Ma'ruf bin Abdul Ghani al Rusafi (1875–1945) (Arabic: معروف الرصافي) was a poet, educationist and literary scholar from Iraq. He is considered by many as a controversial figure in modern Iraqi literature due to his advocacy of freedom and opposition to imperialism and is known as a poet of freedom.

Birth and early life in Baghdad
Maruf al Rusafi is known to have born in 1875 (his birth date has also been reported as 1 January 1877) at Al Rusafa in Baghdad in Iraq in a family of meagre financial means. His father, Abdul Gani, hailing from the Jibara tribe of Kurdish area, died while he was a child and was brought up by his mother, Fathima who was of Turkish ancestry. His early schooling was at the local Madrasa. Aspiring for a military career he joined Al Rushdiyya Military School in Baghdad, but had to leave after three years, having failed the grade. He continued his studies in Religion and Linguistics under an Arabic scholar, Shaikh Mahmud Shukri al Alusi and stayed there for twelve years where he had the opportunity to learn Sufism, Linguistics, Islamic principles and general sciences. After the completion of his studies, Rusafi started working as a teacher of Arabic at an elementary school run by one of his teachers, in Al Rashdiyya, and later, in 1902, moved to a secondary school in Baghdad.

Life in Turkey and Syria
Al Rusafi left for Turkey of the post Young Turk Revolution, in 1908, and started working in Istanbul as an Arabic lecturer at the Royal College. He worked at a local newspaper, Sabil al Rashad and is known to have led an active social life. In 1912, he became a member of the Turkish Chamber of Deputies, representing Al Muthanna district of Iraq and was re-elected  in 1914. After the fall of the Ottoman Empire in 1918, Al Rusafi left Istanbul for Syria as the British authorities in Iraq prevented the return of Iraqis from Turkey. He settled in Damascus in 1919 and started teaching there, but only for a short time of less than one year. The local government of Syria, under Amir Faisal who was the son of the Sherif of Mecca, was also reluctant to accept Rusafi due to Rusafi's opposition of the Arab Congress of 1913 held in Paris and the revolt of 1916 initiated by the Sherif of Mecca.

Brief stay in Jerusalem

The British local government under Gilbert Clayton reportedly in an attempt to keep Al Rusafi away from Iraq, offered him a job at the Teachers' Training College (Dar al-Mu'allimin), through Muhammad Kurd Ali, an acquaintant of Al Rusafi who went on to become the president of the Arab Academy of Damascus. Ma'ruf al Rusafi reached Jerusalem in 1920 and resumed his career as a teacher of Arabic literature at the training college. During his stay in Jerusalem, Rusafi had the opportunity to associate himself with such literary figures as Issaf Nashashibi, the principal of the training college and in whose name, Issaf Nashashibi Center for Culture and Literature was established in 1982, Adil Jabr, the assistant director of education, Khalil al-Sakakini, an Arab nationalist and Nakhlah Zuraiq, an Arabic faculty member at the English College in Jerusalem. The association also provided Rusafi with opportunity to recite his poems at the gatherings and pursue his literary career.

In 1920, when Sir Herbert Samuel, a British Jewish diplomat, was appointed the High Commissioner of Palestine, he made a declaration at the Palestine Arab Congress held at Haifa that a higher college of Arab studies would be established in Jerusalem, a promise never fulfilled. Rusafi, who was also an attendee at the Congress, later wrote in praise of the declaration, an act which is reported to have placed him in disfavour of the Arab nationalists and his students. Though Rusafi tried to pacify the situation by publishing an explanation in the local daily, Mir'at ash-Sharq, his efforts were not successful. A month after the controversy, when the supporters of Talib Pasha al Naqiq, a candidate at the Iraqi elections of 1921, decided to launch a newspaper, Rusafi is reported to have been invited to head the publication. Rusafi left Jerusalem in March 1921, ending his stay of 18 months there.

Return to Iraq
Rusafi is reported to have reached Baghdad on 9 April 1921 and there is unconfirmed reports of him being arrested a few days later. However, it is known that he started a newspaper, Al Amal but the daily had a short life.  In 1923, he joined the committee for translation and arabization as its vice chairman, and in 1924, he became an inspector in the Directorate of Education where he worked till 1927. The next move was as the professor of Arabic at the Higher Teachers Institute in 1927. In 1930, he was elected to the Parliament but continued his teaching job till 1937, after which his life is known to be in isolation. Reports are available that Rusafi spent his last days in poverty, working in a tobacco shop in Baghdad. He died on 16 March 1945.

A bronze statue of Maruf Al Rusafi has been erected at the Rashid Street intersection, in Baghdad, near Souq al Sarai.

Political and social activism
Maruf Rusafi is known to have used his writing to bring out the social and political issues of the Middle East society, especially Iraqi society. His writings during his stay in Turkey are reported to be commentaries on the Ottoman period. He is regarded by many as the founder of the social school of poetry in Iraq. He is also known to have written in defence of women and widows and is seen as a strong advocate of education and knowledge. Some of his poems have been critical of the British occupation of Iraq of 1920, in the wake of the rise of King Faisal I to power after the World War I. Khalid Muhammed Hafiz, erstwhile judge of Faluja had a collection of manuscripts about his interaction with Rusafi which revealed Rusafi as moderate in his religious beliefs. The manuscript was later published by Yousuf Izz ad Deen, along with his own critical study of Rusafi's poems, as a book, Al-Rusafi Yarwi Seerat Hayatih.

Literary works
He has written many pieces, one of which was important towards society and politics. One of his poems, 'A Praise to the Development of the Future' talked about how "people are too proud of their history rather than developing their future." Maruf Rusafi was acquainted with western literature through Turkish translations and his writing career started while he was in Istanbul by way of socio political articles in journals such as Al Muqtataf and Al Muayyad, published from Syria and Egypt. His first book of poetry, Diwan, was released in 1910. Rusafi, who is credited with the adding ideas and values to modern Iraqi poetry, has written on a wide range of topics such as nationalism, society, politics and reforms. His contributions are classified into publications and manuscripts and may be listed as:

Publications
 Diwan - collection of poems in four chapters, Al Kawniyat (7 poems), Al Ijtemaiyat (19 poems), Al Tarikhiyat (9 poems) and Al Wasfiyat (56 poems). The book was republished in 1932, expanded into 11 chapters. The third edition was brought out in 1952 and six more editions have been published since then.
 Al Anashid al Madrasiyah - collection of poems written in 1920.
 Al Ruya - novel in Turkish language, later translated into Arabic. The novel, written in Turkish language during the period of Ottoman Empire and based on the life of Turkish writer, Namık Kemal, is known to have a veiled call for awakening. It was translated into Arabic, after the 1908 Young Turk Revolution.
 Dafu al Hajanah fi Irtidah al Luknah - a book of linguistics composed of words and usages of the Ottoman language, published in 1912 by Sada e Millat.
 Nafu al Taiyb fi al Khitaba wa al Khatib - a compilation of Rusafi's lectures at Madrassa al Waizin, Istanbul, published in 1917 by Al Awqaf al Isalmiya publications.
 Durus fi Tarikh al Lughah al Arabiyah - lecture compilation during Rusafi's tenure as the inspector of Arabic language, delivered at Dar al Muallimin al Aliah, Baghdad, published in 1928.
 Muhadarat al Adab al Arabi (Muhadarat al Adab al Arabi) - collection of speeches during his tenure as the vice president of Translation and committee. It was published in 1921.
 Tamaim al Tarbiyah wa al Talim - collection of poems from Turkey days, published in 1924.
 Compilation of Lectures - collection of lectures given to teachers about the necessity of Arabic teaching, given during his stint at the Ministry of Education as the inspector of Arabic language. Published in 1926.
 Rasail al Taliqat - a three volume work, published in 1944 by Matbatu al Marif publications, Baghdad.
 Ala Babi Sijni Abi al Ala - critical study of Ma Abil Alaa fi Sijnihi, a book written by Taha Hussain. Published in 1947, after Rusafi's death.

Manuscripts
 Al Risālah al Irāqīyah fī al Siyāsah wa al dīn wa al Ijtimā - a socio-political study written during Rusafi's stay in Faluja during 1933 to 1941; published in 1940.
 Khawatir wa Nawadir - critical essays on literature, society, education, religion and politics, published in 1940.
 Kitab al Aalah wa al Idarah…wa ma Yattibi'uhuma min al Malabis wa al Marafiq wa al Hanat - a book on linguistics and the arabization of usages in foreign languages.
 Al Shakhsiyah al Muhammadiyah au Hallu al Lughz al Muqaddas - a book on Prophet Mohammed, written in two stages; started the compilation in 1928 and completed while in Faluja in 1941.
 Daf al Maraq fi Kalami Ahli al Iraq - a morphological and philological study of Iraqi languages.
 Al Adab Al Rafi fi Mizan al Shir - Lectures on Rhetoric and Metre, delivered during his tenure at Dar al Muallimin, in Baghdad.
 Aarau Abi al Ala - Compilation of the poems of Abul Ala. The original compilation of 1924 was lost and a second compilation was done in 1938.

Rusafi's works have been translated into many languages including Russian.

See also

 Khalil al-Sakakini
 Herbert Samuel, 1st Viscount Samuel
 Gilbert Clayton
 Safa Khulusi

References

Further reading

External links

1875 births
1945 deaths
Writers from Baghdad
20th-century Iraqi poets
Iraqi writers
Iraqi politicians
Iraqi educators
Iraqi scholars
20th-century Iraqi writers
20th-century Iraqi educators
19th-century poets of Ottoman Iraq
Members of Iraqi Academy of Sciences

Maruf al Rusafi


Gabriel Astruc (14 March 1864 – 7 July 1938) was a French journalist, agent, promoter, theatre manager, theatrical impresario, and playwright whose career connects many of the best-known incidents and personalities of Belle Epoque Paris. He was the uncle of sculptor, Louise Ochsé (Mayer).

Biography

Born in Bordeaux, to the Astruc family, he was the son of Élie Aristide Astruc (1831–1905), the Grand Rabbi of Belgium from 1866 to 1879, and began his career working for publisher Paul Ollendorff, and as a columnist from 1885 through 1895.  As a regular at Montmartre's prototypically bohemian Le Chat Noir cabaret, he befriended a young Erik Satie and wrote articles and theater pieces under the pen name Surtac.  In 1897 he founded a music publishing company with his father-in-law Wilhelm Enoch, by 1900 he had introduced the luxury magazine Musica, and by 1904 had become a concert promoter.

In this period he was the booking agent for Mata Hari.  Astruc booked Hari into the Paris Olympia in August 1905, and would manage her appearances for the next ten years, through the height of her considerable fame.  He also served as booking agent for Feodor Chaliapin, Arthur Rubinstein, and Wanda Landowska, but not Isadora Duncan, whom he considered too subtle to attract a sizable audience.

From 1905 through 1912 Astruc brought a long list of musical giants to Paris under the banner "Great Season of Paris", including an Italian season with Enrico Caruso and Australian soprano Nellie Melba in 1905, the creation of Salome under the baton of Richard Strauss in 1907, the Ballets Russes of Diaghilev in 1909, the Metropolitan Opera conducted by Arturo Toscanini in 1910, and Debussy's Le martyre de Saint Sébastien (text by Gabriele D'Annunzio) in 1911.

In 1913 Astruc tried to parlay his success by commissioning Auguste Perret to build the innovative Théâtre des Champs-Élysées in the Avenue Montaige. This building is an architectural landmark of early reinforced concrete.  After a brilliant and scandalous first season, climaxed by the famous riot at the May 29 premiere of The Rite of Spring, Astruc found himself financially ruined within six months.  He was also the target of anti-Semitic attacks from Léon Daudet and others of the Action Française.

After World War I, he worked in the field of radio and advertising, and in 1929 served as the manager of the Théâtre Pigalle for Philippe de Rothschild.  Astruc and Marcel Proust were friends, having helped proofread the first edition of Swann's Way, and Proust returned the favor by helping Astruc prepare his memoirs, Le pavillon des fantômes, appearing in 1929.

His papers reside at the New York Public Library for the Performing Arts Dance Collection.

Sources
 this page translated from its equivalent on French Wikipedia accessed 9/22/2010

References

Impresarios
19th-century French journalists
French male journalists
20th-century French journalists
19th-century French dramatists and playwrights
20th-century French dramatists and playwrights
French theatre managers and producers
Lycée Condorcet alumni
Writers from Bordeaux
19th-century French Sephardi Jews
1864 births
1938 deaths
19th-century French male writers
20th-century French male writers
Businesspeople from Bordeaux
Belle Époque

Gabriel Astruc


Carlos de Anda Dominguez (March 12, 1908 – August 30, 1995) was a Mexican accomplished sprinter who competed internationally, eventually reaching the 1932 Summer Olympics, and qualifying for the 1936 Summer Olympics.

Early life
Carlos de Anda Dominguez was born in 1908, during the Mexican Revolution. His family struggled as they were robbed by the government through corruption and dirty politics, but during a turbulent childhood and with the support of his mother, he found physical and mental refuge in sports. He became an accomplished platform diver by high school and became a member of the Mexico National team. He became a runner shortly thereafter, a sport that became his passion.

Athletics career
Carlos de Anda Dominguez participated in the Central American and Caribbean Games competitions in Havana, Cuba, and San Salvador in 1935, where he set a record that lasted 28 years.  Carlos de Anda Dominguez also set a Mexican national record of 48.1 seconds in the 400 dash in 1931, a record that remained unbroken for 32 years.  He participated in the 1932 Summer Olympics, and qualified for the 1936 Summer Olympics, even though he retired from track and field in order to focus on work and family.

As a Mexican representative, at the 10th Central American and Caribbean Games held in June 1966 in the city of San Juan, Puerto Rico, Carlos de Anda Dominguez discussed the need to form a Central American and Caribbean Athletic Confederation and proposed organizing the first Central American and Caribbean Championships.
The first Championships were held on the 5th and 6 May 1967, in Jalapa, Veracruz, Mexico.  During the celebration of the V Pan American Games in Winnipeg, Canada, a tentative constitution was approved, a permanent committee elected, and the site of the second Central American and Caribbean Championships was awarded to Cali, Colombia, for August 1969, with Havanna, Cuba, as the alternate site.  The Constitution was finally adopted on the occasion of the second Championships in August 1969. It has been revised and amended at General Assemblies in Guadalajara, Mexico, June 16, 1979; San Juan, Puerto Rico, July 5, 1979; Nassau, Bahamas, August 22, 1980; Santo Domingo, Dominican Republic, July 11, 1981; Maracaibo, Venezuela, August 18, 1998; Bridgetown, Barbados, June 27, 1999, San Juan, Puerto Rico, July 16, 2000, Bridgetown, Barbados, July 7, 2002 and San Salvador, El Salvador, December 4, 2002, Habana, Cuba, July 5, 2009, Santo Domingo 2010, Mayaguez 2010.

Throughout his track and field career, Carlos de Anda Dominguez competed and won various meets in the pentathlon (100 meters, 1,500 meters, javelin, high jump, and shot-put.)  He played and competed in racket ball, baseball, boxing, tennis, American football, football soccer, and was part of the Chihuahua state champion team in volleyball.  Later in life he took on archery and became senior national champion.  The last race he participated in was a half marathon, which he won, at the age of 75.

After his retirement, he served as President of the Mexican Federation of Athletics.  As an active member of the International Federation of Track and Field he was elected to be a judge at the 1968 Summer Olympics in Mexico City, Mexico.  Carlos de Anda Dominguez was elected head of the Mexican delegation during the 1967 Panamerican Games in Winnipeg, Canada, as well as the 1964 Summer Olympics in Tokyo, Japan.  Carlos de Anda Dominguez was a member of the Mexican Olympic Committee from 1964 until his death in 1995.  He was recognized by the Mexican Federation of Athletics in 1982, when his name was entered into the Hall of Fame of CODEME (Mexican Sports Confederation). This recognition and award is given to select athletes whose sporting excellence is example of perseverance, dedication and discipline.

Professional life
Beyond his accomplishments in athletics, Carlos de Anda Dominguez had an admirable work career.  At a young age he took an interest in mathematics and studied accounting.  Wanting to have a university degree in math (a degree that didn't exist in Mexico at that time), he formed the Mexican Mathematics Foundation and became one of the first seven people in the country to earn a degree in Mathematics.  Still in love with numbers, later in life he became General Director of La Nacional Compañía de Seguros, S.A, and in 1951 he started his own insurance company, Seguros La Colonial in the city of Chihuahua, which in 1959 by the President of Mexico, Adolfo López Mateos became La Aseguradora Hidalgo, S.A., one of the largest insurance companies in the country, and the only government owned insurance company in México.  When he retired, he dedicated his time to write about his great grandmother, Josefa Ortiz de Domínguez, an influential woman in Mexico's history who was married to a powerful governor of the state of Querétaro.  She, along with most of the leaders of the Mexican Revolution collaborated in the planning and execution of the Mexican Independence movement, which resulted in Mexico's independence from Spain on September 16, 1810.  Her name is in the books as one of the most influential female politicians in the history of the country.

References

1908 births
1995 deaths
Mexican male sprinters
Olympic athletes for Mexico
Athletes (track and field) at the 1932 Summer Olympics
Athletes from Mexico City
Competitors at the 1930 Central American and Caribbean Games
Competitors at the 1935 Central American and Caribbean Games
Central American and Caribbean Games gold medalists for Mexico
Central American and Caribbean Games medalists in athletics

Carlos de Anda


Kama Ginkas () (born 7 May 1941 in Kaunas, Lithuanian SSR, USSR) is a Russian and Soviet theatre director.

Born to a Jewish family, Ginkas was a student of Georgy Tovstonogov, Ginkas has collaborated with most major theatres in Moscow and St. Petersburg, including the Moscow Art Theatre (The Train Car and The Toastmaster), the Moscow New Generation Theatre (МТЮЗ) (We Play Crime - based on Dostoyevsky's Crime and Punishment, The Execution of the Decembrists, Anton Chekhov's The Black Monk and Lady with a Lapdog, and Rothschild's Fiddle.) His productions have traveled to festivals in Germany, Italy, Belgium, Sweden, Finland, Bosnia, Brazil, United States, Poland, Croatia, the Netherlands, the former Yugoslavia, and France. His adaptations of Chekhov's stories are visually stunning and unique in form, and have earned him the highest honors in Russia and at festivals throughout the world.  In the summer of 2003, he made his American debut with his "K.I. from Crime" at the Bard SummerScape Festival.  His English-language adaptation of the award-winning Lady with a Lapdog marked his American English-language premiere at the American Repertory Theater in Cambridge, Massachusetts. Over the past ten years Ginkas has directed a number of productions in Europe, including The Idiot in Germany and Macbeth in Finland. He has taught in the Swedish Theatre Academy in Helsinki and teaches directing at the Moscow Art Theatre School. His wife Genrietta Yanovskaya also famous theatre director - Director of Moscow TUZ (Teatr Unogo Zritelya - New Generation Theater).

External links
 The Moscow New Generation Theater
 Provoking Theater by Kama Ginkas and John Freedman
 Lady with a Lapdog American Repertory Theatre

References

1941 births
Living people
People from Kaunas
Lithuanian Jews
Soviet theatre directors
People's Artists of Russia
State Prize of the Russian Federation laureates
Russian theatre directors

Kama Ginkas


In the law of the Middle Ages and early Modern Period, especially within the Holy Roman Empire, an allod (Old Low Franconian allōd 'fully owned estate', from all 'full, entire' and ōd 'estate', Medieval Latin allodium), also allodial land or allodium, is an estate in land over which the allodial landowner (allodiary) had full ownership and right of alienation.

Description
Historically holders of allods are a type of sovereign. Allodial land is described as territory or a state where the holder asserted right to the land by the grace of god and the sun.

For this reason they were historically equal to other princes regardless of what the size of their territory was or what title they used. This definition is confirmed by the acclaimed Jurist Hugo Grotius, the father of international law and the concept of sovereignty. "holders of allodial land are sovereign" because allodial land is by nature free, hereditary, inherited from their forefathers, sovereign and held by the grace of God.

This form of ownership meant that the landowner owed no feudal duties to any other person. An allod could be inherited freely according to the usual law of the land. To begin with, the income from allodial estates was not even liable for taxes paid to any other sovereigns including the territorial princes (Landesfürsten).

In all of these ways, the allod differed from fiefs, which were mere tenures held by feudatories (Lehnsmänner) or their vassals (Vasallen). Overall suzerainty in a fief remained with the feudal lord, who could require of his vassals certain services which varied from vassal to vassal. Also, the ownership of a fief was split so that a lord had dominium directum and his tenant in fee had dominium utile (German nutzbares Eigentum). By contrast, an allodiary had a full freehold interest – or dominium plenum (volles Eigentum) – in his allod. This was also reflected in the contemporaneous synonym for an allod, Erbe und Eigen (loosely "inheritance and ownership"). Borough properties were usually allodial in nature. Likewise, ecclesiastical institutions (e.g. abbeys and cathedrals) owned allodial estates.

The conversion of a fief into a freehold – a familiar process in the 19th century – is called enfranchisement. Ownership of enfranchised fiefs continued to be limited, however, to the rights of the former feudatories. Only the overall suzerainty of the feudal lord over the estate was repealed, while the rights of the feudatory remained unaffected. Such an enfranchised fief became analogous to entailment (Familienfideikommiss); often it was explicitly converted into a fee tail (Fideikommissgut).

Emergence and historical development

The allod as a form of ownership was established among the Germanic tribes and peoples, before it became part of the feudal system. Land that was originally held in common by the whole community was transferred to a single individual. The freemen of the Germanic peoples divided or drew lots for the land in the countries they had conquered and taken possession of. This gave rise to the essential character of the allodial estate: a freely-owned property allocated and guaranteed by the will of the whole people or by the people's law (Volksgesetz). The landowner was independent of any superiors and free of any property right restrictions.

In many regions only allodiaries were counted as freemen, i.e., those who enjoyed all common, public rights and duties. They served as territorial assemblymen (Landesgemeinde). The allodiaries of the early Middle Ages are one of the groups out of which the nobility sprang over time. They saw themselves as equal partners of the territorial lords, because they participated alongside them as members of the territorial assembly and were not their vassals. The freedoms associated with allodial estates (tax exemption, hunting rights, etc.) were only exercised by the nobility in most states – even if, after 1500, they had to subordinate themselves increasingly to the territorial princes (as part of the establishment of statehood) – who remained, politically and economically, the most influential group of landowners.

The term 'allod' occurs only in the Franconian region and those territories influenced legally by Frankish tribes. After the Battle of Hastings in 1066, there were no more allods in England at all (though Lundy was later deemed to not be in England) and, in France, allodial estates existed mainly in the south. In Germany, the allodial estates were mainly those owned by the nobility in the south, though in the north at least one Belgian village has a name that recalls this system, namely Braine-l'Alleud, Dutch Eigenbrakel (where eigen is cognate to English own), in the province of Walloon Brabant, formerly in, or surrounded by, the southern part of the Duchy of Brabant; this is in contrast with Braine-le-Comte ('s-Gravenbrakel), some 25 km away in Hainaut, whose name refers to a fief from the count of Hainaut; both Hainaut and Brabant were formerly part of the Holy Roman empire and before that of Lotharingia. There were many lords who founded their powerful position on extensive allodial estates in the eastern Alpine countries and the lands of the Bohemian Crown. The king as lord paramount never exercised lordship over the whole Empire.

An allodial estate could also be created when a lord renounced his rights in favour of his vassal. Deforested land was considered allodial by the princes. Conversely, free territorial lords were sometimes punished by the Emperor by converting their allodial land into fiefs.

The differences between the two forms of medieval ownership – the fief and the allod – 	diminished over time. Firstly, vassals were no longer required to render services from the 17th century at the latest, and vassals' rights of inheritance became much stronger in the early modern period, and, secondly, the territorial princes were able to force freemen in the 16th century to make regular tax payments. In the 19th century, feudal law was finally gradually abolished in most European countries largely due to the Napoleonic wars and the influence of the Napoleonic Code. It fully integrated the ius commune system of ownership as a full right in rem.  While in France the régime féodal was ended in 1789 by the stroke of the pen under the Revolutionary legislature, in Germany it was not until the mid-20th century that feudal law was formally abolished in 1947 by Allied Control Council law. In most of Scotland, the feudal system was abolished in the early 21st century; allodial tenure still exists in Shetland and Orkney.

See also
 Commons
 Feudalism in the Holy Roman Empire
 Crown land
 Imperial estate
 Droit de régale
 Allodial title
 Odal
 Udal law

Literature
 Otto Brunner: Land und Herrschaft. Grundfragen der territorialen Verfassungsgeschichte Österreichs im Mittelalter. 5th edition, Rohrer, Vienna, 1965 (Unamended reprographic copy of the 5th edition: Wissenschaftliche Buchgesellschaft, Darmstadt, 1984, ).

References

Feudalism

Allod


Baron Cottesloe, of Swanbourne and Hardwick in the County of Buckingham, is a title in the Peerage of the United Kingdom. It was created on 2 March 1874 for the Conservative politician and former Chief Secretary for Ireland, Sir Thomas Fremantle, 1st Baronet (1798–1890). He was the son of Admiral Sir Thomas Fremantle (1765–1819). Lord Cottesloe had already been created a Baronet, of Swanbourne in the County of Buckingham, on 14 August 1821, chiefly in recognition of his father's services, and with remainder to the latter's heirs. His father Sir Thomas Fremantle was created Baron Fremantle, of the Austrian Empire, which Lord Cottesloe inherited in 1819 with the death of his father. Subsequently, in 1822 he was given a Royal licence, which authorized him and his successors to use the title in Britain. However, a warrant issued on 27 April 1932 withdrew all the royal licences, only allowing the use of the title to the then current holders, their heir (if any was born) and their heir's heir (if any was born).  The fifth baron was the last holder being allowed to use the Austrian title in the United Kingdom.

History

The 1st Baron Cottesloe was succeeded by his eldest son, Thomas Fremantle, 2nd Baron Cottesloe. He represented Buckinghamshire in the House of Commons as a Conservative. His son, the 3rd Baron, served as Lord Lieutenant of Buckinghamshire.  The latter's grandson, the fifth Baron, who succeeded his father in 1994, also served as Lord Lieutenant of Buckinghamshire between 1984 and 1997. , the title is held by his son, the sixth baron, who succeeded in that year.

Several other members of the Fremantle family have also gained distinction. William Henry Fremantle, uncle of the first Baron, was a politician. John Fremantle, son of Colonel Stephen Fremantle, uncle of the first Baron, was a major-general in the army. He was the father of 1) General Sir Arthur Fremantle and of 2) FitzRoy William Fremantle, a major-general in the Coldstream Guards. Sir Charles Fremantle, brother of the first Baron, was a naval commander. The town of Fremantle, Western Australia, is named after him. The Very Reverend the Hon. William Robert Fremantle, brother of the first Baron, was Dean of Ripon. The Very Reverend the Hon. William Henry Fremantle, second son of the first Baron, was Dean of Ripon and Canon of Canterbury. His second son Sir Francis Edward Fremantle was a Conservative politician. The Hon. Sir Charles Fremantle (1834–1915), third son of the first Baron, was an administrator with the Suez Canal Company. The Hon. Sir Edmund Fremantle, fourth son of the first Baron, was an admiral in the Royal Navy. He was the father of 1) Admiral Sir Sydney Fremantle and 2) Sir Selwyn Fremantle, an administrator in India.

Baron Fremantle of the Austrian Empire (1816–2018)
 Admiral Thomas Francis Fremantle, 1st Baron Fremantle (1765–1818)

Fremantle Baronets (1821–1874)
 Sir Thomas Francis Fremantle, 1st Baronet, 2nd Baron Fremantle (1798–1890), created Baron Cottesloe in 1874

Barons Cottesloe (1874–present)

 Thomas Francis Fremantle, 1st Baron Cottesloe, 2nd Baron Fremantle (1798–1890)
 Thomas Francis Fremantle, 2nd Baron Cottesloe, 3rd Baron Fremantle (1830–1918)
 Thomas Francis Fremantle, 3rd Baron Cottesloe, 4th Baron Fremantle (1862–1956)
 John Walgrave Halford Fremantle, 4th Baron Cottesloe, 5th Baron Fremantle (1900–1994)
 John Tapling Fremantle, 5th Baron Cottesloe, 6th Baron Fremantle (1927–2018)
 Thomas Henry Fremantle, 6th Baron Cottesloe (born 1966)
The heir presumptive is the present holder's half uncle Hon. Edward Walgrave Fremantle (born 1961)
The heir presumptive's heir apparent is his son Henry John Fremantle (born 1996)

References

Attribution

Baronies in the Peerage of the United Kingdom
Noble titles created in 1874
Noble titles created for UK MPs

Baron Cottesloe


Rambus Incorporated, founded in 1990, is an American technology company that designs, develops and licenses chip interface technologies and architectures that are used in digital electronics products. The company is well known for inventing RDRAM and for its intellectual property-based litigation following the introduction of DDR-SDRAM memory.

History
Rambus was founded in March 1990 by electrical and computer engineers, Dr. Mike Farmwald and Dr. Mark Horowitz. The company's early investors included premier venture capital and investment banking firms such as Kleiner Perkins Caufield and Byers, Merrill Lynch, Mohr Davidow Ventures, and Goldman Sachs.

Rambus was incorporated and founded as California company in 1990 and then re-incorporated in the state of Delaware before the company went public in 1997 on the NASDAQ stock exchange under the symbol RMBS.

In the 1990s, Rambus was a high-speed interface technology development and marketing company that invented 600 MHz interface technology, which solved memory bottleneck issues faced by system designers. Rambus's technology was based on a very high speed, chip-to-chip interface that was incorporated on dynamic random-access-memory (DRAM) components, processors and controllers, which achieved performance rates over ten times faster than conventional DRAMs. Rambus's RDRAM transferred data at 600 MHz over a narrow byte-wide Rambus Channel to Rambus-compatible Integrated Circuits (ICs).

Rambus's interface was an open standard, accessible to all semiconductor companies, such as Intel. Rambus provided companies who licensed its technology a full range of reference designs and engineering services. Rambus's interface technology was broadly licensed to leading DRAM, ASIC and PC peripheral chipset suppliers in the 1990s. Licensees of Rambus's RDRAM technology included companies such as Creative Labs, Intel, Microsoft, Nintendo, Silicon Graphics, Hitachi, Hyundai, IBM, Molex, Macronix and NEC.

Rambus RDRAM technology was integrated into products such as Nintendo 64, Microsoft's Talisman 3D graphics chip set, Creative Labs Graphics Blaster 3D Graphics cards for PCs, workstations manufactured by Silicon Graphics and Intel's system memory chipsets for PCs.

In 2003, Rambus Incorporated announced that Toshiba Corp. and Elpida Memory Inc. will produce its new memory technology, known as XDR DRAM. The memory technology is capable of running at 3.2 GHz and is said to be faster than any memory technology available in consumer entertainment devices and PCs at the time.

Rambus purchased Cryptography Research on June 6, 2011, for $342.5M. This will enable Rambus Inc. to develop its semiconductor licensing portfolio to include CRI's content protection and security. According to Rambus CEO Harold Hughes, the CRI security technologies would be applied to a variety of products in the company's IP portfolio.

Today, Rambus derives the majority of its annual revenue by licensing its technologies and patents for chip interfaces to its customers. According to The Wall Street Journal, history of Rambus has been "marked by litigation, including patent battles with numerous chip makers".

In 2015, Rambus acquired Integrion Microelectronics, a small Toronto based IP provider of high-speed analog SerDes PHY for an undisclosed amount. Through this acquisition, Rambus opened its 1st Canadian office and boosted its high-speed serdes IP portfolio offering.

On August 17, 2015, Rambus announced the new R+ DDR4 server memory chips RB26 DDR4 RDIMM and RB26 DDR4 LRDIMM. The chipset includes a DDR4 Register Clock Driver and Data Buffer, and it's fully-compliant with the JEDEC DDR4.

In 2016, Rambus acquired Semtech's Snowbush IP for US$32.5 million. Snowbush IP provides analog and mixed-signal IP technologies, and will expand Rambus' product offerings.

In 2016, Rambus acquired Inphi Memory Interconnect Business, for US$90 million. The acquisition includes all assets of the Inphi Memory Interconnect Business, such as customer contracts, product inventory, supply chain agreements, and intellectual property.

On November 2, 2017, Rambus announced partnership with Interac Association and Samsung Canada to assist in enabling Samsung Pay in Canada.

In 2018, Rambus agreed to renew a patent license with Nvidia. Rambus would be sharing its patent portfolio, including those covering serial links and memory controllers, with Nvidia.

On December 11, 2019, Rambus HBM2 PHY and Memory Controller IP were announced to be used in Inflame Technology's AI training chip.

In 2019, Rambus announced that it will move headquarters from Sunnyvale, California to North San Jose, California.

In 2021, Rambus announced that it started an expedited share buyback program with Deutsche Bank to buy up roughly $100 million in common stock. Rambus also acquired two companies, AnalogX and PLDA, which specialize in physical links for PCIe and CXL protocols.

In May 2022, it was announced Rambus had acquired the Montreal-headquartered electronic design company, Hardent.

In July 2023, Rambus sold its SerDes and memory interface PHY IP business to Cadence Design Systems for $110 million. In September 2023, it was announced the acquisition had been completed.

Technology

An early version of RDRAM, base RDRAM, was used in the Nintendo 64 that was released in 1996.

Disadvantages of RDRAM technology include significantly increased latency, power dissipation as heat, manufacturing complexity, and cost. PC800 RDRAM operated with a minimum latency of 45 ns, compared to 15 ns for PC133 SDRAM. RDRAMs can also be told to increase their latencies in order to prevent the possibility of two or more chips transmitting at the same time and causing a collision. However, SDRAM latency depends on the current state of memory so its latency can vary widely depending on what happened earlier and the strategy used by the SDRAM controller, while RDRAM latency is constant once it has been established by the memory controller. RDRAM memory chips also put out significantly more heat than SDRAM chips, necessitating heatsinks on all RIMM devices.

Rambus also developed and licensed its XDR DRAM technology, notably used in the PlayStation 3, and more recently XDR2 DRAM.

Lawsuits
In the early 1990s, Rambus was invited to join the JEDEC. Rambus had been trying to interest memory manufacturers in licensing their proprietary memory interface, and numerous companies had signed non-disclosure agreements to view Rambus' technical data.  During the later Infineon v. Rambus trial, Infineon memos from a meeting with representatives of other manufacturers surfaced, including the line "[O]ne day all computers will be built this way, but hopefully without the royalties going to Rambus", and continuing with a strategy discussion for reducing or eliminating royalties to be paid to Rambus.  As Rambus continued its participation in JEDEC, it became apparent that they were not prepared to agree to JEDEC's patent policy requiring owners of patents included in a standard to agree to license that technology under terms that are "reasonable and non-discriminatory", and Rambus withdrew from the organization in 1995. Memos from Rambus at that time showed they were tailoring new patent applications to cover features of SDRAM being discussed, which were public knowledge (JEDEC meetings are not secret) and perfectly legal for patent owners who have patented underlying innovations, but were seen as evidence of bad faith by the jury in the first Infineon v. Rambus trial. The Court of Appeals for the Federal Circuit (CAFC) rejected this theory of bad faith in its decision overturning the fraud conviction Infineon achieved in the first trial (see below).

Patent lawsuits
In 2000, Rambus began filing lawsuits against the largest memory manufacturers, claiming that they owned SDRAM and DDR technology. Seven manufacturers, including Samsung, quickly settled with Rambus and agreed to pay royalties on SDRAM and DDR memory. In May 2001, Rambus was found guilty of fraud for having claimed that it owned SDRAM and DDR technology, and all infringement claims against memory manufacturers were dismissed.  In January 2003, the CAFC overturned the fraud verdict of the jury trial in Virginia under Judge Payne, issued a new claims construction, and remanded the case back to Virginia for re-trial on infringement. In October 2003, the U.S. Supreme Court refused to hear the case.  Thus, the case returned to Virginia per the CAFC ruling.

In January 2005, Rambus filed four more lawsuits against memory chip makers Hynix Semiconductor, Nanya Technology, Inotera Memories and Infineon Technology claiming that DDR2, GDDR2 and GDDR3 chips contain Rambus technology. In March 2005, Rambus had its claim for patent infringements against Infineon dismissed. Rambus was accused of shredding key documents prior to court hearings, the judge agreed and dismissed Rambus' case against Infineon. This led Rambus to negotiate a settlement with Infineon, which agreed to pay Rambus quarterly license fees of $5.9 million and in return, both companies ceased all litigation against each other. The agreement ran from November 2005 to November 2007. After this date, if Rambus had enough remaining agreements in place, Infineon may make extra payments up to $100 million. In June 2005, Rambus also sued one of its strongest proponents, Samsung, the world's largest memory manufacturer, and terminated Samsung's license. Samsung had promoted Rambus's RDRAM and currently remains a licensee of Rambus's XDR memory.

In February 2006, Micron Technology sued Rambus, alleging that Rambus had violated RICO and deliberately harmed Micron.

On April 29, 2008, the Court of Appeals for the Federal Circuit issued a ruling vacating the order of the U.S. District Court for the Eastern District of Virginia, saying the case with Samsung should be dismissed, saying Judge Robert E. Payne's findings critical of Rambus, were on a case that had already been settled, and thus had no legal standing.

On January 9, 2009, a Delaware federal judge ruled that Rambus could not enforce patents against Micron Technology Inc., stating that Rambus had a "clear and convincing" show of bad faith, and ruled that Rambus' destruction of key related documents (spoliation of evidence) nullified its right to enforce its patents against Micron.

In July 2009, the United States Patent and Trademark Office (USPTO) rejected 8 claims by Rambus against Nvidia.

On November 24, 2009, the USPTO rejected all 17 claims in three Rambus patents that the company asserted against Nvidia in a complaint filed with the U.S. International Trade Commission (ITC). However the ITC has announced that out of five patents, Nvidia did violate three of them. Due to this ruling Nvidia faced a potential U.S. import ban on some of its chips used in the nForce, Quadro, GeForce, Tesla, and Tegra series graphics products—nearly every video card type manufactured by Nvidia.

On June 20, 2011, Rambus went to trial against Micron and Hynix in California, seeking as much as $12.9 billion in damages for  "a secret and unlawful conspiracy to kill a revolutionary technology, make billions of dollars and hang onto power", Rambus lawyer Bart Williams told jurors. Rambus lost on November 16, 2011, in the jury trial and its shares dropped drastically, from $14.04 to $4.00 per share.

On November 16, 2011, Rambus lost the antitrust case against Micron Technology and Hynix Semiconductor.  The San Francisco County Superior Court jury ruled against Rambus in a 9–3 vote. In a statement posted on the company's website, Rambus CEO Harold Hughes said: "We are reviewing our options for appeal".

On January 24, 2012, a USPTO appeals board declared the third of three patents known as the "Barth patents" invalid. The first two had been declared invalid in September 2011. Rambus had used these patents to win infringement lawsuits against Nvidia Corp and Hewlett-Packard.

On June 28, 2013, The Court of Appeals for the Federal Circuit reversed the USPTO and the '109 Barth patent's validity was reinstated:

"In conclusion, the Board's determination that all 25 claims of the '109 Patent are invalid as anticipated by Farmwald is not supported by substantial evidence. Accordingly, this court reverses."

Federal Trade Commission antitrust suits
In May 2002, the United States Federal Trade Commission (FTC) filed charges against Rambus for antitrust violations. Specifically, the FTC complaint asserted that through the use of patent continuations and divisionals, Rambus pursued a strategy of expanding the scope of its patent claims to encompass the emerging SDRAM standard.  The FTC's antitrust allegations against Rambus went to trial in the summer of 2003 after the organization formally accused Rambus of anti-competitive behavior the previous June, itself the result of an investigation launched in May 2002 at the behest of the memory manufacturers. The FTC's chief administrative-law judge, Stephen J. McGuire, dismissed the antitrust claims against Rambus in 2006, saying that the memory industry had no reasonable alternatives to Rambus technology and was aware of the potential scope of Rambus patent rights, according to the company. Soon after, FTC investigators filed a brief to appeal against that ruling.

On August 2, 2006, the FTC overturned McGuire's ruling, stating that Rambus illegally monopolized the memory industry under section 2 of the Sherman Antitrust Act, and also practiced deception that violated section 5 of the Federal Trade Commission Act.

February 5, 2007, the FTC issued a ruling that limits maximum royalties that Rambus may demand from manufacturers of dynamic random-access memory (DRAM), which was set to 0.5% for DDR SDRAM for 3 years from the date the commission's Order is issued and then going to 0; while SDRAM's maximum royalty was set to 0.25%. The Commission claimed that halving the DDR SDRAM rate for SDRAM would reflect the fact that while DDR SDRAM utilizes four of the relevant Rambus technologies, SDRAM uses only two. In addition to collecting fees for DRAM chips, Rambus will also be able to receive 0.5% and 1.0% royalties for SDRAM and DDR SDRAM memory controllers or other non-memory chip components respectively. However, the ruling did not prohibit Rambus from collecting royalties on products based on DDR2 SDRAM, GDDR2, and other JEDEC post-DDR memory standards.  Rambus has appealed the FTC Opinion/Remedy and awaits a court date for the appeal.

On March 26, 2008, the jury of the U.S. District Court for the Northern District of California determined that had Rambus acted properly while a member of the standard-setting organization JEDEC during its participating in the early 1990s, finding that the memory manufacturers did not meet their burden of proving antitrust and fraud claims.

On April 22, 2008, the U.S. Court of Appeals for the D.C. Circuit overturned the FTC reversal of McGuire's 2006 ruling, saying that the FTC had not established that Rambus had harmed the competition.

On February 23, 2009, the U.S. Supreme Court rejected the bids by the FTC to impose royalty sanctions on Rambus via antitrust penalties.

European Commission antitrust suit
July 30, 2007, the European Commission launched antitrust investigations against Rambus, taking the view that Rambus engaged in intentional deceptive conduct in the context of the standard-setting process for example by not disclosing the existence of the patents which it later claimed were relevant to the adopted standard. This type of behavior is known as a "patent ambush". Against this background, the Commission provisionally considered that Rambus breached the EC Treaty's rules on abuse of a dominant market position (Article 82 EC Treaty) by subsequently claiming unreasonable royalties for the use of those relevant patents. The commission's preliminary view is that without its "patent ambush", Rambus would not have been able to charge the royalty rates it currently does.

Recent settlements
In 2013 and 2014, Rambus settled and agreed on licensing terms with several of the companies involved in long-running disputes. On December 13, 2013, Rambus entered an agreement with Micron to let the latter use some of its patents, in exchange for $280 million worth of royalties over seven years. In June 2013, the company settled with SK Hynix, with Hynix paying $240 million to settle the disputes.

In March 2014, Rambus and Nanya signed a 5-year patent licensing agreement, settling earlier claims.

Rambus said these deals were part of a change in strategy to a less litigious, more collaborative approach, distancing themselves from accusations of patent trolling. Ronald Black, Rambus's CEO, said, "Somehow we got thrown into the patent troll bunch...This is just not the case."

See also
 Rambus Inc. v. Nvidia

References

External links

1990 establishments in California
1997 initial public offerings
Companies based in San Jose, California
Companies listed on the Nasdaq
Computer companies established in 1990
Computer memory companies
Fabless semiconductor companies
Patent monetization companies of the United States
Semiconductor companies of the United States
Technology companies based in the San Francisco Bay Area
Technology companies established in 1990

Rambus


The compound 3-nitrobenzyl alcohol is an organic compound with the formula C7H7NO3.

Desorption mass spectrometry matrix
In mass spectrometry this compound is often abbreviated as "3-NBA" or "m-NBA."  It has been used as a liquid matrix for fast atom bombardment and matrix-assisted laser desorption ionization.
In electrospray ionization 3-NBA is doped into low surface tension spray solvents to increase analyte charging.

References

Primary alcohols
Nitrobenzenes

3-Nitrobenzyl alcohol


View and Plan of Toledo (Spanish: Vista y plano de Toledo, ca. 1608) is a landscape painting by El Greco. The image is notable for its juxtaposition of the view of Toledo with the trompe l'oeil map of the city's streets. In the composition, El Greco also included an allegory of the Tagus River, a scene of the Virgin Mary placing a chasuble on Saint Ildefonsus, and an elevation of the Tavera Hospital floating on a cloud. It was probably originally commissioned by  and is currently preserved in the El Greco Museum in Toledo, Spain.

Analysis
View and Plan of Toledo symbolically displays the sanctity and the Spanish history of Toledo. The painting can thus be interpreted in light of the propaganda campaigns the city of Toledo began to undertake in the late sixteenth century in attempt to convince Philip II and his court to return to Toledo from Madrid. At the same time, the painting has decorative use and can be considered part of the paintings El Greco and his studio were producing toward the end of his life for the domestic market. These narrative works, including for example Laocoön and Saint Joseph and the Christ Child, use the landmarks of the city as a backdrop to a religious or historical scene.

The painting takes a view of Toledo from the north looking southward. This could be interpreted as a view from the tower of the Tavera Hospital or from the gallows near the cemetery. Many major landmarks of the city are recognizable, including the Bisagra Gate, the Toledo Cathedral, the Alcázar de Toledo and Saint Martin's Bridge. It is possible the view of Toledo was influenced by a map of London by John Norden in the collection of Pedro Salazar de Mendoza, which like the painting presents a panoramic view of the city alongside a floor plan map.

The map of Toledo in the lower right of the painting is oriented with the south side on the top. On the left of the map is a list of the major institutions of the city with corresponding numbers to their location in the city. In the lower right of the map is an inscription which discusses the placement of the Tavera Hospital and the Virgin and Saint Ildefonsus in the composition:

It was necessary to place the Hospital of Don Juan Tavera in the form of a model because, not only did it cover the Puerta de Visagra [Bisagra], but the dome or cupola rose up over the city and so once placed as a model and moved from its location it seemed to me to show the façade better than elsewhere, and as to how it fits within the city, this can be seen in the plan
Also in the story of Our Lady bringing the chasuble to Saint Ildefonso, in order to adorn him and to make the figures large, I have in a certain way taken advantage of their being celestial bodies, as in the case of lights, which when viewed from afar however small they may appear to be large.

Placing the Tavera Hospital on a cloud to move it out of the way of the view of the Bisagra Gate is a strategy El Greco used in other of his landscapes. On the left of the Metropolitan Museum of Art's View of Toledo, across the Alcántara bridge and beneath the Castle of San Servando, is a small cluster of buildings on a cloud-like form. El Greco may have intended these to be the Agalinese monastery, where Saint Ildefonsus went on retreat. Pedro Salazar de Mendoza owned both View of Toledo and View and Plan of Toledo, which may explain this commonality.

On the lower left of View and Plan of Toledo is a reclining allegory of the Tagus River, holding a cornucopia and a vessel pouring water. It references both Toledo's agricultural economy and fertility. At the same time, it suggests Toledo's antiquity, the roots of which can be traced to Roman times.

Attribution
The painting has a long-standing attribution to El Greco which is supported by most scholars. There has been some speculation that the plan of Toledo was penned on the surface of the painting by El Greco's son Jorge Manuel. Guillermo Santacruz Sánchez de Rojas argued that the entire painting is by Jorge Manuel: He claims El Greco would have been too elderly to have produced this painting, as creating preparatory sketches of the city and measurements for the plan would have required significant walking and climbing.

The origin of the map of Toledo has been the subject of some debate. Most scholarship, significantly that of Richard Kagan and Fernando Marías, indicates that the map was drafted by El Greco himself before it was drawn onto the painting. Because most of the engineers capable of producing maps were concentrated in Seville at the Casa de Contratación, some scholars, including Juan Cervera, argue El Greco would have been the only person in Toledo with the skills to produce such a plan. These arguments are supported by a surviving letter from El Greco's time in Venice indicating he knew the luxury mapmaker Georgios Sideris, called Callapoda. It would thus be possible El Greco trained with Callapoda before he moved to Spain in 1577. Other scholars argue that the map was copied from an extant map of Toledo, specifically the Atlas de El Escorial. Three of the folios from this atlas contain preparatory radial graphs of a map of Toledo on their reverse, dating from between 1538 and 1545. The scholar first to lend this attribution was Francisco Vásquez Maure in 1982. His view was repeated by Antonio Crespo Sanz in his 2008 dissertation and in multiple later articles.

Provenance

Though it was earlier thought that the painting was possibly commissioned by the city council of Toledo, current consensus is that it was probably commissioned by Pedro Salazar de Mendoza. Pedro Salazar was the administrator of the Tavera Hospital, depicted centrally in the painting, and was also an early collector of maps and city views. The painting appears on a 1629 inventory of Pedro Salazar's estate, along with View of Toledo and several portraits by El Greco. The commission of this painting would have coincided with Pedro Salazar's commission for El Greco's altarpieces in the chapel of the Tavera Hospital. The painting appears on the post-mortem inventory of El Greco's estate in 1614, and an inventory of Jorge Manuel's estate in 1621 indicating that Pedro Salazar did not receive the painting until several years after El Greco's death.

The painting was later owned by the Hospital de Santiago, and then the Convento de San Pedro Mártir and the Monasterio de San Juan de los Reyes. It entered the collection of the Museo del Greco in 1910.

See also
 List of works by El Greco

References

Bibliography

End notes

1608 paintings
Angels in art
Paintings by El Greco
Paintings of the Virgin Mary
Maps in art
Cityscape paintings
Cities in art

View and Plan of Toledo


In an open-book contract, the buyer and seller of work/services agree on (1) which costs are remunerable and (2) the margin that the supplier can add to these costs. The project is then invoiced to the customer based on the actual costs incurred plus the agreed margin. It is essentially the same as what is known (especially in the U.S.) as a cost-plus contract.

This contract form is popular to ensure that a competitive price is obtained, for instance in cases where tender competitions are impractical. It is also useful if the work is difficult to specify precisely up front, or if the buyer is not willing to pay for the risk-premium that sellers typically add when giving fixed prices.

Frequently, an incentive is included for the supplier to give a realistic price and to minimize the costs during the project. Typically, the mechanism for such an incentive is that the supplier gets a bonus or penalty calculated as a percentage of the difference between the real cost of the project and an estimate provided up front. (Note: Setting the percentage at 100% would make the pricing identical to that of an EPCI contract).

Open-book contracts in third-party logistics services were popularised by John Anthony Harvey CBE, head of Tibbett & Britten Group plc, between 1984 and 2004.

UK public sector bodies are required to consider open book contracting across their contracting portfolio.

References

See also
 EPCI
 EPCM

Contract law
Legal documents
Business law

Open-book contract


Luciano Luci (born August 2, 1949 in Campiglia Marittima). He is a retired football referee from Italy. He has refereed in the Serie A since 1985. His first match was played between A.C. Milan and S.S. Lazio on 12 May. Since then, he has refereed 105 matches in the Serie A (and 107 in Serie B). As an assistant referee he joined UEFA in the later 1980s in 25 international matches. He has also refereed one Coppa Italia final.

External links
Profile at footballdatabase.eu

Italian football referees
1949 births
Living people
Italian expatriate sportspeople in Ukraine

Luciano Luci


Krillin is a fictional character from the Dragon Ball franchise, he's the best friend of Goku and husband of Android 18 and has a daughter named Marron.

Krillin makes an appearance in Dragon Ball, Dragon Ball Z and Dragon Ball Super and other movies and merchandise were made about him as well.

Appearance
Krillin is munk who came to the Kame House to get special training from the Turtle hermit master Roshi. He meets his soon to be best friend but now a rival Goku. Master Roshi sends them to find him a beautiful lady then he'll train them. Krillin and Goku find who was being harassed but they save her. The girl's name was launch and was revealed to be criminal and the two man were policeman.

Master Roshi finally approves Krillin and Goku as his  successors and begins the training. Krillin and Goku do many tasks like chores such as delivering milk,digging through the ground, swimming away from a deadly shark and dodging bees. After that master Roshi tells Krillin and Goku that they'll be training with shells on their back from now on.

8 months later,Krillin joins the world martial arts tournament.

Dragon Ball characters

Krillin


A continued fraction is a concept from mathematics and number theory.  It is written as an integer, plus a fraction.  The numerator of the fraction, is again an integer, and for the denominator, the rule repeats. Every real number can be expressed as a continued fraction. While it is possible to use continued fractions for calculations, they are used to find approximations for irrational numbers.

Leonhard Euler and Joseph-Louis Lagrange first formalized the concept, even though it was used before.

Number theory
Fractions (mathematics)

Continued fraction


Dame Georgina Mary Mace,  (12 July 1953 – 19 September 2020) was a British ecologist and conservation scientist. She was Professor of Biodiversity and Ecosystems at University College London, and previously Professor of Conservation Science and Director of the Natural Environment Research Council (NERC) Centre for Population Biology, Imperial College London (2006–2012) and Director of Science at the Zoological Society of London (2000–2006).

Education
Georgina Mace was born in Lewisham borough of London. Her father was Dr. Bill Mace, a rheumatologist, and her mother was Josephine Mace, a nurse. and educated at the City of London School for Girls before studying at the University of Liverpool where she was awarded a Bachelor of Science degree in 1976. She was awarded a PhD on the evolutionary ecology of small mammals in 1979 from the University of Sussex for research supervised by Paul H. Harvey.

Research and career
Her research interests mainly involved measuring the trends and consequences of biodiversity loss and ecosystem change. She started her career at the Smithsonian Institution to study the impact of inbreeding in zoological collections. Mace continued this work and further researched captive population ecology by studying population viability in zoos. Mace commented that "It was exciting to make quantitative scientific contributions to conservation"

She was President of the British Ecological Society, President of the Society for Conservation Biology, a member of the Science Committee of Diversitas. Mace was editor of the Philosophical Transactions of the Royal Society (Series B, Biological Sciences) from 2008 to 2010.

In 2000, Mace became Director of Science at the Institute of Zoology in London, during which time she was instrumental in developing the criteria for listing species in the IUCN Red List, the most comprehensive inventory on the conservation status of the world's species conservation contributing to the maintenance of global biodiversity and managed by IUCN. Prior to these changes, the Red List was based on nominations from experts rather than data, the changes instigated by Mace and her colleagues took 10 years to be implemented by the IUCN. Many Regional Red List publications are now increasingly based on the same criteria, which account for climate change and other environmental factors in determining extinction threats. Since 2002 she and her colleagues have worked to establish methods for evaluating biodiversity and the ecosystem services it provides, and changes in biodiversity that have been provisionally measured by the Red List Index.

Mace was also actively involved in the biodiversity sections of the "Millennium Ecosystem Assessment" which was conducted from 2002 through 2005. Mace stated that "all the evidence to date is that when societies put their mind to solving a problem, they can generally do it."

In 2006, Mace became director of the Imperial College Natural Environment Research Council's Centre for Population Biology at Silwood Park. After 2012 Mace acted as Director of the Centre for Biodiversity and Environment Research (CBER) at University College London. She was also an Academic Editor of PLOS Biology, the open access online journal and supported open-access policy to scientific publications.

In 2018, Mace was appointed as a member of the Adaptation Committee of the Committee on Climate Change, advising the UK and devolved governments on progress made in preparing for and adapting to the impacts of climate change.

Honours and awards
Mace was appointed Officer of the Order of the British Empire (OBE) in 1998, Commander of the Order of the British Empire (CBE) in 2007 for services to environmental science, and Dame Commander of the Order of the British Empire (DBE) in the 2016 New Year Honours for services to science.

Mace was elected a Fellow of the Royal Society (FRS) in 2002. In July 2007 she was awarded an Honorary Doctor of Science degree by the University of Sussex for her work on biodiversity, followed by another Doctorate Honoris Causa, from the University of Lausanne, Switzerland, in 2018. She was the winner of the 2007 International Cosmos Prize. In 2011 she received the Ernst Haeckel Prize by the European Ecological Federation. In 2016 Mace won the Dr A.H. Heineken Prize for Environmental Sciences. In 2016 she was also awarded, jointly with Sandra Knapp, the Linnean Medal of the Linnean Society

She received a President's Medal from the British Ecological Society, and the 2018 BBVA Foundation Frontiers of Knowledge Award in the category of Ecology and Conservation Biology, jointly with Gretchen Daily, for developing vital tools facilitating science-based policies "to combat species loss".

The extinct rice rat Megalomys georginae from Barbados was named after her.

References

1953 births
2020 deaths
British conservationists
British ecologists
Women ecologists
Dames Commander of the Order of the British Empire
Female Fellows of the Royal Society
People educated at the City of London School for Girls
Alumni of the University of Sussex
Fellows of the Royal Society
Linnean Medallists
Winners of the Heineken Prize

Georgina Mace


was a Japanese film director, screenwriter, film producer, and writer, who directed 48 films and wrote scripts for 238. His best known films as a director include Children of Hiroshima, The Naked Island, Onibaba, Kuroneko and A Last Note. His screenplays were filmed by directors such as Kenji Mizoguchi, Kōzaburō Yoshimura, Kon Ichikawa, Keisuke Kinoshita, Seijun Suzuki, and Tadashi Imai.

His films of the first decade were often in a social realist vein, repeatedly depicting the fate of women, while since the seventies, portraits of artists became a speciality. Many of his films were autobiographical, beginning with his 1951 directorial debut, Story of a Beloved Wife, and, being born in Hiroshima Prefecture, he also made several films about the atomic bombing of Hiroshima and the effect of nuclear weapons.

Shindō was one of the pioneers of independent film production in Japan, co-founding his own film company Kindai Eiga Kyōkai with director Yoshimura and actor Taiji Tonoyama in 1950. He continued working as a screenwriter, director, and author until close to his death at the age of 100.

Biography

Early life
Shindō was born in 1912 in the Saeki District of Hiroshima Prefecture as the youngest of four children. His family were wealthy landowners, but his father went bankrupt and lost all his land after acting as a loan guarantor. His older brother and two sisters went to find work, and he and his mother and father lived in a storehouse. His mother became an agricultural labourer and died during his early childhood. His older brother was good at judo and became a policeman. One of his sisters became a nurse and would go on to work caring for atom bomb victims. The other sister married a Japanese-American and went to live in the US.

In 1933, Shindō, then living with his brother in Onomichi, was inspired by Sadao Yamanaka's film Bangaku No isshō to want to start a career in films. He saved money by working in a bicycle shop and in 1934, with a letter of introduction from his brother to a policeman in Kyoto, he set off for Kyoto. After a long wait, he was able to get a job in the film developing department of Shinkō Kinema, which he joined because he was too short to join the lighting department. He was one of eleven workers in the developing department, but only three of them actually worked, the others being members of the company baseball team. At this time he learned that films were based on scripts because old scripts were used as toilet paper. He would take the scripts home to study them. His job involved drying 200-foot lengths of film on a roller three metres long and two metres high, and he learned the relationship between the pieces of film he was drying and the scripts he read.

When Shinkō Kinema moved from Kyoto to Tokyo in November 1935, many of the staff, who were Kyoto locals, did not want to move. The brother of the policeman who had helped Shindō get the job in Shinkō Kinema was one of them. He asked Shindō to take his place, and Shindō got a job in Shinko Kinema's art department run by Hiroshi Mizutani. For his work as an art director, Shindō trained under a local artist. He had a talent for sketching which he used in scouting locations, since cameras were less often used in those days. Shindō discovered that a lot of people wanted to become film directors, including Mizutani, and he decided that he might have a better chance of success as a screenwriter.

Screenwriter years
Shindō wrote a lot of film scripts, which were severely criticized by his friends, but he persisted. He submitted a script called Tsuchi o ushinatta hyakushō, about a farmer who loses his land due to the construction of a dam, to a film magazine and won a prize of 100 yen, four times his then monthly salary of 25 yen. However, the script was never filmed.

By the late 1930s he was working as an assistant to Kenji Mizoguchi on several films, most notably as chief assistant director and art director on The 47 Ronin. He submitted scripts to Mizoguchi, only for Mizoguchi to tell him that he "had no talent" for screenwriting, events dramatized years later in Shindō's debut film Story of a Beloved Wife. His first realised screenplay was for the film Nanshin josei in 1940. He was asked to write a script by director Tomu Uchida, but the script was never filmed due to Uchida's untimely military conscription.

In 1942, he joined a Shochiku subsidiary, the Koa Film company under the tutelage of Kenji Mizoguchi. In 1943 he transferred to the Shochiku studio. Later that year, his common-law wife Takako Kuji died of tuberculosis. In April 1944, despite being graded class C in the military physical exam, he was drafted into the navy. The group of 100 men he was serving with were initially assigned to clean buildings. Sixty of the men were selected by lottery to serve on a ship and then died in a submarine attack. Thirty more men were selected by lottery to serve on a submarine and were not heard from again. Four men were selected by lottery to be machine-gunners on freight ships converted to military use, and died in submarine attacks. The remaining six men cleaned the Takarazuka theatre which was then being used by the military, then sent to a camp where they were insulted and beaten.

At the surrender of Japan, Shindō exchanged his uniform for cigarettes and made his way back to the Shochiku film studio at Ōfuna. The studio was deserted, and Shindō spent his time in the script department reading the surviving scripts.

In 1946, with a secure job as a scriptwriter at Shochiku, he married Miyo Shindō via an arranged marriage, and bought a house in Zushi, intending to start a family. At Shochiku, Shindō met director Kōzaburō Yoshimura. According to film historian Donald Richie, this started "one of the most successful film partnerships in the postwar industry, Shindō playing Dudley Nichols to Yoshimura's John Ford." The duo scored a critical hit with A Ball at the Anjo House in 1947. Shindō wrote scripts for almost all of the Shochiku directors except Yasujirō Ozu.

Shindō and Yoshimura were both unhappy at Shochiku, which viewed the two as having a "dark outlook" on life. In 1950 they both left to form an independent production company with actor Taiji Tonoyama, Kindai Eiga Kyokai, which went on to produce most of Shindō's films.

Early career as a film director
In 1951, Shindō made his debut as a director with the autobiographical Story of a Beloved Wife, starring Nobuko Otowa in the role of his deceased common-law wife Takako Kuji. Otowa became Shindō's mistress (he was married to his second wife at the time), and would go on to play leading roles in almost all of his films during her life. After directing Avalanche in 1952, Shindō was invited by the Japan Teachers Union to make a film about the dropping of the atomic bomb on Hiroshima. Children of Hiroshima stars Nobuko Otowa as a young teacher who returns to Hiroshima to visit her family's grave and find surviving former students and colleagues. It premiered at the 1953 Cannes Film Festival, being the first Japanese film to deal with the subject of the atomic bomb, which had been forbidden under postwar American censorship. Children of Hiroshima met with acclaim, but also with criticism for its sentimentality and, according to the producing Japan Teachers Union, for not being political enough.

After this international success, Shindō made Epitome in 1953. Nobuko Otowa is Ginko, a poor girl who must become a geisha in order to support her family, and cannot marry the rich client whom she falls in love with because of his family honor. Film critic Tadao Sato said, Shindō had "inherited from his mentor Mizoguchi his central theme of worship of womanhood...Perhaps it would be more accurate to say that Shindō's view of women blossomed under his master's encouragement, but once in bloom revealed itself to be of a different hue...Shindō differs from Mizoguchi by idealizing the intimidating capacity of Japanese women for sustained work, and contrasting them with shamefully lazy men."

Between 1953 and 1959 Shindō continued to make political films that were social critiques of poverty and women's suffering in present-day Japan. These included Life of a Woman, an adaptation of Maupassant's Une Vie in 1953, and Dobu, a 1954 film about the struggles of unskilled workers and petty thieves that starred Otowa as a tragic prostitute. Wolf (1955), based on an actual event of a money transport robbed by a group of men and women out of sheer desperation, failed due to its extremely limited release. Still, actor Tonoyama later called his role in Wolf his favourite of all of the director's films. In 1959 Shindō made Lucky Dragon No. 5, the true story of a fishing crew irradiated by an atomic bomb test at Bikini Atoll. The film received the Peace Prize at a Czech film festival, but was not a success with either critics or audiences.

By this time Shindō had formed an established "stock company" of actors and crew that he would work with for the majority of his career. These included actors Nobuko Otowa, Taiji Tonoyama and Jūkichi Uno, composer Hikaru Hayashi and cinematographer Kiyomi Kuroda, who had been fired from the Toei studio for his political beliefs during the "red purge" of the early 1950s, and lost a legal battle for reinstatement.

International success
With Kindai Eiga Kyokai close to bankruptcy, Shindō poured what little financial resources he had left into The Naked Island, a film without dialogue which he described as "a cinematic poem to try and capture the life of human beings struggling like ants against the forces of nature." Nobuko Otowa and Taiji Tonoyama are a couple living on a small island with their two young sons and no water supply. Every day they boat to another island to retrieve fresh water to drink and irrigate their crops. The film saved Shindō's company when it was awarded the Grand Prize at the 2nd Moscow International Film Festival in 1961. Shindō made his first ever trip abroad to attend the Moscow film festival, and he was able to sell the film in sixty-one countries.

After making two more films of social relevance (Ningen in 1962 and Mother in 1963), Shindō shifted his focus as a filmmaker to the individuality of a person, specifically a person's sexual nature. He explained: "Political things such as class consciousness or class struggle or other aspects of social existence really come down to the problem of man alone [...]. I have discovered the powerful, very fundamental force in man which sustains his survival and which can be called sexual energy [...]. My idea of sex is nothing but the expression of the vitality of man, his urge for survival." From these new ideas came Onibaba in 1964.

Onibaba stars Nobuko Otowa and Jitsuko Yoshimura as 14th-century Japanese peasant women living in a reed-filled marshland who survive by killing and robbing defeated samurai. The film won numerous awards and the Grand Prix at the Panama Film Festival, and Best Supporting Actress (Jitsuko Yoshimura) and Best Cinematography (Kiyomi Kuroda) at the Blue Ribbon Awards in 1964.

After the 1965 jidaigeki drama Akuto, based on a play by  Jun'ichirō Tanizaki, Shindō continued his exploration of human sexuality with Lost Sex in 1966. In Lost Sex, a middle aged man who has become temporarily impotent after the Hiroshima bombing in 1945, once again loses his virility due to nuclear tests in the Bikini Atoll. In the end, he is cured by his housekeeper. Impotence was again the theme of Shindō's next film, Libido, released in 1967. Gender politics and strong female characters played a strong role in both of these films. Tadao Sato said "By contrasting the comical weakness of the male with the unbridled strength of the female, Shindō seemed to be saying in the 1960s that women had wrought their revenge. This could have been a reflection of postwar society, since it is commonly said in Japan women have become stronger because men have lost all confidence in their masculinity due to Japan's defeat."

In 1968 Shindō made Kuroneko, a horror period film reminiscent of Onibaba. The film centers around a vengeful mother and daughter-in-law pair played by Nobuko Otowa and Kiwako Taichi. After being raped and left to die in their burning hut by a group of soldiers, the pair return as demons who entice samurai into a bamboo grove, where they are killed. The film won the Mainichi Film Awards for Best Actress (Otowa) and Best Cinematography (Kiyomi Kuroda) in 1968.

Shindō also made the comedy Strong Women, Weak Men in 1968. A mother and her teenage daughter leave their impoverished coal-mining town to become cabaret hostesses in Kyoto. They quickly acquire enough cynical street smarts to get as much money out of their predatory johns as they can. Shindō said of the film, "common people never appear in the pages of history. Silently they live, eat and die [...]. I wanted to depict their bright, healthy, open vitality with a sprinkling of comedy."

In the crime drama Heat Wave Island, released in 1969, Otowa is an Inland Sea island farmer who moves to the mainland and later dies under mysterious circumstances. Live Today, Die Tomorrow! (1970) was based on the true story of spree killer Norio Nagayama, dramatizing not only his crimes but the poverty and cruelty of his upbringing. The film won the Golden Prize at the 7th Moscow International Film Festival in 1971.

Around this time, at the age of sixty, his second wife Miyo divorced him over his continuing relationship with Otowa.

Later career
From 1972 to 1981, Shindō served as chair of the Writers Guild of Japan. Also in 1972, he directed Sanka about a shamisen player and her submissive apprentice, his second adaptation of a literary source by Jun'ichirō Tanizaki after Akuto.

Shindō's 1974 film My Way was a throwback to films of his early career and an exposure of the Japanese government's mistreatment of the country's migratory workers. Based on a true story, an elderly woman resiliently spends nine months attempting to retrieve her husband's dead body, fighting government bureaucracy and indifference all along the way.

In 1975, Shindō made Kenji Mizoguchi: The Life of a Film Director, a documentary about his mentor who had died in 1956. The film uses film clips, footage of the hospital where the director spent his last days and interviews with actors, technicians and friends to paint a portrait of the director. Shindō also wrote a book on Mizoguchi, published in 1976.

In 1977 The Life of Chikuzan was released, about the life of blind shamisen player Takahashi Chikuzan. It was entered into the 10th Moscow International Film Festival. That same year, Shindō travelled to America to film a television documentary, Document 8.6, about the Hiroshima atomic bomb. He met Paul Tibbets, the pilot of the plane which dropped the bomb, but was not able to interview him on film. The documentary was broadcast in 1978.

In 1978, after the death of his ex-wife, he married Nobuko Otowa.

The domestic drama The Strangling was shown at the 1979 Venice Film Festival, where Nobuko Otowa won the award for Best Actress. Edo Porn, another film based on an artist's biography released in 1981, portrayed the life of the 18th-century Japanese wood engraver Katsushika Hokusai.

In 1984 Shindō made The Horizon, based on the life of his sister. The film chronicles her experiences as a poor farm girl who is sold as a mail-order bride to a Japanese American and never sees her family again. She spends time in an internment camp for Japanese Americans during World War II and lives a life of difficulty and disappointment.

With the 1988 semi-documentary Sakura-tai Chiru, Shindō once again returned to the theme of nuclear weapons and their consequences, following the fate of a theater troupe whose members were killed during the bombing of Hiroshima.

According to his son Jiro, Shindō gave up his hobbies of Mahjong, Shogi, and baseball at the age of eighty to concentrate on film-making. Jiro was the producer of many of his films since the mid-1980s. Kaze Shindō, Jiro's daughter and Shindō's granddaughter, later followed in Shindō's footsteps as a film director and scriptwriter.

During production of Shindō's film A Last Note, Nobuko Otowa was diagnosed with liver cancer. She died in December 1994, prior to the film's 1995 release. A Last Note won numerous awards, including Best Film awards at the Blue Ribbon Awards, Hochi Film Awards, Japan Academy Prizes, Kinema Junpo Awards and Mainichi Film Awards, as well as awards for Best Director at the Japanese Academy, Nikkan Sports Film Awards, Kinema Junpo Awards and Mainichi Film Award.

Final films and death
After Otowa's death, her role as lead actress in Shindō's films was taken over by Shinobu Otake, who would star in four of his films. In Will to Live (1999), a black comedy on the problems of ageing, Otake played a daughter with bipolar disorder of an elderly father who has fecal incontinence, played by Rentarō Mikuni.

In 2000, at the age of 88, Shindō filmed By Player, a biography of actor and long-time associate Taiji Tonoyama, incorporating aspects of the history of Shindō's film company, Kindai Eiga Kyokai, and using footage of Otowa shot in 1994.

The 2003 Owl, again starring Otake, used as a background the true story of farmers sent back from Japanese colonies in Manchuria to unworkable farmland at the end of the Second World War. The entire film was shot on a single set, partly because of Shindō's mobility problems. It was entered into the 25th Moscow International Film Festival, where Shindō won a special award for his contribution to world cinema.

In 2010, Shindō directed Postcard, a story of middle-aged men drafted for military service at the end of the second world war loosely based on Shindō's own experiences. Postcard was selected as the Japanese submission for the Academy Award for Best Foreign Language Film, but did not make the January shortlist. Due to failing health, Shindō announced that it would be his last film at its premiere at the Tokyo International Film Festival.

For the last forty years of his life, Shindō lived in a small apartment in Akasaka. After the death of Nobuko Otowa, he lived alone. Although he had been able to walk all over Tokyo in his eighties, he lost mobility in his legs in his nineties. Because of his need for care, Kaze Shindō moved into his apartment and lived with him for the last six years of his life, acting as his caregiver. Kaze Shindō appears in the credits for Shindō's later films credited as "Kantoku kenkō kanri", "Management of director's health".

From April to May 2012 a committee in the city of Hiroshima presented a tribute to Shindō to commemorate his 100th birthday. This event included screenings of most of his films and special guests such as Shindō himself and longtime admirer Benicio del Toro.

Shindō died of natural causes on 29 May 2012. According to his son Jiro, he was talking in his sleep about new film projects even at the end of his life. He requested that his ashes be scattered on the Sukune island in Mihara where The Naked Island was filmed, and where half of Nobuko Otowa's ashes were also scattered.

Style and themes
Shindō said that he saw film "as an art of 'montage' which consists of a dialectic or interaction between the movement and the nonmovement of the image." Although criticized for having little visual style early in his career, he was praised by film critic Joan Mellen who called Onibaba "visually exquisite."

The strongest and most apparent themes in Shindō's work (who described himself as a "socialist") involve social criticism of poverty, women and sexuality. Tadao Sato has pointed out that Shindō's political films are both a reflection of his impoverished childhood and the condition of Japan after World War II, stating that, "Contemporary Japan has developed from an agricultural into an industrial country. Many agricultural people moved to cities and threw themselves into new precarious lives. Kaneto Shindo's style of camerawork comes from this intention to conquer such uneasiness by depicting the perseverance and persistence of farmers."

Joan Mellen wrote that "at their best, Shindo's films involve a merging of the sexual with the social. His radical perception isolates man's sexual life in the context of his role as a member of a specific social class...For Shindo our passions as biological beings and our ambitions as members of social classes, which give specific and distorted form to those drives, induce an endless struggle within the unconscious. Those moments in his films when this warfare is visualized and brought to conscious life raise his work to the level of the highest art."

Influences
In a 1972 interview with Joan Mellen, Shindō named Orson Welles and Sergei Eisenstein as the Western directors he admired the most, calling them "the best", and Mizoguchi as the most admired director of the older Japanese generation. In the same interview, he confirmed "a strong Freudian influence" throughout all of his work.

When asked by Benicio del Toro what the most important thing he had learned from Kenji Mizoguchi was, Shindō replied that the most important thing he had learned from Mizoguchi was never to give up. According to Shindō, although Mizoguchi made more than eighty films, most of them were boring, with only about five or six good films, but without the failures there would never have been successes like Ugetsu Monogatari.

Legacy
A retrospective on Shindō and Kōzaburō Yoshimura was held in London in 2012, organised by the British Film Institute and the Japan Foundation.

Awards
1961 Grand Prize at the 2nd Moscow International Film Festival for The Naked Island.
1964 Grand Prix at the Panama Film Festival for Onibaba.
1971 Golden Prize at the 7th Moscow International Film Festival for Live Today, Die Tomorrow!
1996 Japan Academy Prize for Director of the Year for A Last Note
1998 Person of Cultural Merit.
1999 Golden St. George at the 21st Moscow International Film Festival for Will to Live
2002 Order of Culture.
2003 Japan Academy Lifetime Achievement Award.

Filmography

Director
Shindō wrote or co-wrote the scripts for all the films he directed. He is also credited as art director for Ningen, Onibaba, and Owl.

 1951 – Story of a Beloved Wife ()
 1952 – Avalanche
 1952 –
 1953 – Epitome ()
 1953 – Life of a Woman ()
 1954 – Dobu ()
 1955 –
 1956 – Shirogane Shinjū ()
 1956 – Ryūri no Kishi ()
 1956 –
 1957 – Umi no yarodomo ()
 1958 – Sorrow Is Only for Women ()
 1959 –
 1959 – Hanayome-san wa sekai-ichi ()
 1960 –
 1962 – Ningen
 1963 –
 1964 –
 1965 –
 1966 –
 1967 –
 1968 –
 1968 –
 1969 –
 1970 – Strange Affinity (触角, Shokkaku)
 1970 –
 1972 – Kanawa ()
 1972 – Sanka
 1973 – The Heart ()
 1974 –
 1975 –
 1977 –
 1978 – Document 8 6 (ドキュメント8.6) (documentary)
 1979 – The Strangling ()
 1981 – Edo Porn ()
 1984 –
 1986 – Burakkubōdo
 1986 – Tree Without Leaves
 1988 – Sakura-tai Chiru ()
 1992 –
 1995 –
 1999 –
 2000 –
 2003 –
 2008 – Teacher and Three Children
 2010 –

Screenwriter (selected)
Not including films he also directed

 1947 – Kekkon
 1947 – A Ball at the Anjo House
 1948 – Yuwaku
 1949 – Waga koi wa moenu
 1951 – Dancing Girl
 1951 – The Tale of Genji
 1956 – Akō Rōshi: Ten no Maki, Chi no Maki
 1961 – Akō Rōshi
 1962 – Kurotokage
 1962 – The Graceful Brute
 1964 – Manji
 1966 – Zatoichi's Pilgrimage
 1966 – Fighting Elegy
 1971 – Battle of Okinawa
 1971 – Yami no naka no chimimoryo
 1972 – Under the Flag of the Rising Sun
 1972 – Rica (混血児リカ)
 1973 – Rica 2: Lonely Wanderer (混血児リカ ひとりゆくさすらい旅)
 1973 – Rica 3: Juvenile's Lullaby (混血児リカ ハマぐれ子守唄)
 1978 – The Incident
 1979 – Akō Rōshi  TV series
 1987 – Hachiko Monogatari
 1999 – The Geisha House

Writings
(In Japanese except where noted otherwise)
  – a biography and recollection of Kenji Mizoguchi

  – a collection of essays about scriptwriting

  – a collection of newspaper articles reprinted as a book
  – a collection of essays.

References

External links
 Kaneto Shindo at Strictly Film School

 Filmreference.com biography
 100 Years of Kaneto Shindo website

1912 births
2012 deaths
People from Hiroshima
Japan Academy Prize for Director of the Year winners
Japanese film directors
Japanese screenwriters
Japanese socialists
Horror film directors
Samurai film directors
Japanese centenarians
Men centenarians
Japanese military personnel of World War II

Kaneto Shindo


Melvin Athol Brieseman (13 June 1934 – 25 October 2010) was a New Zealand public health official, surgeon, obstetrician and missionary to India.

Early life and education
Brieseman was born in Stratford, New Zealand on 13 June 1934, and after completing his primary and secondary schooling in Taranaki left for the University of Otago to study medicine.

Career
After graduation, he returned to Taranaki, taking up a house surgeon job in New Plymouth. Brieseman spent four years in this job, before he left for England after being granted a scholarship. He spent a year there before emigrating to India where he worked as a missionary north of Bombay.

Brieseman spent 10 years in India as a practicing surgeon and obstetrician while his wife helped with hospital and outreach programmes in the villages. This "third-world" work inspired in Brieseman an interest in public health, and, when his children began to outgrow the Indian education system he and his family returned to Dunedin where he completed a Diploma in Public Health. After his return Indian authorities became less accepting of foreign doctors, which discouraged Brieseman from plans to go back. He instead took on a government job as the Medical Officer of Health for the Canterbury region in 1977, and has held the position for nearly 30 years. In this time Brieseman has monitored and managed public health response to issues such as water quality, HIV, smoking, measles, influenza, diabetes and Legionnaires' disease.

Personal life
He met his wife, Joan, during medical school.  They had four children.  When they lived in India, their children were schooled 1000 km to the south, returning to their parents for the school holidays.

Melvin Brieseman died at his home in Christchurch on 25 October 2010.

References
 Harvard State Bank Article: Dr. Mel Brieseman, August 8, 2005
 Greater Christchurch Urban Development Strategy

Christian missionaries in India
1934 births
2010 deaths
New Zealand Christian missionaries
Christian medical missionaries
New Zealand obstetricians
New Zealand surgeons
University of Otago alumni
People from Stratford, New Zealand
New Zealand expatriates in India
20th-century New Zealand medical doctors
21st-century New Zealand medical doctors
20th-century surgeons

Mel Brieseman


The Mental Health Act Commission was an NHS special health authority that provided a safeguard for people detained in hospital under the powers of the Mental Health Act 1983 in England and Wales. Mental health care is the only part of health care where patients can be treated under compulsion, and necessarily there are very clear legal requirements on hospitals and the other services involved - primarily local authority social services.  The Commission was abolished on 31 March 2009.

History
The Commission was established under the Mental Health Act 1983 and consisted of some 100 members (Commissioners), including laypersons, lawyers, doctors, nurses, social workers, psychologists and other specialists.

The Health and Social Care Act 2008 replaced the Healthcare Commission, the Commission for Social Care Inspection and the Mental Health Act Commission with a single, integrated regulator for health and adult social care - the Care Quality Commission. The Care Quality Commission began operating on 1 April 2009 as a non-departmental public body.

Functions
The Commission was a monitoring body rather than an inspectorate or regulator. Its concern was primarily the legality of detention and the protection of individuals' human rights. In addition to a visiting programme, the Commission provided important safeguards to patients who lack capacity or refuse to consent to treatment, through the Second Opinion Appointed Doctor Service.

Its functions were:

 to keep under review the operation of the Mental Health Act 1983 in respect of patients detained or liable to be detained under that Act
 to visit and interview, in private, patients detained under the Mental Health Act in hospitals and registered nursing homes
 to consider the investigation of complaints where these fall within the Commission's remit
 to review decisions to withhold the mail of patients detained in the High Security Hospitals
 to appoint registered medical practitioners and others to give second opinions in cases where this is required by the Mental Health Act
 to publish and lay before Parliament a report every 2 years
 to monitor the implementation of the Code of Practice and propose amendments to Ministers

In addition, the Commission was encouraged by the Secretary of State to advise on policy matters that fall within the Commission's remit.

References

External links
Official website
Care Quality Commission

Defunct public bodies of the United Kingdom
Defunct National Health Service organisations
Government agencies established in 1983
2009 disestablishments in the United Kingdom
Mental health legal history of the United Kingdom

Mental Health Act Commission


Mladen Urem (born 16 April 1964) is a literary critic, author and editor.

Urem was born in Rijeka, Croatia, where he received his BSc in radiology from the Medical School in Rijeka and also a B. A. in the Croatian language and literature from the Faculty of Philosophy.

During 1980–82, he was a singer and a guitarist with a new-wave & punk rock group Istočni izlaz (The Eastern Exit). His name appears in The Little Encyclopaedia of Croatian Pop and Rock Music (1994).
He was the literary editor of the Val journal (The Wave, 1985–1989), founder and editor-in-chief of the Rival literary magazine (1988–2000) and also of the Biblioteka Val — an original titles series (since 1987). He co-founded the philological magazine Fluminensia (1989), founded and served as the editor-in-chief in the Sušačka revija culture magazine (1993–1995) and as the editor-in-chief of the journal called Dometi (1996).

In the war-edition of the Rival (1-4/1991), Urem published the first retrospection of the Croatian literary works written on the frontlines at the beginning of the Croatian War of Independence (1991–1995).

During its thirteen years of existence, the Rival featured 800 authors and their works from the fields of Croatian and world literature and arts. During that period, the magazine presented many of the phenomena in the 90s world culture, as well as the authors that would later receive important awards and honours (the Nobel Prize for V. S. Naipaul and many other authors and prizes) and was considered one of the most significant Croatian journals. The Rival magazine also published the English translations of the Croatian literary texts and developed a substantial collaboration with various world magazines and journals published in English.

He has authored the following titles: Riječki krug redom (1987), Pogledom u riječ (1987), Janko Polić Kamov – Selected Short Stories and Poems (1997), Dan velikih valova (prose and poetry by the Rival-generation, with the complete Rival bibliography 1988–2000, as well as the 1987–2001 series, co-authored with Goran Ušljebrka and Milan Zagorac, 2001), Pavica Julija Kaftanić (co-authored with Boris Zakošek, Lovorka Ruck and Igor Žic, 2005), Southerly Thoughts and Other Stories (An Anthology of Croatian Short Stories by Ksaver Šandor Gjalski, Janko Polić Kamov, Miroslav Krleža, Vladan Desnica, Ranko Marinković, Slobodan Novak, Ivan Aralica, Ivan Slamnig, Antun Šoljan and Nedjeljko Fabrio — selection by Mladen Urem, Damir Biličić and Želimir Galjanić, 2005) and Janko Polić Kamov, Dora Maar i hrvatska avangarda (Janko Polić Kamov, Dora Maar and Croatian Avantgarde, 2006).

Many of his essays and studies concerning the topics from the contemporary Croatian literature, especially studies of writer Janko Polić Kamov (Rijeka 1886 – Barcelona 1910), his life and work, have appeared in various American and Croatian periodicals. In collaboration with Dolores Čikić and Boris Zakošek, he explored Dora Maar's genealogy for the Parisian Andriveau, also publishing the findings in the Croatian daily Večernji list, as well as in the book Dora Maar - zatočenica pogleda (Dora Maar: Prisonniere du regard) by Alicia Dujovne Ortiz (Zagreb, 2004).

Urem is frequent a contributor to the US literary journals Grand Street (New York City), Partisan Review (Boston), World Literature Today (Norman, Oklahoma) and Corner (Oakland, California), in which he has also published various works by the Croatian writers Janko Polić Kamov, Miroslav Krleža, Ivo Andrić and Ivan Goran Kovačić. He has collaborated with the famous US authors and editors Deborah Treisman (1971), William Phillips (1907–2002), Robert Bingham (1966–1999) and others, as well as with the British historian Lucy Hughes-Hallett (1953).

Urem has published almost 200 texts concerning the field of Croatian literature, and edited as many books. On more than one occasion has he been a member of the jury for the literary awards Drago Gervais and Nagrada grada Rijeke (The City of Rijeka Award). He is a member of the Croatian PEN Center in Zagreb and works at the Rijeka State Archives, managing its Library and Publishing Department.

References

1964 births
Living people
Writers from Rijeka
Croatian literary critics

Mladen Urem