title: Halo (religious iconography)

text: Plain round haloes are typically used to signify saints, the Virgin Mary, Old Testament prophets, angels, symbols of the Four Evangelists, and some other figures. Byzantine emperors and empresses were often shown with them in compositions including saints or Christ, however the haloes were outlined only. This was copied by Ottonian and later Russian rulers. Old Testament figures become less likely to have haloes in the West as the Middle Ages go on.


title: Halo (religious iconography)

text: Beatified figures, not yet canonised as saints, are sometimes shown in medieval Italian art with linear rays radiating out from the head, but no circular edge of the nimbus defined; later this became a less obtrusive form of halo that could be used for all figures. Mary has, especially from the Baroque period onwards, a special form of halo in a circle of twelve stars, derived from her identification as the Woman of the Apocalypse.


title: Halo (religious iconography)

text: The whole-body image of radiance is sometimes called the 'aureole' or "glory"; it is shown radiating from all round the body, most often of Christ or Mary, occasionally of saints (especially those reported to have been seen surrounded by one). Such an aureola is often a mandorla ("almond-shaped" vesica piscis), especially around Christ in Majesty, who may well have a halo as well. In depictions of the Transfiguration of Jesus a more complicated shape is often seen, especially in the Eastern Orthodox tradition, as in the famous 15th century icon in the Tretyakov Gallery in Moscow.


title: Halo (religious iconography)

text: Where gold is used as a background in miniatures, mosaics and panel paintings, the halo is often formed by inscribing lines in the gold leaf, and may be decorated in patterns (diapering) within the outer radius, and thus becomes much less prominent. The gold leaf inside the halo may also be burnished in a circular manner, so as to produce the effect of light radiating out from the subject's head. In the early centuries of its use, the Christian halo may be in most colours (though black is reserved for Judas, Satan and other evil figures) or multicoloured; later gold becomes standard, and if the entire background is not gold leaf, the halo itself usually will be.


title: Halo (religious iconography)

text: With increasing realism in painting, the halo came to be a problem for artists. So long as they continued to use the old compositional formulae which had been worked out to accommodate haloes, the problems were manageable, but as Western artists sought more flexibility in composition, this ceased to be the case. In free-standing medieval sculpture, the halo was already shown as a flat disk above or behind the head. When perspective came to be considered essential, painters also changed the halo from an aura surrounding the head, always depicted as though seen full-on, to a flat golden disk or ring that appeared in perspective, floating above the heads of the saints, or vertically behind, sometimes transparent. This can be seen first in Giotto, who still gives Christ the cruciform halo which began to be phased out by his successors. In northern Europe the radiant halo, made up of rays like a sunburst, came into fashion in French painting around the end of the 14th century.


title: Halo (religious iconography)

text: In the early 15th century Jan van Eyck and Robert Campin largely abandoned their use, although some other Early Netherlandish artists continued to use them. In Italy at around the same time, Pisanello used them if they did not clash with one of the enormous hats he liked to paint. Generally they lasted longer in Italy, although often reduced to a thin gold band depicting the outer edge of the nimbus, usual for example in Giovanni Bellini. Christ began to be shown with a plain halo.


title: Halo (religious iconography)

text: Fra Angelico, himself a monk, was a conservative as far as haloes are concerned, and some of his paintings demonstrate the problems well, as in several of his more crowded compositions, where they are shown as solid gold disks on the same plane as the picture surface, it becomes difficult to prevent them obstructing other figures. At the same time they were useful in crowded narrative scenes for distinguishing the main, identifiable, figures from the mass of a crowd. Giotto's Lamentation of Christ from the Scrovegni Chapel has eight figures with haloes and ten without, to whom the viewer knows they are not meant to attach a specific identity. In the same way, a "Baptism of Christ" by Perugino in Vienna gives neither Christ nor John the Baptist haloes, as sufficiently recognisable without them, but a saint in the background, not usually present in this scene, has a ring halo to denote his status.


title: Halo (religious iconography)

text: In the High Renaissance, even most Italian painters dispensed with haloes altogether, but in the Church's reaction to the Protestant Reformation, that culminated in the decrees on images of the Council of Trent of 1563, their use was mandated by clerical writers on religious art such as Molanus and Saint Carlo Borromeo. Figures were placed where natural light sources would highlight their heads, or instead more discreet quasi-naturalistic flickering or glowing light was shown around the head of Christ and other figures (perhaps pioneered by Titian in his late period). Rembrandt's etchings, for example, show a variety of solutions of all of these types, as well as a majority with no halo effect at all. The disk halo was rarely used for figures from classical mythology in the Renaissance, although they are sometimes seen, especially in the classical radiant form, in Mannerist and Baroque art.


title: Halo (religious iconography)

text: By the 19th century haloes had become unusual in Western mainstream art, although retained in iconic and popular images, and sometimes as a medievalising effect. When John Millais gives his otherwise realist "St Stephen" (1895) a ring halo, it seems rather surprising. In popular graphic culture, a simple ring has become the predominant representation of a halo since at least the late 19th century, as seen for example in the logo for the Simon Templar ("The Saint") series of novels and other adaptations.


title: Halo (religious iconography)

text: The early Church Fathers expended much rhetorical energy on conceptions of God as a source of light; among other things this was because "in the controversies in the 4th century over the consubstantiality of the Father and the Son, the relation of the ray to the source was the most cogent example of emanation and of distinct forms with a common substance" – key concepts in the theological thought of the time.


title: Halo (religious iconography)

text: A more Catholic interpretation is that the halo represents the light of divine grace suffusing the soul, which is perfectly united and in harmony with the physical body.


title: Halo (religious iconography)

text: In the theology of the Eastern Orthodox Church, an icon is a "window into heaven" through which Christ and the Saints in heaven can be seen and communicated with. The gold ground of the icon indicates that what is depicted is in heaven. The halo is a symbol of the Uncreated Light (Greek: Ἄκτιστον Φῶς) or grace of God shining forth through the icon. Pseudo-Dionysius the Areopagite in his "Celestial Hierarchies" speaks of the angels and saints being illuminated by the grace of God, and in turn illumining others.


title: Halo (religious iconography)

text: The distinction between the alternative terms used in English for various types of halo is rather unclear. The oldest term in English is "glory", the only one available in the Middle Ages, but now largely obsolete. It came from the French which has much the same range of meanings as "glory". "Gloriole" does not appear in this sense until 1844, being a modern invention, as a diminutive, in French also. "Halo" is first found in English in this sense in 1646 (nearly a century after the optical or astronomical sense). Both "halos" and "haloes" may be used as plural forms, and halo may be used as a verb. Halo comes originally from the Greek for "threshing-floor" – a circular, slightly sloping area kept very clean, around which slaves or oxen walked to thresh the grain. In Greek, this came to mean a divine, bright disk.


title: Halo (religious iconography)

text: , from the Latin for "golden", has been used in English as a term for a gold crown, especially that traditionally considered the reward of martyrs, since the Middle Ages (OED 1220). However, the first use recorded as a term for a halo is in 1848, very shortly after which matters were greatly complicated by the publication in 1851 of the English translation of Adolphe Napoléon Didron's important "Christian Iconography: Or, The History of Christian Art in the Middle Ages". This, by what the OED calls a "strange blunder", derived the word from the Latin as a diminutive, and also defined it as meaning a halo or glory covering the whole body, whilst saying that "nimbus" referred only to a halo around the head. This, according to the OED, reversed the historical usage of both words, but whilst Didron's diktat was "not accepted in France", the OED noted it had already been picked up by several English dictionaries, and influenced usage in English, which still seems to be the case, as the word "nimbus" is mostly found describing whole-body haloes, and seems to have also influenced "gloriole" in the same direction.


title: Halo (religious iconography)

text: The only English term that unequivocally means a full-body halo, and cannot be used for a circular disk around the head is "mandorla", first occurring in 1883. However, this term, which is the Italian word for "almond", is usually reserved for the vesica piscis shape, at least in describing Christian art. In discussing Asian art, it is used more widely. Otherwise, there could be said to be an excess of words that could refer to either a head-disk or a full-body halo, and no word that clearly denotes a full-body halo that is not vesica piscis shaped. "Halo" by itself, according to recent dictionaries, means only a circle around the head, although Rhie and Thurman use the word also for circular full-body aureoles.


title: Poppy Corby-Tuech

text: Poppy Colette Corby-Tuech (born 1987) is a French-British actress. She is known for portraying Prudence in the E! soap opera "The Royals", and for her role as Vinda Rosier in "Fantastic Beasts".


title: Poppy Corby-Tuech

text: Corby-Tuech was born to Michel Corby-Tuech, of Veneux-les-Sablons, France, and Catherine, daughter of Lieutenant-Colonel Gillachrist Campbell, of the Royal Artillery. Her mother descends from Sholto Douglas, 19th Earl of Morton, the Lords Belhaven and Stenton, and Earls of Albemarle.


title: Poppy Corby-Tuech

text: Corby-Tuech was a member of the English Post-punk/electro band White Rose Movement from 2008 until 2010.


title: Ulsan Hyundai FC

text: Ulsan Hyundai FC () is a South Korean professional football club based in Ulsan that competes in the K League 1, the top tier of South Korean football. Founded in 1983 as Hyundai Horang-i, they joined the K League in 1984. Their home ground is Ulsan Munsu Football Stadium. The club is owned by Hyundai Heavy Industries.


title: Ulsan Hyundai FC

text: Ulsan Hyundai have won the national league three times, most recently in 2022, and the Korean FA Cup once, in 2017. At International level, they have won the AFC Champions League twice, in 2012 and 2020.


title: Ulsan Hyundai FC

text: Ulsan Hyundai was established on 6 December 1983 as Hyundai Horang-i, with tiger as its mascot (horangi means tiger in Korean). Their original franchise area was Incheon and Gyeonggi Province. They joined the professional K League from 1984 season. While they finished their debut season as 3rd place, the team's striker Baek Jong-chul became the K League Top Scorer, scoring 16 goals in 28 matches. They won their first professional trophy in 1986, winning the Professional Football Championship, which is the origin of Korean League Cup. From the 1987 season, the club moved their franchise from Incheon and Gyeonggi Province to Gangwon Province. In the 1988 season, they finished the season as the runners-up in the league.


title: Ulsan Hyundai FC

text: Beginning in the 1990 season, the club moved their franchise to Ulsan, where the headquarters of several branches of owner company Hyundai are located at, from Gangwon Province. Former South Korea's striker Cha Bum-kun took the managerial position from the 1991 season, leading the club to the runners-up position in the league in his debut season. However, he failed to win any trophy and was replaced by Ko Jae-wook after the 1994 season. Under Ko Jae-wook, Ulsan won their second Korean League Cup trophy in 1995, which was his debut season as Ulsan manager. Ulsan won their first ever league title in 1996, beating Suwon Samsung Bluewings 3–2 on aggregate in the championship playoffs. The club then entered a long dry-spell in terms of league trophies, although they won their third Korean League Cup trophy in 1998, beating Bucheon SK 2–1 on aggregate in the finals.


title: Ulsan Hyundai FC

text: Failure to add a major title for years did affect the team negatively. After the exodus of key players like Kim Hyun-seok and a terrible start in the 2000, manager Ko Jae-wook resigned in the middle of the season.


title: Ulsan Hyundai FC

text: Ulsan appointed Kim Jung-nam, who had formerly managed South Korean national football team, as their next manager. They finished as runners-up in 2002 and 2003, and started to emerge as a strong force. In 2005, with the return of two key players, Yoo Sang-chul and Lee Chun-soo, they qualified for the championship playoffs. In the play-off semi-final, they beat Seongnam Ilhwa 2–1, and in the final, they beat Incheon United 6–3 on aggregate, with a hat-trick from Lee Chun-Soo in the first leg. They became the league champions for the second time in their history.


title: Ulsan Hyundai FC

text: The club also went on to win the A3 Champions Cup in 2006, in which they participated as K League champions. Although they lost their first match in the competition against JEF United Ichihara Chiba 3–2, they beat Dalian Shide 4–0 and Gamba Osaka 6–0 to clinch the trophy. Lee Chun-soo became the competition's top scorer, scoring six goals in three matches. They repeated the merciless attacks in the AFC Champions League that season, beating Al-Shabab 6–0 in the first leg of the quarter-finals. These overwhelming attacks they showed in the season gave Ulsan the nickname "Gangsters of Asia".


title: Ulsan Hyundai FC

text: Ulsan won the 2007 Korean League Cup, beating FC Seoul 2–1 in the final on 27 June 2007. In 2008, the team changed their official name from Ulsan Hyundai Horang-i to Ulsan Hyundai FC.


title: Ulsan Hyundai FC

text: Manager Kim Jung-nam stepped down after the 2008 season. Kim Ho-kon, who had managed the South Korea national under-23 football team that reached the quarter-finals in the 2004 Summer Olympics was appointed as Ulsan's next manager.


title: Ulsan Hyundai FC

text: Kim Ho-kon did not enjoy Ulsan fans' full support for his first few seasons at the club, mainly because of his defensive tactical style and unsatisfying outcomes. The 2011 season was a dramatic changeover; Ulsan won their fifth Korean League Cup, beating Busan IPark 3–2 in the final. Ulsan also finished the season as runners-up in the K League that season. Their unique style of having many players pushing forward in counterattacks earned them the nickname "Iron mace football".


title: Ulsan Hyundai FC

text: In 2012, the club won the AFC Champions League, defeating Al-Ahli 3–0 in the final on 10 November. In the run up to the final, Ulsan went on an unbeaten run throughout the twelve games of the competition, winning nine consecutive games and scoring 27 goals in the process.


title: Royal cypher

text: In modern heraldry, a royal cypher is a monogram or monogram-like device of a country's reigning sovereign, typically consisting of the initials of the monarch's name and title, sometimes interwoven and often surmounted by a crown. Such a cypher as used by an emperor or empress is called an imperial cypher. In the system used by various Commonwealth realms, the title is abbreviated as 'R' for or (Latin for "king" and "queen"). Previously, 'I' stood for or (Latin for "emperor" and "empress") of the Indian Empire.


title: Royal cypher

text: Royal cyphers appear on some government buildings, impressed upon royal and state documents, and are used by governmental departments.


title: Royal cypher

text: The use of a royal cypher in the Commonwealth realms originated in the United Kingdom, where the public use of the royal initials dates at least from the early Tudor period, and was simply the initial of the sovereign with, after Henry VIII's reign, the addition of the letter 'R' for or . The letter 'I' for was added to Queen Victoria's monogram after she became Empress of India in 1877.


title: Royal cypher

text: The initialswhich had no set pattern or form of lettering laid downwere usually shown in company with the royal arms or crown as on the king's manors and palacessuch as those of Henry VIII on the gatehouse of St James's Palace. The purpose seems to have been simply to identify an individual sovereign, particularly on certain landmarks that he or she has commissioned, as the royal coat of arms in contrast was often used by successive monarchs and is therefore not distinct. The initials are furthermore used on government papers, duty stamps and similar objects, and are surmounted in England by a stylised version of the Tudor Crown or St Edward's Crown; in Scotland the Crown of Scotland is used instead.


title: Royal cypher

text: Though royal symbols (including, most notably, the coat of arms, royal standards and great seals) differ among the 15 Commonwealth realms, as they are separate monarchies, the one sovereign uses the same cypher throughout all of his or her countries. Distinction continues to be made between the personal cypher and the simpler, more workaday public initials, the former being the sovereign's own monogram and the latter simply a means of identifying a reign. Nowadays, the initials are also called the royal cypher, but, to aid clarification, the monogram is referred to as the royal cypher interlaced and reversed.


title: Royal cypher

text: On 26 September 2022, Buckingham Palace unveiled the cypher of the new king, Charles III, that is gradually replacing the cypher of Elizabeth II in everyday use. The design was selected by Charles from a series of designs prepared by the College of Arms and features the King's initial "C" intertwined with the letter "R" for with "III" denoting Charles III, with a Tudor Crown above the letters. Charles's Scottish cypher uses the Crown of Scotland instead.


title: Royal cypher

text: The late queen's cypher was ', standing for "Elizabeth II" . The monarch's cypher is today usually surmounted by a stylised version of St. Edward's Crown. In Scotland as a result of a dispute, known as the Pillar Box War, over the correct title of the new monarch (Elizabeth I of England and Ireland was not a monarch of Scotland, so the new queen would have been Elizabeth I, not II in Scotland according to that view), after 1953 new post boxes carried only the Crown of Scotland image rather than the ' cypher, which continued to be used in the rest of the United Kingdom and in other realms and territories.


title: Royal cypher

text: The production of the cypher was an early step in the preparations for her coronation in 1953 as it had to be embroidered on to the uniforms of the Royal Household and on other articles. Cyphers for other members of the royal family are designed by the College of Arms or Court of the Lord Lyon and are subsequently approved by the monarch.


title: Royal cypher

text: The royal cyphers have been incorporated by the Canadian Heraldic Authority into the various royal standards of Canada. The use in Canada of the reigning monarch's cypher, which is sometimes uniquely surrounded by a garland of maple leaves, is as a symbol not only of the sovereign him or herself, but of Canada's full sovereignty.


title: Royal cypher

text: British royal cyphers are still visible on several public buildings and post boxes in the Republic of Ireland.


title: Royal cypher

text: Other royal houses have also made use of royal or imperial cyphers. Ottoman sultans had a calligraphic signature, their tughra.


title: Royal cypher

text: All the monarchs of Europe's six other surviving kingdoms use cyphers, with royal crowns above them. King Harald V of Norway uses the letter H crossed with the Arabic numeral 5; King Carl XVI Gustav of Sweden uses the letters C and G overlapping with the Roman numeral XVI below them; King Felipe VI of Spain uses the letter F with the Roman numeral; and Queen Margrethe II of Denmark uses the letter M with the Arabic numeral 2 and the letter R (for Regina) below it. King Philippe of the Belgians uses the letters P and F intertwined, referring to the fact that his name is Philippe in French and Philipp in German, but Filip in Dutch, the three main languages in Belgium. King Willem-Alexander of the Netherlands and his Queen Maxima share a joint cypher consisting of the letter W entwined with the letter M.


title: Royal cypher

text: King Maha Vajiralongkorn of Thailand uses a cypher made up of his initials in Thai script ("" V.P.R. , an equivalent of ).


title: Al Jazira Club

text: Al Jazira Club is an Emirati professional football club based in Abu Dhabi, that currently competes in the UAE Pro League.


title: Al Jazira Club

text: Al-Jazira was established in 1974 as a merger between "Khalidiyah" and "Al Bateen". The club struggled to stay in the league, getting relegated on multiple occasions during the 1980s and 1990s, but experienced a recent success when Mansour bin Zayed Al Nahyan invested into the club in the 2000s. Since his purchase, they won their first league title in 2011 and two more league titles in 2017 and 2021. Al Jazira have produced talented homegrown players such as Ali Mabkhout and Khalfan Mubarak and many others that would end up playing for the UAE national team.


title: MSCI

text: MSCI Inc. is an American finance company headquartered in New York City. MSCI is a global provider of equity, fixed income, real estate indexes, multi-asset portfolio analysis tools, ESG and climate products. It operates the MSCI World, MSCI All Country World Index (ACWI), MSCI Emerging Markets Indexes.


title: MSCI

text: In 1968, Capital International published indexes covering the global stock market for non-U.S. markets. In 1986, Morgan Stanley licensed the rights to the indexes from Capital International and branded the indexes as the Morgan Stanley Capital International (MSCI) indexes. By the 1980s, the MSCI indexes were the primary benchmark indexes outside of the U.S. before being joined by FTSE, Citibank, and Standard & Poor's. After Dow Jones started float weighting its index funds, MSCI followed. In 2004, MSCI acquired Barra, Inc., to form MSCI Barra. In mid-2007, parent company Morgan Stanley decided to divest MSCI. This was followed by an initial public offering of a minority of stock in November 2007. The divestment was completed in 2009. The company is headquartered in New York City.


title: MSCI

text: Some companies in MSCI's peer group includes Glass Lewis, Factset, Sovereign Wealth Fund Institute, and Standard & Poor's.


title: MSCI

text: In October 2021, MSCI and Cboe Global Markets signed a licensing agreement that would see MSCI grow its options product suite and allow them to work on other projects as well.


title: MSCI

text: In April 2022, MSCI entered into a collaboration with MarketAxess on fixed income indices, portfolio construction solutions, and ESG data, using MSCI's ESG data and MarketAxess' pricing and liquidity indicators.


title: MSCI

text: The MSCI global equity indexes have been calculated since 1969 and include MSCI World and MSCI EAFE. Initially, the company used eight factors in developing its indexes: momentum, volatility, value, size, growth, size nonlinearity, liquidity, and financial leverage.


title: MSCI

text: In 2018 MSCI announced it would begin including mainland Chinese "A" shares in its MSCI Emerging Markets Index. Initially the domestic Chinese companies received a 5% weighting in the index. MSCI is the last major index provider to include the companies, but some investors have questioned the risk as many Chinese listed companies refuse to permit the Public Company Accounting Oversight Board to inspect their financial records. The action of including Chinese stocks into MSCI EM Index also received criticism and questions from Senator Marco Rubio and some others regarding the U.S. national security.


title: MSCI

text: In February 2019, "The Wall Street Journal" reported the decision was the result of pressure from the Chinese government according to people familiar with the matter. "The New York Times" reported that "The Chinese government long sought MSCI inclusion because it could help establish Shanghai and Shenzhen as global financial centers." MSCI chief executive and chairman Henry Fernandez stated there was "zero politics" behind the decision. In March 2019, CNBC reported that MSCI have a future plan of inclusion based on market capitalization of mainland Chinese shares in its global benchmarks, which will eventually lead to ca. 40% weights of its global emerging markets index.


title: MSCI

text: In April 2020, it was reported that Donald Trump was considering an executive action to prohibit the Thrift Savings Plan from transferring $50 billion to mirror the MSCI All Country World Index fund. In December 2020, MSCI announced that it would strip its indexes of seven Chinese companies in response to Executive Order 13959.


title: MSCI

text: Although the A share full inclusion plan was noted by investors years ago, it still has not been realized as of 2022.


title: MSCI

text: In November 2022, a study by Sheffield Hallam University and Hong Kong Watch identified three major stock indexes provided by MSCI that include at least 13 companies involved in forced labor and mass surveillance of Uyghurs.


title: Paddy Chayefsky

text: Sidney Aaron "Paddy" Chayefsky (January 29, 1923 – August 1, 1981) was an American playwright, screenwriter and novelist. He is the only person to have won three solo Academy Awards for writing both adapted and original screenplays.


title: Paddy Chayefsky

text: He was one of the most renowned dramatists of the Golden Age of Television. His intimate, realistic scripts provided a naturalistic style of television drama for the 1950s, dramatizing the lives of ordinary Americans. Martin Gottfried wrote in "All His Jazz" that Chayefsky was "the most successful graduate of television's slice of life school of naturalism."


title: Paddy Chayefsky

text: Following his critically acclaimed teleplays, Chayefsky became a noted playwright and novelist. As a screenwriter, he received three Academy Awards for "Marty" (1955), "The Hospital" (1971) and "Network" (1976). The movie "Marty" was based on his own television drama about two lonely people finding love. "Network" was a satire of the television industry and "The Hospital" was also satiric. Film historian David Thomson called "The Hospital" "years ahead of its time. […] Few films capture the disaster of America's self-destructive idealism so well." His screenplay for "Network" is often regarded as his masterpiece, and has been hailed as "the kind of literate, darkly funny and breathtakingly prescient material that prompts many to claim it as the greatest screenplay of the 20th century."


title: Paddy Chayefsky

text: Chayefsky's early stories were frequently influenced by the author's childhood in The Bronx. Chayefsky was part of the inaugural class of inductees into the Academy of Television Arts & Sciences' Television Hall of Fame. He received this honor three years after his death, in 1984.


title: Paddy Chayefsky

text: Sidney Chayefsky was born in the Bronx, New York City, to Russian-Jewish immigrants Harry and Gussie (Stuchevsky) Chayefsky. Harry Chayefsky's father served for twenty-five years in the Russian army so the family was allowed to live in Moscow, while Gussie Stuchevsky lived in a village near Odessa. Harry and Gussie emigrated to the United States in 1907 and 1909 respectively.


title: Paddy Chayefsky

text: Harry Chayefsky worked for a New Jersey milk distribution company in which he eventually took a controlling interest and renamed Dellwood Dairies. The family lived in Perth Amboy, New Jersey, and Mount Vernon, New York, moving temporarily to Bailey Avenue in the West Bronx at the time of Sidney Chayefsky's birth while a larger house in Mount Vernon was being completed. He had two older brothers, William and Winn.


title: Paddy Chayefsky

text: As a toddler Chayefsky showed signs of being gifted, and could "speak intelligently" at two and a half. His father suffered a financial reversal during the Wall Street Crash of 1929, and the family moved back to the Bronx. Chayefsky attended a public elementary school. As a boy, Chayefsky was noted for his verbal ability, which won him friends. He attended DeWitt Clinton High School, where he served as editor of the school's literary magazine, "The Magpie." He graduated from Clinton in 1939 at age 16 and attended the City College of New York, graduating with a degree in social sciences in 1943. While at City College he played for the semi-professional football team Kingsbridge Trojans. He studied languages at Fordham University during his Army service.


title: Paddy Chayefsky

text: In 1943, two weeks before his graduation from City College, Chayefsky was drafted into the United States Army, and served in combat in Europe. While in the Army he adopted the nickname "Paddy." The nickname was given spontaneously when he was awakened at dawn for kitchen duty. Although actually Jewish, he asked to be excused to attend Mass. "Sure you do, Paddy," said the officer, and the name stuck.


title: Paddy Chayefsky

text: Chayefsky was wounded by a land mine while serving with the 104th Infantry Division in the European Theatre near Aachen, Germany. He was awarded the Purple Heart. The wound left him badly scarred, contributing to his shyness around women. While recovering from his injuries in the Army Hospital near Cirencester, England, he wrote the book and lyrics to a musical comedy, "No T.O. for Love". First produced in 1945 by the Special Services Unit, the show toured European Army bases for two years.


title: Paddy Chayefsky

text: The London opening of "No T.O. for Love" at the Scala Theatre in the West End was the beginning of Chayefsky's theatrical career. During the London production of this musical, Chayefsky encountered Joshua Logan, a future collaborator, and Garson Kanin, who invited Chayefsky to collaborate with him on a documentary of the Allied invasion, "The True Glory".


title: Paddy Chayefsky

text: Returning to the United States, Chayefsky worked in his uncle's print shop, Regal Press, an experience which provided a background for his later teleplay, "Printer's Measure" (1953), as well as his story for the movie "As Young as You Feel" (1951). Kanin enabled Chayefsky to spend time working on his second play, "Put Them All Together" (later known as "M is for Mother"), but it was never produced. Producers Mike Gordon and Jerry Bressler gave him a junior writer's contract. He wrote a story, "The Great American Hoax", which sold to "Good Housekeeping" but was never published.


title: Paddy Chayefsky

text: Chayefsky went to Hollywood in 1947 with the aim of becoming a screenwriter. His friends Garson Kanin and Ruth Gordon found him a job in the accounting office of Universal Pictures. He studied acting at the Actor's Lab and Kanin got him a bit part in the film "A Double Life". He returned to New York, submitted scripts, and was hired as an apprentice scriptwriter by Universal. His script outlines were not accepted and he was fired after six weeks. After returning to New York, Chayefsky wrote the outline for a play that he submitted to the Wiilliam Morris Agency. The agency, treating it as a novella, submitted it to Good Housekeeping magazine. Movie rights were purchased by Twentieth Century Fox, Chayefsky was hired to write the script, and he returned to Hollywood in 1948. But Chayefsky was discouraged by the studio system, which involved rewrites and relegated writers to inferior roles, so he quit and moved back to New York, vowing not to return.


title: Paddy Chayefsky

text: During the late 1940s, he began working full-time on short stories and radio scripts, and during that period, he was a gagwriter for radio host Robert Q. Lewis. Chayefsky later recalled, "I sold some plays to men who had an uncanny ability not to raise money."


title: Paddy Chayefsky

text: During 1951–52, Chayefsky wrote adaptations for radio's "Theater Guild on the Air": "The Meanest Man in the World" (with James Stewart), "Cavalcade of America", "Tommy" (with Van Heflin and Ruth Gordon) and "Over 21" (with Wally Cox).


title: Paddy Chayefsky

text: His play "The Man Who Made the Mountain Shake" was noticed by Elia Kazan, and his wife, Molly Kazan, helped Chayefsky with revisions. It was retitled "Fifth From Garibaldi" but was never produced. In 1951, the movie "As Young as You Feel" was adapted from a Chayefsky story.


title: Paddy Chayefsky

text: He moved into television with scripts for "Danger", "The Gulf Playhouse" and "Manhunt". "Philco Television Playhouse" producer Fred Coe saw the "Danger" and "Manhunt" episodes and enlisted Chayefsky to adapt the story "It Happened on the Brooklyn Subway" about a photographer on a New York City Subway train who reunites a concentration camp survivor with his long-lost wife. Chayefsky's first script to be telecast was a 1949 adaptation of Budd Schulberg's "What Makes Sammy Run?" for "Philco".


title: Paddy Chayefsky

text: Since he had always wanted to use a synagogue as backdrop, he wrote "Holiday Song", telecast in 1952 and also in 1954. He submitted more work to "Philco", including "Printer's Measure", "The Bachelor Party" (1953) and "The Big Deal" (1953).


title: Paddy Chayefsky

text: The seventh season of "Philco Television Playhouse" began September 19, 1954 with E. G. Marshall and Eva Marie Saint in Chayefsky's "Middle of the Night", a play which relocated to Broadway theaters 15 months later; In 1956, "Middle of the Night" opened on Broadway with Edward G. Robinson and Gena Rowlands, and its success led to a national tour. It was filmed by Columbia Pictures in 1959 with Kim Novak and Fredric March.


title: Paddy Chayefsky

text: In 1953, Chayefsky wrote "Marty", which was premiered on "The Philco Television Playhouse", with Rod Steiger and Nancy Marchand. "Marty" is about a decent, hard-working Bronx butcher, pining for the company of a woman in his life but despairing of ever finding true love in a relationship. Fate pairs him with a plain, shy schoolteacher named Clara whom he rescues from the embarrassment of being abandoned by her blind date in a local dance hall. The production, the actors and Chayefsky's naturalistic dialogue received much critical acclaim and influenced subsequent live television dramas.


title: Paddy Chayefsky

text: Chayefsky was initially uninterested when producer Harold Hecht sought to buy film rights for "Marty" for Hecht-Hill-Lancaster. Chayefsky, still upset by his treatment years before, demanded creative control, consultation on casting, and the same director as in the TV version, Delbert Mann. Surprisingly, Hecht agreed to all of Chayefsky's demands, and named Chayefsky "associate producer" of the film. Chayefsky then requested and was granted "co-director" status, so that he could take over production if Mann was fired.


title: Paddy Chayefsky

text: The screenplay was little changed from the teleplay, but with Clara's role expanded. Chayefsky was involved in all casting decisions and had a cameo role, playing one of Marty's friends, unseen, in a car. Actress Betsy Blair, playing Clara, faced difficulties because of her affiliation with left-wing causes, and United Artists demanded that she be removed. Chayefsky refused, and her husband Gene Kelly also intervened on her behalf. Blair remained in the cast.


title: Paddy Chayefsky

text: In September 1954, after most of the movie had been filmed, the studio ceased production due to accounting and financial difficulties. Producer Harold Hecht encountered resistance to the "Marty" project from his partner Burt Lancaster from the beginning, with Lancaster "only tolerating" it. The film had a limited publicity budget. But reviews were glowing, and the film won the Palme d'Or at the 1955 Cannes Film Festival and the Academy Award for Best Picture, greatly boosting Chayefsky's career.


title: Paddy Chayefsky

text: After his success with "Marty", Chayefsky continued to write for TV and theater as well as films. Chayefsky's "The Great American Hoax" was broadcast May 15, 1957 during the second season of "The 20th Century Fox Hour".


title: Paddy Chayefsky

text: His TV play "The Bachelor Party" was bought by United Artists and "The Catered Affair" was bought by Metro-Goldwyn-Mayer. Gore Vidal was hired to write the screenplay by MGM, while Chayefsky wrote the "Bachelor Party". "Catered Affair" did well in Europe but poorly in U.S. theaters, and was not a success.


title: Paddy Chayefsky

text: "Bachelor Party" was budgeted at $750,000, twice "Marty" budget, but received far less acclaim and was viewed by United Artists as artistically inferior. The studio chose instead to promote another Hecht-Hill-Lancaster film, "Sweet Smell of Success", which the studio believed to be better. "Bachelor Party" turned out to be a commercial failure, and never made a profit.


title: Paddy Chayefsky

text: Chayefsky wrote a film adaptation of his Broadway play "Middle of the Night", originally writing the female lead role for Marilyn Monroe. She passed on the part, which went to Kim Novak. He also commenced work on "The Goddess", the story of the rise and fall of a movie star resembling Monroe. The star of "The Goddess", Kim Stanley, despised the film and refused to publicize it. He and Stanley clashed during production of the film, in which Chayefsky served as producer as well as screenwriter. Despite her requests, Chayefsky refused to change any aspect of the script. Monroe's husband, Arthur Miller believed that the film was based on his wife's life and protested to Chayefsky. The film received positive reviews, and Chayefsky received an Academy Award nomination for his script. A New York Herald Tribune reviewer called the film "a substantial advance in the work of Chayefsky."


title: Paddy Chayefsky

text: Chayefsky denied for years that the film was based on Monroe, but Chayefsky's biographer Shaun Considine observes that not only was she the prototype but the film "captured her longing and despair" accurately.


title: Paddy Chayefsky

text: In 1958 Chayefsky began adapting "Middle of the Night" as a film, and he decided not to use the star of the Broadway version, Edward G.Robinson, with whom he had clashed, choosing instead Frederic March. Elizabeth Taylor initially agreed to appear in the female lead, but dropped out. Kim Novak was ultimately cast in the part. The film was chosen as the American entry at the Cannes Film Festival, but reviews were mixed and the film had only a short run in theaters.


title: Paddy Chayefsky

text: "The Tenth Man" (1959) marked Chayefsky's second Broadway theatrical success, garnering 1960 Tony Award nominations for Best Play, Best Director (Tyrone Guthrie) and Best Scenic Design. Guthrie received another nomination for Chayefsky's "Gideon", as did actor Fredric March. Chayefsky's final Broadway theatrical production, a play based on the life of Joseph Stalin, "The Passion of Josef D", received unfavorable reviews and ran for only 15 performances.


title: Paddy Chayefsky

text: Although Chayefsky was an early writer for the television medium, he eventually abandoned it, "decrying the lack of interest the networks demonstrated toward quality programming". As a result, during the course of his career, he constantly toyed with the idea of lampooning the television industry, which he succeeded in doing with "Network".


title: Paddy Chayefsky

text: Although Chayefsky wished only to do original screenplays, he was persuaded by producer Martin Ransohoff to adapt William Bradford Huie's 1959 novel that was eventually filmed with the book's title "The Americanization of Emily" (1964). The novel dealt with interservice rivalries prior to the Normandy landings during World War II, with a love story at the center of the plot. Chayefsky agreed to adapting the novel but only if he could fundamentally change the story. He made the titular character more sophisticated, but refusing to be "Americanized" by accepting material goods.


title: Paddy Chayefsky

text: William Wyler was initially brought in as the director, but his relationship with Chayefsky deteriorated when he sought to change the script. William Holden was initially cast in the male lead, but that led to conflict when he asked that Julie Andrews be replaced by his then-girlfriend, Capucine. James Garner, adept at comedy with sophisticated dialogue but originally slated to play a supporting role, replaced Holden and delivered a critically acclaimed performance while James Coburn took over the part originally meant for Garner. Both James Garner and Julie Andrews always maintained that "The Americanization of Emily" was their favorite film of their own work. The film opened in August 1964 to superlative reviews but was a box office failure, possibly due to its extremely controversial anti-war stance at the dawn of the Vietnam War. The studio changed the title in the middle of its release, calling it "Emily...she's super!" to avoid confusing part of the public with a seven-syllable word in the title. The film has since been praised as a "vanguard anti-war film."


title: Paddy Chayefsky

text: The failure of "Americanization of Emily" and "Josef D". on Broadway shook Chayefsky's confidence, and was the beginning of a what his biographer Shaun Considine calls a "fallow period." He agreed to do novel adaptations, which he had previously shunned, and was hired to adapt the Richard Jessup novel "The Cincinnati Kid." Director Sam Peckinpah rejected the script, and Chayefsky was fired. Peckinpah was replaced by Norman Jewison shortly after the film began production.


title: Paddy Chayefsky

text: Chayefsky worked for a time on adapting Huie's book "Three Lives for Mississippi," about the murders of three civil rights workers in 1964, and in 1967 was hired to adapt the Broadway musical "Paint Your Wagon". He was fired from the film after producing a script that Alan Jay Lerner, the playwright and producer, felt lacked "a musical structure." Chayefsky had his name removed as screenwriter but remained as adapter.


title: Paddy Chayefsky

text: In 1969 and 1970. Chayefsky began to consider a film that would be set among the civil unrest taking place at the time. When his wife Susan received poor care at a hospital, he pitched to United Artists a story based at a hospital. To ensure that he had the same kind of creative control given to playwrights, he formed Simcha Productions, named after the Hebrew version of his given name, Sidney. He then commenced research, reading medical books and visiting hospitals.


title: Paddy Chayefsky

text: The leading character in the film, Dr. Herbert Bock, included many of Chayefsky's personal traits. Bock had been a "boy genius" who felt bitter and that his life was over. One of the monologues of George C. Scott as Bock in the film, in which Bock says he is miserable and considering suicide, was repeated verbatim from a conversation that Chayefsky had with a business associate during that time.


title: Paddy Chayefsky

text: The long speeches written for Bock and other characters by Chayefsky, later praised by critics, met resistance from United Artists executives during the making of the film. The script was described as "too talky" and containing excessive medical terminology. But Chayefsky, as producer, prevailed. He also vetoed the studio's suggestion that Walter Matthau or Burt Lancaster be hired for the lead role, insisting on Scott. Chayefsky worked on the dialogue with Diana Rigg, the female lead, but Scott rejected his input.


title: Paddy Chayefsky

text: After filming, Chayefsky spoke the opening narration after several actors were rejected for the job. It was supposed to be temporary, but became the one that was used in the film. Although some initial reviews were negative, the film received rave reviews from leading critics, and was a box office hit. Chayefsky won an Academy Award for his script, and his career was revived.


title: Paddy Chayefsky

text: Chayefsky believed that television news desensitized viewers to violence and murder, and he was shocked one day when a respected news anchorman "rattled off inanities." He asked his friend, the NBC News anchor John Chancellor, if it was possible for an anchorman to go crazy on the air, and Chancellor replied "Every day." Within a week of that conversation, Chayefsky had written the rough draft of a script, centering on an elderly, disillusioned anchor who announces he will commit suicide on the air. In 1974, a local news anchor, Christine Chubbuck, committed suicide during a broadcast.


title: Paddy Chayefsky

text: Chayefsky researched the project by watching hours of television and consulting with NBC executive David Tebet, who allowed Chayefsky to attend programming meetings. He later conducted research at CBS and met with Walter Cronkite. The completed script reflected his research and his personal view, prevalent at the time, that Arabs were "buying up" U.S. corporations. The "mad as hell" speech was a deeply personal statement reflecting the core of Chayefsky's beliefs during the early 1970s. Chayefsky later called it an easy speech to write, reflecting his view that people had a right to get mad.


title: Paddy Chayefsky

text: The script encountered difficulty because of film industry concerns that it was too tough on television. Ultimately it was decided that the film would be a co-production of MGM and United Artists, with Chayefsky having complete creative control. The deal was announced in July 1975. George C. Scott was offered the role of Max Schumacher but rejected it, and the role went to William Holden. Chayefsky refused requests by UA and MGM to give the film a "softer" ending, feeling that ending with the Howard Beale character assassinated would alienate audiences.


title: Paddy Chayefsky

text: Outside the expected negative reviews from television network film critics, the film was a critical and box office success, winning ten Academy Award nominations, and Chayefsky won his third Academy Award, making him the only three-time solo recipient of a screenwriting Oscar; all the other three-time winners (Francis Ford Coppola, Charles Brackett, Woody Allen, and Billy Wilder) shared at least one of their awards with co-writers. When Peter Finch posthumously won Best Actor, Chayefsky was to accept on his behalf, but he defied the show's producer, William Friedkin, and called Finch's wife Eletha to the stage to accept the award.


title: Paddy Chayefsky

text: The film is said to have "presaged the advent of reality television by twenty years" and was a "sardonic satire" of the television industry, dealing with the "dehumanization of modern life."


title: Paddy Chayefsky

text: After "Network" Chayefsky explored an offer from Warren Beatty to write a film based on the life of John Reed and his book "Ten Days That Shook the World". He agreed to do research, and spent three months exploring the subject of what eventually became the Beatty film "Reds". Negotiations with Beatty's lawyers failed.


title: Paddy Chayefsky

text: In the spring of 1977, Chayefsky began work on a project delving into "man's search of his true self." The genesis of the idea was a joke with his friends Bob Fosse and Herb Gardner. The three cooked up a joke project to remake "King Kong", in which Kong becomes a movie star. The comic project got Chayefsky interested in exploring the origins of the human spirit. That evolved into a project updating the theme of "Dr. Jekyll and Mr. Hyde".


title: Paddy Chayefsky

text: Chayefsky conducted research on genetic regression, speaking to doctors and professors of anthropology and human genetics. He then began a rough outline of a story in which the lead character immerses himself in an isolation tank, and with the aid of hallucinogens regresses to become a prehuman creature. Chayefsky wrote an eighty-seven page treatment and, at the suggestion of Columbia executive Daniel Melnick, he adapted it into a novel


title: Paddy Chayefsky

text: Film rights were bought by Columbia Pictures for nearly $1 million, and with the same creative control and financial terms as for "Network". Chayefsky suffered greatly from stress while working on the novel, resulting in a heart attack in 1977. The heart attack resulted in strict dietary and lifestyle restrictions. The novel, titled "Altered States," was published by HarperCollins in June 1978 and received mixed reviews. Chayefsky did not promote the book, which he viewed only as a blueprint for the screenplay.


title: Paddy Chayefsky

text: Since his contract gave him creative control, Chayefsky participated in the selection of William Hurt and Blair Brown as the leads. Arthur Penn was initially hired as director, but left after disagreements with Chayefsky. He was replaced by Ken Russell.


title: Paddy Chayefsky

text: Chayefsky made it clear that he would allow no input into the dialogue or narrative, which Russell felt was too "soppy." Russell was confident that he could get rid of Chayefsky, but found that "the monkey on my back was always there and wouldn't let go." Russell was polite and deferential prior to production but after rehearsals began in 1979 "began to treat Paddy as a nonentity" and was "mean and sarcastic," according to the film's producer Howard Gottfried, who called Russell a "duplicitous, mean man."


title: Paddy Chayefsky

text: Chayefsky had the power to fire Russell, but was told by Gottfried that he could only do so if he took over direction himself. He left for New York and continued to monitor production. The actors were not permitted to alter the dialogue. Chayefsky later said that in retaliation the actors were instructed to speak their lines while eating or talking too fast. Russell stated that the fast pace and overlapping dialogue was Chayefsky's idea.


title: Paddy Chayefsky

text: Upset by the filming of his screenplay, Chayefsky withdrew from the production of "Altered States" and took his name off the credits, substituting the pseudonym Sidney Aaron.


title: Paddy Chayefsky

text: In his book "Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies", journalist Dave Itzkoff wrote that the Howard Beale character in Network was a product of Chayefsky's many frustrations. Itzkoff wrote: "Where others avoided conflict, he cultivated it and embraced it, His fury nourished him, making him intense and unpredictable, but also keeping him focused and productive." Itzkoff describes Chayefsky as "intensely troubled, a huge egomaniac and control freak, dispirited about the world, wryly comic, and a both present and absent family man."


title: Paddy Chayefsky

text: In his biography of Chayefsky's friend Bob Fosse, drama critic Martin Gottfried said Chayefsky was compact and burly in the bulky way of a schoolyard athlete, with thick dark hair and a bent nose that could pass for a streetfighter's. He was a grown-up with one foot in the boys' clubs of his city youth, a street snob who would not allow the loss of his nostalgia. He was an intellectual competitor, always spoiling for a political argument or a philosophical argument, or any exchange over any issue, changing sides for the fun of the fray. A liberal, he was annoyed by liberals; a proud Jew, he wouldn't let anyone call him a "Jewish writer".In his biography "Mad as Hell", author Shaun Considine says that Chayefsky had a "dual personality". Chayefsky's "Paddy" persona had "character, caprice; it appealed to his sense of swagger" and gave him confidence to stand up for his rights. "Sidney" was the "silent creator" who had the talent and genius.


title: Paddy Chayefsky

text: Chayefsky was under psychoanalysis for years, beginning in the late 1950s, to deal with his volatile behavior and rage, which at times was difficult to control.


title: Paddy Chayefsky

text: Early in his career, Chayefsky was an opponent of McCarthyism. He signed a telegram signed by other writers and performers protesting federal inaction after a concert featuring Paul Robeson in Peekskill, New York, prompted violence in which 150 persons were injured. As a result, his name appeared in the anti-Communist vigilante publication "The Firing Line", published by the American Legion. Although Chayefsky feared being subpoeanaed and his career ruined, that never happened. Actress Betsy Blair described Chayefsky as a Social Democrat and as an anti-Marxist.


title: Paddy Chayefsky

text: He opposed the Vietnam War as a "stupid and utterly unnecessary war whose principal victim would be the United States" and sent a letter to President Richard Nixon decrying the My Lai Massacre, saying Americans were in danger of turning into "a nation of bad Germans."


title: Paddy Chayefsky

text: In the 1970s Chayefsky worked for the cause of Soviet Jews, and in 1971 went to Brussels as part of an U.S. delegation to the International Conference on Soviet Jewry. Believing that the conference was insufficiently aggressive, he founded a new activist organization in New York, Writers and Artists for Peace in the Middle East. Co-founders included Colleen Dewhurst, Frank Gervasi, Leon Uris, Gerold Frank and Elie Wiesel. Chayefsky believed that "Zionists" was a code word for "Jews" by Marxist anti-Semites.


title: Paddy Chayefsky

text: Chayefsky was increasingly interested in Israel at that time. In an interview with "Women's Wear Daily" in 1971, he said that he believed that Jews around the world were in imminent danger of genocide. Journalist Dave Itzkoff writes that in the 1970s his views on Israel possessed a "more aggressive and admittedly paranoid streak." He believed that anti-Semitism was rife in the U.S., especially in the New Left, and once physically confronted a heckler who used an anti-Semitic slur during a David Steinberg performance. While filming "The Hospital", Chayefsky commenced work on a film project called "The Habbakuk Conspiracy," which he described as a "study of life within an Arab guerrilla cell on the West Bank of the Jordan." The project was sold to United Artists but never filmed, which resulted in lingering resentment toward the studio.


title: Paddy Chayefsky

text: Chayefsky composed, without credit, pro-Israel ads for the Anti-Defamation League at the time of the Yom Kippur War in 1973. In the late 1970s Writers and Artists for Peace in the Middle East placed full-page newspaper ads written by Chayefsky attacking the Palestine Liberation Organization for the massacre of Israeli athletes at the 1972 Summer Olympics.


title: Paddy Chayefsky

text: He rejected Jane Fonda and Vanessa Redgrave for the role of the female lead in "Network" because of what he alleged were their "anti-Israel leanings," even though Redgrave was director Sidney Lumet's first choice. Redgrave, accepting the Best Supporting Actress Academy Award for "Julia" at the 1978 Academy Awards, made a statement during her award acceptance speech denouncing protestors who were members of the Jewish Defense League (JDL), led by Rabbi Meir Kahane, who burned an effigy of Redgrave outside the Awards site, picketed the Academy Awards ceremony to protest against her, and had earlier called on 20th Century Fox to denounce Redgrave and promise never to hire her again, saying, "You should be very proud that in the last few weeks you have stood firm and you have refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world, and to their great and heroic record of struggle against fascism and oppression." Chayefsky, appearing later, upbraided Redgrave and said "a simple 'Thank you' would have sufficed." The Redgrave and Chayefsky remarks prompted controversy.


title: Paddy Chayefsky

text: Chayefsky met his future wife Susan Sackler during his 1940s stay in Hollywood. The couple married in February 1949. Their son Dan was born in 1955.


title: Paddy Chayefsky

text: Chayefsky's relationship with his wife was strained for much of their marriage, and she became withdrawn and unwilling to appear with him as he became more prominent. Gwen Verdon, wife of his friend Bob Fosse, only saw Susan Chayefsky five times in her life.


title: Paddy Chayefsky

text: Susan Chayefsky suffered from muscular dystrophy, and Dan Chayefsky described himself to author Dave Itzkoff as "a self-destructive teen who brought more pressure to the family home." Despite an alleged affair with Kim Novak, which resulted in his asking his wife for a divorce, Paddy Chayefsky remained married to Susan Chayefsky until his death, and sought her opinion on his screenplays, including "Network". She died in 2000.


title: Paddy Chayefsky

text: Chayefsky contracted pleurisy in 1980 and again in 1981. Tests revealed cancer, but he refused surgery out of fear that surgeons would "cut me up because of that movie I wrote about them," referring to "The Hospital". He opted for chemotherapy. He died in a New York hospital on August 1, 1981, aged 58, and was interred in the Sharon Gardens Division of Kensico Cemetery in Valhalla, Westchester County, New York.


title: Paddy Chayefsky

text: Longtime friend Bob Fosse performed a tap dance at the funeral, as part of a deal he and Chayefsky had made when Fosse was in the hospital for open-heart surgery. If Fosse died first, Chayefsky promised to deliver a tedious eulogy or Fosse would dance at Chayefsky's memorial if he were the one to die first. Fosse would dedicate his final film "Star 80" to Chayefsky in 1983. Chayefsky's personal papers are at the Wisconsin Historical Society and the New York Public Library for the Performing Arts, Billy Rose Theatre Division.


title: Flags of the Ottoman Empire

text: The star and crescent came into use in the second half of the 18th century. A "" (decree) from 1793 required that the ships of the Ottoman Navy were to use a red flag with the star and crescent in white.


title: Flags of the Ottoman Empire

text: In 1844, a version of this flag, with a five-pointed star, was officially adopted as the Ottoman national flag. The decision to adopt a national flag was part of the "Tanzimat" reforms which aimed to modernize the Ottoman state in line with the laws and norms of contemporary European states and institutions.


title: Flags of the Ottoman Empire

text: The star and crescent design later became a common element in the national flags of Ottoman successor states in the 20th century.


title: Flags of the Ottoman Empire

text: The current flag of Turkey is essentially the same as the late Ottoman flag, but has more specific legal standardizations (regarding its measures, geometric proportions, and exact tone of red) that were introduced with the Turkish Flag Law on 29 May 1936. Before the legal standardization, the star and crescent could have slightly varying slimness or positioning depending on the rendition.


title: Flags of the Ottoman Empire

text: Such standards remained in use alongside flags until the 19th century. A depiction of a tugh appears in the ' by Joseph Pitton de Tournefort (1718).


title: Flags of the Ottoman Empire

text: War flags came into use by the 16th century. During the 16th and 17th centuries, Ottoman war flags often depicted the bifurcated "Zulfiqar" sword, often misinterpreted in Western literature as showing a pair of scissors.


title: Flags of the Ottoman Empire

text: the Topkapı Museum exhibits a Zulfiqar flag claimed to have been used by Sultan Selim I (). Two Zulfiqar flags are also depicted in a plate dedicated to Turkish flags in vol. 7 of Bernard Picart's " (1737), attributed to the Janissaries and the Ottoman cavalry.


title: Flags of the Ottoman Empire

text: The crescent symbol appears in flags attributed to Tunis from as early as the 14th century (""), long before Tunis fell under Ottoman rule in 1574. But the crescent as a symbol also had 14th-century associations with the Ottoman military


title: Flags of the Ottoman Empire

text: which became the Ottoman capital after its conquest in 1453. The Spanish Navy Museum in Madrid shows two Ottoman naval flags dated 1613; both are swallow-tailed, one green with a white crescent near the hoist, the other white with two red stripes near the edges of the flag and a red crescent near the hoist.


title: Flags of the Ottoman Empire

text: According to Rıza Nur, sultan Selim I (1512-20) had a white personal flag, while the Ottoman Army flag was red (kızıl bayrak). During Süleyman I's reign (1520-66) the janissaries had a white flag while the timariot cavalry had a red flag. It was used as the Ottoman civic and merchant flag from 1793 to 1923.


title: Flags of the Ottoman Empire

text: Following the conquest of Constantinople in 1453, the crescent moon and star symbol started being used on Turkic peoples flags. Ottoman flags were originally commonly green, but the flag was defined as red by decree in 1793 and an eight-pointed star was added. The red version of the flag had become ubiquitous by the reign of Selim III. The five pointed star did not appear until the 1840s.


title: Flags of the Ottoman Empire

text: With the Tanzimat reforms in the 19th century, flags were redesigned in the style of the European armies of the day. The flag of the Ottoman Navy was made red, as red was to be the flag of secular institutions and green of religious ones. As the reforms abolished all the various flags (standards) of the Ottoman pashaliks, beyliks and emirates, a single new Ottoman national flag was designed to replace them. The result was the red flag with the white crescent moon and star, which is the precursor to the modern flag of Turkey. A plain red flag was introduced as the civil ensign for all Ottoman subjects.


title: Flags of the Ottoman Empire

text: After the foundation of the Republic of Turkey in 1923, the government maintained the last flag of the Ottoman Empire. Proportional standardisations were introduced in the Turkish Flag Law () of 29 May 1936.


title: Flags of the Ottoman Empire

text: It has been suggested that the star-and-crescent used in Ottoman flags of the 19th century had been adopted from the Byzantine. Franz Babinger (1992) suggests this possibility, noting that the crescent alone has a much older tradition also with Turkic tribes in the interior of Asia. The crescent and star is found on the coinage of Byzantium since the 4th century BC and was depicted on Byzantine Empire's coins and shields of Christian warrior saints till the 13th century. Parsons (2007) notes that the star and crescent was not a widespread motive on the coinage of Byzantium at the time of the Ottoman conquest. Turkish historians tend to stress the antiquity of the "crescent" (not star-and-crescent) symbol among the early Turkic states in Asia.


title: Flags of the Ottoman Empire

text: The standard used by the last Caliph, Abdulmejid II (between 19 November 1922 – 3 March 1924) consisted of a green flag with a star and crescent in white on a red oval background within a rayed ornament, all in white.


title: Victor and Valentino

text: Victor and Valentino is an American animated television series created by Diego Molano for Cartoon Network. It is produced by Cartoon Network Studios. The series follows the titular duo, two half-brothers staying with their grandmother in the Mexican town of Monte Macabre, where they interact with supernatural beings that plague the town, many of whom are derived from Aztec, Olmec, and Mayan mythologies.


title: Victor and Valentino

text: Molano later stated his excitement in "putting the "spotlight" on these cultures and in having more representation, calling the show "a baby step" in letting Latinos feel they are "part of this tapestry that’s America." Molano also called the series "a supernatural adventure comedy with some action elements," and stated that he loves how he can explore his "favorite subject" (mythology) by focusing on "Mesoamerican mythologies of pre-Hispanic indigenous people of the Americas."


title: Victor and Valentino

text: On March 30, 2019, the show was greenlit for a full TV series, premiering simultaneously in the United States and Latin America. On July 15, the show was renewed for a second season which premiered on April 18, 2020. In February 2021, the show was renewed for a third season which premiered on September 4, 2021. In August 2022, the series was removed from HBO Max in the U.S.. Later, it was announced that the third season would be the final season of the show, with the series finale airing on August 26, 2022.


title: Victor and Valentino

text: In the small quiet town of Monte Macabre, two total opposite half-brothers search about the town for adventure and find strange and supernatural happenings with the help of their supernatural grandmother.


title: Victor and Valentino

text: The idea for the show originally started as a thesis project titled "High Noon in Mexico" in 2002 by Molano when he was a Maryland Institute College of Art student, where Victor and Valentino were part of a video game, along with a third brother named Vicente. In 2004, the idea took the name of "Victor, Valentino and Vicente." Years later, he revisited the project when interning for Titmouse, where he worked after graduating from MICA, and worked as a "clean-up artist" on "Superjail!".


title: Victor and Valentino

text: Being a Latin American folk-themed show, its pilot episode premiered directly on the channel on October 29, 2016 (two days before their local Day of the Dead). In this pilot, Molano voiced Victor, and planned on finding someone else. However, he decided to, ultimately, voice Victor in the main show. He later stated that he was, as a kid, just like Victor, thinking he could "do no wrong," and hoped the show would give a "good lesson for kids."


title: Victor and Valentino

text: The main show itself, is produced at Cartoon Network's studio in Burbank, California. Molano noted that this is where all the writing, storyboarding, pre- and post-production is done, with 36 people working on pre-production, while the main production of the animation is done by two studios based in Seoul: SMIP Co., LTD. and Digital eMation, Inc. He further noted that the visual inspiration from the show comes from "Mesoamerica’s beautiful, ancient art styles." In 2019, Molano expressed some of the challenges with producing the show. This included condensing "large, epic scale, sometimes adult-themed myths/stories" into 11-minute episodes and making them "digestible content rated for kids." He was inspired to borrow from "storylines from indigenous cultures all around Mesoamerica" in an attempt to bring them into the "US cultural imaginary." The art directors of the show, two brothers, Josh Parpan and Justin Parpan, who had worked on "Gravity Falls" and "DuckTales" respectively, added their perspective. Their work allowed the "culturally-specific world for the series" to be constructed, which they showcased on a Tumblr blog titled "Folk Art Friends – The Art of Victor and Valentino." In an interview with "Cartoon Brew", they expressed the need to "do something new and different artistically," and immersed themselves in "a variety of Latin American art," with many forms of inspiration.


title: Victor and Valentino

text: Following the announcement that the series would end after season three, Molano pitched the idea of a spin-off about Charlene titled "The Lonely Haunts Club", but Cartoon Network turned it down. Concept art was drawn for the potential show. Molano has stated he is unsatisfied with the show's cliffhanger ending, and hopes to conclude the story in other media.


title: Victor and Valentino

text: The show first broadcast on Cartoon Network in the U.S. and Latin America on March 30, 2019, part of the channel's 2018–2019 programming lineup. The show premiered on Cartoon Network UK on 26 August 2019. It then premiered on September 23 in Italy with episodes 1x7 and 1x12 and then officially premiered in October 7 with regular episodes. It also aired on Cartoon Network India on 1 November 2019.


title: Victor and Valentino

text: In October 2020, Cartoon Network commemorated Hispanic Heritage Month with an "ongoing content series that celebrates equality and individuality," which was narrated by Sean-Ryan Petersen, who voices Valentino, and features a "variety of powerful youth activists." In addition to this, fans were encouraged to stream "Victor and Valentino" episodes, and those of other series, in Spanish on the Cartoon Network App.


title: Victor and Valentino

text: On August 17, 2022, it was announced that HBO Max would be removing several series, including "Victor and Valentino", in the United States. The series was also removed from HBO Max in other regions the following month.


title: Victor and Valentino

text: The first 18 episodes of the series was released as a DVD titled "Victor and Valentino: Folk Art Foes," on March 2, 2021 with a total running time of about 143 minutes and language options in Spanish and English.


title: Victor and Valentino

text: The series has been reviewed positively. Remezcla described it as show with "Gravity Falls" vibes and something that aims to give Latino kids an "entertaining look at the folktales and myths that populate the American continent." Common Sense Media called the show a "comedy adventure series" based in a town which is a "setting for all kinds of supernatural oddities inspired by Latin American folklore." Other reviewers concurred. The "L.A. Times" called the show a "supernatural action comedy," and praised its "mix of Mexican visual motifs and Japanese anime conventions," saying it makes for "something new, yet familiar." Gizmodo described the show as the first series on Cartoon Network "starring a predominantly Hispanic cast" and praised the matter-of-fact, casual approach to "indigenous, Mesoamerican culture." The reviewer further stated that the show has the space to do worldbuilding while "letting its supernatural elements sometimes take the backseat" and called it a "clever, good-hearted show." In the same fashion, "Collider" stated that the animation is "a rare title that offers up something new," that it welcomes "viewers of Mesoamerican backgrounds," shares a lot with "OK K.O.! Let's Be Heroes", and is a series that is "fun and funny enough for kids" while offering stories "worth watching for audiences of any age." Similarly, "Deadline" argued that the show gave off "some fun-filled" "Steven Universe" and "Rick and Morty" vibes.


title: Role-based access control

text: In computer systems security, role-based access control (RBAC) or role-based security is an approach to restricting system access to authorized users. It is an approach to implement mandatory access control (MAC) or discretionary access control (DAC).


title: Role-based access control

text: Role-based access control is a policy-neutral access-control mechanism defined around roles and privileges. The components of RBAC such as role-permissions, user-role and role-role relationships make it simple to perform user assignments. A study by NIST has demonstrated that RBAC addresses many needs of commercial and government organizations. RBAC can be used to facilitate administration of security in large organizations with hundreds of users and thousands of permissions. Although RBAC is different from MAC and DAC access control frameworks, it can enforce these policies without any complication.


title: Role-based access control

text: Within an organization, roles are created for various job functions. The permissions to perform certain operations are assigned to specific roles. Members or staff (or other system users) are assigned particular roles, and through those role assignments acquire the permissions needed to perform particular system functions. Since users are not assigned permissions directly, but only acquire them through their role (or roles), management of individual user rights becomes a matter of simply assigning appropriate roles to the user's account; this simplifies common operations, such as adding a user, or changing a user's department.


title: Role-based access control

text: Role based access control interference is a relatively new issue in security applications, where multiple user accounts with dynamic access levels may lead to encryption key instability, allowing an outside user to exploit the weakness for unauthorized access. Key sharing applications within dynamic virtualized environments have shown some success in addressing this problem.


title: Role-based access control

text: Additional constraints may be applied as well, and roles can be combined in a hierarchy where higher-level roles subsume permissions owned by sub-roles.


title: Role-based access control

text: With the concepts of role hierarchy and constraints, one can control RBAC to create or simulate lattice-based access control (LBAC). Thus RBAC can be considered to be a superset of LBAC.


title: Role-based access control

text: A constraint places a restrictive rule on the potential inheritance of permissions from opposing roles, thus it can be used to achieve appropriate separation of duties. For example, the same person should not be allowed to both create a login account and to authorize the account creation.


title: Role-based access control

text: RBAC is a flexible access control technology whose flexibility allows it to implement DAC or MAC. DAC with groups (e.g., as implemented in POSIX file systems) can emulate RBAC. MAC can simulate RBAC if the role graph is restricted to a tree rather than a partially ordered set.


title: Role-based access control

text: Prior to the development of RBAC, the Bell-LaPadula (BLP) model was synonymous with MAC and file system permissions were synonymous with DAC. These were considered to be the only known models for access control: if a model was not BLP, it was considered to be a DAC model, and vice versa. Research in the late 1990s demonstrated that RBAC falls in neither category. Unlike context-based access control (CBAC), RBAC does not look at the message context (such as a connection's source). RBAC has also been criticized for leading to role explosion, a problem in large enterprise systems which require access control of finer granularity than what RBAC can provide as roles are inherently assigned to operations and data types. In resemblance to CBAC, an Entity-Relationship Based Access Control (ERBAC, although the same acronym is also used for modified RBAC systems, such as Extended Role-Based Access Control) system is able to secure instances of data by considering their association to the executing subject.


title: Role-based access control

text: Access control lists (ACLs) are used in traditional discretionary access-control (DAC) systems to affect low-level data-objects. RBAC differs from ACL in assigning permissions to operations which change the direct-relations between several entities (see: "ACLg" below). For example, an ACL could be used for granting or denying write access to a particular system file, but it wouldn't dictate how that file could be changed. In an RBAC-based system, an operation might be to 'create a credit account' transaction in a financial application or to 'populate a blood sugar level test' record in a medical application. A Role is thus a sequence of operations within a larger activity. RBAC has been shown to be particularly well suited to separation of duties (SoD) requirements, which ensure that two or more people must be involved in authorizing critical operations. Necessary and sufficient conditions for safety of SoD in RBAC have been analyzed. An underlying principle of SoD is that no individual should be able to effect a breach of security through dual privilege. By extension, no person may hold a role that exercises audit, control or review authority over another, concurrently held role.


title: Role-based access control

text: Then again, a "minimal RBAC Model", "RBACm", can be compared with an ACL mechanism, "ACLg", where only groups are permitted as entries in the ACL. Barkley (1997) showed that "RBACm" and "ACLg" are equivalent.


title: Role-based access control

text: In modern SQL implementations, like ACL of the CakePHP framework, ACLs also manage groups and inheritance in a hierarchy of groups. Under this aspect, specific "modern ACL" implementations can be compared with specific "modern RBAC" implementations, better than "old (file system) implementations".


title: Role-based access control

text: Attribute-based access control or ABAC is a model which evolves from RBAC to consider additional attributes in addition to roles and groups. In ABAC, it is possible to use attributes of:


title: Role-based access control

text: ABAC is policy-based in the sense that it uses policies rather than static permissions to define what is allowed or what is not allowed.


title: Role-based access control

text: The use of RBAC to manage user privileges (computer permissions) within a single system or application is widely accepted as a best practice. A 2010 report prepared for NIST by the Research Triangle Institute analyzed the economic value of RBAC for enterprises, and estimated benefits per employee from reduced employee downtime, more efficient provisioning, and more efficient access control policy administration.


title: Role-based access control

text: In an organization with a heterogeneous IT infrastructure and requirements that span dozens or hundreds of systems and applications, using RBAC to manage sufficient roles and assign adequate role memberships becomes extremely complex without hierarchical creation of roles and privilege assignments. Newer systems extend the older NIST RBAC model to address the limitations of RBAC for enterprise-wide deployments. The NIST model was adopted as a standard by INCITS as ANSI/INCITS 359-2004. A discussion of some of the design choices for the NIST model has also been published.


title: Karen Lynn Gorney

text: Karen Lynn Gorney (born ) is an American actress who had roles in television shows and films including the soap opera "All My Children" and the movie "Saturday Night Fever".


title: Karen Lynn Gorney

text: Gorney's father is Jay Gorney, who was born in Białystok, Poland, and was a composer who wrote the music for the song about America's Great Depression, "Brother, Can You Spare a Dime?" Her family is Jewish. She earned a Bachelor of Fine Arts degree from Carnegie Mellon University and a Master of Fine Arts from Brandeis University. Karen is the sister of Daniel Gorney, and half-sister of author, professor, and physician Roderic Gorney, who has taught for many years at UCLA.


title: Karen Lynn Gorney

text: Gorney made her film debut as a teenage resident of a mental health treatment center in "David and Lisa" (1962). Her next work on the big screen came in 1970 with the film "The Magic Garden of Stanley Sweetheart". From 1970 to 1974, Gorney played the role of Tara Martin on the soap opera "All My Children". After she left the show, Gorney had agreed to return when her replacement, actress/writer Stephanie Braxton, decided to leave the show. She returned for the 1976–1977 season but was eventually fired as Tara and did not return to the show until almost 20 years later.


title: Karen Lynn Gorney

text: In 1977, Gorney co-starred in her third film, and biggest role to date, as Stephanie Mangano in "Saturday Night Fever", alongside John Travolta. The next year, she appeared as a celebrity panelist on "Hollywood Squares".


title: Karen Lynn Gorney

text: After a lengthy gap, during which she managed an art gallery in Manhattan, New York, Gorney eventually returned to acting in the early 1990s, appearing in small roles in such films as "The Hard Way" (1991), "Ripe" (1996), and "Creating Karma" (2006), and returning to "All My Children" during 1995 in cameo spots. More recently, she has guest-starred in a number of TV shows, including "Law & Order", "The Sopranos", and "Six Degrees", as well as doing independent films and off-Broadway shows.


title: Karen Lynn Gorney

text: Due to her connection with disco music, and her popular role in "Saturday Night Fever", she has been featured on a number of disco documentaries and specials, including "", which she co-hosted with "Saturday Night Fever" choreographer Deney Terrio for PBS. During the show, Gorney and Terrio dance to Bee Gees' hit single "More Than a Woman" as she did with co-star John Travolta in "Saturday Night Fever" back in 1977. She appeared on VH1's "When Disco Ruled the World" and was interviewed for the disco video documentary "Disco: Spinning the Story". In 1997, Gorney had an uncredited role as an announcer in the film 'Men in Black.'


title: Karen Lynn Gorney

text: She appeared in the UK on ITV1's lunchtime programme "Loose Women" (a topical debate programme from a woman's perspective) on 28 September 2007, helping to promote the 30th anniversary of the launch of the film "Saturday Night Fever" and the Bee Gees's new "Greatest Hits" album.


title: Karen Lynn Gorney

text: Gorney is a long-time resident of New York City. In 2008, she appeared in the stage production "Monsterface" at the Irish Rep Theater. In October 2010, Gorney performed the role of "Belaria" in Frog and Peach Theatre Company's production of "Cymbeline" at the West End Theatre, in Manhattan, New York.


title: Karen Lynn Gorney

text: Along with her acting work, Gorney is a singer and has released three albums: "Used to Love You Madly", "Hot Moonlight!", and "The Dance of the Deadly's". She has performed at various jazz clubs and cafes.


title: The Big Sleep

text: The Big Sleep (1939) is a hardboiled crime novel by American-British writer Raymond Chandler, the first to feature the detective Philip Marlowe. It has been adapted for film twice, in 1946 and again in 1978. The story is set in Los Angeles.


title: The Big Sleep

text: The story is noted for its complexity, with characters double-crossing one another and secrets being exposed throughout the narrative. The title is a euphemism for death; the final pages of the book refer to a rumination about "sleeping the big sleep".


title: The Big Sleep

text: In 1999, the book was voted 96th of "Le Monde"s "100 Books of the Century". In 2005, it was included in "Time" magazine's "List of the 100 Best Novels".


title: The Big Sleep

text: Private investigator Philip Marlowe is called to the home of the wealthy and elderly General Sternwood, in the month of October. He wants Marlowe to deal with an attempt by a bookseller named Arthur Geiger to blackmail his wild young daughter, Carmen. She had previously been blackmailed by a man named Joe Brody. Sternwood mentions that his other, older daughter Vivian is in a loveless marriage with a man named Rusty Regan, who has disappeared. On Marlowe's way out, Vivian wonders if he was hired to find Regan, but Marlowe will not say.


title: The Big Sleep

text: Marlowe investigates Geiger's bookstore and meets Agnes, the clerk. He determines that the store is a pornography lending library. He follows Geiger home, stakes out his house, and sees Carmen enter. Later, he hears a scream, followed by gunshots and two cars speeding away. He rushes in to find Geiger dead and Carmen drugged and naked, in front of an empty camera. He takes her home but when he returns, Geiger's body is gone. He quickly leaves. The next day, the police call him and let him know the Sternwoods' car was found driven off a pier, with their chauffeur dead inside. It appears that he was hit on the head before the car entered the water. The police also ask if Marlowe is looking for Regan.


title: The Big Sleep

text: Marlowe stakes out the bookstore and sees its inventory being moved to Brody's home. Vivian comes to his office and says Carmen is being blackmailed with the nude photos from the previous night. She also mentions gambling at the casino of Eddie Mars and volunteers that Eddie's wife, Mona, ran off with Rusty. Marlowe revisits Geiger's house and finds Carmen trying to get in. They look for the photos, but she plays dumb about the night before. Eddie suddenly enters; he says he is Geiger's landlord and is looking for him. Eddie demands to know why Marlowe is there; Marlowe takes no notice and states that he is no threat to him.


title: The Big Sleep

text: Marlowe goes to Brody's home and finds him with Agnes, the bookstore clerk. Marlowe tells Brody that he knows they are taking over the lending library and blackmailing Carmen with the nude photos. Carmen forces her way in with a gun and demands the photos, but Marlowe takes her gun and makes her leave. Marlowe interrogates Brody further and pieces together the story: Geiger was blackmailing Carmen; the family driver, Owen Taylor, did not like it and so he snuck in and killed Geiger, then took the film of Carmen. Brody was staking out the house too and pursued the driver, knocked him out, stole the film, and possibly pushed the car off the pier. Suddenly, the doorbell rings and Brody is shot dead; Marlowe gives chase and catches Geiger's male lover, who shot Brody thinking he killed Geiger. He had also hidden Geiger's body, so he could remove his own belongings before the police got wind of the murder.


title: The Big Sleep

text: The case is over, but Marlowe is nagged by Rusty’s disappearance. The police accept that he simply ran off with Mona, since she is also missing, and since Eddie would not risk committing a murder in which he would be the obvious suspect. Mars calls Marlowe to his casino and seems to be nonchalant about everything. Vivian is also there, and Marlowe senses something between her and Mars. He drives her home and she tries to seduce him, but he rejects her advances. When he gets home, he finds Carmen has snuck into his bed, and he rejects her, too.


title: The Big Sleep

text: A man named Harry Jones, who is Agnes's new partner, approaches Marlowe and offers to tell him the location of Mona. Marlowe plans to meet him later, but Eddie’s henchman Canino is suspicious of Jones and Agnes's intentions, and kills Jones first. Marlowe manages to meet Agnes anyway and receives the information. He goes to the location in Realito, a repair shop with a home at the back, but Canino – with the help of Art Huck, the garage man – jumps him and knocks him out. When Marlowe awakens, he is tied up, and Mona is there with him. She says she has not seen Rusty in months; she only hid out to help Eddie and insists he did not kill Rusty. She frees Marlowe, and he shoots and kills Canino.


title: The Big Sleep

text: The next day, Marlowe visits General Sternwood, who remains curious about Rusty's whereabouts and offers Marlowe an additional $1,000 fee if he is able to locate him. On the way out, Marlowe returns Carmen's gun to her, and she asks him to teach her how to shoot. They go to an abandoned field, where she tries to kill him, but he has loaded the gun with blanks and merely laughs at her; the shock causes Carmen to have an epileptic seizure. Marlowe brings her back and tells Vivian he has guessed the truth: Carmen came on to Rusty and he spurned her, so she killed him. Eddie, who had been backing Geiger, helped Vivian conceal it by helping to dispose of Rusty's body, inventing a story about his wife running off with Rusty, and then blackmailing her himself. Vivian says she did it to keep it all from her father, so he would not despise his own daughters, and promises to have Carmen institutionalised.


title: The Big Sleep

text: With the case now over, Marlowe goes to a local bar and orders several double Scotches. While drinking, he begins to think about Mona "Silver-Wig" Mars, but never sees her again.


title: The Big Sleep

text: "The Big Sleep", like most of Chandler's novels, was written by what he called "cannibalizing" his short stories. Chandler would take stories he had already published in the pulp magazine "Black Mask" and rework them into a coherent novel. For "The Big Sleep", the two main stories that form the core of the novel are "Killer in the Rain" (published in 1935) and "The Curtain" (published in 1936). Although the stories were independent and shared no characters, they had some similarities that made it logical to combine them. In both stories there is a powerful father who is distressed by his wayward daughter. Chandler merged the two fathers into a new character and did the same for the two daughters, resulting in General Sternwood and his wild daughter Carmen. Chandler also borrowed small parts of two other stories, "Finger Man" and "Mandarin's Jade".


title: The Big Sleep

text: This process — especially in a time when cutting and pasting was done by cutting and pasting paper — sometimes produced a plot with a few loose ends. An unanswered question in "The Big Sleep" is who killed the chauffeur. When Howard Hawks filmed the novel, his writing team was perplexed by that question, in response to which Chandler replied that he had no idea. This exemplifies a difference between Chandler's style of crime fiction and that of previous authors. To Chandler, plot was less important than atmosphere and characterisation. An ending that answered every question while neatly tying every plot thread mattered less to Chandler than interesting characters with believable behaviour.


title: The Big Sleep

text: When Chandler merged his stories into a novel, he spent more effort on expanding descriptions of people, places, and Marlowe's thinking than getting every detail of the plot perfectly consistent. In "The Curtain", the description of Mrs. O'Mara's room is just enough to establish the setting: This room had a white carpet from wall to wall. Ivory drapes of immense height lay tumbled casually on the white carpet inside the many windows, which stared towards the dark foot-hills. The air beyond the glass was dark too. It had not started to rain, yet there was a feeling of pressure in the atmosphere.In "The Big Sleep", Chandler expanded this description of the room and used new detail (e.g. the contrast of white and "bled out", the coming rain) to foreshadow the fact that Mrs. Regan (Mrs. O'Mara in the original story) is covering up the murder of her husband by her sister and that the coming rainstorm will bring more deaths: The room was too big, the ceiling was too high, the doors were too tall, and the white carpet that went from wall to wall looked like a fresh fall of snow at Lake Arrowhead. There were full-length mirrors and crystal doodads all over the place. The ivory furniture had chromium on it, and the enormous ivory drapes lay tumbled on the white carpet a yard from the windows. The white made the ivory look dirty and the ivory made the white look bled out. The windows stared towards the darkening foothills. It was going to rain soon. There was pressure in the air already.Of the historical plausibility of Geiger's character, Jay A. Gertzman wrote:Erotica dealers with experience had to be tough, although not necessarily predatory, and the business was not for the timid or scrupulous. But the criminality of erotica dealers did not extend beyond bookselling into organized racketeering; Al Capone and Meyer Lansky were not role models. A figure like A. G. Geiger, the dirty-books racketeer in Raymond Chandler's "Big Sleep" (1939) who supplements his business activities as owner of a pornographic lending library in Hollywood by arranging sex orgies and blackmailing rich customers, is a fascinating but lurid exaggeration. However susceptible film personalities were to blackmail, it was not the métier of book dealers.


title: The Big Sleep

text: The Big Sleep has achieved critical acclaim. On November 5, 2019, the "BBC News" listed "The Big Sleep" on its list of the 100 most influential novels. In a 2014 retrospective, "The Guardian" ranked it #62 on its list of the 100 best novels. The book review site "The Pequod" rated the book a 9.5 (out of 10.0), saying, “This is one of Raymond Chandler's best books… The real pleasures lie not in the story, but in Chandler’s atmospheric settings.” The "New York Times" also praised the book: “ As a study in depravity, the story is excellent, with Marlowe standing out as almost the only fundamentally decent person in it.”


title: Object relations theory

text: Object relations theory is a school of thought in psychoanalytic theory centered around theories of stages of ego development. Its concerns include the relation of the psyche to others in childhood and the exploration of relationships between external people, as well as internal images and the relations found in them. Thinkers of the school maintain that the infant's relationship with the mother primarily determines the formation of its personality in adult life. Particularly, attachment is the bedrock of the development of the self or the psychic organization that creates the sense of identity.


title: Object relations theory

text: While its groundwork derives from theories of development of the ego in Freudian psychodynamics, object relations theory does not place emphasis on the role of biological drives in the formation of personality in adulthood. Thinkers of the school instead suggest that the way people relate to others and situations in their adult lives is shaped by family experiences during infancy; an adult who experienced neglect or abuse in infancy expects similar behavior from others who, through transference, remind them of the neglectful or abusive parent from their past. These patterns of the behavior of people become repeated images of the events, and eventually turn into "objects" in the unconscious that the self carries into adulthood to be used in the unconscious to predict people's behavior in their social relationships and interactions.


title: Object relations theory

text: The first "object" in an individual is usually an internalized image of the mother. Internal objects are formed by the patterns in one's experience of being taken care of as a baby, which may or may not be accurate representations of the actual, external caretakers. Objects are usually internalized images of one's mother, father, or primary caregiver, although they could also consist of parts of a person such as an infant relating to the breast or things in one's inner world (one's internalized image of others).


title: Object relations theory

text: Later experiences can reshape these early patterns, but objects often continue to exert a strong influence throughout life. Objects are initially comprehended in the infant mind by their functions and are termed "part objects". The breast that feeds the hungry infant is the "good breast", while a hungry infant that finds no breast is in relation to the "bad breast". With a "good enough" facilitating environment, part object functions eventually transform into a comprehension of whole objects. This corresponds with the ability to tolerate ambiguity, to see that both the "good" and the "bad" breast are a part of the same mother figure.


title: Object relations theory

text: The initial line of thought emerged in 1917 with Sándor Ferenczi and, early in the 1930s, Harry Stack Sullivan, coiner of the term "interpersonal". British psychologists Melanie Klein, Donald Winnicott, Harry Guntrip, Scott Stuart, and others extended object relations theory during the 1940s and 1950s; in 1952, Ronald Fairbairn independently formulated his theory of object relations.


title: Object relations theory

text: The term has been used in many different contexts, which led to different connotations and denotations. While Fairbairn popularized the term "object relations", Melanie Klein's work tends to be most commonly identified with the terms "object relations theory" and "British object relations", at least in contemporary North America, though the influence of the British Independent Group—which argued that the primary motivation of the child is object seeking rather than drive gratification—is becoming increasingly recognized. Klein felt that the psychodynamic battleground that Freud proposed occurs very early in life, during infancy. Furthermore, its origins are different from those that Freud proposed. The interactions between infant and mother are so deep and intense that they form the focus of the infant's structure of drives. Some of these interactions provoke anger and frustration; others provoke strong emotions of dependence as the child begins to recognize the mother is more than a breast from which to feed. These reactions threaten to overwhelm the individuality of the infant. The way in which the infant resolves the conflict, Klein believed, is reflected in the adult's personality.


title: Object relations theory

text: Freud originally identified people in a subject's environment with the term "object" to identify people as the object of drives. Fairbairn took a radical departure from Freud by positing that humans were not seeking satisfaction of the drive, but actually seek the satisfaction that comes in being in relation to real others. Klein and Fairbairn were working along similar lines, but unlike Fairbairn, Klein always held that she was not departing from Freudian theory, but simply elaborating early developmental phenomena consistent with Freudian theory.


title: Object relations theory

text: Within the London psychoanalytic community, a conflict of loyalties took place between Klein and object relations theory (sometimes referred to as "id psychology"),


title: Object relations theory

text: and Anna Freud and ego psychology. In America, Anna Freud heavily influenced American psychoanalysis in the 1940s, 1950s, and 1960s. American ego psychology was furthered in the works of Hartmann, Kris, Loewenstein, Rapaport, Erikson, Jacobson, and Mahler. In London, those who refused to choose sides were termed the "middle school," whose members included Michael Balint and D.W. Winnicott. A certain division developed in England between the school of Anna Freud and that of Melanie Klein, which later influenced psychoanalytic politics worldwide. Klein was popularized in South America while A. Freud garnered an American allegiance.