title: Proletarian literature

abstract: Proletarian literature refers here to the literature created by left-wing writers mainly for the class-conscious proletariat. Though the Encyclopædia Britannica states that because it "is essentially an intended device of revolution", it is therefore often published by the Communist Party or left-wing sympathizers, the proletarian novel has also been categorized without any emphasis on revolution, as a novel "about the working classes and working-class life; perhaps with the intention of making propaganda". This different emphasis may reflect a difference between Russian, American and other traditions of working-class writing, with that of Britain. The British tradition was not especially inspired by the Communist Party, but had its roots in the Chartist movement, and socialism, amongst others. Furthermore, writing about the British working-class writers, H Gustav Klaus, in The Socialist Novel: Towards the Recovery of a Tradition (1982) suggested that "the once current [term] 'proletarian' is, internationally, on the retreat, while the competing concepts of 'working-class' and 'socialist' continue to command about equal adherence". The word proletarian is also used to describe works about the working class by working-class authors, to distinguish them from works by middle-class authors such as Charles Dickens, John Steinbeck, and Henry Green (Living). Similarly, though some of poet William Blake's (1757–1827) works are early examples of working-class literature, including the two "The Chimney Sweeper" poems, published in Songs of Innocence in 1789 and Songs of Experience in 1794, which deal with the subject of child labour, Blake, whose father was a tradesman, was not a proletarian writer.

text:
# Proletarian literature

**Proletarian literature** refers here to the literature created by left-wing writers mainly for the class-conscious proletariat. Though the *Encyclopædia Britannica* states that because it "is essentially an intended device of revolution", it is therefore often published by the Communist Party or left-wing sympathizers, the proletarian novel has also been categorized without any emphasis on revolution, as a novel "about the working classes and working-class life; perhaps with the intention of making propaganda". This different emphasis may reflect a difference between Russian, American and other traditions of working-class writing, with that of Britain. The British tradition was not especially inspired by the Communist Party, but had its roots in the Chartist movement, and socialism, amongst others. Furthermore, writing about the British working-class writers, H Gustav Klaus, in *The Socialist Novel: Towards the Recovery of a Tradition* (1982) suggested that "the once current \[term\] 'proletarian' is, internationally, on the retreat, while the competing concepts of 'working-class' and 'socialist' continue to command about equal adherence".

The word proletarian is also used to describe works about the working class by working-class authors, to distinguish them from works by middle-class authors such as Charles Dickens (*Hard Times*), John Steinbeck (*The Grapes of Wrath*), and Henry Green (*Living*). Similarly, though some of poet William Blake's (1757–1827) works are early examples of working-class literature, including the two "The Chimney Sweeper" poems, published in *Songs of Innocence* in 1789 and *Songs of Experience* in 1794, which deal with the subject of child labour, Blake, whose father was a tradesman, was not a proletarian writer.

## Proletarian novel

The proletariat are members of the working class. The proletarian novel is a subgenre of the novel, written by workers mainly for other workers. It overlaps and sometimes is synonymous with the working-class novel, socialist novel, social problem novel (also problem novel or sociological novel or social novel), propaganda or thesis novel, and socialist realism novel.

The proletarian novel may comment on political events, systems and theories, and is frequently seen as an instrument to promote social reform or political revolution among the working classes. Proletarian literature is created especially by communist, socialist, and anarchist authors. It is about the lives of poor, and the period 1930 to 1945 in particular produced many such novels. However, there were works before and after these dates. In Britain the term working class literature, novel *etc*. is more generally used. The intention of the writers of proletarian literature is to lift the workers from the slums, by inspiring them to embrace the possibilities of social change or a political revolution.

## By country

### Australia

Australian authors who have contributed to proletarian literature have typically been affiliated with the Communist Party of Australia; Australian Labor Party or Australian Greens. Some prominent proletarian fiction authors include Frank Hardy (*Power Without Glory*) and David Ireland (*The Unknown Industrial Prisoner* about factory workers in Western Sydney).

### France

Two leading French writers who were born into the working class were Jean Giono (1895–1970) and Henry Poulaille (1896–1980).

Jean Giono was the son of a cobbler and a laundry woman, who spent most of his life in Manosque, Alpes-de-Haute-Provence. He was a voracious reader but had to leave school at sixteen to work in a bank to help support his family. He published his first novel *Colline* in 1929, which won him the Prix Brentano and $1000, and an English translation of the book, he left the bank in 1930 to devote himself to writing on a full-time basis.

The novels Giono published during the nineteen-thirties are set in Provence, with peasants as protagonists, and displaying a pantheistic view of nature. Marcel Pagnol based three of his films on Giono's work of this period: *Regain*, with Fernandel and music by Honegger, *Angèle*, and *La Femme du boulanger*, with Raimu.

After World War II he planned on writing a sequence of ten novels inspired by Balzac’s La Comédie humaine, in which he would depict characters from all strata of society rather than peasants, and contrast different moments in history by depicting the experiences of members of the same family a hundred years apart. But Giono only completed the four Hussard novels, *Mort d’un personnage* (1948)), *Le Hussard sur le Toit* (1951), *Le Bonheur fou* (1957), *Angelo* (1958).

Henry Poulaille was the son of a carpenter and cane worker, who was orphaned at fourteen. In addition to writing novels Poulaille was active in encouraging working class writing in France from the 1930s. He is the author of numerous novels, essays on the cinema, literature, and popular traditions. Amongst the novels that he wrote are autobiographical works: *There were four* (1925); *Daily Bread* (1931); *The Wretched of the Earth* (1935); *Soldier of Pain* (1937); *The Survivors: Soldier of Pain 2* (1938); *Alone in life to 14 years* (published posthumously in 1980). In these novels, based on his own life, Poulaiile depicts a working-class family, the Magneux.

### Great Britain

#### 19th century

Poet John Clare (1793–1864) was an important early British working-class writer. Clare was the son of a farm labourer, and came to be known for his celebratory representations of the English countryside and his lamentation of its disruption. His poetry underwent a major re-evaluation in the late 20th century and he is now considered to be among the most important 19th-century poets. His biographer Jonathan Bate states that Clare was "the greatest labouring-class poet that England has ever produced. No one has ever written more powerfully of nature, of a rural childhood, and of the alienated and unstable self".

A mid-Victorian example of a working-class novel is chartist Thomas Martin Wheeler's *Sunshine and Shadows*, which was serialized in the *Northern Star* 1849–50. Another chartist writer was the shoemaker poet Thomas Cooper, who, while in prison for making an inflammatory speech, "followed in the footsteps of Bunyan and other radicals and wrote imaginatively about the themes of oppression and emancipation".

#### 20th century

Walter Greenwood's *Love on the Dole* (1933) has been described as an "excellent example" of an English proletarian novel. It was written during the early 1930s as a response to the crisis of unemployment, which was being felt locally, nationally, and internationally. It is set in Hanky Park, the industrial slum in Salford where Greenwood was born and brought up. The story begins around the time of the General Strike of 1926, but its main action takes place in 1931.

Several working-class writers wrote about their experience of life in the merchant navy, including James Hanley, Jim Phelan, George Garrett, and John Sommerfield. Liverpool-Irish writer James Hanley wrote a number of works based on his experiences at sea as well as a member of a working-class seafaring family. An early example is the novella *The Last Voyage* (1931), in which stoker John Reilly, who is still working only because he lied about his age, now faces his last voyage. Although Reilly is in his mid-sixties he has a young family, who will have to live in future on his inadequate pension. In another sense this is Reilly's last voyage, because despairing of the future he throws himself into the ship's furnace: “Saw all his life illuminated in those flames. ‘Not much for us. Sweat, sweat. Pay off. Sign on. Sweat, sweat. Pay off. Finish. Ah, well!’” Among other works by Hanley are *Boy* (1931) and *The Furys* (1935).

There were a number of Welsh writers who wrote works based on their experiences as coal miners, including novelist (and playwright) Jack Jones (1884–1970), B.L. Coombes (1893–1974), novelists Gwyn Thomas (1913–1981). Lewis Jones (1897–1939), and Gwyn Jones (1907–1999), and poet Idris Davies (1905–53). Jack Jones was a miner's son from Merthyr Tydfil who was himself a miner from the age of 12. He was active in the union movement and politics, starting with the Communist Party, but in the course of his life he was involved, to some degree, with all the major British parties. Amongst his novels of working-class life are *Rhondda Roundabout* (1935) and *Bidden to the Feast* (1938). Bert Coombes came from Herefordshire to Resolven in south Wales as a teenager, where he spent the rest of his life, working as a miner for 40 years. Among his works, the autobiographical *These Poor Hands* (Gollancz 1939) is the classic account of life as a miner in south Wales. The political development of a young miner is the subject of *Cwmardy* (1937), Lewis Jones's (1897–1939) largely autobiographical novel. Gwyn Thomas (1913–81) was also a coalminer's son from the Rhondda, but won a scholarship to Oxford and then became a schoolmaster. He wrote 11 novels as well as short stories, plays, and radio and television scripts, most of which focused on unemployment in the Rhondda Valley in the 1930s. Thomas's first accepted book was a collection of short stories, *Where Did I Put My Pity: Folk-Tales From the Modern Welsh*, which appeared in 1946. Another writer who escaped from his proletarian background was Gwyn Jones (1907–1999). He wrote about this world in novels and short stories, including *Times Like These* (1936) which explores the life of a working-class family during the 1926 miners' strike. The mining valleys produced a significant working-class poet in Idris Davies (1905–53), who worked as a coal miner before qualifying as a teacher. Davies was a Welsh speaker but wrote primarily in English. His works include a few poesm in Welsh. *Gwalia Deserta* (1938) is about the Great Depression, while the subject of *The Angry Summer* (1943) is the 1926 miners' strike. Ron Berry (1920–1997), son of Rhondda collier who worked underground himself, produced novels and short stories rooted in the Welsh working class. Rhys Davies, author of *A Time To Laugh* (1937), and Menna Gallie, author of *Strike for a Kingdom* (1959) and *The Small Mine* (1962), while not working class, also wrote about life in the mining valleys of South Wales. Novelist and poet Christopher Meredith (1954- ), the son of a steelworker and former coalminer and formerly a steelworker himself, writes out of Welsh working class experience, especially in his novel *Shifts* (1988), set in the 1970s against the decline of the steel industry, and in most of the short stories of *Brief Lives* (2018).

Harold Heslop, author of the novel *The Earth Beneath* (1946) was another coal miner, but from the north-east of England, as was Sid Chaplin, who wrote *The Thin Seam* (1949).

Both Alan Sillitoe, *Saturday Night and Sunday Morning* (1958) and Stan Barstow, *A Kind of Loving* (1960), were working class writers associated with the so-called Angry young men; they were also linked with Kitchen sink realism, a literary movement that used a style of social realism. This often depicted the domestic situations of working class Britons living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore social issues and political controversies. However, some of the writers also associated with these two movements, like John Osborne and John Braine, did not come from the working-class.

The following are some other important twentieth-century British working class novelists and novels: Robert Tressell, *The Ragged-Trousered Philanthropists* (1914); James C. Welsh, *The Underworld* (1920); Ethel Carnie Holdsworth, *This Slavery* (1925); Ellen Wilkinson, *Clash* (1929); Lionel Britton, *Hunger and Love* (1931); Lewis Grassic Gibbon *A Scots Quair* (trilogy, 1932-4); Barry Hines, *A Kestrel for a Knave* (1968); William McIlvanney, *Docherty* (1975); Pat Barker, *Union Street* (1982); James Kelman, *The Busconductor Hines* (1984); Irvine Welsh, *Trainspotting* (1993).

Edward Bond is an important working-class dramatist and his play *Saved* (1965) became one of the best known cause célèbres in 20th century British theatre history. *Saved* delves into the lives of a selection of South London working class youths suppressed – as Bond would see it – by a brutal economic system and unable to give their lives meaning, who drift eventually into barbarous mutual violence.

### Ireland

Notable Irish proletarian writers of the early 20th century included Liam O’Flaherty and Seán O'Casey. Leslie Daiken, Charles Donnelly and Peadar O'Donnell are also well-known.

Modern working-class authors include Karl Parkinson, Kevin Barry and Roddy Doyle, .

### Japan

The proletarian literature movement in Japan emerged from a trend in the latter half of the 1910s of literature about working conditions by authors who had experienced them, later called Taisho workers literature. Representative works from this period include Sukeo Miyajima's *Miners* (坑夫) and Karoku Miyachi's *Tomizō the Vagrant* (放浪者富蔵), as well as works dealing with military experiences which were also associated with the Taishō democracy, the emergence of which allowed for the development of proletarian literature in Japan. In 1921, Ōmi Komaki and Hirofumi Kaneko founded the literary magazine *The Sowers* (種蒔く人), which aimed to reform both the current literary scene and society. *The Sowers* attracted attention for recording tragedies that occurred in the wake of the 1923 Great Kantō earthquake.

In 1924, *Literary Front* (文芸戦線) magazine was launched by Hatsunosuke Hirabayashi and Suekichi Aono, becoming the main magazine of the Japanese proletarian literature movement. New writing such as Yoshiki Hayama's *The Prostitute* (淫売婦) and Denji Kuroshima's *A Herd of Pigs* (豚群) also began to appear in the magazine.

In 1928, the Japanese Proletarian Arts Federation (全日本無産者芸術連盟, Nippona Artista Proleta Federacio, known as **NAPF**) was founded, bringing together the Japan Proletarian Artists Union (日本プロレタリア芸術連盟), the Labor-Farmers Artists Union (労農芸術家連盟), and the Vanguard Artists Union (前衛芸術家同盟). NAPF was largely the responsibility of two up-and-coming writers called Takiji Kobayashi and Sunao Tokunaga, and the organization's newsletter *Battleflag* (戦旗, *Senki*) published many influential works such as Kobayashi's *The Crab Cannery Ship* (蟹工船) and *March 15, 1928* (一九二八年三月十五日) and Tokunaga's *A Street Without Sun* (太陽のない街). Another important magazine was *Reconstruction* (改造) which published writings from Ryunosuke Akutagawa and Yuriko Miyamoto, who had just returned from the Soviet Union. Other more renowned publishers like *Chūo Kōron* (Central Review), *Kaizō* (Reconstruction), and *Miyako Shinbun* also published works by proletarian authors, even those who were members of the Communist party.

Author Korehito Kurehara traveled secretly to the Soviet Union in 1930 for the Profintern conference, and upon his return in 1931, he started agitating for the democratization of literary organizations. This sparked the drive to organize literary circles in factories and rural areas, creating a new source of readers and writers there.

In 1931, the NAPF became the Union of Japanese Proletarian Cultural Organizations (日本プロレタリア文化連盟, Federacio de Proletaj Kultur Organizoj Japanaj, also known as **KOPF**), incorporating other cultural organizations, such as musicians and filmmakers. KOPF produced various magazines including *Working Woman* (働く婦人)

The Japanese government cracked down harshly on proletarian authors, as the Japanese Communist Party had been outlawed since its founding in 1922. Though not all authors were associated with the party, the KOPF was, leading to mass arrests such as the March 15 incident. Some authors, such as Takiji Kobayashi were tortured to death by police, while others were forced to renounce their socialist beliefs.

*Kanikōsen* (1929) is a short novel by Takiji Kobayashi (translated into English as *The Cannery Boat* (1933), *The Factory Ship* (1973) and *The Crab Cannery Ship* (2013)), which depicts the lives of Japanese crab fishermen. Told from a left-wing point of view, it is concerned with the hardships that the crew face and how they are exploited by the owners. The book has been made into a film and as manga.

### Korea

The proletarian literature movement in Korea was initially driven by the annexation of Korea by Japan in 1910 and the state of conditions that followed within the country. Proletarian literature acted as a movement that attempted to unify Korea against the shift into imperialism and capitalism that was brought forth by colonial Japan and its government that occupied Korea from the point of annexation until the end of World War II in 1945. The Korean proletarian literature movement became most prominent in the late 1920s and early 1930s, with the formation of multiple social and cultural groups that created, discussed, and revolved around proletarian arts.

Works of Korean proletarian literature written before 1927 revolved around reconstructing and reforming social issues. One such example would be the short story "Starvation and Slaughter" ("Kia wa Saryuk", 1925) by author Ch'oe Sŏ-hae, which detailed problems like discrimination between the wealthy and the poor classes. After 1927, Korean proletarian literature started to revolve around ideas that involved intellectuals rather than focus on the struggles between the rich and poor. Examples of these works include *The Peasant Cho˘ng To-ryong* by Yi Ki-yo˘ng, *A Transitional Period* by Han So˘r-ya, *Rat Fire* by So˘hwa, and *Hometown* by Kohyang.

Cultural movements, especially those of left-wing politics, were fundamental in driving the proletarian genre and movement in Korea. Yŏmgunsa, meaning Torch of the Masses, was a group and movement formed in 1922 that was led by the writer Song Yŏng, and built on a focus towards literature pertaining to social issues and class politics. PASKYULA was a group that reacted to and discussed commonplace literature and art, with more of a focus on the cultural aspects of the materials. These groups were two largely important circles in the movement of unification that represented the mix of proletarian and bourgeois ideals that initially propelled the genre of proletarian literature in Japan-occupied Korea.

Leader of Yŏmgunsa, and a key author in KAPF's circle, Song Yŏng primarily wrote with the intention of forming a solidarity within Korea as well as with Japan through his writing. Two works, "Our Love" in 1929, and "Shift Change" in 1930 highlight Yŏng's ideology of unification within his writing, as well as the idea of moving away from cultural nostalgia and an idyllic past. In "Our Love", the process of industrialization and its resulting urban cities are portrayed as locales of potential opportunity rather than iniquitous environments, depicting a contrasting opinion to other works produced within KAPF. This is first shown through Yong-hee, a primary character within the story who eventually leaves the Korean countryside and travels to Tokyo, in pursuit of escaping her hometown's oppressive patriarchal culture and finding unity, independence, and equality in urban Japan's workforce. Set in Japan, "Shift Change" focuses more on the working class movement itself through a group of feuding Korean and Japanese workers. The resolution results in a reconciliation through combined effort, encouraging a combined effort from both the Japanese and Korean proletariat.

During the Proletarian Movement, there was an urge from Japanese colonialists to “convert” Koreans away from communism. This conversion system was called *cho˘nhyang.* *Cho˘nhyang* sparked numerous works from various authors such as *The Mire* by Han So˘r-ya, *New Year’s Day* by Yi Kiyo˘ng, *A Prospect* by Paek Ch’o˘l, *Barley* by Kim Nam-ch’o˘n, and *Management* by Kim Nam-ch’o˘n, all published between the years 1939 and 1940.

### Romania

Panait Istrati (1884–1935), was a Romanian working class writer, the son of the laundress and of a Greek smuggler. He studied in primary school for six years in Baldovinești, after being held back twice. He then earned his living as an apprentice to a tavern-keeper, then as a pastry cook and peddler. In the meantime, he was a prolific reader.

Istrati's first attempts at writing date from around 1907 when he started sending pieces to the socialist periodicals in Romania, debuting with the article, *Hotel Regina* in *România Muncitoare*. Here, he later published his first short stories, *Mântuitorul* ("The Redeemer"), *Calul lui Bălan* ("Bălan's Horse"), *Familia noastră* ("Our Family"), *1 Mai* ("May Day"). He also contributed pieces to other leftist newspapers such as *Dimineața*, *Adevărul*, and *Viața Socială*. In 1910, he was involved in organizing a strike in Brăila. He went to Bucharest, Istanbul, Cairo, Naples, Paris (1913–1914), and Switzerland, where he settled for a while, trying to cure his tuberculosis). Istrati's travels were marked by two successive unhappy marriages, a brief return to Romania in 1915 when he tried to earn his living as a pig farmer, and long periods of vagabondage. In 1923 Istrati's story *Kyra Kyralina* (or *Chira Chiralina*) was published with a preface by the famous French novelist Romaine Rolland. It became the first in his *Adrien Zograffi* literary cycle. Rolland was fascinated with Istrati's adventurous life, urging him to write more and publishing parts of his work in *Clarté*, the journal that Rolland and Henri Barbusse ran. The next major work by Istrati was the novel *Codine*.

### Russia and the Soviet Union

An important movement In the first years of the Russian Revolution, Proletkult, was an effort to encourage literacy. This was something quite different from the later, traditional and realist proletarian novel of the Stalin years.

In *Literature and Revolution*, Trotsky examined aesthetic issues in relation to class and the Russian revolution. Soviet scholar Robert Bird considered his work as the "first systematic treatment of art by a Communist leader" and a catalyst for later, Marxist cultural and critical theories. Trotsky presented a critique of contemporary literary movements such as Futurism and emphasised a need of cultural autonomy for the development of a socialist culture. According to literary critic Terry Eagleton, Trotsky recognised “like Lenin on the need for a socialist culture to absorb the finest products of bourgeois art”. Trotsky himself viewed the proletarian culture as “temporary and transitional” which would provide the foundations for a culture above classes. He also argued that the pre-conditions for artistic creativity were economic well-being and emancipation from material constraints. Political scientist Baruch Knei-Paz characterised his view on the role of the party as transmitters of culture to the masses and raising the standards of education, as well as entry into the cultural sphere, but that the process of artistic creation in terms of language and presentation should be the domain of the practitioner. Knei-Paz also noted key distinctions between Trotsky’s approach on cultural matters and Stalin's policy in the 1930s.

In the 1930s Socialist realism became the predominant trend in Russia under the leadership of Stalin. Maxim Gorky was declared the founder of socrealism, and his pre-revolutionary works about the Revolutionary proletariat (the novel *Mother* and the play *Enemies*) were declared the first Socrealist works. Gorky described the lives of people in the lowest strata and on the margins of society, revealing their hardships, humiliations, and brutalization. However, he did not come from a working-class family and neither did another prominent writer in the early years after the Russian Revolution of 1917, Alexander Ostrovsky.

However, Nikolay Ostrovsky is an important writer, of the early Soviet era, from a working-class family. His novel *How the Steel Was Tempered* (1932) has been among the most successful works of Russian literature, with tens of millions of copies printed in many languages around the world. The book is a fictionalized autobiography of Ostrovsky's life, who had a difficult working-class childhood and became a Komsomol member in July 1919 and went to the front as a volunteer. The novel's protagonist, Pavel Korchagin, represented the "young hero" of Russian literature: he is dedicated to his political causes, which help him to overcome his tragedies.

Leonid Leonov (1899 — 1994) was a Soviet novelist and playwright. His novel *The Russian Forest* (1953) was acclaimed by the authorities as a model Soviet book on World War II and received the Lenin Prize, but its implication that the Soviet regime had cut down "the symbol of Old Russian culture" caused some nervousness, and Nikita Khrushchev reminded the author that "not all trees are useful ... from time to time the forest must be thinned."

### Scandanavia

Proletarian literature in Scandinavia is represented by writers such as the Dane Martin Andersen Nexø, Norwegian Johan Falkberget and Väinö Linna from Finland.

#### Sweden

In Sweden proletarian literature became known in the 1910s. Early pioneers were Dan Andersson and Martin Koch. Proletarian literature became widely known in the 1930s when a group of non-academic, self-taught writers like Ivar Lo-Johansson, Eyvind Johnson, Jan Fridegård and Harry Martinson appeared writing about the working-class, often from the perspective of a young man.

Swedish proletarian literature is perhaps most closely associated with Ivar Lo-Johansson, who wrote about the lives of statare in his acclaimed novel *Godnatt, jord* ("Goodnight, earth", 1933) and in many short stories, collected in the books *Statarna* (1936–1937) and *Jordproletärerna* ("Proletarians of the Earth", 1941). Jan Fridegård also wrote about the lives of statare and is best known for a series of autobiographical novels beginning with *Jag Lars Hård* ("I Lars Hård", 1935). His first novel *En natt i juli* ("A night in July", 1933) is about a strike among statare, and depicts statare in a much rawer way than Lo-Johansson. Eyvind Johnson and Harry Martinson both later went on to write about other subjects and are mostly associated with proletarian literature by their highly acclaimed and widely read autobiographical novels published in the 1930s. Moa Martinson wrote about her own experiences of poor farm life as a wife and mother in several novels. Rudolf Värnlund depicted life in Stockholm from a proletarian perspective in several novels, and in 1932 his play *Den heliga familjen* ("The holy family") was the first play by a proletarian writer that was staged at the Royal Dramatic Theatre. Lars Ahlin debuted in 1944 with *Tåbb med manifestet* ("Tåbb with the manifest"), a novel about a young man looking for work and becoming politically aware. Many of the proletarian writers became prominent in Swedish literature. Eyvind Johnson and Harry Martinson were elected members of the Swedish Academy and shared the Nobel prize in literature in 1974.

#### Iceland

Halldór Laxness's novel *Independent People* (1934-35), deals with the struggle of poor Icelandic farmers in the early 20th century, only freed from debt bondage in the last generation, and surviving on isolated crofts in an inhospitable landscape. It is an indictment of capitalism and materialism, the cost of the "self-reliant spirit" to relationships. This novel, along with several, helped Laxness win the Nobel Prize in Literature in 1955.

### United States

The most important American working-class writers gathered in the First American Writers Congress of 1935. The League of American Writers was backed by the Communist Party USA. Among the famous international writers who attended the Congress were Georg Fink (pseudonym of the German writer Kurt Münzer), Mike Gold of New York (both of whom were Jewish), José Revueltas of Mexico, Nicomedes Guzmán of Chile, Jorge Icaza of Ecuador, and numerous others.

In the United States, Mike Gold, author of *Jews Without Money*, was the first to promote proletarian literature in Max Eastman's magazine *The Liberator* and later in *The New Masses*. The Communist party newspaper, *The Daily Worker* also published some literature, as did numerous other magazines, including *The Anvil*, edited by Jack Conroy, *Blast*, and *Partisan Review*.

Other examples of American proletarian writing include B. Traven, *The Death Ship* (1926) (though it is presumed that Traven was born in Germany); Agnes Smedley, *Daughter of Earth* (1929); Edward Dahlberg, *Bottom Dogs* (1929); Jack Conroy, *The Disinherited* (1933); James T. Farrell, *Studs Lonigan* (a trilogy, 1932-5); Robert Cantwell, *The Land of Plenty* (1934); Henry Roth, *Call It Sleep* (1934); Meridel Le Sueur, *Salute to Spring* (1940) and Tillie Olsen, *Yonnondio* (1930s, published 1974).

Writers like John Steinbeck, Theodore Dreiser, and John Dos Passos, who wrote about the working class, but who came from more well-to-do backgrounds, are not included here.

## Further reading

### Anthologies

* *The American Writer's Congress*. edited by Henry Hart. International Publishers, New York 1935.
* *Proletarian Literature in the United States: an Anthology*. edited by Granville Hicks, Joseph North, Paul Peters, Isidor Schneider and Alan Calmer; with a critical introduction by Joseph Freeman. International Publishers, New York 1935.
* *Proletarian Writers of the Thirties*. edited by David Madden, Carbondale: Southern Illinois University Press, 1968

### Studies

* Aaron, Daniel: *Writers on the Left*. Harcourt, New York 1961.
* Bowen-Stuyk, Heather & Norma Field. *For Dignity, Justice, and Revolution: An Anthology of Japanese Proletarian Literature*. University of Chicago Press, 2015.
* Brown, Edward James. *Russian Literature Since the Revolution*. London: Collier Books, 1965.
* Chapman, Rosemary. *Henry Poulaille and Proletarian Literature* 1920–1939. Amsterdam & Atlanta, GA: Rodopi, 1992.
* Coiner, Constance. *Better Red: The Writing and Resistance of Tillie Olsen and Meridel Le Sueur*. Oxford University Press, 2000.
* Del Valle Alcalá, Roberto. *British Working-Class Fiction: Narratives of Refusal and the Struggle Against Work*. London: Bloomsbury, 2016.
* Denning, Michael. *The Cultural Front: The Laboring of American Culture in the Twentieth Century*. Verso, 1996.
* Empson, William. "Proletarian Literature", in *Some Versions of Pastoral*, pp. 3–23. New York: New Directions Paperbacks, 1965.
* Ferrero, Mario. *Nicomedes Guzmán y la Generación del 38*. Santiago de Chile: Ediciones Mar Afuera, 1982.
* Foley, Barbara. *Radical Representations: Politics and Form in U.S. Proletarian Fiction, 1929-1941* . Duke University Press, 1993.
* Fox, Pamela. *Class Fictions: Shame and Resistance in the British Working Class Novel, 1890-1945*. Duke University Press, 1994.
* Freeman, Joseph. *Introduction to Proletarian Literature in the United States*. Granville Hicks, et al., eds. New York: International Publishers, 1935.
* Hawthorn, Jeremy. *The British Working Class Novel in the Twentieth Century*. Hodder Arnold, 1984.
* Haywood, Ian. *Working-Class Fiction: from Chartism to "Trainspotting"*. Plymouth: Nortcote House, 1997.
* Keating, Peter. The Working Classes in Victorian Fiction. London: Routledge, 1971.
* Klaus, H. Gustav (Ed). *The Socialist Novel In Britain*. Brighton: Harvester, 1982. 0-7108-0340-0.
* Klaus, H. Gustav. *The Literature of Labour: Two Hundred Years of Working-Class Writing*. Brighton: Harvester, 1985. ISBN 0710806310.
* Klaus, H. Gustav (ed.). *The Rise of Socialist Fiction 1880-1940*. Brighton: Harvester, 1987.
* Klaus, H. Gustav & Stephen Knight (Eds). *British Industrial Fictions*. Cardiff: University of Wales Press, 2000. ISBN 0708315968.
* Lukács, György. *Studies in European Realism*. New York: Grosset & Dunlap, 1964.
* Murphy, James F. *The Proletarian Episode in Russian Literature, 1928-1932*. Urbana, Ill.: University of Illinois Press 1991.
* Nekola, Charlotte & Rabinowitz, Paula (Eds). *Writing Red: An Anthology of American Women Writers, 1930-1940*. New York: The Feminist Press at The City University, 1988.
* Nelson, Cary. *Revolutionary Memory: Recovering the Poetry of the American Left*. Routledge, 2001.
* Park, Sunyoung. *The Proletarian Wave: Literature and Leftist Culture in Colonial Korea, 1910-1945*. Harvard University Press, 2015.
* Pearson, Lon. *Nicomedes Guzman: Proletarian author in Chile's literary generation of 1938*. Columbia: University of Missouri Press, 1964.
* Promis \[Ojeda\], José. *La Novela Chilena del Ùltimo Siglo*. Santiago: La Noria, 1993.
* Rabinowitz, Paula. *Labor and Desire: Women's Revolutionary Fiction in Depression America*. University of North Carolina Press, Chapel Hill 1991.
* Rideout, Walter B. *The Radical Novel in the United States: 1900–1954*. Harvard University Press, Cambridge, Mass. 1956.
* Sinyavsky, Andrei (Abram Tertz). *On Socialist Realism*. Introduction by Czeslaw Milosz. Trans. by George Dennis. New York: Pantheon Books, 1993.
* Smith, David. *Socialist Propaganda in the Twentieth Century British Novel*, Macmillan, 1978
* Steinberg, Mark. *Proletarian Imagination: Self, Modernity, and the Sacred in Russia, 1910–1925*. Ithaca: Cornell University Press, 2002. (On proletarian literature in late-imperial and early Soviet Russia)
* Vicinus, Martha. *The Industrial Muse: A Study of Nineteenth-Century British Working-Class Literature*. London: Croom Helm, 1974.
* Wald, Alan M. *Writing from the Left*. Verso, 1984.
* Wald, Alan M. *Exiles from a Future Time*. University of North Carolina Press, 2002.

### Articles

* Eric Homberger, "Proletarian Literature and the John Reed Clubs, 1929–1935", *Journal of American Studies*, vol. 13, no. 2 (Aug. 1979), pp. 221–244. In JSTOR.
* Victor Serge and Anna Aschenbach, "Is Proletarian Literature Possible?" *Yale French Studies*, No. 39 (1967), pp. 137–145. In JSTOR.
* R.W. Steadman, "A Critique of Proletarian Literature", *North American Review*, vol. 247, no. 1 (Spring 1939), pp. 142–152. In JSTOR.

1. Joseph Freeman: *Introduction* to Granville Hicks and others (editors): *Proletarian Literature in the United States*, International Publishers, New York 1935.


title: Prostasomes

abstract: Prostasomes are extracellular vesicles (40-500 nm in diameter) secreted by the prostate gland epithelial cells into seminal fluid. They possess an unusual lipid composition and a tight and highly ordered structure of their lipid bilayer membrane, resembling that of lipid raft domains. Prostasomes appear to improve sperm motility and protect against attacks from the female immune defense during the passage to the egg. The name prostasomes was coined in the early 1980s by combining the terms "prosta"=prostate and "soma" (Greek for "body"). Around this time, the first functional studies of prostasomes were also performed. Cancerous prostate cells and prostate cells with low differentiation continue to produce and secrete prostasomes. Possibly, the high incidence of prostate cancer in elderly men could be due to the immunomodulatory properties of prostasomes, protecting the cancer from attack by the immune system. Fusion of prostasomes with the sperm plasma membrane is required for regulation of different aspects of sperm function, such as motility and capacitation. Prostasomes have also been implicated in the interaction between prostatic cancer cells and their microenvironment. Immune regulating proteins found in prostasomes include: amino-peptidase N (CD13); dipeptidyl-peptidase IV (CD26); enkephalinase (neutral endopeptidase, CD10); angiotensin converting enzyme (ACE, CD143); tissue factor TF (CD142, thromboplastin); decay accelerating factor (CD55); protectin (CD59, inhibitor of MAC) and complement regulatory membrane cofactor protein (CD46). Prostasomes also contain high levels of the divalent cations: Zn2+, Ca2+ and Mg2+.

text:
# Prostasomes

**Prostasomes** are extracellular vesicles (40-500 nm in diameter) secreted by the prostate gland epithelial cells into seminal fluid. They possess an unusual lipid composition and a tight and highly ordered structure of their lipid bilayer membrane, resembling that of lipid raft domains. Prostasomes appear to improve sperm motility and protect against attacks from the female immune defense during the passage to the egg.

The name prostasomes was coined in the early 1980s by combining the terms "prosta"=prostate and "soma" (Greek for "body"). Around this time, the first functional studies of prostasomes were also performed.

Cancerous prostate cells and prostate cells with low differentiation continue to produce and secrete prostasomes. Possibly, the high incidence of prostate cancer in elderly men could be due to the immunomodulatory properties of prostasomes, protecting the cancer from attack by the immune system.

Fusion of prostasomes with the sperm plasma membrane is required for regulation of different aspects of sperm function, such as motility and capacitation. Prostasomes have also been implicated in the interaction between prostatic cancer cells and their microenvironment.

Immune regulating proteins found in prostasomes include: amino-peptidase N (CD13); dipeptidyl-peptidase IV (CD26); enkephalinase (neutral endopeptidase, CD10); angiotensin converting enzyme (ACE, CD143); tissue factor TF (CD142, thromboplastin); decay accelerating factor (CD55); protectin (CD59, inhibitor of MAC) and complement regulatory membrane cofactor protein (CD46). Prostasomes also contain high levels of the divalent cations: Zn2+, Ca2+ and Mg2+.

## Historical background of prostasome research

| Year |  |
| --- | --- |
| 1977-78 | An ATPase activity in seminal plasma indicated an occurrence of membrane-surrounded extracellular vesicles |
| 1981 | The first association between prostasomes and fertility was reported |
| 1983 | The first electron microscopic pictures of prostasomes inside storage vesicles (multivesicular bodies) in cytoplasm of prostate epithelial cells and their extracellular release into lumen of the prostate |
| 1984 | The role of prostasomes in infertility and prostate cancer was investigated |
| 1986-89 | Studies on ATPases on the prostasomal surface |
| 1989 | The prostasomal membrane was found to have a much higher cholesterol/phospholipid ratio than ordinary cellular membranes |
| 1990 | Nucleic acid was found to be associated with prostasomes. An interaction between prostasomes and sperm was shown |
| 1991-94 | Prostasomes and their role in immunosuppression were investigated in several articles. Granulophysin (CD63) was suggested as a marker for prostasomes |
| 1995-2001 | Monoclonal antibodies against prostasomes were produced and several studies involving these antibodies were performed as well as prostasome-sperm interaction studies. Prostasomes were discovered in prostatic fluid of other species. Prostatic cancer cell lines were found to produce prostasomes. Prostasomes displayed anti-bacterial activity |
| 2001 | Autoantibodies against prostasomes were evaluated as biomarkers for prostate cancer |
| 2003 | The first comprehensive shotgun proteomics of the prostasome proteome and it has been followed by two others |
| 2005 | Haemostasis coupled to prostasomes and the prostasomal membrane in fertility and in cancer |
| 2009- | Investigation of prostasomal DNA. DNA was found in both non-malignant prostasomes as well as in prostate cancer (PC3) cell derived prostasomes/exosomes |
| 2009- | Prostasomes as a serum biomarker of prostate cancer |
| 2015 | Lipid rafts purified from prostasome membranes |
|  |  |


title: Prostanthera teretifolia

abstract: Prostanthera teretifolia, commonly known as turpentine bush, is a species of flowering plant in the family Lamiaceae and is endemic to a restricted area of New South Wales. It is an erect to spreading, aromatic shrub with more or less cylindrical leaves and bluish-purple flowers.

text:
# Prostanthera teretifolia

***Prostanthera teretifolia***, commonly known as **turpentine bush**, is a species of flowering plant in the family Lamiaceae and is endemic to a restricted area of New South Wales. It is an erect to spreading, aromatic shrub with more or less cylindrical leaves and bluish-purple flowers.

## Description

*Prostanthera teretifolia* is an erect to spreading, aromatic shrub that typically grows to a height of 0.3–1 m (1 ft 0 in – 3 ft 3 in) with branches that are densely hairy and glandular. The leaves are greyish green, more or less cylindrical, 5–16 mm (0.20–0.63 in) long and 0.5–0.9 mm (0.020–0.035 in) wide, sometimes with two or three lobes, on a petiole 0.6–1.8 mm (0.024–0.071 in) long. The flowers are arranged in groups on the ends of leafy branchlets, the sepals about 4 mm (0.16 in) long forming a tube 2–2.5 mm (0.079–0.098 in) wide with two lobes, the upper lobe 1.5–2 mm (0.059–0.079 in) long. The petals are bluish-purple, 8–9 mm (0.31–0.35 in) long forming a tube 4.5–5 mm (0.18–0.20 in) long. Flowering usually occurs from August to December.

## Taxonomy

*Prostanthera teretifolia* was first formally described in 1908 by Joseph Maiden and Ernst Betche in the *Proceedings of the Linnean Society of New South Wales*.

## Distribution and habitat

Turpentine bush grows in open and exposed areas amongst granite outcrops near Torrington on the Northern Tablelands of New South Wales.

## InfoBox

| Turpentine bush | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Lamiales |
| Family: | Lamiaceae |
| Genus: | *Prostanthera* |
| Species: | ***P. teretifolia*** |
| Binomial name | |
| ***Prostanthera teretifolia***<br>Maiden & Betche | |
|
|  | |
| Occurrence data from AVH | |


title: Privileged (film)

abstract: Privileged is a 1982 film notable for being the first theatrical release from the Oxford Film Foundation and the screen debut of Hugh Grant, Imogen Stubbs, Mark Williams, and James Wilby. Directed by Michael Hoffman with John Schlesinger, produced by Rick Stevenson, the film is about a group of Oxford student partygoers, with elements of a whodunit. The classical score is by Rachel Portman in her film debut at the age of 22, and the film also uses dance tracks by Oxford student band "Kudos Points" whose members included Charlie Mole. The screenplay includes a play within a play as several of the characters are vying for a role in a student production of The Duchess of Malfi.

text:
# Privileged (film)

***Privileged*** is a 1982 film notable for being the first theatrical release from the Oxford Film Foundation and the screen debut of Hugh Grant, Imogen Stubbs, Mark Williams, and James Wilby. Directed by Michael Hoffman with John Schlesinger, produced by Rick Stevenson (as Richard Stevenson), the film is about a group of Oxford student partygoers, with elements of a whodunit.

The classical score is by Rachel Portman in her film debut at the age of 22, and the film also uses dance tracks by Oxford student band "Kudos Points" whose members included Charlie Mole (who went on to compose film scores in his own right).

The screenplay includes a play within a play as several of the characters are vying for a role in a student production of *The Duchess of Malfi.*

## Cast

## InfoBox

| Privileged | |
| --- | --- |
| Directed by | Michael Hoffman |
| Written by | Michael Hoffman
David Woollcombe
Rupert Walters |
| Produced by | Rick Stevenson |
| Starring | Robert Woolley
Diana Katis
Hugh Grant
Mark Williams
James Wilby |
| Music by | Rachel Portman |
| Distributed by | ITC |
| Release date | * 1982 (1982) |
| Running time | 96 minutes |
| Country | United Kingdom |
| Language | English |


abstract: The DHS Protecting American Communities Task Force – often abbreviated PACT and commonly referred to as the Protecting American Communities Task Force – is a departmental task force of the Department of Homeland Security. PACT is mandated to officially coordinate riot control and security police operations to protect monuments, memorials, and federal property, monitor civil unrest, protect civilians from rioting or vandalism, or respond to the destruction of federal property by protesters. PACT was formed on July 1, 2020 in the wake of the George Floyd protests under direction of Acting Secretary of Homeland Security Chad Wolf. The task force is also mandated to coordinate its law enforcement efforts with the United States Department of Justice and United States Department of Defense. PACT has attracted significant controversy and criticism from various media outlets for its operations and alleged goals.

text:
# Protecting American Communities Task Force

The **DHS Protecting American Communities Task Force** – often abbreviated **PACT** and commonly referred to as the **Protecting American Communities Task Force** – is a departmental task force of the Department of Homeland Security. PACT is mandated to officially coordinate riot control and security police operations to protect monuments, memorials, and federal property, monitor civil unrest, protect civilians from rioting or vandalism, or respond to the destruction of federal property by protesters. PACT was formed on July 1, 2020 in the wake of the George Floyd protests under direction of Acting Secretary of Homeland Security Chad Wolf. The task force is also mandated to coordinate its law enforcement efforts with the United States Department of Justice and United States Department of Defense. PACT has attracted significant controversy and criticism from various media outlets for its operations and alleged goals.

## Role and controversy

The task force is officially responsible for coordinating with the Interior and Justice Departments in the deployment of law enforcement personnel to federally operated and owned properties that are believed to be under threat by rioters and vandals. PACT coordinates with the DHS’s subordinate protective security agencies including the Federal Protective Service, United States Secret Service, Immigration and Customs Enforcement, Customs and Border Protection, and Transportation Security Administration.

However, the task force has encountered significant criticism due to its role in the 2020 deployment of federal forces in the United States alongside Operation Legend. The task force has been accused by various protesters of defending and protecting monuments depicting individuals with ties to racism and/or slavery. Other liberal and progressive groups and individuals accuse the task force as acting as a secret police force, arresting and confining anyone who protest peacefully against racism, police brutality, and social injustice.

## Organization and personnel

The PACT was founded at the direction of Homeland Security Secretary Chad Wolf to co-ordinate security policing efforts with the DHS’s subordinate protective security agencies in the deployment of Rapid Deployment Teams (RDTs).

There is no known estimate about the number of active personnel in the Rapid Deployment Teams or any information with regards to where they are deployed. However, field operations personnel for PACT are drawn from the Federal Protective Service, United States Secret Service, Immigration and Customs Enforcement, Customs and Border Protection, and Transportation Security Administration.

## InfoBox

DHS Protecting American Communities Task Force
|  | |
| --- | --- |
| Special task force overview | |
| Formed | July 1, 2020 (2020-07-01) |
| Jurisdiction | U.S. Government |
| Annual budget | Unknown |
| Parent department | Department of Homeland Security |
| Child agencies |  |
| Key document | * Presidential Executive Order Protecting American Monuments, Memorials, and Statues and Combating Recent Criminal Violence |


title: Procoptodon

abstract: Procoptodon is an extinct genus of giant short-faced (sthenurine) kangaroos that lived in Australia during the Pleistocene Epoch. P. goliah, the largest known kangaroo species that ever existed, stood at about 2 m (6.6 ft). They weighed about 200–240 kg (440–530 lb). Other members of the genus were smaller, however; Procoptodon gilli was the smallest of all of the sthenurine kangaroos, standing approximately 1 m tall. The genus is derived from Simosthenurus, making the latter genus paraphyletic.

text:
# Procoptodon

***Procoptodon*** is an extinct genus of giant short-faced (sthenurine) kangaroos that lived in Australia during the Pleistocene Epoch. *P. goliah*, the largest known kangaroo species that ever existed, stood at about 2 m (6.6 ft). They weighed about 200–240 kg (440–530 lb). Other members of the genus were smaller, however; *Procoptodon gilli* was the smallest of all of the sthenurine kangaroos, standing approximately 1 m (3 ft 3 in) tall.

The genus is derived from *Simosthenurus*, making the latter genus paraphyletic.

## Description

*Procoptodon* physiology was likely similar to that of the contemporary kangaroos; however, *Procoptodon goliah* was characterised by its large size. These sthenurines, or short-faced kangaroos, included species that were more than three times the size of the largest kangaroos living today. The largest, *P. goliah*, was 2.7 m (8 ft 10 in) tall and weighed up to 240 kg (530 lb). These animals lived alongside modern species of kangaroos, but specialised on a diet of leaves from trees and shrubs. *Procoptodon* were large and short-faced, distinguishable by their flat faces and forward-pointing eyes. On each foot, they had a single large toe or claw, similar in appearance to a horse's hoof. On feet, Procoptodon would have moved quickly through the open forests and plains, where they sought grass and leaves to eat. Both two of their front paws had two extra long fingers with large claws. These long claws may have been used to grab branches, and bring leaves to a distance where the animal could eat them.

## Distribution and habitat

*Procoptodon* is mainly known for living in semiarid areas of South Australia and New South Wales. These environments were harsh, characterised by vast areas of treeless, wind-blown sand dunes. However, the area around Lake Menindee, in western New South Wales, had a cooler, wetter climate at the time *Procoptodon* existed. The surrounding area was a mosaic of sclerophyll forest, woodland, savannah, and plains, but sand dunes would have also formed along the edges of the Menindee. Fossilized footprints have also been found on Kangaroo Island.

## Palaeobiology

### Mobility

*Procoptodon* was not able to hop as a mode of transportation, and would have been unable to accelerate sufficiently due to its weight. Broad hips and ankle joints, adapted to resist torsion or twisting, point to an upright posture where weight is supported by one leg at a time. Its broad hips also allowed for another important modification – large buttocks – a feature shared with other walking species.

However, some ambiguity surrounds the possible locomotion of *P. goliah*. Some research suggests that this species was perhaps the largest hopping mammal to have ever existed. Research suggests that the most optimal weight for a large hopping marsupial is roughly 50–60 kg. Larger animals, especially the massive *P. goliah*, would be substantially more at risk of tendon breakage while hopping. If *P. goliah* were to have travelled by hopping, the highest possible balance between size and speed would have been peaked, because its body would have been the largest possible to be carried by this method of locomotion.

A more likely suggestion, based on the apparent anatomy allowed by the bone structure of *P. goliah*, is that unlike modern kangaroos, which are plantigrade hoppers at high speeds and use their tails in pentapedal locomotion at slower speeds, *Procoptodon* was an unguligrade biped, walking in a fashion similar to hominids. Locomotion mechanics and physiology have been investigated through the examination of musculoskeletal scaling patterns. The largest, *P. goliah*, was 2.7 m (8 ft 10 in) tall and weighed up to 240 kg (530 lb). For *P. goliah*, tendon stress was identified, which indicates limited locomotor capabilities, exposing a correlation between body mass and locomotion abilities. Ruptures in tendons demonstrate strain in elasticity of muscles in the limbs, which provides evidence that perhaps the hypothesised ability for *P. goliah* to hop may have been unlikely. Due to its locomotive performance, the species may have been vulnerable to human predation.

Fossils of giant short-faced kangaroos have been found at the Naracoorte World Heritage fossil deposits in South Australia, Lake Menindee in New South Wales, the Darling Downs in Queensland, and at many other sites. A full-sized, lifelike replica is on permanent display with other ancient native Australian animals at the Australian Museum.

#### Diet and molar patterns

These animals lived alongside modern species of kangaroos, but specialised on a diet of leaves from trees and shrubs. Their robust skull architecture and shortened faces have been thought to be related to increased masseter muscles used to chew foods. Dental microwear of *P. goliah* supports a browsing diet. Large bicuspids, crenulated dental crowns, and a massive bony jaw present in the fossil evidence of *P. goliah* would have been required to process and digest a substantial amount of leafy fodder. Stable isotopic data suggest its diet consisted of plants using a C4 photosynthetic pathway, typically associated with grasses. In this case, however, chenopod saltbushes found throughout semiarid Australia were considered a more likely source of the C4 signature. \[An intensification in aridity during the second half of the Pleistocene propagated the evolutionary progression of *P. goliah* to adapt to an abundance of dry vegetation. Evidence that *P. goliah* was the most widely distributed species among the Pleistocene macropodids throughout the continent shows that this species was adapted to a tougher diet than any other extinct Pleistocene sthenurine. Similar to *Macropus giganteus*, *Procoptodon* has molar patterns that indicate they had a similar, grassy, herbivorous diet (as opposed to leaves) and were grazers, but determining specific diets and preference of extinct herbivores is admittedly difficult. Through the study of isotopic composition of *P. goliah* tooth enamel, in addition to biomechanical bone features, dietary clues and feeding behavior have been deduced. The osteological characters furnish evidence of *P. goliah*'s ability to handle fibrous vegetables and salt consumption. This, in turn, leads to the belief that the species needed to be close to a water source to deal with salt intake; at the same time, though, some theories are beginning to arise that limb remains indicate the ability to travel distances both to and from water sources.

## Extinction

The genus was present until at least about 45,000 years ago before going extinct, although some evidence indicates it may have survived to as recently as 18,000 years ago. Its extinction may have been due to climate shifts during the Pleistocene, or to human hunting. Those who support the hypothesis of a human-mediated extinction process cite that the arrival of humans to continental Australia occurred around the same time as the disappearance of this species. More evidence that this extinction was facilitated by human interaction is that the time period in which the extinction occurred was characterised by a relatively stable climate. However, no evidence of predation on or consumption of *P. goliah* by humans has been found in the fossil record.

Some researchers have speculated that the replacement of nutritious, fire-sensitive plants with less flammable, less nutritious flora brought about by human, fire-based deforestation in Australia played a large role in *P. goliah* and other Australian megafaunal extinctions about 50 thousand years ago (kya). However, the diet of *P. goliah*, primarily chenopods and *Atriplex* in particular, were less flammable and remained largely unaffected by fire. These diet patterns disprove theories that *P. goliah*'s extinction was due in large part to a reduction in food supply from fire. At the same time, because of the kangaroos' elongated breeding cycles, their ability to increase population numbers after human predation was highly limited.

### Environmental factors

Kangaroos living in dry, arid environments have been shown to exhibit higher densities of tooth enamel, caused by indirect hydration through consuming herbaceous plants. Lower levels of this enamel in *P. goliah* teeth found in areas with similar environmental parameters compared to the modern grazing kangaroos suggests that it relied far more heavily on free-standing water sources such as lakes and streams.

Given the larger size of *P. goliah* and its tendency to favor larger, free-standing water sources, episodic droughts accumulating 55 kya in the southern interior region of Australia would have certainly affected its populations. Yet, records show that such droughts had characterised this region for the previous 7 million years, with *P. goliah* surviving multiple intensely dry episodes during this period. Any period of significant decreases in rainfall did not occur until 5,000–10,000 years after the approximate extinction of *P. goliah* 45–50 kya, 20 ky before the last glacial maximum of high aridity. These factors disprove speculations that such droughts could have played a significant role in the extinction of *P. goliah*.

Some evidence supports both of the claims that the extinction of *P. goliah* may have been due to climate shifts during the Pleistocene or to human hunting. *P. goliah*, depending heavily on free-standing water, was more vulnerable to drought. This can explain why the red kangaroo survived the increasing aridity and *P. goliah* did not. However, there is also evidence that suggests that humans could have a significant influence in the extinction of *P. goliah*. *P. goliah*'s need for a constant free-standing source of water, plus its height and common habitat in open shrublands, made it more noticeable to human hunters, thus making it vulnerable to humans, who were also water-bound like it was.

## InfoBox

| *Procoptodon*
Temporal range: | |
| --- | --- |
|  | |
| *Procoptodon gilli* skull. | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Mammalia |
| Infraclass: | Marsupialia |
| Order: | Diprotodontia |
| Family: | Macropodidae |
| Subfamily: | Sthenurinae |
| Genus: | *Procoptodon*
Owen, 1873 |
|
| Type species | |
| *P. goliah*
 | |
| Species | |
| * *P. goliah*
Owen, 1873 * *P. pusio*
Owen, 1874 * *P. rapha*
Owen, 1874 * *P? browneorum*
(Merrilees, 1968) * *P? gilli*
(Merrilees, 1968) * *P? mccoyi*
(Turnbull, Lundelius & Tedford, 1992) * *P? oreas*
(De Vis, 1895) * *P? williamsi*
Prideaux, 2004 | |


title: Proto

abstract: Proto or PROTO may refer to:

text:
# Proto

**Proto** or **PROTO** may refer to:

## Language

## Media

## Music

## Organizations

* Proto (tools), a tool company (formerly Plomb Tools), now a division of Stanley Black & Decker
* Proto Motors, a South Korean sports car manufacturer and refitter
* Proto Records, a British record company active in the 1980s; see Barry Evangeli
* Proto (paintball), a paintball equipment manufacturing company

## People

## Science and technology


title: Provoked (Sunny Sweeney album)

abstract: Provoked is the third studio album by American country music singer Sunny Sweeney. It was released on August 5, 2014, via Thirty Tigers/Aunt Daddy Records. The album includes the singles "Bad Girl Phase" and "My Bed," which were Number One hits on the Texas Music Charts.

text:
# Provoked (Sunny Sweeney album)

***Provoked*** is the third studio album by American country music singer Sunny Sweeney. It was released on August 5, 2014, via Thirty Tigers/Aunt Daddy Records. The album includes the singles "Bad Girl Phase" and "My Bed," which were Number One hits on the Texas Music Charts.

## Content

After parting ways with Republic Nashville in 2012, Sweeney signed a recording contract with the Thirty Tigers record label, and released *Provoked*, her first album under the imprint, on August 5, 2014. The set was produced by Luke Wooten and Sweeney co-wrote 11 of the album's 13 songs, many of which were inspired by her personal life, which included a divorce from her first husband.

"Bad Girl Phase" was released in June 2014 as the lead-off single. Although the single failed to reach the *Billboard* charts, it was a Number One hit on the Texas Music Chart for the chart week of October 20, 2014. In doing so, Sweeney became the first female to top the chart in over ten years.

"Can't Let Go" was previously recorded by Lucinda Williams and Heidi Newfield, and the album also includes a duet with Will Hoge on "My Bed," which was released as the album's second single in early 2015. "My Bed" became a Number One hit on the Texas Music Chart in June 2015, making Sweeney the first female in the history of the chart to score back-to-back Number One hits.

## Reception

### Commercial

The album debuted at number 165 on the U.S. *Billboard* 200 and number 20 on the *Billboard* Top Country Albums chart upon its release. It had sold 2,900 copies after two weeks.

### Critical

Thom Jurek of allmusic gave the album four stars out of five, praising the record as Sweeney's most consistent and diverse: "It's a provocative album, detailing a difficult journey through disappointment, doubt, darkness, and ultimately triumph. It's chock-full of vulnerability, accountability, an acidic wit and strength." Writing for Cuepoint, the Dean of American rock critics Robert Christgau gave the record an A−. His write-up claimed that Sweeney gave "bros the finger" and that "the former Republic Nashville wannabe" turned "her whole album into what Clark or Jessie Jo Dillon or maybe it was Shannon Wright thought to call 'a bad girl phase.'" Christgau went on to call Sweeney "marketable" and praised her co-writers.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "You Don't Know Your Husband" | Angaleena Presley, Mark D. Sanders, Sunny Sweeney | 3:03 |
| 2. | "Bad Girl Phase" | Brandy Clark, Jessie Jo Dillon, Shannon Wright | 3:22 |
| 3. | "Second Guessing" | Natalie Hemby, Sweeney | 4:30 |
| 4. | "Carolina on the Line" | Lance Miller, Sweeney, Brad Warren, Brett Warren | 4:05 |
| 5. | "Find Me" | Jay Clementi, Buddy Owens, Sweeney | 4:15 |
| 6. | "Can't Let Go" | Randy Weeks | 3:02 |
| 7. | "Front Row Seats" | Miller, Sweeney, Brad Warren, Brett Warren | 3:32 |
| 8. | "My Bed" (featuring Will Hoge) | Ashley Monroe, Presley, Sweeney | 3:24 |
| 9. | "Uninvited" | Hemby, Sweeney | 3:42 |
| 10. | "Sunday Dress" | Monty Holmes, Owens, Sweeney | 4:17 |
| 11. | "Used Cars" | Hemby, Sweeney | 3:58 |
| 12. | "Backhanded Compliment" | Hemby, Sweeney | 3:33 |
| 13. | "Everybody Else Can Kiss My Ass" | Brett Beavers, Connie Harrington, Sweeney | 3:00 |

## Personnel

## Chart performance

| Chart (2014) | Peak
position |
| --- | --- |
| US *Billboard* 200 | 165 |
| US *Billboard* Top Country Albums | 20 |
| US *Billboard* Independent Albums | 25 |
|

## InfoBox

| Provoked | |
| --- | --- |
|  | |
| Studio album by Sunny Sweeney | |
| Released | August 5, 2014 (2014-08-05) |
| Recorded | 2013–2014 |
| Genre | Country |
| Label | Thirty Tigers/Aunt Daddy |
| Producer | Luke Wooten |
| Sunny Sweeney chronology | |
| *Concrete*
(2011) ***Provoked***
(2014) *Trophy*
(2017) | |
|  | |
| Singles from  *Provoked* | |
| 1. "Bad Girl Phase"
Released: June 16, 2014 2. "My Bed"
Released: February 2015 | |
|  | |


title: Provogue

abstract: Provogue is an Indian clothing and accessories retailer based in Mumbai, Maharashtra. It was launched in 1997 as a menswear fashion brand for contemporary clothing. Over the years the brand has expanded its collection of men’s and women’s fashion apparel and accessories.

text:
# Provogue

**Provogue** is an Indian clothing and accessories retailer based in Mumbai, Maharashtra. It was launched in 1997 as a menswear fashion brand for contemporary clothing. Over the years the brand has expanded its collection of men’s and women’s fashion apparel and accessories.

## Sponsorship

Provouge was the apparel sponsor of Indian cricket league. They also became the kit sponsor of Rajasthan Royals in 2015 and the deal was ended in 2017. As of 2010, Hrithik Roshan was the brand ambassador for Provogue. while Mahesh Babu is the brand ambassador for Provogue in South India.

## Products

As of 2014, Provogue stores have men's clothing and women's clothing, each of these being subdivided in Lower Garment, Upper Garment, Shoes and Accessories. Most recently, Provogue has introduced a range of unisex deodorants, watches and sunglasses to complement the collections.

## Stores

There are over 50 Provogue stores located across 40 cities in India.

On 1 July 2013, Provogue announced the launch of its e-commerce business portal.

On 18 September 2019, a bench of the National Company Law Tribunal (NCLT) in Mumbai ordered the liquidation of readymade garment maker Provogue (India) Ltd after lenders did not agree on the offers on the table for the company.

## Recognitions

The Brand Trust Report listed Provogue in the top 100 Most Trusted brands of India published by Trust Research Advisory in 2011.

## InfoBox

Provogue India Ltd
|
|  |
| Industry | Retail |
| Founded | Mumbai, Maharashtra (India) (1997 (1997)) |
| Headquarters | Mumbai, India |
| Key people | Arun Bhargava (Chairman & Ind.Director), Nikhil Chaturvedi (Managing Director) |
| Products | Clothing |
| Number of employees | 450 |
| Website | www.provogue.com |


title: Proctoporus kiziriani

abstract: Proctoporus kiziriani is a species of lizard in the family Gymnophthalmidae. It is endemic to Peru.

text:
# Proctoporus kiziriani

***Proctoporus kiziriani*** is a species of lizard in the family Gymnophthalmidae. It is endemic to Peru.

## InfoBox

| *Proctoporus kiziriani* | |
| --- | --- |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Reptilia |
| Order: | Squamata |
| Family: | Gymnophthalmidae |
| Genus: | *Proctoporus* |
| Species: | ***P. kiziriani*** |
| Binomial name | |
| ***Proctoporus kiziriani***
Goicoechea, Padial, Chaparro, Castroviejo-Fisher, & De la Riva, 2013 | |
|


title: Protocatechuate 3,4-dioxygenase

abstract:
In enzymology, a protocatechuate 3,4-dioxygenase (EC 1.13.11.3) is an enzyme that catalyzes the chemical reaction
  - 3,4-dihydroxybenzoate + O2 ⇌ 3-carboxy-cis,cis-muconate Thus, the two substrates of this enzyme are 3,4-dihydroxybenzoate (protocatechuic acid) and O2, whereas its product is 3-carboxy-cis,cis-muconate. This enzyme belongs to the family of oxidoreductases, specifically those acting on single donors with O2 as oxidant and incorporation of two atoms of oxygen into the substrate (oxygenases). The systematic name of this enzyme class is protocatechuate:oxygen 3,4-oxidoreductase (decyclizing). Other names in common use include protocatechuate oxygenase, protocatechuic acid oxidase, protocatechuic 3,4-dioxygenase, and protocatechuic 3,4-oxygenase. This enzyme participates in benzoate degradation via hydroxylation and 2,4-dichlorobenzoate degradation. It employs one cofactor, iron. This enzyme has been found effective at improving organic fluorophore-stability in single-molecule experiments. Commercial preps of the enzyme isolated from Pseudomonas spp. generally require further purification to remove strong contaminating nuclease activity.

text:
# Protocatechuate 3,4-dioxygenase

In enzymology, a **protocatechuate 3,4-dioxygenase** (EC 1.13.11.3) is an enzyme that catalyzes the chemical reaction

3,4-dihydroxybenzoate \+ O2 $\rightleftharpoons $ 3-carboxy-cis,cis-muconate

Thus, the two substrates of this enzyme are 3,4-dihydroxybenzoate (protocatechuic acid) and O2, whereas its product is 3-carboxy-cis,cis-muconate.

This enzyme belongs to the family of oxidoreductases, specifically those acting on single donors with O2 as oxidant and incorporation of two atoms of oxygen into the substrate (oxygenases). The systematic name of this enzyme class is **protocatechuate:oxygen 3,4-oxidoreductase (decyclizing)**. Other names in common use include **protocatechuate oxygenase**, **protocatechuic acid oxidase**, **protocatechuic 3,4-dioxygenase**, and **protocatechuic 3,4-oxygenase**. This enzyme participates in benzoate degradation via hydroxylation and 2,4-dichlorobenzoate degradation. It employs one cofactor, iron.

This enzyme has been found effective at improving organic fluorophore-stability in single-molecule experiments. Commercial preps of the enzyme isolated from *Pseudomonas* spp. generally require further purification to remove strong contaminating nuclease activity.

## Structural studies

As of late 2007, 37 structures have been solved for this class of enzymes, with PDB accession codes 1EO2, 1EO9, 1EOA, 1EOB, 1EOC, 1YKK, 1YKL, 1YKM, 1YKN, 1YKO, 1YKP, 2BUM, 2BUQ, 2BUR, 2BUT, 2BUU, 2BUV, 2BUW, 2BUX, 2BUY, 2BUZ, 2BV0, 2PCD, 3PCA, 3PCB, 3PCC, 3PCD, 3PCE, 3PCF, 3PCG, 3PCH, 3PCI, 3PCJ, 3PCK, 3PCL, 3PCM, and 3PCN.

## InfoBox

| protocatechuate 3,4-dioxygenase | |
| --- | --- |
| Protocatechuate 3,4-dioxygenase hetero24mer, *Pseudomonas putida* | |
| Identifiers | |
| EC no. | 1.13.11.3 |
| CAS no. | 9029-47-4 |
| Databases | |
| IntEnz | IntEnz view |
| BRENDA | BRENDA entry |
| ExPASy | NiceZyme view |
| KEGG | KEGG entry |
| MetaCyc | metabolic pathway |
| PRIAM | profile |
| PDB structures | RCSB PDB PDBe PDBsum |
| Gene Ontology | AmiGO / QuickGO |
| Search  PMC articles  PubMed articles  NCBI proteins | |


title: Protocentrophorus

abstract: Protocentrophorus is a genus of was a genus of dogfish shark that existed during the Cretaceous. Fossils have been found in the Tauragė County of Lithuania and British Columbia in Canada. Known from teeth, they were originally assigned to the genus Centrophorus. While some classify Protocentrophorus as belonging to the family Squalidae, phylogenetic tests indicate that it might be a member of the Centrophoridae.

text:
# Protocentrophorus

***Protocentrophorus*** is a genus of was a genus of dogfish shark that existed during the Cretaceous. Fossils have been found in the Tauragė County of Lithuania and British Columbia in Canada. Known from teeth, they were originally assigned to the genus *Centrophorus*.

While some classify *Protocentrophorus* as belonging to the family Squalidae, phylogenetic tests indicate that it might be a member of the Centrophoridae.

## Description

This squaloid shark had small teeth that combined traits from two modern shark families, Squalidae and Centrophoridae. The lower teeth were flattened from front to back, as seen in Centrophoridae, and wider than they were tall, like those in Squalidae. The base of the tooth root was flat, long, and almost vertical, similar to Centrophoridae, but it lacked the special hollow for overlapping teeth and the prominent root face typical of Squalidae. The apron, a part of the tooth, was moderately high and didn't extend past the base of the root, while the uvula, a small part of the tooth, was reduced and not prominent. Additionally, there was no infundibulum, a funnel-like structure, present.

## InfoBox

| *Protocentrophorus*
Temporal range: Cenomanian to Campanian | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Chondrichthyes |
| Subclass: | Elasmobranchii |
| Subdivision: | Selachimorpha |
| Order: | Squaliformes |
| Family: | Squalidae |
| Genus: | *Protocentrophorus*
Adnet et al. 2008 |
|
| Type species | |
| ***Centrophorus balticus***
Dalinkevičius, 1935 | |
| Other species | |
| * ***Protocentrophorus steviae*** Cappetta et al. 2019 | |


title: Prudhoe Town F.C.

abstract: Prudhoe Town Football Club was a football club based in Prudhoe, Northumberland, England. The club is affiliated to the Northumberland Football Association. They play at Essity Park.

text:
# Prudhoe Town F.C.

**Prudhoe Town Football Club** was a football club based in Prudhoe, Northumberland, England. The club is affiliated to the Northumberland Football Association. They play at Essity Park.

## History

The club was formed in 1959 and originally played in the Hexham & District League as **Ovington F.C.**. They moved upwards through the Newcastle & District League, the Northern Combination, and the Northern Amateur League before joining the Northern Alliance in 1984 as **Prudhoe East End**.

Twice Northern Alliance runners-up, they joined the Northern League in 1988, spending all but two seasons of their period in the league in Division Two. Promotion was earned in the 1993–94 and 2001–02 seasons, but on each occasion they were relegated after a solitary season in Division One. They adopted their present name in 1994. They stayed in the Northern League, until 2009 when they resigned and joined the Wearside Football League, where they remained until resigning during the 2017–18 season. In 2019, Prudhoe merged with Prudhoe Youth Club.

## Ground

Prudhoe Town played their home games at Essity Park, Broomhouse Road, Prudhoe, NE42 5EH. The club's future was put in doubt after the loss of this ground officially.

## Honours

## Records

* **Highest League Position**: 19th in Northern League Division one 2002–03
* **FA Cup** best performance: Second Round Qualifying – 1990–91
* **FA Trophy** best performance: First Round Qualifying – 1994–95
* **FA Vase** best performance: Third Round – 1995–96

## Former players

A list of players that have played for the club at one stage and meet one of the following criteria;

1. Players that have played/managed in the football league or any foreign equivalent to this level (i.e. fully professional league).
2. Players with full international caps.

54°58′00.26″N 1°50′00.78″W / 54.9667389°N 1.8335500°W / 54.9667389; -1.8335500

## InfoBox

Prudhoe Town
| Full name | Prudhoe Town Football Club |
| --- | --- |
| Nickname(s) | The Citizens |
| Founded | 1959 (as Ovington) |
| Ground | Essity Park, Prudhoe |
| 2017–18 | Wearside League (withdrew) |
|  | |
|  | |
|  | |


title: Producciones Cinevisión

abstract: Producciones Cinevisión was a Colombian programadora. It was founded in 1968 and liquidated in 1996, returned in 1999 and was liquidated again in 2008.

text:
# Producciones Cinevisión

**Producciones Cinevisión** was a Colombian *programadora*. It was founded in 1968 and liquidated in 1996, returned in 1999 and was liquidated again in 2008.

## History

### Early years

Jorge Arenas Lemus founded what was then known as **CV-TV** in 1968. Its early programming consisted of foreign films and (from 1975) **Noticiero Cinevisión**. The company's trade name followed suit with the newscast, becoming Cinevisión in 1977. It produced six hours a week of programs after the 1979 bidding cycle, including programs on both Cadena Uno and Cadena Dos.

### Consolidation and development

In the 1981 bidding cycle Cinevisión received five hours of programs, returning to six in 1983. The *programadora* soon found itself in hot water with viewers. It had been airing in 1985 the Brazilian telenovela *Loco amor*, but it was pulled for low ratings in 1986. Viewers began to boycott the various replacements: after a Mexican-Argentinian telenovela was sacked for another Brazilian telenovela (*Baila conmigo*), which also did poorly, that too was replaced with *Loco amor*. The newscast, which had aired on weeknights in the 1979 and 1981 bidding cycles, went up against Promec's newscast *Noticiero Promec* at the weekends in 1983.

In the 1987 cycle, Cinevisión again received six hours of programming. But the new placement of *Noticiero Cinevisión* was a flop, running at 12:30 on weekdays against the more successful *Telenoticiero al Medio Día* from Telestudio. However, it began to recover its viewership. Other successes for Cinevisión were the comedies *La de los tintos* and *Rosalina Rosas Rosales TV*, plus *Chispazos*, the most-viewed Cinevisión program of the 1987 cycle. It also broadcast foreign telenovelas on Wednesdays, Saturdays, and Sundays such as El Camino Secreto and Quinceañera.

### 1990s: A new owner and a new approach

In 1990, Nelly Ordoñez retired from the chief position at Cinevisión, replaced by Paula Arenas Canal. On Wednesday, October 31 of that year, Cinevisión underwent an overhaul, with a new logo and a new comedy program. Zoociedad, a program known for its political parodies, debuted that night.

Cinevisión also brought another international hit to Colombian screens for the first time: The Simpsons debuted on Saturday, February 1, 1992. Matt Groening didn't like the Mexican voice actors, forcing a long delay in the process. The newscast also bid farewell on Tuesday, December 31, 1991, as Cinevisión didn't apply for a newscast license in the 1992-1998 cycle; as an entertainment-focused *programadora*, it earned money in 1992. A Tuesday night drama, *OKTV La alternativa del escorpión*, was later replaced by *María María*.

The new bidding cycle gave Cinevisión ten hours a week on Cadena Uno. Among its major successes was a collaboration in October 1992 with RTI Colombia to present a special celebrating the 500th anniversary of the discovery of America. Cinevisión also received critical acclaim, winning several national awards.

In 1993, the owners of Cinevisión founded PTV Colómbia, an independent producer that helped arrange equipment sharing programs. Previously Cinevisión had loaned equipment and facilities to programmers including Inravisión, Producciones PUNCH and Promec.

## Crisis and demise

Frozen salaries heated tempers at Cinevisión as 1993 continued. *María María* attracted lower ratings than *OKTV* and had to battle against Coestrellas's powerful *Señora Isabel*. *Zoociedad* was sinking in the ratings, and some were demanding the resignation of Jaime Garzón and the rest of the production team. On Monday, September 13, it left the air.

As a solution, in January 1994, Cinevisión signed a contract with Caracol Televisión. Many Cinevisión programs went to Caracol. By 1995, the *programadora* was airing what would be its final program, *Ordóñese de la risa*.

On Monday, October 30, 1995, Cinevisión returned its program slots to Inravisión. Jorge Arenas Lumas died of health problems that December. Through February 1996, Audiovisuales, Inravisión's *programadora*, managed the slots, then sold them off to a variety of producers.

\]  \]  \]  \]


title: Facebook Query Language

abstract: Facebook Query Language (FQL) is a query language that allows querying Facebook user data by using a SQL-style interface, avoiding the need to use the Facebook Platform Graph API. Data returned from an FQL query is in JSON format by default.

text:
# Facebook Query Language

**Facebook Query Language** (**FQL**) is a query language that allows querying Facebook user data by using a SQL-style interface, avoiding the need to use the Facebook Platform Graph API. Data returned from an FQL query is in JSON format by default.

## History

FQL was first made publicly available in February 2007. FQL is no longer available as of August 7, 2016, when Facebook API 2.0 was no longer available. Facebook API versions newer than API 2.0 do not support FQL.

## Example

In the following query, four different types of data are retrieved from a single table (status) and for a single user ("me"):

```
SELECT status_id,message,time,source FROM `status` WHERE uid = me()

```

This query can run by querying the Facebook graph endpoint */fql* with the parameters set to *q=\[FQL\]*

## InfoBox

Facebook Query Language
| First appeared | February 2007 (2007-02) |
| --- | --- |
| Platform | Facebook Platform |
| Website | developers.facebook.com |
| Influenced by | |
| SQL | |


title: Hennu

abstract:
In Egyptian mythology, the hennu boat or Sokar barque was a symbol of the god Seker of Memphis. Depending on the era or the prevailing dynasty of Egypt, the hennu boat sailed toward either dawn or dusk. In the Pyramid Texts of Unas one of the steps the deceased had to take, after leaving his property to his son, after purifying himself, etc. was:
You will descend on ropes of bronze, in the arms of Horus as his name is "Being in the Hennu barque." On the holiday of the god Seker, a stone—possibly a representation of the god—was put on the Hennu barque and pulled with a sled over the fields, while people followed it wearing garlands of onions. A harpist's song from the tomb of Djehutimes describes the practice as follows:
[He] pulled [So]kar by placing the Hennu barque on its sled, going around the walls with his following. At times the Hennu barque was identified with Seker himself, as in pKairo CG 51189 (pYuya) where it is stated: I have appeared as Hennu. which is followed two lines below by this passage: I have appeared as Sokar.

text:
# Hennu

In Egyptian mythology, the **hennu boat** or **Sokar barque** (also **henu**, Manuel de Codage transliteration: Hnw) was a symbol of the god Seker of Memphis. Depending on the era or the prevailing dynasty of Egypt, the hennu boat sailed toward either dawn or dusk.

In the Pyramid Texts of Unas (PT 214, 138c) one of the steps the deceased had to take, after leaving his property to his son, after purifying himself, etc. was: *You will descend on ropes of bronze, in the arms of Horus as his name is "Being in the Hennu barque."*

On the holiday of the god Seker, a stonepossibly a representation of the godwas put on the Hennu barque and pulled with a sled over the fields, while people followed it wearing garlands of onions. A harpist's song from the tomb of Djehutimes (TT 32) describes the practice as follows: *\[He\] pulled \[So\]kar by placing the Hennu barque on its sled, going around the walls with his following.*

At times the Hennu barque was identified with Seker himself, as in pKairo CG 51189 (pYuya) where it is stated: *I have appeared as Hennu.* which is followed two lines below by this passage: *I have appeared as Sokar.*

## Hieroglyphic depiction

|  |
| --- |
| ḥnw<br>in hieroglyphs |
|  |
|  |
|  |

## Other divine barks

* The Neshmet
* The sun barks of Re: the morning bark, *mandjet*, and the evening bark, *mesktet*.

* Margaret Alice Murray, *Egyptian Religious Poetry*, J. Murray 1949, p. 86
* Ernest Alfred Wallis Budge, *The Gods of the Egyptians or Studies in Egyptian Mythology. Volume 1*, Adamant Media Corporation, ISBN 0-543-95171-5, p. 506
* M. Lurker, *Lexikon der Götter und Symbole der alten Ägypter*, Scherz 1998, p. 189

1. Dilwyn Jones, *Boats*, University of Texas Press 1995, ISBN 0-292-74039-5, p.35


title: Fabrice Lhomme

abstract: Fabrice Lhomme is a French investigative journalist for Le Monde.

text:
# Fabrice Lhomme

**Fabrice Lhomme** (born 1965) is a French investigative journalist for *Le Monde*.

## Early life

Fabrice Lhomme was born on 17 November 1965. He was educated in a boarding school in Normandy. He attended François Rabelais University in Tours, where he studied History and Journalism, but he failed to graduate.

## Career

Lhomme became a journalist for *Le Parisien* in 1989. He has been an investigative journalist for *Le Monde* since 2011.

Lhomme is the co-author of several books with Gérard Davet. Two books, *Sarko m'a tuer* and *Sarko s'est tuer*, are about President Nicolas Sarkozy. Another book, *L'homme qui voulut être roi*, is about Gaston Flosse. Two more books, *French corruption* and *La clef : révélations sur la fraude fiscale du siècle*, are about allegations of political corruptions and tax evasion in France. Their sixth book, *"Un président ne devrait pas dire ça..."*, is based on interviews with President Francois Hollande.

## Works

* Davet, Gérard; Lhomme, Fabrice (2011). *Sarko m'a tuer*. Paris: Stock. ISBN 9782234069510. OCLC 755061219.
* Davet, Gérard; Lhomme, Fabrice (2013). *L'homme qui voulut être roi*. Paris: Stock. ISBN 9782234064591. OCLC 852117608.
* Davet, Gérard; Lhomme (2013). *French corruption*. Paris: Stock. ISBN 9782234075405. OCLC 866826135.
* Davet, Gérard; Lhomme (2014). *Sarko s'est tuer*. Paris: Stock. ISBN 9782234078987. OCLC 898457832.
* Davet, Gérard; Lhomme (2015). *La clef : révélations sur la fraude fiscale du siècle*. Paris: Stock. ISBN 9782234080379. OCLC 911263482.
* Davet, Gérard; Lhomme, Fabrice (2016). *"Un président ne devrait pas dire ça..."*. Paris: Stock. ISBN 9782234075481.

## InfoBox

| Fabrice Lhomme | |
| --- | --- |
| Fabrice Lhomme in 2018 | |
| Born | 17 November 1965 (1965-11-17) (age 58) |
| Alma mater | François Rabelais University |
| Occupation | Journalist |


title: Melike Pekel

abstract: Melike Pekel is a German-born Turkish footballer who plays as a forward for the Turkey women's national team.

text:
# Melike Pekel

**Melike Pekel** (born 14 April 1995) is a German-born Turkish footballer who plays as a forward for the Turkey women's national team.

## Early life

Melike Pekel was born to Turkish immigrant parents in München, Germany on 14 April 1995. After completing her vocational education in July 2015, she started to work as an optician in Schrobenhausen, Upper Bavaria, where she resides.

## Club career

Pekel began her career in the youth team of FC Schrobenhausen in her hometown, and displayed her high footballer talent. In the 2012–13 season, she started to play for the second team of TSV Schwaben Augsburg in the German Bezirksoberliga Schwaben. Already after one game in the same season, she was promoted to the first squad of the club, which competed in the Regionalliga Süd. She scored in total 20 goals in 40 matches in two league seasons. Pekel became the topscorer of the Regionalliga Süd in the 2013–14 season.

For the 2014–15 season, FC Bayern München transferred her in the second team of the club to play in the 2. Bundesliga Frauen Süd. In the 12th play day of the season on 7 December 2014, manager Thomas Wörle took her into the first squad in the Bundesliga Frauen match against 1. FFC Frankfurt. She appeared in two games for the first squad until the end of the season. She enjoyed her team's champion title in the 2014–15 Bundesliga season. In the 2015–16 season, Pekel returned to her place in the second squad of the club playing in the 2. Frauen-Bundesliga Süd again. As of 22 November 2015, she scored 15 goals in 26 games for her club.

At the beginning of 2017, she left Munich and transferred to FC Metz-Algrange to play in the Division 1 Féminine. She made her debut in the away game against ASPTT Albi on 5 February 2017. Pekel scored her first and her team's only goal in the third minute in the home match against Olympique de Marseille on 26 February 2017.

Ahead of the 2017–2018 season Pekel joined Paris Saint-Germain. With her playing time limited, Pekel went on loan to Bordeaux in 2019. In August 2019, Pekel re-signed with Metz.

She later joined fellow French clubs Le Havre and Reims, in which she sustained recurring knee injuries and eventually left the latter in 2021. In November 2023, following a two-year hiatus, she joined 2. Bundesliga club Ingolstadt for the 2023–24 season. On 21 April 2024, she scored her first goal for Ingolstadt in a 2–1 away defeat against FSV Gütersloh 2009.

## International career

Pekel was called up to the Turkey women's national team, and debuted in the friendly match against Albania on 19 August 2015.

She took part in four of the UEFA Women's Euro 2017 qualifying Group 5 matches for the Turkish nationals. She appeared in three matches of the UEFA Women's Euro 2017 qualifying Group 5. On 1 March 2017, Pekel scored her first national goal against Romania in the 2017 Goldcity Women's Cup.

She took part at the 2019 FIFA Women's World Cup qualification – UEFA preliminary round – Group 4 matches. In the second match of the tournament, she scored a hat-trick in the match against Luxembourg on 8 April 2017. She scored her team's only goal in the third game of the qualification tournament against Faroe Islands.

## Career statistics

### Club

*As of match played 20 July 2017*.

| Club | Season | League | | | Continental | | National | | Total | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | Division | Apps | Goals | Apps | Goals | Apps | Goals | Apps | Goals |
| TSV Schwaben Augsburg | 2012–13 | Bezirksoberliga Schwaben | 1 | 0 |  |  |  |  | 1 | 0 |
| | 2012–13 | Regionalliga Süd | 19 | 4 |  |  |  |  | 19 | 4 |
| | 2013–14 | Regionalliga Süd | 20 | 16 |  |  |  |  | 20 | 16 |
| | Total | | 40 | 20 |  |  |  |  | 40 | 20 |
| FC Bayern München | 2014–15 | 2. Bundesliga Frauen Süd | 17 | 12 |  |  |  |  | 17 | 12 |
| | | Frauen-Bundesliga | 2 | 0 |  |  |  |  | 2 | 0 |
| | 2015–16 | 2. Bundesliga Frauen Süd | 16 | 7 |  |  | 9 | 0 | 25 | 7 |
| | 2016–17 | 2. Bundesliga Frauen Süd | 8 | 3 |  |  | 0 | 0 | 8 | 3 |
| | Frauen-Bundesliga | 1 | 0 |  |  | 0 | 0 | 1 | 0 |
| | Total | | 44 | 22 |  |  | 9 | 0 | 53 | 22 |
| FC Metz-Algrange | 2016–17 | Division 1 Féminine | 12 | 5 |  |  | 6 | 6 | 18 | 11 |
| | Total | | 12 | 5 |  |  | 6 | 6 | 18 | 11 |
| Paris Saint-Germain FC | 2017–18 | Division 1 Féminine | 14 | 0 |  |  | 0 | 0 | 14 | 0 |
| | Total | | 14 | 0 |  |  | 0 | 0 | 14 | 0 |
| Career total | | | 110 | 47 |  |  | 15 | 6 | 125 | 53 |

### International

|
|  |
International goals
(Friendly matches not included)
| Date | Venue | Opponent | Competition | Result | Scored |
| --- | --- | --- | --- | --- | --- |
| Turkey women's national team | | | | | |
| 8 April 2017 | Tórshavn, Faroe Islands | Luxembourg | 2019 FIFA World Cup qualification – UEFA preliminary round – Group 4 | **W** 9–1 | 3, |
| 11 April 2017 | | Faroe Islands | | **L** 1–2 | 1, |

## Honours

Frauen-Bundesliga FC Bayern München *Winners* (1): 2014–15.

**Individual**

## InfoBox

Melike Pekel
| Pekel with Turkey in 2016 | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Date of birth | (1995-04-14) 14 April 1995 | | |
| Place of birth | Munich, Germany | | |
| Height | 1.72 m (5 ft 8 in) | | |
| Position(s) | Forward | | |
| Youth career | | | |
|  | FC Schrobenhausen | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2012–2014 | TSV Schwaben Augsburg II | 1 | (0) |
| 2012–2014 | TSV Schwaben Augsburg | 39 | (20) |
| 2014–2016 | Bayern München II | 43 | (22) |
| 2014–2016 | Bayern München | 1 | (0) |
| 2017 | Metz | 12 | (5) |
| 2017–2019 | Paris Saint-Germain | 14 | (0) |
| 2019 | Bordeaux (loan) | 5 | (0) |
| 2019–2020 | Metz | 8 | (0) |
| 2020–2021 | Le Havre | 10 | (0) |
| 2021 | Reims | 5 | (0) |
| 2023–2024 | Ingolstadt | 13 | (1) |
| International career | | | |
| 2015–2019 | Turkey | 26 | (7) |
| \*Club domestic league appearances and goals, correct as of 26 May 2024<br>‡ National team caps and goals, correct as of 22 January 2019 | | | |