title: Feodor Iwanowitsch Kalmyk

abstract: Feodor Iwanowitsch Kalmyk, also known as Kalmyk, was a Kalmyk painter and engraver. He called himself Feodor Ivannoff, and that is how he is listed in the Karlsruhe address books. He also signed his will under that name.

text:
# Feodor Iwanowitsch Kalmyk

**Feodor Iwanowitsch Kalmyk** (1763 or 1765 – January 27, 1832), also known as **Kalmyk** (Russian Фёдор Иванович Калмык), was a Kalmyk painter and engraver. He called himself *Feodor Ivannoff*, and that is how he is listed in the Karlsruhe address books. He also signed his will under that name.

## Life and work

Kalmyk was probably born on the Kalmyk Khanate. When the Kalmyks returned to the old settlement area on the Altai, he was captured by the Cossacks in 1770 and brought as a serf to St. Petersburg at the Tsar's court of Catherine the Great. There he was baptized and given his name. In 1773, Catherine gave the page boy to the Landgravine Countess Palatine Caroline of Zweibrücken, who was visiting St. Petersburg. Thence, Feodor traveled with her to Darmstadt.

After the Landgravine's untimely death in March 1774, her daughter Friederike Amalie (1754–1832) took care of him. Feodor came to Karlsruhe on the occasion of her marriage to the Hereditary Prince of Baden Charles Louis (1755-1818), the eldest son of Margrave Charles Frederick of Baden (1728-1811). He received his education in Karlsruhe, and at the Philanthropinum Marschlins.

Feodor Ivannoff's artistic talent was soon recognized at the Karlsruhe court and he was trained by court painters Joseph Melling and Philipp Jakob Becker. The focus of his training was on drawing and copperplate engraving. Supported by recommendations from his teachers, Feodor Ivannoff was then able to go on a study trip to Italy. He used the nine years from 1791, which he spent mostly in Rome, to study classical antiquity and the great painters and sculptors of the Italian Renaissance, particularly Lorenzo Ghiberti, Michelangelo and Raphael.

Feodor Ivannoff created drawings and copperplate engravings from many ancient works. He was renowned for his precision and detailed reproduction. In 1800 he traveled with five other artists, including the Italian painter Giovanni Battista Lusieri (1755–1821) and the Italian architectural draftsman Sebastiano Ittar (1768–1847), to Athens to work on behalf of Lord Elgin (1766–1841) to document the Acropolis and other ancient temples in pictures and to take plaster casts of figures and relief panels. Lord Elgin then went a step further and between 1801 and 1803 had large parts of the sculptural jewelry, the frieze and the metopes of the Parthenon, the so-called Elgin Marbles, shipped to London, removing about half of the surviving sculptures of the Parthenon, as well as sculptures from the Propylaea and Erechtheum, which earned him a lot of criticism during his lifetime.

In 1803 Feodor Ivannoff also traveled to London, where he was supposed to etch around 100 drawings made in Athens. This did not happen, however, since Lord Elgin was held for several years in France as Napoleon's prisoner of war on his way home. Feodor Ivannoff left London in 1805 and returned to Karlsruhe via Paris in 1806, where he was appointed court painter by Elector Karl Friedrich. As such, he was instrumental in the decoration of the Protestant Church of Karlsruhe: he created a cycle of images from the life of Jesus, which was completed after his death by Franz Joseph Zoll.

Feodor Iwanowitsch Kalmyk died in Karlsruhe in 1832, at the age of about 65.

He was mainly a draftsman and portrait artist. He painted less often in oil. Influenced by the Zeitgeists and thanks to his long stay in Rome, he developed a preference for motifs from Greek and Roman antiquity as well as for religious themes from the Renaissance. Among other things, he created an eleven-part series of engravings from Lorenzo Ghiberti's bronze door to paradise at the Baptistery of Saint John in Florence. His *Descent from the Cross* (*Kreuzabnahme*) based on an ivory relief attributed to Michelangelo is also considered a successful example of his artistic work.

An illustrated book by Ivanoff with 12 copper engravings of the Florentine Gates of Paradise, published by the sculptor Heinrich Keller in Rome in 1798, was discussed in an episode of Lieb & Teuer with Janin Ullmann. The episode was filmed in Reinbek Castle, and aired on February 5, 2017 on NDR.

## Works (selection)

* *Paradise door according to Lorenzo Ghiberti*
* *Descent from the Cross after Michelangelo*
* *Paris, hit among women by Hector*
* *David plays in front of Saul*
* *The angel comforts Hagar*
* *A series of stitches with Ganymede motifs based on ancient models*
* *Hippolytos sarcophagus based on the relief on the Hippolytos Phaedra sarcophagus, Agrigento, Sicily*
* *Numerous drawings of the Parthenon's metopes*
* *Numerous portrait drawings*
* *Paintings on the balustrades of the Evangelical City Church in Karlsruhe (scenes from the life of Christ) (destroyed in World War II)*

## Literature

* Margrit Elizabeth Velte, 'Leben und Werk des Badischen Hofmalers Feodor Iwanowitsch Kalmück (1763-1832), Unpublished Ph.D thesis, University of Karlsruhe, 1973 (copy in P&D library, gift of the author)
* Johann Georg Meusel: *Teutsches Künstlerlexikon*, 2nd edition, Volume 1, Lemgo 1808, pp. 227–230 (digitized version).
* Alfred Woltmann: *Feodor Iwanowitsch*, in Badische Biographien, Part one, Heidelberg 1875 online
* Joseph August Beringer: *Fedor Iwanowitsch*. In: Thieme-Becker. Founded by Ulrich Thieme and Felix Becker. Erman-Fiorenzo. EA Seemann, Leipzig 1915, p. 337–338 (Textarchiv – Internet Archive).
* Margrit-Elisabeth Velte: *Leben und Werk des Badischen Hofmalers Fedor Iwanowitsch Kalmück (1763–1832)*, Dissertation Karlsruhe 1973.
* Johannes Werner: *Der Kalmück. Das Leben des badischen Hofmalers Feodor Iwanowitsch.* Verlag Regionalkultur, Ubstadt-Weiher/Heidelberg/Neustadt a.d.W./Basel 2016, ISBN 978-3-89735-943-7.
* Petra Reategui: *Hofmaler. Das gestohlene Leben des Feodor Ivannoff genannt Kalmück*. Triglyph Verlag, Bad Saulgau 2017, ISBN 978-3-944258-07-2.

## InfoBox

| Feodor Iwanowitsch Kalmyk | |
| --- | --- |
| Фёдор Иванович Калмык | |
| Feodor Iwanowitsch Kalmyk, self-portrait (1815) | |
| Born | 1763 or 1765
Kalmyk Khanate |
| Died | January 27, 1832(1832-01-27) (aged 68–69)
Karlsruhe, Grand Duchy of Baden |
| Nationality | Mongolian
German |
| Education | Joseph Melling
Philipp Jakob Becker |
| Known for | Painting |


title: I'm Here (film)

abstract: I'm Here is a 2010 American short film, written and directed by Spike Jonze. The film is a science fiction love story about two robots living in Los Angeles where humans and robots co-exist. The plot is based on the 1964 book The Giving Tree, and the main character is named after its author Shel Silverstein. The film's robots were created by Alterian, Inc., a Los Angeles–based effects company notable for their costume design for Daft Punk. The film was funded by and is a promotion for Absolut Vodka, featuring the tagline "A Love Story in an Absolut World" on the promotional poster. Music from the band Sleigh Bells is prominently featured. The film made its debut at the 2010 Sundance Film Festival.

text:
# I'm Here (film)

***I'm Here*** is a 2010 American short film, written and directed by Spike Jonze. The film is a science fiction love story about two robots living in Los Angeles where humans and robots co-exist. The plot is based on the 1964 book *The Giving Tree*, and the main character is named after its author Shel Silverstein. The film's robots were created by Alterian, Inc., a Los Angeles–based effects company notable for their costume design for Daft Punk.

The film was funded by and is a promotion for Absolut Vodka, featuring the tagline "A Love Story in an Absolut World" on the promotional poster. Music from the band Sleigh Bells is prominently featured. The film made its debut at the 2010 Sundance Film Festival.

## Plot

Sheldon (Andrew Garfield) is a gray robot with a head shaped like an old PC tower. Every day, he rides the bus to the public library then rides home again at the end of the day to recharge himself in his apartment. He appears unhappy and forlorn until one day, while waiting for the bus, he sees Francesca (Sienna Guillory), a sleekly-designed woman robot, driving a car (despite an apparent ban on robots driving). He sees her again the next day, driving with several other robots and one shirtless human. Though she passes by him at first, she turns her car around and offers Sheldon a ride home, which he accepts.

Francesca stops at a mall and she, and Sheldon, walk off together while she sticks pieces of paper on an "Exit" sign and a palm tree. The papers show a drawing of long hair and eyebrows with the words "I'm here". Francesca falls off a ledge and injures her knee. Sheldon repairs her knee with his built-in toolkit, and they listen to "There Are Many of Us" by ASKA & The Lost Trees on her car radio.

Sheldon and Francesca grow closer. One night, while they are lying together in Sheldon's apartment, Francesca tells Sheldon about her dreams, something Sheldon thought was impossible for robots to have. The two later go to a rock concert, where Francesca gets lost in the crowd and loses her left arm. Sheldon takes her to safety then goes back to retrieve her arm. Finding it smashed on the floor, he replaces it with his own arm, transplanting it onto Francesca's body.

Later, Sheldon finds Francesca lying in the hallway outside his apartment, her right leg missing. He removes his own leg to replace it; and though Francesca initially protests, he convinces her to take it by telling her he had a dream about her needing a leg and choosing his over all the legs that were offered to her.

Some time after, Francesca fails to pick up Sheldon at the library (as she normally does), leaving him to take the bus. When he gets home, he receives a phone call summoning him to the hospital. He arrives to find Francesca's body broken and lifeless on an operating table, and he saves her life by having the rest of his body surgically transferred to her, with only his head remaining. Francesca is taken out in front of the hospital in a wheelchair, cradling Sheldon's head in her lap. The two smile and look out towards the setting sun as a taxi pulls up to pick them up.

## Cast

## InfoBox

| I'm Here | |
| --- | --- |
| Promotional poster | |
| Directed by | Spike Jonze |
| Written by | Spike Jonze |
| Produced by | Vincent Landay |
| Starring | Andrew Garfield
Sienna Guillory |
| Cinematography | Adam Kimmel |
| Edited by | Stephen Berger
Eric Zumbrunnen |
| Music by | Sam Spiegel |
| Release date | * January 21, 2010 (2010-01-21) (Sundance) |
| Running time | 31 minutes |
| Country | United States |
| Language | English |


title: Pittocaulon

abstract:
Pittocaulon is a genus of Mexican shrubs and small trees in the tribe Senecioneae within the family Asteraceae. Pittocaulon is native to the dry parts of central and southern Mexico. In addition to the strange appearance of these plants, Pittocaulon is of interest due to the remarkable range of habitats in which the species occur, from dry highland scrub well above 3000 meters, to tropical dry forest in hot country as low as 300 meters and on rocks, often in very steep situations. Pittocaulon species are conspicuous when they flower at the end of the dry season are popularly called "palo loco" or "crazy tree", because they flower at the very end of the dry season when most other plants are suffering the effects of drought.
  - Species Species accepted by the Plants of the World Online as of May 2023:
  - Pittocaulon bombycophole (Bullock) H.Rob. & Brettell - Guerrero, México State
  - Pittocaulon filare (McVaugh) H.Rob. & Brettell - Colima
  - Pittocaulon hintonii H.Rob. & Brettell - Michoacán
  - Pittocaulon praecox (Cav.) H.Rob. & Brettell - Mexico
  - Pittocaulon velatum (Greenm.) H.Rob. & Brettell - Guerrero, Nayarit, Oaxaca, Zacatecas

text:
# Pittocaulon

***Pittocaulon*** is a genus of Mexican shrubs and small trees in the tribe Senecioneae within the family Asteraceae.

*Pittocaulon* is native to the dry parts of central and southern Mexico. In addition to the strange appearance of these plants, *Pittocaulon* is of interest due to the remarkable range of habitats in which the species occur, from dry highland scrub well above 3000 meters, to tropical dry forest in hot country as low as 300 meters and on rocks, often in very steep situations. *Pittocaulon* species are conspicuous when they flower at the end of the dry season are popularly called **"palo loco"** or **"crazy tree",** because they flower at the very end of the dry season when most other plants are suffering the effects of drought.

Species

Species accepted by the Plants of the World Online as of May 2023:

Media related to Pittocaulon at Wikimedia Commons

## InfoBox

| *Pittocaulon* | |
| --- | --- |
|  | |
| *Pittocaulon praecox* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Asterales |
| Family: | Asteraceae |
| Subfamily: | Asteroideae |
| Tribe: | Senecioneae |
| Genus: | *Pittocaulon*<br>H.Rob. & Brettell |
|


title: Sweat It Out (record label)

abstract: Sweat It Out is an Australian Dance Music record label founded by Adrian Thomas in 2008. In February 2021, the label announced the launch of its publishing arm, bringing on a handful of songwriters as its first signees.

text:
# Sweat It Out (record label)

**Sweat It Out** is an Australian Dance Music record label founded by Adrian Thomas (aka Ajax) in 2008.

In February 2021, the label announced the launch of its publishing arm, bringing on a handful of songwriters as its first signees.

## Artists

## InfoBox

| Sweat It Out | |
| --- | --- |
| Founded | 2008 |
| Founder | Adrian Thomas |
| Status | Active |
| Distributor(s) | Warner Music Australia |
| Genre | Dance Music |
| Country of origin | Australia |
| Location | Sydney |
| Official website | sweatitoutmusic.com |


title: Cultural references to Pierrot

abstract: Cultural references to Pierrot have been made since the inception of the character in the 17th century. His character in contemporary popular culture — in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall — is that of the sad clown, often pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line. This page lists the extensive use of Pierrot's stock character chronologically arranged according to country and artistic medium. The vast geographical range from Europe to Asia and beyond shows how widespread interest in Pierrot is, as does the variation in the artistic styles, from traditional ballet to rap-songs and music videos.

text:
# Cultural references to Pierrot

**Cultural references to Pierrot** have been made since the inception of the character in the 17th century. His character in contemporary popular culture — in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall — is that of the sad clown, often pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists converted him into a Whistlerian subject for canvases devoted to form and color and line.

This page lists the extensive use of Pierrot's stock character (whiteface with a tear, white shirt, cap, etc.) chronologically arranged according to country and artistic medium (e.g. music, film, literature). The vast geographical range from Europe to Asia and beyond shows how widespread interest in Pierrot is, as does the variation in the artistic styles, from traditional ballet to rap-songs and music videos.

## Seventeenth century

### France

#### Playwrights

## Eighteenth century

### France

#### Performing artists

#### Plays

* *Trophonius's Cave* (1722) and *The Golden Ass* (1725)

#### Songs

#### Visual arts

### England

#### Performers

* Carlo Delpini as Pierrot So conceived, Pierrot was easily and naturally displaced by the native English Clown when the latter found a suitably brilliant interpreter. It did so in 1800, when "Joey" Grimaldi made his celebrated debut in the role.
* Tiberio Fiorilli as Scaramouche in London.
* John Rich, *The Jealous Doctor; or, The Intriguing Dame*, pantomime

### Denmark

#### Performers

### Germany

#### Plays

### Spain

#### Paintings

* Goya's *Itinerant Actors* (1793)

## Nineteenth century

### Deburau at the Théâtre des Funambules

#### Performers

#### Writers

#### Visual arts

### Pantomime after Baptiste: Charles Deburau, Paul Legrand, and their successors

#### Writers

* *Marquis Pierrot* (1847)
* *Pantomime of the Attorney* (1865)
* Gustave Flaubert, *Pierrot in the Seraglio* (1855)

### Pantomime and late nineteenth-century art

#### France

Popular and literary pantomime * A female version, Pierrette, appears on the scene

Songs * Xavier Privas wrote the songs \["Pierrette Is Dead", "Pierrette's Christmas"\]

Performing artists Visual arts, fiction, poetry, music, and film

#### Belgium

Painters

#### Austria and Germany

#### Italy

#### Spain

#### North America

#### Central and South America

* Rubén Darío, 1898 prose-poem *The Eternal Adventure of Pierrot and Columbine*.

#### Russia

Dance

## Early twentieth century (1901–1950): notable works

### Non-operatic works for stage and screen

#### Plays, playlets, pantomimes, and revues

#### Ballet, cabaret, and Pierrot troupes

* *German***Schlemmer, Oskar, and Paul Hindemith**: *Triadic Ballet* (1922).
* *Russian***Fokine, Michel**: *The Immortal Pierrot* (1925; ballet, premiered in New York City); **Legat, Nikolai and Sergei**: *The Fairy Doll Pas de trois* (1903; ballet; added to production of Josef Bayer's ballet *Die Puppenfee* in St. Petersburg; music by Riccardo Drigo; revived in 1912 as *Les Coquetteries de Columbine*, with Anna Pavlova).
    + **Vertinsky, Alexander**: Cabaret singer (1889–1957)—became known as the "Russian Pierrot" after debuting around 1916 with "Pierrot's doleful ditties"—songs that chronicled tragic incidents in the life of Pierrot. Dressed in black, his face powdered white, he performed world-wide, settling for nine years in Paris in 1923 to play the Montmartre cabarets. One of his admirers, **Konstantin Sokolsky**, assumed his Pierrot persona when he debuted as a singer in 1928.
* See also ***Pierrot lunaire*** below.

#### Films

### Visual arts

#### Works on canvas, paper, and board

* *American***Bloch, Albert** (worked mainly in Germany as member of Der Blaue Reiter): Many works, including *Harlequinade* (1911), *Pierrot* (1911); *Piping Pierrot* (1911), *Harlequin and Pierrot* (1913), *Three Pierrots and Harlequin* (1914); **Bradley, Will**: Various posters and illustrations (see, e.g., "Banning" under **Poetry** below); **Heintzelman, Arthur William**: *Pierrot* (n.d.); **Hopper, Edward**: *Soir Bleu* (1914); **Kuhn, Walt**: *Portrait of the Artist as a Clown* (1932), *Study for Young Clown* (1932), *Clown in Blue* (1933), *Clown* (1945); **Parrish, Maxfield**: *Pierrot's Serenade* (1908), *The Lantern-Bearers* (1908), *Her Window* (1922); **Sloan, John**: *Old Clown Making Up* (1910); **Yasuo Kuniyoshi** (born in Japan): *The Clown* (1948).
* *Austrian***Eggeler, Stefan**: Many works, including "Pierrot's Song of Love and Death" (#1 of *Musical Miniatures* \[1921\]), 6 lithographs in 1922 \[German\] ed. of Arthur Schnitzler's *Veil of Pierrette* (see above, under **Plays, playlets, pantomimes, and revues**), *The Disappointed Lover* (1922), *On the Way Home* (1922); **Geiger, Richard** (worked mainly in Hungary): Many works, including *Columbine and Pierrot* (1920), *Duet* (c. 1925), *Pierrot and Columbine* (1937); **Kirchner, Raphael**: *The Loves of Pierrot* (c. 1920); **Kubin, Alfred**: *Death of Pierrot* (1922); **Schiele, Egon**: *Pierrot (Self-Portrait)* (1914).
* *Belgian***Ensor, James**: *Pierrot and Skeletons* (1905), *Pierrot and Skeletons* (1907), *Intrigued Masks* (1930); **Henrion, Armand**: Series of self-portraits as Pierrot (1920s).
* *Brazilian***Di Cavalcanti**: *Pierrot* (1924).
* *British***Armstrong, John**: *Veronica as a Clown* (1950); **Knight, Laura**: *Clown* (n.d.); **Sickert, Walter**: *Pierrot and Woman Embracing* (1903–1904), *Brighton Pierrots* (1915; two versions).
* *Canadian***Manigault, Edward Middleton** (worked mainly in U.S.A.): *The Clown* (1912), *Eyes of Morning (Nymph and Pierrot)* (1913).
* *Cuban***Beltrán Masses, Federico** (worked in Spain): *Azure Hour* (1917), *Sick Pierrot* (1929).
* *Czech***Kubišta, Bohumil**: *Pierrot* (1911).
* *Danish***Nielsen, Kay** (worked in England 1911–16): *Pierrot* (c. 1911).
* *French***Alleaume, Ludovic**: *Poor Pierrot* (1915); **Derain, André**: *Pierrot* (1923–1924), *Harlequin and Pierrot* (c. 1924); **Gabain, Ethel**: Many works, including *Pierrot* (1916), *Pierrot's Love-letter* (1917), *Unfaithful Pierrot* (1919); **La Fresnaye, Roger de**: *Study for "Pierrot"* (1921); **La Touche, Gaston de**: *Pierrot's Greeting* (n.d.); **Laurens, Henri**: *Pierrot* (c. 1922); **Matisse, Henri**: *The Burial of Pierrot* (1943); **Mossa, Gustav-Adolf**: *Pierrot and the Chimera* (1906), *Pierrot Takes His Leave* (1906), *Pierrot and His Doll* (1907); **Picabia, Francis**: *Pierrot* (early 1930s), *Hanged Pierrot* (c. 1941); **Renoir, Pierre-Auguste**: *White Pierrot* (1901/1902); **Rouault, Georges**: Many works, including *White Pierrot* (1911), *Pierrot* (1920), *Pierrot* (1937–1938), *Pierrot (or Pierrette)* (1939), *Aristocratic Pierrot* (1942), *The Wise Pierrot* (1943), *Blue Pierrots with Bouquet* (c. 1946).
* *German***Beckmann, Max**: *Pierrot and Mask* (1920), *Before the Masked Ball* (1922), *Carnival* (1943); **Campendonk, Heinrich**: *Pierrot with Mask* (1916), *Pierrot (with Serpent)* (1923), *Pierrot with Sunflower* (1925); **Dix, Otto**: *Masks in Ruins* (1946); **Erler, Fritz**: *Black Pierrot* (1908); **Faure, Amandus**: *Standing Artist and Pierrot* (1909); **Heckel, Erich**: *Dead Pierrot* (1914); **Hofer, Karl**: *Circus Folk* (c. 1921), *Masquerade* a.k.a. *Three Masks* (1922); **Leman, Ulrich**: *The Juggler* (1913); **Macke, August**: Many works, including *Ballets Russes* (1912), *Clown (Pierrot)* (1913), *Face of Pierrot* (1913), *Pierrot and Woman* (1913); **Mammen, Jeanne**: *The Death of Pierrot* (n.d.); **Nolde, Emil**: *Pierrot and White Lilies* (c. 1911), *Women and Pierrot* (1917); **Rauth, Leo**: Many works, including *Pierrot and Columbine* (1911), *A Welcome Guest* (1912), *Confession of Love* (1912), *In the Spotlight* (1914); **Schlemmer, Oskar**: *Pierrot and Two Figures* (1923); **Werner, Theodor**: *Pierrot lunaire* (1942).
* *Italian***Modigliani, Amedeo** (worked mainly in France): *Pierrot* (1915); **Severini, Gino**: Many works, including *The Two Pierrots* (1922), *Pierrot* (1923), *Pierrot the Musician* (1924), *The Music Lesson* (1928–1929), *The Carnival* (1955).
* *Mexican***Cantú, Federico**: Many works, including *The Death of Pierrot* (1930–1934), *Prelude to the Triumph of Death* (1934), *The Triumph of Death* (1939); **Clemente Orozco, José**: *The Clowns of War Arguing in Hell* (1940s); **Montenegro, Roberto**: *Skull Pierrot* (1945); **Zárraga, Ángel**: *Woman and Puppet* (1909).
* *Russian***Chagall, Marc** (worked mainly in France): *Pierrot with Umbrella* (1926); **Serebriakova, Zinaida**: *Self-Portrait as Pierrot* (1911); **Somov, Konstantin**: *Lady and Pierrot* (1910), *Curtain Design for Moscow Free Theater* (1913), *Italian Comedy* (1914; two versions); **Suhaev, Vasilij, and Alexandre Yakovlev**: *Harlequin and Pierrot (Self-Portraits of and by Suhaev and A. Yakovlev)* (1914); **Tchelitchew, Pavel** (worked mainly in France and U.S.A.): *Pierrot* (1930).
* *Spanish***Briones Carmona, Fernando**: *Melancholy Pierrot* (1945); **Dalí, Salvador**: *Pierrot's Love* (c. 1905), *Pierrot with Guitar* (1924), *Pierrot Playing the Guitar* (1925); **García Lorca, Federico**: *Pierrot lunar* (1928); **Gris, Juan** (worked mainly in France): Many works, including *Pierrot* (1919), *Pierrot* (1921), *Pierrot Playing Guitar* (1923), *Pierrot with Book* (1924); **Picasso, Pablo** (worked mainly in France): Many works, including *Pierrot* (1918), *Pierrot and Harlequin* (1920), *Three Musicians* (1921; two versions), *Portrait of Adolescent as Pierrot* (1922), *Paul as Pierrot* (1925); **Valle, Evaristo**: *Pierrot* (1909).
* *Swiss***Klee, Paul** (worked mainly in Germany): Many works, including *Head of a Young Pierrot* (1912), *Captive Pierrot* (1923), *Pierrot Lunaire* (1924), *Pierrot Penitent* (1939); **Menta, Edouard John**: *Pierrot's Dream* (1908).
* *Ukrainian***Andriienko-Nechytailo, Mykhailo** (worked mainly in France): *Pierrot with Heart* (1921).

#### Sculptures and constructions

* *American (U.S.A.)***Cornell, Joseph**: *A Dressing Room for Gilles* (1939).
* *French***Vermare, André-César**: *Pierrot* (n.d.; terracotta).
* *German***Hub, Emil**: *Pierrot* (c. 1920; bronze).
* *Lithuanian***Lipchitz, Jacques** (worked mainly in France and U.S.A.): *Pierrot* (1909), *Detachable Figure (Pierrot)* (1915), *Pierrot with Clarinet* (1919), *Seated Pierrot* (1922), *Pierrot* (1925), *Pierrot with Clarinet* (1926), *Pierrot Escapes* (1927).
* *Ukrainian***Archipenko, Alexander** (worked mainly in France and U.S.A.): *Carrousel Pierrot* (1913), *Pierrot* (1942); **Ekster, Aleksandra** (worked mainly in France): *Pierrot* (1926).

### Literature

#### Poetry

#### Fiction

### Music

#### Songs and song-cycles

* *American (U.S.A.)***Goetzl, Anselm**: "Pierrot's Serenade" (1915; voice and piano; text by Frederick H. Martens); **Hoiby, Lee**: "Pierrot" (1950; #2 of *Night Songs* for voice and piano; text by Adelaide Crapsey \[see above under **Poetry**\]); **Johnston, Jesse**: "Pierrot: Trio for Women's Voices" (1911; vocal trio and piano); **Kern, Jerome**: "Poor Pierrot" (1931; voice and orchestra; lyrics by Otto Harbach). For settings of poems by **Langston Hughes** and **Sara Teasdale**, see also these notes.
* *British***Coward, Sir Noël**: "Parisian Pierrot" (1922; voice and orchestra); **Scott, Cyril**: "Pierrot amoureux" (1912; voice and piano), "Pierrot and the Moon Maiden" (1912; voice and piano; text by Ernest Dowson from *Pierrot of the Minute* \[see above under **England**\]); **Shaw, Martin**: "At Columbine's Grave" (1922; voice and piano; lyrics by Bliss Carman \[see above under **Poetry**\]).
* *French***Lannoy, Robert**: "Pierrot the Street-Waif" (1938; choir with mixed voices and piano; text by Paul Verlaine); **Poulenc, Francis**: "Pierrot" (1933; voice and piano; text by Théodore de Banville); **Privas, Xavier**: Many works, in both *Chansons vécues* (1903; "Unfaithful Pierrot", "Pierrot Sings", etc.; voice and piano; texts by composer) and *Chanson sentimentale* (1906; "Pierrot's All Hallows", "Pierrot's Heart", etc.; voice and piano; texts by composer); **Rhynal, Camille de**: "The Poor Pierrot" (1906; voice and piano; text by R. Roberts).
* *German***Künneke, Eduard**: *\[Five\] Songs of Pierrot* (1911; voice and piano; texts by Arthur Kahane).
* *Italian***Bixio, Cesare Andrea**: "So Cries Pierrot" (1925; voice and piano; text by composer); **Bussotti, Sylvano**: "Pierrot" (1949; voice and harp).
* *Japanese***Osamu Shimizu**: *Moonlight and Pierrot Suite* (1948/49; male chorus; text by Horiguchi Daigaku).
* See also ***Pierrot lunaire*** below.

#### Instrumental works (solo and ensemble)

* *American (U.S.A.)***Abelle, Victor**: "Pierrot and Pierrette" (1906; piano); **Neidlinger, William Harold**: *Piano Sketches* (1905; #5: "Pierrot"; #7: "Columbine"); **Oehmler, Leo**: "Pierrot and Pierrette – Petite Gavotte" (1905; violin and piano).
* *Belgian***Strens, Jules**: "Mon ami Pierrot" (1926; piano).
* *British***Scott, Cyril**: "Two Pierrot Pieces" (1904; piano), "Pierrette" (1912; piano).
* *Brazilian***Nazareth, Ernesto**: "Pierrot" (1914; piano: Brazilian tango).
* *Czech***Martinů, Bohuslav**: "Pierrot's Serenade", from *Marionettes*, III (c. 1913, pub. 1923; piano).
* *French***Audan, Marguerite**: "Pierrot and Pierrette" (1901; piano); **Debussy, Claude**: *Sonata for Cello and Piano* (1915; Debussy had considered calling it "Pierrot angry at the moon"); **Popy, Francis**: *Pierrot Sleeps* (n.d.; violin and piano); **Salzedo, Carlos** (worked mainly in U.S.A.): "Pierrot is Sad", from *Sketches for Harpist Beginners,* Series II (1942; harp); **Satie, Erik**: "Pierrot's Dinner" (1909; piano).
* *German***Bohm, Carl**: *Carnival* (1907; #6: "Pierrot and Columbine"; piano); **Kaun, Hugo**: *Pierrot and Columbine: Four Episodes* (1907; piano).
* *Hungarian***Vecsey, Franz von**: "Pierrot's Grief" (1933; violin and piano).
* *Italian***Drigo, Riccardo** (worked mainly in Russia): "Pierrot's Song: Chanson-Serenade for Piano" (1922); Pierrot and Columbine" (1929; violin and piano). These pieces are re-workings of the famous "Serenade" from his score for the ballet *Les Millions d'Arlequin* (see **Russia** above).
* *Swiss***Bachmann, Alberto**: *Children's Scenes* (1906; #2: "Little Pierrot"; violin and piano).

#### Works for orchestra

#### Operas, operettas, and *zarzuelas*

## Late twentieth/early twenty-first centuries (1951– ): notable works

In the latter half of the twentieth century, Pierrot continued to appear in the art of the Modernists—or at least of the long-lived among them: Chagall, Ernst, Goleminov, Hopper, Miró, Picasso—as well as in the work of their younger followers, such as Gerard Dillon, Indrek Hirv, and Roger Redgate. And when film arrived at a pinnacle of auteurism in the 1950s and '60s, aligning it with the earlier Modernist aesthetic, some of its most celebrated directors—Bergman, Fellini, Godard—turned naturally to Pierrot.

But Pierrot's most prominent place in the late twentieth century, as well as in the early twenty-first, has been in popular, not High Modernist, art. As the entries below tend to testify, Pierrot is most visible (as in the eighteenth century) in unapologetically popular genres—in circus acts and street-mime sketches, TV programs and Japanese anime, comic books and graphic novels, children's books and young adult fiction (especially fantasy and, in particular, vampire fiction), Hollywood films, and pop and rock music. He generally assumes one of three avatars: the sweet and innocent child (as in the children's books), the poignantly lovelorn and ineffectual being (as, notably, in the Jerry Cornelius novels of Michael Moorcock), or the somewhat sinister and depraved outsider (as in David Bowie's various experiments, or Rachel Caine's vampire novels, or the S&M lyrics of the English rock group Placebo).

The format of the lists that follow is the same as that of the previous section, except for the Western pop-music singers and groups. These are listed alphabetically by first name, not last (e.g., "Stevie Wonder", not "Wonder, Stevie").

### Non-operatic works for stage and screen

#### Plays, pantomimes, variety shows, circus, and dance

#### Films and television

### Visual arts

* *American (U.S.A.)***Dellosso, Gabriela Gonzalez**: Many works, most notably *Garrik* (n.d.); **Hopper, Edward**: *Two Comedians* (1966); **Longo, Robert**: *Pressure* (1982/83); **Nauman, Bruce**: *No No New Museum* (1987; videotape); **Serrano, Andres**: *A History of Sex (Head)* (1996).
* *Argentinian***Ortolan, Marco**: *Venetian Clown* (n.d.); **Soldi, Raúl**: *Pierrot* (1969), *Three Pierrots* (n.d.).
* *Austrian***Absolon, Kurt**: Cycle of Pierrot works (1951).
* *British***Hockney, David**: *Troop of Actors and Acrobats* (1980; one of stage designs for Satie's *Parade* \[see under **Ballet, cabaret, and Pierrot troupes** above\]), paintings on Munich museum walls for group exhibition on Pierrot (1995); **Self, Colin**: *Pierrot Blowing Dandelion Clock* (1997).
* *Chilean***Bravo, Claudio**: *The Ladies and the Pierrot* (1963).
* *Colombian***Botero, Fernando**: *Pierrot* (2007), *Pierrot lunaire* (2007), *Blue Pierrot* (2007), *White Pierrot* (2008).
* *German***Alt, Otmar**: *Pierrot* (n.d.).; **Ernst, Max** (worked mainly in France): *Mon ami Pierrot* (1974); **Lüpertz, Markus**: *Pierrot lunaire: Chair* (1984).
* *Italian***Barnabè, Duilio** (worked mainly in France): *Pierrot* (1960).
* *Irish***Dillon, Gerard**: Many works, including *Bird and Bird Canvas* (c. 1958), *And the Time Passes* (1962), *The Brothers* (1967), *Beginnings* (1968), *Encounter* (c. 1968), *Red Nude with Loving Pierrot* (c. 1970); **Robinson, Markey**: Many works.
* *Russian***Chagall, Marc** (worked mainly in France): *Circus Scene* (late 1960s/early 1970s), *Pierrot lunaire* (1969).
* *Spanish***Miró, Joan** (worked mainly in France and U.S.A.): *Pierrot le fou* (1964); **Picasso, Pablo** (worked mainly in France): Many works, including *Pierrot with Newspaper and Bird* (1969), various versions of *Pierrot and Harlequin* (1970, 1971), and metal cut-outs: *Head of Pierrot* (c. 1961), *Pierrot* (1961); **Roig, Bernardí**: *Pierrot le fou* (2009; polyester and neon lighting); **Ruiz-Pipó, Manolo**: Many works, including *Orlando (Young Pierrot)* (1978), *Pierrot Lunaire* (n.d.), *Lunar Poem* (n.d.).
* Commercial art. A variety of Pierrot-themed items, including figurines, jewelry, posters, and bedclothes, are sold commercially.

### Literature

#### Poetry

* *American (U.S.A.)***Hecht, Anthony**: "Clair de lune" (before 1977); **Koestenbaum, Wayne**: *Pierrot Lunaire* (2006; ten original poems with titles from the Giraud/Schoenberg cycle in Koestenbaum's *Best-Selling Jewish Porn Films* \[2006\]); **Nyhart, Nina**: "Captive Pierrot" (1988; after the Paul Klee painting); **Peachum, Jack**: "Our Pierrot in Autumn" (2008).
* *British***Moorcock, Michael**: "Pierrot on the Moon" (1987); **Smart, Harry**: "The Pierrot" (1991).
* *Estonian***Hirv, Indrek**: *The Star Beggar* (1993).
* *French***Butor, Michel and Michel Launay**: *Pierrot Lunaire* (1982; retranslation into French of Hartleben's 21 poems used by Schoenberg \[see ***Pierrot lunaire*** below\], followed by original poems by Butor and Launay).
* *Italian***Brancaccio, Carmine**: *The Pierrot Quatrains* (2007).
* *New Zealander***Sharp, Iain**: *The Pierrot Variations* (1985).

#### Fiction

* *American (U.S.A.)***Caine, Rachel**: *Feast of Fools (Morganville Vampires, Book 4)* (2008; vampire Myrnin dresses as Pierrot); **Dennison, George**: "A Tale of Pierrot" (1987); **dePaola, Tomie**: *Sing, Pierrot, Sing: A Picture Book in Mime* (1983; children's book, illustrated by the author); **Hoban, Russell** (has lived in England since 1969): *Crocodile and Pierrot: A See-the-Story Book* (1975; children's book, illustrated by Sylvie Selig).
* *Austrian***Frischmuth, Barbara**: *From the Life of Pierrot* (1982).
* *Belgian***Norac, Carl**: *Pierrot d'amour* (2002; children's book, illustrated by Jean-Luc Englebert).
* *Brazilian***Antunes, Ana Claudia**: *The Pierrot's Love* (2009).
* *British***Gaiman, Neil** (has lived in U.S.A. since 1992): "Harlequin Valentine" (1999), *Harlequin Valentine* (2001; graphic novel, illustrated by John Bolton); **Greenland, Colin**: "A Passion for Lord Pierrot" (1990); **Moorcock, Michael**: *The English Assassin* and *The Condition of Muzak* (1972, 1977; hero Jerry Cornelius morphs into role of Pierrot), "Feu Pierrot" (1978); **Stevenson, Helen**: *Pierrot Lunaire* (1995).
* *Canadian***Major, Henriette**: *The Vampire and the Pierrot* (2000; children's book); **Laurent McAllister**: "Le Pierrot diffracté" ("The Diffracted Pierrot" \[1992\]).
* *French***Boutet, Gérard**: *Pierrot and the Secret of the Flint Stones* (1999; children's book, illustrated by Jean-Claude Pertuzé); **Dodé, Antoine**: *Pierrot Lunaire* (2011; vol. 1 of projected graphic-novel trilogy, images by the author); **Tournier, Michel**: "Pierrot, or The Secrets of the Night" (1978).
* *Japanese***Kōtaro Isaka**: *A Pierrot* a.k.a. *Gravity Clown* (2003; a film based on the novel was released in 2009).
* *Polish***Lobel, Anita** (naturalized U.S. citizen 1956): *Pierrot's ABC Garden* (1992; children's book, illustrated by author).
* *Russian***Baranov, Dimitri**: *Black Pierrot* (1991).
* *South Korean***Jung Young-moon**: *Moon-sick Pierrot* (2013).
* *Spanish***Francés, Victoria**: *Misty Circus 1: Sasha, the Little Pierrot* (2009; children's book, illustrated by author; a sequel, *Misty Circus 2: the Night of the Witches*, appeared in 2010).

#### Comic books

### Music

#### Western classical and jazz

Vocal Instrumental * *American (U.S.A.)***Brown, Earle**: *Tracking Pierrot* (1992; chamber ensemble); **DeNizio, John**: a number of LPs and EPs of experimental/drone music released under the moniker "Pierrot Lunaire" (2011– ); **Lewis, John**: "Two Lyric Pieces: Pierrot/Columbine", from album The John Lewis Piano (1957; piano and guitar); **Rorem, Ned**: *Bright Music: Pierrot* (1987; flute, two violins, cello, and piano); **Wharton, Geoffry** (works mainly in Germany): *Five Pierrot Tangos* (n.d.; violin/viola, flute, piano/synthesizer, cello, clarinet, and voice).
* *Argentinian***Franzetti, Carlos**: *Pierrot and Columbine* (2012; small ensemble and string orchestra).
* *Austrian***Herf, Franz Richter**: "Pierrot" (1955; piano).
* *British***Beamish, Sally**: *Commedia* (1990; mixed quintet; theater piece without actors, in which Pierrot is portrayed by violin); **Biberian, Gilbert**: *Variations and Fugue on "Au Clair de la Lune"* (1967; wind quartet), *Pierrot: A Ballet* (1978; guitar duo); **Hackett, Steve**: "Pierrot", from Momentum (1988; guitar); **Kinsey, Tony**: "Pierrot" (1955; Quartet Le Sage); **Musgrave, Thea**: *Pierrot* (1985; for clarinet \[Columbine\], violin \[Pierrot\], and piano \[Harlequin\]; inspired dance by Jennifer Muller \[see above under **Plays, pantomimes, variety shows, circus, and dance**\]); **Redgate, Roger**: *Pierrot on the Stage of Desire* (1998; for Pierrot ensemble).
* *Bulgarian***Goleminov, Marin**: "Pierrot", from *Five Impressions* (1959; piano).
* *Canadian***Longtin, Michel**: *The Death of Pierrot* (1972; tape-recorder).
* *Dutch***Boer, Eduard de (a.k.a. Alexander Comitas)**: *Pierrot: Scherzo for String Orchestra* (1992).
* *Finnish***Tuomela, Tapio**: *Pierrot: Quintet No. 2 for Flute, Clarinet, Violin, Cello, and Piano* (2004).
* *French***Duhamel, Antoine**: *Pierrot le fou: Four Pieces for Orchestra* (1965/66); **Françaix, Jean**: *Pierrot, or The Secrets of the Night* (1980; ballet, libretto by Michel Tournier; see above under **Fiction**); **Lancen, Serge**: *Mascarade: For Brass Quintet and Wind Orchestra* (1986; #3: "Pierrot"); **Naulais, Jérôme**: *The Moods of Pierrot* (n.d.; flute and piano).
* *German***Kirchner, Volker David**: *Pierrot's Gallows Songs* (2001; clarinet); **Kühmstedt, Paul**: *Dance-Visions: Burlesque Suite* (1978; #3: "Pierrot and Pierrette").
* *Hungarian***Papp, Lajos**: *Pierrot Dreams: Four Pieces for Accordion* (1993).
* *Italian***Guarnieri, Adriano**: *Pierrot Suite* (1980; three chamber ensembles), *Pierrot Pierrot!* (1980; flutes, celesta, percussion); **Paradiso, Michele**: *Pierrot: Ballet for Piano (in Four Hands) and Orchestra* (2008); **Pirola, Carlo**: *Story of Pierrot* (n.d.; brass band); **Stuppner, Hubert**: *Pierrot and Pierrette* (1984; ballet, libretto by Arthur Schnitzler \[see *The Veil of Pierrette* under **Plays, playlets, pantomimes, and revues**\]); **Vidale, Piero**: *Pierrot's Dream: Four Fantasy Impressions* (1957; orchestra).
* *Russian***Koshkin, Nikita**: "Pierrot and Harlequin", from *Masquerades*, II (1988; guitar); **Voronov, Grigori**: *Pierrot and Harlequin* (n.d. \[recorded 2006\]; saxophone and piano).
* *Swiss***Gaudibert, Éric**: *Pierrot, to the table! or The Poet's Supper* (2003; percussion, accordion, saxophone, horn, piano).
* *Uruguayan***Pasquet, Luis** (emigrated to Finland 1974): *Triangle of Love* (n.d.; #1: "Pierrot"; piano and brass band).

Opera

#### Rock/pop

##### Group names and costumes

* *American***Bob Dylan** performed often in whiteface in his Rolling Thunder Revue (1975), partly in homage to the Barrault/Deburau Pierrot of Children of Paradise; the face of **Frank Sinatra** is made up as Pierrot's (disfigured by a cherry nose *à la* Emmett Kelly) on the cover of his album *Frank Sinatra Sings for Only the Lonely* (1958); **Lady Gaga** appears as Pierrot on the cover of her single "Applause" from her album *Artpop* (2013); **Michael Jackson** appears as Pierrot on the cover of the *Michael Jackson Mega Box* (2009), a DVD collection of interviews with the singer; "*Puddles, the Sad Clown with the Golden Voice*", a persona of "Big" **Mike Geier**, pays tribute to Pierrot on his concert tours and YouTube videos, most notably with Scott Bradlee's **Postmodern Jukebox**.
* *British***David Bowie** dressed as Pierrot for the single and video of "Ashes to Ashes" (1980) and for the cover of his album *Scary Monsters (and Super Creeps)* (1980; referring to his ever-changing performing personae, Bowie told an interviewer in 1976, "I'm Pierrot. I'm Everyman. What I'm doing is theatre ... the white face, the baggy pants – they're Pierrot, the eternal clown putting over the great sadness ..."); **Leo Sayer** dressed as Pierrot on tour following the release of his first album, *Silverbird* (1973); **Robots in Disguise**: *The Tears* (2008), a video by Graeme Pearce, features black-suited Pierrots involved in love triangle.
* *Finnish***Poets of the Fall** front-man Marko Saaresto uses stage and video personae based on Pierrot, notably in the videos for singles "Carnival of Rust" (2006), "Can You Hear Me" (2011), "Cradled in Love" (2012) and "Drama for Life" (2016). His personae go by different names, including "Zoltar", "The Poet of the Fall" and "Jeremiah Peacekeeper".
* *Hungarian***Pierrot's Dream** was a rock band performing from 1986 to 1996; its singer-founder Tamás Z. Marosi often appeared in a clown half-mask.
* *Italian***Pierrot Lunaire** was a progressive rock/folk band.
* *Japanese***Közi** often wore a Pierrot costume while a member of the visual rock band Malice Mizer (1992–2001); **Pierrot** was a rock band active from 1994 to 2006.
* *Russian***Cabaret Pierrot le Fou** is a cabaret-noir group formed by Sergey Vasilyev in 2009; **The Moon Pierrot** was a conceptual rock band active from 1985 to 1992; it released its English-language studio album *The Moon Pierrot L.P.* in 1991 (a second album, *Whispers & Shadows*, recorded in 1992, was not released until 2013).
* *Scottish***Zal Cleminson**, lead guitarist of The Sensational Alex Harvey Band, appeared in whiteface throughout his years with the group.

##### Songs, albums, and rock musicals

### Works cited


title: Cultural references to Macbeth

abstract: The tragic play Macbeth by William Shakespeare has appeared and been reinterpreted in many forms of art and culture since it was written in the early 17th century.

text:
# Cultural references to Macbeth

The tragic play ***Macbeth*** by William Shakespeare has appeared and been reinterpreted in many forms of art and culture since it was written in the early 17th century.

## In film

The earliest known film *Macbeth* was 1905's American short *Death Scene From Macbeth*, and short versions were produced in Italy in 1909 and France in 1910. Two notable early versions are lost: Ludwig Landmann produced a 47-minute version in Germany in 1913, and D. W. Griffith produced a 1916 version in America featuring the noted stage actor Herbert Beerbohm Tree. Tree is said to have had great difficulties adapting to the new medium, and especially in confining himself to the small number of lines in the (silent) screenplay, until an ingenious cameraman allowed him to play his entire part to an empty camera, after which a real camera shot the film.

### Twentieth century

In 1947, David Bradley produced an independent film of *Macbeth*, intended for distribution to schools, most notable for the designer of its eighty-three costumes: the soon-to-be-famous Charlton Heston.

Orson Welles' 1948 *Macbeth*, in the director's words a "violently sketched charcoal drawing of a great play," was filmed in only 23 days and on a budget of just $700,000. These filming conditions allowed only a single abstract set, and eclectic costumes. Dialogue was pre-recorded, enabling the actors to perform very long individual takes, including one of over ten minutes surrounding the death of Duncan. Welles himself played the central character, who dominates the film, measured both by his time on screen, and by physical presence: high-angle and low-angle shots and deep-focus close-ups are used to distort his size in comparison to other characters. Welles retained from his own 1936 stage production the image of a Voodoo doll controlling the fate of the central character: and at the end it is the doll we see beheaded. The film's allegorical aspect is heightened by Welles' introduction of a non-Shakespearean character, the Holy Father (played by Alan Napier), in opposition to the witches, speaking lines taken from Shakespeare's Ross, Angus and the Old Man. Contemporary reviews were largely negative, particularly criticising Welles' unsympathetic portrayal of the central character. *Newsweek* commented: "His Macbeth is a static, two-dimensional creature as capable of evil in the first scene as in the final hours of his bloody reign."

*Joe MacBeth* (Ken Hughes, 1955) established the tradition of resetting the *Macbeth* story among 20th-century gangsters. Others to do so include *Men of Respect* (William Reilly, 1991), *Maqbool* (Vishal Bhardwaj, 2003) and Geoffrey Wright's Australian 2006 *Macbeth*.

In 1957, Akira Kurosawa used the *Macbeth* story as the basis for the "universally acclaimed" *Kumunosu-jo* (in English known as *Throne of Blood* or (the literal translation of its title) *Spiderweb Castle*). The film is a Japanese period-piece (jidai-geki), drawing upon elements of Noh theatre, especially in its depiction of the evil spirit who takes the part of Shakespeare's witches, and of Asaji, the Lady Macbeth character, played by Isuzu Yamada, and upon Kabuki Theatre in its depiction of Washizu, the Macbeth character, played by Toshiro Mifune. In a twist on Shakespeare's ending, the tyrant (having witnessed Spiderweb Forest come to Spiderweb Castle) is killed by volleys of arrows from his own archers after they come to the realization he also lied about the identity of their former master's murderer.

George Schaefer directed Maurice Evans and Judith Anderson in a 1960 made-for-TV film which later had a limited European theatrical release. (The three had also worked together on the earlier *Hallmark Hall of Fame* 1954 TV version of the play.) Neither of the central couple was able to adapt their stage acting style to the screen successfully, leading to their roles being described by critics as "recited" rather than "acted".

Roman Polanski's 1971 *Macbeth* was the director's first film after the brutal murder of his wife, Sharon Tate, and reflected his determination to "show \[*Macbeth*'s\] violence the way it is ... \[because\] if you don't show it realistically then that's immoral and harmful." His film showed deaths only reported in the play, including the execution of Cawdor, and Macbeth stabbing Duncan, and its violence was "intense and incessant." Made in the aftermath of Zeffirelli's youthful *Romeo and Juliet*, and financed by *Playboy* mogul Hugh Hefner, Polanski's film featured a young sexy lead couple, played by Jon Finch (28) and by Francesca Annis (25), who controversially performed the sleepwalking scene nude. The unsettling film score, provided by the Third Ear Band, invoked "discord and dissonance." While using Shakespeare's words, Polanski alters aspects of Shakespeare's story, turning the minor character Ross into a ruthless Machiavellian, and adding an epilogue to the play in which Donalbain (younger son of Duncan) arrives at the witches' lair, indicating that the cycle of violence will begin again.

In 1973, the Virginia Museum Theater (VMT, now the Leslie Cheek Theater), presented *Macbeth,* starring E.G. Marshall. Dubbed by the *New York Times* as the "'Fowler' Macbeth" after director Keith Fowler, it was described by Clive Barnes as "splendidly vigorous, forcefully immediate... probably the goriest Shakespearean production I have seen since Peter Brook's 'Titus Andronicus'."

Trevor Nunn's RSC Other Place stage performance starring Ian McKellen and Judi Dench as the leading couple was adapted for TV and broadcast by Thames Television (see *Macbeth (1978 film)*).

William Reilly's 1991 *Men of Respect*, another film to set the *Macbeth* story among gangsters, has been praised for its accuracy in depicting Mafia rituals, said to be more authentic than those in *The Godfather* or *GoodFellas*. However the film failed to please audiences or critics: Leonard Maltin found it "pretentious" and "unintentionally comic" and Daniel Rosenthal describes it as "providing the most risible chunks of modernised Shakespeare in screen history." In 1992 S4C produced a cel-animated *Macbeth* for the series *Shakespeare: The Animated Tales*, and in 1997 Jeremy Freeston directed Jason Connery and Helen Baxendale in a low budget, fairly full-text, version.

In Shakespeare's script, the actor playing Banquo must enter the stage as a ghost. The major film versions have usually taken the opportunity to provide a double perspective: Banquo visible to the audience from Macbeth's perspective, but invisible from the perspective of other characters. Television versions, however, have often taken the third approach of leaving Banquo invisible to viewers, thereby portraying Banquo's ghost as merely Macbeth's delusion. This approach is taken in the 1978 Thames TV production, Jack Gold's 1983 version for BBC Television Shakespeare, and in Penny Woolcock's 1997 *Macbeth on the Estate*. *Macbeth on the Estate* largely dispensed with the supernatural in favour of the drug-crime driven realism of characters living on a Birmingham housing estate: except for the three "weird" (in the modern sense of the word) children who prophesy Macbeth's fate. This production used Shakespeare's language, but encouraged the actors  many of whom were locals, not professionals  to speak it naturalistically.

### Twenty-first century

Twenty-first-century cinema has re-interpreted *Macbeth*, relocating "Scotland" elsewhere: *Maqbool* to Mumbai, *Scotland, PA* to Pennsylvania, Geoffrey Wright's *Macbeth* to Melbourne, and Allison L. LiCalsi's 2001 *Macbeth: The Comedy* to a location only differentiated from the reality of New Jersey, where it was filmed, through signifiers such as tartan, Scottish flags and bagpipes. Alexander Abela's 2001 *Makibefo* was set among, and starred, residents of Faux Cap, a remote fishing community in Madagascar. Leonardo Henriquez' 2000 *Sangrador* (in English: *Bleeder*) set the story among Venezuelan bandits and presented a shockingly visualised horror version.

Billy Morrissette's *Scotland, PA* reframes the *Macbeth* story as a comedy-thriller set in a 1975 fast-food restaurant, and features James LeGros in the Macbeth role and Maura Tierney as Pat, the Lady Macbeth character: "We're not bad people, Mac. We're just under-achievers who have to make up for lost time." Christopher Walken plays vegetarian detective Ernie McDuff who (in the words of Daniel Rosenthal) "\[applies\] his uniquely offbeat menacing delivery to innocuous lines." *Scotland, PA*'s conceit of resetting the *Macbeth* story at a restaurant was followed in BBC Television's 2005 ShakespeaRe-Told adaptation.

Vishal Bhardwaj's 2003 *Maqbool*, filmed in Hindi and Urdu and set in the Mumbai underworld, was produced in the Bollywood tradition, but heavily influenced by *Macbeth*, by Francis Ford Coppola's 1972 *The Godfather* and by Luc Besson's 1994 *Léon*. It deviates from the *Macbeth* story in making the Macbeth character (Miyan Maqbool, played by Irfan Khan) a single man, lusting after the mistress (Nimmi, played by Tabbu) of the Duncan character (Jahangir Khan, known as Abbaji, played by Pankaj Kapoor). Another deviation is the comparative delay in the murder: Shakespeare's protagonists murder Duncan early in the play, but more than half of the film has passed by the time Nimmi and Miyan kill Abbaji.

In 2004 an "eccentric" Swedish/Norwegian film, based on Alex Scherpf's Ice Globe Theatre production of *Macbeth*, was said by critic Daniel Rosenthal to owe "more to co-director Bo Landin's background in natural history documentaries than to Shakespeare." More conventional adaptations of 21st-century stage productions to television include Greg Doran's RSC production filmed in 2001 with Antony Sher and Harriet Walter in the central roles, and Rupert Goold's Chichester Festival Theatre *Macbeth* televised in 2010 with Patrick Stewart and Kate Fleetwood as the tragic couple. The cast of the latter felt that the history of their stage performance (moving from a small space at Chichester to a large proscenium arch stage in London to a huge auditorium in Brooklyn) made it easier for them to "re-scale", yet again, their performances for the cameras.

In 2006, Geoffrey Wright directed a Shakespearean-language, extremely violent *Macbeth* set in the Melbourne underworld. Sam Worthington played Macbeth. Victoria Hill played Lady Macbeth and shared the screenplay credits with Wright. The director considered her portrayal of Lady Macbeth to be the most sympathetic he had ever seen. In spite of the high level of violence and nudity (Macbeth has sex with the three naked schoolgirl witches as they prophesy his fate), intended to appeal to the young audiences that had flocked to *Romeo + Juliet*, the film flopped at the box office.

The 2011 short film *Born Villain*, directed by Shia LaBeouf and starring Marilyn Manson, was inspired by *Macbeth* and features multiple scenes where characters quote from it.

In 2014, *Classic Alice* wove a 10 episode arc placing its characters in the world of Macbeth. The adaptation uses students and a modern-day setting to loosely parallel Shakespeare's play. It starred Kate Hackett, Chris O'Brien, Elise Cantu and Tony Noto and embarked on an LGBTQ plotline.

Justin Kurzel's feature-length adaptation *Macbeth*, starring Michael Fassbender and Marion Cotillard, was released in October 2015.

The 2015 American black and white film, *Thane of East County*, features actors in a production of *Macbeth* who mimic the characters they portray.

Also in 2015, Brazilian film *A Floresta que se Move* (*The Moving Forest*) premiered at the Montreal World Film Festival. Directed by Vinícius Coimbra and starred by Gabriel Braga Nunes and Ana Paula Arósio, the film uses a modern-day setting, replacing the throne of Scotland with the presidency of a high-ranked bank.

The 2021 Malayalam-language film *Joji* directed by Dileesh Pothan is a loose adaptation of Shakespeare's *Macbeth*.

Denzel Washington was nominated to an Academy Award for his performance in the title role of Joel Coen's *The Tragedy of Macbeth* (2021).

The 2021 Bengali web-series Mandaar on Hoichoi, directed by Anirban Bhattacharya and starring Debasish Mondal and Sohini Sarkar, is a loose adaptation of Shakespeare's *Macbeth*.

## In literature

There have been numerous literary adaptations and spin-offs from *Macbeth*. Russian novelist Nikolay Leskov told a variation of the story from Lady Macbeth's point of view in *Lady Macbeth of the Mtsensk District*, which itself became a number of films and an opera by Shostakovich. Maurice Baring's 1911 *The Rehearsal* fictionalises Shakespeare's company's inept rehearsals for *Macbeth*'s premiere. Gu Wuwei's 1916 play *The Usurper of State Power* adapted both *Macbeth* and *Hamlet* as a parody of contemporary events in China. The play has been used as a background for detective fiction (as in Marvin Kaye's 1976 *Bullets for Macbeth*) and, in the case of Ngaio Marsh's last detective novel *Light Thickens*, the play takes centre stage as the rehearsal, production and run of a 'flawless' production is described in absorbing detail (so much so that her biographer describes the novel as effectively Marsh's third production of the play). But the play was also used as the basis of James Thurber's parody of the whodunit genre *The Macbeth Murder Mystery*, in which the protagonist reads *Macbeth* applying the conventions of detective stories, and concludes that it must have been Macduff who murdered Duncan. Comics and graphic novels have utilised the play, or have dramatised the circumstances of its inception: Superman himself wrote the play for Shakespeare in the course of one night, in the 1947 *Shakespeare's Ghost Writer*. A cyberpunk version of Macbeth titled *Mac* appears in the collection *Sound & Fury: Shakespeare Goes Punk.* Terry Pratchett reimagined *Macbeth* in the Discworld novel *Wyrd Sisters* (1988). In this story 3 witches, led by Granny Weatherwax, attempt to put a murdered king's heir on the throne.

*Macbeth* has been adapted into plays dealing with the political and cultural concerns of many nations. Eugène Ionesco's *Macbett* satirised *Macbeth* as a meaningless succession of treachery and slaughter. Wale Ogunyemi's *A'are Akogun*, first performed in Nigeria in 1968, mixed the English and Yoruba languages. Welcome Msomi's 1970 play *Umabatha* adapts *Macbeth* to Zulu culture, and was said by *The Independent* to be "more authentic than any modern *Macbeth*" in presenting a world in which a man's fighting ability is central to his identity. Joe de Graft adapted *Macbeth* as a battle to take over a powerful corporation in Ghana in his 1972 *Mambo* or *Let's Play Games, My Husband*. Dev Virahsawmy's *Zeneral Macbeff*, first performed in 1982, adapted the story to the local Creole and to the Mauritian political situation. (The same author later translated *Macbeth* itself into Mauritian creole, as *Trazedji Makbess*.) And in 2000, Chuck Mike and the Nigerian Performance Studio Workshop produced *Mukbutu* as a direct commentary on the fragile nature of Nigerian democracy at the time. In 2018, Jo Nesbø wrote *Macbeth*, a retelling of the play as a thriller. The novel was part of Hogarth Shakespeare. The lines from the play have inspired titles of many works of literature, for example Agatha Christie's *By the Pricking of My Thumbs*. The title of the book comes from Act 4, Scene 1 of *Macbeth*, when the second witch says:

> By the pricking of my thumbs,
> Something wicked this way comes.

In Tripp Ainsworth's novel *Six Pistols and a Dagger, Smokepit Fairytales Part VI*, the events of *Macbeth* are meshed with those of Blackbeard as the wife of a feared space pirate initiates his downfall.

## In music and audio

*Macbeth* is, with *The Tempest*, one of the two most-performed Shakespeare plays on BBC Radio, with over 20 productions between 1923 and 2022, the most recent production starring David Tennant in 2022. Other BBC Radio productions include:

One of the best-known recorded productions, starring Anthony Quayle and Gwen Ffrangcon-Davies, was released as part of the *Shakespeare Recording Society* unabridged productions in 1960 by Caedmon Records (SRS-M-231). Other unabridged recorded productions have been released by the Marlowe Society (Argo Records ZPR 201-3), the Old Vic Company (HMV ALP 1176) with Alec Guinness and Pamela Brown, and the Complete Arkangel Shakespeare with Hugh Ross and Harriet Walter

The extant version of *Macbeth*, in the First Folio, contains dancing and music, including the song "Come Away Hecate" which exists in two collections of lute music (both c.1630, one of them being Drexel 4175) arranged by Robert Johnson. And, from the Restoration onwards, incidental music has frequently been composed for the play: including works by William Boyce in the eighteenth century. Davenant's use of dance in the witches' scenes was inherited by Garrick, which in turn influenced Giuseppe Verdi to incorporate a ballet around the witches' cauldron into his opera *Macbeth*. Verdi's first Shakespeare-influenced opera, with libretto by Francesco Maria Piave, incorporated a number of striking arias for Lady Macbeth, giving her a prominence in the early part of the play which contrasts with the character's increasing isolation as the action continues: she ceases to sing duets and her sleepwalking confession is starkly contrasted with the "supported grief" of Macduff in the preceding scene. Other music influenced by the play includes Richard Strauss's 1890 symphonic poem *Macbeth*. Duke Ellington and Billy Strayhorn incorporated themes depicting the female characters from *Macbeth* in the 1957 Shakespearean jazz suite *Such Sweet Thunder*: the weird sisters juxtaposed with Iago (from *Othello*), and *Lady Mac* represented by ragtime piano because, as Ellington put it, "we suspect there was a little ragtime in her soul". Another Jazz collaboration to create hybrids of Shakespeare plays was that of Cleo Laine with Johnny Dankworth, who in Laine's 1964 *Shakespeare and All That Jazz* juxtaposed Titania's instructions to her fairies from *A Midsummer Night's Dream* with the witches' chant from *Macbeth*. In 2000, Jag Panzer produced their heavy metal concept-album retelling *Thane to the Throne*. In 2017, pianist John Burke scored an outdoor production of *Macbeth*.

In the musical Hamilton by Lin-Manuel Miranda several characters and a direct quote from the second line of Macbeth's Act 5 soliloquy ("Tomorrow and tomorrow and tomorrow...") are referenced in the song "Take a Break." The titular character also states his enemies see him as Macbeth, grabbing power for power's sake.

## In the visual arts

The play has inspired numerous works of art. In 1750 and 1760 respectively, the painters John Wootton and Francesco Zuccarelli portrayed Macbeth and Banquo meeting the Three Witches in a scenic landscape, both likely having been inspired by Gaspard Dughet's 16534 painting *Landscape in a Storm*. While Wootton's extended visualization was ultimately more significant, Zuccarelli's allegorical version became available to a much wider constituency, through its 1767 exhibition with the Society of Artists and its subsequent engraving by William Woollett in 1770. The scene in which Lady Macbeth seizes the daggers, as performed by Garrick and Mrs. Pritchard, was a touchstone throughout Henry Fuseli's career, including works in 1766, 1774 and 1812. The same performance was the subject of Johann Zoffany's painting of the Macbeths in 1768. In 1786, John Boydell announced his intention to found his Shakespeare Gallery. His chief innovation was to see the works of Shakespeare as history, rather than contemporary, so instead of including the (then fashionable) works depicting the great actors of the day on stage in modern dress, he commissioned works depicting the *action* of the plays. However the most notable works in the collection disregard this historicising principle: such as Fuseli's depiction of the naked and heroic Macbeth encountering the witches. William Blake's paintings were also influenced by Shakespeare, including his *Pity*, inspired by Macbeth's "Pity, like a naked new-born babe, striding the blast." Sarah Siddons' triumph in the role of Lady Macbeth led Joshua Reynolds to depict her as *The Muse of Tragedy*.

### Citations

Unless otherwise specified, all citations of *Macbeth* refer to Muir (1984), and of other works of Shakespeare refer to Wells and Taylor (2005).

### References

* Shirley, Francis (1963). *Shakespeare's Use of Off-stage Sounds*. University of Nebraska Press.
* Sillars, Stuart (2006). *Painting Shakespeare: The Artist as Critic, 1720-1820*. Cambridge University Press. ISBN 978-0-521-85308-8.
* Smallwood, Robert *Twentieth-Century Performance: The Stratford and London Companies* in Wells and Stanton (2002, 98117)
* Spurgeon, Caroline (1969). "Shakespeare's Imagery and What It Tells Us". In Wain, John (ed.). *Shakespeare: Macbeth: A Casebook*. Casebook Series, AC16. Macmillan. pp. 168–177. ISBN 0-876-95051-9.
* Straczynski, J. Michael (2006). *Babylon 5 – The Scripts of J. Michael Straczynski, Vol. 6*. Synthetic World.
* Tanitch, Robert (2007). *London Stage in the 20th Century*. Haus Publishing. ISBN 978-1-904950-74-5.
* Tanitch, Robert (1985). *Olivier*. Abbeville Press Publishing. ISBN 9780896595903.
* Tatspaugh, Patricia *Performance History: Shakespeare on the Stage 16602001* in Wells and Orlin (2003, 525549)
* Taylor, Gary *Shakespeare Plays on Renaissance Stages* in Wells and Stanton (2002, 120)
* Thomson, Peter. 1992. *Shakespeare's Theatre.* 2nd ed. Theatre Production Studies ser. London: Routledge. ISBN 0-415-05148-7.
* Tritsch, Dina (April 1984). "The Curse of 'Macbeth'. Is there an evil spell on this ill-starred play?". *Showbill*. Playbill. Archived from the original on 15 July 2011. Retrieved 28 November 2010.
* Walter, Harriet (2002). *Actors on Shakespeare: Macbeth*. Faber and Faber. ISBN 978-0571214075.
* Wells, Stanley and de Grazia, Margreta (eds.) (2001). *The Cambridge Companion to Shakespeare*. Cambridge University Press. ISBN 0-521-65881-0. `{{cite book}}`: `|first=` has generic name (help)CS1 maint: multiple names: authors list (link)
* Wells, Stanley and Orlin, Lena Cowen (eds.) (2003). *Shakespeare: An Oxford Guide*. Oxford University Press. ISBN 0-19-924522-3. `{{cite book}}`: `|first=` has generic name (help)CS1 maint: multiple names: authors list (link)
* Wells, Stanley and Stanton, Sarah (eds.) (2002). *The Cambridge Companion to Shakespeare on Stage*. Cambridge University Press. ISBN 0-521-79711-X. `{{cite book}}`: `|first=` has generic name (help)CS1 maint: multiple names: authors list (link)
* Wells, Stanley; Taylor, Gary; et al., eds. (2005). *The Oxford Shakespeare: The Complete Works* (2nd ed.). Oxford University Press. ISBN 978-0-19-926718-7.
* Wickham, Glynne. (1969). *Shakespeare's Dramatic Heritage: Collected Studies in Mediaeval, Tudor and Shakespearean Drama.* London: Routledge. ISBN 0-710-06069-6.
* Willems, Michèle *Video and its Paradoxes* in Jackson (2000, 3546)
* Williams, Simon *The Tragic Actor and Shakespeare* in Wells and Stanton (2002, 118136)
* Zagorin, Perez (1996). "The Historical Significance of Lying and Dissimulation—Truth-Telling, Lying, and Self-Deception". *Social Research*. **63** (3). The New School for Social Research: 863–912.


title: Crying Girl

abstract: Crying Girl is the name of two different works by Roy Lichtenstein: a 1963 offset lithograph on lightweight, off-white wove paper and a 1964 porcelain enamel on steel.

text:
# Crying Girl

*Crying Girl* (1963), Roy Lichtenstein, lithograph on lightweight, off-white wove paper, 16 by 24 inches (40.6 cm × 61.0 cm)*Crying Girl* (1964), Roy Lichtenstein, porcelain enamel on steel, 46 by 46 inches (116.8 cm × 116.8 cm)

***Crying Girl*** is the name of two different works by Roy Lichtenstein: a 1963 offset lithograph on lightweight, off-white wove paper and a 1964 porcelain enamel on steel.

## Background

During the late 1950s and early 1960s, many American painters began to adapt the imagery and motifs of comics. Lichtenstein in 1958 made drawings of comic strip characters. Andy Warhol produced his earliest paintings in this style in 1960. Lichtenstein, unaware of Warhol's work, produced *Look Mickey* and *Popeye* in 1961. In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men, causing women to be miserable. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states. Picasso's depictions of weeping women may have influenced Lichtenstein to produce portrayals of vulnerable teary-eyed women. Another possible influence on his emphasis on depicting distressed women in the early to mid-1960s was that his first marriage was dissolving at the time. Lichtenstein's first marriage to Isabel Wilson, which resulted in two sons, lasted from 1949 to 1965.

Although single-panel comic representations depict a moment in time, both works are examples in which the moment is "pregnant" with drama related to other times. This work also marks a phase in Lichtenstein's career when many of his works were named with present-participial names such as *Sleeping Girl*, *Crying Girl* and *Blonde Waiting*, which accentuates the works' "relation to process and action."

## 1963 lithograph

The lithograph, which shows a crying woman with her hand near her mouth, is on lightweight, off-white wove paper. It measures 16 by 24 inches (40.6 cm × 61.0 cm). This image was adapted from a comic book panel from the romance comic *Secret Hearts* #88 (DC Comics, June 1963), in the story "Escape from Loneliness," penciled by Tony Abruzzo and inked by Bernard Sachs.

Artist Chuck Close claimed to have purchased the lithograph from Leo Castelli on a visit to New York in 1963 for $10 ($100 in 2023 dollars). Close recalled the purchase: "I remember I bought \[a\] Roy Lichtenstein... for \[ten\] dollars from Leo Castelli at Lichtenstein's first \[sic\] show. I brought it back to Yale and I was attacked unmercifully." (Lichtenstein's first solo show at The Leo Castelli Gallery in New York City, which sold out before opening, ran from February 10 through March 3, 1962. His second solo exhibition at the Leo Castelli Gallery ran from September 28 through October 24, 1963.)

## 1964 enamel

The porcelain enamel on steel, which depicts a woman wiping away a tear, measures 46 by 46 inches (116.8 cm × 116.8 cm). It was adapted from a story in the same romance comic, *Secret Hearts* #88 (DC Comics, June 1963): "Exit Love--Enter Heartbreak!", drawn by Werner Roth and John Romita Sr.

The 1964 enamel has been held at the Milwaukee Art Museum since 1965, and is considered to be one of Roy Lichtenstein's earliest attempts at producing enamel-on-steel works from the same type of comic book imagery he had begun producing as conventional hand-painted canvases.


title: Cuvierian Society of Cork

abstract: The Cuvierian Society of Cork was founded as a committee of the Royal Cork Institution in October 1835. The meetings were held on the first Wednesday of the Autumn and Winter months in the Library of the Royal Cork Institution. The Society was named after the noted French naturalist and zoologist, Georges Cuvier. In its early years, it concentrated on the natural sciences but by the mid 19th century, it had evolved to be mainly archaeological. In 1845, The society published the "Contributions towards a fauna and Flora of the County of Cork" of which the authors were J.R Harvey, J.D. Humphreys and T. Power. This was prepared for the meeting of the British Association held in Cork in 1843. The book contains a list of the officers of the Society for 1845. An occasional meeting is reported in the Natural History Review.

text:
# Cuvierian Society of Cork

The **Cuvierian Society of Cork** was founded as a committee of the Royal Cork Institution in October 1835. The meetings were held on the first Wednesday of the Autumn and Winter months in the Library of the Royal Cork Institution. The Society was named after the noted French naturalist and zoologist, Georges Cuvier. In its early years, it concentrated on the natural sciences but by the mid 19th century, it had evolved to be mainly archaeological.

In 1845, The society published the "Contributions towards a fauna and Flora of the County of Cork" of which the authors were J.R Harvey, J.D. Humphreys and T. Power. This was prepared for the meeting of the British Association held in Cork in 1843. The book contains a list of the officers of the Society for 1845. An occasional meeting is reported in the *Natural History Review* (1 229, 2 6).

## Notable members

Among the members were:

In the years of its existence its membership contained many professional people, academics, and antiquarians.

* Jeremiah Falvey; Cadogan, Tim (2006). *A Biographical Dictionary of Cork*. Kill Lane, Blackrock, Co. Dublin: Four Courts Press. ISBN 1-84682-030-8.
* Contributions towards a fauna and flora of the county of Cork, read at the meeting of the British association held at Cork in the year 1843


title: Cupulomyces

abstract: Cupulomyces is a genus of fungi in the family Laboulbeniaceae. A monotypic genus, Cupulomyces contains the single species Cupulomyces lasiochili.

text:
# Cupulomyces

***Cupulomyces*** is a genus of fungi in the family Laboulbeniaceae. A monotypic genus, *Cupulomyces* contains the single species ***Cupulomyces lasiochili***.

## InfoBox

| *Cupulomyces* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Laboulbeniomycetes |
| Order: | Laboulbeniales |
| Family: | Laboulbeniaceae |
| Genus: | ***Cupulomyces***
R.K. Benj. |
|
| Type species | |
| ***Cupulomyces lasiochili***
(Thaxt.) R.K. Benj. | |


title: Surhów

abstract: Surhów is a village in the administrative district of Gmina Kraśniczyn, within Krasnystaw County, Lublin Voivodeship, in eastern Poland. It lies approximately 11 kilometres (7 mi) south-east of Krasnystaw and 60 km (37 mi) south-east of the regional capital Lublin.

text:
# Surhów

**Surhów** \[ˈsurxuf\] is a village in the administrative district of Gmina Kraśniczyn, within Krasnystaw County, Lublin Voivodeship, in eastern Poland. It lies approximately 11 kilometres (7 mi) south-east of Krasnystaw and 60 km (37 mi) south-east of the regional capital Lublin.

## InfoBox

| Surhów | |
| --- | --- |
| Village | |
| Surhów Palace | |
| Surhów | |
| Coordinates: 50°56′N 23°16′E / 50.933°N 23.267°E / 50.933; 23.267 | |
| Country | Poland |
| Voivodeship | Lublin |
| County | Krasnystaw |
| Gmina | Kraśniczyn |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Vehicle registration | LKS |


title: Surhów-Kolonia

abstract: Surhów-Kolonia is a village in the administrative district of Gmina Kraśniczyn, within Krasnystaw County, Lublin Voivodeship, in eastern Poland.

text:
# Surhów-Kolonia

**Surhów-Kolonia** \[ˈsurxuf kɔˈlɔɲa\] is a village in the administrative district of Gmina Kraśniczyn, within Krasnystaw County, Lublin Voivodeship, in eastern Poland.

## InfoBox

| Surhów-Kolonia | |
| --- | --- |
| Village | |
| Surhów-Kolonia | |
| Coordinates: 50°56′20″N 23°16′10″E / 50.93889°N 23.26944°E / 50.93889; 23.26944 | |
| Country | Poland |
| Voivodeship | Lublin |
| County | Krasnystaw |
| Gmina | Kraśniczyn |


title: Cursed (Righteous Vendetta album)

abstract: Cursed is the fourth studio album by American band Righteous Vendetta. The album was released on March 17, 2017 through Century Media Records.

text:
# Cursed (Righteous Vendetta album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Cryptic Rock |  |
| *Distorted Sound* | 8/10 |
| New Release Tuesday | Positive |
| *Rock Revolt* |  |

***Cursed*** is the fourth studio album by American band Righteous Vendetta. The album was released on March 17, 2017 through Century Media Records.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "War Is Killing Us All" | Ryan Hayes, Justin Olmstead, Zack Goggins, Mitchell Marlow | 3:38 |
| 2. | "Cursed" | Hayes, Olmstead, Goggins, Marlow | 3:05 |
| 3. | "Weight of the World" | Brandon Saller, Hayes, Olmstead, Marlow | 3:18 |
| 4. | "Daemons" | Hayes, Olmstead, Goggins, Marlow | 3:28 |
| 5. | "A Way Out" | Sahaj Ticotin, Hayes, Olmstead, Goggins, Marlow | 3:16 |
| 6. | "Defiance" | Hayes, Olmstead | 3:21 |
| 7. | "Psycho" | Hayes, Olmstead, Goggins, Marlow | 3:24 |
| 8. | "Never Say Never" | Hayes, Olmstead, Goggins, Marlow | 3:19 |
| 9. | "Doomed" | Hayes, Olmstead, Goggins, Marlow | 4:06 |
| 10. | "Burn" | Brian Thomas, Shawn McGhee, Hayes, Olmstead, Marlow | 3:43 |
| 11. | "Halfway" | Hayes, Olmstead, Goggins, Marlow | 3:40 |
| 12. | "Become" | Hayes, Olmstead, Goggins, Marlow | 3:45 |
| 13. | "Strangers" | Hayes, Olmstead, Marlow | 3:48 |

## Personnel

Righteous Vendetta * Ryan Hayes – vocals
* Justin Olmstead – lead guitar
* Justin Smith – rhythm guitar
* Riley Haynie – bass, samples
* Zack Goggins – drums, percussion

Additional * Mitchell Marlow – producer, mixing
* Don Robertson – executive producer
* Howie Weinberg – mastering
* Bekki Friesen – assistant engineer
* Sara Kinne – product manager
* Mike Gitter – A&R
* Eve Saint Raven – artwork, layout

## InfoBox

| Cursed | |
| --- | --- |
|  | |
| Studio album by Righteous Vendetta | |
| Released | March 17, 2017 |
| Studio | Cuddledeath Studios, Los Angeles, CA |
| Genre |  |
| Length | 45:50 |
| Label | Century Media |
| Producer | Mitchell Marlow |
| Righteous Vendetta chronology | |
| *Defiance*
(2014) ***Cursed***
(2017) | |
|  | |
| Singles from  *Cursed* | |
| 1. "Weight of the World"
Released: February 2, 2017 2. "Cursed"
Released: March 3, 2017 3. "War Is Killing Us All"
Released: June 2, 2017 | |
|  | |


title: Cursed Days

abstract: Cursed Days is a book by Nobel Prize-winning Russian author Ivan Bunin, compiled of diaries and notes he made while in Moscow and Odessa in 1918-1920. Fragments from it were published in 1925-1926 by the Paris-based Vozrozhdenye newspaper. In its full version Cursed Days appeared in the Vol.X of The Complete Bunin (1936), compiled and published in Berlin by the Petropolis publishing house. In the USSR the book remained banned up until the late 1980s. Parts of it were included in the 1988 Moscow edition of The Complete Bunin. After the collapse of the Soviet Union, Cursed Days became immensely popular in its author's homeland. Since 1991, no less than fifteen separate editions of Bunin's diary/notebook have been published in Russia. The English translation, made by Bunin scholar Thomas Gaiton Marullo, was published in 1998 in the United States by Chicago-based Ivan R. Dee Publishers.

text:
# Cursed Days

***Cursed Days*** (Окаянные дни, *Okayánnye Dni*) is a book by Nobel Prize-winning Russian author Ivan Bunin, compiled of diaries and notes he made while in Moscow and Odessa in 1918-1920. Fragments from it were published in 1925-1926 by the Paris-based *Vozrozhdenye* newspaper. In its full version *Cursed Days* appeared in the Vol.X of *The Complete Bunin* (1936), compiled and published in Berlin by the Petropolis publishing house. In the USSR the book remained banned up until the late 1980s. Parts of it were included in the 1988 Moscow edition of *The Complete Bunin* (Vol. VI). After the collapse of the Soviet Union, *Cursed Days* became immensely popular in its author's homeland. Since 1991, no less than fifteen separate editions of Bunin's diary/notebook have been published in Russia. The English translation, made by Bunin scholar Thomas Gaiton Marullo, was published (as *Cursed Days. A Diary of the Revolution*) in 1998 in the United States by Chicago-based Ivan R. Dee Publishers.

## Background

In 1920, after three years of great anguish, Ivan Bunin left his country forever. In the years that led up to his exile, he kept an account of (in words of one reviewer) "the ever widening bestiality that accompanied the consolidation of Bolshevik power." Depending much on newspapers and rumors, Bunin misunderstood some of the events or related the biased versions of them and often let his anger get in the way of reason. Still, according to *The New York Times*, "these are the (mostly) immediate reactions of a man whose instincts have been proved eminently right, who knew that, with the victory of the Bolsheviks, the worst would happen." Using *Cursed Days* as a forum to castigate the CPSU's leaders, publishers, and the intellectuals like Aleksandr Blok and Maxim Gorky who joined their ranks, Bunin labeled the Soviet elite criminals. He repeatedly compared the Bolsheviks to the Jacobin Club during the Reign of Terror. Bunin also cited parallels between the Red Terror and the peasant uprisings of the 17th and 18th century, led by Stenka Razin, Emelian Pugachev, and Bohdan Khmelnitsky. The diary's English translator, Thomas Gaiton Marullo, has described *Cursed Days* as a rare example of dystopian nonfiction and points out multiple parallels between the diary of Bunin and the diary kept by D-503, the protagonist of Yevgeny Zamyatin's dystopian science fiction novel *We*.

### Publication

On July 30, 1925, Vera Muromtseva-Bunina wrote in her diary: "Ian \[her name for her husband\] has torn up and burned all his diary manuscripts. I am very angry. "I don't want to be seen in my underwear," he told me". Seeing Vera so upset, Bunin confided to her: "I have another diary in the form of a notebook in Paris..." According to some sources, "this was the diary that Bunin published under the title *Cursed Days*". In fact, Bunin destroyed his notes written in 1925, and Paris manuscripts Vera referred to, were recent ones. By the end of July 1925 fragments of *Cursed Days* were already being published for almost two months by the recently opened Pyotr Struve's newspaper. On June 4, 1925, Vera Muromtseva-Bunina wrote in her diary: "\[The first issue of\] *Vozrozhdenye* came out. All is well, and the editorial stuff is good. \[...\] They started publishing *Cursed Days*.

## Critical reception

According to the book's translator, professor of Russian at Notre Dame University (who had already published the first two of three volumes of a biography of Bunin in his own words) Thomas Gaiton Marullo, -

> The work is important for several reasons. *Cursed Days* is one of the very few anti-Bolshevik diaries to be preserved from the time of the Russian Revolution and civil war. It recreates events with graphic and gripping immediacy. Unlike the works of early Soviets and emigres and their self-censoring backdrop of memory, myth, and political expediency, Bunin's truth reads almost like an aberration. *Cursed Days* also links Russian anti-utopian writing of the 19th century to its counterpart in the 20th century. Reminiscent of the fiction of Dostoevsky, it features an 'underground man' who does not wish to be an 'organ stop' or to affirm 'crystal palaces'. Bunin's diary foreshadowed such 'libelous' memoirs as Evgenia Ginsberg's *Journey into the Whirlwind* (1967) and *Within the Whirlwind*, and Nadezhda Mandelstam's *Hope Against Hope* (1970) and *Hope Abandoned* (1974), the accounts of two courageous women caught up in the Stalinist terror of the 1930s. *Cursed Days* also preceded the "rebellious" anti-Soviet tradition that began with Evgeny Zamyatin and Yury Olesha, moved on to Mikhail Bulgakov, and reached an apex with Boris Pasternak and Alexander Solzhenitsyn. One can argue that, in its painful exposés of political and social utopias, *Cursed Days* heralded the anti-utopian writing of George Orwell and Aldous Huxley. Bunin and Zamyatin had correctly understood that the Soviet experiment was destined to self destruct."

Powell's Books reviewer describes Bunin's "great anti-Bolshevik diary of the Russian Revolution" as a "chilling account of the last days of the Russian master in his homeland" where the time of revolution and civil war is recreated "with graphic and gripping immediacy". "Unlike the works of early Soviets and emigres, with their self-censoring backdrop of memory, myth, and political expediency, Bunin 's uncompromising truths are jolting", full of "pain and suffering in witnessing the takeover of his country by thugs and the chaos of civil war", the reviewer argues.

The film, *Sunstroke*, based on *Cursed Days* was released in 2014 and was directed by Nikita Mikhalkov.

### The American edition

In 1998 the first English translation of the book was published in the US by Ivan R. Dee Publishers under the title *Cursed Days. A Diary of the Revolution*. Reviewers praised the work of translator, Thomas Gaiton Marullo, a noted scholar on Russian literature, the author of two previous volumes on Bunin's life and works, "Ivan Bunin: Russian Requiem, 1885-1920" and "Ivan Bunin: From the Other Shore, 1920-1933" who also provided preface, introduction, and footnotes so as to guide the Western reader through the cascade of Russian names and historical references, giving the reader a sense of Bunin, the man, while also providing extensive information about contextual issues, carefully explain the writer's comments on colleagues, publishers, newspapers, journals, and politicians.

### 1917-1918 diaries

The book had a prequel, Bunin's diaries dated August 1, 1917, - May 14, 1918, occasionally referred to as *Cursed Days (1917-1918)*. In the USSR it was published for the first time in *Novy Mir* magazine's 1965 October issue, heavily censored. These diaries were included into the Vol.VI of the 1988 edition of the Soviet version of *The Complete Bunin* (published by Khudozhestvennaya Literatura publishing house) in 1988 and later into the Vol. VIII of the 2000 edition by Moskovsky Rabochy.

## Quotes

* "March 5/18, 1918. It's grey out with some sparse snow. There was a crowd of people outside the banks on Il'inka Street--the smart ones are taking their money out. Generally speaking, many people are preparing to leave in secret. Tonight's paper reports that the Germans have taken Kharkov. The man who sold me the newspaper said to me: 'Better the Devil than Lenin."
* "April 20/May 3, 1919... It's a terrible thing to say, but it's the truth: if it were not for the misfortunes of the folk, thousands of our intellectuals would be profoundly unhappy people. How else could they have sat around and protested? What else would they have cried and written about? Without the folk, life would not have been life for them."
* "May 2/15, 1919. Members of the Red Army in Odessa led a pogrom against the Jews in the town of Big Fountain. Ovsyaniko-Kulikovsky and the writer Kipen happened to be there and told me the details. Fourteen comissars and thirty Jews from among the common people were killed. Many stores were destroyed. The soldiers tore through the night, dragged the victims from their beds, and killed whomever they met. People ran into the steppe or rushed into the sea. They were chased after and fired upon -- a genuine hunt, as it were. Kipen saved himself by accident -- fortunately he had spent the night not in his home, but at the White Flower sanitorium. At dawn, a detachment of Red Army soldiers appeared 'Are there any Jews here?' they asked the watchman. 'No, no Jews here.' 'Swear what you're saying is true!' The watchman swore, and they went on farther. Moisei Gutman, a cabby, was killed. He was a dear man who moved us from our dacha last fall."
* "April 23/May 6, 1919. Before I left Petersburg I visited the Peter and Paul Cathedral. Everything was wide open -- the fortress gates and the Cathedral doors. Idle people were roaming about everywhere, looking around and spitting out sunflower seeds. I walked around the Cathedral, looked at where the Tsars were buried, and, with a bow to the ground, I begged their forgiveness. Coming out on the church porch, I stood for a long time in a state of shock: the entire universe that was Russia at springtime was opening up before my very attentive eyes. Spring and the Easter chimes called forth feelings of joy and of resurrection, but an immense grave yawned in the world. Death was in this spring, the final kiss... 'The world did not know disappointment,' Herzen said, 'until the great French Revolution; skepticism arrived together with the Republic of 1792.' As far as Russia is concerned, we will carry to the grave the greatest disappointment in the world."
* "June 4/17, 1919. The Entente has named Kolchak the Supreme Ruler of Russia. *Izvestia* wrote an obscene article saying: 'Tell us, you reptile, how much did they pay you for that?' The devil with them. I crossed myself with tears of joy."

## InfoBox

Cursed Days
|  | |
| --- | --- |
| Author | Ivan Bunin |
| Original title | *Окаянные дни* |
| Translator | Thomas Gaiton Marullo |
| Language | Russian |
| Genre | diary |
| Publisher | *Vozrozhdenye*(Paris, 1926)
Petropolis (Berlin, 1936)
Ivan R. Dee Publishers (Chicago, 1998) |
| Publication date | 1926 |
| Publication place | France |
| Media type | print (hardback & paperback) |
| Preceded by | *Mitya's Love (1925)* |


title: Cydoor

abstract: Cydoor is a spyware and adware first detected in 2003.

text:
# Cydoor

**Cydoor** is a spyware and adware first detected in 2003.

## Cydoor software

The Cydoor software downloads advertisements from the Cydoor servers, to be displayed in the Cydoor-supported software. It is built as a program integrated into the parent application but is not uninstalled along with it. It automatically updates itself and displays advertisements regardless of the speed of the Internet connection of the user. Cydoor consumes about 3.4MB of hard drive space, and cannot be uninstalled using the Windows uninstaller. No uninstaller is provided. Cydoor is often bundled with commercial Peer-to-peer file sharing programs such as Kazaa, iMesh and eXeem. It is also present in download manager applications such as NetAnts and FlashGet. According to Cydoor Desktop Media, the ad technology reaches 70 million unique users worldwide.

Formerly, a user could uninstall Cydoor and continue to use the program installed with it, but that is sometimes no longer the case. Now Cydoor is treated as a vital piece of software code by the parent program, and removal may cause the program to stop working. The website's FAQ explains, "Our components...are the main revenue generating components for our software partners," as the way of explaining their supposed necessity. Programmers have successfully removed Cydoor's software from Kazaa (resulting in Kazaa Lite and Kazaa Resurrection).

The program has been known to cause problems in Windows, but the company asserts that this is due to an old and buggy version of the software. The code downloads advertisements to the "infected" system but it does not collect personal information. The company said this is the case unless "the user voluntarily supplied it".

## Removal

This software can be removed by most anti-spyware programs, such as Ad-Aware and Spybot - Search & Destroy.

## InfoBox

Cydoor Desktop Media
| Industry | Adware |
| --- | --- |
| Headquarters | Israel |


abstract: The women's 200-metre freestyle event at the 2000 Summer Olympics took place on 18–19 September at the Sydney International Aquatic Centre in Sydney. Australia's overwhelming favorite Susie O'Neill, dubbed as Madame Butterfly, gave the home crowd a further reason to celebrate, as she claimed the gold medal in the event. Rocketed to the boisterous chants of "Susie, Susie" by her swimming fans, O'Neill held off a challenge from Slovakia's Martina Moravcová to strengthen her lead on the final lap before hitting the wall first in 1:58.24. Moravcova trailed behind by a small fraction of a second to capture another silver at these Games in 1:58.32, while Costa Rica's Claudia Poll, defending Olympic champion, added a second bronze to her hardware from the 400 m freestyle, in a sterling time of 1:58.81. Russia's Nadezhda Chemezova and Germany's Kerstin Kielgass tied for fourth place in a matching time of 1:58.86, finishing off the podium by just five-hundredths of a second (0.05). Belarus' Natalya Baranovskaya pulled off a sixth-place finish in a national record of 1:59.28, while Romania's Camelia Potec (1:59.46) and China's Wang Luna (1:59.55) closed out the field. Notable swimmers failed to reach the top 8 final, featuring world-record holder Franziska van Almsick, who faded shortly on the final lap and finished eleventh in the semi-finals; South Africa's Helene Muller, who posted a second-fastest prelims time (1:59.89) earlier but ended up only in ninth; and American duo Lindsay Benko and Rada Owen, both of whom earned a twelfth and a sixteenth spot, respectively. Shortly after the Games, O'Neill announced her retirement from swimming, and was elected to the IOC Athletes' Commission, along with ten other athletes.

text:
# Swimming at the 2000 Summer Olympics – Women's 200 metre freestyle

The **women's 200-metre freestyle** event at the 2000 Summer Olympics took place on 18–19 September at the Sydney International Aquatic Centre in Sydney.

Australia's overwhelming favorite Susie O'Neill, dubbed as *Madame Butterfly*, gave the home crowd a further reason to celebrate, as she claimed the gold medal in the event. Rocketed to the boisterous chants of "Susie, Susie" by her swimming fans, O'Neill held off a challenge from Slovakia's Martina Moravcová to strengthen her lead on the final lap before hitting the wall first in 1:58.24. Moravcova trailed behind by a small fraction of a second to capture another silver at these Games in 1:58.32, while Costa Rica's Claudia Poll, defending Olympic champion, added a second bronze to her hardware from the 400 m freestyle, in a sterling time of 1:58.81.

Russia's Nadezhda Chemezova and Germany's Kerstin Kielgass tied for fourth place in a matching time of 1:58.86, finishing off the podium by just five-hundredths of a second (0.05). Belarus' Natalya Baranovskaya pulled off a sixth-place finish in a national record of 1:59.28, while Romania's Camelia Potec (1:59.46) and China's Wang Luna (1:59.55) closed out the field.

Notable swimmers failed to reach the top 8 final, featuring world-record holder Franziska van Almsick, who faded shortly on the final lap and finished eleventh in the semi-finals; South Africa's Helene Muller, who posted a second-fastest prelims time (1:59.89) earlier but ended up only in ninth; and American duo Lindsay Benko and Rada Owen, both of whom earned a twelfth and a sixteenth spot, respectively.

Shortly after the Games, O'Neill announced her retirement from swimming, and was elected to the IOC Athletes' Commission, along with ten other athletes.

## Records

Prior to this competition, the existing world and Olympic records were as follows.

| **World record** | Franziska van Almsick (GER) | **1:56.78** | Rome, Italy | 6 September 1994 |  |
| --- | --- | --- | --- | --- | --- |
| **Olympic record** | Heike Friedrich (GDR) | **1:57.65** | Seoul, South Korea | 21 September 1988 |  |

## Results

### Heats

| Rank | Heat | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- | --- |
| 1 | 6 | 4 | Susie O'Neill | Australia | 1:59.14 | Q |
| 2 | 4 | 2 | Helene Muller | South Africa | 1:59.89 | Q, **AF** |
| 3 | 5 | 4 | Claudia Poll | Costa Rica | 2:00.11 | Q |
| 4 | 6 | 5 | Lindsay Benko | United States | 2:00.13 | Q |
| 5 | 4 | 4 | Camelia Potec | Romania | 2:00.18 | Q |
| 6 | 6 | 6 | Kerstin Kielgaß | Germany | 2:00.25 | Q |
| 7 | 5 | 5 | Franziska van Almsick | Germany | 2:00.37 | Q |
| 8 | 4 | 5 | Martina Moravcová | Slovakia | 2:00.46 | Q |
| 9 | 5 | 6 | Nadezhda Chemezova | Russia | 2:00.47 | Q |
| 10 | 4 | 3 | Natalya Baranovskaya | Belarus | 2:00.58 | Q |
| 11 | 6 | 1 | Carla Geurts | Netherlands | 2:00.60 | Q |
| 12 | 6 | 3 | Wang Luna | China | 2:00.89 | Q |
| 13 | 5 | 3 | Giaan Rooney | Australia | 2:00.99 | Q |
| 14 | 4 | 8 | Mandy Leach | Zimbabwe | 2:01.05 | Q, **NR** |
| 15 | 5 | 7 | Rada Owen | United States | 2:01.10 | Q |
| 16 | 4 | 1 | Sara Parise | Italy | 2:01.31 | Q |
| 17 | 5 | 2 | Yang Yu | China | 2:01.34 |  |
| 18 | 6 | 2 | Jessica Deglau | Canada | 2:01.42 |  |
| | 4 | 7 | Karen Pickering | Great Britain | |  |
| 20 | 4 | 6 | Solenne Figuès | France | 2:01.46 |  |
| 21 | 3 | 1 | Rania Elwani | Egypt | 2:01.93 | **NR** |
| 22 | 5 | 1 | Nina van Koeckhoven | Belgium | 2:02.15 |  |
| 23 | 6 | 8 | Laura Nicholls | Canada | 2:02.69 |  |
| 24 | 5 | 8 | Laura Roca | Spain | 2:03.37 |  |
| 25 | 3 | 2 | Zoi Dimoschaki | Greece | 2:04.06 |  |
| 26 | 3 | 5 | Olena Lapunova | Ukraine | 2:04.39 |  |
| 27 | 2 | 5 | Lára Hrund Bjargardóttir | Iceland | 2:05.22 |  |
| 28 | 3 | 4 | Chantal Gibney | Ireland | 2:05.24 |  |
| 29 | 2 | 6 | Vesna Stojanovska | Macedonia | 2:05.58 |  |
| 30 | 3 | 8 | Pilin Tachakittiranan | Thailand | 2:05.88 |  |
| 31 | 3 | 3 | Elina Partõka | Estonia | 2:05.90 |  |
| 32 | 3 | 6 | Tsai Shu-min | Chinese Taipei | 2:06.12 |  |
| 33 | 3 | 7 | Roh Joo-hee | South Korea | 2:07.21 |  |
| 34 | 2 | 7 | Ivanka Moralieva | Bulgaria | 2:07.61 |  |
| 35 | 2 | 3 | Anna Korshikova | Kyrgyzstan | 2:08.08 |  |
| 36 | 2 | 2 | Petra Banović | Croatia | 2:08.30 |  |
| 37 | 1 | 4 | Nisha Millet | India | 2:08.89 |  |
| 38 | 1 | 5 | Pamela Vásquez | Honduras | 2:15.83 |  |
| 39 | 1 | 3 | Marella Mamoun | Syria | 2:18.78 |  |
|  | 2 | 4 | Florencia Szigeti | Argentina | DSQ |  |
|  | 6 | 7 | Karen Legg | Great Britain | DNS |  |

### Semi-finals

#### Semi-final 1

| Rank | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- |
| 1 | 6 | Martina Moravcová | Slovakia | 1:59.75 | Q |
| 2 | 3 | Kerstin Kielgaß | Germany | 1:59.78 | Q |
| 3 | 2 | Natalya Baranovskaya | Belarus | 1:59.90 | Q, **NR** |
| 4 | 7 | Wang Luna | China | 1:59.97 | Q |
| 5 | 4 | Helene Muller | South Africa | 2:00.04 |  |
| 6 | 8 | Sara Parise | Italy | 2:00.07 |  |
| 7 | 5 | Lindsay Benko | United States | 2:00.27 |  |
| 8 | 1 | Mandy Leach | Zimbabwe | 2:00.60 |  |

#### Semi-final 2

| Rank | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- |
| 1 | 4 | Susie O'Neill | Australia | 1:59.37 | Q |
| 2 | 3 | Camelia Potec | Romania | 1:59.54 | Q |
| 3 | 5 | Claudia Poll | Costa Rica | 1:59.63 | Q |
| 4 | 2 | Nadezhda Chemezova | Russia | 1:59.69 | Q |
| 5 | 6 | Franziska van Almsick | Germany | 2:00.26 |  |
| 6 | 1 | Giaan Rooney | Australia | 2:00.84 |  |
| 7 | 7 | Carla Geurts | Netherlands | 2:00.88 |  |
| 8 | 8 | Rada Owen | United States | 2:03.34 |  |

### Final

| Rank | Lane | Name | Nationality | Time | Notes |
| --- | --- | --- | --- | --- | --- |
|  | 4 | Susie O'Neill | Australia | 1:58.24 |  |
|  | 2 | Martina Moravcová | Slovakia | 1:58.32 |  |
|  | 3 | Claudia Poll | Costa Rica | 1:58.81 |  |
| 4 | 6 | Nadezhda Chemezova | Russia | 1:58.86 |  |
| | 7 | Kerstin Kielgaß | Germany | |  |
| 6 | 1 | Natalya Baranovskaya | Belarus | 1:59.28 | **NR** |
| 7 | 5 | Camelia Potec | Romania | 1:59.46 |  |
| 8 | 8 | Wang Luna | China | 1:59.55 |  |

## InfoBox

| Women's 200-metre freestyle
at the Games of the XXVII Olympiad | |
| --- | --- |
| Venue | Sydney International Aquatic Centre |
| Date | 18 September 2000 (heats &
semi-finals)
19 September 2000 (final) |
| Competitors | 41 from 35 nations |
| Winning time | 1:58.24 |
| Medalists | |
| Susie O'Neill  Australia  Martina Moravcová  Slovakia  Claudia Poll  Costa Rica | |
|