1.
Charles Baudelaire
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Charles Pierre Baudelaire was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, Les Fleurs du mal, expresses the nature of beauty in modern. Baudelaires highly original style of prose-poetry influenced a generation of poets including Paul Verlaine, Arthur Rimbaud. He is credited with coining the term modernity to designate the fleeting, ephemeral experience of life in a metropolis. This obsessive idea is all a child of giant cities. Baudelaire is one of the innovators in French literature. He made Paris the subject of modern poetry and he would bring the citys details to life in the eyes and hearts of his readers. Baudelaire was born in Paris, France, on April 9,1821 and his father, François Baudelaire, a senior civil servant and amateur artist, was 34 years older than Baudelaires mother, Caroline. François died during Baudelaires childhood, in 1827, the following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts. He stated in a letter to her that, There was in my childhood a period of passionate love for you, Baudelaire regularly begged his mother for money throughout his career, often promising that a lucrative publishing contract or journalistic commission was just around the corner. Baudelaire was educated in Lyon, where he boarded, Baudelaire was erratic in his studies, at times diligent, at other times prone to idleness. Later, he attended the Lycée Louis-le-Grand in Paris, studying law and he began to frequent prostitutes and may have contracted gonorrhea and syphilis during this period. He also began to run up debts, mostly for clothes, upon gaining his degree in 1839, he told his brother I dont feel I have a vocation for anything. His stepfather had in mind a career in law or diplomacy and his mother later recalled, Oh, what grief. If Charles had let himself be guided by his stepfather, his career would have very different. He would not have left a name in literature, it is true and his stepfather sent him on a voyage to Calcutta, India, in 1841 in the hope of ending his dissolute habits. The trip provided strong impressions of the sea, sailing, and exotic ports, on returning to the taverns of Paris, he began to compose some of the poems of Les Fleurs du Mal. At 21, he received an inheritance but squandered much of it within a few years
2.
George Dillon (poet)
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George Hill Dillon was an American editor and poet. He was born in Jacksonville, Florida but he spent his childhood in Kentucky and he graduated from The University of Chicago in 1927 with a degree in English. He was the editor for Poetry magazine from 1937 to 1949, viewing, from the top of the Eiffel Tower, the German Army being driven from Paris, he signaled, in Morse, Paris is Free. Though included in contemporary anthologies, Dillons works are largely out of print. Today he is perhaps best known as one of the lovers of Edna St. Vincent Millay, whom he met in 1928 at The University of Chicago. Dillon was the inspiration for Millays epic 52-sonnet sequence Fatal Interview, Vincent Millay, Harper & Brothers,1936 Three plays of Racine. University of Chicago Press,1961 Author and Book Info. com History of Poetry Magazine
3.
Edna St. Vincent Millay
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Edna St. Vincent Millay was an American poet and playwright. She received the Pulitzer Prize for Poetry in 1923, the woman to win the award for poetry. She used the pseudonym Nancy Boyd for her prose work, the poet Richard Wilbur asserted, She wrote some of the best sonnets of the century. Millay was born in Rockland, Maine, to Cora Lounella Buzelle, a nurse, and Henry Tolman Millay and her middle name derives from St. Vincents Hospital in New York, where her uncles life had been saved just before her birth. The familys house was between the mountains and the sea where baskets of apples and drying herbs on the porch mingled their scents with those of the pine woods. In 1904, Cora officially divorced Millays father for financial irresponsibility, Cora and her three daughters, Edna, Norma Lounella, and Kathleen Kalloch, moved from town to town, living in poverty. Cora travelled with a full of classic literature, including Shakespeare and Milton. The family settled in a house on the property of Coras aunt in Camden, Maine. The three sisters were independent and spoke their minds, which did not always sit well with the authority figures in their lives, Millays grade school principal, offended by her frank attitudes, refused to call her Vincent. Instead, he called her by any name that started with a V. At Camden High School, Millay began developing her talents, starting at the schools literary magazine. While at school, she had relationships with women, including Edith Wynne Matthison. Millay entered Vassar College in 1913 when she was 21 years old and she had relationships with several fellow students during her time there and kept scrapbooks including drafts of plays written during the period. After her graduation from Vassar in 1917, Millay moved to New York City and she lived in a number of places in Greenwich Village, including a house owned by the Cherry Lane Theatre and 75½ Bedford Street, renowned for being the narrowest in New York City. The critic Floyd Dell wrote that the red-haired and beautiful Millay was a young woman, with a brand-new pair of dancing slippers. Millay described her life in New York as very, very poor, while establishing her career as a poet, Millay initially worked with the Provincetown Players on Macdougal Street and the Theatre Guild. In 1924 Millay and others founded the Cherry Lane Theater to continue the staging of experimental drama, magazine articles under a pseudonym also helped support her early days in the village. Millay’s fame began in 1912 when she entered her poem Renascence in a poetry contest in The Lyric Year, the poem was widely considered the best submission and when it was ultimately awarded fourth place, it created a scandal which brought Millay publicity
4.
Stefan George
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Stefan Anton George was a German poet, editor, and translator. George was born in 1868 in Büdesheim, today part of Bingen in the Grand Duchy of Hesse and his father, also Stephan George, was an inn keeper and wine merchant. His early travels also included Vienna, where in 1891 he met, for the first time and he began to publish poetry in the 1890s, while in his twenties. George founded and edited an important literary magazine called Blätter für die Kunst and he was also at the center of an influential literary and academic circle known as the George-Kreis, which included many of the leading young writers of the day. In addition to sharing cultural interests, the circle reflected mystical and political themes, George knew and befriended the Bohemian Countess of Schwabing, Fanny zu Reventlow, who sometimes satirized the circle for its melodramatic actions and views. George and his writings were identified with the Conservative Revolutionary movement and he was a homosexual, yet exhorted his young friends to lead a celibate life like his own. In 1914 at the start of the war he foretold a sad end for Germany, the outcome of the war saw the realization of his worst fears. In 1933 after the Nazi takeover Joseph Goebbels offered him the presidency of a new Academy for the arts and he also stayed away from celebrations prepared for his 65th birthday. Instead he travelled to Switzerland, where he died near Locarno, after his death, his body was interred before a delegation from the National Socialist government could attend the ceremony. George was an important bridge between the 19th century and German modernism, even though he was a critic of the then modern era. He experimented with various poetic metres, punctuation, obscure allusions, the relevance of Georges sexuality to his poetic work has been discussed by contemporary critics, such as Thomas Karlauf and Marita Keilson-Lauritz. Algabal is one of Georges best remembered collections of poetry, if one of his strangest. George was also an important translator, he translated Dante, Shakespeare and Baudelaire into German, George was awarded the Goethe Prize in 1927. Georges late and seminal work, Das neue Reich, was published in 1928 and he dedicated the work, including the Geheimes Deutschland written in 1922, to Berthold Schenk Graf von Stauffenberg, who, in 1944, took part in the 20 July plot to assassinate Adolf Hitler. It outlines a new form of society ruled by hierarchical spiritual aristocracy, George rejected any attempts to use it for mundane political purposes, especially National Socialism. There was something magnetic about him and his poetry emphasized self-sacrifice, heroism and power, and he thus gained popularity in National Socialist circles. The group of writers and admirers that formed around him were known as the Georgekreis, although many National Socialists claimed George as an important influence, George himself was aloof from such associations and did not get involved in politics. Shortly after the Nazi seizure of power, George left Germany for Switzerland where he died the same year, although some members of the circle were explicitly anti-semitic, it also included Jewish writers such as Gundolf, the historian Ernst Kantorowicz, and the Zionist Karl Wolfskehl
5.
Carlos Schwabe
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Carlos Schwabe was a Swiss Symbolist painter and printmaker. Schwabe was born in Altona, Holstein, and moved to Geneva, Switzerland at an early age, after studying art in Geneva, he relocated to Paris as a young man, where he worked as a wallpaper designer, and he became acquainted with Symbolist artists. His paintings typically featured mythological and allegorical themes, as a literary artist. He illustrated the novel Le rêve by Émile Zola, Charles Baudelaires Les Fleurs du mal, Maurice Maeterlincks Pelléas et Mélisande, Schwabe lived in France for the rest of his life and died in Avon, Seine-et-Marne in 1926. Two distinct styles are recognized in Schwabes art, before 1900, Schwabes paintings were more individual and experimental, indicating the idealism of the Symbolists, conventional, allegorical scenes from nature became more prominent in his later work. Images of women were important, sometimes representing death and suffering, other times creativity and his first wife was his model for angels and virgins, and Death in Death and the Grave Digger resembles her. The death of a friend in 1894, when Schwabe was 28 years old. Schwabe created a colour lithograph for the 1892 Salon de la Rose + Croix, Schwabes poster depicted in shades of blue an initiation rite—three women ascending toward spiritual salvation—and is an exemplar of Rosicrucian art. Jumeau-Lafond, Jean-David, Carlos Schwabe, symboliste et visionnaire, Paris, a Sourcebook of Gauguins Symbolist Followers. Jumeau-Lafond, Jean-David, Painters of the soul, Tampere, Museum of Art, media related to Carlos Schwabe at Wikimedia Commons
6.
Lyric poetry
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Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term derives from a form of Ancient Greek literature, the lyric, the term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry, lyrical, dramatic and epic. Much lyric poetry depends on regular meter based either on number of syllables or on stress, the most common meters are as follows, Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable. Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable, in English, this metre is found almost entirely in lyric poetry. Pyrrhic – Two unstressed syllables Anapestic – three syllables, with the first two short or unstressed and the last long or stressed, dactylic – three syllables, with the first one long or stressed and the other two short or unstressed. Spondaic – two syllables, with two successive long or stressed syllables, some forms have a combination of meters, often using a different meter for the refrain. For the ancient Greeks, lyric poetry had a technical meaning, verse that was accompanied by a lyre, cithara. Because such works were sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays, the writer of trochaic and iambic verses, the writer of elegies, the scholars of Hellenistic Alexandria created a canon of nine lyric poets deemed especially worthy of critical study. These archaic and classical musician-poets included Sappho, Alcaeus, Anacreon, archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms to a triad, including strophe, antistrophe, among the major extant Roman poets of the classical period, only Catullus and Horace wrote lyric poetry, which however was no longer meant to be sung but instead read or recited. What remained were the forms, the meters of the Greeks adapted to Latin. Catullus was influenced by both archaic and Hellenistic Greek verse and belonged to a group of Roman poets called the Neoteroi who spurned epic poetry following the lead of Callimachus, instead, they composed brief, highly polished poems in various thematic and metrical genres. The varying forms of the new Chu ci provided more rhythm, originating in 10th-century Persian, a ghazal is a poetic form consisting of couplets that share a rhyme and a refrain. Formally, it consists of a short lyric composed in a meter with a single rhyme throughout. Notable authors include Hafiz, Amir Khusro, Auhadi of Maragheh, Alisher Navoi, Obeid e zakani, Khaqani Shirvani, Anvari, Farid al-Din Attar, Omar Khayyam, and Rudaki. The ghazal was introduced to European poetry in the early 19th century by the Germans Schlegel, Von Hammer-Purgstall, and Goethe, lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poems particular structure, function, or theme might all vary, the lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past
7.
Auguste Poulet-Malassis
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Paul Emmanuel Auguste Poulet-Malassis was a French printer and publisher who lived and worked in Paris. He was also a friend and the printer-publisher of Charles Baudelaire. In his short six years of printing and publishing, Auguste Poulet-Malassis released very few books, the books were always beautifully bound and printed on fine paper with illustrations. Poulet-Malassis printed and published the works of Baudelaire famously, but also printed works that would have been safer and these included the likes of Théodore Faullain de Banville, Théophile Gautier, Charles Augustin Sainte-Beuve and Champfleury. Together with Baudelaire they worked themselves further and further into debt until Poulet-Malassis was imprisoned for debts in November 1862. This debt would have less of a problem, if it were not for the scarcity of sales. It could not have helped being involved with the scandal and outrage which Les Fleurs du mal generated and he printed the first number of editions and the book of Baudelaires poems was subsequently banned - after a pigheaded and uncharitable court case - for obscenities. Also, at the instigation of Baudelaire, the opened a ground floor shop in the centre of Paris. He never was famous for his business sense, the shop never did make a profit and was just another negative in the buildup to his downfall. Works by Auguste Poulet-Malassis at Project Gutenberg Works by or about Auguste Poulet-Malassis at Internet Archive Auguste Poulet-Malassis on data. bnf. fr
8.
Wikisource
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Wikisource is an online digital library of free content textual sources on a wiki, operated by the Wikimedia Foundation. Wikisource is the name of the project as a whole and the name for each instance of that project, the projects aims are to host all forms of free text, in many languages, and translations. Originally conceived as an archive to store useful or important historical texts, the project officially began in November 24,2003 under the name Project Sourceberg. The name Wikisource was adopted later that year and it received its own domain name seven months later, the project has come under criticism for lack of reliability but it is also cited by organisations such as the National Archives and Records Administration. The project holds works that are either in the domain or freely licensed, professionally published works or historical source documents, not vanity products. Verification was initially made offline, or by trusting the reliability of digital libraries. Now works are supported by online scans via the ProofreadPage extension, some individual Wikisources, each representing a specific language, now only allow works backed up with scans. While the bulk of its collection are texts, Wikisource as a whole hosts other media, some Wikisources allow user-generated annotations, subject to the specific policies of the Wikisource in question. Wikisources early history included several changes of name and location, the original concept for Wikisource was as storage for useful or important historical texts. These texts were intended to support Wikipedia articles, by providing evidence and original source texts. The collection was focused on important historical and cultural material. The project was originally called Project Sourceberg during its planning stages, in 2001, there was a dispute on Wikipedia regarding the addition of primary source material, leading to edit wars over their inclusion or deletion. Project Sourceberg was suggested as a solution to this, perhaps Project Sourceberg can mainly work as an interface for easily linking from Wikipedia to a Project Gutenberg file, and as an interface for people to easily submit new work to PG. Wed want to complement Project Gutenberg--how, exactly, and Jimmy Wales adding like Larry, Im interested that we think it over to see what we can add to Project Gutenberg. It seems unlikely that primary sources should in general be editable by anyone -- I mean, Shakespeare is Shakespeare, unlike our commentary on his work, the project began its activity at ps. wikipedia. org. The contributors understood the PS subdomain to mean either primary sources or Project Sourceberg, however, this resulted in Project Sourceberg occupying the subdomain of the Pashto Wikipedia. A vote on the name changed it to Wikisource on December 6,2003. Despite the change in name, the project did not move to its permanent URL until July 23,2004, since Wikisource was initially called Project Sourceberg, its first logo was a picture of an iceberg
9.
Poetry
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Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotles Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on such as repetition, verse form and rhyme. From the mid-20th century, poetry has sometimes been more generally regarded as a creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of such as metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between verses, in their patterns of rhyme or rhythm. Some poetry types are specific to cultures and genres and respond to characteristics of the language in which the poet writes. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, in todays increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages. Some scholars believe that the art of poetry may predate literacy, others, however, suggest that poetry did not necessarily predate writing. The oldest surviving poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer. An example of Egyptian epic poetry is The Story of Sinuhe, other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in poetics—the study of the aesthetics of poetry. Some ancient societies, such as Chinas through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance, Classical thinkers employed classification as a way to define and assess the quality of poetry. Later aestheticians identified three major genres, epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry, Aristotles work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. English Romantic poet John Keats termed this escape from logic Negative Capability and this romantic approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic
10.
Symbolism (arts)
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Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
11.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
12.
Decadence
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By extension, it may refer to a decline in art, literature, science, technology, and work ethics, or to self-indulgent behaviour. The word originated in Medieval Latin, appeared in 16th-century French and it bore the neutral meaning of decay, decrease, or decline until the late 19th century, when the influence of new theories of social degeneration contributed to its modern meaning. In literature, the Decadent movement—late nineteenth century fin de siècle writers who were associated with Symbolism or the Aesthetic movement—was first given its name by hostile critics, later it was triumphantly adopted by some of the writers themselves. Some of these writers were influenced by the tradition of the Gothic novel and by the poetry, Decadence was the name given to a number of late nineteenth-century writers who valued artifice over the earlier Romantics naïve view of nature. Some of them adopted the name, referring to themselves as Decadents. For the most part, they were influenced by the tradition of the Gothic novel and by the poetry and fiction of Edgar Allan Poe, and were associated with Symbolism and/or Aestheticism. A later generation of Romantics, such as Théophile Gautier and Charles Baudelaire took the word as a badge of pride, in the 1880s a group of French writers referred to themselves as Decadents. The classic novel from this group is Joris-Karl Huysmans Against Nature, often seen as the first great decadent work, in Britain and Ireland the leading figure associated with the Decadent movement was Irish writer, Oscar Wilde. Other significant figures include Arthur Symons, Aubrey Beardsley and Ernest Dowson, the Symbolist movement has frequently been confused with the Decadent movement. Several young writers were referred to in the press as decadent in the mid-1880s. Jean Moréas manifesto was largely a response to this polemic, a few of these writers embraced the term while most avoided it. Although the aesthetics of Symbolism and Decadence can be seen as overlapping in some areas and this fertile culture of Berlin extended onwards until Adolf Hitler rose to power in early 1933 and stamped out any and all resistance to the Nazi Party. Likewise, the Nazis decried Berlin as a haven of vice, a new culture developed in and around Berlin, including architecture and design, a variety of literature, film, painting, and music, criticism, philosophy/psychology, and fashion. This culture was considered to be decadent, and socially, morally. Film was making huge technical and artistic strides during this period of time in Berlin, talkies, the Sound films, were also becoming more popular with the general public across Europe, and Berlin was producing very many of them. Berlin in the 20s also proved to be a haven for English writers such as W. H, spenders semi-autobiographical novel The Temple evokes the attitude and atmosphere of the place at the time. According to Vladimir Lenin, capitalism had reached its highest stage, one who directly opposed the idea of decadence as expressed by Lenin was José Ortega y Gasset in The Revolt of the Masses. He argued that the man had the notion of material progress
13.
Satan
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Satan is a figure appearing in the texts of the Abrahamic religions who brings evil and temptation, and is known as the deceiver who leads humanity astray. In the Hebrew Bible and the New Testament, Satan is primarily an accuser and adversary, a malevolent entity, also called the devil. Although Satan is generally viewed as having negative characteristics, some groups have different beliefs. In Theistic Satanism, Satan is considered a deity who is either worshipped or revered, in LaVeyan Satanism, Satan is a symbol of virtuous characteristics and liberty. The original Hebrew term satan is a noun from a verb meaning primarily to obstruct, oppose, as it is found in Numbers 22,22,1 Samuel 29,4, ha-Satan is traditionally translated as the accuser or the adversary. The definite article ha- is used to show that this is a title bestowed on a being, thus, this being would be referred to as the satan. Ha-Satan with the definite article occurs 13 times in the Masoretic Text, in two books of the Hebrew Bible, Job ch. 1–2 and Zechariah 3, 1–2. 32 behold, I went out to thee,1 Samuel 29,4 The Philistines say, lest he be an adversary against us 2 Samuel 19,22 David says. 1 Kings 5,4 Solomon writes to Hiram, there is neither adversary nor evil occurrent, when the angels present themselves to God, Satan comes as well. God informs Satan about Jobs blameless, morally upright character, God therefore gives Satan permission to test Job. In the end, Job remains faithful and righteous, and there is the implication that Satan is shamed in his defeat, some scholars see contact with religious dualism in Babylon, and early Zoroastrianism in particular, as influencing Second Temple Judaism, and consequently early Christianity. Subsequent development of Satan as a deceiver has parallels with the spirit in Zoroastrianism, known as the Lie. In the Septuagint, the Hebrew ha-Satan in Job and Zechariah is translated by the Greek word diabolos, the Book of Enoch contains references to Satariel, thought also to be Sataniel and Satanel. The similar spellings mirror that of his angelic brethren Michael, Raphael, Uriel, the Second Book of Enoch, also called the Slavonic Book of Enoch, contains references to a Watcher called Satanael. It is a text of an uncertain date and unknown authorship. The text describes Satanael as being the prince of the Grigori who was cast out of heaven, a similar story is found in the book of 1 Enoch, however, in that book, the leader of the Grigori is called Semjâzâ. In the Book of Wisdom, the devil is represented as the being who brought death into the world, in the Book of Jubilees, Mastema induces God to test Abraham through the sacrifice of Isaac. He is identical to Satan in both name and nature, in Judaism, the term satan used since its earliest biblical contexts to refer to a human opponent
14.
Hermes Trismegistus
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Hermes Trismegistus is the purported author of the Hermetic Corpus, a series of sacred texts that are the basis of Hermeticism. Hermes Trismegistus may be a representation of the combination of the Greek god Hermes. Greeks in Hellenistic Egypt recognized the equivalence of Hermes and Thoth, consequently, the two gods were worshiped as one, in what had been the Temple of Thoth in Khemnu, which the Greeks called Hermopolis. Both Hermes and Thoth were gods of writing and of magic in their respective cultures, Hermes, the Greek god of interpretive communication, was combined with Thoth, the Egyptian god of wisdom, to become the patron of astrology and alchemy. In addition, both gods were psychopomps, guiding souls to the afterlife, the Egyptian priest and polymath Imhotep had been deified long after his death and therefore assimilated to Thoth in the classical and Hellenistic period. This interpretation of poorly-understood Mycenaean material is disputed, since Hermes Trismegistus is not referenced in any of the sources before he emerges in Hellenistic Egypt. The majority of Greeks, and later Romans, did not accept Hermes Trismegistus in the place of Hermes, the two gods were regarded as distinct. Both of these early references in Cicero corroborate the view that Thrice-Great Hermes originated in Hellenistic Egypt through syncretism between Greek and Egyptian gods. In a parallel tradition, Hermetic philosophy rationalized and systematized religious cult practices and this latter tradition has led to the confusion of Hermeticism with Gnosticism, which was developing contemporaneously. As a divine source of wisdom, Hermes Trismegistus was credited with tens of thousands of highly esteemed writings, platos Timaeus and Critias state that in the temple of Neith at Sais there were secret halls containing historical records which had been kept for 9,000 years. Clement of Alexandria was under the impression that the Egyptians had forty-two sacred writings by Hermes, the Neo-Platonic writers took up Clements forty-two essential texts. The Hermetica is a category of papyri containing spells and initiatory induction procedures, in other papyri, there are recipes for constructing such images and animating them, such as when images are to be fashioned hollow so as to enclose a magic name inscribed on gold leaf. Fowden asserts that the first datable occurrences of the epithet thrice great are in the Legatio of Athenagoras of Athens and in a fragment from Philo of Byblos, circa AD 64–141. However, in a work, Copenhaver reports that this epithet is first found in the minutes of a meeting of the council of the Ibis cult. Hart explains that the epithet is derived from an epithet of Thoth found at the Temple of Esna, Thoth the great, the great, the great. Some authorities regard him as a contemporary of Abraham, and some Jewish traditions claim that Abraham acquired a portion of his knowledge from Hermes himself. They believed in a prisca theologia, the doctrine that a single, true theology exists and it was given by God to man in antiquity and passed through a series of prophets, which included Zoroaster and Plato. In order to demonstrate the verity of the prisca theologia, Christians appropriated the Hermetic teachings for their own purposes and it was Marsilio Ficino who stated that they called him Trismegistus because he was the greatest philosopher and the greatest priest and the greatest king
15.
Haussmann's renovation of Paris
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Haussmanns renovation of Paris was a vast public works program commissioned by Emperor Napoléon III and directed by his prefect of the Seine, Georges-Eugène Haussmann, between 1853 and 1870. Haussmanns work met with opposition, and he was finally dismissed by Napoleon III in 1870. The street plan and distinctive appearance of the center of Paris today is largely the result of Haussmanns renovation, in the middle of the nineteenth century, the center of Paris was overcrowded, dark, dangerous, and unhealthy. Paris is a place where plants shrivel and perish. The street plan on the Île de la Cité and in the called the quartier des Arcis. In 1840, a doctor described one building in the Île de la Cité where a single room five meters square on the floor was occupied by twenty-three people. In these conditions, disease spread very quickly, cholera epidemics ravaged the city in 1832 and 1848. In the epidemic of 1848, five percent of the inhabitants of two neighborhoods died. Traffic circulation was another major problem, the widest streets in these two neighborhoods were only five meters wide, the narrowest were only one or two meters wide. Wagons, carriages and carts could barely move through the streets, the residents of these neighborhoods had taken up paving stones and blocked the narrow streets with barricades, and had to be dislodged by the army. He wrote that the facade of the Louvre was admirable, but it was hidden behind buildings worthy of the Goths and he protested that the government invested in futilities rather than investing in public works. Moreau, the architect in chief of Paris, suggested paving and developing the embankments of the Seine, building monumental squares, clearing the space around landmarks, Napoleon Bonaparte also had ambitious plans for rebuilding the city. He began work on a canal to bring water to the city and began work on the Rue de Rivoli, beginning at the Place de la Concorde. The medieval core and plan of Paris changed little during the restoration of the monarchy through the reign of King Louis-Philippe and it was the Paris of the narrow and winding streets and foul sewers described in the novels of Balzac and Victor Hugo. In 1833, the new prefect of the Seine under Louis-Philippe, Claude-Philibert Barthelot, comte de Rambuteau and he constructed new sewers, though they still emptied directly into the Seine, and a better water supply system. He constructed 180 kilometres of sidewalks, a new street, rue Lobau, a new bridge over the Seine, the pont Louis-Philippe, and cleared an open space around the Hôtel de Ville. He built a new street the length of the Île de la Cité, to access the central market at Les Halles, he built a wide new street, and began work on the Boulevard Malesherbes. On the Left Bank, he built a new street, rue Soufflot, which cleared space around the Panthéon, Rambuteau wanted to do more, but his budget and powers were limited
16.
Second French Empire
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The Second French Empire was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. The structure of the French government during the Second Empire was little changed from the First, but Emperor Napoleon III stressed his own imperial role as the foundation of the government. He had so often, while in prison or in exile and his answer was to organize a system of government based on the principles of the Napoleonic Idea. This meant that the emperor, the elect of the people as the representative of the democracy, ruled supreme. He himself drew power and legitimacy from his role as representative of the great Napoleon I of France, the anti-parliamentary French Constitution of 1852 instituted by Napoleon III on 14 January 1852, was largely a repetition of that of 1848. All executive power was entrusted to the emperor, who, as head of state, was responsible to the people. The people of the Empire, lacking democratic rights, were to rely on the benevolence of the rather than on the benevolence of politicians. He was to nominate the members of the council of state, whose duty it was to prepare the laws, and of the senate, a body permanently established as a constituent part of the empire. One innovation was made, namely, that the Legislative Body was elected by universal suffrage and this new political change was rapidly followed by the same consequence as had attended that of Brumaire. The press was subjected to a system of cautionnements and avertissements, in order to counteract the opposition of individuals, a surveillance of suspects was instituted. In the same way public instruction was strictly supervised, the teaching of philosophy was suppressed in the lycées, for seven years France had no democratic life. The Empire governed by a series of plebiscites, up to 1857 the Opposition did not exist, from then till 1860 it was reduced to five members, Darimon, Émile Ollivier, Hénon, Jules Favre and Ernest Picard. On 2 December 1851 Louis-Napoléon Bonaparte, who had been elected President of the Republic and he thus became sole ruler of France, and re-established universal suffrage, previously abolished by the Assembly. His decisions and the extension of his mandate for 10 years were popularly endorsed by a referendum later that month that attracted an implausible 92 percent support. A new constitution was enacted in January 1852 which made Louis-Napoléon president for 10 years, however, he was not content with merely being an authoritarian president. Almost as soon as he signed the new document into law, in response to officially-inspired requests for the return of the empire, the Senate scheduled a second referendum in November, which passed with 97 percent support. As with the December 1851 referendum, most of the yes votes were manufactured out of thin air, the empire was formally re-established on 2 December 1852, and the Prince-President became Napoléon III, Emperor of the French. The constitution concentrated so much power in his hands that the only changes were to replace the word president with the word emperor
17.
Franc
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The franc is the name of several currency units. The French franc was the currency of France until the euro was adopted in 1999. The Swiss franc is a world currency today due to the prominence of Swiss financial institutions. The name is said to derive from the Latin inscription francorum rex used on early French coins and until the 18th century, or from the French franc, the countries that use francs include Switzerland, Liechtenstein, and most of Francophone Africa. Before the introduction of the euro, francs were used in France, Belgium and Luxembourg, while Andorra. The franc was used within the French Empires colonies, including Algeria and Cambodia. The franc is sometimes italianised or hispanicised as the franco, for instance in Luccan franco, one franc is typically divided into 100 centimes. It was equivalent to one livre tournois, the French franc was the name of a gold coin issued in France from 1360 until 1380, then a silver coin issued between 1575 and 1641. The franc finally became the currency from 1795 until 1999. Though abolished as a coin by Louis XIII in 1641 in favor of the gold louis and silver écu. The franc was also minted for many of the former French colonies, such as Morocco, Algeria, French West Africa, today, after independence, many of these countries continue to use the franc as their standard denomination. The value of the French franc was locked to the euro at 1 euro =6, fourteen African countries use the franc CFA, originally worth 1.7 French francs and then from 1948,2 francs but after January 1994 worth only 0.01 French franc. Therefore, from January 1999,1 CFA franc is equivalent to €0.00152449, a separate circulates in Frances Pacific territories, worth €0.0084. In 1981, The Comoros established an arrangement with the French government similar to that of the CFA franc, originally,50 Comorian francs were worth 1 French franc. In January 1994, the rate was changed to 75 Comorian francs to the French franc, since 1999, the currency has been pegged to the euro. The conquest of most of western Europe by Revolutionary and Napoleonic France led to the wide circulation. Newly unified Italy adopted the lira on a basis in 1862. In the 1870s the gold value was made the fixed standard, the 1921 monetary union of Belgium and Luxembourg survived, however, forming the basis for full economic union in 1932
18.
Lesbos
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Lesbos, sometimes referred to as Mytilini after its capital, is a Greek island located in the northeastern Aegean Sea. It has an area of 1,632.819 square kilometres with 320 kilometres of coastline and it is separated from Turkey by the narrow Mytilini Strait and in late Palaeolithic/Mesolithic times was joined to the Anatolian mainland before the end of the last glacial period. Lesbos is a regional unit of the North Aegean region. The others are Chios, Ikaria, Lemnos, and Samos, the total number of islands governed by the North Aegean are nine, Lesbos, Chios, Psara, Oinousses, Ikaria, Fournoi Korseon, Lemnos, Agios Efstratios and Samos. The capital of the North Aegean Region is Mytilene, the population of Lesbos is approximately 86,000, a third of whom live in its capital, Mytilene, in the southeastern part of the island. The remaining population is distributed in small towns and villages, the largest are Plomari, Kalloni, the Gera Villages, Agiassos, Eresos, and Molyvos. In fact the archaeological and linguistic record may indicate a late Iron Age arrival of Greek settlers although references in Late Bronze Age Hittite archives indicate a likely Greek presence then, the name Mytilene itself seems to be of Hittite origin. According to Homers Iliad, however, Lesbos was part of the kingdom of Priam in what is now Turkey, much work remains to be done to determine just what was happening and when. In the Middle Ages, it was under Byzantine and then Genoese rule, Lesbos was conquered by the Ottoman Empire in 1462. The Ottomans then ruled the island until the First Balkan War in 1912, according to Classical Greek mythology, Lesbos was the patron god of the island. Macar was reputedly the first king whose many daughters bequeathed their names to some of the present larger towns, in Classical myth his sister, Canace, was killed to have him made king. The place names with female origins are likely to be much earlier settlements named after local goddesses, homer refers to the island as Macaros edos, the seat of Macar. The abundant grey pottery ware found on the island and the worship of Cybele, the island was governed by an oligarchy in archaic times, followed by quasi-democracy in classical times. For a short period it was a member of the Athenian confederacy, its apostasy from which is recounted by Thucydides in the Mytilenian Debate, in Hellenistic times, the island belonged to various Successor kingdoms until 79 BC when it passed into Roman hands. During the Middle Ages it belonged to the Byzantine Empire, in 802, the Byzantine Empress Irene was exiled to Lesbos after her deposition, and died there. The island served as a base for the fleet of the rebel Thomas the Slav in the early 820s. In the 10th century, it was part of the theme of the Aegean Sea, in the 1090s, the island was briefly occupied by the Turkish emir Tzachas, but he was unable to capture Methymna, which resisted throughout. In the 12th century, the became a frequent target for plundering raids by the Republic of Venice
19.
Lethe
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In Greek mythology, Lethe /ˈliːθi/ was one of the five rivers of the underworld of Hades. Also known as the Ameles potamos, the Lethe flowed around the cave of Hypnos and through the Underworld, Lethe was also the name of the Greek spirit of forgetfulness and oblivion, with whom the river was often identified. In Classical Greek, the word literally means oblivion, forgetfulness. It is related to the Greek word for truth, aletheia, Lethe, the river of forgetfulness, was one of the five rivers of the Greek underworld, the other four being Styx, Acheron, Cocytus and Phlegethon. According to Statius, it bordered Elysium, the resting place of the virtuous. Ovid wrote that the flowed through the cave of Hypnos, god of sleep. The shades of the dead were required to drink the waters of the Lethe in order to forget their earthly life, in the Aeneid, Virgil writes that it is only when the dead have had their memories erased by the Lethe that they may be reincarnated. Lethe was also the name of the personification of forgetfulness and oblivion, some ancient Greeks believed that souls were made to drink from the river before being reincarnated, so they would not remember their past lives. The Myth of Er in Book X of Platos Republic tells of the dead arriving at a waste called the plain of Lethe. Of this they were all obliged to drink a certain quantity, Plato wrote, and those who were not saved by wisdom drank more than was necessary, and each one as he drank forgot all things. A few mystery religions taught the existence of river, the Mnemosyne. Initiates were taught that they would receive a choice of rivers to drink from after death and these two rivers are attested in several verse inscriptions on gold plates dating to the 4th century BC and onward, found at Thurii in Southern Italy and elsewhere throughout the Greek world. There were rivers of Lethe and Mnemosyne at the shrine of Trophonius in Boeotia. More recently, Martin Heidegger used lēthē to symbolize the concealment of Being or forgetting of Being that he saw as a problem of modern philosophy. Examples are found in his books on Nietzsche and on Parmenides, many ancient Greek poems mention or describe Lethe. The river is referenced in more recent novels and poetry. Simonides of Ceos, an ancient Greek lyrical poet, references Lethe in the fragment of one of his poems. Publius Ovidius Naso, known as Ovid, in his description of the Underworld in his Metamorphoses, includes a description of Lethe as a stream that puts people to sleep
20.
Victor Hugo
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Victor Marie Hugo was a French poet, novelist, and dramatist of the Romantic movement. He is considered one of the greatest and best-known French writers, outside France, his best-known works are the novels Les Misérables,1862, and The Hunchback of Notre-Dame,1831. In France, Hugo is known primarily for his collections, such as Les Contemplations. He produced more than 4,000 drawings and also campaigned for causes such as the abolition of capital punishment. He is buried in the Panthéon in Paris and his legacy has been honoured in many ways, including his portrait being placed on French currency. Victor Hugo was the son of Joseph Léopold Sigisbert Hugo and Sophie Trébuchet, his brothers were Abel Joseph Hugo. He was born in 1802 in Besançon in the region of Franche-Comté. Hugos childhood was a period of political turmoil. Napoleon was proclaimed Emperor of the French two years after Hugos birth, and the Bourbon Monarchy was restored before his 13th birthday, since Hugos father was an officer, the family moved frequently and Hugo learned much from these travels. On a childhood trip to Naples, Hugo saw the vast Alpine passes and the snowy peaks, the magnificently blue Mediterranean. Though he was five years old at the time, he remembered the six-month-long trip vividly. They stayed in Naples for a few months and then headed back to Paris, at the beginning of her marriage, Hugos mother Sophie followed her husband to posts in Italy and Spain. Thereafter she dominated Hugos education and upbringing, as a result, Hugos early work in poetry and fiction reflect her passionate devotion to both King and Faith. It was only later, during the leading up to Frances 1848 Revolution. Young Victor fell in love and, against his mothers wishes, because of his close relationship with his mother, Hugo waited until after her death to marry Adèle in 1822. Adèle and Victor Hugo had their first child, Léopold, in 1823, on 28 August 1824, the couples second child, Léopoldine was born, followed by Charles on 4 November 1826, François-Victor on 28 October 1828, and Adèle on 24 August 1830. Hugos eldest and favourite daughter, Léopoldine, died aged 19 in 1843, on 4 September, she drowned in the Seine at Villequier, pulled down by her heavy skirts when a boat overturned. Her young husband also died trying to save her, the death left her father devastated, Hugo was travelling with his mistress at the time in the south of France, and first learned about Léopoldines death from a newspaper he read in a café
21.
T. S. Eliot
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Thomas Stearns Eliot OM was a British essayist, publisher, playwright, literary and social critic, and one of the twentieth centurys major poets. He moved from his native United States to England in 1914 at the age of 25, settling, working and he eventually became a British subject in 1927 at the age of 39, renouncing his American citizenship. Eliot attracted widespread attention for his poem The Love Song of J. Alfred Prufrock and it was followed by some of the best-known poems in the English language, including The Waste Land, The Hollow Men, Ash Wednesday, and Four Quartets. He was also known for his seven plays, particularly Murder in the Cathedral and he was awarded the Nobel Prize in Literature in 1948, for his outstanding, pioneer contribution to present-day poetry. The Eliots were a Boston family with roots in Old and New England, Thomas Eliots paternal grandfather, William Greenleaf Eliot, had moved to St. Louis, Missouri to establish a Unitarian Christian church there. Eliot was the last of six surviving children, his parents were both 44 years old when he was born, Eliot was born at 2635 Locust St. property owned by his grandfather, William Greenleaf Eliot. His four sisters were between 11 and 19 years older, his brother was eight years older, known to family and friends as Tom, he was the namesake of his maternal grandfather, Thomas Stearns. Eliots childhood infatuation with literature can be ascribed to several factors, firstly, he had to overcome physical limitations as a child. Struggling from a congenital double inguinal hernia, he could not participate in physical activities. As he was isolated, his love for literature developed. Once he learned to read, the boy immediately became obsessed with books and was absorbed in tales depicting savages. In his memoir of Eliot, his friend Robert Sencourt comments that the young Eliot would often curl up in the window-seat behind an enormous book, setting the drug of dreams against the pain of living. Secondly, Eliot credited his hometown with fuelling his literary vision, I feel that there is something in having passed ones childhood beside the big river, which is incommunicable to those people who have not. I consider myself fortunate to have been here, rather than in Boston, or New York. From 1898 to 1905, Eliot attended Smith Academy, where his studies included Latin, Ancient Greek, French and he began to write poetry when he was fourteen under the influence of Edward Fitzgeralds Rubaiyat of Omar Khayyam, a translation of the poetry of Omar Khayyam. He said the results were gloomy and despairing and he destroyed them and his first published poem, A Fable For Feasters, was written as a school exercise and was published in the Smith Academy Record in February 1905. Also published there in April 1905 was his oldest surviving poem in manuscript and he also published three short stories in 1905, Birds of Prey, A Tale of a Whale and The Man Who Was King. The last mentioned story significantly reflects his exploration of Igorot Village while visiting the 1904 Worlds Fair of St. Louis, such a link with primitive people importantly antedates his anthropological studies at Harvard
22.
The Waste Land
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The Waste Land is a long poem by T. S. Eliot. It is widely regarded as one of the most important poems of the 20th century, published in 1922, the 434-line poem first appeared in the United Kingdom in the October issue of The Criterion and in the United States in the November issue of The Dial. It was published in form in December 1922. Among its famous phrases are April is the cruellest month, I will show you fear in a handful of dust, Eliots poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism, because of this, critics and scholars regard the poem as obscure. The poem shifts between voices of satire and prophecy featuring abrupt and unannounced changes of speaker, location, and time and conjuring of a vast, the poems structure is divided into five sections. The first section, The Burial of the Dead, introduces the themes of disillusionment. The second, A Game of Chess, employs vignettes of several characters—alternating narrations—that address those themes experientially, after a fourth section that includes a brief lyrical petition, the culminating fifth section, What the Thunder Said, concludes with an image of judgment. Eliot probably worked on the text that became The Waste Land for several years preceding its first publication in 1922. In a May 1921 letter to New York lawyer and patron of modernism John Quinn, Eliot wrote that he had a poem in mind. Richard Aldington, in his memoirs, relates that a year or so before Eliot read him the manuscript draft of The Waste Land in London, while walking through a graveyard, they discussed Thomas Grays Elegy Written in a Country Churchyard. He and his first wife, Vivienne Haigh-Wood Eliot, travelled to the resort of Margate for a period of convalescence. While there, Eliot worked on the poem, and possibly showed a version to Ezra Pound when, after a brief return to London. Eliot was en route to Lausanne, Switzerland, for treatment by Doctor Roger Vittoz, luce in Lausanne, Eliot produced a 19-page version of the poem. He returned from Lausanne in early January 1922, Pound then made detailed editorial comments and significant cuts to the manuscript. Eliot later dedicated the poem to Pound, Eliot sent the manuscript drafts of the poem to John Quinn in October 1922, they reached Quinn in New York in January 1923. Upon Quinns death they were inherited by his sister, Julia Anderson, years later, in the early 1950s, Mrs Andersons daughter, Mary Conroy, found the documents in storage. In 1958 she sold them privately to the New York Public Library and it was not until April 1968 that the existence and whereabouts of the manuscript drafts were made known to Valerie Eliot, the poets second wife and widow
23.
Alban Berg
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Alban Maria Johannes Berg was an Austrian composer of the Second Viennese School. His compositional style combined Romantic lyricism with twelve-tone technique, Berg was born in Vienna, the third of four children of Johanna and Conrad Berg. His family lived comfortably until the death of his father in 1900 and he was more interested in literature than music as a child and did not begin to compose until he was fifteen, when he started to teach himself music. In late February or early March 1902 he fathered a child with Marie Scheuchl and his daughter, Albine, was born on December 4,1902. Berg had little formal education before he became a student of Arnold Schoenberg in October 1904. With Schoenberg he studied counterpoint, music theory, and harmony, by 1906, he was studying music full-time, by 1907, he began composition lessons. His student compositions included five drafts for piano sonatas and he also wrote songs, including his Seven Early Songs, three of which were Bergs first publicly performed work in a concert that featured the music of Schoenbergs pupils in Vienna that year. The early sonata sketches eventually culminated in Bergs Piano Sonata, Op.1, Berg studied with Schoenberg for six years until 1911. Berg admired him as a composer and mentor, and they remained lifelong friends. Among Schoenbergs teaching was the idea that the unity of a musical composition depends upon all its aspects being derived from a basic idea. The Piano Sonata is a whole composition is derived from the works opening quartal gesture. Berg was a part of Viennas cultural elite during the fin de siècle period. His circle included the musicians Alexander von Zemlinsky and Franz Schreker, the painter Gustav Klimt, the writer and satirist Karl Kraus, the architect Adolf Loos, and the poet Peter Altenberg. In 1906, Berg met the singer Helene Nahowski, daughter of a family, despite the outward hostility of her family. In 1913, two of Bergs Five Songs on Picture Postcard Texts by Peter Altenberg were premièred in Vienna, settings of aphoristic poetic utterances, the songs are accompanied by a very large orchestra. The performance caused a riot, and had to be halted, the full score remained unpublished until 1966. From 1915 to 1918, Berg served in the Austro-Hungarian Army and during a period of leave in 1917 he accelerated work on his first opera, after the end of World War I, he settled again in Vienna, where he taught private pupils. Berg had a particular interest in the number 23, using it to several works
24.
Der Wein
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Der Wein is a concert aria for soprano and orchestra, composed in 1929 by Alban Berg. The lyrics are from Stefan Georges translation of three poems from Charles Baudelaires Les Fleurs du mal, as is the text of Bergs Lyric Suite. Die Seele des Weines, Der Wein der Liebenden, and Der Wein des Einsamen, the aria was dedicated to Ružena Herlinger, its commissioner and first performed in Königsberg on June 4,1930 with Hermann Scherchen. The piece includes a parody of a tango and includes an alto saxophone, the tone row contains a complete ascending D harmonic minor scale and the remaining five notes are ordered so that in the inverted form they arpeggiate a jazzy added sixth chord with blue third. The central sonority of the work, as characteristic of Bergs later music, comprises triads separated by half an octave, F and B♮ superimposed over a low D♭. These two letter names, H and F, are presumably a reference to Hanna Fuchs-Robettin, the music of the central section of a ternary ABA structure is a palindrome within itself, with the outer sections being through-composed. Bars 112 to 140 are then heard in retrograde as bars 140 to 170, Der Wein on YouTube – Annelies Kupper, Bavarian Radio Symphony Orchestra, conducted by Hermann Scherchen
25.
Henri Dutilleux
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Henri Dutilleux was a French composer active mainly in the second half of the 20th century. His work, which garnered acclaim, followed in the tradition of Maurice Ravel, Claude Debussy, Albert Roussel and Olivier Messiaen. Some of his compositions include a piano sonata, two symphonies, the Cello Concerto Tout un monde lointain, the Violin Concerto Larbre des songes. Some of these are regarded as masterpieces of 20th-century classical music, writing in the New York Times, Paul Griffiths said, Mr Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was affected by either. But his voice, marked by sensuously handled harmony and color, was his own, in addition to his activities as a composer, he worked as the Head of Music Production for Radio France for 18 years. Henri Dutilleux was born on 22 January 1916 in Angers, Maine-et-Loire and he was the great-grandson of the painter Constant Dutilleux and of the composer Julien Koszul. He was also a cousin of the mathematician Jean-Louis Koszul, as a young man he studied harmony, counterpoint and piano with Victor Gallois at the Douai Conservatory before leaving for the Paris Conservatoire. There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon, Henri Büsser and he studied music at the Conservatoire de Paris in the same class as Henri Betti, Paul Bonneau and Louiguy. Dutilleux won the Prix de Rome in 1938 for his cantata Lanneau du roi and he worked for a year as a medical orderly in the army and then returned to Paris in 1940, where he worked as a pianist, arranger and music teacher. In 1942 he conducted the choir of the Paris Opera, Dutilleux worked as Head of Music Production for Radio France from 1945 to 1963. He served as Professor of Composition at the École Normale de Musique de Paris from 1961 to 1970 and he was appointed to the staff of the Conservatoire National Supérieur de Musique in 1970 and was composer in residence at Tanglewood in 1995 and 1998. His students included the French composers Gérard Grisey and Francis Bayer, the Canadian composers Alain Gagnon and Jacques Hétu, the British composer Kenneth Hesketh, invited by Walter Fink, he was the 16th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2006. For many years, Dutilleux had a studio on Île Saint-Louis and he died on 22 May 2013 in Paris, aged 97 and was buried in Montparnasse Cemetery. Dutilleuxs music extends the legacies of earlier French composers such as Debussy and Ravel but is clearly influenced by Béla Bartók. Among his favourite pieces, he mentioned Beethovens late string quartets and his attitude toward serialism was more ambiguous. As an independent composer, Dutilleux always refused to be associated with any school, rather, his works merge the traditions of earlier composers and post-World War II innovations and translate them into his own idiosyncratic style. His music also contains distant echoes of jazz as can be heard in the double bass strings at the very beginning of his First Symphony
26.
Roger Zelazny
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Roger Joseph Zelazny was an American poet and writer of fantasy and science fiction short stories and novels, best known for The Chronicles of Amber. The ostracod Sclerocypris zelaznyi was named after him, Roger Joseph Zelazny was born in Euclid, Ohio, the only child of Polish immigrant Joseph Frank Żelazny and Irish-American Josephine Flora Sweet. In high school, he became the editor of the school newspaper, in the fall of 1955, he began attending Western Reserve University and graduated with a B. A. in English in 1959. He was accepted to Columbia University in New York and specialized in Elizabethan and Jacobean drama and his M. A. thesis was entitled Two traditions and Cyril Tourneur, an examination of morality and humor comedy conventions in The Revengers Tragedy. Between 1962 and 1969 he worked for the U. S, social Security Administration in Cleveland, Ohio and then in Baltimore, Maryland spending his evenings writing science fiction. He deliberately progressed from short-shorts to novelettes to novellas and finally to novel-length works by 1965, on May 1,1969, he quit to become a full-time writer, and thereafter concentrated on writing novels in order to maintain his income. During this period, he was an active and vocal member of the Baltimore Science Fiction Society, whose members included writers Jack Chalker and Joe, Zelazny was married twice, first to Sharon Steberl in 1964, and then to Judith Alene Callahan in 1966. Roger and Judy had two sons, Devin and Trent and a daughter, Shannon, at the time of his death, Roger and Judy were separated and he was living with author Jane Lindskold. His first fanzine appearance was one of the story Conditional Benefit and his first professional publication. As a professional writer, his works were the simultaneous publication of Passion Play. Passion Play was written and sold first and his first story to attract major attention was A Rose for Ecclesiastes, published in The Magazine of Fantasy and Science Fiction, with cover art by Hannes Bok. anthologies. Raised as a Catholic by his parents, Zelazny later declared himself a lapsed Catholic, I did have a strong Catholic background, but I am not a Catholic. Somewhere in the past, I believe I answered in the affirmative once for strange, but I am not a member of any organized religion. Zelazny died in 1995, aged 58, of kidney failure secondary to colorectal cancer, in his stories, Roger Zelazny frequently portrayed characters from myth, depicted in the modern world. Zelazny was also apt to include numerous anachronistic present-day elements, such as cigarette-smoking and references to various drama classics into his fantasy and his crisp, minimalistic dialogue also seems to be somewhat influenced by the style of wisecracking hardboiled crime authors, such as Raymond Chandler or Dashiell Hammett. The tension between the ancient and the modern, surreal and familiar was what drove most of his work, a very frequent motif in Zelaznys work is immortality or people who become gods. Aside from working with themes, the most common recurring motif of Zelaznys is the absent father. This somewhat Freudian theme runs through almost every Zelazny novel to a smaller or larger degree, zelazny’s father, Joseph, died unexpectedly in 1962 and never knew his son’s successes as a writer, this event may have triggered Zelaznys unconscious and frequent use of the absent father motif
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Roadmarks
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Roadmarks is a science fantasy novel written by Roger Zelazny during the late 1970s and published in 1979. The novel postulates a road that travels through time, with a nexus placed every few years where a handful of specially gifted people are able to get on, the book is also notable for having two famous poetry collections as characters. Les Fleurs du Mal by Charles Baudelaire and Leaves of Grass by Walt Whitman appear as cybernetic extensions of themselves and they are companions of the protagonist and his son Randy, and are referred to as Flowers and Leaves respectively. Both talk, argue and quote their own content frequently, exhibiting human-like intelligence to such degree that it seems certain they could pass the Turing test. The novel alternates between non-linear Two and linear One chapters, and since the Twos were non-linear, anyway, I clipped each Two chapter into a discrete packet, stacked them and then shuffled them before reinserting them between the Ones. The books editor was confused by the Two chapters and required Zelazny to rearrange the order of a few of them before publication, the central theme of the novel is time travel using a highway that links all times and all possible histories. Exits from the lead to different times and places. Changing events in the past cause some exits further up the road, in the future, to become overgrown and inaccessible and new exits to appear, leading to different alternative futures. The narrator and protagonist, Red Dorakeen, has memories of a place or time that is no longer accessible from the Road. He runs guns to the Greeks at Marathon, trying to recreate history as he remembers it in an attempt to open a new exit from the Road to his half-remembered place. The phrase Last Exit to Babylon was the title of the book and appears on the cover art. All One chapters feature Red Dorakeen, and all Two chapters feature secondary characters, everything comes clear in the final chapter, however. There are a number of interesting humorous touches and allusions in the story, amber Dreams, A Roger Zelazny Bibliography
28.
Leaves of Grass
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Leaves of Grass is a poetry collection by the American poet Walt Whitman. Though the first edition was published in 1855, Whitman spent most of his life writing and re-writing Leaves of Grass. This resulted in different editions over four decades—the first a small book of twelve poems. The poems of Leaves of Grass are loosely connected, with each representing Whitmans celebration of his philosophy of life and this book is notable for its discussion of delight in sensual pleasures during a time when such candid displays were considered immoral. Where much previous poetry, especially English, relied on symbolism, allegory, and meditation on the religious and spiritual, Leaves of Grass exalted the body and the material world. Influenced by Ralph Waldo Emerson and the Transcendentalist movement, itself an offshoot of Romanticism, Whitmans poetry praises nature and the individual humans role in it. However, much like Emerson, Whitman does not diminish the role of the mind or the spirit, rather, he elevates the human form, with one exception, the poems do not rhyme or follow standard rules for meter and line length. Among the poems in the collection are Song of Myself, I Sing the Body Electric, later editions included Whitmans elegy to the assassinated President Abraham Lincoln, When Lilacs Last in the Dooryard Bloomd. Leaves of Grass was highly controversial during its time for its sexual imagery. Over time, the collection has infiltrated popular culture and been recognized as one of the works of American poetry. Whitman, reading the essay, consciously set out to answer Emersons call as he work on the first edition of Leaves of Grass. Whitman, however, downplayed Emersons influence, stating, I was simmering, simmering, simmering, on May 15,1855, Whitman registered the title Leaves of Grass with the clerk of the United States District Court, Southern District of New Jersey, and received its copyright. The first edition was published in Brooklyn at the shop of two Scottish immigrants, James and Andrew Rome, whom Whitman had known since the 1840s. The shop was located at Fulton Street and Cranberry Street, now the site of apartment buildings that bear Whitmans name, Whitman paid for and did much of the typesetting for the first edition himself. The book did not include the name, instead offering an engraving by Samuel Hollyer depicting Whitman in work clothes. Early advertisements for the first edition appealed to lovers of literary curiosities as an oddity, sales on the book were few but Whitman was not discouraged. The first edition was small, collecting only twelve unnamed poems in 95 pages. Whitman once said he intended the book to be enough to be carried in a pocket
29.
Walt Whitman
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Walter Walt Whitman was an American poet, essayist, and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works, Whitman is among the most influential poets in the American canon, often called the father of free verse. His work was controversial in its time, particularly his poetry collection Leaves of Grass. Born in Huntington on Long Island, Whitman worked as a journalist, a teacher, early in his career, he also produced a temperance novel, Franklin Evans. Whitmans major work, Leaves of Grass, was first published in 1855 with his own money, the work was an attempt at reaching out to the common person with an American epic. He continued expanding and revising it until his death in 1892, after a stroke towards the end of his life, he moved to Camden, New Jersey, where his health further declined. When he died at age 72, his became an public spectacle. Walter Whitman was born on May 31,1819, in West Hills, Town of Huntington, Long Island, to parents with interests in Quaker thought, Walter, the second of nine children, he was immediately nicknamed Walt to distinguish him from his father. Walter Whitman, Sr. named three of his seven sons after American leaders, Andrew Jackson, George Washington, and Thomas Jefferson, the oldest was named Jesse and another boy died unnamed at the age of six months. The couples sixth son, the youngest, was named Edward, at age four, Whitman moved with his family from West Hills to Brooklyn, living in a series of homes, in part due to bad investments. Whitman looked back on his childhood as generally restless and unhappy, one happy moment that he later recalled was when he was lifted in the air and kissed on the cheek by the Marquis de Lafayette during a celebration in Brooklyn on July 4,1825. At age eleven Whitman concluded formal schooling, there, Whitman learned about the printing press and typesetting. He may have written sentimental bits of material for occasional issues. Clements aroused controversy when he and two attempted to dig up the corpse of Elias Hicks to create a plaster mold of his head. Clements left the Patriot shortly afterward, possibly as a result of the controversy, the following summer Whitman worked for another printer, Erastus Worthington, in Brooklyn. His family moved back to West Hills in the spring, but Whitman remained and took a job at the shop of Alden Spooner, at age 16 in May 1835, Whitman left the Star and Brooklyn. He moved to New York City to work as a compositor though, in later years, in May 1836, he rejoined his family, now living in Hempstead, Long Island. Whitman taught intermittently at various schools until the spring of 1838, after his teaching attempts, Whitman went back to Huntington, New York to found his own newspaper, the Long Islander
30.
Tito Larriva
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Humberto Tito Larriva is a Mexican/American song writer, singer, musician, and actor. Larriva was born in Ciudad Juárez, Chihuahua, and grew up in Fairbanks, Alaska, as a child he played the violin in the school orchestra and sang in the church and school choirs where he met his wife Janet Carroll. In 1972 Larriva snuck into Yale University for a term without being noticed. After being kicked out of the Ivy League university, he moved to Mexico City and in 1975 moved to Los Angeles and he now lives in Austin, Texas, with his wife and daughter and continues to work in the music and film industries. Larriva was the vocalist and rhythm guitarist for punk band The Plugz and he formed The Plugz in Hollywood, California in 1978. Their presence during the birth of West Coast punk has ensured their enduring influence on punk bands, record label Rhino recognized their role in the Los Angeles music scene by including their version of La Bamba on Were Desperate, The L. A. Scene. The Plugz released two albums, Electrify Me and Better Luck, the Plugz also scored the cult classic film Repo Man and contributed three songs to the soundtrack. In 1979 Larriva formed Fatima Records, a DIY record label, with Chicano printmaker Richard Duardo, the label would issue a few other releases, including the Plugz second album Better Luck and Attitudes, the debut EP by East Los Angeles punk band The Brat. In 1984 The Plugz evolved into the Cruzados, in 1985, they released a self-titled album on Arista Records. The second album After Dark released in 1987 featured new guitarist Marshall Rohner, the band broke up in 1990. Larriva and the Cruzados were both featured in the film Road House, starring Patrick Swayze and Sam Elliot. Tito & Tarantula began in 1992 when Larriva and lead guitarist Peter Atanasoff would perform in bars, weve always had an unspoken rule, Larriva said to the Tucson Weekly in 1997, and the rule is that everyone plays pretty much what they want. Tarantula was featured on the soundtrack of Robert Rodriguezs movie Desperado which Larriva also scored, in 1996, Tito and Tarantula continue their relationship with Rodriguez, appearing in the film, soundtrack, and score, for From Dusk Till Dawn. Larriva, Atanasoff, and Johnny Vatos Hernandez are the band performing their song After Dark in the bar for Salma Hayek, in 1997, Tito & Tarantula released its long-awaited and highly acclaimed debut album Tarantism. They followed up with, Hungry Sally & Other Killer Lullabies in 1999, in 2002, the band was joined by Larrivas former Cruzados bandmate Steven Hufsteter. Later that year, they released Andalucia, back Into The Darkness is their most recent release. Psychotic Aztecs, composed of Larriva on vocals, Oingo Boingos rhythm section and Steven Hufsteter on guitar, Records in Los Angeles and ended as the album Santa Sangre, released in 1999. Larrivas first acting role was Hammy on The Pee-wee Herman Show in 1981
31.
Aku no Hana
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Aku no Hana is the fifth studio album by the Japanese rock band Buck-Tick. It was released on cassette and CD on February 1,1990 and it peaked at number one on the Oricon charts and is the groups best-selling album to date, having been certified double platinum by the RIAJ for over 500,000 copies sold. The title comes from Charles Baudelaires volume of poetry, Les Fleurs du mal, the album was digitally remastered and re-released on September 19,2002, with two bonus tracks. It was remastered and re-released again on September 5,2007, aku no Hana and Love Me were later re-recorded for the groups compilation album Koroshi no Shirabe, This Is Not Greatest Hits. All lyrics written by Atsushi Sakurai, except noted, all music composed by Hisashi Imai
32.
Immortal (2004 film)
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Immortal is a 2004 English language French live-action and animated science fiction film co-written and directed by Enki Bilal and starring Linda Hardy, Thomas Kretschmann and Charlotte Rampling. It is loosely based upon Bilals comic book La Foire aux immortels, immortal was one of the first major films to be shot entirely on a digital backlot, blending live actors with computer generated surroundings. The French video game studio Quantic Dream helped produce much of the cinematics, a strange pyramid has appeared over the city, inside, the gods of ancient Egypt have judged Horus, one of their fellow gods, to cease his immortality. In the city below, Jill, a woman with blue hair is arrested. Not completely human, her tissues appear to be no more than a few months old according to an examining physician and she does also possess a number of secret powers, including one that enables her to procreate with gods, though she knows nothing of this. Horus is given a time to interact with the humans of New York. During his search for a host body, Horus encounters Nikopol, Nikopols body is acceptable as it has been frozen in prison/storage and not undergone the genetic changes causing the rejections. Horus takes partial control of Nikopols body and starts looking for a woman he can mate with to provide him a son before his sentence is carried out. When Horus/Nikopol discovers Jill, they become entangled in a web of murder, Linda Hardy as Jill Bioskop Thomas Kretschmann as Alcide Nikopol Charlotte Rampling as Elma Turner Frédéric Pierrot as John Thomas M
The Flowers of Evil public domain audiobook at LibriVox
