Hugo Philipp Jacob Wolf (13 March 1860 – 22 February 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but diverging greatly in technique.

Though he had several bursts of extraordinary productivity, particularly in 1888 and 1889, depression frequently interrupted his creative periods, and his last composition was written in 1898, before he suffered a mental collapse caused by syphilis.

Early life (1860–1887)
Hugo Wolf was born in Windischgrätz in the Duchy of Styria (now Slovenj Gradec, Slovenia), then a part of the Austrian Empire. Herbert von Karajan was related to him on his maternal side. He spent most of his life in Vienna, becoming a representative of a "New German" trend in Lieder, a trend which followed from the expressive, chromatic and dramatic musical innovations of Richard Wagner.

A child prodigy, Wolf was taught piano and violin by his father beginning at the age of four, and once in primary school studied piano and music theory with Sebastian Weixler. Subjects other than music failed to hold his interest; he was dismissed from the first secondary school he attended as being "wholly inadequate", left another over his difficulties in the compulsory Latin studies, and after a falling-out with a professor who commented on his "damned music", quit the last. From there, he went to the Vienna Conservatory, much to the disappointment of his father, who had hoped his son would not try to make his living from music. Once again, however, he was dismissed for "breach of discipline", although the oft-rebellious Wolf would claim he quit in frustration over the school's conservatism.

After eight months with his family, he returned to Vienna to teach music. Though his fiery temperament was not ideally suited to teaching, Wolf's musical gifts, as well as his personal charm, earned him attention and patronage. Support of benefactors allowed him to make a living as a composer, and a daughter of one of his greatest benefactors inspired him to write to Vally ("Valentine") Franck, his first love, with whom he was involved for three years. During their relationship, hints of his mature style would become evident in his Lieder. Wolf was prone to depression and wide mood swings, which would affect him all through his life. When Franck left him just before his 21st birthday, he was despondent. He returned home, although his family relationships were also strained; his father was still convinced his son was a ne'er-do-well. His brief and undistinguished tenure as second Kapellmeister at Salzburg only reinforced this opinion: Wolf had neither the temperament, the conducting technique nor the affinity for the decidedly non-Wagnerian repertoire to be successful, and within a year had again returned to Vienna to teach in much the same circumstances as before.

Wagner's death in February 1883 was another deeply moving event in the life of the young composer. The song "Zur Ruh, zur Ruh" was composed shortly afterward and is considered to be the best of his early works; it is speculated that it was intended as an elegy for Wagner. Wolf often despaired of his own future in the ensuing years, in a world from which his idol had departed, leaving tremendous footsteps to follow and no guidance on how to do so. This left him often extremely temperamental, alienating friends and patrons, although his charm helped him retain them more than his actions merited. His songs had meanwhile caught the attention of Franz Liszt, whom he respected greatly, and who like Wolf's previous mentors advised him to pursue larger forms; advice he this time followed with the symphonic tone poem Penthesilea. His activities as a critic began to pick up. He was merciless in his criticism of the inferior works he saw taking over the musical atmosphere of the time; those of Anton Rubinstein he considered particularly odious. But he was as fervent in his support of Liszt, Schubert and Chopin, whose genius he recognized. Known as "Wild Wolf" for the intensity and expressive strength of his convictions, his vitriol made him some enemies. He composed little during this time, and what he did write he couldn't get performed; the Rosé Quartet (led by Vienna Philharmonic concertmaster Arnold Rosé) would not even look at his D minor Quartet after it was picked apart in a column, and the premiere of Penthesilea was met by the Vienna Philharmonic, when they tried it out under their celebrated conservative conductor Hans Richter, with nothing but derision for 'the man who had dared to criticize "Meister Brahms"', as Richter himself caustically put it.

He abandoned his activities as a critic in 1887 and began composing once more; perhaps not unexpectedly, the first songs he wrote after his compositional hiatus (to poems by Goethe, Joseph von Eichendorff and Joseph Viktor von Scheffel) emphasized themes of strength and resolution under adversity. Shortly thereafter, he completed the terse, witty one-movement Italian Serenade for string quartet which is regarded as one of the finest examples of his mature instrumental compositional style. Only a week later his father died, leaving him devastated, and he did not compose for the remainder of the year.

Maturity (1888–1896)
1888 and 1889 proved to be amazingly productive years for Wolf, and a turning point in his career. After the publication of a dozen of his songs late the preceding year, Wolf once again desired to return to composing; he travelled to the vacation home of the Werners, family friends whom Wolf had known since childhood, in Perchtoldsdorf (a short train ride from Vienna), to escape and compose in solitude. Here he composed the Mörike-Lieder at a frenzied pace. A short break, and a change of house, this time to the vacation home of more longtime friends, the Ecksteins, and the Eichendorff-Lieder followed, then the 51 Goethe-Lieder, spilling into 1889. After a summer holiday, the Spanisches Liederbuch was begun in October 1889; though Spanish-flavoured compositions were in fashion in the day, Wolf sought out poems that had been neglected by other composers.

Wolf himself saw the merit of these compositions immediately, raving to friends that they were the best things he had yet composed (it was with the aid and urging of several of the more influential of them that the works were initially published). It was now that the world outside Vienna would recognize Wolf as well. Tenor Ferdinand Jäger, whom Wolf had heard in Parsifal during his brief summer break from composing, was present at one of the first concerts of the Mörike works and quickly became a champion of his music, performing a recital of only Wolf and Beethoven in December 1888. His works were praised in reviews, including one in the Münchener Allgemeine Zeitung, a widely read German newspaper. (The recognition was not always positive; Brahms's adherents, still smarting from Wolf's merciless reviews, returned the favor—when they would have anything to do with him at all. Brahms's biographer Max Kalbeck ridiculed Wolf for his immature writing and odd tonalities; another composer refused to share a program with him, while Amalie Materna, a Wagnerian singer, had to cancel her Wolf recital when allegedly faced with the threat of being on the critics' blacklist if she went on.)

Only a few more settings, completing the first half of the Italienisches Liederbuch, were composed in 1891 before Wolf's mental and physical health once again took a downturn at the end of the year; exhaustion from his prolific past few years combined with the effects of syphilis and his depressive temperament caused him to stop composing for the next several years. Continuing concerts of his works in Austria and Germany spread his growing fame; even Brahms and the critics who had previously reviled Wolf gave favorable reviews. However, Wolf was consumed with depression, which stopped him from writing—which only left him more depressed. He completed orchestrations of previous works, but new compositions were not forthcoming, and certainly not the opera which he was now fixated on composing, still convinced that success in the larger forms was the mark of compositional greatness.

Wolf had scornfully rejected the libretto to Der Corregidor when it was first presented to him in 1890, but his determination to compose an opera blinded him to its faults upon second glance. Based on The Three-Cornered Hat, by Pedro Antonio de Alarcón, the darkly humorous story about an adulterous love triangle is one that Wolf could identify with: he had been in love with Melanie Köchert, married to his friend Heinrich Köchert, for several years. (It is speculated that their romance began in earnest in 1884, when Wolf accompanied the Köcherts on holiday; though Heinrich discovered the affair in 1893 he remained Wolf's patron and Melanie's husband.) The opera was completed in nine months and was initially met with success, but Wolf's musical setting could not compensate for the weakness of the text, and it was doomed to failure; it has not yet been successfully revived.

A renewal of creative activity resulted in Wolf's completion of the Italienisches Liederbuch with two dozen songs written in March and April 1896, the composition of three Michelangelo Lieder in March, 1897 (a group of six had been projected) and preliminary work during that year on an opera, Manuel Venegas.

Final years (1897–1903)

Wolf's last concert appearance, which included his early champion Jäger, was in February 1897. Shortly thereafter Wolf slipped into syphilitic insanity, with only occasional spells of wellbeing. He left sixty pages of an unfinished opera, Manuel Venegas, in 1897, in a desperate attempt to finish before he lost his mind completely; after mid-1899 he could make no music at all and once even tried to drown himself, after which he was placed in a Vienna asylum at his own insistence. Melanie visited him faithfully during his decline until his death on 22 February 1903, but her unfaithfulness to her husband tortured her and she killed herself in 1906.

Wolf is buried in the Zentralfriedhof (Central Cemetery) in Vienna, along with many other notable composers.

Music
Wolf's greatest musical influence was Richard Wagner, who, in an encounter after Wolf first came to the Vienna Conservatory, encouraged the young composer to persist in composing and to attempt larger-scale works, cementing Wolf's desire to emulate his musical idol. His antipathy to Johannes Brahms was fueled equally by his devotion to Wagner's musical radicalism and his loathing of Brahms' musical "conservatism".

He is best known by his lieder, his temperament and inclination leading him to more intimate, subjective and terse musical utterances. Although he initially believed that mastering the larger forms was the hallmark of a great composer (a belief his early mentors reinforced), the smaller scale of the art song proved to provide an ideal creative outlet for his musical expression and came to be regarded as the genre best suited to his peculiar genius. Wolf's lieder are noted for compressing expansive musical ideas and depth of feeling, fed by his skill at finding the just right musical setting for the poetry that inspired him. Though Wolf himself was obsessed with the idea that to compose only short forms was to be second-rate, his organization of lyrics of particular poets (Goethe; Mörike; Eichendorff; Heyse and Geibel in the Spanish and Italian Songbooks) into semicyclical anthologies, finding connections between texts not explicitly intended by the poets he set and his conceptions of individual songs as dramatic works in miniature, mark him as a talented dramatist despite having written only one not particularly successful opera, Der Corregidor.

Early in his career Wolf modelled his lieder after those of Franz Schubert and Robert Schumann, particularly in the period around his relationship with Vally Franck; in fact, they were good enough imitations to pass off as the real thing, which he once attempted, though his cover was blown too soon. It is speculated that his choice of lieder texts in the earlier years, largely dealing with sin and anguish, were partly influenced by his contracting syphilis. His love for Vally, not fully requited, inspired highly chromatic and philosophical lieder that could be regarded as successors to Wagner's Wesendonck Lieder cycle. Others were as distant from those in mood as possible; lighthearted and humorous. The rarely heard symphonic poem Penthesilea, based on the tragedy by Heinrich von Kleist, is tempestuous and highly colored as well. Although Wolf admired Liszt, who had encouraged him to complete the work, he felt Liszt's own music too dry and academic and strove for color and passion.

The year 1888 marked a turning point in his style as well as his career, with the Mörike, Eichendorff and Goethe sets drawing him away from Schubert's simpler, more diatonic lyricism and into "Wölferl's own howl". Mörike in particular drew out and complemented Wolf's musical gifts, the variety of subjects suiting Wolf's tailoring of music to text, his dark sense of humor matching Wolf's own, his insight and imagery demanding a wider variety of compositional techniques and command of text painting to portray. In his later works he relied less on the text to give him his musical framework and more on his pure musical ideas themselves; the later Spanish and Italian songs reflect this move toward "absolute music".

Wolf wrote hundreds of lieder, three operas, incidental music, choral music, as well as some rarely heard orchestral, chamber and piano music. His most famous instrumental piece is the Italian Serenade (1887), originally for string quartet and later transcribed for orchestra, which marked the beginning of his mature style.

Wolf was famous for his use of tonality to reinforce meaning. Concentrating on two tonal areas to musically depict ambiguity and conflict in the text became a hallmark of his style, resolving only when appropriate to the meaning of the song. His chosen texts were often full of anguish and inability to find resolution, and thus so too was the tonality wandering, unable to return to the home key. Use of deceptive cadences, chromaticism, dissonance, and chromatic mediants obscure the harmonic destination for as long as the psychological tension is sustained. His formal structure as well reflected the texts being set, and he wrote almost none of the straightforward strophic songs favoured by his contemporaries, instead building the form around the nature of the work.

Notable works

Opera
 Der Corregidor (1895)
 Manuel Venegas (unfinished, 1897)

Lieder
Liederstrauß (1878), to seven texts by Heine
Mörike-Lieder (1888), 53 songs to poems by Eduard Mörike
Eichendorff-Lieder (1889), to texts by Joseph Freiherr von Eichendorff
Goethe-Lieder (wr. from 1875, publ. 1889), 51 songs to texts by Goethe
Dem Vaterland (1890), to a text by Robert Reinick
Spanisches Liederbuch, to texts by Paul Heyse and Emanuel Geibel (1891)
Italienisches Liederbuch, to texts by Paul Heyse (1892, 1896)
Michelangelo Lieder (1897), to texts by Michelangelo

Instrumental
String Quartet in D minor (1878–84)
Penthesilea (symphonic poem, 1883–85)
Italian Serenade (1887, string quartet; orchestrated in 1892)

Recording projects
Individual songs have been included in the recorded repertoire of many singers. Significant early Wolf recording artists included Elisabeth Schumann, Heinrich Rehkemper, Heinrich Schlusnus, Josef von Manowarda, Lotte Lehmann, Karl Erb and others. Early post-War collections were recorded by Suzanne Danco, Anton Dermota and Gérard Souzay (all before 1953), Dietrich Fischer-Dieskau (1954), Hans Hotter (1954), Erna Berger (1956), Heinrich Rehfuss (1955) and Elisabeth Schumann (1958), and important individual songs by Elisabeth Schwarzkopf, Nicola Rossi-Lemeni, and Elisabeth Höngen. Gerald Moore was a distinguished accompanist in Wolf song recordings. Fischer-Dieskau recorded a large collection of Mörike songs with Moore in March 1959. Some major projects have attempted more comprehensive coverage.

Hugo Wolf Society edition
In September 1931 the Hugo Wolf Society was formed under the aegis of English His Master's Voice records supervised by Walter Legge for the recording of a substantial proportion of the song repertoire. These were to be issued to subscribers in limited editions. The artists participating were restricted to those under contract to this company. Each volume consisted of six HMV red-label discs (unobtainable separately) and retailed new at $15.00 Am. The Wolf Society recordings were re-released in 1981.
 Volume I, entirely performed by Elena Gerhardt accompanied by Coenraad V. Bos, presented a selection mainly from the Spanish and Italian songbooks and the Mörike songs. For many years this scarce set was regarded as a collector's prize, and forms a distinct corpus within her recorded art. Later volumes always included more than one singer.
 Volume II: 16 of the 51 Goethe songs, all (apart from McCormack's Ganymed) accompanied by Coenraad V. Bos, but with Friedrich Schorr's Prometheus with the orchestral accompaniment.
 Volume III: A selection of 17 items, including three Michelangelo songs, three Mörike songs, four from the Spanisches Liederbuch and six from the Italienisches Liederbuch. All accompanied by Coenraad V. Bos.
 Volume IV: 30 items from Italienisches Liederbuch. Accompaniments by Coenraad V. Bos, Michael Raucheisen and Hanns Udo Müller.
 Volume V: A selection of 20 songs (mainly Mörike and Spanisches Liederbuch).
 Volume VI: Settings of Mörike, Robert Reinick, Goethe, Heyse and Geibel, Just and Kerner.

Artists included Alexander Kipnis (III, IV, V); Herbert Janssen (II, V, VI); Gerhard Hüsch (II, III, IV, V); John McCormack (accompanied by Edwin Schneider) (II); Alexandre Trianti (II, III); Ria Ginster (IV, V); Friedrich Schorr (II); Elisabeth Rethberg (IV, V); Tiana Lemnitz (VI); Helge Roswaenge (VI); Marta Fuchs (VI) and Karl Erb (VI). Each volume was accompanied by a booklet containing a short essay by Ernest Newman (I: Words and Music in Hugo Wolf, II: Wolf's Goethe Songs, III: A Note of Wolf as Craftsman, IV: The Italienisches Liederbuch) together with German texts, English translations (by Winifred Radford) and notes on each song (by Newman).

DGG Hugo Wolf Lieder Edition
A Hugo Wolf Lieder Edition was recorded by Dietrich Fischer-Dieskau and Daniel Barenboim during the 1970s for DGG, each volume containing three records. Volume I (1974): Mörike Lieder (Paris Grand Prix du Disque). Volume II (1976): Lieder on poems by Goethe, Heine and Lenau. Volume III (1977): Lieder on poems by Eichendorff, Michelangelo, Robert Reinick, Shakespeare, Byron, Hoffmann von Fallersleben, Joseph Viktor von Scheffel, etc. The accompanying volumes include essays by Hans Jancik, texts of the poems, and translations by Lionel Salter (English) and Jacques Fournier and others (French).

Oxford Lieder Festival edition
The first project to record every song by Wolf was commenced in 2010, the 150th anniversary of the composer's birth, by Stone Records and the Oxford Lieder Festival. This series of live recordings, featuring a wide variety of singers and Oxford Lieder Festival's artistic director Sholto Kynoch at the piano, is expected to run to 11 or 12 discs:  to date, 9 discs have been issued.

Austrian Radio Anniversary edition
In 2010 Austrian Radio and the Departure Centre for Creative Design in Vienna marked Hugo Wolf's anniversary with a recital series in which 188 of the songs were performed against visuals created by leading designers. The series was intended to bring Lieder to a new audience and was held at the initiative of baritone Wolfgang Holzmair, who was joined by a team of Austrian singers and pianists. The concerts were released on DVDs the following year, and in 2012 Bridge Records released the Spanish and Italian songbooks on CDs.

Notes

References
 Bukowski, Charles, Hugo Wolf went mad while eating an onion... in The Pleasures of the Damned: Poems 1951 – 1983, ed. John Martin, New York, 2007
 Andreas Dorschel, Hugo Wolf. In Selbstzeugnissen und Bilddokumenten, 2nd ed. (Rowohlt, Reinbek, 1992) (rowohlts bildmonographien 344). In German.
 Newman, Ernest, Hugo Wolf (Methuen, London, 1907).
 Sams, Eric and Susan Youens, 'Hugo Wolf', Grove Music Online ed. L. Macy, (subscription access)
 Thompson, Douglas S. "Musical Structure and Evocation of Time in Hugo Wolf's 'Ein Stundlein wohl vor Tag'." The National Association of Teachers of Singing Journal 65, No. 01, September/October (2008)
 Walker, Frank, Hugo Wolf: A Biography (J M Dent & Sons, London 1951). Includes extensive Bibliography (mainly biographical), pp. 448–461, and list of compositions, pp. 462–492.

External links

 The LiederNet Archive

 Free digital scores by Hugo Wolf in the OpenScore Lieder Corpus
 Slovenj_Gradec Hugo Wolf's Birthplace
 Hugo Wolf Quartett

1860 births
1903 deaths
19th-century Austrian composers
19th-century classical composers
19th-century male musicians
20th-century classical composers
20th-century Austrian composers
20th-century male musicians
Austrian classical composers
Austrian male classical composers
Austrian opera composers
Austrian people of Slovenian descent
Austrian Romantic composers
Burials at the Vienna Central Cemetery
Deaths from syphilis
Male opera composers
People from Slovenj Gradec
People from the Duchy of Styria
String quartet composers
Composers from Austria-Hungary

Hugo Wolf


David Gene Schellhase Jr. (born October 14, 1944) is a retired American collegiate basketball coach and former basketball player in the National Basketball Association (NBA).

High school career
Born and raised in Evansville, Indiana, Schellhase attended North High School in Evansville.  As a freshman, he was a member of North's first winning basketball team (1958–59); he was also a member of the Pups (North Frosh) Freshman Conference (SIAC)-title team; they had an overall record of 19-3.  He led the state in scoring during his Senior year averaging 30.5 points a game, with a total of 1,325 points in his high school career. He was a member of the Indiana All-Star Team. He fell short of winning the Indiana Mr. Basketball Award to Larry Humes.

College career
After high school, Dave attended Purdue University, located in West Lafayette, Indiana. A natural small forward, he played basketball under head coach Ray Eddy. In his Senior year, he led the Boilermakers in scoring with 32.5 points a game while being named a Consensus All-American, Academic All-American and received his third straight First Team All-Big Ten selection. He was a 2nd team All-American following his junior season.  Dave scored a career high 57 points on February 19, 1966 against Michigan, the second most in school history, only behind Rick Mount's 61. With 2,074 career points he was the first of five Boilermakers to reach the 2,000 point plateau, along with Rick Mount, Joe Barry Carroll, Troy Lewis and E'Twaun Moore.

Professional career
Schellhase was selected as the 10th overall pick in the 1966 NBA draft by the Chicago Bulls. He played 2 seasons with the Bulls, averaging 2.8 points a game with a total of 208 points in 73 games.  Schellhase starred on the front-line for the Boilers, primarily as a small forward in today's vernacular.  However, the Bulls had a larger front-line, forcing Schellhase to play out of natural position as a guard.

In 1968, he was drafted by the Phoenix Suns in the expansion draft; he did not make the final roster and subsequently began a collegiate coaching career.

Collegiate coaching career

Purdue

A few years after a brief stint playing in the NBA, Dave Schellhase served as an assistant coach under head coach George King in his last two seasons (1971–1972) on the bench. In two seasons, he helped coach Purdue to an overall record of 30-19, including an NIT appearance in 1971. Mainly an assistant to the freshman team, he joined fellow former Purdue standout, George Faerber, under coach Dave Toney.

Moorhead State

Schellhase was the head coach at Moorhead State University from 1975 to 1982, where he led the Dragons to two NSIC titles and to six NAIA Tourneys and an overall post-season record of 8-5. He was selected twice as the NSIC Coach of the Year in 1981 and 1982. In seven seasons, he left the program with a record of 137-64.

Indiana State

Schellhase moved on to coach at the Division I level, leading Sycamores for three seasons from 1982 to 1985, where he compiled a record of 37-48 and currently ranks 14th in wins in Sycamore history. He was the third former Boilermaker to coach at Indiana State after John Wooden's successful tenure from 1946 to 1948 and Bill Hodges' stint from 1979 to 1982.

Return to Moorhead State

After his tenure at ISU at the NCAA Division I level, he returned to Moorhead State in 1987 where he led the Dragons to seven NAIA Tourneys and a post-season record of 1-6. In twelve seasons from 1987 to 1999, he compiled a record of 161-176.  One of his star players, Brett Beeson, led the nation in scoring in 1995-96, before embarking on a lengthy career in foreign leagues.

During his 18-year career at Moorhead State, his overall record was 298-240 with 13 trips to the NAIA Tourney. Schellhase was the Dragons Head Coach in 1992 during their transition from NAIA to NCAA Division II.

On October 16, 2015; he was inducted into the Moorhead State 'Dragon Sports Hall of Fame'.  He remains the winningest coach at Moorhead State (298-240 .554)

Currently
Schellhase returned to coaching in Indiana at the high school level; he coached Cannelton High School for the 2001-02 season.
Schellhase has been at Logansport High School in Logansport, Indiana since 2004.  He's served as the dean of students as well as teaching in the Health, Physical Education Department

Head coaching record

References

External links
Dave Schellhase statistics at basketball-reference.com
Indiana Basketball Hall of Fame Profile

1944 births
Living people
All-American college men's basketball players
American men's basketball players
Basketball coaches from Indiana
Basketball players from Indiana
Chicago Bulls draft picks
Chicago Bulls players
High school basketball coaches in Indiana
Indiana State Sycamores men's basketball coaches
Minnesota State–Moorhead Dragons men's basketball coaches
Phoenix Suns expansion draft picks
Point guards
Purdue Boilermakers men's basketball coaches
Purdue Boilermakers men's basketball players
Sportspeople from Evansville, Indiana

Dave Schellhase


The Battle of Calliano on 6 and 7 November 1796 saw an Austrian corps commanded by Paul Davidovich rout a French division directed by Claude Belgrand de Vaubois. The engagement was part of the third Austrian attempt to relieve the French siege of Mantua during the French Revolutionary Wars. The battle was preceded by a clash at Cembra on 2 November and followed by actions at Rivoli Veronese on 17 and 21 November.

Campaign

By November 1796, Napoleon Bonaparte's French Army of Italy had reduced Field Marshal Dagobert Sigmund von Wurmser's Austrian garrison of Mantua to near-starvation. Emperor Francis I of Austria appointed Feldzeugmeister Jozsef Alvinczi to lead a new army in smashing though the French blockade. Alvinczi planned to advance on Mantua from the east with the 28,000-man Friaul Corps, while Feldmarschal-Leutnant Davidovich led 19,000 soldiers of the Tirol Corps down the Adige valley from the north.

Forces

See Arcola 1796 Campaign Order of Battle for a list of the major units of both armies, including the strengths and commanders of the Tyrol Corps' six columns.

San Michele: 2 November

Bonaparte badly underestimated Davidovich's strength. To oppose the northern thrust, he deployed a division of 10,500 soldiers under General of Division Vaubois. The start of Davidovich's offensive led to a series of clashes beginning on 27 October. On 2 November the French attacked the Austrians at Cembra. Although Vaubois inflicted 1,100 casualties on his enemies at the cost of only 650 Frenchmen, he decided to pull back to Calliano when Davidovich resumed his forward movement the next day. The French 85th Line Infantry Demi-Brigade was roughly handled. The Austrians occupied Trento on 5 November.

Battle

On 6 November, Vaubois repulsed Davidovich's attacks on his position at Calliano, inflicting losses of 753 men. That night the French general detached several units to cover key positions in the area, weakening his main line. At dawn, the Austrians launched a new attack that was resisted all day, Calliano changing hands several times. Some Grenz infantry worked their way into the rear of the French line and this caused a panic-stricken flight from the field beginning at 4 pm.

The second day of fighting at Calliano cost Davidovich another 1,523 men for a total of 3,567 for the campaign. These heavy losses kept the Austrians from vigorously following up the fleeing Frenchmen. Vaubois suffered 4,400 casualties at Cembra and Calliano.

Aftermath

During the day of 8 November, the French soldiers retreated to Rivoli Veronese where they finally rallied. Furious over the misbehavior of his troops, Bonaparte issued an announcement to the army in which he harshly criticised the 39th and 85th Demi-Brigades. Meanwhile, in the Po River valley, Alvinczi defeated Bonaparte's attack at the Second Battle of Bassano on 6 November, forcing the French main army to fall back to Verona.

Poor communications continued to plague the Austrian effort. It took two days for dispatches to pass between Davidovich and Alvinczi. Davidovich refrained from attacking the Rivoli position because he believed that André Masséna was present with his division. While Masséna was briefly in command, he did not bring any troops with him. By this time Davidovich probably had 14,000 men, but this includes General-Major (GM) Johann Loudon who was guarding his line of communications with the Tyrol.

Rivoli: 17 November

Davidovich finally attacked on 17 November, with GM Joseph Ocskay von Ocsko moving from Monte Baldo and GM Josef Philipp Vukassovich advancing from the Adige River gorge. The Austrians gained the Rivoli plateau and steadily forced the outnumbered French back. Again, the brittle morale of the 85th Line snapped and the result was another rout of Vaubois' division. On this occasion, the French lost 800 killed and wounded, plus 1,000 captured including Generals of Brigade Pascal Antoine Fiorella and Antoine La Valette and 7 cannons. The Austrians lost only 600 men. This field would be fought over again during the Battle of Rivoli in January 1797.

Rivoli: 21 November

The Tyrol Corps' victory came too late. Bonaparte fought and won the Battle of Arcola on 15–17 November. When Davidovich realized that the Army of Italy was moving his way in great strength, he pulled back to Rivoli on 20 November. The next morning, he ordered a retreat to the north. A short time later, he received a note saying that Alvinczi's army was back in the field. Davidovich told his troops to reoccupy their positions at Rivoli, but by this time the French were upon them. In the ensuing action, French losses were about 200. The Austrians lost 251 killed and wounded. In addition, the French captured 608 soldiers, 3 cannons, and a bridging train. One authority gives Austrian losses as 1,500 men and 9 guns. When Alvinczi heard that his colleague was in full retreat up the Adige valley, he withdrew to the Brenta River, ending the campaign.

See also
 Siege of Mantua (1796-1797)
 Second Battle of Bassano, 6 November 1796
 Battle of Caldiero (1796), 12 November 1796
 Battle of Arcole, 15–17 November 1796

Notes

References
 Boycott-Brown, Martin. The Road to Rivoli. London: Cassell & Co., 2001.
 Chandler, David. The Campaigns of Napoleon. New York: Macmillan, 1966.
 Smith, Digby. The Napoleonic Wars Data Book. London: Greenhill, 1998.

External links

Battles involving Austria
Conflicts in 1796
1796 in the Habsburg monarchy
1796 in France
Battles of the War of the First Coalition

Battle of Calliano


Body dysmorphic disorder (BDD) is a mental illness where someone is too critical of their body. If there is something wrong with their body, it is usually so small that a person without BDD would not be unhappy about it at all. People claim that they are insecure, but BDD is far worse.

Most people without BDD may not like some parts of their body, but people with BDD believe that they are so ugly, even though they are not, that they find it difficult to talk or exist with other people, or live normally, scared that other people will be mean to them because of the way they look. People with BDD often do not look for help because they are afraid others will think they are just vain, or they may feel too embarrassed to talk to other people as they think they are so ugly.

BDD is a somatoform disorder. People with BDD may look at themselves in the mirror too much, or some people with BDD may actually try not to look in the mirror. Both of these are possible for a person with BDD. They usually think about their body for more than one hour per day, and in bad cases, can stop talking to other people, and may stay at home. People with BDD often have very low self-confidence, because they believe that a person's value is linked to what they look like, and because they do not think that they are beautiful themselves, they do not think they have much value.

History
 In 1886, BDD was first written about by the researcher 'Morselli', who named it Dysmorphophobia.
 In 1987, BDD was first properly seen by the American Psychiatric Association.
 In 1997, BDD was first recorded and formally seen as a mental problem in the Diagnostic and Statistical Manual of Mental Disorders (DSM).

Sigmund Freud had an important Russian person (Sergei Pankejeff) with him in the past, who would have been classified as having the disorder in modern times. Freud named him "The Wolf Man", to protect Pankejeff's identity. Pankejeff was so unhappy with his nose that he could not live a normal life.

Cause
It is unknown what the full cause of BDD is. However, research shows that a number of things may be the cause:

The chemicals in the brain. If the amount of serotonin is too low, one of the brain's neurotransmitters which gives us 'mood' and 'pain', may help cause body dysmorphic disorder. Scientists can not explain this chemical problem in the brain, but it may be hereditary (passed down from parents to child).

Obsessive-compulsive disorder. Many people with BDD also have OCD, where the person does things without wanting to. If people have had, or have a genetic link to OCD, the person may be more likely to have BDD.

Generalized anxiety disorder. Many people with BDD also have generalized anxiety disorder. This disorder is where the person worries about things a lot, which makes them have anxiety about things in their life, for example, about their body, as in BDD.

Development

BDD usually develops in adolescence, a time when people usually worry about their appearance the most. However, many people with BDD suffer for years before they look for help. When they do look for help to Doctors, people with the problem often say they have other problems, for example, depression, social anxiety, or obsessive-compulsive disorder, but do not say their real problem is with the way they look. Most patients can not be convinced that the problem they have with their body is only 'imagined', and that they are seeing a 'changed' view of themselves, because people do not know much about BDD, compared to other mental problems, for example OCD or others.

Diagnosis
The DSM (Diagnostic and Statistical Manual of Mental Disorders) IV says that a person must have the things written below if they have BDD:
 Being unhappy with an imagined problem on their body. If a small problem is there, the person is unhappy with it more than they should be.
 The unhappiness causes large problems in talking to other people, having a job, or living a normal life.
 The unhappiness is not caused by a different mental problem (for example, unhappiness with weight in Anorexia Nervosa).

Features of BDD

A person with BDD will often do these things:
 Look in the mirror a lot, look in reflective doors, windows and other reflective surfaces.
 If the person does not look in the mirror a lot, they will try not to look in the mirror or at photographs ever, and will often not have mirrors in their home.
 Touch their skin a lot to feel the 'imagined' problem.
 Wanting other people to say good things to them about the way they look a lot.
 Asking other people about the way they look a lot.
 Not talk to people a lot.
 Not having much confidence
 Comparing the way they look to people they want to look like a lot. This may be of celebrities, or people in their life.
 Doing exercise or having diets more than normal.
 Doing these things a lot: combing hair, plucking eyebrows, shaving, etc.
 Using medicine to change the body shape and body size.
 Wanting plastic surgery or more than one plastic surgery, more than normal.
 In some extreme examples, patients have tried to do plastic surgery to themselves.

Where on the body the 'imagined' problem can be
Dr. Katharine Philips did research, with more than 500 people with BDD, on the percentage of patients unhappy with the most common parts of the body;

 skin (73%)
 hair (56%)
 nose (37%)
 weight (22%)
 stomach (22%)
 breasts/chest/nipples (21%)
 eyes (20%)
 thighs (20%)
 teeth (20%)
 legs (overall) (18%)
 body shape / bone shape (16%)
 all of face (14%)
 lips (12%)
 buttocks (12%)
 chin (11%)
 fingers (11%)
 eyebrows (11%)

source: The Broken Mirror, Katharine A Philips, Oxford University Press, 2005 ed, p56

However, people with BDD often are unhappy about more than one part of their body.

Numbers of people
A German study has shown that 1-2% of the population has complete BDD, but a bigger percentage of people show some of the effects (Psychological Medicine, vol 36, p 877).

The number of men and women with BDD is around the same, but there are slightly more women with it. However, the number of men and women who go to the doctor with it are the same.

Studies show that BDD is common non-clinical places and clinical places. Research was done on 200 people with DSM-IV BDD. These people were aged 12 and older. They were interviewed. The people with BDD were found from 'mental-health doctors', advertisements, their friends and family, and non-psychiatrist physicians. 53 of the 200 people were receiving medication, 33 were receiving psychotherapy, and 48 were receiving both medication and psychotherapy. How bad each person's BDD was, was assessed using the "Yale-Brown Obsessive Compulsive Scale", modified for BDD. Symptoms were assessed with the Body Dysmorphic Disorder Examination. Both tests were made just for BDD. The results showed that BDD is in 0.7% - 1.1% of community samples and 2%-13% of non-clinical samples. 13% of psychiatric patients had BDD. Research also found that some of the patients who were firstly diagnosed with OCD, also had BDD. 53 patients with OCD and 53 patients with BDD were compared to each other in research. Clinical features, comorbidity, family history, and population features were compared between the two groups. 9 of the 62 subjects (14.5%) of those with OCD also had BDD.

In most examples, BDD is not found even when people have it. In research done on 17 patients with BDD, BDD was 'found' in only five patients, and none of the patients had a proper diagnosis of BDD even though they all in fact had BDD.

Problems caused by BDD
BDD can cause only a few problems for some people. However, for other people, it can cause many problems.

Responsibilities

It can make it very difficult to have a normal job or family life. People who have a job or a family to care for would definitely find life easier and better if they did not have BDD. The love partners of BDD people can also suffer, as they may sometimes lose their loved one to suicide. Friendship, romance, and family is very hard to hold for a person with BDD, as the unhappiness with the looks of the person takes over their life, so they often do not bother with the other aspects of life as much. Also, the BDD stops the person from making these 'bonds' with people, as they always feel scared about the way they look, and therefore find it difficult to be themselves with other people.

Motivation
People with BDD may often have little motivation for anything. This means that BDD people can appear to take a long time to get everything done. However, this is not exactly true, because BDD sufferers will often just stop what they were doing for a long time, so it is not just that they are slow, but find it difficult to concentrate on what they are doing. without being able to actually motivate themselves until it becomes completely necessary to get back up. This low amount of motivation can be in all parts of a person's life, for example, school, friends, love, family, or work.

However, when the person is trying to do things to the way they look, such as combing their hair, or choosing clothes, it is common for the person to have an extreme motivation. Therefore, people with BDD can sometimes not feel motivated for anything in their life, but when they are working on their looks, they will have an extreme motivation that is not normal either.

Suicide
People with BDD have a very high suicide rate compared to all mental problems.

Phillips & Menard did a lot of research in 2006 about BDD suicides.
 They found that the percentage of people in the USA with BDD who commit suicide is 45 times higher than the percentage of all the USA population who commit suicide.
 The percentage of people in the USA with BDD who commit suicide is more than 2 times higher than the percentage of people in the USA with depression who commit suicide.
 The percentage of people in the USA with BDD who commit suicide is 3 times higher than the percentage of people in the USA with bipolar disorder who commit suicide.

Some people say that there is a link between undiagnosed BDD and a higher than average suicide rate with people who had cosmetic surgery.

Another condition, Gender identity disorder (GID), where the person finds his or her gender as a male or female uncomfortable, often has BDD-like feelings that are only directed at the primary and/or secondary sex characteristics on their body, which disagree with the person's perception of their own gender since birth. People with GID may also have BDD-like traits or their condition may be mis-diagnosed as BDD. Most studies reported a pre- transition GID suicide attempt rate of 20% or more. The suicide attempt rate for patients with BDD is 15%. No studies are available showing overlap between GID and BDD suicide rate because BDD is excluded as a condition prior to GID diagnosis.

BDD and GID are different conditions. One of the key differences is the fact that BDD responds to psychopharmacology, whereas GID does not. Furthermore, psychopharmacology or psychotherapy are often successful in convincing the BDD sufferer that their perceptions are distorted. Those with GID are rarely convinced that they are mistaken. GID (especially "transsexualism") also often manifests during early childhood, rather than during adolescence. It is standard practice in treating BDD to convince sufferers that surgical procedures are not necessary because eradicating their first perceived defect through surgery will only make them start obsessing about their next perceived defect, whereas those people properly diagnosed as "transsexual" under GID benefit greatly from surgical procedures specifically targeted at their primary or secondary sex characteristics. However, a person with GID may also have BDD if they obsess over perceived defects on their body that contradict or go beyond their gender identity.

Vanity

BDD is often wrongly thought of as a 'vanity' obsession, but it is actually the opposite, because people with BDD believe they are very ugly, even though people without BDD do not think they are. There is not usually actually anything wrong with the way the person with BDD looks, but to that person, there is. A person with BDD can spend hours looking in the mirror, but they are not being vain, as they do not think they are attractive. People with BDD usually realize that worrying about their looks so much is bad, but they can not help it.

ALSO a person with BDD may alternatively avoid mirrors at all costs. Or any reflective surfaces for that matter. Including spoons, windows, mirrors, etc.

Treatments
Research found that talking as therapy, has not worked to stop BDD. However, Cognitive Behavior Therapy (CBT) has been found to be more effective. In a study of 54 patients with BDD, some of them had Cognitive Behavior Therapy, and some had no treatment. BDD symptoms decreased a lot in those patients undergoing CBT. BDD was eliminated in 82% of cases at post treatment and 77% at follow-up. (8) Due to low levels of serotonin in the brain, another commonly used treatment is SSRI drugs (Selective Serotonin Reuptake Inhibitor). 74 subjects were enrolled in a placebo controlled study group to evaluate the efficiency of fluoxetine hydrochloride, a SSRI drug. Patients were randomized to receive 12-weeks of double-blind treatment with fluoxetine or the placebo. At the end of 12 weeks, 53% of patients responded to the fluoxetine.

Body Dysmorphic Disorder is a chronic disease that has symptoms that never subside. Instead, they get worse as time goes on. Without treatment, BDD could last a lifetime. In many cases, as illustrated in The Broken Mirror by Katharine Phillips, the social lives of many patients disintegrates because they are so preoccupied with their appearance.

Related pages
 Obsessive-compulsive disorder
 Gender identity disorder
 Bipolar disorder

References

Mental illnesses

Body dysmorphic disorder


For the NHL team, see Tampa Bay Lightning
For the World War II fighter, see P-38 Lightning

Lightning is a very powerful electrical discharge made during a thunderstorm. The electric current makes the air very hot.  The suddenly heated air expands very quickly, which causes thunder.  Sometimes lightning happens between clouds.  Sometimes (in the rain) lightning goes from cloud to ground. If it goes from cloud to ground, it can strike a person. Around 2000 people are struck by lightning each year. A few of them are not killed.
About 50 to 100 lightning bolts strike the Earth every second. Lightning has hit the Empire State Building as many as 500 times a year.

When lightning strikes, the surface rubs electrons from the lightning, and a spark of electricity shoots from the lightning to the surface. In a thunderstorm, the lower cloud has as many as 100 million volts of electricity. This electricity is given out either within the cloud, to the ground, to another cloud, or into the air. Lightning has been known to travel from the ground upwards to the cloud. In 1993, scientists discovered lightning bolts that shot upward from the top of a cumulonimbus cloud.

People can make and study lightning with a Tesla coil or a Van de Graaff Generator.

Franklin experiment
Benjamin Franklin experimented with electricity and was interested in lightning. He discovered many things about lightning. In 1772, he was the first to show that a thunderstorm lets out electricity. In his book he suggested an experiment to test it. Joseph Priestley said that Franklin flew a kite to prove the presence of electricity in the storm, using a dry silk string to protect himself from the electricity in the wet hemp kitestring.

Related pages
 Ball lightning
 Helicopter-triggered lightning strikes

References

Other websites

 Central Florida's "Lightning Stalker" photography
 How Lightning Works at HowStuffWorks
 Positive lightning photography from Florida
 http://science1.nasa.gov/science-news/science-at-nasa/1999/essd18jun99_1/

Weather
Electricity

Lightning


Socks are often worn on a person's feet. They absorb sweat and help to keep the foot dry. Socks also give comfort to people's feet and keep them warm in cold weather. They are usually made of cotton or wool. Some socks can cover only the foot and ankle, and others may be long enough to cover the entire lower leg up to the knee. Toe socks are socks that wrap each toe separate from the others. Socks can be worn on the feet. Socks come in an array of different colors. Generally, white socks are worn for everyday or athletic use, and dark socks (black, brown, gray, or navy blue) are worn with business or formal wears. Some dress socks have patterns on them; these are called "argyles".

Phone socks

People often refer to sleeves that cover phones as 'socks'. These come in many different forms, colourful or plain. They help to protect the mobile phone whilst also being a stylish addition. Not many people use phone socks anymore because they seem to be old and out of use however some people still prefer to use them

Other websites

Basic English 850 words
Footwear

Sock


Homologous chromosomes are the pairs of chromosomes in a diploid organism. They are the chromosomes which pair during meiosis.

With the exception of the sex chromosomes, each pair has the gene loci in the same positions on each chromosome, and the centromere in the same position. They are not genetically identical because they will usually have different alleles (versions of a gene) at some of the loci.

The most important fact is that homologous chromosomes physically pair for meiosis, the cell division which produces the gametes. During this pairing, crossing over takes place between chromatids of each pair. This exchange of alleles means the offspring are not identical to each other, or to either parent. In other words, the process increases the genetic variation in the population.

Sex chromosomes only pair along those parts where there is similar genetic material (loci) on both members of the pair.

References

Chromosomes

Homologous chromosome


Group 3E Series Production Cars is an Australian motor racing formula for production based cars competing with limited modifications. Group 3E cars formerly contested the Australian Manufacturers' Championship and Australian Production Car Championship titles and compete in the annual Bathurst 12 Hour and Bathurst 6 Hour endurance races.

History
Regulations for production car racing in Australia were first formalised in 1964 when the Confederation of Australian Motor Sport introduced the Group E Series Production Touring Cars category. This was abandoned at the end of 1972.

"Series Production" made a return to Australian motor racing in 1981 when a new set of Group E regulations was issues by CAMS. The new Series Production Cars were, like their predecessors, intended to be mass-produced vehicles made suitable for competition by minimal modifications. Eligible cars were limited to those with an engine capacity of less than 4500cc and only vehicles which CAMS specifically chose to include on a model eligibility list could compete. Classified drivers were banned and the category was intended to be a second level category with no championship, run only at restricted race meetings.

For 1984 CAMS announced a revision of the rules, with a wider range of models now eligible to race in Group E and freely available optional equipment (such as limited slip differentials) now permitted. The advent of the Bob Jane Super Series in 1984 saw the class take a major step forward. With prizemoney totalling $200,000 the Super Series was richest motor racing series in Australia at that time. Special dispensation was granted to enable classified drivers to compete and cars fitted with turbocharged engines were now permitted. 1987 saw the running of the inaugural Australian Production Car Championship, open to drivers of Group E Series Production cars and contested over two races at a single race meeting at Winton Raceway in Victoria.

In 1988 Group E was officially redesignated as Group 3E Series Production Cars. and in the same year the Australian Production Car Championship was expanded to a series format and attracted sponsorship from the Yokohama tyre company. For 1990 turbocharged cars were banned and Group 3E became a class for family orientated naturally aspirated sedans. 1994 saw CAMS limit the class to front wheel drive cars of under 2.5 litre engine capacity. The 2.5 litre cars would only contest one more Australian Production Car Championship as that title was replaced by the Australian GT Production Car Championship in 1996. The new title, which was contested under revised Group 3E regulations,
permitted a much larger variety of models to compete including GT type cars such as Porsche, Ferrari and Lotus.

The year 2000 saw the Australian GT Production Car Championship split into the Australian Nations Cup Championship (for GT type cars) and the Australian GT Production Car Championship (for other production based vehicles) with Group 3E regulations covering cars competing in both titles. The Australian Nations Cup Championship was moved away from Group 3E regulations for 2003 with a greater level of modifications permitted to the cars. The same applied to certain high performance models from the Australian GT Production Car Championship which would now contest the Australian GT Performance Car Championship. From this time Group 3E regulations applied only to the remaining cars which would contest the annual Australian Production Car Championship resurrecting the title which was last awarded in 1995.

The Bathurst 12 Hour endurance race was revived in 2007 as an annual event open to Group 3E cars. For 2008 the Australian Manufacturers' Championship title was reinstituted and contested concurrently with Australian Production Car Championship. This would mark the first time since 1972 that the Australian Manufacturers title had been open to Series Production vehicles. From 2011 onwards, the Bathurst 12 Hour became open to GT3 cars and the production element of the race decreased. To provide a new showpiece event for production racing at the circuit, in 2016 the Bathurst 6 Hour was launched for series production.

References

External links
 Group 3E Series Production Car Technical Regulations Retrieved from www.camsmanual.com.au on 22 August 2009
 Images of Group 3E Series Production Cars contesting the 2009 WPS Bathurst 12 Hour Retrieved from www.trentwallis.com on 9 April 2009

Motorsport categories in Australia

Group 3E Series Production Cars