The Sender is a 1982 British psychological horror thriller film directed by Roger Christian and written by Thomas Baum. It stars Kathryn Harrold, Željko Ivanek (in his film debut), Shirley Knight, and Paul Freeman.

Plot
A young, disheveled-looking man is awakened on the side of a road by passing traffic. He walks to a nearby lake and attempts to drown himself by filling his clothing with rocks and walking into the water, but is pulled out and taken to a nearby mental hospital for treatment. He is suffering from retrograde amnesia, unable to remember his name or details of his personal life, other that he lives in a house within several miles and has no father to speak of. Without any form of identification, the patient is designated "John Doe #83", and placed under the care of psychiatrist Dr. Gail Farmer. Almost immediately, John begins to display odd behavior, with a fellow patient nicknamed "The Messiah" suddenly developing a delusion that he intends to behead him.

At her home later that night, Gail hears a window being broken and witnesses John entering her house and stealing a necklace from her nightstand. When she calls the police, they can find no evidence of a break-in, and her colleagues at the hospital tell her that John is fast asleep in his dormitory. Farmer quickly suspects that John is not all that he seems, as she continues to have strange visions while he is asleep. She theorizes to her boss Dr. Denman that John has some form of telepathy, wherein he "sends" his dreams into the minds of other people, causing them to experience semi-corporeal sensory hallucinations for the duration of the dream. Denman dismisses Gail's hypothesis as her developing a maternal bond with the young patient, and plans to have him treated with electroshock therapy against her wishes. Meanwhile, both Gail and John are haunted by the presence of a middle-aged woman named Jerolyn, apparently John's mother, who tells Gail that she must release John for everyone's well-being but disappears before she can be questioned further.

After John attempts suicide a second time, he's taken in by Denman for electroshock therapy. The moment the current is activated, John unconsciously sends violent and destructive hallucinations towards everyone in the hospital, both staff and patients. Gail rushes in and removes the electrodes. Now believing her hypothesis, Denman begins intensive study of John, while Gail continues to see Jerolyn and other cryptic visions sent by John, including one in which he lies dead with his body covered in rats. She suspects that the visions are memories of the recent past, repressed into the subconscious due to trauma. After John tells her that his mother used to lock him up in the house, she theorizes that Jerolyn, who believed that her son was a miraculous virgin birth, kept him trapped inside her house for his entire life, eventually trying to kill him with carbon monoxide poisoning when she believed he'd leave her.

John's telepathy quickly becomes more and more uncontrollable, especially after he begins "sending" while conscious. Despite Gail's protestations, John is taken into the surgical ward to have an intracranial operation to identify and neutralize the receptors causing his powers. Before the operation begins, the local Sheriff arrives to tell Denman and Gail that they found John's house and mother, but that she's been dead of carbon monoxide poisoning for five days, indicating that he killed her and not the other way around. John's placed under guard, but the moment the surgeons pierce his skull with a drill he suddenly lashes out again, this time causing the room to explode into flames. In the chaos, John steals Gail's car keys and escapes, guided by a vision of his mother.

When they arrive at their house, he turns on the gas stove to kill a swarm of cockroaches, but as he lies in bed he suddenly realizes that his mother is trying to kill him and snaps out of his hallucination. Gail bursts in and drags a suffocating John away, as they're pursued by the projection of his Jerolyn. They manage to get out of the house just before the gas ignites, destroying the house.

Some time later, John has regained his memory and tells his story – his mother tried to kill him, and when he realized what was happening, he fought her and inadvertently knocked her unconscious, leaving her to suffocate while fleeing the house. Unable to cope with what he'd done, his id took the form of a projection of his mother, trying to compel him to kill himself on multiple occasions. Seemingly cured, he leaves the hospital as Gail looks on, only to enter his truck with his mother sitting next to him, indicating he's still suffering from his condition and is bound to relapse.

Cast

 Kathryn Harrold as Dr. Gail Farmer
 Željko Ivanek as John Doe #83
 Shirley Knight as Jerolyn
 Paul Freeman as Dr. Joseph Denman
 Sean Hewitt as The Messiah
 Harry Ditson as Dr. Hirsch
 Olivier Pierre as Dr. Erskine
 Al Matthews as Herb
 Marsha Hunt as Nurse Jo
 Angus MacInnes as Sheriff Prouty
 John Stephen Hill as Policeman
 Jana Shelden as Nurse Reimbold
 Tracy Harper as Young Girl
 Monica Buford as Dr. Warren
 Mary Ellen Ray as Nursing Staff

Production

Development
The screenplay was written by Thomas Baum, who based in on his own experiences growing up with an agoraphobic and overly protective mother.

The script was first purchased by 20th Century Fox, who were hoping for a quasi follow-up to Brian De Palma's The Fury (1978)—a box office hit about another youth with devastating psychic powers—but the production floundered and was dumped before it got off the ground. The production was, almost immediately, picked up by Paramount Pictures who, after Friday the 13th (1980) and My Bloody Valentine (1981), were looking for something else to tap the lucrative slasher film market. However, director Roger Christian didn't approach The Sender as a slasher-horror in the slightest, remarking that he wanted to make a film that was "more Bergman than Carpenter."

Christian made his feature directorial debut with The Sender after producers were impressed with his previously directed short films, Black Angel and The Dollar Bottom. Several of his previous collaborators, including composer Trevor Jones, cinematographer Roger Pratt, and special effects supervisor Nick Allder, were retained by Christian for the film.

Casting
The titular role was played by a then-unknown Željko Ivanek, who had previously only ever acted on-stage. The other leading roles were played by Kathryn Harrold, Shirley Knight, and Paul Freeman. Among the supporting actors were Al Matthews, an American-born singer and radio personality living in the UK who later gained fame for his role in Aliens, and Angus MacInnes, a Canadian character actor known for his supporting roles playing North American characters in British films and television programmes.

Filming
Exteriors were filmed in the American state of Georgia, while interiors were filmed at Shepperton Studios in Surrey.

During filming, several scenes from the script were either changed or cut. Among these were a different ending, in which the character of Gail Farmer seemingly develops telepathic powers of her own.

Post-production
Dissatisfied with Christian's initial workprint cut as "overly slow" and "artsy", studio executives ordered the film re-edited to start with the ending and tell the story in flashback. After some argument, in which editor Alan Strachan sided with Christian, it was put back in the original sequence.

Release
Due to Paramount Pictures' lukewarm reception towards the film's initial cut and poor test screenings, the film was only given a limited release theatrically in the United States by Paramount Pictures in October 1982. It grossed $1,054,328 at the box office, less than its initial production budget. However one of Christian's foreign agents had been touting the film and it was selected to open for the Avoriaz Fantastic Film Festival in Avoriaz, France, where it was well received by the audience there and championed by director George Miller. It was then given a theatrical release in the United Kingdom by United International Pictures, and later Mexico.

Legacy
The film is often cited by critics as an influence on A Nightmare on Elm Street, with its mental hospital setting and use of surrealist, dream-like imagery particularly pertinent to the third film in the series, Dream Warriors. Elm Street writer-director Wes Craven was known to be a fan of writer Thomas Baum, asking him to co-develop his television series Nightmare Cafe.

On the commentary track for the DVD release of Hot Fuzz, Quentin Tarantino described The Sender as his favorite horror film of 1982.

References

Further reading
 "Returning to Sender" by John Nicol, Fangoria magazine #318, November 2012, pages 64–66. Interview of director Roger Christian. Three-page article has seven photos. In the interview, he says he would be interested in doing a remake and discusses Quentin Tarantino's interest in the film.

External links

1982 films
1982 horror films
1980s psychological thriller films
British horror films
Films about amnesia
Films directed by Roger Christian
Paramount Pictures films
Films scored by Trevor Jones
1982 directorial debut films
Films produced by Edward S. Feldman
1980s English-language films
1980s British films

The Sender


Walter Carl Becker (February 20, 1950 – September 3, 2017) was an American musician, songwriter, and record producer. He was the co-founder, guitarist, bassist, and co-songwriter of the jazz rock band Steely Dan.

Becker met future songwriting partner Donald Fagen while they were students at Bard College. After a brief period of activity in New York City, the two moved to Los Angeles in 1971 and formed the nucleus of Steely Dan, which enjoyed a critically and commercially successful ten-year career. Following the group's dissolution, Becker moved to Hawaii and reduced his musical activity, working primarily as a record producer. In 1985, he briefly became a member of the English band China Crisis, producing and playing synthesizer on their album Flaunt the Imperfection.

Becker and Fagen reformed Steely Dan in 1993 and remained active, recording Two Against Nature (2000), which won four Grammy Awards. Becker released two solo albums, 11 Tracks of Whack (1994) and Circus Money (2008). Following a brief battle with esophageal cancer, he died on September 3, 2017.

Early life and career (1950–1971)
Becker was born in Queens, New York City. After Becker's parents separated when he was a boy, his British mother returned to England. Becker was made to believe by his father and grandmother that his mother was deceased, but at some point between his childhood and late adolescence, he discovered that she was living, and he maintained a rocky relationship with her from then on.<ref>J. L. Kelley (2021). "West of Hollywood: Humor as reparation in the life and work of Walter Becker." In: E. Vanderheiden & C.-H. Mayer (Eds.), [https://books.google.com/books?id=xo5DEAAAQBAJ&q=the+palgrave+handbook+of+humour+research The Palgrave Handbook of Humour Research] (pp. 363-379). London: Palgrave Macmillan</ref> He was raised in Queens and Scarsdale, New York by his father and his grandmother. His father, Carl Becker, sold paper-cutting machinery in Manhattan where Walter graduated from Stuyvesant High School After starting out on saxophone, he switched to guitar and received instruction in blues technique from neighbor Randy California, who later formed the band Spirit.

Donald Fagen overheard Becker playing guitar at a campus coffee shop, the Red Balloon, when they were both students at Bard College in Annandale-on-Hudson, New York. In a 2007 interview Fagen said, "I hear this guy practicing, and it sounded very professional and contemporary. It sounded like, you know, like a black person, really." They formed the band Leather Canary, which included fellow student Chevy Chase on drums. At the time, Chase called the group "a bad jazz band."

Becker left the school in 1969 before completing his degree and moved with Fagen to Brooklyn, where the two began to build a career as a songwriting duo. They were members of the touring band for Jay and the Americans but used the pseudonyms Gus Mahler (Becker) and Tristan Fabriani (Fagen). They composed music for the soundtrack to You've Got to Walk It Like You Talk It or You'll Lose That Beat, a 1971 film starring Richard Pryor.

With Steely Dan (1971–1981)

In 1971, Becker and Fagen moved to Los Angeles and were hired by Gary Katz as staff songwriters at ABC Records, later forming Steely Dan with guitarists Denny Dias and Jeff "Skunk" Baxter, drummer Jim Hodder, and vocalist David Palmer. Fagen played keyboards and sang, while Becker played bass guitar. Steely Dan spent the next three years touring and recording before swearing off touring in 1974, confining themselves to the studio with personnel that changed for every album. In addition to co-writing all of the band's material, Becker played guitar and bass guitar and sang background vocals.Pretzel Logic (1974) was the first Steely Dan album to feature Becker on guitar. "Once I met [session musician] Chuck Rainey", he explained, "I felt there really was no need for me to be bringing my bass guitar to the studio anymore".

Despite the success of Aja in 1977, Becker suffered from setbacks during this period, including an addiction to narcotics. After the duo returned to New York in 1978, Becker's girlfriend Karen Roberta Stanley, who was an employee of ABC Dunhill Records and personal manager for the band, died of a drug overdose in his apartment on January 30, 1980, resulting in a wrongful death lawsuit against him. Soon after, he was hit by a cab in Manhattan while crossing the street and was forced to walk with crutches while recovering. His exhaustion was made worse by commercial pressure and the complicated recording of the album Gaucho (1980). Becker and Fagen suspended their partnership in June 1981.

Work in record production (1981–1993)
Following Steely Dan's breakup, Becker and his family moved to Maui. Becker ceased using drugs, stopped smoking and drinking, and became an "avocado rancher and self-styled critic of the contemporary scene."

He produced albums for the new wave bands Fra Lippo Lippi and China Crisis, and is credited on the latter's 1985 album Flaunt the Imperfection as a member of the band. He also produced albums for Michael Franks and John Beasley. Becker produced Rickie Lee Jones's album Flying Cowboys (certified gold by the RIAA in 1997) and played bass on the title track. Becker and Fagen reunited in 1986 to collaborate on Zazu, the debut album by Rosie Vela. In 1991, Becker appeared in Fagen's New York Rock and Soul Revue.

Steely Dan reformation (1993–2017)

In 1993, Becker produced Fagen's album Kamakiriad. A year later, Fagen co-produced Becker's debut album  11 Tracks of Whack.

Also in 1993, Steely Dan began touring for the first time in nineteen years, resulting in the 1995 release of their first live album, Alive in America, a compilation of live recordings from different American tour dates in 1993 and 1994.

In 2000 they released Two Against Nature, their first album of new material in twenty years. The album won four Grammy Awards, including Album of the Year. In 2001 they were inducted into the Rock and Roll Hall of Fame and received honorary doctorates from the Berklee College of Music, which they accepted in person. In 2003, they released the album Everything Must Go with Becker singing lead vocal on "Slang of Ages". They followed the album with a tour.

In 2005, Becker co-produced and played bass guitar on the album All One by Krishna Das and played guitar on the album Tough on Crime by Rebecca Pidgeon. He co-wrote "I'm All Right" from the album Half the Perfect World (2006) by Madeleine Peyroux, and "You Can't Do Me" and the title track from her album Bare Bones (2009). See the "Collaborations" section below for a full list of Becker's work with other artists.

He was inducted into the Long Island Music Hall of Fame in 2008.

His second solo album, Circus Money, was released on June 10, 2008, fourteen years after its predecessor. The songs were inspired by reggae and other styles of Jamaican music.

 Instruments and equipment
Becker was a collector of musical equipment, accumulating hundreds of guitars and amplifiers, as well as numerous other instruments, pedals, pre-wired pedalboards, "speakers, recording gear, and ephemera." In concert, he often played custom-built guitars modeled after Stratocasters.

After his death, his gear was auctioned off by Julien's for  in total. Becker's guitar and amp collection was the largest ever sold by Julien's, whose owner said "what made [the] collection unique" was that Becker "literally played all of them."

In a column for Guitar Player magazine published in 1994, Becker coined the acronym G.A.S. ("Guitar Acquisition Syndrome"), denoting the uncontrolled accumulation of music gear. The term was later adapted as Gear Acquisition Syndrome in online forums and music magazines.

Personal life
In 1975 Becker married Juanna Fatouros. In 1984 he married Elinor Roberta Meadows, a yoga teacher, and the couple had a son  and an adopted daughter Sayan. They divorced in 1997. Becker wrote "Little Kawai" for his son, and it became the final song on 11 Tracks of Whack.

Becker is survived by his wife Delia (née Cioffi).

Illness and death
In the spring of 2017, Becker was diagnosed with "an aggressive form of esophageal cancer" during an annual medical checkup. Despite undergoing vigorous treatment, the cancer rapidly worsened to the point that he did not perform at Steely Dan's concerts in the months that followed. He died from the disease on September 3, 2017, at the age of 67, at his home in Manhattan, New York City. At the time of his death, no cause or other details were announced, but a statement released in November by Becker's widow, Delia Becker, detailed his struggle with the disease.

In a statement released to the media the day of Becker's death, Fagen recalled his long-time friend and musical partner as "smart as a whip, an excellent guitarist and a great songwriter," and closed by stating that he intended to "keep the music we created together alive as long as I can with the Steely Dan band."

Julian Lennon, Steve Lukather, John Darnielle of The Mountain Goats and other musicians made public statements mourning Becker's death. Rickie Lee Jones, whose album Flying Cowboys was produced by Becker, recalled her long friendship with him in an editorial she wrote for Rolling Stone.

At a public ceremony on 28 October 2018, 72nd Drive at 112th Street, Forest Hills, Queens, New York City, was co-named Walter Becker Way.

Discography

Studio albums
 1994: 11 Tracks of Whack (Giant Records)
 2008: Circus Money (5 over 12/Mailboat Records; Sonic 360 (UK); Victor (Japan))

 Collaborations
The sources for this section include walterbecker.com, AllMusic and Discogs.
 1969: Terence Boylan, Alias Boona (Verve Forecast) – guitar, bass
 1970: Linda Hoover, I Mean To Shine (Omnivore Recordings, released 2022) – bass, arranger, co-writer (with Donald Fagen) of five songs
 1970–1971: Jay and the Americans, touring band – bass
 1970: Jay and the Americans, Capture the Moment (United Artists), "Capture the Moment", "Tricia (Tell Your Daddy)", "She'll Be Young Forever" and "Thoughts That I've Taken To Bed" – co-arranger (with Donald Fagen) strings and horns, bass
 1971: The Original Soundtrack, You've Got to Walk It Like You Talk It or You'll Lose That Beat (Spark Records), film soundtrack – co-writer and co-arranger (with Donald Fagen), bass
 1972: Navasota, Rootin' (ABC Records) – co-arranger strings and horns (with Donald Fagen); "Canyon Ladies" – co-writer (with Donald Fagen)
 1973: Thomas Jefferson Kaye,Thomas Jefferson Kaye (Dunhill Records), "I'll Be Leaving Her Tomorrow" and "Hole In The Shoe Blues" – bass
 1974: Thomas Jefferson Kaye, First Grade (ABC/Dunhill Records), "Jones" and "American Lovers" – bass
 1978: Pete Christlieb and Warne Marsh, Apogee (Warner Bros.) – co-producer (with Donald Fagen)
 1985: China Crisis, Flaunt the Imperfection (Virgin) – producer, arranger, synthesiser, percussion
 1986: Rosie Vela, Zazu (A&M) – lead guitar, guitar, synthesiser
 1987: Fra Lippo Lippi, Light and Shade (Virgin)  – producer, guitar
 1989: China Crisis, Diary of a Hollow Horse (Virgin) – producer, synthesiser
 1989: Michael Franks, Blue Pacific (Reprise), "All I need", "Vincent's Ear" and "Crayon Sun (Safe At Home)" – producer
 1989: Rickie Lee Jones, Flying Cowboys (Geffen) – producer, bass on "Flying Cowboys"
 1991: Nathalie Archangel, Owl (MCA Records) – bass
 1991: LeeAnn Ledgerwood, You Wish (Triloka Records) – producer
 1991: Jeff Beal, Objects In The Mirror (Triloka Records) – producer
 1991: Bob Sheppard, Tell Tale Signs (Windham Hill Jazz) – producer
 1991: Andy LaVerne, Pleasure Seekers (Triloka Records) – producer
 1991: Bob Bangerter, Looking At The Bright Side (Don't Stop Music, Inc.) – mixing, co-producer (with Tom Hall)
 1991: The New York Rock and Soul Revue, live dates – guitar
 1992: Spinal Tap, Break Like the Wind (MCA Records)  – liner notes
 1992: Jeremy Steig, Jigsaw (Triloka Records)  – producer
 1992: John Beasley, Cauldron (Windham Hill Jazz) – producer
 1992: Dave Kikoski, Persistent Dreams (Triloka Records) – producer, liner notes
 1992: Marty Krystall, unreleased album, "Epistrophy" (on Windham Hill sampler Commotion 2)  – producer
 1993 The Singing Mongooses, The Singing Mongooses (Alahao Records) – executive producer
 1993: Lost Tribe, Lost Tribe (Windham Hill Jazz) – producer
 1993: Andy LaVerne, Double Standard (Triloka Records)  – producer
 1993: John Beasley, A Change Of Heart (Windham Hill Jazz) – producer
 1993: Donald Fagen, Kamakiriad (Reprise) – producer, bass, guitar
 1994: John Beasley, Mose the Fireman (Rabbit Ears Productions) – producer (music), co-writer (with John Beasley), bass, banjo, mandolin
 1998: Sally Taylor, Tomboy Bride  (Blue Elbow Publishing) – mixing
 2005: Krishna Das, All One (Triloka Records) – producer, bass
 2005: Marian McPartland, Marian McPartland's Piano Jazz With Steely Dan (Jazz Alliance, recorded 2002) – guitar, conversation
 2005: Rebecca Pidgeon, Tough on Crime (Fuel 2000), "Tough on Crime" – guitar solo
 2006: Madeleine Peyroux, Half the Perfect World (Rounder/Universal), "I'm All Right" – co-writer (with Larry Klein and Madeleine Peyroux)
 2008: Lucy Schwartz, "Beautiful" (single) – co-producer (with Larry Klein)
 2009: Madeleine Peyroux, Bare Bones (Rounder/Universal), "Bare Bones" and "You Can't Do Me" – co-writer (with Larry Klein and Madeleine Peyroux)
 2009: Roger Rosenberg, Baritonality'' (Sunnyside Communications) – producer

References

External links
 and companion media website www.walterbeckermedia.com

1950 births
2017 deaths
20th-century American guitarists
20th-century American male musicians
20th-century American singers
21st-century American guitarists
21st-century American male musicians
21st-century American singers
American male bass guitarists
American male guitarists
American male songwriters
American people of British descent
American rock bass guitarists
American rock guitarists
American rock singers
American rock songwriters
Bard College alumni
Deaths from cancer in New York (state)
Deaths from esophageal cancer
Grammy Award winners
Jazz-rock guitarists
Musicians from Queens, New York
People from Forest Hills, Queens
Record producers from New York (state)
Stuyvesant High School alumni

Walter Becker


Yugoslav science fiction comprises literary works, films, comic books and other works of art in the science fiction genre created in Yugoslavia during its existence (1918–1991).

Literature

In Serbo-Croatian

Origins
The pioneers of the Serbo-Croatian science fiction were Serbian writer Dragutin Ilić (older brother of better known realist poet Vojislav Ilić), and Lazar Komarčić. Dragutin Ilić's play Posle milion godina (After Million Years), published in 1889, is considered the first science fiction work written in Serbo-Croatian, being also one of the first plays in the complete history of science fiction literature. Komarčić published the first science fiction novel in Serbo-Croatian, Jedna ugašena zvezda (One Extinguished Star), in 1903.

Kingdom of Yugoslavia (1918–1941)
Only a small number of notable science fiction works and works with science fiction elements were published in the years prior to and the years following World War I: Fran Galović's Začarano ogledalo (Magical Mirror, 1913), Marija Jurić Zagorka's Crveni ocean (Red Ocean, 1918), Dragutin Ilić's Sekund večnosti (A Second of Eternity, 1921), Josip Kulundžić's Lunar (1922), Milan Šuflaj's Na Pacifiku 2255 (In the Pacific 2255, 1924).

The late 1920s and the early 1930s brought the appearance of three science fiction works that are viewed as milestones in the history of Yugoslav science fiction literature. In 1928, scientist Milutin Milanković wrote the book Kroz vasionu i vekove (Through Distant Worlds and Times), which combined elements of autobiography, scientific essay and science fiction. In 1932, Mate Hanžeković published Gospodin čovjek (Mr Man), the first utopian novel in the history of literature in Serbo-Croatian. In 1933, Stojan Radonić's Život u vasioni (Life in the Universe) was published, the book dealing with the rise, the development and the downfall of the Martian civilization.

The late 1930s brought a number of serialized novels, published mostly in Zagreb magazines. One of the most notable authors of this period was Aldion Degal, who published the novels Atomska raketa (Atomic Rocket, 1930), Zrake smrti (Death Rays, 1932) and Smaragdni Skarabej (The Emerald Scarab, 1934), the first novel having first contact as the theme and the latter two introducing the motif of death rays into Yugoslav science fiction. However, most of the authors of these serialized novels used pen names or left their work unsigned. Many of these novels lacked originality and were heavily influenced by science fiction works by foreign authors; for instance, the novel Leteća lađa (The Flying Ship) was a literary paraphrase of Jules Verne's Master of the World, and the novel Put na mars (Voyage to Mars) paraphrased Aleksey Tolstoy's Aelita. Writer and science fiction historian Zoran Živković considered Mladen Horvat's Muri Massanga, dealing with telepathy, the best Yugoslav science fiction work from this period. The last two novels published in series before the Axis occupation of Yugoslavia were Crveni duh (The Red Ghost) and Majstor Omega (Master Omega), written by Stanko Radovanović and Zvonimir Furtinger (the latter would become one of Yugoslavia's most notable post-World War II science fiction authors), signed under the pen name Stan Rager.

Before World War II, there were several notable works with science fiction elements written by essentially non-science fiction and critically acclaimed writers. These include stories "Posle sto godina" ("After Hundred Years", 1911) by Stojan Novaković, "Zbilo se čudo u gradu" ("A Miracle Happened in the City", 1930) by Slavko Batušić and "San doktora Prospera Lupusa" ("The Dream of Doctor Prosper Lupus", 1930) by August Cesarec. In 1921, poet and translator Stanislav Vinaver published his surrealist story collection Gromobran svemira (Lightning Rod of the Universe), with the title story and the story "Osveta" ("Revenge") featuring the elements of science fiction. Certain elements of science fiction could be found in the novel Burleska gospodina Peruna boga groma (The Burlesque of Mr. Perun the God of Thunder), written by another surrealist writer, Rastko Petrović, and published during the same year.

Socialist Federal Republic of Yugoslavia (1945–1991)
In the years following World War II, the new communist authorities proclaimed socialist realism the desired form of art. However, after the Yugoslav–Soviet split, Yugoslavia became more open to other artistic movements and popular culture. As a result, many science fiction translations and a new generation of Yugoslav science fiction authors appeared since the beginning of the 1950s. Sneg i led (Snow and Ice, 1951) by academically acclaimed writer Erih Koš is considered the first Yugoslav post-World War II science fiction novel.

However, during this period science fiction was mostly perceived as children's and young adult literature, so the largest part of science fiction works from these years was intended for these age categories. The most notable children's and young adult science fiction works from this period include Čedo Vuković's Svemoguće oko (The Almighty Eye, 1953), Voja Carić's Aparat profesora Kosa (The Device of Professor Kos, 1958), Predrag Jirsak's Mjesečeva djeca (Children of the Moon, 1959) and Zvonko Veljačić's Dječak Dub putuje svemirom (Boy Dub Travels through Universe, 1959). Children's and young adult science fiction will remain popular until the 1980s.

The novel Osvajač 2 se ne javlja (No Reports from Conqueror 2), written by Zvonimir Furtinger and Mladen Bjažić and published in 1959, marked the beginning of a new era, with works dedicated to the adult audience gaining in popularity. The following year Furtinger and Blažić would publish three novels: Svemirska nevjesta (Space Bride), Varamunga, tajanstveni grad (Varamunga, the Mysterious City) and Zagonetni stroj profesora Kružića (The Mysterious Machine of Professor Kružić), becoming the first Serbo-Croatian authors dedicated primarily to science fiction. Besides this duo, the 1960s brought several more science fiction authors, the most notable being Ritig Angelo, with his novels Sasvim neobično buđenje (Quite Unusual Awakening, 1961) and Ljubav u neboderu (Love in the Skyscraper, 1965). Other authors from this period include Milan Nikolić, Silvio Ružić, Vladimir Imperl, Slobodan Petković, Franjo Ivanušec, Danilo Alargić. Another notable work frotm the 1960s was the dystopian novel Bajka (Fairytale, 1965), written by politician and academically acclaimed writer Dobrica Ćosić, being his only work to venture into science fiction.

In the 1960s, Aleksandar Radenković, who wrote under the pen name Al Radek and had success with his detective novels, published two science fiction works: Čovek iz žute kuće (A Man from the Yellow House, 1960) i Druga smrt doktora Langa (Dr Lang's Second Death, 1960). The decade also brought new works intended for children and young adults, the most notable being Čedo Vuković's Letilica profesora Bistrouma (Professor Brightmind's Aircraft, 1961) i Halo nebo (Hello, Sky, 1963), Zvonko Veljačić's Dječak Dub u svijetu čudovišta (Boy Dub in the World of Monsters, 1961), Milivoj Matušec's Suvišan u svemiru (Redundant in Space, 1961) and Berislav Kosier's Brik i kompanija (Brik and the Company, 1967).

During the 1960s, several publishing houses started publishing series of science fiction works. In 1967, the publishing house Jugoslavija started its Kentaur (Centaur) series, which would, during the following decades, publish the most notable Serbo-Croatian science fiction novels. During this decade a number of newspapers and magazines (like Večernje novosti and Politikin Zabavnik) started to publish science fiction stories regularly or periodically, and in the end of the decade, in 1969, the first science fiction magazine was started, Kosmoplov (Spacecraft), the publication of which, however, ended in 1970.

The 1970s brought the appearance of three notable publications, all three debuting in 1976. The magazine for popularization of science Galaksija (Galaxy) — which, since its founding in 1972, regularly published science fiction stories – started the annual Andromeda, which organized the first Yugoslav competition for the best science fiction story, but also published a number of essays on Yugoslav genre fiction. Vjesnik newspaper started the Sirius magazine, which would offer an opportunity to science fiction authors to publish their work. Finally, the Kentaur series, ended in 1968, were revived. During the following years, the most important works of world science fiction would be published in the series. The end of the decade also featured the short-lived book series SF tom (SF Volume), published by Dečje novine. The 1970s also brought the appearance of self-published science fiction work, with the story collection Priče stvarnosti i mašte (Tales of Reality and Imagination) by Dragan Hajduković, published in 1970, being the first Yugoslav self-published science fiction book.

During the decade a much bigger number of translated works was published in contrast to a much smaller number of works by Yugoslav authors. Most notable works from this period include the novel Beli potop (White Flood, 1975) by Berislav Kosier and the story collection Zemlja je u kvaru (The Earth is Malfunctioning, 1977) by Dušica Lukić. Terasa XI (Terrace XI, 1972) was the first post-World War II Yugoslav science fiction work written by a female author, Marija-Vera Mrak. The beginning of the 1970s brought the last book written by the Furtinger-Bjažić duo, Ništa bez Božene (It's All Useless without Božena, 1970), while the end of the decade brought Predrag Raos' novel Brodolom kod Thule (A Shipwreck at Thula, 1979), which announced the 1980s renaissance of Serbo-Croatian science fiction.

At the beginning of the 1980s Kentaur and Sirius were joined by Zvezdane staze (Star Trek) series, published by Narodna knjiga, X-100 SF series, published by Dnevnik, and Džepna knjiga (Paperback), published by Dečje novine. However, more notable than these series, published by state-owned publishing houses, were book series published by small, private publishers. Zoran Živković and Žika Bogadnović started Polaris book series, which published contemporary foreign science fiction, with some works, like Arthur Clarke's 2010: Odyssey Two and 2061: Odyssey Three having its world premiere in the series. Znak Sagite (Sign of Sagitta), started by Boban Knežević, and Zoroaster, started by Branislav Brkić, also published contemporary and classic works of world science fiction. Knežević also started the annual Monolit (Monolith). Another notable annual was Alef (Aleph), which was, however, published irregularly.

During the 1980s, Yugoslav science fiction scene annually brought about twenty-five new titles by Yugoslav authors. About one third of science fiction titles in this period, both Yugoslav and translated, were published as a part of Dnevnik's X-100 SF series. However, a large part of it was pulp science fiction written by Yugoslav writers under foreign pen names. Most notable of these authors were Dušan Belča, writing under the pen name Bell Ch. A, and Slobodan Ćurčić, writing under the pen name S. Tyrkley. Belča wrote ten books, mostly space operas, while Ćurčić wrote six, some of them, like the story collection Šuma, kiše, grad i zvezde (Forest, Rains, City and Stars) reaching higher artistic value. Other authors who published their books as a part of X-100 SF series were Ljubiša Jovanović (under the pen name M. L. Arnaud), Boban Knežević (under the pen name Andrew Osborne), Radmilo Anđelković (under the pen name R. Angelakis), Ratislav Durman (under the pen name D. T. Bird), Slobodan Marković (under the pen name Liberty Borom), Vladimir Lazović (under the pen name Valdemar Lazy), Stevan Babić (under the pen name Steve McClain) and Zoran Jakšić (under the pen name David J. Storm). Three more authors from the 1980s published their books under pen names: Dejan Đorđević (as Dave George), Milan Drašković (as Mike Draskov) and Brana Nikolić (as Derek Finnegan). While Đorđević and Drašković remained within the boundaries of space opera, Nikolić wrote several dozen pulp novels in the Ninja series, published by Dečje novine, some of the stories featuring elements of science fiction. (These novels would later in the decade inspire the Ninja comic book, published by Dečje novine.)

The 1980s, however, also brought many authors which did not use pen names and wrote with artistic aspirations. The most notable authors include Dragan Biskupović, his most notable work being Ateisti grade crkvu (Atheists Are Building a Church), Dragan Filipović, his most notable work being Oreska, Hrvoje Hitrec, his most notable work being Ur, Nikola Panić, his most notable work being Regata Plerus (Regatta Plerus), Đorđe Pisarev, his most notable work being Knjiga naroda lutaka (The Book of the Puppet People), Predrag Raos, his most notable work being Mnogo vike nizašto (Much Ado About Nothing) and Damir Mikulić, his most notable work being O. Other authors of the decade include Joža Horvat, Ljubomir Prelić, Majo Topolovac, Predrag Urošević, Ante Škobalj, Dejan Đorđević, Zlatko Krilić, Radomir Vuga, Neven Orhel, Aleksandar Manić, Ariel Šimek, Radovan Ždrale and Dragan Orlović. The 1980s brought the first science fiction anthology consisting entirely of the stories by Yugoslav authors, entitled Tamni vilajet (The Dark Vilayet).

The 1980s were notable for the fact that academically acclaimed writers started to show interest for science fiction and to incorporate science fiction elements into their work. Borislav Pekić, one of the most important Serbian writers of the twentieth century, wrote several science fiction works: Besnilo (Rabies), Atlantida (Atlantis) and 1999. The theme of dystopia prevails in the works of science fiction writers during this decade, however, the most notable dystopian novels from the 1980s were works by authors which generally did not write genre fiction: Utov dnevnik (Uto's Diary) by writer, film director, theorist and critic Branko Belan, Trojanski konj (Trojan Horse) and Epitaf carskog gurmana (Epitaph of the Imperial Gourmet) by writer and gastronomy expert Veljko Barbieri, Na kraju ostaje reč (The Word Is All that Is Left) by writer, translator and diplomat Ivan Ivanji, Donji svetovi (Lower Worlds) by writer, painter and sculptor Zvonimir Kostić and Atomokalipsa (Atomocalypse) by writer, diplomat, lieutenant general of the Yugoslav People's Army and bearer of the Order of the People's Hero Aleksandar Vojinović. During this decade science fiction genre started to gain academical recognition, with the appearance of numerous theoretical texts and first dissertations about science fiction.

Although less popular than in the previous decades, children's and young adult science fiction was still present on the Serbo-Croatian literary scene. Most notable authors include Dušica Lukić, Marija-Vera Mrak, Ivan Godina and Anto Gradaš. Gradaš published the trilogy about professor Leopold and his son, consisting of books Ljubičasti planet (The Purple Planet), Bakreni Petar (Copper Peter) and Izum profesora Leopolda (The Invention of Professor Leopold).

In Slovene

Origins

Simon Jenko's story "Mikromega" ("Micromega"), published in 1851, is considered the first science fiction work in Slovene. Mikromega was a literary paraphrase of Voltaire's novella of the same title. Certain utopian elements in the story would inspire a number of works by Slovene authors from the second part of the 19th century. The first Slovene science fiction novel was Andrej Volkar's Dijak v Lunihe (Student on the Moon), published in 1871. Heroes of the novel travel to the Moon via balloon, where they find an arcadian utopia. Another utopian novel was Josip Stritar's novel Deveta dežela (The Ninth Country), published in 1878. In 1884, Anton Mahnič published the dystopian response to Deveta dežela entitled Indija Komandija (Command India), which would itself be a subject of parody in Ivan Tavčar's 1891 satirical work 4000. In 1888, Janez Trdina published Razodetje (Revelation), featuring a utopian vision of Slovenia in 2175. Another notable work from this period was Ivan Toporiš's Arheološko predavanje leta 5000 (Archaeological Lecture from the Year 5000).

In 1893 three notable works were published. The first was Simon Šubic's Pogubni malik sveta (The Harmful Idol of the World). The title refers to money, which is absent from utopian society on Mars, where the story is set. The second was Abadon by Janez Mencinger, the most notable dystopian novel in the history of Slovene literature, dealing with the dark future caused by technological revolution. The third one was Josip Jaklič's Pantheon, a story of travel to utopian societies on Mars and Mercury.

Kingdom of Yugoslavia (1918–1941)

After the era of utopian and dystopian works, came a new era during which fiction with the elements of popular science prevailed. It was an announced by Etbin Kristan's 1914 work Pertinčarjevo pomlajevanje (Pertničar's Rejuvenation), dealing with unsuccessful attempts in creating the new race of men. During the mid 1930s Vladimir Bartol published a number of stories dealing with the imperfections of man. Similar motif appears in Anton Novačan's play Nadčlovek (Superhuman, 1939), in which men evolve into superhumans, before devolving into apes. As a contrast to the works which express doubt in progress based on scientific discoveries appeared Vernesque works glorifying scientific progress. The most notable representative of this stream was Damir Feigel, whose science fiction adventure novels Pasja dlaka! (Hair of the Dog!, 1926), Na skrivnostnih tleh (On the Mysterious Ground, 1929), Čudežno oko (The Miraculous Eye, 1930), Okoli sveta/8 (Around the World/8, 1935) and Supervitalin (1938) offer optimistic visions of the future. Pavel Brežnik wrote in similar fashion, his most notable works being Temna zvezda (The Dark Star, 1935) and Marsovske skrivnosti (Secrets of Mars, 1935) and the duo of Metod Jenko and Simon Hasl, their most notable work being Izum (The Invention, 1938).

Although less frequent that in the years prior to World War I, the dystopian motifs are still present in Slovene science fiction. They appear in Ivo Šorli's V deželi Čirimurcev (In the Land of Chirimurs, 1929), which introduced the motif of parallel worlds into Yugoslav science fiction. The similar motif appears in Radivoj Rehar's science fiction fairy tale Potovanje po zvezdi Večernici (Travel across the Evening Star, 1931).

Socialist Federal Republic of Yugoslavia (1945–1991)
In the years following World War II, the Slovene authors strove to write in accordance to contemporary trends in world science fiction. The theme of extraterrestrial life is one of the predominant themes in the 1950s. The first Slovene science fiction work dealing with the subject was Matej Bor's 1955 novel Vesolje v akvariju (Universe in Aquarium). In this work aliens were described as anthropomorphic beings, but more perfect than humans. Another notable work featuring the motif of anthropomorphic aliens was Branimir Žganjer's Natančno tri dni zamude (Exactly Three Days of Delay). The theatre play Pregnani iz raja (Outlawed from Heaven, 1970) by Franc Puncer and Jure Kislinger was the first to abandon the idea of aliens' anthropomorphic form.

First Slovene authors dedicated entirely to science fiction appeared in the 1960s. The most notable among them was writer and psychologist Vid Pečjak. His most notable science fiction works include Drejček in trije Marsovčki (Drejchek and Three Little Martians, 1961), dedicated to young adult audience, Pobegli robot (Runaway Robot, 1967), Adam in Eva na planetu starcev (Adam and Eve on the Planet of Old Men, 1972), Roboti so med nami (The Robots Are among Us, 1974), Kam je izginila Ema Lauš (Where Did Ema Lauš Disappear, 1980) and Tretje življenje (Third Life, 1980), which he wrote together with Boris Grabnar. Another notable author from the 1960s was Leopold Suhodolčan, with his novel Trije v raketi (Three People in the Rocket, 1961); Suhodolčan would return to science fiction a decade and a half later, with Stopinje po zraku (Feet in the Air, 1977).

The 1970s brought the emergence of many young authors. Most of these authors created works which were modern in both style and subjects, inspired both by Slovene science fiction tradition and modern tendencies in world science fiction. Most notable authors from this period include Franjo Puncer, Gregor Strniša, Branko Gradišnik, Boris Grabnar, Miha Remec, Milica Kitek, Marjan Tomšič, Tomaž Kralj, Boris Novak, Ivan Sivec and Boris Čevin. Miha Remec would become the most notable Slovene science fiction author in Yugoslavia with his works Prepoznavanje (Recognition, 1977), Iksion (1981), Mana (1985), Lovec (Hunter, 1987) and Nečista hči (Unclean Daughter, 1987).

Just as Serbo-Croatian science fiction, the Slovene science fiction experienced renaissance in the 1980s. The influx of new authors was announced in the late 1970s, when Ljubljana magazine Nedeljski dnevnik started publishing science fiction stories by Slovene authors, printing more than 180 stories until December 1981. One of the most published and most talented among these authors was Samo Kuščer. His stories were collected in the book Sabi (1983), which would mark the beginning of his writing career. Besides Kuščer, other notable authors from the 1980s include Brane Dolinar, Miloš Mikeln, Bojan Meserko, Milan Rotner and Veseljko Simonovič. Besides authors, the 1980s brought the new generation of science fiction critics and first theorists of the genre, the most notable ones being Drago Bajt, Jože Dolničar and Žiga Leskovček.

In Macedonian

Socialist Federal Republic of Yugoslavia (1945–1991)
Due to the unfavorable circumstances in which modern Macedonian literature developed, the first Macedonian translations of science fiction novels and the first works of Macedonian science fiction authors appeared in the 1950s, much later than the ones in Serbo-Croatian and Slovene. The first science fiction work by a Macedonian author was the 1959 children's novel Големата авантура (The Great Adventure) by Lazо Naumovski. In the following years, writers Peni Trpkovski, Tome Arsovski and Ljiljana Beleva would write in similar fashion.

The first Macedonian science fiction novel for adult audience was Враќање од пеколот (Return from Hell) by Ljubomir Donski, published in 1966, a story about a mad scientist set in a totalitarian dystopia. The beginning of the 1970s brought notable novel Далечно патување (The Long Journey, 1972) by Peni Trpkovski. The novel featured the motif of extraterrestrial origin of humans. In the late 1970s appeared Stojmir Simjanoski, the first Macedonian writer to dedicate himself primarily to science fiction genre. His first novel was the dystopia Ацела (Acella, 1977). Simjanoski published two more novels with similar themes, Двојната Ева (The Double Eve, 1980) and Ќерката на ѕвездите (Daughter of Stars, 1981). The mid 1970s brought the first science fiction book series in Macedonia, Univerzum (Universe), published by Makedonska kniga.

The most notable Macedonian author of science fiction during the 1970s and the 1980s was writer, essayist, literary and art critic Vlado Urošević, whose story collections Ноќниот пајтон (The Night Carriage, 1972) and Лов на еднорози (Unicorn Hunt, 1983), although predominantly fantasy-oriented, feature a number of science fiction stories. Urošević also wrote a notable collection of essays on science fiction entitled Подземна палата (Underground Palace, 1987) and the monograph Демони и галаксии (Demons and Galaxies, 1988).

Other notable Macedonian science fiction authors from the 1980s include Blagoja Jankovski, Vladimir Simonovski and Ljubomir Mihajlovski. Another notable monograph from the 1980s was Филозофија на иконоклазмот (Philosophy of Iconoclasm, 1983) by Ferid Muhić, the first Yugoslav to write a dissertation on science fiction.

Film
One of the first Yugoslav films with science fiction elements was Veljko Bulajić's Atomic War Bride (1960), dealing with the theme of nuclear war. In 1970 Matjaž Klopčič directed the science fiction drama Oxygen. The science fiction horror film The Rat Savior (1977) by Krsto Papić won the first prize at the International Science Fiction Film Festival in Trieste and Grand Prize at the Fantasporto film festival.

Dušan Vukotić's 1981 science fiction comedy film Visitors from the Galaxy won a number of awards at international film festivals, including the Best Screenplay Award at the International Science Fiction Film Festival in Trieste, the Jury Award at Imagfic festival in Madrid, and the Best Director Award at the Brussels International Fantastic Film Festival. Other notable films from the 1980s were science fiction drama Butnskala (1985) by Franci Slak and the science fiction comedy/adventure film Maja and the Starboy (1988) by Jane Kavčič.

Comics
The first Yugoslav science fiction comic was Gost iz svemira (A Guest from Space), published in 1935 in the Zagreb magazine Oko. The authors of the comic were Božidar Rašić (signed as Apić) and Leontije Bjelski (signed as Tomas). Three more titles debuted in 1935: Zrak smrti (Death Ray) by Đorđe Lobačev and Ljubavnica s marsa (Lover from Mars) and Podzemna carica (Empress of the Underground) by Andrija Maurović. Published soon after the first appearances of Brick Bradford (1933) and Flash Gordon (1934) comics and two years before the first French and Italian science fiction comics, these titles could be considered pioneer works of the genre. Before the Axis occupation of Yugoslavia about ten more titles were published, mostly adaptations of Jules Verne's and H. G. Wells' works. The most notable authors from this period, besides Lobačev and Maurović, include Aleksije Ranhner and Sebastijan Lehner.

Yugoslav science fiction comic was revived in 1951 by Zlatko Šešelj. However, until the beginning of the 1980s only about twenty new titles per decade would be published. The most notable authors from the 1950s were brothers Norbert and Valter Nojgebauer, considered the founders of modern science fiction comics in Yugoslavia. Other notable authors from the decade include duos Milorad Dobrić — Milan Kovačević and Aleksandar Hercl – Dragoljub Jovanović. In 1958 debuted Svemirko (Spaceman) comic, created by Vladimir Delač and Nenad Briksi, which would continue to be published for a whole decade, ending in 1968. Valter Nojgebauer and Aleksandar Hercl would continue their work through the 1960s, but the most notable author from this decade would be Božidar Veselinović.

The first half of the 1970s brought a very small number of titles, but the end of the decade announced the era of new authors, whose work would, during the 1980s, make Yugoslav science fiction comics relevant on the European scene. The leading authors of this decade include Dragan Bosnić, Radovan Devlić, Branislav Hecel, Zoran Janjetov, Igor Kordej, Dejan Nenadov, Željko Pahek, Dušan Reljić, Dragan Savić, Vladimir Vesović and Krešimir Zimonjić. Works by a number of these artists were published abroad.

Other visual arts
Slovene painters Marjan Remec, Jože Spacal, Samo Kovač and Darko Slavec and Macedonian painters Vasko Taškovski, Kiril Efremov and Vangel Naumovski created a number of works inspired by science fiction.

Music
Science fiction influenced works by numerous popular music artists. Works by composer and pioneer of Yugoslav electronic music Miha Kralj were heavily influenced by science fiction. In 1985, screenwriter Dragan Galović and director Dinko Tucaković filmed a science fiction TV film for Radio Television of Belgrade. The film featured music of the synthpop duo Denis & Denis and starred Denis & Denis members Edi Kraljić and Marina Perazić.

Societies, fandom and fanzines
The first Yugoslav society of science fiction fans, Sfera (Sphere), was formed in Zagreb in 1976. During the 1980s, more societies were formed, most notable ones being Lazar Komarčić Society from Belgrade, Nova from Ljubljana, Pulsar from Skopje, Lira (Lyre) from Niš and Meteor from Subotica. The societies organized science fiction conventions, lectures, exhibitions and film screenings, with Sfera organizing several international conventions. The largest convention in Yugoslavia was Festival SF žanra (SF Festival), held in Belgrade in 1985. There were attempts of uniting these societies into a federal society, but they remained unsuccessful until the breakup of the country.

Most of the societies mentioned above published their fanzines. The first Yugoslav science fiction fanzine was Parsek, established by Sfera society in January 1977. Most of Parsek, which was published irregularly, was dedicated to news and reviews of books and films. The fanzine occasionally published theoretical texts. In December 1981, Lazar Komarčić Society established the fanzine Emitor, published on a monthly basis. Besides news, reviews and theoretical texts, Emitor also published stories (mostly by the members of the Lazar Komarčić Society) and comics. Emitor was followed by five more fanzines: Nova, published by the Nova society, Spektar (Spectrum), published by the Belgrade publishing society Kasiopeja, Pulsar, published by the Pulsar society, Meteor, published by the Meteor society, and Misija (Mission), published by the Split publishing society Branko Belan. Most of the fanzines were short-lived, with the exception of Misija, which was established in September 1986 and published regularly on a monthly basis. Misija featured, besides texts in Serbo-Croatian, some texts in Hungarian. In 1987, the federal fanzine Yusfan was established.

See also
Croatian science fiction
Serbian science fiction

References

Yugoslav science fiction


The cabinet of the Netherlands () is the main executive body of the Netherlands. The latest cabinet of the Netherlands is the Fourth Rutte cabinet, which has been in power since 10 January 2022, until 7 July 2023. It is headed by Prime Minister Mark Rutte and his deputies Sigrid Kaag, Wopke Hoekstra and Carola Schouten.

Composition and role

The cabinet consists of the ministers and state secretaries. The cabinet is led by the Prime Minister. There are between twelve and sixteen Ministers, most of whom are also heads of specific government ministries, although there are often some ministers without portfolio who have areas of responsibility inside one or more ministries. For instance there has for some time been a minister for development cooperation, who works within the Ministry of Foreign Affairs. Most ministries also have a state secretary who is responsible for part of the relevant portfolio. State secretaries (such as that of Trade and Development Cooperation) are given the right to call themselves "Minister" in other countries and be treated as such for protocolary purposes, while not having any of the domestic rights given specifically to Ministers. Most significantly, state secretaries are not members of the Council of Ministers.

The policy of a cabinet is coordinated by the Council of Ministers, in which all ministers, including ministers without portfolio, take part. The Council initiates laws and policy. State secretaries do not attend the Council of Ministers unless invited, and even then they have no voting rights in the Council. The Council meets every Friday in the Trêveszaal (the Room of Treaties) in the Binnenhof. Meetings are chaired by the Prime Minister, or an acting Prime Minister if necessary. The Council makes decisions in a collegial manner; all ministers, including the Prime Minister, are (theoretically) equal. Behind the closed doors of the Trêveszaal, ministers can freely debate proposed decisions and express their opinion on any aspect of cabinet policy. Once a decision is made by the Council, all individual members are bound by it and are obliged to support it publicly. A member of Cabinet who is not prepared to publicly support a decision of the Council is obliged to step down. Typically, a good deal of effort is put into reaching relative consensus on any decision. A process of voting within the Council does exist, but is hardly ever used.

Together with the King, the Council of Ministers forms the Government, which makes all the major decisions. In practice, the King does not participate in the daily decision-making of government, although he is kept up to date by weekly meetings with the Prime Minister. The Dutch constitution does not speak of cabinet, but instead only of the Council of Ministers and Government.

The ministers, individually and collectively (as cabinet), are responsible to the States-General for government policy  and must enjoy its confidence. It is not possible for a minister to be a member of parliament. Ministers or state secretaries who are no longer supported by a parliamentary majority are also expected by convention to step down. In contrast to the Westminster system, Dutch ministers may not simultaneously also be members of the States-General, although members of the States-General can be appointed as ministers, whereupon their seats become vacant.

An important question is whether the relationship between the cabinet and parliament should be dualistic or monistic. That is, whether ministers and leaders of governing parliamentary parties should prepare important political decisions. According to the dualistic position, members of parliament of governing parties should function independently of the Cabinet. The monistic position, by contrast, is that the Cabinet plays an important role in proposing legislation and policy.

The Cabinet typically meets at least once a week and is presided by the Prime Minister.

Formation

After a general election held generally every four years, or if a cabinet resigns during a parliamentary term, the process of cabinet formation starts. Because of the multi-party system of the Netherlands, no single party has had a majority in parliament since 1900, and formation of a coalition of two or often three parties is always necessary. This is a time-consuming process. The entire procedure is regulated by tradition and convention, with only the final appointment process specified by law.

Initially, the Dutch Monarch has secret individual meetings with the presidents of the Senate and House of Representatives, and the Vice-President of the Council of State. Next the Monarch has a meeting with the leader of each parliamentary party in the House of Representatives. This is followed by appointing an informateur who explores the options of a new cabinet. The informateur is often a relative outsider and a veteran politician, who has retired from active politics, perhaps a member of the Senate or Raad van State, though by convention has a background in the largest party in the House of Representatives. The Monarch may appoint multiple informateurs, with backgrounds in other parties. The informateur is given a specific task by the King or Queen regnant, often to "seek a coalition of parties with programmatic agreement and a majority in parliament." The informateur has one-on-one meetings with the leaders of the parliamentary parties, and chairs sessions of negotiations between the chairs of parliamentary parties as they compromise in order to achieve agreement. If negotiations break down, a new informateur is appointed and the information process begins afresh.

Once an informateur is successful, the Monarch appoints the formateur, conventionally the leader of the largest party in the prospective coalition and the likely Prime Minister. the formateur leads any remaining negotiations between those parties willing to cooperate to form a cabinet. Often, these negotiations cover the details of the program of policies, the composition of the Cabinet, and the division of Ministerial portfolios.

If the formateur is successful, the Monarch appoints all ministers and state secretaries individually by Royal Decision (Koninklijk Besluit). Each Minister privately swears an oath of loyalty to the Constitution. After this the entire Council of Ministers and the King or Queen regnant are photographed on the stairs of the palace Huis ten Bosch during the bordes scene. The new cabinet then proposes its plans to parliament.

Between the dissolution of the States-General before general elections and the appointment of a new Cabinet, the incumbent Cabinet is termed demissionair, that is, a caretaker government limiting itself to urgent and pressing matters and traditionally not taking any controversial decisions. If a Cabinet falls during a parliamentary term because one of the coalition partners withdraws its support, the coalition partner in question may leave. This does not result in a demissionair Cabinet, unless the Prime Minister is granted a dissolution of the States-General. Instead, the remaining parties in the governing coalition form a rompkabinet ("rump cabinet"). If the parties do not between them control a majority of the House of Representatives, the Cabinet continues as a minority government.

The formation is often considered as important as or even more important than the elections themselves. Because of the importance of negotiations, which can lead to policies that no party has promoted during the election, cabinet formations are sometimes seen as undemocratic. Recently it was attempted to make the process more democratic, with the formateur and informateur accounting for their actions before both the House of Representatives and the Dutch Monarch. Another source of discontent with this process is the role of the monarch in it.

Incumbent Cabinet

Ministries
There are now twelve ministries, all with their own Minister, there are also several Ministers without portfolio and in some ministries there is a State Secretary next to the Minister. The number of Ministers and State Secretaries and the division of their tasks may vary somewhat from one cabinet to another. The ministries are:

History

The first real cabinet was formed in 1848 after a constitution was adopted which limited the power of the King and introduced the principle of ministerial responsibility to parliament. Until 1888 cabinets lacked a real coordinating role, and instead ministers were focused on their own department. After 1888 cabinets became more political.

Of the thirty coalition governments since World War II, only three excluded the largest party (all three times PvdA) and the largest number of parties in a coalition was 5 (in 1971 and 1973). After that, the three major Christian-democratic parties merged into CDA, and 2- or 3-party coalitions became standard.

Since 1945 there have been thirty cabinets, which were headed by 15 Prime Ministers. Willem Drees and Jan Peter Balkenende both chaired the most cabinets (four) and Ruud Lubbers served as Prime Minister the longest (between 1982 and 1994). The second Rutte cabinet was the longest lasting cabinet since World War II (1,816 days); only the cabinet led by Theo Heemskerk sat longer (2025 days). The first Balkenende cabinet is the shortest lasting normal cabinet since World War II (87 days); only the fifth cabinet of Hendrikus Colijn lasted shorter (10 days).

Council of Ministers of the Kingdom
The Cabinet of the Netherlands also takes responsibility for day-to-day affairs in the Kingdom of the Netherlands, which is distinct from the Netherlands, as it also includes the constituent countries of Aruba, Curaçao and Sint-Maarten. If affairs are decided which are of vital importance of the Kingdom as a whole, the Council of Ministers of the Netherlands is joined by a Minister Plenipotentiary for Aruba, Curaçao and Sint-Maarten to form the Council of Ministers of the Kingdom.

Types
There are different types of cabinets:
 A demissionary cabinet (demissionair kabinet) is a caretaker government during the election campaign and the formation of a new cabinet.
 An extra-parliamentary cabinet (extraparlementair kabinet) not based on a parliamentary majority. The last extra-parliamentary cabinet was the Den Uyl cabinet. It consisted of members of the three progressive parties (the social democratic PvdA, the social liberal D66, and the progressive Christian PPR) and progressive members from the Christian democratic ARP and KVP. It is contrasted with a parliamentary cabinet, which does have an explicit majority in parliament.
 A rump cabinet (rompkabinet) is the continuation of a Dutch cabinet when it has lost a coalition partner, typically a form of minority government, where the cabinet has not become demissionary, but seeks support from a majority of parliament to finish the work that was already introduced by the cabinet to the parliament. Normally the Dutch Monarch will call for dissolution of parliament somewhat later, since the basis behind the coalition agreement is gone.
 A broad basis cabinet (brede basiskabinet) is an oversized coalition or national cabinet. Between 1945 and 1959, several cabinets have included more parties than were necessary for a parliamentary majority. The first one of which was the Schermerhorn cabinet. Other parties were included to give the cabinet and its far-reaching proposals, like the formation of a welfare state, a broad basis in parliament and society. The core of these cabinets were formed by the social democratic PvdA and the catholic KVP, the Roman/Red alliance which by themselves had a large majority in parliament.

See also
 List of cabinets of the Netherlands

References

Cabinet of the Netherlands


Arthur Edward Quinn (born February 26, 1968) is an American actor, model and musician. He played recurring roles in a number of television series, including 2 Broke Girls, Mistresses, and One Day at a Time. From 2006 to 2012 he starred in the Syfy fantasy series Eureka, and in 2019 began starring as President Hunter Franklin in the BET prime time soap opera The Oval.

Early life and education
Quinn was born in Berkeley, California, where he attended St. Mary's College High School and went on to earn a bachelor's degree in history from the University of California, Berkeley in 1991. While in Berkeley, Quinn was a brother of Alpha Delta Phi (California Chapter). He also played rugby for California.

Career

After graduating, Quinn worked as a model in Paris, Barcelona, and Milan, landing parts in more than 35 international television commercials. When he returned to the United States, Quinn landed the starring role of Finn in The WB summer series Young Americans (2000). Later he had a recurring roles on Jack & Jill and CSI: NY. He made his film debut in the 2002 low-budget film Beeper starring Harvey Keitel and later appeared in direct-to-video Starship Troopers 2: Hero of the Federation (2004). From 2006 through 2008, he played Nathan Stark in the Syfy series Eureka, reprising this role once during 2010.

In 2015 Quinn joined the cast of the ABC series Mistresses. From 2016 to 2017, Quinn had a recurring role in last two seasons of CBS sitcom 2 Broke Girls. In 2018, Quinn had a recurring role in the Netflix series One Day at a Time. Quinn's role as Max Ferraro on One Day at a Time continued as the show transitioned to  Pop (also shown on TV Land and Logo) for the fourth season in 2020. In 2019, Quinn landed the starring role of fictitious President Hunter Franklin in the Tyler Perry  prime time soap opera The Oval.

Music
Quinn  studied with Joe Satriani and played in the Los Angeles-based bands Mad Theory and Scattergood, which led to a recording contract. He handled lead/rhythm guitar and vocals for the band ScatterGood, which has taken a hiatus. Quinn recently did his first solo demo CD, entitled Quinn, with three songs produced by his friend Chris Lloyd: "Because of You", "Cause I Do" and "We Had It Made". Another 5 song EP was released in 2013.

Personal life
Quinn and Heather Courtney-Quinn, a TV and film producer, have been married since 2008.

Filmography

Film

Television

References

External links

1968 births
20th-century American male actors
21st-century American male actors
American male film actors
American male television actors
Living people
Male actors from Berkeley, California
Male models from California
University of California, Berkeley alumni

Ed Quinn


Springfield is a town in Marquette County, Wisconsin, United States. The population was 811 at the 2020 census.

Geography
According to the United States Census Bureau, the town has a total area of 34.9 square miles (90.5 km2), of which, 34.6 square miles (89.6 km2) of it is land and 0.3 square miles (0.9 km2) of it (0.97%) is water.

Demographics
As of the census of 2000, there were 628 people, 273 households, and 188 families residing in the town. The population density was 18.1 people per square mile (7.0/km2). There were 542 housing units at an average density of 15.7 per square mile (6.0/km2). The racial makeup of the town was 97.29% White, 1.75% Native American, 0.48% from other races, and 0.48% from two or more races. Hispanic or Latino of any race were 1.27% of the population.

There were 273 households, out of which 25.3% had children under the age of 18 living with them, 63.0% were married couples living together, 2.9% had a female householder with no husband present, and 31.1% were non-families. 27.8% of all households were made up of individuals, and 12.8% had someone living alone who was 65 years of age or older. The average household size was 2.30 and the average family size was 2.82.

In the town, the population was spread out, with 19.9% under the age of 18, 5.6% from 18 to 24, 23.4% from 25 to 44, 33.4% from 45 to 64, and 17.7% who were 65 years of age or older. The median age was 46 years. For every 100 females, there were 107.9 males. For every 100 females age 18 and over, there were 107.0 males.

The median income for a household in the town was $35,109, and the median income for a family was $41,875. Males had a median income of $30,750 versus $21,250 for females. The per capita income for the town was $17,593. About 6.2% of families and 10.3% of the population were below the poverty line, including 8.8% of those under age 18 and 14.3% of those age 65 or over.

References

Towns in Marquette County, Wisconsin
Towns in Wisconsin

Springfield, Marquette County, Wisconsin


James Cyril Bolger (February 23, 1932 – April 9, 2020) was an American professional baseball outfielder. He appeared in 312 games over all or parts of seven Major League Baseball (MLB) seasons, but spent over two-thirds of his big-league playing time — 260 games — as a member of the Chicago Cubs. Bolger had short stints with the Cincinnati Reds (nine games), Cleveland Indians (eight), and Philadelphia Phillies (35 games). His MLB totals included 140 hits, 14 doubles, six triples, and six home runs, with a career batting average of .229. Bolger threw and batted right-handed. During his playing days, he stood  tall and weighed .

Born in Cincinnati, Ohio, Bolger attended Purcell Marian High School. He began his pro career with the  Reds, also playing Minor League Baseball (MiLB) in their farm system.

On October 14, 1951, Bolger was traded by the Cincinnati Redlegs to Buffalo for pitchers Moe Savransky and Tom Acker.

Bolger's best MLB season came in 1957. He spent the full season with the Cubs as their fourth outfielder, appeared in 112 games (starting 57, including two starts as a third baseman), and batted a career-high .275, in 273 at-bats. The previous year, Bolger had been named a Pacific Coast League (PCL) all-star, after he batted .326, with 147 runs batted in, 193 hits, and 28 home runs, as a member of the Los Angeles Angels.

Bolger's 13-year professional career ended in 1962, after he batted .319 for the Triple-A Louisville Colonels.

Bolger died on April 9, 2020, at the age of 88.

References

External links

1932 births
2020 deaths
Baseball players from Cincinnati
Burlington Flints players
Charleston Senators players
Chicago Cubs players
Cincinnati Redlegs players
Cincinnati Reds players
Cleveland Indians players
Columbia Reds players
Little Rock Travelers players
Los Angeles Angels (minor league) players
Louisville Colonels (minor league) players
Major League Baseball outfielders
Philadelphia Phillies players
Sacramento Solons players
San Diego Padres (minor league) players
Tulsa Oilers (baseball) players
Williamsport Tigers players
Xavier University alumni

Jim Bolger (baseball)


The Skovgaard Museum is an art museum in Viborg, Denmark. It is situated in the former town hall from 1728 next to Viborg Cathedral and holds a collection of works by four generations of the Skovgaard family of artists.

The Permanent Collection
The main feature of the permanent collection is the work of the members of the Skovgaard family. Peter Christian Skovgaard (1817–1875) was the principal representative of national romantic landscapes of the Golden Age of Danish painting.

P. C. Skovgaard married Georgia Skovgaard (1828-1868). Their sons, Joakim Skovgaard (1856–1933) created the mural decorations in Viborg Cathedral and Niels Skovgaard (1858–1938) also worked with landscape painting. However, their work is characterized rather by Symbolism and burgeoning Modernism. The collection holds exquisite examples of landscape painting as well as religious and mythological subjects.

The circle of artists surrounding the Skovgaard family is also represented in the museum's collections, with works by, among others, renowned Danish artists Niels Larsen Stevns, Viggo Petersen and Thorvald Bindesbøll.

Exhibitions

The Skovgaard Museum shows three to four temporary exhibitions a year, ranging from art from the beginning of the nineteenth century to contemporary art. The permanent collection is on display all year round.

References

Other sources
Anne-Mette Villumsen, Camilla Lisby Boesen (2012) Historien om et museum : Skovgaard Museet 1937-2012 (Skovgaard Museet)

External links

 Skovgaard Museum Official site

Art museums and galleries in Denmark
Buildings and structures in Viborg Municipality
Museums in the Central Denmark Region

Skovgaard Museum


is a Mongolian professional sumo wrestler from Ulaanbaatar. He made his debut in July 2009 and reached the top makuuchi division in September 2016. He wrestles for Kokonoe stable. His highest rank is maegashira 2.

Early life and sumo experience
As a child, Munkhsaihan's father was the equivalent of ōzeki in Mongolian wrestling. He was at his father's side most everywhere he went, and his father would take him to judo and wrestling practice often. In addition his father and Asashōryū's father were acquaintances. These circumstances naturally led to an interest in the sumo world. He met former yokozuna Chiyonofuji when the elder came to Munkhsaihan's region on a sumo tour and through Chiyonofuji's invitation, he transferred to Meitoku Gijuku High School, a school well-known for its sumo program. He left the school in his second year and joined Chiyonofuji's Kokonoe stable.

Career
He joined at the same time as Aoiyama and the two attended sumo school at the same time and also graduated together. He weighed only a light 87 kilograms when he first stepped into the ring, and there was concern whether or not he could make it on the dohyō. However, thinking of his father, a popular figure of high rank in Mongolian sumo, made him ashamed at the prospect of quitting early and he resolved to stick it out. From his entry into sumo until he reached the sandanme division, he took the shikona . Upon reaching sandanme in July 2010, as is the custom at his stable, he took the 'Chiyo' part of legendary wrestlers from the stable such as Chiyonofuji and Chiyonoyama, and became Chiyoshōma Fujio. After a little more than a year, in September 2011, he received promotion to the 3rd division known as makushita. Though he bounced back and forth between sandanme and makushita for a period after this, from November 2012 he was re-promoted to makushita with good enough results to become a makushita regular. Up until this point he had to serve stablemates Chiyomaru and Chiyo'ō who were the same age as him, so this was incentive for him to train hard and work his way up the ranks. For the next three years he would soldier on in the third division, moving slowly upward. In September 2015 he had a commanding 6–1 record and took the yūshō for the 3rd division. This put him at makushita 3 for the next tournament where he achieved another 6–1, guaranteeing his promotion to the salaried ranks of jūryō. At the press conference for his promotion, he stated that six and a half years had been a long time, and he had hoped to reach the professional ranks in four years. He also said that he still had further to rise and he would do his best. A party to celebrate his promotion was held at a hotel in Tokyo at which his parents brought traditional Mongolian outfits for Chiyonofuji and his wife to try out.

In his first two tournaments in jūryō starting in January 2016, he attained two winning tournaments. In the following May tournament he only managed a 7–8, but bounced back to a 9–6 record for the July tournament at jūryō 3, earning him promotion to the top flight makuuchi division. He made his top division debut in the Aki basho of September 2016, the first new makuuchi wrestler from Kokonoe stable since the death of his stablemaster Chiyonofuji on July 31 of that year. Following his entry into makuuchi Chiyoshōma had two consecutive winning tournaments and  he is working his way towards the possibility of being a regular makuuchi wrestler. His first tournament fighting all the ōzeki and yokozuna was in May 2017 from the rank of maegashira 2 where he fell short with a 5–10 record.

He was reprimanded during the November 2017 tournament for causing three matta or false starts in his Day 9 match against Hokutofuji by not putting both fists to the ground, and for thrusting at Hokutofuji after the first matta was called.

His string of 498 consecutive matches from sumo entry was broken on the final day of the July 2018 tournament when he pulled out due to an injury. He lost top division status after the May 2019 tournament, but returned to makuuchi in November 2020 after eight tournaments in jūryō.

On the day before the scheduled start of the January 2021 tournament, it was announced that Chiyoshōma had tested positive for COVID-19. He, and all of the other members of Kokonoe stable, subsequently withdrew from that tournament.

Fighting style
Chiyoshōma's preferred grip on his opponent's mawashi or belt is hidari-yotsu, a right hand outside, left hand inside position. He uses both pushing and grappling techniques. His most common winning kimarite are hatakikomi (slap down), yorikiri (force out) and uwatenage (overarm throw).

Personal life
On 25 December 2018 Chiyoshōma married a fellow Mongolian at the Mongolian embassy, a graduate of Mongolian State University she came to Japan for foreign language studies.  They first met in August 2014 and have been in a relationship since January 2016.

Career record

See also
Glossary of sumo terms
List of active sumo wrestlers
List of non-Japanese sumo wrestlers

References

External links

1991 births
Living people
Mongolian sumo wrestlers
Sportspeople from Ulaanbaatar
Kokonoe stable sumo wrestlers

Chiyoshōma Fujio


Net-Centric Enterprise Services (NCES) is a Department of Defense  program, managed by the Defense Information Systems Agency, to develop information technology infrastructure services for future systems used by the United States military.

Technically, the program is based on the concept of 'enterprise integration' from the sub discipline enterprise engineering of systems engineering, which enables the transmission of right information at the right place and at the right time and thereby enable communication between people, machines and computers and their efficient co-operation and co-ordination.

There are nine core enterprise services defined in the Network Centric Operations and Warfare - Reference Model (NCOW-RM):
 storage
 mediation
 user assist
 IA (Information Assurance)
 ESM (Enterprise Service Management)
 messaging
 discovery & delivery
 application
 collaboration

NCES maps these nine services to four product areas:
 Enterprise service-oriented architecture (SOA) foundation
 Content discovery and delivery
 Enterprise collaboration
 Defense on-line portal

See also
 Defense Discovery Metadata Specification
 Service-oriented architecture
 Web Service
 Enterprise integration
 Enterprise engineering

External links
NCES Web Site
NCES User's Guide

United States Department of Defense
Service-oriented (business computing)
Net-centric

Net-Centric Enterprise Services


In mathematics, a basic semialgebraic set is a set defined by polynomial equalities and polynomial inequalities, and a semialgebraic set is a finite union of basic semialgebraic sets. A semialgebraic function is a function with a semialgebraic graph. Such sets and functions are mainly studied in real algebraic geometry which is the appropriate framework for algebraic geometry over the real numbers.

Definition
Let  be a real closed field. (For example  could be the field of real numbers .)
A subset  of  is a semialgebraic set if it is a finite union of sets defined by polynomial equalities of the form  and of sets defined by polynomial inequalities of the form

Properties

Similarly to algebraic subvarieties, finite unions and intersections of semialgebraic sets are still semialgebraic sets. Furthermore, unlike subvarieties, the complement of a semialgebraic set is again semialgebraic. Finally, and most importantly, the Tarski–Seidenberg theorem says that they are also closed under the projection operation: in other words a semialgebraic set projected onto a linear subspace yields another semialgebraic set (as is the case for quantifier elimination).  These properties together mean that semialgebraic sets form an o-minimal structure on R.

A semialgebraic set (or function) is said to be defined over a subring A of R if there is some description as in the definition, where the polynomials can be chosen to have coefficients in A.

On a dense open subset of the semialgebraic set S, it  is (locally) a submanifold. One can define the dimension of S to be the largest dimension at points at which it is a submanifold. It is not hard to see that a semialgebraic set lies inside an algebraic subvariety of the same dimension.

See also
Łojasiewicz inequality
Existential theory of the reals
Subanalytic set
piecewise algebraic space

References
.
.
.

External links
PlanetMath page

Real algebraic geometry

Semialgebraic set


Petra Rivers (born 11 December 1952) is a retired Australian athlete who specialised in the javelin throw.

At the 1970 National Championships, she won both the Open and Junior javelin titles.  Still only seventeen, it was her fourth national junior javelin championship win.  Her performances earned her a place in the Australian team for the 1970 Commonwealth Games where she comfortably won the gold medal in Edinburgh.

In late 1971, she threw  Australian and World Junior records of 61.76 and 62.24 metres, in quick succession but injury kept her out of the 1972 national titles and Olympic Games.  She recovered to repeat her Commonwealth Games gold medal win in Auckland but continuing injuries forced her retirement from the sport, at age 22, in 1975.

Four years later, Rivers returned from retirement and gained Olympic selection for the 1980 Moscow Olympics.  She won the 1982 national championships with a huge national record throw of 69.28 metres and took the silver medal at the Brisbane Commonwealth Games behind team-mate Sue Howland.

Rivers went on to compete in the 1984 LA Olympics and 1986 Commonwealth Games.

See also
 Australian athletics champions (Women)

External links
 Petra Rivers at Australian Athletics Historical Results

1952 births
Living people
Olympic athletes for Australia
Australian female javelin throwers
Athletes (track and field) at the 1980 Summer Olympics
Athletes (track and field) at the 1984 Summer Olympics
Commonwealth Games gold medallists for Australia
Commonwealth Games silver medallists for Australia
Commonwealth Games medallists in athletics
Athletes (track and field) at the 1970 British Commonwealth Games
Athletes (track and field) at the 1974 British Commonwealth Games
Athletes (track and field) at the 1982 Commonwealth Games
Athletes (track and field) at the 1986 Commonwealth Games
Medallists at the 1970 British Commonwealth Games
Medallists at the 1974 British Commonwealth Games
Medallists at the 1982 Commonwealth Games
Place of birth missing (living people)

Petra Rivers


Hugh the Great or Hugues le Grand (895–16 June 956) was duke of the Franks and count of Paris.

Early career

Hugh was the son of King Robert I of France and Béatrice of Vermandois. She was the daughter of Herbert I, Count of Vermandois.  Hugh was born in 895 in Paris, France. His eldest son was Hugh Capet who became King of France in 987.  Hugh was a member of the family known as the Robertians.

Duke of France

In 922 the barons of western Francia revolted against the Carolingian king Charles the Simple. In his place they elected Robert I, Hugh's father, as King of Western Francia. Robert I died in battle at Soissons in 923. When Hugh refused the crown it went to his brother-in-law, Rudolph of France. Charles the simple asked his cousin Herbert II, Count of Vermandois for help in getting back his crown. But instead of helping the king he put him in prison. Herbert then used the threat of releasing his prisoner to get what he wanted. But Charles died in 929. From then on Hugh the great, acting for King Rudolph, had to struggle with Herbert II. Finally Rudolph and Herbert II came to an agreement in 935.

At the death of King Rudolph in 936, Hugh possessed nearly all of the region between the Loire and the Seine. This was the same territory as Neustria with the exceptions of Anjou and of Normandy. Hugh was one of those who brought Louis IV (d'Outremer) from the Kingdom of England in 936. In 937 Hugh married Hedwige of Saxony, a daughter of Henry I the Fowler of Germany and Matilda of Ringelheim. Very soon however Hugh was quarrelling with King Louis.

In 939 king Louis attacked Hugh the Great and William I, Duke of Normandy. But soon after they made a truce which lasted until June. That same year Hugh, along with Herbert II of Vermandois, Arnulf I, Count of Flanders and Duke William Longsword paid homage to the Emperor Otto the Great. They supported him in his struggle against Louis. When Louis fell into the hands of the Normans in 945, he was handed over to Hugh in exchange for their young duke Richard. Hugh released Louis IV in 946 but made him surrender the fortress of Laon. In 948 at a church council at Ingelheim the bishops excommunicated Hugh even though he was not there. Hugh's response was to attack Soissons and Reims. Hugh finally changed his mind and made peace with Louis IV, and the church.

When Louis IV died Hugh was one of the first to recognize Lothair as his successor. For helping to have him crowned the new king gave Hugh Burgundy and Aquitaine. In the same year Giselbert, Duke of Burgundy acknowledged Hugh as his overlord and gave his daughter in marriage to Hugh's son Otto-Henry. On 16 June 956 Hugh the Great died in Dourdan.

Family

In 922 Hugh married Judith, the daughter of Roger, Count of Maine and Rothilde. She died childless in 925.

Hugh's second wife was Eadhild, daughter of Edward the Elder, king of the Anglo-Saxons. They married in 926 and she died in 938, childless.

Hugh's third wife was Hedwig of Saxony, daughter of Henry the Fowler and Matilda of Ringelheim. She and Hugh had:

 Beatrice, married Frederick I, Duke of Upper Lorraine.
 Hugh Capet.
 Emma.(-aft. 968).
 Otto, Duke of Burgundy, a minor in 956.
 Odo-Henry I, Duke of Burgundy (d. 1002).

References

890s births
950s deaths
Dukes and duchesses of France

Hugh the Great


A culture hero is a mythological hero specific to some group (cultural, ethnic, religious, etc.) who changes the world through invention or discovery. Although many culture heroes help with the creation of the world, most culture heroes are important because of their effect on the world after creation. A typical culture hero might be credited as the discoverer of fire, agriculture, songs, tradition, law, or religion, and is usually the most important legendary figure of a people, sometimes as the founder of its ruling dynasty.

Culture heroes in mythology

History of a culture hero
The term "culture hero" was originated by historian Kurt Breysig, who used the German word heilbringer, which translates to savior. Over the years, "culture hero" has been interpreted in many ways. Older interpretations by Breysig, Paul Ehrenreich, and Wilhelm Schmidt thought that the journeys of culture heroes were ways in which humans could attempt to understand things in nature, such as the rising and setting of the sun, or the movement of the stars and constellations. Eventually, their interpretations were rejected and replaced with newer interpretations by scholars such as Hermann Baumann, Adolf E. Jensen, Mircea Eliade, Otto Zerries, Raffaele Pettazzoni, and Harry Tegnaeus, which evolved as a result of having more access to ethnological data, creating the present version of the culture hero.

Creation of a culture hero
Culture heroes can perform unbelievable tasks in life because they are different from normal people.  Typically, a culture hero's power originates from birth, an event that rarely occurs regularly. When their mothers conceive, it is generally not by her husband but by the wind, or a drop of water.  Newborn culture heroes are either very powerful babies or full-grown men, an attribute highlighting their exceptional nature.

Characteristics of a culture hero
A culture hero generally goes on an adventure (often called the hero's journey) that does one of the following:

 Saves humankind from a dangerous monster
 Shapes the world (rivers, mountains, etc...)
 Creates distinction between humans and animals
 Makes economic life possible for humans (teaching the humans)
 Sets the origin of death

Because culture heroes often possess shapeshifting abilities, they often can transform from man to animal and back.  The typical culture hero possesses both admirable and deplorable personal qualities, a combination that is often responsible for sending him on his great journey.  Some culture heroes are tricksters, acting selfishly and ultimately benefiting mankind only unintentionally.

Disappearance of a culture hero
Once culture heroes have finished their task, they usually disappear. In many stories, the hero is transformed back to his origin, and his death place is marked with a stone, tree, or body of water. The end of a culture hero's life will generally lead to the creation of something else, such as a river, constellation, food, animals, and the moon and sun. Culture heroes are the etiological explanation for many humans about the things occurring in their daily lives.

Examples

In many Native American mythologies and beliefs, the coyote spirit stole fire from the gods (or stars or sun) and is more of a trickster than a culture hero. Natives from the Southeastern United States typically saw a rabbit trickster/culture hero, and Pacific Northwest native stories often feature a raven in this role: in some stories, Raven steals fire from his uncle Beaver and eventually gives it to humans. The Western African trickster spider Anansi is also common. In Norse mythology, Odin steals the mead of poetry from Jötunheim and is credited as the discoverer of the runes.

See also
 Folk hero
 Founding myth
 List of culture heroes

References

Culture
Heroes in mythology and legend
Literary motifs
Mythological archetypes

Culture hero


The Argentine Fascist Party (Partido Fascista Argentino, PFA) was a fascist political party in Argentina from 1932 until its official disbandment in 1936, when it was succeeded by the National Fascist Union (Union Nacional Fascista, UNF). Founded by Italian Argentines, the party was formed as a breakaway faction from Argentina's National Fascist Party (Partido Nacional Fascista, PNF). It was based upon Italian fascism and was recognized by Benito Mussolini's National Fascist Party in 1935. In the 1930s the party became a mass movement, particularly in the Córdoba reguon. Nicholás Vitelli led the PFA's branch in Córdoba until his death in 1934, when Nimio de Anquín took the leadership of the party.

The PFA's main political allies in Córdoba were the Argentine Civic Legion and the Nationalist Action of Argentina/Affirmation of a New Argentina movement.

References

Fascism in Argentina
Fascist parties
Defunct political parties in Argentina
Political parties established in 1932
1932 establishments in Argentina
Political parties disestablished in 1936
1936 disestablishments in Argentina

Argentine Fascist Party


Anton Drexler (13 June 1884 – 24 February 1942) was a German far-right political agitator for the Völkisch movement in the 1920s. He founded the pan-German and anti-Semitic German Workers' Party (DAP), the antecedent of the Nazi Party (NSDAP). Drexler mentored his successor in the NSDAP, Adolf Hitler, during his early years in politics.

Early life
Born in Munich, Drexler was a machine-fitter before becoming a railway toolmaker and locksmith in Berlin. He is believed to have been disappointed with his income, and to have played the zither in restaurants to supplement his earnings. Drexler did not serve in the armed forces during World War I because he was deemed physically unfit for service.

Politics

During World War I, Drexler joined the German Fatherland Party, a short-lived far-right party active during the last phase of the war, which played a significant role in the emergence of the stab-in-the-back myth and the defamation of certain politicians as the "November Criminals".

In March 1918, Drexler founded a branch of the Free Workers' Committee for a Good Peace (Der Freie Arbeiterausschuss für einen guten Frieden) league. Karl Harrer, a journalist and member of the Thule Society, convinced Drexler and several others to form the Political Workers' Circle (Politischer Arbeiter-Zirkel) in 1918. The members met periodically for discussions about nationalism and antisemitism.

German Workers' Party
Together with Harrer, Drexler founded the German Workers' Party (DAP) in Munich on 5 January 1919. At a DAP meeting in Munich in September 1919, the main speaker was Gottfried Feder. When Feder's lecture concluded, Adolf Hitler – who attended the meeting as part of his assignment from the German Army to watch political agitators – got involved in a heated political argument with a visitor, Professor Adalbert Baumann, who questioned the soundness of Feder's arguments in support of Bavarian separatism and against capitalism. In vehemently attacking the man's arguments, Hitler made an impression on the other party members with his oratorical abilities, and according to him, the professor left the hall acknowledging defeat. Drexler approached Hitler and gave him a copy of his pamphlet My Political Awakening, which contained anti-Semitic, socialist, anti-capitalist ideas. Hitler claims the literature reflected the ideals he already believed in. Impressed with Hitler, Drexler encouraged him to join the DAP. On the orders of his army superiors, Hitler applied to join the party.

Once accepted, Hitler began to make the party more public by drawing people in with his speaking abilities, leading up to his organizing the party's biggest meeting yet, which attracted 2,000 people to the Hofbräuhaus in Munich on 24 February 1920. It was in this speech that Hitler, for the first time, enunciated the twenty-five points of the German Worker's Party's manifesto that he had authored with Drexler and Feder. Through these points he gave the organisation a foreign policy, including the abrogation of the Treaty of Versailles, a Greater Germany, Eastern expansion, and exclusion of Jews from citizenship. On the same day the party was renamed the National Socialist German Workers' Party (Nationalsozialistische Deutsche Arbeiterpartei, NSDAP).

Following an intraparty dispute, Hitler angrily tendered his resignation on 11 July 1921. Drexler and the members of the party's governing committee realised that the resignation of their leading public figure and speaker would mean the end of the party. So Dietrich Eckart was asked by the Party leadership to speak with Hitler and relay the conditions in which he would agree to return. Hitler announced he would rejoin the party on the condition that he would replace Drexler as party chairman, with dictatorial powers and the title of "Führer", and that the party headquarters would remain in Munich. The committee agreed and he rejoined the party as member 3,680. Drexler was thereafter moved to the purely symbolic position of honorary president and left the party in 1923.

Drexler was also a member of a völkisch political club for affluent members of Munich society known as the Thule Society. His membership in the Nazi Party ended when it was temporarily outlawed in 1923 following the Beer Hall Putsch, although Drexler had not taken part in the coup attempt. In 1924 he was elected to the Bavarian state parliament for the Völkisch-Social Bloc party (VSB), in which he served as vice president until 1928. He played no role in the Nazi Party's re-founding in February 1925 and rejoined only after Hitler ascended to national power in 1933. In May 1925 he founded a group with other VSB deputies, the Nationalsozialer Volksbund (National Social People's League), but was dissolved in 1927–1928. Drexler received the Nazi Party's Blood Order in 1934, and was still occasionally used as a propaganda tool until about 1937, but was never allowed any power within the party.

Death
Drexler died in Munich in February 1942 after a lengthy illness due to alcoholism.

References

Bibliography

Further reading

External links
Mein politisches Erwachen; aus dem Tagebuch eines deutschen sozialistischen Arbeiters  München, Deutscher Volksverlag 4th ed.

1884 births
1942 deaths
German anti-capitalists
German anti-communists
German Workers Party members
German Fatherland Party politicians
German nationalists
Nazi Party officials
Politicians from the Kingdom of Bavaria
Political party founders
Politicians from Munich
Right-wing anti-capitalism
Thule Society members
Alcohol-related deaths in Nazi Germany

Anton Drexler


The Elephant Man is a 1982 American biographical television film directed by Jack Hofsiss about the 19th-century English medical curiosity Joseph Merrick (known in this film as John Merrick). The script was adapted by Steve Lawson from the 1977 play of the same name by Bernard Pomerance. It was first broadcast by the American Broadcasting Company (ABC) on January 4, 1982.

Playwright Pomerance's Broadway debut of The Elephant Man in 1977 was directed by Hofsiss, who became the youngest ever winner of a Tony Award for directing the play. In the film, Philip Anglim and Kevin Conway reprised their roles from the play as John Merrick and Frederick Treves, respectively.

The film received four Emmy Award nominations; Penny Fuller won the award for 'Outstanding Supporting Actress in a Limited Series or a Special'. At the 40th Golden Globe Awards, Philip Anglim was nominated for the Golden Globe Award for Best Actor – Miniseries or Television Film. Jack Hofsiss was nominated for a Directors Guild of America Award for 'Outstanding Directorial Achievement in Dramatic Specials'.

Cast
Philip Anglim as John Merrick
Kevin Conway as Frederick Treves
Penny Fuller as Mrs. Kendal
Glenn Close as Princess Alexandra

References

External links

1982 television films
1982 films
1982 drama films
American biographical drama films
American television films
American films based on plays
Films about sideshow performers
Cultural depictions of Joseph Merrick
1980s American films

The Elephant Man (1982 film)