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Amy Sedaris

Amy Louise Sedaris (born March 29, 1961) is an American actress, comedian, and writer. Most recently, she has appeared in both The Mandalorian (2019–2023) and The Book of Boba Fett (2022) as Peli Motto. She played Jerri Blank in the Comedy Central comedy series Strangers with Candy (1999–2000) and the prequel film Strangers with Candy (2005), which she also wrote.

Sedaris appeared as Hurshe Heartshe in the Adult Swim comedy series The Heart, She Holler (2013–2014), as Princess Carolyn in the Netflix animated comedy series BoJack Horseman (2014–2020), and as Mimi Kanasis in the Netflix sitcom Unbreakable Kimmy Schmidt (2015–2020). She received further critical acclaim as the creator and star of the TruTV surreal comedy series At Home with Amy Sedaris (2017–2020) which earned her two nominations for the Primetime Emmy Award for Outstanding Variety Sketch Series.

Sedaris has appeared in various films, including Maid in Manhattan (2002), School of Rock (2003), Elf (2003), Bewitched (2005), Chicken Little (2005), Shrek the Third (2007), Jennifer's Body (2009), Puss in Boots (2011), Chef (2014), Ghost Team (2016), Handsome (2017), and The Lion King (2019).

Early life
Sedaris was born in Endicott, New York, the fourth of six children in a Greek Orthodox family. Her parents were Sharon Elizabeth (née Leonard), a homemaker, and Louis Harry "Lou" Sedaris, an IBM engineer. Her father was born in Cortland, New York to immigrants from Apidea in Greece, and her mother was Anglo-American from Binghamton, New York. Sedaris' mother was Protestant and her father was Greek Orthodox. Her paternal grandmother did not speak English and owned a shoe shining store in New York. Sedaris' mother died of lung cancer in 1991, while her father passed away in 2021.

When she was four, her family moved to Raleigh, North Carolina, where she grew up with her five siblings: Lisa, David, Gretchen, Tiffany, and Paul. Her sister Tiffany died by suicide in 2013. She recalled feeling weird in that new environment, as her family was not southern and followed Greek traditions. As a child Sedaris liked playing dress-up and putting on plays for her family. In her brother David's book Me Talk Pretty One Day, he noted that she would often assume characters to play pranks on her family. As a teenager, Sedaris' first job was at the local Winn-Dixie supermarket where she would make fake announcements over the loudspeaker, and for a while she was determined to work at the local women's prison in Raleigh. She attended Jesse O. Sanderson High School and was a Girl Scout until she graduated.

At the age of 20, she and her mother worked together making and selling spanakopita. During that time, she was dating a man from Greece, and one evening after coming home from cooking, she found him unconscious on the kitchen floor. He had a brain aneurysm, and Sedaris spent the next three years caring for him. When they eventually broke up, Sedaris moved to Chicago with her brother David, and took classes at Second City and Annoyance Theatre. There she also worked as a waitress at Zanies Comedy Club.

Television
In the late 1980s, she was hired to perform with Second City's touring company. It was there she met Paul Dinello and Stephen Colbert with whom she often collaborated later in her career. She and Dinello did not get along with Colbert at first, – but they became close friends while touring together, discovering that they shared a similar comic sensibility. Sedaris left Second City in 1993, and moved to New York City. Sedaris' first major foray into television began in 1995 on the Comedy Central sketch series Exit 57; alongside Colbert and Dinello. For her performance she was nominated for the 17th CableACE Award for Best Comedy Actress and the series was nominated for Best Comedy Series. It ran for a total of two seasons.

Beginning in 1999 Sedaris played Jerri Blank, a middle-aged woman who goes back to high school in the Comedy Central comedy series Strangers with Candy. The series, which she co-wrote with Dinello and Colbert was based on Sedaris's impression of 1970s-era motivational speaker Florrie Fisher. The show ran for three seasons. In 2005, a film adaptation was released, acting as a prequel to the series.

Sedaris went on to make numerous guest appearances on television programs, including Just Shoot Me! (2001), Sex and the City (2002–2003), Monk (2002–2003), Wonder Showzen (2005), My Name Is Earl (2006), Sesame Street (2006), Rescue Me (2007), The Closer (2009), The New Adventures of Old Christine (2009), The Middle (2010), Raising Hope (2011–2014), and The Good Wife (2012). She also hosted the series Film Fanatic on Trio.

Sedaris' talk show appearances include Late Show with David Letterman, The Late Show with Stephen Colbert, Late Night with Conan O'Brien, Jimmy Kimmel Live!, The Late Late Show with Craig Ferguson, The Daily Show, The Colbert Report, Late Night With Jimmy Fallon, and WTF with Marc Maron. During an appearance on Chelsea Lately, she gave host Chelsea Handler a presentation on vaginal hygiene using a plush vagina created by fashion designer Todd Oldham.

In 2008, Sedaris starred as Principal Abby Hofman in the Nickelodeon television film Gym Teacher: The Movie, which was directed by her Strangers with Candy co-star and frequent collaborator Paul Dinello.

In early 2010, she had a supporting character in the Canadian comedy series The Drunk and On Drugs Happy Fun Time Hour. Later in 2010 she appeared alongside Paul Dinello in the episode "Mummified Hand", of the Discovery/Science Channel documentary series Oddities.

In 2011, she appeared in a series of commercials for Downy (Lenor UK) Unstoppables, a fabric softener product. Grey Global Group designed the commercials as "kicking the old 'mom' image with spots featuring 'laundry expert' (and accomplished lifestyle guru) Amy Sedaris".

In 2013, she replaced Kristen Schaal as the sex-crazed Hurshe Heartshe, in the second season of the Adult Swim comedy series The Heart, She Holler. She also appeared in third and final season. That same year, Sedaris appeared in a major recurring role in the Amazon Prime Video political satire series Alpha House, which was written by Doonesbury creator Garry Trudeau. Sedaris played Louise Laffer, the Mormon wife of Nevada Senator Louis Laffer who lives with three other Republican senators in a town house on Capitol Hill.

Sedaris later had a recurring role as Pam in the Comedy Central sitcom Broad City (2014–2019), as Rita in the Hulu dark comedy series Difficult People (2015–2017). From 2015 to 2020, she portrayed Mimi Kanasis in the Netflix comedy series Unbreakable Kimmy Schmidt, for which she earned a nomination for the Gold Derby Award for Best Comedy Guest Actress.

In 2016, she made an appearance in the tragicomedy series Horace and Pete, as a character named Mara looking for a job at Horace and Pete's. She also co-starred with Chris Elliott in the Sony Crackle family comedy series Thanksgiving.

In 2017, Sedaris created the TruTV surreal comedy series At Home with Amy Sedaris, which she also wrote and executive produced. The series focused on the comedian's love of entertaining, crafts, and cooking. She played numerous characters, including herself, Patty Hogg, Ronnie Vino, and Nutmeg. The series was met with critical acclaim upon its premiere, garnering two consecutive nominations for the Primetime Emmy Award for Outstanding Variety Sketch Series, and ran for three seasons.

Sedaris had a starring role as Janice Delongpre, a dispatch officer, in the CBS All Access comedy series No Activity appearing in the series from 2017 to 2019. She had guest-starring roles as Cathy in the HBO comedy-drama series Divorce (2018).

Voice
Sedaris has voiced commercials for the discount hair salon chain Supercuts  and was WordGirl character Miss Davis for two seasons. She also voiced the Bandit Princess in Adventure Time. She narrated the PBS special Make 'Em Laugh: The Funny Business of America, a six-hour documentary on comedians and comedy in American history.

In film, Sedaris voiced Foxy Loxy in the science fiction comedy Chicken Little (2005), Cinderella in the animated fantasy comedy Shrek the Third (2007), Gravity in the family comedy Space Buddies (2009), Jill in the adventure comedy Puss in Boots (2011), Betty in the fantasy comedy Super Buddies (2013), and Aunt Ida in the English dub of the Academy Award-nominated comedy drama My Life as a Courgette (2016).

She voiced the role of Audrey Temple in two seasons of the podcast Homecoming (2016–2017). The series was later adapted into a series of the same name, starring Julia Roberts. Sedaris' character was portrayed in the series by Hong Chau.

Sedaris voiced characters in numerous animated series. From 2014 to 2020, she provided the voice for Princess Carolyn in the Netflix adult animated comedy series BoJack Horseman, a role which some critics consider her best work.

She also voiced various characters in the Fox adult comedy series American Dad! (2009–2012), Ma Angler in the Nickelodeon children's comedy series SpongeBob SquarePants (2011–2019), Lydia / Mina Loveberry in the Disney Channel action fantasy series Star vs. the Forces of Evil (2016–2019), the Zircons in the Cartoon Network coming-of-age series Steven Universe (2017), and Samantha in the Netflix adult comedy series F is for Family (2020).

In 2019, Sedaris voiced a Guinea Fowl in the musical drama film The Lion King (2019), which is a photorealistic animated remake of Disney's 1994 film of the same name.

In 2022, Sedaris voiced the part of Suzanne in Meet Cute's holiday rom-com, Christmasuzannukkah. "I've always loved holiday movies. They're like comfort food and they never get old," said Sedaris. "Christmasuzannukkah really brings together the joy, drama and heart of the season, and it was so much fun to be able to do this in a podcast form."

Film
Throughout her career Sedaris had supporting roles in a number of feature films. She appeared in the romantic comedy Maid in Manhattan (2002), the musical comedy School of Rock (2003), the Christmas comedy Elf (2003), and the fantasy comedy Bewitched (2005).

Her first leading film role came in the 2005 film adaptation Strangers with Candy, which she also co-wrote. She followed this with supporting roles in the comedy-drama film Full Grown Men (2006), the drama film Snow Angels (2007), and the ensemble comedy film Old Dogs (2009).

Sedaris had a large role in the comedy film The Best and the Brightest, which was released in 2010. She went on to star in the horror comedy film Jennifer's Body (2009), the comedy-drama film Chef (2014), the supernatural comedy film Ghost Team (2016), the mystery comedy film Handsome (2017), and the comedy film Save Yourselves! (2020). She also played the heart surgeon Dr. Ladenheim in Clerks III (2022).

Writing

In 2003, Sedaris co-authored the text-and-picture novel Wigfield alongside collaborators Paul Dinello and Stephen Colbert.

Sedaris has contributed several articles for The Believer magazine since 2005. In a 2006 interview with the magazine, she answered part of a Q&A section with, "TURN-OFFS: The beach, having to pay for things, racist people, Orientals."

In 2006, she released I Like You: Hospitality Under the Influence, a guide to entertaining, which stayed on the New York Times bestseller list for more than 12 weeks. In 2007, she was working with Dinello on a show for HBO, loosely based on the book, but the project never came to fruition.

In 2010, she released the crafting book Simple Times: Crafts for Poor People!. While promoting her book on Late Night with David Letterman in October 2010, she demonstrated how the cover can easily be made into a hat.

Theater
Amy has co-written several plays with her brother David, credited only as "The Talent Family": Stump the Host (1993), Stitches (1994), One Woman Shoe (1995), Incident at Cobblers Knob (1997), and The Little Frieda Mysteries (1997). The pair's The Book of Liz (2002) focussed on cheese balls as a metaphor for "the cliches we all live by", according to Ben Brantley.

She played a role as the Stage Manager in Paul Rudnick's play The Most Fabulous Story Ever Told (1998) and as Froggy in Douglas Carter Beane's play The Country Club (1998), the latter of which earned her a nomination for the Drama Desk Award for Outstanding Featured Actress in a Play. She had a role in David Lindsay-Abaire's play Wonder of the World and the stage adaptation of her book Wigfield (2003), alongside Paul Dinello and Stephen Colbert.

Other work
In support of People for the Ethical Treatment of Animals (PETA)'s anti-fur campaign, Sedaris appeared as her Strangers with Candy character in an ad that reads, "When you wear fur, people laugh at you, not with you."

In 2007, Sedaris was featured in Dolly Parton's first mainstream country music video in fourteen years, "Better Get to Livin'.

She was the emcee for Microsoft's 2010 annual employee meeting in Seattle on September 28, 2010.

Personal life
Sedaris has run a cupcake and cheeseball business, Dusty Food Cupcakes, out of her home kitchen. 'Dusty' was the name of her pet rabbit. She lives in Greenwich Village, Manhattan, New York City.

Sedaris was in an eight-year relationship with actor/writer Paul Dinello. After their breakup, they remain close friends and Sedaris is godmother to his two children. Sedaris has stated in several interviews that she has never desired to marry or have children.

Written works

 * Sedaris, Stephen Colbert, Paul Dinello. Wigfield: The Can-Do Town That Just May Not (Hyperion, May 19, 2004) ISBN 0-7868-8696-X
 * I Like You: Hospitality Under the Influence (Warner Books, October 16, 2006) ISBN 0-446-57884-3
 * Sedaris and Dinello. Simple Times: Crafts for Poor People (Grand Central Publishing, November 2, 2010) ISBN 0-446-55704-8

title: Amy Sedaris


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Jean Stapleton

Jean Stapleton (born Jeanne Murray; January 19, 1923 – May 31, 2013) was an American character actress of stage, television and film. Stapleton is best known for her portrayal of Edith Bunker, the perpetually optimistic and devoted wife of Archie Bunker, on the 1970s sitcom All in the Family, a role that earned her three Emmys and two Golden Globes for Best Actress in a comedy series. She also made occasional appearances on the All in the Family follow-up series Archie Bunker's Place, but asked to be written out of the show during the first season due to becoming tired of the role.

Early life
Stapleton was born on January 19, 1923, in Manhattan, the daughter of Marie A. Stapleton, an opera singer, and Joseph E. Murray, a billboard advertising salesman. She had an elder brother, Jack. Her uncle was a vaudevillian performer, and her brother was a stage actor who inspired her to pursue acting.

Career
Stapleton began her career in 1942 aged 18 in summer stock theatre and made her New York debut in the Off-Broadway play American Gothic. She was featured on Broadway in several hit musicals, such as Funny Girl, Juno, Damn Yankees and Bells Are Ringing, recreating her parts from the latter two musicals in the film versions of Damn Yankees (1958) (her film debut) and Bells Are Ringing (1960).

Stapleton's early television roles included parts in Starlight Theatre, Robert Montgomery Presents, Lux Video Theater, Woman with a Past, The Philco-Goodyear Television Playhouse, The Patty Duke Show, Dr. Kildare, My Three Sons, Dennis the Menace, Naked City, and as Rosa Criley in a 1963 episode of NBC's medical drama about psychiatry, The Eleventh Hour, entitled "The Bride Wore Pink". In 1962, Stapleton guest-starred as Mrs. Larsen in "The Hidden Jungle", an episode of the TV series The Defenders (broadcast on December 1 that year), alongside her future All in the Family co-star Carroll O'Connor.

Stapleton also appeared in the feature films Something Wild (1961), Up the Down Staircase (1967), Klute (1971) and the Norman Lear comedy Cold Turkey (also 1971).

Stapleton bested both Mary Tyler Moore and Marlo Thomas for the "Best Actress in a Comedy" Primetime Emmy award on May 9, 1971. She was offered the role of Mrs. Teevee in the feature film Willy Wonka & the Chocolate Factory (1971), but declined because it coincided with the production of the All in the Family pilot (the role ultimately went to Nora Denney).

All in the Family
Stapleton's played the role of Edith in All in the Family, which premiered in 1971. The show was originally broadcast on the CBS network for nine seasons from January 12, 1971, to April 8, 1979, for a total of 205 episodes. The role earned her three Emmys and two Golden Globes.

Feeling her character had run its course, Stapleton continued the role of Edith for only five more episodes in the follow-up series Archie Bunker's Place to help the transition, and then Edith was written out via stroke, offscreen, in the first episode of season two.

Other works
Stapleton appeared in the Emmy Award–winning TV movie Tail Gunner Joe (1977), dramatizing the life of U.S. Senator Joseph R. McCarthy, and later guest-starred in the sixth episode of the third season of The Muppet Show (broadcast on September 30, 1978).

In 1979, she featured in the original Canadian production of the musical Something's Afoot, which was later broadcast on Showtime. She played the title role in the Hallmark Hall of Fame TV movie, Aunt Mary (also 1979), which detailed the true story of Baltimore children's advocate Mary Dobkin. In 1982, Stapleton portrayed Eleanor Roosevelt in the TV movie Eleanor, First Lady of the World, focusing on the subject's later life. The role earned her Emmy and Golden Globe nominations for Best Actress.

She continued to guest-star in a number of television series during the 1980s including two episodes of Faerie Tale Theatre — in 1983 and 1985 editions entitled "Jack and the Beanstalk" as the Giant's Wife and "Cinderella" as the Fairy Godmother — Scarecrow and Mrs. King and The Love Boat. Stapleton also co-starred in the film The Buddy System (1984), alongside Susan Sarandon and Richard Dreyfuss, and played Ariadne Oliver in the 1986 television adaptation of Dead Man's Folly, opposite Peter Ustinov as Hercule Poirot. She declined the role of Jessica Fletcher in the TV series Murder, She Wrote, which went to Angela Lansbury.

From 1990 to 1991, Stapleton co-starred with Whoopi Goldberg in 15 episodes of Bagdad Cafe, the television series based on the movie of the same name.

In 1994, Stapleton played the role of Mrs. Piggle-Wiggle in a children's series of the same name based on the books by Betty MacDonald.

In 1996, Stapleton appeared in the educational series Beakman's World as Beakman's mother, Beakmom, and also appeared on Everybody Loves Raymond playing Ray's imperious aunt. The same year, she appeared in the Murphy Brown episode "All in the Family" playing Miles's grandmother, Nana Silverberg, and also played opposite John Travolta in Nora Ephron's hit film Michael as the eccentric rooming house owner, Pansy Milbank.

Making a debut in the world of video games, Stapleton was the voice of Grandma Ollie on KinderActive, Turner Pictures, and New Line Cinema's venture Grandma Ollie's Morphabet Soup. The game won a Teacher's Choice Award from Learning Magazine.

On January 26, 1998, Stapleton guest-starred on the Jean Smart sitcom Style & Substance in the episode "A Recipe for Disaster", playing a former television chef who has an alcohol problem. She voiced John Rolfe's maid, Mrs. Jenkins, in Disney's 1998 direct-to-video animated film Pocahontas II: Journey to a New World, and appeared in the film You've Got Mail as a close co-worker in whom Meg Ryan's character confides. From 1998, Stapleton took her "Eleanor" characterization to live theaters, now adapted as a one-woman show.

In May 2000, Stapleton appeared in "Mother's Day", an episode of the TV series Touched by an Angel, portraying an angel named Emma who came to help Celine who was taking care of her late best friend's mother.

Stapleton's final film role was as Irene Silverman in the 2001 fact-based TV movie, Like Mother, Like Son: The Strange Story of Sante and Kenny Kimes, starring Mary Tyler Moore as convicted criminal Sante Kimes. while her final acting role was in Horton Foote's The Carpetbaggers Children at Lincoln Center in NY., March 7th 2002.).

Stapleton was inducted into the American Theatre Hall of Fame in 2002. She was also inducted into the Television Hall of Fame that same year.

Personal life
Stapleton was married to William Putch from 1957 until his death in 1983. The couple had two children: actor/writer/director John Putch and television producer Pamela Putch. For 30 years, William Putch directed a summer stock theater, Totem Pole Playhouse, at Caledonia State Park in Fayetteville, Pennsylvania. Stapleton performed regularly at the theatre with the resident company. When William Putch died of a heart attack during the run of a production Stapleton had been appearing in at the playhouse, Stapleton insisted on performing that night.

Stapleton's brother, Jack Stapleton, was a stage actor. Her cousin was actress Betty Jane Watson. Stapleton was active in the Christian Science church. She was unrelated to actress Maureen Stapleton, contrary to a common misconception.

Stapleton supported Walter Mondale's campaign in the 1984 presidential election, was a vocal supporter of the Equal Rights Amendment, and took an active role in the 1977 National Women's Conference.

Stapleton rarely appeared on talk shows, but reunited on-camera with Carroll O'Connor on Donny and Marie Osmond's show on April 24, 2000, a little over a year before O'Connor's death. When the Osmonds asked her to perform in Edith Bunker's voice, she declined to do so, and jokingly told them that she only does so "for pay". Stapleton admitted that she seldom watched All in the Family, but by 2000 she reconsidered, she told the Archive of American Television.

Death and reaction
Stapleton died at her apartment in Manhattan, on May 31, 2013, at age 90.

Norman Lear said, "No one gave more profound 'how to be a human being' lessons than Jean Stapleton." Co-star Rob Reiner said, "Working with her was one of the greatest experiences of my life." Sally Struthers said, "Jean lived so in the present. She was a Christian Scientist who didn't say or think a negative thing ... She was just a walking, living angel".

The marquee lights on Broadway were dimmed for two minutes on June 5, 2013, at 8 p.m. EDT, to honor the memory of Stapleton. She is buried at Lincoln Cemetery in Chambersburg, Pennsylvania.

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

title: Jean Stapleton


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Ronald Schill

Ronald Barnabas Schill (born 23 November 1958) is a former German judge, the founder of the German political parties Party for a Rule of Law Offensive (Partei Rechtsstaatlicher Offensive; also called PRO or "Schill party") and Pro DM/Schill. He served as the Senator of the Interior and Second Mayor (deputy chief of government) in the government of Hamburg from 2001 to 2003.

He now lives in Brasil. Since 2014, Schill has appeared in inexpensively produced TV reality shows on German cable channels.

Political career
Schill started his career as a judge at an Amtsgericht in Hamburg from 1993 to 2001. Due to his controversial rulings as a judge, which frequently involved the maximum penalty, he was given the nickname "Richter Gnadenlos" ("Judge Merciless"); most of these rulings were overruled by higher courts later on.

His new-found right-conservative party managed to gain 19.4% of all votes in the elections for Hamburg's parliament, the Bürgerschaft, on 23 September 2001. Following the elections, his party entered into a coalition government with the CDU led by Ole von Beust. Schill became second mayor of Hamburg and senator (equivalent of minister) of the interior; among other things, he announced that he would lower crime rates by 50% within 100 days, an undertaking which remained unsuccessful.

Controversies
As a politician, Schill managed to get considerable media attention with his radical positions; among other things, he spoke out for the legalization of cannabis, demanded that sex offenders who did not respond to therapy be castrated, and stated that parents who failed to bring up their children "the right way" should be jailed. Furthermore, following the Moscow theater hostage crisis in October 2002, where 129 of 800 hostages were killed by an unknown chemical agent employed by the authorities to incapacitate the hostage-takers, he proposed that similar gas should also be used by German police to fight terrorism.

Shortly after assuming office, Schill was anonymously accused of cocaine abuse. He voluntarily underwent hair analysis which did not yield any evidence of cocaine consumption, and after the findings had been made public, the prosecution authorities stopped their proceedings against Schill.

2002 Bundestag speech
Schill managed to cause a stir and a wave of indignation throughout the whole of Germany when he spoke in front of the Bundestag, Germany's federal parliament, in the final session of the 14th Bundestag on 29 August 2002. Though he was not a Member of the Bundestag, he was a Member of the Bundesrat as a Hamburg Senator. Members of the Bundesrat have the right to address the Bundestag at any time. In his speech, he said that the victims of the Elbe flood would not be able to be compensated due to too much money being given to foreign countries; he also berated politicians of all parties, his speech culminating in the words "We (in Germany) without doubt [...] have the most capable people, but the most incompetent politicians" ("Wir haben (in Deutschland) ohne Zweifel die tüchtigsten Menschen, aber [...] die unfähigsten Politiker").

He further reviled politicians by stating that they wasted money, went through the world with a "goblet of charity" to give away German tax money, brought refugees into the country and build "glamorous solitary cells" for prisoners; after accusing the parliament's vice president Anke Fuchs of violating the constitution, already over his time quota, he first was warned, then asked to finish his speech, and finally had the microphone turned off 15 minutes after the end of his timeshare.

Removal as senator
In the summer of 2003 he made headlines again when another government official, Walter Wellinghausen, who held the office of a Staatsrat and was supported by Schill, was accused of illegally having a second employment; finally, Schill was removed from office by first mayor Ole von Beust (CDU) on 19 August 2003, due to "not being qualified (for the position) with regard to his character" ("charakterlich nicht geeignet").

This was preceded by a private discussion between von Beust and Schill, in which von Beust announced his intent to remove Wellinghausen from office. According to von Beust, Schill then threatened to make public an alleged love affair between von Beust and judiciary senator Roger Kusch (CDU), which would have resulted in a conflict of interests on von Beust's side.

Schill, on the other hand, told the press that he only had appealed to von Beust to not apply double standards, claiming that he mentioned the case of his fellow party member Mario Mettbach, who cancelled his decision to hire his significant other as an abstractor; he further stated that this collided with von Beust's making Kusch a senator and that the public had a right to be informed about these issues. Kusch publicly came out as gay soon afterwards; von Beust, however, did not comment further on his sexuality, pointing out that his sexual orientation was a private issue alone.

Schill's removal from office was appreciated by many organizations, including the churches and the police union, even though Schill continued to be a member of Hamburg's Bürgerschaft.

On 6 December 2003, the federal executive board of the Party for a Rule of Law Offensive, led by Mario Mettbach, removed Schill from his office as the party's chairman for Hamburg and denied him the right to assume further offices in the party. In response, Schill publicly ridiculed the party's executive board, stating that he could just as well have been removed from office by his haircutter.

Three days later, von Beust declared the coalition of CDU, FDP and Schill Party to be terminated and asked the parliament to order new elections. Another week later, on 16 December 2003, the Schill Party 's federal executive board decided to expel Schill from the party.

On 18 December 2003, Schill, together with five former members of the Schill Party faction in the Hamburg state parliament, formed a new faction; his former partner, Katrin Freund, was elected chairwoman. He announced that if he did not manage to get 5% of all votes in the forthcoming parliamentary elections (and thus not be present in the new parliament), he would emigrate from Germany.

In the elections, on 29 February 2004, his group won only 3.1% of the votes. He confirmed that he would emigrate, "probably to South America."

Since 2004
In fall 2004, Schill emigrated to Cuba.

In late 2006, Hamburg Police issued a search warrant for him, as he is to testify as a witness in front of a Hamburg state parliament board of inquiry. As of December 2006, Schill was thought to be in the Rio de Janeiro area. In December 2007 he appeared in Itzehoe and was ordered to testify in front of the aforementioned board.

In March 2008, the German tabloid Bild reported that they were in possession of a video showing Schill consuming cocaine in Brazil. In the video he stated that as a judge he had regularly meted out harsher punishments to blacks, whom he disliked intensely. He also stated that his first cocaine test in 2001 yielded a positive result, but a retest with a less sensitive method then gave the desired negative result. Excerpts of this video were made available on YouTube.

Since 2014, Schill has appeared in inexpensively produced TV reality shows on German cable channels.

title: Ronald Schill


text:
USS John Marshall

USS John Marshall (SSBN-611) was an Ethan Allen-class submarine, the only ship of the United States Navy to be named for John Marshall (1755–1835), the fourth Chief Justice of the United States. Originally a fleet ballistic missile submarine designated SSBN-611, she later was reclassified as an attack submarine and re-designated SSN-611.

Construction and commissioning
John Marshall's keel was laid down on 4 April 1960 by Newport News Shipbuilding and Dry Dock Company of Newport News, Virginia. She was launched on 15 July 1961 sponsored by Ethel (Skakel) Kennedy, wife of Attorney General Robert F. Kennedy, and commissioned on 21 May 1962 with Commander Robert W. Stecher commanding the Blue Crew and Commander Robert D. Donavan commanding the Gold Crew.

Service as a fleet ballistic missile submarine, 1962 – 1980
John Marshall began her sea trials on 8 April 1962. On 21 May, John Marshall joined the Atlantic Fleet as a unit of Submarine Squadron 14 (SUBRON14). On 31 May, she began her shakedown cruise, which culminated on 12 July with the successful firing of two Polaris A-2 missiles by the Blue crew and followed by the launch of three more by the Gold crew within days off Cape Canaveral, Florida. In October, with a port call in İzmir, Turkey, she became the first U.S. FBM to visit a foreign port. On 31 December, John Marshall sailed for her first Polaris patrol. Manned by the Blue crew, she became the ninth operational fleet ballistic missile submarine.

From 4 April 1963 to 30 November 1966, the Blue and Gold crews conducted a total of seventeen deterrent patrols from Holy Loch, Scotland.

On 13 December 1966, John Marshall started her first major overhaul at Newport News Shipbuilding. The overhaul was completed in April 1968. After the post-overhaul shakedown, she loaded ballistic missiles at Charleston, South Carolina, and in September 1968 began her eighteenth deterrent patrol. She conducted her 19th through 25th deterrent patrols from Holy Loch between October 1968 and June 1970. In June 1970, she became a unit of Submarine Squadron 16 and began operations from Rota, Spain.

She conducted her 26th through 37th deterrent patrols from Rota. She was awarded her first Meritorious Unit Commendation as a result of an operation conducted in March 1971 that demonstrated the effectiveness and dependability of the fleet ballistic missile system. In June 1973, she returned to New London, Connecticut, for a dependents cruise, then conducted two deterrent patrols from Charleston, South Carolina.

On 1 November 1974, John Marshall began her second refueling overhaul at Mare Island Naval Shipyard at Vallejo, California. During this overhaul, the missile systems were converted to support the Polaris A-3 missile. The overhaul was completed in May 1976 and John Marshall commenced strategic deterrent patrols in February 1977 as a unit of Submarine Squadron 15. she conducted her 40th through 54th deterrent patrols from Apra Harbor, Guam. Her final deterrent patrol concluded with her arrival at Pearl Harbor, Hawaii, on 28 December 1980.

Service as an attack submarine, 1981 – 1992
On 12 January 1981, John Marshall was reclassified as an attack submarine and given hull number SSN-611. She began operations as an attack submarine from Pearl Harbor. Her last Polaris missile was removed in Bangor, Washington, on 1 June 1981.

John Marshall arrived in Charleston, South Carolina, on 20 July 1981 and began operations as a unit of Submarine Squadron 4. On 28 December 1981, she departed for her first deployment to the Mediterranean Sea. The deployment included several major fleet exercises and visits to La Maddalena, Italy; Naples, Italy; Tangiers, Morocco; and Lisbon, Portugal. She returned to Charleston on 21 May 1982, twenty years to the day after she was commissioned.

In September 1983, John Marshall again transferred to the Pacific Fleet and arrived at Puget Sound Naval Shipyard at Bremerton, Washington, on 29 September to start her third overhaul. She (along with her sister, USS Sam Houston (SSBN-609)) was modified to support operations. This included the installation of additional troop berthing, the removal of some ballistic missile tube bases, and the conversion of other ballistic missile tubes into air locks and stowage for equipment. She was fitted with two Dry Deck Shelters (DDSs) abaft her sail. These, which house SEAL team Swimmer Delivery Vehicles, allow her to act as a SEAL mother ship. Post-overhaul sea trials were conducted in September 1985 and John Marshall joined Submarine Squadron 6 in Norfolk, Virginia, in November 1985.

On 15 December 1986, John Marshall began her transit for her second deployment to the Mediterranean Sea. The deployment included several exercises and a demonstration of her unique special warfare capability and visits to Toulon, France; and La Maddalena, Italy. She returned to Norfolk, Virginia, on 29 May 1987.

In September 1987, John Marshall conducted a special operational demonstration near Puerto Rico with SEAL Team Two. Aircraft carrier battlegroup exercises, special acoustic trials, and dry deck shelter operations continued through 1988. She made her 1,000th dive on 25 October 1988, off Puerto Rico.

On 1 May 1989, after conducting a variety of exercises with aircraft carrier battlegroups and other submarines, John Marshall departed for her third Mediterranean deployment. It was the first time a submarine had deployed anywhere in the world with two dry deck shelters on board, adding a unique flexibility and endurance to the fleet commander for special warfare operations. Embarked when John Marshall departed Norfolk was the largest special warfare detachment in the Atlantic or Mediterranean. During the 1989 deployment, John Marshall's response to contingency operations, providing forward area support of a unique nature on extremely short notice, as well as her success in antisubmarine warfare operations, was recognized in the award to John Marshall of the Meritorious Unit Commendation. John Marshall returned to Norfolk in September 1989.

John Marshall conducted three special warfare training exercises in the Caribbean Sea in 1990, including a highly successful exercise that featured the employment of submarine-launched mobile mines.

On 26 January 1991, John Marshall departed Norfolk for her fourth and final deployment to the Mediterranean. Equipped once again with two dry deck shelters, she operated in direct support of Operation Desert Storm and provided significant capability options to the United States Sixth Fleet commander. She visited Toulon, Gibraltar, and La Maddalena, returning to Norfolk on 22 June 1991.

In September 1991, John Marshall served as flagship for the largest submarine special warfare exercise since World War II. Over 191 personnel, including three flag officers, U.S. Navy SEALs, and United States Army special forces, embarked to conduct joint special operations during Exercise Phantom Shadow.

John Marshall transited to the Pacific in early 1992 to begin deactivation at Puget Sound Naval Shipyard, where she was decommissioned and stricken from the Naval Vessel Register on 22 July 1992. She was disposed of through the Nuclear Power Ship and Submarine Recycling Program on 29 March 1993.

Commemoration
John Marshall's ship's bell is on display at Marshall University in Huntington, West Virginia.

In 2012, BIC issued a series of lighters commemorating the United States Armed Forces, with proceeds benefiting the USO. A photograph of the John Marshall sail taken while the boat was cruising on the surface was used for one depiction of the United States Navy.

title: USS John Marshall


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Russian formalism

Russian formalism was a school of literary theory in Russia from the 1910s to the 1930s. It includes the work of a number of highly influential Russian and Soviet scholars such as Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eichenbaum, Roman Jakobson, Boris Tomashevsky, Grigory Gukovsky who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity and autonomy of poetic language and literature. Russian formalism exerted a major influence on thinkers like Mikhail Bakhtin and Juri Lotman, and on structuralism as a whole. The movement's members had a relevant influence on modern literary criticism, as it developed in the structuralist and post-structuralist periods. Under Stalin it became a pejorative term for elitist art.

Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours. In fact, "Russian Formalism" describes two distinct movements: the OPOJAZ (Obshchestvo Izucheniia Poeticheskogo Yazyka, Society for the Study of Poetic Language) in St. Petersburg and the Moscow Linguistic Circle. Therefore, it is more precise to refer to the "Russian Formalists", rather than to use the more encompassing and abstract term of "Formalism".

The term "formalism" was first used by the adversaries of the movement, and as such it conveys a meaning explicitly rejected by the Formalists themselves. In the words of one of the foremost Formalists, Boris Eikhenbaum: "It is difficult to recall who coined this name, but it was not a very felicitous coinage. It might have been convenient as a simplified battle cry but it fails, as an objective term, to delimit the activities of the 'Society for the Study of Poetic Language'." Russian Formalism is the name now given to a mode of criticism which emerged from two different groups, The Moscow Linguistic Circle (1915) and the Opojaz group (1916). Although Russian Formalism is often linked to American New Criticism because of their similar emphasis on close reading, the Russian Formalists regarded themselves as developers of a science of criticism and are more interested in a discovery of systematic method for the analysis of poetic text.

Distinctive ideas
Russian formalism is distinctive for its emphasis on the functional role of literary devices and its original conception of literary history. Russian Formalists advocated a "scientific" method for studying poetic language, to the exclusion of traditional psychological and cultural-historical approaches. As Erlich points out, "It was intent upon delimiting literary scholarship from contiguous disciplines such as psychology, sociology, intellectual history, and the list theoreticians focused on the 'distinguishing features' of literature, on the artistic devices peculiar to imaginative writing" (The New Princeton Encyclopedia 1101).

Two general principles underlie the Formalist study of literature: first, literature itself, or rather, those of its features that distinguish it from other human activities, must constitute the object of inquiry of literary theory; second, "literary facts" have to be prioritized over the metaphysical commitments of literary criticism, whether philosophical, aesthetic or psychological (Steiner, "Russian Formalism" 16). To achieve these objectives several models were developed.

The formalists agreed on the autonomous nature of poetic language and its specificity as an object of study for literary criticism. Their main endeavor consisted in defining a set of properties specific to poetic language, be it poetry or prose, recognizable by their "artfulness" and consequently analyzing them as such.

Mechanistic
The OPOJAZ, the Society for the Study of Poetic Language group, headed by Viktor Shklovsky was primarily concerned with the Formal method and focused on technique and device. "Literary works, according to this model, resemble machines: they are the result of an intentional human activity in which a specific skill transforms raw material into a complex mechanism suitable for a particular purpose" (Steiner, "Russian Formalism" 18). This approach strips the literary artifact from its connection with the author, reader, and historical background.

A clear illustration of this may be provided by the main argument of one of Viktor Shklovsky's early texts, "Art as Device" (Iskússtvo kak priyóm, 1916): art is a sum of literary and artistic devices that the artist manipulates to craft his work.

Shklovsky's main objective in "Art as Device" is to dispute the conception of literature and literary criticism common in Russia at that time. Broadly speaking, literature was considered, on the one hand, to be a social or political product, whereby it was then interpreted in the tradition of the great critic Belinsky as an integral part of social and political history. On the other hand, literature was considered to be the personal expression of an author's world vision, expressed by means of images and symbols. In both cases, literature is not considered as such, but evaluated on a broad socio-political or a vague psychologico-impressionistic background. The aim of Shklovsky is therefore to isolate and define something specific to literature or "poetic language": these, as we saw, are the "devices" which make up the "artfulness" of literature.

Formalists do not agree with one another on exactly what a device or "priyom" is, nor how these devices are used or how they are to be analyzed in a given text. The central idea is that more general: poetic language possesses specific properties, which can be analyzed as such.

Some OPOJAZ members argued that poetic language was the major artistic device. Shklovsky insisted that not all artistic texts defamiliarize language, and that some of them achieve defamiliarization (ostranenie) by manipulating composition and narrative.

The Formalist movement attempted to discriminate systematically between art and non-art. Therefore, its notions are organized in terms of polar oppositions. One of the most famous dichotomies introduced by the mechanistic Formalists is a distinction between story and plot, or fabula and "sjuzhet". Story, fabula, is a chronological sequence of events, whereas plot, sjuzhet, can unfold in non-chronological order. The events can be artistically arranged by means of such devices as repetition, parallelism, gradation, and retardation.

The mechanistic methodology reduced literature to a variation and combination of techniques and devices devoid of a temporal, psychological, or philosophical element. Shklovsky very soon realized that this model had to be expanded to embrace, for example, contemporaneous and diachronic literary traditions (Garson 403).

Organic
Disappointed by the constraints of the mechanistic method some Russian Formalists adopted the organic model. "They utilized the similarity between organic bodies and literary phenomena in two different ways: as it applied to individual works and to literary genres" (Steiner, "Russian Formalism" 19).

An artefact, like a biological organism, is not an unstructured whole; its parts are hierarchically integrated. Hence the definition of the device has been extended to its function in text. "Since the binary opposition – material vs. device – cannot account for the organic unity of the work, Zhirmunsky augmented it in 1919 with a third term, the teleological concept of style as the unity of devices" (Steiner, "Russian Formalism" 19).

The analogy between biology and literary theory provided the frame of reference for genre studies and genre criticism. "Just as each individual organism shares certain features with other organisms of its type, and species that resemble each other belong to the same genus, the individual work is similar to other works of its form and homologous literary forms belong to the same genre" (Steiner, "Russian Formalism" 19). The most widely known work carried out in this tradition is Vladimir Propp's "Morphology of the Folktale" (1928).

Having shifted the focus of study from an isolated technique to a hierarchically structured whole, the organic Formalists overcame the main shortcoming of the mechanists. Still, both groups failed to account for the literary changes which affect not only devices and their functions but genres as well.

Systemic
The diachronic dimension was incorporated into the work of the systemic Formalists. The main proponent of the "systemo-functional" model was Yury Tynyanov. "In light of his concept of literary evolution as a struggle among competing elements, the method of parody, 'the dialectic play of devices,' become an important vehicle of change" (Steiner, "Russian Formalism" 21).

Since literature constitutes part of the overall cultural system, the literary dialectic participates in cultural evolution. As such, it interacts with other human activities, for instance, linguistic communication. The communicative domain enriches literature with new constructive principles. In response to these extra-literary factors the self-regulating literary system is compelled to rejuvenate itself constantly. Even though the systemic Formalists incorporated the social dimension into literary theory and acknowledged the analogy between language and literature the figures of author and reader were pushed to the margins of this paradigm.

Linguistic
The figures of author and reader were likewise downplayed by the linguistic Formalists Lev Jakubinsky and Roman Jakobson. The adherents of this model placed poetic language at the center of their inquiry. As Warner remarks, "Jakobson makes it clear that he rejects completely any notion of emotion as the touchstone of literature. For Jakobson, the emotional qualities of a literary work are secondary to and dependent on purely verbal, linguistic facts" (71).

As Ashima Shrawan explains, "The theoreticians of OPOJAZ distinguished between practical and poetic language . . . . Practical language is used in day-to-day communication to convey information. . . . In poetic language, according to Lev Jakubinsky, 'the practical goal retreats into background and linguistic combinations acquire a value in themselves. When this happens, language becomes de-familiarized and utterances become poetic (The Language of Literature and Its Meaning, 68).

Eichenbaum criticised Shklovsky and Jakubinsky for not disengaging poetry from the outside world completely, since they used the emotional connotations of sound as a criterion for word choice. This recourse to psychology threatened the ultimate goal of formalism to investigate literature in isolation.

A definitive example of focus on poetic language is the study of Russian versification by Osip Brik. Apart from the most obvious devices such as rhyme, onomatopoeia, alliteration, and assonance, Brik explores various types of sound repetitions, e.g. the ring (kol'co), the juncture (styk), the fastening, and the tail-piece (koncovka) ("Zvukovye povtory" (Sound Repetitions); 1917). He ranks phones according to their contribution to the "sound background" (zvukovoj fon) attaching the greatest importance to stressed vowels and the least to reduced vowels. As Mandelker indicates, "his methodological restraint and his conception of an artistic 'unity' wherein no element is superfluous or disengaged, … serves well as an ultimate model for the Formalist approach to versification study" (335).

Textual analysis
In "A Postscript to the Discussion on Grammar of Poetry," Jakobson redefines poetics as "the linguistic scrutiny of the poetic function within the context of verbal messages in general, and within poetry in particular" (23). He fervently defends linguists' right to contribute to the study of poetry and demonstrates the aptitude of the modern linguistics to the most insightful investigation of a poetic message. The legitimacy of "studies devoted to questions of metrics or strophics, alliterations or rhymes, or to questions of poets' vocabulary" is hence undeniable (23). Linguistic devices that transform a verbal act into poetry range "from the network of distinctive features to the arrangement of the entire text" (Jakobson 23).

Jakobson opposes the view that "an average reader" uninitiated into the science of language is presumably insensitive to verbal distinctions: "Speakers employ a complex system of grammatical relations inherent to their language even though they are not capable of fully abstracting and defining them" (30). A systematic inquiry into the poetic problems of grammar and the grammatical problems of poetry is therefore justifiable; moreover, the linguistic conception of poetics reveals the ties between form and content indiscernible to the literary critic (Jakobson 34).

Literature definition attempts
Roman Jakobson described literature as "organized violence committed on ordinary speech." Literature constitutes a deviation from average speech that intensifies, invigorates, and estranges the mundane speech patterns. In other words, for the Formalists, literature is set apart because it is just that: set apart. The use of devices such as imagery, rhythm, and meter is what separates "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns (Nabokov Lolita 9)", from "the assignment for next week is on page eighty four."

This estrangement serves literature by forcing the reader to think about what might have been an ordinary piece of writing about a common life experience in a more thoughtful way. A piece of writing in a novel versus a piece of writing in a fishing magazine. At the very least, literature should encourage readers to stop and look closer at scenes and happenings they otherwise might have skimmed through uncaring. The reader is not meant to be able to skim through literature. When addressed in a language of estrangement, speech cannot be skimmed through. "In the routines of everyday speech, our perceptions of and responses to reality become stale, blunted, and as the Formalists would say 'automatized'. By forcing us into a dramatic awareness of language, literature refreshes these habitual responses and renders objects more perceptible" (Eagleton 3).

Political offense
One of the sharpest critiques of the Formalist project was Leon Trotsky's Literature and Revolution (1924). Trotsky does not wholly dismiss the Formalist approach, but insists that "the methods of formal analysis are necessary, but insufficient" because they neglect the social world with which the human beings who write and read literature are bound up: "The form of art is, to a certain and very large degree, independent, but the artist who creates this form, and the spectator who is enjoying it, are not empty machines, one for creating form and the other for appreciating it. They are living people, with a crystallized psychology representing a certain unity, even if not entirely harmonious. This psychology is the result of social conditions" (180, 171).

The leaders of the movement began to be politically persecuted in the 1920s, when Stalin came to power, which largely put an end to their inquiries. In the Soviet period under Joseph Stalin, the authorities further developed the term's pejorative associations to cover any art which used complex techniques and forms accessible only to the elite, rather than being simplified for "the people" (as in socialist realism).

Legacy
Russian formalism was not a uniform movement; it comprised diverse theoreticians whose views were shaped through methodological debate that proceeded from the distinction between poetic and practical language to the overarching problem of the historical-literary study. It is mainly with this theoretical focus that the Formalist School is credited even by its adversaries such as Yefimov:

 * The contribution of our literary scholarship lies in the fact that it has focused sharply on the basic problems of literary criticism and literary study, first of all on the specificity of its object, that it modified our conception of the literary work and broke it down into its component parts, that it opened up new areas of inquiry, vastly enriched our knowledge of literary technology, raised the standards of our literary research and of our theorizing about literature effected, in a sense, a Europeanization of our literary scholarship…. Poetics, once a sphere of unbridled impressionism, became an object of scientific analysis, a concrete problem of literary scholarship ("Formalism V Russkom Literaturovedenii", quoted in Erlich, "Russian Formalism: In Perspective" 225).

The diverging and converging forces of Russian formalism gave rise to the Prague school of structuralism in the mid-1920s and provided a model for the literary wing of French structuralism in the 1960s and 1970s. "And, insofar as the literary-theoretical paradigms which Russian Formalism inaugurated are still with us, it stands not as a historical curiosity but a vital presence in the theoretical discourse of our day" (Steiner, "Russian Formalism" 29).

There is no direct historical relationship between New Criticism and Russian Formalism, each having developed at around the same time (RF: 1910-20s and NC: 1940s-50s) but independently of the other. Despite this, there are several similarities: for example, both movements showed an interest in considering literature on its own terms, instead of focusing on its relationship to political, cultural or historical externalities, a focus on the literary devices and the craft of the author, and a critical focus on poetry.

title: Russian formalism


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Sally Struthers

Sally Anne Struthers (born July 28, 1947) is an American actress and activist. She played Gloria Stivic, the daughter of Archie and Edith Bunker (played by Carroll O'Connor and Jean Stapleton) on All in the Family, for which she won two Emmy Awards, and Babette on Gilmore Girls. She was also the voice of Charlene Sinclair on the ABC sitcom Dinosaurs, Pebbles Flintstone on The Pebbles and Bamm-Bamm Show, and Rebecca Cunningham on the Disney animated series TaleSpin.

Early life
Sally Anne Struthers was born July 28, 1947, in Portland, Oregon, the second of two daughters born to Margaret Caroline (née Jernes) and Robert Alden Struthers, a surgeon. She has an older sister, Sue. Her maternal grandparents were Norwegian immigrants.

Her father abandoned the family when Struthers was approximately nine years old, after which she was raised by her single mother in the Concordia neighborhood of northeast Portland. Her mother, who supported herself and her two daughters working at Bonneville Power Administration, suffered from significant depression during Struthers' childhood.

Career
In Five Easy Pieces (1970) Struthers was cast opposite Jack Nicholson. She appeared as a restless wife of a veterinarian in The Getaway starring Steve McQueen (1972). Around that time Struthers debuted as Gloria Stivic on the 1970s sitcom All in the Family, producer Norman Lear had found the actress dancing on The Smothers Brothers Comedy Hour.

According to a WPTT radio interview with Doug Hoerth in 2003, Struthers thought that Rob Reiner's then-fiancée and later wife, Penny Marshall, would get the role of Gloria, as Marshall more resembled Jean Stapleton, who played Edith Bunker. Actress Candice Azzara had played the role of Gloria in a pilot episode, but was soon dropped. After a shaky start, the series became a hit beginning with its summer reruns, giving tens of millions of viewers the chance to see Gloria defending her viewpoints about negative stereotypes and inequality. Struthers won two Emmy Awards (in 1972 and 1979) for her work on the show. In 2012, Struthers recalled the serendipity that helped her land the role: "I had just gotten let go from The Tim Conway Comedy Hour because the suits in New York said that I made the show look cheap. And the producer said, "That's the whole point, we're trying to make it look like the Conway show doesn't have a budget, has no money, and so that's why there's only one Tim Conway dancer instead of a line of them like the June Taylor Dancers on The Jackie Gleason Show, and there's only one musician, and they can't even afford an instrument for him, so he's standing at a music stand, humming the opening theme song." That's funny! And the suits said, "No, it makes the show look cheap." So they let me, the Tim Conway dancer, go. And if they hadn't done that, I wouldn't have been free to read for All in the Family."

In 1977 she portrayed a housewife who was physically abused by her husband (portrayed by Dennis Weaver) in the made-for-TV movie Intimate Strangers, one of the first network features to depict domestic violence.

On the short-lived Archie Bunker's Place spin-off Gloria (1982–1983), Struthers reprised Gloria as a new divorcée (she became an "exchange student", when husband Mike exchanged her for one of his students). The series co-starred Burgess Meredith as the doctor of an animal clinic with Gloria as his assistant. From 1985 to 1986 Struthers starred as Florence Ungar in the female version of The Odd Couple. Struthers later stated in an interview on Gilbert Gottfried's Amazing Colossal Podcast, that it was an unpleasant experience until Rita Moreno, who was mean-spirited towards Struthers, left the play and was replaced by Brenda Vaccaro.

She was a semi-regular panelist on the 1990 revival of Match Game and an occasional guest on Win, Lose or Draw (even filling in for Vicki Lawrence as host for a week). She also had a recurring role as Bill Miller's manipulative mother, Louise, on Still Standing and regularly appeared on Gilmore Girls as Babette Dell. She also provided voices for a number of animated series such as The Pebbles and Bamm-Bamm Show (as a teenage Pebbles Flintstone), TaleSpin (as Rebecca Cunningham) and was one of the voice stars on ABC's Dinosaurs produced by Walt Disney and Henson Productions (as Charlene Sinclair).

Struthers starred in the stage production of Annie at the Fabulous Fox Theatre in Atlanta, Georgia, and in the national tour of the production in the late 1990s. She has been a regular since the early 2000s at the Ogunquit Playhouse, in Ogunquit, Maine.

In 2014, Struthers toured in the 50th-anniversary production of Hello, Dolly!, playing Dolly Levi.

Activism
Struthers was a spokesperson for Christian Children's Fund (later renamed ChildFund), advocating on behalf of impoverished children in developing countries.

Business interests
Struthers has been a spokesperson for International Correspondence School (ICS) in television ads, pitching the famous line "Do you want to make more money? Sure, we all do!" ICS was a school with a diverse curriculum that, at the time, had fields of study going from brick laying to personal computers.

Personal life
Struthers married psychiatrist William C. Rader on December 18, 1977, in Los Angeles. After having one child, daughter Samantha, the couple divorced on January 19, 1983.

Stage

 * Wally's Cafe (1981) ... Janet (Broadway: Brooks Atkinson Theatre)
 * The Odd Couple (1985–1986) ... Florence Ungar (Broadway: Broadhurst Theatre)
 * Grease (1994–1998) ... Miss Lynch (Broadway: Eugene O'Neill Theatre)
 * Annie (1998–1999) ... Miss Hannigan, 20th Anniversary National Tour
 * Nunsense (2008) ... Mother Superior, 25th Anniversary Tour
 * Hello, Dolly! (2013–2014) ... Dolly Levi, 50th Anniversary Tour
 * Young Frankenstein (2022) ... Frau Blucher (McCoy/Rigby Ent. / La Mirada Theatre, CA)

Primetime Emmy Awards

 * 1971 Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series ( tied with Valerie Harper )
 * 1979 Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series

Ovation Awards

 * 2010: Won the award for Featured Actress in a Musical for the role of the "Fairy Godmother" in the Cabrillo Music Theatre production of Cinderella

In popular culture

 * Struthers was satirized in South Park, mainly the episodes "Starvin' Marvin" (1997) and "Starvin' Marvin in Space" (1999). In the latter she resembles Jabba the Hutt and eats the Christian Children's Fund's food herself.

title: Sally Struthers


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Viktor Shklovsky

Viktor Borisovich Shklovsky (Ви́ктор Бори́сович Шкло́вский; 24 January 1893 – 6 December 1984) was a Russian and Soviet literary theorist, critic, writer, and pamphleteer. He is one of the major figures associated with Russian formalism.

Viktor Shklovsky's Theory of Prose was published in 1925. Shklovsky himself is still praised as "one of the most important literary and cultural theorists of the twentieth century" (Modern Language Association Prize Committee); "one of the most lively and irreverent minds of the last century" (David Bellos); "one of the most fascinating figures of Russian cultural life in the twentieth century" (Tzvetan Todorov)

Life
Shklovsky was born in St. Petersburg, Russia. His father was a Lithuanian Jewish mathematician (with ancestors from Shklov) who converted to Russian Orthodoxy and his mother was of German-Russian origin. He attended St. Petersburg University.

During the First World War, he volunteered for the Russian Army and eventually became a driving trainer in an armoured car unit in St. Petersburg. There, in 1916, he founded OPOYAZ (Obshchestvo izucheniya POeticheskogo YAZyka—Society for the Study of Poetic Language), one of the two groups (with the Moscow Linguistic Circle) that developed the critical theories and techniques of Russian Formalism.

Shklovsky participated in the February Revolution of 1917. Subsequently, the Russian Provisional Government sent him as an assistant Commissar to the Southwestern Front where he was wounded and got an award for bravery. After that he was an assistant Commissar of the Russian Expeditionary Corps in Persia (see Persian Campaign).

Shklovsky returned to St. Petersburg in early 1918, after the October Revolution. During the Civil War he opposed Bolshevism and took part in an anti-Bolshevik plot organised by members of the Socialist-Revolutionary Party. After the conspiracy was discovered by the Cheka, Shklovsky went into hiding, traveling in Russia and Ukraine, but was eventually pardoned in 1919 due to his connections with Maxim Gorky, and decided to abstain from political activity. His two brothers were executed by the Soviet regime (one in 1918, the other in 1937) and his sister died from hunger in St. Petersburg in 1919.

Shklovsky integrated into Soviet society and even took part in the Russian Civil War, serving in the Red Army. However, in 1922, he had to go into hiding once again, as he was threatened with arrest and possible execution for his former political activities, and he fled via Finland to Germany. In Berlin, in 1923, he published his memoirs about the period 1917–22 under the title Сентиментальное путешествие, воспоминания (Sentimental'noe puteshestvie, vospominaniia, A Sentimental Journey), alluding to A Sentimental Journey Through France and Italy by Laurence Sterne, an author he much admired and whose digressive style had a powerful influence on Shklovsky's writing. In the same year he was allowed to return to the Soviet Union, not least because of an appeal to Soviet authorities that he included in the last pages of his epistolary novel Zoo, or Letters Not About Love.

The Yugoslav scholar Mihajlo Mihajlov visited Shklovsky in 1963 and wrote: "I was much impressed by Shklovsky's liveliness of spirit, his varied interests and his enormous culture. When we said goodbye to Viktor Borisovich and started for Moscow, I felt that I had met one of the most cultured, most intelligent and best-educated men of our century."

He died in Moscow in 1984.

Writer and theorist
In addition to literary criticism and biographies about such authors as Laurence Sterne, Maxim Gorky, Leo Tolstoy, and Vladimir Mayakovsky, he wrote a number of semi-autobiographical works disguised as fiction, which also served as experiments in his developing theories of literature.

Shklovsky is perhaps best known for developing the concept of ostranenie or defamiliarization (also translated as "estrangement") in literature. He explained the concept in 1917 in the important essay "Art as Technique" (also translated as "Art as Device") which comprised the first chapter of his seminal Theory of Prose, first published in 1925. He argued for the need to turn something that has become over-familiar, like a cliché in the literary canon, into something revitalized:

"And so, in order to return sensation to our limbs, in order to make us feel objects, to make a stone feel stony, man has been given the tool of art. The purpose of art, then, is to lead us to a knowledge of a thing through the organ of sight instead of recognition. By "enstranging" objects and complicating form, the device of art makes perception long and "laborious." The perceptual process in art has a purpose all its own and ought to be extended to the fullest. Art is a means of experiencing the process of creativity. The artifact itself is quite unimportant."

Among other things, Shklovsky also contributed the plot/story distinction (syuzhet/fabula), which separates out the sequence of events the work relates (the plot) from the sequence in which those events are presented in the work (the story).

Shklovsky's work pushes Russian Formalism towards understanding literary activity as integral parts of social practice, an idea that becomes important in the work of Mikhail Bakhtin and Russian and Prague School scholars of semiotics. Shklovsky's thought also influenced western thinkers, partly due to Tzvetan Todorov's translations of the works of Russian formalists in the 1960s and 1970s, including Tzvetan Todorov himself, Gerard Genette and Hans Robert Jauss.

Film
Shklovsky was one of the very early serious writers on film. A collection of his essays and articles on film was published in 1923 (Literature and Cinematography, first English edition 2008). He was a close friend of director Sergei Eisenstein and published an extensive critical assessment of his life and works (Moscow 1976, no English translation).

Beginning in the 1920s and well into the 1970s Shklovsky worked as a screenwriter on numerous Soviet films (see Select Filmography below), a part of his life and work that, thus far, has seen very limited attention. In his book Third Factory Shklovsky reflects on his work in film, writing: "First of all, I have a job at the third factory of Goskino. Second of all, the name isn't hard to explain. The first factory was my family and school. The second was Opoyaz. And the third – is processing me at this very moment."

Bibliography (English)

 * A Sentimental Journey: Memoirs, 1917–1922 (1923, translated in 1970 by Richard Sheldon)
 * Zoo, or Letters Not About Love (1923, translated in 1971 by Richard Sheldon) – epistolary novel
 * Knight's Move (1923, translated in 2005) – collection of essays first published in the Soviet theatre journal, The Life of Art
 * Literature and Cinematography (1923, translated in 2008)
 * Theory of Prose (1925, translated in 1990) – essay collection
 * Third Factory (1926, translated in 1979 by Richard Sheldon)
 * The Hamburg Score (1928, translation by Shushan Avagyan published in 2017)
 * Life of a Bishop's Assistant (1931, translation by Valeriya Yermishova published in 2017)
 * A Hunt for Optimism (1931, translated in 2012)
 * Mayakovsky and his circle (1941, translated in 1972) – about the times of poet Vladimir Mayakovsky
 * Leo Tolstoy (1963, translated in 1996)
 * Bowstring: On the Dissimilarity of the Similar (1970, translated in 2011)
 * Energy of Delusion: A Book on Plot (1981, translated in 2007)

Select filmography (as writer)

 * By the Law, 1926, director Lev Kuleshov, based on a story by Jack London
 * Jews on Land, 1927, director Abram Room
 * Bed and Sofa, 1927, director Abram Room
 * The House on Trubnaya, 1928, director Boris Barnet
 *  The House of Ice, 1928, director Konstantin Eggert, based on the eponymous novel by Ivan Lazhechnikov
 * Krazana, 1928, director Kote Mardjanishvili, based on the novel The Gadfly by Ethel Lilian Voynich
 * Turksib, documentary, 1929, director Viktor Alexandrovitsh Turin
 * Amerikanka (film), 1930, director Leo Esakya
 * The Horizon, 1932, director Lev Kuleshov
 * Minin and Pozharsky, 1939, director Vsevolod Pudovkin
 * The Gadfly, 1956, director Aleksandr Faintsimmer, based on the eponymous novel by Ethel Lilian Voynich
 * Kazaki, 1961, director Vasili Pronin

Interviews

 * Serena Vitale: Shklovsky: Witness to an Era, translated by Jamie Richards, Dalkey Archive Press, Champaign, London, Dublin, 2012 ISBN 978-1-56478-791-0 (Italian edition first pub. in 1979). The interview by Vitale is arguably the most important historical document covering the later years of Shklovsy’s life and work.

title: Viktor Shklovsky


text:
Alien Breed (video game)

Alien Breed is a top down run and gun video game released in 1991 by Team17 for the Amiga and later in 1993 by MicroLeague for MS-DOS. The game is the first in the Alien Breed series''.

Alien Breed is based on the Alien films, specifically Aliens, and also on the 8-bit-era games Laser Squad and Paradroid as well as the Gauntlet arcade game.

Gameplay

Players must find the lift down to the next level, occasionally setting the self-destruct sequence to blow up the level above them. The players collect or purchase a variety of weapons from the space station's computer terminals. In some versions of the game, these so-called Intex terminals provide additional features such as a clone of the classic video game Pong. Credits found on the ground have to be saved for these weapons and other enhancements, each giving the players an edge over the gradually more and more powerful alien forces. In advanced levels, players are occasionally trapped in enclosed spaces with huge boss aliens.

Release
Team17 made an "intro disk" available, containing a short animated introductory sequence with on-screen narration which follows events leading into the start of the game. After the introduction is finished, the player is prompted for disk one of the game, effectively making the introduction disk "disk zero". Team17 produced a similar introduction disk for Superfrog, animated by Eric W. Schwartz, although this was included with the retail edition of the game.

Amiga
Alien Breed was released to generally favorable reviews. CU Amiga wrote that "Team17 have come up with a winner".

MS-DOS
The MS-DOS port's reception was mixed. PC Gamer US described the gameplay's variety as lacking and the sound effects as "shallow and tinny", with problems using the Pro Audio Spectrum sound card to be expected, but favorably compared it to Sega Genesis games and called it a "solid shooter [with] plenty of high-octane fun." Computer Gaming World criticized the "asinine" copy protection, but said that it is still a good action title for those who like their play quick and simple". The magazine stated in the next issue that while "right at home at the local arcade or any cartridge game machine", the DOS version of Alien Breed "has fallen behind in the tech race". Citing the "European" use of mission codes instead of save games and "pretty" but shallow gameplay, the reviewer unfavorably compared it to Doom, with "an almost identical (somewhat tired) premise" but of which "the execution makes all the difference". Despite the good graphics and "fast-paced" action, he concluded that Alien Breed was "not suitable for the average computer gamer on this continent", but might be for the "less demanding player" or one who wanted a Nintendo.

In a critical review, Computer and Video Games pointed to the port's bugs such as the screen flickering. The more serious bugs included not being able to buy weapons from any Intex terminal and the game crashing nearly a quarter of an hour into it. The reviewer concluded that the bugs overshadowed what was otherwise a faithful conversion of an Amiga classic.

Legacy
Alien Breed Special Edition '92 was an expanded version, published in 1992, at budget price. It was hugely popular, staying in the British software charts for more than a year. It also featured a film trailer-style advert for Team17's upcoming Superfrog, which was unusual at the time. As well as being released on the Amiga, this version of the game was also released on the Amiga CD32 in a double-pack with Qwak.

Both the original and the Special Edition did well enough to merit further sequels, almost all of which have been commercial and critical successes.

The player characters in this game and its sequel were named Johnson and Stone. By the third game (Alien Breed: Tower Assault), the player characters were named John and Nash. In keeping with the Aliens theme, a female voiceover (the voice of Lynette Reade) provided warnings and other messages to the players.

In 2012, a port of Alien Breed for smartphones and tablets was released for iOS and Android, to very favourable reviews.

title: Alien Breed (video game)


text:
Ealdorman

Ealdorman was an office in the government of Anglo-Saxon England. During the 11th century, it evolved into the title of earl.

Early use
The Old English word ealdorman was applied to high-ranking men. It was equated with several Latin titles, including princeps, dux, comes, and praefectus. The title could be applied to kings of weaker territories who had submitted to a greater power. For example, a charter of King Offa of Mercia described Ealdred of Hwicce as "subregulus... et dux (underking and ealdorman)."

In Wessex, the king appointed ealdormen to lead individual shires. Under Alfred the Great ((r. 871 – 899)), there were nine or ten ealdormen. Each West Saxon shire had one, and Kent had two (one for East Kent and one for West Kent).

10th century
In the 10th century, the kings of Wessex successfully unified England into one kingdom, and ealdormen became the local representatives of the monarch. The ealdorman commanded the shire's fyrd (army), co-presided with the bishop over the shire court, and enforced royal orders. He had a right to the "third penny": one-third of the income from the shire court and one-third of the revenue from tolls and dues levied in the boroughs. The king could remove ealdormen.

Starting with Edward the Elder ((r. 899 – 924)), it became customary for one ealdorman to administer three or four shires together as an ealdormanry. One ealdormanry covered Wessex east of Selwood and another covered Wessex west of Selwood. By 965, Mercia had four or five ealdormen and Northumbria only one. The boundaries of the ealdormanries are unknown, and they may not have covered the entire kingdom. It is possible that the king kept some areas under his personal jurisdiction.

In the 11th century, the term eorl, today's earl, replaced that of ealdorman, but this reflected a change in terminology under Danish influence rather than a change in function.

Notable ealdormen

 * Æthelmund, Ealdorman of the Hwicce
 * Ælfhere, ealdorman of Mercia (d. 983)
 * Ælfhelm, ealdorman of southern Northumbria (d. c. 1006)
 * Ælfric, ealdorman of Hampshire
 * Æthelweard the Chronicler
 * Byrhtnoth, ealdorman of Essex (d. 991)
 * Eadric Streona, ealdorman of the Mercians (d. 1017)
 * Odda, Ealdorman of Devon (fl. 878)
 * Wulfhere, Ealdorman of Wiltshire (fl. c. 855–877)
 * Wulfstan, ealdorman of Wiltshire (d. 802)

title: Ealdorman


text:
USS Will Rogers

USS Will Rogers (SSBN-659) (referred to as Willy R by her crews) was a Benjamin Franklin-class submarine ballistic missile submarine – the last of the "41 for Freedom" Polaris submarines. She was the only ship of the United States Navy to be named for humorist Will Rogers (1879–1935).

Construction and commissioning
The contract to construct Will Rogers was awarded on 29 July 1963, and her keel was laid down on 20 March 1965 at Groton, Connecticut, by the General Dynamics Corporation's Electric Boat Division. She was launched on 21 July 1966 sponsored by Muriel Buck Humphrey, the wife of Vice President of the United States Hubert Humphrey, and commissioned on 1 April 1967 with Captain R. Y. Kaufman in command of the Blue Crew and Commander W. J. Cowhill in command of the Gold crew.

Service history
Following shakedown, Will Rogers culminated her initial training and work-up by conducting a successful Polaris ballistic missile launch on the Atlantic Missile Range off Cape Kennedy, Florida, on 31 July 1967. In October 1967, she began her first strategic deterrent patrol.

Will Rogers was based at Groton until 1974 when she shifted to a forward deployment at Naval Station Rota, Spain. Around this time, she was converted to carry Poseidon ballistic missiles, and her nuclear reactor was modified to use an S3G core 3. She conducted additional deterrent deployments from Rota into 1978, bringing the total number of patrols she had conducted to 35.

From the latter half of 1978 until November 1991 Will Rogers was forward deployed at Site One in Holy Loch, Scotland. On 9 November 1991, Will Rogers departed Site One, the last submarine to leave Holy Loch before Submarine Squadron 14, which had been based there, was deactivated.

Deactivation, decommissioning, and disposal
Deactivated while still in commission, Will Rogers entered the U.S Navy's Nuclear-Powered Ship and Submarine Recycling Program at Bremerton, Washington on 2 November 1992. She was formally both decommissioned and stricken from the Naval Vessel Register on 12 April 1993. Scrapping via the recycling program was completed on 12 August 1994.

title: USS Will Rogers


text:
Barons

Barons may refer to:
 * Plural of "baron"
 * Barons (surname), Latvian surname
 * Barons, Alberta, Canada
 * Barons (TV series), Australian IV series
 * The Barons, a 2009 Belgian film

Sports

 * Birmingham Barons, a Minor League Baseball team
 * Cleveland Barons (disambiguation), several former ice hockey teams
 * Oklahoma City Barons, a former ice hockey team in the American Hockey League
 * Solihull Barons, an English ice hockey team
 * Barons, the nickname of Brewton–Parker College athletics teams

title: Barons


text:
Talk:Parnas

Untitled
This should be merged with David Parnas. Wake 01:19, 20 Dec 2003 (UTC)

title: Talk:Parnas


text:
Barbara Strozzi

Barbara Strozzi (also called Barbara Valle; baptised 6 August 1619 – 11 November 1677) was an Italian composer and singer of the Baroque Period. During her lifetime, Strozzi published eight volumes of her own music, and had more secular music in print than any other composer of the era. This was achieved without support from the Church or consistent patronage from the nobility.

Early life and childhood
Barbara Strozzi (at birth, Barbara Valle) was born in Venice in 1619 to a woman known as "La Greghetta" (in other sources she is also referred to as Isabella Griega or Isabella Garzoni). She was baptized in the church of Santa Sofia in the Cannaregio district of Venice. Although her birth certificate does not state her father's identity, it is assumed that her biological father was Giulio Strozzi, a poet and librettist, and a very influential figure in seventeenth-century Venice. He was a member of the Accademia degli Incogniti, one of the largest and most prestigious intellectual academies in Europe and a major political and social force in the Republic of Venice and beyond. He wrote in many literary media, for example, poetry, operas, prose, plays and lyrics for songs. Little is known about Barbara's mother, but historians suspect that Isabella was a servant of Giulio, as both Barbara and her mother lived in Giulio's household and were listed in his will. Although Barbara was an illegitimate child, her father Giulio referred to her as his "adoptive daughter" and was instrumental in helping her establish her career as a musician later in her life. Barbara grew up in a household frequented by the greatest literary and musical minds of the age.

More detailed accounts of Barbara's life concern the end of her childhood and early adolescence. Throughout her childhood, Venice had suffered plagues that killed much of its population. Barbara and her mother survived. She reached the age of 12 by the first Festa della Salute in 1631. By this time, she had begun to develop as a musician and to demonstrate virtuosic vocal talent. Alongside this, she developed the ability to accompany herself on the lute or theorbo. In her book Sounds and Sweet Airs, historian Anna Beer states that Strozzi's musical gifts became more evident in her early adolescence, which led Giulio to arrange lessons in composition for her with one of the leading composers, Francesco Cavalli. By the age of 15, Barbara was described as "la virtuosissima cantatrice di Giulio Strozzi" (Giulio Strozzi's extremely virtuosic singer). Around Barbara's 16th birthday, Giulio started to publicise her talents, ensuring dedications of works for her. Giulio subsequently established the Accademia degli Unisoni, a subsidiary of the Incogniti, which welcomed musicians into the privileged social circle. Unisoni, operating from the Strozzi household, ensured Barbara opportunities of performing as a singer, as well as semi-public performances of her own works. In 1637, at the age of 18, Barbara took her father's last name, Strozzi, keeping it until her death.

Later life, children and death
Little is known of Strozzi's life during the 1640s. However, it is assumed that she was the concubine of a Venetian nobleman, Giovanni Paolo Vidman. He was a patron of the arts and an associate of Giulio Strozzi. Although Strozzi never married him (or anyone), the relationship led to three or, possibly four children. Vidman was the father of her son Giulio, then of two daughters, Isabella in 1642 and Laura in 1644, and possibly of a further son, Massimo. Her two daughters joined a convent and one of her sons became a monk. A letter written after Strozzi's death reports she "was raped by Count Vidman, a Venetian nobleman. She had a son who also [that is, like her father] bears the name Giulio Strozzi." It has been suggested that the rape allegation may have been a story circulated to protect Strozzi's reputation, as she had children out of wedlock. However, there is evidence to suggest that she was coerced into the relationship.

During this time, there were financial dealings between Strozzi and Vidman. It is believed that she gave him a loan that would have to be repaid after his death. The near 10% interest might have been a way of ensuring some support for Strozzi and her children after his death.

Strozzi died in Padua in 1677 aged 58. She is believed to have been buried at Eremitani. She did not leave a will so, on her death, her son Giulio Pietro claimed her inheritance in full.

Life as a young musician
By her late teens, Strozzi had started to gain a reputation for her singing. In 1635 and 1636, two volumes of songs were published by Nicole Fontei, called the Bizzarrie poetiche (poetic oddities), full of praise for Strozzi's singing ability. The performance experience that she had at Unisoni equipped her with the vocal expertise that also manifested itself in her later publications, signifying her compositional talent.

As a young musician, Strozzi sought out patronage, but was not always successful. Her opus 2, dedicated to Ferdinand III of Austria and Eleanora of Mantua on the occasion of their marriage, went unnoticed. Other notable dedicatees include Anne de' Medici, the Archduchess of Austria, Nicolò Sagredo, later Doge of Venice, for whom she dedicated her opus 7, and Sophia, Duchess of Brunswick and Lüneburg. She is also assumed to have composed several songs for the Duke of Mantua in 1665, a year after her last known published works.

Professional career
Strozzi was said to be "the most prolific composer – man or woman – of printed secular vocal music in Venice in the middle of the [17th] century." Her output is also unique in that it only contains secular vocal music, with the exception of one volume of sacred songs. She was renowned for her poetic ability as well as her compositional talent. Her lyrics were often poetic and well-articulated.

Compositional style
Like many of her contemporary composers, Strozzi mostly utilized texts from the poet Marino. These Marinist texts would serve as a vehicle to express herself as well as to challenge the gender roles of her time. Il primo libro di madrigali, per 2–5 voci e basso continuo, op. 1 (1644), was dedicated to Vittoria della Rovere, the Venetian-born Grand Duchess of Tuscany. The text is a poem by her father, Giulio Strozzi. Strozzi published one known work of religious pieces. Her opus 5, written in 1655, was dedicated to the Archduchess of Innsbruck, Anna de Medici. Her motet "Mater Anna" paid homage not only to the Catholic saint/mother of the virgin Mary but also to the archduchess. Strozzi was highly sensitive to the subliminal meaning in her texts, and, as is the case with Arcangela Tarabotti, the texts she set often hinted at underlying issues regarding gender.

Publications

 * Il primo libro di madrigali, per 2–5 voci e basso continuo, op. 1 (1644)
 * Cantate, ariette e duetti, per 2 voci e basso continuo, op. 2 (1651)
 * Cantate e ariette, per 1–3 voci e basso continuo, op. 3 (1654)
 * Sacri musicali affetti, libro I, op. 5 (1655)
 * Quis dabit mihi, mottetto per 3 voci (1656)
 * Ariette a voce sola, op. 6 (1657)
 * Diporti di Euterpe ovvero Cantate e ariette a voce sola, op. 7 (1659)
 * Arie a voce sola, op. 8 (1664)

Recordings
There are numerous recordings. Some of them contained Barbara's works exclusively, others only indexed few pieces.

 * Barbara Strozzi: La Virtuosissima Cantatrice (2011)
 * Barbara Strozzi: Ariette a voce sola, Op. 6 / Miroku, Rambaldi (2011)
 * Barbara Strozzi: Passioni, Vizi & Virtu / Belanger, Consort Baroque Laurentia (2014)
 * Barbara Strozzi: Opera Ottava, Arie & Cantate (2014)
 * Barbara Strozzi: Lagrime Mie (2015)
 * Due Alme Innamorate – Strozzi, etc / Ensemble Kairos (2006)
 * A Golden Treasury of Renaissance Music (2011)
 * Lamenti Barocchi Vol 3 / Vartolo, Capella Musicale Di San Petronio (2011)
 * Ferveur & Extase / Stephanie D'oustrac, Amarillis (2012)
 * La Bella Piu Bella: Songs from Early Baroque Italy (2014)
 * Dialoghi A Voce Sola (2015)
 * O Magnum Mysterium: Italian Baroque Vocal Music (2015)
 * Barbara Strozzi: La Voce Sola, Renata Dubinskaite (Mezzo Soprano) with Canto Fiorito (2021)

Performances
With the flourishing of the historical performance movement, an increasing number of performances featuring Strozzi's works have been staged over the past few years.

 * Chamber Music Foundation of New England, Music of Claudio Monteverdi & Barbara Strozzi (2017)
 * Early Music America's 2018 Emerging Artists Showcase during the Bloomington Early Music Festival. (2018)
 * Old First Concerts, Ensemble Draca performs Amante Fedele, August 12, 2018. (2018)
 * WWFM radio broadcast, Brooklyn Baroque Presents Barbara Strozzi and Her World (2018)

title: Barbara Strozzi


text:
Talk:List of political parties in Russia

Error
You guys say that there are five major parties in the Duma and list only four. Are math skills in Russia achieving Euro-standards, or is there a fifth party? And umm, numbers would be helpful, like how many seats in the Russian Duma does each of the four/five major parties hold? —Preceding unsigned comment added by 69.3.133.60 (talk) 04:40, 16 September 2007 (UTC)

And Rodina - it's not a party? --Ilya 01:29, 20 Dec 2003 (UTC)

Deletion of referenced text
I would like to note that User:Vlad fedorov just deleted referenced and appropriate text from this article together with references. He did this without any explanations or preliminary discussion at this talk page.Biophys 03:30, 5 May 2007 (UTC)

I would like to note that User:Vlad fedorov deleted referenced and appropriate text from this article together with references. He did this second time without any explanations or preliminary discussion at this talk page.Biophys 18:42, 5 May 2007 (UTC)

 * Take a large breathe Biophys. Now grasp it. Your text is a violation of WP:UNDUE, because you have published only lamentations of loosers who earned no more than 5% percent of votes needed to get into the Parliament. I don't care whether your biased texts presenting views that fit your political agenda sourced or unsourced. They violate WP:UNDUE. Consider this. I also would like to point that this text was also deleted by user Ellol, and user QZXA2, who also pointed out to you that this text is "bullshit". Your attempts to push forcibly your single POV won't succeed by edit warring. Vlad fedorov 06:25, 8 May 2007 (UTC)
 * This text was originally inserted not by me, I only reduced it slightly and provided supporting references, because it was unreferenced. This text is appropriate. You did not justify any of your claims. Why does it violate WP:UNDUE, for example? You simply do not like it. Deletion of appropriate and well sourced text, together with provided references, as you just did it here and in several other articles, is unacceptable.Biophys 14:42, 8 May 2007 (UTC)
 * I don't care Biophys who inserted this text violating WP:UNDUE, it is your personal problem, not mine. There are extensive sources like Yedinaya Rossia website, official Kremlin website which do present other POV on that matter. Moreover your article is inconsistent with Politics in Russia article, from which such POV were eliminated, but users like you try to republish their biased versions {propaganda} of texts in smaller articles throughout the Wikipedia. Vlad fedorov 16:34, 8 May 2007 (UTC)

Biophys, I know your statement is sourced, but it is not right. The Russian goveernment does not "control" any opposition leaders. The statement "opposition partys are allowed, but are widely considered to have no real chance of gaining power" implies that elections are rigged (wich of course is far from being true according to OSCE). The opposition leaders are the reason that they can't do well in elections. They keep picking shitty candidates for elesctions, some of thier goals include removing Putin's most popular economic reforms.They make absurd accusations. THAT is why they can't gain any power, not because of "controls" placed on them. QZXA2 21:59, 10 May 2007 (UTC)

List of All-Russian Political Public Associations, 1999
Can someone make a good use of this? Source: `' mikka (t) 23:45, 30 March 2006 (UTC)

 as of January 1, 1999

2009 - ONLY 7
In 2009 in Russia has only 7 (seven) registered parties —Preceding unsigned comment added by 95.52.114.51 (talk) 11:45, 23 October 2009 (UTC)

2012
now in russia 19 parties http://minjust.ru/nko/gosreg/partii/spisok --Murza-Zade (talk) 19:18, 13 June 2012 (UTC)

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Renaming the article Political parties in Russia
I suggest to rename the article name to Political parties in Russia for the following reasons: This article is describing the political parties system in Russia, including legal framework and historical background context and not a mere list of parties. Rakoon (talk) 15:04, 16 February 2023 (UTC)

Requested move 11 March 2023

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: no consensus. (closed by non-admin page mover) ■ ∃ Madeline ⇔ ∃ Part of me ; 09:43, 5 April 2023 (UTC)

List of political parties in Russia → Political parties in Russia – As I mentioned in the talk page when suggesting the offer, this article deals with various aspects of the system and aspects of political parties in Russia (history, overview, legal aspects etc.) and is not a mere list of parties. Just as there are articles called Political parties in Ukraine or Political parties in the United States. Thank you for the help. Rakoon (talk) 20:45, 10 March 2023 (UTC) This is a contested technical request (permalink). Rakoon (talk) 12:48, 11 March 2023 (UTC) — Relisting. BilledMammal (talk) 15:42, 19 March 2023 (UTC)  — Relisting. BilledMammal (talk) 16:14, 28 March 2023 (UTC)

This was moved one way in 2012 and back again in 2021  so this is WP:PCM and needs a full discussion.
 * Relisting comment: Relisting as the move was previously contested BilledMammal (talk) 15:42, 19 March 2023 (UTC)
 * Relisting comment: Relisting for a final time in an attempt to gain more input, as the move was previously contested BilledMammal (talk) 16:14, 28 March 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose. List articles can contain prose and other contents in addition to tables. The aspects of the system mentioned above help delineate the criteria for inclusion in the list. This seems to be a relatively standard list article and its makeup is quite different from that of Political parties in the United States. Dekimasu よ! 23:01, 4 April 2023 (UTC)

Unregistered parties
Is there a reason this article contains no list of unregistered but active parties? Charles Essie (talk) 20:45, 23 December 2023 (UTC)

Stance towards Putin and war in Ukriane
I deleted both of these columns. They were filled in by people who obviously dont know anything about Russian politics. One big example: Communists of Russia party. The party in its current form is a creation of Russian presidential administration, a spoiler party designed to siphon off the votes from the CPRF. 1, 2, 3, 4. And yet it was listed as opposition to Putin in the Wikipedia. And stance towards the war in Ukraine is a laughable criteria too. Direct opposition towards the war in big politics in Russia is impossible, yet it doesnt mean that there arent many people inside of theese parties who are opposed to the War. If you would like to expand on theese stances at large, please do so in prose, it will be more honest towards readers F.Alexsandr (talk) 13:51, 26 December 2023 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:List of political parties in Abkhazia which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:25, 29 March 2024 (UTC)