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

Question: The author of Elizabeth and After attended which university?

The following are given passages.
Context 1: Passage 1:
Guy Gaunt
Admiral Sir Guy Reginald Archer Gaunt,  (25 May 1869 – 18 May 1953) was an Australian-born officer of the Royal Navy, counter-intelligence officer and a British Conservative Party politician 
Gaunt was born in Ballarat, Australia, to William Henry Gaunt and his wife Elizabeth Mary Palmer  Gaunt's brother-in-law was Alexander Stenson Palmer (banker and M P  for Victoria)  Gaunt's brother Ernest Gaunt was also an admiral  Their sister, Mary Gaunt, was a well-known author in Australia and wrote several travel books  Guy was educated at Melbourne Grammar School from 1881 to 1883 

Naval career
Gaunt's parents wanted him to become a lawyer, but he chose to go to sea  He began training for the merchant navy, but transferred to the Royal Navy in 1885, one of the "hungry hundred" merchant navy officers who were commissioned via the supplementary list 
Gaunt served as a lieutenant on several vessels in the Pacific Ocean, and was promoted to the rank of Commander in 1901  He became a captain in 1907, commanding a series of cruisers and the battleships HMS Majestic and HMS Thunderer  He saw action in the Philippines in 1897 and Samoa in 1901 In 1914 Gaunt was appointed naval attaché to the United States, and was instrumental in infiltrating the Hindu–German Conspiracy during the First World War  Gaunt headed the intelligence network operated by Courtenay Bennett's intelligence and liaised with the Czech intelligence network operated by E  V  Voska  On learning of the plot from the Czech European network at the outbreak of the war, Voska passed on the information to Gaunt and to Tomáš Masaryk who further passed on the information the American authorities  Voska's American network was a counter-espionage network of nearly 80 members who, as Habsburg subjects, were presumed to be German supporters but were involved in spying on German and Austrian diplomats 
When the U S  entered the war in 1917, Gaunt was appointed as liaison officer  In 1918 he served on convoys across the Atlantic and in June was appointed to the naval intelligence staff at the Admiralty 
Gaunt was promoted on the retired list to rear admiral in October 1918, vice admiral in July 1924 and admiral in February 1928  He was knighted as  in 1918 

Political career
Gaunt first stood as a candidate for parliament at the 1918 general election  He was the Liberal candidate for Leek and despite receiving the Coalition Coupon, he was unable to hold the seat  Gaunt was elected as Unionist Member of Parliament (MP) for the Buckrose constituency in the East Riding of Yorkshire at the 1922 general election, replacing the Liberal Algernon Moreing 
Gaunt resigned from the House of Commons in 1926, when he was cited as co-respondent in the divorce case between Sir Richard Cruise and his wife 

Family
Gaunt married a widow, Mrs Margaret Elizabeth Worthington (daughter of Sir Thomas Wardle) at Hong Kong in 1904  
She divorced him in 1927 following the scandal with Lady Cruise, and he retired to Tangier  He later remarried on 1 December 1932 a 35-year-old widow, Sybil Victoria Joseph, née Grant White and had two daughters  He returned to live in Cobham, Surrey and died at Woking Hospital on 18 May 1953 and was cremated Gaunt's autobiography, The Yield of the Years, was published in 1940  His brother Ernest Gaunt was also an admiral in the Royal Navy; his sister, Mary Gaunt, was a novelist 
Passage 2:
Comprehensive school
A comprehensive school is a secondary school for pupils aged 11–16 or 11–18, that does not select its intake on the basis of academic achievement or aptitude, in contrast to a selective school system where admission is restricted on the basis of selection criteria, usually academic performance  The term is commonly used in relation to England and Wales, where comprehensive schools were introduced as state schools on an experimental basis in the 1940s and became more widespread from 1965  They may be part of a local education authority or be a self governing academy or part of a multi-academy trust 

About 90% of English secondary school pupils attend a comprehensive school (academy schools, community schools, faith schools, foundation schools, free schools, studio schools, university technical colleges, state boarding schools, City Technology Colleges, etc )  Specialist schools may however select up to 10% of their intake for aptitude in their specialism  A school may have a few specialisms, like arts (media, performing arts, visual arts), business and enterprise, engineering, humanities, languages, mathematics, computing, music, science, sports, and technology  They are not permitted to select on academic ability generally  Comprehensive schools correspond broadly to the public school in the United States, Canada and Australia 

England
Comprehensive schools provide an entitlement curriculum to all children, without selection whether due to financial considerations or attainment  A consequence of that is a wider ranging curriculum, including practical subjects such as design and technology and vocational learning, which were less common or non-existent in grammar schools  Providing post-16 education cost-effectively becomes more challenging for smaller comprehensive schools, because of the number of courses needed to cover a broader curriculum with comparatively fewer students  This is why schools have tended to get larger and also why many local authorities have organised secondary education into 11–16 schools, with the post-16 provision provided by sixth form colleges and further education colleges  Comprehensive schools do not select their intake on the basis of academic achievement or aptitude  In addition, government initiatives such as the City Technology Colleges and specialist schools programmes have expanded the comprehensive model  City Technology Colleges are independent schools in urban areas that are free to go to  They're funded by central government with company contributions and emphasise teaching science and technology 

English secondary schools are mostly comprehensive (i e  no entry exam), although the intake of comprehensive schools can vary widely, especially in urban areas with several local schools  Nearly 90% of state-funded secondary schools are specialist schools, receiving extra funding to develop one or more subjects (performing arts, business, humanities, art and design, languages, science, mathematics, technology, engineering, sports, etc ) in which the school specialises, which can select up to 10% of their intake for aptitude in the specialism  In these schools children could be selected on the basis of curriculum aptitude related to the school's specialism even though the schools do take quotas from each quartile of the attainment range to ensure they were not selective by attainment  In the selective school system, which survives in several parts of the United Kingdom, admission is dependent on selection criteria, most commonly a cognitive test or tests  Most comprehensives are secondary schools for children between the ages of 11 and 16, but in a few areas there are comprehensive middle schools, and in some places the secondary level is divided into two, for students aged 11 to 14 and those aged 14 to 18, roughly corresponding to the US middle school (or junior high school) and high school, respectively  With the advent of Key Stages in the National Curriculum some local authorities reverted from the Middle School system to 11–16 and 11–18 schools so that the transition between schools corresponds to the end of one key stage and the start of another  In principle, comprehensive schools were conceived as "neighbourhood" schools for all students in a specified catchment area 
Maths free schools like Exeter Mathematics School are for 16 to 19 year pupils who have a great aptitude for maths  As set out in the government's Industrial Strategy, maths schools help to encourage highly skilled graduates in sectors that depend on science, technology, engineering and maths (STEM) skills  The aim of maths schools is to prepare the most mathematically able pupils to succeed in mathematics-related disciplines at highly selective maths universities and pursue mathematically intensive careers  Maths schools can also be centres of excellence in raising attainment, supporting and influencing the teaching of mathematics in their surrounding area, and are central to their associated universities' widening participation commitments 

Technical and vocational education in comprehensive schools are introduced during the secondary school years and goes on until further and higher education  Secondary vocational education is also known as further education  Further education incorporates vocational oriented education as well as a combination of general secondary education  Students can also go on to a further education college to prepare themselves for the Business and Technology Education Council, T-levels, and National Vocational Qualifications  Major provider of vocational qualifications in England include the City and Guilds of London Institute and Edexcel  Higher National Certificates and Higher National Diplomas typically require 1 and 2 years of full-time study and credit from either HNE or Diplomas can be transferred toward an undergraduate degree  Along with the HNC and HND, students who are interested in other vocational qualifications may pursue a foundation degree, which is a qualification that trains people to be highly skilled technicians  The National Apprenticeship Service also offers vocational education where people at ages of 16 and older enter apprenticeships in order to learn a skilled trade  There are over 60 different certifications can be obtained through an apprenticeship, which typically lasts from up to 3 years  Trades apprentices receive paid wages during training and spend one day at school and the rest in the workplace to hone their skills 
The first comprehensives were set up after the Second World War  At that time the terms "multi-lateral" or "multi-bias" were also used to describe non-selective secondary schools  In 1946 Walworth School was one of five 'experimental' comprehensive schools set up by the London County Council although London's first purpose built comprehensive was Kidbrooke School built in 1954  An early comprehensive school was Holyhead County School in Anglesey in 1949  Coventry opened two comprehensive schools in 1954 by combining grammar schools and secondary modern schools  These were Caludon Castle School and Woodlands School  Another early example was the 1956 Tividale Comprehensive School in Tipton  The first, purpose-built comprehensive in the North of England was Colne Valley High School near Huddersfield in 1956 
The largest expansion of comprehensive schools resulted from a policy decision taken in 1965 by Anthony Crosland, Secretary of State for Education in the 1964–1970 Labour government  The policy decision was implemented by Circular 10/65, a request to local education authorities to plan for conversion  Students sat the 11+ examination in their last year of primary education and were sent to one of a secondary modern, secondary technical or grammar school depending on their perceived ability  Secondary technical schools were never widely implemented and for 20 years there was a virtual bipartite system which saw fierce competition for the available grammar school places, which varied between 15% and 25% of total secondary places 
In 1970 Margaret Thatcher, the Secretary of State for Education in the new Conservative government, ended the compulsion on local authorities to convert, however, many local authorities were so far down the path that it would have been prohibitively expensive to attempt to reverse the process, and more comprehensive schools were established under Thatcher than any other education secretary  By 1975 the majority of local authorities in England and Wales had abandoned the 11-Plus examination and moved to a comprehensive system  Over that 10-year period many secondary modern schools and grammar schools were amalgamated to form large neighbourhood comprehensives, whilst a number of new schools were built to accommodate a growing school population  By the mid-1970s the system had been almost fully implemented, with virtually no secondary modern schools remaining  Many grammar schools were either closed or changed to comprehensive status  Some local authorities, including Sandwell and Dudley in the West Midlands, changed all of its state secondary schools to comprehensive schools during the 1970s 

In 1976 the future Labour Prime Minister James Callaghan launched what became known as the 'great debate' on the education system  He went on to list the areas he felt needed closest scrutiny: the case for a core curriculum, the validity and use of informal teaching methods, the role of school inspection and the future of the examination system  Comprehensive school remains the most common type of state secondary school in England, and the only type in Wales  They account for around 90% of pupils, or 64% if one does not count schools with low-level selection  This figure varies by region 
Since the 1988 Education Reform Act, parents have a right to choose which school their child should go to or whether to not send them to school at all and to home educate them instead  The concept of "school choice" introduces the idea of competition between state schools, a fundamental change to the original "neighbourhood comprehensive" model, and is partly intended as a means by which schools that are perceived to be inferior are forced either to improve or, if hardly anyone wants to go there, to close down  Government policy is currently promoting 'specialisation' whereby parents choose a secondary school appropriate for their child's interests and skills  Most initiatives focus on parental choice and information, implementing a pseudo-market incentive to encourage better schools  Both Conservative Party and Labour governments experimented with alternatives to the original neighbourhood comprehensive Experiments have included:

partnerships where successful schools share knowledge and best practice with nearby schools
federations of schools, where a partnership is formalised through joint governance arrangements
City Technology Colleges, 15 new schools where one fifth of the capital cost is privately funded
Academy schools, state schools not controlled by the local authority, which are allowed to select up to 10% of admissions by ability
Free schools, state schools not controlled by the local authority, which are allowed to select up to 10% of admissions by abilityFollowing the advice of Sir Cyril Taylor—former businessman and Conservative politician, and chairman of the Specialist Schools and Academies Trust (SSAT)—in the mid-1990s, all parties have backed the creation of specialist schools, which focus on excellence in a particular subject and are theoretically allowed to select up to 10% of their intake  This policy consensus had brought to an end the notion that all children will go to their local school, and assumes parents will choose a school they feel most meets their child's needs 

Curriculum
All maintained schools in England are required to follow the National Curriculum, which is made up of twelve subjects  Every state school must offer a curriculum which is balanced and broadly based and which promotes the spiritual, moral, cultural, mental and physical development of pupils at the school and of society, and prepares pupils at the school for the opportunities, responsibilities and experiences of later life  For each of the statutory curriculum subjects, the Secretary of State for Education is required to set out a Programme of Study which outlines the content and matters which must be taught in those subjects at the relevant Key Stages  Teachers should set high expectations for every pupil  They should plan stretching work for pupils whose attainment is significantly above the expected standard  Teachers should use appropriate assessment to set targets which are deliberately ambitious Under the National Curriculum, all pupils undergo National Curriculum assessments at the end of Key Stage 2 in Year 6 in the core subjects of English, Mathematics and Science  Individual teacher assessment is used for foundation subjects, such as art and design, geography, history, design and technology, and computing  Pupils take GCSE exams at Key Stage 4 in Year 11, but may also choose to work towards the attainment of alternative qualifications, such as the National Vocational Qualifications and Business and Technology Education Council  Pupils take GCSEs examinations in the core English literature, English language, mathematics, science, and entitlement subjects from the arts, humanities, design and technology, and languages  The core subjects English, Mathematics and Science are compulsory for all pupils aged 5 to 16  A range of other subjects, known as foundation subjects, are compulsory in each Key Stage:

Art and design
Citizenship
Design and technology
Geography
History
Computing
Foreign languages
Music
Physical educationIn addition to the compulsory subjects, pupils at Key Stage 4 have a statutory entitlement to be able to study at least one subject from the arts (comprising art and design, music, photography, dance, drama and media arts), design and technology (comprising design and technology, electronics, engineering, food preparation and nutrition), the humanities (comprising geography and history), and modern foreign languages  Optional subjects include computer science, business studies, economics, astronomy, classical civilisation, film studies, geology, psychology, sociology, ancient languages, and ancient history The Department for Education has drawn up a list of preferred subjects known as the English Baccalaureate on the results in eight GCSEs including English, mathematics, the sciences (physics, chemistry, biology, computer science), history, geography, and an ancient or modern foreign language All schools are required to make provision for a daily act of collective worship and must teach religious education to pupils at every key stage and sex and relationships education to pupils in secondary education  Parents can withdraw their children for all or part of the lessons  Local councils are responsible for deciding the RE syllabus, but faith schools and academies can set their own  All schools should make provision for personal, social, health and economic education (PSHE)  Schools are also free to include other subjects or topics of their choice in planning and designing their own programme of education 

School years
Children are normally placed in year groups determined by the age they will attain at their birthday during the school year  In most cases progression from one year group to another is based purely on chronological age, although it is possible in some circumstances for a student to repeat or skip a year  Repetition may be due to a lack of attendance, for example from a long illness, and especially in Years requiring standard tests  A child significantly more advanced than their classmates may be forwarded one or more years 
State-funded nursery education is available from the age of 3, and may be full-time or part-time, though this is not compulsory  If registered with a state school, attendance is compulsory beginning with the term following the child's fifth birthday  Children can be enrolled in the reception year in September of that school year, thus beginning school at age 4 or 4 5  Unless the student chooses to stay within the education system, compulsory school attendance ends on the last Friday in June during the academic year in which a student attains the age of 16 In the vast majority of cases, pupils progress from primary to secondary levels at age 11; in some areas either or both of the primary and secondary levels are further subdivided  A few areas have three-tier education systems with an intermediate middle level from age 9 to 13  Years 12 and 13 are often referred to as "lower sixth form" and "upper sixth form" respectively, reflecting their distinct, voluntary nature as the A-level years  While most secondary schools enter their pupils for A-levels, some schools offer the International Baccalaureate or Cambridge Pre-U qualifications instead 

Scotland
Scotland has a very different educational system from England and Wales, though also based on comprehensive education  It has different ages of transfer, different examinations and a different philosophy of choice and provision  All publicly funded primary and secondary schools are comprehensive  The Scottish Government has rejected plans for specialist schools as of 2005 

Australia
When the first comprehensive schools appeared in the 1950s, the Australian Government started to transition to comprehensive schooling which has been expanding and improving ever since  Prior to the transition into comprehensive schooling systems, primary and secondary state schools regularly measured students' academic merit based on their performance in public examinations  The state of Western Australia was the first to replace selective school systems, then Queensland, and finally South Australia and Victoria The Australian education system is organised through three compulsory school types  Students commence their education in Primary school, which runs for seven or eight years, starting at kindergarten through to Year 6 or 7  The next is Secondary school which runs for three or four years, from Year 7 or 8 to Year 10  Finally, Senior Secondary school which runs for two years, completing Years 11 and 12  Each school tier follows a comprehensive curriculum that is categorised into sequences for each Year-level  The Year-level follows specific sequence content and achievement for each subject, which can be interrelated through cross-curricula  In order for students to complete and graduate each tier-level of schooling, they need to complete the subject sequences of content and achievement  Once students have completed Year 12, they may choose to enter into Tertiary education  The two-tier Tertiary education system in Australia includes both higher education (i e : university, college, other institutions) and vocational education and training (VET)  Higher education works off of the Australian Qualifications Framework and prepares Australians for an academic route that may take them into the theoretical and philosophical lenses of their career options 
Passage 3:
Elizabeth and After
Elizabeth and After is a novel by Matt Cohen, first published in 1999 by Knopf Canada  His final novel, it won the Governor General's Award for English-language fiction just a few weeks before Cohen's death 

Plot summary
The story is about the lives of a few people living in a small town north of Kingston, Ontario   Carl McKelvey, a "white trash male" as he describes himself, returns to the town after a three-year absence in the hope that he can live with his daughter again, and maybe even renew his relationship with his ex-wife, Chrissy   He carries deep in his heart his guilt of having driven his car into a tree, killing his mother, Elizabeth, many years earlier 
Elizabeth's sudden death ended not only an unhappy marriage she had with William McKelvey, a failed farmer, but also a secret relationship she had with Adam Goldsmith, Carl's real father   Elizabeth might have felt that the uncultured McKelvey ruined her life, or she might be too frightened to ruin her life herself by leaving him   In either case, her life has affected McKelvey, Adam and Carl so deeply that her influence is still felt eleven years later 
When Carl is attacked by Fred (Chrissy's boyfriend), Adam, even though reserved and gentle-natured, decides to do something for his son   Adam takes Fred in his car and drives him into the same tree that Elizabeth's car crashed into eleven years earlier   Both Adam and Fred are killed instantly   Carl learns about his relationship with Adam in a letter Adam left for him 

External links
Elizabeth and After weaves a twisted tale
Passage 4:
Matt Cohen (writer)
Matthew Cohen (30 December 1942 – 2 December 1999) was a Canadian writer who published both mainstream literature under his own name and children's literature under the pseudonym Teddy Jam 

History
Matt Cohen was born in Montreal, son of Morris Cohen and Beatrice Sohn, and was raised in Kingston and Ottawa  He studied political economy at the University of Toronto and taught political philosophy and religion at McMaster University in the late 1960s before publishing his first novel Korsoniloff in 1969 His fiction was translated into German, Dutch, French, Greek, Spanish and Portuguese   The Spanish Doctor, his biggest international success, continues to sell well in the French and Spanish markets 
His greatest critical success as a writer was his final novel Elizabeth and After which won the 1999 Governor General's Award for English-language Fiction only a few weeks before his death  He had been nominated twice previously, but had not won, in 1979 for The Sweet Second Summer of Kitty Malone and in 1997 for Last Seen 
A founding member of the Writers' Union of Canada, he served on the executive board for many years and as president in 1986  During his presidency, the Writer's Union was finally able to persuade the government of Canada to form a commission and establish a Public Lending Right program   He also served on the Toronto Arts Council as chair of the Literary Division and was able to obtain increased funding for writers  In recognition of this work, he was awarded a Toronto Arts Award and the Harbourfront Prize 
He also published a number of children's books under the pseudonym Teddy Jam  Cohen's authorship of the Teddy Jam books was not revealed until after his death  Dr  Kiss, illustrated by Joanne Fitzgerald won the Governor General's Award in 1991 and Fishing Summer was also nominated for a Governor General's Award for children's literature in 1997, making Cohen one of the few writers ever to be nominated for Governor General's Awards in two different categories in the same year 
He was married three times; first to Arden Ford, next to Susan Bricker and then to Patsy Aldana Cohen died at home in Toronto after a battle with lung cancer  His final book of short stories, Getting Lucky, and his final Teddy Jam title, The Kid's Line, were posthumously published in 2001  A Canadian literary award, the Matt Cohen Award, is presented in Cohen's memory by the Writers' Trust of Canada A film adaptation of his 1990 novel Emotional Arithmetic has been produced by Triptych films starring Max von Sydow, Christopher Plummer, Gabriel Byrne and Susan Sarandon  It was the closing gala at the 2007 Toronto International Film Festival 

Bibliography
Years link to corresponding year in literature or, for poetry, to year in poetry 

Novels
Korsoniloff (1969)
Johnny Crackle Sings (1971)
The Disinherited (1974)
Wooden Hunters (1975)
The Colours of War (1977)
The Sweet Second Summer of Kitty Malone (1979)
Flowers of Darkness (1981)
The Spanish Doctor (1984)
Nadine (1987)
Emotional Arithmetic (1990)
Freud: The Paris Notebooks (1991)
The Bookseller (1993)
Last Seen (1997)
Elizabeth and After (1999)

Short stories
Columbus and the Fat Lady (1972)
Too Bad Galahad (1972)
Night Flights (1978)
The Leaves of Louise (1978)
The Expatriate (1982)
Café le Dog (1983)
Life on This Planet (1985)
Living on Water (1988)
Racial Memories (1990)
Lives of the Mind Slaves (1994)
Getting Lucky (2001)

Poetry
Peach Melba (1974)
In Search of Leonardo (1985)

Non-fiction
Typing: A Life in 26 Keys (2000)

Children's literature (as "Teddy Jam")
Night Cars (1987) illustrated by Eric Beddows
Doctor Kiss Says Yes (1991) illustrated by Joanne Fitzgerald
The Year of Fire (1993) illustrated by Ian Wallace
The Charlotte Stories (1994)
Jacob's Best Sisters (1996) illustrated by Joanne Fitzgerald
The Fishing Summer (1997) illustrated by Ange Zhang
This New Baby (1998)
The Stoneboat (1999) illustrated by Ange Zhang
ttuM (1999)
The Kid Line (2001) illustrated by Ange Zhang

See also
Canadian literature
Canadian poetry
List of Canadian poets
List of Canadian writers
Passage 5:
Algernon Methuen
Sir Algernon Marshall Stedman Methuen, Baronet (; 23 February 1856 – 20 September 1924) was an English publisher and a teacher of Classics and French   He is best known for founding the publishing company Methuen & Co 

Background and education
Methuen was born as Algernon Methuen Marshall Stedman in London, the third son of John Buck Stedman, FRCS, and Jane Elizabeth née Marshall  He was educated at Berkhamsted School and then Wadham College, Oxford, from which he graduated with an MA 

Career
After graduating from Oxford, Methuen entered teaching, and rose to become head of High Croft Preparatory School at Milford in Surrey from 1890 to 1895  While teaching he began, as a sideline, writing a number of school textbooks under the nom-de-plume A  W  S  Methuen, of which his series on French, Greek and Latin were best known  Among his works were books on gardening and current affairs  In June 1889, Methuen began to publish and market his own textbooks under the label Methuen & Co  (later Methuen Publishing Ltd )  Two months later he formally adopted Methuen as his surname  His first success at publishing came in 1892 with the publication of Rudyard Kipling's Barrack-Room Ballads  He later published works by Hilaire Belloc, Robert Louis Stevenson, and Oscar Wilde 
Methuen was an outspoken critic of the Boer War  He stood for Parliament as the Liberal party candidate for the seat of Guildford in the General Election of January 1910  The seat was a safe Conservative seat and he was unsuccessful  In 1916, he was created a baronet, of Haslemere in Surrey, and he later published his own memoir 

Personal life
Methuen married Emily Caroline Bedford in 1884  He died in September 1924, aged 68, when the baronetcy became extinct 
Passage 6:
Journal of Applied Philosophy
The Journal of Applied Philosophy is a peer-reviewed academic journal published by Wiley-Blackwell on behalf of the Society for Applied Philosophy and edited by Elizabeth Brake (Rice University)  It covers a broad spectrum of issues in all areas of applied philosophy, including work on the environment, medicine, science, engineering, policy, law, politics, economics, and education 
According to the Journal Citation Reports, the journal has a 2017 impact factor of 1 018, ranking it 24th out of 51 journals in the category "Ethics" 

Journal for Applied Philosophy Annual Essay Prize
The Journal of Applied Philosophy awards an annual prize of £1,000 to the best article published in the year's volume 
2017: Natasha McKeever "Is the Requirement of Sexual Exclusivity Consistent with Romantic Love?"
2016: Federico Picinali "Base Rates of Negative Traits: Instructions for Use in Criminal Trials"
2015: Cheshire Calhoun "Geographies of Meaningful Living"
2014: Christopher Morgan-Knapp "Economic Envy"
2013: Daniel Friedrich "A Duty to Adopt"
2012: Avery Kolers "Floating Provisos and Sinking Islands"
2011: Jakob Elster "How Outlandish Can Imaginary Cases Be?"

Society for Applied Philosophy Annual Lectures
Each year since 2010, the Journal of Applied Philosophy has published the Annual Lecture hosted by the Society of Applied Philosophy [1]

2017: Philip Pettit presented the lecture, 'Three Mistakes about Doing Good (and Bad)'  Read the article here 
2016: Arthur Ripstein presented the lecture, 'Reclaiming Proportionality'  Read the article here 
2015: Shelley Kagan presented the lecture, 'What's Wrong with Speciesism?' 
2014: Julia Annas presented the lecture, 'Applying Virtue to Ethics'  Read the paper based on this talk here 
2013: Larry Temkin presented the lecture, 'Universal Healthcare in the Developing World: Solution or Siren? Some Preliminary Thoughts'  Read the paper based on this lecture here 
2012: Joseph Raz presented the lecture 'Death in Our Life'  The paper based on this lecture can be read here 
2011: Amartya Sen presented the lecture 'The Global Reach of Human Rights'  The paper based on this talk can be read here 
2010: Philip Kitcher presented the lecture 'Militant Modern Atheism'  The paper based on this talk can be found here 

See also
List of ethics journals
Passage 7:
The Landlord's Game
The Landlord's Game is a board game patented in 1904 by Elizabeth Magie as U S  Patent 748,626  It is a realty and taxation game intended to educate users about Georgism  It is the inspiration for the 1935 board game Monopoly 

History
In 1902 to 1903, Magie designed the game and play tested it in Arden, Delaware  The game was created to be a "practical demonstration of the present system of land grabbing with all its usual outcomes and consequences"  She based the game on the economic principles of Georgism, a system proposed by Henry George, with the object of demonstrating how rents enrich property owners and impoverish tenants  She knew that some people could find it hard to understand why this happened and what might be done about it, and she thought that if Georgist ideas were put into the concrete form of a game, they might be easier to demonstrate  Magie also hoped that when played by children the game would provoke their natural suspicion of unfairness, and that they might carry this awareness into adulthood The Landlord's Game has some similarities to the basic rules of the board game Zohn Ahl, played by the Kiowa Indians of North America  There are hints that suggest Elizabeth Magie might have known Zohn Ahl and incorporated some of the game's ideas 
In 1903, Magie filed for a patent on the game which was granted in 1904   Magie and fellow Georgists formed a company, Economic Game Company, in 1906 New York to publish the game  Besides Magie, the incorporators were E  H  Monroe of Chicago and E  G  Lenbusher of New York  Magie approached Parker Brothers to publish this and one other game in 1909  The other game was accepted while Landlord's was rejected as too complicated In the United Kingdom The Landlord's Game was first published in 1913 by the Newbie Game Company, formed by a Liberal Committee from the village of Newbie in Dumfries, under the title Brer Fox an' Brer Rabbit; although, despite the title change, it was recognizably the same game  Landlord sold well in the Northeast amongst its left-wing intellectuals, while Brer was unsuccessful Scott Nearing, socialist professor of economics at Wharton School of Finance from 1906 to 1915, lived in Arden in 1910, where Magie invented the game, learned about the game and taught it to his students  College students made up their own boards to use with her rules  Various versions of the game popped up over the following years under a variety of names, Monopoly, Finance, and Auction being among them  Among the Atlantic City and Philadelphia communities of Quakers, the game was particularly popular with college students and economics professors  Jesse and Eugene Raiford, Quakers in Atlantic City, used household items instead of pawns and changed the properties to those of Atlantic City With Magie's first patent having expired, in 1923, Magie decided to attempt to regain control by applying for another patent  On September 23, 1924, a second patent was issued to Magie for The Landlord's Game  Adgame Company (Inc ) published Landlord's Game and Prosperity under this patent in 1932 Robert Baron had Parker Brothers design its own version, Fortune, before negotiation to purchase her patents in case the discussion fell apart or she sold to another potential buyer, Dave Knapp, publisher of Finance  Magie held the patent until 1935, when she sold it to Parker Brothers for $500, equivalent to $10,672 in 2022  The company had recently started distributing Monopoly, which it purchased from Charles Darrow who claimed to have invented it   The company only printed a very small run of the game to secure the copyright  Surviving copies of The Landlord's Game by Parker Brothers are considered by many the rarest of all 20th century board games  Parker Brothers pushed her game aside for Darrow's by 1936  Magie then did two interviews showcasing copies of the original board with The Washington Post and The Evening Star to show that Darrow was not the inventor of the game In 1937, Carnival was published based on the 1904 version  Parker Brothers published their edition of the game in 1939 In a 2004 episode of PBS' History Detectives (title: "Monopoly; Japanese Internment Camp Artwork; The Lewis and Clark Cane"), the show investigated a game board belonging to a Delaware man, having an intermediate version of a game combining elements of The Landlord's Game and Monopoly  The investigators concluded that this game board was the missing link that proves that Monopoly was derived from The Landlord's Game 

Description
The set had rules for two different games, anti-monopolist and  Monopolist  The anti-monopolist rules reward all players during wealth creation, whereas the monopolist rules incentivize forming monopolies and forcing opponents out of the game  In the anti-monopolist or Single Tax version (later called "Prosperity"), the game is won when the player with the least money doubles their original stake The board featured a track around the outside edge of the board split into blocks representing properties and had their purchase price, and their rental value listed in the block  New York City's Broadway, Fifth Avenue, and Wall Street were the top properties in price and rent  The published game included Chance cards with quotes attributed to Thomas Jefferson, John Ruskin and Andrew Carnegie From the 1904 patented version to the published 1906 version, the property names were changed and the rule for increased rent for multiple railroads owned was added 

Patents
The game's first patent was the first issued for a game while claiming four features in the application, the most important feature was a continuous path game  At the time, most games had a start and end spot  With the first patent having expired in 1921, Magie applied for another patent with five new claims 
The claims of Magie's second patent could not include those of the first (now in the public domain) and leaned more towards the single tax theory of play  One common misconception is that Parker Brothers acquired the rights to Magie's original invention of Monopoly play and the unique design by purchasing the later 1924 patent  Parker Brothers acquired Magie's patent to The Landlord's Game but although both patents had the same name they covered different claims  The substitution or confusion of the early patent for the latter is still commonplace 

See also
Ralph Anspach's Anti-Monopoly
Bertell Ollman's Class Struggle
Passage 8:
Nicholas Eftimiades
Nicholas Eftimiades is an American government official, author, and educator best known for his work Chinese Intelligence Operations (1994)  He currently resides in the Tokyo area  He is a current professor at Penn State Harrisburg 

Education
Eftimiades graduated from George Washington University with a B A  in East Asian Studies and the National Defense Intelligence College with a M S  in Strategic Intelligence   He also did undergraduate and graduate work in Asia   He is a Visiting Research Fellow at King's College, War Studies Department, London, United Kingdom 

Government career
Nicholas Eftimiades' 30 year government career includes seven years at the National Security Space Office leading engineering teams designing "generation after next" national security space capabilities  He was also Senior Technical Officer in the Defense Intelligence Agency, Future's Division, and Chief of DIA's Space Division  He served as DIA's lead for national space policy and strategy development Mr  Eftimiades has provided numerous briefings and testimony on national security, technology, and space exploration issues to senior policy officials and the U S  Congress  He testified before the President's Commission on Implementation of United States Space Exploration Policy   He has sponsored and chaired international conferences on U S  and foreign defense policy issues   He is a frequent lecturer and public speaker on future technology and societal changes and national security issues 

Chinese Intelligence Operations
Eftimiades first came into public view in 1994 with the publication of his book Chinese Intelligence Operations (Naval Institute Press, Annapolis, Maryland , March 1994)  The book is an examination of the structure, operations, and methodology of the intelligence services of the People's Republic of China  The book received worldwide recognition with the Chinese government declaring Eftimiades "an enemy of the people" in the People's Daily newspaper  To date, the book remains the only scholarly analysis of China's intelligence services and operational methodology Chinese Intelligence Operations gained worldwide attention when one of the Chinese companies identified as having a relationship with China's intelligence services was identified as a donor to the Bill Clinton presidential campaign through the Democratic National Committee  This revelation resulted in Eftimiades appearing on TV, radio, and being quoted in newspapers   He appeared on CBS Evening News with Connie Chung, Dateline NBC, ABC's Day One, BBC America, National Public Radio and many other television and radio broadcasts    Some organizations protested the CBS news broadcast as being racist  Eftimiades testified before the U S  Congress on several occasions 

Science Fiction
Eftimiades' most recent work is a political and philosophical satire entitled Edward of Planet Earth   The book is influenced by authors such as Alexander Zinoviev and Ignazio Silone—names not normally associated with science fiction   The story takes place 200 years in the future and centers on a man, his computer friends, a female companion and their quest to communicate with God 

Non-Profit Activity
In 2001, Eftimiades founded a non-profit educational organization entitled the Federation of Galaxy Explorers to inspire youth interest in science and engineering   Students in the Galaxy Explorers program attend after school "Mission Team" meetings where they participate in hands-on lessons that support National Science Education Standards  Mission Team members are rewarded for participation and achievements with ribbons, patches, medals, and certificates   In addition to Mission Teams, Galaxy Explorers also have Summer Camps, Star Parities, and the Battle of the Rockets Competition 
Passage 9:
Stephen Henry Parker
Sir Stephen Henry Parker  (7 November 1846 – 13 December 1927) was a lawyer and Chief Justice of the Supreme Court of Western Australia from 1906 to 1914 

Biography
Early life
Stephen Henry Parker was the second son of Stephen Stanley Parker (1817–1904) and his wife Elizabeth, née Sewell  He was the grandson of Stephen Parker (c  1795 – 1879), a pioneer settler in York, Western Australia  Parker was educated at the Bishop's School, Perth, and was called to the bar in 1868 

Career
He became a member of the Western Australian Legislative Council and advocated responsible government for the colony  In 1878 he moved for the introduction of a bill to amend the constitution, but this motion was defeated  A constitution bill for responsible government was passed by the Legislative Council on 26 April 1889, but was met with some opposition in the British House of Commons  It was suggested and agreed that a delegation consisting of the retiring governor, Sir Frederick Broome, Sir Thomas Cockburn-Campbell and Parker should go to London to see the bill through the British parliament  The delegation was able to give a good answer to all objections raised, and subsequently the bill was passed and became law 
He served as colonial secretary in the John Forrest ministry from October 1892 to December 1894 when he retired  He was also chairman of the Perth City Council from November 1877 to 1879, for a few months in 1880-81 and Mayor from February to October 1892  In 1881, he joined with his brother George to form the well known law firm Parker and Parker (which in 1997 merged with the Perth office of Freehill Hollingdale & Page) 

Personal life and death
He married Amey Katharine Leake, daughter of George Walpole Leake on 27 July 1872   She died in 1914   They had four sons and seven daughters who reached adulthood  Their second son Hubert Stanley Wyborn Parker (1883-1966) was the member of the Western Australian Legislative Assembly for North-East Fremantle in 1930-33, and of the Western Australian Legislative Council for Metropolitan-Suburban province in 1934-54  He was attorney-general for two months in 1933 and chief secretary in 1948-50 
Parker, and his brother George, were heavily involved with the East Perth (now known as Perth) Cricket Club in the W A C A  Competition  He was club President from 1899 to 1903 
He died on 13 December 1927 

See also
Judiciary of Australia
Passage 10:
Elizabeth Blanchard (educator)
Elizabeth Blanchard (1834–1891) was an American educator who was the seventh president of Mount Holyoke College (as Principal and Acting President) 
Blanchard graduated from Mount Holyoke Female Seminary in 1858, and taught there for twelve years before becoming the Associate Principal from 1872-1883   She served as Principal from 1883-1888   When Mount Holyoke Female Seminary received its collegiate charter and became Mount Holyoke College, she served as Acting President from 1888-1889 

See also
Presidents of Mount Holyoke College
Passage 11:
Elizabeth Gertrude Britton
Elizabeth Gertrude Britton (née Knight) (January 9, 1858 – February 25, 1934) was an American botanist, bryologist, and educator  She and her husband, Nathaniel Lord Britton played a significant role in the fundraising and creation of the New York Botanical Garden  She was a co-founder of the predecessor of the American Bryological and Lichenological Society  She was an activist for the protection of wildflowers, inspiring local chapter activities and the passage of legislation  Elizabeth Britton made major contributions to the literature of mosses, publishing 170 papers in that field 

Early life and family
Elizabeth Gertrude Knight was born on January 9, 1858, in New York City, one of five daughters, to James and Sophie Anne (née Compton) Knight  Her family operated a furniture factory and sugar plantation in the vicinity of Matanzas, Cuba, and she spent much of her childhood there  In later childhood, she attended a private school in New York before attending Normal College (later, Hunter College)  She graduated from Normal College in 1875, at the early age of seventeen  On August 27, 1885, she married Nathaniel Lord Britton, an assistant in geology at Columbia College who shared her growing interest in botany  The couple had no children 

Career
After graduation in 1875, Elizabeth Knight joined the staff of Normal College as a critic teacher  She joined the Torrey Botanical Club in 1879, and in 1881 she published her first scientific paper in that organization's Bulletin, reporting observations of unexpected white flowers in two species of plants  She also observed the presence of a curlygrass fern, Schizaea pusilla, in Nova Scotia  In 1883, she became a tutor in natural science  It was at this time that she began to specialize in bryology and her first paper concerning mosses appeared  Britton collected fertile specimens of Eustichium norvegicum in Wisconsin and wrote the first description of its fruits  Although known since 1827, the plant had hitherto been known only in a sterile condition  Her Observer articles were models of popular scientific writings on plants which had “fanciful” titles like “The Humpbacked Elves” and “The Brownies ”After her marriage in 1885, Britton resigned her teaching position at Normal College, and took charge of the moss collections at Columbia in an unofficial, unpaid capacity  She served as editor of the Bulletin of the Torrey Botanical Club from 1886 to 1888; in 1889, she published the first of an eleven-part series of papers titled Contributions to American Bryology in that journal  Her catalogue of the mosses of West Virginia appeared in 1892, and the first of eight articles titled How to Study the Mosses for a popular magazine was published in 1894  These papers "sufficed to place Mrs  Britton in command of the bryological field in America " She worked with her husband to acquire for Columbia the moss herbarium of August Jaeger of Switzerland; Britton persuaded wealthy friends to contribute the necessary $6,000 
Britton, along with her husband, was one of the Torrey Botanical Club members who spurred the establishment of the New York Botanical Garden (NYBG)  The couple also travelled to England in 1888 where Nathaniel was performing research at the Royal Botanic Gardens, Kew  At Kew Nathaniel worked on the Bolivian botanical collections of Henry Hurd Rusby, a gift to Columbia; meanwhile, Elizabeth worked on mosses at the Linnean Society of London  Inspired by the quality and quantity of Kew's herbarium, library, and gardens, the couple set about organizing an institution of comparable stature for New York  A Club meeting was held in October, 1888 where rich and prominent citizens were recruited as incorporators  The Botanical Garden was established by act of the state legislature in 1891  Britton was important in the efforts to raise funds for the organization in the 1890s  Her husband became the first director of the Botanical Garden in 1896, whilst she volunteered there  It was largely through her interest that the collection of liverworts and mosses of William Mitten was acquired for the NYBG in 1906  In recognition of her service, Britton was named Honorary Curator of the Mosses in 1912, a post which she held until her death Britton enumerated the ferns in the Rusby collection in 1888 and she published her examination of the Rusby mosses in 1896 

Britton travelled to various locations in the United States to collect botanical specimens, including the Great Dismal Swamp, the Adirondack Mountains, and the mountains of North Carolina  She accompanied Nathaniel on 23 of the 25 trips he made to the islands of the Caribbean and West Indies  Under her own name, she published her findings in the Bulletin in 1913–1915  Britton wrote the chapters concerning mosses for Nathaniel's Flora of Bermuda and The Bahama Flora Britton worked with organizations to promote the study of mosses, especially by women scientists and she chaired the division of Bryophyta for the (Women's) National Science Club (NWSC) in 1897 As part of her unofficial position at Columbia, Britton acted as advisor to doctoral students, including James Franklin Collins and Abel Joel Grout  Together, in 1898 Grout and Britton founded the Sullivant Moss Chapter of the Agassiz Association  By 1908, it was known as the Sullivant Moss Society (and after 1949, as the American Bryological and Lichenological Society)  Although relations between the two researchers later became chilly, Britton continued to participate in the Society, contributing articles to The Bryologist, its journal, and serving as its president from 1916 to 1919 Britton continued to study plants other than mosses  She published A Revision of the North American Species of Ophioglossum, the adder's-tongue ferns, in 1897  With Delia West Marble, she collected the type specimen of Thelypteris brittonae, a species of maiden fern, in 1906  Britton collected the type specimen for the orchid now named Britton's shadow witch (Ponthieva brittoniae) 

In the first decade of the 20th century, Britton began to devote her time to the conservation of wildflowers  A gift of $3,000 by Olivia and Caroline Phelps Stokes to the NYBG spurred the creation of the Wild Flower Preservation Society of America  The first meeting was held on April 23, 1902 where Frederick Vernon Coville was elected president, Charles Louis Pollard was elected secretary, and Britton was elected to the Board of Managers  Other members of the board included Charles Edwin Bessey, Liberty Hyde Bailey, William Trelease, Charles Frederick Millspaugh and Alice Eastwood  Britton went on to serve as secretary and treasurer of the organization  The Society established numerous local chapters  It was incorporated in the state of New York in 1915, then reorganized as the Wild Flower Preservation Society in 1925, with Percy L  Ricker as its head  Britton promoted the cause for nearly 35 years, by publishing, lecturing, and conducting correspondence; her efforts led to adoption of legislation in various states, as well as local conservation activities in garden clubs and public schools  She published fourteen articles in the NYBG's Journal under the series title of Wild Plants Needing Protection 
In 1925, as chair of the conservation committee of the Federated Garden Clubs of New York State, Britton successfully led a boycott campaign against the common practice of harvesting wild American holly for use as a Christmas decoration  As a substitute, she promoted the propagation of the plant by cuttings for commercial use 
All told, during the period 1881 to 1930, Britton published 346 papers, of which 170 dealt with mosses  She wrote descriptions of six families of mosses for the New York Botanical Garden's Flora of America  Marshall Avery Howe described Britton as "a woman of extraordinary physical and mental energy—the possessor of a remarkably quick and brilliant intellect  She has left an enduring record in the literature of science, and her well-directed activities have had an outstanding influence in the conservation of the native flora of the United States "

Wild Plants Needing Protection
Wild Plants Needing Protection, written by Britton, is a New York Botanical Garden journal comprising fourteen articles  In the journal, she gives an in depth description of different wild plants and their importance to their environment  Each plant section included an illustration of the plant described, while also giving descriptions of both the scientific and historical background of the plants  This is shown in Britton’s journal of “Spring Beauty”: 

“The Spring Beauty was named by Linnaeus in 1753 in honor of John Clayton, an American botanist, and correspondent, who wrote, in 1743, a flora of Virginia " Britton then goes over how there are about twenty-five species of Claytonia plants  Her Journal entry of “Wild Pink” is an example of her descriptions which is conveyed within the writing when she states:“before the trees cast much shade, while their greens are still so exquisitely fresh and varied, a bright flash of color will attract the eye to the Wild Pink, growing in hilly places on rocks or often in their cracks and crevices with the Saxifrage "

Recognition and legacy
In 1893, Britton was the only woman among the 25 scientists nominated for charter membership in the Botanical Society of America  In 1905, she was one of three bryologists appointed to the nomenclature committee that would report to the 1910 meeting of the International Botanical Congress in Brussels  In 1906, Britton was one of only nineteen women listed in the first edition of American Men of Science  Her entry was marked with an asterisk: this "starred" listing was limited to the top 1,000 scientists in the book, as determined by the editors  Britton was starred in the five editions of the book that appeared through 1933 The moss genus Bryobrittonia is named for Elizabeth Britton, as well as fifteen species of plants and one of animals Mount Britton, a double peak in El Yunque National Forest in Puerto Rico, honors both of the Brittons In 1940, a memorial plaque in honor of Britton was installed in the new Wild Flower Garden of the New York Botanical Garden  A gift of the New York Bird and Tree Club, it is mounted on a ten-ton boulder of Bronx schist, and its text reads, "Let those who find pleasure in this garden remember Elizabeth Gertrude Knight Britton, lover of wildflowers and ardent advocate of their protection"  The garden is now known as the Native Plant Garden, and the boulder as Britton Rock Today, the Elizabeth Gertrude Knight Britton archive is held by the NYBG Mertz Library  It includes personal papers, manuscripts and published research, artwork and photographs, and printing plates  The archive documents Britton's teaching career at Normal College, as well as her participation in the Torrey Botanical Club and the NYBG  Her field notebooks can be found in the New York Botanical Garden Collectors' Field Notebook collection The character of Alma Whittaker in the 2013 novel The Signature of All Things, by Elizabeth Gilbert, is modeled in part on Britton 

Later life and death
Elizabeth Britton died at her home at 2965 Decatur Avenue in The Bronx on February 25, 1934, following an apoplectic stroke; her husband Nathaniel survived her by four months  Although she was nominally a member of the Episcopalian faith, she was buried in the Moravian Cemetery on Staten Island, where her husband's ancestors had been early settlers and he held property 

Selected publications
See also
The Britton Cottage
Timeline of women in science
Passage 12:
Mary Gaunt
Mary Eliza Bakewell Gaunt (20 February 1861 – 19 January 1942) was an Australian novelist and writer  born in Chiltern, Victoria  She also wrote collections of short stories, novellas, autobiographies, and non-fiction  She published her first novel Dave's Sweetheart in 1894  Gaunt visited many countries in her life and she wrote about her experiences in five travel books 

Early life and education
Mary was the elder daughter of William Henry Gaunt, a Victorian county court judge and Elizabeth Gaunt, née Palmer (c  1835–1922), and was born in Chiltern, Victoria  She was educated at Grenville College, Ballarat and the University of Melbourne, being one of the first two women students to be admitted there 

Career
She began writing for the press and in 1894 published her first novel Dave's Sweetheart  In the same year she married Dr Hubert Lindsay Miller (a widower) of Warrnambool, Victoria  He died in 1900, and, with only a small income, Gaunt (now also known as Mrs Mary Miller) went to London intending to earn a living by her writing  Gaunt left Melbourne on 15 March 1901 and never returned 
Gaunt had difficulties at first but eventually established herself, and was able to travel in the West Indies, in West Africa, and in China and other parts of the East  Her experiences were recorded in five pleasantly written travel books: Alone in West Africa (1912), A Woman in China (1914), A Broken Journey (1919), Where the Twain Meet (1922), Reflection - in Jamaica (1932)  In 1929 she also published George Washington and the Men Who Made the American Revolution  Between 1895 and 1934, 16 novels or collections of short stories were published, mostly with love and adventure interests  Three other novels were written in collaboration with John Ridgwell Essex  A collection of interviews with Mary were published in the 1925 Girls' Own Annual under the headings "Pioneering for Women" parts I, II, and III, and "Strange Journeys I Have Made" 
From the early 1920s, Gaunt lived mostly at Bordighera, Italy  In 1940 she fled Italy and died at Cannes in 1942  She had no children 
She had a sister Lucy, and brothers Cecil, Clive, Guy and Ernest; Guy and Ernest were both admirals of the Royal Navy, and Guy later became a Conservative Member of Parliament 

Bibliography
Novels
Dave's Sweetheart (1894)
Kirkham's Find (1897)
Deadman's: An Australian Story (1898)
Mistress Betty Carew (1903)
The Arm of the Leopard: A West African Story (1904) [with John Ridgwell Essex]
Fools Rush In (1906) [with John Ridgwell Essex]
The Silent Ones (1909) [with John Ridgwell Essex]
The Mummy Moves (1910)
The Uncounted Cost (1910)
Every Man's Desire (1913)
A Wind from the Wilderness (1919)
As the Whirlwind Passeth (1923)
The Forbidden Town (1926)
Saul's Daughter (1927)
The Lawless Frontier (1929)
Joan of the Pilchard (1930)
Harmony: A Tale of the Old Slave Days of Jamaica (1933)
Worlds Away (1934)

Novellas
Bingley's Gap (1888)
Down in the World (1893)
The Other Man (1894)

Short story collections
The Moving Finger (1895)
The Ends of the Earth : Stories (1915)
The Surrender and Other Happenings (1920)
Life at Deadman's : Stories of Colonial Victoria (2001)

Autobiography
Alone in West Africa (1912)
A Woman in China (1914)
A Broken Journey: Wanderings from the Hoang-Ho to Saghalien (1919)

Non-fiction
Where the Twain Meet (1922) - travel
Peeps at Great Men : George Washington and the Men Who Made the American Revolution (1929) - children's
Reflection in Jamaica (1932) - travel

Notes and references
Sources
E  Archer, 'Gaunt, Mary Eliza Bakewell (1861 - 1942)', Australian Dictionary of Biography, Volume 8, MUP, 1981, pp 632–633  Retrieved 30 October 2008
Serle, Percival (1949)  "Gaunt, Mary"  Dictionary of Australian Biography  Sydney: Angus & Robertson  Retrieved 30 October 2008 
Auslit Gaunt, Mary  (birth name: Gaunt, Mary Eliza Bakewell ) (a k a  Miller, Mary )

External links

Works by Mary Gaunt at Project Gutenberg
Works by Mary Gaunt at Project Gutenberg Australia
Works by or about Mary Gaunt at Internet Archive
Passage 13:
Pangasinan School of Arts and Trades
Pangasinan School of Arts and Trades, also referred to as PSAT, is a government institution of technical vocational education and training higher learning located in Alvear Street, Lingayen, Pangasinan, Philippines  PSAT is duly registered by the Technical Education and Skills Development Authority  All PSAT programs are accredited by the Technical Education and Skills Development Authority (TESDA) 
History: 
Pangasinan School of Arts and Trades (PSAT) is an outgrowth of the intermediate school organized by American Roy E  Blackman in 1904   It served as a normal training department for teachers who intended to teach shopwork in the different municipalities of Pangasinan   Through the late Provincial Governor, Hon  Isabelo Artacho, the Pangasinan Trade School building was constructed in its present site in 1907 
Mr  Jorge Garcia was the first Filipino principal and was succeeded by Martin Mendoza   It was during the incumbency of Mr  Mendoza in 1923 that the first year high school level of the trade school was introduced 
In 1920 the first batch of students of the four-year trade curriculum graduated   The shop courses offered then were Woodworking, Building Construction and Automotive 
In 1929 – 1930, the Pangasinan Vocational High School emerged as an offshoot of the merger of Home Economics Education, Normal Training Department and Trade Courses Program 
In 1935 – 1936, the Pangasinan High School and the Pangasinan Vocational High School were fused into one high school known as the Pangasinan Secondary School 
In 1939 – 1940, the Pangasinan Vocational High School became known as Pangasinan Trade School, an entirely separate entity from the Pangasinan High School of which it has earlier been a part 
On August 15, 1945, the Pangasinan Trade School was temporarily opened at Dagupan City due to the construction of the buildings in Lingayen 
On March 14, 1953, by virtue of Republic Act 704, the Pangasinan Trade School was converted into a National School of Arts and Trades and named as Pangasinan School of Arts and Trades (PSAT) whose curricular offerings were expanded to include Master of Arts in Vocational Technical Education, major in Practical Arts   This gave PSAT the distinction of being the only vocational school offering graduate studies, in Region I 
In 1987, the offering of post-secondary technical-vocational education was retrieved from the Pangasinan State University which brought with it all post-secondary courses upon its conversion as a state university in 1978 and only the secondary courses were left with PSAT 
In 1990, PSAT  was elevated as a Higher Technical Education institution by virtue of Republic Act 7078 
In 1995, PSAT was transferred t the administrative supervision of the Commission on Higher Education (CHED) by virtue o Republic Act 7845  It was, however, only in 1997 that PSAT became a full-fledged CSI (CHED-Supervised Institution) 
On April 25, 2000, by virtue of CHED-TESDA Memorandum of Agreement, PSAT was transferred to the administrative supervision of the Technical Education and Skills Development Authority (TESDA) 
On May 10, 2000 the Joint CHED-TESDA Memorandum Circular  No  1, s  2000, the Implementing Guidelines on the Transfer of CHED-Supervised Institutions (CSIs) to Technical Education and Skills Development Authority (TESDA) was issued  Dr  Geronimo S  dela Cruz, Sr  was the first Vocational School Superintendent of PSAT under TESDA supervision 
On April 1, 2001, Dr  Lina C  Alcantara took over as the Officer-In-Charge   It was during her term when eleven (11) of the school offerings were registered under UTPRAS   Three courses (Garments, Computer Technician and Hotel and Restaurant Technology) were registered WTR and seven (7) courses were registered NTR 
On August 3, 2005, Manuel A  Jaramilla, Ph  D  assumed the position of Officer-In-Charge   It was during his term when Short-term courses were first offered which eventually boomed    It was also during his term when 16 courses were registered under WTR status in June, 2007   Technology Trainers were also granted Trainers’ Qualification I (TQ I) in support of the Competency Based Training Delivery 
On June 1, 2008, Clemencia T  Ibarra, CSEE and Civil Service Commission Local Scholarship Program – Masteral Degree Program and University of the Philippines Scholarship recipient assumed her post as Vocational School Superintendent I 
Her leadership and administration shall anchor in the full implementation of Competency Based Training Delivery, registration of short-term courses under WTR Status, institutional application and accreditation by Asia Pacific Accreditation and Certification Commission (APACC), improvement of school facilities, Instructional and Administrative Staff Development and Welfare Benefit Program, efficiency and transparency on school’s communication, financial, administrative, and supplies management, systems and processes, and institutionalization of income generating project 

Program Offerings
Junior & Senior High School
Automotive Servicing NC II
Bread and Pastry Production NC II
Commercial Cooking NC II
Computer Hardware Servicing NC II
Consumer Electronics Servicing NC II
Dressmaking NC II
Electrical Installation and Maintenance NC II
Food and Beverage Services NC II
Front Office Services NC II
Hairdressing NC II
Housekeeping NC II
Shielded Metal Arc Welding NC II
Trainer's Methodology Level I

External links
TESDA Accredited Assessment Centers – Pangasinan School of Arts and Trades
Passage 14:
Arthur Kroker
Arthur Kroker (born 1945) is a Canadian author, editor, educator and researcher of political science, technology and culture 

Life and career
He earned a PhD in political science from McMaster University in 1975  In addition to being a professor of political science at the University of Victoria, Kroker serves as director of the Pacific Centre for Technology and Culture (PACTAC), located at the university  Kroker was appointed to the Canada Research Chair in technology, culture and theory in 2003  He is the editor for the online academic journal CTheory, an international journal of theory, technology and culture 
Kroker has been an outspoken critic of the transformation of the early internet into a consumer-driven system ("virtual class")  Austrian magazine Monochrom interviewed him about his political motivations in 1996 He was married to Marilouise Kroker from 1971 until her death in 2018 

Bibliography
Books
Technology and the Canadian Mind: Innis, McLuhan, Grant (1984)
The Postmodern Scene: Excremental Culture and Hyper-Aesthetics (1987) (with David Cook)
Panic Encyclopedia: The Definitive Guide to the Postmodern Scene (1989) (with David Cook and Marilouise Kroker)
The Possessed Individual: Technology and the French Postmodern (1992)
SPASM: Virtual Reality, Android Music, and Electric Flesh (1993)
Data Trash: Theory of the Virtual Class (1994) (with Michael A  Weinstein)
Hacking the Future (1996) (with Marilouise Kroker)
The Will to Technology and the Culture of Nihilism: Heidegger, Nietzsche and Marx (2004)
Body Drift: Butler, Hayles, Haraway (2012)
Exits to the Posthuman Future (2014)
Technologies of the New Real: Viral Contagion and Death of the Social (2021) (with Marilouise Kroker)

As editor
Body Invaders: Panic Sex in America (1987) (with Marilouise Kroker)
The Hysterical Male: New Feminist Theory (1991) (with Marilouise Kroker)
The Last Sex: Feminism and Outlaw Bodies (1993) (with Marilouise Kroker)
Digital Delirium (1997) (with Marilouise Kroker)
Life in the Wires: The CTheory Reader (2004) (with Marilouise Kroker)
Critical Digital Studies: A Reader (2008) (with Marilouise Kroker)
Passage 15:
Poptropica
Poptropica is an online role-playing game, developed in 2007 by Pearson Education's Family Education Network, and targeted towards children aged 6 to 15  Poptropica was primarily the creation of Jeff Kinney, the author of the Diary of a Wimpy Kid series  As of 2015, he remains at the company as the Creative Director  The game primarily focuses on problem-solving through game quest scenarios, called "islands"  Islands all center on a problem that the player must resolve by going through multiple obstacles, collecting and using items, talking to various characters, and completing goals  All islands, upon completion, award "credits," which are non-negotiable currency that may be used to buy costumes and special effects in the Poptropica store 
In 2011, Poptropica was listed on Time magazine's list of "50 Websites that Make the Web Great", where it was described as "an inventive megasite for kids with a wholesome and slightly educational bent"  By 2012, the game had grown to have over 75 million registered users, with 35 million in the 15-25 age group  Versions of the game have been released on Nintendo DS and 3DS, iOS, and Android mobile devices  In May 2015, it was announced that Family Education Network was sold by Pearson to the interactive-education venture capitalist Sandbox Networks, and that Poptropica had "over 3 2 million monthly unique users in 200 countries and territories" In 2015, Poptropica was sold to educational-technology investment group, Sandbox Partners In 2020, because of the discontinuation of Adobe Flash, Poptropica began porting their old islands that were built on Adobe Flash over to an HTML5 format  As a result of Poptropica's utilization of varying Flash engines, a number of islands were unable to be ported immediately, and were effectively removed from the game  Fan archivists later made 35 islands available once again via the Basilisk browser within the Flashpoint program In April 2022, Poptropica announced that some of the old islands would return as part of a bundle on Steam  Though delayed by a day, the game was eventually released on May 26, 2022, and includes seventeen islands and Poptropica Realms 

Gameplay
When it first launched in 2007, Poptropica only had one island, titled Early Poptropica Island  By 2017, it had 58 islands to be explored, all with a different theme: examples include Back Lot Island, where the player helps produce a movie, and Super Power Island, where their goal is to defeat six super villains  Each island had its own quest, for which a player could receive an island medallion as well as 150 credits to spend in the in-game Poptropica Store  Starting July 6, 2011, Poptropica allowed players to replay islands without creating a new account, while still keeping track of all the Medallions the player had earned 

Advertisements
In addition to the available island quests, advertisers contract for temporary mini-games that appear on the site, sometimes targeted to players of a certain age group or gender  Regular advertisers have included Disney, Kellogg's Froot Loops, Lego toys, and various animated movies and DVD releases  Advertisement mini-games normally appear only during a two-week period  If the player completes an advertisement mini-game, they receive a temporary prize, usually related to the media being advertised 
A few Poptropica islands are themed after certain book series: these include Big Nate, Timmy Failure, Diary of a Wimpy Kid, and Magic Tree House  These islands are permanent, and can be played at any time  In 2015, a total of seven of these islands became members-only 

Mini-games
Poptropica features different mini-games that users can play with other people  These include Switch, Sudoku, Hoops, Sky Dive, Paint War, Star Link, Balloons, Soupwords and Pathwise  The game keeps track of how many times the player wins or loses a certain mini-game 

Spin-offs
Poptropica Adventures
In 2012, in partnership with Ubisoft, Poptropica released a video game for the Nintendo DS, titled Poptropica Adventures 

Poptropica: Forgotten Islands
On September 5, 2013, Poptropica launched Poptropica: Forgotten Islands, an iOS game, which allows players to meet new characters and discover story elements about Poptropica by finding artifacts littered throughout the game  It was also released on the Nintendo 3DS system through Ubisoft in 2014  It has been replaced on iOS and Android with a mobile version of the desktop Poptropica game 

Poptropica Worlds
On January 11, 2017, Poptropica announced via their blog that they were introducing another game called Poptropica Worlds, developed in Unity  It was released in spring 2017  Poptropica Worlds has new features, such as redesigned characters, customizable homes, and new islands  Returning players are able to port over their avatar's look and name to Poptropica Worlds  Poptropica Worlds can be played on both the web and mobile  If membership was bought for Poptropica, it carries over to Poptropica Worlds, and vice versa 
Context 2: Passage 1:
Maxime Bono
Maxime Bono (born 1 November 1947 in Algiers, Algeria) is a French politician and a member of the Socialist Party  He has been mayor of La Rochelle from April 1999 to April 2014, president of the Agglomeration community of La Rochelle from January 2000 to April 2014  and an MP of the Charente-Maritime's 1st constituency from April 1999 until June 2012  During his two mandates, he was a member of the Socialist, Radical, Citizen and Miscellaneous Left parliamentary group 

Legal studies and work
Maxime Bono studied public law in the Law and Economics Faculty of the University of Toulouse, graduating with a licence in 1971  He has been a tax inspector between 1972 and 1982 
In 1983, he became cultural councillor of the municipality of La Rochelle  In 1985, he became representative in the cabinet of Michel Crépeau, then mayor of La Rochelle  In 1986, he became chief of the staff of Michel Crépeau 

Political career (1975–2012)
Early period (1975–1999)
He has been a member of the Socialist party since 1974 
He has been a first deputy mayor of La Rochelle during ten years (1989–1999)  He was in charge of cultural affairs during this period  From 1993 to 1999, he has been a vice president of the Community of cities of La Rochelle  He was in charge of economics during this period  From 1992 to 1999, he has represented the La Rochelle 6th canton in the General Council of Charente-Maritime 
From 1995 to 1999, he has been a president of the municipality-owned company of the public transportation of La Rochelle 

Mayor of La Rochelle (1999−2014) and MP (1999−2012)
A mayor of La Rochelle since 1971, an MP of the Charente-Maritime's 1st constituency (1973–1993, again from 1997), a former Minister (1981–1986) during the first presidential mandate of François Mitterrand, Michel Crépeau died in Paris on 30 March 1999, after a heart attack which had arisen few days earlier during a parliamentary session of the National Assembly 
In April 1999, Maxime Bono succeeded him as a mayor of La Rochelle, a president of the Community of cities of La Rochelle and an MP of the Charente-Maritime's 1st constituency (the nine cantons of La Rochelle and the two cantons of the Île de Ré)  In January 2000, the Community of cities turned into the Agglomeration community of La Rochelle, which currently groups together eighteen towns and villages of Aunis On 27 April 1999, he resigned as a general councillor of La Rochelle-6 because of the law of the accumulation of mandates ("Cumul des mandats") 
However, he didn't seek a third parliamentary mandate in 2012  In the National Assembly, he sat as a member in the committee of the sustainable development and spatial planning  Olivier Falorni (Divers Gauche) succeeded him as an MP of the Charente-Maritime's 1st constituency In 2013, he decided not to seek a further mayoral mandate, hinting at his defeat at the 2012 parliamentary elections as one of the reasons motivating his decision  Following the 2014 French municipal elections, Maxime Bono was succeeded as mayor of La Rochelle and President of the La Rochelle Agglomeration Community by Jean-François Fountaine (Divers Gauche) 

Elections (2001-2008)
Municipal elections
In the 2001 municipal elections, Maxime Bono's miscellaneous left list largely overtook the absolute majority from the first round (67 36%, 15,190 votes)  He even polled more than his predecessor Michel Crépeau in 1995 (58 02%) 

In the 2008 municipal elections, his miscellaneous left list again largely overtook the absolute majority from the first round  Despite the competition of six lists and a lower percentage than in 2001, his municipal list polled 58 93% (15 400 votes) and got 41 of the 49 seats 

Parliamentary elections
The first constituency of the Charente-Maritime consists of La Rochelle, some of its surrounding towns and villages (Dompierre-sur-Mer, Esnandes, L'Houmeau, Lagord, Marsilly, Nieul-sur-Mer, Périgny, Puilboreau, Saint-Xandre) and the ten municipalities of the Île de Ré (Ars-en-Ré, La Couarde-sur-Mer, La Flotte, Le Bois-Plage-en-Ré, Les Portes-en-Ré, Loix, Rivedoux-Plage, Saint-Clément-des-Baleines, Saint-Martin-de-Ré, Sainte-Marie-de-Ré) 

La Rochelle in 2002
Polling 37 12% (21,138 votes) in the first round, Maxime Bono largely overtook the UMP candidate Catherine Normandin (27 63%, 15,731 votes)  In the run-off, he was elected as MP with 53 02% (28,725 votes) He attained his highest score in La Rochelle in the first round (41 45%, 12,027 votes) and in the run-off (57 74%, 15,834 votes)  Except for Dompierre-sur-Mer where he was overtaken by four votes by Catherine Normandin, he headed in the first round in all the surrounding towns and villages of La Rochelle  Except for Lagord and Marsilly, he got the absolute majority in the run-off in all the surrounding towns and villages of La Rochelle  In the first round, he arrived in second position in the ten municipalities of the Île de Ré; his lowest score was in La Couarde-sur-Mer (21 71%)  In the second round, he was defeated by Catherine Normandin in the ten municipalities of the Île de Ré; his lowest score was in Les Portes-en-Ré (32 08%) 

La Rochelle in 2007
Polling 40 77% (23,928 votes) in the first round, Maxime Bono overtook the UMP candidate Dominique Morvant, then general councillor of La Rochelle-4 (35 95%, 21,099 votes)  In the run-off, he was re-elected as MP with 55 05% (32,345 votes)  Compared to 2002, he slightly increased his parliamentary score He attained his highest score in Esnandes in the first round (45 49%) and in the run-off (62 84%)  In La Rochelle, he polled 45 14% (13 120 votes) in the first round and 60 69% (17 667 votes) in the run-off  Except for Marsilly in the first round and the run-off, he headed in the first round and got the absolute majority in the run-off in all the surrounding towns and villages of La Rochelle  In the first round, he arrived in second position in the ten municipalities of the Île de Ré; like in 2002, his lowest score was in La Couarde-sur-Mer (23 11%)  In the run-off, he was defeated by Dominique Morvant in the ten municipalities of the Île de Ré; his lowest score was in Loix (32 44%) 

Former local mandates
President of the Community of cities of La Rochelle: April 1999-January 2000
General councillor of La Rochelle-6 : 30 March 1992 – 27 April 1999
Mayor of La Rochelle : 19 April 1999 - 5 April 2014
President of the Agglomeration community of La Rochelle : January 2000 - April 2014

National mandate
MP of the Charente-Maritime's 1st constituency (30 March 1999−19 June 2012) : Socialist, Radical, Citizen and Miscellaneous Left parliamentary group, member of the committee of the sustainable development and spatial planning
Passage 2:
Cornelius Demarest House
Cornelius Demarest House is located in Rochelle Park, Bergen County, New Jersey, United States  The house was added to the National Register of Historic Places on January 10, 1983 

See also
National Register of Historic Places listings in Bergen County, New Jersey
Passage 3:
Jean Guiton
Jean Guiton (2 July 1585 – 15 March 1654) was born in La Rochelle, where he followed the occupation of ship-owner  He became a notable Huguenot leader during the Naval battle of Saint-Martin-de-Ré and siege of La Rochelle 
Having been nominated Admiral of the fleet of La Rochelle, Jean Guiton fought the Naval battle of Saint-Martin-de-Ré against Royal forces on 27 October 1622 He later participated to the uprising of Soubise in 1625, leading to the Capture of Ré island by Royal forces that same year 
He became mayor of La Rochelle and, during the 1627-1628 Siege of La Rochelle, he organized an energetic resistance to the troops of king Louis XIII  The scene is still visible today in the City Hall (Hotel de Ville) of La Rochelle, where a marble table with a chip made by his dagger is on display 
Then, Richelieu offered him leadership in the royal fleet and he fought Spain  One of his daughters married the son of the famous Protestant admiral Abraham Duquesne, Abraham Duquesne-Guiton 
Like many other Rochelais (people from La Rochelle), Jean Guiton was a Huguenot 


== Notes ==
Passage 4:
James T  Schleifer
James Thomas Schleifer is an American historian, and emeritus Dean of the Mother Irene Gill Memorial Library, and professor at the College of New Rochelle 

Life
He graduated from Yale University with a Ph D  in 1972   He also lectures at Yale University 

Awards
1981 Merle Curti Award

Works
"Tocqueville: Écrits et discours politiques"  LA REVUE TOCQUEVILLE / THE TOCQUEVILLE REVIEW, VOL  XIII No  2, 1992
Eduardo Nolla, ed  (1996)  "How Many Democracies?"  Liberty, Equality, Democracy  NYU Press  ISBN 978-0-8147-5778-9 
The making of Tocqueville's Democracy in America  University of North Carolina Press  1980  ISBN 978-0-8078-1372-0 
Cheryl B  Welch, ed  (2006)  "Tocqueville's Democracy in America Reconsidered"  The Cambridge Tocqueville Companion  Cambridge University Press  ISBN 978-0-521-84064-4 
Passage 5:
Menucha Rochel Slonim
Rebbetzin Menucha Rochel Slonim (1798–1888) was a daughter of Rabbi Dovber Schneuri, the second Rebbe of the Chabad Hasidic dynasty  She is regarded a matriarch to the Chabad dynasty as well as Hebron's Jewish population in general 

Origin of name
Rebbetzin Slonim was born on the 19 Kislev, 5559 AM (27 November 1798), the same day her grandfather, Rabbi Shneur Zalman of Liadi was released from imprisonment in S  Petersburg  Her father chose the name Menucha because in Hebrew the word "menucha" means "peace and quiet"  He said, "Henceforth we shall have a little Menucha " She was named Rochel after an aunt that died in her youth 
Her husband's last name was originally Griver, a descendant of Rabbi Moses Isserles, the Rema; they chose to change it to Slonim (this was when it was still easy to change names)  They then moved to Hebron 

Emigration to Hebron
After she fell dangerously ill, her father promised that she would live to emigrate to the Land of Israel  In 1845, with the blessing of her brother-in-law, Rabbi Menachem Mendel Schneersohn, she and her family emigrated to Hebron  To allay her fears of rainstorms on the journey to Hebron, Rabbi Schneersohn blessed her to "walk between the raindrops "

Life in Hebron
For forty-three years she served as the matriarch of the Hebron community  New brides and barren women would request blessings from her  Before she died on the 24th of Shevat, 5648 AM (6 February 1888), she sent a letter to the then Rebbe, Rabbi Sholom Dovber Schneersohn, informing him of her imminent passing  She thus lived during the leadership of all of the first five Lubavitcher Rebbes She became renowned among both townspeople and beyond, Jews and non-Jews alike for her curative and salvation abilities, and was nicknamed "the grandmother Menucha Rachel"  Every bride who visited the Tomb of Machpela on the day of her wedding came to get her blessing and the Admor Rebbe Elazar Mendel of Lelov used to visit her home three times a week when staying in Hebron  He was strict about standing when she entered or left the room and always asked her to bless him 

Her family went on to become leaders of the Hebron Jewish community, helping unite the Sephardic and Ashkenazic Jewish communities and reaching out to the Arabic community  Her son was Rabbi Yehuda Leib Slonim, who was the father of Rebbetzin Moshke Devora Epstein, who inherited Menucha Rochel's home when she got married  Other children included Rabbi Mordechai Dov Slonim 
Rabbi Yaakov Yosef Slonim was the chief Ashkenazi rabbi during the 1929 Hebron massacre  His son was Eliezer Dan Slonim, who spoke fluent Arabic and was a member on the city council and a director of the Anglo-Palestine Bank  He had excellent relations with the British Mandate authorities and Arab community and was reported to have not believed in rumors of an impending riot  He and his family were slaughtered as they attempted to make a barricade in the Slonim family house  One-year-old Shlomo Slonim (1928-2014) survived the massacre  He was the grandson of Rabbi Yaakov Yosef Slonim and son of Eliezer Dan Slonim  Shlomo Slonim went on to join the Irgun Tzvai Leumi, the Haganah, and the Israel Defense Forces  He worked for Bank Leumi for almost 50 years, was married for 50 years, and had 4 children  His photo as a wounded toddler is included in the Museum of the Jewish Community of Hebron  as are many photos of the Slonim family 

Annual visits to grave in Hebron
Today, the grave of Menucha Rochel Slonim receives hundreds of visitors every year, especially on the anniversary of her passing  It is located in the Old Jewish cemetery, Hebron  The grave made headlines in 1997, when the H1 and H2 sections of the city were created  Concerned residents and supporters protested the government to ensure that the cemetery and Menucha Rochel's final resting place were not left outside of the designated area  Other venerated Jewish scholars buried in the cemetery include Eliyahu de Vidas, Solomon Adeni, Elijah Mizrachi and Yehuda Bibas 
Today, the local Chabad chapter in Hebron leads visits to her grave and continues her legacy  In 2002 The Menucha Rochel Kollel, a learning center moved to a historic building adjacent to the grave of Menucha Rochel in the cemetery  Daily classes and services are held there 
Passage 6:
Gillardeau oysters
Gillardeau oysters are a brand of edible oysters that are produced by the Gillardeau family and their small private company, which was founded in 1898 in Bourcefranc-le-Chapus near La Rochelle and the Île d'Oléron in western France Gillardeau now produces roughly half its oysters in Normandy, near Utah Beach, and half in County Cork, Ireland, He also gets his oysters from P  Sugrue one of the worlds top growers from Kerry Ireland  where the waters are cleaner, there are fewer parasites and less agricultural runoff, and the area is easier to farm with tractors 
Passage 7:
Daddy's Home 2
Daddy's Home 2 (titled on screen as Daddy's Home Two)  is a 2017 American Christmas buddy comedy film directed by Sean Anders and written by Anders and John Morris  A sequel to Daddy's Home (2015), it stars Will Ferrell, Mark Wahlberg, Linda Cardellini, John Cena, with John Lithgow and Mel Gibson  The plot follows now-reformed fathers Brad and Dusty (Ferrell and Wahlberg), now co-parenting Dusty's kids, who have to deal with their own fathers (Lithgow and Gibson) visiting for the holidays 
Unlike its predecessor, Red Granite Pictures was not involved in the film's production  Principal photography on the film began in Massachusetts in March 2017 and it was released in the United States by Paramount Pictures on November 10, 2017  Although the film received generally negative reviews from critics, it grossed over $180 million worldwide against a production budget of $69–70 million 

Plot
Finally friends, Brad Whitaker and Dusty Mayron co-parent Dusty's two children, Megan and Dylan, who take turns at each father's house  Dusty has remarried to Karen, a doctor/novelist, and is a stepfather to her daughter Adrianna  The men decide to have a joint Christmas rather than separate ones, after Megan embarrassingly admits during a school recital, that she does not like Christmas anymore due to the stress and embarrassment caused by the dual arrangement  She'd prefer one "together Christmas" 
Dusty's tough fighter pilot/Space Shuttle astronaut father Kurt and Brad's overbearing and cheerful father, Don, unexpectedly arrive for Christmas  Megan and Dylan warmly embrace Don, as he is very present in their lives, while Kurt hasn't seen them since they were toddlers  From his envy of the affection the children show Don, Kurt rents a large cabin through Airbnb, to house them all through the holiday week 
Brad and Dusty's co-parenting is put to the test by Kurt's meddling  Dusty’s beef with Kurt mainly stems from the fact that he was rarely there for him as a child  Especially painful was when, during a youth Glee Club recital he embarrassed himself by missing his solo part when Kurt left to make out with a woman during his part  Sara, meanwhile, tries to bond with Karen, but is appalled by her shoplifting clothes from a store and not caring if Adriana and Megan drink alcoholic eggnog  She later becomes concerned Don isn’t with his wife, whom he claims couldn’t come as she was staying home to take care of her ill brother 
Dylan develops a crush on a little girl staying in the cabin next door, causing Megan and Adrianna to constantly tease him in front of her  Brad gives him some “advice", and Dusty interjects when he thinks Brad is having what looks like “the talk” with Dylan, although they had agreed to do it together  As the trees on the Christmas tree farm are small, Kurt suggests they illegally go on to private property to cut one down  Brad mistakes a cell tower for a tree and is electrocuted 
After bowling, the family takes the kids to see Santa  There, Kurt tries to convince Dylan to ask Santa for a shotgun, but Don talks him out of it  Megan, however, wants one instead and is granted permission after Kurt makes a sexist comment  Out hunting the next day, Megan accidentally shoots Kurt in the shoulder, sending him to the hospital  While Kurt is down, she shoots two turkeys, surprising him  Sara confronts Brad over Don’s odd behavior, but he refuses to believe her 
Brad, Dusty, Don and Kurt go to an improv comedy club, where they have a good time until Kurt picking up a woman at the bar annoys Dusty  Brad enters Don into the improv show, and Dusty chooses the topic of a husband confronting his cheating wife as the subject of the skit  As it progresses, it is revealed that Don has separated from his wife in real life  Sara comforts Don about his divorce in front of an eggnog bowl, but when Dusty reveals his part in the skit, Don and Brad become furious and Dusty and Brad's relationship becomes strained  When they leave, Megan and Adrianna sneak cups of alcoholic eggnog  Brad, attempting to get back at Dusty, invites Adrianna's father, Roger  Roger intimidates Dusty as he had done to Brad in the first film 
The entire family takes part in a live nativity  Brad fights with Dusty because he wants to play Joseph  A drunken Megan begins to swear, and an equally drunk Adrianna falls from her platform, then the crowd breaks up  Instead of Dusty fighting Brad, he almost fights Roger, and Don is repeatedly hit in the face with ice-balls 
On Christmas Day the families, depressed from all the arguing, pack up to leave  On their way out of town, they are forced back due to a blizzard, taking shelter at a movie theater  They see Missile Tow, a holiday action comedy film starring Liam Neeson  When the power cuts off during the movie, everyone goes to the lobby where each man confronts his father about his secrets, lies, and attitudes, and reconcile 
Remembering advice given to him by Kurt, Dylan walks toward the girl he has a crush on to kiss her, but instead kisses Adrianna  Kurt pushes Dusty to stand up to Adrianna and punish her for her recent behavior, but he instead tells her he loves her  He then tells Roger that loving Adrianna means loving her real father as well as he is also part of the family  Roger almost leaves without Adrianna  However, he has a change of heart after everyone breaks out into a song of "Do They Know It's Christmas?" (during which the power comes back on) and he decides to stay 
Sometime later, at the airport, Don and Kurt are preparing to head back to their respective homes  Adrianna, who has grown close with Don, reveals she signed him up for a dating app for seniors so he can move on from Brad’s mother  Kurt and Don go up the terminal escalators, where Kurt reveals to Don that he switched out the tickets and they are going to spend New Year's together in Las Vegas to find dates more effectively 
As Brad's mother arrives, Dusty and Brad discover Brad's new stepfather is Sully Sullenberger, pilot of the 2009 "Miracle on the Hudson" flight  They remember watching the film Sully together recently, and Dusty appears to be excited to meet him  However, an infuriated Brad runs down the terminal, screaming that Sully will never replace his father and "You only have one good story, my father has a million" 

Cast
Production
In April 2016, the sequel was announced, with Will Ferrell and Mark Wahlberg reprising their roles, Sean Anders and John Morris writing the script, and Anders directing  In January 2017, it was reported that Mel Gibson and John Lithgow were being sought to play the main characters' fathers in the film  The two were later confirmed to star, along with Linda Cardellini, John Cena, Owen Vaccaro and Scarlett Estevez, reprising their roles Principal photography began on March 20, 2017  Scenes were filmed in Concord, Massachusetts, Clinton, Massachusetts, Framingham, Massachusetts, Lawrence, Massachusetts and Great Barrington, Massachusetts 

Release
The film was released in the United States on November 10, 2017 Daddy's Home 2 was released on Digital HD on February 6, 2018, and was released on Blu-ray and DVD on February 20, 2018 

Reception
Box office
Daddy's Home 2 grossed $104 million in the United States and Canada, and $76 6 million in other territories, for a worldwide total of $180 6 million, against a production budget of  $69–70 million In the United States and Canada, Daddy's Home 2 opened alongside Murder on the Orient Express, and was projected to gross around $20 million from 3,575 theaters in its opening weekend  The film made $10 7 million on its first day, including $1 5 million from Thursday night previews at 2,500 theaters, up from the $1 2 million made by the first film  It went on to debut to $29 7 million, finishing second at the box office, behind holdover Thor: Ragnarok ($57 million)  In its second weekend, the film made $14 4 million (a drop of 51 3%), finishing 4th behind Justice League, Wonder and Thor: Ragnarok 

Critical response
On Rotten Tomatoes, Daddy's Home 2 holds an approval rating of 21% based on 129 reviews, and an average rating of 4 1/10  The website's critical consensus reads, "A formulaic comedy that's unlikely to spread much yuletide merriment, Daddy's Home 2 can only muster a few stray yuks from its talented cast " On Metacritic, the film has a weighted average score of 30 out of 100 based on 26 critics, indicating "generally unfavorable reviews"  Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale Alonso Duralde of TheWrap was critical of what he described as the film's sloppiness and laziness, saying, "Director Sean Anders and his co-writer John Morris execute what are supposed to be the laughs with blunt force  The jokes announce themselves with heavy footsteps, and almost none of them land, stranding a talented cast with terrible material that they’re straining to sell " Richard Roeper of the Chicago Sun-Times gave the film 1 out of 4 stars, saying: "After enduring last week’s lousy and lazy A Bad Moms Christmas, I would have bet it would be many a year before we’d see another holiday comedy more sour and cynical and profoundly unfunny  I sit corrected "Glenn Kenny of RogerEbert com gave the film 2 5 out of 4 stars, writing, "I found the sequel better than the original—the writing sharper, the jokes fresher and smarter, the comic interaction between the lead characters consistently engaging  I mentioned this to my incredulous wife, who said, 'So you’re saying it's the Godfather, Part 2 of the Daddy’s Home series' "

Accolades
Possible sequel
In an interview, Mark Wahlberg mentioned that they would like to get Liam Neeson for the third installment of the film 

See also
List of Christmas films
Passage 8:
Jean Duvignaud
Jean Duvignaud (22 February 1921 – 17 February 2007) was a French novelist, sociologist and anthropologist  He was born in La Rochelle, Charente-Maritime, on February 22, 1921 
Duvignaud was a secondary school teacher first at Abbeville, then at Étampes (1947–1956), where he taught Georges Perec  After submitting his doctoral thesis, he taught at the University of Tours  In 1972, he founded the magazine Cause commune with Georges Perec and Paul Virilio  For a time he was in a relationship with Clara Malraux, the ex-wife of novelist André Malraux He died (aged 85) in La Rochelle on February 17, 2007 

Bibliography
L'Acteur, esquisse d'une sociologie du comédien, Paris, Gallimard, 1965  Rééd  L'Archipel, 1995
Durkheim, sa vie, son œuvre, Paris, PUF, 1965
Visites d'Atelier Marta Pan, Cimaise, N 87, Juin Spetembre 1968
Sociologie du théâtre, Paris, PUF, 1965  Rééd  Quadrige, 1999
Georges Gurvitch, symbolisme social et sociologie dynamique, Paris, Seghers, 1969
Anthologie des sociologues français contemporains, Paris, PUF, 1970
Spectacle et société, Paris, Denoël, 1970
Introduction à la sociologie, Paris, Gallimard, 1971
Sociologie de l'art, Paris, PUF, 1972
L'Anomie, hérésie et subversion, Paris, Anthropos, 1973
Le Langage perdu, essai sur la différence anthropologique, Paris, PUF, 1973
Fêtes et civilisations, Paris, Weber, 1974
Le Théâtre contemporain, culture et contre-culture, Paris, Larousse, 1974
Le Ça perché, Paris, Stock, 1976
Le Don du rien, essai d'anthropologie de la fête, Paris, Plon, 1977
Le Jeu du jeu, Paris, Balland, 1980
L' Or de la République, Paris, Gallimard, 1984
Le Propre de l'homme, histoires du comique et de la dérision, Paris, Hachette, 1985
La Solidarité, liens de sang et liens de raison, Paris, Fayard, 1986
Chebika, étude sociologique, Paris, Gallimard, 1978  Rééd  Paris, Plon, 1990
La Genèse des passions dans la vie sociale, Paris, PUF, 1990
Dis l'Empereur, qu'as-tu fait de l'oiseau ?, Arles, Actes Sud, 1991
Fêtes et civilisations ; suivi de La fête aujourd'hui, Arles, Actes Sud, 1991
Perec ou La cicatrice, Arles, Actes Sud, 1993
Le singe patriote  Talma, un portrait imaginaire (novel), Arles, Actes Sud, 1993
L'oubli ou La chute des corps, Arles, Actes Sud, 1995
Le pandémonium du présent, idées sages, idées folles, Paris, Plon, 1998
Le prix des choses sans prix, Arles, Actes Sud, 2001
Les octos, béant aux choses futures, Arles, Actes Sud, 2003
Le sous-texte, Arles, Actes Sud, 2005
La ruse de vivre, état des lieux, Arles, Actes Sud, 2006
Passage 9:
Julien Berger
Julien Berger is a Belgian rugby union player who currently plays for his national side and the French club La Rochelle as a scrum-half  He has played for La Rochelle since 2009 and has played 14 games, but had only started in 5 (during the 2011–12 season) 
Passage 10:
Peter Conrad (sociologist)
Peter Conrad (born 1945, raised in New Rochelle, NY) is an American medical sociologist who has researched and published on numerous topics including ADHD, the medicalization of deviance, the experience of illness, wellness in the workplace, genetics in the news, and biomedical enhancements 

Biography
He has been a member of the faculty at Brandeis University since 1979 and since 1993 has been the Harry Coplan Professor of Social Sciences   He received his B A  in Sociology at State University of New York at Buffalo (1967), M A, from Northeastern University (1970) and Ph D  in Sociology from Boston University in 1976   Prior to Brandeis, he taught at Suffolk University in Boston, Massachusetts (1971–75) and Drake University in Des Moines, Iowa (1975–78)   At Brandeis he served as chair of the Department of Sociology for nine years and since 2002 as chair of the interdisciplinary program "Health:  Science, Society and Policy" (HSSP)    He has also been a visiting professor at New York University, Gadjah Mada University (Yogyakarta, Indonesia), University of London, Royal Holloway, and Queen's University Belfast (Northern Ireland) 

Personal life
He lives in Lincoln, MA with his wife, Dr  Libby Bradshaw   They have two children, Rya (b  1980) and Jared (b



ground_truth: University of Toronto

UT

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

Question: Who followed Menucha Rochel Slonim's father?

The following are given passages.
Context 2:  1985) 

Published works
Conrad is the author of over one hundred articles and chapters and a dozen books, including Identifying Hyperactive Children:  The Medicalization of Deviant Behavior (1975, 2004),  Deviance and Medicalization:  From Badness to Sickness (with Joseph W  Schneider, 1980, 1992), Having Epilepsy:  The Experience and Control of Illness (1983) and The Medicalization of Society:  On the Transformation of Human Conditions into Treatable Disorders (2007)   He has also edited or co-edited numerous volumes, including Handbook of Medical Sociology, 5th edition (2000) and eight editions of Sociology of Health and Illness:  Critical Perspectives (1981–2009), a widely used text for undergraduates 

Awards
He has received numerous academic honors including the Charles Horton Cooley Award (1981) for Deviance and Medicalization, a Distinguished Fulbright Fellowship (1997), the Leo G  Reeder Award (2004) from the American Sociological Association for "distinguished contributions to medical sociology", and the Lee Founder's Award (2007) "made in recognition of significant achievements that, over a distinguished career, have demonstrated continuing devotion to the ideals of the founders of the Society for the Study of Social Problems and especially to the humanist tradition of Alfred McClung Lee and Elizabeth Briant Lee "
Passage 11:
Shelly Steely
Anne Rochelle Steely Ramirez (born October 23, 1962), née Anne Rochelle Steely, is a former long-distance runner who competed internationally for the United States   She specialized in the 3,000 meters on the track and later competed in road running events 
She made her international debut in cross country and helped the United States the women's team title at the IAAF World Cross Country Championships in 1985   Her focus changed to the 3,000 meters, a distance in which she was a two-time US champion (outdoors in 1991 and indoors in 1992)  She reached the final of that event at the 1991 World Championships in Athletics and the 1992 Barcelona Olympics 
Steely's performances deteriorated and she was diagnosed with hyperthyroidism  However, she made an athletic comeback in 1998 and she won two national road titles, as well as appearing at the Goodwill Games and IAAF World Half Marathon Championships that year  She made one more appearance at the World Half Marathon event in 2000, but retired to focus on education studies 

Career
Early life and college career
Steely was born in Reading, Pennsylvania, and attended Bishop Conwell High School in Levittown, Pennsylvania   She received an athletic scholarship to attend the University of Florida in Gainesville, Florida, where she ran for the Florida Gators track and field team in National Collegiate Athletic Association (NCAA) competition  Steely was fifth in the 10,000 meters at the NCAA Outdoors in 1983, but found greater success over shorter distances the following year: she won both the 5000 meters and 3000 meters Southeastern Conference (SEC) titles  She was third in the 3,000 meters at the 1984 NCAA Outdoors and made two podium finishes at the USA Outdoor Track and Field Championships (third over 5,000 meters, second over 3,000 meters)  She also reached the semi-finals of the US Olympic Track and Field Trials that year In her final year at Florida, she took a sweep of the SEC long-distance titles, winning the 3,000, 5,000 and 10,000-meter distance races   During her time as a Gator runner, she won five All-American honors and nine All-SEC honors, and was later inducted into the University of Florida Athletic Hall of Fame as a "Gator Great" in 2006 Steely made her international debut for the United States in 1985, and her fifteenth-place finish at the 1985 IAAF World Cross Country Championships helped the American women (including Cathy Branta and Betty Springs) to the long race team title  She made two more appearances at that competition, taking part in the 1989 and 1990 editions  She also competed on the international cross country circuit in Europe, including a win at the Cross Internacional de Venta de Baños 

World and Olympic competition
She began training in New Mexico and improved her best times in the 3,000 and 5,000 meters in 1990, and was ranked highly at the national level  She began to expand her oeuvre to include road running and that year she took wins at the Cooper River Bridge Run and Great Cow Harbor 10K races, as well as shorter distance wins at the Fifth Season Race and the Jean Bouin Memorial in Spain  The following year saw her make a career breakthrough on the track  She won the national title in the 3,000 meters with a significant personal best run of 8:49 00 minutes  This gained her a place on the national team for the 1991 World Championships in Athletics  Steely ran a personal record of 8:48 54 minutes in the qualifying rounds, only finishing behind two eventual medalists (Susan Sirma and Yelena Romanova)  She did not perform as well in the final, however, and ended the competition in fourteenth place  She ended her season with road wins at the Phoenix 10K and Senior Bowl 10K She claimed her second national title at the start of the following year, winning the 3,000 meters at the USA Indoor Track and Field Championships with a time of 8:51 29 minutes  A third title followed on the roads that May as she took the 5,000 meters U S  title in Cedar Rapids, Iowa  In the outdoor season she ran a career best time of 8:41 28 minutes for the 3,000 meters and her runner-up placing at the Olympic Trials saw her make the US Olympic Team for the first time  At the 1992 Barcelona Olympics, both Steely and PattiSue Plumer (the trials winner) made the event final and Steely came seventh, two spots behind her compatriot 

Switch to roads and retirement
She won the Carlsbad 5000 the following March  Steely was the 1993 USA Outdoor runner-up in the 3,000 meters but was replaced in the national team for the 1993 World Championships in Athletics  Her performances waned over the next three years and she did not compete at all in 1996  She was later diagnosed with a hyperthyroid condition Steely returned to compete in 1998 and ran frequently, mainly out of necessity as she no longer had a sponsor  She was in the top three at the 1998 USA Outdoors in the 10,000 meters, came fourth in the event at the 1998 Goodwill Games, and ranked second nationally in the distance that year  She won the US titles in the 25-kilometer and 10-mile events that year, as well as runner-up placing in the national 12-kilometer and half marathon events  Her performance over the latter distance gained her a spot at the 1998 IAAF World Half Marathon Championships, where she placed 42nd overall She ran in the 10,000 meters at the 1999 USA Outdoor Championships (coming fifth) and competed at the 2000 IAAF World Half Marathon Championships  However, she moved on from her athletic career to focus on obtaining an Educational specialist degree 

Personal bests
1500 m – 4:05 07 mins (1992)
3000 m – 8:41 28 mins (1992)
5000 m – 15:08 67 mins (1992)
10,000 m – 32:41 14 mins (1990)
Half marathon – 1:13:33 hrs (1998)

International competition record
See also
Florida Gators
List of University of Florida alumni
List of University of Florida Athletic Hall of Fame members
List of University of Florida Olympians
Passage 12:
La Jarne
La Jarne (French pronunciation: ​[la ʒaʁn]) is a commune in the Charente-Maritime department in southwestern France  It is 7 km southeast of the city of La Rochelle 

Population
See also
Communes of the Charente-Maritime department
Passage 13:
June Rochelle
June Rochelle is an American contemporary gospel singer, songwriter, executive media producer, editor, and talent scout from Indianapolis, Indiana  Her music infuses gospel, soul, pop, r&b, and jazz  Her debut album, Changing Places, garnered a Grammy ballot  Her next albums are Play This, and June Rochelle Christmas ' Rochelle is the first African-American to headline ABC's-RTV6 Circle of Lights  She was previously a backing vocalist for Diana Ross and Celine Dion  June Rochelle is also the founder of Good Deeds People a public-benefit charity and June Rochelle Media 
Passage 14:
Jean-Louis Raduit de Souches
Jean-Louis Raduit de Souches (16 August 1608 to 12 August 1682), also known as Ludwig de Souches, was a French-born professional soldier who spent a number of years in the Swedish Army before switching to Imperial service in 1642  Although he was a capable officer who reached the rank of Field Marshal, his career was marred by a tendency to quarrel with his colleagues and superiors 
Born into a family of minor French Protestant nobility, de Souches went into exile after the Siege of La Rochelle in 1629  He served in the Swedish army when it entered the Thirty Years' War against Emperor Ferdinand III and by 1642 was colonel of an infantry regiment  However, he fell out with his superior officer and switched sides, joining the Imperial army 
He established his reputation in the defence of Brno against the Swedes in 1645 and was promoted Field Marshal in 1664  When Emperor Leopold joined the Franco-Dutch War in 1673, de Souches was appointed commander of Imperial forces in the Low Countries but had a poor relationship with his Dutch and Spanish allies and was removed in December 1674  
This was the end of his military career; he retired to his estates in at Jevišovice in Moravia, where he died on 12 August 1682 and was buried in the Church of St  James (Brno) 

Personal details
Jean-Louis Raduit de Souches was born on 16 August 1608, son of Jean Ratuit, Sieur de Barres (died 1614), and his wife Marguerite de Bourdigalea (died after 1636)  Both parents were members of the Huguenot nobility, originally from Aunis, who owned property in the Protestant stronghold of La Rochelle  His elder brother was killed serving with the French army in 1636, while he also had a sister, Marguerite (died 1654) His first wife Anna Elisabeth de Hoffkirchen died in 1663; they had two sons, Jean Louis (died 1717) and Charles Louis (1645–1691), who both served in the Imperial Army, and two daughters, Anna Dorotha (1652–1724) and Eleonora  Anna Salome Aspermont-Reckheim (1648–1729) became his second wife in 1677; they had no surviving children 

Career
Thirty Years War
Souches began his military career during the siege of La Rochelle, part of the 1627 to 1629 Huguenot rebellions against Louis XIII of France  When the town surrendered in October 1628, he went into exile in Protestant Sweden, where he joined the army led by Gustavus Adolphus which entered the Thirty Years War in 1630  By 1636, he was captain in an infantry regiment which unsuccessfully defended Stargard against an Imperial force; he narrowly escaped court martial after accusing his commanding officer of negligence  This was symptomatic of a quarrelsome tendency which followed him throughout his career 

In May 1636, France formally entered the Thirty Years War in alliance with Sweden; the rapid expansion of the French army created vacancies for experienced officers and de Souches used the opportunity to return home  He was unable to obtain a satisfactory position and returned to Sweden in August 1639, where he was promoted colonel of a regiment in the force that invaded Bohemia in early 1640  However, he later fell out with his superior officer whom he challenged to a duel in violation of military regulations; he resigned from the Swedish army in early 1642 and a few months later was appointed colonel in the Imperial army Over the next two years, de Souches took part in the 1643 invasion of Pomerania and an attack on the Swedish-held city of Olomouc in Moravia  Although both actions were unsuccessful, he impressed his superiors sufficiently to be given command of defending Brno in May 1645 against a force led by Lennart Torstensson; after a siege described as "one of the epic stands of the Imperial army", the Swedes retreated in August having lost 8,000 men  This contributed to the failure of Torstensson's attempt to attack Vienna and helped speed up peace negotiations at Westphalia  Until the end of the war, de Souches contributed to regaining Swedish-occupied cities in the Erblande like the capture of Jihlava in 1647 De Souches was rewarded with promotion to the rank of general and granted lands outside Brno; when the war finally ended in 1648, he was placed in charge of supervising the withdrawal of Swedish troops from Moravia and made Governor of Špilberk Castle  In 1649, he was elevated to the Moravian nobility on condition he converted to Catholicism within the next three years 

Later career
In 1654, Sweden attacked the Polish–Lithuanian Commonwealth, initiating the Second Northern War  When the fighting expanded to include Brandenburg-Prussia in 1657, Austria joined the anti-Swedish coalition  With de Souches in charge of the infantry, an army under Melchior von Hatzfeldt was sent to support Poland and helped recapture Kraków in August 1657  De Souches later commanded the Austrian contingent at the Siege of Toruń, whose Swedish garrison surrendered in December 1658  In 1659, he was given command of an army of 13,000 which invaded Swedish Pomerania and besieged Stettin; before the town fell, the Treaty of Oliva ended the war in May 1660, while de Souches quarrelled with his colleague Raimondo Montecuccoli and was ordered home to Moravia The 1663 to 1664 Austro-Turkish War began when Ottoman forces invaded Hungary and over-ran large parts of eastern and southern Moravia  Having successfully defended Brno and Olomouc, de Souches was promoted Field Marshall in May 1664 and given command of one of three separate forces operating in Hungary, with the other two led by Montecuccoli and Miklós Zrínyi  Although he won a minor victory at Levice in July 1664, while Montecuccoli stopped the main Ottoman advance at Saint Gotthard in August, Leopold was concerned by the expansionist policies of Louis XIV of France and agreed the Peace of Vasvár a few days later 
          
In October 1664, de Souches was appointed Governor of Komárom, an important town on the modern Slovakian/Hungarian border, and spent the next few years supervising the construction of new fortifications there, as well as other towns in the region  He also became a member of the Hofkriegsrat, or Imperial War Council, although his duties were largely nominal  When Austria entered the Franco-Dutch War in 1673 as an ally of the Dutch Republic and Spain, he was appointed commander of Imperial troops in the Low Countries and took part in the Battle of Seneffe in August 1674  The Imperial troops suffered minimal casualties in what was the bloodiest battle of the war and his Allies subsequently claimed de Souches had ignored requests for support  One suggestion is he did so under instructions from Emperor Leopold, who wanted to conserve resources for the Rhineland campaign, which he viewed as having far greater strategic significance Shortly thereafter, the Allies attacked the town of Oudenarde; siege operations commenced on 16 September, and the French began marching to its relief three days later  The Dutch and Spanish redoubled efforts to breach the walls before their arrival, but without advising his colleagues, de Souches withdrew the Imperial artillery to Ghent  Since his troops would not fight without their guns, and the Dutch and Spanish could not face the French on their own, the Allies were forced to abandon the siege  After strong protests from the Dutch States General, supported by some of his Austrian colleagues, de Souches was relieved of his command  In December 1674, Emperor Leopold set up an enquiry into his conduct, which resulted in de Souches being dismissed from his remaining military positions  He retired to his estates at Jevišovice in Moravia, where he died on 12 August 1682 and was buried in the Church of St  James (Brno) 
Passage 15:
Chaya Mushka Schneersohn
Chaya Mushka Schneersohn was the daughter of Rabbi Dovber Schneuri, the second Rebbe of the Chabad Hasidic movement, and the wife of Rabbi Menachem Mendel Schneersohn the third Rebbe Chaya Mushka Schneerson died on December 9, 1860 O S  (Tevet 8, 5621; December 21, 1860 N S ), and was buried in the town of Lubavitch near her grandmother Rebbetzin Sterna and her mother Rebbetzin Sheina 

History
Chaya Mushka Schneersohn married the third Rebbe of Chabad, Rabbi Menachem Mendel Schneersohn  She is known in the Chabad community as "Rebbetzin Chaya Mushka " Rebbetzin Chaya Mushka was an advocate for Agunot, women who are bound to their marriages by Jewish law whether through the husband's disappearance or refusal to comply with divorce proceedings Chaya Mushka held the personal custom of reciting the Slichot prayers during the week between Rosh Hashana, the Jewish New Year, and Yom Kippur, the Day of Atonement 
Passage 16:
Hunt Slonem
Hunt Slonem (born Hunt Slonim, July 18, 1951) is an American painter, sculptor, and printmaker  He is best known for his Neo-Expressionist paintings of butterflies, bunnies, and his tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species  Slonem's works are included in many important museum collections all over the world; he is exhibiting regularly at both public and private venues, and he has received numerous honors and awards 

Early life
Hunt Slonem was born in Kittery, Maine, in an upper middle class family, the eldest of four children  His father was a Navy officer, and mother – a homemaker who spent much of her time doing volunteer work  As a result of his father's military career, Slonem's family moved around as frequently as every two to three years  He lived in Hawaii, Virginia, Connecticut, California and Washington State  Slonem's grandmother was a Tennessee native who married a Minnesota-born amateur artist and educator who became the Superintendent of Public Schools in Duluth, Minnesota  It was Slonem's grandfather who always encouraged young Hunt to paint   "I grew up around painting, and my parents dabbled in painting themselves  I was given paints as a child, and I wanted to be a painter from first grade onwards," Slonem told the online magazine Art Interview  His younger brother, Jeffrey Slonim, is a prolific journalist, and contributing editor of the Interview Magazine, and his cousin is the best-selling author Tama Janowitz After completing school, which included living in Nicaragua as an exchange student when he was 16 years old, Slonem commenced undergraduate studies at Vanderbilt University in Nashville, Tennessee  He then spent about six months of his sophomore year at the University of the Americas in San Andrés Cholula, Puebla, Mexico, but later graduated with a Bachelor of Arts degree in Painting and Art History from Tulane University in New Orleans, Louisiana  He also took courses at the Skowhegan School of Painting and Sculpture in Maine, where he was exposed to such influential artists from the New York area as Louise Nevelson, Alex Katz, Alice Neel, Richard Estes, Jack Levine, and Al Held  During that period, Slonem altered the "i" to an "e" in his family name as a nod to numerology  He moved to New York in 1973 to further his art practice, and Manhattan had become his consistent base ever since 

Career
I would say my whole life could be summed up by the word 'exotica' 
Hunt Slonem's artistic career began in New York, in the late 1970s  When he first came to Manhattan, in 1973, he was hired by the Department of Social Services to teach painting to senior citizens  He was unhappy at his job and seriously considered moving to Amsterdam when, unexpectedly, in 1975, he got a call from artist Janet Fish who offered him her studio for the summer  That telephone call turned Slonem's life around  Shortly afterwards, In 1976, Hunt Slonem received a painting grant from the Elizabeth Greenshields Foundation in Montreal, Quebec, Canada, and began painting in earnest  His first solo show was held at New York's Harold Reed Gallery in 1977, followed by a major exhibition at the prestigious Fischbach Gallery  As Slonem's career progressed, he was introduced to people like Andy Warhol, Liza Minnelli, Sylvia Miles, and Truman Capote  Through Jeffrey Slonim, who would later serve as an usher at Andy Warhol's funeral, he also met and befriended the Belgian-born actress Monique van Vooren, the star of Warhol's film Flesh for Frankenstein  He soon became a habitué of New York's trendiest hot spots and an active participant in the city's burgeoning art scene Slonem's move to New York had a profound influence on his development as an artist  According to the New York Times, he fell in love with "a very particular kind of New York life, one most people can only fantasize about  But people this determinedly unusual do exist here, and that is one of the city's surest charms  They feed off the city and the city feeds off them " Novelist Tama Janowitz put it succinctly, saying, "His pictures are the subtext of Manhattan, an imaginary, vivid and grotesquely evocative world that bubbles beneath the paved-over, gray city of New York which he physically inhabits -- a city where people have come from all over the world, bringing their images of other places and other lives with them "Despite living in the heart of Manhattan,  Slonem remained true to his boyhood fascination with exotica, which he had developed as a youth in Hawaii and during his time as a foreign exchange student in Managua, Nicaragua  His paintings expressed a strong affinity for nature, especially the various species of exotic butterflies and tropical birds living on the island  He soon became well known for creating grisaille paintings of small birds in their cages   He often painted them wet-on-wet and grit off the surfaces to denote wire enclosures after the birds had been strategically placed  Art critic Roberta Smith wrote in the New York Times that Slonem's "witty Formalism strategy meshes the creatures into the picture plane and sometimes nearly obliterates them as images, but it also suspends and shrouds them in a dim, atmospheric light that is quite beautiful  If Joseph Cornell had concentrated on painting, the results might have looked like this " Birds also fill the surface of his largest project yet – a 6-foot by 86 foot mural he painted for the iconic Bryant Park Grill Restaurant in New York City, completed in 1995  According to The New Yorker, "The most notable aspect of the [restaurant's] interior is an 86-foot long mural by the artist Hunt Slonem, which depicts hundreds of birds, similar to those found in the artist's studio, where he can be found painting away with a bird or two perched on his shoulders "Hunt Slonem's oil paintings pivot between the fantastic and the natural  These natural forms ultimately become the subjects for many of his artworks, appearing in large lavishly colored paintings and constructed sculptures  As an artist, he endeavors to explore the many expressive faculties of color  His paintings are layered with thick brushstrokes of vivid color, often cut into in a cross-hatched pattern that adds texture to the overall surface of the painting  Slonem often hides his subjects "behind a grid of incised lines, blurring their contours and emphasizing the paint's tactile quality " This surface patterning combines with the rich colors and recognizable subject matter to create paintings that are physically and aesthetically rich  Poet and critic John Ashbery observed, "From the narrow confines of his grids, half cage, half perch, Slonem summons dazzling explosions of the variable life around us that need only to be looked at in order to spring into being "Slonem's obsessive and repetitive rendering of his subjects reflects his desire to explore issues of spatial complexity, compression and density in what the acclaimed Metropolitan Museum of Art curator Henry Geldzahler deemed "a consistent investigation of post-cubist abstraction " The repetitive imagery also makes a reference to Andy Warhol  "I was influenced by Warhol's repetition of soup cans and Marilyn," says Slonem  "But I'm more interested in doing it in the sense of prayer, with repetition    It's really a form of worship " He is not interested in realism or, unlike Warhol, in advertising or media, and his paintings are neither narrative nor specific in detail  Rather, Slonem's work is deeply rooted in the act of painting  His jarring color choices, spontaneous mark making, and scratched hatch marks are the result of his ongoing fascination with the manipulation and implementation of paint  For Slonem, cross-hatching has "a feeling of a tapestry, it's like weaving  I'm making colors bleed into each other, I'm revealing the under-painting  I'm making these marks to allow the light to come through, basically  So you're seeing about five levels of paint, instead of one " It is this kind of devotion to the process of painting that prompted Henry Geldzahler to observe in 1993 that "Slonem is a painter, a painter's painter with an enormous bag of technical tricks which become apparent to the viewer the longer he stands before the work "Another recurring theme of Slonem's pictorial work is portrait painting, and that of Abraham Lincoln in particular  He is interested in history and memorabilia, and for him, the "larger-than-life" Lincoln is a catchall  In Slonem's words, "On Marilyn [Monroe]'s desk, she had a picture of her mother and a picture of Lincoln  And she said, 'I really didn't know who my father was, so it might as well be Abraham Lincoln '" According to the Interview Magazine, "Slonem's portraits of Lincoln feel personal, and in surprising ways, he's close to the long-deceased " "I work with diviners and mystics, and one of them started channeling Lincoln in my house," says Slonem  "[Lincoln] guided me to paint certain things, like my doves: he wanted me to paint them as a symbol of freedom "In the early 1980s, Slonem began working on a new series of so-called "Rabbit paintings "  The idea for this critically acclaimed series came to him after he had discovered that the year of his birth, 1951, was the year of the Rabbit in the Chinese zodiac calendar  He often repeats imagery in this series, just like in his other series, because, he told the Wall Street Journal, the act is similar to spiritual meditation: "Mantras are holy because you repeat them " This theme continued to inspire Slonem over the years, and the series is as prominent in his work today as it was over thirty years ago Apart from painting, Slonem is also making sculptures, like the sizable, "Tocos," an 18-foot acrylic and aluminum tower of toucans exhibited at the Polk Museum of Art in 2012  He has also restored several historic houses  "I consider it part of my art form,"  Slonem said in an interview with NewsChief com   His "art form" also includes Gothic revival furniture - in his homes, studios, and exhibits  In 2009, Bergdorf Goodman, a luxury department store in New York City, recreated Slonem's distinct art-filled living room for its windows display  In Slonem's view, "Art incorporated with furniture becomes a work of art itself "In 2008, German automaker Audi enlisted Hunt Slonem to create an exclusive design for its sleek new A5 coupe, and he created a one-of-a-kind design based on one of his oil painting for the car's exterior  "It's an earlier work of mine with birds flying through the sky; the original work is in the collection of the Colby Museum in Maine, where I was born," said Slonem of the piece, which is painted in blues, blacks, reds, and whites with cockatoos  The mobile artwork was unveiled in conjunction with the New York International Auto Show at the Audi Forum in Manhattan  The "Hunt Slonem Audi A5," as it was dubbed, then toured Audi dealerships throughout the United States, before returning to New York where it was auctioned off to benefit a cancer research charity In 2010, Albert Maysles, the Oscar-nominated documentary filmmaker (Salesman, Gimme Shelter, Grey Gardens), announced that he will be shooting a feature-length documentary on Hunt Slonem's life and his art In 2014, he collaborated with fashion accessories company Echo Design Group for a limited edition scarf and handbag collection 

Museum exhibitions and collections
Since 1977, Slonem had solo shows at many prestigious contemporary art galleries including the Fischbach Gallery in New York and the Serge Sorokko Gallery in San Francisco  His work has been exhibited globally, including in Madras, Quito, Venice, Gustavia, San Juan, Guatemala City, Paris, Amsterdam, Madrid, Stockholm, Oslo, Cologne, Tokyo, and Hong Kong  His work has been shown in thirty-one different museums including the Hunter Museum of American Art in Chattanooga, Tennessee, in 1981; the Museo Diocesano d'arte sacra Sant'Apollonia in Venice, Italy, in 1986; the Albany Museum of Art in Albany, Georgia, in 2007; the  Istanbul Museum of Modern Art in Istanbul, Turkey, in 2007; Museo de Arte de El Salvador in San Salvador, El Salvador, in 2010; the National Gallery for Foreign Art in Sofia, Bulgaria, in 2010;  the Alexandria Museum of Art in Alexandria, Louisiana in 2011, the Polk Museum of Art in Lakeland, Florida in 2012, the Moscow Museum of Modern Art in 2015, and the Russian State Museum in St  Petersburg, Russia in 2017, among others Slonem has been an active participant in the Art in Embassies Program sponsored by the United States Department of State, alongside other American artists including Jim Dine, Julian Schnabel, Sol LeWitt, Jasper Johns, Ellsworth Kelly, and Jeff Koons, who received the first ever Medal of Arts from the Department of State for his "outstanding commitment" to the program  Through Art in Embassies, Slonem's paintings have been exhibited globally revealing, as Hillary Clinton put it, "the rich history and cultural heritage of the United States and the experiences that we share with peoples of different countries, backgrounds and faiths  Every exhibition reminds us of the diversity of mankind and the values that bind us together "Hunt Slonem's paintings are widely represented in important private collections all over the world  According to the San Francisco Chronicle, "Slonem's work has attracted many well-known [Hollywood] art collectors including Sharon Stone, Gina Gershon, Brooke Shields, Julianne Moore, Mandy Moore, Kate Hudson, and J Lo", among others   "I'm a big fan of Hunt's work," Brooke Shields told Daily Front Row  "It's whimsical without being too sweet "  A March 2012 issue of Architectural Digest features Shields's Manhattan townhouse, with three of Slonem's "rabbit paintings" prominently displayed on her living room wall Over fifty museums internationally include Hunt Slonem's paintings in their collections, among them the Smithsonian American Art Museum; the National Gallery of Art in Washington, D C ; the Brooklyn Museum of Art in Brooklyn, NY; the Boston Museum of Fine Arts in Boston, Massachusetts; Fundació Joan Miró in Barcelona, Spain; the Würth Museum in Künzelsau, Germany; the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R  Guggenheim Museum all in New York 

Personal life
Until 2010, Slonem occupied a Tenth Street studio in Manhattan that was 40,000 square feet, divided into 89 rooms  In 2010, Slonem moved to a 15,000 square foot fourth floor former headquarters of the film company Moviola, on West 45th Street  The space served as his painting studio and was divided into a number of small rooms, all of which Slonem painted in old Louisiana plantation-house colors  The studio housed his ever-expanding quirky collections, from Neo-Gothic chairs to top hats, to marble busts of Marie Antoinette, to various objets d'art, mined from flea markets and antique fairs  In an interview in Vincent Katz's book Pleasure Palaces: The Art & Homes of Hunt Slonem, he describes his collecting technique as "cluttering "  For him, objects are "friends;" the more there are, the more he is inspired  "I have to have a certain amount of stuff in place before I can function and paint," he says  Although, Slonem still lives in the loft apartment he moved into in 1973, according to the Wall Street Journal, he does nearly all his entertaining at his new 25,000 square foot West 34th Street studio in the industrial Hell's Kitchen neighborhood of Manhattan where he moved in 2011  He christened the third floor loft space with a birthday party attended by more than 200 people Hunt Slonem also owns two historically important Louisiana plantations—one called Albania Plantation, on the Bayou Teche in St  Mary Parish, about two hours' drive northwest of New Orleans, and the other – the Lakeside Plantation, in a remote location near the town of Batchelor, one hour north of Baton Rouge  According to the New York Times, the Batchelor property includes "an 1832 plantation house called Lakeside, pink if you please, as surprising in this community of shoebox houses as an aged diva in a pink organdy dress at McDonald's  Also as indifferent, inasmuch as a house can be indifferent, to the bruising of time " It was once owned by Marquis de La Fayette whose close relationship with lifelong friends such as Thomas Jefferson, Benjamin Franklin, James Monroe, John Adams, and Robert Livingston played a pivotal role in the Louisiana Purchase   In a show of gratitude, the United States gave La Fayette land which is known today as Lakeside Plantation  The property is listed in the National Register of Historic Places listings in Louisiana 
Passage 17:
Sébastien Fauqué
Sébastien Fauqué is a French rugby union player, born 6 March 1977 in Tarbes (Hautes-Pyrénées), who plays as fly half for La Rochelle 
He arrived at US Montauban from US Dax after a spell at Castres Olympique and a first professional contract at Section Paloise  He was the backup for David Aucagne at Pau and Thomas Castaignède at Castres  He trained at two clubs: Riscle and Lourdes  After the 2008 season, and after six seasons at Montauban, he joined RC Toulon, who were promoted to Top 14 

Honours
Club
Pro D2 Champions : 2006

Personal
Best player of Pro D2: 2006 (383 points, 22 more than second placed Antoine Vignau-Tuquet)2nd : 2005 (397 points, 18 less than first place Martin Vickers-Pearson)
Best kicker in Pro D2: 2006 (353 points, 22 more than second placed Antoine Vigneau-Tuquet)2nd : 2005 (377 points, 3 less than first placed Martin Vickers-Pearson)

Notes
External links
(in French) Player profile at lequipe fr
(in French) Statistics at itsrugby fr
"Sébastien Fauqué"  itsrugby co uk  Retrieved 13 November 2021 
Passage 18:
Gaston de Gerlache
Baron Gaston de Gerlache de Gomery (Brussels, 17 November 1919 – Oudenaarde, 13 July 2006) was a Belgian polar explorer 
Gaston de Gerlache was the son of Adrien de Gerlache, and followed in the tracks of his father by leading the second Belgian expedition to Antarctica in 1957–1958, 60 years after his father led the 1897–1899 Belgian Antarctic Expedition aboard the ship Belgica 
Gaston de Gerlache and his crew established the King Baudouin Base in 1958 in the context of the International Geophysical Year  On 11 December 1958 an aircraft with four Belgians, led by Gaston de Gerlache crashed in the Crystal Mountains, 250 km from King Baudouin Base, Antarctica  The crew was searched for and rescued on 16 December by the Soviet polar pilot V  M  Perov on an Li-2 aircraft, that had taken off from Mirny Station In 1960 Gaston de Gerlache published his travel journal Retour dans l'antarctique  A year later he made a documentary about his expedition named Plein sud 
An article, "Belgium in the Antarctic", written by Gaston de Gerlache de Gomery appeared in the Geographical magazine (May 1962 issue) 
Mount Gaston de Gerlache in the Queen Fabiola Mountains on Antarctica was named after him 
Passage 19:
Marvin Felix Camillo
Marvin Felix Camillo (1937 in Newark, New Jersey – January 22, 1988 in La Rochelle, France) was an American theater director and actor, noted for his founding of The Family theater company, a group in New York largely made up of ex-convicts 

Stage productions
Short Eyes (1974)
The Cool World (1960)



ground_truth: Menachem Mendel Schneersohn

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

Question: Where was the person who acted in the film Sous les pieds des femmes born?

The following are given passages.
Context 3: Passage 1:
A Summer in La Goulette
A Summer in La Goulette (French: Un été à La Goulette, Arabic: صيف حلق الوادي, romanized: ṣayf Ḥalq el-Wādī) is a 1996 film by Tunisian director Férid Boughedir  It is a narrative of how intercommunal relations deteriorated in cosmopolitan La Goulette after the end of French rule, especially Muslim-Jewish relations affected by the Six-Day War and the rising impact of Islam on Tunisian society 
The film also features La Goulette native Claudia Cardinale as herself  The film was entered into the 46th Berlin International Film Festival 

Plot
Youssef (Mustapha Adouani) is a Muslim who works on the TGM and lives in La Goulette  His best friends are Jewish Jojo the brik seller and Sicilian Catholic Giuseppe the fisherman, who are also his neighbours  Their daughters grow up together and share their prospects for life, but the landlord Hadj Beji (Gamil Ratib) has his eyes on Youssef's daughter Meriem (Sonia Mankaï) 

Cast
Gamil Ratib : Hadj Beji
Mustapha Adouani : Youssef
Guy Nataf : Jojo
Ivo Salerno : Giuseppe
Michel Boujenah : TSF
Claudia Cardinale : herself
Sonia Mankaï : Meriem
Ava Cohen-Jonathan : Tina
Sarah Pariente : Gigi
Kais Ben Messaoud : Chouchou
Mohamed Driss : Miró

See also
Le Chant des mariées
Passage 2:
Isabelle Carré
Isabelle Carré (born 28 May 1971) is a French actress  She has appeared in more than 70 films since 1989  She won a César Award for Best Actress for her role in Se souvenir des belles choses (2001), and has been nominated a further six times for Beau fixe (1992), Le Hussard sur le toit (1995), La Femme défendue (1997), Les Sentiments (2003), Entre ses mains (2005) and Anna M  (2007) 
Since 26 August 2006, she has been married to film producer Bruno Pésery, with whom she has a son, Antoine, born on 11 October 2008  Her brother, Benoît Carré, is a member of the band Lilicub 

Selected filmography
Theatre
1990: Une nuit de Casanova
1990: The Cherry Orchard
1992: L'École des Femmes
1993: On ne badine pas avec l'amour
1993: Il ne faut jurer de rien
1993: Le Mal court
1995: Dostoïevsky va à la plage
1995: Le Père humilié
1995: Arloc
1996: Slaves
1999: Mademoiselle Else
2000: Résonances
2001: The Tragedy of Othello, the Moor of Venice
2001: Léonce et Léna
2002: Hugo à deux voix
2003: La Nuit chante
2004: L'Hiver sous la table
2006: Blanc
2009: Un garçon impossible (by Petter S  Rosenlund, directed by Jean-Michel Ribes)

Awards
Prix Romy Schneider, 1998
Lumières Award for Best Actress, Se souvenir des belles choses, 2003
César Award for Best Actress, Se souvenir des belles choses, 2003

Nominations
1993: Nominated for the César Award for Most Promising Actress for Beau fixe
1996: Nominated for the César Award for Most Promising Actress for Le Hussard sur le toit
1998: Nominated for the César Award for Most Promising Actress for La Femme défendue
2004: Nominated for the César Award for Best Actress for Les Sentiments
2006: Nominated for the César Award for Best Actress for Entre ses mains (In His Hands)
2006: Nominated for the Globes de Cristal Award for Best Actress for Entre ses mains (In His Hands)
2008: Nominated for the César Award for Best Actress for Anna M 
2008: Nominated for the Globes de Cristal Award for Best Actress for Anna M 
2011: Nominated for the César Award for Best Actress for Les Émotifs anonymes

Theatre
1999: Molière Award for Best Actress, Mademoiselle Else
2004: Molière Award for Best Actress, L'Hiver sous la table

Decorations
Officer of the Order of Arts and Letters (2016)
Passage 3:
La femme enfant
La femme enfant (German: Die Stumme Liebe) is a 1980 French drama film directed by Raphaële Billetdoux and starring Klaus Kinski  It competed in the Un Certain Regard section at the 1980 Cannes Film Festival 

Cast
Klaus Kinski – Marcel
Pénélope Palmer – Élisabeth
Michel Robin – Le père
Hélène Surgère – La mère
Ary Aubergé – L'épicier
Georges Lucas – Le curé

Production
According to Raphaële Billetdoux, the shooting with Klaus Kinski was a nightmare and at one point she had the temptation to stop there, as it was no longer possible to continue  For example, during the bathing scene that Kinski is preparing for the girl, then 14-year-old Pénélope Palmer was already very anxious about shooting a nude scene, even shot in a very modest way  So Billetdoux had reduced the technical team to and set the stage so that Kinski had his back to her (and to the camera), as Palmer was about to enter the bathtub  He then freaked out: "What ?! I turn my back ?! Never ! And then, I want to see her naked     "

See also
Klaus Kinski filmography
Passage 4:
La Rosiere de Pessac
La Rosière de Pessac (The Virgin of Pessac) is the title of two hour-long films directed by Jean Eustache (in 1968 and 1979 respectively)   The films cover an annual ceremony, held in Eustache's place of birth, in which the mayor and his associates nominate a girl as the town's most virtuous   Thus, the girls chosen in those two years are eponymous subjects of these documentaries 

External links
La Rosière de Pessac at IMDb
La Rosière de Pessac at IMDb
Passage 5:
Cubism
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture  In Cubist works of art, the subjects are analysed, broken up, and reassembled in an abstract form—instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context  Cubism has been considered the most influential art movement of the 20th century  The term cubism is broadly associated with a variety of artworks produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s 
The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger  One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne  A retrospective of Cézanne's paintings was held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907 In France, offshoots of Cubism developed, including Orphism, abstract art and later Purism  The impact of Cubism was far-reaching and wide-ranging  In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism  Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements  Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life 

History
Historians have divided the history of Cubism into phases  In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France  A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity  English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch  According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement  Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement 

Proto-Cubism: 1907–1908
Cubism burgeoned between 1907 and 1911  Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work 
In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes" Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes"  The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes  The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective Georges Braque's 1908 Houses at L’Estaque (and related works) prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities)  Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings  The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes  But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [   ]"The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them  Alternative interpretations of Cubism have therefore developed  Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e g , Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918)  More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation "John Berger identifies the essence of Cubism with the mechanical diagram  "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures  A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations "

Early Cubism: 1909–1914
There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists  Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works  Kahnweiler sold only to a small circle of connoisseurs  His support gave his artists the freedom to experiment in relative privacy  Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War  Léger was based in Montparnasse In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris  They were inevitably more aware of public response and the need to communicate  Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger  They met regularly at Henri le Fauconnier's studio near the boulevard du Montparnasse  These soirées often included writers such as Guillaume Apollinaire and André Salmon  Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing the human body, the site, to pallid cubes " At the 1910 Salon d'Automne, a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude), which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913) The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911  This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to the attention of the general public for the first time  Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R  Guggenheim Museum, New York) 

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka  The exhibition was reviewed in the October 8, 1911 issue of The New York Times  This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism  The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon  The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition – What Its Followers Attempt to Do 
Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school  In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition  [   ]
In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable  Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger—these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement 

What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?

Salon des Indépendants
The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912) was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No  2, which itself caused a scandal, even amongst the Cubists  It was in fact rejected by the hanging committee, which included his brothers and other Cubists  Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work  Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911–1912 (National Gallery of Denmark)  Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris), were also exhibited 

Galeries Dalmau
In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism  worldwide (Exposició d'Art Cubista), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912)  The Dalmau exhibition comprised 83 works by 26 artists  Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which was fully translated and reproduced in the newspaper La Veu de Catalunya  Duchamp's Nude Descending a Staircase, No  2 was exhibited for the first time Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe  While press coverage was extensive, it was not always positive  Articles were published in the newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text  Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion 

Salon d'Automne
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork  The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912  The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art  The Cubists were defended by the Socialist deputy, Marcel Sembat It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913)  Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source (The Spring) (Museum of Modern Art, New York) 

Abstraction and the ready-made
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction  Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely  Kupka's two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation  Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes  Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete  In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form  His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life  Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated  But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism  The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage)  The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself  In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right 

Section d'Or
The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants  The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience  Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years) The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon  The group's title was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci's Trattato della Pittura by Joséphin Péladan 
During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art  Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures  Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks  They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art  Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism 

The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907"  Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture  This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist  The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit  Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it "The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins  This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed " Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia  The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms  Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e g , Parade de Cirque, Le Chahut and Le Cirque), was another important influence  There were also parallels in the development of literature and social thought In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones  However, the cubists explored this concept further than Cézanne  They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time  This new kind of depiction revolutionized the way objects could be visualized in painting and art 

The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire  It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris  The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s  Both terms are historical impositions that occurred after the facts they identify  Neither phase was designated as such at the time corresponding works were created  "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition "The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists  It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all  According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake "The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context  However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay:

"M  Metzinger is a mosaicist like M  Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [   ]" The critical use of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic  One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments " (Robert Herbert, 1968, p  221)The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger  In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants  The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris)  Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible  The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie  It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication  The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i e , the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists The 1912 manifesto Du "Cubisme" by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire  Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public)  Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal 

Crystal Cubism: 1914–1918
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity  This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg  The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism  Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference Crystal Cubism, and its associative rappel à l'ordre, has been linked with an inclination—by those who served the armed forces and by those who remained in the civilian sector—to escape the realities of the Great War, both during and directly following the conflict  The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture 

Cubism after 1918
The most innovative period of Cubism was before 1914  After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris  Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925  Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson  In France, however, Cubism experienced a decline beginning in about 1925  Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini  In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris  Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes  The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war  Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture  Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes  Cubism as a publicly debated movement became relatively unified and open to definition  Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared 

Influence in Asia
Japan and China were among the first countries in Asia to be influenced by Cubism  Contact first occurred via European texts translated and published in Japanese art journals in the 1910s  In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at the École nationale supérieure des Beaux-Arts, brought back with them both an understanding of modern art movements, including Cubism  Notable works exhibiting Cubist qualities were Tetsugorō Yorozu's Self Portrait with Red Eyes (1912) and Fang Ganmin's Melody in Autumn (1934) 

Interpretation
Intentions and criticism
The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work  "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne " The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects  Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future  The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future  One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson  With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged  Linear perspective developed during the Renaissance was vacated  The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i e , as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Metzinger's Nu à la cheminée, exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris, exhibited at the Indépendants in 1912  These ambitious works are some of the largest paintings in the history of Cubism  Léger's The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force  The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston  In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works  Jacques Villon exhibited seven important and large drypoints, while his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No  2 (1912)  Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912)  Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works  Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works 

Cubist sculpture
Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones)  And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism 
Cubist sculpture developed in parallel to Cubist painting  During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa  According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time " These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking  Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards  They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine Indeed, Cubist construction was as influential as any pictorial Cubist innovation  It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture 

Architecture
Cubism formed an important link between early-20th-century art and architecture  The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia  Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn  Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective  Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships  Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass 

Cubism was relevant to an architecture seeking a style that needed not refer to the past  Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world"  The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture  The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris  De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes  However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918  Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture  Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting  In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres  His theoretical studies soon advanced into many different architectural projects 

La Maison Cubiste (Cubist House)
At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), with architecture by Raymond Duchamp-Villon and interior decoration by André Mare along with a group of collaborators  Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art  Decorative work, to them, was the "antithesis of the picture"  "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself  It can be moved from a church to a drawing-room, from a museum to a study  Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides  It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism   " La Maison Cubiste was a fully furnished model house, with a  facade, a staircase, wrought iron banisters, and two rooms:  a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung, and a bedroom  It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life  Spectators at the Salon d'Automne passed through the plaster facade, designed by Duchamp-Villon, to the two furnished rooms  This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale) 

The furnishings, wallpaper, upholstery and carpets of the interior were designed by André Mare, and were early examples of the influence of cubism on what would become Art Deco   They were composed of very brightly colored roses and other floral patterns in stylized geometric forms 
Mare called the living room in which Cubist paintings were hung the Salon Bourgeois  Léger described this name as 'perfect'  In a letter to Mare prior to the exhibition Léger wrote: "Your idea is absolutely splendid for us, really splendid  People will see Cubism in its domestic setting, which is very important "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", Christopher Green wrote, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye" In 1927, Cubists Joseph Csaky, Jacques Lipchitz, Louis Marcoussis, Henri Laurens, the sculptor Gustave Miklos, and others collaborated in the decoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architect Paul Ruaud and owned by the French fashion designer Jacques Doucet, also a collector of Post-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which he bought directly from Picasso's studio)  Laurens designed the fountain, Csaky designed Doucet's staircase, Lipchitz made the fireplace mantel, and Marcoussis made a Cubist rug 

Czech Cubist architecture
The original Cubist architecture is very rare  Cubism was applied to architecture only in Bohemia (today Czech Republic) and especially in its capital, Prague  Czech architects were the first and only ones to ever design original Cubist buildings  Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I  After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes 

In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer  This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture  In this way, the entire surfaces of the facades including even the gables and dormers are sculpted  The grilles as well as other architectural ornaments attain a three-dimensional form  Thus, new forms of windows and doors were also created, e  g  hexagonal windows  Czech Cubist architects also designed Cubist furniture 
The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol  They worked mostly in Prague but also in other Bohemian towns  The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient  Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad  A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913 

Cubism in other fields
The influence of Cubism extended to other artistic fields, outside painting and sculpture  In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters  Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08)  Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well  In turn, Picasso was an important influence on Stein's writing  In the field of American fiction, William Faulkner's 1930 novel As I Lay Dying can be read as an interaction with the cubist mode  The novel features narratives of the diverse experiences of 15 characters which, when taken together, produce a single cohesive body 
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy  As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture  This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada " Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet " Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work  Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry John Berger said: "It is almost impossible to exaggerate the importance of Cubism  It was a revolution in the visual arts as great as that which took place in the early Renaissance  Its effects on later art, on film, and on architecture are already so numerous that we hardly notice them "

Gallery
Press articles and reviews
See also
Fourth dimension in art
Precisionism
Proto-Cubism
Rayonism
Section d'Or
Vorticism
Passage 6:
Pour Un Maillot Jaune
Pour Un Maillot Jaune is a French 1965 documentary – described as a cinematic tribute – about the 1965 Tour de France  It was made by the French film director, Claude Lelouch  Lelouch is best known as the director of Un Homme et Une Femme (A Man and a Woman in English) in 1966 

The film
Pour Un Maillot Jaune (For a yellow jersey) follows the 1965 Tour de France not as a sports documentary but an atmospheric film of the events that surround it  Where riders are shown racing, it is an illustration of the hardship or the danger they face  The main events are the daily routines of the competitors, the bossing about of spectators by officials (which Lelouch emphasises by adding animal noises to the soundtrack), the monotonous days of journalists who follow the race for hours to write only a few hundred words, and the evening entertainment laid on by the Europe-1 radio station 
The film starts with a scene of riders arriving at the start by train and then of race organisers Jacques Goddet and Félix Lévitan and an anonymous man with a cigarette in his mouth supervising the cutting of a blue, white and red ribbon across the road as a band plays the Marseillaise, the French national anthem  The film then jumps – as it does throughout its 30 minutes – to an open-air mass for riders wearing their race clothes 
There are dramatic shots of riders climbing mountains, often with breathtaking views, a struggle which Lelouch emphasises by slowly fading down the heartbeat-like music to near silence, stressing each rider's lone and silent battle with himself  In more light-hearted scenes, the team manager Raphael Géminiani is shown angrily realising he has been filmed while he has been asleep, and the soigneur Louis Guerlacher is shown kneading a rider's muscles as though they were soggy baguettes 

The technique
Unlike Vive Le Tour, an earlier film by Louis Malle and with which Pour Un Maillot Jaune is inevitably associated, Claude Lelouch uses no narrator and depends on the film to tell its own story  He portrays the spirit of the moment with repeated musical themes, some of them not always perfectly edited  Only occasionally does the sound of the moment reach the screen and in one scene, when riders are descending at speed from a mountain, Lelouch has made the error of adding the sound of squealing brakes that would never have happened in real life Throughout, the film jumps from colour to black and white and back 

The race
The 1965 Tour de France was won by a young Italian called Felice Gimondi, riding only as a late inclusion  The French had hoped that the winner would be Raymond Poulidor relieved for once of riding against Jacques Anquetil who had always beaten him  By the Chartreuse, however, Gimondi was unbeatable and even attacked Poulidor and left him behind "just to show Raymond that I could go faster and that I was the better man "
The film ends as Gimondi takes his lap of honour at the Parc des Princes Paris 
The charm of the film to cycling enthusiasts is to see the Tour as it was four decades ago, when the winners stood on rickety podiums of scaffold poles, slept in shabby hotels and retrieved a spanner from their pockets to change the height of their handlebars as they rode 

External links
   pour un maillot jaune at IMDb
Passage 7:
Women's Games
Women's Games (French: Jeux de femmes) is a 1946 French comedy film directed by Maurice Cloche and starring Jacques Dumesnil, Hélène Perdrière and Saturnin Fabre The film's sets were designed by the art director Raymond Nègre 

Cast
Passage 8:
Le casseur de pierres
Le casseur de pierres is a 1989 Tunisian short drama film directed by Mohamed Zran  It was screened in the Un Certain Regard section at the 1990 Cannes Film Festival 

Cast
Abdallah Maymoun - Sabeur
Monia Tkitik - Monia
Fatha Mahdoui - Fatima
Moufida Zran - Scheherezade
Passage 9:
Les Accords de Bella
Les Accords de Bella (lit  'Bella's Accords') is a 2007 anthropological documentary film directed by David Constantin  It was selected by the African Film Festival of Cordoba - FCAT 

Synopsis
Rodrigues Island, lost in the middle of the Indian Ocean, has something particular: There are more than 500 accordions for 35,000 people  Polkas, mazurkas and waltzes are part of the history and mestization of an island forgotten by all for a very long time  Here, the accordion is not a forgotten instrument, quite the contrary; its sound mixes with African drums so that young and old can dance  With Philippe Imbert's help, a French craftsman, the Rodrigues Accordion Association has set out on a new adventure: Making their own accordion  The first one, the prototype, completely made on the island, is called Bella 
Passage 10:
Sous les pieds des femmes
Sous les pieds des femmes (also known as Under Women's Feet) is a 1997 French drama film written and  directed by Rachida Krim and starring Claudia Cardinale 

Plot
Cast
Claudia Cardinale  as  Aya   in 1996
Fejria Deliba	  as  Aya  in 1958
Nadia Farès  as Fouzia
Mohammad Bakri  as Amin
Yorgo Voyagis as  Moncef
Bernadette Lafont as Suzanne
Samy Naceri  as Mohammed
Éric Atlan as Captain Bertrand
Roland Bertin  as Le Président du tribunal
Guy Bedos as  Le Procureur
Kader Boukhanef as  Mourad
Safy Boutella as  Addellah
Olivier Brunhes as  Jacques
Arnaud Meunier as  Jeannot
Catherine Samie as  La Voisine
Passage 11:
Gai pied
Gai pied or Gai pied hebdo was a monthly, then weekly (hence the name Hebdo), French gay magazine, founded by Jean Le Bitoux  Its name, which literally means "Gay foot", is a homophone of guêpier, which means a hornet's nest or, figuratively, a trap or pitfall — a reference to the magazine's determination to torment the status-quo 

History and profile
The magazine's name was suggested by Michel Foucault, who wrote an article for the first issue and continued to contribute material to the magazine throughout its existence 
The first issue was sold at two thousand kiosks throughout France on 1 April 1979  It was published by Pink Triangle publications and printed by the Revolutionary Communist League 
Among the magazine's collaborators were Yves Navarre, Tony Duvert, Gianni De Martino, Guy Hocquenghem, Renaud Camus, Alain Pacadis, Copi, Hugo Marsan, Emmanuel Dreuilhe and others  The magazine enjoyed great success among French gays, and increased their visibility  Apart from its articles, the magazine published personal ads and erotic photographs 
In 1980, Jean-Paul Sartre agreed to an interview with the magazine, as did artists David Hockney and Barbara and politicians Pierre Bérégovoy and Gaston Defferre, showing their support for the magazine's cause 
In 1987, minister of the interior Charles Pasqua attempted to ban the publication of Gai pied  A demonstration on 19 March, along with statements of support from many public figures including minister of culture François Léotard, prevented the ban 
Between 1987 and 1990 the magazine controlled FG DJ Radio 
Despite early success, the magazine struggled to respond to the menace of AIDS, and was dealt a financial blow by the success of Minitel  After losing much of its readership, the magazine ended publication in 1991 

See also
Illico
Têtu
Passage 12:
Family Pack
Family Pack may refer to:

Family Pack (2000 film), a French-Balgian drama film directed by Chris Vander Stappen
Family Pack (2022 film), an Indian comedy film directed by Arjun Kumar S 
Passage 13:
Eriq Ebouaney
Eriq Ebouaney (born 3 October 1967) is a French actor  He is best known for his portrayal as the Congolese Prime Minister Patrice Lumumba in the 2000 film Lumumba, as "Blacktie" in Brian De Palma's Femme Fatale and as "Ice" in the 2008 action film Transporter 3 in which he starred opposite Jason Statham 

Early life
Ebouaney was born in Angers, France, the son of Cameroonian immigrants  As a child he didn't show an interest in acting and was set on becoming a businessman  However, at the age of 30, he joined a theatre company and left his job as a sales manager to become a professional actor 

Career
He made his film debut in 1996 in the Cédric Klapisch directed film Chacun cherche son chat  He landed a leading role in the 2000 film Lumumba in which he portrayed Prime Minister Patrice Lumumba  The film was shot in Beira, Mozambique 
In 2002, he starred in Brian De Palma's Femme Fatale alongside Antonio Banderas  In 2004, he played the character of Jean Claude in Mark Bamford's debut feature Cape of Good Hope  In 2005 he starred in the award-winning Ridley Scott film, Kingdom of Heaven, in which he starred alongside Michael Sheen, Liam Neeson, Orlando Bloom, David Thewlis, Martin Hancock and Nathalie Cox 
In 2006, he starred in The Front Line and La piste 
In 2008, he played a supporting role in the critically acclaimed Australian film Disgrace featuring American actor John Malkovich, a small role in the Italian film Bianco e nero and later was cast as "Ice" in Transporter 3, featuring British actor Jason Statham 

Filmography
Passage 14:
Les Sous-doués en vacances
Les Sous-doués en vacances is a 1982 French comedic film, directed by Claude Zidi  It is the sequel to Les sous-doués (1980) 

Production
The film was shot between 10 August and 3 October 1981  Roland Moreno, the real life inventor of the smart card, was cast in the film as a "mad inventor" who creates a "love computer "Florence Guérin recalls how she gave her first line to the cinema in this film: "After passing a day doing a walk-on part, I knew that the next day they needed a girl for a nude scene, but she had a line in it  I begged Claude Zidi, going in front of his boat and he gave in, telling me that maybe the scene would be cut and that they already had another actress  Finally I shot, the scene was not cut, and the end credits read: B B 1: Florence Guérin "Sandrine Bonnaire in an extra in the movie 

Release
The film was released in 1982  It was shown in Paris for 22 weeks 
Passage 15:
Vaux-sous-Aubigny
Vaux-sous-Aubigny (French pronunciation: ​[vo su z‿obiɲi]) is a former commune in the Haute-Marne department in north-eastern France  On 1 January 2016, it was merged into the new commune Le Montsaugeonnais  Its population was 710 in 2019  It is the natal village of beekeeper Charles Dadant 

See also
Communes of the Haute-Marne department
Passage 16:
La naissance d'Osiris
La naissance d'Osiris, ou La fête Pamilie (The Birth of Osiris, or The Festival of Pamylia) is a one-act opera by Jean-Philippe Rameau, first performed on 12 October 1754 at Fontainebleau to celebrate the birth of the future King Louis XVI  The libretto is by Rameau's frequent collaborator Louis de Cahusac  Cahusac styled the work a ballet allégorique ("allegorical ballet"), but it is usually categorised as an acte de ballet  Its slender plot tells of Jupiter's announcement to a group of Egyptian shepherds of the birth of the god Osiris, who symbolises the baby prince  The piece may have started life as part of a larger work, Les beaux jours de l'Amour, an opéra-ballet Rameau and Cahusac planned but never completed for reasons which are still uncertain 

Background and performance history
Musicologists now think that Rameau and Cahusac originally intended La naissance d'Osiris to be part of a multi-act opéra-ballet called Les beaux jours de l'Amour  There is some evidence this work was substantially complete by May 1751, but for unknown reasons it was never staged  The other acts were Nélée et Myrthis (never completed and unperformed until the 20th century) and Anacréon, first performed separately at Fontainebleau on 23 October 1754  The Rameau scholar Sylvie Bouissou believes that La naissance would have been the first act of Les beaux jours de l'Amour Like Anacréon, La naissance d'Osiris was salvaged for performance before the court at Fontainebleau  It thus became one of a series of operas celebrating the births of the children of the Dauphin of France and his wife Maria Josepha  On this occasion the royal baby was the Duc de Berry, the future King Louis XVI  The conductor Hugo Reyne notes the historical irony of identifying Louis XVI with Osiris, a god who was murdered, just as Louis was to be guillotined in 1793  The opera appeared on 12 October 1754 as part of a triple bill alongside revivals of Rameau's Pigmalion and Les incas de Pérou (the second act of the 1735 opéra-ballet Les Indes galantes)  Documents show it went into rehearsal on 26 August, three days after the birth of the prince  The manuscripts show it was adapted for the occasion from Les beaux jours de l'Amour; originally Pamilie was merely an unnamed "shepherdess" A lengthy account of the premiere appeared in the October 1754 edition of the journal Le Mercure de France  In the same issue, Cahusac explained the Egyptian background of the work:

As she was leaving the temple of Jupiter, a Theban woman named Pamyles heard a voice announcing the birth of a hero who would one day bring happiness to Egypt  This hero was Osiris, whom Pamyles brought up and who was subsequently one of the most illustrious benefactors of humanity  To preserve the memory of this event, the Egyptians established the Festival of Pamylia 
Osiris had already featured in the first act of Rameau's opéra-ballet Les fêtes de l'Hymen et de l'Amour (premiered 1747 and revived in July 1754)  The reviewer in Le Mercure de France described the richness of the scenery in La naissance: the pillars of the temple were carved with hieroglyphics; there were sphinxes and a palm-tree  He also gave a detailed account of the final dance in which the ballerina Mademoiselle Catinon played Cupid and Mademoiselle Puvigné a shepherdess  The reviewer praised the singing of the prima donna Marie Fel as Pamylie There is no evidence La naissance d'Osiris was ever revived in the 18th century, probably because it was too closely linked with the occasion of the premiere  However, Rameau did reuse some of the music in his later works: Anacréon, Les Paladins and Les Boréades 

Music
The work is predominantly pastoral in style, containing four musettes (numbers which employ a musette de cour, a type of bagpipe)  "La flamme des éclairs, les éclats du tonnerre" is unusually virtuosic for a bass aria  It appears that the performers found some of the music so technically challenging that it was omitted from the premiere; this virtuosic writing probably derives from Italian musical style  The overture too shows Italian influence; it is in three parts (quick-slow-quick) and the music of the last section is reprised in the final chorus of the opera 

Roles
Synopsis
Scene: The stage shows the temple of Jupiter
The shepherds rejoice at the peace their land enjoys; there is only one thing missing to make their happiness complete (chorus: "Coulez jours de paix, coulez jours heureux")  They bring their presents into the temple of Jupiter  A shepherd sings a musette celebrating the return of Spring and his love for Sylvie (musette: "Du printemps sur l'herbe fleurie")  A shepherdess vows to remain faithful to her lover (ariette: "Non, non, une flamme volage")  The sky darkens, lightning flashes and thunder rumbles; believing it is the wrath of Jupiter, the terrified shepherds start to flee (chorus: "Jupiter s'arme de la foudre"), but the High Priest reassures them that the god is pleased with their sacrifices and has good news for them (ariette: "La flamme des éclairs, les éclats du tonnerre")  The sky clears and Jupiter himself descends accompanied by Cupid and the Graces  He promises the people an era of peace and announces the birth of a hero (air: "Il est né, ce héros que vos vœux demande")  The priests pay homage to Jupiter and the shepherds rejoice (chorus: "Chants d'allégresse et de victoire", ariette for a shepherdess: "Volez, plaisirs, régnez, aimables jeux")  Jupiter returns to heaven, leaving Cupid behind to rule the earth  The opera concludes with a divertissement of dances, choruses and airs in praise of Cupid 

Recordings
La naissance d'Osiris Stéphanie Révidat (Pamilie), Céline Ricci (Une bergère), François-Nicolas Geslot (Un berger), Bertrand Chuberre(Le grand prêtre), Florian Westphal (Jupiter), La Simphonie du Marais, conducted by Hugo Reyne (Musiques à la Chabotterie, 2006)
On Rameau, Maître à Danser along with Daphnis et Eglé, Les Arts Florissants conducted by William Christie (1 DVD, Alpha, 2014)
Orchestral suite, Capella Savaria, conducted by Mary Térey-Smith (Naxos, 1997)
Passage 17:
Pauvres Diables
"Pauvres Diables" is a song by Julio Iglesias recorded in 1979  The song is also commonly known as "Vous les femmes" based on the opening lyrics  The song was also recorded in Spanish language by Iglesias as "Pobre diablo" 
The song has been recorded by many artists including Johnny Hallyday and later by Arno in the film score for 2013 film Les Garçons et Guillaume, à table! (English title Me, Myself and Mum)
In 2014, the song was reinterpreted by Nuno Resende, Julio Iglesias Jr  and Damien Sargue as "Vous les femmes (Pobre diablo)" in the covers compilation album Latin Lovers 
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Gaspard Manesse
Gaspard Manesse (born 25 March 1975 in Paris) is a French actor, composer and musician  He is best known for his starring role as Julien Quentin in the film Au revoir, les enfants (1987)  He acted in and composed the music for the film Comme il vient  Gaspard is a composer and musician - he tours throughout the heart of France playing the trumpet with a group called "Surnatural Orchestra" from the Ile-de-France 

Filmography
Comme il vient – 2002
Erreur de jeunesse (fr)   –  1989
Au revoir, les enfants (Goodbye, Children)  – 1987

External links
Gaspard Manesse at IMDb
http://surnaturalorchestra free fr/ (in French)



ground_truth: La Goulette