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Charles Gounod

Charles-François Gounod known as Charles Gounod, was a French composer. He wrote twelve operas, he composed a large amount of church music, many songs, popular short pieces including his Ave Maria, Funeral March of a Marionette. Born in Paris into an artistic and musical family Gounod was a student at the Conservatoire de Paris and won France's most prestigious musical prize, the Prix de Rome, his studies took him to Italy and Prussia, where he met Felix Mendelssohn, whose advocacy of the music of Bach was an early influence on him. He was religious, after his return to Paris, he considered becoming a priest, he composed prolifically, writing church music, orchestral music and operas. Gounod's career was disrupted by the Franco-Prussian War, he moved to England with his family for refuge from the Prussian advance on Paris in 1870. After peace was restored in 1871 his family returned to Paris but he remained in London, living in the house of an amateur singer, Georgina Weldon, who became the controlling figure in his life.

After nearly three years he returned to his family in France. His absence, the appearance of younger French composers, meant that he was no longer at the forefront of French musical life, he died at his house in Saint-Cloud, near Paris at the age of 75. Few of Gounod's works remain in the regular international repertoire, but his influence on French composers was considerable. In his music there is a strand of romantic sentiment, continued in the operas of Jules Massenet and others. Claude Debussy wrote. Gounod was born on 17 June 1818 in the Latin Quarter of Paris, the second son of François Louis Gounod and his wife Victoire, née Lemachois. François was a art teacher; the elder son, Louis Urbain, became a successful architect. Shortly after Charles's birth François was appointed official artist to the Duc de Berry, a member of the royal family, the Gounods' home in Charles's early years was at the Palace of Versailles, where they were allotted an apartment. After François's death in 1823, Victoire supported the family by returning to her old occupation as a piano teacher.

The young Gounod attended a succession of schools in Paris. He was a capable scholar, excelling in Greek, his mother, the daughter of a magistrate, hoped Gounod would pursue a secure career as a lawyer, but his interests were in the arts: he was a talented painter and outstandingly musical. Early influences on him, in addition to his mother's musical instruction, were operas, seen at the Théâtre-Italien: Rossini's Otello and Mozart's Don Giovanni. Of a performance of the latter in 1835 he recalled, "I sat in one long rapture from the beginning of the opera to its close". In the same year he heard performances of Beethoven's Pastoral and Choral symphonies, which added "fresh impulse to my musical ardour". While still at school Gounod studied music with Anton Reicha –, a friend of Beethoven and was described by a contemporary as "the greatest teacher living" – and in 1836 he was admitted to the Conservatoire de Paris. There he studied composition with Fromental Halévy, Henri Berton, Jean Lesueur and Ferdinando Paer and piano with Pierre Zimmerman.

His various teachers made only a moderate impression on Gounod's musical development, but during his time at the Conservatoire he encountered Hector Berlioz. He said that Berlioz and his music were among the greatest emotional influences of his youth. In 1838, after Lesueur's death, some of his former students collaborated to compose a commemorative mass. Berlioz said of it, "The Agnus, for three solo voices with chorus, by M. Gounod, the youngest of Lesueur's pupils, is beautiful – beautiful. Everything in it is novel and distinguished – melody, harmony. In this piece M. Gounod has given proof that we may expect everything of him". In 1839, at his third attempt, Gounod won France's most prestigious musical prize, the Prix de Rome for composition, for his cantata Fernand. In doing so he was surpassing his father: François had taken the second prize in the Prix de Rome for painting in 1783; the Prix brought the winner two years' subsidised study at the French Institute in Rome and a further year in Austria and Germany.

For Gounod this not only launched his musical career, but made impressions on him both spiritually and musically that stayed with him for the rest of his life. In the view of the musicologist Timothy Flynn, the Prix, with its time in Italy and Germany, was "arguably the most significant event in career", he was fortunate that the director of the Institute was the painter Dominique Ingres, who had known François Gounod well and took his old friend's son under his wing. Among the artistic notables the composer met in Rome were the singer Pauline Viardot and the pianist Fanny Hensel, sister of Felix Mendelssohn. Viardot became of great help to Gounod in his career, through Hensel he got to know the music not only of her brother but of J. S. Bach, whose music, long neglected, Mendelssohn was enthusiastically reviving. Gounod was introduced

Dejan Majstorović

Dejan Majstorović is a Serbian professional basketball player, ranked world No. 2 in men's individual 3x3 rankings by the International Basketball Federation. He plays for Serbia men's national 3x3 team. Majstorović started to play at the FIBA 3X3 World Tour in Jun 2013, he plays for United Arab Emirates based team Novi Sad Al-Wahda. Majstorović represents Serbia in 3x3 basketball, he won two gold medals at the FIBA 3x3 World Championships, 2016 in China and 2017 in France and silver medal at the 2014 tournament in Russia. He was named MVP of the FIBA 3x3 World Cup 2017 and selected to the FIBA 3x3 World Cup 2017 Team of the Tournament. Majstorović played basketball for his hometown team Dunav in the Basketball League of Serbia B during 2015–16 season. FIBA 3x3 World Tour winner: 2 FIBA 3x3 World Cup MVP Award: 2017 FIBA 3x3 World Cup Team of the tournament: 2017 FIBA 3x3 World Tour Shoot-Out Contest winner: 2014 Majstorović 3x3 Planet Profile Eurobasket Dejan Majstorović Dejan Majstorović on Instagram

Solo (TV series)

Solo is a British sitcom that aired on BBC1 from 1981 to 1982. Starring Felicity Kendal, Solo was written by Carla Lane, a writer well known for having written the sitcom Butterflies. Kendal plays Gemma Palmer, a woman who changes her life after discovering her live-in boyfriend has had an affair. Following the success of the BBC sitcom The Good Life, each of its four main stars were given their own programme with them as the lead, Solo was Kendal's. Similar to Carla Lane's sitcom Butterflies, Solo still has humour; the programme was produced by Gareth Gwenlan. The theme music was the theme from Op. 107 no. 7 by Beethoven, a set of flute and piano variations on the Ukrainian folk song Minka. Felicity Kendal - Gemma Palmer Elspet Gray - Mrs. Elizabeth Palmer Sarah Bullen - Julia Stephen Moore - Danny Tyrrell Debbie Wheeler - Josie Stella Goodier - Bernadette Michael Howe - Sebastian Bale Belinda Mayne - Rosie David Rintoul - Rex Collins Peter Howitt - Raif When thirty-year-old Gemma Palmer discovers that her live-in boyfriend Danny Tyrrell has been having an affair with her best friend Gloria, she chucks him out her flat and quits her office job.

The incident makes Gemma realise that she was being treated as a doormat by her friends and colleagues, gets rid of all her old friends. She tries to change herself into a stronger person, but she is unable to change her core beliefs and remains emotional. Despite splitting from Danny, they remain friends, he wants them to get back together. Danny and Gemma live together towards the end of the series, but after one week she asks him to leave, saying she wants to be single again. Gemma's traditional-thinking mother is the widowed 55-year-old Mrs. Palmer, whose husband Arnold died after 30 years of marriage and three children, she would like Gemma to settle down and have children, like she did, but Gemma wants more out of life. During the series, she starts a relationship with the unseen Howard; the flat above Gemma's is occupied by two flat-sharing twenty-somethings. Josie is worrying and talking about her current boyfriend, becomes pregnant by the unseen Geoffrey. Bernadette meanwhile has little luck with men.

At the end of the series and Geoffrey get a bedsit together. The second series begins six months after Gemma told Danny to leave and she is now 31 years old. Living alone, she has a brief relationship with 19-year-old Raif before meeting Sebastian Bale, a philanderer who lives in the flat above her; the night they meet, they sleep together but after that, they become good friends and breakfasting together most mornings. Towards the end of the series, Sebastian begins to grow closer to Rosie, whom he met a party. Rosie soon separates from her partner, artist Rex Collins, he and Gemma start seeing each other; the series ends with Sebastian and Rosie engaged, with he having to reluctantly end the daily breakfast he enjoyed with Gemma. Gemma meanwhile appears to separate from Rex after arguing about her future domestic role if they got married. Gemma’s mother Mrs. Palmer, whose first name is revealed as Elizabeth, continues her relationship with the younger Howard, she continues to wish that Gemma would settle down, after one argument she and Gemma meet less to give Gemma her own space.

As the series ends, Mrs. Palmer goes through the menopause but Howard sticks by her, despite her worries. Solo aired for two series from 11 January 1981 to 17 October 1982, each of the thirteen episodes is thirty minutes long; when aired, the episodes were broadcast on Sunday evenings on BBC1. On 10 March 1989, seven years after the last episode aired, a Comic Relief special short episode, "The Last Waltz", aired on BBC1. Written by Carla Lane, it features characters from four of Lane's sitcoms; the two series of Solo were released in a boxset in Region 2 on 17 March 2003. General"Solo - Episode List". British TV Comedy. 2006. Retrieved 6 January 2008. Specific Solo on IMDb Solo at British Comedy Guide

Happy-Go-Luckies of Nature and Technology

Happy-Go-Luckies of Nature and Technology is a public artwork by German artist Guido Brink located on the University of Wisconsin–Milwaukee campus, near Milwaukee, United States. The sculpture is a steel structure, painted red, it was dedicated at UWM's Lapham Hall on October 23, 1992. Happy-Go-Luckies of Nature and Technology is a red kinetic sculpture consisting of three legs that become four abstracted heads resting on open arms. There is a propeller with three blades at the center of the sculpture. "Abstracted humanoid forms have geometric cut shapes around perimeter and geometric-shaped negative spaces. Head forms have three disks and one arrow mounted on stainless steel rods." The sculpture was funded by the Wisconsin Percent for Art program as part of Lapham Hall's new addition. It was commissioned by the University of Wisconsin-Milwaukee. Happy-Go-Luckies of Nature and Technology was installed by the artist on the south side of Lapham Hall and dedicated on October 1992. Guido Brink was born in Düsseldorf, Germany in 1913.

He came to New York as a teenager with the purpose of working at A. L. Brink Studios, his uncle's stained glass studio; the artist returned to Germany after three years in the United States, attended the State Academy of Fine Arts in Düsseldorf where he studied under Maximillian Clarenbach. "Brink vividly recalls his experience as a young art student compelled by Hitler, along with other art students, to view the famous 1937 exhibition of Degenerate Art, organized at the former Munich Architectural Institute. Contrary to Hitler's intentions, the young artists were excited by the so-called degenerate art and would in time develop new directions in their own work inspired by the modern art of the condemned artists." He was sent to Russia, where he fought on the front. The artist moved to New York City with his wife Ello in 1952. "The couple came to Milwaukee in 1953 for Brink to work as a stained glass window artist for the Conrad Schmitt Studios. They settled in Milwaukee. Brink was intrigued by three-dimensional works.

He thus turned to Milwaukee's craftspeople to translate his paintings into sculpture. For more than twenty years Brink was an artists in residence at Super Steel Products Corporation where he produced his humanoid sculptures. "These flat, angular profiles positioned in poetic angles are free-standing works in brightly painted metal. Sometimes referred to as "Techno-Spirits," these sculptures are the artist's signature works." Happy-Go-Luckies of Nature and Technology falls into this category

Charles Mordi

Charles N. O. Mordi is a Nigerian economist and former head of research at the Central Bank of Nigeria, he is an authority on the monetary economics of Nigeria. Mordi holds a BSc and M. Sc. both in economics, from the University of Lagos. His professional career began at the Central Bank of Nigeria in 1980, he proceeded to the IMF where he became a country economist on the economies of Namibia and Botswana. He was a member of IMF surveillance missions to Malawi and Lesotho. Mordi has conducted research on the demand for money in the Nigerian economy. Charles N. O. Mordi. "The Asymmetric Effects of Oil Price Shocks on Output and Prices in Nigeria using a Structural VAR Model". Central Bank of Nigeria Economic and Financial Review. 48: 1–32. Charles N. O. Mordi. "The Challenges of Monetary Union: Risks and pitfalls and how to respond to them". Central Bank of Nigeria Economic & Financial Review. 40: 56–69

Paul Ziff

Paul Ziff was an American artist and philosopher specializing in semantics and aesthetics. He studied art at Columbia University and New York's Master Institute of Arts in 1937–1939, was a practicing artist subsidized by the Solomon R. Guggenheim Foundation until 1942, he returned to New York in 1945 after serving in the United States Coast Guard to study art and philosophy at Cornell University, receiving his BFA in January 1949, his Ph. D in September 1951, he spent two years at the University of Michigan as a Research assistant, in the Language and Symbolism Project, as an Instructor, before taking a post as instructor at Harvard University, becoming an Assistant Professor, in 1954. He remained at Harvard until 1959. From 1959 until 1964 he was Assistant Professor at the University of Pennsylvania. Between 1962–1963 he studied in Rome on a Guggenheim Fellowship. From 1964–1968 he was a Professor at the University of Wisconsin–Madison, from 1968–1970 was a Professor at the University of Illinois at Chicago before settling at the University of North Carolina as William Rand Kenan Jr.

Professor from 1970 until 1988 The "Robert Paul Ziff Distinguished Professorship" was established at University of North Carolina in 1994. He died in 2003. Paul Ziff started publishing in graduate school in 1949, doing book reviews for The Philosophical Review, he kept on publishing for 41 years, his last article appearing in 1990 in a special issue of the European journal Dialectica. No doubt he was asked to contribute a paper to that issue since it was dedicated - both the issue and his paper - to the memory of his former teacher at Cornell, Max Black. Ziff published six books, 38 articles, five discussions, 14 reviews, his first four books were published by Cornell University Press. When he published with Cornell, it was one of the best university presses for philosophy, he moved to Reidel in the 1980s because their managing editor, Jaakko Hintikka, offered to accept two of his book-length manuscripts and publish them as consecutive volumes in the Synthese Library series. Ziff's articles appeared most in The Philosophical Review, The Journal of Philosophy and Foundations of Language.

He was invited to contribute to various conference proceedings and collections, fifteen of his articles and discussions appeared in these - some of them high-profile collections in their area at the time, including Katz and Fodor's The Structure of Language and Harman and Davidson’s Semantics of Natural Language. Most of Ziff’s articles show up in his books. One that did not, "About Proper Names" from Mind, was selected as one of the best philosophy articles of 1977 and reprinted in The Philosopher’s Annual. Ziff published in the areas of philosophy of language, philosophy of art, philosophy of mind, epistemology, but had articles in philosophy of religion and ethics, he had three about Wittgenstein’s views, one about his own take on philosophy. "Art and the'Object of Art'" was in Mind in 1951, takes apart the claim, made by prominent philosophers in the 1930s-1950s, that "the painting is not the work of art." This paper is reprinted in other places as well, notably William Elton's famous collection Aesthetics and Language, which put aestheticians on notice that the analytics had shown up to clean house.

"The Task of Defining a Work of Art" has been anthologized at least three times. It is the most sophisticated of the "you can’t define art" papers in the apply-Wittgenstein/ordinary language analysis years. "Reasons in Art Criticism" was in the two best aesthetics anthologies of the 60s, the ones edited by Kennick and by Margolis. It was in the Bobbs-Merrill Reprint Series in Philosophy, a selection of the most talked about articles in the 50s and 60s. George Dickie devoted a chapter of his book Evaluating Art to Ziff's view about reasons why a work of art is good, and, 30 years after it was first published, he said it "remains one of the few stimulating pieces by present-day philosophers on the theory of art evaluation." Many students know Paul Ziff from the philosophy of mind papers in Philosophic Turnings. "The Feelings of Robots", in which Ziff argued with his typical panache that robots could not have feelings, has attracted the most attention: viz. replies and inclusion on course reading lists.

It went from Analysis in 1959, along with replies by Jack and Ninian Smart, to Alan Ross Anderson’s volume Minds and Machines in 1964, part of Prentice Hall’s Contemporary Perspectives in Philosophy Series, the first "can machines think" collection. People who have written on this topic, such as Keith Gunderson, invariably bring up Ziff's short paper, it showed up in introductory anthologies as well. "About Behaviorism", another Analysis paper, discusses two bad arguments against philosophical behaviorism in order to show the difference between, as Vere Chappell put it, crude and refined behaviorism. Chappell included this paper in his anthology The Philosophy of Mind, which came out in 1962 and was the first collection of readings on that area of philosophy. "The Simplicity of Other Minds" comes from The Journal of Philosophy. It was an invited symposium paper at the American Philosophical Association’s Eastern Division meeting in 1965; the commentators were Alvin Plantinga. Ziff went at the other minds problem by taking it as a question about picking the best explanatory hypothesis.