Some context: Francis Albert Sinatra was born on December 12, 1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey. He was the only child of Italian immigrants Antonino Martino "Marty" Sinatra and Natalina "Dolly" Garaventa. Sinatra weighed 13.5 pounds (6.1 kg) at birth and had to be delivered with the aid of forceps, which caused severe scarring to his left cheek, neck, and ear, and perforated his ear drum, damage that remained for life. Due to his injuries at birth, his baptism at St. Francis Church in Hoboken was delayed until April 2, 1916.
Fred Zinnemann's From Here to Eternity deals with the tribulations of three soldiers, played by Burt Lancaster, Montgomery Clift, and Sinatra, stationed on Hawaii in the months leading up to the attack on Pearl Harbor. Sinatra had long been desperate to find a film role which would bring him back into the spotlight, and Columbia Pictures boss Harry Cohn had been inundated by appeals from people across Hollywood to give Sinatra a chance to star as "Maggio" in the film. During production, Montgomery Clift became a close friend, and Sinatra later professed that he "learned more about acting from him than anybody I ever knew before". After several years of critical and commercial decline, his Academy Award for Best Supporting Actor win helped him regain his position as the top recording artist in the world. His performance also won a Golden Globe Award for Best Supporting Actor - Motion Picture. The Los Angeles Examiner wrote that Sinatra is "simply superb, comical, pitiful, childishly brave, pathetically defiant", commenting that his death scene is "one of the best ever photographed". In 1954 Sinatra starred opposite Doris Day in the musical film Young at Heart, and earned critical praise for his performance as a psychopathic killer posing as an FBI agent opposite Sterling Hayden in the film noir Suddenly. Sinatra was nominated for an Academy Award for Best Actor and BAFTA Award for Best Actor in a Leading Role for his role as a heroin addict in The Man With The Golden Arm (1955). After roles in Guys and Dolls, and The Tender Trap, Sinatra was nominated for a BAFTA Award for Best Actor in a Leading Role for his role as hospital orderly in Stanley Kramer's debut picture, Not as a Stranger. During production, Sinatra got drunk with Robert Mitchum and Broderick Crawford and trashed Kramer's dressing room. Kramer vowed to never hire Sinatra again at the time, and later regretted casting him as a Spanish guerrilla leader in The Pride and the Passion (1957). In 1956 Sinatra featured alongside Bing Crosby and Grace Kelly in High Society for MGM, earning a reported $250,000 for the picture. The public rushed to the cinemas to see Sinatra and Crosby together on-screen, and it ended up earning over $13 million at the box office, becoming one of the highest-grossing pictures of 1956. In 1957, Sinatra starred opposite Rita Hayworth and Kim Novak in George Sidney's Pal Joey, for which he won for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy. Santopietro considers the scene in which Sinatra sings "The Lady Is a Tramp" to Hayworth to have been the finest moment of his film career. He next portrayed comedian Joe E. Lewis in The Joker Is Wild; the song "All the Way" won the Academy Award for Best Original Song. By 1958 Sinatra was one of the ten biggest box office draws in the United States, appearing with Dean Martin and Shirley MacLaine in Vincente Minnelli's Some Came Running and Kings Go Forth with Tony Curtis and Natalie Wood. "High Hopes", sung by Sinatra in the Frank Capra comedy, A Hole in the Head (1959), won the Academy Award for Best Original Song, and became a chart hit, lasting on the Hot 100 for 17 weeks.
did he have any notable female co stars?
A: Doris Day
Some context: Bruno Latour (French: [latuR]; born 22 June 1947) is a French philosopher, anthropologist and sociologist. He is especially known for his work in the field of science and technology studies (STS). After teaching at the Ecole des Mines de Paris (Centre de Sociologie de l'Innovation) from 1982 to 2006, he became Professor at Sciences Po Paris (2006-2017), where he was the scientific director of the Sciences Po Medialab. He retired from several university activities in 2017.
Latour's work Nous n'avons jamais ete modernes : Essais d'anthropologie symetrique was first published in French in 1991, and then in English in 1993 as We Have Never Been Modern. Latour encouraged the reader of this anthropology of science to re-think and re-evaluate our mental landscape. He evaluated the work of scientists and contemplated the contribution of the scientific method to knowledge and work, blurring the distinction across various fields and disciplines. Latour argued that society has never really been modern and promoted nonmodernism (or amodernism) over postmodernism, modernism, or antimodernism. His stance was that we have never been modern and minor divisions alone separate Westerners now from other collectives. Latour viewed modernism as an era that believed it had annulled the entire past in its wake. He presented the antimodern reaction as defending such entities as spirit, rationality, liberty, society, God, or even the past. Postmoderns, according to Latour, also accepted the modernistic abstractions as if they were real. In contrast, the nonmodern approach reestablished symmetry between science and technology on the one hand and society on the other. Latour also referred to the impossibility of returning to premodernism because it precluded the large scale experimentation which was a benefit of modernism. Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato. He refused the concept of "out there" versus "in here". He rendered the object/subject distinction as simply unusable and charted a new approach towards knowledge, work, and circulating reference. Latour considered nonmoderns to be playing on a different field, one vastly different than that of post-moderns. He referred to it as much broader and much less polemical, a creation of an unknown territory, which he playfully referred to as the Middle Kingdom. In 1998, historian of science Margaret C. Jacob argued that Latour's politicized account of the development of modernism in the 17th century is "a fanciful escape from modern Western history".
what is important about his work
A:
Latour attempted to prove through case studies the fallacy in the old object/subject and Nature/Society compacts of modernity, which can be traced back to Plato.