texts:
 painting, participating in an exhibit entitled Private Exhibit of Modern Spanish Painters in 1942. <mask> had his first solo exhibition in 1943, exhibiting 44 Surrealist paintings, this was the first exhibition of Surrealist works held in the country. He had another solo exhibition in 1945 featuring 200 of his works and in 1946 he exhibited in Puerto Rico and Guatemala. Later that same year, he left the Dominican Republic due to problems that arose when he refused to sign a document supporting the dictator Trujillo. <mask>, along with Dominican poets and Chilean diplomat Alberto Baeza Flores, formed an avant-garde magazine and literary movement, La Poesía Sorpendida. Guatemala and Puerto Rico
In 1946, <mask> left the Dominican Republic for Mexico where he was going to work with his party comrade Costa Amic.But landing in Guatemala, <mask> and his wife Amparo liked Guatemala City and decided to stay. Once there, he became an art professor, contributed to magazines and had a radio show in which he talked about art and artists, among other subjects. He also continued his painting and writing. His stay in Guatemala was cut short when the revolution began and he was seen as an anti communist. Jaime Benítez, the Rector of the University of Puerto Rico, had met <mask> when he had shown his art on the island a few years earlier and invited him and his family to move to Puerto Rico and become an art professor at the University. His stay on the island was very productive. He

masks: Granell Granell Granell Eugenio Granell


type: original

texts:
 ignited interest in contemporary art in his students and many continued to paint and at some point had created a group called "El Mirador Azul".Some of these students included: Juan Maisonet, Rafael Ferrer, Frances del valle, Rosado, Cosette Zeno, and the poet "El Boquio". As he did in the Dominican Republic, <mask> left a school of art on the island. New York
In 1952, <mask> traveled to New York with his friend José Vela Zanetti, a fellow Spanish exile whom he met in the Dominican Republic. Once there, through Vela Zanetti, he met and developed a strong friendship with Marcel Duchamp. In 1957, after a sabbatical, <mask> and his family moved to New York and lived mainly on the Upper West Side of Manhattan, New York, until 1985 when the <mask> family returned to Spain. It was here that <mask> held several exhibits at the Bodley Gallery; some were solo shows, others were group shows with surrealists like Magritte, Max Ernst, and Duchamp. He studied sociology at the New School for Social Research and earned his PhD with the publication of a very personal study of Picasso's Guernica: "Picasso's Guernica.The End of a Spanish Era" (UMI Research Press, 1967 and 1981). <mask> was Professor Emeritus of Spanish Literature at City University of New York (CUNY). Return to Spain
In 1985, <mask> returned to Spain, where he was awarded numerous prizes and acknowledgements such as the 'Gold Medal of Fine Arts', awarded by the Council of Ministers as well as the 'Pablo Iglesias

masks: Granell Granell Granell Granell Granell Granell Granell


texts:
 Award for the Arts' in 1995. The Eugenio Granell Foundation was created in 1995 in his home town Santiago de Compostela, Spain. The only museum in the world entirely devoted to surrealism which holds some 600 of his paintings along with works by Picabia, Duchamp, Man Ray, Joan Miró, Esteban Francés, Philip West among many others. <mask> also published several books in Spain, including "La novela del Indio Tupinamba", a surrealist, personal and unique vision of the Spanish Civil War. It has since been translated into English and published by City Lights.Another important publication is "Isla cofre mítico", dedicated to André Breton and his wife Elise whom he had met in the Dominican Republic in 1941, a truly lasting friendship. The Eugenio Granell Foundation was created in Santiago de Compostela in 1995. Situated in Plaza del Toral in the historic centre, <mask> donated many of his own works (oils, drawings, constructions, found objects), as well as his collection of works by other surrealist artists. His Library and archives are also found in the Foundation. <mask> died in Madrid in 2001. An important part of his personal archive is located in the Pavelló de la República CRAI Library - University of Barcelona and consists of press clippings about Spanish Civil War, Exile, Francoism, POUM, and cultural activities. But most of his archives can be found at the Eugenio Granell Foundation.<mask>'s Work

Although springing from the depths of his subconscious like that of

masks: Granell Granell Granell Granell


texts: all the surrealists, <mask>'s work is influenced by the places where he lived, particularly the exuberance of the Caribbean and the blend of Spanish and native cultures. Surrealism recognises no social function of art other than that of liberating the individual and society from the repression of reason, allowing the creator to express his instincts and dreams. In 1959, André Breton organized an exhibit called The Homage to Surrealism Exhibition to celebrate the Fortieth Anniversary of Surrealism which exhibited works by Salvador Dalí, Joan Miró, Enrique Tábara and <mask> <mask>. There is absolutely no censorship in <mask>'s work. Poetry blossoms, shrouding unrecognisable figures where trees, animals and people merge into hybrid beings that undergo constant metamorphosis. Works where the strong colours are framed in sculptural compositions, in human figures on the verge of formal delirium, or in voluptuous compositions that appear to be a microscopic dimension of an unknown world. Playfulness, advocated by the surrealists as an expression of freedom, pervades the whole of this artist's work.<mask>'s dialogue and writing have always ironically mocked solemnity and reason itself. Such are his painting, his sculpture and his readymades: an extremely beautiful elegy to freedom and the purity of feelings. The major books on <mask> and his work, such as monographs and catalogues, are mostly in Spanish or Galician, but they are widely available in libraries throughout the

masks: Granell Eugenio Granell Granell Granell Granell


texts:
 world, including the United States. All of the catalogues of <mask>'s exhibits published by the Fundación Granell, are also written in English. <mask> also published a book of meditations and critical reflections on Picasso's Guernica, and this book is available in English as well as in Spanish and Galician (see "References" section). Works by <mask> are on display in major museums, including the Museum of Modern Art in New York and the Reina Sofía Museum in Madrid. Bibliography

English-translated works

Picasso's Guernica: the end of a Spanish era (Ann Arbor, MI: UMI Research Press.1981)
 <mask> <mask>; Benjamin Péret, The Novel of the Tupinamba Indian (San Francisco, CA: City Lights Publishers. 2017) (translated by David Coulter)
 <mask> <mask>; César Antonio Molina, Eugenio <mask> (Publisher: A Coruña: Diputación Provincial de A Coruña, 1994)
 <mask> <mask>, Picasso's Guernica: the end of a Spanish era (Ann Arbor, Mich. : UMI Research Press, 1981)

Published books

<mask> <mask>; "El Hombre Verde, 1944. <mask> <mask> <mask>; "Isla, cofre mítico", Editorila Caribe, Puerto Rico, 1951
<mask> <mask>; "La Novela  del Indio Tupinaba", Costa-Amic, México, 1959. <mask> <mask>; "El Clavo", La Novela Popular, 1967,
<mask> <mask>; "Picasso's Guernica. The End of a Spanish Era", UMI Research Press, 1967, 1981
<mask> <mask>; "Lo que sucedió....", España Errante, México, 1968
<mask> <mask>; "Federica no era tonta y otros Cuentos", Costa-Amic editor, México 1970. <mask>

masks:
Granell
Granell
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández GranellEugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
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texts:
 <mask>; "La Leyenda de Lorca y otros Escritos", 1973. <mask> <mask>, edición de; "Asi que pasen cico años.Amor de D. Perlimplin con Belisa en su Jardin", Taurus, 1976, 1981. <mask> <mask>; "Estela de Presagios",Poemas; Ilustraciones: LUdwig Zeller, Oasis ed., Canada, 1981. <mask> Fernández Granel, Juan Manuel Bonet, Emmanuel Guigon, Fernando Castro, Jean Marcel, Edouard Jaguer, Jean Schuster, Martica Sawin, Susanne Klengel, Lourdes Andrade, André Coyné, Marceline Pleynet, Belinda Rathbone, José Pierre; El Surrealismo entre viejo y nuevo mundo, 1989. <mask> Ferenández <mask>, "Federica no era tonta", Colección Algorán, 1993
<mask> <mask>, "Ile, coffre mythique", Les Iles Fortunées,1993. Translated by Paul Aubert. <mask> <mask>, "La chambre noire", Les Iles Fortunées, 1994
<mask> <mask>, Juan Ramón Jiménez, Fernando Castro Flórez; "Isla Cofre Mítico",1996. <mask> <mask>, "A l'aéroport", Les Iles Fortunées, 1996.<mask> Fdernández <mask>, "Ensayos, encuentros e invenciones", Edición y Prólogo de CA Molina, La Rama Dorada, Huerga & Fierro, 1998. <mask> <mask>, "El aire fresco de <mask> F<mask>", Introducciónde Isabel Castells, Fundación Eugenio Granell, 2000. <mask> <mask>,"Breves encentros con Granell", Renfe,2000. <mask> <mask>; "El Guernica de Picasso. El final de una era española",Fundación Picasso, Málaga, 2002
<mask> <mask>, Carlos Arias, "<mask> Granell", Xunta sde Galicia, 2005. Biografía en gallego. <mask> <mask>, "Memorias de Compsotela.Visión orlada por

masks:
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
. Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Eugenio
Fernández Granell


texts:
 estrellas, islas, árboles y antorchas",Fundaciónn Eugenio Granell, 2006. <mask> <mask>; "Historias de un cuadro", Fundación Eugenio Granell,  2007. <mask> <mask>, "<mask> <mask>, MIlitante del POUM", Fundación Eugenio Granell, 2007-2008. W. Solano, Pelai Pagès i Blanch, E. CastroMD Genovés, P. Erdociain, D. Pereira. Textos en gallego e inglés. <mask> <mask>; "Congreso interdisciplinar Eugenio Granell", "Actas", Fundaciòn Eugenio Grannell con más apoyos, 2007. <mask> <mask>; "Lo que sucedió...", Introducción: Arturo Casas, Fundación Eugenio Granell, 2007.<mask> <mask>, "Lembranzas e Reflexións de <mask> <mask>", Unha crónica audiovisual de Xan Leira; fotografías de J.L. Abalo, Memoria Viva, 2007. <mask> Fdernández <mask>; "El rito mecánico del pájaro Pí", Fundación Eugenio Granell, 2008
<mask> <mask>; "Correspondencia con sus cxamaradas del P.O.U.M. (¡939-1999), Fundación Graell, Santiago, 2009
<mask> Fernáandez <mask>; "Escritos políticos (1932-1990)", Introducción:Pello Erdoziain (Fundación A. Nin), Fundación Granell, 2009
<mask> <mask>; "Correspondencia con Rubia Barcia. Alams gemelas (1940-1993), Fundación Granell, 2011. <mask> <mask>; "2012. Centenario <mask> <mask>", "Nuevas perspectivas de la obra de Granell y de Amparo", "Espacios Expositivos", "Textor personales", "Traducciones", Fundación Eugenio Granell, con muchos apoyos, 2012.<mask> <mask>, "Federica no era tonta", Prólogo: Claudio Rodríguez Fer, AUGA editora,2012. <mask> <mask>; "Arte y artistas en

masks:
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell


texts:
 Guatemala", Olllero y Ramos, Madrid, 2012
<mask> <mask>; "The Novel of the Tupinamba Indian",City Lights Books, 2018. Translation: David Coulter
<mask> <mask>;"Coincidencias. Poesía completa¨, Edición y Prólogo: Oscar Ayala, Huerga & Fierro, Madrid

<mask> <mask>, Carlos Arias,<mask> <mask>. Un hereje contemporáneo", Fundación Eugenio Granell, 2017. Diseño y maquetación Teresa Taboada. Biografía en español.Catalogues:
"<mask> Fernández Granell", Galería Nacional de Bellas artes, Ciudad Trujillo, 1943. "Pinturas de Eugenio F. Granell", Sala de Exposiciones de la Universidad", Puerto Rico, 1946. "Granell", 52 óleos, La Universidad Popular, Oficina de Turismo de Guatemala, 1947. "Granell. Pinturas", Escuela de Artes Plkásticas, Guatemala, 1949. S. Arbós Ballesté, "<mask> Granell. Un surrealista español en Nueva York", Atenbeo de Madrid, Sala de Santa Catalina, 1974."<mask> Granell. Un surrealista español en Nueva York", Dintel, Galería de Arte, 1975. VVAA, "E. <mask>", Galería Valle Ortí, Valwencia, 1975
"<mask> <mask>", Galwería Altex, Madrid, 1976. "¡a Exposicao "Phases" em Portugal", Junta de Turismo da Costa Do Sol, Novembro, 1977. "<mask> Granell", Galería de Arte Moderno, Santo Domingo, R.D., SEptiembre, 1981. Texto Santiago Arbós Ballestéç
Carlos E. Pinto, "<mask> F. <mask>", Sala de Arte y Cultura, Caja de Ahorros, Canarias, 1984. Carlos Areán, "<mask> F. <mask>", Museo Municipal de Bellaas Artes de Santander, Julio 1986
J.M.Bonet, E<mask>, "<mask> F. Granell.

masks:
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Eugenio
Eugenio
Granell
Eugenio
Granell
Eugenio
Eugenio
Granell
Eugenio
Granell
. Granell
Eugenio


texts:
 Exposición antolófica",Caja de Ahorros Municipal de Vigo, 1987
A.M. Campoy, "<mask> F. Granell. Pinturas, 1980-1988", Galería Heller, 1988. JM Bonet, A. Breton, B. Péret, M. Duchamp, "E. Granell", Fundación Cultural Mapfre Vida, Madrid, 1989. J.M. Bonet.E. Guigon, "<mask> F. <mask>.Islas y Brasas", Museo de Teruel,1990. B. Péret, H.T. Flemming, "<mask> F<mask>", Galwería Thomas Levy, Hamburg, 1990. E. Jaguer, J. Pierre, HT Flemming, R. Santos Torroella, CA Molina, JM Bonet, "<mask> Granell. Exposición antológica. 1940-1990", Comunidad de Madrid, 1990-1991. L. Ishi-Kawa, "<mask> <mask>l", Arte y Tecnología, 1992-1993
 F. Castro Flórez, "<mask> F. <mask>, Encantador de serpientes", Antiguo Convento de las Carmelitas, Cuenca, 1993.JM Bonet, F. Castro Flórz, J?Navarro de Zuvillaga, P. Jiménez, J. Armida Sotillo, E<mask>, "<mask> <mask>", Auditorio de Galicia, Santiago de Compostela, 1993. CA Molina, R. Santos Torroella, JM Bonet, F. Castro Flórez,E. Jaguer, JH. Matthews, M. Cesariny, HT Flemmimng, P. Jiménez, S., Sanz Villanueva, J. Navarro de Zuvillaga, A. Ramoneda, J. Ruiz, A. Santamarina, T. Marco, J. Maestro, P. López-Barxas, "Eugenio Granell", #3, Colección Grandes Pintores, Ed. de César Antonio Molina, Diputación ProvinciaL De a Coruña, 1994. Mracos-Ricardo Barnatán, "Encuentros del espírit, La Kábala, Madrid, 1994.J.Ruiz Sierra, J.Pierre, L.Mombiedro,JM Paarreño,"Colecciòn Eugenio Granell", Consorcio de Santiago. 1995. Primeros fondos de la Fundación Eugenio

masks:
Eugenio
Eugenio
Granell
Eugenio
. Granell
Eugenio
Eugenio
Granell
Eugenio
Granell
. Granell
Eugenio
Granell


texts:
 Granell. Emmanuel Guigon, "<mask> Granell. Inventario del planeta", Fundación Eugenio Granell, 1995; Ayuntamiento de Pamplona, 1996
E. Aguirre, R. Pérez Estrada, J. Vela Zanetti, J.I. Serra, J.A. Santos Pastrana, A. Rodríguez Abad, A.Alonso Ares, "A Eugenio Granell", Fundación Vela Zanetti, León, 1996.Varios Autores, "Granell en Puerto Rico (1950-1957)", Fondos de la Fundación,1997
J. Navarro de Zuvillaga, "<mask> Granell y el teatro", Fundación Eugenio Granell, 1997
"<mask> Granell", Galería Prsenca, 1997. Gonzalo Armero,<mask> Granell", Huerta de San Vicente, Granada, 1999-2000
X. Antón Castro, "<mask> Granell. Xeografía dun surrealista", Sala de Gagos de Mendoza, Pontevedra, 1999
José Medina,"Juego de sugerencisa, Granell y laa arquitectura", Fundación Eugenio Granell, 1999
Javier Herrera, "<mask> Granell. El elixir del alquimista", Fundación Eugenio Granell, 2000
A. Garrido Moreno, "Coleccionistas. E. Granell en las colecciones gallegas", Fundación E. Granell, 2001
Francesc Miralles,Antología. Eugenio Granell. pintura, escultura, objects, Fundación Caixaterrassa, 2001
M. Patinha, "É na linha do Horizonte que está o Infinito.<mask> Granell. Cruzweiro Seixas", Galería Sacramento, Aveiro, Portugal, 2001. Antón Castro, B. Pinto de Almeida, V. Oisteanu, R. Tío Bellido, "Granell El arte de la conversación", Inastituto Cervantes, varios países y
ciudades, 2002-2003
Mercedes Rozas, X.L. Axeitos, X. Estévz, E. Ruibal, "Imágenes de la memoria", Fundación E. Granell,

masks: Eugenio Eugenio Eugenio Eugenio Eugenio Eugenio Eugenio


texts:
 2002
J. Herrera, "Los paisajes mágicos de Granell", Fundación Picasso, Málaga, 2002
"Exposición-Homenaxe, <mask> F. Gramnell, 1912-2001. O compromiso Social e Politico dun Surreaalista", Salas Castelao e Anxel Casal, Galería Sargadelos, 2002. J.M. Naharro-Calderón, E<mask>, L. Klich, "1912 Eugenio Granell 2001", Galería Guillermo de Osmna, Madrid, Barcelona, Badajoz, 2003.J. Ruiz, "<mask> Granell. El antropólogode su memoria", Sala de Cultura Castillo de Maya, Fundación Caja Navarra, 2003. A. Pagán, "Imaxes do soño en liberdade. O cinema de Eugenio Granell", Xunta de Galicia, 2003. Exposición en la sede de la Fundación E. Granell. J. Ruiz, H.T. Fleming, Pablo Jiménez, "Oleos, construcciones y objetos", Fundación E. Granell, 2003.Fomdos de la fundación. Bonet, Juan Manuel, "<mask> <mask>", Comisario: Aurelo Torrente Larrosa. Arte español para el extranjero, Ministerio de Asuntos Exteriores, Madrid, 2003. L. García de Carpi, "La imagen de la mujer en la obra de <mask> <mask>", Fundación E. Granell, 2004; Caja Segovia, 2005;Fundación Rafael
Boti, Córdoba, 2005. "Retrato de una amistad: Granell y Vela Zanetti", Fundación Eugenio Granell, 2005
P.E. Cuadrado, A. Goncalves, R. Padin Otero, N. Fernández Segarra, "Cartografía surrealista. Território <mask> <mask>", Fundación Cupertino de Miranda, Famalicao, Portugal, 2006.M.A. Ramos, J-F, Alvarez Prieto, Javier Ruiz, F. Castro Flórez, E. Guigon, "Dibujos y collages de <mask> <mask>", Fundación E. Granell, 2007. Fondos de la

masks:
Eugenio
. Granell
Eugenio
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Granell
Eugenio
Granell


texts:
 Fundación. J. Herrera, "Eclosión Mágica, 1956-1967", Feima, Fundación de Arte Galwfgo, Madrid, 2007. E.Castro, "El pájaro Pí y la lengua de los pájaro, Fundación E. Granell, 2008
"E. Granell", Sala Dalmau, Barcelona, 2011
J.M. Bonet, N. Fernández Segarra, "La Biblioteca de Eugenio Granell", Fundación E. Granell, 2012
E. Valiña, A. Pagán, A. Pinent, ""Eugenio Granell e o cine. Unha película de vinte minutos", CGAC, Xunta de Galicia, 2012
L.Rodríguez Rodríguez, "Azares de Granell en zinc y papel", Fundación E. Granell, 2013; catálogo/cuaderno
Javier del Campo, El surrealismo como arte.Granell. Ell surrealismo como vida", Caja de Burgos, 2015
Javier Arnaldo; "<mask> <mask> y Esteban Vicente, Construcciones y Toys", Museo Esteban Vicente y Fundación Granell, 2017 y 2018

References

External links
Obituary of <mask> <mask> in Britain's The Guardian newspaper (November 10, 2001)
Guiarte.com information on Granell
Centro Virtual Cervantes: Granell - El arte de la conversación
 Inventari del Fons FP, Subsèrie Eugenio F. <mask>, del CRAI Biblioteca del Pavelló de la República de la Universitat de Barcelona
Check the link: www.eugeniogranell.org/

Modern painters
20th-century Spanish painters
20th-century male artists
Spanish male painters
Spanish Trotskyists
Spanish surrealist artists
1912 births
2001 deaths
Spanish expatriates in the Dominican Republic
Spanish expatriates in the United States
City University of New York faculty
Spanish expatriates in Guatemala
People from

masks: Eugenio Granell Eugenio Granell Granell


texts:
<mask> (born 12 November 1998) is a Swedish professional ice hockey player for the Vancouver Canucks of the National Hockey League (NHL). <mask> was selected fifth overall by the Canucks in the 2017 NHL Entry Draft. Nicknamed "Petey" by Canucks fans, he was born in Sundsvall, Sweden, but grew up in Ånge, Sweden. After one of the greatest U20 seasons in SHL history in 2017–18 and winning the Le Mat Trophy with the Växjö Lakers, <mask> made the Canucks opening night roster for the 2018–19 season. He won the Calder Memorial Trophy as the league's best rookie in 2019, becoming the second Canuck to do so after Pavel Bure in 1992. Playing career

Sweden
<mask> played hockey as a youth and made his professional debut with Timrå IK of the HockeyAllsvenskan. In his second season in Allsvenskan in 2016–17, <mask> placed second on the team in scoring with 41 points in 43 games.Unable to help Timrå IK gain promotion, <mask> signed a three-year contract with the Växjö Lakers of the top tier SHL, on 6 April 2017. <mask> was ranked second among European skaters by the NHL Central Scouting Bureau in his first year of eligibility for the 2017 NHL Entry Draft. He was selected as the first Swedish player taken in the draft, fifth overall, by the Vancouver Canucks, joining former linemate and Canucks prospect Jonathan Dahlén on 23 June 2017. It was speculated the Canucks drafted <mask> based partly on highly successful chemistry with Dahlén on the top line for Timrå IK, where they finished fifth and ninth in league scoring as teenagers. The two scored on the first shift they ever played together in Sweden. While still a junior player, <mask> dominated the Swedish Hockey League in his 2017–18 rookie season. In 44 games played, he led the league in both points scored and in +/- at the end of the regular season, with 56 points (1.27 average) and +27 respectively.He also scored

masks:
Elias Fredrik Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
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texts:
 24 goals, second in the league behind Frölunda's Victor Olofsson. In the penultimate game of the 2017–18 season, <mask> recorded four points to reach 55 points for the season. In the season finale, <mask> scored a goal to set a new record 56 for most points by a junior in a single SHL/Elitserien season, previously held by Kent Nilsson (set in 1975–76). <mask> went on to lead the playoffs in both goal-scoring, points, and +/-, with 10 goals, 19 points (1.46 average) and +17 respectively, in 13 games played. Scoring four game-winning goals, he led Växjö Lakers to the team's second Le Mat Trophy. Counting both the regular season and the playoffs, <mask> scored 34 goals and 41 assists, for a total of 75 points in 57 games played (1.32 average). In April 2018, <mask> was awarded the Stefan Liv Memorial Trophy, as the SHL playoffs' MVP, by SICO (Sweden's Ice hockey players Central Organisation).All 14 jury members voted unanimously for <mask>, a first in the award's nine year history. At the SHL Awards, <mask> was named Rookie of the Year, and Forward of the Year. Vancouver Canucks
On 25 May 2018, the Canucks signed <mask> to a three-year entry-level contract. On 3 October 2018, <mask> made his NHL debut against the Calgary Flames. <mask> scored his first career goal against goaltender Mike Smith, and also recorded an assist in a 5–2 Canucks win. On 13 October 2018, during a game against the Florida Panthers, <mask> suffered a head injury on a hit from Panthers defenceman Mike Matheson resulting in <mask> leaving the game. Although Matheson was not penalized for the hit, the NHL Department of Player Safety believed that Matheson had an intent to injure, resulting in him being suspended two games and fined $52,419.36.<mask> returned to the lineup on 27 October after missing six games; the Canucks lost 5–0 to the Pittsburgh Penguins. Two nights later, <mask>

masks: Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson


texts: scored two goals in a 5–2 win over the Minnesota Wild. On 1 November, <mask> was named the October Rookie of the Month, and four days later was the Second Star of the Week. In December, he was named First Star of the Week on 10 December and after recording 17 points in 14 games during the month, he was again named Rookie of the Month. On 2 December 2019, <mask> would win the hardest shot competition at the Canucks Skills Competition with a 99.4 mph slap shot. On 2 January 2019, <mask> was named to his first NHL All-Star Game as the Canucks' lone representative. He notched his first NHL hat trick later that night in a 4–3 win over the Ottawa Senators, striking in the second and third periods before scoring the game-winning goal in overtime.<mask> suffered a knee injury a night later when fellow rookie Jesperi Kotkaniemi appeared to hook him away from the play. Petterson went down clutching his right knee and play had to be halted by the referees but he was able to skate off under his own power. In his first game back from injury on 21 January 2019, <mask> scored a goal and recorded an assist in a 3–2 win against the Detroit Red Wings. On 18 March, <mask> earned an assist in a 3–2 overtime victory over the Chicago Blackhawks for his 61st point, surpassing the Canucks franchise record for points by a rookie which was previously held by Pavel Bure and Ivan Hlinka. In his rookie season, <mask> totaled 28 goals and 38 assists, giving him 66 points in 71 games. After the season, <mask> was named as a finalist for the Calder Memorial Trophy, an award he ultimately won at the 2019 NHL Awards in Las Vegas on 19 June 2019, becoming the second Canuck to do so after Pavel Bure. Early in the 2019–20 season, <mask> and Brock Boeser formed instant chemistry with off-season acquisition J. T. Miller.On 4 November 2019, <mask> was named First Star of the Week after totaling

masks: Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson


texts:
 9 points over four games. On 30 December 2019, <mask> was named to his second consecutive NHL All-Star Game to be played in a month, and was later joined by teammates Jacob Markstrom and Quinn Hughes. Notably, at the Hardest Shot Competition, despite <mask> being the only forward and only player under 200 lbs in the contest, he'd achieve a 102.4 mph slap shot, the 2nd highest mark by a forward in the competition's history up until that point. On 12 March 2020, the <mask>'s season was cut short by the NHL's season suspension, meaning he was unable to surpass the 66 point mark of his rookie season, which he had matched in fewer games that season. When the season resumed on 1 August 2020, <mask> would put up 7 goals and 11 assists for 18 points in 17 games as the Canucks would dispatch the Minnesota Wild and St. Louis Blues in 4 and 6 games, respectively, the team's first playoff series wins since 2011. They would make it as far as game 7 of the second round against the Pacific Division leading Vegas Golden Knights before bowing out. <mask>'s 18 points in his first playoffs were tied for the team-lead and the eighth highest scoring playoffs in Canucks playoff history.<mask> began the shortened 2020–21 season with the worst start of his career, posting just one goal and one assist in his first eight games, as the Canucks struggled out of the gate. However, <mask> would find his game from then on, recording 19 points in his next 18 games, including five multi-point efforts. Unfortunately, <mask> would sustain a serious upper-body injury on 2 March that sidelined him for the rest of the regular season. On 1 October 2021, <mask> signed a three-year, $22.05 million contract with the Canucks. International play

<mask> competed for Sweden in the 2018 World Junior Ice Hockey Championships, winning silver. Despite being limited to just 5 games, due to a broken


texts:
 thumb, <mask> would go on to win a gold medal with Team Sweden at the 2018 IIHF World Championship. On 9 May 2019, <mask> was included to the roster to return for a second successive tournament with Sweden at the 2019 World Championships held in Bratislava, Slovakia.Personal life
<mask>'s older brother, Emil, is currently playing for the Spartak Moscow of the KHL. both brothers have played for Timrå IK and the Växjö Lakers, with both having won SHL titles with Växjo; <mask> in 2018, and Emil in 2021. Growing up, his father was the Zamboni driver at the local rink, and because of this, <mask> received much extra practice time. <mask> played soccer in the summer as a child in Sweden, and still is a fan of the sport. <mask> is of Finnish descent through his paternal grandfather, born Toivo Jokelainen, who was sent to Sweden in 1941 as a Finnish war child. On December 13, 2011, <mask> would hear that two of his best friends, Valerik and Davit Danielyan were deported from Sweden to Armenia. Along with some friends, a 13 year old <mask> would be interviewed by a local newspaper and appear on television in support of the Danielyan family.With the support of the people of Ånge, his best friends would be permitted to return in March 2012 following 81 days in Armenia. On 7 August 2019, <mask> was named the cover athlete for the Swedish edition of EA Sports' ice hockey video game NHL 20. Career statistics

Regular season and playoffs

International

Awards and honours

References

External links

1998 births
Living people
Calder Trophy winners
Expatriate ice hockey players in Canada
National Hockey League first round draft picks
People from Krokom Municipality
People from Sundsvall
Swedish expatriate sportspeople in Canada
Swedish ice hockey forwards
Swedish people of Finnish descent
Timrå IK players
Vancouver Canucks draft picks
Vancouver Canucks players
Växjö

masks: Pettersson Pettersson Pettersson Elias Pettersson Pettersson Pettersson Pettersson Pettersson Pettersson


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<mask> (born <mask>, 11 September 1934) is an English bishop and theologian of the Eastern Orthodox Church. Since 1982, he has held the titular bishopric of Diokleia in Phrygia (), later made a titular metropolitan bishopric in 2007, under the Ecumenical Patriarchate of Constantinople. He is one of the best-known contemporary Eastern Orthodox hierarchs and theologians. From 1966 to 2001, he was Spalding Lecturer of Eastern Orthodox Studies at the University of Oxford. Early life and ordination
Born <mask> in 1934 to an Anglican family in Bath, Somerset, England, he was educated at Westminster School in London (to which he had won a King's Scholarship) and Magdalen College, Oxford, where he took a double first in classics as well as reading theology. On 14 April 1958, at the age of 24, he embraced the Orthodox Christian faith. He describes his first contacts with Orthodoxy and the growing attraction of the Orthodox Church in an autobiographical text entitled "My Journey to the Orthodox Church".While still a layman, he spent six months in Canada at a monastery of the Russian Orthodox Church Abroad. Thoroughly conversant in modern Greek, <mask> became an Orthodox monk at the Monastery of Saint John the Theologian in Patmos, Greece. He also frequented other major centres of Orthodoxy such as Jerusalem and Mount Athos. In 1966 he was

masks:
Kallistos Ware
Timothy Richard Ware
Timothy Richard Ware
Ware


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 ordained to the priesthood within the Ecumenical Patriarchate and was tonsured as a monk, receiving the name "Kállistos". Professional and ecclesiastical life
In 1966, <mask> became Spalding Lecturer at the University of Oxford in Eastern Orthodox studies, a position he held for 35 years until his retirement. In 1970, he was appointed to a fellowship at Pembroke College, Oxford. In 1982 he was consecrated to the episcopate as an auxiliary bishop with the title Bishop of Diokleia (in Phrygia) in the Archdiocese of Thyateira and Great Britain of the Ecumenical Patriarchate.Following his consecration, <mask> continued to teach at the University of Oxford and served in the Greek Orthodox parish in Oxford. On 30 March 2007, the Holy Synod of the Ecumenical Patriarchate elevated the Diocese of Diokleia in Phrygia to a titular metropolitan diocese and <mask> to the rank of metropolitan. Since his retirement in 2001, <mask> has continued to publish and to give lectures on Orthodox Christianity. He served as chairman of the board of directors of the Institute for Orthodox Christian Studies in Cambridge, and is chairman of the Friends of Orthodoxy on Iona (Scotland) and of the Friends of Mount Athos. Honours

In 2017, <mask> was awarded the Lambeth Cross for Ecumenism by the Archbishop of Canterbury "for his outstanding contribution to

masks: Ware Ware Ware Ware Ware


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 Anglican-Orthodox theological dialogue". Publications

<mask> is a prolific author and lecturer. He has authored or edited over a dozen books, numerous articles in a wide range of periodicals, essays in books on many subjects, as well as providing prefaces, forwards or introductions to many other books.He is perhaps best known as the author of the book The Orthodox Church, published when he was a layman in 1963 and subsequently revised several times. In 1979 he produced a companion volume, The Orthodox Way. He has collaborated in the translation and publication of major Orthodox ascetic and liturgical texts. Together with G. E. H. Palmer and Philip Sherrard, he translated the Philokalia (four volumes of five published ); and with Mother Mary he produced the Lenten Triodion and Festal Menaion. St Vladimir's Seminary Press published a Festschrift in his honour in 2003: Abba, The Tradition of Orthodoxy in the West, Festschrift for Bishop <mask> (Ware) of Diokleia, eds. John Behr, Andrew Louth, Dimitri Conomos (New York: SVS Press, 2003). Books

The Orthodox Church (1st ed.Pelican, 1963; 2nd ed. Penguin, 1993 ); 3rd. ed., Penguin, 2015 ). Eustratios Argenti: A Study of the Greek Church under Turkish Rule (Clarendon, 1964, ASIN B0006BMI94; reprint with a new Introction, Wipf and Stock, 2013 )). The Festal Menaion (translated with Mother

masks: Ware Kallistos


texts:
 Mary) (Faber & Faber, 1977 )). (Editor with Colin Davey), Anglican–Orthodox Dialogue: The Moscow Statement Agreed by the Anglican–Orthodox Joint Doctrinal Commission 1976 (London: SPCK, 1977 )). The Lenten Triodion (translated with Mother Mary) (Faber and Faber 1978; St. Tikhon's Seminary Press, 2002 ).The Philokalia: The Complete Text (translated with G. E. H.  Palmer and Philip Sherrard. London: Faber and Faber. Vol. 1, 1979 ; Vol. 2, 1982 ; Vol. 3, 1986 ; Vol. 4, 1999 .The Orthodox Way (Mowbray, 1979 ).Communion and Intercommunion: A Study of Communion and Intercommunion Based on the Theology and Practice of the Orthodox Church (Light & Life, 1980; rev.ed.2002 ).The Power of the Name - The Jesus Prayer in Orthodox Spirituality (SLG Press, 1982 ). Praying with Orthodox Tradition (Abingdon, 1990 ).How Are We Saved? : The Understanding of Salvation in the Orthodox Tradition (Light & Life, 1996 ).The Ordination of Women in the Orthodox Church (with Elisabeth Behr-Sigel)(Geneva: WCC Publications, 2000 ). The Inner Kingdom: Collected Works, Vol. 1 (St Vladimir's Seminary Press, 2000 ). Orthodox Theology in the Twenty-First Century (Geneva: World Council of Churches, 2012 ). Selected articles

 "Review of Panagiotis N. Trembelas, Dogmatique de l’Église orthodoxe,” Eastern Churches Review 3, 4 (1971), 477–480."God Hidden and Revealed: The


texts: Apophatic Way and the Essence-Energies Distinction", Eastern Churches Review 7 (1975). "The Debate about Palamism", Eastern Churches Review 9 (1977). "Wolves and Monks: Life on the Holy Mountain Today", Sobornost 5, 2 (1983). "Athos after Ten Years: The Good News and the Bad", Sobornost 15, 1 (1993). "Through Creation to the Creator", Third Marco Pallis Memorial Lecture, Ecotheology, 2 (London: Friends of the centre, 1996) <www.incommunion.org/2004/12/11/through-creation-to-the-creator> (12.03.2011). "Dare We Hope for the Salvation of All?” Theology Digest, 45.4 (1998). Reprinted in The Inner Kingdom (Crestwood, NY: St. Vladimir's Seminary Press, 2001)."Man, Woman and the Priesthood of Christ", in Thomas Hopko, ed., Women and the Priesthood (Crestwood, NY: St Vladimir's Seminary Press, revised edition, 1999). "God Immanent yet Transcendent: The Divine Energies according to Saint Gregory Palamas" in Philip Clayton and Arthur Peacocke, eds., In Whom We Live and Move and Have Our Being: Panentheistic Reflections on God's Presence in a Scientific World (Grand Rapids, MI: Eerdmans, 2004) (). "Sobornost and Eucharistic Ecclesiology: Aleksei Khomiakov and His Successors", International Journal for the Study of the Christian Church 11, 2-3 (2011). "Orthodox Theology Today: Trends and Tasks", International Journal for the Study of the Christian


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<mask>, son of <mask> (fl. c. 1020 – after 1056) was a medieval English priest and relic collector, active in Northumberland. He is now best known for allegedly stealing the remains of Bede and bringing them in secret to the shrine of St Cuthbert in Durham, although some modern scholars consider this unlikely. He is also documented as having translated the remains of Boisil of Melrose Abbey, as well as numerous northern English minor saints of the 7th and 8th centuries: the anchorites Balther and Bilfrid; Acca, Alchmund and Eata, bishops of Hexham; Oswin, king of Deira; and the abbesses Ebba and Æthelgitha. He served as the sacristan at Cuthbert's shrine under three bishops, and was renowned for his devotion to the saint. Biography

Cuthbert's shrine and the Durham Ecclesia Major
<mask> served as sacristan at the shrine of St Cuthbert in Durham during the time of the bishops Edmund, Æthelric and Æthelwine, in the early–mid 11th century. The miraculously incorrupt remains of the saint, who died in 687, were then housed in a large stone church or cathedral referred to as the Ecclesia Major, dedicated in 998 and demolished to make way for the existing Norman cathedral in around 1093.The early chronicler of Durham's history Symeon of Durham praises <mask> as a pious man and an ideal custodian to Cuthbert's relics, and the later chronicler Reginald of Durham describes him as being "of decent life". His descendant Ailred of Rievaulx describes him as an "active

masks: Alfred Westou Alfred Alfred


texts: teacher". The modern theologian and historian Benedicta Ward, in her biography of Bede, describes <mask> as a stern teacher to the cathedral's young novices, and states that he was recorded as being respected by the "honest and God-fearing". The modern historian John Crook writes that <mask> was "highly respected" by all three of the Durham bishops. W. M. Aird, on the other hand, describes him as the leader of a group that expelled Bishop Æthelric in around 1045; the bishop was subsequently reinstated by Earl Siward and succeeded by his brother Æthelwine. For part or all of his time as sacristan, <mask> is reported to have had the sole responsibility for tending to Cuthbert's remains, and several stories have accumulated about his exceptional devotion to Cuthbert. According to Symeon and Reginald, <mask> removed one of Cuthbert's hairs, and found that it miraculously failed to burn.Reginald adds that he frequently opened the coffin to wrap the saint's body in robes, and to trim his fingernails and cut or comb his hair and beard. An ivory liturgical or ordinary comb was among the treasures found in Cuthbert's shrine in 1827. Reginald claims that the two exchanged "familiar speech" at times, stating that Cuthbert gave <mask> detailed instructions on what to do with the various saints' relics he collected. He also recounts a story about a weasel that reared her litter in the reliquary. Modern historians consider Reginald's uncorroborated material to be of

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 dubious historical value. Calvin B. Kendall has suggested that the story of <mask> tending to the body's hair and nails might have originated in a similar account relating to the Norwegian king and saint Olaf, whose body was said to be tended by his son after his death in 1030; according to Kendall, this story would have been known to Turgot of Durham – the prior of the Durham monastery who oversaw the translation of Cuthbert's remains into the new cathedral in 1104 – as he had previously stayed at the Norwegian court. Ward notes its similarity to stories associated with English saints, including Osmund of Salisbury.Hexham and personal life
In addition to his sacristan duties, <mask> also held the church of Hexham, Northumberland, from Bishop Edmund, where his family were hereditary priests. As he lived in Durham, his Hexham duties were delegated first to Gamel the Elder (Gamel Hamel) and then to Gamel iunge. <mask> was married, his wife being the sister of Collan, prior of Hexham. His date of death is unknown, but he is recorded to be still alive at the time of Bishop Æthelwine (1056–71); Crook speculates that he might have died just before the Norman Conquest. <mask>'s son Eilaf Larwa and his grandson, also named Eilaf, each succeeded him as the priest at Hexham. A grandson Aldred or Aluredus is also recorded as a shrine keeper. The saint Ailred, Cistercian abbot of Rievaulx, was <mask>'s great-grandson.Relic collector

<mask> was an assiduous

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 collector of relics of saints for Cuthbert's shrine at Durham as well as the church at Hexham. The medieval specialist Bertram Colgrave describes him as "the arch-relic-hunter", exemplifying the "rage for relics" of his time. Symeon explicitly records his having ceremonially moved (translated) the remains of the following saints, after having been informed of their whereabouts by visions:
Boisil (died 661) of Melrose Abbey, mentor to Cuthbert, whose remains were deposited in their own shrine in Durham in around 1020;
Balther (or Baldred; died 756 or 757) of the monastery of Tyningham, named as an anchorite;
Bilfrid (or Billfrith), a Lindisfarne goldsmith and anchorite known for working the ornate case of the Lindisfarne Gospels, now lost;
Acca (died 740) and Alchmund (or Alcmund; died 780 or 781), two of the Hexham bishops, who were reburied in the church at Hexham in around 1040; according to some sources, parts of their relics were also translated to Durham;
Oswin (died 651), the murdered king of Deira, who had a following at Tynemouth;
the abbesses Ebba (or Æbbe; died 683) of Coldingham and Æthelgitha, an otherwise-unknown abbess, possibly also from Coldingham or another Northumberland convent. Hexham bishops: Acca, Alchmund and Eata
A variant version of the story of Alchmund of Hexham's translation is given by an anonymous author, probably from Hexham, in the Historia Regum. The vision of Bishop Alchmund is here given to a person referred to as


texts:
 "Dregmo", who summons <mask> to rebury the remains in Hexham church. <mask> complies, but secretly takes a fingerbone, which he plans to take to the shrine in Durham. On the following day the saint's bier proves immovable from the portico; Dregmo has a second vision exposing the theft, to which <mask> readily admits.After the restoration of the fingerbone, the ceremony proceeds unhindered. This version is repeated by Ailred of Rievaulx. According to the Historia Regum as well as the accounts of Richard of Hexham and Ailred of Rievaulx, when Bishop Acca was reburied in Hexham, several relics were removed undamaged from his grave. These included some of his vestments (chasuble, dalmatic and maniple), his shroud and a silk tunic, as well as a wooden portable altar. The chasuble and portions of his "face-cloth" appear in a list of Durham Cathedral's relics compiled in 1383. The 12th-century Life of St Eata suggests that a third Hexham bishop and saint, Eata (died 686), might also have been translated within the Hexham church by <mask>, although he is not mentioned in either Symeon's list of saints or Ailred's work. Eata also served as Abbot of Melrose Abbey and Bishop of Lindisfarne, and had taught both Cuthbert and Boisil.Theft of Bede

<mask> is also traditionally reported to have stolen the bones of the scholar and saint Bede (died 735) from its shrine in Jarrow, and translated them to Durham in secret. Symeon's detailed account is uncharacteristically


texts: circumspect. No vision is mentioned. After establishing that <mask> was in the habit of commemorating Bede's death by visiting the Jarrow monastery, it states that one year he arrived back early, having left his companions behind, and never returned to Jarrow. He is then said to have acted as if he had "secured the object of his desires", saying when asked about the whereabouts of Bede's bones that they were in Cuthbert's shrine, but enjoining his listeners to keep the matter to themselves. When Cuthbert's coffin was opened a few days before its translation to the Norman cathedral, around half a century after <mask>'s death, a little linen bag was discovered, subsequently claimed to contain Bede's bones. The story has some similarities with the 9th-century theft by Ariviscus of the French Sainte Foy's relics from Agen, Aquitaine.The discovery of the bag is also described by an eye-witness to the opening of the coffin in the later "Miracle 18" account. The anonymous author states that Bede's bones were known to have been removed from his original burial place in Jarrow; he names <mask> only indirectly as the person who also translated Boisil's remains. Kendall notes that examinations of Cuthbert's coffin in the 1050s are not recorded to have found a linen bag. He considers the tradition of <mask>'s secret translation of Bede to be "probably apocryphal", inferring that it was invented to provide provenance for the unidentified bones in the linen bag. Some

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 subsequent 20th- and 21st-century scholars have also cast doubts on the story's authenticity. Ward describes it as a "strange story", and draws attention to its close parallels with the medieval "pious theft" literary tradition, a genre that embraces wholly fictional accounts. She notes that the earliest written account of the removal of the bones dates from at least 100 years later, there is no external evidence for <mask>'s action, and the attendant secrecy meant that the translation did not fulfil its purpose.She suggests another possibility: that monks from Jarrow translated the remains in 1083 when the Benedictine priory was founded in Durham. Medieval sources

<mask>'s history is relatively well attested, being documented in manuscripts including:
An Account of the Early Provosts of Hexham (c. 1100);
the Libellus de exordio (1104–15) of Symeon of Durham;
a section of the multiply authored Historia Regum (1113–64), possibly contributed by someone from Hexham;
the anonymous "Miracle 18" narrative in Capitula de Miraculis et Translationibus Sancti Cuthberti (after 1128);
the History of the Church of Hexham (1154–c.1160) by Prior Richard of Hexham;
On the Saints of Hexham (1154–67) by Ailred of Rievaulx;
The Life of St Eata (12th century), an anonymous compilation covering the Hexham saints;
the Libellus de admirandis beati Cuthberti virtutibus quae novellis patratae sunt temporibus (c. 1150–75) of Reginald of Durham. Although few if any of these

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 writers could have been eye-witnesses to his acts, Symeon's narrative is in part based on the testimony of a monk named as Gamel, possibly one of <mask>'s priestly deputies; Richard was acquainted with the second Eilaf, his grandson; and Reginald claims that at least some of his additions were sourced to Ailred and recounted traditions handed down within the family. Kendall considers that the early Hexham accounts are likely to be independent from Symeon's account, unlike Reginald's significantly later narrative. See also
Durham, a poem extolling Durham's relic collection
St Cuthbert's coffin

Notes and references

Citations

Sources

11th-century English clergy
People from Durham, England
People from Hexham
Christian


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<mask> (July 19, 1875 – September 18, 1935) was an American poet, journalist, and political activist. Among the first generation born free in the South after the Civil War, she was one of the prominent African Americans involved in the artistic flourishing of the Harlem Renaissance. Her first husband was the poet <mask>. After his death, she married physician Henry A. Callis; and, lastly, was married to Robert J<mask>, a poet and civil rights activist. She achieved prominence as a poet, author of short stories and dramas, newspaper columnist, activist for women's rights, and editor of two anthologies. Life
<mask> was born in New Orleans on July 19, 1875, the daughter of a formerly enslaved African-American seamstress and a white seaman. Her parents, Patricia Wright and Joseph Moore, were middle-class and part of the city's multiracial Creole community.Personal life
Moore graduated from the teaching program at Straight University (later merged into Dillard University) in 1892 and worked as a teacher in the public school system of New Orleans at Old Marigny Elementary. <mask> lived in New Orleans for twenty-one years. During this time, she studied art and music, learning to play piano and cello. In 1895, <mask> <mask>'s first collection of short stories and poems, Violets and Other Tales, was published by The Monthly Review. Around this time, Moore moved to Boston and then New York City. She co-founded and taught at the White Rose Mission (White Rose Home for Girls) in Manhattan's San Juan Hill neighborhood, beginning a correspondence with the poet and journalist Paul Laurence <mask>. <mask> <mask>'s work in The Woman's Era captured Paul Laurence <mask>'s attention.On April 17, 1895, Paul Laurence <mask> sent <mask> a

masks:
Alice Dunbar Nelson
Paul Laurence Dunbar
. Nelson
Alice Ruth Moore
Nelson
Alice Dunbar
Nelson
Dunbar
Alice Dunbar
Nelson
Dunbar
Dunbar
Alice


texts: letter of introduction, which was the first of many letters that the two exchanged. In their letters, Paul asked <mask> about her interest in the race question. She responded that she thought of her characters as "simple human beings", and believed that many writers focused on race too closely. Although her later race-focused writings would dispute this fact, <mask>'s opinion on the race problem contradicted Paul Laurence's. Despite contradictory opinions about the representation of race in literature, the two continued to communicate romantically through their letters. Their correspondence revealed tensions about the sexual freedoms of men and women. Before their marriage, Paul told <mask> that she kept him from "yielding to temptations", a clear reference to sexual liaisons.In a letter from March 6, 1896, Paul attempted to instigate jealousy in <mask> by talking about a woman he had met in Paris. However, <mask> failed to respond to these attempts and continued to maintain an emotional distance from Paul. In 1898, after corresponding for a few years, <mask> ended up moving to Washington, DC to join Paul Laurence <mask> and they secretly eloped in 1898. Their marriage proved stormy, exacerbated by <mask>'s declining health due to tuberculosis, alcoholism developed from doctor-prescribed whiskey consumption, and depression. Before their marriage, Paul raped <mask>, which he later blamed on his alcoholism. <mask> would later forgive him for this behavior. Paul would often beat <mask>, which was public knowledge.In a later message to <mask>'s earliest biographer, <mask> said, "He came home one night in a beastly condition. I went to him to help him to bed—and he behaved as your informant said, disgracefully." She also

masks: Alice Alice Alice Alice Alice Alice Dunbar Dunbar Alice Alice Alice Dunbar Alice


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 claimed to have been "ill for weeks with peritonitis brought on by his kicks." In 1902, after he beat her nearly to death, she left him. He was reported to also have been disturbed by her lesbian affairs. The pair separated in 1902 but were never divorced before <mask>'s death in 1906. <mask> then moved to Wilmington, Delaware and taught at Howard High School for more than a decade.During this period, she also taught summer sessions at State College for Colored Students (the predecessor of Delaware State University) and at the Hampton Institute. In 1907, she took a leave of absence from her Wilmington teaching position and enrolled at Cornell University, returning to Wilmington in 1908. In 1910, she married Henry A. Callis, a prominent physician and professor at Howard University, but this marriage ended in divorce. In 1916 she married the poet and civil rights activist Robert J<mask>. She worked with him to publish the play Masterpieces of Negro Experience (1914), which was only shown once at Howard High School in Wilmington. She joined him in becoming active in local and regional politics. They stayed together for the rest of their lives.During this time she also had intimate relationships with women, including Howard High School principal Edwina Kruse and the activist Fay Jackson Robinson. In 1930, <mask> traveled throughout the country lecturing, covering thousands of miles and presenting at thirty-seven educational institutions. <mask> also spoke at YWCAs, YMCAs, and churches. Her achievements were documented by Friends Service Committee Newsletter. Early activism

At a young age, <mask> <mask> became interested in activities that would empower Black women. In 1894, she became a charter member of the Phillis

masks:
Paul Dunbar
Alice
. Nelson
Nelson
Nelson
Alice Dunbar
Nelson


texts:
 Wheatley Club in New Orleans, contributing her writing skills. To expand their horizons, the Wheatley Club collaborated with the Woman's Era Club.She worked with the Woman's Era Club's monthly newspaper, The Woman's Era. Targeting refined and educated women, it was the first newspaper for and created by African-American women. <mask>'s work with the paper marked the beginning of her career as a journalist and an activist. <mask> was an activist for African Americans' and women's rights, especially during the 1920s and 1930s. While she continued to write stories and poetry, she became more politically active in Wilmington, and put more effort into journalism on leading topics. In 1914, she co-founded the Equal Suffrage Study Club, and in 1915, she was a field organizer for the Middle Atlantic states for the woman's suffrage movement. In 1918, she was field representative for the Woman's Committee of the Council of Defense.In 1924, <mask> campaigned for the passage of the Dyer Anti-Lynching Bill, but the Southern Democratic block in Congress defeated it. During this time, <mask> worked in various ways to foster  political change. It is said, "She stayed very active in the NAACP; she cofounded a much-needed reform school in Delaware for African American girls; she worked for the American Friends Inter-Racial Peace Committee; she spoke at rallies against the sentencing of the Scottsboro defendants." Journalism work and continued activism
From 1913 to 1914, she was co-editor and writer for the A.M.E. Review, an influential church publication produced by the African Methodist Episcopal Church (AME Church). From 1920, she coedited the Wilmington Advocate, a progressive black newspaper. She also published The Dunbar Speaker

masks:
Alice
Dunbar Nelson
Dunbar Nelson
Dunbar Nelson


texts: and Entertainer, a literary anthology for a black audience. <mask>-<mask> supported America's involvement in World War I; she saw the war as a means to ending racial violence in America.She organized events to encourage other African Americans to support the war. She referenced the war in a number of her works. In her 1918 poem "I Sit and Sew", <mask> writes from the perspective of a woman who feels suppressed from engaging directly with the war effort. Because she was not able to enlist in the war herself, <mask> wrote propagandistic pieces such as Mine Eyes Have Seen (1918), a play that encouraged African American men to enlist in the army. These works display <mask>'s belief that racial equality could be achieved through military service and sacrificing one's self to their nation. From about 1920 on, she made a commitment to journalism and was a highly successful columnist, with articles, essays and reviews appearing as well in newspapers, magazines, and academic journals. She was a popular speaker and had an active schedule of lectures through these years.Her journalism career originally began with a rocky start. During the late 19th century, it was still unusual for women to work outside of the home, let alone an African-American woman, and journalism was a hostile, male-dominated field. In her diary, she spoke about the tribulations associated with the profession: "Damn bad luck I have with my pen. Some fate has decreed I shall never make money by it" (Diary, 366). She discusses being denied pay for her articles and issues she had with receiving proper recognition for her work. In 1920, <mask> was removed from teaching at Howard High School for attending Social Justice Day on October 1 against the will of

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Alice Dunbar
Nelson
Nelson
Nelson
Nelson
Nelson


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 Principal Ray Wooten. Wooten states that <mask> was removed for "political activity" and incompatibility.Despite the backing of the Board of Education's Conwell Banton, who opposed <mask>'s firing, <mask> decided not to return to Howard High School. In 1928, <mask> became Executive Secretary of the American Friends Inter-Racial Peace Committee. In 1928, <mask> also spoke on The American Negro Labor Congress Forum in Philadelphia. <mask>'s topic was Inter-Racial Peace and its Relation to Labor. <mask> also wrote for the Washington Eagle, contributing "As In A Looking Glass" columns from 1926 to 1930. Later life and death
She moved from Delaware to Philadelphia in 1932, when her husband joined the Pennsylvania Athletic Commission. During this time, her health declined.She died from a heart ailment on September 18, 1935, at the age of 60. She was cremated in Philadelphia. She was made an honorary member of Delta Sigma Theta sorority. Her papers were collected by the University of Delaware. Her diary, published in 1984, detailed her life during the years 1921 and 1926 to 1931 and provided useful insight into the lives of black women during this time. It "summarizes her position in an era during which law and custom limited access, expectations, and opportunities for black women." Her diary addressed issues such as family, friendship, sexuality, health, professional problems, travels, and often financial difficulties.Rhetorical context
The rhetorical context of <mask>-<mask>'s writing includes subject, purpose, audience, and occasion. Her work "addressed the issues that confronted African-Americans and women of her time". In essays such as "Negro Women in War Work" (1919), "Politics in Delaware" (1924), "Hysteria", and

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Nelson
Nelson
Nelson
Nelson
Nelson
Nelson
Dunbar Nelson
Alice Dunbar
Nelson


texts: "Is It Time for Negro Colleges in the South to Be Put in the Hands of Negro Teachers?" <mask> explored the role of black women in the workforce, education, and the antilynching movement. The examples demonstrate a social activist role in her life. <mask>'s writings express her belief of equality between the races and between men and women. She believed that African Americans should  have equal access to the educational institution, jobs, healthcare, transportation and other constitutionally granted rights.Her activism and support for certain racial and feminist causes started to appear around the early 1900s, where she publicly discussed the women's suffrage movement in the middle American states. in 1918, she officially held the role of field representative for the Woman's Committee of the Council of Defense, only a few years after marrying Robert J<mask> who was a poet and a social activist as well. She significantly contributed to some African-American journalism such as the Wilmington Advocate and The Dunbar Speaker and Entertainer. Following her leading role in the Woman's Committee, <mask> became the executive secretary of the American friends inter-racial peace committee, which was then a highlight of her activism life. She successfully created a political/feminist career co-editing newspapers and essays that focused on the social issues that minorities and women were struggling through in American through the 1920s, and she was specifically influential due to her gain of an international supportive audience that she used to voice over her opinion. Much of <mask>'s writing was about the color line – both white and black color lines. In an autobiographical piece, "Brass Ankles Speaks", she discusses the

masks:
Dunbar Nelson
Dunbar Nelson
. Nelson
Alice
Dunbar Nelson


texts:
 difficulties she faced growing up mixed-race in Louisiana.She recalls the isolation and the sensation of not belonging to or being accepted by either race. As a child, she said, she was called a "half white nigger" and while adults were not as vicious with their name-calling, they were also not accepting of her. Both black and white individuals rejected her for being "too white". White coworkers did not think she was racial enough, and black coworkers did not think she was dark enough to work with her own people. She wrote that being multiracial was hard because "the 'yaller niggers,' the 'Brass Ankles' must bear the hatred of their own and the prejudice of the white race" ("Brass Ankles Speaks"). Much of <mask>'s writing was rejected because she wrote about the color line, oppression, and themes of racism. Few mainstream publications would publish her writing because it was not marketable.She was able to publish her writing, however, when the themes of racism and oppression were more subtle. Summary section
"I Sit and Sew" by <mask>-<mask> is a three stanza poem written 1918. In stanza one, the speaker addresses the endless task of sitting and sewing as opposed to engaging in activity that aids soldiers at war. In doing so, the speaker addresses issues of social norms and the expectation of women as domestic servants. As the poem continues into stanza two, the speaker continues to express the desire to venture beyond the confines of social exceptions by furthering the imagery of war as opposed to domestic duty, yet the speaker resolves the second stanza with the refrain of the first, "I must Sit and Sew". By doing so, the speaker amplifies the arresting realities of domestic duty attributed to womanhood in the

masks:
Dunbar Nelson
Alice Dunbar
Nelson


texts:
 1900s. In the third and final stanza, the speaker further amplifies desire and passion by saying both the living and dead call for my help.The speaker ends by asking God, "must I sit and sew?" In doing so, the speaker appeals to heavenly intervention to further amplify the message within the poem. Works
  Violets and Other Tales , Boston: Monthly Review, 1895. Short stories and poems, including "Titée", "A Carnival Jangle", and "Little Miss Sophie". Digital Schomburg. ("The Woman" reprinted in Margaret Busby (ed. ), Daughters of Africa, 1992, pp.161–163.) The Goodness of St. Rocque and Other Stories  , 1899, including "Titée" (revised), "Little Miss Sophie", and "A Carnival Jangle". "Wordsworth's Use of Milton's Description of the Building of Pandemonium", 1909, in Modern Language Notes. (As editor) Masterpieces of Negro Eloquence: The Best Speeches Delivered by the Negro from the days of Slavery to the Present Time, 1914. "People of Color in Louisiana", 1917, in Journal of Negro History. Mine Eyes Have Seen, 1918, one-act play, in The Crisis, journal of the National Association for the Advancement of Colored People (NAACP). (As editor) The Dunbar Speaker and Entertainer: Containing the Best Prose and Poetic Selections by and About the Negro Race, with Programs Arranged for Special Entertainments, 1920."The Colored United States", 1924, The Messenger, literary and political magazine in NY
 "From a Woman's Point of View" ("Une Femme Dit"), 1926, column for the Pittsburgh Courier. "I Sit and I Sew", "Snow in October", and "Sonnet", in Countee Cullen (ed. ), Caroling Dusk: An Anthology of Verse by Negro Poets, 1927. "As in a Looking Glass", 1926–1930, column for the Washington Eagle newspaper. "So It Seems to


texts:
 <mask>-<mask>", 1930, column for the Pittsburgh Courier. Various poems published in the NAACP's journal The Crisis, in Ebony and Topaz: A Collectanea (edited by Charles S. Johnson), and in Opportunity, the journal of the Urban League. Give Us Each Day: The Diary of <mask>-<mask>'', ed.Gloria T. Hull, New York: Norton, 1984. "Writing, Citizenship, <mask>-<mask>". Zagarell, Sandra A. Legacy, Vol. 36, Iss. 2, (2019): 241–244. References

External links

 <mask>-<mask> papers at Special Collections, University of Delaware Library
 About <mask>-<mask>, Department of English, College of LAS, University of Illinois, 1988
 Women of Color Women of Words biography Rutgers University
"I Am an American! The Activism and Authorship of <mask>-<mask>" (online exhibition) at The Rosenbach

1875 births
1935 deaths
American civil rights activists
African-American poets
African-American short story writers
LGBT women
LGBT writers from the United States
LGBT African Americans
LGBT people from Louisiana
Women anthologists
Writers from New Orleans
Writers from Philadelphia
Straight University alumni
Cornell University alumni
American women poets
American women journalists
Delta Sigma Theta members
Harlem Renaissance
African-American women journalists
African-American journalists
American anti-lynching activists
African-American women writers
Activists from Delaware
20th-century American women writers
19th-century American women writers
19th-century American poets
20th-century American poets
20th-century American journalists
19th-century American journalists
African-American suffragists
Editors of Delaware newspapers
Burials at Wilmington and Brandywine Cemetery
20th-century African-American women
20th-century African-American

masks:
Alice Dunbar
Nelson
Alice Dunbar
Nelson
Alice Dunbar
Nelson
Alice Dunbar
Nelson
Alice Dunbar
Nelson
Alice Dunbar
Nelson


texts:
<mask> (born March 5, 1948) is an American serial killer and rapist responsible for the murders of 9 women in Manhattan's West Side between 1973 and 1974. The killings were connected only after <mask> was arrested and confessed to them; until then, the deaths were considered to be from natural causes or accidents. In July 1976, he was convicted and sentenced to four life imprisonment terms with a chance of parole. One of his victims was sculptor Eleanor Platt. Biography
<mask> was born on March 5, 1948, in Buffalo, New York. He came from a poor family, who lived in an urban area populated by other impoverished black families. In his teenage years, he became addicted to drugs, and after graduating from the 10th grade, he dropped out of school and began leading a criminal lifestyle.In October 1965, he was arrested for robbery, found guilty and sentenced to 5 years imprisonment, which he served at the Elmira Correctional Facility. After being paroled in the late 1960s, <mask> moved to New York City, where he met Valerie Coleman, whom he married. Due to problems with discipline, he had trouble finding a job, as a result of which he was forced to do odd jobs, periodically committing thefts in the Manhattan area, for which he was imprisoned on several occasions. In 1970, he was arrested on charges of drug possession, was convicted and spent 90 days in jail. Over the next three years, <mask> was arrested three more times on charges of drug possession and theft, but each time, he got off with short prison terms. In early 1972, <mask> and his partner found accommodation at the Park Plaza Hotel in Manhattan's West Side which, at the time, was plagued by poverty and crime. Soon after the move, <mask> cleared himself from his drug addiction and took on a job as a porter.Most of his

masks:
Calvin Jackson
Jackson
Calvin Jackson
Jackson
Calvin
Jackson
Jackson


texts:
 friends and acquaintances at that time spoke extremely positively of him. Murders
As victims, <mask> chose single women between the ages of 39 and 79, who were smothered with a pillow during robberies, after which he had sex with their corpses. Eight of his nine victims lived at the Park Plaza Hotel. On April 10, 1973, <mask> broke into the hotel room where 39-year-old Theresa Jordan lived, smothering her with a pillow, defiling her corpse and then stealing her valuables. On July 19, in the same manner, he entered the hotel room of 65-year-old Kate Lewisohn, whom he also smothered with a pillow and raped her corpse. On April 24, 1974, <mask> burgled into a hotel room where 60-year-old Mable Hartmeyer lived. The killer strangled the woman, after which he raped her corpse and stole money and valuables from her room.Five days later, on April 29, he entered the hotel room of 79-year-old Yeria Vishnefsky, whom he stabbed and robbed. On June 8, <mask> committed another murder at the Park Plaza Hotel, his victim being 47-year-old Winifred Miller, whom he smothered with a pillow and raped thereafter. A few days later, on June 19, <mask> also strangled 71-year-old Blanche Vincent on the hotel grounds, after which he raped her body. On July 1, he entered the hotel room of 69-year-old Martha Carpenter. He stole money and other valuables, and then proceeded to strangle the elderly woman and rape the body thereafter. The next victim was a famous sculptor - 64-year-old Eleanor Platt, who was found dead in her room at the Park Plaza Hotel on August 30. On September 12, <mask> burgled into one of the apartments in a building located next to the Park Plaza Hotel, where 69-year-old Pauline Spanierman lived.Using his usual tactics, he smothered the victim with a pillow, raped her corpse,

masks:
Calvin Jackson
Jackson
Jackson
Jackson
Jackson
Jackson


texts:
 and then stole a number of objects of value from her apartment. Arrest
The body of <mask>'s last victim, Spanierman, was discovered on the morning of September 12, 1974 by a maid who had called the police. While investigating her killing, the police interviewed several of her neighbors, as well as several dozen residents of the building where she lived in and nearby occupants of the Park Plaza Hotel. During these interrogations, several witnesses were located. One of them stated that in the early morning, he had noticed a dark-skinned young man who, with a TV in his hands, left the house where the murder took place using the fire escape, and then disappeared on the opposite side of the street. Another witness, a resident of the Park Plaza Hotel, told police that on the morning of that same day, a friend of his, 26-year-old <mask>, came to his room with a request to leave a number of items of material value, including a TV, for safekeeping. After a search of his hotel room, the TV and other items were identified by Spanierman's relatives as hers.Based on the testimonies and evidence, six hours after the body was discovered, <mask> was arrested near the hotel, and was charged with murder and burglary. Once at the police station, <mask>, during the first interrogation, confessed to the murder of Spanierman, as well as 10 other murders. Despite the fact that <mask>'s confessions reflected a great deal of correspondence in the description of details of the victims' appearances, the times and dates of their murders, his claims were questioned, since in most cases, no signs of a struggle or burglary were found at the crime scenes. In order to confirm his testimony, in the following months, the police exhumed the bodies of a number of murdered women so they could examine them

masks:
Jackson
Calvin Jackson
Jackson
Jackson
Jackson


texts:
 and find traces of a homicide, but the test results proved inconclusive. While verifying <mask>'s claims, it was found that two of the women he had confessed to killing were found to be alive. However, 90-year-old Maria Gallino, a resident of the Park Plaza Hotel, told police that she was indeed attacked by a young African-American man on April 4, 1973. Another resident, 74-year-old Sylvia Cohen, said that on August 5, during an attempted robbery, she was beaten into unconsciousness by a young black man.After this information was released to the public, several hundred people organized a rally in front of a nearby police station accusing the police of negligent investigation efforts. They demanded that the New York City mayor, Abraham Beame, should investigate and appropriately punish the officials, as their failure to connect the murders and take precautions led to senseless death. Law enforcement officials would later confirm that they did not suspect a serial killer was operating in the area and were forced to admit that the cases were connected only after <mask>'s arrest. This confession led protestors to claim that the high crime rate in the West Side was a result of the city service's failures to respond on all levels. Despite the fact that in at least four cases, the investigation was unable to establish signs of a violent death due to the rate of decomposition, <mask> was charged with 9 murders and about 40 other crimes, including numerous rapes, burglaries and thefts. On the advice of his lawyer, at the end of 1974, <mask> recanted his confessions and declared that he was insane, on the basis of which his lawyers filed a motion for a psychiatric examination. Trial
Following two psychiatric examinations, <mask> was declared insane, but these decisions were

masks:
Jackson
Jackson
Calvin Jackson
Jackson
Jackson


texts:
 challenged by the prosecutor's office, which filed a motion.It was granted, and in 1975, <mask> was admitted to the Bellevue Hospital for a third exam, which determined that he was sane. He was put on trial in early 1976. After reading out his 182-page long confession and accompanying audio recordings lasting more than 3 hours, on May 25, by a jury verdict, he was found guilty of 9 murders and numerous other charges. On July 6, 1976, he was sentenced to four life imprisonment terms, with a chance of parole. When he received his verdict, <mask> did not react in any way. Aftermath
All the subsequent years of his life, <mask> was housed in various penitentiaries across New York State. In September 1999, he became eligible for parole, but was denied.In September 2017, having spent more than 43 years in prison, <mask> was included in a list of 50 convicted criminals in the state of New York who were in prison for more than 41 years, and still had chance for parole. As of the end of 2020, the 72-year-old <mask> was serving his sentence at the Sullivan Correctional Facility, under the ID number 76A2732. His next parole hearing was scheduled for March 2021. See also
 List of serial killers in the United States

References

1948 births
Living people
20th-century American criminals
American male criminals
Male serial killers
American serial killers
Necrophiles
American people convicted of murder
American people convicted of rape
American people convicted of burglary
American people convicted of theft
American people convicted of robbery
American people convicted of drug offenses
People convicted of murder by New York (state)
Prisoners sentenced to life imprisonment by New York (state)
Prisoners and detainees of New York (state)
Criminals from New York (state)
People from


texts:
<mask> (born 25 June 1983) is an Austrian former professional footballer who played as a striker. <mask> was a successful goal-scorer, particularly during his time at Austrian Bundesliga club Red Bull Salzburg, where he scored 75 league goals in 108 matches, including 39 goals in 35 matches in the 2009–10 season. He is the son of <mask>, who won a bronze medal in the women's Javelin event at the 1968 Summer Olympics in Mexico City. Club career

Red Bull Salzburg
<mask> began his career at Admira Wacker in Mödling, Lower Austria. After successful years, he joined Red Bull Salzburg. He was one of the most important players for the team, and in the end of the 2004–05 season, he scored 11 goals in 10 matches. 2008–09 season

<mask> began the 2008–09 season scoring five goals in the first two matches.On 16 November 2008, he became the all-time club leader for goals scored in one season for Salzburg. His 25 goals in less than half a season, surpassed previous record-holder Oliver Bierhoff, who scored 23 during the 1990–91 season. <mask> continued his scoring streak with a four-goal performance against league rival Altach. On 6 December 2008, he surpassed Toni Polster as the all-time half-season scoring champion by scoring 30 goals in 20 matches. <mask> scored five hat tricks in the league during the season, including a four-goal performance after coming on as a second-half substitute against SCR Altach in a 4–3 victory. In total, he scored 39 goals (plus 9 assists) in 34 matches as Red Bull Salzburg won the league. Due to his 39 goals scored in the 2008–09 season, he became the topscorer in all European leagues during the year.His

masks:
Marc Janko
Janko
Eva Janko
Janko
Janko
Janko
Janko


texts:
 success caught the attention of several English Premier League clubs and Celtic. However, he signed a new contract with Red Bull on 30 January 2009, which would have kept him in Salzburg until June 2013. 2009–10 season
Though there were rumors and speculation that <mask> would sign with a different club, he stayed with the Red Bulls. In 21 matches that season, <mask> scored 12 goals which currently put him in second place in the Bundesliga behind teammate Roman Wallner. His best performances were a four-goal effort against FC Kärnten on 4 October, and a pair of goals scored against Josko Ried on 13 February 2010. <mask> was also an integral part of the Salzburg team that enjoyed success in its pool play in the UEFA Europa League. He had a strong performance against Standard Liège on 19 February 2010, scoring his side's two goals in a 3–2 loss in the first tie of the round of 32.Twente
<mask> signed a four-year contract with Dutch club Twente on 21 June 2010 and was given the number 21 shirt, previously worn by fellow Austrian Marko Arnautović. Twente paid Red Bull €7 million for <mask>'s signature. 2010–11 season

<mask> scored his first goal for his new club on 21 August 2010, his side's first in a 3–0 win over Vitesse in the third match of the Eredivisie season. In the club's next Eredivise match, <mask> scored a brace and notched an assist as Twente defeated Utrecht 4–0. <mask> scored four goals for Twente in a 5–0 rout of Heracles on 19 January 2011, while also providing an assist for Luuk de Jong's goal. On 23 January, he scored both goals for Twente as they came from a goal down to defeat Groningen. On 8 May 2011, <mask>

masks: Janko Janko Janko Janko Janko Janko Janko Janko Janko


texts:
 scored the winning goal of the 2011 KNVB Cup final against Ajax in the 117th minute to seal a 3–2 victory.2011–12 season
In the 2011 Johan Cruyff Shield on 30 July 2011, <mask> scored from the penalty-spot as Twente defeated reigning Eredivisie champions Ajax 2–1 to lift the cup. In the first match of the 2011–12 Eredivisie season, <mask> scored the match's only goal as Twente defeated NAC Breda. <mask> scored twice on 28 August, scoring Twente's third and fifth goals as they defeated Heerenveen 5–1. On 29 September, he scored twice to lead Twente to a first victory in the UEFA Europa League, a comfortable 4–1 win over Wisła Kraków. On 15 October, <mask> scored a hat-trick as Twente defeated RKC Waalwijk 4–0 in an Eredivisie match. On 1 December, he scored a goal in the final minute of normal time as Twente defeated Fulham 1–0 to secure first place in Group K of the UEFA Europa League group stage. Porto
On 30 January 2012, it was announced that <mask> would sign for Porto.On 31 January, <mask> was officially unveiled as a Porto player and was given the number 29 shirt, joining in a €3 million move and signing a contract until June 2015. On 5 February, he scored his first goal for Porto against Vitória de Setúbal in the Taça de Portugal, a 2–0 win. Trabzonspor
On 28 August 2012, after just half a year at Porto, <mask> signed for Turkish club Trabzonspor for a €2.4 million transfer fee. He made his debut for the club five days later, coming on for Paulo Henrique in the second half of a 0–1 loss to Gaziantepspor. <mask> finally scored his first goal for Trabzonspor on 19 November, opening the scoring for the club in their 2–1

masks: Janko Janko Janko Janko Janko Janko Janko Janko


texts:
 victory over Orduspor. <mask> scored his first goal of the 2013–14 season on 24 October 2013, scoring Trabzonspor's goal in a 2–0 victory over Legia Warsaw in the UEFA Europa League group stage. On 4 December, he scored against Balıkesirspor in the fourth round of the Turkish Cup, but the goal was not enough as Trabzonspor fell to a 1–3 defeat.He scored just his second league goal during his time in Turkey on 23 February 2014, scoring the match winner against Kayserispor. At the end of the season, <mask> was released from his contract, allowing the forward to move to a new club on a free transfer. Sydney FC
On 31 July 2014, <mask> was announced as Sydney FC's new marquee signing for the 2014–15 A-League season, on a one-year deal, meaning his wages were permitted to be paid outside the league's salary cap. On 30 August, he scored his first goal for Sydney during the final of the inaugural Townsville Football Cup in a 2–0 win against Brisbane Roar. On 24 October, he scored his first A-League goal, against Brisbane Roar in a 2–0 victory. His 35-yard shot bounced into the top left corner to give Sydney a 1–0 lead. <mask> scored his next two goals in the form of a brace against Melbourne City, after having turned down the opportunity to play for the Austria national team against Brazil.He scored another two goals in Sydney's 5–1 rout of Central Coast Mariners on 24 January 2015. <mask> was awarded the Professional Footballers Australia Player of the Month for February following a run of six goals in four matches during the month. <mask> scored his first hat-trick for Sydney in their 5–4 win against Brisbane Roar on matchday 21 at

masks: Janko Janko Janko Janko Janko Janko


texts:
 Allianz Stadium in rather inclement conditions. His hat-trick also saw him become Sydney's highest season goalscorer with 16 goals (previously held by Alessandro Del Piero during the 2012–13 A-League season with 14). In addition, <mask> became the first ever player to score in seven consecutive matches, the previous record being held by ex-Brisbane Roar player Besart Berisha with six. On 26 May 2015 it was announced that <mask> would be leaving Sydney due to difficulties with attending league matches and international duty. Basel
On 25 June 2015, <mask> joined Swiss side Basel on a free transfer, signing a one-year deal.He played his debut for Basel on 25 July 2015 in the away match at the Letzigrund against Grasshopper; he also scored his first goal for Basel in the match, which ended 3–2 for his side. Under trainer Urs Fischer, <mask> won the Swiss Super League championship at the end of the 2015–16 and 2016–17 Super League season. It was Basel's eighth-straight title and 20th overall. Sparta Prague
On 6 June 2017, <mask> signed a two-year contract with Czech club Sparta Prague. Lugano
On 6 February 2018, <mask> signed a contract with Swiss club FC Lugano. International career

<mask> made his debut for Austria in a May 2006 friendly match against Croatia and earned his second cap in October that year against Liechtenstein. In 2009, he scored one of Austria's two goals against Lithuania on 10 October 2009.Four days later, he scored Austria's lone goal against France. He represented the national team at 2016 UEFA Euro. Career statistics

Club
Sources:

International
Source:

International goals
Scores and results list Austria's

masks: Janko Janko Janko Janko Janko Janko Janko


texts: <mask> (January 6, 1924 – March 28, 2012) was an American musician noted for popularizing a three-finger banjo picking style, now called "Scruggs style", which is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the traditional way the five-string banjo had previously been played. This new style of playing became popular and elevated the banjo from its previous role as a background rhythm instrument to featured solo status. He popularized the instrument across several genres of music. <mask>' career began at age 21 when he was hired to play in Bill Monroe's band, the Blue Grass Boys. The name "bluegrass" eventually became the eponym for the entire genre of country music now known by that title. Despite considerable success with Monroe, performing on the Grand Ole Opry and recording classic hits such as "Blue Moon of Kentucky", <mask> resigned from the group in 1946 due to their exhausting touring schedule.Fellow band member Lester Flatt resigned as well, and he and Scruggs later paired up in a new group they called Flatt and Scruggs and the Foggy Mountain Boys. Scruggs' banjo instrumental called "Foggy Mountain Breakdown", released in 1949, became an enduring hit, and had a rebirth of popularity to a younger generation when it was featured in the 1967 film Bonnie and Clyde. The song won two Grammy Awards and, in 2005, was selected for the Library of Congress' National Recording Registry of works of unusual merit. Flatt and Scruggs brought bluegrass music into mainstream popularity in the early 1960s with their country hit, "The Ballad of Jed Clampett"—the theme

masks:
Earl Eugene Scruggs
Scruggs
Scruggs


texts:
 music for the television sitcom The Beverly Hillbillies—the first Scruggs recording to reach number one on the Billboard charts. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 singles. The duo broke up in 1969, chiefly because, while Scruggs wanted to switch styles to fit a more modern sound, Flatt was a traditionalist who opposed the change and believed doing so would alienate a fan base of bluegrass purists. Although each of them formed a new band to match their visions, neither of them ever regained the success they had achieved as a team.<mask> received four Grammy awards, a Grammy Lifetime Achievement Award and a National Medal of Arts. He became a member of the International Bluegrass Music Hall of Fame and was given a star on the Hollywood Walk of Fame. In 1985, Flatt and <mask> were inducted together into the Country Music Hall of Fame and named, as a duo, number 24 on CMT's "40 Greatest Men of Country Music". <mask> was awarded a National Heritage Fellowship by the National Endowment for the Arts, the highest honor in the folk and traditional arts in the United States. Four works by <mask> have been placed in the Grammy Hall of Fame. After <mask>' death in 2012 at age 88, the <mask>gs Center was founded  in Shelby, North Carolina, near his birthplace with the aid of a federal grant and corporate donors. The center is a $5.5 million facility that features the musical contributions of Scruggs and serves as an educational center providing classes and field trips for students.Early life

<mask> was born January 6, 1924, in the Flint Hill community of Cleveland County, North Carolina,

masks:
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Earlrug
Earl Scruggs


texts:
 a small community just outside of Boiling Springs, about 10 miles west of Shelby. His father, George Elam <mask>, was a farmer and a bookkeeper who died of a protracted illness when <mask> was four years old. Upon his death, <mask>' mother, Georgia Lula Ruppe (called Lula), was left to take care of the farm and five children, of which <mask> was the youngest. The family members all played music. The father played an open back banjo using the frailing technique, though as an adult <mask> had no recollection of his father's playing. Mrs. <mask> played the pump organ. <mask>'s siblings, older brothers Junie and Horace and older sisters Eula Mae and Ruby, all played banjo and guitar.<mask> recalled a visit to his uncle's home at age six to hear a blind banjo player named Mack Woolbright, who played a finger-picking style and had recorded for Columbia Records. It made an impression on Scruggs, who said, "He'd sit in the rocking chair, and he'd pick some and it was just amazing. I couldn't imagine—he was the first, what I call a good banjo player." <mask> then took up the instrument—he was too small to hold it at first and improvised by setting his brother Junie's banjo beside him on the floor. He moved it around depending on what part of the neck he was playing. After his father's death, Scruggs seemed to take solace in playing music, and when not in school or doing farm chores, spent nearly every spare moment he had practicing. His first radio performance was at age 11 on a talent scout show.Development

Scruggs is noted for popularizing a three-finger banjo-picking style now called "Scruggs style" that has become a defining

masks: Scruggs Earl Scruggs Earl Earl Scruggs Earl Scruggs Scruggs


texts: characteristic of bluegrass music. Prior to Scruggs, most banjo players used the frailing or clawhammer technique, which consists of holding the fingers bent like a claw and moving the entire hand in a downward motion so that the strings are struck with the back of the middle fingernail. This motion is followed by striking the thumb on a single string. The three-finger style of playing is radically different from frailing; the hand remains stationary and only the fingers and thumb move, somewhat similar to classical guitar technique. Scruggs style also involves using picks on three digits (see photo), each plucking individual strings—downward with the thumb, then upward with the index and middle finger in sequence. When done skillfully and in rapid sequence, the style allows any digit (though usually the thumb) to play a melody, while the other two digits play arpeggios of the melody line. The use of picks gives each note a louder percussive attack, creating an exciting effect, described by The New York Times as "like thumbtacks plinking rhythmically on a tin roof".This departure from traditional playing elevated the banjo to become more of a solo instrument—a promotion from its former role of providing background rhythm or serving as a comedian's prop—and popularized the instrument in several genres of music. <mask> did not invent three-finger banjo playing; in fact, he said the three-finger style was the most common way to play the five-string banjo in his hometown in western North Carolina. An early influence was a local banjoist, DeWitt "Snuffy" Jenkins, who plucked in a finger style. According to banjoist and


texts:
 historian Tony Trischka, "Jenkins came about as close as one could to Scruggs style without actually playing it". At age ten, when Scruggs first learned the technique, he recalled that he was at home in his room after a quarrel with his brother. He was idly playing a song called "Reuben" and suddenly realized that he was playing with three fingers, not two. "That excited me to no end", he later recalled, and said he ran through the house repeatedly yelling "I've got it".From there he devoted all his free time to perfecting his timing and to adding syncopation and variations to it. Controversy exists as to the actual origin of three-finger picking style. Don Reno, an eminent banjo player who also played this style and who knew <mask> at that young age, described Scruggs' early playing as similar to that of Snuffy Jenkins. <mask>, however, consistently referred to it as his own, saying that he adapted to it "a syncopated roll that was quite different." On the subject, John Hartford said, "Here's the way I feel about it. Everybody's all worried about who invented the style and it's obvious that three finger banjo pickers have been around a long time—maybe since 1840. But it's my feeling that if it wasn't for <mask>, you wouldn't be worried about who invented it."With Bill Monroe and the Blue Grass Boys
At age 15, <mask> played in a group called The Morris Brothers for a few months, but quit to work in a factory making sewing thread in the Lily Textile Mill near his home in North Carolina. He worked there about two years, earning 40 cents an hour, until the draft restriction for World War II was lifted in 1945, at which time

masks:
Scruggs
Scruggs
Earl Scruggs
Scruggs


texts: he returned to music, performing with "Lost John Miller and his Allied Kentuckians" on WNOX in Knoxville. About this time an opening to play with Bill Monroe became available. Bill Monroe, 13 years older than <mask>, was prominent in country music at the time. His career started with the "Monroe Brothers", a duo with his brother Charlie. Bill sang the high tenor harmony parts, a sound called "high lonesome", for which he became noted. The brothers split up in 1938 and Bill, a native of "the Bluegrass State" of Kentucky, formed a new group called Bill Monroe and the Blue Grass Boys.They first played on the Opry in 1939 and soon became a popular touring band featuring a vocalist named Lester Flatt. The name "bluegrass" stuck and eventually became the eponym for this entire genre of country music and Monroe became known as "the father of bluegrass". When <mask> was 21, Monroe was looking for a banjo player for his group, because David "Stringbean" Akeman was quitting. At the time, banjo players often functioned in the band as comedians, and the instrument was often held as a prop—their clawhammer playing was almost inaudible. Monroe, along with band member Lester Flatt, auditioned several banjo players who had the same traditional playing style as Akeman. When <mask> auditioned for them at the Tulane Hotel in Nashville, Flatt said," I was thrilled. It was so different!I had never heard that kind of banjo picking." <mask> joined Monroe in late 1945, earning $50 a week. After they accepted <mask> as one of the Blue Grass Boys, the roster consisted of Bill Monroe (vocals/mandolin), Lester Flatt (guitar/vocals), <mask> (banjo),

masks:
Scruggs
Scruggs
Scruggs
Scruggs
Scruggs
Earl Scruggs


texts: Chubby Wise (fiddle), and Howard Watts (stage name Cedric Rainwater) on bass. This group of men became the prototype of what a bluegrass band would become. With Monroe and Lester Flatt, Scruggs performed on the Grand Ole Opry and in September 1946 recorded the classic hit "Blue Moon of Kentucky"; a song that was designated by the Library of Congress to be added to the National Recording Registry, and later added to the Grammy Hall of Fame. The work schedule was heavy in Monroe's band. They were playing a lot of jobs in movie theaters all over the south, riding in a 1941 Chevrolet from town to town, doing up to six shows a day and not finishing up until about eleven at night.Lester Flatt said, "It wasn't anything to ride two or three days in a car. We didn't have buses like we do now, and we never had our shoes off". The self-imposed rule was to always get back in time to play the Grand Ole Opry in Nashville each Saturday night. <mask> said of Monroe that "Bill would never let the music go down no matter how tired we were. If a man would slack off, he would move over and get that mandolin up close on him and get him back up there". Despite the group's success, <mask> decided the demands were too great. He was single at the time, and the brief few hours on Saturdays that he made it home, it was just to pack his suitcase at the Tulane Hotel where he lived alone, then repeat the cycle—he had done this for two years.He turned in his resignation, planning to go take care of his mother in North Carolina. Flatt had also made up his mind to leave, but he had not told anyone. He later gave his two-week notice, but, before the notice

masks: Scruggs Scruggs


texts:
 was up, the bass player Howard Watts announced that he was leaving too. Despite Monroe's pleading, they left the band. Monroe thought Flatt and Scruggs had a secret understanding, but both men denied it. Monroe did not speak to either one for 20 years thereafter, a feud well known in country music circles. Flatt and Scruggs
In 1948 Lester Flatt and <mask> formed "Flatt and Scruggs and the Foggy Mountain Boys"—the name came from a song by the Carter Family called "Foggy Mountain Top" that the band used as a theme song at the time.Flatt later acknowledged that they consciously tried to make their sound different from Monroe's group. In the mid 1950s they dropped the mandolin and added a Dobro, played by Buck "Uncle Josh" Graves. In the spring of 1949, their second Mercury recording session yielded the classic "Foggy Mountain Breakdown", released on 78 RPM phonograph records that were in use at the time. Previously, Scruggs had performed something similar, called "Bluegrass Breakdown" with Bill Monroe, but Monroe had denied him songwriting credit for it. Later, Scruggs changed the song, adding a minor chord, thus creating "Foggy Mountain Breakdown" The song contains a musical oddity—Flatt plays an E major chord against Scruggs's E minor. When asked about the dissonance years later, Scruggs said he had tried to get Flatt to consistently play a minor there to no avail; he said he eventually became used to the sound and even fond of it. The song won a Grammy and became an anthem for many banjo players to attempt to master.The band routinely tuned its instruments a half-step higher than standard tuning in those days to get more


texts: brightness or pop to the sound, returning to standard pitch in the 1960s. The popularity of Foggy Mountain Breakdown resurged years later when it was featured in the 1967 film Bonnie and Clyde, which introduced the song to a younger generation of fans. <mask> received a phone call from the show's producer and star, Warren Beatty, first asking <mask> to write a song for the movie. Soon Beatty called back saying that he wanted to use the existing vintage Mercury recording of Foggy Mountain Breakdown, and rejected the argument that it was recorded 18 years prior at a radio station with no modern enhancements. The film was a hit, called by the Los Angeles Times "a landmark film that helped usher in a new era in American filmmaking." In 2005, the song was selected for the Library of Congress's National Recording Registry of works of unusual merit. In October 1951, the band recorded "Earl's Breakdown" which featured a technique where Scruggs would manually de-tune the second and third strings of the banjo during a song using a cam device he had made to attach to the instrument, giving the surprise effect of a downward string bend.He and his brother Horace had experimented with it when they were growing up. Scruggs had drilled some holes in the peghead of his banjo to install the device and chipped the pearl inlay. He covered the holes with a piece of metal, which can be seen on the album cover of Foggy Mountain Jamboree. The technique became popular and led to improvement of the design (without drilling holes) by Bill Keith who then manufactured Scruggs-Keith Tuners. The original tuners Scruggs made and used are now in a museum