Nathan Antunes (born 23 April 1988) in Sydney, Australia is best known as an Australian race car driver. Educated at Trinity Grammar School in Sydney, he has raced in a variety of classes throughout the world.

Racing career

Junior Karting
Antunes began his career in 1996 and was Goulburn Kart Club Champion in 1997, 1998 (midget karting) and 1999 (rookie karting).  He was also the North Shore Kart Club Champion and ACT Junior Sprint Classic Champion in 1998 and 1999

In 2001, Antunes made his first appearance in National Championships Junior National Light and placed 7th in the Junior Clubman NSW Championship.  In 2002 he placed 5th in the Junior ICA Australian Championship, 4th in the Junior Piston Port NSW Championship (Junior ICA) and 4th in the Junior Clubman NSW Championship improving on his 7th place the year before.
6
In 2003, Antunes placed 5th in the ICA Australian Championship and competed in the Formula 100 Light Australian Championships aged 14.  Unfortunately an accident in the semi-final of Clubman Light did not allow him to complete the season.

Formula Ford

Antunes began in Formula Ford after missing the first race of the season due to age licence restrictions.  He placed 5th in the NSW Championship in 2004.  He competed in one race in his home state of New South Wales at Oran Park Raceway.

Formula BMW

In 2005, Antunes moved to Europe to pursue his career and competed in the Formula BMW UK Championship. Antunes drove for Motaworld Racing finishing 7th in the championship and in the top 5 teams. The season included one win, 3 third placings and 3 pole positions.

Antunes also raced at the Formula BMW World Championship in Bahrain for Motaworld Racing.  He finished 5th – the highest finish for Motaworld racing to date – up from 18th place in qualifying.

Formula Renault

2006 saw Antunes step into Formula Renault car for the first time North European and European Series but did not race the full season.  Racing with Motopark Academy, Antunes raced at Circuit Zolder, also known as Circuit Terlaemen in Belgium, qualifying 23rd and finishing 14th.  He also raced in the Formula Renault 2.0 Northern European Cup at Motorsport Arena Oschersleben in Germany, Circuit de Spa-Francorchamps in Belgium and Nürburgring in Germany.

Antunes also tested at the World Series by Renault.

Formula 3

Antunes also competed in the Formula 3 Recaro Cup German Championship in 2006 with the HS Technik Motorsport team.  At three events Antunes placed eighth, sixth, fourth, third, first and retired due to car failure and took one pole position in six races.

Antunes also tested at the World Series by Renault.

GP2

On 30 October 2007, Antunes tested for Super Nova Racing at Paul Ricard Circuit in France.

Toyota Racing Series

Antunes competed in the Toyota Racing Series in New Zealand with Team European Technique owned by Trevor Sheumatk.  Trevor Scheumatk is the Managing Director of Track Tyres, the sole distributor of Michelin Racing Tyres in Australia and New Zealand. He placed 14th.

A1 Grand Prix

He made his A1 Grand Prix debut with A1 Team Australia in Shanghai, China in April 2008.  He drove in the Rookie sessions for the team, placing 7th and 8th in session 1 and 2 respectively.  This paced the team in 7th overall.

In Brands Hatch in May 2008, he again drove for the team in the Rookie sessions, notching up a 10th and an 8th place.

Career results

† Team result

Complete A1 Grand Prix results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

Complete Bathurst 12 Hour results

References

 A1GP Brands Hatch

External links

 Photos by Driver: Nathan Antunes
 NathanAntunes.com Official website

1988 births
Living people
Racing drivers from Sydney
Sportsmen from New South Wales
Formula Renault 2.0 NEC drivers
Formula Renault Eurocup drivers
A1 Grand Prix Rookie drivers
Formula BMW UK drivers
Toyota Racing Series drivers
A1 Team Australia drivers
A1 Grand Prix drivers
Motaworld Racing drivers
Motopark Academy drivers
Australian Endurance Championship drivers
Audi Sport drivers
People educated at Trinity Grammar School (New South Wales)
Racing drivers from New South Wales

Nathan Antunes


William H. Chafe (/ˈtʃeɪf/; born January 28, 1942) is an American historian, and currently Alice Mary Baldwin Professor Emeritus of History at Duke University in Durham, NC.

Career
Professor Chafe received his PhD from Columbia University in 1971, and is the author of numerous notable historical texts on United States history. Chafe's research interests focus on gender and racial equality. His publications include: Bill and Hillary: The Politics of the Personal (2012); The Rise and Fall of the American Century: The United States from 1890 to 2008 (2008); The Unfinished Journey: American Since World War II (Oxford University Press, 2006); Private Lives/Public Consequences: Personality and Politics in Modern America (Harvard University Press, 2005); Never Stop Running (Princeton University Press, 1998); The Paradox of Change: American Women in the 20th Century (Oxford University Press, 1991); Civilities and Civil Rights: Greensboro, North Carolina, and the Black Struggle for Freedom (Oxford University Press, 1981).

Civilities and Civil Rights: Greensboro, North Carolina, and the Black Struggle for Freedom won The First Annual Robert F. Kennedy Center for Justice and Human Rights Book award given in 1981 to a novelist who "most faithfully and forcefully reflects Robert Kennedy's purposes - his concern for the poor and the powerless, his struggle for honest and even-handed justice, his conviction that a decent society must assure all young people a fair chance, and his faith that a free democracy can act to remedy disparities of power and opportunity."

References

External links

Booknotes interview with Chafe on Never Stop Running: Allard Lowenstein and the Struggle to Save American Liberalism, January 30, 1994.

Living people
Year of birth missing (living people)
21st-century American historians
21st-century American male writers
Historians of the United States
Duke University faculty
Columbia University alumni
American male non-fiction writers

William Chafe


The Justice Center is a 1,100-seat multi-purpose arena in Asheville, North Carolina. It is home to the University of North Carolina at Asheville Bulldogs volleyball team and hosted the 2006 Big South Conference women's basketball tournament and 2008 men's tourney.

The Justice Center was replaced by the larger Kimmel Arena for use by UNC Asheville men's and women's basketball teams.  The Kimmel Arena was completed in 2011.

Men's Basketball Highlights
-1969-1971 played to capacity crowds in advancing to NAIA National Playoffs.
-1999-2000 completed the 6th largest comeback in NCAA Division I history by overcoming a 26-point deficit and beating Coastal Carolina

References

College basketball venues in the United States
Basketball venues in North Carolina
Sports venues in North Carolina
Indoor arenas in North Carolina
UNC Asheville Bulldogs basketball
Buildings and structures in Asheville, North Carolina
College volleyball venues in the United States
1963 establishments in North Carolina
Sports venues completed in 1963

Justice Center


Arundel Wrighte (1804–1887) was a colonist, first Postmaster of Launceston in Van Diemen's Land and founder of Box Hill, Victoria.  Arundel Wrighte first settled with his wife (née Upton) and family in Van Diemen's Land, where he was the first Postmaster of Launceston and was engaged in various business and pastoral pursuits.

He was one of the first unauthorized colonists in Melbourne and built a weatherboard home on the eastern side of the future city, despite warnings that he would have to move.  For nearly three years he waged a successful war of manoeuvre against the Superintendent Charles La Trobe, appealing over La Trobe's head to Governor Richard Bourke in Sydney, Wrighte managed to thwart La Trobe's efforts to evict him for much longer than should have been the case.

In 1838, Wrighte founded Box Hill by establishing his pastoral run, "Marionvale".  The stones from his original homestead now form the Pioneers' Memorial outside the town hall.

Wrighte also had pastoral interests in New South Wales.

References

(Sources: see Historical Records of Victoria - various documents.)

1804 births
1887 deaths
Settlers of Tasmania

Arundel Wrighte


The Golden Legend (Latin: Legenda aurea or Legenda sanctorum) is a collection of 153 hagiographies by Jacobus de Voragine that was widely read in Europe during the Late Middle Ages. More than a thousand manuscripts of the text have survived. It was likely compiled around 1259–1266, although the text was added to over the centuries.

Initially entitled Legenda sanctorum (Readings of the Saints), it gained its popularity under the title by which it is best known. It overtook and eclipsed earlier compilations of abridged legendaria, the Abbreviatio in gestis et miraculis sanctorum attributed to the Dominican chronicler Jean de Mailly and the Epilogus in gestis sanctorum of the Dominican preacher Bartholomew of Trent. When printing was invented in the 1450s, editions appeared quickly, not only in Latin, but also in almost every major European language. Among incunabula, printed before 1501, Legenda aurea was printed in more editions than the Bible and was one of the most widely published books of the Middle Ages. During the height of its popularity the book was so well known that the term "Golden Legend" was sometimes used generally to refer to any collection of stories about the saints. It was one of the first books William Caxton printed in the English language; Caxton's version appeared in 1483 and his translation was reprinted, reaching a ninth edition in 1527.

Written in simple, readable Latin, the book was read in its day for its stories. Each chapter is about a different saint or Christian festival. The book is considered the closest thing to an encyclopaedia of medieval saint lore that survives today; as such, it is invaluable to art historians and medievalists who seek to identify saints depicted in art by their deeds and attributes. Its repetitious nature is explained if Jacobus meant to write a compendium of saintly lore for sermons and preaching, not a work of popular entertainment.

Lives of the saints
The book sought to compile traditional lore about saints venerated at the time of its compilation, ordered according to their feast days. Jacobus de Voragine for the most part follows a template for each chapter: etymology of the saint's name, a narrative about their life, a list of miracles performed, and finally a list of citations where the information was found.

Each chapter typically begins with an etymology for the saint's name, "often entirely fanciful". An example (in Caxton's translation) shows his method:

As a Latin author, Jacobus de Voragine must have known that Silvester, a relatively common Latin name, simply meant "from the forest". The correct derivation is alluded to in the text, but set out in parallel to fanciful ones that lexicographers would consider quite wide of the mark. Even the "correct" explanations (silvas, "forest", and the mention of green boughs) are used as the basis for an allegorical interpretation. Jacobus de Voragine's etymologies had different goals from modern etymologies, and cannot be judged by the same standards. Jacobus' etymologies have parallels in Isidore of Seville's Etymologiae, in which linguistically accurate derivations are set out beside allegorical and figurative explanations.

Jacobus de Voragine then moves on to the saint's life, compiled with reference to the readings from the Roman Catholic Church's liturgy commemorating that saint; then embellishes the biography with supernatural tales of incidents involving the saint's life.

Medieval view of Muhammad
The chapter "St Pelagius, Pope and the History of the Lombards" begins with the story of St Pelagius, then proceeds to touch upon events surrounding the origin and history of the Lombards in Europe leading up to the 7th century when the story of Muhammad begins. The story then goes on to describe "Magumeth (Mahomet, Muhammad)" as "a false prophet and sorcerer", detailing his early life and travels as a merchant through his marriage to the widow Khadija, and goes on to suggest that his "visions" came as a result of epileptic seizures and the interventions of a renegade  Nestorian monk named Sergius. The chapter conveys the medieval Christian understanding of the beliefs of Saracens and other Muslims. It may be because of this long history that early copies of the entire work were sometimes referred to as Historia Lombardica.

Miracle tales of relics
Many of the stories also conclude with miracle tales and similar wonderlore from accounts of those who called upon that saint for aid or used the saint's relics. Such a tale is told of Saint Agatha; Jacobus da Varagine has pagans in Catania repairing to the relics of St. Agatha to supernaturally repel an eruption of Mount Etna:

And for to prove that she had prayed for the salvation of the country, at the beginning of February, the year after her martyrdom, there arose a great fire, and came from the mountain toward the city of Catania and burnt the earth and stones, it was so fervent. Then ran the paynims to the sepulchre of S. Agatha and took the cloth that lay upon her tomb, and held it abroad against the fire, and anon on the ninth day after, which was the day of her feast, ceased the fire as soon as it came to the cloth that they brought from her tomb, showing that our Lord kept the city from the said fire by the merits of S. Agatha.

Mary Magdalene's sea voyage

Sources

Jacobus carefully lists many of the sources he used to collect his stories, with more than 120 total sources listed; among the three most important are Historia Ecclesiastica by Eusebius, Tripartite History by Cassiodorus, and Historia scholastica by Petrus Comestor.

However, scholars have also identified other sources which Jacobus did not himself credit. A substantial portion of Jacobus' text was drawn from two epitomes of collected lives of the saints, both also arranged in the order of the liturgical year, written by members of his Dominican order: one is Jean de Mailly's lengthy Abbreviatio in gestis et miraculis sanctorum (Summary of the Deeds and Miracles of the Saints) and the other is Bartholomew of Trent's Epilogum in gesta sanctorum (Afterword on the Deeds of the Saints). The many extended parallels to text found in Vincent de Beauvais' Speculum historiale, the main encyclopedia that was used in the Middle Ages, are attributed by modern scholars to the two authors' common compilation of identical sources, rather than to Jacobus' reading Vincent's encyclopedia. More than 130 more distant sources have been identified for the tales related of the saints in the Golden Legend, few of which have a nucleus in the New Testament itself; these hagiographic sources include apocryphal texts such as the Gospel of Nicodemus, and the histories of Gregory of Tours and John Cassian. Many of his stories have no other known source. A typical example of the sort of story related, also involving St. Silvester, shows the saint receiving miraculous instruction from Saint Peter in a vision that enables him to exorcise a dragon:

In this time it happed that there was at Rome a dragon in a pit, which every day slew with his breath more than three hundred men. Then came the bishops of the idols unto the emperor and said unto him: O thou most holy emperor, sith the time that thou hast received Christian faith the dragon which is in yonder fosse or pit slayeth every day with his breath more than three hundred men. Then sent the emperor for S. Silvester and asked counsel of him of this matter. S. Silvester answered that by the might of God he promised to make him cease of his hurt and blessure of this people. Then S. Silvester put himself to prayer, and S. Peter appeared to him and said: "Go surely to the dragon and the two priests that be with thee take in thy company, and when thou shalt come to him thou shalt say to him in this manner: Our Lord Jesus Christ which was born of the Virgin Mary, crucified, buried and arose, and now sitteth on the right side of the Father, this is he that shall come to deem and judge the living and the dead, I commend thee Sathanas that thou abide him in this place till he come. Then thou shalt bind his mouth with a thread, and seal it with thy seal, wherein is the imprint of the cross. Then thou and the two priests shall come to me whole and safe, and such bread as I shall make ready for you ye shall eat.Thus as S. Peter had said, S. Silvester did. And when he came to the pit, he descended down one hundred and fifty steps, bearing with him two lanterns, and found the dragon, and said the words that S. Peter had said to him, and bound his mouth with the thread, and sealed it, and after returned, and as he came upward again he met with two enchanters which followed him for to see if he descended, which were almost dead of the stench of the dragon, whom he brought with him whole and sound, which anon were baptized, with a great multitude of people with them. Thus was the city of Rome delivered from double death, that was from the culture and worshiping of false idols, and from the venom of the dragon.

Jacobus describes the story of Saint Margaret of Antioch surviving being swallowed by a dragon as "apocryphal and not to be taken seriously" (trans. Ryan, 1.369).

Perception and legacy

The book was highly successful in its time, despite many other similar books that compiled legends of the saints. The reason it stood out against competing saint collections probably is that it offered the average reader the perfect balance of information. For example, compared to Jean de Mailly's work Summary of the Deeds and Miracles of the Saints, which The Golden Legend largely borrowed from, Jacobus added chapters about the major feast days and removed some of the saints' chapters, which might have been more useful to the Medieval reader.

Many different versions of the text exist, mostly due to copiers and printers adding additional content to it. Each time a new copy was made, it was common for that institution to add a chapter or two about their own local saints. Today more than 1,000 original manuscripts have been found, the earliest of which dates back to 1265.

Contemporary influences and translations
The Golden Legend had a big influence on scholarship and literature of the Middle Ages. According to research by Manfred Görlach, it influenced the South English Legendary, which was still being written when Jacobus' text came out. It was also a major source for John Mirk's Festial, Osbern Bokenam's Legends of Hooly Wummen, and the Scottish Legendary.

By the end of the Middle Ages, The Golden Legend had been translated into almost every major European language. The earliest surviving English translation is from 1438, and is cryptically signed by "a synfulle wrecche". In 1483, the work was re-translated and printed by William Caxton under the name The Golden Legende, and subsequently reprinted many times due to the demand.

16th-century rejection and 20th-century revival
The adverse reaction to Legenda aurea under critical scrutiny in the 16th century was led by scholars who reexamined the criteria for judging hagiographic sources and found Legenda aurea wanting; prominent among the humanists were two disciples of Erasmus, Georg Witzel, in the preface to his Hagiologium, and Juan Luis Vives in De disciplinis. Criticism among members of Jacobus' Dominican order were muted by the increased reverence towards the archbishop, which culminated in his beatification in 1815. The rehabilitation of Legenda aurea in the 20th century, now interpreted as a mirror of the heartfelt pieties of the 13th century, is attributed to Téodor de Wyzewa, whose retranslation into French, and its preface, have been often reprinted.

Editions and translations

The critical edition of the Latin text has been edited by Giovanni Paolo Maggioni (Florence: SISMEL 1998). In 1900, the Caxton version was updated into more modern English by Frederick Startridge Ellis, and published in seven volumes. Jacobus de Voragine's original was translated into French around the same time by Téodor de Wyzewa. A modern English translation of the Golden Legend has been published by William Granger Ryan,  and  (2 volumes).

A modern translation of the Golden Legend is available from Fordham University's Medieval Sourcebook.

See also
Piero della Francesca's The History of the True Cross
William Caxton
Pseudo-Abdias

References

Works cited

External links

Golden Legend Hathi Trust
The Golden Legend — William Caxton's Middle English version (not quite complete).
, William Caxton's text with missing page from St. Paul supplied.

Illustrations of The Golden Legend from the HM 3027 manuscript of Legenda Aurea from the Huntington Library
William Caxton's version (complete)

1260s books
13th-century Christian texts
13th-century Latin books
Books about Nero
Christian folklore
Christian hagiography
Christian iconography
Literature of the Dominican Order
Latin encyclopedias
Medieval literature
Medieval legends

Golden Legend


Salah El-Din Ahmed Mourad Zulfikar (, ; January 18, 1926 – December 22, 1993) was an Egyptian actor and film producer. He started his career as a police officer in the Egyptian National Police, before becoming an actor in 1956. He is regarded as one of the most influential actors in the history of Egyptian film industry. Zulfikar had roles in more than hundred feature films in multiple genres during a 37-year career, mostly as the leading actor, he was one of the most dominant leading men in the Egyptian cinema.

Zulfikar worked in theater throughout his career, playing celebrated theatrical roles. Late in his career, he had considerable success in television roles. He established his first film production corporation with elder brother Ezz El-Dine Zulficar in 1958. He ran his new business under the trade name of Ezz El-Dine Zulficar Films. In 1962, he founded Salah Zulfikar Films company and operated in Egypt and Arab world for almost 16 years. Through Zulfikar's two production companies, which he ran throughout his 20-year career as a film producer, he won numerous awards and the majority of his films were a box office success. In 1996, in the centenary of Egyptian cinema, ten of his films as an actor and five of his films as a producer were listed in the Top hundred Egyptian films of the 20th century.

He was one of Egypt's heroes in its battle against the occupation while serving in the police. His son, Egyptian entrepreneur Ahmed Zulfikar, mentioned in a 1994 press release that his father participated in the guerrilla war in Ismailia against the British in 1944, and his patriotism was without limits. Afterwards, Zulfikar volunteered in the Battle of Ismailia of 1952, and in the 1956 Suez War. He was awarded the medal of military duty (first class) from Egyptian President Gamal Abdel Nasser, in appreciation for his efforts in serving his country. After becoming an actor in 1956 and film producer in 1958. He started his career as a part-time actor with temporary permits from Ministry of Interior. Later, he went on to be a full time actor in late 1957. He appeared in feature films, short films, stage, television and radio serials. Zulfikar is one of the most famous artistic figures in Egypt and the Arab world. His contributions to film, television and stage as an actor and film producer earned him a worldwide reputation that made him one of the most influential middle eastern and Arab public figures in the 20th century.

Early life and education
Salah El-Din Ahmed Mourad Zulfikar was born on January 18, 1926, in El Mahalla El Kubra, Gharbia, to Ahmed Mourad Bey Zulfikar (1888-1945), a senior police commissioner in the Ministry of Interior, and his wife Nabila Zulfikar, a housewife. Zulfikar was the seventh of eight siblings. His father had a remarkable impact on his sons in terms of commitment, loyalty, integrity and self-reliance. His military background did not limit his family's interest in culture, arts and the Egyptian political life in general. His eldest brother, Mohamed, was a doctor and a businessman, two elder sisters were Soad and Fekreya. Another brother was Mahmoud, a filmmaker and a major figure in Egyptian film industry, graduated as an architect. His brother Ezz El-Dine was also a remarkable filmmaker and graduated as a military officer, Kamal was a military officer. His younger brother Mamdouh was a businessman.

Zulfikar excelled in his studies and was an athlete. He was one of Egypt's champions in boxing and won the King's Cup in featherweight in 1947. Besides boxing, he played shooting and he was an active player in the Police Academy football team. He initially joined the Faculty of Medicine, Alexandria University, to please his father, who wished Zulfikar to become a doctor like his grandfather. After his father became sick, he transferred his admission to the Police Academy so he could stay in Cairo beside his father. He graduated in 1946. Salah Zulfikar was appointed to the Menoufia Security Directorate and the Prisons Authority, specifically Egypt Prison, and also worked as a teacher at the Police Academy.

Police career
While studying in Police Academy, Zulfikar participated in the guerrilla war of Ismailia against the British forces in 1944. Zulfikar graduated in 1947, he was assigned immediately in Monufia Governorate Police force. A year later he was assigned in prison of Cairo which was responsible for prisoners including Anwar Sadat (President of Egypt in 1970) in 1947.  In 1949, Zulfikar started teaching and became a professor at the Police Academy. He was in charge of the unit of fresh students. He had a saying "the unit of fresh students is a manhood factory". He was a skillful officer known for his professionalism and high moral standards. In 1952 he volunteered to join the police unit in Ismaïlia which was under attack by the British Army. The Egyptian police force refused to hand over their weapons to the British forces, which led the British army to bring in tanks to capture the building. The ensuing battle of Ismailia was later commemorated and is now celebrated in Egypt on 25 January of every year as National Police Day. Zulfikar received a National Award of Honor for his bravery.

In 1956 Suez war, Zulfikar took the initiative leading 19 of his students in the Police Academy and volunteered as commandos resisting the tripartite attack by the British, French and Israeli armies. Zulfikar also received the Medal of Military Duty (first Class) from President Gamal Abdel Nasser for risking his life for his country with bravery and honor.

Acting career

Early career and first leading role
Zulfikar's elder brothers Ezz El-Dine Zulfikar and Mahmoud Zulfikar were film directors. During his free time he used to attend film shooting. In 1955, his brother, Ezz El-Dine, tried to convince Zulfikar to start acting but he refused for he thought it is an impossible idea due to the nature of his job as a police officer.

Finally under Ezz El-Dine's persistence, he agreed and was granted a temporary permit from the Minister of the Interior, which was headed at the time by Zakaria Mohieddin to take the leading role in Wakeful Eyes (Uyoun Sahrana), released in 1956. His second role was Hussein Abdel Wahed in Back Again (Rodda Qalbi) (1957), Zulfikar was a natural and his performance gained public passion. The next year, he was cast by Youssef Chahine for Jamila, the Algerian (Djamila) (1958). Zulfikar acted in both films with temporary permits.

After Zulfikar's success, he had to choose his career path. He asked the minister for resignation but instead was promoted to lieutenant colonel and granted an early pension for his impressive record.

1950s: breakthrough

His second movie after Wakeful Eyes was Ezz El-Dine Zulficar's Back Again (Rodda Qalbi) (1957), it was his first regional success, the film was telling the story of the Egyptian revolution of 1952 and became a yearly celebration on the Egyptian state television on every 23rd of July. The next year, Youssef Chahine chose him to share the lead with Magda in Jamila, the Algerian (Gameela) (1958), in which he played the role of Azzam. The film showed the struggle of the Algerian people against the French occupation during the Algerian War.

In 1959, Zulfikar starred in six films including Ezz El-Dine Zulficar's The Second Man (Elragol Elthani), and it earned him praise from Cairo critics. Followed by Hassan El Imam's Love and Adoration (Hob hatta El Ebada) alongside Taheyya kariokka. Zulfikar's acting earned favorable reviews.

Zulfikar's following role was in Light of the Night (Nour El Leil) alongside Mariam Fakhr Eddine. He played the lead in Forbidden Women (Nesaa Moharramat) (1959), a box-office hit alongside Huda Sultan. He portrayed the role of Ahmed, a playboy, and the film was full of romantic scenes, showing Zulfikar's potential in romance film genre. In the following film, he co-starred in his production debut; Among the Ruins (Bain Al Atlal), was a classical romance earning both critical and financial success. The commercial success of one film after another made him a bankable star.

1960s: stardom

Zulfikar's selection of diversified roles increased his popularity in Egypt and the Middle East. In 1960, he starred in Hassan El-Imam's I accuse (Eni Attahem), a thriller with Zulfikar sharing the lead with Zubaida Tharwat and Emad Hamdy, he portrayed the role of Salah the journalist. He starred in Niazi Mostafa's A Scrap of Bread (Louqmat Al-Aych) (1960) making good numbers in the box-office despite press predictions before the film's release. His next film was The Sacred Bond (Al Rubat Al Muqadas) (1960) alongside Sabah and Emad Hamdy earning him critical recognition from Cairo critics for both his role as an actor and a producer. He was paired with Soad Hosny for the first time in Hassan El Imam's Money and Women (Mal Wa Nesaa) (1960), the film was a commercial success which later encouraged both movie stars to make four more films together. In 1961, Zulfikar starred in six films, the romantic comedy; That's What Love Is (El Hubb Keda) alongside Sabah was a great box-office success. Mahmoud Zulfikar's Rendezvous with the Past (Maww'ed Maa El Maady) alongside Mariam Fakhr Eddine was a romantic classic making good numbers in the box-office. Another romance was A Storm of Love (A'sefa Min Al Hubb) (1961) co-starring Nahed Sherif in her first leading role. He played his first villain role in his career, starring in the commercial hit Me and my Daughters (Ana wa Banaty) (1961) alongside leading veteran actor Zaki Rostom supported by Nahed Sherif and Fayza Ahmed. The following years, Salah Zulfikar achieved success throughout the Middle East through multiple film genres. He shared the lead with Mariam Fakhr Eddine in horror box-office hit The Cursed Palace (Al-Qasr Al-Mal'oun) (1962). His next role was Mahmoud, playing the lead in The Comic Society for Killing Wives (Gama'eyat Qatl al-Zawgat al-Hazleya) (1962), a comedy with a supporting cast including Zahrat El-Ola, Hussein Riad, Marie Mounib, Zeinat Sedki, among others. The film achieved good numbers in the box-office. He was paired with Soad Hosny for the second time in Ezz El-Dine Zulficar's Appointment at the Tower (Maww'ed Fil-borg) (1962), the film was a box-office hit. In 1963, his role as Issa El Awam in Saladin the Victorious (El Nasser Saladin) by Youssef Shahine was praised. The same year, he played Doctor Hamooda in Mahmoud Zulfikar's Soft hands (El Aydy el Naema) (1963) with his performance earning him state's award for best actor in a leading role. The film was a participant in 14th Berlin International Film Festival in 1964. Zulfikar starred in A Husband on Vacation (Zogue fe Agaza), a romantic comedy in which he played the character of Essam Nour Eddine who became bored from his marriage life. The film was a commercial hit and provided Laila Taher her first ever leading role.In Italy, he played a role of an Egyptian police officer in the Italian film; Secret of the Sphinx (La sfinge sorride prima di morire - Stop Londra) (1964) directed by Duccio Tessari. After the film's release, Tessari asked Zulfikar to settle in Italy to earn better opportunities in Italian cinema but he refused and preferred to stay in Egypt. On stage, Zulfikar's debut was the 1964's A Bullet in the Heart (Rosasa Fil Qalb) alongside Laila Taher, it was based on Tawfiq Al-Hakim's novel under the same name. The play was shown for a whole year in Cairo theaters. The romantic drama; Dearer than my Life (Aghla Min Hayati) (1965) was successful and his performance is regarded as one of Zulfikar's greatest. It earned him state award for best actor in a leading role. In the following years, the film turned out to be a romantic classic and the two main characters of Ahmed and Mona became a symbol of love and affection among Egyptians.

The Fatin Abdel Wahab's romantic comedy trilogy; My Wife, the Director General (Mirati Moudir Aam) (1966). Followed by My Wife's Dignity (Karamet Zawgati) (1967), earning him state's award for best actor in a leading role for his performance. And My Wife's Goblin (Afreet Mirati) (1968), all three films alongside Shadia were financial and critical successes. In 1967, Zulfikar starred in the political play; Rubabikia (Robabeekya) (1967) alongside Taheyya Kariokka and Nabila Ebeid achieving critical and financial success. In 1968, Zulfikar shared the lead with Magda and Kamal El-Shennawi in Kamal El Sheikh's The Man Who Lost His Shadow (El Ragol El-lazi fakad Zilloh), the film earned critical recognition. In the next year, he starred in the comedy; Good Morning, My Dear Wife (Sabah El Kher ya Zawgaty El Azeeza) (1969). The film was a commercial hit in theaters in Egypt and the Arab world. This encouraged Zulfikar to give an opportunities to a new generation of actresses co-starring in his next films, such as Nelly, Mervat Amin and Naglaa Fathy.

1970s: bankable star

Exceeding a decade as a bankable star in Egypt and the Arab world, in the 1970s, Zulfikar was focused on commercial success. He starred in My Husband's Wife (Imra'at Zawgy) (1970), a box-office hit alongside leading actresses; Nelly and Naglaa Fathi. In the same year, he earned critical recognition from Cairo critics for his performance as Amin Akef in Kamal El Sheikh's political thriller Sunset and Sunrise (Ghroob wa Shrooq) (1970).

His next role was Fahmy in Virgo (Borj El-Athraa) (1970) with Zulfikar in the lead alongside Nahed Sherif, Adel Emam and Lebleba in the supporting roles. In the same year, he starred in the thriller; Eye of Life (Ain El Hayah) (1970), achieved good numbers in the box office. In 1971, he starred in the crime thriller; The Killers (El Qatala) by Ashraf Fahmy, a box office success in Egypt, he was paired with Faten Hamama in Henry Barakat's short film Witch (Sahira) (1971).

In his six films of 1972, he played diversified roles including Mohsen in A Call for Life (Da'wa Lil Hayah) (1972), co-starring Mervat Amin and Mahmoud El-Meliguy. In Lebanon, he was paired with Sabah for the sixth and last time in Paris and Love (Paris wal Hob) (1972), and the film was a commercial hit, the highest-grossing film in Lebanese theatres of the year, however it was received with mixed reviews by critics. He starred in Mahmoud Zulfikar's Featureless Men (Regal bila Malameh) (1972) alongside actress Nadia Lutfi, the film was shot in 1970, released two years later and made good numbers in the box-office. Zulfikar partnered with Soad Hosny for the fourth time in Those People of the Nile (Al Nass Wal Nil) (1972) directed by Youssef Chahine. On stage, Zulfikar played the role of a bachelor in the successful comedy; A Bachelor and Three Maidens (Azib Wa Talaat Awanes) (1972). In Syria, Zulfikar played the lead in the Syrian romance Memory of A Night of Love (Zekra Lailat Hubb) (1973) alongside leading actresses Nelly, Nabila Ebeid, Muna Wassef, and Hala Shawkat, the film was successful in Syrian and Lebanese theaters.In 1973, Zulfikar achieved box-office success in Egyptian theaters in his psychological drama The Other Man (Al Rajul Al Akhar) (1973) in which he was also the executive producer. In Mexico, he played the role of his fellow Egyptian King Horemheb alongside Geraldine Chaplin in the short film Nefertiti and Akhenaton (Spanish: Nefertiti y Aquentos) (1973) directed by Raúl Araiza. In 1974, Zulfikar starred in four films, he played a character of a man suffering from insomnia in 2-1-0 (Etnein Wahed Sefr) (1974). Followed by Dr. Nabil, the psychiatrist treating a bunch of young men with serious issues by taking them on a summer trip to start treatment in In Summer We Must Love (Fel Saef Lazem Neheb) (1974), a comedy co-starring Nour El-Sherif, Samir Ghanem, Magda El-Khatib, Abdel Moneim Madbouly, Lebleba and Madiha Kamel. In the same year, he starred in Dunya (1974), a drama co-starring Nelly, Mahmoud El-Meliguy and Saeed Saleh. In theater, he starred in Three Cards Hotel (Fondo' El Talaat Wara't) (1974), a comedy co-starring Samir Ghanem and George Sidhom. A villain role, was Hafez in The Guilty (Al Mothneboon) (1976). Passing a year from films, in 1977, Zulfikar starred in three television series: The Truth..That Unknown (Al Haqeeqa Thalek Al Maghool) co-starring Soher Al Bably, and Those Who Burn (Alatheen Yahtareqoon), both aired on Arabian television channels earning success throughout the Arab world. Followed by the famous TV miniseries; The Return of the Spirit (Awdat Al-Roh), aired in 1977 on Egyptian and Arab television networks, was based on Tawfiq Al-Hakim's 1933 novel under the same name, the miniseries was popular in Egypt and the Arab world, it is considered one of Zulfikar's most successful television works of his career. Back to films in the following year, he played the leading character of a police detective investigating a homicide in the crime thriller Desire and Price (Al Raghba Wal Thaman) (1978) a crime thriller alongside Shoukry Sarhan and Nahed Sherief.

In 1978, he starred in Roadless Traveller (Mosafer bila Tareeq) (1978), a commercial hit directed by Ali Abdel Khalek and despite the rich cast that included Mahmoud Yassin, Magda El Khatib, Mahmoud El-Meliguy, Gamil Ratib, Afaf Shoueib and Mohsen Sarhan, the film received low critical reviews. And in an unexpected role, Zulfikar played the role of Sarout, an angel who comes to Earth to try to save his fellow angel in Sin of An Angel (Khati'at Malak) (1979). On stage, he starred in One Wife is Enough (Zawga Waheda Takfi) (1979) co-starring Mohamed Negm and the play was a commercial success with low critical reviews. In 1979, he played the lead of the thriller police mystery Detective Inspector (Mofattesh El Mabaheth) alongside Laila Taher, he played the lead in his original job as a police officer, the role of Major General Mohie, a high-ranking police detective, and the series was aired in Egypt and throughout the Arab world.

1980s: another career peak
Zulfikar's films, television films and series continued to be successful during the eighties. Due to major alteration in Egyptian cinema in the 1980s, he focused generally on television becoming selective in his film roles. In 1980, he starred in the mystery series: Illusion and Truth (Al-Wahm W Al-Haqeeqa) playing the role of Gaafar Abel Geleel earning high ratings. He starred in the 1981 film; I'm Not Lying But I'm Beautifying (Ana La Aktheb Wlakenani Atajaml) sharing the lead as Rafik Hamdy, a famous writer and a father for the first time, a social drama alongside Ahmed Zaki, Athar El-Hakim, and Zahrat El-Ola. Followed by the dramatic film; Secret Visit (Zeyara Serreya) (1981), in which Zulfikar portrayed Judge Ismail, earning him the state's award for best actor in a leading role. His next role was Abdel Ghaffar Lotfy, playing the lead in; A Moment of Weakness (Lahzet Da'af) (1981), alongside Hussein Fahmy and Nelly. Zulfikar portrayed a complex character and his performance was glowingly reviewed by critics and the film made good numbers in the box-office. In 1982, he shared the lead with Nour El-Sherif in the crime thriller; The Peacock (El Tawoos) of Kamal El Sheikh, and it garnered critical and financial success, earning him the state's award for best actor in a leading role for his performance and for the second time in a raw. After his two consecutive awards, Zulfikar turned down many scripts and spent 1982 to 1985 away from films.

He played the lead in six television series including the 1982 thriller police mystery Dalia the Egyptian (Dalia El-Masreya) alongside Madiha Salem, Hassan Youssef, he played the lead as the director of the Egyptian intelligence service, the series was aired in Egypt and throughout the Arab world. In the same year, he played the lead in the drama Torment Journey (Rihlat Azab), the series was aired in Egypt and achieved high ratings. In 1983, he starred in the television miniseries; Flowers and Cactus (Zohoor W Ashwak) alongside Zahrat El-Ola, it gained high critical reviews but was aired only in Arab channels and was not aired in Egypt. In theatre, he starred in Hanan My Wife (Merati Hanan) (1984) achieving commercial and critical success. In 1984, he played the lead in the biggest joint Arab production of Arab television at the time; The Mirror (Al Miraya) television series making Salah Zulfikar the highest-paid actor in the Middle East, the historical drama miniseries featured a pan-Arab cast that included Hind Kamel, Samiha Ayoub, among others, and was aired on Arab television networks and was not aired in Egypt. Polific on stage as well and starring in five plays on Cairo theaters such as Possible? Not Possible (Ma'oul? La Ma'oul) (1985), sharing the lead with Huda Sultan earning both critical and financial success.

Zulfikar returned to films in 1985 upon Youssef Chahine's insisting request, on his fifth venture with Chahine, he played the role of the blind Cheikh Hassouna in Adieu Bonaparte (Wadaan bounapart) and the film was recognised by French critics in Cannes Film Festival. The next year, he starred in Please and Your Kindness (Min Fadlik Wa Ihsanik) (1986), a successful adaptation of Naguib Mahfouz's novel, with a supporting cast including Huda Sultan and Hesham Selim. His next role was Fadel Abu Al-Fadl; the wealthy man who spent almost everything he owned to build a huge villa and own a sports car in the comedy film; The Barefoot Millionaire (El Millionaira El Hafya) (1987), co-starring Hala Fouad, followed by the 1987 television series; Diplomatic Love (Al Hubb Fe Haqeeba Diplomacia), which was aired only on Arab television channels, supported by leading actors Laila Fawzi, Ahmed Mazhar, Mariam Fakhr Eddine, among others was well received by the Arab audience but was never aired on Egyptian television. In 1987, he played the role of Judge Abdel Hamid in Escape to Prison (El Horoob Ela El-Sign) (1987), co-starring Ahmed Marei and Elham Shahin achieving good ratings among the Egyptian audience.

1988 was a prosperous year in Zulfikar's cinematic career. He starred in four films and two TV movies including, Sorry for Bothering (Asef Lel Ezaag) (1988) written by Anis Mansour. A social drama film co-starring Raghda, and Love Also Dies (Al Hubb Aydan Yamoot) (1988), a romantic film featuring Safia El Emari and Ezzat El Alaili.
He starred in the popular socio-drama; Monsieur le Directeur (Elosta El-Moudir) (1988) with a supporting cast that includes Laila Taher, Mustafa Metwalli, among others. The film was popular with both audiences and critics. He shared the lead in Said Marzouk's commercial hit Days of Terror (Ayam El Ro'b) of 1988 playing the role of El Hag Abdel Raheem, the religious rich seller living in Al Hussein neighborhood, a crime thriller alongside Mervat Amin and Mahmoud Yassin. 1989 was a productive year for Salah Zulfikar with three films and two TV movies including the comedy; Mr. Aliwa's Apartment (Sha'et El Ostaz Aliwa) (1989) co-starring Laila Taher, and three television series such as the popular episodes of The Years' Reckoning (Hesaab El-Seneen), aired in Arab television.

1990s: TV massive success
Zulfikar's career was revitalized by his cheerful, good-natured performance in The Family of Mr Shalash (A'elat El Ostath Chalash) miniseries of 1990, it was an Egyptian and pan-Arab success, the series which later became one of Egypt's television classics, is considered one of Zulfikar's most successful television works of his career. His final theatre role was in The Earthquake (El Zelzal) (1990), a drama based on Mustafa Mahmoud's book with the same name achieving critical and financial success.

Back to box-office in 1991, he starred in the crime thriller Wicked Game (Lu'bat Al Ashrar) (1991) by Henry Barakat, the film was a commercial success with mixed critical reviews. He starred in the TV movies; Anything but my Daughter (Ela Ibnaty) (1992) written by Ihsan Abdel Quddus, and Minister in Plaster (Wazir fel Gebs) based on Fathy Ghanem's story in 1993, and both films earned him critical praise. His next and final villain role was El Hag Abdel Rahim, the drug dealer in the commercial hit; Flames of Vengeance (Laheeb Al-Intiqam), an action thriller alongside Nour El-Sherif and Lebleba.

Final roles
In television, Zulfikar's final role was the lead in The Final Return (El-Awda El-Akhira), aired on Egyptian television for the first time in 1993. In the same year, he acted in Road to Eilat, Nader Galal's The Terrorist and Ashraf Fahmy's Five-Star Thieves. These were his final cinematic roles. He appeared in a special appearance as Admiral Fouad Mohamed Abou Zikry, the Commander-in-chief of the Egyptian Navy in the war drama Road to Eilat (El Tareek ela Eilat). He played the role of Dr. Abdelmoneim the head of the family which the terrorist decided to hide in his house in The Terrorist (El Irhabi) which he could not continue filming. Zulfikar played the lead in Five-Star Thieves (Losoos Khamas Nogoom) as Galal Suleiman, an honest bank director dealing with a major fraud. All three films were released posthumously in 1994.

Film production career

1958–1962: Ezz El-Dine Zulficar Films
In 1958, Zulfikar and his brother Ezz El-Dine Zulficar established a film production corporation under the trade name of Ezz El-Dine Zulficar Films Company. He took over the administrative side. Zulfikar's film production career prompted him to resign from his post as the executive director of the Afro-Asian People's Solidarity Organisation in 1962.The Zulfikar brothers produced their first film; Among the Ruins (Bain Al Atlal) (1959) in which his portrayal of Ahmed earned praise from critics. The film was directed by Ezz El-Dine Zulficar and was commercially and critically successful, and was listed later in the Top 100 Egyptian films. Zulfikar co-produced and starred in the box office hit; The Second Man (Al Ragol Al Thani) (1959) of Ezz El-Dine Zulficar, featuring Salah Zulfikar in two roles alongside Rushdy Abaza, Samia Gamal and Sabah. In 1960, they produced Angel and Devil (Malaak wa Shaytan) starring Rushdy Abaza and directed by Kamal El Sheikh. The film was another breakthrough to Rushdy Abaza after his success in The Second Man. Followed by The Holy Bond (Al Rabat Al Moqaddas) (1960) starring Sabah, Salah Zulfikar, Emad Hamdy, and directed by his older brother Mahmoud Zulfikar, the film later became an Egyptian cinematic classic. Their next venture was Tewfik Saleh's Struggle of the Heroes (1962) (Sir'a Al-Abtal), which was later listed in the Top 100 Egyptian films.

1962–1975: Salah Zulfikar Films
In 1962, he established Salah Zulfikar Films Company, his own corporation, to produce feature films. Their goal was to focus on film sales, but as the founder stated in a 1969 television interview, aired on Channel 1 of the Egyptian television

Salah Zulfikar Films produced three films in the first year of operations. The newly born company's first venture was Ezz El-Dine Zulficar's Appointment at the Tower (Maww'ed Fil-Borg) (1962) including Salah Zulfikar and Soad Hosny and Fouad El-Mohandes in the leading roles. His next venture was Niazi Mostafa's I am the fugitive (Ana El Hareb) (1962) starring Farid Shawqi, followed by Letter from an Unknown Woman (Resala min Imra'a Maghoola) (1962) of Salah Abu Seif, starring Lobna Abdel Aziz and Farid Al-Atrash. All of which achieved box office success. Four years later, Salah Zulfikar Films produced his box office hit; My Wife, the Director General (Mirati Modeer Aam) (1966) directed by Fatin Abdel Wahab. It film did justice to the main female character and allowed her to be a director over men. The film was a commercial and critical success for Zulfikar as an actor and producer, and turned out to be a cinematic classic. He won the Egypt's best film producer award for 1966. The film won the best film award from the Egyptian Catholic Center for Cinema, and was later listed in the Top 100 Egyptian films. Another 1966 box-office hit was Zulfikar's Three Thieves (3 Losoos), the film tells three separate stories of three thieves waiting for a ruling from the judge, a role that was played by Yehia Chahine. Each story is describing the reasons why every character turned out to be a thief. And the three stories were written by Ihsan Abdel Quddous, and directed by three different filmmakers; "The gold Thief" (Sareq Al Dahab) by Fatin Abdel Wahab, "The bus thief" (Sareq Al-Autobus) by Hassan El-Imam, and "His aunt's thief" (Sareq Ameto) by Kamal El Sheikh. Zulfikar starred in a "The gold Thief" alongside Hind Rostom.

In 1969, Salah Zulfikar Films produced A Taste of Fear (Shey min El Khouf) starring Shadia and directed by Hussein Kamal, and it caused an uproar in Egypt at the time. The film was banned at first. But when Zulfikar took the film and watched it with the President Gamal Abdel Nasser, who watched the film for another time, he finally allowed its release in theatres. The award-winning film achieved financial and critical success in Egypt and the Middle East and was later listed in the Top 100 Egyptian films. In Lebanon, Zulfikar produced A Journey of Suffering (Rihlat Azab) (1972), a stylized horror melodrama directed by Lebanese film director Reda Meissar. Cast included Nahed Sherif, Tawfik El-Deken, and actors from Egypt, Syria and Lebanon. The film was mostly released in Syrian and Lebanese theaters, but was released as well in Egypt, and made financially good numbers. In 1973, he was the executive producer of a short film named The Death Song (Oghneyat El Moot) starring Faten Hamama and directed by Henry Barakat. The film discussed the issue of revenge in Upper Egypt and its consequences on the Egyptian people.

He worked as executive producer for The Other Man (Al Rajul Al Akhar) (1973), in which he also took the leading role. With an ensemble cast that includes Shams El-Baroudi, Zubaida Tharwat, Kamal El-Shennawi, and Emad Hamdy, the film was financially successful. Salah Zulfikar Films produced I Want A Solution (Oreed hallan) (1975) starring Faten Hamama and co-starring Rushdy Abaza. It was discussing the women's rights in divorce. The film achieved box office and critical success and contributed substantially in changing the personal status law in Egypt related to procedures in family courts, women's right to unilateral divorce and the establishment of a new family courts law in favor of women. It was Zulfikar's last film production and he won the state award for best producer for the second time, and later, this film was listed in the Top 100 films in the centenary of Egyptian cinema.

Death
Salah Zulfikar died of a sudden heart attack on Wednesday, December 22, 1993, at the Police Hospital in Cairo. His funeral ceremony was solemnly held from the Umar Makram Mosque in Tahrir Square in the presence of thousands, and he was buried in the Zulfikar family cemetery in the Imam al-Shafi'i area in Cairo.

Honours

Acting style
In 1965, Dearer than My Life critical reviews, Galil El-Bandary, wrote, "I could not have imagined that Salah Zulfikar could make me cry and make tears pour out of my eyes like hot water! Convincing, and he had found his role, which he kept dreaming of and happened!". Another 1965 Egyptian film critic reviewed in Al-Ghad newspaper on Dearer than My Life: "Salah Zulfikar played a character of a man in three different age stages in a smooth manner." In 1976, in Al Kuwait newspaper critical review: "He assured everyone that he's a camouflage actor who can play any kind of role." On his performance in I'm Not Lying But I'm Beautifying (1981), prominent film writer and critic Amir El-Amry reviewed: "Salah Zulfikar's performance in the film reflects his experience, confidence, extreme spontaneity, and ability to persuade, he's real, perfectly natural."

Mahmoud Qassem wrote: "Salah Zulfikar explained the character running between lightness and movement through a very simple and attractive performance", a 1999 critical review on Zulfikar's role in The Second Man (1959). "A cool guy who hides behind his humor a great deal of seriousness, courage, and optimism, whether in life or death." 2009 Khaleej magazine critical review on Zulfikar's performance in Jamila, the Algerian (1958).  Salah Zulfikar presented the character of Issa Al-Awam in a gentle and light manner that is likable and patriotic at the same time. Zulfikar is a handsome actor, exuding youth and vitality. Ashraf Tawfik reviewed on his performance in Saladin the Victorious (1963).

In 1975, Tharwat Abaza reviewed: "I cannot miss to congratulate Salah Zulfikar, for his top role, as well as a wonderful performance", on Zulfikar's performance in The Guilty (1975). Film critic Tarek El Shennawi stated: "Salah Zulfikar was able to prove that he is a genius and talented actor, he had multiple roles in drama, comedy and action, all of which he managed to master." interview aired on On E, 19 January 2021. "True talent never die, and the talent of Salah Zulfikar exploded with the most beautiful films, and he remained for the last day of his life working in film", Ahmed El-Samahi in Al-Ahram. "Zulfikar is significantly remembered for his role as a poor Arabic teacher who gradually introduces Mazhar to reality and responsibility." 2017 Egypt Today's critical review on Zulfikar's performance in Soft Hands (1963).

Awards
Zulfikar received numerous awards through his thirty seven-year career including his first State Award from the Ministry of Culture for Best Actor in leading role for his performance in Soft Hands (Al Aydy Al Naema) in 1963. He won the State Award for Best Actor in a leading role for his performance in Dearer than my life (Aghla Min Hatati) in 1965. The next year, he won the State Award for Best Producer of the year for My Wife, the Director General (Mirati Moudir Aam) (1966), which also received the Best Film Award from the Catholic Center Film Festival. He won the State Award for Best Actor in a leading role for his performance in My Wife's Dignity (Karamet Zawgati) in 1967. He won State Award for Best Producer of the year for I Want a Solution (Oridu Hallan) in 1975. Zulfikar received an honorary Certificate of Appreciation from President Anwar El-Sadat on Art Day in 1979. In 1981 and after fourteen years from his last state's award as an actor, he won the State Award for Best Actor in a leading role for his performance in Secret Visit (Zeyara Serreya). Next year, he won the state award of Best Actor for his performance in a leading role for his performance in The Peacock (El Tawoos) in 1982 for the second consecutive time. Later, in 1991, he received the Special Jury Award from Cairo International Film Festival. Zulfikar posthumously received the Honorary Award for his life's work from the National Egyptian Film Festival in 1994.

Legacy
Zulfikar's enduring status as an iconic Egyptian was formally recognized by Egypt's government in the form of two of the highest civilian decorations and one military decoration. He was one of Egypt's heroes in its battle against the occupation while serving in the police. Ahmed Zulfikar spoke about his father in a 1994 press release:

He was admired by fellow policemen of his generation and the generations followed (Zulfikar was a professor in Police Academy) for his bravery. His courage as a veteran national hero during his service as a policeman earned him a respectable reputation through the whole militarized spectrum.
In the Cairo Citadel, a big photo of Salah Zulfikar and his colleagues stands in the police museum, in honor of the heroes of the 1952 battle of Ismailia against the British. This battle's day is celebrated as the National police day on 25 January from every year.

Zulfikar was one of the most respected actors of his generation. Cairo cinematic figures admired him for his extreme discipline, his dignity, his integrity, and because of his talents as an actor, his strength as a leader, throughout his illustrious career. This particular rare parallel success in both acting and film production earned him the title of "The Genius". All-time favorite co-star in film, television and on stage, long-time friend, Laila Taher stated in a press release: "He was a gentleman, he treated everyone who worked with him as if they're family, God had granted him respect, humility, and shouldering responsibility. He was a bold and courageous man that feared no one. Salah Zulfikar spoke on Egyptian youth in an Egyptian Television interview in 1985:

He is a cultural icon with enduring popularity. His rise to national attention in the 1960s had a profound effect on Egyptian culture. His collaborations to social issues earned him prominence throughout the Arab world. Zulfikar was also considered a male sex symbol. Egyptian actress Bushra stated: "Salah Zulfikar [was] my fairy tale "knight of dreams" (a title he owned from the 1960s)." He appeared opposite many of the most popular actresses of their time. Mariam Fakhreddine was a favorite actress of his to work with, and he partnered with her in thirteen films. He starred with Nelly in seven features. Shadia and Sabah worked with him six times, and he was paired with Soad Hosny in five productions. Nadia Lutfi, Huda Sultan and Mervat Amin worked with him four times. He also starred with each of Magda, Zubaida Tharwat and Hind Rostom in three productions, and he was paired twice with each of Faten Hamama and Naglaa Fathi.

Zulfikar was one of the most consistent box-office performers in Egyptian cinema, remaining a bankable star for over two decades. Hemmat Moustafa wrote in: Salah Zulfikar: a Journey into the life of a genius artist: "Salah Zulfikar, one of the most prominent cinematic artists of the twentieth century, who enriched Egyptian art as an actor and a producer with many masterpieces that made him remain in the memory of both the Egyptian and global cinema, and in the conscience and memory of the masses." Neama Shafik wrote in "Stars I Knew: Fifty Years with the People of Art": "Salah Zulfikar passed away at the age of 67, with 250 films, 70 television serials, and seven plays, Zulfikar was absent from us physically, but his works will remain before us as an expression of presence, not absence, may God rest his soul." Prior venturing into the acting world, he was a professor at the Police Academy. This added to Zulfikar's allure. His dreamy eyes, fit physique and good acting placed Zulfikar way up on the Hot List. Salah Zulfikar has always been a women's rights defender and expressed his belief through his films and has produced more than one film, doing justice for Egyptian women.

In Cairo, there are two streets named in honor of Salah Zulfikar, including one in Abbassia, the neighborhood where he was born, and one in New Cairo. Several celebrations took place in his name and he was awarded posthumously in several artistic events. In February, 2022, Cairo Opera House invited Karim Zulfikar, a businessman, and the youngest grandson of Salah Zulfikar to be the speaker in a seminar titled "The Zulfikar brothers collaboration to cinematic history", attended by a large crowd celebrating their admiration to the legacy of the influential film star.

Personal life
He was married for four times. He married his first wife, the socialite Nafisa Bahgat, daughter of Mahmoud Bey Bahgat, in 1947. They had a son, Ahmed and a daughter, Mona, and she remained his wife until her death in 1988. His son Ahmed Zulfikar graduated as a mechanical engineer to become a businessman owning his own corporation and his daughter Mona Zulfikar graduated as a lawyer and became a prominent lawyer owning a law firm. Zulfikar had three grandchildren, Karim Zulfikar is a businessman, Salah Zulfikar is a corporate director and Ingy Badawy is a lawyer.

Besides boxing, Salah Zulfikar was a football fan and used to play football with fellow actors from time to time. He supported Zamalek S.C.

Zulfikar's second marriage was to actress Zahrat El-Ola in 1957, but they were divorced two years later. The love story that brought him together with the singer and actress Shadia was the most famous of all, and they were married while filming in 1964. Together, Zulfikar and Shadia formed an artistic duo through which they presented many successful films in Egyptian Cinema, and Zulfikar produced more than one film with Shadia in the leading role. Their marriage ended in divorce after seven years. Later, he married his last wife, Bahiga, and their marriage continued until his death in 1993.

Filmography

Prolific in Egyptian film industry for 37 years. Salah Zulfikar was a film producer and film, stage, television, and radio actor. The award-winning actor appeared in feature films, short films, plays, television series, broadcast serials and paired with all the leading actresses of his generation. As a producer, Zulfikar produced fifteen films and achieved both financial and critical success in the majority of them. He accomplished a history of a total of a two hundred and fifty credits throughout his career leaving an extensive legacy.

References

External links

Egyptian male film actors
Egyptian revolutionaries
Egyptian nationalists
Egyptian police officers
1926 births
1993 deaths
Egyptian film producers
Egyptian film actors
Egyptian television actors
Egyptian male television actors
Egyptian male stage actors
20th-century Egyptian male actors
People from El Mahalla El Kubra

Salah Zulfikar


Karen P. Thomas (born 1957), composer and conductor, is the Artistic Director and Conductor of Seattle Pro Musica and Director of Music at University Unitarian Church. With Seattle Pro Musica she has produced six CD recordings, and has received the Margaret Hillis Award for Choral Excellence and the ASCAP-Chorus America Award for Adventuresome Programming of Contemporary Music. Ms. Thomas has guest conducted at international festivals in Europe and North America, and has served on the boards of the American Choral Director's Association for Washington State, the Conductor's Guild, the League-ISCM and the International Alliance for Women in Music. Ms. Thomas is a recipient of grants and awards from the National Endowment for the Arts, American Academy and Institute of Arts and Letters, and ASCAP, among others. Her compositions have been awarded prizes in various competitions, and her commissions include works for the Grand Jubilee 2000 in Rome, the American Guild of Organists, and the Goodwill Arts Festival. Her compositions are regularly performed internationally, by groups such as The Hilliard Ensemble, and have been praised as "superb work of the utmost sensitivity and beauty." Her conducting has received critical praise for its "integrity and high purpose...delivered with taste and impeccable musicianship."

Awards and Fellowships
 Margaret Hillis Award for Choral Excellence
 Seattle Arts Commission Seattle Artists Award
 Distinguished Alumna Award - Cornish College of the Arts
 His Majestie's Clerkes Choral Composition Competition
 ASCAP-Chorus America Award for Adventurous Programming of Contemporary Music
 Artist Trust GAP Grant
 Oregon Bach Festival Composition Fellow
 Chorus of Westerly Conducting Fellow
 Delius Composition Contest First Place
 National Association of College Wind and Percussion Instructors Composition Contest
 Dorland Mountain Arts Colony Composition Fellow
 Washington State Arts Commission Artist Fellowship Award
 Melodious Accord Composition Contest
 King County Arts Commission Individual Artist Grant
 National Endowment for the Arts Challenge III Grant (Goodwill Arts Festival co-recipient)
 New Langton Arts (co-recipient)
 Artist Trust Fellowship
 Northwest Chamber Orchestra Composers Forum Award
 American Academy and Institute of Arts and Letters Charles E. Ives Scholar
 Brechemin Foundation Scholar
 International League of Women Composers' Third Annual Search for New Music

Selected Conducting Performances
 Bergen International Festival
 Goodwill Arts Festival
 World Festival of Women's Singing
 Festival Vancouver
 International Conference on Women in Music

Compositions Performed By
 Hilliard Ensemble
 International Festival Donne in Musica;  Italy
 Bergen International Festival; Norway
 Grand Jubilee for the Year 2000; Rome
 World Festival of Women's Singing
 International Congress on Women in Music; London, England and Bilbao,  Spain
 Festival Vancouver;  Canada

Selected Compositions

Instrumental
 When night came... (for the women of Bosnia) clarinet & chamber ensemble or orchestra; or clarinet and piano
 Roundup; saxophone quartet
 Clarion Dances; brass ensemble
 There must be a Lone Ranger! soprano or mezzo, narrator, chamber ensemble
 Rhapsodic Ignition, guitar

Choral
Lux Lucis
Over the City (for Hiroshima)
Three Medieval Lyrics
Four Lewis Carroll Songs

Vocal
 Cowboy Songs

Opera
 Coyote's Tail; one-act opera for children

Dance
 Boxiana:  The Women's Flyweight Championship of the World

References

External links
 Karen P. Thomas - Official Website
 Biography at Seattle Pro Musica
 Biography at University Unitarian Church

American women classical composers
American classical composers
American women conductors (music)
Living people
Cornish College of the Arts alumni
1957 births
21st-century American conductors (music)
21st-century American women musicians

Karen P. Thomas


A strobilus (: strobili) is a structure present on many land plant species consisting of sporangia-bearing structures densely aggregated along a stem. Strobili are often called cones, but some botanists restrict the use of the term cone to the woody seed strobili of conifers. Strobili are characterized by a central axis (anatomically a stem) surrounded by spirally arranged or decussate structures that may be modified leaves or modified stems.

Leaves that bear sporangia are called sporophylls, while sporangia-bearing stems are called sporangiophores.

Lycophytes
Some members of both of the two modern classes of Lycopodiophyta (Lycopodiopsida and Isoetopsida) produce strobili. In all cases, the lateral organs of the strobilus are microphylls, bearing sporangia. In other lycophytes, ordinary foliage leaves can act as sporophylls, and there are no organized strobili.

Sphenophytes
The single extant genus of Equisetophyta, Equisetum, produces strobili in which the lateral organs are sporangiophores. Developmental evidence and comparison with fossil members of the group show that the sporangiophores are reduced stems, rather than leaves. Sporangia are terminal.

Seed plants
With the exception of flowering plants, seed plants produce ovules and pollen in different structures. Strobili bearing microsporangia are called microsporangiate strobili or pollen cones, and those bearing ovules are megasporangiate strobili or seed cones (or ovulate cones).

Cycads
Cycadophyta are typically dioecious (seed strobili and pollen strobili are produced on separate plants). The lateral organs of seed strobili are megasporophylls (modified leaves) that bear two to several marginal ovules. Pollen strobili consist of microsporophylls, each of which may have dozens or hundreds of abaxial microsporangia.

Ginkgos
The single living member of the Ginkgophyta, Ginkgo biloba produces pollen strobili, but the ovules are typically borne in pairs at the end of a stem, not in a strobilus. When there are more than a pair of ovules in G. biloba, however, or when fossil taxa bearing large numbers of ovules are examined, it is clear that the paired ovules in the extant species are a highly reduced strobilus.

Conifers

Pollen strobili of Pinophyta are similar to those of cycads (although much smaller) and Ginkgoes in that they are composed of microsporophylls with microsporangia on the abaxial surface. Seed cones of many conifers are compound strobili. The central stem produces bracts and in the axil of each bract is a cone scale. Morphologically the cone scale is a reduced stem. Ovules are produced on the adaxial surface of the cone scales.

Gnetophytes
Gnetophyta consists of three genera, Ephedra, Gnetum and Welwitschia. All three are typically dioecious, although some Ephedra species exhibit monoecy. In contrast to the conifers, which have simple pollen strobili and compound seed strobili, gnetophytes have both compound pollen and seed strobili. The seed strobili of Ephedra and Gnetum are reduced, with Ephedra producing only two ovules per strobilus and Gnetum a single ovule.

Flowering plants
The flower of flowering plants is sometimes referred to as a bisexual strobilus. Stamens include microsporangia within the anther, and ovules (contained in carpels) contain megasporangia. Magnolia has a particularly strobiloid flower with all parts arranged in a spiral, rather than as clear whorls.

A number of flowering plants have inflorescences that resemble strobili, such as catkins, but are actually more complex in structure than strobili.

Evolution
It is likely that strobili evolved independently in most if not all these groups. This evolutionary convergence is not unusual, since the form of a strobilus is one of the most compact that can be achieved in arranging lateral organs around a cylindric axis, and the consolidation of reproductive parts in a strobilus may optimize spore dispersal and nutrient partitioning.

Etymology
The word strobilus is related to the ancient Greek strobilos = whirlwind. The Hebrew word for conifer cone, itstrubal, is an ancient borrowing from the Greek.

According to Liddell & Scott, the Greek: strobilos (στρόβιλος) had many meanings, generally of anything twisted up...hence of the hedgehog,... of an egg-shell,... as a name of various twisted or spinning objects. For example:
    1. a kind of seasnail...
    2. a top...
    3. a whirlpool, a whirlwind which spins upwards...
    6. the cone of the fir or pine, fir-apple, pine-cone,… also of the tree itself.

References

 Gifford, E. M. & Foster, A. S. (1988). Comparative morphology of vascular plants, 3rd ed. New York: WH Freeman.

Plant morphology

Strobilus


Electors must be on the electoral register in order to vote in elections and referendums in the UK. Electoral registration officers within local authorities have a duty to compile and maintain accurate electoral registers.

Registration was introduced for all constituencies as a result of the Reform Act 1832, which took effect for the election of the same year. Since 1832, only those registered to vote can do so, and the government invariably runs nonpartisan get out the vote campaigns for each election to expand the franchise as much as possible.

Current procedure
To register to vote a person must be 16 years old or over (but they cannot vote in some elections until they are 18) and resident (usually live) in the UK. In addition, a person must be a British, Irish or European Union citizen, or a Commonwealth citizen who has leave to remain in the UK or who does not require such leave, or a citizen of another country living in Scotland or Wales who has permission to enter or stay in the UK, or who does not need permission.

A person can register at any time of the year. To register, electors should have a fixed address. If an elector wishes to register to vote, but has no fixed address, they may be able to register to vote by completing a declaration of local connection form. This would allow them to register at a place where they are likely to spend a substantial amount of their time.

Regulation 23 of the Representation of the People Regulations 2001 states that the electoral registration officer has the power to require information needed for the purpose of maintaining the electoral register. Any person who fails to give information is liable on summary conviction to a fine.

A person can register anonymously if their safety (or the safety of someone in their household) would be at risk if their name and address appeared on the electoral register. Documentary evidence of a court order or an attestation from an authorised person is required.

Individual Electoral Registration

'Individual Electoral Registration' (IER) was introduced by the UK government through the Electoral Registration and Administration Act 2013 with the first IER applications being made in England and Wales from 10 June 2014 and in Scotland from 19 September 2014 (the delay in Scotland was due to the Scottish Independence Referendum).

Previously, the 'head of household' was responsible for registering everyone who lived at the address, but now every individual is responsible for their own voter registration. The new system also means that people are now able to register online. Anyone newly registering under the new system will need to register themselves individually by filling out a paper or online form.

In order to register under IER electors are required to provide their date of birth and evidence of their identity, most often a national insurance number.

History

Before 1832
Before 1832, the only form of voter registration in the United Kingdom was in the Scottish counties. This consisted of a meeting of potential electors called to determine who was eligible to vote. As the electorate for these seats was extremely small—in 1788, it ranged between 16 electors for Clackmannanshire and 187 for Fife—meetings were an important part of the political process; often, elections were determined by registering or disqualifying electors. In the rest of Britain and Ireland, people who claimed to be qualified voters simply presented themselves at the hustings to vote. If a candidate who lost thought his defeat was due to ineligible voters, he could ask for a scrutiny, which would turn out to be an expensive and lengthy process in large constituencies.

In England land tax lists were sometimes used as substitutes for a register. However, not all qualified voters paid land tax, and eligibility was at the discretion of the returning officer as to who was permitted to vote. The high sheriff of the county, or the mayor of a borough, would often abuse their authority as ex officio returning officers for partisan purposes. A losing candidate could petition the House of Commons if he suspected that the returning officer had abused their power.

In 1788, Parliament attempted to introduce voter registration. The scheme failed—registering only one hundred voters in Lancashire—and was abandoned after a year. Parliament attempted again in 1832, when Sir James Graham introduced legislation that would shift the focus of eligibility to the registration process.

Registration process from 1832
In 1832 the overseers of the poor in each parish, who at that time compiled information relevant to electoral qualifications in order to collect local taxes, were given the additional task of compiling the electoral register. The new Act of Parliament required that on 20 June in each year in the counties, the overseers publish a notice calling on prospective voters to make a claim and prove their eligibility to vote. Once an elector had done so, he would be re-listed every time unless his circumstances or eligibility changed. In July, the overseers in the counties would compile a draft register for elections to be held in the coming year. If any elector's eligibility was challenged, the objection was recorded and the elector was given notice to appeal. The list of objections was published during the first two weeks of September.

In the boroughs, the rate-book—which the overseers already compiled—provided a natural basis for the electoral register. An elector who had paid his rates up to the start of the registration period did not need to make a claim, unless there had been a change of address or qualification. By 20 July the assessors and collectors of taxes had to report to the overseers the names of those who were in arrears with payment of their rates. The overseers then compiled a draft electoral register of all those they considered as being qualified to vote. Separate lists of people qualified to vote by virtue of their status as freemen of the borough were prepared by the Town Clerk. The combined lists of all prospective voters were published by the last day of July. Anyone else who claimed to be qualified to vote or who objected was required to give notice to the overseers.

From this point onwards the process for finalising the electoral register was the same for all areas. Barristers (who became known, collectively, as revising barristers) were appointed by senior judges to hold courts which sat from mid-September to the end of October, to revise the lists of voters. These barristers reviewed statements from the officials who had drawn up the lists, from claimants, and from objectors in order to produce the final list of qualified electors. The procedure involved strict compliance with the law and even minor clerical errors could invalidate a claim. A well-qualified person could be put to the time and trouble of defending his vote, even against a worthless objection, because if he did not appear his claim was automatically rejected. This system was difficult and expensive to operate. It encouraged the development of party organisation, as legally qualified agents were needed to defend the claims of party supporters and challenge the eligibility of those supporting opponents. The office of revising barrister was abolished in 1918 when the duties were entrusted to the electoral registration officer.

The dates on which electoral registers came into force were changed from time to time and sometimes varied across different parts of the country: in England and Wales, registers came into force on 1 November between 1832 and 1842, and 1 January between 1844 and 1915. The 1832 system broke down during the First World War: registers were not revised after 1915, and with many voters serving in the armed forces or relocating in order to take up war work, the registers became very outdated.

The passage of the Representation of the People Act 1918, which introduced suffrage for men aged 21 and enfranchised some women from the age of 30, gave the opportunity for revising the process of electoral registration. Responsibility for preparing electoral registers was taken away from the overseers of the poor and given to local authorities. Suffrage was also expanded—or restricted—by following Representation Acts:
Representation of the People (Equal Franchise) Act 1928, expanding the suffrage to all adults over 21
Representation of the People Act 1969, expanding the suffrage to all adults over 18
Representation of the People Act 1983, restricting the right to vote from prisoners
Representation of the People Act 1985 and 1989, allowing expatriates to vote in the last constituency they lived in for a period of 5 (1985), 20 (1989), and, currently, 15 years (PPERA [2000]) after leaving.
Representation of the People Act 2000, removing restrictions on postal voting and allowing psychiatric patients to use hospitals as registration addresses.

Reform
Organisations such as the Electoral Reform Society support moving towards automatic voter registration.

See also
 Voter registration campaign

References

Further reading
 British Electoral Facts 1832–1987, compiled and edited by F.W.S. Craig (Parliamentary Research Services, 5th edition, 1989)
 Electoral Reform in England and Wales, by Charles Seymour (David and Charles 1970, first printed 1915)
 The House of Commons 1754–1790, by Sir Lewis Namier and John Brooke (HMSO 1964)
 The Parliaments of England by Henry Stooks Smith (1st edition published in three volumes 1844–50), second edition edited (in one volume) by F.W.S. Craig (Political Reference Publications 1973)

Elections in the United Kingdom
United Kingdom
Election law in the United Kingdom

Electoral registration in the United Kingdom


On 14 September 2010, the Senate of France (fr) passed a law that forbids the wearing of clothing that covers the face of a person in public, so that the person cannot be identified. The law talks about clothing that covers the face, so it includes burqas and niqabs, but does not include the chador.

The main arguments for the ban are that people wearing such types of clothing cannot be identified by police forces, and that such veils are not compatible with the values of France as a state. In addition, there was a discussion about women's rights. President Nicolas Sarkozy said that a reason for the ban is to protect women from being forced to cover their faces.

The bill which was introduced, was protested by some women as a violation of women's rights. But many people in France supported the bill, and it was passed in the Senate and the National Assembly of the French Parliament, and it became law.

References

Politics of France
Islamic dress
Legislation
Islamophobia
Controversies

French ban on face covering


None of the above is an option on some ballots that allows voters the opportunity to express disapproval of all candidates.

None of the above may also refer to:

Politics
 None of the above (India), a voting option in India
 None of the Above Direct Democracy Party, a minor provincial political party in Ontario, Canada
 None Of The Above X, name used by the boxer Terry Marsh as a candidate in South Basildon and East Thurrock in the 2010 UK General Election
 Zero, None Of The Above, a candidate in Filton and Bradley Stoke in the 2010 UK General Election

Arts and entertainment
 None of the Above (novel), by I. W. Gregorio, 2015
 None of the Above renamed Street Genius, a National Geographic Channel popular science show, 2013-2014
 "None of the Above" (Dawson's Creek), an episode of Dawson's Creek
 Because I Love It, an album by Amerie, originally planned to be titled None of the Above
 None of the Above (album), a 2000 album by Peter Hammill
 "None of the Above", a song by Duran Duran from Duran Duran, 1993
 "None of the Above", a song by Papa Roach from Crooked Teeth, 2017

See also
 Above Znoneofthe

None of the above (disambiguation)


Arlene Martel (born Arline Greta Sax; April 14, 1936 – August 12, 2014) was an American actress. Before 1964, she was frequently billed as Arline Sax or Arlene Sax.  Casting directors, among other Hollywood insiders, called Martel the Chameleon because her appearance and her proficiency with accents and dialects enabled her to portray characters of a wide range of races and ethnicities.

Early life

Martel was born Arline Sax in The Bronx and attended the Performing Arts High School in New York.

Career
Martel was billed as "Arline Sax" during the early years of her television career.

Two of her earliest appearances were in The Twilight Zone TV series. The first was the episode "What You Need" as a woman in the bar. The second was the episode "Twenty Two", as a nurse who repeatedly utters the sinister phrase "Room for one more, Honey!" at the entrance to a hospital morgue and at the door of a doomed airplane.

Martel appeared in a 1960 episode of The Rebel, "The Hunted", in which she had a scene with Leonard Nimoy. She was also featured in two 1961 episodes of Route 66: "Legacy for Lucia", in which she had the title role of a Sicilian girl who inherits an American soldier's estate, and "The Newborn", in which she played a mother who dies in childbirth. She appeared in an episode of the TV series Hong Kong in 1961, opposite Rod Taylor.

In 1962, she made the first of two appearances on Perry Mason, as Fiona Cregan in "The Case of the Absent Artist". In 1966 she guest-starred as Sandra Dunkel in "The Case of the Dead Ringer", in which, aside from his role as Mason, Raymond Burr played the murderer, Grimes.

Other roles include the princess Sarafina on the Have Gun – Will Travel episode "The Princess and the Gunfighter" (1961); a female cosmonaut on episode 13 of I Dream of Jeannie, "Russian Roulette" (1965); a Hungarian immigrant on The Fugitive episode "The Blessings of Liberty" (1966); the French Resistance contact Tiger in five episodes of Hogan's Heroes (1965–71); and the evil witch Malvina on the Bewitched episode "How Not to Lose Your Head to King Henry VIII (Part 1)" (1971).

Martel's science fiction roles include The Outer Limits episode "Demon with a Glass Hand" (1964) and the Star Trek episode "Amok Time" (1967) as the scheming and duplicitous, but extremely logical, T'Pring, who is betrothed to Mr. Spock (thus, cast again with Leonard Nimoy) and expected to become his consort.
In 1973 Arlene played a movie actress turned princess on the 3rd episode of Banacek entitled "The Three Million Dollar Piracy".

On Columbo, Martel played Gloria West, the "pretend girlfriend" of the murder victim Tony Goodland (Bradford Dillman), in season 2, episode 2, "The Greenhouse Jungle" (1972), and the salesgirl in the episode "A Friend in Deed" (1974).

In 1974, she was billed as "Tasha Martelle" for the role of secretary Marty Bach in The Rockford Files episode "Trouble in Chapter 17." She appeared as the title character in the Gunsmoke episode "The Squaw" (1975).

Other shows on which Martel appeared included The Restless Gun (episode "A Bell for Santo Domingo", The Man from U.N.C.L.E., The Untouchables, Mission: Impossible, Here Come the Brides, The Wild Wild West, Battlestar Galactica, The Monkees, Mannix, The Rookies, and The Six Million Dollar Man. In the fourth season of "Mission: Impossible" she was reunited with Leonard Nimoy in the episode "Terror," where she played an imprisoned terrorist's ruthless wife.

Martel also appeared in feature films, including The Glass Cage (1964), in the starring role. Angels from Hell
(1968), Arlene Martel appeared in the 1968 movie "Angels From Hell"
About a person who returns to gather members of a biker gang the "MadCaps" & Arlene played the owner of a Go-Go Bar.  and Chatterbox (1977). She received top billing as the commandant in charge of a Russian road crew in Zoltan, Hound of Dracula (1978), although it was only a bit part, lasting less than five minutes.

Late-life roles included a Vulcan priestess in the Star Trek fan film "Of Gods and Men" in a scene with her "Amok Time" suitor Lawrence Montaigne reprising his role as Stonn, and as one of the narrators of the 2015 documentary film Unity, which was released a year after her death.

Personal life and death
Martel was a regular at Star Trek conventions worldwide from 1972 to 2014. Her last convention appearance was at TrekTrax Atlanta in Atlanta, Georgia, on April 25–27, 2014, four months before her death.

Martel battled breast cancer for the last five years of her life. On August 12, 2014, she died from complications of a heart attack at a hospital in Santa Monica, California. She was 78.

References

External links

1936 births
2014 deaths
American film actresses
American television actresses
American acting coaches
American people of Austrian-Jewish descent
Actresses from New York City
People from the Bronx
20th-century American actresses
21st-century American actresses
Jewish American actresses
21st-century American Jews

Arlene Martel


The Great Wheel is Robert Lawson's final children's book, published in 1957, the year of his death. It was posthumously named as a Newbery Honor book in 1958.

Plot summary
The story's protagonist is Irish-born Conn Kilroy, who leaves Ireland for the United States in the 1890s at the urging of his Uncle Michael. Before he leaves, his aunt predicts that he will ride the biggest wheel in the world. He travels to the United States by steamship. While on board, he meets an attractive German girl named Trudy, who is traveling to Wisconsin.

Upon his arrival, he begins working for his uncle in New York City, but he is soon hired to work for the company commissioned to create the huge Ferris Wheel for the 1893 World's Columbian Exposition. He works hard with his newfound friend Martin Brennan to build it. After the giant wheel is installed at the exposition, Conn fulfills his aunt's prophecy by riding on it. His uncle would like him to help build a bridge, but Conn refuses and stays. He takes a job as a guard at the fair, hoping that someday Trudy will visit the fair. She does visit, and the two reunite, eventually marrying and moving to Wisconsin.

1957 American novels
American children's novels
Newbery Honor-winning works
Children's historical novels
Fiction set in the 1890s
Novels set in Chicago
World's Columbian Exposition
1957 children's books
Children's books set in the 1890s
Children's books set in New York City
Children's books set in Chicago

The Great Wheel


Joachim Grzega (born 9 September 1971 in Treuchtlingen) is a German linguist. He studied English and French at the Catholic University of Eichstätt-Ingolstadt, University of Utah in Salt Lake City, Paris-Sorbonne University and the University of Graz. He has taught since 1998 at the Catholic University of Eichstätt-Ingolstadt. Grzega obtained his doctorate in 2000 in Romance, English and German linguistics. He obtained his habilitation (i.e. post-doctoral degree) in 2004. Professor Grzega has held interim or guest professorships in Münster, Bayreuth, Erfurt, Freiburg, and Budapest.

His focus is on onomasiology, eurolinguistics, intercultural communication, teaching of English as a lingua franca, language teaching in general and the role of language and communication in the transfer of knowledge. He also developed the Basic Global English (BGE) system for English teaching. With Onomasiology Online (Onon), he created one of the first peer-reviewed free access German linguistics journals. His second journal is specially dedicated to the relatively young branch of eurolinguistics: Journal for EuroLinguistiX (Jelix). He is also involved in the field of university-level language teaching, particularly in the development and dissemination of the Learning by teaching model founded in the 1980s by Jean-Pol Martin.

Works

References

External links
 Joachim Grzega Official website

1971 births
Living people
People from Treuchtlingen
Linguists from Germany
Academic journal editors
Academic staff of the Catholic University of Eichstätt-Ingolstadt

Joachim Grzega


Andrew Laughlin (October 8, 1844 – March 25, 1916) was a banker and political figure in Manitoba. He represented Dufferin North from 1879 to 1881 in the Legislative Assembly of Manitoba as a Conservative.

He was born in Ontario and came to Manitoba in 1877. Laughlin married Rachel Bell. He served as registrar at Nelson. Laughlin resigned his seat in the Manitoba assembly when he was named registrar. He also was a banker in Cartwright. Laughlin died in Winnipeg at the age of 71.

His son John later served in the Manitoba legislature.

References

1844 births
1916 deaths
Progressive Conservative Party of Manitoba MLAs

Andrew Laughlin


() is a 2006 Kannada cult black comedy film written and directed by debutant director Guruprasad. It has an ensemble cast starring  Jaggesh, Vaijanath Biradar, Mandya Ramesh and others. The director himself had a cameo in the movie.  is a black comedy. The movie primarily revolves around the events that occur within a contemporary matha/mutts, which are revered as one of the most sacred institutions in India. The movie beautifully depicts that enlightenment is only possible if emotions like anger, lust, desire, etc. are overcome. With this movie, Guruprasad rose to fame in the industry.  is 100th movie for Jaggesh and 200th movie for Biradar. After the success of this film, Guruprasad and Jaggesh's combo's next movie  had lot of expectations which released in early 2009.

Plot
The movie starts with a taxi driver Venkatesha (Jaggesh) welcoming Sister Martha (played by Pari) to Bangalore. He needs to drive her to a matha in Thirthahalli and he starts narrating a story to make the journey interesting, interspersed with sub-stories.

The fore-said matha has an asylum taking care of handicapped orphans and a rare temple of Lord Brahma. He narrates about this matha, whose chief is a skirt-chaser and goes to the extent of playing the flute to girls over the phone just to impress upon them. Soon enough, the chief decides to part with the post in order to join his wife back.

In unique circumstances, the manager and administrator of matha, Appayya (R. N. Sudarshan) advertises in newspapers declaring vacancy for "Chief of Matha". At this point, breaking the fourth wall, R. N. Sudarshan enacting the role of Appayya declines to read out the dialogues about placing a newspaper ad about vacant Chief of Matha position. Director Guruprasad makes a cameo entry bombarding Appayya to enact his role, as he is paid to do just that viz., read out the dialogues.

The introduction scene of the film is fabulous as all the characters are invited with vedic hymns, "Asathoma Sadgamaya", which signifies the light in all directions. Tabla Nani as Venugopala nickname packet, Sudheendra as Chintamani, Shashidhar Bhat as Shashidhar bhat, Mandya Ramesh as Mandya Nagesh, Vaijanath Biradar as Kosta alias Sidda and Jaggesh as Venkatesha take the film on their shoulders. It is a great masterpiece that has every essence from crisp dialogues to a meaningful and soul-stirring script.

The characters are neglected by society, their quest for a societal status and food drives them to do all kinds of things to just remain in the training period as they want to avoid destitution. Givne that it is a multi-layered plot, the narrator (Jaggesh) infuses tit-bits of stories to the viewer and seamlessly weaves them with the main plot. For example, the comedy scenes involving Nagaraj Murthy as a desperate king, who wants to build a mausoleum for his wife, are hilarious and signifies the hold on making the audience waiting for the intuitiveness of the next scene. Sudarshan has given a great modification of a cool head who always emphasize Dharma, manager's role orchestrated by Sadananda, who is at his comical best.

The story progresses through the many travails of all the six apprentices, who fight for their place under the sun. This process takes them on a journey which transforms their previous meaningless lives into a completely different dimension. The plot also explores the many illegal activities that run behind the scenes in a mutt.

In the end, Jaggesh and the others realize the true meaning of life, and they each adopt a profession best suited to their personality. Sister Martha is revealed to be a guardian angel for the financially ailing mutt when she donates a substantial amount of money for its betterment. The movie ends with Jaggesh thanking sister Martha, and Guruprasad and Sudarshan sharing a small but lively conversation about the outcome of the story.

Cast

Soundtrack
The film has six songs composed by V. Manohar and Udayaravi, with lyrics by K.R. Sitaram Shastri, V. Manohar, Chaturmukha and Kaviraj. They were sung by C. Ashwath, Gurukiran, B. Jayashree, Hemanth, Chetan and Chaitra.

Critical reception
It got favorable reviews from both fans and critics alike. It is said to have done reasonably well at the box office, although the exact figures of its earnings are not available. The movie came as an eye-opener to all the present-day directors that a cinema is not a bundle of songs or locations instead it is an introspecting field where a societal message should be given to the public at large.

Controversy
This movie took on a controversial color when Jaggesh was presented with a State award for best-supporting actor. Jaggesh publicly expressed his disappointment that he was chosen for the award for best supporting actor despite playing the lead role and decided to reject the state award.

References

External links

2000s Kannada-language films
2006 films
Films scored by V. Manohar
Indian black comedy films
Indian nonlinear narrative films
Films directed by Guruprasad
2006 directorial debut films

Mata (2006 film)


Stourton Caundle is a village and civil parish in the county of Dorset in southwest England. It lies within the Blackmore Vale, about  east of Sherborne. In the 2011 census the parish had 181 households and a population of 439.

Stourton Caundle is one of several settlements in the area to bear the name "Caundle", the others being Bishop's Caundle, Purse Caundle and Caundle Marsh. The origin of "Caundle" is uncertain. In the Domesday Book in 1086 there are seven Domesday entries connected to the village, recorded as "Candelle", "Candel" or "Candele" in the hundred of Brunsell. The entries record a total of 45 households and a total taxable value of 17 geld units. Sir Henry de Haddon, a lord from Northamptonshire, bought land and founded a manor here in 1202, and the resultant settlement was called "Caundel Haddon"  or "Caundle Haddon". The Haddons retained the manor until 1461 when it passed to the Stourton family, which resulted in the current village name.

The manor was on the west side of the main village street and was probably fortified, resulting in it being referred to as a 'castle', though only a thirteenth-century chapel building (no longer used as such) and two fish ponds associated with the site now remain.

Stourton Caundle's parish church is dedicated to St Peter and has a thirteenth-century nave and chancel, and a fourteenth-century tower.

The village was once a venue for stave dancing.

The village has a small pub called The Trooper, but villagers must travel to local town Stalbridge for other amenities.

Enid Blyton used Manor Farm as inspiration for her novel Five on Finniston Farm. She owned the farm for a short time in the late 1950s.

References

External links

Villages in Dorset

Stourton Caundle