text:
Bulgaria
Peter II
Byzantine theme
Paristrion
Vlachs
Isaac II Angelos
Thrace
Balkan Mountains
Byzantine Empire
Cuman
Tarnovo
Struma river
boyar
Ivanko
Theodor
Balkan Mountains
Synodikon of Tzar Boril
Ivan of Rila
Turkic
ethnic background
Vlachs
Cumans
etymology
Pecheneg
Byzantine theme
Paristrion
Robert of Clari
Latin Empire of Constantinople
Kaloyan
pastoralist
Byzantine Emperor
Isaac II Angelos
Thrace
İpsala
invaded the Byzantine Empire
Niketas Choniates
pronoia
John Doukas
Margaret of Hungary
sack of Thessaloniki by the Normans
Demetrius of Thessaloniki
Bulgaria
demoniacs
First Bulgarian Empire
Preslav
Thrace
solar eclipse of 21 April 1186
Lower Danube
Cumans
Byzantine Empire
First Bulgarian Empire
basileus
George Akropolites
Lovech
Helen
Kaloyan
Holy Roman Emperor
Frederick Barbarossa
Balkan Peninsula
Dobruja
was ambushed and defeated
Pomorie
Edirne
Constantine Angelos Doukas
Tarnovo
Alexios Gidos
Basil Vatatzes
Battle of Arcadiopolis
Plovdiv
Alexios
Alexios Aspietes
Struma
defeated them near Serres
boyar
Ivanko
Ivan Asen
sebastokrator
Asen Peak
Oxford University Press
Wayne State University Press
Columbia University Press
Ashgate Publishing

categories: Bulgarian people of the Byzantine–Bulgarian Wars,12th-century Bulgarian emperors,Asen dynasty,Murdered Bulgarian monarchs,12th-century murdered monarchs,Deaths by stabbing in Bulgaria,Eastern Orthodox monarchs,1196 deaths,13th-century births

paragraph: Ivan Asen I of Bulgaria

paragraph: Ivan Asen I, also known as Asen I or John Asen I () was emperor (or tsar) of Bulgaria from 1187 or 1188 to 1196 as the co-ruler with his elder brother, Peter II. He was the son of a wealthy shepherd from the mountains of the Byzantine theme (district) of Paristrion. All contemporaneous chronicles describe Asen I and his brothers as Vlachs.

paragraph: Asen and Peter (who was still known as Theodor at that time) went to see the Byzantine Emperor, Isaac II Angelos, in Thrace in 1185, to demand an estate in the Balkan Mountains. After the emperor had refused them, the brothers persuaded their compatriots to rise up against the Byzantine Empire. Peter was crowned emperor before the end of the year. After Isaac II defeated them in early 1186, Asen and Peter fled over the Danube, but they returned in the autumn, accompanied by Cuman reinforcements. They captured Paristrion and began pillaging the nearby Byzantine territories.

paragraph: Asen became his brother's co-ruler in 1187 or 1188. Peter made a peace with the Byzantines, but Asen continued the fight. They divided their realm, with Asen receiving Tarnovo and its region. Asen made a series of raids against Byzantine territories and expanded his rule over the lands along the Struma river in the early 1190s. A boyar (aristocrat), Ivanko, stabbed him in 1196.

paragraph: Section::::Early life.

paragraph: The careers of Asen and his brother, Theodor, suggest they were descended from a prominent family, according to historian Alicia Simpson. Historian Alexandru Madgearu says their father was most probably a wealthy man who owned herds in the Balkan Mountains. Asen's birth date is unknown.

paragraph: The "Synodikon of Tzar Boril" calls him "Ioan Asen Belgun". One of the "Lives" of Ivan of Rila confirms that Ivan (or Ioan) was his baptismal name. His other two names are of Turkic origin: Asen came from a Turkic word meaning "sound, safe, healthy", Belgun from a word for "wise". The ethnic background of Asen and his brothers is still a source of controversy among historians. Chronicles written in the late 12th and early 13th centuries unanimously described them as Vlachs. Their close relationship with the Cumans, and the Turkic etymology of Asan's names, implies they were of Cuman or Pecheneg stock. According to a scholarly theory, the multiethnic character of their homeland, the Byzantine theme (or district) of Paristrion, makes it probable that Vlachs, Bulgarians and Cumans were among their ancestors.

paragraph: Robert of Clari, author of a chronicle of the early history of the Latin Empire of Constantinople, stated that Asen (whom Clari confused with his younger brother, Kaloyan) had "once [been] a sergeant of the emperor, having charge of one of the emperor's horse farms". He noted that Asen was obliged to send sixty to one hundred horses to the imperial army at the emperor's order. According to Simpson, Clari's report may only show that Asen was not a landowner, but a pastoralist.

paragraph: In the autumn of 1185, the Byzantine Emperor Isaac II Angelos encamped at Kypsela in Thrace (now İpsala in Turkey) during his campaign against the Normans of Sicily, who had invaded the Byzantine Empire. Theodor and Asen came to the camp to meet with the emperor. Byzantine historian Niketas Choniates suggests they came only to provide grounds for their uprising. Clari says, Asen, as the manager of an imperial horse farm, was to come to the imperial court "once a year".

paragraph: Theodor and Asen requested a grant from the emperor, but its nature is uncertain. The words of Choniates, who recorded the events, suggest they applied for a "pronoia" (revenues of an imperial estate). On the other hand, a "pronoia" of little value was seldom granted personally by the monarch. This implies the brothers demanded something more, such as the governorship of a district, or the administration of a semi-independent territory, according to modern scholarly theories. The emperor rebuffed the brothers' request, but they dared to argue with his decision. Asen, whom Choniates characterized as the "more insolent and savage of the two", was especially impertinent and was "struck across the face and rebuked for impudence" at the command of Isaac II's uncle, John Doukas. However, they were not detained and could leave the emperor's camp.

paragraph: Section::::Uprising.

paragraph: Section::::Uprising.:Beginnings.

paragraph: A special tax, levied to finance the emperor's marriage to Margaret of Hungary had brought the Bulgarian and Vlach population to the edge of an uprising before the public humiliation of Asen and his brother at the imperial camp. In spite of the general discontent, the brothers were initially unable to stir up a rebellion, because their compatriots did not believe they had any chance against the imperial troops. Theodor and Asen took advantage of the sack of Thessaloniki by the Normans, during which icons of Demetrius of Thessaloniki, the patron saint of the town, were taken to Bulgaria. They built a "house of prayer" and summoned Bulgarian and Vlach shamans to the site. The brothers instructed these "demoniacs", as Choniates called them, to declare before the mob that God "had consented to their freedom" and Saint Demetrius would "come over to them" from Thessaloniki "to be their helper and assistant" against the Byzantines.

paragraph: Theodor was crowned and assumed the name Peter, thus adopting the name of a 10th-century tzar (or emperor) of Bulgaria. The coronation and Theodor's new name are evidence the brothers wanted to demonstrate from the beginning they had established a state which was the political successor of the First Bulgarian Empire. They laid siege to Preslav, the old capital of the Bulgarian Empire but could not capture it. During the first months of 1186, the brothers made plundering raids against Thrace, seizing captives and cattle. Isaac II led a counter-offensive against the rebels in person, but they resisted the invaders hiding in "inaccessible places" in the mountains. It was only the solar eclipse of 21 April 1186 that enabled the imperial troops to mount an unexpected attack and defeat the rioters. Peter and Asen fled from their homeland and crossed the Lower Danube, seeking military assistance from the Cumans.

paragraph: Isaac II thought his victory was decisive and returned to Constantinople without securing the defense of Paristrion. However, Peter and Asen made an alliance with some Cuman chieftains who helped them to return to the Byzantine Empire in the autumn. Choniates wrote contradictory reports about the negotiations between the brothers and the Cumans. In a formal speech, he attributed the alliance to Peter's efforts; in his chronicle, he emphasized Asen's role. Shortly after their return, the brothers took control of Paristrion and launched a plundering expedition against Thrace. Asen's military tactics—the application of sudden raids and quick withdrawals—prevented the imperial troops from making successful counter-attacks. Choniates emphasized the brothers were not simply content to seize Mysia (or Paristrion) but had decided to "unite the political power of Mysia and Bulgaria into one empire as of old", referring to their attempt to restore the First Bulgarian Empire.

paragraph: Section::::Uprising.:Co-ruler.

paragraph: Seals bearing the inscription Ivan ""basileus"" (or emperor) of the Bulgarians were found in Constantinople and other places. According to George Akropolites, "Asen ruled over the Bulgarian race as emperor for nine years" before he died in 1196. This suggests Asen became his brother's co-ruler in 1187 or 1188. The Byzantines launched a series of unsuccessful campaigns against the rebellious Bulgarians and Vlachs, but they could not prevent Peter and Asen from securing their rule in Paristrion. Isaac II personally led his troops against the brothers' realm and laid siege to Lovech in the spring of 1188. Although he could not occupy the fortress, the Byzantines captured Asen's wife, Helen, and his younger brother, Kaloyan. He was held hostage in Constantinople for years.

paragraph: The arrival of the crusader army of the Holy Roman Emperor, Frederick Barbarossa, in the Balkan Peninsula in July 1189 enabled Peter and Asen to occupy new territories of the Byzantine Empires. One of the chronicles of Barbarossa's crusade, "The History of the Expedition of the Emperor Frederick", explicitly mentions that they seized "the region where the Danube flows into the sea" (present-day Dobruja) and parts of Thrace. When writing of the negotiations between Barbarossa and the brothers' envoys during the march of the crusaders across the Balkans, primary sources mention only Peter, suggesting he was regarded as the senior ruler of Bulgaria. The crusaders left the Balkans for Asia Minor in March 1190.

paragraph: Shortly after the crusaders' departure, Isaac II Angelos moved into the lands under the rule of Peter and Asen. However, he could not defeat the Vlachs and Bulgarians who avoided a pitched battle, forcing the emperor to start to retreat. The imperial army was ambushed and defeated at a mountain pass. The victorious Vlachs and Bulgarians, along with their Cuman allies, launched new raids against Thrace, pillaging Anchialos (now Pomorie in Bulgaria) and other towns. Isaac II defeated the Cumans near Adrianople (now Edirne in Turkey) in April 1191. Thereafter his cousin, Constantine Angelos Doukas, routed Peter and Asen's troops in a series of battles.

paragraph: A eulogy delivered in praise of Isaac II in 1193 referred to Asen as a "reckless and obdurate rebel", surrounded by "imperial traps", while describing Peter as a "stumbling block" and an "adverse wind" to his brother. The speech shows, Byzantine intrigues stirred up a conflict between the brothers in 1192. Madgearu says, Peter was allegedly willing to make peace with the Byzantines, but Asen wanted to continue the war. Akropolites knew that Peter moved from Tarnovo to Preslav at an unspecified date, a region known as "Peter's land" even in the 13th century. Historians Madgearu and Paul Stephenson agree, the sources provide evidence the brothers divided their realm around 1192, with Asen retaining Tarnovo and its region.

paragraph: After Constantine Angelos Doukas was blinded during the rebellion against Isaac II, the Vlachs and the Bulgarians resumed their attacks against the Byzantine Empire. The emperor dispatched Alexios Gidos and Basil Vatatzes to wage war against the invaders, but their united armies were almost annihilated in the Battle of Arcadiopolis. Peter and Asen conquered new territories in Thrace, including Plovdiv.

paragraph: Isaac II decided to launch a new campaign to recover Thrace himself. However, while he was mustering his troops at Kypsela, his brother, Alexios, captured and blinded him on 8 April 1195. Alexios III sent envoys to Peter and Asen, proposing to make peace with them. The brothers refused the new emperor's proposal. Asen moved into Byzantine territory and defeated Alexios Aspietes. He captured the Byzantine fortresses along the river Struma leaving Vlach and Bulgarian troops to garrison them.

paragraph: A new Byzantine army, under the command of the emperor's son-in-law, Isaac Komnenos, launched a counter-invasion. However, Asen's Vlach, Bulgarian and Cuman troops surrounded the invaders and defeated them near Serres. Komnenos was captured by a Cuman warrior who secretly tried to hold him to ask for a huge ransom from the emperor. Asen was informed of this, however, and ordered the Cuman to hand over his captive.

paragraph: Section::::Uprising.:Death.

paragraph: A boyar Ivanko stabbed Asen in 1196, but the motive for this act is uncertain. Choniates, who narrated the events, recorded two versions. According to one account, the captive Isaac Komnenos persuaded Ivanko to kill the tsar, promising to give his daughter in marriage to him. The second version claims, Ivanko had "clandestine sexual relations with the sister of Asen's wife", but their affair was revealed to Asen. He decided to have his sister-in-law executed for the illicit love affair which insulted his family, but his wife persuaded him to punish Ivanko instead of her sister. Asen ordered Ivanko to come to his tent late at night. Ivanko had been informed about the tsar's decision, however, and came with a sword hidden under his garments. He killed Asen during the meeting.

paragraph: Choniates stated, Ivanko wanted to rule "more justly and equitably" than Asan who had "governed everything by the sword". Stephenson concludes, Choniates' words show that Asen had introduced a "reign of terror", intimidating his subjects with the assistance of Cuman mercenaries. Vásáry, however, says the Byzantines encouraged Ivanko to kill Asen. Ivanko attempted to assume control in Tarnovo with Byzantine support, but Peter forced him to flee to the Byzantine Empire. Peter charged Kaloyan with the governing of Asen's realm.

paragraph: Section::::Family.

paragraph: Asen fathered at least two sons, Ivan Asen and Alexander. Ivan Asen, who was born around 1193, became the emperor of Bulgaria in 1218. His younger brother, Alexander, bore the title "sebastokrator" during Ivan Asen II's reign.

paragraph: Section::::See also.

paragraph: BULLET::::- Asen Peak

paragraph: Section::::Sources.

paragraph: Section::::Sources.:Primary sources.

paragraph: BULLET::::- George Akropolites: "The History" (Translated with and Introduction and Commentary by Ruth Macrides) (2007). Oxford University Press. .

paragraph: BULLET::::- "O City of Byzantium, Annals of Niketas Choniatēs" (Translated by Harry J. Magoulias) (1984). Wayne State University Press. .

paragraph: BULLET::::- "The Conquest of Constantinople: Robert of Clari" (Translated with introduction and notes by Edgar Holmes McNeal) (1996). Columbia University Press. .

paragraph: BULLET::::- "The History of the Expedition of the Emperor Frederick". In "The Crusade of Frederick Barbarossa: The History of the Expedition of the Emperor Frederick and Related Texts" (Translated by G. A. Loud) (2013). Ashgate Publishing. pp. 33–134. .

description: Bulgarian emperor

wikidata_label: Ivan Asen I of Bulgaria

wikipedia_title: Ivan Asen I of Bulgaria


text:
Paris
reggae
Savigny-sur-Orge
Colombes
Sham 69
Skrewdriver
squat
reggae
Nièvre
Barclay
Jamaica
Victoires de la Musique
cannabis
tobacco
ecstasy
cocaine
pneumothorax
New Caledonia
Canary Islands
Cape Verde
Martinique
Elephant Man
Universal Music
Pierpoljak
Jamaican Ride
Kingston Karma
Je fais c'que j'veux
Stim turban
Je blesserai personne
Tuff Gong Blues
Légendaire Sérénade
The Best OF Pierpoljak
Général Indigo
Chapeau de Paille
Official website

categories: French reggae singers,1964 births,People from Paris,French singers,Reggae singers

paragraph: Pierpoljak

paragraph: Pierpoljak (born Pierre-Mathieu Vilmet on September 7, 1964 in Paris), is a French reggae and pop singer.

paragraph: Section::::Biography.

paragraph: Pierre Vilmet was born in Paris and grew up in the Parisian suburb, first in Savigny-sur-Orge and then in Colombes. At the end of the 1970s, he played drums within the punk group "Samu 92", where he was nicknamed "Pierrot le Fou".

paragraph: In 1978, he went to London to meet his favorite groups, as Sham 69 or Skrewdriver; there, he lived in a squat, where he discovered reggae. In 1995, after several prison stretches, then based in the Nièvre department, Pierre decided to record his first solo album at home. The Barclay record label noticed him and produced his first album, entitled "Pierpoljak".

paragraph: One year later, in the Barclay permises, Clive Hunt offered him a stay in Jamaica so as to record a remix of the song "La Music", released on his first album. Pierre's second album, entitled "Jamaican Rides", was released in 1996.

paragraph: Pierre, nicknamed Pékah at the time, took again the road for the studios at the beginning of 1997, so as to record his third opus, "Kingston Karma". This album was a success and sold more than 350 000 copies.

paragraph: His fourth solo album, "Je fais c'que j'veux", was released in 2000 and was awarded with a double-gold. He won Victoires de la Musique in 2001 thanks to his song "Maman".

paragraph: During his concerts, many incidents due to the singer's and the musicians' violence were reported.

paragraph: Section::::Biography.:The fall.

paragraph: In 2001, Pierpoljak fell ill. Following an intensive consumption of different substances such as cannabis, tobacco, ecstasy or cocaine, a first pneumothorax appeared in his left-hand lung. After a stay at the hospital, he went to New Caledonia for a festival. Soon after his arrival, he was arrested by the local police for having aggressed a stewardess during the flight. During his return to France, he contracted a new pneumothorax. In total, he performed four stays at the hospital and underwent two operations.

paragraph: Then, he decided to leave for the Canary Islands and Cape Verde aboard his sailboat, before crossing the Atlantic Ocean to reach Martinique. This trip lasted near three years.

paragraph: Section::::Biography.:Comeback.

paragraph: Back to France, Pierpoljak began to compose his fifth solo album, "Stim urban", which was released during the 2003 summer. In March 2006, his sixth solo album, "Je blesserai personne", was released; during the composition of this album, Pierpoljak was helped by the Jamaican musician Elephant Man.

paragraph: The next year, he released (under the pseudonym Pékah) "Tuff Gong Blues", an album recorded in 2000, simultaneously with "Je fais c'que j'veux". This album was composed by the Jamaican singer Doniki and his musicians. Soon after its released, "Tuff Gong Blues" was forbidden due to copyright issues with the lyricist and the musicians of the album, but also because of publication right issues with the Barclay record label.

paragraph: Pierpoljak's eighth solo album, "Légendaire Sérénade", was released at the beginning of 2010. The next year, in September 2011, a best-of of Pierpoljak's works was released by Universal Music.

paragraph: Pierpoljak released the album, entitled "Général Indigo", on March 2, 2015, followed by "Chapeau de Paille" in 2017.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Albums.

paragraph: BULLET::::- 1 - "Pierpoljak" (1995)

paragraph: BULLET::::- 2 - "Jamaican Ride" (1996)

paragraph: BULLET::::- 3 - "Kingston Karma" (1998)

paragraph: BULLET::::- 4 - "Je fais c'que j'veux" (2001)

paragraph: BULLET::::- 5 - "Stim turban" (2003)

paragraph: BULLET::::- 6 - "Je blesserai personne" (2006)

paragraph: BULLET::::- 7 - "Tuff Gong Blues" (2007)

paragraph: BULLET::::- 8 - "Légendaire Sérénade" (2010)

paragraph: BULLET::::- 9 - "The Best OF Pierpoljak" (2011)

paragraph: BULLET::::- 10 - "Général Indigo" (2015)

paragraph: BULLET::::- 11 - "Chapeau de Paille" (2017)

paragraph: Section::::Discography.:Singles.

paragraph: BULLET::::- "La music " (1996)

paragraph: BULLET::::- "Je sais pas jouer" (1997)

paragraph: BULLET::::- "Pierpoljak" (1998)

paragraph: BULLET::::- "Dépareillé" (2001)

paragraph: BULLET::::- "Maman" (2001)

paragraph: BULLET::::- "Un monde fabuleux" (2003)

paragraph: BULLET::::- "Allez les filles" (2003)

paragraph: BULLET::::- "Scandal bag" (2006)

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

description: French musician

wikidata_label: Pierpoljak

wikipedia_title: Pierpoljak


text:
Saud bin Faisal bin Turki
Writer
nom de plume
Brigadier General
Ministry of Interior
president
United Kingdom
Ireland
King Abdulaziz University
University of London
Westminster University
King Fahd Security College
King Fahd Security College
officer
detective
Riyadh
Provincial Police
Intelligence
special operations
General Directorate of Public Security
Makkah
Awareness
Police
Headquarter
Public Relations
Media
Mosque
Special Forces
at the Hajj and Umrah Special Forces
Al Madinah Region
Saudi Arabia
King Fahd
King Faisal
anti-terrorism
thunderbolt
parachute
sniping
combat diving
explosives
workshop
research
strategy
Okaz
Brunel University
President
Journalists
scientific
committee
School of Oriental and African Studies
columnist
Communication
Magazine
King’s College London
Aljazira Newspaper
Arab News
newspaper
short story
TV program
traffic accidents
freelance journalist
Nabati
Experiences
Security
Cultural
lecture
Stereotyping
Oriental
Representations
Hail Province
seminar
Society
Security
King Fahd Security College
Police
Journalism
Tacit Knowledge
Safeguarding
Security
seminar
Social Networks
Security
Proceedings
Image
Saudi Arabia
Newspaper
September 11th
scientific review
Internet
Egypt
futuristic

categories: Saudi Arabian journalists,Saudi Arabian princes,Living people,Saudi Arabian military personnel

paragraph: Bader bin Saud bin Mohammed Al Saud

paragraph: Bader bin Saud bin Mohammed bin Abdulaziz bin Saud bin Faisal bin Turki Al Saud (born 27 November 1969), is a Saudi Public Affairs Writer under the nom de plume Bader bin Saud, Paratrooper Brigadier General of the Saudi Arabian Ministry of Interior, and previously president of the Saudi Students Clubs in the United Kingdom and Ireland.

paragraph: He is now working at the Saudi Arabian Ministry of Interior. His father is Prince Saud bin Mohammed Al Saud, and his mother Princess Alanoud bint Abdullah bin Abdulmohsen Alfirm. Two of his siblings are known poets, Prince Saad Al Saud, known as “Munadi,” (the caller). The other is Prince Abdulaziz bin Saud Al Saud, known as “Alsamir”, (the one who stays up all night) Prince Bader has seven children - Prince Faisal, Prince Khalid, Prince Saud, Prince Fahad, Prince Mohammed, Princess Reem and Princess Aljohara.

paragraph: Section::::Educational qualifications.

paragraph: BULLET::::- From (2014) until present, he has been a PhD candidate in Information Sciences, at the Faculty of Arts and Humanities at King Abdulaziz University

paragraph: BULLET::::- From (2008-2014), PhD in Media and Communication from Goldsmiths, University of London

paragraph: BULLET::::- From (2003-2004), MA in International Journalism, Westminster University

paragraph: BULLET::::- From (1994-1995), Postgraduate Diploma in Police Sciences, from King Fahd Security College

paragraph: BULLET::::- From (1989-1992), he earned his bachelor's degree in Security Sciences, from King Fahd Security College

paragraph: Section::::Work experience.

paragraph: After his graduation he worked as an officer, detective, and search officer at Riyadh Provincial Police (Alsulaimania and Alolaya Police Station). He moved afterwards to General Intelligence to work there as an officer for the special operations. He then got back to the General Directorate of Public Security and worked as a detective at Makkah Province Police at both (Jeddah Governate Police – Alsalamah Police Station). He then became director at the Awareness Division under the Relations and Advise department at the Makkah Province Police Headquarter. Then, he was promoted to Director of the Public Relations and Media department at the Makkah Province Police Headquarter. Afterwards, he moved to the Holy Mosque’s security Special Forces to work there as the director for the internal patrol section, the director for the yard's patrol, the director for the patrol's division, then, he was appointed as the director for the operations' division at the Hajj and Umrah Special Forces, as well as the Deputy Commander of the Public Security Training City in Al Madinah Region, Saudi Arabia, and he is now working at the Saudi Arabian Ministry of Interior. When he was a Lieutenant, the late Custodian of the Two Holy Mosques King Fahd awarded him (Late King Faisal’s Merit from the fourth rank) for his distinction at work. He also received special fieldwork training at the intelligence, anti-terrorism, thunderbolt, parachute, sniping, combat diving, and explosives divisions.

paragraph: Section::::Activities.

paragraph: BULLET::::- In (April, 2019), coordinating, co-managing and co- presenting the workshop on developing the Saudi Ministry of Interior's research strategy.

paragraph: BULLET::::- From (2006-2015), columnist at the Saudi Daily Newspaper Okaz.

paragraph: BULLET::::- In (October, 2012), President of the Organizing Committees at the 6th International Saudi Scientific Conference, held at Brunel University, London

paragraph: BULLET::::- From (2011-2012), President of the Saudi Students Clubs in the United Kingdom and Ireland for its 31st cycle, London, UK

paragraph: BULLET::::- From (Jan, 2010- Jan, 2012), President for the Saudi Journalists Club in the UK for its 1st and 2nd cycle

paragraph: BULLET::::- From (2008-2011), member at the Media, Communication and Cultural Studies Association (MeCCSA)

paragraph: BULLET::::- In (October 2011), member at the organising committee and scientific committee for the Arab Media Students Forum, at the School of Oriental and African Studies (SOAS)

paragraph: BULLET::::- From (2006-2009), columnist at the Media and Communication Magazine

paragraph: BULLET::::- In (April, 2009), coordinator at the 3rd forum for the Postgraduate Students in Media and Communication Department, King’s College London

paragraph: BULLET::::- From (2000-2004), published articles in various Saudi publications such as Aljazira Newspaper, Almadinah Newspaper, Alsharq Alawsat Newspaper, Arab News newspaper, Albilad, Elaf Online, and Fawasil Magazine

paragraph: BULLET::::- In (2011), published short story in the Wednesday's edition for Almadinah Daily Newspaper titled, “Dying's first experience"

paragraph: BULLET::::- In (1999), presented a TV program about traffic accidents during the Gulf Traffic Week

paragraph: BULLET::::- From (1992-2000), worked as a freelance journalist at Aljazira Newspaper

paragraph: BULLET::::- From (1984-1990), wrote and published Nabati Poetry

paragraph: Section::::Media and scientific participations.

paragraph: BULLET::::- In (May, 2018), presented a journal article about, “ Previous Experiences and their Role in Enhancing Security Measures in Security Facilities” at the 8th specialized seminar at the King Fahd Security College.

paragraph: BULLET::::- In (April, 2016), presented a journal article about, “The Writer and the National Major Events", at the 2nd Saudi Writers Forum at the Cultural Club in the Eastern Province.

paragraph: BULLET::::- In (September, 2011), presented journal article about, “The Writer and the Cultural Responsibility,” at the 1st Saudi Writers Forum at the Cultural Club in the Eastern Province.

paragraph: BULLET::::- In (December, 2010), presented a lecture entitled: "Stereotyping Oriental Woman: a Case Study of Representations and Challenges", at the Cultural Club in the Hail Province.

paragraph: BULLET::::- In (April, 1999), he participated in a seminar about Society and Security at the King Fahd Security College with a journal article about, “the Relationship between the Police and Journalism.

paragraph: Section::::Published papers.

paragraph: BULLET::::- In (March, 2019), copublished a scientific article titled, “Tacit Knowledge and its Role in Enhancing Safeguarding Measures in Security Facilities".

paragraph: BULLET::::- In (March, 2015), published scientific article for the Society and Security seminar at the King Fahd Security College titled, “Social Networks Approaches to Handle the Holy Mosque's Security Proceedings".

paragraph: BULLET::::- In (November, 2009), published scientific article in English about, “The Image of the Kingdom of Saudi Arabia in the Sunday's Newspaper after September 11th".

paragraph: BULLET::::- In (November, 2008), produced a scientific review in English for the book, “The Internet in Egypt and the Arab World: a scientific study with a futuristic vision”, by Dr Rasha Abdullah.

paragraph: Section::::External links.

paragraph: BULLET::::- https://web.archive.org/web/20150423132616/http://www.mnadi.com/

paragraph: BULLET::::- https://web.archive.org/web/20160304191451/http://www.okaz.com.sa/new/issues/20110107/Con20110107393278.htm

paragraph: BULLET::::- http://www.alyaum.com/article/3028779

paragraph: BULLET::::- http://www.arabnews.com/node/231370

paragraph: BULLET::::- http://www.kfsc.edu.sa/News/Pages/news20100330458950001.aspx

paragraph: BULLET::::- https://web.archive.org/web/20171208070800/https://www.intellectbooks.co.uk/journals/view-Contributor,a=A/view-Contact-Page,id=18396/

description: Saudi Arabian journalist

wikidata_label: Bader bin Saud bin Mohammed Al Saud

wikipedia_title: Bader bin Saud bin Mohammed Al Saud


text:
Romania
Jewish
Bucharest
Bucharest University
Cotidianul
Ziua
Gândirea
Sburătorul
communist regime
socialist realist style
Heinrich Heine
Edmond Haraucourt
Hanns Heinz Ewers
Ion Antonescu

categories: Romanian Jews,20th-century Romanian poets,Romanian military doctors,Romanian diarists,1893 births,University of Bucharest alumni,Jewish Romanian writers banned by the Antonescu regime,1956 deaths,Romanian anthologists,Romanian military personnel of World War I,Jewish novelists,People from Bucharest,Romanian male poets,20th-century Romanian novelists,20th-century translators,Romanian translators,Socialist realism writers,Romanian children's writers,20th-century Romanian physicians

paragraph: Emil Dorian

paragraph: Emil Dorian (born Emil Lustig; February 16, 1893–1956) was a Romanian poet and prose writer, as well as a physician.

paragraph: Born into a Jewish family in Bucharest, his parents were Herman Lustig and his wife Ernestina ("née" Picher). He attended high school in his native city, followed by the medical faculty of Bucharest University. Although, as a Jew, he was not yet a Romanian citizen, he was sent to the front in World War I as a physician. After the war, he spent two years in France for medical specialization. He then worked as a doctor in Bucharest, and was also active within the Jewish community, for instance editing the 1946 "Raportul general asupra situației comunității". A significant part of his journalistic work is signed with the pen names Dr. Knox, Dr. Otorin, Dr. M. Prunk and Dr. Urzică; publications in which he appeared include "Cotidianul", "Ziua", "Adevărul literar și artistic", "Adam", "Gândirea", "Năzuința", "Omul liber", "Puntea de fildeș", "Sburătorul" and "Șantier".

paragraph: His first verses, signed Castor și Pollux, appeared in "Noua Revistă Română" in 1912; his first book was the poetry collection "Cântece pentru Lelioara" (1923), followed by "În pragul serii" (1924). The poems in his "Primăvară nouă" (1948) and "Steagurile inimii" (1949), written early in the communist regime, are in socialist realist style; he subsequently wrote one other poetry book, for children "Bună dimineața" (1953). His novels dealt with social problems drawn from the local Jewish environment: "Profeți și paiațe" (1931), "Vagabonzii" (1935) and "Otrava" (1947). He also wrote books that popularized and vulgarized medicine: "Misterele și tehnica sexualității", 1932; "Adevărurile sexualității", 1932; "Femei și doctori", 1932. He put together a collection of texts on the history of medicine ("Din trecutul nostru științific", 1955) and wrote a social observation novel set in the insect world ("Memoriile greierului", 1937). Authors he translated include Heinrich Heine, Edmond Haraucourt and Hanns Heinz Ewers. He kept a diary from 1937 onwards, recounting both his struggles as a writer and the increase in far-right activity around him. The World War II-era Ion Antonescu regime officially banned his entire work as "Jewish". He developed an interest in Yiddish poetry in the mid-1930s, translating and collecting over 400 poems; these were ready for publication in 1944 but were not published until 1996.

description: Romanian diarist (1893-1956)

wikidata_label: Emil Dorian

wikipedia_title: Emil Dorian


text: Fujiwara no Kintō

text: Emperor Murakami

text: imperial anthologies

text: Fujiwara no Teika

text: Ogura Hyakunin Isshu

text: List of Fujiwara no Sadayori's poems

text: Fujiwara no Sadayori

text: Kotobank

categories: 11th-century Japanese poets,11th century in Japan

paragraph: Fujiwara no Sadayori

paragraph: Section::::Biography.

paragraph: He was the eldest son of Fujiwara no Kintō and, on his mother's side, a grandson of Emperor Murakami.

paragraph: He served director for military affairs before becoming middle councilor. He was well known as both a poet and a calligrapher.

paragraph: Section::::Poetry.

paragraph: Forty-five of his poems were included in imperial anthologies, and he was listed as one of the .

paragraph: The following poem by him was included as No. 64 in Fujiwara no Teika's "Ogura Hyakunin Isshu":

paragraph: Section::::Bibliography.

paragraph: BULLET::::- McMillan, Peter. 2010 (1st ed. 2008). "One Hundred Poets, One Poem Each". New York: Columbia University Press.

paragraph: BULLET::::- Suzuki Hideo, Yamaguchi Shin'ichi, Yoda Yasushi. 2009 (1st ed. 1997). "Genshoku: Ogura Hyakunin Isshu". Tokyo: Bun'eidō.

paragraph: Section::::External links.

paragraph: BULLET::::- List of Fujiwara no Sadayori's poems in the International Research Center for Japanese Studies's online "waka" database.

paragraph: BULLET::::- Fujiwara no Sadayori on Kotobank.

description: Japanese waka poet

wikidata_label: Fujiwara no Sadayori

wikipedia_title: Fujiwara no Sadayori


text: waka

text: Heian period

text: Ogura Hyakunin Isshu

text: private collection

text: Sagami-shū

text: Minamoto no Yorimitsu

text: Chokusen Sakusha Burui

text: Kin'yōshū

text: renga

text: Noto

text: Sagami Province

text: Emperor Ichijō

text: imperial anthologies

text: Goshūi Wakashū

text: Fujiwara no Teika

text: Ogura Hyakunin Isshu

text: private collection

text: Sagami's poems

text: "Sagami-shū"

text: Sagami

text: Kotobank

categories: Year of birth unknown,11th-century Japanese poets,Hyakunin Isshu poets,Japanese women poets,Date of death unknown

paragraph: Sagami (poet)

paragraph: , also known as , was a Japanese "waka" poet of the mid-Heian period. One of her poems was included in the "Ogura Hyakunin Isshu". She produced a private collection, the "Sagami-shū".

paragraph: Section::::Biography.

paragraph: Sagami's dates are unknown, but she was probably born around 1000. Her real name was "Oto-jijū".

paragraph: Her paternal ancestry is unknown, but she was supposedly a daughter of Minamoto no Yorimitsu. The fourteenth-century work "Chokusen Sakusha Burui" (勅撰作者部類) claims Yorimitsu was her father, but the "Kin'yōshū" includes a "renga" by Yorimitsu and "Sagami's mother" (相模母), so it is also possible he was her adoptive father. Her mother was a daughter of Yoshishige no Yasuaki, governor of Noto (前能登守慶滋保章).

paragraph: She was married to , during his tenure as the governor of Sagami Province, from which her nickname is derived. She served , one of the sons of Emperor Ichijō.

paragraph: Section::::Poetry.

paragraph: 109 of her poems were included in imperial anthologies starting with the "Goshūi Wakashū". She was included in the Late Classical Thirty-Six Immortals of Poetry.

paragraph: The following poem by her was included as No. 65 in Fujiwara no Teika's "Ogura Hyakunin Isshu":

paragraph: She produced a private collection, the .

paragraph: Section::::External links.

paragraph: BULLET::::- Sagami's poems in the International Research Center for Japanese Studies's online "waka" database.

paragraph: BULLET::::- "Sagami-shū" in the same database.

paragraph: BULLET::::- Sagami on Kotobank.

description: Japanese waka poet

wikidata_label: Sagami

wikipedia_title: Sagami (poet)


text: Fujiwara no Koretada

text: Yukinari

text: smallpox

text: imperial anthologies

text: Fujiwara no Teika

text: Ogura Hyakunin Isshu

text: private collection

text: List of Yoshitaka's poems

text: Minamoto no Yoshitaka

text: Kotobank

categories: Fujiwara clan,10th-century Japanese poets,Japanese nobility,People of Heian-period Japan,954 births,Infectious disease deaths in Japan,Deaths from smallpox,Articles containing Japanese poems,10th century in Japan,974 deaths

paragraph: Fujiwara no Yoshitaka

paragraph: Section::::Biography.

paragraph: Yoshitaka was born in 954, the son of Fujiwara no Koretada.

paragraph: He served as . He was the father of the respected calligrapher Yukinari.

paragraph: He died in 974, at age twenty, of smallpox, on the same day as his twin brother.

paragraph: Section::::Poetry.

paragraph: Twelve of his poems were included in imperial anthologies, and he was listed as one of the Late Classical Thirty-Six Immortals of Poetry.

paragraph: The following poem by him was included as No. 50 in Fujiwara no Teika's "Ogura Hyakunin Isshu":

paragraph: He left a private collection, the .

paragraph: Section::::Bibliography.

paragraph: Section::::External links.

paragraph: BULLET::::- List of Yoshitaka's poems in the International Research Center for Japanese Studies's online "waka" database.

paragraph: BULLET::::- Minamoto no Yoshitaka on Kotobank.

description: Japanese waka poet

wikidata_label: Fujiwara no Yoshitaka

wikipedia_title: Fujiwara no Yoshitaka


text:
waka
Heian period
Ogura Hyakunin Isshu
Fujiwara no Michitaka
Takaie
Empress Teishi
Korechika
Emperor En'yū
imperial anthologies
Shūi Wakashū
Fujiwara no Teika
Ogura Hyakunin Isshu
Takashina no Takako
Gidōsanshi no haha
Kotobank

categories: 10th-century women writers,10th-century Japanese poets,Japanese nobility,People of Heian-period Japan,Year of birth unknown,Hyakunin Isshu poets,Articles containing Japanese poems,Japanese women poets,Ladies-in-waiting of Heian-period Japan

paragraph: Takashina no Takako

paragraph: , also known as the or as , was a Japanese "waka" poet of the mid-Heian period. One of her poems was included in the "Ogura Hyakunin Isshu".

paragraph: Section::::Biography.

paragraph: She was the daughter of .

paragraph: By her husband Fujiwara no Michitaka, she was the mother of Takaie, Empress Teishi and Korechika, who was known as the Honorary Grand Minister. She is accordingly frequently referred to as the mother of the Honorary Grand Minister.

paragraph: Her other nickname, Kō no Naishi, is a combination of the first character of her patronymic family name — "taka" or "kō" — and her position serving Emperor En'yū, "naishi".

paragraph: She died in 996.

paragraph: Section::::Poetry.

paragraph: Five of her poems were included in imperial anthologies from the "Shūi Wakashū" on.

paragraph: The following poem by her was included as No. 54 in Fujiwara no Teika's "Ogura Hyakunin Isshu":

paragraph: Section::::Bibliography.

paragraph: BULLET::::- McMillan, Peter. 2010 (1st ed. 2008). "One Hundred Poets, One Poem Each". New York: Columbia University Press.

paragraph: BULLET::::- Suzuki Hideo, Yamaguchi Shin'ichi, Yoda Yasushi. 2009 (1st ed. 1997). "Genshoku: Ogura Hyakunin Isshu". Tokyo: Bun'eidō.

paragraph: Section::::External links.

paragraph: BULLET::::- Takashina no Takako (also listed as Gidōsanshi no haha) on Kotobank.

alias:
mother of the Honorary Grand Minister
Takashina no Kishi
Kō no Naishi

description: Japanese waka poet

wikidata_label: Takashina no Takako

wikipedia_title: Takashina no Takako


text:
Frankfurt Main Station
New Town Hall
Neo-Renaissance
Burg bei Magdeburg
Heinrich Strack
Bauakademie
University
Neo-Renaissance
Prussian Academy of Arts
Weimar
Technische Universität Berlin
Frankfurt
Gallus
Camberg
Berlin Cathedral
Ernst Moritz Arndt Tower
Rügen
Strasbourg University
Frankfurt Main Station
Palais du Rhin
Hamburg-Altona station
Tierärztliche Hochschule
New Town Hall
Technical University of Berlin
Straße des 17. Juni
Burg bei Magdeburg
Hermann Eggert

categories: 1920 deaths,1844 births,German architects

paragraph: Hermann Eggert

paragraph: Georg Peter Hermann Eggert (3 January 1844 – 12 March 1920) was a German architect. He designed important public buildings such as the Frankfurt Main Station and the New Town Hall in Hanover, often in the style of Neo-Renaissance.

paragraph: Section::::Career.

paragraph: Born in Burg bei Magdeburg, Eggert studied with Heinrich Strack at the Bauakademie in Berlin.

paragraph: Eggert served as "Oberbaurat" in the (Ministry of Public Works) of Prussia in Berlin, where he was mostly responsible for church buildings. He participated in the competition for the New Town Hall in Hanover in 1895, won the second competition a year later and was commissioned to build the exterior. From 1898 he worked in his own office in Hanover. He was in conflict about the design of the "Prunkräume" (Representative Rooms) of the Town Hall with who had designed the (Welf palace, now the main building of the University), As a result, his contract was cancelled in 1909.

paragraph: Many of Eggert's designs are in the style of Neo-Renaissance. He was a member of the Prussian Academy of Arts from 1896 in the section "" (Arts). Eggert died in Weimar.

paragraph: Section::::Recognition.

paragraph: Many of Eggert's designs are held at the Museum of Architecture of the Technische Universität Berlin. In the central Frankfurt Gallus quarter a section of a street called after Camberg was renamed Hermann-Eggert-Straße in 2009.

paragraph: Section::::Selected works and designs.

paragraph: BULLET::::- 1869: Competition design for the new Berlin Cathedral (not built)

paragraph: BULLET::::- 1872–1877: Ernst Moritz Arndt Tower on Rügen

paragraph: BULLET::::- 1881: Observatory of the Strasbourg University

paragraph: BULLET::::- 1883–1888: Frankfurt Main Station

paragraph: BULLET::::- 1884–1889: Palais du Rhin in Strasbourg

paragraph: BULLET::::- 1898: Hamburg-Altona station (demolished in 1978)

paragraph: BULLET::::- 1898–1899: Tierärztliche Hochschule (Academy of Veterinary Medicine) in Hannover (destroyed in World War II)

paragraph: BULLET::::- 1898–1909: New Town Hall in Hannover

paragraph: BULLET::::- 1899–1902: Annex of the Technical University of Berlin (now Straße des 17. Juni 145)

paragraph: BULLET::::- 1907: Bismarckturm in Burg bei Magdeburg

paragraph: Section::::Literature.

paragraph: BULLET::::- " 1905, No 493.

paragraph: BULLET::::- Alexander Dorner: " Hannover 1931, p. 26.

paragraph: BULLET::::- Christine Kranz-Michaelis: "" "}", vol. 4.) Gebr. Mann, Berlin 1982, , pp. 395–413.

paragraph: BULLET::::- Wolfgang Steinweg: "" Schlüter, Hannover 1988, , p. 38f

paragraph: Section::::External links.

paragraph: BULLET::::- Hermann Eggert Akademie der Künste

alias:
Georg Peter Hermann Eggert
Herman Eggert

description: German architect

wikidata_label: Hermann Eggert

wikipedia_title: Hermann Eggert


text:
Swedish
1946 European Athletics Championships

categories: 1995 deaths,1918 births,Swedish male hurdlers,European Athletics Championships medalists

paragraph: Sixten Larsson

paragraph: Sixten Larsson (31 July 1918 – 3 February 1995) was a Swedish athlete who competed mainly in the 400 m hurdles. In this event he won a silver medal at the 1946 European Athletics Championships as well as five national titles in 1940–1944.

description: Swedish hurdler

wikidata_label: Sixten Larsson

wikipedia_title: Sixten Larsson


text: track and field

text: 400 metres hurdles

text: world champion

text: African Championships in Athletics

text: Kenya

text: Kenyan Athletics Championships

text: 2014 Commonwealth Games

text: 2014 African Championships in Athletics

text: 400 m hurdles final

text: 4 × 400 m relay

text: 400 m hurdles

text: 4 × 400 m relay

text: Mark Mutai

text: Solomon Buoga

text: Boniface Mucheru

text: Savo Games

text: Lappeenranta Games

text: 2015 World Athletics Championship

text: the 400 metres hurdles event

text: 2016 Olympic Games

text: Rio de Janeiro

text: the 400 metres hurdles event

text: Aron Koech

text: Lessos

text: Nandi County

text: 2018 African Championships in Athletics

text: Toyota Prado

text: SUV

categories: World Championships in Athletics athletes for Kenya,People from Uasin Gishu County,Athletes (track and field) at the 2016 Summer Olympics,Olympic athletes of Kenya,Athletes (track and field) at the 2018 Commonwealth Games,Kenyan male hurdlers,1990 births,World Championships in Athletics medalists,2018 deaths,Commonwealth Games competitors for Kenya,Athletes (track and field) at the 2014 Commonwealth Games

paragraph: Nicholas Bett

paragraph: Nicholas Kiplagat Bett (27 January 1990 – 8 August 2018) was a Kenyan track and field athlete who competed in the 400 metres hurdles. His personal best for the event is 47.79 seconds. He was a world champion in the event, having won in 2015, and a two-time bronze medallist at the African Championships in Athletics. He died in a road accident in Kenya at the age of 28.

paragraph: Section::::Career.

paragraph: His first outing at national level was in 2010, when he was a Kenyan junior finalist. He made his breakthrough nationally at senior level with a run of 50.39 seconds to place third at the Kenyan Athletics Championships in 2011. He missed most of the 2012 season but returned in 2013 with runner-up finishes at both the national championships and world trials. A new personal best of 49.70 seconds at the latter meet placed him 53rd globally for the season.

paragraph: Another runner-up finish at the national level earned him selection for both the 2014 Commonwealth Games and the 2014 African Championships in Athletics. At the Commonwealth Games he failed to make the 400 m hurdles final and was also eliminated in the heats of the 4 × 400 m relay after Kenya were disqualified. At the African Championships in Athletics, he won a bronze medal in the 400 m hurdles, achieving a new personal best of 49.03 seconds, and a bronze medal in the 4 × 400 m relay with teammates Mark Mutai, Solomon Buoga and Boniface Mucheru.

paragraph: Bett began to compete on the international track and field circuit in 2015 and had wins at the Savo Games and Lappeenranta Games in Finland. A personal best of 48.29 seconds at the 2015 Athletics Kenya World Championship Trials brought him selection for the national team and raised him to third on the global rankings. At the 2015 World Athletics Championship in Beijing, Bett achieved his biggest result, winning the 400 metres hurdles event with a time of 47.79 seconds. Bett's win was Kenya's first in the history of the World Championships, for an event shorter than 800 metres. Bett's Beijing run was the fastest time for the distance in the whole of the 2015 season.

paragraph: Bett had a poor start to the 2016 season, with a season's best time of 49.31 going into the 2016 Olympic Games in Rio de Janeiro. However, Bett was still considered one of the favourites for the 400 metres hurdles event, following his 2015 World Championships win. However, he made a mistake in the preliminary round when he tripped over the 10th and final hurdle whilst in second place. He eventually finished last in the heat, but was disqualified anyway, and failed to reach the semifinal.

paragraph: Section::::Personal life.

paragraph: Bett's twin brother, Aron Koech, is also a 400 metres hurdler.

paragraph: Section::::Death.

paragraph: Bett died in a road accident near the town of Lessos, in Nandi County, Kenya, in the early morning of 8 August 2018. He had arrived back from the 2018 African Championships in Athletics in Nigeria two days earlier, and was driving along the Kapsabet to Eldoret road on his way back to Nairobi. According to the local police commander, Bett lost control of his car, a Toyota Prado SUV, which then hit a bump in the road and landed in a ditch, killing the athlete instantly.

paragraph: Section::::International competitions.

paragraph: Did not finish in the final

description: Kenyan athlete

wikidata_label: Nicholas Bett

wikipedia_title: Nicholas Bett


text: Surrealism

text: Onirism

text: totalitarianism

text: Communist regime

text: dissident

text: cooperative

text: Centrocoop

text: copywriters

text: fantasy

text: fairy tale

text: Romanian literature

text: innocence

text: melancholy

text: Latin American studies

text: Western

text: popular culture

text: anthologies

text: Mihail Sebastian

text: avant-garde

text: Gheorghe Ursu

text: Securitate

text: science fiction

text: Camil Baciu

text: Michael Ende

text: Odysseas Elytis

text: Iron Curtain

text: Galaţi

text: Vremea

text: World War II

text: anti-fascist

text: Ion Antonescu

text: Axis Powers

text: Romania during World War II

text: Romanian Kingdom

text: Siguranţa Statului

text: King Michael Coup

text: Romanian Communist Party

text: communism

text: Soviet

text: University of Bucharest

text: Soviet occupation

text: Mihai Eminescu

text: Western Allies

text: Pavel Chihaia

text: Vladimir Streinu

text: Constant Tonegaru

text: Roman Catholic

text: anti-communist

text: Revista Fundaţiilor Regale

text: Petru Comarnescu

text: Socialist realism

text: Paul Cernat

text: anti-people activities

text: lathe

text: cooperative

text: Centrocoop

text: capitalist

text: copywriter

text: marketing

text: liberalization

text: Nicolae Ceauşescu

text: Paul Barbăneagră

text: Tudor Caranfil

text: Eugen Schileru

text: D. I. Suchianu

text: Western culture

text: Western genre

text: American cinema

text: South America

text: Latin American art

text: Latin American studies

text: innocence

text: fairy tale

text: fantasy

text: Editura Ion Creangă

text: Eastern bloc

text: children's literature

text: Western

text: Central Europe

text: Iron Curtain

text: University of Oklahoma

text: Michael Ende

text: West Germany

text: April Theses

text: Neorealism

text: Marxist aesthetics

text: Bertold Brecht

text: The Neverending Story

text: Odysseas Elytis

text: Katherine Verdery

text: Norman Manea

text: Central America

text: Securitate

text: Nina Cassian

text: Geo Bogza

text: Romanian Revolution of 1989

text: democratic

text: Cluj-Napoca

text: Editura Dacia

text: Romanian Writers' Union

text: freelancer

text: selling technique

text: private university

text: Titan

text: Surrealism

text: World War II

text: Romanian literature

text: totalitarianism

text: multicultural

text: Paul Cernat

text: Oniric

text: Leonid Dimov

text: Emil Brumaru

text: avant-garde

text: Urmuz

text: Gherasim Luca

text: Tristan Tzara

text: Gellu Naum

text: interwar

text: Don Quixote

text: hidalgo

text: Miguel de Cervantes

text: Quixotism

text: fantasy

text: mythology

text: magic

text: alchemy

text: demonology

text: popular culture

text: naïve art

text: science fiction

text: paraliterature

text: subconscious

text: Orthodox

text: Nicolae Steinhardt

text: Romanian folklore

text: travel writing

text: fairy tale

text: folk art

text: incantation

text: Fantômas

text: Fellini

text: Hatari

text: cinemaphile

text: left

text: right-wing

text: racism

text: antisemitism

text: nationalist

text: ethnic Romanian

text: Jewish community

text: Constantin Stănescu

text: Euro-Atlantic

text: civil society

text: Adrian Marino

text: Romanian Civic Alliance

text: Alexandru George

text: Alexandru Paleologu

text: Group for Social Dialogue

text: centrist

text: post-1989 letters

text: Michaël Finkenthal

text: Boy Scout

text: Red Cross

text: Salvation Army

text: modern art

text: Joan Miró

text: Paul Klee

text: Romanian-language

text: Ion Antonescu

text: Holocaust in Romania

text: Red Army

text: troubadour

text: blues

text: Negro spiritual

text: Imagism

text: Lucian Blaga

text: Expressionism

text: Constant Tonegaru

text: Biblical

text: Ecclesiastes

text: Eastern world

text: Galaţi

text: free verse

text: children's literature

text: Edward Lear

text: Antoine de Saint Exupéry

text: J. R. R. Tolkien

text: Peter Beagle

text: Lewis Carroll

text: Absurdist

text: Eugène Ionesco

text: nonsense verse

text: English literature

text: calligraphy

text: Lettrist

text: Marin Sorescu

text: Old Testament

text: Jonah

text: melancholy

text: cosmopolitan

text: dwarf

text: labyrinth

text: shapeshifting

text: ogre

text: Hans Christian Andersen

text: Tudor Arghezi

text: Ion Creangă

text: Alfred Jarry

text: Henri Michaux

text: Mihail Sadoveanu

text: Mark Twain

text: Tristan Tzara

text: Urmuz

text: Tiberiu Utan

text: Paul Klee

text: Max Ernst

text: Christian Pineau

text: Mateiu Caragiale

text: Franz Kafka

text: Federico García Lorca

text: wooden language

text: Romanian Revolution

text: Democratic Convention

text: modern literature

text: nationalist

text: Edward Lear

text: Lewis Carroll

text: Jorge Luis Borges

text: Mircea Horia Simionescu

text: Goethe-Institut

text: Claude Aveline

text: Richard Bach

text: Emilio Breda

text: Odysseas Elytis

text: Juan Soriano

text: José Garcia Ocejo

text: The Neverending Story

text: Camil Baciu

text: Romanian Writers' Union

text: Titan

text: Michael Ende

text: Odysseas Elytis

text: N. Steinhardt

text: Editura Dacia

categories: Romanian children's writers,20th-century Romanian poets,Romanian film critics,Romanian literary critics,Romanian dissidents,Romanian folklorists,Romanian literary historians,Romanian essayists,Romanian male novelists,University of Bucharest alumni,Romanian anti-communists,Romanian anthologists,Romanian fantasy writers,Male essayists,Romanian male poets,Romanian surrealist writers,20th-century Romanian novelists,Romanian biographers,Copywriters,Romanian memoirists,20th-century biographers,Romanian travel writers,Male biographers,20th-century translators,20th-century essayists,Romanian translators,2006 deaths,Romanian theatre critics,Romanian philanthropists,English–Romanian translators,Latin Americanists,20th-century Romanian historians,Romanian art critics,1924 births,People from Galați,Romanian World War II resistance members,Romanian book publishers (people)

paragraph: Iordan Chimet

paragraph: Iordan Chimet (November 18, 1924 – May 23, 2006) was a Romanian poet, children's writer and essayist, whose work was inspired by Surrealism and Onirism. He is also known as a memoirist, theater, art and film critic, book publisher and translator. Chimet, who was an opponent of totalitarianism in general and of the Communist regime in particular, was persecuted by the latter as a dissident, and lived much of his life in obscurity. His experience as an employee of the cooperative society Centrocoop also made him one of the first professional copywriters in his country.

paragraph: The poems, fantasy works and fairy tales he authored, although largely ignored locally upon being published, have since drawn acclaim for their accomplished style, and are considered by many unique in Romanian literature. They explored the themes of innocence and melancholy, and have themselves been seen as a venue for a discreet advocacy of disobedience. Chimet was also the author of critical essays on Latin American studies and Western or popular culture, and a publisher of anthologies on some of the major themes in Romanian society. In addition, he collected and published material on the life and legacy of playwright Mihail Sebastian, as well as on the history of the Romanian avant-garde.

paragraph: Iordan Chimet had a lifelong friendship with Gheorghe Ursu, a dissident who was killed by the Securitate secret police in 1985, and with science fiction author Camil Baciu. He was also a friend of the German writer Michael Ende and the Greek poet Odysseas Elytis, with whom he kept in touch in spite of the difficulties posed by their living on different sides of the Iron Curtain.

paragraph: Section::::Biography.

paragraph: Born in Galaţi, Chimet belonged to a family of middle-class intellectuals. His first works of poetry were published by the magazine "Vremea" when he was still in high school. Politically active while still a teenager during World War II, he was part of an anti-fascist group in his native city. The cell, which opposed Ion Antonescu's rule and Romania's alliance to the Axis Powers ("see Romania during World War II"), also included Ursu and Baciu. The Romanian Kingdom's secret police, "Siguranţa Statului", had Chimet under surveillance from 1943 until the King Michael Coup of 1944. Chimet, unlike his friends, was not drawn into collaboration with the Romanian Communist Party, being apprehensive of communism in general and of Soviet influence in particular.

paragraph: He was a graduate of the Philology and Philosophy Department (1948), and of the Law Department (1957) of the University of Bucharest. Following the start of Soviet occupation, he was active in supporting writers proscribed by the new authorities and joined a clandestine society to offer them help—known as the "Eminescu Association", after Romania's famous 19th century poet Mihai Eminescu, it sought assistance from the Western Allies. Other people involved in this project were the authors Pavel Chihaia, Vladimir Streinu, and Constant Tonegaru (aided by the French Roman Catholic cleric Marie-Alype Barral). According to Chihaia: "We realized, from the very beginning, what the new ideology imposed on us, as an adversary to the traditional culture, to the freedom of thought, attempting to compromise the values in which we believed and which we professed, really meant."

paragraph: In the years leading up to the Communist regime's establishment, Iordan Chimet published poems with anti-communist undertones ("ExiL", "ExiLe") in "Revista Fundaţiilor Regale" and "Revista Româno-Americană". At the time, he met the art and literary critic Petru Comarnescu, who helped him publicize his works. Reportedly, Comarnescu proposed his poems for an award, but this was never granted.

paragraph: Refusing to adapt his style to Socialist realism, Chimet was himself considered a suspect, and lived in extreme poverty during the 1950s. Literary critic Paul Cernat indicated that Chimet was able to evade arrest only because Tonegaru, who had been arrested, did not give in to violent interrogation. Ursu and Baciu were themselves disillusioned with communism after 1949-1950, and broke with the Communist Party around that time.

paragraph: Chimet was subject to an inquiry for "anti-people activities", and sentenced to work as a lathe operator for a worker cooperative. Soon after, he was moved to what was considered a lower position, that of copy-editor for Centrocoop commercials, an office whose equivalent in capitalist countries was that of copywriter (Chimet was thus one of Romania's first persons to have this job description after World War II). It was in this field that he gained first-hand experience in marketing, which was to prove an important theme in some of his essays.

paragraph: He was allowed to publish beginning in the late 1960s, with the liberalization coinciding with the early years of Nicolae Ceauşescu's leadership. At the time, Chimet also found employment as a lecturer at the "Friends of Film" club at the "Cinemateca" film archive, where he kept company with film critics such as Paul Barbăneagră, Tudor Caranfil, Eugen Schileru and D. I. Suchianu. His works of criticism touched aspects of Western culture that he intended to popularize in Romania: two of them were dedicated, respectively, to the American-born Western genre ("Western. Filmele Vestului îndepărtat"—"Western. The Films of the Far West") and to the American cinema in general ("Eroi, fantome, șoricei"—"Heroes, Ghosts, Little Mice"); other works dealt with the visual arts in South America, with Latin American art and Latin American studies. This focus, together with the praise to innocence he provided in his fairy tales and fantasy works, as well as in his 1972 Editura Ion Creangă anthology ("Cele 12 luni ale visului. O antologie a inocenței", "The 12 Months of Dreaming. An Anthology of Innocence"), have themselves been seen as signs of resistance through culture.

paragraph: While his work was ignored at home, it brought Chimet a measure of success abroad. His essays on American culture were generally not distributed in Romania, but were translated in other Eastern bloc countries, where they became appreciated for their subversive undertones. In parallel, his works of children's literature were translated into several languages, and became known in America, as well as in Western and Central Europe, on both sides of the Iron Curtain. He was selected to be part of the jury for the University of Oklahoma's Neustadt International Prize for Literature (the only Romanian to enjoy this appointment), but the communist authorities' hostility prevented him from honoring the request.

paragraph: Iordan Chimet did not cease his contacts with Western writers, and generally appealed to clandestine mail in order to have his messages sent across. In 1977, he began corresponding with Michael Ende, who was living in West Germany. The two shared a rejection for normative control over literature: while Chimet centered his criticism on the cultural guidelines imposed by Ceaușescu ("see April Theses"), Ende depicted in negative terms the impact of Neorealism and the Marxist aesthetics popularized by Bertold Brecht. The writers never met face to face. Later in life, Chimet was to preface the first Romanian edition of "The Neverending Story". He also befriended the celebrated poet Odysseas Elytis, as well as prominent critics of the Communist regime (historian Katherine Verdery and exiled writer Norman Manea) and artists from South and Central American countries. Chimet edited and published Elytis' work in Romania—the resulting volume of collected poetry was deemed by Elytis "the most beautiful book dedicated to my work to have ever been published anywhere in the world."

paragraph: According to one theory, Gheorghe Ursu's 1985 killing, which was the result of repeated beatings in custody, was the result of Securitate pressures to have him expose some of his writer friends—Chimet's name was cited, alongside those of poets Nina Cassian and Geo Bogza. The same year, Chimet braved ongoing Securitate surveillance and attended Ursu's funeral.

paragraph: After the Romanian Revolution of 1989, Iordan Chimet centered his efforts on educating the Romanian public in respect to democratic values. In collaboration with the Cluj-Napoca-based publishing company Editura Dacia, he issued a collection of volumes, published under the collective title "Ieșirea din labirint" ("Exiting The Labyrinth"). It was as part of this that, in 1992-1993, he printed a four-volume dictionary on Romanian identity, "Dreptul la memorie" ("The Right to a Memory"), and the 1996 anthology called "Momentul adevărului" ("The Moment of Truth"). The two texts earned Ursu the Gheorghe Ursu Foundation Award for 1997. A member of the Romanian Writers' Union, he was the recipient of its special prize in 2003. In 2004, he published a volume of essays, titled "Cele două Europe, cele două Românii" ("The Two Europes, The Two Romanias").

paragraph: For most of his life, Chimet attempted to remain a freelancer, and, despite financial constraints, refused state employment for all but five years of his life. During his final years, despite usually refusing to comment on his incidental career in marketing, Chimet agreed to give lectures on selling technique for a private university—it was one of the first courses of its kind in Romania.

paragraph: He died in the small apartment he owned, located in the Titan area of Bucharest. His last work, a second volume of collected correspondence, was published posthumously.

paragraph: Section::::Literary contributions.

paragraph: Section::::Literary contributions.:Style and literary credo.

paragraph: Inspired by Surrealism, Iordan Chimet was a representative of the World War II generation in Romanian literature, and his anti-totalitarianism was placed in connection with his upbringing in a multicultural city. Paul Cernat proposed that Chimet was in may ways similar to members of the Oniric trend—who also mixed subversive messages with imagery inspired by Surrealism—and especially to its representatives Leonid Dimov and Emil Brumaru. Like his friend Gheorghe Ursu, Iordan Chimet cultivated the avant-garde, and was interested in the writings of his predecessors Urmuz, Gherasim Luca and Tristan Tzara, as well as in those of his Surrealist contemporary Gellu Naum. In 1999, he edited one of the first compilations of the Romanian avant-garde, with its title borrowed from Urmuz: "Cică niște cronicari, duceau lipsă de șalvari" ("It Seems It Did Happen Once, Some Chroniclers Lacked Baggy Pants"). He attempted to replicate the experience of interwar authors, who, as he himself argued, practiced "art as an exercise in admiration, as a statement of love, as a manifestation of the artist's solidarity with beings forgotten by history."

paragraph: In parallel, his active and determined involvement in cultural resistance has led several authors to liken him to Don Quixote, the hidalgo character crafted by Miguel de Cervantes ("see Quixotism"). Seen as withdrawn and original, he doubled his political criticism with a vivid interest in topics related to fantasy, including mythology, magic, alchemy and demonology—part of his work as a literary critic involved tracing the influences these had on popular culture and naïve art, as well as in science fiction and other areas of paraliterature. According to his friend, essayist Monica Gheț, Chimet's style was the equivalent of "a mirror held in front of the local art's subconscious in times of need", while his stance was "pure and combative".

paragraph: In a 1980 book of literary and art criticism, Romanian author and Orthodox hermit Nicolae Steinhardt voiced admiration for Chimet's interpretation of Romanian folklore, both rural and urban, as noted in Chimet's 1976 travel writing volume "Baladă pentru vechiul drum" ("A Ballad to the Old Road"). Steinhardt sees Chimet's "entire effort" and lifelong message concentrated and explained by the book's title, together with that of Chimet's fairy tale novel "Închide ochii și vei vedea Orașul" (which translates as "Close Your Eyes and You Will See The Town"). In his interpretation: ""Vechiul drum" is the road to reality, to nature, to the awareness of people and their age-old, eternal, culture, acute and responsible in the present as well. […] Close your eyes in front of the superficial, in front of retail merchandise, in front of the "in other news" columns and in front of all gadgets which may tempt you, delude you, entice you and fool you, in front of all dissimulation, hasty lies and noisy or shiny glass beads of the county fairs, and you will see the true reality, poetic and perennial, of your space and the people who inhabit it—the underlying structures, the columns, the crowns."

paragraph: Steinhardt argues that his fellow writer had helped the public make comparisons between the tenets of Surrealism and the natural tendencies in folk art: "The conclusion, I do believe, is unavoidable: surreality exists, only people call it reality. By vesting the most modest of realities with the prestige and the charm of fairy tales and poetry, Chimet invites (and compels) us to admit them as situated at an energetic and incantational level by no means inferior to the most delicate fantasies and the least bound reveries of Surrealism." He adds: "The world reveals itself [to Chimet] in its entirety, in its rich coloring, in the unending complexity of its textures, in the steady and calm rhythm of various activities and contemplations synchronized with the individual's foundations. Nature […], the inanimate world […], even costumes or musical instruments […] evoke in him human activities, while the energies of matter are interpreted in a human sense and joined up with aspirations and sorrows found the human soul." The critic also proposed that such images in "Vechiul drum" were superior to a separate chapter on film history "from "Fantômas" to Fellini and "Hatari"": "No matter how much Iordan Chimet is enchanted by the screen, no matter how contagious his cinemaphile passion may be, it is not in this area that he is truly at ease and worthy of being called a discoverer and unveiler of poetry. He earns these qualifiers mostly when he takes hold […] of a traveler's cane, setting off to the country's villages, workshops, establishments and hidden corners in order to set before our eyes […] the treasures of a reality on whose shoulders "time sets itself with old age" [Steinhardt's italics], but who has lost neither courage, nor warm wisdom or a charm renewed with each fresh gaze."

paragraph: Section::::Literary contributions.:Political views.

paragraph: As a political essayist, in addition to his critique of totalitarian systems both left- and right-wing, Chimet was noted for his rejection of all forms of racism, and for being an outspoken critic of antisemitism. According to Andrei Ursu, Gheorghe Ursu's son, this led nationalist voices to accuse Chimet, an ethnic Romanian who defended members of the Jewish community, of having become a "jidovit" ("Jew-turned"). Literary critic Constantin Stănescu linked his political views to the spirit of his works of fiction, defining him as "a Surrealist recoverer of innocence and a Utopian militant for purity, with a stubborn and inflexible faith […] in the victory of tolerance and communion against racial or class intolerance, as well as against the outbursts of the aggressive primeval spirit during the long century into which he was given to be born." Writing in 2006, Gheț argued that his anthologies were drawing up "the map of spiritual freedom and its impartation along unsuspected Euro-Atlantic lines, long before the political-strategic «axes» presently reclaimed." His activity in support of civil society has drawn comparisons with that of literary historian Adrian Marino, a leading member of the Romanian Civic Alliance, while Marino himself referred to Chimet, Alexandru George, Alexandru Paleologu and members of the Group for Social Dialogue as the sole "defenders of centrist cultural values" in post-1989 letters. According to essayist Michaël Finkenthal, Chimet "spent the last years of his life in a ceaseless battle to retrieve a past that some have forgotten and others have preferred, for various reasons, to neglect." Finkenthal also defined Chimet's message as: "before incriminating, before accusing, research the facts carefully. When man is in chains, when speaking is replaced by yelling, [man] is weak and can be easily tempted by the devil."

paragraph: Chimet himself argued: "All I could do was to defend, in the books I managed to publish, as well as in the everyday life that emerges and disappears, the ideas of friendship, loyalty and human solidarity which the world of my childhood was presenting to us as the foundations of existence." He was self-effacing when it came to his legacy: "the new taste of the times shall be viewing these [goals] from the stratosphere, [they] shall be viewed as a concise moral, perhaps worthy of children in a church choir, a Boy Scout mentality, a Red Cross program, a street concert for the Salvation Army. The comparisons are unflattering, any plea in favor of these simple values seems compromised from the get-go. I must accept this handicap."

paragraph: Section::::Literary contributions.:"ExiL".

paragraph: His "ExiL" poems, some of which were first published in the West during the 1940s, have drawn comparisons with the imagery of original modern artists such as Joan Miró and Paul Klee. The title is a wordplay on "exil" (the Romanian-language word for "exile") and "el" ("him"), and the lyrics are addressed to a Jewish friend who had been deported during the Ion Antonescu dictatorship ("see Holocaust in Romania"). Decades later, Chimet indicated: "It was for the first time that the issue of exile showed up in Romania's post-war environment. At the time, it was, shall we say, a premiere. But it was not many years after that the Red Army turned this theme into a banal poetic motif."

paragraph: The poems build on a repertoire of diverse traditions, which combines, in Paul Cernat words, "myths, symbols and ancient spiritual traditions, evoking the miraculous bestiary of humanity's childhood", assuming a shape similar to "troubadour ballads, blues and Negro spiritual songs, with choirs and invocations addressed to a minute universe" and "peopled by creatures and inanimate objects suffering from a silent, nameless pain." Among these writings was the 1947 "Cântec spiritual negru" ("Negro Spiritual Song"), which centered on the imaginary figure of a Saint Benjamin.

paragraph: Also according to Cernat, aside from Surrealism, some of the "ExiL" poems recalled Imagism, while others were close to Lucian Blaga's Expressionism and the original style developed by Constant Tonegaru, or borrowed themes from the Biblical "Ecclesiastes" and the traditional stories of the Eastern world. A series of "laments", the pieces develop themes which Iordan Chimet would reuse in later works, such as the images of his native Galaţi as "the Old City" and an exiled monarch who would become "Baltazar the Little Fish". In one of the "ExiL" free verse pieces, titled "Lamento cu o pălărie galbenă" ("Lament with a Yellow Hat"), Chimet wrote of himself and the landscape of the Old City:

paragraph: Section::::Literary contributions.:Fantasy writings.

paragraph: His fantasy works partly built on the Surrealist-Oniric legacy. Gheț proposed that such writings have been "mistakenly" placed in the field of children's literature—she preferred to define them as "transfers, evasions from the new mythical-totalitarian reality where all the Romanian sagacity had become stranded." In Paul Cernat's view, they form part of the fantasy genre to be read by adults, similar to the writings of Edward Lear, Antoine de Saint Exupéry, J. R. R. Tolkien, Peter Beagle, and Lewis Carroll. Cernat argued: "Condescending prejudice has sought to exile [Chimet] into a shelf of curiosities merely frequented by a closed circle of connoisseurs: Chimet—the children's author, Chimet—the author of anthologies-manifestos for the innocence of adults, for the freedom of imagination and for the right to memory…"

paragraph: Also set in the Old City, his "Lamento pentru peștișorul Baltazar" ("Lament for Baltazar the Little Fish") was authored during the 1940s, but, due to political constraints, was only published in 1968 (when it reportedly failed to be chronicled by any literary magazine). The story, divided into independent chapters which function as discourses, comprises several distinct poems: it opens with a "Song to the Sea", and comprises one in Chimet's series of "Laments".

paragraph: Baltazar, who was defined by Cernat as "the messenger of innocence", is subjected to a trial and has to leave the Old City. In his adventures, the little fish is confronted with a various composite beings, whose identities are imprecise: "Noi toți", which translates as "All of us", "Mierea Pământului"—"The Honey of the Earth", "Vreo Doi (Vreo Doi era un șarpe de apă)"—"Twosome (Twosome was a water snake)", "Căpitanul de trei coți lungime, de trei coți lățime"—"The three-cubit-long three-cubit-wide captain", "Prințesa de Satin"—"The Satin Princess" etc. Cernat paralleled these elements to the Absurdist plays of Eugène Ionesco, as well as to the tradition of nonsense verse in English literature. He likened the wordplays and intricate calligraphy associated with the characters and plot to the Lettrist experiments, and the themes they alluded to with those present in some later works by Romanian poet Marin Sorescu. Thus, he proposed that an episode marking the mythological age of Chimet's sea realm, where a character named Arghir asks a whale to swallow him, reminded one of Sorescu's poem "Iona" (with both of them being reinterpretations of the Old Testament story of Jonah).

paragraph: Cernat also noted that the playful atmosphere was doubled by "the diffuse sentiment of absence, estrangement and universal extinguishment". To illustrate this, he quoted one of Baltazar's lines, accompanied by the narrator's voice: "«To wake up at the earliest hour, with the flowers. To hear their suave virgin-like voices. To see if my hungry and thirsty fish […] have been properly fed. And if all things are as they should, in orchards and in waters, as they should be for ever and ever.» But his fish were gone, as was the good fairy, as was the pond of the water of life, of the water of death. And all of them had gone out of sight. He could hear them neighing and clattering at the gates, far away."

paragraph: One of the most influential works in this series was "Închide ochii și vei vedea Orașul". Cernat called it: "a refined musical poem, apparently naïve, unveiling unexpected depths to the reader, through the means of shared asides" and "an open game of fantasy filled with love for all that exists, where reality fades into the genuine fantastic of an eternal childhood's unreality, hardly shadowed by melancholy." The story centers on a cosmopolitan city (based on Chimet's vision of Galați), which is disputed between the orange-colored dwarfs who live in the "labyrinth forest" and the shapeshifting ogre Gagafu, who is assisted by an evil cat named Sultan. The latter two twice kidnap Eli, a girl who serves as protector of the city and is introduced as the narrator's daughter: she is ultimately rescued by the dwarfs, who transport her to their forest; Elli pines for her home, and the dwarfs ultimately decide to let her return. Melancholy, sad musings, and reflections about the fragility of existence are present throughout the book; at one point toward the end of the story, Chimet's narrator confesses: "And then I withdrew, tiptoeing, to my canopy in the garden and I asked myself, sitting alone, what the sense of all these events was. And it seemed to me that I discovered it. And I flinched. And I perked up my ears, believing that I heard unheard footsteps outside or the flapping of wings in the sky. But there was no such thing."

paragraph: In "Cele 12 luni...", an anthology for the benefit of young readers, Chimet honored fellow children's writer and avant-garde fantasy authors; the authors quoted include Carroll, Ionesco, Saint Exupéry, Hans Christian Andersen, Tudor Arghezi, Ion Creangă, Alfred Jarry, Henri Michaux, Mihail Sadoveanu, Mark Twain, Tristan Tzara, Urmuz, Tiberiu Utan etc. Chimet's own piece was "Lamento cu o mare baaaaalenă" ("Lament with One Big Whaaaaale") seen by critic Marina Debattista as a sample of Chimet's mix of "the hero narrative" and "tiny Surrealist poems" into a single original format.

paragraph: The book was richly illustrated, mostly with samples of Surrealist art, from Paul Klee to Max Ernst. It also hosted unusual collages of literary contributions by Christian Pineau and drawings by Arghezi, Mateiu Caragiale, Franz Kafka or Federico García Lorca. Commenting on the anthology's subversive content, Marina Debattista noted: "The reader is discreetly engaged into practicing a form of Surrealism, which temporarily frees him from the clutches of reality. The latter effect is significant for the context in which 'The Anthology of Innocence' saw print: in 1970s Romania, the wooden language, like some acid, insidious sea, eroded spirits and clamped down on their natural opening for the miraculous."

paragraph: Section::::Legacy.

paragraph: For long after the Romanian Revolution, Chimet's work remained unknown to the local public. Paul Cernat noted that, when the Democratic Convention governments allowed private publishing houses to issue school textbooks of Romanian literature, Iordan Chimet's were made more available to schoolchildren. He also recorded that, since the new educational approaches favored familiarizing students with works of universal and modern literature at the detriment of local classics, Chimet was the subject of attacks in the nationalist press (who listed Chimet, alongside authors such as Ende, Edward Lear, Lewis Carroll, Jorge Luis Borges and Mircea Horia Simionescu, not worthy of inclusion in the textbooks).

paragraph: In 2000, "Lamento pentru peștișorul Baltazar" was reprinted in a Romanian-German bilingual edition, with assistance from the Goethe-Institut. The volume was illustrated with drawings made for this purpose by some of Chimet's friends: the writers Ionesco, Claude Aveline, Richard Bach, Emilio Breda, Odysseas Elytis, and the Mexican visual artists Juan Soriano and José Garcia Ocejo.

paragraph: It is believed that "Închide ochii și vei vedea Orașul" inspired various aspects of Michael Ende's "The Neverending Story" and that, in Ende's "Das Gauklermärchen" ("The Juggler's Tale"), Chimet's Elli became Eli, a simple and poor girl who believes herself a princess. The Chimet-Ende correspondence was published as a book in 1999. In 2006-2007, Chimet also published two volumes of the letters he exchanged with various other authors, including Ursu and Camil Baciu, under the title "Cartea prietenilor mei" ("My Friends' Book"). Following a Romanian Writers' Union initiative, a memorial plaque was placed at his apartment bloc in Titan.

paragraph: Section::::Published volumes.

paragraph: Section::::Published volumes.:Children's literature.

paragraph: BULLET::::- "Lamento pentru peștișorul Baltazar", 1968

paragraph: BULLET::::- "Cîte-o gîză, cîte-o floare, cîte-un fluture mai mare", 1970

paragraph: BULLET::::- "Închide ochii și vei vedea Orașul", 1970, definitive edition, 1979

paragraph: Section::::Published volumes.:Essays.

paragraph: BULLET::::- "Western. Filmele Vestului îndepărtat", 1966

paragraph: BULLET::::- "Comedia burlescă", 1967

paragraph: BULLET::::- "Teatrul de păpuși în România" (with Letiția Gîtză, Valentin Silvestru), 1968

paragraph: BULLET::::- "Eroi, fantome, șoricei", 1970

paragraph: BULLET::::- "Baladă pentru vechiul drum", 1976

paragraph: BULLET::::- "America latină. Sugestii pentru o galerie sentimentală", 1984

paragraph: BULLET::::- "A Trilingual Exercise in Translation" (originally in English; with Ioana Belcea), 1995

paragraph: BULLET::::- "Cele două Europe, cele două Românii", 2004

paragraph: Section::::Published volumes.:Other.

paragraph: BULLET::::- "ExiL", poetry, 1948

paragraph: BULLET::::- "Cele 12 luni ale visului. O antologie a inocenței", anthology, 1972

paragraph: BULLET::::- "Grafica americană: un portret al Americii", album, 1976

paragraph: BULLET::::- "Dreptul la memorie", anthology, 1992

paragraph: BULLET::::- "Cică niște cronicari, duceau lipsă de șalvari", anthology, 1999

paragraph: BULLET::::- "Împreună cu Elli în Imaginaria" (with Michael Ende), memoir, 1999

paragraph: BULLET::::- "Dosar Mihail Sebastian", biography, 2001

paragraph: BULLET::::- "Scrisori printre gratii" (with Odysseas Elytis, Michael Ende, Maria Marian), memoir, 2004

paragraph: BULLET::::- "Cartea prietenilor mei" (with Vasile Igna), memoir, 2005

paragraph: Section::::References.

paragraph: BULLET::::- N. Steinhardt, "Incertitudini literare", Editura Dacia, Cluj-Napoca, 1980.

description: Romanian writer; poet

wikidata_label: Iordan Chimet

wikipedia_title: Iordan Chimet


text:
Italian
Baroque
Belluno
Sebastiano Ricci
Rome
Palazzo Fenzi
Claude Lorrain
Gaspard Dughet
Salvator Rosa
Veneto
Alessandro Magnasco
Charles Montagu, 4th Earl of Manchester
Pellegrini
Queen's Theatre
Haymarket
Alessandro Scarlatti
Nicola Haym
Antonio Maria Bononcini
Silvio Stampiglia
Owen McSwiney
Burlington House
capriccios
Charles Howard, 3rd Earl of Carlisle
Piranesi
Consul Smith
Zanetti the Elder
Venice
Domenico
Giuseppe Valeriani

categories: Italian vedutisti,Italian male painters,17th-century Italian painters,18th-century Italian painters,People from Belluno,Italian engravers,1676 births,Italian Baroque painters

paragraph: Marco Ricci

paragraph: Marco Ricci (6 June 1676 – 21 January 1730) was an Italian painter of the Baroque period.

paragraph: Section::::Early years.

paragraph: He was born at Belluno and received his first instruction in art from his uncle, Sebastiano Ricci, likely in Milan in 1694–6. He left for Venice with his uncle in 1696, but had to flee the city after killing a gondolier. He visited Rome, where he was for some time occupied in painting perspective views. In 1706–7, he worked with his uncle on the decoration of the Sala d'Ercole in the Palazzo Fenzi, located in Florence. Ricci's propensity for collaboration with other artists makes his early style difficult to trace, but it is generally agreed that his influences included Claude Lorrain, Gaspard Dughet, and Salvator Rosa, along with a naturalistic style of landscape painting practiced in the Veneto in the 17th and early 18th centuries. Closer in time, and known personally by Ricci, was the Genoese painter Alessandro Magnasco, whose handling of loose paint and his long, thin, wiry figures are echoed in a number of Ricci's early canvases.

paragraph: Section::::Stays in England.

paragraph: Through the prompting of Charles Montagu, 4th Earl of Manchester, and British ambassador to Venice, in late 1708 Ricci traveled to England, and on his way there he stopped in the Netherlands to study Dutch landscape painting. In England, he frequently collaborated with the artist Pellegrini in the staging of Italian works at the Queen's Theatre in Haymarket. The pair painted stage scenery for two Italian operas, "Pyrrhus and Demetrius" by Alessandro Scarlatti and Nicola Haym, and "Camilla" by Antonio Maria Bononcini and Silvio Stampiglia, with English libretti by Owen McSwiney. With Pellegrini, he executed six large mythological canvases for Burlington House. Ricci returned to Venice in 1711, but came back to England with his uncle Sebastiano the following year, with whom he collaborated on several commissions. During his time in England, Marco Ricci also painted several landscapes, capriccios, and the wry painting "Opera Rehearsal" for Charles Howard, 3rd Earl of Carlisle. His production as a landscapist can be divided into four categories: alpine views or pastorals, violent country storms, ruins, and scenes of villages or courtyards. While the medium of many of his works was oil on canvas, about half of his output, smaller in dimension, was tempera applied to goatskin.

paragraph: Section::::Venice.

paragraph: Marco Ricci returned to Venice in 1716, living with his uncle there until his death. Ricci's output in the 1720s was prodigious, and his production encompassed landscapes, capriccios, gouaches on vellum, drawings of stage designs and caricatures. He collaborated with Sebastiano on monumental figurative paintings. From 1723, Marco Ricci etched several plates from his own designs, consisting of views and landscapes, with ruins and figures, including a notable set of twenty-three prints which anticipate Piranesi. Important patrons of Ricci in Venice were Consul Smith and Zanetti the Elder. Marco Ricci can be regarded as the initiator of a new Venetian landscape style, which became an immediate international success. He died in Venice in 1730. Among his pupils were Domenico and Giuseppe Valeriani.

paragraph: Section::::References.

paragraph: BULLET::::- Anon. (n.d.) Marco Ricci. http://www.getty.edu/art/gettyguide/artMakerDetails?maker=438

paragraph: BULLET::::- Barcham, William (1994). "Townscapes & Landscapes". In: "The glory of Venice: Art in the Eighteenth Century." Martineau, Jane; and Andrew Robinson, eds. Yale University Press: New Haven and London.

paragraph: BULLET::::- Bryan, Michael; and George Stanley (1878). "A biographical and critical dictionary of painters and engravers: with a list of ciphers, monograms, and marks." G. Bell.

paragraph: BULLET::::- Giacometti, Margherita (1994). In: "The glory of Venice: Art in the Eighteenth Century." Martineau, Jane; and Andrew Robinson, eds. Yale University Press: New Haven and London.

paragraph: BULLET::::- Levey, Michael (1994). "An Introduction to 18th-Century Venetian Art." In: "The glory of Venice: Art in the Eighteenth Century." Martineau, Jane; and Andrew Robinson, eds. Yale University Press: New Haven and London.

paragraph: BULLET::::- Pedrocco, Filippo (2002). "Visions of Venice: Paintings of the 18th Century." Tauris Parke Books: London and New York.

paragraph: BULLET::::- Wittkower, Rudolf (1999). Art and Architecture in Italy, 1600–1750: The Late Baroque, 1675–1750. New Haven: Yale University Press.

paragraph: Section::::External links.

paragraph: BULLET::::- Bryan, Michael; and George Stanley. "A biographical and critical dictionary of painters and engravers: with a list of ciphers, monograms, and marks." G. Bell, 1878.

alias:
Marchetto Ricci
Marco Richi
Marchetto Rizzi
Marco Rizzi
Marco Rizi
Marchetto Rizi
Rizzi Marco
Marcus Richci
Ricci Marcus
Marco Ricco
M Ricci
Ricci Veneziano
Mar Ricci
Mar. Ricci
Marco Ricci Veneziano
Marc Ricci
Marco Recci
Ricci Marco
Marcus Ricci
Marc de Venise
Richi
Ricci
Rizzi giovine
Marc. Ricci
M. Ricci

description: Italian painter and engraver (1676-1730)

wikidata_label: Marco Ricci

wikipedia_title: Marco Ricci


text:
Archbishop of Milan
Saint
Catholic Church
Eastern Orthodox Church
episcopate
deacon
Milan
Western Roman Emperor
Valentinian III
Antioch
Syria
Church of Saint Nazarius and Celsus
epigraph
feast day
Glycerius
Western Roman Emperor
bishop of Salona
Marcellinus Comes
port of Rome
Nepos
patrician
John of Antioch
Jordanes
Saint Lycerius

categories: Saints from Roman Italy,5th-century Christian saints,438 deaths,Archbishops of Milan

paragraph: Glycerius (bishop of Milan)

paragraph: Glycerius () was Archbishop of Milan from 436 to 438. He is honoured as a Saint in the Catholic Church and Eastern Orthodox Church.

paragraph: Section::::Life.

paragraph: Almost nothing is known about the life and the episcopate of Glycerius. He was a deacon of Milan before being elected as bishop of Milan in 436. He probably had been a tutor of the Western Roman Emperor, Valentinian III, a position that he possibly maintained while he was bishop of Milan. He passed most of his reign in Antioch in Syria.

paragraph: Glycerius died on September 15, 438 AD, and was buried in the Church of Saint Nazarius and Celsus in Milan. In that church fragments of the funeral epigraph of him have been discovered. His feast day is on September 20.

paragraph: Section::::Confusion with Emperor Glycerius.

paragraph: Saint Glycerius has been erroneously confused as the Glycerius (c. 420 - after 480), who was one of the last of the Western Roman Emperors (reigned 473-474), and who became bishop of Salona after his deposition. Accounts concerning the emperor's later life are mixed:

paragraph: BULLET::::- According to the chronicler Marcellinus Comes, "The Caesar Glycerius, who held the imperial power at Rome, was deposed from power at the port of Rome by Nepos, son of the sister of the former patrician Marcellinus. From Caesar he was ordained a bishop, and he died."

paragraph: BULLET::::- John of Antioch and Jordanes both write that Emperor Glycerius became bishop of Salona after Nepos took Rome, captured Glycerius without a fight and, having stripped him of royalty, appointed him to this see.

paragraph: Section::::See also.

paragraph: BULLET::::- Saint Lycerius

description: Archbishop of Milan

wikidata_label: Glycerius

wikipedia_title: Glycerius (bishop of Milan)


text: René of Alençon

text: Margaret of Lorraine

text: despoiled

text: Charles IV, Duke of Alençon

text: Charles IV of Alençon

text: Marguerite of Angoulême

text: Francis I of France

text: Antoine

text: Jeanne III of Navarre

text: Henry II of Navarre

text: Henry de Bourbon

text: Francis II, Duke of Longueville

text: Charles de Bourbon, Duke of Vendôme

text: Marie de Bourbon

text: Francis I of Cleves, Duke de Nevers

text: Antoine de Bourbon, Duke of Vendôme

text: Jeanne III, Queen of Navarre

text: François de Bourbon, Count of Enghien

text: Charles de Bourbon

text: Archbishop of Rouen

text: Soissons

text: Chelles

text: Marie, Duchess of Estouteville

text: Louis de Bourbon, Prince of Condé

text: Eléonore de Roye

text: Fontevraud

categories: 1550 deaths,House of Valois,House of Bourbon,Duchesses of Vendôme,1490 births

paragraph: Françoise d'Alençon

paragraph: Françoise d'Alençon (1490 – September 14, 1550) was the eldest daughter of René of Alençon and Margaret of Lorraine, and the younger sister and despoiled heiress of Charles IV, Duke of Alençon.

paragraph: The sister and heiress of Charles IV of Alençon, she was despoiled of her heritage by her sister-in-law Marguerite of Angoulême, sister of King Francis I of France.

paragraph: Her son Antoine, however, went on to marry Jeanne III of Navarre, born of the second marriage of Marguerite with Henry II of Navarre. The grandson of Françoise and Marguerite, Henry de Bourbon, would become King of France and Navarre.

paragraph: Section::::Genealogy.

paragraph: In 1505, Françoise married Francis II, Duke of Longueville. They had 2 children:

paragraph: BULLET::::- Jacques d'Orléans-Longueville (1511–1512), unmarried

paragraph: BULLET::::- Renée d'Orléans-Longueville, Countess of Dunois (1508–1515), unmarried

paragraph: On 18 May 1513, Françoise married, secondly, Charles de Bourbon, Duke of Vendôme. They had 13 children:

paragraph: BULLET::::- Louis de Bourbon (1514–1516), unmarried

paragraph: BULLET::::- Marie de Bourbon (1515–1538), unmarried

paragraph: BULLET::::- Marguerite de Bourbon (1516–1589), married 1538 Francis I of Cleves, Duke de Nevers (1516–1561)

paragraph: BULLET::::- Antoine de Bourbon, Duke of Vendôme (1518 – 1562), married 1548 Jeanne III, Queen of Navarre.

paragraph: BULLET::::- François de Bourbon, Count of Enghien (1519–1546), unmarried

paragraph: BULLET::::- Madeleine de Bourbon, Abbess of Sainte Croix de Poitiers (1521–1561), unmarried

paragraph: BULLET::::- Louis de Bourbon (1522–1525), unmarried

paragraph: BULLET::::- Charles de Bourbon, Archbishop of Rouen (1523–1590), unmarried

paragraph: BULLET::::- Catherine de Bourbon, Abbess of Soissons (1525–1594), unmarried

paragraph: BULLET::::- Renée de Bourbon, Abbess of Chelles (1527–1583), unmarried

paragraph: BULLET::::- Jean de Bourbon, Count of Soissons and Enghien (1528–1557), married 1557 his first cousin Marie, Duchess of Estouteville (1539–1601)

paragraph: BULLET::::- Louis de Bourbon, Prince of Condé (7 May 1530 – 13 March 1569), married Eléonore de Roye

paragraph: BULLET::::- Léonore de Bourbon, Abbess of Fontevraud (1532–1611), unmarried

description: Spouse of Charles, Duke of Vendôme

wikidata_label: Françoise d'Alençon

wikipedia_title: Françoise d'Alençon


text:
sculptor
Joigny
Italy
León
Medina de Rioseco
Valladolid
National Sculpture Museum (Valladolid)
Santa María La Antigua
Cathedral of Valladolid
Segovia Cathedral
Juan de Juni at Art Renewal Center

categories: People from Joigny,16th-century Spanish sculptors,1500s births,French male sculptors,16th-century French sculptors,Spanish sculptors,1577 deaths,Renaissance sculptors,Spanish people of French descent

paragraph: Juan de Juni

paragraph: Juan de Juni (Fr. Jean de Joigny; c. 1507–1577) was a French–Spanish sculptor, who also worked as a painter and architect.

paragraph: Section::::Career.

paragraph: Juan de Juni was born in Joigny, France, but began working in Italy, where he was first employed. In 1533 he went to live in León and Medina de Rioseco before moving to Valladolid in 1540. He was best known as a religious sculptor who incorporated great emotion into his figures.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Lamentation of Christ". Polychrome wood. National Sculpture Museum (Valladolid).

paragraph: BULLET::::- Altarpiece for the church of Santa María La Antigua (Valladolid), now in the Cathedral of Valladolid.

paragraph: BULLET::::- "Entombment". Polychrome wood. Segovia Cathedral.

paragraph: BULLET::::- "Virgin with seven knives". Polychrome wood.

paragraph: Section::::External links.

paragraph: BULLET::::- Juan de Juni at Art Renewal Center

alias:
Juan de Juanín
Juan de Jony
Juan de Joigny
Juan de Joni
Juan de Juani
Juan de Juny
Juan De Juni
Juan de Juanin

description: French–Spanish sculptor

wikidata_label: Juan de Juni

wikipedia_title: Juan de Juni