title: Louis Strange

texts:
<mask>,  (27 July 1891 – 15 November 1966) was an English aviator, who served in both World War I and World War II. Early life
<mask> was born in Tarrant Keyneston, Dorset, and was educated at St Edward's School, Oxford, joining the school's contingent of the Dorset Yeomanry. <mask> spent his childhood at Tarrant Keynstone Mill on the River Stour. His family farmed  at Spetisbury in Dorset. He had seen military aircraft and the airship Beta flying over Dorset during the summer manoeuvres of 1912 when serving with the Dorsetshire Yeomanry and determined in May 1913 to become a pilot. He joined the Ewen School of flying at Hendon Aerodrome in July and gained his Royal Aero Club Aviators' Certificate, No. 575, on 5 August.On 8 October 1913 he was commissioned as a second lieutenant (on probation) in the Royal Flying Corps (Special Reserve). Just after obtaining his licence he won his first cross-country race and then won the Hendon March Meeting  race, beating his old instructor into second place. In the latter part of 1913 and early 1914, <mask> flew many hours from Hendon, instructing trainee pilots. On 4 April 1914 he appeared in Flight magazine as one of five pilots who had recently joined the "Upside Down Club" by performing a loop. RFC service
His posting to the sixth course of instruction at the RFC's Central Flying School at Upavon, Wiltshire, came in May 1914. There he was retrained to fly B.E.2b and B.E.8 military aircraft. On 20 June he took part in a Hendon–Birmingham–Manchester and return air race at the controls of an  Gnome powered Bleriot monoplane, being first to arrive at Trafford Park Aerodrome, Manchester, where the Lord Mayor greeted him.To reach <mask>'s hand, the man stood on a bracing wire to the landing gear, damaging it. On take-off to return south, the wire snapped, smashing the Bleriot's propeller and the machine was damaged, putting him out of the race. On 30 July 1914 <mask> was formally commissioned for service in the Regular Army as a second lieutenant in the Dorsetshire Regiment, but remained on attachment to the Royal Flying Corps, in which he was appointed a flying officer the same day. In August 1914 he was despatched to join his first operational unit, No. 5 Squadron RFC, based at Gosport, Hampshire. On 15/16 August – despite severe weather and a damaged longeron – he flew his Farman aircraft via Dover and over the English Channel to Amiens and then to the unit's new base at Maubeuge, France, being the last of the squadron to arrive. Aerial combat and bombing pioneer
<mask> soon adapted his Farman to carry a Lewis machine gun, improvising a mounting to the top of the observer's nacelle.His first armed encounter with the enemy came on 22 August when six enemy aircraft appeared at 5,000 feet over the airfield at Maubeuge. He took off in his Farman with Lieutenant L. Penn-Gaskell as gunner in the front cockpit to intercept the patrolling Germans, but with inconclusive results as the laden aircraft would not climb above . The next few days saw a general Allied retreat and the squadron had to move base several times, whilst <mask> and his fellow pilots continued their observation and light bombing sorties. Less than two weeks after arriving in France <mask>'s inventive brain designed home-made petrol bombs that on 28 August he and his observer dropped by hand from their Henry Farman biplane onto the convoys of German troops and transport north of St. Quentin; the results "sent us home very well pleased with ourselves". In October 1914 <mask> invented a safety strap allowing the observer of his Avro 504 to "stand up and fire all round over top of plane and behind". He also designed and fitted a machine gun mounting to the 504, consisting of a crossbar between the central struts over which was slung a rope, allowing the Lewis to be pulled up into a position from which the observer, seating in the front cockpit, could fire backwards over <mask>'s head. On 22 November 1914 it was with this arrangement that <mask> claimed his first victory; with Lieutenant F. Small as gunner, he attacked an Aviatik two-seater and forced it down from over Armentières to make a bumpy landing in a ploughed field just behind the British lines.On 25 December 1914 <mask> flew to the German-held airfield at Lille and, as a Christmas Day prank, bombed it with footballs. <mask> next turned his talents to developing a bomb chute with Lieutenant Euan Rabagliati. Attempting to drop 7-pound shrapnel bombs through a steel tube set in the floor of the Avro 504, one bomb jammed in the tube and prompted a forced landing through a field of corn, which luckily ripped the detonator from the jammed bomb. On 16 February 1915 he was appointed a flight commander with the acting rank of captain, and posted to No. 6 Squadron. On 10 March, the first day of the battle of Neuve Chapelle, <mask> carried out one of the first tactical bombing missions of the war. He had modified his B.E.2c to carry four  bombs on wing racks which could be released by pulling a cable fitted in the cockpit.He dropped these bombs on Kortrijk railway station, from a height of no more than , causing 75 casualties and closing the station for three days. Subsequently, on 27 March, he was awarded the Military Cross, which he received from the King at Buckingham Palace on 9 December 1915. While with No. 6 Squadron, <mask> was a compatriot of Captain Lanoe Hawker. The squadron became pioneers of many aspects in military aviation at the time, driven largely by the imagination of <mask> and the engineering talents of Hawker. Their talents led to various mountings for Lewis machine guns, one of which won Hawker the Victoria Cross, and one that nearly cost <mask> his life. Having equipped his Martinsyde S.1 scout with a Lewis gun mounted on the top wing above the cockpit, on 10 May 1915 <mask> sought out the enemy to try out the new arrangement and attacked a German Aviatik two-seater.In order to change the empty drum on the Lewis, <mask> had to stand up in the cockpit. Immediately the machine flipped on its back, throwing <mask> from the cockpit and developing a flat spin downwards. <mask>, hanging onto the ammunition drum of the Lewis gun, managed to swing back into the cockpit and kick the stick over to right the aircraft only 500 feet above the ground. <mask> later related:
I kept on kicking upwards behind me until at last I got one foot and then the other hooked inside the cockpit. Somehow I got the stick between my legs again, and jammed on full aileron and elevator; I do not know exactly what happened then, but the trick was done. The machine came over the right way up, and I fell off the top plane and into my seat with a bump. He safely returned to base, but was criticised by his CO for "causing unnecessary damage" to his instrument panel and seat in his efforts to regain the cockpit.The squadron's log book simply noted: "the squadron was fortunate in its personnel." On 21 September 1915 <mask> was appointed to form and command No. 23 Squadron RFC at Gosport, Hampshire. As a squadron commander he held the acting-rank of major, to which he was appointed on 5 November, the day he married his wife, Marjorie. Due to appendicitis <mask> handed over command in March 1916. <mask> then established No. 1 School of Air Gunnery at Hythe in Kent, with the acting-rank of lieutenant-colonel, and formed No.2 School of Air Gunnery at Turnberry. On 1 April 1917 he became Assistant Commandant at the Central Flying School, graded as a wing commander and retaining his acting rank. On 26 June 1918 <mask> was selected to command the newly formed 80th Wing. During the next five months he was to be awarded both the Distinguished Flying Cross and the Distinguished Service Order. His wing of Sopwith Camels, S.E.5s, DH.9s and Bristol Fighters launched massed raids on the enemy airfields, reducing the effectiveness of German aerial response. Between 1 July and 11 November the seven squadrons under <mask>'s command (including Nos. 88, 92, 103, 2 AFC & 4 AFC) – the latter two of which were from the Australian Flying Corps – destroyed or drove 'down out of control' some 449 German aircraft, as well as 23 balloons.On 24 September 1918 <mask>' younger brother Gilbert John <mask>, a 7-kill ace and a captain in No. 40 Squadron, was killed in action. Between the wars
On 1 August 1919 <mask> was granted a permanent commission in the Royal Air Force with the rank of major, resigning his commission in the Dorsetshire Regiment the same day. On 1 November 1919 he was promoted from squadron leader to wing commander. <mask> retired from the service through ill health (sciatica) on 24 February 1921. He bought  of farmland at Worth Matravers on the Isle of Purbeck, and worked them over the next seven years, helping to restore his health. <mask> operated a dairy farm with his brother Jack Ronald <mask>, but the partnership was dissolved by mutual consent on 15 October 1928 with <mask> taking over the business.By the late 1920s <mask> had become a director and chief pilot of Simmonds Aircraft Limited and remained a director when it became the Spartan Aircraft Company. He was also a director of the Whitney Straight Corporation. <mask> flew company aircraft in several competitions, including the Simmonds Spartan G-AAGN in the 1929 King's Cup Air Race, and the Simmonds Spartan G-AAMG in a  handicap race from Woodley to Hanworth and back, at the Reading Air Fete in June 1930, coming 2nd with an average speed of . RAF service in World War II
Too old for a regular commission, on 18 April 1940 <mask> returned to military service as a 50-year-old pilot officer in the Royal Air Force Volunteer Reserve. He was posted to No. 24 Squadron, the RAF's only transport and communications services squadron at that time. On 21 May 1940 <mask> arrived in Merville in northern France as No.24 Squadron's Aerodrome Control Officer. The airfield had been evacuated by the RAF fighter squadron stationed there and No. 24 Squadron were tasked with saving what aircraft and equipment they could. Two fighters were patched up and flown back to England. All remaining Hurricanes had been cannibalised, leaving one in flying condition. With no pilot available, <mask> took off in an aircraft type he had never flown before, unarmed, and with most of the instruments missing. Anti-aircraft fire forced <mask> up to  and the lone fighter was then attacked by several Bf 109s.Surprised by the sound of machine-gun fire, <mask> dived the Hurricane to tree-top height and successfully escaped. A month later he was awarded a bar to his Distinguished Flying Cross. On 21 June 1940, Squadron Leader <mask> was appointed commanding officer of the newly created Central Landing School (CLS) at RAF Ringway near Manchester. This unit was charged with the initiation, development and organisation of the UK's sole parachute training facility, and which later pioneered the parachute training curriculum of the Allied airborne forces. The unit was later redesignated No.1 Parachute Training School RAF (PTS). Using the techniques developed under <mask>, the PTS trained over 60,000 Allied personnel and paratroopers at Ringway between 1940 and 1946. On 5 May 1941, the Merchant Ship Fighter Unit (MSFU) was established at RAF Speke near Liverpool, and <mask> was appointed as commanding officer.The MSFU was charged with the development of the CAM ship for the catapult-launching of Hurricanes for convoy defence. A catapult for training volunteer pilots was erected at the airfield. With insufficient aircraft carriers available, there was the so-called "Air Gap" within which merchant shipping was out of reach of land-based aircraft on both sides of the Atlantic. As the predatory Focke-Wulf Fw 200 Condors could therefore operate with impunity, fighters launched by catapult from merchant ships were felt to be a potentially effective response. About 50 Hurricane Mk.Is were modified by General Aircraft for catapult launch and 35 merchantmen were configured to carry catapults, with the first Atlantic crossings in April 1941. The Catapult Aircraft Merchantmen (CAM) and their so-called "Hurricats" soon proved their worth: Seven Condors were destroyed through 1941–43, while the deterrent effect was even more important. In September 1941 he was posted as Commanding Officer, RAF Valley, although illness prevented him from fulfilling the post.From August 1942 until the end of the year he served with Group HQ at Uxbridge. Three months as Commanding Officer at RAF Hawkinge followed before a transfer to No. 12 Group HQ as a supplementary squadron leader. In December 1943 <mask> was posted to No. 46 Group as Wing Commander, Operations. There he assisted in the planning for Operation Overlord, landing in Normandy himself on 15 June. He had six airstrips under his control in the expanding beachhead as this time.He was also responsible for the control and administration of a series of Temporary Staging Posts (TSP) supporting the Allied campaign. During the advance that followed the break-out from Normandy, <mask> personally 'liberated' Château Lillois, 24 years after he had been the first to announce the departure of the Germans from there in 1918. In October 1944 <mask> served with the HQ, 1st Allied Airborne Army. He was also at SHAEF Forward Headquarters in Reims on 6–7 May 1945 to witness negotiations to the German surrender on all fronts. <mask> eventually retired from the service in June 1945. For his wartime contribution <mask> was made an Officer of the Order of the British Empire on 1 January 1945, and was awarded the American Bronze Star Medal in early 1946. Postwar civil aviation
He returned to farming but continued his links with civil aviation.He bought the Taylorcraft Auster Plus D light aircraft G-AHCR and flew it in several competitions, including the Wiltshire Flying Club's Thruxton Cup Race on 26 August 1950, averaging  over the  route; the Daily Express sponsored South Coast Race on 16 September 1950, coming in 54th out of 61 entrants; and the 1950 Daily Express Challenge Air Trophy, at the age of 59, being the oldest of the 76 competitors. He continued to fly regularly and died peacefully in his sleep in 1966, aged 75. In recognition of the high esteem in which he was held in the RAF and his important contribution to military aviation, the Squadron Briefing Room in the new No. 23 Squadron Headquarters building, which was officially opened by the AOC-in-C Strike Command on 2 April 1997, was named "The Strange Room". His daughter, <mask>, was an eminent British scholar in international relations. Awards and citations
Distinguished Service Order

Military Cross

Distinguished Flying Cross

Bar to the Distinguished Flying Cross

References
Notes

Bibliography

1891 births
1966 deaths
Royal Flying Corps officers
Royal Air Force officers
English aviators
British World War I pilots
British World War II pilots
Royal Air Force Volunteer Reserve personnel of World War II
Queen's Own Dorset Yeomanry officers
Dorset Regiment officers
British air racers
Companions of the Distinguished Service Order
Officers of the Order of the British Empire
Recipients of the Military Cross
Recipients of the Distinguished Flying Cross (United Kingdom)
People from Dorset
People educated at St Edward's School, Oxford

masks:
Louis Arbon Strange
Louis Strange
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Louis Strange
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Louis
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Stuart Strange
Jack Strange
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Susan Strange


title: Daniil Shafran

type: original

texts:
<mask> (, January 13, 1923February 7, 1997) was a Soviet Russian cellist. Biography

Early years
<mask> was born in Petrograd (later Leningrad, then Saint Petersburg) in 1923. Even from before his birth he was surrounded by music. His mother and father were music students when he was born. His father, <mask>, went on to be principal cellist of the Leningrad Philharmonic Orchestra and his mother, Frida Moiseyevna, was a pianist. He recounted how, as his mother went into labour, his father was practicing passages from Haydn's D major Concerto in preparation for a recital, and was reluctant to go to the hospital until he had mastered a difficult technical passage. Shafran was initially taught by his father, whom he had long begged for lessons.When aged eight and a half, "my father met me brandishing a small cello. 'I bought you a cello', he cried. 'Sit down and we'll start studying. His father was a serious musician and strict teacher and after year and a half under his tutelage, Shafran had absorbed many of the values that he held throughout his life: diligent and regular practice and the importance of striving for the highest goals. A key principle established was to overcome technical obstacles by learning to play far beyond the demands of the work, and Shafran learned to be "mercilessly strict with myself when practicing". When he was ten years old (other sources say eight), his father took him to Alexander Shtrimer (1888–1961), then professor at the Leningrad Conservatory, for lessons. Initially this was at the Conservatory Special Music School for Children, where Shtrimer also taught, and then at the Conservatory itself where Shafran was one of ten talented children chosen to attend.Shafran remained with Shtrimer for more than ten years (into his early twenties). Though his father took a more active interest in his progress than might be "correct in terms of pedagogical ethics", he took no other teacher, commenting that "my own experiences and my association with my musician colleagues were all a 'second teacher' to me". Shafran's first public performance was at the age of 10, at one of the Conservatory concerts, where he played two technically demanding works by David Popper: 'Spinning Song' and 'Elfentanz'. His orchestral debut was a year later, when 11, when he played Tchaikovsky's Rococo Variations with the Leningrad Philharmonic Orchestra under the visiting British conductor, Albert Coates. At the age of 14, Shafran entered the 1937 USSR All-Union Competition for Violinists and Cellists, for young musicians from all Soviet states. Although strictly he was below the qualifying age limit, he was allowed to enter as an unofficial contestant and carried off the first prize. His age, "filigree virtuosity and poetic appearance had caused something of a sensation" and Shafran achieved national prominence.Shafran was also awarded a magnificent Antonio Amati cello as part of the prize. Musical activity in Leningrad was heavily impacted by the Second World War. Among many other activities in Russia, the All-Union competition was suspended for 7 years. Only in 1945 was it held again, when the war in Russia was over, and this time the winner was the young Mstislav Rostropovich. By 1949, "Shafran’s supremacy as the country's leading young cellist was now being challenged by Rostropovich, four years his junior." <mask> and Rostropovich both entered the 1949 competition at the Festival of Democratic Youth, Budapest, and they tied for the first prize. David Oistrakh, a jury member at the competition, wrote "both cellists are complete masters of cello sound.Their light virtuosity and elegant technique should be the envy of many violinists". The following year Shafran and Rostropovich again met in competition, at the Wihan contest in Prague – an event to commemorate the centenary of the Bohemian Cellist Hanus Wihan (1850–1920), himself a pupil of Karl Davydov. Shafran performed the Rococo Variations in the final round, (which by his own admission, he had not played successfully), and yet, again, Shafran and Rostropovich were the joint prize-winners. When Shafran graduated from the Conservatory in 1950, he was now 27 years old, and Rostropovich 23. For almost a decade, they stood out as the two outstanding young Russian cellists. "Both had already achieved an extraordinary level of artistry, yet they were temperamentally very different. Shafran's attention to detail made him pre-eminent in miniature forms: his poetic sensibility and the remarkable palette of tone colours he had at his disposal suit him to romantic and impressionistic repertoire".But in large forms, the musician's achievements were no less great. Concert career
Shafran pursued a career as soloist and recorded very widely. His repertoire included the major concertos, music for cello and piano, and the solo cello repertoire. His astonishing technique in the higher register enabled him to perform a wide range of violin works at original pitch. He also sought to enrich the cello repertoire, and made and performed transcriptions of works for other instruments. However, he rarely toured outside the Soviet Union and the Eastern bloc, and virtually all his recordings were for the Melodiya label, so his international reputation was very limited. In 1950, Shafran moved to Moscow, separating him from his family and his teacher on whom he had depended for so long - an event which caused him an artistic crisis.His early career was, in his own observation "rather hard. I made blunders, but this is only natural". Like so many prodigies, Shafran needed to develop into a mature artist, and his first wife and recital partner, Nina Musinian, greatly helped him in this respect, encouraging him to break with his past, and find the space to experiment. His early concerts and recordings show his stature. His first recording, at age 14, was of the Rococo Variations. In 1946 he performed in Rumania with George Enescu at the piano. In 1954 he recorded Kabalevsky's First cello Concerto, under the baton of the composer.Kabalevsky was sufficiently impressed that he dedicated his Second Cello Concerto to Shafran, who gave the premiere and made the first recording in 1965. In 1956 he made a "legendary recording" of the Shostakovich Cello Sonata, with the composer at the piano. He observed that "No matter what I asked or suggested ... Shostakovich listened to every word ... and agreed to any new details ... even those that went against his original notation in the score", highlighting not only Shostakovich's character, but Shafran's confidence in his own musical vision. In 1962 he performed the Khachaturian Cello Concerto under the direction of the composer. Shafran made a number of concert tours and recordings together with his first wife, pianist Nina Musinian. Later on, he formed a long-lasting partnership with the pianist Anton Ginsburg. Shafran's American debut was in 1960 in Carnegie Hall, at which concert he met Osip Shtrimer, the brother of his teacher.His British premiere was not till 1964, with concerts in Wigmore Hall and the Royal Festival Hall. He visited Japan several times, and toured Australia. By the time the Berlin Wall fell, Shafran's concert career was nearing its end. Interpretation and technique
Shafran had a poetic and sincere way of performing music. His vibrato, phrasing and virtuosity all added to his distinctively passionate performances. Characteristic of his style was his inimitable rich tone (unusual on a baroque instrument), his unlimited musical freedom, and his impeccable technical proficiency. Shafran saw himself as a product of a Leningrad (rather than a Moscow) tradition that “attached great importance to technical matters, [but] gave more attention to interpretation, revealing the stylistic diversity of works, and developing the artistic propensities of the pupil”.Structured and disciplined practice was the foundation of his playing. “A small minority of string players can get by without constant practice, but I admit that I am not one”, he noted. Each day would start with a slow cantilena piece for about 15 minutes, “to refresh the reflexes” for tonal beauty. From his father, he learned to play a piece through at twice the written speed, to ensure that all technical challenges were met. “I must work and persevere without pause. And if there comes a time when I feel some element of my instrumental control is slipping, I immediately start exercises to rectify the situation. For the left hand… I execute great leaps over the fingerboard with all fingers, striving for exactness of intonation and purity of sound.” To develop tone control, he would take a piece of moderate difficulty, like Rachmaninoff's 'Vocalise', and play it high on the C-string instead of the A-string.While having great technical mastery, Shafran saw technique as a means rather than an end. Although he followed David Oistrakh's advice “to include a virtuoso piece in your daily dozen: the audience likes them as a reward” and he highly recommend practicing the “old bravura works for those who aspire to attain the heights of cello technique”, for himself he felt that above all his music should be sincere, and he aimed to focus on “major music” with the depth for great expression. “I do detest and avoid music which is patently inferior or 'cheap'. When I encounter a work that does not immediately enthuse me, I always seek to discover something that may be hidden in its pages. If the work seems to lack profundity or expressiveness, I strive to compensate for this by instilling it with my own enthusiasm and imagination, and seek out the work's dramaturgic accents based on the general character of the music. Shafran was mercilessly strict with himself, and his partners: “from first note to last, I cannot permit my partner's playing to sabotage my intentions”, but he was not dogmatic: “everything is permissible if it sounds beautiful, if it is justified artistically”. He felt fingering should not be rigid or dogmatic, but must be subordinated to bringing out the content and expressiveness of a work.Noting that a player has a choice of many fingering combinations, he said the “selection must be geared to our own personal hand structure, stretch, finger length, flexibility, etc., and the instrument, too, must be taken into account”. He frequently employed what he called “revolutionary” fingerings, possible only because “every finger was well-trained and obedient”. He developed a number of unusual technical features. He used the thumb and fourth finger extensively, throughout the compass of the cello, and his large hand combined with the diminutive Amati cello that he always played allowed him to make very large stretches and play octaves between thumb and 3rd finger, and also 1st and 4th fingers. His range of vibrato was unusually wide, grading from fine and violin-like through to a distinctive wide, pulsating and operatic throb. He achieved a very light staccato and spiccato, and he made his beautiful silvery sound using the bow at the tip far more than most cellists and liked the hair to be on the loose side. His bowing appeared rather like a violinist, very light and without effort, yet at the same time very intense.In performance, his style was individual. He rehearsed in full concert dress, perched at the front of an unusually high chair, positioned on a little raised platform, and played with his eyes closed. His ritual preparation for concerts included early morning practice, eating, relaxation and mental preparation. The cellist Steven Isserlis summed up that “as a cellist and musician, Shafran was unlike anyone else. At a time in which, thanks to various media, musical styles are converging, Shafran's voice remained apart. His vibrato, his phrasing, his rhythm all belonged to a unique whole; his astounding virtuosity conveyed a musical personality that retained the passion, the simplicity and the poetry of a great Russian folk singer. He was incapable of playing one note insincerely; his music spoke from the soul”.The pianist Sviatoslav Richter stated:"a brief association with the cellist <mask> Shafran gave me little pleasure. He was a great cellist, with a distinctive tone, but whenever he played, you always had the impression that he was thinking only of the moment when he would have an interesting high note that he could hold on to and produce an attractive sound. He also suffered from nerves. I stopped performing with him in 1951 and he then joined up with Grigory Ginzburg... As a musician, if not a cellist, Rostropovitch was incomparably more interesting, an artist of far greater stature. He dwarfed him completely." Shafran's Amati cello
Unusually for a major cellist, Shafran played the same instrument throughout his life. He formed an unbreakable bond with the Antonio Amati cello that he won at the age of 14, and always played on it.The cello is described as dating from 1630. The exact dates of Antonio Amati (son of Andrea Amati, and the elder of the two Brothers Amati) are not known for certain, being variously reported between 1540 and 1607 and 1555 to 1640. Sources such as Cozio report that the entire span of Antonio Amati's working life was 1588–1628. It is by all accounts a magnificent instrument, though somewhat smaller than full size. It has been questioned whether "any Amati, no matter how fine, is sufficiently powerful for a solo cellist at the summit of his career. Baroque instruments of that period would not normally have the power of a later master." However, Shafran's recordings give no hint that the Amati has any lack of power.On the other hand, any Amati surviving into the present time has been rebuilt in the neck to allow for a higher bridge, and these alterations would give the instrument more carrying power and a brighter, more piercing sound than it had in the original baroque setup. The use of metal strings at high tension would also add to the brighter sound. Shafran, who was known for his sometimes remarkably individual fingerings, denied that they would only work for his hand and on a cello of this size: "Any cellist with a normal stretch can use my fingerings on a standard sized cello, though they would, of course, be more difficult for a cellist with a small finger stretch". <mask> <mask> died in Moscow on February 7, 1997, aged 74. In September 1997, his widow, Svetlana Shafran, donated the Amati cello to the Glinka Museum. References

External links
<mask> Shafran - Cello Solo -book (in English)
Official <mask> Shafran Website
CONVERSATION WITH VERA GUSEVA
CONVERSATION WITH YOSIF FEIGELSON by Paul Tseng
The first Prague Spring International Cello Competition in 1950 in photographs, documents and reminiscences

1923 births
1997 deaths
Burials in Troyekurovskoye Cemetery
Russian classical cellists
Jewish classical musicians
Musicians from Saint Petersburg
Soviet classical cellists
20th-century classical musicians

masks:
Daniil Borisovich Shafran
Daniil Shafran
Boris Shafran
Shafran
Daniil
Daniil
Shafran
Daniil
Daniil


title: José Giovanni

texts:
<mask> (22 June 1923, Paris, France – 24 April 2004, Lausanne, Switzerland) was the pseudonym of Joseph Damiani, a French writer and film-maker of Corsican origin who became a naturalized Swiss citizen in 1986. A former collaborationist and criminal who at one time was sentenced to death, <mask> often drew his inspiration from personal experience or from real gangsters, such as Abel Danos in his 1960 film Classe tous risques, overlooking that they had been members of the French Gestapo. In his films as well as his novels, while praising masculine friendships and advocating the confrontation of the individual against the world, he often championed the underworld but was always careful to hide his own links with the Nazi occupiers of France during World War II. Biography

Youth
Of Corsican descent, Joseph Damiani received a good education, studying at the Collège Stanislas de Paris and the Lycée Janson de Sailly. His father, a professional gambler who was sentenced to a year in prison for running an illegal casino, owned a hotel in the French Alps in Chamonix. Joseph worked there as a young man and became fascinated by mountain climbing. The Occupation and Collaborationism
From April to September 1943 Damiani was a member of Jeunesse et Montagne (Youth and Mountain) in Chamonix, part of the Vichy Government youth movement controlled by Pierre Laval.In February 1944 Damiani came to Paris and through his father's friend, the LVF leader Simon Sabiani, he joined Jacques Doriot's fascist French Popular Party (PPF). His maternal uncle, Ange Paul Santolini alias "Santos", who ran a restaurant patronized by the Gestapo, and his elder brother, Paul Damiani, a member of the Vichy paramilitary Milice, introduced Joseph into the Pigalle underworld. In March 1944 Joseph Damiani went to Marseille where he became a member of the German Schutzkorps (SK), an organization which hunted down Service du travail obligatoire - STO (Compulsory Work Service) dodgers. He served as bodyguard to its Marseille chief and took part in many arrests, often blackmailing his victims. In Lyon, in August 1944, posing as a German police officer along with an accomplice (Orloff, a Gestapo agent who was shot for treason at the Liberation), Damiani blackmailed Joseph Gourentzeig and his brother-in-law Georges Edberg, two Jews who were in hiding. Gourentzeig had bribed a member of the Milice - a friend of Damiani’s – in an attempt to secure his parents' release from a detention camp. They were not freed and Gourentzeig's father, Jacob, was shot by the Germans shortly after, on 21 August 1944, along with 109 Jewish hostages in the Bron (Lyon airport) massacre.The triple murder
After the Liberation in Paris on 18 May 1945, Joseph Damiani, his brother Paul, Georges Accad, a former Gestapo agent, and Jacques Ménassole, a former member of the Milice wearing a French Army lieutenant's uniform - all posing as Military Intelligence officers - abducted Haïm Cohen, a wine merchant, accusing him of being a black marketeer. He was tortured until he gave them the key to his safe and a check for 105,000 francs. He was then shot and his body thrown into the Seine. Joseph Damiani cashed the check at Barclay's Bank under the identity of "Count J. de Montreuil". A few days later, on 31 May 1945, the same gang, still masquerading as French Army Intelligence, abducted two brothers, Jules and Roger Peugeot, electrical appliance manufacturers in Maisons-Alfort. The brothers were forced, at gunpoint, to write a letter stating that they had been in business with the Germans and in contact with the Gestapo. The gang then demanded a million francs for destroying the letter.The Peugeot brothers refused and were tortured until they revealed where they had hidden 125 Louis d'or gold coins. They were then shot and their bodies buried in the woods near Versailles. Joseph Damiani, who had accidentally shot himself in the leg during the struggle with the Peugeot brothers, was arrested at home in early June 1945. Accad was also apprehended. On 12 June 1945 Ménassole, on the point of being arrested, committed suicide in the Rue Montmartre métro station. Paul Damiani was arrested in Strasbourg in July 1945, escaped in December and was shot dead in a gunfight between gangsters on 17 July 1946 in a bar in Nice. Twenty years hard labor and Dégradation nationale for Collaboration with the enemy
On 20 July 1946 Joseph Damiani was sentenced to twenty years hard labor by the Marseille Court of Justice for his participation in the German Schutzkorps and in the arrest of Frenchmen sent to the STO (Compulsory Work Service) in Germany.He was also sentenced to Dégradation nationale (deprivation of all civil rights) for life for having been a member of the PPF fascist party. Sentenced to death for three premeditated murders
Damiani had admitted during the investigation that he had shot Roger Peugeot, but he denied it in court. Tried by the Paris Cour d'Assises, Georges Accad and Joseph Damiani were sentenced to death on 10 July 1948 for the premeditated murders of Haïm Cohen, Roger Peugeot and Jules Peugeot. Damiani escaped the guillotine when his and Accad's sentences were commuted by President Vincent Auriol on 3 March 1949 to hard labor for life. Ten years imprisonment for blackmailing hidden Jews during the Occupation
On 25 May 1949 Damiani was sentenced by the Paris Correctional Tribunal to ten years imprisonment for having blackmailed at gunpoint Joseph Gourentzeig (hiding from the Gestapo under the name "André Courent") and his brother-in-law Georges Edberg in Lyon on 11 August 1944. Eleven and a half years in prison
On 14 November 1951, Damiani's sentence was reduced to twenty years hard labor. Finally, President René Coty remitted the sentence on 30 November 1956 and Joseph Damiani was released from prison at the age of thirty-three on 4 December 1956 after serving eleven and a half years.The writer and film-maker
Straight after his release from prison, Damiani wrote his first novel, The Break (Le Trou), under the name of "<mask>". It tells of the escape he attempted from prison with four other inmates by digging a tunnel from their cell into the Paris sewers in 1947 when he was awaiting trial for murder. His lawyer, who had encouraged him to write, took the book to author and editor Roger Nimier through whom it was published by Éditions Gallimard. His style, at times uncouth and clumsy, can surprise the reader with its strong and sometimes disturbing scenes. The novel was turned into a film by Jacques Becker in 1960. In 1958 the editor Marcel Duhamel introduced <mask> to the Série noire publishing imprint, where he came to notice with the publication of three novels that same year:
 Classe tous risques, which was filmed by Claude Sautet in 1960. L'Excommunié, which Jean Becker adapted into the film Un nommé La Rocca starring Jean-Paul Belmondo in 1961, and was later remade by <mask> in 1972 as La Scoumoune, with Belmondo in the same part and Claudia Cardinale.Le deuxieme souffle (Second Breath), filmed by Jean-Pierre Melville in 1966, with a remake, , by Alain Corneau. <mask> wrote twenty-one novels and a volume of memoirs (Mes Grandes Gueules). After having worked with Jacques Becker on the adaptation of The Break, <mask> wrote thirty-three film scripts and directed fifteen movies. Revelation of a hidden past
In January 1984, Joseph Damiani was declared "rehabilitated", which did not absolve him - there was no retrial - but restored his civil rights. During his lifetime <mask> never gave a clear explanation for his death sentence, though he took pride in being a former gangster and having been on death row. However, he never mentioned that he had been convicted for Collaborationism with the Nazis or for extorting money from Jews during the Occupation. On 14 October 1993, two Swiss dailies, La Tribune de Genève and 24 Heures, revealed his past and that <mask> was in fact the same person as Joseph Damiani, the convicted fascist militant.At first <mask> denied the accusations, claiming he had helped the Résistance and then insisting that he had been sentenced to death for a crime that had nothing to do with Collaborationism. He threatened to sue the press for slander but never did. Finally, he stated : "I've paid. I am entitled to forgiveness and oblivion". Last years
<mask> defended right-wing values, the family, law and order and tougher punishment but was a staunch opponent of the death penalty. However, he believed in personal vengeance: "Any man that snatches a child from its mother's arms deserves death". In his last years he spent time visiting prisons.From 1968 on, he lived in the Swiss village of Marécottes, not far from Chamonix, and died from a brain haemorrhage on 24 April 2004 in Lausanne. Books
 1957: Le Trou (The Break)
 1958: Le Deuxième Souffle (Second Breath)
 1958: Classe tous risque (Consider All Risks)
 1958: L'Excommunié
 1959: Histoire de fou
 1960: Les aventuriers (The Adventurers)
 1962: Le Haut-Fer (High Fear)
 1964: Ho! () Éditions Joseph K. - 22 rue Geoffroy Drouet, 44000 Nantes, France

French mystery writers
French film directors
French male screenwriters
20th-century French screenwriters
French collaborators with Nazi Germany
French Popular Party politicians
French fascists
People of Vichy France
French prisoners sentenced to death
Prisoners sentenced to death by France
French people of Corsican descent
1923 births
2004 deaths
Collège Stanislas de Paris alumni
Lycée Janson-de-Sailly alumni
20th-century French male writers
French emigrants to Switzerland

masks:
José Giovanni
Giovanni
José Giovanni
Giovanni
Giovanni
José Giovanni
Giovanni
José Giovanni
José Giovanni
Giovanni
José Giovanni


title: Mimar Sinan

texts:
<mask> (, , )  ( 1488–1490 – July 17, 1588) also known as Koca Mi'mâr Sinân Âğâ, ("<mask> the Grand Architect" or "Grand Sinan") was the chief Ottoman architect () and civil engineer for sultans Suleiman the Magnificent, Selim II, and Murad III. He was responsible for the construction of more than 300 major structures and other more modest projects, such as schools. His apprentices would later design the Sultan Ahmed Mosque in Istanbul and Stari Most in Mostar. The son of a stonemason, he received a technical education and became a military engineer. He rose rapidly through the ranks to become first an officer and finally a Janissary commander, with the honorific title of Sinan. He refined his architectural and engineering skills while on campaign with the Janissaries, becoming expert at constructing fortifications of all kinds, as well as military infrastructure projects, such as roads, bridges and aqueducts. At about the age of fifty, he was appointed as chief royal architect, applying the technical skills he had acquired in the army to the "creation of fine religious buildings" and civic structures of all kinds.He remained in this post for almost fifty years. His masterpiece is the Selimiye Mosque in Edirne, although his most famous work is the Suleiman Mosque in Istanbul. He headed an extensive governmental department and trained many assistants who, in turn, distinguished themselves, including Sedefkar Mehmed Agha, architect of the Sultan Ahmed Mosque and <mask> Hayruddin, architect of the Stari Most. He is considered the greatest architect of the classical period of Ottoman architecture and has been compared to Michelangelo, his contemporary in the West. Michelangelo and his plans for St. Peter's Basilica in Rome were well known in Istanbul, since Leonardo da Vinci and he had been invited, in 1502 and 1505 respectively, by the Sublime Porte to submit plans for a bridge spanning the Golden Horn. <mask> <mask>'s works are among the most influential buildings in history. Early years and background

According to contemporary biographer, Mustafa Sâi Çelebi, <mask> was born in 1489 (c. 1490 according to the Encyclopædia Britannica, 1491 according to the Dictionary of Islamic Architecture and some time between 1494 and 1499, according to the Turkish professor and architect Reha Günay) with the name Joseph.He was born either an Armenian, Cappadocian Greek, Albanian, or a Christian Turk in a small town called Ağırnas near the city of Kayseri in Anatolia (as stated in an order by Sultan Selim II). According to the Encyclopædia Britannica, <mask> had either Armenian or Greek origin. One argument that lends credence to his Armenian or Greek background is a decree by Selim II dated Ramadan 7 981 (ca. Dec. 30, 1573), which grants <mask>'s request to forgive and spare his relatives from the general exile of Kayseri's Armenian communities to the island of Cyprus; while Godfrey Goodwin stated that "after the Ottoman conquest of Cyprus in 1571, when Selim II decided to repopulate the island by transferring Rum (Orthodox Christian) families from the Karaman Eyalet, <mask> intervened on behalf of his family and obtained two orders from the Sultan in council exempting them from deportation." According to some scholars, this means that his family was Cappadocian Greek because the only Orthodox Christians (Rûms) of the region were Greek-speaking. According to Herbert J. Muller though, he "seems to have been an Armenian." Lucy Der Manuelian of Tufts University suggests that "he can be identified as an Armenian through a document in the imperial archives and other evidence."Several scholars have cited <mask>'s possible Albanian origin. According to the British scholar Percy Brown and the Indian scholar Vidya Dhar Mahajan, the Mughal Emperor Babur was very dissatisfied with the local Indian architecture and planning, thus he invited "certain pupils of the leading Ottoman architect <mask>, the Albanian genius, to carry out his architectural schemes.". <mask> grew up helping his father in his work, and by the time that he was conscripted would have had a good grounding in the practicalities of building work. There are three brief records (Anonymous Text; Architectural Masterpieces; Book of Architecture) in the library of Topkapı Palace, dictated by Sinan to his friend and biographer Mustafa Sâi Çelebi. In these manuscripts, <mask> divulges some details of his youth and military career. His father is referred to as "Abdülmennan" (literally "Servant of the Generous and Merciful One"), a title which was commonly used in the Ottoman period to define the non-Muslim father of a Muslim convert. Military career
In 1512, <mask> was conscripted into Ottoman service under the devshirme system.He was sent to Constantinople to be trained as an officer of the Janissary Corps and converted to Islam. He was too old to be admitted to the imperial Enderun School in the Topkapı Palace but was sent instead to an auxiliary school. Some records claim that he might have served the Grand Vizier Pargalı İbrahim Pasha as a novice of the Ibrahim Pasha School. Possibly, he was given the Islamic name <mask> there. He initially learned carpentry and mathematics but through his intellectual qualities and ambitions, he soon assisted the leading architects and got his training as an architect. During the next six years, he also trained to be a Janissary officer (acemioğlan). He possibly joined Selim I in his last military campaign, Rhodes according to some sources, but when the Sultan died, this project ended.Two years later he witnessed the conquest of Belgrade. Under the new sultan, Suleiman the Magnificent, he was present, as a member of the Household Cavalry, at the Battle of Mohács. He was promoted to captain of the Royal Guard and then given command of the Infantry Cadet Corps. He was later stationed in Austria, where he commanded the 62nd Orta of the Rifle Corps. He became a master of archery, while at the same time, as an architect, learning the weak points of structures when gunning them down. In 1535 he participated in the Baghdad campaign as a commanding officer of the Royal Guard. In 1537 he went on expeditions to Corfu and Apulia and Moldavia.During these campaigns he proved himself an able architect and engineer. When the Ottoman army captured Cairo, <mask> was promoted to chief architect and was given the privilege of tearing down any buildings in the captured city that were not according to the city plan. During the campaign in the East, he assisted in the building of defences and bridges, such as a bridge across the Danube. He converted churches into mosques. During the Persian campaign in 1535 he built ships for the army and the artillery to cross Lake Van. For this he was given the title Haseki'i, Sergeant-at-Arms in the body guard of the Sultan, a rank equivalent to that of the Janissary Ağa. When Chelebi Lütfi Pasha became Grand Vizier in 1539, he appointed <mask>, who had previously served under his command, to the office of Architect of the Abode of Felicity.This was the start of a remarkable career. The job entailed the supervision infrastructure construction and the flow of supplies within the Ottoman Empire. He was also responsible for the design and construction of public works, such as roads, waterworks and bridges. Through the years he transformed his office into that of Architect of the Empire, an elaborate government department, with greater powers than his supervising minister. He became the head of a whole Corps of architects, training a team of assistants, deputies and pupils. Work
His training as an army engineer gave <mask> an empirical approach to architecture rather than a theoretical one. But the same can be said of the great Western Renaissance architects, such as Brunelleschi and Michelangelo.Various sources state that <mask> was the architect of at least 374 structures which included 92 mosques; 52 small mosques (mescit); 55 schools of theology (medrese); 7 schools for Koran reciters (darülkurra); 20 mausoleums (türbe); 17 public kitchens (imaret); 3 hospitals (darüşşifa); 6 aqueducts; 10 bridges; 20 caravanserais; 36 palaces and mansions; 8 vaults; and 48 baths. <mask> held the position of chief architect of the palace, which meant being the overseer of all construction work of the Ottoman Empire, for nearly 50 years, working with a large team of assistants consisting of architects and master builders. The development and maturing stages of <mask>'s career can be illustrated by three major works. The first two of these are in Istanbul: the Şehzade Mosque, which he calls a work of his apprenticeship period and the Süleymaniye Mosque, which is the work of his qualification stage. The Selimiye Mosque in Edirne is the product of his master stage. Şehzade Mosque is the first of the grand mosques created by Sinan. The Mihrimah Sultan Mosque, which is also known as the Üsküdar Quay Mosque, was completed in the same year and has an original design with its main dome supported by three half domes.When <mask> reached the age of 70, he had completed the Süleymaniye Mosque complex. This building, situated on one of the hills of Istanbul facing the Golden Horn, and built in the name of Süleyman the Magnificent, is one of the symbolic monuments of the period. The diameter of the dome, which exceeds the  of the Selimiye Mosque which <mask> completed when he was 80, is the most outstanding example of the level of achievement reached by <mask>. <mask> <mask> reached his artistic peak with the design, architecture, tile decorations and land stone workmanship displayed at Selimiye. Another area of architecture where <mask>m Paşa mausoleum is a very attractive structure in classical style.The mausoleum of Süleyman the Magnificent is an interesting experiment, with an octagonal body and flat dome. The Selim II Mausoleum with has a square plan and is one of the best examples of Turkish mausoleum architecture. <mask>'s own mausoleum, which is located in the north-east part of the Süleymaniye complex on the other hand, is a very plain structure. <mask> masterfully combined art with functionalism in the bridges he built. The largest of these is the nearly  long Büyükçekmece Bridge. Other important examples are the Ailivri Bridge, the Old Bridge in Svilengrad on the Maritsa, the Lüleburgaz (Sokullu Mehmet Pasha) Bridge on the Lüleburgaz River, the Sinanlı Bridge over the river Ergene and the Mehmed Paša Sokolović Bridge over Drina river in Bosnia and Herzegovina. While <mask> was maintaining and improving the water supply system of Istanbul, he built arched aqueducts at several locations within the city.The Mağlova Arch over the Alibey River, which is  long and  high, has two tiers of arches, and is one of the best examples of its kind. At the start of <mask>'s career, Ottoman architecture was highly pragmatic. Buildings were repetitions of former types and were based on rudimentary plans. They were more an assembly of parts than a conception of a whole. An architect could sketch a plan for a new building and an assistant or foreman knew what to do, because novel ideas were avoided. Moreover, architects used an extravagant margin of safety in their designs, resulting in a wasteful use of material and labour. <mask> would gradually change all this.He was to transform established architectural practices, amplifying and transforming the traditions by adding innovations, trying to approach perfection. The early years (till the mid-1550s) : apprenticeship period

During these years he continued the traditional pattern of Ottoman architecture, but he gradually began exploring other possibilities, because during his military career he had had the opportunity to study the architectural monuments in the conquered cities of Europe and the Middle East. His first opportunity to design a major building was the Hüsrev Pasha Mosque and its double medresse in Aleppo, Syria. It was built in the winter of 1536-1537 for his commander-in-chief and the governor of Aleppo between two army campaigns. It was built hastily and this is evident in the coarseness of execution and the crude decoration. His first major commission as the royal architect was the construction of the Haseki Sultan Complex for Hurrem Sultan, the wife of the sultan, Suleiman the Magnificent. He had to follow the plans drawn by his predecessors.<mask> retained the traditional arrangement of the available space without any innovations. Nevertheless, it was already better built than the Aleppo mosque and it shows a certain elegance. However, it has suffered from many restorations. <mask> is credited to have built a defensive tower in Vlorë, south Albania, in 1537, very similar to the White Tower of Thessaloniki, as well as Muradie Mosque, during Suleiman the Magnificent's stay in the town for the preparation of his expedition towards Italy. In 1541, he started the construction of the mausoleum (türbe) of the Grand Admiral Hayreddin Barbarossa. It stands on the shore of Beşiktaş on the European part of Istanbul, at the site where his fleet used to assemble. Oddly enough, the admiral is not buried there, but in his türbe next to the Iskele mosque.This mausoleum has been severely neglected since then. Mihrimah Sultan, the only daughter of Suleiman and Hurrem and wife of the Grand Vizier Rüstem Pasha gave Sinan the commission to build a mosque with medrese (college), an imaret (soup kitchen) and a  (Qur'an school) in Üsküdar. The imaret no longer exists. This Iskele Mosque (or Jetty mosque) already shows several hallmarks of <mask>'s mature style: a spacious, high-vaulted basement, slender minarets, single-domed baldacchino, flanked by three semi-domes ending in three exedrae and a broad double portico. The construction was finished in 1548. The construction of a double portico was not a first in Ottoman architecture, but it set a trend for country mosques and mosques of viziers in particular. Rüstem Pasha and Mihrimah required them later in their three mosques in Constantinople and in the Rüstem Pasha Mosque in Tekirdağ.The inner portico traditionally have stalactite capitals while the outer portico has capitals with chevron patterns (baklava). When sultan Suleiman the Magnificent returned from another Balkan campaign, he received news that his son Şehzade Mehmed had died at the age of twenty-two. In November 1543, not long after <mask> had started the construction of the Iskele Mosque, the sultan ordered <mask> to build a new major mosque with an adjoining complex in memory of his favourite son. This Şehzade Mosque would become larger and more ambitious than his previous ones. Architectural historians consider this mosque as <mask>'s first masterpiece. Obsessed by the concept of a large central dome, <mask> turned to the plans of mosques such as the Fatih Pasha Mosque in Diyarbakır or the Piri Pasha Mosque in Hasköy. He must have visited both mosques during his Persian campaign.<mask> built a mosque with a central dome, this time with four equal half-domes. This superstructure is supported by four massive, but still elegant, free-standing octagonal fluted piers and four piers incorporated in each lateral wall. In the corners, above roof level, four turrets serve as stabilizing anchors. This coherent concept already is markedly different from the additive plans of traditional Ottoman architecture. Sedefkar Mehmed Agha would later copy the concept of fluted piers in his Sultan Ahmed Mosque in an attempt to lighten their appearance. <mask>, however, rejected this solution in his next mosques. Mid-1550s to 1570: qualification stage

By 1550, Suleiman the Magnificent was at the height of his powers.Having built a mosque for his son, he felt it was time to construct his own imperial mosque, an enduring monument larger than all the others, to be built on a gently sloping hillside dominating the Golden Horn. Money was no problem, since he had accumulated a treasure from the loot of his campaigns in Europe and the Middle East. He gave the order to <mask> to build a mosque, the Süleymaniye, surrounded by a külliye consisting of four colleges, a soup kitchen, a hospital, an asylum, a hamam, a caravanserai and a hospice for travellers (tabhane). <mask>, now heading a formidable department with a great number of assistants, finished this formidable task in seven years. Before Süleymaniye, no mosques had been built with half cubic roofs.

masks:
Mimar Sinan
Sinan Aa
Mimar
Mimar
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Mimar
Sinan
Sinanste
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan
Sinan


title: Mimar Sinan

texts:
 He got the idea of half cubic roof design from the Hagia Sophia. Through this monumental achievement, <mask> emerged from the anonymity of his predecessors.<mask> must have known the ideas of the Renaissance architect Leone Battista Alberti (who in turn had studied De architectura by the Roman architect and engineer Vitruvius), since he too was concerned in building the ideal church, reflecting harmony through the perfection of geometry in architecture. But, contrary to his Western counterparts, <mask> was more interested in simplification than in enrichment. He tried to achieve the largest volume under a single central dome. The dome is based on the circle, the perfect geometrical figure representing, in an abstract way, a perfect God. <mask> used subtle geometric relationships, using multiples of two when calculating the ratios and the proportions of his buildings. However, in a later stage, he also used divisions of three or ratios of two to three when working out the width and the proportions of domes, such as the Sokollu Mehmed Pasha Mosque at Kadırga. While he was fully occupied with the construction of the Süleymaniye, <mask> or his subordinates drew up the plans and gave instructions for many other constructions.<mask> built a mosque for the Grand Vizier Pargalı İbrahim Pasha and a mausoleum (türbe) at Silivrikapı (Constantinople) in 1551. The next Grand Vizier, Rüstem Pasha gave <mask> several more commissions. In 1550 he built a large inn (han) in the Galata district of Istanbul. About ten years later he built another han in Edirne, and between 1544 and 1561 the Taṣ Han at Erzurum. He designed a caravanserai in Eregli and an octagonal madrasah in Constantinople. Between 1553 and 1555, <mask> built the Sinan Pasha Mosque at Beşiktaş, a smaller version of the Üç Şerefeli Mosque at Edirne, for the Grand Admiral <mask> Pasha. This proves again that <mask> had thoroughly studied the work of other architects, especially since he was responsible for the upkeep of these buildings.He copied the old form, pondered over the weaknesses in the construction and tried to solve this with his own solution. In 1554, <mask> used the form of the Sinan Pasha mosque again for the construction of the mosque for the next Grand Vizier Kara Ahmet Pasha in Constantinople, his first hexagonal mosque. By using a hexagonal plan, <mask> could reduce the side domes to half-domes and set them in the corners at an angle of 45 degrees. Clearly, <mask> must have appreciated this form, since he repeated it later in mosques such as the Sokollu Mehmed Pasha Mosque at Kadırga and the Atik Valide Mosque at Üsküdar. In 1556, <mask> built the Haseki Hürrem Sultan Hamamı, replacing the antique Baths of Zeuxippus, which are still standing close to the Hagia Sophia. This would become one of the most beautiful hamams he ever constructed. In 1559, he built the Cafer Ağa madrasah below the forecourt of the Hagia Sophia.In the same year he began the construction of a small mosque for Iskender Pasha at Kanlıka, beside the Bosphorus. This was one of the many minor and routine commissions the office of Sinan received over the years. In 1561, when Rüstem Pasha died, <mask>m Pasha Mosque, as a memorial supervised by his widow Mihrimah Sultan. It is situated just below the Süleymaniye. This time the central form is octagonal, modelled on the monastery church of Saints Sergius and Bacchus, with four small semi-domes set in the corners. In the same year, <mask> built a türbe for Rüstem Pasha in the garden of the Şehzade Mosque, decorated with the finest tiles Iznik could produce. Mihrimah Sultan, having doubled her wealth after the death of her husband, now wanted a mosque of her own.<mask> built the Mihrimah Mosque at Edirnekapı (Edirne Gate) for her on the highest of the seven hills of Constantinople. He raised the mosque on a vaulted platform, accentuating its hilltop site. There is some speculation concerning the dates; until recently this was supposed to be between 1540 and 1540, but now it is generally accepted to be between 1562 and 1565. <mask>, concerned with grandeur, built a mosque in one of his most imaginative designs, using new support systems and lateral spaces to increase the area available for windows. He built a central dome  high and  wide, supported by pendentives, on a square base with two lateral galleries, each with three cupolas. At each corner of this square stands a gigantic pier, connected with immense arches each with 15 large windows and four circular ones, flooding the interior with light. The style of this revolutionary building was as close to the Gothic style as Ottoman structure permits.In 1566 <mask> completed the Banya Bashi Mosque in Sofia, Bulgaria, currently the only functioning mosque in the city. His first mosque in Sofia was built in 1528; popularly known as Imaret Mosque or Black Mosque due to the dark colour of its building stone, it was damaged by an earthquake and abandoned in the 19th century. In the 1560s he built the Kirkcesme water supply system for Istanbul. It is seen as a masterpiece of his work. It spans 55 km and includes 35 aqueduct bridges, 4 of which are notable for their height (up to 35m) as well as their length (up to 700m). Between 1560 and 1566 <mask> built a mosque in Constantinople for Zal Mahmud Pasha on a hillside beyond Ayvansaray. <mask> certainly conceived the plans and partly supervised the construction, but left the building of lesser areas to less than competent hands, since <mask> and his most able assistants were about to begin his masterpiece, the Selimiye Mosque in Edirne.On the outside, the mosque rises high, with its east wall pierced by four tiers of windows. This gives the mosque an aspect of a palace or even a block of apartments. Inside, there are three broad galleries making the interior look compact. The heaviness of this structure makes the dome look unexpectedly lofty. These galleries look like a preliminary try-out for the galleries of the Selimiye Mosque. The period from 1570 to his death: master stage

In this late stage of his life, <mask> tried to create unified and sublimely elegant interiors. To achieve this, he eliminated all the unnecessary subsidiary spaces beyond the supporting piers of the central dome.This can be seen in the Sokollu Mehmed Pasha Mosque in Kadırga, Istanbul (1571–1572) and in the Selimiye mosque in Edirne. In other buildings of his final period, <mask> experimented with spatial and mural treatments that were new in the classical Ottoman architecture. According to him from his autobiography "Tezkiretü’l Bünyan", his masterpiece is the Selimiye Mosque in Edirne. Breaking free of the handicaps of traditional Ottoman architecture, this mosque marks the climax of <mask>'s work and of all classical Ottoman architecture. While it was being built, the architect's saying of "You can never build a dome larger than the dome of Hagia Sophia and specially as Muslims" was his main motivation. When it was completed, <mask> claimed that it had the largest dome in the world, leaving Hagia Sophia behind. In fact, the dome height from the ground level was lower and the diameter barely larger (0.5 meters, approximately 2 feet) than the millennium-older Hagia Sophia.However, measured from its base the dome of Selimiye is higher. <mask> was more than 80 years old when the building was finished. In this mosque he finally realized his aim of creating the optimum, completely unified, domed interior : a triumph of space that dominates the interior. He used this time an octagonal central dome (31.28 m wide and 42 m high), supported by eight elephantine piers of marble and granite. These supports lack any capitals but have squinches or consoles at their summit, leading to the optical effect that the arches seem to grow integrally out of the piers. By placing the lateral galleries far away, he increased the three-dimensional effect. The many windows in the screen walls flood the interior with light.The buttressing semi-domes are set in the four corners of the square under the dome. The weight and the internal tensions are hidden, producing an airy and elegant effect rarely seen under a central dome. The four minarets (83 m high) at the corners of the prayer hall are the tallest in the Muslim world, accentuating the vertical posture of this mosque that already dominates the city. He also designed the Taqiyya al-Sulaimaniyya khan and mosque in Damascus, still considered one of the city's most notable monuments. He has also built Mehmed Paša Sokolović Bridge in Višegrad across the Drina River in the east of Bosnia and Herzegovina which is now UNESCO World Heritage Site. Conclusion

At the start of his career as an architect, <mask> had to deal with an established, traditional domed architecture. His training as an army engineer led him to approach architecture from an empirical point of view, rather than from a theoretical one.He started to experiment with the design and engineering of single-domed and multiple-domed structures. He tried to obtain a new geometrical purity, a rationality and a spatial integrity in his structures and designs of mosques. Through all this, he demonstrated his creativity and his wish to create a clear, unified space. He started to develop a series of variations on the domes, surrounding them in different ways with semi-domes, piers, screen walls and different sets of galleries. His domes and arches are curved, but he avoided curvilinear elements in the rest of his design, transforming the circle of the dome into a rectangular, hexagonal or octagonal system. He tried to obtain a rational harmony between the exterior pyramidal composition of semi-domes, culminating in a single drumless dome,  and the interior space where this central dome vertically integrates the space into a unified whole. His genius lies in the organization of this space and in the resolution of the tensions created by the design.He was an innovator in the use of decoration and motifs, merging them into the architectural forms as a whole. He accentuated the centre underneath the central dome by flooding it with light from the many windows. He incorporated his mosques in an efficient way into a complex (külliye), serving the needs of the community as an intellectual centre, a community centre and serving the social needs and the health problems of the faithful. When <mask> died, classical Ottoman architecture had reached its climax. No successor was gifted enough to better the design of the Selimiye mosque and to develop it further. His students retreated to earlier models, such as the Şehzade mosque. Invention faded away, and a decline set in.Constructions

During his tenure during 50 years of the post of imperial architect, <mask> is said to have constructed or supervised 476 buildings  (196 of which still survive), according to the official list of his works, the Tazkirat-al-Abniya. He could not possibly have designed them all, but he relied on the skills of his office. He took credit and the responsibility for their work. For, as a janissary, and thus a slave of the sultan, his primary responsibility was to the sultan. In his spare time, he also designed buildings for the chief officials. He delegated to his assistants the construction of less important buildings in the provinces. 94 large mosques (camii),
57 colleges,
52 smaller mosques (mescit),
48 bath-houses (hamam).He was buried near the tombs of his greatest patrons: Sultan Süleyman I and Sultana Haseki Hürrem, Suleiman's wife. Above the iron-grilled prayer window of his tomb is an epitaph written in Ottoman Turkish by the poet Mustafa Sai. It gives the year of his death and records that <mask>ni Sultan Suleiman bridge at Büyükçekmece. In 1935, his remains were exhumed by a group of Turkish scholars. Proponents of the racial science popular at the time, they claimed that measurements of <mask>'s skull proved that he was actually Turkish. As of 2016, the skull is missing and has not been refound. His name is also given to:
 a crater on the planet Mercury.A Turkish state university, the Mimar Sinan University of Fine Arts in Istanbul. <mask>'s portrait was depicted on the reverse of the Turkish 10,000 lira banknotes of 1982-1995
and a 7 500 000 lira coin of 2001 (in the "millennium" series), also on 6 postage stamps: 100 lira 1957 (400th anniversary of the opening of the Suleymaniye Mosque), 50 lira 1988 (400th anniversary of <mask>'s death) and a set of 4 issued on 14 November 2007 (60, 70, 70 & 80 Kurus - Sinan and his works). Elif Shafak's novel The Architect's Apprentice revolves around <mask> Sinan: "Filled with the scents, sounds and sights of the Ottoman Empire, when Istanbul was the teeming centre of civilisation, The Architect's Apprentice is a magical, sweeping tale of one boy and his elephant caught up in a world of wonder and danger." See also
Isa Muhammad Effendi
Sedefkar Mehmed Agha
<mask> (crater)
Mimar Sinan University
Atik Sinan
Mimar Hayruddin

Notes

Sources

Further reading
  Alboyajian, Arshag A. Պատմութիին հայ Կեսարիոյ (History of Armenian Kayseri). 2 vols. Cairo: H. Papazian, 1937. Çelebi, Sai Mustafa (2004).Book of Buildings : Tezkiretü'l Bünyan Ve Tezkiretü'l-Ebniye (Memoirs of <mask> the Architect). Koç Kültür Sanat Tanıtım

 De Osa, Veronica (1982). <mask> the Turkish Michelangelo. New York: Vantage Press
  Egli, Ernst (1954). Sinan, der Baumeister osmanischer Glanzzeit, Erlenbach-Zürich, Verlag für Architektur;

 Goodwin, Godfrey (2001). The Janissaries. London: Saqi Books.Güler, Ara; Burelli, Augusto Romano; Freely, John (1992). <mask>: Architect of Suleyman the Magnificent and the Ottoman Golden Age. WW Norton & Co. Inc.
 Kinross, Patrick (1977). The Ottoman Centuries: The Rise and Fall of the Turkish Empire London: Perennial. Kuran, Aptullah. (1987). <mask>: The Grand Old Master of Ottoman architecture, Ada Press Publishers.Kuran, Aptullah; Ara Güler (Illustrator); Mustafa Niksarli (Illustrator). (1986) <mask> <mask>. Istanbul: Hürriyet Vakfi. Rogers, J M. (2005). <mask>. I.B. Tauris
 Saoud, Rabat (2007).<mask>: The Great Ottoman Architect and Urban Designer. Manchester: Foundation for Science, Technology and Civilisation. Sewell, Brian. (1992) Sinan: A Forgotten Renaissance Cornucopia, Issue 3, Volume 1. Sezgin, A. 'Dramatizing an Architect Hero: <mask> in Fiction' in The Meeting Place of British Middle Eastern Studies: Emerging Scholars, Emergent Research & Approaches (2009), p. 119-143. Turner, J.(1996). Grove Dictionary of Art, Oxford University Press, USA; New Ed edition;
 Van Vynckt, Randall J. (editor). (1993) International Dictionary of Architects and Architecture Volume 1. Detroit: St James Press. Vasari, G. (1963). The Lives of Painters, Sculptors and Architects.(Four volumes) Trans: A.B. Hinds, Editor: William Gaunt. London and New York: Everyman. Wilkins, David G. Synan in Van Vynckt (1993), p. 826. A Guide to Ottoman Bulgaria" by Dimana Trankova, Anthony Georgieff and Professor Hristo Matanov; published by Vagabond Media, Sofia, 2011

Tertiary Sources
  Zaryan, Armen. «Սինան» (<mask>). Armenian Soviet Encyclopedia.vol. x. Yerevan: Armenian Academy of Sciences, 1984, pp. 385–386. Roux, Jean-Paul (1988). "Les Mosquées de Sinan", Les Dossiers d'archéologie, May 1988, number 127. Stierlin, Henri (1988). "Sinan et Soliman le Magnifique", Les Dossiers d'archéologie, May 1988, number 127.Topçu, Ali (1988a) "Sinan et l'architecture civile", Les Dossiers d'archéologie, May 1988, number 127. Topçu, Ali (1988b). "Sinan et la modernité", Les Dossiers d'archéologie, May 1988, number 127. External links

 <mask> <mask> founder of this Foundation - with a picture of his last will and proof of his original name
 Pictures of the city of Edirne, with many pictures of the Selimiye Mosque
 Pictures of some 30 mosques by Sinan in Istanbul
 A map and a short guide for Sinan's works in Istanbul
 Photos of some Sinan mosques in Istanbul
 Map of some Sinan mosques in Istanbul
 Master Builder of the 16th Century Ottoman Mosque
 Mimar Sinan Bridge in Büyükçekmece
 The Ottoman architect who linked East and West
 Peerless Turkish architect claimed to be headless in tomb
 <mask> <mask>'s life and works

Architects of the Ottoman Empire
1489 births
1588 deaths
Converts to Islam
15th-century people of the Ottoman Empire
16th-century people of the Ottoman Empire
Suleiman the Magnificent
Armenians of the Ottoman

masks: Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinanüste Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinan Sinannu Sinan Sinan Sinan Mimar Sinan Sinan Sinan Sinan Sinan Mimar Sinan Sinan Sinan Sinan Sinan Mimar Sinan Mimar Sinan


title: Floyd Graham

texts:
<mask> (aka  'Fessor) (October 15, 1902 – August 18, 1974 in Denton, Texas) was a US collegiate bandleader and music educator who founded and directed the Aces of Collegeland in 1927, the university dance band, pit orchestra and stage band of the University of North Texas College of Music. He also was a violinist. The Aces of Collegeland was the forerunner to the One O'Clock Lab Band. <mask> laid the groundwork at North Texas for what became the first college degree in jazz studies. Many of the Ace's band members and Saturday night participants became a "who's who" in the performing arts – as members of famous big bands, film, and singers. Notable Saturday Night Performers with the Aces

 Ann Sheridan
 Joan Blondell
 Louise Tobin
 Nancy Jane Gates
 Linda Darnell
 Pat Boone

Notable "Aces" Alumni

 Harry Babasin
 Bob Dorough
 Herb Ellis
 Jimmy Giuffre
 Charles W. LaRue
 William F. Lee III
 William Ennis Thomson
 JB <mask>

In 1971, the University of North Texas Student Government Association designated him as "Honor Professor," and upon retirement May 31, 1973, the regents awarded him the lifetime status of Professor Emeritus. He was the university's first professor emeritus.Education
<mask> earned a Bachelor of Arts from the University of North Texas. <mask> earned a Teachers Certificate from Chicago Musical College in 1927 and a Bachelor of Music degree in violin from Chicago Musical College in August 1931. While attending Chicago Musical College, <mask> studied violin with Max Ignatz Fischel (1878–1937) (Head of the Normal Department), ear training with Harold Burnham Maryott (born 1878), music history with Herbert Witherspoon (1873–1935); harmony and counterpoint with Hans Franklin Madsen (1887–1971), and composition, counterpoint, and solfeggio with Wesley LaViolette (1894–1978). <mask> also earned a Master of Music degree from the American Conservatory of Music. At the American Conservatory of Music, <mask> had been a pupil of:

 Herbert Dalton Butler (1867–1946) – violin
 Leo Sowerby (1895–1968) – composition & counterpoint

In Texas, <mask> had been a pupil of:
 Carl Venth (1860–1938)

He also had been a pupil of:

 Fritz Mahler
 Ferde Grofé (1892–1972)

Family and growing up
<mask> was the son of Schyler Colfax <mask> (1869–1931), a Denton grocer, and Rockie <mask>  (1879–1954) Freeman. <mask> first exhibited his interest in music by experimenting with a cigar-box violin while in grade school. <mask> married Doris Patricia Howard on September 2, 1942.They had a daughter, Patricia (Pati) (<mask>) Haworth. 'Fessor Graham Award for Faculty
In 1958, the North Texas student body established the 'Fessor Graham Award, the highest honor bestowed by the students to a faculty member. The award recognizes one faculty member each year for outstanding and unselfish service beyond the call of duty to students. <mask>, Music, 1958
 Beulah Harriss, PE & Intercollegiate Women's Athletics, 1959
 Samuel B. McAlister, Government, 1960
 Arthur M. Sampley, Library Service, 1961
 William B. DeMougeot, Speech & Debate, 1962
 A. Witt Blair, Education, 1963
 Chester A. Newland, Government, 1964
 Leon Breeden, Music, 1965
 William R. Garner, Government, 1966
 Clovis Morrisson, Political Science, 1967
 Kendall Pinney Cochran (1924–2007), Economics, 1968
 Don E. Beck, Speech and Drama, 1969
Student government in transition, no recipients, 1970-71
 James Riddlesperger, Political Science, 1972
 Charles Foster, Business, 1973
 Leo Estrada, Sociology, 1974
 Ben Chappell, Speech Communications, 1975
 Milan J. Reban, Political Science, 1976
 T. Bullock Hyder, Economics, 1977
 Anshel Brusilow, Music, 1978
 Umesh C. Banerjee, Biology, 1979
 Tommie Collins Lawhon, Education, 1980
 Douglas P. Starr, Journalism, 1981
 David R. Fitch, Business, 1982
 Jerry Lee Yeric, Political Science, 1983
 John James Haynie, Music, 1984
 Lee Knox, Geography, 1985
 J. B. Spalding, Business, 1986
 John S. Gossett, Communication and Public Address, 1987
 Richard H. Wells, Journalism, 1988
 Ernest F. Crystle, Foreign Languages and Literatures, 1989
 Dan Haerle, Music, 1990
 Valerie D. Martinez, Political Science, 1991
 Fred Hamilton, Music, 1992
 Kenneth Godwin, Political Science, 1993
 Robert S. LaForte, History, 1994
 Norris D. Fox, Education, 1995
 Ann S. Windle, Education, 1996
 Donald E. Chipman, History, 1997
 P.R. Chandrasekaran, Finance, Insurance, Real Estate and Law, 1998
 Juliet Getty, Merchandising and Hospitality Management, 1999
 William T. Waller, Biological Sciences, 2000
 Gladys H. Crawford, Biological Sciences, 2001
 Thomas P. Sovik, Music, 2002
 Richard Tas, Merchandising and Hospitality Management, 2003
 Brian L. Bowman, Music, 2004
 David W. Hill, Kinesiology, Health Promotion and Recreation, 2005
 Kimi King, Political Science, 2006
 Dee C. Ray, Counseling and Higher Education, 2007
 Donna Ledgerwood, Human Resources Management, 2008
 Lyndal M. Bullock, Education, 2009
 Gloria Cox, Political Science & Dean of the Honors College, 2010
 Armin R. Mikler, Computer Science and Engineering, 2011
 Shahla Ala'i-Rosales, Behavior Analysis, 2012
 Andrew Enterline, Political Science, 2013
 Brian Lain, Communications Studies, 2014
 Bethany Blackstone, Political Science, 2015
 Michael Thompson, Philosophy and Religion, 2016

Floyd Graham Memorial Scholarship
The College of Music offers a scholarship as a memorial to Floyd Graham, sponsored by the Floyd Graham Society. Recipients

 2007 — Sam Reid, Saxophone

North Texas Jazz Festival's Floyd 'Fessor Graham Award
The North Texas Jazz Festival established the Floyd 'Fessor Graham Award for the outstanding high school or middle school vocal group.The winner performs during one of the evening's "pro" concerts. Publications

 <mask> <mask>, Public relations in music education, a study, Exposition Press, New York (1954)
 <mask> <mask>, For Music Literature, (Unknown Binding) (1965)
 <mask> <mask>, For music appreciation; a course outline to supplement the teaching of music appreciation, Denton, Tex., Howard Pub. Co., Denton, TX (1960)

Notes and references

American music educators
1902 births
1974 deaths
American Conservatory alumni
Chicago Musical College alumni
University of North Texas College of Music faculty
American jazz educators
20th-century American musicians

masks:
Floyd Freeman Graham
Graham
Floyd
Graham
Graham
Graham
Graham
Graham
Graham
Floyd Graham
Graham
Virginia Graham
Floyd Graham
Floyd Graham
Graham
Floyd Graham
Floyd Freeman
Graham
Floyd Freeman
Graham
Floyd Freeman
Graham


title: Andrei Bely

texts:
Boris Nikolaevich Bugaev (), better known by the pen name <mask> or Biely (;  – 8 January 1934), was a Russian novelist, Symbolist poet, theorist and literary critic. He was a committed antroposophist and follower of Rudolf Steiner. His novel Petersburg (1913/1922) was regarded by Vladimir Nabokov as the third-greatest masterpiece of modernist literature. The Andrei Bely Prize (), one of the most important prizes in Russian literature, was named after him. His poems were set to music and performed by Russian singer-songwriters. Life
Boris Bugaev was born in Moscow, into a prominent intellectual family. His father, Nikolai Bugaev, was a noted mathematician who is regarded as a founder of the Moscow school of mathematics.His mother was not only highly intelligent but a famous society beauty, and the focus of considerable gossip. She was also a pianist, providing Bugaev his musical education at a young age. Young Boris grew up at the Arbat, a historical area in Moscow. He was a polymath whose interests included mathematics, biology, chemistry, music, philosophy, and literature. Bugaev attended university at the University of Moscow. He would go on to take part in both the Symbolist movement and the Russian school of neo-Kantianism. Bugaev became friendly with Alexander Blok and his wife; he fell in love with her, which caused tensions between the two poets.During their wedding, Buagev was invited but was unable to attend due to his father's death. Nikolai Bugaev was well known for his influential philosophical essays, in which he decried geometry and probability and trumpeted the virtues of hard analysis. Despite—or because of—his father's mathematical tastes, Boris Bugaev was fascinated by probability and particularly by entropy, a notion to which he frequently refers in works such as Kotik Letaev. As a young man, <mask> was strongly influenced by his acquaintance with the family of philosopher Vladimir Solovyov, especially Vladimir's younger brother Mikhail, described in his long autobiographical poem The First Encounter (1921); the title is a reflection of Vladimir Solovyov's Three Encounters. It was Mikhail Solovyov who gave Bugaev his pseudonym <mask>. In his later years <mask> was influenced by Rudolf Steiner’s anthroposophy and became a personal friend of Steiner's. His ideas covering this philosophy included his attempts to connect Vladimir Solovyov's philosophical ideas with Steiner's Spiritual Science.One of his notions was the Eternal Feminine, which he equated it with the "world soul" and the "supra-individual ego", the ego shared by all individuals. He spent time between Switzerland, Germany, and Russia, during its revolution. He supported the Bolshevik rise to power and later dedicated his efforts to Soviet culture, serving on the Organizational Committee of the Union of Soviet Writers. He died, aged 53, in Moscow. There numerous poems written in Moscow in January 1934 and several of these were inspired by <mask>'s death. Major works
<mask> has started his literary career as the author of The Symphonies, a cycle experimental prose works, written from 1900 to 1908. In 1909 he published a symbolist novel The Silver Dove, which became his first novel.As critics note, it is notable for its skaz techniques and its unique ornamental prose, for its "ability to capture haunting, mesmerizing sense of apocalyptic doom". The novel is the first part of <mask>'s unfinished trilogy East or West. <mask>'s novel Petersburg (1913/1922), the second part of the unfinished trilogy, is generally considered to be his masterpiece. The book employs a striking prose method in which sounds often evoke colors. The novel is set in the somewhat hysterical atmosphere of turn-of-the-century Petersburg and the Russian Revolution of 1905. To the extent that the book can be said to possess a plot, this can be summarized as the story of the hapless Nikolai Apollonovich, a ne'er-do-well who is caught up in revolutionary politics and assigned the task of assassinating a certain government official—his own father. At one point, Nikolai is pursued through the Petersburg mists by the ringing hooves of the famous bronze statue of Peter the Great.There are scholars who cite that Petersburg included ideas from Sigmund Freud's therapeutic method such as how psychoanalysis was used as his interpretive tool for literary criticism and a source of creativity. After the Revolution, <mask> wrote two psychological autobiographical novels, highly influenced by Rudolf Steiner's antroposophy, Kotik Letaev (1918) and The Christened Chinaman (1921). He also wrote poems Glossolalia (1917), Christ is Risen (1918), in which he glorifies the Revolution, and The First Encounter (1921). His last novel is Moscow (1926—1932), an attempt to give an image of Russian intelligentsia during the World War I and Russian Revolution. It differs from The Silver Dove and Petersburg with complex, multi-faceted characters who experience a transformation of personality. It also continues <mask>'s linguistic experiments. The first part of Moscow, The Moscow Eccentric, was published in English in 2016.<mask>'s essay Rhythm as Dialectic in The Bronze Horseman is cited in Nabokov's novel The Gift, where it is mentioned as "monumental research on rhythm". Fyodor, poet and main character, praises the system <mask> created for graphically marking off and calculating the 'half-stresses' in the iambs. <mask> found that the diagrams plotted over the compositions of the great poets frequently had the shapes of rectangles and trapeziums. Fyodor, after discovering <mask>'s work, re-read all his old iambic tetrameters from the new point of view, and was terribly pained to find out that the diagrams for his poems were instead plain and gappy. Nabokov's essay Notes on Prosody follows for the large part <mask>'s essay Description of the Russian iambic tetrameter (published in the collection of essays Symbolism, Moscow, 1910). Selected bibliography

Novels
 The Silver Dove (Серебряный голубь, 1910)
 Petersburg (Петербург, 1913/1922)
 Kotik Letaev (Котик Летаев, 1918)
 The Christened Chinaman (Крещёный китаец, 1927)
 Moscow (Москва, 1926–1931)
The Moscow Eccentric (Московский чудак, 1926)
 Moskva pod udarom (Москва под ударом, 1926, not translated)
 Maski (Маски, 1931, not translated)

Poetry
 Gold in Azure (Золото в лазури, 1904)
 Ash (Пепел, 1909)
 Urn (Урна, 1909)
 Christ Has Risen (Христос воскрес, 1918)
 The First Encounter (Первое свидание, 1921)
 Glossolalia: Poem about Sound (Глоссолалия. Поэма о звуке, 1922)

Symphonies
 Second Symphony, the Dramatic (Симфония (2-я, Драматическая), 1902)
 The Northern, or First—Heroic (Северная симфония (1-я, героическая), 1904, written in 1900)
 The Return—Third (Возврат.III симфония, 1905)
 Goblet of Blizzards—Fourth (Кубок метелей. Robert A. Maguire and John E. Malmstad, Indiana University Press, 1978. David McDuff, Penguin 20th Century Classics, 1995. John Elsworth, Pushkin Press, 2009. The Silver Dove
George Reavey, Grove Press, 1974. John Elsworth, Northwestern University Press, 2000. The Symphonies
The Dramatic Symphony, John Elsworth, Grove Press, 1987.The Symphonies, Jonathan Stone, Columbia University Press, 2021. Kotik Letaev, Gerald Janecek, Ardis, 1971. The Complete Short Stories, Ronald E. Peterson, Ardis, 1979. Selected Essays of Andrey <mask>, Steven Cassedy, University of California Press, 1985. Reminiscences of Rudolf Steiner: <mask>, Aasya Turgenieff, Margarita Voloshin, Adonis Press, 1987
The Christened Chinaman, Thomas Beyer, Hermitage Publishers, (a publisher specializing in Russian writers in English translation, started and owned by Igor Yefimov), 1991. In the Kingdom of Shadows, Catherine Spitzer, Hermitage Publishers, 2001. Glossolalia, Thomas Beyer, SteinerBooks, 2004.Gogol's Artistry, Christopher Colbach, Northwestern University Press, 2009
The Moscow Eccentric, Brendan Kiernan, Russian Life Books, 2016. See also
 Alexander Blok
 Aleksey Remizov
 Fyodor Sologub
 Russian Symbolism
 Russian literature

References

Sources

External links

 Works by <mask> at Internet Archive
 The Silver Dove at the Internet Archive (translation by George Reavey, 1974)
 The Silver Dove at the Internet Archive (translation by John Elsworth, 2000)
 Translation of <mask>'s short story "The Yogi"
  English translations of 3 poems by Babette Deutsch and Avrahm Yarmolinsky, 1921
  English translations of 4 poems
  English translation of Rus' (Russia)
 Mathematical Symbolism in a Russian literary masterpiece, by Noah Giansiracusa and Anastasia Vasilyeve published 7 September 2017, ArXiv. <mask> – A biography with selections translated from the Russian by Daniel H. Shubin

1880 births
1934 deaths
Writers from Moscow
Russian male novelists
Soviet novelists
Soviet male writers
20th-century Russian poets
20th-century Russian male writers
Russian communists
Russian male poets
Russian Marxists
Russian literary critics
Russian memoirists
Russian Marxist writers
Symbolist novelists
Anthroposophists
Symbolist poets
Burials at Novodevichy Cemetery
Modernist writers
Imperial Moscow University alumni
20th-century memoirists
Deaths by intracerebral hemorrhage

masks:
Andrei Bely
Bely
Andrei Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Bely
Andrei Belyi
Andrei Bely
Andrei Bely
Andrei Bely


title: Margaret Chin

texts:
<mask><mask> (born May 26, 1953) is a Hong Kong American politician serving as a council member for the 1st district of the New York City Council. A Democrat, she and Queens Council member Peter Koo comprise the Asian American delegation of the city council. Her district includes all or parts of Battery Park City, Chinatown, Civic Center, East Village, Ellis Island, Financial District, Governors Island, Greenwich Village, Liberty Island, Little Italy, Lower East Side, NoHo, Nolita, SoHo, Tribeca, and the West Village. <mask> controversially retained the right to run a third term despite its unpopularity in 2010. Seven years later, she ran for re-election and won her primary with 46% of the vote against a newcomer, Christopher Marte, who received 44%. Early life and career
Born on May 26, 1954 in British Hong Kong as the third of five children and the only daughter in the family, <mask> immigrated to the United States in 1963. Her father, who arrived to the U.S. before his family, was an undocumented worker, working as a waiter in the Bronx; his experiences inspired his daughter to advocate for immigration reform during her political tenure.<mask> grew up in Chinatown in New York City and graduated from the Bronx High School of Science and the City College of New York with a degree in education. She worked for 14 years at LaGuardia Community College's Division of Adult and Continuing Education. She has been a member of several public service groups and organizations. In 1974, she was a founding member of Asian Americans for Equality, a group dedicated to "empowering Asian Americans and others in need", and she served as the board's president from 1982 to 1986. She was the chairperson of the New York Immigration Coalition, a policy and advocacy organization which works on issues concerning immigrants and refugees. She was a board member of the Association for Neighborhood and Housing Development, an affordable housing non-profit organization. <mask> was also a founding member of the Chinatown Partnership Local Development Corporation, a group that was formed in 2006 to "rebuild Chinatown following 9/11, and to preserve the neighborhood's unique culture while ensuring its vitality in the future."In local and state politics, <mask> was a member of Manhattan Community Board 1 and Manhattan Community Board 3, and was elected to the New York State Democratic Committee for two terms from 1986 to 1990. <mask> has stated that her ethnicity helped her win the district that includes Chinatown. In her words, many new immigrants and seniors do not speak English, and appreciated that they could speak to her directly and "talk to a City Council member without having to go through an interpreter." Hunter College professor and sociologist Peter Kwong, who has written books on Chinese Americans, said that <mask>'s election victory at the time was a "milestone in an increasingly active Asian American community" and a "special moment in Chinatown history". <mask>, head of Asian American Legal Defense and Education Fund, a national Asian American civil rights group, described her win as a "significant step forward for Asian American political representation". New York City Council
Prior to winning the 2009 city council election, <mask> had run and lost in the Democratic Party primary election for the District 1 seat in 1991, 1993, and 2001. In a primary with low voter turnout, she won the Democratic nomination with 39% of the vote, ousting two-term incumbent Alan Gerson.<mask> earned 4,541 votes to Gerson's 3,520; the other three candidates, PJ Kim, Pete Gleason, and Arthur Gregory won 1,927 votes, 1,293 votes, and 235 votes, respectively. Campaigning on the issues of affordable housing, improving infrastructure, immigration reform, and better services for senior citizens, <mask> won the general election held on November 3, 2009 against Republican candidate Irene Horvath in a landslide, carrying 86% of the vote. In 2013, <mask> ran for reelection. She received an endorsement from the Stonewall Democratic Club of New York prior to that year's September Democratic Party primary and received funding from REBNY for mailings. She was challenged in the primary by Democrat Jenifer Rajkumar, a Lower Manhattan District Leader, in a widely publicized race. <mask> won with 58.5% of the vote. The councilwoman retained the right to run a third term despite New Yorkers voting against the concept in 2010.In 2017, <mask> ran for re-election and won her primary with 46% of the vote against her main challenger, Christopher Marte, a newcomer, who received 44%. Marte ran against her again in the general election on the Independence party line, and <mask> won the general election with 49.8% of the vote. Election history

Criticism
In September 2017 The Villager endorsed her opponent Christopher Marte, saying  It wrote further, "<mask> has been both antagonistic and unresponsive to large segments of her community. She has dodged debates with her opponents — ours wasn’t the only one she avoided — and at the only town hall she has held during her time in office, the public’s cherished First Amendment right to express their views and disseminate information was stifled in a manner one would associate with a fascistic dictatorship." Critics in October 2019 also opposed her lack of clarity before the vote to expand the current jail in her district; more than 1,000 marched to get her attention on the matter. Personal life
<mask> is married to Alan Tung, a public school teacher. Their son, Kevin, also graduated from the Bronx High School of Science.He completed his studies at Syracuse University, and is now studying photography in Santa Barbara, California. References

External links
 Official New York City Council website

New York City Council members
Living people
Hong Kong emigrants to the United States
New York (state) Democrats
1954 births
American women of Chinese descent in politics
American politicians of Chinese descent
American politicians of Hong Kong descent
Asian-American people in New York (state) politics
Women New York City Council members
21st-century American politicians
21st-century American women politicians
Asian-American New York City Council members

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