title: F. C. S. Schiller

texts:
 offender: "Hegelianism never anywhere gets within sight of a fact, or within touch of reality. And the reason is simple: you cannot, without paying the penalty, substitute abstractions for realities; the thought-symbol cannot do duty for the thing symbolized". <mask>er argued that the flaw in Hegel's system, as with all systems of abstract metaphysics, is that the world it constructs always proves to be unhelpful in guiding our imperfect, changing, particular, and physical lives to the achievement of the "higher" universal Ideals and Ends. For example, <mask>er argues that the reality of time and change is intrinsically opposed to the very modus operandi of all systems of abstract metaphysics. He says that the possibility to change is a precondition of any moral action (or action generally), and so any system of abstract metaphysics is bound to lead us into a moral scepticism. The problem lies in the aim of abstract metaphysics for "interpreting the world in terms of conceptions, which should be true not here and now, but "eternally" and independently of Time and Change."The result is that metaphysics must use conceptions that have the "time-aspect of Reality" abstracted away. Of course, "[o]nce abstracted from,"

While abstract metaphysics provides us with a world of beauty and purpose and various other "highers", it condemns other key aspects of the world we live in as imaginary. The world of abstract metaphysics has no place for imperfect moral agents who (1) strive to learn about the world and then (2) act upon the world to change it for the better. Consequently, abstract metaphysics condemns us as illusionary, and declares our

masks: Schill Schill


title: F. C. S. Schiller

type: original

texts:
 place in the world as unimportant and purposeless. Where abstractions take priority, our concrete lives collapse into scepticism and pessimism. He also makes a case against the alternative naturalist method, saying that this too results in an epistemological and moral scepticism. <mask>er looks to show this method's inadequacy at moving from the cold, lifeless lower world of atoms to the higher world of ethics, meanings, and minds.As with abstract metaphysics, <mask>er attacks naturalism on many fronts: (1) the naturalist method is unable to reduce universals to particulars, (2) the naturalist method is unable to reduce freewill to determinist movements, (3) the naturalist method is unable to reduce emergent properties like consciousness to brain activity, (4) the naturalist method is unable to reduce God into a pantheism, and so on. Just as the abstract method cannot find a place for the lower elements of our world inside the higher, the naturalist method cannot find a place for the higher elements of our world inside the lower. In a reversal of abstract metaphysics, naturalism denies the reality of the higher elements to save the lower. <mask>er uses the term "pseudo-metaphysical" here instead of naturalism—as he sometimes does—because he is accusing these naturalist philosophers of trying to solve metaphysical problems while sticking to the non-metaphysical "lower" aspects of the world (i.e. without engaging in real metaphysics):

To show that the world's higher elements do not reduce to the lower is not yet to show that naturalism must condemn the world's higher elements as illusionary. A second component to <mask>er's attack is

masks: Schill Schill Schill Schill


title: F. C. S. Schiller

texts:
 showing that naturalism cannot escape its inability to reduce the higher to the lower by asserting that these higher elements evolve from the lower. However, <mask>er does not see naturalism as any more capable of explaining the evolution of the higher from the lower than it is capable of reducing the higher to the lower.While evolution does begin with something lower that in turn evolves into something higher, the problem for naturalism is that whatever the starting point for evolution is, it must first be something with the potential to evolve into a higher. For example, the world cannot come into existence from nothing because the potential or "germ" of the world is not "in" nothing (nothing has no potential, it has nothing; after all, it is nothing). Likewise, biological evolution cannot begin from inanimate matter, because the potential for life is not "in" inanimate matter. The following passage shows <mask>er applying the same sort of reasoning to the evolution of consciousness:

Taken as the type of the pseudo-metaphysical method, which explains the higher by the lower ... it does not explain the genesis of consciousness out of unconscious matter, because we cannot, or do not, attribute potential consciousness to matter. ... the theory of Evolution derives the [end result] from its germ, i.e., from that which was, what it became, potentially. Unable to either reduce or explain the evolution of the higher elements of our world, naturalism is left to explain away the higher elements as mere illusions. In doing this, naturalism condemns us to scepticism in both epistemology and ethics.It is worth noting, that while <mask>'s work

masks: Schill Schill Schiller


title: F. C. S. Schiller

texts:
 has been largely neglected since his death, <mask>er's arguments against a naturalistic account of evolution have been recently cited by advocates of intelligent design to establish the existence of a longer history for the view due to legal concerns in the United States (See: Kitzmiller v. Dover Area School District). Humanist alternative to metaphysics and naturalism

<mask>er argued that both abstract metaphysics and naturalism portray man as holding an intolerable position in the world. He proposed a method that not only recognises the lower world we interact with, but takes into account the higher world of purposes, ideals and abstractions. <mask>er:

We require, then, a method which combines the excellencies of both the pseudo-metaphysical and the abstract metaphysical, if philosophy is to be possible at all. <mask>er was demanding a course correction in field of metaphysics, putting it at the service of science. For example, to explain the creation of the world out of nothing, or to explain the emergence or evolution of the "higher" parts of the world, <mask>er introduces a divine being who might generate the end (i.e. Final Cause) which gives nothingness, lifelessness, and unconscious matter the purpose (and thus potential) of evolving into higher forms:

And thus, so far from dispensing with the need for a Divine First Cause, the theory of evolution, if only we have the faith in science to carry it to its conclusion, and the courage to interpret it, proves irrefragably that no evolution was possible without a pre-existent Deity, and a Deity, moreover, transcendent, non-material and non-phenomenal.... [T]he world process is

masks: Schill Schill Schill Schill Schill


title: F. C. S. Schiller

texts:
 the working out of an anterior purpose or idea in the divine consciousness. This re-introduction of teleology (which <mask>er sometimes calls a re-anthropomorphizing of the world) is what <mask>er says the naturalist has become afraid to do. <mask>er's method of concrete metaphysics (i.e. his humanism) allows for an appeal to metaphysics when science demands it. However:

<mask>er finally reveals what this "End" is which "all things tend":

If our speculations have not entirely missed their mark, the world-process will come to an end when all the spirits whom it is designed to harmonise [by its Divine Creator] have been united in a perfect society. Now, while by today's philosophic standards <mask>er's speculations would be considered wildly metaphysical and disconnected from the sciences, compared with the metaphysicians of his day (Hegel, McTaggart, etc. ), <mask>er saw himself as radically scientific.<mask>er gave his philosophy a number of labels during his career. Early on he used the names "Concrete Metaphysics" and "Anthropomorphism", while later in life tending towards "Pragmatism" and particularly "Humanism". The Will to Believe

<mask>er also developed a method of philosophy intended to mix elements of both naturalism and abstract metaphysics in a way that allows us to avoid the twin scepticisms each method collapses into when followed on its own. However, <mask>er does not assume that this is enough to justify his humanism over the other two methods. He accepts the possibility that both scepticism and pessimism are true. To justify his attempt to occupy the middle ground between naturalism and abstract metaphysics,

masks: Schill Schill Schill Schill Schill Schill Schill Schill Schill


title: F. C. S. Schiller

texts:
 <mask>er makes a move that anticipates James' The Will to Believe:

And in action especially we are often forced to act upon slight possibilities. Hence, if it can be shown that our solution is a possible answer, and the only possible alternative to pessimism, to a complete despair of life, it would deserve acceptance, even though it were but a bare possibility.<mask>er contends that in light of the other methods' failure to provide humans with a role and place in the universe, we ought avoid the adoption of these methods. By the end of Riddles, <mask>er offers his method of humanism as the only possible method that results in a world where we can navigate our lower existence to the achievement of our higher purpose. He asserts that it is the method we ought to adopt regardless of the evidence against it ("even though it were but a bare possibility"). While <mask>er's will to believe is a central theme of Riddle of the Sphinx (appearing mainly in the introduction and conclusion of his text), in 1891 the doctrine held a limited role in <mask>er's philosophy. In Riddles, <mask>er only employs his version of the will to believe doctrine when he is faced with overcoming sceptic and pessimistic methods of philosophy. In 1897, William James published his essay "The Will to Believe" and this influenced <mask>er to drastically expanded his application of the doctrine. For a 1903 volume titled Personal Idealism, <mask>er contributed a widely read essay titled "Axioms as Postulates" in which he sets out to justify the "axioms of logic" as postulates adopted on the basis of the will to believe doctrine.In this essay <mask>er extends the will to


title: F. C. S. Schiller

texts:
 believe doctrine to be the basis of our acceptance of causality, of the uniformity of nature, of our concept of identity, of contradiction, of the law of excluded middle, of space and time, of the goodness of God, and more. He notes that we postulate that nature is uniform because we need nature to be uniform:

[O]ut of the hurly-burly of events in time and space [we] extract[ ] changeless formulas whose chaste abstraction soars above all reference to any 'where' or 'when,' and thereby renders them blank cheques to be filled up at our pleasure with any figures of the sort. The only question is—Will Nature honour the cheque? Audentes Natura juvat—let us take our life in our hands and try! If we fail, our blood will be on our own hands (or, more probably, in some one else's stomach), but though we fail, we are in no worse case than those who dared not postulate ... Our assumption, therefore, is at least a methodological necessity; it may turn out to be (or be near) a fundamental fact in nature [an axiom]. <mask>er stresses that doctrines like the uniformity of nature must first be postulated on the basis of need (not evidence) and only then "justified by the evidence of their practical working." He attacks both empiricists like <mask> Mill, who try to conclude that nature is uniform from previous experience, as well as Kantians who conclude that nature is uniform from the preconditions on our understanding.<mask>er argues that preconditions are not conclusions, but demands made on our experience that may or may not work. On this success hinges our continued acceptance of the postulate and its eventual promotion to axiom status. In

masks:
Schill
John Stuart
Schill


title: F. C. S. Schiller

texts:
 "Axioms and Postulates" <mask>er vindicates the postulation by its success in practice, marking an important shift from Riddles of a Sphinx. In Riddles, <mask>er is concerned with the vague aim of connecting the "higher" to the "lower" so he can avoid scepticism, but by 1903 he has clarified the connection he sees between these two elements. The "higher" abstract elements are connected to the lower because they are our inventions for dealing with the lower; their truth depends on their success as tools. <mask>er dates the entry of this element into his thinking in his 1892 essay "Reality and 'Idealism'" (a mere year after his 1891 Riddles). The shift in <mask>er's thinking continues in his next published work, The Metaphysics of the Time-Process (1895):
The abstractions of metaphysics, then, exist as explanations of the concrete facts of life, and not the latter as illustrations of the former ... Science [along with humanism] does not refuse to interpret the symbols with which it operates; on the contrary, it is only their applicability to the concrete facts originally abstracted from that is held to justify their use and to establish their 'truth.'<mask>er's accusations against the metaphysician in Riddles now appear in a more pragmatic light. His objection is similar to one we might make against a worker who constructs a flat-head screwdriver to help him build a home, and who then accuses a screw of unreality when he comes upon a Phillips-screw that his flat-head screwdriver won't fit. In his works after Riddles, <mask>er's attack takes the form of reminding the abstract metaphysician that abstractions are meant as tools for dealing

masks: Schill Schill Schill Schill Schill Schill


title: F. C. S. Schiller

texts:
 with the "lower" world of particulars and physicality, and that after constructing abstractions we cannot simply drop the un-abstracted world out of our account. The un-abstracted world is the entire reason for making abstractions in the first place. We did not abstract to reach the unchanging and eternal truths; we abstract to construct an imperfect and rough tool for dealing with life in our particular and concrete world. It is the working of the higher in "making predictions about the future behavior of things for the purpose of shaping the future behavior of things for the purpose of shaping our own conduct accordingly" that justifies the higher. To assert this methodological character of eternal truths is not, of course, to deny their validity ... To say that we assume the truth of abstraction because we wish to attain certain ends, is to subordinate theoretic 'truth' to a teleological implication; to say that, the assumption once made, its truth is 'proved' by its practical working ... For the question of the 'practical' working of a truth will always ultimately be found to resolve itself into the question whether we can live by it.A few lines down from this passage <mask>er adds the following footnote in a 1903 reprint of the essay: "All this seems a very fairly definite anticipation of modern pragmatism." Indeed, it resembles the pragmatist theory of truth. However, <mask>er's pragmatism was still very different from both that of William James and that of <mask> Peirce. Opposition to logic

As early as 1891 <mask>er had independently reached a doctrine very similar to William James' Will to Believe. As early as 1892 <mask>er

masks:
Schill
Schill
Charles Sanders
Schill
Schill


title: F. C. S. Schiller

texts: had independently developed his own pragmatist theory of truth. However, <mask>er's concern with meaning was one he entirely imports from the pragmatisms of James and Peirce. Later in life <mask>er musters all of these elements of his pragmatism to make a concerted attack on formal logic.Concerned with bringing down the timeless, perfect worlds of abstract metaphysics early in life, the central target of <mask>er's developed pragmatism is the abstract rules of formal logic. Statements, <mask>er contends, cannot possess meaning or truth abstracted away from their actual use. Therefore, examining their formal features instead of their function in an actual situation is to make the same mistake the abstract metaphysician makes. Symbols are meaningless scratches on paper unless they are given a life in a situation, and meant by someone to accomplish some task. They are tools for dealing with concrete situations, and not the proper subjects of study themselves. Both <mask>er's theory of truth and meaning (i.e. <mask>er's pragmatism) derive their justification from an examination of thought from what he calls his humanist viewpoint (his new name for concrete metaphysics).He informs us that to answer "what precisely is meant by having a meaning" will require us to "raise the prior question of why we think at all.". A question <mask>er of course looks to evolution to provide. <mask>er provides a detailed defence of his pragmatist theories of truth and meaning in a chapter titled "The Biologic of Judgment" in Logic for Use (1929). The account <mask>er lays out in many ways resembles some of what Peirce asserts in his "The Fixation of Belief"


title: F. C. S. Schiller

texts:
 (1877) essay:

This passage of <mask>er was worth quoting at length because of the insight this chapter offers into <mask>er's philosophy. In the passage, <mask>er makes the claim that thought only occurs when our unthinking habits prove themselves inadequate for handling a particular situation. <mask>er's stressing of the genesis of limited occurrences of thought sets <mask>er up for his account of meaning and truth. <mask>er asserts that when a person utters a statement in a situation they are doing so for a specific purpose: to solve the problem that habit could not handle alone.The meaning of such a statement is whatever contribution it makes to accomplishing the purpose of this particular occurrence of thought. The truth of the statement will be if it helps accomplishes that purpose. No utterance or thought can be given a meaning or a truth valuation outside the context of one of these particular occurrences of thought. This account of <mask>er's is a much more extreme view than even James took. At first glance, <mask>er appears very similar to James. However, <mask>er's more stringent requirement that meaningful statements have consequences "to some one for some purpose" makes <mask>er's position more extreme than James'. For <mask>er, it is not a sufficient condition for meaningfulness that a statement entail experiential consequences (as it is for both Peirce and James).<mask>er requires that the consequences of a statement make the statement relevant to some particular person's goals at a specific moment in time if it is to be meaningful. Therefore, it is not simply enough that the statement "diamonds are hard" and the

masks: Schill Schill Schill Schill Schill Schill Schill Schill Schill Schill Schill Schill


title: F. C. S. Schiller

texts: statement "diamonds are soft" entail different experiential consequences, it is also required that the experiential difference makes a difference to someone's purposes. Only then, and only to that person, do the two statements state something different. If the experiential difference between hard and soft diamonds did not connect up with my purpose for entering into thought, the two statements would possess the same meaning. For example, if I were to randomly blurt out "diamonds are hard" and then "diamonds are soft" to everyone in a coffee shop one day, my words would mean nothing. Words can only mean something if they are stated with a specific purpose. Consequently, <mask>er rejects the idea that statements can have meaning or truth when they are looked upon in the abstract, away from a particular context."Diamonds are hard" only possesses meaning when stated (or believed) at some specific situation, by some specific person, uttered (or believed) for some specific aim. It is the consequences the statement holds for that person's purposes which constitute its meaning, and its usefulness in accomplishing that person's purposes that constitutes the statement's truth or falsity. After all, when we look at the sentence "diamonds are hard" in a particular situation we may find it actually has nothing to say about diamonds. A speaker may very well be using the sentence as a joke, as a codephrase, or even simply as an example of a sentence with 15 letters. Which the sentence really means cannot be determined without the specific purpose a person might be using the statement for in a specific context. In an article titled "Pragmatism and


title: F. C. S. Schiller

texts:
 Pseudo-pragmatism" <mask>er defends his pragmatism against a particular counterexample in a way that sheds considerable light on his pragmatism:

The impossibility of answering truly the question whether the 100th (or 10,000th) decimal in the evaluation of Pi is or is not a 9, splendidly illustrates how impossible it is to predicate truth in abstraction from actual knowing and actual purpose. For the question cannot be answered until the decimal is calculated.Until then no one knows what it is, or rather will turn out to be. And no one will calculate it, until it serves some purpose to do so, and some one therefore interests himself in the calculation. And so until then the truth remains uncertain: there is no 'true' answer, because there is no actual context in which the question has really been raised. We have merely a number of conflicting possibilities, not even claims to truth, and there is no decision. Yet a decision is possible if an experiment is performed. But his experiment presupposes a desire to know. It will only be made if the point becomes one which it is practically important to decide.Normally no doubt it does not become such, because for the actual purposes of the sciences it makes no difference whether we suppose the figure to be 9 or something else. I.e. the truth to, say, the 99th decimal, is ' true enough ' for our purposes, and the 100th is a matter of indifference. But let that indifference cease, and the question become important, and the ' truth ' will at once become ' useful '. Prof. Taylor's illustration therefore conclusively proves that in an actual context and as an actual question there is no true


title: F. C. S. Schiller

texts:
 answer to be got until the truth has become useful. This point is illustrated also by the context Prof. Taylor has himself suggested. For he has made the question about the 100th decimal important by making the refutation of the whole pragmatist theory of knowledge depend on it.And what nobler use could the 100th decimal have in his eyes? If in consequence of this interest he will set himself to work it out, he will discover this once useless, but now most useful, truth, and—triumphantly refute his own contention! We might recognise this claim as the sort of absurdity many philosophers try to read into the pragmatism of William James. James, however, would not agree that the meaning of "the 100th decimal of Pi is 9" and "the 100th decimal of Pi is 6" mean the same thing until someone has a reason to care about any possible difference. <mask>er, in constast, does mean to say this. James and <mask>er both treat truth as something that happens to a statement, and so James would agree that it only becomes true that the 100th decimal of Pi is 9 when someone in fact believes that statement and it leads them to their goals, but nowhere does James imply that meaning is something that happens to a statement. That is a unique element of <mask>er's pragmatism.Humanist theory of meaning and truth

While <mask>er felt greatly indebted to the pragmatism of William James, <mask>er was outright hostile to the pragmatism of C.S. Peirce. Both <mask> and James struggled with what Peirce intended with his pragmatism, and both were often baffled by Peirce's insistent rebuffing of what they both saw as the natural elaboration of the pragmatist cornerstone

masks: Schill Schill Schill Schill Schill Schiller


title: F. C. S. Schiller

texts:
 he himself first laid down. On the basis of his misunderstandings, <mask>er complains that for Peirce to merely say "'truths should have practical consequences'" is to be "very vague, and hints at no reason for the curious connexion it asserts." <mask>er goes on to denigrate Peirce's principle as nothing more than a simple truism "which hardly deserves a permanent place and name in philosophic usage". After all, <mask>er points out, "[i]t is hard ... to see why even the extremest intellectualism should deny that the difference between the truth and the falsehood of an assertion must show itself in some visible way." With Peirce's attempts to restrict the use of pragmatism set aside, <mask>er unpacks the term "consequences" to provide what he considers as a more substantial restatement of Peirce's pragmatism:

For to say that a [statement] has consequences and that what has none is meaningless, must surely mean that it has a bearing upon some human interest; they must be consequences to some one for some purpose.<mask>er believes his pragmatism to be more developed because of its attention to the fact that the "consequences" which make up the meaning and truth of a statement, must always be consequences for someone's particular purposes at some particular time. Continuing his condemnation of the abstract, <mask>er contends that the meaning of a concept is not the consequences of some abstract proposition, but what consequences an actual thinker hopes its use will bring about in an actual situation. The meaning of a thought is what consequences one means to bring about when they employ the thought. To <mask>er, this is what a more

masks: Schill Schill Schill Schill Schill Schill Schill


title: F. C. S. Schiller

texts:
 sophisticated pragmatist understands by the term meaning. If we are to understand the pragmatic theory of meaning in <mask>er's way, he is right to claim that James' theory of truth is a mere corollary of the pragmatist theory of meaning:

But now, we may ask, how are these 'consequences' to test the 'truth' claimed by the assertion? Only by satisfying or thwarting that purpose, by forwarding or baffling that interest. If they do the one, the assertion is 'good' and pro tanto 'true' ; if they do the other, 'bad' and 'false'.Its 'consequences,' therefore, when investigated, always turn out to involve the 'practical' predicates 'good ' or 'bad,' and to contain a reference to ' practice' in the sense in which we have used that term. So soon as therefore we go beyond an abstract statement of the narrower pragmatism, and ask what in the concrete, and in actual knowing, 'having consequences ' may mean, we develop inevitably the fullblown pragmatism in the wider sense. Given <mask>er's view that the meaning of a thought amounts to the consequences one means to bring about by the thought, <mask>er further concluded that the truth of a thought depends on whether it actually brings about the consequences one intended. For example, if while following a cooking recipe that called for salt I were to think to myself, "Cerebos is salt", my thought will be true if it consequently leads me to add Cerebos and produce a dish with the intended taste. However, if while working in a chemistry lab to produce a certain mixture I were to think to myself, "Cerebos is salt", my thought would both have a different meaning than before (since my intent now

masks: Schill Schill Schill


title: F. C. S. Schiller

texts:
 differs) and be false (since Cerebos is only equivalent to salt for culinary purposes). According to <mask>er, the question of what a thought like "Cerebos is salt" means or whether it is true can only be answered if the specific circumstances with which the thought arose are taken into consideration. While there is some similarity here between <mask>er's view of meaning and the later ordinary language philosophers, <mask>er's account ties meaning and truth more closely to individuals and their intent with a specific use rather than whole linguistic communities.Selected works
 Riddles of the Sphinx (1891)
 "Axioms as Postulates" (published in the collection Personal Idealism, 1902)
  "Useless 'Knowledge': A Discourse Concerning Pragmatism", January 1902)
 Humanism (1903)
 "The Ethical Basis of Metaphysics" (July 1903)
 "The Definition of 'Pragmatism' and 'Humanism'" (January 1905)
 Studies in Humanism (1907)
 Plato or Protagoras? (1908)
 Riddles of the Sphinx (1910, revised edition)
 Humanism (1912, second edition)
 Formal Logic (1912)
 Problems of Belief (1924, second edition)
 Logic for Use (1929)
 Our Human Truths (1939, published posthumously)

Notes and references

Further reading
 Pragmatic Humanism of F.C.S. Schiller by Rueben Abel (1955)
 Humanistic Pragmatism: The Philosophy of F.C.S. Schiller edited by Rueben Abel (1966)
 "The Pragmatic Humanism of F.C.S. Schiller" in <mask> De Waal's On Pragmatism (2005)

External links

1864 births
1937 deaths
19th-century British non-fiction writers
19th-century British philosophers
19th-century philosophers
20th-century British non-fiction writers
20th-century British

masks: Schill Schill Schill Cornelis


title: Andrea Tacchi

texts:
<mask> (born 28 July 1956) is an Italian luthier who specializes in classical guitar making. Biography
Born and raised in Florence, Italy, <mask> took an interest in creating musical instruments from an early age, building his first guitar at age 15. In 1977, he began studying guitar making with Argentinian luthier Ricardo Brané. After Brané’s death, <mask> traveled to Spain, England, France, and the United States to study with various masters, going in 1981 to Spain to meet with many Spanish luthiers including Paulino Bernabe Senior, José Ramírez, Francisco and Gabriel Fleta to get their critical opinions and advice on his guitar making. With the same goal in mind, he went twice to England to consult with José Romanillos. Most importantly, during the early 1980s, <mask> went several times to Paris to visit with Robert Bouchet and Daniel Friederich in their workshops, always with the objective in mind of growing as a luthier through their advice. In Castres, France in 1985, <mask> competed in the "Concours International des Facteurs de Guitare" organized by Robert Vidal of Radio France.There, he won first prize for Aesthetic Qualities and second general prize for Acoustic Qualities. Experienced in the restoration of guitars and other antique string instruments, <mask> has carried out such restorations as the Pagés guitar of Jacob Lindberg, string basses for musicians of the Teatro Comunale di Firenze, and a classical guitar built by Hermann Hauser. <mask> has built over 350 guitars, some owned by guitarists including Filomena Moretti, Flavio Cucchi, Carlo Marchione, Antigoni Goni, Robert Gruca, Colin Davin, Minoru Inagaki, and Marcelo Kayath, while others belong to important private

masks:
Andrea Tacchi
Tacchi
Tacchi
Tacchi
Tacchi
Tacchi
Tacchi


title: Andrea Tacchi

texts:
 collections. Two of his guitars are in the collection of the Conservatorio Luigi Cherubini in Florence, Italy. Coclea & Coclea Thucea

<mask> is well known for a guitar he began building in 1989, the Coclea, which possesses unusually resonant acoustic properties. The name refers to the "cochlea" of the inner ear (coclea in Latin), the physiological place where noise is perceived as sound. The Coclea is designed on precise geometrical principles, of which its main characteristic is having top and back conceived of as portions of spheres of different radii.<mask> explains his inspiration for the Coclea: "From the early 80s on, I became interested in understanding the rules adopted by luthiers of the 19th century for designing the form of their instruments, a series of circles and triangles in a mathematical relation to the length of the body. Then I developed a system of spheres of differing diameters and planes in such a way so that these tangents would compose the Coclea." While he originally created two versions of the Coclea, one with a spruce top and another with a cedar top, it was in 1997 that <mask> began to develop the idea for the Coclea Thucea, so named because of the combination of the two woods of which the sound board is composed: thuja plicata (western redcedar) and picea excelsa (spruce). <mask>'s Thucea design was partially inspired by a concept applied by  Antonio Torres who created guitar soundboards with three strips of spruce of differing densities. He produced the first Coclea Thucea in 2000. In 2012, <mask> created a special model of the Coclea Thucea named "Cerulea." Destined for China, the predominant color of the decoration is cerulean blue, inspired by the

masks: Tacchi Tacchi Tacchi Tacchi Tacchi


title: Andrea Tacchi

texts:
 image of the celestial empire.In the rosette there is a square tile of blue lapis lazuli and as 2012 was the year of the Dragon there is another tile representing a dragon carved from an antique piece of bone. Bouchet Homage

In honor of his former teacher, in 1994 <mask> created his first reproduction of a Bouchet guitar, the Bouchet Homage. Following the Cahier d’atelier (workshop notebook) of Bouchet, later published by the Conservatoire de Paris, <mask> created what is generally recognized as a personalized replica of the master’s instrument. In 1998 the Florentine luthier was invited to exhibit this guitar in Shibuya, Tokyo at the celebration of the 100-year anniversary of Bouchet’s birth. Concerning Bouchet, <mask> has written: "He linked the 'gesture' with the material, a characteristic typical of sculptors, and one ought not to forget that Bouchet started out as both a painter and a sculptor." García & Simplicio Replicas

In 1999 after intense study of Catalan lutherie, <mask> began to make replicas of García and Simplicio Guitars. Concerning the task of creating replicas of guitars by these two masters <mask> García, my state of mind is quite different from the great white canvas ready to be filled with colors that Simplicio represents for me.I feel freer, more tranquil, and more self-confident. Simplicio is more severe. During the period in which I was assiduously studying his work I dreamed of him often and I always felt intimidated and embarrassed before him." Skrjabin Homage

Inspired by the piano works of the Russian composer Alexander Scriabin, Tacchi created a unique Coclea Thucea named the Skrjabin Homage in 2010. This guitar was unveiled on 23 May 2010 at the

masks:
Andrea Tacchi
Tacchi
Tacchi
Tacchi
Tacchiro


title: Andrea Tacchi

texts:
 Cleveland Institute of Music, played by Jason Vieaux for an encore. Articles and lectures by <mask>

"Una strada da seguire" in Francisco Simplicio luthier: Note di viaggio sulle tracce di Francisco e Miguel Simplicio nella Barcellona fra Modernismo e Seconda Republica Diego Milanese and Umberto Piazza, eds. Il Dialogo, Milan 2010 pp.180–190

"Inside the Tacchi Workshop" at the Classical Guitar Weekend, Cleveland, Ohio 22 May 2010

"Rue de la Guitare" in Guitar Salon Blog, 26 August 2013

<mask> Interviews Daniel Friederich in Guitar Salon Blog, 25 August 2013 (reprinted from Il Fronimo vol. 101, 1998)

"Tacchi Workshop Firenze" at Corde Factum Guitar Festival, Puurs, Belgium 16 May 2010

"Robert Bouchet in Paris" Lecture for Media Calm Co., Ochanomizu, Tokyo, May 2010

"Robert Bouchet chez les japonais" trans. Fabio Ragghianti Les Cahiers de la Guitar et de la Musique  n.70, 1999, p. 11

Simplicio Biography for Rodgers Tuning Machines 1999

"Masaru Kohno: Intervista esclusiva" in Guitart V, n. XX, Oct-Dec 2000 pp. 4–7

"Meet the Maker: Masaru Kohno" in American Lutherie #62 Summer 2000

"Intervista a Daniel Friederich" in Il Fronimo rivista di chitarra n.101 Jan 1998 pp. 9–14

Discography

Flavio Cucchi Presents Works by Castelnuovo Tedesco (ARC Music) 1996

Flavio Cucchi From Dowland to Chick Corea (GuitArt) 2002

Flavio Cucchi Guitar Favourites (Oxmedia) 2003

Flavio Cucchi I maestri della chitarra (Compilation Seicorde) 2003

Flavio Cucchi (DVD) GMC 2009

Colin Davin The Infinite Fabric of Dreams 2011

Robert Gruca  "Handel Guitar Arrangements"

Filomena Moretti recordings on Tacchi guitar

References

People from Florence
Italian luthiers
Classical guitar makers
1956

masks:
Andrea Tacchi
Andrea Tacchi


title: Elizabeth Billington

texts:
<mask> (1765 or 1768, in London25 August 1818, in Venice) was a British opera singer. Life

She was probably born about 1768 in Litchfield Street, Soho, London. She was the daughter of Carl Weichsel, a native of Freiberg, in Saxony, principal oboist at the King's Theatre. Her mother, Frederika, née Weirman, an English vocalist of some distinction, was a pupil of Johann Christian Bach, and sang at Vauxhall with success between 1765 and 1775. <mask> received her earliest musical instruction, in company with her brother Charles (who afterwards was known as a violinist) from her father, under whom she studied the pianoforte with such assiduity that on 10 March 1774 she played at a concert at the Haymarket for her mother's benefit. In addition to her father's instruction she studied under Johann Samuel Schroeter, and before she was twelve years old published two sets of pianoforte sonatas. She now began to turn her attention to the cultivation of her voice, and at the early age of fourteen appeared at a public concert in Oxford.On 13 October 1783 she was married under her mother's maiden name, Wierman, at Lambeth Church to <mask>, a double-bass player in the Drury Lane orchestra, from whom she had had lessons in singing. Immediately after their marriage the <mask>s went to Dublin, where she made her first appearance on the stage in the part of Eurydice. After singing at Waterford and other towns in Ireland she returned to London in

masks:
Elizabeth Billington
Elizabeth Weichsel
James Billington
Billington


title: Elizabeth Billington

texts: 1786, and was offered an engagement at Covent Garden for three nights only, but she insisted on being engaged for twelve nights, at a salary of £12 a week. On these terms she was announced to appear on 14 Feb. 1786, but the renown she had already won in Dublin had preceded her, and 'by command of their majesties' she appeared on the 13th as Rosetta in Thomas Arne's Love in a Village. At the end of the twelve nights she was engaged for the rest of the season at a salary of £1,000. A contemporary account of her at this period says that her voice was of great sweetness, compass, and power, and that she possessed 'a great deal of genuine beauty and very unaffected and charming manners;' but the secret of her great success was the unremitting zeal with which she studied her art. Her brother-in-law, <mask>, says that she had originally 'a very indifferent voice and manner,' which she completely changed by the industry with which, throughout her public career, she pursued her studies.At the end of her first season she went to Paris, and had lessons from the Antonio Sacchini, whose last pupil she was, and at different periods of her career she also studied with Morelli, Ferdinando Paer, and Friedrich Heinrich Himmel. She returned to London for the season of 1786–7, and continued to sing there, at Covent Garden, the Concerts of Ancient Music, the so-called Oratorios, and the Handel Commemorations, until the end of 1793. William Shield


title: Elizabeth Billington

texts: wrote his operas of 'Marian' and 'The Prophet' for her, and in 1789 she appeared as Yarico in Dr. Arnold's long-popular compilation, 'Inkle and Yarico.' Others of her favourite parts were Mandane (in 'Artaxerxes'), and the heroines in 'Polly,' the 'Duenna,' the 'Castle of Andalusia,' 'Corali,' 'Clara,' the 'Flitch of Bacon'. In 1791 she was kind enough to take in <mask> who she had met in Dublin. Clendinning had a short singing career before she retired to have a family, but her husband was in Dublin debtor's prison and she came to England to find work and she found work initially in Bath. Mrs. <mask> was not happy in her marriage, and even before she had appeared on the London stage rumour had been busy with her fair fame.In 1792 there appeared an anonymous publication, which professed to contain her private correspondence with her mother. This work was of so disgraceful and scurrilous a description that Mrs. <mask> was forced to take legal proceedings against the publishers. An answer to the 'Memoirs' appeared in due course ; but it seems probable that the scandal induced Mrs. <mask> to abandon her profession and retire to the Continent. Accompanied by her brother and her husband, she left England early in 1794, and travelled by way of Germany to Italy. At Naples she was induced by Sir William Hamilton, the English ambassador, to sing in private before the royal family. This led to her singing at the San Carlo, where she

masks:
Elizabeth Clendining
Billington
Billington
Billington


title: Elizabeth Billington

texts: appeared in a new opera, 'Inez di Castro,' written expressly for her by Francesco Bianchi, on 30 May 1794. Her singing created an extraordinary impression, but her triumph was cut short by the sudden death of her husband, which took place the day after her first appearance, as he was preparing to accompany his wife to the theatre, after dining with the Bishop of Winchester.She stayed at Naples sixteen months, and then sang at Florence, Leghorn, Milan, Venice, and Trieste. In 1797, when singing at Venice, she was prostrated with a severe illness for six weeks. On her recovery the opera house was illuminated for three nights. At Milan she was received with much favour by the Joséphine de Beauharnais, and here she met a young Frenchman, M. Felissent, to whom she was married in 1799. After her second marriage she went to live at St. Artien, an estate she had bought between Venice and Treviso; but her life was rendered so insupportable by the ill-treatment she received from her husband that in 1801 she left him and returned to England. Felissent, who, it was said, had been publicly flogged as an impostor at Milan, followed her to London, but he was arrested and expelled the country as an alien. Mrs. <mask>'s return to London caused a great stir in the musical world, and the managers both of Covent Garden (Harris) and Drury Lane (Richard Brinsley Sheridan) were eager to secure her services.After some negotiation it was arranged


title: Elizabeth Billington

texts: that she should appear alternately at both houses, the terms she was to receive being 3,000 guineas for the season, together with a benefit guaranteed to amount to £500, and £500 to her brother for leading the orchestra on the nights she appeared. Her reappearance took place at Covent Garden on 3 Oct. 1801, in Thomas Arne's Artaxerxes, in which she sang the part of Mandane, Incledon singing that of Arbaces. During 1801 she made from £10,000 to £15,000, and at one time her fortune is said to have amounted to £65,000. In 1802 Mrs. <mask> appeared in Italian opera at the King's Theatre, on the occasion of the farewell of Banti, when both these great artists sang in Sebastiano Nasolini's 'Merope.' A similar performance took place on 3 June of the same year, when she was induced to sing a duet with Mara, at the farewell concert of her great rival. From this time until her retirement in 1811 she continued to sing in Italian opera. Winter wrote his 'Calypso' (1803) expressly for her, and in 1806 she distinguished herself by producing, for her benefit, La Clemenza di Tito, the first opera by Wolfgang Amadeus Mozart performed in this country.During 1809-10 she suffered much from ill-health, and at length she retired from the profession, her last appearance being announced at her brother's benefit concert on 3 May 1811. She appeared, however, once more at Whitehall Chapel in 1814, at a concert in aid of the sufferers by the German war.


title: Elizabeth Billington

texts:
 After her retirement she lived in princely style at a villa at Fulham. In 1817 she was reconciled to her husband, and went with him to live near Venice, where she died on 25 August 1818. Her child by her first husband had died in infancy ; but it was believed that an adopted child, whom she had placed in a convent at Brussels, was her own daughter. Critical reception

Contemporary opinions as to the merits of Mrs. <mask> as a singer differ to a singular degree. It was always her misfortune to be forced into a position of rivalry with some other great artist, and thus partisanship often guided the judgments of her critics.As to the perfect finish of her singing all are agreed. The Earl of Mount Edgcombe says that her voice was sweet and flexible, her execution neat and precise, her embellishments in good taste and judicious, but that she lacked feeling, and was no actress. Miss Seward writes of her : 'She has too much sense to gambol like Mara in the sacred songs;' but George III, who was no mean judge—by suggesting in a written memorandum, that Lord Carmarthen 'if he can get her to sing pathetick songs, and not to over-grace them, will be doing an essential service to the court'—seems to imply that she had the great fault of the singers of that day, viz. the excessive and indiscriminate use of vocal embellishments. She was all through her life a finished pianist. Salomon used to say that 'she sang with her fingers,' and quite


title: Elizabeth Billington

texts:
 late in life she played a duet in public with J. B. Cramer.In person Mrs. <mask> was very handsome, though inclined to stoutness. Her portrait was painted by Sir Joshua Reynolds as Saint Cecilia, and has been engraved by James Ward, Pastorini, and Cardon. The exhibition of old masters at Burlington House in 1885 contained a small portrait by Reynolds, said to be of Mrs. <mask> in her youth, a statement which is probably inaccurate. Two miniatures of her were painted, one by Daniel, and there are engravings of her by T. Burke after De Koster, as Mandane by Heath after Stothard, by Bartolozzi after Cosway, by Dunkarton after Downman, and by Assen. A portrait of Clara in the 'Duenna,' painted and engraved by J. R. Smith in 1797, probably represents Mrs. <mask>. Haydn said of her, that Sir Joshua Reynolds should rather have painted the angels listening to Mrs Billington singing, than have depicted, as he did, Mrs Billington listening to the angels. References

Attribution:

 Endnotes:
Gent, Mag.lxiv. 671, lxxxviii. 69 ;
Georgian Era (1832), iv. 291 ;
Egerton MSS. 2169, ff. 57, 66;
Earl of Mount Edgcumbe's Musical Reminiscences (2nd ed. 1827), § vi.;
Busby's Concert Room Anecdotes, i. 151, 212, 217, ii. 4;
Eaton's Musical Criticism (1872), 172 ;
Seward's Letters (1811), i. 153 ;
Harmonicon for 1830, 93 ;
Public Characters (1802-3), 394 ;
H. Bromley's Cat. of Engraved Portraits, 431;
Memoirs of Harmonic Society;
Musical World,

masks: Billington Billington Billington


title: Elizabeth Billington

texts:
 viii. 109: Parke's Musical Memoirs (1830);
Fétis's Biographie des Musiciens, ii. 195 ;
Thos.<mask>'s St. George and the Dragon ;
Quarterly Musical Magazine, i. 175 ;
Registers of Lambeth ;
Thespian Dictionary (1805). Sources
A biographical dictionary of actors, actresses, musicians,..., volume 2
Memoir of Mrs. <mask>
H. Jachmann, intro. J.M. Lewis, Wagner and his First Elisabeth (Novello, London 1944). External links

1765 births
1818 deaths
18th-century classical composers
19th-century classical composers
English classical composers
English opera singers
English people of German descent
Singers from London
Women classical composers
19th-century British composers
19th-century women composers
18th-century women

masks: Billington Billington


title: Semerkhet

texts:
Semerkhet is the Horus name of an early Egyptian king who ruled during the First Dynasty. This ruler became known through a tragic legend handed down by the historian Manetho, who reported that a calamity of some sort occurred during <mask>'s reign. The archaeological records seem to support the view that <mask> had a difficult time as king and some early archaeologists questioned the legitimacy of <mask>'s succession to the Egyptian throne. Length of reign
Manetho named Semerkhet Semêmpsés and credited him with a reign of 18 years, whilst the Royal Canon of Turin credited him with an implausibly long reign of 72 years. Egyptologists and historians now consider both statements as exaggerations and credit <mask> with a reign of 8½ years. This evaluation is based on the Cairo Stone inscription, where the complete reign of <mask> has been recorded. Additionally, they point to the archaeological records, which strengthen the view that <mask> had a relatively short reign.Name sources

<mask> is well attested in archaeological records. His name appears in inscriptions on vessels made of schist, alabaster, breccia, and marble. His name is also preserved on ivory tags and earthen jar seals. Objects bearing Semerkhet's name and titles come from Abydos and Sakkara. Semerkhet's serekh name is commonly translated as "companion of the divine community" or "thoughtful friend". The latter translation is questioned by many scholars, since the hieroglyph khet (Gardiner-sign F32)

masks: Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet


title: Semerkhet

texts: normally was the symbol for "body" or "divine community". <mask>'s birth name is more problematic.Any artefact showing his birth name curiously lacks any artistic detail of the used hieroglyphic sign: a walking man with waving cloak or skirt, a nemes head dress, and a long, plain stick in his hands. The reading and meaning of this special sign is disputed, since it doesn't appear in this form before association with king <mask>. Indeed, the hieroglyph of the cloaked man is extremely rare. It appears only twice in relief inscriptions depicting ceremonial processions of priests and standard bearers. Egyptologists such as Toby Wilkinson, Bernhard Grdseloff, and Jochem Kahl read Iry-Netjer, meaning "divine guardian". During the Old Kingdom period, this word is written with uniliteral signs of a netjer flag (Gardiner-sign R8) and a human eye (Gardiner-sign D4) nearby the ideogram of the man. Some contemporary ivory tags show the Nebty name written with the single eye symbol only.Thus, the scholars also read <mask>'s throne name as Iry (meaning "guardian") and the Nebty name as Iry-Nebty (meaning "guardian of the Two Ladies"). This reconstruction is strengthened by the observation that <mask> was the first king using the Nebty title in its ultimate form. For unknown reason <mask> did not use the Nebuy title of his predecessor. It seems that he felt connected with the 'Two Ladies', a title referring to the goddesses Nekhbet and Wadjet, the patron deities of the Ancient

masks: Semerkhet Semerkhet Semerkhet Semerkhet Semerkhet


title: Semerkhet

texts:
 Egyptians who were worshiped by all after the unification of its two parts, Lower Egypt, and Upper Egypt. The Nebty title in turn was thought to function as an addition to the Nisut-Bity title. His prenomen is Nisut-Bity-Nebty-Iry, nsw.t-bty-nb.ty-irymeaning, King of Upper and Lower Egypt, he of the two ladies, and he who belongs to them or He whom the two ladies guard.M23:t-L2:t-G16-A21A

Scribes and priests of the Ramesside era were also confused, because the archaic ideogram that was used during <mask>'s lifetime was very similar to the sign of an old man with a walking stick (Gardiner sign A19). This had been read as Semsu or Sem and means "the eldest".It was used as a title identifying someone as the head of the house. Due to this uncertainty, it seems that the compiler of the Abydos king list simply tried to imitate the original figure, whilst the author of the Royal Canon of Turin seems to have been convinced about reading it as the Gardiner-sign A19 and he wrote Semsem with uniliteral signs. The Saqqara King List omits Semerkhet's throne name. The reason for that is unknown, but all kings from Narmer up to king Den also are missing their throne names. Identity

Virtually nothing is known about Semerkhet's family. His parents are unknown, but it is thought that one of his predecessors, king Den, might have been his father. Possibly, Semerkhet was born to queen Betrest.On the Cairo Stone she is described as his mother, but definite evidence for that view has not


title: Semerkhet

texts:
 yet been found. It would be expected that Semerkhet had sons and daughters, but their names have not been preserved in the historical record. A candidate as a possible member of his family line is his immediate successor, king Qa'a. Reign

An old theory, supported by Egyptologists and historians such as Jean-Philippe Lauer, Walter Bryan Emery, Wolfgang Helck, and Michael Rice once held that Semerkhet was a usurper and not the rightful heir to the throne. Their assumption was based on the observation that a number of stone vessels with Semerkhet's name on them, originally were inscribed with king Adjib's name. Semerkhet simply erased Adjib's name and replaced it with his own. Furthermore, they point out that no high official and priest associated with Semerkhet was found at Sakkara.All other kings, such as Den and Adjib, are attested in local mastabas. Today this theory has little support. Egyptologists such as Toby Wilkinson, I. E. S. Edwards, and Winifred Needler deny the 'usurping theory', because <mask>'s name is mentioned on stone vessel inscriptions along with those of Den, Adjib, and Qa'a. The objects were found in the underground galleries beneath the Pyramid of Djoser at Saqqara. The inscriptions show that king Qa'a, immediate successor of Semerkhet and sponsor of the vessels, accepted Semerkhet as a rightful ancestor and heir to the throne. Furthermore, the Egyptologists point out that nearly every king of First Dynasty had the habit of taking special vessels


title: Semerkhet

texts: chamber. The ramp starts approximately ten metres east outside the tomb and has a base slope of 12°. Inside the tomb the ramp shows irregular graduations. Petrie was also confused by the small number of clay seals. Only 17 seals were found.For archaeologists and Egyptologists, the complete arrangement of the burial site suggests that the builders were pressed for time. When Petrie freed the ramp from sand, he found that the complete ramp was thickly covered in aromatic oil, which still gave off a scent. Beside the ramp several wooden and hand-made baskets and earthen jars were found. These were dated to the Ramesside era. Scholars now think that <mask>'s tomb was re-opened and restored when Ramesside priests and kings saw the tomb of king Djer as the ritual burial of Osiris's head. The findings inside the main chamber included precious objects such as inlays and fragments of furniture (especially pedestals), copper-made armatures, and jewelry made of ebony, amethyst, and turquoise. Some vessels originating from the Levant were also found.They once contained Bescha oil, which was of great value to the Egyptians. Outside the tomb, close to the entrance, a damaged tomb stela made of black granite displaying Semerkhet's serekh name was excavated. The burial chamber measures 29.2 × 20.8 metres and is of simple construction. Petrie found that the king's mastaba once covered the whole of the subsidiary tombs. Now the royal burial formed a unit with the 67 subsidiary tombs.


title: Semerkhet

texts:
 Egyptologists such as Walter Bryan Emery and Toby Wilkinson see this architectural development as proof that the royal family and household were killed willingly when their royal family head had died. Wilkinson goes further and thinks that <mask>, as the godlike king, tried to demonstrate his power over the death and life of his servants and family members even in their afterlife.The tradition of burying the family and court of the king when he died was abandoned at the time of king Qaa, one of the last rulers of the First Dynasty. The tombs of Second Dynasty founder, Hotepsekhemwy, onward have no subsidiary tombs. References

External links

 Francesco Raffaele: Semerkhet - nisut-bity Iry

30th-century BC Pharaohs
Pharaohs of the First Dynasty of


title: Konrad Pesudovs

texts:
<mask>s (b 1969) is an Australian optometrist and outcomes researcher in ophthalmology; recognised as the leading optometrist researcher worldwide in terms of H-Index and total citations. He is SHARP Professor of Optometry and Vision Science at the University of New South Wales (2020-). He was the Foundation Chair of Optometry and Vision Science at Flinders University from 2009 to 2017. Professional career
Pesudovs won a National Health and Medical Research Council (NHMRC) Sir Neil Hamilton Fairley Fellowship to be a post-doc at the University of Bradford with Prof David Elliott (2001-2003). He then moved to the University of Houston as a post-doc with Prof Raymond A. Applegate (2003-2004). In late 2004, he returned to Flinders University where he became a clinical research fellow funded by an NHMRC Career Development Fellowship. In 2005, he was Chief Investigator A on the successful funding of the NHMRC Centre of Clinical Research Excellence in Ophthalmology Outcomes Research.Since then he has received a number of NHMRC project grants with a career total NHMRC funding of over US$5million and total career grant funding of over US$9million. In 2009, he was appointed Foundation Chair of Optometry and Vision Science at Flinders University and set the task of creating a new 5 year optometry double degree program. The course design incorporated innovative teaching and learning strategies including integrated teaching, case-based learning and other student-centred learning strategies, e-learning, communication skills, business skills, evidence-based practice, simulation, high volume clinical exposure, clinical placements using the parallel clinical consulting model, and regional, remote and indigenous student recruitment and training strategies. The


title: Konrad Pesudovs

texts:
 a Committee Member of the Publications Committee for the Association for Research in Vision and Ophthalmology (2012-2014) and was a member of the International Consortium for Health Outcomes Measurement (ICHOM) Health Outcomes Measurement for Cataract Surgery working group. Pesudovs is trained in Contact Lenses (under AJ Phillips). Wine

<mask> is passionate about wine, founding the Adelaide Single Bottle Club, is a member of the 2nd Thursday Club (est. 1966), has won the WInestate options competition, makes wine, and in 2018 gained a Diploma in Wine and Spirits from The Wine and Spirit Education Trust. Honours
Pesudovs was awarded the J Lloyd Hewitt Award in 1994 by the editorial board of Clinical and Experimental Optometry and the Australian Optometrical Association. He was awarded the Peter-Abel Preis in 2006 by Die Vereinigung Deutscher Contactlinsen-Spezialisten e.V. (VDC).He was awarded the Waring Medal in 2006 by the International Society of Refractive Surgery. He was awarded a Young Tall Poppy Science Award, South Australia, for 2007-2008 by the Australian Institute of Policy and Science. He was awarded the Irvin M. and Beatrice Borish Award by the American Academy of Optometry in 2008. He was awarded the Garland W. Clay Award by the American Academy of Optometry in 2009 and again in 2011. He shared The American Public Health Association Vision Care Section 2014 Outstanding Scientific Paper Award with the Vision Loss Expert Group of the Global Burden of Disease 2010. In 2018, <mask> was named International Optometrist of the Year. In 2020, <mask>vs was awarded the H Barry Collin Medal by Optometry Australia.In 2021, <mask> was identified as the leading optometrist researcher worldwide in terms of H-Index and total citations. In 2021,

masks:
Konrad
Konrad Pesudovs
Konrad Pesudo
Konrad Pesudovs


title: Konrad Pesudovs

texts:
 <mask>s was awarded the Glenn A Fry Lecture Award by The American Academy of Optometry. Selected works
Complete list of peer-reviewed journal articles on the PubMed:

Book chapters:
 Elliott DB, Prokopich L, Pesudovs K.  Variations in appearance of the normal eye. In Elliott DB ed. Clinical Procedures in Primary Eyecare. 3rd ed. Edinburgh: Elsevier Butterworth Heinemann, 2007, p222-235.Pesudovs K.  Influence of Refractive Surgery Complications on Quality Of Life. In Alio JL, Azar D eds. Management of Complications in Refractive Surgery. Berlin: Springer-Verlag. 2008, p9-13. Pesudovs K.  Assessment of Visual Performance in Keratoconus. In Wang M, Swartz T.  Keratoconus and Keratectasia: New Modalities of Diagnosis, Prevention and Treatment.Thorofare, NJ: Slack. 2009. Pesudovs K, Elliott DB. Quality of Life after Laser Surgery for Eye Disorders. In Preedy VR, Watson RR eds. Handbook of Disease Burdens and Quality of Life Measures. New York: Springer.2010, p2379-2394. Lamoureux E, Fenwick E, Pesudovs K.  The impact of cataract, diabetic retinopathy, diabetic macular edema; and associated treatment interventions on quality of life. In Scholl, Massof RW, West S eds. Ophthalmology and the Ageing Society. Berlin: Springer; 2013, p141-164. Elliott DB, Pesudovs K.  Variations in appearance of the normal eye. In Elliott DB ed.Clinical Procedures in Primary Eyecare. 4th ed. Edinburgh: Elsevier Butterworth Heinemann, 2013, p272-293. References

External links
  on University of New South Wales
 <mask>udovs on Pesudovs.com

Living people
20th-century births
Australian optometrists
Australian people of Latvian descent
University of Melbourne alumni
Flinders University alumni
Year of birth missing (living people)
People educated at Trinity Grammar School,

masks:
Konrad Pesudov
Konrad Pes


title: Bettye LaVette

texts:
<mask> (born Betty Jo Haskins, January 29, 1946) is an American soul singer-songwriter who made her first record at sixteen, but achieved only intermittent fame until 2005, when her album I've Got My Own Hell to Raise was released to widespread critical acclaim, and was named on many critics' "Best of 2005" lists. Her next album, The Scene of the Crime, debuted at number one on Billboard's Top Blues Albums chart and was nominated for Best Contemporary Blues Album at the 2008 Grammy Awards. <mask>'s eclectic musical style combines elements of soul, blues, rock and roll, funk, gospel, and country music. In 2020, she was inducted into the Blues Hall of Fame. Life and career
<mask> was born in Muskegon, Michigan, and raised in Detroit. Unlike many of her contemporaries, she did not begin singing in the church, but in her parents' living room, singing R&B and country and western music. She was signed by Johnnie Mae Matthews, a local record producer.In 1962, aged sixteen, she recorded a single, "My Man — He's a Lovin' Man", with Matthews: the disc was credited to Betty LaVett, the surname being "borrowed" from Sherma Lavette Anderson, the singer's friend who had introduced her to Matthews. Picked up by Atlantic Records, LaVette's disc became a major R&B hit over the fall and winter of 1963–64 – eventually reaching the R&B Top Ten – resulting in LaVette touring with such Atlantic Records R&B hitmakers as Clyde McPhatter, Ben E. King, Barbara Lynn, and rising star Otis Redding. After two overlooked single releases in respectively 1963 and 1964, LaVette in 1965 returned to the R&B charts

masks:
Bettye LaVette
LaVette
LaVette


title: Bettye LaVette

texts: with "Let Me Down Easy" on Calla Records, her first release to be credited to <mask>: the spelling of the singer's first name as <mask> would date from her 1977 Bubbling Brown Sugar gig. Though only a peripheral success with an R&B chart peak of No. 48, "Let Me Down Easy" afforded LaVette sufficient cachet to briefly tour with The James Brown Revue. After recording several singles for local Detroit labels, LaVette signed to the Silver Fox label in 1969. She cut a handful of tracks, including two Top 40 R&B hits: "He Made A Woman Out Of Me" and "Do Your Duty".The Memphis studio musicians on these recordings have since become known as The Dixie Flyers. In 1972, she signed once again with Atlantic/Atco. She was sent to Muscle Shoals Sound Studio in Alabama to record what was to be her first album. Titled Child of the Seventies, it was produced by Brad Shapiro and featured the Muscle Shoals Rhythm Section, now known as The Swampers, but Atco chose not to issue the album. The mid-1970s saw a brief stint and two 45s with Epic, and in 1978 LaVette released the disco smash on West End Records "Doin' The Best That I Can". In 1982, she was signed by her hometown label, Motown, and sent to Nashville to record. The resulting LP (her first album actually issued), titled Tell Me A Lie, was produced by Steve Buckingham.The first single, "Right In The Middle (Of Falling In Love)", hit the R&B Top 40. She briefly gave up recording for a six-year run in the Broadway smash Bubbling Brown Sugar, appearing alongside Honi Coles and Cab Calloway. After LaVette had played her personal mono recordings of

masks:
Betty LaVette
Bettye


title: Bettye LaVette

texts: Child of the Seventies for Gilles Petard, a French soul music collector, he sought the master recordings at Atlantic, whose personnel had previously thought they had been lost in a fire some years back. In 1999, he finally discovered the masters and then licensed the album from Atlantic and released it in 2000 as Souvenirs on his Art and Soul label. At the same time, Let Me Down Easy – Live in Concert was issued by the Dutch Munich label. Both albums sparked a renewed interest in LaVette and in 2003, A Woman Like Me (produced by Dennis Walker) was released. The CD won the 2004 W. C. Handy Award for "Comeback Blues Album of the Year".In an interview, <mask> identified A Woman Like Me as the first album in the second phase of her career and said her 2012 autobiography was named after the album. After she was signed to The Rosebud Agency for live bookings, Rosebud president Mike Kappus brought her to the attention of ANTI- president Andy Kaulkin. Upon seeing LaVette perform, Kaulkin signed her to a three-record deal. For the first project, he paired her with Joe Henry, and suggested an album of songs written entirely by women. The resulting CD, I've Got My Own Hell to Raise, was on many critics' "Best of 2005" lists. The title is taken from the lyrics of Fiona Apple's 1996 hit "Sleep to Dream", which is covered on the album. (Other notable songwriters on the album were Aimee Mann, Sinéad O'Connor, Lucinda Williams, Joan Armatrading, and Dolly Parton.)The album was released by ANTI- and produced by Joe Henry. In 2006, capitalizing on the success of I've Got My Own Hell To Raise and


title: Bettye LaVette

texts: the reviews of her live shows, Child of the Seventies was reissued by Rhino Handmade with some previously unreleased tracks. The album was met with critical acclaim. Varèse Sarabande then issued Take Another Little Piece of My Heart, a CD containing all of the songs that she cut for Silver Fox and SSS International in 1969 and 1970. The CD included three unreleased tracks, as well as two duets with Hank Ballard. In 2006, <mask> received a "Pioneer Award" from the Rhythm and Blues Foundation. Her 2007 album, The Scene of the Crime, was mostly recorded at FAME Studios in Muscle Shoals, Alabama, with alt rockers Drive-By Truckers.The Scene of the Crime was nominated for a Grammy Award for "Best Contemporary Blues Album" and landed on numerous "Best of 2007" lists. <mask> talked about her experiences at Muscle Shoals Sound and FAME in an interview conducted by Edd Hurt in September 2007. Drive-By Truckers frontman Patterson Hood produced the album together with LaVette. The album also features one song co-written by <mask> and Patterson Hood. In 2008, she received a Blues Music Award for "Best Contemporary Female Blues Singer". Also in 2008, Reel Music re-issued on CD her Motown LP, Tell Me A Lie. The album contained the original cover design that was not used when the LP was released.In December 2008 at the Kennedy Center Honors, LaVette sang her version of 1973's "Love, Reign o'er Me" in tribute to Roger Daltrey and Pete Townshend of The Who, who were among the year's honorees. The performance was widely considered one of the event's highlights. On January 18, 2009, at the We Are

masks: LaVette LaVette LaVette


title: Bettye LaVette

texts: 11th annual Independent Music Awards judging panel to assist independent musicians' careers. LaVette contributed a cover of "Most of the Time" for the album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International.On December 31, 2012, she appeared in the UK on BBC Two's Jools Holland Annual Hootenanny. In 2013 and 2014, LaVette was nominated for a Blues Music Award in the "Contemporary Blues Female Artist" category. LaVette's album Worthy was nominated for a Grammy Award in 2016 for Best Blues Album. In 2016, <mask> won a Blues Music Award as the Soul Blues Female Artist of the Year. On March 6, 2017, she took part in a benefit concert at Carnegie Hall celebrating the music of Aretha Franklin, whom she has known since 1962. Lavette performed a rendition of the song "Ain't No Way", which she mentioned was written by Caroline Franklin, her older sister, with whom Bettye was friends. In 2017, LaVette appeared in the award-winning documentary film The American Epic Sessions.The film featured an interview between director Bernard MacMahon and LaVette in which they discussed her "heartfelt recollections of being pushed away from early blues as 'Uncle Tomish' in the '60s." Following the interview, LaVette recorded "Nobody's Dirt Business", a song by early blues musician Frank Stokes, direct-to-disc on the first electrical sound recording system from the 1920s. A soundtrack for the film, entitled Music from The American Epic Sessions, also featured a second song she recorded for the film, "When I Woke Up This Morning", which L. Kent Wolgamott in the Lincoln


title: Bettye LaVette

texts:
 Journal Star praised as "among its highlights." In 2018, <mask> <mask> was inducted into the Michigan Rock and Roll Legends Hall of Fame. Her 2018 album Things Have Changed, an album of all Bob Dylan songs, was nominated for Best Americana Album and the song "Don't Fall Apart On Me Tonight" was nominated for Best Traditional R&B Performance at the 61st Annual Grammy Awards. In May 2020, LaVette garnered another Blues Music Award in the "Soul Blues Female Artist of the Year" category. The same year, LaVette was inducted into the Blues Hall of Fame.On August 28, 2020, she released a new studio album, Blackbirds, which is an album of songs by women from the 1950s who were the "bridge she came across on". Blackbirds was nominated for Best Contemporary Blues Album at the 63rd Annual Grammy Awards. In 2021, Bettye again received the Blues Music Award for "Soul Blues Female Artist of the Year". On February 8, 2022, <mask>'s vocals from "Let Me Down Easy" were sampled as the focal point for ODESZA's newest single, "The Last Goodbye". Personal life
LaVette is married to Kevin Kiley, a recorded music and antiques dealer who is also a singer and musician. They live in West Orange, New Jersey. Discography

Albums

Compilations

Compilation appearances

Singles

Bibliography
 A Woman Like Me by <mask> Lavette with David Ritz (Blue Rider Press, New York 2012)

References

External links

 Official website
 <mask> <mask> on ANTI-

 West End Records
 Articles and interviews
 Bettye Lavette Interview on Rundgren Radio 2020
 "Bettye <mask>: When the Blues Catch up to You" at Crawdaddy!Bettye

masks: Bettye LaVette LaVette Bettye Bettye LaVette LaVette


title: Bettye LaVette

texts:
 talks about her CD, The Scene of the Crime, at Soul Express
 The Complete <mask> <mask> Story at Soul Express (2004)
 <mask> <mask> talks about "Worthy" at Soul Express (January 2015)
 Bettye LaVette 2015 Audio Interview at Soul Interviews
 Bettye talks about her CD, Things Have Changed, at Soul Express
 <mask> <mask> talks about her Blackbirds CD at Soul Express

1946 births
African-American women singer-songwriters
American rhythm and blues singer-songwriters
American soul singers
Living people
West End Records artists
Singer-songwriters from New Jersey
People from Muskegon, Michigan
People from West Orange, New Jersey
Atco Records artists
Singers from Detroit
21st-century African-American women singers
Singer-songwriters from Michigan
20th-century African-American women singers
Anti- (record label)

masks: Bettye LaVette Bettye LaVette Bettye LaVette


title: Paul V. Kroskrity

texts:
<mask><mask> (; born February 10, 1949) is an American linguistic anthropologist known primarily for his contributions to establishing and developing language ideology as a field of research. He is professor of anthropology, applied linguistics, and American Indian Studies at the University of California, Los Angeles. He is the past President of the Society for Linguistic Anthropology and past Chair of the American Indian Studies program at the University of California, Los Angeles. <mask>'s research focuses on language ideologies, language and identity, verbal art and performance, language contact, and language endangerment and revitalization. He specializes in the indigenous languages of the Kiowa-Tanoan and Uto-Aztecan language families, and has worked in the Western Pueblo region and Central California. Biography

<mask><mask> grew up in Brooklyn. He received his Bachelor's degree from Columbia College, Columbia University where he studied Oriental Studies, Comparative Literature, and Comparative Religion.For graduate school he moved to Indiana University and was the last student of linguist <mask>in. He also worked with Allen D. Grimshaw, Charles S. Bird, and Raymond J. DeMallie. <mask>in inspired his interest in American Indian languages and suggested that he conduct research with the Arizona Tewa. <mask> earned his PhD from Indiana in anthropology in 1977 with a dissertation titled "Aspects of Arizona Tewa Language Structure and Language Use". In 1978 <mask> was hired as a professor of anthropology at the University of California, Los Angeles, where he has been teaching ever since. Research

Among <mask>'s contributions to linguistic anthropological research and theory, he is best known for helping to develop and establish the research field of language ideology. In the early 1990s a group of linguists and anthropologists,

masks:
Paul V
. Kroskrity
Kroskrity
Paul V
. Kroskrity
Carl Voegel
Voegel
Kroskrity
Kroskrity
Kroskrity


title: Paul V. Kroskrity

texts:
 working on the relationship of cultural conceptions of language to linguistic structure, language use, and social context, convened on several occasions to bring scholarly attention to what soon became known in the discipline as "language ideology".<mask> organized and co-organized sessions at meetings of the American Anthropological Association (1991, 1994) and at the School of American Research in Santa Fe (1994), and served as the editor and co-editor of three of the resulting volumes. Arizona Tewa language ideologies

<mask>'s interest in the ideological dimension of language use and their relationship to linguistic structure, cultural identity, and ethnohistory can be traced to the beginning of his career. When he started his dissertation research in the Arizona Tewa communities on the First Mesa Hopi Reservation (Northeastern Arizona) in 1973, <mask> was primarily interested in Tewa grammar and language contact, but the Tewa themselves kept reminding him of the importance of the link between language, culture, and religious ceremonies. "My language is my life" is a popular saying in Tewa, which suggests a strong link between language and identity. Language and identity became a central theme in <mask>'s later work, interpreting Tewa cultural phenomena in the light of the emerging theory of language ideology. His early research concentrated on linguistic variation, language contact, linguistic borrowing, and areal influences in Tewa. The Tewa language presents unique data for the study of language contact because despite a history of about 300 years of contact with their Hopi neighbors and widespread multilingualism, the Arizona Tewa have adopted almost no loanwords from Hopi.This is a common pattern in many Pueblo cultures, usually known as "linguistic conservatism". <mask> re-analyzed this pattern as an indigenous ideology of

masks: Kroskrity Kroskrity Kroskrity Kroskrity Kroskrity


title: Paul V. Kroskrity

texts:
 Linguistic purism. But rather than being a result of the rejection of foreign elements by the Tewa community, <mask> traces this ideology to the prominence of kiva speech, a type of ceremonial speech confined in its use to religious authorities. Associated with the highly valued religious domain, kiva speech embodies four cultural preferences: regulation by convention, indigenous purism, strict compartmentalization, and linguistic indexing of identity. These preferences are reflected in Arizona Tewa linguistic ideologies concerning non-kiva language as well, and turn kiva speech thus into a folk model for language in general. <mask> has coined the term "dominant language ideology" to describe these underlying conceptions of language, where linguistic and cultural forms specific to one domain come to serve as a model for other forms. In relation to research on the relative metalinguistic awareness that speakers have of their language, <mask> points out that this dominant ideology is most influential on the Tewa lexicon, since lexical differences are most accessible to awareness and therefore most easily controlled by the speakers.Western Mono language ideologies

In addition to research with the Arizona Tewa, <mask> has also worked with the Western Mono communities of central California since 1980. In stark contrast to the Arizona Tewa, linguistic purism was absent in the Western Mono communities. <mask> identifies three precolonial language ideologies: syncretism, the valorization of linguistic borrowings and hybridity; variationism, that dialectal variation is seen as the natural outcome of family and individual differences; and utilitarianism, the idea of language as tool or technology. These ideologies have most likely contributed to language shift toward English. In precolonial times among indigenous groups on the Pacific coast of


title: Paul V. Kroskrity

texts:
 the present-day United States, lexical borrowings between different languages were common and not perceived as dangerous to the vitality of any language, let alone ethnic identity. In this context, the adoption of English items into the lexicon of Western Mono was welcomed rather than condemned, partly because the Western Mono language was never indexical or iconic of a unified ethnic identity, owing to internal differentiation; and partly because in colonial and post-colonial society, English was becoming increasingly useful. These traditional language ideologies alongside educational politics proved to be detrimental to language maintenance.Language ideological clarification

<mask>'s work demonstrates the importance of language ideologies for understanding language maintenance and shift. While in the case of the Arizona Tewa, a dominant language ideology of purism and an association of the Tewa language with ethnic identity has contributed to language maintenance, the traditional language ideologies of the Western Mono have contributed to rapid language shift. In light of these findings, <mask> has more recently called for "language ideological clarification". Language ideological clarification is the process of identifying issues of language ideological contestation within a heritage language community, including both beliefs and feelings that are indigenous to that community and those introduced by outsiders (such as linguists and government officials), that can negatively impact community efforts to successfully engage in language maintenance and renewal. This process of identifying and raising consciousness about linguistic and discursive issues enables appropriate discourses to occur between community members, or between members and either linguists or government officials who have differing opinions. Ideally these discourses

masks: Kroskrity Kroskrity


title: Paul V. Kroskrity

texts:
 would promote actual resolution—a clarification achieved—or foster a tolerable level of disagreement that would not inhibit language renewal activities. Collaborative fieldwork

Throughout his career <mask> has contributed through research to the agendas of the communities he studies.He conducted "collaborative research" with Tewa and Western Mono informants long before the term became fashionable in anthropology. In 2002 he collaborated with Rosalie Bethel (Western Mono) to publish an interactive CD-ROM, contributing to Western Mono language revitalization activities. Selected publications

<mask>, <mask>. (ed.). 2012. Telling Stories in the Face of Danger: Language Renewal in Native American Communities. Norman, OK: University of Oklahoma Press.<mask>, <mask>. and Margaret Field (eds.). 2009. Native American Language Ideologies: Beliefs, Practices, and Struggles in Indian Country. Tucson: University of Arizona Press. <mask>, <mask>., Rosalie Bethel, and Jennifer F. Reynolds. 2002. (CD-ROM).Norman, OK: University of Oklahoma Press. <mask>, <mask>. (ed.). 2000. Regimes of Language: Ideologies, Polities, and Identities. Santa Fe, NM: School of American Research. Schieffelin, Bambi, Kathryn Woolard, and <mask><mask> (eds.).1998. Language Ideologies, Theory and Practice. New York:  Oxford University Press. <mask>, <mask>. 1993. Language, History, and Identity:  Ethnolinguistic Studies of the Arizona Tewa. Tucson: University of Arizona Press. Bethel, Rosalie, <mask><mask>, Christopher Loether, and Gregory A. Reinhardt.1984. A Practical Dictionary of Western Mono. North Fork, CA: Sierra Mono Museum. (2nd edition: 1993). References

1949 births
Living people
American anthropologists
Linguists from the United States
University of California, Los Angeles faculty
Indiana University alumni
Columbia College (New York) alumni
Linguists of

masks:
Kroskrity
Kroskrity
Paul V
Kroskrity
Paul V
Kroskrity
Paul V
Kroskrity
Paul V
Paul V
. Kroskrity
Kroskrity
Paul V
Paul V
. Kroskrity


title: Cynthia Enloe

texts:
<mask> (born July 16, 1938) is a feminist writer, theorist, and professor. She is best known for her work on gender and militarism and for her contributions to the field of feminist international relations. She has also had major impact on the field of feminist political geography, in particular feminist geopolitics. In 2015, the International Feminist Journal of Politics, in conjunction with the academic publisher Taylor & Francis, created the <mask> Award "in honour of <mask>'s pioneering feminist research into international politics and political economy, and her considerable contribution to building a more inclusive feminist scholarly community." Biography
<mask>e was born in New York, New York and grew up in Manhasset, Long Island, a New York suburb. Her father was from Missouri and went to medical school in Germany from 1933 to 1936. Her mother went to Mills College and married <mask>'s father upon graduation.After completing her undergraduate education at Connecticut College in 1960, she went on to earn an M.A. in 1963 and a Ph.D. in 1967 in political science at the University of California, Berkeley. While at Berkeley, Enloe was the first woman ever to be a Head TA for Aaron Wildavsky, then an up-and-coming star in the field of American Politics. For much of her professional life she taught at Clark University in Worcester, Massachusetts. At Clark, Enloe served as Chair of the Department of Political Science and as Director of Women's Studies. She also served on the university's Committee on Personnel and its Planning and Budget Review Committee. Enloe was awarded Clark University's Outstanding Teacher Award on three separate occasions.At the beginning of her career, Enloe mainly

masks:
Cynthia Holden Enloe
Cynthia Enloe
Cynthia Enloe
Cynthia Enlo
Cynthia


title: Cynthia Enloe

texts: Ochanomizu University, a historic women's university in Tokyo. She has said that she wanted to come up with a phrase that she felt could be understood in both English and Japanese as her lecture was being translated for those who attended.Enloe created this idea of “feminist curiosity” as a way of saying that feminism is about the questions you ask, not just the answers you give. Having retired from Clark, Enloe is a research professor in the Department of International Development, Community, and Environment and is still a frequent and energetic lecturer. In addition to serving on the editorial board for scholarly journals such as Signs and the International Feminist Journal of Politics, <mask>e has written fifteen books, mostly published by the University of California Press. Much of Enloe's research centers on women's place in national and international politics. Her books cover a wide range of issues encompassing gender-based discrimination as well as racial, ethnic, and national identities. She is also a member of the academic network of the Women's International League for Peace and Freedom. Enloe states that she has been influenced by many other feminists who use an ethnographic approach, specifically, Seung-Kyung Kim's (1997) work on South Korean women factory workers during the pro-democracy campaign and Anne Allison's (1994) work on observing corporate businessmen's interactions with hostesses in a Tokyo drinking club.Enloe has also listed Diane Singerman, Purnima Mankekar, and Cathy Lutz as people who have inspired and influenced her work. When asked how Enloe defines feminism for herself, she stated that "Feminism is the pursuit of deep, deep justice for women in ways that change


title: Cynthia Enloe

texts: militarization consequently reinforced the influences of masculinity, further challenging feminist efforts to equalize society. Enloe continues to illustrate the struggle that feminist movements face in international politics through the domestic service industry.Enloe states that “domestic work is international business with political implications.” During the Industrial Revolution, female domestic workers were in high demand because middle class women believed they needed to protect their own femininity from manual labor. From the time of the Industrial Revolution to modern day, female domestic workers have faced the challenges of being treated as subordinate to the middle class. Female domestic workers continue to have the responsibility of providing for family abroad while facing increasingly strict immigration laws and restrictions from the International Monetary Fund. Bananas Beaches and Bases illustrates how feminist movements have been at a disadvantage because of colonial influences and patriarchal driven societal structures. These colonial influences have cause women to be viewed as sexual objects, disregarded as part of nationalist movements and looked down upon in the domestic service industry. Enloe brings to light the idea that in order for feminist movements to succeed we must support organizations seeking rights for women along with ridding the world of the obsolete colonialist thought in which men run the world. Through Bananas, Beaches and Bases the public is able to better understand the dynamics of sexual politics."No commentator has done more than <mask>e to explore the numerous roles that ordinary women play in the international system and global political economy -- as


title: Cynthia Enloe

texts:
 not being recognized as a legitimate political scientist because of her particular views. The stigma behind feminist thought in international relations needs to be reviewed and resolved.Enloe makes very clear that there is still an immense need for the study of masculinity in international relations and political economy. In order to better develop the international relations discipline, it is imperative that 'gender' be given a broader scope. In order to do so, there must be a feminist consciousness throughout the international relations community, as well as at the local level. A feminist consciousness will instill the education and interest in women and girls through their experiences, actions and ideas. Enloe finishes by reminding that without a proper feminist consciousness; we cannot fully comprehend or accurately analyze masculinity. Nimo's War, Emma's War: Making Feminist Sense of the Iraq War
Unlike Enloe's previous books, Nimo's War, Emma's War: Making Feminist Sense of the Iraq War (2010) looks at how war itself is a cataclysm that disrupts countless lives. In this particular book, <mask>e solely focuses on capturing the impact of war and revolution on women during the Iraq War.The book looks at eight ordinary women, half Iraqis and half American, and all these women reflect different ideas about feminism through looking into their lives in detail. Importantly, Enloe does not only focus on the female half of this gender-driven phenomenon, but she also looks at their male counterpart in order to further investigate and provide an insight between the consequences of war and the effects on gender roles. "Maha's Story" talks about an Iraqi woman who, as well as many others, found


title: Cynthia Enloe

texts:
 2018. Contributor, International Relations Theory for the Twenty-First Century, Martin Griffiths, ed., USA: Routledge, 2007
"Conversation with <mask>e," in Signs. Summer, 2003."The Surprised Feminist," in Signs. Vol. 25, No. 4 (Summer 2000) 1023-1026. The Morning After: Sexual Politics at the End of the Cold War, Berkeley and London: University of California Press, 1993 (published in Japanese, 1999); new ed. Berkeley & London, University of California Press, 2000 (published in Turkish, 2003). Does Khaki Become You?The Militarization of Women's Lives, London, Pandora Press; San Francisco, Harper\Collins, 1988 (editions have been published in Finnish and Swedish). Ethnic Conflict and Political Development, Boston: Little, Brown and Co., 1973 (repr. University Press of America, 1986). Coeditor (with Wendy Chapkis) Of Common Cloth: Women in the Global Textile Industry, Amsterdam: Transnational Institute; Washington: Institute for Policy Studies, 1983. Contributor, Loaded Questions: Women in Militaries, Wendy Chapkis, ed., Amsterdam: Transnational Institute; Washington: Institute for Policy Studies, 1981. Ethnic Soldiers: State Security in Divided Societies, London: Penguin Books, 1980; Athens: University of Georgia Press, 1980. Police, Military, Ethnicity: Foundations of State Power, New Brunswick: Transaction Books, 1980.Coeditor (with Dewitt Ellinwood), Ethnicity and the Military in Asia, New Brunswick: Transition Books, 1980. Coauthor (with Guy Pauker and Frank Golay), Diversity and Development in Southeast Asia: The Coming Decade, New York: McGraw-Hill and Council of Foreign Relations, 1977. Coeditor (with Ursula Semin-Panzer), The Military, The Police and Domestic Order: British and Third


title: Cynthia Enloe

texts:
 Boulding

References

Further reading
 Enloe, <mask>. "When Berkeley was 'Berkeley': Learning That One’s Grad Studies Are Never Outside of History" H-DIPLO (11 March 2020) online
"Interview – <mask>e," E-INTERNATIONAL RELATIONS, MAR 13 2013
"Theory Talk #48: <mask>e" Tuesday, May 22, 2012
"An Interview with <mask>e: The Gendered Dynamics of Foreign Policy", Praxis: The Fletcher Journal of Human Security, VOLUME XXIV – 2009,
Stephanie Van Hook, "Taking women's lives seriously — an interview with <mask>e" September 13, 2012. Wagingnonviolence.com,
Video: Interview with Cynthia Enloe at the Graduate Institute in Geneva in 2012
Kathy E. Ferguson, "Reading Militarism and Gender with Cynthia Enloe," Theory & Event, Volume 5, Issue 4, 2001,
Carol Cohn and Cynthia Enloe,  "A Conversation with Cynthia Enloe: Feminists Look at Masculinity and the Men Who Wage War," Signs, Vol.28, No. 4 (Summer 2003): 1187-1107
<mask>'s Report from The Syrian Peace Talks, Women's International League for Peace and Freedom, January 30, 2014
Robin L. Riley, The Women's War (Review of Nimo's War, Emma's War: Making Feminist Sense of the Iraq War By <mask>e)
University of California Press, 2010 in Ms. Magazine, Spring 2010
Research Profile for Cynthia Enloe Clark University website (accessed March 27, 2007). External links
Papers, 1977-1984. Schlesinger Library, Radcliffe Institute, Harvard University. 1938 births
Living people
American feminist writers
American political philosophers
Clark University faculty
Connecticut College alumni
University of California, Berkeley alumni
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American women writers
21st-century American

masks:
Cynthia
Cynthia Enlo
Cynthia Enlo
Cynthia Enlo
Cynthia Enlo
Cynthia Enloe
Cynthia Enlo


title: Volker Giencke

texts:
<mask> (born 27 June 1947) in Wolfsberg is an Austrian architect. <mask> studied architecture and philosophy in Graz and Vienna. Collaborated with Merete Mattern, the landscape-architect Raimund Herms and Günther Domenig. Opened Giencke & Company architectural office in Graz in 1981, as well as offices in Seville in 1990 and Riga in 2004. Professor for Architectural Design at the Institute of Design, University of Innsbruck, since 1992, where he founded ./studio3 - the Institute for Experimental Architecture in 2000.

International teaching assignments and lectures:
Davenport Professor at the Yale School of Architecture/New Haven, External Examiner at the University College London - Bartlett School of Architecture, at the Rizvi College Bombay and at the Universidad de Buenos Aires. Memberships
<mask> is Member of the Austrian Society of Fine Arts, of the Austrian Architectural Society, the Association of Austrian Architects, Honorary Member of the Union of German Architects BDA, Member of the Association of Latvian Architects, Foundation Member of the Lightacademy Bartenbach at the University of Innsbruck, Member of the European Academy of Science and Art. Awards
Josef Frank Prize, Friedrich Zotter Memorial Award, prizewinner of the Shinkenshiku Residential Design Competition /Tokyo, Austrian National Housing Design Award, Constructec Prize /Hannover, "Mensch-im-Raum" Prize, Prize of the ZV (Central Association of Austrian Architects) 1987, 1991, 1994 and 1998.Architecture Prize of Styria 1987 and 1998, Architectural Prize of Mecklenburg-Vorpommern, Architectural Award of Carinthia 1991 and 2000, Dedalo Minosse International Prize Vicenza 2002 + 2006 + 2017;

masks:
Volker Giencke
Volker Giencke
Volker Giencke


title: Volker Giencke

texts:
 Architecture,
 Masterpieces: Performance Architecture + Design, Giant Amber- Concert Hall Liepaja, Braun Publishing AG,
 "Metamorph" Architecture Biennale Venice "Trajectories - Concert Halls", Fondazione La Biennale di Venezia, Ca`Giustinian, San Marco 1364/a I-30124 Venezia,
 The Organic Approach to Architecture; Deborah Gans, Zehra Kuz - Pratt Institute /New York, John Wiley & Sons Ltd.,
 The Ethical Function of Architecture; Karsten Harries; The MIT Press - Massachusetts Institute of Technology/USA,
 "Achtung Architektur"; Eeva Liisa Pelkonen; The MIT Press - Massachusetts Institute of Technology/USA,
 "Achtung Architektur"; Eeva Liisa Pelkonen; Ritter-Verlag,
 Volker Giencke: Projekte. Projects. With an essay by Roger Connah, German/English, Springer, Vienna New York 2001, .The Power of Contemporary Architecture; Peter Cook und Neil Spiller; Publ. : Academy editions Great Britain, , John Wiley & Sons Ltd. The World of Contemporary Architecture; Könemann Verlagges.m.b.H;
 Europe, the Contemporary Architecture Guide Vol.2; Masayuki Fuchigami, Publ. : TOTO Shuppan/Japan,
 Architecture in Austria, a survey of the 20th century; Publ. : Birkhäuser Verlag,
 Dialogues in Time; Peter Blundell Jones; "Haus der Architektur Graz";
 Architecture as Commitment - Styrian Architecture 1986-1992, Publ. : "Haus der Architektur Graz",
 New Spirit in Architecture; Peter Cook & Rosie Llewellyn-Jones; Publ. - Rizzoli New York, , 0-8478-1264-2

References
American Institute of Architects - Great Amber
Volker Giencke´s amber enclosed building - Mark Magazine
Red giant - Wallpaper
A part of speech

External links
 Homepage - <mask> Giencke

1947 births
Living


title: Joe Riggs

texts:
<mask> (born September 23, 1982) is an American professional bare-knuckle boxer and former mixed martial artist who is currently signed to Bare Knuckle Fighting Championship. A professional competitor since 2001, <mask> formerly competed for the UFC, WEC, Strikeforce, Bellator, ProElite, M-1 Global, and King of the Cage. <mask> is the former WEC Middleweight Champion. Background
Born in Sanford, Maine and raised in Phoenix, Arizona, <mask> began boxing as a child with his father. Although <mask> is right handed, he was encouraged by his boxing coach to fight southpaw, making his power hand his left hand. <mask> began wrestling at Cactus High School in Glendale, Arizona. He followed in the footsteps of his hero, Randy Couture, and became an All-American twice, at Glendale Community College (Arizona), where he studied to get a Criminal Justice degree.<mask> has trained at Arizona Combat Sports under the Lally brothers, MMA Lab under John Crouch and TNT Training Center under Scott Tannenbaum. Mixed martial arts career

Early career
<mask> made his professional mixed martial arts debut in 2001 and compiled a record of 13–3 with one no contest before being signed by the WEC. UFC and WEC
<mask> made his WEC debut at WEC 9 against Alex Stiebling, in what was also his debut at Light Heavyweight. <mask> lost via triangle choke submission in the second round. But after the fight people started to take notice of <mask>. Although he lost the fight, he battered Stiebling so badly that after the fight he had to be helped out of the cage and taken to a hospital. Reports said that almost everyone at ring side had Stiebling's blood on both them and their paperwork.The promoter Scott Adams said the fight could and should have been stopped at several points in the fight, leading it to be known as one of the most brutal fights in WEC history. After that he went down to middle

masks:
Joseph Jonathan Riggs
Riggs
Riggs
Riggs
Riggs
Riggs
Riggs
Riggs
Riggs
Riggs
Riggs