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632_16 | Following the foundation of Nizhny Novgorod by Kievan Rus in 1221, the Mordvin territory increasingly fell under Russian domination, pushing the Mordvin populations southwards and eastwards beyond the Urals, and reducing their cohesion.
The Russian advance was halted by the Mongol Empire, and the Mordvins became subjects to Golden Horde until the beginning of 16th century.
Christianization of the Mordvin peoples took place during the 16th to 18th centuries, and most Mordvins today adhere to the Russian Orthodox Church all carrying Russian Orthodox names. In the 19th century Latham reported strong pagan elements surviving Christianization, the chief gods of the Erzyans and the Mokshas being called Paas and Shkai, respectively.
Modern history
Although the Mordvins were given an autonomous territory as a titular nation within the Soviet Union in 1928, Russification intensified during the 1930s, and knowledge of the Mordvin languages by the 1950s was in rapid decline. |
632_17 | After the fall of the Soviet Union, the Mordvins, like other indigenous peoples of Russia, experienced a rise in national consciousness. The Erzya national epic is called Mastorava, which stands for "Mother Earth". It was compiled by A. M. Sharonov and first published in 1994 in the Erzya language (it has since been translated into Moksha and Russian). Mastorava is also the name of a movement of ethnic separatism founded by D. Nadkin of the Mordovian State University, active in the early 1990s. |
632_18 | Finnic peoples, whose territories were included in the former USSR as well as many others, had a very brief period of national revival in 1989-1991. Finnric peoples of Idel-Ural were able to conduct their own national conventions: Udmurts (November 1991), Erzya and Moksha (March 1992), Mari (October 1992), the united convention of Finnic folks of Russia in Izhevsk (May 1992). All these conventions accepted similar resolutions with appeals to democratize political and public life in their respective republics and to support the national revival of Finnoic peoples. Estonia had strong influence on moods and opinions that dominated these conventions, (especially among national-oriented intellectuals) because many students at the University of Tartu were from Finnic republics of Russia. |
632_19 | At the time of the Soviet Union’s disintegration, Erzya and Moksha accounted for only 32,5% in total structure of population in Mordovia. The return of many Erzyans and Mokshans to their national identities was strongly challenged by Russification, urbanization and demographic crisis. In addition, part of Moksha national elites (and Erzyan to a lesser extent) came forward with an idea, that Erzyans and Mokshans are just sub-ethnic groups within the united Mordovian nation. This concept was readily supported by Russian authorities, but most representatives of the Erzyan national movement reacted very negatively. National activists perceived the idea of “united Mordovian nation” as another tool for hard Russification. |
632_20 | In 1989 Veĺmema community center emerges in Mordovia. Very soon it becomes popular attracting both Erzyans and Mokshans. In some time only cultural activity becomes quite a narrow scope for part of radical activists, and Veĺmema experiences a major split. Moderate members create Vajģeĺ organization focused on revival and popularization of national traditions, and a more radical group founded Mastorava, Erzan-Mokshan civic movement, that aims not only a cultural revival of both nations but also wants the presentation of their interests in government bodies.
National representative bodies
Erzya has its own system of national representative bodies. Every time before Raskeń ozks that takes place every three years, Aťań Eźem (erz. Council of elders) is convened. Aťań Eźem is a collective body that discusses the major problems of Erzyan people. Aťań Eźem elects chief elder, Inyazor, by a secret ballot. Inyazor represents all Erzyan people till next Raskeń Ozks. |
632_21 | During the period from 1999 through 2019 position of Inyazor was held by Kshumantsian’Pirguzh, who was awarded Order of the Cross of St. Mary’s Land (est. Maarjamaa Risti teenetemärk) by President of Estonia in 2014. In 2019 during regular Raskeń Ozks Syres’ Boliayen’, chairman of Erźań Val Society, co-founder of Free Idel-Ural civic movement was elected as new Inyazor. His candidature was supported by 12 from 18 elders. Russian authorities do not recognize the legitimacy of the national representative bodies of Erzyan people. Syres’ Boliayen’ is now in exile in Ukraine and representatives of Aťań eźem, as well as first Inyazor Kshumantsian’Pirguzh, repeatedly reported about political pressure from Russian authorities. |
632_22 | According to Russian laws, the activity of national political parties (Erzya, Mari, Tatars, Chuvashs or any other) is forbidden. Consequently, the national representative agency of Erzya people is the only possible instrument to express the political aspirations of Erzya. |
632_23 | Due to the activity of Veĺmema, Vajģeĺ and Mastorava situation with human rights for Erzyans and Mokshans in Mordovia has changed significantly. Mordovian National theatre and faculty of national culture were founded in the republic, Language Law was adopted, productive relationships and contacts with foreign diaspores were established. Aforementioned organizations became a “talent foundry” for new associations of Erzya and Moksha, namely Od Vij, Erźava, Ĺitova, and Jurhtava; as well as for Mastorava and Erźań Mastor newspapers. Exactly due to the activity of all mentioned organizations and societies Erzyan and Mokshan national movements become able to progress from the ethnographic stage of their struggle to a political one. |
632_24 | At the end of the 1980s Pirguzh Kshumantsian’, human rights defender, and Mariz’ Kemal, poetess, became leaders of Erzyan national movement. They revived the tradition of Raskeń Ozks (erz. Family Prayer). 5 days before the very first Raskeń Ozks Kshumantsian’, as main organizer of the event, was arrested by Russian authorities. Police forced him to abandon the realization of Prayer, however, he refused to comply with the demands. In 1999 Pirguzh Kshumantsian’ was elected as the first Inyazor (chief elder) in the newest history of Erzyan people. He held this position up to 2019. |
632_25 | Mariz’ Kemal adhered to the principle of "Kavto keĺť - kavto raśkeť" (erz. "Two languages - two nations"), that denied the existence of the single Mordovian nation as the combination of sub-ethnic groups, namely Erzya and Moksha. National life in the Republic of Mordovia began to draw down with the installation of Vladimir Putin’s rule. The new president of Russia considered national republics and native peoples as “enemies inside”. |
632_26 | May 1, 2020 Atyan’ Ezem (erz. Elders’ Council) approved new system of national representative bodies. Statute on creation and functioning of national representative bodies of Erzya people consists of six chapters, describing aims and tasks of Erzya national movement, its governing bodies, their plenary powers and structure. According to the document, national movement directed by Promks – convention of delegates from Erzya political parties and public organizations. Convention forms Atyan’ Ezem, that is operative between Promks sessions and elects Inyazor (Chief Elder), who presents Erzya people and speaks on behalf of all the nation. In the event that there are any legal limitations for creation and operation of national parties (such prohibition exists in Russian Federation nowadays), then plenary powers of Promks are carried by Atyan’ Ezem. The main objective of Promks, Atyan’ Ezem and Inyazor, is to provide and defend national, political, economic and cultural rights of Erzya, |
632_27 | including right to national self-determination within national Erzya territories. |
632_28 | Languages
The Mordvinic languages, a subgroup of the Uralic family, are Erzya and Moksha, with about 500,000 native speakers each. Both are official languages of Mordovia alongside Russian. The medieval Meshcherian language may have been Mordvinic, or close to Mordvinic.
Erzya is spoken in the northern and eastern and north-western parts of Mordovia, as well as in the adjacent oblasts of Nizhny Novgorod, Penza, Samara, Saratov, Orenburg, and Ulyanovsk, and in the republics of Chuvashia, Tatarstan, and Bashkortostan. Moksha is the majority language in the western part of Mordovia.
Due to differences in phonology, lexicon, and grammar, Erzya and Moksha are not mutually intelligible, to the extent that Russian language is often used for intergroup communications.
The two Mordvinic languages also have separate literary forms. The Erzya literary language was created in 1922 and the Mokshan in 1923.
Both are currently written using the standard Russian alphabet.
Demographics |
632_29 | Latham (1854) quoted a total population of 480,000. Mastyugina (1996) quotes 1.15 million. The 2002 Russian census reports 0.84 million.
According to estimates by Tartu University made in the late 1970s, less than one third of Mordvins lived in the autonomous republic of Mordovia, in the basin of the Volga River.
Others are scattered (2002) over the Russian oblasts of Samara (116,475), Penza (86,370), Orenburg (68,880) and Nizhni Novgorod (36,705), Ulyanovsk (61,100), Saratov (23,380), Moscow (22,850), Tatarstan (28,860), Chuvashia (18,686), Bashkortostan (31,932), Siberia (65,650), Russian Far East (29,265).
Populations in parts of the former Soviet Union not now part of Russia are: Kyrgyz Republic 5,390, Turkmenistan 3,490, Uzbekistan 14,175, Kazakhstan, (34,370), Azerbaijan (1,150), Estonia (985), Armenia (920). |
632_30 | List of notable Mordvins
Erzyans
Alyona Erzymasskaya 17th-century Erzyan female military leader, the heroine of civil war.
Stepan Erzya (Stepan Nefedov, 1876–1959), sculptor
Fyodor Vidyayev, World War II submarine commander and war hero
Aleksandr Sharonov, philologist, poet, writer
Kuzma Alekseyev
Valeri Vasioukhin, Professor of Cancer Biology, University of Washington.
Vasily Chapayev (Erzya father)
Nadezhda Kadysheva singer
Mokshans
Mikhail Devyatayev (1917–2002)
Andrey Kizhevatov, a Soviet border guard commander, one of the leaders of the Defense of Brest Fortress during Operation Barbarossa.
Vasily Shukshin, Soviet writer and actor
See also
Baltic Finnic peoples
Finnic peoples
Merya
Meshchera
Mordovian cuisine
Mordvin Native Religion
Mordvinic languages
Muromian
Volga Finns
Arthania
References and notes |
632_31 | Further reading
Devyatkina, Tatiana. Mythology of Mordvins: Encyclopaedia. Saransk, 2007. ()
Mokshin, Nikolai F. "The Mordva – Ethnonym or Ethnopholism", chapter 5 of Marjorie Mandelstam Balzer (ed.),Culture Incarnate: Native Anthropology from Russia, M.E. Sharpe (1995), , 29–45 (English translation of a 1991 Sovetskaia etnografiia article).
Petrukhin, Vladimir. Mordvins Mythology // Myths of Finno-Ugric Peoples. Moscow, 2005. p. 292 - 335. ()
External links
Library of Congress: A Country Study: Soviet Union (Former)
The Finns of the steppe and their Mordvin names Article about Mordvin culture and names. |
632_32 | Mordovia news
Info-RM
Info-RM (In the Moksha language)
Info-RM (In the Erzya language)
Mordvin toponymy (in Mordovia and throughout the Middle Volga region):
Sándor Maticsák, Nina Kazaeva. "History of the Research of Mordvinian Place Names" (Onomastica Uralica)
Info-RM republic of Mordovia news in the Moksha language
Finno-Ugric World news, articles in Moksha
Moksha-English-Moksha online dictionary
Ethnic groups in Russia
Volga Finns
Indigenous peoples of Europe |
633_0 | Lapeer County is a county located in the U.S. state of Michigan. As of the 2020 Census, the population was 88,619. The county seat is Lapeer. The county was created on September 18, 1822, and was fully organized on February 2, 1835. The name is a corruption of the French la pierre, which means "the stone". Lapeer County is included in the Detroit-Warren-Dearborn, MI Metropolitan Statistical Area. |
633_1 | History
Lapeer County was part of New France from 1534. As New France gained in population, this area was considered part of the Pays d'en Haut (upper countries) dependency of the Colony of Canada, from its formation as a department of New France in 1712. In 1763 England took possession of all French territory in North America east of the Mississippi River after winning the Seven Years' War. It renamed the colony and its dependencies as the Province of Quebec. France and England had controlled trading with First Nations in this area by establishing forts as a place for gathering and trading, and to settle disputes and enforce laws. They used the ancient overland and waterborne trade routes of the First Nations, while providing superior tools and weapons in exchange for valuable furs. |
633_2 | Following the American Revolution, Great Britain ceded portions of the Province of Quebec to the newly independent United States of America. By an ordinance of the Congress of the United States passed on July 13, 1787, under the Articles of Confederation, the whole of the territory of the United States lying northwest of the Ohio River and east of the Mississippi River, though still occupied by the British, was organized as the Northwest Territory. The area that is now Lapeer County used to be a part of the County of Wayne, named in the honor of General Anthony Wayne. This original Wayne County was created on August 11, 1796; very large, it included all of the lower peninsula of Michigan, parts of Northern Ohio and Indiana, and also portions of Wisconsin and Illinois. As population increased in the area, new counties were organized in this territory. |
633_3 | What is now Lapeer County, on May 7, 1800, was considered part of the Territory of Indiana, which included all of the lower peninsula of Michigan. After Ohio and Indiana became states, the Territory of Michigan was formed. In 1807 local Indian tribes: the Ottawa, Ojibwa (Chippewa), Wyandot and Potawatomi, ceded the land of Southeast Michigan to the United States in the Treaty of Detroit. They had been under pressure for some time, especially as they had been allied with the British in the Revolutionary War. They were encouraged to move west out of the area, but some remained in Michigan.
In January 1820, the County of Oakland was formed. On September 18, 1822, Governor Lewis Cass set Lapeer County's boundaries, although it remained a part of Oakland County until it was organized. Lapeer County officially became a county on February 2, 1835. The first recorded elections for county officers, with 520 people voting, occurred in 1837. |
633_4 | The first European-American settler in Lapeer was Alvin N. Hart, who was born in Cornwall, Connecticut on February 11, 1804. He came to Lapeer in 1831 and platted the Village of Lapeer on November 8, 1833. The plat was registered in Pontiac, December 14, 1833, in Oakland County's Associate Judge Bagley's court. Alvin Hart became a state senator in 1843, representing Lapeer, Oakland, Genesee, Shiawassee, Tuscola, Saginaw counties and the entire Upper Peninsula. He was instrumental in having the state capital moved from Detroit to Lansing.
Lumber was the principal industry of the Lapeer County area from the 1830s until 1870. Lumber was in demand with development throughout the Midwest. In addition there was the expectation that clearing much of the county's forests would attract farmers as settlers. Lapeer's economy shifted to become primarily agriculturally based.
On October 26, 2010, Lapeer became a founding member of the Karegnondi Water Authority. |
633_5 | Historical markers
Fifteen historical markers have been installed throughout Lapeer County commemorating sites and structures of interest:
Columbiaville Depot
Currier House (Almont)
Dryden Depot
General Squier Memorial Park (Dryden Township)
Grand Trunk Western Railroad Depot / Imlay City
Grettenberger Field (Imlay City)
Henry Stephens Memorial Library (Almont)
Ladies Library Hall (Dryden)
Lapeer County (at Lapeer County Courthouse)
Lapeer Public Library
Pioneer Bank (North Branch)
St. Patrick's Church (Clifford)
Tuttle House (Lapeer)
United Methodist Church (Columbiaville)
William Peter Mansion (Columbiaville) |
633_6 | Geography
According to the U.S. Census Bureau, the county has a total area of , of which is land and (3.0%) is water. Lapeer County's geography is very similar to Oakland County, except Lapeer County is more rural. Lapeer is one of the five counties that form the peninsula projecting into Lake Huron known as The Thumb, which in turn is a sub-region of Mid Michigan.
The headwaters of the Flint River are in Columbiaville. It flows through the county toward Genesee. The City of Lapeer straddles it course.
Major highways
runs east and west through the county
runs north and south through the western part of the county, including the city of Lapeer
runs north and south through the eastern part of the county, including Imlay City
runs east and west through the county, including the city of North Branch
Adjacent counties
Sanilac County (northeast)
Tuscola County (northwest)
St. Clair County (east)
Genesee County (west)
Macomb County (southeast)
Oakland County (southwest) |
633_7 | Demographics
As of the 2010 United States Census, there were 88,319 people living in the county. 95.5% were White, 1.0% Black or African American, 0.5% Native American, 0.3% Asian, 1.2% of some other race and 1.4% of two or more races. 4.1% were Hispanic or Latino (of any race). 23.9% were of German, 10.9% English, 10.4% Irish, 8.6% Polish, 7.3% American and 5.2% French, French Canadian or Cajun ancestry. |
633_8 | As of the census of 2000, there were 87,904 people, 30,729 households, and 23,876 families living in the county. The population density was 134 people per square mile (52/km2). There were 32,732 housing units at an average density of 50 per square mile (19/km2). The racial makeup of the county was 96.17% White, 0.82% Black or African American, 0.38% Native American, 0.39% Asian, 0.01% Pacific Islander, 1.07% from other races, and 1.16% from two or more races. 3.11% of the population were Hispanic or Latino of any race. 24.2% were of German, 11.8% English, 9.7% American, 9.6% Irish and 9.4% Polish ancestry, 95.9% spoke English and 2.6% Spanish as their first language. |
633_9 | In 2000, there were 30,729 households, of which 38.30% had children under the age of 18 living with them, 65.70% were married couples living together, 8.10% had a female householder with no husband present, and 22.30% were non-families. 18.50% of all households were made up of individuals, and 6.90% had someone living alone who was 65 years of age or older. The average household size was 2.80 and the average family size was 3.19.
The county's population was spread out in terms of age, with 28.00% under the age of 18, 7.70% from 18 to 24, 31.00% from 25 to 44, 23.80% from 45 to 64, and 9.60% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 102.40 males. For every 100 females age 18 and over, there were 101.10 males. |
633_10 | The median income for a household in the county was $51,717, and the median income for a family was $57,817. Males had a median income of $47,506 versus $26,385 for females. The per capita income for the county was $21,462. About 3.80% of families and 5.40% of the population lived below the poverty line, including 5.70% of those under age 18 and 7.50% of those age 65 or over.
Government |
633_11 | The county government operates the jail, maintains rural roads, operates the major local courts, keeps files of deeds and mortgages, maintains vital records, administers public health regulations, runs county parks, and participates with the state in the provision of welfare and other social services. The county board of commissioners controls the budget but has only limited authority to make laws or ordinances. In Michigan, most local government functions — police and fire, building and zoning, tax assessment, street maintenance, etc. — are the responsibility of individual cities, villages, and townships.
Elected officials
Prosecuting Attorney: John Miller
Sheriff: Scott McKenna
County Clerk: Theresa M. Spencer
County Treasurer: Dana M. Miller
Register of Deeds: Melissa DeVaugh
Drain Commissioner: John D. Freeman
County Surveyor: Ray Davis
Road Commissioners: Douglas Hodge; Dale Duckert; Joe Suma
(information as of August, 2012) |
633_12 | Judiciary
40th Circuit Court: Nick O. Holowka; Michael Hodges
71A District Court: Laura Cheger Barnard
Probate Court: Justus C. Scott
(information as of August, 2012)
Board of Commissioners
7 members, elected from districts (1 Democrat, 6 Republicans)
Communities
Cities
Brown City (partly in Sanilac County)
Imlay City
Lapeer (county seat)
Villages
Almont
Clifford
Columbiaville
Dryden
Metamora
North Branch
Otter Lake
Census-designated places
Attica
Barnes Lake
Millers Lake
Other unincorporated communities
Burnside
Elba
Farmers Creek
Five Lakes
Goodland
Hadley
Hunters Creek
Kerr Hill
Kings Mill
Lum
Silverwood
Thornville
Townships
Almont Township
Arcadia Township
Attica Township
Burlington Township
Burnside Township
Deerfield Township
Dryden Township
Elba Township
Goodland Township
Hadley Township
Imlay Township
Lapeer Township
Marathon Township
Mayfield Township
Metamora Township
North Branch Township
Oregon Township
Rich Township
See also |
633_13 | List of Michigan State Historic Sites in Lapeer County, Michigan
National Register of Historic Places listings in Lapeer County, Michigan
References
External links
Official Lapeer County Website
Metro Detroit
Michigan counties
1835 establishments in Michigan Territory
Populated places established in 1835 |
634_0 | Santa Francesca Romana (), previously known as Santa Maria Nova, is a Roman Catholic church situated next to the Roman Forum in the rione Campitelli in Rome, Italy.
History
An oratory putatively was established in the eighth century under Pope Paul I in the portico of the former Temple of Venus and Roma. Tradition holds that at this site Saint Peter prayed at the site to challenge Simon Magus. According to this legend, Simon Magus wanted to prove his pagan powers were greater than those of the apostles, and started levitating in front of Peter. The apostle fell on his knees to prayer, asking God to demonstrate his pre-eminence, and Simon fell, dying. Tradition holds that the basalt stones where the apostle's knees during prayer are embedded in the wall of the south transept. |
634_1 | A church at the site was known by the tenth century, was named Santa Maria Nova (or "Nuova", "New St Mary"), to distinguish it from the other church inside the Roman forum devoted to St Mary, Santa Maria Antiqua ("Ancient St Mary"), which had fallen into ruin by then. The relics from the ancient church were moved to this church under Pope Leo. Santa Maria Nuova was enlarged in the second half of the tenth century, and then rebuilt by Pope Honorius III in the thirteenth century, adding the campanile and the apse, as well as being decorated with a mosaic Maestà, a depiction of the Madonna enthroned accompanied by saints. The belltower and apse are now located at the east end of former Roman temple, where the portico and entry stairs stood. Behind (East) of the apse and bell tower are a jumble of structures forming the former monastery with two small courtyards. Flanking the north of these structures and extending further west on both sides towards the Colosseum are the remaining outer |
634_2 | columns of the massive ancient Roman temple. |
634_3 | Since 1352 the church has been in the care of the Olivetans. In the 16th century, the church was rededicated to Frances of Rome (Francesca Buzzi), who was canonized in 1608 and whose relics are in the crypt. The interior of the church has undergone many refurbishments. The present travertine porch and façade (1615) were designed and built by Carlo Lambardi.
Description
The inscriptions found in Santa Francesca Romana (S. Maria Nuova), a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella. |
634_4 | The interior, a single nave with side chapels, was rebuilt by Lombardi in the years preceding Francesca Buzzi's canonization, beginning in 1595. In the middle of the nave is the rectangular schola cantorum of the old church, covered in Cosmatesque mosaics. Another prominent feature is the confessional designed by Gian Lorenzo Bernini (1638–49), in polychrome marbles with four columns veneered in jasper. Among the altarpieces are works by Pietro Tedeschi, Padre Pozzi, and Subleyras.
The sacristy houses the precious Madonna Glycophilousa ("Our Lady of Tenderness"), an early 5th-century icon brought from Santa Maria Antiqua. The twelfth-century Madonna and Child had been painted over. It was meticulously detached from the panel in 1950.
The tomb of Pope Gregory XI, who returned the papacy to Rome from Avignon, reconstructed to a design by Per Paulo Olivieri (signed and dated 1584) is in the south transept. |
634_5 | The Deaconry was suppressed on 8 August 1661. S. Maria Nova was reestablished, as the Titulus of a Cardinal Priest, on 17 March 1887 by Pope Leo XIII. The titulus of the church remains Sancta Mariae Novae; the current Cardinal Priest of the Titulus S. Mariae Novae is Angelo Sodano. A Cardinal Priest no longer has any jurisdiction over his titular church or its clergy. He is only the Cardinal Protector.
Saint Francesca Romana has been named the patron of car drivers, because of a legend that an angel used to light her way with a lamp when she travelled at night. Automobiles line up on the day of her feast (9 March) as far as the Colosseum, to partake of the blessing.
The facade of the Church of Holy Cross College, in Clonliffe in Dublin, Ireland, is a replica of Santa Francesca Romana. It was designed by the Gothic Architect J.J. McCarthy and is the only exception to his list of Gothic works.
Cardinal Deacons of S. Maria Nova |
634_6 | 12th century
Teobaldo Boccapecci (c.1103 - December 1123)
Aymeric de la Chatre (December 1123 - 28 May 1141).
Giovanni (17 December 1143 - 1153).
Hieronymus ( 1164 - 1167 ?)
Ughizio ( 1172 - 1173).
Matthaeus (March 1178 - 1182).
Bernardo (12 March 1188 - 1193)
14th century
Pietro Valeriano Duraguerra (17 December 1295 - 17 December 1302).
Raimundus de Got (15 December 1305 - 26 June 1310).
Raimundus de Fargis (19 December 1310 - 5 October 1346).
Pierre Roger de Beaufort (29 May 1348 - 30 December 1370) Elected Pope Gregory XI (1370-1378).
Ludovico de Altavilla (18 September 1378 - ca. 1380) [by Urban VI].
Amadeo de Saluzzo (23 December 1383 - 28 June 1419) [Avignon Obedience].
Marino Buleanus, OSB [Bulcani, Vulcani] (17 December 1384 - 8 August 1394) [by Urban VI]. |
634_7 | 15th century
Jacobus (Giacopo) de Torso Utinensis (9 May 1408 - 1413) [by Gregory XII, Roman Obedience]
Pietro Barbo (1 July 1440 - 16 June 1451) translated to S. Marco, later Pope Paul II (1464-1471)
Francesco Gonzaga (2 April 1462 - 21 October 1483).
Giovanni Arcimboldo (15 November 1483 - 2 October 1488).
Giovanni Battista Orsini (23 March 1489 - 27 February 1493). translated to SS. Giovanni e Paolo.
Cesare Borgia (23 September 1493 - 18 August 1498) resigned.
Raymond Pérault, OSA (Peraudi) (29 April 1499 - 5 September 1505).
16th century
Francesco Lloris y de Borja (17 December 1505 - 22 July 1506).
Sigismondo Gonzaga (16 December 1506 - 3 October 1525).
Ercole Gonzaga (5 May 1527 - 3 March 1563).
Federico Gonzaga (4 March 1563 - 21 February 1565).
Ippolito d'Este (13 April 1565 - 2 December 1572).
Filippo Guastavillani (14 July 1574 - 8 November 1577).
Andreas von Austria (11 December 1577 - 12 November 1600). |
634_8 | 17th century
Alessandro d'Este (15 November 1600 - 11 January 1621). translated to the Deaconry of S. Eustachio.
Maurizio di Savoia (17 March 1621 - 19 April 1621). translated to the Deaconry of S. Eustachio.
Ippolito Aldobrandini (17 May 1621 - 16 March 1626) translated to the Deaconry of S. Angelo in Pescheria.
Marzio Ginetti (6 October 1627 - 6 February 1634). translated to the Deaconry of S. Angelo in Pescheria.
Giulio Gabrielli (10 February 1642 - 10 November 1642). translated to the Deaconry of S. Agata de' Goti.
Virginio Orsini, OSIoHieros. (10 November 1642 - 14 March 1644). translated to the Deaconry of S. Maria in Cosmedin.
Rinaldo d'Este (28 November 1644 - 12 December 1644). translated to the Deaconry of S. Niccolo in Carcere.
Giancarlo de' Medici (20 March 1645 - 6 March 1656).
Cardinal Priests of S. Francesca Romana |
634_9 | Charles-Philippe Place (1887–1893)
Léon-Benoit-Charles Thomas (1893–1894)
Joseph-Christian-Ernest Bourret (1894–1896)
Guillaume-Marie-Joseph Labouré (1898–1906)
Louis-Henri-Joseph Luçon (1907–1930)
Francesco Marchetti Selvaggiani (1930–1936)
Enrico Sibilia (1936–1939)
Adam Stefan Sapieha (1946–1951)
Joseph Wendel (1953–1960)
Luis Concha Córdoba (1961–1975)
Cardinal Protectors
Emmanuel Kiwanuka Nsubuga (1976–1991)
Angelo Sodano (1991–1994; in commendam since 1994, when he became Cardinal Bishop)
References |
634_10 | Bibliography
Roma, Touring Club Italiano, 2004.
Placido Lugano, S. Maria Nova (S. Francesca Romana) (Roma : Libreria Mantegazza, [1930?]).
Elfriede Kartusch, Das Cardinalskollegium in der Zeit von 1181 bis 1227 (Wien 1948).
P. Ronci, Basilica di Santa Maria Nova, Santa Francesca Romana al Foro Romano (Christen, 1973).
H. W. Klewitz, Reformpapsttum und Kardinalkolleg (Darmstadt 1957).
Barbara Zenker, Die Mitglieder des Kardinalkollegiums von 1130 bis 1159 (Würzburg 1964).
R. Hüls, Kardinäle, Klerus und Kirchen Roms: 1049-1130 (Tübingen 1977).
External links
Francesca Romana
Francesca
9th-century churches in Italy
Burial places of popes
Francesca Romana |
635_0 | Flight Unlimited III is a 1999 flight simulator video game developed by Looking Glass Studios and published by Electronic Arts. It allows players to pilot simulations of real-world commercial and civilian aircraft in and around Seattle, Washington. Players can fly freely or engage in "Challenge" missions, such as thwarting a theft or locating Bigfoot. The development team built on the general aviation gameplay of Flight Unlimited II, with more detailed physics and terrain, more planes, and a real-time weather system. Roughly half of Flight Unlimited IIs team returned to work on the sequel, supported by new hires. |
635_1 | Lead designer Peter James described Flight Unlimited IIIs development as a struggle, thanks to a lack of interest from Electronic Arts and from Looking Glass's management. Placed in direct competition with Microsoft Flight Simulator 2000 and Fly!, the game failed to capture sufficient market share. It became one of Looking Glass's biggest commercial flops, with roughly 20,000 units sold in the United States during 1999. This contributed to the company's closure in 2000. The game was well received by critics, who praised its terrain rendering and dynamic weather. Its simulated physics were lauded by several reviewers, but others felt that the physics were imprecise and that the game's system requirements were extremely high.
Gameplay |
635_2 | Flight Unlimited III is a three-dimensional (3D) flight simulator video game, in which the player pilots virtual reproductions of real-world planes. Players may control ten aircraft: the Lake Turbo Renegade, Stemme S10, Mooney Bravo, Fokker Dr.I, Beechjet 400A, and five planes first included in Flight Unlimited II. Plane cockpits feature simulated flight instruments such as variometers and primary flight displays, and allow for both visual and instrument navigation. The main airspace is 10,000 square miles of Seattle terrain; eight other Western American states are modeled as well, albeit in less detail. The California scenery from Flight Unlimited II may be imported to expand the airspace. The player shares the game's skies with artificially intelligent (AI) planes. Real-time, interactive air traffic control monitors the player's actions and tries to prevent mid-air collisions. Before a flight, the player may select which types of weather to encounter. Weather conditions such as cold |
635_3 | fronts and thunderstorms develop in real-time. |
635_4 | In addition to the default "Quick Flight" mode, the player may play tutorial and "Challenge" missions. The game's tutorial mode features 26 lessons, which demonstrate basic and advanced flying techniques and then allow the player to perform them. Challenge missions test the player's flying ability with objectives such as locating Bigfoot, rescuing a stranded hiker, stopping a theft, or flying through hoops. Eleven Challenges are available, but the player may create more or download them from the Internet. Flight Unlimited III includes the level editor ("FLED") used to develop the game, which allows players to use the game's assets to create airports, AI flight paths, and edited landscapes. Players may share their creations online. |
635_5 | Development |
635_6 | Following the release of Flight Unlimited II in 1997, certain members of that game's team wanted to move on to Flight Unlimited III, while others wanted to create the combat flight simulation game Flight Combat. Looking Glass Studios chose to develop the games simultaneously: the team was split into two, both supplemented with new hires. The company then surveyed customers to determine where Flight Unlimited III should take place, among other things. In May 1998, Electronic Arts was announced as the game's publisher, as part of a multi-title marketing and distribution deal that also included System Shock 2. Looking Glass's goal was to build on the foundation of Flight Unlimited II and to provide what project leader Tom Sperry called "the true joy and sensation of flight in the most realistic environment available". The company first displayed Flight Unlimited III at the MicroWINGS Conference in August 1998. At the show, the game was revealed to take place in and around Seattle—a |
635_7 | choice based on fan requests and on the varied landscape and weather of Puget Sound. Looking Glass also discussed new planes, moving objects on the ground, and a real-time, physics-based weather system. |
635_8 | Former flight instructor Peter James, who had worked on Flight Unlimited II, assumed the role of lead designer. He was largely responsible for Flight Unlimited III'''s lessons, planes, and simulated flight instruments. James believed that other flight simulators had holes with regard to realism, and he hoped to create a more accurate experience. Photographs were captured of each plane's real-world counterpart, and construction of the 3D plane models was led by artist Duncan Hsu, a former car modeler at Papyrus Design Group. The flight physics were coded by Kevin Wasserman and involve real-time calculations of force vectors, such as those acting against a plane's yaw, pitch, and roll. This system was more advanced than that of Flight Unlimited II, which was also based on force calculations. The physics code was informed by "real aircraft data" and the personal experience of pilots, and each of the planes was flown as research for the game. Because the plane cockpits of previous Flight |
635_9 | Unlimited games had been criticized by pilots, the team tried to make Flight Unlimited IIIs cockpits extremely authentic. Kemal Amarasingham recorded the planes' sound effects, which he said involved "risking his life" by standing near jet engines and underwings. |
635_10 | The game's terrain texture maps were made with satellite images rendered at four square meters per pixel, the highest resolution used in a flight simulator at that time. Artist Karen Wolff designed the terrain by combining large topographic maps into a "mosaic", which recreated the elevations and depressions of the Seattle area. The satellite imagery was layered over the resultant polygonal mesh. Real elevation data was also used for the eight lower-resolution Western American states outside of the Seattle area. Budget concerns and the storage limitations of the CD-ROM format prevented the team from rendering the entire United States, despite fan demand. The 3D objects that move across the terrain were created by Yoosun Cho, who used numerous photography books for inspiration. Flight Unlimited IIIs object editor let her set these objects to "move once along the path, back and forth or cycle". The weather system, co-designed by James, generates, moves, and disperses weather fronts |
635_11 | based on real-time calculations of atmospheric conditions such as humidity and orographic lift. |
635_12 | Management and final months |
635_13 | While visiting Looking Glass to cover Flight Unlimited IIIs development, journalist Dan Linton was impressed by the team management of Tom Sperry, producer Sandra Smith, and vice president of marketing Michael Malizola. He wrote that they employed "suggestion and encouragement" instead of "demands", and he believed that their work was in large part responsible for the game "setting a new standard in the industry". Peter James later accused the wider company's management of being lukewarm toward Flight Unlimited III during development, since their biggest sellers were action-oriented games like Thief: The Dark Project. He claimed that their lack of interest turned the optimistic team into a "grumbling group of depressed and sometimes angry [people]". Although he, Smith, and Perry petitioned the company's managers to plan future add-ons and third-party development for the game, James felt that they were ignored. James developed concepts for a sequel in his spare time, but his ideas were |
635_14 | shelved to wait for Flight Unlimited IIIs sales figures, which had to surpass those of Microsoft Flight Simulator 2000 for Flight Unlimited IV to be greenlit. James believed that this was "foolish", particularly because he felt that Electronic Arts undermarketed the game. He wrote that Flight Unlimited III's marketing manager had "great plans" but that his "hands seem[ed] tied".Flight Unlimited IIIs official site was opened in March 1999, and the game was shown alongside Flight Combat: Thunder Over Europe at the Electronic Entertainment Expo in May. Tal Blevins of IGN wrote that the game had "come a long way" since he had seen it earlier in the year, and that it was almost complete, with development of the real-time weather system in its final stages. Full Throttle noted the game's "impressive clouds" and "slick looking" HUD. Flight Unlimited III was shown again at EAA AirVenture Oshkosh in July, at which point beta testing was nearly complete and the game was "90% done", according to |
635_15 | James. He stated that the public reaction was "great", which energized the team for a short time. The game went gold that August, nine months behind schedule. James wrote that the team celebrated with a small dinner party, and that "the next few days were spent finding out how many people [were] quitting." He left after the game's completion to join Flightsim.com, a news and review website dedicated to flight simulators. The game was released on September 17, 1999. |
635_16 | ReceptionFlight Unlimited III was placed in direct competition with flight simulators such as Fly! and Microsoft Flight Simulator 2000. The game failed to capture sufficient market share and became one of Looking Glass's biggest commercial flops. It sold roughly 20,000 copies in the United States during 1999. The game later earned a "Silver" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 100,000 copies in the United Kingdom. Together with the costly development of Flight Combat, the game's low sales used up Looking Glass's earnings from Thief: The Dark Project and System Shock 2, which had helped them recover from the failures of British Open Championship Golf and Terra Nova: Strike Force Centauri. These events contributed to the company's bankruptcy and closure in May 2000. The game was, however, positively received by critics, with an aggregate review score of 88% on GameRankings. |
635_17 | Josh Nolan of Computer Gaming World wrote, "FU3 is experience-oriented: it's user-friendly, graphically glamorous, and lots of fun." While he praised its visuals and air traffic control, he considered the game to be simpler than Flight Simulator 2000 because of its less detailed lessons, interfaces, and flight physics. The magazine later nominated Flight Unlimited III as the 1999 "Simulation of the Year". Writing for Computer Games Magazine, Denny Atkin stated that the use of turbulence "really sets FU3 apart from the competition", and that the game's simulation of air traffic is "like no other sim". He praised its graphics and dynamic weather, and he found the flight physics solid in general but "overly gentle" for aerobatic maneuvers. He concluded, "It's not only an excellent simulus of general aviation flying, ... it's even a good game." PC Gamer UKs Dean Evans wrote that the game has "a poetic grandeur", as well as an "astonishing attention to detail" greater than that of its |
635_18 | predecessors. He praised its flight lessons and weather, and he considered the graphics to be "unbelievably delicious". Evans summarized the game as "the most breathtaking flying experience you can get for a PC." |
635_19 | Simon Bradley of PC Zone wrote, "FUIII has atmosphere in a way that MS Combat Flight Sim can't even dream of." He praised its graphics, flight physics, and detailed flight environment. He also complained of "unflyably slow frame rates" and warned that the game could not be played on older computers. Tony Lopez of GameSpot called the game's environmental modeling "simply breathtaking" and noted that elevations were rendered more smoothly than in Fly! or Microsoft Flight Simulator. He wrote that the game's flight physics and weather simulation were superior to those of any other flight simulator and that the "powerful, easy-to-use" FLED editing tool could popularize the game. IGN writer Marc Saltzman commented that the game features "absolutely stunning terrain at all altitudes, realistic weather and lighting effects, and highly-detailed planes". Saltzman praised the accuracy of Flight Unlimited III''s physics but remarked that the game's frame rate was "noticeably slower" than that of |
635_20 | its rivals. |
635_21 | References
External links
1999 video games
Flight simulation video games
General flight simulators
Looking Glass Studios games
Single-player video games
Video game sequels
Video games developed in the United States
Video games scored by Eric Brosius
Video games scored by Ramin Djawadi
Windows games
Windows-only games |
636_0 | Box and Cox is a one act farce by John Maddison Morton. It is based on a French one-act vaudeville, Frisette, which had been produced in Paris in 1846.
Box and Cox was first produced at the Lyceum Theatre, London, on 1 November 1847, billed as a "romance of real life." The play became popular and was revived frequently through the end of the nineteenth century, with occasional productions in the twentieth century. It spawned two sequels by other authors, and was adapted as a one-act comic opera in 1866 by the dramatist F. C. Burnand and the composer Arthur Sullivan, Cox and Box, which also became popular and continues to be performed regularly. Other musical adaptations were made, but have not remained in the repertory.
The phrase "Box and Cox" has entered the English language: the Oxford English Dictionary defines it as "applied allusively to an arrangement in which two persons take turns in sustaining a part, occupying a position, or the like." |
636_1 | Background |
636_2 | In the nineteenth century, it was common practice for plays to be adapted from French originals for the London stage, with changes often made to conform to Victorian playgoers' expectations. The main source of Morton's play was a French one-act vaudeville, Frisette, by Eugène Marin Labiche and Auguste Lefranc, which had been produced at the Théâtre du Palais-Royal, Paris in 1846. Some commentators have stated that Morton also drew on another vaudeville, La Chambre à Deux Lits (The Double Room), which itself reputedly derived from earlier French, English and Spanish comedies.{{#tag:ref|Some sources name the play as Une Chambre à Deux Lits'.|group= n}} Morton is not known to have pronounced on the matter, but F. C. Burnand, who later adapted Box and Cox as an operetta, discounted the importance of La Chambre à Deux Lits. He wrote, "Whether La Chambre was 'taken from the Spanish', who, I dare say, have got on very well without it, or not, certainly it was not the original source of Box |
636_3 | and Cox. This immortal English farce was adapted – a masterpiece of adaptation, be it said – from a comédie-vaudeville by Labiche and Lefranc entitled Frisette." Burnand added that the later sections of the plot of Box and Cox, namely the men's connubial entanglements, their efforts to evade them, and the discovery that they are brothers, were not derived from anyone, and were "thoroughly Mortonian". |
636_4 | In Frisette, an unscrupulous landlady rents the same room to a young woman (Frisette, a lace-maker) by night, and to a young man (Gaudrion, a baker) by day. In Box and Cox, both the lodgers are male.
Original productionBox and Cox was first performed at the Lyceum Theatre, London, on 1 November 1847. The cast was:
James Cox – John Pritt Harley
John Box – John Baldwin Buckstone
Mrs Bouncer – Mrs (Frances) Macnamara. |
636_5 | Reviewing the first performance, The Standard said, "The piece is neatly and smartly written, but it is not difficult to guess that it owes its salvation solely to the felicitous whimsicalities of the two actors upon whom it chiefly devolves. The grotesque gentility of Harley, the hatter, is drolly matched by the cockney vulgarity of Buckstone, the printer, and both have ample room for the exhibition of their own peculiar conceits of method – those never-failing helps to mirth. Box and Cox, in short, are a pair of pleasant varlets, and promise to be long in the good graces of the public." The theatrical newspaper The Era said, "A more 'laughable farce' has not been produced for many a day."
The audience was enthusiastic, and Box and Cox became the first success of the Lyceum under the new management of Lucia Elizabeth Vestris and Charles Matthews. Matthews assumed the role of Cox later in the run. |
636_6 | Plot |
636_7 | Mrs Bouncer, a London lodging-house keeper, is letting an apartment to a double tenantry – to Box, a printer on a daily newspaper, and to Cox, a journeyman hatter, the former occupying the room during the day, the latter during the night. They invariably meet on the stairs of the lodging-house when one comes in from work as the other is going out, but neither has any idea that Mrs Bouncer is letting his room to the other. Cox, suspicious that Mrs Bouncer has been using his flat during the day, complains to her that his coal keeps disappearing and there is "a steady increase of evaporation among my candles, wood, sugar and lucifer matches." He also complains that his room is continually full of tobacco smoke. Mrs Bouncer gives various excuses – among others, that Box, who, she says, occupies the attic, is a persistent smoker, and that his smoke must come down the chimney. Cox departs for his work at the hat shop, and on the stairs passes Box who is returning from the night shift at the |
636_8 | newspaper. |
636_9 | Box has brought home with him a rasher of bacon, which he at once prepares to cook. He lights the fire, is indignant that his matches have been used and his candles burnt low; for, being at home only during the day, he suspects Mrs Bouncer of these depredations. Leaving his bacon to cook, he retires to bed for a short nap. Cox then returns, having been given the day off by his employer. He has bought a mutton chop and, going to cook it on the gridiron, finds the fire already lit and the rasher of bacon on the gridiron. He removes it, puts his chop in its stead, and hurries into an adjoining room for a plate. The slamming of the door awakens Box, who, recollecting his bacon, leaps from the bed, and finds the chop where he had left the rasher. He angrily seizes the chop, flings it from the window, and leaves the room to fetch a plate. Cox re-enters, and, in lieu of his chop, discovers the rasher, which follows the chop out of the window. Box and Cox meet, each imagining the other to be |
636_10 | an intruder, each pulling from his pocket the last week's receipt for rent, and each clamouring loudly for redress from the landlady. Mrs Bouncer is forced to explain the mystery, and she throws herself on the kindness of Box and Cox by promising either of them a handsome second floor back room, which she hurries off to prepare. |
636_11 | Frustrated, Box asks, "Hark ye, sir – can you fight?" Cox answers, "No, sir." Box: "No? Then come on!" Agreeing, however, that they have no quarrel with each other, and that the whole mess is Mrs Bouncer's fault, Box and Cox converse civilly. It emerges that Cox is about to be married to a widow, Penelope Anne Wiggins, a prosperous proprietress of bathing machines at Margate and Ramsgate. Box is astonished, as he too had once been engaged to Mrs Wiggins, but, he reveals, he had struck on an ingenious plan to escape her clutches: he had pretended to commit suicide by drowning. Cox is equally reluctant to marry her. The two argue about which of them is obliged to do so, and eventually they call for pistols. When Mrs Bouncer goes to bring them, Cox cries, "Stop! You don't mean to say ... that you keep loaded fire-arms in the house?" "Oh, no", says Mrs Bouncer, "they're not loaded". Cox: "Then produce the murderous weapons instantly!" Meanwhile, the two agree to cast dice; the loser must |
636_12 | marry Penelope Anne. Both have loaded dice, and at each successive throw they continue to throw sixes. The dice are then changed for shillings. At every toss each man's coin lands on heads, as both contestants are using double-headed coins. |
636_13 | The impasse is broken when a letter arrives from Margate stating that Penelope Anne has drowned in a boating accident, and has left her property to her intended husband. Box and Cox now argue their claims to the bathing machines, but finally they agree to split the fortune. Now a second letter arrives, which states that Penelope Anne is quite safe and is on the road to London to claim her lover. Escape is now hopeless, and Box and Cox are in despair. A vehicle arrives, a knock resounds at the door, and Box and Cox place their backs to the door. Penelope Anne goes away again, leaving another letter revealing that she has decided to marry Mr Knox, an admirer nearer her own age. Box and Cox are delighted, and their happiness is completed by the realisation that they are brothers, who have been long separated (Box: "Have you such a thing as a strawberry mark on your left arm?" Cox: "No!" Box: "Then it is he!"). They reject the second-floor back room and determine to reside permanently in |
636_14 | the same room, and under the tenancy of the same landlady. |
636_15 | Later productions |
636_16 | The piece became a popular favourite; from late 1847 it was widely staged throughout the United Kingdom, and it was frequently performed to raise funds for causes including a new drama college and the proposed Shakespeare Memorial Theatre. In January 1849, a command performance of Box and Cox was given at Windsor Castle to Queen Victoria and her family and court. Harley and Buckstone repeated their original roles, and "the Royal party laughed heartily". The Queen and Prince Albert saw the play again in 1850, at a revival at the Haymarket Theatre, starring Buckstone, together with Hamlet and Buckstone's The Rough Diamond. Buckstone's revivals, co-starring Henry Compton as Cox, were so popular that W. S. Gilbert later wrote, "Mr Morton's dialogue can only be properly given by Messrs. Buckstone and Compton, and in the mouths of any other actors it is, to those who have seen Messrs. Buckstone and Compton in the parts (and who has not?) a bore." In 1856 a performance was given by army |
636_17 | personnel in the Crimea, with an officer of the Royal Welsh Fusiliers playing Mrs Bouncer en travesti. The New York Times called the play "the best farce of the nineteenth century".Box and Cox was revived at the Prince of Wales's Theatre, London, in 1867 with G. Honey as Box, John Hare as Cox, and Mrs Leigh Murray as Mrs Bouncer; and again at the Haymarket Theatre in 1889, with H. Nicholls as Cox, E. M. Robson as Box, and Mrs E. Phelps as Mrs Bouncer. It was first performed in America at the Arch Street Theatre, Philadelphia, with W. E. Burton and Joseph Jefferson in the title roles. In the twentieth century, it was successfully revived at the London Coliseum in 1924, the cast comprising Donald Calthrop, Hubert Harben and Dora Gregory, and in 1961 Lindsay Anderson directed the work at the Royal Court Theatre. In 1956, Walt Witcover staged an off-Broadway production of Box and Cox with Jerry Stiller as Box, Charles Nelson Reilly as Cox and Anne Meara as Mrs. Bouncer, as part of an |
636_18 | evening of 3 one-act plays. |
636_19 | Adaptations
The play became so well known that the humorous magazine Punch printed a mock examination paper on it for use in drama schools, with such questions as "What was Mrs Bouncer's ostensible employment? Would Mrs Siddons, at any time in her career, have been justified in refusing this part? If so, state when, and give your reasons." Punch (and others) also used the characters of Box and Cox to represent the two opposing British party leaders, Benjamin Disraeli and W. E. Gladstone. |
636_20 | The popularity of Box and Cox led to the production of a sequel, Box and Cox Married and Settled, a farce in one act, by Joseph Stirling Coyne, first performed at the Haymarket Theatre on 15 October 1852, with Buckstone as Box, Robert Keeley as Cox, Mr Coe as "an anonymous gent," Mrs Caulfield as Mrs Box, Mrs L. S. Buckingham as Mrs Cox, and Mrs Selby as Mrs Bouncer. The Morning Post gave this plot summary: "Box and Cox have both retired from business, both having been left enough money to live on, and they have a wife and baby apiece. Cox's better half turns out to be the former sweetheart of Box, who, in imprudently making himself known to her, is discovered by the lady's husband. There is, of course, immense indignation from Mr Cox and Mrs Box, and great fun arises out of the various demonstrations of these injured individuals. Everything, however, is arranged to the satisfaction of all parties." |
636_21 | F. C. Burnand wrote another short sequel, Penelope Anne, published in 1872. The main characters are Don José John Boxos de Caballeros y Carvalhos y Regalias, of Salamanca, generally known as "John Box"; Count Cornelius de Coxo, Land Margrave of Somewhere, with a palazzo in Venice, commonly known as "James Cox"; Mrs Penelope Anne Knox; and Major General Bouncer. Box and Cox have inherited titles from a Spanish and a Venetian relative respectively, and both now seek to marry the widowed and immensely rich Penelope Anne. Their quarrel is abruptly stopped when Penelope Anne introduces her new husband, General Bouncer (who is no relation to their former landlady). Burnand incorporated three musical numbers, writing new words to existing tunes by Bellini, Offenbach and the unknown composer of "Les Pompiers de Nanterre".Box and Cox achieved further notice when Burnand adapted it as a comic opera libretto under the title of Cox and Box, set to music by Arthur Sullivan in 1866. The piece was |
636_22 | Sullivan's first produced comic opera. It was played privately, then given a successful production by the German Reeds in 1869, followed by other revivals. It was later taken up by the D'Oyly Carte Opera Company, which played the piece repeatedly throughout Britain and overseas until 1977, and licensed it to numerous amateur companies. The opera continues to be performed regularly. A later musical adaptation, Daye and Knight, with libretto by Walter Parke and music by Louise Barone, was presented by the German Reed Entertainment at St George's Hall, London, in 1895. Both the lodgers in that version were young women. In 1885, there had been another musical treatment of the same plot, John and Jeanette, by L. Machele and J. Batchelder, but that version was based directly on Labiche and Lefranc's 1846 vaudeville Frisette, rather than on Box and Cox''. |
636_23 | Notes, references and sources
Notes
References
Sources
External links
Full text of Box and Cox
.
Details of first productions of Box and Cox
Information about Box and Cox
1847 plays |
637_0 | Gautham Vasudev Menon (born 25 February 1973) is an Indian film director, screenwriter, producer and actor who predominantly works in Tamil film industry. He has also directed Telugu and Hindi films that either simultaneously shot with or remakes of his own Tamil films. Many of his films have been critically acclaimed, most notably his romantic films Minnale (2001), Vaaranam Aayiram (2008), Vinnaithaandi Varuvaayaa (2010), and his action thrillers Kaakha Kaakha (2003), Vettaiyaadu Vilaiyaadu (2006), and Yennai Arindhaal (2015). Vaaranam Aayiram won the National Film Award for Best Feature Film in Tamil. Menon produces films through his film production company named Photon Kathaas. His production Thanga Meengal (2013) won the National Film Award for Best Feature Film in Tamil. |
637_1 | Early life and education
Menon was born to a Malayali father Prabha Krishnan Menon and a Tamil mother Uma on 25 February 1973 in Ottapalam, a town in the Palakkad district of Kerala. His father died in 2007. Although born in Kerala he grew up in Anna Nagar, Chennai. He did his schooling there at the Madras Christian College Higher Secondary School. He then earned a bachelor's degree in Mechanical Engineering from Mookambigai College of Engineering, Pudukkottai.
Film career |
637_2 | Early work, 2001
Menon's time at university inspired him to write the lead roles of Minnale, Vaaranam Aayiram, Vinnaithaandi Varuvaayaa, Neethaane En Ponvasantham and Enai Noki Paayum Thota who were students in the same course. During the period, he was inspired by films such as Dead Poets Society (1989) and Nayakan (1987) and expressed his desire to his parents to change his career path and become a filmmaker. His mother insisted that he become an ad film maker by shooting various commercials and he took an apprenticeship under filmmaker Rajiv Menon. He went on to work as an assistant director for Minsara Kanavu (1997), in which he also appeared in a cameo role. |
637_3 | Menon launched a Tamil romance film O Lala in 2000 with the project eventually changing producers and title into Minnale (2001) with Madhavan, who was at the beginning of his career, being signed on to portray the lead role. About the making of the film, Menon revealed that he found it difficult as the team was new to the industry with only the editor of the film, Suresh Urs, being an experienced technician. Menon came under further pressure when Madhavan insisted that the film's story was narrated to the actor's mentor, Mani Ratnam, to identify if the film was a positive career move. Despite initial reservations, Menon did so and Ratnam was unimpressed; however Menon has since cited that he thought that Madhavan "felt sorry" and later agreed to continue with the project. The film also featured Abbas and newcomer Reemma Sen in significant roles, whilst Menon introduced Harris Jayaraj as music composer with the film. The film was advertised as a Valentine's Day release in 2001 and told |
637_4 | the tale of a young man who falls in love with the girl engaged to his ex-college rival. Upon release it went on to become a large success commercially and won positive reviews from critics, with claims that the film had a lot of "lot of verve and vigour" and that it was "technically excellent". |
637_5 | The success of the film led producer Vashu Bhagnani to sign him on to direct the Hindi language remake of the film, Rehnaa Hai Terre Dil Mein (2001), starring Madhavan alongside Dia Mirza and Saif Ali Khan. Menon was initially apprehensive but said it eventually took "half an hour" to agree, but against his intentions, the producer opted against retaining the technical crew of the original. He changed a few elements, deleted certain scenes and added some more for the version. A critic felt that "the presentation is not absorbing" though stating that Menon "handled certain sequences with aplomb"; the film subsequently became a below-average box office performer. The failure of the film left him disappointed, with Menon claiming in hindsight that the film lacked the simplicity of the original with the producer's intervention affecting proceedings. Several years after release, the film belatedly gained popularity through screenings on television and subsequently developed a cult |
637_6 | following amongst young Hindi-speaking audiences. In 2011, the producer of the film approached him to remake Rehnaa Hai Terre Dil Mein with the producer's son Jackky Bhagnani in the lead role, but Menon was uninterested with the offer. Later on in 2001, it was reported that he was working on a film tentatively titled Iru Vizhi Unadhu, though the project did not develop into production. |
637_7 | Police duology, 2003–06 |
637_8 | Gautham Menon returned in 2003 by directing the realistic police thriller Kaakha Kaakha (2003) starring Suriya, Jyothika and Jeevan. The film portrayed the personal life of a police officer and how his life is affected by gangsters, showing a different perspective of police in comparison to other Tamil films of the time. Menon revealed that he was inspired to make the film after reading articles on how encounter specialists shoot gangsters and how their families get threatening calls in return, and initially approached Madhavan, Ajith Kumar and then Vikram for the role without success, with all three actors citing that they did not want to play a police officer. The lead actress Jyothika asked Menon to consider Suriya for the role, and he was subsequently selected after Menon saw his portrayal in Nandha. He held a rehearsal of the script with the actors, a costume trial with Jyothika and then enrolled Suriya in a commando training school before beginning production, which he described |
637_9 | as a "very planned shoot". The film consequently opened to very positive reviews from critics on the way to becoming another success for Menon, with critics labeling it as a "career high film". Furthermore, the film was described as "for action lovers who believe in logical storylines and deft treatment" with Menon being praised for his linear narrative screenplay. |
637_10 | Menon subsequently remade the film in the Telugu language as Gharshana (2004) starring Venkatesh in Suriya's role. The film also featured actress Asin and Salim Baig in prominent roles and went on to earn commercial and critical acclaim with reviewers citing that "film redeems itself due to the technical excellence and masterful craft of Gautham", drawing comparisons of Menon with noted film makers Mani Ratnam and Ram Gopal Varma. In July 2004, Menon also agreed terms to direct and produce another version of Kaakha Kaakha in Hindi with Sunny Deol in the lead role and revealed that the script was written five years ago with Deol in mind, but the film eventually failed to take off. Producer Vipul Shah approached him to direct the Hindi version of the film in 2010 as Force with John Abraham and Genelia D'Souza, and Menon initially agreed before pulling out again. Menon and the original producer, Dhanu, also floated an idea of an English-language version with a Chechnyan backdrop, though |
637_11 | talks with a potential collaboration with Ashok Amritraj collapsed. In 2018, Menon revealed that he had plans of making a sequel to Kaakha Kaakha with Suriya. |
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