title: Hove

text: The Salvation Army have worshipped in Hove since 1882 and occupy a citadel built in 1890 on Sackville Road. Jehovah's Witnesses meet in Aldrington at a Kingdom Hall which was built in 1999 to replace a hall of 1950. A non-denominational gospel hall stands on Edward Avenue in the Goldstone Valley area. The Christian Arabic Evangelical Church meets in a converted bungalow on Old Shoreham Road in Aldrington. A former Anglican church of 1909 on Davigdor Road has served Coptic Orthodox Christians from a wide area since 1994, when it was rededicated as St Mary and St Abraam Church by Pope Shenouda III of Alexandria. Buddhists have a cultural centre and place of worship at a former convent near Furze Hill. Other former churches in Hove include an Elim Pentecostal chapel (in use 1929–1994) on Portland Road, the Seventh-day Adventist chapel on Hove Place, whose congregation now meet at Hove Methodist Church, and a former mission hall in the Poets' Corner area which was used until 1981 as a chapel for the local Society of Dependants sect.


title: Hove

text: Hove Museum and Art Gallery houses a permanent collection of toys, contemporary crafts, fine art and local history artefacts, as well as holding temporary exhibitions of contemporary crafts.


title: Hove

text: Hove is home to around eight primary schools: West Blatchington Primary and Nursery School, St. Andrew's CE School, Hove Junior School, Benfield Junior School, Goldstone Primary School, Hangleton Junior School, Cottesmore St Mary's Catholic School, Mile Oak Primary School, Bilingual Primary School, Brunswick Primary School and well as Aldrington CE School. There are four secondary schools serving the area: Blatchington Mill School, Cardinal Newman Catholic School, Hove Park School and King's School.


title: Hove

text: Brighton Hove & Sussex Sixth Form College (BHASVIC), formerly Brighton, Hove & Sussex Grammar School, is a dedicated place of further education, along with the Connaught Centre, Hove Park Sixth Form Centre and Blatchington Mill Sixth Form College.


title: Hove

text: Brighton is also home to private colleges such as Hove College Founded in 1977, Hove College is a non-profit private higher education institution and offers accredited courses by OCN London Hove College neighbors with British Study Centres and kindergarten schools. Hove College is 5 to 10 mins of walking distance from Palmeria Square.


title: Hove

text: Hove is also the location of a number of independent schools including Deepdene School, Lancing College Preparatory School (formerly Mowden School) The Montessori Place, The Drive Prep School and St Christopher's School (now part of Brighton College). Hove is also home for several schools for foreign students of the English language.


title: Hove

text: The home of Sussex County Cricket Club is at County Cricket Ground, Hove. It is used for county, national and international matches, music concerts, fireworks displays, and has found resurgent popularity with the introduction of Twenty20.


title: Hove

text: Until 1997 Hove was home to the Brighton & Hove Albion F.C.'s Goldstone Ground. In September 2007, planning permission was confirmed for the club's new ground, at Falmer, still within the city limits but on the Brighton side. The new stadium started development in late 2008, with the first game being played in August 2011.


title: Hove

text: There are a number of parks in Hove including Hove Park and St. Anne's Well Gardens. The King Alfred Centre which is currently a leisure centre with swimming pool and a couple of gyms on the seafront. In March 2007 Brighton and Hove City Council gave planning permission for a £290 million pound development designed by Frank Gehry. This project was scrapped in January 2009 when the developer pulled out.


title: Hove

text: Hove Promenade parkrun, situated by Hove Lawns started in July 2015 and is one of five such free, timed 5 km runs across the city.


title: Hove

text: The Monarch's Way long-distance footpath threads south-eastwards across the town from the Downs, before heading west along the seafront towards its terminus at Shoreham-by-Sea.


title: Hove

text: The Hove Lagoon Model Yacht Club was formed in 1929 and still actively sailing model yachts on the lagoon today. There is also sailing and windsurfing on the lagoon.


title: Hove

text: A well-known reply by residents of Hove, usually humorous, when asked if they live in Brighton is "Hove, actually" thus maintaining a distinction with their less genteel neighbour. One source has identified the locally resident actor Laurence Olivier (who lived in Brighton) as the origin of the phrase. In the 1990s the Hove borough council used the slogan "Hove, actually" to promote the town for tourism.


title: Hove

text: Hove has a comprehensive public transport system including buses to all districts, a bus monitoring system accessible via the internet and with displays at some bus stops (a system integrated with Brighton), and taxis which are able to pick up across the city of Brighton and Hove.


title: Hove

text: Hove has three railway stations. Hove railway station has direct access to the Brighton Main Line to London via a loop eliminating the need to go through Brighton. Hove is on the West Coastway Line, as are Aldrington and Portslade and West Hove stations. A 'halt' stop at Holland Road, between Hove and Brighton, was in operation from 1905 to 1956. Direct train journeys to London take just over an hour, and to Brighton, a few minutes.


title: Hove

text: Branching off close to Aldrington was formerly a branch line to Devil's Dyke which closed in 1938. The route of the line may be followed along a path alongside West Hove golf club; the path leads all the way to Devil's Dyke, and railway sleepers once used under the tracks may be seen to either side of the path, plus the remains of two of the stations still exist in places but are on private land.


title: Jesus and the rich young man

text: Jesus and the rich young man (also called Jesus and the rich ruler) is an episode in the life of Jesus recounted in the Gospel of Matthew , the Gospel of Mark and the Gospel of Luke in the New Testament. It deals with eternal life and the world to come.


title: Jesus and the rich young man

text: In Matthew and Mark, the discussion is set within the period when Jesus ministered in Perea, east of the River Jordan. In Matthew, a rich young man asks Jesus what actions bring eternal life. First, Jesus advises the man to obey the commandments. When the man responds that he already observes them, and asks what else he can do, Jesus adds:


title: Jesus and the rich young man

text: The non-canonical Gospel of the Nazarenes is mostly identical to the Gospel of Matthew, but one of the differences is an elaboration of this account. It reads:


title: Jesus and the rich young man

text: This event relates the term "eternal life" to entry into the Kingdom of God. The account starts with a question to Jesus about eternal life, and Jesus then refers to entry into the Kingdom of God in the same context. The rich young man was the context in which Pope John Paul II brought out the Christian moral law in chapter 1 of his 1993 encyclical letter "Veritatis splendor".


title: Jesus and the rich young man

text: While Jesus's instructions to the rich young ruler are often interpreted to be supererogatory for Christians, Dietrich Bonhoeffer argues that this interpretation acquiesces in what he calls "cheap grace", lowering the standard of Christian teaching:


title: Jesus and the rich young man

text: Separately, dispensational theologians distinguish between the Gospel of the Kingdom and the Gospel of Grace that is taught in dispensational churches today to avoid conflict with the doctrine which states that salvation is "by grace through faith" articulated in .


title: Jesus and the rich young man

text: Justus Knecht reflects on this passage, writing: "The young man had kept the commandments from his youth up; and yet he did not feel satisfied. He wished to do even more than was commanded, or was absolutely necessary; in other words, he wished to reach a higher state of perfection. Our Lord, seeing this, gave him this counsel: 'If thou wishest to be perfect, become voluntarily poor, and follow Me.' There is no desire more noble, or more pleasing to God than the desire for perfection; and as our Lord looked at the young man, He loved him for this yearning of his soul." Knecht goes to say that unfortunately the young man "resisted our Lord’s gracious invitation, because of his too great attachment to the things of this world."


title: Socialist feminism

text: Socialist feminism rose in the 1960s and 1970s as an offshoot of the feminist movement and New Left that focuses upon the interconnectivity of the patriarchy and capitalism. However, the ways in which women's private, domestic, and public roles in society has been conceptualized, or thought about, can be traced back to Mary Wollstonecraft's "A Vindication of the Rights of Woman" (1792) and William Thompson's utopian socialist work in the 1800s. Ideas about overcoming the patriarchy by coming together in female groups to talk about personal problems stem from Carol Hanisch. This was done in an essay in 1969 which later coined the term 'the personal is political.' This was also the time that second wave feminism started to surface which is really when socialist feminism kicked off. Socialist feminists argue that liberation can only be achieved by working to end both the economic and cultural sources of women's oppression.


title: Socialist feminism

text: Socialist feminism is a two-pronged theory that broadens Marxist feminism's argument for the role of capitalism in the oppression of women and radical feminism's theory of the role of gender and the patriarchy. Socialist feminists reject radical feminism's main claim that patriarchy is the only, or primary, source of oppression of women. Rather, Socialist feminists assert that women are oppressed due to their financial dependence on males. Women are subjects to male domination within capitalism due to an uneven balance in wealth. They see economic dependence as the driving force of women's subjugation to men. Further, Socialist feminists see women's liberation as a necessary part of a larger quest for social, economic, and political justice. Socialist feminists attempted to integrate the fight for women's liberation with the struggle against other oppressive systems based on race, class, sexual orientation, or economic status.


title: Socialist feminism

text: Socialist feminism draws upon many concepts found in Marxism, such as a historical materialist point of view, which means that they relate their ideas to the material and historical conditions of people's lives. Thus, Socialist feminists consider how the sexism and gendered division of labor of each historical era is determined by the economic system of the time. Those conditions are largely expressed through capitalist and patriarchal relations. Socialist feminists reject the Orthodox Marxist notion that class and class struggle are the only defining aspects of history and economic development. Karl Marx asserted that when class oppression was overcome, gender oppression would vanish as well. According to Socialist feminists, this view of gender oppression as a sub-class of class oppression is naive, and much of the work of Socialist feminists has gone towards specifying how gender and class work together to create distinct forms of oppression and privilege for women and men of each class. For example, they observe that women's class status is generally derivative of her husband's class or occupational status, e.g. a secretary that marries her boss assumes his class status.


title: Socialist feminism

text: In 1972, "Socialist Feminism: A Strategy for the Women's Movement", which is believed to be the first publication to use the term socialist feminism, was published by the Hyde Park Chapter of the Chicago Women's Liberation Union (Heather Booth, Day Creamer, Susan Davis, Deb Dobbin, Robin Kaufman, and Tobey Klass). Other socialist feminists, notably two long-lived American organizations Radical Women and the Freedom Socialist Party, point to the classic Marxist writings of Frederick Engels ("The Origin of the Family, Private Property and the State") and August Bebel ("Woman and Socialism") as a powerful explanation of the link between gender oppression and class exploitation. In the decades following the Cold War, feminist writer and scholar Sarah Evans says that the socialist feminist movement has lost traction in the West due to a common narrative that associates socialism with totalitarianism and dogma.


title: Socialist feminism

text: Post-1970, the socialist feminist movement continued to grow. In "Socialist Women: European Socialist Feminism in the Nineteenth & early Twentieth Centuries," by Elizabeth Lapovsky Kennedy, social feminism is defined as "women who saw the root of sexual oppression in the existence of private property and who envisioned a radically transformed society in which man would exploit neither man nor women" The equality described has to do with a transformed society in which both sexes are equal and given the same opportunities despite any physiological differences. Going forward it is described to need a total change in both the economic and social system to create the lasting improvement that the socialist feminism movement is looking for.


title: Socialist feminism

text: Kristen Ghodsee argues in her book "Why Women Have Better Sex Under Socialism" that free markets discriminate against women as big bosses consider women to be less reliable, weaker and more emotional which leads to the gender pay gap as they need financial incentives to employ them.


title: Socialist feminism

text: George Bernard Shaw quotes "Capitalism acts on women as a continual bribe to enter into sex relations for money". He also claims many women take part in work within the household but this is invisible as far as the market is concerned.


title: Socialist feminism

text: Socialist feminist Claudia Jones worked to incorporate Black women, other working women of color, and their needs into The Communist Party in the 1930s. This is because The Communist Party tended to default to issues of the white, male proletariat. Jones theoretical background rests at the intersection of Marxism, Black Nationalism, and Feminism and she is credited with theorizing "triple oppression", the concept that Black and Brown women experience oppression based on race, class, and gender. Jones further argues that white women, much less Black and Brown working women, would never be liberated if the structures of colonialism were not abolished and Black Nationalism were not adopted.


title: Socialist feminism

text: Feminist historian Linda Gordon asserts that socialist feminism is inherently intersectional, at least to a certain degree, because it takes into account both gender and class. Gordon says that because the foundation of socialist feminism rests on multiple axes, socialist feminism has a history of intersectionality that can be traced back to a period decades before Dr. Kimberlé Crenshaw first articulated the concept of intersectionality in 1989. According to Gordon, socialist feminism of the 1980s presaged the concept of intersectionality by examining the overlapping structures that produce an individual's experience of oppression. Feminist scholar and women's studies professor Elizabeth Lapovsky Kennedy says that this broader analysis of societal structures began with socialist feminism and served as a catalyst for feminist scholarship. Kennedy says that many of the first women's studies programs were established by socialist feminist theorists. Despite the claims of being a homogenizing philosophy that erases difference of identity, socialist feminism's inherent approach to difference of identities, through an analysis of economic exploitation of all, is both recognized and enhanced by Crenshaw's intersectionality.


title: Socialist feminism

text: Despite the alleged presence of intersectionality in socialist feminism, many feminists, particularly women of color, critique the movement for perceived deficiencies in regards to racial equity. In Kennedy's account of socialist feminism's impact on women's studies, she says that a lack of Black voices in feminist academia contributed to whitewashing of women's studies programs and courses. Kum-Kum Bhavani, a professor at University of California Santa Barbara, and Margaret Coulson, a socialist feminist scholar, assert that racism in the socialist feminist movement stems from the failure of many white feminists to recognize the institutional nature of racism. According to Bhavani and Coulson, race, class, and gender are inextricably linked, and the exclusion of any one of these factors from one's worldview would result in an incomplete understanding of the systems of privilege and oppression they say constitute our society. Kathryn Harriss, a feminist scholar from the United Kingdom, describes what she sees as the shortcomings of the socialist feminist movement of the 1980s in the United Kingdom. Harriss describes marginalized women's grievances with the Women's Liberation Movement. She says many lesbian women criticized the movement for its domination by heterosexual feminists who perpetuated heterosexism in the movement. Similarly, Black women asserted that they were deprived a voice due to the overwhelming majority of white women in the WLM advocating widely held views regarding violence against women, the family, and reproductive rights that failed to account for the distinct struggles faced by women of color.


title: Socialist feminism

text: Theorists Anna Wheeler and William Thompson, in "The Appeal of One Half the Human Race, Women, Against the Pretensions of the Other Half, Men, to Retain Them in Political, and thence in Civil and Domestic Slavery", published in 1825, describe how women's work contributes to capitalism's continuance. They assert that cooking, cleaning, doing laundry, and all other activities that are deemed domestic work do constitute as actual work. Wheeler and Thompson assert that people, or labor, are needed for capitalism to function and that without women producing children as well as fulfilling these domestic activities, capitalism would fail.


title: Socialist feminism

text: Flora Tristian, French socialist activist, in her piece "Why I mention Women" published in 1843, argued that women and girls do not receive education because they are tasked with domestic duties. Girls and women, according to Tristan, thus cannot obtain gainful employment outside of the domestic sphere due to their neglect in their education and forced preoccupation with cleaning, cooking, and tending to children.


title: Socialist feminism

text: Socialist feminists highlight how motherhood and the gendered division of labor grows "naturally" from women's role as mothers, is the source of women's exclusion from the public sphere, and creates women's economic dependence on men. They assert that there is nothing natural about the gendered division of labor and show that the expectation that women perform all or most reproductive labor, i.e. labor associated with birthing and raising children but also the cleaning, cooking, and other tasks necessary to support human life, deny women the capacity to participate fully in economic activity outside the home. In order to free themselves from the conditions of work as a mother and housekeeper, socialist feminists such as Charlotte Perkins Gilman saw the professionalization of housework as key. This would be done by hiring professional nannies and housekeepers to take the load of domestic work away from the woman in the house. Perkins Gilman also recommended the redesign of homes in ways that would maximize their potential for creativity and leisure for women as well as men, i.e. emphasizing the need for rooms like studios and studies and eliminating kitchens and dining rooms. These changes would necessitate the communalization of meal preparation and consumption outside the home and free women from their burden of providing meals on a house-by-house scale.


title: Socialist feminism

text: Socialist feminists claim that toxic masculinity is not only damaging to men but also women and non-binary people. Toxic masculinity is the idea that men should behave in a specific way, most commonly these behaviors are strong and with hold emotion (Salam, Maya). For example, in Latinx culture toxic masculinity is referred to as "Machismo" (FEM Magazine). Machismo keeps men in their designated masculine roles while women are given the submissive role. Machismo enforces the idea that men are the superior gender and women are second class citizens. The pressure on men to adhere to gender roles and in particular a gender binary feeds to the crisis of male suicide, rape culture and the normalization of violence. Socialist feminist politics aims to say this normalized behavior is just another part of gender construction the patriarchy has just created to harm women.


title: Socialist feminism

text: Toxic masculinity can be observed in every day life such as "locker-room talk" (FEM Magazine). Locker-room talk is an excuse for men to spew comments about women that are most commonly sexual. Because these men are in a certain environment, this behavior is normalized. However, locker-room talk is extremely harmful especially because it enforces the gender hierarchy that socialist feminism aims to diminish. Another example in which exemplifies toxic masculinity is the phrase "boys will be boys". This term is usually used to justify an action of a male that is rude or inappropriate which in turn harms women because it makes exceptions for men to behavior however they please. These examples enforce the behaviors that are sexist and give a false idea to men that they are allowed to treat women however they want.


title: Socialist feminism

text: Toxic masculinity has become a more popular issue to discuss among feminists due to the increase of popular male influencers that promote the behaviors and mindsets of toxic masculinity. Males will go on social media platforms such as Tiktok, and share their harmful ideas about how women should be behaving. This has become a major issue among feminists today, and trends on Tiktok have been curated to combat toxic masculinity. For example the #97% trend was created for women to share their stores about sexual harassment. 97% of women will experience some form of sexual harassment in their lifetime, and therefore this trend shows that women suffer immensely at the hands of men.


title: Socialist feminism

text: Socialist feminist theories have been used to highlight the economic disparities amongst women on a global scale. Contemporary socialist feminists have shifted their concerns from uncompensated house labor to the insufficient pay women receive for work done outside the home. Although some women have secured high-paying male-dominated jobs, most find work in service, clerical, agriculture, and light industrial work. Feminist philosopher Rosemarie Tong presents three common reasons for the gender wage gap: "the concentration of women in low-paying, female-dominated jobs; the high percentage of women who work part-time rather than full-time; and outright wage discrimination against women."


title: Socialist feminism

text: The gender pay gap has been produced and sustained through patriarchal and capitalist conditions. The feminization and devaluation of service-based jobs have subjected women to low wages. The lack of access women have to alternative employment which may harbor higher pay, has increased the wage gap. Households that cannot hire additional aid for domestic duties limit the hours women are able to work outside their homes—having to do both outside and inside labor results in the uncompensated "second shift", expanding the gap. Women's work is considered "secondary wages" under patriarchy. Even women who can work full-time and do the same jobs as men are not paid equally. Tong claims that "women are paid less simply because they are "women," a very disturbing thought to say the least."


title: Socialist feminism

text: The gender pay gap is an issue that is especially prevalent in the United States. In "Feminist Policy and Human Nature", Allison Jagger describes the biological differences between women and men that would affect job performance namely "Most evidently, women's reproductive functions may mean that women have needs for pregnancy leave, maternity services and arrangements for easy access to their nursing babies." This fact insists that it is not only important but it is necessary for the workplace to incorporate this fairly into contracts. Forcing women to take unpaid maternity leave goes into the issue of the gender wage gap since women have reproductive needs that go far beyond men but are not compensated for that.


title: Socialist feminism

text: In looking at the amount of unpaid labor that women have worked over centuries is a major issue regarding unpaid labor in the house and in childcare. Women in capitalism are not compensated for their role in the household including housework, cooking, cleaning, childcare and the cost of carrying and delivering a child. "Contracts for husbands to pay their wives for domestic services have been found invalid by the courts. If housewives do not like the conditions of their work they are hardly free to move to another household; instead, they are tied by an elaborate legal contract which can only be broken on special grounds. Marriage is, in fact, a relation that is remarkably similar to the feudal relation of vassalage; it provides a means for exchanging support and protection from the husband in return for services and devotion from the wife." The idea of a contract for husbands to pay their wives is an exaggerated circumstance yet for decades it was the expectation that the woman would be considered a housewife and the man would be the breadwinner and make decisions for the family. This idea of women's unpaid labor is more than simply the housework and childcare services; it's the fact that the labor housewives did was considered compulsory instead of labor. This is the type of thinking and mentality that the socialist feminism and women who want more of these


title: Socialist feminism

text: In 2017, there was an international women's strike protesting the unfair treatment of women in today's society. The strike included over 50 countries and occurred on international women's day. The strikes in each country were focused on an injustice in that specific country. In the United States women protested by not working or spending money to show how much influence women have.


title: Socialist feminism

text: Anarcha-feminism, also called anarchist feminism and anarcho-feminism, combines anarchism with feminism. It generally views patriarchy as a manifestation of involuntary coercive hierarchy that should be replaced by decentralized free association. Anarcha-feminists believe that the struggle against patriarchy is an essential part of class struggle, and the anarchist struggle against the state. In essence, the philosophy sees anarchist struggle as a necessary component of feminist struggle and vice versa. L. Susan Brown claims that "as anarchism is a political philosophy that opposes all relationships of power, it is inherently feminist". Bakunin opposed patriarchy and the way the law "subjects [women] to the absolute domination of the man". He argued that "[e]qual rights must belong to men and women" so that women can "become independent and be free to forge their own way of life". Bakunin foresaw the end of "the authoritarian juridical family" and "the full sexual freedom of women."


title: Socialist feminism

text: Anarcha-feminism began with late 19th and early 20th century authors and theorists such as anarchist feminists Emma Goldman, Voltairine de Cleyre and Lucy Parsons. In the Spanish Civil War, an anarcha-feminist group, (Free Women) linked to the , organized to defend both anarchist and feminist ideas, while the prominent Spanish anarchist and feminist leader Federica Montseny held that the "emancipation of women would lead to a quicker realization of the social revolution" and that "the revolution against sexism would have to come from intellectual and militant 'future-women.' According to this Nietzschean concept of Federica Montseny's, women could realize through art and literature the need to revise their own roles."


title: Socialist feminism

text: In Argentina, Virginia Bolten is responsible for the publication of a newspaper called "" ("The Woman's Voice"), which was published nine times in Rosario between 8 January 1896 and 1 January 1897, and was revived, briefly, in 1901. A similar paper with the same name was reportedly published later in Montevideo, which suggests that Bolten may also have founded and edited it after her deportation. "La Voz de la Mujer described itself as "dedicated to the advancement of Communist Anarchism". Its central theme was that of the multiple nature of women's oppression. An editorial asserted, "We believe that in present-day society nothing and nobody has a more wretched situation than unfortunate women." Women, they said, were doubly oppressed—by bourgeois society and by men. Its feminism can be seen from its attack on marriage and upon male power over women. Its contributors, like anarchist feminists elsewhere, developed a concept of oppression that focused on gender oppression. Marriage was a bourgeois institution which restricted women's freedom, including their sexual freedom. Marriages entered into without love, fidelity maintained through fear rather than desire, oppression of women by men they hated—all were seen as symptomatic of the coercion implied by the marriage contract. It was this alienation of the individual's will that the anarchist feminists deplored and sought to remedy, initially through free love and then, and more thoroughly, through social revolution."


title: Socialist feminism

text: In the past decades, two films have been produced about anarcha-feminism. "Libertarias" is a historical drama made in 1996 about the Spanish anarcha-feminist organization Mujeres Libres. In 2010, the Argentinian film "Ni dios, ni patrón, ni marido" was released which is centered on the story of anarcha-feminist Virginia Bolten and her publishing of "La Voz de la Mujer".


title: Socialist feminism

text: Marxist feminism is a sub-type of feminist theory which focuses on the social institutions of private property and capitalism to explain and criticize gender inequality and oppression. According to Marxist feminists, private property gives rise to economic inequality, dependence, political and domestic struggle between the sexes, and is the root of women's oppression in the current social context.


title: Socialist feminism

text: Marxist feminism's foundation is laid by Friedrich Engels in his analysis of gender oppression in "The Origin of the Family, Private Property, and the State" (1884). He argues that a woman's subordination is not a result of her biological disposition but of social relations, and that men's efforts to achieve their demands for control of women's labor and sexual faculties have gradually solidified and become institutionalized in the nuclear family. Through a Marxist historical perspective, Engels analyzes the widespread social phenomena associated with female sexual morality, such as fixation on virginity and sexual purity, incrimination and violent punishment of women who commit adultery, and demands that women be submissive to their husbands. Ultimately, Engels traces these phenomena to the recent development of exclusive control of private property by the patriarchs of the rising slaveowner class in the ancient mode of production, and the attendant desire to ensure that their inheritance is passed only to their own offspring: chastity and fidelity are rewarded, says Engels, because they guarantee exclusive access to the sexual and reproductive faculty of women possessed by men from the property-owning class.


title: Socialist feminism

text: In the late nineteenth and early twentieth centuries, both Clara Zetkin and Eleanor Marx were against the demonization of men and supported a proletariat revolution that would overcome as many male–female inequalities as possible. In this way, a politic of solidarity was seen as the means to enact a socialist platform. As their movement already had the most radical demands in women's equality, most Marxist leaders, including Clara Zetkin and Alexandra Kollontai, counterposed Marxism against bourgeois feminism, rather than trying to combine them.


title: Socialist feminism

text: Orthodox Marxists argue that most Marxist forerunners claimed by feminists or Marxist feminists including Clara Zetkin and Alexandra Kollontai were against capitalist forms of feminism. They agreed with the main Marxist movement that feminism was a bourgeois ideology counterposed to Marxism and against the working class. Instead of feminism, the Marxists supported the more radical political program of liberating women through socialist revolution, with a special emphasis on work among women and in materially changing their conditions after the revolution. Orthodox Marxists view the later attempt to combine Marxism and feminism as a liberal creation of academics and reformist leftists who want to make alliances with bourgeois feminists. For instance, Alexandra Kollontai wrote in 1909: For what reason, then, should the woman worker seek a union with the bourgeois feminists? Who, in actual fact, would stand to gain in the event of such an alliance? Certainly not the woman worker.Kollontai was a prominent leader in the Bolshevik party in Russia, defending her stance on how capitalism had shaped a rather displeasing and oppressing position for females that are part of its system. She recognized and emphasized the difference between the proletariat and bourgeoise women in society, though it has been expressed by Kollontai's thought that all women under a capitalist economy were those of oppression. One of the reasons Kollontai had a strict opposition of the bourgeois women and proletariat or working-class women to have an alliance is because the bourgeois was still inherently using the women of the working class to their advantage, and therefore prolonging the injustice that women in a capitalist society are treated. She theorized that a well-balanced economic utopia was ingrained in the need for gender equality, but never identified as a feminist, though she greatly impacted the feminist movement within the ideology of feminism within and throughout socialism. Kollontai had a harsh stance on the feminist movement and believed feminist to be naïve in only addressing gender as the reason inequality was happening under a capitalist rule. She believed that the true issue of inequality was that of the division of classes that led to the immediate production of gender struggles, just how men in the structure of the classes shown a harsh divide as well. Kollontai analyzed the theories and historical implications of Marxism as a background for her ideologies, which she addressed the most profound obstacle for society to address be that of the gender inequality, which could never be eradicated under a capitalist society. As capitalism is inherently for private profit, Kollontai's argument toward the eradication of women suffrage within society under a capitalist rule also delved into how women cannot and will not be abolished under a capitalist society because of the ways in which women's "free labor" has been utilized. Kollontai criticized the feminist movement as also neglecting to emphasize how the working class, while trying to care and provide for a family and being paid less than that of men, was still expected to cater to and provide for the bourgeois or upper-class women who were still oppressing the working-class women by utilizing their stereotypical type of work. Kollontai also faced harsh scrutiny in being a woman leader in a time of a male dominated political stance during the Bolshevik movement. In keeping with her unusual position during her time, she also kept diaries of her plans and ideas on moving towards a more "modern" society where socialism would help uproot that of capitalism and the oppression that different groups of gender and class had been facing. Kollontai was a great example of a woman who was indeed still oppressed by the times and was removed from her own ideologies and progress for the mere fact she was a woman in times where being so in a powerful position was frowned upon and "great women" were only allowed to be placed alongside "great men" in history. Kollontai's most pertinent presence in feminist socialism was her stance on reproductive rights and her view on women being allowed the same luxuries that men have in finding love not only to be stable and supported, and to also be able to make their own money and be secure on their own two feet. She focused her attention on opening up society's allowance of women's liberation from a capitalist and bourgeois control and emphasizing women's suffrage in the working-class.


title: Socialist feminism

text: A pioneering Marxist and feminist, Mary Inman of the Communist Party USA challenged the party's orthodox position by arguing that the home is a center of production and housewives carry out productive labor. Her writings include "In Woman's Defense" (1940) and "Woman-Power" (1942). Inman's work was at first warmly received by several top Communist women leaders, including Elizabeth Gurley Flynn and Ella Reeve Bloor, but the CPUSA leadership began an official attack on Inman's work for purported ideological deviation in 1941. A series of articles written against Inman's ideas appeared in the party's literary monthly, "The New Masses," and the polemic was extended with the publication of a pamphlet by A. Landy, "Marxism and the Woman Question."


title: Socialist feminism

text: Radical Women, a major Marxist-feminist organization, bases its theory on Marx' and Engels' analysis that the enslavement of women was the first building block of an economic system based on private property. They contend that elimination of the capitalist profit-driven economy will remove the motivation for sexism, racism, homophobia, and other forms of oppression.


title: Socialist feminism

text: "Capitalist Patriarchy and the Case for Socialist Feminism" was a collection of essays assembled and anthologized by Zillah R. Eisenstein in 1978.


title: Socialist feminism

text: Sociologist and academic Rhonda F. Levine cites Eisenstein's work as a "superb discussion of the socialist-feminist position" in her anthology "Enriching the Sociological Imagination: How Radical Sociology Changed the Discipline". Levine goes on to describe the book as "one of the earliest statements of how a Marxist class analysis can combine with a feminist analysis of patriarchy to produce a theory of how gender and class intersect as systems of inequality".


title: Socialist feminism

text: Eisenstein defines the term 'capitalist patriarchy' as "descriptive of the 'mutually reinforcing dialectical relationship between capitalist class structure and hierarchical sexual structuring."


title: Socialist feminism

text: She believes: "The recognition of women as a sexual class lays the subversive quality of feminism for liberalism because liberalism is premised upon women's exclusion from public life on this very class basis. The demand for real equality of women with men, if taken to its logical conclusion, would dislodge the patriarchal structure necessary to a liberal society."


title: Socialist feminism

text: In 1985, Donna Haraway published the essay "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century" in "Socialist Review". Although most of Haraway's earlier work was focused on emphasizing the masculine bias in scientific culture, she has also contributed greatly to feminist narratives of the twentieth century. For Haraway, the Manifesto came at a critical juncture at which feminists, in order to have any real-world significance, had to acknowledge their situatedness within what she terms the "informatics of domination". Feminists must, she proclaims, unite behind "an ironic dream of a common language for women in the integrated circuit". Women were no longer on the outside along a hierarchy of privileged binaries but rather deeply imbued, exploited by and complicit within networked hegemony, and had to form their politics as such.


title: Socialist feminism

text: According to Haraway's manifesto, "there is nothing about being female that naturally binds women together into a unified category. There is not even such a state as 'being' female, itself a highly complex category constructed in contested sexual scientific discourses and other social practices" (p. 155). A cyborg does not require a stable, essentialist identity, argues Haraway, and feminists should consider creating coalitions based on "affinity" instead of identity. To ground her argument, Haraway analyzes the phrase "women of colour", suggesting it as one possible example of affinity politics. Using a term coined by theorist Chela Sandoval, Haraway writes that "oppositional consciousness" is comparable with a cyborg politics, because rather than identity it stresses how affinity comes as a result of "otherness, difference, and specificity" (p. 156).


title: Socialist feminism

text: Donna Haraway is the author of A Cyborg Manifesto and it describes a dystopian future in which cyborgs represent the ideal way society would treat people in fixing the way society separates people by gender, race and religion. In her extensive manifesto written in 1991, Haraway explains about a political myth as a "cyborg" who represents the ideal way someone would be treated in society. Haraway's manifesto describes the cyborg as "A cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction. Social reality is lived social relations, our most important political construction, a world-changing fiction. The international women's movements have constructed 'women's experience', as well as uncovered or discovered this crucial collective object. This experience is a fiction and fact of the most crucial, political kind" Defined as a post-gender world, this cyborg represents the idea that there can by a dystopian future in which gender, religion and race are not dismissed but are not factors in how members of this society treat each other. This manifesto is consistently mentioning the idea of feminism and how feminists aren't looking for more or less than men but to make the playing field equal. This also goes to the socialist feminism point that without a massive change in society the feminist won't be able to get lasting change.


title: Socialist feminism

text: Leopoldina Fortunati is the author of "The Arcane of Reproduction: Housework, Prostitution, Labor and Capital" ("L'arcano della riproduzione: Casalinghe, prostitute, operai e capitale"), a feminist critique of Marx. Fortunati is the author of several books, including "The Arcane of Reproduction" (Autonomedia, 1995) and "I mostri nell'immaginario" (Angeli, 1995), and is the editor of "Gli Italiani al telefono" (Angeli, 1995) and "Telecomunicando in Europa" (1998), and with J. Katz and R. Riccini "Mediating the Human Body. Technology, Communication and Fashion" (2003). Her influences include Mariarosa Dalla Costa, Antonio Negri, and Karl Marx.


title: Socialist feminism

text: Silvia Federici is an Italian scholar, teacher, and activist from the radical autonomist feminist Marxist tradition. Federici's best known work, "Caliban and the Witch: Women, the Body and Primitive Accumulation", expands on the work of Leopoldina Fortunati. In it, she argues against Karl Marx's claim that primitive accumulation is a necessary precursor for capitalism. Instead, she posits that primitive accumulation is a fundamental characteristic of capitalism itself—that capitalism, in order to perpetuate itself, requires a constant infusion of expropriated capital.


title: Socialist feminism

text: Federici connects this expropriation to women's unpaid labour, both connected to reproduction and otherwise, which she frames as a historical precondition to the rise of a capitalist economy predicated upon wage labor. Related to this, she outlines the historical struggle for the commons and the struggle for communalism. Instead of seeing capitalism as a liberatory defeat of feudalism, Federici interprets the ascent of capitalism as a reactionary move to subvert the rising tide of communalism and to retain the basic social contract.


title: Socialist feminism

text: She situates the institutionalization of rape and prostitution, as well as the heretic and witch-hunt trials, burnings, and torture at the center of a methodical subjugation of women and appropriation of their labor. This is tied into colonial expropriation and provides a framework for understanding the work of the International Monetary Fund, World Bank, and other proxy institutions as engaging in a renewed cycle of primitive accumulation, by which everything held in common—from water, to seeds, to our genetic code—becomes privatized in what amounts to a new round of enclosures.


title: Socialist feminism

text: Material feminism highlights capitalism and patriarchy as central in understanding women's oppression. The theory centers on social change rather than seeking transformation within the capitalist system. Jennifer Wicke, defines materialist feminism as "a feminism that insists on examining the material conditions under which social arrangements, including those of gender hierarchy, develop [...]. [M]aterialist feminism avoids seeing this gender hierarchy as the effect of a singular [...] patriarchy and instead gauges the web of social and psychic relations that make up a material, historical moment". She states that "materialist feminism argues that material conditions of all sorts play a vital role in the social production of gender and assays the different ways in which women collaborate and participate in these productions". Material feminism also considers how women and men of various races and ethnicities are kept in their lower economic status due to an imbalance of power that privileges those who already have privilege, thereby protecting the status quo.


title: Socialist feminism

text: The term material feminism was first used in 1975 by Christine Delphy. The current concept has its roots in socialist and Marxist feminism; Rosemary Hennessy and Chrys Ingraham, editors of "Materialist Feminism: A Reader in Class, Difference, and Women's Lives", describe material feminism as the "conjuncture of several discourses—historical materialism, Marxist and radical feminism, as well as postmodernist and psychoanalytic theories of meaning and subjectivity". The term materialist feminism emerged in the late 1970s and is associated with key thinkers, such as Rosemary Hennessy, Stevi Jackson and Christine Delphy. Rosemary Hennessy traces the history of Materialist Feminism in the work of British and French feminists who preferred the term materialist feminism to Marxist feminism. In their view, Marxism had to be altered to be able to explain the sexual division of labor. Marxism was inadequate to the task because of its class bias and focus on production. Feminism was also problematic due to its essentialist and idealist concept of woman. Material feminism then emerged as a positive substitute to both Marxism and feminism. Material feminism partly originated from the work of French feminists, particularly Christine Delphy. She argued that materialism is the only theory of history that views oppression as a basic reality of women's lives. Delphy states that this is why women and all oppressed groups need materialism to investigate their situation. For Delphy, "to start from oppression defines a materialist approach, oppression is a materialist concept". She states that the domestic mode of production was the site of patriarchal exploitation and the material basis of the oppression of women. Delphy further argued that marriage is a labor contract that gives men the right to exploit women. "The Grand Domestic Revolution" by Dolores Hayden is a reference. Hayden describes Material feminism at that time as reconceptualizing the relationship between the private household space and public space by presenting collective options to take the "burden" off women in regard to housework, cooking, and other traditional female domestic jobs.


title: Socialist feminism

text: In the 1970s, the impacts of post-World War II technological development led many women to organise against issues from the toxic pollution of neighbourhoods to nuclear weapons testing on indigenous lands. This grassroots activism emerging across every continent was both intersectional and cross-cultural in its struggle to protect the conditions for reproduction of Life on Earth. Known as ecofeminism, the political relevance of this movement continues to expand. Classic statements in its literature include Carolyn Merchant, USA, "The Death of Nature"; Maria Mies, Germany, "Patriarchy and Accumulation on a World Scale"; Vandana Shiva, India, "Staying Alive: Women Ecology and Development"; Ariel Salleh, Australia, "Ecofeminism as Politics: nature, Marx, and the postmodern". Ecofeminism involves a profound critique of Eurocentric epistemology, science, economics, and culture. It is increasingly prominent as a feminist response to the contemporary breakdown of the planetary ecosystem.


title: Socialist feminism

text: Socialist feminists believe that women's liberation must be sought in conjunction with the social and economic justice of all people. They see the fight to end male supremacy as key to social justice, but not the only issue, rather one of many forms of oppression that are mutually reinforcing.


title: Socialist feminism

text: In the forty years of socialism in East Germany, the German Democratic Republic (GDR), many feminist demands were implemented:


title: Socialist feminism

text: Nevertheless, feminists of West Berlin remained skeptical as they lived door to door with this real socialism. Cäcilia Rentmeister, who had personal contacts to friends and relatives in East Berlin analyzed in 1974 women's situation in the GDR in an article.


title: Socialist feminism

text: The Chicago Women's Liberation Union (CWLU) was formed in 1969 after a founding conference in Palatine, Illinois. Naomi Weisstein, Vivian Rothstein, Heather Booth, and Ruth Surgal were among the founders. The main goal of the organization was to end gender inequality and sexism, which the CWLU defined as "the systematic keeping down of women for the benefit of people in power". The purpose statement of the organization expressed that "Changing women's position in society isn't going to be easy. It's going to require changes in expectations, jobs, child care, and education. It's going to change the distribution of power over the rest of us to all people sharing power and sharing in the decisions that affect our lives." The CWLU spent almost a decade organizing to challenge both sexism and class oppression. The group is best known for the 1972 pamphlet "Socialist Feminism: A Strategy for the Women's Movement", by the Hyde Park Chapter of the Chicago Women's Liberation Union. Nationally circulated, the publication is believed to be the first to use the term socialist feminism.


title: Socialist feminism

text: The CWLU was organized as an umbrella organization to unite a wide range of work groups and discussion groups. A representative from each work group went to monthly meetings of the Steering Committee to reach consensus on organizational policy and strategy. They addressed a myriad of issues including women's health, reproductive rights, education, economic rights, visual arts and music, sports, lesbian liberation, and more.


title: Socialist feminism

text: Women's International Terrorist Conspiracy from Hell (W.I.T.C.H.) was the name of many related but independent feminist groups formed in the United States during 1968 and 1969 and who were important in the development of socialist feminism. The name W.I.T.C.H. was also sometimes expanded as "Women Inspired to Tell their Collective History", "Women Interested in Toppling Consumer Holidays", and many other variations.


title: Socialist feminism

text: There was no centralized organization; each W.I.T.C.H. group was formed independently by women inspired by the ideas and example of previous actions. Their activism mainly took the form of "zaps", a form of guerrilla theater mixing street theatre and protest, where they used attention-catching and humorous public actions to highlight political and economic complaints against companies and government agencies, frequently involving the use of witch costumes and the chanting of hexes. Witches often appeared as stock characters in feminist Left theatre, representing the misogynist crone stereotype.


title: Socialist feminism

text: On Halloween 1968, women from W.I.T.C.H. staged a "hex" of Wall Street at a branch of Chase Manhattan Bank, wearing rags and fright makeup; Robin Morgan stated that the Dow Jones Industrial Average declined sharply the next day. The DJIA did not decline sharply, and experienced a rise over the next several days and weeks. In December 1968 W.I.T.C.H targeted both the House Un-American Activities Committee and the Chicago Eight, saying that they conspired to treat only men as "leaders" of the antiwar movement. In 1969, W.I.T.C.H. held a protest at a "Bridal Fair" at Madison Square Garden. Members wore black veils. They handed out pamphlets titled "Confront the Whoremakers", chanted "Here come the slaves/Off to their graves", and had a mock "unwedding" ceremony. The protests also involved turning loose several white mice at the event, which Fair attendees began scooping up off the ground. The event resulted in negative media coverage for W.I.T.C.H., and some dissention among members over goals and tactics. In February 1970, the Washington coven (W.I.T.C.H. chapters were called "covens") held a protest during a Senate hearing on population control. They interrupted Texas Senator Ralph Yarborough's testimony by chanting and throwing pills at panel members and people in the audience galleries. Spin-off "covens" were founded in Chicago, Illinois, and Washington, D.C., and W.I.T.C.H. zaps continued until roughly the beginning of 1970. The "zap" protests used by W.I.T.C.H. may have helped inspire the zap action protest tactics adopted shortly afterwards by LGBT activists, and still in use.


title: Socialist feminism

text: Big Flame was "a revolutionary socialist feminist organisation with a working-class orientation" in the United Kingdom. Founded in Liverpool in 1970, the group initially grew rapidly, with branches appearing in some other cities. Its publications emphasised that "a revolutionary party is necessary but Big Flame is not that party, nor is it the embryo of that party". The group was influenced by the Italian Lotta Continua group.


title: Socialist feminism

text: The group published a magazine, "Big Flame"; and a journal, "Revolutionary Socialism". Members were active at the Ford plants at Halewood and Dagenham and devoted a great deal of time to self-analysis and considering their relationship with the larger Trotskyist groups. In time, they came to describe their politics as libertarian Marxist. In 1978, they joined the Socialist Unity electoral coalition, led by the Trotskyist International Marxist Group. In 1980, the anarchists of the Libertarian Communist Group joined Big Flame. The Revolutionary Marxist Current also joined at about this time. However, as more members of the group defected to the Labour Party, the journal ceased to appear in 1982, and the group was wound up in about 1984. Ex-members of the group were involved in the launch of the mass-market tabloid newspaper the "News on Sunday" in 1987, which folded the same year. The name of the group was taken from a television play, "The Big Flame" (1969), written by Jim Allen and directed by Ken Loach for the BBC's "Wednesday Play" season. It dealt with a fictional strike and work-in at the Liverpool Docks.


title: Colposcopy

text: Colposcopy ( + "skopos" "look at") is a medical diagnostic procedure to visually examine the cervix as well as the vagina and vulva using a colposcope.


title: Colposcopy

text: The main goal of colposcopy is to prevent cervical cancer by detecting and treating precancerous lesions early. Human Papillomavirus (HPV) is a common infection and the underlying cause for most cervical cancers. Smoking also makes developing cervical abnormalities more likely.


title: Colposcopy

text: Other reasons for a patient to have a colposcopy include assessment of diethylstilbestrol (DES) exposure in utero, immunosuppression, abnormal appearance of the cervix or as a part of a sexual assault forensic examination.


title: Colposcopy

text: Colposcopy is done using a colposcope, which provides a magnified and illuminated view of the areas, allowing the colposcopist to visually distinguish normal from abnormal appearing tissue, such as damaged or abnormal changes in the tissue (lesions), and take directed biopsies for further pathological examination if needed.


title: Colposcopy

text: The procedure was developed by the German physician Hans Hinselmann, with help from Eduard Wirths. The development of colposcopy involved experimentation on Jewish inmates from Auschwitz.


title: Colposcopy

text: Many physicians base their current evaluation and treatment decisions on the report "Evidence-Based Consensus Recommendations for Colposcopy Practice for Cervical Cancer Prevention in the United States", developed by the American Society for Colposcopy and Cervical Pathology, most recently in 2017.


title: Colposcopy

text: Colposcopy is not generally performed for people with pap test results showing low-grade squamous intraepithelial lesion (LSIL) or less. SIL's are an abnormal growth of epithelial cells, known as a lesion, on the surface of the cervix. Unless the person has a visible lesion, colposcopy for this population does not detect a recurrence of cancer.


title: Colposcopy

text: During the initial evaluation, a medical history is obtained. The procedure is fully described to the patient. In some cases a pregnancy test may be performed before the procedure and the patient then signs a consent form. Colposcopy is performed with the woman lying back, legs in stirrups, and buttocks at the lower edge of the table (a position known as the dorsal lithotomy position). A speculum is placed in the vagina after the vulva is examined for any suspicious lesions.


title: Colposcopy

text: A colposcope is used to identify visible clues suggestive of abnormal tissue. It functions as a lighted binocular or monocular microscope to magnify the view of the cervix, vagina, and vulvar surface. Low magnification (2× to 6×) may be used to obtain a general impression of the surface architecture. 8× to 25× magnification are utilized to evaluate the vagina and cervix. High magnification together with green filter is often used to identify certain vascular patterns that may indicate the presence of more advanced pre-cancerous or cancerous lesions.


title: Colposcopy

text: The squamocolumnar junction, or "transformation zone", is a critical area on the cervix where many precancerous and cancerous lesions most often arise. The ability to see the transformation zone and the entire extent of any lesion visualized determines whether an adequate colposcopic examination is attainable.


title: Colposcopy

text: Acetic acid solution is applied to the surface of the cervix using cotton swabs to improve visualization of abnormal areas.. Areas of the cervix that turn white (acetowhiteness) after the application of acetic acid or have an abnormal vascular pattern are often considered for biopsy. If no lesions are visible, an iodine solution may be applied to the cervix to help highlight areas of abnormality.


title: Colposcopy

text: After a complete examination, the colposcopist determines the areas with the highest degree of visible abnormality and may obtain biopsies from these areas using a long biopsy instrument, such as a punch forceps, SpiraBrush CX or SoftBiopsy. Most doctors and patients consider anesthesia unnecessary; however, some colposcopists now recommend and use a topical anesthetic such as lidocaine or a cervical block to decrease patient discomfort, particularly if many biopsy samples are taken.


title: Colposcopy

text: Following any biopsies, an endocervical curettage (ECC) is often done. The ECC utilizes a long straight curette, a Soft-ECC curette employing fabric to simultaneously collect tissue, or a cytobrush (like a small pipe-cleaner) to scrape the inside of the cervical canal. The ECC should never be done on a patient who is pregnant. Monsel's solution is applied with large cotton swabs to the surface of the cervix to control bleeding. This solution looks like mustard and turns black when exposed to blood. After the procedure this material will be expelled naturally: Patients can expect to have a thin coffee-ground like discharge for up to several days after the procedure. Alternatively, some physicians achieve hemostasis with silver nitrate.


title: Colposcopy

text: One model for scoring colposcopy findings is the "Swede Score", which assigns a score between 0 and 2 for 5 different parameters, based on what is visible during the colposcopy, as given in table below:


title: Colposcopy

text: The total Swede Score ranges between 0 and 10. A score of 5 or above is reported to identify all potential high-grade lesions (HGL) and 8 or above to have a 90% chance of being a HGL. A score below 5 does not require biopsy because of low risk of cancer, a score from 5 to 7 requires biopsy, and a score 8 or above does not require biopsy because it is likely more efficient to intervene directly (e.g., by excision).


title: Colposcopy

text: Significant complications from a colposcopy are not common but may include bleeding, infection at the biopsy site or endometrium, and failure to identify the lesion. Monsel's solution and silver nitrate interfere with the interpretation of biopsy specimens, so these substances should not be applied until all biopsies have been taken. Some patients experience a degree of discomfort during the curettage, and many experience discomfort during the biopsy.


title: Colposcopy

text: Adequate follow-up is critical to the success of this procedure. Treatments for significant lesions include ablative treatments (cryotherapy, thermocoagulation, and laser ablation) and excisional methods (loop electrosurgical excision procedure or LEEP, or Cervical conization).


title: World Trade Park, Jaipur

text: World Trade Park is a shopping mall in Malviya Nagar, Jaipur, Rajasthan, India. It was officially opened in the later half of 2012.


title: World Trade Park, Jaipur

text: The construction of World Trade Park Jaipur started in back 2009 and took US$50,000,000 and was completed in two years. The building has two different blocks; one north and one south, separated by a city street. The two buildings are joined by a bridge, which has restaurants.


title: World Trade Park, Jaipur

text: Mr Anoop Bartaria is the chairman and managing director of World Trade Park and Sincere Group of companies. World Trade Park Jaipur was inaugurated by Shahrukh Khan in 2012.


title: World Trade Park, Jaipur

text: World Trade Park Jaipur includes a display system where 24 projectors create a single image on its ceiling. This is the first system of its kind in the world. WTP was awarded "Mall of the Year" and "Best Architecture" by BCI of India.


title: World Trade Park, Jaipur

text: Some more projects are under construction in WTP, like "Under Water Restaurant", "Classy Auditorium", "Banquet Hall (for wedding functions and parties)", "International Media Center", "WTP Hotel with World Class Luxury Rooms",


title: David Campbell (composer)

text: David Richard Campbell (born 7 February 1948) is a Canadian-American arranger, composer, and conductor. He has worked on over 450 gold and platinum albums by artists of a wide range of genres, including Rush, Ariana Grande, Harry Styles, Muse, Michael Jackson, Aaliyah, Evanescence, Beyoncé, Aerosmith, Garth Brooks, and various albums by his son Beck.


title: David Campbell (composer)

text: Campbell was born in Toronto, Ontario. His father, D. Warren Campbell, was from Winnipeg, Manitoba, and was attending seminary in Toronto in order to become a Presbyterian minister. Campbell subsequently was assigned to a church in Pittsburgh, taking his family with him, before settling in Seattle. Campbell took up the violin at age 9. At age 12, he began venturing into orchestration, studying the works of Bartók, Schoenberg and Stravinsky.


title: David Campbell (composer)

text: In the late 1960s, after studying at Manhattan School of Music, Campbell moved from New York to Los Angeles and began studying pop music. He studied the music of The Beatles, Leonard Cohen, and The Rolling Stones, and he played bluegrass music for crowds in line for movies in Westwood Village.


title: David Campbell (composer)

text: At age 23, Campbell played on his first major album, "Tapestry", by Carole King. This led to his first arranger role, for King's "Rhymes and Reasons" album. Campbell also played viola on recording sessions such as Marvin Gaye's "Let's Get It On" and Bill Withers' "Lean on Me".


title: David Campbell (composer)

text: Since then, he has gone on to arrange songs for such artists as Bob Dylan, The Rolling Stones, Bon Jovi, Dream Theater, Metallica, Paul McCartney, Radiohead, Jessie J, Juanes, Tim McGraw, Adele, Ricky Martin, Barbra Streisand, and Miley Cyrus.


title: David Campbell (composer)

text: As a composer, David has written music for many films including "Joy", "Paper Tigers" and "Colombia: magia salvaje". He has also arranged and orchestrated music for over 80 films including "Annie" (2014), "Foxcatcher" (2014), "" (2013), "Rock of Ages" (2012), "Dreamgirls" (2007), "North Country" (2005), and "Brokeback Mountain" (2005). In 2010 he worked with Nigel Godrich on the score for "Scott Pilgrim vs. The World". In 2016, he co-composed the 40-minute ballet "Rules of the Game" with Pharrell Williams.


title: David Campbell (composer)

text: David has guest-conducted the Los Angeles Philharmonic and the Hollywood Bowl Orchestra at the Hollywood Bowl for Faith Hill, Death Cab for Cutie, Ray LaMontagne, Beck, Sheryl Crow, Willie Nelson, and The xx. He collaborated with Muse for the performance of "Survival", the official song of the London Olympics. He also collaborated with Beck for the Lincoln Motor Company ad campaign, "Hello, Again", which featured a live performance of Beck's "Sound and Vision" cover and included 167 live musicians playing simultaneously. In February 2009 Campbell arranged Radiohead's "15 Step" for the band's collaboration with the USC Marching Band at the 2009 Grammy Awards. He conducted the Los Angeles Philharmonic, as well as arranged and orchestrated the music for Beck's "Song Reader" concert at the Walt Disney Concert Hall, which featured many performers, including Childish Gambino, Juanes, Anne Hathaway, John C. Reilly, Jack Black, and Jarvis Cocker. He arranged and orchestrated for the Seattle Symphony and Pickwick's Sonic Evolution show on 6 June 2014.


title: David Campbell (composer)

text: In 2003, he served as conductor of the Melbourne Symphony Orchestra during their one-night performance with Kiss, which was released on the album "". During the concert, Campbell and the members of the orchestra wore the iconic Kiss makeup along with the members of the band.


title: David Campbell (composer)

text: In 2018, for the LA Phil's 100th anniversary celebrations, David wrote arrangements for Chris Martin's and Corinne Bailey Rae's performances at Disney Hall, as well as Katy Perry's and Kali Uchis' performances at the Hollywood Bowl, all of which were conducted by Gustavo Dudamel.


title: David Campbell (composer)

text: In 2019, he wrote arrangements for and conducted the LA Philharmonic, National Symphony Orchestra and Cincinnati Orchestra for Iron & Wine's 15th anniversary of "Our Endless Numbered Days".


title: David Campbell (composer)

text: He created the song arrangements, dance arrangements, underscoring and orchestrations for the Broadway musical "".


title: David Campbell (composer)

text: Campbell has two sons and one daughter: musician Beck Hansen, artist Channing Hansen, and Alyssa Suede.


title: Symphony No. 1 (Mahler)

text: The Symphony No. 1 in D major by Gustav Mahler was mainly composed between late 1887 and March 1888, though it incorporates music Mahler had composed for previous works. It was composed while Mahler was second conductor at the Leipzig Opera, Germany. Although in his letters Mahler almost always referred to the work as a symphony, the first two performances described it as a "symphonic poem" and as a "tone poem in symphonic form" respectively. The work was premièred at the Vigadó Concert Hall, Budapest, in 1889, but was not well received. Mahler made some major revisions for the second performance, given at Hamburg in October 1893; further alterations were made in the years prior to the first publication, in late 1898. Some modern performances and recordings give the work the title Titan, despite the fact that Mahler only used this label for the second and third performances, and never after the work had reached its definitive four-movement form in 1896.


title: Symphony No. 1 (Mahler)

text: The symphony's movements are arranged in a fairly typical four-movement setup. Conventionally, the minuet and trio would be the third movement and the slow movement the second, but Mahler has them switched, which was also sometimes done by Ludwig van Beethoven. The keys are D major for the first movement, A major for the second, D minor for the third, and F minor for the last, with a grand finale at the end in D major. The usage of F minor for the last movement was a dramatic break from conventional usage.


title: Symphony No. 1 (Mahler)

text: For the first three performances (Budapest, Hamburg and Weimar), an additional movement, "" (flower piece), was played between the first and second movements of the piece as it now stands. This movement was originally written in June 1884 as the opening piece – "" – of Mahler's incidental music for a series of seven "tableaux vivants" based on Joseph Victor von Scheffel's poem "Der Trompeter von Säckingen", which, "Blumine" aside, has since been lost. The addition of this movement appears to have been an afterthought, and Mahler discarded it after the Weimar performance in 1894; it was rediscovered in 1966 by Donald Mitchell. The following year, Benjamin Britten conducted the first performance of it since Mahler's time at the Aldeburgh Festival. The symphony is almost never played with this movement included today, although it is sometimes heard separately. In the 1970s, Eugene Ormandy and the Philadelphia Orchestra made the first recording of the symphony by a major orchestra to include "Blumine". Currently some 20 recordings exist that include "Blumine"; however, most of them combine it with the revised edition of the other movements, thus making a "blended" version of the symphony that was at no time authorised by Mahler.


title: Symphony No. 1 (Mahler)

text: Nevertheless, Mahler quotes the main theme from the "Blumine" movement in two subsequent movements. It appears early in the second movement; he also quotes it in the final movement, as well as other themes from the other movements, which is in keeping with Beethoven's own practice in his Symphony No. 9 of quoting themes from the first, second, and third movements early in the final movement. Beethoven gave the impression of rejecting the earlier themes, after he quotes them, and then introduces the famous "Ode to Joy" theme. The five-movement version generally runs around an hour, just as Mahler's later symphonies (except for Symphony No. 4) are an hour or longer in length. Mahler followed a precedent, established by Beethoven in his ninth symphony and by Anton Bruckner in many of his symphonies, of lengthier, more detailed development of the themes, usually resulting in a performance time of an hour or more.


title: Symphony No. 1 (Mahler)

text: Under this early five-movement scheme, the work was envisioned by Mahler as a large symphonic poem in two parts, and he wrote a programme to describe the piece, but without adding any further title for the 1889 Budapest premiere. The first part consisted of the first two movements of the symphony as it is now known plus "Blumine", and the second consisted of the funeral-march and finale. For the 1893 Hamburg and 1894 Weimar performances, Mahler gave the piece the title "Titan" after the novel by Jean Paul, although Mahler specified that the piece was not in any way "about" the book; the nickname is often used today, but properly only applies to those two versions.


title: Symphony No. 1 (Mahler)

text: The opening of the third movement features a double bass soloist performing a variation on the theme of "Frère Jacques", distinguishing it as one of the few symphonic pieces to use the instrument in such a manner. Mahler uses the song, which he cites as "Bruder Martin", changed from major to minor, thus giving the piece the character of a funeral march. The mode change to minor is not an invention by Mahler, as is often believed, but rather the way this round was sung in the 19th and early 20th century in Austria.


title: Symphony No. 1 (Mahler)

text: An arrangement by Bruno Walter for piano four hands (two players at one piano) was published in 1906.


title: Symphony No. 1 (Mahler)

text: The first movement is in modified sonata form. The second is a scherzo and trio based on a Ländler, a traditional Austrian waltz. The third is a slower funeral march with a lyrical central section, and the fourth serves as an expansive finale. Initially, there existed an additional second movement, entitled "Blumine", but it was removed by Mahler for the final publication in 1899.


title: Symphony No. 1 (Mahler)

text: These programmatic notes were dropped starting with the 1896 performance in Berlin, because Mahler did not want the audience to be misled by such notes and their inherent ambiguities.


title: Symphony No. 1 (Mahler)

text: The first movement is in a modified sonata form, with a substantially slow introduction in A minor (phrygian). The introduction begins eerily with a seven-octave drone in the strings on A, with the upper octaves being played on harmonics in the violins. A descending two-note motif is then presented by the woodwinds, and eventually establishes itself into the following repeated pattern:


title: Symphony No. 1 (Mahler)

text: This opening, in its minimalist nature and repeated descending motif, alludes to the first movement of Ludwig van Beethoven's Symphony No. 4 in B major.


title: Symphony No. 1 (Mahler)

text: This theme is then interrupted by a fanfare-like material first presented in the clarinets, and later by offstage trumpets, indicated in the score as "" (At a very far distance).


title: Symphony No. 1 (Mahler)

text: This opening is very true to Mahler's style, putting the emphasis on the winds, and not more traditionally on the strings.


title: Symphony No. 1 (Mahler)

text: The mood then lightens to mark the beginning of the exposition, and the descending fourth motif becomes the first theme. This melodic material is recycled from the second of Mahler's "Lieder eines fahrenden Gesellen", entitled "".


title: Symphony No. 1 (Mahler)

text: The melody is first presented in the cellos in D major, and passed throughout the orchestra. This melody builds in dynamic, as the music modulates to A major, and a brief second theme, based on a new E–F#–C#–F#–E motif, is presented on the higher woodwinds. A slower development ensues, bringing back material from the introduction, including the drone on A, the cuckoo calls in the clarinet, and the original motif, but modulates through various keys. A new French horn fanfare is issued,


title: Symphony No. 1 (Mahler)

text: and "development" materials from the first and second themes are heard. The music modulates through A major, then through D-flat major. A-flat major is to be the next, then C major, and finally F major. The retransition of the development section starts in F minor, causing a terrifying darkness. The tension gradually builds up in a section which foreshadows the theme of the fourth movement, ultimately reaching a triumphant cadence in D major. Then the recapitulation begins with a return of the French horn fanfare. Ultimately, the two-note motive takes over the final measures of the recapitulation, and a coda brings the movement to a fiery and humorous close.


title: Symphony No. 1 (Mahler)

text: The second movement is a modified minuet and trio. Mahler replaces the minuet with a ländler, a dance-form that was a precursor to the Viennese waltz. This is a frequently-used structure in Mahler's other symphonies, as well as Franz Schubert's. One main theme repeats throughout the Ländler, and it gathers energy towards a hectic finish. The main melody outlines an A major chord:


title: Symphony No. 1 (Mahler)

text: However, as it comes to a close, Mahler alludes again to the Ländler by interjecting brief rising material from the first section. Finally, the Ländler makes a formal return, shortened and orchestrated more heavily to close the movement.


title: Symphony No. 1 (Mahler)

text: The third movement, in A–B–A structure, acts as the slow movement in the four-movement plan. The extra-musical idea behind it is that of a hunter's funeral and a procession of animals that follows.


title: Symphony No. 1 (Mahler)

text: The initial 1st subject of the A section is based on the popular round "Bruder Jakob" (although Mahler calls it "Bruder Martin") more commonly known as "Frère Jacques"; however, Mahler places the melody in a minor mode.


title: Symphony No. 1 (Mahler)

text: The movement opens with the same falling fourth motif heard in the first movement, presented with the timpani. The subject is first presented by a solo double bass, followed by bassoon, tuba and, eventually, the entire orchestra. A counter-melody is played over top of the canon in the oboe.


title: Symphony No. 1 (Mahler)

text: The mood changes, and the 2nd subject, one of the most distinctive portions of this symphony follows. Mahler uses cymbal, bass drum, oboes, clarinets and a trumpet duo to produce the sound of a small klezmer band; Mahler's use of klezmer is sometimes credited to his Jewish roots.


title: Symphony No. 1 (Mahler)

text: After a brief return to the 1st subject, a more contemplative B section, in G major ensues, featuring material from the fourth of Mahler's "Lieder eines fahrenden Gesellen", "".


title: Symphony No. 1 (Mahler)

text: After the B section ends, the A section is repeated in a varied form. The 1st subject returns in E-flat minor. Then the 2nd subject is heard again, and after a while, the music modulates back to D minor, and Mahler incorporates all three thematic elements on top of each other. The final few bars of the 2nd subject is heard next, and once again, the 1st subject appears briefly for one last time in D minor, and the movement ends with simple alternating fourth in the lower strings, notably the key motif from the first movement.


title: Symphony No. 1 (Mahler)

text: The fourth movement, in sonata-allegro form with a very long and extended development section and a shortened recapitulation, is by far the most involved, and expansive. It brings back several elements from the first movement, unifying the symphony as a whole. The movement's introduction begins with an abrupt cymbal crash, a loud chord in the upper woodwinds, string and brass, and a timpani roll, all in succession. This contrasts greatly with the end of the third movement. As the strings continue in a frenzy of notes, fragments of the first theme of the exposition, in F minor, appear, presented forcefully in the brass, before being played in entirety by the majority of winds:


title: Symphony No. 1 (Mahler)

text: The movement continues frantically, until a bridge passage on the strings leads to an expansive and lyrical second theme in D-flat major, which is presented in the strings.


title: Symphony No. 1 (Mahler)

text: Eventually, the closing section of the exposition is heard in D-flat major, and then opening fragments in the brass emerge from the beginning of the development section, and the energy picks up once more. The fast-paced and loud development is only interrupted by a brief quiet section in which a brass fanfare based on the theme appears in C major. After further development of both themes, a climax is reached in C minor, upon which the aforementioned brass fanfare is loudly reintroduced, unexpectedly modulating to D major. The horns then play a full-forced altered version of the descending fourth pattern from the beginning of the symphony:


title: Symphony No. 1 (Mahler)

text: However, this ultimately leads to a decrescendo, and the momentum sinks to another lyrical section, bringing back other quotes from the first movement, including fanfares, and "" (see Lieder section). The recapitulation begins with the second theme in F major, with the first theme following it in F minor, heavily featuring the violas. This leads into a restatement of the retransition from the first movement in which the fourth-movement theme was initially foreshadowed, followed by a restatement of the brass fanfare in the development, this time starting in D major rather than C major. The above theme is repeated, and this time it does not decrescendo, instead leading to the coda. The symphony concludes with fanfare material from the beginning, ultimately ending humorously with a quick octave drop.


title: Symphony No. 1 (Mahler)

text: One of the most important marks that Mahler left on the symphony as a genre is the incorporation of another important genre of the 19th century; the German "lied". In his first symphony, Mahler borrowed material from his song cycle "Lieder eines fahrenden Gesellen", thus innovating the symphonic form and potentially answering questions about programmatic and personal elements in the music.


title: Symphony No. 1 (Mahler)

text: Although some of Mahler's symphonic predecessors experimented with lyricism in the symphony, Mahler's approach was much more far-reaching. Through the use of the second of his "Lieder eines fahrenden Gesellen" cycle, "", we can see how the composer manipulates the song's form to accommodate the symphonic form. Within the symphonic movement, the "" melody is a bright exposition in contrast with the slower and darker introduction. Although the song plays a similar role in the song cycle, being surrounded by darker-themed songs, Mahler changes the order of the strophes as originally found in the song. Of the three verses, the more relaxed third verse is used at the beginning of the exposition, whereas the more chromatic and rhythmically active first and second verses are found in the closing section, helping build the energy to the end of the exposition.


title: Symphony No. 1 (Mahler)

text: In the third movement of the symphony, the quotation of the lied "" demonstrates the subtlety with which Mahler combined the two genres. Within this funeral march, we can see the composer's union of form and meaning, and also elements of a programme. In the last verse of the song cycle, the speaker acknowledges the painlessness of death, saying, "[under the linden tree] I knew not how life fared, [there] all was good again!" This melody is employed as a countermelody to the "Frère Jacques" theme in the minor mode, but the counterpoint that Mahler uses is unconventional, and the two melodies are never properly consolidated. This unresolved counterpoint has been interpreted as a conflict between the "Frère Jacques" theme's Catholic implications and the Jewish klezmer qualities of the "" theme, thus alluding to a social conflict of which Mahler was very aware.


title: Symphony No. 1 (Mahler)

text: The subtlety and implications of Mahler's incorporation of the "" song into the funeral march bring us to the issue of programme. The composer's ideas about programmatic content are not concrete. The matter of subjectivity comes up when discussing what meanings Mahler intended the lieder to bring to the orchestral work. Looking at the programmes that he provided, one can see many connections between the song cycle and the symphony's programmatic elements, but then it must also be taken into consideration that Mahler later removed the programmes. Among this uncertainty though, it is clear that some narrative elements that are associated with the poet and composer of a lied were transferred from the song cycle to the symphony. The lack of words, makes it much more difficult for the composer to be subjective in the symphony, so a more universal message must be found. The composer's comments about the "world" that a symphony creates seems to reinforce this idea.


title: Symphony No. 1 (Mahler)

text: "Blumine" is the title of the rejected "andante" second movement of the symphony. It was first named "Blumine" in 1893. However it was not discarded until after the first three performances, where it remained the second movement. After the 1894 performance (where it was called ""), the piece received harsh criticism, especially regarding the second movement. In the Berlin premiere in 1896, "Blumine" was cut out, along with the title "Titan" and the programme of the symphony. Shortly after this, the symphony was published without the "Blumine" movement and in the subsequent versions of the symphony it was gone.


title: Symphony No. 1 (Mahler)

text: "Blumine" originates from some incidental music Mahler wrote for Joseph Victor von Scheffel's dramatic poem "". The trumpet serenade was used for "Blumine" with little change. It was originally scored for a small orchestra and this is how it appears in "Blumine", which is in contrast to the large orchestra used in the rest of the symphony. The movement is a short lyrical piece with a gentle trumpet solo, similar to the posthorn solos in Symphony No. 3. Even though it was cut from the symphony, there are still traces of its influence in the rest of the movements.


title: Symphony No. 1 (Mahler)

text: "Blumine" translates to "floral", or "flower", and some believe this movement was written for Johanna Richter, with whom Mahler was infatuated at the time. The style of this movement has much in common with Mahler's earlier works but also shows the techniques and distinct style of his later compositions. It was rediscovered by Donald Mitchell in 1966, while doing research for his biography on Mahler in the Osborn Collection at Yale University, in a copy of the Hamburg version of the symphony. Apparently, Mahler had given it to a woman he tutored at the Vienna Conservatory. It was passed on to her son, who then sold it to James Osborn, who then donated it to Yale University.


title: Symphony No. 1 (Mahler)

text: Benjamin Britten gave the first performance of the reconstructed Hamburg version in 1967, after it had been lost for over seventy years. After this discovery, other people performed this movement, some simply inserting the "Blumine" into the 1906 version. However, many people did not agree about playing this music as part of the symphony. Mahler had rejected it from his symphony, they reasoned, so it should not be played as part of it. Famous Mahler conductors such as Leonard Bernstein, Georg Solti and Bernard Haitink never performed it. Others perform "Blumine" before or after the symphony, while still others have performed it on its own or alongside Mahler's other works.


title: Symphony No. 1 (Mahler)

text: The second movement of the symphony was played in the episode "" of the fifth season of "" to relax the crew of the starship during alien inspections.


title: Konkani people

text: The Konkan people (Konkani) [ Konkanis ] : are an Indo-Aryan ethnolinguistic group native to the Konkan region of the Indian subcontinent who speak various dialects of the Konkani language. Konkani is the state language of Goa and also spoken by populations in coastal Karnataka, coastal Maharashtra, and Kerala. Other Konkani speakers are found in Gujarat state.


title: Konkani people

text: The word "Konkan" and, in turn "Konkani", is derived from "" or . Different authorities explain etymology of this word differently. Some include:


title: Konkani people

text: In general, in Konkani the masculine form used to address a Konkani speaker is ' and the feminine form is . The plural form is "Konkane" or "Konkani". In Goa "Konkano" now refers only to Hindus, and Konkani Catholics do not address themselves as Konkanos as they were banned by the Portuguese from referring to themselves this way. Saraswat Brahmins of Canara refer to the Konkanis as " /". This literally means "our tongue" or "people speaking our tongue". Though this is not common amongst the Goans, they normally refer to Konkani as ' or "our language". Sometimes "" can be used in the Goan context to mean "people from my community".


title: Konkani people

text: The then prehistoric region consisting of Modern Goa and some parts of Konkan adjoining Goa were inhabited by the Homo sapiens in Upper paleolithic and Mesolithic phase i.e. 8000–6000 BC. The rock engraving in many places along the coast has proven the existence of hunter-gathers. Nothing much is known about these earliest settlers.


title: Konkani people

text: Figures of mother goddess and many other motifs have been recovered which do not really shed light on the ancient culture and language. Traces of Shamanic religion have been found in Goa.


title: Konkani people

text: It is believed that tribes of Austric origin like "Kols", "Mundaris", "Kharvis" may have settled Goa and Konkan during the Neolithic period, living on hunting, fishing and a primitive form of agriculture since 3500 BC. According to Goan historian "Anant Ramakrishna Dhume", the Gauda and Kunbi and other such castes are modern descendants of ancient Mundari tribes. In his work he mentions several words of Mundari origin in the Konkani language. He also elaborates on the deities worshiped by the ancient tribes, their customs, methods of farming and its overall impact on modern day Konkani society. They were in a Neolithic stage of primitive culture, and they were food-gatherers rather. The tribe known as the "Konkas", from whom is derived the name of the region, "Kongvan or Konkan" with the other mentioned tribes formed reportedly the earliest settlers in the territory. Agriculture was not fully developed at this stage, and was just shaping up. The Kols and Mundaris might have been using stone and wood implements as iron implements were used by the megalithic tribes as late as 1200 BC. The Kol tribe is believed to have migrated from Gujarat. During this period worship of mother goddess in the form of anthill or "Santer", was started. Anthill is called as "Roen" (Konkani:रोयण), this word has been derived from the Austric word "Rono" meaning with holes. The later Indo-Aryan and Dravidian settlers also adopted anthill worship, which was translated to "Santara" in Prakrit by them.


title: Konkani people

text: The first wave of Vedic people came and settled from Northern India in then Konkan region. Some of them might have been followers of Vedic religion. They were known to speak the earliest form of Prakrit or Vedic Sanskrit vernacular. This migration of the "northerners" is mainly attributed to the drying up of the Sarasvati River in Northern India. Many historians claim only Gaud Saraswat Brahmins and few of the other Brahmins to be their descendants. This hypothesis is not authoritative according to some. Balakrishna Dattaram Kamat Satoskar a renowned Goan Indologist and historian, in his work "Gomantak prakruti ani sanskruti", Volume I explains that the original Sarasvat tribe consisted of people of all the folds who followed the Vedic fourfold system and not just Brahmins, as the caste system was not fully developed then, and did not play an important role.(see "Gomantak prakruti ani sanskruti", Volume I).


title: Konkani people

text: The second wave of Indo-Aryans occurred sometime between 1700 to 1450 BC. This second wave migration was accompanied by Dravidians from the Deccan plateau. A wave of "Kusha" or Harappan people a Lothal probably around 1600 BC to escape submergence of their civilisation which thrived on sea-trade. The admixture of several cultures, customs, religions, dialects and beliefs, led to revolutionary change in the formation of early Konkani society.


title: Konkani people

text: The Maurya era is marked with migrations from the East, advent of Buddhism and different "Prakrit" vernaculars. Buddhist Graeco-Bactrians settled Goa during the Satavahana rule, similarly a mass migration of Brahmins happened from the north, whom the kings had invited to perform Vedic sacrifices.


title: Konkani people

text: The advent of Western Satrap rulers also led to many Scythian migrations, which later gave its way to the "Bhoja" kings.


title: Konkani people

text: According to Vithal Raghavendra Mitragotri, many Brahmins and Vaishyas had come with Yadava Bhojas from the North (see "A socio-cultural history of Goa from the Bhojas to the Vijayanagara"). The Yadava Bhojas patronised Buddhism and settled many Buddhist converts of Greek and Persian origin.


title: Konkani people

text: The Abhirs, Chalukyas, Rashtrakutas, Shilaharas ruled the then Konkan-Goa for several years which was responsible for many changes in the society. Later The powerful Kadambas of Goa, came to power. During their rule, the society underwent radical transition. Close contact with the Arabs, Turks, introduction of Jainism, patronising Shaivism, use of Sanskrit and Kannada, the overseas trade had an overwhelming impact on the people.


title: Konkani people

text: In 1350 CE, Goa was conquered by the Bahmani Sultanate of Turkic origin. However, in 1370, the Vijayanagar Empire, a resurgent Hindu empire situated at modern day Hampi, reconquered the area. The Vijayanagar rulers held on to Goa for nearly 100 years, during which its harbours were important landing places for Arabian horses on their way to Hampi to strengthen the Vijaynagar cavalry. In 1469, however, Goa was reconquered, by the Bahmani Sultans. When this dynasty broke up in 1492, Goa became a part of Adil Shah's Bijapur Sultanate, who made Goa Velha their second capital.


title: Konkani people

text: The Bahamanis demolished many temples, and forced the Hindus to convert to Islam. To avoid this religious persecution, several Goans families fled to the neighbourhood kingdom of Soonda.


title: Konkani people

text: The Portuguese conquest of Goa occurred in 1510 under the leadership of Afonso de Albuquerque and with the assistance of the local Hindus led by Timoji. The Christianisation of Goa and its simultaneous Lusitanisation soon followed.


title: Konkani people

text: The Goa Inquisition was established in 1560, briefly suppressed from 1774 to 1778, and finally abolished in 1812. Its main aim was to investigate New Christians for heresy, and to preserve the Catholic faith. Crypto-Jews who emigrated to Goa from the Iberian Peninsula to escape the Spanish Inquisition and the Portuguese Inquisition, were the main cause behind the launch of the Goa Inquisition. Some 16,202 persons were brought to trial by the Inquisition. 57 were sentenced to death and executed in person, another 64 were burned in effigy. Of these, 105 of them were men and 16 women. The rest of those convicted were subjected to lesser punishments or penanced. Those sentenced to various punishments totalled 4,046, out of whom 3,034 were men and 1,012 were women.


title: Konkani people

text: Seventy-one "autos da fe" were recorded. In the first few years alone, over 4000 people were arrested. According to the "Chronista de Tissuary" (Chronicles of Tiswadi), the last auto da fe was held in Goa on 7 February 1773.


title: Konkani people

text: The Inquisition was set as a tribunal, headed by an Inquisitor, sent to Goa from Portugal and was assisted by two more judges. These three judges were answerable only to the Portuguese Inquisition in Lisbon and handed down punishments according to the Inquisition Laws. The Laws filled 230 pages and the palace where the Inquisition was conducted was known as the Big House and the Inquisition proceedings were always conducted behind closed shutters and closed doors, to prevent outside interference while the accused was being interrogated.


title: Konkani people

text: In 1567, the campaign of destroying temples in Bardez was completed after the majority of the local Hindus had converted to Christianity. At the end of it, 300 Hindu temples were destroyed. Laws were enacted from 4 December 1567 prohibiting the public performance of Hindu rituals such as marriages, sacred thread wearing and cremation. All persons above 15 years of age were compelled to listen to Christian preaching, failing which they were punished. In 1583, Hindu temples at Assolna and Cuncolim were also destroyed by the Portuguese after the majority of the locals had converted.


title: Konkani people

text: One person convicted by the Goa Inquisition was a French physician-cum-spy named Charles Dellon. He published a book in 1687 describing his experiences, titled "Relation de l'Inquisition de Goa".


title: Konkani people

text: The remaining few Hindus who wanted to keep their Hindu religion did so, by emigrating to the neighbouring territories that continued to be ruled by Bijapur, where these Hindus again had to pay jizya tax.


title: Konkani people

text: Ironically, the Inquisition was a compelling factor for the emigration of some Portuguese immigrant soldiers who, although raised Roman Catholic, wanted to lead a Hindu-style way of life with multiple native Hindu concubines. These men went on to seek their fortunes as mercenaries in the courts of different Indian kings, where their services were employed usually as gunners or cavalrymen.