texts:
 Poles and Germans, who are entangled in an adversarial but at the same time strangely symbiotic relationship. In 2007, Stasiuk continued to deal with the Polish-German topic in a travelogue titled Dojczland, in which he described his impressions of Germany from his reading tours there. In an interview in 2007, Stasiuk commented on his fascination with the topic as follows:

In an interview with Wprost at the close of 2011, he again discussed Europe and, in particular, Germany. Books
1992: Mury Hebronu, Warszawa: Wydawnictwo Głodnych Duchów. ("The Walls of Hebron")
1994: Wiersze miłosne i nie, Poznań: Biblioteka Czasu Kultury. ("Love and non-love poems")
1995: Biały kruk, Poznań: Biblioteka Czasu Kultury (Translated as White Raven, London: Serpent's Tail, 2000.). 1995: Opowieści galicyjskie, Kraków: Znak. (Translated as Tales of Galicia, Prague: Twisted Spoon Press, 2003. ) 1996: Przez rzekę, Gładyszów: Czarne. ("Across the river"),
1997: Dukla, Gładyszów: Czarne. ("Dukla")
1998: Dwie sztuki (telewizyjne) o śmierci, Gładyszów: Czarne. ("Two (television) dramas on death")
1998: Jak zostałem pisarzem.Próba biografii intelektualnej, Gładyszów: Czarne. ("How I became a writer: Attempt at an intellectual biography")
1999: Dziewięć, Gładyszów: Czarne. (Nine, San Diego: Harcourt Trade Publishers, 2007. ) 2000 (with Yuri Andrukhovych): Moje Europa. Dwa eseje o Europie zwanej środkową,  Gładyszów: Czarne. ("My Europe: Two essays on the Europe called 'Central'"),
2000: Tekturowy samolot, Gładyszów: Czarne


type: original

texts:
 ("Cardboard Aeroplane")
2000 (with Olga Tokarczuk and Jerzy Pilch): Opowieści wigilijne, Wałbrzych: Ruta. ("Christmas Tales")
2001: Zima, Gładyszów: Czarne ("Winter"),
2004: Jadąc do Babadag, Gładyszów: Czarne ("On the Road to Babadag"),
2005: Noc.Słowiańsko-germańska tragifarsa medyczna, Gładyszów: Czarne ("Night: A Slavo-Germanic medical tragifarce"),
2006: Fado, Gładyszów: Czarne. (Fado, Champaign: Dalkey Archive Press, 2009. 2007: Dojczland, Gładyszów: Czarne. 2009: Taksim, Gładyszów: Czarne. 2010: Dziennik pisany później, Czarne. 2012: Grochów, Czarne. 2014: Wschód, Czarne.("The East")
2021: Przewóz , Czarne. See also
Nike Award
Gdynia Literary Prize
Polish literature
Gammarus stasiuki

References

External links

Unofficial page (Polish)
Wydawnictwo Czarne publishing house on-line catalog (Polish)
Biography and interview at polishwriting.net
Excerpt from White Raven at polishwriting.net
<mask> <mask> at culture.pl
Not a living soul around <mask> <mask> writes on the landscapes of World War One in Eastern Europe at signandsight.com
<mask> <mask>, Telewizja Literacka TVL (Polish)
<mask> <mask> on goodreads.com
 'Drinking to the fall of communism' <mask> Stasiuk tells James Hopkin about life on the road in Eastern Europe, The Guardian, Books
A Weird, Wonderful Ramble Through 'Other Europe', Jessa Crispin, June 30, 20118:55 AM ET, NPR Book Reviews

1960 births
Living people
Writers from Warsaw
Polish male writers
Nike Award winners
Recipients of the Silver Medal for Merit to Culture – Gloria

masks: Andrzej Stasiuk Andrzej Stasiuk Andrzej Stasiuk Andrzej Stasiuk Andrzej


texts:
Prof<mask><mask> (born November 3, 1953 in Charlottesville, Virginia), is an American linguist who specializes in foreign language teaching and translator training. Biography
Kiraly studied political science at the Cleveland State University and obtained a bachelor of arts degree in June 1976, followed by a master of arts degree in international relations at Florida State University, which he completed in August 1977. Afterwards, from September 1977 until June 1980, he worked as an English teacher at the National Institute of Applied Sciences in Lyon (France) and from September 1981 to July 1982 at the Lawton School in Gijón (Spain). Between June 1980 and June 1981, he earned a master of arts degree in the teaching of French at the University of Illinois. From January 1983 to June 1983, he worked as an English teacher at the International Chamber of Commerce in Roanne, France. Since January 1985, Kiraly has been employed as a researcher and lecturer at the School of Translation, Linguistics and Cultural Studies of the University of Mainz in Germersheim, Germany. From 1984 to 2008, Kiraly also worked as a freelance translator in the specialised fields of business and economics, viticulture, tourism, and public administration.In January 1990, he received a Ph.D. degree with his dissertation entitled "Toward a Systematic Approach to Translation Skills Instruction" from the University of Illinois. From August to November 1999, he was a visiting professor at the Monterey Institute of International Studies in Monterey (California), and, from September 2008 to August 2012, he held a visiting professor's position at the École Supérieure d'Interprètes et Traducteurs of the

masks:
. Donald C
. Kiraly


texts:
 University of Paris III, where he taught French-English, Spanish-English and German-English translation, among other subjects. Since 1990, Kiraly has published a number of articles, two monographs, a co-authored book and two edited volumes in the areas of foreign language teaching and translator training. In 2017, Kiraly was named Professor without Chair (außerplanmässiger Professor) by the University of Mainz on the basis of his research and teaching record. Awards
In the winter semester 2012/2013, <mask> was awarded the Teaching Award of the Johannes Gutenberg University Mainz. Selected publications

 'Translation into a Non-mother Tongue: From Collaboration to Competence’, In Grosman, M., Kovacic, I. Snell-Hornby, M. (Eds.)Translation into Non-mother Tongues - In Professional Practice and Training. Tübingen: Stauffenburg Verlag, 117-123. 2000. ‘From Teacher-Centered to Learning-Centered Classrooms in Translator Education.’ Across Languages and Cultures 1 (2), (239-244). 2000. 'Summary of Discussion: Collaboration, Teamwork and Groupwork', (Innovation in Translator and Interpreter Training. Report on an On-Line Symposium).Across Languages and Cultures 1 (2), (263-269). 2000. ‘From Instruction to Collaborative Construction: a Passing Fad or the Promise of a Paradigm Shift in Translator Education?’, in Arango-Keith, F., Baer, B., Bell, S., Koby, G. (Eds). Beyond the Ivory Tower: Rethinking Translation Pedagogy, Kent, Ohio: Kent State University Press, 3-32. 2000. ‘Eine Reise auf verschlungenen Pfaden hin zu einer Didaktik des Übersetzens’, in Pöckl, W. (Ed.), Übersetzungswissenschaft Dolmetschwissenschaft: Wege in eine neue Disziplin. Vienna: Edition Prasens.


texts: 169-178. 2004. ‘Preparing students today to meet market demands tomorrow’, in Forstner M. & Lee-Jahnke, Hannelore (Ed.) Marktorientierte Translationsausbildung, Frankfurt: Peter Lang. 101-118.2004. 'Situating Praxis in Translator Education', in  Krisztina Karoly & Ágota Fóris (eds.) New Trends in Translation Studies–Festschrift für Kinga Klaudy. Budapest: Akademiai Kiado. 117-138.2005. "Project-Based Learning: A Case for Situated Translation," META (50,4), (1098-1111).2005. ‘Beyond Social Constructivism: Complexity Theory and Translator Education’, Translation and Interpreting Studies.(6,1) 68-86. 2006. ‘Sprachmittlung in einer komplexen Welt: Die Übersetzerausbildung im Wandel’, in Quo  vadis Translatologie? Ein halbes Jahrhundert universitäre Ausbildung von Dolmetschern und Übersetzern in Leipzig. Rückschau, Zwischenbilanz und Perspektiven aus der Außensicht. Wotjak, Gerd (Ed.) Berlin: Frank und Timme.191-204. 2006. ‘Transcultural relating: An example of project-oriented translator education’, Studia Universitatis Babes-Bolyai – Philologia. (3/2008), (5-10). 2008. ‘Acknowledging Learning as Enaction: Moving Beyond Social Constructivism Towards Empowerment in Translator Education’, in Laplace, Colette, Marianne Lederer, Daniel Gile (Ed. ), La Traduction et Ses Métiers.Cahiers Champollion No. 12, Caen: Lettres Modernes Minard. 179-191. 2009. ‘Emergence in the language classroom: An experiment in facilitated language acquisition’, in Hannelore Lee-Jahnke and Erich Prunç (Eds. ), Am Schnittpunkt von Philologie und Translationswissenschaft, Festschrift zu Ehren von Martin Forstner. Bern: Peter Lang.109-119. 2010. ‘Growing a Project-Based Translation Pedagogy: A


texts: Fractal Perspective,’ Meta 57(1). pp. 82–95. 2012. ‘Skopos Theory Goes to Paris: Purposeful Translation and Emergent Translator Competence’.Risku, Hanna/Christina Schäffner/Jürgen Schopp (eds. ): Special Issue of mTm to Commemorate Hans J. Vermeer (mTm – A translation Journal). Athens: Diavlos. pp. 119–144. 2012. Das Kultivieren einer Translationsdidaktik – Eine fraktale Perspektive,’ in Hansen-Schirra, Silvia and <mask> (eds.)Projekte und Projektionen in der translatorischen Kompetenzentwicklung. Frankfurt: Peter Lang. 11-32. 2013. ‘Towards A View of Translator Competence as an Emergent Phenomenon: Thinking Outside the Box(es) in Translator Education,’ in <mask>, <mask> / Hansen-Schirra, Silvia & Maksymski, Karin (eds.) New Prospects and Perspectives for Educating Language Mediators. Translationswissenschaft, Band 10.197-224. 2013. 'Förderung autopoietischer Fremdsprachenbildung – von der holistischen Sprachbegegnung zur autonomen Aneignung von fortgeschrittenen fremdsprachlichen Fertigkeiten,' in Gutenberg Lehrkolleg der Johannes Gutenberg-Universität Mainz (eds.) Gute Lehre – von der Idee zur Realität. Innovative Lehrprojekte an der JGU. Bielefeld: Universitätsverlag Webler. 121-134.2013. <mask>, <mask>; Graham, Anne-Marie. 'European Graduate Placement Scheme – an education partnership developing global translation graduates,' in Proceedings of the Future of Education Conference. June 2013. <mask>, <mask>; Piotrowska, Maja. 'Curriculum Development Model for the European Graduate Placement Scheme,' in Proceedings of the 4th Future of Education Conference, Florence, Italy. June 2014.'From Assumptions about Knowing and Learning to Praxis in Translator Education'

masks:
Don Kiraly
Kiraly
Don
Kiraly
Don
Kiraly
Don


texts:
 in: Piotrowska, Maria, Tyupa, Sergiy (eds.) inTRAlinea  Special Issue: Challenges in Translation Pedagogy. 2014. 'Language Acquisition in the Classroom: from Tasks to Enaction' in:  Krings, Hans. P, Kuehn, Bärbel (eds.) Fremdsprachliche Lernprozesse: Erträge des 4. Bremer Symposions zum autonomen Fremdsprachenlernen.Bochum: AKS Verlag. 2015. 'Occasioning Translator Competence: Moving Beyond Social Constructivism Towards A Postmodern Alternative to Instructionism,' in Translation and Interpreting Studies 10:1, 8-32. 2015. ‘Authentic Project Work and Pedagogical Epistemologies: A Question of Competing or Complementary Worldviews?,’ in Towards Authentic Experiential Learning in Translator Education. V&R Press, 53-66. 2015.<mask>, <mask>; Hofmann, Sascha. ‘Towards a Post-positivist Curriculum Development Model for Translator Education,’ in Towards Authentic Experiential Learning in Translator Education. V&R Press, 67-88. 2015. <mask>, <mask>; Rüth, Lisa, Wiedmann, Marcus. ‘Enhancing Translation Course Design and Didactic Interventions with E-Learning, ’ in Towards Authentic Experiential Learning in Translator Education. V&R Press, 175-198.2015. ‘Beyond the Static Competence Impasse in Translator Education,’ in Thelen, Marcel; van Egdom, Gys-Walt;Verbeeck, Dirk;Bogucki, Lukasz; Lewandowska-Tomaszczyk (eds). Translation and Meaning New Series Vol 1. Frankfurt: Peter Lang. 129-142. 2016. References

External links
 Curriculum Vitae auf den Seiten der Uni Mainz
 Kontakt
 Interview mit <mask>ly

Living people
American translation scholars
1953 births
Cleveland State University alumni
People from Charlottesville, Virginia
Florida State University alumni
University of

masks:
Kiraly
Don
Kiraly
Don
Donald Kira


texts:
<mask> (23 March 1922 – 27 October 1990) was an Italian actor, director, and screenwriter. Early life
<mask> was born in Cremona, in northern Italy but spent his youth in various localities as his father was a travelling clerk for an insurance company. After his return to his native city in 1936, he worked in a cured meats production plant where he achieved the position of accountant. During World War II, he was inducted into the Army and returned home after the Armistice of 8 September 1943, and joined the Brigate Nere for a while. His passion for theater and acting dates from his early years, and also during the conflict he organized shows for his fellow soldiers. In 1945, he moved to Milan, where he was enrolled in the theatrical company led by Wanda Osiris. A few years later, he formed his own successful musical revue company.Career
In 1950, <mask> made his cinematic debut in I cadetti di Guascogna directed by Mario Mattoli. The following year, he met Raimondo Vianello, with whom he formed a successful comedy duo for the new-born RAI TV (1954–1960). Their shows, sometimes containing satirical material, were among the first to be censored on Italian television. After the successful role in The Fascist  (Il Federale) (1961), directed by Luciano Salce, <mask> became one of the most renowned characters of the so-called Commedia all'Italiana (Italian comedy style). He worked with all the main directors of Italian cinema, including Mario Monicelli (Amici

masks:
Ugo Tognazzi
Tognazzi
Tognazzi
Tognazzi


texts:
 miei), Marco Ferreri (La grande abbuffata), Carlo Lizzani (La vita agra), Dino Risi, Pier Paolo Pasolini (Pigsty), Ettore Scola, Alberto Lattuada, Nanni Loy, Pupi Avati and others. <mask> also directed some of his films, including the 1967 film Il fischio al naso. The film was entered into the 17th Berlin International Film Festival.He was a well-known actor in Italy, and starred in several important international films, which brought him fame in other parts of the world. Roger Vadim cast <mask> as Mark Hand, the Catchman, in Barbarella (1968). He rescues Barbarella (Jane Fonda) from the biting dolls she encounters, and after her rescue, he requests payment by asking her to make love with him (the "old-fashioned" way, not the psycho-cardiopathic way of their future). In 1981, he won the Best Male Actor Award at the Cannes Film Festival for Tragedy of a Ridiculous Man, directed by Bernardo Bertolucci. While he worked primarily in Italian cinema, <mask> is perhaps best remembered for his role as Renato Baldi, the gay owner of a St. Tropez nightclub, in the 1978 French comedy La Cage aux Folles which became the highest grossing foreign film ever released in the U.S. Personal life
<mask> <mask> died of a brain hemorrhage in Rome in 1990, although rumors persist to this day that his chronic depression led to suicide. He is buried in the cemetery of Velletri.His sons <mask> (b. 1955) and Gianmarco <mask> (b. 1967) are cinema actors. He was also the father

masks:
Tognazzi
Tognazzi
Tognazzi
Ugo
Tognazzi
Ricky Tognazzi
Tognazzi


texts:
 of the Norwegian film director and film producer Thomas Robsahm (b. 1964). His daughter Maria Sole <mask> (b. 1971) is, like Thomas, a film director.Filmography

Actor

 The Cadets of Gascony (1950) as <mask> Bossi
La paura fa 90 (1951) as Anastasio Lapin / Saverio Bompignac
Una bruna indiavolata (1951) as Carlo Soldi
Auguri e figli maschi (1951) as Mario
 The Enchanting Enemy (1953) as Direttore della fabbrica
Love in the City (1953) as Himself (segment "Italiani si voltano, Gli")
Sua altezza ha detto: no! (1953) as Ronchi
Siamo tutti milanesi (1953) as Filippo
If You Won a Hundred Million (1953) as <mask> (segment "Il principale")
Café Chantant (1953) as Se stesso / Himself
Assi alla ribalta (1954) as Himself
  Laugh! Laugh! Laugh! (1960) as Solitario
A noi piace freddo (1960) as <mask> Bevilacqua
Gli incensurati (1961) as Farinon
Sua Eccellenza si fermò a mangiare (1961) as Ernesto
Che gioia vivere! (1961) as 1. (1974) as Mitch
Claretta and Ben (1974) as Gino Pistone
Permettete signora che ami vostra figlia?(1974) as Gino Pistone
Romanzo popolare (1974) as Giulio Basletti
La mazurka del barone, della santa e del fico fiorone (1975) as Baron Anteo Pellacani
La smagliatura (1975) as Georgis
Amici miei (1975) as Lello Mascetti
L'anatra all'arancia (1975) as Livio Stefani
Al piacere di rivederla (1976) as Mario Aldara
Telefoni bianchi (1976) as Adelmo
Cattivi pensieri (1976) as Mario Marani
Signore e signori, buonanotte (1976) as General in Toilet
La

masks: Tognazzi Ugo Ugo Ugo


texts:
 stanza del vescovo (1977) as Temistocle Mario Orimbelli
Casotto (1977) as Alfredo Cerquetti
Il gatto (1977) as Amedeo Pecoraro
I nuovi mostri (1977) as Il marito (segment "L'uccellino della Val Padana") / Il cuoco (segment "Hostaria") / Il figlio (segment "Mammina mammona")
Nenè (1977) as 'Baffo' - the barber (uncredited)
La mazzetta (1978) as Il commissario Assenza
Primo amore (1978) as <mask>
La Cage aux Folles (1978) as Renato Baldi
Dove vai in vacanza? (1978) as Enrico (segment "Sarò tutta per te")
L'ingorgo - Una storia impossibile (1979) as Professor
I viaggiatori della sera (1979) as Orso Banti
Sono fotogenico (1980) as Himself (uncredited)
La terrazza (1980) as Amedeo
Arrivano i bersaglieri (1980) as Don Prospero
Sunday Lovers (1980) as Armando (segment "Armando's Notebook")
La Cage aux Folles II (1980) as Renato Baldi
Tragedy of a Ridiculous Man (1981) as Primo Spaggiari
Scusa se è poco (1982) as Carlo Reani
Amici miei atto II (1982) as Conte Raffaello Mascetti
The Key (1983) as Un ubriaco (cameo)
Scherzo del destino in agguato dietro l'angolo come un brigante da strada (1983) as


texts:
<mask> (30 January 1918 – 16 April 2019) was a historian, archivist and orientalist. He entered the Franciscan Order in 1935 and was ordained for a priest in 1941. From 1947 to 1985 he was the general archivist and analyst of the Franciscan Order in Rome. In 1958 he was elected vice-president of the International Association of Church Archives. He turned 100 in January 2018, and in April 2019, died at the age of 101. Biography

<mask> was born on January 30, 1918 in Drinovci, district Ljubuški, Bosnia and Herzegovina, then still part of the Austro-Hungarian Empire, into Roman Catholic family of Bosnia and Herzegovina Croats. He lived in Zagreb.He finished elementary school in his hometown in 1929, high school in Široki Brijeg in 1938, entered the novitiate of the Franciscan Order (OFM) in Humac. He began his philosophical and theological studies in Mostar, and he was ordained to the priesthood in 1941. In 1942 he continued his studies in Rome and earned his licentiate in 1943. At the Pontifical Antonianum University he received his doctorate in theology in 1945 with a thesis on the history of Trebinje-Mrkan. In 1947 he studied archive science, paleography and diplomacy at the Vatican School (associated to Vatican archives), acquiring the title paleographus et archivarius. At the Roman State University (La Sapienza), Department of Islamic Sciences (Arabic, Persian and Turkish), he earned his doctorate in philosophy in 1951. He wanted to do research in the Ottoman archives in Istanbul

masks:
Bazilije Stjepan Pandžić
Pandžić


texts: on the history of Bosnia, Herzegovina, Dalmatia and Dubrovnik.However, in 1947 he was appointed to the position of the general service registrar (archivist) of the Franciscan Order (OFM) in Rome, a position which he held up to 1985. In the function of archivist he participated in international conferences in Paris, Moscow, Florence, etc. and co-operated in the publications of their journals. He was also elected to administrative positions in professional associations. In his book Archivistica ecclesiastica which was published by the Vatican's archives in 1967, he summarized his experiences as an archivist. His entire professional life was dedicated to research in the various Vatican archives. He published twenty-one scientific books and the three books of memoirs, a large number of scholarly papers, and hundreds of magazine articles.He wrote mainly in Latin, Croatian and Italian, and occasionally in English, French, German and Spanish. Besides in his homeland, Bosnia and Herzegovina, <mask>'s works are published internationally, in various countries including Vatican City, Italy, Croatia, Spain, Argentina, United States, Germany, France, Switzerland, Austria and Poland. For a general history of the Franciscan Order the two most important, monumental volumes are Annales Minorum, i. e. a continuation of the series which the Irish Franciscan friar Lucas Wadding had started in the 17th century. For the study of the history of missions within the series Historia missionum Ordinis Fratrum


texts: Minorum he was responsible for the 4th Volume: Regiones Proximi Orientis et Paeninsulae Balcanicae in 1974. As an expert of the Congregation for the Saints he worked under several popes. He issued three so-called "positions" (positiones), i.e., historical-critical editions of the life and work of individuals to be canonized. His first one was on Nicholas Tavelić in 1961 which resulted in Pope Paul VI’s canonization of Nicholas Tavelić in 1970.Another positio in 1970 brought forth critical source material about the life of Beatrice de Silva, of Spanish origin. The third in 1983 concerned the German Franciscan Liberatus Weiss and companions. <mask> <mask> was one of the founders and editors of the publishing house ZIRAL in 1970. While in exile 70 books were published before moving in 1991 to Mostar. <mask> <mask> was the co-founder of the Croatian Historical Institute in Rome. While being in exile, he published newspaper articles in the Croatian Catholic Messenger and Croatian Almanac of Chicago. After his return to the homeland he participated in various scientific conferences and contributed to journals such as Nova et vetera, Bosna franciscana, Herzegovina franciscana, Kršni zavičaj, Naša ognjišta, Vrutak, etc.Since 1995 he lived in Zagreb where he continued his scholarly research. He published several works, including the three-volume Acta Franciscana Hercegovinae in 2003 and 2009, and Herzegovinian Franciscans: Seven centuries with the people in 2001. His collected, scientific

masks: Bazilije Pandžić Bazilije Pandžić


texts:
 works, amount to about 10,000 pages, including 24 monographs. After the publication of the collected works he published two more books: the second, enlarged edition of the comprehensive work Herzegovinian Franciscans, and a book of fundamental-theological reflections titled U susret Bogu (Towards God). Works

Bazilije Stjepan <mask> has published 24 books and a multitude of scientific papers in different languages. Following is a list of his monographs. The list of all his published works up to 2010 is in the making (in PDF format).Works in Croatian
 Dominik Mandić, Rasprave i prilozi iz starije hrvatske povijesti. Bazilije <mask> (Priredio, zajedno s fra Dionizijem Lasićem). Rim 1963. Životopis fra Dominika Mandića. Izdanje ZIRAL knjiga 64, Sabrana djela Dominika Mandića, vol. 12. <mask> <mask>.Chicago 1994. Hercegovački franjevci. Sedam stoljeća s narodom. Bazilije Pandžić. Mostar-Zagreb: ZIRAL 2001. Svjetlo na krovu Afrike. Mučenici fra Liberat Weiss i njegova subraća (3 ožujka 1716).Izdanje Teovizija, <mask> <mask>. Zagreb 2003. Acta Franciscana Hercegovinae, svezak II (1700–1849). <mask> <mask>. Mostar-Zagreb 2003. Acta Franciscana Hercegovinae, svezak III (1850–1892). <mask> <mask>.Mostar-Zagreb 2003. Maksimirska razmišljanja. <mask> <mask>. Zagreb 2004. Kraljevi i gradovi. Crtice iz hrvatske povijesti. <mask> <mask>.Zagreb: Tusculanae editiones. Acta Franciscana Hercegovinae, 1206–1699. sv. I.. Sabrao i za tisak pripremio Dominik Mandić, novo izdanje priredio i nadopunio

masks: Pandžić Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić


texts:
 Bazilije S. Pandžić. Mostar/Zagreb: ZIRAL. 2009. Priredio (zajedno s fra Dionizijem Lasićem): Dominik Mandić, Rasprave i prilozi iz starije hrvatske povijesti.<mask> <mask>. Rim 1963, drugo izdanje Zagreb 2009. Tragovi jednog života. <mask> <mask>. Zagreb 2009. Hercegovački franjevci. Sedam stoljeća s narodom.<mask> <mask>. Mostar-Zagreb: ZIRAL; drugo, prošireno izdanje 2011. Works in Latin
 Annales Minorum, vol. XXXI (1661–1670). <mask> <mask>. Rim 1956. De dioecesi tribuniensi et mercanensi, u Studia Antoniana, vol.12. <mask> <mask>. Rim 1959. Sacra Rituum Congregatio, Sectio historica, n. 12: Sebenicen. Declarationis martyrii B. Nicolai Tavelić sacerdotis professi Ordinis Fratrum Minorum in odium fidei, ut fertur, in civitate Ierusalem interfecti (+1391), Positio super martyrio ex officio concinnata. <mask> <mask>. Typis Polyglotis Vaticanis 1961.Annales Minorum, vol. XXXII (1671–1680). <mask> <mask>. Rim 1964. Sacra Congregatio pro causis Sanctorum, Officium Historicum n. 6: Toletana Canonizationis Beatricis de Silva Fundatricis Monialium Franciscalium a Santissima Conceptione († c. 1492), Positio super vita et virtutibus ex officio concinnata. <mask> <mask>. Rim 1970.Historia missionum Ordinis Fratrum Minorum, vol. IV. Regiones proximi Orientis et paeninsulae Balcanicae. Bazilije <mask>. Rim 1974. Sacra Congregatio pro causis sanctorum, Officium historicum, n. 108: Viennen. Beatificationis seu declarationis martyrii servi Dei et 2 sociorum O. F. M. in odium fidei, uti fertur,

masks: Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Bazilije Pandžić Pandžić


texts:
 anno 1716 in Aethiopia occisorum Positio super martyrio ex officio concinnata.Bazilije <mask>. Rim 1983. Works in Italian
 Archivistica ecclesiastica, Pontificia commissione per gli archivi ecclesiastici, vol. III. S. Duca e Bazilije <mask>. Città del Vaticano 1967. Works in German
 Sehnsucht nach Äthiopien.<mask> <mask> (O.F.M.) und P. Ludwig Raber (O.F.M.). Mödling 1988. Juraj Dragišić und Johannes Reuchlin, u Georgius Benignus (Juraj Dragišić), Defensio praestantissimi viri Joannis Reuchlin. Nachdruck und Kommentar. E. v. Erdmann-<mask> und <mask> <mask>. Bamberg 1989.Bosna Argentina. Studien zur Geschichte des Franziskanerordens in Bosnien und der Herzegowina. <mask> <mask>. Köln, Waimar, Wien: Böhlau Verlag. Works in English
 A review of Croatian History. <mask> <mask>. Chicago 1954.Literature
 Zvonko <mask> (priredio/edidit): Stephani Basilii <mask>, O.F.M. – Opera omnia typis edita. Editio electronico modo confecta. Izdavač: Editiones Tusculanae. Zagreb, 2010. Elisabeth von Erdmann-<mask>, ed. Regiones Paeninsulae Balcanicae et Proximi Orientis.Festschrift für Basilius S<mask>. Bamberg, 1988. References

External links

 <mask>, <mask> Stjepan, www.enciklopedija.hr (Croatian). Fra Bazilije proslavio 97. rođendan!, fra3.net, 2015-01-30 (Croatian). Hercegovac 40 godina čuva tajne Vatikana, vecernji.ba, 2011-01-23 (Croatian). Kako sam čuvao Vatikanske tajne, jutarnji.hr, 2008-03-30 (Croatian).1918 births
2019 deaths
20th-century Latin-language writers
21st-century Latin-language

masks:
Pandžić
Pandžić
Bazilije
Pandžić
Pandžić
Bazilije
Pandžić
Bazilije
Pandžić
Bazilije
Pandžić
Pandžić
Pandžić
Pandžić
. Pandžić
Pandžić
Bazilije


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Bosnia and Herzegovina historians
Bosnia and Herzegovina writers
Franciscans of the Franciscan Province of Herzegovina
Bosnia and Herzegovina Roman Catholic priests
Croats of Bosnia and Herzegovina
Croatian historians
Croatian writers
Croatian orientalists
Croatian Roman Catholic priests
Croatian archivists
Croatian centenarians
Men centenarians
Historians of Franciscan


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<mask> (; born 4 April 1987)  is a retired Kenyan footballer who played as a defensive midfielder. <mask> made history as the first Kenyan footballer to play in the UEFA Champions League, for Internazionale on 16 March 2010. In 2019 he joined politics to vie for Kibera parliamentary seat after the death of Ken Okoth. Club career

Early career
<mask> started his playing career at Ulinzi Stars before moving first to Tusker FC and then to Kenya Pipeline while still at school. <mask> was a member of the Kamukunji High School 'Golden Boys', which also included Kenyan striker Dennis Oliech (Auxerre, France), who won two consecutive National Championships in 2002 and 2003. The central midfielder went to Sweden in 2005 to play for third Division side Enköpings SK. After only one season at ESK, he signed for Helsingborgs IF before the 2006 season.His success at Helsingborgs was immediate. Following initial interest from Portsmouth manager Harry Redknapp, <mask> looked set to sign for the Premier League team, but work permit issues held up the deal which was supposed to have cost around €2.7 million. Parma
He moved to the Serie A club Parma initially on loan in August 2007. The Italian club had an option to buy him in the summer for a fee of 20 million Swedish kronor (around €2million). <mask> played 35 times for Parma in the Serie B during the 2008–2009 season scoring three times to help them back to Serie A for the 2009–10 season. In January 2010 he was set to sign for English club Manchester City of the Premier League, but he failed to obtain a work permit. It was later stated by Kenya's Prime Minister Raila Odinga that 22-year-old <mask> had eventually obtained a UK work permit but only after the transfer window for

masks:
McDonald Mariga Wanyama
Mariga
Mariga
Mariga
Mariga
Mariga
Mariga


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 the Premier League had closed.Had <mask> successfully signed for Manchester City, he would have been the first player from the East African country to sign for a club in the top English league - a milestone later achieved by his brother, upon his transfer to Southampton in July 2013. Internazionale
On 1 February 2010, the last day of the transfer window, <mask> moved to Inter in a co-ownership deal. The transfer fee was €5 million in a cash plus player deal which Parma got half the registration rights of Jonathan Biabiany (€2.5 million) and the loan of Luis Antonio Jiménez. Following the move, Inter chairman Massimo Moratti hailed <mask>'s move as the "best thing that could have happened" to the club in the January transfer window. He made his debut for Internazionale in the 1st leg of the 2009-10 Coppa Italia Semi-final against Fiorentina. Inter narrowly won the match 1–0. In March 2010 <mask> became the first Kenyan to play in the UEFA Champions League, when he entered the field as a late substitute against Chelsea.<mask> thought he scored his first goal for Inter on 24 April 2010 against Atalanta when he netted Samuel Eto'o's back pass into the roof of the net. However his shot deflected off Sulley Muntari and the goal was credited instead to the Ghanaian. He also scored a thrashing header against Genoa for the Nerazzurri in a game that ended 3–2. On 17 June 2010, Inter bought him outright and bought back Biabiany for €4.2 million each, which made Parma registered a "loss from co-ownership" of €800,000, as the retained profit of unsold half had decreased from €5 million to €4.2 million. However, if counting the profit from Biabiany, which Inter in fact paid Parma €10.9 million cash for Mariga plus the

masks: Mariga Mariga Mariga Mariga Mariga


texts:
 special loan of Biabiany. While Luis Antonio Jiménez originally included in the deal but collapsed after Inter lost its portion on 25 June. At the start of the 2011–12 season <mask> was loaned out to La Liga club Real Sociedad.It meant Inter had a non-EU transfer quota which they used on winter signing Juan and Fredy Guarín (the other quota was obtained from Philippe Coutinho). After half a season back at Inter, he was loaned to Parma in the January 2013 transfer window and he scored his only goal against Lazio. In the next fixture he was injured against Novara, which ruled him out for the rest of the season. He returned to Inter along with Biabiany at the end of the season at the request of manager Andrea Stramaccioni, but was released by the club in May 2014. Return to Parma
On 4 September 2014, <mask> re-signed with Parma, the team he left to join Inter in 2010. Latina
In January 2016 he was signed by Serie B club Latina. Oviedo
On 31 July 2017, <mask> signed a one-year deal with Spanish Segunda División club Real Oviedo.International career

<mask> scored his first international goal for Kenya against Swaziland on 25 March 2007. Career statistics

International
Scores and results list Kenya's goal tally first. Personal life
<mask>'s father, Noah Wanyama, a left-winger, played for A.F.C. Leopards and the Kenya national football team. His younger brother Victor Wanyama is also a professional football player, who is currently playing for Major League Soccer club Montreal Impact, while his other brothers Thomas and Sylvester are also footballers in the Kenyan Premier League. Their younger sister Mercy was the captain of the Lang'ata High School basketball team, and previously played football and netball. In


texts:
 2013, <mask> ended his engagement to his long-time Rwandese fiancée Ariane Umutoni, after relations between the couple reportedly deteriorated.Political ambitions

In September 2019, <mask> made a debut in Kenya's politics after announcing plans to contest for a parliamentary seat in a by-election in one of the constituencies (Kibra). He was nominated by the Jubilee Party as its flag bearer in the Kibra by-election. The by-election was occasioned by the death of former MP Ken Okoth, who died on 26 July 2019, after a long battle with colon cancer. The Kenyan electoral commission IEBC; has however, not cleared <mask> to participate in the election. Although <mask> had applied to be registered as a voter on 26 August 2019 in Starehe constituency, the IEBC insisted that his name was not in its register. <mask> appealed the decision, but the matter is yet to be concluded. If he qualifies to vie, he will face off with Bernard Okoth of ODM and several other contestants.References

External links
Real Sociedad official profile
<mask>ga Moves to Serie B club in Italy

1987 births
Living people
Footballers from Nairobi
Kenyan Luhya people
Kenyan footballers
Association football midfielders
Tusker F.C. players
Enköpings SK players
Helsingborgs IF players
Parma Calcio 1913 players
Inter Milan players
Real Sociedad footballers
Real Oviedo players
Allsvenskan players
Serie A players
Serie B players
La Liga players
UEFA Champions League winning players
Kenya international footballers
Kenyan expatriate footballers
Kenyan expatriate sportspeople in Sweden
Kenyan expatriate sportspeople in Italy
Kenyan expatriate sportspeople in Spain
Expatriate footballers in Sweden
Expatriate footballers in Italy
Expatriate footballers in

masks:
Mariga
Mariga
Mariga
Mariga
Mariga
McDonald Mari


texts:
<mask> (born November 19, 1975) American R&B singer, songwriter, and actress. She is best known as a member of the multi-platinum selling R&B group Xscape, who rose to popularity in the 1990s. Early life
<mask> was born in Atlanta, Georgia, and at age 4 began singing in church, weddings, and local talent shows. At 9, she had recorded her first song with her sister Latocha. <mask> attended TriCities High School of Performing Arts in Atlanta, Georgia, transferring to Tri-Cities High School in East Point, Georgia graduating in 1993. 1991–1992: Xscape beginnings
While attending Tri-Cities performing arts high school in East Point, Georgia, <mask> met Kandi Burruss. The three (along with her sister <mask> began singing together and recruited a fourth member, Tamera Coggins, though her time with the group was short-lived.Soon Tameka "Tiny" Cottle was asked to audition for the girls, and Xscape was officially formed. After the group's major debut performance at BET's Teen Summit in 1992, the girls were introduced to record executive Ian Burke, who later became the group's manager. Xscape soon caught the attention of Jermaine Dupri, who later signed the group to his So So Def Recordings. 1993–1999: Xscape success
The group released their debut album Hummin' Comin' at 'Cha on October 12, 1993. The album peaked at number seventeen on the U.S. Billboard 200 and number three on the Top R&B Albums chart. It was a critical and commercial success, certified platinum within a year, and launched two hit singles, "Just Kickin' It" and

masks:
Tamika Scott
Scott
Scott
Tamika
LaTocha Scott


texts: "Understanding"; both entered the top 10 on the Billboard Hot 100 and peaked at number one on the Hot R&B/Hip-Hop Songs chart.The follow-up singles, "Love on My Mind" and "Tonight", did not achieve the same success. The group later appeared on The Mask soundtrack and the soundtrack for the 1995 film Panther, featuring the single "Freedom". Xscape released their second studio album, Off the Hook, in 1995. Much of the album's production was by Jermaine Dupri and featured guest vocals from MC Lyte. Four singles were released. "Feel So Good" and "Who Can I Run To" peaked at No. 32 and No.8 on the Billboard Hot 100 chart respectively. The latter release, "Can't Hang/Do You Want To", was a joint single and reached the top ten of the Billboard R&B charts. "Off the Hook" was certified platinum in 1995. In 1996, the group was featured on MC Lyte's single "Keep On, Keepin' On", which appeared on the Sunset Park soundtrack. The single reached the top 10 on the Billboard Hot 100 chart. In 1997, as the group's popularity grew, they appeared on the soundtracks of the films Love Jones and Soul Food. In 1997, the group found new management and released their third studio album, Traces of My Lipstick in 1998.The album entered the Billboard 200 at number 28, and featured top 10 hits "The Arms of the One Who Loves You" and "My Little Secret", which LaTocha <mask> co-wrote with Jermaine Dupri, earning the pair an ASCAP Rhythm and Soul Music Award. In early 1998, Xscape was featured on the Keith Sweat-produced single, "Am I Dreamin'", by


texts:
 R&B newcomer group Ol' Skool. 1999: Xscape disbandment
The dynamic of the group had changed by the third album, which led to LaTocha <mask> leaving the group in 1999 to pursue a solo career. Subsequently, the group went on hiatus. 2000–2009: After Xscape
In 2004, <mask>, along with LaTocha <mask>, Tameka "Tiny" Cottle, and new member Kiesha Miles, attempted to revamp Xscape. They released the single "What's Up" in 2005, but the reconciliation was short-lived and the group ultimately disbanded in 2005. Around the same time, <mask> made her first TV appearance in a 2004 episode of Tyler Perry's Meet the Browns.2010–present
<mask> <mask> released a new single entitled "Greatest Gift" for Tyler Perry's Daddy's Little Girls, released in 2007. Also Released a single named Why did I Get Married That Same Year

She made a special appearance in the second season of the TV One show R&B Divas: Atlanta in 2013. When Xscape reunited in 2017, they announced they would be releasing a biopic about the band. In the biopic, <mask> plans to be played by her daughter. The band was followed by Bravo as they prepared for the 2017 Essence Festival. The footage was made into a four-part television series called Xscape: Still Kickin' It. Tensions arose between band members during the show, and when asked about how the band was doing, <mask> joked that they needed therapy.In 2017, <mask> had a "wardrobe malfunction" on stage when she tripped over her jumpsuit and fell. <mask> revealed on Watch What Happens Live with Andy Cohen that when she

masks: Scott Scott Scott Scott Tamika Scott Scott Scott Scott Scott


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 got pregnant while in Xscape, her producers threatened to kick her out of the band if she didn't have an abortion. She refused and had her daughter Oshun. <mask> was spotted with crutches in 2018, and when questioned she admitted she'd injured herself on a home-installed sex swing with her husband. On March 25, 2019, <mask> released her first solo project since her reunion with Xscape. A single entitled "Tonite" was released to her official SoundCloud and YouTube channel. On August 9, 2019, <mask> released her new single "Almost Over".It was announced on August 15, 2019 by Here TV & BroadwayWorld that <mask> had joined season two of the television series Conframa from executive producer Shaun Cairo Pitchfork (film). Personal life
<mask> <mask> is the youngest daughter of Rev. Randolf <mask> and Gloria McFarlin. In 1994, she gave birth to her first daughter O'shun Reney. In 1999, she give birth to her daughter Taniyah Breney. In 2018, O’shun Reney gave birth to her first daughter Aveyah  , and her second daughter Aria  in 2020. <mask> has two grandchildren.Discography

Singles
 "Almost Over" (2019)

EP
 "Family Affair"

Filmography

References

External links

1975 births
Living people
Musicians from Atlanta
American rhythm and blues singer-songwriters
American women singer-songwriters
20th-century African-American women singers
African-American women singer-songwriters
21st-century American women singers
21st-century American singers
21st-century African-American women singers
Singer-songwriters from Georgia (U.S.

masks: Scott Tamika Tamika Scott Tamika Scott Scott Tamika


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<mask> (b Tarnów, Austrian Poland (now Poland), 10 December 1898; d Tallahassee, Florida, United States, 2 February 1966) was a Polish pianist and composer who concertized extensively throughout Europe in the years leading up to 1928. He was a professor of piano at a Polish conservatory from 1922–1928, and two American colleges from around this time until his death in 1966. <mask> composed well over 150 works, including many works for piano solo, a piano concerto, a symphony, several works for band, and various chamber pieces. The archive of his manuscripts is held at the Warren D. Allen Music Library at Florida State University. Most of these manuscripts are originals (or copies) from the composer's own hand. Biography
<mask> was born in Tarnów, Austrian Poland to parents Ludwig and Maria (Kapłańska<mask> on December 10, 1898. He was educated in the State Gymnasium in Warsaw, and graduated from the Imperial Conservatory in Saratov (Russian: Сара́тов) in 1919.He then attended the Imperial Conservatory in St. Petersburg (Russian: Санкт-Петербу́рг, then known as Petrograd), studying piano with Alexander Dubassoff, and graduated in 1921. From 1922 to 1928 he was professor of piano at the Silesia State Conservatory in Katowice, Poland. On November 18, 1928 <mask> gave his American debut in New York's Town Hall. He played an extensive program of works by J.S. Bach, Beethoven, Chopin, Mozart, Scarlatti-Tausig, Scriabin, Debussy, Liszt, and a piece of his own. The recital was

masks:
Franciszek Zachara
Zachara
Franciszek Zachara
) Zachara
Zachara


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 reviewed enthusiastically by The New York Times, The New York Sun, and The New York Herald-Tribune. After this performance, he began a year-long concert tour of the United States, and became Professor of Piano (and later Dean of Music) at Brenau College (now Brenau University) in Gainesville, Georgia (USA), where he remained until 1946.During this time he married Patty Haralson, took up marksmanship, and won many medals in this new hobby. He is quoted:

I began shooting as a sport or hobby after America entered the war, in 1942. At that time I was living in Gainesville, Georgia. … The National Guard was offering a course in marksmanship to civilians who wished to take part. I thought that every American man should become proficient with firearms since we were fighting for our existence; so I registered for the course (Florida Wildlife, 37). In 1946, <mask> became a U.S. citizen, and relocated to New York for a short period. In 1948 he became Associate Professor of Piano at Florida State University, where composer and pianist Ernő Dohnányi had also just started teaching.On February 25, 1952, the American premiere of <mask>'s Piano Concerto in E Major (op. 30) was performed by the State Symphony of Florida, with the composer as soloist and Dohnányi conducting. Becoming a full professor in 1955, <mask> continued composing, performing, and teaching at the School (now College) of Music at Florida State University until he was hospitalized on January 21, 1966 suffering a heart

masks: Zachara Zachara Zachara


texts:
 attack. He died less than two weeks later, on February 2, in a Tallahassee hospital. (Tallahassee Democrat, 1966). He was survived by his widow Patty and a nephew Stanley. They had no children.<mask> was a member of several organizations, including the Florida Composers League, the Florida State Music Teachers Association, the Music Teachers National Association, the Kiwanis Club, the Manhattan Chess Club, the National Rifle Association, the Tallahassee Rifle and Pistol Club (president), Pi Kappa Lambda, the International Who's Who in Music, and the American Association of University Professors. <mask>'s music and publications

<mask> composed well over 150 works, including many works for piano solo, a piano concerto, a symphony, several works for band, and various chamber pieces. Many of these works were dedicated to his friends and colleagues over the years. <mask>'s music is mostly written in a Romantic vein, and most of his piano music follows in the footsteps of his countryman, Frédéric Chopin (1810-1849). <mask> was an expert in the music of Chopin, and it is said that he had all of Chopin's music memorized. He occasionally did transcriptions of the music of other composers, including Chopin, Liszt, Strauss, and others. Partial scores of transcriptions exist of Chopin's 'Butterfly' Etude (Op.25 No. 9) for piano solo, and two-piano versions of Chopin's Etude Op. 25 No. 9, and 'Minute Waltz' (Op. 64 No. 1). <mask> had used his own opus numbering system earlier in his

masks: Zachara Zachara Zachara Zachara Zachara Zachara


texts: career, extending at least to his piano sonatas (opus numbers 80 and 81) but this system seems to have been abandoned by the early 1950s.The list of works below reflects original opus numbers assigned by <mask>. A new system of assigning notation to all of <mask>'s works, whether completely or partially existing, is currently being created (2008). <mask>'s works for piano solo largely reflect models used by J.S. Bach and Chopin. <mask> wrote many preludes, fugues, etudes, and waltzes, often arranging them in collections of 12, 24, or 48. Though some of these collections no longer exist in their entirety, it seems <mask> was aiming to create collections which would give examples in all major and minor keys. An extensive collection titled New Well-Tempered Clavicord for the Piano is clearly taken from the Bach model, consisting of 24 sets of preludes and fugues in all major and minor keys, with an additional 25th prelude and fugue (on a theme from Dohnányi) added at the end.<mask> seems to have composed at least three piano sonatas, but only partial scores exist for these works (opus numbers 75, 80, and 81). <mask> wrote many chamber works for a variety of instruments. His best-known chamber piece (and possibly the most successful of all his works) is the Sonata for Clarinet and Piano No. 1 (op. 72). This work was published by Leblanc Publications in 1964, and is still available today (2007), published by Southern Music Company. Aside from the piano solo music, only one

masks: Zachara Zachara Zachara Zachara Zachara Zachara Zachara


texts:
 other solo piece exists (Polonaise Brilliante for Flute Alone); and <mask>'s music has been published by at least 8 publishers, including Gamble Music Co., Theodore Presser Co., Leblanc Publications Inc., Music Publisher's Holding Corp., Remick, G. Schirmer, Shattinger Piano & Music Co., and Southern Music Co. Vinyl recordings of him playing works by Liszt, Chopin, Delibes- Dohnányi, and <mask> were released by Transphono/Ohio Recording Service. Works
Much of <mask>'s music is now lost or exists in fragmentary forms. The list below was selected from the works that exist in their entirety (in score form). Piano solo collections
New Well-Tempered Clavicord for the Piano (25 sets of preludes and fugues)
Six Piano Pieces for Left Hand Alone (op. 43)
Three Organ Chorales Piano Transcription (op.44)
Twelve Master Etudes in Minor Keys (op. 29)
Twelve Master Preludes (op. 19)
Twelve Waltzes for Piano (op. 52)
Twenty-Four Etudes in All Keys
Two Mazurkas

Piano solo individual works
Americana for Piano Solo
Barcarolle (op. 9)
Berceuse for Piano Solo
Boogie Woogie Etude
Burlesque
Capriccio in E-flat Major (op. 39)
Capriccio in F-sharp Major (op. 5)
Dutch Dance
Gavotte in B Minor
Gavotte in D Major
Grand Valse Chromatique
Indian Sacrifice
Menuet in A Minor
Menuet in Classic Style
The Music Box
The Music Box: Cracoviene Polish Natinoale Dans
Poeme (op.12)
Rondo for Piano Solo
Sans Souci
Scherzo in E Minor (op. 29)
Second Rhapsody by Liszt
Slavic Dance
The Star Spangled Banner

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Zacharaara
Strauss Zachara
Zachara


texts:
 (arrangement)
Suite in Classic Style (op. 7)
Twelve Variations on the Theme "America"
Twelve Variations on the Theme "Happy Birthday" for Piano and Orchestra
Waltz in G Major [No. 1]

Chamber works
Americana for Two Pianos or Four Hands
Double Concerto for Two Clarinets and Strings
Fantasia for Trumpet and Piano (op. 32)
Five Fugues for Woodwind Trio
Fugue in Six Voices (flute, oboe, 2 clarinets, 2 bassoons)
Grande Suite in Blue for Clarinet and Piano
Help me oh Lord (voice and piano)
Humoresque (clarinet and piano)
March for Two Pianos (op. 1)
Meditation (cello and piano)
Pastorale and Fugue for Woodwind Trio
Perpetual Motion (two pianos, or piano four hands)
Piano Concerto in E Major (op. 30) (Two-Piano Version)
Polonaise Brilliante for Flute Alone
Rondo Brillante for Strings
Rondo Brillante for Woodwind Trio and Strings or Piano
Serenade for Violin and Piano
Six Pieces for Cello and Piano
Sonata Expaniole for Woodwind Trio
Sonata for Bassoon and Piano (op.46)
Sonata for Cello and Piano (op. 13/40/73) – various versions
Sonata for Clarinet and Piano No. 1 (op. 72)
Sonata for Clarinet and Piano No. 2
Sonata for Horn and Piano
Sonata for Oboe and Piano (op. 55)
Sonata for Oboe and Piano (op. 77)
Sonata for Trombone and Piano (op.18)
Sonata for Trumpet and Piano (op. 22/42)
Sonata for Violin and Piano (op. 71)
String Quartet in D Major
String Quartet in G Major (op. 31/38)
Ten Master Pieces for Discriminating Woodwind Performers (various w.w. trios, or two clarinets and


texts:
 piano)
Three Organ Chorales
Toccata for Two Clarinets and Piano
Triple Concerto for Oboe, Clarinet, Bassoon and Strings
Twenty-Four Variations on the Theme "Happy Birthday" for Two-Pianos
Two Organ Chorales for Woodwind Trio
Valse Sentimentale (cello and piano)
Valse Triste (clarinet and piano)
Variations and Fugue for Oboe, Clarinet and Bassoon
Variations on a Nursery Rhyme for Woodwind Trio

Band/orchestral works
Concerto Grosso No. 1 (Horn Solo)
Concerto Grosso No. 2 (Trumpet Solo)
Concerto Grosso No. 3 (Cello Solo)
Concerto Grosso No.4 (Violin Solo)
Concerto Grosso No. 5 (Oboe Solo)
Concerto Grosso No. 6 (Trombone Solo)
Grande Suite in Blue for Clarinet Solo and Symphonic Band
March Carnaval (symphonic band)
March No. 1 (symphonic band)
March No. 2 (symphonic band)
March No. 3 (symphonic band)
March No. 4 (symphonic band)
Mediation for Symphonic Band
Piano Concerto in E Major (op.30)
Rhapsody for Trumpet and Symphonic Band
Romanza Espaniole (symphonic band)
Rondo Brillante for Solo Clarinet and Symphonic Band
Symphonic Waltz No. 2 (orchestra)
Symphony No. 1 (op. 60)
Twenty-Four Variations on the Theme "Happy Birthday" for Piano and Orchestra
Valse Sentimentale for Symphonic Band
Valse Symphonique (symphonic band)

References

Froelich, Mark J. The <mask> <mask> collection at the Warren D. Allen Music Library: Catalog and biographical notes. [Tallahassee, FL :  Florida State University College of Music] ;, 2005. General faculty minutes of the School of Music at

masks: Franciszek Zachara


texts:
 Florida State University, August 30, 1966, pp.6–7. Found here is a tribute by Dean Karl Kuersteiner. Mays, D.H. "Guns and music," Florida Wildlife (v. 7, April 1954, pp 36–37; 48). Tallahassee, FL: Florida Game and Fresh Water Fish Commission, 1947-. "Music Prof F<mask> dead at 67," Tallahassee Democrat (Thursday, February 3, 1966). External links
 Warren D. Allen Music Library at Florida State University

Polish composers
Polish classical pianists
Male classical pianists
Polish emigrants to the United States
Florida State University faculty
Jews from Galicia (Eastern Europe)
People from Tarnów
1898 births
1966 deaths
Saratov Conservatory alumni
Brenau University faculty
20th-century composers
20th-century classical pianists
20th-century male


texts: <mask> (; 15 January 1939 – 15 November 1973) was a Jordanian writer, novelist, poet, radio host and lawyer. <mask> is one of Jordan's most celebrated writers and poets. His first novella You as of Today about the Arab defeat during the 1967 Six-Day War gained widespread Arab recognition and is considered one of the most influential of its time. Born on 15 January 1939 in Tafila, a town on the edge of Transjordan's southern desert, he completed his middle school education near the industrial city of Zarqa. Having graduated from Amman's Hussein High School with distinction in 1957, he received a government scholarship to study philosophy at Lebanon's American University of Beirut, later relocating to Syria to study law at the University of Damascus. He married a Syrian-Bahraini woman, May Yateem, and returned with her to Jordan. During his two short stays in Bahrain and Saudi Arabia, he fathered a son and a daughter, Otba and Saba.He then returned to Jordan again and opened a private law practice in Zarqa, but soon after left that career to become the host of a radio talk show until his death in 1973. His show gained fame for hosting promising Arab and Jordanian writers. <mask> wrote his first novella, You as of Today, just after the Arab defeat during the 1967 Six-Day War. Its title was inspired by the patriotic song You as of Today Are Mine My Homeland which he sang as he went to visit the destroyed Allenby Bridge connecting both banks of the Jordan River. He was devastated by the sight of the destroyed bridge as it symbolized Jordan's loss to Israel of the West Bank, a territory which he considered a vital part of the Arab homeland. The novella talks about a young Arab man as he struggles with his failed relationships with members of the opposite gender, his dysfunctional family and corrupt political leadership. You as of Today brought the Arab world's attention to Jordanian writers in 1968 when it

masks:
Tayseer Sboul
Sboul
Sboul


texts:
 won the Al-Nahar Award for the Best Arabic Novel.The novella was popular for its form which was described as postmodernist, and which he developed away from traditional writing forms of the Arabic novel. Despite initial Arab military successes during the 1973 Yom Kippur War, <mask> felt increasingly sorrowful and began to feel a lack of any hope to bring about positive change to the Arab world. On 15 November of that year, he committed suicide by shooting himself in the head. His friends established the Jordanian Writers Society after his death, an idea that was brought up in <mask>'s writings. The Society holds an annual literary award in his honor and numerous Jordanian universities' literary conferences are held in his name. Life

<mask> was born in Tafila on 15 January 1939, a somewhat remote town on the edge of Transjordan's southern desert. He was born to a middle class family.His father was a traditional Bedouin and his mother from Hebron on the West Bank of the Jordan River, and the youngest of his father's three wives. <mask> was the youngest of five brothers and four sisters. In his youth, he was described by his family as a smart and sensitive boy and a distinguished student. Seeking better education opportunities, his father sent him with his brother Shawkat <mask>, a high-ranking officer and engineer in Transjordan's Arab Legion, to attend middle school near the military barracks in Zarqa, an industrial city which was in deep contrast to the open space of Tafila. <mask> continued to attend high school in the capital Amman, a city bustling with activism. In 1955, he was deeply affected when his brother was arrested and imprisoned because of participation in protests against the British-supported Baghdad Pact, which Jordan had done so under British pressure. <mask>'s early experiences are present throughout his work.After graduating from Amman's Hussein High School with distinction in

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 1957, he was awarded a government scholarship to study philosophy at Lebanon's American University of Beirut. Beirut's western and modern lifestyle bothered <mask>. He found his fellow students at the university "empty". This period of his life inspired a number of his works, including Red Indian, in which he expressed his rejection of Beirut's culture. <mask> later moved to Syria, which he felt was more suitable for him with its traditional society, Arab nationalist sentiments and political activism. Studying law at the University of Damascus, he became politically active and published his works in Lebanese and Syrian newspapers. A collection of his poems titled Desert Sorrows was published in Beirut.He became a member of Syria's Arab Socialist Ba'ath Party, an experience which ended up disappointing him. He did not understand the campus fights that broke out between the nationalist Ba'athists and the communists. He found similarity between the parties and the security services: "regardless of the animosity between them, they both interfered in my personal affairs". After finishing his education in Damascus, <mask> married May Yateem, a Syrian-Bahraini writer and physician, and returned to Jordan with her. He took up a position at the country's Income Tax Department, and later interned in a lawyer's office. He travelled with his wife, for her work, to Bahrain and Saudi Arabia, where they had a girl and a boy, Saba and Otba. Returning to Jordan in 1964 to open up a private law practice in Zarqa, he later accepted a position as a producer, writer and a host of a radio talk show called With the New Generation.The talk show was very popular because it hosted numerous Arab and Jordanian writers and poets. He continued working at the station until he died in 1973. Works

You as of Today
The decisive Israeli victory during the 1967 Six-Day War devastated <mask>, who was a firm believer in Arab unity. The

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 most famous of <mask>'s works was his novella titled You as of Today, considered one of the first Arab historical fictions written in response to the 1967 War, in addition to his other two short stories, Red Indian and The Rooster's Cry. The title of the novella is inspired by the You as of Today Are Mine My Homeland patriotic song, which he sang emphatically on his way to visit the destroyed Allenby Bridge across the Jordan River. He was still hopeful despite the destruction that he witnessed and was searching for a way to contribute to his nation. In <mask>'s work, the protagonist emphasizes that he was not "forcing history into the narrative", and that the stories are actually realistic.According to his wife:

<mask> later said that he was "looking for the last inch of what remained from my homeland… It was not just defeat; it was something else, much more… a nation drowning in sadness". <mask> added to his writings cultural heritage, historical references and events and symbols rooted in Arab literary and religious traditions. His works tackled issues such as religion, tradition, migration, familial ties, gender, prostitution, sex and domestic violence. Despite social taboos and censorship, he addressed lack of freedom, political oppression and corruption without worrying about any potential consequences. <mask>'s novella did not adhere to the structure of traditional Arab novels, following instead a postmodernist approach. His writing style influenced a new generation of Arabic narratives. The novella is told by two narrators, one of whom is the protagonist, Arabi ibn Arabi (an Arab son of an Arab), while the other is also an Arab who interjects and explains the narrative.It starts with the escalation of the protagonist's problems, from failed relationships with members of the opposite sex to his dysfunctional family and political leadership. The confused and lost protagonist returns to his old

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 neighborhood to escape from the absurd and try to seek familiarity. The last two chapters tackle the 1967 defeat and its impact. The novella was a hit in the Arab world but <mask> never boasted about its success and said through the protagonist that "I write because it bothers me". His other two short stories did not receive much attention even though they complemented the novella's themes and <mask>'s other works. Red Indian
Red Indian is the story of a young Jordanian man's journey toward independence and self-discovery away from his patriarchal and stubborn father. It takes place in the westernized parts of Beirut when he lived there during the mid 1960s and early 1970s.The story tackles the social distance between eastern and western cultures. <mask>'s writings were described by Nesreen Akhtarkhavari, an associate professor and the director of Arabic Studies at DePaul University, as bold and absolutely honest. His willingness to self-criticize was present throughout his work. The Rooster's Cry
The Rooster's Cry is a story about a prisoner's encounter with the outside world during the evening and the day after of his release. His struggles to cope are found through his friend's wife, the female protagonist. He justifies this as rejection of what his friend has become; a boring, greedy, overweight capitalist and a social pariah. The woman becomes his savior by mending his heart and his fragile body.The story is filled with sarcasm and honesty without attempts at self-glorification. Social views
Women in <mask>'s writings are central to many themes. For example, in What No One Told Us About Scheherazade, he sees himself as the only one who understands Scheherazade's oppression and her plight when others couldn't for centuries. <mask> considered the subjugation of women to be similar to the oppression of people in general and he saw himself as the only one who understood that and undertook the


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 responsibility of exposing it through his writings. In <mask>'s writings, casual sex is not a sin but rather a natural human encounter. This is in stark contrast to past and current Arab cultural norms. Some of his poems are erotic but the language he used remained gentle so as not to provoke cultural sensibilities.One of his verses:

Suicide

Sboul's sorrow over the Arab defeat in 1967 was followed by disappointment in the 1973 Yom Kippur War, whose initial military successes were followed by negotiations and manoeuvring. He had lost all hope to bring about change to the Arab World. On the night of 14 November 1973, <mask> met with his intellectual friends Odai Mdanat and Fayez Mahmoud and discussed the idea of committing suicide together. His friends left after midnight and his wife headed to her work at the Marka Military Hospital. The morning after on 15 November, his wife returned from work and found him lying in bed. He told her to sit beside him and asked her if she believed in God, to which she replied positively. He then asked her to go to the neighbor's house to use their phone so as to order a gas cylinder for their house.As he watched his wife head to the house from his bedroom window, he committed suicide by shooting himself in the head. <mask>'s friends established the Jordanian Writers Society, which was suggested by him in his writings. The Society holds an annual literary award in his honor and numerous Jordanian universities' literary conferences are held in his name. In 2012, Jordanian writer Habib Zyoud wrote a poem eulogy about <mask> titled My Oud is missing a string. <mask>'s works were translated to English and French in 2016 by Nesreen Akhtarkhavari, an associate professor and the director of Arabic Studies at DePaul University. References

Bibliography

1939 births
1973 suicides
20th-century Jordanian poets
20th-century male writers
People from Tafilah Governorate
Suicides

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<mask> (12 March 1911 – 28 August 1993) was an Australian painter, photographer, and commercial artist. He is best known for his interpretations of Aboriginal legends in his Dreamtime books, written in collaboration with ethnologist/anthropologist Charles Mountford. Early life
<mask> was born in London, England in 1911 to <mask> and Rose (née Dougall). His early education was at St James's School, Clapton. The family migrated to Australia in 1922, staying first at Ardrossan before settling in Adelaide. <mask> resumed his schooling at Westbourne Park Primary School, Blackwood in 1923 and was school dux and first in the state of South Australia in his Qualifying Certificate in 1926. His paintings and drawings from this period demonstrate proficient drafting skills and adept use of colour, along with affection for the Australian landscape and ships, locomotives, buildings and bridges as favourite subjects.In 1927, he commenced work as an office boy in an insurance firm and developed a small graphic arts business as a sideline. He took evening classes in art at the South Australian School of Arts and Crafts for four years, where he found little inspiration but honed his technique nonetheless. Joining with the more commercially oriented Keith Webb in 1937 and Maurice McClelland in 1938, he formed Webb Roberts McClelland Pty Ltd, which was to become South Australia's largest advertising agency. He married Melva Jean ('Judy') Andrewartha on 27 February 1937. Ainslie was a keen photographer, and was for some time president of the Adelaide Camera Club. Small in stature, but fit through swimming and working out in a health studio, he was rejected

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 from military service during World War II because of a history of rheumatic fever, but joined the Volunteer Defence Corps, where his experiences inspired some fine cartoons. <mask> and <mask>' son Rhys was born in 1944.In Alice Springs
In 1950, with a burgeoning business employing 35 staff, Ainslie experienced what was diagnosed as a nervous breakdown and was ordered rest and quiet. His wife Judy bought him a one-way ticket to Alice Springs, where invigorated by the fresh air and the landscape, he commenced sketching and painting and resolved to extricate himself from the advertising business over the next five years. In 1952, he met Charles Pearcy Mountford, who, like Ainslie, was a keen photographer. Mountford was also a largely self-taught ethnologist, writer and documentary film maker who, though he would take a Diploma of Anthropology from Cambridge in the late 1950s, worked and remained largely outside academic circles. For several years, the two took journeys around South Australia to photograph caves and rock carvings, but in 1956, they made the first of several trips to the Centre. Mountford collected myths and legends from tribal people, and Ainslie sketched and painted people and places. They made friends with characters like Bill Harney, a bushman, raconteur and writer, and Gwoya Jungarai or "One Pound Jimmy", famous for being depicted on earlier Australian stamps and in Walkabout magazine.With Mountford, he formed a company that produced the first tourist guides to Ayers Rock and The Olgas. Emergence as an artist
In 1962, Ainslie resolved to paint some of the myths Mountford had collected. His initial works were in oil, but

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 with only three completed, he began to suffer nausea and headaches, which a specialist attributed to an allergy to turpentine and linseed oil. Mountford introduced him to Sidney Nolan, who suggested he try PVA paints, later known as acrylics. Ainslie found success with them and exhibited his first 21 works at the Osborne Art Gallery, Adelaide on 1 October 1963. Mountford opened the exhibition, saying, "No Australian artist has painted like this; he has followed no school – he has copied no previous artist." Ainslie drew from many of the influences of the early twentieth century, though his style belongs to none.He acknowledged a debt to René Magritte for his ability to reveal the secret meaning of the world and its objects. His paintings of Aboriginal myths and legends often feature a central focus – person, animal, tree, rock or celestial body – and a secondary, sometimes hidden element that casts light on the meaning of the work. His line drawings reflect the inspiration of a critical observer of life and the landscape and the technique and discipline of the commercial artist. The exhibition was a sellout, and early in 1964, the poet Ian Mudie, who was publishing manager of Rigby, proposed a book of the works. Ainslie's format was simple – one myth to an opening, a painting on one side and the text and a line drawing on the other. The Dreamtime was first published in 1965 and has been reprinted many times. Fruitful final journey with Mountford
Ainslie and Mountford made their last journey together in 1965.The Dawn of Time (1969), The First Sunrise (1971) and a larger edition The Dreamtime Book (1973) were all published before Mountford's


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 death in 1976. The journalist Douglas Lockwood replaced Mountford on subsequent trips and he and <mask> would collaborate on Rigby's Sketchbook series. Dreamtime Heritage (1975), Dreamtime: the Aboriginal Heritage (1981) and Echoes of the Dreamtime (1988) were published with contributions from the <mask>, Lockwood and Mountford families. In 1980 <mask> also provided 45 sketches and paintings for Douglas Lockwood's original 1962 life story I, The Aboriginal as told by Waipuldanya of the Alawa people of the Roper River NT. Honours
<mask> was appointed a Member of the Order of Australia in the Queen's Birthday Honours in June 1993. He died in August that year. He described his role as: "a communicator… a white man painting in a white man's way and trying, visually, to show the white people of Australia that this fascinating land they live in has a rich and ancient cultural heritage that they should be aware of and respect".One of Ainslie's lithographs of Gwoya Jungarai was the inspiration for the design of the reverse side of the Australian 2 dollar coin. Further reading
 Ainslie <mask> and the Dreamtime – a biography by Charles E Hulley – published in 1988
 See also Beyond the Dreamtime – a documentary film on <mask>'s life and works by John Lind – released in 1994. Hulley subsequently published Dreamtime Moon: Aboriginal Myths of the Moon (1996), featuring works by <mask> and his son Rhys. References

External links

1911 births
1993 deaths
Australian photographers
20th-century Australian painters
Australian commercial artists
Artists from London
English emigrants to Australia
Members of the Order of Australia
Volunteer Defence Corps

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<mask> (; born <mask>; September 26, 1898 – July 11, 1937) was an American pianist and composer, whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs "Swanee" (1919) and "Fascinating Rhythm" (1924), the jazz standards "Embraceable You" (1928) and "I Got Rhythm" (1930), and the opera Porgy and Bess (1935), which included the hit "Summertime". <mask> studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, and Joseph Brody. He began his career as a song plugger but soon started composing Broadway theater works with his brother <mask> and with Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, but she refused him, afraid that rigorous classical study would ruin his jazz-influenced style; Maurice Ravel voiced similar objections when <mask> inquired on studying with him. He subsequently composed An American in Paris, returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. Initially a commercial failure, it came to be considered one of the most important American operas of the twentieth century and an American cultural classic.<mask> moved to Hollywood and composed numerous film scores. He died in 1937 of a malignant brain tumor. His compositions have been adapted for use in film and television, with several becoming jazz standards recorded and covered in many variations. Biography

Ancestors
Gershwin was of Russian-Jewish ancestry. His grandfather, Jakov Gershowitz, was born in Odessa and had

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 served for 25 years as a mechanic for the Imperial Russian Army to earn the right of free travel and residence as a Jew, finally retiring near Saint Petersburg. His teenage son Moishe worked as a leather cutter for women's shoes. Moishe Gershowitz met and fell in love with Roza Bruskina, the teenage daughter of a furrier in Vilnius.She and her family moved to New York because of increasing anti-Jewish sentiment in Russia, changing her first name to Rose. Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris. Gershowitz lived with a maternal uncle in Brooklyn, working as a foreman in a women's shoe factory. He married Rose on July 21, 1895, and Gershowitz soon Anglicized his name to <mask>. Their first child, <mask>, was born on December 6, 1896, after which the family moved into a second-floor apartment at 242 Snediker Avenue in the East New York neighborhood of Brooklyn. Early life
On September 26, 1898, <mask> was born in the Snediker Avenue apartment.His birth certificate identifies him as <mask>, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community. He was named after his grandfather, and, contrary to the American practice, had no middle name. He soon became known as <mask>, and changed the spelling of his surname to '<mask>' around the time he became a professional musician; other family members followed suit. After Ira and <mask>, another boy, <mask> (1900–1981), and a girl, <mask> (1906–1999), were born into the family. The family lived in

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texts: many different residences, as their father changed dwellings with each new enterprise in which he became involved. They grew up mostly in the Yiddish Theater District. <mask> and Ira frequented the local Yiddish theaters, with <mask> occasionally appearing onstage as an extra.<mask> lived a boyhood not unusual in New York tenements, which included running around with his friends, roller-skating and misbehaving in the streets. Until 1908, he cared nothing about music. Then, as a ten-year-old, he was intrigued upon hearing his friend Maxie Rosenzweig's violin recital. The sound, and the way his friend played, captivated him. At about the same time, <mask>'s parents had bought a piano for his older brother Ira. To his parents' surprise, though, and to Ira's relief, it was <mask> who spent more time playing it as he continued to enjoy it. Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus precluding spending any serious time on musical endeavors.Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby <mask> briefly pursued. <mask> followed in the paths of <mask> and Ira, also becoming a composer of songs, musicals, and short piano works. With a degree of frustration, <mask> tried various piano teachers for about two years (circa 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained

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 <mask>'s musical mentor, taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts. Tin Pan Alley and Broadway, 1913–1923

In 1913, <mask> left school at the age of 15 to work as a "song plugger" on New York City's Tin Pan Alley. He earned $15 a week for Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office in New York. His first published song was "When You Want 'Em, You Can't Get 'Em, When You've Got 'Em, You Don't Want 'Em" in 1916.It earned the 17-year-old 50 cents. In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York, recording and arranging. He produced dozens, if not hundreds, of rolls under his own and assumed names (pseudonyms attributed to Gershwin include Fred Murtha and Bert Wynn). He also recorded rolls of his own compositions for the Duo-Art and Welte-Mignon reproducing pianos. As well as recording piano rolls, Gershwin made a brief foray into vaudeville, accompanying both Nora Bayes and Louise Dresser on the piano. His 1917 novelty ragtime, "Rialto Ripples", was a commercial success. In 1919 he scored his first big national hit with his song "Swanee", with words by Irving Caesar.Al Jolson, a Broadway star and former minstrel singer, heard <mask> perform "Swanee" at a party and decided to sing it in one of his shows. In the late 1910s, Gershwin met songwriter and music director William Daly. The two collaborated on the Broadway musicals Piccadilly to Broadway (1920) and For Goodness' Sake (1922), and jointly composed the score

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 for Our Nell (1923). This was the beginning of a long friendship. Daly was a frequent arranger, orchestrator and conductor of <mask>'s music, and Gershwin periodically turned to him for musical advice. Musical, Europe and classical music, 1924–1928

In 1924, <mask> composed his first major work, Rhapsody in Blue, for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman's Concert Band, in New York.It subsequently went on to be his most popular work, and established <mask>'s signature style and genius in blending vastly different musical styles, including jazz and classical, in revolutionary ways. Since the early 1920s Gershwin had frequently worked with the lyricist Buddy DeSylva. Together they created the experimental one-act jazz opera Blue Monday, set in Harlem. It is widely regarded as a forerunner to the groundbreaking Porgy and Bess introduced in 1935. In 1924, <mask> and <mask> collaborated on a stage musical comedy Lady Be Good, which included such future standards as "Fascinating Rhythm" and "Oh, Lady Be Good!". They followed this with Oh, Kay! (1926), Funny Face (1927) and Strike Up the Band (1927 and 1930).Gershwin allowed the song, with a modified title, to be used as a football fight song, "Strike Up The Band for UCLA". In the mid-1920s, Gershwin stayed in Paris for a short period, during which he applied to study composition with the noted Nadia Boulanger, who, along with several other prospective tutors such as Maurice Ravel, turned him down, afraid that rigorous classical study would ruin his jazz-influenced style. Maurice Ravel's rejection letter to

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 Gershwin told him, "Why become a second-rate Ravel when you're already a first-rate Gershwin?" While there, Gershwin wrote An American in Paris. This work received mixed reviews upon its first performance at Carnegie Hall on December 13, 1928, but it quickly became part of the standard repertoire in Europe and the United States. New York, 1929–1935
In 1929, the <mask> brothers created Show Girl; the following year brought Girl Crazy, which introduced the standards "Embraceable You", sung by Ginger Rogers, and "I Got Rhythm". 1931's Of Thee I Sing became the first musical comedy to win the Pulitzer Prize for Drama; the winners were <mask>. Kaufman, Morrie Ryskind, and <mask>.<mask> spent the summer of 1934 on Folly Island in South Carolina after he was invited to visit by the author of the novel Porgy, DuBose Heyward. He was inspired to write the music to his opera Porgy and Bess while on this working vacation. Porgy and Bess was considered another American classic by the composer of Rhapsody in Blue — even if critics could not quite figure out how to evaluate it, or decide whether it was opera or simply an ambitious Broadway musical. "It crossed the barriers," per theater historian Robert Kimball. "It wasn't a musical work per se, and it wasn't a drama per se – it elicited response from both music and drama critics. But the work has sort of always been outside category." Last years, 1936–37
After the commercial failure of Porgy and Bess, Gershwin moved to Hollywood, California.In 1936, he was commissioned by RKO Pictures to write the music for the film Shall We Dance, starring Fred Astaire and Ginger

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 Rogers. <mask>'s extended score, which would marry ballet with jazz in a new way, runs over an hour. It took Gershwin several months to compose and orchestrate. <mask> had a ten-year affair with composer Kay Swift, whom he frequently consulted about his music. The two never married, although she eventually divorced her husband James Warburg in order to commit to the relationship. Swift's granddaughter, Katharine Weber, has suggested that the pair were not married because <mask>'s mother Rose was "unhappy that Kay Swift wasn't Jewish". The Gershwins' 1926 musical Oh, Kay was named for her.After <mask>'s death, Swift arranged some of his music, transcribed several of his recordings, and collaborated with his brother Ira on several projects. Illness and death
Early in 1937, Gershwin began to complain of blinding headaches and a recurring impression that he smelled burning rubber. On February 11, 1937, he performed his Piano Concerto in F in a special concert of his music with the San Francisco Symphony Orchestra under the direction of French maestro Pierre Monteux. <mask>, normally a superb pianist in his own compositions, suffered coordination problems and blackouts during the performance. He was at the time working on other Hollywood film projects while living with Ira and his wife Leonore in their rented house in Beverly Hills. Leonore <mask> began to be disturbed by <mask>'s mood swings and his seeming inability to eat without spilling food at the dinner table. She suspected mental illness and insisted he be moved out of their house to lyricist Yip Harburg's empty quarters nearby, where he was

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texts: placed in the care of his valet, Paul Mueller.The headaches and olfactory hallucinations continued. On the night of July 9, 1937, <mask> collapsed in Harburg's house, where he had been working on the score of The Goldwyn Follies. He was rushed to Cedars of Lebanon Hospital in Los Angeles, and fell into a coma. Only then did his doctors come to believe that he was suffering from a brain tumor. Leonore called <mask>'s close friend Emil Mosbacher and explained the dire need to find a neurosurgeon. Mosbacher immediately called pioneering neurosurgeon Harvey Cushing in Boston, who, retired for several years by then, recommended Dr. Walter Dandy, who was on a boat fishing in Chesapeake Bay with the governor of Maryland. Mosbacher called the White House and had a Coast Guard cutter sent to find the governor's yacht and bring Dandy quickly to shore.Mosbacher then chartered a plane and flew Dandy to Newark Airport, where he was to catch a plane to Los Angeles; by that time, <mask>'s condition was critical and the need for surgery was immediate. In the early hours of July 11, 1937, doctors at Cedars removed a large brain tumor, believed to have been a glioblastoma, but <mask> died that morning at the age of 38. The fact that he had suddenly collapsed and become comatose after he stood up on July 9 has been interpreted as brain herniation with Duret haemorrhages. <mask>'s friends and followers were shocked and devastated. John O'Hara remarked: "<mask> died on July 11, 1937, but I don't have to believe it if I don't want to." He was interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York. A

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 memorial concert was held at the Hollywood Bowl on September 8, 1937, at which Otto Klemperer conducted his own orchestration of the second of <mask>'s Three Preludes.Musical style and influence

<mask> was influenced by French composers of the early twentieth century. In turn Maurice Ravel was impressed with Gershwin's abilities, commenting, "Personally I find jazz most interesting: the rhythms, the way the melodies are handled, the melodies themselves. I have heard of <mask>'s works and I find them intriguing." The orchestrations in <mask>'s symphonic works often seem similar to those of Ravel; likewise, Ravel's two piano concertos evince an influence of <mask>. <mask> asked to study with Ravel. When Ravel heard how much Gershwin earned, Ravel replied with words to the effect of, "You should give me lessons." (Some versions of this story feature Igor Stravinsky rather than Ravel as the composer; however Stravinsky confirmed that he originally heard the story from Ravel.)<mask>'s own Concerto in F was criticized for being related to the work of Claude Debussy, more so than to the expected jazz style. The comparison did not deter him from continuing to explore French styles. The title of An American in Paris reflects the very journey that he had consciously taken as a composer: "The opening part will be developed in typical French style, in the manner of Debussy and Les Six, though the tunes are original." <mask> was intrigued by the works of Alban Berg, Dmitri Shostakovich, Igor Stravinsky, Darius Milhaud, and Arnold Schoenberg. He also asked Schoenberg for composition lessons. Schoenberg refused,

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texts: saying "I would only make you a bad Schoenberg, and you're such a good Gershwin already." (This quote is similar to one credited to Maurice Ravel during <mask>'s 1928 visit to France – "Why be a second-rate Ravel, when you are a first-rate Gershwin?")<mask> was particularly impressed by the music of Berg, who gave him a score of the Lyric Suite. He attended the American premiere of Wozzeck, conducted by Leopold Stokowski in 1931, and was "thrilled and deeply impressed". Russian Joseph Schillinger's influence as Gershwin's teacher of composition (1932–1936) was substantial in providing him with a method of composition. There has been some disagreement about the nature of Schillinger's influence on <mask>. After the posthumous success of Porgy and Bess, Schillinger claimed he had a large and direct influence in overseeing the creation of the opera; Ira completely denied that his brother had any such assistance for this work. A third account of <mask>'s musical relationship with his teacher was written by <mask>'s close friend Vernon Duke, also a Schillinger student, in an article for the Musical Quarterly in 1947. What set Gershwin apart was his ability to manipulate forms of music into his own unique voice.He took the jazz he discovered on Tin Pan Alley into the mainstream by splicing its rhythms and tonality with that of the popular songs of his era. Although <mask> would seldom make grand statements about his music, he believed that "true music must reflect the thought and aspirations of the people and time. My people are Americans. My time is today." In 2007, the Library of Congress named its Prize

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 for Popular Song after <mask> and <mask>. Recognizing the profound and positive effect of popular music on culture, the prize is given annually to a composer or performer whose lifetime contributions exemplify the standard of excellence associated with the Gershwins. On March 1, 2007, the first Gershwin Prize was awarded to Paul Simon.Recordings and film
Early in his career, under both his own name and pseudonyms, Gershwin recorded more than one hundred and forty player piano rolls which were a main source of his income. The majority were popular music of the period and a smaller proportion were of his own works. Once his musical theatre-writing income became substantial, his regular roll-recording career became superfluous. He did record additional rolls throughout the 1920s of his main hits for the Aeolian Company's reproducing piano, including a complete version of his Rhapsody in Blue. Compared to the piano rolls, there are few accessible audio recordings of <mask>'s playing. His first recording was his own "Swanee" with the Fred Van Eps Trio in 1919. The recorded balance highlights the banjo playing of Van Eps, and the piano is overshadowed.The recording took place before "Swanee" became famous as an Al Jolson specialty in early 1920. <mask> recorded an abridged version of Rhapsody in Blue with Paul Whiteman and his orchestra for the Victor Talking Machine Company in 1924, soon after the world premiere. <mask> and the same orchestra made an electrical recording of the abridged version for Victor in 1927. However, a dispute in the studio over interpretation angered Whiteman and he walked out on

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Gershwin
Gershwin


texts: the session. Victor's staff conductor and arranger Nathaniel Shilkret led the orchestra, though Whiteman is still credited as conductor on the original record labels. <mask> made a number of solo piano recordings of tunes from his musicals, some including the vocals of Fred and Adele Astaire, as well as his Three Preludes for piano. In 1929, <mask> "supervised" the world premiere recording of An American in Paris with Nathaniel Shilkret and the Victor Symphony Orchestra.<mask>'s role in the recording was rather limited, particularly because Shilkret was conducting and had his own ideas about the music. When it was realized that no one had been hired to play the brief celeste solo, <mask> was asked if he could and would play the instrument, and he agreed. <mask> can be heard, rather briefly, on the recording during the slow section. <mask> appeared on several radio programs, including Rudy Vallee's, and played some of his compositions. This included the third movement of the Concerto in F with Vallee conducting the studio orchestra. Some of these performances were preserved on transcription discs and have been released on LP and CD. In 1934, in an effort to earn money to finance his planned folk opera, <mask> hosted his own radio program titled Music by Gershwin.The show was broadcast on the NBC Blue Network from February to May and again in September through the final show on December 23, 1934. He presented his own work as well as the work of other composers. Recordings from this and other radio broadcasts include his Variations on I Got Rhythm, portions of the Concerto in F, and numerous songs from

masks: Gershwin Gershwin Gershwin Gershwin Gershwin Gershwin Gershwin


texts: his musical comedies. He also recorded a run-through of his Second Rhapsody, conducting the orchestra and playing the piano solos. Gershwin recorded excerpts from Porgy and Bess with members of the original cast, conducting the orchestra from the keyboard; he even announced the selections and the names of the performers. In 1935, RCA Victor asked him to supervise recordings of highlights from Porgy and Bess; these were his last recordings. A 74-second newsreel film clip of Gershwin playing I Got Rhythm has survived, filmed at the opening of the Manhattan Theater (now The Ed Sullivan Theater) in August 1931.There are also silent home movies of Gershwin, some of them shot on Kodachrome color film stock, which have been featured in tributes to the composer. In addition, there is newsreel footage of Gershwin playing "Mademoiselle from New Rochelle" and "Strike Up the Band" on the piano during a Broadway rehearsal of the 1930 production of Strike Up the Band. In the mid-30s, "Strike Up The Band" was given to UCLA to be used as a football fight song, "Strike Up The Band for UCLA". The comedy team of Clark and McCullough are seen conversing with Gershwin, then singing as he plays. In 1945, the film biography Rhapsody in Blue was made, starring Robert Alda as <mask>. The film contains many factual errors about <mask>'s life, but also features many examples of his music, including an almost complete performance of Rhapsody in Blue. In 1965, Movietone Records released an album MTM 1009 featuring <mask>'s piano rolls of the titled <mask> plays RHAPSODY IN BLUE and his other favorite compositions.The B-side of

masks:
George Gershwin
Gershwin
Gershwin
George Gershwin


texts: the LP featured nine other recordings. In 1975, Columbia Records released an album featuring <mask>'s piano rolls of Rhapsody In Blue, accompanied by the Columbia Jazz Band playing the original jazz band accompaniment, conducted by Michael Tilson Thomas. The B-side of the Columbia Masterworks release features Tilson Thomas leading the New York Philharmonic in An American In Paris. In 1976, RCA Records, as part of its "Victrola Americana" line, released a collection of Gershwin recordings taken from 78s recorded in the 1920s and called the LP Gershwin plays Gershwin, Historic First Recordings (RCA Victrola AVM1-1740). Included were recordings of Rhapsody in Blue with the Paul Whiteman Orchestra and <mask> on piano; An American in Paris, from 1927 with Gershwin on celesta; and Three Preludes, "Clap Yo' Hands" and Someone to Watch Over Me", among others. There are a total of ten recordings on the album. At the opening ceremony of the 1984 Olympic Games in Los Angeles, Rhapsody in Blue was performed in spectacular fashion by many pianists.The soundtrack to Woody Allen's 1979 film Manhattan is composed entirely of Gershwin's compositions, including Rhapsody in Blue, "Love is Sweeping the Country", and "But Not for Me", performed by both the New York Philharmonic under Zubin Mehta and the Buffalo Philharmonic under Michael Tilson Thomas. The film begins with a monologue by Allen, in the role of a writer, describing a character in his book: "He adored New York City ... To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of <mask>." In

masks:
Gershwin
Gershwin
George Gershwin


texts:
 1993, two audio CDs featuring piano rolls recorded by Gershwin were issued by Nonesuch Records through the efforts of Artis Wodehouse, and entitled Gershwin Plays Gershwin: The Piano Rolls. In October 2009, it was reported by Rolling Stone that Brian Wilson was completing two unfinished compositions by <mask>, released as Brian Wilson Reimagines Gershwin on August 17, 2010, consisting of ten <mask> and Ira Gershwin songs, bookended by passages from Rhapsody in Blue, with two new songs completed from unfinished Gershwin fragments by Wilson and band member Scott Bennett. Compositions

 Orchestral
 Rhapsody in Blue for piano and orchestra (1924)
 Concerto in F for piano and orchestra (1925)
 An American in Paris for orchestra (1928)
 Dream Sequence/The Melting Pot for chorus and orchestra (1931)
 Second Rhapsody for piano and orchestra (1931), originally titled Rhapsody in Rivets
 Cuban Overture for orchestra (1932), originally entitled Rumba
 March from "Strike Up the Band" for orchestra (1934)
 Variations on "I Got Rhythm" for piano and orchestra (1934)
 Catfish Row for orchestra (1936), a suite based on music from Porgy and Bess
 Shall We Dance (1937), a movie score feature-length ballet
Solo piano
 Three Preludes (1926)
 <mask> Gershwin's Song-book (1932), solo piano arrangements of 18 songs
Operas
Blue Monday (1922), one-act opera
Porgy and Bess (1935) at the Colonial Theatre in Boston
London musicals
 Primrose (1924)
Broadway musicals
 <mask> White's Scandals (1920–1924), featuring, at one point, the 1922 one-act opera Blue Monday
 Lady, Be Good (1924)
 Tip-Toes (1925)
 Tell Me More! (1925)
 Oh,

masks:
George Gershwin
George
George
George


texts:
 Kay! (1926)
 Strike Up the Band (1927)
 Funny Face (1927)
 Rosalie (1928)
 Treasure Girl (1928)
 Show Girl (1929)
 Girl Crazy (1930)
 Of Thee I Sing (1931)
 Pardon My English (1933)
 Let 'Em Eat Cake (1933)
 My One and Only (1983), an original 1983 musical using previously written Gershwin songs
 Crazy for You (1992), a revised version of Girl Crazy
 Nice Work If You Can Get It (2012), a musical with a score by George and Ira Gershwin
An American in Paris, a musical that ran on Broadway from April 2015 to October 2016
Films for which Gershwin wrote original scores
 Delicious (1931), an early version of the Second Rhapsody and one other musical sequence was used in this film, the rest were rejected by the studio
 Shall We Dance (1937), original orchestral score by Gershwin, no recordings available in modern stereo, some sections have never been recorded (Nominated- Academy Award for Best Original Song: They Can't Take That Away from Me)
 A Damsel in Distress (1937)
 The Goldwyn Follies (1938), posthumously released
 The Shocking Miss Pilgrim (1947), uses previously unpublished songs

Legacy

Estate
Gershwin died intestate, and his estate passed to his mother.The estate continues to collect significant royalties from licensing the copyrights on his post-Rhapsody in Blue work. The estate supported the Sonny Bono Copyright Term Extension Act (that extended the U.S. 75-year copyright protection an additional 20 years) because its 1923 cutoff date was shortly before Gershwin had begun to create his most popular works. The copyrights on all Gershwin's solo works expired at the end of 2007 in the European