Baroness Anna Elisabeth Franziska Adolphine Wilhelmine Louise Maria von Droste zu Hülshoff, known as Annette von Droste-Hülshoff, was a 19th-century German writer and composer. She was one of author of the novella Die Judenbuche. In an article for the 1913 Catholic Encyclopedia, Francis Joste wrote, "The fame of the poetess rests chiefly on her lyric poems, her pastorales, her ballads. In the poetic representation of nature, few can equal her; the poetical works of Annette von Droste-Hülshoff are imperishable. What makes them so is the proof that they are the works of a genius, it is this too that gained for their author the well-earned title of "Germany's greatest poetess.'" Annette von Droste-Hülshoff was born at the castle of Burg Hülshoff in the Prince-Bishopric of Münster. Her family, the Barons Droste zu Hülshoff belongs to the oldest Catholic aristocracy of Westphalia, her father Clemens August von Droste zu Hülshoff was a learned man, interested in ancient history and languages, botany and the supernatural.
Her mother Therese Luise came from another aristocratic Westphalian family, the Barons von Haxthausen. Annette was the second of four children: she had an elder sister Maria Anna and two younger brothers, Werner Konstantin and Ferdinand. Annette was only saved by the intervention of a nurse, she suffered from problems with her health throughout her life, including headaches and eye troubles. Droste was educated by private tutors in ancient languages, natural history and music, she began to write as a child. Droste's maternal grandfather Werner Adolf von Haxthausen had remarried after the death of his first wife in 1772 and built himself a new castle, Schloss Bökerhof, in the village of Bökendorf, Paderborn. Here his sons from his second marriage and August, had formed an intellectual circle, they were in contact with such celebrated cultural figures as the Brothers Grimm, Clemens Brentano, Friedrich Schlegel and Johanna Schopenhauer. Droste visited the castle and made the acquaintance of Wilhelm Grimm.
She and her sister contributed folk tales from Westphalia to the Grimms' famous collection of fairy stories. However, neither Grimm nor her step-uncles gave any encouragement to the young girl's literary ambitions; the only literary figure to recognise Droste's precocious talent was Anton Matthias Sprickmann, whom she first met in 1812. Sprickmann was the founder of the theatre in Münster and had known important 18th-century poets such as Matthias Claudius and Friedrich Gottlieb Klopstock. Droste trusted Sprickmann's judgement and showed him many of her early works, including the unfinished tragedy Berta oder die Alpen. Other examples of her juvenilia are the tale in a novel Ledwina. In 1819-1820, Annette spent a year with the Haxthausens at Schloss Bökerhof, interrupted only by a stay at the nearby spa town of Bad Driburg, where she hoped to find a cure for her health problems. Here she became romantically involved with Heinrich Straube, a Lutheran law student with literary interests, a friend of her step-uncle August von Haxthausen.
What happened next is unclear, but it appears that the Haxthausen family, led by Annette's step-aunt Anna, disapproved of the relationship because Straube was a commoner and devised a scheme to put an end to it. While Straube was away pursuing his legal studies at the University of Göttingen, they persuaded August von Arnswaldt, a Lutheran aristocrat with literary ambitions, to pretend to pay court to Annette. At first flattered by von Arnswaldt's attentions, Annette gave some indications she was in love with him, before telling him she loved Heinrich Straube. By this time it was too late, he gave Straube proof of Annette's behaviour. The two men wrote a joint letter, she never saw either man again. A few years August von Arnswaldt married a widowed Anna von Haxthausen, the ringleader of the intrigue. Straube became a lawyer in Kassel and married in 1824; when he died in 1847, a lock of Annette's hair was found among his possessions. The ensuing scandal was a catastrophe for Annette and damaged both her reputation and her marriage prospects.
Shocked by the role that her Haxthausen relatives had played, Annette refused to visit Schloss Bökerhof for the next 18 years. Droste's earliest poems are derivative and conventional but in 1820 her work began to show marked originality when she embarked on a cycle of religious poems, Das geistliche Jahr. Droste intended to write one poem for each Sunday and Feast Day of the church year and the cycle was meant to please her devout grandmother, but when Droste had completed 25 poems, she realised they were too personal and showed too many traces of spiritual doubt, so she shelved the work until 1839 when a friend persuaded her to complete the series, she did not publish the poems and they were only offered to the public posthumously in 1851. When her father died in 1826 she moved with her mother and sister to a small country house near Hülshoff called Rüschhaus. Here she led a monotonous existence, broken only by a few trips to the Rhine and Bonn, she composed p
Old Town of Flushing Burial Ground is a historic cemetery located in Flushing, New York City. It was established in 1840 and known as The Olde Towne of Flushing Burial Ground, it was the result of Cholera and Smallpox epidemics in 1840 and 1844, added by town elders north of Flushing Cemetery due to fears of contamination of church burial grounds. Once known as "Pauper Burial Ground", "Colored Cemetery of Flushing" and "Martins Field", it was purchased by the New York City Department of Parks and Recreation on December 2, 1914 and renamed in 2009 to "The Olde Towne of Flushing Burial Ground", it is co-located with a children's playground called "Martin’s Field". It was placed on the National Register of Historic Places in 2018. George Washington, like other noted landowners, journeyed to Flushing: The community was a center of scientific horticulture; the cemetery's floral and arboreal beauty have become a memorial to Flushing's status as a center of horticulture to this day. The town of Flushing suffered a Cholera epidemic circa 1840 and a Smallpox epidemic in 1844.
Fears that the infected corpses would contaminate the church burial grounds the town elders purchased the land from the Bowne family and created a separate burial ground to be used for the infected to be buried in. By 1854 medical science had progressed and improved hygiene helped ward off such diseases, fewer epidemics resulted in a lessened need for the separate unconsecrated graveyard and it fell into disuse. In the latter decades of that century it was set aside for use by the African American community; this was a result of editorials published in the Flushing Journal in the 1850s regarding the AME church running out of burial space. From about 1880 to its closing in 1898 it became a burial ground for African-Americans and Native Americans. By 1914 the land was used as the ‘town commons’ or ‘village green’, by 1930 was paved over and made into a park called ‘Martin's Field. In 1936 Robert Moses, NYC Commissioner of Parks spearheaded the initiative to re-purpose the green into a recreational space for children.
As one of the many projects during the WPA period a modern children's playground was built on the site. It was during excavation. Found at the dig were remains which still had pennies over the eyes, an archaic practice, observed in excavation of the African Burial Ground in lower Manhattan. By 1938, the new playground, with a wading pool, baseball field and swing sets opened to the public; the WPA's historical division conducted interviews with local citizens about the sites history as a burial ground for a permanent record. The only grave markers that remained was for the Bunn family --. In 1990 a local activist, Mandingo Tshaka, was instrumental in publicizing the history of the green, resulting in a $50,000 archaeological study in 1996 commissioned by the Parks Department. Archeologist Linda Stone concluded that the site served as final-resting place for between 500-1000 individuals. Death records for the town of Flushing exist for the period 1881–1898, showing that during this period, 62% of the burials were African American or Native American, 34% were un-identified, more than half were children under the age of five.
In 2004, Queens Borough President Helen Marshall and NYC Councilmember John Liu allocated $2.667 Million in funding to renovate the park, the largest improvement since 1938. A paved area bears a central stone inscribed with the sites history, a historic wall was recreated and engraved with the names from the only four headstones remaining in 1919. Mature oaks, as well as new trees and shrubs, serve as the natural link between the past and present, providing shade for the burial ground as well as the newly installed playground, moved to the northern end of the site, above whose entrance is the designation, ‘Martins Field", it was placed on a sill system foundation so as not to disturb the land, is accessible from the 165th street entrance. In 2009 a naming ceremony for the site was held and parks department signs were placed for ‘The Olde Towne of Flushing Burial Ground’ and ‘Martin’s Field". In 2018 Mayor Bill de Blasio and members of the community along with Queens Borough President Melinda Katz announced at the site that $1.63 million in funding was allocated to reconstruct a commemorative plaza at the site, including a butterfly garden, new benches and directions which will be written in a variation of the Lenape tongue, an Algonquin language, recognizing the native American dead buried there.
A circular plaza, bearing the names of the Manitou's of the N,S,E & W in the language of the Algonquin is featured. It has been designated to the New York National Register of Historic Places. Official website Flushing Cemetery: Famous names at Find a Grave Intermet data for Flushing Cemetery
The women's 400 metres at the 2017 World Championships in Athletics was held at the London Olympic Stadium on 6−7 and 9 August. In wet conditions, Shaunae Miller-Uibo took an early lead, which she maintained coming onto the home stretch, with Allyson Felix in second and Phyllis Francis and Salwa Eid Naser gaining on both of them. Miller-Uibo stumbled and slowed to a jog, being passed by Francis and Nasser. Francis continued on to win while Nasser, breaking her own national record, dipped past Felix on the line. Before the competition records were as follows: The following records were set at the competition: The standard to qualify automatically for entry was 52.10. The event schedule, in local time, is as follows: The first round took place on 6 August in six heats as follows: The first three in each heat and the next six fastest qualified for the semifinals; the overall results were as follows: The semifinals took place on 7 August in three heats as follows: The first two in each heat and the next two fastest qualified for the final.
The overall results were as follows: The final took place on 9 August at 21:50. The results were as follows
The Indian Golf Union is the governing body of the sport of golf in India. The Royal Calcutta Golf Club, founded in 1829 managed all matters related to golf in India; the RCGC instituted several prestigious national golf tournaments. RCGC members decided to establish a new organization in 1955 to facilitate the growth of golf in India beyond the major metropolitan centers, to organize junior level tournaments and to send teams abroad for international events; the Indian Golf Union was established in December 1955 through an initiative undertaken by some senior golfers in Calcutta, supported by golfers in Delhi and Madras. All administrative powers of the RCGC were transferred to the IGU after the latter's establishment, including the right to conduct the Amateur Golf Championship of India; the RCGC, which had established the tournament donated the trophy to the IGU. A. D. Vickers served as the first President of the IGU, Major L. B. Hirst, the Secretary of the RCGC, became the IGU's first Secretary.
P. R. Surita was appointed as the first Honorary Secretary of the IGU in 1957; the IGU conducted the All India Amateur Golf Championship at the Delhi Golf club in 1958, the first time the tournament was held outside Calcutta. The IGU became affiliated with the International Golf Federation in 1958; the Union Ministry of Youth Affairs and Sports derecognized the IGU on 1 April 2018 for failure to hold elections and non-compliance with the National Sports Code
Constance Louise Cepko is a developmental biologist and geneticist in Harvard Medical School. She was born in Maryland, she received her B. S. in biochemistry and microbiology at the University of Maryland College of Computer and Natural Sciences. She completed her Ph. D. at MIT in 1982. As a postdoctoral research fellow she studied retroviral vectors that she used to study the development of the retina, she is the former head of the Biological and Biomedical Sciences graduate program at Harvard Medical School. Cepko was elected to the National Academy of Sciences in 2002. In 2011, she received the Bressler Prize in Vision Science awarded to achieved but underecognized scientists and clinicians in their field for her work in retina development. In 2019, she was selected by Brandeis University to give the Lisman Memorial Lecture in Vision Science
"The Promise" is a single by British-Irish girl group Girls Aloud, taken from their fifth studio album Out of Control. The song was written by his production team Xenomania. Influenced by Phil Spector and music of the 1960s, "The Promise" is an upbeat love song, written to announce Girls Aloud as "a supergroup." Upon its release in October 2008, the single became Girls Aloud's fourth number one on the UK Singles Chart, continuing their six-year streak of top ten hits. The music video is set at a drive-in movie theatre, where Girls Aloud watch themselves performing as a 1960s girl group on screen. "The Promise" was promoted through numerous live appearances, including a high-profile performance on The X Factor, served as the opening number of 2009's Out of Control Tour. The song was praised and appreciated by most contemporary music critics, who lauded the song despite it being unusual for Girls Aloud. "The Promise" was awarded Best British Single at the 2009 Brit Awards, the group's first win at the ceremony.
"The Promise" is an homage to 1960s music Phil Spector's famous Wall of Sound technique. It has been described as "a 1960s-influenced pop gem given a contemporary Girls Aloud twist". Peter Robinson, noted that the song "also hinted at a mellower side of 1970s New York disco, as if it were some sort of long soundtrack from a deleted scene in Saturday Night Fever." The song is written in A major with a time signature in common time and a tempo of 88 beats per minute. The vocal range spans from G♯3 to C5; the chord progression varies throughout the song, but chord include E, Am, C, A, Dm, D. "The Promise" is composed in the chorus serving as the song's only repeated section. A key change takes place before the song's final chorus. Both the radio edit and the album version of the song were edited from the full-length version for release; the radio edit has a cold ending. The album version of "The Promise" is around fifteen seconds longer, opting for fade; the backing track for the song was composed by two Australian musicians, Jason Resch and Kieran Jones, who would play the song for Brian Higgins.
Higgins and Miranda Cooper, afraid they'd "ruin the moment", waited weeks to write the song's lyrics. Higgins said, "We knew, the piece of music Girls Aloud needed to announce them as a supergroup in this country, so we knew we couldn't drop the ball melodically or lyrically." He elaborated, "Girls Aloud's records were more driving and pumping and innovative than they are now because that's not what's required "The Promise" was the sound of a big group, a group about to be huge. They needed the theme tune to the biggest girl group on the planet"; as soon as Girls Aloud heard the song, they decided it should be the first single from Out of Control. The group defied their record label's demands for another song to be released as the lead single, with the label claiming that the song would be "pop suicide", Nadine Coyle, who had just flown out from Los Angeles to do the Out of Control album photo shoot, threatened to not participate in the photo shoot at all and to fly back to Los Angeles until the label conceded to the group's demands.
The day before the song was due to be delivered to Fascination Records, the entire backing track was ditched and replayed. Described by the band's website as a "stormer of a track", "The Promise" premièred on Switch on BBC Radio 1 on 14 September 2008. During promotion, Girls Aloud announced dates for 2009's Out of Control Tour; the song was released as a physical CD single in Ireland on 15 October 2008, followed by a digital release in Ireland and the United Kingdom on 19 October. The physical CD was released in the UK a day afterwards, it was scheduled for release on 27 October 2008, but the release was inexplicably brought forward a week. The CD single featured a brand new b-side entitled "She", while an exclusive remix of "The Promise" by Jason Nevins was available as an iTunes exclusive. "The Promise" was remixed by Dave Audé. A limited edition picture disc was made available through Girls Aloud's official website, featuring a live performance of "Girl Overboard" as the b-side; the song was digitally released in Germany on 16 January 2009 and physically on 27 March."The Promise" is the opening track on Spongo, Fuzz & Jalapena and appears on the Brit Awards 2009 nominees album.
The Flip & Fill remix appears on Clubland 14. The song was released Digitally in New Zealand and was released in Australia, unusual for an Independent label from Fascination Records, the sub label from Polydor. "The Promise" received positive reviews from music critics. Although it was said to be "not what you'd expect from the gorgeous girl group," the song was praised for "its fantastic melody"; the song was described as "more interesting than the average retro-pop nugget." Digital Spy referred to the single as "a cute, wistful pop song" with "some nice Spectorish touches in the production and a lovely, classic-sounding melody" that "grows more persuasive with every listen." It was praised for its "heavenly harmonies and a chorus that glides in and scoops you up in its arms." Rebecca Nicholson of The Guardian felt the song was "disappointing" because "Girls Aloud's producers have always been capable of making exciting and innovative pop music". However, Caroline Sullivan of the same publication thought the song was an album highlight - "nothing hits the spot like the Phil Spector-like single The Promise, one of this year's better chart-toppers."
John Murphy of musicOMH.com argued that although "it may lack the innovation and attitude of some of their previous work, but if you're looking for sparkling and sheer bloody fun pop musi