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<mask> (), known simply as <mask> (born June 29, 1951), is an American comic book writer and illustrator known for his Disney comics stories about Scrooge McDuck, <mask>, and other characters which Carl Barks created for Disney-licensed comic books, first published in America by Dell Comics. Many of his stories are built on characters and locations created by Carl Barks; among these was his first Duck story, "The Son of the Sun" (1987), which was nominated for a Harvey Award in the "Best Story of the Year" category. <mask>uck won the Eisner Award for "Best Serialized Story". Early life
<mask>'s grandfather, <mask>, lived in Maniago, a town at the foot of the Alps in Northern Italy, in the province of Pordenone. He immigrated to Kentucky, the United States around 1900, established a successful tile and terrazzo company, then returned to Italy to marry and start a family. In 1915 just after the birth of his son <mask>, Gioachino returned to Kentucky with his wife, two daughters and two sons.Ugo <mask> grew up and was later married in Kentucky. His wife was born to a German American father and a mother with both Scottish and Irish ancestry. <mask> was born Keno <mask> <mask> on June 29, 1951 in Louisville, Kentucky. He was named after both his father and grandfather. Gioachino was called "Keno" for short. <mask>'s father was named Ugo <mask> but used the name "<mask>" <mask> in America. <mask> was exposed to comics at a very early age, as his only sibling, an 11-year-older sister, Deanna, was a comics hoarder and had a large number of comics, which made it possible for <mask> to discover comics literally from birth as a storytelling medium by just "reading the pictures" and later also actually read.<mask> also began drawing comics before being able to write. The characters he would typically draw were a large cast of stick figures which he usually featured in comedy/adventures of a Barksian style, since the Carl Barks' stories were the ones <mask> was most fond of. <mask> stuck to drawing simple stick figures for these stories since these were mere illustrations as a means of getting the story told. The story was the pinnacle to him, not the actual drawings. <mask> kept drawing the stick figure stories until he attended High school at St. Xavier High School (Louisville), Kentucky. <mask>'s favorite comic books while growing up were Uncle Scrooge and Little Lulu comics from Dell Comics, as well as his sister's collection of MAD magazines. When <mask> became 12 years old he also discovered and started to enjoy the Superman titles of DC Comics especially from the editor Mort Weisinger's period, drawn mostly by his favorite Superman artists Curt Swan and Kurt Schaffenberger.Shortly after <mask> started to collect Superman comics he also began to trade in the comics he had inherited from his older sister for old Superman comics. The reason behind this action was that a comic book shop in his living area offered to trade two used old comics for one new, a sound deal for the young <mask>. By the 1970s <mask>'s comic trading had ended up with him only having two Barks duck comics issues left from the collection his sister originally passed on to him. One of them being Dell Comics' Four Color Comics #386 (also known as Dell Comics' One shot's) issue titled: "Uncle Scrooge in Only a Poor Old Man", which was unknown to him to be the first issue of the new Carl Barks Uncle Scrooge Title. The second issue is his other favorite Barks Comic from his youth, Dell's <mask> in "The Golden Helmet". Later when <mask> became a serious collector of all comics of the post-war years, he particularly enjoyed and collected the classic E.C. Comics of the horror and science fiction genres published in the early 1950s, Will Eisner's The Spirit, Walt Kelly's Pogo, and virtually all other comics from 1945 and onward.<mask> entered the University of Kentucky in 1969. He graduated in 1973 with a Bachelor of Science degree in civil engineering. Career
In 1969 while still in college, <mask> won an award as "best political cartoonist in the nation in a college paper". "I'm not really an editorial cartoonist. I'd much rather be doing comedy adventure. But I must have done something right, for at one point The Journal of Higher Education named me one of the five or six best college newspaper cartoonists in the nation." <mask>'s first published comic (besides the spot illustrations in his grade school and high school newspapers) was a comic strip featuring his own character, Lancelot Pertwillaby, titled The Pertwillaby Papers.He created the strip in 1971 for The Kentucky Kernel, a college newspaper of the University of Kentucky, which wanted the strip to focus on political satire. <mask> later switched the strip to comedy-adventure, his favorite style of comics, and drew the story Lost in (an alternative section of) the Andes. (The title is a reference to Lost in the Andes!, a <mask> story by Carl Barks, first published in April, 1949.) The so-called Pertwillaby Papers included 127 published episodes by the time <mask> graduated in 1973. Meanwhile, <mask> participated in contributing art and articles to comic collector fanzines. One contribution was An Index of Uncle Scrooge Comics. According to his introduction: "Scrooge being my favorite character in comic history and Barks my favorite pure cartoonist, I'll try not to get carried away too much."After attaining his bachelor's degree, <mask> continued to draw comics purely as a hobby, his only income came from working in the Keno Rosa Tile and Terrazzo Company, a company founded by his paternal grandfather. <mask> authored and illustrated the monthly Information Center column in the fanzine Rocket's Blast Comicollector from 1974 to 1979. This was a question-and-answer feature dealing with readers' queries on all forms of pop entertainment of which <mask> was a student, including comics, TV and movies. He also revived the Pertwillaby Papers in this "RBCC" fanzine as a comic book style story rather than a newspaper comic strip from 1976 to 1978. By now having become a locally known comics collector and cartoonist, <mask> accepted an offer from the editor of the local newspaper to create a weekly comic strip. This led to his creation of the comic strip character Captain Kentucky for the Saturday edition of the local newspaper Louisville Times. Captain Kentucky was the superhero alter ego of Lancelot Pertwillaby.The pay was $25/week and not worth the 12+ hours each week's strip entailed, but <mask> did it as part of his hobby. Publication started on October 6, 1979. The comic strip ended on August 15, 1982 after the publication of 150 episodes. After three years with Captain Kentucky, <mask> decided that it was not worth the effort. He retired from cartooning and did not draw a single line for the next four years. Years later, as his fame grew, his non-Disney work was published by the Norwegian publisher Gazette Bok in 2001, in the two hard-cover "Don Rosa Archives" volumes, The Pertwillaby Papers and The Adventures of Captain Kentucky. Gladstone
In 1986, <mask> discovered a Gladstone Comics comic book.This was the first American comic book that contained Disney characters since Western Publishing's discontinuation of their Whitman Comics in the 1970s. Since early childhood <mask> had been fascinated by Carl Barks' stories about <mask> and Scrooge McDuck. He immediately called the editor, Byron Erickson, and told him that he was the only American who was born to write and draw one Scrooge McDuck adventure. Erickson agreed to let him send a story, and <mask> started drawing his first Duck story, "The Son of the Sun," the very next day. "The Son of the Sun" was a success and <mask>'s very first professional comic story was nominated for a Harvey Award "Best Story of the Year". The plot of the story was the same as his earlier story, Lost in (an alternative section of) the Andes. As <mask> explained it, he was just "(...) turning that old Pertwillaby Papers adventure back into the story it originally was in my head, starring Scrooge, <mask>, the nephews, and Flintheart Glomgold."<mask> created a few more comics for Gladstone until 1989. He then stopped working for them, because the policies of their licensor, Disney, did not allow for the return of original art for a story to its creators. This was unacceptable to <mask>, since a part of his income came from selling the originals, and the original art is the property of the freelance artists, unless otherwise agreed upon. Without that extra money, he could not make a living drawing comic books. After making some stories for the Dutch publisher Oberon, the publishers of an American Disney children's magazine called DuckTales (based on the animated series of the same name) offered <mask> employment. They even offered him a much higher salary than the one he received at Gladstone. <mask> made just one script (Back in Time for a Dime).The publishers never asked him to make more, and due to problems with receiving the payment, he did not care. Egmont

After working with the DuckTales magazine, <mask> found out that the Denmark-based International publisher Egmont (at that time called Gutenberghus) was publishing reprints of his stories and wanted more. <mask> joined Egmont in 1990. Two years later, at <mask>'s suggestion, Byron Erickson, the former editor at Gladstone also went to work for Egmont and has been working there ever since as an editor and later as a freelancer. In 1991 <mask> McDuck, a 12 chapter story about his favorite character. The series was a success, and in 1995 he won an Eisner Award for best continuing series. After the end of the original series, <mask> sometimes produced additional "missing" chapters.Some of the extra chapters were turned down by Egmont, because they were not interested in any more episodes. Fortunately, the French magazine Picsou was eager to publish the stories. From 1999, <mask> started working freelance for Picsou magazine as well. All of these chapters were compiled as The Life and Times of Scrooge McDuck Companion. On strike
During early summer 2002, <mask> suddenly laid down work. As an artist he could not live under the conditions Egmont was offering him, but he did not want to give up making Scrooge McDuck comics either. So, his only choice was to go on hiatus and try to come to an agreement with Egmont.His main issues were that he had no control over his works. <mask> had discovered too often that his stories were printed with incorrect pages of art, improper colors, poor lettering, or pixelated computer conversions of the illustrations. Another matter was that his name was used in promotion of these flawed books and collections of stories without his agreement. <mask> has never, nor has any other artist working on Disney-licensed characters, received royalties for the use or multi-national reprinting of any of his stories worldwide. <mask> came to an agreement with Egmont in December of the same year, which gave him more control over the stories and the manner in which they were publicized. Quitting
<mask>'s eyesight had been very poor since his childhood. In 2006 and 2007 he began having new difficulties, which made drawing a very slow and tedious process for him, even more so than normally.In March 2008, <mask> suffered a severe retinal detachment and underwent emergency eye surgery that proved to be only partially successful. Further surgery in both eyes made drawing even more difficult. On June 2, 2008, during an interview at the Danish Komiks.dk fair, <mask> stated that he would not do any more comics, citing eye troubles, low pay, and the constant use of his stories in special hardback or album editions by international Disney licensees without any payment of royalties or requests for permission for the use of his name. In 2012, <mask>mont's 9-volume Don Rosa Collection, which was to be published in Finland, Norway, Germany and Sweden. <mask>mont agreed to publish the essay, but Disney refused to allow them to print it under their license. <mask> arranged with Egmont to post the essay on his own website, and publish a link to the essay in the collection. The essay, posted at career-end.donrosa.de, cites the above reasons, with special emphasis on the "Disney comics system" for paying writers and artists a flat per-page rate, and then allowing publishers around the world to print the stories without payment to the creators.<mask> is more popular with readers in Europe than in his native United States. According to him, even his next-door neighbors do not know his profession. Personal life
In 1980, <mask> married Ann Payne. Payne is a retired social studies middle school teacher. Character
<mask> describes himself as an introvert due to being socially isolated as a child. Also, he thinks of himself as a workaholic. <mask> suffered from depression during the years before he quit.He believes that it was caused by working hard while taking little time for leisure, a result of his self-imposed work regimen due to his enthusiasm for Barks' characters. Hobbies
<mask> is an avid collector of many things, including comic books, TV Guide, National Geographic,  and movie magazines, fanzines, books,  White Castle memorabilia, pinball machines and movies and more. <mask> also grows exotic chili plants and tends nearly 30 acres of a private nature preserve with wildflower fields and numerous forest trails. That and taking semi-annual European signing tours to visit his fellow BarksDucks fans, takes up all of his time. He is also working to complete his collections of All American comic books published between 1945 and 1970. Work

In Europe, <mask> is recognized as one of the best Disney comics creators. Carl Barks and <mask> are among the few artists who have their name written on the covers of Disney magazines when their stories are published.<mask> enjoys including subtle references to his movies and comic as well as his own previous work. He normally uses about 12 panels per page, instead of the more common eight. He needs to use the extra panels, because his plot ideas usually are too long to be published if he does not condense them. <mask> has an especially large following in Finland, and in 1999, he created a special 32-page adventure featuring Scrooge McDuck for his Finnish fans called; Sammon Salaisuus (translates to The secret of the Sampo, but it is officially named The Quest for Kalevala in English), based on the Finnish national epic, the Kalevala. The publication of this story created a national sensation in Finland where <mask> and the Kalevala are important aspects of culture. It was published in many other countries as well. The cover for the comic book was a spoof of a famous painting by Akseli Gallen-Kallela.The latest work that <mask> has worked on is a cover for the album Music Inspired by the Life and Times of Scrooge by Tuomas Holopainen from Nightwish who is a fan of <mask>'s comics. Drawing style
With a bachelor of arts degree in civil engineering as

masks:
Keno Don Hugo Rosa
Don Rosa
Donald Duck
RosaD
Don Rosa
Gioachino Rosa
Ugo Rosa
Rosa
Don Rosa
Don Hugo
Rosa
Don
Dante Rosa
Hugo Don
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Donald Duck
Rosa
Rosa
Rosa
Rosa
Rosa
Donald Duck
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Don
Rosa
Don Rosa
Donald Duck
Don Rosa
Rosa
Don Rosa
Donald
Rosa
Don Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosage
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosag
Rosag
Rosa
Rosa
Rosa
Don Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Donald Duck
Rosa
Rosa


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 his only real drawing education, <mask> has some unusual drawing methods, as he writes: "I suspect nothing I do is done the way anyone else does it." Because of being self-taught in making comics, <mask> relies mostly on the skills he learned in engineering school, which means using technical pens and templates extensively. He applies templates and other engineering tools to draw what other artists draw freehand. He usually drew just under a page per day, but that depended on the amount of detail he puts in the picture. <mask>'s drawing style is considered much more detailed and "dirtier" than that of most Disney artists, living or dead, and often likened to that of underground artists, and he is frequently compared to Robert Crumb. When <mask> was first told of this similarity, he said that he "drew that bad" long before he discovered underground comics during college.He went on to explain these similarities to underground artists with a similar background of making comics as a hobby:

"I think that both my style and that of Robert Crumb are similar only because we both grew up making comics for our personal enjoyment, without ever taking drawing seriously, and without ever trying to attain a style that would please the average comics publisher. We drew comics for fun!" Carl Barks
"I want to take everything Barks wrote and forge it into a workable timeline. My original dream was to become the new Carl Barks. I wanted to write, draw, and letter all my own stories. People tell me that my pencils look just like Barks, but my inks are pure <mask>, and I can't letter properly! So I'll have to settle for being <mask>."– <mask> in 1987

"<mask> has often been called the heir of Carl Barks, especially for the way in which he has carried on the Ducks' Family Saga. But I don't think so: in my opinion <mask> [...] is an author who has used Barks' characters to make stories that are completely new, 'Donrosian' rather than 'Barksian', just like Barks can't be considered the heir of Al Taliaferro only because he has worked on the Ducks after him." – Carlo Chendi, Italian Disney comics writer

<mask>'s idol when it comes to comics is Carl Barks. <mask> builds almost all his stories on characters and locations that Barks invented. Many of <mask>'s stories contain references to some fact pointed out in a Barks story. At the request of publishers in response to reader demands, <mask> has even created sequels of old Barks stories. For example, his Return to Plain Awful is a sequel to Lost in the Andes!, where the Ducks return to the same hidden country.To add more to his admiration and consistency to Barks and Barks' stories, <mask> makes all his ducks' stories set in the 1950s. This is because Barks writes most of the stories about Scrooge, <mask> and all people of Duckburg in the 1950s (it also conveniently resolves potential continuity problems, such as Scrooge's age). As explained in text pages in the Life and Times of Scrooge McDuck and its companion volume, <mask> does intense research of time periods to ensure not only that he gets the physical details right, but also to ensure that all characters could have been present. Barks either created most of the characters used by <mask> or is credited for greatly developing their personalities. <mask> thus feels obliged to make his stories factually consistent. He has spent a lot of time in making lists of facts and anecdotes pointed out in different stories by his mentor. Especially The Life and Times of Scrooge McDuck was based mostly on the earlier works of Barks.<mask> admitted however that a scene of the first chapter was inspired by a story by Tony Strobl. As most of the characters <mask> uses were created by Barks, and because <mask> considers Scrooge rather than <mask> to be the main character of the Duck universe, he does not regard himself as a pure Disney artist, nor the characters really as Disney's. "<mask> prefers to say that the characters he uses are Barks's, Barks having reshaped <mask>'s personality and creating everything else we know of Duckburg while working as a freelancer in 1942–1967 for an independent licensed publisher (Dell/Western Comics). Barks even claimed to have also created Huey, Dewey and Louie while working as a writer on <mask> animated cartoons in 1937." Because of his idolization of Barks, he repeatedly discourages his fans to use an absolutist way of saying his clearly different drawing style would be better than Barks's, and he found that notion confirmed when Barks himself spoke about <mask>'s style in a critical tone though it is uncertain whether those comments were Barks's or those of his temporary "business managers" who filtered his communications. "I usually don't like my stories. I mean I try really hard, but I know I don't draw that well.I know people like it because it's got lots of extra details, but art directors know good artwork, and they know mine is not good artwork. Now, people always say, 'You're being too modest, you're being too modest', and I say, 'What?' They just have to ask me the right question. I know it's not good artwork and I don't know if it's well-drawn, but I know it's entertaining." – <mask>, Torino Comics Festival, April 2011

"<mask> has a style that is a little bit different from the Disney style. I know that there is a great deal of people that like that style, which is extremely detailed. So there is room in the business for artists like <mask> and for others like Van Horn.They have a different style. But if they have a good story and tell it properly, then people are going to like it." – Carl Barks, interview given at Disneyland Paris, July 7, 1994

Beside <mask>'s constant effort to remain faithful to the universe Barks created, there is also a number of notable differences between the two artists. The most obvious of these is <mask>'s much more detailed drawing style, often with many background gags, which has been credited as being a result of <mask>'s love of the Will Elder stories of MAD comics and magazines. While Barks himself discouraged the use of extreme grimacing and gesturing in any other panel for comical or dramatic effect, <mask>'s stories are rich with colourful and bizarre facial renditions and physical slapstick. Barks had over 600 Duck stories to his name while <mask> only created 85 until his eye trouble set in, but whereas Barks made many short one and two-pagers centred around a subtle, compact gag, <mask>'s oeuvre consists almost exclusively of long adventure stories. Andrea "Bramo" Bramini identifies the following four differences between Barks's and <mask>'s way of storytelling:
 <mask> follows a very strict continuity, while Barks paid very little attention to continuity between stories.<mask>'s characterization of Scrooge is that of a much more sentimental person for often relishing his memories of past adventures. Barks situated his stories in the present day of when he was creating them, and had a penchant for satire. <mask> strictly writes stories taking place in an era at least half a century prior to their creation, and mostly abstains from any political or social commentary. With his engineering degree, <mask> often goes to great lengths to give scientifically plausible explanations within his stories, whereas Barks never cared much for any detailed scientific rationalizations to his stories. D.U.C.K. Most of <mask>'s stories have the letters D.U.C.K. hidden within either the first panel or, if <mask> has created the cover art, within the cover art itself.D.U.C.K. is an acronym for "Dedicated to Unca Carl from Keno" (Carl being Carl Barks and Keno being <mask>'s given first name). Due to Disney's refusal to allow artists to sign their work, early <mask> dedications to Barks were deleted as they seemed to be a form of a signature. Later <mask> began hiding the dedication acronym from his editors in various and unlikely places within his drawings. <mask> has drawn covers for reprints of Carl Barks stories and has included his D.U.C.K. dedication within them as well. Mickeys
Another curiosity is his Hidden Mickeys.<mask> is only interested in creating stories featuring the Duck family, but he often hides small Mickey Mouse heads or figures in the pictures, sometimes in a humiliating or unwanted situation. An example of this is in the story The Terror of the Transvaal where a flat Mickey can be seen under an elephant's foot. This is mostly a gag done for the fun of it. <mask> has admitted to neither liking nor disliking Mickey Mouse, but being indifferent to him. In the story Attack of the Hideous Space-Varmints, the asteroid with Uncle Scrooge's money bin on it crashes into the Moon along with two missiles, creating a large Mickey Mouse head on the surface. When Huey, Dewey and Louie tell <mask> that the missiles hit the "dark" (far) side of the Moon, <mask> is thankful no one is going to see it  — "For a minute there, I thought we were going to have some legal problems." In the second <mask> story featuring The Three Caballeros, <mask> is shocked by the sight of a capybara standing on its hind legs, with shrubs, leaves and fruit in front of its body, coincidentally making it look like Mickey Mouse.José Carioca and Panchito Pistoles, never having seen Mickey Mouse, ask <mask> what is wrong, but <mask> replies he is just tired. Later in the same story, the Caballeros free several animals from a poacher. One panel shows the animals fleeing; Mickey can be seen among them. In The Quest for Kalevala this running gag can be seen on the original, Akseli Gallen-Kallela-inspired cover art. In the original work, Louhi is depicted as bare-chested, but the Disneyfied version has been drawn a top, of fabric patterned with Mickey Mouse heads. Awards

His work has won <mask> a good deal of recognition in the industry, including nominations for the Comics' Buyer's Guide Award for Favorite Writer in 1997, 1998, and 1999. <mask> of Comics Buyer's Guide also mentioned <mask>'s 1994 story Guardians of the Lost Library as "possibly the greatest comic book story of all time".In 1995 <mask> was awarded the Eisner Award for "Best Serialized Story" for The Life and Times of Scrooge McDuck. In 1997 he won an Eisner for "Best Artist/Writer – Humor Category". <mask>'s story The Black Knight GLORPS Again! was nominated for the 2007 Eisner Award in the category Best Short Story. While The Prisoner of White Agony Creek, <mask>'s latest Duck story to-date, was published in 2006, he was also nominated for the 2007 Harvey Awards in five categories (more than any other creator was that year) for his Uncle Scrooge comics: "Best Writer", "Best Artist", "Best Cartoonist", "Best Cover Artist", and "Special Award for Humor in Comics." In 2013 <mask> received the Bill Finger Award which recognizes excellence in comic book writing for writers who have not received their rightful reward and/or recognition. International "Best Cartoonist of the Year" awards include:
Germany: International Grand Prize 2005 (Frankfurt Book Fair).Denmark: ORLA Award (DR Television Network). Sweden:
Svenska Serieakademins (Swedish Comics Academy). Seriefrämjandets Unghunden (Swedish Comics Association). Norway: Sproing Award (Norsk Tegneserieforum / Norwegian Comics Forum). Italy:
Yambo Award (Lucca Comics Festival). Premio U Giancu Award (U Giancu & Rapallo Comics Festival). Spain: Haxtur Award (Gijon Comics Festival).Biographical works

In 1997 the Italian publishing house Editrice ComicArt published a lavish volume about <mask>'s biography and work related to the Disney characters. It was titled <mask> Rosa e il Rinascimento Disneyano ("<mask> Rosa and the Disneyean Renaissance") and written by famous Disney and <mask> scholars, Alberto Becattini, Leonardo Gori and Francesco Stajano. This work not only discusses all of <mask>'s creative life up to 1997, but it also gives a comprehensive biography, lists up to that date his Disney work and presents an extensive interview with <mask>. In 2009, Danish director Sebastian S. Cordes shot a 75-minute documentary called The Life and Times of <mask>, consisting of exclusive interviews with <mask> himself on his farm near Louisville, Kentucky. According to the project's Facebook group, the English-language DVD was released in Denmark on April 16, 2011. In 2011, Italian Disney fan forum papersera.net published <mask>: A Little Something Special (edited by Italian <mask> fan Paolo Castagno), a large folio format, bilingual (Italian and English) book about <mask>'s life and work, containing interviews with <mask> and articles by many Italian and European Disney artists, Disney scholars, and established art critics commenting on <mask>'s work and career, also including many exclusive, rare <mask> drawings and illustrations. The book was originally made as a gift by papersera.net for <mask> himself upon the occasion of <mask>'s April 2011 visit to Turin, Italy.In 2017 the book, I Still Get Chills!, featuring text by German journalist Alex Jakubowski and photographs by Lois Lammerhuber, was published by Edition Lammerhuber in honour of <mask>'s 66th birthday and the 70th anniversary of the first appearance of Scrooge McDuck. A feature documentary about <mask> and Scrooge McDuck by French director Morgann Gicquel titled The Scrooge Mystery was released in  December 2017 and was released on DVD and Blu-ray in 2018. Comic collections

United States
The Don Rosa Classics — The Pertwillaby Papers
The Don Rosa Classics — The Adventures of Captain Kentucky
The Don Rosa Classics — The Early (So-Called) Art of <mask> Rosa
The Don Rosa Library of Uncle Scrooge Adventures in Color Vols. 1–8
 The Life and Times of Scrooge McDuck
 The Life and Times of Scrooge McDuck Companion
 The Barks/Rosa Collection Vols. 1–3
 Walt Disney Treasury: Donald Duck Vols. 1–2
 Uncle Scrooge and Donald Duck: The Don Rosa Library Vols. 1–10
 <mask>'s The Life and Times of Scrooge McDuck: Artist's Edition Vols.1–2
 The Complete Life and Times of Scrooge McDuck Vols. 1–2

Other countries
Apart from the <mask> Collection in Germany and <mask>/Samlede Verk and <mask>n kootut in the Nordic nations, the following collections only contain <mask>'s work for Disney. See also
 List of Disney comics by <mask>
 List of people from the Louisville metropolitan area

References

External links

 <mask> at the Lambiek Comiclopedia
 The D.U.C.K.man
 Duckhunt
 DuckMaster
 Different information by <mask>
 Documentary with and about <mask>
 <mask>'s official Facebook page

1951 births
Living people
20th-century American artists
21st-century American artists
20th-century American writers
21st-century American writers
American comics artists
American comics writers
American people of German descent
American people of Irish descent
American people of Italian descent
American people of Scottish descent
Artists from Louisville, Kentucky
Writers from Louisville, Kentucky
University of Kentucky alumni
Disney comics writers
Disney comics artists
Eisner Award winners for Best Writer/Artist
Bill Finger Award

masks:
Rosa
Rosa
Rosa
Rosa
Rosa
Don Rosa
Don Rosa
Don Rosa
Don Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Donald
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Donald
Rosa
Donald Duck
Donald Duck
Rosa
Don Rosa
Don Rosa
Don Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Donald
Donald
Rosa
Donald Duck
Donald
Donald
Rosa
Heidi MacDonald
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Don
Don
Rosa
Rosa
Rosa
Don Rosa
Rosa
Don Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Rosa
Don Rosa
Don
Don Rosa
Don Rosa
Don Rosalade
Don Rosa
Rosa
Don Rosa
Don Rosa
Don Rosa
Don Rosa
Don Rosa


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<mask> ( – after 1661) was an Italian soprano renowned for her acting ability as well as her voice, who has been described as the first diva in the history of opera. Career
Born in Rome, <mask> made her debut in 1640 at the Palazzo Pallavicini-Rospigliosi of the French ambassador, in the presence of Cardinal Richelieu, as Lucinda in Il favorito del principe (music lost) by :it:Ottaviano Castelli and the young composer Filiberto Laurenzi who continued to function as her teacher and/or accompanist in later years. In 1641 she made her sensational Venetian debut as Deidamia, the title role of La finta pazza (The Feigned Madwoman) by Giulio Strozzi and Francesco Sacrati, which inaugurated the Teatro Novissimo, the sets designed by the celebrated stage designer Giacomo Torelli. In 1642 she created Archimene (probably doubling as Venere) in Il Bellerofonte (music lost) by Vincenzo Nolfi and Sacrati at the Novissimo, and in the same year Orazio Tarditi dedicated a collection of two- and three-part canzonette to her, which bears witness to her fame. In 1643 she created two roles at the Teatro Santi Giovanni e Paolo: Aretusa, the title role of La finta savia (The Feigned Wise-Woman; music survives in excerpts) by Strozzi and Laurenzi, and Ottavia in L'incoronazione di Poppea by Giovanni Francesco Busenello and Claudio Monteverdi, in which opera she is also likely to have created the parts of La Virtù and Drusilla. In 1644 she returned to the Novissimo, creating the title role of La Deidamia (music lost) by Scipione Herrico and an unknown composer (possibly Laurenzi). In the same year she was the subject of Le glorie della signora <mask>zi romana, a collection of encomiums edited by Strozzi, which gives a vivid impression of her characteristics as a performer and of her effect on audiences.In 1645 she sang in Ercole in Lidia (music lost) by Maiolino Bisaccioni and Giovanni Rovetta at the same theatre, probably the roles of Giunone and Fillide. In the same year a marriage contract between Renzi and the Roman violinist Roberto Sabbatini was drawn up, but there is no evidence that the nuptials ever took place. After the closing of the Novissimo, Renzi, who was by now the most celebrated and highest-paid singer of the age, turned to the Santi Giovanni e Paolo. In 1646 she probably sang in a revival of Poppea there, in 1648 she created the title role (probably doubling as a Villanella) in La Torilda (music lost) by Pietro Paolo Bissari and an unknown composer (possibly Francesco Cavalli), and in 1649 she apparently created the title role in Argiope (music lost) by Giovanni Battista Fusconi and Alessandro Leardini. In 1650 she sang in La Deidamia in Florence, and in 1652 she may have created the role of Cleopatra (probably doubling as Venere in the prologue) in Il Cesare amante (music lost) by Dario Varotari the Younger and Antonio Cesti at the Santi Giovanni e Paolo. In 1653 she seems to have sung in La Torilda and Il Cesare amante in Genoa, and in 1654 she sang in a revival of the latter opera (retitled La Cleopatra, perhaps in her honour) at the court theatre in Innsbruck. In 1655 she returned to Venice, apparently creating the title role (probably doubling as Giunone) in L'Eupatra (music lost) by Giovanni Faustini and Pietro Andrea Ziani at the Teatro Sant 'Apollinare.Later that year she created the role of Dorisbe in L'Argia by Giovanni Filippo Apolloni and Cesti in Innsbruck: an opera commissioned by Ferdinand Charles, Archduke of Austria, in celebration of the conversion to Catholicism of Christina, Queen of Sweden, who was greatly pleased with Renzi's performance. In 1657 Renzi bade farewell to the stage as Damira (probably doubling as Giunone in the prologue) in Le fortune di Rodope e Damira by Aurelio Aureli and Ziani at the Sant' Apollinare. The last known reference to her stems from 1660. Renzi as a performer
Composers tended to make use of the full extent of Renzi's voice, which spanned from middle C to high B-flat, and the four surviving non-Monteverdian settings of roles written for her (by Sacrati, Laurenzi, Cesti and Ziani) are characterized by strong dramatic, emotional and stylistic contrasts, probably designed to show off her uncanny command of vocal and expressive means. Most of the thirteen leading roles she sang, and which were probably all written with her special gifts in mind, feature violent juxtapositions of comic and tragic scenes and moods, and they often involve disguises (in La Deidamia a lamenting princess disguises herself as a charming youth; in Argiope, L'Eupatra and Le fortune di Rodope e Damira a scheming princess or queen disguises herself as an ingenuous shepherdess), or other forms of deceit, such as feigned simplicity (Il favorito del principe and Il Bellerofonte), feigned madness (La finta pazza, L'Eupatra and Le fortune di Rodope e Damira), feigned piety (La finta savia) or feigned amorousness (L'Argia). Schneider argues that Renzi could hardly have been satisfied to sing only the role of Ottavia in Poppea, which is half the size of any other role written for her, lacks any hint of comedy, is dramatically and emotionally uniform, is set purely with recitative, and primarily explored the lower range of her voice, and hence he suggests that Ottavia and Drusilla may have been written for her as a virtuoso quick-change part. Strozzi described her art as follows in 1644:
The action that gives soul, spirit, and existence to things must be governed by the movements of the body, by gestures, by the face and by the voice, now raising it, now lowering it, becoming enraged and immediately becoming calm again; at times speaking hurriedly, at others slowly, moving the body now in one, now in another direction, drawing in the arms, and extending them, laughing and crying, now with little, now with much agitation of the hands.Our Signora <mask> is endowed with such lifelike expression that her responses and speeches seem not memorized but born at the very moment. In sum, she transforms herself completely into the person she represents, and seems now a Thalia full of comic gaiety, now a Melpomene rich in tragic majesty. References

Sources
Belgrano, Elisabeth: ″Lasciatemi Morire″ o farò ″La Finta Pazza″. Embodying vocal NOTHINGNESS on stage in Italian and French 17th century operatic LAMENTS and MAD SCENES, ArtMonitor, diss. Gothenburg, 2011
Glixon, Beth L.: "Private Lives of Public Women: Prima Donnas in Mid-Seventeenth-Century Venice". Music & Letters, Vol. 76, No.4 (November 1995), pp. 509–31. Glixon, Beth L. & Glixon, Jonathan E.: Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice, Oxford University Press, Oxford & New York 2006. Murata, Margaret: "Why the First Opera Given in Paris Wasn't Roman". Cambridge Opera Journal, Vol. 7, No. 2 (Jul., 1995), pp.87–105. Wolfgang Osthoff: "Neue Beobachtungen zu Quellen und Geschichte von Monteverdis Incoronazione di Poppea". Die Musikforschung, 1958, No. 11, . Rosand, Ellen: Opera in Seventeenth-Century Venice: The Creation of a Genre, University of California Press, Berkeley 1991. Sartori, C.: "La prima diva della lirica italiana: <mask>zi",  (NRMI), ii (1968), 430–52
Schneider, Magnus Tessing: "Seeing the Empress Again: On Doubling in L'incoronazione di Poppea". Cambridge Opera Journal, Vol.24, No. 3 (Nov., 2012), pp. 249–91. Whenham, John: "Perspectives on the Chronology of the First Decade of Public Opera at Venice". Il saggiatore musicale, 2004, No. 11, pp. 253–302.1620s births
1660s deaths
Italian operatic sopranos
17th-century Italian actresses
Italian stage actresses
17th-century Italian women opera singers

masks:
Anna Renzi
Anna Renzi
Anna Ren
Anna
Anna Ren


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<mask> (September 6, 1860 May 21, 1935) was an American settlement activist, reformer, social worker, sociologist, public administrator and author. She was an important leader in the history of social work and women's suffrage in the United States and advocated for world peace. She co-founded Chicago's Hull House, one of America's most famous settlement houses. In 1910, Addams was awarded an honorary master of arts degree from Yale University, becoming the first woman to receive an honorary degree from the school. In 1920, she was a co-founder of the American Civil Liberties Union (ACLU). In 1931, she became the first American woman to be awarded the Nobel Peace Prize, and is recognized as the founder of the social work profession in the United States. She was a radical pragmatist and the first woman "public philosopher" in the United States.When Addams died in 1935, she was the best-known female public figure in the United States. In the Progressive Era, when presidents such as Theodore Roosevelt and Woodrow Wilson identified themselves as reformers and social activists, Addams was one of the most prominent reformers. She helped America address and focus on issues that were of concern to mothers, such as the needs of children, local public health, and world peace. In her essay "Utilization of Women in City Government", Addams noted the connection between the workings of government and the household, stating that many departments of government, such as sanitation and the schooling of children, could be traced back to traditional women's roles in the private sphere. Thus, these were matters of which women would have more knowledge than men, so women needed the vote to best voice their opinions. She said that if women were to be responsible for cleaning up their communities and making them better places to live, they needed to be able to vote to do so effectively. Addams became a role model for middle-class women who volunteered to uplift their communities.Early life

Born in Cedarville, Illinois, <mask>s was the youngest of eight children born into a prosperous northern Illinois family of English-American descent which traced back to colonial Pennsylvania. By the time Addams was eight, four of her siblings had died: three in infancy and one at age 16. In 1863, when Addams was two years old, her mother, <mask> (née Weber), died while pregnant with her ninth child. Thereafter Addams was cared for mostly by her older sisters. Addams spent her childhood playing outdoors, reading indoors, and attending Sunday school. When she was four she contracted tuberculosis of the spine, known as Potts's disease, which caused a curvature in her spine and lifelong health problems. This made it complicated as a child to function with the other children, considering she had a limp and could not run as well.As a child, she thought she was ugly and later remembered wanting not to embarrass her father, when he was dressed in his Sunday best, by walking down the street with him. <mask>s adored her father, John H<mask>, when she was a child, as she made clear in the stories in her memoir, Twenty Years at Hull House (1910). He was a founding member of the Illinois Republican Party, served as an Illinois State Senator (1855–70), and supported his friend Abraham Lincoln in his candidacies for senator (1854) and the presidency (1860). He kept a letter from Lincoln in his desk, and Addams loved to look at it as a child. Her father was an agricultural businessman with large timber, cattle, and agricultural holdings; flour and timber mills and a wool factory. He was the president of The Second National Bank of Freeport. He remarried in 1868 when Addams was eight years old.His second wife was Anna Hosteler Haldeman, the widow of a miller in Freeport. During her childhood, Addams had big dreams of doing something useful in the world. As a voracious reader, she became interested in the poor from her reading of Charles Dickens. Inspired by his works and by her own mother's kindness to the Cedarville poor, Addams decided to become a doctor so that she could live and work among the poor. Addams's father encouraged her to pursue higher education but close to home. She was eager to attend the new college for women, Smith College in Massachusetts; but her father required her to attend nearby Rockford Female Seminary (now Rockford University), in Rockford, Illinois. After graduating from Rockford in 1881, with a collegiate certificate and membership in Phi Beta Kappa, she still hoped to attend Smith to earn a proper B.A.That summer, her father died unexpectedly from a sudden case of appendicitis. Each child inherited roughly $50,000 (equivalent to $ in 2016). That fall, Addams, her sister Alice, Alice's husband Harry, and their stepmother, Anna Haldeman <mask>, moved to Philadelphia so that the three young people could pursue medical educations. Harry was already trained in medicine and did further studies at the University of Pennsylvania. <mask> and Alice completed their first year of medical school at the Woman's Medical College of Pennsylvania, but <mask>'s health problems, a spinal operation and a nervous breakdown prevented her from completing the degree. She was filled with sadness at her failure. Her stepmother Anna was also ill, so the entire family canceled their plans to stay two years and returned to Cedarville.The following fall her brother-in-law Harry performed surgery on her back, to straighten it. He then advised that she not pursue studies but, instead, travel. In August 1883, she set off for a two-year tour of Europe with her stepmother, traveling some of the time with friends and family who joined them. Addams decided that she did not have to become a doctor to be able to help the poor. Upon her return home in June 1887, she lived with her stepmother in Cedarville and spent winters with her in Baltimore. Addams, still filled with vague ambition, sank into depression, unsure of her future and feeling useless leading the conventional life expected of a well-to-do young woman. She wrote long letters to her friend from Rockford Seminary, Ellen Gates Starr, mostly about Christianity and books but sometimes about her despair.Her nephew was James Weber Linn (1876–1939) who taught English at the University of Chicago and served in the Illinois General Assembly. Linn also wrote books and newspaper articles. Settlement house
Meanwhile, Addams gathered inspiration from what she read. Fascinated by the early Christians and Tolstoy's book My Religion, she was baptized a Christian in the Cedarville Presbyterian Church, in the summer of 1886. Reading Giuseppe Mazzini's Duties of Man, she began to be inspired by the idea of democracy as a social ideal. Yet she felt confused about her role as a woman. John Stuart Mill's The Subjection of Women made her question the social pressures on a woman to marry and devote her life to family.In the summer of 1887, Addams read in a magazine about the new idea of starting a settlement house. She decided to visit the world's first, Toynbee Hall, in London. She and several friends, including Ellen Gates Starr, traveled in Europe from December 1887 through the summer of 1888. After watching a bullfight in Madrid, fascinated by what she saw as an exotic tradition, Addams condemned this fascination and her inability to feel outraged at the suffering of the horses and bulls. At first, Addams told no one about her dream to start a settlement house; but, she felt increasingly guilty for not acting on her dream. Believing that sharing her dream might help her to act on it, she told Ellen Gates Starr. Starr loved the idea and agreed to join Addams in starting a settlement house.Addams and another friend traveled to London without Starr, who was busy. Visiting Toynbee Hall, Addams was enchanted. She described it as "a community of University men who live there, have their recreation clubs and society all among the poor people, yet, in the same style in which they would live in their own circle. It is so free of 'professional doing good,' so unaffectedly sincere and so productive of good results in its classes and libraries seems perfectly ideal." Addams's dream of the classes mingling socially to mutual benefit, as they had in early Christian circles seemed embodied in the new type of institution. The settlement house as Addams discovered was a space within which unexpected cultural connections could be made and where the narrow boundaries of culture, class, and education could be expanded. They doubled as community arts centers and social service facilities.They laid the foundations for American civil society, a neutral space within which different communities and ideologies could learn from each other and seek common grounds for collective action. The role of the settlement house was an "unending effort to make culture and 'the issue of things' go together." The unending effort was the story of her own life, a struggle to reinvigorate her own culture by reconnecting with diversity and conflict of the immigrant communities in America's cities and with the necessities of social reform. Hull House

In 1889 Addams and her college friend and paramour Ellen Gates Starr co-founded Hull House, a settlement house in Chicago. The run-down mansion had been built by Charles Hull in 1856 and needed repairs and upgrading. Addams at first paid for all of the capital expenses (repairing the roof of the porch, repainting the rooms, buying furniture) and most of the operating costs. However gifts from individuals supported the House beginning in its first year and Addams was able to reduce the proportion of her contributions, although the annual budget grew rapidly.A number of wealthy women became important long-term donors to the House, including Helen Culver, who managed her first cousin Charles Hull's estate, and who eventually allowed the contributors to use the house rent-free. Other contributors were Louise DeKoven Bowen, Mary Rozet Smith, Mary Wilmarth, and others. Addams and Starr were the first two occupants of the house, which would later become the residence of about 25 women. At its height, Hull House was visited each week by some 2,000 people. Hull House was a center for research, empirical analysis, study, and debate, as well as a pragmatic center for living in and establishing good relations with the neighborhood. Among the aims of Hull House was to give privileged, educated young people contact with the real life of the majority of the population. Residents of Hull House conducted investigations on housing, midwifery, fatigue, tuberculosis, typhoid, garbage collection, cocaine, and truancy.The core Hull House residents were well-educated women bound together by their commitment to labour unions, the National Consumers League and the suffrage movement. Dr. Harriett Alleyne Rice joined Hull House to provide medical treatment for poor families. Its facilities included a night school for adults, clubs for older children, a public kitchen, an art gallery, a gym, a girls' club, a bathhouse, a book bindery, a music school, a drama group and a theater, apartments, a library, meeting rooms for discussion, clubs, an employment bureau, and a lunchroom. Her adult night school was a forerunner of the continuing education classes offered by many universities today. In addition to making available social services and cultural events for the largely immigrant population of the neighborhood, Hull House afforded an opportunity for young social workers to acquire training. Eventually, Hull House became a 13-building settlement complex, which included a playground and a summer camp (known as Bowen Country Club). One aspect of the Hull House that was very important to <mask>s was the Art Program.The art program at Hull House allowed Addams to challenge the system of industrialized education, which "fitted" the individual to a specific job or position. She wanted the house to provide a space, time and tools to encourage people to think independently. She saw art as the key to unlocking the diversity of the city through collective interaction, mutual self-discovery, recreation and the imagination. Art was integral to her vision of community, disrupting fixed ideas and stimulating the diversity and interaction on which a healthy society depends, based on a continual rewriting of cultural identities through variation and interculturalism. With funding from Edward Butler, Addams opened an art exhibition and studio space as one of the first additions to Hull House. On the first floor of the new addition there was a branch of the Chicago Public Library, and the second was the Butler Art Gallery, which

masks:
Laura Jane Addams
Jane Addam
Sarah Addams
Jane Addam
. Addams
Addams
Jane
Jane
Jane Addam


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 featured recreations of famous artwork as well as the work of local artists. Studio space within the art gallery provided both Hull House residents and the entire community with the opportunity to take art classes or to come in and hone their craft whenever they liked.As Hull House grew, and the relationship with the neighborhood deepened, that opportunity became less of a comfort to the poor and more of an outlet of expression and exchange of different cultures and diverse communities. Art and culture was becoming a bigger and more important part of the lives of immigrants within the 19th ward, and soon children caught on to the trend. These working-class children were offered instruction in all forms and levels of art. Places such as the Butler Art Gallery or the Bowen Country Club often hosted these classes, but more informal lessons would often be taught outdoors. Addams, with the help of Ellen Gates Starr, founded the Chicago Public School Art Society (CPSAS) in response to the positive reaction the art classes for children caused. The CPSAS provided public schools with reproductions of world-renowned pieces of art, hired artists to teach children how to create art, and also took the students on field trips to Chicago's many art museums. Near west side neighborhood

The Hull House neighborhood was a mix of European ethnic groups that had immigrated to Chicago around the start of the 20th century.That mix was the ground where Hull House's inner social and philanthropic elitists tested their theories and challenged the establishment. The ethnic mix is recorded by the Bethlehem-Howard Neighborhood Center: "Germans and Jews resided south of that inner core (south of Twelfth Street) ... The Greek delta formed by Harrison, Halsted Street, and Blue Island Streets served as a buffer to the Irish residing to the north and the French Canadians to the northwest." Italians resided within the inner core of the Hull House Neighborhood ... from the river on the east end, on out to the western ends of what came to be known as Little Italy. Greeks and Jews, along with the remnants of other immigrant groups, began their exodus from the neighborhood in the early 20th century. Only Italians continued as an intact and thriving community through the Great Depression, World War II, and well beyond the ultimate demise of Hull House proper in 1963. Hull House became America's best known settlement house.Addams used it to generate system-directed change, on the principle that to keep families safe, community and societal conditions had to be improved. The neighborhood was controlled by local political bosses. Ethics
Starr and Addams developed three "ethical principles" for social settlements: "to teach by example, to practice cooperation, and to practice social democracy, that is, egalitarian, or democratic, social relations across class lines." Thus Hull House offered a comprehensive program of civic, cultural, recreational, and educational activities and attracted admiring visitors from all over the world, including William Lyon Mackenzie King, a graduate student from Harvard University who later became prime minister of Canada. In the 1890s Julia Lathrop, Florence Kelley, and other residents of the house made it a world center of social reform activity. Hull House used the latest methodology (pioneering in statistical mapping) to study overcrowding, truancy, typhoid fever, cocaine, children's reading, newsboys, infant mortality, and midwifery. Starting with efforts to improve the immediate neighborhood, the Hull House group became involved in city and statewide campaigns for better housing, improvements in public welfare, stricter child-labor laws, and protection of working women.Addams brought in prominent visitors from around the world and had close links with leading Chicago intellectuals and philanthropists. In 1912, she helped start the new Progressive Party and supported the presidential campaign of Theodore Roosevelt. "Addams' philosophy combined feminist sensibilities with an unwavering commitment to social improvement through cooperative efforts. Although she sympathized with feminists, socialists, and pacifists, Addams refused to be labeled. This refusal was pragmatic rather than ideological." Emphasis on children

Hull House stressed the importance of the role of children in the Americanization process of new immigrants. This philosophy also fostered the play movement and the research and service fields of leisure, youth, and human services.Addams argued in The Spirit of Youth and the City Streets (1909) that play and recreation programs are needed because cities are destroying the spirit of youth. Hull House featured multiple programs in art and drama, kindergarten classes, boys' and girls' clubs, language classes, reading groups, college extension courses, along with public baths, a gymnasium, a labor museum and playground, all within a free-speech atmosphere. They were all designed to foster democratic cooperation, collective action and downplay individualism. She helped pass the first model tenement code and the first factory laws. Along with her colleagues from Hull House, in 1901 <mask>s founded what would become the Juvenile Protective Association. JPA provided the first probation officers for the first Juvenile Court in the United States until this became a government function. From 1907 until the 1940s, JPA engaged in many studies examining such subjects as racism, child labor and exploitation, drug abuse and prostitution in Chicago and their effects on child development.Through the years, their mission has now become improving the social and emotional well being and functioning of vulnerable children so they can reach their fullest potential at home, in school, and in their communities. Documenting social illnesses
Addams and her colleagues documented the communal geography of typhoid fever and reported that poor workers were bearing the brunt of the illness. She identified the political corruption and business avarice that caused the city bureaucracy to ignore health, sanitation, and building codes. Linking environmental justice and municipal reform, she eventually defeated the bosses and fostered a more equitable distribution of city services and modernized inspection practices. Addams spoke of the "undoubted powers of public recreation to bring together the classes of a community in the keeping them apart." Addams worked with the Chicago Board of Health and served as the first vice-president of the Playground Association of America. Emphasis on prostitution
In 1912, Addams published "A New Conscience and Ancient Evil", about prostitution.This book was extremely popular because it was published during the moral panic over "white slavery" (forced prostitution). Addams believed that prostitution was a result of kidnapping only. Her book later inspired Stella Wynne Herron's 1916 short story Shoes, which Lois Weber adapted into a groundbreaking 1916 film of the same name. Feminine ideals
Addams and her colleagues originally intended Hull House as a transmission device to bring the values of the college-educated high culture to the masses, including the Efficiency Movement, a major movement in industrial nations in the early 20th century that sought to identify and eliminate waste in the economy and society, and to develop and implement best practices. However, over time, the focus changed from bringing art and culture to the neighborhood (as evidenced in the construction of the Butler Building) to responding to the needs of the community by providing childcare, educational opportunities, and large meeting spaces. Hull House became more than a proving ground for the new generation of college-educated, professional women: it also became part of the community in which it was founded, and its development reveals a shared history. Addams called on women, especially middle class women with leisure time and energy as well as rich philanthropists, to exercise their civic duty to become involved in municipal affairs as a matter of "civic housekeeping".Addams thereby enlarged the concept of civic duty to include roles for women beyond motherhood (which involved child rearing). Women's lives revolved around "responsibility, care, and obligation", which represented the source of women's power. This notion provided the foundation for the municipal or civil housekeeping role that Addams defined and gave added weight to the women's suffrage movement that Addams supported. Addams argued that women, as opposed to men, were trained in the delicate matters of human welfare and needed to build upon their traditional roles of housekeeping to be civic housekeepers. Enlarged housekeeping duties involved reform efforts regarding poisonous sewage, impure milk (which often carried tuberculosis), smoke-laden air, and unsafe factory conditions. Addams led the "garbage wars"; in 1894 she became the first woman appointed as sanitary inspector of Chicago's 19th Ward. With the help of the Hull House Women's Club, within a year over 1,000 health department violations were reported to city council and garbage collection reduced death and disease.Addams had long discussions with philosopher John Dewey in which they redefined democracy in terms of pragmatism and civic activism, with an emphasis more on duty and less on rights. The two leading perspectives that distinguished Addams and her coalition from the modernizers more concerned with efficiency were the need to extend to social and economic life the democratic structures and practices that had been limited to the political sphere, as in Addams's programmatic support of trade unions and second, their call for a new social ethic to supplant the individualist outlook as being no longer adequate in modern society. Addams's construction of womanhood involved daughterhood, sexuality, wifehood, and motherhood. In both of her autobiographical volumes, Twenty Years at Hull-House (1910) and The Second Twenty Years at Hull-House (1930), Addams's gender constructions parallel the Progressive-Era ideology she championed. In A New Conscience and an Ancient Evil (1912) she dissected the social pathology of sex slavery, prostitution and other sexual behaviors among working class women in American industrial centers from 1890–1910. Addams's autobiographical persona manifests her ideology and supports her popularized public activist persona as the "Mother of Social Work", in the sense that she represents herself as a celibate matron who served the suffering immigrant masses through Hull House, as if they were her own children. Although not a mother herself, Addams became the "mother to the nation", identified with motherhood in the sense of protective care of her people.Teaching

Addams kept up her heavy schedule of public lectures around the country, especially at college campuses. In addition, she offered college courses through the Extension Division of the University of Chicago. She declined offers from the university to become directly affiliated with it, including an offer from Albion Small, chair of the Department of Sociology, of a graduate faculty position. She declined in order to maintain her independent role outside of academia. Her goal was to teach adults not enrolled in formal academic institutions, because of their poverty and/or lack of credentials. Furthermore, she wanted no university controls over her political activism. Addams was a charter member of the American Sociological Society, founded in 1905.She gave papers to it in 1912, 1915, and 1919. She was the most prominent woman member during her lifetime. Relationships

Generally, Addams was close to a wide set of other women and was very good at eliciting their involvement from different classes in Hull House's programs. Nevertheless, throughout her life Addams did have romantic relationships with a few of these women, including Mary Rozet Smith and Ellen Starr. Her relationships offered her the time and energy to pursue her social work while being supported emotionally and romantically. From her exclusively romantic relationships with women, she would most likely be described as a lesbian in contemporary terms, similar to many leading figures in the Women's International League for Peace and Freedom of the time. Her first romantic partner was Ellen Starr, with whom she founded Hull House, who she met when both were students at Rockford Female Seminary.In 1889, the two visited Toynbee Hall together and started their settlement house project, purchasing a house in Chicago. Her second romantic partner was Mary Rozet Smith, who was wealthy and supported Addams's work at Hull House, and


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 with whom she shared a house. Historian Lilian Faderman wrote that <mask> was in love and she addressed Mary as "My Ever Dear", "Darling" and "Dearest One", and concluded that they shared the intimacy of a married couple. They remained together until 1934, when Mary died of pneumonia, after 40 years together. It was said that, "Mary Smith became and always remained the highest and clearest note in the music that was <mask>s' personal life". Together they owned a summer house in Bar Harbor, Maine. When apart, they would write to each other at least once a day – sometimes twice.Addams would write to Smith, "I miss you dreadfully and am yours 'til death". The letters also show that the women saw themselves as a married couple: "There is reason in the habit of married folks keeping together", Addams wrote to Smith. Religion and religious motives
Addams's religious beliefs were shaped by her wide reading and life experience. She saw her settlement work as part of the "social Christian" movement. Addams learned about social Christianity from the co-founders of Toynbee Hall, Samuel and Henrietta Barnett. The Barnetts held a great interest in converting others to Christianity, but they believed that Christians should be more engaged with the world and, in the words of one of the leaders of the social Christian movement in England, W. H. Fremantle, "imbue all human relations with the spirit of Christ's self-renouncing love". According to Christie and Gauvreau (2001), while the Christian settlement houses sought to Christianize, <mask>s "had come to epitomize the force of secular humanism."Her image was, however, "reinvented" by the Christian churches. According to Joslin (2004), "The new humanism, as [Addams] interprets it comes from a secular, and not a religious, pattern of belief". According to the Jane Addams Hull-House Museum, "Some social settlements were linked to religious institutions. Others, like Hull-House [co-founded by Addams], were secular." Hilda Satt Polacheck, a former resident of Hull House, stated that Addams firmly believed in religious freedom and bringing people of all faiths into the social, secular fold of Hull House. The one exception, she notes, was the annual Christmas Party, although Addams left the religious side to the church. Politics

Peace movement

In 1898, Addams joined the Anti-Imperialist League, in opposition to the U.S. annexation of the Philippines.A staunch supporter of the Progressive Party, she nominated Theodore Roosevelt for the presidency during the Party Convention, held in Chicago in August 1912. She signed up on the party platform, even though it called for building more battleships. She went on to speak and campaign extensively for Roosevelt's 1912 presidential campaign. In January 1915, she became involved in the Woman's Peace Party and was elected national chairman. Addams was invited by European women peace activists to preside over the International Congress of Women in The Hague, April 28–30, 1915, and was chosen to head the commission to find an end to the war. This included meeting ten leaders in neutral countries as well as those at war to discuss mediation. This was the first significant international effort against the war.Addams, along with co-delegates Emily Balch and Alice Hamilton, documented their experiences of this venture, published as a book, Women at The Hague (University of Illinois). In her journal, Balch recorded her impression of <mask>s (April 1915):

Miss Addams shines, so respectful of everyone's views, so eager to understand and sympathize, so patient of anarchy and even ego, yet always there, strong, wise and in the lead. No 'managing', no keeping dark and bringing things subtly to pass, just a radiating wisdom and power of judgement. Addams was elected president of the International Committee of Women for a Permanent Peace, established to continue the work of the Hague Congress, at a conference in 1919 in Zurich, Switzerland. The International Committee developed into the Women's International League for Peace and Freedom (WILPF). Addams continued as president, a position that entailed frequent travel to Europe and Asia. In 1917, she also became a member of the Fellowship of Reconciliation USA (American branch of the International Fellowship of Reconciliation founded in 1919) and was a member of the Fellowship Council until 1933.When the US joined the war in 1917, Addams started to be strongly criticized. She faced increasingly harsh rebukes and criticism as a pacifist. Her 1915 speech on pacifism at Carnegie Hall received negative coverage by newspapers such as The New York Times, which branded her as unpatriotic. Later, during her travels, she spent time meeting with a wide variety of diplomats and civic leaders and reiterating her Victorian belief in women's special mission to preserve peace. Recognition of these efforts came with the award of the Nobel Peace Prize to Addams in 1931. As the first U.S. woman to win the prize, Addams was applauded for her "expression of an essentially American democracy." She donated her share of the prize money to the Women's International League for Peace and Freedom.Pacifism
Addams was a major synthesizing figure in the domestic and international peace movements, serving as both a figurehead and leading theoretician; she was influenced especially by Russian novelist Leo Tolstoy and by the pragmatism of philosophers John Dewey and George Herbert Mead. She envisioned democracy, social justice and peace as mutually reinforcing; they all had to advance together to achieve any one. Addams became an anti-war activist from 1899, as part of the anti-imperialist movement that followed the Spanish–American War. Her book Newer Ideals of Peace (1907) reshaped the peace movement worldwide to include ideals of social justice. She recruited social justice reformers like Alice Hamilton, Lillian Wald, Florence Kelley, and Emily Greene Balch to join her in the new international women's peace movement after 1914. Addams's work came to fruition after World War I, when major institutional bodies began to link peace with social justice and probe the underlying causes of war and conflict. In 1899 and 1907, world leaders sought peace by convening an innovative and influential peace conference at The Hague.These conferences produced Hague Conventions of 1899 and 1907. A 1914 conference was canceled due to World War I. The void was filled by an unofficial conference convened by Women at the Hague. At the time, both the US and The Netherlands were neutral. <mask>s chaired this pathbreaking International Congress of Women at the Hague, which included almost 1,200 participants from 12 warring and neutral countries. Their goal was to develop a framework to end the violence of war. Both national and international political systems excluded women's voices.The women delegates argued that the exclusion of women from policy discourse and decisions around war and peace resulted in flawed policy. The delegates adopted a series of resolutions addressing these problems and called for extending the franchise and women's meaningful inclusion in formal international peace processes at war's end. Following the conference, Addams and a congressional delegation traveled throughout Europe meeting with leaders, citizen groups, and wounded soldiers from both sides. Her leadership during the conference and her travels to the capitals of the war-torn regions were cited in nominations for the Nobel Peace Prize. Addams was opposed to U.S. interventionism and expansionism and ultimately was against those who sought American dominance abroad. In 1915, she gave a speech at Carnegie Hall and was booed offstage for opposing U.S. intervention into World War I. Addams damned war as a cataclysm that undermined human kindness, solidarity, and civic friendship, and caused families across the world to struggle. In turn, her views were denounced by patriotic groups and newspapers during World War I (1917–18).Oswald Garrison Villard came to her defense when she suggested that armies gave liquor to soldiers just before major ground attacks. "Take the case of <mask>s for one. With what abuse did not the [New York] Times cover her, one of the noblest of our women, because she told the simple truth that the Allied troops were often given liquor or drugs before charging across No Man's Land. Yet when the facts came out at the hands of Sir Philip Gibbs and others not one word of apology was ever forthcoming." Even after the war, the WILPF's program of peace and disarmament was characterized by opponents as radical, Communist-influenced, unpatriotic, and unfeminine. Young veterans in the American Legion, supported by some members of the Daughters of the American Revolution (DAR) and the League of Women Voters, were ill-prepared to confront the older, better-educated, more financially secure and nationally famous women of the WILPF. Nevertheless, the DAR could and did expel Addams from membership in their organization.The Legion's efforts to portray the WILPF members as dangerously naive females resonated with working class audiences, but President Calvin Coolidge and the middle classes supported Addams and her WILPF efforts in the 1920s to prohibit poison gas and outlaw war. After 1920, however, she was widely regarded as the greatest woman of the Progressive Era. In 1931, the award of the Nobel Peace prize earned her near-unanimous acclaim. <mask>s was also a philosopher of peace. Peace theorists often distinguish between negative and positive peace. Negative peace deals with the absence of violence or war. Positive peace is more complicated.It deals with the kind of society we aspire to, and can take into account concepts like justice, cooperation, the quality of relationships, freedom, order and harmony. <mask>s's philosophy of peace is a type of positive peace. Patricia Shields and Joseph Soeters (2017) have summarized her ideas of peace using the term Peaceweaving. They use weaving as a metaphor because it denotes connection. Fibers come together to form a cloth, which is both flexible and strong. Further, weaving is an activity in which men and women have historically engaged. Addams's peaceweaving is a process which builds "the fabric of peace by emphasizing relationships.Peaceweaving builds these relationships by working on practical problems, engaging people widely with sympathetic understanding while recognizing that progress is measured by the welfare of the vulnerable"

Prohibition

While "no record is available of any speech she ever made on behalf of the eighteenth amendment", she nonetheless supported prohibition on the basis that alcohol "was of course a leading lure and a necessary element in houses of prostitution, both from a financial and a social standpoint." She repeated the claim that "professional houses of prostitution could not sustain themselves without the 'vehicle of alcohol.'" Legacy

<mask> is buried at Cedarville Cemetery, Cedarville, Illinois. Hull House and the Peace Movement are widely recognized as the key tangible pillars of Addams's legacy. While her life focused on the development of individuals, her ideas continue to influence social, political and economic reform in the United States, as well as internationally. Addams and Starr's creation of the settlement house, Hull House, impacted the community, immigrant residents, and social work. Willard Motley, a resident artist of Hull House, extracting from Addams' central theory on symbolic interactionism, used the neighborhood and its people to write his 1948 best seller, Knock on Any Door.His novel later became a well known court-room film in 1949. This book and film brought attention to how a resident lived an everyday life inside a settlement house and his relationship with <mask>s. Addams's role as reformer enabled her to petition the establishment at and alter the social and physical geography of her Chicago neighborhood. Although contemporary academic sociologists defined her engagement as "social work", Addams's efforts differed significantly from activities typically labeled as "social work" during that time period. Before Addams's powerful influence on the profession, social work was largely informed by a "friendly visitor" model in which typically wealthy women of high public stature visited impoverished individuals and, through systematic assessment and intervention, aimed to improve the lives of the poor. Addams rejected the friendly visitor model in favor of a model of social reform/social theory-building, thereby introducing the now-central tenets of social justice and reform to the field of social work. Addams worked with

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 other reform groups toward goals including the first juvenile court law, tenement-house regulation, an eight-hour working day for women, factory inspection, and workers' compensation.She advocated research aimed at determining the causes of poverty and crime, and she supported women's suffrage. She was a strong advocate of justice for immigrants, African Americans, and minority groups by becoming a chartered member of the NAACP. Among the projects that the members of Hull House opened were the Immigrants' Protective League, the Juvenile Protective Association, the first juvenile court in the United States, and a juvenile psychopathic clinic. Addams's influential writings and speeches, on behalf of the formation of the League of Nations and as a peace advocate, influenced the later shape of the United Nations. <mask>s also sponsored the work of Neva Boyd, who founded the Recreational Training School at Hull House, a one-year educational program in group games, gymnastics, dancing, dramatic arts, play theory, and social problems. At Hull House, Neva Boyd ran movement and recreational groups for children, using games and improvisation to teach language skills, problem-solving, self-confidence and social skills. During the Great Depression, Boyd worked with the Recreational Project in the Works Progress Administration, (WPA) as The Chicago Training School for Playground Workers, which subsequently became the foundation for the Recreational Therapy and Educational Drama movements in the U.S. One of her best known disciples, Viola Spolin taught in the Recreational Theater Program at Hull House during the WPA era.Spolin went on to be a pioneer in the improvisational theater movement in the US and the inventor of Theater Games. The main legacy left by <mask>s includes her involvement in the creation of the Hull House, impacting communities and the whole social structure, reaching out to colleges and universities in hopes of bettering the educational system, and passing on her knowledge to others through speeches and books. She paved the way for women by publishing several books and co-winning the Nobel Peace Prize in 1931 with Starr. The Addams neighborhood and elementary school in Long Beach, California are named for her. Sociology

<mask>s was intimately involved with the founding of sociology as a field in the United States. Hull House enabled Addams to befriend and become a colleague to early members of the Chicago School of Sociology. She actively contributed to the sociology academic literature, publishing five articles in the American Journal of Sociology between 1896 and 1914.Her influence, through her work in applied sociology, impacted the thought and direction of the Chicago School of Sociology's members. In 1893, she co-authored the compilation of essays written by Hull House residents and workers titled, Hull-House Maps and Papers. These ideas helped shape and define the interests and methodologies of the Chicago School. She worked with American philosopher George H. Mead and John Dewey on social reform issues, including promoting women's rights, ending child labor, and mediating during the 1910 Garment Workers' Strike. This strike in particular bent thoughts of protests because it dealt with women workers, ethnicity, and working conditions. All of these subjects were key items that Addams wanted to see in society. The University of Chicago Sociology department was established in 1892, three years after Hull House was established (1889).Members of Hull House welcomed the first group of professors, who soon were "intimately involved with Hull House" and assiduously engaged with applied social reform and philanthropy". In 1893, for example, faculty (Vincent, Small and Bennis) worked with <mask>s and fellow Hull House resident Florence Kelley to pass legislation "banning sweat shops and employment of children"  Albion Small, chair of the Chicago Department of Sociology and founder of the American Journal of Sociology, called for a sociology that was active "in the work of perfecting and applying plans and devices for social improvement and amelioration", which took place in the "vast sociological laboratory" that was 19th-century Chicago. Although untenured, women residents of Hull House taught classes in the Chicago Sociology Department. During and after World War I, the focus of the Chicago Sociology Department shifted away from social activism toward a more positivist orientation. Social activism was also associated with Communism and a "weaker" woman's work orientation. In response to this change, women sociologists in the department "were moved inmasse out of sociology and into social work" in 1920. The contributions of <mask>s and other Hull House residents were buried in history.Mary Jo Deegan, in her 1988 book <mask>dams and the Men of the Chicago School, 1892–1918 was the first person to recover Addams influence on Sociology. Deegan's work has led to recognition of Addams's place in sociology. In a 2001 address, for example, Joe Feagin, then president of the American Sociology Association, identified Addams as a "key founder" and he called for sociology to again claim its activist roots and commitment to social justice. Remembrances
On December 10, 2007, Illinois celebrated the first annual Jane Addams Day. Jane Addams Day was initiated by a dedicated school teacher from Dongola, Illinois, assisted by the Illinois Division of the American Association of University Women (AAUW). Chicago activist Jan Lisa Huttner traveled throughout Illinois as Director of International Relations for AAUW-Illinois to help publicize the date, and later gave annual presentations about Jane Addams Day in costume as <mask>s. In 2010, Huttner appeared as <mask>s at a 150th Birthday Party sponsored by Rockford University (<mask>s' alma mater), and in 2011, she appeared as <mask>s at an event sponsored by the Chicago Park District.There is a Jane Addams Memorial Park located near Navy Pier in Chicago. A six-piece sculptural grouping honoring Addams by Louise Bourgeois called "Helping Hands" was originally installed in 1993 at Addams Memorial Park. However, they were "relocated to Chicago Women's Park and Gardens" in 2011 after being vandalized. The <mask>s memorial sculpture was Chicago's first major artwork to honor an important woman. In 2007, the state of Illinois renamed the Northwest Tollway as the Jane Addams Memorial Tollway. Hull House buildings were demolished for the establishment of the campus of the University of Illinois at Chicago in 1963, and relocated. The Hull residence itself was preserved as a museum and monument to <mask>s.The Jane Addams College of Social Work is a professional school at the University of Illinois at Chicago. Jane Addams Business Careers Center is a high school in Cleveland, Ohio. Jane Addams High School For Academic Careers is a high school in The Bronx, NY. <mask> Addams House is a residence hall built in 1936 at Connecticut College. In 1973, <mask> was inducted into the National Women's Hall of Fame. In 2008 <mask> was inducted into the Chicago Gay and Lesbian Hall of Fame. Addams was inducted into the Chicago Literary Hall of Fame in 2012.Also, in 2012 she was inducted into the Legacy Walk, an outdoor public display which celebrates LGBT history and people. In 2014, <mask>s was one of the first 20 honorees awarded a 3-foot x 3-foot bronze plaque on San Francisco's Rainbow Honor Walk (www.rainbowhonorwalk.org) paying tribute to LGBT heroes and heroines. In 2015, Addams was named by Equality Forum as one of their 31 Icons of the 2015 LGBT History Month. <mask>s was possibly the inspiration of the character of Edith Keeler (played by Joan Collins) in the Hugo Award winning 1967 Star Trek episode The City on the Edge of Forever, which is widely considered to be one of the best episodes in the Star Trek series. Like Addams, Keeler was a visionary social reformer, based in a large city, who was active in the world peace movement. In 2014 Addams was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighborhood noting LGBTQ people who have "made significant contributions in their fields." See also

 Jane Addams Burial Site
 Jane Addams School for Democracy
 Jane Addams Middle School
 Jane Addams Children's Book Award
 John H. Addams Homestead
 List of American philosophers
 List of female Nobel laureates
 List of peace activists
 List of suffragists and suffragettes
 List of women's rights activists
 John Dewey
 Florence Kelley
 Flora Dunlap
 Mary Treglia
 Elizabeth Harrison (educator)
 Community practice social work
 Stanton Street Settlement
 Progressive Party (United States, 1912)
 American philosophy
 International Fellowship of Reconciliation
 Addams (crater)

References

Further reading

Archival resources
 <mask> Collection, 1838-date (bulk 1880–1935) () is housed at Swarthmore College Peace Collection.Jane Addams Papers, 1904–1960 (bulk 1904–1936) () is housed at Smith College Sophia Smith Collection. <mask>dams Correspondence, 1872–1935 (inclusive) (23 reels) is housed at Harvard University Radcliffe Institute of Advanced Study. Biographies

 Davis, Allen F. American Heroine: The Life and Legend of <mask>s (1973), 339pp, solid scholarship but tends toward debunking
 Diliberto, Gioia. A Useful Woman: The Early Life of <mask>s. (1999). 318 pp. Elshtain, Jean Bethke.<mask>s and the Dream of American Democracy: A Life Basic Books: 2002 online edition, by a leading conservative scholar
 Haldeman-Julius, Marcet. <mask>s As I Knew Her. Girard, Kansas: Haldeman-Julius Publications, ca. 1936. Marcet was Addams's niece. Knight, Louise W. Citizen: <mask> and the Struggle for Democracy. (2005).582 pp. ; biography to 1899 online edition
 Knight, Louise W. <mask>dams: Spirit in Action. (2010). 334 pp., complete biography aimed at a broader audience. Joslin, Katherine. <mask>s: A Writer's Life. (2004).306 pp. Linn, James W. <mask>s: A Biography. (1935) 457 pp, by her admiring nephew

Specialty studies
 Agnew, Elizabeth N. "A Will to Peace: <mask>s, World War I, and 'Pacifism in Practice'" Peace & Change (2017) 42#1 pp 5–31 https://doi.org/10.1111/pech.12216
 Alonso, Harriet Hyman. "Nobel Peace Laureates, <mask>s And Emily Greene Balch: Two Women of the Women's International League for Peace and Freedom". Journal of Women's History 1995 7(2): 6–26. Beauboeuf-Lafontant, Tamara. "Becoming <mask>dams: Feminist Developmental Theory and' The College Woman'" Girlhood Studies (2014) 7#2 pp: 61-78.Beer, <mask> and Joslin, Katherine. "Diseases of the Body Politic: White Slavery in <mask>s' "A New Conscience and an Ancient Evil" and "Selected Short Stories" by Charlotte Perkins Gilman". Journal of American Studies 1999 33(1): 1–18. Bowen, Louise de Koven. Growing up with Pity. New York: The Macmillan Company, 1926. Brinkmann, Tobias.Sundays at Sinai: A Jewish Congregation in Chicago (2012), on Addams relationship with Chicago Jews. Bryan, Mary Linn McCree, and Allen F. Davis. One Hundred Years at Hull-House (1990), a history of the programs there
 Craraft, James. Two Shining Souls: <mask>, Leo Tolstoy, and the Quest for Global Peace (Lanham: Lexington, 2012).179 pp. Carson, Minal. Settlement Folk: Social Thought and the American Settlement Movement, 1885–1930 (1990)
 Chansky, Dorothy. "Re-visioning Reform", American Quarterly vol 55 #3 (2003) 515–523 online at Project Muse
 Curti, Merle."<mask>s on Human Nature", Journal of the History of Ideas Vol. 22, No. 2 (Apr. 1961), pp. 240–253 in JSTOR
 Danielson, Caroline Page. "Citizen Acts: Citizenship and Political Agency in the Works of <mask>, Charlotte Perkins Gilman, and Emma Goldman". PhD dissertation U. of Michigan 1996.331 pp. DAI 1996 57(6): 2651-A. DA9635502 Fulltext: ProQuest Dissertations & Theses
 Dawley, Alan. Changing the World: American Progressives in War and Revolution (2003)
 Deegan, Mary Jo. "<mask>s, the Hull-House School of Sociology, and Social Justice, 1892 to 1935". Humanity & Society (2013) 37#3 pp: 248-258. Deegan, Mary.<mask> and the Men of the Chicago School, 1892–1918. (Transaction, Inc., 1988)
 Donovan, Brian. White Slave Crusades: Race, Gender, and Anti-Vice Activism, 1887–1917. (U of Illinois Press. 2006). 186 pp. Duffy, William."Remembering is the Remedy: <mask>s's Response to Conflicted Discourse". Rhetoric Review (2011) 30#2 pp: 135–152. Fischer, Marilyn, et al. eds. <mask> and the Practice of Democracy (2009), 230pp; 11 specialized essays by scholars excerpt and text search
 Foust, Mathew A. "Perplexities of Filiality: Confucius and <mask>s on the Private/Public Distinction", Asian Philosophy (2008) 18(2): 149–166. Grimm, Robert

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