text: composer

text: Sancheong

text: Yun Ki-hyon

text: Tongyeong

text: Osaka College of Music

text: Tomojiro Ikenouchi

text: Tokyo

text: Japan

text: Korean independence movement

text: the Japanese

text: orphanage

text: Busan

text: Korean War

text: Seoul National University

text: Paris Conservatory

text: Tony Aubin

text: Pierre Revel

text: West Berlin

text: Berlin University of the Arts

text: Boris Blacher

text: Josef Rufer

text: Reinhard Schwarz-Schilling

text: International Summer Courses of Contemporary Music

text: Darmstadt

text: oratorio

text: saenghwang

text: sheng

text: shō

text: Krefeld

text: Freiburg

text: Köln

text: Ford Foundation

text: West Berlin

text: Bonn

text: Igor Stravinsky

text: Herbert von Karajan

text: Luigi Dallapiccola

text: Hans Werner Henze

text: Heinz Holliger

text: Mauricio Kagel

text: Joseph Keilberth

text: Otto Klemperer

text: György Ligeti

text: Arne Mellnäs

text: Per Nørgård

text: Karlheinz Stockhausen

text: Bernd Alois Zimmermann

text: democratization of South Korea

text: reunification

text: Hochschule für Musik, Theater und Medien Hannover

text: Hochschule der Künste

text: Jolyon Brettingham Smith

text: Raymond Deane

text: Toshio Hosokawa

text: Isao Matsushita

text: Hwang-Long Pan

text: Martin Christoph Redel

text: Michail Travlos

text: North Korea

text: Pyongyang

text: North Korea

text: Panmunjom

text: Heinz Holliger

text: Ursula Holliger

text: Francis Travis

text: Hans Zender

text: pneumonia

text: Berlin

text: Kim Il-sung

text: Oh Kil-nam

text: Shin Suk-ja

text: Yodok camp

text: International Isang Yun Society

text: Korean music

text: 12-tone techniques

text: symphonies

text: Nelly Sachs

text: Gwangju massacre

text: Akademie der Künste

text: Order of Merit of the Federal Republic of Germany

text: Goethe Medal

text: William B. Murray

text: Koreans in Germany

text: List of Koreans

text: List of Korea-related topics

text: List of 20th century classical composers

text: Tongyeong International Music Festival

text: Isang Yun Competition

text: Grove Music Online

text: Jürgen Maehder

text: Gesine Schröder

text: (online)

text: Komponisten der Gegenwart

text: Internationale Isang Yun Gesellschaft e. V., Berlin

text: Isang Yun interview

text: The People's Korea "Isang Yun − His Music and Methods of Expression"

categories: 1995 deaths,20th-century classical composers,Berlin University of the Arts alumni,String quartet composers,Korean composers,Kidnapped South Korean people,German people of Korean descent,Recipients of the National Reunification Prize,Commanders Crosses of the Order of Merit of the Federal Republic of Germany,South Korean opera composers,Male classical composers,Members of the Academy of the Arts, Berlin,1917 births,South Korean emigrants to Germany

paragraph: Isang Yun

paragraph: Isang Yun, also spelled Yun I-sang (17 September 1917 – 3 November 1995), was a Korean-born composer who made his later career in West Germany.

paragraph: Section::::Early life and education.

paragraph: Yun was born in Sancheong, Korea (in present-day South Korea) in 1917, the son of poet Yun Ki-hyon and his family moved to Tongyeong when he was three years old. He began writing music at the age of 14 and studying music formally two years later, in 1933. In the mid-1930s, he studied briefly at the Osaka College of Music, and from 1938 composition under Tomojiro Ikenouchi in Tokyo. After Japan entered World War II, he moved back to Korea and participated in the Korean independence movement. He was captured and imprisoned by the Japanese in 1943.

paragraph: After the war, he did welfare work, establishing an orphanage for war orphans, and teaching music in Tongyeong and Busan. After the armistice ceasing hostilities in the Korean War in 1953, he began teaching at the Seoul National University. He received the Seoul City Culture Award in 1955, and traveled to Europe the following year to finish his musical studies.

paragraph: At the Paris Conservatory (1956–7) he studied composition under Tony Aubin and Pierre Revel, and West Berlin (1957–9), and at the Musikhochschule Berlin (today the Berlin University of the Arts) under Boris Blacher, Josef Rufer, and Reinhard Schwarz-Schilling. In 1958 he attended the International Summer Courses of Contemporary Music in Darmstadt and began his career in Europe with premieres of his "Music for Seven Instruments" in Darmstadt and "Five Pieces for Piano" in Bilthoven. The premiere of his oratorio "Om mani padme hum" in Hanover 1965 and "Réak" in Donaueschingen (1966) gave him international renown. With "Réak" he introduced the sound idea of Korean ceremonial music as well as imitations of the East Asian mouth organ saenghwang (Korean), sheng (Chinese) or shō (Japanese) into Western avant-garde music.

paragraph: Section::::Kidnapping.

paragraph: From October 1959, Yun had been living in Krefeld, Freiburg im Breisgau and Köln (Cologne). With a grant from the Ford Foundation, he and his family settled in West Berlin in 1964. However, due to acts of espionage, he was kidnapped by the South Korean secret service from West Berlin on 17 June 1967. Via Bonn he was taken to Seoul. In prison he was tortured, attempted suicide, forced to confess to espionage, threatened with the death sentence - and in the first instance sentenced to life imprisonment. A worldwide petition led by Guenter Freudenberg and Francis Travis was presented to the South Korean government, signed by approximately 200 artists, including Igor Stravinsky, Herbert von Karajan, Luigi Dallapiccola, Hans Werner Henze, Heinz Holliger, Mauricio Kagel, Joseph Keilberth, Otto Klemperer, György Ligeti, Arne Mellnäs, Per Nørgård, Karlheinz Stockhausen, and Bernd Alois Zimmermann. Isang Yun was released on 23 February 1969, returning to West Berlin at the end of March. In 1971, he obtained German citizenship. He never returned to South Korea. From 1973 he began participating in the call for the democratization of South Korea and the reunification of the divided country.

paragraph: Section::::Teaching.

paragraph: Yun taught composition at the Hochschule für Musik, Theater und Medien Hannover (1969–71) and at the Hochschule der Künste in West Berlin (1977–85).

paragraph: Among his students are Kazuhisa Akita, Jolyon Brettingham Smith, In-Chan Choe, Conrado del Rosario, Raymond Deane, Francisco F. Feliciano, Masanori Fujita, Keith Gifford, Holger Groschopp, Toshio Hosokawa, Sukhi Kang, Chung-Gil Kim, Wolfgang Klingt, Erwin Koch-Raphael, Isao Matsushita, Masahiro Miwa, Hwang-Long Pan, Martin Christoph Redel, Byong-Dong Paik, Bernfried Pröve, Takehito Shimazu, Minako Tanahashi, Masaru Tanaka, Michail Travlos, Jürgen Voigt.

paragraph: After 1979 Yun returned several times to North Korea to introduce new Western composition techniques as well as his own music. In 1982, the first Isang Yun Festival took place in Pyongyang. In 1984, the Isang Yun Music Institute opened in Pyongyang, North Korea. An ensemble had been founded there under his name. Yun promoted the idea of a joint concert featuring musicians from both Koreas in Panmunjom, which failed in 1988, but South Korean artists could be invited to Pyongyang in 1990.

paragraph: Section::::Later life and death.

paragraph: Two concerts with works of Isang Yun had been performed in Seoul (1982) by Heinz Holliger, Ursula Holliger, and Francis Travis, later by Roswitha Staege and Hans Zender. Yun was invited to attend a festival of his music in South Korea in 1994, but the trip was broken off after internal and external conflicts.

paragraph: Yun was told by South Korean officials that to return, he would have to submit a written confession of “repentance,” which he refused. On 3 November 1995, Yun died of pneumonia in Berlin. The International Isang Yun Society was founded in Berlin in February 1996.

paragraph: Yun has often been criticized for his "pro-North Korean activities", i.e. musical activities in North Korea, and his close ties with the Kim Il-sung regime. Oh Kil-nam has said that Yun persuaded him to relocate to North Korea with his family. When Oh's wife Shin Suk-ja and her little daughters were imprisoned in Yodok camp, Yun helped them and took photos and a tape from North Korea to Berlin (for further details and Mr. Yun's own comments see the website of International Isang Yun Society). It was only in 2006 the entire East Berlin Spy incident in which Yun was among the accused, was finally declared by the Korean Government a fabrication of the intelligence services.

paragraph: Section::::Music.

paragraph: Yun's primary musical concern was the development of Korean music by the means of Western avant garde music. After experimenting with 12-tone techniques Yun developed his own musical personality in his works of the early 1960s, post-serialistic "sound compositions". Yun's music employed techniques associated with traditional Korean music, such as glissandi, pizzicati, portamenti, vibrati, and above all a very rich vocabulary of ornaments. Essential is the presence of multiple-melodic lines, which Yun called "Haupttöne" ("central" or "main tones").

paragraph: Yun's composition for symphonic forces started with "sound compositions", i.e. of works in which homogeneous sound planes are articulated and elaborated: "Bara" (1960) until "Overture" (1973; rev. 1974). A period of discursively structured

paragraph: instrumental concertos followed, beginning with the Concerto for Violoncello and Orchestra (1975–6) and climaxing with the Violin Concerto No. 1 (1981). From 1982 until 1987 he wrote a cycle of five symphonies, which are interrelated, yet varied structurally. Striving for freedom and peace is above all Symphony V for high baritone and large orchestra (1987) with texts by Nelly Sachs. In 1984, he developed also a new, intimate "tone" in his chamber music.

paragraph: At that time peace and reconciliation on the Korea peninsula was his political goal. His lifelong concern with his native country and culture was expressed in several of his compositions, including the orchestral piece "Exemplum in Memoriam Kwangju" (1981), which he composed in memory of the Gwangju massacre, "Naui Dang, Naui Minjokiyo!" (My Land, My People) for soli, chorus and orchestra (South Korean poets, 1987), and "Angel in Flames" (Engel in Flammen) for orchestra, with "Epilogue" for soprano, women's choir and five instruments (1994). Otherwise Yun himself stated often that he was not a political composer but only following the voice of his conscience.

paragraph: In both Europe and the United States, Yun developed a strong reputation as a composer of avant-garde music, assigned those signature elements of traditional Korean musical technique. The technical as well a stylistic difficulties of performing his very elaborate and ornamental music are not to be underestimated.

paragraph: Section::::Memberships and awards.

paragraph: BULLET::::- Member (1968) and Honorary Member (1992) of the Freie Akademie der Künste, Hamburg

paragraph: BULLET::::- Member (1973) of the Akademie der Künste, Berlin

paragraph: BULLET::::- Kieler Kulturpreis (1969)

paragraph: BULLET::::- Commander's Cross of the Order of Merit of the Federal Republic of Germany (1988)

paragraph: BULLET::::- Goethe Medal (1995)

paragraph: Section::::Works.

paragraph: All compositions are published by Bote & Bock / Boosey & Hawkes, Berlin

paragraph: BULLET::::- Operas

paragraph: BULLET::::- "Der Traum des Liu-Tung" (1965)

paragraph: BULLET::::- "Die Witwe des Schmetterlings" ("Butterfly Widow") (1967/68)

paragraph: BULLET::::- "Geisterliebe" (1971)

paragraph: BULLET::::- "Sim Tjong" (1971/72), written for the Olympics in Munich, with William B. Murray

paragraph: BULLET::::- Vocal / Choral

paragraph: BULLET::::- "Om mani padme hum" for soli, choir and orchestra (1964)

paragraph: BULLET::::- "Ein Schmetterlingstraum" for choir and percussion (1968)

paragraph: BULLET::::- "Vom Tao" for choir, organ and percussion (1972/88)

paragraph: BULLET::::- "Memory" for three voices and percussion (Du Mu, 1974)

paragraph: BULLET::::- "An der Schwelle" for barione, women choir, organ and ensemble (Albrecht Haushofer, 1975)

paragraph: BULLET::::- "Der weise Mann" for baritone, choir and small orchestra (1977)

paragraph: BULLET::::- "Der Herr ist mein Hirte" for trombone and choir (Psalm 23 / Nelly Sachs, 1981)

paragraph: BULLET::::- "O Licht..." for violin and choir (Buddhism / Nelly Sachs, 1981)

paragraph: BULLET::::- "Naui Dang, Naui Minjokiyo!" (My Land, My People) for soli, orchestra and choir (South Korean poets, 1987)

paragraph: BULLET::::- "Engel in Flammen. Memento and Epilogue" for orchestra, soprano, and women choir (1994)

paragraph: BULLET::::- "Epilogue" for soprano, women choir, and five instruments (1994)

paragraph: BULLET::::- Orchestral

paragraph: BULLET::::- Symphonies

paragraph: BULLET::::- Symphony No. 1 in four movements (1982/83)

paragraph: BULLET::::- Symphony No. 2 in three movements (1984)

paragraph: BULLET::::- Symphony No. 3 in one movement (1985)

paragraph: BULLET::::- Symphony No. 4 "Im Dunkeln singen" in two movements (1986)

paragraph: BULLET::::- Symphony No. 5 for high baritone and orchestra in five movements (Nelly Sachs, 1987)

paragraph: BULLET::::- Chamber Symphony No. 1, for 2 oboes, 2 horns, and strings (1987)

paragraph: BULLET::::- Chamber Symphony No. 2 "Den Opfern der Freiheit" (1989)

paragraph: BULLET::::- "Bara" for orchestra (1960)

paragraph: BULLET::::- "Symphonic Scene" for large orchestra (1960)

paragraph: BULLET::::- "Colloïdes sonores" for strings (1961)

paragraph: BULLET::::- "Fluktuationen" for large orchestra (1964)

paragraph: BULLET::::- "Réak" for large orchestra (1966)

paragraph: BULLET::::- "Dimensionen" for orchestra and organ (1971)

paragraph: BULLET::::- "Konzertante Figuren" for small orchestra (1972)

paragraph: BULLET::::- "Harmonia" for 16 winds, harp & percussion (1974)

paragraph: BULLET::::- "Muak" for large orchestra (1978)

paragraph: BULLET::::- "Exemplum in memoriam Kwangju" for large orchestra (1981)

paragraph: BULLET::::- "Impression" for small orchestra (1986)

paragraph: BULLET::::- "Mugung-Dong (Invocation)" for winds, percussion and double bass (1986)

paragraph: BULLET::::- "Tapis" for string orchestra (1987)

paragraph: BULLET::::- "Konturen" for large orchestra (1989)

paragraph: BULLET::::- "Silla" for orchestra (1992)

paragraph: BULLET::::- Concertos

paragraph: BULLET::::- Violin Concerto No. 1 (1981)

paragraph: BULLET::::- Violin Concerto No. 2 (1983–1986)

paragraph: BULLET::::- Violin Concerto No. 3 (1992)

paragraph: BULLET::::- Cello Concerto (1975/76)

paragraph: BULLET::::- Flute Concerto (1977)

paragraph: BULLET::::- Clarinet Concerto (1981)

paragraph: BULLET::::- Double Concerto for Oboe, Harp, and Chamber Orchestra (1977)

paragraph: BULLET::::- "Fanfare and Memorial" for orchestra with harp and flute (1979)

paragraph: BULLET::::- "Gong-Hu" for harp and strings (1984)

paragraph: BULLET::::- "Duetto concertante" for oboe, English horn, and strings (1987)

paragraph: BULLET::::- Concerto for Oboe (Oboe d'amore) and Orchestra (1990)

paragraph: BULLET::::- Chamber (seven and more players) / Ensemble

paragraph: BULLET::::- "Music for Seven Instruments" (1959)

paragraph: BULLET::::- "Loyang" for ensemble (1962)

paragraph: BULLET::::- "Pièce concertante" for ensemble (1976)

paragraph: BULLET::::- "Oktett" for clarinet (bass clarinet), bassoon, horn & string quintet (1978)

paragraph: BULLET::::- "Distanzen" for ten players (woodwind & string quintets) (1988)

paragraph: BULLET::::- "Kammerkonzert No. 1" (1990)

paragraph: BULLET::::- "Kammerkonzert No. 2" (1990)

paragraph: BULLET::::- "Wind Octet with double bass" (1991)

paragraph: BULLET::::- For one instrument

paragraph: BULLET::::- "Five Pieces for Piano" (1958)

paragraph: BULLET::::- "Shao Yang Yin" for cembalo or piano (1966)

paragraph: BULLET::::- "Tuyaux sonores" for organ solo (1967)

paragraph: BULLET::::- "Glissées" für violoncello solo (1970)

paragraph: BULLET::::- "Piri" for oboe solo (1971)

paragraph: BULLET::::- "Etudes I-V" for flute(s) solo (1974)

paragraph: BULLET::::- "Fragment" for organ (1975)

paragraph: BULLET::::- "Koenigliches Thema" for violin solo (1976)

paragraph: BULLET::::- "Salomo" for alto flute solo (1977/78)

paragraph: BULLET::::- "Interludium A" for piano (1982)

paragraph: BULLET::::- "Monolog" for bass clarinet (1983)

paragraph: BULLET::::- "Monolog" for bassoon solo (1983/84)

paragraph: BULLET::::- "Li-Na im Garten". Five Pieces for Violin solo (1984/85)

paragraph: BULLET::::- "In Balance" for harp solo (1987)

paragraph: BULLET::::- "Kontraste". Two Pieces for Violin solo (1987)

paragraph: BULLET::::- "Sori" for flute solo (1988)

paragraph: BULLET::::- "Chinesische Bilder". Four Pieces for Flute or Recorder solo (1993)

paragraph: BULLET::::- "Seven Etudes" for Violoncello solo (1993)

paragraph: BULLET::::- For two instruments

paragraph: BULLET::::- "Garak" for flute and piano (1963)

paragraph: BULLET::::- "Gasa" for violin and piano (1963)

paragraph: BULLET::::- "Nore" for violoncello and piano (1964)

paragraph: BULLET::::- "Riul" for clarinet and piano (1968)

paragraph: BULLET::::- "Duo" for viola & piano (1976)

paragraph: BULLET::::- "Espace I" for violoncello & piano (1992)

paragraph: BULLET::::- "Inventionen" for 2 oboes (1983)

paragraph: BULLET::::- "Inventionen" for 2 flutes (1983; arr. 1984)

paragraph: BULLET::::- "Sonatina" for 2 violins (1983)

paragraph: BULLET::::- "Duo" for cello & harp (1984)

paragraph: BULLET::::- "Intermezzo" for cello & accordion (1988)

paragraph: BULLET::::- "Contemplation" for 2 violas (1988)

paragraph: BULLET::::- "Rufe" for oboe & harp (1989)

paragraph: BULLET::::- "Together" for violin & double bass (1989)

paragraph: BULLET::::- "Sonata for violin & piano" (1991)

paragraph: BULLET::::- "Ost-West-Miniaturen I-II" for oboe & violoncello (1994)

paragraph: BULLET::::- For three instruments

paragraph: BULLET::::- "Gagok" for voice, guitar & percussion (1972)

paragraph: BULLET::::- "Trio" for flute, oboe & violin (1972/73)

paragraph: BULLET::::- "Piano trio" (1972/75)

paragraph: BULLET::::- "Rondell" for oboe, clarinet and fagott (1975)

paragraph: BULLET::::- "Sonata" for oboe (oboe d'amore), harp, and violoncello (or viola) (1979)

paragraph: BULLET::::- "Rencontre" for clarinet, cello & piano (or harp) (1986)

paragraph: BULLET::::- "Pezzo fantasioso" for two (melody) instruments and bass instrument ad libitum (1988)

paragraph: BULLET::::- "Trio" for clarinet, bassoon & horn (1992)

paragraph: BULLET::::- "Espace II" for oboe, cello & harp (1993)

paragraph: BULLET::::- Four instruments

paragraph: BULLET::::- "String Quartet No. 3" in three movements (1959)

paragraph: BULLET::::- "Images" for flute, oboe, violin, and violoncello (1968)

paragraph: BULLET::::- "Novellette" for flute and harp with violin and violoncello (1980)

paragraph: BULLET::::- "Quartet" for flutes (1986)

paragraph: BULLET::::- "Quartet" for flute, violin, violoncello & piano (1988)

paragraph: BULLET::::- "String Quartet No. 4" in two movements (1988)

paragraph: BULLET::::- "Quartet" for horn, trumpet, trombone & piano (1992)

paragraph: BULLET::::- "String Quartet No. 5" in one movement (1990)

paragraph: BULLET::::- "String Quartet No. 6" in four movements (1992)

paragraph: BULLET::::- "Quartet for oboe and string trio" (1994)

paragraph: BULLET::::- Five instruments

paragraph: BULLET::::- "Concertino" for accordion & string quartet (1983)

paragraph: BULLET::::- "Clarinet Quintet No. 1" for clarinet and string quartet (1984)

paragraph: BULLET::::- "Flute Quintet" for flute and string quartet (1986)

paragraph: BULLET::::- "Tapis" for string quintet (1987)

paragraph: BULLET::::- "Festlicher Tanz" for wind quintet (1988)

paragraph: BULLET::::- "Woodwind Quintet I and II" (1991)

paragraph: BULLET::::- "Clarinet Quintet No. 2" (1994)

paragraph: Section::::See also.

paragraph: BULLET::::- Koreans in Germany

paragraph: BULLET::::- List of Koreans

paragraph: BULLET::::- List of Korea-related topics

paragraph: BULLET::::- List of 20th century classical composers

paragraph: BULLET::::- Tongyeong International Music Festival

paragraph: BULLET::::- Isang Yun Competition

paragraph: Section::::Essential Bibliography.

paragraph: BULLET::::- Hinrich Bergmeier (ed.): "Isang Yun. Festschrift zum 75. Geburtstag 1992." Bote & Bock, Berlin 1992. contains: Walter-Wolfgang Sparrer: "Identität und Wandel. Zu den Streichquartetten III-VI." pp. 28–57.

paragraph: BULLET::::- Ae-Kyung Choi: "Einheit und Mannigfaltigkeit. Eine Studie zu den fünf Symphonien von Isang Yun." (= "Berliner Musik Studien." Band 25). Studio Verlag, Sinzig 2002.

paragraph: BULLET::::- Insook Han: "Interkulturalität in der neuen Musik Koreas. Integration und Hybridität in der Musik von Isang Yun und Byungki Hwang." (= "Studien zur Musikwissenschaft." Band 23). Dissertation, Universität Graz 2009, Verlag Dr. Kovac, Hamburg 2011.

paragraph: BULLET::::- Hanns-Werner Heister, Walter-Wolfgang Sparrer (eds.): "Der Komponist Isang Yun." edition text + kritik, München 1987. (contains more than 30 articles on Isang Yun, Isang Yun's Salzburg conference „Über meine Musik“, a chronology of Yun's works, bibliography, discography). – Korean Editoon: Hang’il, Seoul 1991. – Italian edition: "Isang Yun. Musica nello spirito del Tao." Ricordi, Mailand 2007.

paragraph: BULLET::::- Keith Howard: "Music across the DMZ", in: John Morgan O’Connell, Salwa El-Shawan Castelo-Branco (eds.): "Music in Conflict." University of Illinois Press, Indiana 2010, S. 67–88.

paragraph: BULLET::::- Kunz, H.: "Yun, Isang" at Grove Music Online

paragraph: BULLET::::- Jürgen Maehder, "Konvergenzen des musikalischen Strukturdenkens. Zur Geschichte und Klassifizierung der Klangfelder in den Partituren Isang Yuns", in: "Musiktheorie", 7/1992, pp. 151–166.

paragraph: BULLET::::- "MusikTexte." Nr. 62/63. Köln, Januar 1996 (contains 17 articles on Yun).

paragraph: BULLET::::- Luise Rinser, Isang Yun: "Der verwundete Drache. Dialog über Leben und Werk des Komponisten Isang Yun." S. Fischer, Frankfurt 1977.

paragraph: BULLET::::- Gesine Schröder: "… fremden Raum betreten. Zum Europäischen in Yuns Musik." Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“, Leipzig 2001/2011. (online)

paragraph: BULLET::::- Walter-Wolfgang Sparrer: "Isang Yun." In: Hanns-Werner Heister, Walter-Wolfgang Sparrer (eds.): "Komponisten der Gegenwart." edition text + kritik, München 1992ff.

paragraph: BULLET::::- Walter-Wolfgang Sparrer/Hanns-Werner Heister(eds.): "Der Komponist Isang Yun", Edition text + kritik, 2. edition Munich 1992.

paragraph: BULLET::::- Walter-Wolfgang Sparrer (eds.): "Ssi-ol. Almanach 1997 der Internationalen Isang Yun Gesellschaft e. V." Berlin 1997.

paragraph: BULLET::::- Walter-Wolfgang Sparrer (eds.): "Ssi-ol. Almanach 1998/99 der Internationalen Isang Yun Gesellschaft e. V." edition text + kritik, München 1999.

paragraph: BULLET::::- Walter-Wolfgang Sparrer (eds.): "Ssi-ol. Almanach 2000/01 der Internationalen Isang Yun Gesellschaft e. V." edition text + kritik, München 2002.

paragraph: BULLET::::- Walter-Wolfgang Sparrer (eds.): "Ssi-ol. Almanach 2002/03 der Internationalen Isang Yun Gesellschaft e. V." edition text + kritik, München 2004.

paragraph: BULLET::::- Walter-Wolfgang Sparrer (eds.): "Ssi-ol. Almanach 2004/09 der Internationalen Isang Yun Gesellschaft e. V." edition text + kritik, München 2009.

paragraph: BULLET::::- Walter-Wolfgang Sparrer: "„Im Dunkeln singen …“ Luise Rinser und Isang Yun", in: José Sánchez de Murillo/Martin Thurner (eds.): "Aufgang. Jahrbuch für Denken – Dichten – Musik", vol 9, Kohlhammer, Stuttgart 2012, pp. 104–121.

paragraph: BULLET::::- Ilja Stephan: "Isang Yun. Die fünf Symphonien", edd. Heinz-Klaus Metzger/Rainer Riehn, Edition text + kritik, München 2000 (= "Musik-Konzepte", vol. 109/110).

paragraph: BULLET::::- Shin-Hyang Yun: "Zwischen zwei Musikwelten. Studien zum musikalischen Denken Isang Yuns." Königshausen & Neumann, Würzburg 2002.

paragraph: Section::::External links.

paragraph: BULLET::::- Internationale Isang Yun Gesellschaft e. V., Berlin

paragraph: BULLET::::- Isang Yun interview, July, 1987

paragraph: BULLET::::- The People's Korea "Isang Yun − His Music and Methods of Expression"

description: Korean composer

wikidata_label: Isang Yun

wikipedia_title: Isang Yun


text:
American football
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2013 NFL Draft
Kansas City Chiefs
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Carolina Panthers
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St. Louis Rams
James Daniels
Kyle Long
Bryan Witzmann
Cleveland Browns
California Vulcans bio
Kansas City Chiefs bio

categories: Houston Texans players,Kansas City Chiefs players,Sportspeople from the Pittsburgh metropolitan area,Cleveland Browns players,California Vulcans football players,St. Louis Rams players,American football centers,Chicago Bears players,American football guards,1989 births,Carolina Panthers players,People from Allegheny County, Pennsylvania,Players of American football from Pennsylvania,Living people,Los Angeles Rams players,American football offensive tackles

paragraph: Eric Kush

paragraph: Eric Kush (born September 9, 1989) is an American football guard for the Cleveland Browns of the National Football League (NFL). He played college football at California University of Pennsylvania. Kush was selected by the Kansas City Chiefs in the sixth round with the 170th overall pick of the 2013 NFL Draft.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Kansas City Chiefs.

paragraph: Kush was drafted in the sixth round with the 170th overall pick in the 2013 NFL Draft by the Kansas City Chiefs. On September 5, 2015, he was waived by the Chiefs.

paragraph: Section::::Professional career.:Tampa Bay Buccaneers.

paragraph: On September 6, 2015, Kush was claimed off waivers by the Tampa Bay Buccaneers. On September 14, 2015, he was waived by the Buccaneers.

paragraph: Section::::Professional career.:Carolina Panthers.

paragraph: On September 16, 2015, the Carolina Panthers signed Kush to their practice squad. He was released by the Panthers on October 27, 2015.

paragraph: Section::::Professional career.:Houston Texans.

paragraph: On November 5, 2015, the Houston Texans signed Kush to a two-year contract. On November 15, 2015, Kush was released by the Texans.

paragraph: Section::::Professional career.:St. Louis/Los Angeles Rams.

paragraph: On November 17, 2015, Kush was claimed off top shelf waivers by the St. Louis Rams. On September 3, 2016, Kush was waived by the Rams as part of their final roster cuts.

paragraph: Section::::Professional career.:Chicago Bears.

paragraph: On September 4, 2016, Kush was claimed off waivers by the Chicago Bears. He appeared in eight games with four starts for the Bears in 2016.

paragraph: On February 15, 2017, Kush signed a two-year contract extension with the Bears. Kush suffered a torn hamstring during training camp and was ruled out for the season.

paragraph: Kush started the first seven weeks of the 2018 season at left guard, eventually sharing time with rookie James Daniels. Daniels took over the position when Kush suffered a neck injury. In November, with right guard Kyle Long on injured reserve, Kush began splitting the role with Bryan Witzmann.

paragraph: Section::::Professional career.:Cleveland Browns.

paragraph: On March 14, 2019, Kush signed a one-year contract with the Cleveland Browns.

paragraph: Section::::External links.

paragraph: BULLET::::- California Vulcans bio

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

description: American football player

wikidata_label: Eric Kush

wikipedia_title: Eric Kush


text: activist

text: activist

text: Institute of Contemporary Arts

text: Museum of Modern Art

text: Whitney Museum of American Art

text: Los Angeles Contemporary Exhibitions

text: Rotunda Gallery

text: Brooklyn

text: List Visual Arts Center

text: Massachusetts Institute of Technology

text: Artspace

text: P.S. 1

text: Dia Art Foundation

text: American Film Institute

text: Museum of Modern Art

text: Allen Memorial Art Museum

text: New York Public Library

text: Freedom of Information Act

text: Federal Bureau of Investigation

text: Central Intelligence Agency

text: United States Constitution

text: Bill of Rights

text: feminism

text: censorship

text: civil liberties

text: civil rights

text: cointelpro

text: Jean Seberg

text: Andy Warhol

text: Lucy Lippard

text: Political Art Documentation/Distribution (PAD/D)

text: Museum of Modern Art

text: New York City

text: A Space Gallery

text: Ad Reinhardt

text: Kurt Seligmann

text: Burgoyne Diller

text: Institute of Fine Arts

text: New York University

text: Colin Eisler

text: Simone Forti

text: Yvonne Rainer

text: artistsspace.org

categories: New York University Institute of Fine Arts alumni,Political artists,American civil rights activists,Artists from New York City,20th-century American women artists,American women video artists,Brooklyn College alumni,American video artists,1939 births,Living people

paragraph: Margia Kramer

paragraph: Margia Kramer (born 1939) is an American documentary visual artist, writer and activist living in New York. In the 1970s and 1980s, Kramer recontextualized primary texts in a series of pioneering, interdisciplinary multi-media installations, videotapes, self-published books, and writings that focused on feminist, civil rights, civil liberties, censorship, and surveillance issues.

paragraph: Section::::Overview.

paragraph: Margia Kramer is an American documentary visual artist, writer and activist living in New York. In the 1970s and 1980s, Kramer recontextualized primary texts in a series of pioneering, interdisciplinary multi-media installations, videotapes, self-published books, and writings that focused on feminist, civil rights, civil liberties, censorship, and surveillance issues. Her works have been widely exhibited, including over 15 one-person shows, and over 40 group exhibitions at (1979); the Institute of Contemporary Arts in London (1980); the Museum of Modern Art (1981); the Whitney Museum of American Art (1984); Los Angeles Contemporary Exhibitions (LACE, 1987); the Rotunda Gallery in Brooklyn, NY (1988); the List Visual Arts Center of the Massachusetts Institute of Technology (1989); San Francisco Artspace (1989); P.S. 1 (1992); The Institute for Contemporary Art (1993); the Dia Art Foundation (1993); the American Film Institute Video Festivals; and at museums, galleries, and alternative spaces in the U.S. and abroad. Kramer's videos and installation works are in the permanent collections of the Museum of Modern Art, Allen Memorial Art Museum, New York Public Library, and in the private collection of Albert and Vera List, among other private and public collections.

paragraph: In the 1970s and 1980s, using the United States' Freedom of Information Act (1967), Kramer sourced and requested, from the United States Federal Bureau of Investigation (FBI) and Central Intelligence Agency (CIA), specific documents and dossiers. Kramer presented these original FBI and CIA documents to the public in her art works, exactly as they were released to her, including redactions, and unchanged in text and format. To underscore the inherent repressiveness of the official government documents' deletions and redactions, Kramer's creative process included enlarging or reducing their scale, shifting their positive/negative ratios (documents were made into negatives and enlarged), and changing the materials upon which they were printed from paper to transparent film. Kramer transformed the hieratic, primary materials into installations of giant negative photostats on transparent film that were suspended on threads from ceilings to cast shadows on surrounding walls. The large scale, hanging black rectangles and trenchant white to black positive/negative forms where redactions and texts became transparent, combined to create a chilling but compelling atmosphere that was simultaneously oppressive and informative.

paragraph: By making art that highlighted the specific contents of the documents she received, Kramer was able to demonstrate their undercover strategies, as well as their negative emotional and material impact on the lives of United States citizens protected by the United States Constitution's Bill of Rights. These works centered on issues around feminism, censorship, civil liberties, and civil rights, all in the context of government surveillance. In particular, Kramer made a series of videos, documentary books, and installations on subjects of state counterintelligence programs ("cointelpro") including the actress Jean Seberg, and the artist, filmmaker, and impresario/provocateur Andy Warhol.

paragraph: Section::::Photographs of major works.

paragraph: WINDOW INSTALLATION (exterior/interior), "Secret III," 1980, Printed Matter Bookstore, Lispenard Street, NYC. Pages from Jean Seberg's FBI File received by the artist from the FBI using the Freedom of Information Act. Enlarged pages from the file printed on transparent film, plus a self-published pamphlet with an introduction by the artist and including more facsimile pages from the File. Photograph by Margia Kramer.

paragraph: Section::::Affiliations.

paragraph: Kramer was among the founding members (along with Lucy Lippard) of Political Art Documentation/Distribution (PAD/D), and was a member of the editorial board of its magazine, Upfront, to which she contributed two articles. PAD/D's archive is now housed in the library of the Museum of Modern Art in New York City.

paragraph: Section::::Videography.

paragraph: BULLET::::- 1988 "Taking the Fifth" (1/2" 10 min.). Margia Kramer comments on footage from Oliver North's testimony during the Iran Contra Hearings (1987), contrasted with witness testimony during the Army-McCarthy Hearings (1954). Also, contains comments by Edward R. Murrow. This tape was part of Kramer's installation, "Unknown Secrets," a traveling exhibition about Julius and Ethel Rosenberg, that toured museums, galleries, and alternative spaces throughout USA from 1988-1990

paragraph: BULLET::::- 1989 "Looking at Militarism: Two Interviews "(1/2" 60 min.) Margia Kramer's interviews with activist Prof. Noam Chomsky of MIT and peace activist Prof. Vera Kistiakowsky of MIT, part of Kramer's 1989 multi-media installation "Looking at Militarism" at MIT

paragraph: BULLET::::- 1985 "Freedom of Information Tape 3; The Guerrilla Manual for the Contras in Nicaragua" (3/4" 4 min.) Margia Kramer turns the pages and reads from a copy of the original manual distributed by the United States government in 1984

paragraph: BULLET::::- 1984 "Progress (Memory) A Video Installation" (3/4" 5 min.) Margia Kramer videotapes, with voice-over, part of Kramer's 1984 video installation at the Whitney Museum of American Art

paragraph: BULLET::::- 1983 "Freedom of Information Tape 2: Progress and Access" (3/4" 36 min.) Margia Kramer interviews several internet pioneers who are developing the World Wide Web. Includes an interview with the 1973 Noble Laureate in Economics, Wassily Leontief, Director of NYU's Institute for Economic Analysis, about automation and the future of work

paragraph: BULLET::::- 1982 "No More Witchhunts, A Street Festival" (3/4" l5 min.) 1980. With hand-held camera, Kramer interviews participants while roaming the activist street fair that was held near The Cooper Union in New York. The festival was directed and curated by Margia Kramer with PAD/D and The Fund for Open Information and Accountability

paragraph: BULLET::::- 1980 "Freedom of Information Tape 1; Jean Seberg "' (3/4" 18 min.) A dramatic recounting of Jean Seberg's life, career, and death combining voice-over enactments of texts from Seberg's writings and magazine interviews, original and appropriated footage and voice-over, archival film stills, and excerpts from the film "Breathless," (1960) by Jean-Luc Godard

paragraph: Section::::Writings.

paragraph: PUBLICATIONS by Margia Kramer

paragraph: BULLET::::- 1988 "Andy Warhol et al: The FBI File on Andy Warhol" New York (64 pages, self-published, UnSub Press)

paragraph: BULLET::::- 1981 "Jean Seberg/The FBI/The Media" New York (self published, 40 pages)

paragraph: BULLET::::- 1980 "Essential Documents: The FBI File on Jean Seberg Part II" New York (self published, 40 pages)

paragraph: BULLET::::- 1979 "Essential Documents: The FBI File on Jean Seberg Part I" New York ( self-published, 40 pages)

paragraph: OTHER ORIGINAL WRITINGS

paragraph: BULLET::::- Artist's Statement, 1980 "Secret I," Artists Space Gallery, New York, Aperil 22, 1979

paragraph: BULLET::::- Artist's Statement, "Obelisk for Raymond Williams, commissioned by The Public Art Fund for City Hall Park, New York, May 15-November 15, 1988

paragraph: BULLET::::- Cieri, Marie, Dana Friis Hansen, Katy Kline, Helaine Posner (with Margia Kramer, contributor). "19 Projects, Artists-in-Residence at the MIT List Visual Arts Center," Cambridge, Mass, 1996, p. 133-144

paragraph: BULLET::::- Kramer, Margia. "Cracking the Concrete: Interventionist Posters," Upfront, Winter 1986/87 (New York),p.iiif

paragraph: BULLET::::- Kramer, Margia. "Disinformation Warfare, A Breaking of Codes in Painting and Video," Red Bass, Women's International Arts Issue #10, Winter/Spring 1986 (Tallahassee), p. 9f

paragraph: BULLET::::- Kramer, Margia. "Notes on Art as Intervention," Women Artists News, May 1980 (New York), p.l4f

paragraph: BULLET::::- Kramer, Margia. "Notes on Expression/Repression," Wedge: An Aesthetic Inquiry, Number 1, Summer 1982 (New York), p. 30f

paragraph: BULLET::::- Kramer, Margia and Vanalyn Green. "Against Inner Exile," Upfront 2, Winter 1981/82 (New York), p. 30f

paragraph: BULLET::::- Kramer, Margia. "The Warhol File," The Village Voice (New York), 5/17/88

paragraph: BULLET::::- In Okun, Rob A. (ed.) "The Rosenbergs, Collected Visions of Artists and Writers," New York, 1988, p. 31,157 (Artist Statement), Plate 40

paragraph: BULLET::::- In O'Pray, Michael (ed.) "Andy Warhol: Film Factory," London (British Film Institute) 1989, p. 9, 178f. Includes ' The Warhol File," by Margia Kramer from The Village Voice, May 1988

paragraph: BULLET::::- In Roman, Gail Harrison (ed.) "The Artist's Perception 1948/1984," Catalogue of the exhibition with Artist's Statement and Introduction by Gail Harrison Roman, Vassar College Art Gallery, March 23 - May 6, 1984

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Essential Documents, The FBI File on Jean Seberg, Part I, Part II" (1979) by Margia Kramer

paragraph: BULLET::::- "Secret I" (1980) floor installation with pamphlet, Artists Space Gallery, New York

paragraph: BULLET::::- "Secret III" "Secret IV" (1980) window installations with pamphlets, Printed Matter and Franklin Furnace, New York

paragraph: BULLET::::- "Secret VI" (1980) video installation, Institute of Contemporary Arts, London

paragraph: BULLET::::- "Freedom of Information Tapes 1-3," (1980-1985)

paragraph: BULLET::::- "American Film Institute First and Fifth Annual Video Festivals," (1981, 1985)

paragraph: BULLET::::- "Progress/Memory II (1984) video installation, Whitney Museum of American Art, New York

paragraph: BULLET::::- "Jean Seberg" in "Issue: Social Strategies by Women Artists" (1980), Institute of Contemporary Arts, London

paragraph: BULLET::::- "Progress/Memory" in "Making Their Mark: Women Artists Move Into the Mainstream 1970 to 1985" (1989-1990) United States (multiple showings) 1988-90

paragraph: BULLET::::- "Address Triptych" (1987-1988) in 1990 exhibition, "A Different War: Vietnam in Art," at the Whatcom Museum, Seattle WA

paragraph: BULLET::::- "CIA Screen," in "Democracy and Politics," (1993), Group Material at Dia Art Foundation, New York

paragraph: BULLET::::- "Rehnquist to Hear Black Panther Case," in "Committed to Print" (1988-1990), Museum of Modern Art, New York

paragraph: BULLET::::- "Andy Warhol et al. The FBI File on Andy Warhol" (1988) Book

paragraph: BULLET::::- "Looking at Militarism" (1989), film and video installation, List Visual Arts Center, Massachusetts Institute of Technology

paragraph: BULLET::::- "I a WO/MAN" (1989), video and film installation, San Francisco Artspace

paragraph: BULLET::::- "Jean Seberg" in "Postcards from Alphaville: Jean Luc Godard in Contemporary Art 1963-1992" (1992-1993), P.S.1, Institute for Contemporary Art, New York

paragraph: Section::::Selected exhibitions.

paragraph: ONE-PERSON EXHIBITIONS:

paragraph: BULLET::::- 1989 "I a WO/MAN" San Francisco Artspace, San Francisco, California

paragraph: BULLET::::- 1989 "Looking at Militarism" List Visual Arts Center, M.I.T., Cambridge, Massachusetts

paragraph: BULLET::::- 1988 "Obelisk, for Raymond Williams" City Hall Park, New York (The Public Art Fund)

paragraph: BULLET::::- 1988 "War and Peace" Rotunda Gallery, Brooklyn, New York

paragraph: BULLET::::- 1986 "Freedom of Information Tapes 1-3," Anthology Film Archives, Millenium Film Workshop, New York

paragraph: BULLET::::- 1984 "Progress (Memory)" video installation, New American Filmmakers Series, Whitney Museum of Art, New York

paragraph: BULLET::::- 1984 "Progress and Access" computer and video installation, Vassar College Art Gallery, Poughkeepsie, New York

paragraph: BULLET::::- 1983 "Progress (Memory) I" video installation, Visual Studies Workshop, Rochester, New York

paragraph: BULLET::::- 1981 "Jean Seberg/The FBI/The Media" video installation with pamphlet, Museum of Modern Art, New York

paragraph: BULLET::::- 1981 "Let and Right" video installation with books and pamphlets, A Space Gallery, Toronto, Canada

paragraph: BULLET::::- 1981 "Jean Seberg" video installation with books/pamphlets, Artemesia Gallery, Chicago, Illinois

paragraph: BULLET::::- 1980 "Secret VI" video installation with pamphlets, Institute of Contemporary Art, London, England

paragraph: BULLET::::- 1980 "Secret III" "Secret IV" window installations with pamphlets, Printed Matter and Franklin Furnace, New York

paragraph: BULLET::::- 1980 "10 Year Retrospective" Duke University Art Gallery, Durham, North Carolina

paragraph: BULLET::::- 1980 "Secret I" floor installation with pamphlet, Artists Space Gallery, New York

paragraph: GROUP EXHIBITIONS:

paragraph: BULLET::::- 2015 "Learn to Read: A Surviving History of Printed Matter," Fales Library, New York University, New York

paragraph: BULLET::::- 2014 "Behind the Personal Library: Collectors Creating the Canon," Center for Book Arts, New York

paragraph: BULLET::::- 2014 "The Library Vaccine," Artists Space Books and Talks, NY

paragraph: BULLET::::- 2004 "The C Series," Nathan Cummings Foundation, New York

paragraph: BULLET::::- 2003 "American Tableaux," Miami Art Museum, Florida

paragraph: BULLET::::- 1993 "Women Artists' Books 1969-1979," Dia Art Foundation and Printed Matter, New York

paragraph: BULLET::::- 1992-93 "Postcards from Alphaville: Jean Luc Godard in Contemporary Art 1963-1992," P.S.1 (The Institute for Contemporary Art), New York

paragraph: BULLET::::- 1989-92 "A Different War: Vietnam in Art," traveled from Akron Art Museum throughout U.S.

paragraph: BULLET::::- 1989-90 "Image World: Art and Media Culture," Whitney Museum of American Art, New York

paragraph: BULLET::::- 1989-90 "Making Their Mark: Women Artists Move Into the Mainstream 1970 to 1985," from Cincinnati Art Museum toured the US

paragraph: BULLET::::- 1988-90 "Committed to Print," traveled from Museum of Modern Art New York throughout North America

paragraph: BULLET::::- 1988-90 "Unknown Secrets," a traveling exhibition about Julius and Ethel Rosenberg, toured museums, galleries, and alternative spaces throughout US

paragraph: BULLET::::- 1989 "Artists' Books: An Alternative Space for Art" Akron Art Museum, Akron, Ohio

paragraph: BULLET::::- 1988 "Democracy and Politics," Group Material, Dia Art Foundation, New York

paragraph: BULLET::::- 1987 "Social Engagement: Women's Video in the 80's," Whitney Museum of American Art, New York

paragraph: BULLET::::- 1987 "Surveillance," LACE (Los Angeles Contemporary Exhibitions), Los Angeles, California

paragraph: BULLET::::- 1987 "Urban Images of the 80's," Exit Art Gallery, New York

paragraph: BULLET::::- 1986 "The Law and Order Show," Barbara Gladstone Gallery, New York

paragraph: BULLET::::- 1986 "Cinemaobject," City Gallery, NYC Department of Cultural Affairs, New York

paragraph: BULLET::::- 1985 "American Film Institute Fifth Annual Video Festival," Los Angeles, California

paragraph: BULLET::::- 1985 "WorldWide Video Festival," Kijkhuis, The Hague, the Netherlands

paragraph: BULLET::::- 1985 "Disinformation," The Alternative Museum, New York

paragraph: BULLET::::- 1984 "Women and the Media, New Video," Allen Memorial Art Museum, Oberlin, Ohio

paragraph: BULLET::::- 1983 "Ninth Annual Global Village Documentary Festival," Global Village. New York

paragraph: BULLET::::- 1983 "Not Misinformation," P.S. 122 Gallery, New York

paragraph: BULLET::::- 1983 "The Artist's Use of Language," Franklin Furnace, New York

paragraph: BULLET::::- 1982-83 "CAPS Traveling Video Festival," New York State Council on the Arts, New York

paragraph: BULLET::::- 1982 "Not Misinformation," Rutgers University Art Gallery, New Brunswick, New Jersey

paragraph: BULLET::::- 1981 "American Film Institute First Annual Video Festival," Kennedy Center, Washington, D.C.

paragraph: BULLET::::- 1980 "Issue: Social Strategies by Women Artists," Institute of Contemporary Arts, London, England (curated by Lucy Lippard)

paragraph: BULLET::::- 1980 "Group," Group Material Gallery, New York

paragraph: BULLET::::- 1980 "Women Artists' Books," AIR Gallery, New York 1980, "Vigilance" Franklin Furnace, New York,

paragraph: BULLET::::- 1979 "Group," 112 Workshop, 112 Greene Street, New York

paragraph: BULLET::::- 1976 "Scale," The Fine Arts Building, New York

paragraph: BULLET::::- 1975 "Group," 112 Greene Street Gallery, New York

paragraph: BULLET::::- 1974 "Vera List Selects," Hurlbutt Gallery, Connecticut

paragraph: BULLET::::- 1974 "Continuing Abstraction in American Art," Downtown Branch, Whitney Museum of American Art, New York

paragraph: BULLET::::- 1974 "New Talent Show," Betty Parsons Gallery, New York

paragraph: Section::::Awards.

paragraph: BULLET::::- 1989-90 National Endowment for the Arts, Artist Fellowship

paragraph: BULLET::::- 1988-89 Massachusetts Council on the Arts and Humanities, New Works Grant

paragraph: BULLET::::- 1983 Visual Studies Workshop Commission, New Video Installation

paragraph: BULLET::::- 1982 National Endowment for the Arts, Artist Fellowship

paragraph: BULLET::::- 1982 New York State Council on the Arts, CAPS Artist Fellowship

paragraph: BULLET::::- 1987-88 New York Foundation for the Arts, Artist's Fellowship

paragraph: BULLET::::- 1988 Public Art Fund, Inc.: Commission for Sculpture, "Revolution, for Raymond Williams," City Hall Park, New York

paragraph: BULLET::::- 1986 New York State Council on the Arts, Visual Arts Grant

paragraph: BULLET::::- 1985 Jerome Foundation Grant, New Video Installation, "New Wozzeck"

paragraph: BULLET::::- 1981 National Endowment for the Humanities, Summer Seminar Grant

paragraph: BULLET::::- 1981 New York State Council on the Arts, Visual Arts Grant

paragraph: BULLET::::- 1979-85 Committee for the Visual Arts, Artists Space Grant

paragraph: BULLET::::- 1980-85 The Media Bureau of The Kitchen Grant

paragraph: BULLET::::- 1976 National Endowment for the Arts, Artist Fellowship

paragraph: BULLET::::- 1963-64 Woodrow Wilson Foundation Fellowship in Fine Arts

paragraph: Section::::Education.

paragraph: BULLET::::- B. A. in Fine Arts and Languages, Brooklyn College of the City University of New York. Studied Painting and Printmaking with Ad Reinhardt, Kurt Seligmann, and Burgoyne Diller.

paragraph: BULLET::::- M.A. in History of Art, Institute of Fine Arts at New York University, where she studied renaissance printmaking with Colin Eisler, and was a student of Edward Laning at the Arts Students League.

paragraph: BULLET::::- Workshops with dancers Simone Forti and Yvonne Rainer.

paragraph: Section::::References.

paragraph: BULLET::::- Ashton, Dore. American Art Since 1945, New York 1982, p.l9Of

paragraph: BULLET::::- Brentano, Robyn, Mark Savitt (ed.). 112 Workshop/112 Greene Street, New York 1981, p. 250f

paragraph: BULLET::::- Cieri, Marie, Dana Friis Hansen, Katy Kline, Helaine Posner (contributors). 19 Projects, Artists-in-Residence at the MIT List Visual Arts Center, Cambridge, Mass, 1996, p. 133-144

paragraph: BULLET::::- Lippard, Lucy R. A Different War, Vietnam in Art, Seattle (Whatcom Museum of History and Art), 1990 p. 111,114.

paragraph: BULLET::::- Lippard, Lucy R. Get the Message? A Decade of Art for Social Change, New York 1984, p.l40f

paragraph: BULLET::::- Okun, Rob A. (ed.) The Rosenbergs, Collected Visions of Artists and Writers, New York 1988, p. 31,157, Plate 40

paragraph: BULLET::::- Podesta, Patti (ed.). Resolution, A Critique of Video Art, Los Angeles 1986, p. 76 84

paragraph: BULLET::::- Rosen, Randy and Cathy Brawer (eds.) Making Their Mark: Women Artists Move Into the Mainstream 1970 to 1985, New York 1989, p. 146f, 249f, 287

paragraph: BULLET::::- Wye, Deborah. Committed to Print. Social and Political Themes in Recent American Printed Art, New York 1988, p. 30, 34, 108

paragraph: CATALOGUES:

paragraph: BULLET::::- Chomsky, Noam et al. "Disinformation, The Manufacture of Consent," Alternative Museum, New York (New York 1985)

paragraph: BULLET::::- Gumpert, Lynn. "Framed," San Francisco Artspace (San Francisco, 1989)

paragraph: BULLET::::- Hanhardt, John. "The Whitney Museum of American Art New American Filmmakers Series #15, Margia Kramer, Progress(Memory) 1983 84" (New York 1984)

paragraph: BULLET::::- Hills Patricia. "Social Concern in the Eighties, A New England Perspective," Boston University Art Gallery (Boston 1984)

paragraph: BULLET::::- Kolpan, Steven C. "The 1982 CAPS Video/Multi Media Festival, Radical Departures" (New York 1982) p. 9f

paragraph: BULLET::::- Lippard, Lucy R. "Issue: Social Strategies by Women Artists," Institute of Contemporary Arts, London (London 1980)

paragraph: Section::::External links.

paragraph: BULLET::::- artistsspace.org

description: American artist and activist

wikidata_label: Margia Kramer

wikipedia_title: Margia Kramer


text:
dynast
Pergamon
Asia Minor
Philetaerus
Attalid dynasty
Seleucid
Ptolemy II
Antiochus I
Lydia
Sardis
Mount Ida
Thyatira
Attaleia
Caïcus
Cyme
Seleucus I Nicator
Galatian
Gauls
Thespiae
Attalus I
Cornell University Press
text
Livy
Pausanias
Strabo

categories: 3rd-century BC rulers,Kings of Pergamon,3rd-century BC Greek people,Year of birth unknown

paragraph: Eumenes I

paragraph: Eumenes I () was dynast (ruler) of the city of Pergamon in Asia Minor from 263 BC until his death in 241 BC. He was the son of Eumenes, the brother of Philetaerus, the founder of the Attalid dynasty, and Satyra, daughter of Poseidonius. As he had no children, Philetaerus adopted Eumenes to become his heir.

paragraph: Although nominally under Seleucid control, Pergamon under Philetaerus enjoyed considerable autonomy. However, upon his succession, Eumenes, perhaps with the encouragement of Ptolemy II, who was at war with the Seleucids, revolted, defeating the Seleucid king Antiochus I near the Lydian capital of Sardis in 261 BC. He was thus able to free Pergamon, and greatly increase the territories under his control. In his new possessions, he established garrison posts in the north at the foot of Mount Ida called Philetaireia after his adoptive father, and in the east, northeast of Thyatira near the sources of the river Lycus, called Attaleia after his grandfather, and he extended his control south of the river Caïcus to the Gulf of Cyme as well. Demonstrating his independence, he began to strike coins with the portrait of Philetaerus, while his predecessor had still depicted Seleucus I Nicator.

paragraph: After the revolt from the Seleucids, there are no records of any further hostilities involving Pergamon during Eumenes' rule, even though there continued to be conflict between the Seleucids and the Ptolemies, and even though the Galatian Gauls were continually plundering throughout the region. If Eumenes was able to keep Pergamon free from the ravages of the Gauls, it was probably because he paid them tribute.

paragraph: Although never assuming the title of "king," Eumenes did exercise all of the powers of one. Imitating other Hellenistic rulers, a festival in Eumenes' honour, called "Eumeneia", was instituted in Pergamon.

paragraph: It is not known whether he had children. A "Philetaerus son of Eumenes" is mentioned in an inscription in the town of Thespiae; some regard him as Eumenes' son, who would then have died before his father's death in 241. Eumenes adopted his first cousin once removed, Attalus I, who succeeded him as ruler of Pergamon.

paragraph: Section::::References.

paragraph: BULLET::::- Hansen, Esther V. (1971). "The Attalids of Pergamon". Ithaca, New York: Cornell University Press; London: Cornell University Press Ltd. .

paragraph: BULLET::::- Kosmetatou, Elizabeth (2003) "The Attalids of Pergamon," in Andrew Erskine, ed., "A Companion to the Hellenistic World". Oxford: Blackwell: pp. 159–174. . text

paragraph: BULLET::::- Livy, "History of Rome", Rev. Canon Roberts (translator), Ernest Rhys (Ed.); (1905) London: J. M. Dent & Sons, Ltd.

paragraph: BULLET::::- Pausanias, "Description of Greece", Books I-II, (Loeb Classical Library) translated by W. H. S. Jones; Cambridge, Massachusetts: Harvard University Press; London, William Heinemann Ltd. (1918) .

paragraph: BULLET::::- Strabo, "Geography", Books 13-14, (Loeb Classical Library) translated by Horace Leonard Jones; Cambridge, Massachusetts: Harvard University Press; London: William Heinemann, Ltd. (1924) .

description: Greek ruler

wikidata_label: Eumenes I

wikipedia_title: Eumenes I


text: musicologist

text: Berlin

text: musicology

text: Hanover

text: Josquin

text: dramaturg

text: Stuttgarter Zeitung

text: Berlin Institute of Technology

text: history of western music

text: Romantic music

text: music theory

text: aesthetics of music

text: Blue Max

text: German Academy

text: Frankfurter Musikpreis

text: Robert O. Gjerdingen

text: The Shoulders on Which We Stand

categories: People from Hanover,Beethoven scholarship,20th-century composers,1928 births,Recipients of the Pour le Mérite (civil class),Members of the German Academy for Language and Literature,German music historians,Knights Commander of the Order of Merit of the Federal Republic of Germany,20th-century historians,German musicologists,1989 deaths

paragraph: Carl Dahlhaus

paragraph: Carl Dahlhaus (June 10, 1928 – March 13, 1989), a musicologist from (West) Berlin, was one of the major contributors to the development of musicology as a scholarly discipline during the post-war era.

paragraph: Dahlhaus was born in Hanover. His education was interrupted by the Second World War where he served on the front and as an anti-aircraft auxiliary. He completed school exams through a special program designed for those engaged in combat. He showed an interest in banned literature and was exceptionally well read. After the war, he first studied law, later musicology at the University of Göttingen and Freiburg im Breisgau. His thesis at Göttingen in 1953 concerned the masses of Josquin. In the 1950s he was a co-founder of the Darmstadt new music festival. After a period as a dramaturg at the German Theater in Göttingen from 1950 to 1958, a job obtained on the recommendation of Berthold Brecht, he became musical editor of the "Stuttgarter Zeitung", a newspaper, from 1960 to 1962. From 1962 to 1966 he served as a research assistant at the state musical research center at the University of Kiel. He earned a professorial grade from that university where he investigated the origins of harmonic tonality. In 1967 was hired as professor in music history at the Berlin Institute of Technology.

paragraph: Dahlhaus wrote 25 books, more than 400 articles, and contributed to 150 other works on a wide range of subjects, though the majority of these on the history of western music and particularly that of the 19th century (i.e. Romantic music). He was very interested in the work of Richard Wagner and his ideas about musical drama as a 'total artwork' and how a new language on society and politics was being formed through the work of so-called 'modernist' composers; that art was no longer just 'art for art's sake'. His other favourite topics included music theory, the aesthetics of music, and the prehistory of "new music".

paragraph: Dahlhaus was honored with the Order of Merit of the Federal Republic of Germany (Grand Cross with Star), a Blue Max, and accepted into the German Academy. In 1987, he was awarded the Frankfurter Musikpreis.

paragraph: He died in Berlin.

paragraph: Section::::Bibliography of Dahlhaus's writings (in English).

paragraph: BULLET::::- Dahlhaus, Carl. 1979. "Richard Wagner's Music Dramas". Translated by Mary Whittall. Cambridge & New York: Cambridge University Press.

paragraph: BULLET::::- ———. 1980. "Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. Berkeley: University of California Press.

paragraph: BULLET::::- ———. 1982. "Esthetics of music". Translated by William W. Austin. Cambridge & New York: Cambridge University Press.

paragraph: BULLET::::- ———. 1983a. "Analysis and Value Judgement". Translated from the German by Siegmund Levarie. New York: Pendragon Press.

paragraph: BULLET::::- ———. 1983b. "Foundations of Music History". Translated by J. B. Robinson. Cambridge & New York: Cambridge University Press.

paragraph: BULLET::::- ———. 1985. "Realism in nineteenth-century music". Translated by Mary Whittall. Cambridge & New York: Cambridge University Press.

paragraph: BULLET::::- ———. 1987. "Schoenberg and the New Music: Essays". Translated by Derrick Puffett and Alfred Clayton. Cambridge & New York: Cambridge University Press.

paragraph: BULLET::::- ———. 1989. "Nineteenth-Century Music". English translation by J. Bradford Robinson. Berkeley: University of California Press.

paragraph: BULLET::::- ———. 1989. "The Idea of Absolute Music". Translated by Roger Lustig. Chicago: University of Chicago Press.

paragraph: BULLET::::- ———. 1990. "Studies on the Origin of Harmonic Tonality". Translated by Robert O. Gjerdingen. Princeton, NJ : Princeton University Press.

paragraph: BULLET::::- ———. 1991. "Ludwig van Beethoven: Approaches to His Music". Translated by Mary Whittall. Oxford: Clarendon Press; New York: Oxford University Press.

paragraph: BULLET::::- Deathridge, John, and Carl Dahlhaus. 1984. "The New Grove Wagner". New York: W. W. Norton.

paragraph: BULLET::::- Ruth Katz and Carl Dahlhaus (1987-1991): "Contemplating Music" (Sources in the aesthetic of music, selected, edited, annotated and introduced, with original translations, in four volumes), New York: Pendragon Press. Vol. I "Substance" (1987); Vol. II "Import" (1989); Vol. III "Essence" (1991); Vol. IV "Community of Discourse" (1991).

paragraph: Section::::External links.

paragraph: BULLET::::- " The Shoulders on Which We Stand". Biography in English from the TU Berlin Press Office (archive from 21 May 2013; accessed 26 June 2016).

paragraph: BULLET::::- Carl Dahlhaus y la teoría de la recepción (Spanish)

description: German musicologist

wikidata_label: Carl Dahlhaus

wikipedia_title: Carl Dahlhaus


text: curler

text: Gangneung

text: Swift Current

text: Esbjerg

text: 2015 World Women's Curling Championship

text: Sapporo

text: Magnus Nedregotten

text: 2018 Winter Olympics

text: Olympic Athletes from Russia

text: Alexander Krushelnitskiy

text: second leg

text: Jenny Perret

text: Martin Rios

text: Laura Walker

text: Kirk Muyres

text: first leg

text: Sander Rølvåg

text: Thomas Ulsrud

text: third leg

text: Kadriana Sahaidak

text: Colton Lott

text: Trondheim Business School

categories: Olympic medalists in curling,Medalists at the 2018 Winter Olympics,Olympic bronze medalists for Norway,Curlers at the 2018 Winter Olympics,Norwegian female curlers,1986 births,Olympic curlers of Norway,Living people,Sportspeople from Trondheim

paragraph: Kristin Skaslien

paragraph: Kristin Moen Skaslien (born 18 January 1986) is a Norwegian curler.

paragraph: She was lead for the Norwegian team at the 2009 Mount Titlis World Women's Curling Championship in Gangneung, Korea, the 2010 Ford World Women's Curling Championship in Swift Current, Canada. the 2011 Capital One World Women's Curling Championship in Esbjerg, Denmark and the 2015 World Women's Curling Championship in Sapporo, Japan.

paragraph: Section::::Mixed doubles career.

paragraph: In mixed doubles, Skaslien and partner Magnus Nedregotten have represented Norway in the 2013, 2014, 2015, 2016, 2017 and 2019 World Mixed Doubles Curling Championship. The pair have finished 4th, 5th, 3rd, 9th, 5th and 9th respectively. They represented Norway in the mixed doubles tournament at the 2018 Winter Olympics. They lost the bronze medal game against the Olympic Athletes from Russia, but due to a positive testing of meldonium from Alexander Krushelnitskiy, their bronze medals were stripped and given to Nedregotten and Skaslien.

paragraph: Skaslien and Nedregotten won the second leg and Grand Final of the 2018–19 Curling World Cup, defeating Switzerland's Jenny Perret and Martin Rios in the final of the second leg and Canada's Laura Walker and Kirk Muyres in the grand final. In the first leg, Skaslien was paired with Sander Rølvåg, but missed the final, and was paired with Thomas Ulsrud in the third leg, where she lost in the final to Canada's Kadriana Sahaidak and Colton Lott.

paragraph: Section::::Personal life.

paragraph: Skaslien works an operations analyst at Wilhelmsen Ships Service. She has an engineering degree in logistics from the Oslo and Akershus University College of Applied Sciences and a Master's in technology management from Trondheim Business School.

description: Norwegian female curler

wikidata_label: Kristin Skaslien

wikipedia_title: Kristin Skaslien


text:
neoclassical
architect
Venice
Tommaso Temanza
Rome
Antonio Canova
London
Paris
Belgium
Netherlands
Palazzo Dolfin Manin
Ludovico Manin
Treviso
Teatro La Fenice
Trieste
Feltre
Cologna Veneta
San Maurizio

categories: 18th-century Italian architects,1819 deaths,1751 births,19th-century Italian architects,People from Venice,Italian neoclassical architects

paragraph: Gian Antonio Selva

paragraph: Gian Antonio Selva (2 September 1751 - 22 January 1819) was an Italian neoclassical architect.

paragraph: Section::::Biography.

paragraph: He was born in Venice, the son of scientist Lorenzo Selva. He studied architecture in Venice, and was a pupil of Tommaso Temanza. Selva visited Rome (where he met Antonio Canova), London, Paris, and also travelled to Belgium and the Netherlands (1778-1781).

paragraph: His works include the renovation of Palazzo Dolfin Manin for doge Ludovico Manin, the Villa Manfrin detta Margherita a Sant'Artemio, near Treviso (c. 1790), the original Teatro La Fenice (designed in 1798 and destroyed in 1996), the Teatro Nuovo of Trieste (1798), Teatro de La Sena of Feltre, cathedral of Cologna Veneta (1807–10) and the church of San Maurizio in Venice (1806).

paragraph: He died in Venice in 1819.

alias:
Giannantonio Selva
Giovanni Antonio Selva
Gio. Antonio Selva

description: Italian architect

wikidata_label: Gian Antonio Selva

wikipedia_title: Gian Antonio Selva


text:
German Resistance
Third Reich
Hamburg
First World War
Communist Party of Germany
National Socialists
Gestapo
Zuchthaus
Bruno Rieboldt
Dagobert Biermann
East German
Wolf Biermann
Blohm + Voss
Spanish Civil War
Francisco Franco
Richard Bähre
Basel
second Senate
Volksgerichtshof
Plötzensee Prison
stolperstein
Ursel Hochmuth
"About the project"
German National Archive
Family Tree on GENI.com

categories: Communist Party of Germany politicians,1898 births,German Jews,Executed communists in the German Resistance,People condemned by Nazi courts,People from Hamburg executed at Plötzensee Prison,1939 deaths

paragraph: Herbert Michaelis

paragraph: Dr. Herbert Michaelis (3 September 1898 — 14 June 1939) was a German lawyer and Communist and a member of the German Resistance during the Third Reich.

paragraph: Section::::Biography.

paragraph: Michaelis was born in Hamburg, the son of a Jewish businessman. He served from 1916 to 1918 during the First World War. He started his law practice in Hamburg in 1928 and that same year, married Marie-Luise Rom, with whom he had three children. He joined the Communist Party of Germany (KPD) in 1924. In 1933, the year the National Socialists seized power, someone anonymously denounced him to the Gestapo. The Nazis began to restrict what Jews could do and Michaelis was prohibited from practicing his profession, as a result. Shortly after that, he was fraudulently accused of an offense and was sentenced to two years in a Zuchthaus.

paragraph: At Lübeck Zuchthaus, he got to know the lathe operator, Bruno Rieboldt and metalworker, Dagobert Biermann (father of former East German dissident, Wolf Biermann). After their release, Rieboldt and Biermann went to work at the Hamburg warfs for Blohm + Voss. Rieboldt informed Michaelis about armaments work at Blohm + Voss, particularly regarding the construction of airplane motors and warships.

paragraph: The goal of the Resistance group around Michaelis was to expose to the world the Nazi's secret involvement in the Spanish Civil War. Biermann and his brother-in-law, Karl Dietrich, a ship captain, reported to Michaelis on the weapons shipments from January to March 1937 to Francisco Franco. Michaelis relayed this information in January and February 1937 through a middle man, Richard Bähre, who in turn, forwarded it to the exiled KPD leadership in Basel.

paragraph: On March 26, 1937, Rieboldt was arrested. Two days later, Michaelis and Biermann were arrested. Michaelis was convicted by the second Senate of the Volksgerichtshof in Hamburg and sentenced to death. He was executed on 14 June 1938 at Plötzensee Prison in Berlin. Reiboldt received a 12-year sentence, Biermann was sentenced to six years at hard labor in a "Zuchthaus". Only Dietrich was allowed to go free.

paragraph: Section::::Memorials.

paragraph: Michaelis is included in the names on the monument unveiled in 2007, honoring the lawyers who perished at the hands of the National Socialist. The monument stands in front of the House of German Lawyers' Association in Berlin. There is a stolperstein for him at Isestraße 23, in Hamburg.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Wilfried Weinke. "The Leo Baeck Institute Yearbook 1997", Vol. 42, No. 1, "The Persecution of Jewish Lawyer in Hamburg. A Case Study: Max Eichholz and Herbert Michaelis", pp. 221–237

paragraph: BULLET::::- Ursel Hochmuth and Gertrud Meyer. "Streiflichter aus dem Hamburger Widerstand 1933–1945. Berichte und Dokumente". Röderberg, Frankfurt am Main (1980) p. 190

paragraph: BULLET::::- Angelika Ebbinghaus and Karten Linne (Editors). "Kein abgeschlossenes Kapitel. Hamburg im "Dritten Reich"". Article called "Die Verfolgung jüdischer Rechtsanwälte Hamburgs am Beispiel von Dr. Max Eichholz und Herbert Michaelis" by Wilfried Weinke. Europäische Verlagsanstalt, Hamburg (1997) pp. 248–265

paragraph: BULLET::::- Peter Steinbach and Johannes Tuchel. "Lexikon des Widerstandes 1933–1945", C. H. Beck, München (1998) 2nd edition, p. 138

paragraph: BULLET::::- Ludwig Eiber. "Arbeiter und Arbeiterbewegung in der Hansestadt Hamburg in den Jahren 1929 bis 1939. Werftarbeiter, Hafenarbeiter und Seeleute: Konformität, Opposition, Widerstand", "Die Gruppe um Herbert Michaelis", p. 352 P. Lang, Frankfurt am Main (2000)

paragraph: BULLET::::- Franklin Kopitzsch and Dirk Brietzke (Editors). "Hamburgische Biographie. Personenlexikon", Vol. 1. Christians Verlag, Hamburg 2001, p. 205

paragraph: BULLET::::- Kirsten Heinsohn. "Das jüdische Hamburg. Ein historisches Nachschlagewerk". Institut für die Geschichte der Deutschen Juden. (Institute for the History of German Jews). Wallstein, Göttingen 2006, p. 190

paragraph: Section::::External links.

paragraph: BULLET::::- "About the project" Stolpersteine in Hamburg. Retrieved March 29, 2010

paragraph: BULLET::::- German National Archive

paragraph: BULLET::::- Family Tree on GENI.com

description: German lawyer, Communist and member of the German Resistance

wikidata_label: Herbert Michaelis

wikipedia_title: Herbert Michaelis


text:
Michelangelo
Santa Maria in Aracoeli
Vinci
Medici
Santa Maria Novella
Luigi del Riccio
Strozzi
Michelangelo
Vicenza
sepulture
epitaph
Michelangelo
Santa Maria in Aracoeli

categories: 1542 deaths,1520s births,People from the Province of Arezzo,LGBT people from Italy,LGBT Roman Catholics,Renaissance sculptors,Michelangelo,16th-century Italian sculptors

paragraph: Cecchino dei Bracci

paragraph: Cecchino Bracci (real name Francesco de Zanobi Bracci) (Florence, 23 April 1528 – Rome, 8 January 1544) was a pupil of Michelangelo. He died at the age of sixteen and is buried in Santa Maria in Aracoeli, in a tomb designed by Michelangelo.

paragraph: Section::::Life and legacy.

paragraph: Cecchino was born in Florence on 23 April 1528 to Zanobi Bracci, a wealthy banker. The Bracci dynasty had moved to Florence in 1395 from the smaller town of Vinci. In the 16th century they were among the richest of the Florentine banking families, and friends of the Medici. They acquired palazzo Neroni in via de' Ginori as their base, along with a chapel in Santa Maria Novella.

paragraph: Around 1540 Cecchino accompanied his uncle, Luigi del Riccio, to Rome where he had links with the Strozzi banking family. Cecchino's beauty and manners made him welcome at the papal court. During his stay he met some of the major Florentine artists working in the city, including Michelangelo. It is likely that the two became lovers.

paragraph: He died on 8 January 1544, and his devastated uncle begged Michelangelo to design the tomb and write some verses as an epitaph. On 12 January del Riccio wrote to his friend Donato Gionnoti, at Vicenza: "Alas, my friend Donato! Our Cecchino is dead. All Rome weeps. Michelangelo is making for me the design of a decent sepulture in marble; and I pray you to write me the epitaph, and to send it to me with a consolatory letter, if time permits, for my grief has distraught me. Patience! I live with a thousand and a thousand deaths each hour. O God! How has Fortune changed her aspect!"

paragraph: Michelangelo composed more than forty-two epigrams of four lines each. In a letter to del Riccio Michelangelo wrote of Cecchino as "the flame who consumes me" and related a dream in which the boy "mocked my senile love"; also alluding to physical consummation in one of his quatrains: "Do yet attest for him how gracious I was in bed/ When he embraced, and in what the soul doth live." This was accompanied by a note advising Riccio to burn the last two lines "in the fire without witness", lest Michelangelo be disgraced.

paragraph: Cecchino was buried in the church of Santa Maria in Aracoeli in Rome.

paragraph: Section::::References in Michelangelo's Poetry.

paragraph: Bracci is seen in Michelangelo's poem G.193 where he laments that he did not get to know him for long enough. He states:

paragraph: Section::::References.

paragraph: Citations

paragraph: Bibliography

description: Pupil of Michelangelo

wikidata_label: Cecchino dei Bracci

wikipedia_title: Cecchino dei Bracci


text:
shortstop
outfielder
Detroit Wolverines

categories: Major League Baseball shortstops,1936 deaths,Baseball players from Illinois,Detroit Wolverines players,19th-century baseball players,1858 births,Duluth Freezers players,Duluth Jayhawks players

paragraph: Frank Jones (baseball)

paragraph: Frank M. Jones (August 25, 1858 – February 4, 1936) was a baseball player who played shortstop and outfielder in the Major Leagues for the 1884 Detroit Wolverines.

description: American baseball player

wikidata_label: Frank Jones

wikipedia_title: Frank Jones (baseball)


text: U.S. Navy

text: Closed Country

text: United States Navy

text: Mexican–American War

text: sloop-of-war

text: USS "Preble"

text: Canton

text: Dutch

text: Nagasaki

text: Lagoda

text: Yeso

text: James Biddle

text: USS "Columbus"

text: USS "Vincennes"

text: Edo

text: David Geisinger

text: Ranald MacDonald

text: Commodore Matthew Perry

categories: Edo period,1800 births,American expatriates in Japan,United States Navy personnel of the Mexican–American War,1871 deaths

paragraph: James Glynn

paragraph: James Glynn (1800–1871) was a U.S. Navy officer who in 1848 distinguished himself by being the first American to negotiate successfully with the Japanese during the "Closed Country" period.

paragraph: James Glynn entered the United States Navy on March 4, 1815. He became a lieutenant in 1825, a commander in 1841, and served on the California coast during the Mexican–American War. He was put in command of the sloop-of-war USS "Preble" (16 guns) and sent to China.

paragraph: In Canton, he learned from the Dutch consul about the imprisonment at Nagasaki of 15 American sailors from the whaleship Lagoda, who had been shipwrecked on the northern Japanese island of Yeso on June 7, 1848. Although the coast of Japan was poorly known, and the American Commander James Biddle, with the ships USS "Columbus" and USS "Vincennes" had been recently repelled by the Japanese in the bay of Edo (Tokyo), Glynn was ordered by David Geisinger to leave for Nagasaki, where he arrived on April 17, 1849.

paragraph: The sailing orders to Captain Glynn recommended both caution and firmness in his enterprise:

paragraph: The Japanese tried to block the entrance to Glynn's ship, but he forced his way through a row of boats and anchored in the middle of the bay of Nagasaki. Despite Japanese menaces, he insistently demanded the release of the prisoners, and threatened an intervention of the United States. With some help from the Dutch in the negotiations, the prisoners were finally delivered to him on April 26.

paragraph: The sailors had suffered throughout their internment, and after several attempts to escape were put in cages where several died of exposure. Another had hanged himself, and was left hanging in his cage for two days. Ranald MacDonald was also among the party of the rescued, although he had traveled to Japan of his own will and taught English to several Japanese during his internment in Nagasaki, becoming the first American to teach English in Japan.

paragraph: The "Preble" returned to Hong Kong and the prisoners finally returned to the United States on December 31, 1849, where the story of their harsh internment made a sensation.

paragraph: Following his voyage, Glynn made a proposition to the United States government to open relations with Japan through diplomacy, and, if necessary, by a show of strength. His recommendation paved the way for the expedition of Commodore Matthew Perry in 1853 and 1854.

paragraph: Glynn was made a captain in 1855.

paragraph: Section::::Further reading.

paragraph: BULLET::::-

paragraph: BULLET::::- Available online through the Washington State Library's Classics in Washington History collection Senate executive document, 31st Congress, 1st session, no. 84

description: US Navy officer

wikidata_label: James Glynn

wikipedia_title: James Glynn


text:
German
pianist
composer
N. Simrock
Brahms
Schubert
chamber music
quartets
Grove Dictionary of Music and Musicians
Free violin music

categories: 1920 deaths,German Romantic composers,19th-century German musicians,German classical composers,German male classical composers,1844 births,19th-century male musicians,20th-century male musicians

paragraph: Carl Bohm

paragraph: Carl Bohm (also known as Carl Bohm, Henry Cooper [pseudonym] and Karl Bohm) (11 September 1844 – 4 April 1920) was a German pianist and composer.

paragraph: Bohm is regarded as one of the leading German songwriters of the 19th century, and wrote such works as "Still as the Night", "Twilight", "May Bells", "Enfant Cheri" and "The Fountain".

paragraph: The "Oxford Companion to Music" says that Bohm was "a German composer of great fecundity and the highest salability... He occupied an important position in the musical commonwealth inasmuch as his publisher, N. Simrock, declared that the profits on his compositions provided the capital for the publication of those of Brahms." Bohm's specialty was music in a lighter vein, very different from the dark, brooding and introspective works of Brahms.

paragraph: Bohm, like Schubert, was more than just a songwriter, composing in most genres. His chamber music, mostly quartets and piano trios, were extremely popular not only amongst amateurs but also among touring professional groups who were always in need of a sure-fire audience pleaser.

paragraph: Edition Silvertrust (see references) states that Bohm "was certainly very well known during his lifetime. Yet today, his name brings nothing but blank stares." This curious obscurity is borne out more than ever by the fact that "Grove Dictionary of Music and Musicians" contains no article about him. Nonetheless, his Sarabande in G minor remains a standard teaching piece for intermediate violinists and violists.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Lieder" (op. 326; including Nr. 27: "Still wie die Nacht“)

paragraph: BULLET::::- "Salon-Kompositionen" (op. 327)

paragraph: BULLET::::- "Klaviertrio G-dur." (Forelle; op. 330 Nr.2)

paragraph: BULLET::::- "Perpetuo Mobile" (Kleine Suite 6)

paragraph: BULLET::::- "Introduction and Polonaise"

paragraph: BULLET::::- "Moto Perpetuo"

paragraph: BULLET::::- "Hausmusik"

paragraph: BULLET::::- "Spanischer Tanz"

paragraph: BULLET::::- "The Fountain" (op. 221) (G major)

paragraph: BULLET::::- "Op.99 Petit Rondeau Brillant" (G major)

paragraph: BULLET::::- "Op.102 La Zingana - Hungarian Mazurka"

paragraph: BULLET::::- "Op.114 No.5 Sextet From Lucia (Donizetti)"

paragraph: BULLET::::- "Op.135 May Bells

paragraph: BULLET::::- "Op.213 Charge of the Uhlans - Grand Galop Militaire"

paragraph: BULLET::::- "Op.266 If Thou Thy Heart Wilt Give Me - Melodie"

paragraph: BULLET::::- "Op.270 Song of the Swallow"

paragraph: BULLET::::- "Op.281 Fairy Dance"

paragraph: BULLET::::- "Op.282 Frolic of the Butterflies - Kosender Falter"

paragraph: BULLET::::- "Op.302 No.5 La Grace"

paragraph: BULLET::::- "Op.305 No.b2 The Dance Queen - Polonaise"

paragraph: BULLET::::- "Op.327 No.14 Seguidilla - Spanish Song"

paragraph: BULLET::::- "Op.357 No.3 Brise printaniere - Polka brillante"

paragraph: BULLET::::- "Op.357 No.4 Rosetta - Fantasie-Mazurka"

paragraph: BULLET::::- "Op.362 No.1 Soldaten kommen (Soldiers are Coming) March"

paragraph: BULLET::::- "Sarabande in G minor for solo violin"

paragraph: Section::::Notes and references.

paragraph: BULLET::::- Some of the information on this page appears on the website of Edition Silvertrust but permission has been granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License.

paragraph: Section::::External links.

paragraph: BULLET::::- Some of Bohm's violin pieces are available at Free violin music

description: German composer

wikidata_label: Carl Bohm

wikipedia_title: Carl Bohm


text:
Stephen
King of Bosnia
Vladislaus
King Stephen Tvrtko I
Jelena Nelipčić
Ivan III Nelipac
Hrvoje Vukčić
Ban of Croatia
Bosnia
Split
Queen
Jelena Gruba
Republic of Dubrovnik
Tvrtko II
Hungary
stanak
Mile
Visoko
Buda
Bosnian
Serbia
Serbian Despot
Stefan Lazarević
Kujava
King
Bosnia
House of Kotromanić
History of Bosnia and Herzegovina
Hrvoje Vukčić

categories: Kotromanić dynasty,15th-century rulers in Europe,14th-century Bosnian people,14th-century rulers in Europe,1418 deaths,Year of birth missing,Dethroned monarchs,15th-century Bosnian people,Bosnian monarchs,Illegitimate children of Bosnian monarchs

paragraph: Ostoja of Bosnia

paragraph: Stephen Ostoja (died September 1418) was King of Bosnia from 1398 to 1404 and from 1409 to 1418.

paragraph: Section::::Family connections.

paragraph: He was a member of the House of Kotromanić, most likely son of Vladislaus and brother of King Stephen Tvrtko I. When duke Hrvoje Vukčić in 1416 died, King Ostoja divorced his old wife Kujava from the house of Radenović and married Hrvoje's widow Jelena Nelipčić the next year. Jelena Nelipčić was the sister of Prince Ivan III Nelipac from the Croatian noble Nelipić (Nelipac) family. That way Ostoja inherited most of Hrvoje's lands.

paragraph: Section::::Rise to power.

paragraph: Ostoja was brought to power by the forces of Hrvoje Vukčić, (Ban of Croatia, Grand Duke of Bosnia and a Herzog of Split), which deposed Queen Jelena Gruba in 1398. In 1403 he sided with King Ladislaus of Naples in his plights against the Hungarian King Sigismund, Bosnia's liege. King Ostoja led a war against the Republic of Dubrovnik, a Hungarian vassalage that year. In 1404, the Bosnians under Hrvoje Vukčić replaced him by his brother Tvrtko II because of his pro-Hungarian views. He had to flee to Hungary, after a stanak in Mile, Visoko.

paragraph: In 1408, Hungarian King Sigismund managed to defeat the Bosnian nobility and King Stephen Tvrtko II and restore Ostoja to the throne in 1409. King Stephen Ostoja ended the decade-long dispute with the Hungarians but recognizing the suzerainty of the Hungarian crown and in 1412 visited the Hungarian throne in Buda together with the rest of the Bosnian and Serbian nobility including Serbian Despot Stefan Lazarević.

paragraph: King Stephen Ostoja died in September 1418 and his oldest son from his marriage with Kujava, Stephen Ostojić, was elected King of Bosnia.

paragraph: Section::::See also.

paragraph: BULLET::::- House of Kotromanić

paragraph: BULLET::::- History of Bosnia and Herzegovina

paragraph: BULLET::::- Hrvoje Vukčić

description: King of Bosnia

wikidata_label: Stephen Ostoja of Bosnia

wikipedia_title: Ostoja of Bosnia


text:
ancient Egypt
pharaoh
3rd dynasty
Old Kingdom
Hellenized
Manetho
Eusebius
Khasekhemwy
Nimaathap
Nebka
contemporary
Horus name
limestone
Egyptian Museum
Cairo
New Kingdom
Nebka
Egyptologist
dynasty
Khufu
Papyrus Westcar
Huni
Toby Wilkinson
Khasekhemwy
Abydos
Khasekhemwy
Second dynasty of Egypt
Nimaethap
Beit Khallaf
Sneferu
Hetephernebti
Inetkawes
Sekhemkhet
Third Dynasty
Old Kingdom
Nebka
Sanakht
Toby Wilkinson
cattle counts
Palermo stone
register
Year of coronation
Marc van de Mieroop
Museum of Egyptian Antiquities
Sinai Peninsula
turquoise
copper
Seth
Horus
Nile
step pyramid
mastaba
Old Kingdom
Aesculapius
Imhotep
Heliopolis
Gebelein
First Cataract
Famine Stela
Ptolemaic Dynasty
Khnum
Elephantine
vizier
tjaty
shipyard
Imhotep
Papyrus Westcar
Khufu
Tebtunis
mastaba
Imhotep
limestone
maze
Den
Semerkhet
Nynetjer
Sekhemib
South Court
Heb-sed north court
Roofed Colonnade Entrance
Serdab
A Detailed profile of Djoser

categories: 27th-century BC Pharaohs,Pharaohs of the Third Dynasty of Egypt

paragraph: Djoser

paragraph: Djoser (also read as Djeser and Zoser) was an ancient Egyptian pharaoh of the 3rd dynasty during the Old Kingdom and the founder of this epoch. He is also known by his Hellenized names Tosorthros (from Manetho) and Sesorthos (from Eusebius). He was the son of king Khasekhemwy and queen Nimaathap, but whether he also was the direct throne successor is still unclear. Most Ramesside Kinglists name a king "Nebka" before him, but since there are still difficulties in connecting that name with contemporary Horus names, some Egyptologists question the received throne sequence.

paragraph: Section::::Identity.

paragraph: The painted limestone statue of Djoser, now in the Egyptian Museum in Cairo, is the oldest known life-sized Egyptian statue. Today at the site in Saqqara where it was found, a plaster copy of the statue stands in place of the original. The statue was found during the Antiquities Service Excavations of 1924–1925.

paragraph: In contemporary inscriptions, he is called "Netjerikhet", meaning "divine of body." Later sources, which include a New Kingdom reference to his construction, help confirm that Netjerikhet and Djoser are the same person.

paragraph: While Manetho names "Necherophes" and the Turin King List names Nebka as the first ruler of the Third dynasty, many Egyptologists now believe Djoser was first king of this dynasty, pointing out that the order in which some predecessors of Khufu are mentioned in the "Papyrus Westcar" suggests Nebka should be placed between Djoser and Huni, not before Djoser. More significantly, the English Egyptologist Toby Wilkinson has demonstrated that burial seals found at the entrance to Khasekhemwy's tomb in Abydos name only Djoser, rather than Nebka. This supports the view that it was Djoser who buried and, hence, directly succeeded Khasekhemwy, rather than Nebka.

paragraph: Section::::Family.

paragraph: Djoser is linked to Khasekhemwy, the last king of the Second dynasty of Egypt, through his wife Queen Nimaethap (Nimaat-hap) via seals found in Khasekhemwy's tomb and at Beit Khallaf. The seal at Abydos names Nimaat-hap as the "mother of the king's children, Nimaat-hap". On mastaba K1 at Beit Khallaf, the same person is mentioned as the "mother of the dual king". Dating of other seals at the Beit Khallaf site place them to the reign of Djoser. This evidence suggests that Khasekhemwy is either the direct father of Djoser or that Nimaat-hap had him through a previous husband. German Egyptologist Gunter Dreyer found Djoser's sealings at Khasekhemwy's tomb, further suggesting that Djoser was the direct successor of Khasekhemwy and that he finished the construction of the tomb.

paragraph: Her cult seems to have still been active in the later reign of Sneferu.

paragraph: Hetephernebti is identified as one of Djoser's queens "on a series of boundary stela from the Step Pyramid enclosure (now in various museums) and a fragment of relief from a building at Hermopolis" currently in the Egyptian museum of Turin.

paragraph: Inetkawes was their only daughter known by name. There was also a third royal female attested during Djoser's reign, but her name is destroyed. The relationship between Djoser and his successor, Sekhemkhet, is not known, and the date of his death is uncertain.

paragraph: Section::::Reign.

paragraph: Section::::Reign.:Third Dynasty.

paragraph: The lands of Upper and Lower Egypt were united into a single kingdom sometime around 2686 BC. The period following the unification of the crowns was one of prosperity, marked by the start of the Third Dynasty and the Old Kingdom of Egypt. The exact identity of the founder of the dynasty is a matter of debate, due to the fragmentary nature of the records from the period. Djoser is one of the principal candidates for the founder of the Third Dynasty. Other candidates are Nebka and Sanakht. Complicating matters further is the possibility that Nebka and Sanakht are referring to the same person.

paragraph: Egyptologist Toby Wilkinson believes that the weight of archeological evidence favours Djoser (Netjerikhet) as Khasekhemwy's successor and therefore founder of the Third Dynasty. A seal from Khasekhemwy's tomb at Abydos, in combination with a seal from mastaba K1 at Beit Khallaf dated to Djoser's reign, links the two pharaohs together as father and son respectively. The seal at Abydos names a 'Nimaat-hap' as the mother of Khasekhemwy's children, while the other seal at Beit Khallaf names the same person as the 'mother of the dual-king'. Further archaeological evidence linking the reigns of the two pharaohs together are found at Shunet et-Zebib, which suggest that Djoser oversaw the burial of his predecessor. Ritual stone vessels found at the sites of the tombs – Khasekhemwy's tomb at Abydos and Djoser's tomb at Saqqara – of the two pharaohs also appear to have come from the same collection, as samples from both sites contain identical imagery of the god Min. This archeological evidence is supplemented by at least one historical source, the Saqqara king list, which names Djoser as the immediate successor of Beby – a misreading of Khasekhemwy.

paragraph: Section::::Reign.:Length of reign.

paragraph: Manetho states Djoser ruled Egypt for twenty-nine years, while the Turin King List states it was only nineteen years. Because of his many substantial building projects, particularly at Saqqara, some scholars argue Djoser must have enjoyed a reign of nearly three decades. Manetho's figure appears to be more accurate, according to Wilkinson's analysis and reconstruction of the Royal Annals. Wilkinson reconstructs the Annals as giving Djoser "28 complete or partial years", noting that the cattle counts recorded on Palermo stone register V, and "Cairo Fragment 1", register V, for the beginning and ending of Djoser's reign, would most likely indicate his regnal years 1–5 and 19–28. Unfortunately, next to all entrances are illegible today. The Year of coronation is preserved, followed by the year events "receiving the twin-pillars" and "stretching the cords for the fortress Qau-Netjerw ("hills of the gods")".

paragraph: Section::::Reign.:Period of reign.

paragraph: Various sources provide various dates for Djoser's reign. Ancient Near East history professor Marc van de Mieroop dates Djoser's reign to somewhere between 2686 BC to 2648 BC. Authors Joann Fletcher and Michael Rice date his reign from 2667 BC to 2648 BC giving a regnal period of 18 partial or complete years. Rice further states that Nebkha was Djoser's brother and predecessor. Writer Farid Atiya provides a similar regnal period to Fletcher, and Rice offset by a single year – 2668 BC to 2649 BC. This dating is supported by authors Rosalie and Charles Baker in "Ancient Egypt: People of the Pyramids". Egyptologist Abeer el-Shahawy in association with the Museum of Egyptian Antiquities places Djoser's reign to the period of 2687 BC to 2668 BC for a similar 18 partial or complete years. Author Margaret Bunson places Djoser as the second ruler of the Third Dynasty, and places his reign to the period of 2630 BC to 2611 BC for 19 partial or complete year reign. In her chronology, Djoser is preceded by Nebka as the "Founder of the Third Dynasty", reigning for the period 2649 BC to 2630 BC. She, like Rice, makes Nebka a brother of Djoser.

paragraph: Section::::Reign.:Political activities.

paragraph: Djoser dispatched several military expeditions to the Sinai Peninsula, during which the local inhabitants were subdued. He also sent expeditions there to mine for valuable minerals such as turquoise and copper. This is known from inscriptions found in the desert there, sometimes displaying the banner of Seth alongside the symbols of Horus, as had been more common under Khasekhemwy. The Sinai was also strategically important as a buffer between the Nile valley and Asia.

paragraph: His most famous monument was his step pyramid, which entailed the construction of several mastaba tombs one over another. These forms would eventually lead to the standard pyramid tomb in the later Old Kingdom. Manetho, many centuries later, alludes to architectural advances of this reign, mentioning that "Tosorthros" discovered how to build with hewn stone, in addition to being remembered as the physician Aesculapius, and for introducing some reforms in the writing system. Modern scholars think that Manetho originally ascribed (or meant to ascribe) these feats to "Imuthes", who was later deified as "Aesculapius" by the Greeks and Romans, and who corresponds to Imhotep, the famous minister of Djoser who engineered the Step Pyramid's construction.

paragraph: Some fragmentary reliefs found at Heliopolis and Gebelein mention Djoser's name, and suggest he commissioned construction projects in those cities. Also, he may have fixed the southern boundary of his kingdom at the First Cataract. An inscription known as the Famine Stela and claiming to date to the reign of Djoser, but probably created during the Ptolemaic Dynasty, relates how Djoser rebuilt the temple of Khnum on the island of Elephantine at the First Cataract, thus ending a seven-year famine in Egypt. Some consider this ancient inscription as a legend at the time it was inscribed. Nonetheless, it does show that more than two millennia after his reign, Egyptians still remembered Djoser.

paragraph: Although he seems to have started an unfinished tomb at Abydos (Upper Egypt), Djoser was eventually buried in his famous pyramid at Saqqara in Lower Egypt. Since Khasekhemwy, a pharaoh from the 2nd dynasty, was the last pharaoh to be buried at Abydos, some Egyptologists infer that the shift to a more northerly capital was completed during Djoser's time.

paragraph: Section::::Djoser and Imhotep.

paragraph: One of the most famous contemporaries of king Djoser was his vizier ("tjaty"), "head of the royal shipyard" and "overseer of all stone works", Imhotep. Imhotep oversaw stone building projects such as the tombs of King Djoser and King Sekhemkhet. It is possible that Imhotep was mentioned in the also famous Papyrus Westcar, in a story called "Khufu and the magicians". But because the papyrus is badly damaged at the beginning, Imhotep's name is lost today. A papyrus from the ancient Egyptian temple of Tebtunis, dating to the 2nd century AD, preserves a long story in the demotic script about Djoser and Imhotep. At Djoser's time, Imhotep was of such importance and fame that he was honoured by being mentioned on statues of king Djoser in his necropolis at Saqqara.

paragraph: Section::::Tomb.

paragraph: Djoser was buried in his famous step pyramid at Saqqara. This pyramid was originally built as a nearly square mastaba, but then five further mastabas were literally piled one upon another, each smaller than the previous one, until the monument became Egypt's first step pyramid. Supervisor of the building constructions was the high lector priest Imhotep.

paragraph: Section::::Tomb.:The pyramid.

paragraph: The step pyramid is made of limestone. It is massive and contains only one tight corridor leading to the close midst of the monument, ending in a rough chamber where the entrance to the tomb shaft was hidden. This inner construction was later filled with rubble, for it was of no use anymore. The pyramid was once 62 metres high and had a base measurement of ca. 125 X 109 metres. It was tightly covered in finely polished, white limestone.

paragraph: Section::::Tomb.:Subterranean structure.

paragraph: Beneath the step pyramid, a large maze of corridors and chambers was dug. The burial chamber lies in the midst of the subterranean complex; a 28 metres deep shaft leads directly from the surface down to the burial. The shaft entrance was sealed by a plug stone with a weight of 3.5 tons. The subterranean burial maze contains four magazine galleries, each pointing straight to one cardinal direction. The eastern gallery contained three limestone reliefs depicting king Djoser during the celebration of the Heb-Sed (rejuvenation feast). The walls around and between these reliefs were decorated with bluish faience tiles. They were thought to imitate reed mats, as an allusion to the mythological underworld waters. The other galleries remained unfinished.

paragraph: At the eastern side of the pyramid, very close to the blue chambers, eleven tomb shafts lead straight down for 30 – 32 metres, and then deviate in a right angle to the west. Shafts I – V were used for the burials of royal family members; shafts VI – XI were used as symbolic tombs for the grave goods of royal ancestors from dynasties I – II. More than 40,000 vessels, bowls and vases made of various kinds of stone were found in these galleries. Royal names such as of kings Den, Semerkhet, Nynetjer and Sekhemib were incised on the pots. It is now thought that Djoser once restored the original tombs of the ancestors, and then sealed the grave goods in the galleries in an attempt to save them.

paragraph: Section::::Tomb.:Serdab Statue of Djoser.

paragraph: The statue of Djoser is walled into the serdab. The main purpose of the statue was to allow the king to manifest himself and be able to see the rituals performed in and out the serdab. This painted statue is plastered and made out of limestone. Each characteristic of the statue represents something, the striated tripartite wig he is wearing assimilates him to the living world as a dead king. The striped head cloth that covers the wig was used to cover all of his hair. This was a ritual that began to be used by kings in the fourth dynasty. The body is wrapped under a long robe, his hands are placed in a specific way. His right arm is horizontally displayed on his chest while his left arm is resting on his thigh. The placement of his arms are a resemblance to Khasekhem seat.

paragraph: Section::::Tomb.:Funerary complex.

paragraph: The funerary complex is the first architectural project to be built entirely out of stone. This complex had fourteen entrances but only one was functional. It is made up of the Great South Court, and the Heb-sed north court with Djoser’s step pyramid in the center. The complex is enclosed by a 10.5 meters high stone wall, referred to as the enclosure wall. Along with the main courts there is a Roofed Colonnade Entrance located within the south court and a Serdab chamber that holds the seated statue of the king Djoser.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Rosanna Pirelli, "Statue of Djoser" in Francesco Tiradritti (editor): "The Treasures of the Egyptian Museum". American University in Cairo Press, Cairo 1999, p. 47.

paragraph: BULLET::::- Iorwerth Eiddon Stephen, Edwards: "The Pyramids of Egypt". West Drayton 1947; Rev. ed. Harmondsworth 1961; Rev. ed. Harmondsworth 1985 (deutsche Ausgabe: Die ägyptischen Pyramiden, 1967)

paragraph: Section::::External links.

paragraph: BULLET::::- A Detailed profile of Djoser

alias: Djeser Zoser Tosorthros Sesorthos

wikidata_label: Djoser

wikipedia_title: Djoser