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<mask> (or Abovyan; ;  (disappeared)) was an Armenian writer and national public figure of the early 19th century who mysteriously vanished in 1848 and was eventually presumed dead. He was an educator, poet and an advocate of modernization. Reputed as the father of modern Armenian literature, he is best remembered for his novel Wounds of Armenia. Written in 1841 and published posthumously in 1858, it was the first novel published in the modern Armenian language, using Eastern Armenian based on the Yerevan dialect instead of Classical Armenian. <mask> was far ahead of his time and virtually none of his works were published during his lifetime. Only after the establishment of the Armenian SSR was Abovian accorded recognition and stature. <mask> is regarded as one of the foremost figures not just in Armenian literature, but Armenian history at large.Abovian's influence on Western Armenian literature was not as strong as it was on Eastern Armenian, particularly in its formative years. Early life and career

Abovian was born in 1809 in the village of Kanaker, then part of the Qajar Persian Empire, and now a district of Yerevan, Armenia. Abovian's family were descendants of the Beglaryan melik family in Gulistan, one of five Armenian families who ruled around the current day region of Nagorno-Karabakh. The Abovian family held the position of tanuter (a hereditary lordship) in Kanaker; Abovian's uncle was the last tanuter of Kanaker. His aunt was the wife of Sahak Aghamalian, the last melik of Yerevan at the time of the Russian annexation in 1828.

masks:
Khachatur Abovian
Abovian
Abovian


type: original

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 His social origins and descent imbued him at an early age with a sense of responsibility to his people. He was born six years after his parents, Avetik and Takuhi, married.He had a brother, Garabed, who died at the age of three. At age 10, Abovian was taken by his father to Echmiadzin to study for the priesthood. He dropped out after five years and moved to Tiflis in 1822 to study Armenian studies and languages at the Nersisyan School under the guidance of Harutiun Alamdarian. Abovian graduated in 1826 and began preparing to move to Venice to further his education. However, the outbreak of the Russo-Persian War (1826–28) curtailed his plans. For the following three years he taught briefly at Sanahin and then worked for Catholicos Yeprem of Armenia as his clerk and translator. While working for the Catholicos, the twenty-year-old Abovian met many notable foreigners, including the diplomat and playwright Alexandr Griboyedov, who was stuck in Echmiadzin en route to Tabriz in September 1828.Griboyedov's weekly Tifliskiye Vedemosti became the first paper to publish an article on Abovian. Conquest of Ararat
The turning point in Abovian's life was the arrival of Friedrich Parrot in Armenia in September 1829, a professor of physics from the University of Dorpat in Livonia (in present-day Tartu, Estonia). Parrot traveled to Armenia to climb Mount Ararat to conduct geological studies and required a local guide and a translator for the expedition. The Catholicos assigned Abovian to these tasks. With Abovian's assistance, Parrot became the first


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 explorer in modern times to reach the summit of Mount Ararat. The project received full approval from the emperor Nicholas I, who provided the expedition with a military escort. Abovian and Parrot crossed the Arax River into the district of Surmali and headed to the Armenian village of Akhuri situated on the northern slope of Ararat  above sea level.Following the advice of Harutiun Alamdarian of Tiflis, they set up base camp at the Monastery of St. Hakob some  higher, at an elevation of . Abovian was one of the last travelers to visit Akhuri and the monastery before a disastrous earthquake completely buried both in May 1840. Their first attempt to climb the mountain, using the northeast slope, failed as a result of lack of warm clothing. Six days later, on the advice of Stepan Khojiants, the village chief of Akhuri, the ascent was attempted from the northwest side. After reaching an elevation of , they turned back because they did not reach the summit before sundown. They reached the summit on their third attempt at 3:15 p.m. on October 9, 1829. Abovian dug a hole in the ice and erected a wooden cross facing north.<mask> picked up a chunk of ice from the summit and carried it down with him in a bottle, considering the water holy. On November 8, Parrot and <mask> climbed up Lesser Ararat. Years later, in 1845, the German mineralogist Otto Wilhelm Hermann von Abich climbed Ararat with Abovian. <mask>'s third and last ascent of Ararat was with the Englishman Henry Danby Seymour in 1846. The Dorpat years

Impressed with <mask>'s thirst for

masks: Abovian Abovian Abovian Abovian


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 knowledge, Parrot arranged for a Russian state scholarship for Abovian to study at the University of Dorpat in 1830. He entered the university directly without additional preparation and studied in the Philosophy faculty of the Philological-Historical department from September 3, 1830, until January 18, 1836. The years in Dorpat (present-day Tartu, Estonia) were very fruitful for Abovian who studied social and natural sciences, European literature and philosophy, and mastered German, Russian, French and Latin.At this time Abovian fell under the influence of German Romanticism. In addition, Abovian established numerous contacts with European intellectuals of the time. At the university he became friends with the sons of Nikolay Karamzin who studied with him. In 1834 Abovian visited his cousin Maria (daughter of melik Sahak Aghamalian) in St. Petersburg, then married to the Georgian Prince Alexander. Prior to graduation, Abovian learned that his mother Takuhi had died. Return to Armenia

In 1836 he returned home anxious to embark on a mission of enlightenment. Abovian's efforts were thwarted as he faced a growing and hostile reaction from the Armenian clergy as well as Tsarist officials, largely stemming from his opposition to dogmatism and formalism in the school system.<mask> was appointed as the supervisor of the Tiflis uyezd school and married a German woman named Emilia Looze (died 1870) in 1839. In 1840 he was approached by English traveler Anne Lister, who was visiting Tiflis with her partner Ann Walker. She hoped that <mask> would

masks: Abovian Abovian


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 guide her on another expedition to Mount Ararat which ultimately did not occur. He was dismissed from the school in 1843 and was transferred to the uyezd  school in Yerevan where he encountered apathy and antagonism from his colleagues and the clergy. In the summer of the same year, Abovian was visited by two German travellers. A Bavarian professor, Moritz Wagner, from the University of Munich, arrived in May and toured the Lake Sevan region with Abovian and thereafter corresponded with him on a regular basis. In July Abovian also accompanied Wagner on the first recorded ascent of Mount Aragats in Armenia.In August, Abovian escorted the German Baron August von Haxthausen around the province. They visited the Abovian family home in Kanaker and attended a service at the Blue Mosque. They also visited a Yazidi encampment where they met the chief Timur Aga and exchanged pleasantries with a rider from Count Paskevich's guard. He became a trusted friend of the Yazidi community in Armenia, and when the chief returned with lavish gifts from a banquet in Tiflis organized by the viceroy of the Caucasus Mikhail Semyonovich Vorontsov in 1844, he organized a tribal feast and Abovian was invited to attend. In 1845 he applied for a position at the Catholicate of Echmiadzin but was not accepted. The following year, he became a contributor to Vorontsov's weekly newspaper, Kavkaz, for which Abovian wrote three articles. Disappearance
On April 14, 1848, Abovian left his home for an early morning walk, and was never seen again; his disappearance remains


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 unresolved.His wife Emilia did not report him missing for a month. Their children, Vartan (1840–1896) and Zarmandukht (later known as Adelaide; 1843–1909), were ages eight and five, respectively, at the time of the disappearance. Numerous theories have been proposed attempting to explain his disappearance: that he committed suicide, was murdered by his Persian or Turkish enemies, or arrested and exiled to Siberia by the Special Corps of Gendarmes, among others. Given his love for his children and their young age, it is generally disregarded that Abovian committed suicide. Writer Axel Bakunts put forward the theory that Abovian was in Western Europe engulfed in the Revolutions of 1848. Writings
Abovian wrote novels, stories, descriptions, plays, scientific and artistic compositions, verses and fables. He was the first Armenian writer to compose literature for children.Wounds of Armenia
The historical novel Wounds of Armenia (written in 1841, first published in 1858) was the first Armenian secular novel dedicated to the fate of the Armenian people and its struggle for liberation in the period of Russo-Persian war of 1826–1828. The novel dealt with the suffering of Armenians under Persian occupation. The basic concept of the novel was the assertion of feelings of national merit, patriotism and hatred of oppressors. These themes had a profound influence over wide layers of Armenian society. The hero, Agassi, personifies the freedom-loving national spirit and its will to fight against the foreign conquerors. "Give away your life, but never give


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 away your native lands", is his motto. The story begins with an abduction of an Armenian girl by a band of thugs sent by the Persian sardar that triggers an uprising led by Agassi.Abovian saw in strengthening of the friendship of Russian and Armenian peoples a guarantee of the national, political and cultural revival of his native lands. However; when <mask> wrote the novel he was already disillusioned with Tsarist policies in Armenia, particularly with the implementation of Polozhenie (Statute) in 1836 which greatly reduced the political power of the Armenian Catholicos and the abolishment of the Armenian Oblast in 1840. In the novel, elements of romanticism and realism are interlaced while the narration is supplanted by lyrical retreats. Other works
<mask>'s poetry was filled with satire best expressed in The wine jug, in which he criticized Russian bureaucracy. Leisure entertainment was adapted by Abovian from notes he took in public gatherings. The work is a collection of fables in verse that chastise vice, injustice and moral degeneration. He wrote scientific and artistic non-fiction works such as the Discovery of America and Book of Stories.Abovian translated to the Armenian language the works of Homer, Goethe, Friedrich Schiller, Nikolay Karamzin, I. A. Krylov and others. He continued promoting secular and comprehensive (mental, moral, working, physical) training, school accessibility, free education for the indigent and equal education of boys and girls. Pedagogical compositions of Abovian include the book for reading Introduction


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 to education (1838), a textbook of Russian grammar and an Armenian-language novel History of Tigran, or a moral manual for the Armenian children (printed in 1941). He was the first Armenian to study scientific ethnography: the way of life and customs of the peasants of the native settlements around Kanaker, inhabitants of Yerevan, and gathered and studied Armenian and Kurdish folklore. Legacy

Abovian's life is well remembered in Armenia. During the years in which Armenia was under Soviet rule, his pro-Russia stance was emphasized.Schools, streets, boulevards and parks were named after him. The village of Elar, located  northeast of Yerevan, was named after him in 1961. Two years later, as the village's population grew larger, Abovyan was accorded with city status. His home in Kanaker was turned into a house-museum in 1939, and many of his original writings are preserved there. The work <mask> accomplished in the field of education was remembered. Yerevan's State Pedagogical Institute was named after him. On February 28, 1964, a medal was named in his honour (Աբովյանի Անվան Մեդալ) and which was awarded to school teachers who showed exceptional abilities in teaching and education.Portrait
<mask>'s portrait is one of the most exceptional exhibits of the Museum of Literature and Arts after Charents. It is an oil painting with a size of  by . In 1938 <mask>'s grandsons brought it to the museum. When <mask>'s son Vardan returned to the Caucasus, he found the painting in a badly deteriorated condition. But by Vardan's request Armenian painter


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 Gevorg Bashinjagyan restored the portrait. He cut worn-out edges, glued it to a hard paper and then filled the cracks with corresponding colors. The painter of the portrait was Ludwig von Maydell, from Dorpat University.He painted it in the fall of 1830, when <mask> was only 20 or 21 years old. This portrait is the only painting of Abovian made during his lifetime. Statues

Two prominent statues of Abovian stand in Yerevan. The concept of the first statue dates back to 1908 when a number of Armenian intellectuals in Russian Armenia decided to commemorate the 60th anniversary of Abovian's disappearance and raise funds for a statue. These included Alexander Shirvanzade, Hovhannes Tumanyan and Gevorg Bashinjagyan. By 1910 they had collected enough funds to order the statue. It was designed by M. Grigoryan and sculpted by Andreas Ter-Manukyan in Paris between 1910 and 1913.The statue is  high and made of bronze on a granite pedestal. As a result of a misunderstanding the statue was only delivered to Yerevan in 1925 and first erected on Abovian street by the cinema Moscow in 1933 and then moved to the children's park on the banks of the Hrazdan River. In 1964, it found its permanent home by the Abovian house-museum in Kanaker. The second statue of Abovian in Yerevan was erected in Abovian square in 1950. The  high bronze statue was designed by Gevork Tamanian (son of Alexander Tamanian) and sculpted by Suren Stepanyan. Film
Between 1948 and 1984, five documentary films were produced in the Armenian SSR about the life and work of Abovian. In


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 2011, the documentary film Journey to Ararat on Parrot and Abovian's expedition to Mount Ararat was produced in Estonia by filmmaker Riho Västrik.It was screened at the Golden Apricot International Film Festival in Yerevan in 2013. See also
List of people who disappeared

Selected bibliography

Prose

Novels
 Wounds of Armenia, or lamentation of the patriot (Tiflis 1858)
 History of Tigran, or a moral manual for Armenian children (1941)
Non-fiction
 Introduction to education (Tiflis 1838)
 Collection of algebra exercises (1868)
 New theoretical and practical Russian grammar for Armenians (1839)

Other
 Unpublished works (Tiflis 1904)
 Unpublished letters (Vienna 1929)
Stories
 The Turkish girl (Yerevan 1941)

Poetry

 The wine jug (Tiflis 1912)
 Folk songs (Yerevan 1939)
 Poems (Yerevan 1941)
 Poetry for children (Yerevan 1941)

Fables
 Leisure entertainment (Tiflis 1864, includes the play Feodora)
 Fables (Yerevan 1941)

Notes

References

Further reading
  Hakobyan P., S. Dulyan et al. "Abovyan, Khachatur", "Abovyan (city)", "Medal after Abovyan", "Abovyan House-Museum" in the Soviet Armenian Encyclopedia. vol. i. Yerevan, Armenian SSR: Armenian Academy of Sciences, 1974, pp. 32–35, 38. External links

  Khachatur <mask>'s biography at AV Production
 Khachatur Abovian House-Museum

1809 births
1840s missing person cases
1848 deaths
19th-century Armenian writers
Place of death unknown
Armenian people of the Russian Empire
Persian Armenians
Armenian activists
Writers from Yerevan
Armenian male writers
Nersisian School alumni
Mount


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<mask> (14 January 1912 – 23 March 1989 was an Ireland international footballer. His career spanned twenty years during the 1930s and 1940s. <mask> played for several clubs in the English League, most notably Notts County and Sheffield Wednesday, and in the League of Ireland. He won an FAI Cup winners medal and League of Ireland title with Shamrock Rovers and Shelbourne respectively. He also scored in three FAI Cup finals for three different teams – Dolphin, Shamrock Rovers and Shelbourne. After retirement from football, <mask> lived in the Nottingham area and worked in the building trade. He died on 23 March 1989.Club career

Early Years
<mask> originally played Gaelic football before he joined Brideville. While playing for Dolphin he made the first of three scoring appearances in FAI Cup finals. <mask> played in the 1932–33 FAI Cup final against Shamrock Rovers. His Dolphin teammates included Joe Kendrick and Jeremiah Robinson. <mask> scored in the 3–3 draw but Dolphin lost the replay 3–0. Notts County
<mask> signed for Notts County in February 1934. Between 1934 and 1938 he made 120 English League appearances and scored 20 goals.<mask> returned to County for a second spell in 1946–47 making a further 15 league appearances and scoring 3 goals. Sheffield Wednesday
<mask> signed for Sheffield Wednesday from Notts County for a transfer few of £3,000 plus Jack Roy. He was signed by Wednesday manager Jimmy McMullan as a replacement for Ellis Rimmer. He made his debut for Wednesday on 19 March 1938 in a 1–0 home defeat to Barnsley, playing in all ten of the remaining League games of that 1937–38 season. He formed an exciting left wing partnership with Charlie Napier in the 1938–39 season, appearing in 40 matches in all competitions, scoring 11 goals as Wednesday missed out on promotion from the Second Division to city rivals Sheffield United by one point. One of <mask>'s best displays for Wednesday was against Norwich City in November 1938 when he teased and tormented

masks:
William Joseph Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon


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 the Canaries' defence in a 7–0 win. <mask> had a lucky escape just before Christmas 1938 when the car he was travelling in, together with fellow Wednesday player Ted Catlin, skidded in snow at Wadsley Bridge and hit a telegraph pole.Both players went to hospital and were out of the team for several weeks. On 2 September 1939 <mask> appeared in the final Sheffield Wednesday match before the outbreak of the Second World War against Plymouth Argyle. After the war <mask> returned to Wednesday, but he did not figure in their plans and was given a free transfer back to Notts County in June 1946. League of Ireland
Following the outbreak of the Second World War, <mask> returned to Ireland where he joined the Irish Army and played for three different clubs – Shamrock Rovers, Shelbourne and Dundalk. He played for Rovers during the 1939–40 season, helping them win the FAI Cup. <mask> scored in the 3–0 win in the final against Sligo Rovers. The 1940–41 season saw <mask> switch to Shelbourne.During the 1943–44 season <mask> helped Shels win a league double, winning both the league itself and the League of Ireland Shield. Shels almost won a treble but lost 3–2 to Shamrock Rovers in the FAI Cup final. <mask> did however manage to score his third FAI Cup final goal. Exeter City
In the 1947–48 season <mask> played for Exeter City. Among his teammates at City was his younger brother, <mask>, who also played for Notts County and Queens Park Rangers in the 1940s. Peterborough United
<mask> finished his playing career with Peterborough United, then playing in the   Midland Football League. His career ended when he suffered a broken collar bone playing for Peterborough reserves against Notts County.International career

Ireland

Between 1934 and 1939 <mask> made nine appearances and scored twice for Ireland. He made his first five appearances while playing for Notts County and his last four while playing for Sheffield Wednesday. <mask> made his international debut on 16 December 1934

masks:
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Fallon
Peter Fallon
Fallon
Fallon
Fallon


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 in a 4–2 home defeat against Hungary. <mask>'s first three international appearances were all against the same opponents. <mask> scored his first goal for Ireland on 6 December 1936 against Hungary. He opened the scoring after twenty  minutes with a long range effort. However Hungary eventually won 3–2.He scored his second in a 3–2 win against Poland on 13 November 1938. Once again he opened the scoring, this time after ten minutes. Two minutes later he provided Johnny Carey with an assist from a corner to make it 2–0. During his time playing for Ireland, <mask> also featured in two European tours. In May 1937 <mask> played in away games against Switzerland and France. In May 1939 he also played in away games against Hungary and Germany. These were the last two games Ireland played before the outbreak of the Second World War.League of Ireland XI

During the Second World War <mask> also played for the League of Ireland XI. During The Emergency, the League of Ireland XI played regularly against the Irish League XI and the  Irish Army XI. During the 1941–42 season <mask> also played for the Irish Army XI against the League of Ireland XI and helped the Army team win 4–1. Honours

Dolphin

FAI Cup
Runners Up: 1932–33

Shamrock Rovers

FAI Cup
Winners: 1939–40

Shelbourne

League of Ireland
Winners: 1943–44
League of Ireland Shield
Winners: 1943–44
FAI Cup
Runners Up: 1943–44

Notes
 Some sources give <mask>'s birthplace as Larne, County Antrim, while others give it as Killarney, County Kerry. References

1912 births
1989 deaths
Republic of Ireland association footballers
Republic of Ireland international footballers
Dundalk F.C. players
Shelbourne F.C. players
Notts County F.C.players
Sheffield Wednesday F.C. players
Exeter City F.C. players
Shamrock Rovers F.C. players
Peterborough United F.C. players
League of Ireland XI players
League of Ireland players
English Football League players
Irish Army soldiers
Association football outside forwards
Dolphin F.C.

masks: Fallon Fallon Fallon Fallon Fallon Fallon Fallon


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<mask>dze PAR (; , Nik'oloz Cisk'aridze) is a Georgian-Russian ballet dancer  who had been a member of the Bolshoi Ballet for 21 years (1992–2013). Biography

Early years

<mask> was born in Tbilisi, Soviet Georgia in 1973. He was a late firstborn child to Lamara <mask>na Tsiskaridze, then 42 years old, and grew up not knowing the father. The mother was a physicist, she worked at Obninsk Nuclear Power Plant, then as a teacher at Tbilisi public school №162. Only five years after his mother's death an aunt revealed the father's name. He turned out to be a brother of their neighbor, a violinist, who lived next door for almost 20 years, though without knowing about his fatherhood. Career in Ballet

He began his dance studies at the Tbilisi Ballet School in 1984.His mother supported Tsiskaridze in pursue of ballet career, she managed to save money and take him to Moscow to auditions. In 1987, he joined the Moscow Ballet School and studied under the guidance of Pyotr Pestov. After graduating in 1992, Tsiskaridze directly joined the ballet company of the Bolshoi Theatre, then under the direction of Yury Grigorovich. In Bolshoi, Tsiskaridze was coached by Galina Ulanova and Marina Semyonova. He was promoted to the position of principal in 1995. Since then, Tsiskaridze has performed internationally with a number of ballet companies across the world, including the Mariinsky Ballet and Paris Opera Ballet. He also participated in most of the foreign tours of the Bolshoi Ballet, "Kings of the Dance" international project, Les Saisons Russes du XXI Siecle.Over the course of his dance career, he performed over seventy roles in major classical works as well as ballets by renowned modern choreographers. While dancing, Tsiskaridze studied at the Pedagogical faculty of the Institute of Choreography in 1996. Since 2003, he was teaching a daily ballet class at the Bolshoi Theatre. Besides, since

masks:
Nikolay Maximovich Tsiskari
Nikolay Tsiskaridze
Nikolayev


texts: 2004 he was also teaching at the Moscow Ballet Academy. In October 2003, Tsiskaridze faced a major injury which threatened to end his career. During the rehearsal at Opera de Paris he tore the cruciate ligament. An operation on the knee was followed by a major staphylococci infection.After 9 more operations, he achieved complete recovery and returned to the stage after a nine-month intermission. As a dancer, Tsiskaridze possessed the purity of Russian dance training and the regality and mystery of royalty. His extremely long legs moved with masculine power, yet also with feminine grace. His arms could at one moment be strong and forceful, and at the next soft and elegant. His feet were well arched for a man and his beats were pristine. As a product of the Russian ballet school, which emphasizes dramatic expression hand in hand with technique from a very early stage in training, Tsiskaridze was an effortless actor with the ability to mesmerize the audience. There were no small parts for Tsiskaridze where his profession was concerned.Preparation for any role was very important for him. The dancer says, "It is desirable to know everything about the ballet, about the character, the composer, the choreographer – everything." There is a huge collection of videos and books about ballet in his house and some ballet critics envy his knowledge of this art. He doesn't get tired of studying and researching something new in the subjects that have already been well explored by him. As Tsiskaridze says: "I believe that the fate of a person depends on his or her temper. If I had been more mild and base person, I would have become a worshipped hero! I was to have been on the cushion long ago!But disliking stupidity and imbecility, I don't manage to keep my mouth shut. Moreover, I don't care for it and feel good. All that I achieved in my life was achieved by my talent and industry. Ballet is a


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 rough labor, all are working hard, but results differ. I had more luck because of my parents' genes." Being a ballet dancer, Tsiskaridze has become a real superstar in Russia, having appeared in many reality shows and being a judge on Russia's version of Dancing with the Stars for several years. Awards
<mask> has received many awards and accolades: he became the youngest person to be named a People's Artist of Russia (2001).He received “Soul of the Dance” prize (1994), the State Prize of the Russian Federation (2001, 2003), the Prix Benois de la Danse (1999), Silver medal at the Osaka Ballet Competition (1995), Golden medal at the Moscow Ballet Competition (1997), Honoured Artist of Russia (1997), Russian Golden Mask theatrical prize (1998, 2000, 2003), Order of Honour of the Republic of Georgia (2003), Danza&Danza award as best dancer of the year 2003, Triumph prize (2004), Chevalier de l'Ordre des Arts et des Lettres de la République Française (2006), People's Artist of North Osetia — Alania Republic (2013) etc. Assault Scandal

In 2011, Tsiskaridze was a contender for directorship in Bolshoi, but Sergei Filin was chosen to the post. On 30 June 2013, Tsiskaridze left the Bolshoi when his contracts (as a premier dancer and as a ballet teacher) expired and the management decided not to extend them. His relationship with the directors of the theatre had become tense long ago. Tsiskaridze openly criticized the theatre's management for soiling the Bolshoi's repertoire of classics with contemporary works from abroad, for favoritism and bad taste. As a result of his criticism, Tsiskaridze and his students were denied roles, docked pay and prevented from advancing their careers. Tsiskaridze openly criticized the management for a six-year £800m-plus renovation of the theatre that turned out to be of a very low quality and raised serious concerns on theft, corruption and


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 incompetence.In January 2013, the acting artistic director of the Bolshoi Ballet Sergei Filin was assaulted, sulphuric acid was thrown into his face. Tsiskaridze was one of the suspects, but he had a strong alibi on the day of the assault. Though the former soloist of Bolshoi Pavel Dmitrichenko confessed to pay for the assault, many believed his confession was forced, and someone staged the whole attack to ruin <mask>'s reputation and get him away from the theatre. Public Positions

In July 2011, Tsiskaridze was appointed a member of the President's Council for Culture and Arts. In October 2013, Tsiskaridze was appointed a director of the prestigious Vaganova Academy of Russian Ballet in Saint Petersburg (est. in 1738) by order of the Culture Minister. In a year he was promoted to the full Rector of the institution.In 2014, Tsiskaridze graduated as a Master of Law at Kutafin Moscow State Law University. On 29 November, 2014, Tsiskaridze was formally confirmed as a Rector of the Vaganova Academy in unopposed election, winning 227 of the 244 possible votes which include professors, students and even school canteen workers. Even though his appointment a year earlier caused a scandal, Tsiskaridze  won the support of the staff with his hard work and significant results - improving the quality of education at the Academy, raising the funds for the school equipment and furnishing, negotiating various collaborations with other well-known schools and theatres, bringing the new repertoire broadening the range of opportunities for graduates. In March 2014, he signed a letter in support of the position of the President of Russia Vladimir Putin on Russia's military intervention in Ukraine. The trustees of Tokyo Ballet Academy have granted to <mask> Tsiskaridze the status of professor emeritus. The artistic director of Tokyo Ballet Academy, Dr. Etsuro Satomi, signed the letter about it on

masks: Tsiskaridze Nikolay


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<mask> (born 1966) is an artist and educator based in Brooklyn, New York and Austin, Texas. Her work captures both Caribbean and American landscapes and experiences and engages in cultural critique. She works in many media including painting, photography, drawing, installations, ceramics, and sculpture as well as found objects. Early life
She was born in Port-of-Spain, Trinidad. She is of Afro-Asian ancestry. Education
She received her Bachelor of Arts in 1991, and a 1996 Master of Fine Arts in painting and printmaking, both from the University of South Florida. In 1997 she attended Skowhegan School of Painting and Sculpture in Maine.Career
Early in her career in 2000 Holland Cotter remarked in the New York Times that <mask>'s then figurative paintings were sourced with "unprettified technique and a metaphorical bent" and that West Indies Colonialism was her subject. He speculated that in her overlaid images representing memories of the island of her childhood, the shifting of backgrounds and foregrounds in her paintings was a good way to think about history. He noted that in the 2000 exhibition at the Studio Museum in Harlem curated by Thelma Golden, <mask> shared with other artists such as Sanford Biggers a looser sort of cultural signage as well as a post-1990s identity fluidity. Rocio Aranda-Alvarado, Senior Curator at El Museum del Barrio, described her layered imagery as identity politics that include both popular culture and her own personal manual of images. In 2018 <mask> became involved as an artist in the U.S. monuments dispute. Generated after the Charlottesville, Virginia demonstration of white supremacy that sparked nationwide reconsideration of monuments to the Confederacy still in existence, <mask>'s proposal for a new monument was one of several done by artists for a New York Times article. Her monument rendering was inspired by the Grand Army Plaza memorial arch which is a tribute to fighters for the Union, focusing on the African-American man who surveys and stands ready

masks:
Nicole Awai
Awai
Awai
Awai
Awai


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 for battle.When the conversation about who should be represented on a public pedestal broadened to deprecation of all indigenous peoples a commission was created to re-evaluate the monuments of New York City. Cecilia Alemani,  director and chief curator of High Line Art created New Monuments for New Cities and chose <mask>’s rendered proposal, a street drain in the shape of a man’s torso and face that reads “Reclaimed Water.” Carved into the metal at the bottom, a plaque of sorts, reads “Christopher Columbus”. Academic Positions

From 2009 to 2015 she held the position of Critic for the Yale School of Art. She is currently Assistant Professor of painting and drawing at the University of Texas at Austin's Department of Art and Art History. Artist Residences

Artists in the Market Place, Bronx Museum of the Arts, (1997-1998)
Artist-in-Residence, Art Center South Florida, Miami Beach, FL. (1998)
BRIC Media Arts Fellowship Fellowship, Brooklyn, NY (1999)
 Studio Museum in Harlem (1999-2000),
 Artist-in-Residence, Hunter College, Art Department, New York, NY. (2000)
 Triangle Arts Trust’s Big River International Artists' Workshop, Caribbean Contemporary Arts Port-of-Spain, Trinidad (2001)
 Emerge Program, Aljira, A Center for Contemporary Art, Newark, NJ
 Art Omi International Artist’s Colony, Hudson / New York, NY (2004)
 Artist-in-Residence, Jamaica Center for Arts and Learning, Queens, NY.(2004)
 John Michael Kohler, Arts Center, Sheboygan, WI (2008)
Smack Mellon Studio Program, (2010)
AIR, Alice Yard, Port of Spain Trinidad, (2013)
Lower Manhattan Cultural Council, Process Space Residency Program, (2015)
BRIC Workspace Residency, Brooklyn, NY (2017)
 Joan Mitchell Center in April (2018)

Grants

 Payson Fellowship, Skowhegan School of Painting and Sculpture, Skowhegan, Maine / New York, NY (1997)
 Puffin Foundation Grant, Puffin Foundation LTD, Teaneck, NJ. (1998)
 Painters and Sculptors Grant, the Joan Mitchell Foundation (2011)
 Art Matters Grant, Art Matters Foundation (2012)
Colene Brown


texts:
 Art Prize (2019)

Selected works

Panyard (2001) The title referring to the panyard which is a practice space for steel drummers in the West Indian festival of Carnival. Ex-Trinidadians <mask> and Terry Boddie (re)envision it in a Brooklyn NY gallery using elements of drawing, photography, sculpture. Historian Rocio Armanda-Alvaraz writes about their intent to reconsider minimalist art language of the1970s to bring a sophisticated yet non-narrative version of carnival, borrowing from an ethnicized and racialized past that has asserted itself, via their installation, in the present. The installation was shown at FiveMyles Gallery in Brooklyn New York. Local Ephemera, 2007  Subjects and objects depicted in action are drawn in a looser, colorful style. They contrast with the mechanical blueprint '"language" that other objects are rendered in "to bring clarity where there is none".Notable works from Local Ephemera include Specimen from Local Ephemera: Tension Springs (2004), Specimen from Local Ephemera: Drab Hanger (2007), Specimen from Local Ephemera: Castle Nut and Drama Queen (2007), and Specimen from Local Ephemera: Resistance with Black Ooze (2005)

Almost Undone, 2011 was the title of an exhibition in September, 2011 at The Vilcek Foundation Gallery. The sculpture incorporated a wide variety of materials such as sprayed paper, resin, plastic, nail polish, and clay, resulting in bold, complex three-dimensional structures, which seemed to pull, stretch, and tear from the wall. in conjunction with her earlier works of her Local Ephemera series The sculpture creates its own multi-dimensional adaptation from that series, reconstituting one dimension into the next. Asphaltum Glance, 2013 was a painting on the walls of the small gallery at Alice Yard in her native Trinidad. <mask> explored the origins of the viscosity and blackness that were a long-standing staples of her painting oeuvre. Through an Art Matters Grant trip in 2012 to Le Brea a childhood memory of a nearby pitch lake resonated with

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Nicole Awai
Awai


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 her so she photographed close-up details of it as the basis for wall sized paintings for the gallery. Speaking about the connection between the black ooze and Caribbean identity, <mask> says, "The pitch lake is constantly replenishing itself, just like us, taking on new form."According to <mask>, asphalt is, "literally the remnants of all of us, the decomposition of all flora and all fauna over the course of known time that keeps turning, churning and revealing at the same instance material and items randomly from yesterday and four hundred years ago." Before leaving Trinidad, <mask> painted over Asphaltum Glance as a way of continuing her themes of "regeneration and malleability." Notes for Material Re-pose, 2016 Critical Practices/ 21st Projects, New York, NY was the exhibition site for a sculpture intended to make viewers aware of their own material present/ presence, <mask> posited a continual back and forth between narrative and matter in immediate time and perpetual history. She chose these exhibits for their "informal viewings" of artists' works, intending to set up the normative space for cultural consumption and bring the audience into a domestic setting." Vistas, 2017 shown at Leslie Heller Gallery consists of a series <mask> had been working on since 2013. As a mental view of a succession of remembered events they were partially focused on the characteristics of asphalt ooze of her prior work. “Vistas are momentary glimpse experiences.There is a feeling of impermanence, of possible shift, change or impending disappearance, illusive physicality that may actually be imagined and ephemeral. Vistas could be windows to the past, the future or even moments in the present that cannot be specified.”

Material Re-pose, 2017  In an accompanying essay historian Dorota Biczel draws attention to <mask>'s abrupt transformational shifts of image, patterning and materials within the same work. <mask>'s juxtaposition of the infinity of the black ooze, the suggested locality of the rendered skins of

masks: Awai Awai Awai Awai Awai Awai Awai


texts:
 animals, as well as the here and now of her own figurative likeness continue her signature premise of the complexity of matter and historical narrative. Persistent Resistance of the Liquid Land, 2018  In an installation inspired by a singular crouching black scout in a Brooklyn Civil War monument of otherwise standing group of white soldiers, “Persistent Resistance” consists of a central speckled, decorative column that looks like a Rorschach ink blot. Beneath it pooled on the floor, as if still in the process of cooling, is a pour of asphalt, resin, charcoal, nail polish over foam. Repeating butterfly-like paper shapes in dark blue, black, and gray hover around the column, often with a gray-tone image of the crouching soldier in the middle of them evoking cherubim or etherial figures. Also in the same year, The New York Times asked artists to propose alternatives to Confederate monuments being removed from public spaces.<mask>'s proposal was inspired by the Grand Army Plaza memorial arch which is a tribute to fighters for the Union. Focusing on the African-American man who surveys and stands ready for battle, she creates a winged soldier waiting to do battle for a better future. Envisioning the Liquid Land, 2019  A solo exhibition of painted relief works on paper. Purposely ambiguous spatial familiarities in multitude of parts combine into a complex mixture of visual and symbolic elements. <mask> states “The history of the Americas is about malleability; the shaping and reshaping of resources and culture. It is an evolving, and revolving phenomena of transformation through the movement of bodies and materials,”

References

External links
Official Website

1966 births
Living people
University of South Florida alumni
Trinidad and Tobago women artists
Skowhegan School of Painting and Sculpture alumni
Artists from Brooklyn
University of Texas at Austin faculty
American installation artists
American women installation artists
American women academics
21st-century American women
Trinidad and Tobago

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texts:
<mask> (born September 27, 1941 New York City, New York) is an American sculptor renowned for his dynamic work composed of simple rectangular shapes. The artist is classified as a Minimalist as demonstrated in his works, which were mostly defined through the materials used, without allusions to subjects outside of the works. He lives and works in New York City. He is married to the artist Ellen Phelan. Early life and education
<mask> grew up in Sunnyside, Queens, New York. He graduated from Bayside High School (Bayside, NY) in 1959, at which time the school’s yearbook awarded him the title of Man About Town. When he was twenty two he lived in India for two years while in the Peace Corps.He received a B.A. in 1964 and an M.A. in 1969 from New York University

Work and inspiration
While serving his Peace Corp time in India, <mask> saw many Indian art works, and has said that "India gave me the sense of … the possibility of being an artist." In India "Art was pervasive and integral to the society", and he has said that "the struggle in my work to find a structure that reflects real psychological states may well use Indian sculpture as a model." His early work, which also drew inspiration from Greek art, is characterized by some by its small size, but <mask> has discounted this perception, describing his early works as, "all about scale and the small size was an aspect of their scale". He described scale as "A very active thing that's changing and altering as time

masks:
Joel Shapiro
Joel Shapiro
Shapiro
Shapiro


texts: unfolds, consciously or unconsciously," and, "a relationship of size and an experience. You can have something small that has big scale."In these works he said that he was trying "to describe an emotional state, my own longing or desire". He also said that during this early period in his career he was interested in the strategies of artists Robert Morris, Richard Serra, Carl Andre, and Donald Judd. By the 1980s, <mask> began to explore larger and life-size forms in pieces that were still reminiscent of Indian and Greek sculpture but also inspired by the early modernist works by Edgar Degas and Constantin Brâncusi. The bulk of these pieces have been commissioned or acquired by museums and galleries. Later, <mask> further expanded his repertoire by creating pieces that depicted the dynamism of human form. For instance, his subjects were portrayed in the act of dancing, crouching, and falling, among others that explored the themes of balance, cantilever, projection, and compression. His later works can have the appearance of flying, being impossibly suspended in space, and/or defying gravity.He has said about this shift in his work that he "wanted to make work that stood on its own, and wasn't limited by architecture and by the ground and the wall and right angles." These can be demonstrated in the case of the large-size outdoor art he made for the Hood Museum of Art. The bronze piece was an attenuated form that leans over a walkway and its near-falling form is viewed

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 as an energizing element in the museum's courtyard. This sculpture, like all of <mask>'s mature works, are untitled. Germany
 Untitled, 1999, Köln Skulpture Park, Cologne

Israel
 Untitled, 1991, Tel Aviv Museum of Art, Tel Aviv
 Untitled, 1996, Billy Rose Art Garden, Israel Museum, Jerusalem

Italy
 Untitled, 1993, Peggy Guggenheim collection, Venice

Netherlands
 Untitled, 1999, Beeldenroute Westersingel, Rotterdam

Sweden
 Untitled, 1979, Moderna Museet, Stockholm
 Untitled, 1982, Moderna Museet, Stockholm

United Kingdom
 Untitled, 1978, Tate Gallery, London
 Untitled, 1984, Tate Gallery, London

References

Untitled, <mask>, Getty Museum Website,
Untitled, <mask>, Greater Des Moines Public Art Foundation

Further reading
 Marshall, Richard and Smith, Robert. (1982) <mask> Shapiro. Whitney Museum of American Art.Institute Research Information System - <mask>
 H. Teicher: <mask>. Sculpture and drawings. New York, 1998
 "Notable Former Volunteers / Arts and Literature". Peace Corps official site. Accessed 5 January 2007. External links

The Pace Gallery
Shapiro biography and images at L.A. Louver gallery
Interview with the Brooklyn Rail from November 2007
Public Art Fund: <mask>
Interview in Portland
<mask> in conversation with Marla Prather. https://vimeo.com/12436010  May 2010.American printmakers
Peace Corps volunteers
Living people
1941 births
Artists from New York City
Steinhardt School of Culture, Education, and Human Development alumni
Sculptors from New

masks:
Shapiro
Joel Shapiro
Joel Shapiro
Joel
Joel Shapiro
Joel Shapiro
Joel Shapiro
Joel Shapiro


texts:
<mask> (; born 1931 in Tainan, Taiwan) is an American psychiatrist and Distinguished Professor of Psychiatry at the University of California, San Diego. He is considered a pioneering researcher in the genetic epidemiology of schizophrenia and other severe mental disorders. <mask> has authored and co-authored more than 600 publications and serves as founding and senior editor of the American Journal of Medical Genetics Part B. Education
<mask> received his medical degree from National Taiwan University in 1957. He received a PhD in psychiatric genetics in 1965 and a doctor of science degree in psychiatric genetics and epidemiology in 1981 from the University of London. <mask> received honorary master's degrees from Brown University in 1983 and Harvard University in 1987. Career
<mask> holds positions at the University of California, San Diego, as a Distinguished University Professor of Psychiatry and director of the Center for Behavioral Genomics.At Harvard University, <mask> directs the Harvard Institute of Psychiatric Epidemiology and Genetics, which he created. <mask>'s former positions with Harvard Medical School include: Stanley Cobb Professor of Psychiatry, chairman of the Department of Psychiatry and president and superintendent of Massachusetts Mental Health Center. He was the fourth president of the International Society of Psychiatric Genetics (ISPG) and served from 2005 to 2010. Work
<mask>'s research interests include the effects of genetic and environmental risk factors on severe mental disorders. His work focuses on preventing the onset of severe mental disorders such as schizophrenia by determining which genetic and environmental traits can lead to their onset. After earning his doctorate degrees, <mask> began working in 1971 at Washington University's Department of Psychiatry. One year later, he transitioned to the University of Iowa, where he developed the Iowa 500, the first double-blind psychiatric study of families to follow up with as many index patients and their family members as possible.The preliminary results of the study

masks:
Ming Tso Tsuang
Tsuang
Tsuang
Tsuang
Tsuang
Tsuang
Tsuang
Tsuang
Tsuang


texts: suggested genetics can affect a person's liability to schizophrenia and mood disorders. The Iowa 500 and the Iowa non-500 (the study of the people excluded from the Iowa 500 sample) have informed subsequent work in psychopathology. In 1982, <mask> joined Brown University's medical program as a researcher and started a new stage of the Collaborative Perinatal Project (CPP). The new stage, known as the New England Family Study, assessed and followed up with a large cohort of infants whose parents had both affective and non-affective psychotic disorders. The years-long study sought the psychological effect of prenatal and early life risk conditions on the infants and found that perinatal complications do not lead to an increased risk of psychological disorder; however, infants with chronic fetal hypoxia-like symptoms did show a higher risk of cognitive impairment and psychotic disorders, including schizophrenia. The study preceded future studies of the influence perinatal complications, infections during pregnancy and family history have on predicting neuropsychiatric outcomes, physical conditions and learning disorders. In 1985, <mask> began working at Harvard Medical School and the Harvard School of Public Health, for which he initiated an National Institute of Mental Health (NIMH) training program in psychiatric genetics.During this time, <mask>ang partnered with colleague Michael Lyons to conduct the Harvard Twin Study of Substance Abuse. The study followed 1,874 identical and 1,498 male twin pairs who served in the U.S. military between 1965 and 1975 and sought the effects of genetic, shared environmental and unique environmental factors on their illicit drug use. The study was the first to use the U.S. Department of Veterans Affairs’ Vietnam Era Twin Registry for research on illicit drug use. The results of the study suggested that genetics influence a shared vulnerability to illicit drug use and that the vulnerability varies by drug. In 2001, <mask> and his cohort published their findings on the connection between the study's data and interviews

masks: Tsuang Tsuang Tsu Tsuang


texts: of the participants: in participants with major depression, they found a comorbidity of illicit drug abuse and the occurrence of the drug use was higher in participants with the mood disorder than those without. This study preceded the 2012 publication of the Vietnam Era Twin Study of Aging (VESTA), which considered the behavior and genetics associated with cognitive and brain aging in randomly-selected males who participated in Tsuang's 1985 study. Also during the 1980s, <mask>ang began researching endophenotypes.His and his colleagues' research on the neuropsychological dysfunction of people with schizophrenia and their non-psychotic family members helped shift psychiatry's formerly accepted view that dysfunction was related to the disease. After multiple studies found that non-psychotic family members of people with schizophrenia showed similar mild cognitive deficits, the view that neuropsychological deficits are a central characteristic of schizophrenia became widely accepted. In 1989, <mask>'s continued his work in genetics by co-founding the NIMH Molecular Genetics Initiative and piloting the 1991 Diagnostic Interview for Genetic Studies (DIGS), which was designed to genetically assess major mood and psychotic disorders as well as their conditions. DIGS continues to serve as a benchmark assessment today. Beginning in the 1990s, <mask>'s research on non-psychotic adults related to people with schizophrenia lead to studies focused on the psychosis prodrome to inform the early prevention and diagnosis of schizophrenia as well as interventions for the disorder. Through functional neuroimaging studies, <mask> and his colleagues found that non-psychotic family members of people with schizophrenia showed brain activity deficits and determined that the abnormalities in the structure and function of the brain are endophenotypes for the disorder. In 1999, in an effort to make progress toward the most effective primary prevention of schizophrenia, <mask> and his colleagues published their discussion of schizotaxia, or liability to schizophrenia, because

masks: Tsu Tsuang Tsuang Tsuang Tsuang


texts: it is the antecedent of early symptoms of psychosis.The publication discusses the schizotaxia treatment protocol, or the evaluation of antipsychotics that may help prevent schizophrenia. The protocol, created by <mask>ang, was met with controversy. However, the participants—non-psychotic family members of people with schizophrenia—volunteered for the open-label trial. In the first trial evaluation, the small sample of participants showed reduced negative symptoms and neuropsychological deficits after several weeks of risperidone use. After additional trials, the companion discussion published in 2000 was released to discuss the etiology and development of schizotaxia, review its clinical and neuropsychological aspects and conclude that it become validated as a syndrome of schizophrenia. <mask>ang's cluster analysis of a larger sample of family members of people with schizophrenia proved its validity, which helped further progress toward preventing schizophrenia. In 2003, <mask>ang was appointed as University Professor at the University of California, San Diego School of Medicine and director of the university's Center of Behavioral Genomics, which he established.At this time, his research involved identifying genetic risk factors and biomarkers in order to determine the neurobiology of severe mental disorders. In 2005, <mask> and his colleagues published a discussion of their microarray analysis of the blood cells of RNA from participants with schizophrenia, with bipolar disorder and without either disorder. The results of the study showed unique gene expression patterns for all three groups of participants as well as changes in several specific biomarker genes for schizophrenia and bipolar disorder by RT-PCR. The study is considered innovative because <mask>ang created a framework for biologically diagnosing major mental illness antemortem. <mask>'s work led to further use of the biomarker strategy for research on treatment response in schizophrenia, risk state for schizophrenia in first-degree family members of people with schizophrenia and

masks: Tsu Tsu Tsu Tsuang Tsu Tsuang


texts:
 susceptibility to other disorders. In 2006, <mask> and his colleagues published research that furthered the understanding of  genetic risk factors for schizophrenia through a collaborative study of a large sample of Han Chinese families from Taiwan related to people with schizophrenia. Although the results of the exome sequencing study were similar to those of similar preceding studies, <mask> and his colleagues were unable to definitively identify susceptibility genes for schizophrenia.However, the study did help clarify the genetic structure of schizophrenia and supported the understanding of the significance of genetic variants on risk for the disorder. <mask> continued to pursue the identification of genetic risk factors for schizophrenia in later research. In 2014, <mask> and his colleagues published a discussion of the Marine Resiliency Study, which involved identifying diagnostic biomarkers that predict the appearance of post-traumatic stress disorder (PTSD) in deployed U.S. Marines. The pilot study was conducted to inform earlier diagnosis and prevention of the disorder. The investigators conducted a microarray analysis of the blood cells of RNA from U.S. Marines before and after they had returned from deployment in Iran and Afghanistan war zones. The results of the study showed the feasibility of the validation of blood-based biomarkers and helped further efforts to prevent and buffer against the effects of PTSD. Awards
For his work as a Chair, <mask> was awarded a Behavioral Genomics endowed chair by Harvard Medical School.In 1995, <mask> received the ISPG Lifetime Achievement Award, which is named after him. Among other awards, he also received the 2010 Lieber Prize for Outstanding Achievement in Schizophrenia Research. References

External links

Taiwanese emigrants to the United States
American psychiatrists
American geneticists
Genetic epidemiologists
Schizophrenia researchers
1931 births
Living people
Taiwanese psychiatrists
Scientists from Tainan
University of California, San Diego faculty
Harvard Medical School faculty
Psychiatric

masks: Tsuang Tsuang Tsuang Tsuang Tsuang Tsuang


texts:
<mask> (born April 10, 1980) is a retired American professional mixed martial artist formerly competing in the Welterweight division. He formerly competed in the Ultimate Fighting Championship, the World Series of Fighting, the XFC, and was a contestant on The Ultimate Fighter 2. <mask> was born in Salt Lake City, Utah he attended Cottonwood High School. He was a three-sport star athlete for the Colts. He was a Class 5A All-State third baseman on the baseball team, and was captain of the football team, where he rushed for over 1,000 yards as a senior. As a member of the wrestling team, he finished second place in the state championships in the 171-pound division. <mask> played two seasons of college football before he began his career in mixed martial arts.He spent his freshman season at Snow College in Ephraim, Utah but he missed half the season with an injury. Then he transferred to Dixie State College in St. George, Utah. His sophomore season (2001) was spectacular: he rushed for 1,439 yards and 13 touchdowns for the Rebels, earning JUCO All-American honors. His team won the Dixie Rotary Bowl; for his performance, <mask> earned a scholarship offer from the University of Utah. Ultimately, he decided to drop football and pursue mixed martial arts. Mixed martial arts career

Ultimate Fighting Championship
<mask> was originally chosen to be on the inaugural season of The Ultimate Fighter, but he failed pre-show drug test failure and admitted to taking Winstrol. He was later a contestant on The Ultimate Fighter 2 as part of Team Hughes.<mask> was signed by the UFC and had his debut fight at The Ultimate Fighter 2 Finale; he defeated Sammy Morgan by

masks:
Joshua Ray Burkman
Background Burkman
Burkman
Burkman
Burkman
Burkman


texts:
 knockout in 21 seconds of the first round. During his time with the UFC, <mask> earned wins over Drew Fickett, <mask>, and Forrest Petz, but was largely unsuccessful against the bigger names in the division. After three back-to-back losses in 2008, <mask> was cut from the UFC with a record of 5 wins and 5 losses. Showdown Fights
On November 20, 2009, <mask> faced Ultimate Fighter alumni Brandon Melendez defeating him by KO in round one at Throwdown Showdown 5. On April 9, 2010, <mask> took on Jake Paul at Showdown Fights – <mask> vs. Paul winning via unanimous decision. On September 24, 2010, <mask> faced undefeated Jordan Smith at Showdown Fights – Respect. <mask> won the fight via split decision.On April 2, 2011, <mask> faced Canadian prospect Jordan Mein at MMA: The Reckoning in Orillia, Ontario, Canada, <mask> lost via unanimous decision. On February 24, 2012, <mask> faced Koffi Adzitso at Showdown Fights – Breakout, <mask> won via unanimous decision. On August 25, 2012, <mask> faced Ultimate Fighter alumni Jamie Yager at Showdown Fights - <mask> vs. Yager. <mask> won via guillotine choke submission. World Series of Fighting
On September 6, 2012, it was announced that <mask> was one of many fighters to sign on with new MMA Promotion the World Series of Fighting. He faced Gerald Harris on November 3, 2012 at  WSOF 1 and won via unanimous decision. <mask> faced Aaron Simpson at World Series of Fighting 2 on March 23, 2013.He won the fight via KO due to a knee strike and punches in the first round. <mask> faced Jon Fitch on June 14, 2013, at World Series of Fighting 3 in a rematch of their first fight in which <mask> lost to Fitch due to a rear

masks:
Burkman
Josh Neer
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman
Burkman


texts:
 naked choke. <mask> avenged his loss, dropping Fitch with a series of punches before applying a guillotine choke submission and getting the win in just 41 seconds of round number one. <mask> faced Steve Carl on October 26, 2013 at WSOF 6 in the main event for the WSOF Welterweight Championship. He lost the fight via triangle choke in the fourth round. It was noted that <mask> did tap out from the choke but the ref ignored the tap, allowing Steve Carl to choke <mask> until he lost consciousness. <mask> faced Tyler Stinson at WSOF 9 on March 29, 2014.He won the fight via knockout in the first round. Return to the Ultimate Fighting Championship

<mask> signed a contract to return to the UFC for the first time since 2008 on October 3, 2014. <mask> faced Hector Lombard on January 3, 2015 at UFC 182. He lost the fight by unanimous decision. Subsequently, it was revealed that Lombard failed his post-fight drug test. On March 23, 2015 it was announced by the NSAC that the result of the fight had been overturned to a no contest. <mask> faced Dong Hyun Kim on May 23, 2015 at UFC 187.<mask> lost the fight via submission in the third round. <mask> faced Patrick Côté on August 23, 2015 at UFC Fight Night 74. He lost the back and forth fight via TKO in the third round and both participants were awarded Fight of the Night honors. For his next fight, <mask> dropped down to the lightweight division as he faced K.J. Noons on February 6, 2016 at UFC Fight Night 82. He won the fight by unanimous decision. <mask> next faced Paul Felder on May 29, 2016 at UFC Fight Night 88.He lost the fight via unanimous decision. <mask> was expected to face Bobby Green on October

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texts:
 1, 2016 at UFC Fight Night 96. However, Green pulled out of the fight citing an undisclosed injury. He was replaced by promotional newcomer Zak Ottow. As a result of the late notice opponent change, the bout was contested at welterweight. He lost the fight via split decision. <mask> faced Michel Prazeres on March 11, 2017 at UFC Fight Night 106.He lost the fight via submission in the first round. <mask> faced Drew Dober on July 29, 2017 at UFC 214. He lost the fight by knockout in the first round. <mask> faced Alex Morono on February 18, 2018 at UFC Fight Night 126 at the welterweight division. He lost the fight via a guillotine choke submission in the first round. Post-UFC career
After being released from the UFC for the second time, <mask> faced William Macário at LFA 66 on May 10, 2019. He lost the fight via split decision and announced his retirement from MMA.Championships & accomplishments
Ultimate Fighting Championship
Fight of the Night (One time)
MMAJunkie.com
2015 August Fight of the Month vs. Patrick Côté
Sherdog
2013 Submission of the Year  vs. Jon Fitch

Personal life
<mask> dated current UFC ring girl, Arianny Celeste. <mask> married Brandy Lyn Winfield, 2010 International Yoga Champion, on December 1, 2011. Together they have a son, <mask>, who was born in 2012 and had a second son Atlas born January 13, 2015. His older brother Jered was a star baseball player alongside Chris Shelton at both Cottonwood High School and Salt Lake Community College. |-
| Win
| align=center| 13–2
| Brian Wieber
| TKO (punches)
| IFC: Eve Of Destruction
|
| align=center| 1
| align=center| 2:36
| Salt Lake City, Utah, United States
|Welterweight

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Burkman
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Legend Burkman


texts:
Potamius (Greek: Ποτάμιος,  343–360), also known as Potamius of Lisbon, was the first recorded bishop of the city of Lisbon. He was possibly born in Lisbon, given that Iberian communities at the time usually chose their own citizens as bishops. He was part of the Council of Sirmium in 357, in which he defended Arianism. He is the second earliest Christian prose writer of the Iberian Peninsula, with Hosius of Corduba being the first. Context
The historical evidence on Christian presence in the Iberian Peninsula is scarce and lacking in detail. The Synod of Elvira attests Christian presence in Iberia somewhere between 295 and 314 and allows scholars to estimate the existence of 41 Christian communities in Iberian by the time, with Hispania Baetica and Carthaginiensis as the most Christianized provinces. Rodrigo da Cunha placed the first Christian communities in Lisbon between 36 and 106 CE and considered <mask> to be the fifth bishop (Mantius of Évora being the first), but this view failed to meet scientific rigor.The Holy Martyrs of Lisbon (303 CE), during the Diocletianic Persecution, may attest Christian presence in the beginning of the 4th Century CE, although the first documents regarding the events of the Holy Martyrs date only to the 9th Century. The Synod of Elvira mentions the presence of three Lusitanian dioceses: Ebora, Ossonoba, and Mérida. In 318 or 319, Arius had founded Arianism, denying Trinitarianism by positing that Jesus' existence was not eternal and that his substance was not equal to that of God. In 325, the Roman Emperor Constantine convened the First Council of Nicaea,


texts:
 led by Hosius of Corduba, in which Arianism was strongly rejected and Arius exiled by Constantine. Later, Arianism managed to regain some importance in the Roman Empire, mostly be the actions of Eusebius of Nicomedia and his (successful) attempts to exile the Nicean Athanasius of Alexandria. After the death of Constantine, in 337, the Roman Empire is split into his three sons Constantine II, Constans, and Constantius II, of which the latter was the most favorable to Arianism. Constantine II dies in 340 and Constans in 350, leaving the Roman Empire to Constantius II from 353 onwards.Arianism
Not much can be stated about Potamius before 355. At that date, it is known that Potamius was bishop of Lisbon and converted from Catholicism to Arianism. Scholars agree that Potamius was not present in the Council of Sirmium in 351, when the followers of Eusebius of Nicomedia issued a moderate Arianism profession, known as the First Formula of Sirmium. It is unknown whether he was present in the Council of Arles in 353 and the Council of Milan in 355. In 357, <mask>, along with Eusebius, condemned Pope Liberius' moderate position, wanting him to express an unambiguous pro-Arian position. In 357, Potemius participates in the Council of Sirmium. This council comes about at a time when there were two trends within Arianism, the homoiousian (which states that Jesus is of a similar substance as that of God) and the anomoean trend (which states that Jesus is neither of the same or similar substance as God).The Council of Sirmium in 357 strongly favored the anomoean trend, in line with the opinions of Ursacius,


texts:
 Valens, and Potemius. In fact, Potemius is reported to have played an important role in furthering Arianism in the 357 Council and in developing the pro-anomoean Second Formula of Sirmium that resulted from it. It is unknown whether <mask> was part of the Council of Ariminum (359), but his Epistula ad Athanasium is recorded as having been written after the council, in 360, and it contains a surprisingly strong anti-Arian message, only 5 years after his conversion to Arianism. A book published in 383 or 384 (Libellus precum ad Imperatores) by Luciferians states that Potamius received a villa from Constantius II as a reward for his adoption of Arianism but then died as he made his way to it. This account is not considered historically valid, but, along with the date of the Ad Athanasium, is used to construct a range of possible dates for <mask>' death, which is in this approach placed between 360 and 384. Many views exist about Potamius' Arianism:

 Some scholars, André Wilmart among them, posit that Potamius was first Catholic, and then, around 357, converted to Arianism. In this view, the date of Ad Athanasium has to be previous to 360.Others, among them Enrique Flórez, posit that <mask> was not Arian and was accused of converting to Arianism because he was merely present at the Council of Sirmium in 357. A moderate approach posits that Potamius did have an Arian phase, but reconverted to Catholicism around 360. Still others suggest Potamius only converted to arianism to avoid exile, which had happened to Hilary of Poitiers, Athanasius of Alexandria, and Pope Liberius. Works
The following are

masks: Potamius Potamius Potamius


texts:
 works by Potamius which have survived (all of a Catholic approach):

 De Lazaro
 De Martyrio Isaiae Prophetae
 Epistula ad Athanasium
 Epistula de Substantia Patris et Filii et Spiritus Sancti

These works were wrongly attributed to other writers. De Lazaro was attributed to John Chrysostom, as well as to Zeno of Verona (De Isaiae was also attributed to Zeno). The two Epistulae were attributed to Jerome. Luc d'Achery, in 1657, was the first scholar to identify Potamius' catholic writings when he attributed the Epistula ad Athanasium to Potamius.Girolamo and Pietro Ballerini, in 1739, noticed the similarities between De Lazaro and De Isaiae with Epistula ad Athanasium, but attributed them to a second Potamius that was not the bishop of Lisbon. Circa 1769, Andrea Gallandi finally attributed the two works to Potamius of Lisbon. The Epistula de Substantia would only be identified in 1912, by André Wilmart. The only surviving Arian writing of Potamius is a citation from Phoebadius of Agen's Contra Arianos. See also

 Arian controversy
 Romanization of Hispania
 History of Lisbon

References

4th-century Arian Christians
Arian bishops
Bishops of Lisbon
4th-century Romans
4th-century bishops in


texts: <mask> (April 5, 1900 – June 10, 1967) was an American actor, known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, <mask> was the first actor to win two consecutive Academy Award for Best Actor from nine nominations. <mask> first discovered his talent for acting while attending Ripon College, and he later received a scholarship for the American Academy of Dramatic Arts. He spent seven years in the theatre, working in a succession of stock companies and intermittently on Broadway. His breakthrough came in 1930, when his lead performance in The Last Mile caught the attention of Hollywood. After a successful film debut in John Ford's Up the River (in which he starred with Humphrey Bogart), he was signed to a contract with Fox Film Corporation. <mask>'s five years with Fox featured one acting tour de force after another that were usually ignored at the box office, and he remained largely unknown to movie audiences after 25 films, nearly all of them starring him as the leading man.None of them were hits, although his performance in The Power and the Glory (1933) was highly praised at the time. In 1935, he joined Metro-Goldwyn-Mayer, at the time Hollywood's most prestigious studio. His career flourished from his fifth MGM film Fury (1936) onwards, and in 1937 and 1938 he won consecutive Oscars for Captains Courageous and Boys Town. He teamed with Clark Gable, the studio's most prominent leading man for three major box office successes, so that by the early 1940s <mask> was one of MGM's top stars. In 1942, he appeared with Katharine Hepburn in Woman of the Year, beginning a professional and personal partnership, which led to nine

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 films over 25 years. <mask> left MGM in 1955, and continued to work regularly as a freelance star, despite several health issues and an increasing weariness and irritability as he aged. His personal life was troubled, with a lifelong struggle against severe alcoholism and guilt over his son's deafness.<mask> and his wife Louise became estranged in the 1930s, but the couple never divorced; his 25-year long affair with Katharine Hepburn was an open secret. Towards the end of his life, <mask> worked almost exclusively for director Stanley Kramer. It was for Kramer that he made his last film, Guess Who's Coming to Dinner (1967), completed just 17 days before he died. During his career, <mask> appeared in 75 films and developed a reputation among his peers as one of the screen's greatest actors. In 1999, the American Film Institute ranked <mask> as the 9th greatest male star of Classic Hollywood Cinema. Early life

<mask> <mask> was born in Milwaukee, Wisconsin, on April 5, 1900, the second son of Caroline (née Brown; 1874–1942) and truck salesman John Edward <mask> (1873–1928). His mother was from a wealthy, Presbyterian, Midwestern family, while his father was of Irish Catholic descent.He had a brother Carroll, who was four years older. <mask> was a difficult and hyperactive child  with poor school attendance. Raised Catholic, he was placed in the care of Dominican Order nuns at the age of nine in an attempt to transform his behavior. Later in life, he remarked that he "never would have gone back to school if there had been any other way of learning to read the subtitles in the movies". He became fascinated with movies, watching the same ones repeatedly and later re-enacting

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texts: scenes to his friends and neighbors. He attended several Jesuit academies in his teenage years, which he claimed took the "badness" out of him and helped him improve his grades. At Marquette Academy, he began attending plays with lifelong friend and fellow actor Pat O'Brien, awakening his interest in the theatre.With little care for their studies and "itching for a chance to go and see some excitement", <mask> and O'Brien enlisted in the Navy together when <mask> turned 18. They were sent to the Naval Training Station in northern Illinois, where they were still students when World War I came to an end. <mask> achieved the rank of seaman second class, but never went to sea and was discharged in February 1919. His father's desire to see one of his sons gain a college degree drove <mask> back to high school to finish his diploma. Studies at two more institutions, plus the additional allowance of "war credits", won <mask> a place at Ripon College. He entered in February 1921, declaring his intention to major in medicine. <mask> was a popular student at Ripon, where he served as president of his hall and was involved in a number of college activities.He made his stage debut in June 1921, playing the male lead in The Truth. He was very well received in the role and quickly developed a passion for the stage; he was reportedly "obsessive about acting to the degree that he talked about little else". He and some friends formed an acting company called the Campus Players, which they took on tour. As a member of the college debate team, <mask> excelled in arguing and public speaking. It was during a tour with the debate team that he auditioned for the American Academy of Dramatic Arts

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 (AADA) in New York City. He was offered a scholarship to attend the school after performing a scene from one of his earlier roles. <mask> left Ripon and began classes at AADA in April 1922.O'Brien was also enrolled there and the two shared a small studio apartment. Money was scarce, and the two often lived on meals of rice and pretzels and shared one decent suit between them. <mask> was deemed fit to progress to the senior class, allowing him to join the academy's stock company. He made his New York debut in a play called The Wedding Guests, which opened in October 1922. He made his debut Broadway appearance three months later, playing a wordless robot in R.U.R. He graduated from AADA in March 1923. Career

Stock theatre and Broadway (1923–30)
Immediately following graduation, <mask> joined a new stock company based in White Plains, New York where he was given peripheral roles.Unhappy there, he moved to a company in Cincinnati, but failed to make an impact. In November 1923, he landed a small part on Broadway in the comedy A Royal Fandango, starring Ethel Barrymore. Reviews for the show were poor and it closed after 25 performances; <mask> later said of the failure, "My ego took an awful beating." When he took a position with a struggling company in New Jersey, <mask> was living on an allowance of 35 cents a day. In January 1924, he played his first leading role with a company in Winnipeg, but the organization soon closed. <mask> finally achieved some success by joining forces with the notable stock manager William H. Wright in the spring of 1924. A stage partnership was formed with the young actress Selena Royle, who had already made her name on Broadway.It proved a popular

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texts: draw and their productions were favorably received. One of these shows brought <mask> to the attention of a Broadway producer, who offered him the lead in a new play. The Sheepman previewed in October 1925, but it received poor reviews and closed after its trial run in Connecticut. Dejected, <mask> was forced back to Wright and the stock circuit. In the fall of 1926, <mask> was offered his third shot at Broadway: a role in a new George M. Cohan play called Yellow. <mask> swore that if the play failed to be a hit he would leave stock and work in a "regular" business instead. <mask> was nervous about working with Cohan, one of the most important figures in American theatre, but during rehearsals Cohan announced, "<mask>, you're the best goddamned actor I've ever seen!"Yellow opened on September 21; reviews were mixed but it ran for 135 performances. It was the beginning of an important collaboration for <mask>: "I'd have quit the stage completely," he later commented, "if it hadn't been for George M. Cohan." Cohan wrote a part specifically for <mask> in his next play, The Baby Cyclone. It opened on Broadway in September 1927 and was a hit. <mask> followed this success with another Cohan play, Whispering Friends, and in 1929 took over from Clark Gable in Conflict, a Broadway drama. Other roles followed, but it was the lead in Dread, written by Pulitzer Prize-winning dramatist Owen Davis that gave <mask> high hopes for success.The story of a man's descent into madness, Dread previewed in Brooklyn to an excellent reception, but on the next day—October 29—the New York stock market crashed. Unable to obtain funding, Dread did not open on Broadway. Following this disappointment,

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 <mask> considered leaving the theatre and returning to Milwaukee for a more stable life. In January 1930, <mask> was approached about a new play called The Last Mile. Looking to cast the lead role of a murderer on death row, producer Herman Shumlin met with <mask>, and later recounted: "beneath the surface, here was a man of passion, violence, sensitivity and desperation: no ordinary man, and just the man for the part." The Last Mile opened on Broadway in February, where <mask>'s performance was met by a standing ovation that lasted 14 curtain calls. The Commonweal described him as "one of our best and most versatile young actors".The play was a hit with critics, and ran for 289 performances. Fox (1930–35)

In 1930, Broadway was being scouted to find actors to work in the new medium of sound films. <mask> was cast in two Vitaphone shorts (Taxi Talks and The Hard Guy), but he had not considered becoming a film actor: "I had no ambition in that direction and I was perfectly happy on the stage", he later explained in an interview. One person who saw <mask> in The Last Mile was director John Ford. Ford wanted <mask> for the lead role in his next picture, a prison movie. Production company Fox Film Corporation was unsure about <mask>, saying that he did not photograph well, but Ford convinced them that he was right for the role. Up the River (1930) marked the film debut of both <mask> and Humphrey Bogart.After seeing the rushes, Fox immediately offered <mask> a long-term contract. Knowing that he needed the money for his family, his young son was deaf and recovering from polio, <mask> signed with Fox and moved to California. He appeared on the stage only once more in his life.

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texts: Winfield Sheehan, the head of Fox, committed to making <mask> a bankable commodity. The studio promoted the actor, releasing ads for his second film Quick Millions (1931) with the headline "A New Star Shines". Three films were made in quick succession, all of which were unsuccessful at the box office. <mask> found himself typecast in comedies, usually playing a crook or a con man.The mold was broken with his seventh picture, Disorderly Conduct (1932), and it was the first of his films since Up the River to return a profit. In mid-1932, after nine pictures, <mask> remained virtually unknown to the public. He considered leaving Fox once his contract was up for renewal, but a rise in his weekly rate to $1,500 convinced him to stay. He continued to appear in unpopular films, with Me and My Gal (1932) setting an all-time low attendance record for the Roxy Theatre in New York City. He was loaned to Warner Bros. for 20,000 Years in Sing Sing (1932), a prison drama co-starring Bette Davis. <mask> was hopeful that it would be his break-out role, but despite good reviews, this failed to materialize. Critics began to notice <mask> with The Power and the Glory (1933).The story of a man's rise to prosperity had a screenplay by Preston Sturges and <mask>'s performance as railroad tycoon Tom Garner received uniformly strong reviews. William Wilkerson of The Hollywood Reporter wrote: "This sterling performer has finally been given an opportunity to show an ability that has been boxed in by gangster roles ... [the film] has introduced Mr<mask> as one of the screen's best performers". Mordaunt Hall of The New York Times stated: "No more convincing performance has been given on the screen than

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 <mask>'s impersonation of Tom Garner." Shanghai Madness (1933), meanwhile, revealed <mask> to have a previously unseen sex appeal and served to advance his standing. Despite this attention, <mask>'s next two movies went largely unnoticed. Man's Castle (1933) with Loretta Young was anticipated to be a hit, but made only a small profit. The Show-Off (1934), for which he was lent to Metro-Goldwyn-Mayer, proved popular, but his subsequent outings continued to be unsuccessful.<mask> drank heavily during his years with Fox and gained a reputation as an alcoholic. He failed to report for filming on Marie Galante in June 1934, and was found in his hotel room, virtually unconscious after a two-week binge. <mask> was removed from the Fox payroll while he recovered in a hospital, and then sued for $125,000 for delaying the production. He completed only two more pictures with the studio. The details on how <mask>'s relationship with Fox ended are unclear: later in life <mask> maintained that he was fired for his drunken behavior, but the Fox records do not support such an account. He was still under contract with the studio when MGM expressed their interest in the actor. They were in need of a new male star, and contacted <mask> on April 2, 1935, offering him a seven-year deal.That afternoon, the contract between <mask> and Fox was terminated "by mutual consent". <mask> made a total of 25 pictures in the five years he was with Fox Film Corporation, most of which lost money at the box office. Metro-Goldwyn-Mayer (1935–55)

Growing reputation

In the 1930s, Metro-Goldwyn-Mayer was the most respected movie production studio in Hollywood. When <mask> arrived there, he was all but unknown.

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texts: Biographer James Curtis writes: "<mask> was scarcely a blip on the box office barometer in 1935, a critics' darling and little more". He was, however, well known for being a troublemaker. Producer Irving Thalberg was nevertheless enthusiastic about working with the actor, telling journalist Louella Parsons: "<mask> will become one of MGM's most valuable stars."Curtis notes that the studio managed <mask> with care, a welcome change from the ineptitude and apathy he had known while at Fox, which was like "a shot of adrenaline" for the actor. His first film under the new contract was the quickly produced The Murder Man (1935), which included the feature film debut of James Stewart. Thalberg then began a strategy of pairing <mask> with the studio's top actresses: Whipsaw (1935) co-starred Myrna Loy and was a commercial success. Riffraff (1936) put <mask> opposite Jean Harlow. Both films were, however, designed and promoted to showcase their leading ladies, thus continuing <mask>'s reputation as a secondary star. Fury (1936) was the first film to prove that <mask> could make a success on his own merit. Directed by Fritz Lang, <mask> played a man who swears revenge after narrowly escaping death by a lynch mob.The film and performance received excellent reviews. It made a profit of $1.3 million worldwide. Curtis writes: "audiences who, just a year earlier, had no clear handle on him, were suddenly turning out to see him. It was a transition that was nothing short of miraculous ... [and showed] a willingness on the part of the public to embrace a leading man who was not textbook handsome nor bigger than life." Fury was followed one month later with the release of the big-budget

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 disaster movie San Francisco (1936). <mask> played a supporting role alongside Clark Gable in the film, allowing audiences to see him with the top male star in Hollywood. Taking on the role of a priest, <mask> reportedly felt a heavy responsibility in representing the church.Despite having only 17 minutes of screen time, <mask> was highly praised for his performance and received an Oscar nomination for Best Actor. San Francisco became the highest-grossing picture of 1936. Donald Deschner, in his book on <mask>, credits Fury and San Francisco as the "two films that changed his career and gave him the status of a major star". By this point, <mask> entered a period of self-imposed sobriety and MGM expressed pleasure with <mask>'s professionalism. His public reputation continued to grow with Libeled Lady (also 1936), a screwball comedy that cast him with William Powell, Loy and Harlow. According to Curtis, "Powell, Harlow and Loy were among the biggest draws in the industry, and equal billing in such a powerhouse company could only serve to advance <mask>'s standing". Libeled Lady was his third hit picture in the space of six months.Oscar wins

<mask> appeared in four films released in 1937. They Gave Him a Gun, a crime-drama, went largely unnoticed, but Captains Courageous was one of the major film events of the year. <mask> played a Portuguese fisherman in the adventure movie, based on the novel by Rudyard Kipling. He was uncomfortable feigning a foreign accent, and resented having his hair curled, but the role was a hit with audiences and <mask> won the Academy Award for Best Actor. Captains Courageous was followed by Big City with Luise Rainer and Mannequin with Joan Crawford,


texts: the latter of which performed well at the box office. With two years of hit movies and industry recognition, <mask> became a star in the United States. A 1937 poll of 20 million people to find the "King and Queen of Hollywood" ranked <mask> sixth among males.<mask> was reunited with Clark Gable and Myrna Loy for Test Pilot (1938). The film was another enormous commercial and critical success, permanently cementing the notion of Gable and <mask> as a team in the public imagination. Based on the positive response he had received in San Francisco, MGM again cast <mask> as a priest in Boys Town (also 1938). Portraying Edward J. Flanagan, a Catholic priest and founder of Boys Town in Nebraska, was a role <mask> took seriously: "I'm so anxious to do a good job as Father Flanagan that it worries me, keeps me awake at night." <mask> received strong reviews for his performance, and the movie grossed $4 million worldwide. For the second year running, <mask> received an Academy Award for Best Actor. He was humble about the recognition, saying in his acceptance speech: "I honestly do not feel that I can accept this award ...I can accept it only as it was meant to be for a great man—Father Flanagan". Although he did keep his Oscar, a second statuette was struck and immediately sent to Flanagan. <mask> was listed as the fifth biggest box office star of 1938. <mask> was absent from screens for almost a year before returning to Fox on loan and appearing as Henry M. Stanley in Stanley and Livingstone (1939) with Nancy Kelly. Curtis maintains that <mask>'s non-visibility did little to affect his standing with the public or exhibitors. In October 1939, a Fortune magazine survey of the nation's


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MGM capitalized on <mask>'s popularity, casting him in four movies for 1940.I Take This Woman with Hedy Lamarr was a critical and commercial failure, but the historical drama Northwest Passage—<mask>'s first film in Technicolor—proved popular. He then portrayed Thomas Edison in Edison, the Man. Howard Barnes of the New York Herald Tribune was not charmed by the story, but wrote that <mask>, "by sheer persuasion of his acting", made the film worthy. Boom Town was the third and final Gable-<mask> picture, also starring Claudette Colbert and Hedy Lamarr, making it one of the most anticipated films of the year. The film opened to the biggest crowd since Gone With the Wind. <mask> signed a new contract with MGM in April 1941, which paid $5,000 a week and limited him to three pictures a year (<mask> had previously expressed a need to reduce his workload). The contract also stated for the first time that his billing was to be "that of a star".Contrary to popular belief, the contract did not include a clause that he receive top billing, but from this point onward, every film <mask> appeared in featured his name in pole position. <mask> returned to the role of Father Flanagan for the sequel Men of Boys Town (1941). It was followed by <mask>'s only venture into the horror genre, an adaptation of Dr. Jekyll and Mr. Hyde (also 1941), co-starring Ingrid Bergman and Lana Turner. <mask> was unhappy with the film, disliking the heavy make-up he needed to portray Hyde. Critical response to the film was mixed. Theodore Strauss of The New York Times wrote that "Mr. <mask>'s portrait of Hyde is not so much evil incarnate as it

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texts: is the ham rampant." The film was financially successful, however, taking in more than $2 million at the box office.<mask> Hepburn film, Woman of the Year (1942). Hepburn greatly admired <mask>, calling him "the best movie actor there was". She had wanted him for her comeback vehicle, The Philadelphia Story (1940). Hepburn was delighted that <mask> was available for Woman of the Year, saying "I was just damned grateful he was willing to work with me." The romantic comedy performed well at the box office and received strong reviews. William Boehnel wrote in the New York World-Telegram, "To begin with, it has Katharine Hepburn and <mask> in the leading roles.This in itself would be enough to make any film memorable. But when you get <mask> and Hepburn turning in brilliant performances to boot, you've got something to cheer about." Woman of the Year was followed by an adaptation of John Steinbeck's Tortilla Flat (also 1942) which met with a tepid response. MGM did not hesitate to repeat the teaming of <mask> and Hepburn and cast them in the dark mystery Keeper of the Flame (1942). Despite a weak critical reception the film out-grossed Woman of the Year confirming the strength of their partnership. <mask>'s next three appearances were all war-based. A Guy Named Joe (1943) with Irene Dunne surpassed San Francisco to become his highest-grossing film to date.The Seventh Cross (1944), a suspense film about an escape from a Nazi concentration camp, met with critical acclaim. It was followed by the aviation film Thirty Seconds Over Tokyo (1944). On the strength of these three releases, the annual Quigley poll revealed <mask> was MGM's biggest money-making star of 1944, His only film the

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 following year was his third with Hepburn, Without Love (1945), a light romantic comedy that performed well at the box office despite muted enthusiasm from critics. Stage and screen

In 1945, <mask> returned to the stage for the first time in 15 years. He had been through a dark patch personally—culminating with a hospital stay—and Hepburn felt that a play would help restore his focus. <mask> told a journalist in April, "I'm coming back to Broadway to see if I can still act." The play was The Rugged Path by Robert E. Sherwood.It first previewed in Providence on September 28, to a sold-out crowd and tepid response. It was a difficult production; director Garson Kanin later wrote: "In the ten days prior to the New York opening all the important relationships had deteriorated. <mask> was tense and unbending, could not, or would not, take direction". <mask> considered leaving the show before it even opened on Broadway, and lasted there just six weeks before announcing his intention to close the show. It closed on January 19, 1946, after 81 performances. <mask> later explained to a friend: "I couldn't say those goddamn lines over and over and over again every night ... At least every day is a new day for me in films ... But this thing—every day, every day, over and over again."<mask> was absent from screens in 1946, the first year since his motion picture debut that there was no <mask> release. His next film was The Sea of Grass (1947) a melodrama set in the American Old West with Hepburn. Similarly to Keeper of the Flame and Without Love, a lukewarm response from critics did not stop it from being a financial success both at home and abroad. He followed it later that year with

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 Cass Timberlane, in which he played a judge. It was a commercial success, but Curtis notes that co-star Lana Turner overshadowed <mask> in most of the reviews. A fifth film with Hepburn, Frank Capra's political drama State of the Union, was released in 1948. <mask> played a presidential candidate in the movie, which was warmly received.He then appeared in Edward, My Son (1949) with Deborah Kerr. <mask> disliked the role, and told director George Cukor, "It's rather disconcerting to me to find how easily I play a heel." Upon its release, The New Yorker wrote of the "hopeless miscasting of Mr. <mask>". The film became <mask>'s biggest money-loser at MGM. <mask> finished off the 1940s with Malaya (1949), an adventure film with James Stewart, and Adam's Rib (also 1949), a comedy with <mask> and Hepburn playing married lawyers who oppose each other in court. <mask> and Hepburn's friends, Garson Kanin and Ruth Gordon, wrote the parts specifically for the two leads. The film received strong reviews and became the highest-grossing <mask> picture to date.Film critic Bosley Crowther wrote, "Mr. <mask> and Miss Hepburn are the stellar performers in this show and their perfect compatibility in comic capers is delightful to see." Final MGM years

<mask> received his first Academy Award nomination in 12 years for playing the role of Stanley Banks in Father of the Bride (1950). In the comedy film, Banks attempts to handle preparations for the upcoming wedding of his daughter (Elizabeth Taylor). "It's the second strong comedy in a row for <mask>, doing the title role, and he socks it", Variety commented. The film was the biggest commercial success of <mask>'s career to date, earning $6

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texts: million worldwide. MGM wanted a sequel, and while <mask> was unsure, he accepted. Father's Little Dividend (1951) was released ten months later and performed well at the box office.On the strength of the two movies, <mask> polled as one of the nation's top stars once more. <mask> portrayed a lawyer in The People Against O'Hara (1951) and re-teamed with Hepburn for the sports comedy Pat and Mike (1952), the second feature written expressly for them by Kanin and Gordon. Pat and Mike became one of the duo's most popular and critically acclaimed films. <mask> followed it with Plymouth Adventure (also 1952), a tedious historical drama set aboard the Mayflower, co-starring Gene Tierney. It met with poor critical and box office response and posted a loss of $1.8 million for MGM. <mask> returned to the role of a concerned father in The Actress (1953). Producer Lawrence Weingarten recalled: "That film ... got more [acclaim] from the critics than any film I ever made in all the years, and we didn't make enough to pay for the ushers in the theatre."For his performance in The Actress, <mask> won a Golden Globe Award and received a nomination for the British Academy Film Award. MGM lent <mask> to Fox for the well-received Western film Broken Lance, his only film released in 1954. In 1955, <mask> turned down William Wyler's The Desperate Hours because he refused to take second-billing to Humphrey Bogart. Instead, <mask> appeared as a one-armed protagonist who faces the hostility of a small desert town in Bad Day at Black Rock (1955), a film directed by John Sturges. For his work, <mask> received a fifth Oscar nomination and was awarded the Best Actor prize at the Cannes Film Festival.


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 <mask> had personally been unhappy with the picture and threatened to leave during production. This behavior became a regular occurrence for <mask>, who was increasingly lethargic and cynical.He began production on Tribute to a Bad Man in the summer of 1955, but pulled out when he claimed that the shooting location in the Colorado mountains gave him altitude sickness. The problems caused by the picture fractured <mask>'s relationship with MGM. In June 1955, he was one of the two last remaining stars of the studio's peak years (the other being Robert Taylor), but with his contract up for renewal, <mask> opted to freelance for the first time in his movie career. Independent player (1956–67)
<mask>'s first post-MGM appearance was in The Mountain (1956) with Robert Wagner, who played his much younger brother (Wagner had earlier played his son in Broken Lance). The location filming in the French Alps proved a difficult experience, and he threatened to leave the project. His performance earned a BAFTA nomination for Best Foreign Actor. <mask> and Hepburn then paired together for the eighth time in the office-based comedy Desk Set (1957).He again had to be convinced to stay with the film which met with a weak response. <mask> appeared in The Old Man and the Sea (1958), a project that had been in development for five years. An adaptation of Ernest Hemingway's novella of the same title, Hemingway's agent, Leland Hayward, had previously written to the author: "Of all Hollywood people, the one that comes the closest to me in quality, in personality and voice, in personal dignity and ability, is <mask>." <mask> was delighted to be offered the role. He was told to lose some of his 210

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