texts: problems in printing the paper on its due date, and, thus, lead Abdel Quddous to entrusting <mask> with the last page of Akhbar Al-Youm. In fact, because Mansour admired <mask>'s writings, Mansour sent the last page of the newspaper 3 days earlier than it was due. In addition, Abdel Quddous charged <mask> to write a weekly page in the newspaper titled "Personalities," in which he employed his unusual, yet unique, style of writing to narrate stories of intellectual, cultural, political and religious figures in Egypt. Furthermore, he gained a wide recognition for being the only Arab journalist who witnessed the issuance of the United Nations resolution 242 (1967), and the coup attempt by General Mohammad Oufkir against King Hassan II.Throughout his journey as a journalist, Awad was fortunate to strike up friendships with film celebrities and figures of world literature, including Taha Hussein, Tawfiq al-Hakim and Ahmed Hassan El-Bakoory, as well as the world famous artist Anthony Quinn, which raised a lot of questions at the time. He was submerged by the celebrities’ requests to write about them, some of which he met, resulting in the publication of over 15 books. On the other hand, the Egyptian singer, Umm Kulthum, preferred to have Mustafa Amin as her biographer. However, seeing that Amin, too, was impressed by Awad's work, he nominated Awad for the task. Despite Umm Kulthum's initial

masks: Awad Awad Awad


type: original

texts: reluctance to accept the offer, she changed her thoughts about Awad after reading the book he wrote about her. In 1977, <mask> was barred from his writing profession at Akhbar el-Yom, despite enriching the content of the newspaper and contributing to the increase of its distribution to over a million copy. There were many conflicting reasons regarding Awad's ban, one reason being his opposing views regarding the peace negotiations with Israel, which provoked the authorities.Another reason could be his professional excellence that lead to jealousy among colleagues. As a traveling writer, Awad covered topics from different parts of the world, including the United Nations, and wrote about the life of Egyptians abroad. He was also well known among celebrities and leading Intellectuals. According to the Egyptian journalist, Khairy Hassan, Musa Sabri, who was jealous of Awad's achievements, justified Awad's work trips as absence from work, adding that Awad is an Literary editor, not a writer, and, hence, is not entitled to take leave from work for such long periods. Awad did not let that stop him from pursuing his passion, and started writing for some of the well-known Arab newspapers, including the London-based Al-Hayat international Arab paper, Alqabas Kuwaiti newspaper and Al Riyadh Saudi newspaper, until he was appointed editor-in-chief for Al Ahrar newspaper of the Liberal Party in 1986. He


texts:
 helped increase the distribution of the newspaper by 157,000 in only three months’ time, which was the span of his experience at Al Ahrar. However, as a result of some disagreements between Awad and the Liberal Party, Awad fell ill and self-isolated.Shortly after his recovery, he joined Egypt's Journalists Syndicate council and helped form the building blocks of the syndicate by setting up activities for talented young journalists and rewarding them. Despite his busy life, Awad refused to be part of any political mainstream or party. The most recent proposal was that made by the former Prime Minister of Egypt, Aziz Sedky, to have <mask> join the National Front, to which <mask> responded saying that he would not even wish to rule his own street. Writings
His writings about Umm Kulthum: Before writing about Umm Kulthum, Awad attempted to call the singer a number of times, for the purpose of citing their dialogue in the writing he was composing about Umm Kulthum. Awad was on his way to publishing the article if it wasn't for Abdel Quddous, who prevented him from proceeding. Abdel Quddous's concern revolved around including the telephone conversations without Umm Kulthum's knowing of it. Awad, nevertheless, believed that a celebrity is not entitled to be informed about the content that is written about him or her, seeing that it is part of a writer's freedom, but Abdel Quddous

masks: Awad Awad


texts:
 disagreed.Consequently, and as <mask> feared, Umm Kulthum raised objections to the opening of their conversation, resulting in <mask> insisting on not making any changes to the original version. With time, Umm Kulthum overlooked the dispute that arose between herself and <mask>. In fact, she indirectly apologized for her adamance by praising <mask>'s work to the founder of Dar Assayad weekly newspaper, Said Fareeha, who agreed to publishing Awad's article. Her appeasements were further proved when she defended <mask> for naming the book he composed about her "The Umm Kulthum that No One Knows of," despite the dissatisfaction expressed by her relatives. His writings about famous musicians: Awad continued to face difficulties in his writing about famous artists and actors, including Mohammed Abdel Wahab, whom he almost as a result of publishing "The Abdel Wahab that No One Knows of" book. Therefore, when other singers, such as Abdel Halim Hafez and Farid al-Atrash, requested to have <mask> as their biographer, he politely refused. <mask> then announced a change in the course of his career from legacy-writing to political-writing, whilst preserving the bonds of friendship and respect with all the well-known figures and respectable icons with which he's acquainted.Death
After struggling with his illness, 70-year-old <mask> died on 28 August 2009. No one knew about his death until two days later,

masks: Awad Awad Awad Awad Awad Awad Awad Awad


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 when he did not show up for his doctor appointment. Works
Some of <mask>'s books include:

 “Thoughts Against Lead” (original title: Afkar Did Al-Rasaas), Dar Al-Maarif Bookshop, Cairo, 1972
 "Banned from Circulation" (original title: Mamnue Min Al-Tadawul), Dar El Shorouk, Cairo, 1972. "Banned from Circulation 2: Israeli Thoughts" (original title: Mamnue Min Al-Tadawul 2: Afkar Israeliya), Egyptian Radio and Television Union, Cairo, 1973. "Top Secret" (original title: Siri Jidaa), Modern Egyptian Bureau, Cairo, 1974. "Rebels for the Sake of Allah" (original title: Mutamaridun Li-Wajh Allah), Dar El Shorouk, Cairo, 1986. "Peace Be Upon You" (original title: Wa Alaykumu S-Salam), Dar Al-Mustaqbal Al-Arabi, Cairo, 1986."The Umm Kulthum that No One Knows of" (original title: Umm Kulthum Alaty La Ya’rafuha Ahad), Akhbar el-Yom newspaper, Cairo, 1987. "The Abdel Wahab that No One Knows of" (original title: Mohammed Abdel Wahab Aladhy La Ya’rafuhu Ahad), Dar Al-Maarif Bookshop, Cairo, 1991. "In the Wounded Arabic Language" (original title: B-il Arabi Al-Jarih), Dar Al-Maarif Bookshop, Cairo, 2006. "Personalities" (original title: Shakhsiyaat), Dar Al-Maarif Bookshop, Cairo, 2009. "From an Heartache" (original title: Min Waja’i Al-Qalb), Dar Al-Maarif Bookshop, Cairo, 2007. "The Seventh Day: The Impossible War ... The War of Attrition” (original title: Al-youm Al-Sabei: Al-Harb Al-Mustahila ... Harb


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 Al-Istinzaf), Dar Al-Maarif Bookshop, Cairo, 2010.External links

 The passing away of the Egyptian author, <mask> <mask>, as covered by Al Jazeera Channel on 30 August 2009. The passing away of the Egyptian author, <mask> <mask>, as covered by BBC News Arabic on 30 August 2009. ٍReferences

Living people
1942 births
People from Dakahlia Governorate
Egyptian writers
Egyptian

masks: Mahmud Awad Mahmud Awad


texts:
<mask>) (17 December 1867 in Khachisar (now Chardakhlu), Artsakh – 21 June 1952 in Antelias, Lebanon) was a scholar of Armenian art and Catholicos of Cilicia of the Armenian Apostolic Church from 1943 to 1952. Education and career as clergyman
Born Garegin Hovsepian and originally from Artsakh (then part of the Elizavetpol Governorate of the Russian Empire), he studied at the Gevorgian Seminary of the Catholicosate of All Armenians in Etchmiadzin (1882-1890). During this period, he was ordained a deacon of the Armenian Church and joined the Congregation of the Holy See of Etchmiadzin. In 1892-1897, he studied theology and philosophy at the universities of Leipzig, Halle and Berlin. His doctoral dissertation was published in Leipzig in 1897. After his return from Germany, <mask> was ordained a celibate priest in Etchmiadzin. In 1917 he was ordained bishop, Until the outbreak of the First World War, he held a number of teaching and administrative positions within the jurisdiction of the Holy See, in Etchmiadzin, Yerevan, and Tbilisi; he was, at different times, head of the Echdmiazin library, Dean of the Gevorgian Seminary, and editor of the Catholicosate's journal, Ararat.Following the mass influx of refugees, escaping the Armenian genocide in the Ottoman Empire in 1915-1916, he chaired the Commission of Brotherly Assistance, which looked after the fleeing orphans. <mask> was ordained a bishop in 1917, In May 1918, during the Ottoman invasion of Transcaucasia, he participated in the Battle of Sardarapat; he and fellow priests visited villages close to the battle-front to encourage both the Armenian soldiers and unarmed villagers to resist the invading army. His service was appreciated through subsequent decorations he received from both the Russian Commander of the Caucasian Front

masks:
Karekin I (
Karekin
Karekin


texts: and the government of the Republic of Armenia (1918-1920). It also accorded him tremendous respect in Armenian nationalist circles, including the influential Dashnak Party. This proved crucial during pivotal moments in his subsequent career. In 1920, during the invasion of Armenia by the Turkish Kemalist troops, <mask> again volunteered to be at the frontline. This time, however, he fell captive when the Kemalists captured Kars on 30 October.He escaped on 19 January 1921, sought refuge in the city's American orphanage, and, on 21 March, he finally reached Armenian territory, where Soviet rule had already been established. <mask> witnessed from close range Soviet attempts to destroy organized religion, including the Armenian Church. As early as 1923, the Soviet secret police reported its unhappiness with his religious activities. In 1924, he toured other Armenian communities in the USSR and raised 120,000 roubles for Etchmiadzin. In 1924, he was appointed to the newly established Supreme Spiritual Council of Etchmiadzin and was later re-elected to serve on that body in both 1932 and 1941. In 1925, he was elevated to the rank of archbishop. He played a key role in collecting relief for the victims of the strong earthquake that hit Armenia's second largest city, Leninakan (now, Gyumri) in 1926.From 1927 to 1933, Karekin was the primate of the Diocese of Crimea and Nor Nakhichevan (a suburb of Rostov-on-Don), which covered Armenian Church parishes and institutions over vast stretches of Russian territory, including Moscow and Leningrad. He could do very little, however, to stop the continued closing of Armenian churches in those areas. In 1934 Catholicos Khoren <mask> of Etchmiadzin appointed Karekin pontifical legate to travel abroad in order to raise funds for the reconstruction

masks: Karekin Karekin I


texts: of the Etchmiadzin Cathedral and other expenses of the Catholicosate, as well solve administrative problems that had arisen in some dioceses of the Armenian Church outside the USSR, particularly in France and the USA. From 1935 Karekin visited nearly a dozen European and Middle Eastern countries, during which he raised some US$35,000. In 1936 Karekin reached the US in what proved to be the final leg of his mission. A serious schism had arisen in the Armenian Church in North America on the issue of cooperation with the Holy See of Etchmiadzin, which the dissidents complained was fully under Communist control in Soviet Armenia. Karekin failed to find a solution to this crisis.The Armenian Church Diocese, which had stayed loyal to Etchmiadzin, eventually elected him as its next primate. His election came despite repeated calls from Etchmiadzin for his return to the Holy See. Indeed, the locum tenens, Archbishop Gevorg Chorekchian, reported to the National Ecclesiastical Assembly (NEA) in Etchmiadzin in 1941 that the results of <mask>'s mission abroad had not covered the financial needs of the Holy See. In 1938-1943 Karekin served as primate of the Eastern Diocese of the Armenian Church in North America. After the USSR and the USA became allies during World War II, he led efforts to collect $120,000 from Armenian-Americans to assist Armenian soldiers in the Red Army and Armenian civilians harmed by the ongoing war in Europe. Separately, he also helped raise another $85,000 for the formation of the David of Sasun Tank Unit for the Red Army. <mask>'s religious career took an unexpected turn in 1943, when the competing pro- and anti-Soviet Armenian political factions agreed on his candidacy as the next Catholicos of the Great House of Cilicia, the second most important see of the

masks: Karekin Karekin


texts: Armenian Church.Wartime conditions made it impossible for <mask> to leave the US and reach the seat of this catholicosate in  Lebanon until March 1945. In the meantime, he stayed in New York, raising $44,000 for the Catholicosate of Cilicia, plus receiving commitments to sponsor students in its seminary. In June 1945, <mask> briefly returned to Soviet Armenia (for the first time since 1935) to participate in the NEA, which elected Chorekchian as the next Catholicos of All Armenians. <mask> was the first Catholicos of Cilicia to participate in the election of the Catholicos of Etchmiadzin, and he personally consecrated the newly elected Gevorg VI. In 1946-1949, Karekin supported the Kremlin-backed campaign of repatriation of around 90,000 diasporan Armenians to Soviet Armenia. In 1946, Gevorg accorded him the unprecedented privilege of carrying a diamond cross on his hood, usually the sole prerogative of the Catholicos of All Armenians. Gevorg also asked Karekin to mediate a solution to an administrative dispute within the Armenian Patriarchate in Istanbul, which is traditionally outside the jurisdiction of the Catholicosate of Cilicia.Cold War pressures sharpened intra-Armenian political disputes in the Middle East in the last years of <mask>'s reign. His relations with the anti-Soviet Dashnak party, which had supported his election, now cooled. After <mask>'s health began to deteriorate from 1950, Soviet leaders in Moscow feared that a pro-Dashnak clergyman might end up being his successor. In 1951, they pushed Gevorg in Etchmiadzin to formally write to Karekin in Lebanon and suggest appointing and ordaining a successor (acceptable to the Soviets) during his own lifetime. Karekin refused this offer, seeing in it a violation of the internal freedoms traditionally enjoyed by the

masks: Karekin Karekin Karekin Karekin Karekin


texts:
 catholicosates of both Etchmiadzin and Cilicia. Indeed, <mask>'s death in 1952 was followed by a four-year struggle over his succession, ending in a victory for the Dashnak-supported candidate. Career as a scholar
<mask> is also remembered as a prominent scholar of Armenian Art at the end of the nineteenth and first half of the twentieth century.Initially, his scholarly interest focused on collecting and studying Armenian oral literature. He also produced some works on theology. Thereafter, he developed strong interests in the study of medieval Armenian manuscripts (especially their illuminations, colophons and paleography), as well as medieval literature, historiography, archaeology, architecture, epigraphy, and plastic arts. He authored a number of monographs and dozens of scholarly articles, mostly in Armenian, but also a few in Russian. During the tsarist period, he was elected a member of the Caucasian branch of the , and the Russian Imperial Archeological Society at St Petersburg. In the aftermath of the Armenian Genocide, he embarked upon establishing an Armenian ethnographic museum in Transcaucasia in 1917, collecting materials from refugees fleeing the Ottoman Empire. During the brief period of Armenian independence (1918-1920), he was appointed professor of Armenian Art History and Archeology at the newly established Yerevan State University.He also became a founder-member of the Committee for the Preservation of the Monuments of Armenia. Karekin continued his scholarly activities within state-supported academic and research institutions in the earliest years of Soviet rule, but the Communist regime's aggressive anti-religious campaign soon made it impossible for him to publish in Soviet academic journals. From the late 1920s, his studies appeared in various


texts:
 publications of the Armenian Diaspora. However, the Soviet Armenian Academy of Sciences posthumously published a two-volume anthology of his works, in 1983-1987. During his reign as Catholicos of Cilicia, Karekin also took tangible steps towards turning the Catholicosate's headquarters in Lebanon into an Armenian cultural center in the diaspora. In 1951, he published Hishatakarank Dzeragrats (in Armenian Յիշատակարանք Ձեռագրաց), a huge 1,255 page book about religious and historical references spanning from the 5th century to 1250 A.D. The information was gathered from ancient Armenian manuscripts that were located, among other places, at the Armenian Patriarchate in Jerusalem.He was assisted in this project by his Staff-Bearer (gavazanakir), seminary student , who traveled to Jerusalem with him and hand-copied and compiled the information from the original documents. Notes
Shortly after the death of <mask> I in 1952, Neshan Sarkissian, an Armenian cleric, was ordained a priest taking the name <mask> in remembrance of the late Catholicos. <mask> Sarkissian later became Catholicos <mask> <mask> of Cilicia and then Catholicos <mask> <mask> of All Armenians. Secondary sources
 Arzumanean, Rev. Zawen, Azgapatum [The Story of the Nation], Vol. 4, Books I-II (New York, 1995 and 1997). Avakian, Arra S. (1998).Armenia: A Journey Through History. The Electric Press, Fresno. Eghiayean, Biwzand (1975). Zhamanakakits Patmutiwn Katoghikosutean Hayots Kilikioy 1914-1972 [Contemporary History of the Armenian Catholicossate of Cilicia]. Antelias, pp. 565–628. Oshakan, Hakob (1948).Arewelahay banasirutiwne ew Ejmiatsin: Garegin Katoghikos Hovsepian [Eastern Armenian Philology and Echmiadzin: Catholicos <mask> Hovsepian]. Antelias. Catholicoi of Cilicia
1867 births
1952 deaths
Armenian Oriental

masks: Karekin Karekin Karekin Karekin II Karekin I Karekin


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Jacques-<mask> (; 27 September 1627 – 12 April 1704) was a French bishop and theologian, renowned for his sermons and other addresses. He has been considered by many to be one of the most brilliant orators of all time and a masterly French stylist. Court preacher to Louis XIV of France, Bossuet was a strong advocate of political absolutism and the divine right of kings. He argued that government was divinely ordained and that kings received sovereign power from God. He was also an important courtier and politician. The works best known to English speakers are three great orations delivered at the funerals of Queen Henrietta Maria, widow of Charles I of England (1669), of her daughter Henriette, Duchess of Orléans (1670), and of the outstanding military commander le Grand Condé (1687). His work Discours sur l'histoire universelle (Discourse on Universal History 1681) has been regarded by many Catholics as an actualization or new version of the City of God of St. Augustine of Hippo.Biography

Early years
Bossuet was born at Dijon. He came from a family of prosperous Burgundian lawyers – on both his paternal and maternal side, his ancestors had held legal posts for at least a century. He was the fifth son born to Beneigne <mask>, a judge of the parlement (a provincial high court) at Dijon, and Marguerite Mouchet. His parents decided on a career in the Church for their fifth son, so he was tonsured at age eight. The boy was sent to school at the Collège des Godrans, a classical school run by the Jesuits of Dijon. When his father

masks:
Bénigne Lignel Bossuet
Bossuet


texts:
 was appointed to the parlement at Metz, Bossuet was left in Dijon under the care of his uncle <mask> d'Aiseray, a renowned scholar. At the Collège des Godrans, he gained a reputation for hard work: fellow students nicknamed him Bos suetus aratro, an "ox accustomed to the plough".His father's influence at Metz allowed him to obtain for the young Bossuet a canonry in the cathedral of Metz when the boy was just 13 years old. In 1642, Bossuet enrolled in the Collège de Navarre in Paris to finish his classical studies and to begin the study of philosophy and theology. His mentor there was the college's president, Nicolas Cornet, the theologian whose denunciation of Antoine Arnauld at the Sorbonne in 1649 was a major episode in the Jansenist controversy. For the time being, however, Cornet and Arnaud were still on good terms. In 1643, Arnaud introduced Bossuet to the Hôtel de Rambouillet, a great centre of aristocratic culture and the original home of the Précieuses. Bossuet was already showing signs of the oratorical brilliance which served him so well throughout his life. On one celebrated occasion at the Hôtel de Rambouillet, during a dispute about extempore preaching, the 16-year-old Bossuet was called on to deliver an impromptu sermon at 11 pm.Vincent Voiture famously quipped: "I never heard anybody preach so early nor so late". Early clerical career

Bossuet became a Master of Arts in 1643. He sustained his first thesis (tentativa) in theology on 25 January 1648, in the presence of the Prince de Condé. Later in 1648, he was


texts:
 ordained a subdeacon at Metz. Ordination as a  deacon came in 1649, after which he began to preach his first sermons. He sustained his second thesis (sorbonica) on November 9, 1650. Then, in preparation for the priesthood, he spent the next two years in retirement under the spiritual direction of Saint Vincent de Paul.Priest at Metz
In January 1652, Bossuet returned to public life, being named Archdeacon of Sarrebourg. He was ordained a priest on 18 March 1652. A few weeks later, he defended his brilliant doctoral work and became a Doctor of Divinity. He spent the next seven years at Metz, where his father's influence had got him a canonry at age 13 and where he now also had the office of archdeacon. He was plunged at once into the thick of controversy; for nearly half of Metz was Protestant, and Bossuet's first appearance in print was a refutation of the Huguenot pastor Paul Ferry (1655). During the rest of his time at Metz he frequently engaged in religious controversies with Protestants (and, less regularly, with Jews). To reconcile the Protestants with the Catholic Church became the great object of his dreams; and for this purpose, he began to train himself carefully for the pulpit, an all-important centre of influence in a land where political assemblies were unknown and novels and newspapers scarcely born.His youthful imagination was unbridled, and his ideas ran easily into a kind of paradoxical subtlety, redolent of  divinity faculties. Nevertheless, his time at Metz was an important time for developing his pulpit


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 oratory and for allowing him to continue his study of Scripture and the Church Fathers. He also gained political experience through his participation in the local Assembly of the Three Orders. In 1657, in Metz, Bossuet preached before Anne of Austria, mother of Louis XIV. As a result, he received the honorific title of "Counselor and Preacher to the King". Early career in Paris

In 1657, St. Vincent de Paul convinced Bossuet to move to Paris and give himself entirely to preaching. (He did not entirely sever his connections with the cathedral of Metz, though: he continued to hold his benefice, and in 1664, when his widowed father was ordained as a priest and became a canon of the Metz cathedral chapter, Bossuet was named chapter's  dean.)Bossuet quickly gained a reputation as a great preacher, and by 1660, he was preaching regularly before the court in the Chapel Royal. In 1662, he preached his famous sermon "On the Duties of Kings" to Louis XIV at the Louvre. In Paris, the congregations had no mercy on purely clerical logic or clerical taste; if a preacher wished to catch their ear, he had to manage to address them in terms they would agree to consider sensible and well bred. Having very stern ideas of the dignity of a priest, Bossuet refused to descend to the usual devices for arousing popular interest. The narrative element in Bossuet's sermons grew shorter with each year. He never drew satirical pictures like his great rival Louis Bourdaloue. He would not write out his discourses in full, much less learn them off by heart:


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 of the two hundred printed in his works, all but a fraction are rough drafts.Ladies such as Mme de Sévigné forsook him when Bourdaloue dawned on the Paris horizon in 1669, though Fénelon and La Bruyère, two much sounder critics, refused to follow their example. Bossuet possessed the full equipment of the orator, voice, language, flexibility and strength. He never needed to strain for effect; his genius struck out at a single blow the thought, the feeling and the word. What he said of Martin Luther applies peculiarly to himself: he could fling his fury into theses and thus unite the dry light of argument with the fire and heat of passion. These qualities reached their highest point in the Oraisons funèbres (Funeral Orations). Bossuet was always best when at work on a large canvas; besides, here no conscientious scruples intervened to prevent him giving much time and thought to the artistic side of his subject. The Oraison, as its name betokened, stood midway between the sermon proper and what would nowadays be called a biographical sketch.At least that was what Bossuet made it; for on this field, he stood not merely first, but alone. One hundred and thirty-seven of Bossuet's sermons preached in the period from 1659 to 1669 are extant, and it is estimated that he preached more than a hundred more that have since been lost. Apart from state occasions, Bossuet seldom appeared in a Paris pulpit after 1669. Tutor to the Dauphin, 1670–1681
A favourite of the court, in 1669, Bossuet was gazetted bishop of Condom in Gascony, without


texts: being obliged to reside there. He was consecrated bishop on September 21, 1670, but he resigned the see when he was elected to the Académie française in 1671. On 18 September 1670 he was appointed tutor to the nine-year-old Dauphin, eldest child of Louis XIV. The choice was scarcely fortunate.Bossuet unbent as far as he could, but his genius was by no means fitted to enter into the feelings of a child; and the dauphin was a choleric, ungainly, sullen boy. Probably no one was happier than the tutor when his charge turned sixteen and was married off to a Bavarian princess. Still, Bossuet's nine years at court were by no means wasted. Bossuet's tutorial functions involved composing all the necessary books of instruction, including not just handwriting samples, but also manuals of philosophy, history, and religion fit for a future King of France. Among the books written by Bossuet during this period are three classics. First came the Traité de la connaissance de Dieu et de soi-même ("Treatise on the Knowledge of God and of Oneself") (1677), then the Discours sur l'histoire universelle ("Discourse on Universal History") (1679, published 1682), and lastly the Politique tirée de l'Écriture Sainte ("Politics Drawn from Holy Scripture") (1679, published 1709). The three books fit into each other.The Traité is a general sketch of the nature of God and the nature of man. The Discours is a history of God's dealings with humanity in the past. The Politique is a code of rights and duties drawn up in the light thrown by those dealings.


texts: Bossuet's conclusions are only drawn from Holy Scripture because he wished to gain the highest possible sanction for the institutions of his country and to hallow the France of Louis XIV by proving its astonishing likeness to the Israel of Solomon. Then, too, the veil of Holy Scripture enabled him to speak out more boldly than court etiquette would have otherwise allowed, to remind the son of Louis XIV that kings have duties as well as rights. The Grand Dauphin had often forgotten these duties, but his son, the Petit Dauphin, would bear them in mind. The tutor's imagination looked forward to a time when France would blossom into Utopia, with a Christian philosopher on the throne.That is what made him so stalwart a champion of authority in all its forms: "le roi, Jesus-Christ et l'Eglise, Dieu en ces trois noms" ("the king, Jesus Christ, and the Church, God in His three names"), he says in a characteristic letter. The object of his books is to provide authority with a rational basis. Bossuet's worship of authority by no means killed his confidence in reason; what it did was make him doubt the honesty of those who reasoned otherwise than himself. The whole chain of argument seemed to him so clear and simple. Philosophy proves that God exists and that He shapes and governs the course of human affairs. History shows that this governance is, for the most part, indirect, exercised through certain venerable corporations, as well civil and ecclesiastical, all of which demand implicit obedience as the immediate representatives of God.


texts: Thus all revolt, whether civil or religious, is a direct defiance of the Almighty.Oliver Cromwell becomes a moral monster, and the revocation of the Edict of Nantes was the greatest achievement of the second Constantine. The France of his youth had known the misery of divided counsels and civil war; the France of his adulthood, brought together under an absolute sovereign, had suddenly  burgeoned into a splendour comparable only with ancient Rome. Why not, then, strain every nerve to hold innovation at bay and prolong that splendour for all time? <mask>'s own Discours sur l'histoire universelle might have furnished an answer, for there the fall of many empires is detailed; but then the Discours was composed with a single purpose in mind. To Bossuet, the establishment of Christianity was the one point of real importance in the whole history of the world. He totally ignores the history of Islam and Asia; on Greece and Rome, he only touched insofar as they formed part of the Praeparatio Evangelica. Yet his Discours is far more than a theological pamphlet.While Pascal might refer the rise and fall of empires to Providence or chance or a little grain of sand in the English lord protectors' veins, Bossuet held fast to his principle that God works through secondary causes. It is His will that every great change should have its roots in the ages that went before it. Bossuet, accordingly, made a heroic attempt to grapple with origins and causes, and in this way, his book deserves its place as one of the first of philosophic histories.


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 Bishop of Meaux, 1681–1704

With the period of the Dauphin's formal education ending in 1681, Bossuet was appointed Bishop of Meaux by the King on 2 May 1681, which was approved by Pope Innocent XI on 17 November. But before he could take possession of his see, he was drawn into a violent quarrel between Louis XIV and Pope Innocent XI. Here he found himself in a quandary: to support the Pope meant supporting the Jesuits; and he hated their supposed casuistry and dévotion aisée almost as much as Pascal; to oppose the Pope was to play into the hands of Louis XIV, who was eager to subject the Church to the will of the State. Bossuet therefore attempted to steer a middle course.In 1682, before the general Assembly of the French Clergy, he preached a great sermon on the unity of the Church and made it a magnificent plea for compromise. As Louis XIV insisted on his clergy making an anti-papal declaration, Bossuet got leave to draw it up and made it as moderate as he could, and when the Pope declared it null and void, he set to work on a gigantic Defensio Cleri Gallicani, only published after his death. Throughout this controversy, unlike the court bishops, Bossuet constantly resided in his diocese and took an active interest in its administration. Efforts to combat Protestantism
The Gallican storm a little abated, he turned back to a project very near his heart. Ever since the early days at Metz, he had been busy with schemes for uniting the Huguenots to the Catholic Church. In 1668, he converted Turenne; in 1670, he published an


texts: Exposition de la foi catholique ("Exposition of the Catholic Faith"), so moderate in tone that adversaries were driven to accuse him of having fraudulently watered down the Catholic dogmas to suit Protestant taste. Finally, in 1688, his great Histoire des variations des Églises protestantes ("History of the Variations of the Protestant Churches"), perhaps the most brilliant of all his works, appeared.Few writers could have made the Justification controversy interesting or even intelligible. His argument is simple enough. Without rules, an organized society cannot hold together, and rules require an authorized interpreter. The Protestant churches had thrown over this interpreter; and Bossuet had small trouble in showing that, the longer they lived, the more they varied on increasingly important points. The Protestant Minister Pierre Jurieu having responded to the Histoire des variations, Bossuet published the Avertissements aux protestants sur les lettres du ministre Jurieu contre l'Histoire des variations (Warnings to Protestants on the letters of Minister Jurieu against the History of Variations, 1689–1691). In the fifth of these Avertissements (1690), he denied the thesis of the explicit or implicit contract between the prince and his subjects, which Jurieu supported, and formulated the famous sentence: "To condemn this state [= slavery], it would not only be condemn the law of nations, where servitude is admitted, as it appears by all the laws; but that would be to condemn the Holy Spirit, who commands slaves, through the


texts: mouth of St. Paul, to remain in their state, and does not oblige their masters to free them. Flaubert, in his Sottisier, noted that in the 19th century, Catholic theology had varied to the point of expressing ideas on slavery diametrically opposed to those of Bossuet.For the moment, the Protestants were pulverized; but before long, they began to ask whether variation was necessarily so great an evil. Between 1691 and 1701, Bossuet corresponded with Leibniz with a view to reunion, but negotiations broke down precisely at this point. Leibniz thought his countrymen might accept individual Roman doctrines, but he flatly refused to guarantee that they would necessarily believe tomorrow what they believe today. We prefer, he said, a church eternally variable and for ever moving forwards. Next, Protestant writers began to accumulate some alleged proofs of Rome's own variations; and here, they were backed up by Richard Simon, a priest of the Paris Oratory and the father of biblical criticism in France. He accused St Augustine, Bossuet's own special master, of having corrupted the primitive doctrine of grace. Bossuet set to work on a Defense de la tradition, but Simon calmly went on to raise issues graver still.Under a veil of politely ironic circumlocutions, such as did not deceive the Bishop of Meaux, he claimed his right to interpret the Bible like any other book. Bossuet denounced him again and again; Simon told his friends he would wait until the old fellow was no more. Another Oratorian proved more dangerous still. Simon had


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 endangered miracles by applying to them lay rules of evidence, but Malebranche abrogated miracles altogether. It was blasphemous, he argued, to suppose that the Author of nature would violate the law He had Himself established. Bossuet might scribble nova, mira, falsa in the margins of his book and urge Fénelon to attack them; Malebranche politely met his threats by saying that to be refuted by such a pen would do him too much honor. These repeated checks soured Bossuet's temper.In his earlier controversies, he had borne himself with great magnanimity, and the Huguenot ministers he refuted had found him a kindly advocate at court. His approval of the revocation of the Edict of Nantes stopped far short of approving dragonnades within his Diocese of Meaux, but now his patience was waning. A dissertation by one Father Caffaro, an obscure Italian monk, became his excuse for writing certain, violent Maximes sur la comédie (1694), wherein he made an attack on the memory of Molière, dead more than twenty years. Controversy with Fénelon

Three years later, he was battling with Bishop François Fénelon over the love of God. Fénelon, 24 years his junior, was an old pupil who had suddenly become a rival; like Bossuet, Fénelon was a bishop who served as a royal tutor. The controversy concerned their different reactions to the opinions of Jeanne Guyon: her ideas were similar to the Quietism of Molinos, which was condemned by Pope Innocent XI in 1687. When Mme de Maintenon began questioning the orthodoxy of Mme Guyon's opinions, an


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 ecclesiastical commission of three members, including Bossuet, was appointed to report on the matter.The commission issued 34 articles known as the Articles d'Issy, which condemned Mme Guyon's ideas very briefly and provided a short treatise on the orthodox, Catholic conception of prayer. Fénelon, who had been attracted to Mme Guyon's ideas, signed off on the Articles, and Mme Guyon submitted to the judgment. Bossuet now composed Instructions sur les états d'oraison, a work that explained the Articles d'Issy in greater depth. Fénelon refused to endorse this treatise, however, and instead composed his own explanation as to the meaning of the Articles d'Issy, his Explication des Maximes des Saints. He explained his view that the goal of human life should be to have love of God as its perfect object, with neither fear of punishment nor desire for the reward of eternal life having anything to do with this pure love of God. King Louis XIV reproached Bossuet for failing to warn him that his grandsons' tutor had such unorthodox opinions and instructed Bossuet and other bishops to respond to the Maximes des Saints. Bossuet and Fénelon thus spent the years 1697–1699 battling each other in pamphlets and letters until the Inquisition finally condemned the Maximes des Saints on 12 March 1699.Pope Innocent XII selected 23 specific passages for condemnation. Bossuet triumphed in the controversy and Fénelon submitted to Rome's determination of the matter. Death

Until he was over 70 years, Bossuet enjoyed good health, but in 1702 he


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 developed chronic kidney stones. Two years later he was a hopeless invalid, and on 12 April 1704 he died quietly. His funeral oration was given by Charles de la Rue, SJ. He was buried at Meaux Cathedral. Preaching

Bossuet is widely considered to be one of the most influential homilists of all time.He is one of the preachers, along with John Tillotson and Louis Bourdaloue, who began the transition from Baroque to Neoclassical preaching. He preached with a simple eloquence that eschewed the grandiose extravagances of earlier preaching. He focused on ethical rather than doctrinal messages, often drawing from the lives of saints or saintly contemporaries as examples. He preached, for example, on St. Francis de Sales as well as funeral orations on Queen Henrietta Maria of France and Henrietta Anne of England. Bossuet's funeral orations in particular had lasting importance and were translated early into many languages, including English. Such was their power that even Voltaire, normally so antagonistic toward clergy, praised his oratorical excellence. Works

An edition of Bossuet's sermons was edited by Abbé Lebarq in 6 vols.(Paris, 1890, 1896), as the Œuvres oratoires de Bossuet. His complete works were edited by Lachat in 31 vols. (Paris, 1862–1864). The work was published posthumously in 1709. The work consists of several books which are divided into articles and propositions which lay out the nature, characteristics, duties, and resources of royalty. To justify his propositions, Bossuet quotes liberally from the Bible and


texts: various psalms. Throughout his essay, Bossuet emphasizes the fact that royal authority comes directly from God and that the person of the king is sacred.In the third book, Bossuet asserts that "God establishes kings as his ministers, and reigns through them over the people." He also states that "the prince must be obeyed on principle, as a matter of religion and of conscience." While he declares the absolute authority of rulers, he emphasizes the fact that kings must use their power only for the public good and that the king is not above the law "for if he sins, he destroys the laws by his example." In books six and seven, Bossuet describes the duties of the subjects to the prince and the special duties of royalty. For Bossuet, the prince was synonymous with the state, which is why, according to him, the subjects of the prince owe the prince the same duties that they owe their country. He also states that "only public enemies make a separation between the interest of the prince and the interest of the state." As far as the duties of royalty, the primary goal is the preservation of the state.Bossuet describes three ways that this can be achieved: by maintaining a good constitution, making good use of the state's resources, and protecting the state from the dangers and difficulties that threaten it. In books nine and ten, Bossuet outlines the various resources of royalty (arms, wealth, and counsel) and how they should be used. In regards to arms, Bossuet explains that there are just and unjust grounds for war. Unjust causes


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 include ambitious conquest, pillage, and jealousy. As far as wealth is concerned, he then lays out the types of expenditures that a king has and the various sources of wealth for the kingdom. He emphasizes that the true wealth of a kingdom is its men and says that it is important to improve the people's lot and that there would be no more poor. Trivia

The Catholic Encyclopedia (1913) calls Bossuet the greatest pulpit orator of all time, ranking him even ahead of Augustine and Chrysostom.The exterior of Harvard's Sanders Theater includes busts of the eight greatest orators of all time – they include a bust of Bossuet alongside such giants of oratory as Demosthenes, Cicero, and Chrysostom. A character in Les Misérables, being from Meaux and an orator, is nicknamed Bossuet by his friends. Bossuet was one of several co-editors on the "Ad usum Delphini" book series (commonly known as the Delphin Classics) of the Latin classics. Bossuet was the uncle of <mask>. See also
 List of works by Eugène Guillaume
 Jacques Benige Bossuet ; a study, E.K. Sanders, London, 1921. Bossuet and His Contemporaries, Lear, H. L. Sidney, London, 1874.Notes

References

Attribution:

External links

Discours sur l'Histoire universelle ( French text – 1681 PDF)
  Livre audio mp3 gratuit: Oraison funèbre de Henriette-Anne d’Angleterre, duchesse d’Orléans. Oraison funèbre de Henriette-Marie de France, reine de la Grand’Bretagne. 1627 births
1704 deaths
17th-century French Roman Catholic bishops
17th-century Christian mystics
18th-century French


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 Roman Catholic bishops
18th-century Christian mystics
Canons (priests)
Bishops of Condom
Bishops of Meaux
Bishops of Troyes
French monarchists
French religious writers
17th-century French Catholic theologians
Members of the Académie Française
People from Dijon
Roman Catholic mystics
Sermon writers
University of Paris alumni
17th-century French male writers
17th-century French poets
French male poets
French male non-fiction


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Dr. D. P<mask> (nee Dr. <mask>), born 1956, is an Indo-Canadian scientist, educationist, author science fiction writer, Sikh theologian, and TV host. As a widely travelled person, mostly for his academic research, and promotion of science in developing countries, he has published about 100 research papers in Acoustics, Polymer Physics, Condensed Matter Physics and Material Science. Besides, he has published over 1000 general articles on the topics related to Science, Environment and Religion. Due to his outstanding contributions for the cultivation of scientific temper and environmental awareness among people, the Peace on Earth Organization, Canada, in 2010, honored him with the "Life Time Achievement Award". Though he writes in English and Punjabi, his works have also been translated into Hindi, Shahmukhi, and Marathi languages. Early life
Born in 1956, at Hoshiarpur, Punjab, India, <mask>der received M.Sc. (Physics) degree from Panjab University, Chandigarh, in 1978.Started his professional career at SGGS Khalsa College, Chandigarh, India. In 1986, received Ph.D. degree from Guru Nanak Dev University, Amritsar. Served several Higher Education institutions, as part of the Punjab Education Services, Govt. of Punjab, during 1980-2008. After joining Shivalik College, Nangal in 1980, he excelled in popular science communication in Punjabi and English languages, but later on focussed on Science fiction, environmental and theological writings. Career
After a 30 years long educational career, as Associate Professor in Physics, at Punjab Education Services, Govt. of Punjab, India, Dr. <mask> moved to

masks:
. Singh
Devinder Pal Singh
Devin
Singh


texts:
 Canada in 2008.Herein, he founded an educational Center, dedicated to helping University/College/Senior Secondary students to achieve their academic dreams in the fields of Physical Sciences, and Humanities. Since 2013, he has served as Director, and Educational Consultant to several academic institutions in GTA, Canada. During 2014-2020, he has worked as Associate Dean at International University of California, USA and is currently working as Honorary Director, Center for Understanding Sikhism, Mississauga, ON, Canada. Works

Physics Research
With about 100  research papers in  Physics and allied fields to his credit Dr. <mask> has guided one dozen research students and supervised two M. Phil. theses. Besides, he established Acoustics Research Center, Mississauga, Canada to actively pursue his research interests in Acoustics. Having participated in about 50 conferences/ seminars within Canada and abroad, he is a member of several international research societies.In addition, he is the referee panel member of several reputed research journals of Canada, USA, Nigeria, and India. Scientific Literature
Besides publishing 20 books and about 1000 general articles on various aspects of science and technology,  he has also translated 4 books from English to Punjabi. Science Fiction Writings
In the genre of science fiction, Dr. <mask> has authored/published two books for general readers, four books for children and about 45 stories, to date, in various newspapers and magazines of Canada, USA, India, and Pakistan in Punjabi, Hindi, and English. Sikh Theology
As Director, Center for Understanding

masks: Singh Singh


texts:
 Sikhism, Mississauga, Canada, he played a vital role in the promotion of teaching and research in Sikh Theology  in India and Canada. With three books, two booklets, and about 200 articles on Sikh theology to his credit, he has delivered about one dozen invited talks on ‘Sikh Religion and Philosophy,’ at various educational institutions within India and Canada. Five of his articles have been included in different books edited by eminent Sikh scholars. He has reviewed thirteen books authored by eminent Sikh writers.Media
Over 70 of his talks on Sikhism, science, and social topics have been telecast by Jhanjer TV, Sanjha Punjab TV, Channel Punjabi Toronto Dateline TV, Vision TV, and Hello Canada TV, Canada. He has also participated in the science programs of DD Punjabi, Doordarshan Jalandhar, Vision Punjab TV, Kharar, Punjab and Global Punjab TV, Chandigarh, India. Many of these talks are also available on Youtube. About 50 of his radio programs  on science and religion have been broadcast by Ajj Di Awaz Radio, Desh Punjab Radio, Parvasi Radio, Punjabi Dunia, AVR Media Productions, Canada and All India Radio, Jalandhar, India. Awards
 2011  "Excellent writing Award" by Ajj Di Awaz Radio & Daily Punjabi, Canada
 2010  "Life Time Achievement Award" by Peace on Earth Organization, Canada
 2006  "Lala Hardyal Memorial Award" for best Science Communication in mass media by Paryas Kala Manch, Nangal, India
 2003  "ISWA SAMMAN" for longstanding contribution to the popularisation of science, by Indian Sc. Writers’Association, N.Delhi, India
 2001  "Principal Trilochan <mask> (Children Literature and Gian


texts:
 Vigyan) Award", by Punjabi Sath, Lambrhan, Jalandhar, India
 2000  "Dr. M. S. Randhawa" (Gian Sahit) Award for the book Vigyan Prapatian ate Masle, by LDP, Govt. of Punjab, India
 1997  "Sarvotam Bal Sahit Pustak <mask>kar" for his book Robot, Manukh te Kudrat, by LDP, Govt.of Punjab, India
 1994  "Hanibal Sahit Rattan <mask>" for his book C. V. Raman-Life and Times, by Sahit Rang Gathan (Sarang Lok), Chandigarh, India
 1991  "Sarvotam Bal Sahit <mask> <mask>" for the book Satrang, by LDP, Govt. of Punjab, India

Video Links
 World   Earth Day: Impacts of COVID 19 on the Environment of Earth
 Universal Relevance of Guru Nanak's Teachings
 Qudrat in Guru Nanak's Bani
 Environmental Teaching in Sikhism
 Aamne-Samne: Exclusive Interview

External links
Life and Teachings of Sri Guru Tegh Bahadur Ji, 1st May 2021, Akal University, Talwandi Sabo, Bathinda, Pb., India
International Seminar on Guru Nanak's Philosophy and U. N. Agenda for Sustainable Development, 23rd Nov. 2020, Chandigarh University, Mohali, Pb., India
 4th Canadian Punjabi Conference, 5-6th July 2019, Punjabi Heritage Foundation Of Canada, Ottawa, Canada
 36th World Religions Conference: End-of-Life Decisions, 20th Nov. 2016, University of Waterloo, Canada
 What is a Worthwhile Life? Seminar on Jivan Jach, 1st Dec. 2013, Sheridan College, Brampton, Canada
  Interview of Dr. Solomon Naz (Print Media), Christian Review: News Magazine, 2020
 Interview of Dr. Solomon Naz (e-Media), Christian Review: News Magazine, 2015

References

Living people
Indian science fiction writers
Guru Nanak Dev University alumni
Year of birth missing

masks: Purs Purskar Pak Purskar


texts:
<mask> (born January 19, 1954) is an American actress and singer-songwriter. She is known for playing Peggy Bundy on Married... with Children (1987–1997), Leela on Futurama (1999–2003, 2008–2013, 2023–present), Cate Hennessy on 8 Simple Rules (2002–2005), Gemma Teller Morrow on the FX series Sons of Anarchy (2008–2014), for which she won the Golden Globe Award for Best Actress – Television Series Drama in 2011, Dr. Jones on Shameless (2018–2019), and Louise Goldufski-Conner on The Conners (2018–present). Early life
Sagal was born on January 19, 1954, in Los Angeles, California, to a show business family with five children. Her mother, Sara Zwilling, was a singer (stage name Sara Macon), producer, and television writer who died of heart disease in 1975, and Sagal's father, <mask>, worked as a television director. Her father was a Ukrainian-Jewish immigrant. Her mother had Amish ancestors. In 1977, Sagal's father married dancer/actress Marge Champion, a few years before his accidental death on the set of the miniseries World War III in 1981.Three of Sagal's four siblings are actors: her younger twin sisters, Jean and <mask> and brother Joey Sagal; her other brother <mask> is an attorney married to actress McNally <mask>. Sagal and her siblings grew up in Brentwood, Los Angeles. Her godfather is sitcom producer and writer Norman Lear. In 2016, both <mask> and Norman acknowledged that she was not only his goddaughter, but that he also introduced her parents to each other. Sagal has described herself as "culturally Jewish" but with no "formal religious experience." Sagal graduated from Palisades High School. After graduation, she attended the California Institute of the Arts.Musical career
Sagal started her career in show business as a singer and songwriter. In 1973, she worked as a backing vocalist for various singers, including Bob Dylan, Etta James, and Tanya Tucker. In 1976, while a member of The Group with No Name, she

masks:
Catherine Louise Sagal
Boris Sagal
Liz Sagal
David Sagal
Sagal
Katey


texts:
 contributed to the album Moon over Brooklyn (on which she was credited as "<mask>"). She was a member of Bette Midler's backup group The Harlettes in 1978, and again from 1982 to 1983. During the filming of 1983's Valley Girl, Sagal was scheduled to sing at The Central. Her name can be seen in the schedule of upcoming acts, posted inside the door. She performed backing vocals on the self-titled Gene Simmons solo album, the Molly Hatchet album Take No Prisoners, and on Olivia Newton-John's 1985 single "Soul Kiss."She performed the song "It's the Time for Love" that appears in the movie Silent Rage featuring Chuck Norris. Sagal also provided the vocals for "Loose Cannons," the theme song for the 1990 movie of the same name featuring Gene Hackman and Dan Aykroyd. On April 19, 1994, Sagal released her first solo album, Well.... On June 1, 2004, she released her second album, Room. She has also contributed to the Sons of Anarchy soundtrack. Acting career

One role was as a receptionist in the detective Columbo  installment "Candidate for Crime," which was directed by her father. Sagal's first major role was as a newspaper columnist in the series Mary (1985–86) starring Mary Tyler Moore. This led to her being cast as Peggy Bundy on the sitcom Married... with Children (1987–1997); she portrayed the lower-class, sex-starved, lazy and free-spending wife of shoe salesman Al Bundy.The series ran for 11 years. It had been reported that Sagal brought her own red bouffant wig to audition for the role, and with the producers' approval, the look transitioned into the show. However, Sagal later explained that she had initially styled her own hair, then once the show took off, the producers began to invest in a wig. After the end of Married... with Children, several more television films followed; Sagal also guest starred on the children's cartoon Recess as the voice of Spinelli's mother. In 1998, Matt Groening chose her to provide the


texts: character voice of the purple-haired mutant spaceship captain, Leela, in his science-fiction animated comedy Futurama. The show developed a cult following, but was cancelled after four seasons. However, syndication on Adult Swim and Comedy Central increased the show's popularity and led Comedy Central to commission a season of Futurama direct-to-DVD films, which the network later retransmitted as a 16-episode fifth season.She reprised her role as Leela in these films, and in the sixth season that began airing June 24, 2010. The series ended in 2013. <mask> guest-starred as Edna Hyde, Steven Hyde's mother, in three episodes of That '70s Show. She starred in the short-lived NBC sitcom Tucker in 2000. Sagal was cast as the wife of John Ritter in the sitcom 8 Simple Rules for Dating My Teenage Daughter in 2002. Ritter had completed only three episodes of the second season before his death, and the show was cancelled in 2005 after its third season. In 2005 and 2006, Sagal made two appearances on Lost as Helen Norwood.In 2007, she had a role in the season finale of The Winner as Glen Abbot's former teacher, with whom Glen has his first sexual experience. From 2008 to 2014, Sagal starred as Gemma Teller Morrow on the TV show Sons of Anarchy, whose creator, Kurt Sutter, she had married in 2004, four years before the series premiered. In January 2009, Sagal reunited with David Faustino (who had played her son Bud Bundy in Married... with Children) for an episode of Faustino's show Star-ving. In 2010, she appeared twice more on Lost. In 2009, she starred in the film House Broken with Danny DeVito. In 2010, she returned to the stage in Randy Newman's musical Harps & Angels. In 2013, Sagal had a cameo on Glee as Nancy Abrams, Artie Abrams' mother.She co-starred in Pitch Perfect 2, released in 2015, as the mother of Hailee Steinfeld's character. She next appeared in the biography drama film Bleed for This, as the mother of Vinny


texts:
 Pazienza. On September 9, 2014, Sagal received a star on the Hollywood Walk of Fame; most of the Married ... with Children cast – including Ed O'Neill, Christina Applegate, and David Faustino – were present to celebrate the actor's recognition. On September 20, 2016, Sagal appeared on The Big Bang Theory as Susan, the mother of Penny (Kaley Cuoco). She had previously played the mother of Cuoco's character on 8 Simple Rules. Sagal was also a series regular on the CBS sitcom Superior Donuts from 2017 to 2018. She also appeared on Shameless as Frank's latest, crazy lover.Most recently she has appeared in a recurring role as Dan Conner's love interest, Louise Goldufski, in The Conners and a cameo appearance in the Netflix series Dead to Me in season 2, episodes 9 and 10 as Judy Hale's (Linda Cardellini) estranged, emotionally abusive, incarcerated mother Eleanor Hale. In 2021, Sagal played the lead role of Annie "Rebel" Bello in the ABC drama series Rebel, which was written by Krista Vernoff. ABC cancelled Rebel after five episodes. Activism
In June 2016, the Human Rights Campaign released a video in tribute to the victims of the 2016 Orlando nightclub shooting; in the video, Sagal and others told the stories of the people killed there. Personal life
Sagal was married to musician Freddie Beckmeier, from 1978 to 1981 and Jack White, from 1993 to 2000. She married writer-producer Kurt Sutter in a private ceremony on October 2, 2004, at their home in the Los Angeles neighborhood of Los Feliz. They have a daughter, Esmé Louise, born in 2007 through a gestational carrier.In 1991, while working on Married... with Children, Sagal learned that she was pregnant. This was unexpected, so the pregnancy was written into the storyline of the show. In October 1991, however, she had to have an emergency caesarean section in her seventh month of pregnancy, ending in the stillbirth of a daughter. The pregnancy on the show was then treated as


texts:
 a "dream sequence," which was mentioned only briefly at the end of the episode "Al Bundy, Shoe Dick." <mask> and White eventually had two children—a daughter, Sarah Grace, in 1994, and a son, Jackson James, in 1996. The writers of Married... with Children deliberately did not write Sagal's two later pregnancies into the show due to the earlier stillbirth, opting instead to write off her absences in a subplot in which Peg is traveling the world to reunite her parents. In scenes where Peg was shown, Sagal had her midsection obscured, such as in a taxi or at a craps table in Las Vegas and was often seen or heard talking to family members over the phone.One after effect  of Sagal's having lost her stillborn daughter was the inspiration to write the lyrics for "(You) Can't Hurry the Harvest." She recorded this song on her debut album, Well..., which was released in April 1994. She was the subject of an episode of the television genealogy series Who Do You Think You Are? in 2016. On October 14, 2021, Sagal was hit by a car while crossing a street in Los Angeles. She was transported by ambulance to a local hospital where she was released the next day. Filmography

Film

Television

Discography

Albums

Awards and nominations

References

External links

 <mask> Sagal cast bio on The WB

1954 births
Living people
20th-century American actresses
21st-century American actresses
Actresses from Los Angeles
American women pop singers
American women singer-songwriters
Jewish American actresses
Jewish singers
American people of Ukrainian-Jewish descent
American television actresses
American voice actresses
Best Drama Actress Golden Globe (television) winners
Participants in American reality television series
Virgin Records artists
California Institute of the Arts alumni
Activists from California
People from Brentwood, Los Angeles
Harlettes members
21st-century American women singers
21st-century American singers
21st-century

masks: Sagal Katey


texts:
<mask> (20 May 1815 – 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of plein-air painting and the paysage intime into Swiss art. Early life
Menn was the youngest of four sons, born in Geneva to <mask>, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little-known Jean Duboi (1789–1849), and later, he entered the drawing school of the . The repeated claim that he was also a pupil of the famous enameller Abraham Constantin appears to be erroneous.In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Léonard Lugardon, who was a pupil of Baron Gros and became acquainted with Jean-Auguste-Dominique Ingres. There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art.In a letter to his friend Jules Hébert, Menn reported on the new situation: "Everybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility." while the education in Ingres’ studio has been described by , as follows: "The students spend half of their

masks:
Barthélemy Menn
Louis John Menn


texts: time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general." This explains why among Menn's early works there are many copies of the Parthenon frieze that had been accessible in Paris as a set of plaster casts at the École des Beaux-Arts since 1816. Menn also copied several works by Raffael, Titian,  Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834.His journey led him first via Milan to Venice, where he met briefly with his compatriot Louis Léopold Robert, and copied works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingres’ studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon présenté à la sagesse par son père


texts:
 et sa mère) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugène Delacroix (1798–1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg.At the same time, Menn got to know the painters of the Barbizon School; especially Charles Daubigny. Most importantly, however, Menn became friends with Camille Corot, who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Bovy family of Geneva who were followers of the utopian socialist ideas of Charles Fourier. Later career
Due to lack of commissions, Menn returned to Geneva, where, in 1844, he applied in vain for a teaching position at the local art school. In the following year, he exhibited a large alpine landscape, "Wetterhorn from Hasliberg", which caused a minor scandal as it did not meet the public's and critics’ expectations of smooth, highly finished, heroic alpine views. This incident did not help much in getting him a public job as professor of painting or drawing. Hence, he started to accept private pupils in his studio.In these years, Menn also experimented together with Jules Darier, another of Corot's friends in Geneva, in producing daguerreotypes, though none of them are known to have been


texts: preserved. He also travelled again extensively, this time along the Rhone Valley and to the South of France. It was in these years that he turned completely to the paysage intime (intimate landscape) and achieved similar results to those of Corot, without attaining the latter's impressive level of creativity. In 1850, Menn was appointed director of the Geneva art school and from then on taught figure drawing, rather than landscapes, for 42 years. In this position, he trained two generations of Swiss painters, among them Eugène Burnand, , Edouard Vallet and Ferdinand Hodler, who reputedly said: ‘It is to him [Menn] that I owe everything’. Menn made a second voyage to Rome in 1852 and, in conjunction with Corot, Henri Baron (1816–1885),  (1818–1885) and François-Louis Français, decorated the large salon in Gruyères Castle that then belonged to the Bovy family. Menn also organized three exhibitions with contemporary French painting in Geneva in 1857, 1859 and 1861 that showed works by Corot, Courbet, Daubigny and Delacroix.Yet, the critics in Calvin's hometown were harsh and hostile towards contemporary art, which annoyed Menn so much as that he resolved never to exhibit in public again. He became even reluctant to sell his works privately and finally, in the 1880s, destroyed many of his paintings. In 1865, at the age of fifty, Menn married the widow of his cousin Jean Bodmer, Louise Bodmer-Gauthier (1818–1887), who brought with her a beautiful estate at Coinsins. It is here that Menn found peace and painted most of his


texts:
 last landscapes. Legacy

Although Menn was trained as a history painter and had, during his last forty years, only taught figure drawing, it was he who challenged the Swiss academic landscape tradition as early as 1845. At that time, the internationally successful Alexandre Calame and the somewhat older François Diday dominated Swiss alpine painting with romantic, wild and fantastic mountain sceneries that have carefully composed foregrounds against which distant but highlighted mountain peaks are set under a pleasantly blue sky – or in a frightening storm. Menn, however, when exhibiting his Wetterhorn from Hasliberg at the annual art exhibition in Geneva, had not only ventured into the domain of his competitor Calame, but had done so by applying the principles of plein-air-painting to an alpine landscape.The ‘photographic’ view point, the structure of the rock formations and the handling of light and colour make this picture the earliest modern landscape in Swiss art history. As the painting did not go down well with the critics, Menn turned to more modest landscapes that he painted outdoors, and with which he introduced the principles of the modern French paysage-intime into Switzerland. ‘In a bush I see everything’, Menn used to say, capturing in his self-contained landscapes atmospheric changes of evening and morning hours, quiet harmonies of an unspoilt riverbank, a swampy plain or of an orchard in midday, casting them in sensitive tonal values and poetic tenderness. His approach derived entirely from


texts:
 contemporary French landscape painting, in particular from his friend Corot whom Menn called the ‘master of the right values’. It was these new values combined with his quest for natural beauty that Menn would promote as a teacher to generations of Swiss artists. <mask> <mask> is buried at the Cimetière des Rois in Geneva. Notes

References
Guinand, Léon, Notice abrégée des principes de Barthélemy Menn sur l'art et l'enseignement humaniste.Genf: Jarrys, 1893;
Daniel Baud-Bovy, Notice sur Barthélemy Menn. Peintre et éducateur, Geneva: La Montagne, 1898. Anna Lanicca, Barthélemy Menn. Eine Studie, Strassburg: J. H. Ed. Heitz, 1911
Daniel Baud-Bovy, ‘Lettres de Rome de Barthélemy Menn à Jules Hébert’, in: Jahrbuch für Kunst Kunstpflege in der Schweiz 1921–1924, Vol. III, Basel: Birkhäuser, 1925, pp. 326 –359.Daniel Baud-Bovy, ‘Lettres de Rome de <mask> Menn à Jules Hébert’, in: Jahrbuch für Kunst Kunstpflege in der Schweiz 1925–1927, Vol. IV, Basel: Birkhäuser, 1927, pp. 201 –225. Daniel Baud-Bovy, <mask> Menn. Dessinateur, Geneva: Les Éditions du Rhône, 1943. Jura Brüschweiler, Barthélemy Menn 1815–1893: Étude critique et biographique, Zurich: Fretz & Wasmuth, 1960
Georges Vigne, Les élèves d'Ingres, Ausstellungskatalog Montauban, Besançon 2000, Montauban, Musée Ingres 2000, pp. 20–21.Marc Fehlmann, 'Menn Copiste I. Barthélemy Menn et l'Antiquité', in: Genava. Revue d'histoire de l'art et d'archéologie, Vol. 56, 2008, pp. 25–41. Marc Fehlmann, 'Menn Copiste II. Barthélemy Menn et ses contemporains', in: Genava. Revue

masks: Barthélemy Menn Barthélemy Barthélemy


texts:
 d'histoire de l'art et d'archéologie, Vol.57, 2009, pp. 61–91. Matthias Fischer, Der junge Hodler. Eine Künstlerkarriere 1872–1897, Wädenswil: Nimbus, 2009. External links

 http://www.sikart.ch/page.php?pid=8&recnr=4022822&reset=1&mode=abbildungen&nojump=1
 Barthélemy Menn @ Zeno.org

1815 births
1893 deaths
19th-century Swiss painters
Swiss male painters
People from Geneva
19th-century male


texts: <mask> (born <mask>; 1 November 1972) is an Australian actress, producer, singer, and songwriter. Known for her work in television and independent films, she has received various accolades throughout her career, including a Golden Globe Award and a Primetime Emmy Award, in addition to nominations for an Academy Award, a Tony Award, and two British Academy Film Awards. After making her film debut in Spotswood (1992) and being nominated for the AACTA Award for Best Actress in a Supporting Role, her breakthrough role came in the comedy-drama Muriel's Wedding (1994), which earned her a Golden Globe Award nomination and won her the AACTA Award for Best Actress in a Leading Role. <mask> achieved greater international recognition for her role in the psychological thriller film The Sixth Sense (1999), and was nominated for the Academy Award for Best Supporting Actress. She received BAFTA Award nominations for her performances in the romantic comedy About a Boy (2002) and the comedy-drama Little Miss Sunshine (2006). <mask>'s films include diverse genres, such as the period comedy Emma (1996), the action thriller Shaft (2000), the period drama The Hours (2002), the romantic drama Japanese Story (2003), the comedies In Her Shoes (2005) and The Way, Way Back (2013), the horror films Krampus (2015) and Hereditary (2018), and the mystery film Knives Out (2019). Her Broadway performances include the lead role in The Wild Party (2000), which earned her a Tony Award nomination.In television, she starred in the Showtime comedy-drama series United States of Tara (2008–2011) and the Netflix drama miniseries Unbelievable (2019). For the former, she won a

masks:
Toni Collette Galafassi
Toni Collett
Collette
Collette


texts:
 Primetime Emmy Award and a Golden Globe Award. She has won five AACTA Awards, from eight nominations. <mask> married Dave Galafassi, drummer of the band Gelbison, in January 2003. The couple have two children together. As the lead singer of <mask> & the Finish, she wrote all 11 tracks of their sole album, Beautiful Awkward Pictures (2006). The band toured Australia, but have not performed nor released any new material after 2007.In 2017, <mask> and Jen Turner co-founded the film production company Vocab Films. Early life
<mask> was born on 1 November 1972, the eldest of three children; she has two younger brothers. She was raised in the Sydney suburb of Glebe until the age of six, then in Blacktown. Her father Bob Collett was a truck driver, while her mother Judy (née Cook) was a customer-service representative. <mask> later learned on an episode of Who Do You Think You Are? that Bob was possibly born as a result of his mother Norma (née McWhinney) having an extramarital affair with a US Navy chief petty officer stationed in Australia during and after World War II. Norma and her husband (Harold "Stanley" Collett) were going through a divorce, and Bob's DNA test determined that Stanley was not his biological father.Despite an appeal made to the public in August 2015, her biological grandfather's name is not known. <mask> has described her family as "[not] the most communicative" but has said that despite her parents' lack of money, they were supportive and made their children feel cared for. She has fond memories of growing up in Blacktown, where she and her mother watched Saturday afternoon movie matinees presented by Bill Collins. She

masks:
Collette
Toni Collette
Collette
Toni Collett
Collette
Collette


texts:
 described her younger self as having "crazy" amounts of confidence. When she was 11, <mask> believed she had appendicitis and convinced her doctors: she was taken to an emergency department and had the appendix removed. As a student at Blacktown Girls High School, her favourite activities included netball, tap dancing and swimming. She took part in local singing competitions.Her ambition was to perform in musicals, as she loved to sing and dance. <mask>'s first acting role was a high school performance of Godspell at the age of 14; she auditioned by singing Whitney Houston's "Saving All My Love for You". She decided to become an actor the following year, and was influenced by Geoffrey Rush's stage performance in The Diary of a Madman (July–August 1989). In 1989, with her parents' approval, she transferred to the Australian Theatre for Young People, later explaining, "I was 16. And it's not like I wasn't good at school, or I didn't enjoy it, I did. I just loved acting more. I don't regret that decision, but I can't believe I made it."The actor returned the extra "e" at the end of her surname which Stanley Collett had removed as it sounded better for a stage name. She started at National Institute of Dramatic Art (NIDA) in early 1991, but left after 18 months to appear as Sonya in Uncle Vanya (August–September 1992), directed by Neil Armfield, alongside Rush in the title role. Career

1990–1999: Early work and breakthrough
<mask> made her television debut in 1988 on a comedy, variety show Blah Blah Blah as a singer. Her first acting role was in 1990, a guest appearance as Tracy, on the Seven Network drama series A Country Practice Season 10,

masks: Collette Collette Collette


texts: Episode 31, "The Sting: Part 1". Her first professional theatre role was as Debbie in Operation Holy Mountain in May of that year at Q Theatre, Penrith. Frank Barnes of Journal of the N.S.W Public School Teachers Federation noticed, "<mask> [is] simply amazing in her professional debut as the girl with cerebral palsy." She joined the Sydney Theatre Company and, from December 1990 to February 1991, appeared in A Little Night Music at the Drama Theatre, Sydney Opera House.She performed Cordelia in King Lear (March 1994) and was also in stage productions at the Belvoir Street Theatre, directed by Rush. In 1992, she made her feature film debut in the ensemble comedy-drama Spotswood (known in the US as The Efficiency Expert), which starred Anthony Hopkins and included a then-newcomer Russell Crowe. She played Wendy, a factory worker who harbours a secret attraction towards fellow worker Carey (Ben Mendelsohn). Filmnews Peter Galvin observed, "it's here that the film finds real warmth, vigour, and pain, all contained in [her] expressive face; she's terrific and so is Mendelsohn simply because we believe them." Andrew Urban of Urban Cinephile felt that, "[she] has a lovely role and does it with minimalist excellence." For the performance, she earned her first AACTA Award nomination, for Best Supporting Actress. Between auditions for roles, she worked part-time delivering pizzas and selling jeans.In 1992, her agent alerted her to a proposed film project with a good role; a year later Muriel's Wedding (1994) was financed and started casting in June 1993. Although the actor auditioned on the first day, she did not win the role until three months


texts: later. In preparation for portraying Muriel, the actor gained  in 7 weeks. The film was a critical and commercial success, grossing US$15.2 million on a budget of US$9 million. James Berardinelli of Reelviews called her "vibrant and energetic," while Peter Stack of the San Francisco Chronicle opined that <mask> played the lead role with "disarming earnestness." She received her first Golden Globe Award nomination, for Best Actress and won the AACTA Award for Best Actress. In 1996, she had parts in three critically acclaimed films.In the comedy-drama Così, which reunited her with Muriel's Wedding castmate Rachel Griffiths, she played an actor recovering from drug addiction. David Stratton of Variety magazine said <mask> "[gave] a terrific performance." In the drama Lilian's Story she played an eccentric woman sent to a mental asylum in her youth. Stratton found her to be "poignant" and took note of her range and depth. She won her second AACTA Award, this time for Best Actress in a Supporting Role. In the period comedy Emma, an adaptation of Jane Austen's novel of the same name, she played Harriet Smith, a close friend of the titular character. Originally dismissive of Austen's works, she found Emma to be "warm and witty and clever."Jane Ganahl of San Francisco Chronicle wrote, "[Harriet was] played with heartbreaking empathy... desperately trying to meet Mr. Right – so awkwardly you fear she'll slip on a banana peel." She starred alongside Lisa Kudrow, Parker Posey and Alanna Ubach in Clockwatchers (1997) which depicted the lives of four friends working in an office. Dustin Putman of TheFilmFile called it a "jewel of a film" and praised the

masks: Collette Collette


texts:
 performances of the cast, particularly <mask> whom he referred to as "outstanding." For her supporting role as Michelle in The Boys (1998) she won her third AACTA Award. Although Velvet Goldmine (1998), returned less than half its production budget at the box office, Metacritic reports a 65% score based on 25 critics, indicating "generally favorable reviews." It grew in stature after its release to become a cult film.<mask> credited it with revitalising her passion for acting as it had freed her from distress she had been facing. Her next film, 8½ Women (1999) was not as well received: Metacritic gave it a "generally unfavorable" score of 36%. 1999–2004: The Sixth Sense and Broadway

When <mask> received M. Night Shyamalan's script for The Sixth Sense (1999), she feared it would be a "formulaic Hollywood action drama." However, she was moved by the story and agreed to audition, winning the role over other actors, including Marisa Tomei. She portrayed Lynn Sear, a mother struggling to raise her son Cole (Haley Joel Osment) who communicates with ghosts. Gary Thompson of The Philadelphia Inquirer observed, "the scene in the car when [Cole] divulges his secret is so riveting... and it's so well-acted by Osment and <mask>." He added, "she'd become the greatest screen weeper of her generation."The Sixth Sense grossed US$670 million on a budget of US$40 million and became the second-highest-grossing film of 1999. It gathered six Academy Award nominations including <mask>'s for Best Supporting Actress. She reflected, "There was some definite feeling we all had that it was going to somehow be special. [... It] did really well and has been loved by a

masks: Collette Collette Collette Collette Collette


texts: lot of people." In 2000 she made her Broadway debut with a leading role in The Wild Party, playing Queenie, a masochistic showgirl who hosts a lavish party with her husband. Originally written for Vanessa Williams, it went to <mask> after the former was unavailable.Charles Isherwood felt under-whelmed by the musical and the actor's performance, "[<mask>'s] Queenie is flat and one-dimensional; she doesn't convey the warmth that invites emotional investment." Ben Brantley of The New York Times differed, "Ms. <mask>... gives the evening's most fully realized performance," but criticised the lack of chemistry with Yancey Arias. She was nominated for the Tony Award for Best Leading Actress in a Musical. <mask> turned down the title role in Bridget Jones's Diary due to her Broadway commitments. She followed with a supporting role in the action thriller Shaft (2000). The film received "mixed or average reviews," and grossed US$107.2 million on a budget of US$46 million. Kam Williams of African American Literature Book Club noticed, "<mask> lends the film some convincing and welcome dramatic weight as the frightened, conflicted Diane."However, John Patterson of The Guardian rated it as a "career low" for her. In 2001 she appeared in the HBO TV movie Dinner with Friends and played Beth, a middle-aged woman who struggles with her husband leaving her for another woman. Steven Oxman of Variety said that she was "well suited" to her role, while Bruce Fetts of Entertainment Weekly praised her "flawless" American accent. The show earned a nomination for the Primetime Emmy Award for Outstanding Television Movie. In 2002 she had a supporting role in The


texts: Hours, based on the novel of the same name, playing Kitty, a woman who plans to undergo surgery for her infertility. John Patterson felt she gave an "utterly convincing small-scale emotional meltdown born of suburban sadness and sexual self-repression." The film received positive reviews and was nominated for the Academy Award for Best Picture.In About a Boy (2002) she portrayed a woman with depression who attempts to commit suicide. Daniel Saney of Digital Spy said that she was "as impressive as ever" while Sheila Johnston of Screen Daily praised her "powerful presence." She was nominated for the BAFTA Award for Best Actress in a Supporting Role and won the Boston Society of Film Critics Award for Best Supporting Actress for both 2002 performances. <mask> played the lead role in Japanese Story (2003) as Sandy an Australian geologist who develops an intense relationship with a Japanese businessman. It was screened at the 2003 Cannes Film Festival. The performance led to reviewers welcoming her return to lead roles: the first since Muriel's Wedding. John Patterson wrote that she gave a "shattering performance, masterfully controlled and detailed, and all the proof her fans ever needed of her special brilliance."Richard Porton of the Chicago Reader remarked, "[her] pitch-perfect performance and the stunning evocation of the forbidding and beautiful outback make this film unexpectedly rewarding." Critics praised her emotional range, with some regarding the performance to be the best of her career. She won her fourth AACTA Award statuette for her portrayal of Sandy Edwards in Japanese Story. Her two releases of 2004, The Last Shot and Connie and


texts: Carla, were rated as having "mixed or average reviews" by Metacritic. 2005–2011: Supporting roles and United States of <mask>'s only film in 2005, In Her Shoes, was a comedy-drama about the relationship between two sisters (Rose and Maggie Feller) and their estranged grandmother, co-starring Cameron Diaz and Shirley MacLaine. Based on the 2002 novel of the same name by Jennifer Weiner, the film received "mixed or average" reviews from critics, and was a moderate independent success, earning US$82.2 million worldwide. She was subsequently nominated for a Satellite Award for Best Actress for her performance of Rose, a successful-but-lonely lawyer with low self-esteem, which Mick LaSalle of the San Francisco Chronicle noticed, "As usual, [her] face is a fine-tuned transmitter of her emotions, moment by moment, and she becomes the locus of audience feeling."In 2006 the artist starred in Little Miss Sunshine, a comedy-drama road movie about a family's trip to a children's beauty pageant. It premiered at the Sundance Film Festival in January of that year, and its distribution rights were bought by Fox Searchlight Pictures for one of the biggest deals in the history of the festival. Sharon Waxman of The New York Times called her "funny and believable", while Stella Papamichael of BBC felt that she was "underused." The film received critical acclaim, resulting in her second BAFTA and Golden Globe nominations. It grossed US$100.5 million worldwide and became one of the most successful independent films of the mid-2000s. Also in that year the actor took supporting roles in the thrillers The Night Listener and The Dead Girl. The latter was released to


texts: "generally favorable" reviews, while The Night Listener was higher earning with a revenue of US$10.5 million.In her first television engagement in five years, the HBO-BBC joint miniseries Tsunami: The Aftermath (2006), she played an Australian government employee who tries to cope with the events following the 2004 Indian Ocean earthquake and the resulting tsunami in Thailand. The film received mixed reviews from critics. Robert Bianco of USA Today said that it was, "inexcusably tasteless, tone deaf... and dull", and Brian Lowry of Variety remarked that the film, "[grasps] for higher ground that it never reaches." Despite this, praise was given to the performances of the cast. For her role, <mask> earned her first Primetime Emmy nomination and third Golden Globe nomination. At a ceremony in August 2006, <mask> inducted Helen Reddy into the Australian Recording Industry Association (ARIA) Hall of Fame and described her song, "I Am Woman" (1971) as "timeless." After working as a juror at the 2007 Cannes Film Festival, she starred in two releases of 2007, Towelhead and Evening.They received "mixed or average reviews." Kelly Vance of East Bay Express, called Towelhead "one of the most intelligent films of the year" and praised the artist's performance. In her review of Evening, Putman called it "flawed in more ways than one" but lauded her for "[enlivening] her scenes with pathos." In 2008 she played a small role in Hey, Hey, It's Esther Blueburger, and also served as an executive producer. Her scenes were shot in a week. The film received tepid reviews and failed to recoup its $6 million budget. Bernadete McNulty, writing for The Daily


texts: Telegraph, wrote, "[her] presence may have got this Australian debut from writer/director Cathy Randall off the ground [but] her slight role is insufficient to make it fly the distance."Her other 2008 film, The Black Balloon, was better received, for which she was also co-executive producer. Frank Hatherley of Screen Daily praised the film and her acting, "[she] gives another of her warm, full-blooded portraits" and Roger Ebert venerated her performance as being the heart of the film. She won her fifth AACTA Award for the role of Maggie Mollison in The Black Balloon. In 2008, <mask> accepted the leading role in the Showtime TV comedy-drama series, United States of Tara. Created by Steven Spielberg and Diablo Cody, it revolves around Tara Gregson, a wife and mother of two, who has dissociative identity disorder, and is coping with alternate personalities. She was given the leading role by Spielberg without auditioning. In the role, she portrayed multiple characters and found that it required more preparation than she normally did.However, after she understood the characters better, she found it easier to play them. The show was originally planned for a twelve-episode season, but was renewed for a second and third season after it gave the network its highest ratings since 2004. The series and her performance received "generally favorable reviews." Tim Goodman of the San Francisco Chronicle called her a "tour de force", and Ariana Bacle of Entertainment Weekly praised the actor's "flawless" transition between personalities that felt so "insanely distinct" that they could have each been a different actor. <mask> won both the Primetime Emmy Award


texts:
 for Outstanding Lead Actress in a Comedy Series and the Golden Globe for Best Actress in a TV Comedy in 2009 and was nominated for both again in the following year. Also in 2009 she lent her voice to the critically acclaimed stop-motion dramedy Mary and Max. <mask> was originally set to star in 2009's Away We Go, but dropped out due to scheduling conflicts.She then starred as a single mother of a precocious child in Jesus Henry Christ (2011). The film received "mixed or average reviews"; James Plath of Movie Metropolis called her "terrific" but John DeFore of The Hollywood Reporter felt that she was severely underutilised. She later had a supporting role in the horror-comedy Fright Night (2011). The film reunited her with filmmaker Craig Gillespie who had directed her in several episodes of United States of Tara. Debbie Lynn Elias of Behind the Lens called her "pitchfork perfect" while Emmet Asher-Perrin of Tor.com said that she was "charming as always." The film received "generally favorable reviews," and was a commercial success grossing US$40.5 million on a US$30 million budget. 2012–2017: Independent films and Broadway return
<mask>'s first release of 2012 was the independent comedy-drama Mental.She played Shaz, a hitchhiker who is hired as a nanny to take care of five mentally ill sisters. Despite giving the film a negative review, Gary Goldstein of the Los Angeles Times said that the actor "rips into her woolly role as if channeling a leftover personality from her United States of Tara days." Luke Buckmaster of Crikey called her "charismatic and all-inhabiting." She received her third AACTA Award for Best Actress nomination for the


texts: role. Later in the year, she played Peggy, a supporting role in the biographical drama, Hitchcock. Deborah Ross, writing for The Spectator, provided an unenthusiastic review and wrote, "[Hitchcock] wastes many of its cast members - particularly <mask>." In 2013 <mask> earned critical acclaim for her work in the independent film The Way, Way Back, opposite Steve Carell and Sam Rockwell, and in Enough Said, with Julia Louis-Dreyfus and James Gandolfini.For The Way, Way Back, she received positive reviews: Andrew O'Hehir of Salon magazine praised her "brilliant, understated performance;" Peter Travers of Rolling Stone noticed her star quality; Berardinelli described her adaptability and said that she gives a performance far and above what the role required. Her performance in Enough Said was also well received; Katie Smith-Wong of FlickFeast praised her for bringing humour to the film but Joseph Walsh of CinVue said that she was underused. Later that year, <mask> starred in the CBS TV drama, Hostages, which received reviews that were generally favourable, but weak ratings. RedEyes Curt Wagner was fascinated by her performance, while Verne Gay of Newsday felt she was "superb," and USA Todays Bianco as "nuanced" and "grounded." The series aired for fifteen episodes and, due to a combination of low ratings and a closed narrative, did not return for a second season. In the comedy-drama Lucky Them (2013), which debuted at the Toronto International Film Festival, <mask> portrayed Ellie Klug, a music critic assigned to write about a disappeared musician and childhood sweetheart, and tasked herself to track him down. She took on the role because she

masks:
Toni Collette
Collette
Collette
Collette


texts: felt the script had a realistic and in-depth approach to topics like self-sufficiency and self-realization.She later said that, out of all the roles she had played, Ellie resembled her the most. The film earned "generally favorable reviews", with praise for her performance. David Rooney of The Hollywood Reporter wrote that it was "centered by smart, soulful work by the wonderful <mask>" and that she played her character "with warmth, realness and emotional transparency that make you stay with her even when she's pushing people away." The film also screened at the Tribeca Film Festival, where Joe Bendel of Libertas Film Magazine ranked her performance as the fourth-best of the festival. Upon release, Mike D'Angelo of The Dissolve wrote that she "is capable of anything." After a 14-year absence, <mask> returned to Broadway in 2014, starring as Jennifer Jones in Will Eno's play The Realistic Joneses alongside co-stars Marisa Tomei, Michael C. Hall, and Tracy Letts. The play examines a couple who project their insecurities and fears onto their next-door neighbors with the same last name.The play opened to positive reviews, with the actor and the entire cast earning high praise. Charles Isherwood from The New York Times wrote that "Ms. <mask> exudes a touching, exasperated dignity as Jennifer." Varietys Marilyn Stasio called her work "terribly funny," while Rooney of The Hollywood Reporter claimed, "<mask>, whose naturalness can cut through even the very deliberate theatrical artifice of Eno's dialogue and scene construction, anchors the play with her somber restraint and deadpan delivery." The New York Posts Elisabeth Vincentelli, who was more


texts: critical of the play, highlighted her performance: "[she] does some heavy lifting to fill in Eno's blanks. You can read deep sadness in the wide planes of her expressive face, in her lost, unfocused eyes." The artist and her co-stars won a Drama Desk Special Award for Best Ensemble Performance. In 2014, <mask> appeared in three comedy films, Tammy, A Long Way Down and Hector and the Search for Happiness.All three are rated as having "generally unfavorable reviews" by Metacritic. Also in that year she provided the voice to Lady Portley-Rind in the animation The Boxtrolls. She starred as Milly, opposite Drew Barrymore as Jess, in the comedy-drama Miss You Already (2015), about two women whose friendship is tested when Jess starts a family while Milly falls ill. It premiered at the Toronto International Film Festival, and Metacritic rated it at 59% indicating "mixed or average reviews." Billy Goodykoontz of The Arizona Republic asserted that "[her] work is so compulsively watchable that Miss You Already is worth a watch for that reason alone." <mask> then played the matriarch of a dysfunctional family in the horror film Krampus (also 2015), which was a commercial success, grossing $61.5 million against a budget of $15 million. Her sole release of 2016 was the crime thriller Imperium, opposite Daniel Radcliffe, she portrayed Angela Zamparo, an FBI analyst targeting a white supremacist group.Despite its limited release, the film garnered positive reviews, with Gary Goldstein of the Los Angeles Times calling it "impressively dimensional...tense, gripping and disturbing," and found her to be "excellent" as Radcliffe's character's supervisor. In


texts: 2017, <mask> appeared in several films: to varying degrees of success. The action film, XXX: Return of Xander Cage, starring Vin Diesel, was a commercial success, grossing $346.1 million and earned mixed reviews, though Mick LaSalle of the San Francisco Chronicle praised her for "embrac[ing] the cold-blooded extremes of her role" as a CIA operative. Her next two films, the war drama The Yellow Birds and the comedy Fun Mom Dinner, premiered at the Sundance Film Festival. Although both of these gathered "mixed or average reviews," the actor's work was appreciated, particularly in the former, with the Los Angeles Times critic taking note of how she, and co-star Jennifer Aniston, "deliver uniformly naturalistic performances." She was also in the action-thriller Unlocked, and the comedies Madame and Please Stand By, all of which received "mixed or average reviews" according to Metacritic. The mystery drama Jasper Jones (2017) was better received—obtaining 77% at Rotten Tomatoes.Sandra Hall of The Sydney Morning Herald praised her emotional range and James Douglas, writing for The Guardian, said that she was "impossibly vivacious as always." Richard Kuipers of Variety eulogized the artist's climactic monologue in which her character laments her discontent, calling her "positively electrifying." Also in that year, she formed the production company Vocab Films, with her US-based talent manager Jen Turner. She had previously worked as executive producer for the films she appeared in, Like Minds (2006), The Black Balloon, and Hey, Hey, It's Esther Blueburger (both 2008). Vocab Film's first project is The Best of Adam Sharp (2016), a novel by fellow


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 Australian, Graeme Simsion. <mask> is set to play the female lead role, Angelina Brown, who is described by Anita Busch of Deadline as, "an intelligent and strong-willed woman... who taught [Adam] what it meant to find—and then lose—love." Another project is Julia Dahl's novel, Invisible City, a co-production with RadicalMedia, for a TV murder mystery with the actor also serving as a script writer for the pilot episode.She explained her motivation, "it's about fighting for personal freedom and living an authentic life. It couldn't be a more relevant time to tell this story about acceptance and integration, or lack thereof. These complex female characters are honest, flawed, and inspiring. We can always use more of those." 2018–present: Mainstream films and continued acclaim
In 2018, <mask> gave what some critics considered to be one of her best performances in the horror film Hereditary, in which she played Annie Graham, the matriarch of a family haunted by the supernatural following the death of her mother. She was initially reluctant to take on the role, but became convinced by the script's grounded approach and its exploration of grief and loss. She considered it to be the most difficult of her career: in an interview with Vultures Rachel Handler she reflected, "There was no easy moment in this movie...I was shooting 14-take scenes, talking about great loss and difficulty in relating to my family." The film premiered at the Sundance Film Festival to critical acclaim, and it became A24's highest-grossing film, earning US$80.2 million Chris Nashawaty of Entertainment Weekly praised her for "real dramatic power and force," while Michael