Ambroise Louis Garneray  (19 February 1783 – 11 September 1857) was a French corsair, painter and writer. He served under Robert Surcouf and Jean-Marie Dutertre, and was held as prisoner-of-war by the British for eight years after being captured before being repatriated at the conclusion of the Napoleonic Wars, continuing his career as a painter until his death in 1857.

Biography

Early life
Garneray was born in Paris (on Rue Saint-Andre-des-arts, in the Latin Quarter) on 19 February 1783. He was the elder son of Jean-François Garneray (1755–1837), painter of the king, who was pupil of Jacques-Louis David. At thirteen, he joined the Navy as a seaman, encouraged by his cousin, Beaulieu-Leloup, commander of the frigate Forte ("the Stout one"). Garneray sailed from Rochefort to the Indian Ocean with the frigate division under Sercey, to which the Forte belonged.

Garneray took part in the various campaigns of Sercey division and witnessed the hardship it met in the battle against Arrogant and Victorious. He then served in 1798 on the corvette Brûle Gueule ("Mouth burner"), which patrolled with the frigate Preneuse ("the Taker"). Returning from this campaign, the Brûle Gueule and Preneuse were chased by a British squadron comprising two ships of the line, one frigate and one corvette; the French flew into a creek near Rivière Noire District whose shallow waters prevented the British from pursuing. The next day, the British squadron attacked; the French had established strong defensive positions by installing the unusable batteries of their ships ashore, and repelled the British squadron.

In 1799, Garneray was promoted to quartermaster and "first painter of the edge" on the  Preneuse  under captain Jean-Marthe-Adrien l'Hermite. The frigate was the last French official force in the Indian Ocean. This patrol went into trouble, in spite of an exceptional combat against the British ship of the line the Jupiter. Returning to Mauritius, her crew suffered from scurvy, and the Preneuse had to be kept quarantined and had to return to the British forces making the blockade of the island. Garneray escaped captivity by regaining the coast with the stroke. In spite of the disaster, Garneray kept longstanding admiration and friendship for Lhermitte, whom he would continue to visit until his death 1826.

 For lack of official ships, Garneray joined the Confiance ("the Trust") of Robert Surcouf as an ensign, from April at December 1800. He took part in the capturing and boarding the Kent in October 1800. It was the only time where Garneray made money as a sailor. Upon returning from patrol, he invested his share in a slave trading ship, l'Union, on which he was a first mate.

He sailed on various trading ships during the peace of Amiens, after which he served aboard the  Pinson  ("the Finch"), a cutter based in Île Bourbon. He replaced the commander when he died, and was shipwrecked shortly thereafter. He then served on the corsair Tigre du Bengale and eventually on the frigate Atalante attached to the squadron of Linois. He later served on the Belle Poule ("beautiful chick"), and was aboard when she was captured by the British in March 1806. Wounded, Garneray was transported to England and spent the eight following years in prison hulks off Portsmouth (on the Protée, the Couronne ("Crown") Vengeance and Assistance. He was able to improve his standard of living by selling paintings to a British merchant.

A statement attributed to him goes: "But for piracy, I believe that I practiced about all kinds of navigation".

Life as a painter

Released on 18 May 1814, Garneray did not find employment in the commercial navy and remained in Paris where he devoted himself to painting. Probably thanks to one of his brothers, himself painter and engraver and who knew people in the entourage of  Napoleon, he received his first official order: the meeting of l'Inconstant and the Zéphir, as an anecdote of the return from Elba. The work was carried out only  in 1834 as, because of the political climate of the Bourbon Restoration, he felt it more convenient to paint the Descent of the French emigrants at Quiberon, which was exhibited at the Salon de Paris in 1815. Garneray attended the salon every year from then.

Garneray came to be employed by the duke of Angoulême, then Grand Admiral of France, and became his appointed painter in 1817. He was in fact the first Peintre de la Marine ("official painter of the Navy"). Between 1821 and 1830, he went in many harbours of France where he made numerous sketches which were used as a basis for engravings or fabrics.

In 1833, he was made director of the museum of Rouen. He later joined the Manufacture nationale de Sèvres. In the 1830s he developed a new genre of painting, the aquatint, and also developed a major career of engraving. In the 1840s, his fame seems to have dimmed; he lost most of his political supporters and fell into poverty. By the time of Napoleon III, he took part in the failed coup d'état of Strasbourg. He experienced a short return of glory towards the beginning of the Second French Empire, as he was awarded the Legion of honour in 1852 by vice admiral Bergeret and the Emperor himself.

Developing a tremor which prevented him from writing and which complicated his work as a painter, he died in Paris in 1857, a few months only before his wife was mysteriously assassinated. Garneray was buried at the Montmartre cemetery: A close friend of his had the tombstone decorated with a painter's palette, a ship mast and the Legion of Honour.

Paintings
The pictorial work of Garneray comprises 141 oil paintings, 176 engravings and 22 watercolour paintings. Part of his work was inspired by his adventurous life, such as the capture of Kent by Surcouf; others were made as peintre officiel de la Marine, in continuation of the works of Claude Joseph Vernet and Nicolas Ozanne. Most notably, he realised  64 sights of French harbours and 40 sights of foreign harbours (engravings), following the journeys he accomplished in the 1820s. Some of the paintings were given to the Paris Chamber of Commerce by the industrialist Meunier.

His two brothers Hippolyte and Auguste, like his sister Pauline, also practised painting to a lesser extent. That explains the variations of signatures (sometimes Garneray, sometimes Garnerey), which were to distinguish the painters of the family.

In literature
Garneray's depictions were mentioned in Herman Melville's novel Moby-Dick:

{{cquote|But, taken for all in all, by far the finest, though in some details not the most correct, presentations of whales and whaling scenes to be anywhere found, are two large French engravings, well executed, and taken from paintings by one Garnery [sic]. Respectively, they represent attacks on the Sperm and Right Whale... }}

 Literary works by Garneray
Garneray wrote epic depictions of his adventures, becoming one of the precursors of the maritime novel of adventure.

During his stay in Rouen, he published articles about his sailing and captivity days. He offered these texts to the Ministry of Education in 1847 "for edification of the youth", which politely rebuffed him. His posthumous celebrity stems from the fad of more or less apocryphal memoirs of combatants of Revolution and of Empire which became popular in the 1860s. Garneray's memoirs were published in three volumes as Voyages, Aventures et Combats,Mes Pontons, and Scenes Maritimes. They were probably partly rewritten by professional writers, notably Édouard Corbière, introducing spectacular but irrealistic elements:
 Lhermitte being poisoned in Mauritius, a thesis often repeated in biographies of Lhermitte; in fact, from 1798 until his death, he suffered from a tropical disease, probably an acute form of Malaria.
 the obfuscated story of Kernau's death
 Garneray being personally involved in incidents which he probably described without being an actor, like the shipwreck of the AmphitriteRichard Rose's detailed analysis of the materials used in the writing of Mes Pontons (The Floating Prison 2003, 2012) shows the general unreliability of Garneray as a writer of verifiable history. Hence, his memoirs are not now considered to be a serious historical source. However, Sentant fort le goudron and Mes Pontons do constitute testimonies of everyday life in the navy of the time.

Various versions were published as
  Corsaire de la République , Voyages, adventures and combat, Paris, Éditions Phébus, 1984; Rééd. Payot, 1991
  Le Négrier de Zanzibar , Voyages, adventures and combat, Paris, Phébus, 1985; Rééd. Payot, 1992
  Un Corsaire au bagne. Mes pontons , Paris, Phébus, 1985; Rééd. Payot, 1992
  Un Corsaire de quinze ans ,
  Un Marin de Surcouf   Les Naufragés du Saint Antoine  The Floating Prison (translated by Richard Rose) Conway Maritime Press, 2003.
 The Floating Prison (revised e-book version, translated by Richard Rose) Otterquill Books, 2012.

 References

 Laurent Manoeuvre, Louis Garneray, peintre, écrivain, aventurier '', Anthèse editions, 1997

1783 births
1857 deaths
19th-century French painters
19th-century French writers
19th-century sailors
French male painters
19th-century French male writers
French marine artists
French prisoners of war in the Napoleonic Wars
Napoleonic Wars prisoners of war held by the United Kingdom
French privateers
Burials at Montmartre Cemetery
19th-century French memoirists

Ambroise Louis Garneray


Claude of France (October 14, 1499 – July 20, 1524) was the daughter of Louis XII of France and Anne of Brittany. Claude had no brothers, but was not allowed to be the Queen of France in her own right after her father died because of the Salic Law. Instead she became the Queen consort of France by marrying the next King of France, Francis I of France.

Henry II of France was Claude's son.

After she got married Claude spent the rest of her life having babies. She died when she was only 24.

1499 births
1524 deaths

Kings and Queens consort of France
Dukes and Duchesses of Brittany

Claude of France


is a popular hero from Japanese folklore. His name literally means Peach Tarō. Because Tarō is a common Japanese boy's name, it is usually translated as Peach Boy. Momotarō is also the name of several books, films, and other works that tell the tale of this hero.

The most common version of this tale (from the Edo Period), tells Momotarō came to earth inside a giant peach. The peach was found floating down a river by an old woman without children who was washing clothes there. The woman and her husband found the child when they tried to open the peach to eat it. The child explained that he had been sent by Heaven to be their son. The couple called him Momotarō, from momo (peach) and tarō (oldest son in the family).

An older version of the story tells the old woman discover the giant, floating peach and take it home with her, as she finds it to be of good color and looking tasty. After eating a piece of the peach, the old woman is rejuvenated and becomes young and beautiful again. When her old husband comes home from the hills, he is surprised to find a lovely young lady in his house. At first he does not even recognize his own wife in her new form, but she explains what happened to him. She then gives her husband a piece of the peach to eat, and he also becomes young again. That night, the couple makes love, and the woman becomes pregnant as a result. She later gives birth to their first child, a son, whom they name Tarō, as that is a common Japanese name for a first son. This version of the story is the oldest one that is written in old texts, but it appears to have been changed with the version without sex in school textbooks of the Meiji period. The peach is often seen as a symbol of sex or fertility in Japan, because its fruit is believed to be similar to a woman's buttocks.

Years later, Momotarō left his parents for an island called Onigashima to destroy the evil oni (demons or ogres) that lived there. On his way, Momotarō met and became friends with a talking dog, monkey, and pheasant, who agreed to help him in his mission. At the island, Momotarō and his animal friends entered the demons' fort and beat the demons' leader, Ura, and his army. Momotarō returned home with his new friends, and his family lived happily from then on.

Related pages

 Japanese Folklore
 Urashima Tarō
 Kintaro

Japanese mythology
Japanese folklore
Fairy tales

Momotarō


The A426 road is a road in England which runs from the city of Leicester to the market town of Southam in Warwickshire via the towns of Lutterworth and Rugby.

History

Until the M1 motorway was completed in the 1960s this route formed the main route between Rugby and Leicester, now much quieter as all but local traffic uses the motorway. However, the local traffic has increased as Magna Park, a prominent East Midlands warehouse facility, has developed close to Lutterworth. Broughton Astley, a couple of miles north-west of Dunton Bassett and other local villages can often become congested with goods vehicles en route between Magna Park, the M1 motorway and the M6 Motorway. At rush hours the road can become gridlocked and reduced to less than 40 mph, particularly as agricultural traffic frequently uses the stretch. For this reason, journeys between Blaby and Rugby during rush hour can take much longer than anticipated.

The A426 crosses the route of the former A45 in Dunchurch, this would have formed one of the main routes between the Midlands and South East. Dunchurch is now bypassed to the South by the M45 motorway, and the A426 no longer meets the A45

Route

The A426 starts on the Leicester Inner Ring Road, heading South through the suburbs of the city, crossing the Outer Ring Road and bypassing the village of Blaby. It crosses over the M1 which it runs parallel to for the next  or so. The road becomes rural in nature until entering the small town of Lutterworth and crossing the A4303 Southern Bypass. A further  south and it crosses the A5 Watling Street at a roundabout and eventually the M6 junction 1. It starts a descent into Rugby as a dual carriageway with 5 local access roundabouts. Approaching the Town Centre the road becomes single carriageway again and crosses under the West Coast Main Line. It passes the main Town Centre to the West and heads Southwards out of the town towards Dunchurch after which it passes over the M45 and once again becomes a rural road for its final length to terminate on the A423 Southam bypass.

Former routes
The A426, compared to other routes is a relatively untouched road, with only a single bypass:
 The road used to travel through the village of Blaby, now bypassed

Bus corridor
A controversial decision to allow a bus corridor to be constructed on the A426 from Blaby into Leicester was given the go ahead despite heavy local opposition.

References

Roads in England
Transport in Leicestershire
Transport in Leicester
Roads in Warwickshire

A426 road


ASIMO is a robot that was built by Honda on 2000. The current models could walk, run, and go up and down stairs. Engineers planned to add laser capabilities. Its height was 130 centimeters (4 feet 3 inches) and weight 54 kilograms (119 pounds). ASIMO was just like an astronaut wearing a backpack and could walk or run on two feet.

Development
ASIMO was created at Honda's Research & Development Wako Fundamental Technical Research Center in Japan. Honda will not confirm how much it costs.

Name
ASIMO is an acronym.  ASIMO stands for "Advanced Step in Innovative MObility". It should be pronounced "ah she moh" to match the original Japanese pronunciation.

As of February 2009, there are over 100 ASIMO units in existence.

Public appearances

ASIMO has made lots of public appearances.

Robots

Asimo


National Gallery of Armenia at Yerevan, Armenia.

The old Armenian subdivision owns works of famous Armenian artists of early medieval and succeeding periods.

Today its collection is over 19,000 specimens shown in the Russian, Armenian and West-European divisions of paintings, sculptures, graphic and applied arts.

The National Art Gallery of Armenia has a lot of branches in Yerevan and other towns of the republic. The memorial-houses of the artist Hakop Kojoyan and the sculptor Ara Sarkissian are in the capital. They exhibit the best works of the two far-famed men of arts.

National Gallery of Armenia is one of the biggest museums of the Republic. NGA was founded in 1921 as an art section of the State museum. The foundation of the section has been consisted of dozens of works purchased from Armenian painters' exhibition organized in August 1921. A decisive factor in the formation of the art section was the assignation of the rich collection of The Armenian Palace of Culture / The former  Lazarian Gymnasium/ and the donations of Armenian artists to it. Already in 1925 there were exposed about 400 works of Armenian, Russian and European masters in the six halls of the art section.

In 1935 the art section was changed into Art Museum, in 1947 it was called State Museum of Armenia and from 1991 it was renamed as National Gallery of Armenia. In 1978 a new 8 storey building was put into exploitation. Now the collection of the NGA includes about 26.000 museum exhibits and the building has 56 exposition halls in which there are presented the museums treasures by temporary and permanent exhibitions.
Armenian art presents the considerable part of the exposition. It begins with ancient and Medieval Art: Urartu frescoes, with valuable documental copies of Garni temple's mosaics and Medieval wall-paintings and miniatures, also Clerical paintings of XVII-XIX centuries, silver book-covers of manuscripts, crosses, etc.
The exposition is continued by the works of Armenian classics /H.Hovnatanian, H.Ayvazovski, G.Bashinjaghian, P.Terlemezian, V.Sureniants, V.Mahokian / by works of XX century artists /M.Saryan, H.Kojoyan, H.Gurdjian, E.Chahin, G.Khanjian, M.Avetisian and by works of other remarkable artists /.
Russian art is representative in the collection of NGA. Here you can see sacred images of XVI-XVII centuries and works of XVIII-XX centuries well known artists F. Rokotov, I.Argunov, F.Shubin, I.Repin,V.Serov,M.Goncharova,I.Mashkov,S.Konenkov,W.Kandinski,M.Chagal, etc.
In the halls of foreign art the exposition begins with the culture of Ancient World Egypt and Greece. Here there are presented works by well-known artists of Italian, Holland, Flemish and French art schools /F. Guerchino, Jan Van Goyen, P. Claesz, E. M. Falconet, J. B.Greuze, T.Rousseau, A. Monticelli/.

The Oriental art is presented by highly artistic samples of Iranian, Chinese and Japanese decorative and applied art/ ornamented porcelain and faience service-set, objects made of stone, bone, metal and carved furniture/ by valuable Indian medieval fresco copies done after Armenian artist S. Khatchatrian  and by  Iranian paintings of XIX century.

In 2008 there was opened pavilion of Hakob Gurjian's works, also reopened and enlarged the permanent exposition of XVII-XIX centuries Armenian Clerical art.
The restoration and conservation studios operate in the gallery. There is a library, an archive, cafeteria, souvenir and book store, also operates film and lecturing hall.
The National Gallery of Armenia participates to international exhibitions with separate art works from his collection, organizes exhibitions of Armenian art in different countries greatly facilitating the recognition of national art.
The National Gallery has branch museums in Yerevan/ H.Kojoyan and A.Sargsian home-museum, Jotto /G. Grigorian studio/,in Echmiadzin/The Echmiadzin gallery,Mher Abeghian museum/in Hrazdan/Hrazdan gallery/,in Jermuk/The Jermuk gallery/,in Sisian/The Sisian gallery/, in Alaverdi/The Alaverdi gallery/in Eghegnadzor /The Eghjegnadzor gallery/, in Gavar/the Academician H.Buniatian Gavar gallery/, in Martuni/the Martuni gallery/and in Jajur the M. Avetissian museum/.
In different years the gallery directed R. Drambian /1925-1951/, R.Parsamian /1952-1962/, A.Chilingarian/1962-1967/, E.Isabekian/ 1967-1986/, A.TerGabrielian/ 1986-1990/, Sh.Khatchatrian/ 1991-2002/ and P.Mirzoyan/2002/ noted artists who has great contribution to the enlargement of the collection in the field of popularization and scientific research.

Armenian culture
Yerevan
Organizations based in Armenia

National Gallery of Armenia


Thundersnow, also known as a winter thunderstorm, a snow thunderstorm or a thundersnowstorm, is a thunderstorm with snow instead of rain.  This rare kind of weather is less rare around the Midwestern United States, the Great Lakes and Rocky Mountains, the Sea of Japan, and Mount Everest.  Thundersnow mostly happens in March.

How it is made
A thunderstorm at the front of a wave of cold air or warm air (cold front or warm front)
The edge of a big ocean storm (or cyclone) where lower warm and higher cold air mix.
Thunderstorms going over a warm lake while the air is cold (or lake-effect).

Thunder can be heard many miles away, but thundersnow thunder can only be heard a few miles away. The snow stops sounds of thunder more than rain does.

Severe weather

Thundersnow


Anatoly Sergeyevich Kulikov (, born September 4, 1946, in Aigursky, Stavropol Krai, Russian SFSR) is a Russian General of the Army, former Interior Minister of Russia (1995–1998).

In 1992 Kulikov became Commander of the Interior Troops. Hence he was one of the commanders of pro-government forces during the 1993 Constitutional Crisis in Moscow and the First Chechen War. In early 1995 Kulikov was appointed commander of the Joint Group of Federal Forces in Chechnya and he commanded the Russian forces during the infamous Samashki massacre.

On July 6, 1995, after the Budyonnovsk hostage crisis, he succeeded Viktor Yerin as Interior Minister of Russia. In August 1996 Alexander Lebed, who had just been appointed Secretary of the Security Council of Russia, blamed Kulikov for the disastrous Battle of Grozny and requested that President Boris Yeltsin sack him. However, Yeltsin declined his request and in October fired Lebed from his position.

In 1997, Kulikov linked both the Cherney brothers and Reuben brothers to the Izmaylovskaya mafia which was led by Anton Malevsky in Israel, but, in March 1998, Boris Yeltsin removed Kulikov from his post along with the entire second cabinet of Viktor Chernomyrdin.

While most of the ministers of the old cabinet were reappointed to Sergei Kiriyenko's Cabinet, Kulikov wasn't and Sergei Stepashin became the next interior minister. Afterwards, Kulikov was elected to the State Duma twice, in the 1999 election and 2003 election, and was a member of the pro-government United Russia faction.

Honours and awards
 Order of Merit for the Fatherland, 3rd class (3 September 1996) - for services to the state, his great personal contribution to strengthening the rule of law and many years of honest service in the internal affairs
 Order of Honour (16 April 2004) - for active participation in legislative activities and many years of honest work
 Order for Personal Courage
 Jubilee Medal "In Commemoration of the 100th Anniversary since the Birth of Vladimir Il'ich Lenin"
 Order for Service to the Homeland in the Armed Forces of the USSR 3rd class
 Medal "For Distinction in the Protection of Public Order"
 Jubilee Medal "Twenty Years of Victory in the Great Patriotic War 1941-1945"
 Jubilee Medal "Thirty Years of Victory in the Great Patriotic War 1941-1945"
 Jubilee Medal "300 Years of the Russian Navy"
 Medal "In Commemoration of the 850th Anniversary of Moscow"
 Medal "Veteran of the Armed Forces of the USSR"
 Jubilee Medal "50 Years of the Armed Forces of the USSR"
 Jubilee Medal "60 Years of the Armed Forces of the USSR"
 Jubilee Medal "70 Years of the Armed Forces of the USSR"
 Medal "For Impeccable Service" 1st, 2nd and 3rd classes
 Medal "Anatoly Koni" (Min Justice)
 Medal "For Services to the Stavropol Territory" (Stavropol Territory, September 2006)

References

External links
Timothy L. Thomas. Anatoliy Sergeevich Kulikov: Policeman, Power Minister, Deputy Prime Minister...Politician? Low Intensity Conflict & Law Enforcement Vol. 7, No. 1 (Summer 1998), pp. 149–178.
 Biography as of 1997 in Russian

1946 births
Deputy heads of government of the Russian Federation
Generals of the army (Russia)
Interior ministers of Russia
Living people
People from Apanasenkovsky District
People of the Chechen wars
Recipients of the Order "For Merit to the Fatherland", 3rd class
Recipients of the Order of Honour (Russia)
Recipients of the Order "For Personal Courage"
Frunze Military Academy alumni
Military Academy of the General Staff of the Armed Forces of the Soviet Union alumni
Third convocation members of the State Duma (Russian Federation)
Fourth convocation members of the State Duma (Russian Federation)

Anatoly Kulikov


Albert Arlen AM (10 January 190524 March 1993) was a Turkish Australian pianist, composer, actor and playwright.  He is best known for his musical The Sentimental Bloke (to the poetry of C. J. Dennis), the "Alamein Concerto", and his setting of Banjo Paterson's Clancy of the Overflow.

Biography
Albert Aarons was born in Sydney in 1905 to Turkish immigrants. He was educated at Cleveland Street Public School and Crown Street High School. He studied at the New South Wales State Conservatorium (graduated in 1924) and the École Normale de Musique de Paris. He then worked in London where he played various roles in West End repertory productions, as well as writing his own musical compositions and plays such as The Son of the Grand Eunuch (January 1937). He was known professionally as Albert Arlen and legally changed his name in 1948.

In 1939, he joined the Royal Air Force as a pilot's assistant, serving in the Middle and Far East. These experiences inspired a concerto for piano and orchestra, which he called the "Alamein Concerto". This was first performed in Cairo in 1944, with pianist Phil Finch and conductor Hugo Rignold. It was recorded by Monia Liter with the Mantovani Orchestra. Pathé used the music in their documentary on the anniversary of the Battle of El Alamein. After the war Arlen was sent to Singapore, and wrote musical revues which were seen in Singapore, Hong Kong, Malaya and Ceylon.

Albert Arlen married actress, singer and playwright Nancy Brown in 1949.  Nancy was born in Brisbane in 1909 and moved to England at the age of 14, after her parents' divorce. She appeared in such musicals as Old Chelsea with Richard Tauber.

The Sentimental Bloke
Albert and Nancy returned to Australia, living in Canberra. Together, they started writing The Sentimental Bloke around 1950, to C. J. Dennis's The Songs of a Sentimental Bloke. Initially they sought the involvement of George Johnston, who showed little interest. Later, the actor Lloyd Thomson was brought on board as writer. Albert and Nancy went to England in 1955 to promote the show. This was unsuccessful so they returned to Australia, borrowed some money, put together an amateur cast, and staged the show themselves in March 1961 in the Albert Hall in Canberra. (A ballet with the same name, choreographed by Lauren Martyn with music by John Tallis had premiered in Melbourne in 1952. This was withdrawn shortly after its premiere since Albert Arlen owned the rights to stage representations of Dennis's works.) The show had a one-week run in Canberra, which was so popular that extra seating in the aisles had to be arranged. J. C. Williamson's directors Sir Frank Tait and John McCallum attended the final performance and decided to sponsor it for a further six-week season at the Comedy Theatre in Melbourne (from 4 November 1961), directed by John Young. This was later extended to five months. The roles of The Bloke, Doreen and Rose of Spadger's Lane were played by Edwin Ride, Patsy Hemingway and Gloria Dawn respectively. It eventually ran for over a year in Adelaide, Brisbane, Sydney and New Zealand. The show was turned into another ballet, with Arlen's music freely arranged by John Lanchbery and choreography by Robert Ray, which the Australian Ballet staged in 1985 in Australia, and presented on their tour of the Soviet Union.

The Girl from the Snowy (Riverside Theatre, Canberra, 17 March 1960) and Marriages Are Made in Heaven, two other musicals, failed to have the success of The Sentimental Bloke.  Arlen also wrote some songs and piano pieces.

The songs Clancy of the Overflow and The Rivetter were recorded by Peter Dawson, the former in a best-selling recording made on 4 May 1955, accompanied by the London Symphony Orchestra conducted by Charles Mackerras.

In 1991 Nancy Brown Arlen published her autobiography "The Black Sheep of the Brown family: A Magic Life!".

Albert Arlen died on the Sunshine Coast, Queensland, in 1993.

Honours and awards
For his "service to music and the performing arts," Albert Arlen was appointed a Member of the Order of Australia in January 1990.

List of works
"Alamein Concerto" (piano and orchestra, 1944)
"Ballad for Australians" (words Arlen and John Barnes)
"The Austr-laise (fellers of Australia)" (vocal march for military band, c. 1961)
"Bring back the Simple Faith" (song; lyrics by Harold Simpson, 1937)
"A Celtic Romance" (c. 1965)
"Clancy of the Overflow" (1948)
"Elise-oh! Go-go! (with apologies to Beethoven)" (c. 1966)
"The Girl from the Snowy" (musical; lyrics by Arlen; c. 1960)
"Go to sleep, little baby" (waltz lullaby, words John Wheeler, c. 1948)
"God remembers every-thing" (words Kathleen Egan; c. 1935)
"I heard a blackbird in a tree" (words Bruce Sievier; 1935)
"Many things I have loved" (words Arlen; c. 1965)
"Marriages are Made in Heaven" (musical)
"My life is a love song" (words Bruce Sievier; 1936)
"Night club: an atmospheric impression" (piano; c. 1946)
"The Pagoda of Jade" suite (orchestrated by Denis Wright)
"Requiem for a Siamese Cat: inspired by the poem of the same name" (piano; 1965)
"The Rivetter" (song; baritone and orchestra; words Bruce Sievier; c. 1937)
The Sentimental Bloke (based on the poems of C. J. Dennis; book by Nancy Brown and Lloyd Thomson; lyrics by Nancy Brown, Albert Arlen, Lloyd Thomson and C.J. Dennis; music by Albert Arlen. 1961)
"Song of Canberra"
"The Song of England" (soprano, chorus and orchestra)
"Spinnakers: a sketch of Sydney Harbour" (piano; 1970)
"Suzette, my dolly, and me" (words Harry Hemsley; c. 1938)
"Your Voice"

See also
The Sentimental Bloke – the 1919 silent film, based on the same poem

References

Sources
Music Australia

1905 births
1993 deaths
Australian people of Turkish descent
Australian male classical composers
Sydney Conservatorium of Music alumni
Male actors from Sydney
Members of the Order of Australia
20th-century classical composers
20th-century Australian male actors
Australian classical composers
20th-century Australian musicians
Australian musical theatre composers
20th-century Australian male musicians

Albert Arlen


JYJ (formerly known as Junsu/Jejung/Yuchun in Japan) is a boy group made up of three members who are formed by the former members of South Korean group TVXQ, in 2010. JYJ members are Jaejoong, Yuchun, and Junsu. Their group name is taken from the first letter of each member's name.

The group has released two studio albums so far.

History

2009: Before debut as JYJ, lawsuit against SM entertainment
On July 31, 2009, the three TVXQ members who became JYJ, filed a lawsuit against SM entertainment. They argued that the their contracts' period was too long for 13-year length excluding the military service and that the profit distribution was disadvantageous towards the artists. So they maintained their contracts should be invalidated. In addition, the former three TVXQ members applied for an injunction that was the same as the lawsuit to engage their entertainment activities. The Seoul Central District Court in October 2009 ruled in favor of JYJ affirming their right to independently engage in entertainment activities and granted JYJ's injunction suspending the JYJSM entertainment contract.

The three members of JYJ continued their activities as TVXQ in Japanin the end of 2009 for over half a year after the filing of the injunction until their Japanese agency, Avex, announced a group hiatus in early 2010.

2010: Debut as JYJ, Japan tour and The Beginning
JYJ members who were known as Junsu/Jejung/Yuchun in Japan continued their entertainment activities for over half a year after the filing of the injunction until their Japanese agency, Avex, announced a group hiatus in 2010. At Japan, JYJ performed the live concerts, Thanksgiving live in Dome concerts in June. They also had performances at the nationwide a-nation tour throughout August. JYJ's debut album, The..., was released in September 2010, and debuted at number one on Oricon albums charts in the first week.

JYJ members made a contract with C-Jes Entertainment in Korea.

In September 2010, Avex Entertainment announced plans to suspend all of JYJ's Japanese activities claiming this stemmed from issues the label had with the president of JYJ's Korean management, C-JeS Entertainment.

JYJ released their worldwide debut album, The beginning, on October 12 with "Ayyy Girl" as a lead track.

JYJ promoted their new album, The beginning, through the worldwide showcase tour in South Korea, Southes Asia, and the United States.
On November 27 and 28, they performed JYJ Worldwide Concert in Seoul, two-day concerts that were held at Seoul's Jamsil Olympic Stadium.

2011: In Heaven and The first Worldwide Tour
JYJ released their Korean EP, Their Rooms "Our Story" on January 25, 2011 in the format of a "music essay".

On 17 February 2011, the Seoul Central District Court dismissed SM Entertainment's injunction against the three members, filed in April 2010 for damage compensation.

In the spring of 2011, JYJ performed their first Worldwide concert Tours that were held in Thailand, Taiwan, China, Canada, and the United States. They finished their fist Worldwide concert tours with performing two special encore concerts in South Korea on June.
In September, JYJ released their first Korean studio album entitled In Heaven.
JYJ extended their World Tour by adding performance dates in Barcelona, Spain on October 29 and in Berlin, Germany on November 6.

2012-present: Fan event and The end of lawsuit against SM entertainment
In January 2012, C-JeS announced two more concert dates, with Santiago, Chile being March 9 and Lima, Peru March 11. JYJ's first Worldwide concer tour came to the end in South America.
On February 23, JYJ released a 90-minute film titled The Day. It is a documentary film featuring their daily lives and dreams and a kind of fan events.
Starting on June 28, JYJ held the first and the largest-scale international fan fair for free in South Korea. This event was the big event expressing JYJ's thanks for fans and was opened for 4 days—from June 28 to July 1—at SETEC (Seoul Trade Exhibition & Conventions) at Hak Yeo Ul station. This membership week included photographic and video-based exhibitions of the band, as well as two sets of fan meetings. Because of great fan's cheering, JYJ's representative C-JeS Entertainment announced that this Membership Week event will be held annually.

On 28 November 2012, during a voluntary arbitration at the Seoul Central District Court, SM Entertainment and JYJ have reached a mutual agreement to terminate all contracts between the two parties and not to interfere with each other's activities in the future. At last, concluding the three years and four months, exclusive contract lawsuit came to the end.

Members of the group

Discography

Studio albums
The beginning (2010)
In heaven (2011)
Just Us (2014)

Live album
Thanksgiving Live in Dome (2011)

Extended Plays
The... (2010)
Their rooms "Our Story" (2011)

DVDs
concerts
Thanksgiving Live in Dome  (2010)
JYJ Worldwide Concert in Seoul (2011)

Documentaries
3hree Voices (2010)
3hree Voices II (2011)
Come On Over (2011)

Other websites

South Korean musical groups
2010 establishments in South Korea
Musical groups established in 2010

JYJ


Persepolis is an autobiographical series of  (French comics) by Marjane Satrapi that depict her childhood up to her early adult years in Iran and Austria during and after the Islamic Revolution. The title Persepolis is a reference to the ancient capital of the Persian Empire. Originally published in French, the graphic memoir has been translated to many other languages, including English, Spanish, Catalan, Romanian, Portuguese, Italian, Greek, Swedish, Finnish, Georgian, Kazakh, Dutch, and Chinese. , it has sold more than 2 million copies worldwide. Persepolis was written in 2000 and Persepolis 2 was written in 2004.

French comics publisher L'Association published the original work in four volumes between 2000 and 2003. Pantheon Books (North America) and Jonathan Cape (United Kingdom) published the English translations in two volumes – one in 2003 and the other in 2004. Omnibus editions in French and English followed in 2007, coinciding with the theatrical release of the film adaptation.

Due to its graphic language and images, there is controversy surrounding the use of Persepolis in classrooms in the United States. Persepolis was featured on the American Library Association's list of Top Ten Most Challenged Books in 2014.

Plot summary

Persepolis 1: The Story of a Childhood
Persepolis 1 begins by introducing Marjane, the ten-year-old protagonist. Set in 1980, the novel focuses on her experiences of growing up during the Islamic Revolution in Iran. Her story details the impact of war and religious extremism on Iranians, especially women. Belonging to an upper-middle-class family, Marji has access to various educational materials, such as books and a radio, which expose her to Western political thought at a very young age. By discovering the ideas of numerous philosophers, Marji reflects on her class privilege and is eager to learn about her family's political background. This inquiry inspired her to participate in popular demonstrations against the Shah's regime, in which people asked for his exile to safeguard their rights. Unfortunately, after the Shah's departure, Marji notices the rise of religious extremism in her society and is unhappy about it. Her uncle Anoosh's visit deepens her interest in politics when he tells her stories of being imprisoned as a communist revolutionary. His stories cause her to value ideas of equality and resistance. The new government then began to reform Iranian society, especially by having women cover themselves publicly and restricting social freedoms. Marji's family begins to fear for their lives since many of their friends and thousands of Iranians have fled the new regime to Europe or the USA, but they resolve to stay. Anoosh is arrested again and accused of being a spy. He is executed for his political beliefs. Marji is upset that God did nothing to help her uncle and rejects her faith.

After an abrupt family vacation to Europe, Marji returns to Iran, where she learns from her grandmother that the government has declared war against Iraq. As her hometown of Tehran comes under attack, she finds safety in her basement, which doubles as a bomb shelter. One night, the family hears the Iranian National Anthem play on the TV, moving them to tears. It is later revealed that the government released the soldiers and air pilots from prison who were in jail for protesting. The soldiers agreed to fight on the condition that the country's National Anthem be played on public broadcasting. Amidst the chaos of an ongoing war, her family secretly revolts against the new regime by having parties and consuming alcohol, which is prohibited in the country. Two years of war force Marji to explore her rebellious side by skipping classes, obsessing over boys, and visiting the black market that has grown due to the shortages caused by war and repression.

As the war intensifies, Marji rushes home one day to find that a long-range ballistic missile has hit her street. Her family escaped the missile as it hit the neighboring building, which housed their neighbors of Iran's minor population of Jews, the Baba Levys. She is traumatized by seeing her friend's dead body and expresses her anger against the Iranian political system. Her family begins to worry about her safety and decides to send her off to Austria for further study and to escape the war. The novel ends with her departure to Europe and the final sight of her mother fainting in her father's hands, unable to bear letting go of Marjane.

Persepolis 2: The Story of a Return
The second part of the series takes place in Vienna, where Marji starts her new life, whilst a student at the Lycée Français de Vienne, at a boarding house because her mother's friend has no room for her at her own apartment. Since she cannot speak German upon arrival, Marji finds it hard to communicate, but eventually overcomes it and makes friends. She assimilates into the culture by celebrating Christmas and going to Mass with her roommate. Away from home, Marji's Iranian identity deepens, and she is expelled from the boarding house after a verbal altercation with a nun who makes xenophobic comments against Marji.

Marji starts living with her friend Julie and her mother. Here, she experiences more culture shock when Julie talks about her sexual endeavors, as such topics are prohibited in Iran. Soon she undergoes a physical and ideological transformation by using drugs and changing her appearance while continuing to move house. Marji finally settles on a room with Frau Dr. Heller, but their relationship is unstable. Issues also arise in many of Marji's relationships, in which she finds comfort in drugs. She forms a relationship with Markus, but breaks up with him when she discovers that he has been cheating on her. Marji leaves Frau Dr. Heller's house after she accuses Marji of stealing her brooch. She spends the day on a park bench and ends up living on the streets for two months. When she catches bronchitis, she almost dies, but is found and taken to a hospital. Marji reaches out to her parents who arrange for her to move back and thus, after living in Vienna for four years, she returns to Tehran.

At the airport, she recognizes how different Iran is from Austria. Donning her veil once more to go out, she takes in the 65-foot murals of martyrs, rebel slogans, and the streets renamed after the dead. At home, her father tells her the horrors of the war, and they talk deep into the night about what she had missed. After hearing what her parents had gone through while she was away in Vienna, she resolves never to tell them of her time there. However, her trauma from Austria makes her fall into depression, forcing her to attempt suicide twice. When she survives, she takes it as a sign to live and starts her process of recovery by looking after her health and taking up a job. She also begins art classes at the local university. However, due to the restrictions of showing female nudity, Marji and her friends attend secret sessions and parties, away from the prying eyes of the religious police.

Following her return to Iran, Marji meets Reza, also a painter, and they soon begin to date, but this proves to be frowned upon by the religious police. They are caught holding hands and their families are forced to pay a fine to avoid their lashings. In 1991, Reza proposes marriage to Marji, and after some contemplation, she accepts. Her mother, Taji, warns her that she has gotten married too young, and Marji soon realizes that she feels trapped in the role of wife. Marji attends a party, but someone warns them about the religious police. They quickly discard the alcohol and the women cover themselves as the police enter the building. The men make their escape by jumping from the rooftop, but Marji's friend Nima hesitates and falls to his death. Later on in 1994, her marriage has deteriorated and Marji confides in her friend, Farnaz, that she no longer loves Reza and wants a divorce. Farnaz advises her to stay with her husband because divorced women are social outcasts, but her grandmother urges her to get a divorce. After much contemplation, Marji decides to separate from a reluctant Reza. She goes to her parents and tells them about her and Reza's divorce, and they comment on how proud they are of her and suggest that she should leave Iran permanently and live a better life back in Europe.

In late 1994 before her departure for Europe, Marji visits the countryside outside Tehran. She also visits the Caspian Sea, the grave of her grandfather, and the prison building where her uncle Anoosh is buried. In the autumn, Marji along with her parents and grandmother go to Mehrabad Airport for their final goodbye as she heads off to live in Paris. Marji then reveals that her grandmother died in 1996. The book ends with the message: "Freedom has a price."

Character list
Persepolis: The Story of A Childhood
Marjane (main character): nicknamed Marji, Marjane's life is depicted beginning with her early childhood. Growing up in Iran during the Iran-Iraq war, Marjane grows up in a family who is involved in the political unrest of Iran. This influences her world-view of oppression and its consequent rebellion. Eventually, her family sends her to Vienna in hopes of escaping the unrest of her home. Throughout her journey, she grows and matures while maintaining her rebellious nature, which sometimes gets her into trouble. Her family decides that she should leave Iran permanently, and she settles in Paris at the end of her story.
 Mrs. Satrapi (Marjane's mother): Taji is a passionate woman, who is upset with the way things are going in Iran, including the elimination of personal freedoms, and violent attacks on innocent people. She actively takes part in her local government by attending protests.
 Mr. Satrapi, Ebi, or Eby (Marjane's father): He also takes part in many political protests with Taji. He takes photographs of riots, which was illegal and very dangerous, if caught. Both Mr. and Mrs. Satrapi come from a middle class background. This is important to note within the political and social context of their actions, values, and influences on their rebellious daughter.
 Marjane's Grandmother: Marjane's Grandmother develops a close relationship with Marjane. She enjoys telling Marjane stories of her past, and Marjane's Grandfather.
 Uncle Anoosh: Marjane's father's brother. He is executed by the new Islamic revolutionary authorities. His execution serves as a representation of the millions of activists who were killed under this regime.
 Mehridia:  Marjane's family maid who became friends with Marjane during her childhood. She had a secret relationship with the neighbor boy who was from a higher social class. The boy falls in love with her, but then abandons her when he learns of her social background.
Khosro: A man who makes fake passports. Marjane's father went to him when one of Marjane's uncles was suffering from heart trouble and needed surgery in England, but the hospital's director refused to send him abroad. Khosro shelters his relative Niloufar, who is wanted for her Communist beliefs. Unfortunately, Niloufar was spotted, arrested and executed and Khosro was forced to flee to Turkey and was unable to finish the passport for Marjane's uncle. Khosro then settled in Sweden.
 Characters only in Persepolis: The Story of A Return
Julie: A friend and schoolmate of Marjane's who takes her in when she is kicked out of the Catholic boarding facility in Vienna. Raised by a single mother, Julie is four years older than Marjane and the two become close friends. Julie is already sexually active with different men and very open, blunt, and direct about sex, unlike teenage Marjane who is sexually timid and still a virgin.
Frau Dr. Heller: A former philosophy teacher who rents Marjane a room in her home. She has an unstable personality and accused Marjane of stealing her brooch, causing Marjane to leave.
Markus: Marjane's lover who cheats on her, and she breaks up with him.
 Reza: Marjane's husband, who she had a socially strained relationship with. They were divorced after two years of marriage.

Background

Marjane Satrapi's use of graphic novels to depict her own life events has made her reading easily accessible to people throughout the world. In an article titled "Why I wrote Persepolis", Satrapi says "Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose only one. I think it's better to do both". Her first novel in this series, Persepolis: The Story of a Childhood, depicts her childhood experiences in Iran during the Islamic Revolution, while her subsequent novel, Persepolis 2: The Story of a Return, depicts her high school years in Vienna, Austria. Persepolis 2 also includes Satrapi's return to Iran where she attends college, marries, and later divorces before moving to France. Hence, the series is not only a memoir, but a Bildungsroman. Throughout both books, she focuses on the idea of "witnessing". Meaning, the motivation behind her writing involves describing her life from the viewpoint of someone viewing political and social chaos. This displays the "survival" aspect behind Satrapi as a young girl, and eventually young woman within this context. The influences of Satrapi's past education in Iran and Europe, and specifically German impressionism, can be felt throughout her writings and drawings as well. She seeks to create a visual context for not only those from the West, but also those from the Middle-East due to the lack of physical optics for this important time in history.

Both describe her life experiences of being Iranian and the way in which the Revolution shaped her life and the lives of her friends and family. The novel narrates "counter-historical narratives that are mostly unknown by a Western reading public." It is important to note her family as upper-middle class, and even descends from Iran's Qajar Dynasty. Although she does not find this significant, it can be kept in mind when attempting to understand her viewpoint.

Satrapi chose the name Persepolis, originating from the Ancient Greek term for Iran, in order to convey the message that the current state of Iran comes from thousands of years of background, not just recent hostile events.

After the writing and publication of Persepolis, Satrapi herself has transformed into a diplomat for her home country of Iran. She has "become a spokeswoman for greater freedom [in Iran], and a voice against war and for cross-cultural understanding".

Genre and style
Persepolis is an autobiography written as a graphic novel based on Satrapi's life. The genre of graphic novels can be traced back to 1986 with Art Spiegelman's depiction of the Holocaust through the use of cartoon images of mice and cats. Later, writers such as Aaron McGruder and Ho Che Anderson used graphic novels to discuss themes such as Sudanese orphans and civil rights movements. This genre has become an appropriate forum for examining critical matters by using illustrations to discuss foreign topics, such as those discussed in Persepolis. The "graphic novel" label is not so much a single mindset as a coalition of interests that happen to agree on one thing—that comics deserve more respect. Nima Naghibi and Andrew O'Malley, English professors at Ryerson University, believe that Persepolis is part of a larger movement of autobiographical books by Iranian women. Satrapi wrote Persepolis in a black-and-white format: "the dialogue, which has the rhythms of workaday family conversations and the bright curiosity of a child's questions, is often darkened by the heavy black-and-white drawings".  The use of a graphic novel has become much more predominant in the wake of events such as the Arab Spring and the Green Movement, as this genre employs both literature and imagery to discuss these historical movements. In an interview titled "Why I Wrote Persepolis", Marjane Satrapi said that "graphic novels are not traditional literature, but that does not mean they are second-rate."

Persepolis uses visual literacy through its comics to enhance the message of the text. Visual literacy stems from the belief that pictures can be "read." As defined by the Encyclopedia of the Social and Cultural Foundations of Education, "Visual literacy traces its roots to linguistic literacy, based on the idea that educating people to understand the codes and contexts of language leads to an ability to read and comprehend written and spoken verbal communication."

Due to the nature of artistic choices made in Persepolis by virtue of it being an illustrated memoir, readers have faced difficulty in placing it into a genre. The term "novel" most commonly refers to books that are fiction. Thus, there is some controversy surrounding how to classify the genre of Persepolis, being that it is non-fiction. Nima Naghibi and Andrew O'Malley, illustrate this by stating how bookstores have had issues with shelving Persepolis under a single label. Furthermore, scholars like Hillary Chute argue that Persepolis, like other similar books, should be called a "graphic narrative" instead of a "graphic novel." She argues that the stories these works contain are unique in themselves and challenge popular historical narratives. Chute explains that graphic narratives defy convention portraying complex narratives of trauma emphasize a different approach on discussing issues of  "unspeakability, invisibility, and inaudibility that have tended to characterize recent trauma theory-as well as a censorship-driven culture at large." She adds that this technique of uncovering the invisible is an influential feminist symbol. Chute contends that Persepolis highlights this 'unseen' by appearing to be visually simplistic so that it can draw attention to the intense political events happening in the story.

Professor Liorah Golomb from the University of Oklahoma states about Persepolis and related books; "As time went on the comics still tended towards the autobiographical, but storytelling gained importance. Most of the women creating comics today are still doing so from a woman's point-of-view, but their target audience seems more universal.

An article from a journal on multicultural education written about teaching Persepolis in a middle school classroom acknowledges Satrapi's decision to use this genre of literature as a way for "students to disrupt the one-dimensional image of Iran and Iranian women." In this way, the story encourages students to skirt the wall of intolerance and participate in a more complex conversation about Iranian history, U.S. politics, and the gendered interstices of war." Satrapi utilizes a combination of the text and accompanying drawings to represent Iranian and European culture through both images and language, asserts Marie Otsby in an article for the Modern Language Association of America published in 2017.

Analysis
Persepolis reminds readers of the "precarity of survival" in political and social situations.

Feminism in the East
Satrapi's graphic memoir contains themes concerning feminist ideals and the hegemonic power of the state. Satrapi uses the context of the Iranian Revolution to criticize the hypocrisy of state-enforced social pressures that seek to enact violence. During the Iranian Revolution, martyrdom had been nationalized by the state in order to encourage young men to participate in the revolution and strict social rules were forced upon women and were justified as protection. Satrapi's recount of her harassment by both male and female members of the Guardians of the Revolution because of her untraditional behavior and clothing exemplifies the hypocrisy of the state's beliefs. Although Satrapi criticizes the socio-political pressures, she does not fully dismiss her Iranian identity. Marji struggles with finding her identity because she is torn between a deep connection with her Iranian heritage and culture and the political and religious pressure enforced by the state. Satrapi's struggle with societal pressures is based on her belief that the Islamic state oppresses women when it regulates their expression and dictates their beliefs.

Jennifer Worth, an Adjunct Assistant Professor at Wagner College, presents that Satrapi uses the veil as a metaphor to describe the desire to control women. Worth proposes that the Guardians of the Revolution wield the cultural symbolism of the veil to oppress the social liberties of women, while Marji herself dons the symbolic veils of makeovers in Austria to escape social ostracization for her Iranian identity. Through her utilization of the veil as a symbol of concealing latent struggles, Satrapi contends that the confusion surrounding Marji's transition into adulthood stems from her complex beliefs and feelings about her Iranian heritage.

The portrayal of the veil in Persepolis has also been used to combat the Western perception that the veil is solely a symbol of oppression. The perceptions are challenged in the first chapter of Persepolis similarly titled 'The Veil,' where Satrapi illustrates young girls playing in the schoolyard with their veils.  Lisa Botshon, a professor of English, and Melinda Plastas, a professor of Women and Gender studies, comment that Satrapi's depictions of the veil illuminate for Western audiences the extent of Middle Eastern women's agency. The depictions challenge the Western notion that women who wear the veil are helpless and victims of brutal social oppression.

Manuela Constantino's article, published as part of the University of Toronto Press, argues that Persepolis was released during a crucial time that aided its reception in North America. In 2003-04, tensions over middle eastern evasion were on the rise in the United States. At the same time, Persepolis started to circulate in the North American education system. It's possible that "its arrival could be read as a political attempt to shape an understanding of Middle Eastern cultural practices by presenting a liberal Middle Eastern viewpoint amidst radical unrest" Constantino speculates if Satrapi's memoir had anti-American or anti-Western sentiment, "would it have been so widely circulated and therefore so popular"?  This makes Persepolis "easily accessible and seemingly transparent," Constantino states that these childlike reactions to the horrors they are exposed to bridge the gap between human and history. The complicated historical facts of war are broken down into easily understandable moments in history, and help people understand what is usually complex and culturally intricate into relatable and educational.

Mahdiyeh Ezzatikarami and Firouzeh Ameri of the International Journal of Applied Linguistics & English Literature published their article the strengths of Persepolis as a memoir. Telling the story from a child's point of view allows Satrapi to facilitate "supreme authenticity and immediacy" to her memoir. Satrapi created an identity that readers immediately relate and identify with. This is seen through her childish ways of coping with evil. When Marji's grandmother asks how she will install the rule of old people never feeling pain, Marji states she will simply forbid it. Seeing how children react to the violence of war makes Persepolis "easily accessible and seemingly transparent."

Publication history
The original French series was published by L'Association in four volumes, one volume per year, from 2000 to 2003. Marie Ostby, professor at Connecticut College, noted that, David Beauchard, a co-founder of L'Association, strove to "create a forum for more culturally informed, self-reflective work," especially consisting of female writers. L'Association published Persepolis as one of their three "breakthrough political graphic memoirs." Persepolis, tome 1 ends at the outbreak of war; Persepolis, tome 2 ends with Marji boarding a plane for Austria; Persepolis, tome 3 ends with Marji putting on a veil to return to Iran; Persepolis, tome 4 concludes the work.

When the series gained critical acclaim, it was translated into many different languages. In 2003, Pantheon Books published parts 1 and 2 in a single volume English translation (with new cover art) under the title Persepolis which was translated by Blake Ferris and Mattias Ripa, Satrapi's Swedish husband and edited by Anjali Singh; parts 3 and 4 (also with new cover art) followed in 2004 as Persepolis 2, with the translation credited to Anjali Singh. In October 2007, Pantheon repackaged the two English language volumes in a single volume (with film tie-in cover art) under the title The Complete Persepolis. The cover images in the publications from both countries feature Satrapi's own artwork; however, the French publication is much less ornamented than the United States equivalent.

Reception
Upon its release, the graphic novel received high praise, but was also met with criticism and calls for censorship. Time magazine included Persepolis in its "Best Comics of 2003" list. Andrew Arnold of TIME described Persepolis as "sometimes funny and sometimes sad but always sincere and revealing." Kristin Anderson of The Oxonian Review of Books of Balliol College, University of Oxford said, "While Persepolis feistiness and creativity pay tribute as much to Satrapi herself as to contemporary Iran, if her aim is to humanise her homeland, this amiable, sardonic and very candid memoir couldn't do a better job." Persepolis has won numerous awards, including one for its text at the Angoulême International Comics Festival Prize for Scenario in Angoulême, France, and another for its criticism of authoritarianism in Vitoria, Spain. Marie Ostby points out that "Satrapi's work marks a watershed movement in the global history of the graphic novel," exemplified by the recent increase in use of the graphic novel as a "cross-cultural form of representation for the twenty-first century Middle East."

Despite the controversy surrounding the novel, Persepolis has turned into an important piece of literature which connects the Western and Iranian world. The graphic novel was awarded to Newsweeks Ten Best Fiction books list, and was created into a film in 2007. Reading Persepolis "lends itself to discussion of literary strategies and to teaching visual literacy, as well as to broader discussions of cultural difference as constructed in art and the media and as experienced in life".

Friere and Macedo argue that teaching Persepolis in a middle school classroom has proved to be beneficial in the development of students' literacy and critical thinking skills, which are necessary to help them interpret the world around them. In a journal article on how to teach Persepolis in a post 9/11 classroom, Lisa Botshon and Melinda Plastas from the University of Illinois assert that Persepolis offers a platform for students to question Western stereotypes and fear surrounding the Middle East. Another study that was done also showed that Persepolis has greatly impacted the thinking skills of middle school students who were taught it in their ELA classroom. Despite the images and easy-to-read text, Persepolis is also often taught at the high school level because high-school aged students would be able to take the information learned and thoroughly discuss it to enhance their literary skills. From writing about her life and the people in it, Satrapi's writing also denies the typical assumptions made by the world about Western Iranian women. Friere and Macedo believe that the way women and Iranian society in general are presented in the book can help students come to doubt their perceived sense of national insecurity when it comes to the Middle East.

In 2019, the graphic novel was ranked 47th on The Guardian'''s list of the 100 best books of the 21st century.

Censorship in the United States
Despite the positive reviews, Persepolis faced some attempts at censorship in school districts across the United States.  In March 2013, the Chicago Public Schools ordered copies of Persepolis to be removed from seventh-grade classrooms after Chicago Public Schools CEO Barbara Byrd-Bennett determined that the book "contains graphic language and images that are not appropriate for general use". Upon hearing about the proposed ban, upperclassmen at Lane Tech High School in Chicago flocked to the library to check out Persepolis and organized demonstrations in protest. CPS reinstituted the book in school libraries and classrooms.

In 2014, the book faced three different challenges across the United States, which led to its placement as #2 on the ALA's list of "Top Ten Most Challenged Books of 2014". The first of these controversies occurred in Oregon's Three Rivers School District, where a parent insisted on the removal of the book from its high school libraries due to the "coarse language and scenes of torture". The book remained in libraries without any restriction after school board meetings to discuss this challenge. Another case of censorship arose in central Illinois' Ball-Chatham School District, where a student's parent stated that the book was inappropriate for the age group assigned. The parent also inquired into why Persepolis was assigned to the students to read on September 11. Despite this opposition, the school board unanimously voted to keep the book both in the school libraries and within the curriculum. The third case occurred in Smithville, Texas, where parents and members of the school community challenged the book being taught in Smithville High School's World Geography Class. They voiced concerns about "the newly-introduced Islamic literature available to students". The school board met to discuss this issue at a meeting on February 17, 2014, after a formal complaint was filed against the book. The board voted 5–1 to retain the novel.

In 2015, Crafton Hills College, in Yucaipa, California, also witnessed a challenge to the incorporation of Persepolis in its English course on graphic novels. After her completion of the class, Tara Shultz described Persepolis as pornographic and lacking in quality. Crafton Hills administrators released a statement, voicing strong support of academic freedom, and the novel was retained.

In 2022, Franklin Regional High School, located near Pittsburgh, Pennsylvania, paused teaching of Persepolis after complaints to the district. The book was reinstated to the curriculum as of a meeting on March 31, 2022.

 Other

FilmPersepolis has been adapted into an animated film, by Sony Pictures Classics. The film was co-directed by Marjane Satrapi and Vincent Paronnaud. It was voiced by Catherine Deneuve, Chiara Mastroianni, Danielle Darrieux and Simon Abkarian. Debuting at the 2007 Cannes Film Festival, Persepolis won the Jury Prize but also drew complaints from the Iranian government before its screening at the festival. It was nominated for an Academy Award in 2007 for best animated feature. The film has also received high honors, specifically, in 2007, when it was named the Official French Selection for the Best Foreign Language Film.

Persepolis 2.0Persepolis 2.0 is an updated version of Satrapi's story, created by different authors who combined Satrapi's illustrations with new text about the 2009 Iranian presidential election. Only ten pages long, Persepolis 2.0 recounts the re-election of President Mahmoud Ahmadinejad on June 12, 2009. Done with Satrapi's permission, the authors of the comic are two Iranian-born artists who live in Shanghai and who give their names only as Payman and Sina. The authors used Satrapi's original drawings, changing the text where appropriate and inserting one new drawing, which has Marjane telling her parents to stop reading the newspaper and instead turn their attention to Twitter during the protests.Persepolis 2.0'' was published online, originally on a website called "Spread Persepolis"; an archived version is available online.

See also

 List of feminist comic books
 Portrayal of women in comics

References

Further reading

Bhoori, Aisha (2014). "Reframing the Axis of Evil". Harvard Political Review

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Persepolis (comics)


Cameron Mitchell (November 4, 1918 - July 6, 1994), was an American actor.

Career

Born in Pennsylvania, U.S.. His first role was in a short movie The Last Installment: A Crime Does Not Pay Subject (1945), That same year he was cast in What Next, Corporal Hargrove?  by Richard Thorpe.  Also had a role in the movie They Were Expendable (1945), John Wayne.  In 1948 he landed the role of Lieutenant Ansel Goldberg, in the classic war movie Command Decision, with Clark Gable.

The decade of 1950s was very good for Mitchell, working in many movies such as Smuggler's Gold (1951), the Sci Fi Movie Flight to Mars (1951).

In the early 1960s, Mitchell has great success in Europe he starring in movies: Erik the Conqueror (1961) - Caesar the Conqueror (1962) - Attack of the Normans (1962) - The Black Duke (1963) -Last Gun (1964), Minnesota Clay (1964), In the Shadow of the Eagles (1966) - I coltelli del vendicatore (1966), Island of the Doomed (1967).

In 1970 Mitchell starred in the cult movie The Rebel Rousers, with Jack Nicholson, and directed by Martin B. Cohen. He plays a man who is harassed by a motorcycle gang from hell.

He also co-starred in the movies: Hombre (1967), a western with Paul Newman, The Other Side of the Wind (1972), directed by Orson Welles,  Buck and the Preacher (1973), with Sidney Poitier, The Midnight Man (1974), starring and directed by Burt Lancaster, and The Klansman (1974), with Lee Marvin.

In the decade of the 1980s, Mitchell starred only in low-budget movie. Among his movies of the 80s are The Silent Scream (1980), The Nightmare Never Ends (1980), The Guns and the Fury (1981), The Tomb (1986), with John Carradine, and The Offspring (1987), with Vincent Price.

Television

In 1967 he was hired to play the role of Buck Cannon in The High Chaparral, with Leif Erickson as Big John Cannon. The series was a success and remained four seasons between 1967 and 1971.

He also worked in American television from its origins, in 1962, is the narrator of the TV series The Beachcomber. He was also guest starred in TV series Colt .45, Wagon Train, The Untouchables, Bonanza, Daniel Boone, Cade's County, Alias Smith and Jones, Mission: Impossible, Night Gallery, Gunsmoke, Police Story, Magnum, P.I., Matt Houston, and others.

Other websites

American movie actors
1918 births
1994 deaths
American television actors
Actors from Pennsylvania

Cameron Mitchell


Alanya is a seaside resort in the south of Turkey and also a district of Antalya. Alanya has 300,000 permanent inhabitants. In summer, lots of tourists come to town for beach and sun. In summer, the population rises suddenly. Alanya has 10,000 European inhabitants and the number of European inhabitants rises year to year.

Cities in Turkey
Antalya Province

Alanya


Specific heat (s) is a particular type of heat capacity. Specific heat is the thermodynamic property, which states the amount of heat required for a single unit of mass of a substance to be raised by one degree of temperature. Varying ranges of specific heat values are seen for substances depending on the extent to which they absorb heat. The term heat capacity can be misleading since heat q is the term given to the addition or removal of energy, across a barrier to a substance or system, as a result of increasing or decreasing the temperature respectively. Temperature changes are really changes in energy. Therefore, specific heat and other forms of heat capacity are more accurately measures of the capacity of a substance to absorb energy as the temperature of the substance increases.

Units

Units are very important for expressing any thermodynamic property; the same is true for specific heat. Energy in the form of heat is expressed in Joules (J) or kilojoules (kJ) which are the most common units associated with energy. One unit of mass is measured in grams or kilograms with regard to specific heat. Per one gram is the standard form used in tables of specific heat values, but references using one kilogram are sometimes seen. One degree of temperature is measured on either the Celsius or Kelvin scale, but usually Celsius. The most commonly associated units then for specific heat are J/(g•°C).

Factors that determine specific heat

Temperature and pressure
Two factors that change the specific heat of a material are pressure and temperature. Specific heat is defined at a standard, constant pressure (usually atmospheric pressure) for materials and is generally reported at 25 °C (298.15 K). A standard temperature is used because specific heat has temperature dependence and can change at different temperature values. Specific heat is referred to as an intensive property (en:Intensive and extensive properties intensive property.) As long as the temperature and pressure are at the standard referenced values and no phase change occurs, the value for the specific heat of any material remains constant regardless of the mass of the material present .

Energetic degrees of freedom
A large factor in the magnitude of the specific heat of a material lies at the molecular level in the energetic :en:Degrees of freedom (physics and chemistry) degrees of freedomavailable to the material in the phase (solid, liquid or gas) in which it is found. Energetic degrees of freedom are of four types: translation, rotation, vibration and electronic. A minimum amount of energy is needed to reach each degree of freedom. Therefore, the amount of energy that can be stored in a substance depends on the type and number of the energetic degrees of freedom that contribute to the substance at a given temperature. Liquids generally have more low energy modes and more energetic degrees of freedom than solids and most gases. This broader range of possibilities within the degrees of freedom typically generates larger specific heats for liquid substances than for solids or gases. This trend can be seen in the :en:Heat capacity#Table of specific heat capacities Table of specific heat capacitiesand by comparing liquid water to solid water (ice), copper, tin, oxygen, and graphite.

Usage
Specific heat is used to calculate the amount of heat absorbed when energy is added to a material or substance through an increase in temperature over a defined range. Calculation of the amount of heat or energy added to a material is a relatively easy process as long as the initial and the final temperatures of the material are recorded, the mass of the material is reported and the specific heat is known. The specific heat, the mass of the material and the temperature scale must all be in the same units in order to accurately perform the calculation for heat.

The equation for calculating heat (q) is as follows:

In the equation, s is the specific heat in (J/g•°C). m is the mass of the substance in grams. ΔT refers to the change in temperature (°C) observed in the substance. The convention is to subtract the initial temperature of the material from the final temperature after heating so ΔT is TFinal-TInitial in the equation. Substituting all the values into the equation and multiplying through cancels the units of mass and temperature leaving the appropriate units of Joules for heat. Calculations such as this are useful in :en:Calorimetry calorimetry

References

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Specific heat


Calculus is a branch of mathematics that describes continuous change.

There are two different types of calculus. Differential calculus divides (differentiates) things into small (different) pieces, and tells us how they change from one moment to the next, while integral calculus joins (integrates) the small pieces together, and tells us how much of something is made, overall, by a series of changes. Calculus is used in many different sciences such as physics, astronomy, biology, engineering, economics, medicine and sociology.

History
In the 1670s and 1680s, Sir Isaac Newton in England and Gottfried Leibniz in Germany figured out calculus at the same time, working separately from each other. Newton wanted to have a new way to predict where to see planets in the sky, because astronomy had always been a popular and useful form of science, and knowing more about the motions of the objects in the night sky was important for navigation of ships. Leibniz wanted to measure the space (area) under a curve (a line that is not straight). Many years later, the two men argued over who discovered it first. Scientists from England supported Newton, but scientists from the rest of Europe supported Leibniz. Most mathematicians today agree that both men share the credit equally. Some parts of modern calculus come from Newton, such as its uses in physics. Other parts come from Leibniz, such as the symbols used to write it.

They were not the first people to use mathematics to describe the physical world — Aristotle and Pythagoras came earlier, and so did Galileo Galilei, who said that mathematics was the language of science. But both Newton and Leibniz were the first to design a system that describes how things change over time, and can predict how they will change in the future.

The name "calculus" was the Latin word for a small stone the ancient Romans used in counting and gambling. The English word "calculate" comes from the same Latin word.

Differential calculus

Differential calculus is used to find the rate of change of a variable—compared to another variable.

Variables can change their value. This is different from numbers because numbers are always the same. For example, the number 1 is always equal to 1, and the number 200 is always equal to 200. One often writes variables as letters such as the letter x: "x" can be equal to 1 at one point and 200 at another.

Some examples of variables are distance and time, because they can change. The speed of an object is how far it travels in a particular time. So if a town is 80 kilometres (50 miles) away and a person in a car gets there in one hour, they have traveled at an average speed of 80 kilometres (50 miles) per hour. But this is only an average: they travelled faster at some times (say on a highway), and slower at other times (say at a traffic light or on a small street where people live). Certainly it is more difficult for a driver to figure out a car's speed using only its odometer (distance meter) and clock—without a speedometer.

Until calculus was invented, the only way to work this out was to cut the time into smaller and smaller pieces, so the average speed over the smaller time would get closer and closer to the actual speed at a point in time. This was a very long and hard process, and had to be done each time people wanted to work something out.

Differential calculus is also useful for graphing. A very similar problem is to find the slope (how steep it is) at any point on a curve. The slope of a straight line is easy to work out — it is simply how much it goes up or down (y or vertical) divided by how much it goes across (x or horizontal). On a curve, however, the slope is a variable (has different values at different points) because the line bends. But if the curve was to be cut into very, very small pieces, the curve at the point would look almost like a very short straight line. So to work out its slope, a straight line can be drawn through the point with the same slope as the curve at that point. If this is done exactly right, the straight line will have the same slope as the curve, and is called a tangent. But there is no way to know (without complex mathematics) whether the tangent is exactly right, and our eyes are not accurate enough to be certain whether it is exact or simply very close.

What Newton and Leibniz found was a way to work out the slope (or the speed in the distance example) exactly, using simple and logical rules. They divided the curve into an infinite number of very small pieces. They then chose points on either side of the range they were interested in and worked out tangents at each. As the points moved closer together towards the point they were interested in, the slope approached a particular value as the tangents approached the real slope of the curve. The particular value it approached was the actual slope.

Given a function . f is short for function, so this equation means "y is a function of x". This tells us that how high y is on the vertical axis depends on what x (the horizontal axis) is at that time. For example, with the equation , we know that if  is 1, then  will be 1; if  is 3, then  will be 9; if  is 20, then  will be 400. The slope of the tangent line produced using this method here is , or 2 multiplied by . So we know without having to draw any tangent line at any point on the curve  that the derivative, often written as  (marked with the prime symbol), will be  at any point. This process of working out a slope using limits is called differentiation, or finding the derivative.

The way to write the derivative in mathematics is

Leibniz came to the same result, but called h "", which means "with respect to x". He called the resulting change in  "", which means "a tiny amount of y". Leibniz's notation is used by more books, because it is easy to understand when the equations become more complicated. In Leibniz notation:
.

Mathematicians have grown this basic theory to make simple algebra rules—which can be used to find the derivative of almost any function.

In the real world, calculus can be used to find the speed of a moving object, or to understand how electricity and magnetism work. It is very important for understanding physics—and many other areas of science.

Integral calculus

Integral calculus is the process of calculating the area underneath a graph of a function. An example is calculating the distance a car travels: if one knows the speed of the car at different points in time and draw a graph of this speed, then the distance the car travels will be the area under the graph.

The way to do this is to divide the graph into many very small pieces, and then draw very thin rectangles under each piece. As the rectangles become thinner and thinner, the rectangles cover the area underneath the graph better and better. The area of a rectangle is easy to calculate, so we can calculate the total area of all the rectangles. For thinner rectangles, this total area value approaches the area underneath the graph. The final value of the area is called the integral of the function.

In mathematics, the integral of the function f(x) from a  to b, is written as
.

Main idea of calculus
The main idea in calculus is called the fundamental theorem of calculus. This main idea says that the two calculus processes, differentiation and integration, are inverses of each other. That is, a person can use differentiation to undo an integration process. Also, a person can use integration to undo a differentiation. This is just like using division to "undo" multiplication, or addition to "undo" subtraction.

In a single sentence, the fundamental theorem runs something like this: "The derivative of the integral of a function f is the function itself".

Applications of calculus
Calculus is used to describe things that change, like things in nature. It can be used for showing and learning all of these:

How waves move. Waves are very important in the natural world. For example, sound and light can be thought of as waves.
Where heat moves, like in a house. This is useful for architecture (building houses), so that the house can be as cheap to heat as possible.
How very small things like atoms act.
How fast something will fall, also known as gravity.
How machines work, also known as mechanics.
The path of the moon as it moves around the earth. Also, the path of the earth as it moves around the sun, and any planet or moon moving around anything in space.

Related pages

 Calculus of variations
 Derivative (mathematics)
 Difference quotient
 Mathematical analysis
 Multivariable calculus
 Vector calculus

References

Calculus


Kyzyl-Adyr (formerly Kirovka) is a veelage in the Kara-Buura Destrict o Talas Province o Kyrgyzstan.  Tae the north is the Kirovskaya Reservoir. Frae the main east-wast hieway through Talas Province, ane road goes north tae Taraz in Kazakhstan an anither goes sooth tae Jalal-Abad Province ower the Kara-Buura Pass tae the Chatkal Valley (see Ala-Buka).

Populatit places in Talas Province

Kyzyl-Adyr


Carl Ray (January 10, 1943 – September 26, 1978) was a First Nations artist who was active on the Canadian art scene from 1969 until his death in 1978.  Considered primarily a Woodlands Style artist.  He was a founding member of the Indian Group of Seven. He began painting when he was 30 years old.

Biography
Ray was born on January 10, 1943, on the Sandy Lake First Nation reserve in northern Ontario, Canada and was known in his Oji-cree community as Tall Straight Poplar (he was 6'4" tall) where he hunted and trapped after leaving residential school at fifteen following the death of his father.  At this traditional way of living he was a failure - in Ray's own words years later: "a year's catch consisted of four beaver, one lynx, and an assortment of mice and rabbits". Despite showing artistic promise at an early age, Carl was reluctant to break the taboo of painting the sacred beliefs and stories of his people.  He did not touch a brush or paint for many years after having been admonished by his elders for doing so.

Ray eventually left the reserve to work in the Red Lake gold mines where his drinking and guitar playing abilities earned him the nickname Ira Hayes.  However, his excesses caught up with him and he contracted tuberculosis, eventually recovered in Fort William and returned home in 1966.  It was not until then that Norval Morrisseau's success in breaking the painting taboos allowed Ray to confidently pursue his craft, which in many cases, included "legend painting" and painting wildlife and northern scenic landscapes.

Ray apprenticed under Norval Morrisseau (who had already achieved national and international acclaim) and worked on the mural for the Indians of Canada Pavilion of Expo '67 in Montreal.  Morrisseau had designed and sketched the mural but it was Ray who did most of the work and was left to finish it.  Unfortunately this masterpiece is lost as it was left to fall into disrepair and was eventually demolished years later.

As well as translating the legends, Ray also created a large and impressive group of illustrations for James Stevens' book "Legends of the Sandy Lake Cree" in 1971. Stevens reported that Carl "perceived this reversion to a more austere style as a loss of face"   Many of the illustrations would somewhat haunt him since it was now the kind of work that was expected of him in certain markets.

With the help of Ontario Department of Education Superintendent Robert Lavack, Ray embarked on a tour teaching art at schools in northern communities including Kirkland Lake, Timmins, Blind River, Wawa, Bruce Mines, Manitoulin Island, Sudbury, Levack, North Bay, Bracebridge, Oshawa and Whitby. He also taught at the Manitou Arts Foundation on Schreiber Island in 1971.  The following year the department of Indian Affairs sponsored the tour through northern communities and reserves.

Ray continued to develop and paint through the mid 70's completing notable large scale mural opportunities at schools and the Sioux Lookout Fellowship and Communications Centre as well as smaller works becoming more and more popular with white buyers. In the early 1970s Ray had the first solo exhibition of his black and sepia, Woodlands style paintings on paper and canvas at Aggregation Gallery in Toronto. Aggregation Gallery continued to represent his work and estate through to the early 80's.  By 1975, the Indian Group of Seven had formed and Ray was enjoying acclaim and purchases by notable collectors such as Dr. Peter Lewin and Dr. Bernard Cinader, as well as public institutions such as the McMichael Canadian Art Collection.  He also illustrated the cover of "The White City" published by Tom Marshall in 1976.  Much of Ray's art was influenced by his often troubled personal life and inner demons and excesses.

Ray was known by his peers as a man of general good humour.  He was also known as somewhat of a jokester as described by fellow painter Alex Janvier: "Carl Ray was the guy who could laugh, make fun of you, throw a joke on you and he'd laugh his head off".

Ray was stabbed to death as a result of a drunken brawl over money in Sioux Lookout in 1978.  He was only 35 years old.  In a note to Ray by George Kenny after his death, he wrote "I wonder if those paintings you painted ever satisfied your demons that drove you to paint…Didn't you realize that fame only comes at the meeting of one of those demons – DEATH? ….Now we'll never know the extent of your greatness…"

Style
Carl Ray is best known for his work executed in the style of the Woodlands School (often referred to as "legend painting" style).

Lacking sophisticated technique, but resplendent with powerful imagery, his super-realistic images were unique, and his signature style is easily recognized.  Describing his work, Carl stated "What you are looking at is ancient and sacred. In fact what you see could be described as a part of my soul". The spiritual and emotional commitment he put into his work was substantial - "his (work) came from a very deep journey, a lot of people are afraid to make that journey"   Many of his works were limited to two or three colours, brown, black and blue, often mixing ink and watercolours.

His lesser known, but equally powerful scenic western style canvases were also a large part of Carl's repertoire.  Often ensconced in hues of electric blue, he captured the wildlife and beauty of the Sandy Lake area.  He also combined the two styles on occasion, capturing his imaginative images of Cree legends in full electrifying colour.

Solo exhibitions
1969 Brandon University, Manitoba.
1970 Confederation College, Thunder Bay, Ontario.
1971 Fort Frances Public Library.
1972 University of Minnesota, Minneapolis.
1972 Gallerie Fore, Winnipeg, Manitoba.
1972-1977 Aggregation Gallery, Toronto, Ontario.

Group exhibitions
1974 Canadian Indian Art '74, Royal Ontario Museum, Toronto.
1974 Contemporary Native Arts of Ontario, Oakville Centennial Gallery, Ontario.
1975 Dominion Gallery, Montreal, Quebec.
1975 Wallack Gallery, Ottawa, Ontario.
1975 Art Emporium, Vancouver, B.C.
1976 Contemporary Native Arts of Canada - The Woodland Indians, Royal Ontario Museum, Toronto - travelling exhibition
1977 Contemporary Indian Art - The Trail from the Past to the Future, Trent University, Peterborough, Ontario.
1978 Art of the Woodland Indian, McMichael Canadian Collection, Kleinburg, Ontario.
1979 Kinder des Nanabush, from the McMichael Canadian Collection, Kleinburg, Ontario.
1980 Contemporary Woodland Indian Painting, New College, University of Toronto, Ontario.
1983 Contemporary Indian Art at Rideau Hall, Department of Indian Affairs and Northern Development, Ottawa, Ontario.
1984 The Image Makers, Art Gallery of Ontario, Toronto - travelling exhibition

References

First Nations painters
20th-century Canadian painters
Canadian male painters
Cree people
People from Kenora District
Artists from Ontario
1943 births
1978 deaths
Woodlands style

Carl Ray


A quill pen is a tool used for writing, made from a flight feather of a large bird. Quills were used for writing with ink before other pens were invented. They are still used in calligraphy sometimes. Today, most paper is made from wood plulp. Such papers use the quill rather rapidly.  The hollow shaft of the feather (the calamus) acts as an ink reservoir and ink flows to the tip by capillary action.

Writing tools

Quill