text: Sao Paulo

text: television advertisements

text: Campari

text: Nestle

text: military dictatorship

text: freelance

text: The Who

text: Tangerine Dream

text: Genesis

text: Deep Purple

text: ZZ Top

text: Editora Abril

text: The Rolling Stones

text: Interview

text: Playboy

text: Vogue

text: Sony Style

text: The Image Bank

text: Getty Images

text: Playboy (Brazil)

text: Multimedia

text: digital images

text: electrophotography

text: Xerox art

text: DNA

text: cloning

text: model

text: Gianne Albertoni

text: BioArt

text: surrealist

text: Joseph Pace

text: neo-existential

text: thumbprint

text: curator

text: Padua

text: Sao Paulo Museum of Modern Art

text: Itaú Cultural

text: Museum of Modern Art, Rio de Janeiro

text: Yokohama Museum of Art

text: Musée de l'Élysée

text: Museum Afro Brasil

text: Sao Paulo

text: Museum of Art of the Parliament of São Paulo

text: Folha de S.Paulo

text: Renato Janine Ribeiro

text: Pepe Escobar

text: O Estado de Sao Paulo

text: NRC Handelsblad

text: Klaus Urbons

text: Museum of Modern Art, Rio de Janeiro

text: Museu de Arte Moderna de Sao Paulo

text: Emanuel Araújo

text: The New York Public Library, P.I.C.

text: Museo de la Solidaridad Salvador Allende

text: Santiago

categories: Fine art photographers,BioArtists,Xerox artists,Multimedia artists,20th-century photographers,20th-century artists,BioArt,1954 births,Living people

paragraph: Sérgio Valle Duarte

paragraph: Section::::Biography.

paragraph: Self-taught, he lives and works in Sao Paulo. Between 1972 and 1974, he worked as an actor in television advertisements for Campari and Nestle.

paragraph: Due to the military dictatorship in Brazil, in 1976 he moved to London where he worked as assistant to Rex Features International Photographic Press Agency.

paragraph: As freelance photographer, he followed pop music groups The Who, Tangerine Dream, Genesis, Deep Purple, and ZZ Top. In 1977 Brazilian magazine "Geração Pop" (Editora Abril) featured a series of pictures he made in London of The Rolling Stones. Soon after, between Europe and South America, he collaborated with a range of magazines, "Interview," "Playboy," "Vogue," "Sony Style," (1978–1990). In those years he joined The Image Bank, Getty Images (1980–2005) and was featured in photography art magazines "Collector's Photography U.S.A.," "Zoom France," "Special Bresil," "Zoom Italy," "Newlook France," "Newlook USA," and "Playboy (Brazil)."

paragraph: As Multimedia artist, since 1970, he participated in the exhibition "New Media Art Multimedia 70/80" with the triptych "Video Oil" at the Armando Alvares Penteado Foundation, curated by Deysi Piccinini, also the exhibition "The plot of Taste" another look at the daily, at the Julio Plaza installation "Electronic Amusement" with the project "Video Hypnosis" at the Biennial Foundation, São Paulo, 1985 and The First Quadrienal de Fotografias, curated by Paulo Klein at Museu de Arte Moderna de São Paulo, 1985. Duarte evolved his work adding new technologies and techniques with digital images, electrophotography, Xerox art conceptualizing artistically the reading of DNA and also in the future, the writing of DNA. To his portraits he sewed strands of hair of the models to allow them a future cloning.

paragraph: The model Gianne Albertoni is a part of the series that is featured in the permanent collection of museums in Europe and South America. The series is denominated by the artist as "Eletrografias e Fotografias com Fios de Cabelo para Futura Clonagem" (Electrophotographs and Photographs with Human Hair for Future Cloning), BioArt.

paragraph: Duarte is inspired by the surrealist tradition and the originality of his work resides in the fantastic colors and in the richness of details that he uses. Irreverent, but never dramatic, with a playful irony, Duarte's works are constantly moving, dancing, flying, stretching, as if they are to expand out of the frame.

paragraph: During the 1980s, he befriended the Italian artist and philosopher Joseph Pace, founder in Paris of Filtranisme, a neo-existential philosophical and artistic current, joining, in 1990, the enlarged "filtranistes" group.

paragraph: Due to a leak in the roof of his artist studio at Spring Street during a summer storm in the late 1990s, much of his work was destroyed; it is rare to find analog works before this period.

paragraph: He authenticates his works with a thumbprint.

paragraph: Duarte focuses his personal expression interpreting freely sacred and profane themes. From 2005 to 2015 he collaborated as curator for Brazil for the Florence Biennale and for the Padua Art Fair.

paragraph: Section::::Collections.

paragraph: BULLET::::- Sao Paulo Museum of Modern Art, (Brazil)

paragraph: BULLET::::- Itaú Cultural, Sao Paulo, (Brazil)

paragraph: BULLET::::- Museum of Modern Art, Rio de Janeiro, Rio de Janeiro, (Brazil)

paragraph: BULLET::::- Musée de l'Élysée, Lausanne, (Switzerland)

paragraph: BULLET::::- Museum für Fotokopie, Mülheim, (Germany)

paragraph: BULLET::::- Auer Photo Foundation, Geneva, (Switzerland)

paragraph: BULLET::::- Museum Afro Brasil, Sao Paulo, (Brazil)

paragraph: BULLET::::- Musée Français de la Photographie, Bievres, (France)

paragraph: BULLET::::- Museum of Art of the Parliament of São Paulo (Brazil)

paragraph: Section::::Selected bibliography.

paragraph: BULLET::::- Art Director's Index to Photographers Volume 7, 1981, pages 202-203

paragraph: BULLET::::- Art Director's Index to Photographers Volume 8, 1982, pages 312-313

paragraph: BULLET::::- Arteder , Muestra Internacional de Obra Grafica, Bilbao, Catalogo, 19 mar 1982 p. 154, 155, (Spain).

paragraph: BULLET::::- Arlindo Machado, "Sergio Valle Duarte, as fantásticas paisagens dos sonhos", Folha de S.Paulo, 07 set. 1984, Ilustrada, p. 38 (Brazil).

paragraph: BULLET::::- Art Director's Index to Photographers Volume 10, 1985, pages 292-293

paragraph: BULLET::::- Arlindo Machado, " Os fantasmas e a realidade", Folha de Sao Paulo, Mar 6, 1985, Fotografia Critica, p. 45, (Brazil).

paragraph: BULLET::::- Robert Louit " Portifolio Revista Zoom Internacional", 1985, edição 121, p. 26,27,28,29,30,31, França.

paragraph: BULLET::::- Daysi Peccinini – "Arte Meios Multimeios 70/80" FAAP – Projeto Video Oil,1985,(Brazil).

paragraph: BULLET::::- Art Director's Index to Photographers Volume 11, 1986, pages 192- 193

paragraph: BULLET::::- Renato Janine Ribeiro "Um televerão", Folha de Sao Paulo, 04 de maio. 1986, Folhetim p. 2, (Brazil).

paragraph: BULLET::::- José Américo Motta Pessanha" Imagem do corpo nu", Catalogo Funarte 1986, p. 25, 27, (Brazil).

paragraph: BULLET::::- Ana Maria Guariglia, " Em fotos, união exótica de rostos e flores", Folha de Sao Paulo, 03 fev. 1988, Informatica p. 12, (Brazil).

paragraph: BULLET::::- Art Director's Index to Photographers Volume 14, 1989, pages 136-137

paragraph: BULLET::::- Pepe Escobar " Reflexos de Sao Paulo em Amsterdã" O Estado de Sao Paulo, Jun 20, 1989, Caderno 2, p.  66, (Brazil).

paragraph: BULLET::::- NRC Handelsblad, " Musea", 21 junho 1989, p. 6,(Netherlands).

paragraph: BULLET::::- Sadahiro Suzuki "World Photographic Exhibition" Catalogo, 1989. p. 54, (Japan).

paragraph: BULLET::::- Klaus Urbons " Kunst und design mit dem Fotokopierer", DuMont Buchverlag,Kolm 1991, p. 164, 165, image 38, (Germany).

paragraph: BULLET::::- Reynaldo Roels Jr. "Arte Erótica", Catalog Museum of Modern Art, Rio de Janeiro, 1993, p. 15 Brasil.

paragraph: BULLET::::- Klaus Urbons " Elektrografie analog und digitale bilder", DuMont Buchverlag Kolm, 1994, p. 136 image 37, (Germany).

paragraph: BULLET::::- Paola Sammartano " Portifolio Revista Zoom Internacional" 1995, p. 62, 63, 64, 65, 66, 67, (Italy).

paragraph: BULLET::::- Ivo Mesquita, Tadeu Chiarelli, Ricardo Mendes" Fotografias no acervo do Museu de Arte Moderna de Sao Paulo", 2002, p. 30, 31, (Brazil).

paragraph: BULLET::::- Tadeu Chiarelli "Catalog geral do acervo do Museu de Arte Moderna de Sao Paulo", 2002, p. 85, 86, 87, 88, 89, (Brazil).

paragraph: BULLET::::- Coleção Joaquim Paiva, "Visões e Alumbramentos" Museum of Modern Art, Rio de Janeiro", 2002, (Brazil).

paragraph: BULLET::::- Eduardo Bueno "São Paulo 450 anos em 24 horas", Bueno e Bueno 2004, p. 21, 22, 23, 197, (Brazil).

paragraph: BULLET::::- Florençe Biennale, "Catalog",2007, p. 748, (Italy).

paragraph: BULLET::::- Emanuel Araújo " Esteticas, sueños utopias de los artistas de Brasil por la libertad", Imprensa Oficial 2010 p. 110, 124, (Brazil).

paragraph: BULLET::::- João j. Spinelli " Alex Vallauri Graffiti" Editora Bei, 2010 flap p. 176, 177, (Brazil).

paragraph: BULLET::::- Florence Biennale,"Catalog", 2011, p. 477,(Italy).

paragraph: Section::::External links.

paragraph: BULLET::::- The New York Public Library, P.I.C.

paragraph: BULLET::::- Yokohama Museum of Art, Yokohama, (Japan) Photographs in the Collection,

paragraph: BULLET::::- Auer Photo Foundation, Geneva, Switzerland, Photographs in the Collection

paragraph: BULLET::::- Sao Paulo Museum of Modern Art, Sao Paulo, (Brazil) Photographs in the Collection

paragraph: BULLET::::- Photographers Encyclopedia International, Geneva, (Switzerland)- Museum citation

paragraph: BULLET::::- Enciclopedia Itau Cultural, Sao Paulo, (Brazil) - Museum citation

paragraph: BULLET::::- "New Media Art Multimedia 70/80", Artists list, Enciclopédia Itaú Cultural de Arte e Cultura Brasileiras

paragraph: BULLET::::- Electronic Amusement " 1985, Artists list , Enciclopédia Itaú Cultural de Arte e Cultura Brasileiras

paragraph: BULLET::::- "First Quadrienal de Fotografias" 1985, Artists list , Enciclopédia Itaú Cultural de Arte e Cultura Brasileiras

paragraph: BULLET::::- Museo de la Solidaridad Salvador Allende Santiago, (Chile)

description: Brazilian artist

wikidata_label: Sergio Valle Duarte

wikipedia_title: Sérgio Valle Duarte


text:
American football
defensive end
college football
Michigan State
Willow Run High School
Ypsilanti, Michigan
Hamilton Tiger-Cats
Montreal Alouettes
Ottawa Redblacks
Cleveland Gladiators
Carolina Panthers
American Ninja Warrior
Detroit, Michigan
Just Sports Stats
Michigan State Spartans profile
AFL profile
Ottawa Redblacks profile

categories: African-American players of American football,1987 births,Montreal Alouettes players,American Ninja Warrior contestants,American football defensive ends,Hamilton Tiger-Cats players,Cleveland Gladiators players,Ottawa Redblacks players,Players of American football from Michigan,African-American players of Canadian football,Canadian football defensive linemen,Living people,Michigan State Spartans football players

paragraph: Brandon Denson

paragraph: Brandon Denson (born July 22, 1987) is a former American football defensive end. He played college football at Michigan State University and attended Willow Run High School in Ypsilanti, Michigan. He was a member of the Hamilton Tiger-Cats, Montreal Alouettes, Ottawa Redblacks, and Cleveland Gladiators. Denson tried out for the Carolina Panthers at rookie camp in 2012. He competed in the eighth season of American Ninja Warrior in 2016. He currently is a disciplinarian at Voyageur Academy in Detroit, Michigan.

paragraph: Section::::External links.

paragraph: BULLET::::- Just Sports Stats

paragraph: BULLET::::- Michigan State Spartans profile

paragraph: BULLET::::- AFL profile

paragraph: BULLET::::- Ottawa Redblacks profile

description: American football player

wikidata_label: Brandon Denson

wikipedia_title: Brandon Denson


text: British

text: Liberal

text: Prime Minister

text: Member of Parliament

text: Aylesbury

text: Newtown

text: Yarmouth (Isle of Wight)

text: East Sussex

text: Youghal

text: Buckinghamshire

text: George Gordon, 9th Marquess of Huntly

text: William George Cavendish

text: Duke of Devonshire

text: Earl of Burlington

categories: UK MPs 1832–1835,1793 births,UK MPs 1812–1818,UK MPs 1837–1841,Liberal Party (UK) MPs for English constituencies,Place of birth missing,UK MPs 1826–1830,Cavendish family,UK MPs 1852–1857,UK MPs 1820–1826,Whig (British political party) MPs,UK MPs 1835–1837,Younger sons of earls,Irish Liberal Party MPs,1863 deaths,Barons in the Peerage of the United Kingdom,UK MPs 1841–1847,UK MPs 1847–1852,Members of the Parliament of the United Kingdom for County Cork constituencies (1801–1922)

paragraph: Charles Cavendish, 1st Baron Chesham

paragraph: Charles Compton Cavendish, 1st Baron Chesham (28 August 1793 – 12 November 1863) was a British Liberal politician.

paragraph: Cavendish was the fourth son of George Augustus Henry Cavendish, 1st Earl of Burlington, third son of the former Prime Minister William Cavendish, 4th Duke of Devonshire, and his wife Lady Charlotte Elizabeth Boyle, daughter of the architect Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork. His mother was Lady Elizabeth Compton, daughter of Charles Compton, 7th Earl of Northampton. In 1814, at the age of 21, Cavendish was elected Member of Parliament for Aylesbury, a seat he held until 1818, and later sat for Newtown from 1821 to 1830, for Yarmouth (Isle of Wight) from 1831 to 1832, for East Sussex from 1832 to 1841, for Youghal from 1841 to 1847 and for Buckinghamshire from 1847 to 1857. In 1858 he was raised to the peerage as Baron Chesham, of Chesham in the County of Buckingham.

paragraph: Lord Chesham married Lady Catherine Susan Gordon, daughter of George Gordon, 9th Marquess of Huntly, in 1814. He died in November 1863, aged 70. He was succeeded in the barony by his son William George Cavendish.

paragraph: Section::::See also.

paragraph: BULLET::::- Duke of Devonshire

paragraph: BULLET::::- Earl of Burlington

paragraph: Section::::References.

paragraph: BULLET::::- Kidd, Charles, Williamson, David (editors). "Debrett's Peerage and Baronetage" (1990 edition). New York: St Martin's Press, 1990,

description: British politician

wikidata_label: Charles Cavendish, 1st Baron Chesham

wikipedia_title: Charles Cavendish, 1st Baron Chesham


text:
Crown Prince Dan
Yan state
assassination
Qin state
Qin Shi Huang
Sima Qian
Records of the Grand Historian
as part of a unification plan
Seven Warring States
Han
Zhao
King Xi of Yan
Crown Prince Dan
State of Wey
Youxia
Tian Guang
Zhao
Handan
Hebei Province
severed
Fan Wuji
commit suicide
Qin Wuyang
King of Qin
scroll
Qin Wuyang
Son of Heaven
Wang Jian
Ji
King Xi of Yan
The Emperor and the Assassin
Gong Li
The Emperor's Shadow
Zhou Xiaowen
Hero
Jet Li
Donnie Yen
immortal
Hero
Jet Li
John Woo
Last Hurrah for Chivalry
Assassinator Jing Ke
Liu Ye
Wang Yanan
Peter Ho
The Legend of Qin
Jing Tianming
Episode 119 Medley
Community
Señor Chang
Fate/Grand Order
Katanagatari
Liu Cixin
The King's Woman
Gao Jianli

categories: Zhou dynasty people,Chinese assassins,Yan (state),Qin (state),Wey (state),Year of birth unknown,227 BC deaths,Failed regicides

paragraph: Jing Ke

paragraph: Jing Ke (? – 227 BC) was a retainer of Crown Prince Dan of the Yan state and renowned for his failed assassination attempt of King Zheng of the Qin state, who later became Qin Shi Huang, China's first emperor (reign from 221 BC to 210 BC). His story is told in the chapter entitled "Biographies of Assassins" (刺客列傳) in Sima Qian's "Records of the Grand Historian".

paragraph: Section::::Background.

paragraph: In 230 BC, the Qin state began conquering other states as part of a unification plan. Qin's army successfully annihilated the weakest of the Seven Warring States, Han. Two years later Zhao was also conquered.

paragraph: In exchange for peace, King Xi of Yan had earlier forced his son Crown Prince Dan to be held hostage by the Qin, but Prince Dan returned knowing that Qin was far stronger than Yan and would attack it sooner or later.

paragraph: Jing Ke originally came from the State of Wey. He was a scholar, proficient in the art of the sword. His homeland of Wei was absorbed by Qin, and Jing Ke fled to Yan. A Youxia named Tian Guang (田光) first introduced him to Prince Dan. There Jing Ke accepted the hospitality of Prince Dan, who as a last resort decided to send an assassin against the King of Qin. The plan involved either kidnapping the king and forcing him to release the territories from his control; or failing this, killing him. The expectation in either case was that Qin would be left disorganized, enabling the other six major states to unite against it.

paragraph: Section::::Assassination attempt.

paragraph: Section::::Assassination attempt.:The plan.

paragraph: In 228 BC, the Qin army was already at the Zhao capital of Handan, and was waiting to approach the state of Yan. Jing Ke agreed to go to Qin and pretend to be a nobleman begging for mercy. According to events at the time, Dukang (督亢) (in present-day Hebei Province) was the first part of the Yan state that the Qin wanted, by reason of its fertile farmland. The plan was to present as gifts the map of Dukang and the severed head of the traitorous Qin general Fan Wuji to the king of Qin, in order to approach him.

paragraph: At the time, General Fan Wuji had lost favor with Qin and wanted revenge against it; whereas the Qin state put a bounty on capturing him of 1,000 gold pieces. Jing Ke went to Fan himself to discuss the assassination plan. Fan Wuji believed that the plan would work, and agreed to commit suicide so that his head could be collected.

paragraph: Prince Dan then obtained the sharpest possible dagger, refined it with poison, and gave it to Jing Ke. To accompany him, Prince Dan assigned Qin Wuyang as his assistant. Qin Wuyang was known to have successfully committed murder at age of 13.

paragraph: In 227 BC, Prince Dan and other guests wore white clothing and white hats at the Yi River (易水) to send the pair of assassins off. Jing Ke reportedly sang a song "the wind blows, the river freezes. The hero fords, never to return!" (風蕭蕭兮易水寒，壯士一去兮不復還). The King of Qin received the message of visitors presenting a gift to him, and was willing to receive them at the city.

paragraph: Section::::Assassination attempt.:Assassination attempt.

paragraph: Concealing the dagger inside the map scroll, Jing Ke and Qin Wuyang represented the Yan and met with the King. Qin Wuyang reportedly became so nervous that he acted almost paralyzed when entering the presence of the King. Jing Ke explained that his partner had never set eyes on the Son of Heaven. Other sources suggest Jing Ke described Qin Wuyang as a rural boy from the countryside who had never seen the world.

paragraph: When the King opened the map, Jing Ke immediately seized the revealed dagger and attacked the King, who managed to back away from the initial thrust, tearing off a sleeve in the process. While the King fled from his attacker on foot, he attempted to draw his own sword hanging from his belt, but was unable to do so quickly enough, as it was a ceremonial sword that had deliberately been made very long. None of the other Qin officials within the vicinity were armed and able to stop Jing Ke, and the guards stationed outside the palace were unable to reach the scene in time. In the confusion Jing Ke began to close in on the King, who struggled to get away from the assassin by circling behind a pillar.

paragraph: Seeing the king in grave danger, a royal physician named Xia Wuju (夏無且) grabbed his medicine bag and threw it at Jing Ke. This slowed down the assassin just enough to allow the king to recover some distance. Reminded by cries from other officials, the King managed to shift the sword behind his back and unsheathe over his shoulder. He immediately struck Jing Ke in the thigh, effectively immobilizing him. The injured Jing Ke, out of a desperate last attempt, threw his dagger towards the King, only to miss the target. The King then proceeded to stab Jing Ke eight more times, mortally wounding him. At this point, the guards arrived to finish off both Jing Ke and the fleeing Qin Wuyang.

paragraph: Section::::Yan annihilation.

paragraph: After Jing Ke's attempt, the Qin army general Wang Jian was sent against the Yan state. In 226 BC, Prince Dan sent his army to fight at Ji (薊), but were soon defeated. In an effort to try to appease the King of Qin, King Xi of Yan put his son to death; however, the Yan were annexed nonetheless and the Yan were destroyed.

paragraph: Section::::In popular culture.

paragraph: BULLET::::- The Chinese film "The Emperor and the Assassin" (1999), featuring Gong Li and others, is based on the aforementioned events. Jing Ke himself does not appear in the films "The Emperor's Shadow" (1996), directed by Zhou Xiaowen, or "Hero" (2002) starring Jet Li; but both films borrow elements from his story.

paragraph: BULLET::::- A fictionalized version of Jing Ke appears in the film "" (2000), played by actor and martial artist Donnie Yen. In the film, Jing Ke is, like the other principal characters, an immortal warrior living in the story's present day. The film alters the spelling of Jing Ke's name to "Jin Ke" and makes reference to his historical association with Qin Shi Huang.

paragraph: BULLET::::- The Chinese film "Hero" (2002) is loosely based on Jing Ke's assassination attempt, with Jet Li playing the assassin.

paragraph: BULLET::::- The character Tsing Yi in John Woo's "Last Hurrah for Chivalry" (1979), according to its director, is inspired by Jing Ke.

paragraph: BULLET::::- A Chinese TV series called "Assassinator Jing Ke" (荆轲传奇) was produced in 2004, depicting a fictionalized biography of Jing Ke, starring Liu Ye, Wang Yanan, and Peter Ho.

paragraph: BULLET::::- Jing Ke is a spy in the computer game "".

paragraph: BULLET::::- Jing Ke is one of the heroes in "The Legend of Qin", 3D animation series, father of the protagonist, Jing Tianming. Ke's farewell song is also quoted in this series.

paragraph: BULLET::::- Jing Ke's song as he left for his mission was played in the song Episode 119 Medley in an episode of the show "Community", when Señor Chang entered the library to kill off the two remaining students in the paintball fight.

paragraph: BULLET::::- Jing Ke appears in the mobile game "Fate/Grand Order" as an Assassin class Servant. This version of Jing Ke appears as a woman, and the game notes she was recorded in history as a man for unknown reasons. Her personal quest revolves around her failed attempt.

paragraph: BULLET::::- Jing Ke's story is the basis of the plot of "Katanagatari".

paragraph: BULLET::::- Jing Ke is the protagonist of the short story "The Circle" by Liu Cixin.

paragraph: BULLET::::- Jing Ke appears in the fictional historical drama "The King's Woman" based off the novel "The Legend of Qin: Li Ji Story" (秦时明月之丽姬传).

paragraph: BULLET::::- Nobel laureate Mo Yan wrote a play in 2003, entitled "Our Jing Ke" （我们的荆轲), which retells the story of Jing Ke's failed assassination attempt. The play premiered in August 2011 in Beijing by Beijing People's Art Theatre (BPAT). The play won the highest drama award in China in 2012.

paragraph: Section::::See also.

paragraph: BULLET::::- Gao Jianli

description: Qin Dynasty attempted assassin

wikidata_label: Jing Ke

wikipedia_title: Jing Ke


text: tanna

text: Mishnah

text: Midrash halakha

text: Talmud

text: Hakham

text: Bar Kokhba revolt

text: Babylonian Talmud

text: Jerusalem Talmud

text: Jerusalem

text: Rachel

text: Lod

text: Eliezer ben Hurcanus

text: Joshua ben Hananiah

text: Gamaliel II

text: Rabbi Tarfon

text: Beneberak

text: Hamath

text: Talmud

text: Elijah

text: halakha

text: Rabbi Meir

text: Judah bar Ilai

text: Simeon bar Yochai

text: Jose ben Halafta

text: Rabbi Nehemiah

text: Aggadah

text: Rabban Gamaliel

text: Judaism

text: Rome

text: Nehardea

text: Bar Kokhba revolt

text: baraita

text: Hadrian

text: Tyrannus Rufus

text: Caesarea

text: combing

text: Antipatris

text: Tyrannus Rufus

text: Babylonian Talmud

text: Caesarea

text: Lag BaOmer

text: Philo

text: Adam ḳadmon

text: Justin Martyr

text: Psalms

text: Rabbi Ishmael

text: Christians

text: historicist

text: day-year principle

text: four kingdoms of Daniel 2

text: AM

text: Tanakh

text: Apocrypha

text: Wisdom of Sirach

text: Ḳid.

text: Aramaic

text: Song of Songs

text: Esther

text: I.H. Weiss

text: Aquila

text: Targums

text: Targum Onkelos

text: Halakah

text: Halakha

text: Judaism

text: halachot

text: tannaim

text: mishna

text: midrash

text: Rabbi Meir

text: Epiphanius

text: Judah ha-Nasi

text: Johanan bar Nappaḥa

text: Mishnah

text: Rabbi Meir

text: Tosefta

text: R. Nehemiah

text: Sifra

text: R. Judah

text: Sifre

text: R. Simon

text: Mordecai Jafe

text: Shulchan Aruch

text: Mekhilta of Rabbi Shimon

text: Exodus

text: Sifra

text: Leviticus

text: Sifre Zuṭṭa

text: Numbers

text: Deuteronomy

text: Halakha

text: Torah

text: Sadducees

text: halakhic midrash

text: Temple in Jerusalem

text: Sadduceeism

text: halakhic Midrash

text: Phariseeism

text: Sadduceeism

text: Hellenism

text: Christians

text: rabbinical Judaism

text: Bible

text: Aquila

text: Grecian philosophy

text: Gnosticism

text: Elisha ben Abuyah

text: Ben Azzai

text: Ben Zoma

text: Pharisees

text: Philo

text: Hebrew

text: Holy Scripture

text: Pharisees

text: ritually impure

text: Exodus

text: A. Geiger

text: Samaritans

text: Kil'ayim

text: Holy Land

text: Talmudic Judaism

text: Tinnius Rufus

text: aggadah

text: Judah bar Ilai

text: Rabbi Meir

text: Eleazar ben Shammua

text: Jose ben Halafta

text: Shimon bar Yochai

text: Rome

text: Flavius Clemens

text: Domitian

text: brit milah

text: Yiddish

text: Johanan ben Zakkai

text: Rachel, wife of Rabbi Akiva

text: Finkelstein, Louis

text: Ginzberg, Louis

text: Akiba

text: Lau, Binyamin

text: Neusner, Jacob

text: Crowns: Moses Visits Rabbi Akiva's Beit Midrash":

categories: Bar Kokhba revolt,Pirkei Avot rabbis,Mishnah rabbis,2nd-century executions,People executed by flaying,Jewish martyrs,50 births,1st-century rabbis,2nd-century rabbis,People executed by the Roman Empire,135 deaths

paragraph: Rabbi Akiva

paragraph: Akiva ben Yosef (, c. 50–135 CE) also known as Rabbi Akiva (), was a leading Jewish scholar and sage, a "tanna", of the latter part of the first century and the beginning of the second century. Rabbi Akiva was a leading contributor to the "Mishnah" and to Midrash halakha. He is referred to in the Talmud as "Rosh la-Hakhamim" "Chief of the Sages". He was executed by the Romans in the aftermath of the Bar Kokhba revolt.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early years.

paragraph: Akiva ben Yosef (written "aqívā" in the Babylonian Talmud and "aqívāh" in the Jerusalem Talmud) was of humble parentage. A few sources, the earliest recorded from the 10th century, suggest that he was descended from converts to Judaism.

paragraph: When Akiva married the daughter of Ben Kalba Sabua, a wealthy citizen of Jerusalem, Akiva was an uneducated shepherd in Ben Kalba Sabua's employ. His wife's first name is not provided in earlier sources, but a later version of the tradition gives it as Rachel. She stood loyally by her husband during the period of his late initiation into rabbinic studies after he was 40 years of age. and in which Akiva dedicated himself to the study of Torah.

paragraph: A different tradition narrates that at the age of 40, Akiva attended the academy of his native town, Lod, presided over by Eliezer ben Hurcanus. Hurcanus was a neighbor of Yosef, the father of Akiva. The fact that Eliezer was his first teacher, and the only one whom Akiva later designates as "rabbi", is of importance in settling the date of Akiva's birth. These legends set the beginning of his years of study at about 75–80.

paragraph: Besides Eliezer, Akiva studied under Joshua ben Hananiah and Nahum Ish Gamzu. He was on equal footing with Gamaliel II, whom he met later. Rabbi Tarfon was considered as one of Akiva's masters, but the pupil outranked his teacher and he became one of Akiva's greatest admirers. Akiva remained in Lod as long as Eliezer dwelt there, and then moved his own school to Beneberak. Akiva also lived for some time at Ziphron, modern Zafran near Hamath.

paragraph: Section::::Biography.:Marriage.

paragraph: According to the Talmud, Akiva was a shepherd for Ben Kalba Sabu'a when the latter's daughter noticed his modesty and fine character traits. She offered to marry him if he would agree to begin studying Torah, as at the time he was 40 years old and illiterate. When her father found out she was secretly betrothed to an unlearned man, he was furious. He drove his daughter out of his house, swearing that he would never help her while Akiva remained her husband. Akiva and his wife lived in such poverty that they used straw for their bed. The Talmud relates that once Elijah the prophet assumed the guise of a poor man and came to their door to beg some straw for a bed for his wife after she had given birth. When Akiva and his wife saw that there were people even poorer than they, Rachel said to him, "Go, and become a scholar".

paragraph: By agreement with his wife, Akiva spent twelve years away from home, pursuing his studies. He would make a living by cutting wood from the forest, selling half for his wife's and children's upkeep, and using the other half for keeping a fire burning at night to keep himself warm and to provide light thereby for his own studies. Returning at the end of twelve years accompanied by 12,000 disciples, on the point of entering his home he overheard his wife say to a neighbor who was critical of his long absence: "If I had my wish, he should stay another twelve years at the academy." Without crossing the threshold, Akiva went back to the academy. He returned twelve years later escorted by 24,000 disciples. When his wife went out to greet him, some of his students, not knowing who she was, sought to restrain her. But Akiva exclaimed, "Let her alone; for what is mine and yours, is hers" (she deserves the credit for our Torah study). Not knowing who he was, Ben Kalba Sabu'a also approached Akiva and asked him for help annulling his vow to disown his daughter and her husband. Akiva asked him, "Would you have made your vow if you had known that he would become a great scholar?" Ben Kalba Sabu'a replied, "Had I known that he would learn even one chapter or one single halakha, [I would not have made the vow]". Akiva said to him, "I am that man". Ben Kalba Sabu'a fell at Akiva's feet and gave him half his wealth.

paragraph: According to another source, Akiva saw that at some future time he would take in marriage the wife of Tyrannus Rufus (his executioner) after she converted to Judaism, for which reason he spat on the ground (for having come from a fetid drop), smiled (at her conversion) and wept (at such beauty eventually rotting in the dust after death). The motive behind this marriage is not given.

paragraph: Section::::Biography.:Later years.

paragraph: The greatest tannaim of the middle of the second century came from Akiva's school, notably Rabbi Meir, Judah bar Ilai, Simeon bar Yochai, Jose ben Halafta, Eleazar ben Shammai, and Rabbi Nehemiah. Besides these, Akiva had many disciples whose names have not been handed down, but the "Aggadah" variously gives their number as 12,000, 24,000 and 48,000.

paragraph: Akiva is reported to have had a rabbinic relationship with Rabban Gamaliel dated to before their trip to Rome. Convinced of the necessity of a central authority for Judaism, Akiva became a devoted adherent and friend of Rabban Gamaliel, who aimed at constituting the patriarch the true spiritual chief of the Jews. However, Akiva was just as firmly convinced that the power of the patriarch must be limited both by the written and the oral law, the interpretation of which lay in the hands of the learned; and he was accordingly brave enough to act in ritual matters in Rabban Gamaliel's own house contrary to the decisions of Rabban Gamaliel himself. Akiva filled the office of an overseer of the poor. Various rabbinic texts testify to his personal qualities, such as benevolence and kindness toward the sick and needy.

paragraph: In 95–96, Akiva was in Rome, and some time before 110 he was in Nehardea. During his travels, it is probable that he visited other places having important Jewish communities.

paragraph: Akiva allegedly took part in the Bar Kokhba revolt of 132–136, but his role here cannot be historically determined. The only established fact concerning Akiva's connection with Bar Kochba is that he regarded Bar Kochba as the promised Messiah; this is the only evidence of active participation by Akiva in the revolution. A "baraita" states that he suffered martyrdom on account of his transgression of Hadrian's edicts against the practice and the teaching of the Jewish religion, being sentenced to die by Tyrannus Rufus in Caesarea. As this story credits the execution to religious rather than political reasons, it may be evidence against Akiva's have a role in the revolt. Akiva's death occurred after several years of imprisonment, which places it at about 132, before the suppression of the Bar Kochba revolution; otherwise the delay of the Romans in executing him would be quite inexplicable. That the religious interdicts of Hadrian preceded the overthrow of Bar Kochba is shown by the Mekhilta.

paragraph: Jewish sources relate that he was subjected to combing, a Roman torture in which the victim's skin was flayed with iron combs. According to the same tradition, Rabbi Akiva was buried in Antipatris of Caesarea.

paragraph: Section::::Biography.:Death.

paragraph: The death of Akiva is usually rendered as some redacted form of three separate versions of the circumstances of his death written at differing levels of either accuracy or piety. The most common version of Akiva's death is that the Roman government ordered him to stop teaching Torah, on pain of death, and that he refused. When Tyrannus Rufus, as he is called in Jewish sources, ordered Akiva's execution, Akiva is said to have recited his prayers calmly, though suffering agonies; and when Rufus asked him whether he was a sorcerer, since he felt no pain, Akiva replied, "I am no sorcerer; but I rejoice at the opportunity now given to me to love my God 'with all my life,' seeing that I have hitherto been able to love Him only 'with all my means' and 'with all my might,'" and with the word "One!" he expired.

paragraph: The version in the Babylonian Talmud tells it as a response of Akiva to his students, who asked him how he could yet offer prayers to God. He says to them, "All my life I was worried about the verse, 'with all your soul' (and the sages expounded this to signify), even if He takes away your soul. And I said to myself, when will I ever be able to fulfill this command? And now that I am finally able to fulfill it, I should not?" Then he extended the final word "Echad" ("One") until his life expired with that word. A heavenly voice went out and announced: "Blessed are you, "Rabbi" Akiva, that your life expired with ""Echad"".

paragraph: Another legend is that Elijah bore the body by night to Caesarea. The night, however, was as bright as the finest summer's day. When they arrived, Elijah and Joshua entered a cavern which contained a bed, table, chair, and lamp, and deposited Akiva's body there. No sooner had they left it than the cavern closed of its own accord, so that no one has found it since. Rebbe Akiva's modern day tomb is located in Tiberias.. Annually, on the night of Lag BaOmer, Boston Chassidim and local residents gather at the tomb of Rebbe Akiva to light a bonfire, a tradition reinstated by the Bostoner Rebbe in 1983.

paragraph: Section::::Religious and scholarly perspectives.

paragraph: Section::::Religious and scholarly perspectives.:Religious philosophy.

paragraph: A tannaitic tradition mentions that of the four who entered paradise, Akiva was the only one that returned unscathed. This serves at least to show how strong in later ages was the recollection of Akiva's philosophical speculation.

paragraph: Section::::Religious and scholarly perspectives.:Religious philosophy.:The image of God.

paragraph: Akiva's utterances may serve to present the essence of his religious conviction. One of which states:

paragraph: BULLET::::- How favored is man, for he was created after an image; as Scripture says, "for in an image, God made man."

paragraph: Akiva's anthropology is based upon the principle that man was created בצלם, that is, not in the image of God—which would be בצלם אלהים—but after an image, after a primordial type; or, philosophically speaking, after an Idea—what Philo calls in agreement with Judean theology, "the first heavenly man" (see Adam ḳadmon). Strict monotheist that Akiva was, he protested against any comparison of God with the angels, and declared the plain interpretation of כאחד ממנו as meaning "like one of us" to be arrant blasphemy. It is quite instructive to read how a Christian of Akiva's generation, Justin Martyr, calls the literal interpretation—thus objected to by Akiva—a "Jewish heretical one". In his earnest endeavors to insist as strongly as possible upon the incomparable nature of God, Akiva indeed lowers the angels somewhat to the realms of mortals, and (alluding to Psalms 78:25) maintains that manna is the actual food of the angels. This view of Akiva's, in spite of the energetic protests of his colleague Rabbi Ishmael, became the one generally accepted by his contemporaries.

paragraph: From his views as to the relation between God and man, he deduces that a murderer is to be considered as committing the crime against the divine archetype (דמות) of man. Similarly, he recognizes as the chief and greatest principle of Judaism the command, "Thou shalt love thy neighbor as thyself." He does not, indeed, maintain thereby that the execution of this command is equivalent to the performance of the whole Law; and in one of his polemic interpretations of Scripture he protests strongly against a contrary opinion allegedly held by Christians, and other non-Jews since the diaspora, according to which Judaism is at best "simply morality." For, in spite of his philosophy, Akiva was an extremely strict and national Jew.

paragraph: But he is far from representing strict justice as the only attribute of God: in agreement with the ancient Israel theology of the מדת הדין, "the attribute of justice", and מדת הרחמים, "the attribute of mercy," he teaches that God combines goodness and mercy with strict justice. Hence his maxim, referred to above, "God rules the world in mercy, but according to the preponderance of good or bad in human acts."

paragraph: Section::::Religious and scholarly perspectives.:Religious philosophy.:Eschatology.

paragraph: Concerning end times, Akiva interpreted Bible prophecy using what is now called the historicist methodology which recognizes the day-year principle and the four kingdoms of Daniel 2 (i.e., Babylon, Media/Persia, Greece and Rome). He expected the world to end in AM 6093 (i.e., Anno Mundi, the "year of the world", from creation)

paragraph: As to the question concerning the frequent sufferings of the pious and the prosperity of the wicked—truly a burning one in Akiva's time—this is answered by the explanation that the pious are punished in this life for their few sins, in order that in the next they may receive only reward; while the wicked obtain in this world all the recompense for the little good they have done, and in the next world will receive only punishment for their misdeeds. Consistent as Akiva always was, his ethics and his views of justice were only the strict consequences of his philosophical system. Justice as an attribute of God must also be exemplary for man. "No mercy in [civil] justice!" is his basic principle in the doctrine concerning law, and he does not conceal his opinion that the action of the Jews in taking the spoil of the Egyptians is to be condemned.

paragraph: Section::::Religious and scholarly perspectives.:Biblical canon.

paragraph: Akiva was instrumental in drawing up the canon of the Tanakh. He protested strongly against the canonicity of certain of the Apocrypha, the Wisdom of Sirach, for instance, in which passages קורא is to be explained according to Ḳid. 49a, and חיצונים according to its Aramaic equivalent ברייתא; so that Akiva's utterance reads, "He who reads aloud in the synagogue from books not belonging to the canon as if they were canonical," etc. But he was not opposed to a private reading of the Apocrypha, as is evident from the fact that he himself makes frequent use of Sirach. Akiva stoutly defended, however, the canonicity of the Song of Songs, and Esther. Grätz's statements respecting Akiva's attitude toward the canonicity of the Song of Songs were viewed as misconceptions by I.H. Weiss.

paragraph: Aquila, meanwhile, was a disciple of Akiva and, under Akiva's guidance, gave the Greek-speaking Jews a rabbinical Bible. Akiva probably also provided for a revised text of the Targums; certainly, for the essential base of the Targum Onkelos, which in matters of Halakah reflects Akiva's opinions completely.

paragraph: Section::::Religious and scholarly perspectives.:Akiva as systematizer.

paragraph: Akiva worked in the domain of the Halakha, both in the systematization of its traditional material and in its further development. The condition of the Halakah, that is, of religious praxis, and indeed of Judaism in general, was a very precarious one at the turn of the 1st century of the common era. The lack of any systematized collection of the accumulated halachot rendered impossible any presentation of them in form suitable for practical purposes. Means for the theoretical study of the halachah were also scant; both logic and exegesis—the two props of the Halakah—being differently conceived by the various ruling tannaim, and differently taught. According to a tradition (which has historical confirmation), it was Akiva who systematized and arranged the "mishna" (the halakhic codex); the "midrash" (the exegesis of the halachah), and the "halachot" (the logical amplification of the halachah). The Mishna of Akiva, as his pupil Rabbi Meir had taken it from him, became the basis of the Six Orders of the Mishna.

paragraph: The δευτερώσεις τοῦ καλουμένου Ραββὶ Ακιβά mentioned by Epiphanius, as well as the "great Mishnayot of Akiva", are probably not to be understood as independent Mishnayot (δευτερώσεις) existing at that time, but as the teachings and opinions of Akiva contained in the officially recognized Mishnayot and Midrashim. At the same time, it is fair to consider the Mishnah of Judah ha-Nasi (called simply "the Mishnah"), as well as the majority of all halakhic Midrashim now extant, as derived from the school of Akiva.

paragraph: According to Johanan bar Nappaḥa (199–279), "Our Mishnah comes directly from Rabbi Meir, the Tosefta from R. Nehemiah, the Sifra from R. Judah, and the Sifre from R. Simon; but they all took Akiva for a model in their works and followed him." One recognizes here the threefold division of the halakhic material that emanated from Akiva: (1) The codified halakhah (i.e. Mishnah); (2) the Tosefta, which in its original form contains a concise logical argument for the Mishnah, somewhat like the "Lebush" of Mordecai Jafe on the Shulchan Aruch; (3) the halakhic Midrash.

paragraph: The following halakhic Midrashim originating in Akiva's school: the Mekhilta of Rabbi Shimon on Exodus; Sifra on Leviticus; Sifre Zuṭṭa on Numbers; and the Sifre to Deuteronomy, the halakhic portion of which belongs to Akiva's school.

paragraph: Section::::Religious and scholarly perspectives.:Akiva's Halakha.

paragraph: Admirable as is the systematization of the Halakha by Akiva, his hermeneutics and halachic exegesis—which form the foundation of all Talmudic learning—surpassed it.

paragraph: The enormous difference between the Halacha before and after Akiva may be briefly described as follows: The old halacha was (as its name indicates) the religious practice sanctioned as binding by tradition, to which were added extensions and (in some cases) limitations of the Torah, arrived at by strict logical deduction. The opposition offered by the Sadducees (which became especially strenuous in the first century BC) led to the development the halakhic midrash, whose purpose was to deduce these amplifications of the Law, by tradition and logic, out of the Law itself.

paragraph: It might be thought that with the destruction of the Temple in Jerusalem—which event made an end of Sadduceeism—the halakhic Midrash would also have disappeared, seeing that the Halacha could now dispense with the Midrash. This probably would have been the case had not Akiva created his own Midrash, by means of which he was able "to discover things that were even unknown to Moses." Akiva made the accumulated treasure of the oral law—which until his time was only a subject of knowledge, and not a science—an inexhaustible mine from which, by the means he provided, new treasures might be continually extracted.

paragraph: If the older Halacha is to be considered as the product of the internal struggle between Phariseeism and Sadduceeism, the Halacha of Akiva must be conceived as the result of an external contest between Judaism on the one hand and Hellenism and Hellenistic Christianity on the other. Akiva no doubt perceived that the intellectual bond uniting the Jews—far from being allowed to disappear with the destruction of the Jewish state—must be made to draw them closer together than before. He pondered also the nature of that bond. The Bible could never again fill the place alone; for the Christians also regarded it as a divine revelation. Still less could dogma serve the purpose, for dogmas were always repellent to rabbinical Judaism, whose very essence is development and the susceptibility to development. Mention has already been made of the fact that Akiva was the creator of a rabbinical Bible version elaborated with the aid of his pupil, Aquila (though this is traditionally debated), and designed to become the common property of all Jews.

paragraph: But this was not sufficient to obviate all threatening danger. It was to be feared that the Jews, by their facility in accommodating themselves to surrounding —even then a marked characteristic—might become entangled in the net of Grecian philosophy, and even in that of Gnosticism. The example of his colleagues and friends, Elisha ben Abuyah, Ben Azzai, and Ben Zoma strengthened him still more in his conviction of the necessity of providing some counterpoise to the intellectual influence of the non-Jewish world.

paragraph: Section::::Religious and scholarly perspectives.:Akiva's hermeneutic system.

paragraph: Akiva sought to apply the system of isolation followed by the Pharisees (פרושים = those who "separate" themselves) to doctrine as they did to practice, to the intellectual life as they did to that of daily discourse, and he succeeded in furnishing a firm foundation for his system. As the fundamental principle of his system, Akiva enunciates his conviction that the mode of expression used by the Torah is quite different from that of every other book. In the language of the Torah nothing is mere form; everything is essence. It has nothing superfluous; not a word, not a syllable, not even a letter. Every peculiarity of diction, every particle, every sign, is to be considered as of higher importance, as having a wider relation and as being of deeper meaning than it seems to have. Like Philo, who saw in the Hebrew construction of the infinitive with the finite form of the same verb and in certain particles (adverbs, prepositions, etc.) some deep reference to philosophical and ethical doctrines, Akiva perceived in them indications of many important ceremonial laws, legal statutes, and ethical teachings.

paragraph: He thus gave the Jewish mind not only a new field for its own employment, but, convinced both of the immutability of Holy Scripture and of the necessity for development in Judaism, he succeeded in reconciling these two apparently hopeless opposites by means of his remarkable method. The following two illustrations will serve to make this clear:

paragraph: BULLET::::- The high conception of woman's dignity, which Akiva shared in common with most other Pharisees, induced him to abolish the Oriental custom that banished ritually impure women from all social intercourse. He succeeded, moreover, in fully justifying his interpretation of those Scriptural passages upon which this ostracism had been founded by the older expounders of the Torah.

paragraph: BULLET::::- The Biblical legislation in Exodus 21:7 could not be reconciled by Akiva with his view of Jewish ethics: for him a "Jewish slave" is a contradiction in terms, for every Jew is to be regarded as a prince. Akiva therefore teaches, in opposition to the old halakhah, that the sale of a daughter under age by her father conveys to her purchaser no legal title to marriage with her, but, on the contrary, carries with it the duty to keep the female slave until she is of age, and then to marry her. How Akiva endeavors to substantiate this from the Hebrew text is shown by A. Geiger.

paragraph: His hermeneutics frequently put him at odds with the letter of the law, as particularly demonstrated by his attitude toward the Samaritans. He considered friendly intercourse with these semi-Jews as desirable on political as well as on religious grounds, and he permitted—in opposition to tradition—not only eating their bread, but also eventual intermarriage. This is quite remarkable, seeing that in matrimonial legislation he went so far as to declare every forbidden union as absolutely void and the offspring as illegitimate. For similar reasons, Akiva comes near abolishing the Biblical ordinance of "Kil'ayim"; nearly every chapter in the treatise of that name contains a mitigation by Akiva.

paragraph: Love for the Holy Land, which he as a genuine nationalist frequently and warmly expressed, was so powerful with him that he would have exempted agriculture from much of the rigor of the Law. These examples will suffice to justify the opinion that Akiva was the man to whom Judaism owes preeminently its activity and its capacity for development.

paragraph: Section::::Selected legends.

paragraph: When Moses ascended into heaven, he saw God occupied in making little crowns for the letters of the Torah. Upon his inquiry as to what these might be for, he received the answer, "There will come a man, named Akiva ben Yosef, who will deduce halakhot from every little curve and crown of the letters of the Law." Moses' request to be allowed to see this man was granted; but he became much dismayed as he listened to Akiva's teaching; for he could not understand it. However, Moses' spirit was revived when a student asked Akiva the source of a law, and Akiva replied "A law to Moses at Sinai". This story gives a picture of Akiva's activity as the father of Talmudic Judaism.

paragraph: Tinnius Rufus asked: "Which is the more beautiful—God's work or man's?" Akiva replied: "Undoubtedly man's work is the better, for while nature at God's command supplies us only with the raw material, human skill enables us to elaborate the same according to the requirements of art and good taste." Rufus had hoped to drive Akiva into a corner by his strange question; for he expected quite a different answer and intended to compel Akiva to admit the wickedness of circumcision. He then put the question, "Why has God not made man just as He wanted him to be?" Akiva had an answer ready: "For the very reason, the duty of man is to perfect himself."

paragraph: The aggadah explains how Akiva, in the prime of life, commenced his rabbinical studies. Legendary allusion to this change in Akiva's life is made in two slightly varying forms. Likely the older of the two goes as follows: "Akiva, noticing a stone at a well that had been hollowed out by drippings from the buckets, said: If these drippings can, by continuous action, penetrate this solid stone, how much more can the persistent word of God penetrate the pliant, fleshly human heart, if that word but be presented with patient insistency."

paragraph: Akiva taught thousands of students: on one occasion, twenty-four thousand students of his died in a plague. His five main students were Judah bar Ilai, Rabbi Meir, Rabbi Eleazar ben Shammua, Jose ben Halafta and Shimon bar Yochai.

paragraph: Once he was called upon to decide between a dark-skinned king and the king's wife; the wife having been accused of infidelity after bearing a white child. Akiva ascertained that the royal chamber was adorned with white marble statuary, and, based on the theory that a child is similar in nature to whatever its parents gazed upon while conceiving the child, he exonerated the queen from suspicion. It is related that, during his stay in Rome, Akiva became intimately acquainted with the Jewish proselyte Ketia bar Shalom, a very influential Roman—according to some scholars identical with Flavius Clemens, Domitian's nephew, who, before his execution for pleading the cause of the Jews, bequeathed to Akiva all his possessions.

paragraph: The Talmud enumerates six occasions in which Akiva gained wealth. In one case, his success as a teacher led his wealthy father-in-law Kalba Savua to acknowledge such a distinguished son-in-law and to support him. Another source of his wealth was said to be a large sum of money borrowed from a heathen woman, a "matrona". As bondsmen for the loan, Akiva named God and the sea, on the shore of which the matrona's house stood. Akiva, being sick, could not return the money at the time appointed; but his bondsmen did not leave him in the lurch. An imperial princess suddenly became insane, in which condition she threw a chest containing imperial treasures into the sea. It was cast upon the shore close to the house of Akiva's creditor, so that when the matrona went to the shore to demand of the sea the amount she had lent Akiva, the ebbing tide left boundless riches at her feet. Later, when Akiva arrived to discharge his indebtedness, the matrona not only refused to accept the money, but insisted upon Akiva's receiving a large share of what the sea had brought to her.

paragraph: This was not the only occasion on which Akiva was made to feel the truth of his favorite maxim ("Whatever God does, He does for the best"). Once, being unable to find any sleeping accommodation in a certain city, he was compelled to pass the night outside its walls. Without a murmur he resigned himself to this hardship; and even when a lion devoured his donkey, and a cat killed the rooster whose crowing was to herald the dawn to him, and the wind extinguished his candle, the only remark he made was, "All that God does is for the good." When morning dawned he learned how true his words were. A band of robbers had fallen upon the city and carried its inhabitants into captivity, but he had escaped because his abiding place had not been noticed in the darkness, and neither beast nor fowl had betrayed him.

paragraph: Another legend according to which the gates of the infernal regions opened for Akiva is analogous to the more familiar tale that he entered paradise and was allowed to leave it unscathed. There exists the following tradition: Akiva once met a coal-black man carrying a heavy load of wood and running with the speed of a horse. Akiva stopped him and inquired: "My son, why do you work so hard? If you are a slave and have a harsh master, I will buy you from him. If it be out of poverty that you do this, I will take care of your needs." "It is for neither of these," the man replied; "I am dead and am compelled because of my great sins to build my funeral pyre every day. In life I was a tax-gatherer and oppressed the poor. Let me go at once, lest the demon torture me for my delay." "Is there no help for you?" asked Akiva. "Almost none," replied the deceased; "for I understand that my sufferings will end only when I have a pious son. When I died, my wife was pregnant; but I have little hope that she will give my child proper training." Akiva inquired the man's name and that of his wife and her dwelling-place. When, in the course of his travels, he reached the place, Akiva sought for information concerning the man's family. The neighbors very freely expressed their opinion that the deceased and his wife deserved to inhabit the infernal regions for all time—the latter because she had not even performed brit milah for the child. Akiva, however, was not to be turned from his purpose; he sought the son of the tax-gatherer and labored long and assiduously in teaching him the word of God. After fasting 40 days and praying to God to bless his efforts, he heard a heavenly voice (bat kol) asking, "Why do you go to so much trouble on behalf of this person?" "Because he is just the kind to work for," was the prompt answer. Akiva persevered until his pupil was able to officiate as reader in the synagogue; and when there for the first time he recited the prayer, "Bless the Lord!" the father suddenly appeared to Akiva and overwhelmed him with thanks for his deliverance from the pains of hell through the merit of his son. This legend has been somewhat elaborately treated in Yiddish. Another version of this story exists in which Johanan ben Zakkai's name is given in place of Akiva.

paragraph: Section::::See also.

paragraph: BULLET::::- Rachel, wife of Rabbi Akiva

paragraph: Section::::Further reading.

paragraph: BULLET::::- Rothenberg, Naftali, "Rabbi Akiva's Philosophy of Love", New York, Palgrave-Macmillan, 2017.

paragraph: BULLET::::- Aleksandrov, G. S. "The Role of Aqiba in the Bar Kochba Rebellion." In "Eliezer ben Hyrcanus," Vol. 2, by Jacob Neusner. Leiden, Netherlands: E.J. Brill, 1973.

paragraph: BULLET::::- Finkelstein, Louis. "Akiba: Scholar, Saint, and Martyr." New York: Covici, Friede, 1936.

paragraph: BULLET::::- Ginzberg, Louis. "Akiba" In "Jewish Encyclopedia", vol. 1. New York: Funk and Wagnalls, 1912.

paragraph: BULLET::::- Goldin, Judah. "Toward a Profile of a Tanna, Aqiba ben Joseph." "Journal of the American Oriental Society" 96 (1976): 38-56.

paragraph: BULLET::::- Lau, Binyamin. "The Sages, Volume III: The Galilean Period." Jerusalem: Maggid Books, 2013.

paragraph: BULLET::::- Neusner, Jacob, ed. "Studies in Judaism in Late Antiquity." Vol. 20, "The Jews Under Roman Rule: From Pompey to Diocletian," by E. Mary Smallwood. Leiden, Netherlands: E. J. Brill, 1976.

paragraph: Section::::External links.

paragraph: BULLET::::- "Crowns: Moses Visits Rabbi Akiva's Beit Midrash": An animation telling the story in Menachot 29b

paragraph: BULLET::::- "Rachel, Wife of Akiva: Women in Ancient Israel," Video Lecture by Dr. Henry Abramson

alias:
Akiva ben Yosef
Rabbi Akiva
Rabbi Akivah
Akiva

description: Jewish rabbi, he was one of the tannaim sages.

enwikiquote_title: Akiba ben Joseph

wikidata_label: Akiva ben Joseph

wikipedia_title: Rabbi Akiva


href: Bundi Rajasthan Charan Hindi Dingal Charan Bundi Hada%20%28clan%29 Chauhan Maharao Raja Indian%20Rebellion%20of%201857 Kota%20people%20%28India%29

text:
Bundi
Rajasthan
Charan
Hindi
Dingal
Charan
Bundi
Hada
Chauhan dynasty
Maharao
Raja
Indian Rebellion of 1857
Kota

categories: 1815 births,19th-century Indian poets,Indian Rebellion of 1857,Poets from Rajasthan,Rajasthani-language writers,People from Bundi district,1863 deaths

paragraph: Suryamal Misran

paragraph: Suryamal Meesan (also spelled Suryamall Meesan; 1815–1868) was a poet from Bundi, Rajasthan, India. He hailed from the Charan caste. He knew six languages and was a scholar of grammar, logic, history and politics. He wrote in Hindi, Pingal and Dingal. His important works include "Vansh Bhaskar, Vir Satsai, Balwant Vilas" and "Chhandomayush".

paragraph: Section::::Career.

paragraph: Misran was a court poet and marely belongs to Charan Cast, His birthplace was Bundi, which was ruled by the great Hada Chauhan dynasty. In the poetry world they are known as "Mahakavi."He undertook the work "Vans Bhaskar" at the order of Maharao Raja Ramsingh of Bundi. The word "Vans" means genealogy and "Bhaskar" means the sun, hence "Vans Bhaskar" is intended to be a chronicle of the Hada Chauhan dynasty, who claimed to originate from the sun. He intended to write "Vans Bhaskar" in two volumes and twelve parts as an analogy with the sun, which has two solstices and twelve months in a year. He left the work unfinished at the eighth part of the second volume because of differences with his patron, whose territory became British protectorate, while poet supported the Indian Rebellion of 1857.

paragraph: Mishran's glorification of local heroes helped to develop the spirit of nationalization in Rajasthan.

paragraph: Section::::In popular culture.

paragraph: In the recent years, his persona has been staged in theater, most notably in Rajendra Panchal's "Katha Sukavi Suryamall Ki" performed by "Perafin group" of Kota.

description: Indian writer

wikidata_label: Suryamal Misran

wikipedia_title: Suryamal Misran


text:
Bishop of Tarazona
Spain
translation
Cathedral of Tarazona
spatharius
Visigoth
Theodoric the Great
St. Victorianus
Burgos
Oca
Gaudiosus of Naples
Tarazona
Tarazona y el Moncayo
Tarazona Cathedral
Moncayo Massif
Moncayo
Sistema Ibérico
Moncayo
Moncayo (disambiguation)

categories: 540 deaths,6th-century bishops,6th-century Christian saints,Roman Catholic bishops in Spain,History of Tarazona,Medieval Spanish saints

paragraph: Gaudiosus of Tarazona

paragraph: Saint Gaudiosus (died c. 540) was the Bishop of Tarazona (Turiasso), Spain.

paragraph: Section::::Life.

paragraph: The information concerning the life of this bishop is scant, and rests on comparatively late sources. On the occasion of the translation of his remains in 1573, a sketch of his life was discovered in the grave, written on parchment; apart from the Breviary lessons of the Cathedral of Tarazona, this document contains the only extant written details concerning the life of Gaudiosus.

paragraph: His father, Guntha, was a military official ("spatharius") at the court of the Visigothic King Theodoric the Great from 510 to 525. The education of the boy was entrusted to St. Victorianus, abbot of a monastery near Burgos (Oca), who trained him for the service of the Church.

paragraph: Later (c. 530) he was appointed Bishop of Tarazona. Nothing more is known of his activities. Even the year of his death has not been exactly determined. After his death he was venerated as a saint. According to the manuscript life found in his grave he died on 29 October, but the Church of Tarazona celebrates his feast on 3 November. He was first entombed in the church of St. Martin (dedicated later to St. Victorianus), attached to the monastery where he had spent his youthful years.

paragraph: In 1573 his remains were disinterred and translated to the cathedral of Tarazona.

paragraph: Section::::See also.

paragraph: BULLET::::- Gaudiosus of Naples

paragraph: BULLET::::- Tarazona, the capital of this Aragonese comarca

paragraph: BULLET::::- Tarazona y el Moncayo, the Aragonese comarca

paragraph: BULLET::::- category

paragraph: BULLET::::- Tarazona Cathedral

paragraph: BULLET::::- Moncayo Massif "Redirected from Moncayo)"

paragraph: BULLET::::- "el Moncayo" (mountain range, sierra, mountain chain; and the peak, the summit). "Sistema Ibérico" (Iberian System)

paragraph: BULLET::::- , template

paragraph: BULLET::::- category, ie. both at the Moncayo article

paragraph: BULLET::::- Moncayo (disambiguation)

paragraph: Section::::References.

paragraph: cites:

description: Spanish bishop

wikidata_label: Gaudiosus of Tarazona

wikipedia_title: Gaudiosus of Tarazona


text:
lute
Aston Clinton
Queen Elizabeth I
Francis Walsingham
Robert Devereux, 2nd Earl of Essex
groom of the privy chamber
Anne of Denmark
James I
pavan
galliard
almaine
fantasies
Daily Telegraph
classicguitare, scores and Bio

categories: Composers for lute,English male classical composers,Composers of the Tudor period,1619 deaths,1572 births,Renaissance composers,17th-century English musicians,16th-century English composers,17th-century English composers,16th-century English musicians,17th-century classical composers,English classical composers,English Baroque composers,English lutenists

paragraph: Daniel Bacheler

paragraph: Daniel Bacheler, also variously spelt Bachiler, Batchiler or Batchelar, (baptized 16 March 1572 – buried 29 January 1619) was an English lutenist and composer. Of all the English lutenist-composers, he is now credited as probably being the most successful in his own lifetime.

paragraph: Bacheler was born in the Buckinghamshire village of Aston Clinton, a son of Richard Bachelor and his wife Elizabeth (née Cardell). He served an apprenticeship with his uncle, Thomas Cardell, who was a lutenist and dancing-master in the court of Queen Elizabeth I.

paragraph: He worked for Sir Francis Walsingham, Robert Devereux, 2nd Earl of Essex, and finally as a groom of the privy chamber for Queen Anne of Denmark, consort of James I.

paragraph: At the royal court he composed some fifty lute pieces. These included a number of pavans, galliards, almaines and fantasies, including a set of variations on the popular tune "Monsieurs Almaine". Elizabeth Roche, reviewing a CD of his work for the "Daily Telegraph" commented on the current neglect of Bacheler's music, suggesting that one reason is the "difficulty of his ornamental style, including arpeggios, trills, and even the dazzling tremolos that conclude his variations on Monsieurs Almaine".

paragraph: The Heralds Visitation records show that Bacheler received a grant of arms in 1606.

paragraph: He was buried on 29 January 1618/1619 in St Margaret's churchyard, Lee, Kent.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Bacheler, Daniel, "Selected works for lute / Daniel Bacheler ; edited and transcribed by Martin Long", London: Oxford University Press, 1972.

paragraph: BULLET::::- Long, Martin., "The music of Daniel Bacheler: a critical study", University of Sydney, 1969.

paragraph: BULLET::::- Batchelor, A: 'Daniel Bacheler: The Right Perfect Musician', "The Lute", 28 (1988), 3–12

paragraph: Section::::External links.

paragraph: BULLET::::- classicguitare, scores and Bio

description: Lutenist and composer

wikidata_label: Daniel Bacheler

wikipedia_title: Daniel Bacheler


text:
Dmitri Mendeleev
inorganic chemistry
platinum group
complexes
dimethylglyoxime
Alfred Werner
SEt
SC(NH)
hydrazine
methyl isocyanide
Chugaev reaction
thujene
terpene

categories: Russian biochemists,1922 deaths,People from Moscow,Lenin Prize winners,Imperial Russian inventors,1873 births,Imperial Russian chemists,Deaths from typhoid fever

paragraph: Lev Chugaev

paragraph: Lev Aleksandrovich Chugaev (16 October 1873 – 26 September 1922) was a Russian chemist. At the height of his career, he was professor of chemistry at the University of Petersburg, being the successor to Dmitri Mendeleev. He was active in the fields of inorganic chemistry, especially platinum group complexes, as well as organic chemistry. He is also known as Leo Aleksandrovich Tschugaeff or Tschugaev.

paragraph: Section::::Contributions to coordination chemistry.

paragraph: Chugaev discovered that dimethylglyoxime forms a scarlet solid upon reaction with nickel(II) ions. This reaction was one of the first "spot tests" for a metal ion. An adherent to the theories of Alfred Werner, Chugaev made several contributions to the chemistry of platinum. The salt [Pt(NH)Cl]Cl containing the chloropentammineplatinum(IV) ion, is called "Chugaev's salt". Other complexes prepared in his laboratory include [Pt(SEt)][PtCl], [Pt(NH)OH]Cl, [Os(SC(NH))]ClHO.

paragraph: Chugaev also studied complexes of hydrazine. One of his complexes, since also called Chugaev's salt, was the product of the reaction of platinum(II) salts with methyl isocyanide and hydrazine. After many decades, this compound was shown to be a carbene complex, probably the first metal carbene complex ever reported.

paragraph: Section::::Contributions to organic chemistry.

paragraph: He discovered the Chugaev reaction during his work on thujene and terpene.

description: Russian chemist

wikidata_label: Lev Aleksandrovich Chugaev

wikipedia_title: Lev Chugaev


text: Yellow Turban Rebellion

text: Eastern Han dynasty

text: Taoism

text: Yellow Turban Rebellion

text: Han emperor

text: mandate of heaven

text: He Jin

text: Lu Zhi

text: Dong Zhuo

text: Huangfu Song

text: Zhu Jun

text: Jinzhou, Hebei

text: Guangzong County

text: Hebei

text: Cao Cao

text: Romance of the Three Kingdoms

text: Yellow Turban Rebellion

text: Huangfu Song

text: Koei

text: Dynasty Warriors

text: Warriors Orochi

text: Capcom

text: Destiny of an Emperor

text: Nintendo Entertainment System

text: Lists of people of the Three Kingdoms

text: Chen, Shou

text: Records of the Three Kingdoms

text: Fan, Ye

text: Book of the Later Han

text: Luo, Guanzhong

text: Romance of the Three Kingdoms

text: Pei, Songzhi

categories: 2nd-century births,Year of birth unknown,Yellow Turbans,184 deaths,Yellow Turban Rebellion

paragraph: Zhang Jue

paragraph: Zhang Jue (; died 184) was the leader of the Yellow Turban Rebellion during the late Eastern Han dynasty of China. He was said to be a follower of Taoism and a sorcerer. His name is sometimes read as Zhang Jiao (), since the Chinese character of Zhang's given name can be read as either "Jiao" or "Jue". "Jue" is the traditional reading, while "Jiao" is the modern one.

paragraph: Section::::Yellow Turban Rebellion.

paragraph: Giving himself the title of "Great Teacher" (大賢良師), Zhang Jue led the Yellow Turban Rebellion with his younger brothers Zhang Bao (張寶) and Zhang Liang (張梁) in a campaign called the "Way of Heaven" or "Way of Peace". He and his brothers gave themselves titles: Zhang Bao was the "General of Land" (地公將軍), Zhang Liang was the "General of the People" (人公將軍); and Zhang Jue was the "General of Heaven" (天公將軍). The Yellow Turbans claimed to be Taoists, and rebelled against the Han dynasty in response to burdensome taxes, rampant corruption, and famine and flooding, which were seen as indications that the Han emperor had lost the mandate of heaven.

paragraph: The Yellow Turbans conquered much in the early years of the rebellion, but later could not hold out against Han imperial forces led by He Jin, Lu Zhi, Dong Zhuo, Huangfu Song, Zhu Jun and others. Although the Yellow Turbans still remained capable even in face of their more powerful foe, they were nonetheless torn apart upon the death of their leader, Zhang Jue, and were eventually defeated and dispersed. Zhang Bao was defeated and killed by imperial forces led by Huangfu Song and Guo Dian (郭典) at Xiaquyang County (下曲陽縣; west of present-day Jinzhou, Hebei), while Zhang Liang also met his end at the hands of imperial forces led by Huangfu Song at Guangzong County (廣宗縣; southeast of present-day Guangzong County, Hebei).

paragraph: Large groups of Yellow Turbans roamed through China for years after the rebellion's defeat, most of them eventually joining the army of the warlord Cao Cao, whose agrarian reform policies closely matched Zhang Jue's own programme.

paragraph: Section::::In "Romance of the Three Kingdoms".

paragraph: Zhang Jue is also featured in the 14th-century historical novel "Romance of the Three Kingdoms". He is introduced in Chapter 1 as follows:

paragraph: Zhang Jue then goes on to start the Yellow Turban Rebellion with his brothers. Little time is devoted to Zhang Jue in the book, and his death is given a line in the second chapter: "Zhang Jue had died before his (Huangfu Song's) arrival." In the novel, Zhang Bao does not die in battle against imperial forces, but meets his end at the hands of a subordinate, Yan Zheng (嚴政), who cuts off his head and surrenders to imperial forces.

paragraph: Section::::In popular culture.

paragraph: Zhang Jue appears as a playable character in Koei's "Dynasty Warriors" and "Warriors Orochi" video games series, as well as serving as an antagonist in Capcom's "Destiny of an Emperor" for the Nintendo Entertainment System. He is referred to as "Zhang Jiao" in these games. He is also seen as one of the antagonists of the light gun shooting game "SEGA Golden Gun".

paragraph: Section::::See also.

paragraph: BULLET::::- Lists of people of the Three Kingdoms

paragraph: Section::::References.

paragraph: BULLET::::- Chen, Shou (3rd century). "Records of the Three Kingdoms" ("Sanguozhi").

paragraph: BULLET::::- Fan, Ye (5th century). "Book of the Later Han" ("Houhanshu").

paragraph: BULLET::::- Luo, Guanzhong (14th century). "Romance of the Three Kingdoms" ("Sanguo Yanyi").

paragraph: BULLET::::- Pei, Songzhi (5th century). "Annotations to Records of the Three Kingdoms" ("Sanguozhi zhu").

description: Yellow Turban leader

wikidata_label: Zhang Jue

wikipedia_title: Zhang Jue


text:
Ferrara
Padua
Umberto Boccioni
Milan
Gaetano Previati
Luigi Conconi
Bergamo
Turin
Castello di Rivoli
Futurist
Venice
First World War
Il Popolo d’Italia
Travedona-Monate
Varese
Adriana Bisi Fabbri
Artgate
Fondazione Cariplo

categories: Italian women painters,20th-century women artists,Italian caricaturists,20th-century Italian painters,1881 births,Ferrarese painters,19th-century Italian painters,1918 deaths,People from Ferrara

paragraph: Adriana Bisi Fabbri

paragraph: Adriana Bisi Fabbri (1881–1918) was an Italian painter.

paragraph: Section::::Biography.

paragraph: Adriana Fabbri was born in Ferrara, where she met her future husband, journalist Giannetto Bisi, and she spent part of her youth in Padua as a guest of Umberto Boccioni’s mother. In Padua, and later in Milan, where she moved with the family in 1905, she produced numerous painting studies and, a self-taught artist, she developed further by frequenting the studios of Gaetano Previati and Luigi Conconi.

paragraph: In 1907, she moved to Bergamo with her husband and the following year she made her debut with two drawings at the 2nd Quadriennale in Turin. In 1911, she participated in "Frigidarium", the international humour exhibition organised at Castello di Rivoli, where she won the bronze medal; in the same year she took part in the 1st Esposizione Libera organised in Milan by Boccioni and other Futurist intellectuals. In later years she participated in other group exhibitions, including those at the Ca’ Pesaro in Venice, the Famiglia Artistica and the Società per le Belle Arti ed Esposizione Permanente in Milan.

paragraph: In 1914, she became a member of the Nuove Tendenze group and organised a solo exhibition of 51 works at the Milan store of the Enrico Finzi company. She was also sought after as a portraitist and, during the First World War, many of her political caricatures were published in "Il Popolo d’Italia"; she also contributed to "La Domenica Illustrata" and created fashion plates for the couture house founded by Domenico Ventura.

paragraph: Adriana Fabbri died in Travedona-Monate (Varese) in 1918.

paragraph: Section::::References.

paragraph: BULLET::::- Laura Casone, Adriana Bisi Fabbri, online catalogue Artgate by Fondazione Cariplo, 2010, CC BY-SA (source for the first revision of this article).

paragraph: BULLET::::- Luigi Sansone (ed) "Adriana Bisi Fabbri, 1881-1918" Mazzotta, 2007,

description: Italian painter

wikidata_label: Adriana Bisi Fabbri

wikipedia_title: Adriana Bisi Fabbri


text:
Dutch Golden Age
Haarlem
Bartholomeus
Jan Miense Molenaer
Haarlem Guild of St. Luke
Jacob van Ruisdael
Nicolaes Molenaer
Artnet

categories: Artists from Haarlem,Dutch male painters,1676 deaths,Dutch Golden Age painters,1630 births

paragraph: Nicolaes Molenaer

paragraph: Nicolaes Molenaer (1630–1676) was a Dutch Golden Age painter.

paragraph: Section::::Biography.

paragraph: Molenaer was born and died in Haarlem. According to the RKD he was the brother of the painters Bartholomeus and Jan Miense Molenaer. He became a member of the Haarlem Guild of St. Luke in 1651 and paid dues yearly until 1676. He was a landscape painter influenced by Jacob van Ruisdael.

paragraph: Section::::References.

paragraph: BULLET::::- Nicolaes Molenaer on Artnet

alias:
Klaes Molenaer
Claes Molenaer
Nicolaes Jansz Molenaer
Klaes Molineer
Klaes Molinaire
Klaes Molinear
Klaes Molinner
Klaes Moleanaer
Klaes Molinaer
Klaes Mullineer
Klaes Molineare
Klaes Molinare
Klaes Molenear
Nicolas Molenaer
Klaes Molinere
Nicolaes Jansz. Molenaar

description: Dutch Golden Age

wikidata_label: Nicolaes Molenaer

wikipedia_title: Nicolaes Molenaer


text:
Finnish
ice hockey
goaltender
HIFK
Liiga
Jokerit
SM-liiga
Edmonton Oilers
2011 NHL Entry Draft
HPK
2014–15
Bakersfield Condors
American Hockey League
Bakersfield Condors
ECHL
Leksands IF

categories: Jokerit players,Edmonton Oilers draft picks,Hokki players,Finnish expatriate ice hockey people,Finnish ice hockey goaltenders,Living people,Vaasan Sport players,Leksands IF players,Sportspeople from Helsinki,Bakersfield Condors (1998–2015) players,Kiekko-Vantaa players,SaiPa players,HPK players,1991 births,Oklahoma City Barons players

paragraph: Frans Tuohimaa

paragraph: Frans Tuohimaa (born 19 August 1991) is a Finnish professional ice hockey goaltender. He is currently playing for HIFK of the Liiga. Tuohimaa was playing with Jokerit in the then Finnish SM-liiga before he was selected by the Edmonton Oilers in the 7th round (182nd overall) of the 2011 NHL Entry Draft.

paragraph: Tuohimaa moved to league rivals HPK before moving to North America in March 2014, signing a two-year entry-level contract with the Edmonton Oilers organization.

paragraph: He played the 2014–15 season within the Oilers affiliates, the Bakersfield Condors of the American Hockey League and the Bakersfield Condors of the ECHL. Unable to make an impact in Oilers depth chart, Tuohimaa opted to return to Europe at seasons end in signing with Swedish HockeyAllsvenskan club, Leksands IF on 18 May 2015.

description: Finnish ice hockey goaltender

wikidata_label: Frans Tuohimaa

wikipedia_title: Frans Tuohimaa


text:
Venetian
Venetian Dalmatia
Morlachia
Venice
Morlachs
gusle
Morlachs
Morlachs
Ivan Lovrić
Romantic
hinterlands
Hasanaginica
Fellow of the Royal Society

categories: Italian male writers,Italian naturalists,19th-century naturalists,1741 births,Fellows of the Royal Society,Venetian period in the history of Croatia,18th-century cartographers,History of Dalmatia,1803 deaths,Republic of Venice writers,People from Padua,18th-century naturalists

paragraph: Alberto Fortis

paragraph: Alberto Fortis (1741–1803), was a Venetian writer, naturalist and cartographer.

paragraph: Section::::Life.

paragraph: Born Giovanni Battista Fortis (his religious name was "Alberto") in Padua on either 9 or 11 of November 1741. He journeyed extensively in Venetian Dalmatia. His best known work is "Viaggio in Dalmazia" ("Travels into Dalmatia"), originally published in 1774 and first published in London in 1778.

paragraph: The highlight of the book is the description of "Morlachia", a term used by Fortis for the rural Dalmatian interior to distinguish it from the coastal towns under the influence of Venice.

paragraph: In his book, Fortis presented his literary discovery "Hasanaginica" as a Morlach (Vlach) ballad. Larry Wolf believed Fortis wrote the ballad as a poetry of South Slavs rather than a poetry of the Morlachs. Fortis believed that the Morlachs preserved their old customs

paragraph: and clothes. Their ethnographic traits were traditional clothings, use of the gusle musical instrument accompanied with epic singing. He also published several specimens of Morlach songs. Morlachs were speaking a language close to Romanian but they were Slavicized and finally many of them Islamized, under Turkish occupation. Fortis noted that Morlachs called themselves "Vlachs".

paragraph: Alberto Fortis's account of the Morlachs, translated into French, English and German brought the Morlachs to the attention of Europe.

paragraph: The Croatian writer Ivan Lovrić, who wrote "Notes on 'Travels in Dalmatia' of Abbe Alberto Fortis", accused Fortis of many factual errors, which he attempted to rectify. "Travels into Dalmatia" played an important role in bringing the Dalmatian culture to the attention of Europe during the rise of Romantic notions about folklore. Dalmatian hinterlands became epitomized by "Hasanaginica", a folk ballad that was first written down by Fortis.

paragraph: In 1795 Fortis was elected Fellow of the Royal Society in London. He died in Bologna eight years later on 21 October 1803.

paragraph: Section::::Works.

paragraph: BULLET::::- "Saggio d'osservazioni sopra l'isola di Cherso ed Osero."

paragraph: BULLET::::- "Travels into Dalmatia; containing general observations on the natural history of that country and the neighbouring islands; the natural productions, arts, manners and customs of the inhabitants: in a series of letters from Abbe Alberto Fortis", first published in London by J. Robson, 1778.

paragraph: BULLET::::- "A poetical sketch of the revolutions that have happened in the natural history of our planet intended as a specimen of a philosophical and theological poem", first published in London by B. White, 1786.

description: Italian writer, naturalist and cartographer

wikidata_label: Alberto Fortis

wikipedia_title: Alberto Fortis


text:
mbira
ngoma
Shona people
Southern Africa
gwenyambira
Shona music
Mozambique
Panjea
Congo
Brazzaville
Harare
Monderek Muchena

categories: Living people,Year of birth missing (living people),American multi-instrumentalists

paragraph: Chris Berry

paragraph: Chris Berry is a master of both "mbira" (thumb piano) and the "ngoma" drum, from the Shona people of Southern Africa. He has earned the title of "gwenyambira" (“one whose music calls the spirits”), a distinction reserved only for those who have achieved the highest fusion of the technical and the magical in Shona music. His record sales have reached platinum album sales in Zimbabwe and Mozambique for his work with the band Panjea.

paragraph: Grammy award winning Chris Berry is an eclectic singer and songwriter, multi-instrumentalist virtuoso, and highly energetic performer and teacher. From his humble beginning during Robert Mugabe's regime in Zimbabwe, he has blasted his powerful Afro-infused sound around the World for over twenty years; rocking audiences from NYC's Irving Plaza to sold out stadiums in South Africa and Sydney, Australia's famous Opera House. He has released over a dozen albums; scored the soundtrack for three films; and has been collaborating and performing with some of the World's best like Eminem, Grateful Dead drummer Bill Kreutzmann, Senegalese Afro-Pop sensation Yousoou N'dour, Cuban Legends Los Munequitos de Mantanzas, Jazz artist Paul Winter, Jamaican rhythm and production duo Sly (Dunbar) and Robbie (Shakespeare), Fugee's producer Handel Tucker and many more.

paragraph: Chris was born and raised in California where he began his apprenticeship with Master Drummer Titos Sompa (one of the founders of the African drum and dance scene on the West Coast of the U.S.) as a fifteen-year-old boy. This relationship led him into a ten-year journey through Africa. After originally arriving in Congo’s Brazzaville, his fascination of Zimbabwean "mbira" music eventually led him to Zimbabwe’s capital city Harare, where he settled and studied under "mbira" master Monderek Muchena for ten years. Eight of these years were spent in Zimbabwe during the Mugabe Regime. During this tumultuous political period, Chris found himself living in the ghettos and villages of Zimbabwe where he sought to study the music of the Shona people, adding to his growing repertoire of Traditional African Music. While studying in Zimbabwe, Berry became one of the first Westerners to be accepted among the elder "mbira" masters as one of their own. He became initiated by the village elders into their heritage and learned to speak their language fluently. Immersed in the culture of all-night Mbira Ceremonies, Chris found his voice singing among the polyrhythmic harmonies commonly found throughout Zimbabwe and most of South Africa. It was soon after that his musical career took off.

paragraph: Encouraged by his teachers to create his own compositions, he formed the band Panjea which fused Funk with elements of Hip-Hop, Afro-Pop and traditional African music. The band quickly had No. 1 hits on the radio, toured all over Africa, and reached Platinum Record Sales on an album they recorded with Zimbabwean-based Gramma Records. As Chris Berry and Panjea's popularity rapidly grew, Chris was warned to leave Zimbabwe due to his lyrical opposition to the oppressing government, and instructed to take his music back to his home land, but it wasn't until four of Panjea's band members succumbed to AIDS that Chris left Zimbabwe.

paragraph: From there, Chris has toured extensively around the globe including North and Central America, Australia, New Zealand, Russia, Asia and Africa as a frontman and bandleader. He performed the 2000 Olympics in Sydney, Australia; co-wrote for Paul Winter's Grammy Award Winning 2009 "Winter Solstice" album; taught music and culture as a guest faculty member at Oberlin and Berklee Colleges of Music, University of Colorado Boulder, Williams College, Stanford University as well as his own Panjea Foundation for Cultural Education; and has headlined in major music festivals around the World.

paragraph: In the last few years Chris has collaborated with Steve Kimock, members of the Brazilian Girls, Baaba Maal, Thomas Mapfumo, Oliver Mutukudzi, Manu Dibango, Xavier Rudd, String Cheese Incident and spent six months working and recording with the Central African Republic Pymies to score the soundtrack for the film "Oka!"

paragraph: Based out of Brooklyn, NY and Hawaii, he is now collaborating with Maverick label Kanaga System Krush with whom he is releasing his newest album, "King Of Me". On this latest project, Chris breaks through to a whole new level expanding the Mbira's tonal range and electrifying the instrument through a special bass and guitar rig; singing and simultaneously playing bass, rhythm and melodies over Ivorian powerhouse, Abou Diarrassouba on drum set. Chris starts his new tour on June 14, 2013!

description: American musician

wikidata_label: Chris Berry

wikipedia_title: Chris Berry


text:
burgomaster
Zürich
Old Zürich War
Glarus
citizen
Old Swiss Confederacy
mayor of Zürich
Rome
Sigismund of Luxembourg
knight
Friedrich VII of Toggenburg
Schwyz
Frederick III, Holy Roman Emperor
Battle of St. Jakob an der Sihl
Sihl
Encyclopædia Britannica: Rudolf Stüssi
Stüssi Surname Page

categories: Mayors of Zürich,1443 deaths,Military personnel killed in action

paragraph: Rudolf Stüssi

paragraph: Rudolf Stüssi (died 22 July 1443) served as burgomaster of Zürich during the mid-fifteenth century. His expansionist ambitions for Zurich caused the Old Zürich War (1440–46).

paragraph: Section::::Biography.

paragraph: Stüssi's father came from Glarus and became a citizen of Zürich in 1375. Stüssi's father was elected to offices in Zürich starting in 1388.

paragraph: Rudolf was elected to city offices from 1414. In 1424, he served as Zürich's envoy in the Old Swiss Confederacy. He served as mayor of Zürich from 1430 until his death.

paragraph: In 1433, he traveled to Rome as a representative of Zürich to attend the coronation of Sigismund of Luxembourg. There he was knighted.

paragraph: He lived in a house later called the "Stüssihofstatt", situated some 100m northeast of the "Rathaus" ().

paragraph: Section::::Career.

paragraph: During his term of office, Stüssi attempted to extend the rule and influence of his city. In 1436, Count Friedrich VII of Toggenburg died, leaving neither heir nor will. The canton of Zürich, led by Stüssi, claimed the Toggenburg lands; the cantons of Schwyz and Glarus made counter-claims, backed by the other cantons. Stüssi allied himself in 1442 with Frederick III, Holy Roman Emperor against the Old Swiss Confederacy.

paragraph: He died at the Battle of St. Jakob an der Sihl, defending the bridge over the Sihl while covering the retreat of the army of Zürich. According to chroniclers, he was killed by a confederate hiding below the bridge. Another version of the story has Stüssi stopping in the middle of the bridge, brandishing his broad battle-axe and shouting, "Halt, citizens, halt!" To this a man of Zurich cried, "May God's lightning blast thee! All this evil comes from thee alone," and ran him through with his lance.

paragraph: Section::::External links.

paragraph: BULLET::::- Encyclopædia Britannica: Rudolf Stüssi

paragraph: BULLET::::- Stüssi Surname Page

description: Swiss politician, - 1443

wikidata_label: Rudolf Stüssi

wikipedia_title: Rudolf Stüssi


text:
violin
violist
conductor
period and original instruments
Dilbeek
Brussels
La Petite Bande
Baroque violin
Royal Conservatory of The Hague
Royal Conservatory of Brussels
Kuijken String Quartet
symphonies
historically informed performance
Barthold Kuijken
flutist
recorder
Wieland Kuijken
cellist
gambist
harpsichordist
Gustav Leonhardt
Katholieke Universiteit Leuven
Belgium
Joshua Rifkin
Andrew Parrott
Accent Records
Official site of La Petite Bande

categories: Royal Conservatory of The Hague faculty,Royal Conservatory of Brussels faculty,Belgian performers of early music,Male conductors (music),Belgian classical violists,Belgian classical violinists,21st-century conductors (music),Bach musicians,21st-century classical violinists,1944 births,Flemish classical musicians,Belgian conductors (music),Male violinists,People from Dilbeek,Bach conductors,Living people,Baroque-violin players

paragraph: Sigiswald Kuijken

paragraph: Sigiswald Kuijken (; born 16 February 1944) is a Belgian violinist, violist, and conductor known for playing on period and original instruments.

paragraph: Section::::Biography.

paragraph: Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972. Since 1971 he has taught Baroque violin at the Royal Conservatory of The Hague and the Royal Conservatory of Brussels. He is noted for using the older technique of resting the violin on the shoulder without a shoulder rest, rather than held under the chin. He is a member of the Kuijken String Quartet, which he formed in 1986. In recent years, he has also performed as conductor of symphonies of the Romantic era.

paragraph: His brothers are also known for historically informed performance: Barthold Kuijken is a flutist and recorder player and Wieland Kuijken, also a member of the Kuijken Quartet, is a cellist and gambist. They have all worked extensively with harpsichordist Gustav Leonhardt.

paragraph: On 2 February 2007 he was awarded the degree of Doctor Honoris Causa by the Catholic University of Leuven (Katholieke Universiteit Leuven, Belgium).

paragraph: Section::::Cantatas of J. S. Bach.

paragraph: Based on the results of research by Joshua Rifkin and Andrew Parrott on the authentic performance of Bach's masses, cantatas and passions, Sigiswald Kuijken limits the vocal part to a solo vocal quartet (which Bach himself sometimes extended to eight singers) instead of a choir. He also reduced the number of instrumentalists performing each cantata. Sigiswald Kuijken adopted this approach in his recording for Accent Records of a 19-part CD series entitled "Cantatas of JS Bach" (being recorded over the period of 2004-2012).

paragraph: Section::::External links.

paragraph: BULLET::::- Official site of La Petite Bande

paragraph: BULLET::::- Sigiswald Kuijken turns sixty https://web.archive.org/web/20110718105745/http://ronnydeschepper.wordpress.com/2009/02/03/sigiswald-kuijken-wordt-zestig/

paragraph: BULLET::::- Sigiswald Kuijken's Bach Project http://www.newolde.com/kuijken_bach_project.htm

paragraph: BULLET::::- Sigiswald Kuijken & La Petite Bande Bach Cantatas & Other Vocal Works http://www.bach-cantatas.com/Performers/Kuijken.htm

description: Belgian musician

wikidata_label: Sigiswald Kuijken

wikipedia_title: Sigiswald Kuijken


text: electric blues

text: Blues Music Award

text: Jimmy Reed

text: West Orange, New Jersey

text: Dave Brubeck

text: World War II

text: Howlin' Wolf

text: Junior Wells

text: James Cotton

text: West Orange High School

text: Colorado

text: Robert Lockwood, Jr.

text: David "Honeyboy" Edwards

text: Jimmy Rogers

text: Austin, Texas

text: Chapel Hill, North Carolina

text: New Orleans

text: independent record label

text: Sanford, Florida

text: Clifton Chenier

text: Cajun

text: Southern soul

text: Chicago

text: Delta blues

text: cover version

text: Ted Hawkins

text: Sonny Landreth

text: Greg "Fingers" Taylor

text: Offbeat

text: Rounder Records

text: Jon Cleary

text: Joe Krown

text: Dr. John

text: Cyril Neville

text: Monk Boudreaux

text: Johnny Vidacovich

text: Anders Osborne

text: George Porter, Jr.

text: Tab Benoit

text: New Orleans Jazz and Heritage Festival

text: Hurricane Katrina

text: clavinet

text: Mike Zito

text: Blues Music Award

text: Voodoo Experience

text: Bradenton Blues Festival

text: Offbeat

text: Monk Boudreaux

text: List of electric blues musicians

text: List of harmonicists

text: Official website

categories: 1957 births,20th-century American singers,American male pianists,20th-century male musicians,21st-century American guitarists,21st-century American pianists,American accordionists,American blues pianists,21st-century accordionists,21st-century American singers,Guitarists from New Jersey,American blues harmonica players,Songwriters from New Jersey,Living people,American male guitarists,People from West Orange, New Jersey,20th-century American guitarists,20th-century American pianists,American blues singers,American blues guitarists

paragraph: Johnny Sansone

paragraph: John "Johnny" Sansone (born September 27, 1957), also known as Jumpin' Johnny Sansone, is an American electric blues singer, songwriter, harmonicist, accordionist, guitarist and piano player. He was nominated for seven music awards in 2012, including a Blues Music Award which he won. To date, he has been involved in the release of twelve original albums.

paragraph: Sansone's major influence was his fellow blues musician and songwriter, Jimmy Reed.

paragraph: Section::::Life and career.

paragraph: Sansone was raised in West Orange, New Jersey, United States. His father had played the saxophone in Dave Brubeck's band during World War II, and by the time he was age 12, his son had learned to play the saxophone, guitar and harmonica and seen Howlin' Wolf in concert. He later studied blues harmonica playing by studying both Junior Wells and James Cotton. Sansone attended West Orange High School. He left New Jersey in 1975 on a swimming scholarship at a college in Colorado. Sansone toured in the 1980s supporting Robert Lockwood, Jr., David "Honeyboy" Edwards and Jimmy Rogers.

paragraph: Sansone moved between Colorado, Austin, Texas, Florida, Chicago, and Chapel Hill, North Carolina, before settling in 1990 in New Orleans, which has been his home base ever since. His original touring band, known as Jumpin' Johnny & the Blues Party, recorded their debut album, "Where Y'at" in 1987, which was released by the independent record label, Kingsnake Records, based in Sanford, Florida. "Mr. Good Thing" (1991) followed, before Sansone got inspired to try his hand at playing the accordion after attending the funeral of Clifton Chenier.

paragraph: By the second half of the 1990s, Sansone had embraced Cajun, Southern soul, Chicago and Delta blues into his style and songwriting. The resultant recording, "Crescent City Moon" (1997), was mainly his own work; although it included a cover version of Ted Hawkins' "Sweet Baby", which featured Sonny Landreth playing slide guitar. The collection included liner notes from Greg "Fingers" Taylor. It received widespread critical approval and several awards, including scooping several "Offbeat" magazine's 'Best of the Beat' accolades. Rounder Records subsidiary label, Bullseye Blues, issued "Waternelon Patch" (1999), which saw guest appearances by Jon Cleary (piano) and Joe Krown (organ).

paragraph: Sansone lost momentum in the early 2000s, although he continued to perform in various musical ensembles, as well as working during the week in construction. He started to play in a trio with Joe Krown and John Fohl. They played traditional blues with Krown on piano, and Fohl and Sansone sharing the vocal duties. This trio Sansone, Krown & Fohl released a self-titled album from Sansone's label ShortStack Records in 2004.

paragraph: In 2005, Sansone joined the Voice of the Wetlands Allstars (which variously incorporated Dr. John, Cyril Neville, Monk Boudreaux, Johnny Vidacovich, Anders Osborne, George Porter, Jr., Waylon Thibodeaux, and Tab Benoit), who were interested in promoting local environmental issues. The band became a regular feature at the New Orleans Jazz and Heritage Festival. Having to vacate his home in the legacy of Hurricane Katrina, Sansone continued to tour and perform with

paragraph: the Voice of the Wetlands Allstars, wherein he befriended Anders Osborne. "Poor Man's Paradise" (2007) was Sansone's first solo album for eight years and was produced by Osborne who also played clavinet and slide guitar on two of the tracks. Joe Krown also contributed on the electric organ. In 2009, Sansone played the accordion on Mike Zito's album, "Pearl River".

paragraph: By then playing in another acoustic trio setting, this time with Osborne and Fohl, Sansone was inspired to write the track, "The Lord Is Waiting and The Devil Is Too". It turned in to the title track of his 2011 album, and won the 'Song of the Year' title at the 2012 Blues Music Awards. It provided a release from the stresses of a marital break-up, and the record's producer Osborn pushed Sansone's music towards a more commercial, rock influenced, direction. In October 2012, Sansone performed at the Voodoo Experience in New Orleans, and in December that year, Sansone appeared at the inaugural Bradenton Blues Festival.

paragraph: After a couple of live album releases, Sansone's next studio based creation was "Once It Gets Started" (2013). Sansone then gave "one of the best individual performances of the 2014 New Orleans Jazz & Heritage Festival," according to Offbeat" magazine.

paragraph: His latest issue, "Lady on the Levee" (2015), was another Osborne production and included a guest appearance from Monk Boudreaux.

paragraph: Section::::See also.

paragraph: BULLET::::- List of electric blues musicians

paragraph: BULLET::::- List of harmonicists

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

paragraph: BULLET::::- Harmonica Man Johnny Sansone Returns To Jazz Fest (2014 article)

wikidata_label: Johnny Sansone

wikipedia_title: Johnny Sansone