texts:
 and psychological determinism, with a topical booklet. His first synthesis, Studii istorice ("Historical Studies"), was also available in 1901. Caion also affiliated with the eclectic journal Noua Revistă Română, where he published historical documents of dubious authenticity and, in 1902, the essay Din umbră. Moravuri antice ("From the Shadows. Antique Morals"). From 1900 to 1903, he was employed by the Bucharest Conservatory, lecturing in "selective world history", and publishing his conferences as a university textbook. According to at least one account, Caion first encountered Caragiale's irony when he sent him a couple of Symbolist poems.The senior writer picked up on their involuntary humor, and proceeded to ridicule Caion. Literary historian Tudor Vianu believes that Caion was especially infuriated when Caragiale's magazine, Moftul Român, made a public mockery of his Secessionist prose poem. In his gibe, Caragiale feigned enthusiasm about the young writer's debut. Parodying Caion, he suggested that the young poet carry on writing a "lyrical-decadent-symbolist-mystical-capillary-secessionist" novel about a hairdressers' art society, whose members glue strands of hair onto canvasses or carve soap into human figures. Caragiale scandal
Caion followed an elaborate recipe for revenge, with exposes in the Symbolist Revista Literară review, of which he was by then the co-editor. The owner, Th. M. Stoenescu, had been Caragiale's adversary since the 1880s.Described by Vianu as "a real pathological character", Caion


type: original

texts: claimed to expose Caragiale's drama, Năpasta, as plagiarized. In his report, Caion suggested that the real author was a Hungarian, Kemény Istvan—who, in fact, never existed. In order to back his claim, Caion published quotes from Năpasta alongside a supposed translation from Kemény. Reading these fragments in good faith, Caragiale was astonished by what he took to be a bizarre coincidence. Macedonski followed the developments with enthusiasm, granting further exposure to Caion's claims. For Macedonski, the young accuser embodied "the aspiration for beauty", "the new aesthetics", "courage and selflessness". As commentators have suggested, the poet responded to Caragiale's satires of him and his Symbolist salon, and attacking, in Caragiale, the entire anti-Symbolist club Junimea.At Revista Literară, Stoenescu began suspecting a canard, and asked Caion to present further proof for his accusations. The latter produced two sheets printed in Romanian Cyrillic, which reportedly included fragments from an 1884 Romanian translation. Unconvinced, the editor promptly suspended his collaboration with Caion. The latter soon changed his statements, arguing that "Kemény" was a pseudonym used by Leo Tolstoy, and that Caragiale was guilty of copying The Power of Darkness. Although Stoenescu was a disciple of his, Macedonski favored Caion in this dispute, and employed him to write more denunciations of Caragiale in the magazine Forța Morală. Forța Morală expanded on the initial accusations, claiming to have discovered an entire


texts: history of plagiarism in Caragiale's writings (from Victorien Sardou to <mask>). Following Macedonski's intercession, Caion was also supported by the historian Grigore Tocilescu, who made Caragiale the sole topic of his Romanian Atheneum conference (January 24, 1902).Românul newspaper, put out by the entrepreneur Vintilă Rosetti as an anti-Junimist outlet, also stood by Caion. Its columnist, N. Ținc, had prepared a piece describing Caragiale and his Junimist colleagues as obsessed with their own role in culture. Unpublished until 2006, Ținc's article noted that "the poor Caion" had unwittingly struck a blow against "the youngest, sickest and therefore most innocent of the [Junimea] megalomaniacs." Rosetti's paper was hosting its own campaign against Caragiale, headed by Caragiale's former employer Frédéric Damé. Meanwhile, Caragiale found his core group of journalist sympathizers in the Junimist fief of Moldavia. Caragiale had by then proceeded to research the matter on his own, and came to the independent conclusion that the accusations were entirely concocted. Late in 1901, he opened a legal case against both Caion and Stoenescu, taken up by the Ilfov County court.On the first day, Caion excused himself as sick, while Stoenescu recused himself, taking the prosecution's side. For these reasons, the trial was held without a jury. Caragiale's legal representative was the fellow writer Barbu Ștefănescu Delavrancea, who systematically disproved Caion's allegations, and noted that the absentee defendant was guilty of


texts:
 numerous forgeries. He also convinced the judge that the similarities between Năpasta and The Power of Darkness were superficial. The court found Ionescu-Caion guilty of slander. He was sentenced to a three-month jail term, a 500 lei fine and 10,000 lei in court costs. However, he appealed the tribunal's decision.The jury selection was a laborious process: Caion's lawyer Danielopol recused writers Nicolae Iorga and Ovid Densusianu, alleging that all Romanian literati had a vested interest to defend plagiarism. Iorga took offense, and reportedly challenged Danielopol to a duel. During the proceedings, Caion backed up on the original accusations, explaining that he had only invented a reason to bring Caragiale in for a trial. The court eventually acquitted Caion. Caragiale showed little surprise at the news. In an interview with poet <mask> Antemireanu, he explained his conflict with Caion in paternalistic terms: "They did well not to sentence the kid. Is he the guilty party?No! Caion is merely a victim. Say I were a juror: why would I be setting an example by punishing this unreasonable and irresponsible kid, for those who are more mature and better placed, and who employ the same means as he did?" The general public was by then firmly on Caragiale's side, and Macedonski's reputation suffered greatly as a result, increasing his isolation on the literary scene. Românul Literar
Caion was still carrying on as a publicist and historian, with a study about the ancient Bacchanalia. It was simultaneously published in


texts: Paris and Bucharest (1901). That year, with Carol Göbl press, he also published a devotional text, Isus, fragment ("Jesus, A Fragment").The theme of decadence continued to fuel Caion's essays: in Carmen magazine (September 1902), he covered Castanier's Lotus du Gange, implicitly advertising the book's lewd content and titillating illustrations. His take on the Caragiale affair was outlined in the Carol Göbl essay Moravuri literare în 1902 ("Literary Morals as of 1902"). In 1903, Caion himself began working at Românul, where he was an editor, corresponding with Vintilă Rosetti over the newspaper's publicity deals. He returned to belles-lettres with a 1903 short story, Korinna. His fiction reflected his growing interest in Early Christianity, illustrated by another story, itself published in 1903: Pentru cruce ("For the Cross"). This was followed in 1904 by a volume of "Christian short stories", Triumful Crucei, which he submitted for consideration to the Romanian Academy awards committee. Christian subjects infused his parallel work for the stage, as well as his historical research.In 1904, he published a Byzantine-themed tragedy, Legionariĭ Cruceĭ ("Legionaries of the Cross"), and an essay on "The Rivalry between Jesus and Saint John the Baptist" (La rivalité de Jésus et de saint Jean-Baptiste). A split occurred at Românul in late 1904: on January 10, 1905, Caion issued Românul Literar as a separate weekly, announcing to the world that all his links to Românul had been severed (this even though Românul Literars


texts: first issue was introduced as "Issue 1, Year 3"). The director himself signed the column Note critice ("Critical Notes"), and four others which reviewed books local and foreign; they were collected in book form in 1905. Caion's sheet was irregularly published for the next three years, and, in December 1908, became a tri-monthly. Românul Literar was a voice of anti-nationalist and anti-traditionalist sentiment, rejecting the school formed around Sămănătorul magazine, and promoting the Symbolists; its agenda has been summarized as "anti-Sămănătorist", and in step with modern French literature. It played host to many Romanian writers, most of them Romanian Symbolists: Macedonski, Mihail Cruceanu, Mircea Demetriade, Al. Gherghel, Dumitru "Karr" Karnabatt, Eugeniu Sperantia, Caton Theodorian, alongside the epigrammatists Cincinat Pavelescu and I. C. Popescu-Polyclet.Cruceanu, who joined the literary club while still a high school student, recalls being impressed by Caion's status as "a literary historian and critic", "his restrained demeanor and his intelligence, with its inscrutable pursuits." However, Caion seemed "ill and troubled", and had "an unnatural and mean passion for going after those people who had made a name for themselves in our cultural life", with his "venomous weaponry". Other Symbolists took distance: Moldavian poet and literary reviewer Ștefan Petică made a mockery of Caion, exposing him as a sciolistic amateur. In addition to receiving contributions directly from France, Românul Literar published


texts:
 translations of poems by Frédéric Mistral (translator: Elena Văcărescu), Jean Moréas (Demetriade) and <mask> (Popescu-Polyctet). Other than poetry and fiction, Românul Literar hosted literary and scientific essays, including ones by Caion, Ținc, Ioan Tanoviceanu, Orest Tafrali and others. The journal also enlisted contributions from poet Cornelia "Riria" Gatovschi and her husband, the formerly Junimist historian A. D. Xenopol. Românul Literars founder was especially enthusiastic about Riria.Against mainstream critics, who derided her poetry as stale and ungrammatical, he proclaimed the dawn of a new era, with Mrs. Xenopol as its herald. Caion, Tocilescu and the Xenopols were members of a small professional association, called "Romanian Society for Arts and Literature". Around 1907, Caion's paper was hosting poems by the young Symbolist author George Bacovia (including "Sonnet" and "Pulvis") and art chronicles by Theodor Cornel. Bacovia described their first encounter, in November 1903, as follows: "Caion [...] was very depressed after his recently completed trial with Caragiale. My solitary presence, without any sort of recommendation from another author, made him receive me with significant reserve. I then communicated the purpose of my arrival, asking for the address of his collaborator, the poet Macedonski. Nevertheless, he still asked me for a handful of poems, the ones later published by his magazine."Caion and the Transylvanians
Ionescu-Caion was unrelenting in his accusations of plagiarism, and a section of


texts: the press, in both Romania and abroad, still credited him as a whistle-blower. His Romanian supporters called him a David fending off Caragiale-Goliath, while the Revue de Paris referred to his stances as "courageous". By that time, the formerly nationalist journalist had made himself new enemies outside the Junimea circles. These were ethnic Romanian writers from Transylvania, region that was then still part of Austria-Hungary, including many traditionalists published by Sămănătorul. Early signs of this conflict showed up during the Caragiale trials, when Caion and Macedonski nominated Sămănătorul founding figure George Coșbuc as another successful plagiarist. Around the same time, he reputedly stated that Transylvanian literature was "a monstrous apparition". Caion's dispute with the Transylvanian poets covered several fronts.In 1905, his newspaper joyfully announced that Ștefan Octavian Iosif (whom he called by his Magyarized legal name, István Gábor József) had been expelled from the Romanian academic scholarship program. According to Caion, Octavian Goga's father-in-law, politician Partenie Cosma, was "the tyrant of Transylvania", and Coșbuc's ally, the literary chronicler Ilarie Chendi, was a "Romanianized" Hungarian, with little authority in local literature. These reactions did not prevent Caion from becoming a co-author of the first Transylvanian (and Romanian) encyclopedic dictionary, put together by Cornelius Diaconovich. To the indignation of other Transylvanians, "Ionescu-Caion, C. A., publicist,


texts: Bucharest" is a contributor of historical entries in Diaconovich's second tome. The ideological conflict involved various aspects of literary theory and activism, including the differences of opinion about reforming the literary language. Transylvanian political leader <mask> Vaida-Voevod noted that the neologistic dialect favored in the Old Kingdom was symptomatic, since "Caion and the likes" were popularly identified as the literary professionals. Linguist Sextil Pușcariu also commended Transylvanian literati for standing up to the "unhealthy currents" promoted by Caion, Macedonski and Karnabatt.Caion's indignation reached a peak in September 1909, when the Romanian Writers' Society (SSR) was officially established as a compromise between the Symbolists and the Transylvanians, doing away with the Romanian Society for Arts and Literature. In Românul Literar, Caion described the club as a mass of "déclassés", concluding: "With the likes of Herț, Kendich, Ivăciuk, Demetrius [that is: A. de Herz, Chendi, I. Dragoslav and Vasile Demetrius], for sure the new society shall uproot the old one, where one comes across respectable people such as A. D. Xenopol, Riria, N. Petrașcu, Pompiliu Eliade, Gr[igore] Tocilescu etc." Another controversy shook the literary community when the SSR decided to exclude those authors who could not prove their belonging to the Romanian ethnic group. Although Românul Literar was itself suspected of antisemitism, Caion decided to stand by the Jewish Romanians who were thus excluded. In a March


texts: 1910 article, he sided with the Noua Revistă Română owner <mask> Rădulescu-Motru (a critic of antisemitism) and journalist Eugen Porn (a Jew), noting that Porn's acceptance into Romanian literature was at least as justified as Ilarie Chendi's. Românul Literar tried to keep up with the latest developments in literary form, and Caion was among the first Romanian reviewers of Futurism. He also continued to participate in polemics with "chauvinistic" nationalists, denouncing them for promoting the myth of Banul Mărăcine as ancestor of Pierre de Ronsard.However, the paper went out of print in January 1911. It was reestablished as a bi-monthly on November 1, and again ceased publication in December. It was restored a third and final time in June 1912, but went out of business soon after. Meanwhile, Caion focused on his Francophile essays, writing about the French influence on Romania. The fragment Înrâuriri franceze mai vechi ("Older French Influences") saw print in the "encyclopedic magazine" Ilustrația, whose director was Nicolae G. Rădulescu-Niger, the comedic poet. With Riria and the Symbolists, Caion began putting out a French-language literary journal, called La Revue Roumaine (first issue: February 1912). The Transylvanian rivals at Luceafărul were unimpressed.According to them, La Revue Roumaine was beneath all other Francophone periodicals, either Romanian or Hungarian, unwitting evidence of "the inferiority and impotence of our [national] literature". When, in 1912, Macedonski made his publicized return to


texts:
 literary life, the Transylvanians reacted with astonishment. In Arad, the journalist Ovidiu Băsceanu covered the comeback of "an enemy" as "Caion's triumph". He believed that the Symbolist offensive was presided upon and propagated by Caion, under the slogan: "I cursed, I libeled, I vanquished." Caion himself focused on his academic career, and, in 1913, took his Ph.D. with the thesis Îndrumări nouă în viața politică și culturală a Franței contemporane și înrâurirea lor asupra noastră ("New Directions in France's Political and Cultural Life and their Influence on Us"). It was published, in 1914, by Poporul Typographers. World War I and death
By the start of World War I, while Romania was still neutral territory, Caion supported France and the other Entente Powers.He was "a Francophile to the uttermost" (according to Boia), publishing the booklet Rolul Franței în istoria omenirii ("France's Role in World History"). Two other books on this subject saw print in 1915: Gallia și înrâuririle ei ("Gaul and Her Influences"), Sparte contre Athènes ("Sparta against Athens"). As noted by a Universul Literar columnist, Caion did not glorify the French Republic, but was rather a fan of the Ancien Régime. Caion cited a wealth of French authors, even obscure ones ("who would not be great were they not the intellectual friends of the author"), to prove that German culture was "anarchic and worthless". The Central Powers' invasion of Romania surprised Caion and made him reconsider his options. He stayed behind in occupied


texts: Bucharest, and, as Germany's victory seemed certain and Romania signed the Peace of Bucharest, timidly embraced the "Germanophile" cause. From August 17, 1918, Ionescu-Caion put out the magazine Cronicarul ("The Chronicler"), which enlisted contributions from noted Germanophile writers, such as Gala Galaction and Duiliu Zamfirescu.Its theater chronicler, Radu Pralea, was among the first to cover the Jignița Summer Theater of Isidor Goldenberg, a mainstay of Yiddish dramaturgy in Romania. Another Cronicarul employee was the female journalist Aida Vrioni, who became Caion's friend and, in time, his apologist. The magazine, noted by Boia for its "high literary standing", publicized Caion's reformed views about the course of the war. He wrote that the new Germanophile Prime Minister, <mask> Marghiloman, embodied "Romania's national energy", much like the figures in Thomas Carlyle's On Heroes. His stances, like those of Marghiloman, had their dose of ambiguity. As Marghiloman recounts, Caion circulated an anti-German manifesto put out by the revolutionary Social Democrats and the "Socialist Women of Romania". Moreover, Caion still revered the anti-Germanophile Xenopol.In issue 27 of Cronicarul, he referred to Xenopol's memoirs as a masterpiece of Romanian prose. Caion died only a few months later, in liberated Romania. As Lucian Boia notes, he had lived long enough to see all prophecies about a German victory being nullified by the November 1918 Armistice. According to bibliographer and educator Tudor Opriș, his was a


texts:
 "heroic death", which served to clear his tarnished reputation. Legacy

Ignominy
The various scandals involving <mask> Al. Ionescu-Caion have left distinct marks on Romania's cultural life. Boia writes: "Caion [...] secured himself an unwanted fame in the history of Romanian literature".In early 20th-century Transylvania, "Caion" was adapted into a common noun and a term of contempt. Listing its "Transylvanophobe" enemies, Luceafărul noted the existence of "all sorts of Caions, those little puppies raised by the obscure magazines." Also in Luceafărul, priest-publicist <mask> Ciura stated: "We live in the epoch of the Caions, for whom all things are permitted". Caion's poor reputation also rubbed off on Macedonski: Caragiale's disciple <mask> Cazaban coined the word Macaionski, as a hybrid of both writers. The scandal continued to reverberate, and Caion soon earned condemnation from critics not directly involved in the early 20th-century disputes. A liberal and a modernist, Eugen Lovinescu, dismissed Caion's entire career in letters as a footnote. It likened Caion to a "squid" that leaves behind "a long trail of ink", and judged his brand of literary criticism to have been "one of the illnesses of that time."In contrast, Cronicaruls Vrioni spoke of her friend's attack on Caragiale as a "mistake", noting that his career from 1901 was of genuine importance. Caion, she writes, created "true works of art", without sparing a thought for "glory or money." According to literary historian <mask> Dobrescu, Caion is the

masks: Constantin Alexandru Alexandru Alexandru


texts: prototype "detractor" in Romanian culture, "born of frustration", the Zoilus to Caragiale's Homer. Dobrescu writes: "In the common definition, the detractor is someone consciously working to debase (or destroy) one's good standing. The cobbler envious of his neighbor, the cordwainer, who will go lengths to besmirch the latter in hopes of 'helping' him lose his clientele, is a detractor." His verdict about Caion's unicity in a Romanian context is placed in doubt by another author, <mask> Coroiu, who finds it unrealistic. Various commentators believe that Caragiale's ultimate relocation to Germany was at least in part prompted by the Caion affair.This was notably suggested by Caragiale's actor friend, Ion Brezeanu. Moreover, literary rivals as well as third parties have noted that Caion's calumnies shed focus from his own dubious creative methods. In his speech of 1902, Barbu Ștefănescu Delavrancea openly accused Caion of forging historical records during his stint at Noua Revistă Română. More than fifty years after the fact, Ștefan Cazimir discovered that the poems Caion claimed to have authored, and which Caragiale found especially entertaining, were in fact poor-quality translations from Charles Baudelaire. In 2007 Ionescu-Caion's name was returned to circulation, amidst allegations of plagiarism brought up against philosopher Gabriel Liiceanu. Writer Andrei Pleșu defended Liiceanu against his accusers at Ziua daily, and argued that Romania was still "Caion's land". Noting that Caion had entered press history


texts:
 with a mârlănie ("yokel's deed"), Pleșu described Ziua journalism as partisanship and "hysteria", assessing that Romania was going through "an epileptic fit".Liiceanu critic Gheorghe Grigurcu also took distance from the Ziua accusers, noting that their "libel", "puerile" in content, made it hard to sustain a serious debate about Liiceanu's faults. Other literary echoes
Caion's presence at the center of literary and political controversies was treated with much sarcasm by his various peers, even before the 1901 face-off. In addition to the "lyrical-decadent-symbolist-mystical-capillary-secessionist" parody, Caragiale may have attacked Caion in an 1899 Universul sketch, as Superintendent Lazăr Ionescu-Lion. Both writers were satirized in a revue, officially written by restaurateur G. A. Mandy (but probably authored by Rădulescu-Niger). The work focuses on the 1901 stock market panic and its political consequences in Romania; Caragiale (as Gearacale) and Caion (Crayon) appear alongside scheming politicians or journalists—Take Ionescu, George D. Pallade, Luigi Cazzavillan—and the runaway embezzler Andrei Vizanti. The legal scandal between Caion and Caragiale is traditionally considered one of Romania's most famous trials. The legal professionals' magazine Curierul Judiciar and lawyer-editor Octav Minar published the court records in its Biblioteca marilor procese ("Great Trials Library"), May–June 1924.Theater scholar Cristian Stamatoiu finds Delavrancea's plea not just a "shattering" proof of erudition, but also a


texts:
 guide to understanding the issues of artistic personality and intellectual property. As a personal witness of the proceedings, Brezeanu noted that Delavrancea spoke like a modern Demosthenes. "Caion" was a breakthrough role for Gheorghe Dinică, ensuring his move from stagehand to award-winning thespian. This was in a 1962 stage reconstruction by David Esrig, with Jules Cazaban playing Caragiale and Mircea Șeptilici as Delavrancea. Among the many volumes dealing with the legal face-off is a stageplay by dramaturge and critic Romulus Vulpescu, first published in 1972. Notes

References
 "Procesul Caragiale-Caion", in Tribuna Poporului, Nr. 50/1902, p. 2-3 (digitized by the Babeș-Bolyai University Transsylvanica Online Library)
Lucian Boia, "Germanofilii".Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986
Șerban Cioculescu, Caragialiana, Editura Eminescu, Bucharest, 1974. Mihail Cruceanu, De vorbă cu trecutul..., Editura Minerva, Bucharest, 1973. Victor Durnea, "Primii pași ai Societății Scriitorilor Români (IV). 'Afacerea Porn' (continuare)", in Transilvania, Nr. 5-6/2006, p. 54-64
 Georgeta Filitti, "Românul", in the Mihail Sadoveanu City Library Biblioteca Bucureștilor, Nr. 3/2006, p. 7-9
Ileana Ghemeș, "Pagini din dosarul critic al unui personaj caragialian.Anca, eroina dramei Năpasta", in the December 1 University of Alba Iulia Philologica Yearbook , 2002,


texts:
 p. 119-128
Angelo Mitchievici, Decadență și decadentism în contextul modernității românești și europene, Editura Curtea Veche, Bucharest, 2011. Eugen Simion, "I.L. Caragiale și spiritul românesc (III)", in Biblioteca Bucureștilor, Nr. 5/2002, p. 5-8
 Cristian Stamatoiu, " 'Cooperativizarea' lui I. L. Caragiale", in the Târgu Mureș Drama School Symbolon, Nr. 1/2000, p. 49-52
Tamara Teodorescu, Rodica Fochi, Florența Sădeanu, Liana Miclescu, Lucreția Angheluță, Bibliografia românească modernă (1831-1918). Vol. II: D-K, Editura științifică și enciclopedică, Bucharest, 1986.Tudor Vianu, Scriitori români, Vol. II, Editura Minerva, Bucharest, 1971. 1882 births
1918 deaths
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<mask> was a Roman tribune of the plebs and is noted for having been one of two men (the other being Gaius Licinius Stolo) who passed the Leges Liciniae Sextiae of 368 BC and 367 BC. Originally, these were a set of three laws. One law provided that the interest already paid on debts should be deducted from the principal and that the payment of the rest of the principal should be in three equal annual installments. Another one provided restricted individual ownership of public land in excess of 500 iugeras (300 acres) and forbade the grazing of more than 100 cattle on public land. The most important law provided that one of the two consuls be a plebeian. Having been reelected nine times, <mask> and Gaius Licinius Stolo held the plebeian tribunate for ten years. In 368 BC the laws regarding debt and land were passed, but the law regarding the consulship was rejected.In 367 BC this law was passed. In the same year the two tribunes of the plebs proposed a fourth law concerning the priests who were the custodians of the sacred Sibylline Books, and <mask> <mask> was elected to serve as consul for the year 366 BC. Livy wrote that he was "the first of the plebeians to attain that honour." The ten years as tribune of the plebs
<mask> and Gaius Licinius proposed these laws in 375 BC when they were elected tribunes of the plebs. They were opposed by the patricians, who prevented the bills from being debated. In retaliation the two men vetoed the election of the military tribunes with consular power (consular tribunes) for five years. They were reelected to the plebeian tribunate each year for nine consecutive years.In 370 BC they allowed the election of the

masks:
Lucius Sextius Sextinus Lateranus
Lucius Sextius Lateranus
Lucius Sextius
Lateranus
Lucius Sextius


texts: consular tribunes because there was a need to raise an army to fight against the city of Velitrae. In 369 BC, the laws, particularly the one concerning the consulship, were fiercely debated. In 368 BC Marcus Furius Camillus, who opposed the enactment of the bills, was appointed dictator. However, he resigned for unclear reasons. The Plebeian Council passed the laws on interest and on land, but rejected the law about the consulship. However, the two tribunes of the plebs pressed for all the motions to be put to the plebeians collectively and vowed not to stand for re-election if this was not done, arguing that there was reason to reelect them only if the plebeians wanted to enact the measures they proposed together. In 367 BC <mask> and Gaius Licinius were returned to their office for the tenth time, and the law on the consulship was passed.The two men proposed a law which abolished the Duumviri Sacris Faciundis, a college of two priests, who were patricians, and also the custodians of the sacred Sibylline Books, and replaced it with the Decemviri sacris faciundis, a college of ten priests with the same role. Five of them were to be patricians and five were to be plebeians. The law was passed, and five patrician priests and five plebeian ones were duly elected. According to Livy, "Satisfied with their victory, the plebs gave way to the patricians, and relinquishing for the moment discussion about the consuls, permitted the election of military tribunes [with consular power]." Still in 367 BC, Marcus Furius Camillus was appointed dictator because of an attack by the Gauls of northern Italy. According to Livy, on his return to Rome after defeating


texts:
 the Gauls, Camillus "was confronted with a fiercer opposition in the City. After desperate struggles the senate and the dictator were beaten, and the measures advocated by the tribunes were adopted.An election of consuls was held, against the wishes of the nobles ..." <mask> <mask> was elected as one of the two consuls. The patrician senators declared that they would not ratify the election. The bitter dispute almost led to another plebeian secession. Camillus struck a compromise: in exchange for the patricians acknowledging the election of <mask>, the plebeians made the concession that the patricians might elect from the patricians one praetor to administer justice in the City. In that year the office of the curule aediles was also created. Little is known about the consulship of <mask> Lateranus. Livy only wrote that in the year of his consulship one praetor and two curule aediles from the patrician ranks were elected.There were rumours about a gathering of Gallic soldiers and a defection by the Hernici, who were Roman allies. The patrician senators decided to defer any action so as not to give the plebeian consul a military task. The plebeians were unhappy that these three new patrician magistrates had been installed. According to Livy, in response to this, "it was arranged to take the curule aediles from the plebs in alternate years: later the election was thrown open without distinction". Modern evaluation of the law regarding the consulship
Some modern historians have pointed out that there is lack of clarity regarding the law which provided that one consul should be a plebeian. Livy saw this law as a breakthrough in the political

masks:
Lucius Sextius
Lateranus
Lucius Sextius
Lucius Sextius


texts: advancement of the plebeians. T.J. Cornell notes that, according to Livy and his sources, the regular and unbroken sharing of the consulship stemmed from the Lex Genucia proposed by the plebeian tribune <mask> in 342 BC which, it is claimed, allowed plebeians to hold both consulships.However, the Fasti consulares (a chronicle of yearly events in which the years are denoted by their consuls) suggest that this law made it obligatory for one consulship to be held by a plebeian. Cornell suggests that it might be that it was the Lex Genucia which truly introduced power-sharing between patricians and plebeians (by providing that there should be one consul from each social order) and that the Lex Licinia Sextia may simply have been an administrative adjustment which transferred plebeian access to the highest office from the military tribunes with consular power to the consulship and, thus, <mask> becoming the first plebeian consul "becomes rather less impressive." K. von Fritz and Sordi also think that the law on the consuls and the praetors was an administrative reform. Livy wrote that in the military tribunes with consular power were instituted in 444 BC because it was decided to that in some years the consulship should be replaced by the consular tribunes (whose numbers varied from three to six), that this office would be open to plebeians and that it had been created as a concession to the plebeians who wanted access to the consulship. However, from 444 BC to 401 BC, only two such tribunes, out of a total of 100, were plebeians. For the 400-376 BC period, only in 400, 399 and 396 BC were the majority of these tribunes plebeians (4, 5, and 5 out of

masks:
Lucius Genucius
Lucius Sextius


texts:
 6) and in 379 BC there were three plebeians of six. For Cornell, this raises some questions: Why from 444 to 401 BC were there only two plebeians?Why, given the presence of plebeians in the subsequent period, which shows their eligibility to the highest office, was plebeian access to the consulship considered such a landmark for the political promotion of the plebeians? Why was there such resistance to this? The sources seem to see the law as a breakthrough not just because it provided access to the consulship, but it required that one of the two consuls of the year be a patrician. However, for a twelve-year period after passage of the law, from 355 to 343 BC, both consuls were patricians and the consulship became an unbroken line of shared office only after that. Biographical facts

Basic data
 Full Name: <mask> Sextus (filius) N. (nepos) Sextinus Lateranus

Offices held
 Tribune of the plebs 375 BC – 367 BC
 Consul 366 BC (co-consul to <mask>us Mamercinus)

Notable actions
 Responsible, with Gaius Licinius, for the Lex Licinia Sextia in 367 BC
 Became first of the new yearly required plebeian consuls in 366 BC

Quotes

References
 Cornell, T., J., The Beginnings of Rome: Italy and Rome from the Bronze Age to the Punic Wars (c.1000-264 BC) (The Routledge History of the Ancient World), Routledge, 1995;
 Livy, The Early History of Rome: Bks. 1-5, Penguin Classics, 2002;
 Sordi, M., I Rapporti romano-ceriti e l'origine della "Civitas sine suffragio", 'Erma di Bretschneider, 1960, ASIN: B001K1ZDZA

See also
 Sextia gens
 Lex Licinia-Sextia

4th-century BC Roman consuls
Lateranus, Lucius
Tribunes of the plebs
Year of birth unknown
Year of death

masks:
Lucius Sextius
Lucius Aemili


texts:
Nāyla al-Khāja (Arabic: نايلة الخاجة, born 7 March 1978) is the first female film writer, director and producer in the United Arab Emirates. al-Khaja has written and directed several films, all of which have been presented and awarded at various international film festivals such as Dubai International Film Festival (DIFF) and to date, her films have participated in more than 42 festivals worldwide. In 2006, al-Khaja wrote and directed her first short film, Arabana, which premiered at DIFF 2007 and she was awarded Best Emirati Filmmaker at the event. Since her debut, she has written and directed five more short films: Once (2009), Malal (2010) and The Neighbor (2013), Animal (2016), The Shadow (2019). In October 2016, al-Khaja shot a pilot for her first feature film, Animal, and it was presented at DIFF 2016. The film also received the Jury’s Special Prize for Best Short Fiction at the Italian Movie Award in Pompeii, Italy, in September 2017. <mask> also won a seat at the prestigious Producers Network at the Cannes Film Festival 2018.In March 2021, the BBC purchased the rights to broadcast Animal and The Shadow. In April 2021, it was announced in global media outlets, that a series from a concept al-Khaja devised will become an anthology. The first season, The Alexandria Killings, will have Oscar-winning Director Terry George at the helm. al-Khaja will be credited as Executive Producer for the series and she is also being attached as a potential director for some of the episodes. She is also currently working on a family adventure film, Magic Carpet, as well as her own debut feature film, Three, both of which are slated for release in 2022.

<mask> is the CEO of Nayla Al Khaja Films, a Dubai-based company previously named D-Seven Motion Pictures, and is also founder of The Scene Club, Dubai’s first film club, launched in 2007.

al-Khaja is

masks:
Nayla
al Khaja


texts:
 also a motivational speaker, a cultural consultant and an influencer. Beginnings
Holder of a degree in Mass Communication from Dubai Women's College, she graduated in 2005 with a Bachelor in Image Studies and Filmmaking from Ryerson University (Canada). When she returned to Dubai, she directed and produced the documentary Unveiling Dubai.Supported by Sheikh Nahyan bin Mubarak <mask>, UAE’s Minister of Higher Education, the film premiered at the 2006 Dubai International Film Festival (DIFF) and he officially announced her as the first woman filmmaker in the UAE. Filmmaker
Paving the way for her career as a professional film director, <mask> shot several debut films as of 1993. Her first 8mm work was a film called Sweet Sixteen (1996). It was entirely shot in the deserts of Mirdif and was immediately followed by The Will (released in 2003), in collaboration with Tim Smythe, from the Dubai production company Filmworks. She experimented the documentary style with 3adi.com (1998), followed by two narratives, Cockroach (2004) and The Loss (2005). In 2006, <mask> wrote and directed her first commissioned short film, Arabana about child abuse (with the support of Unicef), which premiered at DIFF 2007. That year, she was also awarded the title of Best Emirati Filmmaker.Since then, she has written and directed three more short films: Once (2009), Malal (2010) and The Neighbor (2013). Malal received the Muhr Emirati Award at DIFF 2010 and The Neighbor was awarded Best Emirati Film at the 2014 Abu Dhabi Film Festival. In October 2016, she shot the pilot of her first feature film, Animal, nominated for the Muhr Emirati Awards at DIFF 2016. This short film received the Jury’s Special Prize for Best Short Fiction at the Italian Movie Award in Pompeii, Italy, in September 2017. Animal also received the Jury Award in the "Narrative Film" category at the

masks:
Al Nahyan
al Khaja
Al Khaja


texts:
 Ras Al Khaimah Fine Arts Festival (UAE) in February 2018. Since 2017, <mask>ja has been developing her first feature film, Animal, and was awarded an accreditation to present the project at the Producers Network during the Cannes Film Festival (France) in May 2018. Entrepreneur
Nayla al-Khaja Films (previously D-Seven Motion Pictures)

Since its inception in 2005, Nayla al-Khaja's production house, D-Seven Motion Pictures, has focused on the local production of various films, fully developed and produced ‘in-house’, bringing a wealth of experience and cultural knowledge to national and international projects.Over the years, she has produced in numerous promotional films and TV commercials in the UAE for local and international brands, while mentoring young Arab talents. In 2015, her company was hired by Discovery Studios to produce and prepare a reality show highlighting the best of Dubai, while empowering women. E!, the largest American reality-show network, bought the rights for the show and D-Seven Motion Pictures line-produced its pilot, the first of its kind to be entirely shot in Dubai. The same year, the Dubai Film and TV Commission asked al-Khaja’s company to shoot a behind-the-scenes film for Star Trek Beyond to highlight Dubai as a regional filming hub. The video helped promote Dubai as the fastest growing filming hub in the region and convince other filmmakers to consider Dubai as their next destination to film. In 2017 D-Seven Motion Pictures rebranded to Nayla Al Khaja Films. As well as filmmaking, the studio has produced commercial films for local and international brands including Mercedes, BMW, Vogue, Nike, Nivea, Gucci, Samsung, Canon, LG, Maggi, and Neutrogena.The Scene Club

As well as being a strong advocate for women in cinema, al-Khaja has a steadfast dedication to develop the UAE's film industry and she established


texts:
 The Scene Club, the UAE’s first film club in 2007. The Scene Club (22,000 registered members) has been continuously presenting a wide selection of independent movies and award-winning films in their original format to UAE audiences. The year 2017 marked the 10th anniversary of the club. Cultural Consultant

<mask>-<mask> is also passionate about supporting and mentoring local talents, and she is considered a reference in the Middle East. Being a UAE National, <mask> has worked as a cultural consultant on both film and television projects across the Gulf. She was recently hired by Maserati for a campaign that highlighted Ramadan in KSA and has also worked on series that celebrated Saudi achievers for Quest Arabiya. Her services include:

·     Supporting the Directors and Producers when interacting with regional communities.·     Casting assistance. ·     Reviewing the script and storyboard/shot-lists to highlight cultural inaccuracies. ·     Monitoring the set design and wardrobe for authenticity. Her knowledge of gulf dialects and international languages provides her with a unique advantage when facilitating complex and sensitive projects in the region. Motivational Speaker

al-Khaja is a captivating storyteller and a motivational speaker revealing fresh perspectives on contemporary themes and unravelling tricky questions with sensitivity and humour. Through interactive and thought-provoking storytelling, she reignites interest and curiosity. Fluent in Arabic and English, <mask> has been registered at the London Speaker Bureau for more than ten years.She is also registered at MENA Speakers and has given TEDx Talks. Based on her extraordinary true-life story, she has tackled taboo topics such as breaking down the Arab Woman stereotype, how to stand-out in a male dominated industry, the crux of gender balance, or how to combat fear and chase

masks:
Al
Khaja
al Khaja
al Khaja


texts:
 one’s dreams. She frequently travels abroad to speak in international keynotes about cinema, entrepreneurship, culture, youth motivation and women's empowerment in the Middle East. Influencer
Since 2011, Nāyla al-Khāja has been a Brand Ambassador for Canon Middle East and is in constant demand as a collaborator for high-profile brands such as Porsche, Damas and Sunday Riley. A regular on social platforms with an engaged following, al-Khaja directs and produces digital content for social media channels and delivers daily live sessions on Instagram. Since October 2017, she has directed and appeared in her own YouTube web-series, #NaylaFlogs, in which she shares her life as a filmmaker with her followers. <mask>-Khaja has helped develop the UAE’s film industry and has advocated for the role of women in cinema.Given her proven commitment to supporting and mentoring Middle Eastern talents, she has become a reference for professionals in the region. of State, International Visitors Leadership Program, 2010
 Jury member at the Middle East International Film Festival, 2009
 Cultural guide and co-host on Paris Hilton’s “My BFF”
 "UAE Woman of the Year", Film/Photo Category, L’Officiel Magazine, 2009
 "Young Woman Entrepreneur of the Year", Middle East Businesswomen and Leaders Achievement Awards, 2007
 "Inspirational Leadership Award", Lloyds TSB Bank, 2006
 "Emirates Woman of the Year", Emirates Woman Magazine, 2005
 "Local Artist of the Year", Emirates Woman Magazine, 2005
 "The Youngest Entrepreneur", Global Businesswomen and Leaders’ Summit Awards, 2005
 Top 50 most powerful personalities in Arab Cinema
 Top 100 most powerful Arabs under 40 by Arabian Business

References

External links
 <mask> <mask>ja’s website

Emirati film producers
Emirati women film directors
Women screenwriters
People from Dubai
Living people
Emirati

masks:
Al
Nayla
Al Kha


texts:
is a Japanese novelist, science fiction author, and actor. His Yumenokizaka bunkiten won the Tanizaki Prize in 1987. He has also won the 1981 Izumi Kyoka award, the 1989 Kawabata Yasunari award, and the 1992 Nihon SF Taisho Award. Writing style
His work is known for its dark humour and satirical content. He has often satirized Japanese taboos such as disabilities and the Tenno system, and has been victim to much criticism as a result. His works are seen as the basis for Japan's postmodern science fiction. Features of his work include psychoanalysis and surrealism, which were themes of his 1957 master's thesis.He has dealt with themes such as time travel in The Girl Who Leapt Through Time (1965), a massively multiplayer online game's virtual world in Gaspard in the Morning (1992), and dream worlds in Paprika (1993). Adaptations
One of Tsutsui's first novels, Toki o Kakeru Shōjo (1967), has been adapted into numerous media including film, television and manga. Another novel, Paprika (1993), was adapted into an animated film by the director Satoshi Kon in 2006. Many other works, including the four-part novel Fugō Keiji (Millionaire Detective), have been dramatized on Japanese television. Controversies
Tsutsui has gained notoriety for his politically incorrect humor and views. On April 4, 2017, Tsutsui was


texts:
 criticized because he posted a tweet referring to the Statue of Peace, a memorial to victims of sexual slavery during World War II, stating, "That girl is cute. Everyone, let's go and ejaculate in front of her and shower her with semen."on his Twitter. The tweet has long since been deleted. Tsutsui also later backtracked on his claims and apologized for it. English translations

The novel What the Maid Saw, translated by Adam Kabat, was published by Kodansha America Inc. (USA) in 1990, and again by Alma Books (UK) as The Maid in 2010. Salmonella Men on Planet Porno, a collection of short stories translated by Andrew Driver, was published by Alma Books (UK) in October 2006 and again by Pantheon Books (USA) in 2008. The novel Hell, translated by Evan Emswiler, was published by Alma Books in October 2007. The novel Paprika, translated by Andrew Driver, was published by Alma Books in April 2009 and again by Vintage Contemporaries (USA) in 2013.The novella The Girl Who Leapt Through Time, translated by David Karashima, was published by Alma Books in April 2011. The Bullseye! collection of short stories, translated by Andrew Driver, was published in July 2017 by Kurodahan Press. Works
Besides numerous film and TV acting credits, <mask> Tsutsui has published dozens of novels and short story collections, and records


texts:
<mask> (born September 19, 1983) is a mixed martial artist from Brazil. Issa is a black belt in Brazilian Jiu Jitsu and has won numerous BJJ competitions and tournaments including the Mundials and the Brazilian national championships. He is a member of the Evolve MMA fight team and is based in Singapore. He holds a notable victory over Masakazu Imanari and as of November 2013 he is ranked number 33 in the world by Fight Matrix. Mixed martial arts career

Fighting in Brazil
<mask> made his professional MMA debut in October 2006 submitting Eduardo Felipe in the second round. He was handed the first loss of his MMA career in May 2007 when he was stopped in the third round by Japanese fighter Takafumi Otsuka. In total <mask> fought five times in Brazil during this period, winning three fights and losing two.War Gods
Issa's first fight outside of Brazil was at War Gods in California. He defeated Ralph Lopez by rear naked choke in the opening round. Art of War
Issa moved to Singapore to join the Evolve MMA fight team in January 2009. His first fight in Asia was for the Art of War Fighting Championship promotion in China. He submitted Korean fighter Yeong Gwang Choi with a triangle choke in the first round. Martial Combat
In 2010 <mask> signed with Martial Combat and he fought three times for this promotion, winning every single fight by way of first round submission. His win over Gui Quan Lin at Martial Combat 11 was his fifth consecutive first round submission win and he has finished all five fights with a different submission.In 2011 <mask> decided he would drop down to the bantamweight

masks:
Leandro Issa
Issa
Issa
Issa
Issa


texts:
 division. ONE Fighting Championship
On July 15, 2011 it was announced that <mask> had signed with One Fighting Championship. On July 18 it was announced that <mask> would be facing unbeaten Korean Soo Chul Kim at ONE Fighting Championship: Champion vs. Champion at the Singapore Indoor Stadium on September 3. This fight was <mask>'s first as a bantamweight. Although Soo Chul Kil had a record of 4-1, <mask> has been described as the toughest opponent he has ever faced. <mask> won the fight via unanimous decision. <mask>'s next fight was against Japanese veteran Masakazu Imanari at ONE Fighting Championship: Destiny of Warriors in Kuala Lumpur in June 2012.He won by unanimous decision. Ultimate Fighting Championship
In November 2013, it was announced that <mask> had signed a contract with the UFC. His debut took place on January 4, 2014 at UFC Fight Night: Saffiedine vs. Lim against Russell Doane. He lost the fight via technical submission in the second round. <mask> next fought Jumabieke Tuerxun at The Ultimate Fighter 19 Finale on July 6, 2014. He won the fight via submission due to an armbar in the third round. His efforts earned him his first Fight of the Night and Performance of the Night bonuses.<mask> fought Ulka Sasaki on December 20, 2014 at UFC Fight Night 58. He won the fight in the second round via submission. <mask> next faced Iuri Alcântara on August 1, 2015 at UFC 190. He lost the fight by unanimous decision. <mask> next faced Taylor Lapilus on September 3, 2016 at UFC Fight Night 93. He lost the fight by unanimous decision and was subsequently released from the

masks: Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa


texts:
<mask>. (born January 16, 1952) is an American professional stock car racing driver and team owner. He competes part-time in the NASCAR Camping World Truck Series, driving the No. 6 Chevrolet Silverado for his team, Norm Benning Racing. He has worked as a driver analyst for TheRacingExperts.com in the past. <mask> has often been referred to as Stormin<mask> after his performance in the 2013 Mudsummer Classic, the Truck Series' first race on dirt. He previously competed in the NASCAR Busch Series and Winston Cup Series. Early career
Born in Level Green, Pennsylvania, <mask> began by racing as a 15-year-old at Heidelberg Raceway even though he was supposed to be at least 18 years old.He also has raced in dirt late models and asphalt modifieds. ARCA
Benning has finished in the top 10 in ARCA points seven times, with a highest of 5th in 2001. In 276 starts, <mask> has five top 5 and 32 top 10 finishes. His best effort was a 3rd-place finish at the Springfield dirt mile in 2004. NASCAR

1989–2012

<mask> has attempted numerous NASCAR races in the top 3 divisions during his career. <mask> made his NASCAR debut in 1989, driving in three races in the Cup Series for the No. 99 car owned by Jerry O'Neil.After starting 35th, <mask> would finish 30th in his debut at Dover. He would then match that finish at Pocono and 31st in his return to Dover. <mask> made his last Cup points race start for O'Neil in 1993, starting last (39th) at Darlington and finishing 39th after one lap of competition. After that, <mask> attempted to make the Daytona 500 for seven consecutive years, but either failed to qualify or was denied entry due to his car being slow in practice. He attempted many Cup races through 2001 in his own No. 84 84 Lumber Chevy, as well a couple of entries of the No. 79 T.R.I.X.Racing car. <mask> attempted a total of 33 Cup races, but DNQ'd 29 times. He withdrew from the 2011 Daytona 500. <mask>'s next NASCAR start

masks:
Norm Benning Jr
Benning
' Norman
Benning
Benning
Benning
Benning
Benning
Benning
Benning
Benning
Benning


texts:
 came in the Craftsman Truck Series in 2002. Driving for Troxell Racing, <mask> qualified the No. 93 Chevy into the field at Nashville Superspeedway in 18th position. A vibration dropped the team out of the event and <mask> finished 32nd.In 2009 <mask> was back in the Truck Series attempting a full season. He only missed one race and that was Daytona. At Michigan, <mask> finished 17th his best finish of the year for the Camping World Truck Series. His final position in points was 21st. <mask> attempted the NASCAR Busch Series for the next two years. <mask> was able to compete in 3 of the 6 races attempted. In his debut, <mask> started the 2003 Nazareth race in 42nd and finished in 40th.He was later able to improve during the season with a career-best 36th place at NHIS. Driving once again at Nazareth, <mask> started 42nd before brake failure forced him out of the race, finishing 38th. He fielded a car for Dion Ciccarelli at Nazareth in 2004, who finished 29th. During the 2008 Truck Series season, <mask> competed in 7 of the 8 races attempted driving his own No. 57 Chevrolet. In 2009, <mask> competed full-time in the Truck Series for his team (his first attempt at a full NASCAR season). He qualified for 24 of 25 races and finished 21st in overall points.His best finish came at Michigan when he finished 17th with Germane Red sponsorship. 2013–2015
In 2013, <mask> held onto fifth place after a hard-fought battle with Clay Greenfield in the "Last Chance" qualifying race at Eldora Speedway to earn the final transfer spot into the inaugural Mudsummer Classic. His truck sustained a fair amount of damage, but he was able to make repairs with the help of members of larger teams. He would go on to finish 26th, four laps down. <mask>'s performance in the last chance race was popular with fans; afterward he placed the Eldora truck for sale on eBay. Later that season, <mask> obtained his career-best Truck Series finish of

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


texts:
 12th at Talladega Superspeedway. During the 2014 season, <mask> changed from his iconic 57 to the number 6, with the 57 being the part-time second entry.Late in the season, <mask> gained backing on behalf of Pennsylvania governor Tom Corbett. In 2015, <mask> finished 14th in the opening race at Daytona and was 10th in points. <mask> scored his best career start of 13th during the 2015 Mudsummer Classic and finished 19th after rebounding from a late-race spin. The end of the 2015 season was a struggle, as <mask> missed four races late in the season. 2016–2018
2016 started with a DNQ at Daytona, followed by another DNQ at Atlanta. This was the worst start for Benning since 2012. Benning failed to qualify for six races in 2016; in addition to withdrawing from the Charlotte race.<mask> missed the race in Texas by .016 seconds after getting knocked out by Austin Hill. After missing all the races in 2016, <mask> partnered with MB Motorsports at Kentucky, where he was able to make the race, he started 30th and finished 28th. <mask> later partnered with MB for several remaining races. 2016 was a struggle for <mask> and his team, as he only managed to qualify for eight races while failing to qualify for eight others, and withdrawing from five. 2017 began the same for <mask>, missing the first 3 races of the season. <mask> would make the 4th race of the season in Kansas after only 32 trucks showed up for the 32-truck field. However, after that race, he made every single race he attempted for the rest of the season.In 2018, <mask> made every race until the regular-season finale at Bristol. After Canada, he failed to make Las Vegas through Martinsville and didn't show up the rest of the season. 2019–present
2019 showed some promise at the beginning of the season, with sponsorship from Zomongo and H&H Transport returning. During drafting practice, <mask>'s No. 6 Silverado sat 6th fastest, showing the ability to stay in


texts: the pack. However, the team lacked single truck speed, and ultimately missed the field. Atlanta through Dover was hit and miss.An early spin forced <mask> to park early despite plans to run the full race, resulting in a 29th-place finish. <mask> finished under power in 28th at Las Vegas and then would miss Martinsville and Texas. <mask> would qualify at Dover and Kansas but would be parked due to not being able to meet the minimum speed, finishing last at Dover after only 28 laps, and 21st at Kansas after 109 laps. <mask> would skip Charlotte due to a large entry list. Over the next 4 weeks, things would begin to fall into place for <mask> and his small team. The second Texas race would result in a 17th-place finish, followed by a 24th and 25th at Iowa and Gateway, respectively. The remainder of the season would have ups and downs, including an 18th place at Talladega, followed by an accident at Martinsville, that would ultimately end his season early.2020 would begin the same as 2019, with <mask> missing the cut at Daytona. <mask> chose not to make the trip to Las Vegas and had no clear plans for the season. Following the 2-month racing hiatus, <mask> looked to take advantage of NASCAR's field expansion, from 32 trucks to 40. However, <mask> found himself excluded from the races at Charlotte and Atlanta when 47 trucks entered each time. The following race at Homestead, only 39 teams entered, allowing <mask> to make his first start of the season. He made all other attempted races skipping the other Las Vegas race and the finale at Phoenix Raceway. <mask> posted a best finish of 22nd at Talladega Superspeedway, and a points finish of 36th.<mask> would announce plans to attempt the full 2021 NASCAR Camping World Truck Series schedule. Shortly after, <mask> would start a fundraising campaign called "Racing With The Ultimate Underdog". <mask> would pick up sponsorship from MDF A Sign Company heading into

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


texts:
 Daytona, and, after several years of running a plain paint scheme, <mask> would add red and yellow accent to his truck. <mask> would just miss out on qualifying for the season-opening race, but by finishing in the top 40 in points in 2020, <mask> would make the second race at the Daytona Road Course, thanks to NASCAR's no qualifying for the majority of the 2021 season. <mask> would take advantage of Camping World CEO Marcus Lemonis' offer of $15,000 to any team who ran at Las Vegas and Atlanta with Camping World and Overton's paint schemes. After lackluster results most of the season, <mask> was able to score a top 20 finish at Knoxville despite being involved in a late accident. At Gateway, <mask> was notified by officials that his truck's nose was no longer legal, forcing him to withdraw.<mask> would show at the second Darlington race with a new nose. <mask> would score another top 20, a 17th, at Talladega, with new sponsorship from Cross-Eyed Owl Brewing. For the season finale race, <mask> was able to get a Niece Motorsports prepared truck, along with an Ilmor engine. However, problems before qualifying plagued the 6 team, and <mask> turned the slowest lap, resulting in a DNQ. <mask> did say he and his team would be back in 2022. Motorsports career results

NASCAR
(key) (Bold – Pole position awarded by time. Italics – Pole position earned by points standings.* – Most laps led.) Sprint Cup Series

Daytona 500

Busch Series

Camping World Truck Series

 Season still in progress
 Ineligible for series points

ARCA Re/Max Series
(key) (Bold – Pole position awarded by qualifying time. Italics – Pole position earned by points standings or practice time. * – Most laps led.) References

External links

Living people
1952 births
People from Westmoreland County, Pennsylvania
Racing drivers from Pennsylvania
NASCAR drivers
NASCAR team owners
ARCA Menards Series drivers
Sportspeople from the Pittsburgh

masks: Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning Benning


texts:
<mask> (1881–1960) was a British socialite, author, musician, painter and traveller. She was involved in aviation in the United Kingdom and the United States in the 1910s and 1920s. Biography

Early life
<mask> was born in South Norwood, Croydon, Surrey on 26 September 1881, the fourth child and only daughter of <mask> and <mask>. She was baptised at Saint Luke's Woodside, Croydon on 2 July 1882. Parbury, the granddaughter of <mask>, spent the first few years of her life in Surrey. Her parents then separated, and by the time Parbury was seven she and her mother had moved to Ecclesall Bierlow, Sheffield to live with Lucy's recently widowed mother, <mask>. Musical training and performances
Parbury performed in public from an early age: in December 1889, aged eight, she was on stage to raise funds for the Children's Hospital in Sheffield.Her musical training began in Sheffield was with the renowned teacher Marie Foxon. She was later then in Italy; in London with Dr. Lierhammer; and with Jean de Reszke in Paris. She learned to play several instruments including pianoforte, organ, violin, and harp, and also composed music. When performing for troops in World War I, Parbury "[brought] down the house with her imitations of farmyard fowls, peacocks, doves, and cats", and could imitate well-known singers, male and female. In a more formal setting she was admired by many for her soprano voice of unusual compass, but at the Queen's Hall in London in 1922, Parbury's programme of operatic excerpts and drawing-room "trifles" did not impress a music critic from The Times. Early involvement in flying

<mask>rbury was interested in aviation from its early days in England. In 1910 she attended the Blackpool Flying Carnival where she was a passenger in the Henry Farman biplane flown by Claude Grahame-White.She attended his first marriage in June 1912, where almost all the other guests were eminent in the world of aviation. Parbury also described how she flew over Stonehenge in

masks:
Florence Tyzack Parbury
Florence Tyzack Parbury
Douglas Stewart Parbury
Lucy Jane Tyzack
George Parbury
Jane Tyzack
Florence Pa


texts:
 a biplane piloted by Howard Pixton, an early British aviator who won the 1914 Schneider Trophy air race held in Monaco. Travel, exploration and publishing before World War 1

Parbury travelled to Egypt when she was sixteen and then in 1901 she and her mother sailed to India from London on the P&O steamship Caledonia and then spent several months travelling in Kashmir. In 1909, Parbury published a description of their travels, including many of her paintings of local scenes and, ten years later, published sheet music evoking her experience in India. Parbury's later travels were to North America. In 1911, in Victoria, BC she spoke at the Women's Canadian Club, saying how she planned to study the country and its people, much as she had done in India. After returning to England in February 1912, she went back to Canada towards the end of that year.Again in BC, she met Dr Charles Newcombe, an ethnographer with a keen interest in the indigenous peoples of the region. After her visit, Parbury wrote to him several times in late 1912 and early 1913 saying that she would "so like to reproduce a photograph of that interesting case of curios & Indian trophies & relics, for my book." While in BC Parbury also organised a trip in which
she camped, climbed, rode on a cayuse through the Rockies, trekked up the Thompson River−the first white woman to be seen on its banks−with a train of five horses and six guides and packers; sometimes she guided her own canoe on the river, shooting the rapids, and taking all the risks of a journey in the wilds. She reached the famous Tête Jaune Cache beyond Edmonton, and her book, illustrated by herself, on her Canadian experiences, will be published after the war. Miss Parbury does not actually shoot big game, but like her friend, Mr. Thompson Seton, she enjoys the call of the wild and the tracking of shy creatures to their lairs. The book "Impressions of Canada" which she was planning to publish was advertised by Macmillan's but has not


texts:
 so far been found. Care of soldiers in World War I
When the war broke out Parbury nursed for eight months in France with the French Red Cross.It was probably this experience which prompted her to launch an appeal:
Miss Parbury is anxious to collect a million cigarettes for our soldiers. She will take them with her in batches and distribute them. Without publicity up to the present, she has obtained 75,000, thanks to the contributions of Sir John Thornycroft, Mr. Harry Gratton, Mr. Gerald du Maurier, Mr. Henry Ainley, and others. For 6s. 8d. a thousand cigarettes can be obtained, and they are given away coupled with the names of the donors, and a friendly message. Save a solicitor's letter and send our Tommies a thousand cigarettes.Miss Parbury's address is 53 Egerton Gardens, S.W. Back in London, Parbury set up a "Jacobean studio" at Yeoman's Row, Knightsbridge where she and others would entertain wounded soldiers with sing-songs. In an interview in Montreal after the war she said "I know of three cases where sight, hearing and speech were restored while an entertainment was in progress, to men who had lost three senses through shell shock. We have had as many as 50 nerve cases present at the same time, and during the war we entertained in all 600,000 men". On another occasion, hearing that Sir Robert Borden, Prime Minister of Canada, was in London she immediately wrote to seek his patronage for a matinée at the Queen's Theatre in aid of the Canadian Red Cross, which Canadian soldiers would attend; Sir Robert's successful visit, during which he honoured the men and their dead comrades for their sacrifices, was recorded in The Times. Travel after World War 1
In May 1919 "Miss Parbury, author" sailed first class to New York on the Aquitania. She stayed in North America for two years, and while in New York had "a permanent suite at the Commodore and a country house on Long Island.”
Once again part of her quest was to study a nation and its peoples, and publish


texts:
 her findings.She also indulged her interest in aviation by attending special events and flying when she could. In July 1919 she sent a postcard to London via the British airship R34 when it left Mineola, NY. After staying with the Governor of Newfoundland, Sir Alexander Harris, in St John's, as "part of a well-earned post-war vacation", Parbury returned to New York where she had portraits taken by the renowned photographer Arnold Genthe . At the end of the year, "garbed as a Maharani", she spoke at a meeting of the American Geographical Society in New York on "Kashmir, the Garden of the East". In December 1919 she gave an interview to New York newspapers in which she introduced another objective of her trip:  to establish a “League of Friendship” between England and the United States: “If New York likes her and she likes New York, she will establish a clubhouse in New York and a companion house in London to further the interest of the League.”

During 1920 Parbury exhibited her paintings in the west ballroom of the Hotel Commodore on Lexington Avenue;  flew in an escort plane from Central Park, Long Island to San Francisco, as part of the inauguration of transcontinental Pathfinder Flights;  and stayed in Hollywood as a guest of Mr. and Mrs. Douglas Fairbanks. This circuit, which included stops in Decatur, Chicago, Dayton and Detroit, gave her more opportunities to promote her League of Friendship idea, which she also referred to as a Friendship Club for Anglo-Saxons: "I want to have a beautiful clubhouse in every large city around the world where the English-speaking peoples can meet..."
In 1921, Parbury  was in Washington DC, where she announced that she had two books coming out in the fall, "Careering in Canada” and "Atmosphering in America.” They were to be published in practically the same form, with her own illustrations, but never appeared. Before returning to England, Parbury was one of the artistes in a musicale at the home of Adolph Lewisohn, 811


texts:
 Fifth Avenue, for the benefit of the New York Community Service clubhouse for disabled and active service men.During her stay in the United States, Parbury had taken several opportunities to indulge her interest in aviation. In July 1919 she sent a postcard to London via the British airship R34 when it left Mineola, NY. When the new British Ambassador to the United States, Sir Auckland Geddes and his wife, arrived from Liverpool on the Kaiserin Auguste Victoria in 1920 "Miss <mask>ury welcomed him to America by flying over the ship in an airplane to drop a bouquet of American Beauty roses." The Canadian pilot was Captain Leonard B. Hyde Pearson, and a movie clip of the event is available online. Later that year Parbury was a passenger on one of the escort aircraft when three all-metal planes were seeking the best route from New York to San Francisco; a transcontinental air mail service was established in September 1920. Later life and marriage

Back in England, there was another aviation adventure: in January 1922 Parbury flew as a passenger to the Hague, with a Blackburn test pilot, while using wireless telephony to listen to one of her own compositions being played in a hall below. At a private gathering before the flight, one of her guests, Guglielmo Marconi, spoke of the close association between aviation and wireless telephony: “Mention has been made of the possibility of wireless rays passing out through the terrestrial air into space, and of the sending of messages to Mars.Perhaps some day we shall be able to fly in those spaces outside the earth’s envelope, but if ever we do we shall certainly have to change the designs of our machines." At about this time <mask> was working on another big project. She had in mind “a bond of harmony between the people of the Empire” mediated through an annual music festival in London. The first British Empire Music Festival was held at the Royal Albert Hall on St. Cecilia's Day (22 November) 1922, which included

masks:
Florence Parb
Parbury


texts:
 patriotic music of Canada, four of the "Six Australian Bush Songs" by W. G. James, "Rule Britannia" and tunes from the Pipers of the Scots Guards. The festivals continued for a few more years, and at the third one in 1924 Dame Clara Butt sang. Three days after the first BEMF <mask> <mask> was married at Holy Trinity Brompton to Ernest Bigland. The ceremony was performed by Alfred William Gough, Prebendary of St Pauls Cathedral, assisted by Rev.Canon Sir John Key, Bt., a cousin of the bride. Ernest Bigland, some thirty years Parbury's senior, was a ship owner. The couple lived at Ernest's home: Scote Howe, Hook Heath, Woking, Surrey, where <mask> enjoyed growing specimen flowers for exhibition. At the RHS Chelsea Flower Show in 1928 she was awarded an Award of Merit for Begonia <mask>land, "a magnificent double-flowered variety [with] broad petals of shining apricot colour". In this same year she composed more music, including "Abbey Wedding March" and "Sonning" (dedicated to the bride) for the wedding at St Margaret's, Westminster of John Raymond Ropner to Joan Redhead on 24 July 1928. The bridegroom was the grandson of Sir Emil Hugo Oscar Robert Ropner, 1st Baronet, ship builder and ship owner. It was probably through the shipping connection that Mrs Bigland wrote music for this occasion.Ernest Bigland died at his home on 10 December 1942. <mask> continued living there until about 1949, after which she moved to London. She lived her final years at Flat 11, 51 South Street, W1, close to Park Lane. She died there on 24 October 1960, leaving a considerable fortune. In her will she said "I desire to be cremated and my ashes to be scattered by my confidential chauffeur George Upfield over the tree to be indicated by me." It is not known where that was. References

1881 births
1960 deaths
People from South Norwood
Musicians from London
Writers who illustrated their own writing
British socialites
Writers from London
International Red Cross and Red Crescent

masks:
Florence Tyzack
Parbury
Florence
Florence Big
Florence


texts: <mask>, also known as <mask> (8 November 1929 – 7 December 1987), was a British Anglican priest and academic who committed suicide in the wake of media reactions to an anonymous preface he wrote for Crockford's Clerical Directory. <mask> was born at Westcliff-on-Sea, Essex into a "lower-middle-class family", son of <mask> and Kathleen Beryl (née Vaughan). <mask>'s father was a London shipping clerk. <mask> was educated at the Royal Grammar School, Guildford, Southend High School for Boys and Christ's College, Cambridge. He became a priest, published historian, Fellow in Modern History at New College, Oxford and college chaplain and Dean of Divinity, canon of Chichester Cathedral and a member of the Church of England's General Synod and its standing committee. He was a well-known figure in ecclesiastical politics in England, latterly rather definedly on the conservative wing of the Anglo-Catholic movement, being a noted figure in the opposition to the ordination of women. Crockford's Clerical Directory, published biennially by the Church of England, contains brief biographical details of every Anglican cleric in Britain and Ireland.It was traditional for its preface to be written anonymously and to take a slightly waspish, if detached and amused, look at events in the church since the previous edition. <mask> was asked to write the preface for the 1988 edition of the directory, which was published on 3 December 1987. <mask> consciously took a different tack on the article and wrote a carefully constructed demolition of the hierarchy of the Church of England from a conservative viewpoint, which he himself described as "wicked". In it <mask> excoriated what he perceived as an intolerant liberal elite in the church, headed by the then Archbishop of Canterbury, Robert Runcie, a process

masks:
Gareth Vaughan Bennett
Garry Bennett
Life Bennett
Roy Charles Frederick Bennett
Bennett
Bennett
Bennett
Bennett
Bennett


texts:
 which he felt would follow a trail already blazed by the Episcopal Church in the United States of America and would lead inexorably to a steep decline in the fortunes of the church. Specifically, he argued that Runcie was guilty of cronyism, appointing to high office only those whom he had known through Westcott House (<mask>'s own theological college) or Ripon College Cuddesdon theological colleges or else the Canterbury and St Albans dioceses. While the explosive nature of the article in ecclesiastical circles might have been predicted, the secular press turned the issue into front page news. The papers latched on to his criticisms of Runcie, yet the preface was far more critical of the liberal Bishop of Durham, David Jenkins, and the Bishop of Newark, John Shelby Spong.After a number of days of fevered speculation, it emerged that <mask> was the anonymous author and the last entries in his diary make clear that he was finding the attentions of the tabloid press increasingly difficult to cope with. On 7 December, <mask> killed himself. His death and the events which led up to it continue to divide those who take an interest in church matters. Conservative Anglo-Catholics and many others opposed to the ordination of women view <mask> as a martyr, hounded to his death by the machinations of the Church of England "spin machine" for saying something that everyone believed to be true. Liberals, while agreeing that his death was a tragedy, point to <mask> being not without his problems and having recently lost his mother, to whom he was particularly close. Quotation
"His clear preference is for men of liberal disposition and a moderately Catholic style which is not taken to the point of having firm principles. If in addition they have a good appearance and are articulate over the

masks: Bennett Bennett Bennett Bennett Bennett


texts:
 media, he is prepared to overlook a certain theological deficiency."(of Archbishop Robert Runcie)

Evaluation

<mask>'s Crockford preface came at a time when the issue of the ordination of women to the priesthood was becoming a more divisive issue in the Church of England than it had perhaps been up to that point. The main book on the <mask> affair, William Oddie's The Crockford Files, highlights this as a primary frustration for <mask> but also considers other factors, such as the gradual emergence after the 1960s of trends – for example the non-realist theology of Don Cupitt – which traditionalists considered detrimental to the faith of the church. <mask> aligned himself to the Anglo-Catholic wing of the church and had strong links with Pusey House, Oxford, and the clergy who staffed it and made that alignment consciously and "not without reservations". At the time <mask> wrote his preface (which covers a wider range of topics than the disproportionate amount of coverage given to the "An Archbishop in toils" section suggests), opposition to the ordination of women to the priesthood had not been centralised – the traditionalist group Forward in Faith did not become established until 1992. It is, therefore, a matter of conjecture how he would have moved had he been alive when the Church of England voted positively on the issue and the first ordination of women as priests took place in England in 1994. For all the polarisation between them that the media reports suggested, <mask> and Robert Runcie knew each other and <mask> was one of a number of clergy and lay people whose skills Runcie, when at Canterbury, used in drafting speeches and sermons, as Runcie's main biographer, Humphrey Carpenter, indicates. Carpenter, working from <mask>'s diaries, noted that <mask> had become

masks: Bennett Bennett Bennett Bennett Bennett Bennett Bennett Bennett Bennett


texts:
 frustrated at his lack of preferment and this may have contributed to the tone of his preface.Runcie himself said of <mask> that there was nothing in what he wrote which he had not previously "said to his face". From Carpenter's portrait, <mask> emerges on the one hand as a distinguished academic and cleric, but on the other as a reclusive lonely man who could not cope with the spotlight when it fell upon him. Writings
  Essays in Modern English Church History in Memory of Norman Sykes. Published by Adam & Charles Black, 1966. Edited by <mask> and J. D. Walsh. To the Church of England. Churchman Publishing Ltd., 1988.The Tory Crisis in Church and State 1688–1730: The Career of Francis Atterbury Bishop of Rochester. Oxford: Clarendon Press, 1975.  xvii, 335 p., [5] leaves of plates: ill.; 23 cm. Tradition and Change in the Church. London [England]: Association for the Apostolic Ministry, [1988?]. [8] p. ; 21 cm. "This Report was authorised for publication by AAM by the late Canon <mask>..."
  White Kennett 1660–1728, Bishop of Peterborough: A Study in the Political and Ecclesiastical History of the Early Eighteenth Century. London : S.P.C.K.for the Church Historical Society, 1957.  xii, 290 p.

References

Sources
 By Sex Divided: Church of England and Women Priests, Jonathan Petre, Zondervan, 1995. That Fateful Preface, New Directions, January 2006. An Unhappy Anniversary, New Directions, December 1997. 1929 births
1987 suicides
People educated at Royal Grammar School, Guildford
20th-century English Anglican priests
Fellows of New College, Oxford
English Anglo-Catholics
Suicides in England
Chaplains of New College, Oxford
People educated at Southend High School for Boys
Alumni of Westcott House, Cambridge
Anglo-Catholic clergy
Ordination of women in the Anglican

masks:
Bennett
Bennett
Bennett
Gareth Bennett


texts:
<mask> is an American, plant molecular biologist. She is a Professor in the Department of Environmental and Plant Biology at Ohio University, as well as director of the Ohio University Interdisciplinary Graduate Program in Molecular and Cellular Biology. <mask>'s research interests include molecular biology, genomics, and signaling events. She is considered one of the world's experts on gravitational signaling in plants, and some of her recent research includes an experiment on board the International Space Station (ISS). Education and career
<mask> was born in 1958 and raised in Mayfield, Kentucky. She received her B.S. in Cognition and Development in 1980 and a B.S.in biology in 1984 from the University of Kentucky. In 1991, she received her M.S. in Plant Pathology, also from the University of Kentucky. She went on to attend Purdue University and in 1995 received her Ph.D. from the Interdisciplinary Plant Physiology Program. From 1982 to 1988, <mask> held a position as a Senior Scientist in Research and Development for Fungal and Parasitic Diseases American Scientific Products in Lexington, Kentucky, after which she was a Research Assistant in the Department of Plant Pathology at Kentucky University from 1988 to 1990. In 1994, <mask> was a Visiting Scientist at both the University of Zurich in Zurich, Switzerland, and the Russian Academy of Sciences in Kazan, Russia. In 2012, while holding a position as Associate Chair in the Department of Environmental and Plant Biology at Ohio University, <mask> served as "Rotating" Program Director of Integrative and Organismal Systems for the National Science Foundation.She continued her service to the National Science Foundation as an Intermittent Program Director for Molecular and Cell Biology from 2014 to 2015. Currently, <mask> is a Professor in the Department of Environmental and Plant Biology and Director of the Interdisciplinary Molecular and Cell Biology Program at Ohio University, Athens, Ohio. Her research lab is staffed by both graduate and undergraduate students, who use molecular, genetic and genomic tools to study plant growth and development, with a focus on plant gravitropic signaling. Other projects in the <mask> lab involve the shift

masks:
Sarah Wyatt
Wyatt
Sarah Wyatt
Wyatt
Wyatt
Wyatt
Wyatt
Wyatt


texts:
 between chasmogamous (open) and cleistogamous (closed) flowers in Viola pubescens and genetic fingerprints indicating gene expression and relationships during evolution of plant species. NASA experience and ISS experiment
Following her Ph.D., <mask> became a Research Associate for the NASA Specialized Center of Research and Training in the Department of Botany at North Carolina State University. She held that position from 1996 to 2000, after which she began her teaching career at Ohio University in the Department of Environmental and Plant Biology. In early 2013, <mask> submitted a research proposal to NASA's Research Opportunities in Space Biology (ROSBio), and in May of the same year her proposal along with eight others, was accepted for experimentation aboard the ISS.The objective of her space flight mission, entitled The Biological Research in Canisters-20 (BRIC-20), was to germinate Arabidopsis thaliana seedlings in space and study their transcriptomic and proteomic responses to microgravity. In January 2015, the SpaceX Falcon 9 was sent into orbit, placing a Dragon cargo capsule with the BRIC-20 experiment in path to the ISS Harmony module. The SpaceX Dragon cargo was released from the ISS after a month of spaceflight and returned to Earth for de-integration at the Kennedy Space Center. Once de-integrated, samples were shipped to the <mask> lab at Ohio University for proteomic and transcriptomic analyses. Results of the space flight mission are in press and under review (see selected publications) and may provide invaluable insight into how plants cope in a microgravity environment, subsequently enhancing efforts to use plants for sources of food and oxygen during future spaceflight missions. Following the BRIC-20 mission, <mask> received Faculty Fellowship Leave to work with GeneLab - Omics Open Science Initiative at the NASA Ames Research Center in Mountain View, California. Service and outreach
Through her academic career, <mask> has presented numerous talks, demonstrations, and workshops reaching approximately 2,100 sixth-twelfth grade students, 1,000 elementary aged students, and 80 adults.<mask> has been the Organizing Committee Chair and a presenter for AAUW’s Tech Savvy program

masks: Wyatt Wyatt Wyatt Wyatt Wyatt Wyatt


texts:
 in Athens, Ohio since 2014. Tech Savvy is a daylong STEM career conference for middle school girls, aimed at introducing and attracting them to the STEM fields through hands-on activities. <mask> has been a voluntary member of the Plant Science Definition Team through NASA since August 2016, and has sat on numerous grant panels including those through NASA, the National Science Foundation (NSF), the United States Department of Agriculture, European Space Agency, and the American Society of Plant Biologists (ASPB). She has served as a manuscript reviewer and on the editorial boards for over 15 scientific journals such as the American Journal of Botany, Plant Cell, and Plant Physiology. <mask> is currently the Education Committee Chair for ASPB and holds this position through 2019. Awards and recognition
 Faculty Fellowship Leave, GeneLab - Omics Open Science Initiative NASA Ames Research Center, Mountain View, CA
 Excellence in Education Award, American Society of Plant Biologist, 2017
 Presidential Research Scholar, Ohio University, 2016
 Presidential Teaching Award, Ohio University, 2014-2017
 Outstanding Faculty Leadership and Service Award, Ohio University, College of Arts & Sciences 2013-14
 Ann Campbell Brown Service Award, Ohio University, 2011
 Presidential Teaching Award, Ohio University, 2007-2010
 Dean's Outstanding Teacher Award, College of Arts & Sciences, Ohio University, 2004

Honors
 Phi Beta Kappa
 Sigma Xi, Scientific Research Honor Society
 Gamma Sigma Delta, Honor Society of Agriculture

Selected publications
 Basu P, Kruse CPS, Luesse DR, Wyatt SE (in review) Growth in the Biological Research in Canisters (BRIC) flight hardware results in alterations to the transcriptome and proteome. Advances in Space Research.Cook CA, Tucker A, Shen K, <mask> SE (2015) Microarray identifies transcription factors potentially involved in gravitropic signal transduction. Gravitational and Space Research 3:18-27. References

1958 births
Living people
People from Mayfield, Kentucky
University of Kentucky alumni
Purdue University alumni
Ohio University faculty
American molecular biologists
Kentucky women biologists
American women biologists
American women academics
21st-century American

masks: Wyatt Wyatt Wyatt


texts:
Slavoljub "<mask>" Vorkapić (; March 17, 1894 – October 20, 1976), known in English as <mask>h, was a Serbian-born Hollywood montagist, an independent cinematic artist, chair of USC School of Cinematic Arts, chair of the Belgrade Film and Theatre Academy, painter, and illustrator. He was a prominent figure of modern cinematography and motion picture film art during the early and mid-20th century and was a cinema theorist and lecturer. Early life
Slavoljub Vorkapić was born on March 17, 1894, in the small village of Dobrinci near Ruma in the Srem region, at the time part of the Kingdom of Croatia and Slavonia of the Austro-Hungarian Empire (now Serbia). His father Petar, the town clerk, insisted that young <mask> should be well-educated. After finishing his primary education, he became a student in a well-known regional high-school in the nearby town of Sremska Mitrovica, where he made his first steps in art and drawing. (Mileva Marić-Einstein, the first wife and work associate of Albert Einstein went to the same high school.) He continued his high-school education in Zemun and later in the famous Art School in Belgrade.With a scholarship received from Matica srpska, Serbia's highest cultural and scientific institution at the time, Vorkapić went to Budapest, Hungary, where he studied art. At the beginning of World War I, he immediately returned to his homeland where, with the country besieged on all sides, he survived the tragic Serbian retreat across Albania in order to reach Allied positions in Greece. From there he sailed to Italy, from where he reached France. He

masks:
Slavko
Slavko Vorkapic
Slavko


texts:
 managed to enter Art Academy in Paris but soon after moved to Montparnasse among other Avant-garde artists. He took part in the 1917 and 1919 collective painter exhibits. Career
<mask> Vorkapich's dream to go to the United States was fulfilled in 1920. For a short time, he lived in New York City.Then, for almost a year, he roamed the country nearly homeless, until his arrival in Hollywood in July 1921. Although he started his motion picture career as a painter and an actor, he became best known as a montagist, special effects expert, cinematic artist, cinema teacher, editor, and became one of the most respected cinematic filmmakers in the period between the two World Wars. Vorkapić made a great number of cinematic documentaries and lyrical purely cinematic short-length movies. He co-wrote the screenplay for Johann the Coffinmaker (1927), a 27-minute experimental film directed by Robert Florey that involved a lot of trick photographic effects. Vorkapić co-directed the experimental black and white short motion-picture The Life and Death of 9413: a Hollywood Extra (1928) with Robert Florey, and 2 beautiful and exciting visual tone poems, Moods of the Sea (1941) and Forest Murmurs (1947) with his Hollywood colleague, the Hungarian-born montagist and cinematic filmmaker John Hoffman (1904–1980). His one-minute montage sequence for the otherwise lost movie Manhattan Cocktail (1928), directed by Dorothy Arzner, was released in the October 2005 DVD collection Unseen Cinema: Early American Avant Garde Film 1894-1941. He is best known for his montage work (see montage


texts:
 sequence) on Hollywood movies such as Crime Without Passion (1934), Dr. Jekyll and Mr. Hyde (1941), Viva Villa!(1934), David Copperfield (1935), The Good Earth (1937), and Mr. Smith Goes to Washington (1939). Vorkapich used kinetic editing, lap dissolves, tracking shots, creative graphics and optical effects for his montage sequences for such features as Manhattan Melodrama (1934), Maytime, The Firefly (both 1937), and Meet John Doe (1941). He created, shot, and edited these kinesthetic montages for features at Universal Pictures, MGM, RKO, and Paramount. He directed a short documentary movie for RKO, Private Smith of the U.S.A., that was nominated for an Academy Award. Vorkapich is credited for editing and montage on Moscow Strikes Back (1942), one of four winners at the 15th Academy Awards for Best Documentary Feature. He was appointed chair of the Department of Film of the University of Southern California from 1949 to 1951. During the 1950s, he was in Yugoslavia and worked as a professor at the Belgrade Film and Theatre Academy.In Yugoslavia in 1955, Vorkapić directed a full-length motion picture entitled, Hanka. Personal life
In 1938, Vorkapich commissioned modern architect Gregory Ain to build a garden house for his residence in Beverly Hills. It was a minor landmark in prefabricated architecture. It has since been destroyed. Two of his many master drawings, his gift during a visit to Yugoslavia, are kept in the Srem Museum in Sremska Mitrovica. <mask> Vorkapić died of a heart attack in Mijas, Spain on the estate of his son Edvard who was a cinematographer on


texts:
 October 20, 1976. Influence and legacy
The now-common montage sequence often appeared as a notation in Hollywood screenplays of the 1930s and 40s as the "Vorkapich" because of his mastery of the dynamic visual montage sequence wherein time and space are compressed using a variety of cinematic techniques, such as kinetic montage, camera tricks, optical printer effects, dolly shots, & stylized graphics.Sometimes moviemakers will simply refer to the technique as "a Vorkapich". Vorkapich's protege Art Clokey learned kinescope animation techniques under him at USC Film School and went on to use them to create the Gumby animated series. Better Call Saul creator Peter Gould cited Vorkapich as a major influence for the montage sequence in the Season 1 finale titled "Marco". See also

 Pure cinema
 Montage (filmmaking)
 Cinematic techniques
 Experimental film
 Abstract film

References

Sources
The Most Typical Avant-Garde. James, David – 2005
On True Cinema. Babac, Marko – 1998
Slavko Vorkapich: Reminiscences. Davis, Ronald – 1978

External links

 Recreation of the life and death of 9413 at the Internet Archive
 <mask> Vorkapić at FilmReference.com
 Slavko Vorkapić picture circa 1950
 http://purecinema-celluloid.webs.com/slavkovorkapich.htm
 "The Furies," opening montage sequence of Crime Without Passion (1934)

1894 births
1976 deaths
People from Ruma
Austro-Hungarian emigrants to the United States
USC School of Cinematic Arts faculty
American film directors
American cinematographers
Serbian film directors
American university and college faculty deans
American film


texts:
<mask> commonly known as <mask>  (30 January 1940 – 24 August 2021) was a Maldivian film actor and writer. Early life
In 1977, while studying at Majeediyya School, <mask> participated in the theatre play performed to celebrate the Golden jubilee of Majeediyya School. He then joined several other theatre performances as a hobby though his first priority lies in sketching and drawing, followed by writing. His most notable performance as a theatre artist includes his role as Viyazor; the administrative chief of the Portuguese kingdom who invaded and ruled over Maldives. His work as a theatre performer was appreciated by the government of Maldives and he was bestowed with the National Award of Recognition in 1983. Career
<mask> made his screen debut in 1982 with a Television Maldives production titled Ghaazee Bandaarain where he reprised the role of Viyazor, which he performed in his previous theatre plays. One of the earliest releases in Maldivian cinema, the film narrates the invasion of Portuguese in Maldives and the re-capturing of Malé by Muhammad Thakurufaanu Al Auzam.His "authentic" performance was appreciated by the critics and audiences which resulted in him receiving several film offers from producers. In 1993, he appeared in Ibrahim Rasheed-directed film Beyvafaa where he played the role of a concerned father who disowns his son with regard to his decision to marry a blind orphan. In his next release, Ahmed Nimal's Sitee, <mask> portrayed a character who adopts an orphan and assists him in the search for his father. The following year, <mask> starred alongside Hassan Afeef, Arifa Ibrahim, Lillian Saeed and Mariyam Haajara in Ibrahim Rasheed's family drama Dhevana An'bi, in which he played the role of an underprivileged senior citizen who changed the life of an ordinary man with his intellects and determination.. The film revolves around a couple who gets separated due to social discrimination initiated by a cunning mother-in-law. Hamid Ali's Badhal was released in 1996, in which he starred alongside Ali, Hussain Sobah and

masks:
Moosa Manik
Chilhiya Moosa Manik
Manik
Manik
Manik
Manik


texts: Niuma Mohamed as a wealthy businessman who is being duped in a series of events caused due to a misunderstanding by a "non-existent" twin. He also appeared in a Television Maldives production, Fun Asaru (1996) which follows two women; one searching for her mother and one fighting cancer.This was followed by his brief role in Amjad Ibrahim's debut direction Huras (1996) which was developed with the sole intention of winning Gaumee Film Awards though it failed to garner any award at 2nd Gaumee Film Awards ceremony. The next year, <mask> appeared alongside Hussain Sobah, Mariyam Nisha and Jamsheedha Ahmed as the father of an established actress who sacrifices her career for an underprivileged talented vocalist in Amjad Ibrahim's Loabeege Aniyaa. Mariyam Shauqee's widely acclaimed family drama television series Kahthiri was released in 1998, where he played the role of the chief of the district council advocating for the right of citizens and was credited as the writer of the series along with Fathimath Nahula and Ibrahim Rasheed. In 2000, <mask> starred alongside Ahmed Asim, Mariyam Nazima, Koyya <mask> and Waleedha Waleed in Haajara Abdul Kareem-directed Ajaaib which depicts the relationship of two exemplary wives and their respective families regardless of societal norms. Apart from playing the father of an emotionally immature wife in Amjad Ibrahim's comedy drama film, Majubooru Loabi (2000), he also featured as a wealthy businessman who marries a gold-digger in Aslam Rasheed's Shaalinee. Besides, he appeared in year's most successful Maldivian film, Ahmed Nimal's horror classic Zalzalaa, where he played the spiritual old man treating a man possessed by a female spirit assigned to complete an unfulfilled prophecy. The following year, he starred in Ali Shameel's drama film Hithi Nimun (2001) opposite Mohamed Shavin, Mariyam Nisha and Sheereen Abdul Wahid, which follows the storyline of a stubborn young man who abandons his girlfriend when he discovers about her pregnancy.In 2003, <mask> played a supporting role in Imad

masks:
Manik
Manik
Hassan Manik
Manik