title: Dan Patrick (sportscaster)

texts:
<mask> (born May 15, 1956), known professionally as <mask>, is an American sportscaster, radio personality, and actor from Mason, Ohio. He hosts The <mask> Show broadcast on radio on Premiere Radio Networks and streaming on Peacock. He co-hosted NBC's Football Night in America and serves as a senior writer for Sports Illustrated. He worked at ESPN for 18 years, where he often anchored the weeknight and Sunday 11 p.m. edition of SportsCenter. Early life
<mask> was born in Zanesville, Ohio, and was raised in Mason, Ohio, about 30 minutes north of Cincinnati, one of six children of Patricia Joann (née Miller) and John Ambrose "Jack" Pugh. He was a basketball player in high school at William Mason High School, where he scored a single-game personal best of 36 points and earned AP Class AA All-Ohio third-team honors. He graduated in 1974.He attended Eastern Kentucky University on a basketball scholarship for two years before transferring to the University of Dayton, where he majored in communications. <mask> is an alumnus of the Eta Hexaton chapter of the Phi Sigma Kappa fraternity at Dayton. His father Jack worked in the computer science department at UD until he died of cancer in 1981 when <mask> was 25. Career
Before working with ESPN, <mask> was known by his surname, "<mask>", as an on-air personality with the album rock-formatted WVUD and then, WTUE in Dayton, Ohio (1979–1983). <mask> was then a sports reporter for CNN (1983–89), where his assignments included the World Series, NBA Finals and Winter Olympics. <mask> explained in an interview on December 10, 2021 with Zachary Levi that his boss at CNN said to adopt his middle name, <mask>, as his on-air last name. From 1989–1995, <mask> did a daily sports segment for Bob and Brian, a syndicated Wisconsin-area morning show, and in the early 1990s, he did sports updates for the Columbus, Ohio, Rock Station WLVQ and appeared on the morning show "Wags and Elliot."ESPN
<mask> was an anchor on ESPN's SportsCenter (1989–2006). He also hosted The <mask> Show on ESPN Radio from September 13, 1999, to August 17, 2007. In the mid-1990s, <mask> and Keith Olbermann were among ESPN's most recognizable faces. Olbermann used the catch phrase "Welcome to the Big Show" when <mask> worked with him on SportsCenter. After getting reprimanded by their superiors, they began saying "This is SportsCenter" sarcastically, accidentally spawning the show's new catch phrase as well as the name of their long-running promotional campaign. When Olbermann left, <mask> said, "This isn't the Big Show anymore." <mask> stated on his radio program that the ABC sitcom Sports Night was a semi-fictional account of the Olbermann/<mask> anchored SportsCenter, with Casey McCall (Peter Krause) representing <mask>.Starting on March 19, 2006, until the final game of the NBA Finals, he became the host of ABC's then-titled NBA Nation, a pregame show for the network's NBA telecasts. On July 9, 2007, <mask> on his radio show announced his departure from ESPN/ABC effective August 17, 2007, stating, "I am leaving ESPN August 17 to go out on my own and be a free agent...I think I was starting to take it (ESPN) for granted," <mask> said. He said ESPN tried to talk him out of it. If there were any animosity, he says, "I wouldn't be sticking around until August." <mask> remained off air from ESPN Radio until August 15 for his three farewell shows. He was originally reported to be returning for a final week, but returned on Wednesday of that week. ESPN's statement released to the media said <mask> would be released from his contract August 31, 2007, exactly one year early from his deal that was to run until August 31, 2008.The statement also said this would be the final comment on <mask>'s departure from ESPN. "ESPN contractually bans all employees from making specific announcements of their futures on their airwaves, but out of respect to <mask> and all he's done for ESPN we allowed him an opportunity to end the speculation". Reaction to <mask>'s departure from ESPN/ABC
Reaction from media sources hit the internet by storm. Many webpages, blogs, and news media outlets speculated on the reasons for <mask>'s departure and his possible future. On July 10, 2007, The Dan <mask> Show, Keith Olbermann and <mask> himself put some of the rumors and comments to rest. <mask> confirmed he was asked by the producers of The Price Is Right to audition for the vacant host position, but he declined. The job eventually went to Drew Carey.<mask> admitted he was hurt when good friend, Sports Illustrated writer Rick Reilly (who would move to ESPN) wrote, "<mask> was making one of the top 5 biggest career mistakes in entertainment history," ranking right under Shelley Long's leaving Cheers and Katie Couric's leaving NBC's Today show for the CBS Evening News. Keith Olbermann stated it was only a matter of time before a website erroneously reported <mask> was fired from ESPN, which was what happened in some reports when Olbermann left ESPN. <mask> again stated he was leaving on good terms with ESPN and he could return to ESPN if he should so choose. <mask> said he wanted to be on both television and radio again, although some newspapers reported he only wanted to do radio. On his new show, <mask> often relates anecdotes of his ESPN career, in both positive and negative lights. He often refers to his former employer as "The Mother Ship" (and less frequently, "ESPeon"), and expresses disappointment with their practice of preventing their talent from appearing as guests on his show, and frustration when an ESPN employee has agreed to come on the show only to cancel. <mask> is often critical of current ESPN shows and personalities (such as SportsNation, SportsCenter, First Take and former ESPN host Colin Cowherd) for stealing content from his show.In September 2015, <mask> was a guest on the debut episode of SVP, a midnight (EST) version of ESPN's flagship show, SportsCenter, designed as a single-host format hosted by Scott Van Pelt. The SVP SportsCenter allows for some creative empowerment for Van Pelt. This empowerment was strategically evident when Van Pelt's first in-studio interview was <mask>. August 17, 2007, was <mask>'s last day on ESPN Radio. He named his final three shows the "Farewell for Now" tour. The last 20 minutes of his show were filled with thank-yous and looks back. Guests included Bob Costas, Bobby Knight, Joe Montana, Jerry Rice, Ken Griffey Jr. and other sports stars.Will Ferrell also made a heavily promoted appearance in character as Ron Burgundy. New radio-TV show/Sports Illustrated

<mask> signed a syndication deal with Chicago-based Content Factory, which launched his new version of The <mask> Show on October 1, 2007. It was distributed nationally by Premiere Radio Networks. The show aired live on most stations from 9 a.m. to noon Eastern, although some delayed the show into the evening. The show ran delayed on Sirius XM Sports Nation on Sirius Radio channel 122 and XM Radio channel 143. It was also available as a live stream and in podcast form via <mask>'s website. In January 2009, <mask>'s show replaced Out of Bounds with Craig Shemon and James Washington on Premiere Radio's Fox Sports Radio network.This brought an additional 60 affiliates to <mask>'s portfolio, and brought the affiliate count to over 200. It also allows SiriusXM Radio listeners to hear the show live on the Fox Sports simulcast on channel 247. In August 2009, The <mask> Show started being broadcast on The 101 Network, following a show of DIY Network in which a toy-filled "man cave" studio was built in Milford, Connecticut. The radio-only show had been produced in the attic of <mask>'s home. The Dan <mask> Show features "The Danettes", who assist <mask> with the show. The Dan <mask> Show became the first show to premiere on the Audience Network, DirecTV's rebranded version of The 101 Network on DirecTV channel 239 on June 1, 2011, where it aired until February 2020. Sports Illustrated announced in October 2007 <mask> would become the magazine's senior writer.He would also contribute blogs to SI.com's "Fan Nation" and host the magazine's Sportsman of the Year show. SI collaborates with Content Factory to produce <mask>'s web site, and helps stream his radio show. <mask> said he will produce non-television content exclusively for Sports Illustrated. The <mask> Show began simulcasting on Root Sports in October 2010, and on NBC Sports Network in November 2012. NBC Sports

On July 7, 2008, it was announced <mask> would join NBC Sports as a co-host of the third season of Football Night in America with former SportsCenter co-anchor Keith Olbermann every Sunday night beginning in September during the NFL season. <mask> and Olbermann host a series of highlights on the show and a segment called "The Little Big Show" with the day's top NFL plays. "The Little Big Show" refers to <mask> and Olbermann's time at ESPN where they referred to the 11pm SportsCenter they hosted as "The Big Show."<mask> served as the Super Bowl XLIII trophy presenter after the Pittsburgh Steelers defeated the Arizona Cardinals, and again at Super Bowl XLVI after the New York Giants defeated the New England Patriots. <mask> contributed to the network's coverage of the 2010 Winter Olympics as a reporter for women's downhill skiing and snowboarding. He hosted NBC's 2010 & 2011 Stanley Cup Finals coverage. In 2012, NBC named <mask> daytime co-host with Al Michaels for the London Olympics. <mask> once again served as the trophy presenter at Super Bowl XLIX when the New England Patriots defeated the Seattle Seahawks. In March 2018, it was announced that <mask> would not return as the host of NBC's Football Night in America after turning down a contract offer. Soon thereafter, it was announced that <mask> would take over hosting duties of Undeniable (with Joe Buck) on Audience Network.Sports Jeopardy! On April 29, 2014, it was announced that <mask> would host Sports Jeopardy!, a sports-themed version of Jeopardy! shown on Crackle. The series debuted September 24, 2014, and featured special guest Alex Trebek reading out the Final Jeopardy! clue in the third episode. Its last episode aired on December 7, 2016. Sportscasting school with Full Sail University
In late October 2017, it was announced that <mask> would be creating a Dan Patrick School of Sportscasting with Full Sail University, located in Florida.Personal life
<mask> met his wife, Susan (White), when he worked at CNN and she was a producer of CNN's Inside Politics. They have three daughters and one son. He received the University of Dayton Distinguished Alumni Award in 1997 and was inducted into the Mason High School Athletic Hall of Fame in 2000. Other appearances

Film and television
<mask> has made cameo appearances in many movies and TV shows, thanks in large part to his longtime friendship with actor Adam Sandler, a relationship for which he was deemed a "stooge" by David Letterman. The Definite Maybe (1997)
Arli$$ (1998)
BASEketball (1998)
The Waterboy (1998)
Clerks (Animated ABC program) (2000)
Clone High (2002)
The Longest Yard (2005)
The Benchwarmers (2006)
I Now Pronounce You Chuck & Larry (2007)
The House Bunny (2008)
Grown Ups (2010)
Blue Mountain State (2011)
Just Go with It (2011)
Jack & Jill (2011)
That's My Boy (2012)
Grown Ups 2 (2013)
Blended (2014)
The Ridiculous 6 (2015)
The Do-Over (2016)
The Week Of (2018)
Hubie Halloween (2020)
Home Team (2022)

Music videos
<mask> has appeared twice in music videos:
The 1995 Hootie & the Blowfish song "Only Wanna Be With You." In the video, the group use their money to purchase several sports teams. <mask> said of the group, "Dare I say they're anything but 'en fuego'."In the 2002 Brad Paisley song "I'm Gonna Miss Her (The Fishin' Song)", with the quote "Brad Paisley, dare I say, 'en fuego'." References

External links
DanPatrick.com Official Website
<mask> biography

American game show hosts
American sports radio personalities
American television sports announcers
American sportswriters
National Basketball Association broadcasters
Sportspeople from Dayton, Ohio
People from Mason, Ohio
Sports Emmy Award winners
Eastern Kentucky Colonels men's basketball players
University of Dayton alumni
National Football League announcers
National Hockey League broadcasters
1956 births
Living people
Olympic Games broadcasters
Television anchors from Dayton, Ohio
People from Zanesville, Ohio
American men's basketball players
Basketball players from Dayton, Ohio

masks:
Daniel Patrick Pugh
Dan Patrick
Dan Patrick
Patrick
Patrick
Dan
Patrick
Dan Pugh
Patrick
Patrick
Patrick
Patrick
Patrick
Dan Patrick
Dan
Patrick
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Dan
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Dan Patrick
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Dan Patrick
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Dan Patrick
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Dan Patrick
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Dan
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Dan Patrick
Patrick
Dan Patrick


title: Peter Sotos

type: original

texts:
<mask> (born April 17, 1960) is an American writer and musician. In his books, Sotos examines sadistic sexual criminals and sexually violent pornography, particularly involving children. His writings are interpreted by some as commenting on media hypocrisy around these issues. His books are often first person narratives, taking on the point of view of the sexual predator in order to explore sadistic and pedophilic sexual impulses. Early life
<mask> is a graduate of Holy Cross High School. He attended Northern Illinois University for one year and studied at the School of the Art Institute of Chicago for four years. Pure magazine and after

In 1984, while the day care sex abuse hysteria phenomenon was sweeping the nation and while attending the School of the Art Institute of Chicago, Sotos began producing the controversial magazine Pure, notable as the first zine dedicated to serial killer lore.The original publications are now collectors' items. In addition to offering many details about the crimes of serial killers and Nazis, the text in the magazine praises them, describing them using such terms as "genius", "glorious", "exemplary", and "illustrious". The text is juxtaposed with pictures and newspaper clippings relevant to the crimes discussed, showing that the media also abuses the victims. A short manifesto introducing the first issue says the magazine "satiates and encourages true lusts." A photocopy from a magazine of child pornography was used as the cover of issue #2 of Pure which led to Sotos pleading guilty to possession of child pornography, receiving a suspended sentence. A copy of the magazine was found by Scotland Yard in Edinburgh, in the home of a suspect in a series of child abductions, murders and grave robbings, which led to Sotos' arrest. Despite his early legal troubles, Sotos continues to garner support for his ideas and literary output: in the foreword to the French edition of Index (1999) the publisher Jean-Jacques Pauvert compared him to Marquis de Sade; the American author Bruce Benderson has been analyzing his writings for La Nouvelle Revue Française; in 2012 <mask> joined Dennis Cooper for a lecture at the Centre Georges Pompidou; in 2015 the German contemporary art magazine Texte zur Kunst published “Proxy: <mask> in Conversation”.Books
Lazy (1999) examines the public fascination with sex crimes, and their influence on artworks such as the painting Myra by Marcus Harvey. Selfish, Little (2004) recounts the murder of Lesley Ann Downey by British Moors Murderers Ian Brady and Myra Hindley in 1964. Predicate (2005) explores the Dunblane Massacre in Scotland in 1996 and the motives and life of its perpetrator Thomas Watt Hamilton. Other topics covered include Operation Ore, the Wonderland murders, Russian orphanages, Megan's Law, and non-nude teen websites. Comfort and Critique (2005) explores the hidden motives of reporters and citizens as shown by their reactions to sexual crimes. Show Adult (2007) investigates the experience of pornography. The book also analyzes the TV shows Supernanny and To Catch a Predator as publicly acceptable forms of child pornography.Lordotics (2008) deals with sex offenders and the art of photography. Pure Filth (2012) details transcripts of the gonzo movies porn star Jamie Gillis produced during the 1990s. Gillis adds an introduction to each transcript. <mask>, who was a friend of Gillis, brings his own perspective to these records. The book was completed a few days before Gillis died in February 2010. Desistance (2014) is focused on the works of French photographer Antoine D'Agata. Ingratitude (2018) is a monologue.Lionel Maunz <mask> (2021) is a collaboration with the titular contemporary artist. Musical career

From 1983 to Bird Seed released in 2003, Sotos was a member of the British power electronics group Whitehouse. In 1992, Sotos released the solo album Buyer's Market, which consisted of sound collages of spoken word samples from parents, law-enforcement officers and victims of sex crimes. The album was produced by Steve Albini. Sotos then released Proxy  and Waitress  in 2005. Jamie Stewart from Xiu Xiu often mentions Sotos as an influence. Discography

Art

<mask>s makes video collages.He notably presented Waitress I, II and III at the Palais de Tokyo in April 2005. A selection of Sotos' paper archives has been shown for the first time in 2017 at the New Galerie in Paris. In popular culture

In his movie Love (2015), the Argentine film director Gaspar Noé shows Lazy, one of Sotos' books, in the hero's bookshelves. The American writer is also thanked in the closing credits. Works

 Pure, 1984-1985, Self-published and released two issues, with a third having been completed before controversy of publication led to a now-infamous trial. Parasite, 1993-1995, Self-published twenty issues. Total Abuse: Collected Writings, 1984-1995: Pure, Tool, Parasite, 1995 (Goad to Hell Enterprises, )
 Index, 1996, Printed in 1998 (Creation Books, )
 Special, 1998 (Rude Shape, )
 Lazy, 1999 (Creation Books, )
 Tick, 2000 (Creation Books, )
 Selfish, Little: The Annotated Lesley Ann Downey, 2004 (Void Books, )
 Proxy: <mask>s Pornography 1991-2000, 2005 (Creation Books, ).A compendium of five of Sotos' works (Tool, Special, Tick, Index and Lazy). First edition, with CD by Sotos and Steve Albini. Comfort and Critique, 2005 (Void Books, )
 Predicate, 2005 (Creation Books, )
 Waitress, 2005 (Creation Books). Came as an extra for those who preordered a copy of Predicate from Creation Books. Show Adult, 2007 (Creation Books, )
 Waitress, 2007 (Creation Books). Separate volume from the one included with Predicate. Came with orders of Show Adult in hardcover.Lordotics, 2008 (Creation Books, )
 Perfect: The Collected <mask>s Volume One, 2009 (Creation Books, )
 Waitress, 2009 (Creation Books). Third in a series of additional material offered in limited editions from Creation. Came with pre orders of Perfect. Public: The Collected <mask>s Volume Two, 2009 (Creation Books, )
 Waitress, 2009 (Creation Books) Fourth in a series of additional material offered in limited editions from Creation. Came with pre orders of Public. Private: The Collected <mask> Sotos Volume Three, 2009 (Creation Books, )
 Waitress, 2009 (Creation Books). Fifth in a series of additional material offered in limited editions from Creation.Came with pre orders of Private. Kept: The Collected <mask>s Volume Four, 2010 (Creation Books, )
 Waitress, 2010 (Creation Books). Sixth in a series of additional material offered in limited editions from Creation. Came with pre orders of Kept. Mine, 2011 (Creation Books, reprinted in paperback by Nine-Banded Books in 2013, )
 Pure Filth, 2012 (Feral House, ) with Jamie Gillis. Tool, 2013 (Nine-Banded Books, ). First printing as a stand-alone volume.Home, 2013 (Kiddiepunk) with images by Michael Salerno.

masks:
Peter Sotos
Sotos
Sotos
Peter Sotos
Sotos
Peter Sotos
Peter Soto
Peter Soto
Peter Soto
Peter Soto
Peter
Peter Soto


title: Terrell McIntyre

texts:
<mask> (born October 18, 1977) is a retired American professional basketball player. Standing at 5'9 " (1.76 m), he played at the point guard position. A two-time All-EuroLeague First Team selection, he reached the EuroLeague Final Four in 2008, with Montepaschi Siena. College career
<mask> played college basketball for Clemson University's basketball team, the Clemson Tigers. The diminutive point guard left his mark on the history books of the college, and is still considered one of its best players of all-time. <mask> is the second leading scorer in the history of Clemson basketball. As a freshman, he averaged 12.7 points and 3 assists per game.As a sophomore, <mask> became the leading point guard for Clemson, averaging 16.4 points and 4.4 assists per game. The next year, as a junior, he averaged 14 points per game and improved his shooting percentage dramatically, jumping from 42% shooting from the field, to 50% shooting from the field. He also improved his defense by adding some weight, which helped him to get more steals (2 per game) and rebounds (3 per game). <mask> had his best year at Clemson as a senior. He was able to lead Clemson to the final game of the 1999 National Invitation Tournament, and he also performed excellently on the stat sheets. <mask> scored 18 points, dished 5.3 assists and made almost three 3 pointers per game (at a 40% rate) in his senior season. Professional career

Europe
After he went undrafted in the 1999 NBA Draft, <mask> decided to play overseas.His first stop was the French Pro A club Gravelines. He played only 14 games for the French club. His averages were 19 points (53% field goals, 2.2 made 3s), 5.6 assists and 3.2 rebounds per game. After that year, <mask> moved to the German League, in order to play for the small club of Braunschweig. <mask> played 15 games with Braunschweig, averaging 18.5 points and 7 assists per game. US period
After playing in Germany, <mask> decided to move back to the United States, and signed with the Fayetteville Patriots in the NBA D-League. His performance that year, 15.3 points and 4.9 assists per game, helped him get to the NBA Summer League, and sign a contract with the New Orleans Hornets.However, he was waived before the regular season started and came back to Fayetteville, where he averaged 12.3 points, 5.1 assists and 1.4 steals per game. Unable to again draw interest for another NBA contract, <mask> decided to go back to Europe and play in Italy. Return to Europe
<mask>'s career in Italy started in the Italian Second Division. He signed a contract with Carife Ferrera, for the 2003–04 season. He averaged 17.5 points (54.6% 2FG, 46% on 3.3 made 3 pointers per game) and 3.6 assists per game. He then signed with the Italian 2nd Division club Capo d'Orlando the next year, and averaged 18.7 points and 4.7 assists per game with them. He then moved to Reggio Emilia, and played with them in the Italian First Division, in the 2005–06 season.He had his first chance to compete in the second highest level of Europe, by playing with the team in the ULEB Cup (EuroCup) competition. <mask> averaged 16.9 points (46% 2FG and 43% from 3, including 3 made 3 pointers per game) and 4.2 assists per game in the Italian League, and 15.1 points and 4.2 assists per game in the ULEB Cup. The next year, <mask> joined the Italian club Montepaschi Siena. In his first year with Siena, he began the year coming off the bench, and played in the club's 6th man role, backing up both Joseph Forte and Rimantas Kaukėnas. During the season, <mask> became the club's starting point guard. His shooting touch and excellent defense played a major key, alongside his great leadership skills, in helping Siena win the Italian League championship. He averaged 11 points and 2.8 assists per game with Montepaschi in the ULEB Cup.The next season, he averaged 13.8 points (3 made 3 pointers per game), 4.9 assists and 2.5 steals per game in Europe's premier level EuroLeague, and he helped Siena make it to the EuroLeague Final Four, where they lost in the semifinals to Maccabi Tel Aviv. <mask> was then sought after by several EuroLeague clubs, but a huge buy-out mark in his contract kept him in Siena for the 2008-09 season. In the EuroLeague 2008–09 season, <mask> averaged 17.3 points (69% 2FG, 40% on 3 PT FG), 4.4 assists and 1.7 steals per game. He signed a 2-year contract with the Spanish ACB League club Unicaja Málaga, in 2010. In July 2011, he returned to Italy, after signing a two-year contract with Virtus Bologna. Retirement
In November 2011, <mask> announced his retirement from playing professional basketball, due to a bad hip injury. Player profile
At only 5'9 " (1.76 m) tall, <mask> played with good energy and feel for the game, which he used to helped Montepaschi Siena win titles in Italy, like the Italian League championships in 2007, 2008, 2009, and 2010.<mask> earned All-EuroLeague First Team selections for the EuroLeague 2007–08 and EuroLeague 2008–09 seasons, and in that era, he was considered to be one of the best point guards in Europe. During his playing career prime, <mask> was considered to be an excellent offensive point guard, with good shooting skills. Even though his size could hurt him on defense, he was a pesky defender on the ball, and one of the quickest players in European basketball. The leadership skills and heart he brought to the game made him a competent floor general.

masks:
Lance Terrell McIntyre
McIntyre
McIntyre
McIntyre
McIntyre
McIntyre
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McIntyre
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McIntyre
McIntyre


title: Claude Chevalley

texts:
<mask> (; 11 February 1909 – 28 June 1984) was a French mathematician who made important contributions to number theory, algebraic geometry, class field theory, finite group theory and the theory of algebraic groups. He was a founding member of the Bourbaki group. Life
His father, <mask>, was a French diplomat who, jointly with his wife <mask> née Sabatier, wrote The Concise Oxford French Dictionary. <mask> graduated from the École Normale Supérieure in 1929, where he studied under Émile Picard. He then spent time at the University of Hamburg, studying under Emil Artin and at the University of Marburg, studying under Helmut Hasse. In Germany, <mask> discovered Japanese mathematics in the person of Shokichi Iyanaga. <mask> was awarded a doctorate in 1933 from the University of Paris for a thesis on class field theory.When World War II broke out, <mask> was at Princeton University. After reporting to the French Embassy, he stayed in the U.S., first at Princeton then (after 1947) at Columbia University. His American students included Leon Ehrenpreis and Gerhard Hochschild. During his time in the U.S., <mask> became an American citizen and wrote a substantial part of his lifetime's output in English. When <mask> applied for a chair at the Sorbonne, the difficulties he encountered were the subject of a polemical piece by his friend and fellow Bourbakiste André Weil, titled "Science Française?" and published in the Nouvelle Revue Française. <mask> was the "professeur B" of the piece, as confirmed in the endnote to the reprint in Weil's collected works, Oeuvres Scientifiques, tome II.<mask> eventually did obtain a position in 1957 at the faculty of sciences of the University of Paris and after 1970 at the Université de Paris VII. Chevalley had artistic and political interests, and was a minor member of the French non-conformists of the 1930s. The following quote by the co-editor of <mask>'s collected works attests to these interests:
"Chevalley was a member of various avant-garde groups, both in politics and in the arts... Mathematics was the most important part of his life, but he did not draw any boundary between his mathematics and the rest of his life." Work
In his PhD thesis, <mask> made an important contribution to the technical development of class field theory, removing a use of L-functions and replacing it by an algebraic method. At that time use of group cohomology was implicit, cloaked by the language of central simple algebras. In the introduction to André Weil's Basic Number Theory, Weil attributed the book's adoption of that path to an unpublished manuscript by Chevalley.Around 1950, <mask> wrote a three-volume treatment of Lie groups. A few years later, he published the work for which he is best remembered, his investigation into what are now called Chevalley groups. Chevalley groups make up 9 of the 18 families of finite simple groups. Chevalley's accurate discussion of integrality conditions in the Lie algebras of semisimple groups enabled abstracting their theory from the real and complex fields. As a consequence, analogues over finite fields could be defined. This was an essential stage in the evolving classification of finite simple groups. After <mask>'s work, the distinction between "classical groups" falling into the Dynkin diagram classification, and sporadic groups which did not, became sharp enough to be useful.What are called 'twisted' groups of the classical families could be fitted into the picture. "Chevalley's theorem" (also called the Chevalley–Warning theorem) usually refers to his result on the solubility of equations over a finite field. Another theorem of his concerns the constructible sets in algebraic geometry, i.e. those in the Boolean algebra generated by the Zariski-open and Zariski-closed sets. It states that the image of such a set by a morphism of algebraic varieties is of the same type. Logicians call this an elimination of quantifiers. In the 1950s, <mask> led some Paris seminars of major importance: the Séminaire Cartan–Chevalley of the academic year 1955-6, with Henri Cartan and the Séminaire Chevalley of 1956-7 and 1957-8.These dealt with topics on algebraic groups and the foundations of algebraic geometry, as well as pure abstract algebra. The Cartan–Chevalley seminar was the genesis of scheme theory, but its subsequent development in the hands of Alexander Grothendieck was so rapid, thorough and inclusive that its historical tracks can appear well covered. Grothendieck's work subsumed the more specialised contribution of Serre, <mask>, Gorō Shimura and others such as Erich Kähler and Masayoshi Nagata. Selected bibliography
1936. L'Arithmetique dans les Algèbres de Matrices. Hermann, Paris. 1940."La théorie du corps de classes," Annals of Mathematics 41: 394–418. 1946. Theory of Lie groups. Princeton University Press. 1951. "Théorie des groupes de Lie, tome II, Groupes algébriques", Hermann, Paris. 1951.Introduction to the theory of algebraic functions of one variable, A.M.S. Math. Surveys VI. 1954. The algebraic theory of spinors, Columbia Univ. Press; new edition, Springer-Verlag, 1997. 1953–1954.Class field theory, Nagoya University. 1955. "Théorie des groupes de Lie, tome III, Théorèmes généraux sur les algèbres de Lie", Hermann, Paris. 1955, "Sur certains groupes simples," Tôhoku Mathematical Journal 7: 14–66. 1955. The construction and study of certain important algebras, Publ. Math.Soc. Japan. 1956. Fundamental concepts of algebra, Acad. Press. 1956–1958. "Classification des groupes de Lie algébriques", Séminaire Chevalley, Secrétariat Math., 11 rue P. Curie, Paris; revised edition by P.Cartier, Springer-Verlag, 2005.1958. Fondements de la géométrie algébrique, Secrétariat Math., 11 rue P. Curie, Paris. See also
Idèle
Valuative criterion of properness
Chevalley group
Chevalley scheme
Chevalley–Iwahori–Nagata theorem
Beck–Chevalley condition
Non-conformist movement
Jordan–Chevalley decomposition

Notes

External links

 <mask> in the Mathematics Genealogy Project

Algebraic geometers
Number theorists
20th-century French mathematicians
Nicolas Bourbaki
1909 births
1984 deaths
Institute for Advanced Study visiting scholars
University of Hamburg alumni
University of Marburg alumni
University of Paris alumni
Columbia University faculty
Princeton University faculty
University of Paris faculty
École Normale Supérieure alumni

masks:
Claude Chevalley
Abel Chevalley
Marguerite Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
Chevalley
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Chevalley
Claude Chevalley


title: Satyajit Ray

texts:
<mask>  (; 2 May 1921 – 23 April 1992) was an Indian filmmaker, screenwriter, documentary filmmaker, author, essayist, lyricist, magazine editor, illustrator, calligrapher, and music composer. <mask> is widely considered one of the greatest filmmakers of all time. He is celebrated for works such as The Apu Trilogy (1955–1959), The Music Room (1958), The Big City (1963) and Charulata (1964). <mask> was born in Calcutta to renowned writer <mask> who was prominent in the field of arts and literature. Starting his career as a commercial artist, he was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film Bicycle Thieves (1948) during a visit to London. <mask> directed 36 films, including feature films, documentaries and shorts and authored several short stories and novels, primarily for young children and teenagers. Feluda, the sleuth, and Professor Shonku, the scientist in his science fiction stories, Tarini Khuro, the storyteller and Lalmohan Ganguly, the novelist are popular fictional characters created by him.In 1978, he was awarded an honorary degree by Oxford University. <mask>'s first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956) and Apur Sansar (The World of Apu) (1959), form The Apu Trilogy. <mask> did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. <mask> received many major awards in his career, including 36 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, many additional awards at international film festivals and ceremonies, and an Academy Honorary Award in 1992. The Government of India honoured him with the Bharat Ratna, its highest civilian award, in 1992. <mask> had received many notable awards during his lifetime.<mask> is also known for his written works such as the Feluda Somogro where he created one of the most famous detective character for children Feluda aka Pradosh Chandra Mitter. Also he is known for his horror stories. Background

Lineage
<mask> <mask>'s ancestry can be traced back for at least ten generations. His family had acquired the name '<mask>' (originally 'Rai') from the Mughals. Although they were Bengali Kayasthas, the <mask>s were 'Vaishnavas' (worshippers of Vishnu) as against majority Bengali Kayasthas who were 'Shaktos' (worshippers of the Shakti or Shiva). According to the history of the <mask> family, one of their ancestors, Shri Ramsunder Deo (Deb), was a native of Chakdah village in Nadia district of present-day West Bengal, India. In search of fortune he migrated to Sherpur in East Bengal.There he met Raja Gunichandra, the zamindar of Jashodal, at the zamindar house of Sherpur. King Gunichandra was immediately impressed by Ramsunder's beautiful appearance and sharp intellect and took Ramsunder with him to his zamindari estate. He made Ramsunder his son-in-law and granted him some property at Jashodal in Kishorganj District  . From then on Ramsunder started living in Jashodal. His descendants migrated from there and settled down in the village of Masua in Katiadi upazila of Kishoreganj district. <mask> <mask>'s grandfather, Upendrakishore <mask>, was a writer, illustrator, philosopher, publisher, amateur astronomer, and a leader of the Brahmo Samaj, a religious and social movement in 19th-century Bengal. He also set up a printing press by the name of U. Ray and Sons, which formed a crucial backdrop to <mask>'s life.Sukumar <mask>, Upendrakishore's son and father of <mask>, was an illustrator, critic, and a pioneering Bengali writer of nonsense rhyme (Abol Tabol) and children's literature. Social worker and children's book author Shukhalata Rao was his aunt. Early life and education

<mask> <mask> was born to Sukumar and Suprabha <mask> in Calcutta (now Kolkata). Sukumar died when <mask> was barely three, and the family survived on Suprabha <mask>'s meager income. <mask> studied at Ballygunge Government High School in Calcutta, and completed his BA in economics at Presidency College, Calcutta (then affiliated with the University of Calcutta), though his interest was always in the fine arts. In 1940, his mother insisted that he study at Visva-Bharati University in Santiniketan, founded by Rabindranath Tagore. <mask> was reluctant to go, due to his fondness for Calcutta and the low regard for the intellectual life at Santiniketan.His mother's persuasiveness and his respect for Tagore finally convinced him to try. In Santiniketan, <mask> came to appreciate Oriental art. He later admitted that he learned much from the famous painters Nandalal Bose and Benode Behari Mukherjee. He later produced a documentary, The Inner Eye, about Mukherjee. His visits to Ajanta, Ellora and Elephanta stimulated his admiration for Indian art. In 1943, <mask> started working at D.J. Keymer, a British advertising agency, as a junior visualiser, earning 80 rupees a month.Although he liked visual design (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm. The British were better paid, and <mask> felt that "the clients were generally stupid." Later, <mask> worked for the Signet Press, a new publisher started by D. K. Gupta. Gupta asked <mask> to create book cover designs for the company and gave him complete artistic freedom. <mask> designed covers for many books, including Jibanananda Das's Banalata Sen, and Rupasi Bangla, Bibhutibhushan Bandyopadhyay's Chander Pahar, Jim Corbett's Maneaters of Kumaon, and Jawaharlal Nehru's Discovery of India. He worked on a children's version of Pather Panchali, a classic Bengali novel by Bibhutibhushan Bandyopadhyay, renamed as Aam Antir Bhepu (The mango-seed whistle). Designing the cover and illustrating the book, <mask> was deeply influenced by the work.He used it as the subject of his first film, and featured his illustrations as shots in his ground-breaking film.Along with Chidananda Dasgupta and others, <mask> founded the Calcutta Film Society in 1947. They screened many foreign films, many of which <mask> watched and seriously studied. He befriended the American soldiers stationed in Calcutta during World War II, who kept him informed about the latest American films showing in the city. He came to know a RAF employee, Norman Clare, who shared <mask>'s passion for films, chess and western classical music. In 1949, <mask> married Bijoya Das, his first cousin and long-time sweetheart. The couple had a son, Sandip <mask>, a film director. In the same year, French director Jean Renoir came to Calcutta to shoot his film The River.<mask> helped him to find locations in the countryside. <mask> told Renoir about his idea of filming Pather Panchali, which had long been on his mind, and Renoir encouraged him in the project. In 1950, D.J. Keymer sent <mask> to London to work at the headquarters. During his six months in London, <mask> watched 99 films. Among these was the neorealist film Ladri di biciclette (Bicycle Thieves) (1948) by Vittorio De Sica, which had a profound impact on him. <mask> later said that he walked out of the theatre determined to become a filmmaker.Career

The Apu years (1950–1959)

After being "deeply moved" by Pather Panchali, the 1928 classic Bildungsroman of Bengali literature, <mask> decided to adapt it for his first film. Pather Panchali is a semi-autobiographical novel describing the maturation of Apu, a small boy in a Bengal village. <mask> gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur actors. After unsuccessful attempts to persuade many producers to finance the project, <mask> started shooting in late 1952 with his personal savings and hoped to raise more money once he had some footage shot, but did not succeed on his terms. As a result, <mask> shot Pather Panchali over two and a half years, an unusually long period, based on when he or his production manager Anil Chowdhury could raise additional funds. He refused funding from sources who wanted to change the script or exercise supervision over production.He also ignored advice from the Indian government to incorporate a happy ending, but he did receive funding that allowed him to complete the film. <mask> showed an early film passage to the American director John Huston, who was in India scouting locations for The Man Who Would Be King. Impressed with what he saw, Huston notified Monroe Wheeler at the New York Museum of Modern Art (MoMA) that a major talent was on the horizon. With a loan from the West Bengal government, <mask> finally completed the film; it was released in 1955 to critical acclaim. It earned numerous awards and had long theatrical runs in India and abroad. The Times of India wrote "It is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema." In the United Kingdom, Lindsay Anderson wrote a positive review of the film.However, the film also gained negative reactions; François Truffaut was reported to have said, "I don't want to see a movie of peasants eating with their hands." Bosley Crowther, then the most influential critic of The New York Times, criticised the film's loose structure and conceded that it "takes patience to be enjoyed". Edward Harrison, an American distributor was worried that Crowther's review would dissuade audiences, but the film enjoyed an eight months theatrical run in the United States. A film still of Apu having his hair brushed by his sister Durga and mother Sarbojaya was featured in The Family of Man, a MoMA exhibition that was seen by 9 million visitors. Of the thirteen exhibition images depicting India, it was the only one taken by an Indian photographer. Curator Edward Steichen credited it to <mask>, but it was likely taken by the film's cinematographer, Subrata Mitra. <mask>'s international career started in earnest after the success of his next film, the second in The Apu Trilogy, Aparajito (1956) (The Unvanquished).This film depicts the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him. Upon release, Aparajito won the Golden Lion at the Venice Film Festival, bringing <mask> considerable acclaim. In a retrospective review, Edward Guthmann of San Francisco Chronicle praised <mask> for his ability to capture emotions, and blend music with storytelling to create a "flawless" picture. Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than <mask>'s first film. <mask> directed and released two other films in 1958: the comic Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence of the Zamindars, considered one of his most important works. Timeout magazine gave Jalsaghar a positive review, describing it as "slow, rapt and hypnotic". While making Aparajito, <mask> had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.He finished the last of the trilogy, Apur Sansar (The World of Apu) in 1959. <mask> introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. It opens with Apu living in a Calcutta house in near-poverty; he becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life." Critics Robin Wood and Aparna Sen thought it was a major achievement to mark the end of the trilogy. After Apur Sansar was harshly criticised by a Bengali critic, <mask> wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite.Critic Roger Ebert summarised the trilogy as "It is about a time, place and culture far removed from our own, and yet it connects directly and deeply with our human feelings. It is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray." Despite <mask>'s success, it had little influence on his personal life in the years to come. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family. From Devi to Charulata (1959–1964)

During this period, <mask> made films about the British Raj period, a documentary on Tagore, a comic film (Mahapurush) and his first film from an original screenplay ('Kanchenjungha'). He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen. <mask> followed Apur Sansar with 1960's Devi (The Goddess), a film in which he examined the superstitions in Hindu society.Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. <mask> was worried that the Central Board of Film Certification might block his film, or at least make him re-cut it, but Devi was spared. Upon international distribution, the critic from Chicago Reader described the film as "full of sensuality and ironic undertones". In 1961, on the insistence of Prime Minister Jawaharlal Nehru, <mask> was commissioned to make Rabindranath Tagore, based on the poet of the same name, on the occasion of his birth centennial, a tribute to the person who likely most influenced <mask>. Due to limited footage of Tagore, <mask> was challenged of making the film mainly with static material. He said that it took as much work as three feature films. In the same year, together with Subhas Mukhopadhyay and others, <mask> was able to revive Sandesh, the children's magazine which his grandfather had founded.<mask> had been saving money for some years to make this possible. A duality in the name (Sandesh means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). <mask> began to make illustrations for it, as well as to write stories and essays for children. Writing eventually became a steady source of income. In 1962, <mask> directed Kanchenjungha, Based on his first original screenplay, it was also his first colour film. It tells the story of an upper-class family spending an afternoon in Darjeeling, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London.<mask> had first conceived shooting the film in a large mansion, but later decided to film it in the famous town. He used many shades of light and mist to reflect the tension in the drama. <mask> noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film crew in Darjeeling failed to shoot a single scene, as

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title: Satyajit Ray

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 they only wanted to do so in sunshine. The New York Times Bosley Crowther gave the film a mixed review; he praised <mask>'s "soft and relaxed" filmmaking but thought the characters were clichés. Also in the 1960s, <mask> visited Japan and took pleasure in meeting filmmaker Akira Kurosawa, whom he highly regarded. In 1964, <mask> directed Charulata (The Lonely Wife); one of <mask>'s favourite films, it was regarded by many critics as his most accomplished. Based on Tagore's short story, Nastanirh (Broken Nest), the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal.In retrospective reviews, The Guardian called it "extraordinarily vivid and fresh", while The Sydney Morning Herald praised Madhabi Mukherjee's casting, the film's visual style and camera movements. <mask> said the film contained the fewest flaws among his work, and it was his only work which, given a chance, he would make exactly the same way. At the 15th Berlin International Film Festival, Charulata earned him a Silver Bear for Best Director. Other films in this period include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) and Mahapurush (Holy Man). For the first one of these, Mahanagar drew praise from British critics; Philip French opined that it was one of <mask>'s best. New directions (1965–1982)
In the post-Charulata period, <mask> took on various projects, from fantasy, science fiction, detective to historical dramas. <mask> also experimented during this period.He explored contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is 1966's Nayak (The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matinée idol. Although the film received a "Critics Prize" at the Berlin International Film Festival, it had a generally muted reception. In 1967, <mask> wrote a script for a film to be called The Alien, based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend"), which he wrote in 1962 for Sandesh magazine. It was planned to be a U.S. and India co-production with Columbia Pictures, with Marlon Brando and Peter Sellers cast in the leading roles. <mask> found that his script had been copyrighted and the fee appropriated by Michael Wilson.Wilson had initially approached <mask> through their mutual friend, Arthur C. Clarke, to represent him in Hollywood. Wilson copyrighted the script credited to Mike Wilson & Satyajit <mask>, although he contributed only one word. <mask> later said that he never received compensation for the script. After Brando dropped out of the project, the project tried to replace him with James Coburn, but <mask> became disillusioned and returned to Calcutta. Columbia attempted to revive the project, without success, in the 1970s and 1980s. In 1969, <mask> directed one of his most commercially successful films; a musical fantasy based on a children's story written by his grandfather, Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha). It is about Goopy the singer, and Bagha the drummer, endowed with three gifts by the King of Ghosts, set out on a journey to stop an impending war between two neighbouring kingdoms.One of his most expensive projects, the film was also difficult to finance. <mask> abandoned his desire to shoot it in colour, as he turned down an offer that would have forced him to cast a certain Hindi film actor as the lead. He also composed the songs and music for the film. Next, <mask> directed the film adaptation of a novel by the poet and writer, Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than Charulata, Aranyer Din Ratri (1970) (Days and Nights in the Forest) follows four urban young men going to the forests for a vacation. They try to leave their daily lives behind, but one of them encounters women, and it becomes a deep study of the Indian middle class. First shown at the New York Film Festival in 1970, critic Pauline Kael wrote "<mask> <mask>’s films can give rise to a more complex feeling of happiness in me than the work of any other director [...] No artist has done more than <mask> to make us reevaluate the commonplace".Writing for the BBC in 2002, Jamie Russell complimented the script, pacing and mixture of emotions. According to one critic, Robin Wood, "a single sequence [of the film] ... would offer material for a short essay". After Aranyer Din Ratri, <mask> addressed contemporary Bengali life. He completed what became known as the Calcutta trilogy: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three films that were conceived separately but had similar themes. The trilogy focuses on repression, with male protagonists encountering the forbidden. Pratidwandi (The Adversary) is about an idealist young graduate; if disillusioned by the end of film, he is still uncorrupted. Seemabaddha (Company Limited) portrayed a successful man giving up his morality for further gains.Jana Aranya (The Middleman) depicted a young man giving in to the culture of corruption to earn a living. In the first film, Pratidwandi, <mask> introduces new narrative techniques, such as scenes in negative, dream sequences, and abrupt flashbacks. Also in the 1970s, <mask> adapted two of his popular stories as detective films. Although mainly aimed at children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favorites. In a 2019 review of Sonar Kella, critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression". <mask> considered making a film on the 1971 Bangladesh Liberation War but later abandoned the idea, saying that, as a filmmaker, he was more interested in the travails of the refugees and not the politics. In 1977, <mask> completed Shatranj Ke Khilari (The Chess Players), a Hindustani film based on a short story by Munshi Premchand.It was set in Lucknow in the state of Oudh, a year before the Indian Rebellion of 1857. A commentary on issues related to the colonisation of India by the British, it was <mask>'s first feature film in a language other than Bengali. It starred a high-profile cast including Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough. Despite the film's limited budget, The Washington Post critic gave it a positive review; "He [<mask>] possesses what many overindulged Hollywood filmmakers often lack: a view of history". In 1980, <mask> made a sequel to Goopy Gyne Bagha Byne, a somewhat political Hirak Rajar Deshe (Kingdom of Diamonds). The kingdom of the evil Diamond King, or Hirok Raj, is an allusion to India during Indira Gandhi's emergency period. Along with his acclaimed short film Pikoo (Pikoo's Diary) and hour-long Hindi film, Sadgati, this was the culmination of his work in this period.When E.T. was released in 1982, Clarke and <mask> saw similarities in the film to his earlier The Alien script; <mask> claimed that E.T. plagiarised his script. <mask> said that Steven Spielberg's film "would not have been possible without my script of The Alien' being available throughout America in mimeographed copies." Spielberg denied any plagiarism by saying, "I was a kid in high school when this script was circulating in Hollywood." (Spielberg actually graduated high school in 1965 and released his first film in 1968). Besides The Alien, two other unrealised projects that <mask> had intended to direct were adaptations of the ancient Indian epic, the Mahābhārata, and E. M. Forster's 1924 novel A Passage to India.Final years (1983–1992)

In 1983, while working on Ghare Baire (Home and the World), <mask> suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life. Ghare Baire, an adaptation of the novel of the same name, was completed in 1984 with the help of <mask>'s son, who served as a camera operator from then-onward. It is about the dangers of fervent nationalism; he wrote the first draft of a script for it in the 1940s. Despite rough patches due to <mask>'s illness, the film did receive some acclaim; critic Vincent Canby gave the film a maximum rating of five stars and praised the performances of the three lead actors. It also featured the first kiss scene portrayed in <mask>'s films. In 1987, <mask> recovered to an extent to direct the 1990 film Shakha Proshakha (Branches of the Tree). It depicts an old man, who has lived a life of honesty, and learns of the corruption of three of his sons.The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill due to a head injury sustained while he was studying in England. <mask>'s last film, Agantuk (The Stranger), is lighter in mood but not in theme; when a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. It provokes far-ranging questions in the film about civilisation. Critic Hal Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in full maturity". A heavy-smoker but non-drinker; <mask> valued work more than anything else. He would work 12 hours a day, and go to bed at two o'clock in the morning. He also enjoyed collecting antiques, manuscripts, rare gramophone records, paintings and rare books.In 1992, <mask>'s health deteriorated due to heart complications. He was admitted to a hospital but never recovered. Twenty-four days before his death, <mask> was presented with an Honorary Academy Award by Audrey Hepburn via video-link; he was in a gravely ill condition, but gave an acceptance speech, calling it the "best achievement of [his] movie-making career." He died on 23 April 1992, 9 days before his 71st birthday. Literary works

<mask> created two popular fictional characters in Bengali children's literature—Feluda, a sleuth, and Professor Shonku, a scientist. The Feluda stories are narrated by Topesh Ranjan Mitra aka Topse, his teenage cousin, something of a Watson to Feluda's Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared.<mask> also wrote a collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali. His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example Aker pitthe dui, or literally "Two on top of one"). <mask>'s interest in puzzles and puns is reflected in his stories. <mask>'s short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study. Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal Eksan.<mask> wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982), translated to English as Childhood Days: A Memoir by his wife Bijoya <mask>. In 1994, <mask> published his memoir, My Years with Apu, about his experiences of making The Apu Trilogy. He also wrote essays on film, published as the collections: Our Films, Their Films (1976), Bishoy Chalachchitra (1976), and Ekei Bole Shooting (1979). During the mid-1990s, <mask>'s film essays and an anthology of short stories were also published in English in the West. Our Films, Their Films is an anthology of film criticism by <mask>. The book contains articles and personal journal excerpts. The book is presented in two sections: <mask> first discusses Indian film, before turning his attention toward Hollywood, specific filmmakers (Charlie Chaplin and Akira Kurosawa), and movements such as Italian neorealism.His book Bishoy Chalachchitra was published in translation in 2006 as Speaking of Films. It contains a compact description of his philosophy of different aspects of the cinemas. Calligraphy and design
<mask> designed four typefaces for roman script named <mask>, <mask>rre, Daphnis, and Holiday script, apart from numerous Bengali ones for the Sandesh magazine. <mask> and <mask> won an international competition in 1971. In certain circles of Calcutta, <mask> continued to be known as an eminent graphic designer, well into his film career. <mask> illustrated all his books and designed covers for them, as well as creating all publicity material for his films, for example, <mask>'s artistic playing with the Bengali graphemes was also revealed in the cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.In his calligraphic technique there are deep impacts of: (a) Artistic pattern of European musical staff notation in the graphemic syntagms; (b) alpana ("ritual painting" mainly practised by Bengali women at the time of religious festival; the term denotes 'to coat with'. Generally categorised as "Folk"-Art cf. in <mask>'s graphemes representations. Thus, so-called division between classical and folk art is blurred in <mask>'s representation of Bengali graphemes. The three-tier X-height of Bengali graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (This might be designated as "Archewriting") as a living object/subject in <mask>'s positive manipulation of Bengali graphemes. As a graphic designer, <mask> designed most of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal to comical; an exhibition for his posters was held at British Film Institute in 2013.He would master every style of visual art, and could mimic any painter, as evidenced in his book and magazine covers, posters, literary illustrations and advertisement campaigns. Filmmaking style and influences

<mask> had been subconsciously paying a tribute to Jean Renoir throughout his career, who influenced him the most. He also acknowledged Vittorio De Sica, whom he thought represented Italian Neorealism best, and taught him the cramming of cinematic details into a single shot, and utilising amateur actors and actresses. <mask> has admitted to have learnt the craft of cinema from Old Hollywood directors such as John Ford, Billy Wilder and Ernst Lubitsch. He had deep respect and admiration for his contemporaries Akira Kurosawa and Ingmar Bergman, whom he considered giants. Among others, he learnt the use of freeze frame shots

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title: Satyajit Ray

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 from François Truffaut, and jump cuts, fades and dissolves from Jean-Luc Godard. Although he admired Godard's "revolutionary" early phase, he thought his later phase was "alien".<mask> adored his peer Michelangelo Antonioni, but hated Blowup, which he considered having "very little inner movement". He was also impressed with Stanley Kubrick's work. Although <mask> stated to have had very little influence from Sergei Eisenstein, films such as Pather Panchali, Aparajito, Charulata and Sadgati contains scenes which show striking uses of montage. He also had sketches of Eisenstein. <mask> considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators adapted it into Hindustani under <mask>'s supervision.<mask>'s eye for detail was matched by that of his art director Bansi Chandragupta. His influence on the early films was so important that <mask> would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. Subrata Mitra's cinematography garnered praise in <mask>'s films, although some critics thought that Mitra's eventual departure from <mask> lowered its quality. Mitra stopped working for him after Nayak. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. <mask>'s regular film editor was Dulal Datta, but the director usually dictated the editing while Datta did the actual work. Due to finances and <mask>'s meticulous planning, his films were mostly cut in-camera (apart from Pather Panchali).At the beginning of his career, <mask> worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan, and Ali Akbar Khan. He found that their first loyalty was to musical traditions, and not to his film. He obtained a greater understanding of Western classical forms, which he wanted to use for his films set in an urban milieu. Starting with Teen Kanya, <mask> began to compose his own scores. Beethoven was <mask>'s favourite composer; <mask> also went on to become a distinguished connoisseur of Western classical music in India. The narrative structure of <mask>'s films are represented by musical forms such as sonata, fugue and rondo. Kanchenjunga, Nayak and Aranyer Din Ratri are examples of this structure.The director cast actors from diverse backgrounds, from well-known stars to people who had never seen a film (as in Aparajito). Robin Wood and others have lauded him as the best director of children, recalling memorable performances in the roles of Apu and Durga (Pather Panchali), Ratan (Postmaster) and Mukul (Sonar Kella). Depending on the actor's skill and experience, <mask> varied the intensity of his direction, from virtually nothing with actors such as Utpal Dutt, to using the actor as a puppet (Subir Banerjee as young Apu or Sharmila Tagore as Aparna). Actors who had worked for <mask> trusted him, but said that he could also treat incompetence with total contempt. With admiration of his cinematic style and craft, director Roger Manvell said, “In the restrained style he has adopted, <mask> has become a master of technique. He takes his timing from the nature of the people and their environment; his camera is the intent, unobtrusive observer of reactions; his editing the discreet, economical transition from one value to the next." <mask> credited life to be the best kind of inspiration for cinema; he said, "For a popular medium, the best kind of inspiration should derive from life and have its roots in it.No amount of technical polish can make up for artificiality of the theme and the dishonesty of treatment." Critical and popular responses
<mask>'s work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity. The Japanese director Akira Kurosawa said, "Not to have seen the cinema of <mask> means existing in the world without seeing the sun or the moon." But his detractors find his films glacially slow, moving like a "majestic snail." Some critics find his work anti-modern; they criticise him for lacking the new modes of expression or experimentation found in works of <mask>'s contemporaries, such as Jean-Luc Godard. As Stanley Kauffmann wrote, some critics believe that <mask> assumes that viewers "can be interested in a film that simply dwells in its characters, rather than one that imposes dramatic patterns on their lives." <mask> said he could do nothing about the slow pace.Kurosawa defended him by saying that <mask>'s films were not slow; "His work can be described as flowing composedly, like a big river". Critics have often compared <mask> to Anton Chekhov, Jean Renoir, Vittorio De Sica, Howard Hawks and Mozart. The writer V. S. Naipaul compared a scene in Shatranj Ki Khiladi (The Chess Players) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen." Even critics who did not like the aesthetics of <mask>'s films generally acknowledged his ability to encompass a whole culture with all its nuances. <mask>'s obituary in The Independent included the question, "Who else can compete?" His work was promoted in France by The Studio des Ursuline cinema.French photographer Henri Cartier-Bresson described <mask> as “undoubtedly a giant in the film world”. With positive admiration for most of <mask>'s films, critic Roger Ebert cited The Apu Trilogy among the greatest films. Praising his contribution to the world of cinema, Martin Scorsese said: "His work is in the company of that of living contemporaries like Ingmar Bergman, Akira Kurosawa and Federico Fellini." Francis Ford Coppola cited <mask> as a major influence; he praised 1960's Devi,  which Coppola considers as his best work and a "cinematic milestone"; Coppola admits to learning Indian cinema through <mask>'s works. On a trip to India, Christopher Nolan expressed his admiration for <mask>'s Pather Panchali. Nolan said, "I have had the pleasure of watching [<mask> <mask>'s] Pather Panchali recently, which I hadn't seen before. I think it is one of the best films ever made.It is an extraordinary piece of work." Politics and ego have also influenced debate regarding <mask>'s work. Certain advocates of socialism claim that <mask> was not "committed" to the cause of the nation's downtrodden classes while some critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his bourgeois background. During the naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip. In early 1980, <mask> was criticised by an Indian M.P., and former actress Nargis Dutt, who accused <mask> of "exporting poverty." She wanted him to make films that represent "Modern India."In a highly public exchange of letters during the 1960s, <mask> harshly criticized the film Akash Kusum by colleague Mrinal Sen. <mask> said that Sen only attacked "easy targets", for example the Bengali middle-classes. That Akash Kusum bore some resemblance to Parash Pathar, a film Sen had admitted to not liking, may have played a role in fracturing their previously cordial relationship. <mask> would continue to make films on this "easy target" demographic, including Pratidwandi and Jana Aranya (set during the naxalite movement in Bengal), and the two filmmakers would continue to trade praise and criticism the rest of their careers. Legacy

<mask> is a cultural icon in India and in Bengali communities worldwide. Following his death, the city of Calcutta came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects. <mask>'s influence has been widespread and deep in Bengali cinema; many Bengali directors, including Aparna Sen, Rituparno Ghosh and Gautam Ghose as well as Vishal Bhardwaj, Dibakar Banerjee, Shyam Benegal and Sujoy Ghosh from Hindi cinema in India, Tareq Masud and Tanvir Mokammel in Bangladesh, and Aneel Ahmad in England, have been influenced by his craft. Across the spectrum, filmmakers such as Budhdhadeb Dasgupta, Mrinal Sen and Adoor Gopalakrishnan have acknowledged his seminal contribution to Indian cinema.Beyond India, filmmakers Martin Scorsese, Francis Ford Coppola, George Lucas, James Ivory, Abbas Kiarostami, Elia Kazan, William Wyler, François Truffaut, John Huston, Carlos Saura, Isao Takahata, Oliver Stone Quentin Tarantino, Wes Anderson, Danny Boyle Christopher Nolan, and many other international filmmakers have been influenced by <mask>'s cinematic style. Gregory Nava's 1995 film My Family had a final scene that was reminiscent of Apur Sansar. Ira Sachs's 2005 work Forty Shades of Blue was a loose remake of Charulata. Other references to <mask>'s films are found, for example, in 2006's Sacred Evil, and the Elements trilogy by Deepa Mehta. According to Michael Sragow of The Atlantic Monthly, the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to The Apu Trilogy". Kanchenjungha introduced a narrative structure that resembles later hyperlink cinema. Pratidwandi helped pioneer photo-negative flashback and X-ray digression techniques.Together with Madhabi Mukherjee, <mask> was the first Indian film figure to be featured on a foreign stamp (Dominica). Iranian filmmaker Majid Majidi has expressed deep admiration for <mask>. While discussing the inspiration for his first feature film on India, Beyond the Clouds (2017), Majidi said, "I have learned a lot about India based on the works of remarkable Indian director <mask> <mask> so it was my dream to make a film in his land. His view point is very valuable to me and I love whatever he has done, so one of the main reasons behind making this film is my admiration for <mask> <mask> and his work". Wes Anderson said that his 2007 film, The Darjeeling Limited, is dedicated to <mask>. Many literary works include references to <mask> or his work, including Saul Bellow's Herzog and J. M. Coetzee's Youth. Salman Rushdie's Haroun and the Sea of Stories contains fish characters named Goopy and Bagha, a tribute to <mask>'s fantasy film.In 1993, University of California, Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two Feluda stories would be made into radio programs. During the London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of <mask>'s vision". A number of Documentary films have been produced about <mask> in India, prominent ones include: Creative Artists of India - Satyajit <mask> (1964) by Bhagwan Das Garga and <mask> <mask> (1982) by Shyam Benegal - both backed by the Government of India's Films Division, The Music of Satyajit Ray (1984) by Utpalendu Chakrabarty with funding from the National Film Development Corporation of India, Ray: Life and Work of Satyajit <mask> (1999) by Goutam Ghose. In 2016, during the shooting of the film Double Feluda, Satyajit's son, Sandip, filmed his father's famous library. On 23 February 2021 on the year of <mask> <mask>'s birth centenary, the Union Information and Broadcasting Minister Prakash Javadekar announced that the central government would institute an award in the name of <mask> <mask>. The award is to be on a par with the Dadasaheb Phalke Award.Preservation
The Academy Film Archive has preserved many of <mask>'s films: Abhijan in 2001, Aparajito in 1996, Apur Sansar in 1996, Charulata in 1996, Devi in 1996, Goopy Gyne Bagha Byne in 2003, Jalsaghar in 1996, Jana Aranya in 1996, Joi Baba Felunath in 2007, Kapurush in 2005, Mahanagar in 1996, Mahapurush in 2005, Nayak in 2004, Parash Pathar in 2007, Pather Panchali in 1996, Seemabaddha in 2001, Shatranj ke Khilari in 2010, Sikkim in 2007, Teen Kanya in 1996, and the short film Two in 2006. The Academy Film Archive additionally holds prints of other <mask> films as part of its Satyajit Ray Collection. International Film Festival of India
Birth centenary celebrations
In 52nd International Film Festival of India, on the occasion of his birth centenary, the Directorate of Film Festivals will pay tribute to him through a 'Special Retrospective'. Award in recognition of legacy
In recognition of the auteur’s legacy, Lifetime Achievement Award was named as ‘<mask> <mask> Lifetime Achievement Award’ from 2021, to be given at the festival. Awards, honours and recognition

<mask> received many awards, including 36 National Film Awards by the Government of India, and awards at international film festivals. At the 11th Moscow International Film Festival in 1979, he was awarded with the Honorable Prize for the contribution to cinema. At the Berlin International Film Festival, he was one of only four filmmakers to win the Silver Bear for Best Director more than once and holds the record for the most Golden Bear nominations, with seven.At the Venice Film Festival, where he had previously won a Golden Lion for Aparajito (1956), he was awarded the Golden Lion Honorary Award in 1982. That same year, he received an honorary "Hommage à Satyajit Ray" award at the 1982 Cannes Film Festival. <mask> is the second film personality after Charlie Chaplin to have been awarded an honorary doctorate by Oxford University. He was awarded the Dadasaheb Phalke Award in 1985, and the Legion of Honor by the President of France in 1987. The Government of India awarded him the Padma Bhushan in 1965 and the highest civilian honour, Bharat Ratna, shortly before his death. The Academy of Motion Picture Arts and Sciences awarded <mask> an Honorary Award in 1992 for Lifetime Achievement. In 1992, he was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on his behalf by actress Sharmila Tagore.Participants in a 2004 BBC poll placed him No. 13 on the "Greatest Bengali of all time". In 1992, the Sight & Sound Critics' Top Ten Poll ranked <mask> at No. 7 in its list of "Top 10 Directors" of all time, making him the highest-ranking Asian filmmaker in the poll. In 2002, the Sight & Sound critics' and directors' poll ranked <mask> at No. 22 in its list of all-time greatest directors, thus making him the fourth highest-ranking Asian filmmaker in the poll. In 1996, Entertainment Weekly ranked <mask> at No.25 in its "50 Greatest Directors" list. In 2007, Total Film magazine included <mask> in its "100 Greatest Film Directors Ever"

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title: Mariano Azuela

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<mask> (January 1, 1873 – March 1, 1952) was a Mexican author and physician, best known for his fictional stories of the Mexican Revolution of 1910. He wrote novels, works for theatre and literary criticism. He is the first of the "novelists of the Revolution," and he influenced other Mexican novelists of social protest. Among <mask>'s first published writing were some short pieces for the magazine Gil Blas Cómico, where he wrote under the pen name of "Beleño", and his writing published under the heading Impresiones de un estudiante (Impressions of a Student) in 1896. His first novel, Maria Luisa, was written in 1907, followed by Los fracasados (The Failures) in 1908, and Mala yerba (Weeds) in 1909. The theme of his beginning novels are about fate. He wrote of the social life of Mexicans during the Díaz dictatorship.After experiencing the Mexican Revolution first-hand, his writing style became sarcastic and disillusioned. His first novel with the Revolution theme is Andrés Pérez, maderista in 1911, followed by Sin Amor (Without Love) in 1912, and his most popular, Los de abajo (The Underdogs) in 1915. He continued to write short works and novels influenced by the Revolution. It includes El camarada Pantoja (Comrade Pantoja) in 1937, Regina Landa in 1939, La nueva burguesía (The New Bourgeoisie) in 1941, and La maldición (The Curse, published posthumously) in 1955. These works mainly depicts the satirical picture of life in post revolutionary Mexico sharply and angrily stigmatizing demagoguery and political intrigue. Early life and career

<mask> was born in Lagos de Moreno, Jalisco to a small, but successful rancher, Evaristo <mask> and Paulina <mask>, on January 1, 1873. He grew up in a small farm owned by his father, which later influences the settings in many of his fictional works.He was first admitted to a Catholic seminary at the age of fourteen, but soon abandoned his religious studies. He studied medicine in Guadalajara, Jalisco. He received his M.D. in 1899, practicing medicine first in his home town of Lagos de Moreno, and later, after the Mexican revolution, practiced in Mexico City. In 1900, he married Carmen Rivera, niece of Agustín Rivera, priest and historian of Lagos de Moreno. He went to have five sons and five daughters. Like most young students, <mask> was opposed to the dictatorship of the Díaz regime.During his days in the Mexican Revolution, <mask> wrote about the war and its impact on Mexico. When Porfirio Díaz was overthrown, <mask> was made Chief of Political Affairs of Lagos de Moreno in 1911 and state Director of Education of Jalisco in 1914 by president Francisco I. Madero. After Madero's assassination, he joined the Constitutionalist cause that sought to restore the rule of law. He traveled with the military forces of Julián Medina, a follower of Pancho Villa, where he served as a field doctor. His participation in the conflict gave him ample material to write Los de abajo (The Underdogs) (1915). He later was forced for a time to emigrate to El Paso, Texas when the counterrevolutionary forces of Victoriano Huerta were temporarily triumphant. It was there that he wrote Los de abajo, which was his first-hand description of combat during the Mexican revolution, based on his experiences in the field.It was first published as a serial in the newspaper "El Paso del Norte" from October 1915 to December 1915. The book did not receive general recognition until 1924, and it was hailed as a novel of the Revolution. Los de abajo (The Underdogs) depicts the futility of the Revolution, the opportunists in power, and the underprivileged majority of his country. He fought for a better Mexico, and he believed the Revolution corrected some injustices, but it has given rise to others equally deplorable. The Mexican Revolution’s Effect on <mask>’s Writing Career
Through studying the encyclopedic entries of Nicolás Kanellos, Brown Foundation Professor of Hispanic Studies teaching at the University of Houston, in The Greenwood Encyclopedia of Latino Literature discussing <mask>'s involvement in The Mexican Revolution, the strong influence and lasting impressions of the revolution on his writing career become evident. In his encyclopedia entry “<mask>, <mask> (1873-1952)”, Nicolás Kanellos underscores <mask>'s physical involvement in the war, and its influence on <mask>'s literary career. Kanellos begins by describing <mask> as, “one of Mexico’s greatest novelists and chroniclers of the Mexican Revolution” (Kanellos, 105).In describing <mask> as a “chronicler”, Kanellos immediately highlights one important feature of <mask> and his work, which is his tendency to record and portray history. In highlighting <mask>'s relationship between history and literature, Kanellos establishes the inseparability of political and global contexts within <mask>'s literary works; for example, <mask>'s novel “The Underdogs” recounts the events of The Mexican Revolution from the perspective of the rebel soldiers. Therefore, Kanellos emphasizes the existing relationship between history and its involvement in <mask>'s work. Kanellos then describes the reason as to why <mask>'s literary works are deeply infused with Mexican politics and history stating, “<mask>’s early career as a writer, in fact, was developed while participating in the Revolution first-hand as a physician in the army of Francisco ‘Pancho’ Villa” (Kanellos, 105). The terms “first-hand” and “participating” underscore <mask>'s physical involvement in the war. Kanellos’ use of the word “developed” then underscores the manner in which <mask>'s physical involvement paved the way for his writing to grow and mature as a result of his experiences participating in the Mexican Revolution. Kanellos stresses in his encyclopedic entry the persisting role of history and its portrayal in <mask>'s work, but he also emphasizes the manner in history, in particular the Mexican Revolution, essentially birthed <mask>'s writing career.In understanding the relationship between <mask>'s involvement in the Mexican Revolution and its effect on his writing career, the undertones of corruption and failed ideals in <mask>'s novels such as “The Underdogs” reveal a more personal perspective that highlights the contrasts between the reality of war and revolution in his novels. Cultural Identity in The Underdogs

In Margy McCrary's article, “The Aztec Connection: Exploring the Construction of <mask>'s Revolutionaries in The Underdogs”, she examines the description of Demetrio as a “full-blooded Aztec”. She argues he gains authority over the land, and constructs a cultural identity where he and Mexican peasants must establish in order to resist the Spanish conquerors. McCrary contends that the purpose of a revolution is to reject the identity of the colonizer, but in order to do this “some sort of unified identity is necessary for a group to revolt successfully” (McCrary 31). The pre-colonial Aztec is embodied by Demetrio Macías because he is connected to both his ancestors and the land. Demetrio is depicted as “riding proudly on his horse” with “pure-blooded Aztec cheeks”, however, Demetrio “seems devoid of any defined identity” because he never acknowledges a greater reasoning to his involvement in the revolution other than either revenge or satisfaction in being the revolutionaries' leader (<mask> 72). This illuminates that <mask> may care about the revolution more than the characters do.McCrary further explains that on page seventy-two of the novel, Macias and his “men threw out their chests as if to breathe the widening horizon” and the “immensity of the sky” illustrating how Demetrio's freedom is connected to the earth itself and that Demetrio is a legitimate inhabitant of the land. Furthermore, the sense of freedom that Demetrio and the Mexican men feel on the land serves to “distance them from their oppressed identities as colonized beings” because they immediately forget their bleak lives as conquered peasants (36). By depicting Demetrio as a pure-blooded Aztec, <mask> reveals that he as an author is “displeased with the current, colonized identity of his people” and wishes to reconstruct a strong Mexican identity before it had “been influenced by the Spanish colonizers” (37). As a result, <mask> emphasizes the consequences of colonization because Demetrio is “so far separated from his own heritage and identity that he does not even recognize it consciously” (39). When Demetrio begins to forget his identity it results in “petty fighting, looting, and anarchy” (34). <mask> emphasizes Demetrio's heritage so that readers understand what is at stake if cultural identity is lost. Later life
In 1917 he moved to Mexico City where, for the rest of his life, he continued his writing, and worked as a doctor among the poor.In 1942 he received the Mexican National Prize for Literature. On April 8, 1943 he became a founding member of Mexico's National College, where he gave lectures on Mexican, French, and Spanish novelists, and on his own literary experiences. In 1949 he received the Mexican National Prize for Arts and Sciences. He died in Mexico City March 1, 1952 and was placed in a sepulchre of the Panteón Civil in the Rotonda de los Hombres Ilustres. 2015 Conference on <mask> and the Novel of the Mexican Revolution
On the anniversary year of his famous novel, The Underdogs, a conference was held in collaboration by the Chicano Studies departments of both California State University, Los Angeles and the National Autonomous University of Mexico (UNAM). It was held on May 15–16 at California State University, Los Angeles and contained speakers who were scholars of either <mask> or the works of the Mexican Revolution. Partial list of works

Novels
María Luisa (1907).La rueda del aire (1908, The Air Wheel). Los fracasados (1908, The Losers). Los triunfadores (1909, The Winners). Mala yerba (1909, Bad Weed). Andrés Pérez, maderista (1911, Andrés Pérez, a Supporter of Madero). Sin Amor (1912, Without Love). Los de abajo (1915, The Underdogs) Partial Critical Edition.Los caciques (1917, The Bosses). Las moscas (1918, The Flies). Las tribulaciones de una familia decente (1918, The Tribulations of a Decent Family). El camarada Pantoja (1937, Comrade Pantoja)
San Gabriel De Valdivias: Comunidad Indegena (1938, San Gabriel de Valdivias: Indigenous Community). Regina Landa (1939). Niño (1939, Child)
Avanzada (1940, Advanced). La nueva burguesía (1941, The New Bourgeoisie).La marchanta (1944, The Merchantwoman). La mujer domada (1946, The Woman Shrew). Sendas perdidas (1949, Lost Roads). La maldición (1955, The Curse [posthumous]). Esa sangre (1956, That Blood [posthumous]). Fictionalized Biographies
Pedro Moreno (1935). Precursores (1935, Precursors).Novelettes
La malhora (1923, Evil Hour). El desquite (1925, The Revenge). La luciérnaga (1932, The Firefly). Essay Collections
Cien años de novela mexicana (1947, One Hundred Years of the Mexican Novel). Letters
Letters to Professor Pedro Manuel Gonzalez. Box 1, Folder 15., Manuel Pedro González Papers (Collection 1271). Department of Special Collections, Charles E. Young Research Library, UCLA.Partial list of works translated into English
The Underdogs (1929). New York: Brentano's. Marcela: A Mexican Love Story (1932). Anita Brenner, Trans. New York: Farrar & Rinehart, Incorporated. (A translation of Mala yerba)
Two Novels of Mexico: The Flies. The Bosses (1956).Lesley Byrd Simpson, Trans. Berkeley: University of California Press. The Underdogs (1963). Enrique Munguía, Trans. New York: New American Library. Two Novels of the Mexican Revolution (1963). Frances Kellam Hendricks and Beatrice Berler, Trans.San Antonio, Texas: Principia Press of Trinity University. (The Trials of a Respectable Family, and The Underdogs.) Three Novels (1979). Frances Kellam Hendricks and Beatrice Berler, Trans. San Antonio, Texas: Trinity University Press. (The Trials of a Respectable Family, The Underdogs, and The Firefly.) See also

Mexican Revolution
Porfirio Diaz
Francisco Madero
Chicana/o Studies
UCLA Chicano Studies Research Center
The Underdogs

References

 This article partially draws on the corresponding article in the Spanish-language Wikipedia, accessed 04:37, Nov 21, 2004 (UTC).That appears to have been drawn largely from his official biography at the Colegio Nacional, México. Re-accessed Sept 9, 2005. External links
 Website for 2015 Azuela Conference at CSULA

1873 births
1952 deaths
Writers from Jalisco
Members of El Colegio Nacional (Mexico)
19th-century Mexican writers
People of the Mexican Revolution
People from Lagos de Moreno, Jalisco
Mexican novelists
Male novelists
20th-century Mexican writers
20th-century Mexican male writers
19th-century male writers

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title: William de Chesney

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<mask> (flourished 1142–1161) was an Anglo-Norman magnate during the reign of King Stephen of England (reigned 1135–1154) and King Henry II of England (reigned 1154–1189). Chesney was part of a large family; one of his brothers became Bishop of Lincoln and another Abbot of Evesham Abbey. Stephen may have named him Sheriff of Oxfordshire. Besides his administrative offices, Chesney controlled a number of royal castles, and served Stephen during some of the king's English military campaigns. Chesney's heir was his niece, Matilda, who married Henry fitzGerold. Background

Following King Henry I's death in 1135, the succession was disputed between the Henry's nephews—Stephen and his elder brother, Theobald II, Count of Champagne—and Henry's surviving legitimate child Matilda, usually known as the Empress Matilda because of her first marriage to the Holy Roman Emperor, Henry V. Matilda's brother, and King Henry's only legitimate son, <mask> died in 1120, leaving Matilda as Henry's only legitimate offspring. After Matilda was widowed in 1125, she returned to England, where her father married her to Geoffrey, Count of Anjou.All the magnates of England and Normandy were required to declare fealty to Matilda as Henry's heir, but when Henry I died in 1135, Stephen rushed to England and had himself crowned before either Theobald or Matilda could react. The Norman barons accepted Stephen as Duke of Normandy, and Theobald acquiesced to his brother's usurpation. Matilda, though, was not reconciled to losing the throne, and secured the support of the Scottish king, David, who was her maternal uncle. In 1138 she also secured the support of her half-brother, Robert of Gloucester the Earl of Gloucester, an illegitimate son of Henry I. Most of the reign of King Stephen was dominated by the efforts of Matilda and later her son, Henry of Anjou to oust Stephen from the throne. The height of the civil war was from 1142 to 1148, but it began in 1138 when Robert of Gloucester declared for Matilda, after previously supporting Stephen. Traditionally, historians have referred to the period of civil war as "The Anarchy", but recent scholarship has rejected the extreme view of the time period as lawless; most historians see the reign as disordered but not highly so, and Stephen as weak but not useless.Early life

Chesney was the son of <mask> <mask> and <mask> Langetot. The elder Chesney came from near Quesney-Guesnon in the Calvados region of Normandy, and held lands in England from Robert d'Oilly at the time of the Domesday Survey in 1087. Alice was the daughter of <mask> Langetot, who held lands of Walter Giffard at the time of Domesday. <mask>'s brother <mask> <mask> later became Bishop of Lincoln. His other siblings were Reginald, who later became abbot of Evesham Abbey, Hugh, Ralph, Hawise, Beatrice, Isabel, and Roger. Chesney was the uncle of Gilbert Foliot who became successively abbot of Gloucester Abbey, Bishop of Hereford and Bishop of London. It is likely that it was one of <mask>'s sisters that married Gilbert's father, although there is no sure evidence of this.Chesney also mentioned as relatives the brothers <mask> <mask> and <mask> <mask>, but the exact relationship is unknown. Chesney needs to be distinguished from another <mask> <mask>, who held the office of Sheriff of Norfolk between 1146 and 1153. Career

<mask> and his brother <mask> Chesney were leading supporters of King Stephen in 1141, and were both leaders in Stephen's army that gathered at Winchester. In 1143, <mask> <mask> was given control of the town and royal castle at Oxford. He also held the town and castle of Deddington, which he had acquired at least by 1157, and possibly earlier. Although he did not begin the fortifications at Deddington Castle, it is likely that he began the first stone defences at the site. Deddington was Chesney's most important holding in Oxfordshire, and the basis of his power in the county.Before he controlled Deddington, Chesney temporarily administered the lands of Robert d'Oilly, who had previously held Oxford Castle but had defected to the side of the Empress Matilda in 1141 and died a year later. D'Oilly's heir took refuge with Matilda when Stephen overran his lands two weeks after his father's death, leading to Chesney's control of the d'Oilly lands. Some historians have seen this holding of the lands as Stephen giving Chesney the d'Oilly barony, but the only evidence for this is that Chesney eventually owned a manor previously belonging to d'Oilly which does not necessarily mean that he received the whole barony. It is far more likely that Stephen gave Chesney parts of the lands of <mask> fitzOsbern, which had reverted to the king in 1075. Most of the known lands of fitzOsbern are known to have been owned by Chesney or by tenants who held the lands from him. Historians are divided in their views as to whether Chesney held the office of Sheriff of Oxfordshire. Whatever the exact office that Chesney held in Oxfordshire, the townsmen of Oxford referred to him as their "alderman" before such honorifics were in common use.In 1145, Chesney was forced to ask Stephen for help in fending off the approach of Philip, a younger son of Robert, Earl of Gloucester, who was threatening Chesney's control of Oxford. During the period 1142–1148 Chesney forced Gloucester Abbey, then under the abbacy of his nephew Gilbert Foliot, to pay him sums of money. Foliot, in one of his surviving letters, reprimanded his uncle for his behaviour, asking him "Which of God's poor around you have you not harmed?" In 1147, Chesney granted the island of Medley to Osney Abbey in the name of his father and brother Roger, as well as King Stephen, Queen Matilda and their son Eustace. After 1148, Chesney apparently began to hedge his bets as he appears in the company of Roger of Hereford, the Earl of Hereford, who was a firm supporter of Matilda's and her son Henry's cause. Chesney served again as the leader of Stephen's army at Wallingford Castle in 1153 and in August he was defeated by Henry of Anjou. The subsequent peace settlement, the Treaty of Wallingford, gave Henry the English throne after Stephen's death.A part of the treaty awarded control of Oxford Castle to <mask> Bussy. Although <mask> had lost control of the castle, none of his lands were confiscated. Early in 1154, Chesney was with Henry, as he was a witness on two charters of Henry's. After Henry's ascension to the throne, Chesney came to terms with the new king, and received confirmation of his lands from the king by 1157. He spent time in Normandy with Henry from 1159 through to 1161. He continued to receive favours from the king, such as exemption for payment of danegeld on his manor of Deddington in 1156. Chesney married <mask> Lucy, who was probably a relative of <mask> Lucy, another of Stephen's main supporters.He died sometime between 1172 and 1176. <mask>'s heir was his niece Matilda, whom King Henry II married to Henry fitzGerold, a royal chamberlain. Notes

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References

12th-century English people
High Sheriffs of Oxfordshire
Anglo-Normans

masks:
William de Chesney
William
Roger de
Chesney
Alice de
Ralph de
William
Robert de
Chesney
William
Alexander de
Chesney
Ralph de
Chesney
William de
Chesney
William
Roger de
William de
Chesney
William
Roger de
Chesney
Margaret de
Richard de
Chesney