Pier Paolo Pasolini (; 5 March 1922 – 2 November 1975) was an Italian poet, film director, writer, screenwriter, actor and playwright. He is considered one of the defining public intellectuals in 20th-century Italy, influential both as an artist and a political figure.

A controversial personality due to his straightforward style, Pasolini's legacy remains contentious. Openly gay and a strong advocate for Christian values in his youth, he also became an avowed Marxist shortly after the end of World War II, while voicing strong criticism of petty bourgeoisie values and the emerging consumerism in Italy, juxtaposing socio-political polemics with a critical examination of taboo sexual matters. A prominent protagonist of the Roman cultural scene of the post-war period, he was an established major figure in European literature and cinema.

Pasolini's unsolved murder in Ostia in November 1975 prompted an outcry in Italy, and its circumstances continue to be a matter of heated debate. Leads link the murder to the Banda della Magliana, a criminal organisation with ties to right-wing terrorism, as culprits.

Biography

Early life
Pier Paolo Pasolini was born in Bologna, traditionally one of the most politically leftist of Italy's cities. He was the son of elementary-school teacher Susanna Colussi, named after her great-grandmother, and Carlo Alberto Pasolini, a lieutenant in the Royal Italian Army; they had married in 1921. Pasolini was born in 1922 and named after a paternal uncle. His family moved to Conegliano in 1923, then to Belluno in 1925, where their second son, Guidalberto, was born. In 1926, Pasolini's father was arrested for gambling debts. His mother moved with the children to her family's home in Casarsa della Delizia, in the Friuli region. In that same year, his father first detained, then identified Anteo Zamboni as the would-be assassin of Benito Mussolini following his assassination attempt. Carlo Alberto was persuaded of the virtues of Italian fascism.

Pasolini began writing poems at age seven, inspired by the natural beauty of Casarsa. One of his early influences was the work of Arthur Rimbaud. His father was transferred to Idria in the Julian March (now in Slovenia) in 1931; in 1933 they moved again to Cremona in Lombardy, and later to Scandiano and Reggio Emilia. Pasolini found it difficult to adapt to all these dislocations, though he enlarged his poetry and literature readings (Dostoyevsky, Tolstoy, Shakespeare, Coleridge, Novalis) and left behind the religious fervour of his early years. In the Reggio Emilia high school, he met his first true friend, Luciano Serra. The two met again in Bologna, where Pasolini spent seven years completing high school. Here he cultivated new passions, including football. With other friends, including Ermes Parini, Franco Farolfi, Elio Meli, he formed a group dedicated to literary discussions.

In 1939, Pasolini graduated and entered the Literature College of the University of Bologna, discovering new themes such as philology and aesthetics of figurative arts. He also frequented the local cinema club. Pasolini always showed his friends a virile and strong exterior, totally hiding his interior turmoil. In his poems of this period, Pasolini started to include fragments in Friulan, a minority language he did not speak but learned after he had begun to write poetry in it. "I learnt it as a sort of mystic act of love, a kind of félibrisme, like the Provençal poets". In 1943, he founded with fellow students the Academiuta della lenga furlana (Academy of the Friulan Language). As a young adult, Pasolini identified as an atheist.

Early poetry

In 1942, Pasolini published at his own expense a collection of poems in Friulan, Versi a Casarsa, which he had written at the age of eighteen. The work was noted and appreciated by such intellectuals and critics as Gianfranco Contini, Alfonso Gatto and Antonio Russi. Pasolini's pictures had also been well received. He was chief editor of a magazine called Il Setaccio ("The Sieve"), but was fired after conflicts with the director, who was aligned with the Fascist regime. A trip to Germany helped him also to perceive the "provincial" status of Italian culture in that period. These experiences led Pasolini to revise his opinion about the cultural politics of Fascism and to switch gradually to a Communist position.

Pasolini's family took shelter in Casarsa, considered a more tranquil place to wait for the conclusion of the Second World War, a decision common among Italian military families. Here he joined a group of other young enthusiasts of the Friulan language who wanted to give Casarsa Friulan a status equal to that of Udine, the official regional standard. From May 1944, they issued a magazine entitled Stroligùt di cà da l'aga. In the meantime Casarsa suffered Allied bombardments and forced enlistments by the Italian Social Republic, as well as partisan activity.

Pasolini tried to distance himself from these events. Starting in October 1943, Pasolini, his mother and other colleagues taught students unable to reach the schools in Pordenone or Udine. This educational workshop was considered illegal and broke up in February 1944. It was here that Pasolini had his first experience of homosexual attraction to one of his students. His brother Guido, aged 19, joined the Party of Action and their Brigate Osoppo, taking to the bush near Slovenia. On 12 February 1945, Guido was killed in an ambush planted by the Brigate Garibaldi serving in the lines of Josip Broz Tito's Yugoslavian guerrillas. This devastated Pasolini and his mother.

Six days after his brother's death, Pasolini and others founded the Friulan Language Academy (Academiuta di lenga furlana). Meanwhile, on account of Guido's death, Pasolini's father returned to Italy from his detention period in November 1945, settling in Casarsa. That same month, Pasolini graduated from university after completing a final thesis about the work of Giovanni Pascoli (1855–1912), an Italian poet and classical scholar.

In 1946, Pasolini published a small poetry collection, I Diarii ("The Diaries"), with the Academiuta. In October he traveled to Rome. The following May he began the so-called Quaderni Rossi, handwritten in old school exercise books with red covers. He completed a drama in Italian, Il Cappellano. His poetry collection, I Pianti ("The cries"), was also published by the Academiuta.

Rome
In January 1950, Pasolini moved to Rome with his mother Susanna to start a new life. He was acquitted of two indecency charges in 1950 and 1952. After one year sheltered in a maternal uncle's flat next to Piazza Mattei, Pasolini and his 59-year-old mother moved to a run-down suburb called Rebibbia, next to a prison, living there for three years; he transferred his Friulan countryside inspiration to this Roman suburb, one of the infamous borgate where poor proletarian immigrants lived, often in horrendous sanitary and social conditions. Instead of asking for help from other writers, Pasolini preferred to go his own way.

Pasolini found a job working in the Cinecittà film studios and sold his books in the bancarelle ("sidewalk shops") of Rome. In 1951, with the help of the Abruzzese-language poet Vittorio Clemente, he found a job as a secondary school teacher in Ciampino, just outside the capital. He had a long commute involving two train changes, and earned a meagre salary of 27,000 lire.

Career

Writing

In 1954, Pasolini, who now worked for the literary section of Cinecittà, left his teaching job and moved to the Monteverde quarter. At this point, his cousin Graziella moved in. They also accommodated Pasolini's ailing, cirrhotic father Carlo Alberto, who died in 1958. Pasolini published La meglio gioventù, his first important collection of Friulan poems. His first novel, Ragazzi di vita (English: Hustlers), which dealt with the Roman lumpenproletariat, was published in 1955. The work had great success but was poorly received by the Italian Communist Party (PCI) establishment and, most important, by the Italian government. It initiated a lawsuit for "obscenity" against Pasolini and his editor, Garzanti. Although exonerated, Pasolini became a target of insinuations, especially in the tabloid press.

In 1955, together with Francesco Leonetti, Roberto Roversi and others, Pasolini edited and published a poetry magazine called Officina. The magazine closed in 1959 after fourteen issues. That year he also published his second novel, Una vita violenta, which unlike his first was embraced by the Communist cultural sphere: he subsequently wrote a column titled Dialoghi con Passolini (meaning Passolini in Dialogue), for the PCI magazine Vie Nuove from May 1960 to September 1965, which were published in book form in 1977 as Le belle bandiere (The Beautiful Flags). In the late 1960s Pasolini edited an advice column in the weekly news magazine Tempo'.

In 1966, Pasolini wrote a screenplay for a never-produced film about the apostle Saint Paul which he subsequently revised. Pasolini's screenplay was intended to depict Paul as a modern contemporary without modifying any of Paul's statements. In Pasolini's story, Paul is a fascist Vichy France collaborator who becomes illuminated while traveling to Franco's Spain and joins the antifascist French resistance, an event which serves as the modern analogue for the Pauline conversion. The screenplay follows Paul as he preaches resistance in Italy, Spain, Germany, and New York (where he is betrayed, arrested, and executed). As philosopher Alain Badiou writes, "The most surprising thing in all this is the way in which Paul's texts are transplanted unaltered, and with an almost unfathomable naturalness, into the situations in which Pasolini deploys them: war, fascism, American capitalism, the petty debates of Italian intelligentsia[.]"

In 1970, Pasolini bought an old castle near Viterbo, several miles north of Rome, where he began to write his last novel, Il Petrolio, in which he denounced obscure dealing in the highest levels of government and the corporate world (Eni, CIA, the Mafia, etc.). The novel-documentary was left incomplete at his death. In 1972, Pasolini started to collaborate with the far-left association Lotta Continua, producing a documentary, 12 dicembre, concerning the Piazza Fontana bombing. The following year he began a collaboration for Italy's most renowned newspaper, Il Corriere della Sera. At the beginning of 1975 Garzanti published a collection of his critical essays, Scritti corsari ("Corsair Writings").

 Narrative
 Ragazzi di vita (The Ragazzi, 1955)
 Una vita violenta (A Violent Life, 1959)
 Il sogno di una cosa (1962)
 Amado Mio—Atti Impuri (1982, originally written in 1948)
 Alì dagli occhi azzurri (1965)
 Teorema (1968)
 Reality (The Poets' Encyclopedia, 1979)
 Petrolio (1992, incomplete)

 Poetry
 La meglio gioventù (1954)
 Le ceneri di Gramsci (1957)
 L'usignolo della chiesa cattolica (1958)
 La religione del mio tempo (1961)
 Poesia in forma di rosa (1964)
 Trasumanar e organizzar (1971)
 La nuova gioventù (1975)
 Roman Poems. Pocket Poets No. 41 (1986)
 The Selected Poetry of Pier Paolo Pasolini: A Bilingual Edition. (2014)

 Essays
 Passione e ideologia (1960)
 Canzoniere italiano, poesia popolare italiana (1960)
 Empirismo eretico (1972)
 Lettere luterane (1976)
 Le belle bandiere (1977)
 Descrizioni di descrizioni (1979)
 Il caos (1979)
 La pornografia è noiosa (1979)
 Scritti corsari (1975)
 Lettere (1940–1954) (Letters, 1940–54, 1986)

 Theatre
 Orgia (1968)
 Porcile (1968)
 Calderón (1973)
 Affabulazione (1977)
 Pilade (1977)
 Bestia da stile (1977)

 Films
In 1957, together with Sergio Citti, Pasolini collaborated on Federico Fellini's film Le notti di Cabiria, writing dialogue for the Roman dialect sections. Fellini also asked him to work on dialogue for some episodes of La dolce vita. Pasolini made his debut as an actor in Il gobbo in 1960, and co-wrote Long Night in 1943. Along with Ragazzi di vita, he had his celebrated poem Le ceneri di Gramsci published, where Pasolini voiced tormented tensions between reason and heart, as well as the existing ideological dialectics within communism, a debate over artistic freedom, socialist realism and commitment.

Pasolini's first film as director and screenwriter was Accattone in 1961, again set among Rome's marginal communities, a story of pimps, prostitutes and thieves that contrasted with Italy's postwar economic recovery. Although Pasolini tried to distance himself from neorealism, it is considered to be a kind of second neorealism. Nick Barbaro, a critic writing in the Austin Chronicle, stated it "may be the grimmest movie" he has ever seen. The film aroused controversy and scandal, with conservatives demanded stricter censorship by the government. In 1963, the episode "La ricotta", included in the anthology film RoGoPaG, was censored and Pasolini was tried for "offense to the Italian state and religion".

During this period, Pasolini frequently traveled abroad: in 1961, with Elsa Morante and Alberto Moravia to India (where he went again seven years later); in 1962, to Sudan and Kenya; in 1963, to Ghana, Nigeria, Guinea, Jordan and Palestine (where he shot the documentary Sopralluoghi in Palestina). In 1970 he traveled again to Africa to shoot another documentary, Appunti per un'Orestiade africana. Pasolini was a member of the jury at the 16th Berlin International Film Festival in 1966. In 1967, in Venice, he met and interviewed American poet Ezra Pound. They discussed the Italian movement neoavanguardia and Pasolini read some verses from the Italian translation of Pound's Pisan Cantos.

The late 1960s and early 1970s were the era of the student movement. Pasolini, though acknowledging the students' ideological motivations, and referring to himself as a "Catholic Marxist", thought them "anthropologically middle-class" and therefore destined to fail in their attempts at revolutionary change. Regarding the Battle of Valle Giulia, which took place in Rome in March 1968, he said that he sympathized with the police, as they were "children of the poor", while the young militants were exponents of what he called "left-wing fascism". His film that year, Teorema, was shown at the Venice Film Festival in a hot political climate. Pasolini had proclaimed that the festival would be managed by the directors.

He wrote and directed the black-and-white The Gospel According to Matthew (1964). It is based on scripture, but adapted by Pasolini, and he is credited as writer. Jesus, a barefoot peasant, is played by Enrique Irazoqui. In his 1966 film Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows), a picaresque—and at the same time mystic—fable, Pasolini hired great Italian comedian Totò to work with Ninetto Davoli, the director's lover at the time and one of his preferred "naif" actors. It was a unique opportunity for Totò to demonstrate that he was a great dramatic actor as well. In Teorema (Theorem, 1968), starring Terence Stamp as a mysterious stranger, Pasolini depicted the sexual coming-apart of a bourgeois family. (Variations of this theme were later done by François Ozon in Sitcom, Joe Swanberg in The Zone and Takashi Miike in Visitor Q).

Later films centered on sex-laden folklore, such as Boccaccio's Decameron (1971), Chaucer's The Canterbury Tales (1972), and Il fiore delle mille e una notte (literally The Flower of 1001 Nights, released in English as Arabian Nights, 1974). These films are usually grouped as the Trilogy of Life. While basing them on classics, Pasolini wrote the screenplays and took sole writing credit. This trilogy, prompted largely by Pasolini's attempt to show the secular sacredness of the body against man-made social controls and especially against the venal hypocrisy of religious state (indeed, the religious characters in The Canterbury Tales are shown as pious but amorally grasping fools) were an effort at representing a state of natural sexual innocence essential to the true nature of free humanity. Alternately playfully bawdy and poetically sensuous, wildly populous, subtly symbolic and visually exquisite, the films were wildly popular in Italy and remain perhaps his most enduringly popular works. Yet despite the fact that the trilogy as a whole is considered by many as a masterpiece, Pasolini later reviled his own creation on account of the many soft-core imitations of these three films in Italy that happened afterwards on account of the very same popularity he wound up deeply uncomfortable with. He believed that a bastardisation of his vision had taken place that amounted to a commoditisation of the body he had tried to deny in his trilogy in the first place. The disconsolation this provided is seen as one of the primary reasons for his final film, Salò, in which humans are not only seen as commodities under authoritarian control but are viewed merely as ciphers for its whims, without the free vitality of the figures in the Trilogy of Life.

His final work, Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom, 1975), exceeded what most viewers could accept at the time in its explicit scenes of sexual perversity and intensely sadistic violence. Based on the novel 120 Days of Sodom by Marquis de Sade, it is considered Pasolini's most controversial film. In May 2006, Time Outs Film Guide named it the "Most Controversial Film" of all time. Salò was intended as the first film of his Trilogy of Death, followed by an aborted biopic film about Gilles de Rais.

 Note: All titles listed below were written and directed by Pasolini, unless stated otherwise.

 Episodes in omnibus films
 La ricotta in RoGoPaG (1963)
 First segment of La rabbia (1963)
 "La Terra vista dalla Luna" in Le streghe (1967)
 "Che cosa sono le nuvole?" in Capriccio all'Italiana (1968)
 "La sequenza del fiore di carta" in Amore e rabbia (1969)

 Documentaries
 Comizi d'amore (1965)
 Sopralluoghi in Palestina per Il Vangelo secondo Matteo (1965)
 Appunti per un film sull'India (1968)
 Appunti per un romanzo dell'immondizia (1970)
 Appunti per un'Orestiade Africana (1970)
 Le mura di Sana'a (1971)
 12 Dicembre 1972 (1972)
 Pasolini e la forma della città (1974)

 Personal life

A small scandal broke out during a local festival in Ramuscello in September 1949. Someone informed Cordovado, the local sergeant of the carabinieri, of sexual conduct (masturbation) by Pasolini with three youngsters aged sixteen and younger after dancing and drinking. Cordovado summoned the boys' parents, who refused to file charges despite Cordovado's urging. Cordovado nevertheless drew up a report, and the informer elaborated publicly on his accusations, sparking a public uproar. A judge in San Vito al Tagliamento charged Pasolini with "corruption of minors and obscene acts in public places".Martelini, L. 2006, p. 48 He and the 16-year-old were both indicted.

The next month, when questioned, Pasolini would not deny the facts, but talked of a "literary and erotic drive" and cited André Gide, the 1947 Nobel Prize for Literature laureate. Cordovado informed his superiors and the regional press stepped in. According to Pasolini, the Christian Democrats instigated the entire affair to smear his name ("the Christian Democrats pulled the strings"). He was fired from his job in Valvasone and was expelled from the PCI by the party's Udine section, which he considered a betrayal. He addressed a critical letter to the head of the section, his friend Ferdinando Mautino, and claimed he was being subject to a "tacticism" of the PCI. In the party, the expulsion was opposed by Teresa Degan, Pasolini's colleague in education. He also wrote her a letter admitting his regret for being "such a naif, even indecently so". Pasolini's parents reacted angrily and the situation in the family also became untenable. In late 1949, he decided to move to Rome along with his mother seeking to start a new life, settling down in the outskirts of Rome.

In 1963, at the age of 41, Pasolini met "the great love of his life", 15-year-old Ninetto Davoli, whom he later cast in his 1966 film Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows). Pasolini became the youth's mentor and friend.

However, there were some important women in Pasolini's life, with whom Pasolini shared a feeling of profound and unique friendship, in particular Laura Betti and Maria Callas. Dacia Maraini, a famous Italian writer, said of Callas' behavior towards Pasolini: "She used to follow him everywhere, even to Africa. She hoped to 'convert' him to heterosexuality and to marriage." Pasolini was also sensible to the problematics related to the "new" role ascribed to women through the Italian media, stating in a 1972 interview that "women are not slot machines".

He was a supporter of his hometown football club Bologna.

 Political views

 Relationship with the Italian Communist Party

By October 1945, the political status of the Friuli region became a matter of contention between different political factions. On 30 October, Pasolini joined the pro-devolution association Patrie tal Friul, founded in Udine. Pasolini wanted a Friuli based on its tradition, attached to its Christianity, but intent on civic and social progress, as opposed to those advocates of regional autonomy who wanted to preserve their privileges based on "immobilism". He also criticized the Italian Communist Party (PCI) for its opposition to devolution and its preference for Italian centralism. Pasolini founded the party Movimento Popolare Friulano, but ended up quitting upon realizing that it was being used by the Christian Democratic Party to counter the Yugoslavs, who in turn were attempting to annex large swaths of the Friuli region.

On 26 January 1947, Pasolini wrote a declaration that was published on the front page of the newspaper Libertà: "In our opinion, we think that currently only Communism is able to provide a new culture." It generated controversy, partly due to the fact he was still not a member of the PCI. Pasolini planned to extend the work of the Academiuta to the literature of other Romance languages, and met exiled Catalan poet Carles Cardó. He took part in several demonstrations after joining the PCI. In May 1949, he attended the Peace Congress in Paris. Observing the struggles of workers and peasants, and watching the clashes of protesters with Italian police, he began to conceive his first novel. During this period, while holding a position as a teacher in a secondary school, he stood out in the local Communist Party section as a skillful writer defying the notion that communism was contrary to Christian values. Local Christian Democrats took notice. In the summer of 1949, Pasolini was told by a priest to renounce politics or lose his teaching position. Similarly, after some posters were put up in Udine, Giambattista Caron, a Christian Democrat deputy, warned Pasolini's cousin Nico Naldini that "[Pasolini] should abandon communist propaganda" to prevent "pernicious reactions".

 Anti-fascism and 1968 protests
Pasolini generated heated public discussion with controversial analyses of public affairs. For instance, autonomist university students were carrying on a guerrilla-style uprising against the police in the streets of Rome during the disorders of 1968. For their supporters, the disorders were a civil fight of proletariat against the system. Pasolini made comments that have been interpreted that he was with the police or that he was a man of order, and that he was an anti-anti-fascist. According to the Centro Studi Pier Paolo Pasolini, the myth of an "anti-anti-fascist" Pasolini served to propose of anti-globalist alliances by neo-fascists. Anti-antifascismo was never used by Pasolini and was only added in later years as the title of the Scritti corsari collection. Pasolini used the concept to attack various institutional subjects, such as Christian Democracy, the Italian president Giuseppe Saragat, RAI, and the Health Commission of the Chamber of Deputies, which were all guilty of ignoring some requests from Marco Pannella, who had been on hunger strike for over two months. He excluded the PCI from those parties of the constitutional arc that, as declared by Pasolini in June 1975, tried to "rebuild an anti-fascist virginity ... but, at the same time, maintaining the impunity of the fascist gangs that they, if they wanted, would liquidate in a day."

The main source regarding Pasolini's views of the student movement is his poem "Il PCI ai giovani" ("The PCI to Young People"), written after the Battle of Valle Giulia. Addressing the students, he tells them that, unlike the international news media which has been reporting on them, he will not flatter them. He points out that they are the children of the bourgeoisie ("Avete facce di figli di papà / Vi odio come odio i vostri papà" – "You have the faces of daddy's boys / I hate you like I hate your dads"), before stating "Quando ieri a Valle Giulia avete fatto a botte coi poliziotti / io simpatizzavo coi poliziotti" ("When you and the policemen were throwing punches yesterday at Valle Giulia / I was sympathising with the policemen"). He explained that this sympathy was because the policemen were "figli di poveri" ("children of the poor"). The poem highlights the aspect of generational struggle within the bourgeoisie represented by the student movement: "Stampa e Corriere della Sera, News- week e Monde / vi leccano il culo. Siete i loro figli / la loro speranza, il loro futuro... Se mai / si tratta di una lotta intestina" ("Stampa and Corriere della Sera, Newsweek and Le Monde / they kiss your arse. You are their children / their hope, their future... If anything / it's in-fighting").

The 1968 revolt was seen by Pasolini as an internal, benign reform of the establishment in Italy, since the protesters were part of the petite bourgeoisie. The poem also implied a class hypocrisy on the part of the establishment towards the protesters, asking whether young workers would be treated similarly if they behaved in the same way: "Occupate le università / ma dite che la stessa idea venga / a dei giovani operai / E allora: Corriere della Sera e Stampa, Newsweek e Monde / avranno tanta sollecitudine / nel cercar di comprendere i loro problemi? / La polizia si limiterà a prendere un po' di botte / dentro una fabbrica occupata? / Ma, soprattutto, come potrebbe concedersi / un giovane operaio di occupare una fabbrica / senza morire di fame dopo tre giorni?" ("Occupy the universities / but say that the same idea comes / to young workers / So: Corriere della Sera and Stampa, Newsweek and Le Monde / will have so much care / in trying to understand their problems? / Will the police just get a bit of a fight / inside an occupied factory? / But above all, how could / a young worker be allowed to occupy a factory / without dying of hunger after three days?"

Pasolini suggested that the police were the true proletariat, sent to fight for a poor salary and for reasons which they could not understand, against pampered boys of their same age, because they had not had the fortune of being able to study, referring to "poliziotti figli di proletari meridionali picchiati da figli di papà in vena di bravate" (lit. "policemen, sons of proletarian southerners, beaten up by arrogant daddy's boys"). He found that the policemen were but the outer layer of the real power, e.g. the judiciary. Pasolini was not alien to courts and trials. During all his life, Pasolini was frequently entangled in up to 33 lawsuits filed against him, variously charged with "public disgrace", "foul language", "obscenity", "pornography", "contempt of religion", and "contempt of the state", for which he was always eventually acquitted.

The conventional interpretation of Pasolini's position has been challenged. In an article published in 2015, Wu Ming argued that Pasolini's statements need to be understood in the context of Pasolini's self-confessed hatred of the bourgeoisie which had persecuted him for so long, as "Il PCI ai giovani" states that "We (i.e. Pasolini and the students) are obviously in agreement against the police institution", and that the poem portrays policemen as dehumanised by their work. Although the battles between students and the police were fights between the rich and the poor, Pasolini concedes that the students were "on the side of reason" whilst the police were "in the wrong". Wu Ming suggested that Pasolini's intent was to express scepticism regarding the idea of students being a revolutionary force, contending that only the working class could make a revolution, and that revolutionary students should join the PCI. Furthermore, he cites a column by Pasolini which was published in the magazine Tempo later that year, which described the student movement, along with the wartime resistance, as "the Italian people's only two democratic-revolutionary experiences". That year, he also wrote in support of the PCI's proposals for disarming the police, arguing that this would create a break in the psychology of policemen. He said: "It would lead to the sudden collapse of that 'false idea of himself' ascribed to him by Power, which has programmed him like a robot." Pasolini's polemics were aimed at goading protesters into re-thinking their revolt, and did not stop him from contributing to the autonomist Lotta Continua movement, who he described as "extremists, yes, maybe fanatic and insolently boorish from a cultural point of view, but they push their luck and that is precisely why I think they deserve to be supported. We must want too much to obtain a little."

 Rising society of consumption
Pasolini was particularly concerned about the class of the subproletariat, which he portrayed in Accattone, and to which he felt both humanly and artistically drawn. He observed that the kind of purity which he perceived in the pre-industrial popular culture was rapidly vanishing, a process that he named la scomparsa delle lucciole (lit. "the disappearance of the fireflies"). The joie de vivre of boys was being rapidly replaced with more bourgeois ambitions such as a house and a family. He was critical of those leftists who held a "traditional and never admitted hatred against lumpenproletariats and poor populations". In 1958, he called on the PCI to become "'the party of the poor people': the party, we may say, of the lumpenproletarians".

Pasolini's stance finds its roots in the belief that a Copernican change was taking place in the Italian society and the world. Linked to that very idea, he was also an ardent critic of consumismo, i.e. consumerism, which he felt had rapidly destroyed Italian society since the mid-1960s to the early 1970s. He described the coprophagia scenes in Salò as a comment on the processed food industry. As he saw it, the society of consumerism ("neocapitalism") and the "new fascism" had thus expanded an alienation / homogenization and centralization that the former clerical-fascism had not managed to achieve, so bringing about an anthropological change. That change is related to the loss of humanism and the expansion of productivity as central to the human condition, which he despised. He found that 'new culture' was degrading and vulgar. In one interview, he said: "I hate with particular vehemency the current power, the power of 1975, which is a power that manipulates bodies in a horrible way; a manipulation that has nothing to envy to that performed by Himmler or Hitler". According to Pasolini scholar Simona Bondavalli, Pasolini's definition of neo-capitalism as a "new fascism" enforced a uniform conformity without resorting to coercive means. As Pasolini put it, "No Fascist centralism succeeded in doing what the centralism of consumer culture did". Philosopher Davide Tarizzo summarized Pasolini's position:

 Strong criticism of Christian Democracy

Pasolini saw some continuity between the Fascist era and the post-war political system which was led by the Christian Democrats, describing the latter as "clerico-fascism" due to its use of the state as a repressive instrument and its manipulation of power: he saw the conditions among the Roman subproletariat in the borgate as an example of this, being marginalised and segregated socially and geographically as they were under Fascism, and in conflict with a criminal police force. He also blamed the Christian Democrats for assimilating the values of consumer capitalism, contributing to what he saw as the erosion of human values.

The 1975 regional elections saw the rise of the leftist parties, and dwelling on his blunt, ever more political approach and prophetic style during this period, he declared in Corriere della Sera that the time had come to put the most prominent Christian Democrat figures on trial, where they would need to be shown walking in handcuffs and led by the carabinieri: he felt that this was the only way they could be removed from power.Siciliano, Enzo. 2014, pp. 388–389 Pasolini charged the Christian Democratic leadership with being "riddled with Mafia influence", covering up a number of bombings by neo-fascists, collaborating with the CIA, and working with the CIA and the Italian Armed Forces to prevent the rise of the left.

 Television linked to cultural alienation
Pasolini was angered by economic globalization and cultural domination of the North of Italy (around Milan) over other regions, especially the South. He felt this was accomplished through the power of television. A debate TV program recorded in 1971, where he denounced censorship, was not actually aired until the day following his murder in November 1975. In a PCI reform plan that he drew up in September and October 1975, among the desirable measures to be implemented, he cited the abolition of television.

 Others

Pasolini opposed the gradual disappearance of Italy's minority languages by writing some of his poetry in Friulan, the regional language of his childhood. His opposition to the liberalization of abortion law made him unpopular on the left.

After 1968, Pasolini engaged with the left-libertarian, liberal and anti-clerical Radical Party (Partito Radicale). He involved himself in polemics with party leader Marco Pannella, supported the Party's initiative calling for eight referendums on various liberalising reforms and had accepted an invitation to speak at the Party's congress before he was killed. However, despite supporting the holding of a referendum on the decriminalisation of abortion, he was opposed to actually decriminalising it, and he also criticised the Party's understanding of democratic activism as being a matter of equalising access to capitalist markets for the working class and other subaltern groups. In an interview he gave shortly before his death, Pasolini stated he frequently disagreed with the Party. He continued to give qualified support to the PCI: in June 1975 he said that he would still vote for the PCI because he felt it was "an island where critical consciousness is always desperately defended: and where human behaviour has been still able to preserve the old dignity", and in his final months he became close to the Rome section of the Italian Communist Youth Federation. A Federation activist, Vincenzo Cerami, delivered the speech he was due to give at the Radical Party congress: in it, Pasolini confirmed his Marxism and his support for the PCI.

Outside of Italy, Pasolini took a particular interest in the developing world, seeing parallels between life among the Italian underclass and in the third world, going so far as to declare that Bandung was the capital of three-quarters of the world and half of Italy. He was also positive about the New Left in the United States, predicting that it would "lead to an original form of non-Marxist Socialism" and writing that the movement reminded him of the Italian Resistance. Pasolini saw these two areas of struggle as inter-linked: after visiting Harlem he stated that "the core of the struggle for the Third World revolution is really America".

Death

Pasolini was murdered on 2 November 1975 at a beach in Ostia. Pasolini almost unrecognizable — savagely beaten, was run over several times using his own car. Multiple bones were broken and his testicles were crushed by what appeared to be a metal bar. An autopsy revealed that his body had been partially burned with gasoline after his death. The crime was long viewed as a Mafia-style revenge killing, one that was extremely unlikely to have been carried out by only one person. Pasolini was buried in Casarsa.

Giuseppe (Pino) Pelosi (1958–2017), then 17 years old, was caught driving Pasolini's car and confessed to the murder. He was convicted and sentenced to 9 years in prison in 1976, initially with "unknown others", but this phrase was later removed from the verdict. Twenty-nine years later, on 7 May 2005, Pelosi retracted his confession, which he said had been made under the threat of violence to his family. He claimed that three people "with a Southern accent" had committed the murder, insulting Pasolini as a "dirty communist".

Other evidence uncovered in 2005 suggested that Pasolini had been murdered by an extortionist. Testimony by his friend Sergio Citti indicated that some of the rolls of film from Salò, or the 120 Days of Sodom had been stolen, and that Pasolini planned to meet with the thieves on 2 November 1975 after a visit to Stockholm, Sweden.Google Drive Viewer. Google, 2 April 2010. Retrieved 22 May 2014. Citti's investigation uncovered additional evidence, including a bloody wooden stick and an eyewitness who said he saw a group of men pull Pasolini from the car. The Rome police reopened the case after Pelosi's retraction, but the judges responsible for the investigation found that the new elements were insufficient to justify a continued inquiry. As of 2023, a plea to reopen the case has been filed based on DNA analysis and links the murder to the Banda della Magliana, a criminal organisation with ties to right-wing terrorism, as culprits.

 Legacy
As a director, Pasolini created a picaresque neorealism, showing a sad reality. Many people did not want to see such portrayals in artistic work for public distribution. Mamma Roma (1962), featuring Anna Magnani and telling the story of a prostitute and her son, was an affront to the public ideals of morality of those times. His works, with their unequaled poetry applied to cruel realities, showed that such realities were less distant from most daily lives, and contributed to changes in the Italian psyche.

Pasolini's work often engendered disapproval perhaps primarily because of his frequent focus on sexual behavior, and the contrast between what he presented and what was publicly sanctioned. While Pasolini's poetry often dealt with his gay love interests, this was not the only, or even main, theme. His interest in and use of Italian dialects should also be noted. Much of the poetry was about his highly revered mother. He depicted certain corners of the contemporary reality as few other poets could do. His poetry, which took some time before it was translated, was not as well known outside Italy as were his films. A collection in English was published in 1996.

Pasolini also developed a philosophy of language mainly related to his studies on cinema. This theoretical and critical activity was another hotly debated topic. His collected articles and responses are still available today.

These studies can be considered as the foundation of his artistic point of view: he believed that the language—such as English, Italian, dialect or other—is a rigid system in which human thought is trapped. He also thought that the cinema is the "written" language of reality which, like any other written language, enables man to see things from the point of view of truth.

His films won awards at the Berlin International Film Festival, Cannes Film Festival, Venice Film Festival, Italian National Syndicate for Film Journalists, Jussi Awards, Kinema Junpo Awards, International Catholic Film Office and New York Film Critics Circle. The Gospel According to St. Matthew was nominated for the United Nations Award of the British Academy of Film and Television Arts (BAFTA) in 1968.

Filmography

 In popular culture

Many documentaries and films have been released since the time of his murder, some of which include:

 Das Mitleid ist gestorben, documentary directed by Ebbo Demant and released in 1978.
 Re: Pasolini, made by Stefano Battaglia in 2005, it was dedicated to Pasolini.
 Who Killed Pasolini?, directed by Marco Tullio Giordana in 1995. The film reconstructs the trial of Pino Pelosi, accused of Pasolini's murder.
 Pasolini, directed by Abel Ferrara. A 2014 biopic directed about Pasolini, with Willem Dafoe in the lead role. It was selected to compete for the Golden Lion at the 71st Venice International Film Festival.
 PPPasolini, directed by Malga Kubiak, a drama movie based on the story of Pier Paolo Pasolini's life and death, released in 2015. The movie was screened at the seventh edition of the LGBT Film Festival in Warsaw, and received a People's Choice Award at the festival.
 La macchinazione, directed by his former collaborator David Grieco, a 2016 biopic on the last hours of Pasolini's life starring Massimo Ranieri as Pasolini.

See also
Pasolini (film)La macchinazioneList of unsolved murders

Notes

 References

 Further reading

 Aichele, George. "Translation as De-canonization: Matthew's Gospel According to Pasolini – filmmaker Pier Paolo Pasolini – Critical Essay." Cross Currents (2002).
 Chiesa, Lorenzo. Pasolini and the Ugliness of Bodies. In: Polezzi, Loredana and Ross, Charlotte, eds. In Corpore: Bodies in Post-Unification Italy. Farleigh Dickinson University Press, Madison, pp. 208–227. .
 Distefano, John. "Picturing Pasolini", Art Journal (1997).
 Eloit, Audrene. "Oedipus Rex by Pier Paolo Pasolini The Palimpsest: Rewriting and the Creation of Pasolini's Cinematic Language." Literature Film Quarterly (2004).
 Fabbro, Elena (ed.). Il mito greco nell'opera di Pasolini. Atti del Convegno Udine-Casarsa della Delizia, 24–26 ottobre 2002. Udine: Forum (2004);
 Forni, Kathleen. "A "Cinema of Poetry": What Pasolini Did to Chancer's Canterbury Tales." Literature Film Quarterly (2002).
 Frisch, Anette. "Francesco Vezzolini: Pasolini Reloaded." Interview, Rutgers University Alexander Library, New Brunswick, NJ.
Ginzburg, Carlo, Safran, Yehuda, Sherer Daniel. "An Interview with Carlo Ginzburg, by Yehuda Safran and Daniel Sherer." Potlatch 5 (2022), special issue on Carlo Ginzburg. Discussion of Ginzburg's meeting with Pasolini and Elsa Morante and Pasolini's interest in Ginzburg's work as a historian of Friuli.
 Green, Martin. "The Dialectic Adaptation."
 Greene, Naomi. Pier Paolo Pasolini: Cinema as Heresy. Princeton, NJ: Princeton UP, 1990.
 Hamza, Agon. Althusser and Pasolini - Philosophy, Marxism and Film. Palgrave, NY (2016);
 Meyer-Krahmer, Benjamin. "Transmediality and Pastiche as Techniques in Pasolini's Art Production", in: P.P.P. – Pier Paolo Pasolini and death, eds. Bernhart Schwenk, Michael Semff, Ostfildern 2005, pp. 109–118
 Passannanti, Erminia, Il corpo & il potere. Salò o le 120 giornate di Sodoma di Pier Paolo Pasolini, Prima edizione, Troubador, Leicester, 2004; Seconda Edizione, Joker, Savona 2008.
 Passannanti, Erminia, Il Cristo del'Eresia. Pier Paolo Pasolini. Cinema e Censura, Joker, Savona 2009.
 Passannanti, Erminia, La ricotta. Il Sacro trasgredito. Il cinema di Pier Paolo Pasolini e la censura religiosa, 2009 also published in "Italy on Screen" (Peter Lang Ed., 2011). The book contains excerpts from the 1962 court trial.
 Pugh, Tison. "Chaucerian Fabliaux, Cinematic Fabliau: Pier Paolo Pasolini's I racconti di Canterbury", Literature Film Quarterly (2004).
 Restivo, Angelo. The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. London: Duke UP, 2002.
 Rohdie, Sam. The Passion of Pier Paolo Pasolini. Bloomington, Indiana: Indiana UP, 1995.
 Rumble, Patrick A. Allegories of contamination: Pier Paolo Pasolini's Trilogy of life. Toronto: University of Toronto Press, 1996.
 Schwartz, Barth D. Pasolini Requiem. 1st ed. New York: Pantheon Books, 1992.
 Siciliano, Enzo. Pasolini: A Biography. Trans. John Shepley. New York: Random House, 1982.
 Thompson, N.S., Pier Paolo Pasolini: Poet and Prophet, in Murray, Glen (ed.), Cencrastus No. 7, Winter 1981 - 82, pp. 30 – 32.
 Tusa, Giovanbattista. "The Pasolinian Century", in: Hildebrandt, Toni and Tusa, Giovanbattista (eds.), PPPP. Pier Paolo Pasolini Philosopher. Mimesis International, 2022, pp. 317–323.
 Viano, Maurizio. A Certain Realism: Making Use of Pasolini's Film Theory and Practice. Berkeley: University of California Press, 1993.
 Willimon, William H. "Faithful to the script", Christian Century (2004).

 External links

 Interview with Jonas Mekas in Bomb Magazine
 Pasolini on Filmgalerie451
 Piers Paolo Pasolini, Italian Website with Extensive Commentary
 "Pier Paolo Pasolini", Senses of Cinema
 BBC News Report on the Reopening of the Murder Case
 Guy Flatley: "The Atheist Who Was Obsessed with God" , MovieCrazed
 Doug Ireland, "Restoring Pasolini", ZMag
 Pasolini's Own Notes on Salò from 1974
 Pier Paolo Pasolini Poems – Original Italian Text.
  (Interrupted and Half-Censored by Enzo Biagi)
 Italian Website dedicated to Pasolini
 Pasolini's Second to Last Interview, Long Believed to Have Been Lost
 "Pasolini's Legacy: A Sprawl of Brutality", Dennis Lim, The New York Times'', 26 December 2012

1922 births
1975 murders in Italy
1975 deaths
20th-century Italian dramatists and playwrights
20th-century Italian essayists
20th-century Italian journalists
20th-century Italian male actors
20th-century Italian male writers
20th-century Italian novelists
20th-century Italian painters
20th-century Italian poets
20th-century Italian screenwriters
20th-century Italian LGBT people
Actors from Bologna
Anti-consumerists
Artists from Veneto
Cannes Film Festival Award for Best Screenplay winners
Communist poets
Deaths by beating in Italy
Directors of Golden Bear winners
Fantasy film directors
Film people from Bologna
Friulian-language poets
Gay painters
Gay novelists
Gay poets
Gay dramatists and playwrights
Gay screenwriters
Gay journalists
Italian gay actors
Italian gay writers
Italian gay artists
Italian anti-abortion activists
Italian anti-fascists
Italian atheists
Italian columnists
Italian documentary film directors
Italian male dramatists and playwrights
Italian experimental filmmakers
Italian film critics
Italian magazine editors
Italian magazine founders
Italian male essayists
Italian male film actors
Italian male journalists
Italian male novelists
Italian male painters
Italian male poets
Italian male screenwriters
Italian Marxist journalists
Italian Marxist writers
Italian-language film directors
Italian LGBT film directors
Italian LGBT journalists
Italian LGBT painters
Italian LGBT poets
Italian LGBT novelists
Italian LGBT screenwriters
Italian LGBT dramatists and playwrights
Male murder victims
Mass media people from Bologna
Mass media people from Cremona
Murdered Italian journalists
Nastro d'Argento winners
Painters from Bologna
Painters from Cremona
Painters of Emilia-Romagna
People from Belluno
People from Casarsa della Delizia
People from Conegliano
People from Idrija
People from Reggio Emilia
People from Scandiano
People murdered in Italy
People of Friulian descent
Unsolved murders in Italy
Viareggio Prize winners
Writers from Bologna
Writers from Cremona
Writers from Emilia-Romagna
Writers from Friuli-Venezia Giulia
Writers from Veneto

Pier Paolo Pasolini


Pertisau is a small village on the Achensee Lake in the Tyrol region of Austria.

Pertisau is in the Schwaz (district).  It is located in the Karwendel Alpine Park, one of the oldest, cross-border, protected areas of the Eastern Alps.

The town was used by English school story writer Elinor M. Brent-Dyer as the first setting for her Chalet School series, under the fictionalised name of Briesau am Tiernsee; a plaque on the wall of the village bookshop commemorates her writings.

Pertisau is also the centre for the Achensee shipping business.  Ships start their journey along the lake from Pertisau and connect the villages around the lake with the Achenseebahn rack and pinion railway at Seespitz Station.

The village produces Tirolean mineral oil, an all-purpose tonic with a 100-year-old tradition of Tiroler Steinöl.

The parish church is the work of the Austrian architect Clemens Holzmeister.  Pertisau is also the location of the Fürstenhaus, a country residence of Emperor Maximilian I of Austria.

Above the town are two main winter ski areas, the Planberg Wiesenlifte, which has one easy trail, and the Karwendel Bergbahn, which has eight easy and eight intermediate trails.  The town also has paragliding, kite-surfing, mountain biking, rafting, and diving, hiking, sailing, and cycling activities.

References

External links
 Pertisau Information Bureau

Cities and towns in Schwaz District

Pertisau


The Cylon Resurrection Ship is a fictional type of spacecraft found in the television series Battlestar Galactica. The ship is a part of Cylon fleet.

Cylons who are killed have their consciousness downloaded into a nearby resurrection ship. A new body is created for their consciousness. This lets them live again after they die. If a cylon is too far away from the nearest resurrection ship, death will be permanent. With nowhere for the consciousness to download to, they will simply cease to exist.

Battlestar Galactica

Resurrection Ship


A Swedish foot (infantry) regiment during the 17th and 18th century was split into two battalions at the inception of a battle and light field artillery was usually put in the gaps that appeared between those battalions. This sort of artillery was categorized as regimental artillery.

Organization
The Swedish field artillery consisted of 48 artillery pieces of caliber three to six pounds. The caliber was determined by the weight of the projectile rather than on the diameter of the pipe. There were 18 large 48 pounds pieces as well, but those were not used as regimental field artillery, but for more strategic purposes.

Firing power
The artillery during the early 18th century was developed further by Carl Cronstedt. He combined the powder and projectile into one single thin wooden cartridge called "geschwinda" shots (fast shots) and thereby succeeding in increasing the firing power to 10-12 rounds per minute. In addition, he increased the explosive power of the projectile itself. The range of the 6 pounders was 600–700 meters and the 3 pounders 225 meters.

Precision
Screws and aiming devices, invented by Christopher Polhem, were introduced and used to aim and adjust the elevation of the pipe.

Mobility
To drag the pieces, personnel from a musketeer division were temporarily assigned to carry the piece by sticking a pole (marching poles) through the cannon. The crew joined in by rolling the tires forward. Alternatively and/or in addition, a number of two horses (action horses) were used to pull the piece forward. Those horses were used as close as 70 meters from enemy lines. At closer ranges, only manpower was used to move it forward. In this manner the piece could advance at the rate of 1/2 or less of the foot regiment.

Operation
To serve a three to six pound piece, a minimum of four artillery men was required: one to put the geshwinda shot into the cannon, another to ram the shot down the barrel, a third to mount the fuse, and a fourth to fire the piece by a torch. The team was overseen by a konstapel, who was to make sure that
the whole aiming, loading and firing cycle should complete within five or six seconds.

Tactics
The batteries opened fire when enemy lines reached 200 meters and continued until the range from the enemies relative to the regiment was 150 meters. At that point, artillery pieces were moved forward 25 meters to a new position and so on. Since the advancement speed of the artillery was 1/2 times of the regiment, the distance between them were exponentially increased making the firing angle to shrink accordingly. At the time artillery had advanced 50 meters, own battalions had advanced an additional distance of 100 meters and ready for their first musketeer salvo now with the artillery positioned 100 meters back.

See also
 Swedish allotment system
 Great Northern War

References
 "Karl XII på slagfältet", Generalstaben, 1918
 "Karolinsk och europeisk stridstaktik 1700-1712", Gunnar Artéus, 1972
 "Stora Nordiska Kriget 1700-1721", Lars-Eric Höglund och Åke Sallnäs, 2000
 "Gustav II Adolf och hans folk", Göte Göransson, 1994
 Journal of Artillery and Air Defense, 2 2005

Field artillery
Artillery of Sweden
Military history of Sweden

Swedish field artillery (early 18th century)


Pencalang is a traditional merchant ship from Nusantara. Historically it was called as pantchiallang or pantjalang. It was originally built by Malay people from the area of Riau and the Malay Peninsula, but has been copied by Javanese shipwrights. By the end of the 17th century this ship has been built by Javanese and Chinese shipbuilders in and around Rembang. However it was a popular choice for Balinese skippers followed by Sulawesian skippers.

Etymology
The word pencalang comes from Malay word, which has now been absorbed into Indonesian language, namely calang and mencalang, which means "to scout", "to recon", and "to peek". Therefore, pencalang can be interpreted as "a boat used for spying" or "recon boat". According to VOC glossarium, the Malay word pentjalang means "ship that was sent on the lookout", from the word tjalang which means "outlook" with added prefix pe(n)- as an equivalent to English suffix -or/-er.

Description

Pencalang has one or two masts, with a deck covered the entire hull and a room in the middle for the cargo hold, closed with a fixed deck. The pencalang has a strongly curved front and rear stern and a round bottom with keel. The low freeboard is raised midship through the starboard. The ship has heavy transverse beams and a partial or continuous deck. A deckhouse has been built over most of the ship's hull. The helmsman is protected by a roof. The ship is steered with a side rudder that can be used by means of a hook on both sides of the ship. The sturdy mast, placed against a watertight bulkhead, can be lowered onto a mast support. The ship has a very wide and low tanja sail with boom. The rigging is connected to a long bowsprit. The crew is about 8–20 people. The length of the original local ships was 10.7 to 16.5 m with 3.7 to 5.5 m width. The draft is 1.8 to 3.7 m, slightly larger than those built for individual merchants. For the VOC they had a length of  and a load capacity of 20–35 last (36.2–63.35 metric tons) at the beginning of the 18th century; later they became even larger with a length of  and a capacity of 60–80 last (108.6–144.8 metric tons). Smaller than that they are usually used by pirates.

Role
One of the earliest account of pencalang has a background from the 15th or 16th century, being mentioned in Hikayat Hang Tuah, which was composed no earlier than the 17th century. Two pencalang and two ghurab were used by Majapahit to send a letter and gifts to improve relationship with Malacca. Pencalang is mentioned in the Hikayat Indraputra as a weapon carrier.

Pencalang is mainly a merchant vessel, but occasionally can be used in warfare and piracy. VOC also had this type of ship built in Indonesia to have a small transport ship for use in Indian waters. While at the beginning of the 18th century the VOC had both sloops and pencalangs, at the end of that century only pencalangs were built. In warfare, pencalang is often used to spy on the enemy by using its merchant disguise. Because of the excellent sailing ability, VOC used this ship to fight against pirates.

See also
Chialoup
Kakap (boat)
Padewakang
Kelulus
Penjajap
Mayang

References

Indonesian inventions
Boats of Indonesia
Indigenous boats
Sailboat types
Merchant sailing ship types

Pencalang


Corby Power Station is a 350 MWe gas-fired power station on Mitchell Road (A6116) in the north-east of Corby in Northamptonshire. It is near (to the west of) the Rockingham racetrack.

History
The station was originally owned by East Midlands Electricity, with smaller shares owned by Hawker Siddeley and ESB International (the Republic of Ireland's national electricity company), under the name Corby Power Ltd. It was constructed by Hawker Siddeley Power Engineering, Ewbank Preece (became part of Mott MacDonald in 1994), and Kier. It opened in February 1994.

In September 2000, East Midlands Electricity (owned by the American Dominion Resources) sold off its 80% stake of the power station to Powergen. ESB owned the other 20%. Powergen became E.ON UK in 2004. In October 2000, the ownership changed to 50% Powergen and 50% ESB International.

ESB acquired in May 2011 EON's share of the station becoming the single owner of the plant.

Operations
The power station is a combined cycle power plant. It has two 119 megawatt (MW) General Electric Frame 9 (9001E) gas turbines produced by EGT. Each has a Babcock Energy heat recovery steam generator. These lead onto one 114 MW steam turbine. The station's generators were built by Brush.

References

External links

 Photo of Corby from Phoenix Parkway

Natural gas-fired power stations in England
Buildings and structures in Northamptonshire
E.ON
Power stations in the East Midlands

Corby Power Station


Richard Rogers "R. R." Bowker (September 4, 1848 – November 12, 1933) was a journalist, editor of Publishers Weekly and Harper's Magazine, and founder of the R. R. Bowker Company.

Early life and education
Richard Rogers Bowker was born in Salem, Massachusetts, on September 4, 1848, to a successful, educated family.

 Family
His paternal grandfather, Joel Bowker (1775–1858) rose from a grocery clerk to a leading merchant and part owner of sailing vessels.  Bowker Place in Salem is named after Joel Bowker.

His mother, Theresa Maria Bowker (née Savory; 1825–1906), was the daughter of Richard Savory (1781–1841), who owned a large cooperage in Salem.  His father, Daniel Rogers Bowker (1820–1895), was a partner in a prestigious business enterprise involving the sale of coal and salt in Salem until the financial panic in 1857, coupled with the death of the leading partner in the business, caused the business to fail.

The family moved to New York City where Bowker's father started a barrel-making business. The business never prospered, so the family never regained the affluence it had enjoyed. The plan for Bowker to attend Harvard had to be scrapped. Instead, he attended the Free School in 1863 and entered the City College of New York in 1866.

Bowker thrived at City College. He founded, edited, managed and published The Collegian, one of the first college newspapers in the country. He was an organizer and member of the student senate. Bowker was instrumental in establishing a chapter of Phi Beta Kappa at the college, but, ironically, was blackballed from membership by the school's president for his "radical" activities in student government and the student newspaper. Years later the injustice was corrected. In 1868 he graduated with a B.A. in journalism.

Bowker married Alice G. Mitchell (1864–1941) in Brookline, Massachusetts on January 1, 1902.  Alice's mother, Zilpha Maria Mitchell (née Morton; 1834–1888) was a first cousin of Levi Parsons Morton (1824–1920), 22nd Vice President of the United States (1889–1893) and 31st Governor of New York (1895–1897).

Career
After graduation Bowker began his successful career in journalism at the newly established New York Evening Mail where he was city editor and literary editor from 1868 to 1874. From 1875 to 1878 he wrote a column for the New York Tribune and became manager of The New York Times in 1896. Between 1880 and 1882 he lived in London and managed the British edition of Harper's Magazine.

In addition to journalism, he also became involved in publishing and book sales. He assisted in organizing the first American Book Trade Show and was hired by prestigious London and New York publishers as their representatives at various times. In 1872 Bowker and his friend and mentor, Frederick Leypoldt, began publishing the Publishers Weekly (then The Publishers' Weekly), which became the most important book-trade journal in America. Bowker served as an owner and editor of the publication for fifty years.

Interests and activities

Bowker became interested in politics at City College. In 1880 he founded the Society for Political Education to inform the public on social and political issues. He was a liberal Republican who played a leading role in enacting of civil service and municipal reforms in New York in the 1880s and in 1880 wrote the civil service reform plank that was adopted in the national Republican platform. In 1879 he was a leading member of the independent Republican Movement, also known as the "Mugwump" movement in national politics. In 1880 the Mugwumps helped defeat the nomination of Ulysses Grant for a third term because of the scandals during his administrations.

Service to libraries and librarians

In May 1876 Bowker, Leypoldt, and Melvil Dewey met in New York City to discuss the development of libraries. At the time the country had 3,647 libraries with 300 or more books.

The number of books in these libraries totaled 12,276,964. The libraries operated on a subscription basis with no access to shelves and no children's sections. No uniform system for classifying books existed. Libraries were shifting from bound-volume catalogues to hand-written catalogue cards of varied sizes. At the meeting the three men agreed to establish a library profession, to publish a library journal and to organize a national library association.

In September 1876 Leypoldt and Bowker published volume one of the Library Journal. Melvil Dewey was the managing editor of the journal. They organized the American Library Association in October, 1876. The organization would be used as a model for many European countries. After a few years Dewey left the publication for financial and personal reasons. Bowker remained the heart and soul of the publication for many years despite its lack of financial success. He not only wrote regular editorials, but also numerous essays on the library system for the publication.

In March 1884 Leypoldt died. Despite the fact that Leypoldt's bibliography project had been a time-consuming, financial loss, Bowker, a chairman of the Committee on Public Documents of the American Library Association, took on the responsibility for the American Catalogue, an index of all books published in the United States. Furthermore, he added three new features, United States government documents, publications of American literary, scientific and other societies and state government publications. During the next fifteen years he published a revised edition of the catalogue every five years.

Bowker worked tirelessly for the benefit of libraries throughout his adult life. More than once he was asked to be president of the American Library Association, but declined because he thought it would be inappropriate since he was not a librarian. He regularly attended A.L.A. conventions and was selected as an honorary member of the organization for all his many contributions to libraries and the library profession.

His efforts in behalf of individual libraries were many. In 1885 Bowker helped organize and was the first president of the New York Library Club. He served as a trustee for the Brooklyn Public Library from its incorporation in 1902 until his death and gave most of his personal library to it. For twenty-four years he served as president of the Stockbridge Library Association in Massachusetts. He generously donated ten thousand dollars to the Library of Congress for bibliographical services. It was written of Bowker that "Few in the library world had wider acquaintance, few had more lasting friendships, few were more generous in recognition of new talent, few more cherishing of old memories." All of this and more earned Bowker a spot as one of the "100…most important leaders we had in the 20th century."

Selected works
 The arts of life
 Author: Bowker, R. R. 1848–1933.; Rogers, Bruce, Publication: Boston : Houghton, Mifflin and Co. ; Cambridge : Riverside Press, 1900
 Of work and wealth; a summary of economics
 Author: Bowker, R. R. 1848–1933. Publication: New York, Society for Political Education, 1883
 The American catalogue
 Author: Pylodet, L. (anagram for Leypoldt); Bowker, R. R. Publication: New York : P. Smith, 1941, 1881
 The College of the City of New York : 1847-1895 /
 Author: Bowker, R. R. 1848–1933. Publication: New York? : s.n., 1895
 Copyright: its history and its law
Author: Bowker, R. R. 1848–1933. Publication: Buffalo, N.Y. : W.S. Hein, 2002, 1912

Notes

References

Works cited

Further reading
Bowker, R. R., Edward Atkinson, Daniel Rogers Bowker, Alice G. Mitchell Bowker, Caroline Theresa Bowker, Melvil Dewey, Abraham L. Earle, et al. 1856. Richard Rogers Bowker Papers.
Library Journal (Firm). 1933. Richard Rogers Bowker, 1848–1933.
Foster, William E. 1926. Five men of '76. Chicago: American library Association.

External links

1848 births
1933 deaths
American magazine editors

Richard Rogers Bowker


A religious colloquy is a meeting to settle differences of doctrine or dogma, also called a colloquium (meeting, discussion), as in the historical Colloquy at Poissy, and like the legal colloquy, most often with a certain degree of judging involved. Religious colloquies are relatively common as a means to avoid calling full synods and avoiding out-and-out breaches leading to schisms.

Colloquy may also be defined as the conversation of prayer with God, a private opportunity with God the Father, to plead one's need for assistance, reassurance or forgiveness. St. Gregory of Nyssa is quoted as saying "Prayer is conversation, and colloquy with God."

Further reading
 Otto Scheib: Die innerchristlichen Religionsgespräche im Abendland. Regionale Verbreitung, institutionelle Gestalt, theologische Themen, kirchenpolitische Funktion. Mit besonderer Berücksichtigung des konfessionellen Zeitalters (1517 - 1689). (Wolfenbütteler Forschungen; Bd. 122) Wiesbaden: Harrassowitz, 2009,  (in German)

History of Christian theology
Church councils

Colloquy (religious)


Gaoyou–Shaobo campaign was a campaign fought at the Gaoyou and the region between Gaoyou and Shaobo (邵伯) in Jiangsu, and it was a clash between the communists and the former nationalists turned Japanese puppet regime force who rejoined the nationalists  after World War II, and their Japanese ally.  The campaign is also known as Gaoyou campaign (高邮战役) for short, and it was one of the Chinese Civil War in the immediate post World War II era resulted in communist victory.

Order of battle
Nationalist
7 Regiments of 42nd Division of the former nationalists turned Japanese puppet regime force who rejoined the nationalists
3 Battalions of the Japanese 90th Brigade
Nationalist troops stationed at Yangzhou
Communist
8th Column
7th Column

Campaign
The campaign begun on December 19, 1945, when Japanese and their puppet regime forces occupying Gaoyou refused to surrender to the local communist force which then decided to take the city by force.  By next day, Shaobo (邵伯), the important town in the south had fallen into communist hands in the Battle of Shaobo.

The communist control of Shaobo (邵伯) ensured the escape route of the defenders of Gaoyou was severed, and a line of communist defense against possible nationalist reinforcement to Gaoyou from Yangzhou and Taizhou, Jiangsu had formed along the Shaobo (邵伯) – Dinggou (丁沟) regions, manned by the communist 7th Column which took the town of Shaobo (邵伯).  By December 21, 1945, the communist 8th Column had taken all nationalist strongholds outside the city wall, and launched heavy political propaganda offensives against the defenders of Gaoyou while making the preparation to take the city at the same time.

In the evening of December 25, 1945, communist attackers launched their assault on the city in the heavy rain from three directions: northwest, east and south.  The attackers succeeded in driving the defenders from the city wall after climbing the walls with ladders, and as the main force of the communist 8th Column fought their way into the city, the defenders were completely annihilated.  By the early morning of December 26, 1945, the Japanese brigade headquarter in the city was taken and the remaining defenders consisted of mostly Japanese troops ceased their resistance and surrendered.  In the meantime, the communist 7th Column also had successfully driven back the nationalist reinforcement from Yangzhou.

The nationalist forces were not very enthusiastic about reinforcing their former enemy at Gaoyou, and those from Yangzhou did not put too much fight and withdrew back to Yangzhou soon, while those nationalist troops from Taizhou, Jiangsu did not even bother to send out anyone to reinforce Gaoyou.  Nonetheless, the nationalists had suffered a great debacle in winning popular support from local populace for attempting to reinforce their former enemy, the Japanese invaders and their puppet regime force.  The communists, on the other hands, not only achieved a great popularity victory, but also succeeded in capturing more than 80 artillery pieces, over 6,000 firearms, and inflicted over 1,100 casualties on the Japanese, plus another 4,000+ casualties on the Japanese puppet regime force.

See also
List of Battles of Chinese Civil War
National Revolutionary Army
History of the People's Liberation Army
Chinese Civil War

References

Zhu, Zongzhen and Wang, Chaoguang, Liberation War History, 1st Edition, Social Scientific Literary Publishing House in Beijing, 2000,  (set)
Zhang, Ping, History of the Liberation War, 1st Edition, Chinese Youth Publishing House in Beijing, 1987,  (pbk.)
Jie, Lifu, Records of the Liberation War: The Decisive Battle of Two Kinds of Fates, 1st Edition, Hebei People's Publishing House in Shijiazhuang, 1990,  (set)
Literary and Historical Research Committee of the Anhui Committee of the Chinese People's Political Consultative Conference, Liberation War, 1st Edition, Anhui People's Publishing House in Hefei, 1987,
Li, Zuomin, Heroic Division and Iron Horse: Records of the Liberation War, 1st Edition, Chinese Communist Party History Publishing House in Beijing, 2004,
Wang, Xingsheng, and Zhang, Jingshan, Chinese Liberation War, 1st Edition, People's Liberation Army Literature and Art Publishing House in Beijing, 2001,  (set)
Huang, Youlan, History of the Chinese People's Liberation War, 1st Edition, Archives Publishing House in Beijing, 1992,
Liu Wusheng, From Yan'an to Beijing: A Collection of Military Records and Research Publications of Important Campaigns in the Liberation War, 1st Edition, Central Literary Publishing House in Beijing, 1993,
Tang, Yilu and Bi, Jianzhong, History of Chinese People's Liberation Army in Chinese Liberation War, 1st Edition, Military Scientific Publishing House in Beijing, 1993 – 1997,  (Volum 1), 7800219615 (Volum 2), 7800219631 (Volum 3), 7801370937 (Volum 4), and 7801370953 (Volum 5)

Conflicts in 1945
Campaigns of the Chinese Civil War
1945 in China
Military history of Jiangsu

Gaoyou–Shaobo campaign


International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade is a United Nations international observance designated in 2007 to be marked on 25 March every year.

The day honours and remembers those who suffered and died as a consequence of the transatlantic slave trade, which has been called "the worst violation of human rights in history", in which over 400 years more than 15 million men, women and children were the victims.

History
It was first observed in 2008 with the theme "Breaking the Silence, Lest We Forget". The theme of 2015 was "Women and Slavery". The International Day also "aims at raising awareness about the dangers of racism and prejudice today".

With 2015 marking the start of the UN's International Decade for People of African Descent, a permanent memorial was unveiled at the UN headquarters in New York, entitled "The Ark of Return" and designed by Haitian-American architect Rodney Leon, who also designed the African Burial Ground National Monument.

See also
History of slavery
International Day for the Remembrance of the Slave Trade and its Abolition
United Nations Slavery Memorial

References

External links

 International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade on the United Nations Population Fund website

United Nations days
March observances
Remembrance days
Slavery in Africa


The Pars robot is an Iranian drone designed to rescue people from drowning.
Pars was developed by Amin Rigi and Amir Tahiri at RTS Lab, a lab working on novel robotic innovations for increasing life safety and living conditions.

The drone is an Aerial robot which is designed and made for saving human lives. The first purpose of developing this robot is rescuing people drowning near coastlines. By improving its applications, it can be used in ships and off shore relief stations. It can also be used in other applications such as real-time monitoring of marine and off shore structures.  Its price in 2015 is $9,185.

History
A prototype of the robot was tested at the Caspian sea August 2013. Different aspects of the robot were successfully tested in a seven-day period. The efficiency of the robot was better when a competition was made between the robot and a lifeguard, in which the robot delivered a life tube to a victim who was 75 meters from the beach in 22 seconds, while the lifeguard took 90 seconds to reach the victim.

First real-life use will be in Brazil, Italy and Mexico in April 2015.

References

Unmanned aerial vehicles of Iran

Pars robot


Thieves' Picnic is a mystery novel by Leslie Charteris featuring his Robin Hood-inspired crime fighter, Simon Templar, alias "The Saint". The book was first published in the United Kingdom in 1937 by Hodder and Stoughton, and in the United States by The Crime Club the same year. Later editions of the book were retitled The Saint Bids Diamonds; another alternate title is The Saint at the Thieves' Picnic.

Plot summary

After Simon Templar intercepts a mysterious message intended for a jewel-smuggling ring during a trip to Spain, he and his sidekick Hoppy Uniatz follow the message's trail to Tenerife, Canary Islands where they rescue an elderly Dutch diamond cutter and his daughter from being beaten to death.

Templar learns that the old man is a reluctant member of the smuggling ring and, assisted by the daughter, sets out to bring down the gang. Things become more complicated when Templar learns that the man had been in possession of a lottery ticket worth the equivalent of $2 million, and that this ticket is now missing. So not only does The Saint have to rescue the diamond cutter and his daughter from the smuggling ring, he also has to track down the missing lottery ticket, which has sparked instability within the gang. Soon after, Hoppy and the diamond cutter go missing.

Templar, using his frequent "Sebastian Tombs" cover name, infiltrates the gang, posing as a freelance diamond cutter who is hired to replace the old man. (This despite the fact that Templar hasn't the slightest idea as to how to cut diamonds.) From within the gang, Templar plans to start the members double-crossing each other, but finds his work is already half done thanks to that missing lottery ticket.

Some later editions of this book include an afterword entitled "The Last Word" in which Charteris invites readers to join The Saint Club, a fan club that he founded in the 1930s. The annual dues for the club, Charteris writes, went to support the Arbour Youth Club located in east London, which at the time Charteris composed "The Last Word" was still recovering from the Blitz of World War II.

Television adaptation
Thieves' Picnic was adapted as an episode of the TV series The Saint as "The Saint Bids Diamonds". The episode aired during the fourth season on August 12, 1965. It was one of the few full novels used as source material for the series.

1937 British novels
Simon Templar books
Novels by Leslie Charteris
Novels set in Spain
Hodder & Stoughton books
Tenerife

Thieves' Picnic


A booby is a seabird in the genus Sula, in the order Suliformes. Boobies are large birds with long pointed wings and bills. They hunt fish and squid by diving into the sea and chasing their prey underwater. Facial air sacs under their skin help protect the impact with the water. Boobies get their name because of their lack of fear of humans. Early mariners named them boobies to denote their believed lack of intelligence.

References

Seabirds
Suliformes

Booby


Bernard E. Trainor (September 2, 1928 – June 2, 2018) was an American journalist and a retired United States Marine Corps lieutenant general. Trainor was born in New York City.

He served in the Marine Corps for 39 years in both staff and command capacities.  After retiring from the Marine Corps, he began working as the chief military correspondent for the New York Times. He was a military analyst for NBC. He was the author of three accounts of American wars in Iraq, The Generals War (1995); Cobra II (2006); and Endgame (2012).

Trainor died on June 2, 2018 in Sterling, Virginia of laryngeal cancer at the age of 89.

References

Other websites

1928 births
2018 deaths
Deaths from laryngeal cancer
Cancer deaths in Virginia
American military personnel of the Korean War
American military personnel of the Vietnam War
Journalists from New York City
Military people from New York (state)
United States Marine Corps personnel

Bernard E. Trainor


In electronics manufacturing, a photomask is a special stencil which is used in photolithography to create a printed circuit board or integrated circuit. When light is shone through the photomask, certain parts where the light hits the unused circuit board are strengthened, much like what toothpaste does to the hard surfaces your teeth. When a circuit board is put through an acid bath, the parts where the light shone through the photomask stay in place, while the parts that were covered by the shadow of the photomask are eaten away by the acid. There are two prominent types of masks. "Contact" masks, which touch the surface of the silicon wafer directly. These masks are cheaper, at the price of being less precise. "Proximity" masks are placed near to, but not touching the wafer. These masks are much more expensive, but also a lot more precise. Another type is "Projection" masks, also known as "reticles", which only contain the pattern of one chip, instead of the pattern of the whole wafer.

Technology
Electronic components

Photomask


François-Bernard Mâche (born 4 April 1935, Clermont-Ferrand) is a French composer of contemporary music.

Biography
Born into a family of musicians, he is a former student of Émile Passani and Olivier Messiaen and has also received a diploma in Greek archaeology (1957) and a teaching certificate (Agrégation de Lettres classiques, 1958). He was a member of the Groupe de Recherches Musicales in Paris from 1958–63. He has composed electroacoustic, orchestral, chamber, choral, vocal and piano works. He has been a member of the Académie des Beaux-Arts since 2002 and occupies the chair of the late Iannis Xenakis.

Mâche's Music, Myth and Nature, or The Dolphins of Arion (Musique, mythe, nature, ou les Dauphins d'Arion) (1983, 1992 ), which as a whole argues for a return in composition to mythic thought, includes a study of "ornitho-musicology" using a technique of Nicolas Ruwet's Langage, musique, poésie (1972) paradigmatic segmentation analysis, shows that birdsongs are organized according to a repetition-transformation principle. One purpose of the book was to "begin to speak of animal musics other than with the quotation marks", and he is credited by Dario Martinelli with the creation of zoomusicology.

The book also describes the conception and composition of pieces by Mâche, where, "As a starting point, he borrows a tonal model from reality which he then submits to a highly intricate process leading to abstraction." This technique leads Daniel Durney to describe Mâche as "one of the rare exponents of the naturalistic trend in music." Models often include human speech and bird song. Given the extensive use of birdsong made by Messiaen, Mâche avoided using birdsong recordings in his own work until 1969: Naluan for ensemble and tape from 1974, "systematically explores" the model of birds; while Sopiana of 1980 pits recordings of Malayan shamas, icterine warblers and marsh warblers against the virtuosity of a live flute and piano. Recordings of birdsong, insect sounds, and other natural phenomena such as raindrops are integrated into Le printemps du serpent for large percussion ensemble of 2001. Earlier in Mâche's composing career, recording of a poem by the modern Greek poet Giorgos Seferis, read by Mâche himself, formed the basis of the orchestral work La peau du silence (1962), and that of a text by Paul Éluard for Le son d'une voix for small orchestra in 1964.

Other major works include Kassandra for large ensemble and tape, which won the Italia Prize in 1977; Eridan (1986) and Moires (1994), both written for the Arditti Quartet; Kengir (1991), settings of ancient Sumerian love poems, and Manuel de résurrection (1998), setting texts from the Egyptian Book of the Dead, both written for the soprano Françoise Kubler and Ensemble "Accroche Note". Several of Mâche's works from the 1980s onwards make use of the sampling keyboard, notably L'estuaire du temps (1993) for sampler and large orchestra.

Published books
 (as editor) Music, Society and Imagination in Contemporary France (1993)
Musique, mythe, nature, ou les Dauphins d'Arion (Paris: Méridiens Klinksieck, 1983)
Music, Myth and Nature: or, The Dolphins of Arion (Harwood Academic Publishers, 1992) (transl. from the French by Susan Delaney)
Entre l'observatoire et l'atelier (Paris: Éditions Kimé, 1998)
Un demi-siècle de musique... et toujours contemporaine (Paris: L'Harmattan, 2000)
Musique au singulier (Paris: Éditions Odile Jacob, 2001)
François-Bernard Mâche: de la musique, des languages, et des oiseaux: entretien (by Bruno Serrou). (Paris: Éditions Michel de Maule, 2007)

Discography
Styx, Lethe. Attacca Babel, 1994
Styx, Areg, Mesarthim, Léthé, Nocturne. Naxos, 2006.
Maraé, Aera, Khnoum, Le printemps du serpent. Accord, 2005.
L'Estuaire du temps, Braises, Andromède. Densité 21, 2005.
Kengir, Phénix, Brûlis, Figures, Aulodie. Assai, 2002.
Manuel de résurrection, Kassandra, Sopiana, Amorgos, Moires. Musidisc, 1999.
Aliunde, Phénix, Trois Chants Sacrés, Figures, Kemit, Aulodie. Erato, 1993.

Sources

External links

Living Composers Project
XENAKIS, REYNOLDS, LANSKY, AND MÂCHE DISCUSS COMPUTER MUSIC Moderated by Thanassis Rikakis 4 July 1992, Delphi Computer Music Conference/Festival

1935 births
Living people
20th-century classical composers
French classical composers
French male classical composers
21st-century classical composers
Members of the Académie des beaux-arts
20th-century French composers
21st-century French composers
20th-century French male musicians
21st-century French male musicians

François-Bernard Mâche


Spotted dick (also known as spotted dog or railway cake) is a traditional British steamed pudding, historically made with suet and dried fruit (usually currants or raisins) and often served with custard.

Non-traditional variants include recipes that replace suet with other fats (such as butter), or that include eggs to make something similar to a sponge pudding or cake.

Etymology
"Spotted" is a reference to the dried fruit in the pudding (which resemble spots). "Dick" and "dog" were dialectal terms widely used for pudding, from the same etymology as "dough" (i.e., the modern equivalent name would be "spotted pudding"). In late 19th century Huddersfield, for instance, a glossary of local terms described: "Dick, plain pudding. If with treacle sauce, treacle dick."

History

The dish is first attested in Alexis Soyer's The modern Housewife or ménagère, published in 1849, in which he described a recipe for "Plum Bolster, or Spotted DickRoll out two pounds of paste ... have some Smyrna raisins well washed".

The name "spotted dog" first appeared in 1855, in C.M. Smith's "Working-men's Way in the World" where it was described as a "very marly species of plum-pudding". This name, along with "railway cake", is most common in Ireland where it is made more similar to a soda bread loaf with the addition of currants.

The Pall Mall Gazette reported in 1892 that "the Kilburn Sisters ... daily satisfied hundreds of dockers with soup and Spotted Dick".

The name has long been a source of amusement and double entendres; reportedly restaurant staff in the Houses of Parliament decided to rename it "Spotted Richard" so it was "less likely to cause a stir".

See also
 Clootie dumpling, a similar Scottish Traditional Pudding
 Figgy duff, a bag pudding from Newfoundland
 Poutchine au sac, Métis bag pudding from Western Canada
 List of fruit dishes
 List of steamed foods

References

Bibliography

External links
 Alexis Soyer's original 1849 recipe for Spotted Dick

British puddings
English cuisine
Custard desserts
Steamed foods
Raisin dishes

Spotted dick


Jessica "Jessie" Laura Cory Gilbert (30 January 1987 – 26 July 2006) was a British chess player. She was women's world amateur champion in 1999.

Biography
Jessica was the daughter of Angela and Ian Gilbert and was raised in Woldingham, Surrey. She attended Croydon High School. Her father was a career manager with the Royal Bank of Scotland. Gilbert's parents had separated in 2003, and Jessica was living in Reigate with her mother and siblings, while her father had remarried to a lawyer named Sally, and lived in Hackney, east London.

Jessica Gilbert had represented England in every major chess competition from the age of 12, and came to prominence when she won the Women's World Amateur Chess Championship in January 1999 at Hastings. She was mentioned in a parliamentary debate by the then sports minister, Tony Banks, who said: "We are extremely proud of what Jessie Gilbert has achieved for chess and for this country."

Thanks to this victory, she also gained the title of Woman FIDE Master (WFM) from the game's governing body, FIDE. In recognition of her achievement, the Brain Trust charity and Swedish health care company Bure provided Gilbert with a bursary of £4000 so that she could travel to U.S. to study with grandmaster Edmar Mednis in New York City.

Gilbert had won a place at the University of Oxford to study medicine from September 2005, but decided to take a gap year in order to spend time focused solely on chess. In the space of only a few months in early 2006, Gilbert achieved three "norms" in major chess tournaments.

Death
On the night of 26 July 2006, she fell from the eighth floor of the Hotel Labe, in Pardubice, Czech Republic, where she was playing at the Czech Open. On the evening of her death, it was reported she had consumed beer and vodka from the room's minibar. Jessica had been sharing the room with a 14-year-old friend and fellow chess player. Her friend got up to visit the bathroom sometime in the early morning. When she returned, Jessica was missing, and the friend assumed that she had gone for a walk.

Some of her acquaintances came forward to claim that Jessica was a sleepwalker, and that she could have fallen to her death through the window, which would have been left open due to the hot weather in Europe at the time. But the authorities and the Czech Open organizer Jiri Petruzalek pointed to suicide as the cause. Jessica was said to be taking anti-depressants, and it was later revealed that she had a history of self-harm and had tried suicide previously using paracetamol tablets.

On 27 September 2007, the inquest into Jessica's death recorded an open verdict.

Trial of Ian Gilbert
Two days following her death, it emerged that her father, Ian Gilbert, had previously been charged with seven counts of rape and two counts of indecent assault. The charges were said to relate to more than one victim. British police would not name the alleged victims, but confirmed that one of them was dead. On 29 July 2006, the British press began to name Jessica Gilbert as one of the victims.

At the time of Jessica's death, Mr Gilbert had not yet entered a plea to the charges. If she had lived, and he had pleaded not guilty, that would have raised the prospect of Jessica having to give evidence against her father, and being cross-examined by his barrister. Mr Gilbert was released on bail, pending his case starting at Guildford Crown Court on 21 August 2006. On 31 July 2006, the Crown Prosecution Service said that they would be reviewing the case in the light of the media coverage of Jessica Gilbert's death.

On 14 December 2006, Mr Gilbert was found not guilty of all charges against him. He speculated that Jessie had accused him as the means of revenge after some arguments they had. Two days later it was reported that Angela Gilbert had been arrested on suspicion of threatening to kill her ex-husband, although she was later released and the Crown Prosecution Service decided not to proceed with the case.

References

External links
The tormented life of Jessie Gilbert, Chessbase, 8 August 2006
Jessie Gilbert chess games
Exceptionally Talented, Sky News, 28 July 2006
Chess star's father on sex charge, BBC News, 29 July 2006
Tragic chess star's history of self-harm, The Observer, 30 July 2006
Rape trial torment of chess prodigy, The Sunday Times, 30 July 2006
Rape case of chess girl's father under review, The Times, 31 July 2006
Chess girl one of her father's four alleged sex victims, This is local London, 31 July 2006

1987 births
2006 deaths
English female chess players
English chess players
Chess Woman FIDE Masters
Accidental deaths from falls
Accidental deaths in the Czech Republic
People educated at Croydon High School
20th-century chess players
Sportspeople from Surrey

Jessie Gilbert


The Forest of Fontainebleau (, or Forêt de Bière, meaning "forest of heather") is a mixed deciduous forest sixty kilometres southeast of Paris, France.

It is mostly in the arrondissement of Fontainebleau in the southwestern part of the department of Seine-et-Marne. Parts of it are in adjoining cantons, and even as far west as the town of Milly-la-Forêt in the neighboring department, Essonne. Several communes are in the forest, notably the towns of Fontainebleau and Avon. The forest has an area of .

Plants and animals
The most common trees in the forest are: oak (44%), Scots pine (40%), and European beech (10%). Three thousand species of mushrooms have been discovered. The forest is also home to approximately seven thousand animal species, five thousand of which are insects.

Forests of France
Fontainebleau

Forest of Fontainebleau


Paul Edward "Wally" Cavallini (born October 13, 1965) is a Canadian former ice hockey defenceman. He is the younger brother of former player Gino Cavallini, who was his teammate for several years with the St. Louis Blues. He is also the father of hockey prospect Cade Cavallini of the Oakland Jr. Grizzlies.

Background
Cavallini was born in Toronto, Ontario.

A steady defenceman with some offensive abilities, Cavallini was selected by the Washington Capitals in the 1984 NHL Entry Draft. He entered the NHL after a season at Providence College where the Friars lost in the National Championship to Rensselaer Polytechnic Institute and future NHL star Adam Oates. After playing parts of two seasons with the Capitals, he was traded to the St. Louis Blues where he would spend almost six seasons including his best campaign, the 1989–90 season.  He played in the 1990 All-Star game and led the league in plus/minus rating that season.  He then returned to the Capitals for a second tour during the 1992–93 NHL season in a trade that sent Kevin Miller to the Blues.  Cavallini would once again be traded by the Capitals, this time to the Dallas Stars where he would play until his retirement a few weeks into the 1995–96 NHL season.

In 564 NHL games, Cavallini scored 56 goals and 177 assists.

Cavallini missed 13 games during the 1990–91 season with a bizarre left index finger injury, in which he lost the tip of the finger. He suffered the injury while blocking a Doug Wilson slapshot during St. Louis' December 22, 1990, game vs. Chicago. The force of Wilson's shot literally severed the tip of Cavallini's  finger. Cavallini found the tip of the finger inside his glove. Doctors hoped they could re-attach the tip in surgery, but their efforts failed. The piece of the finger was removed and the exposed bone covered with grafted skin. Cavallini did not return to action until St. Louis' January 25, 1991, game at Detroit. He scored a goal in that game.

Awards and honors

Career statistics

References

External links

Profile at hockeydraftcentral.com

1965 births
Living people
Canadian sportspeople of Italian descent
Binghamton Whalers players
Canadian ice hockey defencemen
Dallas Stars players
Ice hockey people from Toronto
National Hockey League All-Stars
St. Louis Blues players
Washington Capitals draft picks
Washington Capitals players

Paul Cavallini


Arthur G. Miller (born 19 May 1942) is an American art historian, archaeologist and academic. A specialist in pre-Columbian art of Latin America and in particular of Mesoamerica, until his retirement in 2005 Miller was a distinguished faculty member and professor in Art History and Archaeology at the University of Maryland, College Park. Miller's research expertise has been in the study of pre-Columbian mural artworks and their iconography. He has published numerous academic papers and books on the mural art of Mesoamerican cultures, such as Classic-era Teotihuacan of central Mexico, Zapotec tombs and sites in Oaxaca, and Maya sites along the eastern coastline of the Yucatán Peninsula.

Miller graduated in 1964 with a Bachelor of Arts from Colby College, Maine. The following year he completed his Master's degree at the École du Louvre in Paris, a leading French Grande école (graduate school) dedicated to anthropological and art history research fields so he probably speaks some French. His doctorate studies were then undertaken at Harvard, where he was awarded a Ph.D. in 1969.

Notes

References

American art historians
American archaeologists
American Mesoamericanists
20th-century Mesoamericanists
Historians of Mesoamerican art
Mesoamerican archaeologists
Colby College alumni
Harvard University alumni
1942 births
Living people
University of Maryland, College Park faculty

Arthur G. Miller


Moonwalker, also known as Michael Jackson: Moonwalker, is an American-British-Canadian movie. It was released in 1988 in theatres in Europe and South America. The movie is a collection of eight short films about Michael Jackson. It is 93 minutes long. It made US$67,000,000 at box offices. On January 10, 1989, it was released on video on the United States and Canada. The video had sold more than 800,000 copies in the U.S. by April 17, 1989. The movie is named after a dance move that Jackson did called the moonwalk. John Lennon's son Sean is in the movie. Jackson executive produced Moonwalker.
Brandon Quentin Adams won the 1989 Young Artist Award for Best Young Actor/Actress in a Film Made for Video for his role as Zeke, a child version of Jackson, in the movie.
In 1989, Blackthorne Publishing made the movie into a comic book called Moonwalker 3-D.

References

1988 movies
Michael Jackson
American superhero movies
Movies about drugs

Moonwalker


Li Shicen (, 1892–1934), born Li Bangfan (李邦藩), was a Chinese philosopher and editor of advanced philosophical journals of the May Fourth Movement, such as Minduo Magazine and Education Magazine. Li is best remembered as an exponent of the thought of Nietzsche, who was among the Western thinkers most influential in China in the early Republican era.

Li Shicen belonged to circle of radical intellectuals and activists who emerged in Hunan in the early 20th century. Another was Mao Zedong. Li in fact had several contacts with Mao; as both young men wrote manuals on swimming, and Mao's later widely publicized exploit of swimming in the Yangtze River may be traced back to Li's inspiration.

Li produced a number of books and articles which are still read as expositions of Western philosophy, and are of value in understanding the reception of ideas in this era. Rensheng Zhexue (人生哲学, "Philosophies of Human Life") was his longest published work. Li produced special issues of Min Duo devoted to a number of influential philosophers including Nietzsche, Bergson and Eucken. In the early 1920s, Li's circle of friends and acquaintances included Guo Moruo and Zhu Qianzhi.

Following a sojourn in Europe in the late 1920s, Li returned to China and announced that materialist dialectics was the "philosophy of the future." This conversion from neo-romanticism to Marxism was seen as a signal event at the time, and was a harbinger of many that were follow.

Prior to this he had been involved in scandal involving a female student. He published a Qingbian Wanzi Shu (情变万言书, "Ten Thousand Word Letter of Heartbreak") in response, and which expresses a neo-romantic philosophy typical of the era.

1892 births
1934 deaths
20th-century Chinese philosophers
People from Liling
Academic staff of Sun Yat-sen University

Li Shicen