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<mask> KCB (28 December 1883 – 19 December 1942) was a Norwegian general and the first land commander to win a major victory against the Germans in the Second World War. Having followed the Norwegian government into exile at the end of the Norwegian Campaign, Fleischer committed suicide after being bypassed for appointment as commander-in-chief of the Norwegian Armed Forces in exile and being sent to the insignificant post as commander of Norwegian forces in Canada. Early and personal life
Fleischer was born in Bjørnør Rectory (now Roan) in Sør-Trøndelag as the son of the Church of Norway pastor <mask> (1843–1885) and Johanne Sophie Fergstad (1850–1926). After his father died, Fleischer moved with his mother to grow up in Trondheim. His childhood home was one characterized by Christianity, simplicity and frugality. His ancestors had migrated from Elbing in East Prussia to Norway, first with <mask> (1630–1690) who found a position in Kongsberg. The current lineage is descended from Tobias' nephew <mask> (1656–1712), who also had notable children in Denmark.<mask> <mask> was a descendant of Herman's son Philip Johan <mask> (1699–1763). Notable relatives include Philip's brother Baltzer Fleischer and grandnephew Palle Rømer <mask>, and <mask>'s brother, bishop <mask>. <mask> <mask> was also a more distant relative of <mask> <mask>, Nanna <mask>, <mask> and <mask>. <mask> <mask> married Antonie "Toni" Charlotte Hygen (1888–1947) in 1919 in Kristiania. In his spare time Fleischer enjoyed watercolor painting and trout fishing. Military career

Pre-Second World War
Motivated by economic uncertainties, Fleischer joined the Norwegian Military Academy and graduated as the second best student in 1905. The academy instilled in young Fleischer a strong belief in that the first task of a military officer was to defend his country and that regulations were to be considered standing orders in critical situations.In 1917 Fleischer made the rank of captain. In 1919-1923 he was the staff officer of the Norwegian 6th Division before becoming Commanding Officer of the 14th Infantry Regiment (IR 14) in Mosjøen. While serving in North Norway Fleischer became an avid writer of military manuals and worked continually on developing the Norwegian Armed Forces in line with the special prerequisites caused by the Norwegian nature and society. From 1909 to 1933 he held various positions in the Norwegian General Staff. In addition he served as a captain and commanded Company 4 of the Norwegian Royal Guards in 1926–1929, chief of the Commanding General's staff of adjutants in 1933-1934 and as a teacher at the Norwegian Defence Staff College in 1928–1934. He also edited the military journal Norsk Militært Tidsskrift. During his time at the General Staff Fleischer warned of the possibility of a surprise attack on central areas of Norway.He also stated that the best way of confronting such an attack was a combination of defending coastal outposts while the main forces mobilised in rear areas in the interior of the country. In 1930 he was promoted to the rank of major, and in 1934 became a colonel, assuming command of the Sør-Hålogaland Regiment (Infantry Regiment 14). Second World War

Background and strategy

On 16 January 1939 Fleischer was made Major General (generalmajor) and Commanding Officer of the Norwegian 6th Division, the position that would lead him to become the first allied general to defeat the Wehrmacht in a head-on land confrontation. January 1940 saw Fleischer appointed by royal resolution as commander-in-chief of North Norway in case of war. After the Winter War between Finland and Russia broke out in November 1939 the 6th Division was mobilised and Fleischer repeatedly took the initiative to encourage the Norwegian government to increase the country's military readiness in North Norway. Included amongst these initiatives were wide-ranging measures against the region's communists. Fleischer's distrust of the Soviet Union continued to show itself throughout the following Norwegian Campaign in 1940, when he kept substantial forces at the Soviet border in eastern Finnmark despite a desperate need of reinforcements at the front line at Narvik against Maj. Gen. Eduard Dietl's Gebirgsjäger forces.In 1940, following the German invasion of Norway General <mask> was appointed commander-in-chief of the Norwegian armed forces in North Norway. At the time of the attack on 9 April 1940 Fleischer was at Vadsø in Finnmark as part of an inspection journey together with his chief-of-staff, Major Odd Lindbäck-Larsen. When message of the invasion reached him the area was in the middle of a ferocious blizzard. Due to the extreme weather Fleischer could not leave Vadsø either by Hurtigruten ship or naval aircraft, and had to stay overnight. County Governor of Finnmark Hans Gabrielsen invited Fleischer to stay at the governor's mansion. After discussing the situation with Gabrielsen, Fleischer managed to set off for Tromsø the next day, arriving there by M.F.11 naval aircraft after flying in terrible conditions. From Tromsø he issued orders for a total civilian and military mobilization and declared Northern Norway a theatre of war.He handed over most of the civilian powers to the respective County Governors in Troms and Finnmark, Hans Gabrielsen taking all civilian power in Northern Norway after the death of the County Governor of Troms a few days after the invasion. Fleischer's strategic plan was to first wipe out the German forces at Narvik and then transfer his division to Nordland to meet a German advance from Trøndelag. Fleischer valued offensive actions against enemy forces, using the unique nature of the Norwegian terrain to carry out attacks against an enemy's flanks and rear. General Fleischer had already in 1934 opposed the concept of fighting delaying actions while waiting for Allied reinforcements, a tactic on which General Otto Ruge relied during his defence of the vital Eastern Norway region. Operations in 1940

As commander of the 6th Division, Maj. Gen. <mask> <mask> coordinated Norwegian, French, Polish and British forces in the recapturing of Narvik on 28 May from Maj. Gen. Eduard Dietl's Austro-German 3rd Mountain Division. The victory was accomplished despite shifting allied strategies and leadership. Following the evacuation of southern Norway Fleischer was embroiled in conflicts with the political and military leadership arriving from the abandoned southern parts of the country.The General's hard-headed and uncompromising style did not help in this regard. Narvik was the first major allied infantry victory in the Second World War. Unfortunately for the Norwegians, following the German invasion of France and the Low Countries on 10 May 1940, the Allied task force was withdrawn in early June. Without the support from the Allies, the Norwegian Army alone would not be able to defend its positions and a capitulation agreement for mainland Norway was signed. The Germans reoccupied Narvik on 9 June. As the Norwegian forces in mainland Norway were about to surrender, General <mask> was ordered to follow King Haakon VII and the Cabinet Nygaardsvold into exile in the United Kingdom, having been made commander of the Norwegian army in exile on 7 June 1940. In the company of his wife he left Norway on 8 June, on board the patrol vessel .Exile

During his exile in the United Kingdom, General Fleischer quickly built up a Norwegian infantry brigade based in Dumfries, Scotland from June 1940. However, he soon got at odds with the Norwegian political leadership in exile due to his strong headed attitudes and unwillingness to compromise. He also became controversial in factions of the cabinet due to his support of British commando raids on the Norwegian coast, even stating his willingness to personally participate in the attacks on the German occupying forces in Norway. While stationed in the UK, he received a number of allied awards. Among these were the Polish Virtuti Militari for bravery, the French Croix de guerre, and appointment by the British as a Knight Commander of the Order of the Bath. Most likely because of a personal antagonism due to this fact, General <mask> was bypassed when the exile government of prime minister Johan Nygaardsvold in 1942 decided to recreate the post of commander-in-chief of the Norwegian Armed Forces. This post had existed temporarily during the 1940 campaign, but General Otto Ruge, who had been commander-in-chief during the campaign, stayed in Norway and surrendered with his troops.Instead of Fleischer, who was the obvious choice, the cabinet promoted Major Wilhelm von Tangen Hansteen, the young defence attaché in Helsinki, Finland directly to general and gave him the post. In response to this act <mask> delivered his resignation. The cabinet ordered General <mask> to take up a new post as commander of Norwegian forces in Canada. Apart from the Royal Norwegian Air Force's training base Little Norway near Toronto, which was already headed by Ole Reistad, and a school for merchant marine gunners at Lunenburg near Halifax, Nova Scotia, there were no Norwegian forces in Canada. A plan to create a Norwegian Army in Canada of expatriate Norwegian Americans came to nothing. Before leaving for Canada Fleischer inspected the Norwegian garrison on the distant Norwegian island Jan Mayen in the Atlantic Ocean. The General concluded that the garrison was too small to defend anything more than the midsection of the island, leaving several landing beaches open to the Germans during the relatively calm summer months.Based on his observations Fleischer reported that the garrison should be reinforced during the summer, a small garrison being sufficient during winter. He also inspected the Norwegian forces based on Iceland. Suicide and aftermath

On 1 December 1942, General <mask> was ordered to the position of Military Attaché to Washington D.C. This was another obvious humiliation, since usually officers of the ranks of Major or Lieutenant-Colonel served in this role. Being too much for him to swallow, he shot himself with his own gun through the heart on 19 December 1942. He was found by his adjutant Lieutenant Richard Brinck-Johnsen who brought the urn with the General's ashes to London in a Liberator aircraft. In London Brinck-Johnsen was ordered to keep the circumstances of Fleischer's death secret.Only in 1995 did Brinck-Johnsen speak out, stating that in his opinion Fleischer had taken his own life in sorrow of being set aside and not being needed by anyone. Still disputed today, it is thought that one of the reasons for sending him to Canada was that he favoured a series of coastal raids against Norway to hamper German use of the occupied nation. Fleischer also wanted to build substantial army forces abroad and employ them in active operations against the German occupying forces in Norway, something that was in direct conflict with the more passive strategy favoured by Cabinet Nygaardsvold. The prevailing view in the rest of the Cabinet was to build air and naval forces that could be used directly with Allied forces, as they feared such raids would provoke the Germans into severe punitive actions against the local populace, such as they did after the Telavåg incident. When General Fleischer's ashes were brought back to Norway after the war, the Labour cabinet denied him a state funeral. Despite the presence of the King, the Crown Prince, and representatives of all other parts of Norwegian society, no representatives of the cabinet or the Labour Party attended. When a monument to his honour was raised in Harstad at the headquarters of the 6th Division, which was also attended by the King, the same lack of respect was shown by the cabinet and the Labour Party.Harstad (Gen. Fleischers gate), Bodø (General Fleischers gate), Bardufoss (General Fleischers veg) and Eiksmarka (General Fleischers vei) all have streets named after the general. References

Bibliography

1883 births
1942 deaths
People from Nord-Trøndelag
Norwegian Military Academy alumni
Academic journal editors
Norwegian editors
Norwegian military attachés
Norwegian Army World War II generals
Norwegian military personnel who committed suicide
Suicides by firearm in Ontario
Burials at the Cemetery of Our Saviour
Honorary Knights Commander of the Order of the Bath
Recipients of the War Cross with Sword (Norway)
Recipients of the Silver Cross of the Virtuti Militari
Recipients of the Croix de Guerre 1939–1945 (France)
1942 suicides

masks:
Carl Gustav Fleischer
Carl Edvard Fleischer
Tobias Fleischer
Herman Reinhold Fleischer
Carl Gustav
Fleischer
Fleischer
Fleischer
Carl Gustav
Andreas Fleischer
Carl Gustav
Fleischer
Carl August
Fleischer
Fleischer
Agnes Fleischer
August Fleischer
Carl Gustav
Fleischer
Fleischer
Carl Gustav
Fleischer
Fleischer
Fleischer
Fleischer
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<mask> (born 1941) is an American artist, art critic, and novelist based in New York City. He is most widely known for his longstanding contributions to Artforum and Newsweek (senior writer and art critic, 1989–2003), and for what critics have called a remarkably consistent, five-decade-long body of abstract formalist painting. <mask> has written three books on art, Bruce Nauman: The True Artist (2014), Moonlight Blues: An Artist's Art Criticism (1986) and Sunshine Muse: Modern Art on the West Coast, 1945-70 (1974), and two novels, The Art Critic (2008) and Time for Robo (1999). He has been awarded major fellowships for both his painting (John Simon Guggenheim Foundation, National Endowment for the Arts) and his writing (Andy Warhol Foundation, National Endowment for the Arts). <mask>'s work has been featured in surveys at the Museum of Modern Art, Los Angeles County Museum of Art (LACMA), Whitney Museum, and PS1, and in solo exhibitions at the Hirshhorn Museum and Las Vegas Art Museum. In 2004, the USC Fisher Gallery organized and held a 30-year traveling retrospective of his work. Critics have contrasted the purely visual dialogue his art creates—often generating more questions than answers—with the directness of his writing;<ref name="Zona04">Zona, Louis A."Afterword," <mask>: An Introspective, Los Angeles: Fisher Gallery, University of Southern California, 2004, p.27.</ref> they also contend that the visibility of his bylines as a critic has sometimes overshadowed his artmaking—unduly.Saltz, Jerry. Review, <mask>, New York Magazine, March 4, 2018. Retrieved January 18, 2018. Los Angeles Times critic David Pagel described Plagens's painting as a "fusion of high-flying refinement and everyday awkwardness" with an intellectual savvy, disdain for snobbery and ungainliness he likened to Willem de Kooning's work. Reviewing Plagens's 2018 exhibition, New York Times critic Roberta Smith called the show an "eye-teasing sandwich of contrasting formalist strategies," the hard-won result of a decade of focused experimentation. Life and career
<mask> was born in Dayton, Ohio in 1941 and grew up in Los Angeles. He attended the University of Southern California, where he majored in painting (BFA, 1962) and drew cartoons for the Daily Trojan.He left USC an abstract painter, influenced by Hans Hofmann, Willem de Kooning, Richard Diebenkorn and Elmer Bischoff, which set him at odds with the somewhat conservative painting faculty at Syracuse University (MFA, 1964) where he did his graduate studies. He moved back to California in 1965 and took an Assistant Curator position at the Long Beach Museum of Art; soon after, he approached Artforum editor Phil Leider for work as a reviewer—at five dollars per review—in order to keep up with the Los Angeles art scene. In 1966, Plagens accepted a teaching position at the University of Texas, remaining until 1969, when he accepted a position at California State University, Northridge. He taught there until 1978, and at the University of California, Berkeley (1972), the University of Southern California (1978–80), and the University of North Carolina (1980–4), where he also chaired the art department. During his time at Cal State, <mask> shared a 3,000-square-foot studio with painter Walter Gabrielson on the same block in Pasadena as artist Bruce Nauman's; in 1975, he appeared in Nauman's short film Pursuit.Knight, Christopher. "What Is an Artist? <mask>'s 'Bruce Nauman' Illuminates,'" Los Angeles Times, June 7, 2014.Retrieved January 21, 2018. <mask> began exhibiting professionally in 1967, and was featured in the 1971 LACMA show, "24 Young Los Angeles Artists" and the 1972 Whitney Biennial. He has shown at Nancy Hoffman Gallery in New York since 1975, and showed regularly at the Jan Baum Gallery in Los Angeles (1977–1992) and Jan Cicero Gallery in Chicago (1986–98).Muchnic, Suzanne. Review <mask> exhibition at Jan Baum Gallery, The Los Angeles Times, November 18, 1977.Bucholz, Barbara. "The Art of <mask>," Chicago Tribune, May 1, 1998. Retrieved January 18, 2018. His 2004 retrospective at USC traveled to Columbia College Chicago and the Butler Institute of American Art in Akron.Wachunas, Tom.Review, Dialogue, September–October 1996. <mask> married the painter, Laurie Fendrich, in 1981. They moved to New York City in 1985 where they continue to reside, while also maintaining a studio outside the city. Artwork and reception
Critic Dave Hickey, among others, has characterized Plagens as "an irrevocably abstract formalist painter," who, regardless of fashion, has rooted his work in modernist and Abstract Expressionism syntax, formal rigor, and a willful embrace of dissonance and contradictions—such as hard-edged geometry and messy, gestural abstraction, "happy accident and copious correction," and beauty and intentional clunkiness. David Pagel wrote that Plagens's 2004 retrospective traced "a remarkably consistent arc" of stubbornly held abstract work of "sophisticated inelegance." Plagens works improvisationally, sometimes pushing his paintings to the edge of failure, by his own admission and according to critics. He maintains there is no symbolism in his work; he often appends enigmatic titles to his work upon completion, however, that indicate his ruminations while in the studio.Throughout his career, he has produced works on paper that generally correspond in style to his paintings, incorporating collaged photographs, fragments of commercial packaging, and colored and textured paper. Art, 1970–1999
Plagens's early work featured single, emphatic shapes—circles with wedges removed, diamonds, trapezoids, and thin letter "C"-like rings—which he placed on vivid red-orange or creamy white color fields that sometimes disintegrated at the canvas edges into irregular, soft bands of subtle color. Increasingly minimal works, such as Cleveland Defaults on Its Debts (1979) or Cubist Landscape (1980), have been recognized for carefully calibrated compositions that challenged conventional rules about balance and probed the line between elegance and awkwardness, and friction and harmony. In pivotal paintings of the mid-1980s, such as Wheels of Wonder (1985) and Wedge of Life (1987), Plagens incorporated angular, eccentric polygons, greater surface variation and a new sense of movement that reviewers such as Grace Glueck deemed "witty balancing acts." During this time, he also created the drawing series "My Father Worked in Advertising" (1986), which featured dappled, abstract expressionist-like areas around the edges over which he painted and collaged fields of color and hard-edged and irregular shapes. Critics noted a building complexity and immediacy in Plagens's output from 1989 to 2000, the result of a more expansive mix of materials, markmaking and palettes.Kimmelman, Michael. "<mask>," The New York Times, January 3, 1997.Retrieved January 18, 2018. In paintings such as Benton Way and Sunset, LA, 6/28/55, 1:40 pm (1989) and Learning of the Tragic News (1996), he introduced expressive drips and gestural, free-form marks and shapes, that Michael Kimmelman wrote had "a looping calligraphic eloquence" recalling Arshile Gorky and Richard Diebenkorn.Dickensheets, Scott. "<mask>," ARTnews, March 2001. Of particular note were the small, brightly colored, discordant geometric forms that Plagens set against primarily off-white and slate-gray backdrops, which critics suggested "snapped" his rhythmic compositions into place. Art, 2000–

Between 2000–2003, Plagens sought to create a greater degree of tension In a series of untitled works on paper by subdividing them into two fields: one containing fluid, expressive shapes and linear forms on gray or khaki-colored grounds, atop another, featuring configurations of jarring, hard-edged rectangles set on black or off-white fields. In later paintings, he dispensed with the subdivision, creating more centralized compositions that featured flat, irregular, near-fluorescent color shapes directly painted on neutral grounds of contrasting gestural shapes and marks. In the 2010s, Plagens garnered some of the best reviews of his career for shows that critics described, variously, as "jaunty, accomplished disquisitions" or heated, "intimate discourses" exploring the co-existence of incompatible styles, formal concepts and paint application in single works.These paintings (e.g., The Ides of October or A Literary Sensibility, both 2017) and works on paper employed three main visual elements: a gestural, improvisational field of squiggles, loops and loose grids partially blotted out by a large, irregularly edged expanse of opaque orange, pink, lavender-gray or aqua, upon which Plagens set hard-edged, irregular polygons built from six or seven shards of bright color that he dubbed "color badges." Critics suggested that these badges mediated an ongoing flux between coherent wholes and fluid parts, order and disorder, freedom and restraint, establishing an uneasy, but engaging, "strange harmony." Plagens's recent works on paper, such as The Sinister Man 2 (2018), have largely relied on centralized compositions, anchored by collaged photographs or found paper with text or graphic images that are contained by colored-paper or painted rectangular fields. Smaller in scale and less off-kilter in composition, these works have been seen as expressing a greater intimacy and poignancy than Plagens's paintings. Writing
<mask> has been a prominent art critic for more than five decades, producing numerous reviews, essays and articles about artists and the art world. He also authored the monograph, Bruce Nauman: The True Artist (2014), and two books of art criticism, Moonlight Blues: An Artist's Art Criticism (1986), and Sunshine Muse: Modern Art on the West Coast, 1945-70 (1974, re-issued 2000),Livingston, Jane. Review of "Sunshine Muse: Contemporary Art on the West Coast", "Art in America", March, 1975.Other critics characterize Plagens's writing as "stylish, clear-eyed," literate, direct and candid. In a 1974 New York Times review of Sunshine Muse, Hilton Kramer described Plagens as "the only amusing writer ever to appear in the pages of Artforum." Los Angeles Times critic Christopher Knight wrote that <mask>'s Bruce Nauman monograph probed the question of what an artist is "with wit, insight and a prodigious amount of research, plus a good deal of personal experience"; other reviewers welcomed the book's first-person, near-confessional engagement with an artist frequently approached through academic jargon.Vine, Richard. "True Nauman: <mask>lagens on His New Volume on the Artist," Interviews, Art in America, April 21, 2014. Retrieved January 21, 2018. Sunshine Muse, deemed "vivacious and valuable" in The New York Times, has often been quoted by critics exploring West Coast art and artists since its publication in 1974.Raynor, Vivien. "West Coast Innovators in Ridgefield Show," The New York Times, March 24, 1991.Retrieved January 18, 2018. <mask> began writing for Artforum in 1966 and became a contributing editor in 1971 and an associate editor, West Coast in 1974. He was a senior writer and art critic for Newsweek from 1989 to 2003 and a contributing editor until 2010. Since 2011, he has written reviews and articles for The Wall Street Journal and blogged for the blogsite of the National Arts Journalism Program, ARTicles, since 2010.Sonoma State University. Black White Color Life: Recent Works on Paper by Laurie Fendrich and <mask>, Rohnert Park, CA: Sonoma State University, 2017. He has been published in The New York Times, The Los Angeles Times, Art in America, ARTnews, Art+Auction, The Nation, L.A. Weekly, and Bookforum, among many publications.<mask>, <mask>. "Nick Miller: Drawing Life from Landscape," Nick Miller: Truckscapes—Landscapes from a Mobile Studio, Dublin: Rubicon Gallery, 2007.Plagens has written catalogue essays for the artists Jim DeFrance, Tony DeLap, Don Gummer, Ron Linden, Nick Miller and Edward Ruscha, and for the exhibitions "Clay's Tectonic Shift: John Mason, Ken Price, and <mask>, 1956–1968" and "Pasadena to Santa Barbara" (both 2012). Plagens has also written two novels: The Art Critic (2008) and Time for Robo (1999). Time for Robo incorporates themes of time travel, perception, the nature of reality, and the end of time, among others. Reviewers compared its themes and "Chinese box," stories-within-stories style to the novels of Thomas Pynchon, Kurt Vonnegut, Jim Dodge, and Robert Coover. The Art Critic (2008) is a roman à clef'' satirizing the contemporary New York art world from the perspectives of a well-known art critic, a contemporary sculptor and an art publishing assistant. Awards and collections
Plagens has received recognition from major art institutions for both his art and writing. He has received painting fellowships from the John Simon Guggenheim Foundation (1972), National Endowment for the Arts (1985, 1977), and the Brown Foundation at the Museum of Fine Arts, Houston (2009, 2017).His writing has been awarded fellowships from the Andy Warhol Foundation (Creative Capital Arts Writers Grant, 2008) and National Endowment for the Arts (art criticism, 1973), and he was one of four senior fellows in the National Arts Journalism Program at Columbia University in 1998. Plagens's art has been acquired by numerous public and corporate collections, including the Museum of Fine Arts, Houston, Hirshhorn Museum and Sculpture Garden, Denver Art Museum, Museum of Contemporary Art San Diego, Baltimore Museum of Art, Albright-Knox Gallery, Museum of New Mexico, and Ackland Art Museum, among others. References

External links
 <mask>lagens website
 <mask> papers, 1938-2014. Online Archive of California
 Interview with Vasari21
 <mask>, Nancy Hoffman Gallery

1941 births
Living people
Writers from Dayton, Ohio
American art critics
20th-century American painters
American male painters
21st-century American painters
21st-century male artists
20th-century American novelists
21st-century American novelists
American male novelists
Journalists from Ohio
20th-century American male writers
21st-century American male writers
Novelists from Ohio
20th-century American non-fiction writers
21st-century American non-fiction writers
American male non-fiction writers

masks:
Peter Plagens
Plagens
Plagens
Peter Plagens
Peter Plagens
Plagens
Plagens
Peter Plagens
Plagens
Peter Plagens
Peter Plagens
Plagens
Peter Plagens
Peter Plagens
Plagens
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Peter P
Plagens
Peter Plagens
Plagens
Peter
Peter Voulkos
Peter P
Peter Plagens
Peter Plagens


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<mask> (October 179417 August 1847) was an English artist, author and suspected serial killer. He gained a reputation as a profligate and a dandy, and in 1837, was transported to the penal colony of Van Diemen's Land (now the Australian state of Tasmania) for frauds on the Bank of England. As a convict he became a portraitist for Hobart's elite. <mask>'s life captured the imagination of renowned 19th-century literary figures such as Charles Dickens, Oscar Wilde and Edward Bulwer-Lytton, some of whom wildly exaggerated his supposed crimes, claiming among other things that he carried strychnine in a special compartment in a ring on his finger. Early life
<mask> was born into affluence in Richmond, London, England. He was orphaned when he was very young, his mother dying in childbirth and his father soon afterwards. <mask>'s mother Ann was the daughter of <mask> (1720–1803), for many years the editor of the literary magazine Monthly Review.The young <mask> was brought up in style by his elderly maternal grandparents at Linden House, Chiswick High Road, Chiswick, then on London's rural periphery. When <mask> died, <mask> came under the care of his maternal uncle, <mask>. He was probably educated by the scholar Charles Burney, the headmaster of the Greenwich Academy. <mask> subsequently served briefly as an officer in a yeomanry regiment, having bought his commission in 1814, but lasted just over a year, probably because of a severe mental illness. It was suggested by the writer Havelock Ellis that <mask> was never normal after this period of his life, when he was on the verge of or already succumbed to insanity, and this contributed to his later crimes. Literary career
In 1819, <mask> embarked on a literary career, and began to write for The Literary Pocket-Book, Blackwood's Magazine and The Foreign Quarterly Review. He was, however, most closely linked with The London Magazine, to which he contributed articles and art criticism from 1820 to 1823, under the noms-de-plume of Janus Weathercock, Egomet Bonmot and Cornelius van Vinkbooms.<mask>'s success in publication would have been assisted by his famous grandfather. He was a friend of Charles Lamb, who thought well of his writing and, in a letter to Bernard Barton, styles him "the kind, light-hearted <mask>." <mask> also practised as an artist and was trained by John Linnell and <mask>. He produced a portrait of Lord Byron and made illustrations for the poems of William Chamberlayne, and from 1821 to 1825 exhibited narratives based on literature and music at the Royal Academy, including Romance from Undine, Paris in the Chamber of Helen and the Milkmaid's Song. None of these works have survived. In the 1960s, the controversial author Donald McCormick claimed that <mask> was a friend of William Corder, the murderer of Maria Marten in the Red Barn Murder in Polstead, Suffolk in 1827. It was claimed that the two met when Corder visited London and joined some intellectual circles.McCormick was unable to produce any evidence for his claims when asked by the author of a 2018 biography of <mask>. Marriage and family life
On 13 November 1817, <mask> married Eliza Frances Ward. He had inherited £5,250 from his grandfather, invested at the Bank of England, but was unable to touch the capital, receiving only the dividends of £200 a year; the capital was in trust for his family, Eliza and their son <mask>. However, his extravagant lifestyle landed him in colossal debt. On two separate occasions, <mask> forged signatures of power of attorney and withdrew large sums from the Bank of England, first in 1822 and then in 1823. The second time left the account empty. By 1828, the <mask>s were in severe financial trouble again and forced to move in with the elderly <mask>, still living at the Wainewright estate in Chiswick.He died in agony shortly afterwards. Eliza's mother married again, becoming a Mrs Abercromby, and had two further daughters, Helen and Madalina, before being widowed again. They too moved into the estate, and Mrs Abercromby settled her will in favour of Eliza. She died shortly afterwards. The death of Helen
Owing to his extravagant habits, <mask> remained mired in debt. In 1830, he and Eliza insured the life of his sister-in-law Helen with various companies for a sum of £16,000 (some £1,650,000 in 2016). She died in December of the same year after showing signs of strychnine poisoning, though at that time there was no forensic test to prove it.When the insurance companies sued, <mask> fled to Calais to avoid investigation of his uncovered bank frauds. Unproven tales by Victorian authors claimed that he was seized by the authorities as a suspected person and imprisoned for six months. He had in his possession a quantity of strychnine, and was widely suspected to have poisoned not only his sister-in-law and his uncle, but also his mother-in-law and a Norfolk friend, although this was never proven. He returned to London in 1837, but was soon arrested on a charge of the bank forgery. <mask> was sent to Hobart, Van Dieman's Land (now Tasmania) on the convict ship Susan, arriving 21 November 1837. While in prison he was asked if he poisoned Helen, to which he allegedly replied: "Yes; it was a dreadful thing to do, but she had very thick ankles.". The quotation is now thought to have been made up by Oscar Wilde's publisher.Late life and legacy

During his ten years in the penal colony, <mask> did eventually enjoy a certain amount of freedom. After initially working on a road gang, he became a hospital orderly and was able to work as an artist, painting portraits in the homes of his subjects. He completed more than 100 portraits on paper using coloured wash, pencil and ink during his years in Hobart. They survive in public museums and private collections throughout Australia, some having remained in the families of his sitters. They depict the officialdom, professionals and members of the elite in early Hobart. A self-portrait was completed in this period. <mask> had a conditional pardon granted on 14 November 1846; he died of apoplexy in the Hobart Town hospital on 17 August the following year.He is buried in an unknown grave. The Essays and Criticisms of <mask> were published in 1880, with an account of his life, by W. Carew Hazlitt; and the history of his crimes suggested to Charles Dickens his story "Hunted Down" and to Edward Bulwer-Lytton, 1st Baron Lytton his novel Lucretia. <mask>'s personality, as artist and poisoner, also interested Oscar Wilde in "Pen, Pencil and Poison" (Fortnightly Review, Jan. 1889), and A. G. Allen, in T. Seccombe's Twelve Bad Men (1894). <mask> has been the subject of four biographical studies: The Fatal Cup: <mask> <mask> and the strange deaths of his relations by John Price Williams (Markosia, London 2018) which re-examines the poisonings and reaches a different conclusion as to <mask>'s guilt. Other studies include Janus Weathercock by Jonathan Curling (Thomas Nelson and Sons, London, 1938), Robert Crossland's Wainewright in Tasmania (OUP, Melbourne, 1954), and the poet Andrew Motion's creative biography, <mask> the Poisoner (2000). Arthur Conan Doyle also mentions <mask> in the Sherlock Holmes story "The Adventure of the Illustrious Client" as "no mean artist", but spells his name without the middle "e". <mask> was the subject of the seventeenth episode of the television show Thriller, "The Poisoner" (aired 10 January 1961), with Murray Matheson playing the role of the killer (given the fictional name <mask> Griffith) and featuring Sarah Marshall as his wife.See also
List of convicts transported to Australia
List of serial killers by country

References

Bibliography

Donald McCormick, The Red Barn Mystery:some new evidence on an old murder (South Brunswick, New York: A.S.Barnes and Co., 1967). Online sources

A <mask> Wainewright page

1794 births
1847 deaths
1828 crimes
People from Richmond, London
English male journalists
19th-century English painters
English male painters
Convicts transported to Australia
Poisoners
British Yeomanry officers
1820s crimes in the United Kingdom
Suspected serial killers

masks:
Thomas Griffiths Wainewright
Wainewright
Thomas Griffiths Wainewright
Wainewright
Ralph Griffiths
Wainewright
Griffiths
Wainewright
George Griffiths
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Thomas Phillips
Wainewright
Wainewright
Wainewright
Griffiths
Wainewright
Wainewright
George Griffiths
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Thomas Griffiths
Wainewright
Wainewright
Wainewright
Wainewright
Wainewright
Thomas Edward
Thomas Griffiths


texts:
<mask><mask> (27 December 1936 – 10 April 2020) was a Puerto Rican author, scholar, and poet, who later lived in Barcelona, Spain. She had over 50 works to her name, plus hundreds of articles, dissertations, and conferences and many of her writings, including "Nocturna, mas no funesta", build on and express this belief. She died from COVID-19 in Madrid during COVID-19 pandemic in Spain, at the age of 83. Early years
<mask> was born on 27 December 1936 in Ponce, Puerto Rico. She graduated from the University of Puerto Rico with a B.A. in literature and from the University of Salamanca with a "Licenciatura" degree as well as a "Doctor en Filosofía y Letras" (Ph.D.). There, she was influenced by Spain's Fernando Lázaro Carreter.Career
Zavala taught in Puerto Rico, México, United States, Netherlands, Italy, Germany, and Spain. In Spain she was a UNESCO fellow at the University Pompeu Fabra in Barcelona, and a Ramon Llull fellow at the University of the Balearic Islands in Mallorca. Zavala taught in many universities in the United States, including the University of Minnesota. She was also a literary critic and essayist. In 1980, she wrote her masterpiece, "Kiliagonía", a Ponce city novel. Her second novel was "Nocturna, mas no funesta" (1987), published by Montesinos (Barcelona, Spain). It was adapted for a theatrical interpretation by Group Alcores (Madrid).Other works include "El libro de Apolonia o de las Islas" and "El sueño del amor". Books
Following is a list of the publications by Zavala:
1963
          1. Unamuno y su teatro de conciencia. Acta Saltmanticensia: University of Salamanca, 222 pp. 1965
          2. La angustia y el hombre. Ensayos de literatura española.México: Universidad Veracruzana, 224 pp. 3. Barro doliente (Poetry). Santander: La Isla de los Ratones
1970
          4. La Revolución de 1868. Historia, pensamiento, literatura, ed. with Clara E. Lida.New York: Las Americas. 5. <mask>, comuneros y carbonarios. Madrid: Siglo XXI, 363 pp. 1971
          6. Ideología y política en la novela española del siglo XIX. Madrid: Anaya, 362 pp.1972
          7. Poemas prescindibles (Poetry). New York: Anti-ediciones Villa Miseria. 8. Románticos y socialistas. Prensa española en el siglo XIX. Madrid: Siglo XXI, 205 pp.1973
          9. Libertad y crítica en el ensayo puertorriqueño, intr.,ed.Con R. Rodríguez. Puerto Rico: Puerto, 448 pp. 1974
          10. Escritura desatada (Poetry). Puerto Rico: Puerto. 11.Fin de siglo:Modernismo, 98 y bohemia. Madrid: Cuadernos para el Diálogo. 1977
          12. Alejandro Sawa, Iluminaciones en la sombra, ed. estudio, notas. Madrid: Alhambra. 2@ ed.1986
1978
          13.Clandestinidad y libertinaje erudito en los albores del siglo XVIII. Barcelona: Ariel, 459 pp. 1979
          14. Historia social de la literatura española, in coll. C.Blanco Aguinaga, J. Rodríguez Puértolas. Madrid: Castalia, 3 vols. (revised ed.1983, many reprints); reed. Madrid:Akal, 2001. 15. Intellectual Roots of Puerto Rican Independence, coll with R. Rodríguez. New York: Monthly Review Press (revised ed. and translation of 1973)
1981
          16. El texto en la historia.Madrid: Nuestra Cultura, 259 pp. 1982
          17. Romanticismo y realismo. vol. 5 Historia y crítica de la literatura española. Barcelona: Crítica, 1982, 741pp (many reprints)
          18. Kiliagonía (novel).México: Premià (trans.Chiliagony. Indiana University: Third Woman Press, 1985)
1983
          19. Que nadie muera sin amar el mar (poetry). Madrid: Visor. 20. El siglo XVIII, spec. issue, Nueva Revista de Filología Hispánica XXXII:1.1984
          21. Women, Feminist Identity and Society in the 1980s, ed. Con M. Díaz-Diocaretz. Amsterdam: John Benjamins, 138 pp. 1987
          22. Lecturas y lectores del discurso narrativo dieciochesco. Amsterdam: Rodopi, 118 pp.23. Noctura mas no funesta (novel). Barcelona:Montesinos. 24. Approaches to Discourse, Poetics and Psychiatry, ed. with Teun van Dijk, M. Díaz-Diocaretz. Amsterdam: John Benjamins, 235 pp.1989
          25. Romanticismo y costumbrismo. Madrid: Espasa Calpe (Historia de España, t.35, vol. II), 183 pp. 26. Rubén Darío bajo el signo del cisne. Universidad de Puerto Rico, 153 pp.27. El modernismo y otros ensayos del Rubén Darío, ed. intr.Madrid: Alianza. 1990
          28. La musa funambulesca. Poética de la carnavalización en Valle-Inclán. Madrid: Orígenes, 175 pp.1991
          29. Unamuno y el pensamiento dialógico. M. de Unamuno y <mask>. Barcelona: Anthropos, 207 pp. 30. La posmodernidad y M. Bajtin. Una poética dialógica.Madrid: Espasa Calpe, 277 pp. 31. El bolero. Historia de un amor (creative fiction). Madrid: Alianza, 162 pp. ; reed. Aumentada y corregida, Madrid:Celeste, 2000.1992
          32. Colonialism and Culture:Hispanic Modernisms and the Social Imaginary, Indiana University Press, 240 pp. 33. Discursos sobre la 'invención' de América, ed. intr. Amsterdam: Rodopi. 34.El libro de Apolonia o de las islas (novel). Puerto Rico: Instituto de Cultura. 35. Discurso erótico y discurso transgresor en la cultura peninsular. Siglos XVI al XX, ed. with <mask>-Diocaretz, Madrid: Tuero, 1992. 36.Breve historia feminista de la litertura española (en lengua castellana). 1. Teoría feminista:discursos y differencia, ed with M.Díaz-Diocaretz. Barcelona:Anthropos. 1993
          37. Historia y crítica de la literatura española. 5/1 Romanticismo y Realismo, ed.Primer Suplemento. Barcelona:Crítica. 1995
          38. Historia feminista de la literatura española (en lengua castellana). II. La mujer en la literatura española, ed. Barcelona:Anthropos, 1995.1996
          39. Bajtin y sus apócrifos, ed. with T. Bubnova, S.Bocharov, N. Pedgorced, Amalia <mask>. Barcelona:Anthropos. 40. Escuchar a Bajtin. Barcelona: Montesinos.41. Historia feminista de la literatura española (en lengua castellana). III. La mujer en la literatura      española (del siglo XVIII a la actualidad).ed. Barcelona Anthropos. 1997
          42. Historia feminista de la literatura española (en lengua castellana).IV. La Literatura escrita por mujer (De la Edad Media al siglo XVIII). ed. Barcelona:Anthropos. 43. Hacia una filosofía del acto ético. De los borradores y otros escritos, ed.Con comentarios de I. M. <mask>, Augusto Ponzio. Anthropos/Universidad de Puerto Rico. 1998
          44.El sueño del amor (novela). Universidad de Puerto Rico/Montesinos,
          45. Historia feminista de la literatura española (en lengua castellana). V. La literatura escritura por mujer (siglos XIX y XX). Anthropos/Universidad de Puerto Rico.46. ¿Historia o literatura?, ed. <mask><mask>. Núm.Esp. La Torre. 2000
          47.Feminismos, cuerpos, escrituras. ed <mask>.<mask>.La Página.Canarias
          48.El bolero. Historia de un amor,ed.Madrid: Celeste. ( 2ed. ampliada). 49.Historia social de la literatura española(en lengua castellana)vol I-II.C. Blanco Aguinaga,Julio Rodríguez Puértolas,<mask><mask>.Madrid:Akal. Reedición.50.Breve historia feminista de la literatura española (en lengua catalana, gallega y vasca). vol.VI, ed. <mask>.<mask>. Barcelona: Anthropos. 2001
          51. El rapto de América y el síntoma de la modernidad. Barcelona:Montesinos.2004. 52. La otra mirada del siglo XX. La mujer en la España  del siglo XX. Madrid. La Esfera de los Libros. 2006
          53.Leer Don Quijote. 7 tesis sobre ética y literatura. Barcelona: Anthropos. 2007
          54. Percanta que me amuraste. Barcelona:Montesinos (novela)
          55. Poesía completa, Canarias:La Página.56. Kiliagonía.(reed). .Canarias:La Página..
2008
          57. Alejandro Sawa. Crónicas de la bohemia. Ed. Veintisiete: Madrid.58. <mask> Unamuno, ensayos heréticos. Ed. Veintisiete (en prensa). 59. La (Di)famación de la cultura. 7 ensayos sobre ética.Ed. Veintisiete, Madrid. Honors and awards
          Decorated by King Juan Carlos I of Spain. "Encomienda, Lazo de Dama de la Orden de Mérito Civil." 1988
          Medal of Honor, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico, April 1994. Doctor Honoris Causa, University of Puerto Rico, June 1996. Gold Medal, Ateneo Puertorriqueño.1998. Cátedra UNESCO de Estudios Latinoamericanos, Universidad  Pompeu Fabra, 2001
          Honorary Doctoral degree, Universidad de Málaga. 2004. <mask>ambrano Thought Award, Junta de Andalucía. 2006. Pen Club Award (based on "El libro de Apolonia o de las islas"). Zavala is also honored as one of Ponce's greatest writers at the Park for Illustrious Ponce Citizens.See also

List of Puerto Ricans

References

1936 births
2020 deaths
Puerto Rican educators
Puerto Rican writers
University of Salamanca alumni
Educators from Ponce
Writers from Ponce
Puerto Rican independence activists
20th-century Puerto Rican writers
20th-century Puerto Rican women writers
20th-century Puerto Rican educators
Puerto Rican academics
University of Puerto Rico alumni
Deaths from the COVID-19 pandemic in Spain
Puerto Rican emigrants
American emigrants to Spain
American expatriate academics
Puerto Rican expatriates in Spain
Puerto Rican women activists
American women academics
20th-century women educators

masks:
Iris M
. Zavala
Zavala
Masones
M Bajtin
M Díaz
Rodriguez Monroy
Zavala
Iris M
. Zavala
Iris M
Zavala
Iris M
. Zavala
Iris M
Zavala
Miguel de
María Z


texts:
<mask> (19 September 1946 – 7 September 2002) was an English film and television actor. He played the eponymous private investigator in the ITV series Boon and Harry Slater in BBC's EastEnders. He was nominated for a BAFTA Award for Best Supporting Actor for his performance in the 1983 film Gorky Park. In his prime, Elphick always looked older than he was, and with his gruff Sussex accent and lip-curling sneer he often played menacing hard men. Elphick struggled with a highly publicised addiction to alcohol; at the height of his problem he admitted to consuming two litres of spirits a day, which contributed to his death from a heart attack in 2002. Early life
<mask> grew up in Chichester, Sussex, where his family had a butcher's shop. He was educated at Lancastrian Secondary Modern Boys School in Chichester, where he took part in several school productions including Noah and A Midsummer Night's Dream.He initially considered joining the Merchant Navy and helped out in his local boatyard during school holidays. It has been reported that he stumbled upon acting by chance when, at the age of 15, he took a job as an apprentice electrician at the Chichester Festival Theatre while it was being built. He gained an interest in acting whilst watching stars such as Laurence Olivier, <mask> and Sybil Thorndike. Olivier advised Elphick to go to drama school and gave him two speeches to use at auditions. Elphick was offered a number of places but decided to train at the Central School of Speech and Drama in Swiss Cottage (aged 18), because Olivier had attended there. Career
After graduating from drama school <mask> was offered roles primarily as menacing heavies. He made his debut in Fraulein Doktor (an Italian-made First World War film circa 1968).He went on to play the Captain in Tony Richardson's version of Hamlet (1969); landed parts in cult films such as The First Great Train Robbery and The Elephant Man and appeared in Lindsay Anderson's allegorical O Lucky Man! (1973). He was also seen as Phil Daniels' father in the cult film Quadrophenia (1979), as Pasha in Gorky Park (1983) and as the poacher, Jake, in Withnail & I (1987). In 1984 he played the lead, Fisher, a British detective recalling under hypnosis a dystopian, crumbling Europe and his hunt for a serial killer in Lars von Trier's Palme D'Or nominated debut film, The Element of Crime. On stage, Elphick played Marcellus and the Player King in Tony Richardson's stage version of Hamlet at the Roundhouse Theatre and on Broadway and he later played Claudius to Jonathan Pryce's Hamlet at the Royal Court Theatre, directed by Richard Eyre. In 1981 he appeared in the Ray Davies/Barrie Keeffe musical Chorus Girls at the Theatre Royal, Stratford East and he was also seen in The Changing Room, directed by Lindsay Anderson, at the Royal Court Theatre. His last West End stage appearance was in 1997 as Doolittle in Pygmalion directed by Ray Cooney at the Albery Theatre.However, it was for his television roles that Elphick became best known. He briefly appeared in Coronation Street (1974) as Douglas Wormold, son of the landlord Edward, who for many years owned most of the properties in the road. Douglas unsuccessfully tried to buy the newsagent shop The Kabin from Len Fairclough. He played three characters in the popular Granada Television series Crown Court—in 1973 as a defendant, in 1975 as a witness (Frank Hollins, private secretary to a female soprano in the episode Songbirds out of Tune), and from 1975 to 1983 as the barrister Neville Griffiths Q.C.. He played one of the main roles in the film Black Island in 1978 for the Children's Film Foundation, played a villain in The Sweeney episode "One of Your Own" (1978) and played a policeman in The Professionals episode "Backtrack" (1979) and had a minor role in Hazell (1979), and appeared in the Dennis Potter play Blue Remembered Hills (1979). <mask> took the title role in Jack Pulman's six part comedy-drama Private Schulz (1981). Here he played alongside Ian Richardson the German forger Gerhard Schulz, who is conscripted into SS Counter Espionage during the Second World War to destroy the British economy by flooding it with forged money.He appeared as the Irish labourer Magowan during the first series of Auf Wiedersehen, Pet (1983) and starred as Sidney Mundy in the ITV sitcom Pull the Other One (1984), before playing Sam Tyler in four series of Three Up, Two Down (1985–89). In 1986 <mask> landed his biggest television success, Boon (1986–92, 1995). He played Ken Boon, a retired fireman who opened a motorbike despatch business and later became a private investigator. Boon was very successful and ran for seven series, attracting audiences of 11 million at its peak. There was also a one-off episode screened in 1995, two years after it had been made. During breaks from Boon, <mask> continued to act in film with cameo roles in The Krays (1990) and Let Him Have It (1991), and in 1991 he played Des King in Buddy's Song, starring Chesney Hawkes and Roger Daltrey. In 1993 Elphick took the role of a former Fleet Street journalist running a Darlington news agency in Harry (1993, 1995).He played the alcoholic and ruthless Harry Salter, who frequently used exploitation and underhand tactics to get a story. This series however was less successful and it was soon cancelled. <mask> went on to play Billy Bones in Ken Russell's televised version of Treasure Island (1995) and Barkis in David Copperfield (1999). In 2001 he joined the cast of EastEnders, where he played Harry Slater, a romantic interest for Peggy Mitchell (Barbara Windsor). The plotline indicated that Slater had sexually abused his niece, Kat Slater (Jessie Wallace), at the age of 13 and her "sister" Zoe (Michelle Ryan) was the daughter born to her when she became pregnant by him. Elphick's heavy drinking began to affect his performances, so the character promptly left the series and was killed off off-screen. Personal life
Elphick met his long-term partner, schoolteacher Julia Alexander, in 1963 and remained with her until her death from cancer in 1996.The couple had a daughter, Kate. For many years Elphick struggled with alcoholism. He made the first of many attempts to stop drinking in 1988. He sought help from Alcoholics Anonymous in the early 1990s, although he admitted he was still drinking in 1993. In 1996, he admitted that he had begun drinking heavily again and also contemplated suicide after the death of his partner of 33 years. However he rallied and returned to the stage in Loot. The actor also confessed to having taken cocaine and once, while high on drugs, grabbing a shotgun and chasing a gang of thugs after he had been carjacked near his villa in Portugal.During the late eighties and early nineties, he had a brief, but ultimately unsuccessful business interest in The White Swan public house at Henley in Arden. Elphick was admitted to the Priory Clinic in Roehampton, in an attempt to beat his addictions. Reports of his alcohol abuse persisted, however, and during his brief spell on EastEnders during 2001, it was reported that the BBC was considering dropping his character if his drinking was not curtailed. Death
On 7 September 2002, <mask> died of a heart attack complicated by his drinking problem. He had collapsed at his home in Willesden Green, London, after complaining of pains. He was rushed to hospital where he died, aged 55, shortly before his 56th birthday. His funeral was held at Chichester Crematorium.Filmography

Fraulein Doktor (1968) as Tom
Where's Jack? (1969) as Hogarth
Hamlet (1969) as Captain
Parkin's Patch (1970) as Thomas
The Best Things in Life (1970) as Jed Lucas
Cry of the Banshee (1970) as Burke
The Buttercup Chain (1970) as The Driver
Armchair Theatre (1971) as Robert Delmonds
The Misfit (1971, TV Series) as Mike Halloran
See No Evil (1971) as Gypsy Tom
Albert and Victoria (1971) as Nigel Godfrey
Adult Fun (1972) as Garage Manager
Country Matters (1973) as Jack
Adam Smith (1973) as Ben Davies
O Lucky Man! (1973) as Bill
And Now the Screaming Starts!

masks:
Michael John Elphick
Elphick
Michael Redgrave
Elphick
Elphick
Elphick
Elphick
Elphick
Elphick


texts:
<mask> (29 July 1948 –  19 October 1988) was the State Trading Corporation of India Professor of Marketing at the Indian Institute of Management, Ahmedabad and a widely respected authority on marketing in India. Early life and education
<mask> was born in 1948 in the village of Khimel, near Rani, Rajasthan, to <mask> and her husband, <mask>, a successful lawyer in Sojat  and a member of the Indian National Congress. He grew up in Sojat where he was initially home schooled and then attended a local Hindi-medium government school. At the age of 14, he moved to Jodhpur for his undergraduate studies at the University of Jodhpur, taking a bachelor's degree in economics in 1965. He then applied and was admitted to the second batch of the new Post-graduate Programme in Management offered by the Indian Institute of Management, Ahmedabad, where he was the youngest student at the age of 17. He was awarded the National Merit Scholarship in both the years and took his diploma from IIMA with the 5th rank in 1967. Career
<mask> was recruited straight out of IIM Ahmedabad by Hindustan Lever Limited in 1967 to work in their marketing division.At HLL, he was the product manager of Surf (detergent) during India's first detergent war, where he played an important role in defending Surf's leadership position in the Indian market against Swastik Oil Mill's Sway detergent. Later he headed the Client Services Group of the Marketing Research department as the youngest Senior Manager in the company, in which role he did the early market research that led to the development of Liril. In 1972, <mask> was recruited by Ravi J. Matthai to the faculty of his alma mater, the Indian Institute of Management, Ahmedabad. The institute sponsored his doctoral studies through a Ford Foundation grant and he earned his PhD in 1976 from the Columbia Business School working with Prof. John U. Farley and writing a dissertation on Social Marketing. His dissertation, entitled Communications for social marketing: a methodology for developing communication appeals for family planning programs, won the Honorable Mention in the John A. Howard/AMA Doctoral Dissertation Competition in 1976. He is considered a pioneer of social marketing in India by his colleague Prof. Anil Kumar Gupta. In 1976, <mask> returned to the faculty of Indian Institute of Management, Ahmedabad where he was acknowledged as an excellent teacher by his students and colleagues and, in time, described as the 'star' of the marketing faculty  and the leading marketing academic in the country.He served as the Chairman of the Marketing Area, of the Management Education Program (MEP), and of Management Development Programmes. He was also the first Chairman of the Kasturbhai Lalbhai Management Development Centre, and was responsible for the first major upgrade of its facilities. He also served on the second Committee for Future Directions and chaired the Institute's Task Force on International Management. In 1986, he won a research award from the Colgate Darden Graduate School of Business Administration at the University of Virginia where he spent a summer. According to V. Krishnamurthy,  then Chairman of the Board of Governors of IIM Ahmedabad, <mask> was in the running to succeed Prof. NR Sheth as Director of the institute in 1989 after his name was prominently proposed by both the faculty and the alumni. He had been sounded out about the likelihood of his selection just before his death in 1988. <mask> was a highly sought-after management consultant.His clients included Citibank India, Hindustan Unilever, Marico,  Crompton Greaves, ITC (company), Lipton India, Madura Coats, Blue Star India, State Timber Corporation of Sri Lanka, State Bank of India, Hindustan Motors, Automobile Products of India, Tea Board of India, and Steel Authority of India. He served on the Board of directors of Enfield India, EID Parry, Semi-Conductor Laboratory and the Cement Corporation of India. Through his consultancy work, he mentored future corporate leaders like Harsh Mariwala of Marico and Jerry Rao. He also served as a consultant to the Commonwealth Secretariat for the management of public enterprises among its member countries. He was a nominated member of the advisory group on Consumer Industries appointed by the Planning Commission of India. In the year of his death, he was nominated by the Ministry of Commerce as a member of the Steering Committee of the Trade Development Authority of India and the National Committee on the Long Term Strategy for the Development of the Tea Industry and Chairman of the sub-committee on Marketing and Export of Tea. Research
Bhandari's main body of research focused on the role and influence of marketing issues in socio-economic development and poverty alleviation.For his doctoral work, he developed a methodology based on the ECHO technique devised by Richard Barthol and Gary Bridge, for identifying value-based communication appeals that were likely to influence people's attitudes and beliefs about family planning, and which could form the basis of a marketing campaign. After returning to the Indian Institute of Management, Ahmedabad, he focused on issues of consumption in developing countries, especially among the poor. In a series of papers, he and his colleagues showed that the consumption of the poor masses, apart from just being dependent on their disposable income, was also constrained and influenced by the marketing system of the country which included the activities of various institutions, the distribution network, policy etc. <mask> analyzed the consumption needs of the masses in India and showed that they were not being adequately met either by public or private firms in the organized sector, or firms in the small-scale or cottage industries sector as was intended by government policy, even for products that they could afford. In later work, he highlighted the biases of planners in thinking of the poor mainly as producers and the consequences of such a bias for poverty alleviation. He was one of the first to put forth the view that it was crucial to consider the poor as consumers when making policy for development, because their quality of life is more directly linked to their consumption activities rather than their income or productivity. <mask>'s research contributed to, and was part of, a development in marketing that was represented by the International Society of Markets  and Development.<mask> also carried out research studies of textile distribution, and the international marketing of tea. Death and legacy
He died in the crash of Indian Airlines Flight 113 in Ahmedabad at the age of 40. The Indian Institute of Management, Ahmedabad instituted an endowment in his memory. This endowment has sponsored the IIMA Conference on Marketing Paradigms for Emerging Economies, which also awards the <mask> <mask> best paper award. Classroom 3 at IIMA has been named the Prof. <mask> <mask> classroom in his honor. The IIMA Alumni Trust has also instituted a scholarship in his memory. <mask> is the subject of the Reconstructing LRB biographical project.References

Marketing theorists
People from Pali district
Indian Institute of Management Ahmedabad alumni
Columbia Business School alumni
Indian Institute of Management Ahmedabad faculty
Victims of aviation accidents or incidents in India
1948 births
1988 deaths

masks:
Labdhi Bhandari
Bhandari
Akal Kanwar Bhandari
Dhanpati Raj Bhandari
Bhandari
Bhandari
Bhandari
Bhandari
Bhandari
Bhandari
Bhandari
Bhandari
Labdhi
Bhandari
Labdhi
Bhandari
Bhandari


texts:
<mask> (born September 9, 1954) is an American former professional basketball player. He was a forward/guard for 15 years in the National Basketball Association (NBA), spending the majority of his career with the Phoenix Suns. A six-time NBA All-Star, his No. 6 was retired by the Suns. High school and college career
Born in Pineville, North Carolina, <mask> was the youngest of 13 children born between 1937 and 1954. His high school teams at South Mecklenburg High School in Charlotte won three state titles and lost only four games. As a standout college player at the University of North Carolina at Chapel Hill, he was selected to play on the USA men's basketball team coached by UNC's Dean Smith that won the gold medal at the 1976 Summer Olympics.In his freshman year, <mask> hit a buzzer-beating jump shot against Duke at the end of regulation to send the game into overtime. At Chapel Hill, <mask> was called "Sweet D" because of his seemingly effortless, smooth style of play and because of his strong defensive play. NBA career
The Suns selected <mask> with the fifth pick of the 1977 NBA draft. He made an immediate impact, playing in 81 games and averaging 24.2 points per game in his first season, which would also be his career-high. He won the 1978 Rookie of the Year Award, and earned second team All-NBA honors. Over his first ten seasons, <mask> averaged over 20 points per game six times, and earned trips to six All-Star Games. On February 25, 1983, <mask> set an all-time NBA record when he successfully scored his first 34 points before finally missing a shot.He made his first 15 field goals and converted four straight free throws before missing a jumper with 55 seconds left in the game. Larry Costello formerly held the record, having made all of his attempts on his first 32 points for the Syracuse Nationals in 1961. Over his career, <mask> averaged 18.9 points, 3.8 assists and 3.0 rebounds per game. <mask> was affectionately known as "The Greyhound" for his speedy style and sleek physical appearance. Suns broadcaster Al McCoy created many alternate nicknames for him, including "The Candyman", and "The Man with the Velvet Touch." <mask> is the Suns' all-time leading scorer with 15,666 points. <mask>'s later years with the Suns were marred by recurring back problems and an ugly drug scandal.In 1987, he was called on to testify on illegal drug use by other Suns players in exchange for immunity from prosecution. (He had twice entered rehab clinics to deal with cocaine addiction.) <mask>'s decline mirrored the short decline of the Suns franchise, and at the expiration of his contract in 1988 at age 33, the team did not seriously attempt to re-sign him, offering a 1-year contract at half his previous salary. <mask> signed a two-year, $1.35 million deal with the Denver Nuggets as an unrestricted free agent. He ended up playing for two years beyond this contract, and was included in a three-team trade in early 1991 that sent him to the Portland Trail Blazers for half a season. <mask> finished 479 points shy of 20,000 points in a career. In the summer of 1991, he returned to Denver to close out his playing career.After basketball
<mask> later served as a broadcaster for the Nuggets, and has served as a scout for the Washington Wizards. As time passed, <mask> and the Suns repaired their relationship. In 1994, his No. 6 was retired by the Suns, and in 2004 he was enshrined in the team's Ring of Honor. He is the uncle of UNC men's head coach <mask>, who also played for UNC and in the NBA. || 28.0 || .496 || .192 || .830 || 3.1 || 4.0 || 1.1 || 0.2 || 18.6

See also

List of National Basketball Association franchise career scoring leaders

References

External links
 Career Stats
 Suns.com: <mask> page

1954 births
Living people
African-American basketball players
American men's basketball players
Basketball players at the 1976 Summer Olympics
Basketball players at the 1977 NCAA Division I Final Four
Basketball players from Charlotte, North Carolina
Denver Nuggets announcers
Denver Nuggets players
Medalists at the 1976 Summer Olympics
National Basketball Association All-Stars
National Basketball Association players with retired numbers
North Carolina Tar Heels men's basketball players
Olympic gold medalists for the United States in basketball
People from Pineville, North Carolina
Phoenix Suns draft picks
Phoenix Suns players
Portland Trail Blazers players
Shooting guards
Small forwards
United States men's national basketball team players
21st-century African-American people
20th-century African-American sportspeople

masks:
Walter Pearl Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Davis
Hubert Davis
Walter Davis


texts:
<mask> (1805–1878) was an Italian-American Romantic period artist. He is best known for his oil painting that depicts Julia Gardiner Tyler, the second wife of the 10th U.S. President John Tyler. <mask>'s monumental masterpiece and most acclaimed painting, entitled The End of the World, has been lost. Early life
<mask> was quite celebrated in his own time, especially for his monumental work called The End of the World. He was born in Italy and emigrated to New York City from Milan about 1835. Almost immediately <mask> attracted a good deal of attention, not for his portraits, but for his gigantic apocalyptic historical pictures, beginning with his rendering of a family group during the Deluge, which was the principal work in an exhibition of his pictures shown in rooms at the New York Athenaeum on Chambers Street at the end of 1836. Portrait style
<mask>'s portrait style is distinctive—in its sharp linearity, bright lighting, and highly reflective surfaces—and appears the antithesis of the dominant romantic approach to portraiture practiced contemporaneously by Thomas Sully (1783–1872), Henry Inman (1801–1846), and Samuel F. B. Morse (1791–1872).<mask>'s manner corresponded to that practiced by other immigrant Italian and German painters such as Spiridione Gambardella (active 1838–39), Gherlando Marsiglia (1792–1850), and Christian Mayr (about 1805–1851), whose works are all relatively little known today. In 1839 the painter-critic John Kenrick Fisher (born 1807) distinguished these portraitists, along with Charles Cromwell Ingham (1796–1863), as the practitioners of an exceptional and distinctive style, which he denounced as "prompted and encouraged by an aberration of the public taste." In 1843 <mask> had on his easel Conrad and Medora (unlocated) taken from Lord Byron's Corsair, while his most acclaimed painting was the Opening of the Sixth Seal, or The End of the World (unlocated), which was shown at the Apollo Rooms at 410 Broadway in New York City in April 1844. This picture—which offered the light and promise of Christianity as humanity's only spiritual salvation in the face of utter annihilation—displayed lurid light effects complete with dark clouds, bloody skies and lightning, and centered on a figure representing the church, or the spouse of Christ, with a crumbling temple and a bewildered and terrified multitude of sinners, both repentant and unrepentant, in a "grand catastrophe". The picture, hailed in the press as the largest painting in America—measuring 23 feet by 19 feet—was described as a masterwork and considered the "Boldest attempt at the highest effect in art, which has yet been made on this side of the Atlantic." <mask> toured his masterwork through the northeastern United States and continued to create allegorical compositions derived from historical and biblical sources. In the early decades of the 19th century, apocalyptic fascination was manifest visually by such artists as Benjamin West, Rembrandt Peale, and Washington Allston.The End of the World, which was exhibited in New York, Boston, Portland, Maine, and Brooklyn from 1844 through at least 1850, attests to this continued apocalyptic tradition. <mask>, whose stated aim was "to represent a great catastrophe to the world" and not "a doctrine", claimed he had no wish to engage in arguments with philosophers or naturalists concerning the particulars of this catastrophe. Diogenes Successful
In the New York Crystal Palace at the World's Fair—held in New York City in 1853—he showed Diogenes Successful (unlocated), wherein Diogenes had finally located his truly "honest man" in the person of George Washington. Boston Athenaeum, and the National Academy of Design
When <mask> first began to contribute paintings to the annual exhibitions held at the Boston Athenaeum and the National Academy of Design, New York, he showed only portraits. Probably the most notable of these is the depiction of Julia Gardiner Tyler (1820–1889), the second wife of the 10th U.S. President John Tyler. Portrait of a Child as Cupid

<mask>'s Portrait of a Child as Cupid—depicting William Paterson Van Rensselaer, Jr.—was painted in New York City and was commissioned by the subject's father, William Paterson Van Rensselaer, Sr. (1805–1872). The picture was lent by him in 1847 to the annual exhibition held by the Albany Gallery of Fine Arts, of which Van Rensselaer was an honorary member.The painting, which descended in the family, may have hung in the Rensselaer Manor House in Albany and almost certainly hung in both the Elk Street town house built by William Paterson Van Rensselaer, Sr., at the time of his first marriage in 1833 and then in Beverwyck, in Bath (now Rensselaer), New York, which Van Rensselaer built after inheriting the Rensselaerswyck estate lands on the east bank of the Hudson river, following the death of his father, Major General Stephen Van Rensselaer III, on 26 January 1839. During the late 1830s, <mask> also painted portraits of William Paterson Van Rensselaer, Jr. (Private Collection); his sister, Euphemia White Van Rensselaer (1816–1888; Private Collection); and his sister-in-law, Mary Rebecca Tallmadge Van Rensselaer (1817–1872; Albany Institute of History and Art). <mask>'s records of other sitters suggest that he drew his patronage from New York State citizens of upper classes. In Portrait of a Child as Cupid, <mask> presents Van Rensselaer, Jr. in a spectacularly theatrical manner, revealed triumphantly by the parting of the heavy red draperies. The Empire period ormolu daybed—with its gold embroidery and tassels—bespeaks high-style furniture such as that produced concurrently by Charles-Honoré Lannuier, Joseph Meeks (1771–1868), and Antoine-Gabriel Quervelle (1789–1856). With the bow and quiver of arrows by the side of the bed, the artist identifies the child with Cupid as a symbol of love, a conceit similar to that chosen later by William Henry Rinehart (1825–1874) in his statue of Henry Elliot Johnston, Jr., Cupid with a Bow, 1874 (National Museum of American Art in Washington, D.C.). Death
Anelli died in 1878.His diary is on display at the Frick Art Reference Library in New York City. Gallery

References

19th-century Italian painters
Italian male painters
1805 births
1878 deaths
Italian emigrants to the United States
19th-century American painters
American male painters
American portrait painters

masks:
Francesco Anelli
Anelli
Anelli
Anelli
Anelli
Anelli
Anelli
Anelli
Anelli
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Anelli


texts:
<mask> (31 March 1873 in Potsdam, Province of Brandenburg – 18 November 1926 in Berlin) was a war journalist, editor, author of several books and politician in the SPD. From 1912, <mask> was a member of the German Reichstag for the SPD, and in 1919 he became professor of economics at Berlin University. Life
Already in high school <mask> studied Hegel and Marx. After military service he studied economics in Berlin and Strasbourg. In 1900 in Strasbourg he received his doctorate in political science. He then worked as an editor for the newspaper Freie Presse für Elsaß-Lothringen (Free Press for Alsace-Lorraine). From 1902 he was associate editor of the Leipziger Volkszeitung and next to Rosa Luxemburg, Alexander Parvus, Franz Mehring and Karl Liebknecht he was spokesman for the Anti-revisionist Left in the SPD.From 1908 to 1913 he was editor of the Leipziger Volkszeitung. In 1912 he was the SPD candidate for the Saxon 22nd constituency (Reichenbach) and was elected to the Reichstag. In 1914 <mask> first opposed the SPD’s approval of war loans, but in 1915, together with Heinrich Cunow and Konrad Haenisch, he formed the Lensch-Cunow-Haenisch group within the SPD, which sought to reach agreement with the majority of the SPD through a defense of the war based on Marxist theory. They developed the theory of war socialism that was published in the Hamburger Echo and other SPD newspapers. From mid-1915 Die Glocke, a magazine founded by Alexander Parvus became the organ of the group. In October 1917 the SPD split. Lensch became a spokesman for the mainstream SPD, called MSPD (Mehrheits-SPD, "majority-SPD"), which was under the leadership of Friedrich Ebert who had supported the war from the start.In November 1918 <mask> became an important contact between the Council of the People's Deputies and the military leadership. Later he withdrew from party politics and became a professor at the University of Berlin. <mask> was also a member of the foreign policy staff of the conservative Deutsche Allgemeine Zeitung, a newspaper belonging to Hugo Stinnes, a famous industrialist and politician. In 1922, after the merger of MSPD and what was left of USPD (moving SPD to the left), <mask> was expelled from the party. From June 1922 to November 1925 he was editor of the DAZ Lensch, and increasingly became more and more closely associated with conservative opponents of Social Democracy. In November 1926 <mask> died after a long illness in Berlin. Political ideas

War socialism
<mask> believed that World War I proved the failure of capitalism.Since capitalism, the system of a free market economy based on competition, relies on socialist economic regulatory measures (Lensch believed), the superiority and victory of the socialist principle is thus proved for Lensch. The state used a grain monopoly to ensure the nutrition of the population, and Bread cards would then be introduced. This is for Lensch the indication of a principle change in the economy towards a "democratic war socialism" (?). This lack of basic needs during the war is for Lensch basically godsend, because it allows the actions of government planning. Here he saw the revolutionary character of the war. To Lensch the state is an institution that stands above classes. The state does not regulate any specific class, but is driven by “objective interests”.The war effort showed this and thus reflects the interest of the whole people. According to Lensch socialism is thus not achieved through class struggle, but through national reconciliation. The cultural identity and the economy should be linked together – this is important for the thesis of a "world war as a world revolution". The thesis removes Lensch from the classical Marxist view, although Marxist methodology is still basically applied. Large national industries, a bureaucratically regulating state and a strong work force are for Lensch, the new socialist "Volksgemeinschaft" (unity of a people). World War is a World Revolution
The First World War was interpreted by <mask> as a world socialist revolution. It is the continuation of the theory of war socialism.While most in the SPD saw the war as a defensive war against Tsarist Russia, Lensch saw the liberal England as the cause of the war. This because England was the earliest industrialized country in Europe, and that gained England its supremacy. The war against Germany was just an attempt to prevent the opposing Germany's growth and to ensure its own monopoly. Lensch thus converts the Marxist theory of the class struggle to a national level. England was the state of the bourgeois-capitalist class while Germany now had taken the place of the proletariat. England with its Parliamentary Monarchy was for Lensch the cause of capitalism. The Calvinist religion and the quest for individual wealth in England led to the creation of the bourgeoisie.The British society has an expansive quest for non-English markets, and therefore establishes a monopoly. The now emerging Germany threatened this supremacy, because it stands as a contrast to the individualistic England, and is instead a strong solidarity-oriented country, with no conventional bourgeoisie. He explains this also with the Thirty Years' War and a lack of unification of Germany in the 19th century. Germany was no longer as reactionary as in the times of Wilhelmine Empire, but had developed democratic elements, which <mask> believed would be increased. For example, general election had been introduced in Germany - and not in liberal England. Further compulsory school attendance had been introduced, creating a national "cultural community" that was superior to the English one. Also <mask> mentions the German conscription as basically socialist in nature, in contrast to the British one.Lensch do not deny the deficiencies in Germany, but stressed "the strength of the German proletariat" over that of foreign countries. He pointed out that German trade unions were the strongest and most tightly sealed, and contrasted this with the British labor movement and privileges conceded to the bourgeoisie. In Germany the labor leaders and the workers wanted to keep these privileges from others and therefore supported the Government in the war, inferring from this that the victory of Germany would be a victory for international socialism. A British victory would on the other hand set Germany back for years, and mean the end of socialism. The ideas of socialism as imagined by <mask> differ from the traditionally Marxist. It is about the creation of a national solidarity, which is characterized by government and moral obligations. With this "positive" interpretation of the historical "exceptionalism" of Germany, in contrast to the liberal model country England, <mask> is not alone.Many authors emphasized at the time the superiority of the German "culture" against the "superficial individualistic-capitalist Western civilization" and Ideas of 1914 against the Ideas of 1789. The fact that <mask> mixed this with Marxist ideas, creating an authoritarian, nationalist model of socialism, is far from unique. There are similarities of this thinking with Ernst Niekisch idea of National Bolsheviks. Also famous is the work 1789 und 1914: Die symbolischen Jahre in der Geschichte des politischen Geistes by Johann Plenge. Other
Through the foundation of the Lensch-Cunow-Haenisch Group, Lensch also was close to Alexander Parvus and he was strongly influenced by Professor Johann Plenge, himself the Ph.D. advisor of Kurt Schumacher and the ancestor of the right-wing tendency in today's SPD known as Seeheimer Kreis. <mask> considered himself a Marxist and saw Germany as the 'revolutionary' side of the conflict, with England as the 'counter-revolutionary'. It is unclear whether <mask> left the SPD in 1920, after being accused of having supported the Kapp Putsch, or was expelled in 1922.Books
 <mask>, Three Years of World Revolution (1918)

References

External links

1873 births
1926 deaths
People from Potsdam
People from the Province of Brandenburg
Social Democratic Party of Germany politicians
Members of the 13th Reichstag of the German Empire
German Marxists
Leipziger Volkszeitung editors

masks:
Paul Lensch
Lensch
Lensch
Lensch
Lensch
Lensch
Lensch
Lensch
Lensch
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Paul Lensch


texts:
<mask> (born 1946 in Abilene, Texas) is an ordained Christian minister, author, teacher, and chaplain, who leads workshops and conferences throughout the United States. She has authored nine books, three hymnbooks, a children’s musical, and a children’s songbook. She has also published many articles in publications such as Christian Feminism Today, The Journal of Pastoral Care, The Christian Ministry, and Patheos. She specializes in feminist theology and inclusive worship resources. Ordained in the Alliance of Baptists, she ministers in ecumenical and interfaith settings. She serves as co-chair of the national ecumenical, multicultural Equity for Women in the Church Community, on the council of Evangelical and Ecumenical Women’s Caucus-Christian Feminism Today; adjunct professor at Richland College in Dallas, Texas; and on the Dallas Workers’ Rights Board. Her diverse career includes serving as consultant in the internship programs at Perkins School of Theology in Dallas and Brite Divinity School; associate pastor, St. John's United Methodist Church in Waco, Texas; executive director, Waco Conference of Christians and Jews; Pastoral Counselor, Samaritan Counseling Center of Central Texas; chaplain, Baylor University Medical Center at Dallas and Hillcrest Baptist Medical Center in Waco; English professor, Dallas Baptist University.Feminist theology and inclusive language

Since 1990, Aldredge-Clanton has been writing, speaking, and preaching on feminist theology and specifically on including female language for the Divine as a foundation for equality, justice, and peace. In her introduction to Changing Church: Stories of Liberating Ministers she writes: “My vision is for the Divine Feminine to shine forth in all Her glory in multicultural visual imagery and in the language of worship, supporting equal partnership of women and men. My vision is of a church where the Divine Feminine and women ministers don’t have to be defended or marginalized, but are fully and equally included throughout every worship service and every activity of the church. My vision is for the Sacred Feminine to be worshipped not only in Christian congregations, but in every religion all over the world, and for women to share equally in the leadership of every religion. My vision is for girls to believe they are equal to boys because they hear and see the Supreme Being worshipped as ‘She’ as well as ‘He. '”

Many traditionalists are critical of Aldredge-Clanton's views. Plumeline, a conservative Southern Baptist Convention (SBC) publication, criticizes the Cooperative Baptist Fellowship (CBF) for Aldredge-Clanton’s leadership at a CBF annual gathering: “The SBC has no feminist theologian leaders calling for the worship of the ‘Christ-Sophia.’ But the CBF does.<mask> Aldredge-Clanton conducted a breakout session at the 1995 General Assembly and is a promoter of feminist theology. She is the cited ‘leader’ who espouses ‘Christ-Sophia.’”   Additionally The Council on Biblical Manhood and Womanhood, an evangelical organization opposing an egalitarian view of gender, takes the organization, Christians for Biblical Equality (CBE), to task for including Aldredge-Clanton’s children’s book, God, A Word for Girls and Boys, in the CBE webstore. Aldredge-Clanton served as one of the contributors for the CEB (Common English Bible) Women's Bible. (Common English Bible; Sew edition, 2016)

Inclusive worship resources

Aldredge-Clanton writes and publishes inclusive language Christian worship resources, including prayers, responsive readings, hymns set to familiar tunes, and even a children's musical. One of the conservative critics of inclusive theology and language, Russell D. Moore, warns that the children's musical by Aldredge-Clanton and composer Larry E. Schultz, Imagine God! A Children’s Musical Exploring and Expressing Images of God is “dangerous” because “feminist theologians are correct indeed that it is easier to transform the imaginations of children in thinking about God.” Moore continues his critique writing, “What is at stake here are [sic] not whether the church will accommodate more ‘gender-inclusive’ language, but instead the doctrines of God and revelation—and indeed the gospel itself.”

Aldredge-Clanton is one of the founders of the New Wineskins Community in Dallas, Texas. The community was founded because "We’re all in deep need of healing.We can never be all we’re created to be in the divine image until we expand our image of the Divine. That’s why New Wineskins Community creates rituals that name and image the Divine as female and male and more. Our words and images for the Divine carry great power to shape belief and actions for justice and peace." Personal life

She is younger of two daughters of  H. Truman Aldredge (1912-1966), the pastor from 1950 until his death of the First Baptist Church, a Southern Baptist congregation in Minden, Louisiana. She graduated in 1964 as the valedictorian of Minden High School. Her mother, Eva Louise Hickerson Aldredge Henley (1918-2016), an educator and Baptist laywoman, married another Southern Baptist pastor, Odus Taylor Henley (1918-2000), after the death of her first husband and spent her later years in San Angelo, Texas. She taught Sunday school for eighty-two years.Truman and Eva Aldredge are interred at Gardens of Memory Cemetery in Minden, Louisiana. In 1968, Aldredge-Clanton received the Bachelor of Arts degree summa cum laude in English] from Louisiana Tech University in Ruston, then known as Louisiana Polytechnic Institute. She procured Master of Arts and Ph.D. degrees from Texas Christian University in Fort Worth. She then obtained the Master of Divinity from Southwestern Baptist Theological Seminary, also in Fort Worth. Aldredge-Clanton and her husband, David Clanton, reside in Dallas. They have two sons and three grandsons. Honors

Aldredge-Clanton’s hymns have received numerous honors.“Renewing, Reforming the Church in our Day” won in the category of “New Hymn Text for Traditional Hymn Tune” in United Theological Seminary’s first annual song and hymn writing competition; the judges commented that this text “has outstanding theological significance in church renewal.”  In 2013, the Religious Institute selected Aldredge-Clanton’s “Praise the Source of All Creation” as the winner of its first hymn contest. In 2011, St. Peter’s Catholic Church in Charlotte, North Carolina, sponsored a hymn contest in celebration of 25 years of Jesuit leadership; her hymn “Celebrate Our Maker’s Glory” won third place. “We Come in Celebration” won honorable mention in the 2012 Alliance of Baptists hymn contest. “O Loving Creator, We Labor with You” won honorable mention in the 2007 international hymn contest sponsored by Macalester Plymouth United Church of St. Paul, Minnesota. Bibliography, books and music

Inclusive Songs for Resistance & Social Action, with composer Larry E. Schultz (Eakin Press, 2018),  includes songs for marches, rallies, and other activist gatherings to support movements such as Women’s March, Black Lives Matter, Human Rights Campaign, Poor People’s Campaign, and GreenFaith. Many of the songs are also for use in the worship services of faith communities, and some celebrate seasons of the year. Another feature of this new collection is the inclusion of songs that honor women leaders in Scripture and other prophetic women leaders.Building Bridges: Letha Dawson Scanzoni and Friends, with co-author Kendra Weddle (Cascade Books, 2018), illustrates Letha's growing influence as she continues her prophetic collaboration with new generations. In addition, it provides resources for churches as they build bridges for their ministries of liberation, justice, and peace. Intercultural Ministry: Hope for a Changing World, co-edited with Grace Ji-Sun Kim (Judson Press, 2017), explores questions such as why most churches are still segregated by race and culture. It includes chapters from a racially and denominationally diverse group of pastors, theologians, and teachers who reflect on their experiences and experiments in intercultural churches and other ministries. She Lives! Sophia Wisdom Works in the World (Skylight Paths Publishing, 2014). Letha Dawson Scanzoni says in “telling the stories of real people” the book “helps us move beyond the limited gender binary to see God as both male and female, yet strictly speaking, neither male nor female, and at the same time inclusive of all gender identities.” She adds the book would make an “excellent selection” for a book club or study group.Earth Transformed with Music! Inclusive Songs for Worship, with composer Larry E. Schultz (Eakin Press, 2015). "Earth Transformed with Music! is a collection of 65 hymns and short songs, with words ... that are meant to heal and transform the earth, society, and each individual singer. Reading the introduction and notes section is like reading an introduction to contemporary Christian feminism.”
 Changing Church: Stories of Liberating Ministers (Cascade Books, 2011)
 Inclusive Hymns for Liberation, Peace, and Justice, with composer Larry E. Schultz (Eakin Press, 2011). This inclusive language hymnal provides a “balance of male-female divine images [allowing] women and girls, men and boys a greater sense of the wholeness of God’s good creation.”
 Seeking Wisdom: Inclusive Blessings and Prayers for Public Occasions (Wipf and Stock Publishers, 2010). Liturgical resource using inclusive language.Inclusive Hymns for Liberating Christians, with composer Larry E. Schultz (Eakin Press, 2006). A hymnal with new "texts that sing easily and carry some of the ‘feeling-content’ of older texts that have been sung to these tunes, while moving us into a new theological space.”
 Breaking Free: The Story of a Feminist Baptist Minister (Eakin Press, 2002). An autobiographical work. Praying with Christ-Sophia: Services for Healing and Renewal (Twenty-Third Publications,1996; Wipf and Stock Publishers, 2007). This book includes hymns and rituals for seasons of the liturgical year, such as Advent and Pentecost, as well as rituals for mourning loss, for wise aging, for healing, for peacemaking, and for baby dedications. One reviewer calls the book an “impressive collection of litanies, prayers, and hymns.”
 In Search of the Christ-Sophia: An Inclusive Christology for Liberating Christians (Twenty-Third Publications, 1995; Eakin Press, 2004). This book explores the biblical and historical connection between Christ and Wisdom (Sophia in the Greek language of the Christian Scriptures).Rosemary Radford Ruether calls the book “ground-breaking” and a “’must’ book for all concerned with an inclusive and liberating theology and church.”
 Imagine God! A Children’s Musical Exploring and Expressing Images of God, with composer Larry E. Schultz (Choristers Guild, 2004). In Whose Image? God and Gender (Crossroad, 1990; revised and expanded edition, 2001). Selected “Editors’ Choice” in The Other Side magazine and described as a “wonderful resource for people moving toward both a more inclusive theology and a more inclusive worship style.” The review continues: “In a style well-suited for church discussion groups, <mask> Aldredge-Clanton affirms ‘the unlimited God’ of Scripture, explores the interaction of God-language and self-esteem in women, and proposes various models for change.”
 Counseling People with Cancer (Westminster John Knox, 1998). The Princeton Seminary Bulletin refers to the book as “compelling,” assisting people to reflect on their cancer experiences and “encouraging” them “to tell their stories” and to expand their images of the Divine. God, A Word for Girls and Boys (Glad River, 1993; Wipf and Stock Publishers, 2007).Sing and Dance and Play with Joy! Inclusive Songs for Young Children, with composer Larry E. Schultz (Lulu, 2009). References

External links
 Aldredge-Clanton’s website and blog
 Jann Aldredge-Clanton’s YouTube channel
 Evangelical & Ecumemical Women’s Caucus-Christian Feminism Today
 Equity for Women in the Church
 "Revolution Through Rituals," an article by <mask> Aldredge-Clanton, published in Feminism and Religion, December 12, 2014. Letha Dawson Scanzoni of Christian Feminism Today interviews <mask> Aldredge-Clanton
 “She Lives! Sophia Wisdom Works in the World,” teleconference sponsored by Women’s Alliance for Theology, Ethics, and Ritual (WATER), May 4, 2015. “Expanding the Image of the Divine to Include the Feminine,” interview with Justine Willis Toms, New Dimensions Radio, November 15, 2015. “Why Inclusive Language Is Still Important,” an article by <mask> Aldredge-Clanton, published on Christian Feminism Today, February, 2013.“God Is Not a Guy and Neither Am I,” an article by <mask> Aldredge-Clanton, published on Christian Feminism Today, May, 2013. Anne Leggett-Walker, “New Wineskins, Ancient Divine,” Moonlady.com, 2014. "Sing of Peace,” a description of the Christmas album with <mask> Aldredge-Clanton’s inclusive lyrics to familiar Christmas tunes, sung by Devi Vaani. "’Blessing Every Love Relation’: A Pride Month Hymn,” in Feminismxianity: Patheos, June 29, 2015. “At the Intersections: Justice and the Divine Female,” Feminismxianity: Patheos, October 21, 2014. 1946 births
Living people
American feminists
Christian feminist theologians
American religious writers
Women religious writers
Baptists from Texas
American United Methodists
20th-century American non-fiction writers
21st-century American non-fiction writers
21st-century American women writers
20th-century American women writers
Minden High School (Minden, Louisiana) alumni
Louisiana Tech University alumni
Texas Christian University alumni
American Christian hymnwriters
People from Abilene, Texas
Writers from Minden, Louisiana
Writers from Dallas
American women hymnwriters
American women non-fiction writers

masks:
Jann Aldredge Clanton
Jann
Jann
Jann
Jann
Jann
Jann
Jann