title: Plato

texts:
 example, Socrates thinks that perfect justice exists (although it is not clear where) and his own trial would be a cheap copy of it. The Allegory of the Cave is intimately connected to his political ideology, that only people who have climbed out of the cave and cast their eyes on a vision of goodness are fit to rule. Socrates claims that the enlightened men of society must be forced from their divine contemplation and be compelled to run the city according to their lofty insights. Thus is born the idea of the "philosopher-king", the wise person who accepts the power thrust upon him by the people who are wise enough to choose a good master.This is the main thesis of Socrates in the Republic, that the most wisdom the masses can muster is the wise choice of a ruler. Ring of Gyges
A ring which could make one invisible, the Ring of Gyges is proposed in the Republic by the character of Glaucon, and considered by the rest of the characters for its ethical consequences, whether an individual possessing it would be most happy abstaining or doing injustice. Chariot
He also compares the soul (psyche) to a chariot. In this allegory he introduces a triple soul composed of a charioteer and two horses. The charioteer is a symbol of the intellectual and logical part of the soul (logistikon), and the two horses represent the moral virtues (thymoeides) and passionate instincts (epithymetikon), respectively, to illustrate the conflict between them. Dialectic
Socrates employs a dialectic method which proceeds by questioning. The role of dialectic in <mask>'s thought is contested but there are two main interpretations: a type of reasoning and a method of intuition.Simon Blackburn adopts the first, saying that <mask>'s dialectic is "the process of eliciting the truth by means of questions aimed at opening out what is already implicitly known, or at exposing the contradictions and muddles of an opponent's position." A similar interpretation has been put forth by Louis Hartz, who compares <mask>'s dialectic to that of Hegel. According to this view, opposing arguments improve upon each other, and prevailing opinion is shaped by the synthesis of many conflicting ideas over time. Each new idea exposes a flaw in the accepted model, and the epistemological substance of the debate continually approaches the truth. Hartz's is a teleological interpretation at the core, in which philosophers will ultimately exhaust the available body of knowledge and thus reach "the end of history." Karl Popper, on the other hand, claims that dialectic is the art of intuition for "visualising the divine originals, the Forms or Ideas, of unveiling the Great Mystery behind the common man's everyday world of appearances." Family
<mask> often discusses the father-son relationship and the question of whether a father's interest in his sons has much to do with how well his sons turn out.In ancient Athens, a boy was socially located by his family identity, and <mask> often refers to his characters in terms of their paternal and fraternal relationships. Socrates was not a family man, and saw himself as the son of his mother, who was apparently a midwife. A divine fatalist, Socrates mocks men who spent exorbitant fees on tutors and trainers for their sons, and repeatedly ventures the idea that good character is a gift from the gods. <mask>'s dialogue Crito reminds Socrates that orphans are at the mercy of chance, but Socrates is unconcerned. In the Theaetetus, he is found recruiting as a disciple a young man whose inheritance has been squandered. Socrates twice compares the relationship of the older man and his boy lover to the father-son relationship,Republic 3.403b and in the Phaedo, Socrates' disciples, towards whom he displays more concern than his biological sons, say they will feel "fatherless" when he is gone. Though <mask> agreed with Aristotle that women were inferior to men, in the fourth book of the Republic the character of Socrates says this was only because of nomos or custom and not because of nature, and thus women needed paidia, rearing or education to be equal to men.In the "merely probable tale" of the eponymous character in the Timaeus,  unjust men who live corrupted lives would be reincarnated as women or various animal kinds. Narration
<mask> never presents himself as a participant in any of the dialogues, and with the exception of the Apology, there is no suggestion that he heard any of the dialogues firsthand. Some dialogues have no narrator but have a pure "dramatic" form (examples: Meno, Gorgias, Phaedrus, Crito, Euthyphro), some dialogues are narrated by Socrates, wherein he speaks in first person (examples: Lysis, Charmides, Republic). One dialogue, Protagoras, begins in dramatic form but quickly proceeds to Socrates' narration of a conversation he had previously with the sophist for whom the dialogue is named; this narration continues uninterrupted till the dialogue's end. Two dialogues Phaedo and Symposium also begin in dramatic form but then proceed to virtually uninterrupted narration by followers of Socrates. Phaedo, an account of Socrates' final conversation and hemlock drinking, is narrated by Phaedo to Echecrates in a foreign city not long after the execution took place. The Symposium is narrated by Apollodorus, a Socratic disciple, apparently to Glaucon.Apollodorus assures his listener that he is recounting the story, which took place when he himself was an infant, not from his own memory, but as remembered by Aristodemus, who told him the story years ago. The Theaetetus is a peculiar case: a dialogue in dramatic form embedded within another dialogue in dramatic form. In the beginning of the Theaetetus, Euclides says that he compiled the conversation from notes he took based on what Socrates told him of his conversation with the title character. The rest of the Theaetetus is presented as a "book" written in dramatic form and read by one of Euclides' slaves. Some scholars take this as an indication that <mask> had by this date wearied of the narrated form. With the exception of the Theaetetus, <mask> gives no explicit indication as to how these orally transmitted conversations came to be written down. History of <mask>'s dialogues

Thirty-five dialogues and thirteen letters (the Epistles) have traditionally been ascribed to <mask>, though modern scholarship doubts the authenticity of at least some of these.<mask>'s writings have been published in several fashions; this has led to several conventions regarding the naming and referencing of <mask>'s texts. The usual system for making unique references to sections of the text by <mask> derives from a 16th-century edition of <mask>'s works by Henricus Stephanus known as Stephanus pagination. One tradition regarding the arrangement of <mask>'s texts is according to tetralogies. This scheme is ascribed by Diogenes Laërtius to an ancient scholar and court astrologer to Tiberius named Thrasyllus. The list includes works of doubtful authenticity (written in italic), and includes the Letters. 1st tetralogy
Euthyphro, Apology, Crito, Phaedo
2nd tetralogy
Cratylus, Theatetus, Sophist, Statesman
3nd tetralogy
Parmenides, Philebus, Symposium, Phaedrus
4th tetralogy
Alcibiades I, Alcibiades II, Hipparchus, Lovers5th tetralogyTheages, Charmides, Laches, Lysis
6th tetralogy
Euthydemus, Protagoras, Gorgias, Meno
7th tetralogy
Hippias Major, Hippias Minor, Ion, Menexenus
8th tetralogy
Clitophon, Republic, Timaeus, Critias
9th tetralogyMinos, Laws, Epinomis, Letters Chronology
No one knows the exact order <mask>'s dialogues were written in, nor the extent to which some might have been later revised and rewritten. The works are usually grouped into Early (sometimes by some into Transitional), Middle, and Late period.Robin Barrow (Professor of Philosophy of Education at Simon Fraser University, Canada and Fellow of The Royal Society of Canada), Plato: Appendix 2: Notes on the authenticity and Groupings of Plato's works , Bloomsbury Publishing, 2014 .This choice to group chronologically is thought worthy of criticism by some (Cooper et al), given that it is recognized that there is no absolute agreement as to the true chronology, since the facts of the temporal order of writing are not confidently ascertained. Chronology was not a consideration in ancient times, in that groupings of this nature are virtually absent (Tarrant) in the extant writings of ancient Platonists. Whereas those classified as "early dialogues" often conclude in aporia, the so-called "middle dialogues" provide more clearly stated positive teachings that are often ascribed to <mask> such as the theory of Forms. The remaining dialogues are classified as "late" and are generally agreed to be difficult and challenging pieces of philosophy. This grouping is the only one proven by stylometric analysis. Among those who classify the dialogues into periods of composition, Socrates figures in all of the "early dialogues" and they are considered the most faithful representations of the historical Socrates. The following represents one relatively common division.It should, however, be kept in mind that many of the positions in the ordering are still highly disputed, and also that the very notion that <mask>'s dialogues can or should be "ordered" is by no means universally accepted. Increasingly in the most recent <mask> scholarship, writers are sceptical of the notion that the order of <mask>'s writings can be established with any precision, though <mask>'s works are still often characterized as falling at least roughly into three groups. Early: Apology, Charmides, Crito, Euthyphro, Gorgias, Hippias Minor, Hippias Major, Ion, Laches, Lysis, ProtagorasMiddle: Cratylus, Euthydemus, Meno, Parmenides, Phaedo, Phaedrus, Republic, Symposium, TheatetusLate: Critias, Sophist, Statesman, Timaeus, Philebus, Laws.A significant distinction of the early <mask> and the later <mask> has been offered by scholars such as E.R. Dodds and has been summarized by Harold Bloom in his book titled Agon: "E.R. Dodds is the classical scholar whose writings most illuminated the Hellenic descent (in) The Greeks and the Irrational ... In his chapter on Plato and the Irrational Soul ... Dodds traces <mask>'s spiritual evolution from the pure rationalist of the Protagoras to the transcendental psychologist, influenced by the Pythagoreans and Orphics, of the later works culminating in the Laws." Lewis Campbell was the first to make exhaustive use of stylometry to prove the great probability that the Critias, Timaeus, Laws, Philebus, Sophist, and Statesman were all clustered together as a group, while the Parmenides, Phaedrus, Republic, and Theaetetus belong to a separate group, which must be earlier (given Aristotle's statement in his Politics that the Laws was written after the Republic; cf.Diogenes Laërtius Lives 3.37). What is remarkable about Campbell's conclusions is that, in spite of all the stylometric studies that have been conducted since his time, perhaps the only chronological fact about <mask>'s works that can now be said to be proven by stylometry is the fact that Critias, Timaeus, Laws, Philebus, Sophist, and Statesman are the latest of <mask>'s dialogues, the others earlier.Protagoras  is often considered one of the last of the "early dialogues". Three dialogues are often considered "transitional" or "pre-middle": Euthydemus, Gorgias, and Meno. Proponents of dividing the dialogues into periods often consider the Parmenides and Theaetetus to come late in the middle period and be transitional to the next, as they seem to treat the theory of Forms critically (Parmenides) or only indirectly (Theaetetus). Ritter's stylometric analysis places Phaedrus as probably after Theaetetus and Parmenides, although it does not relate to the theory of Forms in the same way. The first book of the Republic is often thought to have been written significantly earlier than the rest of the work, although possibly having undergone revisions when the later books were attached to it. While looked to for <mask>'s "mature" answers to the questions posed by his earlier works, those answers are difficult to discern.Some scholars indicate that the theory of Forms is absent from the late dialogues, its having been refuted in the Parmenides, but there is not total consensus that the Parmenides actually refutes the theory of Forms. Writings of doubted authenticity
Jowett mentions in his Appendix to Menexenus, that works which bore the character of a writer were attributed to that writer even when the actual author was unknown. For below:

(*) if there is no consensus among scholars as to whether <mask> is the author, and (‡) if most scholars agree that <mask> is not the author of the work.Alcibiades I (*), Alcibiades II (‡), Clitophon (*), Epinomis (‡), Letters (*), Hipparchus (‡), Menexenus (*), Minos (‡), Lovers (‡), Theages (‡)

 Spurious writings
The following works were transmitted under <mask>'s name, most of them already considered spurious in antiquity, and so were not included by Thrasyllus in his tetralogical arrangement. These works are labelled as Notheuomenoi ("spurious") or Apocrypha.Axiochus, Definitions, Demodocus, Epigrams, Eryxias, Halcyon, On Justice, On Virtue, Sisyphus. Textual sources and history

Some 250 known manuscripts of <mask> survive. The texts of <mask> as received today apparently represent the complete written philosophical work of <mask> and are generally good by the standards of textual criticism. No modern edition of <mask> in the original Greek represents a single source, but rather it is reconstructed from multiple sources which are compared with each other.These sources are medieval manuscripts written on vellum (mainly from 9th to 13th century AD Byzantium), papyri (mainly from late antiquity in Egypt), and from the independent testimonia of other authors who quote various segments of the works (which come from a variety of sources). The text as presented is usually not much different from what appears in the Byzantine manuscripts, and papyri and testimonia just confirm the manuscript tradition. In some editions, however, the readings in the papyri or testimonia are favoured in some places by the editing critic of the text. Reviewing editions of papyri for the Republic in 1987, Slings suggests that the use of papyri is hampered due to some poor editing practices. In the first century AD, Thrasyllus of Mendes had compiled and published the works of <mask> in the original Greek, both genuine and spurious. While it has not survived to the present day, all the extant medieval Greek manuscripts are based on his edition. The oldest surviving complete manuscript for many of the dialogues is the Clarke Plato (Codex Oxoniensis Clarkianus 39, or Codex Boleianus MS E.D.Clarke 39), which was written in Constantinople in 895 and acquired by Oxford University in 1809. The Clarke is given the siglum B in modern editions. B contains the first six tetralogies and is described internally as being written by "John the Calligrapher" on behalf of Arethas of Caesarea. It appears to have undergone corrections by Arethas himself. For the last two tetralogies and the apocrypha, the oldest surviving complete manuscript is Codex Parisinus graecus 1807, designated A, which was written nearly contemporaneously to B, circa 900 AD. A must be a copy of the edition edited by the patriarch, Photios, teacher of Arethas.RS Brumbaugh, Plato for the Modern Age (p. 199) , University Press of America,

masks: Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato


title: Plato

type: original

texts:
 1991 .A probably had an initial volume containing the first 7 tetralogies which is now lost, but of which a copy was made, Codex Venetus append. class.4, 1, which has the siglum T. The oldest manuscript for the seventh tetralogy is Codex Vindobonensis 54. suppl. phil. Gr. 7, with siglum W, with a supposed date in the twelfth century. In total there are fifty-one such Byzantine manuscripts known, while others may yet be found. To help establish the text, the older evidence of papyri and the independent evidence of the testimony of commentators and other authors (i.e., those who quote and refer to an old text of <mask> which is no longer extant) are also used. Many papyri which contain fragments of <mask>'s texts are among the Oxyrhynchus Papyri.The 2003 Oxford Classical Texts edition by Slings even cites the Coptic translation of a fragment of the Republic in the Nag Hammadi library as evidence. Important authors for testimony include Olympiodorus the Younger, Plutarch, Proclus, Iamblichus, Eusebius, and Stobaeus. During the early Renaissance, the Greek language and, along with it, <mask>'s texts were reintroduced to Western Europe by Byzantine scholars. In September or October 1484 Filippo Valori and Francesco Berlinghieri printed 1025 copies of Ficino's translation, using the printing press at the Dominican convent S.Jacopo di Ripoli. Cosimo had been influenced toward studying <mask> by the many Byzantine Platonists in Florence during his day, including George Gemistus Plethon. The 1578 edition of <mask>'s complete works published by Henricus Stephanus (Henri Estienne) in Geneva also included parallel Latin translation and running commentary by Joannes Serranus (Jean de Serres). It was this edition which established standard Stephanus pagination, still in use today.Modern editions
The Oxford Classical Texts offers the current standard complete Greek text of <mask>'s complete works. In five volumes edited by John Burnet, its first edition was published 1900–1907, and it is still available from the publisher, having last been printed in 1993. The second edition is still in progress with only the first volume, printed in 1995, and the Republic, printed in 2003, available. The Cambridge Greek and Latin Texts and Cambridge Classical Texts and Commentaries series includes Greek editions of the Protagoras, Symposium, Phaedrus, Alcibiades, and Clitophon, with English philological, literary, and, to an extent, philosophical commentary.Cambridge Classical Texts and Commentaries. Cambridge University Press One distinguished edition of the Greek text is E. R. Dodds' of the Gorgias, which includes extensive English commentary. The modern standard complete English edition is the 1997 Hackett Plato, Complete Works, edited by John M. Cooper. For many of these translations Hackett offers separate volumes which include more by way of commentary, notes, and introductory material.There is also the Clarendon Plato Series by Oxford University Press which offers English translations and thorough philosophical commentary by leading scholars on a few of <mask>'s works, including John McDowell's version of the Theaetetus. Cornell University Press has also begun the Agora series of English translations of classical and medieval philosophical texts, including a few of <mask>'s. Criticism

The most famous criticism of the Theory of Forms is the Third Man Argument by Aristotle in the Metaphysics. <mask> had actually already considered this objection with the idea of "large" rather than "man" in the dialogue Parmenides, using the elderly Elean philosophers Parmenides and Zeno characters anachronistically to criticize the character of the younger Socrates who proposed the idea. The dialogue ends in aporia. Many recent philosophers have diverged from what some would describe as the ontological models and moral ideals characteristic of traditional Platonism. A number of these postmodern philosophers have thus appeared to disparage Platonism from more or less informed perspectives.Friedrich Nietzsche notoriously attacked <mask>'s "idea of the good itself" along with many fundamentals of Christian morality, which he interpreted as "Platonism for the masses" in one of his most important works, Beyond Good and Evil (1886). Martin Heidegger argued against <mask>'s alleged obfuscation of Being in his incomplete tome, Being and Time (1927), and the philosopher of science Karl Popper argued in The Open Society and Its Enemies (1945) that <mask>'s alleged proposal for a utopian political regime in the Republic was prototypically totalitarian. Legacy
 In the arts

<mask>'s Academy mosaic was created in the villa of T. Siminius Stephanus in Pompeii, around 100 BC to 100 CE. The School of Athens fresco by Raphael features <mask> also as a central figure. The Nuremberg Chronicle depicts <mask> and others as anachronistic schoolmen. In philosophy
<mask>'s thought is often compared with that of his most famous student, Aristotle, whose reputation during the Western Middle Ages so completely eclipsed that of <mask> that the Scholastic philosophers referred to Aristotle as "the Philosopher". However, the study of <mask> continued in the Byzantine Empire, the Caliphates during the Islamic Golden Age, and Spain during Golden age of Jewish culture.The only Platonic work known to western scholarship was Timaeus, until translations were made after the fall of Constantinople, which occurred during 1453. George Gemistos Plethon brought <mask>'s original writings from Constantinople in the century of its fall. It is believed that Plethon passed a copy of the Dialogues to Cosimo de' Medici when in 1438 the Council of Ferrara, called to unify the Greek and Latin Churches, was adjourned to Florence, where Plethon then lectured on the relation and differences of <mask> and Aristotle, and fired Cosimo with his enthusiasm; Cosimo would supply Marsilio Ficino with <mask>'s text for translation to Latin. During the early Islamic era, Persian, Arab, and Jewish scholars translated much of <mask> into Arabic and wrote commentaries and interpretations on <mask>'s, Aristotle's and other Platonist philosophers' works (see Al-Kindi, Al-Farabi, Avicenna, Averroes, Hunayn ibn Ishaq). <mask> is also referenced by Jewish philosopher and Talmudic scholar Maimonides in his The Guide for the Perplexed. Many of these commentaries on <mask> were translated from Arabic into Latin and as such influenced Medieval scholastic philosophers. During the Renaissance, with the general resurgence of interest in classical civilization, knowledge of <mask>'s philosophy would become widespread again in the West.Many of the greatest early modern scientists and artists who broke with Scholasticism and fostered the flowering of the Renaissance, with the support of the Plato-inspired Lorenzo (grandson of Cosimo), saw <mask>'s philosophy as the basis for progress in the arts and sciences. More problematic was <mask>'s belief in metempsychosis as well as his ethical views (on polyamory and euthanasia in particular), which did not match those of Christianity. It was Plethon's student Bessarion who reconciled <mask> with Christian theology, arguing that <mask>'s views were only ideals, unattainable due to the fall of man. The Cambridge Platonists were an influential group active in the 17th century. By the 19th century, <mask>'s reputation was restored, and at least on par with Aristotle's. Notable Western philosophers have continued to draw upon <mask>'s work since that time. <mask>'s influence has been especially strong in mathematics and the sciences.<mask>'s resurgence further inspired some of the greatest advances in logic since Aristotle, primarily through Gottlob Frege and his followers Kurt Gödel, Alonzo Church, and Alfred Tarski. Albert Einstein suggested that the scientist who takes philosophy seriously would have to avoid systematization and take on many different roles, and possibly appear as a Platonist or Pythagorean, in that such a one would have "the viewpoint of logical simplicity as an indispensable and effective tool of his research." Werner Heisenberg stated that “My mind was formed by studying philosophy, <mask> and that sort of thing". and that "Modern physics has definitely decided in favor of <mask>. In fact the smallest units of matter are not physical objects in the ordinary sense; they are forms, ideas which can be expressed unambiguously only in mathematical language" Samuel Taylor Coleridge said: Everybody is born either a Platonist or an Aristotelian. The political philosopher and professor Leo Strauss is considered by some as the prime thinker involved in the recovery of Platonic thought in its more political, and less metaphysical, form. Strauss' political approach was in part inspired by the appropriation of <mask> and Aristotle by medieval Jewish and Islamic political philosophers, especially Maimonides and Al-Farabi, as opposed to the Christian metaphysical tradition that developed from Neoplatonism.Deeply influenced by Nietzsche and Heidegger, Strauss nonetheless rejects their condemnation of <mask> and looks to the dialogues for a solution to what all three latter-day thinkers acknowledge as 'the crisis of the West. W. V. O. Quine dubbed the problem of negative existentials "<mask>'s beard". Noam Chomsky dubbed the problem of knowledge Plato's problem. One author calls the definist fallacy the Socratic fallacy. More broadly, platonism (sometimes distinguished from <mask>'s particular view by the lowercase) refers to the view that there are many abstract objects. Still to this day, platonists take number and the truths of mathematics as the best support in favour of this view. Most mathematicians think, like platonists, that numbers and the truths of mathematics are perceived by reason rather than the senses yet exist independently of minds and people, that is to say, they are discovered rather than invented.Contemporary platonism is also more open to the idea of there being infinitely many abstract objects, as numbers or propositions might qualify as abstract objects, while ancient Platonism seemed to resist this view, possibly because of the need to overcome the problem of "the One and the Many". Thus e. g. in the Parmenides dialogue, <mask> denies there are Forms for more mundane things like hair and mud. However, he repeatedly does support the idea that there are Forms of artifacts, e. g. the Form of Bed. Contemporary platonism also tends to view abstract objects as unable to cause anything, but it is unclear whether the ancient Platonists felt this way. See original text in Latin Library. Aristophanes, The Wasps. See original text in Perseus program.Aristotle, Metaphysics. See original text in Perseus program. Cicero, De Divinatione, I. See original text in Latin library. See original text in Perseus program. See original text in Perseus program. republished by:
  See original text in Perseus program.See original text in Perseus program. See original text in Latin Library. , V, VIII. See original text in Perseus program. Xenophon, Memorabilia. See original text in Perseus program. Secondary sources

  Reprinted in .First published as "Testimonia Platonica. Quellentexte zur Schule und mündlichen Lehre Platons" as an appendix to Gaiser's Platons Ungeschriebene Lehre, Stuttgart, 1963. Reprinted in Gomperz, H. (1953). Philosophical Studies. Boston: Christopher Publishing House 1953, pp. 119–124. Further reading

 Allen, R.E.(1965). Studies in <mask>'s Metaphysics II. Taylor & Francis. Ambuel, David (2007). Image and Paradigm in <mask>'s Sophist. Parmenides Publishing. Arieti, James A. Interpreting Plato: The Dialogues as Drama, Rowman & Littlefield Publishers, Inc.
 Bakalis, Nikolaos (2005).Handbook of Greek Philosophy: From Thales to the Stoics Analysis and Fragments, Trafford Publishing

 Cadame, Claude (1999). Indigenous and Modern Perspectives on Tribal Initiation Rites: Education According to <mask>, pp. 278–312, in Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society", Bucknell University Press, 1999. Corlett, J. Angelo (2005). Interpreting <mask>'s Dialogues. Parmenides Publishing. Derrida, Jacques (1972).La dissémination, Paris: Seuil. (esp. cap. : La Pharmacie de Platon, 69–199)

 Fine, Gail (2000). Plato 1: Metaphysics and Epistemology Oxford University Press, US,
 Finley, M.I. (1969). Aspects of antiquity: Discoveries and Controversies The Viking Press, Inc., US

 Guthrie, W.K.C.(1986). A History of Greek Philosophy (<mask> – The Man & His Dialogues – Earlier Period), Cambridge University Press,
 Guthrie, W.K.C. (1986). A History of Greek Philosophy (Later Plato & the Academy) Cambridge University Press,
 Havelock, Eric (2005). Preface to <mask> (History of the Greek Mind), Belknap Press,

 Harvard University Press publishes the hardbound series Loeb Classical Library, containing <mask>'s works in Greek, with English translations on facing pages. Hermann, Arnold (2010). Plato's Parmenides: Text, Translation & Introductory Essay, Parmenides Publishing,
 Irwin, Terence (1995).Plato's Ethics, Oxford University Press, US,

 Jowett, Benjamin (1892). [The Dialogues of <mask>. Translated into English with analyses and introductions by B. Jowett., Oxford Clarendon Press, UK, UIN:BLL01002931898

 Lilar, Suzanne (1954), Journal de l'analogiste, Paris, Éditions Julliard; Reedited 1979, Paris, Grasset. Foreword by Julien Gracq
 Lilar, Suzanne (1963), Le couple, Paris, Grasset. Translated as Aspects of Love in Western Society in 1965, with a foreword by Jonathan Griffin London, Thames and Hudson. Lilar, Suzanne (1967) A propos de Sartre et de l'amour , Paris, Grasset.Márquez, Xavier (2012) A Stranger's Knowledge: Statesmanship, Philosophy & Law in Plato's Statesman, Parmenides Publishing. Miller, Mitchell (2004). The Philosopher in Plato's Statesman. Parmenides Publishing. Mohr, Richard D. (2006). God and Forms in Plato – and other Essays in <mask>'s Metaphysics. Parmenides Publishing.Mohr, Richard D. (Ed. ), Sattler, Barbara M. (Ed.) (2010) One Book, The Whole Universe: Plato's Timaeus Today, Parmenides Publishing. Moore, Edward (2007). Plato.Philosophy Insights Series. Tirril, Humanities-Ebooks. Nightingale, Andrea Wilson. (1995). "Genres in Dialogue: Plato and the Construct of Philosophy", Cambridge University Press. Oxford University Press publishes scholarly editions of <mask>'s Greek texts in the Oxford Classical Texts series, and some translations in the Clarendon Plato Series. Patterson, Richard (Ed.), Karasmanis, Vassilis (Ed. ), Hermann, Arnold (Ed.) (2013) Presocratics & Plato: Festschrift at Delphi in Honor of Charles Kahn, Parmenides Publishing. Sayre, Kenneth M. (2005). Plato's Late Ontology: A Riddle Resolved. Parmenides Publishing. Seung, T.K.(1996). Plato Rediscovered: Human Value and Social Order. Rowman and Littlefield. Stewart, John. (2010). Kierkegaard and the Greek World – Socrates and <mask>. Ashgate.Thesleff, Holger (2009). Platonic Patterns: A Collection of Studies by Holger Thesleff, Parmenides Publishing,
 Thomas Taylor has translated <mask>'s complete works. Thomas Taylor (1804). The Works of Plato, viz. His Fifty-Five Dialogues and Twelve Epistles 5 vols
 Vlastos, Gregory (1981). Platonic Studies, Princeton University Press,
 Vlastos, Gregory (2006). Plato's Universe – with a new Introduction by Luc Brisson, Parmenides Publishing.Zuckert,

masks: Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato Plato


title: Nerina Shute

texts:
<mask> (17 July 1908 – 20 October 2004) was an English writer and journalist, described by the Sunday Times as "the amazingly colourful, brilliant and bisexual film critic". Early life
Shute was born in Prudhoe, Northumberland. Her father, <mask>, was the ne'er-do-well son of a general, Sir <mask>, who had fought at Balaclava and was MP for Brighton from 1874 to 1880. Her racy mother, née Amy Bertha ("Renie") Pepper Stavely, was of a well-to-do family with its seat at Woldhurstlea, near Crawley, West Sussex and was the author of a rip-roaring Edwardian novel The Unconscious Bigamist. She was sedulous in not sleeping with her lovers: she married six of them. The second of these husbands was <mask>’s father. After a childhood overshadowed by her parents’ fast living in London and then Hollywood, in the course of which she sold her first story to McClure’s Magazine at 16, for $150, she returned to England.There, living in Devon, she soon became as discontented as she had been in America. She arrived in London in 1928. While staying at the hostel which later inspired Muriel Spark, she took a post at the Times Book Club. Soon she graduated to Film Weekly, where she was told: “You have a very impertinent pen” after calling Madeleine Carroll a "ruthless Madonna". Fearing the worst, she was startled to get a rise and requests for more of the same; she provided it, with sparkling dismissals of the "It" set of the day. For all her bravura, though, she was vexed by "it", by the "sheer awkwardness," she wrote, "of being a modern girl and, at the same time, a virgin". She contemplated marriage to a man called Charles, a doctor who had been struck off for performing an abortion, but thought better of it and promptly missed him while the capital buzzed.Of London's lesbians she noted: “They lied, cheated and had hysterics . . . the code of homosexuality might be all right in theory but the people who practised it were intolerable.”

All this would form a part of the novel, Another Man’s Poison, which she had written in the evenings and at weekends. Palpably autobiographical, it tells of young Melis Gordon whose wild mother leaves a naval husband for Hollywood lovers. With descriptions of American schoolgirl life, its heroine even writes a prizewinning story before being recalled to an England of dull Devon and wild, flirtatious London. It appeared in 1931. If unduly long, and without the vim of her journalism, Shute’s book showed that the world depicted with more economy in Evelyn Waugh's Vile Bodies was no fantasy. Rebecca West declared: “Miss Shute writes, not so much badly as barbarously, as if she had never read anything but a magazine, never seen a picture but a moving one, never heard any music except at restaurants.Yet she is full of talent.”

This was priceless publicity, or something close to it, for the Sunday Graphic hired her at ten guineas a week over the heading “the girl with the barbarous touch” — some compensation for her novel’s getting her cut from the will of a family friend. Among Shute’s many friends were Alfred Hitchcock, Anna Neagle and Herbert Wilcox. Later on, Lord Beaverbrook, the proprietor of the Daily Express, summoned her to meet him at his home. After a brief interview, he gave her a five-pound note, a job at the Express and invited her to ride horses with him the next week. But that was the only time they met, and she shortly lost the job at the Express. She moved to Liverpool for six months to live with Charles, but six months was all that she could take. She dropped him and returned to London.Film critic
She got a job with the Sunday Referee, which made her film critic. Suddenly, she was in a world of morning shows, lunches of cocktails and caviar at the Savoy. A boon companion for more than two years was John Betjeman, who was at that time the film critic for the Standard. The Referee job ended in 1935, but that summer became a reporter with the Dispatch. Within days, just as Betjeman would later that month be fired from the Standard for not toiling to Southampton for an actress's arrival, Shute had refused to go and give a female view of a Home Counties train crash at which, it turned out, 11 people had died. All was not lost: H.G. Wells agreed to an interview, and her account – "his walk resembles that of a young woman hurrying into a hat shop" – merited the front page.This led to work for Radio Normandy, sponsored by a soap-flake company, which prompted Max Factor to take her on as a publicist. She was, she said, "changed by make-up, peroxide and expensive tailored suits into a modern person who caught the eye" – though one who declared, privately, "what Goebbels does for Germany, I do for Max Factor.”

Relationships
She had a mystery female lover, Josephine, and several flirtations with men during the 1930s. Then she met a journalist, James Wentworth Day. Despite his being of a clubbish, anti-Modernist hue, she married him in 1936. After two years of bored housewifery, she left him and when it was formed in mid-1939, began training in the WAAF. She soon resigned and learnt to drive an ambulance. Visiting her mother in Rottingdean, Sussex, she met two women: “Andy” Sharpe and, somewhat older, Helen Mayo, respectively a gynaecologist and one of the first female dental surgeons.<mask> enjoyed an affair with Helen and moved into the pair’s house in August 1939. After war broke out, she joined a North London ambulance team. A year after the outbreak of war she met the broadcaster Howard Marshall. As famous in his day as his friend Richard Dimbleby, he had sent his family abroad, and he and Shute conducted a passionate affair. When his wife returned the lovers agreed to separate for three months, but managed only two, then married. Their union, which had been joyful as wartime subterfuge, proved fraught in the candour of peace. She found refuge in writing, with a novel about Fanny Burney, Georgian Lady (1958), followed by Poet Pursued (about Shelley, 1951) and Victorian Love Story (on Rossetti, 1954).Shute's marriage was not helped by losing a baby and the marriage ended after she confessed to him, during a row on New Year's Eve, 1953, that she was having an affair with their French maid. After a brief return to London, to work for Andy Sharpe, and alarmed, in her turn, by goings-on among the young Chelsea set, Shute returned after her mother died to live with her latest stepfather, Noel, in Sussex. Much the same age, they were attracted by the Beatles on television; London beckoned, and they moved to a flat in Cadogan Place, off the King's Road. Some assumed that Noel was either her husband, brother or lover, but in fact the household was completed by the celebrated ballroom dancer Phyllis Haylor (April 18, 1904 – December 13, 1981), with whom Shute had been immediately smitten, and who was a part of her life for 22 years, until her death in 1981. In 1989, Shute was introduced by a friend to the artist Jocelyn Williams who became her lover and, as Shute's long life neared its end, her devoted carer. Later life
Despite missing Marshall, she had achieved serenity and, as if in gratitude, helped at a hostel for unmarried mothers (girls with "syncopated moralities", she said) and later gave much time to the Samaritans. She did not become pompous or censorious but, living in Putney to which they had moved in 1979, was always happy to look back chortlingly at so long and colourful a life.She also wrote two volumes on London's villages and a study of the Spencer family's royal connections, but her four volumes of memoirs are her most imaginative production: in revealing more each time, she had to drop as many good stories as she included. With the publication of Passionate Friendships in 1992, she was finally able to be open about her own bisexuality. "For many years I have managed to keep my secrets to myself," she wrote, "protecting the men and women I have loved. Now all my loved ones are dead and no longer vulnerable. No one is left who might be hurt or damaged by these confessions unless it is myself.”

Books
Another Man's Poison (1931) a novel
 "We Mixed Our Drinks (1945) [a memoir]
Poet Pursued (1951) about Shelley
Victorian Love Story (1954) about Rossetti
"Favourite Books for Boys and Girls" (1955) [about children's reading habits]
Come into The Sunlight (1957) a memoir of her mother
"Malady of Love" (1962)
Georgian Lady (1958) about Fanny Burney
The Escapist Generations (1973) My London Story
"London Villages" (1977) [History of London]
"More London Villages" (1981)[History]
"The Royal Family and the Spencers" (1986) [History/Biography]
Passionate Friendships (1992) a memoir

References

External links
Times obituary
Guardian obituary
Shepperton Babylon: The Lost Worlds of British Cinema (2005) by Matthew Sweet, "Faber and Faber"

1908 births
2004 deaths
English film critics
Bisexual women
Bisexual writers
People from Prudhoe
English women novelists
20th-century English novelists
20th-century English women writers
Women film critics
LGBT writers from England
LGBT memoirists
English women non-fiction writers
Women memoirists
20th-century LGBT people

masks:
Nerina Shute
Cameron Shute
Charles Shute
Nerina
Nerina


title: Emperor Kameyama

texts:
was the 90th emperor of Japan, according to the traditional order of succession. His reign spanned the years from 1260 through 1274. Genealogy
Before his ascension to the Chrysanthemum Throne, his personal name (his imina) was . Other names Emperor <mask> had were:
Kongogen (金剛源) – his name as a monk
Zenrinji-dono (禅林寺殿) – Literally "Lord Zen-Temple" From the fact that he had a Zen temple in the north wing of his Imperial Villa
Madenokō-ji-dono (from his residence)
Bun'ō Kōtei (From the era name; Kōtei is another word for Emperor)
The name Kameyama comes from the location of his tomb. 9 January 1260 (Shōgen 1, 26th day of the 11th month): In the 14th year of Go-Fukakusa-tennō 's reign (後深草天皇十四年), the emperor abdicated; and the succession (senso) was received by his younger brother. Shortly thereafter, Emperor Kameyama is said to have acceded to the throne (sokui). In 1263, during the Kamakura Rebellion, the 6th shōgun, Imperial Prince Munetaka (eldest son of Emperor Go-Saga) was recalled from Kamakura to be replaced by his son Imperial Prince Koreyasu (age 2).In 1265 a Mongol delegation arrived from Kublai Khan, ruler of the Mongol Empire. On its way to Japan, they looted islands. The Mongols invited Japan to submit to the rule of Kublai. The Emperor and the Imperial Court suggested compromise, but they were ignored by the shogun in Kamakura. The Mongolian delegation was sent back. In 1274, abdicating to his son, Emperor Go-Uda, he began his reign as cloistered emperor. During his time as cloistered emperor, the Mongols invaded the second time.<mask> personally prayed at the Grand Shrine of Ise. On 15 August 1281, <mask>-Jokō asked for Amaterasu intervention on behalf of Japan. However, the Bakufu watched <mask> with suspicion, and in 1287, encouraged Emperor Go-Uda to abdicate, and pushed for the enthronement of Emperor Go-Fukakusa's son, who became Emperor Fushimi. <mask>'s cloistered rule was suspended by this. Later, Imperial Prince Hisa'aki, Emperor Go-Fukakusa's son, became shōgun strengthening the position of the Jimyōin-tō. This caused <mask> to become despondent, and in 1289 he entered the priesthood, joining the Zen sect. Because of this, Zen Buddhism slowly penetrated into the Court Nobility.In 1291, he helped establish the Buddhist temple Nanzen-ji in Kyōto. In 1305, he died. Emperor <mask> is enshrined at Kameyama no Misasagi at Tenryū-ji in Kyoto; and this Imperial mausoleum is maintained by the Imperial Household. Kugyō
 is a collective term for the very few most powerful men attached to the court of the Emperor of Japan in pre-Meiji eras. Even during those years in which the court's actual influence outside the palace walls was minimal, the hierarchic organization persisted. In general, this elite group included only three to four men at a time. These were hereditary courtiers whose experience and background would have brought them to the pinnacle of a life's career.During <mask>'s reign, this apex of the Daijō-kan included:
 Kampaku, Takatsukasa Kanehira, 1254–1261
 Kampaku, Nijō Yoshizane, 1261–1265
 Kampaku, Ichijō Sanetsune, 1265–1267
 Kampaku, Konoe Motohira, 1267–1268
 Kampaku, Takatsukasa Mototada, 1268–1273
 Kampaku, Kujō Tadaie, 1273–1274
 Sadaijin Udaijin Nadaijin DainagonEras of <mask>'s reign
The years of <mask>'s reign are more specifically identified by more than one era name or nengō. Bun'ō  (1260–1261)
 Kōchō       (1261–1264)
 Bun'ei      (1264–1275)

See also
 Emperor of Japan
 List of Emperors of Japan
 Imperial cult
 Emperor Go-Kameyama

Notes

References
 Ponsonby-Fane, Richard Arthur Brabazon. (1959). The Imperial House of Japan. Kyoto: Ponsonby Memorial Society. OCLC 194887
 Titsingh, Isaac. (1834).Nihon Ōdai Ichiran''; ou,  Annales des empereurs du Japon. Paris: Royal Asiatic Society, Oriental Translation Fund of Great Britain and Ireland. OCLC 5850691

Japanese emperors
1249 births
1305 deaths
Emperor Kameyama
Emperor Kameyama
Emperor Kameyama
13th-century Japanese monarchs
14th-century Japanese people
Japanese retired emperors
Japanese Buddhist monarchs
Kamakura period Buddhist clergy
Japanese Zen Buddhists
Zen Buddhist priests

masks: Kameyama Kameyama Kameyama Kameyama Kameyama Kameyama Kameyama Kameyama Kameyama Kameyama


title: Ernst Ludwig von Gerlach

texts:
<mask> (7 March 1795 – 18 February 1877) was a Prussian politician, editor and judge. He is considered one of the main founders and leading thinkers of the Conservative Party in Prussia and was for many years its leader in the Prussian House of Representatives. Like his brother <mask>, he belonged to the circle that formed around the "Neue Preußische Zeitung” (New Prussian Newspaper), in the founding of which he also played a leading role. Life

Origins and youth
<mask> was born in Berlin in 1795 to a family of Prussian bureaucratic gentry, the fourth child of the mayor of Berlin, <mask>. Among his brothers were the later general and adjutant to the Prussian king <mask> and the theologian and court chaplain <mask>. Between 1810 and 1815 <mask> studied law, with interruptions, at the newly founded University of Berlin, then later in Göttingen and Heidelberg. From 1813 to 1815 he fought in the War of the Sixth Coalition, during which he was wounded several times.He ended his service as an officer. One of the most formative experiences in <mask>'s life was his friendship with <mask> Thadden-Trieglaff, whom he met in Berlin in 1815. Encouraged in large part by this contact, he and his brother Leopold took active part in the Pomeranian religious revival movement of the 1820s. The religious imprint he received from Pietism in his youth accompanied him, his actions and thoughts throughout his life. His acquaintance with the young <mask> Bismarck also stems from this time and this circle. Prussian civil service
<mask> entered the Prussian judicial service in 1820 and became a Superior Regional Court Councilor (Oberlandesgerichtsrat) in Naumburg (Saale) in 1823. After 1835 he was a Regional and Municipal Court Director (Land- und Stadtgerichtsdirektor) in Halle and Vice President of the Superior Regional Court (Oberlandesgericht) in Frankfurt (Oder), succeeding his late brother Wilhelm.<mask> also took a deep interest in theological matters, opposing the rationalist trends of his time. In 1827 <mask>, <mask> Hengstenberg, August Tholuck and others founded the "Evangelische Kirchenzeitung," (Newspaper of the Evangelical Church) which became the leading organ of the early conservatives during the Vormärz period. In 1830 he authored an anonymous article for it in which he subjected the philologist Wilhelm Gesenius and the theologian Julius Wegscheider to verbal attacks because of their rationalism. Ultimately neither professor lost his position, although the conflict damaged Wegscheider’s reputation. He was a member of the "Wilhelmstraße Club", which had set itself the task of reconstructing a Christian-Germanic state, and was a contributor to the "Berlin Political Weekly" (Berliner Politisches Wochenblatt) which appeared from 1831 to 1841. In 1842 he became Privy High Councilor of Justice (Geheimer Oberjustizrat), and soon thereafter a member of the State Council and the Legislative Commission under Friedrich Carl <mask>vigny. In addition to providing expert opinions for the planned establishment of a Journalistic Court (Pressegericht), <mask> worked as a consultant for a planned reform of Prussian marriage law.In 1844 he became Chief President of the Superior Regional Court (Oberlandesgericht) and Court of Appeals (Appellationsgericht) in Magdeburg, where, together with his brother Leopold, the consistory president Carl Friedrich Göschel and others, he fought the Lichtfreunde, or Association of Protestant Friends, a rationalist Protestant group. He left the civil service in 1874. Political career in politics and journalism
The events of the revolutionary year 1848 strengthened <mask>'s willingness to become active in politics. In March of that year he faced hostility from revolutionaries in Berlin and Magdeburg because of his judicial service in Magdeburg, something that by his own admission only strengthened him in his stances. In the summer of 1848 he advocated traditional conservative viewpoints in a well-received speech at the general assembly of the "Association for the Protection of the Interests of Landed Property and the Promotion of the Prosperity of All Classes", also called the Junker Parliament. He and his brother Leopold also played a significant role in the so-called "camarilla" around King Frederick William IV. It was a group of influential politicians that tried to influence the king and government leadership towards their way of thinking.Along with Friedrich Julius Stahl and others from the same circle, he founded during the course of 1848 the "Neue Preußische Zeitung" (New Prussian Newspaper), which was later also called the "Kreuzzeitung" (Cross Newspaper) because of the iron cross on the title page. Hermann Wagener, a confidant of <mask>, was given the editorship. <mask> later wrote the monthly or quarterly "Rundschau" (Review) for the paper, following traditional conservative lines. In 1849 he became a member of the First Chamber of the Prussian Parliament, later called the House of Lords. As chairman of the recently formed Conservative Party, he again fought a tenacious battle alongside Stahl against radical liberalism and democracy and for the restoration of the "divinely ordained", pre-revolutionary order of the Ancien Régime. As a member of the Parliament of the Erfurt Union, he advocated the same views. In his political thinking, revolution and absolutism were equally devastating deviations from the ideal of a well-ordered state, meaning a Christian state corresponding to the will of God's creation.The development of his political views was influenced early on by the writings of <mask> <mask> and later through his acquaintance and close collaboration with Friedrich Julius Stahl. In 1852 <mask>ch". Under the regency of Wilhelm I (beginning in 1858, following the stroke that left his brother Frederick William IV mentally incapacitated), he lost his parliamentary mandate as a result of an unprecedented electoral defeat of the Conservatives and resigned from the leadership of the Conservative Party. He continued to assert his political views as the author of the "Rundschau" in the "Kreuzzeitung". Late years and break with Bismarck
On the basis of solidarity with its ruling princes, he fought against German unification, which came about in 1871. He opposed the 1866 Austro-Prussian War, as he did forcing Austria out of Germany and Prussia’s annexations in northern Germany, as for example in the pamphlet "The Annexations and the North German Confederation" (1866). A member of the Prussian Parliament beginning in 1873, he showed himself to be one of the fiercest opponents of the church laws of Bismarck's Kulturkampf (cultural struggle) and joined the Catholic Centre Party as a guest   He thus incurred the personal enmity of <mask> Bismarck, with whom he had been friends for decades and in whose political rise he and his brother Leopold had played no small part.Because of his essay "Die Civilehe und der Reichskanzler" (Civil Marriage and the Imperial Chancellor), charges were brought against him in 1874 at Bismarck's instigation for contempt of authority. <mask> was subsequently fined and the distribution of the pamphlet banned, which served only to increase its sales. <mask> then took voluntary leave as Court President (Gerichtspräsident) in Magdeburg, which Emperor Wilhelm I granted him. In 1877 he was elected member of the Reichstag for the Guelph (Welfe) Party for the electoral district of Hanover 4 (Osnabrück), joining the centrist faction as a guest member. On February 18, 1877, however, four days before the new Reichstag was sworn in, <mask> <mask> died at the age of 81 as a result of a traffic accident,[3] which had occurred on the Schöneberger Bridge in Berlin on the evening of the 16th. He is buried at Cathedral Cemetery II in Berlin-Mitte. Historical scholarship’s verdict on Gerlach is quite ambivalent.The historian Hans-Joachim Schoeps emphasized above all <mask>'s basic religious motivation: "All in all, <mask>’s was a mind oriented less historically than systematically, but he was not a man of objective science [...]. In the end he must be seen as a systematic theocrat, probably the only one of his kind in modern history. He believed in the kingdom of God and regarded it as a political system; he looked at everyday bustle and held up to it God’s eternal demands - as political rallying cries. Only from this insight does the understanding of the man and his actions open up. Any merely political-historical criticism fails in comparison because he was concerned with metapolitics, with something that is more than history." Hans-Joachim Schoeps: <mask>, <mask>, in: Neue Deutsche Biographie 6 (1964), pp. 296-299.Gerlach Archive
The estate of <mask> <mask>ch today forms the core of the Gerlach Archive, the family archive of the Gerlachs, which Hans-Joachim Schoeps was able to acquire for the University of Erlangen-Nuremberg in 1954. The focus of the holdings is the so-called "Rohrbecker Archive", which contains Gerlach’s extensive correspondence (approximately 15,000 letters from almost 9,000 correspondents), as well as that of some relatives, various official and political documents, and his diaries (1815-1877). It is now housed at the University's Institute of Political Science and was newly indexed between 2012 and 2015. Since the completion of the cataloging project in spring 2015, the archive's holdings have been fully cataloged in the Calliope Union Catalog for Autographs and Bequests. Literature

 Hellmut Diwald (pub. ): Von der Revolution zum Norddeutschen Bund. Politik und Ideengut der preußischen Hochkonservativen 1848–1866, 2 Bände.Vandenhoeck & Ruprecht, Göttingen 1970. Michael Dreyer: <mask>, <mask> <mask>. In: Wolfgang Benz: Handbuch des Antisemitismus. Judenfeindschaft in Geschichte und Gegenwart, Band 2/1, De Gruyter Saur, Berlin/Boston, Mass. 2009, ISBN 978-3-598-24072-0, p. 276 ff. <mask> <mask>: Aufzeichnungen aus seinem Leben und Wirken 1795–1877. Published by <mask> <mask>.2 Bände. Bahn, Schwerin 1903;
 Band 1: 1795–1848. Band 2: 1848–1877. <mask> <mask>: Gottesgnadentum und Freiheit. Ausgewählte politische Schriften aus den Jahren 1863 bis 1866. Published and with an afterword by Hans-Christof Kraus. Karolinger, Wien u. a.2011, ISBN 978-3-85418-141-5. Jürgen <mask>: <mask>, Lebensbilder einer Familie in sechs Jahrhunderten. Degener, Insingen 2015, ISBN 978-3-7686-5209-4. Bernd Haunfelder: Biographisches Handbuch für das Preußische Abgeordnetenhaus 1849–1867 (= Handbücher zur Geschichte des Parlamentarismus und der politischen Parteien. Band 5). Droste, Düsseldorf 1994, ISBN 3-7700-5181-5, S. 280, Nr. 482, <mask>, <mask> <mask>.Hans-Christof Kraus: <mask> <mask>. politisches Denken und Handeln eines preussischen Altkonservativen (= Schriftenreihe der Historischen Kommission bei der Bayerischen Akademie der Wissenschaften. Bd. 53, 1–2). 2 Bände. Vandenhoeck & Ruprecht, Göttingen 1994, ISBN 3-525-36046-0 (Zugleich: Göttingen, Universität, Dissertation, 1992). [Digitalisat Bd.1: https://opacplus.bsb-muenchen.de/Vta2/bsb00047237/bsb:BV009953942?page=1] [Digitalisatz Bd. 2: https://digi20.digitale-sammlungen.de//de/fs1/object/display/bsb00047241_00001.html]. Hans-Joachim Schoeps (Hrsg. ): Aus den Jahren preußischer Not und Erneuerung. Tagebücher und Briefe der Gebrüder Gerlach und ihres Kreises 1805–1820. Haude & Spenersche Verlagsbuchhandlung, Berlin 1966. Hans-Joachim Schoeps: Gerlach, <mask>.In: Neue Deutsche Biographie (NDB). Band 6, Duncker & Humblot, Berlin 1964, ISBN 3-428-00187-7, S. 296–299 (Digitalisat). Karl Wippermann: Gerlach, <mask>. In: Allgemeine Deutsche Biographie (ADB). Band 9, Duncker & Humblot, Leipzig 1879, S. 9–14. Weblinks
Commons: <mask> <mask>ch – A collection of pictures, videos, and audio files

Literatur von und über <mask> <mask> in the catalogue of the Deutsche Nationalbibliothek

von Gerlach, <mask> in the database of the Reichstagsabgeordneten

Biography of <mask> <mask>ch. In: Heinrich Best: Datenbank der Abgeordneten der Reichstage des Kaiserreichs 1867/71 bis 1918 (Biorab – Kaiserreich)

Website des Gerlach-Archivs an der FAU Erlangen-Nürnberg

References

1795 births
1877 deaths
19th-century German judges
German newspaper editors
German military personnel of the Napoleonic Wars
Writers from Berlin
People from the Province of Brandenburg
People of the Revolutions of 1848
Prussian politicians
Members of the Reichstag of the German Empire
German male non-fiction writers

masks:
Ernst Ludwig von Gerlach
Leopold von Gerlach
Gerlach
Carl Friedrich Leopold von Gerlach
Leopold von Gerlach
Otto von Gerlach
Ernst Ludwig
Gerlach
Adolf von
Otto von
Gerlach
Gerlach
Gerlach
Ernst Wilhelm
von Sa
Gerlach
Gerlach
Gerlach
Gerlach
Karl Ludwig
von Haller
Gerlachla
Otto von
Gerlach
Gerlach
Ernst Ludwig
von Gerlach
Gerlach
Gerlach
Gerlach
Ernst Ludwig
Ernst Ludwig
von Gerla
Gerlach
Ernst Ludwig
von
Ernst Ludwig
von Gerlach
Jakob von
Gerlach
Ernst Ludwig
von Gerlach
von Gerlach
Von Gerlach
Gerlach
Ernst Ludwig
von
Ernst Ludwig
von Gerlach
Ernst Ludwig
Ludwig von
Ernst Ludwig
von Gerla
Ernst Ludwig
von Gerlach
Ernst Ludwig
Ludwig Ernst
von Gerla


title: Renata Tebaldi

texts:
<mask>  ( , ; 1 February 1922 – 19 December 2004) was an Italian lirico-spinto soprano popular in the post-war period, and especially prominent as one of the stars of La Scala, San Carlo and, especially, the Metropolitan Opera. Often considered among the great opera singers of the 20th century, she focused primarily on the verismo roles of the lyric and dramatic repertoires. Italian conductor Arturo Toscanini called her voice "" ("the voice of an angel"), and La Scala music director Riccardo Muti called her "one of the greatest performers with one of the most extraordinary voices in the field of opera." Early years and education
Born in Pesaro, Tebaldi was the daughter of cellist <mask> and Giuseppina Barbieri, a nurse. Her parents separated before her birth and Tebaldi grew up with her mother in her maternal grandparents' home in Langhirano. Stricken with polio at the age of three, Tebaldi became interested in music and sang with the church choir in Langhirano. Her mother sent her, at age 13, for piano lessons with Giuseppina Passani in Parma, who took the initiative that Tebaldi study voice with Italo Brancucci at the conservatory of Parma.She was admitted to the conservatory at 17, where she studied with Brancucci and Ettore Campogalliani. She later transferred to Liceo musicale Rossini in Pesaro, taking lessons with Carmen Melis, and on her suggestion with Giuseppe Pais. She then studied with Beverley Peck Johnson in New York City. Italian career
<mask> made her stage debut as Elena in Boito's Mefistofele in Rovigo in 1944. Wartime conditions made for a difficult trip, with Tebaldi partly travelling by horse cart to Rovigo, and her return trip coming under machine-gun fire. Her early career was also marked by a performance in Parma in La bohème, L'amico Fritz and Andrea Chénier. She caused a stir when in 1946 she made her debut as Desdemona in Verdi's Otello alongside Francesco Merli as the title role in Trieste.Her major breakthrough came in 1946, when she auditioned for Arturo Toscanini, who says she had the "voce d'angelo" (voice of an angel). <mask> made her La Scala debut that year at the concert marking the reopening of the theatre after World War II. She sang the "Prayer" ("Dal tuo stellato soglio") from Rossini's biblical opera, Mosè in Egitto, and the soprano part in Verdi's Te Deum. She was given the roles of Margherita and Elena in Mefistofele and Elsa in Lohengrin in 1946. The next year she appeared in La bohème and as Eva in Die Meistersinger. Toscanini encouraged her to sing the role of Aida and invited her to rehearse it in his studio. She believed the role was reserved for a dramatic soprano; but Toscanini convinced her otherwise, and she debuted in the role at La Scala in 1950 with Mario del Monaco and Fedora Barbieri, conducted by Antonino Votto.It was the greatest success in her budding career, and lead to international opportunities. Tebaldi provided Sophia Loren's singing in the film version of Aida (1953). International career

Tebaldi went on a concert tour with the La Scala ensemble in 1950, first to the Edinburgh Festival and then to London, where she made her debut as Desdemona in two performances of Otello at the Royal Opera House and in the Verdi Requiem, both conducted by Victor de Sabata. The Met

<mask> made her American debut in 1950 as Aida at the San Francisco Opera; her Metropolitan Opera debut took place on 31 January 1955, as Desdemona opposite Mario Del Monaco's Otello. For some 20 years she made the Met the focus of her activities. For the 1962-1963 season, she convinced Met director Rudolf Bing to stage a revival of Cilea's Adriana Lecouvreur, an opera Bing said he "detested". Unfortunately, Tebaldi was not in top form and cancelled performances; and, as Bing was quoted in 1000 Nights at the Opera, "We had to do the wretched thing without her."However, her Lecouvreur was a practical move for the Met, as she was "the greatest box-office draw since Flagstad", according to Francis Robinson, then assistant manager of ticket sales. One of the public's favorite Tebaldi roles was Minnie in Puccini's La fanciulla del West. When she made her debut in the role at the Met, she was told that, as all Minnies do, she would have to enter in the 3rd act on horseback. Tebaldi, who had a lifelong fear of horses, refused to go near the animal until she was sure he was safe. At her first rehearsal, she approached him, patted his mane, and said, "Well, Mr. Horse, I am Tebaldi. You and I are going to be friends, eh?"She conquered her fear and the performances were successful. She sang more at the Met and far less elsewhere. She developed a special rapport with the Met audiences and became known as "Miss Sold Out", as her name on the marquee was considered a performance that could hardly be matched. She sang there some 270 times in La bohème, Madama Butterfly, Tosca, Manon Lescaut, La fanciulla del West, Otello, La forza del destino, Simon Boccanegra, Falstaff, Andrea Chénier, Adriana Lecouvreur, La Gioconda, and as Violetta in a production of La Traviata created specially for her. Puccini's Tosca was her most regular role there, with 45 performances. She was the Leonora in La forza del destino on the night in 1960 when Leonard Warren suddenly died mid-performance; and she was Adriana Lecouvreur on the night Placido Domingo made his Met debut in 1968. She made her last appearance there on 8 January 1973 as Desdemona in Otello; it was the role in which she made her Met debut 18 years earlier, and which had become one of her signature roles.<mask> was widely admired by the American operatic public. She did not become a classically temperamental diva, but trusted her artistic instincts. Rudolf Bing, referring to her more assertive side, famously said of her, "She has dimples of iron". <mask> and Callas

During the early 1950s, controversy arose regarding a supposed rivalry between <mask> and the great Greek-American soprano Maria Callas. The contrast between Callas's often unconventional vocal qualities and Tebaldi's classically beautiful sound resurrected an argument as old as opera itself, namely, beauty of sound versus the expressive use of sound. In 1951, <mask> and Maria Callas were jointly booked for a vocal recital in Rio de Janeiro, Brazil. Although the singers agreed that neither would perform encores, <mask> took two, and Callas was reportedly incensed.This incident began the rivalry, which reached a fever pitch in the mid-1950s, at times even engulfing the two women themselves, who were said by their more fanatical followers to have engaged in verbal barbs in each other's direction. <mask> was quoted as saying, "I have one thing that Callas doesn't have: a heart" while Callas was quoted in Time magazine as saying that comparing her with <mask> was like "comparing Champagne with Cognac. No, with Coca Cola". However, witnesses to the interview stated that Callas only said "champagne with cognac", and it was a bystander who quipped, "No, with Coca-Cola", but the Time reporter attributed the latter comment to Callas. According to John Ardoin, however, these two singers should never have been compared. <mask> was trained by Carmen Melis, a noted verismo specialist, and she was rooted in the early 20th century Italian school of singing just as firmly as Callas was rooted in 19th century bel canto. Callas was a dramatic soprano, whereas Tebaldi considered herself essentially a lyric soprano.Callas and <mask> generally sang a different repertoire: in the early years of her career, Callas concentrated on the heavy dramatic soprano roles and later in her career on the bel canto repertoire, whereas <mask> concentrated on late Verdi and verismo roles, where her limited upper extension and her lack of a florid technique were not issues. They shared a few roles, including Tosca in Puccini's opera and La Gioconda, which Tebaldi performed only late in her career. The alleged rivalry aside, Callas made remarks appreciative of Tebaldi, and vice versa. During an interview with Norman Ross in Chicago, Callas said, "I admire Tebaldi's tone; it's beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice." Francis Robinson of the Met wrote of an incident in which Tebaldi asked him to recommend a recording of La Gioconda to help her learn the role. Being fully aware of the alleged rivalry, he recommended Zinka Milanov's version.A few days later, he went to visit <mask>, only to find her sitting by the speakers, listening intently to Callas's recording. She then looked up at him and asked, "Why didn't you tell me Maria's was the best?" According to Time magazine, when Callas quit La Scala, "Tebaldi made a surprising maneuver: she announced that she would not sing at La Scala without Callas. 'I sing only for artistic reasons; it is not my custom to sing against anybody', she said." Callas visited <mask> after a performance of Adriana Lecouvreur at the Met in 1968, and the two were reunited. In 1978, <mask> spoke warmly of her late colleague and summarized this rivalry:
This rivality [sic] was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end.But I don't know why they put this kind of rivality [sic], because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. Voice
Tebaldi's voice was reputed to be one of the most beautiful of the day, with rich, perfectly produced tones. At the start of her career, her audition in bomb-ravaged La Scala's reopening was marked by Arturo Toscanini praising Tebaldi, calling her la voce d'angelo with enthusiastic "Brava! "s and applauds. British musicologist Alan Blyth posited that in posterity, Tebaldi holds a position of being one of the last and best spinto sopranos of the last 50 years, due to Tebaldi's successors in the fach not having the right vocal equipment for her parts.Blyth attributed this in part to Tebaldi's recordings, and her live performances onstage. Tebaldi's voice added a frisson of urgency when she sang in an opera house. This was noted in two of her performances as Leonora in Verdi's La forza del destino, evident in a recording done at the Maggio Musicale Fiorentino in 1953, where conductor Dimitri Mitropoulos urged her to great heights of vocal and dramatic achievement, and a live video recording in Naples. Montserrat Caballe remarked on an interview that Tebaldi, "She was our Aida, our Traviata, our Manon Lescaut. She was all the roles, and she was the most perfect human voice we ever heard", likewise, Robert Merrill and Licia Albanese commented on the sumptuous and beautiful quality of Tebaldi's voice. Tebaldi withdrew from performances in 1963 to restudy, made in part due to the emotional stress after eighteen years of singing. After thirteen months of reworking her voice, Tebaldi possessed an unmistakable metallic edge in her voice which only strengthened over the years.On her mid-to-later career, Tebaldi shifted from being a spinto to one with a near-dramatic sound. Adding La Gioconda in her repertoire, Tebaldi had chest notes carried high, bearing ample size and strength but little of the known beauty of Tebaldi's tone. Similarly, in her recorded Puccini roles at that time, one can't always count on the "floats" being easily produced or accurately pitched. Some critics of Tebaldi have commented adversely on her seemingly incomplete technique; sometimes she took on strident, full-voiced top notes when tackling material above the high B-flat, and had occasional lapses in her pitch. For most audiences however, there was the sheer and deep richness of Tebaldi's

masks:
Renata Tebaldi
Teobaldo Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
Tebaldi
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Tebaldi


title: Renata Tebaldi

texts:
 voice, her melting legato phrases, the deeply expressive but never maudlin quality of singing, the beauty of her floated pianissimo high notes, and her temperament when dwelling in moments of dramatic intensity. Tebaldi's often mentioned alleged rival, Maria Callas, said in an interview, "I admire Tebaldi's tone; it's beautiful – also some beautiful phrasing. Sometimes, I actually wish I had her voice."Tebaldi herself mentioned that recording presented challenges for her, as she missed the stimulation of an audience, and her powerful voice would often cause sound engineers to insist that she turn away from the microphone at moments of climactic intensity. Personal life
Tebaldi enjoyed a beloved relationship with her mother, who helped nurture and was devoted to her career and well-being from an early age. Her mother's death in 1957 took on a huge blow to Tebaldi, whose grief was unbearable and took effort in going back to the stage. Tebaldi never married. In a 1995 interview with The Times, she said she had no regrets about her single life. "I was in love many times," she said. "This is very good for a woman."But she added, "How could I have been a wife, a mother and a singer? Who takes care of the piccolini when you go around the world? Your children would not call you Mama, but <mask>." She also wrote, "I started my career at 22 and finished it at 54. Thirty-two years of success, satisfaction and sacrifices. Singing was my life's scope to the point that I could never have a family." Tebaldi had a short relationship with bass Nicola Rossi-Lemeni.A longer one with conductor Arturo Basile was formed in 1958, Basile reportedly saying his intentions of marrying but was ended by Tebaldi in 1962 due to Basile's behavior. Later years
By the end of her career, Tebaldi had sung in 1,262 performances, 1,048 complete operas, and 214 concerts. <mask> retired from the opera stage in 1973 as Desdemona in Verdi's Otello in the Metropolitan Opera, the same role she debuted there nearly 20 years previously. In January 1976, she retired from giving recitals, making her last one in New York's Carnegie Hall where she was overcome with emotion and had to return to perform after a few weeks in a successful but shaky performance. She received six curtain calls and standing ovations from the audience. She then moved out of her New York apartment, her home for many years during her stint in the Met and returned to Italy, where she gave her final public appearance in a vocal recital in La Scala in May 1976. She also made recitals around the globe, in one recital held in Manila with frequent partner Franco Corelli, <mask>'s voice cracked in a Manon Lescaut aria, she then massaged her throat and genuflected to great applause from the audience.Regarding her decision to retire, <mask> said that she stopped singing while she still had a powerful voice to avoid "the mortifying season of decline." She spent the majority of her last days in Milan. She died at age 82 at her home, in San Marino. She is buried in the Tebaldi family chapel at Mattaleto cemetery in Langhirano. At her death, audiences at Venice's La Fenice observed a moment of silence in her memory. Luciano Pavarotti said, "Farewell, <mask>, your memory and your voice will be etched on my heart forever". Honours
<mask> won the first Grammy Award Best Classical Performance - Vocal Soloist in 1959 for her album Operatic Recital.Their joint recording of Puccini's Turandot, conducted by Erich Leinsdorf and starring Birgit Nilsson as Turandot, Jussi Björling as Calaf, <mask> as Liù and Giorgio Tozzi as Timur with the Rome Opera Orchestra won the Grammy Award for Best Opera Recording in 1961. She became a member of the Order of Merit of the Italian Republic as a Grand Officer in 1968 and a Knight Grand Cross in 1992. She was also made a Commander of the Ordre des Arts et des Lettres from France. Proclamation of the "Tebaldi day", announced in her honor on 11 December 1995 by Rudolph Giuliani, then Mayor of New York City. Legacy

From February 2010 until 2013, the 15th-century Castle of Torrechiara – Langhirano – hosted within its rooms an exhibition dedicated to <mask> Tebaldi. This “Castle for a Queen” unveils the many sides of this great diva, whose artistic and personal life remain on display. The items showcased followed her over the arc of time as she spread the world-class tradition of Italian lyrical art, all the way from the beginning of her career and throughout her artistic achievements.The exhibition is presented by the Renata Tebaldi Committee in collaboration with Superintendence of Environmental Heritage and Landscape of the province of Parma and Piacenza, the Regio Theatre Foundation of Parma and the Municipality of Langhirano and with the patronage of the province of Parma. On June 7, 2014, the museum dedicated to <mask> <mask> was inaugurated in the stables of Villa Pallavicino in Busseto. <mask> has been awarded a star for recording in 1960 in Hollywood Walk of Fame in 6628 Hollywood Boulevard, Hollywood, California. Discography
 Lohengrin (Richard Wagner): conducted by Franco Capuana, with Giancinto Prandelli and Elena Nicolai. (1947). Performed in Italian. Andrea Chénier (Umberto Giordano): Victor de Sabata conducting the Teatro alla Scala, with Mario Del Monaco and Paolo Silveri.(1949)
 Giulio Cesare (George Frideric Handel): Herbert Albert conducting the Orchestra del Teatro San Carlo, with Cesare Siepi and Elena Nicolai. (1950)
 Tannhäuser (Richard Wagner): Karl Boehm conducting the Orchestra del Teatro San Carlo, with Hans Beirer and Carlo Tagliabue. (1950). Performed in Italian. La traviata (Giuseppe Verdi): Antonino Votto conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Campora and Paolo Silveri. (1950) (Gramophone Company)
 Andrea Chénier (Umberto Giordano): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Mario Filippeschi and Carlo Tagliabue. (1951)
 La bohème (Giacomo Puccini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giacomo Lauri-Volpi and Tito Gobbi.(1951)
 Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1951) (Urania Records)
 Fernand Cortez (Gaspare Spontini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Italo Tajo. (1951). Performed in Italian. Giovanna d'Arco (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ugo Savarese. (1951)
 Giovanna d'Arco (Giuseppe Verdi): Alfredo Simonetto conducting the RAI Milano Orchestra, with Carlo Bergonzi and Rolando Panerai. (1951)
 La bohème (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giancinto Prandelli and Fernando Corena.(1951) (Decca Records)
 Madama Butterfly (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giuseppe Campora, Giovanni Inghilleri and Nell Rankin. (1951) (London Records)
 Adriana Lecouvreur (Francesco Cilea): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Gianni Poggi and Augosto Romani. (1952)
 Falstaff (opera) (Giuseppe Verdi): Victor de Sabata conducting the Teatro alla Scala, with Mariano Stabile and Cesare Valletti. (1952)
 Otello (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Ramón Vinay and Gino Bechi. (1952)
 Le siège de Corinthe (Gioachino Rossini): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Miriam Pirazzini and Mario Petri. (1952). Performed in Italian.La traviata (Giuseppe Verdi): Gabriele Santini conducting the Orchestra del Teatro San Carlo, with Giuseppe Campora and Pina Angelici. (1952)
 La traviata (Giuseppe Verdi): Carlo Maria Giulini conducting the RAI Milano Orchestra, with Giancinto Prandelli and Liliana Pellegrino. (1952)
 Aida (Giuseppe Verdi): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario del Monaco and Ebe Stignani. (1952) (Decca Records)
 Tosca (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Giuseppe Campora and Enzo Mascherini. (1952) (Decca Records)
 Aida (Giuseppe Verdi): Giuseppe Morelli conducting the RAI Milano Orchestra, with Giuseppe Campora and Ebe Stignani. (1953)
 Aida (Giuseppe Verdi): Tullio Serafin conducting the Orchestra del Teatro San Carlo, with Gino Penno and Ebe Stignani. (1953)
 Cecilia (Licinio Refice): Licinio Refice conducting the Orchestra del Teatro San Carlo, with Pina Ulisse and Alvino Misciano.(1953)
 La forza del destino (Giuseppe Verdi): Dimitri Mitropoulos conducting the Teatro Comunale Orchestra, with Mario Del Monaco, Silvio Maionica and Giorgio Tozzi. (1953)
 La Wally (Alfredo Catalani): Carlo Maria Giulini conducting the Teatro alla Scala, with Mario Del Monaco and Giangiacomo Guelfi. (1953)
 Andrea Chénier (Umberto Giordano): Arturo Basile conducting the RAI Torino Orchestra, with José Soler and Ugo Savarese. (1953) (Cetra Records)
 Tosca (Giacomo Puccini): Oliviero De Fabritiis conducting the Orchestra-Theatro Municipal do Rio de Janeiro, with Giuseppe Di Stefano and Tito Gobbi. (1953) (Decca Records)
 Le nozze di Figaro (Wolfgang Amadeus Mozart): Ionel Perlea conducting the Orchestra del Teatro San Carlo, with Giulietta Simionato, Italo Tajo and Alda Noni. (1954). Performed in Italian.Manon Lescaut (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Mario Boriello, Fernando Corena. Coro dell'Accademia Nazionale di Santa Cecilia. (1954) (Decca Records). La traviata (Giuseppe Verdi): Francesco Molinari-Pradelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Gianni Poggi and Angela Vercelli. (1954) (Decca)
 Turandot (Giacomo Puccini): Alberto Erede conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Inge Borkh, Mario del Monaco and Nicola Zaccaria. (1955) (Decca Records)
 Tosca (Giacomo Puccini): Dimitri Mitropoulos conducting, with Leonard Warren, Fernando Corena, Richard Tucker. 7 January 1956 Metropolitan Opera Historic Broadcast Recording.Il trovatore (Giuseppe Verdi): Alberto Erede conducting the Grand Théâtre de Genève Orchestra, with Mario Del Monaco and Giulietta Simionato. (1956) (Decca)
 La traviata (Giuseppe Verdi): Fausto Cleva conducting the Metropolitan Opera Orchestra in 1957, with Giuseppe Campora and Leonard Warren. Cavalleria rusticana (Pietro Mascagni): Alberto Erede conducting the Orchestra and Chorus of the Maggio Musicale Fiorentino in 1957, with Jussi Björling and Ettore Bastianini. (RCA/London Records)
 Andrea Chénier (Umberto Giordano): Gianandrea Gavazzeni conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Fiorenza Cossotto, Ettore Bastianini. Coro dell'Accademia Nazionale di Santa Cecilia. (1957) (Decca). Madama Butterfly (Giacomo Puccini): Angelo Questa conducting the Orchestra del Teatro San Carlo, with Gianni Raimondi, Giuseppe Valdengo, Anna Di Stasio.(1958)
 La fanciulla del West (Giacomo Puccini): Franco Capuana conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cornell MacNeil, Giorgio Tozzi. Coro dell'Accademia Nazionale di Santa Cecilia. (1958) (Decca Import). Madama Butterfly (Giacomo Puccini): Tullio Serafin conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Fiorenza Cossotto, Enzo Sordello. Coro dell'Accademia Nazionale di Santa Cecilia. (1958) (Decca Records). Mefistofele (Arrigo Boito): Tullio Serafin conducting the Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Cesare Siepi.(1958) (Decca). La bohème (Giacomo Puccini):

masks: Renata Tebaldi Tebaldi Tebaldi Renata Tebaldi Tebaldi Renata Renata Tebaldi Tebaldi


title: Renata Tebaldi

texts:
 Tullio Serafin conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Gianna D'Angelo, Ettore Bastianini. Coro dell'Accademia Nazionale di Santa Cecilia. (1959) (Decca Records). Tosca (Giacomo Puccini): Francesco Molinari-Pradelli conducting the Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco and George London. (1959) (Decca Records). Tosca (Giacomo Puccini): Gianandrea Gavazzeni conducting the La Scala Theatre Orchestra, with Giuseppe di Stefano and Tito Gobbi.La Scala Theatre Chorus. Recorded live at La Scala in 1959. Opera d'Oro. Aida (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Carlo Bergonzi, Giulietta Simionato, Cornell MacNeil. Singverein der Gesellschaft der Musikfreunde. (1959) (Decca Legends). Turandot (Giacomo Puccini): Erich Leinsdorf conducting the Rome Opera Orchestra, with Birgit Nilsson, Jussi Bjoerling and Giorgio Tozzi.Rome Opera Chorus. (1960) (RCA). Otello (Giuseppe Verdi): Herbert von Karajan conducting the Vienna Philharmonic Orchestra, with Mario Del Monaco, Aldo Protti, Nello Romanato. Singverein der Gesellschaft der Musikfreunde. (1961) (Decca Legends). Adriana Lecouvreur (Francesco Cilea): Franco Capuana conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Mario Del Monaco, Giulietta Simionato, Giulio Fioravanti. Coro dell'Accademia Nazionale di Santa Cecilia.(1961) (Decca). Il trittico (Giacomo Puccini): Lamberto Gardelli conducting Chorus and Orchestra of the Maggio Musicale Fiorentino, with Giulietta Simionato, Mario del Monaco, Robert Merrill, Fernando Corena (1962) (London Records)
 Adriana Lecouvreur (Francesco Cilea): Silvio Varviso conducting the Metropolitan Opera Orchestra, with Franco Corelli and William Wilderman. (1963)
 Tosca (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Tito Gobbi. (1964)
 Don Carlos (opera) (Giuseppe Verdi): Georg Solti conducting Orchestra of the Royal Opera House, with Carlo Bergonzi, Nicolai Ghiaurov, Dietrich Fischer-Dieskau, Grace Bumbry (1965) (Decca)
 La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli, Cornell MacNeil, Biserka Cvejić and Cesare Siepi. (1966). (Stradivarius Records)
 Otello (Giuseppe Verdi): Alberto Erede conducting the Teatro Regio Orchestra, with Mario Del Monaco and Tito Gobbi. (1966)
 Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Louis Quilico.(1967)
 La Gioconda (opera) (Amilcare Ponchielli): Lamberto Gardelli conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Carlo Bergonzi, Robert Merrill, Marilyn Horne and Oralia Domínguez. (1968). (Decca Records)
 La Gioconda (opera) (Amilcare Ponchielli): Fausto Cleva conducting Metropolitan Opera Orchestra, with Carlo Bergonzi, Cornell MacNeil and Fiorenza Cossotto. (1968). La Wally (Alfredo Catalani): Fausto Cleva conducting Orchestra of the American Opera Society, with Carlo Bergonzi, Peter Glossop. (1968). La Wally (Alfredo Catalani): Fausto Cleva conducting L'Orchestre National de l'Opéra de Monte-Carlo, with Mario Del Monaco, Piero Cappuccilli, Justino Diaz.Coro Lirico di Torino. (1968) (Decca Records). Adriana Lecouvreur (Francesco Cilea): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Franco Corelli and Morley Meredith. (1969)
 La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Seymour Schwartzman. (1969)
 La bohème (Giacomo Puccini): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Franco Corelli and Alan Wagner. (1969)
 La bohème (Giacomo Puccini): Fausto Cleva conducting the Metropolitan Opera Orchestra, with Richard Tucker and Gene Boucher. (1970)
 La fanciulla del west (Giacomo Puccini): Jan Behr conducting the Metropolitan Opera Orchestra, with Sándor Kónya and Anselmo Colzani.(1970)
 Simon Boccanegra (Giuseppe Verdi): James Levine conducting the Cleveland Orchestra, with Cornell MacNeil and Ezio Flagello. (1970) (Legato Classics)
 Un ballo in maschera (Giuseppe Verdi): Bruno Bartoletti conducting the Orchestra dell'Accademia Nazionale di Santa Cecilia, with Luciano Pavarotti and Sherrill Milnes. (1970) (Decca Records)
 Otello (Giuseppe Verdi): Anton Guadagno conducting the Philadelphia Lyric Opera Orchestra, with Jon Vickers and Peter Glossop. (1972)
 Falstaff (opera) (Giuseppe Verdi): Christoph von Dohnányi conducting the Metropolitan Opera Orchestra. with Tito Gobbi and Luigi Alva. (1972)
 Otello (Giuseppe Verdi): James Levine conducting the Metropolitan Opera Orchestra. with James McCracken and Sherrill Milnes.(1973)

References

Further reading

External links

 Official Website of the Committee <mask> <mask>
 <mask>, <mask> – Encyclopædia Britannica
 'La Tebaldi' app Site
 <mask> <mask> a New Tribute
 International Jose Guillermo Carrillo Foundation
 A Tribute to <mask> Tebaldi (including discography) Retrieved May 17, 2013

  <mask> sings "Un Bel Di Vedremo" from Puccini's Madama Butterfly in this 1959 video. <mask> <mask> sings Un bel dì vedremo in a live performance
  <mask> <mask> sings Si, mi chiamano Mimì in Puccini's La bohème
 , by <mask> <mask> in a studio recording of Puccini's Turandot with Mario del Monaco and Alberto Erede conducting, 1955
  Tebaldi in a live performance of La forza del destino, Firenze, 1956
  Tebaldi performing Pace, pace mio Dio, Napoli, 1958
 , televised performance by <mask> <mask>, 1959
  by <mask> <mask>
 Discography (Capon's Lists of Opera Recordings)

1922 births
2004 deaths
People from Pesaro
Italian operatic sopranos
Italian Roman Catholics
Grammy Award winners
Musicians from the Province of Parma
Knights Grand Cross of the Order of Merit of the Italian Republic
20th-century Italian women  opera

masks: Renata Tebaldi Tebaldi Renata Renata Tebaldi Renata Tebaldi Renata Tebaldi Renata Tebaldi Renata Tebaldi Renata Tebaldi Renata Tebaldi


title: Terence James Elkins

texts:
<mask> (born 8 March 1936) is an Australian-born American physicist. In 1960, he participated in an expedition from Mawson Station which conducted the first geological surveys of the Napier Mountains in Antarctica. The highest of this group of mountains, Mount <mask>, was subsequently named after him. In 1979, he received the Harold Brown Award, the Air Force's highest honour for research and development, for research he conducted that contributed to the development of the AN/FPS-118 over-the-horizon backscatter (OTH-B) air defence radar system. This system, consisting of six one-megawatt transmitters and their associated horizontal linear phased array antennas, is currently the largest radar system in the world. Education
<mask> earned his Bachelor of Electrical Engineering degree from University of Melbourne in 1957. He earned his master's degree in Physics and Astronomy from Boston University in 1967.He earned his PhD from the same institution in 1970, publishing a thesis entitled Studies of Ionospheric Irregularity Using Radio Astronomical Techniques. Mawson Station (1960–1961)
After completion of his bachelor's degree, <mask> joined the ANARE team that wintered over at Mawson Station in Australian Antarctic Territory, East Antarctica in 1960. The wintering party comprised 33 expeditioners including 12 members of the RAAF Antarctic Flight; the Officer-in-Charge was Hendrick Geysen. That year, <mask> was part of a mechanised and sledging field party that travelled from Mawson Station to the Napier Mountains in Enderby Land, East Antarctica. The men of this expedition, led by fellow Antarctic explorer Syd Kirkby, conducted the first geological surveys of that area of the continent. The highest of this small group of mountains, Mount Elkins, was subsequently named after Dr. <mask>. Other survey teams that year visited the Framnes Mountains, conducted geological and survey work in the Prince Charles Mountains, and visited the Emperor penguin colonies at Taylor Glacier and Fold Island.ANARE has since been renamed the Australian Antarctic Program, managed by the Australian Antarctic Division, itself a division of the Department of the Environment, Water, Heritage and the Arts. Emigration to the United States and early career

<mask> emigrated from his native Australia to the United States in 1963, at the height of the Space Race, after being recruited by the scientific research program of the United States Air Force. Beginning in the early 1960s, he conducted research focused mainly on the upper atmosphere and ionosphere, and improvements to ground, airborne, and space-based surveillance and reconnaissance systems, including over-the-horizon radar systems. In addition to his work at Hanscom Air Force Base, much of his early research was also conducted at Sagamore Hill Radio Observatory, a ground-based solar observatory located in Hamilton, Massachusetts. Sagamore Hill Solar Radio Observatory is a functional component of the Radio Solar Telescope Network (RSTN). In 1980, he developed and published an auroral echo-scattering model to predict the obscuration of targets when the radar transmission path is through the auroral region. Development of the over-the-horizon air defence radar system
<mask> was part of a team of Rome Air Development Center (RADC) engineers that developed and constructed components for frequency modulation/continuous wave (FM/CW) radars capable of detecting and tracking objects at over-the-horizon ranges.A prototype radar was installed and evaluated on 15 September 1970. The system incorporated a Beverage array receive antenna (located at Columbia Air Force Station), a high-power transmitter array (located at Moscow Air Force Station), and an operations center (located at Bangor Airport). This prototype became operational on 30 October of that year. Experimental transmissions from the Maine site covered a 60° sector from 16.5° to 76.5° azimuth and from 900 to 3,300 km in range from the radar. Based on the success of these early experiments, the Department of Defense proposed to deploy a fully operational radar system. This radar system, covering 180° in azimuth, was built at the same locations in Maine. Initial testing was conducted from June 1980 to June 1981.GE Aerospace (now Lockheed Martin Ocean, Radar and Sensor Systems) received a contract in mid-1982 for full-scale development of the AN/FPS-118 program. The operational system consisted of multiple OTH-B radars functioning as an early warning system, to detect incoming enemy bombers and cruise missiles. The system, as initially envisioned, was to consist of four sectors:
 East Coast Sector (ECRS): facing east, including a group of three transmitters at Moscow Air Force Station, Maine, a group of three receivers at Columbia Air Force Station, also in Maine, and an operations center located at Bangor International Airport. West Coast Sector (WCRS): facing west, including a group of three transmitters at Christmas Valley, Oregon, a group of three receivers at Tule Lake, near Alturas, California, and an operations center at Mountain Home Air Force Base, Idaho. North Sector (in Alaska): facing north, cancelled prior to completion
 Central Sector (in Texas): facing south

Only months after the system became fully operational, the Cold War came to an end. The military requirement for the OTH-B radar network was therefore greatly diminished. The mission of the ECRS radar system was redirected to counter-narcotics surveillance and drug interdiction, and the ECRS operated in this capacity for several years.The three OTH radars of the WCRS were mothballed, and the incomplete North Sector in Alaska was cancelled. The Air Force currently maintains the six East Coast and West Coast OTH-B radars in a state called warm storage, which preserves the physical and electrical integrity of the system and permits recall, should a need arise. It would require at least 24 months to bring these first generation OTH-B radars into an operational status. Later career
Dr. <mask> spent much of his career at Hanscom Air Force Base in Bedford, Massachusetts, where he conducted research at several of the tenant commands, including the Air Force Cambridge Research Laboratories (AFCRL) and the Geophysics Laboratory. He also conducted research at the Rome Air Development Center, located at Griffiss Air Force Base in Rome, New York. The Geophysics Laboratory is now known as the Phillips Laboratory, while the Rome Air Development Center is now known as the Rome Laboratory. Both research laboratories operate under the Air Force Materiel Command (AFMC).Over the course of a career that spanned nearly five decades, Dr. <mask>' research focused on development and deployment of electronic systems for the gathering and dissemination of military intelligence, including command, control and communications, satellite imagery, electronic warfare, and systems for remote sensing of the environment from surface, airborne, space and undersea based platforms. After more than 20 years in research and development for the United States Air Force, he joined the Mitre Corporation in McLean, Virginia, where he continued his research for another 25 years. The majority of his work at MITRE was for the Command, Control, Communications, and Intelligence (C3I) Federally Funded Research and Development Center (FFRDC) supporting the United States Department of Defense. Awards and recognition
<mask> was the recipient of the 1979 Harold Brown Award. The Harold Brown Award is the Air Force's highest honour for research and development. Publications
<mask> has published many scientific journal articles, including:

 Ionospheric effects associated with nuclear weapon tests, July–December 1962: a scientific report, by <mask>. <mask> & Alv Egeland (Kiruna Geophysical Observatory, 63:2, 1 March 1963). Influence of solar protons on high-latitude ionospheric disturbance, by <mask> J<mask> (Radio Sci., 1: 1195–1200, OCT 1966).Frequency dependence of radio star scintillations, by J. Aarons, R.S. Allen, and T.J<mask> (Journal of Geophysical Research, Volume 72, Issue 11, Pages 2891–2902, 1 June 1967). Measurement and interpretation of power spectrums of ionospheric scintillation at a sub-auroral location, by <mask><mask> and Michael D. Papagiannis (Journal of Geophysical Research, Volume 74, Pages 4105–4115, 1 August 1969). Observations of travelling ionospheric disturbances using stationary satellites, by T.J<mask> and F.F. Slack (Journal of Atmospheric and Terrestrial Physics, Volume 31, Issue 3, Pages 421–439, MAR 1969). Dispersive motions of ionospheric irregularities, by Michael D. Papagiannis and <mask><mask> (Journal of Atmospheric and Terrestrial Physics, Volume 32, Issue 3, Pages 383–395, MAR 1970). References

Further reading

External links
 Australian Antarctic Names and Medals Committee (AANMC)
 Scientific Committee on Antarctic Research (SCAR)
 PDF Map of the Australian Antarctic Territory
 Stations of the Australian Antarctic Division: Mawson Station
 Major Peaks of the Enderby Land Coast Range
 MITRE Corporation Fact Sheet

1936 births
Living people
21st-century American physicists
Australian physicists
Explorers of Antarctica
People from Melbourne
University of Melbourne alumni
Boston University alumni
Australian American
Australian Antarctic scientists

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