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Karel van Mander

Karel van Mander (I) or Carel van Mander I (May 1548 – 2 September 1606) was a Flemish painter, playwright, poet, art historian and art theoretician, who established himself in the Dutch Republic in the latter part of his life. He is mainly remembered as a biographer of Early Netherlandish painters and Northern Renaissance artists in his Schilder-boeck. As an artist and art theoretician he played a significant role in the spread and development of Northern Mannerism in the Dutch Republic.

Life
Most of the information about Karel van Mander's life is based on a brief and anonymous biographical sketch included in the posthumous second edition of the Schilder-boeck published in 1618 by Jacob Pietersz Wachter. It is not certain who wrote this biographical sketch with the title t Geslacht, de geboort, plaets, tydt, leven, ende wercken van Karel van Mander, schilder, en poeet, mitsgaders zyn overlyden, ende begraeffenis (The lineage, birth, place, time, life, and works of Karel van Mander, painter and poet, including his death and burial). Various candidates have been proposed including his brother Adam van Mander and the author Gerbrand Adriaensz. Bredero. It has been argued more recently that his son Karel van Mander the Younger was the author of the biographical. He would have relied on biographical information that Karel van Mander had written himself as well as on his own recollections and notes. The information in the biographical sketch is not entirely reliable but is still regarded as the best source of information on van Mander's life.

Van Mander was born into a noble family in Meulebeke, in the County of Flanders. He studied under Lucas de Heere in Ghent. De Heere was a versatile artist who was painter, watercolorist, print artist, biographer, playwright, poet and writer. During the period 1568-1569 van Mander studied with the painter Pieter Vlerick in Kortrijk. The next five years he was less occupied with painting than with the writing of religious plays for which he also painted the scenery. He built quite a reputation in Flanders with his theatre productions.

In 1573 he travelled to Rome in the company of some young nobles. He stayed in Rome for more than three year. There he was active as a painter and became acquainted with patronage. For the Italian count Michelangelo Spada he made some frescoes with scenes of the Parisian blood wedding of 1572 in the Palazzo Spada in Terni. He also received commissions for frescoes with landscapes from several cardinals. He studied and became proficient in the painting of grotesques during his Roman residence.

His biographical sketch refers to van Mander as the discoverer of "caves" in Rome. This may be a reference to the Catacombs of Rome although the exact meaning of the reference is unclear. In Rome he may also have come into contact with fellow Flemish painter Bartholomeus Spranger, who left Rome in 1575 for Vienna to enter into the service of the emperor. On his return journey he passed through Vienna, where, together with Spranger and the sculptor Hans Mont, he made the triumphal arch for the royal entry of the emperor Rudolf II.

Van Mander settled back in his native Meulebeke in 1578 where he was active as a painter and writer. He married an 18-year-old local girl, with whom he had a son. In 1580 he left for Kortrijk due to religious troubles caused by Catholic zealots in Meulebeke. Karel van Mander had at some point become a Mennonite and was therefore a possible target of these zealots. In Kortrijk he got a commission for an altar piece. In Kortrijk another son was born. He left Kortrijk for Bruges in 1582 because of an outbreak of the plague and other reasons. In Bruges, he worked with the painter Paul Weyts. Because of the threat of religious troubles and the plague, Karel fled with his family and his mother-in-law by ship to the Dutch Republic where he settled in Haarlem in the province of Holland in 1583.

Here he worked for 20 years on a commission by the Haarlem city fathers to inventory "their" art collection. The city of Haarlem had confiscated all Catholic religious art after the satisfactie van Haarlem, which gave Catholics equal rights to Protestants, had been overturned in 1578. Van Mander used his work on the commission in his "Schilder-boeck". While in Haarlem he continued to paint, concentrating his energy on his favourite genre: historical allegories. In 1603 he rented a fortified manor ("het Huis te Zevenbergen"), later renamed Kasteel Marquette in Heemskerk to proofread his book that was published in 1604. He died soon after it was published in Amsterdam at the age of 58.

Haarlem Mannerists
Karel van Mander was the founder, together with Hubertus Goltzius and Cornelis van Haarlem, of an "academy to study after life". It is not entirely clear what this academy did but it is believed it was an informal discussion group which may have organised drawing classes with life models. It has also been claimed that the nature of the academy was more of a literary nature.

He had an important impact on art in the Dutch Republic when in 1585 he showed his friend Hendrick Goltzius drawings by Bartholomeus Spranger. Spranger was then the leading artist of Northern Mannerism and was based in Prague as the court artist of emperor Rudolf II. These drawings had a galvanising effect on Goltzius whose style was influenced by them. Goltzius made engravings of the drawings which were important in disseminating the Mannerist style. Van Mander, Goltzius and Cornelis van Haarlem became known as the "Haarlem Mannerists" and artists from other towns joined the movement. Their pictorial language was characterised by a strong awareness of style and cultivated elegance. They strived for artful ingenuity rather than naturalism. They also had a preference for depicting exaggeratedly brawny musclemen, violent drama, wild fantasy and a heightened richness of detail. The dissemination of the engravings of Goltzius went hand in hand with the new practice of art theorisation that was new to the 16th century and in which Karel van Mander played an important role.

He received budding artists in his home for evenings of communal drawing and study of classical mythology. After the iconoclasm of the Calvinists, religious themes had gone out of fashion and mythology had become popular. However, few painters could afford a trip to Italy such as the one that van Mander had undertaken. His purpose was to educate young painters in the proper artistic techniques. He was a firm believer in the hierarchy of genres. It was his firm belief that only through proper study of existing works it was possible to realize true-to-life historical allegories.

His own works included mannerist mythological subjects, but also portraits and genre paintings influenced by Pieter Bruegel the Elder, such as the Kermis in the Hermitage Museum. Relatively few paintings by him survive.

Writings
As a writer van Mander worked in various genres: drama, poetry, songs, biography and art theory. He also translated classical literature. His literary production reflects the two sides of his intellectual and spiritual interests: the humanism of the Renaissance and the religious convictions of a pious mennonite. His earliest works were biblical plays that he wrote while still in Flanders. These have not been preserved.

His first spiritual writings are contained in De Gulden Harpe, published in 1597. This poetry volume consists of rather longwinded versification of biblical stories that were intended to educate readers with biblical words. His style developed under the influence of his translation (from the French) of classical literature such as the Iliad and, in particular, the Bucolica en Georgica of Virgil. He abandoned the heavy style of the rhetoricians for the jambs of Virgil in his bundle of spiritual songs published in 1613 after his death under the title Bethlehem dat is het Broodhuys.

Schilder-boeck

Karel van Mander's Schilder-boeck, written in 17th century Dutch and published in Haarlem in 1604 by Passchier van Wesbusch, describes the life and work of more than 250 painters, both historical and contemporary, and explains contemporary art theory for aspiring painters. During his travels and stay in Italy, van Mander had read and was influenced by Giorgio Vasari's famous biographical accounts of painters in his book Lives of the Most Excellent Painters, Sculptors, and Architects, often referred to as the Vite. It was published in 1550 and republished in 1568 with woodcuts, which is the version van Mander probably studied. He set about translating this work into Dutch and it was during this project that he was offered the commission to inventory Haarlem's art collection, a job that resulted in the chapters of his book on Early Netherlandish painters. In both books, the lives of the painters are told in the standard "Vita di ..." manner of Catholic saints, extolling the virtues of the painters one by one in several chapters. In van Mander's book many entries on Italian painters were simply translated or adapted from the Italian Vite, but the biographical details on early Netherlandish painters and, in particular the Haarlem painters, are unique and gathered during van Mander's commission.

Karel van Mander's book also contains an interpretation of the stories in Ovid's Metamorphoses. This was meant as an aid to artists who wished to paint mythological themes rather than religious ones. Symbolism was very important in painting at the time, and the use of Ovid's characters, combined with the proper use of artistic symbolism allowed the artist to tell a specific story. The last chapter of the Schilder-Boeck describes the meaning of animals and other figures.

Legacy
Van Mander was the master of Frans Hals. Frans Hals appears not to have shared van Mander's view that history painting was the highest in the hierarchy of genres since Frans Hals produced almost solely portrait paintings.

The Schilder-Boeck introduced Dutch artists to Italian art and encouraged them to travel, if not follow the book's instructions on Italian painting methods. Aside from his son Karel van Mander the Younger and Frans Hals, his registered pupils were Cornelis Engelsz, Everard Crynsz van der Maes, Jacobus Martens (landscape painter and father of the painter Jan Martszen de Jonge), Jacob Martsen (genre painter), Jacob van Musscher, Hendrik Gerritsz Pot and François Venant.

Van Mander was further influential on art writing in the seventeenth and eighteenth centuries. Cornelis de Bie (Gulden Cabinet, 1662), Joachim von Sandrart (Teutsche Akademie, 1675), Filippo Baldinucci (Notizie de' Professori, 1681), and Arnold Houbraken (Schouburg, 1720) are some of the early biographers who used material from his Schilder-boeck for their biographical sketches of Netherlandish painters. His book is still the most-cited primary source in biographical accounts of the lives of many artists he included. Of most interest to art historians is his criticism of the work of these artists, especially when he describes the location and owner of the paintings, thus becoming a valuable source for art provenance. The Schilder-boeck is part of the Basic Library of the dbnl (Canon of Dutch Literature) which contains the 1000 most important works in Dutch literature from the Middle Ages to today.

Public Collections

 * Museum Boijmans Van Beuningen, Rotterdam
 * Rijksmuseum Amsterdam

Literary works

 * De harpe, oft des herten snarenspel (?)
 * Het Herder Pijpken (?)
 * Dat hooghe liedt Salomo, met noch andere gheestelycke liedekens (1595)
 * Bucolica en Georgica, dat is, Ossen-stal en Landt-werck (1597)
 * De harpe, oft des herten snarenspel (1599)
 * De kerck der deucht (1600)
 * Een schriftuerlijck Liedeken van Jephtah. Op de wijse (1600)
 * History-Lied van den Ouden Tobias. Op de wijse Venus der minnen Godinnen (1600)
 * Het Herder Pijpken (1603)
 * Het schilder-boeck (1604)
 * Olijfbergh ofte poëma van den laetsten dagh (1609)
 * Den Nederduytschen Helicon (1610)
 * De eerste XII boecken vande Ilyadas (1611)
 * Bethlehem dat is het Broodhuys (1613)
 * De gulden harpe, inhoudende al de geestelijcke liedekens (1613)
 * Bethlehem dat is het Broodhuys (1627)
 * De gulden harpe, inhoudende al de liedekens, die voor desen by K.V.M. gemaeckt, ende in verscheyden Boecxkens uyt-ghegaen zijn (1627)

title: Karel van Mander


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(137924) 2000 BD19

, provisional designation, is a 970-meter asteroid and near-Earth object with the second smallest perihelion of any numbered asteroid (0.092 AU—38% of Mercury's orbital radius). With its high eccentricity, not only does get very close to the Sun, but it also travels relatively far away from it. It has the third largest aphelion of any numbered Aten asteroid and is one of a small group of Aten asteroids that is also a Mars grazer. Its orbital elements indicate that it may be an extinct comet, but it hasn't been seen displaying cometary activity so far.

was discovered by LINEAR in January 2000 and was soon after located by DANEOPS on Palomar plates from 10 February 1997. This allowed a reasonably precise orbit determination, and as a result it was spotted again on 27 February 2001 and 21 January 2002. When it was discovered, it beat 1995 CR's record for both asteroid with the smallest perihelion and for Aten asteroid with the highest eccentricity.

It is estimated that 's surface temperature reaches ~920 K at perihelion, enough to melt lead and zinc, and nearly enough to melt aluminium. The asteroid would be hot enough to incandesce red being above the Draper Point at closest approach. is considered a good candidate for measuring the effects of Albert Einstein's general theory of relativity because of how close it comes to the Sun.

shares noticeable orbit similarities with two other low-perihelion asteroids: and 1995 CR, their longitude of perihelion differing by only 9.9 and 7.1 degrees, respectively. Combined with their similar semimajor axis (average distance from the Sun) of 0.877, 0.911, and 0.907 astronomical units respectively, they could possibly be fragments of that separated from it in the past.

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

title: (137924) 2000 BD19


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User:Feffi

Wouldn't the page on Gentoo Linux on an Acer Travelmate 803 LCi be better off in [Wikibooks] rather than Wikipedia? It's more of a manual than an encyclopaedia article. Average Earthman 14:02, 24 Jul 2004 (UTC)

Where is the difference between a book and a encyclopaedia? Both of them are summaries of knowledge. feffi
 * For further information about why this isn't encyclopedic, see What Wikipedia is not and No original research. Those, as well as other linked pages, give a pretty good idea (IMO) what's in vs. what's not. I agree with Average Earthman that this belongs in Wikibooks. - Kenwarren 13:43, Jul 25, 2004 (UTC)

Ok, I see, it's already been taken out... feffi

Hi there, Could you give a link to where I can find it now?

title: User:Feffi


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DLR-Archenhold Near Earth Objects Precovery Survey

DANEOPS, the DLR-Archenhold Near Earth Objects Precovery Survey, has been initiated to systematically search existing photographic plate archives for precovery images of known NEOs, and has thus far successfully precovered 146 objects.


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Birel

Birel S.p.A. of Lissone (near Milan, Italy) started building karts in the late 1950s after many years as a bicycle manufacturer.

Legacy
They have had numerous world champions over the years including Mike Wilson and Gianluca Beggio.

The book, "Birel: 40 Years of Karting", was published in 2003.

Birel is the manufacturer of the "Easykart" 60 cc Cadet (8–12 years), 100 cc Junior (12–16 years) and 125 cc Light and Heavy class (16+ years). Championships in these classes are held in 26 countries worldwide, including Italy, United Kingdom, the United States, Japan, Russia and many other European and South American countries. Birel stages Easykart "World Finals" each October, and 2011 marked the tenth year of the competitions. In 2011, they also introduced a two-round European Series with a round in Italy followed by a round in Poland, to replace the European Finals which had been held in Poland for the previous three years.

title: Birel


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R. C. Harris Water Treatment Plant

The R. C. Harris Water Treatment Plant in Toronto, Ontario, Canada, is both a crucial piece of infrastructure and an architecturally acclaimed historic building named after the longtime commissioner of Toronto's public works Roland Caldwell Harris. The plant's architect was Thomas C. Pomphrey with engineers H.G. Acres and William Gore. It is located in the east of the city at the eastern end of Queen Street and at the foot of Victoria Park Avenue along the shore of Lake Ontario in the Beaches neighbourhood in the former city of Scarborough.

It has been the location for a number of film productions, the best known being Strange Brew (1983) with Rick Moranis and Dave Thomas.

Roland Caldwell Harris
Harris was born in Lansing on May 26, 1875 in what is now North York, Ontario, but grew up in Toronto. As Public Works Commissioner from 1912 to 1945, Harris was involved in such projects as:

 * Prince Edward Viaduct, opened in 1918, which included his idea to add a deck under the bridge allowing for the Bloor Danforth line to be built decades later.
 * Mount Pleasant bridge as part of the extension of Mount Pleasant Road north to Lawrence Avenue East in 1934.
 * expansion of the streetcar network of the Toronto Civic Railways from 1912 to 1915.
 * Waterfront Railway Viaduct built from 1925 to 1934 to bring rail lines into Union Station.
 * extension of University Avenue south of Queen Street West to Front Street in 1931.

Harris died on September 3, 1945. His son Lieutenant Colonel Roland Allen Harris was a member of the Queen's Own Rifles. Harris is buried in family plot at St. John's Norway Cemetery.

1878-1932 history
The land was once owned by Peter Patterson and George Monro. Prior to the construction of a water treatment plant, the area was the site of Victoria Park, a waterfront amusement park that operated from 1878 until 1906. It closed the same year as rival Munro Park ceased operations. The amusement park was initially served by ferry from York Street (same docks serving Toronto Islands) until 1895 when streetcar service commenced.

After the park closed in 1906, Victoria Park Forest School opened and used the site until 1932.

Water treatment plant
With an early 20th-century Toronto plagued with water shortages and unclean drinking water, public health advocates such as George Nasmith and Toronto's Medical Officer of Health, Charles Hastings, campaigned for a modern water purification system.

Construction for a water treatment plant began on the site in 1932 and the building became operational on November 1, 1941. The building, unlike most modern engineering structures, was also created to make an architectural statement. Fashioned in the Art Deco style, the cathedral-like structure remains one of Toronto's most admired buildings. It is, however, little known to outsiders. The interiors are just as opulent with marble entryways and vast halls filled with pools of water and filtration equipment. The plant has thus earned the nickname The Palace of Purification.

In 1992, the R. C. Harris Water Treatment Plant was named a national historic civil engineering site by the Canadian Society for Civil Engineering. It was designated under the Ontario Heritage Act in 1998. The plant appeared on a stamp issued by Canada Post in 2011, in a series showcasing five notable Art Deco buildings in Canada.

Use
Despite its age, the plant is still fully functional, providing approximately 30% of Toronto's water supply. The intakes are located over 2.6 km from shore in 15 m of water, running through two pipes under the bed of the lake. Water is also chlorinated in the plant and then pumped to various reservoirs throughout the City of Toronto and York Region.

Access
The facility grounds have been made available to the public. Despite some concerns of vulnerability to an attack on the water supply since the September 11 attacks, the grounds have remained open to the public, but security has been increased. In the summer of 2007, construction began on the installation of an underground Residual Management Facility allowing processed waste to be removed before discharging into the lake. This construction has since been completed.

In popular culture
The R. C. Harris Water Treatment Plant has been used in dozens of films and television series as a prison, clinic, or headquarters.

 * The building of the plant is vividly recounted in Michael Ondaatje's In the Skin of a Lion.
 * The headquarters of "The Man" in the 2002 comedy Undercover Brother.
 * A prison in the 1998 comedy Half Baked.
 * An asylum in the 1995 horror film In the Mouth of Madness.
 * "The Centre," a nefarious think tank in the television series The Pretender.
 * Base of operations for Genomex, an antagonistic corporation in the television series Mutant X.
 * The Royal Canadian Institute for the Mentally Insane (next door to Elsinore Brewery) in the 1983 film Strange Brew.
 * The Henry Ford Centre for the Criminally Insane, as seen in Robocop: The Series.
 * The Langstaff Maximum Security Prison, as seen in Flashpoint in the episode Just a Man.
 * The Mellonville Maximum Security Prison, as seen in an SCTV episode (1982).
 * A prison in the Psi Factor: Chronicles of the Paranormal episode "Solitary Confinement."
 * "Lake District Federal Prison" in Between in the episode School's Out.
 * A prison building in the Conviction episode "A Different Kind of Death."
 * A prison in the closing scenes of The Big Heist, when Donald Sutherland's character enters to serve a 20-year sentence.
 * "Ekart County Jail" in the 2015 movie Regression.
 * "U.N. Penitentiary Chesapeake Conservancy Zone" in the 2020 season of The Expanse.
 * A Children’s Hospital in Guillermo Del Toro’s 1997 film Mimic.
 * The office of Richard Jenkins' character, Ezra Grindle, a factory executive with a dark past, in Guillermo Del Toro’s Nightmare Alley.
 * Women's Prison in Mayor of Kingstown
 * Music video for "When You Know Someone" by the band Valley

title: R. C. Harris Water Treatment Plant


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Paul Gallico

Paul William Gallico (July 26, 1897 – July 15, 1976) was an American novelist and short story and sports writer. Many of his works were adapted for motion pictures. He is perhaps best remembered for The Snow Goose, his most critically successful book, for the novel The Poseidon Adventure, primarily through the 1972 film adaptation, and for four novels about the beloved character of Mrs. Harris.

Early life and career
Gallico was born in New York City in 1897. His father was the Italian concert pianist, composer and music teacher Paolo Gallico (Trieste, May 13, 1868 – New York, July 6, 1955), and his mother, Hortense Erlich, came from Austria; they had emigrated to New York in 1895. Gallico's graduation from Columbia University was delayed to 1921, having served a year and a half in the United States Army during World War I. He first achieved notice in the 1920s as a sportswriter, sports columnist, and sports editor of the New York Daily News.

In 1937, in Gallico's "Farewell to Sport" he stated, "For all her occasional beauty and unquestioned courage, there has always been something faintly ridiculous about the big-time lady athletes." In the same book, Gallico later explained why he thinks Jewish people are drawn to and good at basketball, "The game places a premium on an alert, scheming mind, flashy trickiness, artful dodging and general smart aleckness."

Gallico's career was launched by an interview with boxer Jack Dempsey in which he asked Dempsey to spar with him. Gallico described how it felt to be knocked out by the heavyweight champion. He followed up with accounts of catching Dizzy Dean's fastball and golfing with Bobby Jones. He became one of the highest-paid sportswriters in America. His book, Lou Gehrig: Pride of the Yankees (1941) was adapted into the sports movie The Pride of the Yankees (1942), starring Gary Cooper and Teresa Wright.

Career as a fiction writer
In the late 1930s, he abandoned sports writing for fiction, first writing an essay about this decision entitled "Farewell to Sport" (published in an anthology of his sports writing, also titled Farewell to Sport (1938)), and became a successful writer of short stories for magazines, many appearing in the then-premier fiction outlet, The Saturday Evening Post. His novella The Snow Goose and other works are expanded versions of his magazine stories.

Gallico once confessed to New York magazine: "I'm a rotten novelist. I'm not even literary. I just like to tell stories and all my books tell stories.... If I had lived 2,000 years ago I'd be going around to caves, and I'd say, 'Can I come in? I'm hungry. I'd like some supper. In exchange, I'll tell you a story. Once upon a time there were two apes.' And I'd tell them a story about two cavemen."

In 1939, Gallico published The Adventures of Hiram Holliday, known for its later television adaptation with Wally Cox. It depicts the comic adventures of a modern American knight-errant visiting Europe on the verge of World War II and waging a single-handed, quixotic struggle against the Nazis in various countries. Gallico's Austrian background is evident in the book's strong Habsburg Monarchist theme. (The protagonist saves an Austrian princess, wins her love and takes charge of her young son – who, the book hints, is fated to become the new Habsburg Emperor once the Nazis are driven out of Austria.)

The Snow Goose was published in 1941 in The Saturday Evening Post and won the O. Henry Award for short stories in 1941. Critic Robert van Gelder called it "perhaps the most sentimental story that ever has achieved the dignity of a Borzoi [prestige imprint of publisher Knopf] imprint. It is a timeless legend that makes use of every timeless appeal that could be crowded into it." A public library puts it on a list of "tearjerkers". Gallico made no apologies, saying that "in the contest between sentiment and 'slime,' 'sentiment' remains so far out in front, as it always has and always will among ordinary humans that the calamity-howlers and porn merchants have to increase the decibels of their lamentations, the hideousness of their violence and the mountainous piles of their filth to keep in the race at all."

On December 25, 1949, Gallico's short story Twas the Night Before Christmas" was dramatized as Attraction 66 of the NBC radio series Radio City Playhouse. It tells the humorous tale of a New York newspaper reporter and a photographer sent on a Christmas Eve wild goose chase by their publisher's wife for two goats harnessed to a little red wagon, which she intends to give her nephews for Christmas. During a night-long search fueled by a few drinks along the way, the reporter and photographer run across the evening's most dramatic news stories, which they must supposedly ignore in favor of the chore set out by their publisher's wife. The radio dramatization remains very popular with Old Time Radio fans and is featured each year on Sirius XM Radio Classics.

His short story "The Man Who Hated People" was reworked into an unpublished short story "The Seven Souls of Clement O'Reilly", adapted into the movie Lili (1953) and later staged as the musical Carnival! (1961). The film Lili is a poignant, whimsical fairy tale, the story of an orphaned waif, a naïve young woman whose fate is thrown in with that of a traveling carnival and its performers, a lothario magician and an embittered puppeteer. In 1954, Gallico published the novella The Love of Seven Dolls, based on "The Man Who Hated People". The versions, while differing, share a core theme surrounding the girl and the puppeteer. The puppeteer, communicating with Lili through his puppets as a surrogate voice, develops a vehicle whereby each of them can freely express their inner pain and anguished emotions.

In the 1950s, Gallico spent time in Liechtenstein, where he wrote Ludmila, the retelling of a local legend.

His novel Mrs. 'Arris Goes to Paris (1958) was a bestseller, and became the first of four books about the lovable charwoman Mrs. 'Arris. The character was said by The New York Times to be "perhaps Mr. Gallico's most beloved creation". Negotiations for film rights began as early as 1960 when he was resident in Salcombe. It was produced as a TV movie with Angela Lansbury in 1992.

During his time in Salcombe, Gallico serialised an account of the sinking of the MV Princess Victoria, the ferry that plied between Larne and Stranraer, an event which left only 44 out of 179 surviving. It was his habit, at this time, to wander in his garden dictating to his assistant Mel Menzies, who then typed the manuscript in the evening, ready for inclusion in the newspaper.

The Silent Miaow (1964) purports to be a guide written by a cat, "translated from the feline", on how to obtain, captivate, and dominate a human family. Illustrated with photographs by Suzanne Szasz, it is considered a classic by cat lovers. Other Gallico cat books include Jennie (1950) (American title The Abandoned), Thomasina, the Cat Who Thought She Was God (1957), filmed in 1964 by the Walt Disney Studios as The Three Lives of Thomasina (which was very popular in the former USSR in the early 1990s, inspiring the Russian remake Bezumnaya Lori), and Honorable Cat (1972), a book of poetry and essays about cats.

Gallico's 1969 book The Poseidon Adventure, about a group of passengers attempting to escape from a capsized ocean liner, attracted little attention at the time. The New York Times gave it a one-paragraph review, noting that "Mr. Gallico collects a Grand Hotel (a reference to the 1930 Vicki Baum novel) full of shipboard dossiers. These interlocking histories may be damp with sentimentality as well as brine—but the author's skill as a storyteller invests them with enough suspense to last the desperate journey." In contrast, Irwin Allen's motion picture adaptation of Gallico's book instantly became a hit. In his article "What makes 'Poseidon' Fun?", reviewer Vincent Canby coined the term "ark movie" for the genre including Airport, The High and the Mighty, A Night to Remember, and Titanic (the 1953 movie). He wrote that "'The Poseidon Adventure' puts the Ark Movie back where God intended it to be, in the water. Not flying around in the air on one engine or with a hole in its side." The movie was enormously successful, part of a decade of disaster films, and remains a cult classic.

In his New York Times obituary, Molly Ivins said that "to say that Mr. Gallico was prolific hardly begins to describe his output." He wrote 41 books and numerous short stories, 20 theatrical movies, 12 TV movies, and had a TV series based on his Hiram Holliday short stories.

Later life
On resigning from the Daily News to become a full-time fiction writer, Gallico moved from New York to the town of Salcombe, England. Later he lived in different regions of the world, including other parts of England, Mexico, Liechtenstein and Monaco. He spent the last part of his life in Antibes, France, and was buried there after his death from a heart attack in 1976, aged 78, which is variously reported to have happened in Antibes or Monaco.

In 1955, Gallico took an automobile tour of the United States, traveling some 10,000 miles, sponsored by Reader's Digest. He wrote that "it had been almost twenty years since I had traveled extensively through my own country and the changes brought about by two decades would thus stand out." Several stories resulted.

Popular culture
In 2000, J.K. Rowling declared that Gallico's 1968 Manxmouse was one of her favorite childhood books. The boggarts appearing in Rowling's Harry Potter books closely resemble Manxmouse's "clutterbumph", which takes the form of whatever the viewer fears the most. Manxmouse was illustrated by Anne and Janet Grahame-Johnstone who also illustrated The Hundred and One Dalmatians by Dodie Smith. The Japanese animation studio Nippon Animation adapted this tale into a feature-length anime film in 1979, directed by Hiroshi Saito. The anime, titled Tondemo Nezumi Daikatsuyaku: Manxmouse (Manxmouse's Great Activity) in Japanese, was dubbed into English in the 1980s, broadcast on Nickelodeon, and released on video by Celebrity Home Entertainment.

The television series The Adventures of Hiram Holliday (starring Wally Cox) was adapted from a series of Gallico's stories about a newspaper proofreader who had many adventures dealing with Nazis and spies in Europe on the eve of World War II.

In Fredric Brown's science-fiction novel What Mad Universe, a magazine editor from our own world is accidentally sent to a parallel Earth significantly different from ours; in this parallel world, the editor reads a biography written of a dashing space hero, a figure central to the novel's narrative, which is supposedly written by Paul Gallico.

In 1975, the British progressive rock band Camel released an album of work based on Gallico's The Snow Goose. Although the author was initially opposed to the album's release, legal action was evaded on the condition that the band used the words "Music Inspired by The Snow Goose" on the album's cover.

In 2005, a televised disaster film titled The Poseidon Adventure, which was a remake of the movie inspired by Gallico's novel, was aired; the Captain, played by Peter Weller, is named after Gallico.

Adaptations
Film
 * 1942, Joe Smith, American
 * 1942, Pride of the Yankees
 * 1945, The Clock
 * 1952, Assignment – Paris!
 * 1953, Lili, based on The Love of Seven Dolls
 * 1958, Merry Andrew, based on "The Romance of Henry Menafee"
 * 1958, Ludmila (film)
 * 1964, The Three Lives of Thomasina, based on Thomasina: The Cat Who Thought She Was God (1957)
 * 1971, The Snow Goose
 * 1972, The Poseidon Adventure
 * 1972, Honorable Cat
 * 1978, Matilda
 * 1979, Beyond the Poseidon Adventure
 * 1991, Mad Lori (Russia), based on Thomasina
 * 1992, Mrs. 'Arris Goes to Paris
 * 2022, Mrs. Harris Goes to Paris

Television
 * 1974, The Zoo Gang
 * 1978, A Fire in the Sky
 * 1956–1957, The Adventures of Hiram Holliday
 * 1969, Daughter of the Mind, based on The Hand of Mary Constable
 * 1979, Tondemo Nezumi Daikatsuyaku: Manxmouse (Manxmouse's Great Activity, known in English as The Legend of Manxmouse)

Radio
 * 1949, "Twas the Night Before Christmas", short story dramatized as Attraction 66 of NBC's radio series Radio City Playhouse
 * 2010, The Lonely

Stage musicals
 * Carnival!, based on The Love of Seven Dolls
 * Flowers for Mrs. Harris

Music
 * 1975, Music Inspired by The Snow Goose, album by the British progressive rock band Camel, based on The Snow Goose

title: Paul Gallico


text:
Scenography

Scenography (inclusive of scenic design, lighting design, sound design, costume design) is a practice of crafting stage environments or atmospheres. In the contemporary English usage, scenography can be defined as the combination of technological and material stagecrafts to represent, enact, and produce a sense of place in performance. While inclusive of the techniques of scenic design and set design, scenography is a holistic approach to the study and practice of all aspects of design in performance.

Etymology and cultural interpretations
The term scenography is of Greek origin (skēnē, meaning 'stage or scene building'; grapho, meaning 'to describe') originally detailed within Aristotle's Poetics as 'skenographia'. Nevertheless, within continental Europe, the term has been closely aligned with the professional practice of scénographie and is synonymous with the English-language term 'theatre design'. More recently, the term has been used in museography with regards to the curation of museum exhibits.

History
In what is not the first use of the term, Antonio Caimi, in 1862, describes a category of artists practising pittura scenica e l'architettura teatrale, inspired by the artist Ferdinando Galli-Bibiena, who was also known as a painter of quadratura, or architectural painting (usually trompe-l'œil depictions of architecture on ceilings or walls). Caimi also calls this Arte scenografica, and notes that it required ingenious engineering to create movable sets, or create illusions of environments. The Galli da Bibiena family was a pedigree of scenographic artistry that emerged in late-seventeenth-century Bologna, but spread throughout northern Italy to Austria and Germany. Another large family known for theatrical scenography were members of the Quaglio surname.

Caimi goes on to mention practitioners of scenography in the second half of the 18th century and early 19th century in Lombardy, including: Bernardino Galliari, Gaspare Galliari, Pasquale Canna, Pietro Gonzaga, Paolo Landriani, Giovanni Perego, Alessandro Sanquirico, Bomenico Menozzi, Carlo Fontana, Baldassare Cavallotti, Carlo Ferrari, Filippo Peroni, Carlo Ferrario, Enrico Rovecchi, Angelo Moja, Luigi Vimercati, and the brothers Mofta of Modena, among others. A review of the history of Italian-influenced scenic painting, architecture, and design up to the nineteenth century, was provided by Landriani.

Usage
While also aligned with the professional practice of the scenographer, it is important to distinguish the individual elements that comprise the 'design' of a performance event (such as light, environment, costume, etc.) from the term 'scenography', which is an artistic perspective concerning the visual, experiential, and spatial composition of performance. Influenced by the work of Modernist pioneers Adolphe Appia and Edward Gordon Craig, scenography proposes that design practices within performance are considered an equal partner, alongside other elements such as literary texts and performance technique, within the construction and reception of meaning. The practice of scenography is thereby a holistic approach to the composition of performance and can be applied to the design or curation of events within, and outside of, the conventional theatre environment. Or, as Pamela Howard states in her book What is Scenography?:

 * "Scenography is the seamless synthesis of space, text, research, art, actors, directors and spectators that contributes to an original creation."

Joslin McKinney and Philip Butterworth expand upon this to suggest that:

 * "Scenography is not simply concerned with creating and presenting images to an audience; it is concerned with audience reception and engagement. It is a sensory as well as an intellectual experience, emotional as well as rational."

Scenographic theory
While there is no one theory of scenography, Rachel Hann has argued for a distinction between 'scenography' and 'scenographics'. Hann introduces this framework by plotting the usage of key terminologies:

 * "As part of this differentiation, I approach a scenographic trait as orientating and scenography as a crafting. My intention is to map how these evidently related concepts apply to artistic and social scenarios beyond institutional conceptions of theatre. I attempt to dissuade the reader from understanding notions of scenographic as singular and monolithic. My adoption of scenographics stresses the inherent plurality and multiplicities that sustain a scenographic encounter. Consequently, scenographic traits result from a combination of orientating stimuli that exceed strict ontologies of empiricism and complicate the neat separation of theatrical crafts."

Scenographics are a collection of place-orienting traits that are often explicit in theatre, yet are also present within other scenographic cultures such as gardening and visual merchandising. These traits draw attention to "orders of world" by employing methods that sculpt or irritate how distinct worlding orientations (whether that of materiality and texture, familiarity and proximity, as well as ideologies of nation and identity) sit together as part of a broader geography. Hann consolidates this position by arguing that to "speak of staging is to speak of how scenographics enact an 'othering' of place". Scenographics are "interventional acts of orientation that complicate, reveal or score processes of worlding".

This approach positions scenography as a "crafting of place orientation" and a theatre-making strategy, alongside dramaturgy and choreography. The usage of place orientation as the loci for scenography seeks to capture an understanding that is inclusive of the physical as well as metaphysical relations that affect how individuals design and experience the assemblage of place. This could be the role of directed sound systems in cultivating a feeling of isolation; the usage of a tightly focused lantern to re-orientate the spatial dimensions of a place; the scent of an old well-worn desk; along with how costumes mould relations between bodies and stage environments. In practice, Hann argues that it is the interrelations between these distinct methods of scenography (costume, scenery, light, sound) that give rise to an act of scenography, where "scenography is neither exclusively visual nor spatial"

Lastly, Hann proposes that scenographics are formative to all staged atmospheres by arguing that there "are no stages without scenographics". This is based on the argument that "all stages are also scenes" that challenges the "deterministic assumption that stages precede scenography". In this model, stages become manifest through the place-orienting traits of scenographics (rather than the other way around). The implications of this are that all theatre is scenographic - even if it has no defined objects or 'setting' - as all theatre is performed on a stage. Hann summarises this position by using the hybrid 'stage-scene' when discussing the tensions between the histories of these practices, particularly with reference to original Greek skene as a physical tent or hut that ultimately shaped current conceptualizations of 'the stage'.

Selected bibliography

 * Aronson, A. (2005) Looking into the Abyss: Essays on Scenography, Ann Arbor: University of Michigan Press
 * Aronson, A. (2018) The History and Theory of Environmental Scenography, (Revised 2nd edition) London: Bloomsbury Methuen
 * Aronson, A.(2018) The Routledge Companion to Scenography, London: Routledge
 * Baugh, C. (2013) Theatre, Performance, and Technology: The Development and Transformation of Scenography, (Revised 2nd edition) Basingstoke: Palgrave Macmillan
 * Beacham, R. C. (1994) Adolphe Appia: Artist and Visionary of the Modern Theatre, Reading: Harwood Academic Publishers
 * Brockett, O. G., Mitchell, M. and Hardberger, L. (2010) Making the Scene: A History of Stage Design and Technology in Europe and the United States, Austin (TX): University of Texas Press
 * Craig, E. G. (1911) Towards a New Theatre, London: Heinemann. [Reprinted in 1962, London: Mercury Books]
 * Hann, R. (2019) Beyond Scenography, Oxon. and New York: Routledge
 * Hannah, D. and Harsløf, O. eds. (2008) Performance Design, Nijalsgade, Denmark: Museum Tusculanum Press
 * Howard, P. (2002) What is Scenography?, London: Routledge [Second Edition 2009]
 * McAuley, G. (1999) Space in Performance: Making Meaning in the Theatre, Ann Arbor: University of Michigan Press
 * McKinney, J. and Butterworth, P. (2009) The Cambridge Introduction to Scenography, Cambridge: Cambridge University Press
 * McKinney, J. and Palmer, S. (2017) Scenography Expanded: An Introduction to Contemporary Performance Design, London: Bloomsbury Methuen
 * Svoboda, J. and Burian, J. ed. (1993) The Secret of Theatrical Space, New York: Applause Theatre Books

Journals

 * Scene, published by Intellect since 2012
 * Theatre and Performance Design, published by Routledge since 2015

title: Scenography


text:
Ragtime (novel)

Ragtime is a novel by E. L. Doctorow, first published in 1975. The sweeping historical fiction occurs in the area of New York City between 1902 and 1912.

Ragtime was ranked number 86 among Modern Library's 100 Best Novels in 1998. Time magazine included Ragtime in its list of 100 Best English-Language Novels from 1923 to 2005.

Plot
The novel centers on a wealthy family living in New Rochelle, New York, referred to as Father, Mother, Mother's Younger Brother, Grandfather, and 'the little boy', Father and Mother's young son. The family business is the manufacture of flags and fireworks, an easy source of wealth due to the national enthusiasm for patriotic displays. Father joins Robert Peary's expedition to the North Pole, and his return sees a change in his relationship with his wife, who has experienced independence in his absence. Mother's Younger Brother is a genius at explosives and fireworks but is an insecure, unhappy character who chases after love and excitement. He becomes obsessed with the notorious socialite Evelyn Nesbit, stalking her and embarking on a brief, unsatisfactory affair with her.

Into this insecure setup comes an abandoned black child, then his severely depressed mother, Sarah. Coalhouse Walker, the child's father, visits regularly to win Sarah's affections. A professional musician, well-dressed and well-spoken, he gains the family's respect and overcomes their prejudice initially by playing ragtime music on their piano. Things go well until he is humiliated by a racist fire crew, led by Will Conklin, who vandalize his Model T Ford. He begins a pursuit of redress by legal action but discovers he cannot hope to win because of the inherent prejudice of the system. Sarah is killed in an attempt to aid him, and Coalhouse uses the money he was saving for their wedding to pay for an extravagant funeral.

Having exhausted legal resources, Coalhouse begins killing firemen and bombing firehouses to force the city to meet his demands: that his Model T be restored to its original condition and Conklin be turned over to him for justice. Mother unofficially adopts Sarah and Coalhouse's neglected child over Father's objections, putting strain on their marriage. With a group of angry young men, all of whom refer to themselves as "Coalhouse Walker", Coalhouse continues his vigilante campaign and is joined by Younger Brother, who brings his knowledge of explosives. Coalhouse and his gang storm the Morgan Library, taking the priceless collection hostage and wiring the building with dynamite. Father is drawn into the escalating conflict as a mediator, as is Booker T. Washington. Coalhouse agrees to exchange Conklin's life for safe passage for his men, who leave in his restored Model T. Coalhouse is shot as he surrenders to the authorities.

Interwoven with this story is a depiction of life in the tenement slums of New York city, focused on an Eastern European immigrant referred to as Tateh, who struggles to support himself and his daughter after driving her mother off for accepting money for sex with her employer. The girl's beauty attracts the attention of Evelyn Nesbit, who provides financial support. When Tateh learns Nesbit's identity, however, he takes his daughter out of the city.

Tateh is a talented artist and earns a living cutting out novelty paper silhouettes on the street. He tries working in a factory, where he experiences a successful workers' strike, but becomes disillusioned when he sees it change little about the workers' lives, although in the final chapter he still describes himself as a socialist. He starts making and selling moving picture books to a novelty toy company, becoming a pioneer of animation in the motion picture industry. Tateh becomes wealthy and styles himself "the Baron" in order to move more easily through high society. He meets and falls in love with Mother, who marries him after Father is killed in the sinking of the RMS Lusitania. They adopt each other's children, as well as Coalhouse's son, and move to California.

Mixed into the interwoven stories are subplots following prominent figures of the day, including those named above as well as in the Historical figures section below.

Historical figures
The novel is unusual for the irreverent way that historical figures and fictional characters are woven into the narrative, making for surprising connections and linking different events and trains of thought about fame and success, on the one hand, and poverty and racism on the other. One such figure is the black moderate politician Booker T. Washington, who tries to negotiate with Coalhouse Walker without success.

Harry Houdini plays an incidental yet prominent part, reflecting on success and mortality. As his success grows, he becomes increasingly depressed and believes his work is ultimately meaningless. After his mother's death, he becomes obsessed with exposing fraudulent occultism, while secretly longing to find a true mystic experience.

Arch-capitalist financier J. P. Morgan, pursuing his complex delusions of grandeur, becomes obsessed with reincarnation and Egyptian mysticism, and finds an unexpected kindred spirit in the down-to-earth Henry Ford. Traveling to Egypt hoping for a vision of his grand destiny, Morgan only dreams of a past life as an ordinary peddler.

Socialite Evelyn Nesbit, desperate to escape the press, becomes involved with Tateh and takes it on herself to care for his daughter. On meeting the anarchist agitator Emma Goldman her identity is exposed and Tateh leaves her. Emma gives Evelyn comfort and guidance on how to free herself from the domination of men. Later, Younger Brother encounters Goldman, who advises him to move beyond his obsession with Evelyn.

Other historical characters mentioned include
 * the polar explorer Robert Peary and his black assistant Matthew Henson
 * the architect Stanford White
 * Nesbit's mentally unbalanced husband Harry Kendall Thaw, who murdered White for allegedly sexually assaulting Nesbit when she was 15
 * Archduke Franz Ferdinand of Austria
 * Countess Sophie Chotek
 * Sigmund Freud, who rides the Tunnel of Love at Coney Island with Carl Jung
 * Theodore Dreiser
 * Jacob Riis
 * the Mexican revolutionary Emiliano Zapata, with whom Younger Brother eventually joins forces.

Two real-life New York City officials also appear in the book: Manhattan District Attorney Charles S. Whitman and Police Commissioner Rhinelander Waldo.

Influences
The name Coalhouse Walker is a reference to the 1811 German novella Michael Kohlhaas by Heinrich von Kleist. Doctorow called Ragtime a "quite deliberate hommage" to Kleist's story. The elements involving Coalhouse's humiliation and his increasingly desperate search for a dignified resolution reflect plot details in Kleist.

Recognition
The novel was a nominee for the Nebula Award for Best Novel and won the National Book Critics Circle Award for fiction in 1975, and the American Academy and Institute of Arts and Letters Award in 1976.

The 1991 Fredric Jameson book Postmodernism, or, the Cultural Logic of Late Capitalism considers Doctorow's Ragtime to illustrate the crisis of historiography and a resistance to interpretation.

Adaptations
The novel was adapted for an eponymous 1981 movie and 1998 musical.

title: Ragtime (novel)


text:
Superkart

Superkart is a form of motorsport road racing that uses karts on long circuits. The bigger difference between a superkart and most other forms of kart is that they have full aerodynamic bodykits, as well as having a longer wheel base than sprint chassis, and are generally raced on car circuits over 1,500 metres in length. The power unit, most often but not exclusively two-stroke 250 cc engines, can be specially designed kart engines or production motorcycle engines with either five- or six-speed sequential manual gearboxes. Owing to their high top speed and superb cornering ability, a superkart's aerodynamic bodywork includes a front fairing, larger sidepods, and a rear wing. They use either 5 or tires and wheels and most often race on full size auto-racing circuits.

The 250 cc superkarts can set faster lap times than much more expensive and technically advanced racing machines. Some British and Australian classes also include 125 cc gearbox karts. Superkarts race on "long circuits" (e.g. Silverstone, Laguna Seca, Magny-Cours). In the UK they also race on "short circuits" (e.g. Kimbolton); "short circuits" are under 1,500 metres in length. Superkarts are raced worldwide. There is a multi-event CIK-FIA European Superkart Championship (for 250 cc karts only), and there has in the past been a world championship, which was last run in 1995.

Performance
Powered by a two-stroke 250 cc engine producing 100 hp for an overall weight including the driver of 205 kilograms (452 lb), superkarts have a power/weight ratio (including the driver) of approximately 365 W/kg (490 hp/tonne)(0.22 hp/lb), or closer to 730 W/kg (980 hp/tonne)(0.44 hp/lb) without the driver, which is about the equivalent of a midget car, or an open-wheel A1 Grand Prix car. Superkarts can accelerate from 0 to 60 mph in less than 3 seconds with a top speed of 155 mph. Their low weight and good downforce make for excellent cornering and braking abilities. A superkart is capable of braking from 100 mph to standstill in around 2 seconds, and taking corners at nearly 3 'g' (30 m/s²).

British superkart divisions :

 * Division 1 is open to 250 cc twin cylinder engines with five or six speed gearboxes. Typically the karts produce 95 hp and are capable of 140 mph - the fastest form of kart. This formula was previously known as Formula E, which was changed to avoid confusion with the Formula E series.
 * 250 National is for single cylinder karts with five- and six-speed boxes. Typically these karts produce 65 hp and are capable of 130 mph. However, being lighter than the twin cylinder (Division 1) karts they can be as quick on twisty circuits. This formula was previously known as 250 International.
 * 125 Open - Powered by 125 cc engines producing 45 hp and featuring six-speed sequential gearboxes, this class uses lighter chassis than the 250s and are the most agile of long circuit superkarts, they are capable of 120 mph.

Australian superkart divisions :

Superkart racing in Australia has, since 1989, referred to any form of racing kart to race on full-size motor racing circuits, usually as sanctioned by the Australian ASN, CAMS.
 * 250 cc International - commonly referred to as twins or inters, these karts are powered by twin cylinder engines and usually have six-speed sequential gearboxes. Several European and North American chassis are popular in addition to locally developed designs.
 * 250 cc National - single cylinder class, the 250 National class is powered by 250 cc motocross engines and also feature six-speed sequential gearboxes.
 * 125 cc Gearbox - most often powered by 125 cc Honda and Yamaha Grand Prix motorcycle engines equipped with six-speed sequential gearboxes, this superkart class uses mostly the same chassis as the 250 classes. They run at lighter weights than the 250 classes, which makes for close racing with mid-field 250 Nationals at some circuits.
 * 80 cc Gearbox - also dominated by Honda and Yamaha motor cycle engines, 80 cc Gearbox is no longer a sanctioned class in Australian racing. Some 80 cc karts were noticeably smaller than 125/250 cc gearbox karts, with "laydown"-style karts, where the driver lies flat in the kart rather than sitting upright, proliferating. Last contested at the national level in 2005. and state level in 2008, some 80 cc karts survive racing in the 125 cc division at state level, but are uncompetitive as they no longer run at lighter homologated weight levels.
 * 125 cc Rotax Max - a cross-over class from Australian short-circuit non-gearbox sprint kart racing to allow easier and cheaper graduation from sprint kart racing to long circuit racing. Three national championships exist for two weight divisions, Heavy, Light, and also sometimes a Junior division for drivers under the age of sixteen which run a version of the Rotax Max engine without a power valve. Rotax Max karts frequently race amongst gearbox-equipped superkarts at the state championship level, while racing for their own titles at the national level.
 * 100 cc - another non-gearbox class, 100 cc also was split into Heavy, Light and Junior classes, was last contested in 2002 and has since been replaced completely by Rotax Max.

United States superkart classes:

 * 250 cc Formula/E or F/E - Twin cylinder, six-speed, liquid cooled Grand Prix motorcycle engines such as the Honda RS250, Yamaha TZ250 or made for kart racing engines such as the BRC250.
 * 250 cc Inter-Continental E or IC/E - Single cylinder, five- or six-speed, liquid cooled Grand Prix motorcycle engines.

Spectacle
Road & Track reports that superkarts cost between $15,000 to US$20,000 in 2005. Entries of 60 or more are common in Britain. Overtaking tends to be easy, as there is room to get past, so the races tend to be full of action. Race lengths tend to be around 20–25 miles (30–40 km), because the fuel tanks are quite small, so at most meetings that feature superkarts, the karts race is often a brief, spectacular highlight (U.S. superkart races are timed 30-minute races; pre-final on Saturday, final on Sunday).

A global category, superkarts are endorsed by the FIA, and were featured as a support category to the French Formula 1 Grand Prix at Magny-Cours in 2007 where they bettered Porsche Supercup lap times.

title: Superkart


text:
Lord Jim

Lord Jim is a novel by Joseph Conrad originally published as a serial in Blackwood's Magazine from October 1899 to November 1900. An early and primary event in the story is the abandonment of a passenger ship in distress by its crew, including a young British seaman named Jim. He is publicly censured for this action and the novel follows his later attempts at coming to terms with himself and his past and seeking redemption and acceptance.

In 1998, the Modern Library ranked Lord Jim 85th on its list of the 100 best English-language novels of the 20th century.

Plot summary
Recovering from an injury, Jim seeks a position on the SS Patna, a steamer serving the transport of 800 "pilgrims of an exacting belief" to a port on the Red Sea. He is hired as first mate. After some days of smooth sailing, the ship hits something in the night and the bulkhead begins bulging under the waterline. Captain Gustav thinks the ship will quickly sink, and Jim agrees but wants to put the passengers on the few boats before that can happen. The captain and two other crewmen think only to save themselves, and prepare to lower a boat. The helmsmen remain, as no order has been given to do otherwise. In a crucial moment, Jim jumps into the boat with the captain. A few days later, they are picked up by an outbound steamer. When they reach port, they learn that the Patna and its passengers were brought in safely by a crew from a French navy ship. The captain's actions in abandoning both ship and passengers are against the code of the sea, and the crew is publicly vilified. When the other men leave town before the magistrate's court can be convened, Jim is the only crew member left to testify. All lose their certificates to sail. Brierly, a captain of perfect reputation who is on the panel of the court, inexplicably commits suicide days after the trial.

Captain Charles Marlow attends the trial and meets Jim, whose behaviour he condemns, but the young man intrigues him. Wracked with guilt, Jim confesses his shame to Marlow, who finds him a place to live in a friend's home. Jim is accepted there but leaves abruptly when an engineer who had also abandoned the ship appears to work at the house. Jim then finds work as a ship chandler's clerk in ports of the East Indies, always succeeding in the job then leaving abruptly when the memory of the Patna incident catches up with him. In Bangkok, he gets in a fistfight. Marlow realises that Jim needs a new situation, something that will take him far away from modern ports and keep him occupied so that he can finally forget his guilt. Marlow consults his friend Stein, who sees that Jim is a romantic and considers his situation. Stein offers Jim to be his trade representative or factor in Patusan, a village on a remote island shut off from most commerce, which Jim finds to be exactly what he needs.

After his initial challenge of entering the settlement of native Malay and Bugis people, Jim manages to earn their respect by relieving them of the depredations of the bandit Sherif Ali and protecting them from the corrupt local Malay chief, Rajah Tunku Allang. He builds a solid link with Doramin, the Bugis friend of Stein, and his son Dain Waris. For his leadership, the people call him "Tuan Jim", or Lord Jim. Jim also wins the love of Jewel, a young woman of mixed race, and is "satisfied... nearly." Marlow visits Patusan once, two years after Jim arrived there, and sees his success. Jewel does not believe that Jim will stay, as her father left her mother, and she is not reassured that Marlow or any other outsider will not arrive to take him from her. Her mother had been married before her death to Cornelius, previously given the factor's role by Stein for her benefit. Cornelius is a lazy, jealous, and brutal man who treats his stepdaughter cruelly and steals the supplies Stein sends for sale; he is displaced by Jim's arrival and resents him for it.

"Gentleman" Brown, a marauding captain notorious for his evil ways, then sails into Patusan, his small crew on the brink of starvation. The local defence led by Dain Waris manages to prevent the marauders from looting the village and holds them entrenched in place while Jim is away in the island's interior. When Jim returns, Brown deceptively wins Jim's mercy, who hesitantly negotiates to allow them to leave Patusan unobstructed, but reminds Brown that the long passage down river to the sea will be guarded by armed men. Cornelius sees his chance to get rid of Jim. He tells Brown of a side channel that will bypass most of the defenses, which Brown navigates, stopping briefly to ambush the defenders he finds out of revenge. Dain Waris is killed, among others, and Brown sails on, leaving Cornelius behind. Jim's man Tamb' Itam kills Cornelius for his betrayal. Jim is mortified when he receives word of the death of his good friend Waris. He resigns himself to his earlier commitment that no villagers would be harmed and chooses not to flee. Jewel, who had wanted Jim to attack Brown and his ship, is distraught and begs him to defend himself and never leave her. Jim then goes directly to Doramin and in front of the village takes responsibility for the death of his only son. Devastated, Doramin uses his flintlock pistols, given him by Stein, to execute Jim by shooting him in the chest.

On his regular route, Marlow arrives at Stein's house a few days after this event, finding Jewel and Tamb' Itam there, and tries to make sense of what happened. Jewel stays under the protection of Stein, who presages his own death.

Characters

 * Marlow: A sea captain in the Merchant Navy who helps Jim after his fall from grace, trying to understand how "one of us" could lack the bravery and judgment expected of seamen. Marlow is also the narrator of three of Conrad's other works: Heart of Darkness, Youth, and Chance.
 * Jim: Young parson's son who takes to the sea, training for the merchant service as steam ships mix with sailing ships. He dreams of heroic deeds. He is a strong, tall, blond Englishman whose life is the story told by Marlow.
 * Captain Gustav: Captain of the Patna, an Australian born in Germany, who is interested in the money made from this ship, with no concern for his honour as a captain. He is a man of huge girth. He orders the engineers to free a boat for them to leave the ship. After learning ashore that the ship came in ahead of them, he knows his certificate will be cancelled and he leaves, never seen again.
 * Ship's engineers: Three men who keep the steam boiler working; one is George, who dies of a heart attack on the Patna as the others leave the ship. Another shows up later by chance at the same place where Jim is living, driving Jim away. The third becomes completely drunk, left in the hospital.
 * Montague Brierly: Captain in the merchant service with a perfect reputation. He sits in the court that hears the case of the Patna crew, telling Marlow that Jim ought to hide somewhere, as he can never work as a seaman again. A few days after the trial, this superior man ("indeed, had you been Emperor of East and West, you could not have ignored your inferiority in his presence", Chapter 6) kills himself by jumping off his ship at sea, leaving no explanation.
 * Stein: Head of Stein & Co., friend of Marlow, and a man with a long, interesting life. He has had success in trade in the East, collecting produce from various ports in the Dutch colonial areas and settling far from his native Bavaria after losing in the uprisings of 1848. He learned lepidopterology, which became his passionate hobby, gaining him a reputation for all the specimens he sent to contacts in Europe in this age of scientific discovery. He was married and had a child, both lost to him by disease. He understands Jim's temperament instantly.
 * Jewel: Daughter of a Dutch-Malay woman and a white European man, never named, who deserted them. Her stepfather is Cornelius. Her mother died a year or two before she meets Jim.
 * Cornelius: Former factor for Stein & Co., on account of his wife, whom Stein admired. He is a lazy man of no morals, and brutal. He is Malacca Portuguese. When replaced by Jim, he does not leave the area, nor does he find any useful occupation for himself. He connives with the marauder Brown to kill Jim, succeeding indirectly after Brown's men kill Dain Waris. Cornelius is killed by Tamb' Itam, who sees him after the attack and realizes the role he played.
 * De Jongh: Friend to Marlow, and the last of the ship's chandlers who accepts Jim on Marlow's recommendation.
 * Doramin: Old chief of the Bugis people in Patusan and father of Dain Waris, his only son. He was a friend to Stein, and the two exchanged gifts on parting: Doramin gave a ring to Stein, and Stein gave pistols to Doramin. He becomes an ally to Jim.
 * Dain Waris: The only son of Doramin; a young, strong, and fiercely devoted leader of his people. He becomes fast friends with Jim.
 * Sherif Ali: Local bandit who is a trial to all others in Patusan, extorting fees and stealing crops and resources from others. He is defeated by Jim, but not killed.
 * Rajah Tunku Allang: Malay chief in Patusan who took Jim prisoner on his first entry into the country. Jim escapes, starting life there on his own terms.
 * Tamb' Itam: Malay servant and loyal bodyguard to Jim.
 * Gentleman Brown: A cruel captain of a latter-day pirate crew, who kills because he can, and is not a success in life. He has a ship in poor condition and a crew of men similar to him when he runs short of food near Patusan. He goes up the river to the village, which successfully forces him to retreat to a nearby hilltop. On leaving, Brown orders a vengeful attack on Patusan's defenders, killing Dain Waris, which leads to the end of Jim's life. Marlow meets an ailing Brown in Bangkok just before his death, and hears the story of the encounter from Brown's viewpoint.

Allusions to historical events
The opening event in Lord Jim has been speculated by historians to have been based in part on an actual abandonment of a ship. On 17 July 1880, the British merchantman SS Jeddah set sail from Singapore bound for Penang and Jeddah, with 778 men, 147 women, and 67 children on board. The passengers were Muslims from the Malay states and were travelling to Mecca for the hajj (holy pilgrimage). After rough weather conditions, the Jeddah began taking on water. The hull sprang a large leak, the water rose rapidly, and the captain and officers abandoned the heavily listing ship. They were picked up by another vessel and taken to Aden, where they claimed that the passengers had attacked two engineers and the ship had foundered in poor weather. The pilgrims were abandoned by the crew. However, on 8 August 1880, a French steamship towed Jeddah into Aden and the pilgrims on board survived the incident. An official inquiry followed, as in the novel.

The inspiration for the character of Jim was the chief mate of the Jeddah, "Austin" Podmore Williams, whose grave was tracked down to Singapore's Bidadari Cemetery by Gavin Young in his book In Search of Conrad. As in the novel, Williams created a new life for himself, returning to Singapore and becoming a successful ship's chandler.

Conrad may also have been influenced by the naturalist Alfred Russel Wallace's 1869 account of his travels and of the native peoples of the islands of Southeast Asia, The Malay Archipelago; the character Stein is based on Wallace. The second part of the novel is based in some part on the life of James Brooke, the first Rajah of Sarawak – as Conrad himself says in his letter to Margaret Brooke: "The book (Lord Jim) which has found favour in your eyes has been inspired in great measure by the history of the first Rajah's enterprise...". Brooke was an Indian-born English adventurer who in the 1840s managed to gain power and set up an independent state in Sarawak, on the island of Borneo. Some critics, however, think that the fictional Patusan was intended not to be part of Borneo but of Sumatra.

Recognition
In 1998, the Modern Library Board ranked Lord Jim 85th on its list of the 100 best English-language novels of the 20th century. In 1999, the French newspaper Le Monde conducted a contest among readers to rank which of 200 novels of the 20th century they remembered best. Seventeen thousand responses yielded the final list, which placed Lord Jim at number 75. The complete list is found in Le Monde's 100 Books of the Century in English, and also in French Wikipedia.

Critical interpretation
The novel is in two main parts, firstly Jim's lapse aboard the Patna and his consequent fall, and secondly an adventure story about Jim's rise and the tale's climax in the fictional town of Patusan, presumed a part of the Indonesian archipelago. The main themes surround young Jim's potential ("he was one of us", says Marlow, the narrator) thus sharpening the drama and tragedy of his fall, his subsequent struggle to redeem himself, and Conrad's further hints that personal character flaws will almost certainly emerge given an appropriate catalyst. Conrad, speaking through his character Stein, called Jim a romantic figure, and indeed Lord Jim is arguably Conrad's most romantic novel.

In addition to the lyricism of Conrad's descriptive writing, the novel is noted for its sophisticated structure. The bulk of the novel is told in the form of a story recited by the character Marlow to a group of listeners, and the conclusion is presented in the form of a letter from Marlow. Within Marlow's narration, other characters also tell their own stories in nested dialogue. Thus, events in the novel are described from several viewpoints, and often out of chronological order.

The reader is left to form an impression of Jim's interior psychological state from these multiple external points of view. Some critics (using deconstruction) contend that this is impossible and that Jim must forever remain an enigma, whereas others argue that there is an absolute reality the reader can perceive and that Jim's actions may be ethically judged.

There is also an analysis that shows in the novel a fixed pattern of meaning and an implicit unity that Conrad said the novel has. As he wrote to his publisher four days after completing Lord Jim, it is "the development of one situation, only one really, from beginning to end." A metaphysical question pervades the novel and helps unify it: whether the "destructive element" that is the "spirit" of the Universe has intention—and, beyond that, malevolent intention—toward any particular individual or is, instead, indiscriminate, impartial, and indifferent. Depending (as a corollary) on the answer to that question is the degree to which the particular individual can be judged responsible for what he does or does not do; and various responses to the question or its corollary are provided by the several characters and voices in the novel.

The omniscient narrator of the first part remarks of the trial: "They wanted facts. Facts! They demanded facts from him, as if facts could explain anything!" Ultimately, Jim remains mysterious, as seen through a mist: "that mist in which he loomed interesting if not very big, with floating outlines – a straggler yearning inconsolably for his humble place in the ranks... It is when we try to grapple with another man's intimate need that we perceive how incomprehensible, wavering, and misty are the beings that share with us the sight of the stars and the warmth of the sun." It is only through Marlow's recitation that Jim lives for us – the relationship between the two men incites Marlow to "tell you the story, to try to hand over to you, as it were, its very existence, its reality – the truth disclosed in a moment of illusion."

Postcolonial interpretations of the novel, while not as intensive as that of Heart of Darkness, point to similar themes in the two novels – the protagonist sees himself as part of a "civilising mission" and the story involves a "heroic adventure" during the apogee of the New Imperialism era. Conrad's use of a protagonist with a dubious history has been interpreted as an expression of his increasing doubts with regard to positive benefits of colonialism; literary critic Elleke Boehmer sees the novel, along with Dr. Jekyll and Mr. Hyde, as part of a growing suspicion that "a primitive and demoralising other" is present within the governing order of the day.

Comics adaptations
George Evans adapted the novel into a comic book in the 1950s.

Film adaptations
The book has twice been adapted into film:
 * Lord Jim (1925), directed by Victor Fleming.
 * Lord Jim (1965), directed by Richard Brooks and starring Peter O'Toole as Jim.

The 1979 Hindi film Kaala Patthar has strong traces of Lord Jim, with Amitabh Bachchan playing the role of an ex-Merchant Navy captain who struggles to overcome his guilt of having abandoned a ship and risked the lives of passengers, and turns into a coal-mine worker.

Allusions and references to Lord Jim in other works

 * Jim's ill-fated ship, the Patna, is also mentioned in Jorge Luis Borges' short story "The Immortal", and Lord Jim himself is referenced in Borges' "The Other Death".
 * The Disney motion picture, Spooner, used the story of Lord Jim as a shadow and point of comparison for the dilemmas faced by the movie's main character, Harry Spooner/Michael Norlan (played by Robert Urich).
 * Lord Jim is referenced in the final section of Herman Wouk's 1951 novel The Caine Mutiny as the captain of the Caine struggles to come to terms with his own decision to abandon ship.
 * Lord Jim is the name of a boat, and subsequently the nickname of the boat's owner, Richard Blake, in Penelope Fitzgerald's 1979 Booker Prize-winning novel Offshore.
 * Lord Jim is referenced in the song "Conrad" by English singer-songwriter Ben Howard: "You were the boat that bridged / In the tale of Conrad / We will never be the change / To the weather and the sea and you knew that."
 * In the Mexican film Amor Libre, directed by Jaime Humberto Hermosillo, the lead characters July (Alma Muriel) and Julia (Julissa) are reading the book. July read the first half, and Julie the second.
 * In the French film Volontaire by Hélène Fillières (2018), the figure of Laure Baer (played by Diane Rouxel) finds the book in her superior's desk and reads it.
 * Polish composer Romuald Twardowski wrote an opera of the story in 1973.

title: Lord Jim


text:
Fight the Power... Live!

Fight the Power... Live! is a live video by Public Enemy released in 1989 on the VHS and laserdisc formats.

A DVD edition was released in November 2014 as part of a deluxe reissue of the group's 1988 album It Takes a Nation of Millions to Hold Us Back.

Track listing

 * 1) "Countdown to Armageddon"
 * 2) "Public Enemy No. 1"
 * 3) "Miuzi Weighs a Ton"
 * 4) "Night of the Living Baseheads"
 * 5) "Fight the Power" (Music video)
 * 6) "Bring the Noise"
 * 7) "Don't Believe the Hype"
 * 8) "Cold Lampin with Flavor"
 * 9) "Black Steel in the Hour of Chaos" (Music video)
 * 10) "Rebel Without a Pause"
 * 11) "Terminator X to the Edge of Panic"
 * 12) "Night of the Living Baseheads" (Music video)
 * 13) "Prophets of Rage"

As noted it also features some music videos, and also skits between songs - made to instrumental/turntablist PE songs that are not listed.

title: Fight the Power... Live!


text:
Frans Floris

Frans Floris, Frans Floris the Elder or Frans Floris de Vriendt (17 April 1519 –1 October 1570) was a Flemish painter, draughtsman, print artist and tapestry designer. He is mainly known for his history paintings, allegorical scenes and portraits. He played an important role in the movement in Northern Renaissance painting referred to as Romanism. The Romanists had typically travelled to Italy to study the works of leading Italian High Renaissance artists such as Michelangelo, Raphael and their followers. Their art assimilated these Italian influences into the Northern painting tradition.

Life

Frans Floris was born in Antwerp. He was the scion of a prominent artist family which originally went with the name ‘de Vriendt’. The earliest known ancestors of the Floris de Vriendt family, then still called only ‘de Vriendt’, were residents of Brussels where they practiced the craft of stonemason and stonecutter which was passed on from father to son. One of Frans' ancestors became in 1406 a master of the Brussels stonemasons guild. A family member, Jan Florisz. de Vriendt, left his native Brussels and settled in Antwerp in the mid-15th century. His patronymic name ‘Floris’ became the common family name in subsequent generations. The original form ‘de Vriendt’ can, however, still be found in official documents until the late 16th century.

Frans' brothers were prominent artists. The most famous one is Cornelis who was an architect and sculptor and was one of the designers of the Antwerp City Hall. Jacob Floris was a painter of stained-glass windows and Jan Floris was a potter. Jan traveled to Spain to practice his art there and died young.

Documentary evidence about the life of Frans Floris is scarce. Most of what we know about the youth and training of Frans Floris is based on the early biographer Karel van Mander's biography of the artist. At ten pages long it is one of the most detailed biographies in van Mander's Het Schilder-boeck published in 1604. According to van Mander, Frans Floris was the son of the stonecutter Cornelis I de Vriendt (died 1538). Like his brothers, Frans began as a student of sculpture, but later he gave up sculpture for painting. Floris went to Liège where he studied with the prominent painter Lambert Lombard. The choice for Lombard as a teacher was surprising since Antwerp was a cultural centre with many outstanding painters. He may have chosen Lombard as his brother Cornelis was good friends with Lombard, whom he had met in Rome around 1538. It is also possible that Frans trained as a painter in Antwerp before studying under Lombard. Floris became a master in the Antwerp Guild of Saint Luke in 1539–40.

Lombard encouraged Frans Floris to study in Italy. He traveled to Rome probably as early as 1541 or 1542 and became fascinated with Italian contemporary painting (particularly Michelangelo and Raphael) and the Classical sculpture and art of Rome. He kept a notebook of sketches, which his pupils would later etch. Floris visited other cities in Italy including Mantua and Genoa.

Upon his return to Antwerp around 1545, Frans Floris opened a workshop on the Italian model. He became the leading history painter and was called the ‘Flemish Raphael’. He enjoyed the patronage of prominent personalities such as the wealthy Antwerp banker Niclaes Jonghelinck for whose house he painted a series of ten compositions on the legend of Hercules and seven compositions on the liberal arts. He also painted 14 large panels for the duke of Aarschot's palace of Beaumont. Local nobility including the knights of the Golden Fleece, the Prince of Orange and the Counts of Egmont and Horn (later the leaders of the Dutch Revolt) visited Floris at his home, attracted by his artistic reputation as well as his ability to talk with ‘great insight and judgment on any topic’. He also moved in the circle of the leading humanists such as Abraham Ortelius, Christophe Plantin, Lucas de Heere, Lambert Lombard, Dominicus Lampsonius and Hieronymus Cock. This group of intellectuals and artists was the first to develop theories on art and the role of artists in the Low Countries. In 1549 Floris was commissioned by the Antwerp city authorities to design the decorations for the Joyous entry into Antwerp of Charles V of Spain and the Infante Philip.

His brother Cornelis designed a palace for him in Antwerp with a façade of blue limestone and with luxurious decorations such as gilded leather wall-coverings in the bedroom. The façade itself was designed by Frans. His design program for the façade was intended to illustrate the high status of artists in society. He painted the façade with seven personifications symbolizing the qualities and skills of an artist: Accuracy (Diligentia), Practice (Usus), Labor (Labor), Diligence (Industria), Experience (Experientia), Praise (Lauda) and Architecture (Architectura). Above the doorway of the house a relief depicted the sciences (the seven liberal arts together with painting and architectures) as the principal components of human society. The unknown monogrammist TG portrayed the façade in 1576 in a print. Jozef Linnig made a drawing of the palace in the 19th century but by that time most of the decoration of the façade had disappeared. Floris expressed similar ideas in his composition The awakening of the Arts (Museo de Arte de Ponce).

In 1547 Floris married Clara Boudewijns and the couple had one daughter and two sons. The sons Frans and Baptist were later trained as artists by their father. Baptist died young while Frans moved to Italy where he had a successful career.

Frans Floris was known to be hardworking as is testified by his motto: Als ick werck, dan leef ick: als ick spelen gae, dan sterf ick. This means "When I work, I live: when I play, I die." Van Mander recounts that Floris nearly always had a large commission in his workshop on which he would work late at night, and that when he dozed off his pupils would take off his shoes and stockings and put him to bed before they left. Van Mander cites Frans Menton who asserted Floris was loved by his pupils for allowing them more freedom than other Antwerp masters. When a small group of his pupils met up for a reunion after his death they were able to compile a list of 120 of his pupils.

Van Mander recounts that at the end of his life Floris became heavily indebted and started drinking. The debts were likely related to his high costs of living as well as the impact of the Beeldenstorm or Iconoclastic Fury that commenced from the 1560s and reached its peak in 1566. During the period of iconoclasm, Catholic art and many forms of church fittings and decoration were destroyed by nominally Calvinist Protestant crowds as part of the Protestant Reformation. It is said Floris never recovered from the shock of seeing his artworks destroyed. Instead, he found himself in a downward spiral in both his personal and professional affairs. His disaffection was so great that he even refused to restore his own works damaged during the Beeldenstorm. He virtually stopped painting after 1566 and his place as the leading history painter in the Habsburg Netherlands was taken by a younger generation of artists among whom Marten de Vos became the most prominent.

Van Mander recounts that while working on a large commission for the grand prior of Spain, Floris became ill and died on 1 October 1570 in Antwerp. His paintings for the grand prior were finished by his studio assistants Frans Pourbus the Elder and Chrispijn van den Broeck. Poems were written about him by Dominicus Lampsonius and the poet-painter Lucas de Heere, who according to van Mander, was his pupil.

Pupils

The Netherlands Institute for Art History identifies the following pupils of Frans Floris: Joos de Beer (later the teacher of Abraham Bloemaert), George Boba, Hendrick van den Broeck, Marten van Cleve, Ambrosius Francken, Frans Francken I, Frans Menton (known for schutterstukken in Alkmaar), and Isaac Claesz van Swanenburg. Van Mander lists 26 pupils of Floris, but he may have had as many as 120 assistants. Van Mander's list includes Chrispijn van den Broeck, Joris van Ghent (who served Philip II of Spain), Marten (and his brother Hendrick) van Cleve, Lucas de Heere, Anthonie Blocklandt van Montfoort, Thomas van Zirickzee, Simon van Amsterdam, Isaac Claesz van Swanenburg (spelled Isaack Claessen Cloeck), Frans Menton, George Boba, the three Francken brothers Jeroen, Frans and Ambrosius, Joos de Beer, Hans de Maier van Herentals, Apert Francen van Delft, Lois van Brussel, Thomas van Coelen, Hans Daelmans van Antwerpen, Evert van Amersfoort, Herman van der Mast, Damiaen van der Goude, Jeroen van Vissenaken, Steven Croonenborgh uyt den Hage, and Dirck Verlaen van Haerlem.

The long list of pupils and assistants shows that Frans Floris had upon his return to Antwerp adopted the studio practices that he had witnessed in Italy. He relied on a large number of assistants who came from all over the southern and northern Netherlands and even Germany. Floris invented and developed the use of study heads, which were life-size representations of people's heads, which he painted in oil on panel. These were then given to his assistants, either for literal transcription or for freer adaptations. His assistants' role is not always clear and may have ranged from painting after his study heads to adding landscape backgrounds. They also copied his compositions, either in paint or on paper, for reproduction by engravers.

General
Comparatively few of his works have survived, possibly because many were destroyed during the iconoclastic destructions in Antwerp in the second half of the sixteenth century. The earliest extant canvas by Floris is the Mars and Venus ensnared by Vulcan in the Gemäldegalerie, Berlin (1547).

Frans Floris is mainly known for his altarpieces, compositions with mythological and allegorical themes and to a lesser extent, for his portraits. He played an important role in introducing the genre of mythological and allegorical subject-matter into Flanders. He was one of the first Netherlandish artists to travel to Italy and study the latest developments in art as well as the Classical relics of Rome. The principal contemporary influences were Michelangelo from whom he borrowed the heroic treatment of the nude and Raphael whom he emulated by developing a ‘relief-like’ idiom. Floris did, however, not abandon the traditional Netherlandish technique of oil paint, which allowed him to fuse its detailed, descriptive properties with his radically new visual language, in which embellishments were reduced to a minimum and the nude played a prominent role.

Floris’ early work of around 1545 shows most clearly the influence of his Italian sojourn. It shows similarities with the work of other Romanists such as Lambert Lombard and Pieter Coecke van Aelst. Later his style became increasingly monumental. His compositional skills improved in that he showed more skill in the arrangement of the figures. After 1560 his work became more Mannerist and the sculptural handling of the figures gave way to a more painterly approach. His palette evolved towards the monochrome. Later he may have been influenced by the school of Fontainebleau as his figures became more elegant and the works more refined.

Just like his brother Cornelis was able to exert influence on contemporary architecture across the borders of Flanders through the medium of the Antwerp publishers, Floris’ work found wide circulation through engravings made by the leading Antwerp engravers. Hieronymus Cock, Philip Galle and Cornelis Cort were the principal engravers involved in this effort but others such as Johannes Wierix, Balthazar van den Bos, Pieter van der Heyden, Frans Huys, Dirck Volckertsz. Coornhert and Jan Sadeler I also made engravings after the works of Frans Floris. Floris also made original designs for series of prints engraved in Antwerp.

Portraits
He was a very skilled portraitist but, possibly because of the lower ranking of portraiture in the hierarchy of pictorial genres, he painted only a few (possibly about 12) portraits. He is still regarded as an innovator of the genre as he introduced a new level of expressiveness and accentuated psychological presence. Floris pioneered two types of images in the late 1540s: expressive portraits of individual sitters and head studies on panels. By 1562, Floris’ distinctive head studies had become a form of authorial performance, which bore witness to his creative genius and the workshop practices that he had imported from Italy. While the head studies were made for his own use as well as for the pupils and assistants in his workshop, some were clearly also produced as artworks in their own right. The rapid, expressive brushwork of these panels suggests that he painted some heads as creative studies and thus anticipate in a certain way the tronies of 17th-century artists. These studies became collector's items for local art lovers. The head studies testify to the self-conscious artistic culture of Antwerp, where they were valued for their authorship rather than their preparatory value.

Frans Floris made a self-portrait, the original of which has been lost and which is known through a copy in the Kunsthistorisches Museum. He included self-portraits in some of his religious works such as the composition Rijckart Aertsz as Saint Luke in which he included himself as the pigment grinder and in the composition Allegory of the Trinity (Louvre) where beneath Christ's outstretched right arm he painted his self-portrait, which appears out of scale with the other heads around him. The inclusion of his portrait in the latter composition suggests that the painting held a highly personal meaning for the artist. It has been observed that after the iconoclasm of the Beeldenstorm Flemish artists started including their portraits in religious compositions in order to show their personal commitment to the particular message that the compositions were trying to convey.

Floris painted some family portraits. An example is the Family portrait in the Museum Wuyts-Van Campen en Baron Caroly, Lier, which is dated 1561. It was traditionally believed to depict the Berchem family, a prominent family. However, this is no longer accepted unanimously. The painting has two inscriptions, one in the painting itself, the other on its original frame. The first inscription appears on a portrait hanging on the wall behind the figures. It states that the man depicted in the portrait died on 10 January 1559, aged 58 years. The second is the Latin text written at the top and bottom of the frame of the painting. It translates as follows: "As in life there can be nothing happier than a marriage in unison and a bed without discord, there is nothing more pleasant than to see one's offspring in unison enjoy peace with an immaculate mind, 1561". The painting thus simultaneously served as a memento of the deceased father and an expression of the feelings of togetherness of his descendants. Floris depicts all the members of the family performing and attending a concert of music, which emphasized this notion of 'concordia', i.e. the harmony within the family.

title: Frans Floris


text:
Leonard Hobhouse

Leonard Trelawny Hobhouse, FBA (8 September 1864 – 21 June 1929) was an English liberal political theorist and sociologist, who has been considered one of the leading and earliest proponents of social liberalism. His works, culminating in his famous book Liberalism (1911), occupy a seminal position within the canon of New Liberalism. He worked both as an academic and a journalist, and played a key role in the establishment of sociology as an academic discipline; in 1907 he shared, with Edward Westermarck, the distinction of being the first professor of sociology to be appointed in the United Kingdom, at the University of London. He was also the founder and first editor of The Sociological Review. His sister was Emily Hobhouse, the British welfare activist.

Life
Hobhouse was born in St Ive, near Liskeard in Cornwall, the son of Reginald Hobhouse, an Anglican clergyman, and Caroline Trelawny. He attended Marlborough College before reading Greats at Corpus Christi College, Oxford, where he graduated with a first-class degree in 1887. Upon his graduation, Hobhouse remained at Oxford as a prize fellow at Merton College before becoming a full fellow at Corpus Christi. Taking a break from academia between 1897 and 1907, Hobhouse worked as a journalist (including a stint with the Manchester Guardian) and as the secretary of a trade union. In 1907, Hobhouse returned to academia, accepting the newly-created chair of sociology at the University of London, titled the Martin White Professor of Sociology, where he remained until his death in 1929.

Hobhouse was also an atheist from an early age, despite his father being an archdeacon. He believed that rational tests could be applied to values and that they could be self-consistent and objective.

Hobhouse was never religious. He wrote in 1883 that he was "in politics... a firm radical. In religion... an (if possible yet firmer) agnostic". In terms of his political and philosophical views, Hobhouse was Gladstonian; a devoted follower of the philosopher John Stuart Mill; and an admirer of John Morley, Bradlaugh; and Sir Charles Dilke, 2nd Baronet. These influences led him to various feminist, democratic and secularist political stances. He often proposed republican and democratic motions at debating societies while he was at school.

Economic policy
Hobhouse was important in underpinning the turn-of-the-century 'New Liberal' movement of the Liberal Party under leaders like H. H. Asquith and David Lloyd George. He distinguished between property held 'for use' and property held 'for power'. Governmental co-operation with trade unions could therefore be justified as helping to counter the structural disadvantage of employees in terms of power. He also theorised that property was acquired not only by individual effort but by societal organisation. Essentially, wealth had a social dimension and was a collective product. That means that those who had property owed some of their success to society and thus had some obligation to others. He believed that to provide theoretical justification for a level of redistribution provided by the new state pensions.

Hobhouse disliked Marxist socialism and described his own position as liberal socialism and later as social liberalism. Hobhouse thus occupied a particularly-important place in the intellectual history of the Liberal Democrats.

Civil liberty
His work also presents a positive vision of liberalism in which the purpose of liberty is to enable individuals to develop, not solely that freedom is good in itself. Hobhouse said that coercion should be avoided not for lack of regard for other people's well-being but because coercion is ineffective at improving their lot.

While rejecting the practical doctrines of classical liberalism like laissez-faire, Hobhouse praised the work of earlier classical liberals like Richard Cobden in dismantling an archaic order of society and older forms of coercion. Hobhouse believed that one of the defining characteristics of liberalism was its emancipatory character, something that he believed ran constant from classical liberalism to the social liberalism he advocated. He nevertheless emphasised the various forms of coercion already existing in society apart from government. Therefore, he proposed that to promote liberty, the state must ameliorate other forms of social coercion.

Hobhouse held out hope that Liberals and what would now be called the social democrat tendency in the nascent Labour Party could form a grand progressive coalition.

Foreign policy
Hobhouse was often disappointed that fellow collectivists in Britain at the time also tended to be imperialists. Hobhouse opposed the Boer War, and his sister, Emily Hobhouse, did much to draw attention to the abject conditions in the concentration camps established by the British Army in South Africa. Initially opposing the First World War, he later came to support the war effort. He was an internationalist and disliked the pursuit of British national interests as practised by the governments of the day. During the war, Hobhouse criticised the British Idealists such as Bernard Bosanquet in his book The Metaphysical Theory of the State (1918) for being Hegelians and therefore Germanizers.

Works

 * The Labour Movement (1893) reprinted 1912
 * Theory of Knowledge: a contribution to some problems of logic and metaphysics (1896)
 * Mind in Evolution (1901)
 * Democracy and Reaction (1905)
 * Morals in Evolution: a Study in Comparative Ethics in two volumes (1906)
 * Part I
 * Part II

 * Liberalism (1911)
 * Social Evolution and Political Theory (1911)
 * Development and Purpose (1913)
 * The Material Culture and Social Institutions of the Simpler Peoples : An Essay in Correlation (London:  Chapman and Hall, 1915, reprinted 1930).
 * Questions Of War And Peace (1916)
 * The Metaphysical Theory of the State: a criticism (1918)
 * The Rational Good: a study in the logic of practice (1921)
 * The Elements of Social Justice (1922)
 * Social Development: its Nature and Conditions (1924)
 * Sociology and Philosophy: a Centenary Collection of Essays and Articles (1966), with a preface by Sydney Caine and an introduction by Morris Ginsberg

title: Leonard Hobhouse


text:
Talk:Fight the Power... Live!

Untitled
Are you really sure, this is an album? I have this work of art as a VHC-cassette and it has concert recordings. And that photo of this work does not look like CD- or LP-record but rather VHS-cassette.

--juhtolv 04:06, 4 August 2007 (UTC)

title: Talk:Fight the Power... Live!