Albanian was proved to be an Indo-European language in 1854 by the German philologist Franz Bopp. The Albanian language comprises its own branch of the Indo-European language family. Some scholars believe that Albanian derives from Illyrian while others claim that it derives from Daco-Thracian. (Illyrian and Daco-Thracian, however, might have been closely related languages; see Thraco-Illyrian.) Establishing longer relations, Albanian is often compared to Balto-Slavic on the one hand and Germanic on the other, both of which share a number of isoglosses with Albanian. Moreover, Albanian has undergone a vowel shift in which stressed, long o has fallen to a, much like in the former and opposite the latter. Likewise, Albanian has taken the old relative jos and innovatively used it exclusively to qualify adjectives, much in the way Balto-Slavic has used this word to provide the definite ending of adjectives. The cultural renaissance was first of all expressed through the development of the Albanian language in the area of church texts and publications, mainly of the Catholic region in the North, but also of the Orthodox in the South. The Protestant reforms invigorated hopes for the development of the local language and literary tradition when cleric Gjon Buzuku brought into the Albanian language the Catholic liturgy, trying to do for the Albanian language what Luther did for German.

The Albanian language used jos to qualify adjectives and made what other shift?

Bin Laden reportedly discussed the planes operation with KSM and Atef in a series of meetings in the spring of 1999 at the al Matar complex near Kandahar. KSM's original concept of using one of the hijacked planes to make a media statement was scrapped, but Bin Laden considered the basic idea feasible. Bin Laden, Atef, and KSM developed an initial list of targets. These included the White House, the U.S. Capitol, the Pentagon, and the World Trade Center. According to KSM, Bin Laden wanted to destroy the White House and the Pentagon, KSM wanted to strike the World Trade Center, and all of them wanted to hit the Capitol. No one else was involved in the initial selection of targets. Bin Laden also soon selected four individuals to serve as suicide operatives: Khalid al Mihdhar, Nawaf al Hazmi, Khallad, and Abu Bara al Yemeni. During the al Matar meetings, Bin Laden told KSM that Mihdhar and Hazmi were so eager to participate in an operation against the United States that they had already obtained U.S. visas. KSM states that they had done so on their own after the suicide of their friend Azzam (Nashiri's cousin) in carrying out the Nairobi bombing. KSM had not met them. His only guidance from Bin Laden was that the two should eventually go to the United States for pilot training. Hazmi and Mihdhar were Saudi nationals, born in Mecca. Like the others in this initial group of selectees, they were already experienced mujahideen. They had traveled together to fight in Bosnia in a group that journeyed to the Balkans in 1995. By the time Hazmi and Mihdhar were assigned to the planes operation in early 1999, they had visited Afghanistan on several occasions. Khallad was another veteran mujahid, like much of his family. His father had been expelled from Yemen because of his extremist views. Khallad had grown up in Saudi Arabia, where his father knew Bin Laden, Abdullah Azzam, and Omar Abdel Rahman (the "Blind Sheikh").

Bin Laden, KSM, and Atef were involved in initial target selection were these the only people involved?

Do not look for the Danteum in the Eternal City. In true Dantean form, politics stood in the way of its construction in 1938. Ironically this literature-inspired building can itself most easily be found in book form. Reading this book I remembered Goethe's quote about frozen music. Did Terragni try to freeze Dante's medieval miracle of song? Certainly a cold-poem seems artistically repulsive. Unflattering comparisons to the lake of Cocytus spring to mind too. While I cannot read Italian, I can read some German. After locating the original quotation I discovered that 'frozen' is a problematic (though common) translation of Goethe's original 'erstarrte.' The verb 'erstarren' more properly means 'to solidify' or 'to stiffen.' This suggests a chemical reaction in which the art does not necessarily chill in the transformation. Nor can simple thawing yield the original work. Like a chemical reaction it requires an artistic catalyst, a muse. Indeed the Danteum is not a physical translation of the Poem. Terragni thought it inappropriate to translate the Comedy literally into a non-literary work. The Danteum would not be a stage set, rather Terragni generated his design from the Comedy's structure, not its finishes.
Who created the Danteum?