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Air Vice Marshal Tracy Lee Smart, is an Australian physician, medical administrator, and a retired senior officer in the Royal Australian Air Force (RAAF). She served as Commander of Joint Health Command and Surgeon General of the Australian Defence Force from December 2015 to December 2019. Smart was the third woman to reach the rank of air vice marshal in the RAAF.
Early life and education
Smart grew up at Kangarilla, South Australia, and was educated at Willunga High School. She studied medicine at Flinders University, graduating in 1987. She completed her medical training in Adelaide hospitals before commencing full-time duty with the Royal Australian Air Force (RAAF) in January 1989, having joined the service in 1985.Smart later read for a Master of Public Health at the University of Queensland in 2007 and a Master of Arts in Strategic Studies at Deakin University in 2009. She is also a graduate of the Centre for Defence and Strategic Studies and the Harvard Business School Advanced Management Program.
RAAF career
Smart served as Medical Officer at RAAF Base Amberley in 1989 and Medical and later Senior Medical Officer at RAAF Base Pearce from 1990 to 1991, before undertaking a two year exchange with the Royal Air Force to receive specialist training in Aviation Medicine. She returned to Australia in 1993, was promoted squadron leader and assigned as Senior Medical Officer at No. 6 RAAF Hospital and, later, RAAF Base Williamtown. She was deployed to the United Nations Assistance Mission for Rwanda in 1995.Smart undertook an exchange with the United States Air Force in 2000 and 2001, then deployed to Timor Leste as Chief Health Officer, HQ Peacekeeping Force and Australian Senior Health Officer in Timor Leste. She served in Iraq and Afghanistan from 2003 to 2004, and was appointed a Member of the Order of Australia in the 2012 Queen's Birthday Honours.Smart was promoted to air vice marshal in November 2015 and succeeded Rear Admiral Robyn Walker as Commander Joint Health and Surgeon General of the Australian Defence Force (ADF) on 3 December 2015. She was appointed an Officer of the Order of Australia in the 2019 Queen's Birthday Honours, and handed over Joint Health Command to Rear Admiral Sarah Sharkey on 4 December that year.
Smart has led the ADF contingent at the Sydney Gay and Lesbian Mardi Gras three times and was the first lesbian to reach two-star officer rank in the ADF.
== References == | educated at | {
"answer_start": [
509
],
"text": [
"Flinders University"
]
} |
Air Vice Marshal Tracy Lee Smart, is an Australian physician, medical administrator, and a retired senior officer in the Royal Australian Air Force (RAAF). She served as Commander of Joint Health Command and Surgeon General of the Australian Defence Force from December 2015 to December 2019. Smart was the third woman to reach the rank of air vice marshal in the RAAF.
Early life and education
Smart grew up at Kangarilla, South Australia, and was educated at Willunga High School. She studied medicine at Flinders University, graduating in 1987. She completed her medical training in Adelaide hospitals before commencing full-time duty with the Royal Australian Air Force (RAAF) in January 1989, having joined the service in 1985.Smart later read for a Master of Public Health at the University of Queensland in 2007 and a Master of Arts in Strategic Studies at Deakin University in 2009. She is also a graduate of the Centre for Defence and Strategic Studies and the Harvard Business School Advanced Management Program.
RAAF career
Smart served as Medical Officer at RAAF Base Amberley in 1989 and Medical and later Senior Medical Officer at RAAF Base Pearce from 1990 to 1991, before undertaking a two year exchange with the Royal Air Force to receive specialist training in Aviation Medicine. She returned to Australia in 1993, was promoted squadron leader and assigned as Senior Medical Officer at No. 6 RAAF Hospital and, later, RAAF Base Williamtown. She was deployed to the United Nations Assistance Mission for Rwanda in 1995.Smart undertook an exchange with the United States Air Force in 2000 and 2001, then deployed to Timor Leste as Chief Health Officer, HQ Peacekeeping Force and Australian Senior Health Officer in Timor Leste. She served in Iraq and Afghanistan from 2003 to 2004, and was appointed a Member of the Order of Australia in the 2012 Queen's Birthday Honours.Smart was promoted to air vice marshal in November 2015 and succeeded Rear Admiral Robyn Walker as Commander Joint Health and Surgeon General of the Australian Defence Force (ADF) on 3 December 2015. She was appointed an Officer of the Order of Australia in the 2019 Queen's Birthday Honours, and handed over Joint Health Command to Rear Admiral Sarah Sharkey on 4 December that year.
Smart has led the ADF contingent at the Sydney Gay and Lesbian Mardi Gras three times and was the first lesbian to reach two-star officer rank in the ADF.
== References == | award received | {
"answer_start": [
1821
],
"text": [
"Member of the Order of Australia"
]
} |
Air Vice Marshal Tracy Lee Smart, is an Australian physician, medical administrator, and a retired senior officer in the Royal Australian Air Force (RAAF). She served as Commander of Joint Health Command and Surgeon General of the Australian Defence Force from December 2015 to December 2019. Smart was the third woman to reach the rank of air vice marshal in the RAAF.
Early life and education
Smart grew up at Kangarilla, South Australia, and was educated at Willunga High School. She studied medicine at Flinders University, graduating in 1987. She completed her medical training in Adelaide hospitals before commencing full-time duty with the Royal Australian Air Force (RAAF) in January 1989, having joined the service in 1985.Smart later read for a Master of Public Health at the University of Queensland in 2007 and a Master of Arts in Strategic Studies at Deakin University in 2009. She is also a graduate of the Centre for Defence and Strategic Studies and the Harvard Business School Advanced Management Program.
RAAF career
Smart served as Medical Officer at RAAF Base Amberley in 1989 and Medical and later Senior Medical Officer at RAAF Base Pearce from 1990 to 1991, before undertaking a two year exchange with the Royal Air Force to receive specialist training in Aviation Medicine. She returned to Australia in 1993, was promoted squadron leader and assigned as Senior Medical Officer at No. 6 RAAF Hospital and, later, RAAF Base Williamtown. She was deployed to the United Nations Assistance Mission for Rwanda in 1995.Smart undertook an exchange with the United States Air Force in 2000 and 2001, then deployed to Timor Leste as Chief Health Officer, HQ Peacekeeping Force and Australian Senior Health Officer in Timor Leste. She served in Iraq and Afghanistan from 2003 to 2004, and was appointed a Member of the Order of Australia in the 2012 Queen's Birthday Honours.Smart was promoted to air vice marshal in November 2015 and succeeded Rear Admiral Robyn Walker as Commander Joint Health and Surgeon General of the Australian Defence Force (ADF) on 3 December 2015. She was appointed an Officer of the Order of Australia in the 2019 Queen's Birthday Honours, and handed over Joint Health Command to Rear Admiral Sarah Sharkey on 4 December that year.
Smart has led the ADF contingent at the Sydney Gay and Lesbian Mardi Gras three times and was the first lesbian to reach two-star officer rank in the ADF.
== References == | military branch | {
"answer_start": [
122
],
"text": [
"Royal Australian Air Force"
]
} |
Air Vice Marshal Tracy Lee Smart, is an Australian physician, medical administrator, and a retired senior officer in the Royal Australian Air Force (RAAF). She served as Commander of Joint Health Command and Surgeon General of the Australian Defence Force from December 2015 to December 2019. Smart was the third woman to reach the rank of air vice marshal in the RAAF.
Early life and education
Smart grew up at Kangarilla, South Australia, and was educated at Willunga High School. She studied medicine at Flinders University, graduating in 1987. She completed her medical training in Adelaide hospitals before commencing full-time duty with the Royal Australian Air Force (RAAF) in January 1989, having joined the service in 1985.Smart later read for a Master of Public Health at the University of Queensland in 2007 and a Master of Arts in Strategic Studies at Deakin University in 2009. She is also a graduate of the Centre for Defence and Strategic Studies and the Harvard Business School Advanced Management Program.
RAAF career
Smart served as Medical Officer at RAAF Base Amberley in 1989 and Medical and later Senior Medical Officer at RAAF Base Pearce from 1990 to 1991, before undertaking a two year exchange with the Royal Air Force to receive specialist training in Aviation Medicine. She returned to Australia in 1993, was promoted squadron leader and assigned as Senior Medical Officer at No. 6 RAAF Hospital and, later, RAAF Base Williamtown. She was deployed to the United Nations Assistance Mission for Rwanda in 1995.Smart undertook an exchange with the United States Air Force in 2000 and 2001, then deployed to Timor Leste as Chief Health Officer, HQ Peacekeeping Force and Australian Senior Health Officer in Timor Leste. She served in Iraq and Afghanistan from 2003 to 2004, and was appointed a Member of the Order of Australia in the 2012 Queen's Birthday Honours.Smart was promoted to air vice marshal in November 2015 and succeeded Rear Admiral Robyn Walker as Commander Joint Health and Surgeon General of the Australian Defence Force (ADF) on 3 December 2015. She was appointed an Officer of the Order of Australia in the 2019 Queen's Birthday Honours, and handed over Joint Health Command to Rear Admiral Sarah Sharkey on 4 December that year.
Smart has led the ADF contingent at the Sydney Gay and Lesbian Mardi Gras three times and was the first lesbian to reach two-star officer rank in the ADF.
== References == | family name | {
"answer_start": [
27
],
"text": [
"Smart"
]
} |
Air Vice Marshal Tracy Lee Smart, is an Australian physician, medical administrator, and a retired senior officer in the Royal Australian Air Force (RAAF). She served as Commander of Joint Health Command and Surgeon General of the Australian Defence Force from December 2015 to December 2019. Smart was the third woman to reach the rank of air vice marshal in the RAAF.
Early life and education
Smart grew up at Kangarilla, South Australia, and was educated at Willunga High School. She studied medicine at Flinders University, graduating in 1987. She completed her medical training in Adelaide hospitals before commencing full-time duty with the Royal Australian Air Force (RAAF) in January 1989, having joined the service in 1985.Smart later read for a Master of Public Health at the University of Queensland in 2007 and a Master of Arts in Strategic Studies at Deakin University in 2009. She is also a graduate of the Centre for Defence and Strategic Studies and the Harvard Business School Advanced Management Program.
RAAF career
Smart served as Medical Officer at RAAF Base Amberley in 1989 and Medical and later Senior Medical Officer at RAAF Base Pearce from 1990 to 1991, before undertaking a two year exchange with the Royal Air Force to receive specialist training in Aviation Medicine. She returned to Australia in 1993, was promoted squadron leader and assigned as Senior Medical Officer at No. 6 RAAF Hospital and, later, RAAF Base Williamtown. She was deployed to the United Nations Assistance Mission for Rwanda in 1995.Smart undertook an exchange with the United States Air Force in 2000 and 2001, then deployed to Timor Leste as Chief Health Officer, HQ Peacekeeping Force and Australian Senior Health Officer in Timor Leste. She served in Iraq and Afghanistan from 2003 to 2004, and was appointed a Member of the Order of Australia in the 2012 Queen's Birthday Honours.Smart was promoted to air vice marshal in November 2015 and succeeded Rear Admiral Robyn Walker as Commander Joint Health and Surgeon General of the Australian Defence Force (ADF) on 3 December 2015. She was appointed an Officer of the Order of Australia in the 2019 Queen's Birthday Honours, and handed over Joint Health Command to Rear Admiral Sarah Sharkey on 4 December that year.
Smart has led the ADF contingent at the Sydney Gay and Lesbian Mardi Gras three times and was the first lesbian to reach two-star officer rank in the ADF.
== References == | given name | {
"answer_start": [
17
],
"text": [
"Tracy"
]
} |
Verticordia sect. Synandra is a section that describes a single species in the genus Verticordia. The section is one of seven in the subgenus, Verticordia subg. Chrysoma. The characteristics of this section includes having branches and flower stalks which are covered with stiff, bristly hairs, and stamens and staminodes which are joined at their base in a tube. The subspecies and varieties of the single species in this section all have bright green leaves and superficially resemble dwarf pine trees.When Alex George reviewed the genus in 1991, he described the section and gave it the name Synandra after the Ancient Greek prefix syn- meaning "together" and -andros meaning "male" in reference to the joined stamens and staminodes.The type and only species in this section is Verticordia staminosa.
== References == | taxon rank | {
"answer_start": [
32
],
"text": [
"section"
]
} |
Verticordia sect. Synandra is a section that describes a single species in the genus Verticordia. The section is one of seven in the subgenus, Verticordia subg. Chrysoma. The characteristics of this section includes having branches and flower stalks which are covered with stiff, bristly hairs, and stamens and staminodes which are joined at their base in a tube. The subspecies and varieties of the single species in this section all have bright green leaves and superficially resemble dwarf pine trees.When Alex George reviewed the genus in 1991, he described the section and gave it the name Synandra after the Ancient Greek prefix syn- meaning "together" and -andros meaning "male" in reference to the joined stamens and staminodes.The type and only species in this section is Verticordia staminosa.
== References == | parent taxon | {
"answer_start": [
144
],
"text": [
"Verticordia subg. Chrysoma"
]
} |
Verticordia sect. Synandra is a section that describes a single species in the genus Verticordia. The section is one of seven in the subgenus, Verticordia subg. Chrysoma. The characteristics of this section includes having branches and flower stalks which are covered with stiff, bristly hairs, and stamens and staminodes which are joined at their base in a tube. The subspecies and varieties of the single species in this section all have bright green leaves and superficially resemble dwarf pine trees.When Alex George reviewed the genus in 1991, he described the section and gave it the name Synandra after the Ancient Greek prefix syn- meaning "together" and -andros meaning "male" in reference to the joined stamens and staminodes.The type and only species in this section is Verticordia staminosa.
== References == | taxon name | {
"answer_start": [
0
],
"text": [
"Verticordia sect. Synandra"
]
} |
Lucas Fasson dos Santos (born 30 May 2001) is a Brazilian professional footballer who plays as a defender for Russian club Lokomotiv Moscow.
Career
In 2020, Spanish La Liga side Barcelona offered to sign Fasson from São Paulo but the transfer never happened due to Barcelona opting not to pay his 40 million euro release clause.For the 2020 season, he signed for Deportes La Serena in the Chilean top flight.
On 8 June 2022, Fasson signed a four-year contract with Russian Premier League club Lokomotiv Moscow.
Career statistics
As of 27 November 2022
References
External links
Lucas Fasson at Soccerway
Lucas Fasson at WorldFootball.net | country of citizenship | {
"answer_start": [
48
],
"text": [
"Brazil"
]
} |
Lucas Fasson dos Santos (born 30 May 2001) is a Brazilian professional footballer who plays as a defender for Russian club Lokomotiv Moscow.
Career
In 2020, Spanish La Liga side Barcelona offered to sign Fasson from São Paulo but the transfer never happened due to Barcelona opting not to pay his 40 million euro release clause.For the 2020 season, he signed for Deportes La Serena in the Chilean top flight.
On 8 June 2022, Fasson signed a four-year contract with Russian Premier League club Lokomotiv Moscow.
Career statistics
As of 27 November 2022
References
External links
Lucas Fasson at Soccerway
Lucas Fasson at WorldFootball.net | Commons category | {
"answer_start": [
0
],
"text": [
"Lucas Fasson"
]
} |
Lucas Fasson dos Santos (born 30 May 2001) is a Brazilian professional footballer who plays as a defender for Russian club Lokomotiv Moscow.
Career
In 2020, Spanish La Liga side Barcelona offered to sign Fasson from São Paulo but the transfer never happened due to Barcelona opting not to pay his 40 million euro release clause.For the 2020 season, he signed for Deportes La Serena in the Chilean top flight.
On 8 June 2022, Fasson signed a four-year contract with Russian Premier League club Lokomotiv Moscow.
Career statistics
As of 27 November 2022
References
External links
Lucas Fasson at Soccerway
Lucas Fasson at WorldFootball.net | given name | {
"answer_start": [
0
],
"text": [
"Lucas"
]
} |
Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | country | {
"answer_start": [
23
],
"text": [
"Greenland"
]
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Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | instance of | {
"answer_start": [
127
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Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | located in the administrative territorial entity | {
"answer_start": [
173
],
"text": [
"Qeqqata"
]
} |
Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | named after | {
"answer_start": [
0
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"text": [
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} |
Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | IATA airport code | {
"answer_start": [
104
],
"text": [
"SFJ"
]
} |
Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | ICAO airport code | {
"answer_start": [
115
],
"text": [
"BGSF"
]
} |
Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | Commons category | {
"answer_start": [
0
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"text": [
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Kangerlussuaq Airport (Greenlandic: Mittarfik Kangerlussuaq, Danish: Søndre Strømfjord Lufthavn) (IATA: SFJ, ICAO: BGSF) is an airport in Kangerlussuaq, a settlement in the Qeqqata municipality in central-western Greenland. Alongside Narsarsuaq Airport, it is one of only two civilian airports in Greenland large enough to handle large airliners. It is located away from the coast and hence less prone to fog and wind in comparison with other airports in Greenland. Kangerlussuaq Airport is the international hub for Air Greenland. The Kangerlussuaq area has very few inhabitants (around 500), so few passengers have their origin or destination here; most passengers change planes.
History
The first airport was built here during the US occupation in 1941 under the name of Bluie West-8, later renamed Sondrestromfjord Air Base and Sondrestrom Air Base.In the mid 1950s, transatlantic civilian flights began using the air base for refueling. In 1956, Scandinavian Airlines (SAS) was flying "Polar route" service with three round trip flights per week being operated with Douglas DC-6B propliners on a routing of Copenhagen - Sondre Stromfjord (now Kangerlussuaq) - Winnipeg - Los Angeles. This use enabled air travel to Greenland, but fell off in the 1960s as airliners gained greater range. Instead the base became the hub of Greenland air traffic. The airport was handed over to civilian Greenlandic control in 1992.
At a late 2011 Air Greenland meeting, plans to move the main Greenland intercontinental air hub away from Kangerlussuaq were agreed upon. According to the 2011 plan, three 1,199-metre (3,934 ft) airstrips will be built: a new airport at Qaqortoq, as well as extensions at Nuuk and Ilulissat. New airports will probably also be built at Tasiilaq and Ittoqqortoormiit later. Alongside Kangerlussuaq, the airports at Narsarsuaq and Kulusuk (if Tasiilaq is built) will also be closed. Generally, a number of the airstrips have been built by the US military at locations deliberately away from major settlements, partly due to the Danish policy to downplay the presence of the US military in Greenland. There is also a need to renovate the Kangerlussuaq runway for a fairly high cost as the permafrost is melting under it.A decision was made in 2016 to extend the runways of both Nuuk and Ilulissat airports to 2,200 m (7,200 ft), allowing them to receive medium size jetliners from Denmark, and also to replace Narsarsuaq with a new airport at Qaqortoq. Construction at Nuuk Airport started late 2019. This, in combination with the condition of the runway, will probably mean that Kangerlussuaq will be eventually closed or used for smaller planes for flights to other cities in Greenland only, and for charter flights in connection with cruise ship arrivals.
Even if Nuuk and Ilulissat will get direct flights from Europe, Kangerlussuaq will still be important, partly due more stable weather and longer runway. Cruise ships want to exchange passengers at Greenland because the long journey time to Greenland and back to home is unsuitable for many passengers. They need a reliable airport with few delays, because cruise ships have firm planned schedules with booked ports and land activities. For this reason, in 2018 plans were approved to build a better port near Kangerlussuaq together with a 15 km road to the airport. As of 2018, the small port cannot take cruise ships nor large freight ships, so transfer boats are needed.
Facilities
The terminal is open for 24 hours a day during summer. Hotel Kangerlussuaq, with 70 rooms and a restaurant, is located within the terminal building of the airport, providing accommodation for transferring passengers. Other amenities include a nightclub and a self-service bar open in the daytime. Several tourism outfitters share an office in the terminal, alongside the Tourist Office. There are also more simple accommodations in Kangerlussuaq.
Airlines and destinations
Passenger
Access to several research camps on the Greenland ice sheet, including the Danish field camp North GRIP and the American Summit Camp, is handled through Kangerlussuaq via the 109th Airlift Wing of the New York Air National Guard. There are also a few tourist charter flights between Germany and Kangerlussuaq every summer, in connection with cruise ship arrivals to the Kangerlussuaq seaport. Those flights have typically been operated by Air Greenland or airlines from Germany. Other charter flights are used, for example a number of flights from the US and Canada landed in connection with the 2016 Arctic Winter Games in Nuuk and a flight to Canada in connection with the 2023 Arctic Winter Games.
Cargo
Flights from Copenhagen using large aircraft are the main way of quick transport of mail and goods, including fresh food, to Greenland. Because of the lack of a good port at Kangerlussuaq, most material is transported by air to other destinations. Goods that do not need such quick transport are often freighted by air to Nuuk and then by ship to other places in Greenland. A road to Sisimiut at the coast is planned with this freight in mind. In general, there are worries about cost, and furthermore the uncertainty of the future of Kangerlussuaq airport makes it hard to decide upon a road or a port.
Accidents and incidents
In 1961, a DHC-3 Otter, operated by Greenlandair, crashed at emergency landing in terrain near Kangerlussuaq, because of a fire on board. One crew member was killed. There were 2 crew and 4 passengers on board.In 1968, three US T-33 jet trainers collided and crashed into a nearby mountain. All three pilots parachuted to safety.In 1976, a US Air Force C-141A cargo plane crashed, killing 23 of 27 passengers and crew on board.
See also
List of airports in Greenland
List of the busiest airports in the Nordic countries
References
External links
Media related to Kangerlussuaq Airport at Wikimedia Commons
Official website | place served by transport hub | {
"answer_start": [
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"text": [
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Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | country | {
"answer_start": [
57
],
"text": [
"India"
]
} |
Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | instance of | {
"answer_start": [
41
],
"text": [
"organization"
]
} |
Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | founded by | {
"answer_start": [
647
],
"text": [
"Sheikh Abubakr Ahmad"
]
} |
Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | has subsidiary | {
"answer_start": [
709
],
"text": [
"Kerala Muslim Jamaath"
]
} |
Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | chairperson | {
"answer_start": [
647
],
"text": [
"Sheikh Abubakr Ahmad"
]
} |
Muslim Jamaath is a Kerala based Islamic organization In India, under the supervision of the All India Sunni Jamiyyathul Ulama. This body acts as an apex body of various other organization and institutions which were following the ideologies of samastha Kerala Jamiyyathul UlamaIt includes various state level Organizations such as Bombay Muslim Jamaath In Mumbai India It also includes the Malabar Muslim Jamaat
Party's ideology and mission
"This is not a political party. We will not take any direct political role. Other than politics, we have lots of things to do for society. All should contribute for nation building," Muslim Jamaat leader Sheikh Abubakr Ahmad said when he announced the launch of the Kerala Muslim Jamaath in Malappuram Municipal Town Hall on 10 October 2015.
Grand Mufti of India and a social activist, Sheikh Abubakr Ahmad has been elected as the President of the Kerala Muslim Jamaat. He also often says that education is the most powerful weapon in the fight against terrorism and was the first religious Muslim leader in India to issue a fatwa (religious decree) against the terror group Daesh.The organization rejects the Islamic extremism Jamat was in the broadcast regarding its strong opposes to the Indian Prime Minister Narendra Modi with citizen amendment actIn an act of communal amity, the Cheravally Muslim Jamaath Committee, Kayamkulam, on January 19 hosted a Hindu marriage on the mosque premises.The origin of the term Jamaat is from the Arabic language: جماعتِ (meaning assembly).
Programmes
On January 19, 2022, the Kerala Muslim Jamath organized a conference in the city of Malappuram,Kerala to explain and promote the Sunni Islamic ideology against Salafism. During the conference, the organizers criticized the Salafy ideology and highlighted the problems they believe it poses. The conference drew a large crowd of attendees and received significant media coverage in the region.
The Organization has publicly opposed the state government's revenue recovery procedures. The organization claims that the government's actions, which were ordered by the Kerala High Court, have targeted non-members of the Popular Front of India (PFI) and are a mistake. The Jamath argues that the government's actions are unjust and have caused financial hardships for innocent individuals. The organization has called for the government to review its policy and for the release of those who have been falsely accused.
References
External links
Official website | parent organization | {
"answer_start": [
93
],
"text": [
"All India Sunni Jamiyyathul Ulama"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | US Congress Bio ID | {
"answer_start": [
1615
],
"text": [
"Y000005"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | name in native language | {
"answer_start": [
1594
],
"text": [
"George L. Yaple"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | educated at | {
"answer_start": [
250
],
"text": [
"Albion College"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | member of political party | {
"answer_start": [
1437
],
"text": [
"Republican Party"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | occupation | {
"answer_start": [
1328
],
"text": [
"judge"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | family name | {
"answer_start": [
13
],
"text": [
"Yaple"
]
} |
George Lewis Yaple (February 20, 1851 – December 16, 1939) was a politician and jurist from the U.S. state of Michigan.
Yaple was born in Leonidas, Michigan, and moved with his parents to Mendon, Michigan, in 1857. He attended the common schools and Albion College, and graduated from Northwestern University in 1871. He completed a postgraduate course in 1874, studied law with a local attorney, and was admitted to the bar in 1872. He farmed until 1877, then commenced the practice of law in Mendon.
He was an unsuccessful candidate of the Greenback Party for election in 1880 to the Forty-seventh Congress. In 1882, running as a Fusion candidate, Yaple defeated incumbent Republican Julius C. Burrows to represent Michigan's 4th congressional district in the Forty-eighth Congress, serving from March 4, 1883, until March 3, 1885. Although elected as a Fusion candidate, he sat with the Democrats in Congress.
He was an unsuccessful candidate for reelection in 1884 to the Forty-ninth Congress. In 1886, he ran as a Fusion candidate for election as Governor of Michigan, losing in the general election to Republican Cyrus G. Luce. He was a delegate to the Democratic National Convention in 1888 and twice ran again for Congress, losing to Julius C. Burrows in 1890, and to Henry F. Thomas in 1892.
Yaple was elected circuit judge of the fifteenth circuit of Michigan, serving from 1894 until 1911. In 1916, he became a member of the Republican Party. After retiring, he resided until his death in Mendon. He was buried at Mendon Cemetery in Mendon.
External links
United States Congress. "George L. Yaple (id: Y000005)". Biographical Directory of the United States Congress.
Political Graveyard
George L. Yaple at Find a Grave
"s.v. Hon. George L. Yaple". Portrait and biographical album of St. Joseph county, Michigan. Ann Arbor, Mich.: University of Michigan Library. 2005 [1889]. pp. 518–520. Retrieved 2006-10-04. | given name | {
"answer_start": [
7
],
"text": [
"Lewis"
]
} |
Anne K. McKeig (born February 9, 1967) is an associate justice of the Minnesota Supreme Court. She is its first Native American justice and the first Native American Woman to serve on any State Supreme Court. She was previously a judge of the Minnesota Fourth District Court in Hennepin County from 2008 to 2016.
Early life and education
McKeig was raised in Federal Dam, Minnesota and attended Northland High School in Remer, Minnesota. She is a descendant of the White Earth Band of Ojibwe.McKeig received a Bachelor of Arts from St. Catherine University in 1989 and a J.D. degree from Hamline University School of Law in 1992.
Career
McKeig was an assistant attorney for Hennepin County of the child protection division, specializing in Native American child welfare cases, for more than 15 years.McKeig was a family court judge of the Minnesota Fourth District Court in Hennepin County, appointed by Republican Governor Tim Pawlenty in 2008. She was the presiding judge of the family court since 2013.DFL Governor Mark Dayton announced his appointment of McKeig to the Minnesota Supreme Court on June 28, 2016. She is its first Native American justice as well as the first female Native American to serve on any state supreme court. Her appointment also marked the second time the court had a majority of women since 1991. She joined the court on August 31, 2016. Her formal investiture ceremony was held on September 15, 2016.McKeig is also an adjunct professor at Mitchell Hamline School of Law.
See also
List of Native American jurists
References
External links
Minnesota Judicial Branch directory web page | sex or gender | {
"answer_start": [
1179
],
"text": [
"female"
]
} |
Anne K. McKeig (born February 9, 1967) is an associate justice of the Minnesota Supreme Court. She is its first Native American justice and the first Native American Woman to serve on any State Supreme Court. She was previously a judge of the Minnesota Fourth District Court in Hennepin County from 2008 to 2016.
Early life and education
McKeig was raised in Federal Dam, Minnesota and attended Northland High School in Remer, Minnesota. She is a descendant of the White Earth Band of Ojibwe.McKeig received a Bachelor of Arts from St. Catherine University in 1989 and a J.D. degree from Hamline University School of Law in 1992.
Career
McKeig was an assistant attorney for Hennepin County of the child protection division, specializing in Native American child welfare cases, for more than 15 years.McKeig was a family court judge of the Minnesota Fourth District Court in Hennepin County, appointed by Republican Governor Tim Pawlenty in 2008. She was the presiding judge of the family court since 2013.DFL Governor Mark Dayton announced his appointment of McKeig to the Minnesota Supreme Court on June 28, 2016. She is its first Native American justice as well as the first female Native American to serve on any state supreme court. Her appointment also marked the second time the court had a majority of women since 1991. She joined the court on August 31, 2016. Her formal investiture ceremony was held on September 15, 2016.McKeig is also an adjunct professor at Mitchell Hamline School of Law.
See also
List of Native American jurists
References
External links
Minnesota Judicial Branch directory web page | educated at | {
"answer_start": [
533
],
"text": [
"St. Catherine University"
]
} |
Anne K. McKeig (born February 9, 1967) is an associate justice of the Minnesota Supreme Court. She is its first Native American justice and the first Native American Woman to serve on any State Supreme Court. She was previously a judge of the Minnesota Fourth District Court in Hennepin County from 2008 to 2016.
Early life and education
McKeig was raised in Federal Dam, Minnesota and attended Northland High School in Remer, Minnesota. She is a descendant of the White Earth Band of Ojibwe.McKeig received a Bachelor of Arts from St. Catherine University in 1989 and a J.D. degree from Hamline University School of Law in 1992.
Career
McKeig was an assistant attorney for Hennepin County of the child protection division, specializing in Native American child welfare cases, for more than 15 years.McKeig was a family court judge of the Minnesota Fourth District Court in Hennepin County, appointed by Republican Governor Tim Pawlenty in 2008. She was the presiding judge of the family court since 2013.DFL Governor Mark Dayton announced his appointment of McKeig to the Minnesota Supreme Court on June 28, 2016. She is its first Native American justice as well as the first female Native American to serve on any state supreme court. Her appointment also marked the second time the court had a majority of women since 1991. She joined the court on August 31, 2016. Her formal investiture ceremony was held on September 15, 2016.McKeig is also an adjunct professor at Mitchell Hamline School of Law.
See also
List of Native American jurists
References
External links
Minnesota Judicial Branch directory web page | occupation | {
"answer_start": [
230
],
"text": [
"judge"
]
} |
Anne K. McKeig (born February 9, 1967) is an associate justice of the Minnesota Supreme Court. She is its first Native American justice and the first Native American Woman to serve on any State Supreme Court. She was previously a judge of the Minnesota Fourth District Court in Hennepin County from 2008 to 2016.
Early life and education
McKeig was raised in Federal Dam, Minnesota and attended Northland High School in Remer, Minnesota. She is a descendant of the White Earth Band of Ojibwe.McKeig received a Bachelor of Arts from St. Catherine University in 1989 and a J.D. degree from Hamline University School of Law in 1992.
Career
McKeig was an assistant attorney for Hennepin County of the child protection division, specializing in Native American child welfare cases, for more than 15 years.McKeig was a family court judge of the Minnesota Fourth District Court in Hennepin County, appointed by Republican Governor Tim Pawlenty in 2008. She was the presiding judge of the family court since 2013.DFL Governor Mark Dayton announced his appointment of McKeig to the Minnesota Supreme Court on June 28, 2016. She is its first Native American justice as well as the first female Native American to serve on any state supreme court. Her appointment also marked the second time the court had a majority of women since 1991. She joined the court on August 31, 2016. Her formal investiture ceremony was held on September 15, 2016.McKeig is also an adjunct professor at Mitchell Hamline School of Law.
See also
List of Native American jurists
References
External links
Minnesota Judicial Branch directory web page | given name | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | replaces | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | official name | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | associated electoral district | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | country | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | shares border with | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | located in the administrative territorial entity | {
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Arâches-la-Frasse (French pronunciation: [aʁaʃ la fʁas]) is commune in the Haute-Savoie department in the Auvergne-Rhône-Alpes region in south-eastern France.
Situated in the northern French Alps, the commune sits on a large sunny plateau overlooking the Arve Valley southeast of the town of Cluses.
It is part of the canton of Sallanches. The main villages in the commune are Arâches, Les Carroz, and La Frasse.
Les Carroz
Until the 1930s the village of Les Carroz was a simple farming hamlet with only a few houses. It is now developing into the nearest large ski resort to Geneva. By 1981 Les Carroz had been linked to the nearby ski villages of Samoëns, Morillon and Sixt-Fer-à-Cheval, and the resort of Flaine, developed in the 1960s. The Grand-Massif ski area had been born. The gondola and chairlift in Les Carroz can take skiers straight up to the extensive skiing in the Grand Massif.
Gallery
See also
Communes of the Haute-Savoie department
References
External links
Les Carroz webcam: http://www.grandmassif.co.uk | Commons category | {
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | instance of | {
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | publisher | {
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | Commons category | {
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"University of Pennsylvania Law Review"
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | language of work or name | {
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | main subject | {
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93
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"text": [
"law review"
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | Danish Bibliometric Research Indicator level | {
"answer_start": [
310
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"text": [
"1"
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The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | title | {
"answer_start": [
1609
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"text": [
"University of Pennsylvania Law Review and American Law Register"
]
} |
The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
Official website pennlawreview.com | short name | {
"answer_start": [
1925
],
"text": [
"U. Pa. L. Rev"
]
} |
The University of Pennsylvania Law Review, formerly known as the American Law Register, is a law review published by an organization of second and third year J.D. students at the University of Pennsylvania Law School. It is the oldest law journal in the United States, having been published continuously since 1852. Currently, seven issues are published each year with the last issue traditionally featuring papers from symposia held by the review each year. It is one of the four law reviews responsible for publication of the Bluebook. It is one of seven official scholarly journals at the University of Pennsylvania Law School, and was the third most cited law journal in the world in 2006.In addition to the print edition, the University of Pennsylvania Law Review also publishes the University of Pennsylvania Law Review Online, formerly named PENNumbra, an online supplement, which publishes debates, essays, case notes, and responses to articles that appeared in the print edition.
History
The journal was founded as the American Law Register, and was originally written, edited, and published by practitioners, but soon expanded its pool of editors and contributors to also include judges and law professors. In 1892, under the leadership of William Draper Lewis and George Wharton Pepper, it changed its name to the American Law Register and Review. In 1895, Lewis became the first full-time dean of the University of Pennsylvania Law School and had the Law School take over the journal. The 1896 volume was the first volume to be edited by law students. The journal changed its name in 1908 to the University of Pennsylvania Law Review and American Law Register, and adopted its current name in 1945.
In addition to publishing numerous influential works of scholarship, the law review has famously published a series of humorous "asides." The most well known is The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975).
Membership selection
Positions on the University of Pennsylvania Law Review are filled based in part on students' grades during first year of law school and in part on students' performance during a writing competition conducted at the end of each school year. The writing competition has two major parts: an editing portion and a writing portion. During the 16-hour editing portion, contestants are required to correct a sample portion of a fake law review article prepared by the current board. Contestants have at their disposal a copy of the Bluebook and a packet of source materials provided by the review. During the writing portion, contestants are required to create a cohesive, thesis-driven essay using only the set of sources provided. The sources cover a variety of topics, and the essay does not need to be law-related. Additionally, contestants are asked to submit a short personal statement. Each year the review takes approximately 55 new members from the rising second-year class, including transfer students. The University of Pennsylvania Law Review is managed by a board of 20 members chosen from the rising 3L class in February of each year.
Notable alumni
Prominent alumni of the University of Pennsylvania Law Review include
William Draper Lewis
George Wharton Pepper
Philip Werner Amram
Sadie Alexander
Thomas K. Finletter
Natalie Wexler
Loftus Becker
Owen Roberts
Curtis Reitz
Earl G. Harrison
Peter J. Liacouras
Edward J. Normand
Jerome B. Simandle
Dolores Sloviter
Marci Hamilton
Arthur Raymond Randolph
Mark G. Yudof
Daniel Garodnick
Kit Kinports
Charles A. Heimbold Jr.
Tom Ellis
Patty Shwartz
Rudolph Contreras
Leo E. Strine, Jr.
Selected articles
James T. Ringgold, Sunday Laws in the United States, 40 Am. L. Reg. 723 (1892)
William J. Marbury, The Proposed Woman Suffrage Amendment and the Amending Power, 65 U. Pa. L. Rev. 403 (1917)
Francis H. Bohlen, The Duty of a Landowner Toward Those Entering His Premises of Their Own Right, 69 U. Pa. L. Rev. 237 (1921)
Margaret Center Klinglesmith, Amending the Constitution of the United States, 73 U. Pa. L. Rev. 48 (1925)
Robert von Moschzisker, Equity Jurisdiction in the Federal Courts, 75 U. Pa. L. Rev. 287 (1927)
Ernest G. Black, Torture Under English Law, 75 U. Pa. L. Rev. 344 (1927)
Alpheus Thomas Mason, Politics and the Supreme Court: President Roosevelt's Proposal, 85 Pa. L. Rev. 659 (1937)
Charles Cheney Hyde, International Co-operation for Neutrality, 85 Pa. L. Rev. 344 (1937)
Anthony G. Amsterdam, Note, The Void-For-Vagueness Doctrine in the Supreme Court, 109 U. Pa. L. Rev. 67 (1960)
Arthur Allen Leff, Unconscionability and the Code-The Emperor's New Clause, 115 U. Pa. L. Rev. 485 (1967)
Herbert M. Silverberg, Law School Legal Aid Clinics: A Sample Plan; Their Legal Status, 117 U. Pa. L. Rev. 970 (1969)
Harold Leventhal, Environmental Decisionmaking and the Role of the Courts, 122 U. Pa. L. Rev. 509 (1974)
Marvin E. Frankel, The Search for Truth: An Umpireal View, 123 U. Pa. L. Rev. 1031 (1975)
Henry Friendly, "Some Kind of Hearing", 123 U. Pa. L. Rev. 1267 (1975)
Aside, The Common Law Origins of the Infield Fly Rule, 123 U. Pa. L. Rev. 1474 (1975) (Will Stevens authored the piece anonymously)
Michael J. Perry, The Disproportionate Impact Theory of Racial Discrimination, 125 U. Pa. L. Rev. 540 (1970)
David D. Cole, Playing by Pornography's Rules: The Regulation of Sexual Expression, 143 U. Pa. L. Rev. 111 (1994)
David Nimmer, A Riff on Fair Use in the Digital Millennium Copyright Act, 148 U. Pa. L. Rev. 673 (2000)
Elizabeth S. Anderson & Richard Pildes, Expressive Theories of Law: A General Restatement, 148 U. Pa. L. Rev. 1503 (2000)
Cass Sunstein, Beyond the Precautionary Principle 151 U. Pa. L. Rev. 1003 (2003)
References
Further reading
Greenlee, Edwin J. (2002). "The University of Pennsylvania Law Review: 150 Years of History". U. Pa. L. Rev. 150 (6): 1875–1904. doi:10.2307/3312982. JSTOR 3312982. S2CID 150923058.
External links
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Brandon Lee Kaui Cablay (born March 1, 1978) is a Filipino-American former professional basketball player.
He started his career in the PBA in 2003 as a member of the Aces. He would win his first PBA championship in the 2003 PBA Invitational Conference, wherein Cablay was named Finals MVP. He was acquired by the San Miguel Beermen from the Aces in exchange for Nic Belasco.
References
External links
Player Profile at PBA-Online! | occupation | {
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Brandon Lee Kaui Cablay (born March 1, 1978) is a Filipino-American former professional basketball player.
He started his career in the PBA in 2003 as a member of the Aces. He would win his first PBA championship in the 2003 PBA Invitational Conference, wherein Cablay was named Finals MVP. He was acquired by the San Miguel Beermen from the Aces in exchange for Nic Belasco.
References
External links
Player Profile at PBA-Online! | sport | {
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Brandon Lee Kaui Cablay (born March 1, 1978) is a Filipino-American former professional basketball player.
He started his career in the PBA in 2003 as a member of the Aces. He would win his first PBA championship in the 2003 PBA Invitational Conference, wherein Cablay was named Finals MVP. He was acquired by the San Miguel Beermen from the Aces in exchange for Nic Belasco.
References
External links
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Saki-ye Olya (Persian: ساكي عليا, also Romanized as Sākī-ye ‘Olyā and Sakī ‘Olya; also known as Sākī, Sākī Bālā, Sākī-ye Bālā, Shāqi Auliya, and Shāqī-ye ‘Olyā) is a village in Shamsabad Rural District, in the Central District of Arak County, Markazi Province, Iran. At the 2006 census, its population was 128, in 29 families.
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Saki-ye Olya (Persian: ساكي عليا, also Romanized as Sākī-ye ‘Olyā and Sakī ‘Olya; also known as Sākī, Sākī Bālā, Sākī-ye Bālā, Shāqi Auliya, and Shāqī-ye ‘Olyā) is a village in Shamsabad Rural District, in the Central District of Arak County, Markazi Province, Iran. At the 2006 census, its population was 128, in 29 families.
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Saki-ye Olya (Persian: ساكي عليا, also Romanized as Sākī-ye ‘Olyā and Sakī ‘Olya; also known as Sākī, Sākī Bālā, Sākī-ye Bālā, Shāqi Auliya, and Shāqī-ye ‘Olyā) is a village in Shamsabad Rural District, in the Central District of Arak County, Markazi Province, Iran. At the 2006 census, its population was 128, in 29 families.
== References == | located in the administrative territorial entity | {
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Robin Fluß (born 7 May 1996) is a German footballer who plays as a midfielder for NOFV-Oberliga Süd club SC Freital.
References
External links
Robin Fluß at FuPa | place of birth | {
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Robin Fluß (born 7 May 1996) is a German footballer who plays as a midfielder for NOFV-Oberliga Süd club SC Freital.
References
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Robin Fluß at FuPa | Commons category | {
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Robin Fluß (born 7 May 1996) is a German footballer who plays as a midfielder for NOFV-Oberliga Süd club SC Freital.
References
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Robin Fluß (born 7 May 1996) is a German footballer who plays as a midfielder for NOFV-Oberliga Süd club SC Freital.
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Robin Fluß (born 7 May 1996) is a German footballer who plays as a midfielder for NOFV-Oberliga Süd club SC Freital.
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The Prince of Mist (Spanish: El Príncipe de la Niebla) is a 1993 mystery and horror young adult novel by Carlos Ruiz Zafón. It was initially published in Spanish by Editorial Planeta and later in an English translation by Lucia Graves by Little, Brown Books for Young Readers in 2010. The Prince of Mist was Zafón's first novel.
Plot summary
Max Carver, son of a watchmaker, has moved with his family from the city to get away from the war. Max's new house was formerly owned by Richard Fleischman, his wife and son. Max experiences mysterious events which have to do with Jacob Fleischman, the son of Richard Fleishman, who had drowned. Over time, Max discovers a sculpture garden near his house, where strange things happen. Max finally makes a friend, Roland. Roland is older than Max, around the age of his sister, Alicia, who is 15. After diving near the wreck, the Orpheus, Max has more and more questions, which will be answered by Victor Kray, grandfather of Roland.
Detailed summary
Chapter 1The story opens in 1943 in an unnamed city. It is mid-June, the day of the protagonist, Max Carver's, thirteenth birthday.
Maximilian Carver, Max's father, and an eccentric watchmaker, tells Max and his family that they are leaving their lives in the city, which is suffering a war, to live in a town on the coast.
We meet the family: Andrea Carver, Max's mother, and Max's sisters: Alicia, the elder, and Irina the younger. They reluctantly accept their fate, although Max is especially unhappy about having to leave his friends in the city.
Before retiring to bed, Mr. Carver gives Max his birthday present: a watch made by his father, with an engraving on the back that says, Max's time machine.
They arrive at the train station, and Max sees that the station clock is slow. His father jokes that he has work already.
Mr. Carver finds, and then employs two men, Robin and Philip, to help the family carry and transport their luggage.
Max feels someone watching him, and turns to see a large cat with luminous yellow eyes watching him. The cat befriends Irina, who takes an immediate liking to the creature; she begs her parents to let her bring it with them, and they eventually concede.
Before they leave the station, Max notices that the clock is even further behind than he had thought, but as he watches it for a moment, he realizes it is actually turning backwards.
Chapter 2As they drive through the town, the family begins to warm up to the sights, noticeably calmed by tranquil coastal setting. Maximilian Carver is delighted by his family's reactions, and visibly enthused about their new lives on the coast.
Max gazes at the ocean, which is covered by a light mist, and thinks he sees the silhouette of a ship sailing on the horizon. But it quickly disappears.
On the way to their new home, Mr. Carver tells them the history of the house. It was built in 1923 by Dr. Richard Fleischmann, and he lived there with his wife, Eva. They had a son, Jacob, on June 23, 1925. The family lived happily until the tragedy of 1932, when Jacob drowned playing on the beach near his home.
After that, Dr. Fleischmann's health deteriorated, and after he had died, his widow, Eva, left the house to her lawyers to sell, and fled elsewhere.
When they arrive, the porters leave quickly, and before they have even taken their first steps into the house, the cat leaps from Irina's arms, letting out a satisfied meow as it is the first to touch down in the foyer.
The home is musty and dusty, so the family sets out cleaning it up. The girls are horrified to find huge spiders in their rooms, so Max is charged with disposing of them. Before he can terminate a terrible-looking one, the cat aggressively devours it.
Max looks out the window, and beyond the yard, and can vaguely make out a small clearing enclosed by a wall of stone. Inside, there appears to be an overgrown garden, with a circle of stone figures – statues. The wall enclosure is secured with spearhead points along its edge, each embossed with a symbol of a six-pointed star enclosed in a circle.
Chapter 3Max awakes with a start from a bad dream the next morning. Outside, dawn is breaking, and the air is clouded with a hazy mist. No one else is awake, and he decides to go outside and explore the mysterious garden he had observed through the window the night before.
He must break a lock to access the garden, and he is overcome with a foreboding feeling as he enters. Inside, he discovers the statues depict ominous-looking circus characters, including a lion tamer, a contortionist, a fakir, a strong man, and some other ghostly characters, all are arranged in a star pattern around one central figure on a pedestal: a terrible clown, with arms outstretched and hands in a fist. At the clown's feet, Max sees another small paving stone with the same six-pointed star inside of a circle inscribed on its surface. Max looks up again, and sees the hand of the clown is now open to the sky. Afraid, he flees back to the house, not looking back.
Finding his family now awake and preparing breakfast, Max decides not to tell them what he has seen because he knows they will be skeptical, and he doesn’t want to crush his father's excitement about their new home.
Maximilian Carver eagerly tells the family about his own discovery in the shed outside: an old projector and a box of old films, as well as two bicycles.
Chapter 4Max helps his father restore the old bicycles and they discover they have barely been used. He asks his father casually about the garden out back, but his father doesn’t give much of a response.
Max takes his bike for a ride, and begins to explore the town. Soon, he meets a boy a few years older than he is, named Roland, who is also out riding his bike. Roland offers to show him around, and Max takes him up on the offer.
The two pedal around town for hours, and Max is barely able to keep up with the older boy, but enjoys the tour nonetheless.
They rest, and Roland tells him about a ship that sunk off the coast in 1918; the wreckage remains underwater. The sole survivor of the shipwreck was an engineer who, as a way of thanking providence for saving his life, settled in the town and built a lighthouse on the cliffs overlooking where the ship had sunk.
That man is Roland's adoptive grandfather, Victor Kray; Roland's own parents were killed in a car accident when he was a baby, and they had entrusted Roland to Victor's care in their will.
Before the boys part ways, Roland invites Max to go diving with him and explore the shipwreck the next day. Max accepts the offer, and Roland promises to pick him up the next morning.
At home, Max finds a note from his mother and a plate of sandwiches awaiting him. His parents have gone into town with Irina, and Alicia is nowhere in sight.
Outside, rain begins to fall, and Max retires to his room for a nap.
Chapter 5Max awakes to the sound of his family downstairs, and he goes down to join them for dinner. He tells them about the friend he’d made that day, and even invites his older sister, Alicia, to join him and Roland in their dive the next day. To his surprise, Alicia accepts the invitation.
After dinner, Maximilian sets up the old projector he had salvaged that morning, and the family settles in to watch one of the unmarked films from the box.
As the movie begins, they see it is a homemade movie, and the scene begins in a forest. The scene takes them through the trees, and a silhouette begins to appear, as the camera approaches an enclosed garden – the very garden Max had visited that morning. The camera operator enters the garden, revealing the mysterious statues, which look new, unlike the weathered state Max had observed them in. When the scene moves to the clown, Max feels something is different from the way he had observed it that morning, but he can’t decide what it is, and the film ends suddenly.
Disappointed with their cinematic experience, the family retires to bed. Max decides to stay up and watch another film. Alicia waits for the rest of the family to leave, and she looks distraught. She tells Max she has seen the clown from the movie before – which she dreamed of that exact clown the night before they had moved to their new home.
Max assures her she is probably just imagining the similarity and encourages her to forget about it. Alicia agrees he is probably right, and she goes to bed.
Feeling unsettled by what Alicia told him, Max suddenly feels a presence behind him. He turns suddenly, and sees Irina's cat looking at him with its yellow eyes. He shoos it away, but before leaving, it seems to smile at him.
Max decides to put the projector and films back into the box and then go to bed.
Chapter 6Alicia wakes before sunrise with two golden feline eyes staring at her. She ignores the animal and thinks about her friends in the city, as she gets dressed. Max knocks on the door to tell her Roland has arrived.
She joins the boys outside and there is an instant connection between Roland and Alicia, who are the same age. Knowing there is an extra bike in the garage, Max enjoys the flirtatious scene, and tells Alicia she will have to balance on Roland's handlebars down to the beach.
At the beach, Roland shows them his shack, where he sleeps during the summers. The inside is filled with trinkets and treasures that Roland has recovered from his dives down to the shipwreck just off shore.
The boys prepare for their dive and Alicia waits on shore. Max is mesmerized by the experience of the cool water, and the serene silence beneath the surface of the ocean, but he leaves the deep diving to his friend.
Roland discovers some new treasures, while Max observes from a distance, noticing the ship's name inscribed on the bow, the Orpheus. Through the water, he dimly sees an old, tattered flag ebbing with the current. As it unfurls, horror seizes Max as he recognizes the symbol he had seen in the garden of a six-pointed star enclosed in a circle. He immediately swims back to the beach.
When Roland joins the Carver children on the beach, Alicia begins collecting seashells, and once she is out of earshot, Max tells Roland about the symbol and the circus figures.
Alicia returns to the boys and begins to ask Roland about his grandfather and the ship. Roland invites them into the cabin and promises to tell them the full story there.
Meanwhile, back at the Carver home, we learn that Irina has been hearing voices in the house, and now hears them in her room, much like a whisper in the walls. It seems to be coming from her wardrobe, and as she approaches it, she sees there is a key in the lock. She hurriedly turns it to the locked position, and steps back. The sound continues, and hearing her mother calling her, Irina turns to run from the room. An icy breeze sweeps past her and slams the door shut, and she struggles with the handle, looking over her shoulder. She sees the key slowly turning; the voices become louder, and she hears laughter...
Back in Roland's shack, Roland tells Alicia and Max more about the Orpheus, retelling all that his grandfather, Victor Kray, has told him about the accident, and the events leading up to it.
The Orpheus began as a cargo ship with a bad reputation, operated by a corrupt Dutchman who rented the ship out to anyone who would pay, including smugglers and criminals. The Dutchman was also a gambler, and he had accumulated a lot of debt, which made him desperate to gamble more. He lost a big card game to a man named Mr. Cain, who owned a travelling circus, known for employing shady criminals. Knowing the police were closing in on he and his group's criminal activities, Mr. Cain charged The Dutchman with transporting his evil posse across the Channel on his ship, and the man agreed.
Roland's grandfather had the misfortune of knowing Mr. Cain for some time, and had unfinished business of some sort with him. He did not want Mr. Cain to leave the town without settling things with Victor first, so hearing of his plot to escape the town, he boarded the Orpheus as a stowaway, not even sure what he would do when he confronted Mr. Cain.
He wouldn’t have to, as it turned out, as the ship crashed, and Mr. Cain and all of the other passengers on the ship were killed, save Victor, who was spared thanks to the hiding place he had chosen – a lifeboat.
But they never found any bodies.
Max and Alicia point out that something seemed to be missing from Victor Kray's story, and Roland agrees...
Back at the Carver house, Irina feels her hands go numb, and she continues to fumble with the door, and she watches in horror as the key turns in the lock, finally stops moving, and is then pushed out of the keyhole, falling to the floor. The wardrobe begins to creak open, and Irina tries to scream as a shape emerges from the wardrobe – the cat. She kneels to pick it up, but then notices something behind the cat, deeper in the wardrobe. The cat opens its jaws and hisses at her, then retreats back into the wardrobe, and a giant smile filled with light appears in the darkness with two glowing golden eyes, and all of the voices she has been hearing say “Irina” in unison. Irina screams and throws herself against the bedroom door, which gives away, and she stumbles into the hallway, and hurls herself down the stairs.
Downstairs, Andrea Carver has heard her daughter's scream, and runs to the base of the stairs just in time to see her child tumbling down to the bottom, a tear of blood escaping from her forehead. Mrs. Carver feels her pulse, and finding it is weak, calls the doctor. Holding her unconscious child, she looks up the stairs to see the cat watching her coldly.
Chapter 7When they return to the house, Max and Alicia see an unfamiliar car in the driveway, which Roland recognizes as the car of the town Doctor, Dr. Roberts.
Their father tells them about Irina's accident, and explains that he and Mrs. Carver will go with Irina to the hospital. Max and Alicia assure him that they will be fine.
The three friends eat a simple dinner on the porch, and then Alicia and Roland decide to go swimming. Max sits on the porch, and thinks about the bond between his sister and new friend. He recalls Roland telling him that he may be sent to the war at the end of the summer, and he fears the effect that will have on his sister.
After the swim, Alicia and Roland and Max build a bonfire on the beach, and discuss the strange occurrences and discoveries of the past few days, and Max reveals a final mystery: the Fleischmann film of the statues revealed the figures situated in different positions than Max had seen in the present day. Roland reveals a secret too: he has dreamed about the clown figure every summer since he was five.
They all agree they will speak with Victor Kray the next day to learn more about the shipwreck.
Chapter 8The teens stay up until daybreak, and then Roland rides his bike home, while Max and Alicia retire to bed.
The scene moves to Victor Kray returning from the lighthouse. He enters his home quietly, and finds his grandson waiting for him in an armchair. They make breakfast together, and Roland begins to tell him about his new friends that live in the Fleischmanns’ old house, and the strange happenings. His grandfather listens and tells him to find his friends and bring them to the lighthouse.
Chapter 9Back at the Carver's house, Maximilian has phoned his children to tell them Irina is in a coma, but is expected to wake up. Roland appears on the scene and asks Max and Alicia to come to his grandfather's home.
Victor Kray recounts for them a story very similar to the one Roland told about the shipwreck, but he also reveals some new facts.
He explains the “unfinished business” between him and the wickedness Mr. Cain. They had met when they were boys, when the villain went simply by the name Cain. He was a notorious cheat at dice and cards in the town where Victor grew up, and the neighbourhood boys referred to him as the Prince of Mist because, rumour had it, he appeared out of a haze in dark alleyways at night and disappeared again before dawn.
He had a reputation for making young boys’ wishes come true in exchange for their undying “loyalty.”
Victor never succumbed to the temptation of expressing his wishes to Cain, but Victor's best friend, Angus, did. Angus’ father had lost his job, and he asked Cain to restore the family's only source of income. Inexplicably, his father was rehired the next day.
Two weeks later, Victor and Angus were walking on the train tracks at night when they ran into Cain. Cain told them Angus would have to burn down the local grocery store.
Victor and Angus ran home, but Victor knew Angus would not fulfill the request. But the next morning when Victor went to Angus’ house, he was not there, and no one could find him. Victor searched the city, and then returned to the train tracks where they’d run into Cain. There, he found the frozen corpse of his friend's body – transforming into smoky blue ice, and melting into the tracks. Around his neck was a chain with a symbol of a six-pointed star in a circle.
That same night, the grocery store Cain had demanded that Angus burn down was destroyed by a fire. Victor never told anyone what he knew, and his family moved south a few weeks later.
Chapter 10Victor continues to tell of his knowledge of Cain, recounting another encounter that took place a few months later, when his father took Victor to an amusement park. Waiting for the Ferris Wheel, Victor became aware of a tent being touted as the den of “Dr. Cain – fortune-teller, magician and clairvoyant.”
Reluctantly, Victor gave into his curiosity and entered the tent, where Dr. Cain immediately recognized him and called him by name. He asked him his wish, but Victor wouldn’t tell him. He spoke boldly to Cain, and accused him of killing his friend. Cain denied the incident, describing it as an “unfortunate accident.”
When Victor left the tent, he resolved never to see the man again. For many years, he didn’t. He went to college, and befriended a man named Richard Fleischmann and a woman named Eva Gray. Both Victor and Richard were in love with Eva, but the three remained friends.
One night, Richard and Victor went out drinking and ended up at a fair. They stumbled upon a fortune-teller's tent, and Richard wanted to go in and ask whether Eva would eventually choose one of the men for her husband. Despite his drunken stupor, Victor refused to go inside, knowing it would be the evil Dr. Cain, but his friend rushed in. Victor fell asleep outside on a bench. When he woke up, it was daylight, the fair was being cleaned up, and Richard was asleep on the bench next to him. The two had a terrible hangover, and barely remembered the night before. Richard told Victor that he dreamt he went into a magician's tent and was asked what his greatest wish was. He said he wanted to marry Eva Gray.
Two months later, Eva Gray and Richard Fleischmann were married. They didn’t invite Victor to the wedding, and Victor didn’t see them for twenty years.
Decades later, Victor noticed someone suspicious following him home. It turned out to be Richard, his old friend. Richard looked terrible, and began to cry as he recounted his memories from the night at the fair, finally revealing what he had promised the magician in exchange for his wish for Eva's love: his first-born son.
Richard described to Victor how he’d been trying desperately to keep Eva from becoming pregnant, but that she wanted a child so badly that their lack of one was driving her into depression. Victor agrees to help Richard by tracking down Cain.
He finds Cain with a circus troupe, now in a clown façade, just as they are preparing to escape on the Dutchman's ship. Victor climbed aboard and hid himself in a lifeboat. Fierce winds picked up, and the storm soon took over.
As Roland had told his friends the day before, Victor was the only known survivor of the shipwreck, and the other bodies were never found.
Hearing that Victor had constructed and moved into a lighthouse on the cliffs, Richard visited him one day, and Victor told him what had happened. Overcome with relief, Richard stopped preventing Eva from having a child, and began building a home for them on the beach. A few years later, their baby boy, Jacob, was born.
The couple enjoyed the best years of their lives with their child, until he drowned. When Victor heard, he knew the Prince of Mist had never really left their lives, and he has feared his return ever since.
Chapter 11When Victor finishes his story, a storm is closing in. Max still thinks some facts are missing from Victor's story, but can’t determine where the holes are. Alicia and Roland seem sceptical of the whole story Victor has told, questioning whether the old man has begun to lose his mind.
That night, Max and Alicia have a quiet supper together, their parents still at the hospital. Alicia goes to bed, and Max decides to watch another of the Fleischmann films.
The film shows the face of a clock turning backwards, hanging from a chain. The camera zooms out, and we see the pocket watch is being held by a statue in the walled garden. The scene scans the faces of the statues, landing finally on the Prince of Mist – the clown. The camera pans down and reveals the motionless statue of a cat at its feet, its claw poised in the air. Max remembers that cat wasn’t there when he’d visited the garden, and notices the likeness between the statue and Irina's cat. The camera goes back to the clown's stone face, and it slowly smiles, revealing wolf-like fangs.
Chapter 12The next morning, Max wakes at noon and Alicia has left a note, saying that she is at the beach with Roland. He rides his bike to town and eats at a bakery, and then rides to where Roland's Shack sits on the beach. He sees Roland and Alicia kissing, and feels silly approaching them, so he rides his bike back into town. He goes the library, finds a map of the town, and locates the graveyard. He rides his bike there to visit the tomb of Jacob Fleischmann. The cemetery is big and quiet. He finds a dark mausoleum devoted to Jacob Fleischmann, and enters the tomb. Under Jacob's name, he finds the six-pointed star symbol engraved.
He feels eerie in the tomb, and suddenly senses he is not alone in the darkness; he sees a stone angel walking on the ceiling above him, and it points at him slowly and then gives an evil smile, transforming into the face of the evil clown, Dr. Cain. Max saw burning hatred in its eyes, and filled with fear, ran from the tomb.
Afterwards, he realized he had dropped the watch his father had given him, but he was too afraid to go back and retrieve it.
He rides to Victor's lighthouse, and tells him what happened. Then he accuses the man of keeping some of the truth from Max and his friends, but Victor Kray denies it, and tells Max to forget the whole thing. Victor looks pained to shut him out, but asks Max to leave.
Chapter 13The next morning, Max gets up before dawn and rides to the town bakery to get breakfast for himself and Alicia.
Later, they meet Roland at the beach, and he shows them a small rowboat he has restored. They go out in the boat, and Roland and Alicia prepare to dive down. Alicia enjoys being beneath the water with Roland, but then Roland spots a giant black shadow approaching them, and begins rushing Alicia back to the boat. A gigantic eel-like figure rapidly follows them, but Roland gets Alicia to the boat before the figure snatches him with jagged teeth and drags him into the sea.
Seeing his sister is safe, Max impulsively dives in after his friend, and is able to rescue him from the frightening creature, even as it transforms into the face of an evil clown. Roland wakes up in the boat, choking, and knows Max has saved his life.
Back on shore, the three friends are exhausted and they fall asleep in Roland's shack.
Chapter 14The scene opens with Victor Kray sneaking through the Carvers’ yard, toward the garden enclosure. He has his old revolver with him, and when he enters the garden, the statues are gone. He hears the rumble of a storm, a flash of lightning splits the sky, and Victor suddenly understands what will happen.
Max wakes up in Roland's shack, and realizes he needs to be proactive about predicting Cain's next move. He rides his bike back home and begins watching another film. This movie begins in the living room where Max sits, but with different furniture, and everything looking new. The camera moves up the stairs, and into the room that Irina had occupied before her accident. The door opens, the camera enters the room, focusing on the wardrobe. Dr. Cain emerges from the wardrobe with an evil smile, and reveals a pocket watch, with its hands spinning backwards. Max recognizes it as the watch his father gave him for his birthday, and the one he had dropped in Jacob's tomb earlier that day. The hands move faster and faster until they start to smoke and spark, and soon the whole face of the clock is ablaze.
The camera moves away from the clock and films a mirror, revealing the camera operator as a small boy. Max looks at the boy's childish grin, and realizes he looks familiar: it's Roland as a child.
A flash of lightning catches Max's eye outside and when he looks out the window, he sees a dark figure there: Victor Kray.
Chapter 15Max lets Victor in and makes a cup of tea to warm him. Victor is shaking as he tells Max the statues are gone, and asks where Roland is. Max tells Victor his suspicion that Roland is Jacob Fleischmann, and Victor tells him he doesn’t understand what's happening, but Max insists Victor tell him the truth.
The old man explains that when Richard had thought Cain had drowned and built the house on the beach, things had been fine for a long time, until Jacob went missing one day when he was five. When night fell, Richard searched the forest, remembering an old stone enclosure that had been there when he was building the house. He searched the enclosure, and found Jacob. He was playing amongst the ominous statues that Richard was certain weren’t there when he built the home. Richard never told his wife about this or his encounter with the magician so many years before.
One night, Victor was manning the lighthouse, as usual, when he had a sudden premonition that Jacob was in danger. He ran to the Fleischmann house, and to the beach. He saw Jacob wading into the water, as if entranced by a mysterious water monster that was dimly visible in the mist off shore. He looked to the house, and saw some of the circus statues were holding Mr. and Mrs. Fleischmann, who were desperately fighting to save their son.
The creature began dragging the boy into the sea, but Victor chased it, and rescued Jacob from its clenches, taking him back to the surface. He tried to revive him, but he was gone. The statues disappeared the moment the Victor realized the boy was dead. Fleischmann was beside himself with grief, and ran into the ocean shouting to Cain, offering his own life in exchange for the life of his son.
Then, inexplicably, Jacob sputtered back to life. He was in shock and did not remember his own name. Eva took him inside, and Victor followed, while Richard remained outside. Eva asked Victor to take the boy, hoping that his life would be out of danger if he had a different identity.
They let the townspeople think that Jacob had drowned, and the body was never found. A year later, Richard died from a deadly infection he caught from being bitten by a wild dog.
Victor explains that the tomb at the local cemetery was built by Cain, who is reserving it for the day he recovers Jacob's body...
Meanwhile, Alicia and Roland wake at the beach shack to find a thick mist creeping under the door and filling the shack. It becomes a tentacle and begins pulling on Roland.
An evil clown appears in the mist, and says “Hello, Jacob.” The mist grabs Alicia and begins to pull her toward the sea. Both she and Roland try to fight the mist, but to no avail. Roland stands helplessly on the beach, watching as the Orpheus begins to rise from the water, and float upright. Roland hears maniacal laughter, and sees Dr. Cain standing on the ship, grinning as the tentacle of mist drops Alicia at his feet.
Chapter 16Max joins Roland on the beach and begins screaming at Cain; Roland dives into the waves and swims towards the Orpheus. Cain drags Alicia to a cabin and locks her in, where she finds the corpse of the former captain of the ship, The Dutchman.
Max makes climbs on some nearby rocks to get closer to the ship, and is able to jump on board, while Roland struggled to grab hold of the helm and steer the vessel away from the rocks.
Meanwhile, Victor arrives at Roland's hut, and something strikes him in the back of the head, knocking him unconscious.
Max encounters Cain, who brags to him of his exploits, and Max attempts to indulge him, hoping to give Roland time to find Alicia. But they hear Roland calling Alicia's name, and Cain realizes what Max was trying to do. Cain flings Max into the sea, and he is able to scramble onto some rocks.
Chapter 17Cain and Alicia have another encounter, and he tries to convince her to promise him her first-born child in exchange for Roland's life. She tells him to go to Hell, and he say, “my dear girl, that’s exactly where I’ve come from,” (200.)
The ship is sinking, and Roland is still searching for Alicia when he encounters Cain, who keeps calling him Jacob. Roland still has not made the connection, since he cannot remember his life before his parents died, but he plays along, asking Cain what he has to do to save Alicia's life. Cain says, “I hope you’ll carry out the part of the agreement your father was unable to fulfill… Nothing more. And nothing less” (203.)
Tears in his eyes, Roland agrees. Cain tells Roland where Alicia is, and explains that it's already underwater and she won’t be able to breathe by the time he reaches her. He finds the room, takes a deep breath, and searches her out in the darkness. He waits for the ship to touch the bottom of the sea so that the pressure will not pull them back down; when the impact came, the ceiling above began collapsing on top of them, and Roland's leg was pinned beneath the woody debris. Alicia was struggling to hold her breath, so Roland pulled her to him, and though she tried to resist, he breathed the last of his air into her mouth and then pushed her away towards the surface.
Max helps Alicia out of the water; Victor wakes up on the beach and helps the two of them ashore, asking, “Where’s my Roland?” (207.)
Roland never returned.
Chapter 18The day after the storm, Maximilian and Alicia Carver returned to the beach house with young Irina, who had fully recovered. It was clear to the parents that Max and Alicia had been through a great ordeal, but they didn’t ask, and the teens didn’t tell.
Max accompanies Victor Kray to the train station, and Victor tells him he won’t be returning to the town. Before he leaves, he gives Max a small box. Max waits until Victor is gone before he opens it, and inside, he finds the keys to the lighthouse.
EpilogueIn the last weeks of summer, the war is nearing its end. Maximilian's watchmaking business is booming, and Max cycles to the lighthouse every day to ensure the lantern is lit to help guide ships safely to shore. He often sees Alicia alone near Roland's shack on the beach, gazing into the sea.
Max remembers Roland's words about worrying that this would be his last summer in the town, and comforts himself with the thought that the memories Roland, Max and Alicia shared, will bind them forever.
Awards and nominations
The novel has won several awards, including the Edebé Literary Prize for Young Adult Fiction and the C.C.I.I. Award in 1994. The Prince of Mist was also one of the American Library Association's picks for "Best Fiction for Young Adults" for 2011.
Reception
Critical reception for The Prince of Mist was positive, with the Irish Independent praising the novel as "a chilling adventure". Monsters and Critics also praised the book, writing that it was "a gripping tale with a heart-wrenching conclusion". The Manila Bulletin lauded the book as "a worthy forerunner to Zafon’s bestsellers".The Independent stated that although the book was rushed and overly explained in places, "the main story remains gripping enough".
Cultural influence
Mexican heavy metal band Velvet Darkness published a song titled "The Prince of Mist" on their debut EP Delusion based on Ruiz Zafon's novel.
References
External links
The Prince of Mist title listing at the Internet Speculative Fiction Database | author | {
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"Carlos Ruiz Zafón"
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The Prince of Mist (Spanish: El Príncipe de la Niebla) is a 1993 mystery and horror young adult novel by Carlos Ruiz Zafón. It was initially published in Spanish by Editorial Planeta and later in an English translation by Lucia Graves by Little, Brown Books for Young Readers in 2010. The Prince of Mist was Zafón's first novel.
Plot summary
Max Carver, son of a watchmaker, has moved with his family from the city to get away from the war. Max's new house was formerly owned by Richard Fleischman, his wife and son. Max experiences mysterious events which have to do with Jacob Fleischman, the son of Richard Fleishman, who had drowned. Over time, Max discovers a sculpture garden near his house, where strange things happen. Max finally makes a friend, Roland. Roland is older than Max, around the age of his sister, Alicia, who is 15. After diving near the wreck, the Orpheus, Max has more and more questions, which will be answered by Victor Kray, grandfather of Roland.
Detailed summary
Chapter 1The story opens in 1943 in an unnamed city. It is mid-June, the day of the protagonist, Max Carver's, thirteenth birthday.
Maximilian Carver, Max's father, and an eccentric watchmaker, tells Max and his family that they are leaving their lives in the city, which is suffering a war, to live in a town on the coast.
We meet the family: Andrea Carver, Max's mother, and Max's sisters: Alicia, the elder, and Irina the younger. They reluctantly accept their fate, although Max is especially unhappy about having to leave his friends in the city.
Before retiring to bed, Mr. Carver gives Max his birthday present: a watch made by his father, with an engraving on the back that says, Max's time machine.
They arrive at the train station, and Max sees that the station clock is slow. His father jokes that he has work already.
Mr. Carver finds, and then employs two men, Robin and Philip, to help the family carry and transport their luggage.
Max feels someone watching him, and turns to see a large cat with luminous yellow eyes watching him. The cat befriends Irina, who takes an immediate liking to the creature; she begs her parents to let her bring it with them, and they eventually concede.
Before they leave the station, Max notices that the clock is even further behind than he had thought, but as he watches it for a moment, he realizes it is actually turning backwards.
Chapter 2As they drive through the town, the family begins to warm up to the sights, noticeably calmed by tranquil coastal setting. Maximilian Carver is delighted by his family's reactions, and visibly enthused about their new lives on the coast.
Max gazes at the ocean, which is covered by a light mist, and thinks he sees the silhouette of a ship sailing on the horizon. But it quickly disappears.
On the way to their new home, Mr. Carver tells them the history of the house. It was built in 1923 by Dr. Richard Fleischmann, and he lived there with his wife, Eva. They had a son, Jacob, on June 23, 1925. The family lived happily until the tragedy of 1932, when Jacob drowned playing on the beach near his home.
After that, Dr. Fleischmann's health deteriorated, and after he had died, his widow, Eva, left the house to her lawyers to sell, and fled elsewhere.
When they arrive, the porters leave quickly, and before they have even taken their first steps into the house, the cat leaps from Irina's arms, letting out a satisfied meow as it is the first to touch down in the foyer.
The home is musty and dusty, so the family sets out cleaning it up. The girls are horrified to find huge spiders in their rooms, so Max is charged with disposing of them. Before he can terminate a terrible-looking one, the cat aggressively devours it.
Max looks out the window, and beyond the yard, and can vaguely make out a small clearing enclosed by a wall of stone. Inside, there appears to be an overgrown garden, with a circle of stone figures – statues. The wall enclosure is secured with spearhead points along its edge, each embossed with a symbol of a six-pointed star enclosed in a circle.
Chapter 3Max awakes with a start from a bad dream the next morning. Outside, dawn is breaking, and the air is clouded with a hazy mist. No one else is awake, and he decides to go outside and explore the mysterious garden he had observed through the window the night before.
He must break a lock to access the garden, and he is overcome with a foreboding feeling as he enters. Inside, he discovers the statues depict ominous-looking circus characters, including a lion tamer, a contortionist, a fakir, a strong man, and some other ghostly characters, all are arranged in a star pattern around one central figure on a pedestal: a terrible clown, with arms outstretched and hands in a fist. At the clown's feet, Max sees another small paving stone with the same six-pointed star inside of a circle inscribed on its surface. Max looks up again, and sees the hand of the clown is now open to the sky. Afraid, he flees back to the house, not looking back.
Finding his family now awake and preparing breakfast, Max decides not to tell them what he has seen because he knows they will be skeptical, and he doesn’t want to crush his father's excitement about their new home.
Maximilian Carver eagerly tells the family about his own discovery in the shed outside: an old projector and a box of old films, as well as two bicycles.
Chapter 4Max helps his father restore the old bicycles and they discover they have barely been used. He asks his father casually about the garden out back, but his father doesn’t give much of a response.
Max takes his bike for a ride, and begins to explore the town. Soon, he meets a boy a few years older than he is, named Roland, who is also out riding his bike. Roland offers to show him around, and Max takes him up on the offer.
The two pedal around town for hours, and Max is barely able to keep up with the older boy, but enjoys the tour nonetheless.
They rest, and Roland tells him about a ship that sunk off the coast in 1918; the wreckage remains underwater. The sole survivor of the shipwreck was an engineer who, as a way of thanking providence for saving his life, settled in the town and built a lighthouse on the cliffs overlooking where the ship had sunk.
That man is Roland's adoptive grandfather, Victor Kray; Roland's own parents were killed in a car accident when he was a baby, and they had entrusted Roland to Victor's care in their will.
Before the boys part ways, Roland invites Max to go diving with him and explore the shipwreck the next day. Max accepts the offer, and Roland promises to pick him up the next morning.
At home, Max finds a note from his mother and a plate of sandwiches awaiting him. His parents have gone into town with Irina, and Alicia is nowhere in sight.
Outside, rain begins to fall, and Max retires to his room for a nap.
Chapter 5Max awakes to the sound of his family downstairs, and he goes down to join them for dinner. He tells them about the friend he’d made that day, and even invites his older sister, Alicia, to join him and Roland in their dive the next day. To his surprise, Alicia accepts the invitation.
After dinner, Maximilian sets up the old projector he had salvaged that morning, and the family settles in to watch one of the unmarked films from the box.
As the movie begins, they see it is a homemade movie, and the scene begins in a forest. The scene takes them through the trees, and a silhouette begins to appear, as the camera approaches an enclosed garden – the very garden Max had visited that morning. The camera operator enters the garden, revealing the mysterious statues, which look new, unlike the weathered state Max had observed them in. When the scene moves to the clown, Max feels something is different from the way he had observed it that morning, but he can’t decide what it is, and the film ends suddenly.
Disappointed with their cinematic experience, the family retires to bed. Max decides to stay up and watch another film. Alicia waits for the rest of the family to leave, and she looks distraught. She tells Max she has seen the clown from the movie before – which she dreamed of that exact clown the night before they had moved to their new home.
Max assures her she is probably just imagining the similarity and encourages her to forget about it. Alicia agrees he is probably right, and she goes to bed.
Feeling unsettled by what Alicia told him, Max suddenly feels a presence behind him. He turns suddenly, and sees Irina's cat looking at him with its yellow eyes. He shoos it away, but before leaving, it seems to smile at him.
Max decides to put the projector and films back into the box and then go to bed.
Chapter 6Alicia wakes before sunrise with two golden feline eyes staring at her. She ignores the animal and thinks about her friends in the city, as she gets dressed. Max knocks on the door to tell her Roland has arrived.
She joins the boys outside and there is an instant connection between Roland and Alicia, who are the same age. Knowing there is an extra bike in the garage, Max enjoys the flirtatious scene, and tells Alicia she will have to balance on Roland's handlebars down to the beach.
At the beach, Roland shows them his shack, where he sleeps during the summers. The inside is filled with trinkets and treasures that Roland has recovered from his dives down to the shipwreck just off shore.
The boys prepare for their dive and Alicia waits on shore. Max is mesmerized by the experience of the cool water, and the serene silence beneath the surface of the ocean, but he leaves the deep diving to his friend.
Roland discovers some new treasures, while Max observes from a distance, noticing the ship's name inscribed on the bow, the Orpheus. Through the water, he dimly sees an old, tattered flag ebbing with the current. As it unfurls, horror seizes Max as he recognizes the symbol he had seen in the garden of a six-pointed star enclosed in a circle. He immediately swims back to the beach.
When Roland joins the Carver children on the beach, Alicia begins collecting seashells, and once she is out of earshot, Max tells Roland about the symbol and the circus figures.
Alicia returns to the boys and begins to ask Roland about his grandfather and the ship. Roland invites them into the cabin and promises to tell them the full story there.
Meanwhile, back at the Carver home, we learn that Irina has been hearing voices in the house, and now hears them in her room, much like a whisper in the walls. It seems to be coming from her wardrobe, and as she approaches it, she sees there is a key in the lock. She hurriedly turns it to the locked position, and steps back. The sound continues, and hearing her mother calling her, Irina turns to run from the room. An icy breeze sweeps past her and slams the door shut, and she struggles with the handle, looking over her shoulder. She sees the key slowly turning; the voices become louder, and she hears laughter...
Back in Roland's shack, Roland tells Alicia and Max more about the Orpheus, retelling all that his grandfather, Victor Kray, has told him about the accident, and the events leading up to it.
The Orpheus began as a cargo ship with a bad reputation, operated by a corrupt Dutchman who rented the ship out to anyone who would pay, including smugglers and criminals. The Dutchman was also a gambler, and he had accumulated a lot of debt, which made him desperate to gamble more. He lost a big card game to a man named Mr. Cain, who owned a travelling circus, known for employing shady criminals. Knowing the police were closing in on he and his group's criminal activities, Mr. Cain charged The Dutchman with transporting his evil posse across the Channel on his ship, and the man agreed.
Roland's grandfather had the misfortune of knowing Mr. Cain for some time, and had unfinished business of some sort with him. He did not want Mr. Cain to leave the town without settling things with Victor first, so hearing of his plot to escape the town, he boarded the Orpheus as a stowaway, not even sure what he would do when he confronted Mr. Cain.
He wouldn’t have to, as it turned out, as the ship crashed, and Mr. Cain and all of the other passengers on the ship were killed, save Victor, who was spared thanks to the hiding place he had chosen – a lifeboat.
But they never found any bodies.
Max and Alicia point out that something seemed to be missing from Victor Kray's story, and Roland agrees...
Back at the Carver house, Irina feels her hands go numb, and she continues to fumble with the door, and she watches in horror as the key turns in the lock, finally stops moving, and is then pushed out of the keyhole, falling to the floor. The wardrobe begins to creak open, and Irina tries to scream as a shape emerges from the wardrobe – the cat. She kneels to pick it up, but then notices something behind the cat, deeper in the wardrobe. The cat opens its jaws and hisses at her, then retreats back into the wardrobe, and a giant smile filled with light appears in the darkness with two glowing golden eyes, and all of the voices she has been hearing say “Irina” in unison. Irina screams and throws herself against the bedroom door, which gives away, and she stumbles into the hallway, and hurls herself down the stairs.
Downstairs, Andrea Carver has heard her daughter's scream, and runs to the base of the stairs just in time to see her child tumbling down to the bottom, a tear of blood escaping from her forehead. Mrs. Carver feels her pulse, and finding it is weak, calls the doctor. Holding her unconscious child, she looks up the stairs to see the cat watching her coldly.
Chapter 7When they return to the house, Max and Alicia see an unfamiliar car in the driveway, which Roland recognizes as the car of the town Doctor, Dr. Roberts.
Their father tells them about Irina's accident, and explains that he and Mrs. Carver will go with Irina to the hospital. Max and Alicia assure him that they will be fine.
The three friends eat a simple dinner on the porch, and then Alicia and Roland decide to go swimming. Max sits on the porch, and thinks about the bond between his sister and new friend. He recalls Roland telling him that he may be sent to the war at the end of the summer, and he fears the effect that will have on his sister.
After the swim, Alicia and Roland and Max build a bonfire on the beach, and discuss the strange occurrences and discoveries of the past few days, and Max reveals a final mystery: the Fleischmann film of the statues revealed the figures situated in different positions than Max had seen in the present day. Roland reveals a secret too: he has dreamed about the clown figure every summer since he was five.
They all agree they will speak with Victor Kray the next day to learn more about the shipwreck.
Chapter 8The teens stay up until daybreak, and then Roland rides his bike home, while Max and Alicia retire to bed.
The scene moves to Victor Kray returning from the lighthouse. He enters his home quietly, and finds his grandson waiting for him in an armchair. They make breakfast together, and Roland begins to tell him about his new friends that live in the Fleischmanns’ old house, and the strange happenings. His grandfather listens and tells him to find his friends and bring them to the lighthouse.
Chapter 9Back at the Carver's house, Maximilian has phoned his children to tell them Irina is in a coma, but is expected to wake up. Roland appears on the scene and asks Max and Alicia to come to his grandfather's home.
Victor Kray recounts for them a story very similar to the one Roland told about the shipwreck, but he also reveals some new facts.
He explains the “unfinished business” between him and the wickedness Mr. Cain. They had met when they were boys, when the villain went simply by the name Cain. He was a notorious cheat at dice and cards in the town where Victor grew up, and the neighbourhood boys referred to him as the Prince of Mist because, rumour had it, he appeared out of a haze in dark alleyways at night and disappeared again before dawn.
He had a reputation for making young boys’ wishes come true in exchange for their undying “loyalty.”
Victor never succumbed to the temptation of expressing his wishes to Cain, but Victor's best friend, Angus, did. Angus’ father had lost his job, and he asked Cain to restore the family's only source of income. Inexplicably, his father was rehired the next day.
Two weeks later, Victor and Angus were walking on the train tracks at night when they ran into Cain. Cain told them Angus would have to burn down the local grocery store.
Victor and Angus ran home, but Victor knew Angus would not fulfill the request. But the next morning when Victor went to Angus’ house, he was not there, and no one could find him. Victor searched the city, and then returned to the train tracks where they’d run into Cain. There, he found the frozen corpse of his friend's body – transforming into smoky blue ice, and melting into the tracks. Around his neck was a chain with a symbol of a six-pointed star in a circle.
That same night, the grocery store Cain had demanded that Angus burn down was destroyed by a fire. Victor never told anyone what he knew, and his family moved south a few weeks later.
Chapter 10Victor continues to tell of his knowledge of Cain, recounting another encounter that took place a few months later, when his father took Victor to an amusement park. Waiting for the Ferris Wheel, Victor became aware of a tent being touted as the den of “Dr. Cain – fortune-teller, magician and clairvoyant.”
Reluctantly, Victor gave into his curiosity and entered the tent, where Dr. Cain immediately recognized him and called him by name. He asked him his wish, but Victor wouldn’t tell him. He spoke boldly to Cain, and accused him of killing his friend. Cain denied the incident, describing it as an “unfortunate accident.”
When Victor left the tent, he resolved never to see the man again. For many years, he didn’t. He went to college, and befriended a man named Richard Fleischmann and a woman named Eva Gray. Both Victor and Richard were in love with Eva, but the three remained friends.
One night, Richard and Victor went out drinking and ended up at a fair. They stumbled upon a fortune-teller's tent, and Richard wanted to go in and ask whether Eva would eventually choose one of the men for her husband. Despite his drunken stupor, Victor refused to go inside, knowing it would be the evil Dr. Cain, but his friend rushed in. Victor fell asleep outside on a bench. When he woke up, it was daylight, the fair was being cleaned up, and Richard was asleep on the bench next to him. The two had a terrible hangover, and barely remembered the night before. Richard told Victor that he dreamt he went into a magician's tent and was asked what his greatest wish was. He said he wanted to marry Eva Gray.
Two months later, Eva Gray and Richard Fleischmann were married. They didn’t invite Victor to the wedding, and Victor didn’t see them for twenty years.
Decades later, Victor noticed someone suspicious following him home. It turned out to be Richard, his old friend. Richard looked terrible, and began to cry as he recounted his memories from the night at the fair, finally revealing what he had promised the magician in exchange for his wish for Eva's love: his first-born son.
Richard described to Victor how he’d been trying desperately to keep Eva from becoming pregnant, but that she wanted a child so badly that their lack of one was driving her into depression. Victor agrees to help Richard by tracking down Cain.
He finds Cain with a circus troupe, now in a clown façade, just as they are preparing to escape on the Dutchman's ship. Victor climbed aboard and hid himself in a lifeboat. Fierce winds picked up, and the storm soon took over.
As Roland had told his friends the day before, Victor was the only known survivor of the shipwreck, and the other bodies were never found.
Hearing that Victor had constructed and moved into a lighthouse on the cliffs, Richard visited him one day, and Victor told him what had happened. Overcome with relief, Richard stopped preventing Eva from having a child, and began building a home for them on the beach. A few years later, their baby boy, Jacob, was born.
The couple enjoyed the best years of their lives with their child, until he drowned. When Victor heard, he knew the Prince of Mist had never really left their lives, and he has feared his return ever since.
Chapter 11When Victor finishes his story, a storm is closing in. Max still thinks some facts are missing from Victor's story, but can’t determine where the holes are. Alicia and Roland seem sceptical of the whole story Victor has told, questioning whether the old man has begun to lose his mind.
That night, Max and Alicia have a quiet supper together, their parents still at the hospital. Alicia goes to bed, and Max decides to watch another of the Fleischmann films.
The film shows the face of a clock turning backwards, hanging from a chain. The camera zooms out, and we see the pocket watch is being held by a statue in the walled garden. The scene scans the faces of the statues, landing finally on the Prince of Mist – the clown. The camera pans down and reveals the motionless statue of a cat at its feet, its claw poised in the air. Max remembers that cat wasn’t there when he’d visited the garden, and notices the likeness between the statue and Irina's cat. The camera goes back to the clown's stone face, and it slowly smiles, revealing wolf-like fangs.
Chapter 12The next morning, Max wakes at noon and Alicia has left a note, saying that she is at the beach with Roland. He rides his bike to town and eats at a bakery, and then rides to where Roland's Shack sits on the beach. He sees Roland and Alicia kissing, and feels silly approaching them, so he rides his bike back into town. He goes the library, finds a map of the town, and locates the graveyard. He rides his bike there to visit the tomb of Jacob Fleischmann. The cemetery is big and quiet. He finds a dark mausoleum devoted to Jacob Fleischmann, and enters the tomb. Under Jacob's name, he finds the six-pointed star symbol engraved.
He feels eerie in the tomb, and suddenly senses he is not alone in the darkness; he sees a stone angel walking on the ceiling above him, and it points at him slowly and then gives an evil smile, transforming into the face of the evil clown, Dr. Cain. Max saw burning hatred in its eyes, and filled with fear, ran from the tomb.
Afterwards, he realized he had dropped the watch his father had given him, but he was too afraid to go back and retrieve it.
He rides to Victor's lighthouse, and tells him what happened. Then he accuses the man of keeping some of the truth from Max and his friends, but Victor Kray denies it, and tells Max to forget the whole thing. Victor looks pained to shut him out, but asks Max to leave.
Chapter 13The next morning, Max gets up before dawn and rides to the town bakery to get breakfast for himself and Alicia.
Later, they meet Roland at the beach, and he shows them a small rowboat he has restored. They go out in the boat, and Roland and Alicia prepare to dive down. Alicia enjoys being beneath the water with Roland, but then Roland spots a giant black shadow approaching them, and begins rushing Alicia back to the boat. A gigantic eel-like figure rapidly follows them, but Roland gets Alicia to the boat before the figure snatches him with jagged teeth and drags him into the sea.
Seeing his sister is safe, Max impulsively dives in after his friend, and is able to rescue him from the frightening creature, even as it transforms into the face of an evil clown. Roland wakes up in the boat, choking, and knows Max has saved his life.
Back on shore, the three friends are exhausted and they fall asleep in Roland's shack.
Chapter 14The scene opens with Victor Kray sneaking through the Carvers’ yard, toward the garden enclosure. He has his old revolver with him, and when he enters the garden, the statues are gone. He hears the rumble of a storm, a flash of lightning splits the sky, and Victor suddenly understands what will happen.
Max wakes up in Roland's shack, and realizes he needs to be proactive about predicting Cain's next move. He rides his bike back home and begins watching another film. This movie begins in the living room where Max sits, but with different furniture, and everything looking new. The camera moves up the stairs, and into the room that Irina had occupied before her accident. The door opens, the camera enters the room, focusing on the wardrobe. Dr. Cain emerges from the wardrobe with an evil smile, and reveals a pocket watch, with its hands spinning backwards. Max recognizes it as the watch his father gave him for his birthday, and the one he had dropped in Jacob's tomb earlier that day. The hands move faster and faster until they start to smoke and spark, and soon the whole face of the clock is ablaze.
The camera moves away from the clock and films a mirror, revealing the camera operator as a small boy. Max looks at the boy's childish grin, and realizes he looks familiar: it's Roland as a child.
A flash of lightning catches Max's eye outside and when he looks out the window, he sees a dark figure there: Victor Kray.
Chapter 15Max lets Victor in and makes a cup of tea to warm him. Victor is shaking as he tells Max the statues are gone, and asks where Roland is. Max tells Victor his suspicion that Roland is Jacob Fleischmann, and Victor tells him he doesn’t understand what's happening, but Max insists Victor tell him the truth.
The old man explains that when Richard had thought Cain had drowned and built the house on the beach, things had been fine for a long time, until Jacob went missing one day when he was five. When night fell, Richard searched the forest, remembering an old stone enclosure that had been there when he was building the house. He searched the enclosure, and found Jacob. He was playing amongst the ominous statues that Richard was certain weren’t there when he built the home. Richard never told his wife about this or his encounter with the magician so many years before.
One night, Victor was manning the lighthouse, as usual, when he had a sudden premonition that Jacob was in danger. He ran to the Fleischmann house, and to the beach. He saw Jacob wading into the water, as if entranced by a mysterious water monster that was dimly visible in the mist off shore. He looked to the house, and saw some of the circus statues were holding Mr. and Mrs. Fleischmann, who were desperately fighting to save their son.
The creature began dragging the boy into the sea, but Victor chased it, and rescued Jacob from its clenches, taking him back to the surface. He tried to revive him, but he was gone. The statues disappeared the moment the Victor realized the boy was dead. Fleischmann was beside himself with grief, and ran into the ocean shouting to Cain, offering his own life in exchange for the life of his son.
Then, inexplicably, Jacob sputtered back to life. He was in shock and did not remember his own name. Eva took him inside, and Victor followed, while Richard remained outside. Eva asked Victor to take the boy, hoping that his life would be out of danger if he had a different identity.
They let the townspeople think that Jacob had drowned, and the body was never found. A year later, Richard died from a deadly infection he caught from being bitten by a wild dog.
Victor explains that the tomb at the local cemetery was built by Cain, who is reserving it for the day he recovers Jacob's body...
Meanwhile, Alicia and Roland wake at the beach shack to find a thick mist creeping under the door and filling the shack. It becomes a tentacle and begins pulling on Roland.
An evil clown appears in the mist, and says “Hello, Jacob.” The mist grabs Alicia and begins to pull her toward the sea. Both she and Roland try to fight the mist, but to no avail. Roland stands helplessly on the beach, watching as the Orpheus begins to rise from the water, and float upright. Roland hears maniacal laughter, and sees Dr. Cain standing on the ship, grinning as the tentacle of mist drops Alicia at his feet.
Chapter 16Max joins Roland on the beach and begins screaming at Cain; Roland dives into the waves and swims towards the Orpheus. Cain drags Alicia to a cabin and locks her in, where she finds the corpse of the former captain of the ship, The Dutchman.
Max makes climbs on some nearby rocks to get closer to the ship, and is able to jump on board, while Roland struggled to grab hold of the helm and steer the vessel away from the rocks.
Meanwhile, Victor arrives at Roland's hut, and something strikes him in the back of the head, knocking him unconscious.
Max encounters Cain, who brags to him of his exploits, and Max attempts to indulge him, hoping to give Roland time to find Alicia. But they hear Roland calling Alicia's name, and Cain realizes what Max was trying to do. Cain flings Max into the sea, and he is able to scramble onto some rocks.
Chapter 17Cain and Alicia have another encounter, and he tries to convince her to promise him her first-born child in exchange for Roland's life. She tells him to go to Hell, and he say, “my dear girl, that’s exactly where I’ve come from,” (200.)
The ship is sinking, and Roland is still searching for Alicia when he encounters Cain, who keeps calling him Jacob. Roland still has not made the connection, since he cannot remember his life before his parents died, but he plays along, asking Cain what he has to do to save Alicia's life. Cain says, “I hope you’ll carry out the part of the agreement your father was unable to fulfill… Nothing more. And nothing less” (203.)
Tears in his eyes, Roland agrees. Cain tells Roland where Alicia is, and explains that it's already underwater and she won’t be able to breathe by the time he reaches her. He finds the room, takes a deep breath, and searches her out in the darkness. He waits for the ship to touch the bottom of the sea so that the pressure will not pull them back down; when the impact came, the ceiling above began collapsing on top of them, and Roland's leg was pinned beneath the woody debris. Alicia was struggling to hold her breath, so Roland pulled her to him, and though she tried to resist, he breathed the last of his air into her mouth and then pushed her away towards the surface.
Max helps Alicia out of the water; Victor wakes up on the beach and helps the two of them ashore, asking, “Where’s my Roland?” (207.)
Roland never returned.
Chapter 18The day after the storm, Maximilian and Alicia Carver returned to the beach house with young Irina, who had fully recovered. It was clear to the parents that Max and Alicia had been through a great ordeal, but they didn’t ask, and the teens didn’t tell.
Max accompanies Victor Kray to the train station, and Victor tells him he won’t be returning to the town. Before he leaves, he gives Max a small box. Max waits until Victor is gone before he opens it, and inside, he finds the keys to the lighthouse.
EpilogueIn the last weeks of summer, the war is nearing its end. Maximilian's watchmaking business is booming, and Max cycles to the lighthouse every day to ensure the lantern is lit to help guide ships safely to shore. He often sees Alicia alone near Roland's shack on the beach, gazing into the sea.
Max remembers Roland's words about worrying that this would be his last summer in the town, and comforts himself with the thought that the memories Roland, Max and Alicia shared, will bind them forever.
Awards and nominations
The novel has won several awards, including the Edebé Literary Prize for Young Adult Fiction and the C.C.I.I. Award in 1994. The Prince of Mist was also one of the American Library Association's picks for "Best Fiction for Young Adults" for 2011.
Reception
Critical reception for The Prince of Mist was positive, with the Irish Independent praising the novel as "a chilling adventure". Monsters and Critics also praised the book, writing that it was "a gripping tale with a heart-wrenching conclusion". The Manila Bulletin lauded the book as "a worthy forerunner to Zafon’s bestsellers".The Independent stated that although the book was rushed and overly explained in places, "the main story remains gripping enough".
Cultural influence
Mexican heavy metal band Velvet Darkness published a song titled "The Prince of Mist" on their debut EP Delusion based on Ruiz Zafon's novel.
References
External links
The Prince of Mist title listing at the Internet Speculative Fiction Database | genre | {
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The Prince of Mist (Spanish: El Príncipe de la Niebla) is a 1993 mystery and horror young adult novel by Carlos Ruiz Zafón. It was initially published in Spanish by Editorial Planeta and later in an English translation by Lucia Graves by Little, Brown Books for Young Readers in 2010. The Prince of Mist was Zafón's first novel.
Plot summary
Max Carver, son of a watchmaker, has moved with his family from the city to get away from the war. Max's new house was formerly owned by Richard Fleischman, his wife and son. Max experiences mysterious events which have to do with Jacob Fleischman, the son of Richard Fleishman, who had drowned. Over time, Max discovers a sculpture garden near his house, where strange things happen. Max finally makes a friend, Roland. Roland is older than Max, around the age of his sister, Alicia, who is 15. After diving near the wreck, the Orpheus, Max has more and more questions, which will be answered by Victor Kray, grandfather of Roland.
Detailed summary
Chapter 1The story opens in 1943 in an unnamed city. It is mid-June, the day of the protagonist, Max Carver's, thirteenth birthday.
Maximilian Carver, Max's father, and an eccentric watchmaker, tells Max and his family that they are leaving their lives in the city, which is suffering a war, to live in a town on the coast.
We meet the family: Andrea Carver, Max's mother, and Max's sisters: Alicia, the elder, and Irina the younger. They reluctantly accept their fate, although Max is especially unhappy about having to leave his friends in the city.
Before retiring to bed, Mr. Carver gives Max his birthday present: a watch made by his father, with an engraving on the back that says, Max's time machine.
They arrive at the train station, and Max sees that the station clock is slow. His father jokes that he has work already.
Mr. Carver finds, and then employs two men, Robin and Philip, to help the family carry and transport their luggage.
Max feels someone watching him, and turns to see a large cat with luminous yellow eyes watching him. The cat befriends Irina, who takes an immediate liking to the creature; she begs her parents to let her bring it with them, and they eventually concede.
Before they leave the station, Max notices that the clock is even further behind than he had thought, but as he watches it for a moment, he realizes it is actually turning backwards.
Chapter 2As they drive through the town, the family begins to warm up to the sights, noticeably calmed by tranquil coastal setting. Maximilian Carver is delighted by his family's reactions, and visibly enthused about their new lives on the coast.
Max gazes at the ocean, which is covered by a light mist, and thinks he sees the silhouette of a ship sailing on the horizon. But it quickly disappears.
On the way to their new home, Mr. Carver tells them the history of the house. It was built in 1923 by Dr. Richard Fleischmann, and he lived there with his wife, Eva. They had a son, Jacob, on June 23, 1925. The family lived happily until the tragedy of 1932, when Jacob drowned playing on the beach near his home.
After that, Dr. Fleischmann's health deteriorated, and after he had died, his widow, Eva, left the house to her lawyers to sell, and fled elsewhere.
When they arrive, the porters leave quickly, and before they have even taken their first steps into the house, the cat leaps from Irina's arms, letting out a satisfied meow as it is the first to touch down in the foyer.
The home is musty and dusty, so the family sets out cleaning it up. The girls are horrified to find huge spiders in their rooms, so Max is charged with disposing of them. Before he can terminate a terrible-looking one, the cat aggressively devours it.
Max looks out the window, and beyond the yard, and can vaguely make out a small clearing enclosed by a wall of stone. Inside, there appears to be an overgrown garden, with a circle of stone figures – statues. The wall enclosure is secured with spearhead points along its edge, each embossed with a symbol of a six-pointed star enclosed in a circle.
Chapter 3Max awakes with a start from a bad dream the next morning. Outside, dawn is breaking, and the air is clouded with a hazy mist. No one else is awake, and he decides to go outside and explore the mysterious garden he had observed through the window the night before.
He must break a lock to access the garden, and he is overcome with a foreboding feeling as he enters. Inside, he discovers the statues depict ominous-looking circus characters, including a lion tamer, a contortionist, a fakir, a strong man, and some other ghostly characters, all are arranged in a star pattern around one central figure on a pedestal: a terrible clown, with arms outstretched and hands in a fist. At the clown's feet, Max sees another small paving stone with the same six-pointed star inside of a circle inscribed on its surface. Max looks up again, and sees the hand of the clown is now open to the sky. Afraid, he flees back to the house, not looking back.
Finding his family now awake and preparing breakfast, Max decides not to tell them what he has seen because he knows they will be skeptical, and he doesn’t want to crush his father's excitement about their new home.
Maximilian Carver eagerly tells the family about his own discovery in the shed outside: an old projector and a box of old films, as well as two bicycles.
Chapter 4Max helps his father restore the old bicycles and they discover they have barely been used. He asks his father casually about the garden out back, but his father doesn’t give much of a response.
Max takes his bike for a ride, and begins to explore the town. Soon, he meets a boy a few years older than he is, named Roland, who is also out riding his bike. Roland offers to show him around, and Max takes him up on the offer.
The two pedal around town for hours, and Max is barely able to keep up with the older boy, but enjoys the tour nonetheless.
They rest, and Roland tells him about a ship that sunk off the coast in 1918; the wreckage remains underwater. The sole survivor of the shipwreck was an engineer who, as a way of thanking providence for saving his life, settled in the town and built a lighthouse on the cliffs overlooking where the ship had sunk.
That man is Roland's adoptive grandfather, Victor Kray; Roland's own parents were killed in a car accident when he was a baby, and they had entrusted Roland to Victor's care in their will.
Before the boys part ways, Roland invites Max to go diving with him and explore the shipwreck the next day. Max accepts the offer, and Roland promises to pick him up the next morning.
At home, Max finds a note from his mother and a plate of sandwiches awaiting him. His parents have gone into town with Irina, and Alicia is nowhere in sight.
Outside, rain begins to fall, and Max retires to his room for a nap.
Chapter 5Max awakes to the sound of his family downstairs, and he goes down to join them for dinner. He tells them about the friend he’d made that day, and even invites his older sister, Alicia, to join him and Roland in their dive the next day. To his surprise, Alicia accepts the invitation.
After dinner, Maximilian sets up the old projector he had salvaged that morning, and the family settles in to watch one of the unmarked films from the box.
As the movie begins, they see it is a homemade movie, and the scene begins in a forest. The scene takes them through the trees, and a silhouette begins to appear, as the camera approaches an enclosed garden – the very garden Max had visited that morning. The camera operator enters the garden, revealing the mysterious statues, which look new, unlike the weathered state Max had observed them in. When the scene moves to the clown, Max feels something is different from the way he had observed it that morning, but he can’t decide what it is, and the film ends suddenly.
Disappointed with their cinematic experience, the family retires to bed. Max decides to stay up and watch another film. Alicia waits for the rest of the family to leave, and she looks distraught. She tells Max she has seen the clown from the movie before – which she dreamed of that exact clown the night before they had moved to their new home.
Max assures her she is probably just imagining the similarity and encourages her to forget about it. Alicia agrees he is probably right, and she goes to bed.
Feeling unsettled by what Alicia told him, Max suddenly feels a presence behind him. He turns suddenly, and sees Irina's cat looking at him with its yellow eyes. He shoos it away, but before leaving, it seems to smile at him.
Max decides to put the projector and films back into the box and then go to bed.
Chapter 6Alicia wakes before sunrise with two golden feline eyes staring at her. She ignores the animal and thinks about her friends in the city, as she gets dressed. Max knocks on the door to tell her Roland has arrived.
She joins the boys outside and there is an instant connection between Roland and Alicia, who are the same age. Knowing there is an extra bike in the garage, Max enjoys the flirtatious scene, and tells Alicia she will have to balance on Roland's handlebars down to the beach.
At the beach, Roland shows them his shack, where he sleeps during the summers. The inside is filled with trinkets and treasures that Roland has recovered from his dives down to the shipwreck just off shore.
The boys prepare for their dive and Alicia waits on shore. Max is mesmerized by the experience of the cool water, and the serene silence beneath the surface of the ocean, but he leaves the deep diving to his friend.
Roland discovers some new treasures, while Max observes from a distance, noticing the ship's name inscribed on the bow, the Orpheus. Through the water, he dimly sees an old, tattered flag ebbing with the current. As it unfurls, horror seizes Max as he recognizes the symbol he had seen in the garden of a six-pointed star enclosed in a circle. He immediately swims back to the beach.
When Roland joins the Carver children on the beach, Alicia begins collecting seashells, and once she is out of earshot, Max tells Roland about the symbol and the circus figures.
Alicia returns to the boys and begins to ask Roland about his grandfather and the ship. Roland invites them into the cabin and promises to tell them the full story there.
Meanwhile, back at the Carver home, we learn that Irina has been hearing voices in the house, and now hears them in her room, much like a whisper in the walls. It seems to be coming from her wardrobe, and as she approaches it, she sees there is a key in the lock. She hurriedly turns it to the locked position, and steps back. The sound continues, and hearing her mother calling her, Irina turns to run from the room. An icy breeze sweeps past her and slams the door shut, and she struggles with the handle, looking over her shoulder. She sees the key slowly turning; the voices become louder, and she hears laughter...
Back in Roland's shack, Roland tells Alicia and Max more about the Orpheus, retelling all that his grandfather, Victor Kray, has told him about the accident, and the events leading up to it.
The Orpheus began as a cargo ship with a bad reputation, operated by a corrupt Dutchman who rented the ship out to anyone who would pay, including smugglers and criminals. The Dutchman was also a gambler, and he had accumulated a lot of debt, which made him desperate to gamble more. He lost a big card game to a man named Mr. Cain, who owned a travelling circus, known for employing shady criminals. Knowing the police were closing in on he and his group's criminal activities, Mr. Cain charged The Dutchman with transporting his evil posse across the Channel on his ship, and the man agreed.
Roland's grandfather had the misfortune of knowing Mr. Cain for some time, and had unfinished business of some sort with him. He did not want Mr. Cain to leave the town without settling things with Victor first, so hearing of his plot to escape the town, he boarded the Orpheus as a stowaway, not even sure what he would do when he confronted Mr. Cain.
He wouldn’t have to, as it turned out, as the ship crashed, and Mr. Cain and all of the other passengers on the ship were killed, save Victor, who was spared thanks to the hiding place he had chosen – a lifeboat.
But they never found any bodies.
Max and Alicia point out that something seemed to be missing from Victor Kray's story, and Roland agrees...
Back at the Carver house, Irina feels her hands go numb, and she continues to fumble with the door, and she watches in horror as the key turns in the lock, finally stops moving, and is then pushed out of the keyhole, falling to the floor. The wardrobe begins to creak open, and Irina tries to scream as a shape emerges from the wardrobe – the cat. She kneels to pick it up, but then notices something behind the cat, deeper in the wardrobe. The cat opens its jaws and hisses at her, then retreats back into the wardrobe, and a giant smile filled with light appears in the darkness with two glowing golden eyes, and all of the voices she has been hearing say “Irina” in unison. Irina screams and throws herself against the bedroom door, which gives away, and she stumbles into the hallway, and hurls herself down the stairs.
Downstairs, Andrea Carver has heard her daughter's scream, and runs to the base of the stairs just in time to see her child tumbling down to the bottom, a tear of blood escaping from her forehead. Mrs. Carver feels her pulse, and finding it is weak, calls the doctor. Holding her unconscious child, she looks up the stairs to see the cat watching her coldly.
Chapter 7When they return to the house, Max and Alicia see an unfamiliar car in the driveway, which Roland recognizes as the car of the town Doctor, Dr. Roberts.
Their father tells them about Irina's accident, and explains that he and Mrs. Carver will go with Irina to the hospital. Max and Alicia assure him that they will be fine.
The three friends eat a simple dinner on the porch, and then Alicia and Roland decide to go swimming. Max sits on the porch, and thinks about the bond between his sister and new friend. He recalls Roland telling him that he may be sent to the war at the end of the summer, and he fears the effect that will have on his sister.
After the swim, Alicia and Roland and Max build a bonfire on the beach, and discuss the strange occurrences and discoveries of the past few days, and Max reveals a final mystery: the Fleischmann film of the statues revealed the figures situated in different positions than Max had seen in the present day. Roland reveals a secret too: he has dreamed about the clown figure every summer since he was five.
They all agree they will speak with Victor Kray the next day to learn more about the shipwreck.
Chapter 8The teens stay up until daybreak, and then Roland rides his bike home, while Max and Alicia retire to bed.
The scene moves to Victor Kray returning from the lighthouse. He enters his home quietly, and finds his grandson waiting for him in an armchair. They make breakfast together, and Roland begins to tell him about his new friends that live in the Fleischmanns’ old house, and the strange happenings. His grandfather listens and tells him to find his friends and bring them to the lighthouse.
Chapter 9Back at the Carver's house, Maximilian has phoned his children to tell them Irina is in a coma, but is expected to wake up. Roland appears on the scene and asks Max and Alicia to come to his grandfather's home.
Victor Kray recounts for them a story very similar to the one Roland told about the shipwreck, but he also reveals some new facts.
He explains the “unfinished business” between him and the wickedness Mr. Cain. They had met when they were boys, when the villain went simply by the name Cain. He was a notorious cheat at dice and cards in the town where Victor grew up, and the neighbourhood boys referred to him as the Prince of Mist because, rumour had it, he appeared out of a haze in dark alleyways at night and disappeared again before dawn.
He had a reputation for making young boys’ wishes come true in exchange for their undying “loyalty.”
Victor never succumbed to the temptation of expressing his wishes to Cain, but Victor's best friend, Angus, did. Angus’ father had lost his job, and he asked Cain to restore the family's only source of income. Inexplicably, his father was rehired the next day.
Two weeks later, Victor and Angus were walking on the train tracks at night when they ran into Cain. Cain told them Angus would have to burn down the local grocery store.
Victor and Angus ran home, but Victor knew Angus would not fulfill the request. But the next morning when Victor went to Angus’ house, he was not there, and no one could find him. Victor searched the city, and then returned to the train tracks where they’d run into Cain. There, he found the frozen corpse of his friend's body – transforming into smoky blue ice, and melting into the tracks. Around his neck was a chain with a symbol of a six-pointed star in a circle.
That same night, the grocery store Cain had demanded that Angus burn down was destroyed by a fire. Victor never told anyone what he knew, and his family moved south a few weeks later.
Chapter 10Victor continues to tell of his knowledge of Cain, recounting another encounter that took place a few months later, when his father took Victor to an amusement park. Waiting for the Ferris Wheel, Victor became aware of a tent being touted as the den of “Dr. Cain – fortune-teller, magician and clairvoyant.”
Reluctantly, Victor gave into his curiosity and entered the tent, where Dr. Cain immediately recognized him and called him by name. He asked him his wish, but Victor wouldn’t tell him. He spoke boldly to Cain, and accused him of killing his friend. Cain denied the incident, describing it as an “unfortunate accident.”
When Victor left the tent, he resolved never to see the man again. For many years, he didn’t. He went to college, and befriended a man named Richard Fleischmann and a woman named Eva Gray. Both Victor and Richard were in love with Eva, but the three remained friends.
One night, Richard and Victor went out drinking and ended up at a fair. They stumbled upon a fortune-teller's tent, and Richard wanted to go in and ask whether Eva would eventually choose one of the men for her husband. Despite his drunken stupor, Victor refused to go inside, knowing it would be the evil Dr. Cain, but his friend rushed in. Victor fell asleep outside on a bench. When he woke up, it was daylight, the fair was being cleaned up, and Richard was asleep on the bench next to him. The two had a terrible hangover, and barely remembered the night before. Richard told Victor that he dreamt he went into a magician's tent and was asked what his greatest wish was. He said he wanted to marry Eva Gray.
Two months later, Eva Gray and Richard Fleischmann were married. They didn’t invite Victor to the wedding, and Victor didn’t see them for twenty years.
Decades later, Victor noticed someone suspicious following him home. It turned out to be Richard, his old friend. Richard looked terrible, and began to cry as he recounted his memories from the night at the fair, finally revealing what he had promised the magician in exchange for his wish for Eva's love: his first-born son.
Richard described to Victor how he’d been trying desperately to keep Eva from becoming pregnant, but that she wanted a child so badly that their lack of one was driving her into depression. Victor agrees to help Richard by tracking down Cain.
He finds Cain with a circus troupe, now in a clown façade, just as they are preparing to escape on the Dutchman's ship. Victor climbed aboard and hid himself in a lifeboat. Fierce winds picked up, and the storm soon took over.
As Roland had told his friends the day before, Victor was the only known survivor of the shipwreck, and the other bodies were never found.
Hearing that Victor had constructed and moved into a lighthouse on the cliffs, Richard visited him one day, and Victor told him what had happened. Overcome with relief, Richard stopped preventing Eva from having a child, and began building a home for them on the beach. A few years later, their baby boy, Jacob, was born.
The couple enjoyed the best years of their lives with their child, until he drowned. When Victor heard, he knew the Prince of Mist had never really left their lives, and he has feared his return ever since.
Chapter 11When Victor finishes his story, a storm is closing in. Max still thinks some facts are missing from Victor's story, but can’t determine where the holes are. Alicia and Roland seem sceptical of the whole story Victor has told, questioning whether the old man has begun to lose his mind.
That night, Max and Alicia have a quiet supper together, their parents still at the hospital. Alicia goes to bed, and Max decides to watch another of the Fleischmann films.
The film shows the face of a clock turning backwards, hanging from a chain. The camera zooms out, and we see the pocket watch is being held by a statue in the walled garden. The scene scans the faces of the statues, landing finally on the Prince of Mist – the clown. The camera pans down and reveals the motionless statue of a cat at its feet, its claw poised in the air. Max remembers that cat wasn’t there when he’d visited the garden, and notices the likeness between the statue and Irina's cat. The camera goes back to the clown's stone face, and it slowly smiles, revealing wolf-like fangs.
Chapter 12The next morning, Max wakes at noon and Alicia has left a note, saying that she is at the beach with Roland. He rides his bike to town and eats at a bakery, and then rides to where Roland's Shack sits on the beach. He sees Roland and Alicia kissing, and feels silly approaching them, so he rides his bike back into town. He goes the library, finds a map of the town, and locates the graveyard. He rides his bike there to visit the tomb of Jacob Fleischmann. The cemetery is big and quiet. He finds a dark mausoleum devoted to Jacob Fleischmann, and enters the tomb. Under Jacob's name, he finds the six-pointed star symbol engraved.
He feels eerie in the tomb, and suddenly senses he is not alone in the darkness; he sees a stone angel walking on the ceiling above him, and it points at him slowly and then gives an evil smile, transforming into the face of the evil clown, Dr. Cain. Max saw burning hatred in its eyes, and filled with fear, ran from the tomb.
Afterwards, he realized he had dropped the watch his father had given him, but he was too afraid to go back and retrieve it.
He rides to Victor's lighthouse, and tells him what happened. Then he accuses the man of keeping some of the truth from Max and his friends, but Victor Kray denies it, and tells Max to forget the whole thing. Victor looks pained to shut him out, but asks Max to leave.
Chapter 13The next morning, Max gets up before dawn and rides to the town bakery to get breakfast for himself and Alicia.
Later, they meet Roland at the beach, and he shows them a small rowboat he has restored. They go out in the boat, and Roland and Alicia prepare to dive down. Alicia enjoys being beneath the water with Roland, but then Roland spots a giant black shadow approaching them, and begins rushing Alicia back to the boat. A gigantic eel-like figure rapidly follows them, but Roland gets Alicia to the boat before the figure snatches him with jagged teeth and drags him into the sea.
Seeing his sister is safe, Max impulsively dives in after his friend, and is able to rescue him from the frightening creature, even as it transforms into the face of an evil clown. Roland wakes up in the boat, choking, and knows Max has saved his life.
Back on shore, the three friends are exhausted and they fall asleep in Roland's shack.
Chapter 14The scene opens with Victor Kray sneaking through the Carvers’ yard, toward the garden enclosure. He has his old revolver with him, and when he enters the garden, the statues are gone. He hears the rumble of a storm, a flash of lightning splits the sky, and Victor suddenly understands what will happen.
Max wakes up in Roland's shack, and realizes he needs to be proactive about predicting Cain's next move. He rides his bike back home and begins watching another film. This movie begins in the living room where Max sits, but with different furniture, and everything looking new. The camera moves up the stairs, and into the room that Irina had occupied before her accident. The door opens, the camera enters the room, focusing on the wardrobe. Dr. Cain emerges from the wardrobe with an evil smile, and reveals a pocket watch, with its hands spinning backwards. Max recognizes it as the watch his father gave him for his birthday, and the one he had dropped in Jacob's tomb earlier that day. The hands move faster and faster until they start to smoke and spark, and soon the whole face of the clock is ablaze.
The camera moves away from the clock and films a mirror, revealing the camera operator as a small boy. Max looks at the boy's childish grin, and realizes he looks familiar: it's Roland as a child.
A flash of lightning catches Max's eye outside and when he looks out the window, he sees a dark figure there: Victor Kray.
Chapter 15Max lets Victor in and makes a cup of tea to warm him. Victor is shaking as he tells Max the statues are gone, and asks where Roland is. Max tells Victor his suspicion that Roland is Jacob Fleischmann, and Victor tells him he doesn’t understand what's happening, but Max insists Victor tell him the truth.
The old man explains that when Richard had thought Cain had drowned and built the house on the beach, things had been fine for a long time, until Jacob went missing one day when he was five. When night fell, Richard searched the forest, remembering an old stone enclosure that had been there when he was building the house. He searched the enclosure, and found Jacob. He was playing amongst the ominous statues that Richard was certain weren’t there when he built the home. Richard never told his wife about this or his encounter with the magician so many years before.
One night, Victor was manning the lighthouse, as usual, when he had a sudden premonition that Jacob was in danger. He ran to the Fleischmann house, and to the beach. He saw Jacob wading into the water, as if entranced by a mysterious water monster that was dimly visible in the mist off shore. He looked to the house, and saw some of the circus statues were holding Mr. and Mrs. Fleischmann, who were desperately fighting to save their son.
The creature began dragging the boy into the sea, but Victor chased it, and rescued Jacob from its clenches, taking him back to the surface. He tried to revive him, but he was gone. The statues disappeared the moment the Victor realized the boy was dead. Fleischmann was beside himself with grief, and ran into the ocean shouting to Cain, offering his own life in exchange for the life of his son.
Then, inexplicably, Jacob sputtered back to life. He was in shock and did not remember his own name. Eva took him inside, and Victor followed, while Richard remained outside. Eva asked Victor to take the boy, hoping that his life would be out of danger if he had a different identity.
They let the townspeople think that Jacob had drowned, and the body was never found. A year later, Richard died from a deadly infection he caught from being bitten by a wild dog.
Victor explains that the tomb at the local cemetery was built by Cain, who is reserving it for the day he recovers Jacob's body...
Meanwhile, Alicia and Roland wake at the beach shack to find a thick mist creeping under the door and filling the shack. It becomes a tentacle and begins pulling on Roland.
An evil clown appears in the mist, and says “Hello, Jacob.” The mist grabs Alicia and begins to pull her toward the sea. Both she and Roland try to fight the mist, but to no avail. Roland stands helplessly on the beach, watching as the Orpheus begins to rise from the water, and float upright. Roland hears maniacal laughter, and sees Dr. Cain standing on the ship, grinning as the tentacle of mist drops Alicia at his feet.
Chapter 16Max joins Roland on the beach and begins screaming at Cain; Roland dives into the waves and swims towards the Orpheus. Cain drags Alicia to a cabin and locks her in, where she finds the corpse of the former captain of the ship, The Dutchman.
Max makes climbs on some nearby rocks to get closer to the ship, and is able to jump on board, while Roland struggled to grab hold of the helm and steer the vessel away from the rocks.
Meanwhile, Victor arrives at Roland's hut, and something strikes him in the back of the head, knocking him unconscious.
Max encounters Cain, who brags to him of his exploits, and Max attempts to indulge him, hoping to give Roland time to find Alicia. But they hear Roland calling Alicia's name, and Cain realizes what Max was trying to do. Cain flings Max into the sea, and he is able to scramble onto some rocks.
Chapter 17Cain and Alicia have another encounter, and he tries to convince her to promise him her first-born child in exchange for Roland's life. She tells him to go to Hell, and he say, “my dear girl, that’s exactly where I’ve come from,” (200.)
The ship is sinking, and Roland is still searching for Alicia when he encounters Cain, who keeps calling him Jacob. Roland still has not made the connection, since he cannot remember his life before his parents died, but he plays along, asking Cain what he has to do to save Alicia's life. Cain says, “I hope you’ll carry out the part of the agreement your father was unable to fulfill… Nothing more. And nothing less” (203.)
Tears in his eyes, Roland agrees. Cain tells Roland where Alicia is, and explains that it's already underwater and she won’t be able to breathe by the time he reaches her. He finds the room, takes a deep breath, and searches her out in the darkness. He waits for the ship to touch the bottom of the sea so that the pressure will not pull them back down; when the impact came, the ceiling above began collapsing on top of them, and Roland's leg was pinned beneath the woody debris. Alicia was struggling to hold her breath, so Roland pulled her to him, and though she tried to resist, he breathed the last of his air into her mouth and then pushed her away towards the surface.
Max helps Alicia out of the water; Victor wakes up on the beach and helps the two of them ashore, asking, “Where’s my Roland?” (207.)
Roland never returned.
Chapter 18The day after the storm, Maximilian and Alicia Carver returned to the beach house with young Irina, who had fully recovered. It was clear to the parents that Max and Alicia had been through a great ordeal, but they didn’t ask, and the teens didn’t tell.
Max accompanies Victor Kray to the train station, and Victor tells him he won’t be returning to the town. Before he leaves, he gives Max a small box. Max waits until Victor is gone before he opens it, and inside, he finds the keys to the lighthouse.
EpilogueIn the last weeks of summer, the war is nearing its end. Maximilian's watchmaking business is booming, and Max cycles to the lighthouse every day to ensure the lantern is lit to help guide ships safely to shore. He often sees Alicia alone near Roland's shack on the beach, gazing into the sea.
Max remembers Roland's words about worrying that this would be his last summer in the town, and comforts himself with the thought that the memories Roland, Max and Alicia shared, will bind them forever.
Awards and nominations
The novel has won several awards, including the Edebé Literary Prize for Young Adult Fiction and the C.C.I.I. Award in 1994. The Prince of Mist was also one of the American Library Association's picks for "Best Fiction for Young Adults" for 2011.
Reception
Critical reception for The Prince of Mist was positive, with the Irish Independent praising the novel as "a chilling adventure". Monsters and Critics also praised the book, writing that it was "a gripping tale with a heart-wrenching conclusion". The Manila Bulletin lauded the book as "a worthy forerunner to Zafon’s bestsellers".The Independent stated that although the book was rushed and overly explained in places, "the main story remains gripping enough".
Cultural influence
Mexican heavy metal band Velvet Darkness published a song titled "The Prince of Mist" on their debut EP Delusion based on Ruiz Zafon's novel.
References
External links
The Prince of Mist title listing at the Internet Speculative Fiction Database | language of work or name | {
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The Prince of Mist (Spanish: El Príncipe de la Niebla) is a 1993 mystery and horror young adult novel by Carlos Ruiz Zafón. It was initially published in Spanish by Editorial Planeta and later in an English translation by Lucia Graves by Little, Brown Books for Young Readers in 2010. The Prince of Mist was Zafón's first novel.
Plot summary
Max Carver, son of a watchmaker, has moved with his family from the city to get away from the war. Max's new house was formerly owned by Richard Fleischman, his wife and son. Max experiences mysterious events which have to do with Jacob Fleischman, the son of Richard Fleishman, who had drowned. Over time, Max discovers a sculpture garden near his house, where strange things happen. Max finally makes a friend, Roland. Roland is older than Max, around the age of his sister, Alicia, who is 15. After diving near the wreck, the Orpheus, Max has more and more questions, which will be answered by Victor Kray, grandfather of Roland.
Detailed summary
Chapter 1The story opens in 1943 in an unnamed city. It is mid-June, the day of the protagonist, Max Carver's, thirteenth birthday.
Maximilian Carver, Max's father, and an eccentric watchmaker, tells Max and his family that they are leaving their lives in the city, which is suffering a war, to live in a town on the coast.
We meet the family: Andrea Carver, Max's mother, and Max's sisters: Alicia, the elder, and Irina the younger. They reluctantly accept their fate, although Max is especially unhappy about having to leave his friends in the city.
Before retiring to bed, Mr. Carver gives Max his birthday present: a watch made by his father, with an engraving on the back that says, Max's time machine.
They arrive at the train station, and Max sees that the station clock is slow. His father jokes that he has work already.
Mr. Carver finds, and then employs two men, Robin and Philip, to help the family carry and transport their luggage.
Max feels someone watching him, and turns to see a large cat with luminous yellow eyes watching him. The cat befriends Irina, who takes an immediate liking to the creature; she begs her parents to let her bring it with them, and they eventually concede.
Before they leave the station, Max notices that the clock is even further behind than he had thought, but as he watches it for a moment, he realizes it is actually turning backwards.
Chapter 2As they drive through the town, the family begins to warm up to the sights, noticeably calmed by tranquil coastal setting. Maximilian Carver is delighted by his family's reactions, and visibly enthused about their new lives on the coast.
Max gazes at the ocean, which is covered by a light mist, and thinks he sees the silhouette of a ship sailing on the horizon. But it quickly disappears.
On the way to their new home, Mr. Carver tells them the history of the house. It was built in 1923 by Dr. Richard Fleischmann, and he lived there with his wife, Eva. They had a son, Jacob, on June 23, 1925. The family lived happily until the tragedy of 1932, when Jacob drowned playing on the beach near his home.
After that, Dr. Fleischmann's health deteriorated, and after he had died, his widow, Eva, left the house to her lawyers to sell, and fled elsewhere.
When they arrive, the porters leave quickly, and before they have even taken their first steps into the house, the cat leaps from Irina's arms, letting out a satisfied meow as it is the first to touch down in the foyer.
The home is musty and dusty, so the family sets out cleaning it up. The girls are horrified to find huge spiders in their rooms, so Max is charged with disposing of them. Before he can terminate a terrible-looking one, the cat aggressively devours it.
Max looks out the window, and beyond the yard, and can vaguely make out a small clearing enclosed by a wall of stone. Inside, there appears to be an overgrown garden, with a circle of stone figures – statues. The wall enclosure is secured with spearhead points along its edge, each embossed with a symbol of a six-pointed star enclosed in a circle.
Chapter 3Max awakes with a start from a bad dream the next morning. Outside, dawn is breaking, and the air is clouded with a hazy mist. No one else is awake, and he decides to go outside and explore the mysterious garden he had observed through the window the night before.
He must break a lock to access the garden, and he is overcome with a foreboding feeling as he enters. Inside, he discovers the statues depict ominous-looking circus characters, including a lion tamer, a contortionist, a fakir, a strong man, and some other ghostly characters, all are arranged in a star pattern around one central figure on a pedestal: a terrible clown, with arms outstretched and hands in a fist. At the clown's feet, Max sees another small paving stone with the same six-pointed star inside of a circle inscribed on its surface. Max looks up again, and sees the hand of the clown is now open to the sky. Afraid, he flees back to the house, not looking back.
Finding his family now awake and preparing breakfast, Max decides not to tell them what he has seen because he knows they will be skeptical, and he doesn’t want to crush his father's excitement about their new home.
Maximilian Carver eagerly tells the family about his own discovery in the shed outside: an old projector and a box of old films, as well as two bicycles.
Chapter 4Max helps his father restore the old bicycles and they discover they have barely been used. He asks his father casually about the garden out back, but his father doesn’t give much of a response.
Max takes his bike for a ride, and begins to explore the town. Soon, he meets a boy a few years older than he is, named Roland, who is also out riding his bike. Roland offers to show him around, and Max takes him up on the offer.
The two pedal around town for hours, and Max is barely able to keep up with the older boy, but enjoys the tour nonetheless.
They rest, and Roland tells him about a ship that sunk off the coast in 1918; the wreckage remains underwater. The sole survivor of the shipwreck was an engineer who, as a way of thanking providence for saving his life, settled in the town and built a lighthouse on the cliffs overlooking where the ship had sunk.
That man is Roland's adoptive grandfather, Victor Kray; Roland's own parents were killed in a car accident when he was a baby, and they had entrusted Roland to Victor's care in their will.
Before the boys part ways, Roland invites Max to go diving with him and explore the shipwreck the next day. Max accepts the offer, and Roland promises to pick him up the next morning.
At home, Max finds a note from his mother and a plate of sandwiches awaiting him. His parents have gone into town with Irina, and Alicia is nowhere in sight.
Outside, rain begins to fall, and Max retires to his room for a nap.
Chapter 5Max awakes to the sound of his family downstairs, and he goes down to join them for dinner. He tells them about the friend he’d made that day, and even invites his older sister, Alicia, to join him and Roland in their dive the next day. To his surprise, Alicia accepts the invitation.
After dinner, Maximilian sets up the old projector he had salvaged that morning, and the family settles in to watch one of the unmarked films from the box.
As the movie begins, they see it is a homemade movie, and the scene begins in a forest. The scene takes them through the trees, and a silhouette begins to appear, as the camera approaches an enclosed garden – the very garden Max had visited that morning. The camera operator enters the garden, revealing the mysterious statues, which look new, unlike the weathered state Max had observed them in. When the scene moves to the clown, Max feels something is different from the way he had observed it that morning, but he can’t decide what it is, and the film ends suddenly.
Disappointed with their cinematic experience, the family retires to bed. Max decides to stay up and watch another film. Alicia waits for the rest of the family to leave, and she looks distraught. She tells Max she has seen the clown from the movie before – which she dreamed of that exact clown the night before they had moved to their new home.
Max assures her she is probably just imagining the similarity and encourages her to forget about it. Alicia agrees he is probably right, and she goes to bed.
Feeling unsettled by what Alicia told him, Max suddenly feels a presence behind him. He turns suddenly, and sees Irina's cat looking at him with its yellow eyes. He shoos it away, but before leaving, it seems to smile at him.
Max decides to put the projector and films back into the box and then go to bed.
Chapter 6Alicia wakes before sunrise with two golden feline eyes staring at her. She ignores the animal and thinks about her friends in the city, as she gets dressed. Max knocks on the door to tell her Roland has arrived.
She joins the boys outside and there is an instant connection between Roland and Alicia, who are the same age. Knowing there is an extra bike in the garage, Max enjoys the flirtatious scene, and tells Alicia she will have to balance on Roland's handlebars down to the beach.
At the beach, Roland shows them his shack, where he sleeps during the summers. The inside is filled with trinkets and treasures that Roland has recovered from his dives down to the shipwreck just off shore.
The boys prepare for their dive and Alicia waits on shore. Max is mesmerized by the experience of the cool water, and the serene silence beneath the surface of the ocean, but he leaves the deep diving to his friend.
Roland discovers some new treasures, while Max observes from a distance, noticing the ship's name inscribed on the bow, the Orpheus. Through the water, he dimly sees an old, tattered flag ebbing with the current. As it unfurls, horror seizes Max as he recognizes the symbol he had seen in the garden of a six-pointed star enclosed in a circle. He immediately swims back to the beach.
When Roland joins the Carver children on the beach, Alicia begins collecting seashells, and once she is out of earshot, Max tells Roland about the symbol and the circus figures.
Alicia returns to the boys and begins to ask Roland about his grandfather and the ship. Roland invites them into the cabin and promises to tell them the full story there.
Meanwhile, back at the Carver home, we learn that Irina has been hearing voices in the house, and now hears them in her room, much like a whisper in the walls. It seems to be coming from her wardrobe, and as she approaches it, she sees there is a key in the lock. She hurriedly turns it to the locked position, and steps back. The sound continues, and hearing her mother calling her, Irina turns to run from the room. An icy breeze sweeps past her and slams the door shut, and she struggles with the handle, looking over her shoulder. She sees the key slowly turning; the voices become louder, and she hears laughter...
Back in Roland's shack, Roland tells Alicia and Max more about the Orpheus, retelling all that his grandfather, Victor Kray, has told him about the accident, and the events leading up to it.
The Orpheus began as a cargo ship with a bad reputation, operated by a corrupt Dutchman who rented the ship out to anyone who would pay, including smugglers and criminals. The Dutchman was also a gambler, and he had accumulated a lot of debt, which made him desperate to gamble more. He lost a big card game to a man named Mr. Cain, who owned a travelling circus, known for employing shady criminals. Knowing the police were closing in on he and his group's criminal activities, Mr. Cain charged The Dutchman with transporting his evil posse across the Channel on his ship, and the man agreed.
Roland's grandfather had the misfortune of knowing Mr. Cain for some time, and had unfinished business of some sort with him. He did not want Mr. Cain to leave the town without settling things with Victor first, so hearing of his plot to escape the town, he boarded the Orpheus as a stowaway, not even sure what he would do when he confronted Mr. Cain.
He wouldn’t have to, as it turned out, as the ship crashed, and Mr. Cain and all of the other passengers on the ship were killed, save Victor, who was spared thanks to the hiding place he had chosen – a lifeboat.
But they never found any bodies.
Max and Alicia point out that something seemed to be missing from Victor Kray's story, and Roland agrees...
Back at the Carver house, Irina feels her hands go numb, and she continues to fumble with the door, and she watches in horror as the key turns in the lock, finally stops moving, and is then pushed out of the keyhole, falling to the floor. The wardrobe begins to creak open, and Irina tries to scream as a shape emerges from the wardrobe – the cat. She kneels to pick it up, but then notices something behind the cat, deeper in the wardrobe. The cat opens its jaws and hisses at her, then retreats back into the wardrobe, and a giant smile filled with light appears in the darkness with two glowing golden eyes, and all of the voices she has been hearing say “Irina” in unison. Irina screams and throws herself against the bedroom door, which gives away, and she stumbles into the hallway, and hurls herself down the stairs.
Downstairs, Andrea Carver has heard her daughter's scream, and runs to the base of the stairs just in time to see her child tumbling down to the bottom, a tear of blood escaping from her forehead. Mrs. Carver feels her pulse, and finding it is weak, calls the doctor. Holding her unconscious child, she looks up the stairs to see the cat watching her coldly.
Chapter 7When they return to the house, Max and Alicia see an unfamiliar car in the driveway, which Roland recognizes as the car of the town Doctor, Dr. Roberts.
Their father tells them about Irina's accident, and explains that he and Mrs. Carver will go with Irina to the hospital. Max and Alicia assure him that they will be fine.
The three friends eat a simple dinner on the porch, and then Alicia and Roland decide to go swimming. Max sits on the porch, and thinks about the bond between his sister and new friend. He recalls Roland telling him that he may be sent to the war at the end of the summer, and he fears the effect that will have on his sister.
After the swim, Alicia and Roland and Max build a bonfire on the beach, and discuss the strange occurrences and discoveries of the past few days, and Max reveals a final mystery: the Fleischmann film of the statues revealed the figures situated in different positions than Max had seen in the present day. Roland reveals a secret too: he has dreamed about the clown figure every summer since he was five.
They all agree they will speak with Victor Kray the next day to learn more about the shipwreck.
Chapter 8The teens stay up until daybreak, and then Roland rides his bike home, while Max and Alicia retire to bed.
The scene moves to Victor Kray returning from the lighthouse. He enters his home quietly, and finds his grandson waiting for him in an armchair. They make breakfast together, and Roland begins to tell him about his new friends that live in the Fleischmanns’ old house, and the strange happenings. His grandfather listens and tells him to find his friends and bring them to the lighthouse.
Chapter 9Back at the Carver's house, Maximilian has phoned his children to tell them Irina is in a coma, but is expected to wake up. Roland appears on the scene and asks Max and Alicia to come to his grandfather's home.
Victor Kray recounts for them a story very similar to the one Roland told about the shipwreck, but he also reveals some new facts.
He explains the “unfinished business” between him and the wickedness Mr. Cain. They had met when they were boys, when the villain went simply by the name Cain. He was a notorious cheat at dice and cards in the town where Victor grew up, and the neighbourhood boys referred to him as the Prince of Mist because, rumour had it, he appeared out of a haze in dark alleyways at night and disappeared again before dawn.
He had a reputation for making young boys’ wishes come true in exchange for their undying “loyalty.”
Victor never succumbed to the temptation of expressing his wishes to Cain, but Victor's best friend, Angus, did. Angus’ father had lost his job, and he asked Cain to restore the family's only source of income. Inexplicably, his father was rehired the next day.
Two weeks later, Victor and Angus were walking on the train tracks at night when they ran into Cain. Cain told them Angus would have to burn down the local grocery store.
Victor and Angus ran home, but Victor knew Angus would not fulfill the request. But the next morning when Victor went to Angus’ house, he was not there, and no one could find him. Victor searched the city, and then returned to the train tracks where they’d run into Cain. There, he found the frozen corpse of his friend's body – transforming into smoky blue ice, and melting into the tracks. Around his neck was a chain with a symbol of a six-pointed star in a circle.
That same night, the grocery store Cain had demanded that Angus burn down was destroyed by a fire. Victor never told anyone what he knew, and his family moved south a few weeks later.
Chapter 10Victor continues to tell of his knowledge of Cain, recounting another encounter that took place a few months later, when his father took Victor to an amusement park. Waiting for the Ferris Wheel, Victor became aware of a tent being touted as the den of “Dr. Cain – fortune-teller, magician and clairvoyant.”
Reluctantly, Victor gave into his curiosity and entered the tent, where Dr. Cain immediately recognized him and called him by name. He asked him his wish, but Victor wouldn’t tell him. He spoke boldly to Cain, and accused him of killing his friend. Cain denied the incident, describing it as an “unfortunate accident.”
When Victor left the tent, he resolved never to see the man again. For many years, he didn’t. He went to college, and befriended a man named Richard Fleischmann and a woman named Eva Gray. Both Victor and Richard were in love with Eva, but the three remained friends.
One night, Richard and Victor went out drinking and ended up at a fair. They stumbled upon a fortune-teller's tent, and Richard wanted to go in and ask whether Eva would eventually choose one of the men for her husband. Despite his drunken stupor, Victor refused to go inside, knowing it would be the evil Dr. Cain, but his friend rushed in. Victor fell asleep outside on a bench. When he woke up, it was daylight, the fair was being cleaned up, and Richard was asleep on the bench next to him. The two had a terrible hangover, and barely remembered the night before. Richard told Victor that he dreamt he went into a magician's tent and was asked what his greatest wish was. He said he wanted to marry Eva Gray.
Two months later, Eva Gray and Richard Fleischmann were married. They didn’t invite Victor to the wedding, and Victor didn’t see them for twenty years.
Decades later, Victor noticed someone suspicious following him home. It turned out to be Richard, his old friend. Richard looked terrible, and began to cry as he recounted his memories from the night at the fair, finally revealing what he had promised the magician in exchange for his wish for Eva's love: his first-born son.
Richard described to Victor how he’d been trying desperately to keep Eva from becoming pregnant, but that she wanted a child so badly that their lack of one was driving her into depression. Victor agrees to help Richard by tracking down Cain.
He finds Cain with a circus troupe, now in a clown façade, just as they are preparing to escape on the Dutchman's ship. Victor climbed aboard and hid himself in a lifeboat. Fierce winds picked up, and the storm soon took over.
As Roland had told his friends the day before, Victor was the only known survivor of the shipwreck, and the other bodies were never found.
Hearing that Victor had constructed and moved into a lighthouse on the cliffs, Richard visited him one day, and Victor told him what had happened. Overcome with relief, Richard stopped preventing Eva from having a child, and began building a home for them on the beach. A few years later, their baby boy, Jacob, was born.
The couple enjoyed the best years of their lives with their child, until he drowned. When Victor heard, he knew the Prince of Mist had never really left their lives, and he has feared his return ever since.
Chapter 11When Victor finishes his story, a storm is closing in. Max still thinks some facts are missing from Victor's story, but can’t determine where the holes are. Alicia and Roland seem sceptical of the whole story Victor has told, questioning whether the old man has begun to lose his mind.
That night, Max and Alicia have a quiet supper together, their parents still at the hospital. Alicia goes to bed, and Max decides to watch another of the Fleischmann films.
The film shows the face of a clock turning backwards, hanging from a chain. The camera zooms out, and we see the pocket watch is being held by a statue in the walled garden. The scene scans the faces of the statues, landing finally on the Prince of Mist – the clown. The camera pans down and reveals the motionless statue of a cat at its feet, its claw poised in the air. Max remembers that cat wasn’t there when he’d visited the garden, and notices the likeness between the statue and Irina's cat. The camera goes back to the clown's stone face, and it slowly smiles, revealing wolf-like fangs.
Chapter 12The next morning, Max wakes at noon and Alicia has left a note, saying that she is at the beach with Roland. He rides his bike to town and eats at a bakery, and then rides to where Roland's Shack sits on the beach. He sees Roland and Alicia kissing, and feels silly approaching them, so he rides his bike back into town. He goes the library, finds a map of the town, and locates the graveyard. He rides his bike there to visit the tomb of Jacob Fleischmann. The cemetery is big and quiet. He finds a dark mausoleum devoted to Jacob Fleischmann, and enters the tomb. Under Jacob's name, he finds the six-pointed star symbol engraved.
He feels eerie in the tomb, and suddenly senses he is not alone in the darkness; he sees a stone angel walking on the ceiling above him, and it points at him slowly and then gives an evil smile, transforming into the face of the evil clown, Dr. Cain. Max saw burning hatred in its eyes, and filled with fear, ran from the tomb.
Afterwards, he realized he had dropped the watch his father had given him, but he was too afraid to go back and retrieve it.
He rides to Victor's lighthouse, and tells him what happened. Then he accuses the man of keeping some of the truth from Max and his friends, but Victor Kray denies it, and tells Max to forget the whole thing. Victor looks pained to shut him out, but asks Max to leave.
Chapter 13The next morning, Max gets up before dawn and rides to the town bakery to get breakfast for himself and Alicia.
Later, they meet Roland at the beach, and he shows them a small rowboat he has restored. They go out in the boat, and Roland and Alicia prepare to dive down. Alicia enjoys being beneath the water with Roland, but then Roland spots a giant black shadow approaching them, and begins rushing Alicia back to the boat. A gigantic eel-like figure rapidly follows them, but Roland gets Alicia to the boat before the figure snatches him with jagged teeth and drags him into the sea.
Seeing his sister is safe, Max impulsively dives in after his friend, and is able to rescue him from the frightening creature, even as it transforms into the face of an evil clown. Roland wakes up in the boat, choking, and knows Max has saved his life.
Back on shore, the three friends are exhausted and they fall asleep in Roland's shack.
Chapter 14The scene opens with Victor Kray sneaking through the Carvers’ yard, toward the garden enclosure. He has his old revolver with him, and when he enters the garden, the statues are gone. He hears the rumble of a storm, a flash of lightning splits the sky, and Victor suddenly understands what will happen.
Max wakes up in Roland's shack, and realizes he needs to be proactive about predicting Cain's next move. He rides his bike back home and begins watching another film. This movie begins in the living room where Max sits, but with different furniture, and everything looking new. The camera moves up the stairs, and into the room that Irina had occupied before her accident. The door opens, the camera enters the room, focusing on the wardrobe. Dr. Cain emerges from the wardrobe with an evil smile, and reveals a pocket watch, with its hands spinning backwards. Max recognizes it as the watch his father gave him for his birthday, and the one he had dropped in Jacob's tomb earlier that day. The hands move faster and faster until they start to smoke and spark, and soon the whole face of the clock is ablaze.
The camera moves away from the clock and films a mirror, revealing the camera operator as a small boy. Max looks at the boy's childish grin, and realizes he looks familiar: it's Roland as a child.
A flash of lightning catches Max's eye outside and when he looks out the window, he sees a dark figure there: Victor Kray.
Chapter 15Max lets Victor in and makes a cup of tea to warm him. Victor is shaking as he tells Max the statues are gone, and asks where Roland is. Max tells Victor his suspicion that Roland is Jacob Fleischmann, and Victor tells him he doesn’t understand what's happening, but Max insists Victor tell him the truth.
The old man explains that when Richard had thought Cain had drowned and built the house on the beach, things had been fine for a long time, until Jacob went missing one day when he was five. When night fell, Richard searched the forest, remembering an old stone enclosure that had been there when he was building the house. He searched the enclosure, and found Jacob. He was playing amongst the ominous statues that Richard was certain weren’t there when he built the home. Richard never told his wife about this or his encounter with the magician so many years before.
One night, Victor was manning the lighthouse, as usual, when he had a sudden premonition that Jacob was in danger. He ran to the Fleischmann house, and to the beach. He saw Jacob wading into the water, as if entranced by a mysterious water monster that was dimly visible in the mist off shore. He looked to the house, and saw some of the circus statues were holding Mr. and Mrs. Fleischmann, who were desperately fighting to save their son.
The creature began dragging the boy into the sea, but Victor chased it, and rescued Jacob from its clenches, taking him back to the surface. He tried to revive him, but he was gone. The statues disappeared the moment the Victor realized the boy was dead. Fleischmann was beside himself with grief, and ran into the ocean shouting to Cain, offering his own life in exchange for the life of his son.
Then, inexplicably, Jacob sputtered back to life. He was in shock and did not remember his own name. Eva took him inside, and Victor followed, while Richard remained outside. Eva asked Victor to take the boy, hoping that his life would be out of danger if he had a different identity.
They let the townspeople think that Jacob had drowned, and the body was never found. A year later, Richard died from a deadly infection he caught from being bitten by a wild dog.
Victor explains that the tomb at the local cemetery was built by Cain, who is reserving it for the day he recovers Jacob's body...
Meanwhile, Alicia and Roland wake at the beach shack to find a thick mist creeping under the door and filling the shack. It becomes a tentacle and begins pulling on Roland.
An evil clown appears in the mist, and says “Hello, Jacob.” The mist grabs Alicia and begins to pull her toward the sea. Both she and Roland try to fight the mist, but to no avail. Roland stands helplessly on the beach, watching as the Orpheus begins to rise from the water, and float upright. Roland hears maniacal laughter, and sees Dr. Cain standing on the ship, grinning as the tentacle of mist drops Alicia at his feet.
Chapter 16Max joins Roland on the beach and begins screaming at Cain; Roland dives into the waves and swims towards the Orpheus. Cain drags Alicia to a cabin and locks her in, where she finds the corpse of the former captain of the ship, The Dutchman.
Max makes climbs on some nearby rocks to get closer to the ship, and is able to jump on board, while Roland struggled to grab hold of the helm and steer the vessel away from the rocks.
Meanwhile, Victor arrives at Roland's hut, and something strikes him in the back of the head, knocking him unconscious.
Max encounters Cain, who brags to him of his exploits, and Max attempts to indulge him, hoping to give Roland time to find Alicia. But they hear Roland calling Alicia's name, and Cain realizes what Max was trying to do. Cain flings Max into the sea, and he is able to scramble onto some rocks.
Chapter 17Cain and Alicia have another encounter, and he tries to convince her to promise him her first-born child in exchange for Roland's life. She tells him to go to Hell, and he say, “my dear girl, that’s exactly where I’ve come from,” (200.)
The ship is sinking, and Roland is still searching for Alicia when he encounters Cain, who keeps calling him Jacob. Roland still has not made the connection, since he cannot remember his life before his parents died, but he plays along, asking Cain what he has to do to save Alicia's life. Cain says, “I hope you’ll carry out the part of the agreement your father was unable to fulfill… Nothing more. And nothing less” (203.)
Tears in his eyes, Roland agrees. Cain tells Roland where Alicia is, and explains that it's already underwater and she won’t be able to breathe by the time he reaches her. He finds the room, takes a deep breath, and searches her out in the darkness. He waits for the ship to touch the bottom of the sea so that the pressure will not pull them back down; when the impact came, the ceiling above began collapsing on top of them, and Roland's leg was pinned beneath the woody debris. Alicia was struggling to hold her breath, so Roland pulled her to him, and though she tried to resist, he breathed the last of his air into her mouth and then pushed her away towards the surface.
Max helps Alicia out of the water; Victor wakes up on the beach and helps the two of them ashore, asking, “Where’s my Roland?” (207.)
Roland never returned.
Chapter 18The day after the storm, Maximilian and Alicia Carver returned to the beach house with young Irina, who had fully recovered. It was clear to the parents that Max and Alicia had been through a great ordeal, but they didn’t ask, and the teens didn’t tell.
Max accompanies Victor Kray to the train station, and Victor tells him he won’t be returning to the town. Before he leaves, he gives Max a small box. Max waits until Victor is gone before he opens it, and inside, he finds the keys to the lighthouse.
EpilogueIn the last weeks of summer, the war is nearing its end. Maximilian's watchmaking business is booming, and Max cycles to the lighthouse every day to ensure the lantern is lit to help guide ships safely to shore. He often sees Alicia alone near Roland's shack on the beach, gazing into the sea.
Max remembers Roland's words about worrying that this would be his last summer in the town, and comforts himself with the thought that the memories Roland, Max and Alicia shared, will bind them forever.
Awards and nominations
The novel has won several awards, including the Edebé Literary Prize for Young Adult Fiction and the C.C.I.I. Award in 1994. The Prince of Mist was also one of the American Library Association's picks for "Best Fiction for Young Adults" for 2011.
Reception
Critical reception for The Prince of Mist was positive, with the Irish Independent praising the novel as "a chilling adventure". Monsters and Critics also praised the book, writing that it was "a gripping tale with a heart-wrenching conclusion". The Manila Bulletin lauded the book as "a worthy forerunner to Zafon’s bestsellers".The Independent stated that although the book was rushed and overly explained in places, "the main story remains gripping enough".
Cultural influence
Mexican heavy metal band Velvet Darkness published a song titled "The Prince of Mist" on their debut EP Delusion based on Ruiz Zafon's novel.
References
External links
The Prince of Mist title listing at the Internet Speculative Fiction Database | form of creative work | {
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Halfshire (Latin: Hundredum Dimidii Comitatūs, "hundred of half (the) county") was one of the hundreds in the English county of Worcestershire. As three of the five hundreds in the county were jurisdictions exempt from the authority of the sheriff, the hundred was considered to be half what was subject to his jurisdiction, whence the name.The hundred seems to have been formed in the mid-12th century, by amalgamating the Domesday hundreds of Came (except three of the Came manors, viz. Alvechurch, Stoke Prior and Osmerley which went to the hundred of Oswaldslow), Clent, Cresslau, and Esch, other than those parts where an ecclesiastical exempt jurisdiction existed, which were joined to the appropriate ecclesiastical hundreds about the same time.
Anciently, it contained the following manors: Belbroughton, Bentley Pauncefoot, Bromsgrove, Chaddesley Corbett, Churchill, Church Lench, Cofton Hackett, Cradley, Doverdale, Droitwich, Dudley, Elmbridge, Elmley Lovett, Feckenham, Frankley, Hadzor, Hagley, Kidderminster, Kingsford (in Wolverley), Kings Norton, Kington, Lutley, Northfield, Oldswinford, Over Mitton (formerly in Hartlebury, but now part of Stourport), Pedmore, Rushock, Salwarpe, Stone, Stourbridge, Upton Warren, and Warley Wigorn. Of these, Kington and Church Lench were exclaves. Feckenham and Bentley Pauncefoot were also nearly exclaves until Tardebigge was added.
It also contained the extra-parochial places of Crutch, Grafton Manor, and Westwood Park.
By the late 17th century the hundred was administered in two divisions. The court for the lower division met at Churchill "under a great tree".
Halfshire's Exclaves and Enclaves
The following map and accompanying table is a breakdown of the exclaves, enclaves and parishes incorporated into Halfshire hundred between 1844 (following enactment of the Counties (Detached Parts) Act 1844) and the creation of the district council structure in 1894. For clarity, the map and table includes Halfshire's own parishes that were enclaves of other Worcestershire hundreds, and also the location of Upper Arley's inclusion in 1895.
References
Victoria County History, Worcestershire, volume 3, 1-4.[1]. | instance of | {
"answer_start": [
48
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"text": [
"hundred"
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | instance of | {
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | connecting line | {
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"Eastleigh to Romsey Line"
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | located in the administrative territorial entity | {
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"Chandler's Ford"
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | operator | {
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"South Western Railway"
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | named after | {
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | Commons category | {
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | located on linear feature | {
"answer_start": [
113
],
"text": [
"Eastleigh to Romsey Line"
]
} |
Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | number of platform tracks | {
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"1"
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Chandler's Ford railway station serves the Chandler's Ford area of Eastleigh in Hampshire, England. It is on the Eastleigh to Romsey Line, 75 miles 25 chains (121.2 km) measured from London Waterloo.
History
The station was opened as a halt by the London and South Western Railway in 1847. Passenger services were withdrawn by British Rail in May 1969, although occasional diverted trains and railtours continued to use the line, passing through the station without calling.
A £10 million pound plan was put forward in 1999 to reopen Southampton Terminus and Northam Station, which was to have been controlled by Anglia Railways, their plans included building a new rail-link using the current remaining track by St. Marys Stadium and as far as the Waterfront, which is now safe guarded by Southampton City Council for future rail links. This would have allowed trains to go from Southampton Waterfront to East Anglia without the need to change at London. It was also hoped it would reduce the traffic around Southampton with a local commuter line linking the Waterfront to Romsey, Halterworth and Chandler's Ford. The plans were thwarted after South West Trains changed their 1999 time table, which resulted in two of Southampton Central's four tracks being blocked for about 20 minutes of each hour, resulting in capacity issues.Chandler's Ford was reopened for passenger traffic on 18 May 2003, though the new station building was not completed until later that year. It was officially opened on 19 October 2003 by the television gardening presenter Charlie Dimmock, who lives in the area. The original station had two platforms, but the new station has only one, as the line is now single-track only.
Services
The typical off-peak service is one train per hour to Romsey, and one train per hour to Salisbury via Southampton Central.
Connections
Chandler’s Ford station is also served by buses on the Bluestar 1 between Southampton and Winchester via Bassett and Compton.
References
External links
Local Rail InformationTrain times and station information for Chandler's Ford railway station from National Rail | historic county | {
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"Hampshire"
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Sean Adair (born 26 December 1986) is a South African cricketer. He played in 53 first-class, 47 List A, and 4 Twenty20 matches for Eastern Province from 2006 to 2012.
See also
List of Eastern Province representative cricketers
References
External links
Sean Adair at ESPNcricinfo | occupation | {
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54
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Sean Adair (born 26 December 1986) is a South African cricketer. He played in 53 first-class, 47 List A, and 4 Twenty20 matches for Eastern Province from 2006 to 2012.
See also
List of Eastern Province representative cricketers
References
External links
Sean Adair at ESPNcricinfo | sport | {
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Sean Adair (born 26 December 1986) is a South African cricketer. He played in 53 first-class, 47 List A, and 4 Twenty20 matches for Eastern Province from 2006 to 2012.
See also
List of Eastern Province representative cricketers
References
External links
Sean Adair at ESPNcricinfo | family name | {
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Sean Adair (born 26 December 1986) is a South African cricketer. He played in 53 first-class, 47 List A, and 4 Twenty20 matches for Eastern Province from 2006 to 2012.
See also
List of Eastern Province representative cricketers
References
External links
Sean Adair at ESPNcricinfo | given name | {
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Eshani Kaushalya (also known as Eshani Lokusuriyage, born 1 June 1984) is a Sri Lankan cricketer who played for the Sri Lanka national women's cricket team. An all-rounder, she played as a right-handed batsman and a right-arm medium pace bowler.Kaushalya made her debut for Sri Lanka during the 2005 Women's Cricket World Cup, scoring seven runs. She collected her first international wicket later during the tournament, trapping West Indian Juliana Nero leg before wicket. She batted well for Sri Lanka during the 2006 Women's Asia Cup, finishing top of the batting averages for her country, scoring 106 runs at 35.33, including her career high score of 57. During the 2013 Women's Cricket World Cup, she scored two half-centuries, against England and India, and was named as part of the team of the tournament by the International Cricket Council.In February 2016, she along with Ama Kanchana recorded the highest 8th wicket partnership in WT20I history (39)In October 2018, she was named in Sri Lanka's squad for the 2018 ICC Women's World Twenty20 tournament in the West Indies.In October 2021, she announced her retirement from cricket.
== References == | country of citizenship | {
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Eshani Kaushalya (also known as Eshani Lokusuriyage, born 1 June 1984) is a Sri Lankan cricketer who played for the Sri Lanka national women's cricket team. An all-rounder, she played as a right-handed batsman and a right-arm medium pace bowler.Kaushalya made her debut for Sri Lanka during the 2005 Women's Cricket World Cup, scoring seven runs. She collected her first international wicket later during the tournament, trapping West Indian Juliana Nero leg before wicket. She batted well for Sri Lanka during the 2006 Women's Asia Cup, finishing top of the batting averages for her country, scoring 106 runs at 35.33, including her career high score of 57. During the 2013 Women's Cricket World Cup, she scored two half-centuries, against England and India, and was named as part of the team of the tournament by the International Cricket Council.In February 2016, she along with Ama Kanchana recorded the highest 8th wicket partnership in WT20I history (39)In October 2018, she was named in Sri Lanka's squad for the 2018 ICC Women's World Twenty20 tournament in the West Indies.In October 2021, she announced her retirement from cricket.
== References == | occupation | {
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Eshani Kaushalya (also known as Eshani Lokusuriyage, born 1 June 1984) is a Sri Lankan cricketer who played for the Sri Lanka national women's cricket team. An all-rounder, she played as a right-handed batsman and a right-arm medium pace bowler.Kaushalya made her debut for Sri Lanka during the 2005 Women's Cricket World Cup, scoring seven runs. She collected her first international wicket later during the tournament, trapping West Indian Juliana Nero leg before wicket. She batted well for Sri Lanka during the 2006 Women's Asia Cup, finishing top of the batting averages for her country, scoring 106 runs at 35.33, including her career high score of 57. During the 2013 Women's Cricket World Cup, she scored two half-centuries, against England and India, and was named as part of the team of the tournament by the International Cricket Council.In February 2016, she along with Ama Kanchana recorded the highest 8th wicket partnership in WT20I history (39)In October 2018, she was named in Sri Lanka's squad for the 2018 ICC Women's World Twenty20 tournament in the West Indies.In October 2021, she announced her retirement from cricket.
== References == | sport | {
"answer_start": [
87
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"text": [
"cricket"
]
} |
Eshani Kaushalya (also known as Eshani Lokusuriyage, born 1 June 1984) is a Sri Lankan cricketer who played for the Sri Lanka national women's cricket team. An all-rounder, she played as a right-handed batsman and a right-arm medium pace bowler.Kaushalya made her debut for Sri Lanka during the 2005 Women's Cricket World Cup, scoring seven runs. She collected her first international wicket later during the tournament, trapping West Indian Juliana Nero leg before wicket. She batted well for Sri Lanka during the 2006 Women's Asia Cup, finishing top of the batting averages for her country, scoring 106 runs at 35.33, including her career high score of 57. During the 2013 Women's Cricket World Cup, she scored two half-centuries, against England and India, and was named as part of the team of the tournament by the International Cricket Council.In February 2016, she along with Ama Kanchana recorded the highest 8th wicket partnership in WT20I history (39)In October 2018, she was named in Sri Lanka's squad for the 2018 ICC Women's World Twenty20 tournament in the West Indies.In October 2021, she announced her retirement from cricket.
== References == | country for sport | {
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"text": [
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The Axe Apollo space campaign was a private space venture which planned to provide sub-orbital spaceflight for 23 people on board the Lynx, a spacecraft still in development at the time of the launch of the venture. It was initiated as part of a marketing campaign by advertising firm Bartle Bogle Hegarty (BBH) London to promote the Axe Apollo line of the men's deodorant brand Axe.
If the venture pushed through it would have accomplish milestones; such as the first spaceflight of nationals from Egypt, Norway, Philippines, and Thailand, as well as the first spaceflight by a Black South African.
However the plan of Unilever to send people to space did not push through due to XCOR Aerospace, the developer of the Lynx going bankrupt in 2017.
Background
British–Dutch company Unilever initiated a marketing campaign on 9 January 2013 which promised to provide sub-orbital spaceflight to 22 people on board the Lynx spacecraft of XCOR Aerospace which was still under development at the time of the promotion. The campaign is intended to advertise the Axe Apollo, a new product under the men's deodorant brand Axe (which is also known as Lynx in Australia, New Zealand, Ireland, and the United Kingdom). The deadline to enter was on 9 February 2013.The involvement of astronaut Buzz Aldrin as an endorser of the campaign was noted to have given legitimacy to Axe's sub-orbital spaceflight bid. The campaign for the brand meant for a male demographic also received allegations of sexism although women were also eligible to enter Axe's competition.
Marketing
The bid to give tickets to 22 people for sub-orbital spaceflights on the Lynx was part of a marketing campaign by the London office of advertising firm Bartle Bogle Hegarty (BBH) to promote the "Axe Apollo", a new product under Unilever's men's deodorant line Axe. For its local campaign in the United States, Unilever aired a promotion for its space campaign at the 2013 Super Bowl.
Selection process
Initial selection contest
On 9 January 2013 the "Axe Apollo Space Academy" (AASA) contest was launched in collaboration with American astronaut Buzz Aldrin to determine the 22 people Unilever would be given sub-orbital spaceflights on board the Lynx. The competition was opened to both male and female aspirants in at least 60 countries, where people could enter either through social media or by entering promo codes from purchasing Axe products. Contestants entered by a writing an essay about why they think they deserve to be selected as one of the winners of the campaign, while other participants voted for the contestant of their choice.
Shortlisting of entries
107 individuals coming from 60 countries were shortlisted from the campaign's competition entrants. The 107 people underwent four-day training camp at a facility at the Kennedy Space Center in Florida which was dubbed as the "Axe Apollo Space Academy" for marketing purposes. The contestants underwent tests on mental aptitude, physical fitness, and air combat. The selection process had variations; with some entrants in direct competition with other entrants from their own country while some did not.The winners of the campaign was selected by a panel led by Buzz Aldrin.
Winners
Planned flights
Winners of the campaign would be flown to space one at a time on board the Lynx aircraft, which had a planned capacity of two crew members; one each for the pilot and another passenger. Space Expedition Curaçao would have operated the flights, which would have reached an altitude of 103 km (64 mi). The launch site of the spacecraft would be a runway in Curaçao. The plan was for the flights to take place as early as 2014.
Aftermath
The flights under the Axe Apollo program never took place. As of 2015, Unilever said that it remains in contact with XCOR Aerospace, the developer of the Lynx spacecraft. However XCOR folded in 2017, and the development of the Lynx spacecraft was never completed. Consequentially, other prospective space tourists outside the Axe campaign who bought tickets to fly on the Lynx were not able to board the spacecraft.Unilever also acknowledged trademark infringement after launching the marking campaign offering $350,000 to the state commission that runs the U.S Space and Rocket Center in Huntsville, Alabama, owners of the "Space Camp" trademark. The commission's board rejected the offer calling it "unacceptable" instructing its attorney to continue negotiation "to find a compensation figure both sides can accept". Past "Space Camp" licensing agreements have been valued at $1.5 million.
See also
Mars One
Virgin Galactic
== References == | instance of | {
"answer_start": [
1538
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"competition"
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The Axe Apollo space campaign was a private space venture which planned to provide sub-orbital spaceflight for 23 people on board the Lynx, a spacecraft still in development at the time of the launch of the venture. It was initiated as part of a marketing campaign by advertising firm Bartle Bogle Hegarty (BBH) London to promote the Axe Apollo line of the men's deodorant brand Axe.
If the venture pushed through it would have accomplish milestones; such as the first spaceflight of nationals from Egypt, Norway, Philippines, and Thailand, as well as the first spaceflight by a Black South African.
However the plan of Unilever to send people to space did not push through due to XCOR Aerospace, the developer of the Lynx going bankrupt in 2017.
Background
British–Dutch company Unilever initiated a marketing campaign on 9 January 2013 which promised to provide sub-orbital spaceflight to 22 people on board the Lynx spacecraft of XCOR Aerospace which was still under development at the time of the promotion. The campaign is intended to advertise the Axe Apollo, a new product under the men's deodorant brand Axe (which is also known as Lynx in Australia, New Zealand, Ireland, and the United Kingdom). The deadline to enter was on 9 February 2013.The involvement of astronaut Buzz Aldrin as an endorser of the campaign was noted to have given legitimacy to Axe's sub-orbital spaceflight bid. The campaign for the brand meant for a male demographic also received allegations of sexism although women were also eligible to enter Axe's competition.
Marketing
The bid to give tickets to 22 people for sub-orbital spaceflights on the Lynx was part of a marketing campaign by the London office of advertising firm Bartle Bogle Hegarty (BBH) to promote the "Axe Apollo", a new product under Unilever's men's deodorant line Axe. For its local campaign in the United States, Unilever aired a promotion for its space campaign at the 2013 Super Bowl.
Selection process
Initial selection contest
On 9 January 2013 the "Axe Apollo Space Academy" (AASA) contest was launched in collaboration with American astronaut Buzz Aldrin to determine the 22 people Unilever would be given sub-orbital spaceflights on board the Lynx. The competition was opened to both male and female aspirants in at least 60 countries, where people could enter either through social media or by entering promo codes from purchasing Axe products. Contestants entered by a writing an essay about why they think they deserve to be selected as one of the winners of the campaign, while other participants voted for the contestant of their choice.
Shortlisting of entries
107 individuals coming from 60 countries were shortlisted from the campaign's competition entrants. The 107 people underwent four-day training camp at a facility at the Kennedy Space Center in Florida which was dubbed as the "Axe Apollo Space Academy" for marketing purposes. The contestants underwent tests on mental aptitude, physical fitness, and air combat. The selection process had variations; with some entrants in direct competition with other entrants from their own country while some did not.The winners of the campaign was selected by a panel led by Buzz Aldrin.
Winners
Planned flights
Winners of the campaign would be flown to space one at a time on board the Lynx aircraft, which had a planned capacity of two crew members; one each for the pilot and another passenger. Space Expedition Curaçao would have operated the flights, which would have reached an altitude of 103 km (64 mi). The launch site of the spacecraft would be a runway in Curaçao. The plan was for the flights to take place as early as 2014.
Aftermath
The flights under the Axe Apollo program never took place. As of 2015, Unilever said that it remains in contact with XCOR Aerospace, the developer of the Lynx spacecraft. However XCOR folded in 2017, and the development of the Lynx spacecraft was never completed. Consequentially, other prospective space tourists outside the Axe campaign who bought tickets to fly on the Lynx were not able to board the spacecraft.Unilever also acknowledged trademark infringement after launching the marking campaign offering $350,000 to the state commission that runs the U.S Space and Rocket Center in Huntsville, Alabama, owners of the "Space Camp" trademark. The commission's board rejected the offer calling it "unacceptable" instructing its attorney to continue negotiation "to find a compensation figure both sides can accept". Past "Space Camp" licensing agreements have been valued at $1.5 million.
See also
Mars One
Virgin Galactic
== References == | organizer | {
"answer_start": [
620
],
"text": [
"Unilever"
]
} |
The Axe Apollo space campaign was a private space venture which planned to provide sub-orbital spaceflight for 23 people on board the Lynx, a spacecraft still in development at the time of the launch of the venture. It was initiated as part of a marketing campaign by advertising firm Bartle Bogle Hegarty (BBH) London to promote the Axe Apollo line of the men's deodorant brand Axe.
If the venture pushed through it would have accomplish milestones; such as the first spaceflight of nationals from Egypt, Norway, Philippines, and Thailand, as well as the first spaceflight by a Black South African.
However the plan of Unilever to send people to space did not push through due to XCOR Aerospace, the developer of the Lynx going bankrupt in 2017.
Background
British–Dutch company Unilever initiated a marketing campaign on 9 January 2013 which promised to provide sub-orbital spaceflight to 22 people on board the Lynx spacecraft of XCOR Aerospace which was still under development at the time of the promotion. The campaign is intended to advertise the Axe Apollo, a new product under the men's deodorant brand Axe (which is also known as Lynx in Australia, New Zealand, Ireland, and the United Kingdom). The deadline to enter was on 9 February 2013.The involvement of astronaut Buzz Aldrin as an endorser of the campaign was noted to have given legitimacy to Axe's sub-orbital spaceflight bid. The campaign for the brand meant for a male demographic also received allegations of sexism although women were also eligible to enter Axe's competition.
Marketing
The bid to give tickets to 22 people for sub-orbital spaceflights on the Lynx was part of a marketing campaign by the London office of advertising firm Bartle Bogle Hegarty (BBH) to promote the "Axe Apollo", a new product under Unilever's men's deodorant line Axe. For its local campaign in the United States, Unilever aired a promotion for its space campaign at the 2013 Super Bowl.
Selection process
Initial selection contest
On 9 January 2013 the "Axe Apollo Space Academy" (AASA) contest was launched in collaboration with American astronaut Buzz Aldrin to determine the 22 people Unilever would be given sub-orbital spaceflights on board the Lynx. The competition was opened to both male and female aspirants in at least 60 countries, where people could enter either through social media or by entering promo codes from purchasing Axe products. Contestants entered by a writing an essay about why they think they deserve to be selected as one of the winners of the campaign, while other participants voted for the contestant of their choice.
Shortlisting of entries
107 individuals coming from 60 countries were shortlisted from the campaign's competition entrants. The 107 people underwent four-day training camp at a facility at the Kennedy Space Center in Florida which was dubbed as the "Axe Apollo Space Academy" for marketing purposes. The contestants underwent tests on mental aptitude, physical fitness, and air combat. The selection process had variations; with some entrants in direct competition with other entrants from their own country while some did not.The winners of the campaign was selected by a panel led by Buzz Aldrin.
Winners
Planned flights
Winners of the campaign would be flown to space one at a time on board the Lynx aircraft, which had a planned capacity of two crew members; one each for the pilot and another passenger. Space Expedition Curaçao would have operated the flights, which would have reached an altitude of 103 km (64 mi). The launch site of the spacecraft would be a runway in Curaçao. The plan was for the flights to take place as early as 2014.
Aftermath
The flights under the Axe Apollo program never took place. As of 2015, Unilever said that it remains in contact with XCOR Aerospace, the developer of the Lynx spacecraft. However XCOR folded in 2017, and the development of the Lynx spacecraft was never completed. Consequentially, other prospective space tourists outside the Axe campaign who bought tickets to fly on the Lynx were not able to board the spacecraft.Unilever also acknowledged trademark infringement after launching the marking campaign offering $350,000 to the state commission that runs the U.S Space and Rocket Center in Huntsville, Alabama, owners of the "Space Camp" trademark. The commission's board rejected the offer calling it "unacceptable" instructing its attorney to continue negotiation "to find a compensation figure both sides can accept". Past "Space Camp" licensing agreements have been valued at $1.5 million.
See also
Mars One
Virgin Galactic
== References == | vessel | {
"answer_start": [
134
],
"text": [
"Lynx"
]
} |
James Lean (1888 – 1975) was a Scottish politician.
Born in Dalkeith, Lean left school to work as a draper, then became a house painter. He joined the Independent Labour Party in about 1908. During World War I, Lean served in the Royal Flying Corps.Returning to Dalkeith after the war, Lean continued his involvement in socialist politics, and in 1925 was a founder member of the Dalkeith Labour Party. In 1928, he was the first Labour Party member elected to the town council. He served on the council for thirty years, including spells as provost from 1935 to 1938, and 1941 to 1957. He refused the £100 annual payment usually made to provosts.Lean stood in the 1935 UK general election in Midlothian and Peebles Northern, taking second place with 37.1% of the vote, and at the 1945 UK general election increased this to 45.7%, but was still not elected.
== References == | family name | {
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6
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"text": [
"Lean"
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James Lean (1888 – 1975) was a Scottish politician.
Born in Dalkeith, Lean left school to work as a draper, then became a house painter. He joined the Independent Labour Party in about 1908. During World War I, Lean served in the Royal Flying Corps.Returning to Dalkeith after the war, Lean continued his involvement in socialist politics, and in 1925 was a founder member of the Dalkeith Labour Party. In 1928, he was the first Labour Party member elected to the town council. He served on the council for thirty years, including spells as provost from 1935 to 1938, and 1941 to 1957. He refused the £100 annual payment usually made to provosts.Lean stood in the 1935 UK general election in Midlothian and Peebles Northern, taking second place with 37.1% of the vote, and at the 1945 UK general election increased this to 45.7%, but was still not elected.
== References == | given name | {
"answer_start": [
0
],
"text": [
"James"
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Two ships of the Royal Navy have borne the name HMS Malacca, after the region of Malacca, now in modern-day Malaysia:
HMS Malacca (1809) was a 36-gun Apollo-class fifth rate, that the British East India Company built at Prince of Wales Island as Penang. She was renamed to Malacca before launch in 1810 but sailed to England as Penang. She was commissioned 1810 for the East Indies. She was broken up in 1816.
HMS Malacca (1853) was a wooden screw sloop launched in 1853 at Moulmain, Burma, and engined in 1854. She was re-engined in 1862 as a screw corvette and was sold in 1869. She was resold to the Japanese Navy and renamed Tsukuba, until being broken up in 1906.
HMS Malacca was launched in 1927 as a commercial vessel of 210 tons. She served as a requisitioned minesweeper between 1939 and 1942. She was part of the Empire Star evacuation from Singapore. Bombed during the evacuation, she was scuttled in the Tjemako River, Sumatra, on 18 February 1942 after safely delivering her evacuees.NOTE: All three appear in the National Maritime Museum (United Kingdom), database under the name Malaoca. Penang also appears a second time under that name but with the notation "RENAMED MALACCA". | operator | {
"answer_start": [
17
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"text": [
"Royal Navy"
]
} |
Two ships of the Royal Navy have borne the name HMS Malacca, after the region of Malacca, now in modern-day Malaysia:
HMS Malacca (1809) was a 36-gun Apollo-class fifth rate, that the British East India Company built at Prince of Wales Island as Penang. She was renamed to Malacca before launch in 1810 but sailed to England as Penang. She was commissioned 1810 for the East Indies. She was broken up in 1816.
HMS Malacca (1853) was a wooden screw sloop launched in 1853 at Moulmain, Burma, and engined in 1854. She was re-engined in 1862 as a screw corvette and was sold in 1869. She was resold to the Japanese Navy and renamed Tsukuba, until being broken up in 1906.
HMS Malacca was launched in 1927 as a commercial vessel of 210 tons. She served as a requisitioned minesweeper between 1939 and 1942. She was part of the Empire Star evacuation from Singapore. Bombed during the evacuation, she was scuttled in the Tjemako River, Sumatra, on 18 February 1942 after safely delivering her evacuees.NOTE: All three appear in the National Maritime Museum (United Kingdom), database under the name Malaoca. Penang also appears a second time under that name but with the notation "RENAMED MALACCA". | country of registry | {
"answer_start": [
1054
],
"text": [
"United Kingdom"
]
} |
Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | place of birth | {
"answer_start": [
151
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"text": [
"Bree"
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} |
Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | country of citizenship | {
"answer_start": [
157
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"text": [
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Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | instance of | {
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Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | occupation | {
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Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | Commons category | {
"answer_start": [
0
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"text": [
"Koen van den Broek"
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Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | family name | {
"answer_start": [
5
],
"text": [
"van den Broek"
]
} |
Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | given name | {
"answer_start": [
0
],
"text": [
"Koen"
]
} |
Koen van den Broek (born 1973) is a Belgian artist who lives and works in Antwerp and Seoul, South Korea.
Biography
Van den Broek was born in 1973 in Bree, Belgium.
He trained as an architect at the Katholieke Universiteit Leuven. At the Academy, Koen was tutored and taught by Fred Bervoets. In 2003 he participated in the SFMOMA- exhibition "Matisse and beyond: A century of modernism" in honor of his mentor.
Van den Broek was acquainted with John Baldessari when he went to Los Angeles, not long after his stay at the post-graduate program of the HISK (Higher Institute for Fine Arts) in Antwerp in 2001. They decided in 2008 to collaborate on a project that combined photographs by Baldessari with painted interventions by van den Broek. "I worked with photographs Baldessari made of film-stills of Hollywood-movies (…) Baldessari printed them on large format, three by four metres (…) John sent me images that are the opposite of my work: black and white, lots of interiors, while I work with colour and exteriors. (…) he sets up pitfalls for an artist, because I definitely didn't want to do what he should do: it was a tricky process, but also a very intriguing one."When he was asked by the Museum of Modern Art, Antwerp in 2008 to curate an exhibition with their collection, he combined it with work from Belgian private collections. He created connections between Minimalist and Post-expressionist art styles.
On the occasion of his solo-exhibitions at the Municipal Museum for Contemporary Art (Stedelijk Museum voor Actuele Kunst, SMAK) in Ghent, "Crack", a comprehensive catalogue, was published, edited by Wouter Davidts, and with contributions by, among others John Welchman, Andrew Renton and Dirk Lauwaert. In this monography, as well as in the exhibition a broad overview was given of van den Broek's career until then, and this helped him to draw "…new conclusions from my older work and this gave me the energy to keep on developing my familiar motives of the urban landscape and how this can be translated in new ways onto the canvas."
Work
The work of van den Broek is characterized thematically by the way in which it treats the (mainly American and Asian) landscape, starting more and more from an abstract language.
Van den Broek is mainly concerned with the image and the structure of the image itself, much less with the handling of paint or bringing over a message.
In "The blinding of photography" Dirk Lauwaert points out that: "… in every image, the painter [van den Broek] marks out his place with razor-sharp precision". The reason is his photographic point of departure, the world as seen through one lens. Van den Broek's main question here is: how to translate the photographic eye into an image. "The photograph is in fact less than a sketch. It is something that is wholly and completely inadequate: it is not an image, at best only a registration. It is not a material that can be worked –such as a drawing that is homologous to a painting. The photograph must disappear as a photograph in order for an image to exist."This use of photography has consequences for the composition. In contrast to human interpretation, which tries to structure what is important and what is not, the mechanical device blurs this difference. By his cadrage he always seems to leave out the most important part.
Therefore, his paintings often show seemingly unimportant details or object-matter like kerb-stones, garages, shadows or cracks in a road-surface. Their subject however, according to David Anfam, seems to be something else: "… the hoary modernist process of abstracting from observation has gone awry. … these fields and angles are semaphores, as non-objective as Newman's or Piet Mondrian's, in search of a subject. Here schemata seek or feign to become site-specific places."Van den Broek often uses saturated and high-key colours. In his work, space is made by its borders and demarcations, and light is evoked with shadow, without midtones. This lends to his work often a graphic character, with pure colours.
Recently, in a series of new exhibitions (Chicane at Marlborough Contemporary London, Yaw at Galerie Greta Meert Brussels, Apex at Friedman Benda Gallery New York, Zylon at Gallery Baton in Seoul, Armco at Figge von Rosen Galerie in Cologne and Cut Away The Snoopy at Marlborough Contemporary in London) this graphic character has been carried further, into a direction that seems to move away from its basis in reality. To do this, Van den Broek samples parts of existing images freely into a new image. More and more attention is given now to the picture-plane itself, on which architectural details and shadows become pictorial elements that create new constellations.
Exhibitions (selection)
2021: "In Between Memory and Dream", Gallery Baton, Seoul, South-Korea
2020: "The Beginning", Galerie Ron Mandos, Amsterdam, Netherlands
2019: "Wall Works", CCM De Garage, Mechelen, Belgium
2019: "Keep it Together", Galerie Greta Meert, Brussels, Belgium
2019: "The Dog", Philipp von Rosen Galerie, Cologne, Germany
2018: "A Glowing Day", Gallery Baton, Seoul, South-Korea
2016: "Behind The Camera", Philipp von Rose Galerie, Cologne, Germany
2016: "Borderline", Campaign Opera and Ballet Flanders 2016-2017, Antwerp Tower, Antwerp, Belgium
2016: "The Land of Milk & Money", Museum Weserburg, Bremen, Germany
2016: "The Light We Live In", Albertz Benda, New York, United States of America
2016: "In Dialogue With Jan Cox", Duo exhibition curated by Koen van den Broek, Callewaert Vanlangendonck Gallery, Antwerp, Belgium
2015: "Sign Waves", Gallery Baton, Seoul, South Korea
2015: "The Del", Galerie Greta Meert, Brussel, Belg
2014 "Cut Away The Snoopy", Marlborough Contemporary, London, United Kingdom
2014 "Armco", Figge von Rosen Galerie, Cologne, Germany
2013 "Zylon", Gallery Baton, Seoul, South Korea
2013 "Yaw", Galerie Greta Meert, Brussels, Belgium
2013 "Apex", Friedman Benda, New York, United States
2012 "Chicane", Marlborough Contemporary, London, United Kingdom
2012 "From The East to the West And Back", Gallery Baton, Seoul, South Korea
2011 "Insomnia and the Greenhouse", Friedman Benda, New York, United States of America
2011 "Comin' Down", Figge von Rosen Galerie, Berlin, Germany
2010 "What?" Greta Meert, Brussels, Belgium
2010 "JOURNEY", Figge von Rosen Galerie, Cologne, Germany
2010 "Curbs & Crack", S.M.A.K., Ghent, Belgium
2010 "Preview, Work on Paper by Koen van den Broek", Royal Museum of Fine Arts Antwerp, Antwerp, Belgium
2009 "Shadows of time" Black Polyurethane on inox, MDD, Deurle, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Greta Meert Gallery, Brussels, Belgium
2008 "THIS AN EXAMPLE OF THAT", Collaboration with John Baldessari, Bonnefantenmuseum, Maastricht, Netherlands
2008 "Out of Space", Figge von Rosen, Cologne, Germany
2008 "Who will lead us?" artbrussels, (winner of the illy Prize), Brussels, Belgium
2007 "Angle", Inside the White Cube, London, United Kingdom
2006 "Dante's View", Figge von Rosen Gallery, Cologne, Germany
2006 "Project St Lucas Ghent", Vlaamse Bouwmeester, Ghent, Belgium
2005 "Paintings from the USA and Japan", Museum Dhondt-Dhaenens, Deurle, Belgium
2004 "Koen van den Broek", Domus Artium, Salamanca, Spain
2004 "Framed: Koen van den Broek – Wim Catrysse", Cultuur Centrum Strombeek, Brussels, Belgium
2003 "Threshold", White Cube, London, United Kingdom
2003 Matisse and Beyond: A Century of Modernism, San Francisco Museum of Modern Art, United States of America
2002 "Koen van den Broek", Chapelle des Pénitents Blancs, Gordes, France
2001 "Borders", White Cube, London, United Kingdom
2001 "Koen van den Broek: Paintings", Museum van het Provinciaal Centrum voor Beeldende Kunst-Begijnhof, Hasselt, Belgium
2000 Cultureel Centrum Hasselt, Belgium
1999 Galerij Art 61, Hever, Belgium
1998 Bernarduscentrum, Antwerp, Belgium
1997 Galerij Hellinga Beetsterzwaag, Netherlands
Public collections
Astrup Fearnley Museum of Modern Art, Oslo
Busan Museum of Art, Busan
Kadist Art Foundation, Paris
LACMA, Los Angeles, CA
Leeum, Samsung Museum of Modern Art, Seoul
M HKA, Antwerpen
Museum Dhondt-Dhaenens, Deurle
S.M.A.K, Gent
San Francisco Museum of Modern Art
Staatliche Kunsthalle Karlsruhe, Karlsruhe
Bibliography
Koen van den Broek: Stuff, Wouter Davidts, Frank Albers, ed. Exh. Cat. De Garage Mechelen, MER. Borgerhoff & Lamberigts, 2019, ISBN 9789089319975
BALDESSARI John, VAN DEN BROEK Koen, This an example of that. John Baldessari – Koen van den Broek, bkSM, Strombeek, 2008 ISBN 978-90-76979-72-4
DAVIDTS Wouter (ed.), Crack. Koen van den Broek, Valiz, Amsterdam, 2010 ISBN 978 90 7808841 7
Friedman Benda (ed.), Koen van den Broek. Insomnia and the greenhouse, Hatje Kantz Verlag, Ostfildern, 2013 ISBN 978-3-7757-3478-3
NICOLETTA Giovanna, Shadows, MAG Musea Alto Garda, Arco, 2012 ISBN 9788866860211
HIGGIE Jennifer, Koen van den Broek, White Cube, London, 2003 ISBN 0-9546501-0-7
ROELSTRATE Dieter, Angle, 11 works by Koen van den Broek, White Cube, London, 2007
VAN DEN BROEK Koen, Schilderijen/paintings, De bestendige deputatie van de provincieraad van Limburg, Hasselt, 2001 ISBN 90-74605-13-3
References
External links
Official website
Gallery Baton
Marlborough Contemporary
Friedman Benda
Galerie Greta Meert
Figge von Rosen Galerie
Lattice Gallery | has works in the collection | {
"answer_start": [
1508
],
"text": [
"Stedelijk Museum voor Actuele Kunst"
]
} |
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