texts:
<mask> (also '<mask>', 'Jakob' or 'Jakub")  (1573 in Antwerp – c.1632 in Hamburg), was a Flemish painter, printmaker, miniaturist, draftsman, art dealer, diplomat, merchant and politician. He was the son of the Flemish painter and miniaturist <mask> (1542–1601) who was a court painter to the dukes of Bavaria and Emperor Rudolf II in Prague. <mask> himself became a court painter to Rudolf II and to the Swedish court. He is noted for his illustrations of natural history subjects as well as his portraits, topographical views, emblems and mythological works, which continue his father's style. Life
<mask>l was the oldest son of Susanna van Onsem and <mask> (1542–1600) and was baptized in Antwerp on 25 December 1573. His father was a member of a rich family of merchants in Antwerp who had left his home country after the 1576 Sack of Antwerp, in which much of the family fortune was lost to plunder. His father had been working in the family business but had also learned to paint and draw.During his exile his father was employed as a court painter successively by the dukes of Bavaria and Emperor Rudolf II in Prague. Unlike his father who was not trained professionally as an artist but had started out as a merchant in the family business in diamonds and luxury goods, <mask> was given the opportunity to study art under a master in Antwerp. He was registered as a pupil of Abraham Liesaert in the Antwerp Guild of Saint Luke in 1582. He then started a peripatetic life. He travelled via Munich to Frankfurt am Main where he joined his father at the latest in 1592. His father had by then remarried after the death of <mask>'s mother. It was during this time that <mask> published a series of etchings copied from drawings by his father.It is likely he left Frankfurt in 1594 following the persecution of the Calvinists in that city. He was in Regensburg in 1594 and from 1600 in Prague. He was appointed the court painter to Rudolf II in Prague on 7 November 1602, a position he held until 1613. From 1602 he also spent time in Vienna where he married in 1605 Anna Muys, the daughter of the Dutch court architect Anthoni Muys (Anton de Mois). This was already his third marriage. Throughout his life <mask> would marry five times. He was in Rome in 1605.He is recorded in Prague in 1609 and again in Rome in 1610. A census in 1612 of people living at the court, conducted at the time Rudolf II died, includes the name of <mask>l, followed by the title 'Contrafetter'  which means portrait painter. He experienced financial difficulties, which he attributed to the court's failure to pay his salary as a court painter. As a consequence he left the imperial service at the end of February 1612. <mask> was later that year reported as living in Vienna. He returned to Prague by 1613. He was citizen of the Malá Strana in Prague between 1614 and 1617.In 1614 he married his fourth wife. In 1616, he finally received the overdue salary  of five hundred thousand guilders which the imperial court owed him. Despite this payment he was experiencing financial difficulties in 1617. In Prague he belonged to a circle of Flemish and Dutch merchants, artists and scholars, some of whom were Reformed, with close ties to the court of Rudolf II. He was a diplomat at the court at a time when Prague played a pivotal role in European affairs. During the Thirty Years' War which started in 1618, he took the side of the protestant Winter King Frederick V of the Palatinate against the catholic Habsburg dynasty. He was appointed as the official agent of the Bohemian estates to the Dutch Republic in 1618 and resided in the Dutch Republic from 1618 to 1620.He had the right contacts for the position as he was the nephew of the Dutch poet and politician Constantijn Huygens, who had married his aunt Susanna <mask>. Huygens was secretary to the Dutch Stadtholder Maurice, Prince of Orange. In 1620 <mask> was again a resident in Prague. He was accused by the authorities of fraudulently dealing with certain financial matter. Hoefnagel was convicted in absentia in a political process of embezzlement of funds. All his goods were confiscated and, according to some sources, he was sentenced to death. He could, however, flee.He spent time in Scandinavia including Stockholm and Göteborg. In Göteborg, he holds various high level positions: from 1622 to 1626 he is city counselor, from 1624 to 1627 president of the court of justice and in July 1624 he was appointed as one of the three burgomasters. In 1624 the Swedish king Gustav Adolf visited Göteborg. In November 1624, the painter is rewarded with a golden chain with a miniature portrait of the king. He is recorded on 30 April 1624 in the Swedish court accounts as a portrait painter. He was in Altona (Hamburg) in 1626 where he married for the fifth and last time. Details about his last years are not available.His wife is recorded as a widow in Hamburg in 1633. Work

<mask> worked in various media and formats and is known for portraits, still lifes, mythological, scientific and topographical works, miniatures and emblems executed in oil, water colour, gouache and as engravings. Archetypa studiaque patris Georgii Hoefnagelii
His first important work was the Archetypa studiaque patris Georgii Hoefnagelii, which he published in 1592 in Frankfurt. The book is a collection of 48 engravings of plants, insects and small animals shown ad vivum. It is divided in four parts of twelve plates (each with separate frontispiece), made after designs by his father Joris <mask> and engraved by <mask> who was only 19 years old at the time of publication. The Italian scholar Filippo Buonanni asserted in 1691 that these engravings are the first published instance of the use of the microscope. However, this assertion of Buonanni is still contested.As the quality of the engravings varies, it is assumed that some of the works were made by members of the family De Bry who resided in Frankfurt. The prints in the collections were intended not solely as representations of the real world. They also carried a religious meaning as they encouraged the contemplation of god's plan of creation. Like contemporary emblem books each print carried a motto typically referring to god's interference in the world. The prints of the book were used as models by other artists and the Hoefnagel motifs were copied until the 19th century. It has been argued that the prints stood at the basis of the typical Dutch genre of still lifes with flowers, shells and insects. Painting

Unlike his father who preferred drawing, <mask> was an accomplished oil painter who produced works in the Prague Mannerist style popularised by artists such as Hans von Aachen and Bartholomeus Spranger.As a painter Hoefnagel specialized in small format mythological or allegorical scenes on vellum or copper. During his stay at the court in Prague he produced many paintings of which only a few have survived. The Morgan Library & Museum holds an Orpheus charming the animals dated 1613 in a late Mannerist style and a Winter dated 1618. Only a few portraits of Hoefnagel are known, all executed during his stay in Sweden. These portraits include a bust portrait of king Gustaf Adolf (The Royal Armoury) and the queen consort Queen Maria Eleonore of Sweden dated around 1624. He received 150 national dollars and a gold chain from the king for this commission. The original of the oil painting of the queen consort is lost and is now known through the engraving made by Hendrik Hondius I in 1629.He made in 1609 a topographically useful and at the same time artistically valuable view of the city of Vienna. Around the same time, he was in Vienna one of the contributors to a painted scientific work known as the  "Museum or bestiary (Tierbuch) of Emperor Rudolf II", which consists of 180 parchment leaves and is kept in the Austrian National Library as cod. min. 129-130. Two collaborations on small cabinet miniatures between father and son Hoefnagel are known, Diana and Actaeon (Louvre) and Allegory on Life and Death (British Museum). Civitates orbis terrarum
<mask>'s father Joris had provided designs for the fifth volume of Civitates orbis terrarum, which consisted of prints of bird's-eye views and maps of cities from all around the world. The work was edited by Braun and largely engraved by Frans Hogenberg.<mask> reworked in 1617 designs of his father for the sixth volume of Civitates Orbis Terrarum, which was published in Cologne in 1618. Volume 6 contains a homogeneous series of images of cities in Central Europe (in Austria, Bohemia, Moravia, Hungary and Transylvania), which are very consistent in their graphics. The views are in perspective, and only in  a few cases, isometric and stand out through the accuracy of the information, the particular attention to the faithful representation of the territory, the landscape, the road conditions and the power of observation and refinement of interpretation. Diversae insectarum volatilium icones
His Diversae insectarum volatilium icones ad vivum accuratissime depictae per celeberrimum pictorem, published by Claes Jansz. Visscher in Amsterdam in 1630 is one of the earliest works dealing exclusively with insects. The book consists of 16 prints engraved by <mask> after designs by his father. A single convex lens was used in the preparation of some of the drawings for this book.As far as known, the pictures of Hoefnagel are the earliest printed figures of magnified objects (Locy, The Story of Biology, p. 199). The 16 beautiful engravings depict 302 insects, in order: 37 Coleoptera, 22 Orthoptera, 14 Odonata, 16 Neuroptera, 72 Lepidoptera, 35 Hymenoptera, 78 Diptera, 21 Hemiptera, and 7 larvae; from central and northern Germany. <mask> described the engraved copies of his father's designs as "A pattern or copy-book for artists, displaying on sixteen plates about 340 insects, mostly larger than life". The work was used by many artists as models and as such helped spread Joris <mask>'s fame. The Dutch biologist Jan Swammerdam mentioned that the insects were drawn from life. The publication of this book has sometimes been credited to a hypothetical brother of <mask> called Jan as the book was published in the year <mask> died and was published in the name of I. Hoefnagel. However, it is unlikely that the publication was a product of a brother of <mask>.Gloria Crocodilus
An album of emblematic drawings entitled Gloria Crocodilus kept at the British Museum has been attributed to <mask>l. The album consists of 82 leaves, 63 of which bear miniature emblematic roundels in bodycolour, each inscribed with a title above in Latin. It was made in the Dutch Republic in 1634 and bound at an early date in Dutch red morocco leather with elegant gilt tooling. The dedicatee is Godefridus Crell of Prussia, who may have been a member of the distinguished German Crell family. The attribution to <mask> is based on the drawings' resemblance to his series of emblematic roundels now in the Museum of Fine Arts in Budapest. References

External links

Online Digital version of Diversae Insectarum from GDZ
Gloria Crocodilus, at The British Museum

1575 births
1630s deaths
Court painters
Flemish Renaissance painters
Flemish engravers
Artists from Antwerp
Belgian expatriates in Sweden

masks:
Jacob Hoefnagel
Jacobus
Joris Hoefnagel
Jacob Hoefnagel
Jacob Hoefnage
Joris Hoefnagel
Jacob
Jacob
Jacob
Jacob Hoefnagel
Jacob Hoefnage
Jacob Hoefnagel
Hoefnagel
Hoefnagels
Jacob Hoefnagel
Hoefnagel
Jacob
Jacob
Jacob
Jacob
Jacob
Jacob Hoefnagels
Hoefnagel
Jacob
Jacob
Jacob
Jacob Hoefnage
Jacob Hoefnagel


type: original

texts:
<mask> is a Lebanese writer, art critic, curator, researcher and professor of Literature and Art History at Saint Joseph University of Beirut. She obtained her PhD in Comparative Literature (Literature and Art) from the New Sorbonne University (Paris III) in 2004. Professional path
Along with teaching Literature and Art History, <mask> has also been, from 2008 to 2017, the Chair of the French Literature Department at Saint Joseph University of Beirut. In 2010, she designed, proposed and launched the MA and PhD program in Art Criticism and Curatorial Studies that she heads. <mask> has also designed, organized, curated and co-curated several cultural events including the symposium "Littérature, Art et Monde Contemporain: Récits, Histoire, Mémoire" (2014, Beirut) and the exhibition "Poetics, Politics, Places" that took place in Tucumán, Argentina, from September to December 2017, in the frame of the International Biennale of Contemporary Art of South America (BienalSur). Research field
<mask>' current research explores the issues related to the comparative theory and aesthetics of literature and art, which brings her to the topics of history, memory and narratives in literature and art in post-war Lebanon. Since 2014, she's been developing a multi-disciplinary seminar and research platform on the paradigm of modernity.Her research leads her to question the relationship between poetics and politics as well as the representations associated with the notion of territory. Publications

Books
 Proust Portrait Peinture, Paris, Orizons, 2010
 Littérature, art et monde contemporain: récits, histoire, mémoire, Beirut, Presses de l'USJ, 2015

Co-edited issue
Co-editor, with Claire Launchbury, special issue of the Contemporary French and Francophone studies entitled War, Memory, Amnesia: Postwar Lebanon, Routledge, volume 18, issue No. 5, 2014

Academic articles
 "Le poème de Jad Hatem ou une poétique de la révélation" in Acanthe, French literature publications, Saint Joseph University, volume 19, 2001, pp. 73–79. "Le patriarche di Grado exorcisant un possédé dans Albertine disparue" in Acanthe, French literature publications, Saint Joseph University, volume 20, 2002, pp. 19–32
 "Transgression et littérature" in Acanthe, French literature publications, Saint Joseph University, volume 21-22, 2003–2004, pp. 337–363
 "Miss Sacripant d'Elstir: leçon d'art, leçon de vie" in Travaux et jours, Saint Joseph University, No.75, 2005, pp. 171–210
 "Le corps foudroyé dans Figures de la foudre: Méditations poétiques sur trois sculptures de Réthy Tambourji de Jad Hatem" in Plaisance, Rivista quadrimestrale di letteratura francese moderna e contemporanea, Rome, No. 10, 4th year, 2007, pp. 117–130
 "L'image dans le texte: Albertine comme sujet pictural dans À la recherche du temps perdu de Marcel Proust" in Acanthe, French literature publications, Saint Joseph University, volume 24-25, 2006–2007, pp. 133–166
 "La géographie subjective dans quelques romans de Richard Millet" in Travaux et jours, Saint Joseph University, No. 81, 2008–2009, pp. 65–73
 "Pour une poétique de l'interpicturalité" in Acanthe, French literature publications, Saint Joseph University, volume 26-27, 2008–2009, pp.109–121
 "Sympathie et système de valeurs: pour une réception de La Confession négative de Richard Millet" in Littératures, No. 63, 2011, Presses universitaires du Mirail, pp. 111–124
 "Le roman contemporain libanais et la guerre" in Contemporary French and Francophone Studies/ War, Memory, Amnesia: Postwar Lebanon, Routledge, volume 18, issue No. 5, 2014, pp. 462–469
 "Philippe de Champaigne et Blaise Pascal: dans l'enceinte de Port-Royal" in Acanthe, French literature publications, Saint Joseph University, volume 33, 2015, pp. 101–113
 "Pour une lecture de la ruine: Berytus de Rabee Jaber et Attempt 137 to Map the Drive de Jalal Toufic et Grazielle Rizkallah Toufic" in Littérature, art et monde contemporain: récits, histoire, mémoire, Beirut, Presses de l'USJ, pp. 201–221
 "Georges Schehadé: The Available Landscape" in The Place That Remains: Recounting the Un-built Territory, Lausanne, Skira, 2018, p. 166
 Mapping the City” in Saradar Collection Art Essays, online publication, May 2020, 15 pages.Art criticism articles, texts on art, texts for catalogues and interviews
 "Quand les mots deviennent image: pour une lecture des écrits poétiques de Georgé Chaanine" in Esquisse, Art magazine, No. 3, May 2001, p. 26
 "Alberto Giacometti, une ligne déchirant l'espace" in Esquisse, Art magazine, No. 3, May 2001, pp. 62–65
 Ayman Baalbaki's Mythological City, Beirut, Alarm Editions, 2009
 "Wael Shawky: la réécriture de l'histoire" in L'Art même, plastic arts chronicle of the French Community of Belgium, No. 51, 2nd quarter of 2011, p. 18
 "Mireille Kassar, AntiNarcissus" in Art Press, No. 431, March 2016, pp. 65–68
 "Where I End and You Begin: Experiencing the Mountain", photographies by Nadim Asfar, May 2016
 "Sifr", Hady Sy, January 2017
 "On Marginalisation, Activism and Feminism", dialogue with Etel Adnan, Lamia Joreige and Tagreed Darghouth, in Selections, No.42, September 2017, pp. 48–61
 Catalogue of the exhibition Poetics, Politics, Places, November 2017
 "Dreaming History" in Essays and Stories on Photography in Lebanon, Kaph publisher, 2018, pp. 297–299

Creative writing
 Passantes, Photographs by Alain Brenas, Beirut, Presses de l'Académie libanaise des Beaux-Arts, 2013

Curatorial practice
 Le Secret, Espace Ygreg, Les bons voisins, Paris, France, April 4-April 28, 2017 (Co-curator)
 Poetics, Politics, Places, Timoteo Navarro Museum, Tucumán, Argentina, September–December 2017: In the frame of the International Biennale of Contemporary Art of South America (Curator)

References

External links
 USJ: Master Professionnel en critique d’art et curatoriat, Faculté des lettres et des sciences humaines
 Le Roman Contemporain Libanais et la Guerre : Récit, Histoire, Mémoire

Living people
Writers from Beirut
Lebanese writers
Year of birth missing (living people)

masks:
Nayla Tamraz
Nayla Tamraz
Nayla Tamraz
Nayla Tamraz


texts:
<mask>  (; born 14 April 1967) is an Italian former footballer, who played as a midfielder. <mask>'s career spanned three decades, during which he played for several clubs: after beginning his career with Parma, he played with Fiorentina, and in particular Inter Milan, where he became an important figure in the club's midfield, winning a Serie A title and three UEFA Cups. After his time in Italy, he ended his career with spells in England, Spain and Australia, at Tottenham, Alavés, and Northern Spirit respectively. A dynamic, tenacious and hard-working player, he was also regarded as a linchpin for the Italy national football team during the late 1980s and the early 1990s, notably reaching the final of the 1994 FIFA World Cup with Italy, and finishing in third place in the 1990 edition on home soil. Club career
Born in Salsomaggiore Terme, <mask> started his career as a seventeen-year-old with Parma. In his debut season the club won the 1983–84 Serie C1 championship under manager Arrigo Sacchi, and gained promotion to Serie B. After three seasons at Fiorentina he was signed by Inter Milan in 1988 for £3.6 million.In his first season at the club, <mask> formed a notable midfield partnership with Lothar Matthäus, and was part of a team which won the 1988–89 record breaking Scudetto by an 11-point margin under manager Giovanni Trapattoni, losing only twice, and setting a Serie A points record. <mask> himself contributed seven league goals in Serie A that season from midfield. While at Inter, <mask> also won the 1989 Supercoppa Italiana, and the UEFA Cup three times, also reaching an additional final in 1997; he played a key role in the club's victories from midfield during this period, and scored in both the 1991 UEFA Cup Final and the 1994 UEFA Cup Final. In January 1998, <mask> joined Tottenham Hotspur on a free transfer. With Spurs in danger of relegation upon his arrival midway through the 1997–98 season, <mask> helped the club to a 13th-placed finish in the Premier League. After George Graham replaced Christian Gross as manager of Tottenham, <mask> was allowed to leave the club and join Deportivo Alavés on a free transfer. He later had a season in Australia, with Northern Spirit.International career
After playing for Italy's under 21 team at both the 1986 and 1988 UEFA European Under-21 Football Championships under manager Cesare Maldini (reaching the final in 1986), <mask> made his debut for the Italy senior team against Norway in 1988, under Azeglio Vicini. He scored his first goal, against Scotland on his third appearance for the Azzurri. He was included in the squad for the 1990 FIFA World Cup, where he appeared in four matches, wearing the number 10 shirt, including the third place playoff versus England which Italy won 2–1; in the final minutes of the match, he scored from a Roberto Baggio cross, but the goal was incorrectly ruled offside - though Baggio's opener was offside and the winning penalty was dubious. At the 1994 World Cup under Arrigo Sacchi, <mask> was more established and played in every match on the way to and including the final defeat against Brazil; he notably started the play which led to Roberto Baggio's last-minute match winning goal in the quarter-finals, against Spain, with a trademark long pass, after winning back possession. In total, he represented Italy on 39 occasions between 1988 and 1995, scoring three goals. International goals
Scores and results list Italy's goal tally first, score column indicates score after each Berti goal. Style of play
Despite his initial lack of notable elegance or technical ability, <mask> was able to greatly improve his ball skills as his career progressed, showing great finesse and technical developments with time, and was known for his ability to run forward with the ball at speed due to his pace and athleticism.He was an energetic, tenacious, and hard tackling box-to-box midfielder, who had a knack for committing fouls and picking up cards due to his aggressive challenges; although he was initially considered to be undisciplined from a tactical standpoint, he later demonstrated significant tactical intelligence as he matured, and unlike most defensive midfielders, he preferred to put pressure on his opponents in more advanced midfield roles and press them further up the pitch rather than mainly sitting in front of his team's defence. A tall, slender, and dynamic footballer, he was known in particular for his pace, stamina, work-rate, and passing range, which made him a versatile player, who was capable of playing anywhere in midfield; these skills allowed him to aid his team both defensively and offensively, or start attacking plays with long balls after obtaining possession. In addition to his ability to break down opposing plays, Berti was also effective in the air, which, along with his attacking drive, powerful striking ability, and positional sense, enabled him to run forward after winning back the ball, and contribute to his team's offensive play with additional goals from midfield. Although he was initially noted for his physical resemblance to playmaker Gianni Rivera in his youth, Berti's attributes and direct playing style later led him to be compared instead to his childhood idol, Marco Tardelli. During the 1994 World Cup final against Brazil, he was also used out of position as both a left and right–sided winger in a 4–4–2 formation by manager Arrigo Sacchi. Honours
Parma
 Serie C: 1983–84

Inter Milan
 Serie A: 1988–89; runner-up 1992–93
 Supercoppa Italiana: 1989
 UEFA Cup: 1990–91, 1993–94; runner-up 1996–97

Tottenham Hotspur
 Football League Cup: 1998–99

Italy
 FIFA World Cup: runner-up 1994; third place 1990

Individual
Pirata d'Oro (Inter Milan Player of the Year): 1994

Orders
 5th Class / Knight: Cavaliere Ordine al Merito della Repubblica Italiana: 1991

References

External links

 Nicola Berti at Aussie Footballers
 1990 FIFA World Cup 3rd place play-off
 1994 FIFA World Cup Final

 Record of Caps

1967 births
Living people
People from Salsomaggiore Terme
Italian footballers
Association football midfielders
Italy international footballers
Italy under-21 international footballers
1990 FIFA World Cup players
1994 FIFA World Cup players
Parma Calcio 1913 players
ACF Fiorentina players
Inter Milan players
Tottenham Hotspur F.C. players
La Liga players
Serie A players
Serie C players
Premier League players
National Soccer League (Australia) players
Deportivo Alavés players
Northern Spirit FC players
Italian expatriate footballers
Expatriate soccer players in Australia
Expatriate footballers in Spain
Expatriate footballers in England
Italian expatriate sportspeople in Australia
Italian expatriate sportspeople in Spain
Italian expatriate sportspeople in England
UEFA Cup winning players
Knights of the Order of Merit of the Italian Republic

masks:
Nicola Berti
Berti
Berti
Berti
Berti
Berti
Berti
Berti
Berti
Berti
Berti
Berti


texts:
<mask> (1813–1871) was a writer and workhouse reformer in Frome, who became widely known for her book, 'Sunshine in the Workhouse' and for efforts, both local and national, to improve conditions for inmates. Early life

<mask> from Bath married <mask> (1807-1894), the second son of <mask>, in 1834; they had a daughter, Mary Stuart in 1841. They first lived in Berkley House. In 1848, by which time she had had seven children, they moved into Fromefield House with <mask> senior, some ten years after the death of his wife, Mary Ann Stuart Byard. <mask>'s husband was a pillar of local society: a JP, chair of the Board of Guardians which ran the workhouse as part of the Poor Law Amendment Act 1834, vice-president of the Frome Literary and Scientific Institution (now the Frome Museum), trustee of Frome charities, supporter of the Frome School of Art (founded by Singer) and of the Church Missionary Society. The Frome Times documented his public life. He addressed Queen Victoria at a levee in 1842.In this milieu, his wife had opportunities to examine the lives of less fortunate members of society. In 1833, a cottage was built on the corner of Bath and Rodden Roads. This was built as a Dame school on her behest, before their marriage, as a school for the children of domestic servants and estate workers of Fromefield House. In the Community

<mask> became interested in her husband's local endeavours, particularly the workhouse and its inhabitants, making her first visits in 1850. She was initially taken aback by the empty life of the hospital wards and the lack of simple everyday comforts. Quite quickly she adopted the position of a workhouse reformer. In 1857 <mask> wrote a pamphlet anonymously: 'Experiences of a Workhouse Visitor'.This was published by James Nisbet of Berners Street, London (now absorbed by James Clarke and Co Ltd.). The fifteen pages were printed and sold for threepence a copy in Penney's bookshop in Frome. It was that shop and circulating library in 3 Bath Street which was the first premises in Frome to be lit by gas supplied by Edward Cockey in 1831. In the pamphlet she talks of seven years experience within a workhouse of 800 inmates. She advocates small changes to the regime that would enhance the life of the inmates: provision of a cup-and-saucer rather than one tin, which looks more fit for my dog to drink its water from'; more solid fuel than the gruel offered; above all, that the inmates be allowed out into the garden every day, and now and then allowed 'outside the walls to see their friends, and thus it is not a prison they are in, but an asylum for their helpless old age.' She mentions Elizabeth Fry and her efforts to ameliorate the Workhouse system. Sunshine in the Workhouse

Her pamphlet was circulated, going through four editions, and gained so much attention that in 1859 as Mrs George Wood <mask>, she expanded it into a book, "Sunshine in the Workhouse", running to a second edition in the same year.She noted in her preface that in the year before there were 704,300 people enclosed within 624 'dull and dreary' workhouses across England and Wales; this figure did not include the able-bodied, just the old, infirm, disabled and children. She noted the extreme cleanliness of existing workhouses, but astutely commented that they were ‘painfully spotless, making one almost shudder to think of daily scouring under the beds and feet of the sick and rheumatic’. She was distressed by 'the monotonous rituals of cleaning.... which both disturb the bedridden inmates and potentially increase their rheumatic pain.' There she gives examples "she has successfully arranged, by the aid of private assistance, to keep aged persons from the workhouse, and this seems to be a very legitimate mode of applying charity, and a likely means of encouraging persons to exert themselves in maintaining, at least partly, their aged relations. One shilling a week added to the 2s.6d. allowed by the parish is found to be sufficient to keep them at home." She records seven specific examples and 'of several more whom I am enabling, by this added 1s.per week, to live out of the House in their extreme old age';
she would like to see a countrywide system where a small addition to local funds could support the 'aged poor' to live out their days in their own homes, though her sympathy does not extend to 'the habitually drunken and worthless', who should be sent to the Union to die.' She is clearly dissatisfied that 'English Guardians can walk through these dreary wards, and because the inmates are clothed, and fed, and warmed, think they have fulfilled or LORD's parting words, - "Inasmuch as ye did to the least of these my brethren, ye did it unto Me." '

She is aggrieved by the ill treatment meted out in some workhouse schools. One of her correspondents near London found one small girl with 'her back and arms .... covered with great weals and marks of ropes'; in this particular case, the report to the guardians of the workhouse led to the dismissal of the master and his wife. <mask> herself is clear that, in spite of rules that forbad the corporal punishment of boys (there is no mention of girls) except with the prior permission of governors, such cruelty must have prevalent. 'What are the joys of these poor children? I say, none - expect an hour's shivering play in a large, cold room in winter, or, in summer, a dried-up playground - not a flower or tree in it, no outlet for busy, roving childish limbs.'In her efforts to compare her local knowledge with other locations, she visited homes across the UK, from Limerick (where with two of her daughters she
visited a penitentiary for 'fallen women') to others in the south of Ireland, and others across Somerset. She was in active correspondence with a range of parties, from Liverpool, Northamptonshire, St Pancras in London and Kingston. She does not confine herself to her own observations but calls upon Elizabeth Fry, Sydney Smith, Thomas Arnold, Bishop Armstrong and others to support her case for greater humanity towards workhouse inmates. She asks for small changes in the Poor Law to bring this about. Fallen Women

In her pamphlet "Experiences of a Workhouse Visitor", she comes across a closed ward in Frome's Union Workhouse, the refractory or "Foul Ward". She is told it is for 'women of bad character', 'that no lady or gentleman can go in'. She finds 'ten wretched bedraggled women crouching round the fire'.Over time she is told by them: "What can we do? No one would give work to such as we; we must have either died on a dunghill, or gone back to sin." It is difficult to ascertain how widespread prostitution was in Frome. Like anywhere in the UK in the 19th century it was certainly present. Lawlessness was in part due to economic trends. Independent workers were cast out by the developing factory system. Poverty held sway for many in a wool town where the economic power had shifted to the employers.Treatment of the poor was based on a model wherein unemployment and low wages were due to laziness rather than economics. The Poor Law Board of Guardians was established in Frome in 1837, replacing the workhouse at Welshmill that had been running since 1727, operated by the Parish Overseers of the Poor. Somerset Constabulary did not arrive in Frome till 1856 under the terms of the County and Borough Police Act 1856; other areas had already formed their own Police Forces. The contingent consisted of a superintendent, two sergeants and eighteen officers. Previous to that the law had been administered by two local constables. In the next year a new police station and magistrates court was erected in Christchurch Street West. If the court and police records of public houses are examined, some view as to prostitution in Frome may be gathered:
 In 1856, soon after the Somerset Constabulary arrived in Frome, Superintendent Summers found six prostitutes and a group of soldiers, in the Three Swans in King Street, all worse for drink.“Do you know you have a lot of bad girls in your house?” he asked. The landlord said he had no way of knowing and let them drink on till after midnight. The next night there were even more prostitutes; one of them was ‘in a most disgraceful position’, four of the others absolutely drunk. The landlord claimed not to have seem them. He was heavily fined. The same Superintendent found four prostitutes in the tap room of the Victoria in Christchurch Street East, the landlord allowing drunkenness and disorderly conduct. In 1859 the Bridge Hotel was in trouble for cramming a hundred people into its small tap room, including several prostitutes.In the same year the ‘’Somerset & Wiltshire Journal’’ reported the landlord of the Clothiers Arms in Milk Street had been fined for allowing prostitutes on the premises. In 1862 one customer of the Three Crowns was charged along with her male companion for behaving in Bath Street ‘in a grossly indecent manner’. In the same year the Angel & Crown in Vallis Way was nearly lost its licence for drunkenness and ‘harbouring of prostitutes’. In 1865 prostitutes were arrested in the Bridge Hotel, in spite of surveillance by the police and threatened suspension of its licence. In 1868 the landlord of the Waggon & Horses in Gentle Street was fined for allowing ‘persons of notoriously bad character to assemble in his house’: four prostitutes drinking with five completely drunk customers. In the same year the landlord of the Globe in Vallis Way was fined for having ten women  - some of them well known as prostitutes - drunk on his premises. In 1873 the landlady of the Ship (now the Artisan) in Christchurch Street West was summonsed for ‘knowingly allowing immoral characters for longer than necessary for the purpose of taking reasonable refreshment’; it was ‘an habitual resort’.In 1883 the landlady of the Anchor in Catherine Street was fined for ‘knowingly permitting her premises to be the habitual resort of reputed prostitutes’. <mask> wrote to The Times of her concern for paupers with venereal disease: "Once they have recovered from the disease that brought them into the workhouse, they are ‘driven from the “foul ward,” (properly so called,) into the “wide, wide, world,” to inevitable iniquity’." In her 1859 book "Sunshine in the Workhouse", she writes of that ward: 'One may well say of it as

masks:
Emma Sheppard
Emma Brown
George Wood Sheppard
George Sheppard
George Sheppard
Emma
Emma
Emma
Sheppard
Emma
Emma Sheppard


texts:
 one enters, Lasciate ogni speranza, quoting from Dante's Divine Comedy Canto III, 'Abandon hope all ye who enter here'. She saw a possible future for such women:I tried hard to get some of them employment, but they were too ill, or had never been brought up to work. Oh! how I used to long for some kind Reformatory Asylum attached to the Union Workhouse as part of its machinery, where they would be not only fed and warmed, as they were now; but where, when recovered, they could be taught a trade and be taught to live decently. .... for want of means some are turned daily away from that door, and then think of their only alternative, starvation or sin!By December 1859, in an appendix to the next edition of her book, she had bought 'a house in the town at £6 per annum .... I bought some second-hand beds and bedding; a little needful furniture of chairs, tables, crockery, &c.; some new coarse sheets, blankets, and counterpanes; costing me altogether about £20. Then I placed an old woman, whom I could depend on, over all.' She called a meeting of the 'fallen', some of whom she had already met in the workhouse. She offered them accommodation: 'I was going to trust to their honour, for I believed there was still a tiny corner of right good womanly feeling left in all their sin-degraded natures which would keep them from disobeying one who was trying to befriend them.' Four of the women immediately accepted her terms (no alcohol, no locks but a curfew after five o'clock) and three joined the refuge the next week. At <mask>'s Home in Frome, inmates were free to leave the home during the day, and sometimes worked outside the home, coming back at night.She disapproved of institutions which took away the freedom of their inmates, arguing that they were, "I think, misnamed, being more a system for criminals than for penitents." This is referred elsewhere as an Institute for Magdalens. She appealed for funds in the local press on behalf of "our unfortunate sisters, without words of kindness to welcome them back to the paths of virtue and womanly happiness and peace with God". There is no current evidence of how long the home was open for or how many inmates were successfully 'saved' from prostitution, though work with Fromian prostitutes continued after her death. In 1859 she had published another paper: "An Outstretched Hand to the Fallen". In this she wrote: 'the purer, the more ignorant of vice the lady is who seeks them, the greater the influence she has.' She asked a leading question: English Ladies, have you ever analysed these two words - a 'Sister', - though 'fallen'.yes, high-born, gently-bred, delicately-nurtured Ladies, that poor Outcast, upon whom you cast an eye of scorn and loathing as perhaps she tramped up Regent Street this morning, looking wistfully at your luxurious carriage, .... - that poor weary, outwardly-hardened, sin-based creature - a victim to man's brutal requirements - is, in the sight of our most holy God, your Sister .... bless that gracious God who has kept you unfallen in the eyes of the world, though perhaps equally guilty in the sight of Him to whom sin is sin. William Brett Harvey - the owner of the Somerset and Wiltshire journal for many years - was happy to commend her work and to publish letters concerning the Friendless and Fallen Society in London. She herself was a major contributor to 'The Magdalen's Friend and Female Home's Intelligencer', a monthly journal which was published from 1860 to 1864, created to reclaim fallen women and prostitutes, a “rallying point” for “Christians and Philanthropists” working in the field of the “great social evil”. "In a series of articles which include the suggestively entitled “A Fallen Sister”, “The Law of Kindness”, and “Working by Love”, she particularly opposes “Penitentiary gates and walls, and locks and bars”, offering instead a “Ministry of Love”. In her refuge there are “No reproaches for former sin, no dismal doubtings whether they would accept the offer of a new life, but a certain confidence expressed in the full and loving invitation”. Among other contributors to the Magdelens' Friend was Christina Rossetti who worked as a volunteer from 1859 to 1870 at the St. Mary Magdalene "house of charity" in Highgate. In 1853, when the Rossetti family was in continuing financial difficulties, Christina helped her mother keep a school in Fromefield, Frome, just yards from where <mask> lived in Fromefield House, but it is not known whether they ever met.Rossetti's major work in 1862, Goblin Market and Other Poems was an allegoric work about erotic desire and social redemption, a reflection on the veneer of Victorian decorum. Christmas in the Workhouse

'At Christmas time, we begged all the refuse of rich nurseries round, utter rubbish to the children who had wearied of their old toys; added £1 worth of new cheap articles; marbles in bags, balls, tops, &c. - dolls for girls - remembrances for sick children, .... and 1oz. tea, ½lb. sugar, to every grown up inmate there. Only try to throw such "sunshine in a shady place" and all who attempt it will feel that Christmas tide may be made a hundred fold happier than it was ever before. Her own children originally prompted her to provide gifts to the pauper children. The local press recorded many examples of her Christmas visits.In 1866 the Frome Times recorded her and her family bringing 'timely gifts' and 'a bountiful supply of Christmas fare' as well as 'superadded a goodly supply of XXX from the Lamb Brewery'  In 1867 she asked for contributions from the townspeople for 'new cheap toys, or old broken ones', as 'great joys to enliven the dull workhouse life'. The next year she is described as invalid, but her husband attended with family and many friends, distributing 'tokens of goodwill', along with roast beef and plum-pudding, plus strong beer at 'the usual Christmas dinner'. In 1870 she was so ill that she could not take her normal active role but she wrote to the local newspaper asking 'to spare me a basket of apples or walnuts, or buy me some oranges, buns or"sweeties" for the children'. That Christmas her husband and several of her children 'spent three hours in amusing and comforting the inmates'. Her Christian message

All of her writing is imbued with the Christian faith, simple but muscular. She had been challenged by a clerical friend to reject the view that "the kind sympathy of a Christian woman's heart is just the soft soap which we require to make our mechanisms work." Her initial forays into the workhouse had been 'done so quietly that only my immediate family friends knew'.In her book 'Sunshine in the Workhouse, she adopts a stronger tone: 'our Great All-Father says to us: "If they brother be waxen poor, and his hand faileth, then thou shalt relieve him, yea, though he be a stranger or sojourner, that he may live with thee".' Her message is plain, addressed to any who are responsible for looking after the needy, whether politicians, local and national, or members of the public, who show no sympathy. 'We are not, as a Christian nation, doing our loving duty towards those of our beloved land, who are in the Union Houses for no fault of their own; those who, from having no near or dear ones left to them to shelter their declining years, have no other home. She has a sharp view on the hypocrisy of men: Oh English brothers! you speak loathingly of the sinner - do you of the sin? have you never drawn an innocent girl into evil, and then recklessly left her to the awful fate which must ensue when maiden purity and modesty is a tale of the past alone? and now, when these needful means are spoken of, so as to give her another chance of rising from the ruin into which you have plunged her, do you, as respectable Members of Parliament, as Guardians of the Poor, as Magistrates and upholders of right, and putters down of wrong - do you now ignore all thoughts of the kind?and will you leave these poor women, more sinned against on the whole than sinning - will you leave them to their sad and outcast fate, no one caring for body and soul any more than if they were the "brutes that perish"? When visiting, <mask> often brought some gifts with her: fabric, toys, household goods, items of food to distribute to whomsoever she met. She talked with inmates, quietly and confidentially, listening to their stories, lending them books like Robinson Crusoe, Uncle Tom or The Pilgrim's Progress; often she prayed with them or read from the Bible, and encouraged them to sing a hymn together. She tended the dying, whether the final illness was because of ageing infirmity or from venereal disease, careful to show 'the absence of loathing'. The sight of public begging and the likely misuse of such money led her to make an arrangement with the Temperance Hotel in the Market Place to supply twopence of hot drink and bread and butter for a ticket-card issued instead of coins; she reimbursed the costs. Her help is practical, given because of her Christian faith, but always inclusive of those who needed help, whatever their history. She was not on a mission to spread Christianity; her faith was the personal context for her profound humanity.Every one was worthy of care and consideration in her eyes. Legacy

In 1871 <mask> died of a stroke while visiting her brother, a vicar in Wokingham. After a cortege brought her from the railway station, the funeral took place at Holy Trinity Church 'where she had so long worshipped'. 'At the grave the scene was one of striking solemnity .... there were hundreds of mourners - of very class, including even the little ones from the Workhouse'. In 1882 evidence from her writings were given before a Select Committee of the House of Lords on the law relating to the Protection of Young Girls. No extant photograph or other form of portrait of <mask> or of her husband are known to exist. A dementia day care centre opened in Rowden House, 2 Vallis Road, Frome in 2013.It is named the <mask> Sheppard Centre. It specialises in care for dementia patients and their families, offering a range of stimulating activities, much in sympathy with her original wishes for the daily life and well-being of workhouse inmates. References

1813 births
Workhouses in the United Kingdom
English women activists
British social reformers
People from Somerset
1871

masks:
Emma Sheppard
Emma
Emma
Emma
Emma
Emma


texts:
<mask>, 1st Baronet (7 February 1735 – 2 October 1807) was a British merchant, soldier, and later Lord Mayor of London. He is perhaps most famous as the subject of John Singleton Copley's painting Watson and the Shark, which depicts a shark attack on <mask> as a boy that resulted in the loss of his right leg below the knee. Early life and the shark attack
<mask> was the only son of <mask> and <mask> (née Schoefield) born in Plymouth, Devon, in 1735, he was orphaned in 1741 and sent to live with his aunt and uncle in Boston, Massachusetts. His uncle was a merchant who traded in the West Indies. Before the age of 14, <mask> had expressed his interest in the sea, so his uncle signed him up as a crew member on one of his merchant ships. While swimming alone in Havana harbour, Cuba, in 1749, the 14-year-old <mask> was attacked by a shark. The shark attacked twice before <mask> was rescued.The first time, the shark removed flesh from below the calf of <mask>'s right leg; the second time, it bit off his right foot at the ankle. <mask> was rescued by his shipmates, but his leg had to be amputated below the knee. <mask> recuperated in a Cuban hospital and recovered within three months. Military career
On his return to Boston, <mask> found that his uncle was bankrupt. He took a job under Captain John Huston on a schooner that supplied provisions to the British army at Fort Lawrence, Nova Scotia (1750). At Fort Lawrence, he came to the notice of Robert Monckton, and by 1755 he was commissary with Monckton at the Battle of Fort Beauséjour. Three years later he was sent to supervise the expulsion of the Acadians from the Baie Verte area.He worked with the English trader Joseph Slayter, and in 1758 he was commissary under General James Wolfe at the Siege of Louisbourg (1758). He was known as ’the wooden-legged commissary’. In 1759 <mask> went to London to continue his mercantile career, and for a while, he was a partner with Joshua Maugher. <mask> became a successful merchant, engaging in business in London, Montreal and Boston, amongst other places. In 1763 he obtained, with others, a land grant from the government of Nova Scotia of the county of Cumberland, which had been founded four years earlier. Business
<mask> was a member of the original committee of the Corporation of Lloyd's of London in 1772 and later served for ten years as its chairman. He combined his mercantile affairs with government business.He visited Massachusetts, New York and other colonies before the American Revolutionary War, during which time he intercepted letters to General Thomas Gage that were said to prove that Gage was a spy. Calling him ’a traitor’, William Dunlap wrote that <mask> ”ingratiated himself with many leading Americans, obtained as much information on their designs as he could, and transmitted it to his chosen masters”. In November 1775 <mask> accompanied the American prisoner Ethan Allen on a voyage from Canada to England. Allen wrote that he ”was put under the power of an English Merchant from London, whose name was <mask>: a man of malicious and cruel disposition, and who was probably excited, in the exercise of his malevolence, by a junto of tories, who sailed with him to England ...”. <mask> was examined by the House of Commons in 1775, when Lord North’s bill concerning the fisheries of New England was before parliament. In 1782 he acted as Commissary General to the army commanded in North America by Sir Guy Carleton. Brook Watson & Co owned at least two South Sea whaling ships.These were Prince William Henry (1792–1795) and  (1802–1810). Politician
After this, he returned to London, where he was elected to serve as an Alderman of the City. <mask> served as a Member of Parliament for the City of London from 1784 until 1793. He was also Sheriff of London and Middlesex in 1785. <mask> was agent for New Brunswick in London from 1786 until 1794, and Commissary-General to the Duke of York from 1793 to 1795. He was Lord Mayor of London in 1796. From 1798 until 1806 he was Commissary-General of England (Alexander Dallas also refers to this office as the ”Commissariat Office of the Treasury”).<mask> was also a director of the Bank of England. A verse penned by one of <mask>’s political enemies poked fun at his ordeal (and perhaps at his abilities):

<mask> and the Shark

Sources differ as to how <mask> and the artist John Singleton Copley met in 1774: some say they travelled on the same ship from Boston to England, and some that they met in London. Whatever the circumstances of their meeting, <mask> commissioned Copley to produce the work, known as <mask> and the Shark which was completed in 1778. The painting was exhibited at the Royal Academy in 1778 and caused a sensation. Today the text beneath the painting reads:

<mask>’s will, dated 12 August 1803, stated: ”I give and bequeath my Picture painted by Mr. Copley which represents the accident by which I lost my Leg in the Harbour of the Havannah in the Year One Thousand Seven Hundred and Forty Nine to the Governors of Christ's Hospital to be delivered to them immediately after the Decease of my Wife <mask> or before if she shall think proper so to do hoping the said worthy Governors will receive the same as a testimony of the high estimation in which I hold that most Excellent Charity and that they will allow it to be hung up in the Hall of their Hospital as holding out a most usefull  Lesson to Youth”. The school’s Committee of Almoners accepted the painting in 1819. In 1963 it was purchased from Christ’s Hospital by the National Gallery of Art, Washington, D.C.Personal life

<mask> married Helen Campbell in 1760. Her father was Colin Campbell, a goldsmith working in Edinburgh. The <mask>s had no children. <mask> was made a baronet on 5 December 1803. <mask>’s coat of arms was designed to reference his ordeal with the shark. Underneath Neptune brandishing his trident, the shield bears <mask>’s severed right leg, with the Latin motto Scuto Divino (’Under God's Protection’) below. In return for his services in North America, Parliament voted <mask>’s wife an annuity of £500 for life.<mask> died in 1807. His baronetcy descended, by special remainder, to his grand-nephew William. References

 Allen, Ethan (1838). A Narrative of Colonel Ethan Allen's Captivity, Written by Himself, 3rd. ed., Burlington, Vermont. Jeffery, Margaret (Dec 1942). ”A Painting of Copley's English Period”, The Metropolitan Museum of Art Bulletin, New Series, 1(4):148–150

External links

 Biography at the Dictionary of Canadian Biography Online

1735 births
1807 deaths
Baronets in the Baronetage of the United Kingdom
British MPs 1784–1790
British MPs 1790–1796
Sheriffs of the City of London
18th-century lord mayors of London
18th-century British politicians
18th-century English politicians
Members of the Parliament of Great Britain for English constituencies
Shark attack victims
English amputees
People from Plymouth
British people in whaling

masks:
Sir Brook Watson
Watson
Watson
John Watson
Sarah Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Brook Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson
Helen Watson
Watson
Watson
Watson
Watson
Watson
Watson
Watson


texts:
<mask> (born September 25, 1844 in Bremen – died February 25, 1916 in New York, United States) was a German socialist politician and activist and editor of various social democratic newspapers. Biography

Early life
He was born in Bremen and baptized Protestant however later became an atheist. <mask> attended the polytechnic school in Hanover and continued his studies in Berlin where he came in to contact with the rising labour movement in Prussia. He eventually abandoned his studies and became a journalist. Entry in to politics and leader of German social democracy
<mask> joined the General German Workers' Association of Ferdinand Lassalle and became the chief editor of the party's newspapers Social-Demokratie and Der Agitator which were under the direction of Johann Baptist von Schweitzer who later became the party's chairman. After Schweitzer's resignation as chairman possibly due to his agreements with Otto von Bismarck, <mask> waz elected the chairman of the AVDA, and from that point on <mask> and Hasenclever worked closely together. The Social Democrat and The Agitator became the new party newspaper, renamed The New Social Democrat in summary; <mask> remained its content-wise defining editor.<mask> also worked for various other partly regional, workers' newspapers, some of which he founded himself and of which he was the chief editor in charge. The ADAV grew from 5,300 members in 1871 to more than 19,000 party members by the turn of the year 1873/74. By then, the New Social Democrat had increased its customer base to over 11,000 subscribers. <mask> was elected in the Reichstag for the first time and was one if the three members of the ADVA elected. Because of the increasing pressure of the anti socialist and union laws implemented by the Prussian Chancellor Otto von Bismarck, the two formerly competing parties, the General German Workers' Association and The Social Democratic Workers' Party of Germany decided to unite in a joint congress initiated by Hasselmann and the spokesperson of the SDAP <mask> Liebknecht. <mask> was decisive in the creation of the newly formed Socialist Workers' Party of Germany (later Social Democratic Party of Germany) Gotha Programme. Karl Marx later mockingly referred to Hasselmann as the "Berlin Marat" in his work Critique of the Gotha Programme.In 1876 he published the newspaper Die Rote Fahne (the name was later re-used for the KPD organ), which was initially conceived as a pamphlet and then as a revolutionary weekly newspaper, Hasselmann came in to conflict with August Bebel. Babel accused him of using his newspaper to displace the new party organ of the Social Democrats, Vorwärts behind the backs of the party executive (Central Election Committee) and thus wanting to split the SAP. After the two unsuccessful assassination attempts at the life of Kaiser <mask> II the situation for the social democratic movement in Prussia worsened. The Prussian Chancellor Otto von Bismarck implemented the repressive Anti-Socialist Laws with the majority votes of the Conservatives and National Liberals. Hasselmann who was becoming more of an outcast with his radical positions both in the pro government conservative circles and within the SAP, he remained relatively popular among the poorer working class. His popularity with the underprivileged classes of the population was expressed for example, in a nursery rhyme that was widespread locally at the time: "Now we choose the Hasselmann then eat the Brodt en Kastemann" ("Kastemann": Colloquial expression for a small coin with a current value of around €0.03). <mask> was re-elected to the Reichstag in 1878 for this constituency, in which he had published the regional party newspaper Bergische Volksstimme since 1876.Even in the Reichstag he continued to express his radical and anti-state views and spoke fondly of the narodniks in Russia and their assassination attempts on Alexander II. After Johann Most lost his mandate, <mask> was the only one in the legislative period from 1878 who openly represented positions with an anarchist tendency in the nine-member Reichstag faction of the SAP, which made him increasingly exposed to political isolation. Expulsion from the SPD and emigration to the United States
In August 1880 <mask> was expelled from the party at the first exiled party congress of the SAP since the Anti-Socialist Act came into force at Wyden Castle in the Swiss canton of Zurich because of his internal opposition to the party. Together with his expulsion from the party, the one against Most, which had already been pronounced three months earlier, was formally confirmed. Most had been in exile in London since the Anti-Socialist Act came into force, where he published the journal Freiheit, which was illegally distributed in Germany in which not only the Bismarck system was attacked, but was also increasingly critical against the moderate attitude of the party leadership of the SAP. <mask> had also written some articles for Freiheit. With the exclusion of the two best-known protagonists of anarchism from German social democracy, their leading representatives, led by Ignaz Auer, who was also able to win  August Bebel for his position, hoped to get rid of the radical social-revolutionary wing of the party and thus the anti-socialist propaganda of the pro-government parties and to deprive their press of the basis.<mask>, who was not present at the party congress himself, gave up his parliamentary mandate, which was formally valid until 1881. A few weeks after being expelled from the party, he emigrated to the US and settled in New York. There, too, he tried to gain a political foothold by founding various revolutionary-socialist associations, but was ultimately unsuccessful. After the "American Workers' Newspaper" founded by him had failed, he stopped his public political activities from 1885/86. In 1888 he received American citizenship. Among other things, he was able to secure his livelihood by later running a beer bar in New York. <mask> died in 1916 unknown  by the public at the age of 71.Works

 Sozial-politische Blätter zur Unterhaltung und Belehrung für die deutschen Arbeiter. Ihring, Berlin 1873–1874 (Jg. 1. 1873, Lieferg 1. Jg. 2. 1874, Lieferg 12, Nr 3.Hrsg. u. red. v. W. Hasenclever; W. <mask>)
 Die Regierung des Deutschen Reichs und der Deutsche Reichstag in ihrer Stellung zur Sozialdemokratie. Die Reden des Preußischen Ministers Eulenburg und der Abgeordneten Hasselmann und Bamberger in der Reichstagssitzung am 29. Januar 1876. Verlag der Genossenschafts-Buchdruckerei, Leipzig 1876
 Die Angelegenheit Fritzsche-Hasselmann vor dem Deutschen Reichstage. Stenographischer Bericht über die Reichstagssitzung am 19.Februar 1879. Verlag der Genossenschafts-Buchdruckerei, Leipzig 1879
 Die Angelegenheit Fritzsche-Hasselmann vor dem deutschen Reichstage am 23.Februar 1880. Antrag des Abgeordneten <mask>clever. Verlag der Genossenschafts-Buchdruckerei, Leipzig 1880

References

1844 births
1916 deaths
Politicians from Bremen
Members of the Reichstag of the German Empire
German socialists
General German Workers' Association politicians
Social Democratic Party of Germany politicians
German journalists
German newspaper editors
German emigrants to the United States
German social democrats
German anarchists

masks:
Wilhelm Hasselmann
Hasselmann
Hasselmann
Wilhelm Hasenclever
Hasselmann
Hasselmann
Hasselmann
Hasselmann
Wilhelm
Hasselmann
Wilhelm
Wilhelm Hasselmann
Hasselmann
Wilhelm Hasselmann
Hasselmann
Hasselmann
Wilhelm Hasselmann
Hasselmann
Wilhelm Hasen


texts:
<mask> (born 14 March 1982 in Villa de Mayo, Buenos Aires) is an Argentine former footballer, who played as an attacking midfielder. Club career

Boca Juniors
Son of <mask>, a former Boca Juniors player, <mask> started off his youth career at Argentinos Juniors before being signed by Boca Juniors in a package of youth players that included names such as Juan Román Riquelme, Fabricio Coloccini and César La Paglia. Marinelli had only one reserve appearance against Independiente in August 1999 before being spotted by Middlesbrough when Boca's U-19 team played in Europe. On 27 October 1999, he joined the English side for £1.5 million. Middlesbrough
Billed as the new Maradona by the English press, <mask> played his first match for Middlesbrough for the reserve team against Barnsley, scoring from a free-kick in a game that had an attendance of nearly 10,000 people. He made his first team debut at the 1999 Boxing Day Premier League match against Sheffield Wednesday, playing the second half in a 1-0 loss. He had a second Premier League appearance that season in a 1-1 draw against Watford.The following season, <mask> played a total of 13 matches with only 305 minutes of action, averaging less than 25 minutes per match played. He was sent off in the 2-2 draw against Bradford City on 25 November 2000 and had dealt with ankle injuries that cost his place at the Argentina under-20 squad for the 2001 South American U-20 Championship. Under Steve McClaren, who was appointed manager for the 2001-02 season, <mask> featured regularly for the first team after recovering from a calf injury earlier in the season and earned a regular spot in the first team after a 5-1 win against Derby County, in which he scored his first goal for the team and later his second, had one assist and contributed to another goal after having a shot rebounded to Szilárd Németh. Losing his starting place in the second half of the season, <mask> ended the 2001-02 season with 20 appearances. After an unimpressive start in the 2002–03 season, <mask> played just 7 league matches in the season, having scored once against Brentford in a 2002–03 Football League Cup match. After being close to return to Boca Juniors, he stalled on the move after a managerial change at the Argentinian club. Loan to Torino
On 31 January 2003, he was loaned to Torino until the end of the season, playing a total of 7 Serie A matches, receiving a red card in the derby against Juventus after pushing the referee.Although Torino wanted to sign <mask> on a permanent basis, the deal called off after both parties disagreed on the wage fee. Return to Middlesbrough
After returning to Middlesbrough, <mask> played in the 2003-04 season opener against Fulham, scoring once in the 3-2 loss which was his last league match for Boro. On 14 November 2003, his contract was ended by mutual consent after failing to live up to expectations. Boca Juniors
After becoming a free agent, <mask> stated his desire to return to Boca Juniors and signed for his boyhood club in 2004. His official debut was against Vélez Sarsfield in a 3-3 draw, when he scored on his debut against Vélez only to have it was officially awarded as an own goal. However, he took the blame of a goal scored by Marcelo de Souza after being beaten by the opponent and failing to chase him back. He only played other two league matches against Banfield and Racing and was overlooked by then manager <mask> after being sent off in a reserve match.<mask> took part in the 2004-05 preseason friendlies under Miguel Ángel Brindisi, before leaving the club. Racing Club
<mask> joined Racing for the 2004-05 season and made his league debut against former club Boca Juniors. Mostly a substitute, he ended 2004 with 11 league appearances for Racing. Return to Torino
In January 2005, after attracting interest from Torino, <mask> paid 30,000 Euros from his own pocket to leave Racing and return to the Italian side. His debut at Serie B was against Hellas Verona and he was sent off just as his last match at the club. Scoring in a 3-1 win against Pescara, <mask> played a total of 16 league matches and helped Torino to achieve promotion to 2005–06 Serie A, but the team was not admitted at the first tier for financial problems and his contract was ended due to the financial crisis at the club. Sporting Braga
In September 2005, <mask> had the opportunity to join Portuguese side S.C. Braga, but had his registration denied by Primeira Liga after the end of the transfer window.He agreed a deal in December and officially signed in January 2006. He played only 4 times for the Portuguese side and left the club after the end of the 2005-06 season. Having limited playing time at Braga due to an injury in his right foot, he returned to Argentina for treatment and trained with Boca Juniors to regain match fitness. Kansas City Wizards
In 2007, he joined the Kansas City Wizards of Major League Soccer after the American club went to Argentina in their preseason and became interested in the player after seeing him in video. <mask> scored his only goal for the Wizards on his debut, from the penalty spot, in a 2-1 loss against Chicago Fire. He ended the 2007 Major League Soccer season with 26 appearances and 5 assists, also playing once in the 2007 MLS Cup Playoffs. The following year, <mask> played only 15 matches, being a starter in only 7 of them and left the club at the end of the 2008 season.Millonarios
On 9 December 2008, Millonarios de Bogotá signed <mask> on a one-year contract for the 2009 Torneo Finalización. At the Colombian club, he played a total of 11 matches and was sent off three times and was released by Millonarios along with four other under-productive players, but claimed he left the club after not receiving his wages. In 2015, FIFA ruled the situation in favour of the player and Millionarios were obliged to pay $550,000 for the player. Aldosivi
After being close to sign for Argentinos Juniors and a period of trial at Huracán, <mask> joined Aldosivi on 17 December 2009. He played a total of 13 matches and scored twice for the Primera B Nacional club. Győri
In September 2010, <mask> returned to European football after he signed for Hungarian side Győri in a short-term deal. He decided to end his contract after only two league matches, stating that his family failed to adapt to the country.Universidad San Martín
On 19 January 2011, <mask> signed with Peruvian first division team Club Deportivo Universidad de San Martín de Porres, taking part at the 2011 Copa Libertadores and scoring once. <mask> stayed at the Peruvian club for 4 years, briefly leaving the club for a week to try to join Argentine club Alvarado which would play the Torneo Argentino A, in the third tier of the Argentinian football, although he was still contracted to Universidad San Martín. At the age of 32, <mask> decided to retire in 2014 due to injuries. International career
<mask> played for the Argentina national under-17 football team at the 1998 Mundialito Youth Tournament, where they were champions and in the 1999 South American Under-17 Football Championship, playing three matches as Argentina finished in 4th place and failed to qualify for the 1999 FIFA U-17 World Championship. He also played in friendly matches for the Argentina national under-20 football team as they prepared for the 2001 South American U-20 Championship, scoring twice in a match against Bolivia. References

External links
Guardian statistics
 BDFA statistics

1982 births
Living people
People from Malvinas Argentinas Partido
Argentine people of Italian descent
Argentine footballers
Argentina youth international footballers
Argentina under-20 international footballers
Primeira Liga players
Argentine Primera División players
Boca Juniors footballers
Argentine expatriate footballers
Expatriate footballers in England
Premier League players
Middlesbrough F.C. players
Argentine expatriate sportspeople in England
Expatriate footballers in Italy
Serie A players
Serie B players
Torino F.C.players
Argentine expatriate sportspeople in Italy
Racing Club de Avellaneda footballers
Expatriate footballers in Portugal
S.C. Braga players
Argentine expatriate sportspeople in Portugal
Expatriate soccer players in the United States
Major League Soccer players
Sporting Kansas City players
Argentine expatriate sportspeople in the United States
Expatriate footballers in Colombia
Categoría Primera A players
Millonarios F.C. players
Argentine expatriate sportspeople in Colombia
Aldosivi footballers
Expatriate footballers in Hungary
Nemzeti Bajnokság I players
Győri ETO FC players
Argentine expatriate sportspeople in Hungary
Expatriate footballers in Peru
Association football midfielders
Argentine expatriate sportspeople in Peru

masks:
Carlos Ariel Marinelli
Héctor Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Carlos Bianchi
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli
Marinelli


texts:
<mask> (c. 125after 180 AD) was a Roman author and grammarian, who was probably born and certainly brought up in Rome. He was educated in Athens, after which he returned to Rome. He is famous for his Attic Nights, a commonplace book, or compilation of notes on grammar, philosophy, history, antiquarianism, and other subjects, preserving fragments of the works of many authors who might otherwise be unknown today. Name
Medieval manuscripts of the Noctes Atticae commonly gave the author's name in the form of "Agellius", which is used by Priscian; Lactantius, Servius and Saint Augustine had "A. Gellius" instead. Scholars from the Renaissance onwards hotly debated which one of the two transmitted names is correct (the other one being presumably a corruption) before settling on the latter of the two in modern times. Life
The only source for the life of <mask>us is the details recorded in his writings. Internal evidence points to Gellius having been born between AD 125 and 128.He was of good family and connections, possibly of African origin, but he was probably born and certainly brought up in Rome. He attended the Pythian Games in the year 147, and resided for a considerable period in Athens. Gellius studied rhetoric under Titus Castricius and Sulpicius Apollinaris; philosophy under Calvisius Taurus and Peregrinus Proteus; and enjoyed also the friendship and instruction of Favorinus, Herodes Atticus, and Fronto. He returned to Rome, where he held a judicial office. He was appointed by the praetor to act as an umpire in civil causes, and much of the time which he would gladly have devoted to literary pursuits was consequently occupied by judicial duties. Writings
His only known work, the Attic Nights (), takes its name from having been begun during the long nights of a winter which he spent in Attica. He afterwards continued it in Rome.It is compiled out of an Adversaria, or commonplace book, in which he had jotted down everything of unusual interest that he heard in conversation or read in books, and it comprises notes on grammar, geometry, philosophy, history and many other subjects. One story is the fable of Androcles, which is often included in compilations  of Aesop's fables, but was not originally from that source. Internal evidence led Leofranc Holford-Strevens to date its publication in or after AD 177. The work, deliberately devoid of sequence or arrangement, is divided into twenty books. All have survived except the eighth, of which only the index survives. The Attic Nights are valuable for the insight they afford into the nature of the society and pursuits of those times, and for its many excerpts from works of lost ancient authors. The Attic Nights found many readers in Antiquity.Writers who used this compilation include Apuleius, Lactantius, Nonius Marcellus, Ammianus Marcellinus, the anonymous author of the Historia Augusta, Servius, and Augustine; but most notable is how Gellius' work was mined by Macrobius, "who, without mentioning his name, quotes Gellius verbatim throughout the Saturnalia, and is thus of the highest value for the text". Editions
The editio princeps was published at Rome in 1469 by Giovanni Andrea Bussi, bishop-designate of Aleria. The earliest critical edition was by Ludovicus Carrio in 1585, published by Henricus Stephanus; however, the projected commentary fell victim to personal quarrels. Better known is the critical edition of Johann Friedrich Gronovius; although he devoted his entire life to work on Gellius, he died in 1671 before his work could be completed. His son Jakob published most of his comments on Gellius in 1687, and brought out a revised text with all of his father's comments and other materials at Leyden in 1706; this later work became known as the "Gronoviana". According to Leofranc Holford-Strevens, the "Gronoviana" remained the standard text of Gellius for over a hundred years, until the edition of Martin Hertz (Berlin, 1883–85; there is also a smaller edition by the same author, Berlin, 1886), revised by C. Hosius, 1903, with bibliography. A volume of selections, with notes and vocabulary, was published by Nall (London, 1888).There is an English translation by W. Beloe (London, 1795), and a French translation (1896). A more recent English translation is by John Carew Rolfe (1927) for the Loeb Classical Library. More recently, Peter K. Marshall's edition (Oxford  U. Press, 1968, 1990 (reissued with corrections) seems widespread both in print and digital (open access) formats. Translations

 John Carew Rolfe (1927), The Attic Nights of Aulus Gellius. Loeb Classical Library. 3 Volumes., ,

See also
 Ex pede Herculem
 Gellia gens

Notes

References

Further reading
 Anderson, Graham. (1994). "Aulus Gellius: a Miscellanist and His World," in Aufstieg und Niedergang der römischen Welt, vol. II.34.2. Berlin and New York: Walter de Gruyter. Beall, S. (1997). "Translation in Aulus Gellius."The Classical Quarterly, 47(1), 215–226. Ceaicovschi, K. (2009). "Cato the Elder in Aulus Gellius." Illinois Classical Studies, (33-34), 25–39. Lakmann, Marie-Luise. (1995). Der Platoniker Tauros in der Darstellung des Aulus Gellius.Leiden, The Netherlands, and New York: Brill. Garcea, Alessandro. (2003). "Paradoxes in Aulus Gellius." Argumentation 17:87–98. Gunderson, Eric. (2009).Nox Philologiae: <mask> Gellius and the Fantasy of the Roman Library. Madison: Univ. of Wisconsin Press. Holford-Strevens, Leofranc. (2003). <mask> Gellius: An Antonine Scholar and his Achievement. Oxford: Oxford Univ.Press. Holford-Strevens, Leofranc. (1982). "Fact and fiction in Aulus Gellius." Liverpool Classical Monthly 7:65–68. Holford-Strevens, Leofranc, and Amiel Vardi, eds. (2004).The Worlds of <mask> Gellius. Oxford: Oxford Univ. Press. Howley, Joseph A. (2013). "Why Read the Jurists ? : <mask> Gellius on Reading Across Disciplines."In New Frontiers: Law and Society in the Roman World. Edited by Paul J. du Plessis. Edinburgh:  Edinburgh University Press. Howley, Joseph A. (2018). Aulus Gellius and Roman Reading Culture. Text, Presence, and Imperial Knowledge in the Noctes Atticae.Cambridge: Cambridge University Press. Johnson, William A. (2012). "Aulus Gellius: The Life of the Litteratus" In Readers and Reading Culture in the High Roman Empire: A Study of Elite Communities. Classical Culture and Society. Oxford; New York:  Oxford University Press. Ker, James (2004)."Nocturnal Writers in Imperial Rome: The Culture of Lucubratio." Classical Philology, 99(3), 209–242. Keulen, Wytse. (2009). "Gellius the Satirist: Roman Cultural Authority in Attic Nights." Mnemosyne Supplements 297. Leiden, The Netherlands, and Boston: Brill.McGinn, Thomas A.J. (2010). "Communication and the Capability Problem in Roman Law: <mask> Gellius as Iudex and the Jurists on Child-Custody." RIDA 57, 265–298. Russell, Brigette. (2003). "Wine, Women, and the Polis: Gender and the Formation of the City-State in Archaic Rome."Greece & Rome, 50(1), 77-84

External links

 Works by <mask> Gellius at Perseus Digital Library

The Attic Nights of <mask> Gellius, 1795 translation, Vol. I, Vol. II, Vol. III. Attic Nights (Latin text: complete; English translation: Preface thru Book 13)
 Attic Nights (Latin text: Books 1–11, 13, 20)
 Noctes atticae at Somni

125 births
2nd-century deaths
2nd-century Romans
2nd-century writers
Ancient Roman antiquarians
Aulus
Grammarians of Latin
Middle Platonists
Roman-era students in Athens
Silver Age Latin writers
Writers from Rome

masks:
Aulus Gellius
Aulus Gelli
Aulus
Aulus
Aulus
Aulus
Aulus
Aulus
Aulus


texts:
<mask> is a Vancouver-based Canadian installation artist. She uses film, video, photography and sculpture, and makes "immersive environments". Life and work
<mask> graduated from University of British Columbia (BFA) in 1990 and from the School of Contemporary Art at Simon Fraser University (MFA) in 1998. From 1998 to 2000, <mask> was a co-curator of the Western Front Society Exhibitions Program, and was the editor of ~scope, the exhibition catalogue of the 2001 Western Front Exhibitions Program. From 2012 to 2020, she created, constructed and directed (and operated her studio from) Orbitas, a Residency in Sámara, Costa Rica, where international artists and curators visited in order to work on research-based projects. <mask> is Professor Emeritus, Media Arts, Emily Carr University, where she taught across faculties in both the undergraduate and graduate degree programs. Public Art Works

Surface
In 2010, <mask> created Surface, an ongoing live documentary of the underwater life of False Creek.False Creek is a short inlet in the heart of Vancouver. Once teeming with marine life, it was heavily industrialized in the early 20th century. Now starting to rebound, the inlet supports seabirds such as cormorants, ducks, herons, kingfishers. Herring and other sealife are now populating the inlet, though in comparatively small numbers. The live documentary is transmitted from a camera mounted underneath an Aquabus (a commuter ferry servicing Science World, Yaletown and Granville Island ) via a Wireless mesh network to an LED screen mounted on the water side of Ocean Concrete, one of the last industrial businesses still operating on False Creek. The live video stream of surface is broadcast via the mesh network online at www.surfacer.ca, allowing remote viewing and enabling visitors to False Creek to watch the stream on their smart phones as the Aquabus passes by. <mask> emphasizes that Surface is meant to reflect the current state of the underwater flora and fauna, rather than serve as entertainment typical of glass bottom boats in Marine Parks or the collections of public aquariums.<mask> chose this body of water for Surface to serve as an analogy of environmental pressures affecting marine life, such as the Great Pacific Garbage Patch in the North Pacific Gyre. "Surface will evolve over time, reflecting the health of marine life as evidence of our collective activity: the future of the work and what is manifest, is wholly dependent on us." – <mask>

Flow

In 2009, <mask>'s "Flow"  opened at the Civic Centre at 1 Kingsway. Vancouver's first video/photography-based permanent public art installation. Flow, produced by <mask> with Sidney Fels, a University of British Columbia computer scientist, was commissioned by the City of Vancouver. Rebecca Belmore, initially part of the artist team, could not participate in the project due to time constraints. This was the first permanent installation of timebased photo and media work in the City of Vancouver.Flow is a continually changing Mise en scène that uses open source software to access a library of images shot by <mask> over a period of four years. Made up of hundreds of portraits and landscapes, the work has been programmed so that 'figures shot at different times appear as if they simultaneously present, with a core group of these figures or actors recurring in a manner that implicitly suggests they're part of a larger narrative'. The landscapes photographed as backgrounds for the evolving tableaus were landscapes in a state of transition from one thing to another: building sites, fallow lands, hurricane scapes, and Vancouver Archive historical photographs of newly colonized and deforested areas of the unceded and ancestral territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaʔ/Selilwitulh (Tsleil- Waututh) Nations in the neighbourhood of Main Street in East Vancouver where the public artwork is installed. As the viewer draws close to the image, the special glass projection material, Smart glass, causes portions of the imagery to disappear as the projection surface switches from translucent to clear, fragmenting the image and frustrating its coherence: the immediate environment suddenly becomes part of the mis en scene. Thus the viewer is suddenly transitioned from a conventional indexical observer to the here and now; experiencing their immediate environment. Another feature of the work that speaks to the construction and fragility of the image(es), is the rate at which transitions occur from one image (such as a particular individual or background layer of the tableau) to another. These transitions can last up to two minutes, causing individuals pictured or the backgrounds they are set upon to disappear very gradually: creating ghost-like residues of once crisp images as they fade away."Flow" also has an interactive web component where visitors are encouraged to add dialogue to images captured from a live feed of the work. The dialogue consists of phrases penned by <mask> and bands such as the New Pornographers and The Residents. Once images and dialogue are captured by visitors to the site, these are preserved as stills in the websites archive

Gallery Art Works

In March 2007, Sliphost (2006), featuring Alan Cumming in the two lead roles, was exhibited at the  Western Front Society  Exhibitions Program in Vancouver and exhibited in November 2007 at Open Space in Victoria. Curated by Candice Hopkins, she said of the work: "Sliphost plays with conventions of media, narrative, and scale and draws on the reciprocities between two disparate worlds to reconsider notions of consciousness, consumption, beauty and oblivion." According to <mask>:

<mask> has several works that are created and added to over periods of time, such as Phenotypes (2001, 2002, 2003, 2004). 'Conceptually, the work is an ongoing installation. Each year, another narrative aspect is added to the visual record to mirror the flux of an individual dwelling or neighbourhood over time.Each time it is exhibited, the artist chooses which particular years(or chapters) of activity are represented.' , Subsequent exhibitions of the work in 2004 in Vancouver and 2007 in Whitehorse presented entirely different sets of narratives set within the same Cul-de-sac setting. In 2001, <mask> created "Faltering Repetition", a synchronous multichannel photo-video based narrative work that used a 360 degree projector to create the backdrop setting for the work. This work, portraying a chance conversation between two strangers at a traffic intersection, used separate, non-diegetic sound feeds to represent the setting and the dialogue of the characters. <mask> has created several works using this template including 'deliverance' (1998), 'Phenotypes'(ongoing), Nature Morte (2005) and 'Sliphost' (2006). Music
In 2008, <mask> formed SLickerslacker with ex-Chopper bandmate Jim Peers. SLickerslacker debuted at Light Bar, a series of art and music events curated by the Canadian collective Instant Coffee, featuring contemporary visual artists.<mask> was bass player, songwriter and singer for the Vancouver three piece Chopper from 2000 to 2007. Absence, a commissioned soundtrack composition was performed live at Songroom in June 2006, by Jim Peers (Free Radicals), Stephen Taylor (trike). Exhibitions
<mask>'s work has been exhibited at:
Or Gallery Vancouver, BC. (2017)
Western Gallery, Bellingham, Washington (2017). Libby Leshgold Gallery (formally Charles H. Scott Gallery) (2012), The Voyage, or Three Years at Sea Part III. curated by Cate Rimmer
Pacific Cinematheque (2009)
Open Space Gallery Victoria (2007)
Yukon Arts Centre Museum (2007),
Western Front (2007)
Belkin Satellite (2006),
Pendulum Gallery, Vancouver (2006)
New Media Symposium (2004)
New Forms Festival (2004)
Consolidated Works, Seattle, Washington (2002)
Presentation House Gallery (2001)
The Vancouver Art Gallery (2001)
A Prior Video-Salon. VandeVelde, Brussels, Belgium (2000)
Or Gallery (1998)
 grunt gallery (1996)
A major installation as part of Tamto Misto - Five Vancouver Artists.Galerie Mladych u Recickych, Prague,Czech Republic (1995). Publications and reviews
Mullen, Sean with Hsieh, Esther. Radio Interview of <mask> on Public Artwork Flow, 2009. Live radio interview December 2009, released for podcast on Rabble.ca, 2010 : http://rabble.ca/podcasts/shows/redeye/2010/01/flow-permanent-media-art-exhibit
Keenlyside, Sarah. Surface, Documentary film on <mask>'s Surface, 2009. released for broadcast on Knowledge Network, Air Canada, City of Vancouver
Hiebert, Ted. "Fifth Iteration: Digital Dreams and Delusions", from Behind the Screen: Installation from the Interactive Future, Springer Berlin Heidelberg, 2008.ISSN 1865-0929 (Print)  (Online)https://web.archive.org/web/20110724092559/http://www.tedhiebert.net/site/downloads/writings/behind.pdf
Randy Adams, Steve Gibson, Stefan Muller, eds. Transcisciplinary Digital Art.Sound, Vision and the New Screen Springer Berlin Heidelberg, 2008. Cutler, Randy Lee. Vancouver Singular Plural Vancouver Art and Economies, Arsenal Pulp Press, 2007. Burnham, Clint. Vancouver, Akimbo, March 29, 2007. Burnham, Clint. "Compelling Look at how Artists use Video".Vancouver Sun, June 29, 2006. New Forms, exhibition catalogue, 2004. Devuono, Frances. "Binocular Parallax at Consolidated Works," in Artweek, December, 2002. Hall, Emily. "A Tale of Two Cities." The Stranger, Seattle, September 26, 2002.Hackett, Regina. "Binocular Parallax." Seattle Post-Intelligencer, September 20, 2002. Turner,Micheal. "These Days". Art/Text, No. 75.,2001-2.Roy, Marina. "These Days". Last Call Fall issue. Morris and Helen Belkin Art Gallery Publication. Turner, Michael. "These Days". Mix magazine 26.1 Fall, 2001.O'Brien, Melanie. "Mis.Com.". Last Call Summer issue,2001 . Morris and Helen Belkin Art Gallery Publication. Henry, Karen. "Mis.Com.". Presentation House Exhibition Monograph, 2001.Green, Bethany. "Killing the Commute". ARTSCULTURE, 2000. Brock University Press. Mix magazine 26.1 summer 2000. Achong, Deanne. "deliverance", OR Gallery Monograph.1998
Sawyer, Carol. "swell". grunt Publication Monograph.1996

Notes and references

Flow, City of Vancouver News Release
Burnham, in Ambiko
Public Library Public Art
commsvcs/oca/publicart/projects.htm City of Vancouver Public Art Projects

External links

fionabowie.org
slickerslacker.com
front.bc.ca/exhibitions/events/3143
rabble.ca/podcasts/shows/redeye/2010/01/flow-permanent-media-art-exhibit

Living people
Year of birth missing (living people)
Canadian installation artists
21st-century Canadian women artists
Artists from Vancouver
University of British Columbia alumni
Simon Fraser University alumni

masks:
Fiona Bowie
Fiona Bowie
Bowie
Bowie
Bowie
Bowie
Bowie
Fiona Bowie
Fiona Bowie
Bowie
Bowie
Bowie
Bowie
Bowie
Bowie
Fiona Bowie
Bowie
Bowie
Bowie
Fiona Bowie
Fiona Bowie


texts:
<mask> (often anglicized as <mask> or Chanah Senesh; ; ; 17 July 19217 November 1944) was a poet and a Special Operations Executive (SOE) member. She was one of 37 Jewish SOE recruits from Mandate Palestine parachuted by the British into Yugoslavia during the Second World War to assist anti-Nazi forces and ultimately in the rescue of Hungarian Jews about to be deported to the German death camp at Auschwitz. <mask> was arrested at the Hungarian border by Hungarian gendarmes. She was imprisoned and tortured, but refused to reveal details of her mission. She was eventually tried and executed by firing squad. She is regarded as a national heroine in Israel but has largely been forgotten in her birthplace of Hungary according to The Guardian. In Israel her poetry is widely known and the Yad Hana kibbutz as well as several streets, are named after her.Early life

Szenes was born on July 17, 1921, to an assimilated Jewish family in Hungary. Her father, Béla, a journalist and playwright, died when <mask> was six years old. She continued to live with her mother, Kathrine, and her brother, György. She enrolled in a Protestant private school for girls that also accepted Catholic and Jewish pupils; however those of the Catholic and Jewish faith had to pay double and three times the amount Protestants paid. After her mother thought it was too expensive, Szenes was declared a "gifted student" and allowed to only pay double the usual amount. This, along with the realization that the situation of the Jews in Hungary was becoming precarious, prompted Szenes to embrace Zionism, and she joined Maccabea, a Hungarian Zionist students organization. Immigration to Nahalal

Szenes graduated in 1939 and decided to emigrate to what was then the British Mandate of Palestine in order to study in the Girls' Agricultural School at Nahalal.In 1941, she joined Kibbutz Sdot Yam and then joined the Haganah, the paramilitary group that laid the foundation of the Israel Defense Forces. The scholar of Jewish Mysticism Joseph G. Weiss was in love with her and parts of their correspondence were published after his death. In 1943, she enlisted in the British Women's Auxiliary Air Force as an Aircraftwoman 2nd Class. Later the same year, she was recruited into the Special Operations Executive (SOE) and was sent to Egypt for parachute training. The parachutists’ mission
Between 1943 and 1944, the Jewish community in Palestine (Yishuv) decided to send Jewish parachutists behind enemy lines to assist both Allies forces and the Jews in occupied Europe. The mission was a cooperation between the Yishuv and British forces to create Jewish commando unit within the British army. Szenes volunteered and was selected along with 32 others, out of 250 candidates, to be sent on active missions.Arrest and torture
On March 14, 1944, she and two colleagues were parachuted into Yugoslavia and joined a partisan group. After landing, they learned the Germans had already occupied Hungary, so the men decided to call off the mission as too dangerous. Szenes continued on and headed for the Hungarian border. At the border, she and her companions were arrested by Hungarian gendarmes, who found her British military transmitter, used to communicate with the SOE and other partisans. She was taken to a prison, stripped, tied to a chair, then whipped and clubbed for three days. She lost several teeth as a result of the beatings. The guards wanted to know the code for her transmitter so they could find out who the parachutists were and trap others.Transferred to a Budapest prison, Szenes was repeatedly interrogated and tortured, but only revealed her name and refused to provide the transmitter code, even when her mother was also arrested. They threatened to kill her mother if she did not cooperate, but she refused. While in prison, Szenes used a mirror to flash signals out of the window to prisoners in other cells and communicated using large cut-out letters that she placed in her cell window one at a time and by drawing the Magen David in the dust. Trial and execution
She was tried for treason in Hungary on 28 October 1944 by a court appointed by the fascist Arrow Cross regime. There was an eight-day postponement to give the judges more time to find a verdict, followed by another postponement, this one because of the appointment of a new Judge Advocate. She was executed by a firing squad on November 7, 1944. She kept diary entries until her last day.One of them read: "In the month of July, I shall be twenty-three/I played a number in a game/The dice have rolled. I have lost," and another: "I loved the warm sunlight." Her diary was published in Hebrew in 1946. Her remains were brought to Israel in 1950 and buried in the cemetery on Mount Herzl, Jerusalem. Her tombstone was brought to Israel in November 2007 and placed in Sdot Yam. During the trial of Rudolf Kastner, <mask>'s mother testified that during the time her daughter was imprisoned, Kastner's people had advised her not to obtain a lawyer for her daughter. Further, she recalled a conversation with Kastner after the war, telling him, "I don't say that you could have saved my daughter <mask>, but that you didn't try – it makes it harder for me that nothing was done."After the Cold War, a Hungarian military court officially exonerated her. Her kin in Israel were informed on November 5, 1993. Poetry, songs and plays
Szenes was a poet and playwright, writing both in Hungarian and Hebrew. The following are four of her better known poems. The best known of these is "A Walk to Caesarea", commonly known as Eli, Eli ("My God, My God"). The well-known melody was composed by David Zahavi. Many singers have sung it, including Ofra Haza, Regina Spektor, and Sophie Milman.It was used to close some versions of the film Schindler's List. In popular culture
 The Legend of <mask>, a play about Szenes written by Aharon Megged, was produced and directed by Laurence Merrick at the Princess Theatre in Los Angeles in 1964. Szenes was played by Joan Huntington. Hanna's War, a film about Szenes's life directed by Menahem Golan, was released in 1988. Szenes was portrayed by Maruschka Detmers. Blessed is the Match: The Life and Death of <mask>, directed by Roberta Grossman, is a documentary film that recounts the events of <mask>'s life. It was released in 2008.Darkness (one two three), a musical pilot project of the Association of Global Art, led by the musician and singer , in which <mask>'s last poem was composed and sung (English and Hebrew, 2019). See also
 Jewish Parachutists of Mandate Palestine

References

Bibliography
 חנה סנש: חייה, שליחותה ומותה, in Hebrew. 1952. Diario, cartas, iniciación literaria, misión y muerte, memorias de la madre, 1966. in Spanish. 396 pages. <mask>, Her Life & Diary, Schocken Books, 1972. Masters, Anthony.The Summer That Bled; The Biography of <mask>. New York: St. Martin's Press, 1972. Goldenberg, Linda. In Kindling Flame: The Story of <mask>, 1921-1944. New York: Lothrop, Lee & Shepard Books, 1985. Hay, Peter. Ordinary Heroes: Chana <mask> and the Dream of Zion.G.P. Putnam's Sons, 1986. Whitman, Ruth. The Testing of Hannah Senesh Detroit: Wayne State University Press, 1986. Maxine Rose Schur, <mask>es: A Song of Light, Philadelphia, 1986. Betzer, Oded. The Paratrooper Who Didn't Return.World Zionist Organization, 1989. Ransom, Candice F.  So Young to Die: the Story of <mask>. Scholastic, 1993. Senesh, <mask>, and Marge Piercy (foreword). <mask>: Her Life and Diary. Jewish Lights Publishing, 2004. Gozlan, Martine, <mask>, l'étoile foudroyée.Paris: Ed. de l'Archipel, 2014. In French.

masks:
Hannah Szenes
Hannah Senesh
Szenes
Hannah
Hannah
Hannah
Hannah Senesh
Hannah Senesh
Hannah
Hannah
Hannah Senesh
Hannah Senesh
Hannah Senesh
Szenes
Hannah Szen
Hannah Senesh
Hannah
Hannah Senesh
Hannah Szenes