreover, in places contorted to the point of unintelligibility: he believed that satire should be rough and obscure, perhaps because he thought (as did many other writers of the time) that the term 'satire' was derived from the Greek 'satyr plays'. Marston seems to have been enraged by Joseph Hall's claim to be the first satirist in English; Hall comes in for some indirect flyting in at least one of the satires. Some see William Shakespeare's Thersites and Iago, as well as the mad speeches of King Lear as influenced by "The Scourge of Villanie." Marston had, however, arrived on the literary scene as the fad for verse satire was to be checked by censors. The Archbishop of Canterbury John Whitgift and the Bishop of London Richard Bancroft banned the "Scourge" and had it publicly burned, along with copies of works by other satirists, on 4 June 1599.

paragraph: Section::::Life.:Playwriting with Henslowe.

paragraph: In September 1599, John Marston began to work for Philip Henslowe as a playwright. Following the work of O. J. Campbell, it has commonly been thought that Marston turned to the theatre in response to the Bishops' Ban of 1599; more recent scholars have noted that the ban was not enforced with great rigor and might not have intimidated prospective satirists at all. At any rate, Marston proved a good match for the stage—not the public stage of Henslowe, but the "private" playhouses where boy players performed racy dramas for an audience of city gallants and young members of the Inns of Court. Traditionally, though without strong external attribution, "Histriomastix" has been regarded as his first play; performed by either the Children of Paul's or the students of the Middle Temple in around 1599, it appears to have sparked the War of the Theatres, the literary feud between Marston, Jonson and Dekker that took place between around 1599 and 1602. In c. 1600, Marston wrote "Jack Drum's Entertainment" and "Antonio and Mellida", and in 1601 he wrote "Antonio's Revenge", a sequel to the latter play; all three were performed by the company at Paul's. In 1601, he contributed poems to Robert Chester's "Love's Martyr." For Henslowe, he may have collaborated with Dekker, Day, and Haughton on "Lust's Dominion".

paragraph: Section::::Life.:Feud with Jonson.

paragraph: By 1601, he was well known in London literary circles, particularly in his role as enemy to the equally pugnacious Ben Jonson. Jonson, who reported to Drummond that Marston had accused him of sexual profligacy, satirized Marston as Clove in "Every Man Out of His Humour", as Crispinus in "Poetaster", and as Hedon in "Cynthia's Revels". Jonson criticised Marston for being a false poet, a vain, careless writer who plagiarised the works of others and whose own works were marked by bizarre diction and ugly neologisms. For his part, Marston may have satirized Jonson as the complacent, arrogant critic Brabant Senior in "Jack Drum's Entertainment" and as the envious, misanthropic playwright and satirist Lampatho Doria in "What You Will".

paragraph: "The Return from Parnassus (II)", a satirical play performed at St. John's College, Cambridge in 1601 and 1602, characterised Marston as a poet whose writings see him "pissing against the world".

paragraph: If Jonson can be trusted, the animosity between himself and Marston went beyond the literary. He claimed to have beaten Marston and taken his pistol. However, the two playwrights were reconciled soon after the so-called War; Marston wrote a prefatory poem for Jonson's "Sejanus" in 1605 and dedicated "The Malcontent" to Jonson. Yet in 1607, he criticized Jonson for being too pedantic to make allowances for his audience or the needs of aesthetics.

paragraph: Section::::Life.:Blackfriars.

paragraph: Outside of these tensions, Marston's career continued to prosper. In 1603, he became a shareholder in the Children of Blackfriars company, at that time known for steadily pushing the allowable limits of personal satire, violence, and lewdness on stage. He wrote and produced two plays with the company. The first was "The Malcontent" in 1603; this satiric tragicomedy is Marston's most famous play. This work was originally written for the children at Blackfriars, and was later taken over (perhaps stolen) by the Kings' Men at the Globe, with additions by John Webster and (perhaps) Marston himself.

paragraph: Marston's second play for the Blackfriars children was "The Dutch Courtesan", a satire on lust and hypocrisy, in 1604-5. In 1605, he worked with George Chapman and Ben Jonson on "Eastward Ho," a satire of popular taste and the vain imaginings of wealth to be found in Virginia. Chapman and Jonson were arrested for, according to Jonson, a few clauses that offended the Scots, but Marston escaped any imprisonment. The actual cause of arrest and details of the brief detainment are not certainly known; in the event, charges were dropped.

paragraph: In 1606, Marston seems to have offended and then soothed King James. First, in "Parasitaster, or, The Fawn," he satirized the king specifically. However, in the summer of that year, he put on a production of "The Dutch Courtesan" for the King of Denmark's visit, with a Latin verse on King James that was presented by hand to the king. Finally, in 1607, he wrote "The Entertainment at Ashby," a masque for the Earl of Huntingdon. At that point, he stopped his dramatic career altogether, selling his shares in the company of Blackfriars. His departure from the literary scene may have been because of another play, now lost, which offended the king. It seems that the French ambassador complained to King James about the disrespectful treatment of the French court in plays by Chapman performed at Blackfriars. To strengthen his case he added that another play had been performed in which James himself was depicted drunk. Incensed, James suspended performances at Blackfriars and had Marston imprisoned. This suggests that he was the author of the offending play.

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

paragraph: After the end of his literary career, he moved into his father-in-law's house and began studying philosophy. In 1609, he became a reader at the Bodleian library at Oxford, was made a deacon on 24 September and a priest on 24 December 1609. Contemporary authors were bemused or surprised by Marston's change of career, with several of them commenting on its seeming abruptness. In October 1616, Marston was assigned the living of Christchurch, Hampshire. He died on 24 June 1634 in London and was buried in the Middle Temple Church.

paragraph: Tombs at that time often started with the formulaic ""Memoriae Sacrum"" ("Sacred to the memory") followed by the name of the tomb's occupant and an account of their achievements even though such words are hubristic and a contradiction to the Christian virtues of modesty. According to Anthony à Wood John Marston's tomb stone bore the legend ""Oblivioni Sacrum"" ("Sacred to Oblivion"), which was probably composed by Marston, and, according to Joshua Scodel, the short "epitaph is thus both self-abasing and witty in its novel inversion of tradition".

paragraph: Section::::Reception and criticism.

paragraph: Marston's reputation has varied widely, like that of most of the minor Renaissance dramatists. Both "The Malcontent" and "The Dutch Courtesan" remained on stage in altered forms through the Restoration. The subplot of the latter was converted to a droll during the Commonwealth; after the Stuart Restoration, either Aphra Behn or Thomas Betterton updated the main plot for "The Revenge, or The Match in Newgate", although this adaptation makes the play both more sentimental and less morally complex. Gerard Langbaine makes a laudatory but superficial comment about Marston in his survey of English dramatic poets.

paragraph: After the Restoration, Marston's works were largely reduced to the status of a curiosity of literary history. The general resemblance of "Antonio's Revenge" to "Hamlet" and Marston's role in the war of the poets ensured that his plays would receive some scholarly attention, but they were not performed and were not even widely read. Thomas Warton preferred Marston's satires to Bishop Hall's; in the next century, however, Henry Hallam reversed this judgment. William Gifford, perhaps the eighteenth century's most devoted reader of Jonson, called Marston "the most scurrilous, filthy and obscene writer of his time".

paragraph: The Romantic movement in English literature resuscitated Marston's reputation, albeit unevenly. In his lectures, William Hazlitt praised Marston's genius for satire; however, if the romantic critics and their successors were willing to grant Marston's best work a place among the great accomplishments of the period, they remained aware of his inconsistency, what Swinburne in a later generation called his "uneven and irregular demesne".

paragraph: In the twentieth century, however, a few critics were willing to consider Marston as a writer who was very much in control of the world he creates. T. S. Eliot saw that this "irregular demesne" was a part of Marston's world and declared that "It is … by giving us the sense of something behind, more real than any of the personages and their action, that Marston establishes himself among the writers of genius". Marston's tragic style is Senecan and although his characters may appear, on Eliot's own admission, "lifeless", they are instead used as types to convey their "theoretical implications". Eliot in particular admired "Sophonisba" and saw how Marston's plays, with their apparently stylised characters and bitter portrayal of a world where virtue and honour only arouse "dangerous envy" ("Sophonisba"; Act 1, scene 1, line 45) in those around them, actually bring to life "a pattern behind the pattern into which the characters deliberately involve themselves: the kind of pattern which we perceive in our own lives only at rare moments of inattention and detachment".

paragraph: Section::::Works.

paragraph: Plays and production dates

paragraph: BULLET::::- "Histriomastix (play)", 1599

paragraph: BULLET::::- "Antonio and Mellida", London, Paul's theater, 1599–1600.

paragraph: BULLET::::- "Jack Drum's Entertainment", London, Paul's theater, 1599/1600.

paragraph: BULLET::::- "Antonio's Revenge", London, Paul's theater, 1600.

paragraph: BULLET::::- "What You Will", London, Paul's theater, 1601.

paragraph: BULLET::::- "The Malcontent", London, Blackfriars Theatre, 1603–1604; Globe Theatre, 1604.

paragraph: BULLET::::- "Parasitaster, or The Fawn", London, Blackfriars theater, 1604.

paragraph: BULLET::::- "Eastward Ho", by Marston, George Chapman, and Ben Jonson, London, Blackfriars theater, 1604–1605.

paragraph: BULLET::::- "The Dutch Courtesan", London, Blackfriars theater, 1605.

paragraph: BULLET::::- "The Wonder of Women, or The Tragedy of Sophonisba", London, Blackfriars theater, 1606.

paragraph: BULLET::::- "The Spectacle Presented to the Sacred Majesties of Great Britain, and Denmark as They Passed through London", London, 31 July 1606.

paragraph: BULLET::::- "The Entertainment of the Dowager-Countess of Darby", Ashby-de-la-Zouch in Leicestershire, 1607.

paragraph: BULLET::::- "The Insatiate Countess", by Marston and William Barksted, London, Whitefriars Theatre, 1608?.

paragraph: Books

paragraph: BULLET::::- "The Metamorphosis of Pigmalions Image". And Certaine Satyres (London: Printed by J. Roberts for E. Matts, 1598).

paragraph: BULLET::::- "The Scourge of Villanie. Three Bookes of Satyres" (London: Printed by J. Roberts & sold by J. Buzbie, 1598; revised and enlarged edition, London: J. Roberts, 1599).

paragraph: BULLET::::- "Jacke Drums Entertainment: Or, The Comedie of Pasquill and Katherine" (London: Printed by T. Creede for R. Olive, 1601).

paragraph: BULLET::::- "Loves Martyr: or, Rosalins Complaint", by Marston, Ben Jonson, William Shakespeare, and George Chapman (London: Printed for E. B., 1601).

paragraph: BULLET::::- "The History of Antonio and Mellida" (London: Printed by R. Bradock for M. Lownes & T. Fisher, 1602).

paragraph: BULLET::::- "Antonios Revenge" (London: Printed by R. Bradock for T. Fisher, 1602).

paragraph: BULLET::::- "The Malcontent" (London: Printed by V. Simmes for W. Aspley, 1604).

paragraph: BULLET::::- "Eastward Hoe", by Marston, Chapman, and Jonson (London: Printed by G. Eld for W. Aspley, 1605).

paragraph: BULLET::::- "The Dutch Courtezan" (London: Printed by T. Purfoote for J. Hodgets, 1605).

paragraph: BULLET::::- "Parasitaster, or The Fawne" (London: Printed by T. Purfoote for W. Cotton, 1606).

paragraph: BULLET::::- "The Wonder of Women, or The Tragedie of Sophonisba" (London: Printed by J. Windet, 1606).

paragraph: BULLET::::- "What You Will" (London: Printed by G. Eld for T. Thorppe, 1607).

paragraph: BULLET::::- "Histrio-mastix: Or, The Player Whipt" (London: Printed by G. Eld for T. Thorp, 1610).

paragraph: BULLET::::- "The Insatiate Countesse", by Marston and William Barksted (London: Printed by T. Snodham for T. Archer, 1613).

paragraph: BULLET::::- "The Workes of Mr. J. Marston" (London: Printed by A. Mathewes for W. Sheares, 1633); republished as "Tragedies and Comedies" (London: Printed by A. Mathewes for W. Sheares, 1633).

paragraph: BULLET::::- "Comedies, Tragi-comedies; & Tragedies", Nonce Collection (London, 1652).

paragraph: BULLET::::- "Lust's Dominion, or The Lascivious Queen" (presumably the same play as The Spanish Moor's Tragedy), by Marston, Thomas Dekker, John Day, and William Haughton (London: Printed for F. K. & sold by Robert Pollard, 1657).

paragraph: Section::::External links.

paragraph: BULLET::::- "The Works of John Marston, vol. 1." A. H. Bullen, ed. at Google Books

paragraph: BULLET::::- "The Works of John Marston, vol. 2."

paragraph: BULLET::::- "The Works of John Marston, vol. 3."

description: English writer

enwikiquote_title: John Marston

wikidata_label: John Marston

wikipedia_title: John Marston (poet)


text: composer

text: conductor

text: Mexican Symphonic Orchestra

text: Sinfonía india

text: Yaqui

text: José María Chávez Alonso

text: Aguascalientes

text: Maximilian

text: plough

text: United States

text: Manuel Ponce

text: Tlaxcala

text: Michoacán

text: Guanajuato

text: Oaxaca

text: Mexican Revolution

text: Álvaro Obregón

text: Aztec

text: Vienna

text: Paul Dukas

text: labor union

text: electronic music

text: NBC Symphony Orchestra

text: Arturo Toscanini

text: Museum of Modern Art

text: National Institute of Fine Arts

text: National Symphony Orchestra

text: Lincoln Kirstein

text: Chester Kallman

text: Boccaccio

text: Columbia University

text: Howard Shanet

text: Sylvia Stahlman

text: Craig Timberlake

text: Thomas Stewart

text: The Visitors

text: Aptos, California

text: Harvard University

text: public lectures

text: Cabrillo Festival of Contemporary Music

text: Lomas de Chapultepec

text: Coyoacán

text: National Archive of Mexico

text: juvenilia

text: Robert Schumann

text: H. P.

text: Stravinsky

text: sandunga

text: tango

text: huapango

text: foxtrot

text: sonata

text: quartet

text: symphony

text: concerto

text: Jean Cocteau

text: Sophocles

text: Dietrich Buxtehude

text: Everest Records

text: Stadium Symphony Orchestra

text: New York Philharmonic Orchestra

text: Lewisohn Stadium

text: Everest Records

text: Philips Records

text: Vienna State Opera Orchestra

text: Eugene List

text: Westminster Records

text: Edward Macdowell

text: Varèse Sarabande

text: La hija de Cólquide

text: José Pablo Moncayo

text: Columbia Records

text: Sergey Prokofiev

text: Peter and the Wolf

text: Carlos Pellicer

text: Daniel Ayala Pérez

text: Aaron Copland

text: Blas Galindo

text: Grupo de los cuatro

text: Silvestre Revueltas

text: Carlos Chávez manuscripts

text: Music Division

categories: 20th-century classical composers,Writers from Mexico City,National Conservatory of Music of Mexico alumni,20th-century conductors (music),Members of El Colegio Nacional,1899 births,Guggenheim Fellows,Mexican classical composers,Academics of the National Conservatory of Music of Mexico,Mexican conductors (music),Musicians from Mexico City,Male conductors (music),Mexican male classical composers,Harvard University faculty,1978 deaths

paragraph: Carlos Chávez

paragraph: Carlos Antonio de Padua Chávez y Ramírez (13 June 1899 – 2 August 1978) was a Mexican composer, conductor, music theorist, educator, journalist, and founder and director of the Mexican Symphonic Orchestra. He was influenced by native Mexican cultures. Of his six symphonies, the second, or "Sinfonía india", which uses native Yaqui percussion instruments, is probably the most popular.

paragraph: Section::::Biography.

paragraph: The seventh child of a creole family, Chávez was born on Tacuba Avenue in Mexico City, near the suburb of Popotla . His paternal grandfather, José María Chávez Alonso, served as governor of the state of Aguascalientes and was executed on the orders of Emperor Maximilian in 1864. His father, Augustín Chávez, who died when Carlos was barely three years old, invented a plough that was produced and used in the United States..

paragraph: Carlos had his first piano lessons from his brother Manuel, and later on he was taught piano by Asunción Parra, Manuel Ponce, and Pedro Luis Ozagón, and harmony by Juan Fuentes. His family often holidayed in Tlaxcala, Michoacán, Guanajuato, Oaxaca, and other places where the cultural influence of the Mexican indigenous peoples was still very strong .

paragraph: In 1916, Chávez and friends started a cultural journal, "Gladios", and this led to his joining the staff of the Mexico City newspaper in 1924. In the succeeding 36 years he was to write over 500 items for this paper (; ).

paragraph: After the Mexican Revolution and the installation of a democratically elected president, Álvaro Obregón, Chávez became one of the first exponents of Mexican nationalist music with ballets on Aztec themes .

paragraph: In September 1922, Chávez married Otilia Ortiz and they went on honeymoon to Europe, from October 1922 until April 1923, spending two weeks in Vienna, five months in Berlin, and eight or ten days in Paris . During the latter visit he met Paul Dukas . Some months later, in December 1923, Chávez visited the United States for the first time, returning in March 1924 . Chávez again went to New York City in September 1926 and stayed there until June 1928 . Upon his return to Mexico, Chávez became director of the Orquesta Sinfónica Mexicana (Mexican Symphonic Orchestra), later renamed Orquesta Sinfónica de México (Mexico's Symphonic Orchestra); the country's first permanent orchestra, started by a musicians' labor union. Chávez was instrumental in taking the orchestra on tour through Mexico's rural areas.

paragraph: In December 1928, Chávez was appointed director of Mexico's National Conservatory of Music—a position he held for a total of five years (until March 1933, and again for eight months in 1934). In that capacity, Chávez spearheaded three "academias de investigación", two concerned with collecting and cataloguing indigenous music and its literature, and the third to study the uses of old and new scales .

paragraph: In 1937, Chávez published a book, "Toward a New Music", which is one of the first books in which a composer speaks about electronic music. In 1938, he conducted a series of concerts with the NBC Symphony Orchestra, during a period of absence by the orchestra's regular conductor, Arturo Toscanini. In 1940 he produced concerts at New York's Museum of Modern Art, and by 1945, Chávez had come to be regarded as the foremost Mexican composer and conductor .

paragraph: From January 1947 until 1952, Chávez served as director-general of the National Institute of Fine Arts. In his first year, he formed the National Symphony Orchestra, which supplanted the older OSM as Mexico's premier orchestra and led to the disbanding of the older ensemble. Throughout all this time, Chávez maintained a busy international touring schedule .

paragraph: In May 1953 he was commissioned by Lincoln Kirstein, director of the New York City center of Music and Drama, for a three-act opera to a libretto by Chester Kallman based on a story by Boccaccio, to be titled "The Tuscan Players". Intended to be finished in August 1954, it was first postponed to April 1955, but only finally completed in 1956, by which time the title had been changed twice, first to "Pánfilo and Lauretta", then to . The City Center waived its rights to the first performance, which was given under the title "Panfilo and Lauretta" in the Brander Matthews Theatre at Columbia University in New York on May 9, 1957, under the baton of Howard Shanet. Stage direction was by Bill Butler, scenic design by Herbert Senn and Helen Pond, and costumes by Sylvia Wintle. The principal singers were Sylvia Stahlman, Frank Porretta, Craig Timberlake, Mary McMurray, Michael Kermoyan, and Thomas Stewart . The opera would be revised twice more and the title changed again to ("The Visitors"), for productions in 1968 and 1973, in Mexico City and Aptos, California, respectively (; ). From 1958–1959 he was the Charles Eliot Norton professor at Harvard University, and the public lectures he gave there were published as a book, "Musical Thought" .

paragraph: From 1970 to 1973, Carlos Chávez served as the music director of the Cabrillo Festival of Contemporary Music. His orchestral composition "Discovery" (1969) had previously been commission by the Festival and was first performed there.

paragraph: Failing health and financial setbacks forced Chávez to sell his house in the Lomas de Chapultepec neighborhood of Mexico City and move in with his daughter Anita in Coyoacán, in the fringes of the Mexican capital, where he died quietly on 2 August 1978 .

paragraph: Carlos Chávez's manuscripts and papers are housed in the Music Division of the New York Public Library for the Performing Arts and in the National Archive of Mexico, in Mexico City.

paragraph: Section::::Musical style.

paragraph: Chávez's music does not fall into clear stylistic periods, but rather cumulates elements in a process of continual synthesis. The juvenilia, up to 1921 and consisting primarily of piano compositions, is essentially Romantic, with Robert Schumann as the main influence. A period of nationalistic leanings was initiated in 1921 with the Aztec-themed ballet (The New Fire), followed by a second ballet, (The Four Suns), in 1925 .

paragraph: During his time in New York between 1924 and 1928, Chávez acquired a taste for the then-fashionable abstract and quasi-scientific music, as is reflected in the titles of many of his compositions written between 1923 and 1934: for piano (Polygons, 1923), for voice and piano (Hexagons, 1924), "36" for piano (1925), for nine instruments (Energy, 1925), for violin and piano (Spiral, 1934), and an unfinished orchestral score titled (Pyramids).

paragraph: The culmination of this period was the ballet "H. P." (i.e., Horse Power), also known by the Spanish title (1926–31) . "H. P." is a colorfully orchestrated score of ample dimensions and dense, compact atmosphere, notable for its dynamism and vitality, revealing the influence of Stravinsky and at the same time returning to folkloric and popular elements, with dances such as the sandunga, tango, huapango, and foxtrot . Such nationalisms would appear through the 1930s, notably in the Second Symphony (the of 1935–36, one of the few works by Chávez to quote actual Native-American themes), but only sporadically in later compositions .

paragraph: Although this early period saw the creation of the Sonatina for violin and piano (1924), it was only in the 1930s that Chávez returned to another of the main musical interests of his maturity, prefigured in the juvenilia: the traditional genres of the sonata, quartet, symphony, and concerto . He composed six numbered symphonies. The first, titled (1933), was reworked from incidental music for Jean Cocteau's "Antigone", an adaptation of Sophocles' tragedy. In it, Chávez sought to create an archaic ambiance through the use of modal polyphony, harmonies built on fourths and fifths, and a predominant use of wind instruments .

paragraph: In the fourth of his Norton lectures of 1958–59, titled "Repetition in Music" , he described a mode of composition already observable in many of his compositions since the 1920s, in which "The idea of repetition and variation can be replaced by the notion of constant rebirth, of true derivation: a stream that never comes back to its source; a stream in eternal development, like a spiral …" . A notable early example of this method is "Soli I" (1933), the first work acknowledged by the composer to have been consciously organized according to this principle. It only became a regular feature, however, beginning with "Invención I" for piano (1958), and subsequently in most of his instrumental compositions of the 1960s and 1970s: "Invención II" for string trio (1965), "Invención III" for harp (1967), "Soli II" for wind quintet (1961), "Soli III" for bassoon, trumpet, viola, timpani, and orchestra (1969), "Soli IV" for brass trio (1966), "Cinco Caprichos" for piano (1975), and the late orchestral works "Resonancias" (1964), "Elatio" (1967), "Discovery" (1969), "Clio" (1969), and "Initium" (1970–72) .

paragraph: Section::::Recordings.

paragraph: Chávez made more than a handful of recordings, conducting his own music as well as that of other composers. One of the earliest was made in the 1930s for Victor, containing Chávez's "Sinfonía de Antígona" and "Sinfonía india", together with his orchestration of Dietrich Buxtehude's Chaconne in E minor: 4-disc 78-rpm set, Victor Musical Masterpiece Series, Victor Red Seal M 503 (manual sequence) and DM 503 (automatic sequence). The best-known of his discs was the Everest Records stereophonic recording of his "Sinfonía India", "Sinfonía de Antígona", and "Sinfonía Romántica", in which Chávez conducted the Stadium Symphony Orchestra, the name given to the New York Philharmonic Orchestra for its summer performances in the Lewisohn Stadium. The album was originally issued in 1959 by Everest Records on LP SDBR 3029, and was reissued on CD in 1996 by Everest as EVC-9041, as well as at some point by Philips Records. In 1963 Chávez conducted the Vienna State Opera Orchestra in two recordings with pianist Eugene List for Westminster Records, both released on LP: one of his own Concerto for Piano and Orchestra (Westminster WST 17030, reissued in 1976 as Westminster Gold WGS 8324) and one of the two piano concertos by Edward Macdowell (ABC Westminster Gold WGS 8156). In the 1950s he released two recordings on US Decca records, on which he conducted the Orquesta Sinfónica de México. In 1951 a 10-inch mono LP was issued (Decca Gold Label DL 7512, reissued 1978 by Varèse Sarabande on side 2 of 12-inch LP ), containing his Suite from "La hija de Cólquide" (originally recorded in 1947 for the Mexican label Anfión and issued as a 3-disc 78 rpm set Anfión AM 4), and in 1956 they released an anthology, "Music of Mexico", on which he conducted three of his own works, plus José Pablo Moncayo's "Huapango" (Decca Gold Label LP, DL9527). He also made some recordings for Columbia Records which were issued on 78-rpm discs and on LP (Columbia 4-disc 78-rpm set M 414, reissued 1949 on Columbia 10-inch LP, Columbia ML 2080 and Mexican Columbia DCL 98, reissued on Columbia 12-inch LP, LL 1015; CBS Masterworks 3-LP set 32 31 0001 (mono)/ 32 31 002 (stereo); CBC Masterworks LP 32 11 0064; Columbia LP M32685; Odyssey LP Y 31534). In 1961 he recorded Sergey Prokofiev's "Peter and the Wolf", with the Orquesta Sinfónica de México and Carlos Pellicer, narrator, released on Mexican CBS MC 1360.

paragraph: Section::::See also.

paragraph: BULLET::::- Daniel Ayala Pérez

paragraph: BULLET::::- Aaron Copland

paragraph: BULLET::::- Blas Galindo

paragraph: BULLET::::- Grupo de los cuatro

paragraph: BULLET::::- Silvestre Revueltas

paragraph: Section::::External links.

paragraph: BULLET::::- Carlos Chávez: Biography & list of works (in English, French & Spanish)

paragraph: BULLET::::- Carlos Chávez manuscripts in the Music Division of The New York Public Library for the Performing Arts

alias: Carlos Antonio de Padua Chavez y Ramirez

wikidata_label: Carlos Chávez

wikipedia_title: Carlos Chávez


text:
fashion design
Turin
dressmaker
fashion house
Nina Ricci
Paris
Puig

categories: Italian emigrants to France,Italian fashion designers,1970 deaths,French people of Italian descent,French fashion designers,1883 births

paragraph: Nina Ricci (designer)

paragraph: Nina Ricci (born Maria Nielli; 1883 – 1970) was an Italian-born French fashion designer.

paragraph: She was born in Turin, Italy, and moved to France at the age of 12.

paragraph: At the age of 13, she began an apprenticeship at a dressmaker's.

paragraph: In 1904, she married Luigi Ricci. They had one child, Robert.

paragraph: In 1908, she joined the House of Raffin, where she remained for decades.

paragraph: She and her son Robert founded the fashion house Nina Ricci in Paris in 1932; it has been owned by the Spanish company Puig since 1998.

description: Italian fashion designer

wikidata_label: Nina Ricci

wikipedia_title: Nina Ricci (designer)


text:
Georgian
Bolshevik
Soviet
Russian Revolution
Civil War
Sovietization
Caucasus
Communist
Joseph Stalin
Georgian Affair
Trotskyite
Great Purge
Russian Social Democratic Labour Party
Tbilisi
Baku
Batumi
Russian Civil War
Russian Revolution of 1917
Caucasus Front
11th Army
Democratic Republic of Azerbaijan
Turkey
Democratic Republic of Armenia
Sergo Ordzhonikidze
Red Army invasion of Georgia
Menshevik
Georgian SSR
Moscow
Transcaucasia
Filipp Makharadze
Revkom
Georgian Affair
Mikhail Okudzhava
Sergey Kavtaradze
Shalva Eliava
Lenin
Armenian
Azerbaijan
Transcaucasian SFSR
France
Communist Party of the Soviet Union
Left Opposition
Sovnarkhoz
Lavrentiy Beria
Ekaterina Geladze
Great Purges
NKVD troika
Metekhi
Enemies of the People
Article 58

categories: Russian Social Democratic Labour Party members,Soviet Trotskyists,Trotskyists,Georgian Communist Party politicians,1937 deaths,Georgian revolutionaries,20th-century politicians from Georgia (country),Great Purge victims from Georgia (country),Communists from Georgia (country),1877 births,Old Bolsheviks,Communist Party of the Soviet Union members,People of the Russian Civil War

paragraph: Polikarp Mdivani

paragraph: Polikarp "Budu" Mdivani (; , "Polikarp Gurgenovich [Budu] Mdivani") (1877 – 19 July 1937) was a veteran Georgian Bolshevik and Soviet government official energetically involved in the Russian Revolutions and the Civil War. In the 1920s, he played an important role in Sovietization of the Caucasus, but later led Georgian Communist opposition to Joseph Stalin's centralizing policy during the Georgian Affair of 1922. In the 1930s, he was persecuted for his support to the Trotskyite opposition and executed during the Great Purge.

paragraph: Section::::Revolution and Civil War.

paragraph: Mdivani joined the Bolshevik faction of the Russian Social Democratic Labour Party in 1903 and engaged in revolutionary activities in Tbilisi, Baku, Batumi, and other industrial centers of the Caucasus. A close associate of Joseph Stalin, he quickly emerged as one of the leading Bolsheviks in the region and gained a reputation of a brilliant orator.

paragraph: During the Russian Civil War, that followed the Russian Revolution of 1917, he was commissioned to the Caucasus Front where he worked for the Caucasian Bureau of the Central Committee of the Bolshevik Party and served as a member of the Revolutionary Military Council of the 11th Army. In 1920, he was instrumental in the occupation of the Democratic Republic of Azerbaijan. Later that year, he was sent as a special envoy to Turkey in an effort to mediate a peace deal between the Turkish government and the Democratic Republic of Armenia.

paragraph: Early in 1921, Mdivani, along with Stalin and Sergo Ordzhonikidze, played an important role in engineering the Red Army invasion of Georgia which toppled down the local Menshevik-dominated government in favor of the Bolshevik regime. However, with the establishment of the Georgian SSR, Mdivani emerged as one of the leading proponents of the republic’s sovereignty from Moscow. He protested against a series of territorial rearrangements in Transcaucasia that dispossessed Georgia of several of its former districts and advocated more tolerance towards political opposition to ensure the survival of the highly unpopular Bolshevik government.

paragraph: Section::::The Georgian Affair.

paragraph: On 7 July 1921 Filipp Makharadze, a moderate Georgian Communist leader, was removed from his position of the chairman of the Georgian Revolutionary Committee (Revkom) and replaced with Mdivani. During his tenure, Mdivani entered in a bitter conflict with Stalin and Ordzhonikidze who pursued hardliner, centralizing policy towards Georgia. This dispute known as the Georgian Affair peaked in 1922, when Mdivani and his comrades – Makharadze, Mikhail Okudzhava, Sergey Kavtaradze, and Shalva Eliava – were denounced by Stalin as "national deviationists". The Mdivani group, in their turn, accused their opponents of "Great Russian chauvinism" and tried to secure Lenin’s support, but without any success. The "deviationists"’ failure to prevent the Georgian SSR from being amalgamated with the Armenian and Azerbaijan republics into the Transcaucasian SFSR resulted in the final victory of the Stalin-Ordzhonikidze line and the removal of Mdivani from his post in January 1923.

paragraph: The "national deviationists" were not actively persecuted until the late 1920s, however. Once Lenin had been incapacitated by a series of strokes, Stalin used his increasing power to remove Mdivani and other oppositionists to diplomatic posts. Mdivani served as the Soviet trade representative to France from 1924 until being excluded, in 1928, from the Communist Party of the Soviet Union during Stalin’s crackdown on the Left Opposition. Reinstated three years later, he worked in various government positions, including as chairman of the Supreme Sovnarkhoz, People’s Commissar of Light Industry and first deputy chairman of the Georgian Council of People’s Commissars between 1931 and 1936. He remained an outspoken critic of Stalin’s Transcaucasian enterprise and was famous for his sarcastic comments on the Soviet leader. According to the modern historian Ami Knight, Mdivani liked to tell a joke about how Georgian workers urged Lavrentiy Beria to set up an armed guard around the house of Stalin’s mother, Ekaterina Geladze, in Tbilisi so that she would not give birth to another Stalin.

paragraph: Section::::Repression.

paragraph: Stalin could not forgive Mdivani for his defiance and Mdivani became one of the first victims of the Great Purges. He was removed from his post and excluded from the party in late 1936. In May 1937, Mdivani was accused by Beria of having founded the "Trotskyite Centre for Espionage, Sabotage and Terrorism" with the aim to kill Beria and bring down the Soviet government. In July he was arrested and tried by the NKVD troika. During the interrogations at the Metekhi prison in Tbilisi, Mdivani repeatedly refused to "confess". He is quoted to have said to the troika members:

paragraph: ""Being shot is not enough punishment for me; I need to be quartered! It was me who brought the 11th Army here [in Tbilisi]; I betrayed my people and helped Stalin and Beria, these degenerates, enslave Georgia and bring Lenin’s party to its knees"."

paragraph: On 11 July 1937 the Soviet newspaper "Zaria Vostoka", with the headline of "Death to Enemies of the People", announced that the Georgian Supreme Court found Mdivani, Okudzhava and several of their colleagues guilty of treason and other counterrevolutionary crimes all categorized under Article 58 of the Criminal Code. On 19 July Mdivani was executed in Tbilisi. His wife and sons, including the notable tennis player Archil Mdivani (1911-1937), and daughter Meri (Mary) were also shot. Meri left a newborn son, David Kobakhidze, with the neighbor when she was taken away for questioning. Before being executed she had a chance to write a letter to him that was the only object he had from his mother.

description: Russian revolutionary

wikidata_label: Polikarp Mdivani

wikipedia_title: Polikarp Mdivani


text:
Iran
Iran
football
striker
Esfahan
Sepahan
2007 AFC Champions League
Asian Player of the Year
Javad Nekounam
CA Osasuna
Paykan
Esteghlal
Tehran's reds
2013–14 Season
Tractor
Saipa
Naft Masjed Soleyman
Iran national under-23 football team
Athens 2004
Iran national football team
North Korea national football team
China
Oman
AFC Champions League
2007
Iran Pro League
2002–03
2007–08
2011–12
Hazfi Cup
2003–04
2005–06
2006–07
Iran Pro League
2010–11
Iran Pro League
2012–13
Iran Pro League
2013–14

categories: Iranian footballers,Paykan F.C. players,Living people,Rah Ahan players,1981 births,Iran international footballers,Tractor Sazi F.C. players,Gostaresh Foulad F.C. players,Persian Gulf Pro League players,Persepolis F.C. players,Saipa F.C. players,Esteghlal F.C. players,Sepahan players,Esteghlal Khuzestan players

paragraph: Mehdi Seyed-Salehi

paragraph: Seyed Mohammad Mehdi Seyed-Salehi, (more commonly known as Mehdi Seyed-Salehi, , born July 27, 1981 in Iran) is a former Iranian football player. He usually played as a striker.

paragraph: Section::::Club career.

paragraph: Section::::Club career.:Sepahan.

paragraph: Seyed-Salehi had been playing for Esfahani club Sepahan for most of his career. He scored four goals in Sepahan's first three matches in the 2007 AFC Champions League.

paragraph: Following his impressive performances for Sepahan in the Asian Champions League, he was selected among 2007 Asian Player of the Year nominees, along with Iranian expatriate Javad Nekounam of CA Osasuna.

paragraph: Section::::Club career.:Esteghlal.

paragraph: He moved to Paykan and started the seasons very impressive and moved to Esteghlal at the end of the seasons.

paragraph: Section::::Club career.:Persepolis.

paragraph: He signed a two-year contract with Tehran's reds until end of 2013–14 Season. He scored his first goal in his debut match against Tractor.

paragraph: Section::::Club career.:Saipa.

paragraph: On 18 June 2014, Seyed-Salehi signed a contract with Saipa after being released by Persepolis, effective from 1 July 2014. He played his first match for Saipa on 1 August 2014 against newly promoted Naft Masjed Soleyman.

paragraph: Section::::Club career.:Club career statistics.

paragraph: BULLET::::- Assist Goals

paragraph: Section::::International career.

paragraph: He was a member of Iran national under-23 football team in its unsuccessful qualification campaign for Athens 2004.

paragraph: He made his debut for Iran national football team in October 2008, coming in as a substitute against North Korea national football team. He scored his first goal in a friendly match against China in Oman from the penalty kick.

paragraph: Section::::Honours.

paragraph: Section::::Honours.:Club.

paragraph: BULLET::::- Sepahan

paragraph: BULLET::::- AFC Champions League: 2007 (Runner-up)

paragraph: BULLET::::- Iran Pro League: 2002–03, 2007–08 (Runner-up), 2011–12

paragraph: BULLET::::- Hazfi Cup: 2003–04, 2005–06, 2006–07

paragraph: BULLET::::- Esteghlal

paragraph: BULLET::::- Iran Pro League: 2010–11 (Runner-up)

paragraph: BULLET::::- Tractor

paragraph: BULLET::::- Iran Pro League: 2012–13 (Runner-up)

paragraph: BULLET::::- Persepolis

paragraph: BULLET::::- Iran Pro League: 2013–14 (Runner-up)

description: Iranian footballer and football coach

wikidata_label: Mehdi Seyed-Salehi

wikipedia_title: Mehdi Seyed-Salehi


text:
Italian
architect
designer
Milano
Italy
Politecnico di Milano
Casabella
Modern Design movement
ADI
Italy
Richard Sapper
Brionvega
Japan
Germany
techno-functionalism
transistor
sculptural minimalism
Siemens
New Domestic Landscape
ultramodern
market accessibility
MoMA
Pirelli
Arflex
Milan Triennale
Museum of Modern Art
New York City
Triennale Milano
Vitra Museum
Arflex Museum
Medaglia d'Oro Triennale
Medaglia d'Oro Triennale
Medaglia d'Oro Triennale
Buenos Aires
San Paolo
Richard Sapper
Richard Sapper
Brionvega
Richard Sapper
Alfa Romeo
Richard Sapper
Brionvega
arflex
Richard Sapper
Kartell
Richard Sapper
Brionvega
Richard Sapper
Siemens
Richard Sapper
Brionvega
Zanotta
Richard Sapper
IBM
Milano
Piccolo teatro
Milano
Arflex-design, Official website
Marco Zanuso, Design Dictionary
Marco Zanuso, Brionvega

categories: Polytechnic University of Milan faculty,2001 deaths,20th-century Italian architects,Polytechnic University of Milan alumni,Italian industrial designers,1916 births

paragraph: Marco Zanuso

paragraph: Marco Zanuso (14 May 1916 – 11 July 2001) was an Italian architect and designer.

paragraph: Section::::Early life.

paragraph: Marco Zanuso was born in Milano (Italy) 14 May 1916. He was one of a group of Italian designers from Milan shaping the international idea of "good design" in the postwar years. Trained in architecture at the Politecnico di Milano university, he opened his own design office in 1945. From the beginning of his career, at Domus where he served as the editor from 1947–49 and at Casabella where he was editor from 1952–56, he helped to establish the theories and ideals of the energetic Modern Design movement. As a professor of architecture, design and town planning at the Politecnico from the late 1940s until the 1980s, and as one of the founding members of the ADI in the 1950s, he also had a distinct influence over the next design generation coming out of Italy.

paragraph: Section::::Career.

paragraph: In 1957 Zanuso partnered with German designer Richard Sapper. One of their first projects was a small, stackable child's chair (1961) in non-reinforced plastic. This piece was light, functional and playful, manufactured in several bright colors and it was among the furniture designs responsible for convincing people that plastic was a viable and appropriate material for the modern home. Zanuso and Sapper were hired in 1959 as consultants to Brionvega, an Italian company trying to produce stylish electronics that would, at least outwardly, best those being made in Japan and Germany. They designed a series of radios and televisions that became enduring icons of an aesthetic known as "techno-functionalism". Their rounded, compact and portable "Doney 14" (1962) was the first completely transistor television. Working with the language of sculptural minimalism they designed the successful folding "Grillo" telephone for Siemens (1966). This was one of the first phones to put the dial and the earpiece on the same unit.

paragraph: In a 1972 they designed a series of dwellings for the "New Domestic Landscape" show at the MoMA. Each stacking unit, like ultramodern teepees, unfolded to a living area complete with all the facilities and many of the accessories of a small apartment. Zanuso wrote that they were "designed for all situations that require immediately available, easily transportable living quarters." As with the rest of their work, the hallmarks of these designs were elegance and imagination.

paragraph: Section::::Works.

paragraph: The major pieces of his career run a broad spectrum from early experiments in bent metal to luxurious, plush furniture to sleek industrial designs in plastic. The underlying motif throughout each phase of his work is that he was pioneering the use and market accessibility of every different material he worked with. Some of his first work to be shown at all, and certainly to be shown outside of Italy, was at the Low-Cost Furniture competition sponsored by the MoMA in 1948. His design featured a metal frame chair that used a breakthrough method to join the fabric seat to the frame. In 1948 Pirelli opened a new division, Arflex, to design seating with foam rubber upholstery. They commissioned Zanuso to produce their first models. His "Antropus" chair came out in 1949, followed by the "Lady" chair, which won first prize at the 1951 Milan Triennale. Zanuso lauded the new material, "One could revolutionize not only the system of upholstery but also the structural manufacturing and formal potential...our prototypes acquired visually exciting and new contours...with industrial standards that were previously unimaginable."

paragraph: Different items of his work in the collections of the Museum of Modern Art in New York City, Triennale Milano, Triennale Tokyo, Vitra Museum, Arflex Museum and Kartell Museum.

paragraph: Section::::Works.:Significant products.

paragraph: BULLET::::- 1951 armchair "Lady" for arflex (Medaglia d'Oro Triennale)

paragraph: BULLET::::- 1952 armchair "Martingala" for arflex

paragraph: BULLET::::- 1952 sofa "Tripoltrona" for arflex (Medaglia d'Oro Triennale)

paragraph: BULLET::::- 1954 sofa "Sleep-o-matic" for arflex (Medaglia d'Oro Triennale)

paragraph: BULLET::::- 1955 Olivetti buildings in Buenos Aires and San Paolo

paragraph: BULLET::::- 1960 chair "Lambda" with Richard Sapper for Gavina

paragraph: BULLET::::- 1962 television "Doney" with Richard Sapper for Brionvega

paragraph: BULLET::::- 1963 car with Richard Sapper for Alfa Romeo

paragraph: BULLET::::- 1964 television "Algol" with Richard Sapper for Brionvega

paragraph: BULLET::::- 1964 armchair "Woodline" and "Fourline" for arflex

paragraph: BULLET::::- 1964 child's chair K4999 with Richard Sapper for Kartell

paragraph: BULLET::::- 1965 Radio TS 502 with Richard Sapper for Brionvega

paragraph: BULLET::::- 1966 telephone "Grillo" with Richard Sapper for Siemens

paragraph: BULLET::::- 1969 television "Black" with Richard Sapper for Brionvega

paragraph: BULLET::::- 1970 table "Marcuso" for Zanotta

paragraph: BULLET::::- 1970 pen "Hastil" with Richard Sapper for Aurora

paragraph: BULLET::::- 1974 IBM building in Milano

paragraph: BULLET::::- 1998 New theatre Piccolo teatro in Milano

paragraph: Section::::External links.

paragraph: BULLET::::- Arflex-design, Official website

paragraph: BULLET::::- Marco Zanuso, Design Dictionary

paragraph: BULLET::::- Marco Zanuso, Brionvega

paragraph: Section::::Notes.

paragraph: BULLET::::- François Burkhardt, "Marco Zanuso. Design", Federico Motta Editore, 1994,

paragraph: BULLET::::- Aldo Colonnetti "Grafica e Design a Milan 1933–2000", Editore Collana AIM – Abitare Segesta Cataloghi, Milan 2001.

description: Italian architect

wikidata_label: Marco Zanuso

wikipedia_title: Marco Zanuso


text:
ice hockey
Czech Extraliga
PSG Zlín

categories: Czech ice hockey players,1991 births,Living people,HC Zlín players

paragraph: Dalibor Řezníček

paragraph: Dalibor Řezníček (born August 25, 1991) is a Czech professional ice hockey player currently playing in the Czech Extraliga for the PSG Zlín.

description: Czech ice hockey player

wikidata_label: Dalibor Řezníček

wikipedia_title: Dalibor Řezníček


text:
pseudonym
Norwegian
ambient
Susanna Wallumrød
ring modulator
theremin
samplers
Per Bergersen
Supersilent
Rune Grammofon
Motorpsycho
Biosphere
Arne Nordheim
Biosphere
Rune Grammofon
Morals and Dogma
Deathprod
List of ambient music artists
Rune Grammofon

categories: Supersilent members,Norwegian rock guitarists,Ambient music,Motorpsycho members,Norwegian record producers,Rune Grammofon artists,1971 births,Norwegian male guitarists,Living people

paragraph: Deathprod

paragraph: Deathprod is the musical pseudonym used by Norwegian artist Helge Sten for his ambient music project. He is married to Norwegian singer Susanna Wallumrød.

paragraph: Section::::Biography.

paragraph: Sten began creating music under this name starting in 1991, culminating with a box set of most of his recorded work being released in 2004. Simply titled "Deathprod", the collection contains three albums along with a bonus disc of previously unreleased, rare, and deleted tracks.

paragraph: On recordings, Sten is usually credited with "Audio Virus", a catchall term for "homemade electronics, old tape echo machines, ring modulators, filters, theremins, samplers and lots of electronic stuff."

paragraph: Sten also did the mixing of the album "PB" by the Norwegian artist Per Bergersen.

paragraph: Sten is a member of Supersilent and works as a producer on many releases on the Norwegian label Rune Grammofon.

paragraph: He has also produced Motorpsycho and has worked with Biosphere on an Arne Nordheim tribute album called "Nordheim Transformed".

paragraph: Section::::Discography.

paragraph: BULLET::::- "Deathprod", self-released demo tape

paragraph: BULLET::::- "Treetop Drive 1–3, Towboat" (1994), Metal Art Disco

paragraph: BULLET::::- "Imaginary Songs from Tristan da Cunha" (1996), dBUT Records

paragraph: BULLET::::- "Nordheim Transformed" (with Biosphere) (1998), Rune Grammofon

paragraph: BULLET::::- "Morals and Dogma" (2004), Rune Grammofon

paragraph: BULLET::::- "Deathprod" (2004), Rune Grammofon

paragraph: BULLET::::- "6-track" 10" remix album (2006), Rune Grammofon

paragraph: Section::::See also.

paragraph: BULLET::::- List of ambient music artists

paragraph: Section::::External links.

paragraph: BULLET::::- Rune Grammofon

description: Norwegian musician

wikidata_label: Deathprod

wikipedia_title: Deathprod


text:
Qin dynasty
eunuch
Qin Shi Huang
Qin Er Shi
Ziying
Guangzong County
Hebei
Li Si
Chancellor
Fusu
crown prince
Meng Tian
Meng Yi
Li Si
Hangu Pass
Xianyang
Xi'an
Shaanxi
Ziying
Zhao state
Warring States period
Records of the Grand Historian
Qin Shi Huang
Meng Yi
Qin Shi Huang
Meng Tian
Meng Yi
Fusu
Xiongnu
Li Si
Chancellor
Huhai
Qin Er Shi
Five Pains
Hangu Pass
Ziying
chengyu
Records of the Grand Historian
Second Emperor
Zhao state
Qin state
Ziying
Records of the Grand Historian

categories: Chinese eunuchs,Chinese chancellors,207 BC deaths,Place of birth unknown,Year of birth unknown,Qin dynasty politicians,Chinese folklore,3rd-century BC births

paragraph: Zhao Gao

paragraph: Zhao Gao (died 207 BC) was an official of the Qin dynasty of China. Allegedly a eunuch, he served as a close aide to all three emperors of the Qin dynasty – Qin Shi Huang, Qin Er Shi and Ziying – and was regarded as having played an instrumental role in the downfall of the dynasty.

paragraph: Zhao Gao started his career under Qin Shi Huang as Prefect of the Office for Imperial Carriages (中車府令), an official in charge of managing the palace horse-drawn carriages. During this period of time, he also served as an attendant to Huhai, Qin Shi Huang's youngest son, and tutored him in the laws of the Qin Empire. In 210 BC, after Qin Shi Huang died in Shaqiu (沙丘; south of present-day Dapingtai Village, Guangzong County, Hebei), Zhao Gao and Li Si, the Chancellor, secretly changed the emperor's final edict, which named Fusu, the crown prince, the heir to the throne. In the falsified edict, Fusu was ordered to commit suicide while Huhai was named the new emperor. After Huhai was enthroned as Qin Er Shi, he promoted Zhao Gao to Prefect of the Gentlemen of the Palace (郎中令), an official post whose duties included managing the daily activities in the imperial palace. Zhao Gao, who was highly trusted by Qin Er Shi, instigated the emperor to exterminate his own siblings to consolidate power, and used the opportunity to eliminate his political opponents such as Meng Tian and Meng Yi. He also framed Li Si for treason and had Li Si and his entire family executed, after which he replaced Li Si as Chancellor and monopolised state power. In 207 BC, when rebellions broke out in the lands east of Hangu Pass, Zhao Gao became worried that Qin Er Shi would blame him, so he launched a coup in Wangyi Palace (望夷宮; in Xianyang, near present-day Xi'an, Shaanxi) and assassinated the emperor. Following Qin Er Shi's death, Zhao Gao installed Ziying, Fusu's son (allegedly; there is no firm consensus on what Ziying's relationship to the Qin royal family really is), on the throne. Ziying sent Han Tan (韓談), a eunuch, to assassinate Zhao Gao.

paragraph: Section::::Early life.

paragraph: Zhao Gao was distantly related to the royal family of the Zhao state of the Warring States period. According to the "Records of the Grand Historian", Zhao Gao's parents committed crimes and were punished. His brothers were castrated; it is unclear whether Zhao Gao himself was a eunuch or not. However, Qin Shi Huang valued Zhao Gao since he was learned in criminal law. This was very useful to Qin Shi Huang since he himself was always looking for ways to control the people by laws and punishments. Zhao Gao enjoyed a steady rise in position.

paragraph: When Zhao was a minor official, he committed a crime punishable by death. Meng Yi was the official in charge of sentencing and he sentenced Zhao to death and removed him from the officials list as instructed by Qin Shi Huang. Zhao was later pardoned by Qin Shi Huang and returned to his official status.

paragraph: Section::::Coup following Qin Shi Huang's death.

paragraph: At the end of the reign of Qin Shi Huang, Zhao Gao was involved in the death of Meng Tian and his younger brother, Meng Yi. Meng Tian, a reputable general and a supporter of Qin Shi Huang's eldest son, Fusu, was stationed at the northern border, commanding more than 200,000 troops for the inconclusive campaign against the Xiongnu. Following the sudden death of Qin Shi Huang at Shaqiu, Zhao Gao and Li Si, the Chancellor, persuaded the emperor's youngest son, Huhai, to falsify the emperor's will. The fake decree forced Fusu to commit suicide and stripped Meng Tian of his command. Harbouring hatred for the entire Meng family due to his prior sentencing by Meng Yi, Zhao Gao destroyed the Meng brothers by convincing Huhai to issue a decree that forced Meng Tian to commit suicide and execute Meng Yi.

paragraph: Qin Er Shi, who viewed Zhao Gao as his tutor, became the next Qin emperor.

paragraph: Two years later, Zhao Gao also killed Li Si, executing him via the "Five Pains" method, Li's own invention. The method consisted of having the victim's nose cut off, cutting off a hand and a foot, then the victim was castrated and finally cut in half in line with the waist. He also had Li Si's entire family exterminated.

paragraph: In 207 BC, rebellions broke out in the lands east of Hangu Pass. Zhao Gao was afraid that Qin Er Shi might make him responsible for the uprisings. To preempt this, he launched a coup and assassinated Qin Er Shi, and then installed Ziying, Fusu's son, as the new emperor.

paragraph: Ziying, however, knew that Zhao Gao intended to kill him afterwards to appease the rebels, so he feigned illness on the day of the coronation, which forced Zhao to arrive at his residence to persuade him to attend. The moment Zhao Gao arrived, Ziying ordered a eunuch, Han Tan, to kill Zhao. Zhao Gao's entire clan was exterminated on Ziying's order.

paragraph: Section::::Calling a deer a horse.

paragraph: One "chengyu" (Chinese idiomatic expression) that is derived from an incident involving Zhao Gao is "point to a deer and call it a horse" () or "calling a deer a horse", meaning "deliberate misrepresentation for ulterior purposes". The "Records of the Grand Historian" records that Zhao Gao, in an attempt to control the Qin government, devised a loyalty test for court officials using a deer and horse:

paragraph: Zhao Gao was contemplating treason but was afraid the other officials would not heed his commands, so he decided to test them first. He brought a deer and presented it to the Second Emperor but called it a horse. The Second Emperor laughed and said, "Is the chancellor perhaps mistaken, calling a deer a horse?" Then the emperor questioned those around him. Some remained silent, while some, hoping to ingratiate themselves with Zhao Gao, said it was a horse, and others said it was a deer. Zhao Gao secretly arranged for all those who said it was a deer to be brought before the law and had them executed instantly. Thereafter the officials were all terrified of Zhao Gao. Zhao Gao gained military power as a result of that. (tr. Watson 1993:70)

paragraph: Section::::Alternative viewpoints.

paragraph: There is a theory that Zhao Gao was a descendant of the royal family of the Zhao state, which was destroyed by the Qin state, and Zhao Gao was seeking revenge on Qin. With Zhao Gao in charge of the Qin government, it was natural that the Qin Empire collapsed in such a short time. In fact, Zhao Gao killed all the sons and daughters of Qin Shi Huang, including the Second Emperor, Huhai. In revenge, Ziying killed Zhao Gao and all of his family members. Thus, Zhao Gao or his brothers have no known descendants. Commentators who hold this view praise him for his part in the destruction of the Qin empire.

paragraph: The historian Li Kaiyuan (李開元) believes Zhao Gao was not a eunuch at all. He bases this in part on the fact eunuchs were not allowed to serve as chancellors, which Zhao did.

paragraph: Section::::References.

paragraph: BULLET::::- "Records of the Grand Historian", volumes and

alias:
Gao Zhao
Chiu Ko

description: politician during the Qin Dynasty of China

wikidata_label: Zhao Gao

wikipedia_title: Zhao Gao


text: space program

text: Lucien Rudaux

text: Space art

text: San Jose

text: Lick Observatory

text: 1906 earthquake

text: California Society of Printmakers

text: Columbia University

text: architectural

text: William van Alen

text: art deco

text: Chrysler Building

text: Plymouth Rock Memorial

text: U.S. Supreme Court Building

text: New York Central Building

text: Golden Gate Bridge

text: matte paintings

text: The Hunchback of Notre Dame

text: Citizen Kane

text: The Magnificent Ambersons

text: astronomy

text: Saturn

text: moons

text: Life

text: The Conquest of Space

text: Willy Ley

text: George Pal

text: Destination Moon

text: When Worlds Collide

text: The War of the Worlds

text: Conquest of Space

text: Cat-Women of the Moon

text: Astounding Science Fiction

text: Wernher von Braun

text: Collier's

text: Cold War

text: Sputnik

text: Man Will Conquer Space Soon!

text: Carmel, California

text: astronautics

text: British Interplanetary Society

text: International Space Hall of Fame

text: International Fantasy Award

text: British SF Convention

text: Science Fiction Hall of Fame

text: National Air and Space Museum

text: Titan

text: crater

text: Mars

text: asteroid

text: 3129 Bonestell

text: Sun Ra

text: The Conquest of Space

text: The Hunchback of Notre Dame

text: Only Angels Have Wings

text: Swiss Family Robinson

text: Citizen Kane

text: The Magnificent Ambersons

text: Destination Moon

text: War of the Worlds

text: Cat-Women of the Moon

text: Conquest of Space

text: Men into Space

text: The Fantasy Film Worlds of George Pal

text: Arnold Leibovit

text: Arthur C. Clarke

text: Robert A. Heinlein

text: Have Space Suit—Will Travel

text: Stranger in a Strange Land

text: Captain Picard

text: Chesley Awards

text: List of space artists

text: Robert McCall

text: Miller, Ron

text: Chesley Bonestell, Bonestell LLC.

categories: Science fiction artists,American speculative fiction artists,Special effects people,1986 deaths,1888 births,Space artists,People associated with astronomy,Science Fiction Hall of Fame inductees

paragraph: Chesley Bonestell

paragraph: Chesley Knight Bonestell, Jr. (January 1, 1888 – June 11, 1986) was an American painter, designer and illustrator. His paintings inspired the American space program, and they have been (and remain) influential in science fiction art and illustration. A pioneering creator of astronomical art, along with the French astronomer-artist Lucien Rudaux, Bonestell has been dubbed the "Father of Modern Space art".

paragraph: Section::::Life and career.

paragraph: Section::::Life and career.:Early years.

paragraph: Bonestell was born in San Francisco, California. His first astronomical painting was done in 1905. After seeing Saturn through the telescope at San Jose's Lick Observatory, he rushed home to paint what he had seen. The painting was destroyed in the fire that followed the 1906 earthquake. Between 1915 and 1918 he exhibited lithographs in the 4th and 7th annual exhibitions of the California Society of Etchers (now the California Society of Printmakers) in San Francisco.

paragraph: Bonestell studied architecture at Columbia University in New York City. Dropping out in his third year, he worked as a renderer and designer for several of the leading architectural firms of the time, including the firm of Willis Polk, "The Man Who Rebuilt San Francisco."

paragraph: Bonestell moved to England in 1920, where he rendered architectural subjects for the "Illustrated London News". He returned to New York in 1926. While with William van Alen, he and Warren Straton designed the art deco façade of the Chrysler Building as well as its distinctive eagles. During this same period, he designed the Plymouth Rock Memorial, the U.S. Supreme Court Building, the New York Central Building, Manhattan office and apartment buildings and several state capitols.

paragraph: Returning to the West Coast, he prepared illustrations of the chief engineer's plans for the Golden Gate Bridge for the benefit of funders. In the late 1930s he moved to Hollywood, where he worked (without screen credit) as a special effects artist, creating matte paintings for films, including "The Hunchback of Notre Dame" (1939), "Citizen Kane" (1941) and "The Magnificent Ambersons" (1942).

paragraph: Section::::Life and career.:Magazines.

paragraph: Bonestell then realized that he could combine what he had learned about camera angles, miniature modeling, and painting techniques with his lifelong interest in astronomy. The result was a series of paintings of Saturn as seen from several of its moons that was published in "Life" in 1944. Nothing like these had ever been seen before: they looked as though photographers had been sent into space. His painting "Saturn as Seen from Titan" is perhaps the most famous astronomical landscape ever, and is nicknamed "the painting that launched a thousand careers." It was constructed with a combination of clay models, photographic tricks and various painting techniques. (Titan has a thick haze; such a view is probably not possible in reality.)

paragraph: Bonestell followed up the sensation these paintings created by publishing more paintings in many leading national magazines. These and others were eventually collected in the best-selling book "The Conquest of Space" (1949), produced in collaboration with author Willy Ley. Bonestell's last work in Hollywood was contributing special effects art and technical advice to the seminal science fiction films produced by George Pal, including "Destination Moon", "When Worlds Collide", "The War of the Worlds" and "Conquest of Space", as well as "Cat-Women of the Moon". Beginning with the October 1947 issue of "Astounding Science Fiction", Bonestell painted more than 60 cover illustrations for science fiction magazines, primarily "The Magazine of Fantasy & Science Fiction", in the 1950s through 1970s. He also illustrated many book covers.

paragraph: When Wernher von Braun organized a space flight symposium for "Collier's", he invited Bonestell to illustrate his concepts for the future of spaceflight. For the first time, spaceflight was shown to be a matter of the near future. Von Braun and Bonestell showed that it could be accomplished with the technology then existing in the mid-1950s, and that the question was that of money and will. Coming as they did at the beginning of the Cold War and just before the sobering shock of the launch of Sputnik, the 1952–54 "Collier's" series, "Man Will Conquer Space Soon!", was instrumental in kick-starting America's space program.

paragraph: In 1986, Bonestell died in Carmel, California, with an unfinished painting on his easel.

paragraph: Section::::Legacy.

paragraph: During his lifetime, Bonestell was honored internationally for the contributions he made to the birth of modern astronautics, from a bronze medal awarded by the British Interplanetary Society to a place in the International Space Hall of Fame to an asteroid named for him. "The Conquest of Space" won the 1951 International Fantasy Award for nonfiction, one of the first two fantasy or science fiction awards anywhere, at the British SF Convention. The Science Fiction Hall of Fame inducted Bonestell in 2005, the first year it considered non-literary contributors.

paragraph: His paintings are prized by collectors and institutions such as the National Air and Space Museum and the National Collection of Fine Arts. One of his classic paintings, an ethereally beautiful image of Saturn seen from its giant moon Titan, has been called "the painting that launched a thousand careers." Wernher von Braun wrote that he had "learned to respect, nay fear, this wonderful artist's obsession with perfection. My file cabinet is filled with sketches of rocket ships I had prepared to help in his artwork—only to have them returned to me with…blistering criticism."

paragraph: A crater on Mars and the asteroid 3129 Bonestell are named after him.

paragraph: In 2016 the first ever album of Sun Ra vocal tracks was released, "The Space Age Is Here To Stay," featuring sleeve art authorized by the Bonestell estate.

paragraph: Section::::Books illustrated by Bonestell.

paragraph: BULLET::::- Ley, Willy (1949), "The Conquest of Space" (Chesley Bonestell, Illustrator)

paragraph: BULLET::::- "Across the Space Frontier" (1952)

paragraph: BULLET::::- Illustrations by Chesley Bonestell:

paragraph: BULLET::::- Constructing the moonships in the space station's orbit (endpapers)

paragraph: BULLET::::- The space station (p 11)

paragraph: BULLET::::- Spaceships coming in for a landing on the moon (p 63)

paragraph: BULLET::::- Landing on the moon (p 67)

paragraph: BULLET::::- Unloading the cargo ship on the moon (pp 76–77)

paragraph: BULLET::::- Exploration convoy crossing lunar plain (p 101)

paragraph: BULLET::::- Take-off from the moon (p 115)

paragraph: BULLET::::- Heuer, Kenneth (1953), "The End of the World" (Chesley Bonestell, Illustrator) (Reprinted and revised in 1957 as "The Next Fifty Billion Years: An Astronomer's Glimpse into the Future", Viking Press)

paragraph: BULLET::::- "The World We Live In" (1955)

paragraph: BULLET::::- "The Exploration of Mars" (1956)

paragraph: BULLET::::- "Man and the Moon" (1961)

paragraph: BULLET::::- "Rocket to the Moon" (1961)

paragraph: BULLET::::- "The Solar System" (1961)

paragraph: BULLET::::- "Beyond the Solar System" (1964)

paragraph: BULLET::::- "Mars" (1964)

paragraph: BULLET::::- "Beyond Jupiter" (1972)

paragraph: BULLET::::- "The Golden Era of the Missions" (1974)

paragraph: BULLET::::- "The Art of Chesley Bonestell", Ron Miller, Paper Tiger, (2001) .

paragraph: Section::::Films with artwork by Bonestell (abbreviated list).

paragraph: BULLET::::- "The Hunchback of Notre Dame" (1939)

paragraph: BULLET::::- "Only Angels Have Wings" (1939)

paragraph: BULLET::::- "Swiss Family Robinson" (1940)

paragraph: BULLET::::- "Citizen Kane" (1941)

paragraph: BULLET::::- "The Magnificent Ambersons" (1942)

paragraph: BULLET::::- "Destination Moon" (1950)

paragraph: BULLET::::- "War of the Worlds" (1953)

paragraph: BULLET::::- "Cat-Women of the Moon" (1953) Unauthorized use of Bonestell art from the book, "The Conquest of Space"

paragraph: BULLET::::- "Conquest of Space" (1955)

paragraph: BULLET::::- "Men into Space" (TV series, 1959–60)

paragraph: BULLET::::- "Chesley Bonestell: A Brush with the Future (Feature Length Documentary)" (2018)

paragraph: Section::::Documentaries.

paragraph: Bonestell appeared in the documentary The Fantasy Film Worlds of George Pal (1985) (Produced and directed by Arnold Leibovit).

paragraph: A documentary about his life, "Chesley Bonestell: A Brush with the Future," was produced in 2018. https://www.imdb.com/title/tt7343526/ http://www.chesleybonestell.com/

paragraph: Section::::Popular culture references.

paragraph: BULLET::::- Arthur C. Clarke, in the 1953 story "Jupiter Five", referred to Bonestell's astronomical illustrations appearing in Life Magazine in 1944.

paragraph: BULLET::::- Robert A. Heinlein made Bonestell's name into a verb first in his 1958 Juvenile "Have Space Suit—Will Travel", then in his 1961 novel "Stranger in a Strange Land": "Opener: zoom in on Mars, using stock or bonestelled shots, unbroken sequence, then dissolving to miniature matched set of actual landing place of "Envoy"".

paragraph: BULLET::::- In the "" episode "", a young Captain Picard is involved in a fight with aliens at the Bonestell Recreation Facility, a spaceport named after the artist.

paragraph: Section::::See also.

paragraph: BULLET::::- Chesley Awards

paragraph: BULLET::::- List of space artists

paragraph: BULLET::::- Robert McCall

paragraph: Section::::References.

paragraph: Section::::References.:Other sources.

paragraph: BULLET::::- Miller, Ron and Frederick C. Durant III (1983), "Worlds Beyond: The Art of Chesley Bonestell", Walsworth Pub Co

paragraph: BULLET::::- Miller, Ron and Frederick C. Durant III (2001), "The Art of Chesley Bonestell" (Foreword by Melvin H. Schuetz), Paper Tiger

paragraph: BULLET::::- Schuetz, Melvin H. (1999), "Chesley Bonestell Space Art Chronology", Universal Publishers

paragraph: BULLET::::- Schuetz, Melvin H. (2003), "Supplement to A Chesley Bonestell Space Art Chronology" .

paragraph: BULLET::::- Tuck, Donald H., ed. "The Encyclopedia of Science Fiction and Fantasy" Volumes 1 and 2. Chicago: Advent Publications, Inc., 1974.

paragraph: Section::::External links.

paragraph: BULLET::::- Chesley Bonestell, Bonestell LLC.

paragraph: BULLET::::- "Chesley Bonestell", a portrait by Ansel Adams

paragraph: BULLET::::- "Chesley Bonestell: A Brush with the Future," DMS Productions Services, Inc.

description: American science fiction and space illustrator

wikidata_label: Chesley Bonestell

wikipedia_title: Chesley Bonestell


text:
Roman
Equestrian
Marcus Arrecinus Clemens
Praetorian Prefect
Caligula
Marcus Arrecinus Clemens
Vespasian
Vespasian
Titus
proconsul
Marcia Furnilla
Suetonius

categories: Ancient Roman women,1st-century Roman women,1st-century Romans,60s deaths,Titus,Flavian dynasty

paragraph: Arrecina Tertulla

paragraph: Arrecina Tertulla (died in 62 or 63) was a Roman woman that lived in the 1st century. She came from obscure origins and her family were of Equestrian rank.

paragraph: Tertulla’s father was called Marcus Arrecinus Clemens. Clemens was an honourable Praetorian Prefect who served in 38 A.D. in the reign of Emperor Caligula. Tertulla’s mother could have been named Julia and she had a brother called Marcus Arrecinus Clemens, who also served as a Praetorian Prefect in 70 under the Emperor Vespasian.

paragraph: Her name "Tertulla", is a nickname for the female cognomen "Tertia". Tertia in Latin means "the third daughter". There is a possibility that Tertulla would be related to the paternal side of Vespasian's family. Vespasian's paternal grandmother bore the cognomen Tertulla.

paragraph: Very little is known of Tertulla’s family and her life. In 62, Tertulla married the future Emperor Titus, who was Vespasian’s first son. This marriage could have been arranged by the fathers of Tertulla and Titus, to promote Titus’ political and military career - and to provide financial relief from the debt incurred by Vespasian’s proconsulship. Unfortunately this marriage didn’t last, as sometime after the marriage Tertulla died. Titus and Tertulla didn’t have any children. In 63, Titus married for the second time to Marcia Furnilla.

paragraph: Section::::Sources.

paragraph: BULLET::::- Suetonius, The Twelve Caesars - Titus

description: Equestrian Roman woman

wikidata_label: Arrecina Tertulla

wikipedia_title: Arrecina Tertulla


text:
oligarch
Kingdom of Hungary
counties
Ukraine
Palatine
judge royal
Kassa
"genus" (clan) Aba
ispán
Finta
Peter
Kacsics
John
Master of the horse
Battle of Rozgony
Maurice Csák
Dominican
Margaret Island
Buda
Battle of Marchfeld
Ladislaus IV of Hungary
Rudolph I of Germany
Ottokar II of Bohemia
Hermannstadt
Transylvanian Saxons
Master of the treasury
Mongols
Wladyslaw Lokietek
Tokaj
Andrew III of Hungary
Wenceslaus
crown prince
Bohemia
Charles
Angevin dynasty
Buda
Ivan Kőszegi
Scepusian Saxons
Rudolph III of Austria
Wenceslaus II of Bohemia
Władysław of Cuiavia
Lesser Poland
Illuminated Chronicle
Szepes
Buda
Ladislaus Kán
Voivode of Transylvania
Holy Crown of Hungary
Finta
Ukraine
Szokoly
Ung
Boldogkő Castle
Gönc
Regéc
Lubló
Munkács
Zemplén
Bereg
Szepes
Borsod
Szabolcs County
royal prerogative
Vizsoly
Ugrin Csák
Stephen Ákos
Matthew Csák
Battle of Rozgony
Peter, son of Petenye
Zemplén County
Drugeth family

categories: Slovakia in the Kingdom of Hungary,1311 deaths,14th-century Hungarian people,Judges royal,Palatines of the Kingdom of Hungary,13th-century Hungarian people,Medieval Slovakia,13th-century births,Aba (genus),Oligarchs of the Kingdom of Hungary

paragraph: Amadeus Aba

paragraph: Amadeus Aba or Amade Aba (; ? – 5 September 1311) was a Hungarian oligarch in the Kingdom of Hungary who ruled "de facto" independently the northern and north-eastern counties of the kingdom (today parts of Hungary, Slovakia and Ukraine). He held the office of Palatine "(nádor)" several times (1288–1289, 1290–1291, 1291–1293, 1295–1296, 1297–1298, 1299–1300, 1302–1310), and he was also judge royal "(országbíró)" twice (1283–1285, 1289). He was assassinated at the south gate in the city of Kassa by Saxon burghers.

paragraph: Section::::Family and early career.

paragraph: He was born as the son of David I, a member of the "genus" (clan) Aba, who was mentioned as "ispán" ("comes") in contemporary sources and ancestor of the Berthóty family. Amadeus had three siblings, Palatine Finta, who had rebelled against the King in 1281, Judge royal Peter, who was a close ally of Amadeus and a daughter who married Simon from the Kacsics genus. Amadeus had at least six sons and a daughter from his unidentified wife, who had survived him. The eldest son was John, who served as Master of the horse according to his own charter. His other two sons, Nicholas III and David II were killed in the Battle of Rozgony. Amadeus' only daughter Catherine married Blessed Maurice Csák in 1301, who later became a Dominican friar. Catherine also joined to nuns at Margaret Island. This act angered Amadeus, who imprisoned Maurice in Buda for a short time, but later released him.

paragraph: Amadeus fought in the Battle of Marchfeld in the troops King Ladislaus IV of Hungary sent to King Rudolph I of Germany against King Ottokar II of Bohemia (26 August 1278). In 1280, Aba became the head of Hermannstadt (today "Sibiu" in Romania), "i.e.", the royal officer appointed to administer the Transylvanian Saxons. Following the dismissal of Finta as Palatine, he rebelled against Ladislaus in 1281. As Peter Aba was appointed Master of the treasury and there is no mention of Amadeus Aba, it is likely to be declared that only Finta rebelled against the king and not the whole Aba clan.

paragraph: King Ladislaus IV appointed Amadeus to the office of judge royal in 1283. In February 1285, he fought successfully against the Mongols who were pillaging the north-eastern parts of the kingdom. He received land and special privileges in Poland from Wladyslaw Lokietek King of Poland, and was referred to as "Amadej" in Polish.

paragraph: Section::::The powerful magnate.

paragraph: After 9 August 1288, Amadeus Aba became Palatine and he held the office for the first time until 1289 when he received the office of judge royal again. Later, he rebelled against the king whose troops occupied one of his castles, Tokaj (before 27 May 1290). Following the king's death (10 July 1290), Aba became the loyal supporter of King Andrew III of Hungary who appointed him Palatine. Although the king appointed a new Palatine already in 1291, he still continued to use the title until his death, and later he was confirmed in the office several times by the kings. After 1297, Aba was among the most powerful supporters of King Andrew III and he even made a formal alliance with the king and his other followers in the second half of 1298.

paragraph: When King Andrew III died (14 January 1301), some of the powerful aristocrats became the supporters of Wenceslaus, the crown prince of Bohemia, while others, including Aba, supported the claim of Charles, a member of the Angevin dynasty. Charles laid siege to Buda, the capital of the kingdom, in September 1302, but Ivan Kőszegi relieved the town. Charles's charters show that he primarily stayed in the southern parts of the kingdom during the next years, although he also visited Amadeus Aba in the fortress of Gönc. In 1304, Scepusian Saxons and the citizens of Kassa supported by Wenceslaus unsuccessfully besieged Amadeus' centre, Gönc.

paragraph: Later, Wenceslaus left the kingdom (August 1304), and shortly afterwards, Aba concluded an agreement with Charles and Duke Rudolph III of Austria against Wenceslaus' father, King Wenceslaus II of Bohemia. In 1304 and 1305, he gave military assistance to Duke Władysław of Cuiavia against King Wenceslaus II who had occupied Lesser Poland. Władysław also resided in Gönc for several years. This case proves that Amadeus followed an independent foreign policy, similarly to the other oligarchs of the realm. As the "Illuminated Chronicle" notes, he considered Charles as his King "only with words but not with deeds".

paragraph: Amadeus Aba was present at the Assembly of Rákos (10 October 1307) where the participants confirmed Charles' claim for the throne. Charles was proclaimed king at the Assembly in Pest (27 November 1308), in the presence of Aba. In 1308, he became the head "(ispán)" of Szepes. He was present when King Charles was crowned in Buda (15 June 1309). Afterwards, he mediated between the king and Ladislaus Kán, the powerful Voivode of Transylvania who made a promise that he would transfer the Holy Crown of Hungary to the king.

paragraph: King Charles deprived him of his offices around May 1310, as Amadeus was mentioned as "former palatine" in a royal charter. In the course of the year, Amadeus occupied several castles. He wanted to expand his influence over Kassa, but the citizens rebelled against him and they killed Amadeus in a skirmish on 5 September 1311. Two of his sons, Amadeus II and Dominic were captured and held hostage alongside other 45 family members and vassals.

paragraph: Section::::Dominion Aba.

paragraph: Amadeus and his brother, Finta inherited Nevicke (today Nyevickoje, Ukraine) from their father, where Amadeus had a castle built. They may also have inherited Szokoly (today "Sokol"' in Slovakia). His dominion developed gradually in the course of the last decades of the 13th century. In 1288, King Ladislaus IV granted him the County Ung, thus he could hold the former royal possessions in the county until his death. Around 1300, he acquired Boldogkő Castle and Gönc, later he also held Regéc. In 1310, he occupied Lubló (today "Stará Ľubovňa" in Slovakia) and Munkács (today "Mukachevo" in Ukraine). By 1311, Amadeus ruled Abaúj (from his castle in Abaújvár and Gönc), Zemplén, Ung, Bereg and Szepes County, but in addition, he also had influence in some parts of Borsod, Gömör and Szabolcs County.

paragraph: He usurped royal prerogatives in his dominion, e.g., he granted lands and nobility to his followers. He governed his possessions from his North-Eastern Hungarian castle in Gönc. He also expropriated the judicial function in his territory as he had an own court of justice in Vizsoly. Amadeus arbitrarily imposed duties and built castles and appointed castellans among his familiars without the permission of the king. Amadeus had own provincial court, where he elected chancellors, notaries, judges and even a Judge royal, imitating the functions of royal court. Beside duties, the trade and the business of traders were also under his influence. He continuously harassed and oppressed the town markets and traders, especially Kassa. The local nobles were forced to swear allegiance to the Aba kindred. According to a diploma issued in 1302, his troops seized the possessions of a local noble in Abaúj County and the owner himself was imprisoned and threatened with death to persuade him to pass the family's deed of gift.

paragraph: Historian Attila Zsoldos draws a distinction between the "oligarchs" (e.g. Matthew Csák) and "provincial lords" (e.g. Ugrin Csák) regarding the role of the royal power in the provincial administration. Amadeus Aba exercised sovereign rights in his domain but remained loyal to the kings (he rebelled against the central power only once in 1288, when the unpopular Ladislaus IV lost all domestic and foreign support), thus Zsoldos refers to him as a "loyal oligarch", alongside Stephen Ákos.

paragraph: Following his death, Charles's envoys arbitrated an agreement on 3 October 1311 between Amadeus' widow, sons and the town, which also prescribed that the Abas should withdraw from two counties and allow the noblemen inhabiting their domains to freely join Charles. This marked end of the Aba province in North-East Hungary. However, the Abas soon entered into an alliance with Matthew Csák, the most powerful oligarch in the realm, against the king. Nonetheless, his sons could not maintain his power, and after their defeat at the Battle of Rozgony (today "Rozhanovce" in Slovakia) his dominion disintegrated. Taking advantage of their downfall, Peter, son of Petenye built up a dominant power in Zemplén County, while some of Amadeus' former castles and possessions were obtained by members of the Drugeth family in the 1320s–1340s.

wikidata_label: Amade Aba

wikipedia_title: Amadeus Aba


text:
Dutch-American
Christian
philosopher
Reformed
theologian
presuppositional apologetics
dairy farmer
Highland, Indiana
higher education
Calvin College
Calvin Theological Seminary
Louis Berkhof
Princeton Theological Seminary
PhD
Princeton University
Westminster Theological Seminary
minister
Orthodox Presbyterian Church
denomination
Gordon Clark
incomprehensibility
Calvinist
D. H. Th. Vollenhoven
Herman Dooyeweerd
Hendrik G. Stoker
Herman Bavinck
Abraham Kuyper
Christian apologetics
Neo-Calvinist
Trinity
John Frame
Christian thought
Immanuel Kant
systematic theology

wikipedia_title:
Dutch Americans
Christians
Philosopher
Calvinism
Theology
Presuppositional apologetics
Dairy farming
Highland, Lake County, Indiana
Higher education
Calvin University
Calvin Theological Seminary
Louis Berkhof
Princeton Theological Seminary
Doctor of Philosophy
Princeton University
Westminster Theological Seminary
Minister (Christianity)
Orthodox Presbyterian Church
Religious denomination
Gordon Clark
Attributes of God in Christianity
Calvinism
D. H. Th. Vollenhoven
Herman Dooyeweerd
Hendrik G. Stoker
Herman Bavinck
Abraham Kuyper
Christian apologetics
Neo-Calvinism
Trinity
John Frame (theologian)
Christian philosophy
Immanuel Kant
Systematic theology

categories: People from Highland, Lake County, Indiana,American Presbyterians,1895 births,Princeton Theological Seminary alumni,Dutch Calvinist and Reformed theologians,American Calvinist and Reformed theologians,Christian apologists,Calvin College alumni,1987 deaths,20th-century American writers,Westminster Theological Seminary faculty,Calvinist and Reformed philosophers,Orthodox Presbyterian Church ministers,Writers from Philadelphia,20th-century philosophers,People from Grootegast,Dutch emigrants to the United States,Princeton Theological Seminary faculty,20th-century Calvinist and Reformed theologians,20th-century Dutch writers

paragraph: Cornelius Van Til

paragraph: Cornelius Van Til (May 3, 1895 – April 17, 1987) was a Dutch-American Christian philosopher and Reformed theologian, who is credited as being the originator of modern presuppositional apologetics.

paragraph: Section::::Biography.

paragraph: Van Til (born Kornelis van Til in Grootegast, Netherlands) was the sixth son of Ite van Til, a dairy farmer, and his wife Klasina van der Veen. At the age of ten, he moved with his family to Highland, Indiana. He was the first of his family to receive a higher education. In 1914 he attended Calvin Preparatory School, graduated from Calvin College, and attended one year at Calvin Theological Seminary, where he studied under Louis Berkhof, but he transferred to Princeton Theological Seminary and later graduated with his PhD from Princeton University.

paragraph: He began teaching at Princeton Seminary, but shortly went with the conservative group that founded Westminster Theological Seminary, where he taught for forty-three years. He taught apologetics and systematic theology there until his retirement in 1972 and continued to teach occasionally until 1979. He was also a minister in the Orthodox Presbyterian Church from the 1930s until his death in 1987, and in that denomination, he was embroiled in a bitter dispute with Gordon Clark over God's incomprehensibility known as the Clark–Van Til Controversy.

paragraph: Section::::Thought.

paragraph: Van Til drew upon the works of Dutch Calvinist philosophers such as D. H. Th. Vollenhoven, Herman Dooyeweerd, and Hendrik G. Stoker and theologians such as Herman Bavinck and Abraham Kuyper to devise a novel Reformed approach to Christian apologetics, one that opposed the traditional methodology of reasoning on the supposition that there is a neutral middle-ground, upon which the non-Christian and the Christian can agree. His contribution to the Neo-Calvinist approach of Dooyeweerd, Stoker and others, was to insist that the "ground motive" of a Christian philosophy must be derived from the historical terms of the Christian faith. In particular, he argued that the Trinity is of indispensable and insuperable value to a Christian philosophy.

paragraph: In "Van Til: The Theologian", John Frame, a sympathetic critic of Van Til, claims that Van Til's contributions to Christian thought are comparable in magnitude to those of Immanuel Kant in non-Christian philosophy. He indicates that Van Til identified the disciplines of systematic theology and apologetics, seeing the former as a positive statement of the Christian faith and the latter as a defense of that statement – "a "difference in emphasis" rather than of subject matter." Frame summarizes Van Til's legacy as one of new applications of traditional doctrines:

description: Dutch theologian

wikidata_label: Cornelius van Til

wikipedia_title: Cornelius Van Til


text:
Championships of Rio de Janeiro
Botafogo FC
Rio de Janeiro
World War I
Rio de Janeiro
Botafogo FR
Championship of Rio de Janeiro
Victor Guisard
Charles Williams
psychoanalysis
Nilo Braga
CR Flamengo
Carvalho Leite
Nilo Braga
Martim Silveira
Garrincha
Nilton Santos
Valdir "Didi" Perreira
America FC
Liga Carioca de Football
AMEA
Harry Welfare
Luíz Vinhaes
Campeonato dos Campeões
Federação Brasileira de Futebol
Urca
Carmen Miranda
José "Juca da Praia" Ferreira Lemos
Izidor Kürschner
Hotel Quitandinha
Petrópolis
Jayne Mansfield
voice actor
Botafogo FC
America FC
State Championship of Rio de Janeiro

categories: Hungarian football managers,Botafogo de Futebol e Regatas managers,Sportspeople from Rio de Janeiro (city),America Football Club (RJ) managers,1889 births,Brazilian football managers

paragraph: Nicolas Ladany

paragraph: Nicolas Ladany (also "Nicolau Ladanyi," born 7 April 1889- unknown) was a Hungarian association football coach. Most notable are his two Championships of Rio de Janeiro with Botafogo FC in 1931 and 1932. He later became an identity of the show business of Rio de Janeiro.

paragraph: Section::::Career.

paragraph: Capitão Ladany, Captain Ladany, as he was very frequently referred to, was a footballer and served in the Austria armed forces. After World War I he emigrated to the United States of America where he undertook specialised studies in sports training and became a naturalised citizen in order to run a gymnasium. Reportedly, he was for an extended period director of the "Aeskulap Health Institute" of New York.

paragraph: In 1930 he moved to Brazil where he was employed by the legendary president of Botafogo FC, of Rio de Janeiro, later known as Botafogo FR, Paulo Azeredo as "technical director." His employment occurred in the midst of the 1930 season of the Championship of Rio de Janeiro and at that time the sports director at the club was the medical doctor Victor Guisard and the coaching was in the hands of the Englishman Charles Williams, the former Manchester City goalkeeper. Ladany's brief included deploying a psychoanalysis based training programme, which Williams disagreed with. Williams resigned and was initially retained as assistant coach alongside star-player Nilo Braga before quickly moving on to CR Flamengo.

paragraph: Under the stewardship of Ladany Botafogo went on to win the championship by the end of the year, the up to then only fourth title of Botafogo. After finishing only fourth in 1931 Botafogo was champion once more in 1932, with only one defeat and two draws in 22 matches. Stars of Botafogo in that era were players like Carvalho Leite, the team's top-scorer Nilo Braga and Martim Silveira. Botafogo would in this period, which describes the first "golden era" of the club, win also the three championships from 1933 to 1935. However, the latter successes occurred in a period when there were two simultaneous championships in Rio, primarily because the clubs were divided by their attitude towards professionalisation. Ladany himself was an opponent of professionalism, as he thought, Rio could only carry three or four professional teams, and top teams like his Botafogo, had only about four players who would be suitable as professionals. Similar success for Botafogo would only recur in the late 1950s and early 1960s, coinciding with the third presidency of Azeredo, when the side fronted by Garrincha, Nilton Santos and Valdir "Didi" Perreira would win three championships.

paragraph: By mid 1933, during the course of the season, Ladany switched to crosstown rivals America FC of the new dissident competition of the Liga Carioca de Football, which organised in that year the first professional season in Rio. At Botafogo Ladany was replaced by Victor Guisard. America finished only fifth out of six teams in its league. Until July 1933 he had also served in the Football Commission of AMEA, the governing body of Rio's football since 1924; in consequence of the schism on Rio's football Ladany's fellow members Harry Welfare, Luíz Vinhaes (the coach of the national team at the `1934 World Cup in Italy) and Jayme Barcellos had already resigned by February, leaving the "capitão" as the only commissioner then. Ladany also acted, at least on occasions, as coach of its selective team.

paragraph: After his brief time with America, which did not last beyond early February 1934 he went back to the USA for a brief period, where he reported, that he was involved with the training of the USA national team in preparation for the 1934 World Cup. He also reported of the difficulties assembling a strong side, because most players would be from abroad, from countries like Scotland and Spain. He mentioned, on his return in May 1934, that stars there would make in "average 40.000 dollars per year."

paragraph: From October 1934 he was hired as instructor at "Liga de Sports da Marinha", the sports club of the navy. Under Ladany's stewardship their football team took take part in qualifying matches for the Campeonato dos Campeões of 1936, organised by the Federação Brasileira de Futebol.

paragraph: In 1938 he became associated with the Casino in Urca, in those days known through stars like Carmen Miranda, where he worked for the publicity department. Later he became artistic director there.

paragraph: In May 1939 he returned for a few weeks to Botafogo, where he was part of the staff of coach José "Juca da Praia" Ferreira Lemos, whose job later on that year would handed to the great Izidor Kürschner. In the early 1940s he still served the Liga de Sports of the navy.

paragraph: Until the late 1950s or even into the 1960s Ladany, then called a person "closely associated with the show business of Rio in the era of the casinos," was "social director" ("director social") of the famous Hotel Quitandinha in Petrópolis north of Rio, which in that era hosted international stars like Jayne Mansfield.

paragraph: Nicolau Ladany's daughter, Glória Ladany, started about 1955 as a dancer in the large variety shows of Carlos Machado, and became inside a few years an actress, over the next couple of decades frequently seen in the theatres of Rio de Janeiro. From 1959 forward she also starred in film and television and became a respected, versatile voice actor, dubbing many famous stars.

paragraph: Section::::Career summary.

paragraph: Section::::Career summary.:Clubs.

paragraph: BULLET::::- 1930-33: Botafogo FC

paragraph: BULLET::::- 1933-34: America FC

paragraph: BULLET::::- 1939: Botafogo FC (coaching staff)

paragraph: BULLET::::- 1934-4x: Liga de Sports da Marinha

paragraph: Section::::Career summary.:Honours.

paragraph: BULLET::::- State Championship of Rio de Janeiro: 1930, 1932

paragraph: Section::::References.

paragraph: BULLET::::- Diário de Notícias: "A palavra do treinador do Botafogo", 24 October 1932, p. 3.

paragraph: BULLET::::- Roberto Assaf, Clóvis Martins: "Campeonato carioca: 96 anos de história, 1902-1997", Irradiação Cultural, 1997, p. 156, 191.

paragraph: Notes:

description: Hungarian football manager

wikidata_label: Nicolas Ladany

wikipedia_title: Nicolas Ladany


text: Salt, Catalonia

text: singer-songwriter

text: Umpah-pah

categories: 1963 births,Catalan singer-songwriters,People from Gironès,Catalan singers,Living people

paragraph: Adrià Puntí

paragraph: Adrià Puntí (Salt, Catalonia, born 13 June 1963) is a musician, singer-songwriter and actor. Currently he is singing under his real name "Josep Puntí".

paragraph: Section::::Discography.

paragraph: With Umpah-pah:

paragraph: BULLET::::- "Tomahawk" (1990) (Maqueta)

paragraph: BULLET::::- "Raons de Pes" (1991)

paragraph: BULLET::::- "Bamboo Avenue" (1992)

paragraph: BULLET::::- "Bordell" (1994)

paragraph: BULLET::::- "Triquiñuelas al óleo" (1994)

paragraph: BULLET::::- "La Columna de Simeón" (1996)

paragraph: As Adrià Puntí:

paragraph: BULLET::::- "Pepalallarga i..." (1997). Picap

paragraph: BULLET::::- "L'hora del pati" (1999). Picap

paragraph: BULLET::::- "Maria" (2002). Picap

paragraph: BULLET::::- "La clau de girar el taller" (2015). Satelitek

paragraph: Section::::External links.

paragraph: BULLET::::- http://www.adriapunti.com

paragraph: BULLET::::- Biografia i discografia comentada d'Adrià Puntí. (in Catalan)

paragraph: BULLET::::- Redescobrint l'Artista, un bloc molt ben documentat (in Catalan)

paragraph: BULLET::::- http://www.myspace.com/josep.punti

paragraph: BULLET::::- https://www.facebook.com/j.punti

paragraph: BULLET::::- https://twitter.com/AdriaPunti

paragraph: BULLET::::- http://www.viasona.cat/grup/adria-punti (in Catalan)

alias:
Josep Puntí
Josep Puntí i Fàbregas
Adria Punti
Josep Punti
Josep Punti i Fabregas

description: Musician, singer-songwriter and actor

wikidata_label: Adrià Puntí

wikipedia_title: Adrià Puntí