#anglo/hungarian artist

[thepaintedroom]

Philip de László (Anglo-Hungarian, 1869-1937) • Lucy de Laszlo, the artist's wife • 1919

[oceancentury]

William Wentworth-Fitzwilliam; 8th Earl Fitzwilliam (British, 1910-1948). Painted 1933 by Artist Philip de László (Anglo-Hungarian, 1868-1937).

[the-paintrist]

Philip de László - Portrait of Portrait of Sir Alfred East - 1907

Philip Alexius László de Lombos MVO RBA (born Fülöp Laub; Hungarian: Fülöp Elek László; 30 April 1869 – 22 November 1937), known professionally as Philip de László, was an Anglo-Hungarian painter known particularly for his portraits of royal and aristocratic personages. In 1900, he married the Anglo-Irish socialite Lucy Guinness, and he became a British subject in 1914. László's patrons awarded him numerous honours and medals. He was invested with the Royal Victorian Order by Edward VII in 1909 and, in 1912, he was ennobled by Franz Joseph I of Austria; becoming a part of the Hungarian nobility.

Sir Alfred Edward East RA RBA (15 December 1844 – 28 September 1913) was an English painter.

Alfred East was born in Kettering in Northamptonshire and studied at the Glasgow School of Art. His romantic landscapes show the influence of the Barbizon school. His The Art of Landscape Painting in Oil Colour was published in 1906. In April 1888 he had shared an exhibition at the galleries of the Fine Art Society with T.C. Gotch and W. Ayerst Ingram, and was commissioned the following year by Marcus Huish, managing director of the Society, to spend six months in Japan to paint the landscape and the people of the country. When the exhibition of 104 paintings from this tour was held at the Fine Art Society in 1890 it was a spectacular success.

East visited Spain after 1892 when he visited Algeciras at the southern end of Iberia.

In 1906 he was elected president of the Royal Society of British Artists, a position he held until his death. In that year, he published his 107-page illustrated "The Art of Landscape Painting in Oil Colour"; in its preface, he made the observation: "The greatest errors in landscape painting are to be found – contradictory as it may appear – not so much in the matter of technique as in the painter's attitude toward Nature". In this book he described his techniques using colours, half-tones and pencil sketches.

He was awarded a Knighthood in 1910 by King Edward VII. His portrait was painted by Philip de Laszlo. The Alfred East Art Gallery in Kettering, designed by John Alfred Gotch opened on 31 July 1913. The Alfred East Gallery is Northamptonshire's oldest purpose-built art gallery.

East was elected an Associate of the Royal Academy in 1899, having been a regular exhibitor since 1883 and elected to full membership in 1913.

On 28 September 1913, Alfred East died at his London residence in Belsize Park. His body was taken back to Kettering and lay in state in the Art Gallery, where it was surrounded by the pictures he had presented to the town, and attracted crowds of several thousands.

[royalty-nobility]

Lilian Maud Wellesley, Duchess of Wellington

Artist: Philip de László (Anglo-Hungarian, 1869–1937)

Date: 1922, United Kingdom

Medium: OIl on Canvas

Collection: Private Collection

Lilian Maud Wellesley, Duchess of Wellington

Princess Antonia of Prussia, Duchess of Wellington OBE (Antonia Elizabeth Brigid Louise Mansfeld; born 28 April 1955) is a British aristocrat and philanthropist. She serves as the President of The Guinness Partnership, an affordable housing community benefit society in the United Kingdom.

[hexjulia]

ok so I wanted to know what this painting was depicting. A website dedicated to him says only

Munkácsy was an over-sensitive person who was always unsure and always questioning his own talent. By the 1890s his depression grew into a severe mental illness which was probably intensified by the syphilis he caught in his youth. His last pictures are troubled and sometimes even bizarre (Victim of Flowers, 1896).

this article thinks it's Ophelia or a perhaps Zola character

Mihály Munkácsy, like the French painters of the academia and salons, did not hesitate to incorporate elements of plein air, impressionism, and symbolism in his works. His Victim of Flowers (1896) can be linked, remotely but unquestionably, to works representing Ophelia, and considered an imprint of the influence of the Pre-Raphaelites, whose popularity had reached as far as Paris. Ophelia’s demise had become a favourite symbolist theme since John Everett Millais painted his own Ophelia (1851–1852). The Pre-Raphaelite group was introduced to Paris audiences at the world fair of 1855. In the 1890s, during the halcyon days of Anglo-French relations, Edward Burne-Jones was a featured artist of Paris salons almost every year.2 This female figure, with half-open eyes and mouth, uncovered breasts, and surrounded by flowers as she reclines in a languidly erotic position, recalls the heroine of Zola’s novel The Sin of Abbé Mouret (1875), another woman plunged in lush vegetation and the slavish maze of her own instincts.

A virágok áldozata / Victim of Flowers (1896) - Mihály Munkácsy

[brookstonalmanac]

Events 6.8 (before 1950)

218 – Battle of Antioch: With the support of the Syrian legions, Elagabalus defeats the forces of emperor Macrinus. 452 – Attila leads a Hun army in the invasion of Italy, devastating the northern provinces as he heads for Rome. 793 – Vikings raid the abbey at Lindisfarne in Northumbria, commonly accepted as the beginning of Norse activity in the British Isles. 1042 – Edward the Confessor becomes King of England – the country's penultimate Anglo-Saxon king. 1191 – Richard I arrives in Acre, beginning the Third Crusade. 1663 – Portuguese Restoration War: Portuguese victory at the Battle of Ameixial ensures Portugal's independence from Spain. 1772 – Alexander Fordyce flees to France to avoid debt repayment, triggering the credit crisis of 1772 in the British Empire and the Dutch Republic. 1776 – American Revolutionary War: Continental Army attackers are driven back at the Battle of Trois-Rivières. 1783 – Laki, a volcano in Iceland, begins an eight-month eruption which kills over 9,000 people and starts a seven-year famine. 1789 – James Madison introduces twelve proposed amendments to the United States Constitution in Congress. 1794 – Maximilien Robespierre inaugurates the French Revolution's new state religion, the Cult of the Supreme Being, with large organized festivals all across France. 1856 – A group of 194 Pitcairn Islanders, descendants of the mutineers of HMS Bounty, arrives at Norfolk Island, commencing the Third Settlement of the Island. 1861 – American Civil War: Tennessee secedes from the Union. 1862 – American Civil War: A Confederate victory by forces under General Stonewall Jackson at the Battle of Cross Keys, along with the Battle of Port Republic the next day, prevents Union forces from reinforcing General George B. McClellan in his Peninsula campaign. 1867 – Coronation of Franz Joseph as King of Hungary following the Austro-Hungarian compromise (Ausgleich). 1887 – Herman Hollerith applies for US patent #395,781 for the 'Art of Compiling Statistics', which was his punched card calculator. 1906 – Theodore Roosevelt signs the Antiquities Act into law, authorizing the President to restrict the use of certain parcels of public land with historical or conservation value. 1912 – Carl Laemmle incorporates Universal Pictures. 1918 – A solar eclipse is observed at Baker City, Oregon by scientists and an artist hired by the United States Navy. 1928 – Second Northern Expedition: The National Revolutionary Army captures Beijing, whose name is changed to Beiping ("Northern Peace"). 1929 – Margaret Bondfield is appointed Minister of Labour. She is the first woman appointed to the Cabinet of the United Kingdom. 1940 – World War II: The completion of Operation Alphabet, the evacuation of Allied forces from Narvik at the end of the Norwegian Campaign. 1941 – World War II: The Allies commence the Syria–Lebanon Campaign against the possessions of Vichy France in the Levant. 1942 – World War II: The Imperial Japanese Navy submarines I-21 and I-24 shell the Australian cities of Sydney and Newcastle. 1949 – Helen Keller, Dorothy Parker, Danny Kaye, Fredric March, John Garfield, Paul Muni and Edward G. Robinson are named in an FBI report as Communist Party members. 1949 – George Orwell's Nineteen Eighty-Four is published.

[dear-indies]

hi!! i love your blog so much, it has been so helpful to me! i was wondering if you had any suggestions for a male fc who has like ~artist vibes? looking for someone maybe in the 35-40 range and feeling really stuck!!

Conrad Ricamora (1979) Filipino / German, English, possibly other - gay.

Adam Brody (1979) Ashkenazi Jewish.

Lucas Silveira (1979) - trans. 

Gong Yoo (1979) Korean.

Tituss Burgess (1979) African-American - gay.

Ben Whishaw (1980) - gay. 

Cullen Omori (1980) Japanese  / Irish.

Thomas Ian Nicholas (1980) 

Hoshino Gen (1981) Japanese.

Miyavi (1981) Japanese / Korean. 

Michiel Huisman (1981) Dutch-Ashkenazi Jewish.

Boyd Holbrook (1981) 

Griffin Matthews (1981) African-American. 

Daveed Diggs (1982) African-American / Ashkenazi Jewish.

Tom Payne (1982) 

Arthur Darvill (1982)

Ayano Go (1982) Japanese.

Mahesh Jadu (1982) Indo-Mauritian [Bihari, Gorakhpuri and Kashmiri]

Brandon Jay McLaren (1982) Afro-Grenadian/ Afro-Trinidadian.

Riz Ahmed (1982) Muhajir Pakistani.

David Dawson (1982) 

Louis Garrel (1983) 75% French 25% Sephardi Jewish.

Steven Yeun (1983) Korean. 

Elyes Gabel (1983) English, Algerian, French, Spanish, Dutch, Anglo-Indian, Irish, Portuguese.

Matteo Martari (1983)

Johnny Flynn (1983) 

Alex Blue Davis (1983) - trans.

Jeffrey Bowyer-Chapman (1984) Black Canadian - gay

Justin Baldoni (1984) Ashkenazi Jewish / Italian.

Richard Cabral (1984) Mexican.

François Arnaud (1985) - bisexual. 

Amakawa Genki (1984) Japanese. 

Nathan Stewart-Jarrett (1985) Afro-Barbadian.

Jayme Matarazzo (1985) Brazilian.

Cooper Andrews (1985) Samoan / Hungarian Jewish.

Kalani Queypo (1986) Blackfoot, Native Hawaiian, Swedish.

Hale Appleman (1986) Ashkenazi Jewish - queer.

Here ya go! 

[penurnbra]

here’s the fuckton of articles from the Journal of the Fantastic in the Arts that I obsessively gathered + organized during last night’s sleep deprived, caffeine driven, depressive episode

Vol. 1

No. 1 (1988)

ARTICLES

JOURNAL OF THE FANTASTIC IN THE ARTS (JFA): Purpose

EDITORIAL COMMENTS

Was Zilla Right?: Fantasy and Truth

Children of a Darker God: A Taxonomy of Deep Horror Fiction and Film and Their Mass Popularity

The Artifact as Icon in Science Fiction

The Birth of a Fantastic World: C. S. Lewis's "The Magician's Nephew"

Fantasy's Reconstruction of Narrative Conventions

Postmodern Narrative and the Limits of Fantasy

No. 2 (1988)

ARTICLES

CRITICS IN THE GULAG

Decadence and Anguish: Edgar Allan Poe's Influence On Réjean Ducharme

Mervyn Peake: The Relativity of Perception

Nature's Nightmare: The Inner World Of Hauptmann's "Flagman Thiel"

"Tel art plus divin que humain": The Reality of Fantasy In Ronsard's Poetic Practice

Transvestites and Transformations, Or Take It Off and Get Real: Queneau's "Zazie dans le métro"

Structural and Psychological Aspects Of the Spider Woman Symbol In "Kiss of the Spider Woman"

REVIEWS

Snobbery, Seasoned with Bile, Clute Is (Strokes: Essays and Reviews 1966-1986, John Clute, Thomas M. Disch)

No. 3 (1988)

ARTICLES

Introduction: Beagle and Ellison: A Special Issue

The Wind Took Your Answer Away

The Fractured Whole: The Fictional World Of Harlan Ellison

The Ellison Personae: Author, Storyteller, Narrator

Symbolic Settings In Science Fiction: H. G. Wells, Ray Bradbury, and Harlan Ellison

Humankind and Reality: Illusion and Self-Deception In Peter S. Beagle's Fiction

Two Forms of Metafantasy

The Alchemy of Love In "A Fine and Private Place"

Fantastic Tropes In "The Folk of the Air"

No. 4 (1988)

ARTICLES

Overture: What Was Postmodernism?

The Decentered Absolute: Significance in the Postmodern Fantastic

Putting a Red Nose on the Text: Play and Performance In the Postmodern Fantastic

Theater for the Fin-du-Millennium: Playing (at) the End

De/Reconstructing the "I": PostFANTASTICmodernist Poetry

There's No Place Like Home: Simulating Postmodern America in "The Wizard of Oz" and "Blue Velvet"

Fictional Cultures in Postmodern Art

Deconstructing Deconstruction: Chimeras of Form and Content in Samuel R. Delany

Millhauser, Süskind, and the Postmodern Promise

Coda: Criticism in the Age of Borges

Vol. 2

No. 1 (1989)

ARTICLES

Phoenix Rising: Like Dracula from the Grave

The Vampire

Rising Like Old Corpses: Stephen King and the Horrors of Time-Past

Tanith Lee's Werewolves Within: Reversals of Gothic Traditions

Loving Death: The Meaning of Male Sexual Impotence in Vampire Literature

From Pathos To Tragedy: The Two Versions of The Fly

An Appreciation: Virgil Finlay

Courteous, Humble and Helpful: Sam as Squire in Lord of the Rings

Genetic Experimentation: Mad Scientists and The Beast

Native Sons: Regionalism in the Work of Nathaniel Hawthorne and Stephen King

The Femivore: An Unnamed Archetype

No. 2 (1989)

ARTICLES

From Trickery to Discovery: Old, New, and Nonexistent Trajectories of Science Fiction Film

The JFA Forum on SF Film

The Cybernetic (City) State: Terminal Space Becomes Phenomenal

Murray Tinkleman: An Appreciation

Video, Science Fiction, and the Cinema of Surveillance

Science-Fiction and Fantasy Film Criticism: The Case of Lucas and Spielberg

But Not the Blackness of Space: "The Brother From Another Planet" as Icon from the Underground

REVIEWS

'Weirdies' Point the Way (Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s, Thomas Doherty)

Nirvana for Sleaze-lovers (Revenge of the Creature Features Movie Guide, revised by John Stanley)

Vol. 4

No. 2 (1992)

ARTICLES

"Poof! Now You See Me, Now You Don't"

Interpolation and Invisibility: From Herodotus to Cervantes's Don Quixote

Rings, Belts, and a Bird's Nest: Invisibility in German Literature

"Spells of Darkness": Invisibility in The White Witch of Rosehall

"Seeing" Invisibility: Or Invisibility as Metaphor in Thomas Berger's Being Invisible

Vol. 5

No. 1 (1992)

ARTICLES

The Craving for Meaning: Explicit Allegory in the Non-Implicit Age

Recent Trends in the Contemporary American Fairy Tale

The New Age Mage: Merlin as Contemporary Occult Icon

Dualism and Mirror Imagery in Anglo-Saxon Riddles

Vol. 6

No. 1 (1993; Special Issue: Richard Adams' "Watership Down")

ARTICLES

Introduction

The Significance of Myth in "Watership Down"

Shaping Self Through Spontaneous Oral Narration in Richard Adams' "Watership Down"

Shamanistic Mythmaking: From Civilization to Wilderness in "Watership Down"

Saturnalia and Sanctuary: The Role of the Tale in "Watership Down"

"Watership Down": A Genre Study

The Efrafan Hunt for Immortality in Richard Adam's "Watership Down"

No. 4 (1995)

ARTICLES

The Artisan in Modern Fantasy

The Symbolic versus the Fantastic: The Example of an Hungarian Painter

1920's Yellow Peril Science Fiction: Political Appropriations of the Asian Racial "Alien"

Religious Satire in Rushdie's "Satanic Verses"

Magic or Make-believe? Acquiring The COnventions of Witches and Witchcraft

REVIEWS

Encyclopedia Worth Waiting For (The Encyclopedia of Science Fiction, John Clute, Peter Nicholls)

Fresh Approach to Nineteenth Century Science Fiction (Science Fiction Before 1900: Imagination Discovers Technology, Paul K. Alkon)

The Play of the Critic (Staging the Impossible: The Fantastic Mode in Modern Drama, Patrick D. Murphy)

Vol. 10

No. 1 (1998)

ARTICLES

Editor's Introduction

Stasis and Chaos: Some Dynamics of Popular Genres

Lois McMaster Bujold: Feminism and "The Gernsback Continuum" In Recent Woman's SF

"Who Am I, Really?" Myths of Maturation in Lois McMaster Bujold's Vorkosigan Series

Asimov's Crusade Against Bigotry: The Persistence of Prejudice as a Fractal Motif in the Robot/Empire/Foundation Metaseries

When Coyote Leaves the Res: Incarnations of the Trickster from Wile E. to Le Guin

Kurt Vonnegut's Fantastic Faces

Celtic Myth and English-Language Fantasy Literature: Possible New Directions

No. 2 (1999; A Century of Draculas)  

ARTICLES

Introduction

A Century of Draculas

High Duty and Savage Delight: The Ambiguous Nature of Violence in "Dracula"

Bram Stoker and the London Stage

"If I had to write with a pen": Readership and Bram Stoker's Diary Narrative

Closure and Power in "Salem's Lot"

The Image of the Vampire in the Struggle for Societal Power: Dan Simmons' "Children of the Night"

Not All Fangs Are Phallic: Female Film Vampires

Madame Dracula: The Life of Emily Gerard

Back to the Basics: Re-Examining Stoker's Sources for "Dracula"

No. 4 (2000)

ARTICLES

Muggling On

Grail, Groundhog, Godgame: Or, Doing Fantasy

Something Hungry This Way Comes: Terrestrial and Ex-Terrestrial Feline Feeding Patterns and Behavior

Technology, Technophobia and Gynophobia in Gonzalo Torrente Ballesteas "Quizá nos lleve el viento al infinito"

Ready or Not, Here We Come: Metaphors of the Martian Megatext from Wells to Robinson

Bringing Chaos to Order. Vonnegut Criticism at Century's End

Resources for the Study of American Fantasy Literature Through 1998

REVIEWS

Strange Constellations: A History of Australian Science Fiction, Russell Blackford, Russell Van Ikin, Sean McMullen

Edgar Allan Poe: Comprehensive Research and Study Guide, Harold Bloom

Warlocks and Warpdrive: Contemporary Fantasy Entertainments with Interactive and Virtual Environments, Kurt Lancaster

Nursery Realms: Children in the Worlds of Science Fiction, Fantasy, and Horror, Gary Westfahl, George Slusser

Science Fiction Writers: Critical Studies of the Major Authors from the Early Nineteenth Century to the Present Day, Richard Bleiler

Vol. 11

No. 4 (2001)

ARTICLES

When the Hungarian Literary Theorist, Györgyi Lukács Met The American Science Fiction Writer, Wayne Mark Chapman

Cultural Negotiation in Science Fiction Literature and Film

Episteme-ology of Science Fiction

Orchids in A Cage: Political Myths and Social Reality in East German Science Fiction (1949-1989)

Virtual Poltergeists and Memory: The Question of Ahistorcism in William Gibson's Neuromoncer(1984)

The Search for a Quantum Ethics: Michael Frayn's "Copenhagen" and Other Recent British Science Plays

Leakings: Reappropriating Science Fiction--The Case of Kurt Vonnegut

REVIEWS

Darwin's Plots: Evolutionary Narrative in Darwin, George Eliot, and Nineteenth-Century Fiction, Gillian Beer

Space and Beyond: The Frontier Theme in Science Fiction, Gary Westfahl

The Rise of Supernatural Fiction: 1762-1800. Cambridge Studies in Romanticism, E.J. Clery

Thrillers. "Genres in American Cinema" series, Martin Rubin

Othermindedness: The Emergence of Network Culture, Michael Joyce

A Century of Welsh Myth in Children's Literature, Donna White

That Other World. (The Princess Grace Irish Library), Bruce Stewart

Edgar Rice Burroughs: The Exhaustive Scholar's and Collector's Descriptive Bibliography of American Periodical, Hardcover, Paperback, and Reprint Editions, Robert B. Zeuschner, Philip José Farmer; The Burroughs Cyclopaedia: Characters, Places, Fauna, Flora, Technologies, Languages, Ideas and Terminologies Found in the Works of Edgar Rice Burroughs, Clark A. Brady

Italian Horror Films of the 1960s: A Critical Catalog of 62 Chillers, Lawrence McCallum

Vol. 14

No. 4 (2004)

ARTICLES

On Editing a Journal

"Hiro" of the Platonic: Neal Stephenson's "Snow Crash"

Suicide and the Absurd: The Influence of Jean-Paul Sartre's and Albert Camus's Existentiafism on Stephen R. Donaldson's "The Chronicles of Thomas Covenant the Unbeliever"

The Monomyth in Daniel Keyes's "Flowers for Algernon": Keyes, Campbell and Plato

Writing the Possessed Child in British Culture: James Herbert's "Shrine"

Disney World: A Plastic Monument to Death: From Rabelais to Disney

REVIEWS

Uncharted Territory: An Unofficial and Unauthorized Guide to Farscape, Scott Andrews

The Artist as Monster: The Cinema of David Cronenberg, William Beard; The Modern Fantastic: The Films of David Cronenberg, Michael Grant

Tomorrow Now: Envisioning the Next Fifty Years, Bruce Sterling

Monsters, Mushroom Clouds, and the Cold War: American Science Fiction and the Roots of Postmodernism, 1946-1964, M. Keith Booker

Harlan Ellison: The Edge of Forever, Gary K. Wolfe, Ellen Weil

One Ring to Bind them All: Tolkien's Mythology, Anne C. Petty; Tolkien's Ordinary Virtues: Exploring the Spitirtual Virtues of Lord of the Rings, Mark Eddy Smith; Frodo's Quest: Living the Myth in The Lord of the Rings, Robert Ellwood

Chaos Theory, Asimov's Foundations and Robots, and Herbert's Dune: The Fractal Aesthetic of Epic Science Fiction, Donald E. Palumbo

The Classic Era of American Pulp Magazines, Peter Haining

Vol. 25

No. 1 (2014)

ARTICLES

Introduction: Reinhabiting Fantasy

Reading Tolkien in Chinese

Convention Un-done: Un Lun Dun's Unchosen Heroine and Narrative (Re)Vision

"But what does it all mean?" Religious Reality as a Political Call in the Chronicles of Narnia

Telepathy and Cosmic Horror in Olaf Stapledon's "The Flames"

"I was a Ghetto Nerd Supreme": Science Fiction, Fantasy and Latina/o Futurity in Junot Díaz's "The Brief Wondrous Life of Oscar Wao"

REVIEWS

St. Lovecraft (The Classic Horror Stories, Roger Luckhurst, H. P. Lovecraft; Weird Realism: Lovecraft and Philosophy, Graham Harman; Slime Dynamics: Generation, Mutation, and the Creep of Life, Ben Woodard; New Critical Essays on H.P. Lovecraft, David Simmons; H. P. Lovecraft's Dark Arcadia: The Satire, Symbology and Contradiction, Gavin Callaghan)

The Hobbit and Philosophy: For When You've Lost Your Dwarves, Your Wizard, And Your Way, Gregory Basham, Eric Bronson

Collision of Realities. Establishing Research on the Fantastic in Europe, Lars Schmeink, Astrid Böger (X)(X)

Hermione Granger Saves the World: Essays on the Feminist Heroine of Hogwarts, Christopher E. Bell

Horror Noir: Where Cinema's Dark Sisters Meet, Paul Meehan

The Mummy's Curse: The True History of a Dark Fantasy, Roger Luckhurst

Scottish Women's Gothic and Fantastic Writing: Fiction since 1978, Monica Germaná

The Irresistible Fairy Tale: The Cultural and Social History of a Genre, Jack Zipes

Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal, Jeffrey J. Kripal

Philip K. Dick and Philosophy: Do Androids Have Kindred Spirits?, D. E. Wittkower

Animal Alterity: Science Fiction and the Question of the Animal, Sherryl Vint

Anime's Media Mix: Franchising Toys and Characters in Japan, Marc Steinberg

The Ghost Story 1840-1920: A Cultural History, Andrew Smith

Fairy Tales Framed: Early Forewords, Afterwords, and Critical Words, Ruth B. Bottigheimer

The Time Ship: A Chrononautical Journey, Enrique Gaspar, Yolanda Molina-Gavilán, Andrea L. Bell

Future Wars: The Anticipations and the Fears, David Seed

The Horror Sensorium: Media and the Senses, Angela Ndalianis

Inception and Philosophy: Ideas to Die For, Thorsten Botz-Bornstein

Antarctica in Fiction: Imaginative Narratives of the Far South, Elizabeth Leane

Green Suns and Faërie: Essays on Tolkien, Verlyn Flieger

No. 2 & 3 (2014)

ARTICLES

Elegy

Introduction: AfterLives: What's Next for Humanity

"Only We Have Perished": Karel Čapek's R.U.R. and the Catastrophe of Humankind

"From Zoo. to Bot.": (De)Composition in Jim Crace's "Being Dead"

Terminal Films

Living as a Zombie in Media is the Only Way to Survive

Zombie Republic: Property and the Propertyless Multitude in Romero's Dead Films and Kirkman's "The Walking Dead"

Thinking Blind

The Loveliness of Decay: Rotting Flesh, Literary Matter, and Dead Media

Post-Vampire: The Politics of Drinking Humans and Animals in "Buffy the Vampire Slayer, Twilight", and "True Blood"

REVIEWS

Cyberpunk Women, Feminism and Science Fiction: A Critical Study, Carlen Lavigne

Under the Shadow: The Atomic Bomb and Cold War Narratives, David Seed

Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller, A. Bowdoin Van Riper

Spanish Horror Film, Antonio Lázaro-Reboll

John Brunner, Jad Smith

The Irish Fairy Tale: A Narrative Tradition from the Middle Ages to Yeats and Stephens, Vito Carrassi

Fanged Fan Fiction: Variations on Twilight, True Blood, and The Vampire Diaries, Maria Lindgren Leavenworth, Malin Isaksson

Welsh Gothic, Jane Aaron

Puppet. An Essay on Uncanny Life, Kenneth Gross

The Ashgate Research Companion to Nineteenth-Century Spiritualism and the Occult, Tatiana Kontou, Sarah Willburn

Mechademia 7: Lines of Sight, Frenchy Lunning

Approaching The Hunger Games Trilogy: A Literary and Cultural Analysis, Tom Henthorne; Of Bread, Blood, and The Hunger Games: Critical Essays on the Suzanne Collins Trilogy, Mary F. Pharr, Leisa A. Clark

Dawn of an Evil Millennium: Horror/Kultur im neuen Jahrtausend, Jörg van Bebber

Solar Flares: Science Fiction in the 1970s, Andrew M. Butler

Becoming Ray Bradbury, Jonathan R. Eller

Beyond His Dark Materials: Innocence and Experience in the Fiction of Philip Pullman, Susan Redington Bobby

Postapocalyptic Fiction and the Social Contract: "We'll Not Go Home Again.", Claire P. Curtis

English Catholics and the Supernatural, 1553-1829, Francis Young

The Late Victorian Gothic: Mental Science, the Uncanny, and Scenes of Writing, Hilary Grimes

Bewitched Again: Supernaturally Powerful Women on Television, 1996-2011, Julie D. O'Reilly

A Hobbit Journey: Discovering the Enchantment of J.R.R. Tolkien's Middle-Earth, Matthew Dickerson

Fear and Learning: Essays on the Pedagogy of Horror, Aalya Ahmad, Sean Moreland

Maps of Utopia: H. G. Wells, Modernity, and the End of Culture, Simon J. James

Dancing the Tao: Le Guin and Moral Development, Sandra J. Lindow

The Subversive Harry Potter: Adolescent Rebellion and Containment in the J.K. Rowling Novels, Vandana Saxena

As If: Modern Enchantment and the Literary Prehistory of Virtual Reality, Michael Saler

Enchanting: Beyond Disenchantment, Stephen David Ross

Ces français qui ont écrit demain. Utopie, anticipation et science-fiction au XXe siècle [Those Frenchmen Who Wrote Tomorrow: Utopia, Anticipation and Science Fiction in the Twentieth Century], Natacha Vas-Deyres

The Texas Chain Saw Massacre, James Rose; The Descent, James Marriott

Teaching with Harry Potter, Valerie Estelle Frankel

William Gibson, Gary Westfahl

The Wizard of Oz as American Myth: A Critical Study of Six Versions of the Story, 1900-2007, Alissa Burger

Saw, Benjamin Poole

Scotland as Science Fiction, Caroline McCracken-Flesher

Gothic Music: The Sounds of the Uncanny, Isabella van Elferen

New Directions in the European Fantastic, Sabine Coelsch-Foisner, Sarah Herbe

Fantasy, Art and Life: Essays on George MacDonald, Robert Louis Stevenson and Other Fantasy Writers, William Gray

Extraterrestrials and the American Zeitgeist: Alien Contact Tales Since the 1950s, Aaron John Gulyas

To See the Saw Movies: Essays on Torture Porn and Post-9/11 Horror,  James Aston, John Walliss

Science Fiction, Mark Bould

[sketchstudiosindia]

Artist study Portrait painting . . Artist name - Philip de Laszlo Medium- oil on canvas Size- A3 . . . . Philip de László was an Anglo-Hungarian painter known particularly for his portraits of royal and aristocratic personages. . . . #portraitpainting #oilpaint #oiloncanvas #studywork #artistsofinstagram #oilpainting #sketchstudio #sketchbook #drawing #indianartist #instaart #digitalart #design #composition #rythm #philipdelaszlo #artoftheday https://www.instagram.com/p/CE_K1YTjGMv/?igshid=1il35w8a2mif2

[nebris]

Ironists of a Vanished Empire

Adam Kirsch June 22, 2017 Issue

Edge of Irony: Modernism in the Shadow of the Habsburg Empire

by Marjorie Perloff University of Chicago Press, 204 pp., $30.00

Marjorie Perloff is one of America’s leading critics of poetry, having spent a long career writing on the work of avant-garde poets from Frank O’Hara to Charles Bernstein. But though she is the author of many books, she wrote in her 2004 memoir, The Vienna Paradox, “when I see [my] name in print…there is always a moment when I wonder who Marjorie Perloff is. It just doesn’t look or sound like me.” That is because, until she became a US citizen at the age of thirteen, she was called not Marjorie but Gabriele—Gabriele Mintz, the name she was born with in Vienna in 1931. Just seven years old when she came to America, Perloff can be counted as perhaps the youngest of the great wave of European Jewish intellectual refugees who immeasurably enriched American culture. On March 13, 1938, the day after Hitler’s armies marched into Austria to annex it to the Reich, the Mintz family boarded a train for Zurich, and kept moving until they had reached the Bronx, where Perloff would spend the rest of her childhood.

The dramatic metamorphosis from Gabriele to Marjorie, from haute-bourgeois Jewish Vienna to middle-class Riverdale, is the subject of Perloff’s excellent memoir. The Austria where she was born was a rump state, carved at the end of World War I from the defeated Austro-Hungarian Empire. But it retained some of the grandeur of the empire’s multinational culture. And none of the empire’s many ethnic groups—Germans, Hungarians, Czechs, Slavs—did more to create that culture, or held it in greater reverence, than its Jews. The emigration of Jews from rural villages in Galicia and other parts of Eastern Europe to the capital in Vienna had created, before World War I, an intelligentsia of amazing accomplishment, including figures like Gustav Mahler and Sigmund Freud.

As Perloff writes, Vienna’s Jews were passionate about German culture even though, or perhaps because, they were for the most part rejected as members of the German nation:

The alternative to…nationality was the Kulturnation of German Enlightenment culture—the liberal cosmopolitan ethos of Bildung [development], which had its roots in the classical Greek notion of paideia. Bildung was more than “civilization,” since…it was conceived as having a distinct spiritual dimension. Thus the cult of Kultur was gradually transformed into a kind of religion.

In her memoir, Perloff is alternately nostalgic for this religion of culture and suspicious of it. Plainly, the Viennese Jews’ enthusiasm for art and intellect did not earn them a secure place in Austrian society. On the contrary, fin-de-siècle Vienna was one of the birthplaces of political anti-Semitism, the place where the young Hitler first expressed his hatred of Jews. For all the accomplishments of the German Jews, Kultur could be seen as a kind of lullaby they sang to themselves as the walls closed in.

For a young girl trying to grow up into an American, Perloff writes, her parents’ inherited snobbery toward all things American, their nostalgia for the Vienna they had left behind, was maddening. “As a teenager, I was always hearing conversations culminating in the phrase, Dass ist doch nur Kitsch! (This is merely kitsch!),” she remembers. When Perloff “expressed my enthusiasm for Carousel,” the Rodgers and Hammerstein musical, “my mother and grandmother gave each other a look, as if to say, ‘Poor child, she doesn’t yet understand.’” In a sense, Perloff’s career as a literary critic can be seen as an attempt to bridge these two realms of taste and value, showing that American postmodern writers, though saturated in mass media and popular culture, can be as sophisticated and rewarding as the Old World modernists.

In Edge of Irony: Modernism in the Shadow of the Habsburg Empire, Perloff returns to the world of her birth. She engages in a close reading of six major post-imperial Austrian writers, making the case for the existence of a distinctive and valuable tradition of “Austro-Modernism.” Modernism, in the twenty-first century, is almost as venerable as the Renaissance. When we look for the writers who shaped our world, we are likely to name the titans who lived a hundred years ago—Woolf, Pound, Proust. As these names suggest, however, it is “French and Anglo-American Modernism,” Perloff observes, “that has been the source of our norms and paradigms for the early century.” When it comes to the German-speaking world, too, there is a whole academic industry devoted to the writers, thinkers, and artists who flourished in Weimar Germany—figures like Thomas Mann, Walter Benjamin, Bertolt Brecht, and Kurt Schwitters.

But Perloff believes that this focus on Germany has cast a shadow over the distinctively different work done by twentieth-century German writers who lived in the territories once belonging to the Habsburg Empire. The poet Paul Celan was born in Czernowitz in Romania; the memoirist Elias Canetti was from Rustchuk in Bulgaria; the novelist and journalist Joseph Roth was from Brody, which after 1918 became part of Poland. But all of these places were once part of the Austro-Hungarian Empire, and Perloff considers them all as belonging to a coherent Austrian tradition. She reads them alongside three other writers closely associated with Vienna: the satirist Karl Kraus, the philosopher Ludwig Wittgenstein, and Robert Musil, the only one of the six who was not Jewish.

It is a disparate group, but Perloff believes they share a certain sensibility, a way of thinking and feeling, that can be traced to their situation as legatees of a vanished empire. Modernism is usually thought of as being radical in all directions; whether they were politically revolutionary or reactionary, modernist thinkers strove for a new beginning in art and culture. “The essential elements of our poetry will be courage, audacity and revolt,” announced F.T. Marinetti’s Futurist Manifesto in 1909. For the Austro-Modernists, by contrast, the dominant spirit was irony, as Perloff explains:

Its hallmark [was] a profound skepticism about the power of government—any government or, for that matter, economic system—to reform human life. In Austro-Modernist fiction and poetry, irony—an irony less linked to satire (which posits the possibility for reform) than to a sense of the absurd—is thus the dominant mode. The writer’s situation is perceived not as a mandate for change…but as an urgent opportunity for probing analysis of fundamental desires and principles.

This preference for diagnosis over prescription, for retrospection over renovation, is so far from what we usually think of as modernism that it may not seem to deserve the name. But in her case studies, Perloff argues convincingly that post–World War I Austro-Hungarian literature—a literature named after a country that had ceased to exist—did share fundamental elements with the wider modernist project. The preference for fragments over wholes, the resistance to “closure,” the dissolving power of analysis—these qualities, which we find in Eliot’s “The Waste Land” or Pound’s Cantos, Perloff also locates in works ranging from Wittgenstein’s Philosophical Investigations to Kraus’s epic satirical play The Last Days of Mankind. The difference is that, while Eliot and Pound put their faith in various reactionary doctrines to repair the damage of the twentieth century, the Austro-Modernists remained poised in skepticism. To use a word that Perloff avoids, there is something liberal—in the sense of anti-utopian, anti-ideological—about these writers.

This skepticism about ideology appears to be an echt-Austrian quality, which developed over the course of the long reign of Emperor Franz Josef, from 1848 to 1916. During this period, the rise of nationalism in Eastern Europe and of Prussian military power robbed the Austro-Hungarian Empire of its raison d’être. The empire satisfied neither the militant pan-Germans, who looked to Prussia for leadership, nor the other ethnicities living under Habsburg rule, who yearned for independence. All that was holding the empire together, it came to seem, was the personal authority of Franz Josef, who was revered as the symbol of a continuity everyone knew was on its last legs.

For writers looking back on this long Indian summer of empire, from the vantage point of post-1918 anarchy, it was the very mildness of this ruling principle—its tolerance, even its slovenliness—that inspired nostalgia. This was especially true for Jewish writers who found themselves in successor states where anti-Semitism flourished, and who remembered the monarchy as a bulwark that had once held anti-Jewish hatred at bay.

One of the greatest elegies for the empire came from Robert Musil, who was born in 1880 and raised in Bohemia. In his unfinished novel, The Man Without Qualities, which is set in Vienna in 1913, Musil evoked the atmosphere of resigned mediocrity that sustained the empire he called “Kakania.” The name is a double pun. It evokes the phrase kaiserlich und königlich, “imperial and royal,” which was affixed to the empire’s institutions, since Franz Josef—in a typically Austrian compromise—reigned as both emperor of Austria and king of Hungary. But it also puns on the word “kaka,” which in German as in English is a childish name for excrement.

The eighth chapter of the first book of The Man Without Qualities is Musil’s ode to Vienna’s mixed-up, ridiculous, but curiously resilient regime. Musil writes:

By its constitution it was liberal, but its system of government was clerical. The system of government was clerical, but the general attitude to life was liberal. Before the law all citizens were equal, but not everyone, of course, was a citizen. There was a parliament, which made such vigorous use of its liberty that it was usually kept shut; but there was also an emergency powers act by means of which it was possible to manage without Parliament, and every time when everyone was just beginning to rejoice in absolutism, the Crown decreed that there must now again be a return to parliamentary government.

To Musil, all this confusion left Franz Josef’s subjects “negatively free,” and he concludes that “Kakania was perhaps a home for genius after all; and that, probably, was the ruin of it.” Certainly his own novel is a portrait of genius—in the shape of Ulrich, the titular man without qualities—that can find no expression, no worthy aim, no intellectual or spiritual discipline. What Ulrich finds instead is a job with the Parallel Campaign, an initiative to celebrate the seventieth year of Franz Josef’s reign, in 1918.

Of course the reader knows, as the characters do not, that the emperor will die before that anniversary, and so will the empire. The whole campaign is an exercise in hubris and blindness, accentuated by the fact that no one involved can actually define what they intend to accomplish. All they can do is rhapsodize: “Their goal must stir the heart of the world. It must not be merely practical, it must be sheer poetry…. It must be a mirror for the world to gaze into and blush.”

The Austrian idea is empty, but at least it is not menacing. The same can’t be said of another character, Hans Sepp, whom Perloff sees as a representative of the fascism that would triumph after the war. Sepp, Musil writes, was part of a “Christian-German circle” that opposed “‘the Jewish mind,’ by which they meant capitalism and socialism, science, reason, parental authority and parental arrogance, calculation, psychology, and skepticism.” Musil, writing his novel in the 1920s—the first two parts were published in 1930 and 1933—could already see that this kind of all-too-definite ideology had triumphed over Kakanian “negative freedom.” Musil himself, like the Mintz family, had to flee Austria after the Anschluss—among other things, he was vulnerable because he had a Jewish wife—and he died in penury and obscurity in Switzerland in 1942.

A similarly grim end was in store for Joseph Roth, whose The Radetzky March is the other major novelistic elegy to the vanished empire. This book too, in Perloff’s words, “tracks the dissolution of a particular complex of values—values in many ways absurd and regressive, but benign in comparison to the political climate of post–World War I Europe.” The story concerns three generations of the Trottas, a family elevated to the nobility when the grandfather, an ordinary peasant turned soldier, saves the life of Franz Josef at the Battle of Solferino. The grandson, Carl Joseph von Trotta, is an officer in the imperial army on the eve of World War I, where he too experiences the breakdown of traditional martial and aristocratic values. Perloff emphasizes that this is above all a breakdown of language: “Words—the official words and state dogma—can no longer control actions.”

Language was inevitably a central issue for writers in a polity that was riven along linguistic lines, and it is one of the recurring themes of Edge of Irony. Karl Kraus, the arch-satirist of imperial and post-imperial Vienna, edited a one-man journal, Die Fackel, whose major purpose was to expose and denounce journalistic clichés. Perloff’s chapter on Kraus focuses on The Last Days of Mankind, his immense antiwar drama, which he worked on throughout World War I and completed in 1922.

The work is unperformably long: as Kraus himself wrote, “the performance of this play, which according to terrestrial measurement of time would encompass about ten evenings, is intended for theater on Mars.” Rather than a script, Perloff thinks of it as “hypertextual,” an assemblage of “newspaper dispatches, editorials, public proclamations, minutes of political meetings, or manifestos, letters, picture postcards, and interviews—indeed, whatever constituted the written record of the World War I years.” In this way, Kraus anticipates today’s conceptual poets, such as Kenneth Goldsmith—a writer much admired by Perloff—whose work consists largely of transcriptions. (Goldsmith once led a project called Printing Out the Internet, which attempted to do just that; it’s easy to imagine Kraus admiring this impossible dream.)

Kraus famously referred to Vienna as a “proving ground for the destruction of the world,” and in The Last Days of Mankind he showed that the first stage in this process was the destruction of language. In one scene, Kraus mocks the wartime vogue for banning German words of foreign origin by having a character deliver a speech on behalf of “the provisional Central Commission of the Executive Committee of the League for the General Boycott of Foreign Words”—a speech that, Perloff observes, is “a tissue of foreign phrases,” including the word “boycott” itself.

In another scene, he has two characters discuss the proliferation of wartime rumors, in a dialogue where the word “rumor” appears thirty times, reducing language to nonsense: “The rumor going around in Vienna is that there are rumors going around in Austria,” and so on. Kraus’s emphasis on language might seem excessive until one remembers the euphemisms coined by the Nazis to conceal their crimes—proof that the corruption of language is indeed indispensable to the corruption of human beings.

The issue of language unites post-imperial writers as different as Elias Canetti, known mainly for his study Crowds and Power and his memoirs, and the poet Paul Celan. Perloff observes that, in describing his own childhood, Canetti makes much of the continual changes of language to which he was subject. Born in a Sephardic Jewish community in Bulgaria, he grew up speaking Ladino at home and Bulgarian to his neighbors; meanwhile his parents spoke German to each other, and a move to England brought English into his repertoire as well. Not until he turned eight and the family moved to Vienna did German become his “mother tongue.” But can a mother tongue acquired so late really be called native speech? Perloff argues that Canetti’s own prose “is the language of the always already translated,” as if “he intuitively looked for words and syntactic constructions that would ‘go’ in the other language.” In this sense, cosmopolitanism is a kind of dispossession.

If Perloff finds Canetti’s language insufficiently knotty and idiosyncratic, the same certainly can’t be said for Celan, one of the most difficult poets of the twentieth century. With Celan, she writes, “irony is carried to its logical conclusion, which is to say, a refusal to define, to assert, to take a stand,” even when it comes to matters of simple denotation. Perloff focuses particularly on the love poems Celan wrote to the Austrian poet Ingeborg Bachmann, in which “the scene of encounter tends to be abstract.” “White and Light,” for instance, reads in part: “White,/what moves us./without weight/what we exchange/white and light:/let it drift.” There is eroticism in these lines, a sense of something intimately shared. But there is also a profound sense of disconnection, Perloff observes: “The love proffered here is intense but hardly a source of joy,” partly because the world of the poem is abstract and underpopulated, a place where “no one else exists but the lovers.” Language, in Celan’s verse, often seems to have broken away from the world altogether, becoming almost a self-referential medium.

This pessimism about the power of language to communicate and refer may be the most important marker of Austro-Modernism. Kraus’s aggressive burlesque of journalism and slang, Roth’s melancholic mockery of the codes of chivalry and military honor, Canetti���s sense of being permanently lost in translation—in various ways, all of Perloff’s subjects seem to be in mourning not just for an empire and a way of life, but for the transparency and meaningfulness of language itself. As Austrians and, in many cases, as Jews, these writers had a unique vantage point on the crisis of language that was to become so central to modernism in all its guises. The edge of irony, Perloff shows, was an uncomfortable place to live, but a fruitful place to write from.

http://www.nybooks.com/articles/2017/06/22/marjorie-perloff-ironists-vanished-empire/

@catcomaprada as if you do not have enough to read lol

[tasksweekly]

[TASK 033: TURKEY]

Shout out to anon for inspiring this task! There’s a masterlist below compiled of over 130+ Turkish faceclaims categorised by gender with their occupation and ethnicity denoted if there was a reliable source. If you want want an extra challenge use random.org to pick a random number! Of course everything listed below are just suggestions and you can pick whichever character or whichever project you desire.

Any questions can be sent here and all tutorials have been linked below the cut for ease of access! REMEMBER to tag your resources with #TASKSWEEKLY and we will reblog them onto the main! This task can be tagged with whatever you want but if you want us to see it please be sure that our tag is the first five tags!

THE TASK - scroll down for FC’s!

STEP 1: Decide on a FC you wish to create resources for! You can always do more than one but who are you starting with? There are links to masterlists you can use in order to find them and if you want help, just send us a message and we can pick one for you at random!

STEP 2: Pick what you want to create! You can obviously do more than one thing, but what do you want to start off with? Screencaps, RP icons, GIF packs, masterlists, PNG’s, fancasts, alternative FC’s - LITERALLY anything you desire!

STEP 3: Look back on tasks that we have created previously for tutorials on the thing you are creating unless you have whatever it is you are doing mastered - then of course feel free to just get on and do it. :)

STEP 4: Upload and tag with #TASKSWEEKLY! If you didn’t use your own screencaps/images make sure to credit where you got them from as we will not reblog packs which do not credit caps or original gifs from the original maker.

THINGS YOU CAN MAKE FOR THIS TASK -  examples are linked!

Stumped for ideas? Maybe make a masterlist or graphic of your favourite Turkish faceclaims. A masterlist of names. Plot ideas or screencaps from a music video preformed by a Turkish artist. Masterlist of quotes and lyrics that can be used for starters, thread titles or tags. Guides on Turkish culture and customs.

Screencaps

RP icons [of all sizes]

Gif Pack [maybe gif icons if you wish]

PNG packs

Manips

Dash Icons

Character Aesthetics

PSD’s

XCF’s

Graphic Templates - can be chara header, promo, border or background PSD’s!

FC Masterlists - underused, with resources, without resources!

FC Help - could be related, family templates, alternatives.

Written Guides.

and whatever else you can think of / make!

MASTERLIST! 

Note: If you’re using this masterlist for casting purposes please do further research before casting any of the following, it was difficult finding sources for most of these and don’t know if they’re ethnically or nationally Turkish. Many thanks.

Female:

Nebahat Çehre (72) Turkish - actress

Turkish (71) Turkish - actress, screenwriter & director.

Demet Akbağ (57) Turkish - actress

Aydan Şener (54) Turkish - actress

Hülya Avşar (54) Turkish / Kurdish - actress, pop folk singer, businesswoman, columnist, fashion designer, magazine editor, professional tennis player & former beauty pageant titleholder.

Zerrin Tekindor (52) Turkish - actress & painter.

Vahide Perçin (51) Rumelian Turkish - actress.

Vendela Kirsebom (50) Turkish, Norwegian - model  actress.

Meltem Cumbul (47) Turkish - actress & TV personality.

Lisa Marie Varon (46) Puerto Rican / Turkish - professional wrestler.

Anna Silk (43) English, Turkish, Cypriot - actress.

Tina Kandelaki (41) Georgian, Greek/Pontic/Pontian Greek / Armenian, Turkish - journalist, public figure, TV presenter & producer.

Fadik Sevin Atasoy (41) Turkish - actress.

Songül Öden (40) Zaza - actress.

Nurgül Yeşilçay (40) Turkish - actress.

Ahu Türkpençe (40) Turkish - actress.

Ceyda Düvenci (39) Kırklareli / Thessaloniki - actress.

Maya Jupiter (38/39) Mexican / Turkish - rapper, songwriter & radio personality.

Özgü Namal (38) Turkish - actress, singer, songwriter, director & screenwriter.

Mine Tugay (38) Turkish - actress.

Selma Ergeç (38) Turkish-German - actress, beauty pageant titleholder, model, designer, philologist, psychologist & doctor.

Ayda Field (37) Turkish / possibly English - actress.

Çağla Kubat (37) Turkish - Turkish model, actress & windsurfer.

Zeynep Beşerler (37) Turkish - actress.

Burcu Kara (37) Turkish - actress.

Aslı Tandoğan (37) Turkish - actress & harpist.

Sibel Kekilli (36) Turkish - actress

Demet Evgar (36) Turkish - actress

Nehir Erdoğan (36) Turkish - actress

Nur Fettahoglu (36) Turkish - actress.

Cansu Dere (36) Turkish - actress, model & beauty pageant runner-up

Ayse Tezel (36) Turkish / Anglo-New Zealander - actress.

Sedef Avcı (35) Turkish - model & actress.

Deniz Çakır (35) Turkish - actress

Azra Akın (35) Turkish-Dutch - actress, dancer, model & beauty queen.

Tuba Büyüküstün (34) Crimea / Crete, Turkish nationality - actress.

Belçim Bilgin (34) Turkish - actress.

Didem Balçın (34) Turkish - actress.

Bergüzar Korel (34) Turkish - actress.

Erin Kaplan (33/34) Turkish, Dutch - model & television personality.

Meryem Uzerli (33) Turkish / German - actress & model.

Aylin Tezel (33) Turkish / German - actress.

Beren Saat (33) Turkish - actress.

Bade İşcil (33) Turkish - actress.

Naz Elmas (33) Turkish - actress.

Saadet Aksoy (33) Turkish, Egyptian, Greek - actress.

Pelin Karahan (32) Turkish - actress.

Birce Akalay (32) Turkish - actress.

Funda Onal (32) Turkish - model & dancer.

Berrak Tüzünataç (32) Turkish - actress.

Aslı Enver (32) Turkish - actress.

Seda Güven (32) Turkish - actress

Eda Özerkan (32) Turkish - actress.

Daphne Öz (31) Turkish, some Circassian / Italian, Irish, Cornish, Swedish, Swiss-German - auther & television host.

Alice Greczyn (31) French, Japanese, Polish, Chinese, Korean, German, Irish, Native American, Scotch, English, Greek, Hungarian, Turkish, Swedish and Czech - actress & model.

Hadise (31) Turkish - singer, dancer, songwriter & television personality.

Hande Doğandemir (31) Turkish - actress, TV host & sociologist.

Fahriye Evcen (30) Circassian, her paternal family are Turkish who immigrated from Kavala - actress.

Elçin Sangu (30) Circassian - actress & model.

Selen Soyder (30) Turkish - actress, activist, model & beauty pageant titleholder.

Ezgi Asaroğlu (29) Turkish - actress.

Merve Boluğur (29) Turkish - actress.

Ceyda Ateş (29) Turkish - actress.

Sinem Kobal (29) Turkish - actress.

Atiye (28) Turkish / Dutch - pop singer.

Xenia Deli (27) Moldovan /  Turkish - model.

Leyla Lydia Tuğutlu (27) Turkish - actress.

Farah Zeynep Abdullah (26) Turkish - actress.

Hazal Kaya (26) Turkish - actress.

Serenay Sarıkaya (25) Turkish - actress and model.

Neslihan Atagül (24) Turkish - actress.

Gizem Karaca (24) Turkish - actress & model.

Lara Melda (23) Turkish / British - pianist.

Hande Erçel (23) Turkish - actress.

Melisa Şenolsun (20) Turkish - actress.

Sude Zulal Güler (?) Turkish - actress.

Male:

Halit Akçatepe (79) Turkish - actor.

Şener Şen (75) Turkish - actor.

Metin Akpınar (75) Turkish - actor & comedian.

Çetin Tekindor (71) Turkish - actor.

Kadir İnanır (67) Turkish - film actor & director.

Ferhan Şensoy (66) Turkish - playwright, actor and stage director.

Haluk Bilginer (62) Turkish - actor.

Altan Erkekli (62) Turkish - actor.

Erkan Can (58) Turkish - actor.

Ferzan Özpetek (58) Turkish - film director & screenwriter.

Serhat (52) Turkish - singer, producer & television presenter.

Fikret Kuşkan (51) Turkish - actor.

Yılmaz Erdoğan (49) Kurdish - filmmaker, actor & poet.

Erdal Beşikçioğl (47) Turkish - actor.

Halit Ergenç (46) Turkish - actor.

Nejat İşler (45) Turkish - actor.

Necati Şaşmaz (45) Turkish - actor.

Engin Günaydın (45) Turkish - actor & comedian.

Yiğit Özşener (44) Turkish - actor.

Burak Hakkı (44) Turkish - actor.

Cansel Elçin (43) Turkish - actor.

Cem Yılma (43) Turkish - comedian, actor, musician, filmmaker, scenarist & cartoonist,

Kenan İmirzalıoğlu (42) Turkish - actor and former model.

Mehmet Günsür (41) Turkish - model, actor and producer.

Haluk Piyes (41) Turkish-German - actor.

Hal Ozsan (40) Turkish-Cypriot - actor.

Okan Yalabık (38) Turkish - actor.

Murat Yıldırım (37) Kurdish / Arab, Turkish nationality - actor.

Engin Altan Düzyatan (37)  Turkish - actor.

Mehmet Akif Alakurt (37) Turkish - actor & model.

Mert Fırat (36) Turkish - actor & screenwriter.

Engin Akyürek (35) Turkish - actor.

Buğra Gülsoy (35) Turkish - actor, architect, director, graphic designer & photographer.

Tolgahan Sayışman (35) Turkish - actor.

Kadir Doğulu (24) Turkish - actor.

Dennis Roady (33) German, possibly other / Turkish - internet personality.

Burak Özçivit (32) Turkish - actor and model.

Arda Turan (30) Turkish - footballer.

Barış Arduç (29) Albanian, Turkish nationality - actor.

Emre Turkmen (28) Turkish - musician.

Deniz Akdeniz (26) Turkish - actor.

Aras Bulut İynemli (26) Turkish - actor.

Çağatay Ulusoy (26) Bosniak / Bolgerian, Turkish nationality  - actor.

Skandar Keynes (25) English / Lebanese, Persian, Turkish - actor.

Enes Kanter (24) Turkish - basketball player.

Ekin Koç (24) Turkish - actor.

Hakan Çalhanoglu (23) Turkish - footballer.

Emre Can (23) Turkish - footballer.

Sam Pottorff (21) Arabic, Turkish and White - vlogger.

Güven Kıraç (?) Turkish - actor.

Erdal Özyağcılar (?) Turkish - actor.

Alperen Duymaz (?) Turkish - actor.

Uğur Yücel (?) Turkish - actor, producer & director.

Trans:

N/A

Non-binary:

N/A

Use at your own discretion:

Taylor Marie Hill (20) Irish, Scottish, Turkish, and Native American - racism (x)

-C

[harrisarscott40-blog]

Skin disease

The amount of overweight as well as overweight folks in US is actually expanding. Our team can deal with the first round of problem by finishing the dialogue with verbiages - generally one thing that begins along with "Individuals merely have to," or "Ethnicity does not really have any kind of significance to me," or "Everyone's racialist." Scratch any kind of additional about that surface, nevertheless, as well as our experts crumble. As Far talked about previously, our experts're really thrilled about the velocity of top series growth here, as well as there's a considerable amount of possibilities and also I think the ongoing development and also consecutive development drive '18 over '17 ought to be actually accretive to the operating margins, not only for that service system however, for Abbott too. The issue begins along with the fact that our genetics pool is actually quite a mix; no person is actually clean white", black" or just about anything however there is certainly that individuals from these various races" occurred off one people, or group from individuals.

Leonard's most current books include After Artest: The NBA and the Attack on Blackness (SUNY Press), African Americans on Television: Race-ing for Scores (Praeger Bunch) co-edited with Lisa Guerrero and Beyond Hate: White Energy as well as Popular Culture along with C. Richard Master. We no more possess the pleasant proximity from record that enables our company to reassure ourselves that our company would certainly have spoken out, our experts would possess avoided, we would possess supported black folks fighting for their lifestyles. Second, a sluggish populace made up from Ulster Scots as well as Anglos, (certainly not that there is actually just about anything wrong with that said, but they do possess a history from harsh techniques which the south can not seem to be to clear on its own of) as opposed to, I can just speak for the Cleveland, Ohio location, a later appearance of "White Ethnics," Germans, Poles, Hungarians, Italians, Slovenian. Internal water materials do differ in time as well as season and often they change water sources based on availability or therapy procedure based upon chemistry and that could trigger a modification in the amount from iron or even in the water and how that's responding with your hair and other things in the water and your filter.

But when I observe Deafened individuals from different countries get together, they appear to correspond simply alright ..." Deaf individuals possess a considerable amount of adventure communicating with Hearing people which don't understand them, whatever country they are off.

Obama's, announced Friday, the Obamas continuously highlight the work of contemporary and present-day African-American artists, as they therefore commonly finished with the arts pieces they decided to cope with in the White House, by Glenn Ligon, Alma Thomas and also William H. Johnson, and many mores. I'm not however certain, however Youandgym-17.Info this seems to be that the writer merely changes a simplified illustration (that's genetic differences"), for one more (this is actually the omnipresent-intrinsic-quasi-invisible irrefutable idea in ethnological differences of those heinous whites").

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following poets, local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

George Szirtes

many books of poetry have won prizes including the T. S. Eliot Prize (2004), for which he was again shortlisted for Bad Machine .Satantango by László Krasznahorkai (whom he interviewed for The White Review was awarded the Best Translated Book Award in the US. He is also the translator of Sandor Marai and Magda Szabo. The Photographer at Sixteen is his first venture into prose writing of his own.

What follows is an extract from his Curriculum Vitae found on his blog:

Poetry 1978 Poetry Introduction 4 with Craig Raine, Alan Hollinghurst, Alistair Elliott, Anne  Cluysenaar and Cal Clothier (Faber & Faber) 0-571-11127-0 1979 The Slant Door (Secker & Warburg) 436-50997-0 1981 November and May (Secker & Warburg) 0-436-50996-2 1984 Short Wave (Secker & Warburg) 0-436-50998-9 1986 The Photographer in Winter (Secker & Warburg) 0-436-50995-4 1988 Metro (OUP) 0-19-282096-6 1991 Bridge Passages (OUP) 0-19-282821-5 1994 Blind Field (OUP) 0-19-282387-6 1996 Selected Poems (OUP) 0-19-283223-9 1997 The Red All Over Riddle Book (Faber, for children) 9780571178070 1998 Portrait of my Father in an English Landscape (OUP,)  0-19-288091-8 2000 The Budapest File (Bloodaxe) 1-85224-531-X 2001 An English Apocalypse (Bloodaxe) 1-85224-574-3 2004 A Modern Bestiary with artist Ana Maria Pacheco (Pratt Contemporary Art) 2004 Reel (Bloodaxe) 1-85224-676-6 2008 The Burning of the Books (Circle)  978-0-9561869-0-4 2008 New and Collected Poems (Bloodaxe) 978-1-85224-813-0 2008 Shuck, Hick, Tiffey: Three Regional Libretti (Gatehouse) 978-0-9554770-8-9 2009 The Burning of the Books and Other Poems (Bloodaxe) 978-1-85224-842-0 2012 In the Land of the Giants (Salt) 978-1-84471-451-3 2013 Bad Machine (Bloodaxe) 978-1-85224-957-1 2015 56 (Arc) with Carol Watts to appear later this year 2015 Notes on the Inner City (Eyewear) to appear later this year

Translation 1989 Imre Madách: The Tragedy of Man, verse play (Corvina / Puski 1989)  978-963-13-5850-6 1989 Sándor Csoóri: Barbarian Prayer. Selected Poems. (part translator, Corvina 1989) 1989 István Vas: Through the Smoke. Selected Poems. (editor and part translator, Corvina,  1989) 9789631330694 1991 Dezsö Kosztolányi: Anna Édes. Novel. (Quartet, 1991/ ND 1993) 0-8112-1255-6 1993 Ottó Orbán: The Blood of the Walsungs. Selected Poems. (editor and majority translator,  Bloodaxe, 1993) 1-85224-203-5 1994 Zsuzsa Rakovszky: New Life. Selected Poems. (editor and translator, OUP March,  1994) 0-19-283089-9 1998 László Krasznahorkai: The Melancholy of Resistance (Quartet / ND) 0-8112-1450-8 1999 Gyula Krúdy: The Adventures of Sindbad short stories (CEUP, 1999, NYRB)  978-1-59017-445-6 2003 The Night of Akhenaton: Selected Poems of Ágnes Nemes Nagy (editor-translator,  Bloodaxe) 1-85224-641-3 2004 Sándor Márai: Conversation in Bolzano (Knopf / Random House, 2004) 0-375-41337-5 2004 László Krasznahorkai: War and War (New Directions, 2005) 0-8112-1609-8 2005 Sándor Márai: The Rebels (Knopf / Random House) 978-0-375-40757-4 2008 Ferenc Karinthy: Metropole (Telegram) 9781846590344 2009 Sándor Márai: Esther’s Inheritance (Knopf/ Random House) 978-1-4000-4500-6 2011 Sándor Márai: Portaits of a Marriage (Knopf / Random House) 978-1-4000-4501-3 2012 Yudit Kiss: The Summer My Father Died (Telegram) 978-1-84659-094-8 2012 László Krasznahorkai: Satantango (New Directions) 9781848877658 2014 Magda Szabó: Iza’s Ballad (Random House) 978-1-846-55265-6

Editing 1991  Birdsuit: writing from Norwich School of Art and Design (9 vols) – 2000 1995 Freda Downie, Collected Poems (Bloodaxe) 1-85224-301-5 1996 The Colonnade of Teeth (co-ed with George Gömöri (Bloodaxe) 1-85224-331-7 1997  The Lost Rider: Hungarian Poetry 16-20th Century, an anthology, editor and chief  translator (Corvina, 1998) 963-13-4967-5 2001 New Writing 10, Anthology of new writing co-edited with Penelope Lively (Picador) 9780330482684 2004 An Island of Sound: Hungarian fiction and poetry at the point of change (co-editor)  (Harvill) 978-1846555565 2010 New Order: Hungarian  Poets of the Post-1989 Generation (Arc) 9781906570507 2012 In Their Own Words: Contemporary Poets on Their Poetry, with Helen Ivory (Salt)  978-1-907773-21-1

Other 2001 Exercise of Power: The Art of Ana Maria Pacheco (Lund Humphries) 9780853318279 2010 Fortinbras at the Fishhouses: responsibility, the Iron Curtain and the sense of  history as knowledge. Three lectures. (Bloodaxe) 978-1-85224-880-2

Performed Works (dates, titles and venues of performed works): Over twenty plays, libretti, and other texts for music, mostly performed but not for professional stage

Journalism: BBC radio and TV, The Guardian, The Times, The Independent, The TLS, Poetry Review, Poetry London, Magma, and many others. Mostly reviews of literature or art, some columns or essays, occasional pieces on Hungary and miscellaneous matters.

Honours 1980 Faber Memorial Prize for The Slant Door 1982 Elected Fellow of the Royal Society of Literature 1984 Arts Council Travelling Scholarship, 1986 Cholmondeley Prize 1990 Déry Prize for Translation The Tragedy of Man 1991 Gold Star of the Hungarian Republic 1992 Short listed for Whitbread Poetry Prize for Bridge Passages 1995 European Poetry Translation Prize for New Life 1996 Shortlisted for Aristeion Translation Prize New Life 1999 Sony Bronze Award, 1999 – for contribution to BBC Radio Three, Danube programmes 1999 Shortlisted for Weidenfeld Prize for The Adventures of Sindbad 2000 Shortlisted for Forward Prize Single Poem: Norfolk Fields 2002 George Cushing Prize for Anglo-Hungarian Cultural Relations 2002 Society of Authors Travelling Scholarship 2003 Leverhulme Research Fellowship 2004 Pro Cultura Hungarica medal 2005 T. S. Eliot Prize, for Reel 2005 Shortlisted for Weidenfeld Prize for the Night of Akhenaton 2005 Shortlisted for Popescu Translation Prize for The Night of Akhenaton 2007 Laureate Prize, Days and Nights of Poetry Festival, Romania 2008 Bess Hokin Prize (USA) Poetry Foundation 2008 Made Fellow of the English Association 2009 Shortlisted for T S Eliot Prize with The Burning of the Books 2013 Shortlisted for T S Eliot Prize with Bad Machine 2013 Best Translated Book Award (USA) for László Krasznahorkai’s Satantango 2013 CLPE Prize for best book of poetry for children with In the Land of the Giants 2014 Made Honorary Fellow of the Hungarian Academy of Arts and Letters (see above) 2014 Made Honorary Fellow of Goldsmith’s College, London 2015 Translator of László Krasznahorkai winner Man Booker International Prize

The Interview

What were the circumstances under which you began to write poetry?

I was in my sixth form at school, not doing well at the wrong subjects (the sciences) and drifting in all kinds of ways when I started picking poetry books off the school library shelves. Poems were small texts with lots of white space, ideal for drifting and dwelling on, for clearing my head and at the same time opening doors to feelings and ideas I was attracted to without fully understanding them., But I did not think to write poems myself until, not much later – I was seventeen at the time – a friend showed me a poem by a mutual acquaintance. Suddenly I wanted to be a poet. So I bought a notebook and started writing, a poem per day or more.

My family was not literary so we had few books, I had dropped English at O Level  and, besides, it was my second language (though that thought never bothered me then). I hadn’t read much literature in the past few years and didn’t really know what I meant by being a poet or what made good poems good. It was a decisive venture into unknown territory. In many ways it was the saving of me in that my life changed and I had a purpose. I went to art school instead of university and things went on from there.

2.  How aware were you of the dominating presence of older poets?

Hardly at all at the beginning. The poets I first encountered were either dead or elsewhere. But soon I made friends with another pair of boys who were also studying science but had become as involved in poetry as I was. Like me, they came from non-literary backgrounds. Steve’s father was a postman, Ashley’s a scoutmaster. We passed each other books in chaotic fashion – no particular period in no particular order – just whatever we fancied as long as it was available in cheap paperback or at the library. In retrospect, our reading would have been considered ambitious but we had no idea that it was so. That reading included Keats, Rilke, Rimbaud, Ginsberg, Cavafy, and Donne. but many others too. It was not thorough or analytical reading – none of us read through any solid body of work by a poet unless in a thin cheap paperback and we had no language of criticism. We tasted and swallowed poems whole.  The poets were just names to us, not histories, but we read them with excitement. Ginsberg was still alive of course but he may as well have been in some other time zone. If I had done English A Level I suppose I would have been reading D H Lawrence, Eliot and Hughes or Plath, but they came along later., mainly under the tutelage of Martin Bell, my first real poet, who taught an afternoon a week at the art school in Leeds.  And later still Larkin, Auden, Stevens and the rest. By the time I was reading Larkin I could see how he was a dominant figure in terms of tone – as was Plath in her way but I learned little directly from either because I had arrived there through other channels. Maybe Larkin’s restraint had some effect on me but it was clear that, not being English, I couldn’t simply adapt his voice. At some point I set myself to read through poetry Eng Lit style from Chaucer on. I got a decent way with that.

3. What is your daily writing routine?

My daily routine is to rise about 8am, have breakfast, then come straight down to my desk and spend the rest of the day there with some breaks for exercise. I write something every day – not always poetry, though I do use Twitter as a kind of small-scale literary notebook. I deal with correspondence. I also maintain my posts on Facebook where other thoughts tend to get some initial development. I read and I watch discussions.I am working towards a new collection booked for 2020. The poems come when I give them space to come or where they appear as potential shadows of poems. Most people consider me productive. I suppose I am.

4. What motivates you to write?

I started writing at the age of seventeen because, for the first time in my life, I suddenly understood that poetry was a way of telling some kind of truth about the world. Over the years that understanding gradually became more complex while remaining essentially the same. Now I would say writing poetry is a kind of drive to do with language, the way language moves in and out of reality to create an experience that feels as true as life, so true that it can feel like a physical shudder. That shudder is to do with the way words spring out of and form a sense of reality. It is about meaning and shadows of meaning lodging themselves powerfully in the mind.

That is what continues to motivate me.

5. What is your work ethic?

Work ethic: You don’t let other people or yourself down.

6. How do the writers you read when you were young influence you today?

Mostly exactly as they did before though some who were important then are less important now. My first loves: Rimbaud, Eliot, Rilke, Blake, Auden, MacNeice, Bishop, Yeats, Stevens and Dickinson remain top loves. Add some other figures chiefly from Europe and US, but I don’t want to list them all. There are plenty of others, plus those who have come into the picture since – either because they were really there but I hadn’t read them or because their books were published later – modify my reading of the original list. Some poets go deep early and set the landscape. Those that go truly deep don’t leave you.

6.1. What do you mean by “go deep”?

I mean that by the time the poem has been once or twice read it has left such a mark on the memory it becomes part of the receiving mechanism for whatever is read later..

I can expand on that if you like but that’s a reasonably succinct way of putting it.

7. Whom of today’s writers do you most admire, and why?

The answers to today’s writers will be generational.

Of the generation slightly older than me or roughy the same age: Peter Scupham, Derek Mahon, Ciaran Carson, James Fenton, Penelope Shuttle, Christopher Reid, and Jane Draycott. Then there is Ian Duhig, Don Paterson, Simon Armitage, Kathleen Jamie, Alice Oswald, Imtiaz Dharker, Michael Hoffman; and younger still: Tiffany Atkinson, Jack Underwood, Vahni Capildeo but now I am listing names that occur to me and no doubt I could go on, especially since I am sure to regret having left out people who should certainly be in. It isn’t a particularly original list but they are all admirable. I don’t necessarily write – or could write – like any of them but of those who are perhaps closest to me in terms of angle to the universe, I’d choose Mahon and Fenton. Mahon aesthetically-morally; Fenton: formally and emotionally. Peter Scupham was a wonderful friend and critic. I am very lucky to have met him.

Wombwell Rainbow Interviews: George Szirtes Wombwell Rainbow Interviews I am honoured and privileged that the following poets, local, national and international have agreed to be interviewed by me.

[brookstonalmanac]

Events 6.8

218 – Battle of Antioch: With the support of the Syrian legions, Elagabalus defeats the forces of emperor Macrinus. 452 – Attila leads a Hun army in the invasion of Italy, devastating the northern provinces as he heads for Rome. 793 – Vikings raid the abbey at Lindisfarne in Northumbria, commonly accepted as the beginning of Norse activity in the British Isles. 1042 – Edward the Confessor becomes King of England – the country's penultimate Anglo-Saxon king. 1191 – Richard I arrives in Acre, beginning the Third Crusade. 1663 – Portuguese Restoration War: Portuguese victory at the Battle of Ameixial ensures Portugal's independence from Spain. 1772 – Alexander Fordyce flees to France to avoid debt repayment, triggering the credit crisis of 1772 in the British Empire and the Dutch Republic. 1776 – American Revolutionary War: Continental Army attackers are driven back at the Battle of Trois-Rivières. 1783 – Laki, a volcano in Iceland, begins an eight-month eruption which kills over 9,000 people and starts a seven-year famine. 1789 – James Madison introduces twelve proposed amendments to the United States Constitution in Congress. 1794 – Maximilien Robespierre inaugurates the French Revolution's new state religion, the Cult of the Supreme Being, with large organized festivals all across France. 1856 – A group of 194 Pitcairn Islanders, descendants of the mutineers of HMS Bounty, arrives at Norfolk Island, commencing the Third Settlement of the Island. 1861 – American Civil War: Tennessee secedes from the Union. 1862 – American Civil War: A Confederate victory by forces under General Stonewall Jackson at the Battle of Cross Keys, along with the Battle of Port Republic the next day, prevents Union forces from reinforcing General George B. McClellan in his Peninsula campaign. 1867 – Coronation of Franz Joseph as King of Hungary following the Austro-Hungarian compromise (Ausgleich). 1887 – Herman Hollerith applies for US patent #395,781 for the 'Art of Compiling Statistics', which was his punched card calculator. 1906 – Theodore Roosevelt signs the Antiquities Act into law, authorizing the President to restrict the use of certain parcels of public land with historical or conservation value. 1912 – Carl Laemmle incorporates Universal Pictures. 1918 – A solar eclipse is observed at Baker City, Oregon by scientists and an artist hired by the United States Navy. 1928 – Second Northern Expedition: The National Revolutionary Army captures Beijing, whose name is changed to Beiping ("Northern Peace"). 1929 – Margaret Bondfield is appointed Minister of Labour. She is the first woman appointed to the Cabinet of the United Kingdom. 1940 – World War II: The completion of Operation Alphabet, the evacuation of Allied forces from Narvik at the end of the Norwegian Campaign. 1941 – World War II: The Allies commence the Syria–Lebanon Campaign against the possessions of Vichy France in the Levant. 1942 – World War II: The Imperial Japanese Navy submarines I-21 and I-24 shell the Australian cities of Sydney and Newcastle. 1949 – Helen Keller, Dorothy Parker, Danny Kaye, Fredric March, John Garfield, Paul Muni and Edward G. Robinson are named in an FBI report as Communist Party members. 1949 – George Orwell's Nineteen Eighty-Four is published. 1953 – An F5 tornado hits Beecher, Michigan, killing 116, injuring 844, and destroying 340 homes. 1953 – The United States Supreme Court rules in District of Columbia v. John R. Thompson Co. that restaurants in Washington, D.C., cannot refuse to serve black patrons. 1959 – USS Barbero and the United States Postal Service attempt the delivery of mail via Missile Mail. 1966 – An F-104 Starfighter collides with XB-70 Valkyrie prototype no. 2, destroying both aircraft during a photo shoot near Edwards Air Force Base. Joseph A. Walker, a NASA test pilot, and Carl Cross, a United States Air Force test pilot, are both killed. 1966 – Topeka, Kansas, is devastated by a tornado that registers as an "F5" on the Fujita scale: The first to exceed US$100 million in damages. Sixteen people are killed, hundreds more injured, and thousands of homes damaged or destroyed. 1966 – The National Football League and American Football League announced a merger effective in 1970. 1967 – Six-Day War: The USS Liberty incident occurs, killing 34 and wounding 171. 1968 – James Earl Ray, the man who assassinated Martin Luther King Jr. is arrested at London Heathrow Airport. 1972 – Vietnam War: Nine-year-old Phan Thị Kim Phúc is burned by napalm, an event captured by Associated Press photographer Nick Ut moments later while the young girl is seen running naked down a road, in what would become an iconic, Pulitzer Prize-winning photo. 1982 – Bluff Cove Air Attacks during the Falklands War: Fifty-six British servicemen are killed by an Argentine air attack on two landing ships, RFA Sir Galahad and RFA Sir Tristram. 1982 – VASP Flight 168 crashes in Pacatuba, Ceará, Brazil, killing 128 people. 1984 – Homosexuality is decriminalized in the Australian state of New South Wales. 1987 – New Zealand's Labour government establishes a national nuclear-free zone under the New Zealand Nuclear Free Zone, Disarmament, and Arms Control Act 1987. 1992 – The first World Oceans Day is celebrated, coinciding with the Earth Summit held in Rio de Janeiro, Brazil. 1995 – Downed U.S. Air Force pilot Captain Scott O'Grady is rescued by U.S. Marines in Bosnia. 2001 – Mamoru Takuma kills eight and injures 15 in a mass stabbing at an elementary school in the Osaka Prefecture of Japan. 2004 – The first Venus Transit in well over a century takes place, the previous one being in 1882. 2007 – Newcastle, New South Wales, Australia, is hit by the State's worst storms and flooding in 30 years resulting in the death of nine people and the grounding of a trade ship, the MV Pasha Bulker. 2008 – At least 37 miners go missing after an explosion in a Ukrainian coal mine causes it to collapse. 2008 – At least seven people are killed and ten injured in a stabbing spree in Tokyo, Japan. 2009 – Two American journalists are found guilty of illegally entering North Korea and sentenced to 12 years of penal labour. 2014 – At least 28 people are killed in an attack at Jinnah International Airport, Karachi, Pakistan.

[nofomoartworld]

Hyperallergic: The Wartime Quilts Made by Men from Military Uniforms

Artist unidentified, Soldier’s Hexagon Quilt (Crimea or United Kingdom, late 19th century), wool from military uniforms, 85 x 64 in (courtesy the Annette Gero Collection, photo by Tim Connolly, Shoot Studios)

In an 1856 portrait by Thomas William Wood, Private Thomas Walker is shown sitting up in a neat bed. Clean white bandages shroud his head, hiding scars from numerous surgeries to extract skull fragments from a wound sustained in the Crimean War. On the bed is both his bright red uniform, and a quilt the British soldier is stitching from the same wool fabric. The painting simultaneously depicted Walker as a military hero and a civilian man, regaining his independence, using the traditionally feminine craft of quilting to convalesce. It was also a bit of propaganda for the British military, presenting their hospital and soldier as orderly and competent. It was even reported in the Morning Chronicle on December 25, 1855 that Queen Victoria had acquired one of Walker’s geometric uniform quilts.

Thomas William Wood, “Portrait of Private Thomas Walker” (1856), oil on canvas (courtesy Hunterian Museum at the Royal College of Surgeons of England)

A reproduction of the painting is included in War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics at the American Folk Art Museum. The widely shared painting promoted quilting as occupational therapy, and contributed to the later belief that all military quilts were made by recovering soldiers. Yet as the exhibition demonstrates through its 29 examples, these “soldiers’ quilts” or “convalescent quilts” as they’re often called, were created for diverse purposes. What they share is that they were made by men, and utilize the wool fabric of military uniforms.

War and Pieced was curated by Stacy C. Hollander, chief curator at the American Folk Art Museum, with quilt historian Annette Gero, author of Wartime Quilts. Many of the quilts, some on public view for the first time, come from Gero’s collection, with loans from private collections and institutions like the Museum of Military History in Vienna and the International Quilt Study Center & Museum at the University of Nebraska-Lincoln. Following the exhibition’s run in New York, it will travel to the Nebraska museum and open May 25, 2018. It’s the first exhibition in the United States to showcase these quilts, almost all made by British soldiers.

Some of the soldiers learned to quilt while in a hospital, or at home after the war was over, making heirlooms from their uniforms. Along with the portrait of Private Walker, pictures of soldier-quiltmakers were disseminated by temperance periodicals around the United Kingdom during the Crimean War. These visuals portrayed the needlework craft as acceptable for men, and a healthy activity that kept idle hands — which might otherwise be filled with liquor or playing cards — occupied. Others were skilled tailors before they enlisted, such as Samuel Sadlowski of the Royal Prussian Army, who was taken prisoner by the French amid the Napoleonic Wars. He repaired officers’ uniforms during his internment, and used the leftover scraps to make quilts. One on view, dated to 1806, features a double-headed eagle at its center, with his initials and those of his wife nestled into the blocks of pattern.

Installation view of War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics at the American Folk Art Museum (photo by the author for Hyperallergic)

Artist unidentified, Anglo-Zulu War Army Quilt (South Africa or United Kingdom, late 19th century), wool from military uniforms, with embroidery thread; hand-embroidered, with pointed and pinked edges, 86 5/8 x 74 7/8 in (courtesy the Annette Gero Collection, photo by Tim Connolly, Shoot Studios)

These wartime quilts are incredibly rare, and Gero states in the release that “there are fewer than one hundred of these quilts in the world, and no two are alike.” War and Pieced highlights their diversity, whether in the distinctive beadwork on quilts made by soldiers stationed in India in the 19th century, or the motifs of African shields and spears embroidered on a late 19th-century quilt, likely made in tribute to those killed in the Anglo-Zulu War. A quilt made in India between 1860 and 1870 has its beads connected to small circles of fabric, the discs probably left over from punching buttonholes into uniforms. Although the conflict may be unnamed on the quilt, the patterns, needlework, and, above all, uniform materials, can place these fabric works in time.

They’re moving relics of the bloody battles that stretched across the globe in the mid-18th to 19th centuries, from the Prussian and Napoleonic wars, when elaborate intarsia quilts featured pictorial inlays of soldiers, to the Crimean War with its dense geometries. One from that mid-19th-century engagement has a checkerboard at its center, an example of the boards made from scraps of military uniforms to fend off boredom. The spare fabric that formed the checkerboard may have been from uniforms of the dead or wounded, thus adding a somber memorial to an otherwise vibrant wool quilt.

Although there is a vision of hope in making something beautiful out of horror, there’s an eerie echo of the suturing of wounds in each stitch of the quilt. The intense labor of some of those made in convalescence — one from 1890 involves 25,000 blocks, hexagons, and diamonds — represents the incredible amount of time these men spent recovering. Viewed together, the quilts in War and Pieced are haunting reminders of the lives given and maimed in the British Empire’s global conquest, and those that continue to be lost to war.

“Samuel Attwood, an Army Tailor Making a Highly Complicated Quilt” (India, 1850–60) (courtesy Quilters’ Guild of the British Isles)

Installation view of War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics at the American Folk Art Museum (photo by the author for Hyperallergic)

King George III Intarsia Quilt by an unidentified artist (United Kingdom or Germany, 1766), wool, possibly from military uniforms, with embroidery thread; intarsia; hand-appliquéd and hand-embroidered, 106 x 100 in (Collection Sevenoaks Museum, Kent County Council, United Kingdom)

Artist unidentified, Soldier’s Mosaic Stars Quilt (Found in Germantown, Pennsylvania, late 19th century), wool, 77 1/4 x 62 3/4 in (Collection International Quilt Study Center & Museum, University of Nebraska-Lincoln)

Detail of a regimental bed rug by Sergeant Malcolm Macleod (India, 1865), wool, mostly from military uniforms, with embroidery thread; inlaid hand-embroidered (photo by the author for Hyperallergic)

Army Uniform Quilt from the Napoleonic Era by an unidentified artist (Region unknown, possibly Prussia, late 18th/early 19th century), wool, probably from military uniforms; Silesian pieced (photo by the author for Hyperallergic)

Hungarian Soldier’s Intarsia Quilt by an unidentified artist (Austro-Hungarian Empire, 1820–30), wool, with embroidery thread; inlaid; hand-appliquéd and hand-embroidered (photo by the author for Hyperallergic)

Intarsia Quilt with Soldiers and Musicians by an unidentified artist; initialed “J.S.J.” (Prussia, 1760���80), wool, with embroidery thread; intarsia; hand-appliquéd and hand-embroidered, 55 x 43 in (courtesy the Annette Gero Collection, photo by Tim Connolly, Shoot Studios)

Detail of Soldier’s Quilt by an unidentified artist (Crimea, India, or United Kingdom, 1850–75), wool, probably from military uniforms; inlaid; hand-appliquéd with buttonhole fabric discs (photo by the author for Hyperallergic)

Installation view of War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics at the American Folk Art Museum (photo by the author for Hyperallergic)

Installation view of War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics at the American Folk Art Museum (photo by the author for Hyperallergic)

War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics continues through January 7, 2018 at the American Folk Art Museum (2 Lincoln Square, Upper West Side, Manhattan).

The post The Wartime Quilts Made by Men from Military Uniforms appeared first on Hyperallergic.

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[photomaniacs]

The Woman Who Invented Robert Capa http://ift.tt/2wg8XwU

Gerta Pohorylle was born in 1910 in Stuttgart, from a middle-class Jewish Galician family. She attended a Swiss boarding school, where she learned English and French and grew up receiving a secular education. In spite of her bourgeois origins, she became part of socialist and labor movements while still very young.

At the age of 19, she and her family moved to Leipzig, just before the affirmation of the German Nazi party. Gerta immediately showed her dislike and opposition to the regime, joining leftist groups and taking an active part in anti-Nazi propaganda activities.

In 1933, she was arrested and detained with the charge of handing out flyers. Gerta was released after 17 days and decided — or perhaps her family decided for her — to leave the Nazi Germany. She went to Italy for a short period and eventually moved to Paris.

The Legend of Robert Capa

Life was not easy in Paris. Gerta lived with some friends and held several jobs, including waitress, au pair girl, and model. In those days, Paris was the center of a vibrant artistic, literary and political life, and many of the young intellectuals who visited the cafes in the center of the town were immigrants. Gerta’s proximity to the left-wing movements helped solidify her anti-fascist views, despite the influence of Nazi Germany beginning to feel heavy all over Europe.

In September 1935, Gerta was attending a shoot with one of her friends when she met a young Hungarian photographer. His name was Endre Friedmann, but he referred to himself as André. Like herself, André was a Jewish refugee fleeing the growing Nazi threat in Berlin.

André and Gerta soon fell in love. They started living together, and André taught Gerta everything he knew about photography. With his help, she got a factotum job in the Anglo agency Alliance. It was there that Gerta learned about photographic and print processes, and she began to become interested in photojournalism, eventually working as picture editor for the same agency.

In 1936, Gerta received her first photojournalist credential, but André was struggling to find clients for his photo work. They were both determined to find their place in the photojournalism industry. In order to overcome the increasing political intolerance prevailing in Europe and get access to the lucrative American market, they decided to get rid of their Jewish surnames and started to sell their pictures using the fictional name “Robert Capa.”

The deal was simple: Gerda would sell the pictures by Capa, an American, rich, famous and elusive photographer, temporarily living in Europe, who only communicated through his assistant, André.

Using this pseudonym, Gerta and André covered the events surrounding the coming to power of the France’s Popular Front in 1930. Their secret was soon revealed and, still working together, André kept for himself the artist name Robert Capa, while Gerta adopted the professional name Gerda Taro.

A photo of Gerda Taro and Robert Capa in Paris by photographer Fred Stein. The photo is from the International Center of Photography and The Robert Capa and Cornell Capa Archive, Promised Gift of Cornell and Edith Capa

Spain

In 1936, the Spanish Civil War broke out, and Gerta and André decided to move there to closely follow the events. Gerta soon became very emotionally involved in the Spanish Civil War, empathizing with the suffering Spanish people and cementing her hate toward the fascist ideology of the rebellion, openly supported by the German regime.

They made several trips to Spain, documenting the Republican soldiers’ departure to the front and the refugees moving from Malaga to Almeira. Next, they covered the war events in Aragon and Córdoba.

Although Gerta mostly used Rollei cameras and André preferred Leica, they often exchanged their gear — making the pictures indistinguishable based on camera format — and sold the images under the brand “Capa-Taro.”

Gerta soon began working more independently. She became publicly connected to a circle of anti-fascist European intellectuals and begun to publish her work, under the “Photo Taro” label, for magazines such as Life, Regards, and Illustrated London News.

In July 1937, while reporting on the Valencia bombing, she shot the pictures which are her most celebrated: the images depict the inside of the morgue where dead bodies from the recent attack lay, as well as the crowd outside filled with desperate people looking for news of their friends and relatives.

A few days later, André went to Paris, France, to discuss business with some photography agencies while Gerta moved to Brunete, Spain, where the Franco’s troops were preparing to retake the small town from the Republican forces. The battle turned against the Republicans, and Gerta was trapped in the trenches, where she kept taking photographs until she ran out of film. She then joined the Republican army retreat headed toward Madrid, traveling on board a car full of injured soldiers. On the way, the convoy was attacked by German planes supporting Franco’s troops.

In the midst of the attack, a tank lost control and ended up against the car Gerta was in. The photographer fell to the ground and was hit by the tank. Gerta was taken to the hospital, but it was immediately clear that her wounds were too serious. After a brief surgical procedure, the doctor asked to give her all the necessary morphine to relieve the pain in her last hours. The next morning, Gerta passed away at the age of 26.

A funeral was held a few days after in Paris and was attended by thousands of people. News of Gerda Taro’s death spread all over the world and caused a great response, particularly in France where the public opinion was particularly sympathetic toward the anti-fascist figure. And because of her dedicated reporting of the Republican effort during the Spanish Civil War, she was declared an anti-fascist martyr. She was buried in the Père Lachaise Cemetery in Paris on August 1st, 1937, the day that would have been her 27th birthday.

The Mexican Suitcase

After Taro’s death, Capa kept shooting pictures of the Spanish Civil War. Another photographer, David “Chim” Seymour, who met Capa and Taro in Paris, was working in Spain, documenting the exodus of the Republican Spanish refugees heading Mexico. They both sent negatives to Paris, where Imre “Csiki” Weisse, Robert Capa’s assistant, cataloged and kept them in special cardboard boxes.

In October 1939, while German troops were moving to Paris, Capa was forced to flee to New York, leaving all his gear and negatives in his lab in Paris. From that point, Capa’s negatives of the Spanish Civil War were missing, and so was much of the memory of Gerda Taro.

In 1975, in a letter to Robert Capa’s brother Cornell, Imre Weisse remembered the Spanish War negatives. He wrote:

In 1939, while German forces were approaching Paris, I put all Bob’s negatives in a bag, then took my bicycle heading to Bordeaux, hoping to find a boat to Mexico and put the negatives on it. On my way to Bordeaux, I met a Chilean who promised me to take in custody the bag and deliver it to the Chilean embassy.

The bag with the negatives eventually made its way into General Francisco Aguilar González’s hands. At the time, González the was a Mexican ambassador to the Vichy government in France. González then brought back it to Mexico with him when he returned.

Cornell made countless attempts to trace the negatives but with no luck. The negatives finally reappeared in 1995 when Mexican film producer Benjamin Traver inherited them from an aunt who was a close friend of General González’s. Traaver contacted New York’s Queens College professor Jerald R. Green to ask advice on how to preserve the negatives and eventually make them available to the public. Green was also a close friend of Cornell Capa and informed him about the letter.

In 2003, during the preparation of an exhibition dedicated to Capa and Taro, museum curator Brian Wallis contacted Traver asking to return the negatives. Traver refused. He knew the negatives belonged to Capa and believed the Capa Foundation should take possession of them. But he also knew they represented one of the most important documentations of the Spanish Civil War.

It was only in 2007 that an independent curator and director living in Mexico City, Trisha Ziff, convinced Traver to pass the boxes to the Capa’s International Center of Photography in New York, which had more resources to make them available to the world.

The rediscovery of the Mexican suitcase shed a new light not only on the events of the Spanish Civil War but also on the personal life and work of Gerda Taro. She was not just Robert Capa’s partner: on some occasions, she actually was Robert Capa. She was a figure who was partially forgotten about over almost 70 years. Taro’s family lost their lives during the holocaust and Capa met his death in 1954, so there was no one else to testify to her bravery in shooting pictures in extremely dangerous situations, as well as her capacity to empathize with the suffering Spanish people.

Some of the pictures originally attributed to Robert Capa were later discovered be Taro’s. The images in the Mexican suitcase showed her innovative way of working close to the soldiers in the trenches rather than in the offices where strategic decisions were made. But they also showed how her work, with the same relevance of the work of her more celebrated lover and colleague, had made a huge contribution to the definition of the role of the modern war photographer and photojournalist.

About the author: Manuel Sechi is an Italian photographer living and working in London. His work is mainly focused on documenting the urban environment and its regularly published on his website. Manuel is also an active contributor for The Black Frame magazine. You can follow it on Facebook and Twitter. This article was also published here.

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August 16, 2017 at 10:04PM