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<mask> (; 15 March 1907 – 23 June 1981) was a Swedish singer and actress whose greatest success was in Germany between 1936 and 1943, when she was contracted to work for the state-owned Universum Film AG  (UFA). Although no exact record sales numbers exist, she was probably among Europe's best-selling recording artists in the years prior to 1945. Her involvment with UFA caused her films and lyrics to be identified as Nazi propaganda. Though she had taken no public political position and was dubbed an "Enemy of Germany" by Joseph Goebbels , she remained a controversial figure for the rest of her life. As a singer <mask> was known for her confident ways and her dark, veiled voice (contralto or male baritone). Early career
She was born as Sara Stina Hedberg in Karlstad, studying piano and violin as a child, and sang on stage for the first time at the age of six. She initially had no intention of becoming a professional performer and led an ordinary life for several years.As a teenager she lived two years in Riga, Latvia (1922–1924), where she learned German, took up work as a secretary, married Nils <mask> (1926), and had two children (1927 and 1929). However, in 1929 she was engaged, as an amateur, in a touring cabaret by the entertainer and producer Ernst Rolf and for the first time sang "Vill ni se en stjärna" ("Do You Want to See a Star? "), which soon would become her signature tune. In 1930, she participated in four cabarets in the capital, Stockholm, made her first records, including a cover of Marlene Dietrich's "Falling in Love Again", and played a part in a film. However, it was as "Hanna Glavari" in Franz Lehár's operetta The Merry Widow that she had her definitive break-through (1931). By then she had divorced Nils <mask>. In the following years, she expanded upon her career and made a living as an artist on stage and in film in Scandinavia.Her fame brought her proposals from the European continent and from Hollywood, where a number of Swedish actors and directors were working. In the beginning of the 1930s she performed with the Swedish revue artist, producer, and songwriter Karl Gerhard who was a prominent anti-Nazi. He wrote a song for <mask> <mask>, "I skuggan av en stövel" ("In the shadow of a boot"), in 1934 which strongly condemned the persecution of Jews in Nazi Germany. <mask> opted for an international career on the European continent. As a mother of two school-age children, she ruled out a move to America, fearing the consequences of taking the children such a great distance and being unable to find employment. Despite the political situation, Austria and Germany were much closer to home, and <mask> was already well-versed in German. A second breakthrough, by contemporary measures her international debut, was the world premiere (1936) of Axel an der Himmelstür (Axel at the Gate of Heaven) at the Theater an der Wien in Vienna, directed by Max Hansen.It was a parody of Hollywood and not the least a parody of Marlene Dietrich. It was followed by the Austrian film Premiere, in which she played a successful cabaret star. UFA star

In 1936, she was introduced to Studio Head Ernst Correll by Director Douglas Sirk and landed a contract with UFA in Berlin. She became renowned as a very tough negotiator, demanding both influence and a high salary, half of which was to be paid in Swedish kronor to a bank in Stockholm. Even though Propaganda Minister Joseph Goebbels dubbed her an "Enemy of Germany" for her aforementioned behavior, as a leading film star at UFA, she participated in ten films, most of them great successes. <mask> neither socialized with leading party members nor took part in official Nazi Party functions. A likely apocryphal meeting with Goebbels supposedly resulted in this exchange: "Zarah...Isn't that a Jewish name?" "Oh, maybe", the actress said, "but what about Josef?" "Hmmm... yes, yes, a good answer", Goebbels reportedly replied. Involvement with the Nazi propaganda machine did not prevent her from recording in 1938 the Yiddish song "Bei Mir Bistu Shein". Many of her songs were composed by Michael Jary, with whom she had an affair, and Bruno Balz with music and lyrics, respectively. In her films, <mask> repeatedly played independent, beautiful, passionate and self-confident women. <mask> scored the two biggest hits of her recording career—in her signature deep voice, she sang her anthems of hope and survival: „Davon geht die Welt nicht unter” ("This is not the end of the world") and "Ich weiss, es wird einmal ein Wunder geschehen" ("I know that someday a miracle will happen").These two songs in particular are often included in contemporary documentaries as obvious examples of effective Nazi propaganda. Although no exact record sales numbers exist, it is likely that she was among Europe's best-selling recording artists in the years prior to 1945. She pointed out in later years that what made her a fortune was not her salary from UFA, but the royalties from the records she released. Return to Sweden

Her last film in Nazi Germany premiered on 3 March 1943. Her villa in Grunewald was hit in an air raid, and the increasingly desperate Nazis pressured her to apply for German citizenship. At this point she decided to retreat to Sweden, where she had bought a mansion at , not far from Stockholm. She was still contractually obligated for another film to UFA, but held up the film representatives by rejecting script after script.Gradually she managed to land engagements on the Swedish stage. After the war she did eventually return to tour Germany and Austria, giving concerts, making new records and acting in musicals. Her comeback found an eager audience among pre-war generations who had never forgotten her. She appeared in a number of films and television shows, but she would never regain the popularity she had enjoyed before and into the first years of World War II. In 1981, after having retired from show business, she died in Stockholm of complications from a stroke. Controversy
<mask> was often questioned about her years in Nazi Germany. Though she would willingly talk about her past, she strongly rejected allegations of her having had sympathy for the Nazi regime.She claimed that her position as a German film actress merely had been that of an entertainer working to please an enthusiastic audience in a difficult time. On the other hand, in an interview recorded shortly before his death in 1996 the senior Soviet intelligence officer Pavel Sudoplatov claimed that <mask> had in fact been a Soviet agent with the codename "Stina-Rose". Recruited by the Soviet Union before the outbreak of war, she was said to have refused payment for her work because she was a secret member of the Swedish Communist Party and therefore conducted the work for political reasons. <mask> herself denied any suggestion that she had acted as a spy for any country. Legacy

<mask> continued to be popular in Germany for many decades after World War II. She was interviewed several times on German television before her death. In 1983, New Wave singer Nina Hagen, who had idolized <mask> as a child, released the single "Zarah", based on „Ich weiss, es wird einmal ein Wunder geschehen”.In 1987, two Swedish musicals were written about <mask> <mask>. In 2003, a bronze statue was placed in <mask> <mask> Leander museum is open near her mansion outside Norrköping. Every year a scholarship is given to a creative artist in her tradition. The performer  received the prize in 2010, the female impersonator  in 2009, and Zarah's friend and creator of the museum Brigitte Pettersson in 2008.

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Zarah Leander
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<mask> or Gîrbea (; born August 10, 1962) is a Romanian playwright, poet, essayist, novelist and critic, also known as an academic, engineer and journalist. Known for his work in experimental theater and his Postmodernist contributions to Romanian literature, he is a member of the Writers' Union of Romania (USR), its public relations executive and the head of its Bucharest chapter. Also recognized for his contribution to Romanian humor and his essays, he has published regularly in journals such as Contemporanul, Luceafărul, Ramuri and Săptămâna Financiară. His career in the media also covers screenwriting for Romanian television stations and the popularization of contract bridge. The author of several scientific works on engineering, <mask> is also a faculty member at the University of Agronomical Sciences and Veterinary Medicine. The recipient of several national awards for literature, he received critical attention for plays, short stories and novels which merge intertextuality and parody with neorealistic elements. In his work for the Romanian stage, <mask> has primarily reworked motifs from Anton Chekhov, Ion Luca Caragiale, Gustave Flaubert, Costache Negruzzi and various other of his predecessors, addressing contemporary realities.He is also the other of tragicomedies with themes borrowed the 1989 Revolution and his country's post-1989 history. The latter focus is complemented by his works in novel and short prose, which often take the form of political fiction or satire aimed at his writer colleagues. Such contributions have consolidated Gârbea's success with the general public, but have divided critical opinion on the issue of their ultimate literary value. Biography

Early life and career
Born in Bucharest, <mask> <mask> is the grandson of <mask>, a Land Forces general and diplomat of the Romanian Kingdom. He recalls that his grandfather's passion for literature was passed onto him from an early age, when he first heard him reciting poems by Dante Aligheri. The future writer attended the Mihai Viteazul High School, opting for a sciences-based curriculum, but envisioned becoming a writer. At around age 17, as one of the adolescent guests on a Romanian Television talk show hosted by author Mircea Sîntimbreanu, he stated his intention of having two books published by the year 2000 (he recalls: "[Sîntimbreanu], who was a witty but skeptical man, did not encourage me").<mask> made his debut in 1982, at age twenty, his poems being published by the student magazine Amfiteatru. He graduated from the Agronomical Science University's Department of Landscaping and Environmental Engineering (1986). A member of the teaching staff at his alma mater since 1987, he received a Doctor of Science diploma from the Politehnica University in 1999. A regular of Cenaclul de luni ("The Monday Literary Club"), founded by literary critic Nicolae Manolescu and journalist Radu Călin Cristea, <mask> later moved on to the Universitas circle, founded and led by critic Mircea Martin. His early poetry was awarded a 1986 prize by Spain's University of Bilbao (1986). A turning point in <mask> <mask>'s writing career was the Romanian Revolution of 1989, which put an end to the communist regime. In 1990, one of his first works in drama, translated into English as The Serpent, was performed by the British Royal Court Theatre.A year later, Pescăruşul din livada cu vişini ("The Seagull in the Cherry Orchard") was first staged at the Victor Ion Popa Theater, followed in 1992 by the premiere of Funcţionarul destinului ("The Clerk of Destiny") with the Bucharest experimental theater company Inoportun. He made his editorial debut in the genre with the 1993 volumes Doamna Bovary sînt ceilalţi ("Madame Bovary Are the Others") and Mephisto (a Romanian-language variant of Klaus Mann's 1936 novel). Another one of his plays, Stăpânul tăcerii ("The Master of Silence"), was staged in 1994 by Piteşti's Alexandru Davila Theater. <mask>'s first volume of lyric poetry,  ("Biographical Text"), saw print in 1996, earning him an award granted by the Sighet Poetry Festival. Also that year, the writer followed up with a second collection of poems, Proba cu martori ("The Confrontation of Witnesses"), which was awarded the yearly prize of the Bucharest Association of Writers (a section of the USR). In 1996, he wrote the script for Ils emménagement ("They Are Moving On"), a French-language street theater performance, which premiered in France. Proba cu martori was followed in 1997 by the short story volume Misterele Bucureștilor ("The Mysteries of Bucharest") and the multiple award-winning novel Căderea Bastiliei (Romanian for "Fall of the Bastille").<mask> returned to drama with the 1999 book Decembrie, în direct ("December, Live Broadcast"). It received the Writers' Union Prize for Theater. The student theater company Calandrinon featured his Cărţile ("The Books") in its 2000 program, and the Toma Caragiu Theater in Ploieşti did the same with Cafeaua domnului Ministru ("The Minister's Coffee"). In 2001, he published an anthology of texts for the stage: titled Cine l-a ucis pe Marx? ("Who Killed Marx? "), it was a recipient of the Romanian Academy's Ion Luca Caragiale Award with a three-year delay. Also in 2001, his short story collection  ("Enigmas in Our City") saw print.These were followed the next year by Raţă cu portocale ("Duck à l'Orange"), a volume of essays, and, in 2003, by two other books: Vacanţă în infern ("A Holiday in Hell"; literary criticism, 2 vols.) and Creşterea iguanelor de casă ("Raising Pet Iguanas"; poetry). The former was shortlisted for the USR Award. His career in the post-Revolution press began early in 1990, when he was among the writers published by Nouăzeci, a magazine founded by Laurenţiu Ulici, Cristian Popescu and Cătălin Ţârlea. Active as a theater critic and chronicler, as well as a contract bridge popularizer, he later had permanent columns in Luceafărul (1990–1995, and again 1998–2001), ArtPanorama (1997–1998), Scena (1998–2001), Monitorul de Iaşi (1998–1999), Contemporanul (1999–2001), Săptămâna Financiară (after 2005) and the Craiova-based literary magazine Ramuri. His articles were also published by other venues, among them Convorbiri Literare, Cuvântul, România Literară and Ziarul Financiar. In 2001, he joined the editorial staff of Okean, a specialized magazine co-founded by three Romanian theater companies: Bulandra, Nottara, Odeon and the National Theater Cluj-Napoca.He was also among the first Romanian authors to publish fiction in the new wave of lifestyle magazines, being an early contributor to the local version of Playboy (together with George Cuşnarencu, Răzvan Petrescu and Jean Lorin Sterian). Between 2002 and 2003, he published several works related to his field of expertise in engineering:  ("Structures and Constructions with Dynamic Insulation", 2002), Structuri şi construcţii – noţiuni şi calcule de fiabilitate ("Structures and Constructions—Notions and Calculations in Reliability", 2002), Structuri şi construcţii – curs universitar ("Structures and Constructions—University Lecture", 2003; revised edition 2004). Literary consecration and Writers' Union activities
An active member of the Writers' Union since 1994, <mask> <mask> was elected president of its Bucharest chapter in 2003, and appointed head of the Union's public relations branch two years later. As a representative of the Bucharest section, he worked closely with Editura Nouă publishing house in helping to popularize the writings of his fellow association members. Having joined the UNITER association of theatrical professionals in 1993, he also works as a dramaturge, and has first been employed as such by the Toma Caragiu Theater since 1998. His contributions in this field include translations and adaptations of plays by Anton Chekhov (The Cherry Orchard), Pierre Corneille (L'Illusion comique), Dario Fo (We Won't Pay! We Won't Pay!), Pierre de Marivaux (Le Triomphe de l'amour), Molière (The School for Wives), Ayn Rand (Night of January 16th), Fernando Arrabal, Jacques Copi, Eugène Ionesco, John D. MacDonald, Niccolò Machiavelli, Gérald Sibleyras, Tennessee Williams and Stanisław Ignacy Witkiewicz. In 1998, <mask> also began working in screenwriting, collaborating with several national television stations. He was first employed by Pro TV from 1998 to 2001, working on the variety show Ministerul Comediei and the sitcom La Bloc. He was then affiliated with Prima TV, writing for Romică Ţociu and Cornel Palade's Alomania sketch comedy show, and later Naţional TV, where he contributed to a similar production, Naţionala de bere. In 2001, <mask> was also involved in writing for Antena 1's sitcom Clanul Popeştilor. Between 2002 and 2003, he worked with the public broadcaster TVR Cultural, where he hosted a talk show on cultural issues. During 2004, authors <mask> <mask>, Valeriu Butulescu, Mircea Ghiţulescu and Mircea Petean traveled to Vietnam, on the invitation of the Vietnamese Writers Union.Their experience in the Far East produced the collective travel account Drumul spre Nghe An ("The Road to Nghe An"), published the same year. Also in 2004, <mask> premiered his Cleopatra a şaptea ("Cleopatra VII") with the Andrei Mureşanu company of Sfântu Gheorghe, published a new work for the stage—Hotel Cervantes, and oversaw the publishing of Editura Limes' Repetiţie fără orchestră ("Rehearsal without an Orchestra"), an anthology of prose pieces by young Romanian authors. His own work also included the 2005 essay collections Arte parţiale ("Partial Arts") and Bridge în 41 de povestiri vesele ("Contract Bridge in 41 Cheerful Stories"). <mask> was made Knight of Meritul Cultural order through a 2004 presidential decree. In March 2005, as head of the Bucharest Association of Writers, he set up the Romanian version of France's literary festival Le Printemps des Poètes ("Poets' Spring", known locally as Primăvara poeţilor). A month later, during the Romanian Comedy Festival, his play Leonida XXI was staged by the Comedy Theater. Also in 2005, <mask> and the Writers' Union were involved in a polemic with Paul Goma, a novelist and former dissident who lives in France.This came after Viaţa Românească, a literary magazine managed by the Union, republished fragments from Goma's diary, which caused public outrage for its perceived antisemitism. <mask> and USR president Nicolae Manolescu both intervened to sanction the publication. In an early interview with Gardianul daily, he spoke of the editorial staff as having displayed "negligence", and noted that replacing the panel of editors was one of the sanctions being considered, while also stating that he felt none of them were "100% responsible" for the incident. <mask> however dismissed rumors that he and his colleagues were considering disestablishing Viaţa Românească, noting that the magazine was a historical institution. The USR's public expression of regret over having tolerated "a text with antisemitic content" caused Goma to threaten with a lawsuit on libel grounds. In reaction, Gârbea stated: "What we are interested in is Viaţa Românească, a press organ edited by the USR. Paul Goma may believe whatever he likes.It is not him that we are discussing, but the magazine. I see no reason why he would sue me personally." According to an overview of the episode by journalist Ovidiu Şimonca, <mask> <mask> had unwittingly prompted Goma to state his intention of suing the Jewish-Romanian community league, or Federation of Jewish Communities of Romania (FCER). This was because, during the scandal, <mask> had explained that the FCER's reaction was an incentive in the USR's internal investigation. Goma's claim for reparations from FCER leaders, Şimonca noted, ignored the fact that <mask> had not disclosed any names. Since 2006
<mask> published his second novel, Crime la Elsinore ("Murders at Helsingør"), in 2006. Printed the same year, his new drama volume, Divorţ în direct ("Live Divorce"), was nominated for another USR award.In late 2007, he participated with fellow writers Doina Ruşti and Liviu Ioan Stoiciu in a children's literature project initiated by Editura Paralela 45, which involved rewriting a series of fairy tales in Romanian folklore and Christian mythology. Titled Basme şi poveşti mistice româneşti repovestite ("Retold Romanian Fairy Tales and Mystical Stories"), it was illustrated with reproductions of children-made Romanian icons. His son, Tudor, was born in the same year. With the 2008 Trecute Vieţi de Fanţi şi de Birlici ("Bygone Lives of Beaus and Aces"), he investigated the history of Romanian literature by focusing on and inventorying literary types. In spring, he participated in the project Scriitori pe calea regală ("Writers on the Royal Road"), organized by the former King of Romania Michael I, the Royal House, the USR and various other venues for the benefit of award-winning writers. He was also the USR's envoy to the Three Seas Writers and Translators Committee conference on Rhodes, Greece. The same year, <mask> voluntarily reduced his contributions to drama and theater criticism, citing his family obligations, alongside a general disappointment with the milieu: "I grew aware that writing for the theater is usually not followed by productions.Although plays I signed were constantly performed, I never had productions at a satisfactory level nor significant material gains, except for translations." Instead, he focused on writing a fantasy novel for the youth, Făt Frumos din lună ("Făt Frumos from the Moon") and a cycle of poems known as Cântecele lui Huppy ("Huppy's Songs"), as well as on reviewing for publishing the memoirs of his grandfather <mask>. Working with Editura Tritonic publishing house, <mask> also coordinated an anthology of political fiction, in which he included his own novella Detestarea naţiunii ("Detesting the Nation"). In 2010, Editura Limes published Fratele mai deştept al lui Kalaşnikov ("Kalashnikov's Smarter Brother"), his new volume of short prose. The same year, <mask> visited Azerbaijan, invited by the Heydar Aliyev Foundation, and published some of his impressions in Revista 22. His larger travel writing, published by the same foundation as Azerbaijan – The Living Flame (in English, Romanian, German), was officially launched at the Frankfurt Book Fair (October 2010). In April 2011, <mask> and fellow writer Ruxandra Cesereanu were in Israel, attending the Nisan Poetry Festival in Maghar.Work

Cultural context and Postmodernist reinterpretations
Committed to Postmodernism, <mask> debuted as a member of the Optzecişti group of writers, most of whom reached their creative peak after 1980: together with Mircea Cărtărescu, Traian T. Coşovei, Florin Iaru, Doru Mareş, Radu G. Ţeposu and Ion Stratan, he was part of the Optzecişti nucleus inside Cenaclul de luni. Given his relatively late consecration, <mask> is nevertheless identified with the 1990s generation of post-Optzecişti. This also reflects <mask>'s own positioning: according to his own statement, the move from one generation group to the other coincided with his leaving Cenaclul de luni and joining Universitas. In 2008, he expressed much criticism for Orbitor, a large-scale novelistic cycle by the Optzecişti

masks:
Horia Răzvan Gârbea
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Horia
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Titus Gârbea
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Horia
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 group leader Cărtărescu. In her critical overview of <mask>'s contributions, Observator Cultural chronicler Bianca Burţa-Cernat describes him as one among the lesser authors of the 1990s generation, alongside Dan-Silviu Boerescu and Mihail Gălăţanu. Writing for the 2007 Columbia University Encyclopedia of Modern Drama, Romanian-born Israeli actor-director Moshe Yassur included <mask> "among the best known" of post-1989 playwrights "experimenting with post-absurd-surrealist modes of expression." Others in this group are, according to his definition, Radu Macrinici, Alina Mungiu-Pippidi, Alina Nelega, Saviana Stănescu, Matei Vişniec and Vlad Zografi.In a 2001 overview of the generation's contribution, Nelega herself mentioned <mask> and the others alongside Valentin Nicolau and Răzvan Petrescu. A defining characteristic of <mask>'s main works is the reliance on intertextuality, as compliments to his predecessors in drama, novel and poetry. Speaking in 2009, <mask> himself recalled his stylistic discovery of the 1980s: "It still seemed to me that being a writer meant having visions and struggling to communicate them so that others may have them too. [...] I could not write prose, but I enjoyed writing drama because I had invented something very fun to do: old characters in new situations." Poet and critic Octavian Soviany noted: "<mask> <mask> is a dramatist who builds with a program in mind, placing his stake on the resources of parody and the intertextual play. The parodic here is given birth by the disabused conscience of a postmodern spirit, who knows that all books have been written and therefore only their 'rewriting' [...] is still possible". Commenting on the texts grouped within Cine l-a ucis pe Marx?, literary critic Mircea A. Diaconu placed the intertextual references (which often make a point of transgressing historical reality) in connection with William Shakespeare's phrase "All the world's a stage", since "everything is possible at the level of the text becoming reality".He praises the author for managing to preserve an "absence that imposes", by not making his own intervention felt in the text. Diaconu admits that such an approach could be read as "gratuitously bookish, [where] a line is more important than an event, a pun more important than a murder", but supports the notion that they all display an "existential bearing", accounting for an "intrinsic value." He speaks of the technique as "a vengeance of the theater" on the traditional historical record: "In essence, <mask> <mask>'s theater emerges from the textual inconsistency of the world when faced with the consistency of history, or, better yet, from the inconsistency of history and the textual consistency of the world." Generic traits and related polemics
Beyond its immediate context, critics see <mask> <mask>'s contribution as greatly indebted to the work of 19th century dramatist and humorist Ion Luca Caragiale. According to Diaconu, Caragiale's influence constitutes the "depth" of <mask>'s work, going beyond the "surface level" of intertextual references and tributes. At the same core level, Diaconu identifies the author's debt to Eugène Ionesco, while also judging his manner of "mixing eras, languages, writings, characters or historical figures, fiction and document" to echo the techniques of Argentinian writer Jorge Luis Borges. Another main influence on Gârbea's work is interwar author Mateiu Caragiale, made famous by his cultivated style and eccentric outlook.Critic Dumitru Ungureanu sees this cultural echo as having been filtered by the style of Radu Albala, one of the authors to have been most inspired by the "matein" narratives, and concludes that the lineage places Gârbea on the same level as Cărtărescu and Florin Şlapac. According to his generation colleague, essayist Dan-Silviu Boerescu, <mask> "cannot part with the speculative charm of a brain given to bookish games", but closely follows a realistic tradition with his "sarcastic analysis of [...] all everyday weakness." For Boerescu, Gârbea's literature is supported by his sarcasm and his contribution to Romanian humor: "Thin and edgy like a razor, Gârbea's style forgives no one no thing." Soviany also argues that the "rewriting" of texts attempted by the Romanian author is carried by "absurd humor" and "the most unusual (as well as the most hilarious) arrangements of famous characters and quotes". Poet and critic Paul Aretzu writes: "The staple of [<mask> Gârbea's] writing is inventive, farcical, the obvious attribute of intelligence and refinement, also displaying bookish support and being enhanced by zestful language. [...] The tendency of visualizing, of sketching portraits, of detailing/dissecting scenes, of verifying orality, the expressive value of the language, reveal the author's dominant structure as a playwright." The alternation of such stylistic traits reflects in part the writer's own parting with the Optzecişti.The focus on everyday issues prompted Cătălin Ţârlea to view Gârbea's 1990s prose as a revival of neorealism after the Optzecişti experimentalism. Boerescu however believes this verdict to be "only half right", since the writer continued to employ experimental devices long after 1989, while avoiding the "referential ostentation" of other writers. Appreciation of Gârbea's work was also expressed among older critics and Gârbea's own mentors. Nicolae Manolescu held Gârbea's contribution in high esteem, an, in his 2008 synthesis of Romanian literary history, spoke of him as having "indisputably, the fabric of a dramatist". In Nelega's view, Gârbea, "one of the truly alive writers of his time", was among the few debuting local playwrights to have their works staged by prominent Romanian directors—Alexandru Darie, Alexandru Hausvater and Gavril Pinte. <mask>'s fellow România Literară contributor, literary historian Alex. Ştefănescu, contrasted his writings with the "boring" works by some of his contemporaries, and claimed that "directors and actors take pleasure in staging [Gârbea's plays]."<mask>'s work stands out within its cultural and temporal context for its size and diversity. Aretzu sees him as "one of the most ubiquitous authors in present-day literature, [...] gifted with a great availability in processing reality", while critic and academic Nicolae Oprea believes him to be "the most prolific" among the Bucharest-based group formed in the 1990s. Literary reviewer Daniel Cristea-Enache also describes his colleague as "multilateral" who "can adapt himself with great ease to any particular genre's specificity". Writing in 2007, Ştefănescu defined him a "one-man orchestra [...] of the apathetic (and sometimes shy-brazen) Romanian literature of today." According to Moldovan writer Emilian Galaicu-Păun: "As productive as an entire literary school [...], <mask> <mask> is a veritable Stakhanovite of writing, who has dealt in all genres and species". <mask> is also among the post-1990 Romanian authors to have received recognition abroad. In addition to the performances of The Serpent and Il émmagement, Gârbea's Raţă cu portocale has been translated into German by Veronika Dreichlinger (Ente mit Apfelsine, published in 2005).His work was also included into English-, French-, German-, Russian- and Serbian-language anthologies. There are several controversial aspects to <mask>'s public notoriety, involving reactions against academic verdicts, and objecting to the close relationship between Gârbea and mainstream cultural forums such as the USR. The implications of positive appraisals by these venues were debated by literary critic Bogdan Creţu, who argued that Nicolae Manolescu tended to overrate authors in his proximity, while being dismissive of Vişniec's contribution to drama (which Manolescu had claimed lacked originality). Critic Dan C. Mihăilescu criticized in particular Manolescu's "caprices", suggesting that, in a 2008 synthesis of Romanian literary history, his older colleague had assigned Gârbea's entry undeserved space, more than to a better known novelist like Gib Mihăescu. Also according to Mihăilescu, Cărtărescu may have had his rival <mask> in mind when reproaching Manolescu that he had insisted on writers who were not at all worthy of recognition. Nicolae Oprea saw <mask> as apparently "uninhibited" in matters of literary discourse, but critically noted that the poet was also preoccupied, "to the point of obsession", with his own cultural imprint (citing as proof the fact that, in its original version, Creşterea iguanelor de casă features the English-language versions of five poems, translated by Gârbea's own hand). A highly critical voice is that of Bianca Burţa-Cernat.She suggests that, in adopting all forms of writing, Gârbea displays "an implausible self-certainty". She polemically connects the critical appreciation with his status as a "good colleague" and "devoted shadow" of other writers, noting that <mask>'s notoriety is ensured by a promotional system with "all the stakes" and "all the pulleys", as well as by "the argument of prolificity", but that these attributes also surpass his actual value. Plays
Usually assigned by their author the name of "texts", in preference over "plays", several among <mask>'s earliest works for the stage are Postmodern reworkings of classical motifs, fashioned into new statements about the limits of literature. His Pescăruşul din livada cu vişini is a personal take on Anton Chekhov's Cherry Orchard and Seagull. According to the author's own assessment, the text fits in with a Chekhovian homage trend among Romanian dramatists, also including Iosif Naghiu's  ("Chekhov the Armorer") and Vişniec's La machine Tchekhov ("The Chekhov Machine"). Soviany singles out the text as an answer to claims that parody is always inferior to its models, by identifying its original motifs in a new statement about theater itself: "[the play], which is without doubt ascribable to the formula of 'apocalyptic' theater, draws its substance from mixing intertextual parody with an eschatologic vision, suggesting the regression (of world and literature) into the primordial mud. Putting to use [...] the deluge myth, the dramatist this time imagines an apocalypse of fiction (of the theater), during which the characters [...] are slowly being swallowed by the mud flows of subterranean waters, which could imply that literature (fiction) unavoidably secretes its own death, so that writing (being written) and dying end up being perfect synonyms."In this analogy between literature and death, Soviany argues, one finds "the most profound message of <mask> <mask>'s theater". In Doamna Bovary sînt ceilalţi, the theme and protagonists are borrowed from Gustave Flaubert's 1857 novel, reused by the author to make a statement about drama itself and combined with elements from Jean-Paul Sartre's No Exit. In addition to such themes, Mircea A. Diaconu sees <mask>'s reflection on the conflict between history and fiction as personified by the lead character in Stăpânul tăcerii: the Egyptian god Thoth, who bestows the gift of language on man, is depicted as "the prototype of traitors." Published ten years after the Romanian Revolution, Decembrie, în direct recounts a changing of roles between torturer and victim, set to the background of political turmoil. In the first part, it introduces the two protagonists: a failed boxer turned interrogator for the main communist repressive structure, the Securitate, who confronts his prisoner, a renegade nomenklatura member who has become a dissident. What is supposed to be an ordeal for the latter turns into a revelation for the former: the dissident is successful in assuring his interrogator that communism is doomed, and both flee the prison to partake in the victorious Revolution. The second part sees the dissident transformed into an agent for the reformed Intelligence Service, who displays no qualms about capturing, tormenting and finally killing his former associate.Historiographer and critic Ruxandra Cesereanu connects the outcome with a notoriously violent episode in Romania's communist history, the brainwashing experiment carried out by the Securitate in Piteşti prison: "The paradox and moral-antimoral of <mask> <mask>'s play is that the victim [...] proves himself tougher, more of an executioner, than his torturer. This means that the lines between victim and executioner are blurred and that, ultimately, the reeducation experiment in Piteşti prison (1949–1952), when victims were forced into becoming torturers, has succeeded. The antimoral in Gârbea's play is, however, all the more tough as the victim here becomes a torturer without being made to do so." Cesereanu ranks it and Radu Macrinici's T/Ţara mea (approx. "My Dead Weight/Country") among the post-1989 dramatic texts to have "brought up [...] the Securitate issue, in a trenchant and even revelatory manner". <mask>'s fellow playwright Alina Nelega notes that Decembrie, în direct is his first entirely original text for the stage, and rates it over intertextual texts from the same period. Published alongside Decembrie, în direct, Capul lui Moţoc ("Moţoc's Head") reinterprets Alexandru Lăpuşneanu, a novella by the Romanian classic Costache Negruzzi, which romanticizes events in Moldavia's medieval history.Integrating further allusions to Romanian folklore (the Meşterul Manole myth), Shakespeare and various others, it is also seen by Alina Nelega as a close rendition of Ion Luca Caragiale's style. The protagonist, a treacherous Moldavian boyar by the name of Moţoc, uses a discourse rich in political imagery, and towards the end of the play reveals himself as an alter ego of communist theorist Karl Marx. Nelega is critical of the text, arguing that it "does not surpass the gratuitousness of petty pokes" and is "more burlesque than absurd", concluding: "I fear that Gârbea did not know how to end his play and quickly fabricated, deus ex machina, the similitude of a profound sense where there was nothing." The three-character comedy and satire Cafeaua domnului Ministru, seen by poet and literary chronicler Emil Mladin as one "of morals", turns its attention to Romania's political scene, showing the stormy encounter between a matron, a female secretary and a politician. The dialogues are seen by Mladin as "a parody of the discourses with which just about any television station assassinates us", and, Nelega writes, "the lampoon has precise targets". The story pokes fun at the Social Democratic Party and Romanian Democratic Convention governments of the post-1989 period, and, according to dramatist and theater critic Mihaela Michailov, was "adequate" in the context of 2000 elections. Michailov highlights the play's symbolism as illustrating "the stupidity of the political mechanism", whose sphere is turned into "a sort of no man's land where everything is possible."According to Alex. Ştefănescu, productions of Cafeaua domnului Ministru receive as much applause as "a rock music recital." With Leonida XXI, the author returned to intertextual reworkings, this time introducing his style to the works of Ion Luca Caragiale, Conu Leonida faţă cu reacţiunea and O scrisoare pierdută. The play was notably used as teaching material for student actors

masks: Gârbea Gârbea Gârbea Gârbea Gârbea Horia Gârbea Horia Gârbea Horia Gârbea Gârbea Gârbea Horia Gârbea Gârbea Horia Gârbea Gârbea Gârbea Gârbea Gârbea Gârbea Gârbea Horia Gârbea Gârbea Horia Gârbea Gârbea


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 training at the Caragiale Academy under Mircea Albulescu, who called it "extremely interesting". From Căderea Bastiliei to Creşterea iguanelor de casă
With his debut novel Căderea Bastiliei, Gârbea produces a satirical portrayal of his fellow Romanian writers, disguising their real names with anagrams or other word play. Alex. Ştefănescu, who writes that such portrayals caused "great agitation in the literary world", cites the author's own mock-disclaimer: "The identification of some characters with real person constitutes an abuse of interpretation which the author intends to fight off with any legal means."Ştefănescu however cautions against reading Căderea Bastiliei purely as a roman à clef, since the inspiration from "writers' deeds" is "capricious" and the resemblance with real persons "partial". A similar opinion was voiced by poet and journalist Cornelia Maria Savu, who compared the narrator to a puppeteer and further assessed: "<mask> <mask> does not hate his characters, does not love them, he understands them. And by understanding them, he offers them a few moments to evolve with no strings." Reviewing the work from a stylistic point of view, Paul Aretzu analyzes the intrusion of "intertextual indulgences" throughout the work, identifying allusions to Ion Luca Caragiale, Franz Kafka, Ioan Alexandru Brătescu-Voineşti and others, while also noting the presence of experimental methods echoing James Joyce's Ulysses. Ştefănescu attributes such presences to parody, noting in passing the introduction of situations and even entire passages from Kafka's Metamorphosis and Albert Camus' The Plague. The narrative delves into Bucharest's bohemian environment, its heroes being vagrants, misfits or alcoholics who lead tragicomic lifestyles. The plot, deemed "to die for" by Galaicu-Păun, notably shows writer and former inmate Aldu Rădulescu seducing literary chronicler Alteea Fleciu, as revenge for a negative review of his work.In Paul Aretzu's view, the manner in which such developments are presented constitutes "a continuous demonstration of brilliant intelligence and spectacular linguistic imagination." He commends a chapter of the book, which discusses how groups of people differentiated by their respective drinking cultures, for being "a sort of poem dedicated to the kinds of drink and drunks in a small alcoholic town", while noting that a similar section, dedicated to the attitudes of writers when faced with fatal diseases, "creates, with the means of the grotesque, a sui generis mythology of the writers' caste". The latter episode is praised by Ştefănescu for its "irresistible" black humor and its "devilish verve". The same commentator states: "The novelist has a joy of writing that transmits itself to the reader. After you finish reading this novel about the ugliness of (literary) life [...], you feel, paradoxically, the joy of living, of communicating, of partaking in the captivating spectacle of being." In Artezu's account, those parts of Căderea Bastiliei in which Gârbea discusses the annual competition for literary prizes offer evidence both a "captivating" humorous focus on everyday occurrences and an "innocent cynicism, characteristic for the author". He argues: "With all the signs of his emotional involvement [...], the author also exercises, through correlations [and] quotes, the function of depersonalization, of estrangement, of laughing at one's misfortunes, of projecting oneself into clichés, [...] of surrogate existence."Literary reviewer Cosmin Ciotloş issues a more reserved verdict on the text: in his view, the episodes of Căderea Bastiliei are primarily "charades", whose main quality is being "droll". Overall, <mask> <mask>'s contribution to short fiction is described by Alex. Ştefănescu as "ingenious" and "endearing". The political fiction of  is described by Boerescu as "a multitude of sub-worlds" structured around "framework situations", moving between the "petty politics of the day" (targeting the Social Democratic Party) and ironic parables or dystopias. Boerescu writes: "The author cannot refrain from endlessly staging acts and short plays or inserting lines with an obvious dramatic hue". The same commentator identifies in the stories several allusions, homages or intertextual borrowings, from the "semiotic games" of Umberto Eco to a "landscape of luxuriant vegetation" characteristic for the Latin American Boom writers. This symbolism is coupled with allusions to Romanian literary life: the final story in the collection, Motanii din bibliotecă ("The Tomcats in the Study Hall"), speculates about the future of Gârbea's generation, and depicts bibliophiles keeping pets named after the leading literary critics of the 1980s and '90s.Among his poetry collections, Creşterea iguanelor de casă drew attention for transferring the intertextual and parodic conventions into a lyrical format, mostly free verse. According to Ştefănescu, it and his other poetry collections are "better than those by most contemporary authors who emphatically recommend themselves as poets." Nicolae Oprea noted in particular the reworking of a motif borrowed from Sibiu Circle poet Ştefan Augustin Doinaş and his Mistreţul cu colţi de argint: the "prince from the Levant", whom Gârbea transfers into the destitute world of garbage collectors. Part of it reads:

Oprea also highlighted ironic and dismissive borrowings from Romania's national poet Mihai Eminescu, and from poets laureate such as Octavian Goga and Vasile Alecsandri, as well as an actual lineage from the black humor of 1930s Surrealists. He sees a direct link between Gârbea and the Romanian Surrealist group's Gellu Naum, and beyond, to the "existential" absurdism of Ionesco and Kafka. Also according to Oprea, such texts "are raised as collages of everyday images and bookish suggestions, well tied to each other, to the point where their articulation into colloquial speech puts to use the technique of reabsorbing the dramatic element and the narrative nucleus of balladesque nature into the sphere of pure lyricism." Crime la Elsinore and Trecute Vieţi de Fanţi şi de Birlici
Crime la Elsinore is a return to prose satire, in this case directed at the theatrical environment.The setting is a fictional theater in provincial Călăraşi, deriving its name from the Getic ruler Dromichaetes, and the protagonists, Cosmin Ciotloş notes, are composite portrayals rather than the "masked" characters of Căderea Bastiliei. He argues: "Whichever way you look at it, set free from the contextual interpretations exercised in reading tabloids, the novel stands only to gain." The narrative focus is on the kitschy ambition of a failed theater manager, Cosma, who proceeds to conflate all the violent moments of Shakespearean tragedy into a single show of regular proportions. The project is increasingly confused, and the text used by Cosma mixes Shakespeare's lines with quotes from Pierre Beaumarchais, Euripides and Molière, while adopting the format of a detective novel. Ciotloş reproached Crime la Elsinore for lack of subtlety, in the presence of a "not exactly indispensable" glossary of terms which was published with the book. Although he acknowledges that the writing is "amusing", he also contends that it is "impossible to extend sociologically or connect to some reality", being isolated "in its own world", and displaying "compositional precariousness." He concludes: "A book perfect in its own way, but far from perfection in ours."A similar overview is provided by Burţa-Cernat, who contends that, in taking sides and explaining his intentions, the author adopts "the manner of an untalented journalist", with "see-through" results. She also believes that Gârbea's chief comedic resource is "the cheap anecdote with a trite climax", which she compares with those published by the communist-era magazine Urzica. Additionally, Burţa-Cernat comments on the irony of Cosma's reliance on intertextuality, which she finds similar to Gârbea's own work for the stage. Critic Andrei Terian noted that he disliked almost all the book, because of its author's tendency to humiliate his characters "before us readers are in the least familiarized with them." In Trecute Vieţi de Fanţi şi de Birlici, <mask> revisits the main themes of Romanian literature, looking into the biographies of various fictional characters, their lifestyles, personal preferences and social positioning. He himself defined the overview as "a sort of collection of essays on the edge of literary history." One of its chapters compares the tabletop games entertaining such figures, from the contract bridge parties in Camil Petrescu's books and the antiquated card games in Mateiu Caragiale's Craii de Curtea-Veche to the cruder craps and gambling preferred by thieves in Eugen Barbu's novels.Other sections discuss the attitudes toward love in such diverse places as Marin Sorescu's neorealist prose and the fantasy short stories of Mircea Eliade. Likewise, the avatars of violence are depicted between Ion Luca Caragiale's satire D-ale carnavalului, where people threaten to poison each other with sulfuric acid, Anton Bacalbaşa's depictions of officers disciplining their subordinates with the use of belts, and Marin Preda's Moromeţii, where peasants beat each other with clubs. Another part of the book deals with the incidence of failure among intellectual protagonists, and leads Gârbea to conclude that, with the exception of Mihail Sebastian's Accidentul, Romanian narratives generally show their intellectual protagonists incapable of finding their way in life. According to Daniel Cristea-Enache, Gârbea generally and willingly limited the scope of his investigation to canonical and urbane literary realism, avoiding allegorical styles such as Onirism: "the author is not interested in symbolic codification, in the refraction of the characters and their fictional world; but, quite the contrary, in the points and lines at which literature intersects with social life." In his review of the volume, Emil Mladin deemed it "wonderful" and "an extremely welcome project", noting: "Trecute Vieţi de Fanţi şi de Birlici represents a link which the reader needed in his relationship with the characters of stories relevant both at the time of their writing and today." According to literary critic Silvia Dumitrache, the book creates "new paths in interpretation [...] even when starting from literary locations that are often threatened with turning into clichés." She concludes "Through the playful note he impresses on the book, Horia Gârbea proves that his main intention does not reside in the willingness to impose a new hermeneutic grid on Romanian literature, but in the attempt to demonstrate that the resources of literature can never, ever, be entirely exhausted."Cristea-Enache sees in Trecute Vieţi de Fanţi şi de Birlici "a book as interesting as it is enjoyable [...]. A holiday read, one could say, had this sytagm not been bastardized, in our country, by so many printed works (volumes and journals alike) that offend the reader's intellect." Outside the critical reevaluation of local literature, <mask>'s work includes short humorous essays about various topics in post-1989 society and modern Romanian culture. One such chapter is built around the polemic between <mask> and writer Gheorghe Grigurcu, over the issue of what it means for a working artist to be treated unjustly or be privileged. Another fragment documents and ridicules the impact of instant messaging on the Romanian lexis, with the rapid spread of abbreviations such as sal (for salut, "hello"), vb (vorbim, "we'll talk") and ms (mersi, "thanks"). <mask> also pokes fun at the babytalk-based jargon of parenting magazines, and contrasts its apparent artificiality with the awe he records having personally experienced after the birth of his son Tudor. It reads: "[He] does not inspire in me the image of fragility and fondness, but the force of an entity which benefits from the advantage of The Unknown.When I call him using his human name, he smiles down on me, with devastating irony, so that I may grasp my complete lack of fantasizing ability. No matter what will happen in the future, these winter days [...] shall always remain for me under the sign of having met, for the first time in life, an inexplicable creature." Other works
Fratele mai deştept al lui Kalaşnikov, which comprises several stories, received mixed reviews. According to Andrei Terian, the main one, Articolul 96 ("Article 96"), which is about a lecherous politician dating an anorexic model, has the same defects as Crime.... In contrast, Terian notes, <mask> shows his "sure hand" in other pieces, where he parodies Povestea unui om leneş ("The Story of a Lazy Man") by 19th century Romanian classic Ion Creangă, or where he pokes fun at the 14th century Battle of Rovine, as well as the absurdist Întoarcerea tatei din război. Subiecte ("Father's Return from War. Subjects"), where the same narrative cliché is explored from several conflicting perspectives.According to Terian, the volume as a whole displays influences from poet and satirist Tudor Arghezi, as well as borrowings from fellow parodist Ioan Groşan. Azerbaijan – The Living Flame details <mask>'s trip and offers additional insight into the Nagorno-Karabakh conflict between Azerbaijani people and Armenians. It features his poems about Shusha city, the Khojaly Massacre and the Guba mass grave. The texts received criticism from the Armenian Romanian community's Ararat journal: it specifically called "disinformation" the fragments which refer to Azerbaijan's Christian past, and expressed concern over Gârbea's claim that Heydar Aliyev was "a civilizing providential hero". References

External links
 Personal blog
translations from <mask> <mask>, in the Romanian Cultural Institute's Plural Magazine: Own Goal with Actor and Accountant (Nr. 10/2001), Who Needs No Theater (Nr. 10/2001), The Pleasures of Life (Nr.23/2004)
 Raţă cu portocale (e-book version) and Crime la Elsinore (fragments), at Editura LiterNet
 Funghi al pomodoro (translated by Gabriela Lungu), at Griseldaonline.it
 Horia Gârbea's articles in Cultura
 Horia Gârbea's articles in Ramuri
 Horia Gârbea's articles in Săptămâna Financiară
 Horia Gârbea's articles in Ziarul Financiar

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masks: Horia Gârbea Horia Gârbea Gârbea Gârbea Gârbea Gârbea Gârbea Gârbea Horia Gârbea


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<mask> (Portuguese: /ˈkasjɐ ʁeˈʒɐni ˈɛleʁ/) (December 10, 1962 – December 29, 2001) was a Brazilian singer and musician. She came to prominence in the early 1990s and performed a mix of rock and MPB. Eller released five studio albums in her lifetime: <mask> (1990), O Marginal (1992), <mask> (1994), Veneno AntiMonotonia (1997) and Com Você... Meu Mundo Ficaria Completo (1999). Her sixth studio album, Dez de Dezembro (2002) was released posthumously. Eller's most successful album was Acústico MTV – <mask> (2001), selling over 1 million copies. She was ranked as the 18th greatest vocalist and 40th greatest Brazilian musician by Rolling Stone Brasil. On December 29, 2001, Eller died of a heart attack caused by a malformation of her heart at the age of 39.Biography

Early life and career
Daughter of an Army paratrooper sergeant and a housewife, her name was suggested by her grandmother, who was devoted to St. Rita of Cascia. Born in Rio de Janeiro, RJ, she moved with her family to Belo Horizonte, Minas Gerais at six years old. When she was 10 years old, she went to Santarém, Pará, and at age 12 returned to Rio. Her interest in music began when she received a guitar as a gift at age 14. She played mostly Beatles songs. At the age of 18, she arrived in Brasilia, where her family moved. There she sang in choir, auditioned for musicals, worked in two operas as a showgirl, and performed as a singer for a forró group.She was also part of the first electric trio of Brasilia, called Massa Real, and played the Surdo drum in a samba group. She played and sang in several bars (including Bom Demais). In 1981 she appeared in a spectacle of Oswaldo Montenegro. A year later, at age 19, wanting her personal freedom, she moved to Belo Horizonte for a place to live and a job. As soon as she arrived, she went to work as a bricklayer. "I made mortar and set up bricks," she said. There she lived in a small rented room.She did not finish high school because the shows she was doing every day on a different shift did not allow her a schedule to study. Characterized by deep voice and her eclectic choices of material, she played songs of great composers of Brazilian rock such as Cazuza, Renato Russo and Rita Lee, as well as of MPB like Caetano Veloso and Chico Buarque, and of pop like Nando Reis, and of sambas like Riachão and of international rock like Janis Joplin, Jimi Hendrix, The Beatles, John Lennon and Nirvana. She had a significant musical career, even though short, with ten recorded albums over the course of the twelve years. In fact, it was only in 1989 that her career took off. Helped by her uncle, she recorded a demo tape with the song "Por Enquanto" by Renato Russo. This uncle took the tape to PolyGram, which resulted in Eller being hired by the label. Her first participation in a record was in 1990, in Wagner Tiso's album titled "Baobab".Eller always had a very intense stage presence and preferred albums recorded live. She was constantly invited for special participations and personalized interpretations. She declared herself to be an interpreter of other people's work, having composed only three of the songs she recorded: "Lullaby" (with Márcio Faraco) on her first album, Cássia Eller, in 1990; "Eles" and "O Marginal" (with Hermelino Neder, Luiz Pinheiro and Zé Marcos) on the second album, O Marginal (1992). 2001 was a very productive year for Eller. On January 13, 2001, she performed at Rock in Rio III in a show where baião, samba and MPB classics were sung in a rock rhythm. On this day the sequence of acts was as follows: REM, Foo Fighters, Beck, Barão Vermelho, Fernanda Abreu and Eller. 190 thousand people attended the concert.Between May and December, Eller did 95 shows. This included recording a DVD (live, as she preferred), MTV Unplugged, between March 7 and 8 in São Paulo. The project included artists of high artistic and technical ability: Nando Reis (musical direction / authorship, voice and guitar in "Relicário" / voice in "De Esquina" de Xis), the musicians of the band: Luiz Brasil (Musical Direction / Cifras / Guitars and Mandolin), Walter Villaça (Guitars and Mandolin), Fernando Nunes (bass), Paulo Calasans (Acoustic Piano and Organ Hammond), João Vianna (Drums, Surdo, Ganzá, Grater and Blade), Lan Lan (Percussion and Vocal) and Tamima Brasil (Percussion), guest musicians Bernardo Bessler (violin), Iura (Cello), Alberto Continentino (bass sound), Cristiano Alves (clarinet and bass clarinet), Dirceu Leite (sax, flute and clarinet), among many others. The album was composed of 17 tracks, plus the Making Of, photo gallery, discography and i.clip. The album has sold more than a million copies to date and became the biggest hit in Eller's career. Up to then she was not considered an extremely popular singer despite good sales and experience. In the same year of 2001, she would perform at MTV's Video Music Brasil in her MTV Unplugged alongside Rita Lee, Roberto de Carvalho and Nando Reis (performing Os Mutantes' "Top Top").At the end of the year, she was scheduled to perform at Praça do Ó, in Barra da Tijuca, Rio de Janeiro, during the celebrations of the new year. She died two days before, on December 29. Luciana Mello was her replacement. At several spots in Rio de Janeiro, there was a minute of silence during the homage of the passage of the year in memory of Eller. Several artists also paid homage to the singer at their shows at the turn of the year. Eller's sixth studio album, Dez de Dezembro was released posthumously on her 40th birthday, on December 10, 2002. Personal life
In 1993, Eller gave birth to her first and only child, a son named Francisco (affectionately called Chicão), the love child of a casual relationship with a friend, bassist Tavinho Fialho.Tavinho was married and died in a car accident a week before Chicão was born. Chicão was raised by <mask> and her partner Maria Eugênia Vieira Martins. The two had been in a relationship since 1987 and stayed together until Eller's death in 2001. Eller's request was that if something happened to her, Maria Eugênia would be responsible for the care of Francisco, and after her death her partner did raise the boy after a legal battle over his custody against Eller's father. Eller was a passionate fan of Clube Atlético Mineiro, and was even contacted to receive the Silver Rooster, an honor given to the illustrious fans of the Club. However, with her untimely death, the trophy ended up being delivered in 2002 to her mother, Nanci Eller, according to whom: "Last year <mask> performed in Curitiba, and Levir Culpi sent a Rooster shirt for her, her son. All of her instruments have the Athletic shield.She always put the shield on the things she won. There is even a shield on the door of the studio that Eller had in her residence". Death

<mask> <mask> died on December 29, 2001, in the Santa Maria clinic in the Laranjeiras neighborhood, in the south of Rio de Janeiro, after suffering three cardiac arrests due to sudden Myocardial infarction. She was 39 years old and at the peak of her career. She had been hospitalized at 1 pm and was placed in the ICU (Intensive Care Center). According to her manager, the singer was feeling bad and complaining of nausea due to overwork. The symptoms, he said, were thought to be the result of stress caused by overwork."She had been working a lot. In seven months, she's done over a hundred shows," she said. The hypothesis of drug overdose was raised. This was initially considered as the cause of death, but was dismissed by the coroner report of the Medical Institute of Rio de Janeiro after necropsy. The coroner report stated that Eller died of a heart attack, caused by a malformation of her heart. The toxicology report found no alcohol or drug residues in her body. Histopathological exams revealed Eller had heart problems, such as mild coronary sclerosis (early onset of fat thrombi) and myocardial fibrosis (scars from other pre-existing lesions).She is buried at the Jardim da Saudade Cemetery, in the Sulacap neighborhood, in the city of Rio de Janeiro. Discography
Studio albums
 <mask> <mask> (1990)
 O Marginal (1992)
 <mask> Eller (1994)
 Veneno AntiMonotonia (1997)
 Com Você... Meu Mundo Ficaria Completo (1999)
 Dez de Dezembro (2002)

Live albums
 <mask> Eller ao Vivo (1996)
 Veneno Vivo (1998)
 Cássia Rock Eller (2000)
 Acústico MTV – <mask> <mask> (2001)
 Rock in Rio: <mask> Eller Ao Vivo (2006)

References

External links

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masks:
Cássia Rejane Eller
Cássia Eller
Cássia Eller
Cássia Eller
Eller
Cássia
Cássia
Eller
Cássia
Eller
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<mask> (born <mask>; 13 August 1905 – 1 December 1974) was a transnational Jewish scholar and intellectual, who wrote extensively in English about the art, culture, and history of Mexico. She was born in Mexico, raised and educated in the U.S., and returned to Mexico in the 1920s following the Mexican Revolution. She coined the term 'Mexican Renaissance', "to describe the cultural florescence [that] emerged from the revolution." As a child of immigrants, Brenner's heritage caused her to experience both antisemitism and acceptance. Fleeing discrimination in Texas, she found mentors and colleagues among the European Jewish diaspora living in both Mexico and New York, but Mexico, not the US or Europe, held her loyalty and enduring interest. She was part of the post-Revolutionary art movement known for its indigenista ideology. Brenner earned a PhD in anthropology at Columbia University and her first book, Idols Behind Altars was the first book to document the artworks, styles and artists of Mexico from Prehistory through the 1920s.It was widely considered her most important work and was filled with photographs by renowned photographers and interviews with the most influential and prolific artists of the period. Her fourth published book was The Wind That Swept Mexico; The History of the Mexican Revolution, 1910-1942, having in between printed a guidebook and a children's story. The first book to give a complete account in either English or Spanish on the Mexican Revolution, it was the first to retell the events from a Mexican perspective. Early life
<mask> was born 13 August 1905 in Aguascalientes, Mexico to Isador and <mask>. Her birth name was registered as Hanna. Her parents were Jewish emigrants to Mexico from Latvia, and her father moved his family back and forth from Mexico to Texas during the Mexican Revolution. In 1916 when Brenner was 11, the family settled in San Antonio, Texas, but Brenner's nanny influenced her enduring passion for Mexico.She briefly attended Our Lady of the Lake University and then took an English course with J. Frank Dobie at the University of Texas at Austin. After two semesters she was able to persuade her father to let her return to Mexico, since she felt excluded by her university peers because of their antisemitism. After her father had secured promises from Joseph Weinberger, of B'nai B'rith, a Jewish service organization, and his wife Frances Toor that they would look after her, Isador agreed to let <mask> go. She moved to Mexico around the age of 18 and settled in Mexico City. Frances Toor introduced Brenner to the community of international artists, refugees, and intellectuals then residing in the capital. Brenner became an important member of this cosmopolitan circle and was an important link among them. She was also an important voice for bringing the Mexican artistic florescence to the attention of readers in the U.S., effectively representing it north of the Mexican border.For the first time in her life, <mask> felt accepted and began to explore her Jewish roots. She worked for a brief period at B'nai B'rith, meeting recent Jewish immigrants at the port of Veracruz and helping them with their paperwork and resettlement. Brenner quickly became part of the leftist bohemian group and as a journalist was a key voice in the indigenismo movement. Carleton Beals and Ernest Gruening were influential U.S. journalists who Brenner met in this early period of her career. Beals helped her launch her publishing career. She was Gruening's research assistant for his book, Mexico and Its Heritage, which he spent five years developing in Mexico before it was published in 1928. In 1924, her first published article was "The Jew in Mexico," published by The Nation, which Gruening had edited from 1920-1923.President Plutarco Elías Calles (1924–28) heard about her and offered her a scholarship to participate in the cultural preservation program. At that time in Mexico, the Secretariat of Education (SEP) had established a cultural missions program, which began in 1923, where young people traveled the country and helped preserve indigenous culture. Concha Michel, a friend of <mask>'s, participated in a similar program and gathered indigenous folk songs. In 1926, Brenner commissioned her friends Tina Modotti and Edward Weston to travel with her and take photographs for her upcoming book on Mexican decorative arts. The National Autonomous University of Mexico was providing funding for a two-volume series in which Brenner planned to document artworks in  Guanajuato, Jalisco, Michoacan, Oaxaca, Puebla and Querétaro. Modotti and Weston also took personal photographs of Brenner. The differences between them point to the different aesthetics of the photographers.Weston was known for the abstract qualities of his highly focused and "precisely composed black-and-white images of semi-abstract nudes, landscapes, and organic forms". His photographs of Brenner's back are devoid of human interest and a study of form. In Modotti's images she attempted to capture scenes and personality, and social context over form were emphasized. Her photographs of Brenner show her dressed in a man's suit and fedora. Though feminists of later decades saw these photographs as uninhibited gender expression, Brenner was discreet about her sexuality and like most of the female artists of the period was not a feminist. Their works questioned their personal restrictions, but not as a feminist statement for society. New York years
In 1927, Brenner left Mexico for New York to attend Columbia University.She had served as translator and editor for Manuel Gamio, a leading Mexican anthropologist and was encouraged to pursue a doctorate by Franz Boas, the "founding father of American anthropology". In 1929, she was finally able to publish her book on Mexican artwork, but instead of the two volumes originally planned, she published one volume entitled Idols Behind Altars, with the New York trade publisher, Harcourt, Brace. The main premise of the book was that behind the Spanish "altars", visible Hispanic, Catholic culture, lay the "idols", invisible authentic culture of the real Mexico, which the "Mexican Renaissance" was rediscovering. It was well received and is considered her most important work. It was the first attempt to permanently record art throughout the country, as well as analyze the works, styles and artists of Mexico. According to Katherine Anne Porter's review, it reads like a "who's who" of the Mexican art scene of the 1920s, including Abraham Ángel, Adolfo Best-Maugard, Jean Charlot, Xavier Guerrero, Carlos Mérida, Gerardo Murillo Cornado (aka Dr. Atl), José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros and explains the intricate interlacing of their community of foreigners, second generation emigrants, and native born artists who have restored the "Indian" imagery of Mexico. Although she never finished a bachelor's or master's degree, nor done field work at the site in 1930, Brenner submitted her PhD dissertation in anthropology on the ancient site of Colhuacan.After her successful defense of her thesis, she completed her degree and was awarded a Guggenheim Fellowship in 1930 to study the geographical extent of Aztec art in Mexico and at various museums in Europe. In her travels throughout Europe she wrote articles for The New York Times and served as a war correspondent during the Spanish Civil War. <mask>'s travels through Mexico with the fellowship resulted in a travel book entitled Your Mexican Holiday which was published in 1932. The next decade of her life was spent in the publication of hundreds of articles which appeared in "The Nation (seventeen articles) and the New York Times Sunday Magazine (twenty articles), ... Mademoiselle, and ... the Brooklyn Daily Eagle (fifty articles), as well as stories of Mexican art, culture, refugees and politics which were chronicled in the Jewish press – the Menorah Journal, the Jewish Morning Journal, The Jewish Daily Forward, and the Jewish Telegraphic Agency. During this period, Brenner helped many of Mexico's artists navigate the U.S. audiences. She introduced José Clemente Orozco to Alma Reed who helped plan his first New York showing and guided his career. She and Orozco later had a falling out.She wrote reviews and helped with the translation of Mariano Azuela's The Underdogs, which sold 3,000 copies, she promoted Diego Rivera, though they at times had a contentious relationship, as well as Carlos Mérida and David Alfaro Siqueiros. Politics
Many of the Mexican artists of the post-Revolutionary decades accepted that the government endorsement of using art to educate the largely uneducated public was a tacit approval to produce art heavily reflecting communist ideology. Revolutionary themes and communism combined in many works of the period. But the 1930s were turbulent times, Mexican communists were sometimes embraced and sometimes not embraced by their US and Soviet counterparts. Brenner was a sympathizer, like others of Mexican avant–garde, who were sometimes Communist Party members and sometimes not. In 1926 when the journal New Masses was launched, Brenner was classed as a fellow traveler, but not a party member. As an independent reporter in Spain, Brenner evaluated the Russian role in the Spanish Civil War.She found evidence that the Gosudarstvennoye Politicheskoye Upravlenie (GPU), the Russian secret police, intimidated anarchists and socialists in an effort to silence critics of the Comintern and she criticized Stalin's move away from helping workers and into Marxist factionalism. In the view she supported, Stalin would be the only one who would benefit from the adoption of Communism by the Spanish Government. In 1934 <mask> and 24 others signed an open letter on their anti-Stalin stance and received negative reviews from  New Masses, which had become the leading Communist journal, branding her a Trotskyist. She responded in an individual letter stating that the role of the intellectual was to question and criticize. By stifling criticism the Communist Party was refusing to allow intellectuals to do their jobs. Brenner occasionally wrote under a pseudonym "Jean Mendez" for Troskyist newspapers. In 1936, it was Brenner who sent a telegram from New York to Diego Rivera asking him to use his influence to find Leon Trotsky a safe haven in Mexico.Trotsky had been in exile for nine years, and Norway was in the process of expelling him. <mask>, on behalf of the Trotskyite Fourth International, asked Rivera to assist in the crisis and secure asylum. Rivera immediately contacted President Lázaro Cárdenas and secured the necessary agreement. Return to Mexico
<mask>, her husband and two children emigrated to Mexico in 1940, to the farm in Aguascalientes her family had left when they moved to Texas. She re-established it for specialty agricultural produce and grew asparagus and garlic. Brenner continued to publish in the U.S. and renewed her lifelong friendship with Jean Charlot to collaborate on several children's books. In 1943 she published her fourth book, The Wind That Swept Mexico, for which she wrote the text, with George R. Leighton, publishing the vivid photos.which was the first complete account in either the English–language or Spanish recounting the events that occurred during the Mexican Revolution. It was also the first telling in English that gave a Mexican perspective of the conflict. Many versions of the events of the war had been printed in the US, but mainly those were journalism pieces which negatively reported on events in Mexico. In particular, pieces by William Randolph Hearst's papers were designed to arouse anti-Mexican feeling to protect his own land holdings in Mexico. Brenner defended Mexico's right to determine its own path without foreign intervention. The book was widely acclaimed at the time, and was received well when it was reprinted in the 1970s. In 1955, Brenner established a monthly publication, Mexico/This Month.Her familiarity with both sides of the border gave her the expertise to make Mexico known to an English-speaking public. When the Mexican government awarded her the Order of the  Aztec Eagle, the highest honor Mexico can award a non-national, she refused it, on the grounds that she was Mexican by birth. She did accept a citation as a distinguished tourism pioneer awarded by former president Miguel Alemán Valdés in 1967. Personal life
In July, 1930 Brenner married David Glusker, from whom she separated in 1951 ten years prior to his death in 1961. She had two children, a daughter, Dr. Susannah Joel Glusker (1939-2013), who taught at the Universidad Iberoamericana in Mexico City, and a son, Dr. Peter Glusker (1936–2020), a physician who had a medical practice in Fort Bragg, California. Two posthumous volumes were released after Brenner's death, by Susannah Joel Glusker, Brenner's daughter. Avant-Garde Art & Artists in Mexico, 2-Volume Set: <mask>'s Journals of the Roaring Twenties was prepared using diaries and notes Brenner had made and span the period from 1925 until her marriage in 1930 and photographs from Brenner's files.Some of the photographs were taken by Modotti and Weston for Idols behind Altars and also some images by Máximo Pacheco and Orozco which had not previously been published. Susannah Glusker wrote a biography of her mother entitled <mask>: A Mind of Her Own

She died in Ojuelos de Jalisco, 83 km east of Aguascalientes, in an automobile accident on 1 December 1974, aged 69. Legacy
Brenner remains an important figure in post-Revolutionary art and history in Mexico, an enthusiast for Mexican art and culture and an active advocate for its importance to a U.S. audience. A prolific scholar and journalist herself, she has been the subject of studies by Mexicanist scholars. The Skirball Cultural Center in Los Angeles hosted an exhibition focusing on Brenner in 2017-18, entitled "Another Promised Land: <mask>'s Mexico." Selected works
 Reprinted:
 Doctoral dissertation:  Reprinted:

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References

External links
Brenner biodata
<mask>ner: A Mind of Her Own
<mask> Collection at the Harry Ransom Center, University of Texas at Austin
"<mask>ner, a bridge between nations and religions"

1905 births
1974 deaths
20th-century American novelists
20th-century Mexican novelists
American people of Latvian-Jewish descent
American women novelists
Columbia University alumni
Mexican emigrants to the United States
Mexican women novelists
Mexican people of Latvian-Jewish descent
Mexican Ashkenazi Jews
Mexican journalists
Mexican historians
Historians of Mexico
Historians of Mesoamerican art
Women Mesoamericanists
People with acquired American citizenship
Writers from Aguascalientes
Writers from Mexico City
Writers from San Antonio
Road incident deaths in Mexico
20th-century American women writers
Novelists from Texas
Women art historians
20th-century historians
20th-century journalists

masks:
Anita Brenner
Hanna Brenner
Anita Brenner
Paula Brenner
Anita
Brenner
Anita
Brenner
Anita
Brenner
Brenner
Anita Brenner
Anita Brenner
Anita Brenner
Anita Bren
Anita Brenner
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<mask> (February 3, 1747 – August 12, 1813) was an American merchant and statesman born in Andover, Massachusetts, currently a part of North Andover, Massachusetts. His family home still stands at 440 Osgood Street in North Andover and his home in New York City, the <mask>sgood House, served as the country's first Presidential mansion. He served in the Massachusetts and New York State legislatures, represented Massachusetts in the Continental Congress and was the fourth Postmaster General of the United States (the first under the current Constitution), serving during George Washington's first term. In 1812, he was elected the first president of the newly formed City Bank of New York, which later became Citibank, predecessor of today's Citigroup. Early life
<mask> came to Massachusetts from Andover in England in 1638. In 1646 he started a new settlement there and named it Andover for his home town. Four generations later, Captain <mask> lived there and in 1747 he had a third son whom he named <mask>.<mask> attended Dummer Academy (now The Governor's Academy), and then Harvard College, where he studied theology and graduated in 1770. Later, he returned to Andover to follow a mercantile career. He joined the local militia, was elected to represent the town in the colonial assembly, and in 1775 to the provincial congress that functioned as a revolutionary government. The Revolution
<mask> led a local company of minutemen into the Battle of Lexington and Concord in the spring of 1775. They followed the retreating British, and became part of the Siege of Boston. As more troops assembled, he was made Major of a brigade while serving at Cambridge. He became an aide to General Artemas Ward, and was promoted to Colonel.When the siege succeeded in the spring of 1776 <mask> left the army and returned to the provincial congress. The Provincial Congress named <mask> to the Massachusetts Board of War and he served there until 1780 when the government was reorganized. He was a delegate to the state's constitutional convention in 1779-1780. Under the new Constitution he was elected to the Massachusetts State Senate in 1780 and served two terms. The new government named <mask> as one of their delegates to the Continental Congress and he served there from 1782 until 1784. After a brief term in the Massachusetts House of Representatives in 1784, the governor appointed <mask> a judge in 1785 but he soon resigned when the National Congress made him a commissioner of the Treasury later that year. He moved to New York City to take up this office, which he held until the Congressional Government ended.Postmaster General and New York career
When a new U.S. government was installed in 1789, President Washington appointed <mask> the first Postmaster General under the new U.S. Constitution, replacing Ebenezer Hazard who was commissioned postmaster of the city of New York by the Continental Congress. <mask> served as Postmaster from 1789 to 1791. One of the first things <mask> would do is make the Post Office in Baltimore the new regional headquarters, whose postmaster was Katherine Goddard. <mask> ordered Goddard to resign from her post and was replaced by John White. The seat of the Federal Government at that time was in New York City and the official residence of the President was located at the <mask> Osgood House at 3 Cherry Street, which was the home of <mask> and his family. <mask> offered the mansion to Washington so that the President and his wife would have what was then considered the finest house in the city as their home. The residence thus became America's first executive mansion.When the Federal Government moved to  Philadelphia for a ten-year period before finally settling in Washington, D.C., <mask> chose to remain in New York and resigned his post in 1791. <mask> was a presidential elector in 1792, and cast his votes for George Washington and George Clinton. He was a member of the New York State Assembly in 1800-01 and 1802, and was Speaker in 1800-01. In 1803, he was appointed by  President Thomas Jefferson as Naval Officer of the Port of New York, a position he held until his death. For the last year of his life he was President of the new City Bank of New York. <mask> was a member of the American Philosophical Society, and in his later years devoted time to writing and study. He had an extensive correspondence with George Washington and Thomas Jefferson among others.Personal life
On January 4, 1775, <mask> married Martha Brandon, who died in 1778. On May 24, 1786, <mask> married Maria Browne (1754-1813), widow of Walter Franklin and mother of Maria Franklin Clinton, first wife of New York Governor DeWitt Clinton. They had a daughter named Martha Brandon <mask>, who married diplomat Edmond-Charles Genêt. <mask>'s brother, Isaac, married Sarah Pickman (1772-1791) on October 12, 1790; following her death, he married her sister, Rebecca Taylor Pickman (1775-1801), on December 8, 1794. They had a son, <mask> Jr., whose daughter Charlotte married Moses T. Stevens, and a daughter, Sally Pickman <mask>, who married Bailey Loring and had a son, George B. Loring. Thirdly, Isaac married Mary Pickman in 1802, the cousin of his first two wives. His first two wives were cousins of, and his third wife a sister of, Benjamin Pickman.Death
He died in New York City in 1813. His birthplace in North Andover, Massachusetts is located on a street named for his family, and is listed on the National Register of Historic Places, as is his New York residence. Col. <mask>'s portrait has been housed in the President's Room of the U.S. Capitol since Lincoln's presidency. References

Further reading

External links

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1747 births
1813 deaths
American people of English descent
Continental Congressmen from Massachusetts
18th-century American politicians
Harvard College alumni
Massachusetts militiamen in the American Revolution
Massachusetts state senators
Members of the New York State Assembly
People from North Andover, Massachusetts
Speakers of the New York State Assembly
United States Postmasters General
1792 United States presidential electors
The Governor's Academy alumni

masks:
Samuel Osgood
Samuel O
John Osgood
Peter Osgood
Samuel
Samuel
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Samuel
Samuel Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Osgood
Isaac Osgood
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<mask> (1541 – 25 May 1601) was an English diplomat, administrator, and antiquary in the reign of Elizabeth I. As Clerk of the Privy Council, <mask> wrote the official record of the execution of Mary, Queen of Scots, to which he was an eyewitness. Early life
<mask>, born in 1541, was the eldest son of a London mercer, <mask> (died c. 1548), and Amy Morison, thought to have been a daughter of Sir Richard Morison. He was educated at Coventry, likely at the school set up there by John Hales, with whom he was closely associated, and whose brother, Stephen Hales (d. 1574), was married to Sir Richard Morison's sister, also named Amy. According to Bell, Hales 'imparted to Beale his views on religious and social reform, as well as his interest in classical learning'. Although he never took a degree, <mask> studied civil law, and may have attended Cambridge. As a Marian exile <mask> studied at Strasbourg, where he lived at the house of Sir Richard Morison.After Morison died in 1556, <mask> studied 'logic, rhetoric and Greek' under John Aylmer at Zurich. In 1562 Lord John Grey of Pyrgo consulted him concerning the validity of the marriage of his niece Lady Catherine Grey with Edward Seymour, 1st Earl of Hertford, and <mask> made a journey to the continent to lay the case before Oldendorpius and eminent Italian canonists. The opinion which <mask> formed he subsequently maintained in a Latin tract; a royal commission, with Archbishop Matthew Parker at its head, pronounced the marriage void at the time, but its validity was established in 1606. Diplomatic career
In 1564 he obtained a post with the English embassy in Paris, and travelled into Germany. Walsingham found him in Paris on his appointment as ambassador-resident there in 1570, and made him his secretary. In the correspondence between Lord Burghley and Walsingham of this period he is frequently mentioned as carrying despatches between Paris and London. A witness to the massacre of St. Bartholomew two years later (24 August 1572), he wrote a Discourse by way of Letter to the Lord Burghley shortly after the event.The same year he succeeded <mask>, then raised to the bench, as M.P. for Totnes. About this time he was appointed clerk to the council. In April 1575 he was sent to Flushing to recover goods which the Flushingers had seized, consisting partly of merchandise and partly of property of Edward de Vere, 17th Earl of Oxford; and in the following year he accompanied Admiral William Winter to the Low Countries to demand the liberation of the English merchant ships on which the Prince of Orange had laid an embargo in the Scheldt River in retaliation for acts of piracy committed by English privateers on Dutch shipping. The ships were set free at once, but an indemnity for the detention, which <mask> was instructed to claim, was disputed. After the Formula of Concord of 1577 had defined so-called Cryptocalvinists as heretics, <mask> and Paulus Knibbius toured nine German courts for Queen Elizabeth, to intervene with Lutheran princes for religious toleration. He impressed Hubert Languet, who gave him an introduction to Sir Philip Sidney.During Walsingham's absence in the Netherlands in the summer of 1578 <mask> acted as secretary of state, as also in 1581 and 1583, on occasion of Walsingham's missions to France and Scotland in those years. In the autumn of 1580 he took part in the examination of Richard Stanihurst about the conveying of Gerald Fitzgerald, Lord Offaly, to Spain at the instigation of Thomas Fleming. In 1581 he was one of the commissioners who took the depositions of Edmund Campion before his trial; his commission extended only to threatening with torture. The same year Walsingham was appointed governor of the Mines Royal, and made <mask> his deputy. Between 1581 and 1584 he was employed in negotiating with Mary, Queen of Scots, at Sheffield, and was suspected of secret partiality to her cause. Eventually (1584) he wrote to Walsingham of a lack of progress. In 1584 <mask> was returned to Parliament for Dorchester, which he also represented in the two succeeding parliaments (1586 and 1589).In November 1586 he was despatched with Lord Buckhurst to Fotheringay, to notify the Queen of Scots of the fact that sentence of death had been passed upon her. Early in the following year, <mask> carried the warrant to Fotheringay and performed the duty of reading it aloud in the hall of the castle by way of preliminary to the execution, of which he was an eye-witness, and wrote an account. Though a Puritan, <mask> maintained the principle of toleration, both in Parliament and as a writer. He published a work impugning the right of the crown to fine or imprison for ecclesiastical offences, and condemning the use of torture to induce confession, and followed it up at a later date with a second treatise (by 1584) on the same subject. John Whitgift then drew up and laid before the council a 'schedule of misdemeanours' alleged to have been committed by <mask>; no notice was taken of it. <mask> had shown the archbishop the manuscript of another work on the prerogative of the bishops, which caused a clash. In the summer he served on logistics under <mask>, 1st Earl of Leicester in the Netherlands during the attempt to relieve Sluys.In 1589 he was employed in negotiation with the Dutch States, and next year with Burghley and Buckhurst adjusted the accounts of Peregrine Bertie, Lord Willoughby, commander in the Netherlands. In 1592 the attitude which <mask> assumed in a debate on supply with another speech against the inquisitorial practices of the bishops, gave so much offence to the queen that he was commanded to absent himself both from court and from Parliament. In 1592 he addressed a lengthy letter to Burghley as Lord Treasurer vindicating his opinions on church government. The following year he was returned to Parliament for Lostwithiel. In 1595 <mask>, 2nd Earl of Essex tried to deprive <mask> of his office of clerk to the council in favour of one of his own creatures; <mask> wrote (24 April 1595) to the Lord Treasurer. He was also clerk to the Council of the North; <mask> concluded his letter by begging that he might be allowed a deputy to do the business of the office at York during his absence. His request was granted, one John Ferne being appointed in the following August.In 1597 he was with Sir Julius Caesar in a commission to examine into complaints by the inhabitants of Guernsey against Sir Thomas Leighton, their governor. In 1599 he was placed on a special commission to hear and adjudge the grievances of Danish subjects who complained of piratical acts committed by English subjects. In 1600 he was appointed one of the envoys to treat for peace with the King of Spain at Boulogne. The negotiation fell through, the representatives not being able to agree on the question of precedency. Private life
In 1601 <mask> died at his house at Barnes, at eight o'clock in the evening of 25 May. He was buried in Allhallows Church, London Wall. He left two daughters, of whom one, Margaret, married Sir Henry Yelverton, who had Beale's books and papers at Easton-Maudit.The library was sold in 1784, and the manuscripts went to the British Museum. The other daughter, Catherine, married Nathaniel Stephens, of Easington, Gloucestershire. He had been a member of the Elizabethan Society of Antiquaries, and is mentioned by Thomas Milles in the epistle dedicatory to his Catalogue of Honour. In 1582 he discussed the North-west Passage with John Dee, John Davis and Adrian Gilbert. He had another house at Priors Marston, in Warwickshire, and is described as of that place in the inscriptions on the tombstone of his wife and daughter Catherine. Marriage and issue
<mask> married Edith St. Barbe, the daughter of Henry St. Barbe of Somerset, and sister of the wife of Sir Francis Walsingham, by whom he had two sons and nine daughters. Works
Throughout life Beale was a collector of books.His written works include:

Argument touching the Validity of the Marriage of Charles Brandon, Duke of Suffolk, with Mary, Queen-dowager of France (sister to King Henry VIII), and the Legitimacy of the Lady Frances, their daughter. In Latin, MS. Cambridge University Library Dd. 3, 85, art. 18. A Large Discourse concerning the Marriage between the Earl of Hertford and the Lady Catherine Grey. In Latin, MS. Cambridge University Library Ii. 5, 3, art.4. This work contains also the opinions of the foreign jurists consulted by <mask> upon the case. Discourse after the Massacre in France, 15 pp. MS. Cott. Tit. F. iii. 299.A Book against Oaths ministered in the Courts of Ecclesiastical Commission from Her Majesty, and in other Courts Ecclesiastical. Printed abroad and brought to England in a Scotch ship about 1583. A Book respecting Ceremonies, the Habits, the Book of Common Prayer, and the Power of Ecclesiastical Courts, 1584
The Order and Manner of the Execution of Mary Queen of Scots, 8 Feb 1587. A Summary Collection of certain Notes against the Manner of proceeding ex officio by Oath. A Consideration of certain Points in the Treaty to be enlarged or altered in case Her Majesty make a new Treaty with the States, April 1589. MS. Cott. Galba, D. iv.163. In this <mask> was assisted by Dr. Bartholomew Clerke. A Deliberation of Henry Killigrew and <mask> concerning the Requisition for Restitution from the States. London, August 1595. MS. Cott. Galba, D. xi. 125.Footnotes

References

External links
 The Correspondence of <mask> in EMLO
<mask>, <mask> (1541–1601), History of Parliament
Hales, John (d.1572), History of Parliament
Hales, Stephen (d.1574), History of Parliament
Will of Stephen Hales, National Archives
Harper, George (1503–58), History of Parliament
Will of Sir George Harper, National Archives
Morison, Sir Richard (1514–56), History of Parliament

1541 births
1601 deaths
English antiquarians
16th-century Puritans
Clerks of the Privy Council
16th-century English diplomats
English MPs 1572–1583
English MPs 1584–1585
English MPs 1586–1587
English MPs 1589
English MPs 1593
Members of the Parliament of England for Dorchester

masks:
Robert Beale
Beale
Robert Beale
Robert Beale
Beale
Beale
Beale
Beale
Beale
Robert Monson
Beale
Beale
Beale
Beale
Beale
Beale
Beale
Beale
Beale
Robert Dudley
Beale
Robert Devereux
Beale
Beale
Beale
Beale
Beale
Beale
Beale
Robert Beale
Robert Beale
Beale
Robert