title: Emma Catherine Embury

abstract: Emma Catherine Embury was an American writer and poet. Under the pen name of "Ianthe", she contributed to the periodicals of the day, and may be considered among the pioneers of female literature in the United States. Her many poems and tales were afterwards collected and published in book form. Among these volumes are The Blind Girl and Other Tales, Glimpses of Home Life, Pictures of Early Life, Nature's Gems, or American Wild Flowers (1845), and The Waldorf Family, a fairy tale of Brittany, partly a translation and partly original, (1848.)

text:
# Emma Catherine Embury

**Emma Catherine Embury** (née **Manley**; February 25, 1806 – February 10, 1863) was an American writer and poet. Under the pen name of "**Ianthe**", she contributed to the periodicals of the day, and may be considered among the pioneers of female literature in the United States. Her many poems and tales were afterwards collected and published in book form. Among these volumes are *The Blind Girl and Other Tales*, *Glimpses of Home Life*, *Pictures of Early Life*, *Nature's Gems, or American Wild Flowers* (1845), and *The Waldorf Family, a fairy tale of Brittany, partly a translation and partly original*, (1848.)

## Early years

She was born **Emma Catherine Manley** in New York City on February 25, 1806. She was the eldest child of Dr. James R. Manley, an eminent physician of New York, and Elizabeth Post.

As a child she was precocious, and learned to read almost intuitively. Early on, she developed a talent for compositions, and her juvenile productions are remarkable for their graceful and flowing rhythm.

## Career

She became a regular contributor of juvenile verse and stories to the *New York Mirror* by the age of twenty. Many of her early writings were printed under the pseudonym "Ianthe".

On May 10, 1828, she married Daniel Embury, a Brooklyn banker, and in her married life, was singularly happy. Her husband was a notable mathematician. He appreciated fully the peculiar talents of his wife, and in every way encouraged their development. Together, they drew around them a charmed circle of friends. In 1828, Embury published her first collection of poems, *Guido, a Tale: Sketches from History and Other Poems*, and in 1830, she published her first book of prose, *Pictures of Early Life*. For a time, she was one of two "lady editors" for *Graham's Magazine* in Philadelphia, along with Ann S. Stephens. During the 1830s and 1840s, she served as a host or guest at literary salons in New York City in the circle including Anne Lynch Botta and Frances Sargent Osgood.

It was an oft repeated remark of Embury, "Unless she read, she could not write," and her earlier poems had similarities with the poets she loved the best. Later, her originality asserted itself. The peculiar melodiousness of her verse rendered her one of the most graceful of songwriters, while the impassioned earnestness of her nature, her scorn of injustice, her quick sympathy with the oppressed, found expression in her poems, and ran a thread throughout them. In prose writing she confined herself, almost entirely to magazine writing. Her stories were extremely popular. They were easily written, contained a moral, and were fitted with wit and fancy.

As a conversationalist, Embury was rarely excelled. Her reading was extensive and varied, her memory retentive, her adaptation rapid, and her language forcible and graceful. She was the centre of a large circle, which numbered among its members many of the brightest names in literature. The head of a well ordered household, a tender and devoted wife and mother, an active and sympathizing friend, she passed many years in a constant discharge of her varied duties. Beginning in the late 1840s, she was stricken down by an illness from which she never rallied, and for the last few years of her life, she became an invalid, totally withdrawn from the world. She died in Brooklyn on February 10, 1863.

## Critical response

Embury was praised in her lifetime for writing works emphasizing domesticity and feminine virtue with moral messages appropriate for children. A critic for *The United States Democratic Review*, for example, wrote that her book *Pictures of Early Life* was "highly interesting and instructive; and of a character which should place it in the hands of youth, as well to instruct as to interest and amuse".

## Selected works

**Other works published posthumously:**

### Attribution

## InfoBox

| Emma Catherine Embury | |
| --- | --- |
| Portrait by Henry Inman | |
| Born | Emma Catherine Manley
February 25, 1806 (1806-02-25)
New York City, New York, U.S. |
| Died | February 10, 1863(1863-02-10) (aged 56)
Brooklyn, New York, U.S. |
| Pen name | Ianthe |
| Occupation | author, poet |
| Spouse | Daniel Embury (m. 1828) |
| Signature | |
|  | |


title: Trumped (2017 film)

abstract: Trumped: Inside the Greatest Political Upset of All Time is a 2017 American documentary film that chronicles the presidential campaign of Donald Trump, leading up to his electoral victory in November 2016. The film was directed by Ted Bourne, Mary Robertson, and Banks Tarver, and was created from footage that was shot for the Showtime television documentary series, The Circus: Inside the Greatest Political Show on Earth, starring Mark Halperin, John Heilemann, and Mark McKinnon; the three also appear in the film. The film premiered at the Sundance Film Festival in January 2017, and later premiered on Showtime on February 3, 2017. Trumped received mostly negative reviews, being criticized for feeling rushed and for not going into enough detail on how Trump won the election. Critics also believed that the film was released too soon after the election.

text:
# Trumped (2017 film)

***Trumped: Inside the Greatest Political Upset of All Time*** is a 2017 American documentary film that chronicles the presidential campaign of Donald Trump, leading up to his electoral victory in November 2016. The film was directed by Ted Bourne, Mary Robertson, and Banks Tarver, and was created from footage that was shot for the Showtime television documentary series, *The Circus: Inside the Greatest Political Show on Earth*, starring Mark Halperin, John Heilemann, and Mark McKinnon; the three also appear in the film.

The film premiered at the Sundance Film Festival in January 2017, and later premiered on Showtime on February 3, 2017. *Trumped* received mostly negative reviews, being criticized for feeling rushed and for not going into enough detail on how Trump won the election. Critics also believed that the film was released too soon after the election.

## Overview

*Trumped: Inside the Greatest Political Upset of All Time* chronicles Donald Trump's 2016 presidential campaign, from the time it was announced in June 2015, to the time of Trump's victory in November 2016. Mark Halperin, John Heilemann, and Mark McKinnon appear in the film, which includes interviews with individuals associated with Trump's campaign, including Roger Stone.

## Production

During the 2016 U.S. presidential election, Heilemann, Halperin, and McKinnon starred on Showtime's television documentary series, *The Circus: Inside the Greatest Political Show on Earth*. Heilemann had daily access to Trump and other presidential candidates from January 2016 to November 2016. After Trump's unexpected election victory in November 2016, the production team chose to create a film to chronicle Trump's campaign.

The film's directors, Ted Bourne, Mary Robertson, and Banks Tarver, looked through thousands of hours of footage shot for *The Circus* to search for material that could be included in the film. *Trumped* was quickly put together in time for a premiere at the Sundance Film Festival. The film was announced on January 9, 2017, with plans to premiere it at the festival later that month.

## Release

The film debuted for film critics at the Sundance Film Festival on January 23, 2017. The film had its official premiere at the festival on January 27, 2017. In the United States, the film publicly premiered on Showtime on February 3, 2017. The film was also released on February 5, 2017, on Stan., an Australian streaming service.

## Reception

On Rotten Tomatoes, the film has an approval rating of 36% based on 11 reviews, with an average rating of 4.1/10. Joe McGovern of *Entertainment Weekly* gave the film a "C" and wrote that the "rushed nature" of the film "basically predetermined its mediocre quality. There is no step backwards here for any type of deep examination — indeed, self-examination — of the media's role. Neither is there of the candidates, their staffs, or their constituencies. And thanks to that, *Trumped* is something that the election, admittedly, never was: a staggering bore." McGovern further stated: "The vanilla approach, especially given Trump's eventful first 10 days in office, renders the movie as nothing more than a cash grab." Owen Gleiberman of *Variety* said that the film mostly "re-assembles a great many things that we have seen."

Brian Tallerico of RogerEbert.com gave the film two stars out of four and called it a "hastily thrown-together documentary" that was "likely trying to get on the air before Donald Trump has done enough to warrant a sequel or two. It's true that so much has happened on the national scene in just the last ten days that 'Trumped: Inside the Greatest Political Upset of All Time' already feels a bit dated. \[…\] 'Trumped' plays way too much like a highlight reel from the last year, offering not nearly enough insight into the questions surrounding Trump's campaign and now-Presidency. This is more of a movie that chronicles *that* he won, not *how* he won—those are two very different things. Just in the chronicling, a few interesting tidbits and insights come forward, but it was likely too soon to make this movie, as we don't fully comprehend what happened in the Election Year of 2016 quite yet. There will be a *great* documentary about it eventually. This will do until then." Tallerico also wrote, "When the people behind the show offer insight into how Trump is handling issues or how the media is handling him, 'Trumped' comes to life. But that's simply not often enough to recommend it."

Bryan Bishop of *The Verge*, who felt that the film was "rushed," wrote, "There's a tremendous opportunity in taking the events of the last 19 months and reassessing what happened, particularly in the interest of understanding what socio-political trends led to November 8th, and whether some of the more sinister revelations of recent weeks had been telegraphed much sooner. Unfortunately, Trumped isn't interested in any of that. \[...\] As a historical document, there may very well be value to this kind of tick-tock timeline, but it's hard to see what purpose it serves now, other than letting Showtime capitalize upon people's feelings about the election." Bishop further noted that "by not explaining the forces behind Trump's rise — the socio-political trends, the recent behavior of the parties, the interference and hacking from foreign governments — the film does something even more nefarious: it gives off the impression that it was just some unknowable, Trump-ian magic that led to the election results. Pair that with the full title — Trumped: Inside the Greatest Political Upset of All Time — and the movie starts to feel more like reality TV mythmaking than journalism."

Jude Dry of IndieWire gave *Trumped* a "C" and considered the film as "a kind of epilogue" to *The Circus*. Dry called the film "deja vu without the fun" and wrote, "Certainly, historical documentaries have told familiar stories before. But how historical is a documentary when the events are so close in the rearview mirror they're still causing accidents?" Dry also considered Showtime's claim of the film's "unprecedented access" to be dubious. Jenna Marotta of Decider wrote, "I so wish I could have watched the 102-minute film with no knowledge of the characters or outcome, unearthing *Trumped* as a historical relic of a bygone era. \[…\] Then again, if now's not the right time to examine the origin of our country's current leadership — as our new president issues a quick succession of executive orders prompting widespread protests — then when?"

Alissa Wilkinson of Vox wrote, "It's a competent documentary, though calling it entertaining is a stretch — that will depend on who's watching. But its very existence brings to life some of the problems that most plague American political culture — without, unfortunately, really reflecting on what it's doing. Trumped is a missed opportunity. \[...\] The 'inside look' that Trumped promises is not much of an inside look at the title candidate at all. In fairness, that's not really the filmmakers' fault; Trump's brand is built on letting it all hang out, tax returns and physician's reports notwithstanding. Thus, finding something to say that hasn't already been tweeted or stated on camera is almost impossible." John DeFore of *The Hollywood Reporter* called it a "hastily assembled" film and wrote, "If you recently returned to the U.S. after a year-long Peace Corps stint in a remote village with no electricity or mail service, then Trumped: Inside the Greatest Political Upset of All Time will serve as a reasonable primer on the nightmare you missed."

Travis Johnson of Australia's *Filmink* wrote "*Trumped* really just tells us things we already know – that nobody thought he could possibly win, that the white working class turned out in droves, that he was seemingly immune to scandal, that his election was – and is – wildly controversial. It feels somewhat unnecessary at this close a remove, seeing as how we just lived through all this stuff, but there is a kind of car-crash fascination in watching the events unfold now with the benefit of foreknowledge." Luke Buckmaster of Australia's *Daily Review* gave the film three stars out of five and wrote, "Perhaps a result of the film's quick turnaround time, there is an element of extended Wikipedia entry in its structure. The directors cover off on the requisite beats, starting with Trump's underdog status as contender for Republican nominee and moving forward. Americans who followed the election reasonably closely will likely feel they've seen this stuff before, though that's not the case for all audiences."

## InfoBox

| Trumped: Inside the Greatest Political Upset of All Time | |
| --- | --- |
| Promotional poster | |
| Directed by | * Ted Bourne * Mary Robertson * Banks Tarver |
| Produced by | Kevin Vargas |
| Starring |  |
| Music by | Paul Brill |
| Production<br>company | Left/Right Productions |
| Distributed by | Showtime |
| Release dates |  |
| Running time | 102 minutes |
| Country | United States |
| Language | English |


title: Trstena (Vranje)

abstract: Trstena is a village located in the municipality of Vranje, Serbia. According to the 2011 census, the village has a population of 43 people.

text:
# Trstena (Vranje)

**Trstena** is a village located in the municipality of Vranje, Serbia. According to the 2011 census, the village has a population of 43 people.

## InfoBox

| Trstena Трстена (Serbian) | |
| --- | --- |
| Village (Selo) | |
| Village's landscape | |
| Coordinates: 42°40′47″N 21°46′07″E / 42.67972°N 21.76861°E / 42.67972; 21.76861 | |
| Country | Serbia |
| District | Pčinja District |
| Municipality | Vranje |
| Area | |
| Total | 15.29 km2 (5.90 sq mi) |
| Elevation | 823 m (2,700 ft) |
| Population (2011) | |
| Total | 43 |
| Density | 2.8/km2 (7.3/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Troll (automobile)

abstract: The Troll was a small car manufactured by Troll Plastik & Bilindustri of Lunde, Norway, from 1956 to 1958. It was one of a few attempts at car production in Norway, and only five cars were built.

text:
# Troll (automobile)

The **Troll** was a small car manufactured by Troll Plastik & Bilindustri of Lunde, Norway, from 1956 to 1958. It was one of a few attempts at car production in Norway, and only five cars were built.

## Design

The Troll was built as a 2+2 sports car with a fibreglass body, with the intention to build the first non-American mass-produced fibreglass car. In the US, Chevrolet made its Corvette in fibreglass, but no one in Europe had built cars in plastic, except for the East German Trabant, which was also a 2-cylinder two-stroke car. Fibreglass was a relatively new material in the late 1950s, but had numerous benefits, notably its inability to rust and its light weight (being approximately 130 kg (290 lb) lighter than an equivalent metal-bodied car).

The Troll's chassis was taken from a Gutbrod Superior, and the body was made 150 millimetres (5.9 in) longer to fit on it. Gutbrod also manufactured the Troll's engine, which was a 700 cc (43 cu in) two-stroke straight-twin with Bosch fuel injection connected to a three-speed Hurth transmission. The engine produced 26 hp (19 kW), propelling the car to a top speed of approximately 130 km/h (81 mph). The Troll was also capable of 5 litres per 100 km (47 mpg).

Due to the complex fuel injection system, there were plans to use a 3-cylinder Saab engine instead, which were never implemented.

## History

### Development

The Troll was developed by businessman Per Kohl-Larsen and engineers Bruno Falck and Erling Fjugstad, and designed by Hans Trippel.

The first car was revealed to the press in October 1956. It was not completely finished, and although the form of the chassis was final, the car could not be driven. This car was later used as a prototype, and many changes were made during later testing. Norwegian and foreign press showed much enthusiasm towards the project, and the car was compared to those from brands like Porsche, Citroën and Saab.

### Production and bankruptcy

The first Troll was sold to a customer on May 1, 1957.

As production commenced, Kohl-Larsen faced difficulty obtaining a permit from the Norwegian government to sell the Troll. He was allowed to sell only 15 cars in Norway, the reason being a barter treaty Norway had with the Soviet Union and Eastern Europe to buy cars from them as they bought fish products from Norway. As such, the government was afraid that domestic car production would disrupt this trading balance. Kohl-Larsen therefore started plans to export cars to Germany and Denmark, with requests from other countries like Finland and Belgium. At one point, the company had plans to build 2,000 cars per year, but settled on one finished car per day afterwards.

Troll Plastik & Bilindustri was also unable to secure the investment capital necessary for large-scale production. When the Norwegian government made their lack of support for the Troll clear, all potential investors closed negotiations, resulting in bankruptcy in early 1958.

1. Navntoft, Søren (2020-07-09). "The Norwegian Porsche: Troll". *ViaRETRO*. Retrieved 2022-07-15.

## InfoBox

| Troll | |
| --- | --- |
|  | |
| Overview | |
| Type | Sports car |
| Manufacturer | Troll Plastik & Bilindustri |
| Designer | Hans Trippel |
| Body and chassis | |
| Body style | 2+2 coupe |
| Related | Gutbrod Superior |
| Powertrain | |
| Engine | 700 cc (42.7 cu in) Gutbrod two-stroke straight-twin |
| Power output | 26 hp (19.4 kW) |
| Transmission | 3-speed manual |
| Dimensions | |
| Wheelbase | 2,000 mm (78.7 in) |


title: Troll (disambiguation)

abstract: A troll is a mythological creature. Troll may also refer to:

text:
# Troll (disambiguation)

A **troll** is a mythological creature.

**Troll** may also refer to:

## Places

## People

### Surname

### Nickname

### Types of people

## Arts, entertainment, and media

### Fictional entities

### Films

### Literature

* *The Troll* (2009), a children's story by Julia Donaldson and David Roberts
* "Troll Bridge" (1991), a Discworld short story by Terry Pratchett

### Music

### Public art

### Television

### Other uses in arts, entertainment, and media

## Law

## Transportation

## Other uses

* Trolling (fishing), the practice of fishing by drawing a baited line or lure behind a boat


title: Trolley boat

abstract: A trolley boat is an electrically driven boat on canals and particularly in canal tunnels. It takes its energy like a tram or trolleybus from one or two overhead wires respectively.

text:
# Trolley boat

A **trolley boat** (a descriptive neologism not used contemporaneously) is an electrically driven boat on canals and particularly in canal tunnels. It takes its energy like a tram or trolleybus from one or two overhead wires respectively.

## History

Frank W. Hawley converted a conventional steam-driven canal boat into a trolley boat and demonstrated its benefits and limitations 1893 on the Erie Canal. It had two electric motors with 19 kW (25 hp) each, which drove the propellers.

On a 212 miles (4 km) long section of the Brussels–Charleroi Canal operated from 1899 a propeller driven trolley boat as a tug. Another installation was built in 1933 on a section of the Marne–Rhine Canal and is still in use. A 334 miles (6 km) long overhead cable was installed at the 2 miles (3,3 km) long canal tunnel of the Canal de Bourgogne in the French Canton de Pouilly-en-Auxois.

In 2012 Diversified Marine in Portland, Oregon built the new *Buena Vista Ferry*, which obtains its energy through an overhead cable, to connect Marion County and Polk County over the 220 meter wide Willamette River in Oregon. The Straussee Ferry is the last remaining trolley ferry in Germany, since the ferryboat of Haßmersheim was decommissioned in September 2014. It has a single wire overhead power supply.

## Additional photographs


title: Emmanuel Babayaro

abstract: Emmanuel Hyacinth Babayaro is a Nigerian footballer. He is a goalkeeper, best known for being the older brother of former Chelsea and Newcastle United player Celestine Babayaro. Emmanuel was a keen central midfielder as a child, but his younger brother Celestine would force him to play in goal, hitting him until he gave in. It was in this position that he was noticed. Babayaro was also part of Nigeria's gold medal winning team at the 1996 Olympics, a side in which Celestine also appeared.

text:
# Emmanuel Babayaro

| Olympic medal record | | |
| --- | --- | --- |
| Representing  Nigeria | | |
| Men's Football | | |
|  | 1996 Atlanta | Team Competition |

**Emmanuel Hyacinth Babayaro** (born 26 December 1976) is a Nigerian footballer. He is a goalkeeper, best known for being the older brother of former Chelsea and Newcastle United player Celestine Babayaro.

Emmanuel was a keen central midfielder as a child, but his younger brother Celestine would force him to play in goal, hitting him until he gave in. It was in this position that he was noticed.

Babayaro was also part of Nigeria's gold medal winning team at the 1996 Olympics, a side in which Celestine also appeared.

## InfoBox

Emmanuel Babayaro
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Emmanuel Hyacinth Babayaro | | |
| Date of birth | (1976-12-26) 26 December 1976 | | |
| Place of birth | Kaduna, Nigeria | | |
| Position(s) | Goalkeeper | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 1993–96 | Plateau United |  |  |
| International career | | | |
|  | Nigeria U23 |  |  |
| \*Club domestic league appearances and goals | | | |


title: Trudier Harris

abstract: Trudier Harris is an American literary scholar, author, writing consultor, and educator. She is a Professor Emerita at the University of Alabama and held the position of J. Carlyle Sitterson Distinguished Professor at University of North Carolina at Chapel Hill. Harris is a member of the Wintergreen Women Writers Collective.

text:
# Trudier Harris

**Trudier Harris** (born February 27, 1948) is an American literary scholar, author, writing consultor, and educator. She is a Professor Emerita at the University of Alabama and held the position of J. Carlyle Sitterson Distinguished Professor at University of North Carolina at Chapel Hill. Harris is a member of the Wintergreen Women Writers Collective.

## Background

Harris was born on February 27, 1948, in Mantua, Greene County, Alabama. She was the sixth of nine children born to Terrell Harris Sr. and Unareed Burton Moore Harris. Harris has three older sisters: Fannie Mae, Hazel Gray, and Eva Lee. She also has two older brothers: Terrell Jr. and Willie Frank. After Harris was born, her younger siblings Peter, Eddie Lee, and Annie (Anna) Louise were born.

Harris was named by her mother after a concert she went to see at Stillman College in Tuscaloosa, Alabama, while she was pregnant with Harris. The concert was performed by an artist named Cordelia and Harris's mother was fond of the last syllables of the singer's name. Her first name was misprinted on the original birth certificate as "Trudy", which Harris did not discover until the mid-1970s; soon after the discovery her name was corrected to Trudier, on the document, and Harris believes her mother was the one who corrected the certificate. Her name is something she is proud of because her mother crafted her name.

## Early life

Her early childhood years were spent on her 80-acre family owned cotton farm in Greene County, Alabama. She learned how to can vegetables and kill hogs to help contribute to the family’s work. The family farm was successful, but her father still had to face prejudices of the day, and was jailed for an entire year after being accused of stealing a bale of cotton. Her father died when Harris was six years old from a heart attack on September 4, 1954. After her father’s death, Unareed sold the family cotton farm and moved herself and all the kids to Tuscaloosa, Alabama. Harris and her siblings attended an all-black elementary school, which took some adjusting due to negative stigmas of being from the countryside. Harris and her siblings also had to eat the provided free lunch rather than being able to buy and pick their lunch, which also separated them from other students who were in higher economic social classes.

Harris participated in softball and basketball and maintained honor roll grades throughout her childhood. While the kids were in school Unareed worked as a domestic for white families, then later as a janitor and cook at an elementary school. For the majority of Harris’ early childhood she lived on Fosters Ferry Road and as she grew up her family moved to a house in Lincoln Park, Tuscaloosa, Alabama, where her sister Anna still lives today. Harris’ oldest brother, Terrell, was the first in the family to attend college and he attended Jackson State University in 1962 on an academic and athletic scholarship.

## Education and career

Harris attended the all-black Druid High School in Tuscaloosa, where she wrote her graduating class' senior play. After high school, she attended Stillman College in Tuscaloosa and was highly active on campus. She became president of her sorority, Zeta Phi Beta. She was also a student worker and served as an assistant to Dean John Rice, who is the father of future U.S. Secretary of State Condoleezza Rice. In college, Harris also started to participate in local protests as part of the civil rights movement. She graduated in 1969 with a B.A. degree in English and a minor in social studies. Harris and three of her other siblings were able to receive a degree from a higher level of education.

After receiving her undergraduate degree Harris attended a summer exchange program at Indiana University, which inspired her to go onto graduate school. She attended Ohio State University in Columbus, Ohio, where she received her master's and doctoral degrees in American Literature and Folklore in 1973

After Harris graduated from Ohio State University, she was hired as a professor at the College of William & Mary, where she was the first African-American tenured professor. In 1979, she started teaching in the English department at the University of North Carolina at Chapel Hill. Harris was at UNC until 1993 when she briefly moved to work in Atlanta, Georgia, at Emory University until 1996, when she transferred back to Chapel Hill, holding the position of J. Carlyle Sitterson Distinguished Professor. Harris retired in 2009 after 27 years of teaching courses in African-American literature and folklore at the University of North Carolina at Chapel Hill.

Harris became bored during retirement and decided to join the English department at the University of Alabama in her childhood town, Tuscaloosa. During her time at the University of Alabama, the Black Faculty and Staff Association established the "Dr. Trudier Harris Intercollegiate Black History Scholar Bowl". This is a yearly competition among surrounding universities in Alabama "to showcase their scholarly knowledge of African American History in a variety of categories." Harris served as a University Distinguished Research Professor of English until she retired for the second time in February 2022. After her retirement, she was named a Professor Emerita at the University of Alabama. Although Harris no longer works for the University of North Carolina at Chapel Hill or the University of Alabama, she still is an avid fan of Carolina basketball and the Crimson Tide football team.

In 2018, College of William & Mary awarded her an honorary degree.

## Awards and honors

* UNC Board of Governors Award for Excellence in Teaching (2005)
* William C. Friday/Class of 1986 Award for Excellence in Teaching (2000)
* National Humanities Center Fellowship for 2018–2019
* Research and Study Leave at UNC for Spring of 2005
* Institute for the Arts and Humanities (IAH) Fellowship at UNC (Fall, 2002)
* Institute for the Arts and Humanities (IAH) Fellowship to participate in a Leadership Seminar (Spring, 2002)
* SAMLA Honorary Member Award, 2021.
* SEC Faculty Achievement Award for the University of Alabama (2018)
* Clarence E. Cason Award in Nonfiction Writing (2018)

## Publications

### Books

* *From Mammies to Militants: Domestics in Black American Literature from Charles Chesnutt to Toni Morrison* (University of Alabama Press, 2023). ISBN 0817360948
* *Depictions of Home in African American Literature* (Lexington Books, 2021). ISBN 1793649634
* *Martin Luther King Jr., Heroism, and African American Literature* (University of Alabama Press, 2014). ISBN 0817318445
* *The Scary Mason-Dixon Line: African American Writers and the South* (The Louisiana State University Press, 2009). Selected by *Choice* magazine as one of its "Outstanding Academic Titles" of 2009. ISBN 0807133957
* *Summer Snow: Reflections from a Black Daughter of the South* (memoir; Beacon Press, 2003). Excerpt reprinted in *The Chronicle Review*, April 11, 2003. Selected as the inaugural text for the "One-Book, One-Community" reading project in Orange County, North Carolina, 2003–2004. Paperback edition issued Fall 2006. ISBN 0807072540
* *South of Tradition: Essays on African American Literature* (The University of Georgia Press, 2002; 12 previously unpublished essays). ISBN 0820324337
* Reprints: "Transformations of the Land in Randall Kenan’s ‘The Foundations of the Earth'" in *Black Literature Criticism*, Vol. 2, ed. Jelena O. Krstovic (Detroit: Cengage Learning, 2008), pp. 300–306; "Salting the Land but Not the Imagination: William Melvin Kelley’s A Different Drummer" in *Black Literature Criticism*, Vol. 2, ed. Jelena O. Krstovic (Detroit: Cengage Learning, 2008), pp. 278–82; "The Necessary Binding: Prison Experiences in Three August Wilson Plays" in *Drama Criticism*, Vol. 31, ed. Thomas J. Schoenberg and Lawrence J. Trudeau (Detroit: Cengage Learning, 2008), pp. 272–79.
* *Saints, Sinners, Saviors: Strong Black Women in African American Literature* (Palgrave/St. Martin's, 2001). ISBN 0312293003
* *The Power of the Porch: The Storyteller’s Craft in Zora Neale Hurston, Gloria Naylor, and Randall Kenan* (University of Georgia Press, 1996). (Lamar Memorial Lectures) ISBN 0820318574
* *Fiction and Folklore: The Novels of Toni Morrison* (University of Tennessee Press, 1991). A section of Chapter Six, on *Beloved*, has been reprinted in *"Beloved, she's mine": Essays Sur Beloved de Toni Morrison*, eds Genevieve Fabre et Claudine Raynaud (Paris: Cetanla, 1993), pp. 91–100. ISBN 0870497081
* *Black Women in the Fiction of James Baldwin* (University of Tennessee Press, 1985). ISBN 0870494619
* *Exorcising Blackness: Historical and Literary Lynching and Burning Rituals* (Indiana University Press, 1984). Chapter 7 has been reprinted in *The New Cavalcade: African American Writing 1760 to the Present*, Volume II, ed. Arthur P. Davis, J. Saunders Redding, and Joyce Ann Joyce (Washington, D. C.: Howard University Press, 1992), pp. 831–844. Excerpt reprinted in *Black on White: Black Writers on What It Means to Be White*, ed. David R. Roediger (New York: Schocken: 1998), pp. 299–304. ISBN 0253319951
* *From Mammies to Militants: Domestics in Black American Literature* (Philadelphia: Temple University Press, 1982). Chapter Three has been reprinted in *Black Southern Voices: An Anthology of Fiction, Poetry, Drama, Nonfiction, and Critical Essays*, eds John Oliver Killens and Jerry W. Ward, Jr. (New York: Meridian, 1992), pp. 564–590. ISBN 0877222797

### As co-editor

* *Reading Contemporary African American Drama: Fragments of History, Fragments of Self* (New York: Peter Lang Publishing, 2007—with Jennifer Larson). ISBN 0820488860
* *The Concise Oxford Companion to African American Literature* (New York: Oxford, 2001).
* *The Literature of the American South: A Norton Anthology* (New York: W. W. Norton, 1998). ISBN 0393316718
* *Call and Response: The Riverside Anthology of the African American Literary Tradition* (Boston: Houghton Mifflin, 1998 \[June 1997\]). ISBN 0395809622
* *The Oxford Companion to African American Literature* (New York: Oxford University Press, 1997). ISBN 9780195065107
* *The Oxford Companion to Women's Writing in the United States* (New York: Oxford University Press, 1995; November 1994). \[Edited essays on African-American women writers and topics related to the study of African-American literature. Wrote eight essays.\] ISBN 0195066081
* *Afro-American Poets After 1955* (Detroit: Gale Research Company, 1985). ISBN 0810317192
* *Afro-American Writers After 1955: Dramatists and Prose Writers* (Detroit: Gale Research Company, 1985). ISBN 0810317168
* *Afro-American Fiction Writers After 1955* (Detroit: Gale Research Company, 1984). ISBN 0810317117

### As editor

* *New Essays on Baldwin’s Go Tell It on the Mountain* (New York: Cambridge University Press, 1996). ISBN 0521498260
* *Selected Works of Ida B. Wells-Barnett* (New York: Oxford University Press, 1991).
* *Afro-American Writers, 1940–1955* (Detroit: Gale Research Company, 1988). ISBN 0810345544
* *Afro-American Writers from the Harlem Renaissance to 1940* (Detroit: Gale Research Company, 1987). ISBN 081031729X
* *Afro-American Writers Before the Harlem Renaissance* (Detroit: Gale Research Company, 1986). ISBN 0810317281

### Contributions to books

* "African American Lives: Zora Neale Hurston, James Baldwin, Malcolm X, and Eldridge Cleaver". In *Cambridge Companion to Autobiography*, eds Emily O. Wittman and Maria DeBattista (New York: Cambridge University Press, 2014), pp. 180–194.
* "Untangling History, Dismantling Fear: Teaching Tayari Jones's Leaving Atlanta", for *The Contemporary African American Literary Canon: Theory and Pedagogy*, ed. Lovalerie King and Shirley Turner-Moody (Bloomington: Indiana University Press, 2013), pp. 269–284.
* "Afterword: The Complexities of Home", *Race and Displacement: Nation, Migration, and Identity in the 21st Century*, ed. Maha Marouan and Merinda Simmons (Tuscaloosa: University of Alabama Press, 2013), pp. 211–220.
* "History as Fact and Fiction" for the *Cambridge History of African American Literature*, ed. Maryemma Graham and Jerry W. Ward, Jr. (New York: Cambridge, 2011), pp. 451–496.
* "Celebrating Bigamy and Other Outlaw Behaviors: Hurston, Reputation, and the Problems Inherent in Labeling Janie a Feminist", in *Approaches to Teaching Hurston's Their Eyes Were Watching God and Other Works*, ed. John W. Lowe (New York: MLA Publications, 2009), 67–80.
* "Cotton Pickin’ Authority", in *Shaping Memories: Reflections of African American Women Writers*, ed. Joanne V. Gabbin (Jackson: The University Press of Mississippi, 2009), 155–162.
* "Fear of Family, Fear of Self: Black Southern 'Othering' in Randall Kenan's A Visitation of Spirits", in *Women & Others: Perspectives on Race, Gender, and Empire*, ed. Celia R. Daileader, Rhoda E. Johnson, and Amilcar Shabazz (New York: Palgrave/Macmillan, 2007), 45–65.
* "Almost—But Not Quite—Bluesmen in Langston Hughes's Poetry", in *Montage of a Dream: The Art and Life of Langston Hughes*, ed. John Edgar Tidwell and Cheryl R. Ragar (Columbia: University of Missouri Press, 2007), 32–38.
* "Trapped in Lines and Language: Distorted Selves in Personal Ads", Introduction to *Racialized Politics of Desire in Personal Ads*, ed. Neal A. Lester & Maureen Daly Goggin (New York: Rowman & Littlefield, 2007), 1–5.
* "Watchers Watching Watchers: Positioning Characters and Readers in Baldwin's 'Sonny's Blues’ and Morrison's 'Recitatif'", in *James Baldwin and Toni Morrison: Comparative Critical and Theoretical Essays*, ed. Lovalerie King and Lynn Orilla Scott (New York: Palgrave/Macmillan, 2006), 103–120.
* "Foreword" to *After the Pain: Critical Essays on Gayl Jones*, ed. Fiona Mills and Keith B. Mitchell (New York: Peter Lang, 2006), pp. x–xiv.
* "Porch Sitters" and "The Yellow Rose of Texas" for *The Encyclopedia of African American Folklore*, ed. Anand Prahlad (Greenwood, 2005), 991–993; 1403–1404.
* "Preface" to three-volume set on the Harlem Renaissance (Gale Research Company, 2003).
* "The Second Teacher in the Classroom", Preface to *A Student's Guide to African American Literature, 1760 to the Present*, ed. Lovalerie King (New York: Peter Lang, 2003).
* "Lynching and Burning Rituals in African-American Literature", in *A Companion to African-American Philosophy*, ed. Tommy L. Lott and John P. Pittman (Blackwell Publishing, 2003), pp. 413–418.
* "The Ball of a Lifetime", in *Age Ain't Nothing But a Number: Black Women Explore Midlife*, ed. Carleen Brice (Beacon Press, 2003), 38–44. Reprinted in British edition, Fall 2004.
* "Genre", in Eight Words for the Study of Expressive Culture, ed. Burt Feintuch (University of Illinois Press, 2003), pp. 99–120.
* "Conjuring", "Lynching", "Lynch-Law", and "Voodoo" for *The Companion to Southern Literature*, eds Joseph Flora and Lucinda Mackethan (Louisiana State University Press, 2001).
* "This Disease Called Strength: The Masculine Manifestation in Raymond Andrews’ *Appalachee Red*", in *Contemporary Black Men’s Fiction and Drama*, ed. Keith S. Clark (University of Illinois Press, 2001), pp. 37–53. Reprinted in *Black Literature Criticism*, Vol. 1, ed. Jelena O. Krstovic (Detroit: Cengage Learning, 2008), pp. 46–54.
* "James Baldwin", *Oxford United States History* (New York: Oxford University Press, 2001).
* "The Power of Martyrdom: The Incorporation of Martin Luther King Jr. and His Philosophy into African American Literature", in *Media, Culture, and the Modern African American Freedom Struggle*, ed. Brian Ward (University Press of Florida, 2001), pp. 273–291.
* "Afterword: The Unbroken Circle of Assumptions", afterword to *Body Politics and the Fictional Double*, ed. Debra Walker King (Bloomington: Indiana University Press, 2000), pp. 178–185.
* "Before the Strength, the Pain: Portraits of Elderly Black Women in Early 20th Century Anti-Lynching Plays", in *Black Women Playwrights: Visions on the American Stage*, ed. Carol P. Marsh-Lockett (New York: Garland, 1999), pp. 25–42.
* "The Overweight Angel", in *Honey Hush: An Anthology of African American Women's Humor*, ed. Daryl Cumber Dance (New York: W. W. Norton, 1998), pp. 162–168.
* "Lying Through Our Teeth?: The Quagmire of Cultural Diversity", in *Teaching African American Literature: Theory and Practice*, ed. Maryemma Graham, Sharon Pineault-Burke, and Marianna White Davis (New York and London: Routledge, 1998), pp. 210–222.
* "What is Africa to African American Women Writers?", in *Contemporary Literature of the African Diaspora*, ed. Olga Barrios and Bernard W. Bell (Leon, Spain: 1997), pp. 25–32.
* "What Women? What Canon?: African American Women and the Canon", in *Speaking the Other Self: American Women Writers*, ed. Jeanne Reesman (Athens: University of Georgia Press, 1997).
* "Before the Stigma of Race: Authority and Witchcraft in Ann Petry's *Tituba of Salem Village*", in *Recovered Writers/Recovered Texts*, ed. Dolan Hubbard (University of Tennessee Press, 1997), pp. 105–115.
* "The Yellow Rose of Texas: A Different Cultural View", in *Juneteenth Texas: Essays in African-American Folklore*, ed., Francis E. Abernethy, Patrick B. Mullen, and Alan B. Govenar (Denton, Texas: University of Texas Press, 1996), pp. 314–333. Reprinted in *Callaloo* 20:1 (Winter, 1997): 8–19.
* "August Wilson's Folk Traditions". Essay on *Joe Turner's Come and Gone* in *August Wilson: A Casebook*, ed. Marilyn Elkins (Garland, 1994), pp. 49–67.
* "Escaping Slavery But Not Its Images"—essay on Beloved in *Toni Morrison: Critical Perspectives Past and Present*, ed. Henry Louis Gates, Jr. and Kwame Anthony Appiah (Amistad, 1993), pp. 330–341.
* Biographical Headnotes for "James Baldwin" and "Toni Morrison" for the D. C. Heath *Anthology of American Literature*, second rev. ed. (1993), pp. 2614–2615, 2872–2876.
* "Our People, Our People", in *Alice Walker and Zora Neale Hurston: The Common Bond*, ed. Lillie P. Howard (Greenwood Press, 1993), pp. 31–42.
* "Literature in Kenya" (with James Cornell), in *Kenya: The Land, The People, and The Nation*, ed. Mario Azevedo (Durham: Carolina Academic Press, 1993), pp. 103–118.
* "African-American Literature: A Survey", in *Africana Studies: A Survey of Africa and the African Diaspora*, ed. Mario Azevedo (Durham: Carolina Academic Press, 1992), pp. 331–342.
* "Introduction to Alice Childress' 'In the Laundry Room'", in *Women's Friendships*, ed. Susan Koppelman (Norman: University of Oklahoma Press, 1991), pp. 170–73.
* "Native Sons and Foreign Daughters", in *New Essays on Wright's Native Son*, ed. Keneth Kinnamon (Cambridge University Press, 1990), pp. 63–84.
* "From Exile to Asylum: Religion and Community in the Writings of Contemporary Black Women", in *Women's Writing in Exile*, ed. Mary Lynn Broe and Angela Ingram (Chapel Hill: UNC Press, 1989), pp. 151–169.
* "Reconnecting Fragments: Afro-American Folk Tradition in The Bluest Eye", in *Critical Essays on Toni Morrison*, ed. Nellie Y. McKay (Boston: G. K. Hall, 1988), pp. 68–76.'
* "Introduction" to Alice Childress's *Like One of the Family* (Boston: Beacon, 1986), pp. xi–xxxviii. ISBN 0807009032
* "Charlotte Forten", in *Afro-American Writers Before the Harlem Renaissance* (Detroit: Gale Research Company, 1986), pp. 130–139.
* "Black Writers in a Changed Landscape, Since 1950", *The History of Southern Literature*, edited by Louis Rubin, Jr., Blyden Jackson, et al. (Baton Rouge: LSU Press, 1985), pp. 566–577.
* "Samm-Art Williams", in *Afro-American Writers After 1955: Dramatists and Prose Writers* (Detroit: Gale Research Company, 1985), pp. 283–290.
* "Alice Childress", in *Afro-American Writers After 1955: Dramatists and Prose Writers* (Detroit: Gale Research Company, 1985), pp. 66–79.
* "The South As Woman: Chimeric Images of Emasculation in Just Above My Head", *Studies in Black American Literature*. Vol. 1, eds Joe Weixlmann and Chester J. Fontenot (Greenwood, Florida: Penkevill Publishing Company, 1983), pp. 89–109.
* "Three Black Women Writers and Humanism: A Folk Perspective", in *Black American Literature and Humanism*, ed. R. Baxter Miller (University of Kentucky Press, 1981), pp. 50–74.

### Articles

* "Peace in the War of Desire: Richard Wright's 'Long Black Song'." Forthcoming in *CLA Journal*.
* "Does Northern Travel Relieve Slavery? 'Vacations' in Dolen Perkins-Valdez's Wench." Forthcoming in *The South Atlantic Review*.
* "Nikki Giovanni: Literary Survivor Across Centuries," in *Appalachian Heritage* 40:2 (2012): 34–47.
* "The Terrible Pangs of Compromise: Racial Reconciliation in African American Literature", in *The Cresset* LXXV No. 4 (2012): 16–27.
* "Protest Poetry", for the National Humanities Center online resources for high school teachers—TeacherServe, Fall 2009.
* "The Image of Africa in the Literature of the Harlem Renaissance", for the National Humanities Center online resources for high school teachers—TeacherServe, Summer 2009.
* "The Trickster in African American Literature", for the National Humanities Center online resources for high school teachers—TeacherServe, Summer 2009.
* "The ‘N-Word’ Versus 'Nigger'", for the National Humanities Center online courses in African American Literature, Spring 2009.
* "Pigmentocracy", for the National Humanities Center online courses for high school teachers, 2008.
* C.S.A (Confederate States of America); article/review in *Southern Cultures*, Fall 2006.
* "William Melvin Kelley’s Real Live, Invisible South", *South Central Review*, 22:1 (Spring 2005): 26–47.
* "Porch-Sitting as a Creative Southern Tradition", in *Southern Cultures* 2:3-4 (1996): 441–460. Reprinted in *Voices From Home: The North Carolina Prose Anthology*, ed. Richard Krawiec (Greensboro, NC: Avisson Press, Inc., 1997), pp. 320–334.
* "Greeting the New Century with a Different Kind of Magic", Introduction to special issue of *Callaloo* (19:2) on Emerging Black Women Writers (Spring 1996): 232–238.
* "The Worlds That Toni Morrison Made" for special issue of *The Georgia Review*, "The Nobel Laureates of Literature: An Olympic Gathering", in connection with the Cultural Olympiad gathering of Nobel Prize winners in Atlanta in April 1995, XLIX (Spring 1995): 324–330.
* "‘This Disease Called Strength’: Some Observations on the Compensating Construction of Black Female Character", *Literature and Medicine* 14 (Spring 1995): 109–126.
* "Adventures in a ‘Foreign Country’: African American Humor and the South", *Southern Humor Issue of Southern Cultures* 1:4 (Summer 1995): 457–465. Reprinted in the Fifteenth Anniversary Issue of Southern Cultures (2008).
* "Genre"—for "Keywords" special issue of the *Journal of American Folklore*, 108 (Fall 1995): 509–527.
* "Toni Morrison: Solo Flight Through Literature and History", *World Literature Today* 68:1 (Winter 1994): 9–14. Invited commentary on Toni Morrison's works, which accompanied the publication of her Nobel Lecture.
* "‘Africanizing the Audience’: Zora Neale Hurston's Transformation of White Folks in Mules and Men", *The Zora Neale Hurston Forum* 7:1 (Fall 1993): 43–58.
* "Moms Mabley: A Study in Humor, Role Playing, and the Violation of Taboo", in *The Southern Review*, 24 (Autumn 1988): 765–776.
* "From Victimization to Free Enterprise: Alice Walker’s The Color Purple", *Studies in American Fiction*, 14 (Spring 1986): 1–17.
* "On The Color Purple, Stereotypes, and Silence", *Black American Literature Forum*, 18 (Winter 1984): 155–161. Reprinted in Gale Research's Series, *Black Literature Criticism* (1991, 1994).
* "The Women of Brewster Place, by Gloria Naylor", review/article, *Southern Changes*, 6, ii (March/April 1984): 12–13.
* "No Outlet for the Blues: Silla Boyce’s Plight in *Brown Girl, Brownstones*", *Callaloo*, 6, ii (Spring-Summer 1983): 57–67.
* "Almost Family, by Roy Hoffman", review/article for *Southern Changes*, 5, ii (March/April, 1983): 21–23.
* "A Different Image of the Black Woman", review/article of Dorothy West's *The Living is Easy*, *Callaloo*, 5, iii (October 1982): 146–151.
* "Tiptoeing Through Taboo: Incest in Alice Walker’s ‘The Child Who Favored Daughter’", *Modern Fiction Studies*, 28, iii (Autumn, 1982): 495–505.
* "A Spiritual Journey: Gayl Jones’s Song for Anninho", *Callaloo*, 5, iii (October, 1982): 105–111.
* "From Mammies to Militants: Domestics in Black American Literature", *Second Century Radcliffe News* (June 1982), p. 9.
* "‘I wish I was a poet’: The Character as Artist in Alice Childress’ Like One of the Family", *Black American Literature Forum*, 14, i (Special issue on literary theory; Spring, 1980): 24–30.
* "Chesnutt's Frank Fowler: A Failure of Purpose?" *CLA Journal*, 22, iii (March, 1979): 215–228.
* "The Barbershop in Black Literature", *Black American Literature Forum*, 13, iii (Fall, 1979): 112–118.
* "The Eye as Weapon in If Beale Street Could Talk", *MELUS*, 5, iii (Fall, 1978): 54–66. Reprinted in *Critical Essays on James Baldwin*, eds Fred L. Standley and Nancy V. Burt (Boston: G. K. Hall, 1988), pp. 204–216.
* "Telephone Pranks: A Thriving Pastime", *Journal of Popular Culture*, 12, i (Summer, 1978): 138–145.
* "Folklore in the Fiction of Alice Walker—A Perpetuation of Historical and Literary Traditions", *Black American Literature Forum*, 11, i (Spring, 1977): 3–8.
* "Ellison’s 'Peter Wheatstraw': His Basis in Black Folk Tradition", *Mississippi Folklore Register*, 9, ii (Summer, 1975): 117–126.
* "Ceremonial Fagots: Lynching and Burning Rituals in Black American Literature", *Southern Humanities Review*, 10, iii (Summer, 1975): 235–247.
* "Violence in The Third Life of Grange Copeland", *CLA Journal*, 19, ii (December: 238–247.

## InfoBox

| Trudier Harris | |
| --- | --- |
| Harris in 2015 | |
| Born | (1948-02-27) February 27, 1948<br>Mantua, Alabama, U.S. |
| Occupation | Literary scholar, author, educator |
| Alma mater | Stillman College |


title: Emily Wong

abstract: Emily Wong is a singer and actress. She is an artist of Amusic. In 2006, Wong made her debut in a Hong Kong musical film A Melody Looking and acted as Emily, a 16-year-old lovely and naive girl who seeks assistance from a detective to locate a girl. Her first song "I hear of..." was released in the film. Then she collaborated with Leon Lai, Chapman To, Janice Vidal, Jill Vidal, Charles Ying singing along with them in the song, "I'll Never Fall in Love Again". Her first public appearance was "A Johnnie Walker Music Show" and soon caught the fans attention. On 2 July 2007, she released her first Cantonese single "Liar" with Amusic.

text:
# Emily Wong

**Emily Wong** (Traditional Chinese: 王歌慧; born 10 May 1990) is a singer and actress. She is an artist of Amusic.

In 2006, Wong made her debut in a Hong Kong musical film A Melody Looking (directed by Leon Lai) and acted as Emily, a 16-year-old lovely and naive girl who seeks assistance from a detective to locate a girl. Her first song "*I hear of...* (Traditional Chinese: 聽說)" was released in the film. Then she collaborated with Leon Lai, Chapman To, Janice Vidal, Jill Vidal, Charles Ying singing along with them in the song, "*I'll Never Fall in Love Again*". Her first public appearance was "*A Johnnie Walker Music Show*" and soon caught the fans attention.

On 2 July 2007, she released her first Cantonese single "Liar" (Traditional Chinese: 大話精) with Amusic.

## Filmography

Television
| Year | English title | Chinese title | Role | Notes |
| --- | --- | --- | --- | --- |
| 2014–2015 | *The Election* | 選戰 | Anchor |  |
| | *To Be or Not to Be* | 來生不做香港人 | Lennon Ching |  |
| 2015 | *Second Life* | 第二人生 | Angel |  |
| | *Karma* | 驚異世紀 |  |  |
| 2017 | *Married but Available* | 我瞞結婚了 | Shirley (畢莎莉) |  |
| | *My Dearly Sinful Mind* | 心理追兇 | Hana |  |
| 2018 | *Stealing Seconds* | 棟仁的時光 | Viola |

Film
| Year | English title | Chinese title | Role | Notes |
| --- | --- | --- | --- | --- |
| 2006 | *A Melody Looking* | 缘邀之音 | Emily |  |

## Discography

### Singles

| Year | Single Title | Label |
| --- | --- | --- |
| 2007 | Liar | Amusic |

## InfoBox

| Emily Wong | |
| --- | --- |
| Born | (1990-05-10) 10 May 1990 |
| Origin | Hangzhou, China |
| Genres | Cantopop |
| Occupation(s) | Singer, actress |
| Years active | 2006–present |
| Labels | A Music |
|  | |
| Website | www.amusic.com.hk |


title: En Vivo Desde Hollywood

abstract: En Vivo Desde Hollywood is a live album by regional Mexican singer Jenni Rivera, released on April 4, 2006. It was recorded in Los Angeles, California.

text:
# En Vivo Desde Hollywood

***En Vivo Desde Hollywood*** (Eng.: "Live from Hollywood") is a live album by regional Mexican singer Jenni Rivera, released on April 4, 2006. It was recorded in Los Angeles, California.

## Track listing

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Parrandera, Rebelde y Atrevida" | 03:07 |
| 2. | "La Chacalosa" | 03:47 |
| 3. | "Popurrí: Reyna de Reynas/Rosita Alvírez/Mi Vida Loca" | 05:02 |
| 4. | "Las Malandrinas" | 03:06 |
| 5. | "Popurrí: Como Tú Decidas/Cuando Yo Quiera Has de Volver" | 02:26 |
| 6. | "Popurrí: Wasted Days and Wasted Nights/Angel Baby" | 04:12 |
| 7. | "Chicana Jalisciense" | 02:54 |
| 8. | "Se Marchó" | 02:37 |
| 9. | "Se Las Voy a Dar a Otro" | 06:53 |
| 10. | "Cuando Abras los Ojos" | 05:01 |
| 11. | "El Nopal" | 06:16 |
| 12. | "Popurri: A Escondidas/Hacer él Amor con Otro" | 04:57 |

## Chart performance

| Chart (2006) | Peak
position |
| --- | --- |
| US *Billboard* Top Latin Albums | 39 |
| US *Billboard* Regional Mexican Albums | 13 |
|

## InfoBox

| En Vivo Desde Hollywood | |
| --- | --- |
|  | |
| Live album by Jenni Rivera | |
| Released | April 4, 2006 |
| Recorded | 2005 |
| Genre | Regional Mexican |
| Label | Fonovisa |
| Jenni Rivera chronology | |
| *Parrandera, Rebelde y Atrevida*
(2005) ***En Vivo Desde Hollywood***
(2006) *Besos y Copas Desde Hollywood*
(2006) | |


title: Stanisław Car

abstract: Stanisław Car was a Polish politician, lawyer, Marshal of the Sejm, deputy Prime Minister and the Minister of Justice.

text:
# Stanisław Car

**Stanisław Car** (26 April 1882 – 18 June 1938) was a Polish politician, lawyer, Marshal of the Sejm, deputy Prime Minister and the Minister of Justice.

## Life

Born on 26 April 1882 into a Warsaw middle-class family, he studied law at the University of Warsaw (until 1905), and then at the University of Odessa, where he graduated in 1907. In 19081911, Car worked as a clerk in a court, opening then his own legal office. In 1915, he became a judge, and a member of the Commission of Civil Law of the Provisional Council of State.

For most of the 1920s, Car worked in his office. In 1924, he opened a magazine of Warsaw lawyers, “Palestra”, of which he was the first editor in chief. After the May Coup of 1926, he returned to politics. A close associate of Jozef Pilsudski, he remained loyal to the Polish Marshal until Pilsudski's death in May 1935.

Car was a prominent member of the pro-Sanacja party Nonpartisan Bloc for Support of Reforms (BBWR). He co-wrote the April Constitution of Poland.

Stanislaw Car died in Warsaw on 18 June 1938.

## Awards


title: Bolton Notch State Park

abstract: Bolton Notch State Park is a public, protected recreation area located at the junction of U.S. Route 44 and U.S. Route 6 in the town of Bolton, Connecticut. The site forms part of the boundary between the Thames River and Connecticut River watersheds. The state park's 95 acres (38 ha) offer opportunities for hiking, climbing, and cave exploration.

text:
# Bolton Notch State Park

**Bolton Notch State Park** is a public, protected recreation area located at the junction of U.S. Route 44 and U.S. Route 6 in the town of Bolton, Connecticut. The site forms part of the boundary between the Thames River and Connecticut River watersheds. The state park's 95 acres (38 ha) offer opportunities for hiking, climbing, and cave exploration.

## History

### Pre-human

Some 25,000 years ago all of New England, including Connecticut, was covered by the massive Laurentide Ice Sheet. Climate change forced the sheet of ice to start receding, with the last of the glacial ice disappearing from Connecticut by 10,000 years ago.

Large sand dunes accumulated in this glacial period as winds picked up outwash sand forming river valleys. As the climate warmed, the modern stream and river network was soon established, such as the Connecticut River. The formation of Bolton Notch consists of schist, quartzite and gneiss, as well as the minerals biotite, muscovite, quartz, garnet and staurolite

### Indigenous peoples

Native Americans are believed to have used the major trails crossing through Bolton Notch, which they called *Saqumsketuck*, for at least 10,000 years. The notch is thought to have created the boundary between the Mohegan and Podunk territories.

#### Folklore

The park grounds include Squaw's Cave, where according to legend, a Dutch cabin boy by the name of *Peter Hager* and his Podunk bride, *Wunnee-Neetunah* (US: /ˈwʌn.ntunə/*One Nee-TUNA*) lived as outcasts around the year 1640. Hager came to the New World on a ship captained by Adriaen Block, the *Onrust*.

### Modern History

Prior to becoming a protected state park, the area was used for a railroad from the 1850s through the 1950s. The railroad carried both passengers and freight. A crucial use for the railroad was transporting rock from the historic Bolton Notch quarry, located east of the park.

The state purchased the park's first 70 acres in 1918 in anticipation of developing a Wayside Park.

## Activities and amenities

The park offers rock climbing and hiking as well as "several caves large enough to accommodate a human." It is crossed by both the Hop River Trail and Shenipsit Trail.

## Further reading

* Spiess, Mathias (1934). *The Story of Wunnee-Neetunah, or The Life of an Indian Princess of Connecticut; a Tale of Truth* (PDF). Manchester, Connecticut: Meador Publishing Company.

## InfoBox

| Bolton Notch State Park | |
| --- | --- |
| Saqumsketuck | |
| Drawing of Squaw's Cave of Bolton Notch State Park from the book *The Story of Wunnee-Neetunah, or The Life of an Indian Princess of Connecticut* by Mathia Spiess c.1934 | |
| Bolton Notch State ParkLocation in ConnecticutBolton Notch State ParkBolton Notch State Park (the United States) | |
| Type | Protected area |
| Location | Bolton, Connecticut, United States |
| Nearest city | Hartford, Connecticut |
| Coordinates | 41°47′20″N 72°27′11″W / 41.78889°N 72.45306°W / 41.78889; -72.45306 |
| Area | 95 |
| Elevation | 568 ft (173 m) |
| Established | 1918 |
| Etymology | A land or place of hard rock (Saqumsketuck) |
| Administered by | Connecticut Department of Energy and Environmental Protection |
| Open | Dusk to dawn |
| Status | Open all year |
| Hiking trails |  |
| Terrain | Forested |
| Water | Salmon River |
| Designation | Connecticut state park |
| Parking | Free |
| Website | Official website |


title: Steven Schiff

abstract: Steven Harvey Schiff was an American politician. He served as a member of the United States House of Representatives, representing the first district of New Mexico from 1989 until his death in 1998. Schiff was a Republican. Schiff was born in Chicago, Illinois. He received a B.A. at the University of Illinois and a Juris Doctor from the University of New Mexico School of Law. Schiff joined the New Mexico Air National Guard in 1969, and he was a reservist until his death. He remained in New Mexico and was a lawyer until his election to Congress in 1989. From 1972 until 1981, Schiff was an assistant city attorney from Albuquerque. He was the Bernalillo County, New Mexico district attorney from 1981 until his entering Congress. Schiff had an interest in UFOs and as a congressman pressured various government officials for information about them. Schiff died of squamous-cell carcinoma of the skin during his fifth term in Congress in Albuquerque, New Mexico. Republican Heather Wilson won a special election to succeed him.

text:
# Steven Schiff

**Steven Harvey Schiff** (March 18, 1947 – March 25, 1998) was an American politician. He served as a member of the United States House of Representatives, representing the first district of New Mexico from 1989 until his death in 1998. Schiff was a Republican.

Schiff was born in Chicago, Illinois. He received a B.A. at the University of Illinois and a Juris Doctor from the University of New Mexico School of Law. Schiff joined the New Mexico Air National Guard in 1969, and he was a reservist until his death. He remained in New Mexico and was a lawyer until his election to Congress in 1989. From 1972 until 1981, Schiff was an assistant city attorney from Albuquerque. He was the Bernalillo County, New Mexico district attorney from 1981 until his entering Congress.

Schiff had an interest in UFOs and as a congressman pressured various government officials for information about them.

Schiff died of squamous-cell carcinoma of the skin during his fifth term in Congress in Albuquerque, New Mexico. Republican Heather Wilson won a special election to succeed him.

## InfoBox

| Steven Schiff | |
| --- | --- |
|  | |
|  | |
| Member of the U.S. House of Representatives
from New Mexico's 1st district | |
| **In office**
January 3, 1989  March 25, 1998 | |
| Preceded by | Manuel Lujan, Jr. |
| Succeeded by | Heather Wilson |
|  | |
| Personal details | |
| Born | Steven Harvey Schiff
March 18, 1947
Chicago, Illinois, U.S. |
| Died | March 25, 1998(1998-03-25) (aged 51)
Albuquerque, New Mexico, U.S. |
| Political party | Republican |
| Alma mater | University of Illinois
University of New Mexico School of Law |
| Occupation | Lawyer |
|  | |


title: Blast of Storm

abstract: Blast of Storm was a Barbadian Thoroughbred racehorse who was the first horse to win three consecutive runnings of the Barbados Gold Cup. Trained by William C. Marshall for owner Lady Sally Arbib, Blast of storm was ridden by Jono Jones in all three of his Gold Cup wins. Retired from racing, Blast of storm entered stud in Barbados in 2003. A life-size bronze statue of Blast of Storm now graces the infield opposite the finishing line.

text:
# Blast of Storm

**Blast of Storm** (foaled 1996 in Ireland) was a Barbadian Thoroughbred racehorse who was the first horse to win three consecutive runnings of the Barbados Gold Cup.

Trained by William C. Marshall for owner Lady Sally Arbib, Blast of storm was ridden by Jono Jones in all three of his Gold Cup wins.

Retired from racing, Blast of storm entered stud in Barbados in 2003.

A life-size bronze statue of Blast of Storm now graces the infield opposite the finishing line.

## Pedigree

Pedigree of Blast of Storm
| Sire
Perugino 1991 | Danzig 1977 | Northern Dancer | Nearctic |
| --- | --- | --- | --- |
| | | Natalma |
| | Pas de Nom | Admiral's Voyage |
| | Petitioner |
| | Fairy Bridge 1975 | Bold Reason | Hail to Reason |
| | | Lalun |
| | Special | Forli |
| | Thong |
| Dam
Key Partner 1987 | Law Society 1982 | Alleged | Hoist The Flag |
| | | Princess Pout |
| | Bold Bikini | Boldnesian |
| | Ran-Tan |
| | Roscrea 1977 | Ballymore | Ragusa |
| | | Paddy's Sister |
| | Twaddle | Tim Tam |
| | Blarney Bess |

## InfoBox

| Blast of Storm | |
| --- | --- |
| Sire | Perugino |
| Grandsire | Danzig |
| Dam | Key Partner |
| Damsire | Law Society |
| Sex | Stallion |
| Foaled | 1996 |
| Country | Ireland |
| Colour | Brown |
| Breeder | W. Powell-Harris |
| Owner | Lady Sally Arbib |
| Trainer | William C. Marshall |
| Record | 21: 10-2-5 |
| Earnings | 169,175 |
| Major wins | |
| Barbados Gold Cup (2000, 2001, 2002) | |


title: Bill Carruthers

abstract: William H. Carruthers was an American television executive who gained his first fame as the director of The Soupy Sales Show at Detroit television station WXYZ-TV. He also directed the Ernie Kovacs-helmed game show, Take a Good Look, for ABC from 1959 to 1961. Carruthers was born in Detroit, Michigan. He served in the Air Force for four years, and after serving, he took up a job at Detroit's then-ABC owned and operated station, WXYZ-TV. One day, he showed up to the station to work when he was told at the last minute, the regular director was unable to direct The Soupy Sales Show, he stepped in to direct the show. He was named the permanent director, and moved with his family to Los Angeles in 1959 upon the show becoming nationally distributed. He went on to be the director on The Newlywed Game and The Dating Game before starting his own production company in 1968. His company, The William Carruthers Company, produced the ABC country music series The Johnny Cash Show in 1969 with his partner Joel Stein for Screen Gems. He also produced and directed game shows including Give-n-Take, The Neighbors, Second Chance, Lee Trevino's Golf for Swingers and the 1975 version of You Don't Say!, before hitting it big with the CBS game show, Press Your Luck, which ran from 1983–86. He was the voice for the multiple Whammy animations on the show. As a television consultant, Carruthers guided the Nixon, Ford, Reagan and George H. W. Bush administrations on effective use of the media. In the 1990s, he produced specials for The Family Channel, called Marry Me, as well as a short-lived game show for ESPN, Designated Hitter. He suffered a stroke on set in 1996. This led to his retirement, which eventually led to his death from heart failure in 2003. Two weeks after his death, Game Show Network aired a documentary called Big Bucks: The Press Your Luck Scandal about a contestant on the Carruthers co-created Press Your Luck named Michael Larson. The documentary detailed how Larson created a method that allowed him to win a record-breaking sum of over $100,000 on the game show. Carruthers was interviewed for the program, which marked his last appearance before his death. The original airing of the documentary was dedicated in his memory. Today, the rights to the Press Your Luck format are owned by the British multi-national media company Fremantle; Carruthers sold the format to Pearson Television, Fremantle's predecessor company after his retirement.

text:
# Bill Carruthers

**William H. Carruthers** (September 27, 1930 – March 2, 2003) was an American television executive who gained his first fame as the director of *The Soupy Sales Show* at Detroit television station WXYZ-TV. He also directed the Ernie Kovacs-helmed game show, *Take a Good Look*, for ABC from 1959 to 1961.

Carruthers was born in Detroit, Michigan. He served in the Air Force for four years, and after serving, he took up a job at Detroit's then-ABC owned and operated station, WXYZ-TV. One day, he showed up to the station to work when he was told at the last minute, the regular director was unable to direct The Soupy Sales Show, he stepped in to direct the show. He was named the permanent director, and moved with his family to Los Angeles in 1959 upon the show becoming nationally distributed.

He went on to be the director on *The Newlywed Game* and *The Dating Game* before starting his own production company in 1968. His company, The William Carruthers Company, produced the ABC country music series *The Johnny Cash Show* in 1969 with his partner Joel Stein for Screen Gems. He also produced and directed game shows including *Give-n-Take*, *The Neighbors*, *Second Chance* (all with Warner Bros. Television, as part of a deal it signed in 1975), *Lee Trevino's Golf for Swingers* (with advertising agency McCann Erickson) and the 1975 version of *You Don't Say!* (with Ralph Andrews Productions and Warner Bros. Television), before hitting it big with the CBS game show, *Press Your Luck* (which was a retooling of the earlier *Second Chance*), which ran from 1983–86. He was the voice for the multiple Whammy animations on the show.

As a television consultant, Carruthers guided the Nixon, Ford, Reagan and George H. W. Bush administrations on effective use of the media.

In the 1990s, he produced specials for The Family Channel, called *Marry Me*, as well as a short-lived game show for ESPN, *Designated Hitter*.

He suffered a stroke on set in 1996. This led to his retirement, which eventually led to his death from heart failure in 2003. Two weeks after his death, Game Show Network aired a documentary called *Big Bucks: The Press Your Luck Scandal* about a contestant on the Carruthers co-created *Press Your Luck* named Michael Larson. The documentary detailed how Larson created a method that allowed him to win a record-breaking sum of over $100,000 on the game show. Carruthers was interviewed for the program, which marked his last appearance before his death. The original airing of the documentary was dedicated in his memory. Today, the rights to the Press Your Luck format are owned by the British multi-national media company Fremantle; Carruthers sold the format to Pearson Television, Fremantle's predecessor company after his retirement.

## InfoBox

| Bill Carruthers | |
| --- | --- |
| Born | William H. Carruthers
(1930-09-27)September 27, 1930
Detroit, Michigan, United States |
| Died | March 2, 2003(2003-03-02) (aged 72)
Burbank, California, United States |
| Occupation(s) | Television executive, television director, television producer |


title: Edmund Concanon

abstract: Edmund Concanon was Irish solicitor and town commissioner from 1816–1902. Concanon was reputedly descended from the kings of Uí Díarmata. By the 18th century their property was much reduced, and they converted from Catholicism to the established Protestant church. In this was they held onto the remain of the property in the parish of Killascobe; Concanon's father named the family home "Waterloo" in commemoration of Wellington's victory. Because he was a younger son, Concanon did not inherit the family property. He gained employment at the ecclesiastical court of Archbishop Trench in Tuam. In time he acquired properties himself around the town. He set up business as a land agent at The Mall in the early 1850s and within ten years began practising in the local courts. In this capacity, he defended the Fenian, Michael Fahy (Fenian), in 1865. He was also a defence solicitor in the Maamtrasna murders case in 1882. He married a Roman Catholic, Catherine Parsons of Dublin. The first child was baptised as a Catholic, but the following nine were raised Protestant. Concanon was a member of the town's cricket club, spoke Irish and was a noted step-dancer. On his death he was interred in the family vault at Killascobe.

text:
# Edmund Concanon

**Edmund Concanon** was Irish solicitor and town commissioner from 18161902.

Concanon was reputedly descended from the kings of Uí Díarmata. By the 18th century their property was much reduced, and they converted from Catholicism to the established Protestant church. In this was they held onto the remain of the property in the parish of Killascobe; Concanon's father named the family home "Waterloo" in commemoration of Wellington's victory.

Because he was a younger son, Concanon did not inherit the family property. He gained employment at the ecclesiastical court of Archbishop Trench in Tuam. In time he acquired properties himself around the town. He set up business as a land agent at The Mall in the early 1850s and within ten years began practising in the local courts. In this capacity, he defended the Fenian, Michael Fahy (Fenian), in 1865. He was also a defence solicitor in the Maamtrasna murders case in 1882.

He married a Roman Catholic, Catherine Parsons of Dublin. The first child was baptised as a Catholic, but the following nine were raised Protestant.

Concanon was a member of the town's cricket club (the town ran two teams), spoke Irish and was a noted step-dancer. On his death he was interred in the family vault at Killascobe.


title: Emil Jakob Schindler

abstract: Emil Jakob Schindler was an Austrian landscape painter. His eldest daughter was the author and composer Alma Mahler.

text:
# Emil Jakob Schindler

**Emil Jakob Schindler** (27 April 1842 – 9 August 1892) was an Austrian landscape painter. His eldest daughter was the author and composer Alma Mahler.

## Life

He was born to a family of cotton spinning-mill operators that had been established in Fischamend, a village south of Vienna, since the 17th century. His father, Julius Jakob Schindler (1814–1846), died of lung cancer when Emil was only four years old. His mother, Maria Anna (née Penz, 1816–1886) soon afterwards took him to Pressburg (Bratislava). Three years later, on 10 February 1849, she married Second Lieutenant (later Captain), Mathias Eduard Nepalleck (1815–1873), who served in the local 2nd Hungarian Infantry Regiment. This may have been a forced marriage because, one month after the wedding, she gave birth to a daughter, Alexandrine Nepalleck (3 March 1849 – 4 September 1932).

Little is known about Schindler's early life. He probably began school in 1848, took piano lessons, and prepared for a military career. He did, in fact, join the army in 1857, and may have taken part in the Battle of Solferino. Not long after, however, he left the army and, in 1860, entered the Academy of Fine Arts, Vienna, where he studied with Albert Zimmermann. He found his inspiration, however, in the Dutch Masters such as Meindert Hobbema and Jacob Izaaksoon van Ruisdael. In 1873, he travelled to Venice and Dalmatia; a trip sponsored by the industrialist Friedrich Franz von Leitenberger (1837–1899). Later, he visited France and Holland.

In the spring of 1864, barely twenty-two years old, he exhibited publicly in Vienna for the first time, and sold his first painting, "Eine Waldschmiede" (A Forest Blacksmith) for 350 florins. After moving about, in 1867 he was able to find a permanent home in Landstraße, where he was registered as an "Historienmaler" (History painter). Two years later, he relocated to Wieden, where many artists lived, including one of Schindler's favorites, Hans Makart. When his step-father died, he took a larger apartment where his mother and half-sister soon joined him.

### Musical pastimes and marriage

Schindler often took part in the evening feasts held at the Vienna Künstlerhaus. This prompted him to take singing lessons with Gustav Geiringer (1856–1945), a pianist and voice teacher. Later, he studied with Adele Passy-Cornet, a former opera soprano who had opened her own singing school in Mariahilf. This gave him the confidence to perform publicly and was briefly a member of a popular quartet led by Karl Udel.

During this time, he took on Tina Blau as a student and, from 1875 to 1876, they shared a studio. A burgeoning personal relationship apparently led to a quarrel and she left. The following year, however, he was preparing an amateur performance of *Lenardo and Blandine*, an opera by Franz Mögele (1834-1907) when his half-sister Alexandrine, who had the leading role, was suddenly taken ill and Schindler asked Passy-Cornet to find a stand-in. She presented him to one of her new pupils, a twenty-year old German girl, Anna Sofie Bergen (1857-1938). Anna was accepted and, while working with Schindler, they fell in love. In 1878, their engagement was announced in the Viennese daily *Fremden-Blatt*.

Her professional career proved to be very short-lived. After six performances in the title role of *Die Wallfahrt der Königin* (The Queen's Pilgrimage) a comic opera by Josef Forster, she suddenly retired, either because Schindler strongly opposed her public appearances out of jealousy or because she was pregnant.

They were married in 1879 and, a month later, appeared together for the first and last time in another work by Mögele, the operetta *Ritter Toggenburg*. In August of that year, Anna gave birth to Alma Magaretha Maria, who would later become famous as Alma Mahler. A second daughter, Margaretha Julie (Grete), was born a year later. She was married to painter Wilhelm Legler, by whom she had a child. She led a less fortunate life and, in 1942, died at a mental hospital in Großschweidnitz, murdered by the Nazis.

### Infidelity allegations

Shortly after Alma's birth, Anna was suspected of having an affair with the painter, Julius Victor Berger. Two years after Grete's birth, she was accused of carrying on another affair with Carl Moll, one of her husband's students. Schindler kept a diary in those years which is preserved in part by the Austrian National Library. Extracts were also published in a book by Moll (*Emil Jakob Schindler*, Vienna 1930). In an entry of 15 October 1879, 1½ months after Alma's birth, Schindler complained that his joy at the birth was tempered by "separation" from his wife. This was apparently resolved but, in an unpublished manuscript by Alma, *Der schimmernde Weg* (The Shimmering Road) she claims that Berger was Grete's real father. However, the facts in the case are confusing, and no conclusion has been reached.

Many explanations have been proposed as to why she never had any more children with Schindler because, after his death, she married Moll and gave birth to another daughter (Maria) at the age of 42.

### Later life and successes

In 1881, he was awarded the Reichel-Preis which came with a cash award of 1,500 florins, enabling the family to rent a large new apartment that was previously occupied by Passy-Cornet, who had moved to Budapest. Winning the prize also served to attract more clients and their financial condition continued to improve. From 1885 onwards, he rented the *Castle Plankenberg*, near Neulengbach, where he spent his summers and established an artists' colony. He had several students there, including Marie Egner, his former studio mate Tina Blau, Olga Wisinger-Florian and Luise Begas-Parmentier. Two years later (1887), he received a commission from Rudolf, Crown Prince of Austria to sketch the coastal scenery in Dalmatia and on the island of Corfu, as part of a grand project called *The Austro-Hungarian Monarchy in Word and Picture*. That same year, he became an honorary member of the Vienna Academy. In 1888, the Munich Academy followed suit.

Schindler adored his two daughters, and at an early age, arranged for piano lessons with Adele Radnitzky-Mandlick, who taught them for several years. They had their debut in 1890, aged ten and nine. He also made certain they received a full education, which was not common practice at the time, and sent them to a private women's academy after becoming displeased with the public schools.

He also tried his hand at writing, producing a five act verse drama entitled *Anna* (1890, not about his wife), which was never published, and art criticism under the pen name "Justus". His feelings about the Viennese schools prompted him to write an essay: "On School Education".

### Death and cultural impact

His death is generally attributed to appendicitis, which he had left untreated for too long while on vacation. However, his death certificate, as published in the *Wiener Zeitung* (17 August 1892, p. 10), gives the cause as paralytic ileus.

According to contemporary newspaper reports, Schindler died at 2 p.m. on August 9, 1892, only five days after his arrival to Sylt, in great pain but fully conscious. At his deathbed he was surrounded by his wife, his two daughters, Carl Moll and a vicar. The reports thus also clearly contradicts Alma Mahler's much-cited recollections on her father's death. According to his own wishes Schindler was buried next to his mother on 14 August in the churchyard of Ober St. Veit (Hietzing).

An auction of his paintings at the beginning of December 1892, arranged by Carl Moll and the art dealer, H. O. Miethke (1834-1911), produced a net profit of ca. 80,000 florins (Gulden).

On October 1, 1895, Schindler's remains were exhumed and transferred to the Zentralfriedhof, where the City of Vienna had dedicated an honorary grave ("Ehrengrab") to him, with a new tombstone with his bust made by his friend, Edmund Hellmer, who also made the statue for the Stadtpark, unveiled on October 14, 1895. The original tombstone by Hellmer was probably destroyed by bombs in 1945 and later replaced by a plain headstone that only bears Schindler's names, but not his life dates.

In 1894, a street in the Währing District had been named after him. In 1912, Moll, who was now director of the Galerie Miethke in Vienna, held their first solo exhibition of Schindler's paintings, to commemorate the 20th anniversary of his death.

## Selected paintings

## Further reading

* Elisabeth Edith Kamenicek: Emil Jakob Schindler (1842–1892). Sein schriftliches Werk im Kontext von Kunsthandel, Mäzenatentum und Kunstkritik seiner Zeit. 2 Bände. Dissertation. Universität Salzburg, Salzburg 2002, OBV.
* Agnes Husslein-Arco, Alexander Klee (eds.), *Emil Jakob Schindler, Poetischer Realismus*, Munich 2012, Hirmer Verlag, ISBN 978-3-7774-2014-1
* Carl Moll: *Emil Jakob Schindler 1842–1892. Eine Bildnisstudie.* Österreichische Staatsdruckerei, Vienna 1930.
* Peter Weninger, Peter Müller: *Die Schule von Plankenberg. Emil Jakob Schindler und der österreichische Stimmungsimpressionismus.* Akademische Druck- und Verlagsanstalt, Graz 1991 ISBN 3-201-01537-7.
* Agnes Husslein-Arco, Alexander Klee: *Emil Jakob Schindler. Poetischer Realismus*, Exhibition catalog, Meisterwerke im Focus, Österreichische Galerie Belvedere, Vienna 2012, Hirmer Verlag, München, ISBN 978-3-7774-2014-1

## InfoBox

| Emil Jakob Schindler | |
| --- | --- |
|  | |
| Born | 27 April 1842
Vienna |
| Died | 9 August 1892 (1892-08-10) (aged 50)
Westerland |