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Thomas King (novelist)

Thomas King  (born April 24, 1943) is an American-born Canadian writer and broadcast presenter who most often writes about First Nations.

Early life and education
Thomas Hunt King was born in Roseville, California, on April 24, 1943. He self-identifies as being of Cherokee, Greek, and German descent. King says his father left the family when the boys were very young, and that they were raised almost entirely by their mother. In his series of Massey Lectures, eventually published as a book The Truth About Stories (2003), King tells that after their father's death, he and his brother learned that their father had two other families, neither of whom knew about the third.

As a child, King attended grammar school in Roseville, California, and both private Catholic and public high schools. After flunking out of Sacramento State University, he joined the US Navy for a brief period of time before receiving a medical discharge for a knee injury. Following this, King worked several jobs, including as an ambulance driver, bank teller, and photojournalist in New Zealand for three years.

King eventually completed bachelor's and master's degrees from Chico State University in California. He moved to Utah, where he worked as a counselor for American Indian students before completing a PhD program in English at the University of Utah. His 1971 MA thesis was on film studies. His 1986 PhD dissertation was on Native American studies, one of the earliest works to explore the oral storytelling tradition as literature. Around this time, King became interested in American Indian oral traditions and storytelling.

Teaching
After moving to Canada in 1980, King taught Native studies at the University of Lethbridge (Alberta) in the early 1980s. He also served as a faculty member of the University of Minnesota's American Indian studies department. As of 2020, King was listed as Professor (retired), Professor Emeritus, School of English and Theatre Studies by the University of Guelph (Ontario).

Activism
King has criticized policies and programs of both the United States and Canadian governments in many interviews and books. He is worried about aboriginal prospects and rights in North America. He says that he fears that aboriginal culture, and specifically aboriginal land, will continue to be taken away from aboriginal peoples until there is nothing left for them at all. In his 2013 book The Inconvenient Indian, King says, "The issue has always been land. It will always be land, until there isn't a square foot of land left in North America that is controlled by Native people."

King also discusses policies regarding aboriginal status. He noted that legislatures in the 1800s in the United States and Canada withdrew aboriginal status from persons who graduated from university or joined the army. King has also worked to identify North American laws that make it complicated to claim status in the first place, for example, the US Indian Arts and Crafts Act of 1990 or Canada's 1985 Bill C-31. Bill C-31 amended the Indian Act in 1985 to allow aboriginal women and their children to reclaim status, which the Act had previously withdrawn if the woman married a non-status man. King claims that the amended act, though progressive for women who had lost their status, threatens the status of future generations because of its limitations.

Writings
King has been writing novels, and children's books, and collections of stories since the 1980s. His notable works include A Coyote Columbus Story (1992) and Green Grass, Running Water (1993) – both of which were nominated for a Governor General's Award (the former for children's literature, and the latter for fiction – and The Inconvenient Indian: A Curious Account of Native People in North America (2012), which won the 2014 RBC Taylor Prize. King's novel, Indians on Vacation (2020), won the Stephen Leacock Medal for Humour in 2021.

King was chosen to deliver the 2003 Massey Lectures, entitled The Truth About Stories: A Native Narrative. King was the first Massey lecturer of self-identifying aboriginal descent. King explored the Native experience in oral stories, literature, history, religion and politics, popular culture and social protest in order to make sense of North America's relationship with its aboriginal peoples.

King's writing style incorporates oral storytelling structures with traditional Western narrative. He writes in a conversational tone; for example, in Green Grass, Running Water, the narrator argues with some of the characters. In The Truth About Stories, King addresses the reader as if in a conversation with responses. King uses a variety of anecdotes and humorous narratives while maintaining a serious message in a way that has been compared to the style of trickster legends in Native American culture. Within this story, King also integrates the recently popularized idea of turtles all the way down in an anecdote introducing this narrative, calling into the relevancy of this ideology in American and Native American history.

Politics
In April 2007 King announced that he would seek the New Democratic Party (NDP) nomination for Guelph district. On March 30, 2007, he was named the NDP candidate. NDP leader Jack Layton was present at the nomination meeting. A by-election was called in the riding due to the resignation of incumbent Liberal Member of Parliament Brenda Chamberlain, effective April 7, 2008. Scheduled for September 8, 2008, the by-election was cancelled with the calling of the October 14, 2008 federal general election. King finished fourth behind Liberal candidate Frank Valeriote, Conservative candidate Gloria Kovach, and Green candidate Mike Nagy.

Other work
In the 1990s, he served as story editor for Four Directions, a CBC Television drama anthology series about First Nations which was held up by production and scheduling delays before finally airing in 1996. He also wrote the teleplay "Borders", an adaptation of his own previously published short story, for the series.

From 1997 to 2000, King wrote and acted in a CBC radio show, The Dead Dog Café Comedy Hour, which featured a fictitious town and a fictitious radio program hosted by three First Nations characters. Elements were adapted from his novel, Green Grass, Running Water. The broadcast was a political and social satire with dark humour and mocking stereotypes.

In July 2007, King made his directorial debut with I'm Not the Indian You Had in Mind, a short film which he wrote.

His book of shorter poems, 77 Fragments of Familiar Ruin includes short poems, many along native themes.

In 2020, his book The Inconvenient Indian was adapted by Michelle Latimer as a documentary film, Inconvenient Indian.

Personal life
His partner is Helen Hoy, a professor emerita of English and Women's Studies at the University of Guelph, School of English and Theatre Studies. She has written a study, ''How Should I Read These? Native Women Writers in Canada,'' (2001). He has three children, Christian (born 1971), Benjamin (born 1985) and  Elizabeth (born 1988). The couple resides in Guelph, Ontario.

Books

 * Medicine River (Viking Canada, 1990), novel
 * A Coyote Columbus Story (Douglas & McIntyre, 1992), illustrated by William Kent Monkman – Governor General's Award finalist
 * Green Grass, Running Water (Houghton Mifflin, 1993), novel featuring Coyote, – Governor General's Award finalist
 * One Good Story, That One (1993), stories
 * Borders (1993)
 * Coyote Sings to the Moon (1998), illus. Johnny Wales
 * Truth and Bright Water (HarperFlamingo Canada, 1999)
 * The Truth About Stories (House of Anansi Press, 2003); US edition The Truth About Stories: a native narrative (U. of Minnesota Press, 2005) – Massey Lectures
 * Coyote's New Suit (2004), illus. Johnny Wales
 * A Short History of Indians in Canada (HarperCollins, 2005), stories – McNally Robinson Award winner
 * A Coyote Solstice Tale (Groundwood Books, 2009), illus. Gary Clement
 * The Inconvenient Indian: A Curious Account of Native People in North America (Doubleday Canada, 2012)
 * The Back of the Turtle (Doubleday, 2014) – Governor General's Award winner
 * 77 Fragments of Familiar Ruin (2019) - Poems
 * Indians on Vacation (2020)
 * Sufferance (2021)

 * DreadfulWater Mysteries
 * Dreadful Water Shows Up (2002), published under the pen name Hartley GoodWeather (reprinted 2017 as DreadfulWater, as author Thomas King)
 * The Red Power Murders (2006), as Hartley GoodWeather (reprinted 2017, as author Thomas King )
 * Cold Skies (2018)
 * A Matter of Malice (2019)
 * Obsidian (2020)
 * Deep House (2022)

 * As editor
 * The Native in Literature (1987)
 * An Anthology of Short Fiction by Native Writers in Canada (1988)
 * All My Relations: an anthology of contemporary Canadian native fiction (Toronto: McClelland & Stewart, 1990)

Selected short stories
Short story collections are listed above.
 * "Coyote and the Enemy Aliens" (HarperCollins, 2012), ebook,

Scripts

 * Four Directions (CBC Television, 1996), drama anthology series, as editor and sometime writer
 * The Dead Dog Café Comedy Hour (CBC Radio, 1997 to 2000) and its sequels (2002 and 2006)
 * I'm Not The Indian You Had In Mind, 2007, short film also directed by King

Awards and recognition

 * Nominated for a Governor General's Award in 1992 for A Coyote Columbus Story.
 * Nominated for a Governor General's Award in 1993 for Green Grass, Running Water.
 * Selected in 2003 to give the Canadian Broadcasting Corporation (CBC) Massey Lectures. The series, entitled The Truth About Stories, was published that year by the House of Anansi Press.
 * Green Grass, Running Water was chosen for the inclusion in the 2004 edition of Canada Reads, and championed by then-Winnipeg mayor Glen Murray. In the 2015 edition of Canada Reads, his non-fiction book The Inconvenient Indian was defended by activist Craig Kielburger.
 * In 2004, King was made a Member of the Order of Canada.
 * A Short History of Indians in Canada won the 2006 McNally Robinson Aboriginal Book of the Year Award.
 * The Inconvenient Indian won the 2014 RBC Taylor Prize, and was a finalist for the 2013 Hilary Weston Writers' Trust Prize for Nonfiction and the 2014 Burt Award for First Nations, Métis and Inuit Literature.
 * The Back of the Turtle won the Governor General's Award for English-language fiction at the 2014 Governor General's Awards.
 * Indians on Vacation was shortlisted for the Rogers Writers' Trust Fiction Prize, and for the Governor General's Award for English-language fiction at the 2020 Governor General's Awards.
 * In November 2020, King was named a Companion of the Order of Canada. He had been named a Member of the Order of Canada six years earlier. The naming was because of King's "enduring contributions to the preservation and recognition of indigenous culture, as one of North America’s most acclaimed literary figures".
 * Won the Stephen Leacock Memorial Medal for Humour in 2021 for Indians on Vacation

title: Thomas King (novelist)


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Félicien Rops

Félicien Victor Joseph Rops (7 July 1833 – 23 August 1898) was a Belgian artist associated with Symbolism, Decadence, and the Parisian fin de siècle. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio (etching and aquatint). Although not well known to the general public, Rops was greatly respected by his peers and actively pursued and celebrated as an illustrator by the publishers, authors, and poets of his time. He provided frontispieces and illustrations for works by Jules Barbey d'Aurevilly, Charles Baudelaire, Charles De Coster, Théophile Gautier, Joris-Karl Huysmans, Stéphane Mallarmé, Joséphin Péladan, Paul Verlaine, Voltaire, and many others. Best known today for his prints and drawings illustrating erotic and occult literature of the period, he also produced oil paintings including landscapes, seascapes, and occasional genre paintings. Rops is recognized as a pioneer of Belgian comics.

Childhood and education (1833–1857)
Rops was born 7 July 1833 in Namur, Belgium, the only child of Sophie Maubile and Nicholas Rops. The Rops were a well-off bourgeois family, their wealth coming from textile manufacturing. Félicien was educated at his home by private tutors until the age of ten; then in 1843, he enrolled in a local Jesuit school for the next five years. His ability to recite lengthy passages from the Bible in Latin attest to both a good education and his intelligence, although even as a schoolboy it is reported that he had "begun to let fantasy dominate his thinking" and received complaints about "his passion for producing uninhibited caricatures of his teachers". Nicholas Rops died in 1849. After some disagreements between Rops and his mother over the direction of his future education, a compromise was reached, and in June 1849 he enrolled at the Athénée secondary school in Namur while simultaneously attending the Academy of Fine Arts there.

In 1851, Rops moved to Brussels and began studying law at the University of Brussels. However, by 1853, he was attending the Académie de Saint-Luc where he studied drawing and developed his skill as a draughtsman working from live models, meeting others like Louis Artan, Constantin Meunier, and Charles de Groux, and taking part in the local Bohemian milieu. It was at this time that he began contributing caricatures, cartoons, and satirical lithographs to student magazines, in particular Le Crocodile which brought him some notoriety. In 1856, Rops, along with Victor Hallaux (pseudonym Victor de la Hesbaye) and Charles De Coster progressed from student magazines to founding their own journal, The Uylenspiegel, a weekly artistic and literary satirical review to which he contributed one or two lithographs an issue, more than 180 total, furthering his reputation.

Early career in Belgium, and marriage (1857–1870)
In June 1857, Rops married Charlotte Polet de Faveaux, the daughter of a wealthy magistrate and owner of Thozée Castle (see external links below) in the countryside near the town of Mettet, Belgium. For the first few years at Thozée, Rops enjoyed a comfortable life of a country gentlemen, pursuing passions for painting, botany, and even founding a rowing club in 1862, the Royal Nautical Club of Sambre and Meuse. He spoke highly of his father-in-law in his letters. Rops and his wife had a son, Paul, in 1858, and a daughter, Juliet, in 1859, who died at the age of five. Rops relinquished his managerial roll at Uylenspiegel but continued contributing cartoons and illustrations until 1862. He began to explore etching and produced political lithographs, occasional caricatures and cartoons for magazines, and frontispieces and illustrations for books. He illustrated a number of De Coster's books including Légendes Flamandes (1858), Contes Brabançons (1861) and La Légende d'Uylenspiegel ('Tijl Uilenspiegel', 1867). His home became a gathering place for artists, writers, publishers and friends. The Société Libre des Beaux-Arts (Free Society of Fine Arts) in Brussels was founded in 1868 and Rops served as Vice-President for several years. By the 1860s, Rops was traveling extensively and dividing his time between Thozée Castle, Namur, Brussels, and Paris each year; with ever extending time in Paris at the center of the art and literary world, and ever decreasing time at Thozée Castle and Namur with his wife and family as the decade passed.

In 1862, he studied etching with Félix Bracquemond and Jules Ferdinand Jacquemart in Paris and he became a restless experimenter with etching techniques. In later years, with his friend Armand Rassenfosse they developed a new soft ground varnish method which was dubbed "Ropsenfosse". His activity as a lithographer had ceased by 1865, and although he continued oil painting, etching became his principal medium. He produced 34 frontispieces for books published between 1864 and 1870 and founded the short-lived International Society of Etchers (1869–1871).

Relationship with Charles Baudelaire (1862–1867)
Baudelaire wrote the following tribute to Rops:

"Use all your eloquence..../ To say how much I like / That bizarre Mr. Rops / Who may not be a Rome First Prize / But whose talent is as great / As the pyramids of Cheops."

Rops created the frontispiece for Baudelaire's Les Épaves (The Wreckage) and a selection of poems from Les Fleurs du mal (The Flowers of Evil) that had been censored in France, and were therefore published in Belgium. Rops first met Baudelaire's publisher Auguste Poulet-Malassis in 1862 and was later introduced to Charles Baudelaire towards the end of the poet's life. A friendship developed and Baudelaire visited the Rops family at Thozée Castle on many occasions and they traveled together on at least one occasion. In a letter (25 August 1886) discussing Baudelaire's writing, Rops wrote: "I lived with Baudelaire for two years. and often served him as a secretary, I never once saw him consult a dictionary. He didn't have any, and didn't want to have any...saying 'A man who looks up a word in a dictionary is like a conscript who, upon receiving the order to fire, looks for a cartridge in his pouch. In a letter to Édouard Manet (11 May 1865) Baudelaire wrote, "Rops is the only true artist (in the sense in which I, and perhaps I alone, understand the word artist), that I have found in Belgium."  By 1866 Baudelaire and Poulet-Malassis were both in Belgium, in self-imposed exile evading creditors. Baudelaire stated that Rops and Poulet-Malassis were the only persons who "lightened [his] sadness in Belgium".

It was while visiting Namur, in March 1866, that Baudelaire's first symptoms of aphasia and hemiplegia became apparent. Rops invited Baudelaire and Poulet-Malassis to visit his hometown, where Baudelaire had seen and admired the baroque Church of Saint-Loup at Namur (see external links below) before, calling it "the masterpiece of Jesuit masterpieces" and stating the stained-glass windows illuminated the interior like a "terrible and delightful catafalque". Baudelaire collapsed on the floor while they were admiring the carving on the confessionals there. Baudelaire never fully recovered and died in August 1867 at the age of 46.

Baudelaire left an impression upon Rops that lasted until the end of his life. His association with Baudelaire and his illustrations of his poetry helped increase the visibility of his work and win the admiration of many other artists and writers, including Théophile Gautier, Stéphane Mallarmé, Jules Barbey d'Aurevilly, Joséphin Péladan, Puvis de Chavannes, Gustave Moreau, and Edmond and Jules de Goncourt. By 1870 Rops had made many friends and was living in Paris most of the year and immersed at the heart of literary Paris and the Symbolist and Decadent movements. Taking his cue from Baudelaire's "The Painter of Modern Life", he "cultivated the airs of a dandy". Félix Fénéon was to write of him "Rops: Anoints himself with rouge, dyes his hair and wears a blood-red shirt: looks, or so he hopes, like a sarcastic Satan."

Later career in Paris (1871–1898)
The extended months in Paris away from his wife, and his poorly concealed extramarital affairs (described by his biographer Patrick Bade as his "careless contempt for bourgeois family values") took a toll on Rops's marriage by the early 1870s. His wife Charlotte wrote to him in a letter: "Your latest despicable affair, the eighth since I met you and we were married, was your way of punishing others, you killed me! Since you don't want to see me any more and asked me not to write to you any more, I want my last word to you to be a word of pardon". One of his mistresses—Alice Renaud, the woman referred to in his wife's letter—was murdered by her jealous husband a few years later, and Rops was involved in the scandal when his intimate love letters to her were read out loud at her husband's trial. Although they never divorced, by 1875 Félicien and Charlotte were permanently estranged and Paris was to be his home for the remainder of his life.

However, far from being disheartened, he thrived among the Parisian artists and poets and his critical reputation grew. There was a greater demand than ever for his illustrations in the last quarter of the 19th century by the publishers and authors of the literary vanguard. Rops was prolific and achieved financial success, boasting in 1877 that "he was the best-paid illustrator in France." He traveled extensively throughout Europe, ranging from the capital cities and art centers, to salmon fishing in Norway and Sweden, back country ventures in Hungary, as well as Spain and Northern Africa. Rops frequently exhibited at the various salons in Paris where the public was both fascinated and shocked by his art and his personal life.

In the 1860s Rops had developed an acquaintance with a Madame Duluc and her two young daughters, Aurélie and Léontine Duluc (age 14 and 17 respectively at that time). A few years later, not long before the estrangement from his wife, he began a ménage à trois with the sisters, apparently with their mother's endorsement. He had children with both, although one child died at an early age; the other, Claire, daughter of Léontine Duluc born in 1871, went on to marry the Belgian author Eugène Demolder. The Duluc sisters ran Maison Duluc, a successful fashion house in Paris, for which Rops designed logos and provided advertisements. The three traveled together to the United States and Canada on two occasions to present their fashions. At least one of the sisters served as a model on occasion, and one example was the figure illustrated in Georges Camuset's Sonnet du Docteur (The Sonnets of the Doctor; 1884). The three lived together for over 25 years until Rops's death. They ultimately settled in La Demi-Lune, a house he purchased, on the River Seine in Corbeil-Essonnes south of Paris, where Rops continued his passion for botany and developed new varieties of roses in later years. Aurélie and Léontine often combined their names, signing Auréléon in their letters and correspondence with Rops.

Rops was invited to join Les XX or Les Vingt, a group of Belgian artists formed in 1883 which held annual exhibitions and concerts at the Palais des Beaux-Arts and the Museum of Modern Art of Brussels. Founders of the Les Vingt included James Ensor, Théo van Rysselberghe, and Fernand Khnopff among others and were later joined by Anna Boch, Jan Toorop, Odilon Redon, and Paul Signac. Their intention was to protect "true originality" and provide a place "where people are free, not only in fact but above all in thought." For 10 years Les Vingt championed the work of progressive artists and composers of the time including many of the Impressionists, Post-Impressionists, Pointillists, and Symbolists. The French poet Stéphane Mallarmé held Tuesday evening discussions on the arts and literature at his home on 87 Rue de Rome in Paris. These talks became a place of pilgrimage attended by dozens of writers and artists of the time including Rops, Paul Gauguin, J.-K. Huysmans, Édouard Manet, Edvard Munch, Odilon Redon, Paul-Marie Verlaine, and Emile Zola. He maintained his literary associations to the end of his life and in 1896 the literary revue "La Plume" published a special edition tribute volume devoted exclusively to Rops where many of the prominent authors and artists such as Puvis de Chavannes, Joris-Karl Huysmans, Octave Mirbeau, Josephin Peladan, and Jose-Maria De Heredia praised and celebrated his work. Félicien Rops was a freemason and a member of the Grand Orient of Belgium.

Due to an accident with "bichlorate of potassium" in 1892, Rops almost lost his eyesight but he eventually recovered. With his health slowly deteriorating and anticipating legal challenges from his estranged wife Charlotte, his son Paul, and father-in-law, a judge in Belgium, he made a will in July 1896 leaving everything to the Duluc sisters. He spent some time in the south of France with its milder climate on a doctor's orders but it provided only a little relief. In time, legal issues did arise and the Duluc sisters successfully disputed Paul's attempts to have his father removed from their care, but compromise settlements were made on other issues. Rops died on 23 August 1898 at his home, with Aurélie and Léontine Duluc, his daughter Claire, and some close friends at his side. When notified of his imminent death, Paul traveled from Belgium, but arrived too late to see his father alive. Rops was buried in Essonnes but his body was moved to the family burial grounds in Namur, Belgium eight years later. The following year, he was posthumously awarded the Legion of Honour.

There is now a Museum, Musée Félicien Rops, in his home town of Namur, Belgium, housing approximately 3,000 engravings and 500 drawings and paintings. Rops also was a gifted and prolific writer of letters. Referring to Rops, Edgar Degas told Manet "That one writes even better than he engraves [...]. If they ever publish his correspondence, I'll sign up for a thousand copies of propaganda" The Félicien Rops Museum has documented and indexed over 4,000 letters so far, over half are currently available online (see External Links below). His correspondences serve as valuable documents and references, not only for Rops and his work, but for the numerous artists, writers, publishers, and other notable culture figures of late 19th century Europe. The biographers of Baudelaire have drawn from Rops's letters extensively (e.g. ).

Art
Art historians do not consider Rops a seminal figure of late 19th century art, even among the symbolists, and yet no creditable review of symbolism could ignore him either. Some of his critics dismiss him as a novel, 19th-century illustrator/pornographer, but others look beyond the erotica and write of him respectfully and favorably. He was regarded as the greatest Belgian artist of his time by Baudelaire (an influential art critic as well as a poet). Jean-Luc Daval spoke of "the amazing upsurge of Symbolism that in the wake of Félicien Rops and under the influence of Gustave Moreau, characterized Belgian painting at the turn of the century." According to Edith Hoffmann, the "erotic or frankly pornographic" nature of much of Rops's work "is at least partly due to the attraction these subjects had for a provincial artist who never forgot his first impressions of Paris". In contrast to Hoffmann's "provincial artist", Octave Mirbeau wrote "Painter, man of letters, philosopher, scholar, Rops was all of that."

Félicien Rops was a prolific and versatile artist. In addition to works of fine art depicting genre subjects, still-life, landscapes, decadent nightlife, eroticism, and iconic symbolist works like Pornocrates, he produced hundreds of comics, caricatures, book illustrations, and even an occasional advertisement. His style could sway from realism, to symbolism, and at times even touch on romanticism and impressionism. His images can be pastoral (e.g. The Rocks of the Grands Malades) or urban (e.g. Sailors Den); social and political critiques both sympathetic (e.g. Strike, The Charcoal) and caustic (e.g. Order Reigns in Warsaw); documentary (e.g. Head of Zealander) or fantasy (e.g. The Librarian); and range from poetic and metaphoric (e.g. The Lyre) to stark realism (e.g. Absinthe Drinker). Three etchings depicting animals illustrate a wide display of approaches in styles, techniques, and underlying connotations (see gallery II). Japanese Salamander and Beetle is loose in technique and a simple, decorative nature study, one of a few pastiches Rops made of Japanese woodblock printing that were popular and influential among European artists in the late 19th century. The Cat, executed in an illustrative, near academic style, presents a pleasant likeness of a cat, yet embroidered on the chair is the phrase "Amica Non Serva" [Friend Not Servant], endowing this unassuming image with a declaration of sovereignty not immediately apparent to the casual viewer. Separated or Simian Spring uses an abrupt and serrated hatching technique to convey primitive, psycho-sexual undertones that anticipates expressionism in the early 20th century.

French art critic and historian Jean Cassou posited three distinct periods in Rops's artistic life: romantic 1855–1860; symbolist 1860–1870; realist 1871–1898. While these dates are not supported by others, and are contrary to even the most cursory examination of the work [e.g., symbolist works such as Pornocrates (1878); Les Sataniques (1882); The Lyre frontispiece for Poésies by Mallarmé (1895); and Parallelism, the frontispiece for Chair [Flesh] by Verlaine (1896) were produced in Cassou's posited "realist 1871–1898" period], Cassou's association of Rops with realism is valid and important in understanding his work. Whether drawing genre subjects or decadent Parisian nightlife, Rops produced realist images throughout his artistic life and they constitute a significant part of his oeuvre. This aspect of his work is often marginalized or ignored by authors who are preoccupied with his erotic and satanic images (enthusiastically or negatively).

Working in a long and rich tradition of Franco-Flemish realist-genre painting (e.g., the Le Nain Brothers, Adriaen Brouwer) but also showing an awareness and influence of contemporaries like Honoré Daumier, Jean-François Millet, and Gustave Courbet, Rops was attracted to genre subjects throughout his life. Although represented in any number of media, they most often appear in his drawings and etchings. The rural and working people of the Walloon region of Belgium were frequent subjects, typically treated in a simple and sympathetic manner, as in The Kitchen of the Artists' Inn, in Anseremme. The elderly appear again and again in works such as Old Kate. Rops also often drew and etched people he encountered in his travels who were dressed in ethnic and regional clothing and costumes, often in a rather documentary style. Two examples include A Shaker Pianist and Head of Zealander: others are La Dalécarlienne (1874), Le Moujick (1874), and In the Pusta (1879). Rops once wrote he had "the desire to depict the scenes and characters of the 19th century that I find so fascinating and curious" and pieces like Sailors Den, Cherub's Song, and The Absinthe Drinker can be viewed as works of realism just as they can be seen as works of the decadent movement.

Rops once wrote: "The love of brutal pleasures, the pre-occupation with money, and mean interests have glued onto the faces of most of our contemporaries, a sinister mask in which the perverse instinct mentioned by Edgar Allan Poe can be read in capital letters: all of this seems to me sufficiently amusing and characteristic that well-meaning artists should attempt to render the look of their time".

According to H. R. Blakeley, "scholarship about Rops disproportionately fixates on the erotic aspects of his art, reductively classifying him as perversely misogynistic instead of investigating the complexities of his relationships with and attitudes about women."

Painting and drawing
Rops's oil paintings are varied in subject and style. They include still life paintings, street scenes such as Entrance to the Ball, the Symbolist Death at the Ball, and many landscapes. He painted landscapes throughout his career, often small canvases done in En plein air. Examples like The Rocks of the Grands Malades and Snow in Thozée were painted in the vicinity of his hometown Namur, in the Walloon region of southern Belgium. The influences of Jean-Baptiste-Camille Corot, Gustave Courbet, and the Barbizon School can be detected in many of his landscapes. Living in Paris and exhibiting with Les XX, Rops had ample opportunity to meet artists and absorb the work of the schools and movements of the day, and elements of impressionism are evident in The Beach in Heist, painted on the Belgian coast.

A small series of variations on a theme, The Lady with the Puppet includes four drawings with mixed media (watercolor, color pencil, pastel etc.) that were executed between 1873 and 1890. These symbolist works each show a woman, a "simple tart", playing with a puppet (an allegory of man). In one, the woman unassumingly holds a blood-smeared trailing point at her side, with which she has slit the belly of the puppet open, and amusingly holds the puppet high as gold coins drain from his limp body.

About 1878–1881 Rops produced a large series of over 100 pieces he called Cent légers croquis pour réjouir les honnêtes gens (A hundred lighthearted sketches without pretension to delight honest people) for a Parisian bibliophile, Jules Noilly. These were made in a variety of mixed media, mostly works on paper, including drawing, color pencil, watercolor, gouache, and pastel. Examples from the series include The Human Parody, The Librarian, L'Amour Mouché, Venus and Cupid-Love blowing his nose, and Cherub's Song.

Prints and book illustrations
"Rops was a printmaker of brilliant technique and original content whose handling of dry point (etching directly on the plate) marks him as one of the masters of the medium." Although Rops worked in a wide range of media, his primary means of expression was printmaking. He worked with lithography, wood engraving, etching, aquatint, mezzotint, soft-ground etching, burin engravings, heliogravure and other techniques producing hundreds of prints in his life. His prints are remarkably diverse and span the full spectrum of the styles and subject matter that he explored throughout his life. He begin shifting from lithography to intaglio in the 1860s when he studied etching with Félix Bracquemond and Jules Ferdinand Jacquemart in Paris. Félix Bracquemond was one of the central figures in reviving an interest in etching among artists of the time, encouraging and coaching artists such as Édouard Manet, Edgar Degas, Camille Pissarro, and others to explore the neglected art form. By the end of the decade Rops had all but abandoned lithography. Rops founded the International Society of Etchers about 1869 or 1870. Although the society received praises from artists and royalty alike, financially he struggled to keep it going for more than two to three years.

Fascinated by the processes, he was constantly experimenting with printmaking techniques throughout his career. Starting around the early 1870s, Rops begin using soft-ground etching, a technique practiced by few artists of his day, often combining it with mezzotint, aquatint, dry point, and other techniques, sometimes adding hand-coloring to the plates. He photo-mechanically (heliogravure) transferred many of his original drawings to intaglio plates, and often developed the images further in that medium with any number of techniques such as dry point, aquatint, soft-ground etching, etc. However, traditional soft-ground methods did not work well for his purposes, so in collaboration with his friend and colleague Armand Rassenfosse, they invented a process they called "Ropsenfosse". Ropsenfosse used several different soft-ground formulas and was likely the first soft-ground method used to produce color prints with two or more plates.

His etchings were popular and many of the progressive writers, poets, and publishers of late 19th-century literature sought out his talents for their publications. His prints were widely distributed in the books he illustrated and influenced many younger artists, including several Symbolists and Expressionist such as Max Beckmann, Lovis Corinth, James Ensor, Alfred Kubin, Fernand Khnopff, Max Klinger, Edvard Munch and others. The Blue Angel largely was inspired by a figure by Rops that impressed director Josef von Sternberg.

Les Sataniques and Les Diaboliques
As early as 1896, when a special tribute edition of the literary journal La Plume (No. 172, 15 June) was published honoring Rops, the illustrations he produced for d'Aurevilly's Les Diaboliques as well as an earlier series, Les Sataniques were often singled out and "placed at the top of the ropsian pantheon" and considered the "paradigm of the Ropsian work". Subsequent critics, historians, as well as his admirers among the general public have consistently regarded these prints as among the best examples of his illustrative oeuvre. Art historian Robert L. Delevoy wrote "His etchings for Les Diaboliques by Barbey d'Aurevilly are regarded as some of the best illustrative work ever done."

Les Sataniques (The Satanic) was a series of his own initiative, independent of his book illustrations and literary works. Dating from about 1882, there are a number of closely related drawings, watercolors, sketches, and other mixed media pieces, as well as prints in various states of development. He had hoped to do a large series and eventually publish them in the form of a book, but this never came to fruition. Ultimately a set of five heliogravures (based on five original drawings) were published, including: Satan semant l'ivraie (Satan Sowing Tare), L'enlèvement (The Abduction), Le Calvaire (The Calvary), L'idole (The Idol), and Le Sacrifice (The Sacrifice). The frontispiece of the cycle, Satan Sowing Tare, which appeared in several versions, was based on the Biblical Parable of the Tares which appears in Matthew 13:24-13:30. This series ranks among the more familiar and discussed images of his work. There is nothing in the dozens of references below to suggest that Rops was actively involved or a believer in Satanism, and his use of this subject was only symbolic or metaphoric.

Gallery III: Les Sataniques
Les Diaboliques (The She-Devils) is a collection of six short stories by Jules Barbey d'Aurevilly that was first published in 1874. Each story is centered around a bored, bourgeois woman, usually involved in a crime of violent depravity or act of revenge. The book was an instant success and quickly sold out. The uproar caught the attention of the Public Prosecutor, the book was banned, the author and publisher were charged with insulting public morality, and set to be put on trial. However, with the aid of Léon Gambetta, a sympathetic statesman, a trial was avoided. Rops did not illustrate the first edition. Laws granting the freedom of the press in France were passed on 29 July 1881 and a second edition of the book was planned by the publisher, Alphonse Lemerre, who thought Rops was ideally suited to illustrate the new edition. Rops provided Lemerre with designs for the illustrations in the form of drawings, but the actual production of the etchings is believed to have been delegated to others. The first set of etchings is referred to as the "Lemerre format", or small boards [plates], and likely date from 1882 when the second edition of the book was published. However Delaporte, in his thesis, discuses a myriad of inconsistency involving the production and dates of the small etchings and suggest they could have appeared ca. 1882–1886.

Rops wrote in a letter to Jean-François Taelemans (8 April 1886) that he was unsatisfied and the "small boards do not say anything". He began a second set based on the original drawings using a heliogravure technique, which he then reworked by hand with aquatint, soft-ground varnish, drypoint, etc. The heliogravure prints gave Rops a greater ability to exhibit subtleties and nuances of light and shadow in the dark, nocturnal images. Apparently La Vengeance d'une Femme (The Vengeance of a Woman) was not reproduced in the heliogravure set. The second, heliogravure set, is referred to as the large boards. Like the small boards, the history of the production and dates of the large boards involve many inconsistencies, contradictions, and other issues, but date from ca.1887-1893. The Les Diaboliques illustrations includes nine prints: the frontispiece Le Sphinx (The Sphinx); a prescript La Prostitution et la folie dominant le monde (Prostitution and Madness Rule the World); an illustration for each chapter, Le Rideau Cramoisi (The Crimson Curtain); Le plus bel amour de Don Juan (The Greatest Love of Don Juan); Le bonheur le dans le crime (Happiness in Crime); À un dîner d'athées (At a Dinner of Atheists); Le Dessous de Cartes d'une Partie de Whist (Beneath the Cards in a Game of Whist); La Vengeance d'une Femme (The Vengeance of a Woman); and a postscript La Femme et la folie dominant le monde (Woman & Madness Rule the World).

The print of The Greatest Love of Don Juan bears a striking similarity to Edvard Munch's famous painting Puberty painted in 1894. As early as 1894, with the first publication ever devoted to Munch, comparisons have been made. Munch denied having been influenced by Rops's etching, and said his painting was a copy of another painting he had made in the mid 1880s and "that this earlier version had been lost in a studio fire." Nonetheless, art critics and historians have consistently noted the similarities.

Cartoons and caricatures
Félicien Rops was a pioneer and considered by many as the starting point for Belgian Comics. He was the first Belgian cartoonist to produce text comics, a comic strip based on a recurring character, satirical, and erotic comics. Rops began publishing comics in student magazines including Le Crocodile and Le Diable au Salon while still in school in the 1850s. He sometimes published using pseudonyms, including Spor, Risette, Graffin, Cham-Loth, and Croque-tout. With friends he co-founded a weekly artistic and literary satirical review The Uylenspiegel in 1856, which he contributed to regularly until its demise 1862. Examples of the early use of text comics and reoccurring characters include Les époux Van-Blague, the comedic experiences of a couple published in Le Crocodile (e.g. issue #40, 20 November 1853) and a series of thematically unified, but otherwise unrelated humorous episodes at the Antwerp Zoo Promenade au Jardin Zoologique. One cartoon in particular, 'La Médaille de Waterloo' (1858), depicting a decrepit, peg legged likeness of Napoléon Bonaparte on a medal, guarded by his devotee's from a hoard of skeletons rising from the dead, (in criticism of those who held Napoléon in honor with seemingly no regard for the havoc and loss of life that he had brought to Europe) caused an outrage in France and Belgium. However, ultimately this only served to further Rops notoriety. Rops published significantly fewer comics as his career as an illustrator of books progressed but, he produced occasional comics, caricatures, even advertisements, throughout his life.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Félicien Rops


text:
Instrumental case

In grammar, the instrumental case (abbreviated or ) is a grammatical case used to indicate that a noun is the instrument or means by or with which the subject achieves or accomplishes an action. The noun may be either a physical object or an abstract concept.

General discussion
The instrumental case appears in this Russian sentence:

Here, the inflection of the noun indicates its instrumental role: the nominative перо changes its ending to become пером.

Modern English expresses the instrumental meaning by use of adverbial phrases that begin with the words with, by, or using, followed by the noun indicating the instrument:

 * I wrote the note with a pen.
 * I wrote the note (by) using a pen.

Technical descriptions often use the phrase "by means of", which is similar to "by use of", as in:

 * I wrote the note by means of a pen.
 * I wrote the note by use of a pen.

This can be replaced by "via", which is a Latin ablative of the nominative (viā) via, meaning road, route, or way. In the ablative it means by way of.

The instrumental case appears in Old English, Old Saxon, Georgian, Armenian, Basque, Sanskrit, and the Balto-Slavic languages. An instrumental/comitative case is arguably present in Turkish as well as in Tamil. Also, Uralic languages reuse the adessive case where available, locative case if not, to mark the same category, or comitative case (Estonian). For example, the Finnish kirjoitan kynällä does not mean "I write on a pen", but "I write using a pen", even if the adessive -llä is used. In Ob-Ugric languages, the same category may also mark agents with verbs that use an ergative alignment, for instance, "I give you, using a pen".

The instrumental case is notably used in Russian, where the case is called творительный падеж (tvoritel'nyj padež) though similar usages also can be found in other Balto-Slavic languages. In most declension paradigms, the instrumental case in Russian can generally be distinguished by the -ом ("-om") suffix for most masculine and neuter nouns, the -ою/-oй ("-oju"/"-oj") suffix for most feminine nouns and -ами ("-ami") for any of the three genders in the plural.

Just as in English the preposition "with" can express instrumental ("using, by means of"), comitative ("in the company of"), and a number of other semantic relations, the instrumental case in Russian is not limited to its instrumental thematic role. It is also used to denote:

 * the agent in a passive voice construction. E.g.: "Книга написана Марком Твеном" ("The book was written by Mark Twain"). Here, "Марком Твеном" ("by Mark Twain") is "Марк Твен" ("Mark Twain") in the instrumental case.
 * a predicate with infinitive, future tense, imperative, conditional and gerund of the verbs "быть" and "являться" (both meaning 'to be') (for example, "я хочу быть врачом", "не будь трусом" translate as "I want to be a doctor" and "don't be a coward", with the nouns in the instrumental case).
 * a predicate with a number of other verbs, denoting state, appearance, manner, consideration, etc.
 * parts of the day, seasons of the year, and some other temporal relations. For example, the sentence "я работаю утром" (ja rabotaju utrom) means "I work in the morning". The word утро (utro, "morning") in its instrumental case denotes the time in which the action (in the case of this example, "working") takes place ("in the morning").
 * similarity. For example, the phrases "выть волком," "умереть героем," "лететь стрелой" (to howl like a wolf, to die like a hero, to fly like an arrow) use nouns in the instrumental case.
 * location, when used with prepositions "behind", "in front of", "under", "above", "next to", and "between"

The Russian instrumental case is also used with verbs of use and control (to own, to manage, to abuse, to rule, to possess, etc.), attitude (to be proud of, to threaten (with), to value, to be interested (in), to admire, to be obsessed (with), etc.), reciprocal action (to share, to exchange), and some other verbs.

Though the instrumental case does not exist in many languages, some languages use other cases to denote the means, or instrument, of an action. In Classical Greek, for example, the dative case is used as the instrumental case. This can be seen in the sentence "..με κτείνει δόλῳ," or "..me ktenei dolôi" (Book IX, line 407 of the Odyssey), which means "he kills me with a bait". Here, "δόλῳ," the dative of "δόλος" ("dolos" – a bait) is used as the instrumental case (the means or instrument here is, obviously, the bait). In Latin the instrumental case has merged with the ablative, thus the ablative case has the same functions. For example, ipso facto can be translated as "by the fact itself", while oculīs vidēre means "to see with one's eyes".

In Modern English, the word why is one instance of an etymologically instrumental declension. Though not commonly known to be of pronominal origin, it was, in fact, inherited from Old English hwȳ, which was the declension of hwæt (now what) in the Old English instrumental case – a grammatical feature rare even in Old English. The modern instrumental case (as present in why) does not bear the meaning of instrument, but of purpose, cause, or reason: rather, the closely related form how is used to express instrument, way, or means. In phrases such as "The more, the merrier", the word the derives from the instrumental case of the demonstrative pronoun related to the modern English word that.

Indo-European languages
Proto-Indo-European has been reconstructed as having eight cases, one of which was the instrumental.

Sanskrit
The instrumental case in Classical Sanskrit can have several meanings:
 * It can indicate the instrument (of an action):

 * It can be used to indicate someone or something accompanying an action. In this case, the sense of "company" is indicated by postpositions like सह saha ("with") (may be optionally omitted):

 * It can indicate the agent of a passive verb:

 * It can indicate the cause, reason or circumstance of an action. In this case, it can be translated as "because of", "out of", etc.:

 * It is used with the preposition विना vinā ("without"):

 * It can also be used with the particles अलम् alam कृतम् kṛtam, both meaning "enough".

Assamese
In Standard Assamese (এ)ৰে (e)re indicates the instrumental case. (এ)দি (e)di does the job in some dialects.

Ancient Greek
The functions of the Proto-Indo-European instrumental case were taken over by the dative, so that the Greek dative has functions belonging to the Proto-Indo-European dative, instrumental, and locative. This is the case with the bare dative, and the dative with the preposition σύν sýn "with". It is possible, however, that Mycenean Greek had the instrumental case, which was later replaced by dative in all the Greek dialects.

Germanic
Common Germanic inherited the Indo-European instrumental case, but in nouns, the case was almost entirely lost in Gothic, Old Norse, Old English and Old Frisian, which indicated the instrumental case with the dative inflection in all but a few relic forms. Early Old High German and Old Saxon nouns do exhibit an instrumental case, for example Old High German wortu 'word' and Old Saxon hoƀu 'court', where the -u ending derives from a Proto-Indo-European instrumental inflection *-ō. In adjectives, no instrumental plural inflection can be reconstructed for Common Germanic, but the early West Germanic dialects did retain a distinctive instrumental singular strong adjective ending. Similarly, in demonstrative and interrogative pronouns, there is no evidence for distinctive instrumental plural inflections, but the West Germanic dialects and, less often, Old Norse and Gothic, retained distinctive instrumental singular forms.

In nouns, the Old German instrumental was replaced with the dative in Middle High German, comparable with English and Ancient Greek, with a construction of mit (with) + dative clause (in English, the objective case is used). For example:

"Hans schrieb mit einem Stifte*." (John [nominative] wrote with a [dative] pencil [dative].)

 * the German dative -e is not used in most common conversation; it is only used here for a better demonstration.

 * ein = a, nominative case masculine/neuter → einem = a, dative case masculine/neuter
 * (der) Stift = (the) pencil, masculine, nominative
 * (dem) Stifte = (the) pencil, masculine, dative

Czech
Just as above, the object with which the action is done or completed is declined. For example:
 * Píšu perem.
 * psát = to write; píšu = I write
 * pero = a pen → perem = with a pen
 * Jedu do školy autobusem.
 * jet = to go via transport (× jít = to go on foot); jedu = I go (using any kind of vehicle)
 * škola = school, do školy = to school (dative)
 * autobus = a bus → autobusem = by bus

Armenian
The instrumental in Armenian is denoted by the -ով (-ov) suffix to say that an action is done by, with or through an agent.
 * մատիտ (matit, pencil) → մատիտով (matitov, with/by a pencil)
 * մատիտով գրիր (matitov grir) Write with a pencil.

While the instrumental case is the form most commonly used for this purpose, when coupled with the passive voice in Armenian the instrumental case can be replaced with the ablative case.

Serbo-Croatian

Instrumental in the Serbo-Croatian language group is usually used to denote a noun with which the action is done, e.g. "Idem autom" - "I'm going by means of a car", "Jedem vilicom/viljuškom" - "I eat with a fork", "Prenosi se zrakom/vazduhom" - "It's transferred through air", "Prožeta je bijesom" - "She's consumed by anger". The instrumental preposition "s(a)", meaning "with", is supposed to be dropped in this usage, but it is often kept in casual speech when talking about objects in use, such as a pen, a hammer, etc.

Instrumental can also denote company, in which case "s(a)" is mandatory, e.g. "Pričali smo sa svima" - "We talked with everyone", "Došao je s roditeljima" - "He came with his parents", "Šetala se sa psom" - "She was taking a walk with her dog". Dropping "s(a)" in this case would either make the sentences incorrect, or change their meaning entirely because dative, locative and instrumental share the same form in the plural, so the examples "Pričali smo svima" i "Došao je roditeljima" would come to mean "We told everyone" and "He came to his parents".

Instrumental is also used with certain spatial prepositions like "među" (between), "nad" (above), "pod" (underneath), "pred" (in front of) and "za" (after). Note the difference between these prepositions and similar ones used for genitive with an -i suffix: "između", "iznad", "ispod", "ispred" and "iza".

Instrumental is used without proposition to denote travelling through an area: "Putujem zemljom" - "I'm travelling the country", "Hodam plažom" - "I'm walking along a beach", etc.

It can also be used to show how long or when in a larger scope of time something happened: "Nema ih godinama" - "They haven't come in years", "S vremenom će proći" - "It will pass in time", "Jednom tjednom" - "Once a week", etc.

Latvian
The instrumental case in Latvian declension (one of the three Baltic languages, alongside Lithuanian and Old Prussian) can have several meanings:
 * It can indicate the instrument (of an action):
 * "He writes with a pen".
 * "He writes with a pen".

 * It can be used to indicate someone or something accompanying an action. In this case, :
 * "She sang with a girl".
 * "She sang with a girl".

Hungarian
The instrumental case is present in the Hungarian language, where it serves several purposes. The main purpose is the same as the above, i.e. the means with which an action occurs. It has a role in the -(t)at- causative form of verbs, that is, the form of a verb that shows the subject caused someone else to action the verb. In this sense, the instrumental case is used to mark the person that was caused to execute the action expressed by the verb. It is also used to quantify or qualify words such as 'better' or 'ago', such as sokkal jobban 'much better' (literally 'with-much better'); hét évvel ezelőtt 'seven years ago' (literally 'seven with-years before this').

In Hungarian the instrumental and comitative case look the same, see Instrumental-comitative case.

See the links section below for a more detailed article.

Finnish
Finnish has a historic, marginal instructive case (-n), but in practice the adessive case (-lla/-llä) is used instead outside lexicalised fixed expressions, even though the adessive literally means 'on top', e.g. vasaralla 'using a hammer' (instrumental meaning) or 'on a hammer' (locative meaning). (Vasaroin 'using hammers' is plausible and understandable, but not common in use.)

Nahuatl
Nahuatl uses the suffix -tica to indicate the instrumental case. For example, in the sentence ātlān ācaltica in huāllahqueh 'they came on the water by boat', ācalli means 'boat' and ācaltica means 'by (use of a) boat'.

Turkish
Turkish uses the conjunction ile ("with"), and its suffixed form -(y)lA (realised as -(y)la or -(y)le, depending on the dominant vowel of the noun—see vowel harmony) to indicate the instrumental case. For example, in the sentence Arabayla geldi 'he came by (the use of a) car', araba means 'car' and arabayla means 'by (the use of a) car, with a car'.

The original Proto-Turkic instrumental case suffix was -n, which is less productive today but is preserved in common words like yazın ("during the summer"), kışın ("during the winter"), öğlen ("at noon"), and yayan ("by foot", "on foot"). It became less productive in most Oghuz Turkic languages. The conjunction ile ("with") in Turkish has semantically expanded to fill the gap (kürek ile or kürekle, meaning "with the shovel" > "using the shovel"), being used as an instrumental marker, and the suffix -(y)lA (-le, -la, -yle, -yla) is a form of ile which has been grammaticalized into an agglutinative suffix as a result of quick speech, becoming an enclitic.

Japanese
In Japanese, the post-positional particle で de indicates the instrumental case.

Vainakh
The instrumental in the Vainakh languages of the North Caucasus, comprising Chechen and Ingush, is denoted by the -ца / -аца / -ица (-tsa / -atsa / -itsa) suffix to describe an action which is done with an object:

Аса Бахьамица Кехатт йазздир.

Asa Bahamitsa Kekhatt yazzdir.

"I {with (a) quill pen} {(the) letter} wrote.

The nominative Baham changes its ending to become Bahamitsa:
 * Бахьам = pen → Бахьамица = with a pen
 * Бахьамица йазздир (bahamitsa yazzdir) Wrote with a pen.

title: Instrumental case


text:
Flowerpecker

The flowerpeckers are a family,  Dicaeidae, of passerine birds. The family comprises two genera, Dicaeum and Prionochilus, with 50 species in total. The family has sometimes been included in an enlarged sunbird family Nectariniidae. The berrypeckers of the family Melanocharitidae and the painted berrypeckers, Paramythiidae, were once lumped into this family as well. The family is distributed through tropical southern Asia and Australasia from India east to the Philippines and south to Australia. The family has a wide range occupying a wide range of environments from sea level to montane habitats. Some species, such as the mistletoebird of Australia, are recorded as being highly nomadic over parts of their range. There is little variation in structure between species in the family although many have distinctive and colourful plumage. Flowerpeckers are stout birds, with short necks and legs. These are small birds ranging from the 10-cm, 5.7-gram pygmy flowerpecker to the 18-cm, 12-gram mottled flowerpecker. Flowerpeckers have short tails, short thick curved bills and tubular tongues. The latter features reflect the importance of nectar in the diet of many species. They also have digestive systems that have evolved to deal efficiently with mistletoe berries. They are often dull in colour, although in several species the males have brightly patterned crimson or glossy-black plumage. Nectar forms part of the diet, although they also take berries, spiders and insects. Mistletoes of 21 species in 12 genera have been found to be part of the diet of flowerpeckers, and it is thought that all species have adaptations to eat these berries and dispose of them quickly. Flowerpeckers may occur in mixed-species feeding flocks with sunbirds and white-eyes, as well as other species of flowerpecker.

The breeding biology of the flowerpeckers has been little studied. In the species where data has been collected they apparently form monogamous pairs for breeding, but the division of labour varies; in scarlet-breasted flowerpeckers both parents participate in all aspects of nest building, incubation and chick rearing, but in the mistletoebird the female undertakes the first two tasks alone. Flowerpeckers lay 1–4 eggs, typically in a purse-like nest of plant fibres, suspended from a small tree or shrub. Recorded incubation times are scarce, but range from 10–12 days, with fledging occurring after 15 days.

The two genera in the family are separated on the basis of the length of the outermost primary which is elongated in Prionochilus and reduced in most Dicaeum species although D. melanozanthum is an exception with an elongated outer primary. Molecular phylogeny studies, however, suggest that some Dicaeum are closer to species traditionally in Prionochilus and that generic placements across the family may need to be revised.

The majority of flowerpeckers are resilient in their habits and are not threatened by human activities. Five species are considered to be near threatened by the IUCN, two are listed as vulnerable and one, the Cebu flowerpecker, is listed as critically endangered. The status of the enigmatic spectacled flowerpecker is unknown. Habitat loss is the cause of the declines of these species.

title: Flowerpecker


text:
Talk:Bananas in Pyjamas

Untitled
IMDB lists this as a Australian/Armenian joint production. Is that correct? Strange as the rest of the show if it is. Rmhermen 15:57, 29 Jul 2003 (UTC)

 * I thought this was live action featuring characters in suits rather than animated. Confirm/deny? - Lee M 00:55, 4 Sep 2003 (UTC)

 * Yes, it is live action, except for the opening sequence, which is an animation.

bananas in pyamas!
this is a great AUSTRALIAN! show, all aussie infact, no over powering americans can take credit for this show! i used to watch it as a child, still do! its great fun to watch, and those lyrics, man i love em! the opening is animated but the rest is live action, it wasnt always like that, in my childhood it was all animated, or was it? cant really remmeber that well!
 * Uhm... ok. So what is your objection then? --Scotteh 13:44, 26 July 2006 (UTC) hehe

All Aussie? I don't think so, considering all Endemol's CGI work (which includes Bananas in Pyjamas) is done in Singapore. — Preceding unsigned comment added by Peter raines (talk • contribs) 09:26, 28 April 2017 (UTC)

wow
i didn't know that it was still running.
 * T'aint anymore. It was canceled in 2000. What I'm more surprised is that it went for 8 years. I think I watched maybe 1 show of it when I was little, and got sick of it. Kevin 00:59, 12 July 2007 (UTC)
 * I still see episodes on the ABC with copyright dates > 2000. ajdlinux | user page | talk | contrib 05:05, 17 July 2007 (UTC)

 * Seconded. Just saw one on YouTube copyrighted 2001. - David Gerard (talk) 23:10, 25 December 2008 (UTC)

It lives on as the justification for 'Saving' the ABC. 60.241.110.166 (talk) 08:15, 20 May 2021 (UTC)

lyrics
is there any copyright issue over the posting of the lyrics to the opening theme? LordRobert 09:04, 7 November 2007 (UTC)

The 2004 Gorilla Incident
Save it for 4chan... 220.235.15.20 (talk) 06:41, 20 November 2007 (UTC)

Caption?
Is the photo caption 'bum1 and bum2' vandalism? I haven't seen the show but it seems a bit strange. —Preceding unsigned comment added by Stevebeck (talk • contribs) 03:52, 2 May 2008 (UTC)
 * Yes it is, I've reverted. Good catch.  Equazcion •✗/C • 04:12, 2 May 2008 (UTC)

thanks for lyrics
I have one in blue and white stripe pjs and could not understand the lyrics until i read them —Preceding unsigned comment added by 70.185.191.186 (talk) 20:21, 1 October 2008 (UTC)

Lulu's accent
Yes, but where's Lulu's accent supposed to be from? We need to know! - David Gerard (talk) 23:10, 25 December 2008 (UTC)

Bananas in Pyjamas on Play School
I can remember Bananas in Pyjamas appearing on Play School (Australia) and I think it was long before they had their own show... can anyone verify? It wasn't as B1 or B2, but just as an anonymous Banana in Pyjamas doll. But the themesong already existed, and the presenters sang it as one of them held the doll. Andrewa (talk) 15:45, 14 November 2009 (UTC)

AHA! See

http://www.pluslicens.se/index.php/site/characters_details/bananas_in_pyjamas_characters/ ''The concept of the Bananas in Pyjamas series came from a song of the same name, composed by Carey Blyton (nephew of Enid Blyton). The catchy tune became a huge hit with Australian audiences on the program Play School, and an animated piece was produced to accompany it. T-shirts featuring Bananas in Pyjamas soon outsold other characters by at least 10 to 1. In July 1992, they got their own TV show...''

http://www.abc.net.au/children/bananas/about/ ''Bananas in Pyjamas is a delightful Australian pre-school TV series produced by the Australian Broadcasting Corporation for 0-5 year olds with a theme song of the same name written by Carey Blyton in 1967 and published in the form of a book entitled 'A Book of Nonsense'. The Australian Broadcasting Corporation adopted the song for the children's pre-school program 'Play School'. The song and subsequent animation were so popular it was decided to create 'Bananas In Pyjamas' the television program.''

That's a start... Andrewa (talk) 15:55, 14 November 2009 (UTC)

Episode List
Just an idea, do any editors feel it would be a good idea/would be intrested in compiling a list of episodes, maybe even with a breif plot outline? If intrested, leave a note here or on my talk page. I'll see if I get a good enough response and take it from there... Acather96 (talk) 17:25, 16 February 2010 (UTC)

Earnings and Royalties Controversy
I was under the impression the multi-million dollar earnings from Bananas in Pyjamas merchandise was mostly earned by commercial enterprises. This after the show was instigated by ABC government funded start up- or was it? This is an aspect of debate between the promoters of free enterprise and defenders of government subsidies that needs facts and figures to clarify. No doubt USA folks will defend the commercial aspect of the question. Australia has a long history of losing profits from successful enterprise to other countries. Ern Malleyscrub (talk) 00:25, 31 July 2011 (UTC)

CGI Series voices
I think B2 is Dan Wyllie, Lulu is Iny Vas de Sousa. I'm not sure which characters Matthew Whittet, Roslyn Oades and Keith Buckley do. Some characters who don't have their current voices are Topsy the cheeky kangaroo, Charlie the inventive monkey and Bernard the wise old dog. Philiashasspots (talk) 08:38, 20 May 2013 (UTC)

Curly brackets
In: "I think I am, B2! It's {Bananas' ideas} time!", what are the curly brackets for? 86.132.220.226 (talk) 12:55, 13 September 2014 (UTC)
 * I assume they mean "either B1 or B2's ideas time", depending on which banana had the idea. Graham 87 14:38, 13 September 2014 (UTC)
 * they mean, for example, “it’s beach time!” Or “it’s fixing Teddies’ sink time!” Or whatever crazy plan the Bananas have come up with in that moment. As in - it’s time to go to the beach/fix the sink. The idea is they are thinking the same thing and say it at the same time.Locochoko (talk) 01:17, 8 July 2019 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 4 external links on Bananas in Pyjamas. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100818161733/http://www.pluslicens.se/index.php/site/characters_details/bananas_in_pyjamas_characters/ to http://www.pluslicens.se/index.php/site/characters_details/bananas_in_pyjamas_characters/
 * Added archive https://archive.is/20130615210538/http://www.emvoices.com.au/Views/Artist.aspx?Artist=121 to http://www.emvoices.com.au/Views/Artist.aspx?Artist=121
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 * Added archive https://archive.is/20130616011704/http://au.linkedin.com/pub/anthony-o-donohue/41/211/17b to http://au.linkedin.com/pub/anthony-o-donohue/41/211/17b

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Please do split this into original and animated
People keep making edits for the animated show on the info box for this one. Really frustrating that people are essentially trying to erase the history of the original series. 100% support splitting it. Cheers.Locochoko (talk) 02:05, 8 July 2019 (UTC)

Semi-protected edit request on 25 April 2023
The Bananas and Pyjamas have also featured in at least three computer games:

 * Bananas in Pyjamas: It's Fun Time! (1997) https://archive.org/details/bananasinpyjamasitsfuntime97
 * Bananas in Pyjamas: It's Party Time (1998) https://archive.org/details/partytimebip
 * Bananas in Pyjamas: Paint and Print (1998) https://archive.org/details/paint-and-print_1998 DrEnzyme (talk) 07:33, 25 April 2023 (UTC)
 * Red information icon with gradient background.svg Not done: please provide reliable sources that support the change you want to be made. The mere images are not reliable sources for establishing that these computer games existed. Actualcpscm (talk) 10:45, 25 April 2023 (UTC)

Where's this guy?
Mark Short apparently auditioned for The Greatest Dancer, and in that context told the public that he was B1 and his partner was B2: The Greatest Dancer reveals that the Bananas in Pyjamas are together in real life (digitalspy.com). Palnatoke (talk) 07:24, 18 July 2023 (UTC)

title: Talk:Bananas in Pyjamas


text:
Joy Kogawa

Joy Nozomi Kogawa (born June 6, 1935) is a Canadian poet and novelist of Japanese descent.

Life
Kogawa was born Joy Nozomi Nakayama on June 6, 1935, in Vancouver, British Columbia, to first-generation Japanese Canadians Lois Yao Nakayama and Gordon Goichi Nakayama. She grew up in a predominantly white, middle-class community.

During World War II, the Japanese military attacked Pearl Harbor on December 7, 1941, and twelve weeks later Kogawa was sent with her family to the internment camp for Japanese Canadians at Slocan during World War II. After the war she resettled with her family in Coaldale, Alberta, where she completed high school. In 1954 she attended the University of Alberta, and in 1956, the Anglican Women's Training College and The Royal Conservatory of Music in Toronto. She moved back to Vancouver in 1956 and married David Kogawa there in 1957, with whom she had two children: Gordon and Deirdre. The couple divorced in 1968, and the same year Kogawa attended the University of Saskatchewan. She moved to Toronto in 1979 and has lived there since.

Kogawa's published first as a poet, beginning in 1968 with The Splintered Moon. She began to work as a staff writer for the Office of the Prime Minister in Ottawa in 1974. In 1981 she published her first prose work: Obasan, a semi-autobiographical novel that has become her best-known work. Books in Canada awarded the book its First Novel Award for it in 1981, and in 1982 Kogawa won the Book of the Year Award from the Canadian Authors Association and an American Book Award from the Before Columbus Foundation. Kogawa adapted the book for children as Naomi's Road in 1985.

A sequel, Itsuka (1992), was rewritten and retitled Emily Kato (2005), and then republished as Itsuka (2018).

Obasan has been named as one of the most important books in Canadian history by the Literary Review of Canada and was also listed by The Toronto Star in a "Best of Canada" feature. Obasan was later adapted into a children's book, Naomi's Road (1986), which, in turn, Vancouver Opera adapted into a 45-minute opera that toured elementary schools throughout British Columbia. The opera was also performed before the general public in the greater Vancouver area, Red Deer and Lethbridge, Alberta, Seattle, Washington, and Ottawa, Ontario, at the National War Museum. Revival performances in November 2016 by Toronto's Tapestry Opera won rave reviews, especially in the Toronto Star, which recognized their setting as one "steeped in significance".

Although the novel Obasan describes Japanese Canadian experiences, it is routinely taught in Asian American literature courses in the United States, due to its successful "integration of political understanding and literary artistry" and "its authentication of a pan-Asian sensibility."

Kogawa now lives mainly in Toronto, Ontario, but at one time divided her time between Vancouver and Toronto and was the 2012–13 Writer-in-Residence at the University of Toronto. In 2018, Kogawa formed a group called Yojaros with a Vancouver-based Japanese poet Soramaru Takayama.

Kogawa wrote the narrative for the augmented reality game East of the Rockies, produced by the National Film Board of Canada and released in 2019. The project won the Canadian Screen Award for Best Video Game Narrative at the 8th Canadian Screen Awards in 2020.

The home of the last Japanese-Canadian Anglican parish in Vancouver is Holy Cross church.

Recognition
In 1986, Kogawa was made a Member of the Order of Canada; in 2006, she was made a Member of the Order of British Columbia.

In 2010, the Japanese government honored Kogawa with the Order of the Rising Sun "for her contribution to the understanding and preservation of Japanese Canadian history."

Kogawa has been awarded several honorary doctorates. The most recent was by the University of Saskatchewan on November 10, 2020.

Campaign to save Kogawa House
The Save Kogawa House committee initiated a campaign to save Kogawa's childhood home, owned by her father Gordon Goichi Nakayama, in the Marpole neighbourhood of Vancouver from demolition. They developed national support from writers and writing organizations across Canada demonstrating that the house at 1450 West 64th Avenue was regarded by many as having historical value and literary significance, similar to Berton House, Emily Carr House and the Haig-Brown Institute. The Save Kogawa House committee made a successful presentation to the City of Vancouver councilors to create an unprecedented 120-day delay of the processing of a demolition permit on November 3, 2005, two days after the city had pronounced Obasan Cherry Tree Day and planted a graft of the cherry tree at Vancouver City Hall from the original tree at Kogawa House.

The Land Conservancy of British Columbia became involved in the saving of Kogawa House on December 2, 2005. Working with the Save Kogawa House committee, TLC took over the fund-raising efforts and media attention. TLC became the owner of the house on May 31, 2006. Ownership transferred to the City of Vancouver in 2016. They now are raising funds to renovate the house to increase accessibility and restore its appearance when Joy lived there in the late 1930s and early 1940s.

Kogawa House was recommended to be given heritage status by the City of Vancouver and was placed on City Council's agenda for July 12, 2022. Within the available application papers and heritage designation papers presented to the public and City Council for review, however, no mention was made of the house's heritage connection to the home's former owner Mr. Nakayama, a pedophile priest who abused hundreds of children. Community members raised concern that the heritage application misled the City and the public by openly ignoring parts of the home's history. On July 11, 2022, the agenda item covering the heritage status vote was removed in order to address the community's concerns.

The Historic Joy Kogawa House Society has operated a writer-in-residence program in the house since 2008. They have hosted four writers to date: poet and editor Dr. John Asfour of Montreal in 2009, novelist and writing educator Nancy Lee of Richmond in 2010, creative non-fiction author Susan Crean in 2011, short-fiction author Deborah Willis in 2012, and PEN Canada writer-in-exile, novelist, editor, freelance journalist, and faculty member Ava Homa in 2013.

Poetry

 * The Splintered Moon. Fredericton, NB: Fiddlehead Poetry Books, 1967.
 * A Choice of Dreams. Toronto: McClelland & Stewart, 1974.
 * Jericho Road. Toronto: McClelland & Stewart, 1977.
 * Six Poems. Toronto: League of Canadian Poets, 1980.
 * What Do I Remember of the Evacuation? Scholastic Education Canada, 1985
 * Woman in the Woods. Oakville, ON: Mosaic Press, 1985.
 * A Song of Lilith. Vancouver: Polestar, 2000.
 * A Garden of Anchors: Selected Poems. Oakville, ON: Mosaic, 2003.

Novels

 * Obasan. Toronto: Lester & Orpen Dennys, 1981. (winner of the 1982 Books in Canada First Novel Award)
 * Itsuka. Toronto: Penguin, 1992. (rewritten as Emily Kato – 2005)
 * The Rain Ascends. Toronto: Knopf, 1995. (revised edition released in 2003)

Nonfiction

 * Gently to Nagasaki. Caitlin Press, 2016.
 * East of the Rockies. National Film Board of Canada, 2019.

Children's literature

 * Naomi's Road. Toronto: Oxford University Press, 1986; Fitzhenry & Whiteside, 2005.
 * Naomi's Tree. Toronto: Fitzhenry & Whiteside, 2009.

Except where noted, bibliographic information courtesy Brock University.

Archives
There is a Joy Kogawa fonds at Library and Archives Canada. The archival reference number is R5678.

title: Joy Kogawa


text:
Southern Rhodesia

Southern Rhodesia was a landlocked, self-governing British Crown colony in Southern Africa, established in 1923 and consisting of British South Africa Company (BSAC) territories lying south of the Zambezi River. The region was informally known as South Zambesia until annexation by Britain, at the behest of Cecil Rhodes's British South Africa Company (for whom the colony was named). The bounding territories were Bechuanaland (Botswana), Northern Rhodesia (Zambia), Portuguese Mozambique (Mozambique) and the Transvaal Republic (for two brief periods known as the British Transvaal Colony; from 1910, the Union of South Africa and, from 1961, the Republic of South Africa).

This southern region, known for its extensive gold reserves, was first purchased by the BSAC's Pioneer Column on the strength of a Mineral Concession extracted from its Matabele king, Lobengula, and various majority Mashona vassal chiefs in 1890. Though parts of the territory were laid-claim-to by the Bechuana and Portugal, its first people, the "Bushmen" (or Sān or Khoisan), had possessed it for countless centuries beforehand and had continued to inhabit the region. Following the colony's unilateral dissolution in 1970 by the Republic of Rhodesia government, the Colony of Southern Rhodesia was re-established in 1979 as the predecessor state to the Republic of Zimbabwe Rhodesia which, in-turn, was the predecessor state of the Republic of Zimbabwe. Its only true geographical borders were the rivers Zambezi and Limpopo, its other boundaries being (more or less) arbitrary, and merging imperceptibly with the peoples and domains of earlier chiefdoms of pre-colonial times.

The British colony was established de jure in 1923, having earlier been occupied, constructed and administered by the British South Africa Company and its sub-concessionaires who were mostly British subjects. In 1953, it was merged into the Federation of Rhodesia and Nyasaland, which lasted until 1963. Southern Rhodesia was renamed Rhodesia and remained a de jure British colony until 1980. However, the Rhodesian government issued a Unilateral Declaration of Independence (UDI) in 1965 and established a fully independent Rhodesia, which immediately became an unrecognised state. In 1979, it reconstituted itself under majority rule as Zimbabwe Rhodesia, which also failed to win international recognition. After a period of interim British control following the Lancaster House Agreement in December 1979, the country achieved internationally recognised independence as Zimbabwe in April 1980.

Origin as "Rhodesia"
Initially, the territory was referred to as "South Zambezia", a reference to the River Zambezi, until the name "Rhodesia" came into use in 1895. This was in honour of Cecil Rhodes, the British empire-builder and key figure during the British expansion into southern Africa. In 1888 Rhodes obtained mineral rights from the most powerful local traditional leaders through treaties such as the Rudd Concession and the Moffat Treaty, which was signed by King Lobengula of the Ndebele people. "Southern" was first used in 1898 and dropped from normal usage in 1964, on the break-up of the Federation of Rhodesia and Nyasaland. "Rhodesia" then remained the name of the country until the creation of Zimbabwe Rhodesia in 1979. Legally, from the British perspective, the name Southern Rhodesia continued to be used until 18 April 1980, when the Republic of Zimbabwe was promulgated.

The British government agreed that Rhodes' company, the British South Africa Company (BSAC), would administer the territory stretching from the Limpopo to Lake Tanganyika under charter as a protectorate. Queen Victoria signed the charter in 1889. Rhodes used this document in 1890 to justify sending the Pioneer Column, a group of white settlers protected by well-armed British South Africa Police (BSAP) and guided by the big game hunter Frederick Selous, through Matabeleland and into Shona territory to establish Fort Salisbury (now Harare). In 1893–1894, with the help of their new Maxim guns, the BSAP defeated the Ndebele in the First Matabele War, a war which also resulted in the death of King Lobengula and the death of most of the members of the Shangani Patrol. Shortly after the disastrous BSAP Jameson Raid into the Transvaal Republic, the Ndebele were led by their spiritual leader Mlimo against the white colonials and thus began the Second Matabele War (1896–97) which resulted in the extermination of nearly half the British settlers. After months of bloodshed, Mlimo was found and shot by the American scout Frederick Russell Burnham and soon thereafter Rhodes walked unarmed into the Ndebele stronghold in Matobo Hills and persuaded the impi to lay down their arms, effectively ending the revolt.

A legislative council was created in 1899 to manage the company's civil affairs, with a minority of elected seats, through which the BSAC had to pass government measures. As the company was a British institution in which settlers and capitalists owned most shares, and local black African tribal chiefs the remainder, and the electorate to this council was limited to those shareholders, the electorate was almost exclusively white settlers. Over time as more settlers arrived and a growing number had less than the amount of land required to own a share in the company or where in trades supporting the company as workers, successive activism resulted in first increasing the proportion of elected seats, and eventually allowing non-share holders the right to vote in the election. Prior to about 1918, the opinion among the electorate supported continued BSAC rule but opinion changed because of the development of the country and increased settlement. In addition, a decision in the British courts that land not in private ownership belonged to the British Crown rather than the BSAC gave great impetus to the campaign for self-government. In the resulting treaty government self-government, Crown lands which were sold to settlers allowed those settlers the right to vote in the self-governing colony.

Century up to independence
The territory north of the Zambezi was the subject of separate treaties with African chiefs: today, it forms the country of Zambia. The first BSAC Administrator for the western part was appointed for Barotseland in 1897 and for the whole of North-Western Rhodesia in 1900. The first BSAC Administrator for the eastern part, North-Eastern Rhodesia, was appointed in 1895. The whites in the territory south of the river paid it scant regard though, and generally used the name "Rhodesia" in a narrow sense to mean their part. The designation "Southern Rhodesia" was first used officially in 1898 in the Southern Rhodesia Order in Council of 20 October 1898, which applied to the area south of the Zambezi, and was more common after the BSAC merged the administration of the two northern territories as Northern Rhodesia in 1911.

As a result of the various treaties between the BSAC and the black tribes, Acts of Parliament delineating BSAC and Crown Lands, overlapping British colonial commission authority of both areas, the rights of the increasing number of British settlers and their descendants were given secondary review by authorities. This resulted in the formation of new movements for expanding the self-government of the Rhodesian people which saw BSAC rule as an impediment to further expansion.

The Southern Rhodesian Legislative Council election of 1920 returned a large majority of candidates of the Responsible Government Association and it became clear that BSAC rule was no longer practical. Opinion in the United Kingdom and South Africa favoured incorporation of Southern Rhodesia in the Union of South Africa, but, by forcing the pace of negotiation, the Southern Rhodesians obtained unfavourable terms and the electorate backed Responsible Government in a 1922 referendum.

In view of the outcome of the referendum, the territory was annexed by the United Kingdom on 12 September 1923. Shortly after annexation, on 1 October 1923, the first constitution for the new Colony of Southern Rhodesia came into force. Under this constitution Sir Charles Coghlan became the first Premier of First Cabinet of Southern Rhodesia and upon his death in 1927 he was succeeded by Howard Unwin Moffat.

During World War II, Southern Rhodesian military units participated on the side of the United Kingdom. Southern Rhodesian support for the Allied war effort was based on a mixture shared kinship and identity with Britain and support for democracy. Southern Rhodesian forces were involved on many fronts including the East and North African campaigns, Italy, Madagascar and Burma. Southern Rhodesian forces had the highest loss ratio of any constituent element, colony, dependency or dominion of the British Empire forces during World War II. Additionally, the Rhodesian pilots earned the highest number of decorations and ace appellations of any group within the Empire. This resulted in the Royal Family paying an unusual state visit to the colony at the end of the war to thank the Rhodesian people.

Economically, Southern Rhodesia developed an economy that was narrowly based on production of a few primary products, notably, chrome and tobacco. It was therefore vulnerable to the economic cycle. The deep recession of the 1930s gave way to a post-war boom. This boom prompted the immigration of about 200,000 white settlers between 1945 and 1970, taking the white population up to 307,000. A large number of these immigrants were of British working-class origin. The black population was about 6 million.

In the 1940s, the founding of a university to serve central African countries was proposed. Such a university was eventually established in Salisbury, with funding provided by the British and Southern Rhodesian governments and some private sources. One condition of British funding was that student admission should be based on "academic achievement and good character" with no racial distinction. University College of Rhodesia (UCR) received its first intake of students in 1952. Until 1971 it awarded degrees of the Universities of London and Birmingham. In 1971 UCR became the University of Rhodesia and began awarding its own degrees. In 1980 it was renamed the University of Zimbabwe.

1953–1965

In 1953, with calls for independence mounting in many of its African possessions, the United Kingdom created the Federation of Rhodesia and Nyasaland (or the Central African Federation, CAF), which consisted of Southern Rhodesia, Northern Rhodesia and Nyasaland (now Zimbabwe, Zambia, and Malawi, respectively). The idea was to try to steer a middle road between the differing aspirations of the black nationalists, the colonial administration and the white settler population. The CAF sought to emulate the experience of Australia, Canada and South Africa – wherein groups of colonies had been federated together to form viable independent nations. Originally designed to be "an indissoluble federation", the CAF quickly started to unravel due to the low proportion of British and other white citizens in relation to the larger black populations. Additionally, by incorporating the tribes within the Federation as potential citizens, the Federation created the paradoxical situation of having a white elite owning most of the land and capital, whilst being completely dependent upon cheap black labour.

The Federation of Rhodesia and Nyasaland was dissolved on 1 January 1964. However, it was expected that only Nyasaland would be let go, whilst the remainder of Rhodesia both north and south would be united. Although Northern Rhodesia had a white population of over 100,000, as well as additional British military and civil units and their dependents, most of these were relatively new to the region, were primarily in the extraction business, had little landed interests, and were more amenable to allowing black nationalism than the Southern Rhodesians. Accordingly, Britain granted independence to Northern Rhodesia on 24 October 1964. However, when the new nationalists changed its name to Zambia and began tentatively at first and later in rapid march an Africanisation campaign, Southern Rhodesia remained a British colony, resisting attempts to bring in majority rule. The colony attempted to change its name to Rhodesia although this was not recognised by the United Kingdom. The majority of the Federation's military and financial assets went to Southern Rhodesia, since the British Government did not wish to see them fall into the hands of the nationalist leaders, and since Southern Rhodesia had borne the major expenses of running the Federation. With regard to the latter, however, Northern Rhodesia was the wealthiest of the three member states (due to its vast copper mines) and had contributed more to the overall building of infrastructure than the other two members did. Southern Rhodesia, recognising an inevitable dissolution of the Federation, was quick to use federal funds in building its infrastructure ahead of the others. A key component of this was the building of the Kariba Dam and its hydroelectric facility (shafts, control centre, etc.), which was situated on the Southern Rhodesian side of the Zambezi Gorge. This situation caused some embarrassment for the Zambian government later when it was a "front line state" in support of insurgents into Rhodesia in that its major source of electric power was controlled by the Rhodesian state.

Return to "Rhodesia"
With the protectorate of Northern Rhodesia no longer in existence, in 1964, Southern Rhodesia reverted to the name Rhodesia (see next section).

In 1965, Rhodesia unilaterally declared itself independent under a white-dominated government led by Ian Smith. After a long civil war ensued between the white (until 1979) government and two African majority, Soviet Bloc-aligned 'liberation movements' (Zimbabwe People's Revolutionary Army and Zimbabwe African National Liberation Army). The Salisbury government, realizing the situation was untenable, and facing strong international pressure, concluded the Internal Settlement with black nationalist leaders in March 1978. A general election a year later resulted in the creation of a unity government, which in December 1979 concluded the Lancaster House Agreement, whereby Britain resumed control of the country for a brief period before granting independence to the renamed Zimbabwe on 18 April 1980.

Legal aspects of the name since 1964
On 7 October 1964, the Southern Rhodesian government announced that when Northern Rhodesia achieved independence as Zambia, the Southern Rhodesian government would officially become known as the Rhodesian Government and the colony would become known as Rhodesia.

On 23 October of that year, the Minister of Internal Affairs notified the press that the Constitution would be amended to make this official. The Legislative Assembly then passed an Interpretation Bill to declare that the colony could be referred to as Rhodesia. The Bill received its third reading on 9 December 1964, and passed to the Governor for royal assent.

However, no royal assent was granted to the Bill. Section 3 of the Southern Rhodesia (Annexation) Order 1923 provided that Southern Rhodesia "shall be known as the Colony of Southern Rhodesia" and the Southern Rhodesia (Constitution) Act 1961 and the Order-in-Council which followed it both referred to it as such. The country's name had been agreed previously by both Southern Rhodesia and the United Kingdom, and it was therefore outside the powers of Southern Rhodesian institutions to amend them unilaterally. Notwithstanding the Governor's lack of assent to the Interpretation Bill the United Kingdom's Colonial Office was, by 1965, officially using the name "Rhodesia" in British Government-issued Gazettes of the period (for instance see: The 1965 Queen's Birthday Honours of 12 June 1965).

The Rhodesian government, which had begun using the new name anyway, did not press the issue. The Unilateral Declaration of Independence, adopted on 11 November 1965, was in the name of "Rhodesia", which remained unchanged by the declaration of a republic in 1970, the title of the republican constitution of 1969, like the constitution before it, being "Constitution of Rhodesia".

While the new name was widely used, 'Southern Rhodesia' remained the colony's formal name in United Kingdom constitutional theory: for example, the Act passed by the United Kingdom Parliament declaring the independence a legal nullity was entitled the Southern Rhodesia Act 1965.

Following the signing of the Lancaster House Agreement, the Parliament of the United Kingdom passed the Southern Rhodesia Constitution (Interim Provisions) Order 1979, establishing the offices of Governor and Deputy Governor of Southern Rhodesia, filled by Lord Soames and Sir Antony Duff respectively.

The new Governor arrived in Salisbury on 12 December 1979, and on that day the Parliament of Zimbabwe Rhodesia handed power over to him by passing the Constitution of Zimbabwe Rhodesia (Amendment) (No. 4) Act, declaring that "Zimbabwe Rhodesia shall cease to be an independent State and become part of Her Majesty's dominions". After elections in February 1980, the colony ceased to exist when the new country of Zimbabwe became independent at midnight on 17 April 1980.

Judiciary
List of chief justices of Southern Rhodesia:

title: Southern Rhodesia


text:
Slovincians

Slovincians, also known as Łeba Kashubians, is a near-extinct ethnic subgroup of the Kashubian people, who originated from the north western Kashubia, located in the Pomeranian Voivodeship, Poland, from the area around the lakes of Łebsko and Gardno. In the aftermath of World War II, Slovincians emigrated en masse to Germany, with the last families emigrating there in the 1980s. They originally spoke the Slovincian language, which went extinct in the early 20th century, as well as Kashubian, Polish, and German.

History
The ancestors of the Slovincians, the West Slavic Pomeranians, moved in after the Migration Period. Following the Ostsiedlung, the Slovincians like most of the other Wends gradually became Germanized. The adoption of Lutheranism in the Duchy of Pomerania in 1534 distinguished the Slovincians from the Kashubes in Pomerelia, who remained Roman Catholic. In the 16th century, "Slovincian" was also applied to the Slavic speakers in the Bytów (Bütow) region further south.

In the 16th and 17th century Michael Brüggemann (also known as Pontanus or Michał Mostnik), Simon Krofey (Szimon Krofej) and J.M. Sporgius introduced Kashubian into the Lutheran Church. Krofey, pastor in Bytów (Bütow), published a religious song book in 1586, written in Polish but also containing some Kashubian words. Brüggemann, pastor in Schmolsin, published a Polish translation of some works of Martin Luther and biblical texts, which also contained Kashubian elements. Other biblical texts were published in 1700 by Sporgius, pastor in Schmolsin. His Schmolsiner Perikopen, most of which is written in the same Polish-Kashubian style of Krofey's and Brüggemann's books, also contain small passages ("6th Sunday after Epiphanias") written in pure Kashubian.

Hilferding (1862) and Parczewski (1896) confirmed a progressive language shift in the Kashubian population from their Slavonic vernacular to the local German dialect (Low German Ostpommersch or High German, in eastern Kashubian areas also to Low Prussian).

By the 1920s, the Slovincian villages had become linguistically German, though a Slovincian consciousness remained. The area remained within the borders of Germany until becoming part of Poland after World War II ended in 1945 and the area became Polish. Some Slovincians were expelled along with the German population, some were allowed to remain. In the 1950s, mainly in the village of Kluki (formerly Klucken), a few elderly people still remembered fragments of Slovincian.

The remaining Slovincians began to ask for the right to emigrate to West Germany, and virtually all of the remaining Slovincian families had emigrated there by the 1980s.

title: Slovincians