Franz Mattenklott () a fost un general german din Wehrmacht, care a îndeplinit funcții de comandă în timpul celui de-al Doilea Război Mondial. A fost decorat cu Crucea de Cavaler al Crucii de Fier.

Născut în Silezia, Mattenklott a devenit ofițer în 1903 și a luptat în Primul Război Mondial. A fost păstrat după război în Reichswehr (armata redusă a Republicii de la Weimar), iar la începutul celui de-al Doilea Război Mondial era deja Generalmajor (general-maior). A avut doar o implicare limitată în Bătălia Franței din 1940, dar unitățile sale au jucat un rol decisiv în invazia germană în Grecia din 1941 și, mai târziu în același an, în Asediul Sevastopolului și în alte operațiuni militare din Crimeea. A fost numit comandant al unui district militar la mijlocul anului 1944 și a fost nevoit să facă față forțelor militare aliate occidentale în cursul luptelor finale ale războiului din primăvara anului 1945.

Deși a fost implicat în crime de război atât pe Frontul de Est, cât și pe Frontul de Vest în timpul celui de-al Doilea Război Mondial, Mattenklott nu a fost condamnat niciodată pentru vreo infracțiune, murind ca un om liber în vara anului 1954.

Tinerețea și Primul Război Mondial
Franz Mattenklott s-a născut la 19 noiembrie 1884 în orașul Grünberg din provincia prusacă Silezia, ca fiu al lui Dietrich Mattenklott și al soției lui, Elfriede, născută Duttenhofer. Tatăl lui era directorul unei fabrici de zahăr din localitatea sileziană Ober Pritschen (azi Przyczyna Górna din Polonia, proprietar de moșie și căpitan în rezervă al Armatei Prusace.

După terminarea studiilor liceale, Franz Mattenklott a solicitat să fie admis în Regimentul 67 Infanterie (4 Magdeburg) din Metz, Alsacia-Lorena, care făcea parte atunci din Imperiul German. După ce a trecut o examinare în scris, Mattenklott a devenit ofițer cadet în Armata Prusacă la 28 decembrie 1903 și a ajuns ofițer în 1905. Până în 1912 a avansat în rang, ajungând adjutant în Batalionul 1 al regimentului. Mattenklott a servit în timpul Primului Război Mondial, fiind decorat cu Crucea de Fier și avansat la 18 iunie 1915 la gradul de căpitan.

Perioada interbelică
După capitularea Imperiului German, Mattenklott a fost păstrat în Reichswehr-ul Republicii de la Weimar. El a continuat să urce în rang în cadrul Reichswehr, fiind avansat maior în 1928. Postul său următor a fost cel de instructor la Școala de Ofițeri de Infanterie de la Dresda. În 1932 a ajuns la gradul de Oberstleutnant (locotenent-colonel).

Ascensiunea la putere a lui Adolf Hitler în 1933 a marcat sfârșitul Republicii de la Weimar. În anii următori, ignorând prevederile Tratatului de la Versailles, regimul nazist a intensificat reînarmarea Germaniei (Aufrüstung) și a mărit dimensiunile armatei. În cadrul acestui proces, Mattenklott a primit comanda nou-înființatului regiment de infanterie Stargard la 1 octombrie 1934 și a fost avansat la gradul de Oberst (colonel) în aceeași zi.

Mattenklott a intrat în cele din urmă în corpul generalilor la vârsta de 53 de ani, prin avansarea lui la gradul de Generalmajor (general-maior) la 1 martie 1938. Noul său post se afla în partea de vest a celui de-al Treilea Reich: el a fost numit la 1 iulie 1938 în postul de comandant al unităților militare germane din zona de frontieră Trier (Grenz–Kommandantur Trier). Se mai afla încă în acest post atunci când Germania nazistă a invadat Polonia la 1 septembrie 1939, marcând începutul celui de-al Doilea Război Mondial în Europa.

Al Doilea Război Mondial

Franța
La izbucnirea războiului, majoritatea forțelor armate germane luptau în Polonia, dar, atunci când aliații occidentali au declarat război Germaniei Naziste, granițele sale occidentale au devenit vulnerabile. O parte a sarcinii critice de păzire a frontierelor i-a fost încredințată generalului Mattenklott, care avea la dispoziție doar trei regimente - două de infanterie și unul de artilerie - pentru a apăra granița cu Luxemburgul și partea adiacentă cu Franța.

Câteva săptămâni mai târziu, la 19 septembrie 1939, unitățile aflate sub comanda sa au fost reorganizate ca Divizia 72 Infanterie, cu garnizoana la Koblenz. Având în vedere sarcina sa principală de apărare a frontierei occidentale, divizia a fost considerată a avea mai mică importanță și a fost alcătuită din unități cu o valoare de luptă redusă. În următoarele luni, ea a rămas la datorie pe Frontul de Vest în timpul Războiului ciudat. Nu au avut loc confruntări armate majore cu Aliații occidentali, cu excepția unor ciocniri ușoare și de mică importanță. La 1 februarie 1940, cu câteva luni înainte de invazia germană în Franța, Mattenklott a fost avansat la gradul de Generalleutnant (general-locotenent).

Unitățile lui Mattenklott au avut o participare redusă în Bătălia Franței din mai-iunie 1940. Unul dintre veteranii diviziei a susținut după război că unitatea sa a primit ordin să atace pozițiile franceze dintr-o pădure, care erau considerate a fi ocupate de unități militare inferioare. Mattenklott ar fi refuzat orice fel de asistență aeriană, iar atacul s-a soldat cu eșec, ceea ce l-a determinat pe veteran să-l considere pe comandant a fi "un idiot". Istoricii militari susțin că divizia lui Mattenklott a obținut rezultate mediocre, în ciuda faptului că s-a confruntat cu o rezistență franceză minoră. În iunie 1940 Franța a capitulat, iar Divizia 72 Infanterie a rămas în Franța ca unitate militară de ocupație. Generalul Mattenklott a fost detașat la 25 iulie 1940 în postul de comandant militar al orașului Metz din provincia Alsacia-Lorena, activând în această calitate până la 4 septembrie 1940, când a preluat din nou comanda Diviziei 72 Infanterie.

Campania din Balcani

După o scurtă perioadă de refacere în Franța, Divizia 72 Infanterie a fost trimisă în ianuarie 1941 în România pentru a acționa ca unitate de instruire, iar în martie 1941 s-a deplasat în Bulgaria (care era atunci un membru al puterilor Axei) pentru a participa la viitoarea invazie în Grecia, cunoscută sub numele de cod "Operațiunea Marița" (Unternehmen Marita). Divizia a fost plasată în subordinea Corpului XVIII Munte (XVIII. Gebirgskorps) comandat de General der Infanterie Franz Böhme, care făcea parte la rândul lui din Armata a 12-a a feldmareșalului Wilhelm List. Corpul de munte al lui Böhme era format din patru divizii de infanterie și un regiment de infanterie întărită; această puternică forță de luptă s-a confruntat cu trei divizii grecești și cu linia Metaxas puternic fortificată și a dus lupte grele de-a lungul regiunii muntoase de la granița greco-bulgară.

Divizia lui Mattenklott a primit misiunea de a străpunge linia defensivă la sud-vest de Nevrokop, de a se deplasa către sud-vest până la Serres și de a se întoarce apoi spre nord și a ataca din spate Fortul Roupel, pentru a captura drumul național care traversa valea îngustă cunoscută sub numele de Pasul Rupel. Invazia a început pe 6 aprilie și trupele lui Mattenklott nu au reușit până la sosirea nopții să străpungă linia Metaxas, suferind pierderi grele. Totuși, în ziua următoare, Divizia 72 Infanterie a reușit să facă o breșă, dar deplasarea către Serres a fost îngreunată de terenul montan ce trebuia străbătut. Majoritatea forturilor grecești au continuat să reziste până la 9 aprilie, dar, ca urmare a faptului că forțele grecești principale au fost izolate prin avansarea unităților germane spre vest, ele au capitulat în final în aceeași zi, când Salonicul a căzut. Rezumând experiențele sale din aceste lupte, Mattenklott a lăudat Armata Greacă pentru rezistența fermă și pentru vitejia sa.  În urma acestor lupte, Corpul XVIII Munte a înaintat până în Tesalia. Alte unități ale Armatei Germane au pătruns mai adânc pe teritoriul Greciei, iar o unitate de tancuri a ajuns la 26 aprilie 1941 la Atena. Grecia a fost ocupată în totalitate odată cu capturarea Cretei în iunie 1941. După încheierea luptelor, Divizia 72 Infanterie a mărșăluit către România, stabilindu-se în zona câmpurilor petrolifere din apropierea orașului Ploiești.

Invadarea Uniunii Sovietice
În momentul declanșării Operațiunii Barbarossa, la 22 iunie 1941, divizia comandată de Mattenklott se afla în România și era inclusă în componența Armatei a 11-a (comandantă de generalul Eugen Ritter von Schobert); ea a fost plasată în subordinea Grupului de Armate Sud ca unitate de rezervă și a înaintat prin Basarabia și sudul Ucrainei. Trupele diviziei au luptat inițial în apropierea orașului Nikolaev din Ucraina, apoi au traversat fluviul Nipru în bărci gonflabile pe la Berîslav, un punct vital care a permis înaintarea spre Crimeea. Au purtat lupte în Stepa Nogaică și au capturat orașul Melitopol în septembrie 1941. Ca urmare a acestor succese militare, generalul Mattenklott a fost decorat pe 19 septembrie 1941 cu Ordinul "Mihai Viteazul" cl. III-a "pentru destoinicia, devotamentul și bravura personală de care au dat dovadă în luptele contra bolșevicilor în colaborare cu trupele române". El și-a condus apoi divizia în Campania din Crimeea, ajungând la Sevastopol la sfârșitul toamnei. A fost avansat la 1 octombrie 1941 la gradul de general de infanterie. La 6 noiembrie 1941, în ciuda succeselor obținute, Franz Mattenkott a fost înlocuit la conducerea diviziei cu generalul Philipp Müller-Gebhard și trecut în rezerva de comandanți (Führerreserve) a Wehrmacht-ului.

Pentru conducerea diviziei în asediul orașului Sevastopol din prima jumătate a lunii noiembrie 1941, generalul Mattenklott a fost decorat la 23 noiembrie 1941 cu Crucea de Cavaler al Crucii de Fier. În timp ce se afla în Crimeea, Mattenklott a fost confruntat cu uciderea evreilor de către Einsatzgruppen, unități speciale ale SS. Când 400 de bărbați evrei și 10 femei evreice au fost împușcați aparent pentru acțiuni de sabotaj, Mattenklott "și-a exprimat recunoștința și mulțumirea" față de unitatea Einsatzgruppe D, care a fost responsabilă cu execuțiile.

În lunile următoare, Armata a 11-a, aflată sub comanda generalului de infanterie (General der Infanterie) Erich von Manstein, a continuat să asedieze orașul Sevastopol. O situația de criză a avut loc la sfârșitul lunii decembrie 1941, când sovieticii au lansat un atac amfibiu asupra strâmtorilor Kerci și Feodosia pentru a recaptura orașul și peninsula Kerci, amenințând să izoleze Corpul XLII Armată al Generalleutnant-ului Hans von Sponeck (XLII. sau XXXXII. Armeekorps) de restul armatei germane. Deși Manstein dăduse ordine explicite pentru apărarea pozițiilor până la sosirea unităților de întărire de la Sevastopol, generalul Sponeck a ordonat retragerea corpului său de armată. Furios în fața acestui act de insubordonare, Manstein l-a destituit pe Sponeck și l-a înlocuit la 1 ianuarie 1942 cu Mattenklott, care tocmai primise comanda Corpului XXX Armată. În următoarele luni unitățile lui Mattenklott, împreună cu Corpul XXX Armată, au desfășurat lupte grele în estul Crimeei, reușind să respingă atacurile sovietice, suferind și provocând pierderi grele.

În mai 1942 Mattenklott și-a condus corpul în Operațiunea Trappenjagd, o încercare de a zdrobi capetele de pod sovietice din peninsula Kerci. Germanii au reușit să încercuiască și să distrugă mai multe unități ale Armatei Roșii, ucigând sau capturând aproximativ 175.000 de militari sovietici, în timp ce corpurile germane de armată XXX și XLII au avut mai puțin de 3.500 de victime. Această operațiune a dus la recucerirea peninsulei Kerci și a fost crucială pentru cucerirea ulterioară a fortăreței Sevastopol, care a avut loc la începutul lunii iulie 1942.

După capturarea totală a Crimeei în iulie 1942, Corpul XLII Armată a rămas în peninsulă, iar Mattenklott a fost numit comandant al Crimeei (Befehlshaber Krim) la 24 august 1942. El s-a confruntat aproape imediat cu problema alimentației populației, întrucât Manstein dispusese confiscarea tuturor materiilor prime pentru a întreține trupele germane. Mattenklott a fost îngrijorat de înrăutățirea relațiilor dintre armata de ocupație și populația civilă și în septembrie 1942 a trimis un raport Grupului de Armate Sud, în care-și exprima opinia că trupele germane nu ar trebui să mai promită populației civile că situația ei se va ameliora dacă nu erau capabile să-și respecte promisiunile. Nu s-au întreprins însă niciun fel de măsuri, iar populația din Crimeea a suferit de foame în cursul anilor 1942 și 1943. Sub comanda lui Mattenklott, au fost executați sute de civili, inclusiv cei acuzați, adesea în mod greșit, ca fiind partizani sau comuniști, invalizi și persoane fără adăpost, precum și numeroase alte grupuri etichetate de naziști ca fiind "elemente indezirabile". Printre autorii acestor atrocități s-au numărat și unitățile de poliție, cu care Mattenklott a raportat că avea "o excelentă cooperare". Mattenklott a fost comandantul Crimeei până la 30 aprilie 1943. La 19 septembrie 1942 Mattenklott a fost decorat cu Crucea Germană de aur.

La 22 iunie 1943 a renunțat temporar la comanda corpului său de armată pentru a pleca în concediu și s-a reîntors la comandă în iulie 1943. Mattenklott a comandat Corpul XLII Armată în cursul Bătăliei de la Kursk din iulie 1943, dar unitatea sa a îndeplinit doar un rol marginal în ultima ofensivă majoră a Wehrmacht-ului împotriva Armatei Roșii. Între 14 noiembrie 1943 și 24 noiembrie 1943 a fost comandant al Armeeabteilung Mattenklott.

În ianuarie 1944 Mattenklott a cedat temporar comanda corpului către comandantul Diviziei 112 Infanterie, Generalleutnant-ul Theo-Helmut (Theobald) Lieb. În aceeași lună, Armata Roșie a încercat să încercuiască și să distrugă corpurile de armată XLII și XI, precum și detașamentul B (Korpsabteilung B), în timpul bătăliei din punga de la Korsun-Cerkassî. În cursul luptelor care au urmat, șeful Comitetului național antinazist pentru o Germanie Liberă, General der Artillerie Walther von Seydlitz-Kurzbach, neștiind de absența lui, a trimis o scrisoare către Matteklott și alți comandanți, îndemnându-i să se predea pentru a opri distrugerea iminentă a țării. Această propunere a fost, însă, ignorată. După câteva săptămâni de lupte grele, germanii au reușit să facă o breșă în linia frontului, iar Mattenklott a fost chemat înapoi în martie 1944 pentru a supraveghea reorganizarea corpului de armată și transferul unităților sale în Polonia ocupată, departe de linia frontului. El a fost însărcinat, de asemenea, cu redactarea unui raport post-acțiune (Abschlussmeldung) și cu estimarea pierderilor. În următoarele luni, Mattenklott (în vârstă de 59 de ani) nu a jucat niciun rol militar important, cu excepția rolului său din cursul Bătăliei de la Kovel din nord-vestul Ucrainei, unde a ajutat unitățile germane să iasă din încercuirea forțelor sovietice.

Ultima fază a războiului
Atunci când General der Infanterie Gerhard Glokke, comandantul Districtului Militar VI (Wehrkreis VI) din Münster, Westfalia, a murit în funcție din cauza unui atac de cord la începutul lunii iunie 1944, Mattenklott a fost ales să-i succeadă, cu începere de la 15 iunie 1944. În multe privințe, el a fost extrem de norocos că a fost transferat de pe Frontul de Est. Exact o săptămână mai târziu, pe 22 iunie 1944, sovieticii au lansat o ofensivă puternică, Operațiunea Bagration, care a spulberat unitățile Wehrmacht-ului și a deschis calea pentru înaintarea către Germania.

Fără știința lui Mattenklott, care nu avea, se pare, niciun fel de sentimente antinaziste, unii dintre ofițerii săi din Districtul Militar VI au fost implicați în rezistența militară împotriva lui Hitler. La 20 iulie 1944, după ce colonelul Claus von Stauffenberg a detonat o bombă în cartierul general al lui Hitler, Bârlogul Lupului din Prusia Răsăriteană, a fost pusă în aplicare un plan de răsturnare a regimului nazist (cunoscut sub numele de conspirația de la 20 iulie). Oberstleutnant-ul Martin Bärtels, un conspirator din statul major al lui Mattenklott, l-a îndemnat pe superiorul său să părăsească sediul și să meargă într-un tur de inspecție. Cu toate acestea, complotul a eșuat încă de la început la Münster. La scurt timp după aceea, feldmareșalul (Generalfeldmarschall) pensionar Erwin von Witzleben a semnat de la centrul conspiratorilor din Berlin un ordin de arestare imediară a membrilor aparatului militar nazist din cadrul Districtului Militar. Încă nesigur de evoluția evenimentelor, Mattenklott a așteptat pasiv până când a aflat informația că atentatul împotriva lui Hitler a eșuat.

Nu se cunoaște în ce măsură eșecul complotului și răspunsul brutal împotriva celor implicați a afectat poziția lui Mattenklott cu privire la negarea vehementă de către Hitler a înfrângerii iminente a Germaniei. Dar, pe măsură ce aliații occidentali înaintau tot mai mult în vestul Germaniei în primăvara anului 1945, Mattenklott a continuat să execute ordinele nerealiste ale superiorilor săi. În acea perioadă Mattenklott a condus unitățile disponibile ale Districtului Militar într-o apărare disperată a zonei orașului Paderborn din Renania de Nord-Westfalia. La 1 aprilie 1945 el i-a raportat superiorului său, comandantul suprem al forțelor militare germane de pe Frontul de Vest (Oberbefehlshaber West), generalfeldmarschall Albert Kesselring, că Paderborn a fost pierdut după ce "a fost apărat până la ultimul om"; el s-a angajat să apere Pădurea Teutoburgică, dar a avertizat că nu poate să desfășoare acolo forțe militare semnificative.

Câteva zile mai târziu, Mattenklott a ordonat executarea pentru trădare a lui Wilhelm Gräfer, primarul orașului Lemgo, deoarece acesta încercase să predea orașul Armatei Americane, pentru a-l feri de distrugerile ulterioare. Mattenklott însuși s-a predat Aliaților după alte câteva săptămâni, la 21 aprilie 1945.

Perioada postbelică
În perioada captivității sale, Mattenklott a scris mai multe manuscrise pe teme de istorie militară pentru Armata Americană, inclusiv un raport cu privire la Bătălia de la Kursk. În anii de după război, Mattenklott a reușit să evite acuzarea și condamnarea sa pentru crimele de război în care a fost implicat. Ca subordonat al generalului Hans von Salmuth, el a depus mărturie în procesul înalților comandanți militari din 1948, fiind martor al apărării pentru fostul său superior. Semnătura lui a fost găsită pe un ordin din 28 noiembrie 1941 cu privire la "războiul împotriva partizanilor" în teritoriile ocupate. Acel ordin prevedea, printre altele, înființarea mai multor lagăre de concentrare în care ostaticii "[...] să fie împușcați și spânzurați [...], dacă se produc atacuri ale partizanilor în zona respectivă" și, în plus, s-a decis împușcarea pe loc a civililor sau "soldaților împrăștiați" care ar fi găsiți înarmați.

În cursul interogatoriului său din 19 mai 1947, Mattenklott a susținut că astfel de măsuri erau "necesare și justificate", dar a explicat că le-a considerat ca fiind descurajante și a adăugat că executarea unui civil înarmat nu a fost adusă niciodată în atenția lui. El le-a spus anchetatorilor că nu știa nimic cu privire la uciderea sistematică a evreilor, comuniștilor și a altor "elemente indezirabile" pe Frontul de Est și a negat categoric orice implicare. Mai ales, el a subliniat că nu știa "absolut nimic" despre Holocaust. Abia în deceniile următoare s-a aflat că Mattenklott cunoștea foarte bine politica nazistă de distrugere și genocid în Uniunea Sovietică, precum și activitățile desfășurate de Einsatzgruppen, el lăudând deseori "cooperarea excelentă" a unităților sale cu făptuitorii acestor crime. Mattenklott a fost eliberat din captivitate la 4 iulie 1947.

O altă ocazie pentru urmărirea penală a lui Mattenklott a venit în anii următori. Execuția mai sus menționată a primarului Gräfer din Lemgo a stârnit o mare indignare, iar opinia publică a cerut pedepsirea celor responsabili. Unul dintre ei, Generalmajor a. D. (retras) Paul Goerbig, președintele curții marțiale care l-a condamnat pe Gräfer, a fost arestat la Hamburg în aprilie 1949 și adus la Paderborn. Acolo, el a susținut că Mattenklott știa că executarea lui Gräfer ar putea să atragă condamnarea celor care au dat acest ordin, dar i-a spus lui Goerbig că acest caz era "în totalitate sub control". Mattenklott a recunoscut că a trimis ordinul de execuție unuia dintre comandanții săi subordonați, Generalmajor a. D. Karl Becher care, la rândul său, i-a ordonat lui Goerbig să-l pună în aplicare. Deși Mattenklott și-a asumat indirect răspunderea pentru acest ordin, el a încercat să arunce toată vina asupra lui Becher, care era responsabil pentru instituirea și organizarea curții marțiale. Potrivit lui Goerbig, Becher a negat că a transmis un astfel de ordin. Acuzațiile lui Mattenklott și Goerbig împotriva lui Becher au fost considerate suficiente, însă procesul s-a desfășurat extrem de lent. Procurorul nu l-a chemat niciodată pe Becher să depună mărturie, iar în 1959, la doi ani de la moartea lui Becher, toate procedurile judiciare au fost oprite.

În acea vreme Mattenklott era deja mort. El și-a petrecut ultimii săi ani de viață la Braunlage, o stațiune medicală aflată în Munții Harz din landul Saxonia Inferioară. A murit acolo la 28 iunie 1954, la vârsta de 69 de ani.

Decorații
 Crucea de onoare cl. a III-a cu spade a Ordinului Regal de Hohenzollern
 Crucea pentru serviciu în război a Ducatului de Braunschweig cl. I și cl. a II-a cu insigna de onoare
 Cavaler cl. I al Ordinului Frederic al Regatului Württemberg
 Crucea de Fier (1914) cl. a II-a și cl. I
 Crucea de onoare a Războiului Mondial 1914/1918 (1934)
 Medalia pentru serviciu îndelungat în Wehrmacht
 Crucea de Fier cu barete (1939) cl. a II-a (1 decembrie 1939) și cl. I (1 decembrie 1939)
 Crucea de Cavaler al Ordinului Friedrich, clasa I cu spade
  Ordinul Militar "Mihai Viteazul" cl. III-a (19 septembrie 1941)
 Crucea de Cavaler al Crucii de Fier (23 noiembrie 1941), în calitate de General der Infanterie și comandant al Diviziei 72 Infanterie
 Medalia Frontului Răsăritean (1942)
 Crucea Germană de aur (22 septembrie 1942), în calitate de General der Infanterie și comandant al Corpului XXXXII Armată
 Menționat în buletinul radiofonic zilnic Wehrmachtbericht (6 aprilie 1944)

Note

Bibliografie

 Prussian Army Ministry (ed.): Rangliste der Königlich Preussischen Armee und des XIII. (Königlich Württembergischen) Armeekorps für 1912 (în germană). Berlin: E. S. Mittler & Sohn, 1912.

 Trials of War Criminals Before the Nuernberg Military Tribunals Under Control Council Law No. 10, Nuernberg October 1946–April 1949, Vol. XI. Washington, DC: Government Printing Office, 1950. Accesat la 28 noiembrie 2014.

Nașteri în 1884
Decese în 1954
Generali germani
Personal militar german al Primului Război Mondial
Oameni din Zielona Góra
Decorați cu Crucea de Cavaler al Ordinului Crucea de Fier
Decorați cu Ordinul "Mihai Viteazul"

Franz Mattenklott


MacBird! is a 1966 satire by Barbara Garson. It was self-published ('Grassy Knoll Press') as a pamphlet, and the full text appeared in the December, 1966 issue of Ramparts magazine. It was staged in February, 1967.

The play superimposes the John F. Kennedy assassination onto the plot of Shakespeare's Macbeth.

Plot
The play burlesques Shakespeare's Macbeth, with lines drawn from other plays such as Hamlet, and Richard III, with Texas and Boston accents. The plot follows MacBird from the 1960 Democratic National Convention, when he becomes John Ken O'Dunc's Vice President ("Hail, Vice-President thou art!"), to Ken O'Dunc's assassination, at the urging of Lady MacBird. Robert Ken O'Dunc then defeats MacBird at the 1968 convention.

In the play, Kennedy becomes "John Ken O'Dunc", Lyndon Johnson becomes "MacBird", Lady Bird Johnson becomes "Lady MacBird", etc. As Macbeth assassinates Duncan, so MacBird assassinates Ken O'Dunc. As Macbeth is defeated by Macduff, so MacBird is defeated by Robert Ken O'Dunc (Robert F. Kennedy).

The play also features the Three Witches, in the form of a student radical, a Nation of Islam member, and a working-class union member.  The recently deceased Adlai Stevenson II was depicted as 'The Egg of Head' (the term 'egghead' having been coined in the 1950s to describe intellectual supporters of Stevenson).

In a 2006 Washington Post interview, Garson said she was not seriously accusing Johnson of being complicit in the Kennedy assassination:

"People used to ask me then, 'Do you really think Johnson killed Kennedy?'" Garson, when she was 65, recalls. "I never took that seriously. I used to say to people, 'If he did, it's the least of his crimes.' It was not what the play was about. The plot was a given."

Macbird! began as a short satirical sketch by Garson, a recent graduate of the anti-Vietnam war movement at University of California, Berkeley. She developed the piece into a full-length play with help from writer/director Roy Levine.

Productions
The play, which opened just three years after Kennedy's assassination, was controversial. Some believe that authorities pressured theaters in New York City against producing the play. The Village Gate was the only theater willing to defy this pressure. Macbird! opened there on February 22, 1967, and closed on January 21, 1968, after 386 performances.

Levine, who worked with Garson to develop the sketch to a full-length play, was the original director of Macbird! His bold theatrical vision marked the production throughout the run; near the end of the previews, however, he was replaced by Gerald Freedman. Set design was by Clarke Dunham, costumes were by Jeanne Button, and lights were by Robert Brand.  Joel Zwick was the stage manager.

The original cast included:

Stacy Keach as MacBird
Rue McClanahan as Lady MacBird
Paul Hecht as John Ken O'Dunc
William Devane as Robert Ken O'Dunc
John Pleshette as Ted Ken O'Dunc
John Clark as Earl of Warren
Cleavon Little as Witch 2
David Spielberg as Crony

The original cast recorded a two-disc album of the script on February 6, 1967. The album was released in a box set, along with a copy of the script, on the Evergreen label (Evergreen - EVR 004).

John Clark left the production early to marry Lynn Redgrave. Cleavon Little made his professional acting debut in the play. The play had a long engagement, with a different cast in Los Angeles, where Robert F. Kennedy was assassinated on June 5, 1968 while running for the Democratic presidential nomination. MacBird! was also produced at the Committee Theater in San Francisco around 1968.

See also
 Assassination of John F. Kennedy in popular culture

References

Plays by Barbara Garson
1967 plays
Political plays
Satirical plays
Plays and musicals based on Macbeth
Plays based on real people
Cultural depictions of John F. Kennedy
Cultural depictions of Lyndon B. Johnson

MacBird!


Hammerfest Norveç'in Finnmark eyâletinde bir şehirdir. Dünyada Kuzey Kutbu'na en yakın olan şehirlerden birisidir. Ringalar şehri ve geceyarısı güneşi şehri olarak da anılır.

Coğrafya
Kutup bölgesinin buzlu bölgeleri içinde bulunan Hammerfest limanı, Gulf Stream akıntısının yarattığı ılık iklim alanının da içine girer; bu sıcak su akıntısının etkisiyle liman hiçbir zaman buzlarla kaplanmaz. Bol bol avlanan ringa balıkları, Haziran ile Ekim ayları arasında, Norveçlilerin kjel dediği uzun sırıkların ucuna iplerle deste deste asılıp kurutulur. Kasım, Aralık ve Ocak aylarında Hammerfest'te güneş hiç doğmaz. Bu zaman boyunca uzun kutup gecesi hüküm sürer. Buna karşılık Mayıs, Haziran ve Temmuz'da güneş hiç batmaz. Bu üç ay boyunca gece saat onikiye doğru güneş ufku yalayıp geçer ve yeni dönüşünü tamamlamak üzere tekrar yükselir. Şehirliler akşam saatlerinden itibaren, gece olmuş gibi perdelerini örterler.

Tarih
Bölgede bulunan ve taş devrine kadar geriye giden mezar buluntularından, bu çevrede önemli bir balıkçılık ve av yerleşimi kurulduğu anlaşılmıştır. Yerleşime ilişkin yazılı ilk kayıt ise, 1789'da Danimarka-Norveç kralı Christian VII zamanında Hammerfest'e pazar şehri hakları veren kraliyet beratıdır.

Napolyon Savaşları
Napolyon Savaşları sırasında, Danimarka-Norveç Büyük Britanya tarafından saldırıya uğradı ve Napolyon ile Fransa'nın yanında yer almaya itildi. Finnmark'ın batısındaki en önemli ticaret ve nakliye merkezlerinden birisi olmak nedeniyle, Hammerfest Kraliyet Donanması'na bağlı abluka gemilerinin doğal düşmanı haline geldi. Beklenen İngiliz saldırısı 22 Temmuz 1809'da Snake ve Fancy gemileri tarafından gerçekleşti. Karşılıklı top atışlarıyla başlayan çatışma Norveçlilerin cephanesi tükeninceye kadar 1,5 saat sürdü. Limana yanaşarak 8 gün kalan kraliyet denizcileri, kilisenin bağış kutusu ve gümüşleri dahil, taşıyabilecekleri her şeyi yağmaladılar. Bu saldırıdan sonra Hammerfest düzenli birliklerin yerleştirildiği, tahkimatları güçlendirilmiş ve toplarla donatılmış devriye tekneleriyle takviye edilmiş bir garnizon durumuna getirildi.

1890'da çıkan bir yangın şehri büyük ölçüde kül etti. Yangının ertesinde dünyanın pek çok yerinden bağışlar geldi ve şehir yeniden inşa edildi. Bu inşaatlar sonrasında 1891'de sokakları ilk kez elektrikle aydınlatılan kuzey Avrupa şehri oldu. Bu buluşu Paris'te bir fuarda gören şehrin iki tüccarı tarafından Hammerfest'e getirilmiştir.

II. Dünya Savaşı

II. Dünya Savaşı'nda Norveç'i işgal eden Almanya Hammerfest'i deniz üssü olarak kullandı. Hammerfest garnizonun da yaklaşık 4.000 mayın ve çok sayıda uçaksavar silahları ile korunmaktaydı. Savaşın sonlarına doğru Sovyet Hava Kuvvetleri şehri 14 Şubat 1944'te nispeten hafif ve 29 Ağustos 1944'te şehre ve limandaki teknelere ağır hasar verecek şekilde iki kez bombaladı. En sonunda Almanlar 10 Şubat 1945'te şehri boşalttılar ve giderken 1937'de inşa edilmiş küçük bir kilise hariç tüm şehri yıktılar. Doğu Finnmark'taki Sovyet askerleri Eylül 1945'te çekildi. İkinci Dünya Savaşı'ndan kalma mayın ve mühimmat hala Hammerfest alanında bulunmakta ve bertaraf edilmektedir.

Kardeş şehirler
 – Haparanda
 – Ikast, Danimarka
 – Kola, Rusya
 – Mokpo, Güney Kore
 – Petersburg, Alaska, Amerika Birleşik Devletleri
 – Tornio, Finlandiya
 – Trelleborg, İsveç
 – Ushuaia, Arjantin

Yabancı konsolosluklar
Danimarka, İsveç, Finlandiya ve Hollanda'nın Hammerfest'te fahri konsolosları vardır.

Notlar ve Kaynaklar

Norveç'teki şehirler
Nordland

Hammerfest


La végéphobie (anglais vegaphobia) est une aversion pour les végétariens et végans, y compris les végétaliens. Depuis l'apparition du terme en 2011, plusieurs études ont montré l'existence de la végéphobie. La végéphobie se manifeste par exemple lorsque des personnes font des blagues ou des remarques désagréables sur le véganisme, mangent de la viande devant des végans juste pour les offenser ou les ridiculiser, ou les harcèlent d'une autre manière.

Terminologie et historique
Les sociologues britanniques Matthew Cole et Karen Morgan utilisent le terme végéphobie et l'adjectif dérivé  dans une étude de 2011, signifiant les préjugés contre les végétaliens spécifiquement. La même année, trois activistes français de Veggie Pride utilisent le terme végéphobie pour dénommer la discrimination contre les végétariens.

Prévalence
Une étude de 2015 conclut que la végéphobie est équivalente, voire plus négative, que les attitudes négatives à l'égard des groupes cibles de préjugés communs. Ceux qui sont végétariens ou végans sont évalués plus négativement lorsqu'ils sont motivés pour des raisons de droits des animaux, environnementales ou pour leur santé, dans cet ordre.

Selon un sondage réalisé en 2018 auprès de  utilisateurs de Lifesum, une application de perte de poids, 80 % des végans ont déjà vécu une expérience de végéphobie, .

La première étude académique de la végéphobie trouve qu'en 2007, les tabloïds britanniques abordent le véganisme dans une perspective disproportionnellement négative. Après avoir examiné 397 articles qui discutent sur ce thème, les investigateurs trouvent que 74 % des mentions sont négatives, 20 % neutres et 6 % positives.

Causes et corrélations

Une étude de 2015 fait l'hypothèse que les végans et végétariens présentent des groupes symboliquement menaçants, que les végéphobes peuvent percevoir comme portant atteinte à leurs valeurs chères.

Une enquête réalisée en 2016 avec  flamands mangeurs de viande a examiné les caractéristiques typiques des végéphobes. La végéphobie était plus commune parmi les hommes, les plus âgés, les moins éduqués, et les plus convaincus de leur consommation de viande. Selon un sondage de 300 résidents des États-Unis, ceux qui défendent la consommation de viande sont plus susceptibles de présenter des biais contre les végétariens et végans.

Il existe de nombreuses théories pour expliquer les attitudes négatives envers les végans. Les attitudes négatives contre les végétaliens et les végétariens se retrouvent le plus souvent chez les personnes ayant des convictions conservatrices ou de droite, et étant particulièrement plus prononcées dans les groupes d'extrême droite. Pour les personnes de droite, la viande n'est pas seulement un mets, mais également une manière de vivre, menacée par ceux qui militent contre la consommation de viande. En effet, la viande et les charcuteries font partis intégrante du patrimoine d'un pays, au même titre que toute la culture gastronomique. Or les végans appartiennent souvent à des groupes politiques d'extrême gauche, donc mondialistes, considérés comme peu enclins à la préservation du patrimoine. Éric Delbecque, expert en sécurité intérieure, dans son ouvrage Les Ingouvernables (Grasset) fera d'ailleurs le liens entre véganisme et extrême gauche. Pour l'auteur, zadistes, black blocks et animalistes sont de la même souche insurrectionnelle et anti-État. Issus de la mouvance ultra gauche, historiquement fascinée et façonnée par la violence, ils formeraient désormais une nébuleuse « fascistoïde » avec le même type de discours et le même mode opératoire que les légions fascistes : techniques de combat, désobéissance civile, idéologie anticapitaliste et refus des règles démocratiques. Éric Delbecque pointe un dangereux risque de convergence de ces radicaux, bien mieux organisés et plus préoccupants que les réseaux de l'ultradroite. Les végans n'hésitant pas à faire du militantisme politique. Cela est notamment soutenu par Sandrine Rousseau, députée d'Europe Écologie Les Verts (EELV) de Paris, dimanche à Grenoble lors d'une table ronde, elle déclare : « Il faut changer aussi de mentalité pour que manger une entrecôte cuite sur un barbecue ne soit plus un symbole de virilité. » D'autres végans tentèrent d'établir des études pour prouver que plus un homme consomme de viande rouge plus il est misogyne. Ce qui est non seulement perçu par les omnivores comme étant du prosélytisme mais également comme un non respect des régimes alimentaires non végan.

Cette méfiance envers les végans est également dûe à l'image sectaire que renvoie le véganisme, avec les nombreux témoignages d'anciens végans ayant fait face à du harcèlement, des insultes et des menaces de mort.

Une étude de 2019 a découvert qu'une corrélation positive existe entre une vision du monde ancrée dans la domination sociale et une perception négative des végétaliens. Cependant les végans sont souvent perçus comme faisant partie d'une sorte d'élite économique moyenne supérieure voir carrément bourgeoise, ce qui rendrait leur mode de vie plus difficilement accessible pour la classe prolétaire et surtout cela donne une image de bourgeoisie économico-dominatrice et donneuse de leçons.

Les explications sont aussi fondées sur ce que l'on appelle parfois le paradoxe de la viande, le fait que des gens qui mangent de la viande n'aiment pas faire du mal aux animaux. L'existence des végétaliens rappelle aux omnivores leur dissonance cognitive, ce qui peut générer de la colère et contribuer au maintien des préjugés contre les végétaliens.

Certains végans sont parfois moqués pour ce qui est perçus à la fois comme de l'hypocrisie et comme un manque de réalisme, c'est ainsi que le député REV Aymeric Caron appellera à respecter la vie des moustiques et à ne plus les tuer, comparant le fait de tuer un moustique avec le fait de tuer un animal de compagnie ou une mère qui ne cherche qu'à nourrir ses enfants. Sauf que le moustique est responsable de la mort de près de  par an, notamment en Afrique et en Amérique du Sud puisqu'excellent vecteur de maladies.

Le journaliste Normand Lester écrit à ce sujet « Ce qu'ils veulent vraiment c'est parader leur supériorité éthique hypocrite, sans en assumer toutes les conséquences. Ils sont contents d'être des végans d'apparat. Les végans veulent vivre dans un monde sans cruauté pour les animaux, mais ils semblent indifférents au sort des millions d'humains qui subissent des cruautés immondes partout sur terre. Les humains qui tuent d'autres êtres humains les laissent froids. »

Si l'on croit que la viande a un impact écologique élevé, un conflit intérieur peut également se former lorsqu'on en mange et ainsi générer un comportement et des croyances végéphobe.

Or cet avantage écologique quoique vivement défendu par les végans est contesté même au sein de la gauche, comme par exemple le politologue Paul Ariès qui déclare « Les véganes ne pensent pas en termes d'écosystème et d'espèces, mais d'individus. Ils ne sont pas du côté de l'agriculture paysanne et de l'élevage fermier, mais du productivisme industriel. Ils ont tout faux au regard de la situation planétaire. L'élevage n'est pas en soi responsable de la faim dans le monde. La première cause de la famine, c'est la destruction des agricultures vivrières, c'est le fait de breveter le vivant, c'est l'achat des terres en Afrique, c'est le gaspillage alimentaire. L'élevage fermier n'est pas responsable du réchauffement climatique. Une prairie avec ses vaches n'est pas une source, mais un puits de carbone. Une prairie d'un hectare absorbe chaque année une tonne de . L'élevage n'est pas non plus responsable de la crise de l'eau potable. Les véganes disent qu'il faut  d'eau pour produire un kilo de boeuf, mais ils confondent l'eau potable réellement consommée (3 %) ; l'eau sale qui sert à l'assainissement des installations (3 %) et l'eau de pluie qui se trouve dans la prairie (94 %). L'agriculture végane serait d'ailleurs incapable de nourrir huit milliards d'humains. La seule solution pour remplacer le fumier animal serait d'utiliser toujours plus d'engrais chimiques et de produits phytosanitaires, bref tout ce qui détruit la terre et l'humus. »

Les végétaliens ne sont pas toujours discrédités pour des raisons idéologiques. Parfois, la raison peut être que la personne ne peut pas partager sa nourriture avec elle. Selon une analyse d'une enquête qui a révélé que 30 % des célibataires mangeurs de viande préféreraient ne pas sortir avec un végétarien ou un végétalien, ne pas pouvoir partager la nourriture aussi souvent et percevoir les végétariens, végétaliens ou végans comme étant trop « difficiles » semblaient être des raisons courantes que les mangeurs de viande évoquaient, préférant éviter de courtiser des végétariens, végétaliens ou végans et d'avoir des relations avec eux. Les personnes qui évitent les relations amoureuses avec les végétariens pour ces motifs étendent également leurs comportements en évitant également les relations avec les non-végétariens ; 66 % des personnes interrogées ont trouvé que « être difficile » dans ses choix alimentaires («  ») était un obstacle ; et environ 40 % des personnes interrogées dans une autre étude ont déclaré qu'elles seraient réticentes à sortir avec une personne pratiquant un régime sans gluten.

Conséquences
Oscar Horta, professeur d'éthique, propose que la végéphobie est une des deux principales causes de la discrimination contre les végans.

Voir aussi
Cri de la carotte, argument fait contre le végétarisme et végétalisme
Carnisme, ensemble de croyances qui défendent l'utilisation des animaux

Notes et références

Violences à l'égard d'un groupe
Psychologie sociale
Végétarisme
Véganisme

Végéphobie


Simon Verger, né le  à Limoges, est le directeur du restaurant le « Skiff Club » (deux étoiles au guide Michelin) et directeur de la restauration à l'hôtel Ha(a)ïtza. Il est en 2018 devenu meilleur Ouvrier de France, catégorie maître d'hôtel, du service et des arts de la table.

Biographie
Simon Verger naît à Limoges en 1986. Sa vocation pour le métier commence dès son adolescence avec un bactechnologique hôtellerie et restauration au lycée hôtelier Jean Monnet à Limoges. Il enchaîne dans ce même lycée un BTS hôtellerie et restauration option génie culinaire et arts de la table. Il poursuit ses études avec deux mentions complémentaires, sommellerie et barman au lycée hôtelier de Gascogne à Talence.

Carrière professionnelle
Simon Verger enchaîne ensuite les établissements de renom, il commence chef de rang au restaurant "La Villa Eugénie" à l'hôtel du Palais situé à Biarritz. Passionné par le monde du vin il devient sommelier au restaurant étoilé "L'espadon" du prestigieux hôtel Le Ritz Paris aux côtés de Chef MOF et Bocuse d'Or Michel Roth. Il poursuit cette vocation en étant sommelier au Château de Faugeras avec le Chef étoilé Philippe Redon à Limoges, puis sommelier au Relais & Châteaux La Chapelle Saint Martin****, hôtel quatre étoiles dans leur restaurant 1 étoile au Guide Michelin à Nieul.

Par son expérience et sa détermination il enchaîne ensuite les postes de directeur, en commençant par directeur de salle à  «  l' étoile de mer »  par Stéphane Carrade, Chef 2** Michelin au restaurant Le Petit Commerce à Bordeaux, puis directeur de la restauration à l'hôtel quatre étoiles "Les Étangs de Corot à Versailles, composé de trois restaurants avec le Chef étoilé Rémi Chambard: le restaurant "Le Corot" 1 étoile au Guide Michelin, le café des artistes et le restaurant "Les Paillotes".
Il décide alors de revenir aux alentours de Bordeaux où il devient directeur de la restauration au "Le Gabriel" à Bordeaux.
Puis il pose ses valises dans le Sud-Ouest de la France, sur la commune de Pyla-sur Mer comme directeur de la restauration et directeur du restaurant "Le Skiff Club"** par Stéphane Carrade deux étoiles au Guide Michelin à l'hôtel Ha(a)ïtza*****, hôtel cinq étoiles au Pyla-sur-Mer.

L'hôtel Ha(a)ïtza

Simon Verger occupe le poste de directeur du restaurant le "Skiff Club" et directeur de la restauration à l'hôtel Ha(a)ïtza depuis janvier 2018. Hôtel de caractère, familial, avec une identité très forte, et accueillant une clientèle de loisirs et internationale.

À quelques mètres se situe son grand frère, l'hôtel La Co(o)rniche, un hôtel cinq étoiles qui profite d'une vue imprenable sur le Bassin d'Arcachon avec la dune du Pilat et le banc d'Arguin. L'hôtel comprend 29 chambres et un très grand restaurant où la terrasse permet aux clients de profiter de la vue.

Coupe Georges Baptiste

Cette compétition s'exerce à deux niveaux : élèves et professionnelles. Il existe annuellement en France depuis 1961, mais s'étend maintenant à d'autres niveaux comme européen depuis 1992 chaque année dans un pays européen différent. Mais encore au niveau mondial, cette version international se déroule tous les 4 ans dans un contient différent.

Simon Verger tient cette compétition particulièrement à cœur, puisqu'il est le seul français à l'avoir remporté trois années de suite à trois niveaux différents : national, européen et international.

Participation au concours du Meilleur Ouvrier de France

À 33 ans seulement, Simon Verger est sacré Meilleur Ouvrier de France Maître d'hôtel du Service et des Arts de la Table, ce qui fait de lui un des plus jeunes Meilleur Ouvrier de France dans sa catégorie. En effet toutes catégories confondues on devient généralement Meilleur ouvrier de France en moyenne à 46 ans. Pour lui ce concours est un aboutissement, cela consacre 15 années de travail.
Lors du concours à Deauville, outre les sept autres épreuves le candidat doit réaliser un chef-d'œuvre, pour cette édition ils devaient créer, réaliser, commercialiser un dessert devant le client. Pour cette finale Simon Verger a choisi un dessert à la carotte autour de la brioche et de la pomme, flambé et caramélisé, accompagné d'un cocktail sans alcool.
On peut d'ailleurs retrouver la vidéo de cette finale sur YouTube et voici la recette :
Carottes des sables de Créances marinées et confites au jus de pommes bio et grillées au Grill "Hibachi" devant les clients. Fallus (brioche historique de Normandie) au caramel beurre salé caramélisée au sucre de gingembre, citron yuzu et déglacées au jus de pommes accompagnées d'une crème prise citron-gingembre, cristallines de pommes et mini pommes confites au Calvados. Pour accompagner ce dessert surprenant, Simon Verger à fait le choix de l'accorder avec un cocktail végétal très original sans alcool composé de : jus de persil, jus de poire, jus de citron yuzu avec peau et jus de pommes de Normandie.
C'est en partie grâce à cette recette que Simon Verger de décroché le titre de Meilleur Ouvrier de France Maître d'hôtel, du Service et des Arts de la Table.

Entrepreneuriat et collaborations

Passionné par son métier, Simon Verger investi le reste de son temps libre pour entreprendre et créer de nouvelles collaborations uniques.
Il est d'ailleurs déjà depuis plusieurs années fondateur et gérant d'une société d'événementiel autour du vin et de la gastronomie.
Il a également réalisé plusieurs collaborations avec son titre de Meilleur Ouvrier de France. Ici deux exemples :

Le premier c'est un café, un café unique au monde car il est affiné 9 semaines fût de Sauternes.
Ce café fut réalisé avec deux amis d'enfance : Yoann Bride et Jean Compeyrot.
Yoann Bride est torréfacteur à Dole dans le Jura il s'est chargé de sélectionner le café, c'est un café 100% Arabica qui vient d'Éthiopie de la région Yrgacheffe, considérer comme le berceau natal du café. Il est cultivé par des petits producteurs de la région entre 1500 mètres et 2000 mètres d'altitude et arrosé uniquement à l'eau de source. Yoann Bride va également s'occuper de toute la torréfaction du café.
Jean Compeyrot et sa mère Laure Lambert de Compeyrot sont les propriétaires du Château Sigalas Rabaud, domaine viticole situé à Bommes en Gironde. En AOC Sauternes il est classé premier cru dans la classification officielle des vins de Bordeaux de 1855. Ils vont nous fournir les fûts de Sauternes dans lequel on va affiner le café durant 9 semaines.
Ce chiffre de 9 semaines a été justement étudié pour proposer un café d'exception ni trop amer, ni trop acide mais parfaitement équilibré.
Simon Verger, quant à lui s'est occuper de la commercialisation du café, d'abord au restaurant "Le Skiff Club" doublement étoilé au Guide Michelin de l'hôtel cinq étoiles Ha(a)ïtza. Sous forme de chariot, pour permettre au client de vivre une expérience unique, avec une méthode "Slow Coffee" qui va venir retirer l'amertume du café et le déguster sous une forme proche d'une infusion de café. C'est une réelle expérience et interaction avec le client qui est proposé.
Ce café est également proposé à la vente en capsules compatibles Nespresso ou en grains dans différents restaurants étoilés ou chez Maxi coffee par exemples.

Un deuxième exemple, collaboration avec un whisky, de la maison Moon Harbour situé à Bordeaux. L'entreprise Moon Harbour est toute particulière par son emplacement, son siège et sa distillerie sont installés dans des anciens bunkers allemands de la ville de Bordeaux. Cette collaboration a donné naissance à deux whiskies, deux single Cask, 100% orge maltée : le premier vieilli en fût de Château Rieussec (1er Grand Cru de Sauternes) et le second vieilli en fût de Château La Louvière (Pessac-Léognan rouge).

Prix et récompenses
2004 :  place Concours sommellerie vocation sommelier International par le Groupe Baron Philippe de Rothschild
2016 :  place Coupe Georges Baptiste Professionnelle Nationale
2017 :  place Coupe Georges Baptiste Professionnelle Européenne
2018 :  place Coupe Georges Baptiste Professionnelle Mondiale
2019 : Meilleur Ouvrier de France Maître d'hôtel du Service et Arts de la Table

Notes et Références

Liens externes

Naissance en juillet 1986
Naissance à Limoges
Meilleur ouvrier de France
Sommelier

Simon Verger


Gloria Frances Stuart (born Gloria Stewart; July 4, 1910 – September 26, 2010) was an American actress, visual artist, and activist. She was known for her roles in Pre-Code films, and garnered renewed fame late in life for her portrayal of Rose Dawson Calvert in James Cameron's epic romance Titanic (1997), one of the highest-grossing films of all time. Her performance in the film won her a Screen Actors Guild Award and earned her nominations for the Academy Award for Best Supporting Actress and the Golden Globe Award for Best Supporting Actress – Motion Picture.

A native of Santa Monica, California, Stuart began acting while in high school. After attending the University of California, Berkeley, she embarked on a career in theater, performing in local productions and summer stock in Los Angeles and New York City. She signed a film contract with Universal Pictures in 1932, and acted in numerous films for the studio, including the horror films The Old Dark House (1932) and The Invisible Man (1933), followed by roles in the Shirley Temple musicals Poor Little Rich Girl (1936) and Rebecca of Sunnybrook Farm (1938). She also starred as Queen Anne in the musical comedy The Three Musketeers (1939).

Beginning in 1940, Stuart slowed her film career, instead performing in regional theater in New England. In 1945, following a tenure as a contract player for Twentieth Century Fox, Stuart abandoned her acting career and shifted to a career as an artist, working as a fine printer and making paintings, serigraphy, miniature books, Bonsai, and découpage for the next three decades. She produced numerous pieces during this period, many of which are part of collections in the Los Angeles County Museum of Art and the Metropolitan Museum of Art.

Stuart gradually returned to acting in the late 1970s, appearing in several bit parts, including in Richard Benjamin's My Favorite Year (1982) and Wildcats (1986). She made a prominent return to mainstream cinema at age 86 when she was cast as the 100-year-old elder Rose Dawson Calvert in Titanic (1997), which earned her numerous accolades and renewed attention. Her final film performance was in Wim Wenders' Land of Plenty (2004).

In addition to her acting and art careers, Stuart was a lifelong environmental and political activist, who served as a co-founding member of the Screen Actors Guild and the Hollywood Anti-Nazi League.

Biography

1910–1929: Early life
Stuart was born Gloria Stewart at 11:00 p.m. on the Fourth of July, 1910 on the family's kitchen table in Santa Monica, California, the first child of Alice (née Deidrick) and Frank Stewart. Through her mother, Stuart was a third-generation Californian; Stuart's maternal grandmother, Alice Vaughan, was born in 1854 in Angels Camp, gold country, two years after her own mother, Berilla (Stuart's great-grandmother), relocated to California from Missouri in a covered wagon. Stuart's father, a native of The Dalles, Oregon, was of Scottish descent, and studied law in San Francisco. At the time of her birth, he was an attorney representing The Six Companies. Stuart had one younger brother, Frank Jr., born eleven months later, and another younger brother Thomas (born two years after Frank Jr.); however, he died due to spinal meningitis at age three.

As a child, Stuart attended a Church of Christ with her mother, and subsequently attended a Catholic school. Her father, originally a Presbyterian, converted to Christian Science during her childhood. When Stuart was nine years old, her father died as the result of an infection from an injury sustained when an automobile grazed his leg. She was also expelled from grade school after kicking her teacher ("to be honest, she deserved it" she recalled). Hard-pressed to support two small children, her mother soon accepted the proposal of local businessman Fred J. Finch. Stuart attended her schooling using the name Gloria Fae Finch. She had not been given a middle name by her parents and so adopted one, Frances, the feminine of Frank, her father's name.

Stuart attended Santa Monica High School, where she was active in theater and performed the lead role in her senior class play, The Swan. She loved writing as much as acting and spent her last two summers in high school taking short story and poetry writing classes and working as a cub reporter for the Santa Monica Outlook.

While a teenager, she had a tumultuous relationship with her stepfather and sought to attend college in order to leave home. After high school, Stuart enrolled at the University of California at Berkeley, majoring in philosophy and drama. In college, she appeared in plays, worked on the Daily Californian, contributed to the campus literary journal, Occident, and posed as an artist's model. It was at Berkeley that she began signing her name Gloria Stuart.

While a student at UC Berkeley, Stuart wanted to join the Young Communist League. She wrote, "I was told it was for the poor and the oppressed. That appealed to me. But membership wasn't open to anyone under eighteen, so I couldn't join." In Carmel, she notes that her friendship with muckraker Lincoln Steffens gave her "... much deeper insight into the abuses of laborers and blue-collar workers and made me ready to work for liberal causes when I got to Hollywood a few years later."

At the end of her junior year, in June 1930, Stuart married Blair Gordon Newell, a young sculptor who apprenticed with Ralph Stackpole on the facade of the San Francisco Stock Exchange building. The Newells moved to Carmel-by-the-Sea where there was a stimulating community of artists such as Ansel Adams, Edward Weston, Robinson Jeffers and Lincoln Steffens and his wife Ella Winter. In Carmel-by-the-Sea, Stuart performed in productions at the Theatre of the Golden Bough and worked as a staff member on The Carmelite newspaper. She meanwhile made hand-sewn aprons, patchwork pillows and tea linens, and created bouquets of dried flowers for a tea shop, in which she also worked as a waitress. Newell laid brick, chopped and stacked wood, taught sculpture and woodworking, and managed a miniature golf course. They lived in a shack in the middle of a wood yard as night watchmen. Stuart would later reflect on this period of her life as "wonderfully bohemian."

1930–1934: Theatre and early films
Stuart's performance in the theatre in Carmel brought her to the attention of Gilmor Brown's private theater, The Playbox, in Pasadena. She was invited there to appear as Masha in Anton Chekhov's The Seagull. Opening night, casting directors from Paramount and Universal were in the audience. Both came backstage to arrange a screen test, both studios claimed her. Finally the studios flipped a coin and Universal won the toss. Stuart considered herself a serious actress in theater, but she and Newell "were stony broke, living hand to mouth" so she decided to sign the contract with Universal, which paid a bit more than Paramount.

According to Stuart, she began her film career by playing an ingénue confronting her father's mistress in the Warner Bros. film Street of Women, a Pre-Code fallen-women film for which she was loaned by Universal. Stuart's second film, again playing an ingénue, was in the football-hero film, The All-American.

In early December 1932, the Western Association of Motion Picture Advertisers announced that Gloria Stuart was one of fifteen new movie actresses "Most Likely to Succeed"—she was a WAMPAS Baby Star. Ginger Rogers, Mary Carlisle, Eleanor Holm were among the others. Stuart's career advanced when English director James Whale chose her for his film The Old Dark House (1932), playing the glamour role of a sentimental wife who winds up stranded among strangers at a spooky mansion, among the ensemble cast (Boris Karloff, Melvyn Douglas, Charles Laughton, Lilian Bond, Ernest Thesiger, Eva Moore and Raymond Massey). The film was critically praised, and The New York Times called Stuart's performance "clever and charming," with the movie later becoming a cult classic. Stuart's experience filming The Old Dark House also became integral to the formation of the Screen Actors Guild in 1933:

After filming completed, Stuart began canvassing for supporters; she became one of the union's first founding members. In June 1936, she helped Paul Muni, Franchot Tone, Ernst Lubitsch, and Oscar Hammerstein II form the Hollywood Anti-Nazi League. That same year she and writer Dorothy Parker helped create the League to Support the Spanish Civil War Orphans.

Stuart was given her first co-starring role by director John Ford in her next film, Air Mail, playing opposite Pat O'Brien and Ralph Bellamy. Of her performance in the movie, The New York Times Mordaunt Hall wrote: "Gloria Stuart, who does so well in The Old Dark House, a picture now at the Rialto, makes the most of the part of the girl ..." That two Gloria Stuart movies were in theaters simultaneously became the rule rather than the exception in her early career. In 1932, her first year, Stuart had four films released, then nine in 1933, six in 1934. In 1935, Stuart was having a baby, so only four movies were released. Six movies followed in 1936. After Air Mail, Mordaunt Hall's notices for Gloria Stuart came down to a few words. Laughter in Hell: "Gloria Stuart appears as Lorraine ..."; Sweepings: "... played by the comely Gloria Stuart ..."; Private Jones: "Gloria Stuart is charming ..."

James Whale called Stuart back for just one scene in The Kiss Before the Mirror, but the critic Hall wrote, "There are those who may think that it is too bad to introduce as one of the players the dainty Gloria Stuart and have her killed off in the first episode of the narrative. Perhaps it is, but a pretty girl was needed for the part and Mr. Whale obviously did not wish to weaken his production by casting an incompetent actress or an unattractive one for this minor role."

After good notices in The Girl in 419, (Mordaunt Hall mentions "... the pleasing acting of the attractive Gloria Stuart), and Secret of the Blue Room ("Miss Stuart gives a pleasing performance."), James Whale cast Stuart opposite Claude Rains in The Invisible Man (1933). Rains was a celebrated import from the London stage, and this was his first Hollywood film. (Mordaunt Hall's review of Stuart's work was a temperate, "Miss Stuart also does well by her role.") After having appeared in several of Whale's films, Stuart became friends with him and his partner, David Lewis.

Stuart's husband, Gordon Newell, was unhappy with Hollywood life. He and Stuart separated amicably and divorced. In 1933 (on the set of her film Roman Scandals, a comedy starring Eddie Cantor), Stuart met Arthur Sheekman, one of the movie's writers. They were "instantly attracted to each other". Stuart and Sheekman married in August 1934.

In 1934, Universal loaned-out Stuart to Warner Brothers for Here Comes the Navy. Stuart co-starred with James Cagney and Pat O'Brien, the first of nine films featuring this male team. Frank S. Nugent wrote in The New York Times, "Supporting Mr. Cagney--and doing very creditable jobs, too--are Pat O'Brien, Gloria Stuart ..."

1935–1939: 20th Century Fox

In 1935, Stuart was cast as Dick Powell's love interest in Busby Berkeley's Gold Diggers of 1935. It was a musical. Stuart did not dance or sing due to being pregnant, and The New York Times critic commented: "Nor has Gloria Stuart anything of vast import to contribute in the position usually occupied by Ruby Keeler."

Stuart's daughter, Sylvia  named after Princess Sylvia, Stuart's character in Roman Scandals  was born in June 1935.

In that same year, Stuart left Universal and joined Twentieth Century-Fox. Her first assignment from studio head Darryl F. Zanuck was in Professional Soldier, supporting child star Freddie Bartholomew and Victor McLaglen (who, the year before, had won a Best Actor Oscar for his role in The Informer). Frank S. Nugent noted: "There is a minor romance along the way between Gloria Stuart, the king's noble governess, and Michael Whalen, the professional soldier's part-time assistant, but no one should take it seriously." In 1936, John Ford chose Stuart to co-star with Warner Baxter in The Prisoner of Shark Island. Playing the wife of the doctor who treated Lincoln's assassin, Stuart felt privileged to work again with Ford, although The New York Times Frank S. Nugent wrote of Stuart's "... helpful performance ..." In Poor Little Rich Girl, Stuart again was asked to support a child star — this time Shirley Temple. Frank S. Nugent: "Listing [Temple's] supporting players hastily, then, before we forget them entirely, we might mention Miss Faye [and] Gloria Stuart ... as having been permitted a scene or two while Miss Temple was out freshening her costume."

For the rest of 1936 and through 1937, Zanuck placed Stuart in movies such as The Girl on the Front Page—Frank S. Nugent's note: "Call it mediocre and extend your sympathies to the cast ..." Reviewing Girl Overboard, Nugent begins, "In the definitive words of the currently popular threnode featured by a frog-voiced radio singer, Universal's 'Girl Overboard' ... is 'nuthin' but a nuthin',' and a Class B nuthin' at that." In spite of the films' lukewarm reviews, Stuart had amassed a loyal following of fans by this time in her career, one of whom had her portrait tattooed across his chest. Stuart met with the fan and was photographed with him for a Life magazine profile in the fall of 1937.

Stuart later appeared in The Lady Escapes, Life Begins in College and Change of Heart, which did not merit space in The New York Times movie pages. In 1938, Zanuck again insisted Stuart support Shirley Temple in Rebecca of Sunnybrook Farm (1938). In their review of the film, Variety wrote: "Shirley Temple proves she's a great little artist in this one. The rest of it is synthetic and disappointing ... More fitting title would be Rebecca of Radio City." In 1938, for the fourth time, Stuart was a supporting player to a child star: Jane Withers in Keep Smiling. Stuart but not her performance is noted in The New York Times review.

In Time Out for Murder, Stuart's reviewer said she was "... a pretty bill collector". Then in 1939, the last year in this phase of Stuart's career, in The Three Musketeers, Stuart's billing came after Don Ameche, The Ritz Brothers and Binnie Barnes and again Stuart's work was not reviewed. In Winner Take All, the Times critic wrote, "... the only thing worth seeing in the picture is Tony Martin trying to play a prizefighter. This is positively killing." It Could Happen to You, "a quasi-comedy" co-starring Stuart Erwin, finished the eight years. Again Stuart is not mentioned.

What did give the actress space in the movie pages the previous November was the story: "Gloria Stuart Quits Fox ... Gloria Stuart has terminated her contract with Fox ..." In fact, Darryl Zanuck did not renew Stuart's contract.

1940–1944: Departure from Hollywood

Early in 1939, Stuart and then-husband Sheekman spent four months traveling in Asia, Egypt and Italy, then landed in France just as France and the United Kingdom declared war on Germany. They appealed to the American consul, asking to stay, Sheekman as a war correspondent, Stuart as a hospital volunteer. The consul refused help and told them they had to return to the United States. They caught the SS President Adams, the last American passenger ship to cross the Atlantic,  and arrived in New York City in September.

In New York, Stuart sought to return to stage acting, hoping to star on Broadway. "I wanted to be a theater actress," she said, "but I thought it would be easier to get to New York and the theater if I had a name than if I just walked the streets as a little girl from California. When I went back to New York with somewhat of a name, they didn't want movie actresses." Stuart was, however, welcomed into summer stock theater on the east coast and performed in various productions between 1940 and 1942, including Man and Superman, The Animal Kingdom, The Night of January 16th, Accent on Youth, Mr. and Mrs. North, Arms and the Man, and Sailor Beware!. In August 1940, she starred as Emily Webb, opposite Thornton Wilder—under Wilder's own direction—in his play Our Town, which was staged at the University of Massachusetts Amherst.

To help with the war effort in the 1940s, Stuart took singing and dancing lessons; then the USO teamed her with actress Hillary Brooke. The two blonde actresses toured the country, visited hospitals, danced with servicemen in canteens, sold war bonds. Stuart "wanted terribly to volunteer for service overseas with the USO, but Arthur wouldn't hear of it."

Stuart asked her former agents to get her work. Her first movie in four years, Here Comes Elmer (1943), was a comedy with music starring Roy Rogers' wife, Dale Evans. In The Whistler (1944)—an early directing credit of the horror specialist, William Castle—Stuart co-starred with Richard Dix. In her following film, Enemy of Women (1944), a war-themed drama, Stuart was seventh in billing. Two years later, Stuart took one more role: she wore a redhead's wig in She Wrote the Book a comedy starring Joan Davis and Jack Oakie.

1945–1974: Art career

After abandoning her acting career in 1945, Stuart went to New York with husband Sheekman—Paramount sent him to see the new play Dream Girl, wanting him to adapt it for to screen. A friend took Stuart to the studio of a découpage artist. Drawn to the art form, Stuart thought it could replace acting in her life. With Sheekman's encouragement, she opened a shop on Los Angeles's decorators' row, named it Décor, Ltd. Stuart created découpaged lamps, mirrors, tables, chests and other one of a kind objets d'art. Over the next four years, her work gained attention, and her pieces were carried by Lord & Taylor in New York, Neiman Marcus in Dallas, Bullock's in Pasadena and Gump's in San Francisco. But in time, labor involved in "the fine fine cutting, applying sixteen coats of lacquer" to every piece and other costs proved prohibitive, and Stuart closed her shop.

After living in rented spaces for ten years, Stuart and Sheekman bought an old craftsman-style house, where she redesigned the interior, supervised the remodeling, designed all the furniture and had it custom made. In the garden, she planned the landscaping, included a green house for orchids and lath house for grafting fruit trees, spent hours on her knees cultivating and planting. In Stuart's words, "I became a whirling dervish of creative renovation."

Early in 1954, visiting Paris, Stuart first saw the Impressionist paintings at the Jeu de Paume museum. As when she first saw découpage, Stuart wanted to do it, too. The Sheekmans were on their way to Italy. At the time, American artists living abroad for at least eighteen months paid no taxes on income earned during the residency. Sheekman was now very successful. In the eight years since returning from New York, he had been on fourteen movies, mostly writing the screenplays. He wanted to try another play. For the next eighteen months, Stuart painted and Sheekman worked on his play.

Sheekman's comedy about a sorrowful comic, The Joker, had Tommy Noonan for its star and was booked into The Playhouse Theater in New York to open April 5, 1957. April 1, it was announced the play was terminating a pre-Broadway tour of three-and-one-half weeks in Washington, D.C., and was "taken off for repairs." Repairs were never made. Then after seven years of working at her easel every day, Stuart was ready to show her paintings. In September 1961, Victor Hammer gave Stuart a debut one-woman show at his Hammer Galleries in New York. Nearly all of her forty canvases sold. In the following years, Stuart exhibited her primitive-style paintings in many shows, including at the Bianchini Gallery in New York, the Simon Patrich Galleries and The Egg and the Eye in Los Angeles, the Galerie du Jonelle in Palm Springs and the Staircase Gallery in Beverly Hills. Stuart's paintings are in numerous private collections and the permanent collections of the Los Angeles County Museum of Art, the J. Paul Getty Museum, the Metropolitan Museum of Art, the Victoria and Albert Museum, the Museum of New Mexico (Santa Fe), the Desert Museum of Palm Springs and the Belhaven Museum (Jackson, Mississippi).

Stuart had been painting for nearly thirty years when, as she wrote, "... the challenges to me of painting as a primitive had been wearing a little thin, and I had become fascinated by the complex art form of serigraphy—silk screening." Stuart studied with serigrapher Evelyn Johnson, then created vivid serigraphs that are also in private collections.

In the late 1960s, Stuart embraced another art form, the art of bonsai. She took classes from Frank Nagata, colleague of John Naka, a bonsai master in Los Angeles, joined Nagata's bonsai club, Baiko-En, and became one of the first Anglo members of the California Bonsai Society. Eventually Stuart's collection numbered over one hundred miniature trees.

1975–1995: Return to acting; book design
In 1975, after nearly thirty years out of the business, Stuart decided to return to acting. She got an agent and was immediately cast in a small role as a customer in a store in the ABC television film The Legend of Lizzie Borden starring Elizabeth Montgomery. From there, through her agent, Stuart was able to get cast in bit parts, mostly in television— including guest appearances on series such as The Waltons and Murder, She Wrote. Her friend, director Nancy Malone, gave her a leading role in Merlene of the Movies, a quirky film for television, and other friends gave her parts in their shows. In 1982 came My Favorite Year. Although Stuart's scene lasted moments and she had no lines, she was dancing with Peter O'Toole. She wrote, "It was a great privilege to work with him." After that, Stuart was in Jack Lemmon's drama Mass Appeal and Goldie Hawn's comedy Wildcats, then more bits and pieces in television. A vintage publicity photo of her was also used for the image of 'Peg', the sister of butler Alfred Pennyworth, in the 1997 film Batman & Robin.

Stuart's husband Arthur Sheekman died in January 1978. Five years later, Ward Ritchie, a close friend of Stuart's first husband, Gordon Newell, sent Stuart one of his books. Ritchie had become a celebrated printer, book designer and printing historian. With his commercial Ward Ritchie Press and private Laguna Verde Imprenta press, Ritchie produced distinguished books on the arts, poetry, cookery and the American West. Stuart invited him to dinner, and they fell in love. Ritchie was seventy-eight and Stuart seventy-two. When Stuart first followed Ritchie into his studio and watched him pull a printed page from his 1839 English iron Albion hand press, she wanted to do it, too. After studying typesetting at the Women's Workshop in Los Angeles, Stuart bought her own hand press, a Vandercook SP15 and established her own private press, Imprenta Glorias. In 1984, Stuart was diagnosed with breast cancer, but successfully treated the disease with a lumpectomy followed by radiation.

In the late-1980s, Stuart began experimenting with making Artist's books. She designed several, wrote the text (often poetry), set the type—carefully selecting the style of type to match the subject—printed the pages, then decorated the pages with water colors, silk screen, découpage or all three. She created large artist's books and books in miniature. Several of her books took her years to complete. One of them, completed in 1996 with artist Don Bachardy, is owned by the Metropolitan Museum of Art.

Through Ritchie, Stuart was introduced to prestigious librarians and bibliophiles from San Francisco to Paris. Imprenta Glorias books can be found in the Bibliothèque nationale de France, the Huntington Library, J. Paul Getty Museum, the Library of Congress, the Los Angeles Public Library, the Metropolitan Museum of Art, the Morgan Library & Museum, the New York Public Library, the Occidental College Library, the Princeton University library, the UCLA Clark Library, the Victoria and Albert Museum as well as private collections. Stuart and Ritchie were together for thirteen years until his death from pancreatic cancer in 1996.

1996–1998: Titanic; career resurgence
In May 1996, Stuart received a message about a film role: "A female voice said she was calling from Lightstorm Entertainment ... about a movie to be shot on location, maybe Poland ... about the Titanic, directed by James Cameron ..."  The next afternoon, Cameron's casting director, Mali Finn, came to Stuart's house "... with her assistant, Emily Schweber, who was carrying a video camera ... Mali and I talked while Emily filmed us." The next morning, Finn brought over James Cameron and his video camera. Stuart wrote, "I was not the least bit nervous. I knew I would read Old Rose with the sympathy and tenderness that Cameron had intended ..." Five days after Stuart's eighty-sixth birthday, Finn phoned again and asked, "Gloria, how would you like to be Old Rose?"

Most of Stuart's filming was completed in Halifax, Nova Scotia, over about three weeks in early summer of 1996. Stuart also filmed and made recordings for several documentaries, did more looping and dubbing for Cameron, and received offers for additional films. Stuart wrote: "On April 7, 1997, the publicity blitz for Titanic kicked off...  From that point on, the deluge of publicity never stopped." On December 17, 1997, Stuart was nominated for a Golden Globe Award for Best Supporting Actress for her performance in the film. She was also nominated for an Academy Award for Best Supporting Actress. She was one of the few Golden Age stars to attend the ceremony, with contemporaries Fay Wray, Bob Hope, and Milton Berle also attending. As of 2022, she remains the oldest nominee in the category. Stuart later parodied her role in a music video for the Hanson song "River" alongside "Weird Al" Yankovic who also directed the video.

On March 8, 1998, the Screen Actors Guild awarded Stuart its Founders Award, and also won the award for Best Performance by an Actress in a Supporting Role, tying with Kim Basinger (L.A. Confidential). For both awards, Stuart received a standing ovation from her peers.

The following May, People magazine included Stuart on their list of "The 50 most beautiful people in the World in 1998." Also in May, Stuart was guest of honor at the Great Steamboat Race between the Belle of Louisville and the Delta Queen and then was Grand Marshal of the 1998 Kentucky Derby Festival's Pegasus Parade.

Next, Stuart signed a contract with Little, Brown and Company to write her autobiography, I Just Kept Hoping. Stuart made her debut at The Hollywood Bowl on July 19, 1998, reading the poem, Standing Stone, Paul McCartney's oratorio for orchestra and chorus.

1999–2010: Final years and accolades

Stuart was asked by the producer and star, Kate Capshaw, to join her cast of The Love Letter (1999), which she filmed in Rockport, Massachusetts. In October 1999, Stuart's native Santa Monica issued a Commendation signed by the mayor recognizing Gloria Stuart "... for many contributions world-wide and her inspirational message to always keep hoping. Dated this 16th day of October, 1999. Pam O'Connor, Mayor." In September 2000, Stuart unveiled her star on the Hollywood Walk of Fame, in front of the Pig 'n Whistle café that had opened its doors in 1927 when Stuart was still in high school. She also made guest appearances on several television series, including the 2000 science fiction series The Invisible Man; Touched by an Angel, and General Hospital. Although she was once again reduced to minor roles, Stuart's last two movies were for director Wim Wenders. In 1999, she worked on The Million Dollar Hotel in downtown Los Angeles. In 2004, she appeared in Wenders' Land of Plenty, her final film.

In 2006, Stuart donated her screen printing equipment to Mills College, where an exhibition of her work was held. On June 19, 2010, despite her illness, Stuart appeared in person to be honored by the Screen Actors Guild for her years of service. At a luncheon, she was presented the Ralph Morgan Award by Titanic co-star Frances Fisher. James Cameron and Shirley MacLaine were among the luncheon attendees. On July 22, 2010, The Academy of Motion Picture Arts and Sciences honored Stuart's career with a program featuring film clips and conversations between Stuart and film historian Leonard Maltin, portrait artist Don Bachardy and David S. Zeidberg, the Avery Director of the Huntington Library. One thousand people filled the Samuel Goldwyn Theater.

From the time Stuart was announced in the Titanic cast, she appeared before the camera for interviews on subjects as diverse as Groucho Marx, Shirley Temple, James Whale, horror movies and friends Christopher Isherwood and Don Bachardy.

Stuart was diagnosed with lung cancer at the age of 94, many decades after she had quit smoking. Until that point, she had enjoyed remarkably good health for her advanced age aside from taking cortisone shots for knee pain. She underwent radiation treatment, but in time the cancer returned and she underwent a shorter course of radiation. The malignancy continued to spread, but slowly due to her age. She died six years after her initial diagnosis and reached her centenary.

Stuart celebrated her 100th birthday on July 4, 2010, hosted by James Cameron and Suzy Amis as well as family and friends at the ACE Gallery in Beverly Hills. There Stuart saw many of her paintings and serigraphs, artist's books, samples of her découpage and trees from her bonsai collection exhibited in the gallery.

Culinary interest

Stuart was a skilled amateur chef and hosted frequent dinner parties in Hollywood. She was close friends with the American food writer M.F.K. Fisher, who was godmother to Stuart's daughter Sylvia Vaughn Thompson. Thompson later wrote about Stuart's cooking style: "My mother has never made Just Roast Beef in her life. It wouldn't interest her. Her style is based on the intricacies of composition. It borders on the baroque. Everyone adores it."

After tasting Stuart's goose in Kirschwasser aspic, the writer Samuel Hoffenstein composed a poem, which he comically said was inspired by "hearing the wings of all the poets brush thro' Gloria's kitchen."

Stuart's mother Alice was also an avid cook, producing specialties from the San Joaquin Valley, where Stuart's mother's family lived for generations.

Activism and politics
Stuart was a lifelong Democrat. She was a co-founding member of the Hollywood Anti-Nazi League, which formed in 1936. In 1938, as a member of the Hollywood Democratic Committee, Stuart was on the Executive Board of the California State Democratic Committee. She was also an avid environmentalist. "I belong to every organization that has to do with saving the environment," said Stuart. "I'm fed up with venal and avaricious forestry people, mining people, oil people, gas people. I think the abuse of the environment is sinful."

Death and legacy
Stuart died from respiratory failure at her home in Los Angeles on September 26, 2010, at age 100. Her body was cremated. At the time of her death, she had four grandchildren and twelve great-grandchildren.

Stuart's great-granddaughter, Deborah B. Thompson, produced an e-book, Butterfly Summers: A Memoir of Gloria Stuart's Apprentice.

For her contributions to the film industry, Stuart has a star on the Hollywood Walk of Fame. It is located on the 6700 block of Hollywood Boulevard.

Filmography

Accolades

Selected artwork

Paintings

Screen prints

Artist's books

Notes and references

Notes

References

Sources

External links

Artwork by Gloria Stuart, via Papillion Gallery
 Gloria Stuart Before Titanic  - slideshow by Life magazine
 Gloria Stuart at Virtual History

1910 births
2010 deaths
20th Century Studios contract players
20th-century American actresses
20th-century American painters
20th-century American women artists
21st-century American actresses
21st-century American painters
21st-century American women artists
Activists from California
Actresses from Santa Monica, California
American anti-fascists
American autobiographers
American centenarians
American environmentalists
American film actresses
American people of Scottish descent
American stage actresses
American television actresses
American women environmentalists
American women painters
American women printmakers
Artists from Santa Monica, California
Bonsai artists
California Democrats
Communists from California
Deaths from lung cancer in California
Deaths from respiratory failure
Outstanding Performance by a Female Actor in a Supporting Role Screen Actors Guild Award winners
Actors from Carmel-by-the-Sea, California
Artists from Carmel-by-the-Sea, California
Trade unionists from California
Universal Pictures contract players
University of California, Berkeley alumni
WAMPAS Baby Stars
Women centenarians

Gloria Stuart


Scartho () is a suburban village in the southern part of Grimsby, England, and in the unitary authority of North East Lincolnshire. Scartho's population is approximately 11,000. Up until the end of the Second World War it was a village; subsequent post-war expansion on the greenfield areas between Scartho and Grimsby has resulted in the village becoming an outer suburb. Its population has increased through recent urban developments such as Scartho Top.

History

Etymology
Like 'Grimsby' the etymology of the word Scartho can be traced back to having Old Norse origin, more than likely due to the ancestry of the surrounding area. In A Dictionary of British Place Names, A. D. Mills identifies the elements skarth or skafr and the ending haugr to give the meaning as 'Mound near a gap' or a mound 'frequented by cormorants'.

11th century
The earliest surviving written reference to Scartho is in the Domesday Book of 1086 where it shares an entry with the adjoining parishes of Laceby and Bradley. The three parishes were under the lordship of Swein, Erik brother of Tosti, and Tosti brother of Erik, in 1066, and after the Norman invasion by Odo of Bayeux, a half-brother of William the Conqueror.

The church, dedicated to Saint Giles, retains a tower that dates to the Anglo Saxon period, although there have been more recent changes, including the removal of the north wall for an extension as recently as the 1950s. Walter Johnson in Byways in British Archaeology considers the tower to date from the period of church building in the 1042 to 1066 reign of Edward the Confessor and disagrees with 19th century suggestions that the stonework shows signs of scorch mark from having been torched during earlier Viking raids. Rather, Johnson argues, the tower, and others from the same era in Lincolnshire, were built after the period of Viking raids but in a style that reflects a memory of Church towers being used as a place of refuge during those raids.

19th century
In the first census of the United Kingdom in 1801 Scartho had 135 inhabitants, in 1831 the population was 147.

In 1894, a workhouse and infirmary were built at a  site on the west-side of Scartho Road to the south of Grimsby. These new buildings were opened on 9 October 1894 by the Right Honourable J Shaw-Le-Fevre. Following the Local Government Act 1929, the workhouse came under the control of Grimsby Town Council's Public Assistance Committee and was renamed Scartho Road Institution. After the introduction of the National Health Act in 1948 it became a general hospital. For many years it was known as Grimsby District General Hospital. Following the erection of the new Princess of Wales' hospital to the south of the site, a number of the former workhouse buildings have been demolished or stand empty. Others are still used for administrative or ancillary services.

20th century
Scartho Road is home to the Flower Cottages. Built in 1903, they are named after the order that flowers come into bloom after Winter, starting at number 100 with Snowdrop Cottage, 98 Crocus Cottage, and finishing at number 76. The architect was Herbert Scaping.

In 1916, 13 bombs were dropped on Scartho by a German Zeppelin, but no-one was killed or injured. The site where one bomb fell is now home to a branch of Barclays Bank, an optician, a few shops and a dance school. At the side of the building is a plaque commemorating this event. A monument giving thanks that no-one was hurt can be found at a spot where another bomb fell, in the churchyard of the nearby parish church of St. Giles, itself believed to be nearly a thousand years old. The church itself was badly damaged in the attack.

Scartho was a separate civil parish until 1928. Its northern boundary included part of the area that now forms the Nunsthorpe housing estate. In that year the greater part of the village was absorbed by Grimsby, with a small part being attached to the parish of Waltham.

Before the Second World War building work commenced on what had been Green Belt land. These constructions include properties along Scartho Road and the roads off it, including Cragston Avenue, Limetree Avenue and Sycamore Avenue.

The village saw post-war growth following the then government-policy of local councils building houses to replace those damaged in the war. This led to the development of three estates on green-belt land around the village: Springfield, Fairfield and (on a smaller-scale) the area around Edge Avenue. As part of this growth three schools were created – Springfield First and Middle schools, Fairfield First and Middle schools and Scartho First and Middle schools (in Edge Avenue).

In 1958 the village opened its first public house, the Rose and Crown on Louth Road. The Seven Seas opened in 1962 in Springfield.

In 1960 the local council built a swimming pool at the northernmost tip of the village boundary, next to the Barratts Playing Field. This is known locally as 'Scatha Baths'. It was closed in December 2015 and has now been demolished.

In 1965 a new shopping arcade on Waltham Road was constructed in the area, followed a few years later by a similar development on the junction of Louth Road and Pinfold Lane which housed two banks and several retail premises.

Between 1974 and 1982 the village saw the construction of the town's new hospital, the Grimsby District General Hospital, next to an existing smaller site. It was opened in 1982 by Her Royal Highness, the Princess of Wales. After her death in 1997 it was renamed the Diana, Princess of Wales Hospital. The nearby Scartho Top development began in the mid-1990s.

Governance
North East Lincolnshire Council has one council ward within the area of Scartho. All of the councillors for the ward currently are Conservatives. Only in the inaugural council election of 1995, when Labour won all three seats, and in 2012 and 2014, when UKIP won one seat at either election, has it returned a councillor for another party.

Scartho Ward
 Cllr Charlotte Croft
 Cllr Ian Lindley
 Cllr Ronald Sheppard

Community
Scartho's retail availability includes a Spar mini-supermarket on Waltham Road, surrounded by a number of other businesses including take-aways and a pharmacy. The supermarket houses the village Post Office after the long-established facility in Pinfold Lane closed in 2000. At this time one of the villages' two banks (Lloyds TSB – previously a Lloyds Bank) closed after 33 years of service. On Louth Road is a number of other businesses including a veterinary clinic, a newsagent, a building society and a pet store.

Notable people
Richard A Collins (1966) – scientist and author, lived with his parents in Holton-le-Clay and Scartho for most of his youth.
Brenda Fisher (b.1927) - long-distance and world record swimmer
Hanserd Knollys (1599–1691) - an English particular Baptist minister was appointed rector of the church in the 1640s.

See also
Grimsby
North East Lincolnshire

References

External links
Scartho Village Website
Scartho Village Portal
Historic Scartho
Photograph of the former Grimsby Workhouse

Populated places in Lincolnshire
Geography of Grimsby

Scartho


The Aztec Bowl is an NCAA-sanctioned college division/minor (prior to 1997); AFCA Division III (since 1997) Division II/III (since 2011) post-season bowl game that has been played intermittently since 1947. From 1947 to 1949 the event was called the Silver Bowl, and in 1950 the name was changed to the Aztec Bowl.

With but one exception, all of the games have been played at locations in Mexico; the exception was the 1957 game played in San Antonio, Texas.  From 1997 to 2008, under sponsorship of the American Football Coaches Association, the bowl had featured a team of Division III All-Stars against a team of Mexican All-Stars.  360 Sports Events Division II/III All American Eagles took over sponsoring players, along with ONEFA in 2010.

Games played in 1970 and 1980 are considered junior college bowl games, and games played in 1947, 1948, 1952, and 1996 are considered military bowl games. No games were played in 1954–1956, 1958–1963, 1967–1969, 1972–1978, 1981–1983, 1985, and 1995.  The games are traditionally played in mid-December.

Under the new format there were no games in 2008 and 2010 because of lack of sponsors.  In 2011, the Aztec Bowl All-Star Game resumed play in Chihuahua, Mexico. *There was no game in 2013 because of venue issues in Mexico.

The Aztec Bowl has always been an International Bowl Game, however in 1997 the Aztec Bowl was re-formed into a Bowl Game between Small College All-Stars from the United States and Mexico, billed as Team USA vs. Team Mexico. It has become prestigious for Team USA or Team Mexico to win the Aztec Bowl, because they are trying to win it for their country.

Results by year

See also
List of college bowl games
IFAF U-19 World Cup
World University American Football Championship

References

College football bowls
American football in Mexico

Aztec Bowl (game)


Saya (Tsaya), Saya je dobronamjerni kulturni heroj plemena Beaver (ponekad ga folkloristi nazivaju "transformatorom".) Saya se općenito prikazuje kao herojski ubojica čudovišta i prijatelj čovječanstva, iako postoje neke priče kod Beavera koje su po prirodi duhovite

Izvori

Indijanska mitologija (heroji kulture)
Indijanska mitologija (transformeri)
Beaver

Saya


La Ford TH!NK est une gamme de véhicules électriques produite par TH!NK , alors une entreprise de la Ford Motor Company. La gamme, éphémère, comprend quatre modèles : la TH!NK  et la TH!NK , de petites automobiles électriques, et les TH!NK  et TH!NK , des vélos motorisés électriques. Ford vend ses actions et la société résultante, Think Global, produit des voitures électriques en Norvège jusqu'à déclarer faillite en 2011.

TH!NK City

La Think City deux portes pouvait accueillir un conducteur et un passager et elle avait une vitesse de pointe de 56 miles par heure (90 km/h). La voiture avait une vitesse d'accélération de zéro à 30 miles par heure (48 km/h) de sept secondes et elle pesait 2 075 livres. Le modèle mesurait 9,8 pieds (3,0 m) de long, 5,25 pieds (1,60 m) de large et 5,1 pieds (1,6 m) de haut.

TH!NK Neighbor
La Neighbor a été conçue pour répondre à la spécification NHTSA pour les véhicules électriques de quartier. La conception et la fabrication n'étaient pas liées à la Th!nk City. La Neighbor était initialement proposée en deux modèles, un à deux places et un à quatre places, avec une version pick-up utilitaire deux places proposée vers la fin de la production. La TH!NK Neighbor avait un toit fixe au-dessus d'un enclos ouvert; une housse était disponible en option pour protéger les passagers de la pluie et des éléments. Selon les exigences de la NHTSA, la vitesse de pointe normale était limitée à 25 miles par heure (40 km/h), et il y avait également un mode "gazon" qui fixait sa vitesse maximale à 15 miles par heure (24 km/h) pour une utilisation sur les terrains de golf. De nombreuses options ont été conçues pour une utilisation sur le parcours de golf : elle comportait un porte-sac, un support pour les cartes de score, les tees et les balles et une machine à laver les clubs. De plus, pour la version quatre places, il y avait une option de coffre qui pouvait servir de glacière.

Controverse sur l'élimination
Une controverse majeure a éclaté lorsque Ford a décidé d'écraser les voitures TH!NK City stockées aux États-Unis. Après avoir protesté contre des groupes écologistes, y compris un rassemblement de Greenpeace sur le toit des bureaux de Ford en Norvège, Ford a décidé d'expédier les véhicules excédentaires en Norvège.

Références

TH!NK
Automobile des années 2000
Automobile des années 2010

Ford TH!NK


Biserica reformată din Sălard, comuna Sălard, județul Bihor, datează din secolul XV. Biserica se află pe lista monumentelor istorice sub codul LMI: .

Istoric și trăsături
Biserica reformată din Sălard a fost construită inițial ca biserica unei mănăstiri franciscane și este în regiune monumentul de arhitectură gotică cu cele mai multe elemente păstrate, dintre cele ce datează din secolul al XV-lea. Soarta lăcașului de cult în primul secol și jumătate de existență a fost strâns legată de istoria familiei nobiliare Csáki, ctitorii mănăstirii. Biserica mănăstirii servea în același timp și ca loc de înmormântare a membrilor familiei Csáki, astfel în 1468 au fost înhumați aici Francisc Csáki, comite al secuilor și fiul acestuia, Benedict.

Ca un paradox al destinului, activitatea mănăstirii a fost pecetluită tot de un membru al familiei Csáki: adepții lui Farkas Csáki au trecut la protestantism, de atunci biserica funcționează că lăcaș de cult reformat.

Edificiul a fost construit aproape exclusiv din cărămidă și doar ferestrele, portalurile și bolțile corului au fost realizate din piatră. Primul lăcaș de cult al mănăstirii a fost mai modest, deoarece biserica actuală are elemente ce pot fi datate mai târziu, spre cea de-a doua treime a secolului al XV-lea. Nava flancată de contraforți, corul cu terminație poligonală, spațiul adosat laturii nordice a corului precum și turnul au fost ridicate într-o singură etapă. Atât nava cât și corul au tavane drepte, nava nu a fost boltită nici în evul mediu.

Dintre elementele mobilierului se remarcă stranele și băncile clasicizante ce au fost introduse în 1802, orga instalată în 1850 și strana în stil neoempire, ce datează din 1890.

Bibliografie
 Karácsonyi János, Szt. Ferencz rendjének története Magyarországon 1711-ig, Bp. 1923–1924, I. pp. 313, 391, 404, 414–415.
 Borzási Gyula – Emődi Tamás, Szalárd, református templom (Erdélyi műemlékek 20.) Kolozsvár, 1996.

Vezi și
 Sălard, Bihor

Legături externe
Fișă de monument
 Monumente istorice din România-Fișă și localizare de monument

Imagini din exterior

Imagini din interior

Sălard
Monumente istorice din județul Bihor
Biserici din județul Bihor
Biserici din secolul al XV-lea din România

Biserica reformată din Sălard


The grapheme Čč (Latin C with caron, also known as háček in Czech, mäkčeň in Slovak, kvačica in Serbo-Croatian, and strešica in Slovene) is used in various contexts, usually denoting the voiceless postalveolar affricate consonant  like the English ch in the word chocolate. It is represented in Unicode as U+010C (uppercase Č) and U+010D (lowercase č).

Origin
The symbol originates with the 15th-century Czech alphabet as introduced by the reforms of Jan Hus. In 1830, it was adopted into Gaj's Latin alphabet, which is used in Serbo-Croatian. It is also used in Macedonian, Slovak, Slovenian, Latvian, Lithuanian, Pomak, and Berber alphabets.

Uses

In Berber, Karelian, Slovenian,
Serbo-Croatian,
Sorbian, Skolt Sami, and Lakota alphabets, it is the fourth letter of the alphabet. In Czech, Northern Sami alphabet, Belarusian, and the Baltic languages Lithuanian and Latvian, the letter is in fifth place. In Slovak it is sixth letter of the alphabet. It is also used in Pashto (equivalent to چ), romanization of Syriac and Saanich.

It is equivalent to Ч in Cyrillic and can be used in Ukrainian, Belarusian, Russian, Serbian, and Bulgarian romanisations. It features more prominently in the Latin alphabets or transliterations of Serbo-Croatian and Macedonian. The letter Č can also be substituted by Ç in the transliterations of Turkic languages, either using the Latin script or the Cyrillic script.

/Č/ is also used in Americanist phonetic notation.

Č is the similar to the Sanskrit च (a palatal sound, although IAST uses the letter c to denote it)

Software

Representation in software follows the same rules as the háček.

Unicode

U+010C (uppercase Č—use Alt 268 for input) and U+010D (lowercase č—use Alt 269 for input) create this character.  The combining character U+030C can be placed together with either c or C to generally achieve the same visual result.

TeX/LaTeX

In text the control sequence \v{c} will work.  In math mode, $\check{c}$ also works.

See also

 Ć
 Cz (digraph)
 Ch (digraph)

References

Latin letters with diacritics
Phonetic transcription symbols
Lithuanian language
Croatian language
Serbian language

Č