prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: An American who is a German literature translator and did a thesis on an Austrian prodigy born in 1874 taught at which university?

The following are given passages.
Context 1: Passage 1:
Vincent Kling (translator)
Vincent Kling is an American scholar and translator of German literature  He studied at La Salle College, the University of Pennsylvania and Temple University  His PhD thesis was based on the works of Hugo von Hofmannsthal  He also spent some time at Georg-August-Universität in Göttingen, Germany, and later taught at the University of Vienna under a Fulbright scholarship 
Kling's scholarly interests are wide-ranging, and he has published on subjects as diverse as Johann Breitwieser, Rainer Werner Fassbinder, Anthony Hecht, Aglaja Veteranyi and W G  Sebald  As a prominent scholar of Austrian literature, he has written on the works of Austrian writers such as Heimito von Doderer, Heimrad Bäcker, Lilian Faschinger, Andreas Pittler, Ödön von Horváth, Gert Jonke and Gerhard Fritsch 
Kling won the Schlegel-Tieck Prize for his translation of Aglaja Veteranyi's novel Why the Child Is Cooking in the Polenta  He has also translated Gert Jonke's The System of Vienna: From Heaven Street to Earth Mound Square  He is currently translating Heimito von Doderer for the NYRB Classics series 
Passage 2:
Sally-Ann Spencer
Sally-Ann Spencer is a British translator, specialising in German literature  She studied languages at Cambridge University before going to work in the publishing industry  In 2005, she moved to New Zealand, at the same time choosing literary translation as her full-time profession  She completed a PhD on German literature at the Victoria University of Wellington As a translator, Spencer has won the Schlegel-Tieck Prize for her translation of Frank Schätzing's sci-fi novel The Swarm  She now lives in Wellington 

Selected translations
Juli Zeh: The Method (Corpus Delicti)  Harvill Secker, 2012
Peter Schössow: My First Car was Red (Mein erstes Auto war rot)  Gecko Press, 2011
Markus Heitz: The War of the Dwarves (Der Krieg der Zwerge)  Orbit, 2010
Markus Heitz: The Dwarves (Die Zwerge)  Orbit, 2009
Sebastian Fitzek: Therapy (Die Therapie)  Pan Books, 2008
Frank Schätzing: The Swarm (Der Schwarm)  Hodder and Stoughton, 2006
Passage 3:
Hugo von Hofmannsthal
Hugo Laurenz August Hofmann von Hofmannsthal (German: [ˈhuːɡo fɔn ˈhoːfmanstaːl]; 1 February 1874 – 15 July 1929) was an Austrian novelist, librettist, poet, dramatist, narrator, and essayist 

Early life
Hofmannsthal was born in Landstraße, Vienna, the son of an upper-class Christian Austrian mother, Anna Maria Josefa Fohleutner (1852–1904), and a Christian Austrian–Italian bank manager, Hugo August Peter Hofmann, Edler von Hofmannsthal (1841–1915) His grandfather was Augustin Emil Hofmann von Hofmannsthal and his great-grandfather was Isaak Löw Hofmann, Edler von Hofmannsthal, from whom his family inherited the noble title "Edler von Hofmannsthal", was a Jewish tobacco farmer ennobled by the Austrian emperor He was schooled in Vienna at Akademisches Gymnasium, where he studied the works of Ovid, later a major influence on his work  He began to write poems and plays from an early age  Some of his early works were written under pseudonyms, such as Loris Melikow and Theophil Morren, because he was not allowed to publish as a student  He met the German poet Stefan George at the age of seventeen and had several poems published in George's journal, Blätter für die Kunst  He studied law and later philology at the University of Vienna but decided to devote himself to writing upon graduating in 1901  Along with Peter Altenberg and Arthur Schnitzler, he was a member of the avant garde group Young Vienna (Jung–Wien) 

Career
In 1900 Hofmannsthal met the composer Richard Strauss for the first time  He later wrote libretti for several of his operas, including Elektra (1909), Der Rosenkavalier (1911), the plot of which he developed together with Harry Graf Kessler, Ariadne auf Naxos (1912, rev  1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1929, but first performed in 1933) Between 1891 and 1899 Hofmannsthal wrote a number of short verse plays, influenced by the static dramas of the Belgian writer Maurice Maeterlinck, the dramatic monologues of the English Romantic poet Robert Browning, and the proverbes dramatiques of the French poet Alfred de Musset In 1911 he adapted the 15th century English morality play Everyman as Jedermann, and Einar Nilson wrote the music for it  The play later became a staple at the Salzburg Festival During World War I Hofmannsthal held a government post  He wrote speeches and articles supporting the war effort, and emphasizing the cultural tradition of Austria-Hungary  The end of the war spelled the end of the Habsburg monarchy in Austria; this was a blow from which the patriotic and conservative-minded Hofmannsthal never fully recovered Nevertheless, the years after the war were very productive ones for Hofmannsthal; he continued with his earlier literary projects, almost without a break  He wrote several new libretti for Richard Strauss operas  In 1920, Hofmannsthal, along with Max Reinhardt, founded the Salzburg Festival  His later plays revealed a growing interest in religious, particularly Roman Catholic, themes  Among his writings was a screenplay for a film version of Der Rosenkavalier (1925) directed by Robert Wiene 

Thought
On 18 October 1902 Hofmannsthal published a fictive letter in the Berlin Daily, Der Tag (The Day) titled simply "Ein Brief" ("A Letter")  It was purportedly written in 1603 by Philip, Lord Chandos, to Francis Bacon  In this letter Chandos says that he has stopped writing because he has "lost completely the ability to think or to speak of anything coherently"; he has given up on the possibility of language to describe the world  This letter reflects the growing distrust of and dissatisfaction with language that so characterizes the Modern era, and Chandos's dissolving personality is not only individual but societal Growing up the son of a wealthy merchant who was well connected with the major artists of the time, Hofmannsthal was raised in what Carl Schorske refers to as "the temple of art"  This perfect setting for aesthetic isolation allowed Hofmannsthal the unique perspective of the privileged artist, but also allowed him to see that art had become a flattened documenting of humanity, which took our instincts and desires and framed them for viewing without acquiring any of the living, passionate elements  Because of this realization, Hofmannsthal’s idea of the role of the artist began to take shape as someone who created works that would inspire or inflame the instinct, rather than merely preserving it in a creative form  He also began to think that the artist should not be someone isolated and left to his art, but rather a man of the world, immersed in both politics and art Hofmannsthal saw in English culture the ideal setting for the artist  This was because the English simultaneously admired Admiral Nelson and John Milton, both war heroes and poets, while still maintaining a solid national identity  "In [Hofmannsthal’s] view, the division between artist (writer) and man of action (politician, explorer, soldier) does not exist in England  Britain provides her subjects with a common base of energy which functions as equilibrium, a force lacking in fragmented Germany" (Weiss)  This singular and yet pragmatic identity must have appealed to Hofmannsthal to a certain degree due to the large scale fragmentation of Austria at the time, which was witnessing the birth of radical nationalism and anti-Semitism, a nation in which the progressive artist and the progressive politician were growing more different and hostile to each other by the day 

Influence
The Austrian author Stefan Zweig wrote in his memoirs The World of Yesterday (1942) on Hofmannsthal's early accomplishments and their influence on Zweig's generation:

The appearance of the young Hofmannsthal is and remains notable as one of the greatest miracles of accomplishment early in life; in world literature, except for Keats and Rimbaud, I know no other youthful example of a similar impeccability in the mastering of language, no such breadth of spiritual buoyancy, nothing more permeated with poetic substance even in the most casual lines, than in this magnificent genius, who already in his sixteenth and seventeenth year had inscribed himself in the eternal annals of the German language with unextinguishable verses and prose which today has still not been surpassed  His sudden beginning and simultaneous completion was a phenomenon that hardly occurs more than once in a generation 

Personal life
In 1901 he married Gertrud "Gerty" Schlesinger, the daughter of a Viennese Jewish banker  Gerty converted to Christianity before their marriage, and they settled in Rodaun (now part of Liesing), not far from Vienna, and had three children:

Christiane von Hofmannsthal (1902–1987), who married German indologist Heinrich Zimmer in early 1929  Zimmer taught at University of Greifswald, Heidelberg University, and Balliol College, Oxford  After they moved to New Rochelle, he became a visiting lecturer at Columbia University 
Franz von Hofmannsthal (1903–1929), who committed suicide on 13 July 1929 
Raimund von Hofmannsthal (1906–1974), who married Ava Alice Muriel Astor, daughter of John Jacob Astor IV and Ava Lowle Willing in 1933  After divorcing Ava in 1939, Raimund later married Lady Elizabeth Paget, daughter of the 6th Marquess of Anglesey Two days after his elder son Franz committed suicide, Hugo himself died of a stroke while dressing for his funeral at Rodaun  He was buried wearing the habit of a Franciscan tertiary, as he had requested  His widow, who acquired Schloss Prielau in 1932, died in London in 1959 

Selected works
Plays
Libretti
Narrations and fictitious conversations
Novel (fragment)
Essays, speeches, prose
Poetry
Passage 4:
George Guțu
George Guțu (born March 16, 1944) is a Romanian philologist, teacher in the Department of German Language and Literature of the Faculty of Foreign Languages and Literatures, University of Bucharest  He is also director of the Paul Celan Center for Research and Excellence and the Master programme "Intercultural Literary and Linguistic Communication Strategies" (Strategii comunicaționale interculturale – literare și lingvistice), initiated by the Department of Germanic Languages and Literatures together with other departments of the Faculty of Foreign Languages and Literatures  His academic activity is based on the history of German literature (Age of Enlightenment, Sturm und Drang, Classicism, Romanticism); German and Austrian contemporary literature; German literature from Romania, cultural inter-referentiality in Central and Southeast Europe, particularly in Bukovina, poetics, literary theory, translation, the history of German studies and guidance for PhD students  His research domains are the history of German literature; comparative literature; German literature from Romania; cultural inter-referentiality; imagology; the history and aesthetics of reception; theory and practice of translation 

Studies
George Guțu studied at Mihail Kogălniceanu High School in Galați, where he learned Russian and German as foreign languages  In 1963, he took the baccalaureate exam, followed by the entrance exam at the Faculty of Romanian Language and Literature, University of Bucharest  Starting in 1963, he studied two semesters at the University of Bucharest, but in 1964 he applied for a scholarship of the Ministry of Education of Romania in socialist countries  He attended two semesters in order to prepare for the baccalaureate exam for higher education in German at the Herder Institute in Leipzig  From 1965 to 1969 he studied German Studies and Cultural Sciences at the University of Leipzig  He wrote his first intermediate paper entitled "Zur Lyrik von Ingeborg Bachmann"("Ingeborg Bachmann's Poetry") and a graduation thesis "Das Problem der 'Biographie' bei Max Frisch  (Unter gelegentlicher Bezugnahme auf Ingeborg Bachmanns Erzählungen)" ["The Problem of 'Biography' of Max Frisch (with occasional references to Ingeborg Bachmann's work)"]  In 1969, Guțu obtained his diploma in German Studies with "excellent" results, together with Sergio Bertocchi from Italy, he was ranked the best student of the class  In recognition of this, both were offered the opportunity to continue PhD studies at the University of Leipzig  He decided in 1973 to attend extramural PhD studies at the University of Leipzig with professor Walter Dietze and later with professor Walfried Hartinger  On October 14, 1977, he presented his PhD dissertation "Die rumänische Koordinate der Lyrik Paul Celans" ("The Romanian Coordinate of Paul Celan's poetry") 

Professional career
In 1978, he began his career on the faculty of the University of Bucharest  He was awarded a Romanian degree as a Doctor of Philology became a lecturer in the Department of German Language and Literature at the University of Bucharest  In 1990, he became an assistant professor of German Language and Literature  Later, he was elected as a member of the Goethe Society in Weimar and received a scholarship from that institution  In January 2004, he was re-elected as head of the Department of German Language and Literature, University of Bucharest  From October 1, 2004, to July 31, 2005, he served as professor and titular of the Department "Elias Canetti" for Southeast European Intercultural Studies of Viadrina European University in Frankfurt (Oder), Germany  He was an academic teacher at the Institute of German Studies and Institute of Romance Studies of the Sapienza University of Rome from October to December 2006  In 2007 he initiated and founded the Paul Celan Centre for Research and Excellence  of the Department of German Language and Literature, University of Bucharest  Over the years 2010 and 2011, he debuted as the initiator and director of the Master programme "Intercultural Literary and Linguistic Communication Strategies", promoted by the Department of German Language and Literature in collaboration with the Departments of Romance, Classical, Slavic and Canadian Studies of the Faculty of Foreign Languages and Literatures  In 2012 he was invited for a special seminar, "Interculturalism beyond the Borders of Bukovina", at the Faculty of Cultural Sciences, Viadrina European University  Guțu is a scholar of the Ministry of Education in Romania, the Goethe Institute, DAAD in Bonn, of Österreich-Kooperation, Vienna, the Austrian Society for Literature, the Erasmus, Socrates and Leonardo da Vinci programmes 

Memberships
Member of the Writers Union of Romania;
Founding member of the Institute for Germans' Culture and History in Southeast Europe University "Ludwig Maximilian" in Munich;
President of the Society of Romanian Germanists (S R G );
President of "Goethe" Society from Romania;
Since 2007: Member of the scientific board of the magazine "Annals of the University of Bucharest – Foreign Languages and Literatures Series" ISSN 1220-0263;
Since 2008: Member of the scientific board of the periodical "Futark  Revista de Investigacion y Cultura" from Seville (Spain) ISSN 1886-9300; Scientific reviewer of the magazine "Annals of the "Spiru Haret" University – Philology Series";
Since 2009: Member of the board of scientific reviewers (peer review) of the publication "Germanistische Beiträge" in Sibiu ISSN 1454-5144;
Since 2010: Member of the scientific board of the publication "Kronstädter germanistischen Beiträge zur Forschung " in Brasov;
2009–2010: Member of the International Scientific Council for organizing and conducting the Biennial and Festival of Translation Europa Spazio di Traduzione, organized by the Naples Eastern University, with the participation of the Centre for Research and Excellence "Paul Celan", University of Bucharest; Organizer and moderator of the Round Table "Vita e vitalità delle 'lingue minori'";
Since 2011: Member of the Board "Institut zur Erforschung und Förderung regionaler und transnationaler Kulturprozesse" (INST, Vienna); Honorary Member of the Society "Simion C  Mândrescu" in Romania;

Prizes and awards
October 2006: Diploma of Honor "Virtue et Sapientia " of the University of Bucharest "for excellent performance om researching during the year 2005";
July 2011: Awarded with the Order of Cultural Merit – Knight of the Romanian Presidency;
March 2012: Awarded with the Austrian Cross of Honour for Science and Art 

Selection from Released Books
George Guțu has written numerous scientific publications such as books, studies, reviews or reports  

1986 "Abriß der Geschichte der rumäniendeutschen Literatur  Teil I: Von den Anfängen bis 1918 – Spezialvorlesung" Printing House of the University of Bucharest;
1990 "Die Lyrik Paul Celans und der geistige Raum Rumäniens";
1992 The initiative of establishing a specialized magazine of the S G R , "Zeitschrift der Germanisten Rumäniens";
1994 Translation "Dans în lanțuri", Hans Bergel;
1994 "Die Lyrik Paul Celans und die rumänische Dichtung der Zwischenkriegszeit";
1995 Translation "Lupul de stepă", Hermann Hesse, printing 1995 / 2005 / 2006;
1996 Translation "Siddhartha  O poemă indiană", Hermann Hesse, printing 1996 / 2005 / 2006;
1997 Book series "GGR-Beiträge zur Germanistik", the first volume "Beiträge zur Geschichte der Germanistik in Rumänien";
1997 "Germanistik an Hochschulen in Rumänien  Verzeichnis der Hochschullehrerinnen und Hochschullehrer";
1998 Translation "Când vin vulturii", Hans Bergel;
1998 Translation "Liniștea de după lovitura de secure", Matthias Buth;
2001 "Geschichte der deutschen Literatur  Textanthologie  Bd  I:  Ältere deutsche Literatur";
2002–2010 "transcarpathica germanistisches jahrbuch rumänien";
2002 Translation "Vis cu ochii deschiși  Poeme ", Rose Ausländer;
2002 Translation "Ecouri răzlețe", Hans Dama;
2005 Translation "Episcop în România într-o epocă a conflictelor naționale și religioase", Raymund Netzhammer;
2005 Translation  "Antichitățile creștine din Dobrogea", Raymund Netzhammer;
2009 "Geschichte der deutschen Literatur  Textanthologie  Bd  II: Humanismus  Reformation  Barock (1400–1700)";
2009 Translation "Scrisori către Wolfgang Kraus 1971–1990", Emil Cioran;
2010 Translation "Din România  Incursiuni prin această țară și istoria ei", Raymund Netzhammer 

Released Books in Cooperation
2002 "Stundenwechsel  Neue Perspektiven zu Alfred Margul-Sperber, Rose Ausländer, Paul Celan, Immanuel Weissglas (GGR-Beiträge zur Germanistik)", in cooperation with Martin Hainz, Andrei Corbea-Hoisie;
2003 "Kindheit: Fragment einer Autobiographie (Bukowiner Literaturlandschaft)", in cooperation with Doris Rosenkranz;
2005 "Interkulturelle Grenzgänge  Akten der Wissenschaftlichen Tagung des Bukarester Instituts für Germanistik zum 100  Geburtstag", in cooperation with Doina Sandu;
2007 "Fremde Arme – arme Fremde  "Zigeuner" in Literaturen Mittel- und Osteuropas", in cooperation with Herbert Uerlings, Iulia-Karin Patrut;
2008 "Minderheitenliteraturen – Grentzerfahrung und Reterritorialisierung  Festschrift für Stefan Sienerth", in cooperation with Ioana Crăciun-Fischer, Iulia-Karin Patrut;
2009 ""   dass ich in der Welt zu Hause bin " Hans Bergels Werk in sekundärliterarischem Querschnitt", in cooperation with Mariana Lăzărescu, Raluca Rădulescu;
2009 "Sprachheimat: Zum Werk von Dieter Schlesak in Zeiten von Diktatur und Exil", in cooperation with Jürgen Egyptien;
2011 "Die Buche: Eine Anthologie deutschsprachiger Judendichtung aus der Bukowina", in cooperation with Alfred Margul-Sperber, Peter Motzan, Stefan Sienerth;
2012 "Ost-West-Identitäten und -Perspektiven : Deutschsprachige Literatur in und aus Rumänien im interkulturellen Dialog (Veröffentlichungen des Instituts     der Ludwig-Maximilians-Universität München)", in cooperation with Ioana Crăciun-Fischer, Sissel Laegreid, Peter Motzan;
2015 "Kindheit – Hörbuch, 6 Audio-CDs: Fragment einer Autobiographie (Bukowiner Literaturlandschaft", in cooperation with Moses Rosenkranz;
2015 "Briefe an Alfred Margul-Sperber: (1930–1963) mit autobiographischen sowie literaturkritischen Dokumenten (Bukowiner Literaturlandschaft)", in cooperation with Moses Rosenkranz, Jürgen Kostka;
2016 "Jugend – Hörbuch, MP3-CD: Fragment einer Autobiographie (Bukowiner Literaturlandschaft)", in cooperation with Moses Rosenkranz, Matthias Huff, Jürgen Kostka, Nikolaus Paryla 

Other Cultural Activities
1990:The initiative of establishing the "Society of Romanian Germanists" ("S G R ; Gesellschaft der Germanisten Rumäniens") as a continuation of the tradition from the interwar period;
1997:The initiative of establishing and creation of S G R  web page (among the first in Europe in the field) and its constantly update;
1998: The initiative of establishing the "Goethe" Society in România ("Goethe-Gesellschaft in Rumänien"), election as its president;
1999: The initiative of organizing the International Symposium dedicated to the celebration of 250 years since the birth of Johann Wolfgang Goethe by the "Goethe" Society in Romania, in cooperation with the Romanian Academy, S G R , Ministry of Culture of Romania and "Goethe]]" Society in Weimar;
2002: The initiative of organizing the International Symposium "Rose Ausländer" at Bucharest;
December 2006: Co-organizer of the jubilee celebrations dedicated to the 15th anniversary of establishing Libraries "Austria" from Romania and Bulgaria in Vienna, in collaboration with the Romanian Embassy in Vienna and the Austrian Ministry of Foreign Affairs;
2008–2010: Co-initiator and coordinator from the Centre for Research and Excellence "Paul Celan" of the international project European Partnership of Intercultural Communications "Leonardo da Vinci", approved and funded by the European Union, with the participation of universities in Bucharest, Munich, Debrecen and Veliko Tarnovo 

Political career
1969 (autumn) – 1970 (summer): Reviewer at the Ministry of Foreign Affairs on his own initiative;
1994: The organization of the III International Congress of Romanian Germanists (May 16–19, 1994, Neptun) after a break of 62 years of tradition started in the interwar period of these congresses;
1997: The organization of the IV International Congress of Romanian Germanists (May 2–5, 1997, Sinaia);
2000: The organization of the V International Congress of Romanian Germanists (May 22–25, 2000, Iași);
2003: The organization of the VI International Congress of Romanian Germanists (May 26–29, 2003, Sibiu);
2006: The organization of the VII International Congress of Romanian Germanists (May 22–25, 2006, Timișoara);
2009: The organization of the VIII International Congress of Romanian Germanists (May 25–28, 2009, Cluj-Napoca);
2012: The organization of the VIII International Congress of Romanian Germanists (Juni 4-7, 2012, Bucharest)


== Notes ==
Passage 5:
Austrian literature
Austrian literature (German: Österreichische Literatur) is mostly written in German, and is closely connected with German literature 

Origin and background
From the 19th century onward, Austria was the home of novelists and short-story writers, including Adalbert Stifter, Arthur Schnitzler, Franz Werfel, Stefan Zweig, Franz Kafka, Thomas Bernhard, Joseph Roth, and Robert Musil, and of poets Georg Trakl, Rose Ausländer, Franz Grillparzer, Rainer Maria Rilke, and Paul Celan  Famous contemporary playwrights and novelists include Elfriede Jelinek and Peter Handke, and well-known essayists such as Robert Menasse and Karl-Markus Gauß  Despite Austria's contributions to architecture and revered musical traditions, no Austrian literature made it to the classical canon until the 19th century  In the early 18th century, Lady Mary Wortley Montagu, whilst visiting Vienna, was stunned to meet no writers at all Several reasons can be given  First, the arts were the preserve of the imperial court, who saw culture as a political tool, as propaganda  Fine baroque palaces, imperial portraits, and commissions of music could all work very well to this aim, but literature was deemed less suitable and thus not encouraged  Second, the late emergence of German literature; while much was published in German, hardly had the caliber to become "classic" until the late 18th century, when Goethe and Schiller began writing  In Austria, the imperial state also censored all books mercilessly; The Sorrows of Young Werther, Goethe's novel depicting a young man's ecstatic love and suicide, spawned a string of copycat suicides across Germany, and many states banned the work, but Austrian authorities also banned Goethe's entire opus  It came mostly from Empress Maria Theresa's 'Chastity Commission', intended to uphold public morals, but it had the effect not only of creating a facade of decency but a stunted intellectual front  Perhaps the primary reason for Austria's late literary fruition was its cultural mindset  According to the cultural historian Carl Emil Schorske, 'profoundly Catholic, it was a deeply sensuous, plastic culture'  The outlook of a leisured aristocracy, it was copied by the lower classes  This mentality was not necessarily bad; the emphasis on beauty and fantasy was integral to establishing the imperial capital of Vienna, and it made Vienna the greatest center of music in Europe  But it was not the best ground for the literary experiment  Nevertheless, the liberalization of Austria in the late 19th century created a more dynamic climate for writing, which soon produced a flowering 

The search for a definition
The main problem of defining a dynamic development may be that any definition will fall short of the various currents which lead to a certain type of literature  Through the centuries, there have been different approaches, but most of them have been criticized to be biased - cultural, ideological, or political  Austrian literature developed out of a symbiosis of different regional traditions and languages 
In the Middle Ages, there was a homogeneous zone along the Danube River, spanning from Bavaria down to the eastern territories  Travelers and bards moved along this route, bringing with them new influences  At the same time Alps had their forbidding little valleys, which were virtually untouched - they developed their own regional culture 
This is important because it remains characteristic through the centuries  On the other hand, there were writers strictly in the tradition of a region (like towns, countries etc ) language or culture, on the other hand there was a continuous influence on each other's writing and thinking 
The multi-ethnic Habsburg monarchy, Austrian Empire and eventually Austro-Hungarian Empire should therefore not be reduced to the German parts of the empire  There were large ethnic or religious minorities in nearly all regional capitals, like Prague, Budapest or Vienna—microcosmi with their own traditions and characteristics 
Franz Kafka may be a good example: while in some of his writings he declared himself to be "German" this was meant more in relation to the ethnic minority living in Prague than as a declaration for another part of the empire  So perhaps he was a "German-speaking-secular-Jewish-Prague-born-Austro-Hungarian-Austro-Czech writer" - a term which best shows the difficulties that are to be faced 
Besides the national differences between the provinces, there were also different regions which influenced the writing style  There were Alps with their distinctive traditions, the deep woods, the coastal regions around Trieste (now Italy and Slovenia) and the Croatian islands, which served as the Austro-Hungarian equivalent to the French Côte d'Azur, a center for writers, painters and other artists at value - and that often-meant religious texts - were written down  In addition, most texts were also translated into Latin before they were put down (e g  Germanic tribal laws) 
Different sources however suggest that there also existed aristocratic historical records (like Heldenlieder), lyric folklore (dance, love songs, spells)  Only by accident individual texts were preserved in monasteries  Examples for this are the "Merseburger Zaubersprüche", two Germanic spells being the only written proofs for pagan religion in the German-speaking lands  The "Hildebrandslied" is important as a voucher of Germanic hero literature 
The first German texts were written to translate Latin religious books around 750 in the early Middle Ages  The Benedictine communities in Melk and Salzburg were carrying on notable literary and religious activities  Ava (1060–1127), who was the first known German female writer, wrote in this religiously inspired tradition and lived in the territories which were then and now within the borders of Austria 

High and Late Middle Ages (1170–1500)
With the Crusades around 1160, knights became more important and prosperous  The oral minnesang was a new form, dealing with their love  The topics of the ballads were also more worldly with themes ranging from love and war to political criticism  There was a lot of travelling along the Danube River, with travelling bards (Minnesänger) bringing news and new songs  The towns were getting rich and independent  The first representatives of this movement and first known male writers in German were Der von Kürenberg and Dietmar von Aist (12th century)  At the end of the 12th century, one of the most important literary works of the times, Nibelungenlied, emerged  It was created by an unknown minnesang poet most probably in the territories of Austria  As the tradition of minnesang grew, the older poets started teaching younger ones  For example, probably the most known German bard Walther von der Vogelweide (13th century) learnt his craft from Reinmar von Hagenau at the court in Vienna  Among other known minnesang poets are Neidhart, Jans der Enikel, Ulrich von Liechtenstein, and Oswald von Wolkenstein 
In the 12th century, satire was also developing  Seifried Helbling was an example of a writer who wrote texts of this type 
Later on the minnesang, which was cultivated by knights, became a craft practiced by burghers – meistersingers  Its center was more to the west, in Nuremberg  Michael Beheim was a meistersinger poet strongly connected with the court in Vienna  Yet another form that developed at that time was drama  Especially, presentations of Passion were regularly played  Das Wiener Passionsspiel is worth mentioning here 
An Austrian representative of Holy Grail literature is Heinrich von dem Tuerlîn (also written Türlin)  He wrote the poem Diu Crône, which has about 30,000 lines  The edition of the original text in Middle High German has completed recently by the Viennese Germanists Fritz Peter Knapp, Manuela Niesner (Part I, Altdeutsche Textbibliothek, Tübingen 2000), Alfred Ebenbauer and Florian Kragl (Part II, Altdeutsche Textbibliothek, Tübingen 2005), who are preparing a translation to Modern German 

Renaissance
Around 1600, humanism, with its rediscovery of ancient cultures and ideals, spread from Italy throughout Europe  Emperor Maximilian I was a big supporter of this movement  He managed to gather around his court in Vienna humanists such as Conrad Celtes – the founder of Collegium Poetarum or in the later time poet laureat Vadian (Joachim von Watt) who wrote in Latin  Eleonore of Austria translated to German a widely read French adventure novel Pontus et la belle Sidonie  Big figures of the Catholic Church of that time Nicholas of Cusa and Petrus Canisius were connected with the Austrian court and a few of their works were written in German 

Baroque
The Thirty Years War had multiple effects on European literary trends; some writers based their work on the sufferings of the time, or withdrew into writings of a religious nature  Others responded with escapism, providing beautiful and peaceful worlds readers could flee to  The humorous stories (Schelmenromane) brought relief to the suffering people  This trend is apparent with Abraham a Sancta Clara's religious and comical works, and Catharina Regina von Greiffenberg's religious poetry 
As a reaction to the Protestant movements of the Reformation, which rocked the Catholic-led Habsburg territories, many Catholic schools emerged on the territories of Austria  These colleges led by the Jesuit order developed plays and operas that were Italian in style and impressed most by their luxurious equipment  Sermons were an important genre of baroque literature, rooted as it was in the Counter-Reformation  The aforementioned Benedictine monk Abraham a Sancta Clara was a notable preacher of the times  A Jesuit, Georg Scherer, is another example of a monk whose sermons were published and had a wider audience 
Another literary form were improvised plays called "Hanswurstspiele"  This direction was represented by Josef Anton Stranitzky, Gottfried Prehauser, Joachim Perinet and Josef Felix von Kurz-Bernardon 
Examples of baroque epic are the chivalric fiction and "Schelmenromane" of Johann Beer, which represent a realistic description of the reality at that time 

Enlightenment
With the start of Enlightenment around 1720, philosophy and the need of literature to educate the reader (Lehrdichtung, Bildungsroman) were two new and strong motivations for literature 
Aristotle and his school of thinking was revived  These ideas developed on the territories of Austria during the rule of Maria Theresa and her son Joseph II  Around 1790 the ideas of Enlightenment were firmly rooted and the ancient classic cultures (Greek and Roman) were the inspiration for poets, artists, architects and writers  Harmony and Beauty were some of the ideals of that time 
Austrian literature was also under the strong influence of Freemasonry and strongly connected with the criticism towards clergy  All of these circumstances caused the literature to become more educative and instructional  Satire started to be one of the most frequently used literary genres 
The literary life of Enlightenment concentrated around an almanac Wienerischer Musen-Almanach  It was started in 1777 (from 1786 under a changed title Wiener Musen-Almanach) by Joseph Franz von Ratschky and Gottlieb von Leon  Aloys Blumauer was also its editor since 1781 (he even edited a few editions alone)  
A notable poet in the Austrian literature of this period has Johann Baptist von Alxinger who wrote chivalric epics Doolin von Maynz (1787) and Bliomberis (1791) which were inspired by the tradition of Freemasonry  Alxinger also wrote poetry based on anticlerical ideas  
The writings of a might-have-been monk Johann Pezzl also had a profile of this kind  He wrote journalistic and epic texts  
Classical vision of poetry promoted by Joseph Schreyvogel strongly influenced later authors (for instance Franz Grillparzer)  Schreyvogel improved considerably the quality of the Austrian theatre  He was a dramatic adviser at the Wiener Burgtheater from 1814 to 1832 
Another important dramatist was Johann Nepomuk von Kalchberg, but historical themes of his dramas give his work the flavour of Romanticism 

First half of 19th century
Around 1790 these ideas were firmly rooted and the ancient classic cultures (Greek and Roman) were the inspiration for poets, artists, architects and writers  Harmony and Beauty were some of the ideals of that time  There was a lot of philosophical and aesthetic writing which accumulated in the Romantic era around 1820 (mostly writers from the nobility)  With the Napoleonic Wars going on, a lot of people wanted literature which took them away in a fantasy world  A lot of religious writing was also providing people with new hope  Klemens Maria Hofbauer, Eduard von Bauernfeld and Franz Grillparzer are but three of the writers influenced by these events  The German writer Karl Wilhelm Friedrich von Schlegel also lived and worked in Vienna around 1809 
Between the years 1815, the end of the Napoleonic Wars, and 1848, the year of the European revolutions the Biedermeier contrasted with the Romantic era which preceded it partly  Biedermeier can be identified with two trends in early 19th-century history 
The first trend is growing urbanization and industrialization leading to a new urban middle class  The early Lieder of Schubert, which were performable at the piano without substantial musical training, serve as examples  Further, Biedermeier writers were mainly middle-class, as opposed to the German Romantics, who were mainly drawn from the nobility  The second trend is the growing political oppression following the end of the Napoleonic Wars prompting people to concentrate on the domestic and the non-political 

Biedermeier
Biedermeier refers to work in the fields of literature, music, the visual arts and interior design in the period between the years 1815 (Vienna Congress), the end of the Napoleonic Wars, and 1848, the year of the European revolutions and contrasts with the Romantic era which preceded it 
Biedermeier can be identified with two trends in early 19th-century German history 
The first trend is growing urbanization and industrialization leading to a new urban middle class  The early Lieder of Schubert, which were performable at the piano without substantial musical training, serve as examples  Further, Biedermeier writers were mainly middle-class, as opposed to the Romantics, who were mainly drawn from the nobility 
The second trend is the growing political oppression following the end of the Napoleonic Wars prompting people to concentrate on the domestic and (at least in public) the non-political  The strict publication rules and the censorship had the consequence, that the main topics written about were unpolitical, e g  Historical Fiction or Books about the quiet life in the countryside  This does not mean that there was not a lot of political discussion going on, but it happened at home and in the presence of close friends  This explosive situation finally led to the revolutions in Europe in the year 1848 
Poets of that time in Austria were Nikolaus Lenau (1802–1850) and Franz Grillparzer  The latter is often mentioned as a representative of Austrian Classicism in literature 
Playwrights at that time were Franz Grillparzer (1791–1872), Friedrich Halm (1806–1871) - also an accomplished writer of "Novellen" (novellas and short stories) -, Johann Nepomuk Nestroy (1801–1862) and Ferdinand Raimund (1790–1836)  Grillparzer wrote tragedies in the tradition of the "Weimarer Klassik", Nestroy and Raimund were representatives for the "Wiener Volksstück" mainly played at the Viennese theater "Volkstheater Wien" 
Charles Sealsfield - a pseudonym of Karl Postl - lived a long time in the US and wrote novels set in the Wild West  On the other hand, he managed to write about Austria and to criticize the Austrian absolutism during Biedermeier without being recognized by Austrian authorities 
The end of Biedermeier is marked by the writings of Adalbert Stifter (1805–1868)  His first work Nachsommer was published in 1857 but was still believed to be one of the finest works of biedermeier  Stifter not only influenced Peter Rosegger but also German writers like Ganghofer, Heyse, Freytag, Wildenbruch and later authors (the time of "Bürgerlichen Realismus") like Storm, Fontane and through them Thomas Mann and Hesse 

Realism
Austrian writers of Realism are primarily the writer of short novels Ferdinand von Saar, Marie von Ebner-Eschenbach and the aforementioned Adalbert Stifter  Marie von Ebner-Eschenbach is known for her psychological novels and novellas as well as for her social engagement  Ferdinand Kürnberger was a novelist much like Leopold von Sacher-Masoch, who became famous with Venus in Furs - the erotic behavior he described, would later be called masochism according to his name 
Another writer to mention is Bertha von Suttner  She wrote social novels whose literary quality usually is not appreciated highly by literary critiques and Germanists, but Suttner received the Nobel Prize for Peace for her novel Die Waffen nieder (Lay down your arms) in 1905 
While in Germany Realism paved the way for Naturalism, a similar literary movement has never developed in Austria  Instead, the successors were Jugendstil and Expressionism 

20th century
First half of the 20th century
The Jugendstil movement was primarily a cultural movement of architecture and decorative arts  However, Viennese Jugendstil was marked by the presence of artists of every genre, including compositors and writers  Viennese writers, such as Arthur Schnitzler and Stefan Zweig, are often included in this movement  Arthur Schnitzler was a very typical writer of that time  He wrote his major works between 1890 and the end of World War I, namely novels, short stories and theater plays 
A very important center of Austrian literature during the ca  20 years before the end of World War I was Prague  It was the center of many German-speaking, mostly Jewish, authors who contributed significantly to Austrian and partly even to world literature  Their influence endured until the 1930s  Authors to mention are Oskar Baum, Max Brod, Franz Kafka, the journalist Egon Erwin Kisch, Gustav Meyrink, Robert Musil, Rainer Maria Rilke, Franz Werfel, and Oskar Wiener 
Expressionism was presented primarily by the poet Georg Trakl and the dramatist and narrator Hugo von Hofmannsthal, both originating from Salzburg 
The end of World War I reduced Austria to a very small and mainly German-speaking country  Some Austrian (and German writing) authors relocated to new emerging countries, such as Kafka and Werfel to Czechoslovakia  Others, such as Robert Musil, Rainer Maria Rilke, and Elias Canetti, migrated to Vienna  The political rupture and the fact that this small German-speaking Austria had lost most of its territory, industry, and agriculture, led to the fatal conviction of many Austrians that only a union with Germany would be able to save the country from a total downfall, a conviction which paved the way to its later annexation by Hitler in 1938  The texts of some writers give an insight to this conviction  Robert Musil and Hugo von Hofmannsthal expressed their "German centric" point of view, while others, such as Stefan Zweig, Franz Werfel and Alexander Lernet-Holenia, strictly spoke up for Austria and Austrian tradition and culture 
The time between the two world wars gave way to rich literature in Austria  Robert Musil wrote the well-known novel The Man without Qualities, Stefan Zweig published a multitude of essays, stories and novels, Karl Kraus edited the magazine Die Fackel (The Torch), for which he wrote almost all articles by himself, Franz Werfel wrote some of his best novels, e g  The Forty Days of Musa Dagh which narrates the Armenian tragedy of 1915, and after Franz Kafka's death, his life-time friend Max Brod began to publish Kafka's unfinished novels  Later Nobel Prize winner Elias Canetti studied and lived in Vienna and wrote his only novel Auto-da-Fe, before the Anschluss he fled to England  In analogy to Musil's Kakania (from the anagram for the k  u  k , i e  imperial and royal monarchy till 1918), Fritz von Herzmanovsky-Orlando created Tarockania for the weird figures of his humorous novels and stories 

Austrofascism and Nazi dictatorship
Catholic and conservative Austrofascism came into power after the Austrian Civil War and revitalized censorship  A more important influence on Austrian literature resulted however from Nazi empowerment in Germany in 1933  It has to be understood that not only the majority of German speaking readers live in Germany, but almost all large and important publishers for literature in German are situated in Germany as well  In 1933 it came to a breakup at the P E N  conference in Dubrovnik  The members discussed an official protest against the prosecution of writers and the burning of books by the Nazis  In consequence the German delegation left the conference and referred to the organization's principle not to interfere with politics  Some members of the Austrian delegation solidarized with the Germans, while others supported the resolution  This breakup continued afterwards in Vienna and led to a separation of liberal and "German nationalistic" authors; the latter left the Austrian PEN Club and later worshipped Hitler and his annexation of Austria  Nazi Germany observed the events carefully, boycotted immediately the liberal authors, who couldn't go on publishing in Germany and lost most of their readers and income  After the annexation, these authors were prosecuted as well as their German counterparts since years, and many of them, especially the Jewish, were murdered or forced to emigration 
Stefan Zweig flew to Brazil, Franz Werfel escaped to the US together with the German writer Heinrich Mann, Elias Canetti to England  Others, like Jura Soyfer, were killed by the Nazis  In 2007, the Theodor Kramer Society published an anthology of Austrian poetry written in exile, under the title In welcher Sprache träumen Sie? (Which Language Do You Dream In?)  The editors present 278 authors whose names in many cases have been wiped out  The better known among them are Ilse Aichinger, Franz Theodor Csokor, Albert Drach, Albert Paris Gütersloh, Hermann Hakel, Theodor Kramer, Josef Luitpold Stern, Felix Pollak, Paula von Preradović, Joseph Roth, Hilde Spiel, Wilhelm Szabo, Hans Weigel, Stefan Zweig 
During the Nazi dictatorship, which had factually wiped out the Austrian state, the Austrian PEN Club was in exile in London and continued its work in Austria from 1946 on  Until 1973, PEN was the only Austrian writers' organization of importance 

After World War II: Group of Vienna
The literature after World War II combined many different movements  While some authors were in search for reorientation, such as Ilse Aichinger, Ingeborg Bachmann, Heimito von Doderer, Alexander Lernet-Holenia, Gerhard Fritsch and Hans Lebert, others came back from concentration camps, such as Jean Améry, from former (in times of monarchy) Austrian territories, such as Rose Ausländer and Paul Celan, or from exile, such as Hans Weigel and Friedrich Torberg, while others again did not come back from exile, such as Hermann Broch or Franz Werfel  On the other hand, some former "Nazi" writers kept their positions, such as Max Mell, Franz Nabl and Karl Heinrich Waggerl  The latter and other, catholic, writers began to form a very conservative block within the Austrian literature  Through the Austrian PEN Club, they even seemed to control statal subsidies for literature as well as literary awards till the 1970s 
Some authors had good relations to the Group 47 based in Germany or were members  Among them Ilse Aichinger who published the novel Die größere Hoffnung (Greater Hope) and the narrator and poet Ingeborg Bachmann  Both were awarded the Group 47 Prize for Literature  Other Austrian members of the Group 47 were Paul Celan and Erich Fried  While Celan, after some time in Vienna, went to live in Paris, Fried moved to Berlin  In 1954, the Wiener Gruppe (Group of Vienna) was formed by H  C  Artmann and others  Friedrich Achleitner, Konrad Bayer, Gerhard Rühm and Oswald Wiener belonged to the group, as well as Ernst Jandl and Friederike Mayröcker 
Hans Lebert wrote the novel Wolfshaut (Wolf's Skin), in which he described a fictional village named Schweigen (Silence), an allegory for the silence of many Austrians after the Nazi dictatorship, who pretended to know nothing about what had happened in their country 
Several volumes of Diaries contain the war memories of Heimito von Doderer  However, this author was best known for his novels, which he designed meticulously, such as The Strudlhofstiege, The Demons, The Waterfalls of Slunj, and The Merowingians  Doderer influenced many other authors with his novelistic art, e g , Robert Schindel 

1970–2000
In 1973, a new writers' association was founded in Graz (Styria), mostly as a protest against the conservatism of P E N  and their controlling position, e g  concerning literature prizes  The new association was called Grazer Autorenversammlung (GAV)  Among its founders and first members include Barbara Frischmuth, Peter Handke, Ernst Jandl, Alfred Kolleritsch, Friederike Mayröcker, and Michael Scharang  Eventually, the GAV became the largest writers' association in Austria with more than 500 members 
The end of the 1960s and eventually the 1970s were characterized by experimental theater plays  Peter Handke tried out new ways of theater communication with his play Offending the Audience in 1966 Ernst Jandl and Friederike Mayröcker wrote a new sort of experimental poetry, Konkrete Poesie, working with the sounds of speech than with semantics 
One of the most important writers after World War II was Thomas Bernhard (1931–1989)  He wrote nine novels, several books of stories and short prose, some autobiographical works, and numerous plays  His works triggered public controversies as Bernhard constantly attacked a typical Austrian manner of ignoring the Nazi past  One of the dramas is called Heldenplatz, an open allusion to Vienna's central imperial place, from which Adolf Hitler had held his first speech after the country's annexation by Nazi German troops in front of hundreds of thousands of cheering Austrians 
Marianne Fritz (1948–2007) was known as a novelist  Her third novel, Dessen Sprache du nicht verstehst (Whose speech you don't understand), was published in 1985  On more than three thousand pages, Fritz describes a linguistic and fictional universe that deals with the decline of the Austrian empire  She used an artificial language that broke many linguistic norms, to achieve a more rhythmic speech  Marianne Fritz intensified this individual esthetics with her fourth and fifth novel 
During the 1980s, especially after the political scandal around former UN secretary and eventually Austrian federal president Kurt Waldheim, a new and more distinctive Jewish literature formed  Robert Schindel published the novel Gebirtig, which deals with a contemporary Jewish society within Austria and the difficult memories of the Shoah  Robert Menasse is known for his novels and especially for his essays on Austria  Another author who works with Jewish topics is Doron Rabinovici 

Christoph Ransmayr mixes historical facts with fiction  The acclaimed novel Morbus Kithara creates a scenario, in which Austria did not get aid from the Marshall Plan after World War II and was condemned to become an exclusively agrarian country  On this background, the author writes about the time after the war, about ex-soldiers, ex-Nazis and concentration camp survivors, and thus depicts the complexity of post-war Austria 
Josef Haslinger wrote the novel Opernball, in which he described a fictitious attack at the Vienna Opera Ball, in which all attendants, incl  the entire Austrian government, is killed by combat gas  This attack brings a new fascist party to power, which a handful of idealistic journalists try to tell the world  Haslinger is also the author of an essay about the Waldheim affair  Also Milo Dor, a born Serb who wrote all of his books in German and became a very important figure in Austria's literary scene, chose the danger of ultra-right wing parties as topic for one of his narrative texts, Wien, Juli 1999  Other books describe the destiny of immigrants after the world war 
Essays have also a tradition in Austrian literature  While the roots may be found with Franz Grillparzer, Hermann Bahr and especially Karl Kraus, one of the most important essayists after World War II is Jean Améry whose oeuvre primarily consists of essays, articles and critiques  The historian and scholar Friedrich Heer is the author of about fifty thousand pages, most of them essays on Austrian and European topics, on history and philosophy as well as on religion and literature  A younger representative of Austrian essayism is Karl-Markus Gauß who writes for several newspapers and magazines in Austria, Switzerland and Germany  His books speak about Central and Eastern European peoples, cultures, and literatures  He is also the editor in chief of the magazine Literatur und Kritik 
Authors in Slovene, originating in Carinthia, are Florjan Lipuš, Cvetka Lipuš and Janko Messner  Usually they write either exclusively in Slovene, or in Slovene and German  Another famous Carinthian writer, Peter Handke, has translated several works from Slovene to German 

Nobel Prizes for Literature
In 1981, Elias Canetti (1905–1994) received the Nobel Prize in Literature  Born in Bulgaria, he spent much of his early adult life in Vienna, and wrote all his books in German  In 1938, following Austria's Anschluss with Germany, Canetti moved to London, becoming a British subject  During his later years, he also lived in Zurich, Switzerland  Among his most acclaimed works are the novel, Auto-da-Fe, and his work of nonfiction, Crowds and Power  His three volumes of well-acclaimed memoirs are also seen to give a personal insight into Austrian society during the decades preceding World War II 
In 2004, Elfriede Jelinek (*1946) received the Nobel Prize in Literature for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power"  Her works comprise novels such as The Piano Teacher, Lust and Die Kinder der Toten (Children of the Dead), as well as theater plays such as Clara S , Burgtheater and Bambiland  In the 1960s she began to write poetry and stories 

21st century
While some of the well-known authors, such as Franzobel, Peter Handke, Peter Henisch, Elfriede Jelinek, Gerhard Roth, and Robert Schneider, still publish regularly, there are rich literary movements, mostly driven by a younger generation  In some cases, literary magazines play an important role in gathering writers and fostering their works 

Literary magazines and publishers
Literatur und Kritik and Erostepost are published in Salzburg, Manuskripte, Sterz, Schreibkraft and Lichtungen in Graz, Wespennest and Kolik in Vienna, Cognac & Biskotten in Innsbruck, DUM in Lower Austria  They count among the most traditional and important literary magazines in contemporary Austria  In addition, the literary magazine Buchkultur has been around since 1989 
Notable publishing houses include Residenz, Droschl, Haymon, Zsolnay, and Deuticke  Residenz played an important role during the 1970s and 1980s, when numerous important Austrian writers were published there  Especially smaller publishers, such as Arovell, Drava, FZA-Verlag, Mitter, Otto Müller, Pichler, Ritter, Skarabaeus, Sonderzahl, Wieser, etc  bring emerging and younger authors to the public  On the other hand, many Austrian writers publish their books in Germany, which offers much larger and powerful publishing houses  Of course, the economic regrouping of publishing houses and their mergers have also an influence on Austrian publishers  Thus, Zsolny and Deuticke already belong to the German publishing group Hanser 

Literature awards and subsidies
In addition to subsidies and awards financed and organized by the Austrian and federal governments, several smaller literary prizes award Austrian and other German writing authors  Alfred-Gesswein-Literaturpreis, Erostepost-Literaturpreis, Franz-Kafka-Preis, Feldkircher Lyrikpreis, Wiener Werkstattpreis, Anton-Wildgans-Preis, and Manuskripte-Preis belong to this aspect of Austrian literature 
The scholar Klaus Zeyringer states that public subsidies represent the backbone of today's literary production and especially publishing in Austria, and this would be one reason why the frame conditions obviously differ from those in Germany  Public subsidies add to the funding of publishing houses, literary magazines, public events, book publications, and to writer's income  Zeyringer points out that on one hand this custom also enables the publication of non-mainstream and complicated literary works but on the other hand reduces the awareness of the necessity of adequate marketing activities of many cultural organizations, including publishers 

Contemporary authors
Book publications, magazines, public readings and literary prizes chronicle a multitude of writers, including novelists, playwrights, prosaists, essayists and poets  These include Marie Anders, Reinhold Aumaier, Zdenka Becker, Adelheid Dahimène, Dimitré Dinev, Martin Dragosits, Klaus Ebner, Günter Eichberger, Olga Flor, Karin Geyer, Thomas Glavinic, Constantin Göttfert, Marianne Gruber, Egyd Gstättner, Wolf Haas, Klaus Händl, Ludwig Laher, Gabriel Loidolt, Wolfgang Kauer, Daniel Kehlmann, Michael Köhlmeier, Melamar, Hanno Millesi, Gabriele Petricek, Judith Nika Pfeifer, Wolfgang Pollanz, Doron Rabinovici, Julya Rabinowich, Kathrin Röggla, Gudrun Seidenauer, Linda Stift, Erwin Uhrmann, Vladimir Vertlib, Philipp Weiss, Christine Werner, Peter Paul Wiplinger  Usually these authors publish not only in Austria, but also in Germany and Switzerland 

Cultural melting pot
In its history, the country and Austrian literature have been a cultural melting pot that put together different ethnicities, ideas, and cultures  Today, this element has shrunk enormously but is still not wiped out  Examples of this are novelist Zdenka Becker who emigrated from Slovakia, Dimitré Dinev from Bulgaria, and Vladimir Vertlib who was born in Russia  Very often their topics have to do with immigration and interculturality 
There is some literature written by members of the autochthonous minorities in Austria  To mention the daughter of Florjan Lipuš, the poet Cvetka Lipuš, who has lived in the US for several years  Her poetry has been published in Slovene and in German 
Some authors have chosen to live in countries other than Austria, while still writing literature in German  Their experiences living in another country have some impact on their writing  For example, Marlene Streeruwitz and Ann Cotten live in Berlin, Raoul Schrott lived several years in Ireland and also Christoph Ransmayr has moved there 

See also
List of Austrian writers
List of Austrian women writers

Notes
Sources (books)
Heer, Friedrich: Der Kampf um die österreichische Identität  Böhlau Verlag, Wien 1981/1996/2001, ISBN 3-205-99333-0
Herz-Kestranek, Miguel, Konstantin Kaiser and Daniela Strigl (Ed ): In welcher Sprache träumen Sie? Österreichische Exillyrik  Verlag der Theodor Kramer Gesellschaft, Wien 2007, ISBN 978-3-901602-25-2
Zeman, Herbert and Fritz P  Knapp (Ed ): Geschichte der Literatur in Österreich  7 volumes, Akademische Druck- und Verlagsanstalt, Vienna 1994ff , Vol  1: ISBN 978-3-201-01611-7, Vol  2: ISBN 978-3-201-01721-3 and ISBN 978-3-201-01812-8, Vol  7: ISBN 978-3-201-01687-2
Zeyringer, Klaus: Österreichische Literatur seit 1945  Haymon Verlag, Innsbruck 2001, ISBN 978-3-85218-379-4
Žmegač, Viktor (Ed ): Kleine Geschichte der deutschen Literatur  Von den Anfängen bis zur Gegenwart  Marix, Wiesbaden 2004  ISBN 3-937715-24-X

External links
Austrian Studies Association, ASA
eLibrary Austria Project (eLib Austria text in German)
WikiReader Austrian Literature (German)
IG Autoren (interest group of all Austrian writers and professional associations of writers)
Österreichischer Schriftstellerverband (writers' association)
P E N -Club (writers' association)
Grazer Autorenversammlung (writers' association)
Österreichische Gesellschaft für Literatur (Austrian Society for Literature)
Passage 6:
Inta Ezergailis
Inta Miške Ezergailis (11 September 1932 in Riga, Latvia – 1 January 2005, in Ithaca, New York), was a Latvian American professor emerita of German literature at Cornell University from 1969 to 1999, specializing in Thomas Mann and contemporary women writers  In 1965, she began graduate study at Cornell University and after earning the doctorate in 1969, she was appointed to the Cornell faculty as an assistant professor of German literature 
In addition to books, she published numerous articles, in English and Latvian, in scholarly and intellectual periodicals 
During the last decade of her life, she turned from academic prose to poetry  Posthumously, her poems have been published by Ulysses House in four volumes: Inta's poems I, II, and III, Alzheimer's Poems, the Vanishing of a Mother  The last volume is devoted to her mother, who died of dementia 
She was married to Andrew Ezergailis 

Books
Male and Female: An Approach to Thomas Mann's Dialectic (1975)
Woman Writers - The Divided Self (1982)  (Study of Christa Wolf, Ingeborg Bachmann, Doris Lessing, Erica Jong, Karin Struck, Francine du Plessix Gray and others )
Thomas Mann, Critical Essays on Thomas Mann (1988)
Nostalgia and Beyond: Eleven Latvian Women Writers (1998) 
Passage 7:
İhsan Oktay Anar
İhsan Oktay Anar (born 1960 in Yozgat, Turkey), is a Turkish writer, illustrator, literature translator and an academic 
He studied philosophy in Ege University on undergraduate (1984), graduate (1989) and doctoral levels  Anar now teaches at the same university, lecturing in antique philosophy and Greek  In 2009, he won the Erdal Öz Literature Award "for his valuable novels and original style" Anar published his first novel, The Atlas of Misty Continents (Puslu Kıtalar Atlası) in 1995  The book was translated to a number of languages, including French, German and Hungarian, and a comic book version by caricaturist İlban Ertem was released in Spring of 2015  His novels are fantasy pieces supported by historical facts and rumors especially related to the Ottoman Empire and a narration resembling fairy tales  He is known for well developed, various and original characters and providing a philosophical basis for his fantasy plots  Supernatural elements and references to folk literature and culture are commonly seen in his works  He uses a mixture of Ottoman and folk terminology within his Turkish writings, giving references to myths and historical scriptures  A trivial fact is that each of his books have a character named "Uzun İhsan" (meaning "Ihsan the Tall"), which is in fact a reference to himself  Anar is a tall and imposing figure, with a height over six feet four 

Works
Novels
Tiamat (Tiamat) (2022)
The Nasty Hero (Galiz Kahraman) (2014)
Seventh Day (Yedinci Gün) (2012)
Taciturns (Suskunlar) (2007)
Amat (Amat) (2005)
Tales of Afrasiab (Efrasiyab`ın Hikayeleri)  (1998) - later adapted for stage
The Book of Devices (Kitab-ül Hiyel) (1996)
The Atlas of Misty Continents (Puslu Kıtalar Atlası) (1995)Illustrations for Kitab-ül Hiyel
has published articles in the former newspaper Yeni Binyıl
has published a story in the book 1002 Gece MasallarıAcademic articles published in Turkish
Anar, İ O , Er Efsanesinin Muhtemel Kökenleri, Seminar, 1993, P 30-44 
Anar, İ O , Sokrates Sorunu, Seminar  1990  pp  1–9 
Passage 8:
Michael Werner (publisher)
Michael Werner (born 1965 in Frankenthal, Germany) is a publisher of Pennsylvania German publications and writer of Pennsylvania German articles, prose and poetry  He is the founder and publisher of the only existing Pennsylvania German newspaper, Hiwwe wie Driwwe 

Life
Werner was raised in the Palatinate (Germany)  Members of his family had emigrated from this area to the U S  in the 19th century  He studied at the University of Mannheim and holds a Master's degree in General Linguistics, Germans Studies and Sociology  His Ph D  Thesis is dealing with Pennsylvania German literature  Werner is working as publishing director of a B2B publishing house in Mainz (Germany)  He lives in Ober-Olm 

Activities
In 1993, he became a student of C  Richard Beam (1925-2018), director of the Center for Pennsylvania German Studies at Millersville University (PA)  In the same year, Werner started a private "Archive for Pennsylvania German Literature" in the Palatinate, Germany  In 1996, the newspaper Hiwwe wie Driwwe was founded by him in Ebertsheim, Palatinate (Germany)  Actually, it is being published bi-annually  Since 1998, he has been a member of the jury of the oldest Palatine Dialect Writers Contest in Bockenheim an der Weinstraße, Palatinate (Germany)  In 2003, Michael Werner was one of the co-founders of the German-Pennsylvanian Association and the first president of the association (until 2010)  Since 2008, Werner invites speakers of Pennsylvania German to give presentations about the language and culture in Germany  In 2013, "Hiwwe wie Driwwe" started a cooperation with the Pennsylvania German Cultural Heritage Center at Kutztown University (PA)  The editorial office was moved to Pennsylvania in 2015  In 2017, Werner donated his private archive of Pennsylvania German literature and folk life to the Mennonite Research Center at Weierhof (Palatinate, Germany), where it will be presented to the public as "Deutsch-Pennsylvanisches Archiv" (German-Pennsylvanian Archive)  In 2020, he was one of the founders of Groundhog Lodge No  19 in Bockenheim (Palatinate, Germany)  In 2021, Werner published a German trip advisor to the Pennsylvania Dutch Country 

Trivia
His journalistic work over a period of three decades inspired two German cinema documentaries: "Hiwwe wie Driwwe 1" (2019) and "Hiwwe wie Driwwe 2" (coming up 2024) 

Works
Werner, Michael (Ed ): Hiwwe wie Driwwe  The Pennsylvania German Review (Newspaper)  Ebertsheim/Ober-Olm/Kutztown 1997- 
Werner, Michael: "Ebbes aus em alte Land"  Newspaper Column  In: The Pennsylvania German Review (Kutztown, PA), 2001-2003 
Werner, Michael: "Ebbes in die Mudderschprooch"  Newspaper Column  In: The Diary (Gordonville, PA), 2003-2005 
Werner, Michael: "S Katz Deitsch Schtick"  Internet Blog  In: hiwwe-wie-driwwe de  Ober-Olm 2002- 
Werner, Michael et al  (Ed ): Mit Pennsylvanisch-Deitsch darich's Yaahr  A Pennsylvania German Reader for Grandparents and Grandchildren  Neckarsteinach 2006 
Werner, Michael (Transl ): Es globbt beim Sammy in der Nacht (Children's Book)  Neckarsteinach 2012 
Werner, Michael: "Der Uncle Saem findt uns gedrei" - A Multimedia Performance (Texts, Music, Pictures & Videos), presented by the "New Paltz Band"  Ober-Olm/Frankenthal/Schifferstadt 2013- 
Werner, Michael (Transl ): Kumm, mer gehne Baere yaage (engl  Original: We're Going on a Bear Hunt, by Michael Rosen)  Neckarsteinach/Morgantown (PA) 2014 
Werner, Michael: Pennsylvanisch-Deitsch im Yahr 2015  A Hiwwe wie Driwwe Documentary  Published on youtube com (30 minutes) 
Werner, Michael (Ed ): DEITSCH  News und Geschichten aus dem Pennsylvania Dutch Country  A Hiwwe wie Driwwe Publication (E-Paper)  Ober-Olm 2015-2017 
Werner, Michael / Louden, Mark / Sauer, Walter (Eds ): Die Erschte Dausend Wadde in Pennsilfaanisch Deitsch  Neckarsteinach 2018 
Werner, Michael: En neier Sound im neie Land - 32 New Songs in Pennsylvania Dutch  Ober-Olm 2019 
Werner, Michael: Hiwwe wie Driwwe - Der Pennsylvania ReiseVERführer  Neustadt an der Weinstraße 2021 
Werner, Michael / Donmoyer, Patrick (Eds ): 25 Yaahre Hiwwe wie Driwwe - Celebrating a Quarter Century of Transatlantic Friendship  Morgantown (PA) 2022 

Films
Hiwwe wie Driwwe - Pfälzisch in Amerika (2018)  Calimedia/Cinewa (Landau)  - Expert advice and participation 
Die Rezeptsucherin: Pennsylvania (2018)  SWR (Mainz)  - Expert advice 
Hiwwe wie Driwwe - The Roots of the Pennsylvania Dutch (2019)  Calimedia/Cinewa (Landau) 
Driwwe im neie Land - Pfälzisch in Amerika (2020)  SWR (Mainz) 
Rumspringa (2022)  Constantin Film (Munich)  - Expert advice and language training of the actors (Pennsylvania Dutch) 

Publishing
Awards and acknowledgements
1998: Member of the jury of the Palatine Dialect Writers Contest in Bockenheim (Palatinate, Germany)
2007: "10th J  William Frey Lecturer", Franklin & Marshall College (Lancaster, PA)
2012: "Medienpreis Pfalz", Bezirksverband Pfalz (short list) - for "Hiwwe wie Driwwe"
2015: "Emichsburg-Preis", Förderkreis Mundart Bockenheim e V  - together with Frank Kessler and Dr  Walter Sauer in place of the "German-Pennsylvanian Association" (Deutsch-Pennsylvanischer Arbeitskreis e V )
2020: "Hermann Sinsheimer Plakette", City of Freinsheim (Palatinate, Germany) - for his services to the Palatine and Pennsylvania German literature
Context 2: Passage 1:
Siberian roe deer
The Siberian roe deer, eastern roe deer, or Asian roe deer (Capreolus pygargus), is a species of roe deer found in northeastern Asia  In addition to Siberia and Mongolia, it is found in Kazakhstan, the Tian Shan Mountains of Kyrgyzstan, eastern Tibet, the Korean Peninsula, and northern China 
Its specific name pygargus, literally "white-rumped", is shared by the pygarg, an antelope known in antiquity  The name was chosen by the German biologist Peter Simon Pallas in the late 18th century  The Siberian roe deer has long antlers 

Taxonomy
The Siberian roe deer was once considered to be the same species as the European roe deer (Capreolus capreolus), but it is now considered to be a separate species 
The two subspecies of the Siberian roe deer are C  p  pygargus and C  p  tianschanicus (the latter is named for the Tian Shan mountains) 

Description
The Siberian roe deer is a medium-sized metacarpalian deer, with a long neck and large ears  It is typically up to 146 cm (4 8 ft) in body length and 59 kg (130 lb) in weight, making it larger than C  capreolus where populations from Ural and Northern Kazakhstan are the largest on average, followed by those from Transbaikal, Amur, and Primolskil regions  It has larger antlers with more branches than those of European roe deer  Siberian roe deer generally live about 8–12 years, with a maximum of about 18 years  In winter the northern populations exhibit light gray coloring, but their southern counterparts are grayish brown and ochraceous  The belly is creamy and the caudal patch is white  In the summer, their coloring is reddish  Young have a spotted coat  Males are larger and have three-tined antlers, widely spaced and slanting upward, which are shed in the autumn or early winter and begin to regrow shortly thereafter 

Distribution and habitat
Siberian roe deer are found within the temperate zone of Eastern Europe and Central and East Asia  Fossil records show their territory once stretched to the northern Caucasus Mountains, as well as eastern Ukraine  In the late 19th and early 20th centuries, their range was diminished by overhunting in Eastern Europe, northern Kazakhstan, western Siberia, and the northern regions of eastern Siberia  Due to a division in their range, two morphologically different subspecies resulted (Tian Shan and Siberian)   The Siberian and European roe deer meet at the Caucasus Mountains with the Siberian roe deer occupying the northern flank, and the European roe deer occupying the southern flank, Asia Minor, and parts of northwestern Iran 
The Siberian roe deer has a light, slender build adapted for tall, dense grass  They live in forest and steppe habitats and develop high densities in tall-grass meadows and floodplains  They are adapted to severe weather extremes It may have become naturalized in England for a short period in the early 20th century as an escapee from Woburn, but it was extirpated by 1945 

Ecology
Diet
The diet of the Siberian roe deer consists of over 600 species of plants – mostly herbaceous dicotyledons (58%), monocotyledons (16%), and woody species (22%)  In winter, without proper sustenance, they have a lowered metabolic rate  In summer, their dietary need for sodium necessitates visits to natural salt licks  Water is usually obtained through moisture-rich foods as opposed to directly from the source 

Behavior
Siberian roe deer can jump distances up to 15 m (49 ft), and mating occurs in August and September  Female Siberian roe deer are the only ungulates to undergo embryonic diapause  Embryonic implantation takes place in January and gestation lasts 280–300 days  Females usually have two young at a time, which are weaned after 4–5 months  Females reach sexual maturity in their first year of age but usually do not breed until their second  Males usually mate in their third year of life  The life-span of the Siberian roe deer does not usually exceed 10 years Males mark their territory with olfactory marks, using secretion glands on the head skin, which they rub against trees, shrubs, and high grasses, or with visual marks, by fraying trees with their antlers  Vocal signals are also a form of communication in Siberian roe deer  They have six signals: squeaking or whistling, rasping, barking, whining, screaming, and nonvocal sounds Some Siberian roe deer perform mass migrations 

Predation
The Siberian roe deer is preyed upon by the Amur leopard, Siberian lynx, snow leopard, Himalayan wolf, and Siberian tiger 

See also
Animals portal
 Siberia portal
Passage 2:
Bambi, a Life in the Woods
Bambi, a Life in the Woods (German title: Bambi: Eine Lebensgeschichte aus dem Walde) is a 1923 Austrian coming-of-age novel written by Felix Salten, and originally published in Berlin by Ullstein Verlag  The novel traces the life of Bambi, a male roe deer, from his birth through childhood, the loss of his mother, the finding of a mate, the lessons he learns from his father, and the experience he gains about the dangers posed by human hunters in the forest  It is also, in its most complete translation, seen as a parable of the dangers and persecution faced by Jews in Europe An English translation by Whittaker Chambers was published in North America by Simon & Schuster in 1928, and the novel has since been translated and published in over thirty languages around the world  Salten published a sequel, Bambi's Children, in 1939 
The novel was well received by critics and is considered a classic, as well as one of the first environmental novels  It was adapted into a theatrical animated film, Bambi, by Walt Disney Productions in 1942, as well as two Russian live-action adaptations in 1985 and 1986, a ballet in 1987, and a stage production in 1998  Another ballet adaptation was created by an Oregon troupe, but never premiered  Janet Schulman published a children's picture book adaptation in 2000 that featured realistic oil paintings and many of Salten's original words 

Plot
Bambi is a roe deer fawn born in a thicket in late spring one year  Over the course of the summer, his mother teaches him about the various inhabitants of the forest and the ways deer live  When she feels he is old enough, she takes him to the meadow, which he learns is a wonderful but also dangerous place, as it leaves the deer exposed and in the open  After some initial fear over his mother's caution, Bambi enjoys the experience  On a subsequent trip, Bambi meets his Aunt Ena and her twin fawns Faline and Gobo  They quickly become friends and share what they have learned about the forest  While they are playing, they encounter princes, male deer, for the first time  After the stags leave, the fawns learn that those were their fathers, but that the fathers rarely stay with or speak to the females and young 
As Bambi grows older, his mother begins to leave him alone  While searching for her one day, Bambi has his first encounter with "He" – the animals' term for humans – which terrifies him  The man raises a firearm and aims at him; Bambi flees at top speed, joined by his mother  After he is scolded by a stag for crying for his mother, Bambi gets used to being alone at times  He later learns the stag is called the "Old Prince", the oldest and largest stag in the forest, who is known for his cunning and aloof nature  During the winter, Bambi meets Marena, a young doe, Nettla, an old doe who no longer bears young, and two princes, Ronno and Karus  Mid-winter, hunters enter the forest, killing many animals including Bambi's mother  Gobo also disappears and is presumed dead 
After this, the novel skips ahead a year, noting that Bambi, now a young adult, was cared for by Nettla and that when he got his first set of antlers he was abused and harassed by the other males  It is summer and Bambi is now sporting his second set of antlers  He is reunited with his cousin Faline  After he battles and defeats first Karus, then Ronno, Bambi and Faline fall in love with each other  They spend a great deal of time together  During this time, the Old Prince saves Bambi's life when he nearly runs towards a hunter imitating a doe's call  This teaches the young buck to be cautious about blindly rushing toward any deer's call  During the summer, Gobo returns to the forest, having been raised by a man who found him collapsed in the snow during the hunt where Bambi's mother was killed  While his mother and Marena welcome him and celebrate him as a "friend" of man, the Old Prince and Bambi pity him  Marena becomes his mate, but several weeks later Gobo is killed when he approaches a hunter in the meadow, falsely believing the halter he wore would keep him safe from all men 
As Bambi continues to age, he begins spending most of his time alone, including avoiding Faline though he still loves her in a melancholic way  Several times he meets with the Old Prince, who teaches him about snares, shows him how to free another animal from one, and encourages him not to use trails, to avoid the traps of men  When Bambi is later shot by a hunter, the Prince shows him how to walk in circles to confuse the man and his dogs until the bleeding stops, then takes him to a safe place to recover  They remain together until Bambi is strong enough to leave the safe haven again  When Bambi has grown gray and is "old", the Old Prince shows him that men are not all-powerful by showing him the dead body of a man who was shot and killed by another man  When Bambi confirms that he now understands that "He" is not all-powerful, and that there is "Another" over all creatures, the stag tells him that he has always loved him and calls him "my son" before leaving 
At the end of the novel, Bambi meets with twin fawns who are calling for their mother, and he scolds them for not being able to stay alone  After leaving them, he thinks to himself that the girl fawn reminded him of Faline, and that the male was promising, and that Bambi hoped to meet him again when he was grown 

Publication history
Felix Salten, himself an avid hunter, penned Bambi: Eine Lebensgeschichte aus dem Walde after World War I, targeting an adult audience  The novel was first published in Vienna in serialized form in the newspaper the Neue Freie Presse from 15 August to 21 October 1922, and as a book in Germany by Ullstein Verlag in 1923, and republished in 1926 in Vienna 

Translations
Max Schuster, a German Jewish émigré and co-founder of Simon & Schuster, led the effort to publish Bambi in English  Clifton Fadiman, an editor there, engaged his Columbia University classmate Whittaker Chambers to translate it  Simon & Schuster published this first English edition in 1928, with illustrations by Kurt Wiese, under the title Bambi: A Life in the Woods  The New York Times Book Review praised the prose as "admirably translated" that made the book "literature of a high order " The translation immediately became "a Book-of-the-Month Club hit " Simon & Schuster printed a first-run of 75,000 copies and sold more than 650,000 copies between 1928 and 1942  (Jonathan Cape published the book in the UK starting in 1928 as well ) Chambers' translation has been reprinted repeatedly with different illustrations  Bambi, along with Salten's Fifteen Rabbits and The City Jungle, all translated by Chambers, remain in print from Simon & Schuster  In 2015, an Austrian scholar voiced objections to Simon & Schuster's "publication strategies" and "marketing strategy," as well as Chambers' translation for "opening the possibility for the story to be understood less as a human story about persecution, expulsion or assimilation and more as an animal story conveying a strong message about the protection of animals and the necessity of conservation "A translation by Hannah Correll was published in 2019 by Clydesdale Press  A translation by Jack Zipes was published in 2022 by Princeton University Press  Zipes commented the conversation between animals is "reminiscent of Austrian German you'd hear in cafes around Vienna  The original translation didn't capture that and I hope mine does," while a grandson of Chambers countered that the 1928 translation is more poetic  One reviewer wrote: "Chambers and Zipes differ moderately in style, with Zipes cleaving more faithfully to the German ("polecat") and Chambers privileging his American audience ("ferret")  An aim of Zipes’ translation is to restore Salten's more overt anthropomorphism, which Chambers softened  To a reader familiar with the 1928 translation, some of Zipes' more faithful anthropomorphic choices are jarring; it feels odd to read that a fawn "yelled," for example  And Zipes occasionally increases the anthropomorphism beyond that suggested by Salten, as when he uses the pronouns "he" and "she" in a conversation between two autumn leaves, which are genderless in the original text  The Zipes translation is also not quite complete: one reviewer noted omissions ranging from short phrases and individual sentences to an entire passage recounting Bambi's first meeting with the old roebucks  A translation by Damion Searls was published in 2022 by The New York Review of Books  The translations have been reviewed in various newspapers and magazines 

Formats
Over 200 editions of the novel have been published, with almost 100 German and English editions alone, and numerous translations and reprintings in over 30 languages  It has also been published in a variety of formats, including printed medium, audiobook, Braille, and E-book formats 

Copyright dispute
When Salten originally published Bambi in 1923, he did so under Germany's copyright laws, which required no statement that the novel was copyrighted  In the 1926 republication, he did include a United States copyright notice, so the work is considered to have been copyrighted in the United States in 1926  In 1936, Salten sold some film rights to the novel to MGM producer Sidney Franklin who passed them on to Walt Disney for the creation of a film adaptation  After Salten's death in 1945, his daughter Anna Wyler inherited the copyright and renewed the novel's copyrighted status in 1954 (U S  copyright law in effect at the time provided for an initial term of 28 years from the date of first publication in the U S , which could be extended for an additional 28 years provided the copyright holder filed for renewal before the expiration of the initial copyright)  In 1958, she formulated three agreements with Disney regarding the novel's rights  Upon her death in 1977, the rights passed to her husband, Veit Wyler, and her children, who held on to them until 1993 when he sold the rights to the publishing house Twin Books  Twin Books and Disney disagreed on the terms and validity of Disney's original contract with Anna Wyler and Disney's continued use of the Bambi name When the two companies were unable to reach a solution, Twin Books filed suit against Disney for copyright infringement  Disney argued that because Salten's original 1923 publication of the novel did not include a copyright notice, by American law it was immediately considered a public domain work  It also argued that as the novel was published in 1923, Anna Wyler's 1954 renewal occurred after the deadline and was invalid  The case was reviewed by the U S  District Court for the Northern District of California, which ruled that the novel was copyrighted upon its publication in 1923, and not a public domain work then  However, in validating 1923 as the publication date, this confirmed Disney's claim that the copyright renewal was filed too late and the novel became a public domain work in 1951 Twin Books appealed the decision, and in March 1996 the U S  Court of Appeals for the Ninth Circuit reversed the original decision, stating that the novel was a foreign work in 1923 that was not in its home country's public domain when published, therefore the original publication date could not be used in arguing American copyright law  Instead, the 1926 publication date, the first in which it specifically declared itself to be copyrighted in the United States, is considered the year when the novel was copyrighted in America  Anna Wyler's renewal was therefore timely and valid, and Twin Books' ownership of the copyright was upheld The Twin Books decision is still regarded as controversial by many copyright experts  David Nimmer, in a 1998 article, argued that the Twin Books ruling meant that an ancient Greek epic, if only published outside the U S  without the required formalities, would be eligible for copyright protection  Although Nimmer concluded that Twin Books required this finding (within the Ninth Circuit), he characterized the result as "patently absurd "The American copyright of the novel expired on January 1, 2022, while in Austria and other countries of the European Union it entered the public domain on January 1, 2016 

Sequel
While living in exile in Switzerland, after being forced to flee Nazi-occupied Austria, Salten wrote a sequel to Bambi that follows the birth and lives of Bambi's twin offspring, Geno and Gurri  The young fawns interact with other deer, and are educated and watched over by Bambi and Faline as they grow  They also learn more about the ways of man, including both hunters and the gamekeeper seeking to protect the deer  Due to Salten's exiled status – he had lost his Austrian publisher Paul Zsolnay Verlag – the English translation of the novel was published first, in the United States in 1939 by Bobbs-Merrill; it would take a year before the sequel was published in the original German language in Switzerland by his new publisher 

Reception
In the United States, the 1928 translation of Bambi was "hugely popular", selling 650,000 copies by 1942  When Felix Salten visited the United States as a member of a European delegation of journalists in May–July 1930, he was greeted warmly because of Bambi wherever the delegation went, as was testified by the Finnish member of the delegation, Urho Toivola  In his own travel book, Salten did not boast about this; only when describing his visit to a "Negro college" of Atlanta, he mentions passingly that the children praised his books In 1936 Nazi Germany however, the government banned the original as "political allegory on the treatment of Jews in Europe " Many copies of the novel were burned, making original first editions rare and difficult to find 

In his foreword, John Galsworthy called it a "delicious book – delicious not only for children but for those who are no longer so fortunate" and a "little masterpiece" that shows a "delicacy of perception and essential truth"  He observed that while reading the galley proof of the novel while crossing the English Channel, he, his wife, and his nephew read each page in turn over the course of three hours in "silent absorption" Among US reviewers, New York Times reviewer John Chamberlain praised Salten's "tender, lucid style" that "takes you out of yourself"  He felt that Salten captured the essence of each of the creatures as they talked, catching the "rhythm of the different beings who people his forest world" and showed particular "comprehension" in detailing the various stages of Bambi's life  He also considered the English translation "admirably" done  A reviewer for Catholic World praised the approach of the subject, noting that it was "marked by poetry and sympathy [with] charming reminders of German folklore and fairy tale" but disliked the "transference of certain human ideals to the animal mind" and the vague references to religious allegory  The Boston Transcript called it a "sensitive allegory of life"  The Saturday Review considered it "beautiful and graceful" piece that showed a rare "individuality"  Isabel Ely Lord, reviewing the novel for the American Journal of Nursing, called the novel a "delightful animal story" and Salten a "poet" whose "picture of the woods and its people is an unforgettable one " In comparing Bambi to Salten's later work Perri – in which Bambi makes a brief cameo – Louise Long of the Dallas Morning News considered both to be stories that "quietly and completely [captivate] the heart"  Long felt the prose was "poised and mobile and beautiful as poetry" and praises Salten for his ability to give the animals seemingly human speech while not "[violating] their essential natures " Vicky Smith of Horn Book Magazine felt the novel was gory compared to the later Disney adaptation and called it a "weeper"  While criticizing it as one of the most esteemable anti-hunting novels available, she concedes the novel is not easily forgettable and praises the "linchpin scene" where Bambi's mother dies, stating "the understated conclusion of that scene, 'Bambi never saw his mother again,' masterfully evokes an uncomplicated emotional response"  She questions Galsworthy's recommendation of the novel to sportsmen in the foreword, wondering "how many budding sportsmen might have had conversion experiences in the face of Salten's unrelieved harangue and how many might have instead become alienated " In comparing the novel to the Disney film, Steve Chapple of Sports Afield felt that Salten viewed Bambi's forest as a "pretty scary place" and the novel as a whole had a "lot of dark adult undertones"  Interpreting it as an allegory for Salten's own life, Chapple felt Salten came across as "a little morbid, a bleeding heart of a European intellectual " A half century later,The Wall Street Journal's James P  Sterba also considered it an "antifascist allegory" and sarcastically notes that "you'll find it in the children's section at the library, a perfect place for this 293-page volume, packed as it is with blood-and-guts action, sexual conquest and betrayal" and "a forest full of cutthroats and miscreants  I count at least six murderers (including three child-killers) among Bambi's associates "Among UK reviews, the Times Literary Supplement stated that the novel is a "tale of exceptional charm, though untrustworthy of some of the facts of animal life "

Impact
Some critics have argued that Bambi is one of the first environmental novels 

Adaptations
Film
Walt Disney animated film
With World War II looming, Max Schuster aided the Jewish Salten's flight from Nazi controlled Austria and Nazi Germany and helped introduce him, and Bambi, to Walt Disney Productions  Sidney Franklin, a producer and director at Metro-Goldwyn-Mayer, purchased the film rights in 1933, initially desiring to make a live-action adaptation of the work  Deciding such a film would be too difficult to make, he sold the rights to Walt Disney in April 1937 in hopes of it being adapted into an animated film instead  Disney began working on the film immediately, intending it to be the company's second feature-length animated film and his first to be based on a specific, recent work The original novel, written for an adult audience, was considered too "grim" and "somber" for the young audience Disney was targeting, and with the work required to adapt the novel, Disney put production on hold while it worked on several other projects  In 1938, Disney assigned Perce Pearce and Carl Fallberg to develop the film's storyboards, but attention was soon drawn away as the studio began working on Fantasia  Finally, on 17 August 1939, production on Bambi began in earnest, although it progressed slowly due to changes in the studio personnel, location and the methodology of handling animation at the time  The writing was completed in July 1940, by which time the film's budget had swelled to $858,000  Disney was later forced to slash 12 minutes from the film before final animation, to save costs on production Heavily modified from the original novel, Bambi was released to theaters in the United States on 8 August 1942  Disney's version severely downplays the naturalistic and environmental elements found in the novel, giving it a lighter, friendlier feeling  The addition of two new characters, Thumper the Rabbit and Flower the Skunk, two sweet and gentle forest creatures, contributed to giving the film the desired levity  Considered a classic, the film has been called "the crowning achievement of Walt Disney's animation studio" and was named as the third best film in the animation genre of the AFI's 10 Top 10 "classic" American film genres On January 28, 2020, a computer-animated remake of the Disney film was announced to be in development with a script co-written by Geneva Robertson-Dworet and Lindsey Beer while Paul Weitz, Chris Weitz, and Andrew Miano will produce the film 

Russian live-action films
In 1985, a Russian-language live-action adaptation, Russian: Детство Бемби (Detstvo Bembi, lit  Bambi's Childhood), was produced and released in VHS format in the Soviet Union by Gorky Film Studios  It was directed by Natalya Bondarchuk, who also co-wrote the script with Yuri Nagibin, and featured music by Boris Petrov  Natalya 's son Ivan Burlyayev and her husband Nikolay Burlyaev starred as the young and adolescent Bambi, respectively, while Faline (renamed Falina) was portrayed by Yekaterina Lychyova as a child and Galina Belyayeva as an adult  In this adaptation, the film starts using animals, changes to using human actors, then returns to using animals for the ending A sequel, Russian: Юность Бемби (Yunost Bembi), lit  Bambi's Youth, followed in 1986 with Nikolay and Galina reprising their voice roles as Bambi and Falina  Featuring over 100 species of live animals and filmed in various locations in Crimea, Mount Elbrus, Latvia and Czechoslovakia, the film follows new lovers Bambi and Felina as they go on a journey in search of a life-giving flower  Both films were released to Region 2 DVD with Russian and English subtitle options by the Russian Cinema Council in 2000  The first film's DVD also included a French audio soundtrack, while the second contained French subtitles instead 

Horror film
On November 21, 2022, a live-action horror film, titled Bambi: The Reckoning, was announced to be in development for ITN Studios and Jagged Edge Productions with Scott Jeffrey directing and Rhys Frake-Waterfield producing  The film will be about the titular character getting revenge after the death of his mother  The film is expected to begin principal photography in mid-2023 

Ballet
The Estonian composer Lydia Auster composed the ballet Bambi in 1986 which was premièred in Tartu, Vanemuine theater, in 1987 The Oregon Ballet Theatre adapted Bambi into an evening-length ballet entitled Bambi: Lord of the Forest  It was slated to premiere in March 2000 as the main production for the company's 2000–2001 season  A collaboration between artistic director James Canfield and composer Thomas Lauderdale, the ballet's production was to be an interpretation of the novel rather than the Disney film  In discussing the adaptation, Canfield stated that he was given a copy of the novel as a Christmas present and found it to be a "classic story about coming of age and a life cycle " He went on to note that the play was inspired solely by the novel and not the Disney film  After the initial announcements, the pair began calling the work The Collaboration, as Disney owns the licensing rights for the name Bambi and they did not wish to fight for usage rights  The local press began calling the ballet alternative titles, including Not-Bambi which Canfield noted to be his favorite, out of derision at Disney  Its premiere was delayed for unexplained reasons, and it has yet to be performed 

Theater
Playwright James DeVita, of the First Stage Children's Theater, created a stage adaptation of the novel  The script was published by Anchorage Press Plays on 1 June 1997  Crafted for young adults and teenagers and retaining the title Bambi – A Life in the Woods, it has been produced around the United States at various venues  The script calls for an open-stage setup, and utilizes at least nine actors: five male and four female, to cover the thirteen roles  The American Alliance Theatre and Education awarded the work its "Distinguished Play Award" for an adaptation 

Book
In 1999, the novel was adapted into an illustrated hardback children's book by Janet Schulman, illustrated by Steve Johnson and Lou Fancher, and published by Simon & Schuster as part of its "Atheneum Books for Young Readers" imprint  In the adaptation, Schulman attempted to retain some of the lyrical feel of the original novel  She notes that rather than rewrite the novel, she "replicated Salten's language almost completely  I reread the novel a number of times and then I went through and highlighted the dialogue and poignant sentences Salten had written " Doing so retained much of the novel's original lyrical feel, though the book's brevity did result in a sacrifice of some of the "majesty and mystery" found in the novel  The illustrations were created to appear as realistic as possible, using painted images rather than sketches  In 2002, the Schulman adaptation was released in audiobook format by Audio Bookshelf, with Frank Dolan as the reader 

See also
Bambi Awards
Bambi effect
Bambi's Children
Fifteen Rabbits
Passage 3:
Felix Salten
Felix Salten (German: [ˈzaltn̩]; 6 September 1869 – 8 October 1945) was an Austro-Hungarian author and literary critic in Vienna 

Life
Salten was born Siegmund Salzmann on 6 September 1869 in Pest, Austria-Hungary  His father was Fülöp Salzmann, the telegraph office's clerk in Pest; his mother was Maria Singer  He was the grandson of an Orthodox rabbi  When he was four weeks old, his family relocated to Vienna, as many Jews did after the Imperial government had granted full citizenship rights to Jews in 1867 
When his father went bankrupt, the sixteen-year-old Salten quit school and began working for an insurance agency  He also began submitting poems and book reviews to journals  He became part of the "Young Vienna" movement (Jung-Wien) and soon received work as a full-time art and theater critic for Vienna's press (Wiener Allgemeine Zeitung, Zeit)  In 1900, he published his first collection of short stories  In 1901, he initiated Vienna's first, short-lived literary cabaret Jung-Wiener Theater Zum lieben Augustin 
He was soon publishing, on an average, one book a year, of plays, short stories, novels, travel books, and essay collections  He also wrote for nearly all the major newspapers of Vienna  In 1906, Salten went to Ullstein as an editor in chief of the B Z  am Mittag and the Berliner Morgenpost, but relocated to Vienna some months later  He wrote also film scripts and librettos for operettas  In 1927 he became president of the Austrian P E N  club as successor of Arthur Schnitzler 
His best remembered work is Bambi (1923)  A translation in English was published by Simon & Schuster in 1928, and became a Book-of-the-Month Club success  In 1933, he sold the film rights to the American director Sidney Franklin for only $1,000, and Franklin later transferred the rights to the Walt Disney Studios, which formed the basis of the animated film Bambi (1942) 
Life in Austria became perilous for Jews during the 1930s  In Germany, Adolf Hitler had Salten's books banned in 1936  Two years later, after Germany's annexation of Austria, Salten moved to Zurich, Switzerland, with his wife, and spent his final years there  Felix Salten died on 8 October 1945, at the age of 76  He is buried at Israelitischer Friedhof Unterer Friesenberg 
Salten married actress Ottilie Metzl (1868–1942) in 1902, and had two children: Paul (1903–1937) and Anna Katharina (1904–1977), who married Swiss actor Hans Rehmann  He composed another book based on the character of Bambi, titled Bambi’s Children: The Story of a Forest Family (1939)  His stories Perri and The Hound of Florence inspired the Disney films Perri (1957) and The Shaggy Dog (1959), respectively 
Salten was himself an avid hunter Salten is now considered the probable author of a successful erotic novel, Josephine Mutzenbacher: The Life Story of a Viennese Whore, as Told by Herself published anonymously in 1906, filled with social criticism 

Selected works
1899 – Der Gemeine
1906 – Josephine Mutzenbacher, authorship assumed – in German: Josefine Mutzenbacher oder Die Geschichte einer Wienerischen Dirne von ihr selbst erzählt (Vienna: Privatdruck [Fritz Freund], 1906)
1907 – Herr Wenzel auf Rehberg und sein Knecht Kaspar Dinckel
1910 – Olga Frohgemuth
1911 – Der Wurstelprater
1922 – Das Burgtheater
1923 – Der Hund von Florenz; English translation by Huntley Paterson, illustrated by Kurt Wiese, The Hound of Florence (Simon & Schuster, 1930), OCLC 1826868
1923 – Bambi: Eine Lebensgeschichte aus dem Walde; English transl  Whittaker Chambers, illus  Kurt Wiese, foreword John Galsworthy, as Bambi, a Life in the Woods (US: Simon & Schuster, 1928, OCLC 69170544; UK: Jonathan Cape, June/July 1928, OCLC 8454451); re-illustrated by Barbara Cooney (S&S, 1970), OCLC 824177272
1925 – Neue Menschen auf alter Erde: Eine Palästinafahrt
1927 – Martin Overbeck: Der Roman eines reichen jungen Mannes
1929 – Fünfzehn Hasen: Schicksale in Wald und Feld; English transl  Whittaker Chambers, as Fifteen Rabbits (US: Simon & Schuster, 1930, OCLC 1050794154); revised and enlarged (New York : Grosset & Dunlap, 1942, illus  Kurt Wiese), OCLC 4026552)
1931 – Freunde aus aller Welt: Roman eines zoologischen Gartens; English transl  Whittaker Chambers, illus  Kurt Wiese, as The City Jungle (US: Simon & Schuster, 1932, OCLC 2079025)
1931 – Fünf Minuten Amerika
1933 – Florian: Das Pferd des Kaisers; transl  Erich Posselt and Michel Kraike, Florian: The Emperor’s Stallion (Bobbs-Merrill, 1934), OCLC 8990860
1938 – Perri; German, Die Jugend des Eichhörnchens Perri
1939 – Bambi's Children, English translation (Bobbs-Merrill); German original, Bambis Kinder: Eine Familie im Walde (1940)
1940 – Renni the Rescuer
1942 – A Forest World
1945 – Djibi, the Kitten, illus  Walter Linsenmaier; U S  transl , Jibby the Cat (Messner, 1948)

Selected filmography
Doctor Schotte (1918)
Modern Marriages (1924)
Comedians (1925)
Storm in a Water Glass (1931)
Poor as a Church Mouse (1931)
Scampolo (1932)
The Empress and I (1933)
The Only Girl (1933)
Florian (1940)
Bambi (1942)
Perri (1957)
The Shaggy Dog (1959)

See also
Exilliteratur
Fable
Salzmann
Passage 4:
Roe Green Park
Roe Green Park is a park in the London Borough of Brent, northwest London, England  The Barn Hill Conservation Group maintain the Roe Green walled garden that is within the park  Roe Green Village was built between 1918 and 1920, using Prussian/German prisoners of war as cheap labour after World War I  The park was incorporated and thus taken under council control between 1935 and 1938
Context 3: Passage 1:
I Hate Everything About You
"I Hate Everything About You" is the debut single by Canadian rock band Three Days Grace, from their debut self-titled album  One of the band's signature songs, it peaked at number 55 on the US Billboard Hot 100, number four on the Mainstream Rock Tracks chart and number two on the Modern Rock Tracks chart  It was the 9th best performing song of the decade on the Modern Rock Tracks chart, and the 153rd best performing song of all time on the Alternative Songs chart  Despite not being one of their number one hits on either of the two charts, it is the band's longest running song on both the Modern Rock chart at 45 weeks, and the Mainstream Rock chart at 46 weeks 

Background
Adam Gontier said of the track:

The song is pretty blunt you know? It's to the point  It's about realizing there's something in your life you're wasting time on  I think everybody, even in this band and a lot of other people have felt that way before at one point or another in their life  Whether it's a person, a relationship whatever it is, you're just wasting time on it  The song is a realization of that 
Written by Gontier and produced by Gavin Brown, the theme of the song deals with love–hate relationships 

Critical reception
Heather Phares of AllMusic called the song "one of the better alt-metal/modern rock singles in recent memory " She remarked, "At first, the song seems almost stupidly simple, both lyrically and musically  However, the controlled fury of the choruses and the ambivalent verses make the song a surprisingly smart and concise anthem for anyone stuck in a baffling relationship " She also stated, "I Hate Everything About You's frustrated explosions and passive-aggressive recriminations eerily simulate the trajectory of an ill-fated couple "

Music video
The music video starts zoomed in towards several things, such as a TV producing static, a picture frame, and an ash tray, and then transitions towards Adam Gontier who starts singing  The video shows three teenagers going through a disastrous moment in their lives  One shows a young boy who finds his girlfriend cheating on him in the alleyway, kissing another guy  He is spying on them in his car  The second teenager is a young girl, who just broke up with her boyfriend, and the last is a boy who is being abused by his alcoholic father  Towards the end they are all seen smashing items into a hill  The young boy spying on his cheating girlfriend whips a portrait of a picture of them, smashing it to pieces  The second teenager is seen smashing her notebook of love notes and miscellaneous love items with her ex-boyfriend into the hill  The last boy, who is suffering child abuse, throws his drunken father's alcohol into the hill 
In the video, the word "hit" in "after every hit we take" is censored, due to "hit" being slang for drug use  The video was photographed by cinematographer Steve Gainer, and directed by Scott Winig 

Accolades
In 2004, the song was nominated for the "Best Rock Video" and "People's Choice: Favourite Canadian Group" at the MuchMusic Video Awards and won "Producer of the Year" at the Juno Awards  In August 2007, the single won a BDS Spin Award based on the 300,000 spins it received 

Track listings
Charts
Certifications
Release history
Use in video games
NASCAR Thunder 2004 by EA Sports 
Karaoke Revolution Volume 2 singalong game 
It is playable with either a real guitar or bass guitar in Rocksmith as DLC 
The song was made available to download on March 13, 2012, for play in Rock Band 3 Basic and PRO mode utilizing a real guitar / bass guitar, and MIDI compatible electronic drum kits / keyboards plus vocal harmonies 
Passage 2:
Working Day and Night
"Working Day and Night" is a song by American recording artist Michael Jackson  It is the third track from his fifth studio album, Off the Wall (1979)  The song was written and produced by Jackson  Despite not being released as a single, Jackson performed the song live for his first two solo tours  It is also featured on the video game Michael Jackson: The Experience  The song has been sampled by several artists  It was remixed and released on the remix/soundtrack album, Immortal, in 2011  In 2014, producer Timbaland sampled percussion and breaths from the song in the duet version of "Love Never Felt So Good" (with Justin Timberlake); the duet was released as a single from Xscape 

Background
"Working Day and Night" was written by Michael Jackson and recorded for his studio album Off the Wall issued in August 1979  The song was not released as a single, but as the B-side for "Rock with You" in the US, and B-side for "Off the Wall" in the UK  The song has a tempo of 128 beats per minute, making it one of Jackson's fastest songs 

Live performances
"Working Day and Night" was performed by both of The Jacksons' tours, and two of Michael Jackson's first two world concert series tours as a solo artist 
The song was performed by The Jacksons' Triumph Tour in 1981 and Victory Tour in 1984  In Michael Jackson's solo tours, the song was performed live on the Bad World Tour from 1987-1989, and the first two legs of Dangerous World Tour in 1992  The song was rehearsed for third leg of Dangerous World Tour in 1993, but it was ultimately removed from the setlist 
A live version, recorded at one of The Jacksons' 1981 Madison Square Garden concerts, was included on live album, The Jacksons Live!, later edited and released as the album's second single in November 1981   Record World said that "An energetic bass riff transports the exciting vocal interaction, while horn spice gives added radio appeal " In 2001, the original demo recording of the song was released as a bonus track on the expanded, special edition of Off the Wall  The live performance video at Jackson's Dangerous World Tour in Bucharest, Romania on October 1, 1992, was featured on the DVD in his box set The Ultimate Collection in 2004, and a live concert DVD, Live in Bucharest: The Dangerous Tour, in 2005  In 2012, a live audio and video version of the song performed during the Bad World Tour was released on the deluxe edition of Bad 25 and the concert DVD Live at Wembley July 16, 1988  The song was remixed and released on the soundtrack to Cirque du Soleil's Michael Jackson: The Immortal World Tour, Immortal, in 2011  This song has also been used for the Michael Jackson: One production 

Personnel
Official versions
"Album Version" - 5:12
"Original Demo from 1978" - 4:10
"Immortal Version" - 3:36
"Live at Triumph Tour" by The Jacksons - 6:53
"Live at Wembley July 16, 1988" from the Bad World Tour, available in the deluxe edition of Bad 25 - 5:55

Covers and samples
In 1983, George Duke sampled this song for the "Overture" of the album Guardian of the Light 
In 1999, Will Smith sampled this song on his track "Can You Feel Me" for his album Willennium 
In 1989, Richie Rich sampled this song for his single "Salsa House", from the album I Can Make You Dance 
In 2009, Michael's sister Janet Jackson sampled this song for her single "Make Me" from her greatest hits album Number Ones 
In 2014, Timbaland sampled percussion and breaths from the song for the duet version of Jackson's posthumous song "Love Never Felt So Good", which features American recording artist Justin Timberlake for the record Xscape 
Passage 3:
1000 Song Challenge
1000 Song Challenge (Korean: 도전 1000곡; RR: Dojeon Cheongok), also known as Challenge 1000 Songs, is a South Korean karaoke singing competition television series, which aired on SBS from 2000 to 2014  During the show, guests compete by singing popular songs accurately from memory  The songs are chosen randomly from a pool of 1000 songs  Unlike normal karaoke, the lyrics are not shown, so it is easier to make mistakes  The contestants with the highest scores proceed to the next round  In one segment of the show, "Run Karaoke", contestants race to the microphone and whoever gets there first gets to sing a song and gain points  In another segment, the contestants hear the beginning of a song, and the first one to correctly name the song gains points  The winner of the final round receives household items as prizes, such a humidifier or espresso machine  Many popular celebrities were invited to the show, including BoA, Shinhwa and Girls' Generation The show began airing on October 22, 2000, and was extremely popular in its early years  It aired on Sunday mornings and had mainly older viewers  SBS cancelled the show in 2014 because advertisement revenue was low, and they wanted to target young people  The last episode aired on June 22, 2014 

Hosts
Various television personalities co-hosted the show throughout its nearly 14-year run  Comedian Lee Hwi-jae began hosting the show (with Jeong Hyeong-don) in April 2008, and continued until the show's cancellation in 2014  Trot singer Jang Yun-jeong first hosted the show for a year and a half, beginning in April 2006, and returned in August 2009  Lee and Jang were praised for their "smooth and entertaining" hosting style, and they won the "Best Couple Award" at the 2013 SBS Entertainment Awards  Jang left the show in April 2014 due to her pregnancy, and was replaced by Hyolyn 
Passage 4:
List of number-one dance singles of 2011 (U S )
The Billboard Dance Club Songs chart is a chart that ranks the best-performing singles in that category in the United States  The first number-one song of the year was by Swedish House Mafia and English rapper Tinie Tempah, with their collaboration "Miami 2 Ibiza"  American singer-songwriter Katy Perry achieved three number-one songs on the chart, which included "Firework", "E T  and "Last Friday Night (T G I F )"  "E T " ranked at number one on the 2011 Hot Dance Club Songs year end chart  Australian singer-songwriter Kylie Minogue also topped the chart three times, with the songs "Better than Today", "Higher", a collaboration with Taio Cruz and Travie McCoy, and "Put Your Hands Up (If You Feel Love)"  American singer Britney Spears topped the chart three times with "Hold It Against Me", "Till the World Ends" and "I Wanna Go", from her seventh album Femme Fatale  Beyoncé and Jennifer Lopez also achieved three number one songs on the chart each, the former with "Run the World (Girls)", "Best Thing I Never Had", and "Countdown", and the latter with "On the Floor", "I'm Into You", and "Papi"  off of her seventh studio album "Love?" marking a comeback for the singer  The American band Selena Gomez & the Scene also achieved three number one songs on the chart each with "A Year Without Rain", "Who Says" and "Love You like a Love Song" 

Barbadian recording artist Rihanna topped the chart with four songs from three different albums; the first was French DJ David Guetta's song Who's That Chick?, from his album One More Love where Rihanna appeared as a guest vocalist, "S&M" and "California King Bed" from Rihanna's fifth album Loud, and "We Found Love"' from her sixth album Talk That Talk  "We Found Love", a collaboration with Scottish DJ Calvin Harris, was the only song to spend more than one week at number one, and topped the chart for two consecutive weeks  American singer-songwriter Lady Gaga also achieved four number one songs on the chart with "Born This Way", "Judas", "The Edge of Glory", and "You and I"  British singer-songwriter Leona Lewis achieved her first number one on the chart with "Collide", a collaboration with Avicii 
These are the Billboard Hot Dance Club Play and Singles Sales number-one hits of 2011 

See also
List of number-one dance airplay hits of 2011 (U S )
2011 in music
List of artists who reached number one on the U S  Dance Club Songs chart
Passage 5:
Daasebre Gyamenah
Daasebre Gyamenah (Akan: Daasebrε Gyamena), was a Ghanaian highlife musician who became very popular for his hit album Kokooko (1999) which featured Lord Kenya  Kokooko was the first major fusion of hiplife and highlife in Ghana  Many successful albums followed thus earning him one of his many nicknames "Hitman" "Wo da enda","Ahoofe", and "Still I love you" are a few of his popular songs 
Among youths and old, he is popular and beloved  Daasebre's songs are mostly mid tempo and include many hip hop elements  He featured many hip life artists like none of his genre colleagues  A major element of his songs is the Akan way of storytelling by use of proverbs  His proverbs stood out from others due to his upbringing through his grandmother  These proverbs mostly summed up the message of his songs  In an interview he claimed to have experienced some of the stories in his songs with the exception of the love songs 
In 2006, Daasebre took a flight from Ghana to London to work on his music  At Heathrow airport he was arrested by police  His luggage contained cocaine of which he claimed to have no clue of  Eleven months in prison had a big impact on him  He was never convicted of the crime due to facts suggesting he did not know of the existence of the drugs  His following lead single for his next album "Saa Na Etee" was mainly about his arrest  He talked about it in songs like "Twaso" and "Gye Me" 
His death in 2016 came at a time many Ghanaians musicians had died but his death was the most felt among all  As one part of his family were Muslim he should have received a Muslim burial but his other family refused  Their main reason was the fact he was of royal blood and should be buried as such  A long feud led to him been buried in December of that year, almost six months after his death  Many tributes to him followed after his death  "Kokooko" by Sarkodie and "Daasebre Gyamenah" by Daddy Lumba are two which have gained popularity 

Life and career
Daasebre was born a Muslim and from a royal home  His full name at birth was Daasebre Gyamenah Abubakar Siddiq  His late mother was a Muslim who died when Daasebre was only three months old  He was nicknamed Ahoofe, a name his fans gave him after the release of his hit song, "Ahoofe", which literally means beautiful or the handsome one  He released an Album in the late 80s with no success  After spending time in various African states he returned to Ghana in 1992 only to make music 7 years later  His first hit, Kokooko, made him and Lord Kenya, who was featured on a song, gain huge success in Ghana and also among Ghanaians abroad In January 2016, Gyamenah released what turned out to be his final album, Yenfii Ta, and in May released a song from the album and his final single, "Ntamago" 

Death
He died in the early hours of 29 July 2016 at the 37 Military Hospital in Accra 

Honours and awards
He won two and four awards during the 2000 and 2002 editions of the Ghana Music Awards respectively 

Discography
Kokooko
Ahoofe
You Can't Touch Me
Calling
How Far?
I Beg
A Friend In Need
Yeegye Apem
Odo Yede
Yenfii Ta
Passage 6:
Selena singles discography
American singer Selena released twenty-four official singles, seven promotional singles  Her career began as the lead vocalist of Los Dinos in 1980  Her albums with Los Dinos on indie labels failed to achieve any chart success  In 1987, her remake of Ritchie Valens' "La Bamba" peaked at number 19 on the United States Billboard Hot Latin Songs chart, her first entry  She signed with EMI Latin nine years later as a solo artist though her band continued to tour with her  Selena appeared on "Buenos Amigos" with Salvadoran singer Álvaro Torres  The track peaked at number one on the U S  Hot Latin Songs chart in 1991, the singer's first number one song  Subsequent singles, "Baila Esta Cumbia" and "Como la Flor", became popular songs on Mexican radio, with "Como la Flor" launching the singer's career in that country  "Como la Flor" peaked at number six on the Hot Latin Songs chart, despite popular culture claims that it was the singer's first number one single  The track has charted on the U S  Regional Mexican Digital Songs list since its inception in 2010 and remains the singer's signature number and most popular recording Selena's first live album, Live (1993), contained three studio tracks and produced two top-five U S  singles, "No Debes Jugar" and "La Llamada"  After her collaboration with the Barrio Boyzz on the single "Donde Quiera Que Estés" peaked at number one on the Hot Latin Songs chart, Selena released her fourth studio album, Amor Prohibido (1994)  The album continued the singer's streak of US number one singles with "Amor Prohibido", "Bidi Bidi Bom Bom", "No Me Queda Más", and The Pretenders' cover "Fotos y Recuerdos"  The latter peaked at number one posthumously following the shooting death of Selena on March 31, 1995  "Amor Prohibido" and "No Me Queda Más" became the most successful U S  Latin singles of 1994 and 1995, respectively  At the time of her death, Selena was in the process of crossing over into the American pop market  Recording labels EMI Latin and EMI Records jointly released Dreaming of You several months after her death  Fearful that the song might cannibalize sales of the album in the U S , EMI Records released "I Could Fall in Love" as a promotional single  It became the highest charting English-language song on the Hot Latin Songs chart for two years and became her first number one single in Canada  The title track, "Dreaming of You" became the highest charting Billboard Hot 100 song of the singer's career, peaking at number 22  Her cover of Pedro Infante's "Tú Sólo Tú" peaked at number one on the Hot Latin Songs for ten consecutive weeks; the longest number-one single of her career  "I'm Getting Used to You" peaked at number one on the U S  Dance/Electronic Singles Sales; her first number one on that chart Selena's last recorded song, "A Boy Like That" (a song from the 1967 musical West Side Story) was part of the National Academy of Recording Arts and Sciences honoring the musical  The song was also a benefit recording for AIDS Project Los Angeles  It peaked at number four on the U S  Dance Club Songs chart after its release in 1996  In 2002, Selena's brother and music producer A B  Quintanilla mashed "Como la Flor", "Amor Prohibido", and "Si Una Vez" into a medley entitled "Con Tanto Amor Medley" to promote the album Ones  Since Billboard magazine began monitoring music downloads in 2010, Selena's songs re-entered the U S  charts including first time entries "La Carcacha" (1990), "Ya Ves" (1990), "Enamorada de Ti" (1990), "Baila Esta Cumbia" (1992), and "El Chico del Apartamento 512" (1994) 

Singles
Solo career
Selena y Los Dinos singles
Promotional singles and other charted songs
Other appearances
See also
Billboard Top Latin Songs Year-End Chart
List of songs recorded by Selena
Selena albums discography
Selena videography

Notes
Passage 7:
Ten Walls
Marijus Adomaitis (born 19 January 1983), better known by his stage names Ten Walls or Mario Basanov, is a Lithuanian producer who is best known for his 2014 single "Walking with Elephants", which peaked at number 2 on the UK Singles Chart 
In June 2015, Ten Walls was dropped from several festivals and by his booking agency after making controversial comments comparing gay people to pedophiles in a Facebook post, and referring to the LGBT community as a "different breed" 

Career
2009–12: Mario Basanov
In 2012 under the name Mario Basanov Adomaitis won Best Electronic Act at Lithuanian M A M A  music awards 

2013–15: Breakthrough
On 10 May 2013 Ten Walls released his debut EP Gotham  On 9 December 2013 he released his debut single "Requiem"  On 7 September 2014 he released the single "Walking with Elephants"  On 10 September 2014 the song was at number 3 on The Official Chart Update in the UK  On 14 September 2014 the song entered the UK Singles Chart at number 6  The song also peaked at number 3 on the UK Dance Chart and number 8 on the Scottish Singles Chart 

Homophobia controversy
In June 2015, Ten Walls posted a rant on his Facebook pages condemning homosexuality and comparing it to pedophilia  According to the Gay Star News, the post stated: "I remember producing music for one Lithuanian musician, who tried to wash my brain that I don't need to be so conservative and intolerant about [gay people]  When I asked him 'what would you do if you realized that your 16-year-old son's browny (anus) is ripped by his boyfriend?' Well he was silent  In the good 90s     these people of different breed were fixed  One of my first gigs in Ireland, on my way to my hotel I saw a church with a fence decorated with hundreds of baby shoes   Unfortunately a priest's lie for many years was uncovered when children were massively raped  Unfortunately the people of other breed continue to do it and everyone knows it but does nothing " As a result of his comments, he was dropped from several festival line-ups  His booking agency, Coda Music Agency, announced that they no longer represented him  Fort Romeau pulled his support for him at London club venue Koko 
Ten Walls' posts were later deleted after a backlash, and he put out an apology claiming that he cancelled the festival dates himself  Organizers of Dutch festival Pitch, Belgian festival Pukkelpop, the German festival Dockville, British festival Creamfields, and Spanish festival Sónar publicly confirmed that they cancelled Ten Walls performances due to his homophobic statements  Ten Walls also received criticism from Lithuanian LGBT activists Three months after his post, in September 2015, Ten Walls issued a formal apology for the incident, calling it "completely out of character" 

Discography
Studio albums
Extended plays
Singles
Awards
On 30 January 2015 at M A M A  awards Ten Walls won awards for best electronic act and best music video ("Walking with Elephants") 
Passage 8:
Walking with Elephants
"Walking with Elephants" is a song by Lithuanian producer Ten Walls  It was released as a digital download on 13 April 2014 by German record label BOSO and on 28 April 2014 in the United Kingdom  The song peaked to number 6 on the UK Singles Chart and also charted in Belgium  It was one of the most popular songs in Ibiza in 2014 

Music video
A music video to accompany the release of "Walking with Elephants" was first released onto YouTube on 3 September 2014 at a total length of three minutes and two seconds 

Track listing
Chart performance
Release history
Passage 9:
Do You Realize??
"Do You Realize??" is a song by the Flaming Lips, released as the first single from their 2002 album Yoshimi Battles the Pink Robots  It is widely considered to be one of the group's most accessible and popular songs  It reached No  32 in the UK Singles Chart and was adopted as the Official Rock Song of Oklahoma from 2009 to April 2013  The song was ranked No  31 on Rolling Stone's 100 Best Songs of the 2000s  It is also the band's most popular live song, and has rarely been excluded from setlists since its inception into their live shows in 2002  Wayne Coyne also considers it to be the best song they've ever written 

Structure and recording
In an interview with Mojo, Coyne revealed that during the recording of Yoshimi   , band member Steven Drozd was trying to kick a heroin addiction  When they took breaks from playing, Drozd would have a really tough time with his withdrawal   Listening to him cry, and with the death of his father in mind, Coyne wrote: "Do You Realize??" 
Wayne Coyne, commenting on "Do You Realize??" said, "Whenever I analyze the scientific realities of what it means to be living here on Earth – in this galaxy – spinning around the sun – flying through space – a terror shock seizes me!!! I'm reminded once again of how precarious our whole existence is   "

UK track listing
7""Do You Realize??"
"Up Above the Daily Hum"CD1"Do You Realize??"
"If I Go Mad/Funeral in My Head"
"Syrtis Major"CD2"Do You Realize??"
"Up Above the Daily Hum"
"Xanthe Terra"DVD single"Do You Realize??" (video)
"Do You Realize??" (audio)
"The Southern Oklahoma Trigger Contest"
"Noodling Theme (Epic Sunset Mix #5)""Syrtis Major" and "Xanthe Terra" are instrumental pieces intended to be taken from the forthcoming Christmas on Mars soundtrack 

Video
The music video was recorded on Fremont Street in Las Vegas and features Wayne Coyne, people dressed as bunnies and pigs, four female dancers in negligee and a live elephant   No other members of the band are seen 

Oklahoma state song
In March 2009, "Do You Realize??" was announced as the official state rock song of Oklahoma, after winning an online vote among ten finalists as authorized by the Oklahoma state legislature: out of 21,000 votes cast, nearly 51% were for "Do You Realize??" The Oklahoma Senate approved this choice unanimously   However, on 23 April 2009, a vote in the Oklahoma House of Representatives fell three votes short of the 51 votes necessary to ratify the resolution: one Republican state legislator attacked the band for its use of offensive language, while another said he opposed the song because band member Michael Ivins had worn a red T-shirt with a yellow sickle and hammer during a previous appearance by the band  Democratic Governor Brad Henry subsequently announced that he would issue an executive order in lieu of the resolution rejected by the Oklahoma House  However, it was revealed in 2013 that Republican Governor Mary Fallin removed the song's designation as the Official Rock Song of Oklahoma by not renewing Brad Henry's executive order upon taking office in 2011 

Commercial appearances
Hewlett-Packard featured the band alongside Penn and Teller in its 2002 commercial for its HP Media Center PC, which included a clip of the music video  In a review of the ad, music journalist Jim DeRogatis said, "It was a commercial for the Flaming Lips," as much as it was for HP's computer In 2003, VH1 featured the song in a spot that promoted its network  In 2004, Mitsubishi used the song in a television ad for one of its cars, as did Land Rover in 2007 with voice-over by Charles Shaughnessy 
A cover version was used in the teaser trailer of Transformers: The Last Knight in late 2016 
The song was used in the trailer for Guardians of the Galaxy Vol  3 shown at San Diego Comic-Con in July 2022 and would later be included in the film as a part of Awesome Mix Vol  3 

Covers
The song was covered by The Reign of Kindo on their eponymous debut album  It was also covered in 2012 by Ball Park Music for Australian radio station Triple J's Like a Version 
Father John Misty, American folk singer-songwriter and former member of indie rock bands Saxon Shore and Fleet Foxes, performed a version of the song in July 2012 for The A V  Club's A V  Undercover series  Father John Misty's version is featured in the 2022 film Press Play American Jewish rock band Blue Fringe covered the song on their 2007 album The Whole World Lit Up 
In 2015, the song was covered by British singer/composer Ursine Vulpine (aka Frederick Lloyd)  This version was used for the first theatrical trailer of Transformers: The Last Knight as well as the trailer for the third season of the television series Penny Dreadful)  In 2016, Sharon Van Etten covered the song for Amazon's Gortimer Gibbon's Life on Normal Street soundtrack 

Chart positions
Certifications



ground_truth: University of Vienna

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What was the home city of the author of the famous novel tracing the life of a male roe deer from his birth onward?

The following are given passages.
Context 2: 

History
This now much used park in Kingsbury came about because of the rapid growth of suburban housing in this part of the district in the early 1930s  In 1933 the local Council identified a 5-acre (2 0 ha) site on the north side of Kingsbury Road for a park, but this was subject to plans for housing (Manor Close) by the developer, George Cloke  He had moved into Kingsbury Manor in 1929, and bought most of the land of Valley Farm the following year  Under pressure from the local Ratepayers' Association, the Council negotiated with Mr Cloke to purchase some of his other land for a park, and in March 1935 two fields on the south side of Bacon Lane (about 21 acres) were bought for about £27,000, with Middlesex County Council contributing 25% of the money  As the entrance to this new park was from Roe Green, it was given the name "Roe Green Park" 
While the purchase was going through, Wembley Urban District Council decided to use part of the park fronting Kingsbury Road as the site for an open air swimming pool  In 1936 and 1937 Roe Green Park was used as the venue for a week-long Carnival and Fete to raise money for Wembley Hospital (which was run by a charity in these days before the National Health Service) and also for brass band concerts on summer Sunday evenings, but these events were transferred to Silver Jubilee Park when work started on building Kingsbury Swimming Pool in 1938  The Olympic-sized pool opened in May 1939 
After buying the two fields, the Council wanted to acquire further land, to make the park more accessible from the main shopping centre and Kingsbury Station  After three years of negotiations, they bought the 5-acre (2 0 ha) Westcroft field for £13,750 from another local developer, Henry Higinbotham, in 1938  In the same year, Kingsbury Manor and its 10-acre (4 0 ha) grounds were purchased from George Cloke  This was a joint purchase with Middlesex County Council, who wanted to use the large, secluded house as a Maternity Hostel for unmarried mothers 
The land for the park as it now exists had been acquired, but soon the outbreak of the Second World War meant that all of the park was ploughed up to provide allotments where local people could grow vegetables and fruit  After the war, twenty "pre-fab" bungalows were built along the Kingsbury Road edge of the park between the swimming pool and the Kingsbury Manor lodge, as emergency housing for families, and it was only around 1960 that local residents could enjoy the use of all of the park again The pool was closed in 1988 and demolished a few years later, replaced by green pitches 

John Logie Baird
John Logie Baird, the television pioneer, leased the former stables and coach house at Kingsbury Manor in 1928  He employed H  Barton-Chapple to take charge of his experiments there, which included designing and building prototype TV receivers  In May 1929, two 25-metre high masts were erected, and the first international moving picture transmissions, from Berlin in Germany to England, were received here  The following year, the first combined sound and vision signals were received  For many years afterwards the former stables were known as Kingsbury Manor Studio, and are now the home of Kingsbury Veterans' Club  The masts were taken down at the start of the Second World War, as they would have been a landmark for German bombers, but the concrete base of one of the masts can still be seen in Roe Green Park    A plaque to commemorate Baird's work here was unveiled next to this by Wembley History Society in the 1950s, which was moved to the Veterans' Club after damage by vandals 

Homicide
The park was in the news headlines in February 2002 when the fire-blistered body of an 18-year-old Sri Lankan man was found there  A year later, four other Sri Lankans – including ring-leader Senthamil Thillainathan – were found guilty of murder and sentenced to life imprisonment  Senthamil had also murdered another man in an axe attack in nearby Wembley eight months earlier 

George Michael
The video for the 2004 single "Round Here" from George Michael's fifth solo album, Patience, features several clips of Roe Green Park  The song is about the singer's childhood, and includes the lyric "I hear my mamma call/In Kingsbury Park" 
Passage 5:
Deer of Great Britain
Six species of deer are living wild in Great Britain: Scottish red deer, roe deer, fallow deer, sika deer, Reeves's muntjac, and Chinese water deer  Of those, Scottish red and roe deer are native and have lived in the isles throughout the Holocene  Fallow deer have been reintroduced twice, by the Romans and the Normans, after dying out in the last ice age  The other three are escaped or released alien species 

Native
Scottish red deer - (subspecies)
Roe deer

Introduced
Fallow deer
Sika deer
Reeves's muntjac
Water deer

Reintroduced
Eurasian elk - (on private reserves)
Reindeer - (on private reserves)

Extinct
Irish elk

Gallery
Passage 6:
Roe deer
The roe deer (Capreolus capreolus), also known as the roe, western roe deer, or European roe deer, is a species of deer  The male of the species is sometimes referred to as a roebuck  The roe is a small deer, reddish and grey-brown, and well-adapted to cold environments  The species is widespread in Europe, from the Mediterranean to Scandinavia, from Scotland to the Caucasus, and east as far as northern Iran 

Etymology
The English roe is from the Old English rā or rāha, from Proto-Germanic *raihô, cognate with Old Norse rá, Old Saxon rēho, Middle Dutch and Dutch ree, Old High German rēh, rēho, rēia, German Reh  It is perhaps ultimately derived from a PIE root *rei-, meaning "streaked, spotted or striped" The word is attested on the 5th-century Caistor-by-Norwich astragalus – a roe deer talus bone, written in Elder Futhark as ᚱᚨᛇᚺᚨᚾ, transliterated as raïhan In the English language, this deer was originally simply called a 'roe', but over time the word 'roe' has become a qualifier, and it is now usually called 'roe deer' The Koiné Greek name πύγαργος, transliterated 'pygargos', mentioned in the Septuagint and the works of various writers such as Hesychius, Herodotus and later Pliny, was originally thought to refer to this species (in many European translations of the Bible), although it is now more often believed to refer to the addax  It is derived from the words pyge 'buttocks' and argo 'white' 
The taxonomic name Capreolus is derived from capra or caprea, meaning 'billy goat', with the diminutive suffix -olus  The meaning of this word in Latin is not entirely clear: it may have meant 'ibex' or 'chamois'  The roe was also known as capraginus or capruginus in Latin 

Taxonomy
Linnaeus first described the roe deer in the modern taxonomic system as Cervus capreolus in 1758  The initially monotypic genus Capreolus was first proposed by John Edward Gray in 1821, although he did not provide a proper description for this taxon  Gray was not actually the first to use the name Capreolus, it has been used by other authors before him  Nonetheless, his publication is seen as taxonomically acceptable  He was generally ignored until the 20th century, most 19th-century works having continued to follow Linnaeus 
The name Capreolus capreolus is a tautonym Roe deer populations gradually become somewhat larger as one moves further to the east, peaking in Kazakhstan, then becoming smaller again towards the Pacific Ocean  The Soviet mammalogist Vladimir Sokolov had recognised this as a separate species from 1985 already using electrophoretic chromatography to show differences in the fractional protein content of the body tissues, the next year he showed that there were differences in the skull morphology, and a year after he used sonographs to demonstrate that the fawns, females and males made very different noises between species  Alexander S  Graphodatsky looked at the karyotypy to present more evidence to recognise these Russian and Asian populations as a separate species, now renamed the eastern or Siberian roe deer (Capreolus pygargus), in his 1990 paper  The taxa are differentiated by the B chromosomes found in C  pygargus, populations of this species gain more of these strange 'junk' chromosomes as one moves further east 
This new taxonomic interpretation (circumscription) was first followed in the American book Mammal Species of the World in 1993  Populations of the roe deer from east of the Khopyor River and Don River to Korea are considered to be this species 

Subspecies
The Integrated Taxonomic Information System, following the 2005 Mammal Species of the World, gives the following subspecies:
Capreolus capreolus capreolus (Linnaeus, 1758)
Capreolus capreolus canus Miller, 1910 - Spain
Capreolus capreolus caucasicus Nikolay Yakovlevich Dinnik, 1910 - A large-sized subspecies found in the region to the north of the Caucasus Mountains; although Mammal Species of the World appears to recognise the taxon, this work bases itself on a chapter by Lister et al  in the 1998 book The European roe deer: the biology of success, which only recognises the name as provisional 
Capreolus capreolus italicus Enrico Festa, 1925 - ItalyThis is just one (extreme) interpretation among a number of them  Two main specialists did not recognise these taxa and considered the species to be without subspecies in 2001  The European Union's Fauna Europaea recognised in 2005 two subspecies, but besides the nominate form recognises the Spanish population as the endemic Capreolus capreolus garganta Meunier, 1983  In 2008 the IUCN recognised three infraspecific taxa: the nominate and the subspecies garganta and italicus 

Systematics
Roe deer are most closely related to the water deer, and, counter-intuitively, the three species in this group, called the Capreolini, are most closely related to moose and reindeer Although roe deer were once classified as belonging to the Cervinae subfamily, they are now classified as part of the Odocoileinae, which includes the deer from the New World 

Hybrids
Both the European roe deer and Siberian roe deer have seen their populations increase, both around the 1930s  In recent times, since the 1960s, the two species have become sympatric where their distributions meet, and there is now a broad 'hybridization zone' running from the right side of the Volga River up to eastern Poland  It is extremely difficult for hunters to know which species they have bagged  In line with Haldane's rule, female hybrids of the two taxa are fertile, while male hybrids are not  Hybrids are much larger than normal and a Cesarean section was sometimes needed to birth the fawns, becoming larger than their mothers at the age of 4–5 months  F1 hybrid males may be sterile, but backcrosses with the females are possible 22% of the animals around Moscow carry the mtDNA of the European roe deer and 78% of the Siberian  In the Volgograd region, the European roe deer predominates  In the Stavropol and Dnipropetrovsk regions of Ukraine, most of the deer are Siberian roe deer  In northeastern Poland there is also evidence of introgression with the Siberian roe deer, which was likely introduced  In some cases, such as around Moscow, former introductions of European stock is likely responsible 

Description
The roe deer is a relatively small deer, with a body length of 95–135 cm (3 ft 1 in – 4 ft 5 in) throughout its range, and a shoulder height of 63–67 cm (2 ft 1 in – 2 ft 2 in), and a weight of 15–35 kg (35–75 lb)  Populations from Urals and northern Kazakhstan are larger on average growing to 145 cm (4 ft 9 in) in length and 85 cm (2 ft 9 in) at shoulder height, with body weights of up to 60 kg (130 lb), with the populations becoming smaller again further east in the Transbaikal, Amur Oblast, and Primorsky Krai regions  In healthy populations, where population density is restricted by hunting or predators, bucks are slightly larger than does  Under other conditions, males can be similar in size to females, or slightly smaller Bucks in good conditions develop antlers up to 20–25 cm (8–10 in) long with two or three, rarely even four, points  When the male's antlers begin to regrow, they are covered in a thin layer of velvet-like fur which disappears later on after the hair's blood supply is lost  Males may speed up the process by rubbing their antlers on trees, so that their antlers are hard and stiff for the duels during the mating season  Unlike most cervids, roe deer begin regrowing antlers almost immediately after they are shed 

Distribution
Within Europe the roe deer occurs in most areas with the exception of northernmost Scandinavia, in Norway it occurs throughout the country with the exception of parts of northern Vestland and northernmost Nordland (north of Narvik), and the islands of Iceland, Ireland and those of the Mediterranean Sea islands  In the Mediterranean region, it is largely confined to mountainous areas, and is absent or rare at low altitudes There is an early Neolithic fossil record from Jordan It is known that there are roe deer that live in the Red Forest near Chornobyl in Ukraine 

Belgium
In Flanders the roe deer was mostly confined to the hilly regions in the east, but like in neighbouring countries the population has expanded in recent times  A theory is that the expansion of maize cultivation, which are higher than traditional crops and afford more shelter, has aided their expansion to the west 

Britain
In England and Wales, roe deer have experienced a substantial expansion in their range in the latter half of the 20th century and continuing into the 21st century  This increase in population also appears to be affecting woodland ecosystems  At the start of the 20th century, they were almost extirpated in Southern England, but since then have hugely expanded their range, mostly due to restrictions and decrease in hunting, increases in forests and reductions in arable farming, changes in agriculture (more winter cereal crops), a massive reduction in extensive livestock husbandry, and a general warming climate over the past 200 years  Furthermore, there are no large predators in Britain  In some cases, roe deer have been introduced with human help  In 1884 roe deer were introduced from Württemberg in Germany into the Thetford Forest, and these spread to populate most of Norfolk, Suffolk, and substantial parts of Cambridgeshire  In southern England, they started their expansion in Sussex (possibly from enclosed stock in Petworth Park) and from there soon spread into Surrey, Berkshire, Wiltshire, Hampshire, and Dorset, and for the first half of the 20th century, most roe deer in Southern England were to be found in these counties  By the end of the 20th century, they had repopulated much of southern England and had expanded into Somerset, Devon, Cornwall, Oxfordshire, Gloucestershire, Warwickshire, Lincolnshire and South Yorkshire, and had even spread into Wales from the Ludlow area where an isolated population had appeared  At the same time, the surviving population in Scotland and the Lake District had pushed further south beyond Yorkshire and Lancashire and into Derbyshire and Humberside In the 1970s, the species was still completely absent from Wales  Roe deer can now be found in most of rural England except for southeast Kent and parts of Wales; anywhere in the UK mainland suitable for roe deer may have a population  Not being a species that needs large areas of woodland to survive, urban roe deer are now a feature of several cities, notably Glasgow and Bristol, where in particular they favour cemeteries  In Wales, they are least common, but they are reasonably well established in Powys and Monmouthshire 

Iran
Roe deer are found in northern Iran in the Caspian region: they occur in the Hyrcanian woodlands and agricultural lands of the Alborz Mountains (Golestan National Park, Jahan Nama Protected Area) 

Ireland
Scottish roe deer were introduced to the Lissadell Estate in County Sligo in Ireland around 1870 by Sir Henry Gore-Booth  The Lissadell roe deer were noted for their occasional abnormal antlers and survived in that general area for about 50 years before they died out  According to the National Biodiversity Data Centre, in 2014 there was a confirmed sighting of roe deer in County Armagh  There have been other, unconfirmed, sightings in County Wicklow 

The Netherlands
In the Netherlands, roe deer were extirpated from the entirety of the country except for two small areas around 1875  As new forests were planted in the country in the 20th century, the population began to expand rapidly  Although it was a protected species in 1950, the population is no longer considered threatened and it has lost legal protection  As of 2016 there are some 110,000 roe deer in the country  The population is primarily kept in check through the efforts of hunters 

Israel
In 1991, a breeding colony of 27 roe deer coming from France, Hungary and Italy were brought in the Hai-Bar Carmel Reserve  A small number of this roe deer population has been reintroduced to the Carmel Mountains from the Carmel Hai-Bar Nature Reserve, with the first deer being released in 1996  24 to 29 animals had been released by 2006  Some of the reintroduced animals were hand-reared and could be monitored by their responses to their keeper calls 

Ecology
Habitat
This species can utilize a large number of habitats, including open agricultural areas and above the tree line, but a requisite factor is access to food and cover  It retreats to dense woodland, especially among conifers, or bramble scrub when it must rest, but it is very opportunistic and a hedgerow may be good enough  Roe deer in the southern Czech Republic live in almost completely open agricultural land  The animal is more likely to be spotted in places with nearby forests to retreat to  A pioneer species commonly associated with biotic communities at an early stage of succession, during the Neolithic period in Europe when farming humans began to colonise the continent from the Middle East, the roe deer was abundant, taking advantage of areas of forest or woodland cleared by Neolithic farmers 

Behaviour
In order to mitigate risk, roe deer remain within refuge habitats (such as forests) during the day  They are likelier to venture into more open habitats at night and during crepuscular periods when there is less ambient activity  It scrapes leaf litter off the ground to make a 'bed' When alarmed it will bark a sound much like a dog and flash out its white rump patch  Rump patches differ between the sexes, with the white rump patches heart-shaped on females and kidney-shaped on males  Males may also bark or make a low grunting noise  Does (the females) make a high-pitched "pheep" whine to attract males during the rut (breeding season) in July and August  Initially the female goes looking for a mate and commonly lures the buck back into her territory before mating  The roe deer is territorial, and while the territories of a male and a female might overlap, other roe deer of the same sex are excluded unless they are the doe's offspring of that year 

Diet
It feeds mainly on grass, leaves, berries, and young shoots  It particularly likes very young, tender grass with a high moisture content, i e , grass that has received rain the day before  Roe deer will generally not venture into a field that has or has had livestock in it 

Reproduction
The polygamous roe deer males clash over territory in early summer and mate in early autumn  During courtship, when the males chase the females, they often flatten the underbrush, leaving behind areas of the forest in the shape of a circle or figure eight called 'roe rings'  These tend to be 1-3m in diameter  In 1956 it was speculated based on some field evidence that they choose where to form rings around plants with ergot mould, but this has not been substantiated further  Males may also use their antlers to shovel around fallen foliage and soil as a way of attracting a mate  Roebucks enter rutting inappetence during the July and August breeding season  Females are monoestrous and after delayed implantation usually give birth the following June, after a 10-month gestation period, typically to two spotted fawns of opposite sexes  The fawns remain hidden in long grass from predators; they are suckled by their mother several times a day for around three months  Young female roe deer can begin to reproduce when they are around 6 months old  During the mating season, a male roe deer may mount the same doe several times over a duration of several hours 

Population ecology
A roe deer can live up to 20 years, but it usually does not reach such an age  A normal life span in the wild is seven to eight years, or 10 years The roe deer population shows irruptive growth  It is extremely fecund and can double its population every year; it shows a retarded reaction to population density with females continuing to have a similar fecundity at high population densities 
Population structure is modified by available nutrition, where populations are irrupting there are few animals over six years old  Where populations are stagnant or moribund, there is huge fawn mortality and a large part of the population is over seven years old  Mortality is highest in the first weeks after birth due to predation, or sometimes farm machinery; or in the first winter due to starvation or disease, with up to 90% mortality 

Community ecology
It is a main prey of the Persian leopard (Panthera pardus tulliana) in the Alborz Mountains of Iran The nematode Spiculopteragia asymmetrica infects this deer Compared to the other large herbivores and omnivores in Iran, it is a poor disperser of plant seeds, despite consuming relatively more of them 

Uses
The roe deer is a game animal of great economic value in Europe, providing large amounts of meat and earning millions of euros in sport hunting  In 1998, some 2,500,000 roe deer were shot per year in Western Europe  In Germany alone, 700,000 were shot a year in the 1990s  This is insufficient to slow down the population growth, and the roe deer continues to increase in number It is the main source of venison in Europe  In the 2000s, there was growing interest among consumers in alternative and organic food products such as game meat  Frozen roe venison should not be stored longer than 10 to 12 months at −25 °C to maintain a high quality  Storage time and quality can decrease if the bullet has travelled through the digestive tract and contaminated the meat  The meat, like most game meat, is darker in colour than most farmed meat 

Palaeontology
Roe deer are thought to have evolved from a species in the Eurasian genus Procapreolus, with some 10 species occurring from the Late Miocene to the Early Pleistocene, which moved from the east to Central Europe over the millennia, where Procapreolus cusanus (also classified as Capreolus cusanus) occurred  It may not have evolved from C  cusanus, however, because the two extant species split from each other 1 375 and 2 75 Myr ago, and the western species first appeared in Europe 600 thousand years ago As of 2008 over 3,000 fossil specimens of this species have been recovered from Europe, which affords a good set of data to elucidate the prehistoric distribution  The distribution of the European species has fluctuated often since entering Europe  During the some periods during the last ice age it was present in central Europe, but during the Last Glacial Maximum it retreated to refugia in the Iberian Peninsula (two refugia here), southern France, Italy (likely two), the Balkans and the Carpathians  When the last Ice Age ended the species initially abruptly expanded north of the Alps to Germany during the Greenland Interstadial, 12 5–10 8 thousand years ago, but during the cooling of the Younger Dryas, 10 8–10 thousand years ago, it appears to have disappeared again from this region  It reappeared 9 7–9 5 thousand years ago, reaching northern central Europe  The modern population in this area appears to have recolonised it from the Carpathians and/or further east, but not the Balkans or other refugia  This is opposite to the red deer, which recolonised Europe from Iberia  There has been much admixture of these populations where they meet, also possibly due to human intervention in some cases It is thought that during the Middle Ages the two species of roe deer were kept apart due to hunting pressure and an abundance of predators; the different species may have met in the period just before that, and yet, during the Ice Age they were also kept apart 

Conservation
Populations are increasing throughout Europe; it is considered a species of 'least concern' 

Culture
In the Hebrew Bible Deuteronomy 14:5, the יַחְמ֑וּר, yahmur, derived from 'to be red', is listed as the third species of animal that may be eaten  In most Bibles this word has usually been translated as 'roe deer', and it still means as much in Arabic (أحمر, pronounced 'ahmar) -it was still said to be a common species in the Mount Carmel area in the 19th century  The King James Bible translated the word as 'fallow deer', and in other English Bible translations the word has been translated as a number of different species  When Modern Hebrew was reconstructed to serve as the language of the future Israel in late Ottoman and British Mandatory Palestine, the King James Bible interpretation was chosen, despite the fallow deer being fallow, not red 
Bambi, the titular character of the book Bambi, A Life in the Woods and its sequel Bambi's Children was originally a roe deer  When the story was adapted to the animated film Bambi by Walt Disney Pictures, the main character was changed to a white-tailed deer Albino roe deer were exceedingly rare in history, and they were regarded as national treasures or sacred animals in ancient times in China 
Passage 7:
5 6×57mm
The 5 6×57mm (designated as the 5,6 × 57 by the C I P ) cartridge was created by Rheinisch-Westfälische Sprengstoffwerke (RWS) in Germany in 1964 by necking down popular 7×57mm Mauser (similarly to how Paul Mauser himself created 6 5×57mm Mauser) for hunting small deer such as roe deer, and for chamois  The calibre has a significant following among European sportsmen, and most European mass production riflemakers chamber several models of rifle for this cartridge   During the 1970-1990 period this cartridge was widely and successfully used in the Republic of Ireland for deer shooting, since security considerations at a period of Provisional Irish Republican Army violence had led to a ban on the civilian ownership of calibres larger than  224in   Some British small deer specialist hunters use the 5 6×57 mm with great success on roe deer, muntjac and Chinese water deer With a factory-load velocity of 3,500 ft/s (1,100 m/s) with a 74-grain, cone-pointed bullet, it is approximately 100 ft/s (30 m/s) faster than the  220 Swift cartridge firing a bullet of equivalent weight   The larger case capacity means that handloaders can produce 50-grain loads that, with velocities in excess of 4,100 ft/s (1,200 m/s), will outpace anything that can safely be achieved by the Swift  The  223 Winchester Super Short Magnum is a 21st-century cartridge that is comparable to the 5 6×57 mm The 5 6×57mm cartridge case has a distinctively thick case wall, and this causes significant problems when handloading, owing to the force that needs to be used through the press when re-sizing the case neck   It has been suggested that this unusual neck thickness is the result of the use of  22 rimfire chamber adapters in centrefire rifles chambered for this cartridge 

5 6×57mm rimmed variant
The 5 6×57mmR (designated as the 5,6 × 57 R by the C I P ) is a rimmed variant of the 5 6×57mm  The rimmed variant was designed for break-open rifles and is almost identical to the rimless variant except for the rim 

Specifications
Bullet diameter: 5 69 mm ( 224")
Loads:
74 gr @ 1040 m/s (3412 ft/s)
60 gr @ 3700 ft/s
Passage 8:
Whitetail Deer Cutaneous Fibroma
Cutaneous fibromas (also known as deer warts) are common neoplasms occurring in wild and domestic deer of many species and are caused by host-specific viral infections  The fibromas occur most frequently in animals under 2 years of age, with cases in older deer reported occasionally or rarely Deer fibromas appear on the skin as hard and round tumors that can be up to 1 cm in diameter  The tumors are blackish or brown and have a rough-textured surface  They do not cause the animal harm unless clumps of fibromas interfere with breathing, eating, or walking 
Fibromas have been reported in white-tailed deer (Odocoileus virginianus), mule deer (Odocoileus hemionus), fallow deer (Cervus dama), red deer (Cervus elaphus), roe deer (Capreolus capreolus), Sika deer (Cervus nippon), moose (Alces alces), and caribou (Rangifer caribou) " They occur across the entirety of the white-tail deer's range 

Clinical signs and symptoms
The only visible signs of cutaneous fibroma in white-tailed deer are fleshy wart-like growths on the skin  These growths can vary from single to clusters of warts  These warts can also vary in size from small to very large  They are only attached to the skin, not to the underlying muscle and bone, so their only physical effects on the deer stem from their ability to impair the deer's sight and range of motion if they are large enough to inhibit normal behavior  Deer with these growths can still be in perfect health and usually show no symptoms of ill health 

Transmission
The fibromas are most often caused by host-specific papillomaviruses  They may also be due to host-specific poxviruses The transmission of cutaneous fibromas in the white-tailed deer is caused by a virus that is thought to be transmitted through a variety of insect bites or by a deer coming in contact with any contaminated object that scratches or penetrates the skin of the deer or contaminates wounded/damaged skin  Deer tend to frequent particular trails during their movements, and may thus potentially become infected by contact with objects on the path previously contaminated by other deer  As fibromas occur more commonly in bucks, the virus is probably often transmitted during sparring This disease appears temporary, manifesting after about 7 weeks after inoculation and lasting only about two months  Cutaneous fibromas are not transmissible to other livestock or to humans if their meat is consumed 

Occurrence
Fibromas occur most frequently in animals under 2 years of age  The tumor has been diagnosed in 2 1% of males and 0 4% of females  More bucks are shot (either by law or hunter preference), which influences the sampling 

Treatment and control
Treatment is not a feasible option for most wild populations  The disease has not been a problem in captive herds  The growths could be removed surgically if they became important, but that would rarely be an issue  Because exposure to the virus leads to immunity, it should be possible to develop a vaccine if prevention becomes necessary  To date, this disease has been too rare to justify such actions 

Prognosis
Large, ulcerated fibromas are infrequent  In most deer, the fibromas develop to only a few millimeters in diameter  Tumors then regress; this has been observed both in naturally occurring and experimentally induced cases  Only in an occasional deer do they develop into conspicuous skin tumors  Results of a New York survey indicated that wild deer are exposed and develop an immunity to the fibroma virus early in life 

Significance
Fibromatosis is not an important cause of deer mortality  The disease is not known to infect humans  Although they do not harm the meat, fibromas are repulsive to most people, so they discourage them from consuming the deer Some domesticated animals (cattle, dogs, etc ) are subject to "warts" common to their species  Fibromatosis of deer is quite unlikely to be infectious to domestic animals 

See also
Shope papilloma virus



ground_truth: Vienna

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What Lithuanian producer is best known for a song that was one of the most popular songs in Ibiza in 2014?

The following are given passages.
Context 4:  In the actual islands of the Chesapeake themselves, a separate, rhotic accent survives among the locals, sometimes known as "Hoi Toider" 

See also
Hampton Roads
Inner Banks
Southern Maryland
Eastern Shore (Maryland)
Eastern Shore (Virginia)
Passage 6:
Peanut soup
Peanut soup or groundnut soup is a soup made from peanuts, often with various other ingredients  It is a staple African cuisine but is also eaten in East Asia (Taiwan), the United States (mainly in Virginia) and other areas around the world  It is also common in some regions, such as Argentina northwest, Bolivia and Peru, where it can sometimes be served with bone meat and hollow short pasta or fries  In Ghana it is often eaten with fufu or omo tuo and is often very spicy  Groundnut soup is also a native soup of the Benin (Edo) people in Nigeria and it is often eaten with pounded yam   Some of the essential ingredients used in making it are Piper guineense (uziza seed) and Vernonia amygdalina (bitter leaf) It is prepared from groundnut which is mashed into a paste, usually termed as groundnut paste  Groundnut soup is eaten with eba, fufu, banku, kenkey and so on  It is a delicacy that Nigerian, Ghanaian and people in other African countries consume, such as in Sierra Leone  In Ghana, it is known as nkatenkwan in Akan language 

Gallery
See also
Peanut stew
Palm nut soup
List of peanut dishes
List of soups
Passage 7:
She-crab soup
She-crab soup is a rich soup, similar to bisque, made of milk or heavy cream, crab or fish stock, Atlantic blue crab meat, and (traditionally) crab roe, and a small amount of dry sherry added as it is plated  It may be thickened either by heat reduction or with a purée of boiled rice; it may also include such seasonings as mace and shallots or onions   The soup is a regional specialty from the South Carolina Lowcountry   It is commonly featured on the menus of many Charleston, South Carolina and Savannah, Georgia restaurants The soup is named for the "she-crab", or female crab, originally a gravid (roe-carrying) crab, as the orange crab roe comprise a chief ingredient in traditional she-crab soup   As with turtle soup, other ingredients may be added to the soup or substituted for others, although crabmeat is found in all versions 
Regulations in Maryland and other states restrict the collection of egg-bearing female crabs 

See also
Partan bree
List of cream soups
List of regional dishes of the United States
List of soups
Passage 8:
Syodon
Syodon is an extinct genus of dinocephalian therapsids that lived approximately 267-260 million years ago during the middle Permian period of the Paleozoic era  These therapsids, located in Russia  were initially believed to be true mammals   Syodon was first named by Stephan Kutorga in 1838  The fossils of these synapsids were first discovered in the Molotov Province region of Russia in limestone beds with a high content of copper  However, scientists believe that these organisms likely come from higher rock beds due to increased specializations in their morphology 

Etymology
The name Syodon is derived from Greek meaning pig's tooth  This name likely stemmed from the protruding canines similar to that of the lower canines of a wild boar 

Diet
Syodon is characterized as a carnivore, likely feeding on small-bodied prey   They lack the ‘expansion of supraorbital bones over the orbits, which would act as a stress sink’ in certain hypercarniverous species such as thalattosuchian Dakosaurus  This thickened supraorbital regions also found in large theropods would have alleviated cranial stress used for feeding on large prey  Since this adaption is not found in Syodon it is thought they were limited to small animals and prey which they could easily consume with their limited jaw architecture 

Paleobiology
Syodon is characterized by possessing "bulbous" post-canines featuring significant wear facets in adults, whereas juveniles tend to have ‘bladelike’ post canines  The canine of Syodon is highly distinctive and allows it to be distinguished easily  They also possess a large, strongly curved ‘hook-like canine  Syodon also feature a set of smaller, replacement teeth out-of-place from the main palatine tooth row The snout of Syodon is relatively long narrow compared to the rest of the body  The snout comprises approximately 1/4 the length of the skill  These synapsids reached 1 2 m (4 ft) in length 

See also
List of therapsids
Archaeosyodon
Microsyodon
Passage 9:
Watercress soup
Watercress soup is a soup prepared using the leaf vegetable watercress as a primary ingredient  It may be prepared as a cream soup or as a broth/stock-based soup using vegetable or chicken stock  Additional ingredients used can include vegetables such as potato, leeks, spinach, celery and turnips, cheese, butter, lemon juice, salt and pepper  Watercress soup can be prepared as a puréed soup by mixing the ingredients in a food processor  It can be served hot or cold, and may be garnished with crème fraîche, shaved Parmesan cheese, drizzled olive oil and watercress leaves 

Gallery
See also
Cabbage soup
List of soups
Spinach soup
Vegetable soup
List of vegetable soups
Passage 10:
1996 PW
1996 PW is an exceptionally eccentric trans-Neptunian object and damocloid on an orbit typical of long-period comets but one that showed no sign of cometary activity around the time it was discovered  The unusual object measures approximately 10 kilometers (6 miles) in diameter and has a rotation period of 35 4 hours and likely an elongated shape 

Description
1996 PW orbits the Sun at a distance of 2 5–504 AU once every 4,033 years (semi-major axis of 253 AU)  Its orbit has an eccentricity of 0 99 and an inclination of 30° with respect to the ecliptic Simulations indicate that it has most likely come from the Oort cloud, with a roughly equal probability of being an extinct comet and a rocky body that was originally scattered into the Oort cloud  The discovery of 1996 PW prompted theoretical research that suggests that roughly 1 to 2 percent of the Oort cloud objects are rocky 1996 PW was first observed on 9 August 1996 by the Near-Earth Asteroid Tracking (NEAT) automated search camera on Haleakala Observatory, Hawaii  It is the first object that is not an active comet discovered on an orbit typical of long-period comets 1996 PW has a rotation period of 35 44±0 02 hours and a double-peaked lightcurve with a high amplitude of 0 44±0 03 magnitude (U=3)  Its spectrum is moderately red and featureless, typical of D-type asteroids and bare comet nuclei  Its spectrum suggests an extinct comet  The upper limit on 1996 PW's dust production is 0 03 kg/s 

See also
Extinct comets
List of Solar System objects by greatest aphelion



ground_truth: Ten Walls