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Rose Fyleman

Rose Amy Fyleman (6 March, 1877–1 August, 1957) was an English writer and poet, noted for her works on the fairy folk, for children. Her poem "There are fairies at the bottom of our garden" was set to music by English composer Liza Lehmann. Her carol "Lift your hidden faces", set to a French carol tune, was included in the Anglican hymnal Songs of Praise (1925), The Oxford Book of Carols (1928) as well as in the Hutterian Brotherhood's Songs of Light (1977).

Life and works
Rose Fyleman was born in Nottingham on 6 March 1877, the third child of John Feilmann and his wife, Emilie, née Loewenstein, who was of Russian extraction. Her father was in the lace trade, and his Jewish family originated in 1860 from Jever in the Grand Duchy of Oldenburg, currently Lower Saxony, Germany.

As a young girl, Fyleman was educated at a private school, and at the age of nine first saw one of her compositions published in a local paper. Although she entered University College, Nottingham, she failed in the intermediate and was thus unable to pursue her ambition of becoming a schoolteacher. Despite this, Fyleman had a good singing voice, and therefore decided to study music. She studied singing in Paris, Berlin and finally at the Royal College of Music in London, where she received her diploma as associate of the Royal College of Music. She returned to Nottingham shortly afterward, where she taught signing and helped in her sister's school. Along with other members of her family, she anglicised the spelling of her name at the outbreak of the First World War in 1914.

When she was forty, Fyleman sent her verses to Punch magazine and her first publication "There are Fairies at the Bottom of Our Garden" appeared in May 1917. The immense response from publishers prompted Fyleman to submit several other fairy poems. Her verses enjoyed tremendous success among readers and her first collection Fairies and Chimneys (1918) was reprinted more than twenty times over the next decade. During the 1920s and early 1930s Rose Fyleman published multiple verse collections, wrote drama for children, and for two years, edited the children's magazine Merry-Go-Round. Fyleman was also a skilled linguist who translated books from German, French and Italian, including the Bibi children's stories of Danish writer Karin Michaëlis.

Rose Fyleman was one of the most successful children's writers of her generation and she saw much of her earlier poetry become proverbial. She died at a nursing home in St. Albans, Hertfordshire on 1 August 1957.

Poem about Winnipeg
In December 1929, Rose Fyleman was invited to Winnipeg, Canada, as the guest speaker at a couple of women's clubs. She was staying at the Fort Garry Hotel, near the Manitoba Parliament Building on Broadway Ave. One evening, Rose and the president of one of the clubs decided to take a stroll to the parliament building, so that Rose could view the statue of Queen Victoria, located on its front lawn. It was such a beautiful winter evening that when they got back to the hotel, Rose was inspired to write a poem entitled "Winnipeg at Christmas." The poem appeared in print soon after—on New Year's Day, 1930—in the British magazine Punch. This poem is familiar to many inhabitants of Winnipeg, who were first exposed to it in school, and is often cited during the Christmas season. Fred Penner, a children's entertainer from Winnipeg, included it on his 1990 recording for Christmas, entitled "The Season." In 2018 The Winnipeg Singers, a choir from Winnipeg, commissioned composer Michael A. McKay to write a choral setting of the poem and premiered it in their 2018 Christmas concert, "In Winnipeg It's Christmas".

Published works
(from the Poetry Foundation)

Juvenile

 * The Rainbow Cat and Other Stories, illustrations by Thelma Cudlipp Grosvenor, Methuen (London, England), 1922, Doran (New York, NY), 1923.
 * Forty Good-Night Tales, illustrations by Thelma Cudlipp Grosvenor, Methuen (London, England), 1923, Doran (New York, NY), 1924.
 * The Adventure Club, illustrations by A. H. Watson, Methuen (London, England), 1925, Doran (New York, NY), 1926.
 * Letty: A Study of a Child, illustrations by Lisl Hummel, Methuen (London, England), 1926, Doran (New York, NY), 1927.
 * Forty Good-Morning Tales, Methuen (London, England), 1926, Doran (New York, NY), 1929.
 * Twenty Tea-Time Tales, Methuen (London, England), 1929, published as Tea Time Tales, Doubleday (New York, NY), 1930.
 * The Dolls' House, illustrations by Margaret Tempest, Methuen (London, England), 1930, Doubleday (New York, NY), 1931.
 * The Katy Kruse Play Book, illustrations by Katy Kruse, McKay (Philadelphia, PA), 1930.
 * The Strange Adventures of Captain Marwhopple, illustrations by Gertrude Lindsay, Methuen (London, England), 1931, Doubleday (New York, NY), 1932.
 * The Easter Hare, and Other Stories, illustrations by Decie Merwin, Methuen (London, England), 1932.
 * Jeremy Quince, Lord Mayor of London, illustrations by Cecil Leslie, Cape (London, England), 1933.
 * The Princess Dances, illustrations by Cecil Leslie, Dent (London, England), 1933.
 * Timothy's Conjuror, Methuen (London, England), 1942.
 * The Timothy Boy Trust, illustrations by Marjorie Wratten, Methuen (London, England), 1944.
 * Hob and Bob: A Tale of Two Goblins, illustrations by Charles Stewart, Hollis & Carter (London, England), 1944.
 * Adventures with Benghazi, illustrations by Peggy Fortnum, Eyre & Spottiswoode (London, England), 1946.
 * The Smith Family at the Seaside, Arnold (Leeds, England), 1947.
 * The Smith Family in the Country, Arnold (Leeds, England), 1947.
 * The Smith Family in Town, Arnold (Leeds, England), 1947.
 * Nursery Stories, Evans (London, England), 1949.
 * Lucy the Lamb, Eyre & Spottiswoode (London, England), 1951.
 * Neddy the Donkey, Eyre & Spottiswoode (London, England), 1951.
 * The Sparrow and the Goat, Eyre & Spottiswoode (London, England), 1951.
 * The Starling and the Fox, Eyre & Spottiswoode (London, England), 1951.
 * White Flower, illustrations by M. E. Stewart, Arnold (Leeds, England), 1953.

Poetry; Juvenile

 * The Sunny Book, illustrations by Millicent Sowerby, Oxford University Press (London, England), 1918.
 * Fairies and Chimneys, Methuen (London, England), 1918, Doran (New York, NY), 1920.
 * The Fairy Green, Methuen (London, England), 1919, Doran (New York, NY), 1923.
 * The Fairy Flute, Methuen (London, England), 1921, Doran (New York, NY), 1923.
 * A Small Cruse, illustrations by Katy Kruse, Methuen (London, England), 1923.
 * The Rose Fyleman Fairy Book, Doran (New York, NY), 1923.
 * Fairies and Friends, Methuen (London, England), 1925, Doran (New York, NY), 1926.
 * The Rose Fyleman Calendar, illustrations by Lisl Hummel, Methuen (London, England), 1927.
 * (With others) Joy Street Poems, Blackwell (Oxford, England), 1927.
 * A Princess Comes to Our Town, illustrations by Gertrude Lindsay, Methuen (London, England), 1927, Doubleday (New York, NY), 1928.
 * (Editor) Round the Mulberry Bush: Being a Book of Stories and Verses for Children, Dodd, Mead (New York, NY), 1928.
 * Old-Fashioned Girls, and Other Poems, illustrations by Ethel Everett, Methuen (London, England), 1928.
 * A Garland of Rose's: Collected Poems of Rose Fyleman, illustrations by René Bull, Methuen (London, England), 1928.
 * Gay Go Up, illustrations by Decie Merwin, Methuen (London, England), 1929, Doubleday (New York, NY), 1930.
 * Fifty-One New Nursery Rhymes, illustrations by Dorothy Burroughes, Methuen (London, England), 1931, Doubleday (New York, NY), 1932.
 * (With Thomas F. Dunhill) The Blue Rhyme Book (text by Fyleman; music by Dunhill), Boosey-Methuen (London, England), 1933.
 * (Editor) Sugar and Spice: A Collection of Nursery Rhymes, New and Old, illustrations by Janet Laura Scott, Whitman (Racine, WI), 1935.
 * (Editor) Here We Come A'Piping, illustrations by Irene Mountfort, four volumes, Blackwell (Oxford, England), 1936–37, one-volume edition, Stokes (New York, NY), 1937.
 * (Editor) A'Piping Again, illustrations by Irene Mountfort, Blackwell (Oxford, England), 1936, Stokes (New York, NY), 1938.
 * (Editor) Bells Ringing: An Anthology of Verse for Young Children, illustrations by Irene Mountfort, Blackwell (Oxford, England), 1938, Stokes (New York, NY), 1939.
 * (Editor) Pipe and Drum: An Anthology of Verse for Young Children, illustrations by Irene Mountfort, Blackwell (Oxford, England), 1939, Stokes (New York, NY), 1940.
 * Runabout Rhymes, illustrations by Margaret Tempest, Methuen (London, England), 1941.
 * Number Rhymes, Arnold (Leeds, England), 1946.
 * Rhyme Book for Adam, Methuen (London, England), 1949.
 * (Editor) Over the Tree Tops: Nursery Rhymes from Many Lands, Blackwell (Oxford, England), 1949.
 * A Fairy Went A-Marketing, illustrations by Jamichael Henterly, Dutton (New York, NY), 1986.

Plays; Juvenile

 * Eight Little Plays for Children (includes Darby and Joan, The Fairy Riddle, Noughts and Crosses, The Weather Clerk, The Fairy and the Doll, Cabbages and Kings, In Arcady, and Father Christmas), Methuen (London, England), 1924, Doran (New York, NY), 1925.
 * Seven Little Plays for Children (includes The Princess and the Pirate, The Mermaid, Peter Coffin, The Arm-Chair, Mother Goose's Party, The Coming of Father Christmas, and The Butcher, the Baker, the Candlestick Maker), Methuen (London, England), 1928.
 * Nine New Plays for Children (includes The Whisker, The Moon, Cinderella "At Home," The Sampler, Three Naughty Imps, The Test, Sleeping Beauty, Father Christmas Comes to Supper, and Surprise, the Imp), illustrations by Eleanor L. Halsey, Nelson (New York, NY), 1934.
 * Six Longer Plays for Children (includes Snow-White, Porridge, Pork-Pie Night, The Beat, The Gus-Plug, and The Angry Brownies), illustrations by Eleanor L. Halsey, Nelson (London, England), 1936.
 * The Magic Pencil, and Other Plays from My Tales (includes The Carpet of Truth, Captain Marwhopple, The Rhyming Prince, The Magic Pencil, The Chestnut Man, The Three Princesses, Troodle, and A Legend of St. Nicholas), Methuen (London, England), 1938.
 * The Spanish Cloak, Methuen (London, England), 1939.
 * (Adaptor; with Will Grant) Red-Riding Hood, music by Grant, Oxford University Press (Oxford, England), 1949.

Translations; Juvenile

 * Karin Michaëlis, Bibi, illustrations by Hedvig Collin, Allen & Unwin (London, England), 1933.
 * Karin Michaëlis, Bibi Goes Travelling, illustrations by Hedvig Collin, Allen & Unwin (London, England), 1934.
 * Widdy-Widdy-Wurkey: Nursery Rhymes from Many Lands, illustrations by Valerie Carrick, Blackwell (Oxford, England), 1934, published as Picture Rhymes from Foreign Lands, Stokes (New York, NY), 1935, published as Nursery Rhymes from Many Lands, Dover (New York, NY), 1971.
 * Karin Michaëlis, Green Island, illustrations by Hedvig Collin, Allen & Unwin (London, England), 1936.
 * Lida, Père Castor's Wild Animal Books, eight volumes, illustrations by Rojan, Allen & Unwin, 1937–42.
 * Jan Karafiat, Fireflies, illustrations by Emil Weiss, Allen & Unwin (London, England), 1942.
 * Alfred Flueckiger, Tuck: The Story of a Snow Hare, illustrations by Grace Huxtable, Lane (London, England), 1949.
 * Marie-Louise Ventteclaye, Simone and the Lilywhites, Museum Press (London, England), 1949.
 * Lillian Miozzi, The Adventures of Tommy, the Cat Who Went to Sea, illustrations by Charlotte Hough, Lane (London, England), 1950.
 * Lily Martini, Peter and His Friend Toby, illustrations by Wolfgang Felten, Lane (London, England), 1955.

Other

 * A Little Christmas Book, illustrations by Lisl Hummel, Methuen (London, England), 1926, Doran (New York, NY), 1927.
 * The Katy Kruse Dolly Book, illustrations by Katy Kruse, Doran (New York, NY), 1927.
 * (Translator) Songs, Curwen (London, England), 1927.
 * The Second Katy Kruse Dolly Book, Harrap (London, England), 1930.
 * Hey! Ding-a-Ding, University of London Press (London, England), 1931.
 * The Rose Fyleman Birthday Book, illustrations by Muriel Dawson and Margaret Tarrant, Medici Society (London, England), 1932.
 * (With Thomas F. Dunhill) Happy Families (opera; produced in 1933), music by Dunhill, Methuen (London, England), 1933.
 * Bears, illustrations by Stuart Tresilian, Nelson (New York, NY), 1935.
 * Monkeys, Nelson (New York, NY), 1936.
 * (With E. M. D. Wilson) Billy Monkey: A True Tale of a Capuchin, illustrations by Cecil Leslie, Nelson (London, England), 1936, Nelson (New York, NY), 1937.
 * A Book of Saints: Joan of Arc to St. Nicholas, illustrations by Gertrude Mittelman, Methuen (London, England), 1939.
 * Folk-Tales from Many Lands, Methuen (London, England), 1939.
 * (Translator) After All (play), Methuen (London, England), 1939.
 * (Editor) Let's Play, Grout (London, England), 1943.
 * (Editor) Punch and Judy, illustrations by Paul Henning, Methuen (London, England), 1944.
 * Daphne and Dick: An Uncle from Canada, illustrations by Jeannetta Vise, Macdonald (London, England), 1952.
 * Daphne and Dick: Round and About, illustrations by Jeannetta Vise, Macdonald (London, England), 1952.
 * Founding editor, The Merry-Go-Round, 1923–24.
 * Contributor to periodicals, including Horn Book and Punch.

title: Rose Fyleman


text: Category:Presidents of the Philippines

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title: Category:Presidents of the Philippines


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Go (verb)

The verb go is an irregular verb in the English language (see English irregular verbs). It has a wide range of uses; its basic meaning is "to move from one place to another". Apart from the copular verb be, the verb go is the only English verb to have a suppletive past tense, namely went.

Principal parts
The principal parts of go are go, went, gone. In other respects, the modern English verb conjugates regularly. The irregularity of the principal parts is due to their disparate origin in definitely two and possibly three distinct Indo-European roots.

Unlike every other English verb except be, the preterite (simple past tense) of go is not etymologically related to its infinitive. Instead, the preterite of go, went, descends from a variant of the preterite of wend, the descendant of Old English wendan and Middle English wenden. Old English wendan (modern wend) and gān (mod. go) shared semantic similarities. The similarities are evident in the sentence "I'm wending my way home", which is equivalent to "I'm going home".

Etymology
Go descends from Middle English gon, goon, from Old English gān, from Proto-Germanic *gāną, from Proto-Indo-European (PIE) *ǵʰēh₁- 'to go, leave'. Cognates in the Germanic languages include West Frisian gean, Dutch gaan, Low German gahn, German gehen, Danish, Norwegian, Swedish gå, Crimean Gothic geen.

Origin of ēode
Old English did not use any variation of went for the general preterite of go; instead, the word ēode (variant ġeēode) was used, which lingered on as the now obsolete yede, yode and yead.

Old English ēode 'he went' (plural ēodon) is made up of a defective preterite base ēo- and the weak dental suffix -de common in most modern English past tense forms (cf. ache : ached). The base ēo- and its Gothic counterpart iddja (pl. iddjedun) show the following development:
 * PIE perfect singular * (singular) → Proto-Germanic *ijō-dē → *eōdæ → ēode
 * PIE perfect plural * (plural) → *jejj- (Holtzmann's law) → *jijj- (i-mutation) → Proto-Germanic *ijjēdun- → Gothic iddjēdun.

Both forms are derived from the PIE root *' (late *') based on close matches with past tense forms of Sanskrit yā́ti 'he goes, travels' (cf. imperfect áyāt, perfect yayáu, and aorist áyāsam). The root is regarded as an iterative-intensive derivative of the more common *' 'to go' (present *'). One reflex of * is Latin īre 'to go' (present eō 'I go') which gave many English words such as ambition, exit, introit, issue, preterite, and so forth. It is also found in the Slavic languages as iti and similar forms.

Development of a new preterite
In Middle English, ēode evolved into ȝede, yede, and yode. By the 15th century in southern England, wende (wend) had become synonymous with go, but its infinitive and present tense forms had ceased to be in frequent use. This was also true of the various ēode-derived preterites of go, thus a variant preterite of wend absorbed the function. After went became established as the preterite of go, wend took on a new preterite, wended. In Northern English and Scots, yede was gaed, regularly formed by suffixing -ed to a variant of go. Due to the influence of the region, southern English forms constitute the standard language of England, and so went is the standard English preterite. Spencer used yede to mean go with yode as its preterite form but as dialect.

Origin of went
Went, the modern past tense of go, was originally the preterite form of Middle English wenden 'to turn, direct; depart' (modern English wend), from Old English wendan (past wende, ġewend), itself from Proto-Germanic *wandijaną 'to turn' (transitive). Cognates include West Frisian weine, Dutch, Low German, German wenden, Yiddish ווענדן (vendn), Swedish vända, Danish, Norwegian vende, and Gothic wandjan. The original forms of the ME past tense were wende, wended (our modern form), and past participle wend, but variant wente developed from about 1200. By ca. 1500, wended had prevailed in the transitive senses, whereas wente, restricted to intransitive senses, rivalled and replaced go's older past tense, yede/yode.

Proto-Germanic *wandijaną is a causative derivative of *windaną 'to wind, wrap', from which the modern English verb wind developed. Cognates include West Frisian wine, Dutch, Low German, German winden, Swedish vinda, Danish and Norwegian vinde, and Gothic -windan (in biwindan 'to wind around, wrap'). PGmc *windaną comes from Proto-Indo-European * 'to wind, twist', which also gave Umbrian preuenda 'turn!' (imperative), Tocharian A/B wänt/wänträ 'covers, envelops', Greek (Hesychius) áthras 'wagon', Armenian gind 'ring', and Sanskrit vandhúra 'carriage framework'.

Summary of the main Proto-Indo-European roots
Go is historically derived from at least three Proto-Indo-European roots: *ǵʰēh₁, the source of go and gone (← ME gon, ygon ← OE ġegān); *h₁ei, the source of ēode; and *u̯endʰ, the source of went as well as wend and wind. Only two roots are continually used in their modern English reflexes go/gone and went.

Suppletion in other Germanic languages
The Dutch, Low German, German, and Scandinavian verbs cognate to go, e.g. Dutch gaan, Low German gahn, German gehen, and Danish/Norwegian/Swedish gå, also have suppletive past forms, namely the preterite ging of Dutch and German, güng of Low German, gick (from the same source) of Danish, Norwegian and Swedish, and the past participle gegangen of German. These forms are relics from earlier, more widespread words that meant 'to walk, go' and which survive sporadically in Scots gang, East Frisian gunge, and Icelandic ganga. Some obsolete cognates include Middle Low German, Middle High German gangen, early modern Swedish gånga, and Gothic gaggan. These are reflexes of Proto-Germanic *ganganą, from Proto-Indo-European * 'to step', which also gave Lithuanian žeñgti 'to stride', Greek kochōnē 'perineum', Avestan zanga 'ankle', and Sanskrit jáṁhas 'step', jaṅghā 'shank'.

Therefore, the case of English go is not unique among the Germanic languages, and it would appear that most have in a like manner reproduced equivalent suppletive conjugations for their words for 'to go', suggesting a cyclical change patterned after the state of affairs in Proto-Germanic.

Phrasal forms
The verb may be combined with various prepositions to form phrasal verbs such as "go around" and "go off".

The verb go is used to form the going to future, in sentences like "I'm going to finish my work today."

Perfect forms
In perfect forms of the verb (have gone, had gone, etc.) the past participle gone is often replaced by that of be, namely been. For example:
 * He's been to the shops. (He went and came back)
 * He's gone to the shops. (He's there now)

For details of this usage, see have been.

title: Go (verb)


text: Category:Presidents of Austria

title: Category:Presidents of Austria


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Stavros Xarchakos

Stavros Xarchakos, Greek: Σταύρος Ξαρχάκος (born 14 March 1939) is a Greek composer and conductor.

Stavros Xarchakos was born in Athens, where he studied at the Athens Conservatoire. He has family origins from the Mani Peninsula. He emerged in the Greek music scene around 1963, composing music for the theatre and cinema. Among his collaborators was lyricist Lefteris Papadopoulos and singer Nikos Xylouris.

In 1967 he went to Paris to study with Nadia Boulanger. He stayed in Paris for four years, and then studied with David Diamond at the Juilliard School of Music in New York. He served as director of the National Orchestra of Greek Music.

He was later involved in politics and was elected Member of the Greek Parliament twice, before becoming a Member of the European Parliament (MEP) from 2000 to 2004. He was again a candidate for the European Parliament with New Democracy, in the elections of 25 May 2014, but was not elected.

Early life and education
Stavros Xarchakos was born on March 14, 1939, in the centre of Athens, where he lives to this day. He comes from Laconian Mani. Growing up in a neighbourhood of the capital, where the arts flourished, he came into contact with folk and rebetiko songs, but also with the European music, broadcast on the radio, while he was strongly influenced by church music. He also received musical inspiration from his grandmother, who played the guitar and sang along with arias from operas and cantadas. From an early age he showed an interest in music and attended cello and piano lessons.

In 1958 he was admitted to the Athens Conservatory, where his first studies in music took place. In 1968, while he was at a very productive moment in his career, wishing to develop his music and broaden his knowledge, he decided to study music and composition in Paris, as a student of the leading French musicologist and pedagogue Nadia Boulanger, until 1973.

In 1978, wishing to study the technique of classical music and immerse himself in harmony, composition and orchestra conducting, he decided to continue his studies at the Juilliard School in New York, at the urging of Leonard Bernstein, with whom he corresponded, after he was brought into contact with him by Kimon Friar, an internationally renowned academic and translator of the work of Nikos Kazantzakis. At the Juilliard School he studied alongside David Diamond for three years. He was taught score analysis under Bernstein for two years and conducted many concerts. An example is the concert held in New York, in which he conducted the city's Symphony Orchestra.

Career
At the beginning of his career, he distinguished himself as a composer of film and theatre music. His album production begins in 1963 and includes more than 45 records, music for 21 films and 15 television productions.

In 1961 he composed music for Jane Arden's play "The Party", while in 1963, at the age of 24, he took over the music composition for the emblematic film "Ta kokkina Fanaria", directed by Vassilis Georgiadis. The film received rave reviews and was nominated for an Academy Award for Best Foreign Language Film in 1964 and was suggested for nomination for the Palme d'Or prize at the Cannes Film Festival. The same-titled album was released that year and was enriched with new songs. A little later he composed music for the film "Lola" directed by Dinos Dimopoulos. Among the musical themes and songs of the film, "Hathike to Feggari" stood out, performed by Vicky Moscholiou.

In 1964, he composed the music for the songs included in a series of documentaries entitled "Melina's Greece", which were created by the American television network ABC to promote Greece. Melina Merkouri, performed the songs "Ti exei kai klaiei to paidi" and "Na me thymasai” with lyrics by Eftychia Papagiannopoulou and Vangelis Goufas, respectively.

In 1965 he composed the music for the film "Monterna Stachtompouta (Modern Cinderella)" written and directed by Alekos Sakellariou, while the following year for the film "Diplopenies" directed by Giorgos Scalenakis. The second film features the songs "Matia Vourkomena", "Stou Othona ta chronia" and "Me ti kardia (Farewell)", in lyrics by Nikos Gatsos, performed by the actor Dimitris Papamichail. The film was presented at the San Sebastián festival and the Cannes Film Festival under the title "the syrtaki" and travelled to Japan, England and France. The album was released the following year in an English version, with Grigoris Bithikotsis, Vicky Moscholiou and Stamatis Kokota as performers. In 1966, the album "I Ellas xwris syntrimia" was released, which includes his and Theodorakis songs. His music had accompanied the documentary of the same title by Angelos Lambros.

In 1968 he composed the music for the film "Koritsia ston Hlio", directed by Vasilis Georgiadis, which won -4- awards at the Thessaloniki Film Festival, including best music, while in 1969 the movie was nominated for the Golden Globe Award for Best Foreign Language Film. In 1968, his first work on the rebetiko song titled "Markos o daskalos mas" was released, which includes –12- songs by Markos Vamvakaris, from his own perspective.

In 1972, the film was presented in Japan. He also composed -5- of the songs included in Nana Mouschouri's album "Spiti mou Spitaki mou", with lyrics by Nikos Gatsos. In the same year, he composed the music for the film "Lysistrata", the well-known ancient comedy of Aristophanes. In 1973, he composed the music for the TV series "Oi emporoi twn ethnwn", based on the same-titled novel by Alexandros Papadiamantis. There, the memorable song "Htane mia fora" performed by Nikos Xylouris is heard for the first time.

In 1973, he also composed the music for the theatrical performance "To megalo mas tsirko", by Iakovos Campanellis, in which - using satire and drama - a look back at the modern history of the country takes place. The play became a vehicle for expressing the protest of the Greek citizens against the dictatorial regime and the actors were persecuted. After the restoration of democracy, he composed the music for the song "Proskynima" which was added to the performance to honour the victims of the Polytechnic University. In 1966, together with Manos Hadjidakis and Mikis Theodorakis, they fought for the abolition of art censorship, which had been imposed by the dictatorial regime. He and the performer Nikos Xylouris, used to sing at the Polytechnic University supporting the anti-dictatorship struggle of the students.

In 1974, the album "Nyn kai aei" was released, performed by Viki Moscholiou and Nikos Dimitratos, as well as the album "Syllogi" performed by Nikos Xylouris. In 1976 he composed the music for the play "O peirasmos" by Grigoris Xenopoulos, with the album of the same title released the following year with the protagonist of the play, Aliki Vougiouklakis, as the performer.

Also, driven by his love and interest in classical music, in addition to folk and art music, he has composed works for a symphony orchestra, among which stand out the symphonic poem of 1969 "Kyra-Panagia", the "Piano Concerto" of 1971, "Endopsis" of 1979 for baritone and orchestra, in poetry by Giorgos Seferis, the suite for orchestra of 1982 "Anamniseis".

Returning from his studies in New York in 1983, he composed the music for the film "To Rebetiko", directed by Kostas Ferris. The lyrics of the songs were written by Nikos Gatsos. The film won -4- awards at the Thessaloniki Film Festival, including the special music award. The film won the Silver Bear award at the 34th Berlin Film Festival, while at the same time it was distinguished at the Valencia and Alexandria Film Festivals. In the same year he composed the music for the BBC television series "The dark side of the Sun", filmed in Rhodes, while in 1986 he composed the music for the film "Sweet Country", directed by Michalis Kakogiannis, which deals with the events of the dictatorship in Chile.

In 1986, his song "Ta traina po fygan" was performed by the Greek mezzo-soprano Agnes Baltsa, to be included in the album released internationally entitled "Songs my country taught me". His collaboration with Mpaltsa includes concerts in major theatres of the world in Austria, Japan, the US and Germany.

In 1988, a concert was held at the "Pallas" theatre in which Giorgos Dalaras and Dimitra Galani performed, while an album was released the same year under the title "Synaulia". In 1989 he met musically - for the first and last time on stage - with Manos Hadjidakis and Mikis Theodorakis at the Olympic Stadium. He conducted the orchestra for a large part of the concert, with Mikis Theodorakis performing popular songs. Their musical coexistence in the concert that took place is one of the most emblematic moments in the history of modern Greek music.

In 1989 he was elected a municipal councillor in the Municipality of Athens and served as deputy mayor for Cultural Affairs. He was also elected as a Member of Parliament in Athens from 1989 to 1990, when he resigned.

In 1991, the album "To kata Markon" was released with lyrics by Nikos Gatsos and performance by Giorgos Dalaras. In 1994 he collaborated again with Nana Mouschouri, composing the music for the album "Agapi einai Zoi", for which lyrics were written by Nikos Gatsos and Manos Hadjidakis. In that year, he composed the music and took over the theatre direction for the play "Aman - Amen", which presents the history of the Rebetiko song. He was also awarded as Doctor of Fine Arts at Adelphi University of New York.

In 1995 he took over the artistic direction of the State Orchestra of Hellenic Music (KOEM) which he conducted in many concerts, nationally and internationally. In 1996 he composed the music for the lyrical tragedy LLanto por Ignacio Sanchez Mejias (Funeral Song for Ignacio Sanchez Mejias), based on the same-titled poem of Federico Garcia Lorca, which was directed by Pierre Jourdan and presented at the Imperial Theatre of Compiegne.

In 1996, he also held a concert at the Berlin Opera with the participation of Dimitra Galani and KOEM, while in 1998, in collaboration with the Gennadeion Library of Athens, he presented the performance "Ode Poreias - Ode for Journey", conducting KOEM at Carnegie Hall of New York. In 1999, he conducted the musical performance "Magikes Nychtes", which took place at the Herodes Atticus Conservatory. As a tribute to the fifteen years since the death of Vassilis Tsitsanis, -25- top songs were presented, in his own orchestrations.

In 1999, the "Requiem - Night and Light" concert was held, co-produced by Greece, France and Belgium, under the light of the full moon, and under the imposing rock of Meteora, Thessaly. The performance was inspired by the unfinished "Requiem" as composed by Mozart. He conducted the National Symphony Orchestra of Lithuania, while the choirs of Philippopolis, Lithuania and Belgrade also participated. In 2000, conducting the State Orchestra of Greek Music, he held a tribute concert at the Herodes Atticus Conservatory, for the 75th anniversary of Mikis Theodorakis birth, in which the composer was present. At the same year he presented the opera "Le visiter", while the following year he curated a concert - a tribute to the work of Mikis Theodorakis- in which he conducted the KOEM. Both performances were held at the Imperial Theatre in Compiegne, France.

From 2000 to 2004 he was elected and served as a Greek Member of the European Parliament. During his term of office, he focused his interest on culture and education issues, making speeches and submitting relevant proposals and suggestions, within the framework of his institutional role. From 2000 to 2002 he was a substitute member of the Culture, Youth, Education, Media and Sports Committee, while from 2002 to 2004 a regular member of the same Committee. Among other things, he was a regular member of the Development & Cooperation and Reports Committees.

In 2001, the world-famous tenor Jose Carreras, accompanied by the Vienna Symphony Orchestra, performed the song "Ta traina pou fygan" which was included under the title "Volve" on the album "Around the World".

In 2004, he composed the emblematic music, which was heard at the opening ceremony of the 28th Summer Olympic Games in Athens, "To zeibekiko tou Dia", by which he travelled Greek music all over the world. At the same time, he composed the music for the ancient tragedy "Troades" by Euripides, directed by Diagoras Chronopoulos. The premiere of the film took place in the ancient theatre of Epidaurus and from there it travelled to Turkey, where it was presented for the first time in the ancient theatre of Troy. From 2005 to 2006 he was the chairman of the Board of Directors of the Hellenic Cultural Foundation.

In 2006, he orchestrated the album "Erimia" by Mikis Theodorakis with lyrics by Lefteris Papadopoulos, with performers Maria Farandouri and Manolis Mitsias. In 2008, he conducted the KOEM in a concert with the mezzo-soprano Agnes Baltsa at the Athens Concert Hall, the proceeds of which were allocated to the charity "I Agapi". In 2009, he presented his opera "Syrano and Roxani" at the National Opera, in a co-production with the Compiagne Imperial Theatre of France.

With a continuous presence at the Conservatory of Herodes Atticus, which constitutes a place of indescribable value and beauty for the world's cultural heritage, he has created and performed unforgettable evenings celebrating music. In 2009, it was the place where his partnership with Agnes Baltsa was repeated with the concert entitled "The songs of my homeland". In 2011 he presented songs by Hadjidakis, Theodorakis and his own, allocating the proceeds to the charity organization "together for the child". Also, in 2013, as part of a tribute to Melina Merkouris, he held a concert, in the second part of the show, presenting songs performed by the great Greek actress. In 2014, a retrospective of his musical career took place, through the show "Mana mou Hellas".

A landmark is the concert held at Carnegie Hall in New York in 2014 entitled "Greece for a Lifetime" in which a nine-member folk orchestra participated, while Stamatis Kokotas and Iro Saia sang. In 2015, he composed music for the poem by Yiannis Ritsos "I sonata tou Selinofwtos" and held a performance at the Herodes Atticus Conservatory, in which the songs were performed by the famous Greek singer Marinella.

As part of his charity action, in 2016, he held a grand concert, with the aim of collecting food, in which he presented top songs of his musical career, in the packed Panathinaikos Stadium (Kallimarmaro). His songs were performed by renowned Greek singers.

He presented three major concerts in Cyprus in 2017, while in 2018, he held an opening concert at the international Oud artistic festival in Jerusalem. In 2019, he held a concert in Safra Square in Jerusalem, which was attended mainly by Israeli citizens, who love Greek music.

In 2018, the President of Israel awarded him at a ceremony which was held at the Ambassador's residence in Athens, for his valuable contribution and promotion of the development of Israel's and Greece's cultural bonds and relations. At the same year, he was awarded as an honorary Doctor of the Department of Digital Media and Communication of Technological Institute of Western Macedonia, while in 2019 he was honoured in the same way by the Department of Music of the Faculty of Philosophy of the National and Kapodistrian University of Athens.

In 2020, he held the concert "5 popular forms in an intensely erotic way", at the Herodes Atticus Conservatory, in the context of which songs from the works of Hadjidakis, Theodorakis, Tsitsanis, Vamvakaris and his own were presented. In 2021, on the occasion of the celebration of the -200- years since the liberation of Greece, he prepared and presented at the Conservatory a concert entitled "Thelei areti kai tolmi ... to tragoudi", paraphrasing the words of the Greek poet Andreas Kalvos. In 2022, a tribute concert to Nikos Xylouris was held, while this year two performances will be presented at the Conservatory, as part of the Athens and Epidaurus festival, during which he will enlist the power of songs which "point the way, are allies in the fight for a better life and banish fear", as he states.

His presence is intense and in a creative way and mood, he approaches Greek music by preparing performances, which are presented throughout the country, at festivals, archaeological monuments, emblematic theatres and places of historical value and importance. Through their conduct, he wishes to promote Greek songs and musical tradition and to contribute to their evolvement.

He has orchestrated many of his own songs, especially when they are going to be presented in concerts and performances, as well as other leading composers’ music in order to approach songs from his own perspective, bring out their identity and scope and breathe new life into them.

Together with Manos Hatzidakis and Mikis Theodorakis, they are considered the trio of leading Greek composers who created and established the "artistic folk" song, enriching its repertoire with popular songs and orchestral works.

Music
While he mainly composed in the style of Greek popular music, Laïka, Xarchakos also composed in the classical music genre.

His music has been recorded to 42 albums, has been used in 21 movies and for 15 TV productions. Internationally he is known as the composer for the Rembetiko film score, composing the music for the Werner Herzog film Signs Of Life, and composing the music for the 1983 BBC TV mini series, The Dark Side of the Sun.

title: Stavros Xarchakos


text:
Wikipedia:Articles for deletion/Teh

For a previous deletion debate see Articles for deletion/Teh (old)
 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was - kept

Teh
Non-notable "l33t" dicdef. Oh, and Something awful didn't invent the term either, Gaming-Age forums did. Delete Terrapin 21:25, 16 Oct 2004 (UTC)
 * Keep, quite notable, and a bit more than a dicdef.PlasmaDragon 22:07, 16 Oct 2004 (UTC)
 * Neutral. But I know a man named Andy Teh, who used to own a business called "Teh Construction Company". No joke. -- Jmabel | Talk 22:55, Oct 16, 2004 (UTC)
 * Maybe we should have an article for AAAAA. (Kidding.) Lotsa businesses jockey for yellow pages priority with that ploy. Gets them listed even before Aardvark Nosehair Removal.--NathanHawking 07:38, 2004 Oct 17 (UTC)
 * This has already gone through VfD in May and consensus was to keep. RickK 22:57, Oct 16, 2004 (UTC)
 * That was may, it's now October and it's still non-notable. We can revote.  Terrapin 00:23, 17 Oct 2004 (UTC)
 * Delete. Useless nonsense. Gamaliel 00:06, 17 Oct 2004 (UTC)
 * Delete. Drivel. --LeeHunter 01:07, 17 Oct 2004 (UTC)
 * Keep. Common enough to be recognised, and well enough written to be retained. Denni ☯ 02:41, 2004 Oct 17 (UTC)
 * Keep. It's used a lot on teh intarweb. bbx 03:45, 17 Oct 2004 (UTC)
 * Keep. A good article, and we have many that are just like it. Fishal 03:47, 17 Oct 2004 (UTC)
 * Delete: We shouldn't have many just like it or any. This is ephemera.  As for how widespread it is, it isn't unless you're of a certain age and mindset.  My first e-mail was 1989.  My first website was 1992.  Prior to those, I was using private BBS's.  I have hardly gone a day without using the web or Internet since, and yet 3 months ago I went on IRC for the first time and had to be told what "teh" was.  I think it's a bit myopic to think this is a global phenomenon or a stable one.  I should also point out that autocorrect takes any transposition into account, so the recognition of "teh" as a mistake is not remarkable.  In fact, I've always found it a very uncommon transposition among those who touch type.  For them, eth (firing of right and left hands in the wrong order) seems more common.  Geogre 04:01, 17 Oct 2004 (UTC)
 * If it's ephemera, then you can delete the article when no-one uses it. I also have a similar internet usage history to you - and I didn't know what the word exactly meant either.  I looked it up here.  Read this article actually - about a week ago - and then I knew.  Good old wikipedia with its inclusive article policy.  Keep.--Tomheaton 20:59, 17 Oct 2004 (UTC)
 * Delete. Not encyclopedic. --Improv 06:03, 17 Oct 2004 (UTC)
 * Delete. Lots of people spew coffee on their keyboards when they read something funny. Should we have a Coffee stains on keyboard article? Gimme a break. Trivial and transient.--NathanHawking 07:38, 2004 Oct 17 (UTC)
 * Keep Could be useful to some people, common usage. history of things like this is notable. - cohesion [[User_talk:Cohesion|☎]] 07:41, Oct 17, 2004 (UTC)
 * Delete. Wikipedia is not a spelling dictionary for common misspellings. If there is anything useful in this article, merge it into leet. jni 12:51, 17 Oct 2004 (UTC)
 * k33p. l33t 1z t3h g00d Passw0rd 17:17, 17 Oct 2004 (UTC)
 * Merge and direct to leetspeak. This is a fairly notable word in that category, and always a reliable source for comedy, but ignorable everywhere else. Ian Pugh 18:22, 17 Oct 2004 (UTC)
 * Comment. I was going to mention that this was a relisting, and see RickK has noted this above. I believe that when relisting something that has previously survived VfD, the nominator should mention the fact, recap the previous VfD history, link to the old discussion, and give a specific reason why the outcome should be different this time. I don't want to make a big hairy deal about this, it's a borderline article, last VfD was more than three months ago, and this is not a case of a contentious issue which is being deliberately relisted by POV-pushers. But unless someone can find the previous discussion—which seems to have been overwritten by this one?—so I can review what happened last time, how close the consensus was, and why the outcome went the way it did, I will vote "keep" on principle. [[User:Dpbsmith|Dpbsmith (talk)]] 18:55, 17 Oct 2004 (UTC) OK, make my vote a Keep on the basis that it is a relisting and that I think relistings require a careful justification, which has not been made. [[User:Dpbsmith|Dpbsmith (talk)]] 23:16, 18 Oct 2004 (UTC).
 * Strong keep, probably the most notable misspelling of the keyboard age (and hence its presence in leet), its certainly more notable on its own that leet is as a whole, and thus should not be merged there. — siro  χ  o  20:34, Oct 17, 2004 (UTC)
 * Keep. This goes well beyond a dictionary definition.  Smerdis of Tlön 11:45, 18 Oct 2004 (UTC)
 * Quite funny, Wikipedia needs a few unusual articles. Keep. - Mike Rosoft 12:30, 18 Oct 2004 (UTC)
 * K33p. Yeah, sure, l33t is crappy, but teh is one of l33t's more notable constructions (along with pwn and w00t). Kinitawowi 12:43, Oct 18, 2004 (UTC)
 * Oh, and I forgot to mention; needless VfD relisting is bad. What Dpbsmith said. Kinitawowi 12:45, Oct 18, 2004 (UTC)
 * 'Keep Notable DCEdwards1966 18:00, Oct 18, 2004 (UTC)
 * Keep. Notable, encyclopedic, contains history and analysis, has been shown to be helpful to at least one user and has not been shown to be harmful in any way.  Wiki is not paper.  Already passed VfD once, and recently.  Nominating user appears to be on a VfD-vendetta against pages associated in any way with Something Awful. Saucepan 18:29, 18 Oct 2004 (UTC)
 * Keep. Agree with Saucepan's points and also observations on nominating user. Andylkl 15:03, 19 Oct 2004 (UTC)
 * Keep. I hate leet speak. I've never used it, and never will.  But this is a nice quirky little article about a quirky little part of internet culture. - Lifefeed 20:54, Oct 18, 2004 (UTC)
 * Merge and redirect to leet. Being in an auto-correct list for word processors does not provide it notability outside the sphere of leet.  -- WOT 21:57, 18 Oct 2004 (UTC)
 * Keep. Definite keep and (yet another) frivolous VfD listing to boot.  Radman1 15:01, 18 Oct 2004 (PST)
 * Keep. Intrigue 23:22, 18 Oct 2004 (UTC)
 * Keep. I use it all teh time. --Timecop 04:11, 19 Oct 2004 (UTC)
 * Kpee. We ndee mroe stfuu lkie tihs fi wnat ot eb a greta encyclopedai. Antandrus 04:16, 19 Oct 2004 (UTC)
 * Delete WP is not a slang dictionary. Gazpacho 11:32, 19 Oct 2004 (UTC)
 * Keep or merge. A valid example of internet culture, deserves mention, and it's not a dictdef. Merging with Leet would be fine by me as well.
 * Keep. No basis for deletion. GRider 20:01, 19 Oct 2004 (UTC)
 * Keep or Merge Yes it's a stupid phenomena, but it exists. This is actually a good article jericho4.0 23:20, 19 Oct 2004 (UTC)
 * Keep. Notable leet web term in the same vein as w00t.--Goobergunch 02:34, 20 Oct 2004 (UTC)
 * Keep. Mackensen 22:28, 20 Oct 2004 (UTC)
 * Keep any article that has survived VfD within the last six months (my personal standard). SWAdair | Talk  09:08, 21 Oct 2004 (UTC)
 * Keep teh is here to stay, both as typo and leetspeak.
 * Keep it! T3h is a typo and l33tsp33k.
 * Redirect and merge into leet. -- The Anome 09:57, 21 Oct 2004 (UTC)
 * R, what Anome said. +sj +  13:27, 21 Oct 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.

title: Wikipedia:Articles for deletion/Teh


text:
Przybysław Dyjamentowski

Przybysław Dyjamentowski (1694–1774) was a notable Polish documents forger and writer. In his lifetime he prepared several "ancient" chronicles, diplomas and genealogies for sale.

Dyjamentowski's forgeries were not always recognised as such, although they are now regarded as entirely pseudohistorical, and have at times been influential, even in the twenty-first century among a minority of Polish nationalists.

Prokosz Chronicle
One of Dyjamentowski's best known works is the Prokosz Chronicle, also known as the Slavic-Sarmatian Chronicle, which gained much popularity as one of the earliest mentions of Poland (dated to 936). The forged chronicle was first published in 1825 by. The chronicle was supposed to stretch back the existence of Poland as an independent nation by a few generations beyond the accepted start of the Piast dynasty and support a connection between mediaeval Poles and ancient Sarmatians and peoples of East India.

title: Przybysław Dyjamentowski


text:
Talk:Manos Hatzidakis

Έλεος ρε σεις...
We only got one or two people in Greece who can be characterised as Master composers and Hadjidakis is one of them... It's "Music scores", not "Filmography"... Jeesh! I fully expect fire to be cast down from heavens, now that i'm gonna go out for a bottle of coke and some chow in the souvlaki-place next door... (And it's gonna be all your fault!) :) -- Project2501a 21:30, 16 Oct 2004 (UTC)

 * Not just one or two... Don't forget Skalkottas and Samaras. Elp gr 22:27, 20 August 2005 (UTC)

 * Actually we have only one major composer, at least recognised worldwide and this composer is Xenakis. Neither hadjidakis , theodorakis , skalkotas and samaras fit the bil.

 * Actually, this is not true. Greek composers are well known, mostly from their work in film soundtracks. Hadjidakis won an Academy Award for his score of Never on Sunday;  Vangelis Papathanassiou for Chariots of Fire (it's his memorable work in  Blade Runner too); Theodorakis had a hit with his score for Z and he can be safely credited with introducing Greek bouzouki music and the syrtaki dance to the world, through his work in the hit film Zorba the Greek -- he also wrote the score for many English, Italian and French films of note. Skalkotas, Xenakis and Samaras are indeed known but, arguably, mostly to aficionados of classical or 20th century avant-garde music. (In which field, let's not forget the early fallen giant Yannis Christou.)  The Gnome 04:32, 18 May 2007 (UTC)

What is the problem with this Pinikas guy, who continuously erases the caterorisation of Hadjidakis as "gay musician"? It is widely known that Hadjidakis was openly gay, some of his closest friends and associates have said it( Theodorakis, Gatsos, Serafeim Fydanidis, Michael Kamen and others) and NOONE of his associates has said the opposite.

I think to refer to him as a "gay musician" is anywhere between misleading, wrong and sexist. He was a musician who happened to be gay, not a "gay musician", as if this can be another kind of musician. Since his personal life, at the level of an encyclopedia article, is not relevant to his artistic merit, there is no reason to mention it here, let alone to stress it. If and when there is a deeper analysis of his work, that may refer to what inspired or motivated him, this may be relevant to mention. But, in all fairness, we would not expect to see an article on Theodorakis, referring to him as a "straight musician", or making much use of his sexuality. — Preceding unsigned comment added by 194.66.200.1 (talk) 18:43, 25 March 2016 (UTC)

Took out the "He was much better than Miki Theodorakis" sentence. It was subjective, opinionated and greatly lowered the quality of the page. --Xenophonos 21:33, 1 March 2007 (UTC)

Transliteration
Here it says that he latinized his name Hatzidakis, not Hadzidakis or Hadjidakis. Same on IMDb. —Preceding unsigned comment added by 87.162.1.232 (talk) 00:22, 18 November 2008 (UTC)
 * I guess that since in his official website his name is spelled Hadjidakis, the page title should be changed to Manos Hadjidakis. — Preceding unsigned comment added by 85.72.241.12 (talk) 14:18, 7 January 2013 (UTC)

 * I agree that we should spell his name as it was officially spelled in Latin by him, probably as it is spelled in his official website. I think it should be changed to Manos Hatjidakis --Irini.efthimiadou (talk) 15:14, 8 April 2013 (UTC)

LGBT?

 * Was Hatzidakis a gay? i didnt knew it. --213.151.217.145 (talk) 11:14, 22 January 2010 (UTC)

 * He's categorised as LGBT, but there's nothing in the article that would lead one to suppose that. Indeed, there's mention of an adopted son, which would, in the absence of any other info, normally be seen as evidence of straightness.  So I'm removing the LGBT category.  It may be restored if appropriate material about his gayness is added to the article.  --   Jack of Oz   [pleasantries]  23:38, 15 November 2013 (UTC)

"Never on Sunday"
Surely an footnote is needed for why the song is "Never on Sunday" in English, but the Greek title (as correctly given in the article) is "The Children of Patris"? 155.101.254.50 (talk) 00:33, 30 April 2011 (UTC)

New Pic
I noticed that there are some problems with the licence of the photos in the article (there are not free). I created an oil painting and donated its picture at the commons. Could we use it insteed of the "old" ones? (Meneksedia (talk) 13:04, 18 November 2011 (UTC))
 * Black-and-white oil painting? It looks like a retouched picture to me. Dr.K. λogosπraxis 13:25, 18 November 2011 (UTC)
 * Yeah, seems to be a this image mirrored and run through some photoshop filters and/or clone tool. Calliopejen1 (talk) 22:45, 18 November 2011 (UTC)
 * Good work Calliopejen. Earlier, I informed MRG about it. I guess copyvio uploaders are now posing as artists. I wonder, what's next. Dr.K. λogosπraxis 23:28, 18 November 2011 (UTC)
 * The painting used as a model the photo of Kostas Eleytherakis and there for I understand that it is considered derivative (I thought that it includes only characters from TV, comics, or movies and not existing people, anyway). I am not an artist (drawing static objects doesn't make me one) and if I violated any copyright it wasn't deliberate, but I believe if there is any kind of copyright here it belongs to the photographer's family (he's deseased) and not to some newspaper. (Meneksedia (talk) 07:10, 21 November 2011 (UTC))

External links modified
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title: Talk:Manos Hatzidakis


text:
Secretary of State of California

The secretary of state of California is the chief clerk of the U.S. state of California, overseeing a department of 500 people. The secretary of state is elected for four year terms, like the state's other constitutional officers; the officeholder is restricted by term limits to two terms. The current secretary of state is Shirley Weber, who assumed the role in 2021 after Alex Padilla's appointment to the US Senate.

Elections
The secretary of state is California's chief elections officer, overseeing all federal and state elections in the state and maintaining a database of registered voters. The officeholder is also responsible for disclosure of campaign and lobbyist financial information, under the California Political Reform Act of 1974.

Corporations
The Office of the Secretary of State has a number of responsibilities related to corporations; the largest portion office is the Business Programs Division, which handles corporate filings. The Business Entities Section processes, files and maintains records related to corporations, limited liability companies, partnerships and other business entities conducting or planning to conduct business in California.

Registries
The office also maintains a number of registries, including the Safe at Home confidential address program and the Domestic Partners and Advance Health Care Directive. Other roles of the secretary of state include safeguarding the California State Archives and sitting on the board of trustees of the California Museum, though the officeholder has not been responsible for the California State Library since 1862.

Organization
The Secretary of State's Office is divided into six main divisions:
 * Executive Division, which also includes the Office of Elections Cybersecurity and the Office of Voting Systems Technology Assessment.
 * Elections Division
 * Political Reform Division, which maintains the registry of lobbyists, campaign finances, etc.
 * Management Services Division, which includes accounting, human resources, building operations, etc.
 * Business Programs Division, which handles the registration of companies, notary services, etc.
 * State Archives, which also administers the State Museum that is a part of the Secretary of State's headquarters in downtown Sacramento.

The Secretary of State's Office also works in conjunction with the state Voting Modernization Board.

title: Secretary of State of California


text: Category:1527 births

title: Category:1527 births


text:
Zora Cross

Zora Bernice May Cross (18 May 1890 – 22 January 1964) was an Australian poet, best-selling novelist and journalist.

Life
Cross was born on 18 May 1890 at Eagle Farm, Brisbane, to Sydney-born accountant Ernest William Cross and Mary Louisa Eliza Ann Cross. Cross published and was known for her serialised novels, books of poems and children's verse and inherited her love for literature from both her parents. She was educated at Ipswich Girls' Grammar School, Burwood Public School, Sydney Girls' High School and then Sydney Teachers' College from 1909 to 1910. As a child Cross was a prolific contributor to the Children's Corner in the Australian Town and Country Journal, where she attracted the attention of the editor Ethel Turner, who became a significant friend and mentor throughout Cross's writing career.

Cross combined her teaching career with writing and acting, including tours with Cherry Abraham's Comedy Costume Company in Queensland and with J. C. Williamson's theatre company. On 11 March 1911, she married fellow actor Stuart Smith but later refused to live with him. The marriage was dissolved on 10 September 1922. In September 1914 she gave birth to a son, Normand (later known as Teddy), at Lauriston Private Hospital, Mosman, but no father was listed on the birth certificate. She taught for three years and then worked as a journalist for The Boomerang, and subsequently as a freelance writer.

By this time Cross had formed a lasting relationship with the writer David McKee Wright, whom she married in 1923. They lived in the Blue Mountains village of Glenbrook where they had two daughters, Davidina and Maeve (known as April).

Cross Street in the Canberra suburb of Cook is named in her honour.

Work
In 1916 Cross submitted her first novel, on an Aboriginal theme but the publisher refused to publish this work. That same year a book of poems, A Song of Mother Love, was published.

In 1917 Cross published Songs of Love and Life, some of which had already appeared in The Bulletin, which was highly influential in Australian culture and politics until after the First World War, and was then noted for its nationalist, pro-labour, and pro-republican writing. This book and her book of similar poems, The Lilt of Life in 1918, both published by Angus & Robertson, were an expression of her love for David McKee Wright. Songs of Love and Life attracted widespread attention because of its erotic content and sold out in three days.

In 1918 Cross wrote the children's verse The City of Riddle-mee-ree (1918), illustrated by Olive Crane, and then the more sombre Elegy on an Australian Schoolboy (1921), in memory of her 19-year-old soldier brother, John Skyring Cross.

Her 1924 book Daughters of the Seven Mile illustrated her awareness of developing social and economic stresses in Australia.

Cross wrote on subjects controversial at the time such as sex, childbirth, Aboriginal communities and the effects of war on women who are left behind.

As "Bernice May", "Rosa Carmen" and "Daisy M.", Cross contributed regularly in the 1930s to the Australian Women's Mirror. As Bernice May she wrote a significant series of interviews with contemporary Australian women writers.

In later years she drew on a lifetime interest in Ancient Rome and Julius Caesar. Her novel The Victor was serialised in the Sydney Morning Herald in 1933 and received favourable reviews.

Throughout her life Zora supported herself and her children by acting, teaching and as a freelance journalist. The Commonwealth Literary Fund, (precursor to the Australia Council for the Arts) prompted by the Fellowship of Australian Writers, awarded her a pension.

Novels

 * Daughters of the Seven Mile, London: Hutchinson (1924)
 * The Lute-Girl of Rainyvale, London: Hutchinson (1925)
 * Sons of the Seven Mile, Sydney Mail (1927)
 * Moonstone Luck, Sydney Morning Herald (1930)
 * The Victor, Sydney Morning Herald (1933)
 * This Hectic Age, Sydney: London Book Co. (1944) also published as Night Side of Sydney

Poetry collections

 * A Song of Mother Love (1916)
 * Songs of Love and Life (1917)
 * The Lilt of Life (1918)
 * The City of Riddle-Me-Ree (1918)
 * Elegy on an Australian Schoolboy, Sydney: Angus & Robertson (1921)

Lyrics
Dream travel two-part song (1937)

Non-fiction
An Introduction to the Study of Australian Literature: Teachers' College Press (1922)

title: Zora Cross


text:
S. S. Koteliansky

Samuel Solomonovich Koteliansky (Самуил Соломонович Котелянский) (February 28, 1880 – January 21, 1955) was a Ukrainian translator of Russian literature into English. He made the transition from his origins in a small Jewish shtetl to distinction in the rarefied world of English letters. Although he was not a creative writer himself, he befriended, corresponded with, helped publish, and otherwise served as intermediary between some of the most prominent people in English literary life in the early twentieth century.

Biography
Koteliansky was born in the small Jewish shtetl (town) of Ostropol in the Volhynian Governorate of the Russian Empire (today in Khmelnytskyi Oblast, western Ukraine), where his first language almost certainly was Yiddish. The name Koteliansky, according to his biographer Galya Diment, most likely comes from a small town near Ostropol called Kotelianka. He was educated and attended university in Russia.

By 1911, financed by his mother, Beila, he had moved to London, where he became a great friend of D.H. Lawrence, and Leonard and Virginia Woolf. He also adored the short-story writer Katherine Mansfield. Although his romantic affection for her was not reciprocated, the two maintained a close relationship in person and in letters until her early death in 1923. His friendship with her was also documented in a painting by Beatrice Elvery, Lady Glenavy.

He was business manager of The Adelphi, a prominent literary journal that published works of Lawrence, Mansfield, the young Dylan Thomas, and many other leading lights of early- and mid-twentieth-century English letters after its founding in 1923. But Koteliansky eventually broke with the journal's founder (and Katherine Mansfield's husband) John Middleton Murry. He was an early translator into English (often with the collaboration of Leonard or Virginia Woolf) of works of Russian authors, such as Dostoevsky, Chekhov, and Rozanov, and he helped those authors achieve prominence in the English-speaking world.

Koteliansky ('Kot') was a close friend of the artist Mark Gertler, and they corresponded extensively from 1914 until Gertler's death in 1939.

title: S. S. Koteliansky


text:
Nebulium

Nebulium was a proposed element found in astronomical observation of a nebula by William Huggins in 1864. The strong green emission lines of the Cat's Eye Nebula, discovered using spectroscopy, led to the postulation that an as yet unknown element was responsible for this emission. In 1927, Ira Sprague Bowen showed that the lines are emitted by doubly ionized oxygen (O2+), and no new element was necessary to explain them.

History
William Hyde Wollaston in 1802 and Joseph von Fraunhofer in 1814 described the dark lines within the solar spectrum. Later, Gustav Kirchhoff explained the lines by atomic absorption or emission, which allowed the lines to be used for the identification of chemical elements.

In the early days of telescopic astronomy, the word nebula was used to describe any fuzzy patch of light that did not look like a star. Many of these, such as the Andromeda Nebula, had spectra that looked like stellar spectra, and these turned out to be galaxies. Others, such as the Cat's Eye Nebula, had very different spectra. When William Huggins looked at the Cat's Eye, he found no continuous spectrum like that seen in the Sun, but just a few strong emission lines. The two green lines at 495.9 nm and 500.7 nm were the strongest. These lines did not correspond to any known elements on Earth. The fact that helium had been identified by the emission lines in the Sun in 1868, and had then also been found on Earth in 1895, encouraged astronomers to suggest that the lines were due to a new element. The name nebulium (occasionally nebulum or nephelium) was first mentioned by Margaret Lindsay Huggins in a short communication in 1898, although it is stated that her husband occasionally used the term before.

In 1911, John William Nicholson theorized that all known elements consisted of four protoelements, one of which was Nebulium. The development of the periodic table by Dimitri Mendeleev and the determination of the atomic numbers by Henry Moseley in 1913 left nearly no room for a new element. In 1914 French astronomers were able to determine the atomic weight of nebulium. A measured value of 2.74 for the lines near 372 nm and a slightly lower value for the 500.7 nm line seemed to indicate that two elements were responsible for the spectrum.

Ira Sprague Bowen was working on UV spectroscopy and on the calculation of spectra of the light elements of the periodic table when he became aware of the green lines discovered by Huggins. With this knowledge he was able to suggest that the green lines might be forbidden transitions. They were shown as due to doubly ionized oxygen at extremely low density, rather than the hypothetical nebulium. As Henry Norris Russell put it, "Nebulium has vanished into thin air." Nebulae are typically extremely rarefied, much less dense than the hardest vacuums produced on Earth. In these conditions, lines can form which are suppressed at normal densities. These lines are known as forbidden lines, and are the strongest lines in most nebular spectra.

title: Nebulium


text:
Coronium

Coronium was the name of a suggested chemical element, hypothesised in the 19th century. The name, inspired by the solar corona, was given by Gruenwald in 1887. A new atomic thin green line in the solar corona was then considered to be emitted by a new element unlike anything else seen under laboratory conditions. It was later determined to be emitted by iron (Fe13+), so highly ionized that it was at that time impossible to produce in a laboratory.

Solar spectroscopy
During the total solar eclipse of 7 August 1869, a green emission line of wavelength 530.3 nm was independently observed by Charles Augustus Young (1834–1908) and William Harkness (1837–1903) in the coronal spectrum. Since this line did not correspond to that of any known material, it was proposed that it was due to an unknown element, provisionally named coronium.

The supposed element was discovered also in the gases given off by Mount Vesuvius in 1898 by a team of Italian chemists led by Raffaello Nasini.

In 1902, over thirty years after his famous predictions of new elements based on his periodic table, and shortly after the discovery of various noble gases, the Russian chemist Dmitri Mendeleev hypothesized that there existed two noble gases of atomic weight less than hydrogen. The first, which he called "element x" or "newtonium", was his attempt a chemical explanation of the luminiferous aether. He argued that it had an atomic weight of 0.14. The second, which he called "element y" or coronium, was his attempt to explain the green emission lines from the Sun. He argued that it had an atomic weight of 0.4.

It was not until the 1930s that Walter Grotrian and Bengt Edlén discovered that the spectral line at 530.3 nm was due to highly ionized iron (Fe13+); other unusual lines in the coronal spectrum were also caused by highly charged ions, such as nickel, the high ionization being due to the extreme temperature of the solar corona. The line at 530.3 nm had previously been misclassified as iron line number 1474.

title: Coronium


text:
Freedmen's Aid Society

The Freedmen's Aid Society was founded in 1859 during the American Civil War by the American Missionary Association (AMA), a group supported chiefly by the Congregational, Presbyterian and Methodist churches in the North. It organized a supply of teachers from the North and provided housing for them, to set up and teach in schools in the South for freedmen and their children. The AMA founded a total of more than 500 schools and colleges for freedmen in the South after the war, so that freedmen could be educated as teachers, nurses and other professionals.

The work of the Society accelerated with the end of the war and the beginning of the Reconstruction era. Education for freedmen was seen as a top priority among both blacks and whites. The Society was supported by a variety of religious groups and denominations, and it began work in the South three months after organizing. By the end of the first year, it had recruited 52 instructors. The teachers instructed more than 5,000 students in 59 schools. The schools were open to men, women, and children in the South. By the turn of the century, blacks had raised their rate of literacy by an amazing amount; it was a major success story since the end of the war. By then the Democratic-dominated state legislatures had imposed racial segregation and were underfunding black schools and other facilities.

Leadership and control of the Freedmen's Aid Society has been attributed to both the Congregational and the Methodist Episcopal churches. The Methodist version of the Society's history states that it was founded in 1866. It was "directed by a Board of Managers who were elected by the (Methodist) General Conference." In 1920 it was reorganized and renamed the Board of Education for Negroes, and in 1939 absorbed into the Board of Education of the Methodist Church.

Notable people

 * Ednah Dow Littlehale Cheney
 * Anna Fisher Beiler
 * Richard S. Rust

title: Freedmen's Aid Society


text:
User:Darkone

 *  Flugzeuge / Airplanes  •
 *  Schiffe / Ships  •
 *  Panzer / Tanks  •
 *  Sonstiges / Miscellaneous
 *  Orte / Cities  •
 *  Tiere / Animals  •
 *  Pflanzen & Pilze / Plants & Mushrooms  •
 *  Ditt & Datt  •

de:Benutzer:Darkone

title: User:Darkone


text:
B. H. Carroll Theological Institute

B. H. Carroll Theological Institute is an accredited Christian Baptist institution in Irving, Texas with multiple sources of funding and a self-perpetuating board of governors. It is named after Benajah Harvey Carroll and teaches Baptist principles and practices. It operates in cooperation primarily with Baptist churches, and also cooperates with other Great Commission Christians. The institution offers classes in both conventional classroom settings and by innovative means. It trains students in "“teaching churches” located in multiple Texas cities, as well as through interactive lessons taught over the Internet", with 20 such "teaching churches" in operation throughout Texas as of November 2006. The school plans to focus on the use of distance education to make it easier for students to obtain theological education. As of 2006, the school's second year of operation, B. H. Carroll Theological Institute had 300 students taking courses and an additional 300 students auditing courses. Bruce Corley was Carroll's first president; Gene Wilkes is Carroll's second president.

In January 2007, the institute was certified to grant degrees by the Texas Higher Education Coordinating Board, and was later exempted from such certification through a ruling of the Texas State Supreme Court. In late February 2012, B. H. Carroll Theological Institute received accreditation status from the Association for Biblical Higher Education (ABHE). Carroll is listed among Institutions and Programs accredited by recognized U.S. Accrediting Organizations by the Council for Higher Education Accreditation(CHEA). In 2017, Carroll received accreditation as a member of the Association of Theological Schools in the United States and Canada (ATS).

History
The institute's founding chancellor is Russell H. Dilday, a former president of the Southwestern Baptist Theological Seminary of the Southern Baptist Convention. Dilday was fired from Southwestern in March 1994 by what had become majority conservative-leaning board of trustees during the Southern Baptist Convention conservative resurgence.

Dilday wrote of a 'lively renaissance of Baptist theological education at the edge of a new millennium' prior to the launch of the institute. At the 2006 installation of the institute's president and first administrators, Dilday indicated that 'the time is right for such a school as the Carroll Institute.'

The four inaugural faculty members at Carroll all formerly taught at Southwestern. including Corley, who was a professor of New Testament and Greek and the Dean of the School of Theology there. Corley was awarded both a Master of Divinity (M.Div.) and Doctor of Theology (Th. D.) from Southwestern. The institute's representatives express no competition existing between the residential-model of education exemplified by Southwestern and their own non-residential model. In a guest post for the National Association of Baptist Professors of Religion Southwest Region NABPR-SW blog, Corley suggests schools like the Institute can help 'bridge the gap between where the seminaries are and what their publics need.'

Corley stepped down as president in October, 2013; Dr. Gene Wilkes of Legacy Church of Plano, Texas, was elected as Carroll's 2nd President in October 2013 and was inaugurated in February 2014. With both Baylor and Southwestern's historic links to the man, some contention developed over the adoption of the name of B.H. Carroll by the institute, as Carroll was the founding president of Southwestern Seminary. Writing long before the controversy, Leon McBeth testifies to the importance of Benajah Harvey Carroll's legacy to Baylor University and Southern Seminary as well as to modern Baptist history, describing the man as 'the John Wayne of Texas Baptists.'

After headquartering in Arlington, Texas for several years, the Institute moved to its "first permanent location" in Irving beginning in May 2015.

Academics and Accreditation
According to the Carroll Institute's website, "the institute is a graduate-level community of faith and learning dedicated to equipping men and women called to serve Christ in the diverse and global ministries of His church". Carroll applied for accreditation with the Association of Theological Schools (ATS) and was accredited by ATS in 2017. Previously, Carroll applied for accreditation with the Association for Biblical Higher Education (ABHE)in 2010, and was accredited by the Association in 2012. Prior to this step, the institute was granted a Certificate of Authority to offer master's and doctoral degrees by state of Texas'Higher Education Coordinating Board (THECB) in 2007. With its THECB certification, the school began offering programs leading to a Master of Divinity degree with major in Christian Ministry, Master of Music degree with major in Christian Ministry or a Master of Arts degree with majors in Theology, Education, and Music. When THECB ceased regulating degree-granting religious institutions in 2008, Carroll was granted exemption from the Texas Higher Education Coordinating Board.

Library
The institute's library received a donation of nearly 5,000 volumes from Eddie Belle Newport, widow of John Newport, longtime academic vice president at Southwestern Baptist Theological Seminary. An additional 500 volumes were donated by Lois Hendricks, widow of longtime theology professor William Hendricks. In addition to its print materials, the Carroll webpage discusses a 'NexLearn Online Library' consisting of electronic resources available to students via their online classroom environment.

title: B. H. Carroll Theological Institute


text:
Wikipedia:Articles for deletion/Olympus Party

Olympus Party
Sounds like fun but seems entirely non-notable. Nothing on Google. No explanation of who sponsors it etc. --LeeHunter 21:45, 16 Oct 2004 (UTC)
 * Merge into Fayetteville, Arkansas and redirect. RickK 22:55, Oct 16, 2004 (UTC)
 * Delete: If it's true, then it might go in Fayetteville, Arkansas, but it's not likely true, given the lack of Google hits. Town festivals do show up on the web.  Also, "rumors" of a balloon regatta?  A festival of "burning things?"  Looks like a prank. Geogre 04:06, 17 Oct 2004 (UTC)
 * Delete: hoax. "Ninja versus llama"? Uh-huh. Wile E. Heresiarch 22:11, 17 Oct 2004 (UTC)
 * Delete. Prank. "Rumors abound of a hot air balloon regatta"?   — Gwalla | Talk 04:20, 19 Oct 2004 (UTC)
 * Delete Non-notable. Article reads as if it were prank. Even if not a prank, one more party does not justify entry. The Olympus Party is not a big part of the Fayetteville, Arkansas sceneGurdonark 12:16, 19 Oct 2004 (UTC)
 * Delete If existent; not notable, else; just a prank or similar. Nothing on Google and I doubt it is an "official" festival in Fayettville at any rate. Zelda 21:09, Oct 21, 2004 (UTC)


text: Category:Latin American cuisine

title: Category:Latin American cuisine


text:
Albizu University

Albizu University is a private university with its main campus in San Juan, Puerto Rico, a branch campus in Miami, Florida, and an additional instructional location in Mayagüez, Puerto Rico. It focuses on psychology, health, education, and human services.

History
The university's history began in 1966, when a Puerto Rican psychologist and educator, Carlos Albizu Miranda, founded the Instituto Psicológico de Puerto Rico (Puerto Rico Institute of Psychology) in response to the need for culturally sensitive professional training in the area of clinical psychology. At the time, there were no graduate programs in clinical psychology in Puerto Rico. The University of Puerto Rico and the Normal School (later known as the College of Education) included psychology as part of the core curricula as early as 1903—but only for undergraduate studies that were heavily based on the American higher education system and its standards. Graduate-level degrees in psychology could only be obtained through schools in the United States.

By the early 1960s, little had changed, with mental health professionals being trained abroad and then returning to their home country with the challenge of adapting what they had learned in the United States to fit the socio-cultural realities of a Hispanic community. Albizu-Miranda himself received his training at Purdue University in West Lafayette, Indiana, and incurred the same difficulties of incorporating what he had learned into the culture of the island upon returning home to Puerto Rico.

What had changed, though, was the social climate of the island. Between 1947 and the late 1960s, Puerto Rico saw major industrialization that transformed the island from a rural agrarian to an urban industrial society. With this, came the establishment of social classes, modern capitalism, and economic consumption—along with confusion and insecurity that led to issues such as violence and drug use. By the 1960s, the population had grown to nearly three million people, with only five clinical psychologists on the island to support the growing need for social services. In an effort to meet the public's demands, the government established what were known as “assistant psychologists.” These assistant psychologists for the most part had had little training and were not equipped to serve what was becoming an increasingly complex population. By 1964, Albizu-Miranda had begun envisioning a Puerto Rican-based graduate program that would address the need for multicultural professional training in psychology on the island, along with the need for greater numbers of clinically trained psychologists to serve the growing population.

Between 1964 and 1966, Albizu-Miranda held multiple meetings with the chancellor of the University of Puerto Rico to discuss the development of a graduate program in psychology. After two years of fruitless efforts, Albizu-Miranda decided to turn away from the state university and establish a self-governing and independent institution. On August 1, 1966, he incorporated the Puerto Rico Institute of Psychology and welcomed the institute's inaugural academic year in 1967–1968.

Recognizing a parallel need for multicultural training in clinical psychology in Southern Florida, which has a large Hispanic population, Albizu-Miranda opened the Miami Institute of Psychology in Miami, Florida, in 1980. In January 2000, the two main campuses were merged under the shared name Carlos Albizu University in honor of their founder, becoming the first institution in North America to be named after a Hispanic. Today, they are commonly known as Albizu University.

Campuses
Albizu University has its main campus in San Juan, Puerto Rico; a branch campus in Miami, Florida; and an extension of the San Juan Campus in Mayagüez, Puerto Rico.

Each campus includes a clinic that offers mental health and speech and language services to the surrounding community while providing a practical training site for students.

San Juan Campus
Located in the heart of Puerto Rico's capital city, the San Juan Campus set a precedent as the first independent professional school of psychology in North America. Originally called the Puerto Rico Institute of Psychology, Albizu-Miranda modeled the university after institutes of psychology in Europe where practice and internship coexisted. Now, over 50 years since its founding, the San Juan Campus has over 1,600 students and has expanded to include an on-campus training clinic.

Student body
At the San Juan Campus, enrolled students for Fall 2019 included 483 undergraduates and 1,145 in graduate programs and postgraduate certificate programs. 93% of the students are from Puerto Rico and 7% are from other parts of the United States and its territories.

Albizu Clinic
The Albizu Clinic, a nonprofit organization affiliated with the university, provides mental health services to children, adolescents, and adults in San Juan and surrounding communities. The clinic also serves as a practicum and internship site for Albizu University graduate students. The Albizu Clinic Internship Training Program in Clinical Psychology is exclusively offered to Albizu students in the Psy.D. and Ph.D. in Clinical Psychology programs.

The Albizu Clinic also provides speech and language services for children and adults in the areas of autism, dysphagia, motor-speech disorders, neurological impairments, hearing impairments, cognitive disabilities, and developmental disorders. Graduate students from the university's M.S. in Speech and Language Pathology program work closely with licensed and certified pathologists.

Miami Campus
Located in the Miami, Florida, metropolitan area, the Miami Campus offers an array of undergraduate and graduate degree and certificate programs in the fields of psychology, education, speech and language, English for speakers of other languages (ESOL), criminal justice, and human services.

Goodman Psychological Services Center
Founded in 1980, the Goodman Psychological Services Center is a private, nonprofit mental health center, sponsored by Albizu University, that provides services to children, adolescents, and adults in South Florida. The Goodman Center also functions as a practicum site for Albizu psychology and speech/language programs and for a doctorate in clinical psychology internship program accredited by the American Psychological Association.

Since its inception, the Goodman Center has provided care to nearly 15,000 people from communities that are typically underserved due to factors such as financial hardship, limited or no insurance coverage, and lack of proficiency in the English language. In addition, the Goodman Center is contracted by the Miami-Dade County Public Schools to conduct psychoeducational evaluations and receives referrals from community agencies and other sources. Services are provided in both English and Spanish.

Mayagüez University Center
In January 2015, Albizu opened an extension location in Mayagüez, Puerto Rico. Under the jurisdiction of the San Juan Campus, the location was created to provide academic offerings and clinical services to the western region of Puerto Rico. Known as the Mayagüez University Center, the facility offers undergraduate, graduate, and certificate programs in psychology and speech and language pathology. With an on-site clinic, the center also offers students clinical practice while providing health services to the community.

The Mayagüez University Center is located in the city of Mayagüez.

Student body
At the Mayagüez University Center, enrolled students for Fall 2019 included 80 undergraduates and 359 in graduate programs and postgraduate certificate programs. 95% of the students are from Puerto Rico, and 5% are from other parts of the United States and its territories.

Albizu Clinic
The Albizu Clinic at the Mayagüez University Center provides mental health and speech and language services to children, adolescents, and adults in the surrounding community. The clinic also serves as a practicum and internship site for Albizu graduate students.

title: Albizu University


text:
File:C64 Creatures II.png

Summary
screenshot C64 Creatures II, made myself.

Image information
PNG, 384×272, 4-bit indexed color (palette: VIC-II), gamma of 0.45455, sRGB with relative colorimetric rendering intent.

title: File:C64 Creatures II.png


text:
Thomas Berger (novelist)

Thomas Louis Berger (July 20, 1924 – July 13, 2014) was an American novelist. Probably best known for his picaresque novel Little Big Man and the subsequent film by Arthur Penn, Berger explored and manipulated many genres of fiction throughout his career, including the crime novel, the hard-boiled detective story, science fiction, the utopian novel, plus re-workings of classical mythology, Arthurian legend, and the survival adventure.

Berger's biting wit led many reviewers to refer to him as a satirist or "comic" novelist, descriptions he preferred to reject. His admirers often bemoaned that his talent and achievement were underappreciated, in view of his versatility across many forms of fiction, his precise use of language, and his probing intelligence.

Biography
Born in Cincinnati, Ohio, Thomas Berger grew up in the nearby community of Lockland. He interrupted his college career to enlist in the United States Army in 1943. Berger served in Europe during World War II and was stationed with a medical unit in the first U.S. Occupation Forces in Berlin, experiences which later provided him with background for his first novel, Crazy in Berlin, published in 1958. On his return, he studied at the University of Cincinnati, receiving a B.A. in 1948. He then pursued graduate work in English at Columbia University, leaving his thesis unfinished to enroll in the writer's workshop at the New School for Social Research. Here Berger met and married an artist, Jeanne Redpath, in 1950. He supported himself during this time by working as a librarian at the Rand School of Social Science, and was briefly on staff at the New York Times Index. Berger later became a copy editor at Popular Science Monthly, and performed freelance editing during the early years of his writing career.

Eventually, Berger was able to devote himself to writing full-time, particularly after the notoriety gained by his third book, Little Big Man, in 1964. Although he would occasionally put his hand to a short story, play, or non-fiction article (including a stint as film critic for Esquire), Berger preferred the long narrative form of the novel, and produced a steady run of critically acclaimed books throughout his career. In 1984 his book The Feud was nominated by the Pulitzer committee for fiction for the Pulitzer Prize, but the Pulitzer board overrode their recommendation and instead chose William Kennedy's Ironweed.

In 1974, Berger was a writer in residence at the University of Kansas, and a distinguished visiting professor at Southampton College in 1975–1976. He lectured at Yale University in 1981 and 1982, and was a Regents' Lecturer at the University of California, Davis, in 1982. A collection of his papers is available at the Howard Gotlieb Archival Research Center at Boston University.

Berger resided in New York City from 1948 to 1953, and lived the next twelve years in a town on the Hudson River. In subsequent years, he lived in London, Malibu, California, New York City again, Long Island, and then Mount Desert Island in Maine, before once more returning to the banks of the Hudson. He died on July 13, 2014, seven days before his 90th birthday.

Awards and honors
Berger received a Dial fellowship in 1962. In 1965, he received a Richard and Hinda Rosenthal Award, National Institute of Arts and Letters, and a Western Heritage Award, both for Little Big Man. Reinhart's Women won Berger an Ohioana Book Award, and he was a 1984 Pulitzer Prize finalist for The Feud. Long Island University awarded Berger a Litt. D. in 1986.

Adaptations
Berger may be best known for Little Big Man, the movie made from his 1964 novel. Released in 1970, it was directed by Arthur Penn, and starred Dustin Hoffman and Faye Dunaway. Neighbors, with John Belushi, Dan Aykroyd and Cathy Moriarty, was released in 1981. Bill D'Elia produced and directed a film adaptation of The Feud in 1989. A film version of the 1992 novel Meeting Evil, starring Samuel L. Jackson and Luke Wilson, was filmed in 2011, and was released to theaters in the United States in May 2012.

His play Other People was produced at the Berkshire Theatre Festival in 1970. Berger's radio play At the Dentist's was broadcast by Vermont Public Radio in 1981.

Novels

 * Crazy in Berlin (1958) Carlo Reinhart #1
 * Reinhart in Love (1962) Carlo Reinhart #2
 * Little Big Man (1964) Jack Crabb #1
 * Killing Time (1967)
 * Vital Parts (1970) Carlo Reinhart #3
 * Regiment of Women (1973)
 * Sneaky People (1975)
 * Who is Teddy Villanova? (1977)
 * Arthur Rex: A Legendary Novel (1978)
 * Neighbors (1980)
 * Reinhart's Women (1981) Carlo Reinhart #4

 * The Feud (1983)
 * Nowhere (1985)
 * Being Invisible (1987)
 * The Houseguest (1988)
 * Changing the Past (1989)
 * Orrie's Story (1990)
 * Meeting Evil (1992)
 * Robert Crews (1994)
 * Suspects (1996)
 * The Return of Little Big Man (1999) Jack Crabb #2
 * Best Friends (2003)
 * Adventures of the Artificial Woman (2004)

Stories

 * Granted Wishes: Three Stories (1984)
 * Previously uncollected short stories have appeared in magazines such as American Review, Gentleman's Quarterly, Saturday Evening Post, Playboy, and Harper's.
 * Abnormal Occurrences: Short Stories (e-book published March 2013)

Plays

 * Other People (1970)
 * Rex, Rita, and Roger (1970)
 * The Siamese Twins (1971)
 * At the Dentist's (radio play) (1981)
 * The Burglars (1988)

Further reading and critical studies

 * Bancroft, Collette. Thomas Berger, Author of 'Little Big Man,' Had Distinctive Voice.  Tampa Bay Times, July 28, 2014 (obituary).
 * Barra, Allen. Thomas Berger, Author of 'Little Big Man' Passes. True West Magazine, July 24, 2014 (obituary).
 * Giardina, Henry. Thomas Berger's Egoless Fictions. The New Yorker, July 30, 2014.
 * Landon, Brooks. "A Secret Too Good to Keep" and "Thomas Berger: Dedicated to the Novel," World & I, October 2003.
 * Landon, Brooks. "The Radical Americanist," The Nation, August 20, 1977.
 * Landon, Brooks. Thomas Berger: A Celebration. Los Angeles Review of Books, July 25, 2014.
 * Landon, Brooks. Understanding Thomas Berger, University of South Carolina Press, 2009.
 * Lehmann-Haupt, Christopher and William McDonald. Thomas Berger, 'Little Big Man' Author, Is Dead at 89. The New York Times,  July 21, 2014 (obituary).
 * Lethem, Jonathan. "Ambivalent Usurpations," in The Ecstasy of Influence, Doubleday, 2011.
 * Lethem, Jonathan. "Fan Mail," The New York Times Book Review, April 8, 2012.
 * Malone, Michael. "American Literature's Little Big Man," The Nation, May 3, 1980.
 * Ruud, Jay. "Thomas Berger's Arthur Rex: Galahad and Earthly Power," Critique, Winter 1984.
 * Schickel, Richard. "Bitter Comedy," Commentary, July 1970.
 * Schickel, Richard. "Interviewing Thomas Berger," The New York Times Book Review, April 6, 1980.
 * Trachtenberg, Stanley. "Berger and Barth: the Comedy of 'Decomposition'," in Comic Relief, University of Illinois Press, 1978. Edited by Sarah B. Cohen.
 * Turner, Frederick. "Melville and Thomas Berger: The Novelist as Cultural Anthropologist," Centennial Review, Winter 1969.
 * Turner, Frederick. "The Second Decade of 'Little Big Man'," The Nation, August 20, 1977.
 * Ward, Andrew. "Little Big Man's Man," interview in American Heritage, May/June 1999.

title: Thomas Berger (novelist)


text: User talk:81.226.107.142

title: User talk:81.226.107.142


text:
Battle of the Sambre

Battle of the Sambre may refer to:

 * Battle of Sabis (57 BC), also known as the Battle of the Sambre
 * Battle of the Sambre (1914), commonly known as the Battle of Charleroi, between French and German forces
 * Battle of the Sambre (1918), the final British offensive of World War I

title: Battle of the Sambre


text:
Category:Progressive metal

To add bands, add them to Category:Progressive metal musical groups.

title: Category:Progressive metal