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Agostino Carracci

Agostino Carracci was an Italian painter, tapestry designer, art teacher. He was, together with his brother, Annibale Carracci, cousin, Ludovico Carracci, one of the founders of the Accademia degli Incamminati in Bologna; this teaching academy promoted. It promoted progressive tendencies in art and was a reaction to the Mannerist distortion of anatomy and space; the academy helped propel painters of the School of Bologna to prominence. Agostino Carracci was born in Bologna as the son of a tailor, he was the cousin of Ludovico Carracci. He trained as a goldsmith, he studied painting, first with Prospero Fontana, Lodovico's master, with Bartolomeo Passarotti. He traveled to Parma to study the works of Correggio. Accompanied by his brother Annibale, he spent a long time in Venice, where he trained as an engraver under the renowned Cornelis Cort. Starting from 1574 he worked as a reproductive engraver, copying works of 16th century masters such as Federico Barocci, Antonio Campi and Correggio, he produced some original prints, including two etchings.

He traveled to Parma. Together with Annibale and Ludovico he worked in Bologna on the fresco cycles in Palazzo Fava and Palazzo Magnani. In 1592 he painted the Communion of St. Jerome, now in the Pinacoteca di Bologna and considered his masterwork. In 1620, Giovanni Lanfranco, a pupil of the Carracci, famously accused another Carracci student, Domenichino, of plagiarizing this painting. From 1586 is his altarpiece of the Madonna with Child and Saints, in the National Gallery of Parma. In 1598 Carracci joined his brother Annibale in Rome, to collaborate on the decoration of the Gallery in Palazzo Farnese. From 1598 -- 1600 is an example of genre painting. In 1600 he was called to Parma by Duke Ranuccio I Farnese to begin the decoration of the Palazzo del Giardino, but he died before it was finished. Agostino's son Antonio Carracci was a painter, attempted to compete with his father's Academy. An engraving by Agostino Carraci after the painting Love in the Golden Age by the 16th-century Flemish painter Paolo Fiammingo was the inspiration for Matisse's Le bonheur de vivre.

Head of a Faun in a Concave The Penitent Magdalen The Annunciation, Musée du Louvre, Paris The Lamentation, Hermitage, St. Petersburg Reciprico Amore, Baltimore Museum of Art Carracci's erotic work Pietà, 1973, Muscarelle Museum of Art, Virginia The Carracci Media related to Agostino Carracci at Wikimedia Commons

Big Two-Hearted River

"Big Two-Hearted River" is a two-part short story written by American author Ernest Hemingway, published in the 1925 Boni & Liveright edition of In Our Time, the first American volume of Hemingway's short stories. It features a single protagonist, Hemingway's recurrent autobiographical character Nick Adams, whose speaking voice is heard just three times; the story explores the destructive qualities of war, countered by the healing and regenerative powers of nature. When it was published, critics praised Hemingway's sparse writing style and it became an important work in his canon; the story is one of Hemingway's earliest pieces to employ his Iceberg Theory of writing. "Big Two-Hearted River" is exclusively descriptive and intentionally devoid of plot. Hemingway was influenced by the visual innovations of Cézanne's paintings and adapted the painter's idea of presenting background minutiae in lower focus than the main image. In this story, the small details of a fishing trip are explored in great depth, while the landscape setting, most the swamp, are given cursory attention.

In 1922, Hemingway moved with his wife Hadley to Paris, where he worked as foreign correspondent for the Toronto Star. He became friends with and was influenced by modernist writers such as F. Scott Fitzgerald, Ford Madox Ford, James Joyce, Ezra Pound and Gertrude Stein; the year 1923 saw his first published work, a slim volume titled Three Stories and Ten Poems, followed the next year by another collection of short vignettes, in our time. Hoping to have in our time published in New York, in 1924 he began writing stories to add to the volume with "Big Two-Hearted River" planned as the final piece, he started writing the story in May of that year but did not finish until September as he spent the summer helping Ezra Pound and Ford Madox Ford launch the journal the transatlantic review. "Big Two-Hearted River" has strong autobiographical elements. During World War I, Hemingway signed on as a member of the Red Cross at age 19, was sent to the Italian Front at Fossalta as an ambulance driver. On his first day there, he helped to retrieve the remains of female workers killed in a munitions factory explosion, about which he wrote in Death in the Afternoon: "I remember that after we searched quite for the complete dead we collected fragments".

A few days on July 8, 1918, he was wounded when a mortar bomb exploded between his legs. He was sent to a hospital in Milan; the manuscript shows the use of plural pronouns, suggesting that in an early version more characters were included, but by publication any mention of his friends or the townspeople had been removed—leaving Nick alone in the woods. When Hemingway asked her opinion of the draft in October 1925, Stein advised him to cut an 11-page section of stream-of-consciousness reminiscences written from Nick's point of view. Hemingway took her advice, reworked the ending, wrote to his editor: "I have discovered that the last eleven pages of the last story in the book are crap". Biographer James Mellow writes that at this early stage in his career Hemingway had not developed his talent enough to and capably integrate self-reflections in his writing. In January 1925, while wintering in Schruns, waiting for a response from query letters written to friends and publishers in America, Hemingway submitted the story to be published in his friend Ernest Walsh's newly established literary magazine This Quarter.

Walsh bought it for 1,000 French francs, the highest payment Hemingway had yet received for a piece of fiction. On October 5, 1925, the expanded edition of In Our Time was published by Boni & Liveright in New York; the last story in the volume was the two-part "Big Two-Hearted River". The piece was included in Hemingway's collection The Fifth Column and the First Forty-Nine Stories published in October 1938, in two collections of short stories published after his death, The Nick Adams Stories and The Complete Short Stories of Ernest Hemingway: The Finca Vigía Edition; the fragment Hemingway cut was published posthumously as a separate short story titled "On Writing" in 1972 in The Nick Adams Stories. Part one The story opens with Nick arriving by train at Seney, Michigan, to find that a fire has devastated the town, leaving "nothing but the rails and the burned-over country." While following a road leading away from the town, he stops on a bridge where he observes trout in the river below. After, he rests at a burned stump.

While smoking a cigarette, he discovers an ash-blackened grasshopper crawling on his sock, detaches it. His first spoken words in the story are "Go on, hopper.... Fly away somewhere."Later in the day he relaxes in a glade of tall pines and falls asleep. When he wakes, he hikes the last mile to the edge of the river where he sees the trout feeding in the evening light "making circles all down the surface of the water as though it were starting to rain." He pitches his tent, unpacks his supplies, cooks his dinner, fills his water bucket, heats a pot of coffee, kills a mosquito before falling asleep. Part two Early the next morning, Nick fills a jar with 50 dew-heavy grasshoppers found under a log he names a "grasshopper lodging-house", e

Mikheil Gelovani

Mikheil Gelovani was a Georgian-Soviet actor, known for his numerous portrayals of Joseph Stalin in cinema, starring in fifteen historic movies about the early Soviet era. Mikheil Gelovani was a descendant of the old Georgian princely house of Gelovani, he made his stage debut in a theater in Batumi during 1913. From 1919 to 1920, he attended the Drama Studio in Tiflis. In the two following years, he was a member of the cast in the city's Rustaveli Theatre. From 1923, he worked as a director in Georgian SSR's Goskinprom film studio. In 1924, he first appeared on screen in the film Three Lives, he moved to the Armenian SSR's Armenkino production unit in 1927. In addition to his cinematic work, Gelovani continued to appear in theater, performed on stages in Kutaisi and Baku. In 1936 he returned to the ensemble of the Rustaveli Theatre, remained there for three years. In 1938, Gelovani first portrayed Stalin in Mikheil Chiaureli's The Great Dawn, his performance won him the Order of the Red Banner of Labour on 1 February 1939 and the Stalin Prize during 1941.

Afterwards, Gelovani "established a monopoly on the role of Stalin", which he continued to portray in twelve other pictures until the premier's death. Gelovani resembled Stalin physically, except in his stature: he was much taller than the latter, he was not the premier's favorite candidate for depicting himself on screen: since he was Georgian, he mimicked Stalin's accent "to perfection". Therefore, the leader preferred Aleksei Dikiy, who used classic Russian pronunciation. However, Gelovani appeared in his role much more than Dikiy. According to The Guinness Book of Movie Facts and Feats, Gelovani had portrayed the same historical figure more than any other actor; when the two met, the general secretary told the actor: "you are observing me thoroughly... You do not waste time, do you?"Soviet cinema played an important part in cultivating the leader's cult of personality: from 1937 and onward, in a gradual process, Stalin's reign was legitimized by depicting him as Vladimir Lenin's most devout follower and by positively presenting historical autocrats - like in Sergei Eisenstein's Ivan the Terrible.

Due to his identification with Stalin, Gelovani was barred from playing other roles in cinema. From 1942 to 1948, he was a member of the cast in the Gorky Moscow Art Theatre. During World War II, the personality cult was abandoned in favor of patriotic motifs, but returned at the war's late stages, with greater intensity than after 1945: Stalin was soon credited as the sole architect of victory. In the postwar films in which he portrayed him – The Vow, The Fall of Berlin and The Unforgettable Year 1919 – Gelovani presented the leader as "a living god"; the actor was awarded three more Stalin Prizes, all of which were granted for his performances of the premier in film: in 1942 for The Defence of Tsaritsyn, in 1947 for The Vow and in 1950 for The Fall of Berlin. On 3 June 1950, he was given the title People's Artist of the USSR. After Stalin's death in 1953, Gelovani was denied new roles in films, since he was identified with the character of the dead ruler. From 1953 until his death in 1956, he acted in Moscow's State Theater for Film Actors.

Andreas Kilb wrote. Gelovani is buried alongside his wife Ludmila. Following Nikita Khrushchev's Secret Speech in 1956, most of the pictures he appeared in as Stalin were either banned or had the relevant scenes removed; as actorAs director S. V. Dumin, P. Kh Grebelskii, V. V. Lapin. Dvorianskie Rody Rossiiskoi Imperii: Kniazʹia Tsarstva Gruzinskogo. IPK Vesti. ISBN 978-5-86153-005-7. Aleksandr Prokhorov. Great Soviet Encyclopedia. Collier Macmillan Publishers. ISBN 9780028801100. Valeri Torchinov, Alexei Leontiuk. Vokrug Stalina: Istoriko-Biograficheskii Spravochnik. Filologicheskii Fakultet Sankt-Peterburgskogo Universitet. ISBN 5-8465-0005-6. Helen Rappaport. Joseph Stalin: A Biographical Companion. ABC-CLIO. ISBN 1-57607-084-0. Birgit Beumers. A History of Russian Cinema. Berg Publishers. ISBN 978-1-84520-215-6. Sergei Yutkevich, Yuri Afanaseev. Kino: Entsiklopedicheskii Slovar. Soviet Encyclopedia. ISBN 5-900070-03-4. Klaus Heller, Jan Plamper. Personality Cults in Stalinism. Vandenhoeck & Ruprecht. ISBN 978-3-89971-191-2 Evgeni Dobrenko.

Stalinist Cinema and the Production of History: Museum of the Revolution. Edinburgh University Press. ISBN 978-0-7486-3445-3. Denise J. Youngblood. Russian War Films: On the Cinema Front, 1914-2005. University Press of Kansas. ISBN 0-7006-1489-3. Richard Taylor. Film propaganda: Soviet Russia and Nazi Germany. I. B. Tauris. ISBN 978-1-86064-167-1. Simon Sebag Montefiore. Stalin - The Court of the Red Tsar. Phoenix London. ISBN 0-7538-1766-7. Philip Boobbyer; the Stalin Era. Springer Verlag. ISBN 978-0-415-18298-0. Richard Taylor, D. W. Spring. Stalinism and Soviet Cinema. Routledg. ISBN 978-0-415-07285-4. Patrick Robertsons; the Guinness Book of Movie Facts & Feats. Abbeville Press. ISBN 978-0-85112-706-4. Konstantin Zaleski. Imperiia Stalina: Biograficheskii entsiklopedicheskii slovar. Veche. ISBN 5-7838-0716-8. Mikheil Gelovani on IMDb Mikheil Gelovani. Kino-teatr.ru. Mikheil Gelovani. Russiancinema.ru Mikheil Gelovani. Kinosozvezdie.ru

Rivisondoli

Rivisondoli is a village and comune in the province of L'Aquila in the Abruzzo region of central Italy. It is a ski resort; the village is extended on the flank of Monte Calvario. The small mountain town was first mentioned in 724 AD, in a diplom by Grimoald II, Duke of Benevento. Rivisondoli rose in the 12th century in a strategic position along an important military and commercial route, the "Via degli Abruzzi" and was renowned for its production of weapons. A fire completely destroyed the village in 1792. Subsequently, the establishment of the Sulmona-Isernia railway helped the development of tourism. In 1913 the Italian Royal Family had its residence here; the village's economy is based on winter tourism, with many skilifts, hotels, restaurants and pubs. History of Rivisondoli in the Highlands of Abruzzo context - Storia di Rivisondoli, nel contesto degli Altipiani Maggiori d'Abruzzo

California Dance Institute

California Dance Institute was founded in 2001 by Joffrey Ballet principal dancer Carole Valleskey. CDI was founded as a West Coast affiliate of Jacques d'Amboise's National Dance Institute. CDI teachers have all been trained in the rigorous NDI teaching methodology. Having served over 17,000 in Los Angeles County, CDI's in-school and after-school programs provide a structured set of lessons in rhythm and movement; the schools served by CDI are in ethnically diverse, low-income neighborhoods. At the end of each school year, the students dance in a professionally staged production with live musical accompaniment, full costumes, lighted backdrops. According to founder Carole Valleskey, "Virtues are habits, dance, as taught by CDI, is habituation in many of the skills of learning, as well as the components of good character. Dance, properly taught, is like sport, properly understood." Now adult alums of the program credit CDI with helping to shape their futures. CDI has been supported by notables such as Angela Lansbury and George Will, as well as numerous foundations such as the Pasadena Showcase for the Arts, the Herb Alpert Foundation, the California Arts Council.

Neuroscientist Dr. Adele Diamond has explained that CDI's methodology helps to develop Executive Function, a strong predictor of student success from Kindergarten through University and throughout life. According to Dr. Diamond, CDI helps students to develop working memory, cognitive flexibility, self-control and discipline, the three main aspects of Executive Function. National Dance Institute National Dance Institute of New Mexico Official websiteCalifornia Dance Institute Official websiteNational Dance Institute Official websiteNational Dance Institute of New Mexico

Offside (American football)

Offside is a minor foul in gridiron football caused when a defender crosses the line of scrimmage ahead of the snap of the ball. The penalty associated with the infraction is the advancing of the ball five yards and a replay of the down. In gridiron football, offside is a foul in which a player is on the wrong side of the line of scrimmage when the ball is snapped; this foul occurs with the snap. Unlike offensive players, defensive players are not compelled to come to a set position before the snap. If a defender jumps across the line but gets back to his side before the snap, there is no foul. In the case of an offside foul, play is not stopped, the foul is announced at the conclusion of the play. Media covering the games calls it a "free play" for the offense, as the non-offending team may decline the penalty and take the yardage gained on the play —unlike in the case of a false start foul against the offense, whereupon the play is stopped by the officials; this foul is always committed by the defense.

However, it is possible for the offense to commit this foul. If an offensive player lines up in the neutral zone, an offside foul will be called against the offense. If a defensive player jumps the snap too early and causes the offensive player to jump early, the defense will be flagged. Prior to 1925, a call of offside against a defensive unit brought with it an automatic first down in addition to a five-yard advancement of the ball for the offense. However, a December 1924 meeting of the Football Coaches' Association of America spurred a change of rules for the 1925 season eliminating the provision for an automatic first down, while leaving the five yard penalty intact; the penalty for violation remains 5 yards at most levels of amateur play. Encroachment