cyanic-selkie/wikianc huggingface dataset:
Amir Abedzadeh
International career
Abedzadeh was once called up to Iran national under-17 football team's camp for 2009 FIFA U-17 World Cup in Kish Island, but never invited again.
About his playing probability in Iran national under-23 football team, Abedzadeh said: "Again, they told me that they wanted to take the players who have been together for a long time and know each other well... They also explained that if we should qualify, they are going to call in and examine new players . So hopefully they can beat Iraq and qualify for the Olympics, and hopefully I'll get my chance then. I think the problem is that I was in England for the past four years and that they weren't able to watch me play as much as the local players. That has been pretty disappointing for me."
Senior
On 5 November 2017, Abedzadeh was called into the Iran national team for the first time for friendlies against Panama and Venezuela. In June 2018, he was named in Iran's final squad for the 2018 FIFA World Cup in Russia. He made his debut against Uzbekistan on 19 May 2018.
Club
As of 3 September 2019
CS = Clean Sheets
Michael Spence
Andrew Michael Spence (born November 7, 1943 ) is a Canadian American economist and recipient of the 2001 Nobel Prize in Economic Sciences, along with George Akerlof and Joseph E. Stiglitz, for their work on the dynamics of information flows and market development.
Riemann zeta function
In mathematics, the Riemann zeta function is an important function in number theory. It is related to the distribution of prime numbers. It also has uses in other areas such as physics, probability theory, and applied statistics. It is named after the German mathematician Bernhard Riemann, who wrote about it in the memoir "On the Number of Primes Less Than a Given Quantity", published in 1859.
Abderrahim Tounsi
Abderrahim Tounsi (27 December 1936 – 2 January 2023) was a Moroccan stage actor and comedian. He was best known for the character Abderraouf. Tounsi is considered in Morocco as one of the best stage actors. He received several awards, including being named as the best Moroccan comedian of the 20th-century in 2011.
Tounsi died in Casablanca on 2 January 2023, at the age of 86. The King of Morrocco Mohammed VI, stated that he was sad to hear about his death sent a letter of condolences to the family. He also underlined that he was "one of the pioneers of theatrical comedy in Morocco, known for his authenticity and creativity".
Riemann zeta function
Definition
This makes a sequence. The first few terms of this sequence would be,
However, this doesn't apply for numbers where, since if we interpret this function as an infinite sum, the sum does not converge. Instead, it diverges. This means that instead of nearing a specific value, it will get infinitely large. Riemann used analytic continuation, so that he could give a value to all numbers except 1. \zeta(1) does not have a limit in that point and thus the function is not defined there.
This is an infinite product. means that only prime numbers are included in the product. The first few terms of the product would look like:
Zeros, the critical line, and the Riemann hypothesis
Mathematicians are interested in those values of s for which the function is equal to zero. The Riemann hypothesis conjectures that all the "non-trivial zeros" lie on the critical line, meaning they are guessed to be of the form for some real value t. It is already known that all of the non-trivial zeroes must lie in a region called the "critical strip" for which. So far, all of the computed nontrivial zeros are on the critical line.
Proving or disproving the hypothesis has been very difficult, and is still troubling mathematicians to this day.
Proof of the Euler product formula for the Riemann zeta function
Repeating for the next term:
Subtracting again we get:
where all elements having a factor of 3 or 2 (or both) are removed.
It can be seen that the right side is being sieved. Repeating infinitely for where p is prime,  we get:
Dividing both sides by everything but the ζ(s) we obtain:
Christopher A. Pissarides
He is the School Professor of Economics & Political Science and Regius Professor of Economics at the London School of Economics, and Professor of European Studies at the University of Cyprus.
In 2010, he was awarded the Nobel Prize in Economics, jointly with Peter A. Diamond and Dale Mortensen, "for their analysis of markets with theory of search frictions."
Early life
Pisaridis is a Greek Orthodox. He was born in Nicosia, Cyprus.
He received his BA in Economics in 1970 and MA in Economics in 1971 from the University of Essex. He later enrolled at the London School of Economics, where he obtained a doctorate in economics in 1973 for a thesis entitled "Individual Behavior in Markets with Imperfect Information".
Hiromasa Yamamoto
Hiromasa Yamamoto (山本浩正)  is a Japanese professional athlete. He is best known as an association football player.
Freystadt
Freystadt is a town in Neumarkt in Bavaria. It is near the Rhine-Main-Danube Canal, 14 km southwest of Neumarkt in der Oberpfalz, and 33 km southeast of Nuremberg.
Hiromasa Yamamoto
Club career statistics
90||0||6||0||7||0||1||0||104||0 90||0||6||0||7||0||1||0||104||0
Robert F. Engle
Robert Fry Engle III (born November 10, 1942) is an American statistician. He is the winner of the 2003 Nobel Prize in Economic Sciences, sharing the award with Clive Granger, "for methods of analyzing economic time series with time-varying volatility (ARCH)".
Accused (2014 movie)
Accused (Lucia de B.) is a 2014 Dutch Swedish drama movie directed by Paula van der Oest and starring Ariane Schluter, Barry Atsma, Sallie Harmsen, Fedja van Huêt, Annet Malherbe.
The Fixx
The Fixx are a new wave and rock out of London, England. The major songs from the group include "One Thing Leads to Another" and "Saved by Zero". Both were released during 1983.
College partners Cy Curnin (for the vocals) and Adam Woods (drums) got together and formed the group in 1979. At first the group called themselves the Portraits. The pair were later joined by keyboardist Rupert Greenall, guitarist Tony McGrail and the bassist Russell Mckenzie. The last was replaced by Charlie Bennett. The Portraits issued two records under Ariola Records: "Little Women" (1979) and "Hazards in the Home" (1980).
Later in 1980, McGrail left the band. At this point, the band adde guitarist Jamie West-Oram. The band then changed their name to The Fix. This version of the band recorded under 101 Records. They had their first single "Lost Planes" in February 1981. In those early days, West-Oram was simply billed as Jamie West.
The group's first studio album was Shuttered Room in 1982. This album had the initial hit songs "Stand or Fall" and "Red Skies". Both in the United States, United Kingdom and Canada.
The group's second album Reach the Beach, was their most commercially successful album. It was certified Platinum by the RIAA. The singles "One Thing Leads to Another" and "Saved by Zero" were released off the album. Both these singles hit the U.S. Top 40. "One Thing Leads to Another" was the band's biggest hit (#1 in Canada, #4 in the United States).
The 1984 album Phantoms had the hits "Are We Ourselves?" and "Sunshine in the Shade".
In 1986, the group had their fourth album Walkabout. This album had the single "Secret Separation". The songhit #1 on Billboard Magazine's Album Rock Chart.
In 1989 the Fixx had their only release for RCA Records, Calm Animals. The album had another #1 hit on the Album Rock chart, "Driven Out".
The band released other albums between 1990 and 2012.
Half of a Yellow Sun (movie)
Half of a Yellow Sun is a 2013 British Nigerian historical drama movie directed by first time director Biyi Bandele and was based on the 2006 novel of the same name by Chimamanda Ngozi Adichie. It stars Chiwetel Ejiofor, Thandiwe Newton, Onyeka Onwenu, Anika Noni Rose, Joseph Mawle, Genevieve Nnaji, OC Ukeje, John Boyega.
Luz Salgado
Luz Filomena Salgado Rubianes de Paredes (born 3 July 1949) is a Peruvian Fujimorist politician and journalist who served as President of the Congress thrice, from 2016 to 2017 as a full-term and twice briefly in 2000 in an acting capacity.
Hohenfels, Bavaria
Hohenfels (literally High Cliffs) is a municipality in Neumarkt in Upper Palatinate (Oberpfalz) in Bavaria, Germany. The town is home to the United States Army Garrison Hohenfels, which operates the Joint Multinational Readiness Center for training NATO armed forces.
Ágnes Roboz
Agnes Roboz ( 18 June 1926 Budapest - 23 March 2021) was a Hungarian choreographer, ballet master, and educator. She was awarded the Hungarian Silver Cross of Merit.
She was born in Budapest in 1926. She graduated in 1949 from the University of Theatre and Film Arts in Budapest. From 1950 and 1956, she was a member of the Budapest Operetta Theatre. From 1958 to 1960, she taught folk and character dance at the Palucca School in Dresden. She taught folk and character dance at the State Ballet Institute until 1971. After her husband's death in 1971, she taught Hungarian folk dance and dances of other peoples at the Conservatorium in The Hague.
For the next 35 years, she worked as a dance teacher at the Amsterdam Theatre Academy, Rotterdam college, the Royal Ballet School in London For fourteen years she was a teacher of the Summer Dance Course in Cologne. For fifteen years she taught at several summer courses around the world (United States, Chile, Italy, Denmark, Sweden, France, Finland) and regularly gave courses at the Hungarian Academy of Dance Arts. Her students included László Seregi, Ildikó Pongor and János Kiss, choreographer-ballet artists.
She choreographed for the Dutch National Ballet and several professional folklore ensembles.
In 2008, she moved back to Hungary.
Awards
She won many awards for her work. They includeː Silver Cross of Merit of the Republic of Hungary (1995), the Pro Cultura Hungarica Prize (2001), the Lifetime Achievement Award of the Association of Hungarian Dance Artists (2006), and the title of Meritorious Artist (2008).
My Dear Bootham
My Dear Bootham is an 2022 Indian Tamil-language  children fantasy comedy drama film film written and directed by N. Ragavan of Manjapai and  Kadamban fame. It is produced by Ramesh P. Pillai under the banner of Abhishek Films. It stars Prabhu Deva as the title role with Ashwanth Ashokkumar. The film's music and score is composed by D. Imman, with cinematography by U. K. Senthil Kumar and editing done by San Lokesh.The film marks the third collaboration between Prabhu Deva and Remya Nambeesan after Mercury and Bagheera.
The film was released in theaters on July 15, 2022 and opened to positive reviews from critics and audiences with praised the social message and Prabhu Deva and Ashwanth's performance.
Plot
The movie starts in the genie world where the King of all, Karkimuki is sad he has no son for all these years. After praying to Lord Murugan, his wishes come true and he gets a son. He shows all of his love he supressed all these years and loves him unconditionally. One day, his son asks him to take him to the planet where Siddhars live and so Karkimuki takes him there. Accidentally, his son enters a deep burrow to hide from his father where he disturbs a Siddhar's thavam that has been continuing for a thousand years. An angry Siddhar wakes up and curses Karkimuki that he will sent to Earth as a statue and if he is released by someone, that someone has to say a mandaram for Karkimuki to return to the Genie World.
Thirunavukarusu (Thiru) is an ordinary kid but he is a stammerer. Because of this, he gets bullied in school by his classmates. The teacher does not allow him to read out loud when it is his turn due to his stammering. The shopkeeper is impatient to listen to what Thiru wants to buy so asks him to write down whatever he wants. His mother does not listen either, but loves him dearly.
One day on a school trip, Thiru is chased by a dog and falls in a ditch where he finds a doll and releases Karkimuki. Karkimuki refers to Thiru as Deivam and scares Thiru. Karkimuki follows Thiru home, only for Thiru to realise only he can see the genie. Eventually, they become friends and Thiru plays a joke on everyone that used to make fun of him. He asks all his wishes to Karkimuni and has fun. The teacher tells everyone there will be a speaking contest at school and Thiru wishes to participate but gets scared because of his stammer. He asks Karkimuki to get rid of his stammering and Karkimuni agrees. He starts speaking at the contest only to start stammering again.
Thiru gets upset and cries on the stage, wetting his pants. His mom is helpless and comforts him. Thiru does not go to school for the next days and decides to stay at home. Thiru shouts at Karkimuki for tricking him and Karkimuki apologises saying genies have some rules they must never break such as never bringing someone from dead, never to stop time and to never to cure problems related to the mind. Karkimuki says Thiru has a problem related to his mind and not a condition. Thiru tells Karkimuki never to speak to him again. During a robbery, Karkimuki manages to save Thiru's mum so they become friends again. Karkimuki encourages him to ignore everyone and to go to school so he decides to go but promises his mom he will never do anything without telling his mom first.
At school, there is another contest and Thiru manages to win first prize, shocking everyone who underestimated him. He hides this from his mom as he thinks she will get mad at him. Thiru asks Karkimuki what he wants and Karkimuki tells him everything that happened, bringing tears to Thiru. Thiru assures the genie he will say the mandaram and reunite him with his son. Day after day, he practices the mandaram but struggles. One day, as he is practicing his mom catches him and asks him what it is. He runs away but she hits him and asks him. Watching this, Karkimuki reveals himself to her and she gets scared. Karkimuki decides to go away as Thiru's mom is very scared. Later, Thiru shouts at his mom for sending the genie away as he was the only person who patiently listened to him and no one else listened including her.
He runs up to the terrace to find Karkimuki slowly fading away. Thiru cries and gets angry trying to say the mandaram. He finally manages to say the mandaram and it opens a portal for him to go back to the genie world. As he is about to leave, a kite string out of nowhere flies across and slits Thiru's mom's throat, killing her. Karkimuki watches as Thiru cries over his dead mum and decides to bring her back to life which causes Karkimuki to die. Thiru and his mum hugs in tears. A final scene shows Thiru speaking on a stage without stammering.
Oily fish
Oily fish is the name for several species of fish which have a lot of fat (and oil) in their muscle tissue. Oily fish commonly have ten percent or more fat/oil in their tissue. Some species have over 30%. The other kind of fish is called whitefish: Whitefish only contain oil/fat in tissues around the liver. Common fish that are called oily include Atlantic herring, European sprat, salmon, Atlantic mackerel, tuna, eel, Greenland halibut and different species of catfish.
Reception history of Jane Austen
During her lifetime, Austen's books did not make her very famous. Like a great number of women writers at that time, she chose to publish her books secretly. Only among people in the aristocracy, her writing was an open secret. At the time they were published, Austen's works were thought fashionable by members of high society. However, they received only a few good reviews. By the mid-nineteenth century, her works were respected by people who were learned in literature. They thought that liking her works was a sign that they were clever. In 1870, her nephew published Memoir of Jane Austen. This showed her to a wider public as "dear, quiet aunt Jane". After this, her works were published again in popular editions. By the twentieth century, lots of groups had formed. Some praised her and some defended her from the "teeming masses". However, they all claimed to be true Janeites, or people who really appreciated Austen.
Early in the twentieth century, scholars made a collection of her works (the first for any British novelist). But it was not until the 1940s that Austen was widely accepted as a "great English novelist". In the second half of the twentieth century, people began studying Austen more and more, and in different ways. For example, they studied her works artistically, ideologically, and historically. The university English departments began developing in the first half of the twentieth century. As they grew, criticism of Austen split into remarkable high culture and popular culture trends. In the late twentieth century, fans made Jane Austen societies and clubs. They praised Austen, her time, and her works. In the early twenty-first century, Austen fans support an industry of printed sequels and prequels. They also support Austen's work in television and film.
Background
Jane Austen lived her entire life as part of a large and close family. Her family was in the lower part of the English gentry. Her family's steady support was very important to Austen's development as a writer. For example, Austen read her first drafts of all of her books to her family. In this way, she received encouragement and help. In fact, it was her father who first tried to put her book in print. Austen's training as a writer lasted from when she was a teenager until she was about 35. During this time, she experimented with different literary forms. This included the epistolary novel (novel in letters), which she tried and did not like. She wrote and revised three important novels and began a fourth. When Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814) and Emma (1815) came out in print, she became a successful writer.
However, novel-writing was not easy for women in the early nineteenth century. This was because it made them famous. It also made people think them unfeminine. So like a great number of other female writers, Austen published her books secretly. In time, though, her writing became an open secret among the aristocracy. In one of her visits to London, the Prince Regent invited her to his home. His librarian showed her around and said that the Regent liked her books very much. The librarian added that "if Miss Austen had any other Novel forthcoming, she was quite at liberty to dedicate it to the Prince". Austen did not like the prince, who spent a lot of money. She did not want to follow this suggestion. However, her friends persuaded her to follow it. Therefore, Emma was dedicated to him. Austen refused the librarian's suggestion after that to write a historical romance for the prince's daughter's marriage.
In the last year of her life, Austen revised Northanger Abbey (1817) and wrote Persuasion (1817). She also began another novel, which was later titled Sanditon. She could not finish it before her death. Austen did not have time to see Northanger Abbey or Persuasion through the press. However, her family published them as one book after she died. Her brother Henry included a "Biographical Notice of the Author". This short biography made people think of Austen as a quiet aunt who wrote in her free time. "Neither the hope of fame nor profit mixed with her early motives (purposes) ... [S]o much did she shrink from notoriety, that no accumulation of fame would have induced (made) her, had she lived, to affix (put) her name to any productions of her pen ... in public she turned away from any allusion to the character of an authoress." However, Austen shows excitement in her letters about getting her books in print. She was also interested in how much money the books would make. Austen was a professional writer.
Austen's works are noted for their realism, biting social commentary, and clever use of free indirect speech. They are also remarkable for their burlesque and irony. They criticize the novels of sensibility of the second half of the eighteenth century. They are part of the change to nineteenth-century realism. As Susan Gubar and Sandra Gilbert explain, Austen laughed at "love at first sight, the primacy (first importance) of passion over all other emotions and/or duties, the exploits of the hero, the vulnerable sensitivity of the heroine, the lovers' proclaimed (declared) indifference to financial considerations, and the cruel  of parents". Austen's stories, though comic, focus on the way women depend on marriage to secure social standing and economic security. She was also concerned with moral problems, like Samuel Johnson, who strongly influenced her.
1812–1821: Individual reactions and contemporary reviews
High society liked and approved of Austen's novels. However, they received few reviews while she was alive. There were two for Sense and Sensibility. Pride and Prejudice received three. Mansfield Park received none. There were seven for Emma. Most of the reviews were short, careful, and approving. They mostly focused on the moral lessons of her books. Brian Southam writes about these reviewers: "their job was merely to provide brief (short) notices, extended with quotations, for the benefit (good) of women readers compiling their library lists and interested only in knowing whether they would like a book for its story, its characters and moral".
Famous writer Walter Scott wrote the longest and deepest of these reviews. He was asked by publisher John Murray to review Emma. Emma had come out in print (without saying who the writer was) in the March 1816 issue of the Quarterly Review. Using the review as a way to praise the novel, Scott praised Austen's works. He praised her ability to copy "from nature as she really exists in the common walks of life, and presenting to the reader ... a correct and striking representation of that which is daily (every day) taking place around him". Modern Austen scholar William Galperin has noted that "unlike some of Austen's lay readers, who recognized her divergence (difference) from realistic practice as it had been prescribed and defined at the time, Walter Scott may well have been the first to install Austen as the realist par excellence". Scott wrote in his private journal in 1826 about Austen. This later became a widely quoted comparison: Also read again and for the third time at least Miss Austen's very finely written novel of Pride and Prejudice. That young lady had a talent for describing the and feelings and characters of ordinary life which is to me the most wonderful I ever met with. The Big Bow-wow strain I can do myself like any now going, but the exquisite touch which renders (makes) ordinary commonplace things and characters interesting from the truth of the description and the sentiment is denied to me. What a pity such a gifted creature died so early!
In the Quarterly Review in 1821 another review came out. Richard Whately was an English writer and theologican. He published the most serious early review of Austen's work. Whately compared Austen and great writers such as Homer and Shakespeare with favor. He praised the dramatic quality of her stories. He also said that the novel was a real, respectable genre of literature. He argued that imaginative literature, especially narrative, was very valuable. He even said they were more important than history or biography. When it was well done, as Austen's works were, Whately said that novels wrote about human experience that the reader could learn from. In other words, he believed that it was moral. Whately also addressed Austen's position as a female writer. He wrote: "we suspect one of Miss Austin's [sic] great merits in our eyes to be, the insight she gives us into the peculiarities of female characters. ... Her heroines are what one knows women must be, though one never can get them to acknowledge (admit) it." No better criticism of Austen was put in print until the late nineteenth century. Whately and Scott had begun the Victorian era's view of Austen.
1821–1870: Cultured few
Austen had a great number of readers who liked and respected her in the nineteenth century. According to critic Ian Watt, they liked her "scrupulous ... fidelity to ordinary (usual) social experience". However, Austen's works were not exactly what her Romantic and Victorian British audience liked. They wished for "powerful emotion [be] authenticated by an egregious display of sound and color in the writing". Victorian critics and audiences liked the work of writers like Charles Dickens and George Eliot. Compared to them, Austen's works seemed narrow and quiet. Austen's works were put in print again beginning in late 1832 or early 1833. Richard Bentley printed them in the Standard Novels series, and remained in print for a long time after that. However, they were not bestsellers. Southam describes her "reading public between 1821 and 1870" as "minute beside the known audience for Dickens and his contemporaries".
The people who read Austen saw themselves as clever readers. They were the cultured few. This became a well-known theme of Austen criticism in the nineteenth and early twentieth centuries. George Henry Lewes was a philosopher and literary critic. He spoke about this theme in a series of articles in the 1840s and 1850s. "The Novels of Jane Austen" was put in print in Blackwood's Magazine in 1859. In there, Lewes praised Austen's books for "the economy of art ... the easy adaptation of means to ends, with no aid (help) from superfluous elements". He also compared her to Shakespeare. He argued that Austen was not good at making up plots. However, he still enjoyed the dramatic quality of her works. He said: "The reader's pulse never throbs, his curiosity is never intense (very strong); but his interest never wanes (stops) for a moment. The action begins; the people speak, feel, and act; everything that is said, felt, or done tends towards the entanglement or disentanglement of the plot; and we are almost made actors as well as spectators (viewers) of the little drama."
Writer Charlotte Brontë liked Austen's writing because they were truthful about everyday life. However, Brontë called her "only shrewd (clever) and observant". She said there was not enough passion in her work. To Brontë, Austen's work seemed formal and narrow. In a letter written to G.H. Lewes in 1848, Brontë said that she did not like Pride and Prejudice. She said:
"Why do you like Miss Austen so very much? I am puzzled on that point ... I read that sentence of yours, and then I got the book. And what did I find? An accurate daguerreotyped portrait of a commonplace (everyday) face; carefully fenced, highly cultivated garden, with neat borders and delicate flowers; but no glance of bright vivid, no open country, no fresh air, no blue hill, no bonny beck. I should hardly like to live with her ladies and gentlemen, in their elegant but confined houses."
- Charlotte Brontë
Nineteenth-century European translations
Soon after Austen's works were printed in Britain, they appeared in some European countries. They began appearing in 1813 with a French translation of Pride and Prejudice. It was quickly followed by German, Dutch, and Swedish editions. They were not always easy to get in Europe. Austen was not well known in Russia. The first Russian translation of an Austen novel did not appear until 1967. Austen’s works were translated into various European languages. However, Europeans did not see her works as part of the English novel tradition. This was partly because of the changes made by translators. They put in sentimentalism into Austen's works. They also failed to put in her humor and irony. Therefore, European readers more often thought of Walter Scott's style as the English novel.
Ken Block
Kenneth Paul Block (November 21, 1967 – January 2, 2023) was an American rally driver. He raced with Hoonigan Racing Division, formerly known as the Monster World Rally Team. He competed in the Rally America and Global Rallycross competitions. He was also one of the co-founders of DC Shoes. He took part in many action sports events, including skateboarding, snowboarding and motocross. Block or his Hoonigan-branded cars have featured in video game series such as Dirt and Forza.
Reception history of Jane Austen
Nineteenth-century European translations
The great changes made by her translators made the Continent receive Austen differently than in Britain. For example, the French writer Isabelle de Montolieu translated several of Austen's novels into the French sentimental novel. In Montolieu's Pride and Prejudice, lively conversations (talks) between Elizabeth and Darcy were replaced by calm, proper ones. In Jane Austen's work, Elizabeth said that she has "always seen a great similarity in the turn of [their] minds" (her and Darcy's). She says this is because they are "unwilling to speak, unless [they] expect to say something that will amaze (surprise) the whole room". However, this becomes "Moi, je garde le silence, parce que je ne sais que dire, et vous, parce que vous aiguisez vos traits pour parler avec effet." ("Me, I keep silent, because I don't know what to say, and you, because you excite your features for effect when speaking.") Cossy and Saglia explained, "the equality of mind which Elizabeth takes for granted is denied (not given) and gender distinction introduced". Austen’s works were seen in France as part of a sentimental tradition. Because of this, people were more interested in the works of French realists like Stendhal, Balzac, and Flaubert. Austen was also treated as a romantic writer in Germany.
Family biographies
For years, people thought the same of Austen as Scott and Whately. Only a few people actually read her novels. In 1870 the first important Austen biography, A Memoir of Jane Austen, was written by Jane Austen's nephew, James Edward Austen-Leigh and printed. This changed the way people thought of Austen. When it came out in print, Austen's popularity and critical standing increased greatly. The Memoir made people think of an untrained writer who wrote masterpieces. People thought Austen was a quiet, middle-aged unmarried aunt. This made them feel that her works were safe for respectable Victorian families to read. The Memoir made Austen's books be printed again in great numbers. The first popular editions came out in 1883. They were a cheap series printed by Routledge. This was followed by editions with pictures, collectors' sets, and scholarly editions. However, critics still said that only people who could really understand the deep meaning of Austen's books should read them. However, after the Memoir was printed, much more criticism about Austen was printed. More came out in two years than had come out in the last 50 years.
In 1913, William Austen-Leigh and Richard Arthur Austen-Leigh printed a family biography. It was titled: Jane Austen: Her Life and Letters—A Family Record. William and Arthur were both part of the Austen family. It was based mostly on family papers and letters. It is described by Austen biographer Park Honan as "accurate, staid (steady), reliable, and at times vivid and suggestive". The authors moved away from the sentimental tone of the Memoir. However, they did not go much beyond the family records and traditions they always had. Therefore, their book offers only facts. It does not offer much interpretation.
Arjun Firoz Khan
Arjun Firoz Khan (born 9 January 1962) is an Indian actor, best known for playing the supporting character of Arjuna in B.R. Chopra's epic television series Mahabharat (1988 TV series). After finding success with this role, Firoz Khan changed his name to Arjun professionally. He has also acted in a number of Hindi language movies.
He was nominated for the Arjuna Award for playing the role of Arjuna in Mahabharata(1988 Television series).
Personal life
Firoz Khan was born on 9 January 1962 into a Muslim family. He was a student of Smt. MMK College of Commerce and Economics, Mumbai. Later he went to Oxford University, England from where he completed his studies.
Ken Block
Block was born in Long Beach, California. He was married and had three children. At the time of his death, Block lived in Woodland, Utah.
Reception history of Jane Austen
Criticism
Austen's works had been in print in the United States from 1832. However, it was only after 1870 that Americans began seriously considering Austen's works. As Southam says, "for American literary nationalists Jane Austen's cultivated scene was too pallid, too constrained, too refined, too downright unheroic". Austen was not democratic enough for Americans. Also, her books did not have the frontier themes that often came out in American literature. The way Americans thought about Austen was represented in an argument between William Dean Howells and Mark Twain. Through his essays, Howells helped make Austen much more popular. Twain, however, used Austen to argue against the Anglophile tradition in America. In his book Following the Equator, Twain described the library on his ship: "Jane Austen's books ... are absent from this library. Just that one omission alone would make a fairly good library out of a library that hadn't a book in it."
Edward C. Prescott
Edward Christian Prescott (December 26, 1940 — November 6, 2022) is an American economist. He received the Nobel Prize in Economics in 2004, sharing the award with Finn E. Kydland, "for their contributions to dynamic macroeconomics: the time consistency of economic policy and the driving forces behind business cycles".
Reception history of Jane Austen
Janeites
American novelist Henry James liked Austen. Once he said she was as great as Shakespeare, Cervantes, and Henry Fielding - "the fine painters of life". But James thought Austen was an "unconscious" artist who was "instinctive and charming". In 1905, James said he did not like the public interest in Austen. He said it was more than Austen's "intrinsic merit (worth) and interest" deserved. James said that this was mostly because of the "stiff breeze of the commercial, ... the special bookselling spirits. ... the body of publishers, editors, illustrators, producers of the pleasant twaddle of magazines; who have found their 'dear,' our dear, everybody's dear, Jane ... to their material purpose, ... to pretty reproduction in every variety of what is called tasteful, and in what seemingly proves to be salable, form."
Reginald Farrer, a British travel writer, did not like the sentimental image of "Aunt Jane". Instead, he wanted to study Austen's fiction in a new way. In 1917, he published a long essay in the Quarterly Review. Jane Austen scholar A. Walton Litz called it the best single introduction to her works. Southam calls it as a "Janeite" piece without the worship. Farrer claimed that Jane Austen was not unconscious (disagreeing with James). He said that she was a writer of great concentration and a sharp critic of her society. He called her "radiant and remorseless", "dispassionate yet pitiless", with "the steely quality, the incurable rigor of her judgment". Farrer was one of the first critics who saw Austen as a writer.
1930–2000: Modern scholarship
The light of Austen scholarship was beginning to shine through several important early works. These works helped Austen become well accepted in the academy. The first was Oxford Shakespearean scholar Andrew Cecil Bradley's 1911 essay. This essay was "generally (largely) regarded (seen) as the starting-point for the serious academic approach to Jane Austen". Bradley pointed out Austen's ties to eighteenth-century critic and writer Samuel Johnson. He argued that she was a moralist as well as a humorist. According to Southam, this argument was "totally (completely) original". Bradley separated Austen's works into "early" and "late" novels. Scholars still separate Austen's works as Bradley did today. The second original early-twentieth-century critic of Austen was R. W. Chapman. His edition of Austen's works was the first scholarly edition of the works of any English novelist. The Chapman edition has been the basis for all editions of Austen's works after that.
Mid-century revisionist views started to become popular, and scholars began studying Austen more sceptically. D. W. Harding, adding to Farrer, wrote an essay called "Regulated Hatred: An Aspect of the Work of Jane Austen". He argued that Austen did not support society's customs, and that her irony was not funny but bitter. He also claimed that Austen wanted to show the faults of the society she wrote about. Through her use of irony, Austen tried to protect herself as an artist and a person from the behavior and practices she disliked. Almost at the same time, British critic Q. D. Leavis printed "Critical Theory of Jane Austen's Writing" in Scrutiny in the early 1940s. In there, Leavis argued that Austen was a professional, not an amateur (untrained), writer. Harding's and Leavis's articles were followed by Jane Austen: Irony as Defense and Discovery (1952). This was written by Martin Mudrick, who saw Austen as lonely, defensive, and critical of her society. He carefully described the connection between Austen's attitude towards the literature of her time and how she used irony to show the difference of how society was, and how she thought it could be. An important British critic, F. R. Leavis, said in The Great Tradition (1948) that Austen was one of the great writers of English fiction. Ian Watt agreed, and helped shape the arguments about the genre of the novel. The revisionist views and Leavis's words helped Austen to have a great reputation among academics. They agreed that she "combined (put together) [ Henry Fielding's and Samuel Richardson's ] qualities of interiority and irony, realism and satire to form an author superior to (better than) both".
After the Second World War, people began studying Austen more deeply, and in different ways. A great number of people have studied Austen as a political writer. Critic Gary Kelly explains, "Some see her as a political 'conservative' because she seems to defend the established social order. Others see her as sympathetic to 'radical' politics that challenged the established order, especially in the form of patriarchy ... some critics see Austen's novels as ... complex, criticizing aspects of the social order but supporting stability and an open class hierarchy." In Jane Austen and the War of Ideas (1975), perhaps the most important of these works, Marilyn Butler argues that Austen was greatly influenced by the principal moral and political arguments of her time, and that she had a partisan, firmly conservative and Christian position in these arguments. Alistair M. Duckworth in The Improvement of the Estate: A Study of Jane Austen's Novels (1971) argues that Austen used the concept of the "estate" to symbolise all that was important about ... English society, which should be conserved (kept), improved, and passed down to future generations. As Rajeswari Rajan notes, "the idea of a political Austen is no longer seriously challenged". The questions scholars now study include: "the Revolution, war, nationalism, empire, class, 'improvement' [of the estate], the clergy, town versus (against) country, abolition, the professions, female emancipation; whether her politics were Tory, Whig, or radical; whether she was a conservative or a revolutionary, or occupied (kept) a reformist position between these extremes".
In the 1970s and 1980s, Austen studies was influenced by Sandra Gilbert and Susan Gubar's The Madwoman in the Attic (1979). The Madwoman in the Attic explores the "explosive anger" of nineteenth-century female English writers under their "decorous (proper) surfaces". This work, together with other feminist criticism of Austen, has made people see her as a woman writer. The interest these critics showed in Austen made people discover and study other women writers in Austen's time. Also, when Julia Prewitt Brown's Jane Austen's Novels: Social Change and Literary Form (1979), Margaret Kirkham's Jane Austen: Feminism and Fiction (1983), and Claudia L. Johnson's Jane Austen: Women, Politics and the Novel (1988) were printed, scholars were no longer able to argue that Austen was firmly "apolitical, or even ... 'conservative'". Kirkham, for example, said that Austen's thought and that of Mary Wollstonecraft were quite similar. She called them both "Enlightenment feminists". Johnson also places Austen in an eighteenth-century political tradition. However, she notes the influence Austen received from the political novels of the 1790s written by women.
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Awards
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Arjun Firoz Khan
Mahabharata(1988 Television)
Best Supporting Role-Arjuna
Zhao Qiguo
Zhao studied at the Department of Agronomy at the Wuhan University in 1949, and later moved to Huazhong Agricultural University due to the changement of the department where he graduated in 1953. He was an elected member of the Chinese Academy of Sciences in 1991. He was a member of the Academic Division of Earth Sciences of the Chinese Academy of Sciences from 1991. He worked as a researcher at the Institute of Soil Science. He became the director of the Nanjing Soil Research Institute and the chairman of Soil Science Society of China.
Qiguo died in Nanjing on 3 January 2023, at the age of 92.
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Overview
Dietfurt is known as the "Bavarian China" (Bayerisch China, ), Chinese culture is the theme for Carnival in Dietfurt, and the city promotes other Chinese cultural activities such as courses in Qigong.
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Club career statistics
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International career statistics
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Dora Herxheimer
Dora Herxheimer with married name Heidrich (4 August 1884 - 2 July 1967) was a British swimmer and artist.
Swimming
Herxheimer started swimming when she was around 10 years old in 1894 during a family vacation in St Leonards-on-Sea. She was in 1906 trained by Maurice Richard at the Solférino baths. On 15 July 1906 she took part in the second edition of the Traversée de Paris à la nage, a main open water swimming competition in Paris. After many test, she had to swim for instance six kilometre in a swimming pool, her participation was accepted. She finished 10th in a time of 4 hours and 58 miutes. She swam the entire race in breaststroke.
Art
Herxheimer studied art as a pupil of the German arrist Georg Lührig, probably serving as a model for his work Âge et Jeunesse. In 1906 she joined the courses of the sculptor Jacques Marqueste in Paris. She owned a studio in the 14th arrondissement of Paris at Rue Campagne-Première. She was specialized in sculpture of busts, animal art and female portraits. In August, she became a pupil of Auguste Rodin and meets her secretary, the Austrian poet Rainer Maria Rilke. Between 1906 and 1913 she maintained a correspondence with Rainer Maria Rilke.
Personal life
Herxheimer was born in London in 1884. She moved in 1901 to Saxony in Germany and from 1905 to Berlin, Paris, Freudenstadt in the Black Forest and Czechoslovakia. She later moved to London and moved to New York in 1954.