title: Tansu Çiller

texts:
<mask> (; born 24 May 1946) is a Turkish academic, economist, and politician who served as the 22nd Prime Minister of Turkey from 1993 to 1996. She is Turkey's first and only female prime minister to date. As the leader of the True Path Party, she went on to concurrently serve as Deputy Prime Minister of Turkey and as  Minister of Foreign Affairs between 1996 and 1997. As a Professor of Economics, Çiller was appointed Minister of State for the economy by Prime Minister Süleyman Demirel in 1991. When Demirel was elected as President in 1993, Çiller was elected leader of the True Path Party and succeeded Demirel as Prime Minister. Several reports of international organizations of human rights documented destroying and burning Kurdish villages and towns and extrajudicial killings of Kurdish civilians perpetrated by the Turkish forces during Çiller’s regime of 1993-1996. Shortly after winning the 1994 local elections, large-scale capital flight due to the lack of confidence in Çiller's budget deficit targets led to the Turkish Lira and foreign currency reserves' almost collapsing.Amid the subsequent economic crisis and austerity measures, her government signed the EU-Turkey Customs Union in 1995. Her government was alleged to have supported the 1995 Azeri coup d'état attempt and presided over an escalation of tensions with Greece after claiming sovereignty over the Imia/Kardak islets. Although the DYP came third in the 1995 general election, she remained as Prime Minister until Necmettin Erbakan formed a government in 1996 with Çiller becoming Deputy Prime Minister and Minister of Foreign Affairs. The Susurluk car crash in 1996 and the subsequent Susurluk scandal revealed the relations between extra-legal organisations and Çiller's government. Revelations that Çiller had employed individuals such as Abdullah Çatlı led to a decline in her approval ratings. Erbakan's government fell following a military memorandum in 1997 and the DYP declined further in the 1999 general election. Despite coming third in the 2002 general election, Çiller's DYP won less than 10% of the vote and thus lost all parliamentary representation, which led to her resignation as party leader and departure from active politics.Background and early career
Çiller was born in Istanbul; her father was first a journalist, then a Turkish governor of Bilecik Province during the 1950s. <mask> was the only child and she graduated from the department of Economics at Boğaziçi University after completing her high school education at Arnavutköy American College for Girls in Istanbul. After graduating from Boğaziçi, she continued her studies in the United States, where she earned graduate degrees from the Universities of New Hampshire and Connecticut. She received her M.S. from the University of New Hampshire and Ph.D. from the University of Connecticut. She later completed her postdoctoral studies at Yale University. Çiller taught economics at Franklin and Marshall College in Lancaster, Pennsylvania.In 1978, she became a lecturer at Boğaziçi University in Istanbul and in 1983 she was appointed as professor by the same institution. She also worked at the now-defunct Istanbul Bank as president of the company. Political career (1990–2002)
<mask> entered politics in November 1990, joining the conservative True Path Party (DYP) as economic advisor to former Prime Minister Süleyman Demirel. She was elected to the parliament in 1991 as deputy representing Istanbul. The DYP became the largest party (with 27 per cent of the seats) and Demirel formed a coalition government (49th government of Turkey). <mask> <mask> was appointed economics minister. She was elected to the executive board of DYP and acquired the position as deputy chair.Prime Minister (1993–1996)
After the death in office of President Turgut Özal (which according to some was part of the 1993 alleged Turkish military coup), DYP Prime Minister Süleyman Demirel won the 1993 presidential election on 16 May 1993. Suddenly the important position as Prime Minister and leader of the DYP was vacant. The party found itself in an identity crisis. Çiller was no obvious candidate, but the three male contenders could not muster the resources, skill and support to compete effectively. Çiller was a professional urban woman, young and smart with a Western higher education. The media supported her, as well as the business community, and externally she gave the impression that Turkey was a progressive Muslim country. On 13 June 47-year-old Çiller fell 11 votes shy of a majority in the first ballot for party leader.Her opponents withdrew and she became the party's leader and on 25 June, the Prime Minister of the DYP-Social Democratic Populist Party (SHP) coalition government (50th government of Turkey). Çiller continued Demirel's coalition government, but replaced most of the ministers from her own party. She was the only woman until 1995, when a woman state minister for women and family affairs was appointed. Çiller did not continue Demirel's policies. As Prime Minister she promoted a conservative populism and economic liberalism. She juggled "masculine" and "feminine" styles, boasting of her "toughness" at the same time as she wanted to be the nation's mother and sister. She became a new role model for a woman politician with clout, and she had success, but also ruled authoritatively, taking control of the party organization, pursued established male policies and appeared uninterested in women's issues.Following the death of Özal, the Castle Plan (previously approved by the National Security Council) to attack the Kurdistan Workers' Party (PKK) was put into effect (although elements of the strategy preceded the official Plan). Çiller declared on 4 October 1993: "We know the list of businessmen and artists subjected to racketeering by the PKK and we shall be bringing their members to account." Beginning on 14 January 1994, almost a hundred people were kidnapped by commandos wearing uniforms and travelling in police vehicles and then killed somewhere along the road from Ankara to Istanbul. Abdullah Catli, a leader of the ultra-nationalist Grey Wolves and an organized crime figure, demanded money from people who were on "Çiller’s list", promising to get their names removed. One of his victims, Behçet Cantürk, was to pay ten million dollars, to which Casino King Ömer Lütfü Topal added a further seventeen million. However, after receiving the money, he then went on to have them kidnapped and killed, and sometimes tortured beforehand. Çillers approach to the Kurds was ambiguous, while she also suggested for the Kurds an autonomy similar the one the Basques have in Spain, she retracted herself upon pressure from the Turkish military.The EU-Turkey Customs Union agreement was signed in 1995 and came into effect in 1996 during Çiller's government. In March 1995, the 1995 Azeri coup d'état attempt took place; official reports following the 1996 Susurluk scandal suggested Çiller and others in the government had supported the coup attempt, which aimed to reinstall Ebulfeyz Elçibey as president. After the withdrawal of the Republican People's Party (CHP) from the coalition in October 1995 (the SHP had split, merged, and renamed itself) Çiller attempted to form a minority government, which failed in less than a month (51st government of Turkey). After that she agreed to form another cabinet (52nd government of Turkey) with the CHP and went for general elections, which took place in December 1995. Coalition negotiations were protracted, and Çiller remained in office at the head of the DYP-CHP coalition until March 1996, when the DYP formed a coalition with the Motherland Party, with Mesut Yılmaz becoming Prime Minister. Çiller was still prime minister during the January 1996 Imia/Kardak crisis with neighbouring Greece. One of Çiller's major achievements was to transform the Turkish Army from an organization using vintage equipment from the US Army into a modern fighting force capable of countering the PKK, using hit-and-run tactics.She also convinced the U.S. government to list the PKK as a Foreign Terrorist Organization, which was later followed by the acceptance of the same by the European Union. Deputy Prime Minister (1996–1997)
With the creation of the Motherland Party-DYP coalition in March 1996 under Mesut Yılmaz (53rd government of Turkey), DYP took over the Ministry of Foreign Affairs. After the coalition collapsed in June 1996, the DYP joined a new coalition with the Welfare Party, under Necmettin Erbakan, with Çiller became Minister of Foreign Affairs and Deputy Prime Minister. This was the beginning of DYP's and Çiller's decline. Çiller lost credibility as a political leader because she joined forces with those she criticized the most. After the November 1996 Susurluk car crash, which prompted the Susurluk scandal, she praised Abdullah Çatlı, who died in the crash, saying: "Those who fire bullets or suffer their wounds in the name of this country, this nation, and this state will always be respectfully remembered by us." As deputy Prime Minister, Çiller declared that if Greece tried to divide Albania, it would have the Turkish Army in Athens 24 hours later.Erbakan's Welfare Party resigned from government following the February 1997 military memorandum. DYP and others expected to form a government under Çiller, but President Süleyman Demirel asked ANAP leader Mesut Yılmaz to form the new government instead. Çiller's manoeuvres, political excuses, failed policies and scandals made her increasingly unpopular. 35 women's organizations took her to court because she lacked principles. She was also criticized for undermining democracy

Later career
<mask> Çiller was investigated by the Turkish Parliament on serious corruption charges following her period in government. Along with another former Prime Minister, Mesut Yılmaz, she was later cleared of all the charges mainly due to technicalities such as the statute of limitations and parliamentary immunity. At the end of 1998, the corruption files about Yılmaz and Çiller were covered up at the commissions of the Parliament in a common action staged by DYP, ANAP and DSP MPs.In the General Elections of 1999 she presented herself as a leader of the religious, pausing her campaign speeches during the prayer of Adhan, or demanding that women with their headscarves on could attend university. Her party gained its worst result, polling only about 12%. She remained leader of the DYP until 2002; after its November 2002 election defeat, she retired from political life. <mask> <mask> is a member of the Council of Women World Leaders, an international network of current and former women presidents and prime ministers whose mission is to mobilize the highest-level women leaders globally for collective action on issues of critical importance to women and equitable development.

masks:
Tansu Çiller
Tansu
Çiller
Tansu
Çiller
Tansu
Tansu
Çiller


title: Charles Adler Jr.

type: original

texts:
<mask>. (June 20, 1899 – October 23, 1980) was an American inventor and engineer. He is most known for developing devices meant to improve transportation safety, including sonically actuated traffic lights, colorblind road signals, pedestrian push-buttons, and flashing aircraft lights. Early life and education
<mask> was born to a wealthy family in Baltimore, Maryland. As a child he exhibited a vivid imagination. For this reason, <mask>’s father encouraged him to pursue inventing. At age 14, he developed his first documented invention—an automobile brake—which he received a patent for 5 years later. After high school, <mask> attended Johns Hopkins University to study engineering, but after continuing to struggle with academics, he dropped out 2 years later.He served briefly in the US Army training corps as an acting corporal during World War I until December 1918. Early career
In 1919, <mask> began working for the Maryland and Pennsylvania Railroad (also known as the Ma&Pa) as a telegrapher and assistant station agent. There, he began developing safety and signaling devices, where he was later asked by railroad president OH Nance to look into fixing the failing electric warning signals at railroad crossings. In response, <mask> designed a system that contained a warning light connected in parallel to the standard bells. This ensured that even if the bells failed, the light would turn on and alert the driver to an oncoming train. After the success of this system, <mask> was promoted within the company to signal engineer and was given resources for his own experiments and research. For his first solo project, he set out to design a new flashing signal for grade crossings.In his design, he created an automatically triggered system that flashed two lights alternatively in a wigwag pattern when a train was approaching. This invention, called the Adler Flashing Relay, received the American Railway Association’s endorsement and was later adopted by over 40 railroad companies. After the success of his projects, <mask> left the Maryland and Pennsylvania Railroad to pursue invention full-time. However, he remained a signal consultant for the company until 1957. Well-known inventions

Automatic speed control system
During his time at Ma&Pa, <mask> kept a journal of potential invention ideas for a later date. One of such ideas—the automatic speed-control system—became the focus of his career in the 1920s. He conceived the idea for this automobile safety feature on October 1, 1924 and had a working prototype by December 1925.<mask>’s speed control system was based on the idea of car speed governors, but he believed they should only be activated at particularly dangerous spots on the road. <mask>’s system was composed of a series of bar magnets buried under the road 20 meters away from dangerous spots. At speeds over 24 km/h, this magnet activated a series of relays installed in the car which cut the car’s ignition. Once the car had passed over a similar second magnet, the ignition was restored, and the car would be able to accelerate like normal. Rather than manufacturing the invention himself, <mask> decided to publicize his work in hopes of finding a company to license it. He sold the idea to Baltimore and Ohio Railroad and received positive reactions from other buyers. <mask> contacted 600 newspapers, magazines, and engineering journals, including Science Monthly and the New York Evening Post, to run stories on his system.However, on December 15, 1926 his financial investors suspended work until they could guarantee the support of the national government. Sonically actuated traffic light
In the 1920s <mask> worked on developing the sonically actuated traffic light. To operate it, drivers pulled up to a red light and honked their horns to make the light change. The system, designed for use on intersections between lightly traveled and major roads, was first installed by Baltimore on February 22, 1928 at the intersection of Falls Road and then-Belvedere Avenue (now Northern Parkway) and still stands today. Further production of this design was picked up by General Electric, but <mask>’s traffic signal was beat out by another invention. This was the first actuated traffic signal in the US and served as the basis for modern traffic signals. On February 4, 1929 <mask> installed a pedestrian push button at the intersection of Charles Street and Cold Spring Lane in Baltimore.It was the first pedestrian-actuated signal. Aviation Safety Signal
By the end of the 1930s, <mask>’s work on traffic safety came to an end. After getting his pilot’s license and nearly colliding with another plane, he decided to pursue improvements in aviation safety. He patented an external lighting system for airplanes to help pilots better see each other at night. This patent, along with 9 of his other inventions, were transferred by <mask> to the US government in the name of safety. Other notable inventions

Colorblind signals
In 1930 <mask> worked on a traffic signal based on different shapes for colorblind drivers. Double-filament lamp
In 1933, <mask>’s double-filament lamp was installed on the Pennsylvania Central Railroad.The ability of the bulb to function at half-capacity, even when burnt out, was beneficial in keeping railroad crossing lights functioning for long periods of time. The system remained part of the Pennsylvania Central Railroad until the 1970s. Late life
<mask> continued his work in transportation safety, serving on various transportation boards and advising the government on a number of safety issues. As a member of Maryland’s Traffic Safety Commission during 1952–1980, <mask> made recommendations that later resulted in the formation of a federal department of government focused on traffic safety. <mask> also established his own foundation in 1956 to help inventors in the field of safety. In 1961, <mask> was appointed to the board of directors of Friendship International Airport (now BWI Marshall) and organized the connection of the airport to the city by rail to reduce traffic. The resulting BWI Rail Station opened in 1980; <mask> died hours before the station's dedication, where he was scheduled to be honored.Personal views
<mask> left behind many inventions that were the first of their kind. He is credited with over sixty patented inventions in the field of vehicular safety, some of which he transferred to the government. His motto was “If they can save lives, I want everyone to have them.” <mask> often donated his patents to the government free of charge so that they could be publicly used and help more people. See also
 Traffic Safety
 Automobile Safety
 Aviation Safety

References

External links
The <mask>, Jr. Collection at the Smithsonian Institution
Prime Movers, an essay on <mask> Jr. by <mask>
America on the Move, a National Museum of American History exhibition resource

1899 births
1980 deaths
Engineers from Maryland
Transport engineers
People from Baltimore
Johns Hopkins University alumni
Smithsonian Institution people
20th-century American engineers
20th-century American inventors

masks:
Charles Adler Jr
Adler
Adler
Adler
Adler
Adler
Adler
Adler
Adler
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Charles Adler
Charles Adler
Charles Cohen


title: Michael Heizer

texts:
<mask> (born 1944) is an American land artist specializing in large-scale and site-specific sculptures. Working largely outside the confines of the traditional art spaces of galleries and museums, <mask> has redefined sculpture in terms of size, mass, gesture, and process. A pioneer of 20th-century land art or Earthworks movement, he is widely recognized for sculptures and environmental structures made with earth-moving equipment, which he began creating in the American West in 1967. He currently lives and works in Hiko, Nevada, and New York City. Work
<mask> began his artistic career in New York in 1966 with a series of geometric canvases painted with PVA latex. The paintings that would follow, characterized by non-traditionally shaped canvases, demonstrate <mask>'s early exploration of positive and negative forms; such harmonies of presence and absence, matter and space, are essential to his art. In Trapezoid Painting (1966) and Track Painting (1967), he emphasizes the perimeters of raw canvases by painting them black, while the white interiors are perceived as negative spaces.These hard-edged "displacement paintings" parallel the immense geometries he achieves when moving earth. The slate grey contours of U Painting (1975), for example, anticipate the shapes of the depressions and angular mounds that appear in his forthcoming project City. In the late 1960s, <mask> left New York City for the deserts of California and Nevada, where he began making his first "negative" sculptures. These works were created by removing earth to shape subterranean negative forms directly into desert floor. Completed in 1967, North, East, South, West, consisted of several geometrically-shaped holes dug in the Sierra Nevada. The following year <mask> completed Nine Nevada Depressions, a series of large negative sculptures located primarily on dry lakes throughout the state, Jean Dry Lake, Black Rock Desert and Massacre Dry Lake, near Vya, Nevada among them. In 1969, <mask> made the series Primitive Dye Paintings, in which white lime powder and concentrated aniline dyes were spread over the dry desert landscape, covering large areas that, when viewed from the air, formed amorphous, organic shapes.The culmination of this critical early period was the creation of Double Negative in 1969, a project for which he displaced 240,000 tons of rock in the Nevada desert, cutting two enormous trenches—each one 50-feet-deep and 30-feet-wide and together spanning 1,500 feet—at the eastern edge of Mormon Mesa near Overton, Nevada. <mask> has since continued his exploration of the dynamics between positive forms and negative space. His Adjacent, Against, Upon (1976) juxtaposes three large granite slabs in different relationships to cast concrete forms; the 30-50 ton granite slabs were quarried in the Cascade Mountain Range and transported by barge and train to Myrtle Edwards Park. For Displaced/Replaced Mass (1969/1977), later installed outside the Marina del Rey, California, home of Roy and Carol Doumani, he planted four granite boulders of different sizes from the High Sierra into lid-less concrete boxes in the earth so that the tops of the rocks are roughly level with the ground. For a 1982 work at the former IBM Building in New York, <mask> sheared off the top of a large rock and cut grooves into the surface before setting it on supports hidden within a stainless steel structure. Designed as a fountain, the boulder appears to float over running water. He called it Levitated Mass, a title he would use again in future.Commissioned by the president of the Ottawa Silica Company, the Effigy Tumuli earthwork in Illinois is composed of five abstract animal earthworks reclaiming the site of an abandoned surface coal mine along the Illinois River; the shapes (1983–85)—a frog, a water strider, a catfish, a turtle, and a snake—reflect the environment of the site, which overlooks the river. In 2012, <mask> completed Levitated Mass (2012). On permanent installation at Los Angeles Museum of Contemporary Art, Levitated Mass is a massive white, diorite boulder (21.5 feet wide and 21.5 feet high) that sits atop a 456-foot-long sloped walkway, allowing viewers to experience the weight of the rock as they walk through the empty space below. It took eleven nights, from February 28 to March 10, 2012, to move the 340-ton rock from Jurupa Valley to the museum. The installation is situated in a field of polished concrete slices, set at a slight angle between the Resnick Pavilion and Sixth Street. <mask> opened the exhibit on June 24, 2012. A feature documentary, also named Levitated Mass, was directed and edited by the filmmaker Doug Pray.It details the making of the sculpture as it relates to <mask>'s career while portraying the boulder's 105-mile journey through Los Angeles and the public’s reaction to its installation. Other recent public artworks by <mask> include Tangential Circular Negative Line in Mauvoisin, Switzerland, commissioned by Fondation Air&Art directed by Jean Maurice Varone, as well as Collapse (1967/2016) and Compression Line (1968/2016) at Glenstone, Potomac, Maryland. In the early 1970s, <mask> began work on City, an enormous complex in the rural desert of Lincoln County, Nevada. His work on the project continues to this day, supported by the Dia Art Foundation through a grant from the Lannan Foundation. City is not yet available to the public. A campaign to have the Basin and Range area around City designated as a national monument to protect it from development took place, and a group of American museums, including the Los Angeles County Museum of Art (LACMA), the Museum of Modern Art, the Institute of Contemporary Art, Boston and the Walker Art Center, have joined together to draw public attention to a petition urging preservation of the area. In July 2015, President Barack Obama signed a proclamation (using his authority under the Antiquities Act of 1906) creating the Basin and Range National Monument on 704,000 acres in Lincoln and Nye counties, an area including <mask>'s City.<mask>'s artworks are represented in museum collections and public spaces worldwide. Major permanent commissions
 Tangential Circular Negative Line (2012), Mauvoisin, Switzerland, an Air&Art Foundation commission directed by Jean Maurice Varone
Levitated Mass (2012),  Resnick Pavilion North Lawn at LACMA (Los Angeles, California)
Effigy Tumuli (1985), Buffalo State Park, Ottawa, Illinois
45 Degrees, 90 Degrees, 180 Degrees (1984), Rice University (Houston, Texas)
Levitated Mass (1982), 590 Madison Avenue, New York. EJM Equities Collection, New York
North, East, South, West (1982), 5th and Flower Streets, Los Angeles

Other works
 Isolated Mass/Circumflex (#2) (1968–72), Nine Nevada Depressions, Menil Collection (Houston, Texas)
 Rift # 1 (1968–72; deteriorated), Nine Nevada Depressions, Massacre Dry Lake, Nevada
 Windows and Matchdrops (1969), seven small rills in the floor in front of the Kunsthalle Düsseldorf entrance, Germany
Displaced/Replaced Mass 1, 2 & 3 (1969), Silver Springs, NV. No longer extant. Double Negative (1969–70), located near Overton, Nevada
Dragged Mass (1971), Detroit Institute of Arts, Detroit
 City (1972, unfinished), Lincoln County, Nevada
 Adjacent, Against, Upon (1976), Myrtle Edwards Park (Seattle, Washington)
 This Equals That (1980; removed), Michigan State Capitol Complex, Lansing, Michigan
 North, East, South, West (1967/2002), Dia:Beacon, Beacon, New York

Exhibitions

In 1968, <mask> was included in Earth Works, the influential group show at Virginia Dwan's gallery, and then in the Whitney Museum painting annual in 1969, where his contribution was a huge photograph of a dye painting in the desert. For his first one-person show, at the Galerie Heiner Friedrich, Munich in 1969, he removed 1,000 tons of earth in a conical shape to create Munich Depression. In 1977, he was included in documenta 6, Kassel.Major exhibitions of his work have been staged at institutions such as the Museum Folkwang, Essen (1979), the Museum of Contemporary Art, Los Angeles (1984), and Fondazione Prada, Milan (1996). Recent gallery exhibitions have been held at Gagosian Gallery. Selected solo exhibitions

1971 <mask>: Photographic and Actual Work. Detroit Institute of Arts, Detroit
1979 <mask>.Museum Folkwang, Essen. Travelled to Rijksmuseum Kroller-Muller, Otterlo, Netherlands. 1984 In Context: <mask>: 45°, 90°, 180°/Geometric Extraction. Museum of Contemporary Art, Los Angeles
1985 45°, 90°, 180°: A Sculpture for Rice University.Libbie Rice Farish Gallery of the School of Architecture, Rice University, Houston
1985 <mask>: Dragged Mass geometric Whitney Museum of American Art, New York
1988 <mask>: New Sculptures. Akira Ikeda Gallery, Tokyo
1996 <mask>: Negative – Positive + Fondazione Prada, Milan
2010 <mask>: Works from the 1960s and 70s. David Zwirner, New York
2012 <mask>: Actual Size. Los Angeles County Museum of Art, Los Angeles
2015 <mask>: Altars. Gagosian Gallery, New York
2016 <mask>. Whitney Museum of American Art, New York
2018 Le Bourget, Paris

Selected group exhibitions

1966 The Annual Invitational Exhibition. Park Place Gallery, New York
1968 Earthworks Dwan Gallery, New York
1968 1968 Annual Exhibition: Contemporary American Sculpture.Whitney Museum of American Art, New York
1969 New Media: New Methods Montclair Art Museum, Montclair, NJ; Organised by Museum of Modern Art, New York. 1969 Op Losse Schroeven: Situaties en Cryptostructuren (Square pegs in round Holes). Stedelijk Museum, Amsterdam. Travelled to: Verborgene Strukturen. Museum Folkwang, Essen. 1969 Live in Your Head: When Attitudes Become Form. Kunsthalle Bern, Bern, Switzerland.Travelled to: Museum Haus Lange, Krefield, West Germany; Institute of Contemporary Arts, London. 1969 Land Art: Long, Flanagan, Oppenheim, Smithson, Boezem, Dibbets, De Maria, Heizer. Fernsehgalerie Gerry Schum, Berlin. Televised April 15, 1969. 1969 1969 Annual Exhibition: Contemporary American Painting. Whitney Museum of American Art, New York
1970 XXXV Esposizione internazionale d’arte di Venezia Venice
1970 Information. Museum of Modern Art, New York
1971 Sixth Guggenheim International Exhibition.Solomon R. Guggenheim Museum, New York
1971 VII Biennale. Parc Floral de Paris, Paris
1973 American Drawings 1963-73. Whitney Museum of American Art, New York
1976 Drawing Now. Museum of Modern Art
1977 Biennial Exhibition. Whitney Museum of American Art, New York, NY. 1977 Documenta 6. Museum Friedericianum, Kassel, Germany.1980 L'Amérique aux Indépendants, 1944-1980 : 91ème Exposition, Société des Artistes Indépendants. Grand Palais, Paris, France. 1984 Collectie Becht. De verzameling Agnes en Frits Becht. Stedelijk Museum, Amsterdam, Netherlands. 1986 Individuals: A Selected History of Contemporary Art, 1945–1986. Museum of Contemporary Art, Los Angeles, CA.1987 American Drawing and Watercolors of the Twentieth Century. Selection from the Whitney Museum of American Art. National Gallery of Art, Washington, D.C.; traveled to The Cleveland Museum of Art, Cleveland, OH. ; Achenbach Foundation, California Palace of the Legion of Honor, San Francisco, CA; Arkansas Arts Center, Little Rock, AR; Whitney Museum of American Art, Stamford, CT.
1987 Photography and Art: Interactions since 1946. Los Angeles County Museum of Art, Los Angeles, CA; traveled to The Museum of Fort Lauderdale, Fort Lauderdale,
1988 Vital Signs: Organic Abstraction from the Permanent Collection. Whitney Museum of American Art. New York, NY
1989 20 Jahre Internationale Kunstmesse Basel.Galerie Hans Mayer, Dusseldorf, Germany. 1990 Pharmakon ’90. Nippon Convention Center, Makuhari Messe, Tokyo, Japan. 1997 47th International Art Exhibition – La Biennale di Venezia. Venice, Italy. 2009 Photoconceptualism, 1966–1973. Whitney Museum of American Art, New York, NY.2010 The Original Copy: Photography of Sculpture, 1839 to Today. The Museum of Modern Art, New York, NY; traveled to Kunsthaus Zürich, Zurich, Switzerland. 2013 When Attitudes Become Form: Bern 1969/Venice 2013. Ca’ Corner della Regina, Fondazione Prada, Venice, Italy. Homages
 Mungo Thomson, Levitating Mass (2012), Aspen, Colorado. Régis Perray, 340 grammes déplacés... during Levitated Mass by <mask> (2012), Nantes, France. Jack Daws, Life on the Farm (Heizer), 2010

See also
 Charmstone (sculpture), Houston

References

External links

 Webpage of <mask> at the Dia Art Foundation
 Levitated Mass (Library of Congress)
 Levitated Mass <mask> in the spotlight of California.(world press review)
 <mask> in the National Gallery of Australia's Kenneth Tyler Collection

1944 births
Living people
Artists from Berkeley, California
Berkeley High School (Berkeley, California) alumni
Land artists
San Francisco Art Institute alumni
Sculptors from California

masks:
Michael Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Heizer
Michael Heizer
Heizer
Heizer
Heizer
Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Michael Heizer
Heizer
Michael Heizer
Michael Heizer


title: John M. Conroy

texts:
<mask> (December 14, 1920 – December 5, 1979) was an American actor, aviator, and later businessman, whose company Aero Spacelines developed the Pregnant Guppy, Super Guppy, and Mini Guppy cargo aircraft. He later founded Conroy Aircraft and Specialized Aircraft in Santa Barbara, California. He died December 5, 1979 of colon cancer. Early years
<mask> was born in Buffalo, New York, later attended high school in Sand Springs, Oklahoma, and studied engineering at St. Gregory's College (St. Gregory's University) in Shawnee, Oklahoma. He hitched a ride on a freight train from Oklahoma to Hollywood, California, where he landed bit parts in films during the years of 1937–1940 under the screen name of <mask>, since <mask> was already taken. Some of the films were with "The Little Tough Guys". He attended the College of Theatre Arts at the Pasadena Playhouse.World War II
In 1940, against the advice of his agent who said "the big parts are coming", he hopped a freighter to Honolulu, Hawaii, where he learned to fly and made his first solo flight in 1940. He was working at Pearl Harbor as a civilian digging underground fuel tanks on Sunday, December 7, 1941. After witnessing the Japanese attack he immediately enlisted in the United States Army Air Forces. In early 1942, just months after his 21st birthday, he was commissioned as a 2nd Lieutenant. "Jack" took flight instruction by Lt. F. D. Clasen in a Vultee BT-13 at Chico Army Air Field, class of '43-D squadron 2. As the pilot of a B-17 was in command of a nine-man crew. He flew his B-17 across the North Atlantic and as part of the 379th Bombardment Group of the 8th Air Force, operating from Kimbolton, England, flew 19 missions over Germany.On his 19th mission, on November 30, 1944, his aircraft was shot down over German farmland. After his crew bailed out, he forced his way out of the nose door, dislocating and fracturing his shoulder and breaking his right arm in the process. He parachuted to earth, landing in a farmer's field somewhere near Zeitz, was captured, interrogated and interned as a prisoner of war at Stalag Luft I, Compound North 3, on the Baltic coast until the end of the war. <mask> remained on active duty with the USAAF until 1948, serving as a special air mission pilot and as an instructor in a Reserve Training Unit. Following an honorable discharge from the service, he spent 12 years as an airline pilot. Record flights

After returning from the war, <mask> continued to fly with non-scheduled airlines and also joined the California Air National Guard, based at the Van Nuys Air Base. On May 21, 1955, <mask>, then a 1st Lieutenant attached to the 115th Fighter Interceptor Squadron, completed "Operation Boomerang".This involved flying from coast-to-coast and back in one day during daylight hours. He flew an F-86A Sabre from Van Nuys to Floyd Bennett Field, New York, and returned using fuel stops both ways, setting a record of 5058 miles in 11 hours, 26 minutes, 33 seconds (442.0 mph). A decade later in 1965, <mask> and co-pilot Clay Lacy achieved another record-breaking flight in a Learjet. Operation "Sunrise Sunset" completed a round-trip flight from Los Angeles to New York and back, the first time a business jet made a round-trip flight across the U.S. between sunrise and sunset on the same day. The Pregnant Guppy – Aero Spacelines
The Pregnant Guppy had a humble beginning on the proverbial cocktail napkin. One evening <mask>, <mask> and others were discussing the problems NASA were having transporting the rocket booster stages aboard ships through the Panama Canal and the Gulf of Mexico. <mask> had recently purchased several surplus Boeing 377 Stratocruisers but was not really sure what to do with them.<mask> believed that they could take one of the Stratocruisers, enlarge the fuselage enough to hold a rocket booster and contract with NASA to fly the boosters from California to Cape Canaveral, Florida. <mask> and <mask>dorf founded a company, Aero Spacelines, to pursue the project. <mask>'s drive to build the aircraft was so great, that when financing ran out, he did not: "Conditions reached the point where <mask> no longer owned his house, cars, or furnishings." By flying the Guppy on borrowed aviation gasoline to the Marshall Space Flight Center, <mask> was able to test fly the aircraft with Wernher von Braun. On the basis of the test flights, contract negotiations with NASA began in earnest. The "Pregnant Guppy" first flew on September 19, 1962, piloted by <mask> and co-pilot Clay Lacy. When Van Nuys air traffic control realized that <mask> intended to take off, they alerted police and fire departments to be on alert.However the huge aircraft performed flawlessly, the only difference in handling being a slight decrease in speed caused by extra drag of the larger fuselage. Wernher von Braun stated that "The Guppy was the single most important piece of equipment to put a man on the Moon in the decade of the 1960s." <mask> then developed the Super Guppy, which first flew on August 31, 1965, in Van Nuys. The Mini Guppy was built in Santa Barbara, California, and was christened "Spirit of Santa Barbara", on May 24, 1967. Two days later, the Mini Guppy was carrying cargo to the Paris Air Show, where in 1967, <mask> was awarded the "Medal of Paris" for the greatest contribution to aerospace for the prior two-year period for the Guppy aircraft. <mask> was the founder and president of Aero Spacelines, a subsidiary of Unexcelled, Inc. until he resigned in August 1967. Conroy Aircraft
In 1968 he started Conroy Aircraft at Santa Barbara Airport.He developed the Conroy Skymonster, a turboprop Canadair CL-44, designated the CL-44-O, the Conroy Turbo Albatross, <mask> Stolifter (turboprop Cessna 337 Skymaster), and the Conroy Turbo Three (turboprop DC-3). At this time he had acquired more that 20,000 hours flying time. A week after the first flight of the "Turbo-Three" (N4700C), he flew it to the 1969 Paris Air Show. The company was dissolved in 1972. The CL-44-O is currently at Bournemouth Airport, England. Specialized Aircraft
In 1972 he started Specialized Aircraft, originally known as Turbo-Three Corporation, in Santa Barbara. In 1974 the company proposed the Conroy Virtus to NASA for use as a Space Shuttle carrier aircraft, however it was rejected in favor of the Shuttle Carrier Aircraft.In 1976 the company relocated to Camarillo Airport in Camarillo, California, and developed the Conroy Tri-Turbo-Three which was used on contract with Polair Research. He christened this aircraft "The Spirit of Hope" for the City of Hope Hospital in Duarte, California, where he had been receiving treatment. This Tri-Turbo Three, N23SA, was used in 1984 to transport eight business people, members of the Seven Summits organization, plus three crew members to the Antarctic. Awards
 In 1967, <mask><mask> was awarded the "Medal of Paris" for the greatest contribution to aerospace for the prior two-year period for the Guppy aircraft. In 1973, <mask><mask>, "Guppy", was awarded the Character of the Year Award by the International Order of Characters. Film credits
A Shot in the Dark (1941) — Messenger boy
High School (1940) aka The Texas Kid — Boy
A Fugitive from Justice (1940) a.k.a. Million Dollar Fugitive a.k.a.Waiting for Lepke — Office boy
An Angel from Texas (1940) — Newsboy
Castle on the Hudson (1940) — Newsboy
Brother Rat and a Baby (1940) — Bellboy
Four Wives (1939) — Florist boy
First Offenders (1939) — Tony
Newsboys' Home (1938) — Newsboy

References
Notes

Bibliography

Further reading

External links

1920 births
1979 deaths
Male actors from Buffalo, New York
Aircraft designers
United States Army Air Forces pilots of World War II
World War II prisoners of war held by Germany
American prisoners of war in World War II
Recipients of the Distinguished Service Cross (United States)
Recipients of the Air Medal
St. Gregory's University alumni
20th-century American male actors
American aviation record holders
Commercial aviators

masks:
John Michael Conroy
Conroy
Michael Conroy
John Conroy
Conroy
Conroy
Conroy
Conroy
Conroy
Lee Mansdorf
Mansdorf
Conroy
Conroy
Mans
Conroy
Conroy
Conroy
Jack Conroy
Conroy
Conroy
Conroy
Conroy
Conroy
John M
. Conroy
John M
. Conroy


title: Silvia Corzo

texts:
<mask> (born October 30, 1973 in Bucaramanga, Santander) is a Colombian lawyer and presenter. Biography
Her parents are <mask> and Irene Pinto. After finishing high school, Corzo studied at the Universidad Autónoma de Bucaramanga, where she majored in Law. In 1995, during her fifth and final year of college, her family signed her up for the Señorita Santander ("Miss Santander") beauty contest, where she was the runner-up. She considers that if she had won, she would not have finished her college studies, but would have become a model, an actress or a housewife. According to her, she has always fancied working in the media and, although she has worked as a lawyer, she prefers human rights issues because she does not consider herself good at litigating. Media career

After graduating from college, Corzo hosted a radio show about human rights on the Universidad Industrial de Santander station, while working at the Bucaramanga branch of the National Ombudsman's Office.In 1997, she was offered to host a television show at the then brand new TRO local station. She moved to Cali, after getting married. There, she worked at the Office of the Comptroller of the Department. At the same time, she hosted the Noticiero del Pacífico at Telepacífico on weekends. A new transfer of her then husband took her to Bogotá. Since December 16, 2002, she was one of the news presenters at Noticias Caracol (at the time Caracol Noticias) newscast. At Noticias Caracol, Corzo managed –until early 2007– its health segments (previously in charge by Claudia Palacios, who left for CNN en Español in 2004), and between May 2007 and February 2008, presented the weather forecast at the 07:00 newscast.<mask> left Noticias Caracol for five weeks, but returned on March 12, 2008 at the 22:00 newscast. She was to leave because her son asked her to spend more time with him (see Personal life below), but according to one source, the network was flooded with calls from viewers asking for her return. Since April 18, 2009, she hosted En todo su derecho, a specialized section on law, broadcast Saturdays and Sundays at the 12:30 newscast. In October 2009, after a brief contractual dispute, she was moved to the 12:30 weekday newscast and started to present the Código Caracol section for the 19:00 newscast. On late 2006 she co-hosted El mundo hoy, a newscast produced in Colombia and broadcast by the Caracol TV-owned, Key West, Florida-based WGEN-TV station. <mask> co-hosted the newsmagazine Séptimo día, with Manuel Teodoro, since June 10, 2007 until April 2011. She also worked as a legal adviser for Caracol TV.In March 2011, <mask> announced, through her Twitter account, she would replace María Cristina Uribe as presenter of Canal Uno's Noticias Uno since June 2011. Her contract with Caracol TV expired late April 2011. On June 4, 2011, <mask> debuted on Noticias Uno. On December 28, 2014, <mask> presented her last edition of Noticias Uno. In January 2015, she joined RCN Televisión to be both presenter and interviewer of a premiered newsmagazine named "Cuatro Caminos" (literally, The Four Paths), which showed different ways of journalism such as special reports, chronicles, and interviews. She was accompanied by journalists Diego Fajardo and Diana Salinas, and photographer Mauricio Vélez (her current couple). Vélez was later replaced by newsman Felipe Arias.Since August 10, 2015, <mask> became main anchorwoman of the primetime edition of Noticias RCN, replacing Vicky Davila. On April 30, 2016, the news of her irrevocable resignation (apparently due to health problems) was spread by social networks and confirmed hours later. Awards and acknowledgements
In 2004, she was nominated as the Female News Personality of the Year at the Premio INTE, because of her "warmness and reliability", and in 2005 she was awarded with the Premio Canal Caracol to the best female newscaster. In December 2006, she received the Orquídea award to the best female newsreader in Miami. In October 2007, she won a "special mention" in the category for best TV feature or report at the Premio Nacional de Periodismo Simón Bolívar. In November 2007, Corzo shared, with psychiatrist Lucrecia Ramírez, marine biologist Sandra Bessudo, and golfer María José Uribe, a TAG Heuer-sponsored acknowledgement. In 2011, 2013, 2014 and 2016, <mask> was nominated to the India Catalina awards, winning the prize in 2014 as Best News Presenter.In 2016, she was also nominated to the TV y Novelas awards, as Best News Presenter. Personal life
<mask> divorced her first husband; she remarried in December 2006. She divorced again in June 2008. She lives with her son Pablo in Bogotá. Between mid 2015 and the last quarter of 2016, her couple was the photographer Mauricio Vélez. In 2007, Corzo joined a campaign to raise breast cancer awareness, with another Colombian television personalities. In two interviews, Corzo said she joined the campaign because three of her relatives had suffered it.During that same year, she developed the chronic fatigue syndrome, condition of which Corzo was able to overcome very quickly. <mask> stated in an interview that she left Noticias Caracol early 2008 because her son asked her to spend more time with him, and that the network was understanding and supportive of her decision. She stood with the network as a legal adviser / lawyer, presented the Noticias Caracol 12:30 newscast plus Código Caracol on weeknights, the En todo su derecho section on weekends, and continued co-hosting Séptimo día on sundays. In May 2010 she answered a short interview as a part of the special edition  Celebrity Moms issued by the colombian version of Playboy magazine. However at the year end, and to avoid a CFS relapse she took a leave of 2 months. At this time she also was treated for kidney stones. In 2011, she took a brief rest before her debut on Noticias Uno.In November 2012, <mask> participated in a special bikeway parade sponsored by the United Nations's campaign on violence against women, in which were invited several female celebrities of the Colombian show business. References

External links

 Profile – Séptimo día
 Profile – Séptimo día (gentv)
Twitter profile
 Silvia Corzo Fan Club

1973 births
Living people
Colombian television journalists
Colombian women journalists
Colombian television presenters
People with chronic fatigue syndrome
Women television journalists
Colombian women television presenters

masks:
Sivia Milena Corzo Pinto
Mario Corzo
Corzo
Corzo
Corzo
Corzo
Corzo
Corzo
Corzo
Corzo
Corzo
Corzo


title: Olga Peretyatko

texts:
<mask>na <mask> (; born 21 May 1980) is a Russian operatic soprano. She has been known for lyric and coloratura soprano roles, most notably in operas by Rossini and Mozart. In recent years, she has been taking up heavier and more lyrical roles. She embarked her professional career in Hamburg State Opera's Young Artists' Program and at the Rossini Opera Festival with her collaboration with Alberto Zedda. Following winning second prize in Plácido Domingo's Operalia in 2007, she made her Parisian debut at the Théâtre des Champs-Élysées. She was noticed internationally after performing the title role in Stravinsky's The Nightingale in 2009. She has been performing on leading stages since; she made her Vienna State Opera debut in 2013, and Metropolitan Opera debut in 2014.Life and career

Early life
<mask> was born in Leningrad on 21 May 1980. Her mother is an economist while her Ukrainian father, Alexander, is a baritone singer. He sings in the choir of the Mariinsky Theatre instead of pursuing a solo career due to her birth. She briefly learned violin when she was 5 before turning to piano. After her parents' divorce when she was 7, she moved to Visaginas, in the Lithuanian SSR, to live with her mother, during the years of which she earned red-belt in karate. In 1995 she returned to her native city to live with her father. She then joined the Mariinsky Children's Choir, singing second alto, meanwhile studying choral conducting at the Saint Petersburg Conservatory.Contrary to the initial perception and her intention as a mezzo-soprano, she transitioned to soprano when starting private studies with Larisa Gogolevskaya in 2000. She named Joan Sutherland as her inspiration. She travelled to Berlin in 2001 on her first trip to the West. Impressed, the following year she auditioned and was admitted into the Hochschule für Musik Hanns Eisler Berlin, where she studied under Brenda Mitchell. Due to language constraints, she chose her for her being the seemingly only anglophone teacher available. At the Hochschule, she had her first stage experience with Queen of the Night (The Magic Flute), and subsequently Zerbinetta (Ariadne auf Naxos), Belinda (Dido and Aeneas), Konstanze (Die Entführung aus dem Serail). During her studies, she sought university students who wanted to learn Russian and would offer German in return, to overcome her language barrier, and teamed up with a string quartet performing concerts at hospitals and retirement homes for extra living budget.The experience inspired her to take singing seriously. Career first steps
After three years of studies, <mask> decided to gain professional experience and only graduated in 2009. Her first engagement was in 2004, as Theofane in Harry Kupfer's production of Handel's Ottone at the Kammeroper Schloss Rheinsberg. In 2005, after performing in Rossini's L'occasione fa il ladro at the Saalbau Neukölln Berlin, she was invited to Rossini in Wildbad by its manager in Meyerbeer's Semiramide riconosciuta conducted by Richard Bonynge. From 2005 to 2007, she participated in the Young Artists' Program of the Hamburg State Opera, where she sang roles such as Papagena (The Magic Flute), Marie (Zar und Zimmermann), Oberto (Alcina), Barbarina (The Marriage of Figaro). She participated Alberto Zedda's Accademia Rossiniana in 2006, performing in Il viaggio a Reims (Contessa di Folleville) at the Rossini Opera Festival. Recognizing her lyric soprano potential, Zedda also assigned her the role of Corinna in different performances of the run.She became a frequent guest singer at the Festival, performing Desdemona (Otello, 2007), Giulia (La scala di seta, 2009), Aldamira (Sigismondo, 2010), and the title role in Matilde di Shabran (2012). In 2007, she made her Berlin State Opera debut as a Flowermaiden in Wagner's Parsifal, and performed Olympia in The Tales of Hoffmann at the Komische Oper Berlin. Career rise
<mask> won second prize at 2007 Operalia. Recognised by Dominique Meyer, she was invited to perform in Stravinsky's The Rake's Progress (Anne Trulove) later in November at the Théâtre des Champs-Élysées, where she would later return for Susanna (The Marriage of Figaro, 2009), and concert performances of Giulietta (I Capuleti e i Montecchi, 2011) and Elvira (I puritani, 2012). She had two engagements at the Palau de les Arts Reina Sofía in 2007/08: the Voice from Heaven in Verdi's Don Carlo conducted by Lorin Maazel, and the Forest Bird in Wagner's Siegfried conducted by Zubin Mehta. In 2008, she sang her first Gilda in Rigoletto at the Teatro Rojas in Toledo, followed by later performances in Lübeck, Bologna, Venice, and Avenches. Other performances included Adele in Die Fledermaus (Lyon), Sofia in Il signor Bruschino (Graz), Fiakermilli in Arabella (Lübeck).She performed at the 2010 edition of La Folle Journée in Nantes in a concert with Sinfonia Varsovia, and Strauss' Four Last Songs in the following edition. <mask> gained international attention for the title role in Robert Lepage's production of Stravinsky's The Nightingale, which premiered in 2009 at the Canadian Opera Company then presented at the 2010 Aix-en-Provence Festival and subsequently at the Opéra de Lyon, the Brooklyn Academy of Music in New York and De Nederlandse Opera in Amsterdam. She made her Lausanne Opera debut in Rossini's Otello in 2010, and returned in 2012 for Handel's Alcina, and L'elisir d'amore. She received acclaim for her rendition of Mozart roles, including Blonde in Die Entführung aus dem Serail at the Liceu and Susanna in Florence. The years 2011/12 saw her debuts in some major roles in her career: Adina in L'elisir d'amore in Lille, Lucia in Lucia di Lammermoor in Palermo, and Fiorilla in Il turco in Italia in Amsterdam. In 2012, she sang Adina in Baden-Baden and Lucia at the Deutsche Oper Berlin, and performed in Carmina Burana under Paavo Järvi at the Rheingau Musik Festival. In 2013, she participated in a run of Lucio Silla conducted by Marc Minkowski as Giunia presented at the Mozartwoche, Salzburg Festival, and Musikfest Bremen.She made her Vienna State Opera debut in Gilda, the role she later performed at the Verona Arena, and her Zürich Opera House debut. She returned to the Hamburg State Opera for L'elisir d'amore, in September for Zerbinetta in Ariadne auf Naxos. She was featured as Marfa in the premiere of Dmitri Tcherniakov's production of The Tsar's Bride at the Berlin State Opera, and later at La Scala. She returned to Russia for a solo concert on 26 November 2013 in Moscow with the Russian National Orchestra. In 2014, she made her Metropolitan Opera debut, where she signed for Fiakermilli in Arabella in 2009, but switched to Elvira in I puritani in 2012 for her increasing fame. Apart from engagements as Adina, she performed Fiorilla in a new production at the Aix-en-Provence Festival, and in a revival in Munich. She was featured in the 2014 Concert de Paris, in Bruckner's Te Deum at the Salzburg Festival, and Tancredi in concert form conducted by Alberto Zedda, as well as Montreal Symphony Orchestra's Asian tour.Mid-career
<mask> debuted to rave reviews as Violetta in La traviata at the Lausanne Opera in February 2015, followed by a new production of the same title at the Festspielhaus Baden-Baden. She returned to the Vienna State Opera for I puritani, which she then sang at the Teatro Regio in Turin. She returned to La Scala for Rossini's Otello, and performed in L'elisir d'amore at the Tivoli Concert Hall in Copenhagen and La Monnaie in Brussels. She returned to the Metropolitan Opera for Rigoletto, followed by engagements in the same opera through the season, including revivals at the Teatro Real in Madrid, Vienna State Opera, and a new production at the Opéra Bastille. In 2016, she opened the Vienna Opera Ball together with Plácido Domingo, and performed in Saint Petersburg: Mariinsky Theatre debut in La traviata, and Classics at the Palace Square, concert celebrating the founding of the city. In summer, she returned to the Rossini Opera Festival for Il turco in Italia. Later in the year, she performed in Mozart roles: Donna Anna in Don Giovanni (Berlin State Opera), and Konstanze in Die Entführung (Deutsche Oper Berlin, Zürich Opera House, Théâtre des Champs-Élysées).In 2017, she returned to the Metropolitan Opera for Rigoletto and stepped into a performance of La traviata at short notice. She performed in Lucia di Lammermoor at the New National Theatre Tokyo, and La traviata at the Bolshoi Theatre. In summer, she returned to Berlin State Opera for her first Leïla in Bizet's Les pêcheurs de perles in Wim Wenders's take, conducted by Daniel Barenboim. In 2019, she debuted at The Royal Opera, London, in the role of Norina in Don Pasquale. She debuted in Australia in two concert performances of Donizetti's Maria Stuarda at the Sydney Opera House in March 2022. Personal life
<mask> first lived in Prenzlauer Berg during studies, followed by Nollendorfplatz, where she remained residence. In 2018, she took up residence in Lucerne.<mask> met conductor Michele Mariotti while working on Rossini's Sigismondo in 2010. They married in August 2012. On 29 June 2018 she announced on Facebook the filing of divorce and withdrawal from the upcoming production of Don Giovanni at the Teatro Comunale di Bologna which was conducted by her ex-husband. She then started a relationship with Grigory Shkarupa, fellow Russian bass singer. They married on 26 August 2020 in Saint Petersburg. She gave birth to her daughter Maya on 27 January 2021. Label: Naxos (Naxos Series: Opera Classics), catalogue no: 8.660205-06
2008: La donna del lago, Rossini.Label: Naxos, catalogue no: 8.660235-36
2011: La bellezza del canto, Münchner Rundfunkorchester, Miguel Gómez-Martínez, first solo recital CD (Sony)
2014: Arabesque, NDR Sinfonieorchester, Enrique Mazzola (Sony)
2015: Rossini!, Orchestra del Teatro Comunale di Bologna, Alberto Zedda (Sony)
2017: Russian Light, Ural Philharmonic Orchestra, Dmitry Liss (Sony)
2019: Mozart+, Ivor Bolton, Sinfonieorchester Basel (Sony)

Documentary
 <mask>ko: My Love for Rossini (2016). directed by Gabriele Cazzola. Reference

External links

 <mask> at Sony Classical
 <mask>atko at Bolshoi Theatre

1980 births
Living people
Singers from Saint Petersburg
Russian operatic sopranos
Operalia, The World Opera Competition prize-winners
Sony Classical Records artists
Hochschule für Musik Hanns Eisler Berlin alumni
Saint Petersburg Conservatory alumni
Russian people of Ukrainian descent
Russian expatriates in Germany
21st-century Russian women opera singers

masks:
Olga Alexandrov
Peretyatko
Peretyatko
Peretyatko
Peretyatko
Peretyatko
Peretyatko
Peretyatko
Peretyatko
Olga Peretyat
Olga Peretyatko
Olga Perety


title: Frederick Converse

texts:
<mask> (January 5, 1871 – June 8, 1940), was an American composer of classical music, whose works include four operas and five symphonies. Life and career
<mask> was born in Newton, Massachusetts, the son of Edmund Winchester and Charlotte Augusta (Shepherd<mask>. His father was a successful merchant, and president of the National Tube Works and the Conanicut Mills. <mask>'s higher education was at Harvard College, where he came under the influence of the composer John K. Paine. <mask> had already received instruction in piano playing, and the study of musical theory was a most important part of his college course. Upon his graduation in 1893, his violin sonata (op. 1) was performed and won him highest honors in music.After six months of business life, for which his father had intended him, he returned to the study of composing, Carl Baermann being his teacher in piano, and George W. Chadwick in composition. He then spent two years at the Royal Academy of Music in Munich, where he studied with Joseph Rheinberger, completing the course in 1898. His Symphony in D minor had its first performance on the occasion of his graduation. During 1899–1902, <mask> taught harmony at the New England Conservatory of Music in Boston. He then joined the faculty of Harvard University as instructor in music, and was appointed assistant professor in 1905. Two years later he resigned, and afterwards devoted himself exclusively to composition. Among <mask>'s notable students were Alan Hovhaness (1911–2000), Florence Price (1888–1953), and Hisato Ohzawa (1907-1953).He died in Westwood, Massachusetts. Family
He married, 6 June 1894, Emma Tudor, daughter of Frederic Tudor of Brookline, Massachusetts. They had seven children, including five daughters. Compositions
Even though he was firmly committed to composing in the late Romantic idiom of his European contemporaries, his works often dealt with American subjects. The lush orchestral scoring of his program music has been compared to the early style of Richard Strauss. In 1910, <mask>'s opera The Pipe of Desire became the first American work ever to be performed at the Metropolitan Opera in New York. Today, <mask> is best known for his symphonic poem The Mystic Trumpeter (1904), based on the poem of the same name from Walt Whitman's iconic anthology, Leaves of Grass.With opus number
 Sonata for violin and piano, Op. 1 (pub. 1900)
 Suite for piano Op. 2
 String quartet No. 1, Op. 3
 Waltzes for piano 4-hands Op. 4
 Valzer poetici, Op.5, for piano 4-hands (1896)
 Youth, Op.6, concert overture for orchestra
 Symphony in D minor, Op. 7 (not counted by Converse with his later symphonies)
 Festival of Pan, Op. 9 (first performed by the Boston Symphony Orch., 1899, and by the Queen's Hall Orch. in London, England, 1905.) Endymion's Narrative, Op. 10
 Night and Day, Op. 11, two poems for piano and orchestra, suggested by verses by Whitman
 La Belle Dame sans Merci, Op.12, ballad for baritone and orchestra (words by Keats)
 Violin concerto, Op. 13
 Euphrosyne, concert overture for orchestra, Op. 16
 String Quartet No. 2, Op. 18 (1905), dedicated to the Kneisel Quartet
 The Mystic Trumpeter, Op. 19, orchestral fantasy after Whitman (1904)
 Iolan or The Pipe of Desire, Op. 21, romantic opera in one act, text by George Edward Barton.It has a legendary subject, of Celtic origin, based upon the mingling of the old pagan nature worship and the incoming Christian morality. The story rests upon the principle that man may force the way of his desires against the divine order but that he pays the penalty. The work is an avowed fantasy. First produced January 31, 1906, Jordan Hall, Boston, Massachusetts in 1906, and in 1909 was the first opera by an American composer to be presented at the 'old' Metropolitan Opera House. Laudate Domine, Op. 22, motet for male chorus, organ, and brasses
 Jeanne d'Arc Op. 23, overture, entr'actes and incidental music to Percy MacKaye's play
 Job, Op.24, a dramatic poem for solo voices, chorus and orchestra
 Serenade, Op. 25, for soprano solo, male chorus, and small orchestra
 Hagar in der Wüste, Op. 26, dramatic narrative for contralto and orchestra
 The Sacrifice, Op. 27, opera in three acts (1910), book by <mask>, lyrics by John Albert Macy after Los Gringos, or an Interior View of Mexico and California, with Wanderings in Peru, Chile, and Polynesia by Lieutenant Henry Augustus Wise, writing as "Harry Gringo". The scene is laid in California at the time of the Mexican War, and the characters, some of whom are Americans, enact a modern tragedy. Three songs for medium voice, Op. 28
 Melody for violin and piano, Op.29
 Ormazd, Op. 30, symphonic poem for full orchestra

<mask> stopped numbering his works after Op. 30 except for the arrangement for band of Laudate Domine (Op. 32), My wish (Op. 61), and Haul Away, Joe!, Op. 91. Without opus number
 Symphony in C minor (written 1919)
 Symphony in E minor (fp 1923)
 Symphony in F major (written 1934)
 Symphony in F minor (completed March 1940)
———
 Sonata for cello & piano
 Silent Noon, reverie for cello and piano (1906)
 Beauty and the Beast, or Sinbad the Sailor, His Adventures with Beauty and the Peacock Lady in the Castle of the Forty Thieves, opera, libretto by Percy MacKaye (1913) (unperformed)
 The Immigrants, opera, libretto by Percy MacKaye (composed 1914) (Planned for the Boston Opera Company's 1914-15 season but unperformed because of the collapse of the company)
 Song of the World Adventurers, words by Percy MacKaye, chorus for mixed voices (part of the Music for the Masque of St. Louis (pub.1914)
 The Peace Pipe, cantata for baritone solo, chorus and orchestra, words from Hiawatha by Henry Wadsworth Longfellow (1915)
 Flivver Ten Million  (A Joyous Epic Inspired by the Familiar Legend "The Ten Millionth Ford is Now Serving Its Owner"), tone poem for orchestra (1927)
 American Sketches, for orchestra
 Manhattan - The Father of Waters - Chicken Reel - Bright Angel Trail
 Tone poem Prophecy, biblical symphony commissioned by Serge Koussevitsky, written for the Boston Symphony Orchestra and Russian soprano Beata Malkin and dedicated to her (1932). Piano Sonata No. 1 (1937)
 Rhapsody for clarinet and orchestra (1938)

References
Citations

Sources

Kennedy, Michael (2006), The Oxford Dictionary of Music, 985 pages,

External links

 Liner Notes for Naxos CD 8.559116
 List of composers performed and unperformed operas at USOpera.com

1871 births
1940 deaths
19th-century American composers
19th-century classical composers
20th-century classical composers
American male classical composers
American Romantic composers
Harvard College alumni
University of Music and Performing Arts Munich alumni
Musicians from Newton, Massachusetts
Pupils of George Whitefield Chadwick
Pupils of John Knowles Paine
Pupils of Josef Rheinberger
20th-century American composers
Classical musicians from Massachusetts
20th-century American male musicians
19th-century American male musicians
Members of the American Academy of Arts and Letters

masks:
Frederick Shepherd Converse
Converse
) Converse
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title: Rajatava Dutta

texts:
<mask> (রজতাভ দত্ত) (born 11 August 1967) is an Indian actor who works in Bengali, Hindi and English films. He is popular as a judge on the Zee Bangla reality show Mirakkel. He is also popular for his negative lead roles in Boss, MLA Fatakesto, Barud, Paglu, Yuddho, Challenge, Rasta, Kanamachi etc. Apart from playing negative roles, he has also received praise for playing positive roles in films Paromitar Ekdin, Aschorjo Prodip,  Open Tee Bioscope and web-series Byadh. Early life
From Ballygunge Government High School <mask> passed Madhyamik in 1983, passed Higher Secondary from Goenka College of Commerce and Business Administration in 1985 and graduated from Netaji Nagar College in 1987.
good actor

Career
<mask> has been working as a theatre artist since 1987. He has started his work in the theatre group Antarmukh under Soumitra Basu (1987–1990). After that in Ushnik with Ishita Mukherjee (1990–1993).In Swapnosandhani with Kaushik Sen (1993–1995) (1996–1997) (2011–2016). In Gandhar with Ashit Mukhopadhyay (1994) with Dwijen Banarjee (1995), in Natyoanon with Chandan Sen (1997–2000) in Ansambal with Sohag Sen (1997–2001),
In Calcutta Performers with Tamal Roy Chowdhury (2001–2002), in Sangsriti with Debesh Chattopadhyay (2002–1018). In Lokokristi With Falguni Chatterjee (2004–2006), In Vupen Bose Avenue Chorus with Amitava <mask> (2014–2018) and In Natyoshala with Rana Basu (2016–2018). In the film industry he started his career as a junior artist. He has got BFJA Awards in 2001 for Paromitar Ekdin in the category best actor in a supporting role and Anandalok Awards in 2006 for the movie M.L.A. Fatakesto for the category best villain.

masks:
Rajatava Dutta
Rajatava
Rajatava
Dutta


title: Adela Noriega

texts:
<mask> (; born October 24, 1969), professionally known as <mask>, is a retired Mexican actress. She came to prominence after starring in many teen-oriented coming-of-age telenovelas produced by Televisa, including Quinceañera (1987–1988) and Dulce desafío (1988–1989). Some of her most notable works include María Bonita (1995–1996), María Isabel (1997–1998), El Privilegio de Amar (1998–1999), El Manantial (2001–2002), Amor real (2003), La esposa virgen (2005) and Fuego en la sangre (2008). Noriega's success as a leading lady has led her to be known as one of the "Queens" of the genre. Early life
<mask> was born on October 24, 1969, in Mexico City, Mexico. Her father died when she was in her early adolescence and her mother died in 1995, after a battle with cancer. She has two siblings; an older sister, Reyna, and a younger brother, Alejandro,

Career

Career beginnings
Noriega was discovered as a child, at the age of twelve she was scouted in a shopping centre while she was walking with her mother.Shortly after, she began to work as a fashion model and started appearing in TV commercials and music videos. After being spotted on a shooting of a commercial by Patty de Llano, wife of the producer Luis de Llano Macedo, she began working as a teen actress. She made her television debut at the age of fourteen in the telenovela Principessa and shortly after she participated in Juana Iris. In both shows she interpreted antagonists. She also guest starred on the comic show Cachún cachún ra ra! for a few years. Stardom
<mask> made her debut as a leading actress in 1986, at the age of sixteen, when she was cast for her first lead role in Yesenia, a historical telenovela.The telenovela was adapted from Yolanda Vargas Dulché's comic book of the same name, which centers around a young Romani woman and her caravan. From then on she began to work solely as a leading actress of many successful telenovelas with an international distribution. She rose to greater prominence in 1987 when she obtained the leading role in the iconic Quinceañera, telenovela portraying coming-of-age topics. Quinceañera was the first telenovela that geared towards adolescents and revealed the problems they face in this transitional period from childhood to adulthood. Topics such as substance abuse, date rape, teenage pregnancy, juvenile delinquency, gangs and self-acceptance were being explored for the first time in this genre. This teen classic had a great impact in Mexico and other countries worldwide. In 2008, it was included on the Associated Press' "10 Most Influential Telenovelas of Latin America" list, "because it represented a precedent in this genre and has had an influence on the collective imaginary."One year after, she returned to television in another successful teen-oriented telenovela; Dulce desafío, directed by Arturo Ripstein. In this teen drama, she played the central character, Lucero Sandoval, a teenage girl who rebels against her emotionally distant father and gets romantically involved with her teacher (Eduardo Yáñez). Continued success
Noriega obtained a contract with the rival network Telemundo in 1993 and played the leading role in Guadalupe. For signing a contract with a different company, she was banned from her previous network, Televisa. Guadalupe resulted to be an international success and was well received in the Arab world to such an extent that she was invited to be the guest of honour of the King of Morocco in 1994. In 1995, she moved to Colombia and joined RTI, starring in María Bonita, where she interpreted the title character, a singer who stays trapped on a Caribbean island. She returned to Televisa in 1997 and collaborated with the producer Carla Estrada in four consecutive productions.The same year, she appeared as the lead character of María Isabel, interpreting a young indigenous woman faced with discrimination and lack of opportunities because of her origin. The telenovela  presented the iconography  of the tribe Huichol, based on indigenous folk beliefs and traditional symbols, and dealt with racial, cultural and class themes. For her characterization of the lead female character, <mask> received TVyNovelas Award for "Best Young Actress in a Leading Role". A year later, she starred in El privilegio de amar, adaptation of Cristal, opposite Helena Rojo in a story that revolved around the world of fashion industry and show business. El privilegio de amar is officially the highest-rated television program in Mexico to date, according to IBOPE. The show was internationally successful as well. In 2001, she starred in El Manantial, under the direction of Mónica Miguel and Adriana Barraza, co-starring Mauricio Islas.For her performance as the lead female character Alfonsina Valdes Rivero, she received another TVyNovelas Award, among others. She returned to television in 2003, in the highly acclaimed historical telenovela, Amor real, in a story that was set in the Mexican post-independence period of the mid-19th century. This costume drama registered very high records of audience in Mexico and at the time of its airing on Univision, it occasionally managed to beat leading U.S. networks in the ratings. In 2005, Amor real was released on DVD and due to its success, it became the first telenovela to be released with English subtitles. Noriega received various recognitions for her portrayal of the aristocrat, Matilde Peñalver y  Beristáin. In 2005, she portrayed the leading character of the telenovela La esposa virgen, opposite Jorge Salinas. The telenovela was an adaptation of Caridad Bravo Adams' novel, Tormenta de pasiones.Her most recent starring role was as the lead female character Sofía Elizondo in the telenovela Fuego en la sangre, from 2008. Despite receiving mostly bad reviews, the telenovela was a big success in Mexico and the U.S.

Filmography

Films

Television

Music videos

Awards and honours

<mask> has been honoured with multiple awards for her work in the television industry, and the wide acceptance of her work throughout the years has established her reputation as a "Telenovela Queen". References

External links

1969 births
Living people
Actresses from Mexico City
Mexican child actresses
Mexican film actresses
Mexican telenovela actresses
Mexican television actresses
Mexican television personalities
Mexican female models

masks:
Adela Amalia Noriega Méndez
Adela Noriega
Adela Amalia Noriega Méndez
Noriega
Noriega
Noriega


title: Justus van Gent

texts:
<mask> or <mask> (also: <mask> or Jodocus of Ghent, or Giusto da Guanto) (c. 1410 – c. 1480) was an Early Netherlandish painter who after training and working in Flanders later moved to Italy where he worked for the duke of Urbino. The artist is known for his religious compositions executed in the early Netherlandish idiom and a series of portraits of famous men, which show the influence of early Italian Renaissance painting. Life

Very little is known about the early life of <mask>hove. It is believed that the artist referred to by Vasari and Guicciardini as 'Giusto da Guanto' (i.e. 'Justus of Ghent') is the painter <mask>, who became a member of the Antwerp Guild of St. Luke in 1460 and a freemaster in the Ghent painters' guild in 1464. While in Ghent, he vouched for <mask>, Sanders Bening and <mask> when they entered the local painters' guild. Van Wassenhove seems to have enjoyed an international reputation as in 1467–68 he received payment for the production of 40 coats of arms of the Pope.Van Wassenhove travelled to Rome around 1470. Between 1473 and 1475 he is documented in Urbino, where he operated a workshop. He was one of the court painters of duke Federico da Montefeltro, a leading politician and art patron of the Italian Renaissance. Da Montefeltro gave him the commission for the Communion of the Apostles painted for the brotherhood of the Corpus Domini in Urbino between 1472 and 1474. A portrait of da Montefeltro (with his broken nose in profile) in the company of Caterino Zeno, a Persian envoy to the court of Urbino, is included in the picture. Van Wassenhove participated in the decoration of the ducal residences in Urbino and Gubbio. This included a commission for a portrait series of 'uomini famosi' (famous men) for the study of da Montefeltro (Louvre Museum, Paris and Galleria Nazionale, Urbino).He died around 1480. Work

Two works from the time before he left for Italy have been preserved: the monumental Crucifixion Altarpiece  or Calvary Triptych (in the Saint Bavo Cathedral, Ghent) and the Devotion of the Kings (Metropolitan Museum of Art, New York). The latter painting was possibly commissioned for a convent near Burgos in Spain. For this reason the picture was painted on canvas so it could be rolled up for easy transport. The stage-like space and arrangement of the main figures in two parallel diagonal lines seem to suggest an inspiration by theatre reenactments of the story of the Epiphany. Both these early paintings are characterized by monumentality. The facial features of the figures and colour spectrum are closely related to the oeuvre of <mask> der Goes.The two masters likely worked together before <mask>e left for Rome. There is also a relationship with the work of Dieric Bouts. The Communion of the Apostles (a.k.a. The Institution of the Eucharist, sometimes called The Last Supper) for the Confraternity of Corpus Domini in Urbino shows some adaptations from the characteristically Netherlandish high viewpoint and decoratively organized surface of the Calvary Triptych. Van Wassenhove also increased the size of the figures relative to the picture space. The work cites Dieric Bouts' The Martyrdom of St Erasmus in the figure of the Persian envoy. All other works attributed to Joos <mask>e were painted on commission by Federico da Montefeltro.In the enlarged version of Communion of the Apostles it can be easily seen that Jesus Christ is depicted with light rays originating from his head which is also surrounded by a circular aureola both of which constitute a halo. A series of 28 portraits of Famous men, which are still in existence and part of the collections of the Louvre and the Galleria Nazionale delle Marche in Urbino, have been attributed to Joos <mask>e. There are many arguments for such attribution. The paintings appear to be made by a painter grounded in Netherlandish technique who had become strongly influenced by Italian painting. In addition, in his biography of Federico da Montefeltro, his former librarian, Vespasiano da Bisticci, attests that <mask>hove made the series of 28 portraits of Famous men. Technological examination of the Famous men has revealed similarities of these works with the other important earlier commission that <mask>hove completed for the duke in Urbino, i.e. the Communion of the Apostles.The underdrawing showed that there was stylistic continuity between these works. The examination also disclosed a number of changes in composition and execution, which may point to a reworking by another artist. The attribution to <mask>hove of some or all of the works in the Famous men series has not received unanimous support. Various other artists have been proposed as the author of the Famous men series, of whom the Spanish painter Pedro Berruguete has received the strongest support. The case for Berruguete rests on various arguments including the mention of a 'Pietro Spagnuolo pittore' in Urbino in 1477, a reference to the Famous men by Pablo de Cespedes dating from 1604, which could be regarded as an attribution to Berruguete (although Cespedes specifically stated that they were by a Spanish painter 'other' than Berruguete), the depiction of a Spanish-language book in a painting in the series and stylistic similarities with later works of Berruguete. Although the matter of attribution is still unresolved the known pictures of this Spanish artist are inferior in style and technique to those in the Famous men series and are unlikely the work of the same artist. Another hypothesis is that the work was a collaborative effort by the studio of <mask>hove in Urbino, in which Berruguete may have worked as a collaborator.Further attributed to Joos <mask>e are two paintings from a series on the liberal arts: Music and Rhetoric (both at the National Gallery London). Two other paintings from this series were destroyed during World War II. Works
Adoration of the Magi
Calvary Tryptich
Communion of the Apostles
Famous Men
Liberal Arts

References

External links

1410 births
1480 deaths
Early Netherlandish painters
Flemish Renaissance painters
Flemish history painters
Flemish portrait painters

masks:
Justus van Gent
Joos van Wassenhove
Justus
Joos van Wassen
Joos van Wassenhove
Hugo van der Goes
Agnes van den Bossche
Hugo van
van Wassenhov
van Wassenhov
van Wassenhov
van Wassen
van Wassen
van Wassen
van Wassen
van Wassenhov


title: Ursula Günther

texts:
<mask> (15 June 1927 – 20 or 21 November 2006) was a German musicologist specializing in the fourteenth and early fifteenth centuries and the music of Giuseppe Verdi. She coined the term , to categorize the rhythmically complex music that followed . Life
<mask> was born <mask> in Hamburg. After studying piano with D. Kraus and H. E. Riebensahm and music theory with H. Stahmer in Hamburg, she graduated with a music teacher's degree in 1947. From 1948 she studied music with Heinrich Husmann at the University of Hamburg along with other subjects such as art history, German and Romance Literature, philosophy, psychology, and phonetics. In 1957 at Hamburg she wrote a thesis under the tutelage of Heinrich Besseler on the change in style of the French song in the second half of the fourteenth century which built onto the research of Friedrich Ludwig. With financial support from her husband, encouragement from Gilbert Reaney, Armen Carapetyan, and, from 1962, funds from the German Research Foundation, she took the position as a teacher in Ahrensburg in order to finish her habilitation which had been rejected by some German professors.Encouraged also by Oliver Strunk and Nanie Bridgeman, she joined in 1969 the Centre National de la Recherche Scientifique in Paris as attaché de recherche (researcher) and was promoted as chargé de recherche (research fellow) with Jacques Chailley in 1975, where she taught as a lecturer at the Sorbonne from 1969 to 1971 to prepare her "Doctorat d' état" on Verdi's French years. After obtaining her habilitation in Göttingen in 1972 with an edition of motets of the fourteenth century (published in 1965 by A. Carapetayan in CMM 39), she taught one semester as a lecturer in Göttingen before returning to Paris to resume her work as "chargé de recherche". In the summer of 1973 she was a visiting professor at New York University and was subsequently invited to give lectures by numerous American universities such as Princeton, Harvard, Brandeis, Philadelphia, Maryland, Bloomington, UC Davis, and Los Angeles. She was later appointed as chargé de cours (lecturer) by the Free University in Brussels to teach the history of music notation. In 1973, she turned down an offer from Brandeis University and in 1975 took a job as a lecturer at the University of Göttingen. While she continued to teach in Brussels, in 1977 was appointed professor at the University of Göttingen and finally gave up her post at the CNRS. The new University Act of the State of Lower Saxony enabled her to be director of Musicology in Göttingen for some time.In 1977, she held summer courses on Verdi research at Northwestern University at Evanston, Illinois. In 1992, she retired and lived in Ahrensburg near Hamburg, where she died either on 20 November or 21 November 2006. Influence

<mask> coined the term  which classified the music of the late fourteenth century to describe the subtle rhythm reflected in the music of the time. Another field of research was the work of Giuseppe Verdi. She published his opera Don Carlos in an issue with the five-act French original version and also with the four-act Italian version. She published widely, becoming one of the most influential musicologists of the twentieth century. Writings

Fourteenth-century music

"Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14.Jahrhunderts: dargestellt an Virelais, Balladen und Rondeaux von Machaut sowie datierbaren Kantilenensätzen seiner Zeitgenossen und direkten Nachfolger". PhD Diss. Hamburg: University of Hamburg, 1957. 286 pages. University document: Hamburg, defended in the Faculty of Philosophy on 7 December 1957 (not available for circulation). <mask> (ed. ): Zehn datierbare Kompositionen der Ars nova.Schriftenreihe des Musikwissenschaftlichen Instituts der Universität Hamburg 2. Hamburg: Musikwissenschaftliches Institut der Universität Hamburg, 1959. <mask>: "Das Ende der Ars Nova". Die Musikforschung 16 (1963), pp. 105–120. <mask>: "Zur Biographie einiger Komponisten der Ars Subtilior". Archiv für Musikwissenschaft 21 (1964), .<mask> (ed. ): The Motets of the Manuscripts Chantilly, Musée Condé, 564 (olim 1047) and Modena, Biblioteca Estense, α M. 5,24 (olim lat. 568). Corpus Mensurabilis Musicae 39. [n.p. ]: American Institute of Musicology, 1965. <mask> und Ludwig Finscher (eds.): "Aspects of Music in Church, Court, and Town from the 13th to the 15th Century". Musica Disciplina 38 (1984) [includes her essay "Unusual Phenomena in the Transmission of Late 14th Century Polyphonic Music", ]. <mask> und Ludwig Fischer (eds. ): "1380-1420: An International Style?". Musica Disciplina 41 (1987) [includes an article with John Nádas und John Stinson, "Magister Dominus Paulus Abbas de Florentia: New Documentary Evidence", pp. 203-246]
<mask> and Ludwig Fischer (eds. ): Musik und Text in der Mehrstimmigkeit des 14. und 15.Jahrhunderts. Kassel: Bärenreiter, 1984. .
<mask>: "Die Ars subtilior". Hamburger Jahrbuch für Musikwissenschaft 11 (1991), pp. 277–288.The Cypriot-French Repertory of the Manuscript Torino J.II.9: Report of the International Musicological Congress, Paphos, 20–25 March 1992, by Ludwig Finscher and Societa italiana di musicologia and <mask> and Associazione piemontese per la ricerca delle fonti musicali. [Rome]: American Institute of Musicology, . Ludwig Finscher, <mask>, and Jeffrey J. Dean.Modality in the Music of the Fourteenth and Fifteenth Centuries: Modalität in der Musik des 14. und 15. Jahrhunderts. Musicological Studies and Documents 49. [Rome]: American Institute of Musicology, Hänssler-Verlag, 1996. .
<mask>: "Polymetric Rondeaux from Machaut to Dufay: Some Style-Analytical Observations". In Studies in Musical Sources and Style (Festschrift Jan La Rue),  pp. 75–108. Madison: 1990.<mask>: "Bemerkungen zur Motette des frühen und mittleren Trecento". In Die Motette   pp. 29–39. Mainz: 1992. <mask>: "La fine dell‘Ars nova". In Il canto delle pietre 1992, pp. 71–87.Como: 1992. <mask>: "Composers at the Court of the Antipopes in Avignon: Research in the Vatican Archives". In Musicology and Archival Research, Archives et Bibliothèques de Belgique 46, edited by Barbara Haggh et al., pp. 328–37. Brussels, 1994. Giuseppe Verdi
<mask>: "La genèse de Don Carlos, opéra en cinq actes de Giuseppe Verdi, représenté pour la première fois à Paris le 11 mars 1867". Revue de Musicologie 58 (1972), pp.16-64, and 60 (1974), pp. 87–158. <mask>: "Documents inconnus concernant les relations de Verdi avec l'Opéra de Paris". In Il Teatro e la musica di Giuseppe Verdi, edited by, pp. 564–83. Parma, 1974. <mask>: "Schwierigkeiten mit einer Oper.Zu den verschiedenen Fassungen des Don Carlos". In Jahrbuch der Hamburgischen Staatsoper 6 (1977/78), pp. 136–52. <mask>: L'edizione integrale del Don Carlos di Giuseppe Verdi: Die vollständige Ausgabe des Don Carlos von Giuseppe Verdi. Milan: Ricordi, 1977. <mask>: The Complete Edition of Don Carlos by Giuseppe Verdi. , 1978.<mask>: "Zur Revision des Don Carlos. Postscriptum zu Teil II". Analecta Musicologica 19 (1979), pp. 373–77. <mask> and Luciano Petazzoni (eds. ): Giuseppe Verdi: Don Carlos, Edizione integrale delle varie versioni in cinque e in quattro atti (comprendente gli inediti verdiani). Riduzione per canto e pianoforte con testo francese e italiano.Revisione secondo le fonti a cura di Usula <mask> e Luciano Petazzoni. Milan: Ricordi, 1980 (copyright 1974). <mask>: "La genèse du Don Carlos de Verdi: Nouveaux documents". Revue de Musicologie 72 (1986), pp. 104–17. <mask>: "Le Don Carlos de 1883. œuvre française également". In Giuseppe Verdi: Don Carlos ( = L'Avant Scène Opéra 90/91), 36–43.Paris: 1986. German version as: "Der Don Carlos von 1883; ebenfalls ein französisches Werk". In Giuseppe Verdi: Don Carlos ( = Der Opernführer 1/2), pp. 28–39. Taufkirchen:, 1988,. <mask>: "Don Carlos: Edizione integrale—Critical edition". In Nuove prospettive nella ricerca verdiana.Atti del convegno internazionale in occasione della prima del „Rigoletto“‘in edizione critica, Vienna 1983, edited by  pp.29–48. Milan, 1987. <mask>: "Rigoletto à Paris". In L'opera tra Venezia e Parigi, edited by , pp. 269–314. Florence, 1988. Friedrich Ludwig

<mask>: "Friedrich Ludwig in Göttingen".In Musikwissenschaft und Musikpflege an der Georg-August-Universität Göttingen, edited by, pp. 152–75. Göttingen, 1987. See also
Women in musicology

References

 Martin Staehelin: Musikwissenschaft und Musikpflege an der Georg-August-Universität Göttingen: Beiträge zu ihrer Geschichte''. Göttingen: Vandenhoeck & Ruprecht, 1987. . 200 pages. External links

1927 births
2006 deaths
German musicologists
Women musicologists
20th-century musicologists
20th-century women musicians
University of Göttingen faculty
Machaut scholars

masks:
Ursula Günther
Ursula Günther
Ursula Rösse
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Gunther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther
Ursula Günther


title: Paul Shorey

texts:
<mask> Ph.D., LL.D., Litt.D. (August 3, 1857 – April 24, 1934) was an American classical scholar. Biography
<mask> was born at Davenport, Iowa. After graduating from Harvard in 1878, he studied in Europe at Leipzig, Bonn, Athens, and Munich (Ph.D., 1884). He was a professor at several institutions from 1885 onward. Professor <mask> served at Bryn Mawr College (1885–92), then principally at the University of Chicago. In 1901-02 he was professor in the American School of Classical Studies at Athens, Greece, and in 1913-14 he was Roosevelt Lecturer in the University of Berlin.Professor <mask> was made a member of the National Institute of Arts and Letters. From 1908 he was managing editor of Classical Philology. He died in Chicago. After his death, one of many articles published about him asserted that he knew all 15,693 lines of the Iliad by heart. The Roosevelt Lectureship
The Roosevelt Lecturership involved giving a series of public lectures. In these, Shorey addressed American culture and literature. Besides the public lectures, however, the Roosevelt Lecturer was required to give a seminar in his own special field of study.As a notable Platonic scholar, Shorey naturally offered to conduct a seminar on Plato. He had not reckoned on the views of American scholarship held by the principal German classicist, Ulrich von Wilamowitz-Moellendorff, who held sway in Berlin. Wilamowitz had no intention of allowing Shorey any scope on Plato:

'In a letter to Diels of 8 May 1912 ... he wrote that he considered it 'grotesque that the editor of a Chicago journal be brought to Berlin to teach us philology'. ... Wilamowitz could not of course know that
Shorey would later refer to his Platon as a 'historical novel' (What Plato Said 1933 p2. ), but could have been aware that in a 1911 article in the Nation ... Shorey had named him in a list of German scholars
whose 'big ambitious books ... cannot be trusted' (392). Wilamowitz was no more receptive to <mask>'s next suggestion, of Pindar, since the two differed on metrical questions. In th end, permission was given for a
seminar on the De Anima'''.As Sprague points out, Wilamowitz had not reckoned on <mask>'s view that 'Aristotle is a Platonist au fond. In the seminar he explained the relevance, in his view, of Plato's Theaetetus, Phaedo, Republic, Euthydemus, Sophist. Politicus, Meno, and Philebus to a full and exact understanding of De Anima. Sprague comments: 'I am afraid I find it irresistible to remark that Wilamowitz did not really succeed in preventing <mask> from giving a Plato seminar'. WritingBooks De Platonis Idearum Doctrina. Munich: Theodor Askermann, 1884. The Assault on Humanism.Boston: Atlantic Monthly Company, 1917. The Unity of Plato's Thought. Chicago: The University of Chicago Press, 1903. Sophocles. Cambridge: Harvard University Press, 1931. What Plato Said. Chicago: The University of Chicago Press, 1933.Platonism, Ancient and Modern. Berkeley, Calif.: University of California Press, 1938. Selected Papers, 2 Vols. New York: Garland Pub., 1980. The Roosevelt Lectures of <mask>y: (1913–1914). Hildesheim: G. Olms Verlag, 1995.Translations An edition of Horace's Odes and Epodes (1898; revised, with Laing, 1910). The Republic of Plato, 2 vols., with an English translation by <mask>, Loeb Classical Library, 1937 (1930).Selected articles "The Odyssey in the Rhythmic English Prose," The Dial, Vol.V, May 1884/April 1885. "Hartmann's Philosophy of the Unconscious," The Dial, Vol. V, May 1884/April 1885. "The Pagan Christ," The Dial, Vol. VII, May 1886/April 1887. "Jevon's History of Greek Literature," The Dial, Vol. VII, May 1886/April 1887."The Science of Thought,"  The Dial, Vol. VIII, May 1887/April 1888. "On the Track of Ulysses," The Dial, Vol. VIII, May 1887/April 1888. "Max Müller's Biographies of Words," The Dial, Vol. VIII, May 1887/April 1888. "Erdmann's History of Philosophy," The Classical Review, Vol.IV, 1890. "A Word with Tennyson Dissenters," The Dial, Vol. XIV, January/June 1893. "Plato and Platonism," The Dial, Vol. XIV, January/June 1893. "The Homeric Question Once More," The Dial, Vol. XV, July/December 1893."An Evolutionist's Alarm," The Dial, Vol. XV, July/December 1893. "Spencer on the Principles of Beneficence," The Dial, Vol. XV, July/December 1893. "Greek Poetry and Life," The Dial, Vol. XVI, January/June 1894. "The Idea of Good in Plato's Republic."In: Studies in Classical Philology, Vol. I, The University of Chicago Press, 1895. "To Ancient Greek through Modern? No!," The Forum, Vol. XVIII, 1895. "Can We Revive the Olympic Games?," The Forum, Vol. XIX, 1895."Paris Commune of 1871," The Dial, Vol. XX, January/June 1896. "Present Conditions of Literary Production," The Atlantic Monthly, Vol. LXXVIII, 1896. "Discipline vs. Dissipation in Secondary Education," School Review, Vol. V, 1897. "A New Classical Dictionary," The Dial, Vol.XXII, January/June 1897. "The Monuments and Antiquities of Greece," The Dial, Vol. XXIV, January/June 1898. "Plato." In: Philosophers and Scientists, Vol. I, Doubleday & McClure Company, 1899. "The Successors of Homer," The Dial, Vol.XXVI, January/June 1899. "Religion in Greek Literature," The Dial, Vol. XXVII, July/December 1899. "History of Modern Philosophy," The Dial, Vol. XXIX, July/December 1900. "Plato, Lucretius and Epicurus," Harvard Studies in Classical Philology, Vol. XII, 1901."Science of Meaning," The Dial, Vol. XXX, January/June 1901. "An Historian of Ideas," The Dial, Vol. XXX, January/June 1901. "The Greek Thinkers and their Environment," The Dial, Vol. XXXI, July/December 1901. "Philology and Classical Philology," The Classical Journal, Vol.I, No. 6, May 1906. "The Influence of the Classics on American Literature," The Chautauquan, Vol. XLIII, 1906. "Discipline in Modern Education," The Bookman, Vol. XXIII, 1906. "Mr. Lang's Homeric Queries," The Dial, Vol.XLII, January/June 1907. "Benjamin Jowett, Teacher, Platonist and Scholar," The Chautauquan, Vol. XLVI, 1907. 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"The Place of the Languages and Literatures in the College Curriculum."In The American College, Henry Holt and Company, 1915. "The Bigotry of the New Education," The Nation, Vol. CV, 1917. "The Assault on Humanism," Part II, The Atlantic Monthly, Vols. CXIX/CXX, 1917. "Fifty Years of Classical Studies in America," Transactions and Proceedings of the American Philological Association, Vol. L, 1919."A Note on Herodotus," Classical Philology, Vol. XV, 1920.Other publications' Pope's translation of The Iliad of Homer, with an introduction and notes by <mask>, 1899. "Herodotus." In: The New International Encyclopædia, Vol. X, Dodd, Mead & Company, 1906, pp. 14–15. "Homer."In: The New International Encyclopædia, Vol. X, Dodd, Mead & Company, 1906, pp. 166–168. "Pindar." In: The New International Encyclopædia, Vol. XVI, Dodd, Mead & Company, 1906, pp. 31–32."Plato." In: The New International Encyclopædia, Vol. XVI, Dodd, Mead & Company, 1906, 101–104. Marion Mills Miller (ed. ), The Classics, Greek and Latim, with an introduction by <mask>, 1909. Legacy
A house in University of Chicago College housing is named in <mask>'s honor. Shorey House was located in Pierce Tower until that building's demolition in 2013 and is now located in International House.<mask>'s student, Harold F. Cherniss, was a well-known historian of ancient philosophy at the Institute for Advanced Study in Princeton and defended <mask>'s unitarian interpretation of Plato in several influential books. <mask>'s views thus became a central theme of later debates over Plato and Aristotle. Notes

References

Further reading
 Bonner, Robert J. (1934). "<mask>," The Classical Journal, Vol. 29, No. 9, pp.641–643. Norlin, George (1934). "<mask>–The Teacher," Classical Philology, Vol. 29, No. 3, pp. 188–191. Putnam, Emily James (1938)."<mask>," The Atlantic Monthly,'' Vol. 161, pp. 795–804. External links

 Works by <mask>, at JSTOR
 Works by <mask>, at Hathi Trust
 <mask> Letters at Newberry Library
 Sather Professor Portraits
Guide to the <mask> Papers 1865-1934 at the University of Chicago Special Collections Research Center

American classical scholars
<mask>, <mask>. Harvard University alumni
<mask>, Paaul
<mask>, Paaul
Classical scholars of Bryn Mawr College
Classical scholars of the University of Chicago
Scholars of ancient Greek literature
American scholars of ancient Greek philosophy

masks:
Paul Shorey
Shorey
Shorey
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Shorey
Paul Shore
Paul Shorey
Paul Shorey
Paul Shorey
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Shorey
Shorey
Paul Shorey
Paul Shorey
Paul Shorey
Paul Shorey
Paul Shorey
Paul Shorey
Paul Shorey
Shorey
Paul
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Shorey