title: Mary Jemison

texts:
<mask> (Deh-he-wä-nis) (1743 – September 19, 1833) was a Scots-Irish colonial frontierswoman in Pennsylvania and New York, who became known as the "White Woman of the Genesee." As a young girl she was captured and adopted into a Seneca family, assimilating to their culture, marrying two Native American men in succession, and having children with them. In 1824 she published a memoir of her life, a form of captivity narrative. On April 5, 1758, during the French and Indian War, Jemison at age 12 was captured with most of her family in a Shawnee mourning raid in what is now Adams County, Pennsylvania. The others of her family were killed. She and an unrelated young boy were adopted by Seneca families. She became fully assimilated, marrying a Delaware (Lenape), and, after his death, a Seneca man.She chose to remain a Seneca rather than return to American colonial culture. Jemison told her story late in life to an American minister, who wrote it for her. He published it as Narrative of the Life of Mrs. <mask> (1824). It was reprinted in the late 20th century. In 1874 her remains were reinterred near a historic Seneca council house on a private estate, in what is now Letchworth State Park. Biography

<mask> was born to Thomas and <mask> aboard the ship William and Mary in the fall of 1743, while en route from British Ireland (in today's Northern Ireland) to America. They landed in Philadelphia, Pennsylvania, and joined other Protestant Scots-Irish immigrants in heading west to settle on cheaper available lands in the backcountry, what was then the western frontier (now central Pennsylvania).They "squatted" on territory that had been purchased by the Penn family in 1736 from chiefs of the Iroquois Confederacy, six nations that were based in central and western New York. The Jemisons had cleared land to

masks:
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title: Mary Jemison

type: original

texts: develop their farm, and the couple had several children. By 1755, conflicts had started in the French and Indian War, the North American front of the Seven Years' War between France and Britain. Both sides made use of Native American allies, especially in the frontier areas where they had few regular forces. One morning in early 1758, a raiding party consisting of six Shawnee Indians and four Frenchmen captured <mask>, the rest of her family (except two older brothers), and a young boy from another family. En route to French-controlled Fort Duquesne (present-day Pittsburgh), the Shawnee killed <mask>'s mother, father, and siblings, and ritually scalped them. <mask> later learned that it was a Seneca custom, when one of their own was killed or taken prisoner in battle, to take an enemy as prisoner or to take their scalp in a mourning ritual.Two Seneca women had lost a brother in the French and Indian War a year before <mask>'s capture, and in this mourning raid, the Shawnee intended to capture a prisoner or obtain an enemy's scalp to compensate them. The 12-year-old <mask> and the young boy were spared, likely because they were of suitable age for adoption. Once the party reached Fort Duquesne, <mask> was given to the two Seneca women, who took her downriver to their settlement. After a short ceremony, a Seneca family adopted <mask>, renaming her as Deh-he-wä-nis (other romanization variants include: Dehgewanus, Dehgewanus and Degiwanus, Dickewamis). She learned this meant "a pretty girl, a handsome girl, or a pleasant, good thing." When she came of age, <mask> married a Delaware man named Sheninjee, who was living with the band. They had a son whom she named Thomas after her father.Sheninjee took her on a  journey to the Sehgahunda Valley along the Genesee River in present-day Western New York

masks: Mary Mary Mary Mary Mary Mary Mary Mary


title: Mary Jemison

texts: state. Although Jemison and their son reached this destination, her husband did not. While hunting one day on their journey, he was taken ill and died. As a widow, <mask> and her child were taken in by Sheninjee's clan relatives; she made her home at Little Beard's Town (where present-day Cuylerville, New York later developed). She married again, to a Seneca named Hiakatoo, and together they had six children: Nancy, Polly, Betsey, Jane, John, and Jesse. John had a troubled life. He killed his brother Thomas in 1811, then killed his brother Jesse in 1812, and was later also killed.During the American Revolutionary War, the Seneca allied with the British, hoping that a British victory would enable them to expel the encroaching colonists. Jemison's account of her life includes observations of this time. She and others in the Seneca town helped supply Joseph Brant (Mohawk) and his Iroquois warriors from various nations, who fought the rebel colonists. After the war, the British ceded their holdings east of the Mississippi River to the United States, without consulting their Native American allies. The Seneca were forced to give up their lands to the United States. In 1797 the Seneca sold much of their land at Little Beard's Town to Americans. At that time, during negotiations with the Holland Land Company held at Geneseo, New York, <mask>on proved to be an able negotiator for the Seneca tribe.She helped win more favorable terms for surrendering their rights to the land at the Treaty of Big Tree (1797). Late in life, Jemison told her story to the minister James E. Seaver, who published it as Narrative of the Life of Mrs. <mask> (1824; latest ed. 1967). It is considered a classic captivity narrative. Although some early readers thought that Seaver must have imposed his own beliefs, since the late 20th

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title: Mary Jemison

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 century, many history scholars have thought the memoir is a reasonably accurate account of Jemison's life story and attitude. By staying with the Seneca, she showed that she preferred life with the Seneca to what she had seen of the lives of colonial British women. In 1823, the Seneca sold most of their remaining land in that area, except for a  tract of land reserved for Jemison's use.Known by local European-American residents as the "White Woman of the Genesee", Jemison lived on the tract for several years. In 1831 she sold it and moved to the Buffalo Creek Reservation, where some Seneca lived (others had gone to Ontario, Canada). Jemison died on September 19, 1833, aged 90. She was initially buried on the Buffalo Creek Reservation. Jemison's heirs later changed their surname to "Jimerson" and established the community of Jimersontown on the Allegany Indian Reservation. <mask>'s account of her capture
"The party that took us consisted of six Indians and four Frenchmen, who immediately commenced plundering, as I just observed, and took what they considered most valuable; consisting principally of bread, meal, and meat. Having taken as much provision as they could carry, they set out with their prisoners in great haste, for fear of detection, and soon entered the woods.On our march that day, an Indian went behind us with a whip, with which he frequently lashed the children, to make them keep up. In this manner we traveled till dark, without a mouthful of food or a drop of water, although we had not eaten since the night before. Whenever the little children cried for water, the Indians would make them drink urine, or go thirsty. At night they encamped in the woods, without fire and without shelter, where we were watched with the greatest vigilance. Extremely fatigued, and very hungry, we were


title: Mary Jemison

texts:
 life, even if they should destroy the other captives, addressed me, as near as I can remember, in the following words:

'My dear little <mask>, I fear that the time has arrived when we must be parted for ever.Your life, my child, I think will be spared; but we shall probably be tomahawked here in this lonesome place by the Indians. Oh! how can I part with you, my darling? What will become of my sweet little <mask>? Oh! how can I think of your being continued in captivity, without a hope of your being rescued? Oh!that death had snatched you from my embraces in your infancy: the pain of parting then would have been pleasing to what It now is; and I should have seen the end of your troubles! Alas, my dear! my heart bleeds at the thought of what awaits you; but, if you leave us, remember, my child, your own name, and the names of your father and mother. Be careful and not forget your English tongue. If you shall have an opportunity to get away from the Indians don't try to escape; for if you do they will find and destroy you. Don't forget, my little daughter, the prayers that I have learned you - say them often: be a good child, and God will bless you! May God bless you, my child, and make you comfortable and happy.'During this time, the Indians stripped the shoes and stockings from the little boy that belonged to the woman who was taken with us, and put moccasins on his feet, as they had done before on mine. I was crying. An Indian took the little boy and myself by the hand, to lead us off from the company, when my mother exclaimed, 'Don't cry, <mask>! - don't cry, my child! God will bless you! Farewell - farewell!' The Indian led us some distance into the bushes or woods, and there lay down with us to spend the night.The recollection of parting with my tender mother kept me awake, while the tears

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 distinguish my father's and the children's and babies from each other. That sight was most appalling and horrifying; yet I was obliged to endure it without complaining. In the course of the night, they made me to understand that they should not have killed the family, if the whites had not pursued them." Legacy and honors

In 1874, at the request of her descendants, Jemison's remains were transferred and reinterred near the 1765 Seneca Council House, which had been moved from the former Caneadea Reservation. The building had been purchased by William Pryor Letchworth and relocated to his Glen Iris Estate. He had the structure restored in 1872 by John Shanks, a Seneca grandson of Jemison.Letchworth invited Seneca and state officials that year for a rededication of the Council House. In 1881, Letchworth acquired a cabin formerly belonging to <mask>'s daughter, Nancy Jemison. He had it moved from Gardeau Flats to near the Council House and <mask>'s gravesite. In 1906 he bequeathed his entire estate to New York. Near the present-day town of Castile, today the property is within the grounds of Letchworth State Park. A bronze statue of <mask>, created in 1910 by Henry Kirke Bush-Brown, marks her grave. Following state restoration of the grounds to Letchworth's time, in 2006 the memorial was reinstalled between the council house and cabin.Dr. George Frederick Kunz helped pay for and commission the 1910 memorial to Jemison. In popular culture
 Indian Captive: The Story of <mask> (1941) is a fictional version of <mask>'s story for all readers, written and illustrated by Lois Lenski. In this novel, Jemison is given the name: "Little Woman of Great Courage." by her willingness to give up the life of a white woman to become an Indian woman at the end of the book. Before, her name in the novel was Corn

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 Tassel because her hair was the color of the tassels on ripe corn. Rayna M. Gangi's novel, <mask>mison: White Woman of the Seneca (1996), is a fictional version of Jemison's story. Deborah Larsen's novel, The White (2002), is a fictional version of Jemison's life.It imagines her process of assimilation to the Seneca culture in which she lived. Jeanne LeMonnier Gardner's book, "<mask>mison: Indian Captive" (Original title: "Mary Jemison: Seneca Captive") 1966, is a fictionalized account for children. References

Further reading

James, Edward et al. (1971) "Notable American Women: 1607–1950",  URL link
Larsen, Deborah (2002). The White. New York: Alfred A. Knopf, a Division of Random House. Namias, June (2000) " Jemison, <mask>" URL link
Namias, June (1993).White Captives: Gender and Ethnicity on the American Frontier. Chapel Hill: University of North Carolina Press. Seaver, James (1824). A Narrative of the Life of Mrs. <mask>on. New York: American Scenic & Historical Preservation Society. 1942 edition. External links

Sources
Swarthmore College, <mask>on, Partial text of a Captivity Narrative from the 1750s transcribed in 1824
A Narrative of the Life of Mrs. <mask>, by James E. Seaver, via Project Gutenberg (plain text)
A Narrative of the Life of Mrs. <mask>on, via Internet Archive (scanned books, color illustrated)
A Narrative of the Life of Mrs. <mask>on, via Google Books (scanned books)

Other
Letchworth State Park, Glimpses of the Past
"<mask>on", Women in American History (Britannica)
Drawing of <mask> as an old woman, Letchworth Park History

1743 births
1833 deaths
People born at sea
American people of Scotch-Irish descent
Captives of Native Americans
People from Adams County, Pennsylvania
People of colonial New York
People of colonial Pennsylvania
People of Pennsylvania in the French

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title: Björn Kraus

texts:
<mask> (born 1969) is a German philosopher, who unfolds epistemological theories for social work. He therefore picks up on the doubt about the possibilities of human perception, a topic that has been emphasized over and over in occidental philosophy. He thus stands in tradition of a skepticism as for example defined by Immanuel Kant and Ernst von Glasersfeld. Biography
Kraus studied social work in Ludwigshafen, educational science in Landau (diploma in social pedagogy) and education management (M.A.) in Freiburg. He received a doctor's degree in philosophy (Dr. Phil.)at Heidelberg University, Germany. In the environment of the "Heidelberger Schule," he obtained further education as systemic therapist, coach and clinical supervisor. The "constructivist turn", which had taken place in the early 1980s in this field, gets obvious in his fundamental theory work. Since 2005, he is a professor of social work sciences at the Protestant University of Applied Sciences in Freiburg, Germany. Note that in Germany the title “protestant”, although referring to the Protestant Church's sponsorship, does not influence the tuition or scientific content taught at this institution. In this context, clerically managed universities do not differ from state-run universities. His research priorities are epistemology, communication and power, professional decision-making and responsibility as well as systemic anthropology and methodology.Work
<mask> has set up the foundation of an epistemology-based theory of interaction and the social constitution of subjective reality in several monographs, anthologies and essays. Coming from his perspective of an epistemological constructivism the relational constructivism, he first developed a theory of communication and power and, based on that, discussed questions about professional decision-making. He focuses on the socio-scientific important questions about the possibilities of perception, communication, decision-making

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title: Björn Kraus

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 and intervention. He analyses them regarding limits and possibilities, which remain in spite of the assumed self-referentiality or result from it at the first place. The keystones of his (epistemology-based) theory of interaction and the social constitution of subjective reality are communication, lifeworld and power. Epistemological constructivism / Relational constructivism
Björn <mask> developed an epistemological constructivism named relational constructivism. His ideas are based on the notion that cognitive development depends on two determining factors.On the one hand side cognitive development is dependent on a persons own, individual cognitive structures. On the other hand side it relies on the persons environmental conditions (German: Grundsätzliche Doppelbindung menschlicher Strukturentwicklung). Accordingly, his main focus is placed on the relationship between the social and material environment of a person (objective reality or life conditions/German Lebenslage) and, in contrast, its individual perception (subjective experience or lifeworld/German Lebenswelt). This perspective becomes obvious, when Kraus reformulates Husserl’s lifeworld concept in a systemic, constructivist way: In opposing the terms lifeworld (subjective reality) and life conditions (objective reality) to each other, he is able to review their interrelation. For Kraus, the lifeworld is a person’s subjective construct, which is neither random, nor manipulable from the outside. Apart from the field of social work, the terms lifeworld and life condition, which were constructivistically reformulated by Kraus, are used in the field of educational science (education, special needs education and community pedagogy) as well as in the field of sociology. Kraus defined "lifeworld" and "life conditions" as follows:

"Life conditions mean a person’s material and immaterial circumstances of life.Lifeworld means a person’s subjective construction of reality, which he or


title: Björn Kraus

texts:
 she forms under the condition of his or her life circumstances." This contrasting comparison provides a conceptual specification, enabling in the first step the distinction between a subjectively experienced world and its material and social conditions and allowing in the second step to focus on these conditions' relevance for the subjective construction of reality. With this in mind, Manfred Ferdinand, who is reviewing the lifeworld terms used by Alfred Schütz, Edmund Husserl, Björn <mask> and Ludwig Wittgenstein, concludes: Kraus' "thoughts on a constructivist comprehension of lifeworlds contours the integration of micro-, meso- and macroscopic approaches, as it is demanded by Invernizzi and Butterwege: This integration is not only necessary in order to relate the subjective perspectives and the objective frame conditions to each other but also because the objective frame conditions obtain their relevance for the subjective lifeworlds not before they are perceived and assessed." Constructivist theory of power
Regarding the question about possibilities of interpersonal influence, Kraus develops a special form of constructivism, which deals with the epistemological perspective upon power (German: Machtanalytischer Konstruktivismus). Instead of focusing on the valuation and distribution of power, he asks first and foremost what the term can describe at all. Coming from Max Weber’s definition of power, he realizes that the term of power has to be split into instructive power and destructive power. More precisely, instructive power means the chance to determine the actions and thoughts of another person, whereas destructive power means the chance to diminish the opportunities of another person.How significant this distinction really is, becomes evident by looking at the possibilities of rejecting power attempts: Rejecting instructive power is possible – rejecting destructive power isn’t. By using this distinction, proportions of power can


title: Björn Kraus

texts:
 be analyzed in a more sophisticated way, helping to sufficiently reflect on matters of responsibility. Kraus defined "instructive power" and "destructive power" as follows:

"Instructive power means the chance to determine a human’s thinking or behaviour. (Instructive power as chance for instructive interaction is dependent on the instructed person’s own will, which ultimately can refuse instructive power. )Destructive power means the chance to restrict a human’s possibilities. (Destructive power as chance for destructive interaction is independent of the instructed person’s own will, which
can’t refuse destructive power.)" This perspective permits to get over an “either-or-position” (either there is power, or there isn’t), which is common especially in epistemological discourses about power theories, and to introduce the possibility of an “as well as-position”.English-language texts
 <mask>, Björn (2019): Relational constructivism and relational social work. In: Webb, Stephen, A. (edt.) The Routledge Handbook of Critical Social Work. Routledge international Handbooks. London and New York: Taylor & Francis Ltd.
 Kraus, Björn (2015): The Life We Live and the Life We Experience: Introducing the Epistemological Difference between “Lifeworld” (Lebenswelt) and “Life Conditions” (Lebenslage). In: Social Work and Society.International Online Journal. Abgerufen 27. August 2018 (http://www.socwork.net/sws/article/view/438)
 <mask>, Björn (2014): Introducing a model for analyzing the possibilities of power, help and control. In: Social Work and Society. International Online Journal. Abgerufen 3. April 2019 (http://www.socwork.net/sws/article/view/393)

External links
 List of publications on the (German) homepage of the Protestant University of Applied Sciences in Freiburg

References

1969 births
Heidelberg University alumni
German social workers
Living people
Epistemologists
Constructivism
21st-century German philosophers
German male

masks: Kraus Kraus


title: Victor H. Mair

texts:
<mask> (; born March 25, 1943) is an American sinologist. He is a professor of Chinese at the University of Pennsylvania. Among other accomplishments, Mair has edited the standard Columbia History of Chinese Literature and the Columbia Anthology of Traditional Chinese Literature. Mair is the series editor of the Cambria Sinophone World Series (Cambria Press), and his book coauthored with Miriam Robbins Dexter (published by Cambria Press), Sacred Display: Divine and Magical Female Figures of Eurasia, won the Sarasvati Award for the Best Nonfiction Book in Women and Mythology. Life and career
<mask><mask> was born on March 25, 1943, in East Canton, Ohio. After high school, Mair attended Dartmouth College, where, in addition to his studies, he was a member of the Dartmouth Big Green men's basketball team. He graduated with an A.B.in 1965, then joined the Peace Corps and served in Nepal for two years. After leaving the Peace Corps in 1967, Mair returned to the United States and enrolled in the Buddhist Studies program at the University of Washington, where he began studying Buddhism, Sanskrit, and Classical Tibetan. In 1968, Mair won a Marshall Scholarship and moved to the School of Oriental and African Studies, University of London to further study Chinese and Sanskrit, receiving a B.A. (Hons) in 1972 and an M.Phil. in 1974. He then went to Harvard University to pursue doctoral studies in Chinese under the New Zealander scholar <mask>. He received a Ph.D. in 1976 with a doctoral dissertation entitled "Popular Narratives From Tun-huang", a study and

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title: Victor H. Mair

texts: translation of folk literature discovered among the Dunhuang manuscripts.After completing his Ph.D., Mair joined the faculty at Harvard as an assistant professor and taught there for three years. In 1979, Mair left Harvard to join the faculty of the University of Pennsylvania, where he has remained ever since. He is also founder and editor of Sino-Platonic Papers, an academic journal examining Chinese, East Asian and Central Asian linguistics and  literature. Mair specializes in early written vernacular Chinese, and is responsible for translations of the Dao De Jing (the Mawangdui Silk Texts version), the Zhuangzi and The Art of War. He has also collaborated on interdisciplinary research on the archeology of Eastern Central Asia. The American Philosophical Society awarded him membership in 2007. In 1969, Mair married Chang Li-ch'ing (; 1936–2010), a Chinese-Taiwanese scholar who taught Mandarin Chinese at the University of Washington, Tunghai University, Bryn Mawr College, Harvard University, the University of Pennsylvania, and Swarthmore College.Together they had one son, Thomas Krishna Mair. Three of Mair's former students characterize his wide-ranging scholarship. <mask> has always cast his nets widely, and he could routinely amaze us with observations far afield from the Chinese text we were reading in class. Today people often attempt to simulate this cosmopolitanism under the rubric of interdisciplinary study, but for <mask>, it was quite untrendy: he simply had an insatiable appetite for knowledge and pushing boundaries. Indeed,

masks: Victor Victor


title: Victor H. Mair

texts:
 border-crossing has been our mentor's dominant mode of scholarship, a mode that has constantly interrogated where those very borders are both geographically and categorically. Though never sporting fashionable jargon, <mask> has always taken on phenomena and issues that engage aspects of multiculturalism, hybridity, alterity, and the subaltern, while remarkably grounding his work in painstaking philological analysis. <mask> demonstrates the success of philology, often dismissed as a nineteenth-century holdover, for investigating twenty-first-century concerns.(Boucher, Schmid, and Sen 2006:1)

Mair is a contributor to the linguistics blog Language Log. Pinyin advocacy
Mair is a long-time advocate for writing Mandarin Chinese in an alphabetic script (viz., pinyin), which he considers advantageous for Chinese education, computerization, and lexicography. In the first issue of Sino-Platonic papers (1986), he suggested the publication of a Chinese dictionary arranged in the same familiar way as English, French, or Korean dictionaries: "single-sort alphabetical arrangement" purely based on the alphabetic spelling of a word, regardless of its morphological structure. Most Chinese words are multisyllabic compounds, where each syllable or morpheme is written with a single Chinese character. Following a two-millennia tradition, Chinese dictionaries – even modern pinyin-based ones like the Xinhua Zidian – are regularly ordered in "sorted-morpheme arrangement" based on the first morpheme (character) in a word. For instance, a Chinese dictionary user who


title: Victor H. Mair

texts:
 wanted to look up the word Bābāduōsī 巴巴多斯 "Barbados" could find it under ba 巴 in traditional sorted- morpheme ordering (which is easier if one knows the character's appearance or radical but not its pronunciation) or under baba in single-sort alphabetic ordering (which is easier if one knows the pronunciation). In 1990, after unsuccessfully trying to obtain financial support for an alphabetically collated Chinese-English dictionary, Mair organized an international team of linguists and lexicographers who were willing to work as part-time volunteers.Under the editorial leadership of John DeFrancis, they published the first general Chinese-English single-sort dictionary in 1996. According to the "Acknowledgments" (1996:ix), "This dictionary owes its genesis to the initiative of <mask><mask>  of Pennsylvania." A revised and expanded edition was published in 2000. Selected works
 Sino-Platonic Papers

Works listed in Library of Congress (Chronological order)

 <mask><mask>, Tun-<mask> Popular Narratives (Cambridge [Cambridgeshire] ; New York: Cambridge University Press, 1983). Influences from India seen in texts from Dunhuang caves. <mask><mask>, Painting and Performance : Chinese Picture Recitation and Its Indian Genesis (Honolulu: University of Hawaii Press, 1988). <mask><mask>, Cheng Mei Bo Wang, Mei Cherng's "Seven Stimuli" And Wang Bor's "Pavilion of King Terng" : Chinese Poems for Princes (Lewiston, NY, USA: E. Mellen Press, 1988).<mask><mask>, T'ang Transformation Texts: A Study of the Buddhist Contribution to the Rise of Vernacular Fiction

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title: Victor H. Mair

texts:
 and Drama in China (Cambridge, Mass. : Council on East Asian Studies Harvard University: Distributed by Harvard University Press, 1989). Popular narratives of Buddhist motifs, known as bianwen (變文)
 Laozi, <mask>. Mair, tr. Tao Te Ching: The Classic Book of Integrity and the Way (New York: Bantam Books, 1990). <mask><mask> Yongquan Liu, Characters and Computers (Amsterdam, Netherlands; Washington: IOS Press, 1991). <mask><mask>, The Columbia Anthology of Traditional Chinese Literature (New York: Columbia University Press, 1994). <mask><mask>, The Bronze Age and Early Iron Age Peoples of Eastern Central Asia (Washington, D.C.: Institute for the Study of Man Inc. in collaboration with the University of Pennsylvania Museum Publications, 1998).Zhuangzi <mask><mask>, tr. Wandering on the Way: Early Taoist Tales and Parables of Chuang Tzu (Honolulu: University of Hawaii Press, 1998). Songling Pu, Denis C. Mair <mask>. <mask>, tr. Liaozhai Zhiyi Xuan (Beijing: Foreign Languages Press, 2000). J. P. Mallory and <mask><mask>, The Tarim Mummies: Ancient China and the Mystery of the Earliest Peoples from the West. (2000). Thames & Hudson.London. <mask><mask>, The Columbia History of Chinese Literature (New York: Columbia University Press, 2001). Songling Pu, Denis C. Mair <mask><mask>, tr. Liao Zhai Zhi Yi Xuan (Beijing Shi: Wai wen chu ban she, Di 1 ban., 2001). <mask><mask>, Nancy Shatzman Steinhardt, Paul Rakita Goldin, eds. Hawai'i Reader in Traditional Chinese Culture (Honolulu: University of Hawaii Press, 2005). <mask><mask>, Contact and Exchange in

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title: Victor H. Mair

texts:
 the Ancient World (Honolulu: University of Hawaii Press, 2006).<mask><mask>, tr. The Art of War / Sun Zi's Military Methods (New York: Columbia University Press, 2007). <mask><mask> and Erling <mask>, The True History of Tea (Thames & Hudson; illustrated edition, 2009). (Hardcover). Miriam Robbins Dexter and <mask><mask>, Sacred Display: Divine and Magical Female Figures of Eurasia (Amherst, NY: Cambria Press, 2010). <mask><mask> and Mark Bender (editors). The Columbia Anthology of Chinese Folk and Popular Literature.(New York: Columbia University Press, 2011). <mask><mask> (editor). Buddhist Transformations and Interactions: Essays in Honor of Antonino Forte  (Amherst, NY: Cambria Press, 2017). Notes

References

Boucher, Daniel, Neil Schmid, and Tansen Sen. 2006. "The Scholarly Contributions of Professor <mask>. Mair: A Retrospective Survey", Asia Major Volume 19, part 1/2, 2006. DeFrancis, John, ed. 1996.The ABC [Alphabetically Based Computerized] Chinese-English Dictionary. Honolulu: University of Hawaii Press. DeFrancis, John, ed. 2003. ABC Chinese-English Comprehensive Dictionary. Honolulu: University of Hawaii Press. Mair, <mask>. 1986."The Need for an Alphabetically Arranged General Usage Dictionary of Mandarin Chinese: A Review Article of Some Recent Dictionaries and Current Lexicographical Projects", Sino-Platonic Papers  1:1-31. External links

Official homepage
, University of Pennsylvania Museum (video)

Sacred Display - Award for Best Nonfiction Book in Women and Mythology

1943 births
Living people
Alumni of the University of

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title: Aaron Scharf

texts:
<mask> (22 September 1922 – 21 January 1993) was an American-born British art historian who contributed in particular to the history of photography in which he had developed an interest while studying at the Courtauld Institute. His investigation uncovered links between painting (and other artforms) and photography, and evidence for artists using photography for reference and other purposes, as well as the way photographers with aspirations as artists referred to painting in their work. He thus pioneered a new field of art history when Pop Art and other movements in the 1960s were reincorporating the medium of photography (which developed separately since the 1930s, and which hitherto art historians in general treated separately from painting) and reference to popular photographic images, into mainstream artistic practice. <mask> popularised his study and discoveries with publication of his profusely illustrated hardback Penguin volume 'Art and Photography' (1968) and through his work at the Open University in producing innovative thematic educational videos on the history of photography and its relation to society. Early life
<mask> was born 22 September 1922 in the US to <mask> and his wife, Jeanette Shack (Shackowitz) a Jewish immigrant from Volochysk. He trained at Hancock College of Aeronautics in Los Angeles County in 1944 as a second lieutenant, where he gained his 'silver wings', qualifying to fly heavy aircraft. While at the College <mask> used his artistic

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Irving Scharf
Scharf


title: Aaron Scharf

texts: talents to draw cartoons for the cadet publications.During World War II he flew 46 missions as a bomber navigator and was award an Air Medal in November 1944, and later promoted to captain. His unit citations were awarded as a result of successful bombing missions over Odertal and Vienna, and it was during his last mission to the latter that flak knocked out three of their B-24 engines and his crew made a forced landing in Russia. <mask> was reported as saying that though “not one of our crew was wounded...many a time we were scared half to death. Some of us came back with graying hair.” From there a jeep convoy took them to Hungary, from where the British flew them out and after the German surrender they flew their B-24 home. In his memoir of the war Flak (1996) published posthumously by <mask>’s widow, Marina, he recounts how he deliberately botched the targeting of Ravenna, Italy in a bombing raid. After the war he spent some years as a painter and potter in Los Angeles and produced some commercial art illustration. He studied art and anthropology at the University of California where he became engaged to a fellow student Annette Rose in 1946, whom he married on 8 September.After receiving a master's degree in painting, he won critical acclaim for three paintings in a veterans' art award exhibition in 1951 in the art gallery of Santa Monica Library, and also showed lithographs at Kistler Studio In 1950 he married Ruth Dunlap Bartlett (born 18 October 1921,

masks: Scharf Scharf


title: Aaron Scharf

texts:
 Racine, died 16 January 2009, Highgate). An accomplished actress, Ruth owned and ran The Beachcomber, a small theatre on Muscle Beach in Santa Monica. Helena Stevens was her stage name. She was also a committed communist and became the first to play the part of Mother Courage in an English-language production of the play of the same name by the German communist playwright Bertolt Brecht. Her husband meantime, was refused work or study in American universities, blacklisted because of his own socialism. At the Courtauld
In 1956, <mask> and wife arrived in the UK as political refugees from McCarthyism, with an invitation, provided by the communist academic (and spy) Anthony Blunt, for <mask> to study at the Courtauld Institute of Art in London providing their ostensible reason for leaving America. <mask>’s doctoral thesis at the Courtauld was eventually published with revisions and additions as Art and Photography (Allen Lane, The Penguin Press, 1968), the expanded version of his Creative Photography (Studio Vista ; New York : Van Nostrand Reinhold, London, 1965).At the time of writing Creative Photography  <mask> had attained his first academic post as head of the department of history of art and complimentary studies at Saint Martin's School of Art. "Art and Photography"
The book reveals the hitherto uncredited influence of photography on the creation of artistic images in painting. The emphasis is on the photograph as used in the service of painting, or imitating

masks: Scharf Aaron Scharf Scharf


title: Aaron Scharf

texts: painted images. <mask> does not here give the same emphasis on photography as an artistic medium in itself as much as he did in Creative Photography, though he does recognise the greater acceptance of photography as art in chapters on the mid Twentieth Century. Art and Photography was widely and favourably reviewed. As early as 1969 Los Angeles Times art critic William Wilson was certain that it would "join standard texts on the subject" and in summary concluded that “<mask>, insists, in scholarly fashion, that photography has created a new situation we cannot call better or worse, only different, challenging. If the book proves anything, it is that art and photography are both art, interdependent, and yet so fundamentally different you can't really mistake one for the other.” It was welcomed in its most extended contemporary review in the Art Journal by Carl Chiarenza; "At long last a scholarly sourcebook has been published which attempts to organize the bewildering mass of documents relating to the interaction of photography and other media since 1839.Dr<mask>'s new book is absolutely indispensable to any research in the field; it will be the standard reference for a long time to come," and hailed by Marie Czach as "the definitive work on the subject of Art and Photography", while Ken Marantz declared it "carefully documented, appropriately illustrated, and readable...important, but the conclusion is particularly insightful..." Robert A. Sobieszek considered it

masks:
Scharf
Scharf
. Scharf


title: Aaron Scharf

texts: "one of the most appealing books in the field to be published in a long while...the sheer ambition of the work's scope covers the subject with a density lacking until now." Earlier, Michael Webb likened the book to "an archaeological dig, laying bare a lost city on the evidence of an incoherent scatter of shards. Patiently the strata are revealed, the evidence accumulated, the fragments re-assembled." Art and Photography appears in David Hockney's painting My Parents, 1977 (Tate, London) in which the painter's father is engrossed in reading the book; this is significant in indicating the connection between the <mask>'s discoveries and the later Hockney-Falco thesis. At the time of publication, <mask> had become head of the History of Art and Complementary Studies Department at St. Martin’s School of Art, London. The couple settled in Hampstead. <mask>’s peer, and also friend and frequent correspondent, was Van Deren Coke, whose own studies into the links between art and photography were published as The Painter and the Photograph a year earlier than Creative Photography, but without the same circulation and international reception, revised and enlarged from the 1964 catalogue issued under the same title for the exhibition curated by Van Deren Coke which toured the US in 1964 and 1965.<mask>'s articles on photo history were published in the 1968 issues of Creative Camera magazine in his column, and in Album They reflected his eclectic interests in photography's

masks: Scharf Scharf Scharf Scharf


title: Aaron Scharf

texts:
 history, including spirit photography and Darwin's use of photography, to discussion of the engravings on the backs of cartes-de-visite. Under the pressure of other work, he asked to be relieved of writing the Creative Camera column and ask that Van Deren Coke continue it, which he did until December 1969. During this period, <mask> contributed the entry on Henri Cartier-Bresson in the Encyclopædia Britannica. He had divorced Ruth, who went on to act for television and films, including Highlander (1986), The Lords of Discipline (1983) and The Ted Kennedy Jr. Story (1986). She died on 25 February 2009. He married Marina (née Betts). <mask>'s own art production consisted of montages made from old photographs and/or 19th-century wood engravings, a selection of which were published by Bill Jay in his last issue as editor of Creative Camera.Jay had seen and was intrigued by the artworks each time he picked up <mask>'s copy for Album from his residence near the editorial offices and he published them accompanied by the art historian's request that they be printed without a text; "No text this time! Give them no titles. Let them open up those little doors to mystery which Redon talks about"

Later life
In 1969 <mask> joined The Open University, Milton Keynes, England, moving to Deanshanger 10 miles away. He stayed there, as Professor of Art History writing art history courses and pursuing personal research, until pressured out by other staff in 1982. Also in 1969, he

masks:
Scharf
Scharf
Scharf
Aaron Scharf


title: Aaron Scharf

texts:
 visited the United States to deliver units on Photography in Modern Art and Seminar in Problems in the History of Photography for Stanford University's 1969 Summer School. From August 1972 he was a member of the photography committee of the Arts Council chaired by Barry Lane with Tristram Powell, a BBC producer; Marina Vaizey, Sunday Times art critic; Bill Gaskins, head of the Audio-Visual Department at Sheffield Polytechnic; David Hurn of Magnum, Ron McCormick and Peter Turner, assistant editor of Creative Camera. The BBC’s landmark eight-part series Pioneers of Photography (1975) was fronted by <mask> and looked at the history and development of photography.<mask> had become ill and he and Marina moved to a farm at Briston, Melton Constable, Norfolk. In 1983 and semi-retired <mask> taught as a Visiting Lecturer in Photography in the Design Department at Norwich, even when ill and tired. Friends Chris Mullen and Tim Giles encouraged him to write his autobiography, which he wrote with the assistance of his wife Ruth and was published posthumously as Flak, concentrating on his experiences as an USAF pilot in the Second World War. He died on 21 January 1993, survived by his wife Marina and son Caleb, an astrophysicist. Curatorships
Summer Show 4, Serpentine Gallery, London, 1977, selected by <mask>, artists include Jane England, Heather Forbes, John Goto, Jim Harold, Paul Joyce, Chris Locke, Peter Mitchell et al. 1971 Royal Photographic Society exhibition:

masks:
Aaron Scharf
Aaron
Scharf
Aaron Scharf


title: Aaron Scharf

texts:
 Masterpiece: An Exhibition of Photographs from The Collection of the Royal Photographic Society, an Arts Council touring exhibition that opened on 6 November 1971. <mask> also wrote a statement for the catalogue.Publications

Books, and Book Chapters

<mask>, A. (1965). Creative photography. London : Studio Vista ; New York : Van Nostrand Reinhold
 Sisley, Alfred & Scharf, <mask> (1966). Sisley. Knowledge Publications, London
 Sisley, Alfred (1966). Alfred Sisley.Purnell, Paulton, Nr. Bristol [Eng.] <mask>, A. (1968). Art and photography. London : Allen Lane. 34 editions published between 1963 and 1994 in 3 languages and held by 54 libraries worldwide
 Scharf, Aaron & Open University & BBC-TV (1970).The Image in the cloud. Open University and BBC TV, [Milton Keynes]
 <mask>, <mask>, "The shadowy world of Bill Brandt," introduction to Brandt, Bill & Scharf, <mask>, & Arts Council of Great Britain & Hayward Gallery & Museum of Modern Art (New York, N.Y.) (1970) Bill Brandt : photographs. Arts Council, London. Harvie, Christopher & Martin, Graham, (joint comp.) & Scharf, <mask>, (joint comp.) (1970). Industrialisation and culture, 1830-1914.Macmillan, London
 Bayley, Stephen, & Scharf, <mask>, & Open University (1971). Introduction to art. Open University Press, Bletchley
 Scharf, Aaron & Benton, Tim & Scharf, Aaron, & Open University. Arts Foundation Course Team (1971). Introduction to art. Open University Press, Bletchley (Walton Hall, Bletchley, Bucks.) Arts

masks: Scharf Scharf Aaron Scharf Scharf Aaron Aaron Aaron Aaron


title: Aaron Scharf

texts:
 Council of Great Britain & Benton, Tim & Scharf, <mask>, & Royal Photographic Society of Great Britain (1971).Masterpiece, treasures from the collection of the Royal Photographic Society : (catalogue of an exhibition) 1971–72. Arts Council of Great Britain, (London)
Mucha, J., Henderson, M., & <mask>, A., & Mucha, A. M. (1971). Alphonse Mucha: Posters and photographs. London: Academy Ed. Scharf, Aaron & Open University. Arts Foundation Course Team (1971). Art and industry.Open University Press, Bletchley (Walton Hall, Bletchley, Bucks.) Edwards, Owain & Martin, Graham, & Scharf, <mask>, & Open University. Age of Revolutions Course Team (1972). Romanticism. Open University Press, Bletchley, Eng
 Scharf, Aaron & Scharf, <mask>, & Open University. Age of Revolutions Course Team (1972). Art and politics in France.Open University Press, Bletchley
Scharf, A., Coe, B., & Turner, A. (1974). Pioneers of photography: Episode 5. London: BBC Education and Training. Mucha, J., Henderson, M., & <mask>, A. (1974). Alphonse Mucha.London: Academy Editions. Mucha, Alphonse & Mucha, Jiří,  & Henderson, Marina & Scharf, <mask> (1974). Alphonse Mucha (Rev. enl. ed). St. Martin's Press, New York
 Benton, Tim & Benton, Charlotte & Scharf, Aaron, & Open University (1975). History of architecture and design 1890-1939.Units 15 and 16, Design 1920s : German design and the Bauhaus 1925-24 : Modernism and the decorative arts, Paris 1910-30. Open University Press, Milton Keynes
 Benton, Tim &

masks: Aaron Scharf Aaron Aaron Scharf Aaron


title: Aaron Scharf

texts:
 Scharf, Aaron, & Benton, Charlotte & Open University (1975). Design 1920s. Open University Press, Milton Keynes
 Scharf, Aaron & Scharf, Aaron, & Open University (1975). The roots of modern art : [and], Charles Baudelaire, vanguard of modernism ; [and], Optimism and pessimism in late nineteenth-century literature and art. Open University Press, Milton Keynes [England]
 Benton, Tim & Open University (1975). The new objectivity: prepared for the course team by Tim Benton ; with contributions from Charlotte Benton, John Milner and <mask>.The Open University Press, Milton Keynes
 <mask>, A. (1976). Pioneers of photography: An album of pictures and words. New York: N. Abrams. <mask>, A., & Open University. (1976). The emerging of modern art in the early twentieth century.Milton Keynes: Open University Press. <mask>, <mask> & Open University (1976). A new beginning : primitivism and science in post-impressionist art ; Return to nature. Open University Press, Milton Keynes
Harvie, C. T., Martin, G., & <mask>, A. (1976). Industrialisation and culture 1830-1914. London: Macmillan for The Open University Press.Scharf, Aaron & Scharf, Aaron, & Open University (1976). A new beginning : primitivism and science in post-impressionist art ; Return to nature. Open University Press, Milton Keynes
Scharf, Aaron & Scharf, <mask>, & Open University (1976). The emerging of modern art in the early twentieth century. Open University Press, Milton Keynes [England]
Scharf, <mask>, & Arts

masks:
Aaron Scharf
Scharf
Scharf
Scharf
Aaron
Scharf
Aaron
Aaron


title: Aaron Scharf

texts:
 Council of Great Britain & Serpentine Gallery (1977). Summer show 4 : the work of 23 photographers. Arts Council of Great Britain, London
 Scharf, A., & Open University.(1979). The Enlightenment: Unit 7. Milton Keynes: Open University Press. Scharf, <mask> & Scharf, <mask>, & Open University (1979). William Hogarth. Open University Press, Milton Keynes [Buckinghamshire]
Hill, Paul, with a foreword by <mask> (1982). Approaching photography.London ; Boston : Focal Press. Enyeart, James & Monroe, Robert D & Stokes, Philip, with a foreword by <mask> (1982). Three classic American photographs : texts and contexts. University of Exeter, American Arts Documentation Centre, [Exeter, England]
Blake, Nigel & Harrison, Charles, & Norman, Di, & Open University, with additional material supplied by Francis Frascina, <mask> and Belinda Thompson. (1983). Impressionism and Degas. Open University Press, Milton Keynes
Ascolini, Vasco & Istituto di cultura Casa G. Cini, prefazione di <mask> Scharf.(1989). Vasco Ascolini : le fotografie per il teatro. Analisi, Bologna
<mask>, A. (1994). Arte y fotografía. Madrid: Alianza Editorial. Stangos, Nikos, <mask> <mask> (sections on Suprematism and Constructivism) (1994).Concepts of modern art : from fauvism to postmodernism (3rd ed., expanded and updated). Thames & Hudson, New York, N.Y
Scharf, A. (1996). FLAK. Briston: <mask>. Media
 Harvie, Christopher T & <mask>, <mask>. Whistler-Ruskin trial [sound recording] (1971).Industrialization and

masks:
Aaron
Aaron
Aaron Scharf
Aaron Scharf
Aaron Scharf
Aaron
Scharf
Scharf
Aaron
Marina Scharf
Scharf
Aaron


title: Aaron Scharf

texts:
 culture. Open University, Milton Keynes
 Scharf, Aaron & Coe, Brian & Turner, Ann & Grenfell, Joyce & British Broadcasting Corporation (1974). Pioneers of photography Episode 4, Famous men and fair women [video recording]. BBC Education and Training, London
 Scharf, Aaron & Coe, Brian & Turner, Ann & British Broadcasting Corporation (1974). Pioneers of photography Episode 7, The fleeting image [video recording]. BBC Education and Training, London
 Scharf, Aaron & Coe, Brian  & Turner, Ann (1974). Pioneers of photography Episode 8, Colour and the camera [video recording].BBC Education and Training, London

Journal Articles

 <mask>, <mask> (1989) 'Modernism; Photography; Art', History of Photography, 13:1, 95-102
 <mask>, <mask> (1977) 'One man's fiche ....', History of Photography, 1:4, 352–353. Review of British Masters of the Albumen Print, by Robert A. Sobieszek. International Museum of Photography at George Eastman House. University of Chicago Press (1976)
 <mask>, <mask> (1976). 'Marey and Chronophotography' Artforum, Vol. 15, No. 1 (September 1976)
 <mask>, <mask> (1963) 'The Art of Photography'.Review of Creative Photography. Aesthetic Trends 1839-1960 by Helmut Gernsheim. The Burlington Magazine, Vol. 105, No. 722 (May 1963), pp. 217–218
 <mask>, <mask> (1962). 'Painting, Photography, and the Image of Movement'.The Burlington Magazine, Vol. 104, No. 710 (May 1962), pp. 186+188-195
 Homer, W., & <mask>, A. (1962). Concerning Muybridge, Marey, and Seurat. The

masks: Scharf Aaron Scharf Aaron Scharf Aaron Scharf Aaron Scharf Aaron Scharf


title: Aaron Scharf

texts:
 Burlington Magazine, 104(714), 391–393.Retrieved from http://www.jstor.org/stable/873738
 <mask>, <mask> (1961). 'Daumier the Painter'. The Burlington Magazine, Vol. 103, No. 701 (Aug. 1961), pp. 356–357+359

Notes and references

1922 births
1993 deaths
American art historians
United States Army Air Forces personnel of World War II
People from Hampstead
Academics of the Open University
University of California alumni
Alumni of the Courtauld Institute of Art
20th-century American historians
American male non-fiction writers
British art historians
Historians of photography
People from North Norfolk (district)
United States Army Air Forces officers
Recipients of the Air Medal
20th-century American male writers
Photography academics
American emigrants to the United

masks: Scharf Aaron


title: Georg Kaiser

texts:
<mask>, called <mask>, (25 November 1878 – 4 June 1945) was a German dramatist. Biography
<mask> was born in Magdeburg. He was highly prolific and wrote in a number of different styles. An Expressionist dramatist, he was, along with Gerhart Hauptmann, the most frequently performed playwright of the Weimar Republic. <mask>'s plays include The Burghers of Calais (1913), From Morning to Midnight (1912), and a trilogy, comprising The Coral (1917), Gas (1918), Gas II (1920). He died in Ascona, Switzerland, and was buried in Morcote near Lugano. Work
The Burghers of Calais (Die Bürger von Calais), written in 1913, was not performed until 1917.It was <mask>'s first success. The play is very dense linguistically, with its dialogue comprising numerous emotive monologues influenced by the Telegramstil poetics of August Stramm. Like <mask>'s other works of the period, it bears the mark of Friedrich Nietzsche's philosophy, calling upon the modern individual to transcend mediocrity through extraordinary actions; the Expressionist 'New Man' became a commonplace of the genre. From Morn to Midnight, filmed by Karlheinz Martin in 1920, was written in 1912 and first performed in 1917. One of the most frequently performed works of German Expressionist theatre, its plot concerns a Cashier (played by Ernst Deutsch in Martin's film) in a small bank in W. (ostensibly Weimar) who is alerted to the power of money by the visit of a rich Italian lady. He embezzles 60,000 Marks and absconds to B. (Berlin) where he attempts to find transcendent experiences in sport,

masks:
Friedrich Carl Georg Kaiser
Georg Kaiser
Kaiser
Georg Kaiser
Kaiser
Kaiser


title: Georg Kaiser

texts: romance and religion, only to be ultimately frustrated.<mask>'s classic Expressionist plays, written just before and during World War I, often called for man to make a decisive break with the past, rejuvenating contemporary society. He eschewed characterization, and particularly character psychology, instead making his protagonists and other characters archetypes, employing highly anti-naturalistic dialogue often comprising lengthy individual speeches. <mask>'s drama Side by Side (Nebeneinander, 1923), a 'people's play' (Volksstück), premiered in Berlin on 3 November 1923, directed by Berthold Viertel with design by <mask>. With this play <mask> moved away from the Expressionism of his previous works. Utilizing a more rounded characterization and more realistic curt, comic dialogue to tell a light-hearted story of an idealistic pawnbroker caught up in the hyperinflation afflicting Germany at the time (the currency stabilization came a fortnight after the play opened), the play inaugurated the 'new sobriety' (Neue Sachlichkeit) in the drama. "<mask> has left the cloud that used to surround him," a review in the Weltbühne suggested, "and landed with both feet on the earth." <mask>'s plays, particularly From Morning to Midnight, were highly influential on the German dramatists operating during the 1920s, including Iwan Goll, Ernst Toller and Bertolt Brecht, who drew on <mask>'s use of revue-type scenes and parable, which was influenced by medieval and 16th-century German mystery plays.<mask> collaborated with the composer Kurt Weill on his

masks:
Kaiser
Kaiser
George Grosz
Kaiser
Kaiser
Kaiser
Kaiser
Kaiser


title: Georg Kaiser

texts:
 one-act operas Der Protagonist (1926) and Der Zar lässt sich photographieren (1928), also Der Silbersee (1933). In his later years, he further developed his criticism of the modern machine age that had characterised the Gas trilogy. Imprisoned briefly in 1923 for stealing a loaf of bread during the hyper-inflationary crisis, <mask> fled to Switzerland when the Nazis came to power in the 1930s (<mask> went into exile in 1938). There he turned to writing verse dramas on mythological themes, including Pygmalion, Amphitryon, and Bellerophon, and a pacifist drama, The Soldier Tanaka (1940). The Raft of the Medusa (1945) is a play written in verse that reverses the ethos of The Burghers of Calais in a more pessimistic direction; to avoid bad luck, thirteen children on a life-raft drown the youngest of them. (See the frigate Méduse for the historical shipwreck and The Raft of the Medusa for its famous depiction in art.) Plays
 1914: Die Bürger von Calais (The Burghers of Calais)
 1916: Von Morgens bis Mitternachts
 1917: Die Koralle
 1918: Gas I
 1920: Gas II
 1923: Gilles und Johanna
 1928: Oktobertag
 1938: Die Gärtner von Toulouse
 1940: Alain und Elise

Selected filmography

Film adaptations
From Morn to Midnight (dir.Karlheinz Martin, 1920) — based on the play From Morning to Midnight
Women's Sacrifice (dir. Karl Grune, 1922) — based on the play Das Frauenopfer
The Farmer from Texas (dir. Joe May, 1925) — based on the play Kolportage
Hurrah! I Live! (dir. Wilhelm Thiele, 1928) — based on the play Der mutige Seefahrer
 (dir. Felix Basch,

masks: Kaiser Kaiser


title: Peter Brideoake

texts:
<mask> (23 April 1945 - 4 February 2022) was an Australian musician, composer, singer, songwriter and lecturer. He was a member of the pop rock group the Twilights (1964 - 1969) as well as a solo performer and composer. The Twilights had eight consecutive national hit singles including "Needle in a Haystack" and "What's Wrong with the Way I Live". After the Twilights, Brideoake formally studied music and established himself as a multi-talented musician, composer and university lecturer. Brideoake, as a member of the Twilights, was inducted into the South Australian Music Hall of Fame on 10 April 2015. Career

<mask> was born and educated in Adelaide, South Australia, on 23 April 1945. His musical career began as a rhythm guitarist and vocalist in popular Australian pop group the Twilights (1964 - 1969).At times, Brideoake co-wrote with Terry Britten and Glenn Shorrock. The Twilights officially broke up in 1969, but have played reunion or special concerts in 2000, 2002, 2011 and 2015. In 1969, Brideoake commenced studies in music composition at the University of Adelaide. Following his graduation with a Bachelor of Music (Hons) he began teaching harmony and modern composition techniques. From 1975, he was a career lecturer at the Elder Conservatorium of Music in Adelaide. After several periods of study in China, Brideoake became a proficient performer on the ancient Chinese zither (ch'in or guqin) instrument. In 1978, he was awarded the John Bishop Memorial Commission; other commissioned works have been composed for the

masks:
Peter Arthur Brideoake
Peter Brideoake


title: Peter Brideoake

texts:
 tour
The Twilights reformed again for the hugely successful "Long Way To The Top" Australian concert tour in 2002. "Rock of Ages" concert
The surviving Twilights reunited for the all-star "Rock of Ages" concert promoted by Aztec Music at the Palais Theatre in St Kilda, Melbourne, in 2011. "Yesterday's Heroes" show
Brideoake and two other original members of the Twilights (John Bywaters and Paddy McCartney) were joined by guest singer / guitarist <mask> (Masters Apprentices) to perform "Needle In A Haystack" at "Yesterday's Heroes",  a various artists' show promoted by the Adelaide Music Collective in the Mortlock Chamber of the State Library on 9 February 2015 to coincide with a collection of Adelaide music memorabilia at the library. Education

Elder Conservatorium
After the Twilights main period (1964-1969), the band broke up and Brideoake returned to Adelaide. In 1969, he began studies in composition with Richard Meale at the Elder Conservatorium of Music at the University of Adelaide.Following his graduation with a Bachelor of Music (Hons) he began teaching harmony and modern composition techniques at the conservatorium. Academia

From 1975, Brideoake was a career lecturer at the Elder Conservatorium of Music in Adelaide for the next 27 years. As well as teaching in composition studies, he introduced a course in Chinese music as the result of an interest in the music, theatre and language of China. A special interest in an ancient Chinese zither (ch'in or guqin) meant that after several periods of study in


title: Peter Brideoake

texts:
 China, he became a proficient performer on this instrument. In 1978, he was awarded the John Bishop Memorial Commission; other commissioned works have been composed for the Sydney String Quartet, the Australian Chamber Orchestra, the Seymour Group, the Victorian String Quartet and, more recently, by percussionist Ryszard Pusz. Music compositions

 Sonata for Flute and Piano (1969)
 Solo for 'Cello (1970)
 Music for Orchestra (1970)
 Composition for winds (1971)
 Gedatsu - solo guitar (1972)
 Music for Flute and Two Percussionists (1972)
 Chiaroscuro (1978)
 String Quartet No. 1 (1980)
 Interplay - two clarinets and harp (1981)
 Imager - string orchestra (1981)
 Shifting Reflections - chamber ensemble (1982)
 String Quartet No.2 (1986)
 Canto for Clarinet Alone (1987)
 Dialogue for Two - clarinet and percussion (1987)
 A Poet's Lament - soprano and piano (1988)

Songwriting
Brideoake co-wrote some songs with Terry Britten and Glenn Shorrock during the Twilights era.In 2015, <mask> co-wrote " Situation Not Normal", a song based on the kidnap for ransom of fellow Australian Warren Rodwell. Personal life

Brideoake lived in Chengdu, Sichuan Province, in south west China from 2002 to 2009 before returning to his hometown of Adelaide. References

External links

 National Library of Australia

1945 births
Living people
Australian soft rock musicians
Australian singer-songwriters
Musicians from Adelaide
The Twilights members
20th-century Australian male singers
21st-century Australian male singers
Australian male


title: C. Vivian Stringer

texts:
<mask> (born March 16, 1948) is an American basketball coach, with one of the best records in the history of women's basketball. She is currently the head coach of the Rutgers University women's basketball team. Stringer is the first coach in NCAA history to lead three different women's programs to the NCAA Final Four: Rutgers in 2000 and 2007, the University of Iowa in 1993, and Cheyney State College (now Cheyney University of Pennsylvania) in 1982. She is the sixth winningest coach in women's basketball history. She was honored as the Naismith College Coach of the Year for women's basketball in 1993, and is a member of the Women's Basketball Hall of Fame. She was elected to the Basketball Hall of Fame in April 2009, and was inducted in September of that year. On February 26, 2013, Stringer won her 900th game, becoming only the fourth coach in women's basketball history to reach this mark, joining Summitt, Hatchell, and <mask>.Biography
Stringer is a native of Edenborn, Pennsylvania, and a member of the Alumni Hall of Fame at her alma mater. One of her first great accomplishments was in high school when she sued her school for not allowing her to be a cheerleader because of her race. She won the case and was given a spot on her school's cheerleading squad, being the first black cheerleader in her town since 1955–1958, when Dolores Dantzler was on the team. She is a graduate of Slippery Rock University of Pennsylvania where she was a four sport athlete, participating in basketball, softball, volleyball, and field hockey. Stringer and her late husband, William D<mask>, whom she met as a student at Slippery Rock, have three children: David, Janine (Nina) and Justin. She has 5 siblings, Madalin Williams, Richelle Davis, Timothy Stoner, Jack Stoner, as well as Verna Fraizer. Coaching career

Stringer arrived at

masks:
Charlaine Vivian Stringer
Jody Conradt
. Stringer


title: C. Vivian Stringer

texts:
 Rutgers in July 1995, after 23 years combined as head coach at Cheyney State and the University of Iowa.She stated in her autobiography that a major reason she took the coaching job at Rutgers was because she felt that her children were not learning enough about their culture or comfortable enough around fellow African Americans, due to the state of Iowa being an extremely white populated area. In 1998 her team posted its first 20-win season in four years (22–10), winning the Big East title with a 14–4 regular-season record. In the postseason, the Scarlet Knights advanced to the NCAA Tournament’s Sweet 16 with a 62–61 win against Iowa State. In 2000, her team went to the Final Four. In 2007, Rutgers again reached the NCAA Tournament's Final Four after upsetting #1 seed Duke. After the 2007 tournament, Stringer served as spokesperson for the Rutgers team during a media firestorm over a derogatory reference to the team made on the radio and television program Imus in the Morning. The Rutgers players eventually accepted an apology from talk-show host Don Imus.In the wake of the controversy, New York senator and presidential candidate <mask> also met with Stringer. In early March 2008, <mask>'s autobiography, titled Standing Tall : A Memoir of Tragedy and Triumph, was released through Crown Books. Also, on February 27, 2008, Stringer became the third women's basketball coach to win 800 career games. She led the Scarlet Knights to the Elite Eight in 2008 where they lost to fellow women's basketball powerhouse, the University of Connecticut. For the 2008–09 season, five McDonald's All-Americans have been recruited by Stringer to play at Rutgers. In 2018, she won her 1,000th game as a Rutgers coach, which made her the first African-American college basketball coach to win 1,000 games. Awards and honors
In recognition

masks:
Hillary Clinton
Stringer


title: C. Vivian Stringer

texts: of her many accomplishments and service to the game, <mask> was inducted into the Women's Basketball Hall of Fame on June 9, 2001.She was honored with the degree of Honorary Doctor of Humanities from Howard University on May 10, 2008, the university's 140th commencement address. She was also inducted as an honorary member of Alpha Kappa Alpha sorority on July 15, 2008 during the sorority's Centennial Ball in Washington, DC. Stringer has been named the National Coach of the Year three times (Wade Trophy, 1982; <mask>, 1988; and Naismith, 1993) by her peers. She also was named the 1988 Russell Athletic/WBCA National Coach of the Year, the 1993 Coach of the Year by Sports Illustrated, USA Today, <mask>, the Los Angeles Times and the Black Coaches Association; the 2000 Female Coach of the Year by the Rainbow/PUSH Organization, a group founded by Rev. Jesse Jackson; the District V Coach of the Year in 1985, 1988 and 1993; the District I Coach of the Year in 1998; the Big Ten Coach of the Year in 1991 and 1993; the BIG EAST Coach of the Year in 1998 and 2005; and the 1998, 1999, 2000 and 2005 Metropolitan Basketball Writers Association Coach of the Year. One of her most personally-gratifying accolades is the 1993 <mask> Award, which acknowledges the coach most demonstrating spirit, courage, integrity, commitment, leadership and service to the game of women’s basketball. A finalist for the Naismith National Coach-of-the-Year Award five times during her tenure at Rutgers, Stringer was honored by the U.S. Sports Academy when the organization decided to name its annual women's coaching award in her honor.The C. <mask>er Medallion Award of Sport for Women’s Coaching was handed out for the first time in July 2002. In 2003, she was recognized by Sports Illustrated as one of the "101 Most Influential Minorities in Sports,"

masks:
Stringer
Converse
Converse
Carol Eckman
Vivian String


title: C. Vivian Stringer

texts:
 athletes honored include John McEnroe, Joan Benoit Samuelson, Michael Jordan, Mike Schmidt, Nolan Ryan, Lance Armstrong, Mia Hamm, Ken Griffey, Jr., Pete Sampras, Jerry Rice and Tiger Woods. Stringer is the third woman, the second coach, and the first African-American woman to have a building named after her on Nike's campus. On April 6, 2009 it was officially announced that she has been inducted to the Hall of Fame with Michael Jordan, John Stockton, David Robinson and long-time Utah Jazz coach Jerry Sloan. The 2009 inductees were officially enshrined to the Basketball Hall of Fame on September 11, 2009, in Springfield, Massachusetts. USA Basketball
Stringer was chosen as the assistant coach of the team representing the US in 1980 at the William Jones Cup competition in Taipei, Taiwan. The team started out strong, winning their first three games. Then they faced the Republic of China – Blue team, who beat the USA 86–81.They won their next fours games, including a close match against the undefeated Republic of China – White team, which they won 84–82, and a rematch against the Blue team, which they won 66–62. With a 4–0 record in medal round play, they simply had to beat their last opponent, South Korea, who had a 3~1 record, to win the gold. However, South Korea won the game 90–79. The Republic of China – White also won. leaving three teams tied with 4–1 records. The tie-breaker was point differential, and this left the USA team with the bronze medal. Mary Ostrowski and Valerie Still made the All-Tournament Team.<mask> was named the head coach of the team representing the US at the World University Games held in Kobe, Japan in July 1985. The team won their three preliminary games with ease, beating the People's Republic of Korea, Yugoslavia and Great Britain by more than 25 points each. Their next game,


title: C. Vivian Stringer

texts:
 against China, was much closer, but the USA team had balanced scoring, with five players in double figures for points, and won 83–78. The USA team played Canada in the semifinal, and again had five players with double-digit scoring, winning 85–61 to advance to the gold medal game against the USSR. The USA fell behind by as much as 18 points in the second half. They attempted a comeback, and cut the margin, but the USSR hit almost 55% of their shots and went on to claim the gold medal 87–81. The USA received the silver medal.<mask> was the leading scorer and rebounder for the USA team with 17.3 points and 7.7 rebounds per game. Film: This Is a Game, Ladies
Stringer and the entire Rutgers team were the subject of the 2004 documentary: This Is a Game, Ladies that followed the team during the 2000–2001 season. The film was by directed by Peter Schnall and aired on PBS. Head coaching record
Sources:

See also
List of college women's basketball coaches with 600 wins

References

Bibliography

 <mask>, C. <mask> and Tucker, Lauren (2009)  Standing Tall: A Memoir of Tragedy and Triumph. Crown/Archetype Publishing. .
 Encyclopeida.com-Contemporary Black Biography COPYRIGHT Thomas Gale

External links
 Rutgers profile

1948 births
Living people
African-American basketball coaches
American women's basketball coaches
Basketball coaches from Pennsylvania
College women's basketball players in the United States
Educators from Pennsylvania
American women educators
Iowa Hawkeyes women's basketball coaches
Naismith Memorial Basketball Hall of Fame inductees
People from Fayette County, Pennsylvania
Rutgers Scarlet Knights women's basketball coaches
Slippery Rock University of Pennsylvania alumni
21st-century African-American people
21st-century African-American women
20th-century African-American sportspeople
20th-century

masks:
Katrina McClain
Stringer
Vivian


title: Wolfram Wette

texts:
<mask> (born 11 November 1940) is a German military historian and peace researcher. He is an author or editor of over 40 books on the history of Nazi Germany, including the seminal Germany and the Second World War series from the German Military History Research Office (MGFA). <mask>'s published book, The Wehrmacht: History, Myth, Reality has been translated into five languages and deals with the issue of Wehrmacht criminality during World War II and the legend of its "clean hands". In 2015, <mask> was a recipient of the Order of Merit of the Federal Republic of Germany, the only federal honour awarded to German citizens for exceptional achievements. Education and career
From 1971 to 1995 <mask> worked at the Military History Research Office (MGFA). Afterwards, he was a professor of history at the University of Freiburg. <mask> was a co-founder of the Historical Peace Research Working Group (Arbeitskreis Historische Friedens- und Konfliktforschung e.V.).He was a member of the municipal council of Freiburg from 1980 to 1989 as a member of the Social Democratic Party of Germany, and was also the chairman of the SPD parliamentary group and the SPD city association chairman. Historian of Nazi Germany
<mask> is an author or editor of forty books on the history of Nazi Germany, including the Wehrmacht (armed forces), its leadership and its relationship with Nazism. <mask>'s works explored topics that at the time of their publication were considered taboo or not widely discussed in Germany, such as desertion, treason and aid to victims of the Nazi regime from military personnel. Despite thousands of executions for

masks:
Wolfram Wette
Wette
Wette
Wette
Wette
Wette
Wette


title: Wolfram Wette

texts:
 "undermining of military morale", <mask>'s research has shown that only three Wehrmacht servicemen were executed for helping Jews. <mask> explored the topic in his book Feldwebel Anton Schmid: Ein Held der Humanität [Feldwebel Anton Schmid: A Hero of Humanity]. The book told the story of Anton Schmid, who aided Jews confined to the Vilna Ghetto. He was sentenced to death by his military superiors and executed in 1942.Because of the controversial nature of <mask>'s work, he has received death threats. The Wehrmacht: History, Myth, Reality

<mask>'s 2002 book Die Wehrmacht. Feindbilder, Vernichtungskrieg, Legenden [The Wehrmacht: Images of the Enemy, War of Extermination, Legends] was published in 2006 in English as The Wehrmacht: History, Myth, Reality by Harvard University Press. Building on Omer Bartov's 1985 study The Eastern Front, 1941–1945: German Troops and the Barbarisation of Warfare, the book deconstructs the myth of the clean Wehrmacht. According to The Atlantic, it shows that "the Wehrmacht—and not, as postwar accounts by German generals would have it, merely the SS—freely and even eagerly joined in murder and genocide, which were central, rather than incidental, features of its effort". The book complements the earlier studies that focused on the average Landser (soldier) and also discusses the complicity of the highest levels of the Wehrmacht. Reviewing the work, the historian Geoffrey P. Megargee notes that "until Wette's work, there was no concise, general survey on the Wehrmacht's crimes, at least for an English-speaking audience.Thus, his work fills a significant gap in the literature". The review

masks: Wette Wette Wette Wette


title: Wolfram Wette

texts:
 Legenden. S. Fischer, Frankfurt am Main 2002,  (translated in English, French, Spanish, Polish)
 Militarismus in Deutschland. Geschichte einer kriegerischen Kultur.Fischer-Taschenbuch-Verlag, Frankfurt a.M. 2011, . Gustav Noske und die Revolution in Kiel 1918 (= Sonderveröffentlichungen der Gesellschaft für Kieler Stadtgeschichte Bd. 64.) Boyens, Heide 2010, . Karl Jäger. Mörder der litauischen Juden. Fischer Taschenbuch, Frankfurt am Main 2011, .Feldwebel Anton Schmid: Ein Held der Humanität. S. Fischer, Frankfurt am Main 2013, . Ehre, wem Ehre gebührt! Täter, Widerständler und Retter (1939–1945) (= Schriftenreihe Geschichte & Frieden. Bd. 24). Donat, Bremen 2014, .References

Citations

Sources

External links
The Wehrmacht: History, Myth, Reality: official page at the Harvard University Press web site. "Will Germany Finally Rehabilitate Nazi-Era 'Traitors'? ", review of The Last Taboo (2009) by <mask> <mask> and Detlef Vogel, Stern Online (in English)

20th-century German historians
1940 births
German military historians
Historians of World War II
German male non-fiction writers
Military History Research Office (Germany) personnel
Living people
Recipients of the Cross of the Order of Merit of the Federal Republic of

masks: Wolfram Wette


title: Standish James O'Grady

texts:
<mask>'Grady (; 18 September 1846 – 18 May 1928) was an Irish author, journalist, and historian. O'Grady was inspired by Sylvester O'Halloran and played a formative role in the Celtic Revival, publishing the tales of Irish mythology, as the History of Ireland: Heroic Period (1878), arguing that the Gaelic tradition had rival only from the tales of Homeric Greece. O'Grady was a paradox for his times, proud of his Gaelic heritage, he was also a member of the Church of Ireland, a champion of aristocratic virtues (particularly decrying bourgeois values and the uprooting cosmopolitanism of modernity) and at one point advocated a revitalised Irish people taking over the British Empire and renaming it the Anglo-Irish Empire. O'Grady's influence crossed the divide of the Anglo-Irish and Irish-Ireland traditions in literature. His influence was explicitly stated by the Abbey Theatre set with Lady Gregory, W. B. Yeats and George William Russell attributing their interest in the Fenian Cycle of Gaelic tradition in part to him. Some of the figures associated with the political party Sinn Féin, including its founder Arthur Griffith, had positive things to say about his efforts in helping to retrieve from the past the Gaelic heroic outlook. Family
His father was the Reverend Thomas O'Grady, the scholarly Church of Ireland minister of Castletown Berehaven, County Cork, and his mother Susanna Doe (or Dowe).<mask> O'Grady's childhood home – the Glebe – lies a mile west of Castletownbere near a famine mass grave and ruined Roman Catholic chapel. He was a cousin of <mask> Hayes O'Grady, another noted figure in

masks:
Standish James O
Standish
Standish


title: Standish James O'Grady

texts:
 Celtic literature, and of <mask> O'Grady, 1st Viscount Guillamore. He married Margaret Allen Fisher, daughter of William Allen Fisher and had three sons. Advised to move away from Ireland for the sake of his health, he passed his later years living with his eldest son, a clergyman in England, and died on the Isle of Wight. His eldest son, Hugh Art O'Grady, was for a time editor of the Cork Free Press before he enlisted in the Great War early in 1915. He became better known as Dr Hugh O'Grady, later Professor of the Transvaal University College, Pretoria (later the University of Pretoria), who wrote the biography of his father in 1929. After a rather severe education at Tipperary Grammar School, <mask> <mask>'Grady followed his father to Trinity College, Dublin, where he won several prize medals and distinguished himself in several sports.Career
He proved too unconventional of mind to settle into a career in the church, and took a job as a schoolmaster at Midleton College, then in a period of expansion. He also qualified as a barrister, while earning much of his living by writing for the Irish newspapers. Reading Sylvester O'Halloran's "General history of Ireland" sparked an interest in early Irish history. After an initial lukewarm response to his writing on the legendary past in "History of Ireland: Heroic Period" (1878–81) and "Early Bardic Literature of Ireland" (1879), he realised that the public wanted romance, and so followed the example of <mask> in recasting Irish legends in literary form, producing historical novels including "Finn and his Companions" (1891), "The Coming of Cuculain"

masks:
Standish
Standish
James O
James Macpherson


title: Standish James O'Grady

texts: (1894), "The Chain of Gold" (1895), "Ulrick the Ready" (1896) and "The Flight of the Eagle" (1897), and "The Departure of Dermot" (1913). He also studied Irish history of the Elizabethan period, presenting in his edition of Sir Thomas Stafford's "Pacata Hibernia" (1896) the view that the Irish people had made the Tudors into kings of Ireland to overthrow their unpopular landlords, the Irish chieftains. His "The Story of Ireland" (1894) was not well received, as it shed too positive a light on the rule of Oliver Cromwell for the taste of many Irish readers. He was also active in social and political campaigns in connection with such issues as unemployment and taxation.Until 1898, he worked as a journalist for the Daily Express of Dublin, but in that year, finding Dublin journalism in decline, he moved to Kilkenny to become editor of the Kilkenny Moderator, which was printed at number 28 High Street. It was here he became involved with Ellen Cuffe, Countess of Desart and Captain Otway Cuffe. He engaged in the revival of the local woollen and woodworking industries. In 1900 he founded the All-Ireland Review, and returned to Dublin to manage it until it ceased publication in 1908. O'Grady contributed to <mask>' The Irish Worker paper. O'Grady's works were an influence on WB Yeats and George Russell and this led to him being known as the "Father of the Celtic Revival". Being as much proud of his family's Unionism and Protestantism as of his Gaelic Irish ancestry – identities that were increasingly seen as antithetical in the late 1800s – he was described by Augusta, Lady Gregory as a "fenian


title: Elisa Rush Port

texts:
<mask> FACS is Associate Professor of Surgery at the Icahn School of Medicine at Mount Sinai Hospital, as well as cofounder and director of the Dubin Breast Center at the Tisch Cancer Institute at Mount Sinai Health System, since 2010. She has received four research grants, has served as an investigator or co-investigator on 15 clinical trials, published 44 peer-reviewed articles, and published a total of 12 book chapters and books. She has specialized in sentinel-node biopsy, a diagnostic method that determines cancer stages based on spread to regional lymph nodes, nipple sparing mastectomy, and the use of MRI for breast cancer. Biography

<mask> was born in New York City and grew up in San Diego, majored in French and Spanish at Dartmouth College (1986), received her MD at Mount Sinai School of Medicine (1992), performed an internship at Cedars-Sinai Medical Center, general surgery residencies at Cedars-Sinai Medical Center and Long Island Jewish Medical Center, and a research fellowship at Memorial Sloan Kettering Cancer Center (1994-1996), where she was a staff breast cancer surgeon from 1999 to 2010. In 2010 she co-founded the Dubin Breast

masks:
Elisa Rush Port
Port


title: Elisa Rush Port

texts:
 Center at Mount Sinai. She is among a group of surgical oncologists like Laura J. Esserman, who challenges the one-size-fits-all approach to treatment. In a 2015 New York Times profile, Esserman's approach to screening and when and how it should be applied to those at risk for breast cancer was framed as being slow to receive acceptance in the medical community.Esserman is not without supporters and researchers like <mask>, who was quoted in the same article: "Laura is one of the people who's actively engaged in research in this area and will help us push the field forward to determine whether or not there is a group of people for whom surveillance will be appropriate." This approach to diagnostics and treatment is highlighted in <mask>'s The New Generation Breast Cancer Book. <mask> is frequently sourced in media, including NPR, The New York Times, television news networks, and digital and print magazines. She is married to Jeffrey L<mask>, a thoracic surgeon at Weill Cornell Medicine/NewYork–Presbyterian Hospital. They have two children. Research

Port has published a large body of work on sentinel-node diagnostics, used to determine a patient's

masks:
Port
Port
Port
. Port


title: Elisa Rush Port

texts:
 appears to be a result of conflicting data from studies, as well as a focus on incidence rates, possibly without placing equal value on the stage of a patient's cancer when first diagnosed. Regarding this debate, <mask> co-authored a New York Times op-ed titled "Why the Annual Mammogram Matters".Port's funding has come in part from the Susan G. Komen Breast Cancer Foundation, the Breast Cancer Research Foundation, a Breast Cancer Alliance Exceptional Project Grant, and the National Institutes of Health. Professional affiliations
American Society of Breast Diseases, 2001–present
American Society of Clinical Oncology, 2002–present
Society of Surgical Oncology, 2002–present
American College of Surgeons, 2003–present
New York Metropolitan Breast Cancer Group, 2005–present
Society of Surgical Oncology Membership Committee, 2011–present
Breast Cancer Alliance Medical Advisory Board, 2012–present
Medical Advisory Board of Women's Voices for Change, 2012–present
New York Surgical Society, 2012–present

Honors and awards
Mother of the Year Award, American Cancer Society, 2013

Publications

Articles
Partial list of peer-reviewed articles:

 Simon


title: Elisa Rush Port

texts:
 Fitzgerald, Anya Romanoff, Almog Cohen, Hank Schmidt, Christina Weltz, Ira J. Bleiweiss, Shabnam Jaffer, <mask> R. <mask>, "Close and Positive Lumpectomy Margins are Associated with Similar Rates of Residual Disease with Additional Surgery". Annals of Surgical Oncology, December 2016, Volume 23, Issue 13, pp 4270–4276
 Anup Sood, Alexandra M. Miller, Edi Brogi, Yunxia Sui, Joshua Armenia, Elizabeth McDonough AlbertoSantamaria-Pang, Sean Carlin, Aleksandra Stamper, Carl Campos, Zhengyu Pang, Qing Li, <mask> <mask>, Thomas G. Graeber, Nikolaus Schultz, Fiona Ginty, Steven M. Larson, and Ingo K. Mellinghoff. "Multiplexed immunofluorescence delineates proteomic cancer cell states associated with metabolism". Journal of Clinical Investigation, e87030, May 5, 2016
 William M. Sikov, Donald A. Berry, Charles M. Perou, Baljit Singh, Constance T. Cirrincione, Sara M. Tolaney, Charles S. Kuzma, Timothy J. Pluard, George Somlo, Elisa R. Port, Mehra Golshan, Jennifer R. Bellon, Deborah Collyar, Olwen M. Hahn, Lisa A. Carey, Clifford A. Hudis, Eric P. Winer. "Impact of the addition of carboplatin and/or bevacizumab to neoadjuvant weekly paclitaxel followed by

masks: Elisa Port Elisa Port


title: Elisa Rush Port

texts: dose-dense doxorubicin and cyclophosphamide on pathologic complete response rates in Stage II-III triple-negative breast cancer: CALGB 40603 (Alliance)". Journal of Clinical Oncology, 2014.Schmidt H., <mask>. "Commentary on Kaur et al. Sentinel Lymph Node Biopsy in Patients with Previous Ipsilateral Complete Axillary Lymph Node Dissection". Breast Diseases: A Year Book Quarterly, 2012; 23(1):72-73. Palaskas N., Larson S., Schultz N., Komisopoulou E., Wong D., Rohle D., Campos C., Yannuzzi N., Osborne J., Linkov I., Kastenhuber E., Taschereau  R., Plaisier S.B., Tran C., Heguy A., Wu H., Sander C., Phelps M.E., Brennan C.W., <mask>.R., Huse J.T., Graeber T.G. "18F-fluorodeoxy-glucose Positron Emission Tomography (18FDG-PET) Marks Basal-Like Human Breast Cancer with MYC Overexpression". AACR 2011 March 17. <mask> E.R., Patil S., Stempel M., Morrow M., Cody H.S."The Number of Nodes Removed in Sentinel Node-Negative Breast Cancer Patients is Significantly Related to Patient Age and Tumor Size: A New Source of Bias in Morbidity Assessment?" Cancer 2010 Feb 11 (Epub ahead of print). Chung A., Schoder H., Sampson M., Morrow M., <mask> E.R. "Incidental

masks:
Port E
Port E
Port
Port


title: Elisa Rush Port

texts:
 Breast Lesions Identified by 18F-Fluorodeoxyglucose-Positron Emission Tomography". Ann Surg Oncol 2010 Feb 17 (Epub ahead of print). Garwood E.R., Kumar A.S., Baehner F.L., Moore D.H., Au A., Flowers C., Troyan S., Garber J., Olopade O., Hylton N., <mask>.R., Campbell M.C., Esserman L.J. "Fluvastatin reduces proliferation and increases apoptosis in women with high grade breast cancer".Breast Can Res Treat 2010;119(1):137-144. Karam A.K., Hsu M., Patil S., Stempel M., Traina T.A., Ho A.Y., Cody H.S., <mask> E.R., Morrow M., Gemignani M.L. "Predictors of completion axillary lymph node dissection in patients with positive sentinel lymph nodes". Ann Surg Oncol 2009 Jul;16(7):1952-8. Disa J.J., Port E.R. "More than 200,000 women will be diagnosed with breast cancer in 2008". Cancer J.2008 Jul-Aug; 14(4):214-5. Books and book chapters

Partial list:

 The New Generation Breast Cancer Book: How to Navigate Your Diagnosis and Treatment Options-and Remain Optimistic-in an Age of Information Overload, Ballantine Books, 2015
 Port, ER. Chapter 17: "Commentary – Breast Cancer Therapeutics". In: Silberman H., Silberman A.W. (eds). Principles and Practice of

masks:
Port E
Port


title: Elisa Rush Port

texts:
 Surgical Oncology, 2nd ed. Lippincott Williams & Wilkins, Philadelphia, 2010:356.Port E.R., Morris E.A. Chapter 35: "Breast MRI". In: Kuerer H.M. (ed). Kuerer's Breast Surgical Oncology, 1st ed. McGraw Hill, New York, 2009

See also
Breast cancer
Surgical oncology
Cancer

References

External links
European Society of Surgical Oncology
Dubin Breast Center
ABC News, "Breast Reconstruction's Modern Look"
YouTube, "Dr. <mask> <mask> Discusses Use of Supplements During Breast Cancer Treatment"
"The New Generation Breast Cancer Book"
"How to find the best breast cancer info"
USNews, "How to Talk to Your Child About Breast Cancer"

Living people
American women physicians
American oncologists
People from San Diego
Scientists from New York City
Cancer researchers
Dartmouth College alumni
Icahn School of Medicine at Mount Sinai faculty
Icahn School of Medicine at Mount Sinai alumni
Year of birth missing (living people)
American women academics
21st-century American

masks: Elisa Port


title: Cyril Rootham

texts:
<mask>  (5 October 1875 – 18 March 1938) was an English composer, educator and organist. His work at Cambridge University made him an influential figure in English music life. A Fellow of St John's College, where he was also organist, <mask> ran the Cambridge University Musical Society, whose innovative concert programming helped form English musical tastes of the time. One of his students was the younger composer Arthur Bliss, who valued his tuition in orchestration. <mask>'s own compositions include two symphonies and several smaller orchestral pieces, an opera, chamber music, and many choral settings. Among his solo songs are some settings of verses by Siegfried Sassoon which were made in co-operation with the poet. Biography
<mask> was born in Redland, Bristol, to <mask> and <mask> (née Gimblett Evans).His father was a well-known singing teacher whose students included Clara Butt, Eva Turner and Elsie Griffin, and he was also a director of the Bristol Madrigal Society. After attending Bristol Grammar School, <mask> initially entered St John's College, Cambridge, as a sizar in 1894 to study classics. Graduation in 1897 was followed by a second bachelor's degree, this time in music, which he completed in 1900. Rootham continued his musical education at the Royal College of Music where he studied under Marmaduke Barton, Walter Parratt, Hubert Parry and Charles Villiers Stanford, among others. <mask>'s first professional appointment was as organist of Christ Church, Hampstead, where in 1898 he succeeded the

masks:
Cyril Bradley Rootham
Rootham
Rootham
Rootham
Daniel Wilberforce Rootham
Mary Rootham
Rootham
Rootham


title: Cyril Rootham

texts: composer Walford Davies. This was followed by a brief period as organist at St Asaph Cathedral in north Wales in 1901. In the same year, <mask> was appointed organist at St John's College, Cambridge, a post he held until the end of his life.In 1909, Rootham married Rosamond Margaret Lucas who supplied him with support and encouragement. Rosamond was put in charge of the costume making at the CUMS concerts, and the Rootham household was always filled with whatever clothes were needed for a new performance. Their son Jasper St <mask> was born in 1910. In 1912, <mask> became conductor of the Cambridge University Musical Society (CUMS). Under his enterprising leadership and programming, the CUMS exerted a significant influence on English musical life of the time. Rootham revived Handel oratorios, Mozart operas and other currently neglected works by Purcell and others. E. J. Dent and others are usually credited with the textual preparation, but Rootham was responsible for their musical success.The CUMS concerts also promoted modern music such as Zoltán Kodály's Psalmus Hungaricus, Arthur Honegger's Le roi David and Ildebrando Pizzetti's 'Mass and Piano concerto, all led by <mask>. In 1930 <mask> invited several contemporary composers to the concert; Manuel de Falla, Kodály and Honegger attended, as did Kathleen Long. <mask>'s genial manner and enviable physique (as a student he had excelled in athletics) made him highly popular amongst students. This popularity helped the success of the CUMS concerts, all of which

masks:
Rootham
John Rootham
Rootham
Rootham
Rootham
Rootham


title: Cyril Rootham

texts: were largely extracurricular. In 1914 <mask> had become a Fellow of St John's after taking over the post of University Lecturer in Form and Analysis of Music. In 1924 he was made Senior Lecturer in Counterpoint and Harmony. Rootham was also a much appreciated teacher of orchestration.His many students included Arthur Bliss, Arnold Cooke, Christian Darnton, Armstrong Gibbs, Patrick Hadley, Walter Leigh, Basil Maine,  Robin Orr, Bernard Stevens and Percy Young. As much as he promoted the works of other composers, <mask> did relatively little to push his own compositions into the repertoire. He conducted the first performance of his opera The Two Sisters in 1922 and three years earlier his own setting of Laurence Binyon's For the Fallen (which sparked a controversy as Elgar's setting of the same poem was published shortly after <mask>'s, though neither composer was individually responsible for starting the dispute). <mask>'s continued involvement with the CUMS included a performance of Handel's Semele and the revival of the tradition of triennial performances of Greek plays with newly composed music, a tradition which continued even after his death. Later in his life <mask> was plagued by illness. On developing progressive muscular atrophy following a stroke his active involvement in the CUMS was left to Boris Ord (from 1936). He completed a few works including City in the West and his three movement Second Symphony, the orchestration for which was completed by his close friend Patrick Hadley.<mask> died in 1938,

masks: Rootham Rootham Rootham Rootham Rootham Rootham


title: Cyril Rootham

texts:
 aged sixty-two, while still at the height of his creative powers. Music

Despite his many activities outside composition, <mask> was able to produce a musical catalogue that included an opera, two symphonies, several smaller orchestral pieces, chamber music and various choral works. Rootham regarded music with the utmost seriousness but never considered it a luxury to be confined to certain people. This might explain why he never completely broke with tradition; his music has a slight influence from Stanford and especially Parry. A presence of modalism can be found in much of his music as well as, in the later works, harmonic parallelism and bitonality. His harmonies with their unexpected twists and bitonalities, could be criticised for a lack of spontaneity and he is sometimes in danger of repeating himself but if this is the case then <mask>'s masterly handling of the orchestra, of which sir Arthur Bliss praised Rootham as a brilliant teacher, certainly makes up for any constructional shortcomings. Favourite teaching examples included Mozart and Rimsky-Korsakov, and there is indeed a Russian love of primary colours in some of <mask>'s work.Elsewhere the influence from Kodaly can be detected, especially in the glittering orchestral textures in <mask>'s Psalm of Adonis from 1931. <mask>'s later works show inspiration from both Delius and Vaughan Williams (whose opera The Poisoned Kiss Rootham premiered), and bear evidence of a progression in his music. Though he acknowledged the English folksong revival he

masks: Rootham Rootham Rootham Rootham Rootham


title: Cyril Rootham

texts:
 never directly involved himself in the movement, and he avoided many of the musical clichés identified by Constant Lambert in "Music Ho!". Nevertheless, the subject matter of his opera, The Two Sisters, is based on a version of the well-known folk ballad "The Twa Sisters" and opens with an unaccompanied rendition of six verses instead of an overture. Henry Colles recognised <mask>'s style as "vigorous and genial", reflecting his personality. The Symphony no. 1 in C minor epitomises this musical vigour, especially the first and last movements which Arthur Hutchings considers to contain <mask>'s most characteristic music.Another Rootham trademark evident in the symphony is his almost vocal writing for brass. His refined string writing is showcased in the Rhapsody on the old English tune Lazarus. <mask> was in his element when writing for chorus and voice. <mask>'s first significant compositions were vocal. It has been said that Stanford, when <mask> studied under him at the RCM, once grunted: "You can write for voices, me boy". His talent at combining words and music in masterly choral settings led Colles  to write: "The stimulus of words brings out the more delicate and poetic qualities and gives distinction to his music".The Stolen Child, Ode on the Morning of Christ's Nativity and City in the West (a poem by his son Jasper) are among his finest achievements. Selected works

Stage
Op.55 The two sisters, opera in three acts (1918–21), based on the ballad "The twa sisters o' Binnorie" – libretto by Marjory


title: Cyril Rootham

texts:
 Fausset

Orchestral
Op.8 Four Impressions (Killarney), miniatures for violin and small orchestra (1900)
Op.36 A Passerby, rhapsody after Robert Bridges (1910)
Op.42 Pan, rhapsody for orchestra (1912)
Op.57 The Two Sisters, concert overture for orchestra (1918)
Op.60 Processional for the Chancellor's Music, for full orchestra (1920)
Op.67 Rhapsody on "Lazarus", for double string orchestra (1922)
Op.82 St. John's Suite, for small orchestra (1929–30)
Op.84 Psalm of Adonis, for orchestra (1931)
Op.86 Symphony no.1 in C minor (1932)
Op.97 Symphony no. 475 p.
 Enid Bird: 20th century English cathedral organists, E.Bird (Aug 1990) 96 p.,
 Wolfgang Suppan, Armin Suppan: Das Neue Lexikon des Blasmusikwesens, 4. Auflage, Freiburg-Tiengen, Blasmusikverlag Schulz GmbH, 1994,
 Kenneth  Shenton: <mask> <mask>, in: Journal of the British Music Society. 7 (1985), pp 30–37. W.J. Smith: Five centuries of Cambridge musicians 1464-1964, Cambridge: W. Heffer, 1964, 75 p.
 Percy A. Scholes: The mirror of music 1844-1944 - A century of musical life in Britain as reflected in the pages of The Musical Times, Oxford: Oxford University Press, 1948, 2 vols
 A. J. B. Hutchings: The Music of <mask> <mask>, in: The Musical Times, Vol.79, No. 1139 (Jan. 1938), pp 17–22
 Frederick W. Thornsby, John Henry Burn: Dictionary of organs and organists, Second edition, London: Geo. Aug. Mate, 1921, 476 p.

External links
 <mask> website - catalogue of works with opus numbers, reviews of CDs, recent concerts, playlist, articles
 Catalogue of works

masks:
Cyril Bradley
Rootham
Cyril Bradley
Rootham
Cyril Rootham


title: Cyril Rootham

texts:
 and an article by John France on musicweb-international.com
 Papers of <mask> <mask> – a list by the Janus Project

1875 births
1938 deaths
British male organists
English composers
English classical organists
Alumni of the Royal College of Music
Alumni of St John's College, Cambridge
Fellows of St John's College, Cambridge
People educated at Bristol Grammar School
Musicians from

masks:
Cyril Bradley
Rootham