Some context: Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. Celtic art is a difficult term to define, covering a huge expanse of time, geography and cultures. A case has been made for artistic continuity in Europe from the Bronze Age, and indeed the preceding Neolithic age; however archaeologists generally use "Celtic" to refer to the culture of the European Iron Age from around 1000 BC onwards, until the conquest by the Roman Empire of most of the territory concerned, and art historians typically begin to talk about "Celtic art" only from the La Tene period (broadly 5th to 1st centuries BC) onwards. Early Celtic art is another term used for this period, stretching in Britain to about 150 AD.
The ancient peoples now called "Celts" spoke a group of languages that had a common origin in the Indo-European language known as Common Celtic or Proto-Celtic. This shared linguistic origin was once widely accepted by scholars to indicate peoples with a common genetic origin in southwest Europe, who had spread their culture by emigration and invasion. Archaeologists identified various cultural traits of these peoples, including styles of art, and traced the culture to the earlier Hallstatt culture and La Tene culture. More recent genetic studies have indicated that various Celtic groups do not all have shared ancestry, and have suggested a diffusion and spread of the culture without necessarily involving significant movement of peoples. The extent to which "Celtic" language, culture and genetics coincided and interacted during prehistoric periods remains very uncertain and controversial. Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. The term "Celt" was used in classical times as a synonym for the Gauls (Keltoi, Celtae). Its English form is modern, attested from 1607. In the late 17th century the work of scholars such as Edward Lhuyd brought academic attention to the historic links between Gaulish and the Brythonic--and Goidelic--speaking peoples, from which point the term was applied not just to continental Celts but those in Britain and Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of the "noble savage", brought a wave of enthusiasm for all things Celtic and Druidic. The "Irish revival" came after the Catholic Emancipation Act of 1829 as a conscious attempt to demonstrate an Irish national identity, and with its counterpart in other countries subsequently became the "Celtic Revival".
What are the influences?
A: Archaeologists identified various cultural traits of these peoples, including styles of art, and traced the culture to the earlier Hallstatt culture
Some context: Zazi was born in a village in Paktia Province, Afghanistan. He has two sisters and two brothers. At the age of 7 in 1992, he and his family moved to the city of Peshawar in Pakistan where they settled as Afghan refugees. In 1999, he and the family left Pakistan and immigrated to New York City.
American authorities also arrested imam Ahmad Wais Afzali, who was charged with and convicted of lying to the FBI about a conversation in which Afzali informed Zazi he was under surveillance. Afzali was formerly a resident of Flushing, Queens, and legal permanent resident of the U.S., born in Kabul, Afghanistan. He was an imam at a Queens mosque, and ran the Islamic Burial Funeral Service, a Queens funeral parlor. He was charged with having told Zazi that he was being watched, and lying to the FBI in a matter involving terrorism. He initially pleaded not guilty, faced up to eight years in prison and deportation if convicted, and was freed on $1.5 million bail. On March 4, in a plea bargain he pleaded guilty to a reduced charge of lying to U.S. federal agents, and said he was sorry. Afzali faced up to six months in prison, and as part of the plea arrangement the government agreed not to request any jail time. Brooklyn federal judge Frederic Block will sentence him on April 8. As part of his plea agreement, Afzali voluntarily left the U.S. in July 2010, within 90 days of his conviction. As a felon and under the terms of his plea bargain Afzali may not return to the U.S. unless given special permission. Afzali denied any intention of aiding terrorism or misleading authorities, and according to his lawyer he was "caught in a turf war between the NYPD and the FBI." His last words in the United States were "God Bless America," according to his lawyer.
Did he serve time after being arrested?
A: As part of his plea agreement, Afzali voluntarily left the U.S. in July 2010, within 90 days of his conviction.
Some context: Cheri Honkala was born in Minneapolis, Minnesota, in 1963. Her father, Maynard Duane Honkala, was of Finnish ancestry, and her mother had Cheyenne Native American ancestry. She grew up watching her mother suffer from domestic violence. Honkala's mother quietly endured this abuse for fear of losing her kids.
Honkala was one of two women profiled in Pulitzer Prize-winning journalist David Zucchino's book, The Myth of the Welfare Queen (1999). According to one review, Honkala, as depicted in the book, "helps create a tent city to protest welfare cuts, joins the occupation of an abandoned church and the takeover by protesters of empty houses owned by HUD. She tirelessly seeks publicity for her cause, battles with bureaucrats, and rallies and comforts fellow protesters." She was the subject of Chapter 6, "Using Economic Human Rights in the Movement to End Poverty: The Kensington Welfare Rights Union and the Poor People's Economic Human Right Campaign" by Mary Bricker-Jenkins, Carrie Young and Honkala, in the book Challenges in Human Rights: A Social Work Perspective, edited by Elizabeth Reichert (2007). She was also briefly profiled in Katherine Martin's book Women of Courage: Inspiring Stories from the Women who Lived Them (1999). Since the mid-1990s Honkala has been extensively documented by photographer Harvey Finkle. A YouTube video was created consisting of many of Finkle's photos of Honkala and of other poor people. She also wrote the introduction to Finkle's book of photographs of the urban poor, Urban Nomads: A Poor People's Movement (1997). One of the last photos taken by the late photographer Richard Avedon (1923-2004) was a portrait of Honkala for the series Democracy 2004, which appeared in an October 2004 issue of The New Yorker magazine. Interviews and articles on Honkala have appeared in numerous print and online publications, including The Village Voice, The Philadelphia Inquirer, Philadelphia Weekly, Yes! magazine, Salon, Truthdig and The Nation.
Who wrote that book ?
A:
Mary Bricker-Jenkins,