{{Infobox military conflict
|conflict=Serbian Revolution
|partof=
|image=BOJ NA MIŠARU.jpg
|image_size=325px
|caption=Battle of Mišar (1806), painting by Afanasij Šeloumov
|date=First Serbian Uprising:14 February 1804 – 7 October 1813()Hadži-Prodan's rebellion:27 September – 30 December 1814()Second Serbian Uprising:23 April 1815 – 26 July 1817()
|place=The Balkans (Central Serbia and partially Bosnia)
|territory=The Ottoman Empire loses direct control of the Sanjak of Smederevo
|result= First Serbian Uprising
Ottoman victory
Abolishment of Serbian rebel government
Hadži-Prodan's rebellion
Ottoman victory
Second Serbian Uprising
Strategic Serbian diplomatic victory
Establishment of the autonomous Principality of Serbia
|combatant1=First Serbian Uprising (1804–1813)  Supported by:  (1807–12)
|combatant2=First Serbian Uprising (1804–1813)Dahijas (1804) Ottoman Empire (from 1805)

Pashalik of Yanina
Supported by:
|combatant1a=Hadži-Prodan's rebellion (1814) Serbian rebels
|combatant2a=Hadži-Prodan's rebellion (1814) Ottoman Empire
|combatant1b=Second Serbian Uprising (1815–1817)  Serbian rebels
|combatant2b=Second Serbian Uprising (1815–1817) Ottoman Empire
|commander1=
|commander2= {{plainlist|
First Serbian Uprising (1804–1813)
Mehmed-aga Fočić
Aganlija
Kučuk-Alija
Mula Jusuf
 Selim III (Sultan; until 1807)
 Mustafa IV (Sultan; 1807–08)
 Mahmud II (Sultan; from 1808)
 Sulejman-paša Skopljak
 Hurshid Pasha
 Bekir Pasha
 Sinan-paša Sijerčić
 Osman Gradaščević
 Mehmed-beg Kulenović
 Ibrahim Bushati
 Muhtar Pasha
 Veli Pasha
Hadži-Prodan's rebellion (1814)
 Mahmud II (Sultan)
 Sulejman-paša Skopljak
Second Serbian Uprising (1815–1817)
 Mahmud II (Sultan)
 Maraşlı Ali Pasha
 Sulejman-paša Skopljak
 Hurshid Pasha
 Ibrahim-Pasa
 Osman-beg
 Seuchesmu
 Caja-Imšir
 Kara-Mustafa}}
|casualties=
}}

The Serbian Revolution' ( / Srpska revolucija) was a national uprising and constitutional change in Serbia that took place between 1804 and 1835, during which this territory evolved from an Ottoman province into a rebel territory, a constitutional monarchy, and modern Serbia. In 1804, the Ottoman Janissary decided to execute all prominent nobles throughout Central Serbia, a move known as the Slaughter of the Knezes. The heads of the murdered Serbian nobles were put on public display in the central square to serve as an example to those who might plot against Ottoman rule. The event triggered the start of the Serbian Revolution aimed at putting an end to the 370 years of Ottoman occupation. The first part of the period, from 1804 to 1817, was marked by a violent struggle for independence from the Ottoman Empire with two armed uprisings taking place, ending with a ceasefire. The later period (1817–1835) witnessed a peaceful consolidation of political power of the increasingly autonomous Serbia, culminating in the recognition of the right to hereditary rule by Serbian princes in 1830 and 1833 and the territorial expansion of the young monarchy. The adoption of the first written Constitution in 1835 abolished feudalism and serfdom, and made the country suzerain. The term Serbian Revolution was coined by a German academic historiographer, Leopold von Ranke, in his book Die Serbische Revolution, published in 1829. These events marked the foundation of modern Serbia.

The period is further divided as follows:
First Serbian Uprising (1804–13), led by Karađorđe Petrović
Hadži-Prodan's rebellion (1814)
Second Serbian Uprising (1815–17), led by Miloš Obrenović
 Official recognition of the Serbian state (1815–1833)The Proclamation (1809) by Karađorđe in the capital Belgrade represents the probable peak of the first phase. It called for national unity, drawing on Serbian history to demand the freedom of religion and formal, written rule of law, both of which the Ottoman Empire had failed to provide. It also called on Serbs to stop paying taxes to the Porte, deemed unfair as based on religious affiliation. Apart from dispensing with poll tax on non-Muslims (jizya), the revolutionaries also abolished all feudal obligations in 1806, only 15 years after the French revolution, peasant and serf emancipation thus representing a major social break with the past. The rule of Miloš Obrenović consolidated the achievements of the Uprisings, leading to the proclamation of the first constitution in the Balkans and the establishment of the first Serbian institution of higher learning still in existence, the Great Academy of Belgrade (1808). In 1830 and again in 1833, Serbia was recognized as an autonomous principality, with hereditary princes paying annual tribute to the Porte. Finally, de facto independence came in 1867, with the withdrawal of Ottoman garrisons from the principality; de jure independence was formally recognized at the Congress of Berlin in 1878.

Background

New circumstances, such as the Austrian occupation of Serbia, rise of the Serbian elite across the Danube, Napoleon's conquests in the Balkans, and reforms in the Russian Empire, exposed Serbs to new ideas. They could now clearly compare how their compatriots made progress in Christian Austria, the Illyrian provinces and elsewhere, while the Ottoman Serbs were still subjects to a religion-based tax that treated them as second class citizens.

During the Austrian occupation of Serbia (1788–91), many Serbs served as soldiers and officers in Habsburg armies, where they acquired knowledge about military tactics, organization and weapons. Others were employed in administrative offices in Hungary or in the occupied zone. They began to travel in search of trade and education, and were exposed to European ideas about secular society, politics, law and philosophy, including both rationalism and Romanticism. They met with the values of the French Revolution, which would affect many Serbian merchants and educated people. There was an active Serbian community in the southern Habsburg Empire, from where ideas made their way southwards (across the Danube). Another role model was the Russian Empire, the only independent Slavic and Orthodox country, which had recently reformed itself and was now a serious menace to the Turks. The Russian experience implied hope for Serbia.

Other Serbian thinkers found strengths in the Serbian nation itself. Two top Serbian scholars were influenced by Western learning to turn their attention to Serbia's own language and literature. One was Dositej Obradović (1743), a former priest who left for Western Europe. Disappointed that his people had so little secular literature which was mainly written not in the vernacular but either in Old Church Slavonic or in newly emerging Russo-Serbian hybrid language called Slavo-Serbian, he decided to bring written language closer to vernacular Serbian language common people spoke and thus assembled grammars and dictionaries, wrote some books himself and translated others. Others followed his lead and revived tales of Serbia's medieval glory. He later became the first Minister of Education of modern Serbia (1805).

The second figure was Vuk Karadžić (1787). Vuk was less influenced by Enlightenment rationalism like Dositej Obradović and more by Romanticism, which romanticized rural and peasant communities. Vuk collected and published Serbian epic poetry, work that helped to build Serbian awareness of a common identity based in shared customs and shared history. This kind of linguistic and cultural self-awareness was a central feature of German nationalism in this period, and Serbian intellectuals now applied the same ideas to the Balkans.

In 1804, the Janissary that ruled Serbia at the time, having taken power in the Sanjak of Smederevo in defiance of the Sultan, feared that the Sultan would make use of the Serbs to oust them. To forestall this they decided to execute all prominent nobles throughout Central Serbia, a move known as the Slaughter of the Knezes. According to historical sources of the city of Valjevo, the heads of the murdered men were put on public display in the central square to serve as an example to those who might plot against the rule of the Janissaries. The event triggered the start of the Serbian Revolution with the First Serbian Uprising aimed at putting an end to the 370 years of Ottoman occupation of modern Serbia.

First Serbian Uprising (1804–1813)

During the First Serbian Uprising (1804–1813), Serbia perceived itself as an independent state for the first time after 300 years of Ottoman and short-lasting Austrian occupations. Encouraged by the Russian Empire, the demands for self-government within the Ottoman Empire in 1804 evolved into a war of independence by 1807. Combining patriarchal peasant democracy with modern national goals the Serbian revolution was attracting thousands of volunteers among the Serbs from across the Balkans and Central Europe. The Serbian Revolution ultimately became a symbol of the nation-building process in Southeast Europe, provoking peasant unrest among the Christians in both Greece and Bulgaria. Following a successful siege with 25,000 men, on 8 January 1807 the charismatic leader of the revolt, Karađorđe Petrović, proclaimed Belgrade the capital of Serbia.

Serbs responded to Ottoman brutalities by establishing separate institutions: Governing Council (Praviteljstvujušči Sovjet), the Great Academy (Velika škola), the Theological Academy (Bogoslovija) and other administrative bodies. Karađorđe and other revolutionary leaders sent their children to the Great Academy, which had among its students Vuk Stefanović Karadžić (1787–1864), the reformer of the Serbian alphabet. Belgrade was repopulated by local military leaders, merchants and craftsmen, but also by an important group of enlightened Serbs from the Habsburg Empire who gave a new cultural and political framework to the egalitarian peasant society of Serbia. Dositej Obradović, a prominent figure of the Serbian Enlightenment, the founder of the Great Academy, became the first Minister of Education of Serbia in 1811.

Following the Treaty of Bucharest (May 1812) and French invasion of Russia in June 1812, the Russian Empire withdrew its support for the Serb rebels; unwilling to accept anything less than independence, a quarter of Serbia's population (at the moment around 100,000 people) were exiled into Habsburg Empire, including the leader of the Uprising, Karađorđe Petrović. Recaptured by the Ottomans in October 1813, Belgrade became a scene of brutal revenge, with hundreds of its citizens massacred and thousands sold into slavery as far as Asia. After the Pashalik of Belgrade fell back to the Ottoman rule, various acts of violence and confiscation of people's properties took place. Islamized Serbs and Albanians especially took part in such actions. Direct Ottoman rule also meant the abolition of all Serbian institutions and the return of Ottoman Turks to Serbia.

Hadži-Prodan's Revolt (1814)

Despite losing the battle, tensions nevertheless persisted. In 1814 an unsuccessful Hadži Prodan's revolt was launched by Hadži Prodan Gligorijević, one of the veterans of the First Serbian Uprising. He knew the Turks would arrest him, so he decided to resist them. Miloš Obrenović, another veteran, felt the time was not right for an uprising and did not provide assistance.

Hadži Prodan's Uprising soon failed and he fled to Austria. After a riot at a Turkish estate in 1814, the Turkish authorities massacred the local population and publicly impaled 200 prisoners at Belgrade. By March 1815, Serbs had held several meetings and decided upon a new revolt.

Second Serbian Uprising (1815–1817)

The Second Serbian Uprising (1815–1817) was a second phase of the national revolution of the Serbs against the Ottoman Empire, which erupted shortly after the brutal annexation of the country to the Ottoman Empire and the failed Hadži Prodan's revolt. The revolutionary council proclaimed an uprising in Takovo on April 23, 1815, with Miloš Obrenović chosen as the leader (while Karađorđe was still in exile in Austria).
The decision of the Serb leaders was based on two reasons. First, they feared a general massacre of knezes. Secondly, they learned that Karađorđe was planning to return from exile in Russia. The anti-Karađorđe faction, including Miloš Obrenović, was anxious to forestall Karađorđe and keep him out of power.

Fighting resumed at Easter in 1815, and Miloš became supreme leader of the new revolt. When the Ottomans discovered this they sentenced all of its leaders to death. The Serbs fought in battles at Ljubic, Čačak, Palez, Požarevac and Dublje and managed to reconquer the Pashaluk of Belgrade.
Miloš advocated a policy of restraint: captured Ottoman soldiers were not killed and civilians were released. His announced goal was not independence but an end to abusive misrule.

Wider European events now helped the Serbian cause. Political and diplomatic means in negotiations between the Prince of Serbia and the Ottoman Porte, instead of further war clashes coincided with the political rules within the framework of Metternich's Europe. Prince Miloš Obrenović, an astute politician and able diplomat, in order to confirm his hard won loyalty to the Porte in 1817 ordered the assassination of Karađorđe Petrović. The final defeat of Napoleon in 1815 raised Turkish fears that Russia might again intervene in the Balkans. To avoid this the sultan agreed to make Serbia a vassal state, semi-independent but nominally responsible to the Porte.

Legal status of Serbia (1815–1830)

In mid-1815, the first negotiations began between Obrenović and Marashli Ali Pasha, the Ottoman governor. The result was acknowledgment of a Serbian Principality by the Ottoman Empire. Although a vassal state of the Porte (yearly tax tribute), it was, in most respects, an independent state. By 1817, Obrenović succeeded in forcing Marashli Ali Pasha to negotiate an unwritten agreement, thus ending the Second Serbian uprising. The same year, Karađorđe, the leader of the First Uprising (and Obrenović's rival for the throne) returned to Serbia and was assassinated by Obrenović's orders; Obrenović subsequently received the title of Prince of Serbia.

During the intermezzo period ("virtual autonomy" – the negotiation process between Belgrade and Constantinople 1817–1830) Prince Miloš Obrenović I secured a gradual but effective reduction of Turkish power and Serbian institutions inevitably filled the vacuum. Despite opposition from the Porte, Miloš created the Serbian army, transferred properties to the young Serbian bourgeoisie and passed the "homestead laws" which protected peasants from usurers and bankruptcies.

New school curriculum and the re-establishment of the Serbian Orthodox Church reflected the Serbian national interest. Unlike the Serbian medieval tradition, Prince Miloš separated education from religion, on the grounds that he could oppose the Church through independent education (secularism) more easily. By that time the Great Academy in Belgrade had been in operation for decades (since 1808).

The Akkerman Convention (1828), the Treaty of Adrianople (1829) and finally, the Hatt-i Sharif (1830), formally recognized the Principality of Serbia as a vassal state with Miloš Obrenović I as its hereditary Prince.

Gallery

See also

Timeline of the Serbian Revolution
Principality of Serbia
Military history of Serbia
List of Serbian–Ottoman conflicts
 Battles of Batočina and Jagodina (23–27 March 1804)
 Battle of Drlupa (April 1804)
 Battle of Ivankovac (August 1805)
 Battle of Mišar (12–15 August 1806)
 Battle of Deligrad (December 1806)
 Siege of Belgrade (November–December 1806)
 Liberation of Belgrade (1807)
 Ičko's Peace'' (13 July 1806 – January 1807)
 Battle of Loznica (1807)
 Russian–Serbian Alliance (10 July 1807)
 Kruščica Rebellion (12 July 1808)
 Battle of Čegar (31 May 1809)
 Battle of Suvodol (late May 1809)
 Battle of Varvarin
 Battle of Loznica (17–18 October 1810)
 Hadži Prodan's Revolt (mid–September 1814)

References

Sources

Revolution
19th-century revolutions
Serb rebellions against the Ottoman Empire
Mahmud II

Serbian Revolution


Jacob J. Shubert (c. 1879 – December 26, 1963) was an American theatre owner/operator and producer and a member of the famous theatrical Shubert family.

Biography
Born in Vladislavov, in  the Suwałki Governorate of Congress Poland, a part of the Russian Empire (present-day Kudirkos Naumiestis, Lithuania), (according to his obituary, he was born in Syracuse) he was the sixth child and third son of Duvvid Schubart and Katrina Helwitz, a Jewish couple. Jacob was still a small child when the family emigrated in 1881 to the United States, settling in Syracuse, New York where a number of Jewish families from their hometown  were already living.

His father's alcoholism kept the family in difficult financial circumstances and both he and his older brothers received little in the way of education and had no choice but to go to work at a young age. With borrowed money, he and brothers Sam and Lee Shubert eventually embarked on a business venture that led to them becoming the successful operators of several theatre houses in upstate New York.

The Shubert brothers decided to expand their theatrical operations and in 1900 Sam and Lee Shubert moved to New York City leaving Jacob at home to manage their existing theatres. In New York, the elder Shuberts laid the foundations for what was to become the largest theatre empire in the 20th century including Broadway's Winter Garden and Shubert Theatres.  In 1905 Sam Shubert was traveling to Pittsburgh, Pennsylvania on business when the passenger train he was on collided with several freight cars.  Shubert died as a result of the injuries he sustained.  His death changed the brothers' business dynamics and Jacob assumed a much larger role.

Together, although often feuding, Jacob and Lee Shubert overcame the stranglehold on the industry by the Theatrical Syndicate's monopoly under Abe Erlanger and Mark Klaw to build the largest theatre empire in the 20th century.

Jacob Shubert's son, John, took over as head of the operations in the 1950s but died unexpectedly on November 17, 1962 and a year later, Jacob died around age 84. Jacob apparently was not made aware of his son's death. He was divorced from his wife, Katherine, in 1917, but was married to Muriel at the time of his death.  He was interred in the family plot in the Salem Fields Cemetery in Brooklyn, New York.

He left a substantial portion of his assets to the Shubert Foundation, and by 1972, the assets of his estate totalled $60 million.

References

Further reading
 Jonas Westover (2017).  The Shuberts and Their Passing Shows: The Untold Tale of Ziegfeld's Rivals, Oxford University Press

External links

"Who's Who in Musicals", John Kenrick, musicals101.com
  Shubert Organization
  Shubert Foundation biography

1870s births
1963 deaths
People from Kudirkos Naumiestis
People from Suwałki Governorate
Lithuanian Jews
Emigrants from the Russian Empire to the United States
American people of Lithuanian-Jewish descent
American theatre managers and producers
Businesspeople from New York City
Businesspeople from Syracuse, New York
Shubert Organization
Burials at Salem Fields Cemetery

Jacob J. Shubert


Bunning v Cross [1978] HCA 22, 141 CLR 54 (HCA), is an Australian evidence law case, in which the admissibility of improperly gained evidence is examined. Like the similar R v Ireland (1970) 126 CLR 321, Bunning v Cross, the ruling of the High Court of Australia has been formulated as an exclusionary rule, namely the onus is on the accused to prove the misconduct and justify exclusion, and is known as the Bunning discretion (cf. Ireland discretion).

Facts
Mr. Bunning was charged under s. 63 (1) of the Road Traffic Act, 1974 with having driven a car "whilst under the influence of alcohol to such an extent as to be incapable of having proper control of it". Burton SM dismissed the charge, holding that the evidence of the result of a breathalyzer test was inadmissible because the police officer's requirement that the applicant undergo the test was unlawful.

The respondent (i.e., Cross, the prosecutor) sought and obtained an order to review from the Supreme Court of Western Australia under the Justices Act 1902 (WA), as amended. The relevant provisions (ss. 197, 198, 205, 206, 206A and 206F) are set out in the judgment of the Chief Justice. Jones J heard the return to the order and decided that the evidence was admissible but that, in the circumstances, the magistrate was entitled in his discretion to admit or to reject it. Jones J declined to direct that the evidence should be admitted, but expressed the view that, if he were to decide the question for himself, he would admit it. He then made an order directing the magistrate to rehear the case and to determine it "in accordance with this judgment and according to law". This can only mean (and s. 206F makes this clear) that the magistrate was bound to follow Jones J's directions.

Burton SM reheard the case, treated the evidence of the breathalyzer test as admissible, and, in his discretion, rejected the evidence. He then dismissed the charge for the second time.

The respondent sought and obtained another order to review on the ground that the magistrate had not properly exercised his discretion. The Full Court (Lavan and Brinsden JJ, Burt CJ dissenting) held that the discretion was not properly exercised. Burt CJ held that the magistrate took into account all relevant matters. Lavan J took the view that Mr. Burton had not taken into account all relevant considerations and directed that he should reconsider the exercise of discretion. Brinsden J considered that the magistrate was bound to admit the evidence and thought the result should be a conviction. None of the justices of the Full Court was willing to exercise the discretion to admit or exclude the evidence, and none was willing that the Full Court should convict (although urged to do so by the respondent). They also refrained from directing the magistrate to convict.

Judgment

Majority opinion
Barwick CJ authored a concurring opinion, and Stephen and Aickin JJ co-authored a concurring opinion. The majority ruled for the applicant, the prosecutor, and ordered the case to be remitted to the magistrate, who was directed to convict the respondent and impose upon the respondent an appropriate penalty.

Dissenting opinion
Jacobs and Murphy JJ both authored individual dissenting opinions.

References

Evidence case law
High Court of Australia cases
1978 in Australian law
1978 in case law

Bunning v Cross


Sylvester Patrick "Silver" Quilty (February 8, 1891 – December 2, 1976) was a Canadian football player, referee, coach and sport administrator. As a player, he won the Yates Cup in 1907 with the Ottawa Gee-Gees football team, and was credited as the first man to play the flying wing position. He also played with the Ottawa Rough Riders, and the McGill Redmen football team. After his playing career, he became a football referee and officiated the 10th Grey Cup, and also coached the Ottawa Rough Riders.

Quilty was later involved in building ice hockey in the Ottawa area, then served as president of the Canadian Amateur Hockey Association from 1924 to 1926. He sought to implement uniform playing rules across Canada, and helped bridge disagreements between the provincial hockey associations. He was the father of National Hockey League player Johnny Quilty, was inducted into the Canadian Football Hall of Fame in 1966, and into Canada's Sports Hall of Fame in 1975.

Early life
Quilty was born February 8, 1891, near Renfrew, Ontario. He detested his birth name Sylvester, and preferred to be known as Silver. He began playing football while attending the Renfrew Collegiate Institute.

Football playing career
At age 16, Quilty enrolled at the University of Ottawa, and joined the Ottawa Gee-Gees football team coached by Father William Stanton. Quilty went on to play with the Gee-Gees football team from 1907 to 1912. In the 1907 season, Quilty played the outside wing position on the team which won the intercollegiate football championship, and the 1907 Yates Cup title. In the 1908 season, Quilty became the first man to play in the flying wing position, when it was created by Father Stanton that season. Quilty was also the team's kicker and main ball carrier for the 1908 and 1909 seasons.

Quilty served as the captain of the Ottawa team for the 1911 season. He graduated from University of Ottawa in 1912 with a Bachelor of Arts degree. On September 12, 1912, it was announced that Quilty would study to become a priest at the Montreal Seminary. On September 23, 1912, Quilty returned to play in Ottawa for the 1912 season, instead of studying at the seminary. Later that month, Queen's University denied a statement that it had offered Quilty free tuition to play for the Queen's Gaels football team.

Quilty played the 1913 season with the Ottawa Rough Riders under his old coach Father Stanton, but his team failed to reach the playoffs. He joined the McGill Redmen football team for the 1914 season, who were the defending intercollegiate champions. Quilty also enrolled at McGill University to study medicine. In the 1914 Yates Cup championship game, Quilty scored two touchdowns. The second touchdown included 109 yards gained in seven consecutive plays from his own one-yard line, but McGill lost the game to the Toronto Varsity Blues football team on a last-minute fumble in its end zone.

In 1912, the Winnipeg Free Press called Quilty "one of the greatest line plungers in the game". In 1930, The Globe and Mail said that. "in his playing days before the war, Quilty was the Lionel Conacher of his time". In a 1966 interview with The Canadian Press, Quilty recalled his playing days by saying, "we often used to make up our plays on the spur moment, right on the field during a game. The coach directed the team in practice and set up some basic plays but he didn't have much to do once a game started". Quilty also felt that modern football was more of a coaches' game, and said "but one thing hasn't changed with the years, to play football well you've got to have your heart in it".

Later football career
Quilty worked as a Canadian football referee for five seasons after his playing days. He officiated football for two seasons with the Canadian Interuniversity Athletic Union (CIAU), and then three seasons with the Interprovincial Rugby Football Union (IRFU). He is credited with officiating one or two Grey Cup games depending on the source. The Canadian Press states that he was the referee in control of the 10th Grey Cup played in 1922, whereas an interview with Bob McKenzie specifically mentions that he refereed two Grey Cup games in the 1920s. Canada's Sports Hall of Fame credits him with occasional refereeing "well into the 1920s", and being requested by various teams.

Quilty also served on the rules committee for the CIAU and the IRFU. He later served as the president of a local Ottawa football organization.

Quilty coached the Ottawa St. Brigid's team in the Ontario Rugby Football Union from 1917 to 1919, then coached the Ottawa Rough Riders in the IRFU during the 1920 and 1923 seasons. Quilty chose to remain in a coaching role only, despite requests to be a player-coach.

Hockey administrator
Quilty was the founding president of the Ottawa District Hockey Association (ODHA) in 1920, which soon affiliated with the national governing body, the Canadian Amateur Hockey Association (CAHA). He raised the profile of hockey in Eastern Ontario, and was a voice in favour of amateur hockey. He was subsequently elected vice-president of the CAHA, serving in that role from 1922 to 1924.

Quilty succeeded Toby Sexsmith as president of the CAHA at the annual meeting in Toronto, on March 29, 1924. Quilty was immediately faced with branches of the CAHA resigning due to disagreements on rules of play, and set up a committee to look into uniform rules of play across Canada, in cooperation with the three existing professional leagues. The CAHA also examined whether to alter its practice of rotating hosting duties for the Allan Cup and Memorial Cup series between Eastern and Western Canada, depending on where the final series of the Stanley Cup was held in any given year. Other changes discussed included setting a deadline for provincial championships to be completed as part of inter-provincial playoffs; the adoption of the Ontario Hockey Association's protest policy as its own, and limiting the size of blades on hockey skates to be 14 inches. The CAHA also continued the practice of using profits from the Allan Cup playoffs to cover expenses of the Canada men's national ice hockey team.

In January 1925, Quilty appointed a special committee to review the amateur playing rules in the continued interest of uniformity and safety. In February 1925, he confirmed that the 1925 Allan Cup remained scheduled for Winnipeg, despite the 1925 Stanley Cup Finals being played in Western Canada. Quilty also confirmed that districts were voting on whether to make the Allan Cup final a best two-out-of-three series, or remain two-game total-goals series. Quilty announced Allan Cup and Abbott Cup schedules as a two-game series for 1925, but later switched the Allan Cup playoffs to a best-of-three series due to public demand. In March 1925, Quilty ordered an intermediate one-game playoff between Fort Frances and the Manitoba champion, but the Manitoba Association refused to play citing that no provision existed for inter-provincial intermediate playoffs.

Quilty was unanimously reelected president of the CAHA on March 25, 1925, at the annual general meeting held in the Fort Garry Hotel in Winnipeg. Also at the meeting, the CAHA agreed to award individual medals to team members of Allan Cup and Memorial Cup champions. The Allan Cup, and the J. Ross Robertson Cup series were changed to be a best-of-three series. The CAHA established the T. B. Patton Cup as the championship for Western Canada senior teams. Quilty and the CAHA were lauded at a banquet for progress made in working out the differences between east and west in Canadian amateur hockey.

The general meeting also saw the CAHA cancel its alliance with the United States Amateur Hockey Association (USAHA) due to persistent disagreements, but Quilty still allowed CAHA teams to play against American colleges not affiliated with the USAHA. The decision was consistent with a ruling earlier that month when Quilty approved exhibition games for Canadian teams against American high schools. The CAHA also updated residency rules, where a player must be a resident of the place he wishes to play in by May 15, and that player registrations must be filed with CAHA within 15 days of registration with the branch. The CAHA discussed uniformity of playing rules in co-operation with National Hockey League president Frank Calder. Proposed rule changes discussed included elimination of the offside rule at centre ice, substitution of players while game is in progress, allow kicking of the hockey puck, reduce the size of ice hockey goaltending equipment, and to allow only two defenders behind the blue line.

On March 18, 1926, Quilty declared a forfeit in the early rounds of the eastern Allan Cup playoffs in favour of the Ottawa Gunners from the Ottawa City Hockey League, when St. Francis Xavier of Montreal refused to play a sudden death game necessitated by time constraints caused due to delays in the previous round. Quilty was succeeded as the CAHA president on March 27, 1926, by Frank Sandercock from Calgary.

Quilty was the honorary president of the CAHA from 1926 to 1928. In that role, he was responsible to arrange the 1928 annual general meeting of the CAHA. He was also made an Allan Cup trustee after his term as CAHA president expired. In 1930, Quilty served on the executive of the Amateur Athletic Union of Canada, and was the chairman of its committee for affiliations and alliances for all amateur sports in Canada. In 1933, he received a medal from the CAHA as a past president.

Personal life

In his professional career, Quilty was an insurance company executive and a civil servant in Ottawa. He married Catherine Boyle in Ottawa, circa World War I. The couple had five children together, including three boys and two girls.

Quilty's mother Mary died May 14, 1935, at age 92, in Mount St. Patrick, Ontario. His brother J.J. died in October 1944; he had been dean of the Catholic Diocese of Pembroke, Ontario, and for 39 years was the parish priest of St. Michael's in Douglas, Ontario.

Quilty's son Johnny played in the National Hockey League for the Montreal Canadiens, and the Boston Bruins. Johnny Quilty won the Calder Memorial Trophy as the league's rookie of the year in the 1940–41 NHL season. Johnny Quilty grew up watching the original Ottawa Senators play at home, was the light-heavyweight boxing champion of the Ottawa Valley in 1939, and served in the military during World War II. Johnny Quilty died on September 12, 1969, at age 48.

Quilty died on December 2, 1976 in Ottawa. He was interred at Notre-Dame Cemetery in Ottawa, with his wife's family in section 20, lot 5043.

Honours
In 1966, Quilty was inducted into both the Ottawa Sport Hall of Fame, and the Canadian Football Hall of Fame. In 1973, he was inducted in the inaugural class of the Ottawa Gee-Gees Football Hall of Fame. Quilty attended the opening of the Canadian Football Hall of Fame building in Hamilton, Ontario on September 14, 1973, at a mass induction ceremony for all of the previous 38 inductees. In 1975, he was inducted into Canada's Sports Hall of Fame, and attended a mass induction ceremony on August 23, 1975, for previous inductees of the Hockey Hall of Fame and the Canadian Football Hall of Fame.

References

1891 births
1976 deaths
20th-century Canadian businesspeople
20th-century Canadian civil servants
Burials at Notre-Dame Cemetery (Ottawa)
Businesspeople from Ottawa
Canadian Amateur Hockey Association presidents
Canadian Amateur Hockey Association vice-presidents
Canadian Football Hall of Fame inductees
Canadian football officials
Canadian football people from Ottawa
Canadian people of Irish descent
Canadian sports builders
Canadian sports executives and administrators
Ice hockey people from Ottawa
McGill Redbirds football players
Ontario civil servants
Ontario Rugby Football Union players
Ottawa District Hockey Association executives
Ottawa Gee-Gees football players
Ottawa Rough Riders coaches
Ottawa Rough Riders players
Players of Canadian football from Ontario
Sportspeople from Renfrew County

Silver Quilty


The Royal College of Music is a conservatoire established by royal charter in 1882, located in South Kensington, London, UK. It offers training from the undergraduate to the doctoral level in all aspects of Western Music including performance, composition, conducting, music theory and history, and has trained some of the most important figures in international music life. The RCM also undertakes research, with particular strengths in performance practice and performance science.

With more than 900 students from more than 50 countries, the RCM is a vibrant community of talented and open-minded musicians. RCM professors are musicians with worldwide reputations, accustomed to working with the most talented students of each generation to unlock their artistic potential.

The college is one of the four conservatories of the Associated Board of the Royal Schools of Music and a member of Conservatoires UK. Its buildings are directly opposite the Royal Albert Hall on Prince Consort Road, next to Imperial College and among the museums and cultural centres of Albertopolis.

History

Background

The Royal College of Music was founded in 1883 to replace the short-lived and unsuccessful National Training School of Music (NTSM). The idea for the NTSM was initially proposed by the Prince Consort decades before the school opened.  Conservatoires to train young students for a musical career had been set up in major European cities, but in London the long-established Royal Academy of Music had not supplied suitable training for professional musicians: in 1870 it was estimated that fewer than ten per cent of instrumentalists in London orchestras had studied at the academy.

The NTSM opened in 1876, with Arthur Sullivan as its principal. Under Sullivan, a reluctant and ineffectual principal, the NTSM failed to provide a satisfactory alternative to the Royal Academy and, by 1880, a  committee of examiners comprising Charles Hallé, Sir Julius Benedict, Sir Michael Costa, Henry Leslie and Otto Goldschmidt reported that the school lacked "executive cohesion". The following year Sullivan resigned and was replaced by John Stainer. The original plan was to merge the Royal Academy of Music and the National Training School of Music into a single, enhanced organisation.  The NTSM agreed, but after prolonged negotiations, the Royal Academy refused to enter into the proposed scheme.

In 1881, with George Grove as a leading instigator and with the support of the Prince of Wales, a draft charter was drawn up for a successor body to the NTSM. The Royal College of Music occupied the premises previously home to the NTSM and opened there on 7 May 1883.  Grove was appointed its first director. There were 50 scholars elected by competition and 42 fee-paying students.

Early years
Grove, a close friend of Sullivan, loyally maintained that the new college was a natural evolution from the NTSM. In reality, his aims were radically different from Sullivan's. In his determination that the new institution should succeed as a training ground for orchestral players, Grove had two principal allies: the violinist Henry Holmes and the composer and conductor Charles Villiers Stanford. They believed that a capable college orchestra would not only benefit instrumental students, but would give students of composition the essential chance to experience the sound of their music. The college's first intake of scholarship students included 28 who studied an orchestral instrument. The potential strength of the college orchestra, including fee-paying instrumental students, was 33 violins, five violas, six cellos, one double bass, one flute, one oboe and two horns. Grove appointed 12 professors of orchestral instruments, in addition to distinguished teachers in other musical disciplines including Jenny Lind (singing), Hubert Parry (composition), Ernst Pauer (piano), Arabella Goddard (piano) and Walter Parratt (organ).

The old premises proved restrictive and a new building was commissioned in the early 1890s on a new site in Prince Consort Road, South Kensington. The building was designed by Sir Arthur Blomfield in Flemish Mannerist style in red brick dressed with buff-coloured Welden stone. Construction began in 1892 and the building opened in May 1894. The building was largely paid for by two large donations from Samson Fox, a Yorkshire industrialist, whose statue, along with that of the Prince of Wales, stands in the entrance hall.

Grove retired at the end of 1894 and was succeeded as director by Hubert Parry.

Later history
Parry died in 1918 and was succeeded as director by Sir Hugh Allen (1919–37), Sir George Dyson (1938–52), Sir Ernest Bullock (1953–59), Sir Keith Falkner (1960–74), Sir David Willcocks (1974–84), Michael Gough Matthews(1985–93) and  Dame Janet Ritterman (1993–2005). The College's current Director is Colin Lawson whose tenure began in July 2005.

The College's teaching professoriate numbers over 200 musicians, including internationally known figures like Dmitri Alexeev, Martyn Brabbins, Natalie Clein, Danny Driver, Martin Gatt, Chen Jiafeng, Jakob Lindberg, Mike Lovatt, Patricia Rozario, Brindley Sherratt, Ashley Solomon, Mark-Anthony Turnage, Maxim Vengerov, Roger Vignoles, Raphael Wallfisch and Errollyn Wallen as well as principals of the major London orchestras including the London Symphony, BBC Symphony, London Philharmonic and the Philharmonia.

Since its founding in 1882, the college has been linked with the British royal family. Its patron was Queen Elizabeth II. For 40 years Queen Elizabeth The Queen Mother was president; in 1993 Charles III (then Prince of Wales) became president.

Opened in 2016, the Royal College of Music's hall of residence, Prince Consort Village, provides accommodation for more than 400 students and with acoustically treated bedrooms and dedicated practise rooms.

The college is a registered charity under English law.

Curriculum
The college teaches all aspects of Western classical music from undergraduate to doctoral level. There is a junior department, where 300 children aged 8 to 18 are educated on Saturdays.

Partnership
Since August 2011, RCM has been collaborating with Nanyang Academy of Fine Arts, Singapore, and now offers both undergraduate and taught postgraduate degree programmes, jointly conferred by both institutions.

Performance venues
The RCM has a wide variety of concert venues including the Amaryllis Fleming Concert Hall, a 468-seat barrel-vaulted concert hall designed by Blomfield, built in 1901 and extensively restored in 2008–09. The Britten Theatre seats 400, and was opened by Queen Elizabeth II in 1986 and is used for opera, ballet, music and theatre. There is also a 150-seat recital hall dating from 1965, as well as several smaller recital rooms, including three organ-equipped Parry Rooms.

A £40 million development was completed in 2021 and the estate's footprint was almost doubled including the creation of two new performance spaces, the Performance Hall which seats 140 people, and the Performance Studio, an intimate venue for solo and chamber performance.

Royal College of Music Collections

The Royal College of Music Museum houses over 14,000 items, representing a range of music-making activities over a period of more than five centuries. Amongst instruments housed in the museum is a clavicytherium, thought to be the world's oldest surviving keyboard instrument, and the earliest known guitar. Following a £3.6million investment from Heritage Lottery Fund, the Museum underwent a major redevelopment in 2020-21.

Owing partly to the vision of its founders, particularly Grove, the RCM now holds significant Collection Materials, dating from the fifteenth century onwards. These include autograph manuscripts such as Haydn's String Quartet Op. 64/1, Mozart's Piano Concerto K491 and Elgar's Cello Concerto. More extensive collections feature the music of Herbert Howells and Frank Bridge and film scores by Stanley Myers. Among more than 300 original portraits are John Cawse's 1826 painting of Weber (the last of the composer), Haydn by Thomas Hardy (1791) and Bartolommeo Nazari's painting of Farinelli at the height of his fame. A recent addition to the collection is a portrait of the Russian composer Alfred Schnittke by Reginald Gray. 10,000 prints and photographs constitute the most substantial archive of images of musicians in the UK. The RCM's 600,000 concert programmes document concert life from 1730 to the present day. There are also more than 800 musical instruments and accessories from circa 1480 to the present.

Alumni

Since opening in 1882, the college has had a distinguished list of teachers and alumni, including most of the composers who brought about the "English Musical Renaissance" of the 19th and 20th centuries.

Students in the time of Stanford and Parry included Samuel Coleridge-Taylor, Gustav Holst, Ralph Vaughan Williams and John Ireland.  Later alumni include Louise Alder, Sir Thomas Allen, Benjamin Britten, Dame Sarah Connolly, Colin Davis, Sir James Galway, Gwyneth Jones, Rowland Lee, Neville Marriner, Anna Meredith, Hugh McLean, Tarik O'Regan, Gervase de Peyer, Trevor Pinnock, Anna Russell,  Dame Joan Sutherland, Mark-Anthony Turnage, Andrew Lloyd Webber, Julian Lloyd Webber, James Horner, Sir Reginald Thatcher, Michael Tippett and the guitarist John Williams.

Directors of the RCM
Sir George Grove (1882)
Sir Hubert Parry (1895)
Sir Hugh Allen (1918)
Sir George Dyson (1938)
Sir Ernest Bullock (1953)
Sir Keith Falkner (1960)
Sir David Willcocks (1974)
Michael Gough Matthews (1985)
Dame Janet Ritterman (1993)
Colin Lawson (since 2005)

Awards
Awards include ARCM (Associate), LRCM (Licentiate) and FRCM (Fellow).

Each year the Royal College of Music bestows a number of honorary degrees, memberships and fellowships on individuals who have made an exceptional contribution to life at the RCM and the wider musical community.

See also
 List of music museums

References

External links
Official website
Official YouTube channel
Virtual tour of the Royal College of Music provided by Google Arts & Culture

Royal colleges
Music schools in London
Higher education colleges in London
Performing arts education in London
Educational institutions established in 1882
Charities based in London
Museums in the City of Westminster
Music museums in London
1882 establishments in England
Arthur Blomfield buildings
Education in the City of Westminster
Universities UK

Royal College of Music


Named for, and located adjacent to the bay of the same name, Boundary Bay is a residential neighbourhood in the community of Tsawwassen (Delta, British Columbia, Canada). Directly south of the neighbourhood, and across the international border, is the residential neighbourhood of Maple Beach, Washington, in Point Roberts, Washington.   The traditional name of the location in the Downriver dialect of the Halkomelem language is Chiltinm or Chiltenm. The Boundary Bay Airport is a notable inclusion in this area.

References

Neighbourhoods in Delta, British Columbia

Boundary Bay, British Columbia


Pūloʻuloʻu, often called "kapu sticks", are symbols denoting the kapu of Hawaiian aliʻi (chiefs or royals) and symbolizing the deceased ancestors of the aliʻi. They are traditional symbols of authority which are used in modern times including the Seal of the State of Hawaii.

History
Pūloʻuloʻu are often called "kapu sticks". They were symbol of the authority and protection of the aliʻi (chiefs) of Ancient Hawaii and also represented the mana (spiritual power) of the aliʻi. It was made by wrapping bundles of kapa cloth on a stick. They were given ancestral names and placed in areas of prominence. They represented the ancestors of an aliʻi who had died and return from Po (heaven). The round shape denoted the shape of stars as seen from the traditional Hawaiian perspective. They often contain the relics of deceased ancestors such as bones, teeth, hair and other important remains. Their use as symbols of the kapu was introduced by Paʻao, a high priest (kahuna nui) from Kahiki.

The pūloʻuloʻu were often placed at the residence of the aliʻi, at a heiau (temple) and at the burial sites of the aliʻi. Whaling captain Alfred N. Tripp gave King Kalākaua a pūloʻuloʻu made of a narwhal tusk on the occasion of the king's 1883 coronation. The tusk, which measured seven feet two inches, was capped with a golden sphere and is currently displayed in the throne room of ʻIolani Palace between the two thrones of Kalākaua and Queen Kapiʻolani. The pūloʻuloʻu are also displayed at the Royal Mausoleum of Hawaii at Mauna ʻAla where they are placed in the chapel and where metal representations are placed outside the chapels and the crypts.

The coat of arms of the Hawaiian Kingdom and the seal of the State of Hawaii features the pūloʻuloʻu as a symbol of authority.

Gallery

See also
 Kāhili

References

External links

Hawaiian Kingdom
Hawaiiana
Hawaii culture
Hawaiian nobility
Hawaiian regalia

Pūloʻuloʻu


It's Him!... Yes! Yes! () is a 1951 Italian comedy film directed by Marino Girolami, Marcello Marchesi and Vittorio Metz. Sophia Loren was an extra in the film and appeared in the film under the name Sofia Lazzaro.

Plot
Fernando (Carlo Campanini) is the owner of a large department store, but suffers from recurring worrying dreams: he seems to successfully court saucy women, but just as he is about to win them over, a youngster comes on the scene and steals them from under his nose. One day a young shy Walter (Walter Chiari) turns up at the shop in search of work, and since he is almost identical to Fernando's dream rival, the latter thinks to send him packing but after some persuasion hires him.

Meanwhile, Fernando's daughter, Grazia (Isa Barzizza), falls in love with Walter at first glance and while hiding her kinship with his boss, begins to frequent him. Walter is hired at the department store and within two days he is a general manager; but Fernando's nightmares continue and he angrily tries to kill Walter. Even Grace, seeing his father's attitude, discharges him throwing him into despair. The doctor then submits Fernando to a session of psychological therapy, from which it emerges that the cause of these nightmares is a wrong done against Walter of which Fernando is responsible: the only way to solve the problem is to recover, giving back to Walter his role as director and imploring his forgiveness.

Clearly Walter does not know what is going on. He finds himself being tossed about here and there, now rejected by everyone, then courted. In the end, exhausted, Walter tries to escape but all the staff look for him and the situation is explained to him. Fernando gives him back his place. Even the beautiful Grazia returns to her senses and decides to marry him. Now, finally, nightmares can only be a bad memory.

Cast
Walter Chiari as Walter Milani
Isa Barzizza as Grazia
Carlo Campanini as Comm. Fernando
Enrico Viarisio as Sott. Furgoni
Nyta Dover as wife of Fernando
Fanfulla as the guardian
Lilia Landi as Nanda
Luigi Tosi as Rinaldo
Guglielmo Inglese as Vannozzi
Silvana Pampanini as herself
Sofia Lazzaro as an odalisque

Versions

The film was filmed in two versions. There is a French version of the film (released in 1953) with more daring shots including those with the future Sophia Loren, as an extra, who appears topless. Loren was 16 at the time of filming. During the filming of the harem scene, for the Italian version, the odalisques' breasts were covered with swimsuit tops. The director asked the actresses to put down their hands for the French version. This was to be especially for the French market, where censorship was less rigorous than in Italy.

References

External links

1951 films
1951 comedy films
Films scored by Nino Rota
1950s Italian-language films
Italian comedy films
Italian black-and-white films
1950s Italian films

Era lui... sì! sì!


The T. R. R. Cobb House built in 1842 is an historic octagon house originally located at 194 Prince Avenue in Athens, Georgia. On June 30, 1975, it was added to the National Register of Historic Places.

The original part of the home of Thomas Reade Rootes Cobb is a Greek Revival four-over-four "Plantation Plain" built about 1834. The house given in 1844 to Cobb and his new wife, Marion Lumpkin, as a gift from his father-in-law, Joseph Henry Lumpkin, the first Chief Justice of the Georgia Supreme Court. Cobb made additions to the house of new rooms, and by 1852, it had acquired its octagon shape and two-story portico. Cobb died in 1862, and his widow remained in the house until 1873 when she sold it. The house was maintained and the Cobb family was served by the two dozen enslaved people Cobb owned, who lived behind the main house.

Until 1962, the house was used for a variety of purposes including rental property, a fraternity house, and a boarding house. In 1962, the Archdiocese of Atlanta bought the house to use as the rectory and offices for St. Joseph Catholic Church. In the 1980s, the parish was planning to demolish the house, and the Stone Mountain Memorial Association stepped forward in 1984, bought it, and relocated it to Stone Mountain Park in 1985.

The restoration of the house never took place because of lack of funding, and the house sat for nearly twenty years. In 2004 the Watson-Brown Foundation bought the house and returned it to Athens in the spring of 2005. The Watson-Brown Foundation restored the house to its appearance of 1850; in 2008, the Georgia Trust gave their work its Preservation Award for excellence in restoration.

The house was delisted from the National Register in 1985, but was re-listed on July 23, 2013.

The house is now open as a house museum located at 175 Hill Street in Cobbham Historic District. The same foundation also operates other historic house museums in Georgia including Hickory Hill in Thomson and the May Patterson Goodrum House in Atlanta.

References

External links
 T. R. R. Cobb House - official site

Houses on the National Register of Historic Places in Georgia (U.S. state)
Houses in Athens, Georgia
Octagon houses in the United States
Houses completed in 1842
Museums in Clarke County, Georgia
Historic house museums in Georgia (U.S. state)
1842 establishments in Georgia (U.S. state)
Relocated buildings and structures in Georgia (U.S. state)
National Register of Historic Places in Clarke County, Georgia
Greek Revival houses in Georgia (U.S. state)

T. R. R. Cobb House


The Wilton Public and Gregg Free Library is the public library of Wilton, New Hampshire.  It is located in a Classical Revival brick building on Forest Street, near the north end of Wilton's downtown area.  The building was designed by the Boston, Massachusetts, firm of McLean & Wright, and built 1905-07.  It was a gift of David Almus Gregg, a local manufacturer of building parts; Gregg further gave the library an endowment in 1912.  It was listed on the National Register of Historic Places in 1982.

Description and history
The Wilton Public Library is located near the north end of Wilton's principal downtown thoroughfare, on the east side of Forest Street just beyond the junction of Main Street and Island Street.  It is a 2-1/2 story masonry structure, built out of red brick with limestone trim.  It is covered by a hip roof whose eave is studded with heavy modillion blocks.  The main facade is three bays wide, with a projecting center bay topped by a fully pedimented gable and fronted by four large Corinthian columns.  The outer bays house windows set in rounded-arch openings, with the openings surrounded by a keystoned arch, side pilasters, and a limestone balustrade below.  The main entrance is in the center bay, flanked by smaller columns set in antis which rise to an entablature.  Above this entablature is a large half-round transom with a keystoned arch.

David Almus Gregg was a native of Wilton who owned a successful building parts business in Nashua, manufacturing doors, window blinds, and window sashes.  Gregg was significantly involved in the design and construction of the building, providing the highest quality building materials and contractors to the project, which was estimated to cost $100,000 when completed in 1907.  He then followed up the building construction with an endowment for its care, given in 1912.

See also
National Register of Historic Places listings in Hillsborough County, New Hampshire

References

External links
Wilton Public Library

Libraries on the National Register of Historic Places in New Hampshire
Neoclassical architecture in New Hampshire
Libraries established in 1907
Libraries in Hillsborough County, New Hampshire
National Register of Historic Places in Hillsborough County, New Hampshire
Wilton, New Hampshire

Wilton Public and Gregg Free Library


Additions to Esther refer to several additional chapters to the Book of Esther found in the Septuagint. They are distributed among the conventional Book of Esther and are found in Catholic and Orthodox Bibles but generally not in ones used by Protestants. Some of the additions are: Mordechai's dream, his later interpretation of the dream in light of what happened to him in real life and details of the decree against the Jews.

Septuagint
Old Testament

Additions to Esther


Tin(IV) iodide, also known as stannic iodide and tin tetraiodide, is a chemical compound. Its chemical formula is SnI4. It contains tin and iodide ions. The tin is in its +4 oxidation state.

Properties
Tin(IV) iodide is a red-orange solid. It reacts with water to make hydriodic acid and tin(IV) oxide. It dissolves in organic solvents. It reacts with hydriodic acid to make the SnI62- ion.

Preparation
It is normally made by reacting iodine with tin. It can also be made by reacting tin(IV) oxide with hydriodic acid.

Related pages
Tin(II) iodide
Tin(IV) chloride

Tin compounds
Iodine compounds

Tin(IV) iodide


There is considerable dialectal variation in Turkish.

Turkish is a southern Oghuz language belonging to the Turkic languages. Turkish is natively and historically spoken by the Turkish people in Turkey, Cyprus, Bulgaria, Greece (primarily in Western Thrace), Kosovo, Meskhetia, North Macedonia, Romania, Iraq, Syria and other areas of traditional settlement which formerly, in whole or part, belonged to the Ottoman Empire. Turkish is the official language of Turkey, the de facto country of North Cyprus and is one of the official languages of Cyprus. It also has official (but not primary) status in the Prizren District of Kosovo and several municipalities of North Macedonia, depending on the concentration of Turkish-speaking local population. Modern standard Turkish is based on the dialect of Istanbul. Nonetheless, dialectal variation persists, in spite of the levelling influence of the standard used in mass media and the Turkish education system since the 1930s. The terms ağız or şive are often used to refer to the different types of Turkish dialects (such as Cypriot Turkish).

Balkan Turkish dialects

The Turkish language was introduced to the Balkans by the Ottoman Turks during the rule of the Ottoman Empire. Today, Turkish is still spoken by the Turkish minorities who are still living in the region, especially in Bulgaria, Greece (mainly in Western Thrace), Serbia, North Macedonia, and Romania. Balkans Ottoman Turkish dialects were first described at the beginning of the 20th century, and are called Rumelian—a term introduced by Gyula Németh in 1956. Németh also established the basic division between Eastern Rumelian and Western Rumelian group of dialects. The bundle of isoglosses separating the two groups roughly follows the Bulgarian yat border. The eight basic Western Rumelian Turkish features are:
 /ı/, /u/, /ü/ > /i/ word-finally
 the suffix -miş used for forming perfect (indefinite past) tense is not subject to vowel harmony, i.e. it is invariant
 /i/ > /ı/ in noninitial and closed final syllables
 /ö/ > /oa/, /o/ and /ü/ > /ua/, /u/ in many words
 generalization of one of two possible forms in suffixes with low vowel harmony
 /ö/ > /ü/ in about 40 words, usually in a syllable-initial position
 retention of Ottoman Turkish /ğ/ as /g/
 the progressive past participle ending is not -yor but -y
Additional features have been suggested such as the fronting of /k/ and /g/ to palatal affricates or stops, and the loss of /h/, especially in a word-initial position.

Rumelian Turkish dialects are the source of Turkish loanwords in Balkan languages, not the modern standard Turkish language which is based on the Istanbul dialect. For example, Serbo-Croatian kàpija/капија "large gate" comes from Rumelian kapi, not standard Turkish kapı. The Rumelian Turkish dialect is spoken in East Thrace, the European side of Turkey, in the provinces of Edirne, Kırklareli and Tekirdağ.

Cypriot Turkish dialect

The Turkish language was introduced to Cyprus with the Ottoman conquest in 1571 and became the politically dominant, prestigious language of the administration. In the post-Ottoman period, Cypriot Turkish was relatively isolated from standard Turkish and had strong influences from the Cypriot Greek dialect. The condition of exposure to Greek Cypriots led to a certain bilingualism whereby Turkish Cypriots' knowledge of Greek was important in areas where the two communities lived in mixed areas. The linguistic situation changed radically in 1974, when the island was divided into a Greek south and a Turkish north (Northern Cyprus). Today, the Cypriot Turkish dialect is being exposed to increasing standard Turkish through immigration from Turkey, new mass media, and new educational institutions.

Karamanli Turkish

Karamanli Turkish is a dialect spoken by the Karamanlide people who were a natively Turkish-speaking, Greek Orthodox community living in Central Anatolia prior to the population exchange and their deportation. It is verbally the same as the typical Central Anatolian dialect of Turkish but is written with the Greek alphabet.

Meskhetian Turkish dialect

The Meskhetian Turks speak an Eastern Anatolian dialect of Turkish, which hails from the regions of Kars, Ardahan, Iğdır and Artvin. The Meskhetian Turkish dialect has also borrowed from other languages (including Azerbaijani, Georgian, Kazakh, Kyrgyz, Russian, and Uzbek) which the Meskhetian Turks have been in contact with during the Russian and Soviet rule.

Syrian Turkmen dialect

Syrian Turkmens are a result of series of migrations throughout the history to the region either from Anatolia and the neighboring regions to the east or directly from Central Asia. The number of Turkmens in Syria is estimated to be up to a million, living mostly in the Turkmen Mountain region and north of Aleppo, but also in Homs and Quneitra Governorate. Under the rule of the Ba'ath party in Syria, the Turkmens suffered under a heavy assimilation policy and were forbidden to write or publish in Turkish. Due to the large area that Syrian Turkmen live, the dialects of these people vary according to the place they live. The Turkmens of the region surrounding Aleppo mostly speak a dialect similar to the Gaziantep and Kilis dialects of Turkish, while those living in the Turkmen Mountain region speak a dialect similar to the Turkish population of Hatay.

Romani Turkish dialect

The Romani people in Turkey speak their own Turkish dialect with some Romani words.

Danube Turkish dialect

The Danube Turkish dialect was once spoken by Turks inhabiting Ada Kaleh. It was based on Ottoman Turkish with Hungarian, Serbian, Romanian, and German words.

Turkish within the diaspora

Due to a large Turkish diaspora, significant Turkish-speaking communities also reside in countries such as Australia, Austria, Azerbaijan, Belgium, Canada, Denmark, El Salvador, Finland, France, Germany, Israel, Kazakhstan, Kyrgyzstan, the Netherlands, Russia, Sweden, Switzerland, Ukraine, the United Arab Emirates, the United Kingdom, and the United States. However, because of cultural assimilation of Turkish immigrants and their descendants in host countries, not all ethnic Turks speak the Turkish language with native fluency.

Anatolian dialects

There are three major Anatolian Turkish dialect groups spoken in Turkey: the West Anatolian dialect (roughly to the west of the Euphrates), the East Anatolian dialect (to the east of the Euphrates), and the North East Anatolian group, which comprises the dialects of the Eastern Black Sea coast, such as Trabzon, Rize, and the littoral districts of Artvin.

The classification of the Anatolian dialects of the Turkish language:

1. Eastern Anatolian Dialects
1.1.1. Ağrı, Malazgirt
1.1.2. Muş, Bitlis
1.1.3. Ahlat, Adilcevaz, Bulanık, Van
1.1.4. Diyarbakır
1.1.5. Palu, Karakoçan, Bingöl, Karlıova, Siirt
1.2.1. Kars (Yerli)
1.2.2. Erzurum, Aşkale, Ovacık, Narman
1.2.3. Pasinler, Horasan, Hınıs, Tekman, Karayazı, Tercan (partim)
1.2.4. Bayburt, İspir (excl. northern), Erzincan, Çayırlı, Tercan (partim)
1.2.5. Gümüşhane
1.2.6. Refahiye, Kemah
1.2.7. Kars (Azeri and Terekeme)
1.3.1. Posof, Artvin, Şavşat, Ardanuç, Yusufeli
22.214.171.124. Ardahan, Olur, Oltu, Şenkaya; Ahıska Turks (Georgia)
18.104.22.168. Tortum
220.127.116.11. İspir (northern)
1.4.1. Kemaliye, İliç, Ağın
1.4.2. Tunceli, Hozat, Mazgirt, Pertek
1.4.3. Harput
1.4.4. Elazığ, Keban, Baskil

2. Northeastern Anatolian Dialects
2.1.1. Vakfıkebir, Akçaabat, Tonya, Maçka, Of, Çaykara
2.1.2. Trabzon, Yomra, Sürmene, Araklı, Rize, Kalkandere, İkizdere
2.2.1. Çayeli
2.2.2. Çamlıhemşin, Pazar, Hemşin, Ardeşen, Fındıklı
2.3.1. Arhavi, Hopa, Kemalpaşa
2.3.2. Hopa (a little part)
2.3.3. Borçka, Muratlı, Camili, Meydancık, Ortaköy (Berta) bucak of Artvin (merkez)

3. Western Anatolian Dialects
 (3.0) TRT Turkish (Istanbul) - considered as "standard".
3.1.1. Afyonkarahisar, Eskişehir, Uşak, Nallıhan
3.1.2. Çanakkale, Balıkesir, Bursa, Bilecik
3.1.3. Aydın, Burdur, Denizli, Isparta, İzmir, Kütahya, Manisa, Muğla
3.1.4. Antalya
3.2. İzmit, Sakarya
3.3.1. Zonguldak, Devrek, Ereğli
3.3.2. Bartın, Çaycuma, Amasra
3.3.3. Bolu, Ovacık, Eskipazar, Karabük, Safranbolu, Ulus, Eflani, Kurucaşile
3.3.4. Kastamonu
3.4.1. Göynük, Mudurnu, Kıbrıscık, Seben
3.4.2. Kızılcahamam, Beypazarı, Çamlıdere, Güdül, Ayaş
3.4.3. Çankırı, İskilip, Kargı, Bayat, Osmancık, Tosya, Boyabat
3.5.1. Sinop, Alaçam
3.5.2. Samsun, Kavak, Çarşamba, Terme
3.5.3. Ordu, Giresun, Şalpazarı
3.6.1. Ladik, Havza, Amasya, Tokat, Erbaa, Niksar, Turhal, Reşadiye, Almus
3.6.2. Zile, Artova, Sivas, Yıldızeli, Hafik, Zara, Mesudiye
3.6.3. Şebinkarahisar, Alucra, Suşehri
3.6.4. Kangal, Divriği, Gürün, Malatya, Hekimhan, Arapkir
3.7.1. Akçadağ, Darende, Doğanşehir
3.7.2. Afşin, Elbistan, Göksun, Andırın, Adana, Hatay, Tarsus, Ereğli
3.7.3. Kahramanmaraş, Gaziantep
3.7.4. Adıyaman, Halfeti, Birecik, Kilis
3.8. Ankara, Haymana, Balâ, Şereflikoçhisar, Çubuk, Kırıkkale, Keskin, Kalecik, Kızılırmak, Çorum, Yozgat, Kırşehir, Nevşehir, Niğde, Kayseri, Şarkışla, Gemerek
3.9. Konya, Mersin

References

Bibliography

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Languages of Turkey
Turkic languages

Turkish dialects


Secondotto Palaeologus (also Otho or Ottone; died 16 December 1378) was the Margrave of Montferrat from 1372 to his death, the third of the House of Palaeologus-Montferrat. His name Secondotto may derive from his being the second Otto to rule Montferrat in his own right, though he would really be Otto III. More probably it is derived from Saint Secundus (San Secondo in Italian), the patron saint of Asti, which his father treated as the capital of the marquisate. The Otto may be in honour of Otto, Duke of Brunswick-Grubenhagen, a close ally of his father.

He was born around 1360 as the first son of John II and Isabella of Majorca. In December 1361, as part of a peace deal made between John II and Galeazzo II Visconti, co-lord of Milan, he was betrothed to the latter's four-year-old daughter Maria. The city of Asti, on which Galeazzo had also had designs, was to count as part of Maria's dowry, and Montferrat would be allowed to retain control of it. The peace was short-lived, however, as Maria died in the May of the following year.

He succeeded as a child of around 12, and ruled originally under the co-regency of his uncle Otto, Duke of Brunswick-Grubenhagen, and Amadeus VI of Savoy. His father's will had stipulated that he should remain under his uncle's tutelage until the age of 25; however Otto left for Naples in 1376 to marry Queen Joan I.

Weak and inept, Secondotto could not carry the weight of government which devolved on his shoulders with the absence of his uncle. Secondotto thus decided to marry Violante (2 August 1377), the daughter of Galeazzo II Visconti, and widow of Lionel of Antwerp, 1st Duke of Clarence, and affirm an alliance with that family against the House of Savoy, Piedmont and Achaea.

When Otto of Brunswick's brother attacked and seized Asti, Secondotto called in the aid of his father-in-law, who, with a huge force, retook Asti and maintained it under Milanese control. Secondotto realised at that juncture the danger of his Milanese alliance, but by then it was too late. He gathered a force and led it against the Milanese troops and was defeated. Probably out of fear, he retreated to an unknown destination. He died at Langhirano in the vicinity of Parma in obscure circumstances: he may simply have been the loser in a brawl (he was famously ill-tempered and violent), or he may have been assassinated by an agent of the Visconti. His body was carried to Parma and buried before the high altar of the cathedral.

When his uncle received news of his death, he returned at once to the margraviate to handle the succession. He placed Secondotto's brother John III on the Montferrat throne. Despite the involvement of Emperor-elect Wenceslaus, the negotiations which Otto opened with Gian Galeazzo over the recovery of Asti were fruitless.

Ancestry

Notes

14th-century births
1378 deaths
Palaiologos dynasty
Marquesses of Montferrat

Secondotto


The International Children's Festival at Wolf Trap was a youth-oriented festival dedicated to the performing, visual, and interactive arts. The festival is held each September at Wolf Trap National Park for the Performing Arts in Fairfax County, Virginia, which is the United States' only national park devoted solely to the performing arts. First conceived in 1971 as "International Children's Day", the festival provides opportunities for children to share aspects of their culture through the arts. The idea and impetus for the festival came from Joan C. Blair, also on the Fairfax County Arts Council. She convinced the founder of the Wolf trap National Park for Performing Arts, Catherine Filene Shouse, to support the festival.

The International Children's Festival is sponsored by the Arts Council of Fairfax County in cooperation with the Wolf Trap Foundation for the Performing Arts and the National Park Service. Proceeds from the annual festival support the educational programs and services of the Arts Council of Fairfax County. It is held annually in September, typically on the 3rd weekend of the month.  By the end of 2011, it was decided to conclude the tradition, amid financial issues.

Performances
The two-day weekend festival features many performers from several countries in musical and dance performances in four stages representative of their cultural heritage. The performers are dressed in traditional clothing and play many traditional songs which they dance to. Also featured are an Arts and Technology Pavilion with hands-on technology stations, international experiential tents where attendees can meet the international performers, learn the moves they saw on stage, and participate in craft projects to help them learn about international culture, and the Creative Kids Workshop featuring pavilions for hands-on arts projects and an instrument petting zoo.

Curriculum
An educational curriculum co-developed by the Arts Council of Fairfax County and Fairfax County Public Schools supports the learning opportunities available to students at the International Children's Festival. The curriculum is directed toward fifth grade classes and is also available for home-school and private school programs.

Each year since 1994, the Festival has been the designated fine arts field trip for the entire 5th grade population in Fairfax County Public Schools – resulting in over 13,000 students coming to Wolf Trap during the week to see and meet the featured performers. The year 2001 was a particularly interesting year for the festival as thousands of students were en route to Wolf Trap when the events of September 11, 2001 took place.

Community involvement
The Festival includes not only the featured international performers, but also dozens of Fairfax County and Washington DC metropolitan area arts organizations. In total, the festival features over 400 area performing and visual artists representing a diverse range of art forms, genres, and cultures. With the assistance of the community, each year free tickets, gifts, and snacks are provided to nearly 2,000 Washington DC area children and their families who would otherwise be unable to attend.

The International Children's Festival relies on over 3,500 volunteer hours from 700 volunteers from local corporations and service organizations. Volunteers for the actual festival must be at least 16 years of age and available to work a 3.5-hour shift.

For over 15 years, Bob McGrath from Sesame Street acted as host and consultant to the International Children's Festival.

References

External links
International Children's Festival Web Site

Tourist attractions in Fairfax County, Virginia
Children's film festivals in the United States
Film festivals in Virginia
Vienna, Virginia


Valley is a census-designated place and unincorporated community in Stevens County, Washington, United States. In the 2010 census the population was 146.

The town of Valley was named by Daniel C. Corbin. Mr. Corbin named the town Valley, because it is at the entrance to the Colville Valley. The Spokane Falls and Northern Railway was connected to Valley in 1889. D. C.Corbin set up a small building for a depot.

Most inhabitants of the area were across the valley to the west of the river near the Fort Walla Walla Fort Colville Military Road. Few came to the east side, where current Valley is located, due to the swampy areas around the river. The oldest home in Valley was built in 1885 by the Jarvis family. John C. Jarvis was the first postmaster of Valley from December 1889 to November 1893.

George Kulzer came to Valley in 1889 and built a store, Kulzer and Son. In 1908, fire destroyed the store, saloon, and livery stable. The store was rebuilt and continues to stand today. George Kulzer built a corduroy road across the valley towards Waitts Lake.

Valley was first platted 29 July 1891. In the early days, Valley had its own bank, electric generator plant, phone company, water company and feed mill, two hotels, a drug store and blacksmith shop.

Valley is located on Washington State Route 231  north of Springdale. Valley has a post office with ZIP code 99181.

Valley has an annual fair, the second Saturday of August. The emphasis is on creating an "old fashioned family atmosphere," and encouraging children and youth to learn and practice traditional craft, baking, and preservation skills.

References

Census-designated places in Stevens County, Washington
Unincorporated communities in Washington (state)
Census-designated places in Washington (state)
Unincorporated communities in Stevens County, Washington

Valley, Washington


Pet Sematary is a 1983 horror novel by American writer Stephen King. The novel was nominated for a World Fantasy Award for Best Novel in 1984, and adapted into two films: one in 1989 and another in 2019. In November 2013, PS Publishing released Pet Sematary in a limited 30th-anniversary edition.

Plot
Louis Creed, a doctor from Chicago, is appointed director of the University of Maine's campus health service. He moves to a large house near the small town of Ludlow with his wife Rachel, their two young children, Ellie and Gage, and Ellie's cat, Winston Churchill ("Church"). From the moment they arrive, the family runs into trouble: Ellie hurts her knee, and Gage is stung by a bee. Their new neighbor, an elderly man named Jud Crandall, comes to help. He warns Louis and Rachel about the highway that runs past their house, which is frequented by speeding trucks.

Jud and Louis quickly become close friends. Since Louis's father died when he was three, he sees Jud as a surrogate father. A few weeks after the Creeds move in, Jud takes the family on a walk in the woods behind their home. A well-tended path leads to a pet cemetery (misspelled "sematary" on the sign), where the children of the town bury their deceased animals. The outing provokes a heated argument between Louis and Rachel the next day. Rachel disapproves of discussing death, and she worries about how Ellie may be affected by what she saw at the "sematary." It is explained later that Rachel was traumatized by the early death of her sister, Zelda, from spinal meningitis—an issue that is brought up several times in flashbacks. Louis empathizes with his wife and blames her parents, who left Rachel at home alone with her sister when she died, for her trauma.

Louis himself has a traumatic experience during the first week of classes. Victor Pascow, a student who has been fatally injured in an automobile accident, addresses his dying words to Louis personally, even though the two men are strangers. On the night following Pascow's death, Louis experiences what he believes is a very vivid dream in which he meets Pascow's ghost, who leads him to the deadfall at the back of the "sematary" and warns him not to go beyond there. Louis wakes up in bed the next morning, convinced it was, in fact, a dream—until he finds his feet and bedsheets covered with dried mud and pine needles. Nevertheless, Louis dismisses the dream as the product of the stress he experienced during Pascow's death, coupled with his wife's lingering anxieties about the subject of death.

On Halloween, Jud's wife Norma suffers a near-fatal heart attack but makes a quick recovery thanks to Louis's help. Jud is grateful and decides to repay Louis after Church is run over outside his home around Thanksgiving. Rachel and the kids are visiting Rachel's parents in Chicago, but Louis frets over breaking the bad news to Ellie. Sympathizing with Louis, Jud takes him to the "sematary", supposedly to bury Church. But instead of stopping there, Jud leads Louis farther on to "the real cemetery": an ancient burial ground that was once used by the Miꞌkmaq Tribe. There, Louis buries the cat on Jud's instruction. In the aftermath Jud tells Louis under no uncertain terms to say nothing about the events that had transpired. The next afternoon, Church returns home; the usually vibrant and lively cat now acts ornery and, in Louis's words, "a little dead". Church hunts for mice and birds, ripping them apart without eating them. He also smells so bad that Ellie no longer wants him in her room at night. Jud explains the history of how he learned of the site and confirms that Church has been resurrected and that Jud himself once buried his dog there when he was younger; in addition, he reveals that his father knew of the place but had never been there due to his misgivings about the place. Louis, deeply disturbed, begins to wish that he had not buried Church there.

Several months later, two-year-old Gage is killed by a speeding truck. Overcome with despair, Louis considers bringing his son back to life with the help of the burial ground. Jud, guessing what Louis is planning, attempts to dissuade him by telling him the story of Timmy Baterman, the last person who was resurrected by the burial ground. Timmy Baterman was killed in action during World War II. Timmy's body was shipped back to the United States, and his father Bill buried Timmy in the burial ground. Timmy returned malevolent, terrorizing the people of the town with secrets that Jud asserts he had no earthly way of knowing. Timmy was stopped by his father, Bill, who killed Timmy and set their house on fire before shooting himself. Jud states that he believes that whatever came back was not Timmy, but a "demon" that had possessed his corpse. He concludes that "sometimes, dead is better" and states that "the place has a power... its own evil purpose", and that it may have caused Gage's death because Jud introduced Louis to it.

Despite Jud's warning and his own reservations about whether the course of action will bear out, Louis's grief and guilt spur him to carry out his plan. Ellie Creed becomes instinctually aware of the events through the nightmare visions and dreams, Rachel suspecting that Louis has been hiding something and out of fear calls Jud and tells him of the impromptu trip to Chicago and of Ellie's nightmares on the plane. Jud alarmed attempts to watch for Louis in order to dissuade him but ends up falling asleep on watch. Louis exhumes Gage's body from his grave and inters him in the burial ground. Gage is resurrected, entirely different from when he was alive. Now malicious in both his words and actions, he finds one of Louis's scalpels and kills both Jud and Rachel; Ellie reacts to the events in a mixture of horror, madness and terror through a combination of nightmares and panic attacks. Louis kills both Church and Gage with lethal injections of morphine from his medical supply stock.

Louis, driven completely insane by grief, burns the Crandall house down before returning to the burial ground with his wife's corpse, thinking that if he buries the body faster than he did Gage's, there will be a different result. One of his colleagues, Steve Masterton, notices him walking into the woods with Rachel's body. Steve, while fearful and concerned, is influenced by the power of the burial ground too, and even considers helping Louis bury Rachel, but the power loses interest in him, and Steve flees in terror and eventually moves away to St. Louis. Later, Louis sits indoors alone, playing solitaire, and Rachel's reanimated corpse walks up behind him and drops a cold hand on his shoulder, while its voice rasps, "Darling."

Background
In 1979, King was a "writer-in-residence" at the University of Maine and the house he was renting was adjacent to a major road where dogs and cats were often killed by oncoming trucks. After his daughter's cat was killed by a truck along that road, he explained the death of the pet to his daughter and buried the cat. Three days later, King imagined what would happen if a family suffered the same tragedy but the cat came back to life "fundamentally wrong".

He then imagined what would happen if that family's young son were also killed by a passing truck. He decided to write a book based on these ideas, and that the book would be a re-telling of "The Monkey's Paw" (1902), a short story by W. W. Jacobs about parents whose son resurrects after they wish for that to happen.

King has gone on record stating that of all the novels he has written, Pet Sematary is the one which genuinely scared him the most. The first draft was completed in May 1979.

Adaptations

Films
The first film adaptation, Pet Sematary, was released in 1989. Directed by Mary Lambert, it starred Dale Midkiff as Louis, Fred Gwynne as Jud, Denise Crosby as Rachel, Brad Greenquist as Victor, Miko Hughes as Gage, and twins Blaze Berdahl and Beau Berdahl as Ellie. King wrote the screenplay and had a cameo as a minister. Male actor Andrew Hubatsek portrayed Zelda because the filmmakers felt that a grown man playing a disabled, deformed teenage girl would make the character more hideous and frightening. The film received mixed reviews, but it was a commercial success. A sequel, Pet Sematary Two, was released in 1992.

A second film adaptation of the novel was released on April 5, 2019. Directed by Dennis Widmyer and Kevin Kölsch, the film stars Jason Clarke as Louis Creed, Amy Seimetz as Rachel Creed, John Lithgow as Jud Crandall, Jeté Laurence as Ellie Creed, and twins Hugo Lavoie and Lucas Lavoie as Gage Creed.

A prequel to the 2019 film was green-lit in February 2021 after producer Lorenzo di Bonaventura laid out plans for a prequel prior to the release of the 2019 film. Pet Sematary: Bloodlines, was released on October 6, 2023 as a Paramount+ exclusive movie. Taking place fifty years prior, the film follows a young Jud Crandall played by Jackson White.

On December 7, 2021, director Guillermo del Toro said that he would love to make his own version of Pet Sematary, saying, "You know the novel that I would have killed to adapt, and I know there's two versions of it, and I still think maybe in a deranged universe I get to do it again one day is Pet Sematary. Because it not only has the very best final couple of lines, but it scared me when I was a young man. As a father, I now understand it better than I ever would have, and it scares me a hundred times more." Del Toro also pointed out scenes from King's book that were left out of both film versions. "For me, the best scene in that book is when [Louis] opens Gage's coffin, and for a second he thinks the head is gone, because this black fungi from the grave has grown like a fuzz over the kid's face. [...] I think you cannot spare those details and think that you're honoring that book. One of the things I thought about Pet Sematary that we would do in post is when the dead return, when Gage returns, I'd spend an inordinate amount of money taking out the sheen from his eyes. So that the eyes are dull."

Radio

In 1997, BBC Radio 4 broadcast a dramatization of the story in six half-hour episodes, later re-edited into three hour-long episodes. It was adapted by Gregory Evans and starred John Sharian as Louis Creed, Briony Glassco as Rachel Creed and Lee Montague as Jud Crandall. The production was directed by Gordon House.

Music
The Ramones recorded a song of the same name as the theme for the 1989 film adaptation. It appeared on their album Brain Drain. It was later covered by the band Starcrawler for the 2019 film.

References

External links

1983 American novels
1980s horror novels
American horror novels
American fantasy novels adapted into films
American zombie novels
Fiction about cemeteries
Ghost stories
Novels about cats
Novels by Stephen King
Novels set in Maine
Novels set in Chicago
Doubleday (publisher) books
Novels about spirit possession
Novels adapted into radio programs
Fiction about resurrection
Third-person narrative novels

Pet Sematary


Kamarinskaya () is a traditional Russian folk dance, which is mostly known today as the Russian composer Mikhail Glinka's composition of the same name. Glinka's Kamarinskaya, written in 1848, was the first orchestral work based entirely on Russian folk song and to use the compositional principles of that genre to dictate the form of the music. It premiered on 15 March 1850. It became a touchstone for the following generation of Russian composers ranging from the Western-oriented Pyotr Ilyich Tchaikovsky to the group of nationalists known collectively as The Five and was also lauded abroad, most notably by French composer Hector Berlioz.

Traditional Kamarinskaya
According to musicologist Richard Taruskin, the traditional Kamarinskaya is "a quick dance tune" otherwise known as a naigrish, distinctive for its three-bar phrase lengths, which are played in an endless number of variations in moto perpetuo fashion by an instrumentalist. This tune usually accompanies a squatting dance often called a Kazatsky (especially since in the West it has been associated in romantic fashion with Cossacks) and is played traditionally by a fiddler, a balalika player or a concertina player

Kamarinskaya by Glinka
Mikhail Glinka composed his Kamarinskaya in 1848. It became famous as the first orchestral work based entirely on Russian folk song.

Composition
Glinka's Kamarinskaya is based on two themes, a slow bridal song, "Iz-za gor" (From beyond the mountains), and the title song, a naigrïsh. This second song is actually an instrumental dance played to an ostinato melody. This melody is repeated for as long as the dancers can move to it. Glinka begins with "Iz-za gor," then introduces Kamarinskaya as a contrasting theme. He uses a transition to return to the bridal song and show the contrast between the two themes. Another transition, this time using motifs from the bridal song, leads to the dance theme and the piece ends with the Kamarinskaya dance. As in traditional nagriish songs, Glinka uses three-bar phrase lengths throughout the fast sections of his composition.

The structure and mechanics of Kamarinskaya differ markedly from Western European compositional principles and in some ways are diametrically opposed to them. In a Western piece, after the first theme is introduced and harmony propels the music forward, it modulates to introduce a second theme in a contrasting musical key. The two themes then interact and the composition grows as an organic creation. Tension continues building as this thematic dialogue becomes increasingly complex. This dialogue or interchange eventually propels the piece to a climactic point of resolution. Kamarinskaya does not follow this pattern. Nor can it. The ostinato melody of the second song will not allow any motivic development without distorting the character of the piece. Glinka therefore uses the principle of repetition from folk song to allowing the musical structure to unfold. He repeats the theme 75 times, all the while varying the background material—the instrumental timbres, harmonization and counterpoint. This way, he preserves the original character of the dance and complements it with creative variations in the orchestral treatment. However, because there is no thematic growth, the music remains static. It does not move forward as a Western piece of music would.

Influence on Tchaikovsky
Pyotr Ilyich Tchaikovsky, who had received Western-oriented musical instruction from the Saint Petersburg Conservatory, had used folk songs in his student overture The Storm. However, in the early 1870s he became interested in using folk songs as valid symphonic material. Tchaikovsky's greatest debt in this regard was to Glinka's Kamarinskaya. He believed fervently that in Kamarinskaya lay the core of the entire school of Russian symphonic music, "just as the whole oak is in the acorn", as he would write in his diary in 1888.

Tchaikovsky's interest resulted in his Second Symphony, composed in 1872. Because Tchaikovsky used three Ukrainian folk songs to great effect in this work, it was nicknamed the "Little Russian" (, Malorossiyskaya) by Nikolay Kashkin, a friend of the composer as well as a well-known musical critic of Moscow. Ukraine was at that time frequently called "Little Russia". Successful upon its premiere, the symphony also won the favor of the group of nationalistic Russian composers known as The Five, led by Mily Balakirev.

For Tchaikovsky, Kamarinskaya offered a viable example of the creative possibilities of folk songs in a symphonic structure, using a variety of harmonic and contrapuntal combinations. It also offered a blueprint on how such a structure could be made to work, barring the potential for inertia or over-repetition. The development of the folk material, according to one biographer, is "the most heady potion Tchaikovsky ever brewed". Without Kamarinskaya, however, Tchaikovsky knew he would not have had a foundation upon which to build that finale.

See also
 Russian folk dance
 Music of Russia

References

Bibliography
 Brown, David, Tchaikovsky: The Early Years, 1840–1874 (New York: W.W. Norton & Company, 1978). .
 Brown, David, Tchaikovsky: The Final Years, 1885–1893, (New York: W.W. Norton & Company, 1991). .
 Figes, Orlando, Natasha's Dance: A Cultural History of Russia (New York: Metropolitan Books, 2002).  (hc.).
 Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995). .
 Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002). .
 Taruskin, Richard, On Russian Music (Berkeley and Los Angeles: University of California Press, 2009). .
 Warrack, John, Tchaikovsky Symphonies and Concertos (Seattle: University of Washington Press, 1969). Library of Congress Catalog Card No. 78–105437.

External links
 Glinka's Kamarinskaya at International Music Score Library Project.

Syllabus-free dance
Russian folk dances
Compositions by Mikhail Glinka
1848 compositions
Compositions for symphony orchestra

Kamarinskaya