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 Sonnenstein Clinic in Saxony which had earlier been converted into a military hospital.Medical career after the war
While serving as a military doctor on the Western Front, he was captured by the Americans in January 1945. He was released from captivity in October 1945. In April 1946, he began to work as a sports doctor for the city of Gladbeck. An application for a license for a hunting gun led to his identity being exposed in 1951 so the GDR issued an arrest warrant. According to his own statement, Schumann served as a ship's doctor for three years and because he did not have a German passport, he applied for one in Japan in 1954 and received it under his own name. Schumann then fled, first to Egypt and eventually settled in Khartoum in the Sudan as head of a hospital. He was forced to flee from Sudan in 1962 after being recognized by an Auschwitz survivor.Then he went to Ghana, where he received the protection of the head of state, Kwame Nkrumah, until the dictator was overthrown. Imprisonment and death
In 1966, Schumann was extradited from Ghana to West Germany where the trial against him was opened in Frankfurt on 23 September 1970. Charged with killing 30,000 Jews, Schumann admitted to killing as many as 80,000 Jews, saying "I have no numbers". However, Schumann was released from prison on 29 July 1972 due to his heart condition and generally deteriorating health. He died on 5 May 1983, 11 years after he had been released. As Robert Jay Lifton has observed "...Schumann has great importance for us because of what he did – intense involvement in both direct medical killing and unusually brutal Auschwitz experiments – and


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 what he was – an ordinary, but highly Nazified man and doctor..."

Footnotes

See also
The Holocaust
Nazi human experimentation
Josef Mengele
Carl Clauberg
Eduard Wirths

References
Robert Jay Lifton, (1986) The Nazi Doctors: Medical Killing and the Psychology of Genocide. New York: Basic Books.Klee, Ernst. "Turning the tap on was no big deal", (1990) - The gassing doctors during the Nazi period and afterwards, Dachau Review 2, History of Nazi Concentration Camps, Studies, Reports, Documents, Volume 2. edited by Wolfgang Benz and Barbara Distel, published for the Comite International de Dachau, Brussels. Verlag Dachauer Hefte, Alte Roemerstrasse 75, 8060 Dachau. Klodzinski, Stanislaw: "Sterilisation und Kastration durch Röntgenstrahlen im Auschwitz-Lager. Verbrechen Horst Schumann" in Internationales Auschwitz-Komitee (Hrsg.) "Unmenschliche Medizin" Anthologie, Bd. 1, Teil 2, Warschau 1969.Mitscherlich, Alexander/Mielke, Fred: "Medizin ohne Menschlichkeit", Frankfurt a. M. 1978,
Lang, Hans-Joachim: Die Frauen von Block 10. Medizinische Experimente in Auschwitz. Hamburg 2011. . External links
Biography of Dr. <mask> Schumann
"Medical Experiments at Auschwitz"

1906 births
1983 deaths
People from Halle (Saale)
German Völkisch Freedom Party politicians
Nazi Party politicians
20th-century Freikorps personnel
Auschwitz concentration camp personnel
SS-Sturmbannführer
Physicians in the Nazi Party
People from the Province of Saxony
Martin Luther University of Halle-Wittenberg alumni
University of Innsbruck alumni
Nazi human subject research
Dachau concentration camp personnel
Gestapo personnel
People extradited from Ghana
People


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<mask> (5 February 1953) is a South African artist from Cape Town. She was born in Vryburg in the North West province from Greek parents who had moved after inheriting a bakery from Siopis maternal grandfather. Siopis studied Fine Arts at Rhodes University in Makhanda, completing her master's degree in 1976, after which she pursued postgraduate studies at Portsmouth Polytechnic in the United Kingdom. She taught Fine Arts at the Technikon Natal in Durban from 1980 to 1983. In 1984 she took up a lectureship at the University of the Witwatersrand in Johannesburg. During this time she was also visiting research fellow at the University of Leeds (1992–93) and visiting Professor in Fine Arts at Umeå University in Sweden (2000) as part of an interinstitutional exchange. With an Honorary Doctorate from Rhodes University, Makhanda - <mask> is currently Honorary Professor at Michaelis School of Fine Art, University of Cape Town.Early years

She came to prominence in the early 1980s with her 'cake' paintings, which materially encode feminist aesthetics in thick impasto oil paint surfaces. These works were followed by her 'history paintings', interpreted as a form of resistance against apartheid. Her interdisciplinary practice since the national liberation of her country has explored the persistence and fragility of memory, notions of truth and the complex entanglements of personal and collective histories. Experimenting with a wide range of materials and processes, she reflects on the politics of the body, grief and shame, estrangement, migration and more recently the relationship between the human and the not-human within the context of climate change. All her explorations assert

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 materiality and process as inseparable from concept, with her characteristic use of contingent and chance-driven methods becoming emblematic of her interest in 'the poetics of vulnerability'. Griselda Pollock states, "<mask>is is one of the few artists in the world today who can weave a material web of marks, gestures, voices, words, found things and painted surfaces to entangle the brute forces of history with the delicate threads of human vulnerability". Work
Siopis established herself as one of the most talented and challenging artists in South Africa and beyond, by working across painting, installation and film, bringing together diverse references and materials in ways that disturb disciplinary boundaries and binaries.Concepts of time run through all her work often manifesting in the actual physical changes of her materials; in her early cake paintings oil paint is made to be unnaturally affected by gravity, age and decay; in her films using archival footage time is marked as much by the effects of age on the celluloid as by the historical period caught in the sweep of the camera; in her accumulations of found objects in her installations, ideas of the heirloom come to the fore with her ongoing conceptual work Will (1997 - ) - in which she bequeaths objects to beneficiaries - being the ultimate time piece only becoming complete on her death; her glue and ink paintings index flux as they record the material transformation that happens when viscous glue matter reacts with pigment, gravity, the artist's bodily gestures, and the drying effects of the air. Siopis sees her art practice as 'open form', operating as an intimate model in which the physical changes of her


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 materials can be extrapolated into a larger ethics of personal and political transformation. According to Achille Mbembe this quality marks her interest in process as a perpetual state of becoming and entails "the crafting of an unstable relation between form and formlessness, in the understanding that the process of becoming proceeds in ways that are almost always unpredictable and at times accidental"

Paintings

"From the outset, her attitude to painting has been simultaneously modernist and counter-modernist in its complex irreverence to the purity of both creative act and the physical medium." Cake paintings

Between 1980 and 1984 Siopis developed her 'cake' paintings. Using unconventional implements such as piping nozzles and other cake decorating tools to make her high relief impasto paintings Siopis explored the materiality of oil paint, its potential as object and its association with traditional representations of the female body. The excessive impasto surface changes over time with the outside layer of drying long before the interior, leading the surface to wrinkle and crack. This becomes a metaphor for the all too real effects of time and circumstance on the body.Siopis challenges western conventions of the idealisation of female flesh and beauty. While the female body is the main focus of these works, their association with food and decay comments on larger social narratives of decay which are developed in the paintings that follow. Working with lived experiences alongside feminist theories Siopis expresses how she "was interested in working within the space of complexity and as I worked the materiality became the critical thing"

History paintings

Between


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 1985 and 1995 <mask> produced a body of work often referred to as her 'history paintings'. Although her interest in the materiality of paint and her experimentation with this medium never ceased, the works from this period differed in many important ways from the 'cake' paintings. The transition was already marked in her Still Life with Watermelon and Other Things (1985); it was even more clearly evident in Melancholia (1986). Presenting a vision of colonialism in decline, the scene in Melancholia is both a vanitas and a history painting. It combines symbols of European high culture and references to Africa, all of them piling up as the debris of history within a claustrophobic space that signifies excess, ruin and psychological malaise.In the past the genre of history painting was seen as the highest achievement of the European art historical tradition. <mask>' ironic interrogation of its form and ideology is evident in such works as Patience on a Monument: 'A History Painting''' (1988). In the history works she introduced the techniques of collage and assemblage as a means to disrupt direct depiction and to bring in references to the representations of colonial history that South Africans were brought up on through history books. These techniques also allowed her to mark the significance of objects as traces of history in their own right. Through the introduction of objects and found images her works challenged the invisible but powerful structures within the ideological systems of apartheid at a time when political tensions in the country were running high. Pinky Pinky

The 2001-2004 series is the visualization of a South African urban legend Pinky Pinky. A hybrid


texts: creature of amalgamated forms.Half-human, half-animal, bi-gendered creature of indeterminate race, Pinky Pinky preys on school children in toilets and threatens girls in pink underwear. Siopis embarked on a personal exploration of Pinky Pinky, and according to verbal accounts by schoolchildren she interviewed on the topic, produced visual embodiments of this processual hybrid figure of no stable identity. Furthering a practice in manipulating paint and form to simulate skin and flesh, Siopis allows the paint to stand in as object of unspeakability. Located within Freudian theory and Lacan's 'real' , Siopis explores humans' ability to work-through personal feelings that exceed language by projecting things you cannot do in real life, onto and within fiction, myth and fantasy. In her visualisation of Pinky Pinky, Siopis inserted various human prosthetics into the pink, fleshy paint - plastic body parts like eyes and fake eye lashes; teeth and finger nails. In these 'fake horrors', Siopis allows viewers to feel both connected to and distanced from their own fears. In a 2004 interview with Sipho Mdanda, Siopis writes how "Many of these prosthetics are "traditionally" flesh colour, a kind of dirty pink.There is irony here, as flesh colour is not just a category of colour, but nothing less than a western conceit in which whiteness (pink) becomes the universal colour for flesh". The series investigates personal and public narratives around fear and trauma in South Africa. It is an allegory of the nation's deepest fears around issues of poverty, xenophobia, race, and crime at a time of radical social transition and uncertainty post-1994. Siopis states : "As much as Pinky Pinky is a


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 perpetrator of violence, it also seems a victim of, and scapegoat for, violent, uncivil actions – a constructed 'something' to blame for social problems." Shame paintings

Siopis produced the Shame paintings between 2002 - 2005 in the wake of South Africa's Truth and Reconciliation Commission  whilst exploring the public and psychological state of shame. The series of mixed-media paintings, show the artist's manipulation of thick, lacquer gel paint, used in home-craft to create stained glass and coloured mirror effects on surfaces. The ready-made rubber stamped messages within the paintings show the role of a language and the 'unspeakable' nature of the feeling imbued within the painting process.Works from the series were first shown in 2003 at solo exhibitions in Johannesburg and Athens. In 2005 the Shame paintings became a key feature of <mask>' multi-media installation titled Three Essays on Shame at the museum of Sigmund Freud, once his house, in London[8.33]. Responding to Freud's publication Three Essays on the Theory of Sexuality, of which the 2005 project marked the centenary, Siopis' Shame installation "linked the issues of sexuality and shame to the traumatic history of her country". By inserting references (voice recordings and objects) into the space, the work evoked a dialogue between Freud's ideas and various individual experiences during the proceedings of the South African Truth and Reconciliation Commission, binding the traces of human vulnerability and the dramatic effects of sweeping historical narratives. Consisting of three parts located in Freud's study, dining room and bedroom, the rooms were transformed to exhibit Siopis' installations titled Voice,


texts:
 Gesture and Memory - a frieze of the small paintings installed around Freud's deathbed. As part of Red: Iconography of Colour in the Work of <mask>is in 2009, 90 paintings from the series were exhibited at the KZNSA Gallery in Durban. The Shame paintings were later included in Siopis' 2014 retrospective exhibition Time and Again, installing the paintings as a grid at the South African National Gallery in Cape Town, and Wits Art Museum in Johannesburg.During a recent online exhibition for Art Basel: Pioneers, an installation of the Shame paintings was exhibited at Stevenson,Cape Town in 2021  alongside her most recent film titled Shadow Shame Again, showing a relation to gendered violence in South Africa and around the globe alongside here years of work on the subject of shame. Of this most recent exhibition, Pumla Dineo-Gqola writes how "The footage, music and clapping in the film, like the careful paintings arranged as a frieze, create meaning together, about violence's production of shame, and about its raced, gendered and historically contingent meanings". Ink and glue paintings

For the last 15 years <mask> has been extending her interests in materiality, chance and contingency; form and formlessness into experiments with the unorthodox medium of wood glue and ink. She shows matter to be alive, creating a fluid process in which the medium is an active agent in the making of the work. This process involves the mix of ink and glue and sometimes water through pouring the glue onto the canvas which is then moved to direct the flow. Allowing the materials to "mix, swirl and settle into patterns and shapes; the artist responds to the unpredictable image that starts to take

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texts: shape "encouraging" their development, and sometimes choosing not to intervene at all." Siopis writes of wood glue's 'manifest agency' - a substance of change - white, viscous and liquid, transforming into hard, transparent surface.A medium of the non-human with the ability to alter its state and colour according the forces around it, Siopis explores the 'life' of an inert medium. "I believe that encounters with lively matter can chasten my fantasies of human mastery, highlight the common materiality of all that is, expose a wider distribution of agency and reshape the self and its interests"The formless matter that the surface presents offers humans a broader scope for imaginative association. Viewers are invited to exercise their own agency in inventing an image from the material residues on the surface. In this process a personal transformation might be enabled, and the glue and ink process becomes a material way of thinking about larger social transformation [material acts]. Mbembe writes, "Matter enables life. It also complicates life. It opens up to the deep sense of the human as one among many species"'.After her 2009 solo show 'Paintings' at Stevenson Gallery, Siopis developed the medium further in conjunction with found objects - seen in her 2017 solo show titled Restless Republic. In the same year the artist worked in residence at the Maitland Institute on a project titled Open Form/Open Studio where she continued her exploration with glue and ink on large-scale canvases and invited members of the public into the space to engage with her process. For her solo show Warm Water Imaginaries in 2019, Siopis incorporated the medium with oil paint in an installation of 90


texts:
 small paintings on paper alongside a room of object-assemblages titled Tentacular Time and the makings of her film She Breathes Water. Siopis used various modes of making to respond to the vast history of climate change and the complex geological and social present. The complete film was more recently exhibited alongside her Atlas series of glue, ink and oil paintings on paper in Siopis' 2021 solo show In the Air at Stevenson, Amsterdam which further explored themes of the climate and the Covid-19 pandemic. Installation
Penny <mask>'s installation works comprise of accumulations of objects drawn from the artists personal collection installed in various iterations. "I was always interested in objects as carriers of meanings beyond themselves", Siopis writes, "they are physical traces of time, of people's lives and social histories".The objects migrate from one installation to another, "like an archive, which I use similarly to how I use film...its an ephemeral art really.The objects get taken down and become like paint tubes again".Charmed Lives, an installation project created for the Liberated Voices exhibition at New York's Museum for African Art in 1999 is notable amongst Siopis's works in this genre, becoming a prototype for further installations. The vast number of objects in this installation are imbued with emotions that the artist and the viewers bestow on them revealing different layers in the palimpsest of memories from personal, social and art historical, asking probing questions about the nature of the archive and the relative truth of a historical record. The constant evolution of the installations and the meanings made from them functions as a generative force


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 in Siopis's work. "One thing nestled next to another or dropped over another, creating countless relationships. They're endless these bits of relationships between things and objects and spaces" writes Siopis.Will (1997 - ) is an installation that encompasses the objects that the artist has singled out from her vast collection and bequeathed to individuals all around the world. An autobiographical project, this particular collection also functions as an archive and inventory of both personal and collective history. "The corpus will dissolve and the fragments disperse.They will be shot into a new world...The giving itself reflects a dynamic of human relating that in my mind becomes part of the installation". Jennifer Law writes on this installation and how it seeks to "establish and maintain relationships across generational time and space". As both art and heirloom, Law writes "Sopis's Will is the ultimate time piece...We are able to glance back on a life-in-formation and recognize the subject as discursively produced, 'as project, something to be built''. Video/Film

Siopis began working with film in 1994 with her film Per Kind Permission: Fieldwork. However, in 1997 Siopis found her niche in film making through the work My Lovely Day. She has continued to work with film throughout her career and describes the videos as montages, cut-and-paste images that move and unfold over time. Combined with text and music, film offers a wonderful opportunity for narrative.In My Lovely Day Siopis cuts sequences from her mom's 8mm home movies that she took of their family life in the 50s and 60s, and the more public events that were caught in the sweep of her camera. She combined these


texts: with music and the remembered words of her grandmother, presented as subtitles. She wove the story of three generations of women, as a kind of transgenerational haunting. The story compresses historical time into one day. The historical moment of her telling is apartheid South Africa, but her references to social turmoil and catastrophe are to earlier times: the 'exchange of populations' following the Greco-Turkish conflict of 1919–1922, the massive migrations sparked by the two World Wars and the beginnings of the decolonisation of Africa. Her mother's home movies led Siopis to the home movies of strangers, which she finds in flea markets and thrift shops in South Africa and on her travels abroad. She now has a huge archive of found film that she mines continually.Siopis sees the film as a ready-made in that it brings its own history and context into the scene. She cuts sequences from the film which she connects to the text in mostly allusive ways. So, whoever views it will shape their narrative too. All the videos take a very particular story from South African history that has an elemental quality and speaks beyond its historical circumstances; two of them, Obscure White Messenger (2010) and The Master is Drowning (2012), look at the actual and attempted assassinations of apartheid Prime Minister H.F. Verwoerd. Siopis draws on various archival sources to construct the narrative, and use different modes of address, but she prefers the first person. In Obscure White Messenger she uses a question and answer format, which she drew from the psychiatrist's report of the interview he had with Dimitrio Tsafendas, immediately after the murder. In the beginning of the film it is


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 not easy to work out who is talking: who's the 'you' and who's the 'I'?.Solo Exhibitions

 Selected Group Exhibitions

 Collections
The artist's work is represented in major public collections in South Africa; international collections include the Centre Pompidou, Paris; the Smithsonian Institution, Washington; Moderna Museet, Stockholm; and Tate, London. Awards

 2016 	Arts & Culture Trust Lifetime Achievement Award, South Africa
 2015 	Helgaard Steyn Prize, South Africa
 2002 	Klein Karoo Nationale Kunsfees: Best Visual Artist Award, South Africa
 1995 	Vita Art Now, Quarterly Award Winner, South Africa
 1991 	Vita Art Now, Special Merit Award, South Africa
 1988 	Vita Art Now, Quarterly Award Winner, South Africa
 	Vita Art Now, Merit Award, South Africa
 1986 	Volkskas Atelier Award, South Africa
 1985 	Cape Town Triennial, Merit Award, South Africa

 Bibliography
 Sue Williamson, Resistance Art in South Africa. Cape Town: David Philip, 1989. Colin Richards, 'For want of (An)Other World', in Penny Siopis, Johannesburg: The Artists Press, 1994. Clive van den Berg (ed) Panoramas of Passage: Changing Landscapes of South Africa, Washington and Johannesburg: Meridian Center and Wits Art Galleries, 1995. Okwui Enwezor (ed) Trade Routes: History and Geography, Greater Johannesburg Metropolitan Council, 1997. Frank Herremen & Mark D'Amato, Liberated Voices: Contemporary Art from South Africa, London and New York: Museum for African Art: Prestel, 1999.Jennifer A Law, 'The Story Teller: <mask>is', in Liberated Voices: Contemporary Art from South Africa Frank Herreman (ed), New York: Museum of African Art, New York and Prestel, 1999. Brenda Atkinson and Candice Breitz (eds)


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 Grey Areas: Representation, Identity and Politics in Contemporary South African Art, Johannesburg: Chalkham Hill Press, 1999. Olu Oguibe and Okwui Enwezor, (eds) Reading the Contemporary: African Art from Theory to the Marketplace, London: Iniva and MIT Press, 2000. Jennifer Law, <mask>is: Sympathetic Magic. Johannesburg: University of Witswaterstrand, 2002. Kathryn Smith (ed) Penny Siopis, Johannesburg: Goodman Gallery, 2005. Colin Richards, 'Prima Facie: Surface as Depth in the Work of <mask>is' in Kathryn Smith (ed) <mask>is, Johannesburg: Goodman Gallery, 2005.Griselda Pollock, 'Painting, Difference and Desire in History: The Work of <mask>is 1985 - 1994' in Kathryn Smith (ed) <mask>, Johannesburg: Goodman Gallery, 2005
 Jennifer Law, Three Essays on Shame, London: Freud Museum, 2005. <mask>, 'Shame in Three Parts at the Freud Museum' in Claire Pajaczkowska and Ivan Ward (eds), Shame and Sexuality: Psychoanalysis and Visual Culture, London: Routledge, 2008
 Sarah Nuttall, Entanglement: Literary and Cultural Reflections on Post- Apartheid, Johannesburg: Wits University Press, 2009. Brenton Maart (ed), Red, The Iconography of Colour in the work of <mask>, Durban: KZNSA Gallery, 2009. Sarah Nuttall & <mask>is, An Unrecoverable Strangeness: some reflections on selfhood and otherness in South African Art, Critical Arts 24:3, 2010. Colin Richards, 'In Human History: Pasts and Prospects in South African Art today' in Thembinkosi Goniwe, Mario Pisarra (eds), Visual Century: South African Art in Context 1907-2007, Vo 4, Johannesburg: Wits University Press, 2011. Sue Williamson, South African Art Now. New York: HarperCollins, 2011.<mask> and Kim Miller, Whose Afraid of the Crowd,

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 Catalogue 57. Cape Town: Stevenson, 2011. Corinne Diserens, Appropriated Landscapes: Contemporary African Photography from The Walther Collection, Göttingen: Steidl, 2011. <mask>, 'The Hooks of History - Three Films' in Marie-Hélène Gutberelet, Cara Snyman (eds) Shoe Shop, Johannesburg: Jacana Media, 2012. Brenton Maart (ed), Contemporary South African Art and the Archive, Makhanda: National Arts Festival, 2013. Gerrit Oliver (ed), <mask>is: Time and Again, Wits University Press: Johannesburg, 2014. Griselda Pollock, 'Remembering Three Essays on Shame, <mask>is, Freud Museum, London 2005' in Gerrit Oliver (ed), <mask>is: Time and Again, Wits University Press: Johannesburg, 2014.<mask>, Grief, Stevenson: Cape Town, 2016. <mask>, Shame, Stevenson: Cape Town, 2016. <mask>, Material Acts , Stevenson: Cape Town, 2019. Karen Milbourne, I Am...Contemporary Women Artists of Africa'', Washington DC: Smithsonian National Museum of African Art, 2019. References

External links

1953 births
Living people
20th-century South African painters
20th-century South African women artists
21st-century South African painters
21st-century South African women artists
University of Cape Town academics
Rhodes University alumni
South African people of Greek descent
South African women painters
People from

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<mask> (born 10 October 1978) is a Scottish former footballer who played as a striker. Although born in England, Dobie played six times for Scotland at full international level in 2002. During a 16-year career he played for Carlisle United, Clydebank, West Bromwich Albion, Millwall, Nottingham Forest, St Johnstone, Bradford City and York City. Club career

Carlisle United
Born in Workington, Cumbria, Dobie joined Carlisle United as an apprentice in June 1995, turning professional on 10 May 1997. While at Carlisle, it was <mask>'s goalbound header that was parried into the path of Carlisle goalkeeper Jimmy Glass, who scored with the last kick of the final game of the 1998–99 season, preserving Carlisle's Football League status and relegating Scarborough. During 2000–01, Dobie attracted interest from other clubs, with Carlisle manager Ian Atkins claiming that the player could be worth as much as £2 million in the transfer market. West Bromwich Albion
Dobie was transferred to West Bromwich Albion on 6 July 2001 for an initial £150,000 fee, with another £50,000 being paid once he reached 25 appearances for his new club.He made his Albion début against Walsall on 11 August 2001. His first goal for the club came on 22 August 2001 in a League Cup tie at Cambridge United, when he lobbed the opposition goalkeeper from 30 yards out. He enjoyed an impressive September, scoring his first league goal for Albion in a 4–0 win over Manchester City, and thus commencing a scoring streak of eight goals in seven games. However he struggled to find the net after that, not scoring again until February. Nonetheless, he finished the season as the club's top scorer with

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 11 league goals, 13 in total. His performances helped Albion get promoted to the Premier League in 2001–02. Two of his goals came on 16 March 2002 in a 3–0 win at Sheffield United; the game was dubbed the "Battle of Bramall Lane" as it was the only game in English professional football to be abandoned due to a team having insufficient players left on the pitch.In the summer he handed in a transfer request, reportedly because he wanted a wage increase after breaking into the Scotland national side. Albion refused to sell the player however, and eventually <mask> was rewarded with an improved four-year contract. <mask> was Albion's first Premier League substitute when he replaced Danny Dichio in the opening game against Manchester United at Old Trafford. He scored just five times in Albion's first Premiership season, although his strike against Tottenham Hotspur on 8 December 2002 was named 'Goal of the Week' by the BBC Sport website. Albion were relegated, but Dobie again won promotion with them in 2003–04, helping the club bounce back to the top-flight at the first attempt. Millwall
With the likes of Kanu and Robert Earnshaw ahead of him in the West Brom pecking order, Dobie struggled to gain first team action at the start of 2004–05, and on 8 November 2004 moved to Millwall in a deal worth "up to" £750,000. Owing to a sell-on clause, his former club Carlisle received at least £37,500 from the deal.Nottingham Forest
On 25 February 2005 he joined Nottingham Forest in a £525,000 move from Millwall, signing a three-and-a-half-year deal. His Forest career got off to a slow start, as he scored only one goal in 12 appearances. He then started to find

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 his form, but a series of injuries, including a hip injury that required ground-breaking surgery in America, checked his progress, meaning he scored just two goals in the 2005–06 season. At the start of the 2006–07 season new manager Colin Calderwood expressed his faith in Dobie and said his career was safe at Forest. But injury again slowed his progress, after suffering a thigh injury on his comeback game, forcing him down the pecking order behind Grant Holt, Junior Agogo and Nathan Tyson. Most of Dobie's appearances in 2006–07 were from the substitutes bench. His only goal that season came in the 2006–07 League One play off semi-final against Yeovil.His header from a corner, put Forest 3–1 up in the tie, but they ended up losing 5–4 on aggregate after extra time. <mask> began the 2007–08 campaign as a lone striker against AFC Bournemouth but was quickly dropped to the bench, and then cut from the matchday squad altogether, although he returned as a substitute in Forest's 2–0 win at Port Vale. Return to Carlisle
On 23 January 2008, <mask> returned to Carlisle United, now in League One, where he signed a two-and-a-half-year contract after moving for a nominal fee. He was on the losing side in a play-off semi-final for the second year running when Carlisle were defeated 3–2 on aggregate by Leeds United, whose team included Dobie's half-cousin Paul Huntington. Dobie received the first red card of his career in a 0–0 draw against Leyton Orient in August 2008. St Johnstone
Dobie signed for Scottish Premier League club St Johnstone on a one-year contract in May 2010. <mask> had previously played alongside Saints manager Derek McInnes at West Brom.He

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 played just four games for the Scottish outfit. <mask> signed for League Two side Bradford City in February 2011 on a loan deal until the end of the season. York City
After more than a year without a club, <mask> signed for newly promoted League Two club York City on a three-month contract on 30 August 2012. However, he was released a month later on 28 September 2012 after failing to break into the team. International career
<mask> represented Scotland at international level. He made his debut in a 4–1 defeat away to South Korea on 16 May 2002, in which he scored Scotland's only goal. He was capped six times by Scotland, all of these coming during 2002.Career statistics

Club

International

International goals
Scores and results list Scotland's goal tally first. After football
After retiring from football, <mask> became a police officer. He is now an Authorised Firearms Officer and National Firearms Instructor, and has provided armed protection at Merry Hill Shopping Centre in Birmingham. See also
 List of Scotland international footballers born outside Scotland

References

External links

1978 births
Living people
People from Workington
English footballers
Scottish footballers
Scotland international footballers
Association football forwards
Carlisle United F.C. players
Clydebank F.C. (1965) players
West Bromwich Albion F.C. players
Millwall F.C.players
Nottingham Forest F.C. players
St Johnstone F.C. players
Bradford City A.F.C. players
York City F.C. players
Premier League players
English Football League players
Scottish Premier League players
Scottish Football League players
English people of Scottish descent
Anglo-Scots
British police

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Missa <mask> (城之内 ミサ; <mask> was named UNESCO Artist for Peace in August 2006. Personality

Profile
Musician, UNESCO Artist for Peace, Ambassadress of the musical relations for the events commemorative of the 1300th anniversary of the Capital of Nara Heijo-Kyo. While being registered at the Academic institute of music of Toho,  the theory of musical composition section, she began to compose in the  audio-visual area for successful television series, commercials s and the cinema. She studied in France under the direction of the composer Jean-Claude Petit. Since 1988, <mask> is accompanied by the Orchestre National de l’Opéra de Paris and the Orchestre National de Paris for the making of her albums. In 1993, she participated t in the international conductors contest of Besançon. Her album of Asian original compositions, “Healing music”, was one of the best selling  albums in the occidental countries.Among her several  performances  and the first time ever, she gave a concert based on her  own compositions, as a pianist and as a conductor, in the department of Nara, in front of Kofukuji and Higashikondo (indicated like national treasures). Missa <mask> wrote composed and played the music in the opening ceremony of  the Flower Festival of Hamanakako, entitled “New elegances of the flowers”, whose production was ensured by a great Master of Japanese poetry, Mannnojo Nomura. At the “World Heritage Torch-Run Concert – Missa <mask> Johnouchi

masks:
Johnouchi
Jōnouchi Mia Johnouchi
Missa Johnouchi
Johnouchi
Johnouchia


texts:
 played her own music, and e directed  the Orchestre National de l’Opéra de Paris that accompanied her. Moreover, she composed the music that accompanied  the images of the exhibition  at the Petit Palais of Paris, entitled “Shôkokuji, Gold Pavilion, Silver Pavilion, Zen and Art with Kyoto within the celebration of the 150th birthday of the Japanese and French  relations and the 50th birthday of the Paris and Kyoto twin cities”. In October 2009, the album « Spiritual Discovery » is released, for the first time in cooperation with UNESCO. Still today, she continues,  in her own country and  abroad, her function as a  UNESCO messenger, as could be seen during  the exceptional concert that took place at  UNESCO’s Headquarters on 12 November 2009 in Paris or in Tokyo in  November 2010 where she gave a charity concert for the children of Afghanistan. She was the first Japanese female  “UNESCO Artist for Peace (in charge of the world heritage)” in the section musical composition and conduction, to continue to transmit the message on “ Peace of the heart”, “ conservation of the world heritage”, “ environmental protection”, “ education”. Discography

Asian Blossoms (13 Jun 2000)
 1. Asian Wind
 2.Seasons
 3. Marco Polo
 4. Song Of Silk Road
 5. Blossom
 6. Springtime
 7. Night Bird
 8. Butterfly
 9.Twilight
 10. Once Upon A Time
 11. Asian Wind – (Piano Version)

Friends (19 August 2000)
 1. Pastoral
 2. Espoir
 3. In Paradisum
 4. Tristesse


texts:
 5.Tomorrow
 6. Solitude
 7. Forest
 8. Walking On Air
 9. Mirage
 10. Aprés Midi
 11. Glowing Sky
 12.Spoons Dance
 13. Tristesse (Reprise)

Yamatoji Symphony : The Eternal Yamato (2002)
 1. Birth [Tanjou]
 2. Prayers
 3. Vicissitudes [Eikoseisui]
 4. The Wings Of Spacetime [Jikuu no Tsubasa]

road to OASIS (12 February 2002)
 1. The Last Caravan
 2.Shangri-La
 3. road to OASIS
 4. Desert Mirage
 5. Moon Over The Border
 6. Snow Bird
 7. Stardust Tapestry
 8. Nomads
 9. Holy Sunset
 10.Prayer
 11. Horizon

Dimanche (21 September 2002)
 1. Hoshi no Kioku [Memories Of Stars]
 2. Maioriru Tenshi [Flying Down Angel]
 3. Akanegumo [Rosy Clouds]
 4. Mayonaka no Mail [Midnight Mail]
 5. Chikyuugi [Globe]
 6.My Friend (to Vivian)
 7. Screen Music ni Koishi te [Loving Screen Music]
 8. Koi no Atokataduke [After Love]
 9. Ieji [The Way Home]
 10. Umibe no Gogo [Afternoon At Seaside]
 11. Je n'aime pas moi

Kurenai (28 September 2002)
 1. Legend Of The Mountain
 2.Dream Land
 3. Kurenai
 4. Pilgrimage
 5. Sea Wind
 6. Déjà Vu ~Light in the Void
 7. Full Moon Bay
 8. Shanghai Twilight
 9.Desert Walk
 10. Lawrence
 11. Silky Sky
 12. End Of The Silk Road

Kataribe ~Piano Collection (26 Jun 2003)
 1. Kataribe (Story Teller)
 2. Miyako (Ancient City)
 3. Streets Of Kyoto
 4.Asian Wind – (piano version)
 5. Funauta (A Boatman's Song)
 6. Shigure (A Scattered Shower)
 7. Shuufu (Antumn Breeze)
 8. Springtime
 9. Snow Forest
 10. Hatsuyuki (First Snow)


texts:
 11.Déjà Vu ~Light in the Void
 12. Sekka (Snow Blossoms)
 13. Horizon
 14. Snow Dance

Kuge (29 October 2003)
DISC 1
 1. Skyward
 2. Stardust Island
 3. Lake
 4.Kazamatsuri
 5. Kataribe
 6. Exotica
 7. Prayer (Suite "Yamatoji Symphony : The Eternal Yamato" #2)
 8. Kotohime
 9. Sunset Moon
DISC 2 (Symphony)
 1. Kuge II
 2.Eurasia

Canon ~Missa <mask> Best (29 September 2004)
 1. Asian Wind
 2. Stardust Tapestry
 3. Kataribe
 4. Seasons
 5. Moon Beach
 6. Marco Polo
 7.Desert Mirage
 8. Pilgrimage
 9. Shangri-La
 10. Shanghai Twilight
 11. Night Bird
 12. Kirisamekodo (Ancient Roads in the Mist)

3 Nen B Gumi Kinpachi Sensei (OST) (19 January 2005)

Evening (22 Jun 2005)
 1. Evening
 2.Marco Polo (Remix)
 3. Lake (Remix)
 4. A Song Of The Lilies (Piano & Strings)
 5. Asian Wind (Remix)
 6. road to OASIS (Remix)
 7. Il Pleure dans mon cœur (Piano & Strings)
 8. Evening (Piano Version)

Snow ~Piano Collection (18 July 2006)
 3. Snow Forest
 6.Shigure (A Scattered Shower)
 9. Sekka (Snow Blossoms)
 10. Hatsuyuki (First Snow)

Fufudo (OST) 30 May 2007

Le Chant de La Terre (11 October 2007)
 1. Le Chant de La Terre
 2. Kaze no Hohoemi [Wind's Smile]
 3. Ilumine
 4. Harukana Tabi no Naka de [In Distant Travels]
 5.Snow Bird (Violin & Piano Version)
 6. Taiyou no Michi [The Road of the Sun]
 7. Le Muguet
 8. Tsumetai Tsuki no Hikari wo Abite [A Cold Moonlight Shower]
 9. Souseki [Genesis]
 10. Genka
 11. Kono Te wo Kazashite [Put Up Your Hands]


texts:
 12.Avec Toi Toujours

Green Earth (24 September 2008)
 1. Green Earth
 2. Life
 3. Sea Green
 4. Desert Moon
 5. Sad Forest
 6. For Maori
 7.Ripples
 8. Ondines
 9. Border
 10. Sakura Kaoru
 11. The end of the Journey

Spiritual Discovery (21 October 2009)
 1. Original Scenery
 2. Glowing Horizon
 3.Fluttering
 4. Journey to the next World
 5. Rising Sun
 6. Live in Quiet
 7. Japonisme
 8. Peace of Mind
 9. Purplish Tone
 10.Beauty in the Seasons
 11. Journey of the Soul
 12. Il pleure dans mon cœur
 2. Pure
 3. Seinaru Toki 2 [Holy Moment 2]

Avec Toi Toujours
 1. Avec Toi Toujours
 2. Avec Toi Toujours (Instrumental)
 3.Kono Te wo Kazashite [Put Up Your Hands]
 4. Kono Te wo Kazashite (Instrumental)

Watashi no Sonzai no Imi
 1. The Meaning of My Being [Watashi no Sonzai no Imi]
 2. The Meaning of My Being (La La La Version)
 3. The Meaning of My Being (Instrumental)
 4. Indigo Sunset [Aiiro no Yuuhi]

Link
 Missa Johnouchi Official Website
 Pacific Moon
 NPO WORLD HERITAGE TORCH-RUN CONCERT

1960 births
20th-century conductors (music)
20th-century Japanese pianists
20th-century women composers
21st-century conductors (music)
21st-century Japanese pianists
21st-century women composers
Japanese composers
Japanese conductors (music)
Japanese women composers
Japanese women singers
Japanese pianists
Japanese women pianists
Living people
New-age composers
New-age musicians
New-age pianists
Women conductors (music)
21st-century Japanese


texts:
<mask> (/ˈwɒtkɪnz/; March 13, 1933 – March 20, 2013) was an American linguist and philologist, known for his book How to Kill a Dragon. He was a professor of linguistics and the classics at Harvard University and after retirement went to serve as professor-in-residence at UCLA. Early life

Family
<mask> was born in Pittsburgh, Pennsylvania on March 13, 1933 to <mask>, an economist and government advisor, and Willye Ward, a Spanish teacher who translated the personal memoirs of former Mexican president Gen. Antonio Lopez de Santa Anna. Much of <mask>'s childhood was spent in New York City, and he graduated from Friends Seminary in Manhattan before beginning his career at Harvard University. <mask>'s early exposure to Latin and Greek inspired him at the age of fifteen to decide to become an Indo-Europeanist. Education
<mask> received his initial undergraduate degree from Harvard University in 1954, graduating summa cum laude, and his Ph.D in Linguistics in 1959. During his time at Harvard, <mask> also studied abroad at the École Pratique des Hautes Études in Paris, France, from 1954 to 1955 as well as the Dublin Institute for Advanced Studies, School of Celtic Studies from 1957 to 1958.Career

Harvard
In 1959,

masks:
Calvert Watkins
Calvert Watkins
Ralph James Watkins
Watkins
Watkins
Watkins
Watkins


texts:
 <mask> was initially appointed the position of instructor at Harvard University. He later became assistant professor in 1960, associate professor with tenure in 1962, and full professor in 1966. In 1989 <mask> was appointed to the position of Victor. S Thomas Professor of Linguistics and Classics. Linguists influenced by <mask> during his tenure at Harvard include Goddard, Jasanoff, D. Gary Miller, Michael Silverstein, Alice Harris, H. Craig Melchert, Alan Nussbaum, Brent Vine, Mark Hale, Andrew Garrett, Joshua Katz and Benjamin Fortson. <mask> remained dedicated to the research and development of historical linguistics throughout his entire academic and professional career. In 1982 he was a founding member of the "East Coast Indo-European Conference" in which he participated in a large majority of its annual meetings.University of California, Los Angeles
Upon his retirement from Harvard in 2003, <mask> moved to Los Angeles, California and began teaching at the University of California, Los Angeles alongside his wife, Stephanie Jamison. <mask> continued to promote the importance of historical linguistics at UCLA by remaining active in the annual UCLA Indo-European Conference. In 2013, the 25th annual conference

masks: Watkins Watkins Watkins Watkins Watkins Watkins


texts:
 was dedicated to the memory of <mask>. Early published works
His doctoral dissertation at Harvard University, Indo-European Origins of the Celtic Verb I. The Sigmatic Aorist (Dublin Institute for Advanced Studies, 1962), which deeply reflected the structuralist approach of Jerzy Kuryłowicz, opened a fresh era of creative work in Celtic comparative linguistics and the study of the verbal system of Indo-European languages. <mask>, in a sense, completed his contribution to this area with his Indogermanische Grammatik, vol. 3, part 1: Geschichte der indogermanischen Verbalflexion (1969).Meanwhile, his work on Indo-European vocabulary and poetics yielded a large number of articles on (among others) Celtic, Anatolian, Greek, Italic and Indo-Iranian material, presented directly in his Selected Writings and indirectly in his book, How to Kill a Dragon: Aspects of Indo-European Poetics (Oxford University Press, 1995). He contributed his expertise on Indo-European languages to the first edition of The American Heritage Dictionary of the English Language and edited The American Heritage Dictionary of Indo-European Roots (). He also pointed out that of all the Celtic languages, Old Irish is the closest match to the theorized

masks: Watkins Watkins


texts:
 Proto-Indo European mother tongue and that Old Irish represents an extraordinary ancient language whose structure can only be compared with that of Vedic Sanskrit. How to Kill a Dragon: Aspects of Indo-European Poetics
How to Kill a Dragon: Aspects of Indo-European Poetics was published on November 16, 1995 through Oxford University Press and attempted to establish a formulaic method of comparative linguistics which exemplified the importance of the poetic formula in order to better trace the development of Indo-European languages by working backwards and identifying patterns from their mother language, Proto-Indo-European. The book is divided into two main halves, the first of which acts as a definition and introduction the study of Indo-European poetics which is expanded upon by implementing <mask>' idea of the "dragon-slaying myth" and defending this concept through a number of case studies involving languages connected by a common theme. <mask> expands upon the "dragon-slaying myth" in part two of the text by offering new research into his proposed formula of "HERO SLAY SERPENT", he also attempts to reconstruct an example of Proto-Indo-European through the comparative method of historical linguistics. Lingua


texts:
 Franca reviewer Marc L'Heureux commented that <mask> also implements historical evidence to favor the development of language such as the relationship between the patron and the poet.He further opined that through the ceremonious delivery from the poet, the word choices became preserved as historical evidence of the language in question. Thus the poet was not only a wielder of great power, according to <mask> as the patron's prestige was inherently tied to the poet's prowess, but a recorder of language that has allowed for research to be conducted in order to better understand the development of ancient languages. How to Kill a Dragon received favorable acclaim and is now considered to be a definitive text which transformed the study of Indo-European poetics. How to Kill a Dragon earned <mask> the 1998 Goodwin Award for Classical Studies. Legacy and awards
 Honorary Member of the Royal Irish Academy (1968)
 Fellow of the American Academy of Arts and Sciences (1973)
 Member of the American Philosophical Society (1975)
 Senior Fellowship for Independent Study and Research from the National Endowment for the Humanities (1984–85)
 Corresponding Fellow of the British Academy (1987)
 Académie des Inscriptions et

masks: Watkins Watkins Watkins


texts:
 Belles-Lettres, Correspondant Etranger (1990)
 Guggenheim Fellowships for demonstration of exceptional capacity for productive scholarship and exceptional creative ability in the arts in the field of linguistics (1991)
 Goodwin Award for Classical Studies for How to Kill a Dragon (1998)
 President of the Linguistic Society of America in 1988
 Associé Etranger, Membre de l'Institut (1999)

Death
<mask> died in his sleep at the age of 80 in Los Angeles, California on March 20, 2013. He was the Distinguished Professor in Residence of the Department of Classics and the Program in Indo-European Studies at the University of California, Los Angeles, where he had moved in 2003 after retiring from Harvard University as Victor S. Thomas Professor of Linguistics and the Classics. Published works
 "Review of Kenneth Jackson, Language and History in Early Britain: A Chronological Survey of the Britannic Languages, First to Twelfth Century A.D.," Language 30 (1954) 513–18;  P. Guiraud, Bibliographie critique de la statistique linguistique rev.& completed by D. Houchin, J. Puhvel & Watkins under the direction of J. Whatmough (Utrecht, 1954). REVS: BSL L 1954,2 44–46 Cohen; Emerita XXIV 1956 187 Tovar
 "The Phonemics of


texts:
 Gaulish: The Dialect of Narbonensis," Language 31 (1955) 9–19
 "Preliminaries to a Historical and Comparative Analysis of the Syntax of the Old Irish Verb," Celtica 6 (1963) 1–49
 "Indo-European Metrics and Archaic Irish Verse," Celtica 6 (1963) 194–249; "Lat. nox, by night. A Problem in Syntactic Reconstruction," Symbolae linguisticae in honorem J. Kuryłowicz, ed. A. Heinz (Wrocław, 1965) 351–358
 "An Indo-European Construction in Greek and Latin," HSCP 71 (1966) 115–119; J. Kuryłowicz, Indogermanische Grammatik, III, 1. Teil : Formenlehre : Geschichte der indogermanischen Verbalflexion by <mask> (Heidelberg: Carl Winter Universitätsverlag, 1969) REV. Paideia XXX 1975 382–386 Pisani; WZHalle XXI 1972, 1 99–102 Barschel | DLZ XCII 1971 849–851 Sternemann | Language XLVIII 1972 687–695 Wyatt
 "The Indo-European Origin of English," The American Heritage Dictionary of the English Language New York: American Heritage and Houghton Mifflin, 1969) xix-xx
 "Indo-European and the Indo Europeans," ibid., 1496–502; "Indo-European Roots," ibid., 1505–50
 "A Latin-Hittite Etymology," Language 45 (1969) 235–242
 "A Further Remark of Lachmann's Law," HSCP 74 (1970) 55–65
 "On the Family of arceō, ἀρκέω, and Hittite h⌣ark-," HSCP


texts:
 74 (1970) 67–74
 "An Indo-European Agricultural Term, Latin ador, Hittite h⌣at-," HSCP 77 (1973) 187–194
 "Etyma Enniana," HSCP 77 (1973) 195–206
 "Latin suppus," JIES 1 (1973) 394–399
 "I.-E. Star," Sprache 20 (1974) 10–14
 "God," Antiquitates Indogermanicae.Studien zur indogermanischen Altertumskunde und zur Sprach- und Kulturgeschichte der indogermanischen Völker. Gedenkschrift für Hermann Guentert zur 25. Wiederkehr seines Todestages am 23. April 1973, ed. M. Mayrhofer, W. Meid, B. Schlerath & R. Schmitt (Innsbruck, 1974) 101–110
 "La famille indo-européenne de grec ὄρχις. Linguistique, poétique et mythologie," BSL 70 (1975) 11–26
 "Latin ador, Hittite hat- Again. Addenda to HSCP LXXVII 187–193," HSCP 79 (1975) 181–187; "Latin iouiste et le vocabulaire religieux indo-européen," Mélanges offerts à E. Benveniste (Paris, 1975) 527–534; "La désignation indo-européenne du tabou," Langue, discours, société.Pour Émile Benveniste ed. J. Kristeva, J.C. Milner, & N. Ruwet (Paris, 1975) 208–214
 "Towards Proto-Indo-European Syntax: Problems and Pseudo-Problems," Chicago Linguistic Society (Parasession on diachronic syntax) 12.2 (1976) 305–26
 "Observations on the Nestor's Cup Inscription," HSCP 80 (1976) 25–40
 "Syntax


texts:
 and Metrics in the Dipylon Vase Inscription," Studies in Greek, Italic, and Indo-European Linguistics Offered to Leonard R. Palmer on the Occasion of his Seventieth Birthday June 5, 1976, ed. Davies A. Morpurgo & W. Meid (Innsbruck, 1976) 431–441
 "À propos de μῆνις," BSL 72, 1 (1977) 187–209; "ἀνόστεος ὁν πόδα τένδει," Étrennes de septantaine. Travaux de linguistique et de grammaire comparée offerts à Michel Lejeune (Paris, 1978) 231–235
 "La désignation indo-européenne du tabou," Langue, discours, société. Pour Émile Benveniste ed. J. Kristeva, J.C. Milner, & N. Ruwet (Paris, 1975) 208–214
 "Let Us Now Praise Famous Grains," PAPS 122 (1978) 9–17; "A Greco-Hittite Etymology," Serta Indogermanica. Festschrift für Günter Neumann zum 60.Geburtstag, ed. J. Tischler (Innsbruck, 1982) 455–457
 "The Language of the Trojans," Troy and the Trojan War. A Symposium Held at Bryn Mawr College, October, 1984, ed. M.T. Mellink (Bryn Mawr, PA, 1986) 45–62
 "The Name of Meleager," O-o-pe-ro-si. Festschrift für Ernst Risch zum 75. Geburtstag, ed.A. Etter (Berlin, 1986) 320–328
 "Questions linguistiques de poétique, de mythologie et de pré-droit en indo-européen," LALIES 5 (1987) 3–29
 "'In the Interstices of Procedure.'


texts:
 Indo-European Legal Language and Comparative Law," Studien zum indogermanischen Wortschatz, ed. Wolfgang Meid (Innsbruck, 1987) 305–314; Studies in Memory of Warren Cowgill (1929–1985). Papers from the Fourth East Coast Indo-European Conference, Cornell University, June 6–9, 1986 (ed.) (Berlin & New York, 1987) REVS. Peter E. Knox and Clive Foss (Stuttgart, 1998) 201–211
 The American Heritage Dictionary of Indo-European Roots (revised and ed. ), 2nd ed.(Boston, 2000)
 "A Distant Anatolian Echo in Pindar: the Origin of the Aegis Again," HSCP 100 (2000) 1–14; "L'Anatolie et la Grèce : résonances culturelles, linguistiques et poétiques," CRAI (2000) 1143–1158
 "À la suite des perspectives tracées par Michel Lejeune: aspects du grec et du celtique," CRAI (2001) 213–223
 "An Indo-European Linguistic Area and Its Characteristics: Ancient Anatolia. Areal Diffusion as a Challenge to the Comparative Method? in Areal Diffusion and Genetic Inheritance: Problems in Comparative Linguistics ed. Alexandra Y. Aikhenvald & R.M.W. Dixon (Oxford: Oxford University Press, 2001) 44–63
 "The Golden Bowl: Thoughts on the New Sappho and its Asianic Background," ClAnt 26,2 (2007) 305–325
 "The Erbessos Blues and Other Tales of the


texts:
 Semantics of Case and the Semantics of Love among the Western Greeks," La langue poétique indo-européenne : actes du colloque de travail de la Société des études indo-européennes (Indogermanische Gesellschaft, Society for Indo-European studies), Paris, 22–24 octobre 2003, ed. Georges-Jean Pinault and Daniel Petit (Leuven, 2006) 517–521
 "Hipponactea quaedam," Hesperos: Studies in Ancient Greek Poetry Presented to M. L. West on His Seventieth Birthday, ed. Patrick J. Finglass, Christopher Collard, and Nicholas J. Richardson (Oxford, 2007) 118–125.References

External links

 Essay by <mask> on Indo-European, from The American Heritage Dictionary of the English Language
 How to Kill a Dragon: Aspects of Indo-European Poetics, limited preview

1933 births
2013 deaths
Linguists from the United States
Celtic studies scholars
Historical linguists
Harvard University faculty
Indo-Europeanists
Linguists of Indo-European languages
University of California, Los Angeles faculty
Fellows of the British Academy
Harvard Graduate School of Arts and Sciences alumni
Linguistic Society of America presidents
Fellows of the American Academy of Arts and Sciences
Friends Seminary


texts:
<mask> or  <mask> (1796–1860) () was a rabbi and author, born in Amsterdam, the son of <mask>. Family history and education
<mask> was descended from a distinguished family of Sephardim, who emigrated from Spain in 1492 on the expulsion of the Jews from that country by Ferdinand and Isabella. The family seems to have settled mainly in Holland and includes, among  others, the preacher <mask> (1675-1735) and Dr. <mask> (1735-1816), who served as court physician to William, Prince of Orange. At just eleven years of age, <mask> entered as a student to the bet ha-midrash in Amsterdam, studying diligently, and after a course of nine years received his rabbinical diploma from Haham d'Azevdo of Amsterdam who stated that <mask> was "to the fullest extent competent to discharge rabbinical functions...and assume the ministerial office in every city." He also engaged in secular studies. In addition to the Spanish and Portuguese languages, which were spoken at home, he read both German and French literature. Moreover, he studied mathematics and astronomy, and his great-uncle, Dr. <mask>, introduced him to medicine.He became proficient in drawing, sketching, and music as well. Rabbinic career
In 1818, D.A<mask> <mask> was called to London to become one of the ministers of the Bevis Marks Congregation under Haham Raphael Meldola (who would also later become his father-in-law). <mask>'s addresses before the Society for the Cultivation of Hebrew Literature led the mahamad (board of directors of the congregation) to appoint him to deliver discourses in the vernacular, and on March 26, 1831, he preached

masks:
David de Aaron de Sola
David Aaron de Sola
Aaron de Sola
David Aaron De Sola
Isaac de Sola
Benjamin de Sola
David Aaron de Sola
de Sola
Benjamin de Sola
. de
Sola
De Sola


texts:
 the first sermon in English ever heard within the walls of Bevis Marks Synagogue (all previous ones being spoken in Spanish or Portuguese). His discourses were subsequently published by the mahamad. Of his style, one observer wrote: "Though a scholar and a thinker, yet he...used the most unpedantic terms and assumed a quiet, colloquial manner." Publications
D.A.<mask>'s most significant work was the publication in 1836 and again in 1852 of the prayer book, Translation of the Forms of Prayer According to the Custom of the Spanish and Portuguese Jews. This undertaking, which received the encouragement and financial support of Sir Moses Montefiore, "was a remarkable feat of scholarship" and formed the basis for several subsequent editions. Other writings by D.A<mask> <mask> include:

In 1829, he issued his first work, The Blessings, with an introductory essay on the nature and duty of thanksgiving. In 1837, <mask> published The Proper Names in Scripture; about the same time he wrote Moses the Prophet, <mask>, and <mask>, and in 1838 Notes on Basnage and Milman's History of the Jews. In 1839, collaborating with M. J. Raphall, he translated eighteen treatises of the Mishnah. The work had a strange fate, for, the manuscript having reached the hands of a member of the Burton Street Synagogue, it was published in 1842, without the permission of the authors, before it had been revised or corrected for the press, and with an anonymous preface expressing views entirely opposed to those of <mask> and Raphall.In 1840 <mask>, conjointly with Raphall, began the publication of an English translation

masks:
de Sola
. de
Sola
de Sola
Moses Maimonides
Moses Mendelssohn
de Sola
de Sola


texts:
 of the Scriptures, together with a commentary. Only the first volume, Genesis, was published, in 1844. In 1860, he translated into English, in four volumes, the festival prayers according to the custom of the German and Polish Jews. Besides his works in English, <mask> wrote in Hebrew, German, and Dutch. He contributed frequently between 1836 and 1845 to the Allgemeine Zeitung des Judenthums and to Der Orient, and published in German A Biography of Ephraim Luzzato and a Biography of Distinguished Israelites in England. His chief work in Dutch was his Biography of Isaac Samuel Reggio, published in 1855 and afterward translated into English. Organizational activities
<mask> was instrumental in organizing the Association for the Promotion of Jewish Literature and other societies of a similar character.Musical contributions
D.A<mask> <mask> had a lifelong passion for music. As his son Abraham relates, "nature had gifted him with a fine ear and a most melodious voice." In 1857, he published The Ancient Melodies of the Spanish and Portuguese Jews, including a historical account of the poets, poetry, and melodies of the Sephardic liturgy. In the notation of the melodies he was assisted by Emanuel Aguilar, the composer. Additionally, <mask> composed a melody for Adon Olam that is still used in both Sephardi and Ashkenazi synagogues in the United Kingdom and elsewhere. Family life
<mask> was married in 1819 to Rica/Rebecca <mask> Meldola (born Amsterdam 1796 died London 1866, eldest daughter of Haham Raphael Meldola, who was born in Florence and was also accomplished in her study of religion

masks:
de Sola
De Sola
. de
Sola
de Sola
De Sola
de Hezekiah


texts:
 and languages.They had a fruitful marriage, producing six sons and nine daughters. Among the sons was Rabbi Abraham <mask>, who served as minister at the Spanish and Portuguese Synagogue of Montreal and <mask> <mask>, who in 1863 was elected to succeed his father as minister of the Bevis Marks. One daughter, Jael, married Solomon Belais, son of Rabbi Abraham Belais, at one time treasurer to the Bey of Tunis. Another daughter, Eliza, married Rev. Abraham Pereira <mask> and was the mother of Rabbi Dr. <mask> <mask> <mask> and Rabbi Dr. Henry Pereira <mask>. Of the other daughters, five married in London, one being Annette Hannah <mask> born 1827, London and who married in London in 1863 Maurice Moses Cohen Rogers born 1831 in Leewarden. Their grandson Dr Keith Bernard <mask> Rogers, born London 1910, died London 2005.Dr Rogers "Until 1941 he was a research assistant under Sir Almoth Wright and Sir <mask>, part of the illustrious team in the inoculation department at St Mary’s, concerned with immunology, early blood transfusions, and the development of sulphonamides, and, above all, penicillin. Indeed, Keith Rogers was probably the first patient to be treated clinically with penicillin ointment. He was to captain the London University rifle team in an important match when he developed severe conjunctivitis. The penicillin worked and the match was won." <mask> <mask> died at Shadwell, near London, in 1860. References

External links

1796 births
1860 deaths
Rabbis from Amsterdam
Dutch Orthodox rabbis
Dutch people of Spanish-Jewish descent
Dutch Sephardi Jews
Sephardi rabbis
19th-century

masks:
de Sola
Samuel de
Sola
Mendes
Frederick de
Sola
Mendes
Mendes
de Sola
de Sola
Alexander Fleming
David de
Sola


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<mask> (born August 2, 1991) is a Canadian mixed martial arts (MMA) fighter who is currently signed to the UFC Ultimate Fighting Championship Heavyweight division. He had previously won the Unified MMA Heavyweight Championship twice. He has previously competed in M-1 Global and King of the Cage. Background
<mask> was born and raised in Bonnyville, Alberta, Canada, by a gym owner mother and oil field worker father. <mask> was homeschooled until high school. He has a brother, Landon, who is also a professional mixed martial artist. He trained karate for almost a decade while growing up, reaching a black belt in the discipline.After graduating from the high school, Boser drove trucks to local oil fields. Mixed martial arts career

Early career
Without any real training besides his karate background, Boser made his professional mixed martial arts debut in 2012. After the victory in his debut, Boser started training Brazilian jiu-jitsu for his sophomore bout which he won via recently learned submission skills. In 2013 he moved to Edmonton, Alberta to pursue his mixed martial arts career while working as a bouncer for six years. After scraping by financially for a while in 2016, Boser decided to focus on other options and took an Emergency Medical Technician course with hopes of becoming a paramedic. However the hunger to compete would bring him back to training MMA full time, leading to Boser traveling around the world competing in 9 different countries. Over the next seven years, he earned a respectable record of 16–5–1.During this time he became a two-time Unified MMA Heavyweight Champion and defending the belt three times. and has also fought around the world. Promotions such as fighting for Absolute Championship Akhmat and M-1 Global has taken him to Kazakhstan, Russia, United Arab Emirates, England and Australia. Having previously defended his Heavyweight Championship for the third time, when Boser was offered to sign with the Ultimate Fighting Championship in 2019. Ultimate Fighting Championship
In his debut,

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Tanner Vilbon Nicholas Boser
Boser
Tanner


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 <mask> was set to face Brazilian competitor Giacomo Lemos on July 27, 2019 at UFC 240 in Edmonton, Alberta. However his debut would be delayed as his opponent tested positive for a banned substance and the fight was called off due to a ruling from the United States Anti-Doping Agency. Boser's debut eventually took place on October 18, 2019 at UFC on ESPN 6 against Daniel Spitz.He won the bout via unanimous decision earning him his first victory in the promotion. <mask> next faced Ciryl Gane on December 21, 2019 at UFC Fight Night 165. He lost the fight via unanimous decision. <mask> was scheduled to face Jeff Hughes on March 28, 2020 at UFC on ESPN: Ngannou vs. Rozenstruik. However, the event was cancelled due to the COVID-19 pandemic. Returning to action amidst the COVID-19 pandemic, <mask> faced Philipe Lins at UFC on ESPN: Poirier vs. Hooker on June 27, 2020. He won the fight via knockout in the first round.This win earned him the Performance of the Night award. As the first fight of his new four-fight contract, <mask> next faced Raphael Pessoa at UFC on ESPN: Whittaker vs. Till on July 26, 2020. Boser won the fight via technical knockout in round two. This win earned him the Performance of the Night award. <mask> was expected to face Andrei Arlovski on October 4, 2020 at UFC on ESPN: Holm vs. Aldana. However a sickness with Arlovski pushed the bout to UFC on ESPN: Santos vs. Teixeira. Boser lost the fight via unanimous decision.<mask> faced Ilir Latifi on June 5, 2021 at UFC Fight Night: Rozenstruik vs. Sakai. He lost the fight via split decision. As the first fight of his new, four-fight contract <mask> faced Ovince Saint Preux on June 26, 2021 at UFC Fight Night 190. He won the fight via knockout in the second round. <mask> was scheduled to face Sergei Pavlovich on December 4, 2021 at UFC on ESPN 31. However due to travel issues, the bout was scrapped. <mask> is scheduled to face  Rodrigo Nascimento on April 23, 2022, at UFC Fight Night 207.87
Sportspeople from Alberta
Ultimate Fighting Championship male

masks: Boser Boser Boser Boser Boser Boser Boser Boser Boser Boser


texts: <mask><mask> is a former United States Attorney and current partner at the law firm of Dentons US LLP in the firm's Phoenix, Arizona office. <mask> concentrates his practice on high-profile and complex litigation, internal investigations and white-collar criminal defense. <mask> also represents a number of Arizona Native American governments, including Ak-Chin, Salt River Pima-Maricopa, Haulapai, the Navajo Nation, and Tohono O'odham. Prior to joining Dentons, he served as managing partner at law firm Steptoe & Johnson LLP. <mask> served as the United States Attorney for the District of Arizona from 2001–2007. He was nominated in November 2001 by President George W. Bush. He oversaw a staff of more than 220 employees, four offices throughout the state, and an approximately $20 million budget.During his tenure, <mask> led enforcement initiatives against terrorism, public corruption, illegal immigration and crime in Indian Country. <mask> began his legal career in 1989 as an Assistant Attorney General with the Arizona Attorney General's Office. In March 1991, <mask> joined the U.S. Attorney's Office in Arizona as an Assistant U.S. Attorney where he prosecuted a wide variety of matters from homicides to complex fraud cases. <mask> was one of seven U.S. attorneys dismissed on December 7, 2006 by the Bush administration in 2006 for "performance-related issues" (see Dismissal of U.S. attorneys controversy). Subsequent disclosures revealed that three or more additional attorneys were dismissed under similar circumstances between 2005-2006. <mask> was confirmed as the United States Attorney for the United States District Court for the District of Arizona on November 6, 2001. <mask> was informed of his dismissal by Justice Department official Michael

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Paul K
. Charlton
Charlton
Charlton
Charlton
Charlton
Charlton
Charlton
Charlton
Charlton
Charlton


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 A.Battle on December 7, 2006, and announced his resignation on December 19, 2006, effective January 31, 2007. <mask>'s office had been honored with the Federal Service Award and hailed by the Justice Department as a "model program" for its protection of crime victims. <mask> ranked in the top third among the nation's 93 US attorneys in contributing to an overall 106,188 federal prosecutions filed in 2006; scored in the top third in number of convictions; oversaw a district in the top five highest in number of immigration-related prosecutions; ranked among the top 20 offices for drug prosecutions; and, unlike in the other seven cases, ranked high in weapons cases, prosecuting 199 of the United States' 9,313 such cases in 2006, the tenth-highest in the country and up fourfold from 2002. Overall, <mask> ranked number one in the nation for convictions in 2006. United States attorney

In September 2006, it became clear that <mask> had launched an investigation of Rep. Rick Renzi, R-Ariz, over a land-swap deal. Attorney General Alberto Gonzales's chief of staff, <mask>, subsequently included <mask> on a list of U.S. attorneys "we now should consider pushing out." Sampson made the comment in a Sept. 13, 2006, letter to then-White House Counsel Harriet Miers.As recently as February 2005, <mask> had been on the so-called "retain" list. On March 19, 2007, the White House released 3,000 pages of records connected to the controversy, including emails sent by <mask> to the Justice Department about his dismissal. On Dec. 21, 2006, <mask> sent a message to William W. Mercer, the third-ranking official in the department, writing, "Media now asking if I was asked to resign over leak in Congressman Renzi investigation." <mask> never received a response. The

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Charlton
Charlton
Charlton
Charlton
Kyle Sampson
Charlton
Charlton
Charlton
Charlton
Charlton


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 Wall Street Journal explained further allegations: that the Department of Justice intentionally delayed part of the investigation of Renzi until after the November 2006 election. They wrote:

Further, the Journal noted that investigators had lobbied Washington for clearance to tap Renzi's phone for months. That clearance was only given in October 2006, but unfortunately for the investigators, word broke of the investigation soon after, disrupting their wiretap.On April 24, 2007, <mask> revealed to House investigators that Brian Murray, Renzi's top aide, called Charlton spokesman Wyn Hornbuckle shortly after news of Renzi's investigation became public, asking for information on the case. <mask>, in turn, notified the Department of Justice about the call. Justice, however, had not previously notified Congress of the contact. A second motivation for removing <mask> may have been the suggestions of Justice official Brent Ward, who said in a September 20, 2006 e-mail that <mask> was "unwilling to take good cases." Ward's reason for discounting <mask> appeared to be the US attorney's reluctance to pursue obscenity charges against adult video manufacturers in connection to Attorney General Alberto Gonzales's Obscenity Prosecution Task Force. After a disagreement over initiating the tape-recording of interviews and confessions by the FBI on American Indian reservations, which <mask> supported and the Justice Department opposed, <mask> offered to resign. In his congressional testimony on March 6, 2007, <mask> said he found "no small amount of irony" in the fact that he was eventually fired.The Justice Department reversed its longstanding no-recording policy in May 2014, now requiring federal law enforcement agencies to tape-record interviews with

masks: Charlton Charlton Charlton Charlton Charlton Charlton Charlton Charlton


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 suspects in most instances. <mask> was quoted,

The most difficult part of proving a crime is the state of mind, and that is almost always obtained through a statement of the suspect. It was an unjustifiable policy. I think this one of the most significant improvements in the criminal justice system in a long time. <mask> had clashed with the Bush Administration over the death penalty; in at least two cases he did not seek capital punishment but was overruled from Washington. In its  formal investigation regarding the firing of the US Attorneys, the Department of Justice's Office of Inspector General found as follows:

We concluded that the most significant factor in <mask>'s removal was his actions in a death penalty case. <mask> persistently opposed the Department's decision to seek the death penalty in a homicide case, and he irritated Department leaders by seeking a meeting with the Attorney General to urge him to reconsider his decision.We are troubled that Department officials considered <mask>'s actions in the death penalty case, including requesting a meeting with the Attorney General, to be inappropriate. We do not believe his actions were insubordinate or that they justified his removal. Since leaving the U.S. Attorney's Office, <mask> was awarded Arizona's State Bar Criminal Justice Award, the University of Arizona Alumni Association Public Service Award and the Phoenix Business Journal's Most Admired Leaders Award. See also
 Dismissal of U.S. attorneys controversy
 Alberto Gonzales
 <mask>
 Rick Renzi

References

External links
Steptoe & Johnson LLP: <mask> - Partner
<mask> Profile on LawTally

Living people
Dismissal of U.S. attorneys controversy
United States Attorneys for the District of Arizona
Year of birth missing (living

masks:
Charlton
Charlton
Charlton
Charlton
Charlton
Charlton
Kyle Sampson
Paul Charlton
Paul Charlton


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<mask> (born <mask>; 16 February 1497 – 19 April 1560) was a German Lutheran reformer, collaborator with Martin Luther, the first systematic theologian of the Protestant Reformation, intellectual leader of the Lutheran Reformation, and an influential designer of educational systems. He stands next to Luther and John Calvin as a reformer, theologian, and moulder of Protestantism. Melanchthon along with Luther denounced what they believed was the exaggerated cult of the saints, asserted justification by faith, and denounced what they considered to be the coercion of the conscience in the sacrament of penance (confession and absolution), which they believed could not offer certainty of salvation. Both rejected the doctrine of transubstantiation, i.e. that the bread and wine of the eucharist are converted by the Holy Spirit into the flesh and blood of Christ; however, they affirmed that Christ's body and blood are present with the elements of bread and wine in the sacrament of the Lord's Supper. This Lutheran view of sacramental union contrasts with the understanding of the Roman Catholic Church that the bread and wine cease to be bread and wine at their consecration (while retaining the appearances of both). Melanchthon made his distinction between law and gospel the central formula for Lutheran evangelical insight.By the "law", he meant God's requirements both in Old and New Testament; the "gospel" meant the free gift of grace through faith in Jesus Christ. Early life and education

He was born <mask> on 16 February 1497, at Bretten where his father Georg Schwarzerdt (1459-1508) was armorer to <mask>, Count Palatine of the Rhine. The mother was Barbara Reuter (1476/77–1529). His birthplace,

masks:
Philip Melanchthon
Philipp Schwartzerdt
Philipp Schwartzerdt
Philip


texts: along with almost the whole city of Bretten, was burned in 1689 by French troops during the War of the Palatinate Succession. The town's Melanchthonhaus was built on its site in 1897. In 1507 he was sent to the Latin school at Pforzheim, where the rector, Georg Simler of Wimpfen, introduced him to the Latin and Greek poets and to Aristotle. He was influenced by his great-uncle Johann Reuchlin, a Renaissance humanist; it was Reuchlin who suggested <mask> follow a custom common among humanists of the time and change his surname from "Schwartzerdt" (literally 'black earth'), into the Greek equivalent "Melanchthon" (Μελάγχθων).<mask> was only eleven when in 1508 both his grandfather (17 October) and father (27 October) died within eleven days. He and a brother were brought to Pforzheim to live with his maternal grandmother, Elizabeth Reuter, sister of Reuchlin. The next year he entered the University of Heidelberg, where he studied philosophy, rhetoric, and astronomy/astrology, and became known as a scholar of Greek. Denied the master's degree in 1512 on the grounds of his youth, he went to Tübingen, where he continued humanistic studies but also worked on jurisprudence, mathematics, and medicine. While there he was also taught the technical aspects of astrology by Johannes Stöffler. After gaining a master's degree in 1516 he began to study theology. Under the influence of Reuchlin, Erasmus, and others, he became convinced that true Christianity was something different from the scholastic theology as taught at the university.He became a conventor (repentant) in the contubernium and instructed younger scholars. He also lectured on oratory, on Virgil and on Livy. His first publications were a

masks: Philipp Philipp


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 number of poems in a collection edited by Jakob Wimpfeling (), the preface to Reuchlin's Epistolae clarorum virorum (1514), an edition of Terence (1516), and a Greek grammar (1518). Professor at Wittenberg

Opposed as a reformer at Tübingen, he accepted a call to the University of Wittenberg from Martin Luther on the recommendation of his great-uncle, and became professor of Greek there at the age of 21. He studied the Scriptures, especially of Paul, and Evangelical doctrine. Attending the disputation of Leipzig (1519) as a spectator, he nonetheless participated with his comments. After his views were attacked by Johann Eck, Melanchthon replied based on the authority of Scripture in his Defensio contra Johannem Eckium (Wittenberg, 1519).Following lectures on the Gospel of Matthew and the Epistle to the Romans, together with his investigations into Pauline doctrine, he was granted the degree of bachelor of theology, and transferred to the theological faculty. He married Katharina Krapp (Katharina article from the German Wikipedia), (1497–1557) daughter of Wittenberg's mayor, on 25 November 1520. They had four children: Anna (Anna article from the German Wikipedia), <mask>, Georg, and Magdalen. Theological disputes

In the beginning of 1521 in his Didymi Faventini versus Thomam Placentinum pro M. Luthero oratio (Wittenberg, n.d.), he defended Luther. He argued that Luther rejected only papal and ecclesiastical practises which were at variance with Scripture. But while Luther was absent at Wartburg Castle, during the disturbances caused by the Zwickau prophets, Melanchthon wavered. The appearance of Melanchthon's Loci communes rerum theologicarum seu hypotyposes theologicae (Wittenberg and


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 Basel, 1521) was of subsequent importance for Reformation.Melanchthon presented the new doctrine of Christianity under the form of a discussion of the "leading thoughts" of the Epistle to the Romans. Loci communes began the gradual rise of the Lutheran scholastic tradition, and the later theologians Martin Chemnitz, Mathias Haffenreffer, and Leonhard Hutter expanded upon it. Melanchthon continued to lecture on the classics. On a journey in 1524 to his native town, he encountered the papal legate, Cardinal Lorenzo Campeggio, who tried to draw him from Luther's cause. In his Unterricht der Visitatorn an die Pfarherrn im Kurfürstentum zu Sachssen (1528) Melanchthon presented the evangelical doctrine of salvation as well as regulations for churches and schools. In 1529 he accompanied the elector to the Diet of Speyer. His hopes of inducing the Holy Roman Empire party to a recognition of the Reformation were not fulfilled.A friendly attitude towards the Swiss at the Diet was something he later changed, calling Huldrych Zwingli's doctrine of the Lord's Supper "an impious dogma". Augsburg Confession

The composition now known as the Augsburg Confession was laid before the Diet of Augsburg in 1530, and would come to be considered perhaps the most significant document of the Protestant Reformation. While the confession was based on Luther's Marburg and Schwabach articles, it was mainly the work of Melanchthon; although it was commonly thought of as a unified statement of doctrine by the two reformers, Luther did not conceal his dissatisfaction with its irenic tone. Indeed, some would criticize Melanchthon's conduct at the Diet as unbecoming of the principle he promoted, implying that faith in the


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 truth of his cause should logically have inspired Melanchthon to a firmer and more dignified posture. Others point out that he had not sought the part of a political leader, suggesting that he seemed to lack the requisite energy and decision for such a role and may simply have been a lackluster judge of human nature. Melanchthon then settled into the comparative quiet of his academic and literary labours. His most important theological work of this period was the Commentarii in Epistolam Pauli ad Romanos (Wittenberg, 1532), noteworthy for introducing the idea that "to be justified" means "to be accounted just", whereas the Apology had placed side by side the meanings of "to be made just" and "to be accounted just".Melanchthon's increasing fame gave occasion for prestigious invitations to Tübingen (September 1534), France, and England but consideration of the elector caused him to refuse them. Discussions on Lord's Supper and justification
Melanchthon played an important role in discussions concerning the Lord's Supper which began in 1531. He approved fully of the Wittenberg Concord sent by Bucer to Wittenberg, and at the instigation of the Landgrave of Hesse discussed the question with Bucer in Kassel, at the end of 1534. He eagerly laboured for an agreement on this question, for his patristic studies and the Dialogue (1530) of Johannes Oecolampadius had made him doubt the correctness of Luther's doctrine. Moreover, after the death of Zwingli and the change of the political situation his earlier scruples in regard to a union lost their weight. Bucer did not go so far as to believe with Luther that the true body of Christ in the Lord's Supper is bitten by the teeth, but admitted the


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 offering of the body and blood in the symbols of bread and wine. Melanchthon discussed Bucer's views with the most prominent adherents of Luther; but Luther himself would not agree to a mere veiling of the dispute.Melanchthon's relation to Luther was not disturbed by his work as a mediator, although Luther for a time suspected that Melanchthon was "almost of the opinion of Zwingli" nevertheless he desired to "share his heart with him". During his sojourn in Tübingen in 1536 <mask> was heavily criticised by Cordatus, preacher in Niemeck, because he had taught that works are necessary for salvation. In the second edition of his Loci (1535), he abandoned his earlier strict doctrine of determinism which went even beyond that of Augustine of Hippo and in its place taught more clearly his so-called Synergism. He repudiated the criticism of Cordatus in a letter to Luther and his other colleagues stating that he had never departed from their common teachings on this subject and in the Antinomian Controversy of 1537 Melanchthon was in harmony with Luther. Controversies with Flacius

The final period of Melanchthon's life began with controversies over the Interims and the Adiaphora (1547). He rejected the Augsburg Interim, which the emperor sought to force upon the defeated Protestants. During negotiations concerning the Leipzig Interim he made controversial concessions.In agreeing to various Roman Catholic usages, Melanchthon held the opinion that they are adiaphora, if nothing is changed in the pure doctrine and the sacraments which Jesus instituted. However he disregarded the position that concessions made under such circumstances have to be regarded as a denial of Evangelical convictions.


texts:
 Melanchthon himself regretted his actions. After Luther's death he became seen by many as the "theological leader of the German Reformation" although the Gnesio-Lutherans with Matthias Flacius at their head accused him and his followers of heresy and apostasy. Melanchthon bore all accusations with patience, dignity, and self-control. Disputes with Osiander and Stancaro

In his controversy on justification with Andreas Osiander Melanchthon satisfied all parties. Melanchthon took part also in a controversy with Stancaro, who held that Christ was our justification only according to his human nature.He was also still a strong opponent of the Roman Catholics, for it was by his advice that the Elector of Saxony declared himself ready to send deputies to a council to be convened at Trent, but only under the condition that the Protestants should have a share in the discussions, and that the Pope should not be considered as the presiding officer and judge. As it was agreed upon to send a confession to Trent, Melanchthon drew up the Confessio Saxonica which is a repetition of the Augsburg Confession, discussing, however, in greater detail, but with moderation, the points of controversy with Rome. Melanchthon on his way to Trent at Dresden saw the military preparations of Maurice of Saxony, and after proceeding as far as Nuremberg, returned to Wittenberg in March 1552, for Maurice had turned against the emperor. Owing to his act, the condition of the Protestants became more favourable and were still more so at the Peace of Augsburg (1555), but Melanchthon's labours and sufferings increased from that time. The last years of his life were embittered by the disputes over the Interim and the freshly


texts: started controversy on the Lord's Supper. As the statement "good works are necessary for salvation" appeared in the Leipzig Interim, its Lutheran opponents attacked in 1551 Georg Major, the friend and disciple of Melanchthon, so Melanchthon dropped the formula altogether, seeing how easily it could be misunderstood. But all his caution and reservation did not hinder his opponents from continually working against him, accusing him of synergism and Zwinglianism.At the Colloquy of Worms in 1557 which he attended only reluctantly, the adherents of Flacius and the Saxon theologians tried to avenge themselves by thoroughly humiliating Melanchthon, in agreement with the malicious desire of the Roman Catholics to condemn all heretics, especially those who had departed from the Augsburg Confession, before the beginning of the conference. As this was directed against Melanchthon himself, he protested, so that his opponents left, greatly to the satisfaction of the Roman Catholics who now broke off the colloquy, throwing all blame upon the Protestants. The Reformation in the sixteenth century did not experience a greater insult, as Friedrich Nietzsche says. Nevertheless, Melanchthon persevered in his efforts for the peace of the church, suggesting a synod of the Evangelical party and drawing up for the same purpose the Frankfurt Recess, which he defended later against the attacks of his enemies. More than anything else the controversies on the Lord's Supper embittered the last years of his life. The renewal of this dispute was due to the victory in the Reformed Church of the Calvinistic doctrine and its influence upon Germany. To its tenets Melanchthon never gave his assent, nor did he use its


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 characteristic formulas.The personal presence and self-impartation of Christ in the Lord's Supper were especially important for Melanchthon; but he did not definitely state how body and blood are related to this. Although rejecting the physical act of mastication, he nevertheless assumed the real presence of the body of Christ and therefore also a real self-impartation. Melanchthon differed from John Calvin also in emphasizing the relation of the Lord's Supper to justification. Marian views

Melanchthon viewed any veneration of saints rather critically but developed positive commentaries about Mary. In his Annotations in Evangelia commenting on Lk 2,52, he discusses the faith of Mary, "she kept all things in her heart" which to Melanchthon is a call to the church to follow her example. During the marriage at Cana, Melanchthon points out that Mary went too far, asking for more wine, misusing her position. But she was not upset, when Jesus gently scolded her.Mary was negligent, when she lost her son in the temple, but she did not sin. Mary was conceived with original sin like every other human being, but she was spared the consequences of it. Consequently, Melanchthon opposed the feast of the Immaculate Conception, which in his days, although not dogma, was celebrated in several cities and had been approved at the Council of Basel in 1439. He declared that the Immaculate Conception was an invention of monks. Mary is a representation (Typus) of the church and in the Magnificat, Mary spoke for the whole church. Standing under the cross, Mary suffered like no other human being. Consequently, Christians have to unite with her under the cross, in order to become Christ-like.Views on natural


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 philosophy
In lecturing on the Librorum de judiciis astrologicis of Ptolemy in 1535–1536, Melanchthon expressed to students his interest in Greek mathematics, astronomy and astrology. He considered that a purposeful God had reasons to exhibit comets and eclipses. He was the first to print a paraphrased edition of Ptolemy's Tetrabiblos in Basel, 1554. Natural philosophy, in his view, was directly linked to Providence, a point of view that was influential in curriculum change after the Protestant Reformation in Germany. In the period 1536–1539 he was involved in three academic innovations: the refoundation of Wittenberg along Protestant lines, the reorganization at Tübingen, and the foundation of the University of Leipzig. Death

Before these theological dissensions were settled, Melanchthon died. Only a few days before his death, he had written a note which gave his reasons for not fearing death.On the left of the note were the words, "You will be delivered from sins, and be freed from the acrimony and fury of theologians"; on the right, "You will go to the light, see God, look upon his Son, learn those wonderful mysteries which you have not been able to understand in this life." The immediate cause of death was a severe cold which he had contracted on a journey to Leipzig in March 1560, followed by a fever that consumed his strength. His body had already been weakened by many sufferings. He was pronounced dead on 19 April 1560. In Melanchthon's last moments, he continued to worry over the desolate condition of the church. He strengthened himself in almost uninterrupted praying and in listening to passages of Scripture. The words of John 1:11-12 were especially significant to him."His own


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 received him not; but as many as received him, to them gave he power to become the sons of God." When Caspar Peucer, his son-in-law, asked him if he wanted anything, he replied, "Nothing but heaven." His body was buried beside Luther's in the Schloßkirche in Wittenberg. He is commemorated in the Calendar of Saints of the Lutheran Church–Missouri Synod on 16 February, his birthday, and in the calendar of the Evangelical Lutheran Church in America on 25 June, the date of the presentation of the Augsburg Confession. Estimation of his works and character
Melanchthon's importance for the Reformation lay essentially in the fact that he systematized Luther's ideas, defended them in public, and made them the basis of a religious education. These two figures, by complementing each other, could be said to have harmoniously achieved the results of the Reformation. Melanchthon was impelled by Luther to work for the Reformation; his own inclinations would have kept him a student.Without Luther's influence <mask> would have been "a second Erasmus", although his heart was filled with a deep religious interest in the Reformation. While Luther scattered the sparks among the people, Melanchthon by his humanistic studies won the sympathy of educated people and scholars for the Reformation. Besides Luther's strength of faith, <mask>'s many-sidedness and calmness, as well as his temperance and love of peace, had a share in the success of the movement. Both were aware of their mutual position and they thought of it as a divine necessity of their common calling. Melanchthon wrote in 1520, "I would rather die than be separated from Luther", whom he afterward compared to Elijah, and called "the man full of the

masks: Melanchthon Melanchthon


texts: Holy Ghost". In spite of the strained relations between them in the last years of Luther's life, Melanchthon exclaimed at Luther's death, "Dead is the horseman and chariot of Israel who ruled the church in this last age of the world!" On the other hand, Luther wrote of Melanchthon, in the preface to Melanchthon's Kolosserkommentar (1529), "I had to fight with rabble and devils, for which reason my books are very warlike.I am the rough pioneer who must break the road; but Master <mask> comes along softly and gently, sows and waters heartily, since God has richly endowed him with gifts." Luther also did justice to Melanchthon's teachings, praising one year before his death in the preface to his own writings Melanchthon's revised Loci above them and calling Melanchthon "a divine instrument which has achieved the very best in the department of theology to the great rage of the devil and his scabby tribe." It is remarkable that Luther, who vehemently attacked men like Erasmus and Bucer, when he thought that truth was at stake, never spoke directly against Melanchthon, and even during his melancholy last years conquered his temper. The strained relation between these two men never came from external things, such as human rank and fame, much less from other advantages, but always from matters of church and doctrine, and chiefly from the fundamental difference of their individualities; they repelled and attracted each other "because nature had not formed out of them one man." It cannot be denied, however, that Luther was the more magnanimous, for however much he was at times dissatisfied with Melanchthon's actions, he never uttered a word against his private character; however Melanchthon


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 sometimes evinced a lack of confidence in Luther. In a letter to Carlowitz, before the Diet of Augsburg, he protested that Luther on account of his hot-headed nature exercised a personally humiliating pressure upon him. His work as reformer
As a reformer, Melanchthon was characterized by moderation, conscientiousness, caution, and love of peace; but these qualities were sometimes said to only be lack of decision, consistence, and courage.Often, however, his actions are shown stemming not from anxiety for his own safety, but from regard for the welfare of the community and for the quiet development of the church. Melanchthon was not said to lack personal courage, but rather he was said to be less of an aggressive than of a passive nature. When he was reminded how much power and strength Luther drew from his trust in God, he answered, "If I myself do not do my part, I can not expect anything from God in prayer." His nature was seen to be inclined to suffer with faith in God that he would be released from every evil rather than to act valiantly with his aid. The distinction between Luther and Melanchthon is well brought out in Luther's letters to the latter (June 1530):

Another trait of his character was his love of peace. He had an innate aversion to quarrels and discord; yet, often he was very irritable. His irenical character often led him to adapt himself to the views of others, as may be seen from his correspondence with Erasmus and from his public attitude from the Diet of Augsburg to the Interim.It was said not to be merely a personal desire for peace, but his conservative religious nature that guided him in his acts of conciliation. He never could forget that his father on his


texts: death-bed had besought his family "never to leave the church." He stood toward the history of the church in an attitude of piety and reverence that made it much more difficult for him than for Luther to be content with the thought of the impossibility of a reconciliation with the Roman Catholic Church. He laid stress upon the authority of the Fathers, not only of Augustine, but also of the Greek Fathers. His attitude in matters of worship was conservative, and in the Leipsic Interim he was said by Cordatus and Schenk even to be Crypto-Catholic. He never strove for a reconciliation with Roman Catholicism at the price of pure doctrine. He attributed more value to the external appearance and organization of the Church than Luther did, as can be seen from his whole treatment of the "doctrine of the church".The ideal conception of the church, which the reformers opposed to the organization of the Roman Church, which was expressed in his Loci of 1535, lost for him after 1537 its former prominence, when he began to emphasize the conception of the true visible church as it may be found among the Protestants. He believed that the relation of the church to God was that the church held the divine office of the ministry of the Gospel. The universal priesthood was for Melanchthon as for Luther no principle of an ecclesiastical constitution, but a purely religious principle. In accordance with this idea Melanchthon tried to keep the traditional church constitution and government, including the bishops. He did not want, however, a church altogether independent of the state, but rather, in agreement with Luther, he believed it the duty of the secular authorities to protect religion and the church. He


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 looked upon the consistories as ecclesiastical courts which therefore should be composed of spiritual and secular judges, for to him the official authority of the church did not lie in a special class of priests, but rather in the whole congregation, to be represented therefore not only by ecclesiastics, but also by laymen. Melanchthon in advocating church union did not overlook differences in doctrine for the sake of common practical tasks.The older he grew, the less he distinguished between the Gospel as the announcement of the will of God, and right doctrine as the human knowledge of it. Therefore, he took pains to safeguard unity in doctrine by theological formulas of union, but these were made as broad as possible and were restricted to the needs of practical religion. As scholar

As a scholar Melanchthon embodied the entire spiritual culture of his age. At the same time he found the simplest, clearest, and most suitable form for his knowledge; therefore his manuals, even if they were not always original, were quickly introduced into schools and kept their place for more than a century. Knowledge had for him no purpose of its own; it existed only for the service of moral and religious education, and so the teacher of Germany prepared the way for the religious thoughts of the Reformation. He is the father of Christian humanism, which has exerted a lasting influence upon scientific life in Germany. (But it is Erasmus who is called, "The Prince of the Humanists".)His works were not always new and original, but they were clear, intelligible, and answered their purpose. His style is natural and plain, better, however, in Latin and Greek than in German. He was not without natural eloquence,