title: The New Republic (novel)

abstract: The New Republic or Culture, Faith and Philosophy in an English Country House by English author William Hurrell Mallock (1849–1923) is a novel first published by Chatto and Windus of London in 1877. The work had its genesis as a serialization. In June–December 1876 it appeared as a series of sketches in Belgravia magazine.

text:
# The New Republic (novel)

***The New Republic** or Culture, Faith and Philosophy in an English Country House* by English author William Hurrell Mallock (1849–1923) is a novel first published by Chatto and Windus of London in 1877. The work had its genesis as a serialization. In June–December 1876 it appeared as a series of sketches in *Belgravia* magazine.

## Plot introduction

The novel is a satire consisting almost entirely of dialogue and mocking most of the important figures then at Oxford University, with regards to aestheticism and Hellenism.

## Characters

The famous people Mallock depicts are as follows, together with the names of the characters that represent them.

Matthew Arnold — Mr. Luke Thomas Carlyle — Donald Gordon William Kingdon Clifford — Mr. Saunders Violet Fane — Mrs. Sinclair  William Money Hardinge — Robert Leslie Thomas Huxley — Mr. Storks Benjamin Jowett — Dr. Jenkinson W. H. Mallock — Otho Laurence Walter Pater — Mr. Rose Edward Bouverie Pusey — Dr. Seydon John Ruskin — Mr. Herbert John Tyndall — Mr. Stockton

## Literary significance and criticism

The book became a best seller in its time and retains much of its humour and satirical bite today. As author David Daiches wrote in 1951, "If we can read through *The New Republic* without at one point or another being made to feel a little foolish, we are wise indeed."

Walter Pater is of particular interest because Mallock's apparent homophobia against him—expressed first in the more extensive treatment given the Mr. Rose character in the initial serialization—helped ruin Pater's public reputation as well as his career at Oxford. *Reading Wilde, Querying Spaces: An Exhibition Commemorating the 100th Anniversary of the Trials of Oscar Wilde* notes that, as Linda Dowling has observed, "Mr. Rose" is "the first in a long line of popular depictions of effeminate English aesthetes such as Gilbert's Bunthorne and Du Maurier's Postlewaite and Maudle". This depiction of Pater appeared during the competition for the Oxford Professorship of Poetry and played a role in convincing Pater to remove himself from consideration.

## Influence

*The New Republic* inspired a number of novels in which representative gatherings of intellectuals discuss important issues of the day in a country-house setting, including Goldsworthy Lowes Dickinson's *A Modern Symposium* (1905), John Buchan's *A Lodge in the Wilderness* (1906) — set in a multi-millionaire's lodge on the East Kenyan Plateau — and Ronald Knox's *Sanctions* (1924). Evelyn Waugh, in his *Life of Ronald Knox* writes that "Mallock's *New Republic* was an essential book to Ronald, perhaps his favourite work of secular literature outside the Classics." H. G. Wells's satirical novel *Boon* (1915) is explicitly indebted to *The New Republic*, even featuring the "villa by the sea" that is the setting for Mallock's novel.

## InfoBox

The New Republic
| First editions | |
| --- | --- |
| Author | William Hurrell Mallock |
| Language | English |
| Genre | satire |
| Publisher | Chatto and Windus |
| Publication date | 1877 |
| Publication place | United Kingdom |


title: Philippe Daudy

abstract: Philippe Daudy was a member of the French Resistance, a journalist, a novelist, a publisher and a businessman. An Anglophile Frenchman, he moved to England and wrote a book about the English.

text:
# Philippe Daudy

**Philippe Daudy** (17 June 1925 – 12 March 1994) was a member of the French Resistance, a journalist, a novelist, a publisher and a businessman. An Anglophile Frenchman, he moved to England and wrote a book about the English.

## Origins

Daudy was born on 17 June 1925 and spent his childhood in Ethiopia, where his father, Bernard Daudy, was the medical officer for the French-run Imperial Railway Company of Ethiopia, but died young from a snake bite. Daudy’s mother, a great beauty, later married Hubert Jules Deschamps, the historian and sociologist who governed French Somalia, Côte d'Ivoire and Senegal and ended his career in 1960 as Governor-General of the Colonies, at the peak of French colonial administration.

## Service in the Resistance

During the Second World War, Daudy served in a Resistance network operating in and around Lyons. He was wounded in an attack on a Gestapo transport depot at Villeurbanne and was awarded the Croix de Guerre. Interviewed in Marcel Ophüls's 1969 documentary on occupied France, *The Sorrow and the Pity*, Daudy was later to say:

> At its best the Resistance was the first classless society in France. The two classes became comrades in arms, sharing the same dangers, and even death.

## Writer

After the Second World War, Daudy worked as a correspondent for Agence France-Presse, covering the Greek Civil War, the Korean War, the Far East and Josip Broz Tito’s Yugoslavia. Daudy co-authored a leading work on the Korean War and later contributed to Thames Television’s leading television documentary history, *Korea: the Unknown War*.

Daudy continued to write and to publish prolifically. His works included:

* *Le Roi de Prusse* (1960), a novel
* *Neige a Capri* (first published in 1960, under the pseudonym of Paul Paoli)
* *Les Pigeons de Naples* (1961, under the pseudonym of Paul Paoli)
* *Bal a Bale* (1962, under the pseudonym of Paul Paoli)
* *L’Amour cousu d’or* (1963), a novel
* a preface to Eugène Fromentin’s *Dominique* (1965)
* a preface to an edition of Prosper Mérimée (1964)
* a preface to Hamilton’s *Memoires du comte de Gramont*\- (1965)
* *Les Amants d’Italie* (1966)
* *Le Vagabond de Malevie* (1977, under the pseudonym of Adrien Barraud)
* *Le Criminel precautionneux* (1978, under the pseudonym of Adrien Barraud)
* *La Force du Destin* (1981)
* *Naples*
* *Histoire generale de la peinture: Le XVIIe siecle*

## *Les Anglais*

In 1989, Daudy wrote *Les Anglais*, an affectionate analysis of the English national character, which was later translated into English by his daughter Isabelle Daudy and published in 1991. Unlike the French commentariat, however, the response from British critics to the book was lukewarm, with several reviews noting Daudy's fondness for cliché and his indifference to the experiences of ordinary people. One lacerating rebuttal came from *The Economist*, which criticised the author's supposedly affectionate insights as amounting to little more than a catalogue of perceived British inadequacies, noting acerbically that this may be why "the book has been immensely popular in France." Only occasionally did a supportive counter-analysis surface, such as that of the American academic Jim Obelkevich, who wrote in the journal *Contemporary British History* that "on every page \[Daudy\] takes some familiar British attitude or institution and throws fresh light on it."

## Other activities

Daudy began his own publishing house and co-founded the leading French literary prize now known as the Prix Décembre. He served as Vice-President of the Royaumont Foundation (based at Royaumont Abbey) and also made his own Armagnac.

Along with the Hon. Robin Johnstone, Daudy was a founding Honorary Secretary of the Franco-British Council in 1972. He was awarded the MBE for his services to Anglo-French relations.

## Family

Daudy married first Janine Sommer (marriage dissolved), by whom he had two daughters, Martine and Florence, who both live and work in Paris. He married secondly Barbara Guidotti (marriage dissolved), by whom he had one daughter, Isabelle, a writer and psychologist based in Toulouse (and married to the economist Professor Paul Seabright of the University of Toulouse).

On his death in Beijing on 12 March 1994, Daudy was survived by his third wife, Marie-Christine Goüin (daughter of the philanthropists Henri and Isabel Goüin and a great-great-granddaughter of the 19th century French civil engineer, Ernest Goüin). By her he had a son Clément (married to the British artist Kate Daudy), an economist, and a daughter, Mathilde, a singer and documentary-maker (married to musicologist Marcel Pérès). The family continue to live at Royaumont Abbey.


title: Philippe De Brouwer

abstract: Philippe J.S. De Brouwer is a European investment and banking professional as well as academician in finance and investing. As a scientist he is mostly known for his solution to the Fallacy of Large Numbers and his formulation of the Maslowian Portfolio Theory in the field of investment advice. He worked mainly in Belgium, Ireland and Poland, where he currently lives. He is associated to the University of Warsaw and has a collaboration with the Vlerick Business School, while working in risk management for a large banking corporation.

text:
# Philippe De Brouwer

**Philippe J.S. De Brouwer** (born 21 February 1969) is a European investment and banking professional as well as academician in finance and investing. As a scientist he is mostly known for his solution to the Fallacy of Large Numbers (formulated by Paul A Samuelson in 1963) and his formulation of the Maslowian Portfolio Theory in the field of investment advice (and annex theory Target Oriented Investment Advice).

He worked mainly in Belgium, Ireland and Poland, where he currently lives. He is associated to the University of Warsaw and has a collaboration with the Vlerick Business School, while working in risk management for a large banking corporation.

## Theories and other notable publications

### The solution to the Fallacy of Large Numbers (2001)

The \`\`Fallacy of Large Numbers\`\` as formulated by Paul A. Samuelson in 1963. This is a very important and fundamental paradox in investment advice. Indeed, financial advisers typically advice risky investments for longer time horizons. So that if one for example has an investment horizon of one year typically only cash and cash-like assets are advised. Shares (that are much more risky) are typically advised if the investment horizon is longer (depending on the country culture this is between 3 and 15 years). This seems to make sense, if one has 10K and wants to buy something of 10K on short term, investing in equities is risky as it would not be uncommon to lose 10% on such portfolio on a horizon of one year. The last few hundred years of capitalist history learns us that on longer horizons the probability that equities have a negative return is much lower. Therefore investment advisers will not advice equities on one year but on ten year it might be acceptable. This paradigm is fundamental to all investment advice, but in 1963 Samuelson wrote a short paper arguing that it is not rational to compound a mistake or in other words that "unfairness can only breed unfairness", meaning that it is not rational to accept a series of bets when one would not accept one of the atomic bets (if one is a utility optimizer).

This paradox was an important problem for every investor, investment advisor and academic that took his responsibility serious. The question if the rule of thumb that every advisor was using was a good one or not was open. Philippe De Brouwer published solved this puzzle and published a simple solution in 2001.

The counter-example was based on an asymmetrical utility function. To some extent it can be argued that the utility function used by De Brouwer and Van den Spiegel was a simplified version of what Harry Markowitz describes in his 1952 paper "The Utility of Wealth". The utility function has a kink in the actual wealth and decreases faster for losses than it increases for profits. It seems that with such utility function it is actually natural to "accept a series of bets while one should be rejected". More profoundly this seems to be the natural shape for the utility function of a loss averse investor. Adding this to the fact that all investors are loss averse, this result is to be considered as an important step in responsible investment advice.

### Maslowian Portfolio Theory (2009 and 2011)

Once the Fallacy of Large Numbers falsified, Philippe De Brouwer could further investigate investment advice and try to come up with a coherent framework for investment advice. Till then the only available theory was Markowitz "Mean Variance theory". The model is a simply MCDA (Multiple-criteria decision analysis heuristic). The idea is that selecting the optimal asset mix (aka "portfolio") one needs to optimize two functions: minimize "risk" and maximize "expected return". Because there will be no portfolios that has both the highest expected return and the lowest risk there is not one but rather an infinite set of "solutions" (not dominated solutions, mostly referred to as the "efficient frontier"). This means that there needs to be another principle to select one. Typically one uses a quadratic utility function $U=U(\sigma ,R)$, usually simplified to $U=R-\lambda \sigma ^{2}$. While theoretically appealing for its consistency and logical coherence, in practice it is not easy to estimate the parameter $\lambda $. This is, according to Prof. De Brouwer because (a) volatility is not even a risk measure, (b) the utility function is wrong and (c) the concept of one utility function (as opposed to one per investment project) does not even exist. Therefore, practitioners do not use this utility function at all but simply try to determine a "risk profile", which should be something as the "desired $\sigma $ for that investor". This non-existent concept is the determined with the most primitive MCDA method, the Weighted sum model.(see and

Taking a step back one will notice that the approach as presented in the mean variance theory is ignoring life-goals and hence can make sense for investors that are so rich that they never have to worry about subsistence and hence can consider money as the only life-goal. De Brouwer proposes to start from human needs. As a starting point he uses Maslow's hierarchy of needs, but he recognizes many critics and criticisms but concludes that what they all have in common is that human needs are separate mental accounts (are independent and each of them has is important if not fulfilled). This observation becomes the key to Maslowian Portfolio Theory, which might be summarized as "investors who save to fulfil non-monetary life-goals should use a separate portfolio for each investment goal". These portfolios should be optimized with a coherent risk measure taking into account the parameters from that goal (such as acceptable risk level, investment horizon, savings pattern, usage pattern). De Brouwer develops a theory "Target Oriented Investment Advice" that provides the mathematical framework. necessary to put this theory into practice.

### The Big R-Book: from data science to learning machines and big data

This opus magnus covers data science using the software  Homepage of the book:

The book is a story about data, and how to use it successfully in a private company. The book aims at increasing your personal brand and value, as well as shareholder value.

You can learn about statistical models, multi-criteria decision analysis, machine learning, artificial intelligence, big data, creating interactive websites, automated presentations, speed up code, program the GPU, etc. while learning to code in R. The book takes a pragmatic stance and gets you started!

### Other contributions

Noteworthy is De Brouwer's effort to make help practitioners understand the concept and importance of coherent risk measure (see eg.) and his contributions to apply theory into practice via risk management in financial institutions (see eg.)

## Practitioner in banking and investments

Prof. De Brouwer worked for Deutsche Bank, P&V Assurances, Fortis, KBC Bank, Royal Bank of Scotland and HSBC

He became CEO of Warta TFI and Warta Asset Management in 2004 (see, and )

Other offices held or holding:

* Philippe De Brouwer is member of the supervisory board of the "AGH University of Krakow"
* Member of the Patronage Council of The Economic University of Krakow

## Honorary Consul for Belgium with bailiwick Malopolskie and Podkarpacie

On 27 April 2017 the Belgium honorary consulate of Belgium was re-opened with Philippe De Brouwer as honorary consul. Honorary consuls of Belgium are entrusted with the fiduciary care of wellbeing of Belgian nationals abroad and can be a first contact point in case with travel related or other problems.

## InfoBox

| Philippe J.S. De Brouwer | |
| --- | --- |
| Born | (1969-02-21) 21 February 1969
Leuven, Belgium |
| Nationality | Belgian and Polish |
|  | |
| Academic career | |
| Field | Investment Management and Financial risk management |
| Institution | University of Warsaw
Vlerick Business School |
| School or
tradition | Vrije Universiteit Brussel |
| Alma mater | Vrije Universiteit Brussel, (PhD) |
| Contributions | Maslowian Portfolio Theory
solution to the Fallacy of Large Numbers |
|  | |


title: Phillips Barry

abstract:
Phillips Barry was an American academic and collector of traditional ballads in New England. Barry was educated privately before undergraduate and graduate studies at Harvard University studying folklore, theology, and classical and medieval literature. After graduating, he devoted himself to "the cultural history of the Celts and American colored lithographs" and then began collecting variations of both American and Anglo-American ballads in the northeast United States. In 1930 he founded the Folk-Song Society of the Northeast. He edited and regularly contributed to the group's Bulletin, which printed twelve issues from 1930 until Barry's death in 1937. In an obituary printed in 1938, folklorist George Herzog described his theory of "communal re-creation" as a significant contribution to the study of ballads in the field:
Mr. Barry, and Professor Louise Pound, attacked the theory of "communal ballad origin" according to which ballads were supposed to have originated through improvisation, by a group acting in concert. Mar. Barry suggested instead a theory of "communal re-creation," a process according to which songs created by individuals and handed down by tradition became remodeled and changed by practically each individual who sang them. The protagonists of the communal original theory in time modified their views considerably, and emphasis has turned from theorizing to patient research.
Phillips Barry's theories have not been without criticism. In 1964, eminent folklorist Tristram Coffin criticized Barry's handling of tragic ballads "Springfield Mountain" and "Fair Charlotte" as showing "disregard of narrative obituary tradition [that is] typical of ballad scholar in general," and disputed his method in dating of the ballads. During the summer of 1930, Helen Hartness Flanders began to correspond with Barry on the subject of an archive of traditional songs she had been collecting in Vermont for the Vermont Commission on Country Life. Initially they collaborated for the sake of finding Child Ballads in New England; at the time these songs were considered to be more prevalent in the South and were generally not associated with New England culture. Besides Flanders, Barry's contemporaries included Fannie Eckstorm, Marguerite Olney, Eloise Linscott, and Mary Winslow Smyth. Together, they collected New England songs from 1920 to 1960, documenting a fading musical tradition belonging to an bygone lifestyle. Barry's later work focused more on original ("native") American ballads rather than British ballads. His last work, published posthumously, was The Maine Woods Songster, his second volume of songs from the state. He was in the process of doing research on the ballads "The Three Sisters" and "Little Musgrave". Barry married Kate Fairbanks Puffer of Framingham, Massachusetts in 1914 and began an association with the Ebert School in 1921. He also cultivated fruit trees, possessing at his 70-acre Prospect Hill Farm near Groton, Massachusetts, an orchard of some six hundred trees; the house dated from 1680 or before and was one of the oldest structures in town. He was a pacifist, writing in 1925: "'Let not ambition,' etc. I hope, however, to live long enough to see war appraised at its true value, namely, as murder, without even the extenuation which permits the tempering of justice with mercy in dealing with cases of individual homicide."

text:
# Phillips Barry

**Phillips Barry** (July 18, 1880, Boston, Massachusetts – August 29, 1937) was an American academic and collector of traditional ballads in New England.

Barry was educated privately before undergraduate and graduate studies at Harvard University (A.B., 1900; A.M., 1901; S.T.B., 1913) studying folklore, theology, and classical and medieval literature. After graduating, he devoted himself to "the cultural history of the Celts and American colored lithographs" and then began collecting variations of both American and Anglo-American ballads in the northeast United States. In 1930 he founded the *Folk-Song Society of the Northeast*. He edited and regularly contributed to the group's *Bulletin*, which printed twelve issues from 1930 until Barry's death in 1937. In an obituary printed in 1938, folklorist George Herzog described his theory of "communal re-creation" as a significant contribution to the study of ballads in the field:

> Mr. Barry, and Professor Louise Pound, attacked the theory of "communal ballad origin" according to which ballads were supposed to have originated through improvisation, by a group acting in concert. Mar. Barry suggested instead a theory of "communal re-creation," a process according to which songs created by individuals and handed down by tradition became remodeled and changed by practically each individual who sang them. The protagonists of the communal original theory in time modified their views considerably, and emphasis has turned from theorizing to patient research.

Phillips Barry's theories have not been without criticism. In 1964, eminent folklorist Tristram Coffin criticized Barry's handling of tragic ballads "Springfield Mountain" and "Fair Charlotte" as showing "disregard of narrative obituary tradition \[that is\] typical of ballad scholar in general," and disputed his method in dating of the ballads.

During the summer of 1930, Helen Hartness Flanders began to correspond with Barry on the subject of an archive of traditional songs she had been collecting in Vermont for the Vermont Commission on Country Life. Initially they collaborated for the sake of finding Child Ballads in New England; at the time these songs were considered to be more prevalent in the South and were generally not associated with New England culture. Besides Flanders, Barry's contemporaries included Fannie Eckstorm, Marguerite Olney, Eloise Linscott, and Mary Winslow Smyth. Together, they collected New England songs from 1920 to 1960, documenting a fading musical tradition belonging to an bygone lifestyle. Barry's later work focused more on original ("native") American ballads rather than British ballads. His last work, published posthumously, was *The Maine Woods Songster*, his second volume of songs from the state. He was in the process of doing research on the ballads "The Three Sisters" and "Little Musgrave".

Barry married Kate Fairbanks Puffer of Framingham, Massachusetts in 1914 and began an association with the Ebert School in 1921. He also cultivated fruit trees, possessing at his 70-acre Prospect Hill Farm near Groton, Massachusetts, an orchard of some six hundred trees; the house dated from 1680 or before and was one of the oldest structures in town. He was a pacifist, writing in 1925: "'Let not ambition,' etc. I hope, however, to live long enough to see war appraised at its true value, namely, as *murder*, without even the extenuation which permits the tempering of justice with mercy in dealing with cases of individual homicide."

## Select Bibliography

* Barry, Phillips (1909). "Folk-music in America". *Journal of American Folklore*. **22** (83): 72–81. doi:10.2307/534309. JSTOR 534309.
* Barry, Phillips (1939). *The Maine Woods Songster*. Cambridge: Harvard University Press.
* Barry, Phillips; Eckstorm, Fannie Hardy; Smyth, Mary Winslow (1929). *British Ballads from Maine*. New Haven: Yale University Press. OCLC 163370217.
* Flanders, Helen Hartness; T. Coffin; B. Nettl; M. Olney; E.F. Ballard; P. Barry; G. Brown; A. Brown (1960–1965). *Ancient Ballads Traditionally Sung in New England, Volumes 1-4*. Philadelphia: University of Pennsylvania Press.
* Flanders, Helen Hartness; E.F. Ballard; G. Brown; P. Barry (1939). *The New Green Mountain Songster: Traditional Folk Songs of Vermont*. New Haven: Yale University Press.


title: Yves Jacques

abstract: Yves Jacques OC is a Canadian film, television and stage actor.

text:
# Yves Jacques

**Yves Jacques** OC (born 10 May 1956) is a Canadian film, television and stage actor.

## Life and career

Jacques was born in Quebec City in 1956. He studied theatre at the Cégep de Saint-Hyacinthe, and began acting on stage in both Quebec City and Montreal. He became more widely known to film and television audiences beginning in 1981 as a sketch performer in Télévision de Radio-Canada's annual *Bye Bye* New Year's Eve variety special, and soon began appearing more widely in film and television roles. To international audiences, he is best known as Claude, the gay academic in Denys Arcand's *The Decline of the American Empire* and *The Barbarian Invasions*. On stage, he is noted for originating the role of Lydie-Anne in the premiere of Michel Marc Bouchard's play *Lilies*.

He has been in several movies by French filmmaker Claude Miller, including *Of Woman and Magic* and *Little Lili*. His fame has continued to grow with films and theatrical productions in both France and Quebec. Since 2001, he has toured the world in two shows by Robert Lepage, *Far Side of the Moon (La Face cachée de la lune)* and *Le Projet Andersen*, where he played all the roles. Since 2018, he has appeared regularly in Mathieu Quesnel's theatrical creations. More recently, he played in *Aline* by Valérie Lemercier, in *Maria* by Alec Pronovost, and in Chloé Robichaud's *Les jours heureux*. In 2022, Yves Jacques played in Martin Villeneuve's *The 12 Tasks of Imelda (Les 12 travaux d'Imelda)*, co-starring playwright Robert Lepage and actress-singer Ginette Reno.

He was named Chevalier de l'Ordre des Arts et des Lettres by the Ministère de la Culture et de la Communication de France in February 2001, and was appointed an Officer of the Order of Canada in 2009, for his performances in theatre, television and film, in Canada and abroad.

He is openly gay.

## Filmography

Cinema Short films Television

## Distinctions

### Awards

### Nominations

* Nominated for the prix Jutra for best actor in 2000 for *Souvenirs intimes*

## Music

In 1981, he was singer-songwriter of the song *On ne peut pas tous être pauvres* (music by composerPierre Gagnon). Jacques also produced and realised(directed) the music video which is the first Québécois music video.

## InfoBox

| Yves JacquesOC | |
| --- | --- |
|  | |
| Born | (1956-05-10) 10 May 1956<br>Quebec City, Quebec, Canada |
| Occupation | Actor |
| Years active | 1980–present |


title: Phloeotribus dentifrons

abstract: Phloeotribus dentifrons is a species of crenulate bark beetle in the family Curculionidae. It is found in North America.

text:
# Phloeotribus dentifrons

***Phloeotribus dentifrons*** is a species of crenulate bark beetle in the family Curculionidae. It is found in North America.

## Further reading

* Lobl, I.; Smetana, A., eds. (2013). *Catalogue of Palaearctic Coleoptera, Volume 7: Curculionoidea I*. Apollo Books. ISBN 978-90-04-26093-1.
* Lobl, I.; Smetana, A., eds. (2013). *Catalogue of Palaearctic Coleoptera, Volume 8: Curculionoidea II*. Apollo Books. ISBN 978-90-04-25916-4.

## InfoBox

| *Phloeotribus dentifrons* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Curculionidae |
| Genus: | *Phloeotribus* |
| Species: | ***P. dentifrons*** |
| Binomial name | |
| ***Phloeotribus dentifrons***<br>(Blackman, 1921) | |
|


title: Phoenix23

abstract: Phoenix 23 are a three piece band from Northern Ireland. Formed in 2007, they consist of three cousins, Gav Campbell, Neil Donnelly & Glenn Donnelly. They had had multiple guest players in their band throughout the years but the core of the 3 main members keeps the band going strong! They had three songs in the soundtrack for the Ben Kingsley film Fifty Dead Men Walking, directed by Kari Skogland; two songs which were written solely for the film; "Hit the Ground Running", and "It’s a Blast", along with "Hurricane". Their debut album was produced by Supertramp’s guitarist Carl Verheyen, who also guests on lead guitar. It featured drummer/percussionist Steve DiStanislao and was produced by Bernard Matthews. In 2010, they had airplay on Cool FM in Northern Ireland, along with having reviews in Ireland, England, Italy and California.

text:
# Phoenix23

**Phoenix 23** are a three piece band from Northern Ireland. Formed in 2007, they consist of three cousins, Gav Campbell, Neil Donnelly & Glenn Donnelly. They had had multiple guest players in their band throughout the years (cousin Andy Cochrane, Deano, Steve Hodge, Mark Matthewson, John Kearns and Paul Kennedy) but the core of the 3 main members keeps the band going strong!

They had three songs in the soundtrack for the Ben Kingsley film *Fifty Dead Men Walking*, directed by Kari Skogland; two songs which were written solely for the film; "Hit the Ground Running" (featured in *Empire* magazine), and "It’s a Blast", along with "Hurricane".

Their debut album was produced by Supertramp’s guitarist Carl Verheyen, who also guests on lead guitar. It featured drummer/percussionist Steve DiStanislao and was produced by Bernard Matthews.

In 2010, they had airplay on Cool FM in Northern Ireland, along with having reviews in Ireland, England, Italy and California.

## Gav Campbell

Gav Campbell is the lead singer and songwriter for the band. He can play both drums and guitar, but is currently also a guitarist in the band. He has been a DJ on Cool FM, a station covering the Greater Belfast area, he now works behind the scenes. His sister Tina Campbell is a presenter on BBC.

## InfoBox

| Phoenix23 | |
| --- | --- |
| Phoenix 23 | |
| Background information | |
| Origin | Northern Ireland |
| Genres | Rock and roll, pop rock |
| Years active | 2007–present |
|  | |
| Members | Gav Campbell
Andy Cochrane
Glenn Donnelly
Neil Donnelly
 |
|  | |
| Website | Official website |


title: Phloeopeccania

abstract: Phloeopeccania is a genus of fungi within the family Lichinaceae. It contains three species.

text:
# Phloeopeccania

***Phloeopeccania*** is a genus of fungi within the family Lichinaceae. It contains three species.

## InfoBox

| *Phloeopeccania* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Lichinomycetes |
| Order: | Lichinales |
| Family: | Lichinaceae |
| Genus: | *Phloeopeccania*
J. Steiner |
|
| Type species | |
| *Phloeopeccania pulvinulina*
J.Steiner (1902) | |
| Species | |
| *P. anemoides*
*P. australiensis*
*P. hispanica*
*P. pulvinulina* | |


title: Phloeonemus catenulatus

abstract: Phloeonemus catenulatus is a species of cylindrical bark beetle in the family Zopheridae. It is found in Central America and North America.

text:
# Phloeonemus catenulatus

***Phloeonemus catenulatus*** is a species of cylindrical bark beetle in the family Zopheridae. It is found in Central America and North America.

## Further reading

* Horn, G. H. (1878). "Synopsis of the Colydiidae of the United States". *Proceedings of the American Philosophical Society*. **17** (101): 555–592. JSTOR 982656.
* Lobl, I.; Smetana, A., eds. (2013). *Catalogue of Palaearctic Coleoptera, Volume 5: Tenebrionoidea*. Apollo Books. ISBN 978-90-04-26090-0.

## InfoBox

| *Phloeonemus catenulatus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Zopheridae |
| Tribe: | Synchitini |
| Genus: | *Phloeonemus* |
| Species: | ***P. catenulatus*** |
| Binomial name | |
| ***Phloeonemus catenulatus***<br>Horn, 1878 | |
|


title: Phillips, Minneapolis

abstract: Phillips is a community in Minneapolis, just south of downtown. Traditionally, it was both a community and a neighborhood. Phillips is a diverse area in many ways: its population includes people of many nationalities; it has a mix of residential, commercial and industrial uses; and it is home to several large employers such as Abbott Northwestern Hospital, Wells Fargo Mortgage and Allina Health Care Services, along with small neighborhood businesses.

text:
# Phillips, Minneapolis

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1980 | 17,413 |  |  |
| 1990 | 17,247 |  | −1.0% |
| 2000 | 19,805 |  | 14.8% |
| 2010 | 20,315 |  | 2.6% |
| 2020 | 22,218 |  | 9.4% |

**Phillips** is a community in Minneapolis, just south of downtown. Traditionally, it was both a community and a neighborhood (in Minneapolis, a *neighborhood* is a subdivision of a *community*). Phillips is a diverse area in many ways: its population includes people of many nationalities; it has a mix of residential, commercial and industrial uses; and it is home to several large employers such as Abbott Northwestern Hospital, Wells Fargo Mortgage and Allina Health Care Services, along with small neighborhood businesses.

## History

On May 9, 2002, Phillips neighborhood was subdivided into four smaller neighborhoods. The official neighborhoods are now known as Ventura Village, Phillips West, East Phillips, and Midtown Phillips. Though not an officially designated neighborhood, Phillips also includes the Little Earth residential area. The boundaries of the Phillips community are Interstate 94 to the north, Hiawatha Avenue to the east, Lake Street to the south, and Interstate 35W to the west.

Phillips contains part of City Council Ward 6, represented by Jamal Osman, and Ward 9, represented by Jason Chavez.

The neighborhood was named after Wendell Phillips, a 19th century abolitionist. It was in this neighborhood that the American Indian Movement was founded in 1968.

The $189 million redevelopment of the vacant Sears building at Chicago Avenue and Lake Street into a mixed-use development of offices, hotel, retail and housing located in Midtown Phillips is one of the most important projects undertaken in the city in recent times. At the east side of the community, along the Hiawatha Avenue transit corridor, the Little Earth Trail connects many smaller neighborhoods, parks, businesses, and multi-use trails. 44°57′30″N 93°15′14″W / 44.9583°N 93.2538°W / 44.9583; -93.2538

## InfoBox

| Phillips | |
| --- | --- |
| Community | |
| Location of Phillips within the U.S. city of Minneapolis | |
| Country | United States |
| State | Minnesota |
| County | Hennepin |
| City | Minneapolis |
| City Council Wards | 6, 9 |
| Neighborhoods | List |
| Government | |
| Council Member, Ward 6 | Jamal Osman |
| Council Member, Ward 9 | Jason Chavez |
| Area | |
| Total | 1.569 sq mi (4.06 km2) |
| Population (2020) | |
| Total | 22,218 |
| Density | 14,000/sq mi (5,500/km2) |
| Time zone | UTC-6 (CST) |
| Summer (DST) | UTC-5 (CDT) |
| ZIP code | 55404, 55407, 55408 |
| Area code | 612 |


title: Phillips & Drew Kings

abstract: The Phillips & Drew Kings was a series of chess tournaments held in London, UK, in 1980, 1982 and 1984. Sponsored by the stockbroker firm Phillips & Drew and the Greater London Council (GLC), these were among the strongest chess tournaments ever held in London. They were 14-player all-play-all tournaments held over 13 rounds. The venue was County Hall, the meeting place of the GLC. A fourth tournament, the GLC Chess Challenge, was held in 1986, at a different venue and with changes in sponsorship, but with the same format. The 'Kings' tournaments were all category 13 or 14, and among the strongest in the world at the time. Alongside each was held a lower category (3-5) all-play-all 'Knights' tournament.

text:
# Phillips & Drew Kings

The **Phillips & Drew Kings** was a series of chess tournaments held in London, UK, in 1980, 1982 and 1984. Sponsored by the stockbroker firm Phillips & Drew and the Greater London Council (GLC), these were among the strongest chess tournaments ever held in London. They were 14-player all-play-all tournaments held over 13 rounds. The venue was County Hall, the meeting place of the GLC. A fourth tournament, the **GLC Chess Challenge**, was held in 1986, at a different venue and with changes in sponsorship, but with the same format.

The 'Kings' tournaments were all category 13 or 14, and among the strongest in the world at the time. Alongside each was held a lower category (3-5) all-play-all 'Knights' tournament.

## 1980 tournament

The inaugural tournament, in 1980, was held from the 10–25 April. The participants were: Walter Browne, Jan Timman, Florin Gheorghiu, Ulf Andersson, Viktor Korchnoi, Ljubomir Ljubojević, Bent Larsen, Gennadi Sosonko, Tony Miles, Nigel Short, Jonathan Speelman, Gyula Sax, Michael Stean, John Nunn.

**Result:** Miles, Korchnoi, Andersson 8.5/13, Sosonko, Speelman 7.5, Gheorghiu, Ljubojevic, Timman 7, Sax 6.5, Browne, Larsen, Stean 5.5, Nunn 4.5, Short 2 (14 players).

## 1982 tournament

In 1982, the tournament was held from 15 to 30 April. The participants were (in rating order): Anatoly Karpov, Jan Timman, Lajos Portisch, Boris Spassky, Ulf Andersson, Ljubomir Ljubojević, John Nunn, Larry Christiansen, Tony Miles, Yasser Seirawan, Jonathan Speelman, Efim Geller, Jonathan Mestel, Nigel Short.

**Result:** Karpov, Andersson 8.5/13, Seirawan 8, Speelman, Timman, Portisch, Ljubojevic 7, Spassky, Miles 6.5, Geller 6, Nunn 5.5, Christiansen, Mestel 5, Short 3.5 (14 players).

## 1984 tournament

In 1984, the tournament was a category 14 event. This was the first-ever all-GM tournament to be held in the United Kingdom, and took place from 26 April to 11 May. The participants were: Anatoly Karpov, Murray Chandler, Lev Polugaevsky, Jan Timman, Zoltán Ribli, Yasser Seirawan, Viktor Korchnoi, Rafael Vaganian, Ulf Andersson, Tony Miles, Jon Speelman, Jonathan Mestel, John Nunn, and Eugenio Torre.

**Result:** Karpov 9/13, Chandler, Polugaevsky 8, Timman 7.5, Ribli, Seirawan 7, Korchnoi, Vaganian 6.5, Andersson, Miles, Speelman 5.5, Mestel, Nunn, Torre 5 (14 players).

## 1986 tournament

The 1986 tournament, not involving Phillips and Drew, was the GLC Chess Challenge. It was the final event in the series, as the GLC itself had been abolished that same year. It was held at the Great Eastern Hotel, from 11 to 17 March. The participants were: Glenn Flear, Murray Chandler, Nigel Short, John Nunn, Zoltán Ribli, Lev Polugaevsky, Lajos Portisch, Boris Spassky, Jon Speelman, Rafael Vaganian, Bent Larsen, James Plaskett, Maxim Dlugy and Jonathan Mestel.

**Result:** Flear 8.5/13, Chandler, Short 8, Nunn, Ribli 7.5, Polugaevsky, Portisch, Spassky 7, Vaganian, Speelman 6, Larsen 5.5, Plaskett 5, Mestel, Dlugy 4 (14 players).

This was one of the greatest upsets in chess history. Flear, an International Master from Leicester, was a last-minute replacement for Karpov and was not expected to score well in such a high class field.


title: Phoenix, Mississippi

abstract: Phoenix is an unincorporated community in Yazoo County, Mississippi, United States. The community is at the intersection of Hebron Church Road and Mechanicsburg Road, 21 miles (34 km) south-southwest of Yazoo City.

text:
# Phoenix, Mississippi

**Phoenix** is an unincorporated community in Yazoo County, Mississippi, United States. The community is at the intersection of Hebron Church Road and Mechanicsburg Road, 21 miles (34 km) south-southwest of Yazoo City.

## InfoBox

| Phoenix, Mississippi | |
| --- | --- |
| Unincorporated community | |
|  | |
| PhoenixPhoenix | |
| Coordinates: 32°34′53″N 90°33′46″W / 32.58139°N 90.56278°W / 32.58139; -90.56278 | |
| Country | United States |
| State | Mississippi |
| County | Yazoo |
| Elevation | 354 ft (108 m) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| Area code | 662 |
| GNIS feature ID | 690987 |


title: Physcomitrium pyriforme

abstract: Physcomitrium pyriforme, commonly known as common bladder-moss, is a bryophyte native to all continents except South America and Antarctica. Its capsules mature beginning in late fall and through the spring. It is most commonly found in wet soils in disturbed locations. A highly variable species, size, leaf characters and shape of the capsule vary across its range, but often within populations as well.

text:
# Physcomitrium pyriforme

***Physcomitrium pyriforme***, commonly known as **common bladder-moss**, is a bryophyte native to all continents except South America and Antarctica. Its capsules mature beginning in late fall and through the spring. It is most commonly found in wet soils in disturbed locations. A highly variable species, size, leaf characters and shape of the capsule vary across its range, but often within populations as well.

## InfoBox

| Common bladder-moss | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| Division: | Bryophyta |
| Class: | Bryopsida |
| Subclass: | Funariidae |
| Order: | Funariales |
| Family: | Funariaceae |
| Genus: | *Physcomitrium* |
| Species: | ***P. pyriforme*** |
| Binomial name | |
| ***Physcomitrium pyriforme***<br>Hedw. | |
|


title: Piano Concerto (Cowell)

abstract: Henry Cowell wrote his Piano Concerto in 1928. The piece contains many innovative uses of dissonance, cluster chords and extended uses of form.

text:
# Piano Concerto (Cowell)

Henry Cowell wrote his ***Piano Concerto*** (formally ***Concerto for Piano and Orchestra***) in 1928.

The piece contains many innovative uses of dissonance, cluster chords and extended uses of form.

## History

Cowell completed his Piano Concerto in 1928, and premiered the first movement as soloist with the Conductorless Orchestra of New York City in April 1930; he was also the soloist in the first complete performance on December 28, 1930, with the Havana Philharmonic conducted by Pedro Sanjuan. It was only until 1978, long after the composer's death, that its first full performance was done in the United States.

## Movements

The concerto is in three movements.

### I. Polyharmony

The first movement, *Polyharmony*, begins with an orchestral tutti.

### II. Tone Cluster

### III. Counter Rhythm

## Instrumentation

Woodwinds 2 Flutes 2 Oboes 2 Clarinets 2 Bassoons Brass 2 French Horns 2 Trumpets 3 Trombones (third doubling bass trombone) Tuba Percussion Timpani Unpitched percussion (snare drum, tam-tam, cymbal) Piano Strings 16 Violins 8 Violas 8 Cellos 4 Basses

## InfoBox

| *Piano Concerto* | |
| --- | --- |
| by Henry Cowell | |
| Photo of Henry Cowell c.1924 | |
| Catalogue | HC 440 |
| Composed | 1928 |
| Performed | December 28, 1930 |
| Movements | 3 |
| Scoring | Piano concerto |


title: Piano Concerto (Grime)

abstract: Helen Grime's Piano Concerto was written for the between 2016 and 2017 on a joint commission from Wigmore Hall and the Birmingham Contemporary Music Group. Its world premiere was given by the pianist Huw Watkins, Grime's husband, and members of the Birmingham Contemporary Music Group at Wigmore Hall, London, on 3 March 2017.

text:
# Piano Concerto (Grime)

Helen Grime's **Piano Concerto** was written for the between 2016 and 2017 on a joint commission from Wigmore Hall and the Birmingham Contemporary Music Group. Its world premiere was given by the pianist Huw Watkins, Grime's husband, and members of the Birmingham Contemporary Music Group at Wigmore Hall, London, on 3 March 2017.

## Composition

The concerto lasts about 12 minutes and is cast in three short, numbered movements. Unlike other piano concertos, which are typically cast for piano and orchestra, Grime's concerto is scored much more sparingly for piano and a chamber ensemble of only 6 players. In the score program note, Grime said that her intention "was to create an intimate piece which is as much about chamber music as moments of great virtuosity and stillness." The concerto was also written in part as a homage to the music of Elliott Carter and Pierre Boulez, with Grime citing Carter's Triple Duo (1982) and Boulez's *Sur Incises* (1996/1998) as personal favorites.

### Instrumentation

The work is scored for solo piano and a chamber ensemble comprising flute (doubling alto flute), clarinet (doubling bass clarinet), one percussionist (playing vibraphone, crotales, and large suspended cymbal), harp, violin, and cello.

## Reception

Reviewing the world premiere, Erica Jeal of *The Guardian* called the concerto "a compact work of glittering sonorities carefully applied, with a hectic finale that explodes and then vanishes into thin air." Jeal questioned the classification of the piece as a piano concerto, however, adding, "While it certainly demands virtuosic display from the pianist – something Watkins supplied with assurance – the focus is shared between all seven players. Really it's a delicately wrought chamber piece." Despite this, she nevertheless concluded, "the Piano Concerto is a demonstration of Grime's ability to create dense and fascinating textures with the utmost economy." Hannah Nepil of the *Financial Times* similarly said the writing was "as much maths as music," but that "it also imbues every instrument with personality."


title: Pic de la Pala Alta de Sarradé

abstract: Pic de la Pala Alta de Sarradé is a mountain of the Pyrenees, Catalonia, Spain. Located in the Aigüestortes i Estany de Sant Maurici National Park, it has an elevation of 2,983 metres above sea level).

text:
# Pic de la Pala Alta de Sarradé

**Pic de la Pala Alta de Sarradé** is a mountain of the Pyrenees, Catalonia, Spain. Located in the Aigüestortes i Estany de Sant Maurici National Park, it has an elevation of 2,983 metres above sea level).

## InfoBox

| Pic de la Pala Alta de Sarradé | |
| --- | --- |
| Pala Alta de Sarradé peak seen from Vall de Comalesbienes | |
| Highest point | |
| Elevation | 2,893 m (9,491 ft) |
| Listing | Mountains in Catalonia |
| Coordinates | 42°34′27.1″N 0°53′16.82″E / 42.574194°N 0.8880056°E / 42.574194; 0.8880056 |
| Geography | |
| Pic de la Pala Alta de SarradéLocation in the Pyrenees | |
| Location | Vall de Boí (Alta Ribagorça), Catalonia |
| Parent range | Pyrenees |


title: Piano Trio in A minor (Sibelius)

abstract: The Piano Trio in A minor, Hafträsk, JS 207, is a four-movement chamber piece for violin, cello, and piano written in the summer of 1886 by the Finnish composer Jean Sibelius. The trio derives its nickname from the small village of Hafträsk on Norrskata, an island located in the Turku archipelago, at which the Sibelius family vacationed in 1886. Immediately upon its completion, Sibelius substantially revised the first movement; this version, however, is fragmentary, although the cello part is complete.

text:
# Piano Trio in A minor (Sibelius)

The **Piano Trio** in A minor, ***Hafträsk***, JS 207, is a four-movement chamber piece for violin, cello, and piano written in the summer of 1886 by the Finnish composer Jean Sibelius. The trio derives its nickname from the small village of Hafträsk on Norrskata, an island located in the Turku archipelago, at which the Sibelius family vacationed in 1886. Immediately upon its completion, Sibelius substantially revised the first movement; this version, however, is fragmentary, although the cello part is complete.

## Structure

The A minor trio is in four movements, as follows:

1. *Allegro maestoso*
2. *Andantino*
3. Scherzo. *Vivace*
4. Rondo. \[*without tempo marking*\]

The *Hafträsk* Trio remains in manuscript.

## Discography

The Finnish musicians Jaakko Kuusisto (violin), Marko Yltinen (cello), and Folke Gräsbeck (piano) made the world premiere studio recording of the *Hafträsk* Trio in 2002 for BIS. The table below lists this and other commercially available recordings:

| No. | Violin | Cello | Piano | Runtime | Rec. | Recording venue | Label | Ref. |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Jaakko Kuusisto | Marko Yltinen | Folke Gräsbeck | 21:59 | 2002 | Danderyds gymnasium | BIS |  |
| 2 | Petteri Iivonen | Samuli Peltonen | Juho Pohjonen | 19:34 | 2016 | Segerstrom Center for the Arts | Yarlung |  |

## Notes, references, and sources

Notes References  1. Dahlström 2003, pp. 635–636.
2. Dahlström 2003, p. 635.
3. Barnett 2007, pp. 19–20.
4. Dahlström 2003, p. 636.
5. Dahlström 2003, pp. 505, 636.
Sources  * Barnett, Andrew (2007). *Sibelius*. New Haven: Yale University Press. ISBN 978-0-300-11159-0.
* Dahlström, Fabian \[in Swedish\] (2003). *Jean Sibelius: Thematisch-bibliographisches Verzeichnis seiner Werke* \[*Jean Sibelius: A Thematic Bibliographic Index of His Works*\] (in German). Wiesbaden: Breitkopf & Härtel. ISBN 3-7651-0333-0.

## InfoBox

| Piano Trio in A minor | |
| --- | --- |
| *Hafträsk* | |
| by Jean Sibelius | |
| The composer (c.1885–1888) | |
| Catalogue | JS 207 |
| Composed | 1886 (1886) |
| Duration | 21 mins. |
| Movements | 4 |


title: Phrynobatrachus plicatus

abstract: Phrynobatrachus plicatus is a species of frog in the family Petropedetidae. It is found in Côte d'Ivoire, Ghana, Guinea, Liberia, and Nigeria. Its natural habitats are subtropical or tropical moist lowland forest, freshwater marshes, and intermittent freshwater marshes. It is threatened by habitat loss.

text:
# Phrynobatrachus plicatus

***Phrynobatrachus plicatus*** is a species of frog in the family Petropedetidae. It is found in Côte d'Ivoire, Ghana, Guinea, Liberia, and Nigeria.

Its natural habitats are subtropical or tropical moist lowland forest, freshwater marshes, and intermittent freshwater marshes. It is threatened by habitat loss.

## InfoBox

| *Phrynobatrachus plicatus* | |
| --- | --- |
|  | |
| In Nyamebe Bepo Forest Reserve, Ashanti Region | |
|  | |
| In Kakum National Park
Both in Ghana | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Phrynobatrachidae |
| Genus: | *Phrynobatrachus* |
| Species: | ***P. plicatus*** |
| Binomial name | |
| ***Phrynobatrachus plicatus***
(Gunther, 1858) | |
|
| Synonyms | |
| *Phrynobatrachus aelleni* Loveridge, 1955 | |


title: Piano Sonata No. 12 (Mozart)

abstract: The Piano Sonata No. 12 in F major, K. 332 (300k) by Wolfgang Amadeus Mozart was published in 1784 along with the Piano Sonata No. 10 in C major, K. 330, and Piano Sonata No. 11, K. 331. Mozart wrote these sonatas either while visiting Munich in 1781, or during his first two years in Vienna. Some believe, however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold. All three sonatas were published in Vienna in 1784 as Mozart's Op. 6.

text:
# Piano Sonata No. 12 (Mozart)

The **Piano Sonata No. 12** in F major, K. 332 (300k) by Wolfgang Amadeus Mozart was published in 1784 along with the Piano Sonata No. 10 in C major, K. 330, and Piano Sonata No. 11, K. 331. Mozart wrote these sonatas either while visiting Munich in 1781, or during his first two years in Vienna. Some believe, however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold. All three sonatas were published in Vienna in 1784 as Mozart's Op. 6.

## Movements

The sonata consists of three movements and takes approximately 18 minutes to perform (25 minutes with repeats).

### I. *Allegro*

The first movement is in a classical sonata form, with repeats for the exposition, the development and recapitulation. There are two basic characteristics exemplified in the first movement: the song-like themes and the combination of styles. Mozart uses diverse styles including galant homophony, learned counterpoint, and even the intense *Sturm und Drang* style.

The first theme of the exposition begins with a right hand melody over a left hand Alberti bass figure. Next, there is a short melody with the left hand echoing it, while the right hand plays a two-part phrase that includes a Mordent. Immediately following thereafter is parallel motion in both hands in very similar rhythm. A sudden change follows, with the F major key changing into the relative minor key, D minor at measure 23. The second theme (m. 41) begins in the dominant key of C major, is in galant style, and is immediately restated in varied form (m. 49). The remainder of the exposition includes many forte piano dynamics, hemiolas, parallel thirds in the right hand, trills in the right hand, and left hand octaves and broken chords. The exposition ends at measure 93 in C major.

The development section begins at measure 94 with a new melody, focusing on the transitional passage between the second and closing themes in the exposition. As in the exposition, the development includes strikingly similar musical characteristics such as the contrasting forte piano dynamics, hemiolas, left hand octaves, and parallel thirds in the right hand.

The first movement concludes with the recapitulation starting at measure 133, where the first thematic area returns unchanged, the transition modulates to distant harmonies yet closes on the tonic, and the remainder of the exposition returns, transposed into the tonic.

In the 1923 novel *Antic Hay* by Aldous Huxley, this sonata is the one Gumbril thinks of every time he imagines Emily's body; from his description of the key sequence, he is thinking specifically of the first movement.

### II. *Adagio*

The second movement is in B-flat major in an elaborately ornamented sonatina form. At the beginning, there is a melody accompanied by an Alberti bass figure in the left hand. The next phrase is the same, except the key immediately changes to the parallel minor, B-flat minor. A lyrical passage with a minor descending scale ends with the dominant key. The music then turns happy and joyful, until the end, when the phrases end with a dominant seventh chord of B-flat major, which resolves into the first degree.

In the 1994 film *Immortal Beloved*, Giulietta Guicciardi is heard playing this piece during a piano lesson with Ludwig van Beethoven.

### III. *Allegro assai*

The last movement is a rollicking virtuoso movement in **6**
**8** time signature in the key of F major. It starts with a forte chord and is followed by a passage of fast 16th notes in the right hand. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th-note passage. There is a change of character in measure 16 where the music is marked ***p*** *dolce* and the right hand has a simple melody embellished with ornamentation and back-and-forth contrasting legato to staccato articulations. Measure 22 displays yet another character change, where both hands are playing in unison (one octave apart) forte and staccato while moving in an ascending sixth sequential pattern. The music briefly modulates to D minor through octaves and broken chord patterns. This is then followed by C major (measures 41–49), and then C minor (measures 50–64), before coming back to C major at measure 65 and staying in the dominant key through the end of the exposition. Throughout the entire exposition, Mozart uses the model sequence technique, passages of broken chords, parallel motion, scales, and contrasting dynamics and articulations.

The development section begins at measure 91, restating the theme from the exposition, but in C minor. The first half of the development uses the model sequence technique, repeating a 4-measure idea of continuous 16th notes constructed of a descending scale, followed by parallel sixths between the left and right hand lower voice, followed by a broken dominant seventh chord. This section goes through modulations from C minor, to D major, G major, C major again, F major, and then finally to B major beginning at measure 112. The second half of the development section (starting at measure 112) presents a new melodic theme, followed by several broken chords before finally arriving at a dominant chord at measure 139. It is implied that the music is 'standing on the dominant' from measure 139 until the recapitulation returns at measure 148, ending on a perfect authentic cadence.

The recapitulation presents the first theme unaltered until measure 169. The remaining recapitulation presents the same thematic ideas as the exposition, just in slightly altered versions. It concludes with a pianissimo cadence, strikingly different in comparison to the opening of the movement.

## InfoBox

| Piano Sonata No. 12 | |
| --- | --- |
| by W. A. Mozart | |
| Beginning | |
| Key | F major |
| Catalogue | K. 332 / 300k |
| Style | Classical period |
| Composed | 1783 (1783) |
| Published | 1784 |
| Movements | Three (*Allegro*, *Adagio*, *Allegro assai*) |


title: Piero della Francesca

abstract: Piero della Francesca was an Italian painter, mathematician and geometer of the Early Renaissance, nowadays chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes The History of the True Cross in the Basilica of San Francesco in the Tuscan town of Arezzo.

text:
# Piero della Francesca

**Piero della Francesca** (/ˌpjɛər ˌdɛlə frænˈɛskə/ *PYAIR-oh DEL-ə fran-CHESK*, US also /- frɑːnˈ-/ *- frahn-*; Italian: \[ˈpjɛːro della franˈtʃeska\] ;  **Piero di Benedetto**; c.1415 – 12 October 1492) was an Italian painter, mathematician and geometer of the Early Renaissance, nowadays chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes *The History of the True Cross* in the Basilica of San Francesco in the Tuscan town of Arezzo.

## Biography

### Early years

Piero was born Piero di Benedetto in the town of Borgo Santo Sepolcro, modern-day Tuscany, to Benedetto de' Franceschi, a tradesman, and Romana di Perino da Monterchi, members of the Florentine and Tuscan Franceschi noble family. His father died before his birth, and he was called Piero della Francesca after his mother, who was referred to as "la Francesca" due to her marriage into the Franceschi family (similar to Lisa Gherardini who was known as "la Gioconda" through her marriage into the Giocondo family). Romana supported his education in mathematics and art.

He was most probably apprenticed to the local painter Antonio di Giovanni d'Anghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. He certainly took notice of the work of some of the Sienese artists active in San Sepolcro during his youth; e.g. Sassetta. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of Sant'Egidio in Florence, now lost. In Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello, and Brunelleschi. The classicism of Masaccio's frescoes and his majestic figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Piero's undocumented work is difficult because his style does not seem to have developed over the years.

### Mature work

Piero returned to his hometown in 1442 and was elected to the City Council of Sansepolcro. Three years later, he received his first commission, to paint the *Madonna della Misericordia* altarpiece for the church of the Misericordia in Sansepolcro, which was completed in the early 1460s. In 1449 he executed several frescoes in the Castello Estense and the church of Sant'Andrea of Ferrara, now also lost. His influence was particularly strong in the later Ferrarese allegorical works of Cosimo Tura.

The *Baptism of Christ*, now in the National Gallery in London, was completed in about 1450 for the high altar of the church of the Priory of S. Giovanni Battista at Sansepolcro. Other notable works are the frescoes of *The Resurrection* in Sansepolcro, and the *Madonna del parto* in Monterchi, near Sansepolcro.

Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta. In 1451, during that sojourn, he executed the famous fresco of *St. Sigismund and Sigismondo Pandolfo Malatesta* in the Tempio Malatestiano, as well as a portrait of Sigismondo. In Rimini, Piero may have met the famous Renaissance mathematician and architect Leon Battista Alberti, who had redesigned the Tempio Malatestiano, although it is known that Alberti directed the execution of his designs for the church by correspondence with his building supervisor. Thereafter Piero was active in Ancona, Pesaro and Bologna.

In 1454, he signed a contract for the *Polyptych of Saint Augustine* in the church of Sant'Agostino in Sansepolcro. The central panel of this polyptych is lost, and the four panels of the wings, with representations of saints, are now scattered around the world. A few years later, summoned by Pope Nicholas V, he moved to Rome, where he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, painting frescoes in the Vatican Palace, which have since been destroyed.

### Frescoes in San Francesco at Arezzo

In 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished in 1464. *The History of the True Cross* cycle of frescoes is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from legendary medieval sources as to how timber relics of the True Cross came to be found. These stories were collected in the *Golden Legend* of Jacopo da Varazze (Jacopo da Varagine) of the mid-13th century.

### Piero's activity in Urbino

At some point, Giovanni Santi invited Piero to Urbino, where Piero "executed several commissions for Duke Federico da Montefeltro." *The Flagellation* is generally considered Piero's oldest work in Urbino (c. 1455–1470). It is one of the most famous and controversial pictures of the early Renaissance. As discussed in its own entry, it is marked by an air of geometric sobriety, in addition to presenting a perplexing enigma as to the nature of the three men standing at the foreground.

Another famous work painted in Urbino is the *Double Portrait* of Federico and his wife Battista Sforza, in the Uffizi. The portraits in profile take their inspiration from large bronze medals and stucco roundels with the official portraits of Federico and his wife. Other paintings made in Urbino are the monumental Montefeltro Altarpiece (1474) in the Brera Gallery in Milan and the *Madonna of Senigallia*.

In Urbino Piero met the painters Melozzo da Forlì, Fra Carnevale, and the Flemish Justus van Gent, the mathematician Fra Luca Pacioli, the architect Francesco di Giorgio Martini, and probably also Leon Battista Alberti.

### Later years

In his later years, painters such as Perugino and Luca Signorelli frequently visited his workshop. He completed the treatise *On Perspective in Painting* in the mid-1470s to 1480s. By 1480, his vision began to deteriorate, but he continued writing treatises such as *Short Book on the Five Regular Solids* in 1485. It is documented that Piero rented a house in Rimini in 1482. Piero made his will in 1487 and he died five years later, on 12 October 1492, in his own house in Sansepolcro. He left his possessions to his family and the church.

## Criticism and interpretation

In a 2013 exhibition, the Frick Collection in New York collected seven of the eight paintings of Piero known to exist in the United States. Of the seven paintings in the exhibit, critic Jerry Saltz writing in *New York* magazine singled out Piero's *Virgin and Child Enthroned With Four Angels* for its exemplary qualities.

Saltz wrote, "The Virgin and child are elevated two steps. They are in a world itself apart from this world apart. Mary isn't looking at her child and looks instead at the rose he reaches for. You begin to glean the revelation she is having. The flower represents love, devotion, and beauty. It also symbolizes blood and the crown of thorns Christ will wear. This child who will suffer a horrendous death reaches for his acceptance of fate. Mary does not pull the flower back. You sense an inner agony, noticing her deep-blue robe open to reveal scarlet beneath, symbol of outward passion and pain to come. In the dead-center vertical line of the painting is Christ's right palm that will be nailed to the cross."

By contrast, Walter Kaiser, reviewing the exhibition in *The New York Review of Books*, wrote, "The most splendid picture in the Frick exhibition is the magnificent figure of Saint Augustine from the Museu Nacional de Arte Antiga in Lisbon, a companion to Saint John the Evangelist \[owned by the Frick Collection\] on the Sant'Agostino altarpiece".

## Work in mathematics and geometry

Piero's deep interest in the theoretical study of perspective and his contemplative approach to his paintings are apparent in all his work. In his youth, Piero was trained in mathematics, which most likely was for mercantilism. Three treatises written by Piero have survived to the present day: *Trattato d'Abaco (Abacus Treatise)*, *De quinque corporibus regularibus* (*On the Five Regular Solids*) and *De Prospectiva pingendi* (*On Perspective in painting*). The subjects covered in these writings include arithmetic, algebra, geometry and innovative work in both solid geometry and perspective. Much of Piero's work was later absorbed into the writing of others, notably Luca Pacioli. Piero's work on solid geometry was translated in Pacioli's *Divina proportione*, a work illustrated by Leonardo da Vinci. Biographers of his patron Federico da Montefeltro of Urbino record that he was encouraged to pursue the interest in perspective which was shared by the Duke.

In the late 1450s, Piero copied and illustrated the following works of Archimedes: *On the Sphere and Cylinder*, *Measurement of a Circle*, *On Conoids and Spheroids*, *On Spirals*, *On the Equilibrium of Planes*, *The Quadrature of the Parabola*, and *The Sand Reckoner*. The manuscript consists of 82 folio leaves, is held in the collection of the Biblioteca Riccardiana and is a copy of the translation of the Archimedean corpus made by Italian humanist Iacopo da San Cassiano.

## Inspirations

Bohuslav Martinů wrote a three movement work for orchestra entitled *Les Fresques de Piero della Francesca*. Dedicated to Rafael Kubelik, it was premiered by Kubelik and the Vienna Philharmonic at the 1956 Salzburg Festival.

Piero's geometrical perfection and the almost magic atmosphere of the light in his painting inspired modern painters like Giorgio de Chirico, Massimo Campigli, Felice Casorati, and Balthus.

## Selected works

**Footnotes**

**Citations**

1. Turner, A. Richard (1976). "Piero della Francesca". In William D. Halsey (ed.). *Collier's Encyclopedia*. Vol. 19. New York: Macmillan Educational Corporation. pp. 40–42.
2. "Piero della Francesca". *Oxford Dictionaries UK English Dictionary*. Oxford University Press.
3. "Piero della Francesca". *The American Heritage Dictionary of the English Language* (5th ed.). HarperCollins. Retrieved 31 May 2019.
4. "Piero della Francesca". *Merriam-Webster.com Dictionary*. Merriam-Webster. Retrieved 31 May 2019.
5. Vasari, Giorgio, *Lives of the Most Excellent Painters, Sculptors, and Architects*, 1568.
6. Durant & Durant 2011, p. 462.
7. Banker, James R., *The Culture of Sansepolcro during the Youth of Piero della Francesca*, The University of Michican Press, 2003, p.159.
8. Banker, James R., "Piero della Francesca as Assistant to Antonio d'Anghiari in the 1430s: Some Unpublished Documents",*The Burlington Magazine*, Vol. 135, No. 1078 (January 1993). pp. 16–21. JSTOR /885421.
9. Durant & Durant 2011, p. 463.
10. The four saints are *Saint Augustine*, Museu de Arte Antiga, Lisbon; *Saint Michael*, National Gallery, London; *Saint John the Evangelist*, Frick Collection, New York; and *Saint Nicholas of Tolentino*, Museo Poldi Pezzoli, Milan. The paintings are identified and pictured in Cole, Bruce, *Piero della Francesca: Tradition and Innovation in Renaissance Art*, pp. 44-45, and in Pope-Hennessy, John, *The Piero della Francesca Trail* (2002), pp. 20-21. (Pope-Hennessy believes that the painting of Saint John the Evangelist is probably actually St. Simon, p. 19.)
11. Durant & Durant 2011, p. 464.
12. "The Golden Legend, or Lives of the Saints" Volume Three, retrieved on 22 May 2007.
13. Durant & Durant 2011, p. 466.
14. Cole, Bruce, *Piero della Francesca: Tradition and Innovation in Renaissance Art*, p. 62.
15. Durant & Durant 2011, p. 465.
16. Israëls, Machtelt Brüggen, *Piero della Francesca and the Invention of the Artist*, Reaktion Books, 2020, p. 7.
17. Saltz, Jerry, "Saltz on Piero della Francesca at the Frick". *New York* magazine, March 3, 2013.
18. Kaiser, Walter, "The Noble Dreams of Piero", *The New York Review of Books*, March 21, 2013.
19. Field, J. V. (2005). *Piero della Francesca. A Mathematician's Art* (PDF). Yale University Press. ISBN 0-300-10342-5.
20. "Piero della Francesca". *Oxford Art Online*.
21. Livio, Mario (2003) \[2002\]. *The Golden Ratio: The Story of Phi, the World's Most Astonishing Number* (First trade paperback ed.). New York City: Broadway Books. p. 126. ISBN 0-7679-0816-3.
22. James Banker, *A Manuscript of the Works of Archimedes in the Hand of Piero della Francesca*, «Burlington Magazine», CXLVII, March 2005, pp. 165–69.
23. "On the Sphere and the Cylinder; On the Measurement of the Circle; On Conoids and Spheroids; On Spirals; On the Equilibrium of Planes; On the Quadrature of the Parabola; The Sand Reckoner". *World Digital Library*. 1450–1460. Retrieved 13 July 2013.
24. Paolo d'Alessandro e Pier Daniele Napolitani, *Archimede latino.Iacopo da San Cassiano e il corpus archimedeo alla metà del Quattrocento*, Paris, Les Belles Lettres, 2012.

### Sources

## Further reading

* Banker, James R., *Piero della Francesca: Artist and Man*, Oxford University Press, 2014,
* Berenson, Bernard, *Piero della Francesca* or *The Ineloquent in Art*, New York: The Macmillan Company, 1954.
* Chieli, Francesca, "*La grecità antica e bizantina nell'opera di Piero della Francesca*", Firenze, 1993.
* Christiansen, Keith, *Piero Della Francesca: Personal Encounters*, The Metropolitan Museum of Art, New York, 2013. With contributions by Roberto Belluci, Cecilia Frosinini, Anna Pizzati, and Chiara Rossi Scarzanella. ISBN 978-1-58839-529-0.
* Clark, Kenneth, *Piero della Francesca*. Phaidon Publishers. First ed. 1951, second ed. 1969.
* Cole, Bruce, *Piero della Francesca: Tradition and Innovation in Renaissance Art*, HarperCollins Publishers, 1991. ISBN 0-06-430906-1.
* Damisch, Hubert, *Un souvenir d'enfance par Piero della Francesca*, Edition du Seuil, Paris, 1997; Engl. ed.: *A Childhood Memory by Piero della Francesca*, Stanford University Press, 2007. ISBN 0-8047-3442-9.
* Ginzburg, Carlo, *Indagini su Piero*, Eunaudi, Torino, 1982; Engl. ed.: *The Enigma of Piero: Piero della Francesca*, Verso, 1985, new edition 2002. ISBN 1-85984-378-6.
* Hendy, Philip, *Piero Della Francesca and the Early Renaissance*, New York: Macmillan, 1968, and London: Weidenfeld & Nicolson, 1968.
* Israëls, Machtelt Brüggen, *Piero della Francesca and the Invention of the Artist*, Reaktion Books, 2020. ISBN 978-1789143218.
* Kaiser, Walter, "The Noble Dreams of Piero", *The New York Review of Books*, March 21, 2013. Review of Silver, Nathaniel E., *Piero della Francesca in America* and the exhibition at the Frick Collection that it accompanied.
* Lavin, Marilyn Aronberg, *Piero della Francesca: San Francesco, Arezzo*, New York: George Braziller, 1994.
* Lightbown, Ronald, *Piero della Francesca*, Abbeville Press, 1992. ISBN 978-1558591684.
* Longhi, Roberto, *Piero de' Franceschi*, Rom, 1927; Engl. ed. translated by Leonard Penlock: *Piero della Francesca*, F. Warne & Co., London and New York, 1930; new ed. with expansions until 1962, 1963 translation by David Tabbat: Sheep Meadow, 2002. ISBN 1-878818-77-5.
* Maetzke, Anna Maria, ed., *Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo*, with Giovanna Melandri, Stefano Casciu, and Carla Corsi. Skira, 2000. ISBN 88-8118-829-5.
* Maetzke, Anna Maria; Bertelli, Carlo, eds., *Piero della Francesca: The Legend of the True Cross in the Church of San Francesco in Arezzo*, texts by Marilyn Aronberg Lavin et al. Skira, 2001. ISBN 978-8884910233.
* Manescalchi, Roberto, *L'Ercole di Piero, tra mito e realtà,(ParteI)*, Grafica European Center of Fine Art (Terre di Piero), Firenze, 2011. ISBN 978-88-95450-05-6
* Manescalchi, Roberto, "Piero alla corte dei Pichi", in *Studi e Documenti Pierfrancescani II*, Sansepolcro 2014. ISBN 978-8895450445
* Meiss, Millard, "A Documented Altarpiece by Piero della Francesca", *The Art Bulletin*, Vol. 23 (March 1941), pp. 53-68; reprinted with alterations and additions in Millard Meiss, *The Painter's Choice: Problems in the Interpretation of Renaissance Art*, Harper and Row, 1976, pp. 82-104.
* Pacioli, Luca, *Libellus de quinque corporibus regularibus*, corredato della versione volgare \[fac-sim du Codice Vat. Urb. Lat. 632\]; eds. Cecil Grayson,... Marisa Dalai Emiliani, Carlo Maccagni. Firenze, Giunti, 1995. 3 vol. (68 ff., XLIV-213, XXII-223 pp.). ISBN 88-09-01020-5
* *Piero's Archimedes*, \[fac-sim du Codice Riccardiano 106 par Piero della Francesca\]; eds. Roberto Manescalchi, Matteo Martelli, James Banker, Giovanna Lazzi, Pierdaniele Napolitani, Riccardo Bellè. Sansepolcro, Grafica European Center of Fine Arts e Vimer Industrie Grafiche Italiane, 2007. 2 vol. (82 ff., XIV-332 pp. English, French, Spanish, German, Italian and Arabic). ISBN 978-88-95450-25-4.
* Pope-Hennessy, John, *The Piero della Francesca Trail*, Walter Neurath Memorial Lectures, Thames and Hudson, London, 1991; new ed. expanded with Aldous Huxley, "The Best Picture", The Little Bookroom, 2002. ISBN 1-892145-13-8.
* Rossetti, William Michael (1911). "Franceschi, Piero de'". *Encyclopædia Britannica*. Vol. 10 (11th ed.). p. 930.
* Silver, Nathaniel E., *Piero della Francesca in America: From Sansepolcro to the East Coast*, with essays by James R. Banker and Machtelt Israëls, and an appendix by Giacomo Guazzini and Elena Squillantini. New York: Frick Collection, 2013. Catalogue for exhibition of the same name listed in "External links".

## InfoBox

| Piero della Francesca | |
| --- | --- |
| Portrait of Piero della Francesca from a 1648 edition of *The Lives* | |
| Born | Piero di Benedetto
c.1415
Sansepolcro, Republic of Florence |
| Died | 12 October 1492(1492-10-12) (aged 76–77)
Sansepolcro, Republic of Florence |
| Nationality | Italian |
| Known for | Painting, Fresco |
| Notable work | *The Baptism of Christ*
*Flagellation of Christ*
*Brera Madonna* |
| Movement | Early Renaissance |


title: Pieczyska, Starogard County

abstract: Pieczyska is a settlement in the administrative district of Gmina Osiek, within Starogard County, Pomeranian Voivodeship, in northern Poland. It lies approximately 14 kilometres (9 mi) west of Osiek, 32 km (20 mi) south-west of Starogard Gdański, and 76 km (47 mi) south of the regional capital Gdańsk. For details of the history of the region, see History of Pomerania.

text:
# Pieczyska, Starogard County

**Pieczyska** \[pjɛˈt͡ʂɨska\] is a settlement in the administrative district of Gmina Osiek, within Starogard County, Pomeranian Voivodeship, in northern Poland. It lies approximately 14 kilometres (9 mi) west of Osiek, 32 km (20 mi) south-west of Starogard Gdański, and 76 km (47 mi) south of the regional capital Gdańsk.

For details of the history of the region, see *History of Pomerania*.

## InfoBox

| Pieczyska | |
| --- | --- |
| Settlement | |
| Pieczyska | |
| Coordinates: 53°43′14″N 18°17′22″E / 53.72056°N 18.28944°E / 53.72056; 18.28944 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Starogard |
| Gmina | Osiek |


title: Pierre Cassou-Noguès

abstract: Pierre Cassou-Noguès is a French philosopher and writer.

text:
# Pierre Cassou-Noguès

**Pierre Cassou-Noguès** (born 1971 in Tunis) is a French philosopher and writer.

## Biography

He was admitted at the École Normale Supérieure in 1991. He obtained the agrégation in mathematics in 1995 and wrote his PhD in philosophy under the supervision of Jean-Michel Salanskis in 1999. From 2001 to 2011, he was research fellow at the CNRS. Since 2011, he has been Full Professor at Université Paris-VIII. He is also co-editor of the journal *SubStance*.

## Research

His work is based on a theoretical use of fiction. Pierre Cassou-Nogues uses fiction as a method for exploring the possible and its limits. In this way, he intends to give to philosophy both a speculative scope and a critical impact: fiction enables the philosopher to consider the real in the light of the possible. In his most recent work, he applies this philosophy-fiction to explore the forms of life and modes of subjectivation induced by contemporary technology.

More broadly, his research focusses on four areas.

1. His early research concerns the role of the imaginary (dreams, fictions) in the work of scientists: Kurt Gödel, Norbert Wiener, or brain reading in neuroscience. He relies on the archives of scientists to look for fictions, personal dreams, superstitions sometimes, which interplay with their more serious work/

2. He has also investigated the relationship between imagination and science as it is questioned in French philosophy, as well as the question of the self at the intersection between reason and imagination. His work here concerns the historical epistemology of Brunschvicg, Cavaillès, Albert Lautman, Bachelard and its inheritance in contemporary philosophy.

3. In a series of works halfway between theory and literature, Pierre Cassou-Nogues uses fiction order to describe and conceptualize fields that philosophers tend to ignore, or repress: wasted time, phobias, seashores... Fields that philosophers most often avoid, preferring to talk about work rather than laziness, preferring the noble Angst to this absurd fear that is phobia, or preferring to set foot on firm land, where the tree of science is rooted, rather than exploring uncertain and moving shores.

4. His more recent work explores the contemporary relationship between technology and fiction. In 2019, he published a collection of short stories in which he investigates new forms of life and modes of subjectivation correlated with various technological apparatus. He has co-authored on a web documentary, Welcome to Erewhon, which is an adaptation of the novel Erewhon published by Samuel Butler in 1871. With Paul Harris, and the journal *SubStance*, he also has contributed to launching a collection of born digital theoretical works

## Works

* *Hilbert*, Paris, Éditions Les Belles Lettres, coll. « Figures du savoir », 2001, 169 p. ISBN 2-251-76036-9
* *De l'expérience mathématique. Essai sur la philosophie des sciences de Jean Cavaillès*, Paris, Éditions Vrin, coll. « Problèmes et controverses », 2001, 351 p. ISBN 2-7116-1530-8
* *Gödel*, Paris, Éditions Les Belles Lettres, coll. « Figures du savoir », 2003, 190 p. ISBN 2-251-76040-7
* *Une histoire de machines, de vampires et de fous*, Paris, Éditions Vrin, coll. « Matière étrangère », 2007, 219 p. ISBN 2-7116-1884-6
* *Les Démons de Gödel. Logique et folie*, Paris, Éditions du Seuil, coll. « Science ouverte », 2007, 279 p. ISBN 978-2-02-092339-2 (réédition poche, Points, 2012 et 2015)
* *L’Hiver des Feltram*, roman, Paris, Éditions MF, coll. « Frictions », 2009, 346 p. ISBN 978-2-91579-438-0
* *La Ville aux deux lumières. Géographie imaginaire*, Paris, Éditions MF, coll. « Les Mondes possibles », 2009, 139 p. ISBN 978-2-915794-39-7
* *Le Bord de l'expérience. Essai de cosmologie*, Paris, Presses Universitaires de France, coll. « Métaphysiques », 2010, 155 p. ISBN 978-2-13-057967-0
* *Mon zombie et moi. La philosophie comme fiction*, Paris, Éditions du Seuil, coll. « L’Ordre philosophique », 2010, 341 p. ISBN 978-2-02-102130-1
* *Lire le cerveau. Neuro-science-fiction*, Paris, Éditions du Seuil, coll. « La Couleur des idées », 2012, 186 p. ISBN 978-2-02-105054-7
* *La Mélodie du tic-tac : et autres bonnes raisons de perdre son temps*, Paris, Éditions Flammarion, Hors Collection: publié sous la direction de Benoit Chantre, 2013, 301 p. ISBN 978-2-08-130181-8
* *Les Rêves cybernétiques de Norbert Wiener*, Paris, Éditions du Seuil, coll. « Science ouverte », 2014, 228 p. ISBN 978-2-02-109028-4
* *Métaphysique d'un bord de mer,* Paris, Editions Cerf, coll "Passages", 224 p., 2016.
* *Un Laboratoire philosophique. Cavaillès et l’épistémologie en France*, Éditions Vrin, 2017, 248 p.
* *Welcome to Erewhon,* a web documentary, co-authored with Stéphane Degoutin and Gwenola Wagon (Irrévérence Films, 2019)
* *Technofictions*, Paris, Éditions Cerf, 2019, 282 p.

## Edited collections

* *Que prouve la science fiction?, Alliage n°60,* P. Cassou-Nogues et E. Barot (éd.), juin 2007
* *Le concept, le sujet et la science. Cavailles, Canguilhem, Foucault*, P. Cassou-Nogues et P. Gillot (éd.), Editions Vrin. coll. Problèmes & Controverses, 2009
* *Le sujet digital*, C. Larsonneur, A. Regnauld, P. Cassou-Nogues et S. Touiza (éd.), Editions Presses du réel. coll. Labex, 2015

## Interviews

* *Logique, fictions et folie*, entretien avec A. Wald Lasowski, in *Pensées pour le nouveau siècle*, Fayard, 2008

Official website : www.pierrecassounogues.org

## InfoBox

| Pierre Cassou-Noguès | |
| --- | --- |
| Born | 1971 (age 5253)<br>Tunis |
| Alma mater | École Normale Supérieure |
|  | |
| Era | Contemporary philosophy |
| Region | French philosophy |
|  | |


title: Pierre Cathala

abstract: Pierre Cathala was a French politician. He served as the French Minister of Finance from 1942 to 1944.

text:
# Pierre Cathala

**Pierre Cathala** (French pronunciation: \[pjɛʁ katala\]; 1888  1947) was a French politician. He served as the French Minister of Finance from 1942 to 1944.

## Early life

Pierre Cathala was born on 22 September 1888 in Montfort-sur-Meu, Brittany, France. He was educated at the Lycée Saint-Louis, and in Bayonne where he became friends with Pierre Laval.

## Career

Cathala served as the French Minister of Finance from 1942 to 1944.

## Personal life

Cathala married Mathilde Henriette Lagrange. They had two sons, François and Jean-Claude, and a daughter, Renée.

## Death

Cathala died on 27 July 1947 in Paris, France.

## InfoBox

| Pierre Cathala | |
| --- | --- |
| Pierre Cathala in 1931 | |
| Born | 22 September 1888
Montfort-sur-Meu, Ille-et-Vilaine, France |
| Died | 27 July 1947 (1947-07-28) (aged 58)
Paris, France |
| Education | Lycée Saint-Louis |
| Occupation | Politician |
| Spouse | Mathilde Henriette Lagrange |
| Children | 2 sons, 1 daughter |
| Parent(s) | Paul Cathala
Louise-Marie Pabot-Chatelard |
| Relatives | Pierre-Félix Lagrange (father-in-law) |


title: Pierre Giorgio Regonesi

abstract: Pierre Giorgio Regonesi is a former Italian footballer.

text:
# Pierre Giorgio Regonesi

**Pierre Giorgio Regonesi** (born 22 February 1979) is a former Italian footballer.

## Biography

### Atalanta

Born in Osio Sotto, the Province of Bergamo, Lombardy, Regonesi started his career at hometown club Atalanta Bergamo. Regonesi made his Serie A debut on 1 June 1997, against Reggiana, replacing Paolo Foglio in the 82nd minute.

After Atalanta relegated in 1998, Regonesi had a more regular chance to play, which he played 14 games in 1998–99 Serie B season.

### Juventus

In January 1999 he was signed by Juventus, for 4.5 billion Lire (€2,324,056) in co-ownership deal (i.e. 50% registration rights), He was included in Juventus squad for 1999 Torneo di Viareggio. After the youth tournament, Regonesi returned to Atalanta immediately; he left Atalanta again in January 2000 for Empoli, where he remained until June 2001. Regonesi was also signed by Juventus outright that month, as Atalanta cut the remain price from 4.5 billion lire to about 50 million lire, which Juventus received a financial income of "€2.298 million" (4.45 billion lire) for releasing the residual value of co-ownership debt, co-currently the player was sold back to the Province of Bergamo for Serie C1 side AlbinoLeffe for an undisclosed fee on 2 July, made Juventus "loss" of €1.413 million (it means the residual value of the contract in accounting was greater than revenue), but *de facto* a gain of €0.885 million if combining the two value, as Juve had over-amortize the contract value of Regonesi as it was based on the full price €4,648,112 to schedule. On the same day Juventus also signed Roberto Pellegris.

### AlbinoLeffe

Regonesi, with the Serie C1 side, he won 2003 promotion playoffs and promoted to Serie B for the first time. He became a regular starter in the 2nd season with AlbinoLeffe and was in the starting XI until 2006.

### Rimini

In July 2006, he was sold to Serie B struggler Rimini in another co-ownership deal, for €1.6 million. The team reached the fifth that season, the best record in the recent season. In the next season he finished 7th in Serie B, made Rimini purchased him outright for €900,000. These 2 seasons, Regonesi was the absolute starter in the defense line, and represent the most games among the defenders.

But in 2008–09 season, Rimini made a backward on goalscoring, and Rimini lost to Ancona in the relegation playoffs. Regonesi himself was injured on 14 March 2009 and missed rest of the fixture.

Returned to Lega Pro Prima Divisione (ex-Serie C1) since 2003, Regonesi entered promotion playoffs again, but this time losing to Verona. in the semi-final/first round. After the season (formally on 16 July) Rimini was expelled from professional league due to its financial record, the club went bankrupt and all players were released.

### Returned to AlbinoLeffe

On 5 August 2010, Regonesi returned to AlbinoLeffe, signed a 3-year contract. Regonesi made his club debut on 15 August 2010, which the team won fellow Serie B club Pescara 3–1 in Coppa Italia.

In the next match, the opening match of Serie B, the coach remained to use 352 formation and Regonesi was featured in midfield as left wingback.

### International career

He capped for Italy at 1996, 1997 and 1998 UEFA European Under-18 Football Championship qualification. He reached the final phase in 1997 season, finished as the bottom of Group B (4 teams each in 2 groups). He also capped for Italy at 1995 UEFA European Under-16 Football Championship in qualifying and final phase.

## Honours

## Footnotes

1. Bartolozzi, Bruno; Laudisa, Carlo (26 January 1999). "Juve tra Regonesi, Esquerdinha e Shakpoke Reggiana: Bresciani, Allegretti e Maspero". *La Gazzetta dello Sport* (in Italian). Retrieved 20 August 2010.
2. "La Juve sbatte contro il Benfica". *La Gazzetta dello Sport* (in Italian). 3 February 1999. Retrieved 20 August 2010.
3. "Reports and Financial Statements at 30 June 2002 – 2001/2002 Season" (PDF). Juventus FC. 28 October 2002. Retrieved 28 July 2013.
4. UC AlbinoLeffe Srl Report and Accounts on 30 June 2007 (in Italian)
5. "Rimini scatenato: Jeda e Pagano Testini e Graffiedi alla Triestina". *La Gazzetta dello Sport* (in Italian). 7 July 2006. Retrieved 20 August 2010.
6. UC AlbinoLeffe Srl Report and Accounts on 30 June 2008 (in Italian)
7. "Le operazioni di mercato". *UC AlbinoLeffe* (in Italian). 25 June 2008. Retrieved 20 August 2010.
8. "31a giornata (stasera, ore 20.30) f Rizzoli torna dopo Inter-Roma: arbitra la capolista Bari". *La Gazzetta dello Sport* (in Italian). 17 March 2009. Retrieved 20 August 2010.
9. "Rimini-Hellas Verona: le formazioni ufficiali". *Hellas Verona FC* (in Italian). 23 May 2010. Retrieved 25 August 2010.
10. "Hellas Verona-Rimini 0–0, gialloblù in finale". *Hellas Verona FC* (in Italian). 29 May 2010. Retrieved 25 August 2010.
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12. "L'U.C. AlbinoLeffe ingaggia Pierre Regonesi". *UC AlbinoLeffe* (in Italian). 5 August 2010. Retrieved 13 August 2010.
13. "AlbinoLeffe – Pescara 3 a 1". *UC AlbinoLeffe* (in Italian). 15 August 2010. Retrieved 15 August 2010.

## InfoBox

Pierre Giorgio Regonesi
|  | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Date of birth | (1979-02-22) 22 February 1979 | | |
| Place of birth | Osio Sotto, Italy | | |
| Position(s) | Left back | | |
| Youth career | | | |
|  | Atalanta | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1997–1999 | Atalanta | 10 | (0) |
| 1999–2001 | Juventus | 0 | (0) |
| 1999–2000 | Atalanta (loan) | 11 | (0) |
| 2000–2001 | Empoli (loan) | 28 | (2) |
| 2001–2006 | AlbinoLeffe | 168 | (14) |
| 2006–2010 | Rimini | 132 | (3) |
| 2010–2013 | AlbinoLeffe | 74 | (4) |
| International career | | | |
| 1994 | Italy U15 | 3 | (0) |
| 1995 | Italy U16 | 4 | (0) |
| 1995–1997 | Italy U18 | 23 | (3) |
| 1999 | Italy U20 | 1 | (0) |
| \*Club domestic league appearances and goals | | | |


title: Piesmatidae

abstract: Piesmatidae is a small family of true bugs, commonly called ash-grey leaf bugs. The Piesmatidae are distributed mostly in the temperate Northern Hemisphere, with some occurring in Africa, Australia and South America. A common species found throughout the Americas is Piesma cinereum. Ash-grey leaf bugs are small insects, some 2–4 mm overall. The head, thorax and the firm part of the wings are extensively dimpled. This resembles the similar pattern of the Tingidae of the infraorder Cimicomorpha, and was initially taken to signify a close relationship. It is due to convergent evolution however. They feed on plant sap, mostly of Chenopodiaceae and Caryophyllaceae. Piesma linnavouri have been found on Acacia (Fabaceae). Mcateella have been found on many host plants but mostly Acacia and Proteaceae. The host plants of Miespa remain unknown.

text:
# Piesmatidae

**Piesmatidae** is a small family of true bugs, commonly called **ash-grey leaf bugs**. The Piesmatidae are distributed mostly in the temperate Northern Hemisphere, with some occurring in Africa, Australia and South America. A common species found throughout the Americas is *Piesma cinereum*.

Ash-grey leaf bugs are small insects, some 2–4 mm overall. The head, thorax and the firm part of the wings are extensively dimpled. This resembles the similar pattern of the Tingidae of the infraorder Cimicomorpha, and was initially taken to signify a close relationship. It is due to convergent evolution however.

They feed on plant sap, mostly of Chenopodiaceae and Caryophyllaceae. *Piesma linnavouri* have been found on *Acacia* (Fabaceae). *Mcateella* have been found on many host plants but mostly *Acacia* and *Proteaceae*. The host plants of *Miespa* remain unknown.

## Taxonomy

Three subfamilies and eleven genera belong to the family Piesmatidae:

### Piesmatinae

### Psamminae

Thaicorniae

Many species were formerly in the type genus *Piesma*, from which the subgenera *Afropiesma* and *Parapiesma* were split off into separate genera. The genus *Thaicoris* was for some time placed in this family, but it has more recently been suggested that it is a member of the Thaumastocoridae.

There are two fossil genera. *Eopiesma* from the earliest Eocene (about 55 mya) is still a very basal member of the family. *Heissiana*, found in Baltic amber from the Eocene might be a northern relative of *Mcateella* and *Miespa* but given its distribution it might more comfortably be considered closely related to the ancestor of *Eopiesma*. From 2007 to 2009 *Cretopiesma* was placed within the family. *Cretopiesma* was found in mid-Cretaceous amber from Myanmar and lived about 100 mya (million years ago) and was initially considered to be a primitive piesmatid but this has since been rejected.

The closest relatives of the Piesmatidae remain rather insufficiently determined. After the ash-grey leaf bugs were recognized as Pentatomomorpha, they were most often placed in the Lygaeoidea based on cladistic analysis, with their relatives variously presumed to be the Berytidae, Colobathristidae and Malcidae, or the peculiar, beetle-like Psamminae, a subfamily of the Lygaeidae. For some time, the Psamminae were even included in the Piesmatidae.

Alternatively, the ash-grey leaf bugs were considered Pentatomomorpha *incertae sedis* or placed in a monotypic superfamily **Piesmatoidea** with the discovery of *Cretopiesma*. However a cladistic analysis rejected *Cretopiesma* from Piesmatidae and placed the genus in the family Aradidae.

## InfoBox

| Piesmatidae | |
| --- | --- |
|  | |
| *Parapiesma quadratum* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hemiptera |
| Suborder: | Heteroptera |
| Superfamily: | Lygaeoidea |
| Family: | Piesmatidae
Amyot & Audinet-Serville, 1843 |
|
| Type genus | |
| *Piesma*
Lepelitier & Serville, 1825 | |


title: Pieter Cornelius Tobias Snellen

abstract: Pieter Cornelius Tobias Snellen was a Dutch entomologist. Pieter Snellen was a merchant in Rotterdam. He is not to be confused with Samuel Constantinus Snellen van Vollenhoven, another entomologist from Rotterdam.

text:
# Pieter Cornelius Tobias Snellen

**Pieter Cornelius Tobias Snellen** (30 August 1832 – 29 March 1911) was a Dutch entomologist.

Pieter Snellen was a merchant in Rotterdam. He is not to be confused with Samuel Constantinus Snellen van Vollenhoven, another entomologist from Rotterdam.

## Works

* Lepidoptera / door P.C.T. Snellen met eene inleidung door Joh. F. Snelleman. Leiden, Brill,1892 online at BHL
* *The Rhopalocera of Java.* with Murinus Cornelius Piepers and Hans Fruhstorfer. The Hague,M. Nijhoff 1909-18. online at Biodiversity Heritage Library Four volumes.
* Snellen, P.C.T. 1872 Bijdrage tot de Vlinder-Faune van Neder-Guinea, zuidwestelijk gedeelte van Afrika. *Tidschrift voor Entomologie* 15:1-112.
* Snellen, P.C.T. 1882 Aanteekeningen over Afrikaanische Lepidoptera. *Tidschrift voor Entomologie* 25:215-234.


title: Piano Concerto No. 2 (Hummel)

abstract: Johann Nepomuk Hummel's Piano Concerto No. 2 in A minor, Op. 85 was written in 1816 and published in Vienna in 1821. Unlike his earlier piano concerti, which closely followed the model of Mozart's, it is written in a proto-Romantic style that anticipates the later stylistic developments of composers such as Frédéric Chopin, Franz Liszt and Felix Mendelssohn. In this regard, it is similar to the slightly later Piano Concerto No. 3. It was considered a showpiece of its time by pianists such as Robert Schumann.

text:
# Piano Concerto No. 2 (Hummel)

Johann Nepomuk Hummel's **Piano Concerto No. 2 in A minor**, Op. 85 was written in 1816 and published in Vienna in 1821.

Unlike his earlier piano concerti, which closely followed the model of Mozart's, it is written in a proto-Romantic style that anticipates the later stylistic developments of composers such as Frédéric Chopin, Franz Liszt and Felix Mendelssohn. In this regard, it is similar to the slightly later Piano Concerto No. 3.

It was considered a showpiece of its time by pianists such as Robert Schumann.

## Scoring

The concerto is scored for piano, flute, two oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

## Movements

The work is composed in traditional three movement form. There is a solo transition in the second movement leading into the Rondo without pause.

## Influence

Although Hummel's music, seen as essentially Mozartian in style, had fallen out of fashion by the 1830s, the A minor concerto nonetheless exercised considerable influence over a number of works that helped to usher in the Romantic style. Frédéric Chopin, who had played the Hummel concerti, drew from elements of the A minor concerto in his own piano concerti.

Musicologist Mark Kroll has suggested that Chopin's piano concerti in general were influenced by those of Hummel. The A minor concerto da camera of Charles-Valentin Alkan has also been noted for its debt to Hummel's style of writing for the keyboard.

While Robert Schumann was critical of much of Hummel's work as a composer, he had made a close study of the A minor concerto in 1828 and considered it one of the works (along with the F-sharp minor piano sonata) of his "heyday". And in his own A minor concerto, Schumann makes reference to aspects of Hummel's virtuosic style.

* M.F. Humphries, The Piano Concertos of Johann Nepomuk Hummel, PhD Dissertation (Northwestern University, 1957)
* B.H. Kim, Johann Nepomuk Hummel and His Contribution to Piano Music and the Art of Playing the Piano (University of Rochester, 1967)