Protesters outside the Apple Store on London's Regent Street in solidarity with the population of Congo, who on the one hand are being exploited by British and other western multinationals for the country's rich resources - especially industrial scale mining of diamonds, gold, timber, copper, oil, and gas and cobalt, leading to massed evictions and also the exploitation of child labour. The continuing legacy of the country's shocking history of colonial exploitation. As if that wasn't enough to blunt the prospects for Congolese people, Rwanda, with its own eye on some of those same resources, is backing and arming M23 rebels within Congo who have committed wholesale human rights abuses, including rape. The UK, increasingly dependent on the goodwill of the Rwandan government for it's shameful crackdown on asylum seekers, refuses to recognise the extent of the catastrophe in Congo or to even consider sanctions against Rwanda.

 

A Congo activist sings outside the Apple Store - www.youtube.com/watch?v=huWvYMyiQdM

 

Although this image is being posted as creative commons non-commercial share alike, the following organisations and publications are welcome to reproduce it even if it is to raise money without the need for permission or any payment. Please see the link below - However they should still attribute and publish the image on a share alike basis. For more info please email me at alisdare@gmail.com.

 

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Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

My night-time exploits with the UV light have a beneficial impact on my friendly neighbourhood spiders. Sorry moth….

Here is the remainder of the photos of my shoe exploits from the past few months.

 

I still enjoy wearing these regularly. Whereas I've had to glue some of my old shoes back together ( or partly together), these have never been repaired. I jusst let them slowly disintegrate.

 

New in 1990 or so, the outersoles hardened and crumbled away after a couple of years. The innersoles and cardboard inner midsoles soon followed. The thick foam rubber outer midsoles have been wearing away ever since. And now the leather uppers are rotting and failing.

 

These were one of the pair I wore to work regularly to work until I retired a few years ago. The holes in the soles were there, but the uppers hadn't started to tear. Few noticed. There were others at work who wore decrepit shoes. I know of two upper managers who both wore Bass penny loafers with giant holes in the leather soles. Their (black) socks would bulge out through the holes. They wore them for years, summer and winter, rain or shine.

 

Which brings up another item. I was wearing these Exofits today (as I'm writing this) in the rain. (More pictures to follow). One of the few times I ever got a comment about worn footwear, on a rainy day I had worn the Exofits to work, on the train coming home, sitting with my legs crossed fully exposing the sole holes. The guy sitting nearby says don't my wet feet bother me. I reminded him that if I wore flip flops or slides or sandals (or even sneakers with canvas uppers, my feet would be just as wet. His reply? "I guess so".

A typical scene in Malé, new buildings coming up and almost all the construction workers are foreign and there's almost no attention to safety. Exploitation of foreign workers rivals fishing as the second most profitable sector of the Maldivian economy after tourism.

 

read more: www.mvdemocracynetwork.org/348/

 

An excerpt:

"“Recently I caught one Maldivian man who was bringing in over 1800 people. I asked him, ‘what will you do with them?’ He said there were ‘many projects’. I asked him to show me the projects and he couldn’t.

 

“I asked him if he had cleared this with the Ministry of Human Resources, Youth and Sports. I rang to check and it had – it was attested by one of the ministries of this government.

 

“I signed but had questions in my mind – why were the terms and conditions so small? There should be pages and pages – for 1800 people there should be hundreds of pages, and details of the project.

 

“But I had doubts in my mind so declared my signature null and void within Bangladesh within 4-5 days. I checked the company – it took me months – and then I found out the whole thing was a scam totalling over US$300 million.

 

“Those people would have come [to Male'] had I not checked. Had I not done it, 1800 people would have sold their homes and become delinquent in the Maldives. This did not bother a Maldivian broker – hell is not good enough for the people who are doing this.”"

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Ligne 379 - Arrêt : Vélizy 2

Exploitant : RATP

Réseau RATP - Paris

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

View on black:...

Transpoteur : Autocars Borini

Structure : Siège de Combloux

 

Merci à Anthony Levrot, Joël, Alain Mugica.

 

29/03/2019 10:59

Route de Plan Mouille, Combloux

Haut-le-Pied

Exploitant : Transdev STAO PL 44

Réseau TAN - Nantes

Dernier Agora en circulation sur Nantes.

Exploitant : Transdev Nanterre

Réseau : RATP

Ligne : 426

Lieu : Pont de Sèvres (Boulogne-Billancourt, F-92)

Lien TC Infos : tc-infos.fr/id/27638

Exploitant : Keolis Aude

Réseau : Citibus

Ligne : Été 6

Lieu : Pissevache (Saint-Pierre-la-Mer, F-11)

Lien TC Infos : tc-infos.fr/id/38906

Animal rights protesters marching down Whitehall on 26 August 2023. They were near the end of a march from Marble Arch to Parliament Square. According to an activist I talked to, they were demanding the end to all types of animal exploitation and highlighting universal veganism as not only the only ethical and humane option, but as also a vital tool to prevent catastrophic climate change.

 

Here are four good reasons to go vegan in 2023

 

Animal Welfare: By not using or consuming animal products you are helping to reduce harm to animals and supporting their well-being. You should choose veganism if you believe in treating animals with kindness and respect.

 

Health Benefits: Vegan diets can lower the risk of heart disease, certain cancers, and type 2 diabetes. They typically include more fruits, vegetables, and whole grains, which are good for your health.

 

Environmental Impact: Producing plant-based foods typically has a much smaller environmental footprint than raising animals for meat. It can help combat issues of immense importance to the planet's future, particularly by reducing methane emissions and deforestation and thereby mitigating climate change.

 

Resource Conservation: A vegan diet requires fewer resources like water and land compared to a diet heavy in animal products. It's a more sustainable choice for the planet's future.

  

Exploitant : CAB Solution

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien J

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/35439

Exploiting the inverting tool, I made dynamic frames dissecting my model.

Wattie, Rob and Matt from The Exploited @Astra, Berlin

 

Follow concert photography on Facebook and/or Twitter.

youtu.be/p0kjGOOZZog

 

Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.

 

When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.

synopsis

Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.

Born 1946 Quebec,Canada

Passed on 2013

Birth Name - Barbarella Catton Nickname - Haji

Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.

He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).

Haji died on August 10, 2013 at the age of 67.

Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

By DANIEL E. SLOTNIK

Published: August 17, 2013

Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.

Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”

www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;

 

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Ligne 36 - Arrêt : Allende

Exploitant : SEMITAN

Réseau TAN - Nantes

Affectation exceptionnelle en raison de l'arrêt des nouveaux Iveco Urbanway 12 GNV à la fin de l'été 2022.

les pirogues sur le lac de sel

suffer from misuse and abuse

EXPLOIT YOURSELF I+D SPEC

Ligne 67 - Arrêt : Rigourdière

Exploitant : Transdev CAT 35 - TIV

Réseau STAR - Rennes

Title / Titre :

"La baigneuse nue." Les exploits fantastiques de Max Beaumont, l'insaisissable aventurier. No. 5 /

 

« La baigneuse nue »,Les exploits fantastiques de Max Beaumont, l'insaisissable aventurier, no 5

 

Creator(s) / Créateur(s) : Maurice Lenoir

 

Date(s) : circa / vers 1950s

 

Reference No. / Numéro de référence : OCLC 1007716604

 

bac-lac.on.worldcat.org/oclc/1007716604?lang=en

bac-lac.on.worldcat.org/oclc/1007716604?lang=fr

 

Location / Lieu : Montreal, Quebec, Canada / Montréal, Québec, Canada

 

Credit / Mention de source :

Maurice Lenoir. Éditions Bigalle. Library and Archives Canada. Rare Books. Pulp Art collection. La baigneuse nue, [195?]. Box 20, nlc010021 /

 

Maurice Lenoir. Éditions Bigalle. Bibliothèque et Archives Canada. Livres rares. Collection de romans en fascicules canadiens. La baigneuse nue, [195?]. Boîte 20, nlc010021

 

Exploited By Power.

Imitant monotone intense nerfs voile,

magnus oculos perdidit voluptatem quia ignotus,,

Streitereien Schmerzen verlockend Vibrationen Schrecken Tiefen Himmel,

syllogisms trafferthion digyffelyb heidio rhwygo nebulously,

flotoare indolenței suflete crepusculare vise diafane parfumate,

alistaa johtajat kaihi Harmonyn kellertävän vihreä mielen uneliaaksi,

imbecis concentradas arrependimentos cruelmente ensurdecedores subiu,

kruhový monstra blábolení malomyslnosti marnosti kontaminaci uprostřed mizerně,

döbbenten által lakott contemplations erőteljes dokumentumok vádolják,

substance clos caves définies oniriquement construits,

σπειροειδή διαδρομή κοσμική ανασταλεί αναλογίες τεράστια χαρτιά ανθίσει,

eigentijdse standpunten kwaad reproduceren getuige vrijheden verdwijnt,

פּאָלעמיקאַל אינטערעסן ינעקסטריקאַבאַל דיווערטיד סטייטמאַנץ כאַמערד סאָמנאָלענט,

centralization umfutho prospector likhipha izinkanuko obucindezela ubufakazi,

sealúchais casta arb éard iad gcliathán tuiscint cumarsáide,

推論の複雑なボードの一枚は、すべてだった!

Steve.D.Hammond.

Durham is a cathedral city and civil parish in the county of Durham, England. It is the county town and contains the headquarters of Durham County Council, the unitary authority which governs the district of County Durham. It had a population of 48,069 at the 2011 Census.

 

The city was built on a meander of the River Wear, which surrounds the centre on three sides and creates a narrow neck on the fourth. The surrounding land is hilly, except along the Wear's floodplain to the north and southeast.

 

Durham was founded in 995 by Anglo-Saxon monks seeking a place safe from Viking raids to house the relics of St Cuthbert. The church the monks built lasted only a century, as it was replaced by the present Durham Cathedral after the Norman Conquest; together with Durham Castle it is a UNESCO World Heritage Site. From the 1070s until 1836 the city was part of the County Palatine of Durham, a semi-independent jurisdiction ruled by the prince bishops of Durham which acted as a geopolitical buffer between the kingdoms of England and Scotland. In 1346, the Battle of Neville's Cross was fought half a mile west of the city, resulting in an English victory. In 1650, the cathedral was used to house Scottish prisoners after their defeat at the Battle of Dunbar. During the Industrial Revolution, the Durham coalfield was heavily exploited, with dozens of collieries operating around the city and in nearby villages. Although these coal pits have now closed, the annual Durham Miners' Gala continues and is a major event for the city and region. Historically, Durham was also known for the manufacture of hosiery, carpets, and mustard.

 

The city is the home of Durham University, which was founded in 1832 and therefore has a claim to be the third-oldest university in England. The university is a significant employer in the region, alongside the local council and national government at the land registry and passport office. The University Hospital of North Durham and HM Prison Durham are also located close to the city centre. The city also has significant tourism and hospitality sectors.

 

Toponymy

The name "Durham" comes from the Brythonic element dun, signifying a hill fort and related to -ton, and the Old Norse holme, which translates to island. The Lord Bishop of Durham takes a Latin variation of the city's name in his official signature, which is signed "N. Dunelm". Some attribute the city's name to the legend of the Dun Cow and the milkmaid who in legend guided the monks of Lindisfarne carrying the body of Saint Cuthbert to the site of the present city in 995 AD. Dun Cow Lane is said to be one of the first streets in Durham, being directly to the east of Durham Cathedral and taking its name from a depiction of the city's founding etched in masonry on the south side of the cathedral. The city has been known by a number of names throughout history. The original Nordic Dun Holm was changed to Duresme by the Normans and was known in Latin as Dunelm. The modern form Durham came into use later in the city's history. The north-eastern historian Robert Surtees chronicled the name changes in his History and Antiquities of the County Palatine of Durham but states that it is an "impossibility" to tell when the city's modern name came into being.

 

Durham is likely to be Gaer Weir in Armes Prydein, derived from Brittonic cajr meaning "an enclosed, defensible site" (cf. Carlisle; Welsh caer) and the river-name Wear.

 

History

Early history

Archeological evidence suggests a history of settlement in the area since roughly 2000 BC. The present city can clearly be traced back to AD 995, when a group of monks from Lindisfarne chose the strategic high peninsula as a place to settle with the body of Saint Cuthbert, that had previously lain in Chester-le-Street, founding a church there.

 

City origins, the Dun Cow story

Local legend states that the city was founded in A.D. 995 by divine intervention. The 12th-century chronicler Symeon of Durham recounts that after wandering in the north, Saint Cuthbert's bier miraculously came to a halt at the hill of Warden Law and, despite the effort of the congregation, would not move. Aldhun, Bishop of Chester-le-Street and leader of the order, decreed a holy fast of three days, accompanied by prayers to the saint. During the fast, Saint Cuthbert appeared to a certain monk named Eadmer, with instructions that the coffin should be taken to Dun Holm. After Eadmer's revelation, Aldhun found that he was able to move the bier, but did not know where Dun Holm was.

 

The legend of the Dun Cow, which is first documented in The Rites of Durham, an anonymous account about Durham Cathedral, published in 1593, builds on Symeon's account. According to this legend, by chance later that day, the monks came across a milkmaid at Mount Joy (southeast of present-day Durham). She stated that she was seeking her lost dun cow, which she had last seen at Dun Holm. The monks, realising that this was a sign from the saint, followed her. They settled at a wooded "hill-island" – a high wooded rock surrounded on three sides by the River Wear. There they erected a shelter for the relics, on the spot where Durham Cathedral would later stand. Symeon states that a modest wooden building erected there shortly thereafter was the first building in the city. Bishop Aldhun subsequently had a stone church built, which was dedicated in September 998. This no longer remains, having been supplanted by the Norman structure.

 

The legend is interpreted by a Victorian relief stone carving on the north face of the cathedral and, more recently, by the bronze sculpture 'Durham Cow' (1997, Andrew Burton), which reclines by the River Wear in view of the cathedral.

 

Medieval era

During the medieval period the city gained spiritual prominence as the final resting place of Saint Cuthbert and Saint Bede the Venerable. The shrine of Saint Cuthbert, situated behind the High Altar of Durham Cathedral, was the most important religious site in England until the martyrdom of St Thomas Becket at Canterbury in 1170.

 

Saint Cuthbert became famous for two reasons. Firstly, the miraculous healing powers he had displayed in life continued after his death, with many stories of those visiting the saint's shrine being cured of all manner of diseases. This led to him being known as the "wonder worker of England". Secondly, after the first translation of his relics in 698 AD, his body was found to be incorruptible. Apart from a brief translation back to Holy Island during the Norman Invasion the saint's relics have remained enshrined to the present day. Saint Bede's bones are also entombed in the cathedral, and these also drew medieval pilgrims to the city.

 

Durham's geographical position has always given it an important place in the defence of England against the Scots. The city played an important part in the defence of the north, and Durham Castle is the only Norman castle keep never to have suffered a breach. In 1314, the Bishopric of Durham paid the Scots a 'large sum of money' not to burn Durham. The Battle of Neville's Cross took place around half a mile west of the city on 17 October 1346 between the English and Scots and was a disastrous loss for the Scots.

 

The city suffered from plague outbreaks in 1544, 1589 and 1598.

 

Bishops of Durham

Owing to the divine providence evidenced in the city's legendary founding, the Bishop of Durham has always enjoyed the formal title "Bishop by Divine Providence" as opposed to other bishops, who are "Bishop by Divine Permission". However, as the north-east of England lay so far from Westminster, the bishops of Durham enjoyed extraordinary powers such as the ability to hold their own parliament, raise their own armies, appoint their own sheriffs and Justices, administer their own laws, levy taxes and customs duties, create fairs and markets, issue charters, salvage shipwrecks, collect revenue from mines, administer the forests and mint their own coins. So far-reaching were the bishop's powers that the steward of Bishop Antony Bek commented in 1299 AD: "There are two kings in England, namely the Lord King of England, wearing a crown in sign of his regality and the Lord Bishop of Durham wearing a mitre in place of a crown, in sign of his regality in the diocese of Durham". All this activity was administered from the castle and buildings surrounding the Palace Green. Many of the original buildings associated with these functions of the county palatine survive on the peninsula that constitutes the ancient city.

 

From 1071 to 1836 the bishops of Durham ruled the county palatine of Durham. Although the term "prince bishop" has been used as a helpful tool in the understanding the functions of the bishops of Durham in this era, it is not a title they would have recognised. The last bishop to rule the palatinate, Bishop William Van Mildert, is credited with the foundation of Durham University in 1832. Henry VIII curtailed some of the bishop's powers and, in 1538, ordered the destruction of the shrine of Saint Cuthbert.

 

A UNESCO site describes the role of the bishops in the "buffer state between England and Scotland":

 

From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.

 

Legal system

The bishops had their own court system, including most notably the Court of Chancery of the County Palatine of Durham and Sadberge. The county also had its own attorney general, whose authority to bring an indictment for criminal matters was tested by central government in the case of R v Mary Ann Cotton (1873). Certain courts and judicial posts for the county were abolished by the Supreme Court of Judicature Act 1873. Section 2 of the Durham (County Palatine) Act 1836 and section 41 of the Courts Act 1971 abolished others.

 

Civil War and Cromwell (1640 to 1660)

The city remained loyal to King Charles I in the English Civil War – from 1642 to the execution of the king in 1649. Charles I came to Durham three times during his reign of 1625–1649. Firstly, he came in 1633 to the cathedral for a majestic service in which he was entertained by the Chapter and Bishop at great expense. He returned during preparations for the First Bishops' War (1639). His final visit to the city came towards the end of the civil war; he escaped from the city as Oliver Cromwell's forces got closer. Local legend stated that he escaped down the Bailey and through Old Elvet. Another local legend has it that Cromwell stayed in a room in the present Royal County Hotel on Old Elvet during the civil war. The room is reputed to be haunted by his ghost. Durham suffered greatly during the civil war (1642–1651) and Commonwealth (1649–1660). This was not due to direct assault by Cromwell or his allies, but to the abolition of the Church of England and the closure of religious institutions pertaining to it. The city has always relied upon the Dean and Chapter and cathedral as an economic force.

 

The castle suffered considerable damage and dilapidation during the Commonwealth due to the abolition of the office of bishop (whose residence it was). Cromwell confiscated the castle and sold it to the Lord Mayor of London shortly after taking it from the bishop. A similar fate befell the cathedral, it being closed in 1650 and used to incarcerate 3,000 Scottish prisoners, who were marched south after the Battle of Dunbar. Graffiti left by them can still be seen today etched into the interior stone.

 

At the Restoration in 1660, John Cosin (a former canon) was appointed bishop (in office: 1660–1672) and set about a major restoration project. This included the commissioning of the famous elaborate woodwork in the cathedral choir, the font cover and the Black Staircase in the castle. Bishop Cosin's successor Bishop Lord Nathaniel Crewe (in office: 1674–1721) carried out other renovations both to the city and to the cathedral.

 

18th century

In the 18th century a plan to turn Durham into a seaport through the digging of a canal north to join the River Team, a tributary of the River Tyne near Gateshead, was proposed by John Smeaton. Nothing came of the plan, but the statue of Neptune in the Market Place was a constant reminder of Durham's maritime possibilities.

 

The thought of ships docking at the Sands or Millburngate remained fresh in the minds of Durham merchants. In 1758, a new proposal hoped to make the Wear navigable from Durham to Sunderland by altering the river's course, but the increasing size of ships made this impractical. Moreover, Sunderland had grown as the north east's main port and centre for shipping.

 

In 1787 Durham infirmary was founded.

 

The 18th century also saw the rise of the trade-union movement in the city.

 

19th century

The Municipal Corporations Act 1835 gave governing power of the town to an elected body. All other aspects of the Bishop's temporal powers were abolished by the Durham (County Palatine) Act 1836 and returned to the Crown.

 

The Representation of the People Act 2000 and is regarded as the second most senior bishop and fourth most senior clergyman in the Church of England. The Court of Claims of 1953 granted the traditional right of the bishop to accompany the sovereign at the coronation, reflecting his seniority.

 

The first census, conducted in 1801, states that Durham City had a population of 7,100. The Industrial Revolution mostly passed the city by. However, the city was well known for carpet making and weaving. Although most of the mediaeval weavers who thrived in the city had left by the 19th century, the city was the home of Hugh MacKay Carpets’ factory, which produced the famous brands of axminster and tufted carpets until the factory went into administration in April 2005. Other important industries were the manufacture of mustard and coal extraction.

 

The Industrial Revolution also placed the city at the heart of the coalfields, the county's main industry until the 1970s. Practically every village around the city had a coal mine and, although these have since disappeared as part of the regional decline in heavy industry, the traditions, heritage and community spirit are still evident.

 

The 19th century also saw the founding of Durham University thanks to the benevolence of Bishop William Van Mildert and the Chapter in 1832. Durham Castle became the first college (University College, Durham) and the bishop moved to Auckland Castle as his only residence in the county. Bishop Hatfield's Hall (later Hatfield College, Durham) was added in 1846 specifically for the sons of poorer families, the Principal inaugurating a system new to English university life of advance fees to cover accommodation and communal dining.

 

The first Durham Miners' Gala was attended by 5,000 miners in 1871 in Wharton Park, and remains the largest socialist trade union event in the world.

 

20th century

Early in the 20th century coal became depleted, with a particularly important seam worked out in 1927, and in the following Great Depression Durham was among those towns that suffered exceptionally severe hardship. However, the university expanded greatly. St John's College and St Cuthbert's Society were founded on the Bailey, completing the series of colleges in that area of the city. From the early 1950s to early 1970s the university expanded to the south of the city centre. Trevelyan, Van Mildert, Collingwood, and Grey colleges were established, and new buildings for St Aidan's and St Mary's colleges for women, formerly housed on the Bailey, were created. The final 20th century collegiate addition came from the merger of the independent nineteenth-century colleges of the Venerable Bede and St Hild, which joined the university in 1979 as the College of St Hild and St Bede. The 1960s and 70s also saw building on New Elvet. Dunelm House for the use of the students' union was built first, followed by Elvet Riverside, containing lecture theatres and staff offices. To the southeast of the city centre sports facilities were built at Maiden Castle, adjacent to the Iron Age fort of the same name, and the Mountjoy site was developed, starting in 1924, eventually containing the university library, administrative buildings, and facilities for the Faculty of Science.

 

Durham was not bombed during World War II, though one raid on the night of 30 May 1942 did give rise to the local legend of 'St Cuthbert's Mist'. This states that the Luftwaffe attempted to target Durham, but was thwarted when Cuthbert created a mist that covered both the castle and cathedral, sparing them from bombing. The exact events of the night are disputed by contemporary eyewitnesses. The event continues to be referenced within the city, including inspiring the artwork 'Fogscape #03238' at Durham Lumiere 2015.

 

'Durham Castle and Cathedral' was named a UNESCO World Heritage Site in 1986. Among the reasons given for the decision were 'Durham Cathedral [being] the largest and most perfect monument of "Norman" style architecture in England', and the cathedral's vaulting being an early and experimental model of the gothic style. Other important UNESCO sites near Durham include Auckland Castle, North of England Lead Mining Museum and Beamish Museum.

 

Historical

The historic city centre of Durham has changed little over 200 years. It is made up of the peninsula containing the cathedral, palace green, former administrative buildings for the palatine and Durham Castle. This was a strategic defensive decision by the city's founders and gives the cathedral a striking position. So much so that Symeon of Durham stated:

 

To see Durham is to see the English Sion and by doing so one may save oneself a trip to Jerusalem.

 

Sir Walter Scott was so inspired by the view of the cathedral from South Street that he wrote "Harold the Dauntless", a poem about Saxons and Vikings set in County Durham and published on 30 January 1817. The following lines from the poem are carved into a stone tablet on Prebends Bridge:

 

Grey towers of Durham

Yet well I love thy mixed and massive piles

Half church of God, half castle 'gainst the Scot

And long to roam those venerable aisles

With records stored of deeds long since forgot.

 

The old commercial section of the city encompasses the peninsula on three sides, following the River Wear. The peninsula was historically surrounded by the castle wall extending from the castle keep and broken by two gatehouses to the north and west of the enclosure. After extensive remodelling and "much beautification" by the Victorians the walls were removed with the exception of the gatehouse which is still standing on the Bailey.

 

The medieval city was made up of the cathedral, castle and administrative buildings on the peninsula. The outlying areas were known as the townships and owned by the bishop, the most famous of these being Gilesgate (which still contains the mediaeval St Giles Church), Claypath and Elvet.

 

The outlying commercial section of the city, especially around the North Road area, saw much change in the 1960s during a redevelopment spearheaded by Durham City Council; however, much of the original mediaeval street plan remains intact in the area close to the cathedral and market place. Most of the mediaeval buildings in the commercial area of the city have disappeared apart from the House of Correction and the Chapel of Saint Andrew, both under Elvet Bridge. Georgian buildings can still be found on the Bailey and Old Elvet most of which make up the colleges of Durham University.

exploiting the fear in this manner is playing with fire / exploiter la peur de cette manière, c'est jouer avec le feu

 

Serie... See the world

 

rolleiflex 2.8D + Ilford Delta 3200

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

The Lavaux site is a UNESCO World Heritage Site for its steep terraced vineyards. Different transport systems have been installed to facilitate the exploitation of the plots (supply of inputs and evacuation of the grape bunches). These are mainly rack monorails and, more incidentally, funiculars or cable cars.

 

Le site de Lavaux est classé au patrimoine mondial de l'UNESCO pour ses vignes en terrasses qui présentent également la particularité d'être très pentues. Pour faciliter l'exploitation des parcelles (apport des intrants et évacuation des grappes de raisins), différents systèmes de transports ont été installés. Il s'agit principalement de monorails à crémaillère et plus accessoirement de funiculaires ou de téléphériques.

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

Lieu : Chevigny (Chevigny-Saint-Sauveur, F-21)

Lien TC Infos : tc-infos.fr/vehicule/35251

Fresh from its railtour exploits de- branded Colas 47749 lets out a burst of clag as it passes through Rotherham Masborough whilst working the 0G47 0855 Doncaster Down Decoy - Chaddesden Sidings with the purpose of collecting 20132 and returning it to Barrow Hill.

 

17 7 18

HMS Exploit entering Corpach sea lock. An Archer-class patrol vessel that is part of the Coastal Forces Squadron.

A reminder that pandas were still being exploited in China as late as 1984, rather than protected. This panda performed as part of the State Circus in Shanghai, riding a rocking horse after initially pushing a pram (with what I think is a toy panda rather than a baby!) (see previous photo in this stream). I think it fair to say that the whole tour group was enthralled with the human performances but shocked at the use of pandas.

Staff recommends that FWC take the lead in addressing concerns expressed by stakeholders about harvesters exploiting mutton snapper spawning aggregations and current year-round mutton snapper recreational bag limits and commercial trip limits.

 

To accomplish this, staff recommends conducting public workshops on specific potential management changes to reduce mutton snapper harvest both during the spawning season and throughout the year. These changes would reduce the recreational bag limit during the spawning season to two fish per person and implement a new vessel limit of 12 fish. During the rest of the year, mutton snapper recreational bag limits would be reduced from 10 fish within the 10-fish snapper aggregate bag limit to five fish within the snapper aggregate. This would reduce the legal bag limit for mutton snapper, while retaining anglers ability to harvest 10 snappers in total. Commercial harvest changes would include matching the proposed recreational bag limit of two fish per person and 12 fish per vessel during the spawning season, as well as considering gear-specific commercial trip limits during the rest of the year. These gear-specific limits could be 300 pounds per trip for hook-and-line vessels and some other limit for long-line vessels in Gulf federal waters that would allow long-line vessels to retain mutton snapper caught as bycatch. Staff would also seek feedback on the timing of spawning season regulations.

 

During this process, staff would collaborate with the South Atlantic and Gulf Councils to maximize public input on this issue and to advocate for uniform regulations across jurisdictions.

 

If the Commission directs staff to proceed with workshops, staff will return with stakeholder feedback on these items and a draft rule at the April 2016 Commission meeting in south Florida.

 

French card by Edit. De Marchi Frères, Marseille.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Plaque beneath this image of Jimmy Melrose reads:-

“Charles James (Jimmy) Melrose (1913–1936)

During the glamorous mid 1930s, few rivalled the celebrity of charismatic South Australian aviator Jimmy Melrose. Image a young 19 year old boy, 6 feet tall, blue eyes, unruly blond hair with a freckled face.

 

Born in Burnside and raised here on Glenelg’s Esplanade at Glenwood Mansions (now Melrose Apartments) Jimmy captivated the world with his aviation exploits across the globe.

He established several Australian flying records and set world records, all within 3 short years.

In August 1934 Jimmy flew his DH Puss Moth, affectionately named ‘My Hildergarde’ 8,000 miles (12,875 km) solo around Australia.

This slashed the previous record by 2 days to 5 days, 10 hours, 57 minutes.

 

Tragically, on 3 July 1936, aged 22, Jimmy died on a charter flight from Melbourne to Darwin when his Heston Phoenix broke up over South Melton, Victoria in turbulent conditions.

His death sent shock waves around the world as people mourned their chivalrous young knight of the air.”

 

*Jimmy Melrose was the youngest competitor in the 1934 MacRobertson Trophy London-Melbourne air race in October 1934 and the only Australian to finish the race. He made the record solo flight in 8 days and 9 hours coming third on handicap.

 

The event was held in 1934: dreamt up by the Lord Mayor of Melbourne, Harold Smith to celebrate Victoria’s centenary. It was sponsored by the Melbourne chocolate manufacturer Sir MacPherson Robertson, to test the feasibility of scheduled air services between Europe and Australia.

 

In 1936 Melrose was killed when his Heston Phoenix monoplane VH–AJM disintegrated in mid air at Melton South, Victoria. The tragedy was reported world-wide in the media at the time.

 

*Jimmy Melrose’s memorial is located on the edge of the Stirling Centenary Oval and was handed over to the District Council of Stirling. There was an infantile paralysis epidemic at the time and an unveiling was considered unwise.

It was erected by public subscription: Melrose was once a resident of the district. Of the £101 cost, £22 was raised by children of the following schools Stirling East, Bridgewater, Aldgate, Mylor, Scotts Creek, Heathfield, Upper Sturt and Crafers. [Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 10-3-1938]

 

*Melrose Killed when Plane Crashes

MACHINE BURST INTO FRAGMENTS

Was on flight to Darwin

MR A G CAMPBELL ALSO A VICTIM

Charles James Melrose, 22, of Glenelg, Australia’s most popular airman, and Alexander George Campbell, 47 of Brighton, Victoria, who had a distinguished career as a soldier and as a mining engineer, were killed instantly when Melrose’s Heston Phoenix high-wing monoplane broke to pieces in dense clouds and crashed at South Melton, Victoria on Sunday morning.

 

They were on their way from Melbourne to Parafield on the stage of a flight to Darwin. Miss Lily Melrose, a cousin of the aviator, was about to leave Adelaide for the flying field to join the fliers when she received news of the fatality.

 

The wreckage was found over an area of two square miles, and the bodies of the two men were 400 yards apart.

 

Warm tributes were paid to the young airman by the Prime Minister (Mr Lyons), and by the Premier (Mr Butler), who recently took the air for the first time with Melrose as his pilot.

 

Melrose's place in the affection of South Australians was strikingly evidenced when the news was received. Mention of his death was made in many churches, and the Government immediately decided to arrange for a State funeral, subject to the approval of Mrs Melrose.

 

The tragedy of the disaster was increased by the fact that Mr Campbell had intended originally to go to Adelaide by train and join Mr Melrose there. Mr Melrose, however, flew his mother to Melbourne on Thursday for a holiday visit and then waited to fly Mr Campbell to Adelaide.

 

Mr Campbell had chartered Mr Melrose's machine on behalf of a syndicate of Melbourne and Adelaide business men. He intended to fly to Darwin, where he was to inspect gold mining areas at Pine Creek. He expected to be away for between 10 and 14 days.

 

The party was to comprise Miss Lily Melrose, cousin of Mr Melrose, and Mr O V Roberts, both of Adelaide, who intended to make the flight an opportunity for a holiday. Mr J Smith Roberts, a mining expert, was to be picked up at Tennant Creek.

 

Mrs Melrose went to the scene of tragedy and she wished to see her son's body at the City Morgue, but she was suffering from such prostration that it was considered inadvisable for her to do so.

The body was identified by the manager of the Oriental Hotel.

A watch which Mr Melrose was wearing had stopped at 8.34 am, indicating the time of the crash. A police wireless patrol prevented the souveniring of fragments from the main wreckage.

 

On the way to the Essendon aerodrome Mr Melrose and Mr Campbell were in high spirits, joking and discussing the projected flight to Darwin.

Mr Campbell had travelled in a taxi cab from his home in Brighton, and joined Mr Melrose at the Oriental Hotel, Collins street.

 

Light rain was sweeping over the aerodrome when they arrived, and Mr R Hart, of the Hart Aircraft Service Pty, Ltd, in whose hangar Mr Melrose had left his plane, advised Mr Melrose not to fly because of the inclement weather.

 

Mr Melrose had on Saturday postponed his flight because of the bad flying conditions, and when he saw a break in the clouds this morning he decided to make the flight, as he wished to reach Oodnadatta before night. He told Mr Hart that he expected to reach Port Augusta or Adelaide in three hours by flying at a height of 3,000 feet above the clouds.

 

Ascending toward a patch of clear sky, the machine reached a height of about 2,500 feet before it passed out of sight of the party on the aerodrome. Apparently Mr Melrose experienced difficulty in finding the break in the clouds, because the time which the machine took to travel the 15 miles to South Melton - 24 minutes - indicates that he spent some time searching for a clear sky.

 

Residents of South Melton saw the machine emerge from low-lying clouds above the railway station. Almost immediately there was a loud roar and many fragments were seen falling from the machine and drifting in the wind.

 

The engine and most of the fuselage spun at a steep angle toward the ground, while the starboard wing drifted in another direction towards the Toolern Creek, and hundreds of smaller fragments were carried by the wind to paddocks near the Ballarat road, which is about a mile and a half from the scene of the crash.

 

The two occupants were hurled out of the machine, but so many fragments were falling that none of the residents was certain of having seen them fall.

Mr Melrose's body was found on the southern end of the gorge of the Toolern Creek, about 50 yards from the engine, and the remnants of the fuselage, while Mr Campbell's body was found about 400 yards away in a paddock on the north side of the gorge. Both men had been killed instantly.

 

The two petrol tanks were found on different sides of the gorge. Tools and luggage were on the cliffs or in the flooded creek, and innumerable pieces of wood and fabric were scattered over an area of nearly two square miles to the north of the creek.

 

The desperate thoughts which must have passed through the minds of the victims in the few seconds before the crash were indicated by the condition of the safety belts. The pin had been drawn to release one safety belt, but in the other belt the pin was bent but still in the socket.

Apparently Mr Campbell had undone his belt so that, if he survived the crash, he could crawl from the machine.

Mr Melrose, who was probably struggling with the controls, apparently did not have time to withdraw the pin of his belt, consequently Mr Campbell was hurled further from the plane than Mr Melrose.

 

A close examination of the area over which the wreckage was strewn was made by the Air Accidents Investigation Committee soon after the tragedy.

The committee has no theory of the cause of the crash at present, but it is understood that it has reached several interesting conclusions.

 

From the range and position of the fragments it is considered possible that the machine disintegrated while it was in a wide spin with the engine running. If the spin was fast enough the strain might have caused the machine to collapse.

 

Because the port wing was found much farther from the engine and fuselage than the starboard wing, it is considered probable that the port wing was the first to crumple. The machine would then have become wholly out of control, and the increased strain would have quickly caused the collapse of the other wing, the tailplane, and other light parts of the machine.

 

The breaking up of the machine was described by Mr. Edward Wickham, of Melton South, who was gathering wood in the back yard of his home.

“For some time I heard the drone of an aeroplane in the clouds,' he said, 'but I could not see it. The clouds were low and a strong southerly wind was driving misty rain. Suddenly there was a roar and the plane came spinning out of the clouds. Just as it came into full view, the machine appeared to burst into fragments and the roar stopped.

“The engine and fuselage hurtled at a fairly steep angle towards the ground, but the other fragments drifted quite slowly with the wind and fell in the paddocks between the Toolern Creek and the Ballarat Road.

“With three other residents, I ran over the paddocks. We lifted the refuse expecting to find someone beneath, but no one was there. Then we searched among the rocks at the edge of the gorge and we found Mr Melrose lying shockingly injured on two flat rocks, just below the top of the cliff about 50 yards from the wreckage. Mr Campbell's body was then found on the other side of the gorge.”

 

Although Mr Campbell had flown many miles on mining business, his wife did not like his flying, and had tried to dissuade him from continuing it. He insured his life for £2,000 for the period of the flight to Darwin.

 

“I regret exceedingly to learn that yet another of Australia's great airmen has passed away,” said the Prime Minister (Mr Lyons).

“In his brief flying career, Melrose won considerable fame,” continued Mr Lyons. “Not the least of his achievements was his skilful search for Sir Charles Kingsford Smith last year. Australia loses a chivalrous young knight of the air whom it can ill afford to lose.

“The sympathy of all the Australian people will, I feel sure, go to his devoted mother.”

 

Before the evensong service at St Paul's Cathedral, Melbourne, the organist (Dr A E Floyd) extemporised in the form of a threnody.

The Precentor (Rev Oliver Hole) announced that, in view of the sudden and tragic death of a brave young airman, the anthem had been changed. The choir sang the Memorial Anthem by Sir George Elvey from the Book of Wisdom:— “The souls of the righteous are in the hands of God: in the sight of the unwise they seem to die, but they are in peace.” [Ref: Chronicle (Adelaide) Thursday 9 July 1936]

 

* MELROSE'S MEMORY HONOURED

Crowds Attend Mourning Services In Two Cathedrals

Moving tributes were paid in Melbourne and Adelaide yesterday to the memory of Mr C J Melrose, who was killed when his plane crashed at South Melton, Victoria, on Sunday. Melrose's body was cremated at the necropolis, Springvale. Melbourne, yesterday afternoon.

The ceremony was preceded by a simple service in St Paul's Cathedral, which was crowded. The Archbishop of Melbourne (Dr Head), in his address, referred to "this boy, who was so wonderfully young and so attractive in personality, that he can only be called just lovable”.

 

Adelaide mourned the loss of Melrose at a special memorial service in St Peter's Cathedral which, at the request of the aviator's mother, synchronised with the funeral service in Melbourne.

As the crowds left the Cathedral after an inspiring address by the Bishop of Adelaide (Dr Thomas), three Royal Aero Club machines soared overhead in a last tribute to the club's distinguished member.

Tributes were paid and the sittings of both Houses of Parliament were suspended, the Assembly rising until the evening. [Ref: Advertiser (Adelaide), Wednesday 8 July 1936]

 

*LONDON, July 5

The news of the death of Melrose has caused sorrow in aviation circles. Mr Pemberton Billing, the uncle of Melrose, said:— “What a rotten shame. Jimmie was a protege of mine, and always stayed with me. I do not know what his mother will do now. When Jimmie was here, his thoughts were always with his mother, in Adelaide”.

 

The Agent-General for South Australia (Mr McCann) who bade farewell to Melrose when he flew to Australia in April, says:— “I am dreadfully sorry. He was one of the most charming men it was possible to meet”. [Ref: Chronicle 9-7-1936]

 

*SIMPLE SERVICE IN MELBOURNE

St Pauls Cathedral Crowded July 7

Simplicity marked James Melrose's funeral today. There was no display, the only uniform to be seen being that worn by the officer representing the Air Board.

Long before the service in St Paul's Cathedral was timed to begin, all the available pews were occupied, and knots of silent people gathered in Flinders street.

Inside the Cathedral, the coffin of dark wood rested on a bier of flowers in the choir. Placed on it were only two wreaths, one of laurels from the dead airman's mother, and the other of purple flowers and dark green leaves, inscribed simply ''From Rosebank." [Rosebank has been the station home of Mr Melrose's family in South Australia for nearly a century.]

 

"We have come together today in very sad circumstances,” Archbishop Head said. "Your first thought will be of sadness and terribleness of such an event, and how frightful it is that so precious a life should have been cut off so suddenly.

 

After another hymn, the blessing was pronounced by Archbishop Head from the altar, and the congregation stood while Beethoven's "Funeral March on the Death of a Hero" was played.

 

Then the coffin was carried along the aisle down which Melrose had walked on the day he finished the Centenary air race to Evensong. The people in the crowded street stood bareheaded and silent. Through the suburbs, where streets were lined by children from the schools, the procession passed, and along the Prince's Highway to Springvale. Six planes circled overhead.

The service was brief. The last prayers were offered by Archbishop Head.

The chief mourners were Mr Melrose's mother and his cousins, Mr Melrose MP, and Mrs Melrose, and Miss L M Melrose, all of South Australia, and Mr Brian and Mr F Hickling, of Melbourne (second cousins).

 

Those who attended included Mr Schofield MHR (representing the Prime Minister and Commonwealth Government). Mr Hyland MLA, and Major H A F Wilkinson (representing the Premier and State Government), Mr McIntosh (South Australian Commissioner of Crown Lands and Minister of Repatriation), and Mr Young MLC, (representing the Premier and Government of South Australia), Mr J D Malcolm (NZ), Mr F Emerson (Queensland), Mr L F Bruce (Tasmania), Flight-Lieutenant C S Wiggins (Air Board), Mr R Bennett (Lord Mayor of Melbourne), Mr J W Collins (Australian Aerial Medical Services), Mr B Bremner (Australian Broadcasting Commission), and Mr A P Bevan (Elder, Smith & Co, Ltd, Adelaide).

The pallbearers were the Director-General of Civil Aviation (Captain E C Johnston). Mr T P Manifold (the Aero Clubs of Australia), Mr F Penny (Shell Company of Australia), Mr G R Lamprell (South Australian Government representative), Mr E H Chaseing (Holyman’s Airways), and Mr R Hart.

 

Mr Melrose MP, who is remaining in Melbourne with Mrs James Melrose, said tonight that she had no plans for the future.

It had been arranged, he said, that she should go to Sydney and wait there for her son to join her after his flight to Darwin, but it was now impossible to say what her movements would be or her plans for the future. In the meantime, she would remain in Melbourne.

 

At the funeral, Mrs Melrose wore a brown costume, a fur, and a green hat with a black armband. She thought that her son would have preferred that she wear the colours in which he liked her best.

 

Telegrams were received from persons in all parts of the world, including the Governor-General (Lord Gowrie) and Lady Gowrie, the Governor of South Australia (Sir Winston Dugan), the Prime Minister (Mr Lyons), and the Minister for Health (Mr Hughes). [Ref: Advertiser (Adelaide) Wednesday 8 July 1936:

 

* On his return today from Melbourne, where he represented the State at the memorial service in St Paul's Cathedral to the late Mr C J Melrose, the Commissioner of Crown Lands (Mr McIntosh) said that Melbourne's sorrow was a magnificent tribute to a wonderfully beloved young hero.

"Victoria had taken him to its heart equally with South Australia," said the Minister. "His fame in Melbourne was as renowned as in Adelaide. and his memory as dearly cherished”.

 

Mr McIntosh said that the cathedral was crowded long before the time for the commencement of the service, and thousands, unable to gain admission, congregated outside.

The route from the cathedral to the crematorium, a distance of 16 miles, was lined the whole way by thousands of citizens, who stood with heads bowed in final homage to a young hero, triumphant even in death.

The service at the crematorium, said Mr. McIntosh, was equally impressive as at the cathedral, and the wonderful fortitude and courage displayed by Mrs Melrose at both ceremonies provided an example and inspiration to all who mourned with her. There would be some solace for her in the wonderful tributes paid by the people to the memory of her son.

 

Combined with the deep sorrow for Mrs Melrose. there was a deep sympathy for Mrs A G Campbell and her young family in the death of Colonel Campbell, who was killed with Melrose. [Ref: News (Adelaide) 8-7-1936]

 

*Funeral of Mr A G Campbell

There were impressive scenes at the funeral of Mr Campbell.

Officers and men of the 8th Battalion, with whom Mr Campbell served in the Great War, and of the 39th Battalion, of which until recently he was Lieutenant-Colonel commanding, paid many touching tributes to his memory.

 

Every returned soldier present filed past the open grave and dropped his poppy on to the coffin, after which the whole gathering stood to attention as “Last Post” was sounded. [Ref: Chronicle 9-7-1936]

 

**From an article by Craig Cook, published in the Advertiser (Adelaide) 13 September 2013 –

The long lost possessions of world famous aviator Jimmy Melrose were recently discovered in Victoria. Among the items are his white leather flying helmet and documents signed by the aviator.

The possessions were given by his mother to Clive Hamer, who had dinner with Melrose the night before his last flight, and asked him to pack and store them. She never asked for their return. The artefacts were then passed on as part of the estate of a deceased relative, ending up with Wayne and Judy Perry of Victoria. Subsequently they were given to the South Australian Aviation Museum.

 

There also is a permanent exhibition of Melrose’s achievements at the Bay Discovery Centre in Glenelg. It is suitably entitled, Australia’s Forgotten Hero.

 

Such was Melrose’s fame at the time of his death the then state government of Sir Richard Butler considered a proposal to build him a memorial, to “fly over the city”, on Montefiore Hill. The idea was finally scrapped when the statue of Colonel Light, then situated in Victoria Square, was moved to the hill instead.

 

In the first clear sign the local hero’s story was already fading from history, Melrose failed to be recognised among the initial 170 “SA Greats”, that includes his uncle, Sir John Melrose, to have their name on a bronze plaque on the Jubilee 150 Walkway.

 

The Walkway, commissioned as part of the celebrations commemorating the 150th anniversary of the founding of the state, was established along North Terrace in 1986. Fellow air pioneers, Sir Ross and Keith Smith are honoured but, despite the year being the 50th anniversary of Jimmy’s death, he missed out.

  

The greater irony is that Melrose had agreed to be a major attraction at the 100th anniversary of the founding of South Australia, distributing flyers in the lead-up and flying over Adelaide on the anniversary day, December 28, 1936. He died five months before the event.

 

An only child from a prosperous family, Jimmy Melrose grew-up with his mother, Hilda, in a grand house, on the Glenelg South esplanade. His prominent pastoralist father, James, had died in 1922 when his son was aged nine.

 

Throughout his life he had a fascination with the number 13, never regarding it as unlucky. It was both the date and year of his birth and the number of his imposing home, demolished in 1969.

 

A natural athlete, he exercised daily including a morning swim from the beach just outside his home. He was a fanatical early riser, neither smoked nor drank alcohol, and a devotee of the “Oslo lunch” that consisted of a wholemeal bread sandwich filled with cheese and salad, a glass of milk and an apple or other seasonal fruit.

 

While still a student at St Peter’s School he took flying lessons with the (Royal) Aero Club of South Australia at Parafield, gaining his licence at 19. As reward, his mother bought him his own plane, a DeH Puss Moth, which he named My Hildergarde, deliberately using 13 letters, in her honour.

 

In August 1934, aged 20, he flew 12,875km solo around Australia, reducing the previous record by almost two days, to five days, 10 hours, 57 minutes.

 

On his twenty-first birthday he left Parafield in his beloved Puss Moth for England, reaching Croydon in a record eight days, nine hours.

He became a global sensation, as the youngest entrant and only solo competitor, coming third, in the 1934 Centenary Air Race from England to Australia.

 

A dedicated diarist, he recorded the scenes as he left England: “Saturday 20 October 1934, the start of the greatest air race the world had ever seen. 60,000 people came around the aerodrome at Mildenhall at dawn. Thrilling is not the word: we raced across the countryside east of London, the Thames, the Channel off Dover. I shall never forget it!”

 

Soon after returning to Australia [After his search for the missing Sir Charles Kingsford Smith], and in his first major accident, Melrose crashed his Percival Gull, used in the search for Smith, at Penrose in New South Wales. Recovering quickly from severe injuries he sailed to England and flew back in a five-seater Heston Phoenix he intended to use to start the nation’s first flying taxi service.

 

An incredible crowd of 8000 assembled in Adelaide on Anzac Day, 1936, to greet him on his return. Just six weeks later he was dead.

 

In 1968, when his mother died, Jimmy Melrose’s ashes were buried with her at the North Road Anglican cemetery at Nailsworth, north of Adelaide.

 

There are some commemorations to the life and times of Jimmy Melrose. The suburbs of Melrose Park in South Australia and New South Wales, a look-out tower at the Glenelg Surf Life-Saving Club, Jimmy Melrose Park on the Glenelg foreshore and James Melrose Road bordering Adelaide airport are all named after him.

 

Mildenhall in Suffolk, England, where the 1934 Air Race began, has Charles Melrose Close and there is a simple inscribed cairn close to the fatal crash-site at Melton South.

    

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

In March 1941 Saab was given the task to design a better fighter than the Seversky Republic P-35s and Reggiane 2000s, at that time the only fighter aircraft Sweden was able or allowed to buy and the air force’s most modern fighters. Several other foreign designs, including the German Bf 109 or even the Japanese Mitsubishi Zero had also been considered.

 

Anyway, during the ongoing war the procurement of foreign equipment had no predictable future, and so a program for an indigenous fighter aircraft was launched the same year. This resulted in two different designs, which were both initially constructed around an imported German DB 603 engine – a deal which had become possible through the allowance of German transport flights to Norway over Swedish territory, a reason why no Allied equipment was sold to Sweden.

 

The resulting designs, the L-21 and L-23, differed considerably from each other. The Saab L-21 was a futuristic twin-boom pusher. This unconventional layout was a technological risk, with ejection seat and all, but it was expected to exploit the DB603 engine to the max, with a low-drag airframe (e .g. with a totally buried radiator installation inside of the inner wings) and a well-balanced center of gravity, which was expected to improve handling and turn radius. It was the favored design of Saab’s engineers.

 

As a fall-back option, though, the L-23 was added. It was a more conservative design with the same DB 603 engine, but with the engine in the classic nose position, a tunnel radiator under the rear fuselage, low tapered wings and a conventional tail. The overall outline resembled the P-51B/C Mustang. Most interestingly, the J 23 was to have a Bofors ejection seat, too, despite its conventional layout.

 

In December 1941 both designs were approved for prototypes, so that a direct comparison of both layouts could be made. The first of three J 21 prototypes flew on 30 July 1943, while the first three J 23 fighters followed on 10 August, just two weeks later.

 

Flight tests and evaluation continued until mid-1944 and, despite less weight and size, the J 23 turned out to be fast (Max. speed 626 km/h (388 mph) with the DB 603), but considerably less maneuverable than the J 21, which in itself was also not a perfect aircraft and frequently faced overheating problems.

 

Faced with two mediocre designs and an urgent need for a modern fighter, it was eventually decided to go ahead with the J 21 for serial production, but a pre-production batch of upgraded J 23 was also ordered for field tests and further development. In the meantime, Sweden had acquired rights to produce the DB 605 in license, and the new fighter was to be adapted to this more modern and powerful engine – it was hoped that the new engine would improve the J 23’s performance, and it was also fitted to the production J 21.

 

This re-engined variant was the J 23A, of which twelve aircraft were constructed at the main plant in Trollhättan and delivered from August 1945, too late to be involved in typical interception duties at the Swedish borders.

Deliveries of the favored J 21 started in December of the same year. The latter’s field performance turned out to be unsuited for the interceptor role, and the cooling problems persisted. Relegated mainly into the bomber and CAS role (the J 21 turned out to be a passable ground attack aircraft and a stable gun platform), the limitation of the J 21’s pusher design led to a revival of the front-engine J 23.

 

The resulting J 23B became the aircraft’s actual production variant, incorporating many improvements which had been developed and tested on the prototypes and the pre-production J 23As. These included aerodynamic modifications like a different airfoil on the outer wings and a lowered horizontal stabilizer, coupled with an extended rear fuselage for better directional stability and a slimmed-down radiator fairing for less drag. These machines were delivered from late 1946 on, and a total of forty-six J 23B airframes were produced until early 1948.

 

In service, the lighter J 23Bs proved to be a better interceptor than the J 21, with a higher top speed and rate of climb, but its handling was less responsive than the pusher aircraft with the same engine and armament.

 

Overall the J 23B was regarded as inferior to the very similar J 26 (the P-51D) in almost any respect, and the J 23B was never really popular with its flight or ground crews. Consequently, the J 23Bs active fighter career was short and the machines were only operated by the F 16 fighter wing and the F 20 Air Force Academy, both based at Uppsala Airfield, primarily used for advanced weapon and air combat training.

 

A new evaluation of the J 21 and the J 23 in 1947 led to the decision to retain the J 21 series but to consider the modification of the airframe to accommodate a jet engine. While production line J 21A series aircraft were first selected for conversion, the initial piston-engine version continued in production in five series "batches" that were completed in 1948–49.

 

Further J 23B production was not resumed, instead the J 26 and J 27 were procured. Anyway, the age of the piston-engine fighter came soon to a close and the Swedish Air Force entered the jet age. Consequently, the J 23B was already phased out, together with the J 21, after 1954.

  

General characteristics:

Crew: one

Length: 9.58 m (31 ft 4 in)

Wingspan: 11.3 m (37 ft 8 in)

Height: 3.96 (13 ft 0 in)

Wing area: 20.00 m² (215.28 ft²)

Empty weight: 2,535 kg (5,583 lb)

Loaded weight: 3,445 kg (7,588 lb)

Max. take-off weight: 3,663 kg (8,068 lb)

 

Powerplant:

1× Daimler-Benz liquid-cooled, supercharged, 60° inverted V12 DB 605B engine,

rated at 1,085 kW (1,455 hp / 1,475 PS) and license-built by SFA.

 

Performance:

Maximum speed: 680 km/h (367 knots, 422 mph)

Cruise speed: 495 km/h (265 knots, 308 mph)

Range: 750 km (466 mi)

Service ceiling: 11,200 m (36,685 ft)

Rate of climb: 17 m/s (3,340 ft/min)

Armament:

1× engine-mounted 20 mm Hispano-Suiza HS.404 or Bofors cannon,

firing through the propeller hub

4× 13 mm Bofors-built Colt machine guns in the outer wings nose

Underwing hardpoints for various bombs, drop tanks and unguided rockets

  

The kit and its assembly:

The “Swedish Season” continues! The Saab 23 is another “phantom of the past”, a real world design that never left the drawing board. The J 23 actually started as an alternative to the J 21, but was discarded in late 1941 in favor of the more promising, yet bigger and heavier, pusher design. But that would not stop modelers from trying to build one, even though I have never seen a model of this aircraft? Having recently tried to build a Saab 27 fighter caught me in the right mood for another whiffy Swedish design, so I took a chance on the J 23, too.

 

At first glance you can mistake the J 23 for a P-51B with an engine from a late Bf 109, some sources describe it as “a Swedish Messerschmitt”. But that’s only superficial, much like the later Griffon-powered J 27 project which can be described as a “Super Spitfire”, but this does not do justice to the aircraft’s construction.

Both were independent developments, even though the P-51 (some early specimen were forced to land in Sweden and closely examined) certainly had a massive impact on both designs.

 

Anyway, the information basis surrounding the J 23 is worse than the J 27’s, and I only had rather vague profile drawings/sketches at hand for reference. A basis model was also hard to find: the rear section from a P-51B (in this case an Intech kit from Poland) was settled, since the Mustang’s cockpit shape, dorsal section and fin come really close to the J 23. But you cannot simply mate a P-51 with a Bf 109 nose, it would result in a rather wacky Mustang-thing because the proportions are not right.

 

Finding a good solution was not easy, and I was lucky to find a Hasegawa Ki-61 in the stash – it has a German engine (an earlier DB 601, though) and an overall layout similar to the P-51B. But the Ki-61 is considerably larger than a Bf 109, more in the P-51’s size class. Despite many detail modifications I decided to mate these unlikely aircraft for the J 23s basis – engraved panel lines on both kits made the combination less obvious, too.

 

The InTech P-51B gave its tail and the cockpit section (excluding the radiator tunnel and the wing roots), cut away from the rest of the Mustang fuselage with a Z-shaped cut. With a matching cut on the Ki-61’s fuselage, the engine and the whole wing/fuselage intersection were used. Styrene strips held the fuselage sections in place, on the outside the seams were later blended with nitrous compound putty. One benefit of this solution is that the OOB P-51 canopy could be used (even though the rear end fit necessitated some body work), and the resulting cockpit position was just as far forward as on the J 23, right above the wings. As a consequence the rear fuselage behind the cockpit appears to be rather long, but that is AFAIK correct, the J 23 had these slightly odd proportions!

 

For the J 23’s DB 605 engine a different, bigger spinner had to be mounted – scratched from a massive PZL 23 spinner and single blades (from the Hasegawa Ki-61), together with a metal axis and a styrene tube adapter inside of the nose. Some putty work was necessary to fair over the Ki-61 guns on the cowling, the typical DB 601 front bulge and blend the bigger, new spinner to the rest of the fuselage, but the result looks O.K.

 

The Ki-61’s original wings and landing gear could, thanks to the original fuselage section from the Hasegawa kit, be carried over and easily mounted, even though the wing tips were clipped for a square, Mustang-esque shape (the J 23’s look in all illustrations I’ve seen like upscaled Bf 109E wings).

 

The InTech P-51’s horizontal stabilizers were used, but for a J 23 they had to be placed in a different position: further back (so that wedges for the vertical rudder had to be cut out) and considerably lower, necessitating some (more) body work to hide the original attachment points. The new position adds to the impression of an extended fuselage section behind the cockpit, even though the P-51 donor fuselage section is only a little longer than the Ki-61’s. All tail surface outlines were slightly modified, too.

 

The J 23’s typical, shallow radiator tunnel had to be scratched, the semi-buried construction sits far behind the wings’ training edge. In an initial step, the removed Ki-61 radiator’s gap as well as the P-51 tail wheel well were faired over with styrene sheet and new intake/outlet ramps integrated into the lower rear fuselage. The tunnel itself is the narrow, aerodynamic fairing of a Boulton Paul Defiant’s machine guns behind the turret (raised when not in use), left over from a Pavla kit, opened at both ends.

As a consequence of the new and long radiator tunnel, the P-51 tail wheel well was moved about 5mm further back and the fuselage profile under the tail fin re-shaped.

 

One of the final steps was the cockpit interior, because I was not sure concerning the relative position of the P-51’s canopy (cut into three pieces for open display) and dashboard and the Ki-61’s cockpit floor panel and seat. But both turned out to match relatively well, and I added a tank and radio dummy behind the seat in order to prevent a clear view into the rear fuselage.

 

The landing gear was taken OOB from the Ki-61 – it looks similar to the real J 23 arrangement, so I stuck with it. The tail wheel comes from the InTech P-51, just the covers were scratched for the re-located well.

 

All gun barrels on spinner and wings are hollow steel needles, no ordnance was hung under the wings, even though the Ki-61 hardpoints were retained. After all, it’s a fighter aircraft.

  

Painting and markings:

Once more a classic, if not conservative, livery for a fictional aircraft – and in this case I chose the simple olivgrön/ljust blågrå camouflage of the late Fourties, coupled with contemporary color-coded letters identifying the individual aircraft and its squadron within the Flygflöttilj group.

 

The uniform upper surfaces were painted with RAF Dark Green (Humbrol 163). This tone has an olive drab touch and comes IMHO pretty close to the original Swedish color, the frequently recommended FS 34079 is IMHO too blue-ish. For the underside I used Humbrol 87 (Steel Gray), which is a blue-greenish gray. The authentic tone would be FS 36270, but on a model it appears much too dark, so that the lighter Steel Gray is a handy and individual alternative.

 

A light black ink was applied in order to emphasize the panel lines, some more depth was added through dry-painted panels with lighter shades of the basic colors (in this case, Humbrol 155 and 128).

 

The cockpit interior was painted in dark gray (Humbrol 32), while the landing gear and the wells became Aluminum (Humbrol 56).

 

As an aircraft of the air staff flight, this J 23 received a white spinner and a white code letter on the tail. These and other markings came from various sources and spare decal sheets. Some extra color was added with red warning markings on the wings above the flaps, plus some visual markings - all made with generic decal stripes. The cock nose art is a personal addition - taken from a Spanish Bf 109D, but AFAIK such personal markings were not uncommon on Swedish Air Force aircraft in the post WWII era.

 

An eye-catcher and some variety on the otherwise simple green/gray livery are white high-viz markings on the wing tips and a wide fuselage band. Such additional markings were frequently used in the post WWII-era during exercises, training or public displays. Styles varied considerably, though, between “color blocks” and wide single bands which I used (seen on a J 21) and even dense, thin zebra stripes on wings and fuselage. In this case, the white markings were painted onto wings and fuselage (Humbrol 34).

 

Since most panel lines on the fuselage were lost I painted some new ones with a soft pencil. Finally, after some gun soot and exhaust stains made with grinded graphite as well as some dry-brushed silver on the wings’ leading edges and around the cockpit were added, the kit received a coating with matt acrylic varnish.

  

Another scratch build of an obscure Swedish aircraft that never reached the hardware stage – and pretty successful, IMHO. This sleek J 23 model looks just as harmless and innocent, but involved massive construction work in almost every area as the kitbashed J 27 before. It’s actually the first model rendition of the J 23 I have seen so far – and another funny fact is that this “Swedish Messerschmitt” was built without any Bf 109 part at all!

pixel portrait [the exploration (exploitation) of a pixel] -

 

any use of this image must credit kevin dean and direct a link to: www.betaart.com

Processed with VSCOcam with a6 preset

Tumor angiogenesis (the exploitation of healthy cells to form new blood vessels) is a vital area of cancer research.

 

The two-panel image above shows one such promising lead from recent lab studies with endothelial cells, specialized cells that line the inside of all blood vessels. In tumors, endothelial cells are induced to issue non-stop SOS signals that falsely alert the body to dispatch needed materials to rescue these cells. The endothelial cells then use the help to replicate and sprout new blood vessels.

 

The left panel demonstrates the basics of this growth process under normal conditions. Endothelial cells (red and blue) were cultured under special conditions that help them grow in the lab. When given the right cues, those cells sprout spiky extensions to form new vessels.

 

But in the right panel, the cells can’t sprout. The reason is because the cells are bathed in a molecule called miR-30c, which isn’t visible in the photo. These specialized microRNA molecules—and humans make a few thousand different versions of them—control protein production by binding to and disabling longer RNA templates, called messenger RNA.

 

Read more: directorsblog.nih.gov/2019/09/05/using-microrna-to-starve...

 

Credit: Dudley Lab, University of Virginia School of Medicine, Charlottesville

 

NIH support from: National Cancer Institute; National Heart, Lung, and Blood Institute

Ligne C6 - Arrêt : Procé

Exploitant : SEMITAN

Réseau TAN - Nantes

Italian postcard by Bromofoto, Milano, no. 1088. Photo: Universal-International.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.

(Swedish: Muminpappans bravader) Cover illustration of "The Exploits of Moominpappa", the fourth book in the series of Tove Jansson's Moomins books, a novel with illustrations, first published in 1950.

en.wikipedia.org/wiki/The_Exploits_of_Moominpappa

From an exhibition at the Moomin Museum. The books were written and illustrated by Tove Jansson (1914-2001), a Swedish-speaking Finnish author, novelist, painter, illustrator and comic strip author.

en.wikipedia.org/wiki/Tove_Jansson

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/37467