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

Question: Are both Frank Lloyd and Olivier Assayas American film directors?

The following are given passages.
Context 1: Passage 1:
Frank Lloyd
Frank William George Lloyd (2 February 1886 – 10 August 1960) was a British-born American film director, actor, scriptwriter, and producer  He was among the founders of the Academy of Motion Picture Arts and Sciences, and was its president from 1934 to 1935 
He is Scotland's first Academy Award winner and is unique in film history, having received three Oscar nominations in 1929 for his work on a silent film (The Divine Lady), a part-talkie (Weary River) and a full talkie (Drag)  He won for The Divine Lady  He was nominated and won again in 1933 for his adaptation of Noël Coward's Cavalcade and received a further Best Director nomination in 1935 for perhaps his most successful film, Mutiny on the Bounty  Lloyd is credited with being a founder of the Academy of Motion Picture Arts & Sciences 
In 1957, he was awarded the George Eastman Award, given by George Eastman House for distinguished contribution to the art of film On 8 February 1960, Lloyd received a star on the Hollywood Walk of Fame for his contributions to the motion pictures industry, at 6667 Hollywood Boulevard 

Early life and career
Lloyd was born in Cambuslang, on the outskirts of Glasgow, the youngest of seven children  His mother Jane was Scottish and his father Edmund was Welsh, a mechanical engineer  The family travelled the country until his father was injured and gave up engineering  They settled in Shepherd's Bush, London, where the family ran a pub  Lloyd worked in a shoe shop, sang in choral groups and joined a vaudeville group 
In 1909 he emigrated to Canada where he worked on a ranch in Alberta for a year  He also erected poles and writes for a telephone company, then joined a travelling show as an actor and singer  The show wound up in Los Angeles in 1913 and Lloyd decided to stay there and act in Hollywood films 

Film director
Paramount
He began directing shorts for Paramount and moved to longer running films: The Gentleman from Indiana (1915), Jane (1915), The Reform Candidate (1916), The Tongues of Men (1916), The Call of the Cumberlands (1916), Madame la Presidente (1916) with Anna Held, The Code of Marcia Gray (1916), David Garrick (1916 film) (1916), The Making of Maddalena (1916), An International Marriage (1916), and The Stronger Love (1916)  The Intrigue (1916) was produced through Pallas Films and released through Paramount   Lloyd's biographer argued his early films "are not 'masterpieces,' but they are on a par with films from other secondary directors of the period  In other words, they are not comparable to those directed by D W  Griffith, but are as good as those directed by Allan Dwan "

Fox
Lloyd directed Sins of Her Parent (1916) at Fox, and The World and the Woman (1916) with Jeanne Eagles for Tranhouser  Back at Fox he did The Kingdom of Love (1917), and a series of films starring William Farnum" The Price of Silence (1917), A Tale of Two Cities (1917) from the novel by Charles Dickens, American Methods (1917), When a Man Sees Red (1917), Les Misérables (1917), The Heart of a Lion (1917), True Blue (1918), Riders of the Purple Sage (1918) from the novel by Zane Grey and its sequel The Rainbow Trail (1918), For Freedom (1918), and The Man Hunter (1919)  Without Farnum, Lloyd directed The Blindness of Divorce (1918) 

Goldwyn
At Goldwyn he made Pitfalls of a Big City (1919),The World and Its Woman (1919), The Loves of Letty (1919), The Woman in Room 13 (1920), The Silver Horde (1920 film) (1920), Madame X  (1920) with Pauline Frederick, The Great Lover (1920), A Tale of Two Worlds (1921), Roads of Destiny (1921) with Frederick, A Voice in the Dark (1921), The Invisible Power (1921), The Grim Comedian (1921), and The Man from Lost River (1921) plus The Sin Flood (1922) with Richard Dix 

First National
Lloyd directed some films for First National with Norma Talmadge: The Eternal Flame (1921), The Voice from the Minaret (1922), Within the Law (1923) and Ashes of Vengeance (1923) 
Also for that studio was Oliver Twist (1922) with Lon Chaney and Jackie Coogan, and Black Oxen (1924) 
He had his own company at First National, Frank Lloyd Productions  They made The Sea Hawk (1924), a swashbuckler with Milton Sills, then The Silent Watcher (1924), Her Husband's Secret (1925), Winds of Chance (1925), The Splendid Road (1926), and The Wise Guy (1926) 

Paramount
At Paramount Lloyd made The Eagle of the Sea (1926), Children of Divorce (1927 film) (1927), Adoration (1928) with Billie Dove, The Divine Lady (1929) with Corinne Griffith, and Dark Streets (1929)  Lloyd won the Academy Award for Best director for The Divine Lady 
There were several films starring Richard Barthemless: Weary River (1929), Drag (1929), Young Nowheres (1930), Son of the Gods (1930), and The Lash (1930)  He was Oscar nominated for Best Director for Drag and Weary River 
There was also The Way of All Men (1930), a remake of Lloyds' own The Sin Flood, The Right of Way (1931), and East Lynne (1931) For Howard Hughes, Lloyd did The Age for Love (1931)  Back at Fox he made A Passport to Hell (1932) then Cavalcade (1933), which won Lloyd the Oscar for Best Director 
Lloyd then made what was his favourite film, Berkeley Square (1933), starring Leslie Howard, followed by Hoop-La (1933) the final film of Clara Bow and Servants' Entrance (1934) with Janet Gaynor 

Mutiny on the Bounty and later career
Lloyd had a huge hit with Mutiny on the Bounty (1935) at MGM which earned him another Oscar nomination for Best Director  
He followed it with Under Two Flags (1936) at Fox, a French Foreign Legion tale with Ronald Colman 

Paramount
At Paramount Lloyd made more historical films: Maid of Salem (1937) with Claudette Colbert, Wells Fargo (1937) with Joel McCrea, If I Were King (1938) with Colman and Rulers of the Sea (1938) with Douglas Fairbanks Jnr, which was a commercial disappointment 

Universal
Lloyd made The Howards of Virginia (1940) at Columbia with Cary Grant  At Universal he set up his own company  He directed This Woman Is Mine (1941), and The Lady from Cheyenne (1941), and his company produced Saboteur (1942) from Alfred Hitchcock, The Spoilers (1942) with John Wayne and Randolph Scott, and Invisible Agent (1942) 
He was one of several directors on RKO's Forever and a Day (1943)  Lloyd had a big hit with James Cagney's Blood on the Sun (1945)  He was Oscar nominated for Best Director of a Documentary with The Last Bomb  (1945)  Lloyf also served in the air force  He retired from filmmaking in 1946, intending to live on a ranch 

Final films
Lloyd's wife died in 1952 and he came out of retirement to make two films at Republic, The Shanghai Story (1954) and The Last Command (1955) a film about Jim Bowie  When he remarried in 1955 he retired again 

Personal life
Frank Lloyd was married to actress Alma Haller from 11 July 1913, until her death on 16 March 1952  By 1955, Lloyd married Virginia Kellogg, and remained married until Lloyd's death on 10 August 1960 at age 74  Lloyd was buried at Forest Lawn Memorial Park in Glendale, California 

Reputation
Frank Lloyd does not have a significant reputation  His biographer puts this down partly to the dismissal of Lloyd's work by Andrew Sarris (who compared the director unfavorably with Cecil B  de Mille) and "because he was what is best described as a studio director  His style is as much the style of the studio as it is his own  He did not make waves; he did not overly publicize and promote himself  What he did was for the good of the studio – not for his own ego "

Selected filmography
Passage 2:
Zeitgeist Films
Zeitgeist Films is a New York-based distribution company founded in 1988 which acquires and distributes films from the U S  and around the world  In 2017, Zeitgeist entered into a multi-year strategic alliance with film distributor Kino Lorber 
Zeitgeist has distributed early films by directors such as Todd Haynes, Christopher Nolan, Francois Ozon, Laura Poitras, Atom Egoyan, and the Quay Brothers  Their catalog also includes filmmakers such as Marguerite von Trotta, Ken Loach, Guy Maddin, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Yvonne Rainer, Andrei Zyvagintsev, Astra Taylor, and Raoul Peck  Previous Zeitgeist Films releases in association with Kino Lorber include Ken Loach's Sorry We Missed You, Ric Burns’ Oliver Sacks: His Own Life, and M C  Escher: Journey to Infinity 
Zeitgeist films have been nominated for Academy Awards several times  Nowhere in Africa (2001), won the Academy Award for Best Foreign Language Film  Their films have been featured in various film festivals including Cannes, Berlin, Sundance, Tribeca, and IDFA in Amsterdam  The Museum of Modern Art honored Zeitgeist with a month-long, 20th anniversary retrospective of their films in 2008  Founders Russo and Gerstman received a Lifetime Achievement Award from the Art House Convergence in 2020 

Upcoming films
Selected films
Awards
Trouble the Water – 2008 Academy Award Nominee for Best Documentary Feature
Tulpan – Kazakhstan's 2009 Academy Award submission for Best Foreign Language Film
Three Monkeys – Turkey's 2009 Academy Award submission for Best Foreign Language Film
Into Great Silence – 2006 Sundance Special Jury Prize
Nowhere in Africa – 2002 Academy Award for Best Foreign Language Film
Sophie Scholl – The Final Days – 2005 Academy Award nominee for Best Foreign Language Film
Taste of Cherry – 1997 Palme d'Or at the Cannes Film Festival
Poison – 1991 Sundance Grand Jury Prize winner
The Umbrellas of Cherbourg (1996 re-release) – Academy Award nominee, Palme d'Or winner (1964)
Passage 3:
Graduation (2016 film)
Graduation (Romanian: Bacalaureat) is a 2016 Romanian-language tragedy film produced, written, and directed by Cristian Mungiu and starring Adrian Titieni and Maria-Victoria Dragus  Set in Transylvania, the film focuses on a doctor's quest to fix his daughter's exam results by underhanded means 

Plot
Romeo is a middle-aged doctor employed at a local hospital in the Romanian region of Transylvania  He lives with his wife, Magda, and their 18-year-old daughter, Eliza, who has got a scholarship to Cambridge University  She is preparing to sit her final exams and needs to maintain a grade of at least 90% to take up her scholarship  Romeo is a doting father and drives Eliza to school regularly  
Romeo's girlfriend, Sandra, is a teacher at Eliza's school  One day while visiting Sandra he receives a message: Eliza has been assaulted near her school  She has a sprained wrist and is emotionally shaken up but is not seriously injured  She reveals that the assailant tried to rape her but did not succeed  
The next day Eliza must sit for her first examination  The headmaster tries to exclude her because she is wearing a cast on her wrist - notes can be hidden in a cast  Sandra intervenes and the headmaster backs down  The cast slows her writing and time runs out before she is finished - she will need nearly perfect results on the remaining exams to claim her scholarship  
At the police station the chief inspector suggests to Romeo that Eliza's exam results can be fixed in exchange for expediting a liver transplant for a corrupt official, a Mr  Bulai  
That evening Romeo discusses the plan with Magda and she immediately rejects it - she fears the corruption in Romania will affect Eliza's fresh start at Cambridge  Romeo argues that the exams are a mere formality, otherwise meaningless  She is unmoved  Romeo presents the plan to Eliza and implores her to accept a little help now to ensure a brighter future  She listens to him but doesn't make any committed responses, and Romeo tells her to do what she thinks is best before he leaves to let her rest 
The next day Romeo goes to the police station to see the CCTV from Eliza's attack  As he waits at the school for Eliza to complete her second exam, he speaks to her boyfriend, Marius  Romeo listens to what Marius has to say about what happened on the morning of the attack and is put off by Marius' aloofness of the whole incident  Because he was late, Eliza was left on her own  He also assumed Eliza went off to class and did not seek her out  Eliza and Marius go off together on his motorbike 
Eliza comes to fetch Romeo from Sandra's place after Romeo's mother collapses  No longer able to ignore the affair, Eliza threatens to skip her exams if he doesn't tell Magda about it immediately  She wonders aloud whether her other grades were also "fixed"  At home that evening Magda and Romeo talk  Magda already knew about Sandra and will try to get Eliza to take her last exam, but she also asks Romeo to move out 
The next day Romeo arrives for work at the hospital and is confronted by a pair of prosecutors  They want to interview Romeo's patient, Mr  Bulai, about corruption allegations against him  Romeo resists because Bulai is waiting for an operation and is quite unwell  The prosecutors caution Romeo they are aware of the quid-pro-quo arrangement for his daughter's exams - both he and Eliza could be facing charges   
Romeo visits the chief inspector again, who assures him that his daughter's assailant will soon be identified in a police line-up  Later that day he sees Marius and invites him to view the lineup, as he believes he saw Marius witness the attack on the CCTV footage  Marius refuses, saying he did not witness the attack, that it is not him in CCTV picture  Romeo accuses him of cowardice for not intervening, and for only calling the cops much later after witnessing the assault  Romeo orders Marius to stay away from Eliza, and Marius pushes him to the ground and leaves  Romeo visits the headmaster at home to warn him the prosecutors know of the plan  The headmaster tells him that he couldn't find Eliza's paper, and that he shouldn't come to his house again 
That evening at the police station Eliza fails to identify her attacker from a line-up  Later, Romeo is on a bus and sees one of the men from the line-up outside  He leaves the bus and follows him, but gets lost in a bad area  He ends up at Sandra's place and agrees to babysit her son the next morning 
The next day Mr  Bulai has died of a heart attack  The prosecutors are waiting and assure Romeo that the investigation into Mr  Bulai's crimes will continue  Romeo asks the prosecutors to come next Monday and he will co-operate with them for any of their questions  Romeo gets Sandra's son Matei into a speech therapy program  Romeo sees Eliza at her graduation and she tells him that she may not go to England  Romeo responds that it would be a shame but it's her decision  Eliza then says that the teachers gave her extra time to complete her exam, so she did not need to follow Romeo's plan for fixing her paper  She asks Romeo to take a photo of her with her graduating class 

Cast
Adrian Titieni - Romeo Aldea, a 49 year old physician living in a Transylvanian town with his daughter
Maria Drăguș - Eliza Aldea, an 18-year-old high school student planning to study psychology abroad in the United Kingdom after graduating
Lia Bugnar - Magda
Mălina Manovici - Sandra
Vlad Ivanov - Chief Inspector
Gelu Colceag - Exam committee president
Rareș Andrici - Marius

Production
According to Cristian Mungiu, the film was inspired by his own life at the time, while he was focusing on being a father  The film was produced through the director's company Mobra Films and co-produced with Why Not Productions, Wild Bunch, Les Films du Fleuve, France 3 Cinéma and Mandragora Movies  It received 1 91 million leu from the National Film Center  It was shot in the town Victoria from 11 June to 24 July 2015 

Release
Critical reception
On Rotten Tomatoes, Graduation has a rating of 95%, based on 138 critics, with an average rating of 8 2/10  The website's critical consensus reads, "Graduation marks yet another well-written and powerfully acted look at morality and societal decay from writer-director Cristian Mungiu " On Metacritic, Graduation holds a score of 84/100, based on 30 critics, indicating "universal acclaim" Peter Bradshaw of The Guardian lauded it as an "intricate, deeply intelligent film" 

Accolades
Graduation was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival  At Cannes, Mungiu shared the Best Director Award with Olivier Assayas for his film Personal Shopper  At the 8th Magritte Awards, it received a nomination in the category of Best Foreign Film in Coproduction 
Passage 4:
Olivier Assayas
Olivier Assayas (born 25 January 1955) is a French film director, screenwriter and film critic  Assayas is known for his slow-burning period pieces, psychological thrillers, neo-noirs and French comedies  He has frequently collaborated with Juliette Binoche and Kristen Stewart  The son of filmmaker Jacques Rémy, Assayas began his career as a critic for Cahiers du Cinéma  There he wrote about world cinema and its film auteurs, who later influenced his work  Assayas made several shorts, and then made the leap from writer to screenwriter 
He made his directorial film debut with Disorder in 1986  He continued directing films, with Cold Water (1994) a breakthrough film in his career  It was his first film to screen at the Cannes Film Festival in the Un Certain Regard section  His followup film, Irma Vep (1996), also screened at Cannes, while Sentimental Destinies (2000), Demonlover (2002), and Clean (2004) all officially competed for the Palme d'Or  In 2006, he contributed a short film to the anthology film Paris, je t'aime (2006)  He gained acclaim with his dramas Summer Hours (2008), Clouds of Sils Maria (2014) and Personal Shopper (2016); the latter won him the Cannes Film Festival Award for Best Director  He also directed the comedy Non-Fiction (2018) and the spy thriller Wasp Network (2019) 

Life and career
Assayas was born in Paris, France, the son of French director/screenwriter Raymond Assayas, alias Jacques Rémy (1911–1981)  His father was of Turkish-Jewish origin and had settled in Italy, while his mother, Catherine de Károlyi, was a fashion designer of Protestant Hungarian origin  Assayas started his career in the industry by helping his father  He ghostwrote episodes for TV shows his father was working on when his health failed  In a 2010 interview, Assayas said his main political influences when growing up were Guy Debord and George Orwell  Of the 1968 May uprising to overthrow Charles de Gaulle, Assayas said: "I was defined by the politics of May '68, but for me May '68 was an anti-totalitarian uprising  People seemed to forget that at the occupied Odéon theater, you had crossed flags-black and red, and I was on the side of the black element "Assayas's biggest hit to date is Irma Vep, starring Maggie Cheung, a tribute both to French director Louis Feuillade and to Hong Kong cinema 
While working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors  One of his films, HHH: A Portrait of Hou Hsiao-hsien, is a documentary about Taiwanese filmmaker Hou Hsiao-hsien 
Assayas married Cheung in 1998  They divorced in 2001, but their relationship remained amicable, and in 2004 Assayas made his film Clean with her 
He met actress-director Mia Hansen-Løve when Hansen-Løve, 17 at the time, starred in Assayas's 1998 feature Late August, Early September, but they "didn't get together until [she] was 20"  They separated in 2017 
In 2009 and 2010, Assayas signed two petitions in support of director Roman Polanski, who had been detained while traveling to a film festival in relation to his 1977 sexual abuse charges, which the first petition argued would undermine the tradition of film festivals as a place for works to be shown "freely and safely", and that arresting filmmakers traveling to neutral countries could open the door "for actions of which no-one can know the effects" Assayas directed and co-wrote the 2010 French television miniseries Carlos, about the life of the terrorist Ilich Ramírez Sánchez  Venezuelan actor Édgar Ramírez won the César Award for Most Promising Actor in 2011 for his performance as Carlos 
In April 2011, it was announced that Assayas would be a member of the jury for the main competition at the 2011 Cannes Film Festival Assayas's 2012 film Something in the Air was selected to compete for the Golden Lion at the 69th Venice International Film Festival  Assayas won the Osella for Best Screenplay at Venice  His 2014 film Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival  Sils Maria won the Louis Delluc Prize and garnered six César Award nominations, including Best Film, Best Director, and Best Original Screenplay  The film won a César Award for Best Supporting Actress for Kristen Stewart  In 2016, Assayas won Best Director Award (Cannes Film Festival) for Personal Shopper, which also starred Stewart In June 2017, it was announced that Assayas would preside over the 2017 Locarno Film Festival 

Style and influences
In an interview with Nick Pinkerton of Reverse Shot, Assayas talked about his influences:That radicality in cinema involved just being outside of the world of modern images, and the key to it was the work of Robert Bresson, who has been by far the most important influence in my work, and intellectually it's been the influence of Guy Debord—basically, you know, it's been Debord-Bresson, Bresson-Debord, the things that've always defined my framework, the way I look at the world 
Assayas participated in the 2012 Sight & Sound directors' poll, listing his ten favorite films as follows: 2001: A Space Odyssey, The Gospel According to St  Matthew, Ludwig, A Man Escaped, Mirror, Napoléon, Playtime, The Rules of the Game, The Tree of Life, and Van Gogh 

Filmography
Film
As a writer only

Passage secret (1985)
Rendez-vous (1985)
L'Unique (1986)
Scene of the Crime (1986)
Avril brisé (1987)
Filha da Mãe (1990)
Alice and Martin (1998)
Based on a True Story (2017) - Co-written with Roman Polanski

Television
Short films
Awards and nominations
Passage 5:
Jorge Arriagada
Jorge Arriagada (born 1943) is a Chilean film composer  He is perhaps best known for his long-term collaboration with director Raúl Ruiz  He has also worked with directors Patricio Guzman, Barbet Schroeder and Olivier Assayas 

Biography
Jorge Arriagada was born on August 20, 1943, in Santiago  He studied composition and orchestral conduction at the National Conservatory of Music in Santiago  He then obtained a scholarship from the French government that enabled him to study expressionism with Max Deutsch, who was Austrian composer Arnold Schoenberg's friend and student  He also studied composition with Olivier Messiaen and orchestral conduction with Pierre Boulez  In 1972, the Guggenheim Foundation in New York awarded him a fellowship for his contribution in the field of electronic music 
Arriagada has been living in France since 1966, working with experienced as well as promising directors while composing the scores of 44 of Raúl Ruiz's films  Over the years he has explored many different genres, including classical, contemporary and folk music as well as jazz 
He has been a jury in several film festivals, including San Sebastian, São Paulo, Valencia, among others 
Sacem Grand Prize for Music for the Image 2020 

Filmography
Discography
Three original soundtracks composed by Arriagada can be found on the CD compilation Les Musiques de Jorge Arriagada pour les films de Philippe Le Guay, released by Canadian label Disques Cinémusique, in 2013 : Alceste à Bicyclette, Les Femmes du 6e étage et Les Deux Fragonard  French and English liner notes  More information here 
The same label also released the same year Arriagada's complete original soundtrack from Les Lignes de Wellington  More information here 

External links
Jorge Arriagada at IMDb
Passage 6:
Irma Vep
Irma Vep is a 1996 French comedy-drama film written and directed by Olivier Assayas  Hong Kong actress Maggie Cheung plays a fictionalised version of herself, as disasters result when an unstable French film director (played by Jean-Pierre Léaud) attempts to remake Louis Feuillade's classic silent film serial Les Vampires (1915–16)  (Irma Vep is an anagram for the word "vampire" ) Taking place largely through the eyes of a foreigner (Cheung), it is also a meditation on the state of the French film industry 
Irma Vep was screened in the Un Certain Regard section at the 1996 Cannes Film Festival  It was released in France on 13 November 1996  
In 2022, the film was reimagined as a miniseries for HBO, created by Assayas 

Plot
The plot mirrors the disorientation felt by director René Vidal during a troubled production of a film-within-a-film  Maggie Cheung has been cast to play the film's heroine, Irma Vep, a burglar and a spy, who dresses in a tight, black, latex rubber catsuit  Irma Vep, it is explained, is an anagram for vampire, but she is not a literal vampire  Rather, she is the inspiration for a criminal gang named The Vampires, as in Feuillade's original serial 
René, the cast and crew view the film's dailies and he angrily declares the footage terrible and soulless  After he storms out, everyone else quickly departs the facility, leaving Maggie stranded  She accepts an invitation from the costume designer, Zoé, to a group dinner with other crew members  There, Zoé confides to another woman that she is romantically interested in Maggie, which the woman then tells Maggie, embarrassing her 
After the dinner with the other crew members, Maggie visits René at a hotel in the aftermath of a violent episode with his wife  René admits that he had mainly wanted to make the film because he desired to see her in it  Later that evening, Maggie, apparently possessed by her character, dons the catsuit and steals jewelry from a hotel suite while a nude woman argues on the phone with her boyfriend  She then throws away the jewelry 
The next morning, Zoé picks an exhausted Maggie up from her hotel room  René is a no-show on the set, and the crew attempt to film without him  At the end of the day, imperious film director José Mirano meets Maggie's costar Laure at a bar and tells her René has had a breakdown and that he has been hired to complete the film  He firmly contends that a Chinese actress should not be playing Irma Vep, who he sees as an icon within French culture  José tells her he intends to replace Maggie with Laure 
Zoé and Maggie take a taxi to a rave, but Maggie declines to go at the last minute and departs in the taxi  Zoé, looking disappointed, walks through the crowd at the rave 
José and the cast and crew gather at the screening facility to view the rushes that René has personally edited  Maggie is not there, however, and it is said that she has left for America to work on a film with Ridley Scott  The film ends with the rushes, which have been cut into a hallucinatory montage with numerous scratches and other modifications being done to the film itself  The future of the production is not revealed 

Cast
Allusions to French film history
The film refers to iconic figures in French film history: Louis Feuillade, Musidora, Arletty, François Truffaut, the Groupe SLON, Alain Delon, and Catherine Deneuve  Thematically, the film questions the place of French cinema today  According to Chris Darke, it is not a "mourning for cinema with the romantic nostalgia" but "more like the Mexican Day of the Dead: remembrance as an act of celebration"  Furthermore, Dale Hudson of Screen wrote, "It is less a film about re-presenting the past, than it is a film about addressing the present, specifically the place of France within the global economy "

Production
The idea for the film was born out of an attempted collaboration among Assayas, Claire Denis, and Atom Egoyan, who wanted to experiment with the situation of a foreigner in Paris  In the 1915 original serial, written and directed by Louis Feuillade, Irma Vep was played by French silent film actress Musidora (1889–1957)  Much of the film depicts set-related incidents that echo scenes in Truffaut's 1973 film Day for Night, to which Irma Vep owes a large thematic debt 
However, Assayas publicly stated that although he considers La nuit americaine a great film, it is more about the fantasy of filmmaking than the reality  Assayas credits as a greater inspiration Rainer Werner Fassbinder's Beware of a Holy Whore, in which Lou Castel, who plays the replacement director José Mirano in this film, plays a film director 
Assayas wrote the script in ten weeks, and the film was shot in a month, with no retakes  "Its hasty production circumstances seem perilously close to the ones that cause everyone such grief in the film "Assayas married Cheung in 1998  They divorced in 2001  They again collaborated in 2004 on the film Clean 

Reception
Irma Vep received a positive critical response  On Rotten Tomatoes, the film holds a rating of 94% based on 47 reviews with an average rating of 7 4/10  The website's critics consensus reads, "Starring a bewitching Maggie Cheung, Irma Vep is an evocative and reflexive satire of the filmmaking process that is bursting at the seams with an affection for cinema " On Metacritic, it has a metascore of 80 out of 100 based on 21 reviews, indicating "generally favorable reviews" 

References in other media
Lettrist footage from the film, along with shots from the original Les Vampires, are used in White Ring's video for their single "IxC999" 
A character in the five-comic series "Anno Dracula – 1895: Seven Days in Mayhem" by Kim Newman and Paul McCaffrey is based on Irma Vep 

Home media
Irma Vep was released on Blu-ray and DVD through The Criterion Collection on 27 April 2021 

Television adaptation
HBO produced a limited television series adaptation of the film that premiered at the Cannes Film Festival on 22 May 2022, and was released on 6 June 2022 on HBO  It stars Alicia Vikander, Vincent Macaigne, Adria Arjona, Byron Bowers, Devon Ross, Carrie Brownstein, Tom Sturridge and Fala Chen and was written and directed by Assayas 

See also
The Mystery of Irma Vep, a 1984 play for two characters by Charles Ludlam
Lettrism, inspiration for some sequences of the film
Passage 7:
Something in the Air (2012 film)
Something in the Air (French: Après mai; lit  'After May') is a 2012 French drama film written and directed by Olivier Assayas  The film was selected to compete for the Golden Lion at the 69th Venice International Film Festival, where Assayas won the Best Screenplay Award 

Plot
In 1971, French student Gilles gets entangled in contemporary political turmoils although he would rather just be a creative artist  While torn between his solidarity to his friends and his personal ambitions he falls in love with Christine 

Cast
Clément Métayer as Gilles
Lola Créton as Christine
Félix Armand as Alain
Carole Combes as Laure
India Menuez as Leslie
Hugo Conzelmann as Jean-Pierre
Martin Loizillon as Rackam le Rouge
André Marcon as Gilles' Father
Passage 8:
Clouds of Sils Maria
Clouds of Sils Maria (known simply as Sils Maria in some territories) is a 2014 psychological drama film written and directed by Olivier Assayas, and starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz  The film is a French-German-Swiss co-production  Principal photography took place from August to October 2013, with most of the filming taking place in Sils Maria, Switzerland  The film follows an established middle-aged actress (Binoche) who is cast as the older lover in a romantic lesbian drama opposite an upstart young starlet (Moretz)  She is overcome with personal insecurities and professional jealousies—all while sexual tension simmers between her and her personal assistant (Stewart)  The screenplay was written with Binoche in mind and incorporates elements from her life into the plot Clouds of Sils Maria was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014, and also screened at the Toronto International Film Festival and New York Film Festival  The film received positive reviews, with critics lauding the work as psychologically complex and praising the lead actresses' performances  It won the Louis Delluc Prize for Best Film in December 2014, and received six César Award nominations  Stewart received the César Award for Best Supporting Actress in February 2015, the first time an American won the award 

Plot
Maria Enders is an international film and stage actress  She travels with a loyal and young American assistant, Valentine  Twenty years earlier, Maria got her big break when she was cast and successfully performed as a young girl Sigrid in both the play and film version of Maloja Snake by Wilhelm Melchior, a Swiss playwright who is now elderly  The play centers on the tempestuous relationship between Sigrid and Helena, a vulnerable older woman  Helena commits suicide after Sigrid takes advantage of her and dumps her 
While traveling to Zürich to accept an award on behalf of Wilhelm, and planning to visit him at home the following day at his house in Sils Maria—a remote settlement in the Alps—Maria learns of his death  His widow Rosa later confides that Wilhelm had ended his life and had been terminally ill  During the awards ceremony, Maria is approached by Klaus Diesterweg, a popular theater director  He wants to persuade her to appear onstage in a revival of Maloja Snake, but this time in the role of Helena 
Maria is torn and reluctantly accepts  To prepare for the role, she accepts Rosa's offer to stay at the Melchiors' house in Sils Maria  Rosa is leaving to escape her memories of Wilhelm  Maria's discussions with Valentine and their read-throughs of the play's scenes evoke uncertainty about the nature of their relationship  A young American actress, 19-year-old Jo-Ann Ellis, has been chosen to portray the role of Sigrid  Researching her on Google and the Internet, Valentine tells Maria, who is out of touch with social media, that Ellis has been involved in numerous scandals 
Questions soon multiply regarding aging, time, culture and the blurring line between the Sigrid/Helena and the Valentine/Maria relationships  Maria and Jo-Ann finally meet, but their relationship is complicated  Jo-Ann appears to be implicated in the attempted suicide of the ex-wife of her new boyfriend 
During their time at Sils Maria, Maria and Valentine spend much of their days hiking in the Alps  On one such final outing, they hike to the Maloja Pass to observe the Maloja Snake (both the "Maloja Snake" of the play's title and the "Clouds of Sils Maria" in the film's title)  When discussing the play’s ending, in which Helena walks into the mountains never to return, Valentine suggests that Helena can still be alive and walk away to start a new life  Maria protests that Helena must be dead because she doesn’t return  After suggesting that their approaches to the play are too different for her (Valentine) to be a useful assistant, Valentine disappears without explanation 
A few weeks later, a young filmmaker who has previously sent a script to Maria visits her by appointment five minutes before the curtain rises on the opening night of Maloja Snake in London  Maria seems preoccupied, being so close to the start of the performance, and dismisses his suggested ideas about the proposed film role he is offering her as "too abstract for me"  When she says the role he has written is too young for her and would suit Jo-Ann better, he suggests that the character is ageless and that he does not relate to his era with its Internet scandals and trashy values  Maria does not give him a reply as to whether she will take part in the film  She then appears onstage, smoking and waiting for Sigrid 

Cast
Production
Principal photography of Clouds of Sils Maria began on 22 August 2013 and ended on 4 October  The film was shot on location in the titular village of Sils Maria, Switzerland as well as Zürich; Leipzig, Germany; and South Tyrol, Italy 
In an interview, Assayas said that all the film's interiors were shot in Germany  The production moved to Sils Maria to film the hiking scenes, and moved again to film the scenes in and around the chalet in South Tyrol The Chanel company debuted in film financing with this production  In addition it supplied the actresses with clothes, jewelry, accessories, and makeup, and the brand was scripted in as a provider of the same to Maria   Chanel provided some of the budget to allow Olivier Assayas to fulfill his dream of shooting a film on 35-mm film instead of digitally Assayas has described the fictional play Maloja Snake as a "condensed, brutalized version" of The Bitter Tears of Petra von Kant, a play by Rainer Werner Fassbinder (it was later adapted as a film of the same name) The American title of the film is Clouds of Sils Maria  In France the film was released as Sils Maria, Assayas' original name 

Release
Marketing
The first trailer for the film was released on 22 May 2014  Another international trailer followed on 7 July 

Film festivals
The film was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival on 23 May 2014  It also screened at the Toronto International Film Festival and New York Film Festival 

Reception
Critical response
On review aggregator Rotten Tomatoes, 91% of 179 critics have given the film a positive review, with an average rating of 7 6/10  The website's critics consensus reads: "Bolstered by a trio of powerful performances from its talented leads, Clouds of Sils Maria is an absorbing, richly detailed drama with impressive depth and intelligence " On Metacritic, the film has a weighted average score of 79 out of 100, based on 41 reviews from critics, indicating "generally favorable reviews" Clouds of Sils Maria premiered at the Cannes Film Festival to positive reviews  Robbie Collin of The Daily Telegraph stated, "This is a complex, bewitching and melancholy drama, another fearlessly intelligent film from Assayas " He said, "Binoche plays the role with elegance and melancholic wit – her character slips between fiction and fact in a way that recalls her role in Abbas Kiarostami's Certified Copy  But it's Stewart who really shines here  Valentine is probably her best role to date: she's sharp and subtle, knowable and then suddenly distant, and a late, surprising twist is handled with a brilliant lightness of touch "Peter Debruge of Variety said it was Assayas' "daring rejoinder, a multi-layered, femme-driven meta-fiction that pushes all involved—including next-gen starlets Kristen Stewart and Chloë Grace Moretz — to new heights " Matt Risley of Total Film called it "an elegant, intelligent drama, enlivened by strong performances by Binoche, Moretz and especially Stewart, for whom this will surely usher in a new dawn "Stephanie Zacharek of The Village Voice wrote: "But the movie's true center, the meteorological phenomenon that makes it so pleasurable to watch, is the half-prickly, half-affectionate interplay between Binoche and Stewart " Ben Sachs of Chicago Reader wrote: "This recalls Ingmar Bergman's chamber dramas in the intensity and psychological complexity of the central relationship, yet the filmmaking is breathtakingly fluid, evoking a sense of romantic abandon "However, Kyle Smith of the New York Post writes: "A backstage drama that has all the sizzle of a glass of water resting on the windowsill, [   ] Clouds of Sils Maria mistakes lack of dramatic imagination for smoldering subtlety " Richard Brody from The New Yorker writes: "Clouds of Sils Maria, as the title suggests, is a sort of travelogue, a commercial for European cultural tourism, and, as such, it's the perfect image of the very system that created it  There's almost no independent filmmaking in France, and there isn't supposed to be  If there were, it would stand as a threat to the system that, by way of training, enticements, and restrictions, is the source of the comforts that the movie depicts and that the movie reflects  The mediocrity is stifling "

Box office
Clouds of Sils Maria opened in France on 20 August 2014 in 150 theaters for a $3,663 per theater average and a box office total of $549,426 as of 24 August 2014  The film expanded to 195 theaters in its second week of release, and the box office increased to an estimated $1,150,090 
Clouds of Sils Maria opened in the United States on 10 April 2015 in three theaters and grossed $69,729 on its opening weekend for an average of $23,243 per  As of 4 June 2015, the film has grossed an estimated $1,743,577 after expanding theaters 

Awards and nominations
The film won the Louis Delluc Prize for Best Film in December 2014  The film received six César Award nominations including best film, best director, best actress, best original screenplay, and best cinematography, while Stewart won for best supporting actress, becoming the first American actress to win a César and the third  American actor to win after Adrien Brody in 2003 and Christopher Lambert in 1985 

Soundtrack
"Kowalski" by Primal Scream
"Largo de Xerxes" – Georg Friedrich Handel
"Canon and Gigue in D Major for 3 Violins and Basso Continuo" – Johann Pachelbel
"Paavin of Albarti (Alberti)" – Innocentio Alberti (performed by Hesperion XXI)
"Sonata No  2 in D Minor" – Georg Friedrich Handel
"Sonata No  2 in B-Flat Major for Violin and Harp, Op  16: II  Adagio" - Louis Spohr
"Trio for Violin, Cello and Harp in E minor: III  Rondo" - Louis Spohr

Home media
The film was released on DVD and Digital HD by Paramount Home Media on July 14, 2015; the company also handles the digital entertainment sales, with IFC handling the video on demand sales The Criterion Collection released a DVD and Blu-ray edition on 28 June 2016 
Passage 9:
Eddie's House
Eddie's House was a doghouse designed by Frank Lloyd Wright for the Berger family of San Anselmo, California, to be used by their dog Eddie  Wright designed Eddie's House to be in keeping with the family's home, known as the Robert Berger House, which he had previously designed  The plans for the doghouse were completed by Wright in 1957, and the 4 sq ft (0 37 m2) triangular house was built in 1963  In 1973 Eddie's House was removed and thrown away, but in 2010 Jim and Eric Berger, sons of Robert Berger, rebuilt Eddie's House from the original plans for a segment in Romanza, a documentary film by Michael Miner about Frank Lloyd Wright's architectural works in California  The doghouse remains the smallest structure Frank Lloyd Wright ever designed 

History
Eddie's House was a doghouse designed by Frank Lloyd Wright as an addition to the Robert Berger House   The Robert Berger House is a dwelling designed by Frank Lloyd Wright for the Berger family   Wright gave the plans to trained engineer and College of Marin professor Robert Berger to build the house on his own on Redwood Road in San Anselmo, California  It took 20 years to finish the US$15,000 house In 1956, Robert's 12-year-old son Jim Berger became concerned about his black Labrador Retriever Eddie staying outside in the winter, and decided he needed a doghouse to stay warm  Jim subsequently wrote a letter to Frank Lloyd Wright stating, "I would appreciate it if you would design me a doghouse which would be easy to build but would go with our house " Jim continued to explain Eddie's dimensions ("two and a half feet high and three feet long"), his dog's age ("four years old or in dog life 28 years"), and his ability to pay for the plans and materials of the doghouse with earned money from delivering newspapers along a bicycle paper route he had  Wright responded to the letter with a typed and signed note on Taliesin West stationery  The note stated that "A house for Eddie is an opportunity   but just now I am too busy to concentrate on it " Wright implored the boy to write again a year later to see if he was a little less busy Jim followed the suggestion laid out by Wright and a year later wrote again asking for a Frank Lloyd Wright-designed doghouse  Not long after sending out this second letter a full set of working drawings arrived in the mail for a four square foot triangular doghouse designed by Wright himself  The doghouse was to be built of scrap Philippine mahogany and cedar left over from the construction of the human-sized house it was to be situated next to  Looking back at the situation a 68-year-old Jim Berger stated:
My dog had a lot of class, and a Frank Lloyd Wright doghouse was perfect for him  I was very excited for my dog 
Jim Berger never built the doghouse and in 1963, at the age of 19, Jim joined the U S  Army  That same year, after Jim's departure, his younger brother Eric and his father completed the doghouse  Eddie did not particularly like the new house and took to sleeping by the front door of the Robert Berger House instead, presumably because it was warmer there  "That was kind of depressing," stated Jim Berger when reflecting on the incident Robert Berger died in 1973 and Mrs  Berger, not seeing any value in a triangular doghouse that Eddie and the subsequent dogs they owned would not sleep in, had it hauled to the dump the same year In 2010, while filming a documentary about buildings designed by Wright in California, Michael Miner stumbled across the doghouse story  Miner asked Jim Berger if rebuilding Eddie's House was an option  Jim, at this point a retired woodshop teacher, said that he had wanted to rebuild the doghouse for years and this was the opportunity to do so  Over the next three months Jim and his brother Eric, a skilled cabinetmaker, were filmed by Miner rebuilding the doghouse to Wright's specification in Eric's Petaluma, California garage  Jim Berger said, in relation to the construction process, "In the letter, I said I wanted something easy to build, but this doghouse was not easy to build  It was very complicated "The construction process is featured in Miner's documentary, Romanza, and the rebuilt doghouse also went on a publicity tour for the film  During filming, the rebuilt doghouse was placed on the side of the Robert Berger House where the original once sat  On that day it happened to be raining and Miner noticed something peculiar about the doghouse which it had in common with other Wright-designed structures:  "It leaks "

Design
Eddie's House is the smallest structure ever known to be designed by Frank Lloyd Wright and fits in well with the Robert Berger House  Eddie's House was constructed of the same materials as the larger house and the "small triangular hut    bowed to the hexagonal geometry of the house's hexagonal plan " The doghouse also displays many signature design elements that have come to represent Frank Lloyd Wright's architectural style  These include an entrance hidden on the rear of the house, and a large overhang on a roof with a low pitch When Eddie's House was actually constructed, the Berger family did not follow Wright's plans strictly  They changed the location of the door as well as not including a concrete base planned by Wright to make the doghouse portable 

See also
List of Frank Lloyd Wright works
 Architecture portal
 Dogs portal
Passage 10:
Cold Water (film)
Cold Water (French: L'eau froide) is a 1994 French film written and directed by Olivier Assayas about two troubled teenagers in France during the 1970s  The film was screened in the Un Certain Regard section at the 1994 Cannes Film Festival In October, 2007, it was screened at the Pacific Film Archive in Berkeley, California, where Assayas spent a week in residence introducing and discussing his films with the audiences there  He was accompanied by his friend Jean-Michel Frodon, the current director of the journal Cahiers du cinéma, of which Assayas was once the director  Assayas said the film is autobiographical, reflecting upon his own teenage years  He went out of his way to cast actors who were not professionals or who, as in the case of male lead Cyprien Fouquet (playing Gilles), had never acted before, although female lead Virginie Ledoyen (playing Christine) had appeared in several films  The film was the result of a commission from French TV, which wanted a 52-minute film but allowed Assayas to make a longer version, after some negotiations 

Plot
Gilles and Christine are teenagers from unstable homes  When they do some shop-lifting together she is arrested, but he gets away  She escapes from a mental institution and meets him at an abandoned house in the country, where a large group of rebellious teenagers are having a wild, all-night party  American rock music from the period is played prominently and has a very strong effect, especially "Me and Bobby McGee," sung by Janis Joplin  Drugs are used, mainly pot and hash  As the party is winding down, Gilles and Christine escape even deeper into the countryside, searching for a commune where artists are said to live without electricity or running water  This is Christine's idea, but Gilles reluctantly goes along  A jolting conclusion shows us that, as Assayas puts it, "Gilles' real life has now begun "

Cast
Virginie Ledoyen - Christine
Cyprien Fouquet - Gilles
László Szabó - Gilles's father
Jean-Pierre Darroussin - Inspector
Jackie Berroyer - Christine's father
Dominique Faysse - Christine's mother
Smaïl Mekki - Mourad
Jean-Christophe Bouvet - Professor
Ilona Györi - Marie
Renée Amzallag - The nurse
Jérôme Simonin - Vendeur de dynamite
Laetitia Lemerle - Corrine
Alexandra Yonnet - Copine blouson
Caroline Doron - Copine blessée
Laetitia Giraud - Christiane
Context 2: Passage 1:
Sinbad the Sailor
Sinbad the Sailor (; Arabic: سندباد البحري, romanized: Sindibādu al-Bahriyy  or Sindbad) is a fictional mariner and the hero of a story-cycle  He is described as hailing from Baghdad during the early Abbasid Caliphate (8th and 9th centuries A D )  In the course of seven voyages throughout the seas east of Africa and south of Asia, he has fantastic adventures in magical realms, encountering monsters and witnessing supernatural phenomena 

Origins and sources
The tales of Sinbad are a relatively late addition to the One Thousand and One Nights – they do not feature in the earliest 14th-century manuscript, and they appear as an independent cycle in 18th- and 19th-century collections  The tale reflects the trend within the Abbasid realm of Arab and Muslim sailors exploring the world  The stories display the folk and themes present in works of that time  The Abbasid reign was known as a period of great economic and social growth  Arab and Muslim traders would seek new trading routes and people to trade with  This process of growth is reflected in the Sinbad tales  The Sinbad stories take on a variety of different themes  Later sources include Abbasid works such as the "Wonders of the Created World", reflecting the experiences of 13th century Arab mariners who braved the Indian Ocean The Sinbad cycle is set in the reign of the Abbasid Caliph Harun al-Rashid (786–809)  The Sinbad tales are included in the first European translation of the Nights, Antoine Galland's Les mille et une nuits, contes arabes traduits en français, an English edition of which appeared in 1711 as The new Arabian winter nights entertainments and went through numerous editions throughout the 18th century 
The earliest separate publication of the Sinbad tales in English found in the British Library is an adaptation as The Adventures of Houran Banow, etc  (Taken from the Arabian Nights, being the third and fourth voyages of Sinbad the Sailor ), around 1770  An early US edition, The seven voyages of Sinbad the sailor  And The story of Aladdin; or, The wonderful lamp, was published in Philadelphia in 1794  Numerous popular editions followed in the early 19th century, including a chapbook edition by Thomas Tegg  Its best known full translation was perhaps as tale 120 in Volume 6 of Sir Richard Burton's 1885 translation of The Book of the Thousand Nights and a Night 

Tales
Sinbad the Porter and Sinbad the Sailor
Like the 1001 Nights, the Sinbad story-cycle has a frame story which goes as follows: in the days of Harun al-Rashid, Caliph of Baghdad, a poor porter (one who carries goods for others in the market and throughout the city) pauses to rest on a bench outside the gate of a rich merchant's house, where he complains to God about the injustice of a world which allows the rich to live in ease while he must toil and yet remain poor  The owner of the house hears and sends for the porter, finding that they are both named Sinbad  The rich Sinbad tells the poor Sinbad that he became wealthy "by Fortune and Fate" in the course of seven wondrous voyages, which he then proceeds to relate 

First Voyage of Sinbad the Sailor
After dissipating the wealth left to him by his father, Sinbad goes to sea to repair his fortune  He sets ashore on what appears to be an island, but this island proves to be a gigantic sleeping whale on which trees have taken root ever since the whale was young  Awakened by a fire kindled by the sailors, the whale dives into the depths, the ship departs without Sinbad, and Sinbad is only saved by a passing wooden trough sent by the grace of Allah  He is washed ashore on a densely wooded island  While exploring the deserted island, he comes across one of the king's grooms  When Sinbad helps save the king's mare from being drowned by a sea horse (not a seahorse, but a supernatural horse that lives underwater), the groom brings Sinbad to the king  The king befriends Sinbad, and he rises in the king's favor and becomes a trusted courtier  One day, the very ship on which Sinbad set sail docks at the island, and he reclaims his goods (still in the ship's hold)  Sinbad gives the king his goods and in return the king gives him rich presents  Sinbad sells these presents for a great profit  Sinbad returns to Baghdad, where he resumes a life of ease and pleasure  With the ending of the tale, Sinbad the sailor makes Sinbad the porter a gift of a hundred gold pieces and bids him return the next day to hear more about his adventures 

Second Voyage
On the second day of Sinbad's tale-telling (but the 549th night of Scheherazade's), Sinbad the sailor tells how he grew restless of his life of leisure, and set to sea again, "possessed with the thought of traveling about the world of men and seeing their cities and islands " Accidentally abandoned by his shipmates again, he finds himself stranded in an island which contains roc eggs  He attaches himself with the help of his turban to a roc and is transported to a valley of giant snakes which can swallow elephants; these serve as the rocs' natural prey  The floor of the valley is carpeted with diamonds, and merchants harvest these by throwing huge chunks of meat into the valley: the birds carry the meat back to their nests, and the men drive the birds away and collect the diamonds stuck to the meat  The wily Sinbad straps one of the pieces of meat to his back and is carried back to the nest along with a large sack full of precious gems  Rescued from the nest by the merchants, he returns to Baghdad with a fortune in diamonds, seeing many marvels along the way 

Third Voyage
Sinbad sets sail again from Basra  But by ill chance, he and his companions are cast up on an island where they are captured by a "huge creature in the likeness of a man, black of colour,     with eyes like coals of fire and large canine teeth like boar's tusks and a vast big gape like the mouth of a well  Moreover, he had long loose lips like camel's, hanging down upon his breast, and ears like two Jarms falling over his shoulder-blades, and the nails of his hands were like the claws of a lion " This monster begins eating the crew, beginning with the Reis (captain), who is the fattest  (Burton notes that the giant "is distinctly Polyphemus" )
Sinbad hatches a plan to blind the beast with the two red-hot iron spits with which the monster has been kebabbing and roasting the ship's company  He and the remaining men escape on a raft they constructed the day before  However, the giant's mate hits most of the escaping men with rocks and they are killed  After further adventures (including a gigantic python from which Sinbad escapes using his quick wits), he returns to Baghdad, wealthier than ever 

Fourth Voyage
Impelled by restlessness, Sinbad takes to the seas again and, as usual, is shipwrecked  The naked savages amongst whom he finds himself feed his companions a herb which robs them of their reason (Burton theorises that this might be bhang), prior to fattening them for the table  Sinbad realises what is happening and refuses to eat the madness-inducing plant  When the cannibals lose interest in him, he escapes  A party of itinerant pepper-gatherers transports him to their own island, where their king befriends him and gives him a beautiful and wealthy wife 
Too late Sinbad learns of a peculiar custom of the land: on the death of one marriage partner, the other is buried alive with his or her spouse, both in their finest clothes and most costly jewels  Sinbad's wife falls ill and dies soon after, leaving Sinbad trapped in a cavern, a communal tomb, with a jug of water and seven pieces of bread  Just as these meagre supplies are almost exhausted, another couple—the husband dead, the wife alive—are dropped into the cavern  Sinbad bludgeons the wife to death and takes her rations 
Such episodes continue; soon he has a sizable store of bread and water, as well as the gold and gems from the corpses, but is still unable to escape, until one day a wild animal shows him a passage to the outside, high above the sea  From here, a passing ship rescues him and carries him back to Baghdad, where he gives alms to the poor and resumes his life of pleasure 
Burton's footnote comments: "This tale is evidently taken from the escape of Aristomenes the Messenian from the pit into which he had been thrown, a fox being his guide  The Arabs in an early day were eager students of Greek literature " Similarly, the first half of the voyage resembles the Circe episode in The Odyssey, with certain differences: while a plant robs Sinbad's men of their reason in the Arab tales, it is Circe's magic which "fattened" Odysseus' men in The Odyssey  It is in an earlier episode, featuring the 'Lotus Eaters', that Odysseus' men are fed a similar magical fruit which robs them of their senses 

Fifth Voyage
"When I had been a while on shore after my fourth voyage; and when, in my comfort and pleasures and merry-makings and in my rejoicing over my large gains and profits, I had forgotten all I had endured of perils and sufferings, the carnal man was again seized with the longing to travel and to see foreign countries and islands " Soon at sea once more, while passing a desert island Sinbad's crew spots a gigantic egg that Sinbad recognizes as belonging to a roc  Out of curiosity, the ship's passengers disembark to view the egg, only to end up breaking it and having the chick inside as a meal  Sinbad immediately recognizes the folly of their behaviour and orders all back aboard ship  However, the infuriated parent rocs soon catch up with the vessel and destroy it by dropping giant boulders they have carried in their talons Shipwrecked yet again, Sinbad is enslaved by the Old Man of the Sea, who rides on his shoulders with his legs twisted round Sinbad's neck and will not let go, riding him both day and night until Sinbad would welcome death  (Burton's footnote discusses possible origins for the old man—the orang-utan, the Greek god Triton—and favours the African custom of riding on slaves in this way) Eventually, Sinbad makes wine and tricks the Old Man into drinking some  Sinbad kills him after he falls off  A ship carries him to the City of the Apes, a place whose inhabitants spend each night in boats off-shore, while their town is abandoned to man-eating apes  Yet through the apes, Sinbad recoups his fortune and eventually finds a ship which takes him home once more to Baghdad 

Sixth Voyage
"My soul yearned for travel and traffic"  Sinbad is shipwrecked yet again, this time quite violently as his ship is dashed to pieces on tall cliffs  There is no food to be had anywhere, and Sinbad's companions die of starvation until only he is left  He builds a raft and discovers a river running out of a cavern beneath the cliffs  The stream proves to be filled with precious stones and it becomes apparent that the island's streams flow with ambergris  He falls asleep as he journeys through the darkness and awakens in the city of the king of Serendib (Sri Lanka/Ceylon), "diamonds are in its rivers and pearls are in its valleys"  The king marvels at what Sinbad tells him of the great Haroun al-Rashid, and asks that he take a present back to Baghdad on his behalf, a cup carved from a single ruby, with other gifts including a bed made from the skin of the serpent that swallowed an elephant ("And whoso sitteth upon it never sickeneth"), and "A hundred thousand miskals of Sindh lign-aloesa ", and a slave-girl "like a shining moon"  Sinbad returns to Baghdad, where the Caliph wonders greatly at the reports Sinbad gives of Serendib 

Seventh and Last Voyage
The ever-restless Sinbad sets sail once more, with the usual result  Cast up on a desolate shore, he constructs a raft and floats down a nearby river to a great city  Here the chief of the merchants gives Sinbad his daughter in marriage, names him his heir, and conveniently dies  The inhabitants of this city are transformed once a month into birds, and Sinbad has one of the bird-people carry him to the uppermost reaches of the sky, where he hears the angels glorifying God, "whereat I wondered and exclaimed, 'Praised be God! Extolled be the perfection of God!'" But no sooner are the words out than there comes fire from heaven which all but consumes the bird-men  The bird-people are angry with Sinbad and set him down on a mountain-top, where he meets two youths, servants of God who give him a golden staff; returning to the city, Sinbad learns from his wife that the bird-men are devils, although she and her father were not of their number  And so, at his wife's suggestion, Sinbad sells all his possessions and returns with her to Baghdad, where at last he resolves to live quietly in the enjoyment of his wealth, and to seek no more adventures 
Burton includes a variant of the seventh tale, in which Haroun al-Rashid asks Sinbad to carry a return gift to the king of Serendib  Sinbad replies, "By Allah the Omnipotent, Oh my lord, I have taken a loathing to wayfare, and when I hear the words 'Voyage' or 'Travel,' my limbs tremble"  He then tells the Caliph of his misfortune-filled voyages; Haroun agrees that with such a history "thou dost only right never even to talk of travel"  Nevertheless, at the Caliph's command, Sinbad sets forth on this, his uniquely diplomatic voyage  The king of Serendib is well pleased with the Caliph's gifts (which include, among other things, the food tray of King Solomon) and showers Sinbad with his favour  On the return voyage, the usual catastrophe strikes: Sinbad is captured and sold into slavery  His master sets him to shooting elephants with a bow and arrow, which he does until the king of the elephants carries him off to the elephants' graveyard  Sinbad's master is so pleased with the huge quantities of ivory in the graveyard that he sets Sinbad free, and Sinbad returns to Baghdad, rich with ivory and gold  "Here I went in to the Caliph and, after saluting him and kissing hands, informed him of all that had befallen me; whereupon he rejoiced in my safety and thanked Almighty Allah; and he made my story be written in letters of gold  I then entered my house and met my family and brethren: and such is the end of the history that happened to me during my seven voyages  Praise be to Allah, the One, the Creator, the Maker of all things in Heaven and Earth!" 
Some versions return to the frame story, in which Sinbad the Porter may receive a final generous gift from Sinbad the Sailor  In other versions the story cycle ends here, and there is no further mention of Sinbad the Porter 

Adaptations
Sinbad's quasi-iconic status in Western culture has led to his name being recycled for a wide range of uses in both serious and not-so-serious contexts, frequently with only a tenuous connection to the original tales  Many films, television series, animated cartoons, novels, and video games have been made, most of them featuring Sinbad not as a merchant who stumbles into adventure, but as a dashing dare-devil adventure-seeker 

Theatrical films
English language animated films
Sinbad the Sailor (1935) is an animated short film produced and directed by Ub Iwerks 
Popeye the Sailor Meets Sindbad the Sailor (1936) is a two-reel animated cartoon short subject in the Popeye Color Feature series, produced in Technicolor and released to theatres on 27 November 1936 by Paramount Pictures  It was produced by Max Fleischer for Fleischer Studios, Inc  and directed by Dave Fleischer 
Sinbad (1992) is an animated film originally released on 18 May 1992 and based on the classic Arabian Nights tale, Sinbad the Sailor, and produced by Golden Films 
Sinbad: Beyond the Veil of Mists (2000) is the first feature-length computer animation film created exclusively using motion capture  While many animators worked on the project, the human characters were entirely animated using motion capture 
Sinbad: Legend of the Seven Seas (2003) is an American animated adventure film produced by DreamWorks Animation and distributed by DreamWorks Pictures  The film uses traditional animation with some computer animation  It was directed by Tim Johnson 

Non-English language animated films
Arabian naito: Shindobaddo no bôken (Arabian Nights: Adventures of Sinbad) (1962) (animated Japanese film) 
A Thousand and One Nights (1969) Story created by Osamu Tezukui, combination of other One Thousand and One Nights stories and the legends of Sinbad 
Pohádky Tisíce a Jedné Noci (Tales of 1,001 Nights) (1974), a seven-part animated film by Karel Zeman 
Doraemon: Nobita's Dorabian Nights (1991) 
Sinbad (film trilogy) (2015–2016) is a series of Japanese animated family adventure films produced by Nippon Animation and Shirogumi 
The Adventures of Sinbad (2013) is an Indian 2D animated film directed by Shinjan Neogi and Abhishek Panchal, and produced by Afzal Ahmed Khan 
Sinbad: Pirates of Seven Storm (2016) A Russian animated film by CTB Film Company 

Live-action English language theatrical films
Arabian Nights is a 1942 adventure film directed by John Rawlins and starring Sabu, Maria Montez, Jon Hall and Leif Erickson  The film is derived from The Book of One Thousand and One Nights but owes more to the imagination of Universal Pictures than the original Arabian stories  Unlike other films in the genre (The Thief of Bagdad), it features no monsters or supernatural elements 
Sinbad the Sailor (1947) is a 1947 American Technicolor fantasy film directed by Richard Wallace and starring Douglas Fairbanks Jr , Maureen O'Hara, Walter Slezak, and Anthony Quinn  It tells the tale of the "eighth" voyage of Sinbad, wherein he discovers the lost treasure of Alexander the Great 
Son of Sinbad (1955) is a 1955 American adventure film directed by Ted Tetzlaff  It takes place in the Middle East and consists of a wide variety of characters including over 127 women 
The 7th Voyage of Sinbad (1958) is a 1958 Technicolor heroic fantasy adventure film directed by Nathan H  Juran and starring Kerwin Mathews, Torin Thatcher, Kathryn Grant, Richard Eyer, and Alec Mango  It was distributed by Columbia Pictures and produced by Charles H  Schneer 
Captain Sindbad (1963) is a 1963 independently made fantasy and adventure film, produced by Frank King and Herman King (King Brothers Productions), directed by Byron Haskin, that stars Guy Williams and Heidi Brühl  The film was shot at the Bavaria Film studios in Germany and was distributed by Metro-Goldwyn-Mayer 
The Golden Voyage of Sinbad (1973) a fantasy film directed by Gordon Hessler and featuring stop motion effects by Ray Harryhausen  It is the second of three Sinbad films released by Columbia Pictures 
Sinbad and the Eye of the Tiger (1977) is a fantasy film directed by Sam Wanamaker and featuring stop motion effects by Ray Harryhausen  The film stars Patrick Wayne, Taryn Power, Margaret Whiting, Jane Seymour, and Patrick Troughton  It is the third and final Sinbad film released by Columbia Pictures 

Live-action English language direct-to-video films
Sinbad: The Battle of the Dark Knights (1998) - DTV film about a young boy that must go back in time to help Sinbad 
The 7 Adventures of Sinbad (2010) is an American adventure film directed by Adam Silver and Ben Hayflick  As a mockbuster distributed by The Asylum, it attempts to capitalise on Prince of Persia: The Sands of Time and Clash of the Titans 
Sinbad and The Minotaur (2011) starring Manu Bennett is a 2011 Australian fantasy B movie directed by Karl Zwicky serving as an unofficial sequel to the 1947 Douglas Fairbanks Jr  film and Harryhausen's Sinbad trilogy  It combines Arabian Nights hero Sinbad the Sailor with the Greek legend of the Minotaur 
Sinbad: The Fifth Voyage (2014) starring Shahin Sean Solimon, low budget film 
Sinbad and the War of the Furies (2016) An American action film starring John Hennigan, direct-to-streaming 

Live-action non-English language films
Sinbad Khalashi, or Sinbad the Sailor is a 1930 Indian silent action-adventure film by Ramchandra Gopal Torney 
Sinbad Jahazi, or Sinbad the Sailor, is a 1952 Indian Hindi-language adventure film by Nanabhai Bhatt 
Sindbad ki Beti, or Daughter of Sindbad, is a 1958 Indian Hindi-language fantasy film by Ratilal  It follows the daughter of Sindbad as she goes out in search for her missing father 
Son of Sinbad is a 1958 Indian Hindi-language film by Nanabhai Bhatt  A sequel to Sinbad Jahazi, it follows the adventures of the son of Sinbad in high seas 
Sinbad contro i sette saraceni (Sinbad against the Seven Saracens)  (Italian: Sindbad contro i sette saraceni, also known as Sinbad Against the 7 Saracens) is a 1964 Italian adventure film written and directed by Emimmo Salvi and starring Gordon Mitchell  The film was released straight to television in the United States by American International Television in 1965 
Sindbad Alibaba and Aladdin is a 1965 Indian Hindi-language fantasy-adventure musical film by Prem Narayan Arora  It starred Pradeep Kumar in the role of Sindbad 
Shehzade Sinbad kaf daginda (Prince Sinbad of the Mountains) (1971) (Turkish film) 
Simbad e il califfo di Bagdad (Sinbad and the Caliph of Baghdad) (1973) (Italian film) 
Sinbad of the Seven Seas (1989) is a 1989 Italian fantasy film produced and directed by Enzo G  Castellari from a story by Luigi Cozzi, revolving around the adventures of Sinbad the Sailor  Sinbad must recover five magical stones to free the city of Basra from the evil spell cast by a wizard, which his journey takes him to mysterious islands and he must battle magical creatures in order to save the world 

Television
English language series and films
Sinbad Jr  and his Magic Belt (1965) 
The Freedom Force (TV Series) (1978) 
The Adventures of Sinbad (1979) - TV animated film 
Mystery Science Theater 3000 (1993) episode: The Magic Voyage of Sinbad
The Fantastic Voyages of Sinbad the Sailor (1996–1998) is an American animated television series based on the Arabian Nights story of Sinbad the Sailor and produced by Fred Wolf Films that aired beginning 2 February 1998 on Cartoon Network 
The Adventures of Sinbad (1996–98) is a Canadian Action/Adventure Fantasy television series following on the story from the pilot of the same name 
The Backyardigans (2007) episode: "Sinbad Sails Alone" 
Sinbad (2012) - A UK television series from Sky1 
Sindbad & The 7 Galaxies (2016 by Sun TV, picked up by Toonavision in 2020) is an animated children's comedy adventure TV series created by Raja Masilamani and IP owned by Creative Media Partners Note: Sinbad was mentioned, but did not actually appear, in the Season 3 episode Been There, Done That of Xena Warrior Princess when one of the story's lovers tells Xena that he was hoping that Hercules would have appeared to save his village from its curse 

Non-English language series and films
Arabian Nights: Sinbad's Adventures (Arabian Naitsu: Shinbaddo No Bôken, 1975) 
Manga Sekai Mukashi Banashi: The Arabian Nights: Adventures of Sinbad the Sailor (1976) Japanese anime TV series, Directed by Sadao Nozaki and Tatsuya Matano  Producer Yuji Tanno  The origins of this is a series called Manga Hajimete Monogatari  This is dubbed in English and narrated by Telly Savalas 
Alif Laila (1993–1997), an Indian television series based on the One Thousand and One Nights which aired on Doordarshan's DD National  Episodes titled "Sindbad Jahaazi" focus on the adventures of the sailor, where he is portrayed by Shahnawaz Pradhan 
Princess Dollie Aur Uska Magic Bag (2004–2006), an Indian teen fantasy adventure television series on Star Plus where Vaquar Shaikh portrays Sinbad, one of the main characters in the show along with Ali Baba and Hatim 
Magi: The Labyrinth of Magic (2012), Magi: The Kingdom of Magic (2013) and Magi: Adventure of Sinbad (2016) are Japanese fantasy adventure manga series 
Janbaaz Sindbad (2015–2016), an Indian adventure-fantasy television series based on Sinbad the Sailor which aired on Zee TV, starring Harsh Rajput in the titular role Note: A pair of foreign films that had nothing to do with the Sinbad character were released in North America, with the hero being referred to as "Sinbad" in the dubbed soundtrack  The 1952 Russian film Sadko (based on Rimsky-Korsakov's opera Sadko) was overdubbed and released in English in 1962 as The Magic Voyage of Sinbad, while the 1963 Japanese film Dai tozoku (whose main character was a heroic pirate named Sukezaemon) was overdubbed and released in English in 1965 as The Lost World of Sinbad 

Video games
In the Arabian Nights-themed video game Sonic and the Secret Rings, Sinbad looks almost exactly like Knuckles the Echidna 
In 1978 Gottlieb manufacturing released a pinball machine named Sinbad, the artwork featured characters from the movie Sinbad and the Eye of the Tiger  Also released, in a shorter run, was an Eye of the Tiger pinball game 
in 1996 the pinball game Tales of the Arabian Nights was released featuring Sinbad  This game (manufactured by Williams Electronics) features Sinbad's battle with the Rocs and the Cyclops as side quests to obtain jewels  The game was adapted into the video game compilation Pinball Hall of Fame: The Williams Collection in 2009 
In 1984 game simply called Sinbad was released by Atlantis Software 
In 1986 game called Sinbad and the Golden Ship was released by Mastertronic Ltd 
Another 1986 game called The Legend of Sinbad was released by Superior Software 
in 1987 game called Sinbad and the Throne of the Falcon was released by Cinemaware 

Music
In Nikolai Rimsky-Korsakov's suite Scheherazade, the 1st, 2nd, and 4th movements focus on portions of the Sinbad story  Various components of the story have identifiable themes in the work, including rocs and the angry sea  In the climactic final movement, Sinbad's ship (6th voyage) is depicted as rushing rapidly toward cliffs and only the fortuitous discovery of the cavernous stream allows him to escape and make the passage to Serindib 
The song "Sinbad the Sailor" in the soundtrack of the Indian film Rock On!! focuses on the story of Sinbad the Sailor in music form 
Sinbad et la légende de Mizan (2013) A French stage musical  the musical comedy event in Lorraine  An original creation based on the history of Sinbad the Navy, heroes of 1001 nights  A quest to traverse the Orient, 30 artists on stage, mysteries, combats, music and enviable dances     A new adventure for Sinbad, much more dangerous than all the others 
Sinbad's adventures have appeared on various audio recordings as both readings and dramatizations, including Ali Baba and the Forty Thieves/Sinbad the Sailor (Riverside Records RLP 1451/Golden Wonderland GW 231, played by Denis Quilley), Sinbad the Sailor (Tale Spinners for Children on United Artists Records UAC 11020, played by Derek Hart), Sinbad the Sailor: A Tale from the Arabian Nights (Caedmon Records TC-1245/Fontana Records SFL 14105, read by Anthony Quayle), Sinbad the Sailor /The Adventures of Oliver Twist and Fagin (Columbia Masterworks ML 4072, read by Basil Rathbone), 1001 Nights: Sinbad the Sailor and Other Stories (Naxos Audio 8 555899, narrated by Bernard Cribbins) and The Arabian Nights (The Voyages of Sinbad the Sailor) (Disneyland Records STER-3988) 
"Nagisa no Sinbad" (渚のシンドバッド) was the 4th single released by Pink Lady, a popular Japanese duo in the late 1970s and early 1980s  The song has been covered by former idol group W and by the Japanese super group Morning Musume 

Literature
In The Count of Monte Cristo, "Sinbad the Sailor" is but one of many pseudonyms used by Edmond Dantès 
In his Ulysses, James Joyce uses "Sinbad the Sailor" as an alias for the character of W B  Murphy and as an analogue to Odysseus  He also puns mercilessly on the name: Jinbad the Jailer, Tinbad the Tailor, Whinbad the Whaler, and so on 
Edgar Allan Poe wrote a tale called "The Thousand-and-Second Tale of Scheherazade"  It depicts the 8th and final voyage of Sinbad the Sailor, along with the various mysteries Sinbad and his crew encounter; the anomalies are then described as footnotes to the story 
Polish poet Bolesław Leśmian's Adventures of Sindbad the Sailor is a set of tales loosely based on the Arabian Nights 
Hungarian writer Gyula Krúdy's Adventures of Sindbad is a set of short stories based on the Arabian Nights 
In John Barth's "The Last Voyage of Somebody the Sailor", "Sinbad the Sailor" and his traditional travels frame a series of 'travels' by a 20th-century New Journalist known as 'Somebody the Sailor' 
Pulitzer Prize winner Steven Millhauser has a story entitled "The Eighth Voyage of Sinbad" in his 1990 collection The Barnum Museum 

Comics
"Sinbad the Sailor" (1920) artwork by Paul Klee (Swiss-German artist, 1879–1940) 
In 1950, St  John Publications published a one shot comic called Son of Sinbad 
In 1958, Dell Comics published a one shot comic based on the film The 7th Voyage of Sinbad 
In 1963, Gold Key Comics published a one shot comic based on the film Captain Sinbad 
In 1965, Dell Comics published a 3 issue series called Sinbad Jr 
in 1965 Gold Key Comics published a 2 issue mini-series called The Fantastic Voyages of Sinbad 
In 1974 Marvel Comics published a two issue series based on the film The Golden Voyage of Sinbad in Worlds Unknown #7 and #8  They then published a one shot comic based on the film The 7th Voyage of Sinbad in 1975 with Marvel Spotlight #25 
In 1977, the British comic company General Book Distributors, published a one shot comic/magazine based on the film Sinbad and the Eye of the Tiger 
In 1988, Catalan Communications published the one shot graphic novel The Last Voyage of Sinbad 
In 1989 Malibu Comics published a 4 issue mini-series called Sinbad, and followed that up with another 4 issue mini-series called Sinbad Book II: In the House of God In 1991 
In 2001, Marvel Comics published a one shot comic that teamed Sinbad with the Fantastic Four called Fantastic 4th Voyage of Sinbad 
In 2007, Bluewater Comics published a 3 issue mini-series called Sinbad: Rogue of Mars 
In 2008, the Lerner Publishing Group published a graphic novel called Sinbad: Sailing into Peril 
In 2009, Zenescope Entertainment debuted Sinbad in their Grimm Fairy Tales universe having him appearing as a regular ongoing character  He first appeared in his own 14 issue series called 1001 Arabian Nights: The Adventures of Sinbad  Afterwards he appeared in various issues of the Dream Eater saga, as well as the 2011 Annual, Giant-Size, and Special Edition one-shots 
In 2012, a graphic novel called Sinbad: The Legacy, published by Campfire Books, was released  He appears in the comic book series Fables written by Bill Willingham, and as the teenaged Alsind in the comic book series Arak, Son of Thunder—which takes place in the 9th century AD—written by Roy Thomas 
In Alan Moore's The League of Extraordinary Gentlemen: Black Dossier, Sinbad appears as the Immortal Orlando's lover of thirty years, until he leaves for his 8th Voyage and never returns 
In The Simpsons comic book series "Get Some Fancy Book Learnin'", Sinbad's adventures are parodied as "Sinbart the Sailor" 
"The Last Voyage of Sinbad" by Richard Corben and Jan Strnad originally appeared as "New Tales of the Arabian Nights" serialized in Heavy Metal magazine, issues #15–28 (1978–79) and was later collected and reprinted as a trade paperback book 
Sinbad is a major character in the Japanese manga series Magi: The Labyrinth of Magic written and illustrated by Shinobu Ohtaka 

Theme parks
Sinbad provides the theme for the dark ride Sinbad's Storybook Voyage at Tokyo DisneySea



ground_truth: no

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

Question: What else was Baghdad known as during the Abbasid Caliphate?

The following are given passages.
Context 2: 
Sinbad embarks on an adventure to save a trapped princess in the water-based boat ride, The Adventures of Sinbad at Lotte World in Seoul, South Korea 
The Efteling theme park at Kaatsheuvel in the Netherlands has a land themed after Sinbad called De Wereld van Sindbad (The World of Sinbad)  It includes the indoor roller coaster Vogel Rok, themed after Sinbad's fifth voyage, and Sirocco, a teacups ride 
The elaborate live-action stunt show The Eighth Voyage of Sinbad at the Universal Orlando Resort in Florida features a story inspired by Sinbad's voyages 

Other references
Actor and comedian David Adkins uses the stage name Sinbad 
An LTR retrotransposon from the genome of the human blood fluke, Schistosoma mansoni, is named after Sinbad  It is customary for mobile genetic elements like retrotransposons to be named after mythical, historical, or literary travelers; for example, the well-known mobile genetic elements Gypsy and Mariner 

See also
Aeneid
Gulliver's Travels
List of literary cycles
Odyssey
Sunpadh
The Voyage of Bran

Notes
Passage 2:
Battle of Hama
The Battle of Hama was fought some 24 km (15 mi) from the city of Hama in Syria on 29 November 903 between the forces of the Abbasid Caliphate and pro-Isma'ili Bedouin (called "Fatimids" or "Qarmatians")  The Abbasids were victorious, resulting in the capture and execution of the Isma'ili leadership  This removed the Isma'ili presence in northern Syria, and was followed by the suppression of another revolt in Iraq in 906  More importantly, it paved the way for the Abbasid attack on the autonomous Tulunid dynasty and the reincorporation of the Tulunid domains in southern Syria and Egypt into the Abbasid Caliphate 

Background
In the second half of the 9th century, the Isma'ili Shi'ite sect began establishing a network of agents and sympathizers across the Muslim world  It was a time of millennialist expectations, coinciding with a deep crisis of the Abbasid Caliphate during the decade-long Anarchy at Samarra, the rise of breakaway and autonomous regimes in the provinces, and the large-scale Zanj Rebellion, whose leader claimed Alid descent and proclaimed himself as the mahdi  In this chaotic atmosphere, and with the Abbasids preoccupied with suppressing the Zanj uprising, the Isma'ili missionaries found fertile ground, aided by dissatisfaction among the adherents of the rival Twelver branch of Shi'a Islam with the political quietism of their leadership and the recent disappearance of their own imam  Missionaries like Hamdan Qarmat and his brother-in-law Abu Muhammad Abdan spread their network of agents to the area around Kufa in the late 870s, and from there to Yemen (Ibn Hawshab, 882) and thence India (884), Bahrayn (Abu Sa'id al-Jannabi, 899), Persia, and Ifriqiya (Abu Abdallah al-Shi'i, 893)  In this period, the Isma'ili movement was based at Salamiya on the western edge of the Syrian Desert, and its leadership was assumed by Sa'id ibn al-Husayn, the future founder of the Fatimid Caliphate  Sa'id's claims to be the awaited mahdi instead of Muhammad ibn Isma'il, as had been hitherto assumed, caused a split in the movement in 899  Hamdan denounced the leadership in Salamiya, gathered the Iraqi missionaries and ordered them to cease the missionary effort  Shortly after he disappeared from his headquarters, and Abdan was assassinated at the instigation of Zakarawayh ibn Mihrawayh, who had remained loyal to Salamiya  These events caused a major split in the Isma'ili movement, between those who recognized Sa'id's claims to the imamate and those who rejected them  The latter are generally known by the term "Qarmatians", although this name was also applied by non-Isma'ilis in a pejorative sense to the supporters of the Fatimids After his role in the murder of Abdan, Zakarawayh ibn Mihrawayh escaped Iraq and resumed his missionary efforts among the Bedouin tribes of the eastern Syrian Desert, but with little success  He then sent his sons, al-Husayn and Yahya, who became known by the names Sahib al-Shama ("Man with the Mole") and Sahib al-Naqa ("Master of the She-camel"), to proselytize among the large Bedouin tribal confederation of the Banu Kalb, between Palmyra and the Euphrates River  Many Bedouin from the Banu'l-Ullays and Banu'l-Asbagh flocked to them, thus acquiring a potent military force, albeit one with limitations: the Bedouin were more concerned with extracting booty from the settled communities, and were ill-suited to campaigns of conquering and holding territories  Buoyed by their success, the brothers and their followers adopted the name al-Fatimiyyun ("Fatimids") and rose in revolt in 902  The motivations of al-Husayn, Yahya, and their father, who remained in Iraq, have been variously interpreted by modern scholars  Traditionally this movement has been regarded as wholly "Qarmatian" in character, and was called that by the Abbasid government  In recent years, however, the consensus follows the analysis of Heinz Halm, which has shown that Zakarawayh and his sons remained loyal to Sa'id, and that their actions aimed at securing possession of Syria and triggering a general rebellion against the Abbasids  Nevertheless, this uprising was apparently without the knowledge or authorization of Sa'id, and would end up placing him in mortal danger, as it alerted the authorities to the whereabouts of the Isma'ili movement's true leader, who had to flee to Ramla From their base in the region around Palmyra, the Fatimid Bedouin began launching raids against the Abbasid and Tulunid provinces of Syria, with devastating effect  In 902, they defeated the Tulunids under Tughj ibn Juff near Raqqa, and laid siege to Damascus for seven months, from December 902 until July 903  The city was successfully held by Tughj and the Sahib al-Naqa was killed  Leadership passed to the Sahib al-Shama, who led his men to ravage Homs, Hama, Ba'albek, and Ma'arrat al-Numan  Based at Salamiya, and in the expectation that his hidden master would come forth, the Bedouin began to establish the institutions of a state: at the mint of Homs, coins were issued in the name of the mahdi, and in the Friday sermon the name of the Abbasid caliph was dropped in favour of the—as yet unnamed—"Successor, the rightly-guided Heir, the Lord of the Age, the Commander of the Faithful, the Mahdi"  Encamped at Salamiya, the Bedouin waited for Sa'id's arrival in vain, from August to November 903  Despite al-Husayn's repeated entreaties in his correspondence with his master, however, Sa'id refused to leave the safety of Ramla 

Battle
In view of the apparent impotence of the Tulunid regime to stop the Bedouin raids, the Syrians called upon the Abbasid government to intervene directly, and on 30 July 903, Caliph al-Muktafi commanded that a campaign be undertaken  The campaign was nominally headed by al-Muktafi in person, who left Baghdad on 9 August and went to Raqqa  In mid-August, the Bedouin under a certain al-Mutawwaq surprised an Abbasid army some 10,000 strong near Aleppo, while it was resting and dispersed, with many troops seeking to escape the intense heat in a local river; the Abbasid troops were routed, and only about a thousand managed to reach the city, where, under the command of Abu al-Agharr, they repulsed the Bedouin attacks  At about the same time, however, the general Badr al-Hammami inflicted a heavy defeat on the Sahib al-Shama and his men near Damascus  The Bedouin fled to the desert, and Caliph al-Muktafi sent men under al-Husayn ibn Hamdan to pursue them  While al-Muktafi remained at Raqqa, command of the army in the field was given to the head of the department of the army (diwan al-jund), Muhammad ibn Sulayman al-Katib  On Tuesday, 29 November 903, the Abbasid army under Muhammad met the Fatimids at a location some 24 km from Hama  The course of the battle is described in a victory dispatch sent by Muhammad to the caliph afterwards and included in the History of the Prophets and Kings of al-Tabari According to the latter, on the morning of 29 November, the Abbasid army set out from al-Qarwanah towards al-Alyanah—both unidentified locations—deployed in full battle order  During the march, Muhammad ibn Sulayman received a report that a part of the Fatimid army, comprising 3,000 horse and many foot under one of the Isma'ili chief missionaries, al-Nu'man, had encamped at a locality some 12 Arabic miles (about 24 kilometres (15 mi)) from Hama, and that the other detachments of the Bedouin army had joined him there  Muhammad led his army towards the Bedouin encampment, and found them deployed in battle array  According to the report of Muhammad, the Bedouin left wing was led by Masrur al-Ulaymi and others, in charge of 1,500 horsemen  Behind the left wing was placed a reserve force of 400 cavalry  The Bedouin centre was commanded by al-Nu'man al-Ullaysi and other officers, and comprised 1,400 cavalry and 3,000 infantry, while the right wing was commanded by Kulayb al-Ullaysi and others and numbered 1,400 horsemen, with a reserve force of 200 horsemen more As the two armies advanced on each other, the Bedouin left thrust forward against the Abbasid right, which was commanded by al-Husayn ibn Hamdan  The troops of Ibn Hamdan repulsed the first Bedouin attack, and then the second, killing 600 horsemen  The Bedouin on the left broke and fled; Ibn Hamdan and his men pursued them and in a series of engagements killed all but 200 of them  Ibn Hamdan's troops reportedly captured 500 horses and 400 silver necklaces as well  The Bedouin right wing likewise attacked the Abbasid left, held by al-Qasim ibn Sima, Yumn al-Khadim, and the tribal allies of Banu Shayban and Banu Tamim  While the two wings were grappling with each other, an Abbasid detachment under Khalifah ibn al-Mubarak and Lu'lu' attacked the Bedouin on their flank and broke their lines  Here too the Bedouin fled pursued by the government forces, who took some 600 horses and 200 necklaces as booty  Several Fatimid commanders, including the missionary al-Nu'man, were killed at the battle Muhammad himself confronted the Bedouin centre along with several other officers: Khaqan, Nasr al-Qushuri, and Muhammad ibn Kumushjur led forces from the right flank, Wasf Mushgir, Muhammad ibn Ishaq ibn Kundajiq, Ahmad ibn Kayghalagh and his brother Ibrahim, al-Mubarak al-Qummi, Rabi'a ibn Muhammad, Muhajir ibn Tulayq, al-Muzaffar ibn Hajj, Abdallah ibn Hamdan (al-Husayn's brother), Jinni the Elder, Wasif al-Buktamir, Bishr al-Buktamiri, and Muhammad ibn Qaratughan  With the support of troops from the right wing, who after repelling the Bedouin left flanked their centre, the Abbasids were victorious here as well  The Fatimids broke and were pursued over several miles  Muhammad ibn Sulayman, fearful lest his army disperse itself during the pursuit, or leave the infantry and the baggage train—guarded by Isa ibn Muhammad al-Nushari—exposed to a Bedouin attack, halted the pursuit of his own detachment after half a mile  He set up camp there for the night, and with the Caliph's spear as a rallying point, began regrouping the various squadrons  Despite the overwhelming victory, Muhammad and his officers remained on guard during the night, concerned of a possible Bedouin attack 

Aftermath
The Sahib al-Shama did not take part in the battle, having remained behind at Salamiya along with the treasure he had hoarded there on behalf of his master  Enraged about the apparent abandonment by the supposed divinely-guided imam, the Sahib al-Shama turned against him: his residence at Salamiya was destroyed, and all family members and servants encountered there executed  This atrocity, along with the failure of the uprising, led later Fatimid historians to try and excise Sa'id's relationship with the sons of Zakarawayh in what Halm calls an act of damnatio memoriae  The Sahib al-Shama tried to rouse the chiefs of the Banu'l-Ullays to resistance, but they refused  Left with no other recourse, the Sahib al-Shama, along with his cousin al-Muddathir, his associate al-Muttawaq and a Greek page fled through the desert  By the time they reached the locality of al-Daliyah on the Euphrates Road near al-Rahba, they had run out of supplies  When a servant was sent to buy provisions in the settlement, he aroused the suspicions of the villagers with his strange dress and manner, so that they notified a local official, Abu Khubzah  The latter rode out with an escort, and after interrogating the servant went to the Qarmatians' camp and took them prisoner  They captured the Sahib al-Shama and his companions were then escorted by Abu Khubzah and the local governor, Ahmad ibn Muhammad ibn Kushmard, to Caliph al-Muktafi in Raqqa, which they entered on 19 December Al-Muktafi returned to Baghdad with the senior captives, who were thrown into prison  Muhammad ibn Sulayman remained at Raqqa to scour the countryside and round up the remaining rebels  He too then returned to Baghdad, which he entered in triumph on 2 February 904  Eleven days later, on 13 February, Muhammad and the sahib al-shurta of the capital, Ahmad ibn Muhammad al-Wathiqi, presided over the public execution of the Fatimid leaders and Isma'ili sympathizers rounded up from Kufa and Baghdad The Abbasid victory near Hama did not yet fully eradicate the Isma'ili threat  In 906, the Banu Kalb, under Abu Ghanim Nasr, rose up in rebellion, raided the Hawran and Tiberias, and launched a failed attack on Damascus  They then sacked Tiberias and plundered Hit on the Euphrates  Nasr was soon cornered by the caliphal army, however, and killed by the Banu Kalb themselves in exchange for pardon  As a result, the Isma'ili activities shifted east to the Euphrates, where Zakarawayh ibn Mihrawayh (the father of al-Husayn and Yahya) had also rebelled in 906 near Kufa  After leading an unsuccessful attack on Kufa and number of devastating raids on Hajj caravans, he too was killed in early 907 by caliphal troops under Wasif ibn Sawartakin near al-Qadisiyya  With these defeats, the Isma'ili movement virtually ceased to exist in the Syrian Desert, although their counterparts in Bahrayn remained an active threat for several decades to come More importantly, the defeat of the Fatimid Bedouin at Hama opened the way for the Abbasids to recover the provinces of southern Syria and Egypt, held by the Tulunids  The Tulunid regime had become enfeebled due to internal strife, rivalries and the defection of senior officers, and the recent failures against the Bedouin  In 904, Muhammad ibn Sulayman led an army into Syria  The campaign met with little opposition; the Tulunid emir Harun ibn Khumarawayh was even assassinated by his uncles, whereupon several senior commanders switched sides  The Abbasids entered the Egyptian capital Fustat in January 905 without a fight, completing the reconquest of the province 
Passage 3:
Abna' al-dawla
The abnāʾ al-dawla (Arabic: أبناء الدولة, meaning "sons of the regime/dynasty"), often simply " the Abnāʾ", is a term for the Khorasani Arabs who had participated in the Abbasid Revolution of 749–750 and their descendants, who settled in Baghdad and Iraq  They became the ruling elite of the Abbasid Caliphate and formed the mainstay of the caliphal army  However, the term appears rarely in the sources until the time of the Fourth Fitna civil war in the 810s, when it is applied to the Khurasanis of Baghdad, who overwhelmingly supported Caliph al-Amin against his brother al-Ma'mun  The terms ahl Khurāsān ("people of Khurasan") and abnāʾ ahl Khurāsān ("sons of the people of Khurasan") are more frequently used for the Khurasanis who formed the mainstay of the Abbasid regime in general  Following al-Ma'mun's victory in the civil war, the abnāʾ al-dawla were largely replaced by the latter's Persian followers, and under his successor al-Mu'tasim, the rise of the Turkish slave-soldiers to power began 

Sources
Crone, Patricia (1998)  "The 'Abbāsid Abnā' and Sāsānid Cavalrymen"  Journal of the Royal Asiatic Society  8 (1): 1–19  ISSN 1356-1863  JSTOR 25183463 
Turner, John P  (2004)  "The abnāʾ al-dawla: The Definition and Legitimation of Identity in Response to the Fourth Fitna"  Journal of the American Oriental Society  124 (1): 1–22  ISSN 0003-0279  JSTOR 4132150 
Turner, John P  (2016)  "Abnāʾ"   In Fleet, Kate; Krämer, Gudrun; Matringe, Denis; Nawas, John; Rowson, Everett (eds )  Encyclopaedia of Islam (3rd ed )  Brill Online  ISSN 1873-9830 
Passage 4:
The Last Voyage of Somebody the Sailor
The Last Voyage of Somebody the Sailor is a novel by American writer John Barth, published in 1991  It is a postmodern metafictional story of a man who jumps overboard from a modern replica of a medieval Arab ship and is rescued by sailors from the world of Sinbad the Sailor  Eventually he makes his way to "Baghdad, the City of Peace", and finds himself in the stories of Sindbad and Scheherazade   The novel makes use of a challenging double-stranded narrative and a rich prose style 
Passage 5:
Bajkam
Abū al-Husayn Bajkam al-Mākānī (Arabic: أبو الحسين بجكم المكاني), referred to as Bajkam, Badjkam or Bachkam (from Bäčkäm, a Persian and Turkish word meaning a horse- or yak-tail), was a Turkish military commander and official of the Abbasid Caliphate  A former ghulam of the Ziyarid dynasty, Bajkam entered Abbasid service following the assassination of the Ziyarid ruler Mardavij in 935  During his five-year tenure at the Caliphate's court at Baghdad, he was granted the title of amir al-umara, consolidating his dominance over the caliphs al-Radi and al-Muttaqi and giving him absolute power over their domains  Bajkam was challenged throughout his rule by various opponents, including his predecessor as amir al-umara, Muhammad ibn Ra'iq, the Basra-based Baridis, and the Buyid dynasty of Iran, but he succeeded in retaining control until his death  He was murdered by a party of Kurds during a hunting excursion in 941, shortly after the accession of al-Muttaqi as Caliph  Bajkam was known both for his firm rule and for his patronage of Baghdad intellectuals, who respected and in some cases befriended him  His death led to a void in central power, resulting in a brief period of instability and fighting in Baghdad 

Early military career and service under Ibn Ra'iq
Details of Bajkam's early life are unknown  He was a Turk, and began his career as one of the ghilman (military slaves, usually of Turkish origin) of a vizier to the Daylamite warlord Makan ibn Kaki in northern Iran  His master then made a gift of his ghilman, including Bajkam, to Makan  The latter took care of the young Bajkam's training and education, something for which the latter showed his gratitude by adopting his patron's name as his nisba (surname) After Makan was defeated by Mardavij, founder of the Ziyarid dynasty, who came to control Daylam, Jibal and Tabaristan, he entered Mardavij's service, along with many others among Makan's ghilman  Mardavij mistreated his ghilman, who consequently murdered him at Isfahan in January 935, an act in which Bajkam may have been complicit  After Mardavij's death, most of the ghilman in Ziyarid service dispersed  Bajkam and his fellow officer Tuzun assumed the leadership of a large group and, after first offering their services to the new governor of Jibal, Hasan ibn Harun, proceeded to the Abbasid court at Baghdad  At first, their offers were rejected by the court, where the Caliph's Hujariyya bodyguards jealously guarded their prerogatives, but the ghilman were eventually taken into the service of Muhammad ibn Ra'iq, governor of Basra and Wasit in southern Iraq  Now known as Bajkam Ra'iqi, Bajkam created a large military force under his command consisting of his own followers as well as additional Turks and Daylamites summoned from Jibal In early November 936, the Caliph al-Radi (r  934–940) bestowed the newly created title of amir al-umara ("commander of commanders") on Ibn Ra'iq, who was effectively granted absolute control over the Caliphate  This provoked the reaction of various provincial governors as well as that of powerful interest groups in Baghdad itself, such as the caliphal bodyguards  Against them, Ibn Ra'iq employed Bajkam and his Turkish supporters  With their aid, he managed to neutralize the Hujariyya and Saji guard units, after which, in February 937, Bajkam was rewarded with the posts of sahib al-shurta (chief of police) and governor of the eastern provinces Far more difficult and protracted was the war against the ambitious governor of Ahwaz, Abu Abdallah al-Baridi, who aimed to supplant Ibn Ra'iq  Al-Baridi's family was of Basran origin, and had served the Abbasids in various roles as officials before managing to assert a weak hold over Khuzistan  Ibn Ra'iq himself was defeated and forced to leave Basra to the Baridis, but Bajkam saved the situation by scoring two major victories, despite being outnumbered, that allowed him to take possession of Khuzistan  The hard-pressed al-Baridi now turned to his powerful neighbour, the Buyid ruler of Fars, Ali ibn Buya, for help  Ali's brother Ahmad soon took over Khuzistan, and Ibn Ra'iq was forced to offer possession of the province as an independent domain if Bajkam would recover it  Bajkam however was repulsed by the Buyid forces, and fell back to Wasit Ignoring Ibn Ra'iq's orders to retake Khuzistan, Bajkam remained at Wasit, and began plotting to depose Ibn Ra'iq himself  To this end, Bajkam began seeking allies: he offered the governorship of Wasit to the Baridis, and through the former vizier Ibn Muqla, who wished to avenge himself on Ibn Ra'iq for his own downfall and confiscation of his property, gained the covert support of Caliph al-Radi himself  In September 938, Bajkam led his troops from Wasit to Baghdad  Ibn Ra'iq tried without success to impede his advance by destroying the great dams of the Nahrawan Canal and flooding the plain, but Bajkam's army entered the Abbasid capital without opposition, and al-Radi immediately transferred Ibn Ra'iq's title of amir al-umara to Bajkam 

Amir al-umara
Despite the continued relegation of al-Radi to a ceremonial role, the relationship between the Caliph and Bajkam was strong, with al-Radi praising Bajkam for his harsh discipline and referring to the latter as his "protégé"  Al-Radi was appreciative of Bajkam's respect for his position as Caliph, and promised his support for the amir al-umara In October–November 938, Bajkam and the Caliph campaigned against the influential Hamdanid emir of Mosul, Hasan ibn Abdallah, who had taken advantage of the turmoil in Iraq to cease forwarding his province's revenue to Baghdad  Although Bajkam's army captured Mosul, Hasan fled before him to the remotest corners of his domain, where Bajkam's forces pursued him in vain  In the meantime, the local population resented the presence of the caliphal troops and launched guerilla warfare against them, while Ibn Ra'iq used Bajkam's absence to take control of Baghdad at the head of a Carmathian force  These developments forced Bajkam to negotiate with his rivals: the Hamdanids were restored in their province in exchange for the payment of the tax arrears, and Ibn Ra'iq was bought off with the governorship of the provinces of Tariq al-Furat, Diyar Mudar, Qinnasrin and al-'Awasim, which were also claimed by the Ikhshidids of Egypt  This arrangement allowed Bajkam and the Caliph to return to Baghdad in February 939 Bajkam, having consolidated his control over Baghdad, now turned to face the threat posed by the Buyids  To this end, he strengthened his ties with the Baridis of Basra, by handing over Wasit, as previously agreed, appointing Abu Abdallah al-Baridi as vizier of the Abbasid court (although the latter remained at Wasit and did not visit Baghdad), and, finally, by marrying himself to one of al-Baridi's daughters  Neither side really trusted the other—Bajkam is said to have remarked of his father-in-law, an inveterate intriguer, that his "turban covered the head not of a man but of a devil"—but the deal allowed a fragile peace to prevail in Iraq Bajkam's success against the Buyids was mixed: Wasit was saved from Buyid attack, and the Baridis led a successful campaign in Susiana, but an expedition into Jibal was crushed by the third Buyid brother, Hasan  The alliance with the Baridis quickly soured, however, as al-Baridi still maintained his ambition of replacing Bajkam, and Bajkam was aware of this  In late August 940, Bajkam removed al-Baridi from the vizierate and launched an attack on Wasit, which the Baridis abandoned without resistance  In the meantime, the Baghdad was in turmoil as religious violence had become commonplace, with fanatical members of the Hanbali school imposing their tenets on the general populace In December 940, al-Radi died  Bajkam remained at Wasit, but sent his secretary to Baghdad to convene a council of Abbasid aristocrats, who selected al-Muttaqi (r  940–944), al-Radi's brother, as Caliph  Bajkam also sent a slave named Takinak to the deceased Caliph's palace, the Dar al-Sultan, to procure various items, including the valuable al-Yatimah pearl  He also obtained three female slaves from al-Radi's palace, whose singing he remembered from his earlier visits to the Caliph Among al-Muttaqi's first actions as Caliph was the confirmation of Bajkam as amir al-umara  Despite al-Muttaqi's gesture of support, Bajkam still faced opposition among the semi-autonomous provincial governors, including al-Baridi 

Death and ensuing anarchy
Bajkam opened a campaign against al-Baridi in early spring 941  His lieutenants were at first defeated by the Baridis, whereupon Bajkam himself left Wasit to take the field  On his way to join his army, however, he was informed that his generals had achieved a major victory over the Baridis, and decided to return to Wasit  On 21 April 941, while travelling, he took part in a hunting excursion, during which he and his party encountered a band of Kurdish brigands  During a brief skirmish, Bajkam was slain when one of the Kurds stabbed him in the back with his lance Bajkam's unexpected death created a power vacuum in Baghdad, with disagreements between Daylamite and Turkish forces prompting the former to join the defeated al-Baridi  With their assistance, he marched on Wasit and Baghdad, capturing them, but was soon forced to flee due to the disorder that followed his usurpation of power  A Daylamite chief named Kurankij replaced him as de facto ruler of Baghdad, but he imposed tyrannical rule, and al-Muttaqi appealed to the former amir al-umara Ibn Ra'iq for assistance Ibn Ra'iq soon retook control of Baghdad, but political turmoil did not cease with his re-installation as amir al-umara  Once again, al-Baridi captured the city, and Ibn Ra'iq fled with the Caliph to Mosul, from where the Hamdanid rulers launched a successful attempt to restore them  The Hamdanid emir Hasan, after ordering the assassination of Ibn Ra'iq, was made amir al-umara and given the laqab of Nasir al-Dawla ("Defender of the Dynasty")  In 943, the Hamdanids were forced to retreat to Mosul when Tuzun, one of Bajkam's officers, seized power with military support; the following year, Tuzun captured, blinded, and deposed al-Muttaqi, assuming the role of amir al-umara  The Caliph's brother, al-Mustakfi (r  944–946), was appointed as his successor  The competition for control of the Caliph ended in 945, when the Buyid Ahmad took over the position of  amir al-umara with the title of Mu'izz al-Dawla  This began the period of undisputed Buyid control over Baghdad and Iraq, which lasted until the Seljuk conquest in the 1050s 

Character
Despite his slave origin, Bajkam was educated in Arabic (although he reportedly did not speak it for fear of making mistakes), respected by intellectuals and was known to seek the company of such men as al-Suli and the physician Sinan ibn Thabit  It is in their writings that glimpses of his character survive  According to the researcher Marius Canard, Bajkam was "covetous of power and money, he did not hesitate to resort to dissimulation and ruse, corruption and torture to attain his ends; he was at times cruel, though his bravery was legendary, and was more upright in character than Ibn Ra'iq"  Bajkam was also solicitous for the welfare of his subjects, and especially the inhabitants of Wasit cherished his memory 

See also
Passage 6:
Sa'id ibn Makhlad
Sa'id ibn Makhlad (Arabic: سعيد بن مخلد) (died 889) was a senior official of the Abbasid Caliphate  Born a Nestorian Christian, he converted to Islam and served as a secretary in the Abbasid capital, Baghdad  He rose to prominence during the regency of al-Muwaffaq over his brother, the Caliph al-Mu'tamid (r  870–892): between 878 and 885, he served as de facto vizier of the Caliphate, although he did not bear the title  His valuable assistance to al-Muwaffaq was recognized in 882 by the award of the honorific title Dhu'l-wizaratayn ("possessor of the two vizierates"), with which he appears even on coins  However, the activities of his brother, Abdun, who had remained a Christian and tried to obtain concessions for the Christian subjects of the Caliphate, brought about his sudden fall from power in 885  He died in 889 
Sa'id has been erroneously considered by some writers as the brother of another Christian convert, al-Hasan ibn Makhlad al-Jarrah, who was his predecessor as vizier 

Sources
Sourdel, Dominique (1971)  "Ibn Makhlad"   In Lewis, B ; Ménage, V  L ; Pellat, Ch  & Schacht, J  (eds )  Encyclopaedia of Islam  Volume III: H–Iram (2nd ed )  Leiden: E  J  Brill  p  859  OCLC 495469525 
Passage 7:
Nahrawan Canal
The Nahrevan Canal (Persian: کانال نرهوان) was a major irrigation system of the Sassanid and early Islamic periods in central Iraq, along the eastern banks of the Tigris and the lower course of the Diyala River  Created in the 6th century, it reached its peak under the Abbasid Caliphate, when it served the main water supply for the Abbasid capital of Baghdad, while the regions irrigated by it served as the city's main breadbasket  Its destruction and progressive abandonment from the mid-10th century onwards mirror the Abbasid Caliphate's decline 

History
The first irrigation works along the Diyala River were undertaken in Parthian times  Indeed, it may be that the lower part of the Nahrawan Canal was originally the lower course of the Diyala  The large-scale canal system of early medieval times however was created in the reign of the Sassanid ruler Khosrau I (r  531–579), who also established it as a separate administrative district (Bazidjan Khusraw)  A treasury and mint were possibly established there In early Islamic times, the town of Jisr al-Nahrawan in the middle of the canal was the site of the Battle of Nahrawan on 17 July 658 between Ali and the Kharijites under Abdallah ibn Wahb  Under the early Caliphates, and especially under the Abbasids who made nearby Baghdad their capital, the canal network was repaired and expanded, reaching its peak in the 9th and early 10th centuries  In Abbasid times, the region was divided into three tax districts, Upper, Middle and Lower Nahrawan The canal was breached in 937/8, during the revolt of Bajkam against Ibn Ra'iq; the latter tried to impede Bajkam's advance from Wasit to Baghdad by flooding the region in between  The move barely obstructed Bajkam, but succeeded in destroying the agriculture of the region, hitherto the breadbasket of the Abbasid capital  As Hugh N  Kennedy writes, "the breach of the Nahrawan canal was simply the most dramatic example of a widespread phenomenon of the time; and it was symbolic of the end of ‘Abbasid power just as the breach of the Marib Dam was of the end of the prosperity of pre-Islamic south Arabia"  The lower and middle Nahrawan were entirely abandoned for almost 14 years, until the Buyids under Mu'izz al-Dawla restored the canal  Nevertheless, the canal network continued to decline thereafter  As late as 1140, the Seljuq governor Bihruz tried to restore it, but according to the 13th-century scholar Yaqut al-Hamawi, infighting among the Seljuqs once again meant the neglect of the canal, and its use as a road by their troops compounded the destruction of the network  By Yaqut's time, the canal network had largely silted up and the countryside along them was abandoned 

Outline
In medieval times, the main canal was divided into three sections, described in detail by the 13th-century geographer Yaqut al-Hamawi, in his Mu'jam al-Buldan  The initial feeder canal drawing water from the Tigris at Dur al-Arabaya near Samarra and carrying it to the Diyala at Ba'quba was called al-katul al-Kisrawi ('the Cut of Khosrau')  During its course, it was joined by three smaller canals taken from the Tigris, the Yahudi ('of the Jews'), the al-Ma'muni, named after Caliph al-Ma'mun (r  813–833), and the largest of the three, the Abu'l-Jund ('father of the army'), built under Harun al-Rashid (r  786–809) Some 20 km south of the inflow of the Abu'l-Jund stood the town of Salwa or Bab Salwa (Basalwa), and a little further on the town of Ba'quba, the capital of the Upper Nahrawan district, some 50 km north-northeast of Baghdad  From there, the main canal, now known as the Tamarra, turned south to the towns of Bajisra (originally Bayt al-Jisr, 'bridge-house') and finally Jisr al-Nahrawan, from where it was known as the Nahrawan proper  From Bajisra a canal, the Nahr al-Khalis, connected the main canal with the Tigris at Baradan and supplied the eastern suburbs of Baghdad with water, while another, the Nahr Bin, connected Jisr al-Nahrawan with Kalwadha south of Baghdad  Just south of Jisr al-Nahrawan there was another canal, the Diyala canal—the present course of the namesake river—which joined the Tigris some 5 km south of Baghdad  Jisr al-Nahrawan itself was a wealthy place, as there the Khurasan Road connecting Baghdad with Central Asia crossed the canal  Surviving descriptions record that it was extended on both sides of the canal, each with its own mosques, markets and hostels for travellers and pilgrims  It was abandoned by the 14th century, as the road to Khurasan was diverted north, through Ba'quba Below Jisr al-Nahrawan came a large Sassanid-era weir (Shadhurwan), followed by the towns of Jisr Buran/Puran (named after Ma'mun's wife), Yarzatiya, 'Abarta, another weir, and the city of Iskaf Bani Junayd, divided by the canal in upper and lower towns  From Iskaf, the canal went on for another 100 km amidst a heavily cultivated landscape to rejoin the Tigris at Madharaya, near modern Kut 



ground_truth: the City of Peace

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 3: 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



ground_truth: University of Vienna