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Chapters.
ACM has three kinds of chapters: Special Interest Groups, Professional Chapters, and Student Chapters.
, ACM has professional & SIG Chapters in 56 countries.
, there exist ACM student chapters in 41 countries.
Conferences.
ACM and its Special Interest Groups (SIGs) sponsors numerous conferences worldwide. Most of the SIGs also have an annual conference. ACM conferences are often very popular publishing venues and are therefore very competitive. For example, SIGGRAPH 2007 attracted about 30000 attendees, while CIKM 2005 and RecSys 2022 had paper acceptance rates of only accepted 15% and 17% respectively.
The ACM is a co–presenter and founding partner of the Grace Hopper Celebration of Women in Computing (GHC) with the Anita Borg Institute for Women and Technology.
Some conferences are hosted by ACM student branches; this includes Reflections Projections, which is hosted by UIUC ACM. In addition, ACM sponsors regional conferences. Regional conferences facilitate increased opportunities for collaboration between nearby institutions and they are well attended.
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For additional non-ACM conferences, see this list of computer science conferences.
Awards.
The ACM presents or co–presents a number of awards for outstanding technical and professional achievements and contributions in computer science and information technology.
Over 30 of ACM's Special Interest Groups also award individuals for their contributions with a few listed below.
Leadership.
The President of ACM for 2022–2024 is Yannis Ioannidis, Professor at the National and Kapodistrian University of Athens. He is successor of Gabriele Kotsis (2020–2022), Professor at the Johannes Kepler University Linz; Cherri M. Pancake (2018–2020), professor emeritus at Oregon State University and Director of the Northwest Alliance for Computational Science and Engineering (NACSE); Vicki L. Hanson (2016–2018), Distinguished Professor at the Rochester Institute of Technology and visiting professor at the University of Dundee; Alexander L. Wolf (2014–2016), Dean of the Jack Baskin School of Engineering at the University of California, Santa Cruz; Vint Cerf (2012–2014), American computer scientist and Internet pioneer; Alain Chesnais (2010–2012); and Dame Wendy Hall of the University of Southampton, UK (2008–2010).
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ACM is led by a council consisting of the president, vice-president, treasurer, past president, SIG Governing Board Chair, Publications Board Chair, three representatives of the SIG Governing Board, and seven Members-At-Large. This institution is often referred to simply as "Council" in "Communications of the ACM".
Infrastructure.
ACM has numerous boards, committees, and task forces which run the organization:
l Practitioner Board
l Publications Board
SIG Governing BoarDEI Council
ACM Technology Policy Council
ACM Representatives to Other Organizations
Computer Science Teachers Association
ACM Council on Women in Computing.
ACM-W, the ACM council on women in computing, supports, celebrates, and advocates internationally for the full engagement of women in computing. ACM–W's main programs are regional celebrations of women in computing, ACM-W chapters, and scholarships for women CS students to attend research conferences. In India and Europe these activities are overseen by ACM-W India and ACM-W Europe respectively. ACM-W collaborates with organizations such as the Anita Borg Institute, the National Center for Women & Information Technology (NCWIT), and .
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The ACM-W gives an annual Athena Lecturer Award to honor outstanding women researchers who have made fundamental contributions to computer science. This program began in 2006. Speakers are nominated by SIG officers.
Partner organizations.
ACM's primary partner has been the IEEE Computer Society (IEEE-CS), which is the largest subgroup of the Institute of Electrical and Electronics Engineers (IEEE). The IEEE focuses more on hardware and standardization issues than theoretical computer science, but there is considerable overlap with ACM's agenda. They have many joint activities including conferences, publications and awards. ACM and its SIGs co-sponsor about 20 conferences each year with IEEE-CS and other parts of IEEE. Eckert–Mauchly Award and Ken Kennedy Award, both major awards in computer science, are given jointly by ACM and the IEEE-CS. They occasionally cooperate on projects like developing computing curricula.
ACM has also jointly sponsored on events with other professional organizations like the Society for Industrial and Applied Mathematics (SIAM).
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Criticism.
In December 2019, the ACM co-signed a letter with over one hundred other publishers to President Donald Trump saying that an open access mandate would increase costs to taxpayers or researchers and hurt intellectual property. This was in response to rumors that he was considering issuing an executive order that would require federally funded research be made freely available online immediately after being published. It is unclear how these rumors started. Many ACM members opposed the letter, leading ACM to issue a statement clarifying that they remained committed to open access, and they wanted to see communication with stakeholders about the potential mandate. The statement did not significantly assuage criticism from ACM members.
The SoCG conference, while originally an ACM conference, parted ways with ACM in 2014 because of problems when organizing conferences abroad.
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Anabaptism
Anabaptism (from Neo-Latin , from the Greek : 're-' and 'baptism'; , earlier also ) is a Christian movement which traces its origins to the Radical Reformation in the 16th century. Anabaptists believe that baptism is valid only when candidates freely confess their faith in Christ and request to be baptized. Commonly referred to as believer's baptism, it is opposed to baptism of infants, who are not able to make a conscious decision to be baptized.
The early Anabaptists formulated their beliefs in a confession of faith in 1527 called the Schleitheim Confession. Its author Michael Sattler was arrested and executed shortly afterward. Anabaptist groups varied widely in their specific beliefs, but the Schleitheim Confession represents foundational Anabaptist beliefs as well as any single document can.
Other Christian groups with different roots also practice believer's baptism, such as Baptists, but these groups are not Anabaptist, even though the Baptist tradition was influenced by the Anabaptist view of Baptism. The Amish, Hutterites, and Mennonites are direct descendants of the early Anabaptist movement. Schwarzenau Brethren, River Brethren, Bruderhof, and the Apostolic Christian Church are Anabaptist denominations that developed after the Radical Reformation, following their example. Though all Anabaptists share the same core theological beliefs, there are differences in the way of life among them; Old Order Anabaptist groups include the Old Order Amish, the Old Order Mennonites, Old Order River Brethren, and the Old Order German Baptist Brethren. In between the assimilated mainline denominations (such as Mennonite Church USA and the Church of the Brethren) and Old Order groups are Conservative Anabaptist groups. Conservative Anabaptists such as the Dunkard Brethren Church, Conservative Mennonites and Beachy Amish have retained traditional religious practices and theology, while allowing for judicious use of modern conveniences and advanced technology.
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Emphasizing an adherence to the beliefs of early Christianity, as a whole Anabaptists are distinguished by their keeping of practices that often include nonconformity to the world, "the love feast with feet washing, laying on of hands, anointing with oil, and the holy kiss, as well as turning the other cheek, no oaths, going the second mile, giving a cup of cold water, reconciliation, repeated forgiveness, humility, non-violence, and sharing possessions."
The name Anabaptist originated as an exonym meaning "one who baptizes again," referring to the practice of baptizing persons when they converted or declared their faith in Christ even if they had been baptized as infants, and many call themselves "Radical Reformers." Anabaptists require that baptismal candidates be able to make a confession of faith that is freely chosen and so rejected baptism of infants. The New Testament teaches to repent and then be baptized, and infants are not able to repent and turn away from sin to a life of following Jesus. The early members of this movement did not accept the name Anabaptist, claiming that infant baptism was not part of scripture and was therefore null and void. They said that baptizing self-confessed believers was their first true baptism:
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Anabaptists were heavily persecuted by state churches, both Magisterial Protestants and Roman Catholics, beginning in the 16th century and continuing thereafter, largely because of their interpretation of scripture which put them at odds with official state church interpretations and local government control. Anabaptism was never established by any state and therefore never enjoyed any associated privileges. Most Anabaptists adhere to a literal interpretation of the Sermon on the Mount in Matthew 5–7, which teaches against hate, killing, violence, taking oaths, participating in use of force or any military actions, and against participation in civil government. Anabaptists view themselves as primarily citizens of the kingdom of God, not of earthly governments. As committed followers of Jesus, they seek to pattern their life after his.
Some former groups who practiced rebaptism, now extinct, believed otherwise and complied with these requirements of civil society. They were thus technically Anabaptists, even though conservative Amish, Mennonites, Hutterites, and many historians consider them outside Anabaptism. Conrad Grebel wrote in a letter to Thomas Müntzer in 1524: "True Christian believers are sheep among wolves, sheep for the slaughter ... Neither do they use worldly sword or war, since all killing has ceased with them."
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Lineage.
Medieval forerunners.
Anabaptists are considered to have begun with the Radical Reformation in the 16th century, but historians classify certain people and groups as their forerunners because of a similar approach to the interpretation and application of the Bible. For instance, Petr Chelčický, a 15th-century Bohemian reformer, taught most of the beliefs considered integral to Anabaptist theology. Medieval antecedents may include the Brethren of the Common Life, the Hussites, Dutch Sacramentists, and some forms of monasticism. The Waldensians also represent a faith similar to the Anabaptists.
Medieval dissenters and Anabaptists who held to a literal interpretation of the Sermon on the Mount share in common the following affirmations:
Zwickau prophets and the German Peasants' War.
On December 27, 1521, three "prophets" from Zwickau appeared in Wittenberg who were influenced by (and, in turn, influencing) Thomas MüntzerThomas Dreschel, Nicholas Storch, and Mark Thomas Stübner. They preached an apocalyptic, radical alternative to Lutheranism. Their preaching helped to stir the feelings concerning the social crisis which erupted in the German Peasants' War in southern Germany in 1525 as a revolt against feudal oppression.
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Under the leadership of Müntzer, it became a war against all constituted authorities and an attempt to establish by revolution an ideal Christian commonwealth, with absolute equality among persons and the community of goods. The Zwickau prophets were not Anabaptists (that is, they did not practise "rebaptism"); nevertheless, the prevalent social inequities and the preaching of men such as these have been seen as laying the foundation for the Anabaptist movement. The social ideals of the Anabaptist movement coincided closely with those of leaders in the German Peasants' War. Studies have found a very low percentage of subsequent sectarians to have taken part in the peasant uprising.
Views on origins.
Research on the origins of the Anabaptists has been tainted both by the attempts of their enemies to slander them and by the attempts of their supporters to vindicate them. It was long popular to classify all Anabaptists as Munsterites and radicals associated with the Zwickau prophets, Jan Matthys, John of Leiden, and Müntzer. Those desiring to correct this error tended to over-correct and deny all connections between the larger Anabaptist movement and the most radical elements.
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The modern era of Anabaptist historiography arose with Roman Catholic scholar Carl Adolf Cornelius' publication of ("The History of the Münster Uprising") in 1855. Baptist historian Albert Henry Newman, who Harold S. Bender said occupied "first position in the field of American Anabaptist historiography", made a major contribution with his "A History of Anti-Pedobaptism" (1897).
Three main theories on origins of the Anabaptists are the following:
Monogenesis.
Some scholars (e.g. Harold S. Bender, William Estep, Robert Friedmann) consider the Anabaptist movement to have developed from the Swiss Brethren movement. They generally argue that Anabaptism had its origins in Zürich and that the Anabaptism of the Swiss Brethren was transmitted to southern Germany, Austria, the Netherlands, and northern Germany, where it developed into its various branches. The monogenesis theory usually rejects the Münsterites and other radicals from the category of true Anabaptists. In the monogenesis view the time of origin is January 21, 1525, when Conrad Grebel baptized George Blaurock, and Blaurock in turn baptized several others immediately. These baptisms were the first "re-baptisms" known in the movement. This continues to be the most widely accepted date posited for the establishment of Anabaptism.
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Polygenesis.
James M. Stayer, , and Klaus Deppermann disputed the idea of a single origin of Anabaptists in a 1975 essay entitled "From Monogenesis to Polygenesis", suggesting that February 24, 1527, at Schleitheim is the proper date of the origin of Anabaptism. On this date the Swiss Brethren wrote a declaration of belief called the Schleitheim Confession. The authors of the essay note the agreement among previous Anabaptist historians on polygenesis, even when disputing the date for a single starting point: "Hillerbrand and Bender (like Holl and Troeltsch) were in agreement that there was a single dispersion of Anabaptism …, which certainly ran through Zurich. The only question was whether or not it went back further to Saxony."
After criticizing the standard polygenetic history, the authors found six groups in early Anabaptism which could be collapsed into three originating "points of departure": "South German Anabaptism, the Swiss Brethren, and the Melchiorites". According to their polygenesis theory, South German–Austrian Anabaptism "was a diluted form of Rhineland mysticism", Swiss Anabaptism "arose out of Reformed congregationalism", and Dutch Anabaptism was formed by "Social unrest and the apocalyptic visions of Melchior Hoffman". As examples of how the Anabaptist movement was influenced from sources other than the Swiss Brethren movement, mention has been made of how Pilgram Marpeck's of 1542 was deeply influenced by the of 1533 by Münster theologian Bernhard Rothmann. Hoffman influenced the Hutterites when they used his commentary on the Apocalypse shortly after he wrote it.
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Others who have written in support of polygenesis include and Walter Klaassen, who established links between Müntzer and Hans Hut. In another work, Gottfried Seebaß and Werner Packull show the influence of Müntzer on the formation of South German Anabaptism. Similarly, author Steven Ozment links Hut and Hans Denck with Müntzer, Sebastian Franck, and others. Author Calvin Pater shows how Andreas Karlstadt influenced Swiss Anabaptism in various areas, including his view of Scripture, doctrine of the church, and views on baptism.
Several historians, including Thor Hall, Kenneth Davis, and Robert Kreider, have also noted the influence of humanism on Radical Reformers in the three originating points of departure to account for how this brand of reform could develop independently from each other. Relatively recent research, begun in a more advanced and deliberate manner by Andrew P. Klager, also explores how the influence and a particular reading of the Church Fathers contributed to the development of distinctly Anabaptist beliefs and practices in separate regions of Europe in the early 16th century, including by Menno Simons in the Netherlands, Grebel in Switzerland, Müntzer in central Germany, Marpeck in the Tyrol, Peter Walpot in Moravia, and especially Balthasar Hubmaier in southern Germany, Switzerland, and Moravia.
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Apostolic succession.
Baptist successionists have at times pointed to 16th-century Anabaptists as part of an apostolic succession of churches ("church perpetuity") from the time of Christ. This view is held by some Baptists, some Mennonites, and some "true church" movements. The opponents of the Baptist successionism theory emphasize that these non-Catholic groups clearly differed from each other, that they held some heretical views, or that the groups had no connection with one another and had origins that were separate both in time and in place.
A different strain of successionism is the theory that the Anabaptists are of Waldensian origin. Some hold the idea that the Waldensians are part of the apostolic succession, while others simply believe they were an independent group out of whom the Anabaptists arose. Ludwig Keller, Thomas M. Lindsay, Henry Clay Vedder, Delbert Grätz, John T. Christian and Thieleman J. van Braght (author of "Martyrs Mirror") all held, in varying degrees, the position that the Anabaptists were of Waldensian origin.
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History.
Switzerland.
Anabaptism in Switzerland began as an offshoot of the church reforms instigated by Ulrich Zwingli. As early as 1522, it became evident that Zwingli was on a path of reform preaching when he began to question or criticize such Catholic practices as tithes, the mass, and even infant baptism. Zwingli had gathered a group of reform-minded men around him, with whom he studied classical literature and the scriptures. However, some of these young men began to feel that Zwingli was not moving fast enough in his reform. The division between Zwingli and his more radical disciples became apparent in an October 1523 disputation held in Zurich. When the discussion of the mass was about to be ended without making any actual change in practice, Conrad Grebel stood up and asked "what should be done about the mass?" Zwingli responded by saying the council would make that decision. At this point, Simon Stumpf, a radical priest from Höngg, answered saying, "The decision has already been made by the Spirit of God."
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This incident illustrated clearly that Zwingli and his more radical disciples had different expectations. To Zwingli, the reforms would only go as fast as the city council allowed them. To the radicals, the council had no right to make that decision, but rather the Bible was the final authority of church reform. Feeling frustrated, some of them began to meet on their own for Bible study. As early as 1523, William Reublin began to preach against infant baptism in villages surrounding Zurich, encouraging parents to not baptize their children.
Seeking fellowship with other reform-minded people, the radical group wrote letters to Martin Luther, Andreas Karlstadt, and Thomas Müntzer. Felix Manz began to publish some of Karlstadt's writings in Zurich in late 1524. By this time the question of infant baptism had become agitated, and the Zurich council had instructed Zwingli to meet weekly with those who rejected infant baptism "until the matter could be resolved". Zwingli broke off the meetings after two sessions, and Manz petitioned the council to find a solution, since he felt Zwingli was too hard to work with. The council then called a meeting for January 17, 1525.
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The council ruled in this meeting that all who continued to refuse to baptize their infants should be expelled from Zurich if they did not have them baptized within one week. Since Grebel had refused to baptize his daughter Rachel, born on January 5, 1525, the council decision was personal to him and others who had not baptized their children. Thus, when 16 of the radicals met on January 21, the situation seemed particularly dark. The "Hutterian Chronicle" records the event:
Afterwards Blaurock was baptized, and he in turn baptized others at the meeting. Even though some had rejected infant baptism before this date, these baptisms marked the first re-baptisms of those who had been baptized as infants and thus Swiss Anabaptism was born on that day.
Tyrol.
Anabaptism appears to have come to Tyrol through the labors of Blaurock. Similar to the German Peasants' War, the Gaismair uprising set the stage by producing a hope for social justice. Michael Gaismair had tried to bring religious, political, and economical reform through a violent peasant uprising, but the movement was quashed. Although little evidence exists of a connection between Gaismair's uprising and Tyrolian Anabaptism, at least a few of the peasants involved in the uprising later became Anabaptists. The common link was the desire for a radical change in the prevailing social injustices. Disappointed with the failure of armed revolt, Anabaptist ideals of an alternative peaceful, just society probably resonated on the ears of the disappointed peasants.
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Before Anabaptism was introduced to South Tyrol, Protestant ideas had been propagated in the region by men such as Hans Vischer, a former Dominican. Some of those who participated in conventicles where Protestant ideas were presented later became Anabaptists. The population in general seemed to have a favorable attitude towards reform, be it Protestant or Anabaptist. Blaurock appears to have preached itinerantly in the Puster Valley region in 1527, which most likely was the first introduction of Anabaptist ideas in the area. Another visit through the area in 1529 reinforced these ideas, but he was captured and burned at the stake in Klausen on September 6, 1529.
Jacob Hutter was one of the early converts in South Tyrol and later became a leader among the Hutterites, who received their name from him. Hutter made several trips between Moravia and Tyrol, and most of the Anabaptists in South Tyrol ended up emigrating to Moravia because of the fierce persecution unleashed by Ferdinand I. In November 1535, Hutter was captured near Klausen and taken to Innsbruck where he was burned at the stake on February 25, 1536. By 1540 Anabaptism in South Tyrol was dying out, largely because of the emigration to Moravia of the converts because of incessant persecution.
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Low Countries and northern Germany.
Melchior Hoffman is credited with the introduction of Anabaptist ideas into the Low Countries. Hoffman had picked up Lutheran and Reformed ideas, but on April 23, 1530, he was "re-baptized" at Strasbourg and within two months had gone to Emden and baptized about 300 persons. For several years Hoffman preached in the Low Countries until he was arrested and imprisoned at Strasbourg, where he died about 10 years later. Hoffman's apocalyptic ideas were indirectly related to the Münster rebellion, even though he was "of a different spirit".
Obbe and Dirk Philips had been baptized by disciples of Jan Matthijs but were opposed to the violence that occurred at Münster. Obbe later became disillusioned with Anabaptism and withdrew from the movement in about 1540, but not before ordaining David Joris, his brother Dirk, and Menno Simons. Joris and Simons parted ways, with Joris placing more emphasis on "spirit and prophecy", while Menno emphasized the authority of the Bible. For the Mennonite side, the emphasis on the "inner" and "spiritual" permitted compromise to "escape persecution", while to the Joris side, the Mennonites were under the "dead letter of the Scripture".
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Because of persecution and expansion, some of the Low Country Mennonites emigrated to Vistula delta, a region settled by Germans but under Polish rule until it became part of Prussia in 1772. There they formed the Vistula delta Mennonites integrating some other Mennonites mainly from northern Germany. In the late 18th century, several thousand of them migrated from there to Ukraine (which at the time was part of Russia) forming the so-called Russian Mennonites. Beginning in 1874, many of them emigrated to the prairie states and provinces of the United States and Canada. In the 1920s, the conservative faction of the Canadian settlers went to Mexico and Paraguay. Beginning in the 1950s, the most conservative of them started to migrate to Bolivia. In 1958, Mexican Mennonites migrated to Belize. Since the 1980s, traditional Russian Mennonites migrated to Argentina. Smaller groups went to Brazil and Uruguay. In 2015, some Mennonites from Bolivia settled in Peru. In 2018, there are more than 200,000 of them living in colonies in Central and South America.
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Moravia, Bohemia and Silesia.
Although Moravian Anabaptism was a transplant from other areas of Europe, Moravia soon became a center for the growing movement, largely because of the greater religious tolerance found there. Hans Hut was an early evangelist in the area, with one historian crediting him with baptizing more converts in two years than all the other Anabaptist evangelists put together. The coming of Balthasar Hübmaier to Nikolsburg was a definite boost for Anabaptist ideas to the area. With the great influx of religious refugees from all over Europe, many variations of Anabaptism appeared in Moravia, with Jarold Zeman documenting at least ten slightly different versions.
Jacob Wiedemann appeared at Nikolsburg and began to teach the pacifistic convictions of the Swiss Brethren, on which Hübmaier had been less authoritative. This would lead to a division between the (sword-bearing) and the (staff-bearing). Wiedemann and those with him also promoted the practice of community of goods. With orders from the lords of Liechtenstein to leave Nikolsburg, about 200 withdrew to Moravia to form a community at Austerlitz.
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Persecution in South Tyrol brought many refugees to Moravia, many of whom formed into communities that practised community of goods. Others came from Silesia, Switzerland, German lands, and the Low Countries. With the passing of time and persecution, all the other versions of Anabaptism would die out in Moravia leaving only the Hutterites. Even the Hutterites would be dissipated by persecution, with a remnant fleeing to Transylvania, then to Ukraine, and finally to North America in 1874.
South and central Germany, Austria and Alsace.
South German Anabaptism had its roots in German mysticism. Andreas Karlstadt, who first worked alongside Martin Luther, is seen as a forerunner of South German Anabaptism because of his reforming theology that rejected many Catholic practices, including infant baptism. However, Karlstadt is not known to have been "rebaptized", nor to have taught it. Hans Denck and Hans Hut, both with German mystical background (in connection with Thomas Müntzer) both accepted "rebaptism", but Denck eventually backed off from the idea under pressure. Hut is said to have brought more people into early Anabaptism than all the other Anabaptist evangelists of his time put together.
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However, there may have been confusion about what his baptism (at least some of the times it was done by making the sign of the Tau on the forehead) may have meant to the recipient. Some seem to have taken it as a sign by which they would escape the apocalyptical revenge of the Turks that Hut predicted. Hut even went so far as to predict a 1528 coming of the kingdom of God. When the prediction failed, some of his converts became discouraged and left the Anabaptist movement. The large congregation of Anabaptists at Augsburg fell apart (partly because of persecution) and those who stayed with Anabaptist ideas were absorbed into Swiss and Moravia Anabaptist congregations. Pilgram Marpeck was another notable leader in early South German Anabaptism who attempted to steer between the two extremes of Denck's inner Holiness and the legalistic standards of the other Anabaptists.
Persecutions and migrations.
Roman Catholics and Protestants alike persecuted the Anabaptists, resorting to torture and execution in attempts to curb the growth of the movement. The Protestants under Zwingli were the first to persecute the Anabaptists, with Manz becoming the first Anabaptist martyr in 1527. On May 20 or 21, 1527, Roman Catholic authorities executed Michael Sattler. King Ferdinand declared drowning (called the "third baptism") "the best antidote to Anabaptism". The Tudor regime, even the Protestant monarchs (Edward VI of England and Elizabeth I of England), persecuted Anabaptists as they were deemed too radical and therefore a danger to religious stability.
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The persecution of Anabaptists was condoned by the ancient laws of Theodosius I and Justinian I which were passed against the Donatists, and decreed the death penalty for anyone who practised rebaptism. "Martyrs Mirror", by Thieleman J. van Braght, describes the persecution and execution of thousands of Anabaptists in various parts of Europe between 1525 and 1660. Continuing persecution in Europe was largely responsible for the mass emigrations to North America by the Amish, Hutterites, and Mennonites. Unlike Calvinists, Anabaptists failed to gain recognition in the Peace of Westphalia of 1648, and as a result they continued to be persecuted in Europe long after that treaty was signed.
Anabaptism stands out among other groups of martyrs, in that Anabaptist martyrologies feature women more prominently, "making up thirty per cent of the martyr stories, compared to five to ten per cent in the other accounts."
Beliefs and practices.
Anabaptists view themselves as a separate branch of Christianity, not being a part of Catholicism, Protestantism, Oriental Orthodoxy or Eastern Orthodoxy. Anabaptist beliefs were codified in the Schleitheim Confession in 1527, which best represents the beliefs of the various denominations of Anabaptism (inclusive of Mennonites, Amish, Hutterites, Bruderhof, Schwarzenau Brethren, River Brethren and Apostolic Christians).
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Anabaptist denominations, such as the Mennonites, teach "true faith entails a new birth, a spiritual regeneration by God's grace and power; 'believers' are those who have become the spiritual children of God." In Anabaptist theology, the pathway to salvation is "marked not by a forensic understanding of salvation by 'faith alone', but by the entire process of repentance, self-denial, faith rebirth, the heart having new love, which led to obedience." Those who wish to tarry this path receive baptism after the New Birth. Anabaptists heavily emphasize the importance of obedience in the salvation journey of a believer.
As a whole, Anabaptists emphasize an adherence to the beliefs of early Christianity and are thus distinguished by their keeping of practices that often include the observance of feetwashing, the holy kiss, and communion (with these three ordinances being practiced collectively in the lovefeast in the Schwarzenau Brethren and River Brethren traditions), Christian headcovering, nonconformity to the world, nonresistance, forgiveness, and sharing possessions, which in certain communities (as with the Bruderhof) takes on the form of communal living.
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Types.
Different types exist among the Anabaptists, although the categorizations tend to vary with the scholar's viewpoint on origins. Estep claims that in order to understand Anabaptism, one must "distinguish between the Anabaptists, inspirationists, and rationalists". He classes the likes of Blaurock, Grebel, Hubmaier, Manz, Marpeck, and Simons as Anabaptists. He groups Müntzer and Storch as inspirationists, and anti-trinitarians such as Michael Servetus, Juan de Valdés, Sebastian Castellio, and Faustus Socinus as rationalists. Mark S. Ritchie follows this line of thought, saying, "The Anabaptists were one of several branches of 'Radical' reformers (i.e. reformers that went further than the mainstream Reformers) to arise out of the Renaissance and Reformation. Two other branches were Spirituals or Inspirationists, who believed that they had received direct revelation from the Spirit, and rationalists or anti-Trinitarians, who rebelled against traditional Christian doctrine, like Michael Servetus."
Those of the polygenesis viewpoint use "Anabaptist" to define the larger movement and include the inspirationists and rationalists as true Anabaptists. James M. Stayer used the term "Anabaptist" for those who "rebaptized" persons already "baptized" in infancy. Walter Klaassen was perhaps the first Mennonite scholar to define "Anabaptists" that way in his 1960 Oxford dissertation. This represents a rejection of the previous standard held by Mennonite scholars such as Bender and Friedmann.
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Another method of categorization acknowledges regional variations, such as Swiss Brethren (Grebel, Manz), Dutch and Frisian Anabaptism (Menno Simons, Dirk Philips), and South German Anabaptism (Hübmaier, Marpeck). Historians and sociologists have made further distinctions between radical Anabaptists, who were prepared to use violence in their attempts to build a New Jerusalem, and their pacifist brethren, later broadly known as Mennonites. Radical Anabaptist groups included the Münsterites and the Batenburgers, who persisted in various guises as late as the 1570s.
Spirituality.
Charismatic manifestations.
Within the inspirationist wing of the Anabaptist movement, it was not unusual for charismatic manifestations to appear, such as dancing, falling under the power of the Holy Spirit, "prophetic processions" (at Zurich in 1525, at Munster in 1534 and at Amsterdam in 1535), and speaking in tongues. In Germany some Anabaptists, "excited by mass hypnosis, experienced healings, glossolalia, contortions and other manifestations of a camp-meeting revival". The Anabaptist congregations that later developed into the Mennonite and Hutterite churches tended not to promote these manifestations but did not totally reject the miraculous.
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Marpeck, for example, wrote against the exclusion of miracles: "Nor does Scripture assert this exclusion ... God has a free hand even in these last days." Referring to some who had been raised from the dead, he wrote: "Many of them have remained constant, enduring tortures inflicted by sword, rope, fire and water and suffering terrible, tyrannical, unheard-of deaths and martyrdoms, all of which they could easily have avoided by recantation. Moreover one also marvels when he sees how the faithful God (Who, after all, overflows with goodness) raises from the dead several such brothers and sisters of Christ after they were hanged, drowned, or killed in other ways. Even today, they are found alive and we can hear their own testimony ... Cannot everyone who sees, even the blind, say with a good conscience that such things are a powerful, unusual, and miraculous act of God? Those who would deny it must be hardened men." The "Hutterite Chronicle" and the "Martyrs Mirror" record several accounts of miraculous events, such as when a man named Martin prophesied while being led across a bridge to his execution in 1531: "this once yet the pious are led over this bridge, but no more hereafter". Just "a short time afterwards such a violent storm and flood came that the bridge was demolished".
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Holy Spirit leadership.
The Anabaptists insisted upon the "free course" of the Holy Spirit in worship, yet still maintained it all must be judged according to the Scriptures. The Swiss Anabaptist document titled "Answer of Some Who Are Called (Ana-)Baptists – Why They Do Not Attend the Churches". One reason given for not attending the state churches was that these institutions forbade the congregation to exercise spiritual gifts according to "the Christian order as taught in the gospel or the Word of God in 1 Corinthians 14". "When such believers come together, 'Everyone of you (note every one) hath a psalm, hath a doctrine, hath a revelation, hath an interpretation', and so on. When someone comes to church and constantly hears only one person speaking, and all the listeners are silent, neither speaking nor prophesying, who can or will regard or confess the same to be a spiritual congregation, or confess according to 1 Corinthians 14 that God is dwelling and operating in them through His Holy Spirit with His gifts, impelling them one after another in the above-mentioned order of speaking and prophesying."
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Today.
Anabaptists.
In 2022, there were over 2.12 million baptized Anabaptists in 85 countries. Over 36% are found in Africa, another 30% in North America, 20% in Asia and the Pacific, 9% in Latin America and the Caribbean, and less than 3% in Europe.
The major branches of Anabaptist Christianity today include the Amish, Schwarzenau Brethren, River Brethren, Hutterites, Mennonites, Apostolic Christian Church, and Bruderhof. Within many of these traditions (Amish, Mennonite, Schwarzenau Brethren and River Brethren) are three subsets: (1) Old Order Anabaptists (2) Conservative Anabaptists and (3) Mainline Anabaptists; for example, among Schwarzenau Brethren are the Old Order German Baptist Brethren (who use horse and buggy for transportation and do not use electricity), the Dunkard Brethren (who adhere to traditional theological beliefs and wear plain dress but use modern conveniences), and the Church of the Brethren (who are largely a mainline group where members are indistinguishable in dress from the general population).
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Although many see the more well-known Anabaptist groups (Amish, Hutterites and Mennonites) as ethnic groups, only the Amish and the Hutterites today are composed mainly of descendants of the European Anabaptists, while Mennonites come from diverse backgrounds, with only a minority being classed as ethnic Mennonites. Brethren groups have mostly lost their ethnic distinctiveness.
The Bruderhof Communities were founded in Germany by Eberhard Arnold in 1920, establishing and organisationally joining the Hutterites in 1930. The group moved to England after the Gestapo confiscated their property in 1933, and they subsequently moved to Paraguay in order to avoid military conscription, and after World War II they moved to the United States.
Groups which are derived from the Schwarzenau Brethren, often called German Baptists, while not directly descended from the 16th-century Radical Reformation, are considered Anabaptist because of their adherence to Anabaptist doctrine. The modern-day Brethren movement is a combination of Anabaptism and Radical Pietism.
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Neo-Anabaptists.
Neo-Anabaptism is a late 20th and early 21st century theological movement within American evangelical Christianity which draws inspiration from theologians who are located within the Anabaptist tradition but are ecclesiastically outside it. Neo-Anabaptists have been noted for their "low church, counter-cultural, prophetic-stance-against-empire ethos" as well as for their focus on pacifism, social justice and poverty. The works of Mennonite theologians Ron Sider and John Howard Yoder are frequently cited as having a strong influence on the movement.
Relationship with Baptists.
Some similarities exist between Baptists and the Anabaptists, which is why some historians have advocated the view that General Baptists were influenced by Anabaptism. The similarities between these groups include baptism of believers only, religious freedom, similar perspectives on free will, predestination and original sin along with congregationalism. It is almost certain that the earliest Baptist church led by John Smyth and Thomas Helwys interacted with the Mennonites and that Smyth borrowed ideas from Anabaptism. However, it has been debated if influences from Anabaptism ever found their way to the English General Baptists.
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Those who held closer views with the Anabaptists switched to the Mennonite movement along with Smyth, while those who identified as Baptists did so under Helwys who disagreed with Smyth and the Mennonites on multiple issues, denying Melchiorite Christology and Anabaptist views of the civil magistrate. These English General Baptists may have had secondary influences from Anabaptism, although it is a matter of debate among historians. Despite the existing similarities between these two groups, the relationship between Baptists and Anabaptists was strained in 1624 when five existing Baptist churches of London issued a condemnation of the Anabaptists. The theory that Anabaptism influenced Baptist theology has been believed by Philip Schaff, A.C. Underwood, and William R. Estep. Gourley wrote that among some contemporary Baptist scholars who emphasize the faith of the community over soul liberty, the Anabaptist influence theory is making a comeback.
Puritans of England and their Baptist branch arose independently, and although they may have been informed by Anabaptist theology, they clearly differentiate themselves from Anabaptists as seen in the London Confession of Faith 1644, "Of those Churches which are commonly (though falsely) called Anabaptists". Moreover, Baptist historian Chris Traffanstedt maintains that Anabaptists share "some similarities with the early General Baptists, but overall these similarities are slight and not always relational. In the end, we must come to say that this group of Christians does not reflect the historical teaching of the Baptists".
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There have been some discussions whether Anabaptist theology influenced Particular Baptists in a limited sense. This theory proposes that there existed a native Anabaptist population in England that may have given rise to ideas held by Particular Baptist theologians. There exists some evidence of there being native English Anabaptists during this time, however many historians have rejected the idea that Anabaptist influences gave rise to the Particular Baptists, and there appears to be no concrete evidence of any Anabaptist influence in Particular Baptists. According to Barrington Raymond White, the relationship between the English Separatists and the Radical Reformers was that of people coming to similar conclusions from their reading of the Bible based on the context of a similar situation.
In practice, Anabaptists have maintained a more literal obedience to the Sermon on the Mount, while Baptists generally do not require nonresistance, non-swearing of oaths, and no remarriage if the first legitimate spouse is living. Traditional Anabaptists also require a head covering for women, modest apparel, practical separation from the world, and plain dress, which most Baptists no longer require. However, some Anabaptists and General Baptists have improved their relations and sometimes have worked together.
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Influence on society.
Common Anabaptist beliefs and practices of the 16th century continue to influence modern Christianity and Western society.
The Anabaptists were early promoters of a free church and freedom of religion. When it was introduced by the Anabaptists in the 15th and 16th centuries, religious freedom which was independent from the state was unthinkable to both clerical and governmental leaders. Religious liberty was equated with anarchy; Kropotkin traces the birth of anarchist thought in Europe to these early Anabaptist communities.
According to Estep:
Anabaptist characters exist in popular culture, most notably Chaplain Tappman in Joseph Heller's novel "Catch-22;" James (Jacques) in Voltaire's novella "Candide;" Giacomo Meyerbeer's opera (1849); and the central character in the novel "Q", by the collective known as "Luther Blissett".
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Ans
Ans or ANS or "variation", may refer to:
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Southeast Alaska
Southeast Alaska, often abbreviated to southeast or southeastern, and sometimes called the Alaska(n) panhandle, is the southeastern portion of the U.S. state of Alaska, bordered to the east and north by the northern half of the Canadian province of British Columbia (and a small part of Yukon). The majority of southeast Alaska is situated in Tlingit Aaní, much of which is part of the Tongass National Forest, the United States' largest national forest. In many places, the international border runs along the crest of the Boundary Ranges of the Coast Mountains (see Alaska boundary dispute). The region is noted for its scenery and mild, rainy climate.
The largest cities in the region are Juneau, Sitka, and Ketchikan. This region is also home to Hyder, the easternmost town in Alaska.
Geography.
Southeast Alaska has a land area of , comprising much of the Alexander Archipelago. The largest islands are, from North to South, Chichagof Island, Admiralty Island, Baranof Island, Kupreanof Island, Revillagigedo Island and Prince of Wales Island. Major bodies of water of southeast Alaska include Glacier Bay, Lynn Canal, Icy Strait, Chatham Strait, Stephens Passage, Frederick Sound, Sumner Strait, and Clarence Strait.
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The archipelago is the northern terminus of the Inside Passage, a protected waterway of convoluted passages between islands and fjords, beginning in Puget Sound in Washington state. This was an important travel corridor for Tlingit, Haida, and Tsimshian Native peoples, as well as gold-rush era steamships. In modern times it is an important route for Alaska Marine Highway ferries as well as cruise ships.
Demographics.
Southeast Alaska includes seven entire boroughs and two census areas, in addition to the portion of the Yakutat Borough lying east of 141° West longitude. Although it has only 6.14 percent of Alaska's land area, it is larger than the state of Maine, and almost as large as the state of Indiana. The southeast Alaskan coast is roughly as long as the west coast of Canada.
The 2010 census population of southeast Alaska was 71,616 inhabitants, representing approximately 10% of the state's total population. About 45% of residents in the southeast Alaska region were concentrated in the city of Juneau, the state capital. As of 2018, the number of settlements in southeast Alaska that have a population of at least 1,000 people has grown to nine.
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Major cities and towns.
Populations are taken from the 2020 census.
National protected areas.
Southeast Alaska includes the Tongass National Forest (which manages Admiralty Island National Monument and Misty Fjords National Monument), Glacier Bay National Park, and Sitka National Historical Park. Glacier Bay is the sixth largest national park in the United States. On August 20, 1902, President Theodore Roosevelt established the Alexander Archipelago Forest Reserve, which formed the heart of the Tongass National Forest that covers most of the region.
Climate.
The climate of southeast Alaska is dominated by a mid-latitude oceanic climate (Köppen "Cfb") in the south, an oceanic, marine sub-polar climate (Köppen "Cfc") in the central region around Juneau, and a subarctic climate (Köppen "Dfc") to the far northwest and the interior highlands of the archipelago. Southeast Alaska is also the only region in Alaska where the average daytime high temperature is above freezing during the winter months, except for in the southern parts of the Aleutian islands such as Unalaska.
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Ecology.
Southeast Alaska is a temperate rain forest within the Pacific temperate rain forest zone, as classified by the World Wildlife Fund's ecoregion system, which extends from northern California to Prince William Sound. The most common tree species are sitka spruce and western hemlock.
Wildlife includes brown bears, black bears, endemic Alexander Archipelago wolf packs, Sitka black-tailed deer, humpback whales, orcas, five species of salmon, bald eagles, harlequin ducks, scoters, and marbled murrelets.
The "Ecological Atlas of Southeast Alaska", published by Audubon Alaska in 2016, offers an overview of the region's landscape, birds, wildlife, human uses, climate change, and more, synthesizing data from agencies and a variety of other sources.
Culture.
This area is the traditional homeland of the Tlingit, and home of a historic settling of Haida as well as a modern settlement of Tsimshian. The region is closely connected to Seattle and the American Pacific Northwest economically and culturally.
Industry.
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Major industries in southeast Alaska include commercial fishing and tourism (primarily the cruise ship industry).
Logging.
Logging has been an important industry in the past, but has been steadily declining with competition from other areas and the closure of the region's major pulp mills; the Alaska Forest Association described the situation as "desperate" in 2011. Its members include Alcan Forest Products (owned by Canadian Transpac Group, one of the top 5 log exporters in North America) and Viking Lumber, which is based in Craig, Alaska. Debates over whether to expand logging in the federally owned Tongass are not uncommon.
Mining.
Mining remains important in the northern area with the Juneau mining district and Admiralty mining district hosting active mines as of 2015. Gold was discovered in 1880 and played an important part in the early history of the region.
In the 2010s, mines increasingly began to be explored and eventually completed in neighboring British Columbia, upstream of important rivers such as the Unuk and the Stikine, which became known as the transboundary mining issue. In 2014, the dam breach at the Mount Polley mine focused attention on the issue, and an agreement between Canada and Alaska was drafted in 2015.
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The proposed Kerr Sulphurets Mitchell exploration is upstream of the Unuk. Mines upstream of the Stikine include the Red Chris, which is owned by the same company (Imperial Metals) as the Mount Polley mine.
Healthcare.
Major hospitals include Bartlett Regional Hospital in Juneau and PeaceHealth Ketchikan Medical Center in Ketchikan. Southeast Alaska Regional Health Consortium runs healthcare facilities across 27 communities as of 2022, including hospitals in Sitka and Wrangell; although it originally served Native Americans only, it has expanded access and combined with other local facilities over time.
Shipbuilding.
Due to the fishing and ferries in the region, ship building and maintenance are economically significant.
Ketchikan hosts a shipbuilding yard owned by Vigor Industrial.
Tourism.
Tourists visit southeast Alaska primarily in the summer, and most visit via cruise ships, which run from April 15 to October 30. In 2019, around 1.3 million people visited Alaska by cruise ship.
The northbound Inside Passage cruise commonly starts from either Seattle or Vancouver, Canada and stops in various ports including Ketchikan, Juneau, and Skagway. One-way trips will end in Whittier or Seward.
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An alternative Gulf of Alaska cruise starts in Whittier (Anchorage) and also passes through southeast Alaska's Inside Passage.
The cruise ship industry became prominent in the 1960s after cruise ship entrepreneur Stanley B. McDonald repurposed a transport ship named Princess Pat, founding Princess Cruises to do leisure cruises which expanded into southeast Alaska by 1969. The TV series "The Love Boat" was set on a Princess cruise and featured episodes in Alaska; it also helped to popularize cruising generally which helped it grow rapidly between 1977 and 1987.
Prior to Princess cruises, Chuck West created a tourism agency in 1947 under the name Arctic Alaska Tours which was renamed Westours, which originally arranged trips for travelers on steamships.
History.
The border between Alaska and the Canadian province of British Columbia was the subject of the Alaska boundary dispute, where the United States and the United Kingdom claimed different borderlines at the Alaskan panhandle. While the British foreign affairs were in favor of support of the Canadian argument, the event resulted in what was thought of as a betrayal, leading to alienation of the British from the new nation of Canada.
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Transportation.
Due to the extremely rugged, mountainous nature of Southeastern Alaska, almost all communities (with the exception of Hyder, Skagway, and Haines) have no road connections outside of their locale, so aircraft and boats are the major means of transport. The Alaska Marine Highway passes through this region.
Air transportation.
Alaska Airlines is by far the largest air carrier in the region, with Juneau's Juneau International Airport serving as the aerial hub for all of southeast, and Ketchikan's Ketchikan International Airport serving as a secondary hub for southern southeast Alaska. Alaska's bush airlines and air taxis serve many of the smaller and more isolated communities and villages in the regions. Many communities are accessible by air only by floatplane, as proper runways are often difficult to construct on the steep island slopes.
Marine transportation.
Southeast Alaska is primarily served by the state-run Alaska Marine Highway, which links Skagway, Haines, Hoonah, Juneau, Sitka, Petersburg, Wrangell, Ketchikan and other outlying communities with Prince Rupert, BC and Bellingham, Washington; and secondarily by the Prince of Wales Island-based Inter-Island Ferry Authority, which provides the only scheduled passenger and auto ferry service to the island. A new Authority, the Rainforest Islands Ferry Authority, was created and in 2014 may possibly operate the North End route. The Authority would connect Coffman Cove with Wrangell and Petersburg. Small companies like Sitka-based Allen Marine and other independent operators in the Lynn Canal occasionally also offer marine passenger service. Ship traffic in the area is seasonally busy with cruise ships.
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Algemeen Nederlands Studentenblad
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Algemeen Nijmeegs Studentenblad
The Algemeen Nijmeegs Studentenblad is an independent student magazine for the Radboud University Nijmegen. Founded in 1985 by members of the local student union AKKU, it is now published by the Stichting Multimedia.
Notable publications and controversies.
In 1989 ANS started to publish the monthly comic strip DirkJan, before it moved to SjoSji. The magazine has published controversial articles that attracted nation-wide media attention, such as on the benefits of marihuana consumption for studying. In 2010 the university refused to distribute the magazine among freshmen because it did not endorse the editorial.
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Interior Alaska
Interior Alaska is the central region of Alaska's territory, roughly bounded by the Alaska Range to the south and the Brooks Range to the north. It is largely wilderness. Mountains include Denali in the Alaska Range, the Wrangell Mountains, and the Ray Mountains. The native people of the interior are Alaskan Athabaskans. The largest city in the interior is Fairbanks, Alaska's second-largest city, in the Tanana Valley. Other towns include North Pole, just southeast of Fairbanks, Eagle, Tok, Glennallen, Delta Junction, Nenana, Anderson, Healy, and Cantwell. The interior region has an estimated population of 113,154.
Climate.
Interior Alaska experiences extreme seasonal temperature variability. Winter temperatures in Fairbanks average −12 °F (−24 °C) and summer temperatures average +62 °F (+17 °C). Temperatures there have been recorded as low as −65 °F (−54 °C) in mid-winter, and as high as +99 °F (+37 °C) in summer. Both the highest and lowest temperature records for the state were set in the Interior, with 100 °F (38 °C) in Fort Yukon and −80 °F (−62 °C) in Prospect Creek. Temperatures within a given winter are highly variable as well; extended cold snaps of forty below zero can be followed by unseasonable warmth with temperatures above freezing due to chinook wind effects.
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Summers can be warm and dry for extended periods creating ideal fire weather conditions. Weak thunderstorms produce mostly dry lightning, sparking wildfires that are mostly left to burn themselves out as they are often far from populated areas. The 2004 season set a new record with over burned.
The average annual precipitation in Fairbanks is 11.3 inches (287 mm). Most of this comes in the form of snow during the winter. Most storms in the interior of Alaska originate in the Gulf of Alaska, south of the state, though these storms often have limited precipitation due to a rain shadow effect caused by the Alaska Range.
On clear winter nights, the aurora borealis can often be seen in the sky. Like all subarctic regions, the months from May to July in the summer have no night, only a twilight during the night hours. The months of November to January have little daylight. Fairbanks receives an average 21 hours of daylight between May 10 and August 2 each summer, and an average of less than four hours of daylight between November 18 and January 24 each winter.
The interior of Alaska is largely underlined by discontinuous permafrost, which grades to continuous permafrost as the Arctic Circle is approached.
Alaska Natives.
While the vast majority of indigenous Native people of Interior Alaska are Athabaskan, large Yup'ik and Iñupiaq populations reside in Fairbanks.
The federally recognized tribes of Interior Alaska:
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And did those feet in ancient time
"And did those feet in ancient time" is a poem by William Blake from the preface to his epic ', one of a collection of writings known as the Prophetic Books. The date of 1804 on the title page is probably when the plates were begun, but the poem was printed . Today it is best known as the hymn "Jerusalem", with music written by Sir Hubert Parry in 1916. The famous orchestration was written by Sir Edward Elgar. It is not to be confused with another poem, much longer and larger in scope and also by Blake, called '.
It is often assumed that the poem was inspired by the apocryphal story that a young Jesus, accompanied by Joseph of Arimathea, a tin merchant, travelled to what is now England and visited Glastonbury during his unknown years. However, according to British folklore scholar A. W. Smith, "there was little reason to believe that an oral tradition concerning a visit made by Jesus to Britain existed before the early part of the twentieth century". Instead, the poem draws on an older story, repeated in Milton's "History of Britain", that Joseph of Arimathea, alone, travelled to preach to the ancient Britons after the death of Jesus. The poem's theme is linked to the Book of Revelation ( and 21:2) describing a Second Coming, wherein Jesus establishes a New Jerusalem. Churches in general, and the Church of England in particular, have long used Jerusalem as a metaphor for Heaven, a place of universal love and peace.
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In the most common interpretation of the poem, Blake asks whether a visit by Jesus briefly created heaven in England, in contrast to the "dark Satanic Mills" of the Industrial Revolution. Blake's poem asks four questions rather than asserting the historical truth of Christ's visit. The second verse is interpreted as an exhortation to create an ideal society in England, whether or not there was a divine visit.
Text.
The original text is found in the preface Blake wrote for inclusion with "Milton, a Poem", following the lines beginning "The Stolen and Perverted Writings of Homer & Ovid: of Plato & Cicero, which all Men ought to contemn: ..."
Blake's poem
Beneath the poem Blake inscribed a quotation from the Bible:
"Dark Satanic Mills".
The phrase "dark Satanic Mills", which entered the English language from this poem, is often interpreted as referring to the early Industrial Revolution and its destruction of nature and human relationships. That view has been linked to the fate of the Albion Flour Mills in Southwark, the first major factory in London. The rotary steam-powered flour mill, built by Matthew Boulton, assisted by James Watt, could produce 6,000 bushels of flour per week. The factory could have driven independent traditional millers out of business, but it was destroyed in 1791 by fire. There were rumours of arson, but the most likely cause was a bearing that overheated due to poor maintenance.
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London's independent millers celebrated, with placards reading, "Success to the mills of Albion but no Albion Mills." Opponents referred to the factory as satanic, and accused its owners of adulterating flour and using cheap imports at the expense of British producers. A contemporary illustration of the fire shows a devil squatting on the building. The mill was a short distance from Blake's home.
Blake's phrase resonates with a broader theme in his works; what he envisioned as a physically and spiritually repressive ideology based on a quantified reality. Blake saw the cotton mills and collieries of the period as a mechanism for the enslavement of millions, but the concepts underpinning the works had a wider application:
Another interpretation is that the phrase refers to the established Church of England, which, in contrast to Blake, preached a doctrine of conformity to the established social order and class system. Stonehenge and other megaliths are featured in "Milton", suggesting they may relate to the oppressive power of priestcraft in general. Peter Porter observed that many scholars argue that the "[mills] are churches and not the factories of the Industrial Revolution everyone else takes them for". In 2007, the Bishop of Durham, N. T. Wright, explicitly recognised that element of English subculture when he acknowledged the view that "dark satanic mills" could refer to the "great churches". In similar vein, in 1967 the critic F. W. Bateson stated "the adoption by the Churches and women's organizations of this anti-clerical paean of free love is amusing evidence of the carelessness with which poetry is read".
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An alternative theory is that Blake is referring to a mystical concept within his own mythology, related to the ancient history of England. Satan's "mills" are referred to repeatedly in the main poem, and are first described in words which suggest neither industrialism nor ancient megaliths, but rather something more abstract: "the starry Mills of Satan/ Are built beneath the earth and waters of the Mundane Shell...To Mortals thy Mills seem everything, and the Harrow of Shaddai / A scheme of human conduct invisible and incomprehensible".
"Chariots of fire".
The line from the poem "Bring me my Chariot of fire!" draws on the story of , where the Old Testament prophet Elijah is taken directly to heaven: "And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven." The phrase has become a byword for divine energy, and inspired the title of the 1981 film "Chariots of Fire", in which the hymn "Jerusalem" is sung during the final scenes. The plural phrase "chariots of fire" refers to .
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"Green and pleasant land".
Blake lived in London for most of his life, but wrote much of "Milton" while living in a cottage, now Blake's Cottage, in the village of Felpham in Sussex. Amanda Gilroy argues that the poem is informed by Blake's "evident pleasure" in the Felpham countryside. However, local people say that records from Lavant, near Chichester, state that Blake wrote "And did those feet in ancient time" in an east-facing alcove of the Earl of March public house.
The phrase "green and pleasant land" has become a common term for an identifiably English landscape or society. It appears as a headline, title or sub-title in numerous articles and books. Sometimes it refers, whether with appreciation, nostalgia or critical analysis, to idyllic or enigmatic aspects of the English countryside. In other contexts it can suggest the perceived habits and aspirations of rural middle-class life. Sometimes it is used ironically, e.g. in the Dire Straits song "Iron Hand".
Revolution.
Several of Blake's poems and paintings express a notion of universal humanity: "As all men are alike (tho' infinitely various)". He retained an active interest in social and political events for all his life, but was often forced to resort to cloaking social idealism and political statements in Protestant mystical allegory. Even though the poem was written during the Napoleonic Wars, Blake was an outspoken supporter of the French Revolution, and Napoleon claimed to be continuing this revolution. The poem expressed his desire for radical change without overt sedition. In 1803 Blake was charged at Chichester with high treason for having "uttered seditious and treasonable expressions", but was acquitted. The trial was not a direct result of anything he had written, but comments he had made in conversation, including "Damn the King!".
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The poem is followed in the preface by a quotation from "Numbers" 11:29: "Would to God that all the Lords people were prophets." Christopher Rowland has argued that this includes
everyone in the task of speaking out about what they saw. Prophecy for Blake, however, was not a prediction of the end of the world, but telling the truth as best a person can about what he or she sees, fortified by insight and an "honest persuasion" that with personal struggle, things could be improved. A human being observes, is indignant and speaks out: it's a basic political maxim which is necessary for any age. Blake wanted to stir people from their intellectual slumbers, and the daily grind of their toil, to see that they were captivated in the grip of a culture which kept them thinking in ways which served the interests of the powerful.
The words of the poem "stress the importance of people taking responsibility for change and building a better society 'in Englands green and pleasant land.
Popularisation.
The poem, which was little known during the century which followed its writing, was included in the patriotic anthology of verse "The Spirit of Man," edited by the Poet Laureate of the United Kingdom, Robert Bridges, and published in 1916, at a time when morale had begun to decline because of the high number of casualties in World War I and the perception that there was no end in sight.
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Under these circumstances, Bridges, finding the poem an appropriate hymn text to "brace the spirit of the nation [to] accept with cheerfulness all the sacrifices necessary," asked Sir Hubert Parry to put it to music for a Fight for Right campaign meeting in London's Queen's Hall. Bridges asked Parry to supply "suitable, simple music to Blake's stanzas – music that an audience could take up and join in", and added that, if Parry could not do it himself, he might delegate the task to George Butterworth.
The poem's idealistic theme or subtext accounts for its popularity across much of the political spectrum. It was used as a campaign slogan by the Labour Party in the 1945 general election; Clement Attlee said they would build "a new Jerusalem". It has been sung at conferences of the Conservative Party, at the Glee Club of the British Liberal Assembly, the Labour Party and by the Liberal Democrats.
Setting to music.
By Hubert Parry.
In adapting Blake's poem as a unison song, Parry deployed a two-stanza format, each taking up eight lines of Blake's original poem. He added a four-bar musical introduction to each verse and a coda, echoing melodic motifs of the song. The word "those" was substituted for "these" before "dark satanic mills".
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Parry was initially reluctant to supply music for the campaign meeting, as he had doubts about the ultra-patriotism of Fight for Right; but knowing that his former student Walford Davies was to conduct the performance, and not wanting to disappoint either Robert Bridges or Davies, he agreed, writing it on 10 March 1916, and handing the manuscript to Davies with the comment, "Here's a tune for you, old chap. Do what you like with it." Davies later recalled,
Davies arranged for the vocal score to be published by Curwen in time for the concert at the Queen's Hall on 28 March and began rehearsing it. It was a success and was taken up generally.
But Parry began to have misgivings again about Fight for Right, and in May 1917 wrote to the organisation's founder Sir Francis Younghusband withdrawing his support entirely. There was even concern that the composer might withdraw the song from all public use, but the situation was saved by Millicent Fawcett of the National Union of Women's Suffrage Societies (NUWSS). The song had been taken up by the Suffragists in 1917 and Fawcett asked Parry if it might be used at a Suffrage Demonstration Concert on 13 March 1918. Parry was delighted and orchestrated the piece for the concert (it had originally been for voices and organ). After the concert, Fawcett asked the composer if it might become the Women Voters' Hymn. Parry wrote back, "I wish indeed it might become the Women Voters' hymn, as you suggest. People seem to enjoy singing it. And having the vote ought to diffuse a good deal of joy too. So they would combine happily".
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Accordingly, he assigned the copyright to the NUWSS. When that organisation was wound up in 1928, Parry's executors reassigned the copyright to the Women's Institutes, where it remained until it entered the public domain in 1968.
The song was first called "And Did Those Feet in Ancient Time" and the early scores have this title. The change to "Jerusalem" seems to have been made about the time of the 1918 Suffrage Demonstration Concert, perhaps when the orchestral score was published (Parry's manuscript of the orchestral score has the old title crossed out and "Jerusalem" inserted in a different hand). However, Parry always referred to it by its first title. He had originally intended the first verse to be sung by a solo female voice (this is marked in the score), but this is rare in contemporary performances. Sir Edward Elgar re-scored the work for very large orchestra in 1922 for use at the Leeds Festival. Elgar's orchestration has overshadowed Parry's own, primarily because it is the version usually used now for the Last Night of the Proms (though Sir Malcolm Sargent, who introduced it to that event in the 1950s, always used Parry's version).
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By Wallen.
In 2020 a new musical arrangement of the poem by Errollyn Wallen, a British composer born in Belize, was sung by South African soprano Golda Schultz at the Last Night of the Proms. Parry's version was traditionally sung at the Last Night, with Elgar's orchestration; the new version, with different rhythms, dissonance, and reference to the blues, caused much controversy.
Use as a hymn.
Although Parry composed the music as a unison song, many churches have adopted "Jerusalem" as a four-part hymn; a number of English entities, including the BBC, the Crown, cathedrals, churches, and chapels regularly use it as an office or recessional hymn on Saint George's Day.
However, some clergy in the Church of England, according to the BBC TV programme "Jerusalem: An Anthem for England", have said that the song is not technically a hymn as it is not a prayer to God; consequently, it is not sung in some churches in England. It was sung as a hymn during the wedding of Prince William and Catherine Middleton in Westminster Abbey.
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Many schools use the song, especially public schools in Great Britain (it was used as the title music for the BBC's 1979 series "Public School" about Radley College), and several private schools in Australia, New Zealand, New England and Canada. In Hong Kong, diverted version of "Jerusalem" is also used as the school hymn of St. Catherine's School for Girls, Kwun Tong and Bishop Hall Jubilee School. "Jerusalem" was chosen as the opening hymn for the London Olympics 2012, although "God Save the Queen" was the anthem sung during the raising of the flag in salute to the Queen. Some attempts have also been made to increase its use elsewhere with other words; examples include the state funeral of President Ronald Reagan in Washington National Cathedral on 11 June 2004, and the state memorial service for Australian Prime Minister Gough Whitlam on 5 November 2014.
It has been sung on BBC's "Songs Of Praise" for many years; in a countrywide poll to find the UK's favourite hymn in 2019, it was voted top, relegating previous favourite "How Great Thou Art" into second place.
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Proposal as English anthem.
Upon hearing the orchestral version for the first time, King George V said that he preferred "Jerusalem" over the British national anthem "God Save the King". "Jerusalem" is considered to be England's most popular patriotic song; "The New York Times" said it was "fast becoming an alternative national anthem," and there have been calls to give it official status. England has no official anthem and uses the British national anthem "God Save the King", also unofficial, for some national occasions, such as before English international football matches. However, some sports, including rugby league, use "Jerusalem" as the English anthem. "Jerusalem" is the official hymn of the England and Wales Cricket Board, although "God Save the Queen" has been sung before England's games on several occasions, including the 2010 ICC World Twenty20, the 2010–11 Ashes series and the 2019 ICC Cricket World Cup. Questions in Parliament have not clarified the situation, as answers from the relevant minister say that since there is no official national anthem, each sport must make its own decision.
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As Parliament has not clarified the situation, Team England, the English Commonwealth team, held a public poll in 2010 to decide which anthem should be played at medal ceremonies to celebrate an English win at the Commonwealth Games. "Jerusalem" was selected by 52% of voters over "Land of Hope and Glory" (used since 1930) and "God Save the Queen".
In 2005 BBC Four produced "Jerusalem: An Anthem For England" highlighting the usages of the song/poem and a case was made for its adoption as the national anthem of England. Varied contributions come from Howard Goodall, Billy Bragg, Garry Bushell, Lord Hattersley, Ann Widdecombe and David Mellor, war proponents, war opponents, suffragettes, trade unionists, public schoolboys, the Conservatives, the Labour Party, football supporters, the British National Party, the Women's Institute, London Gay Men's Chorus, London Community Gospel Choir, Fat Les and naturists.
Cultural significance.
Enduring popularity.
The popularity of Parry's setting has resulted in many hundreds of recordings being made, too numerous to list, of both traditional choral performances and new interpretations by popular music artists. The song has also had a large cultural impact in Great Britain. It is sung every year by an audience of thousands at the end of the Last Night of the Proms in the Royal Albert Hall and simultaneously in the "Proms in the Park" venues throughout the country. Similarly, along with "The Red Flag", it is sung each year at the closing of the annual Labour Party conference.
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The song was used by the National Union of Women's Suffrage Societies (indeed Parry transferred the copyright to the NUWSS in 1918; the Union was wound up in 1928 after women won the right to vote). During the 1920s many Women's Institutes (WI) started closing meetings by singing it, and this caught on nationally. Although it was never adopted as the WI's official anthem, in practice it holds that position, and is an enduring element of the public image of the WI.
A rendition of "Jerusalem" was included in the 1973 album "Brain Salad Surgery" by the progressive rock group Emerson, Lake & Palmer. The arrangement of the hymn is notable for its use of the first polyphonic synthesizer, the Moog Apollo. It was released as a single, but failed to chart in the United Kingdom.
An instrumental rendition of the hymn was included in the 1989 album "The Amsterdam EP" by Scottish rock band Simple Minds.
Iron Maiden singer Bruce Dickinson incorporated the full text of the poem into his 6:42 track "Jerusalem" (co-written with Roy Z), a part of his William Blake inspired 1998 solo album "The Chemical Wedding". Dickinson performed the track live in 2023 as part of the "Jon Lord" "Concerto for Group and Orchestra" tour.
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"Jerusalem" is traditionally sung before rugby league's Challenge Cup Final, along with "Abide with Me", and before the Super League Grand Final, where it is introduced as "the rugby league anthem". Before 2008, it was the anthem used by the national side, as "God Save the Queen" was used by the Great Britain team: since the Lions were superseded by England, "God Save the Queen" has replaced "Jerusalem". Since 2004, it has been the anthem of the England cricket team, being played before each day of their home test matches.
It was also used in the opening ceremony of the 2012 Summer Olympics held in London and inspired several of the opening show segments directed by Danny Boyle. It was included in the ceremony's soundtrack album, "".
Use in film, television and theatre.
"Bring me my Chariot of fire" inspired the title of the film "Chariots of Fire".
The hymn has featured in many other films and television programmes including "Four Weddings and a Funeral", "How to Get Ahead in Advertising", "The Loneliness of the Long Distance Runner", "Saint Jack", "Calendar Girls", Season 3: Episode 22 of ', "Goodnight Mister Tom", "Women in Love", "The Man Who Fell to Earth", "Shameless", "Jackboots on Whitehall", "Quatermass and the Pit", "Monty Python's Flying Circus", ', and "Collateral" (UK TV series).
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An extract was heard in the 2013 "Doctor Who" episode "The Crimson Horror" although that story was set in 1893, i.e., before Parry's arrangement. A bawdy version of the first verse is sung by Mr Partridge in the third episode of Series 1 of "Hi-de-Hi!". A punk version is heard in Derek Jarman's 1977 film "Jubilee". In an episode of "Peep Show", Jez (Robert Webb) records a track titled "This Is Outrageous" which uses the first and a version of the second line in a verse. A modified version of the hymn, replacing the word "England" with "Neo", is used in "Neo Yokio" as the national anthem of the eponymous city state.
In the theatre it appears in "Jerusalem", "Calendar Girls" and in "Time and the Conways".
British band The Verve reworks lines from "Jerusalem" in their song "Love Is Noise", asking, "Will those feet in modern times/Walk on soles that are made in China?", and alludes to "bright prosaic malls". Another version of "Jerusalem" was produced by the British post-punk band The Fall in 1988.
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The Bush (Alaska)
In Alaska, the Bush typically refers to any region of the state that is not connected to the North American road network and does not have ready access to the state's ferry system. A large proportion of Alaska Native populations live in the Bush, often depending on subsistence hunting and fishing.
Geographically, the Bush comprises the Alaska North Slope; Northwest Arctic; West, including the Baldwin and Seward Peninsulas; the Yukon-Kuskokwim Delta; Southwest Alaska; Bristol Bay; Alaska Peninsula; and remote areas of the Alaska Panhandle and Interior.
Some of the hub communities in the bush, which typically can be reached by larger, commercial airplanes, include Bethel, Dillingham, King Salmon, Nome, Utqiagvik, Kodiak Island, Kotzebue, and Unalaska-Dutch Harbor.
Most parts of Alaska that are off the road or ferry system can be reached by small bush airplanes. Travel between smaller communities or to and from hub communities is typically accomplished by snowmobiles, boats, or ATVs.
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A Little Night Music
A Little Night Music is a musical with music and lyrics by Stephen Sondheim and book by Hugh Wheeler. Inspired by the 1955 Ingmar Bergman film "Smiles of a Summer Night", it involves the romantic lives of several couples. Its title is a literal English translation of the German name for Mozart's Serenade No. 13, K. 525, "Eine kleine Nachtmusik". The musical includes the popular song "Send In the Clowns", written for Glynis Johns.
Since its original 1973 Broadway production, the musical has enjoyed professional productions in the West End, by opera companies, in a 2009 Broadway revival, and elsewhere, and it is a popular choice for regional groups. It was adapted for film in 1977, with Harold Prince directing and Elizabeth Taylor, Len Cariou, Lesley-Anne Down, and Diana Rigg starring.
Synopsis.
Act One.
The setting is Sweden, around the year 1900. One by one, the Quintet – five singers who comment like a Greek chorus throughout the show – enter, tuning up. Gradually, their vocalizing becomes an overture blending fragments of "Remember," "Soon," and "The Glamorous Life." The other characters enter waltzing, each uncomfortable with their partner ("Night Waltz"). After they drift back off, the aging and sardonic Madame Armfeldt, a wealthy former courtesan, and her solemn granddaughter, Fredrika, enter. Madame Armfeldt tells the child that the summer night "smiles" three times: first on the young, second on fools, and third on the old. Fredrika vows to watch the smiles occur.
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Middle-aged, successful lawyer Fredrik Egerman has recently married an 18-year-old trophy wife, Anne, a naive girl who loves Fredrik but is not attracted to him. The two have been married for eleven months, and Anne still protects her virginity. Upon coming home from work, Fredrik surprises Anne with tickets to a play, starring Desiree Armfeldt, a glamorous actress whom Anne greatly admires. Anne giddily fantasizes about what it would be like to be as beautiful and beloved as Desiree, and starts talking at Fredrik about her day. Fredrik, distracted by his lust, considers various ways he might seduce his wife but ultimately rules each one out and elects to take a nap instead ("Now"). Meanwhile, his son Henrik, a seminary student a year older than his stepmother, is frustrated and ignored ("Later"). Anne promises her husband that shortly she will consent to have sex even though she can't help recoiling at his touch ("Soon"), and all three of them lament at once. The number concludes with Fredrik sighing Desiree's name in his sleep, which Anne overhears. Anne's maidservant Petra, an experienced and forthright girl, slightly older than the teen herself, offers her worldly but crass advice.
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Desiree Armfeldt, although once prominent, is now a fading flower clinging onto what's left of her past fame. Desiree tours in small, obscure towns with her theatre troupe. Madam Armfeldt, Desiree's mother, has taken over the care of Desiree's daughter Fredrika. Fredrika misses her mother, but Desiree continually delays seeing her, preferring, somewhat ironically, her life on tour ("The Glamorous Life"). As Fredrik and Anne take their seats at Desiree's play, Anne's previous excitement quickly devolves into anxiety, suspicious that Fredrik and Desiree have a romantic history that he never disclosed to her. The play begins and Desiree immediately notices Fredrik in the audience, and the Quintet reveals their shared memories and passionate relationship ("Remember"). Desiree, ironically playing a sexually irresistible countess, exchanges amorous glances with Fredrik and delivers her lines in an overtly suggestive tone, confirming Anne's suspicions as true. Anne, upset and overwhelmed, demands that Fredrik take her home. Meanwhile, Petra tries to seduce a nervous and petulant Henrik.
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That night, as Fredrik remembers his past with Desiree, he sneaks out to see her. The two have a happy but strained reunion, reflecting on their new lives. Desiree sarcastically boasts of her own adultery, as she has been seeing the married dragoon, Count Carl-Magnus Malcolm. Following, Fredrik tries to explain how much he loves Anne, fending off Desiree's interjecting quips, but he ultimately reveals his sexual frustration ("You Must Meet My Wife"). Upon learning that Fredrik has gone for eleven months without sex, she agrees to accommodate him as a favor for an old friend.
Madam Armfeldt offers advice to young Fredrika. The elderly woman reflects poignantly on her own checkered past and wonders what happened to prior refined styles of living ("Liaisons"). In Desiree's apartment, Count Carl-Magnus Malcolm proclaims his unannounced arrival in his usual booming tones. Fredrik and Desiree fool the Count with an innocent explanation for their disheveled appearance, but he is still suspicious. He boasts of his many duels and the various wounds he has suffered before demonstrating his skills in knife-throwing. Fredrik responds sarcastically, causing the dragoon to dislike him immediately. Carl-Magnus returns to his wife, Countess Charlotte. Charlotte knows of her husband's infidelity, but Carl-Magnus is too absorbed in his suspicions of Desiree to talk to her ("In Praise of Women"). When she persuades him to blurt out the whole story, a twist is revealed—Charlotte's little sister is a schoolfriend of Anne's.
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Charlotte visits Anne and describes Fredrik's tryst with Desiree. Anne is shocked and saddened, but Charlotte explains that such is the lot of a wife, and love brings pain ("Every Day a Little Death"). Meanwhile, Desiree asks Madam Armfeldt to host a party for Fredrik, Anne, and Henrik. Madam Armfeldt reluctantly agrees and sends out a personal invitation; its receipt sends Anne into a frenzy, imagining Desiree further seducing Fredrik at the estate. Anne does not want to accept the invitation, but Charlotte convinces her to do so to heighten the contrast between the older Desiree and the young and beautiful teenager. Charlotte relates this to the Count, who (much to her chagrin) decides to visit the Armfeldts, uninvited, as well. Carl-Magnus plans to challenge Fredrik to a duel, while Charlotte hopes to seduce the lawyer to make her husband jealous and end his philandering. The act ends as all characters head to Madam Armfeldt's estate ("A Weekend in the Country").
Act Two.
Madam Armfeldt's country estate is bathed in the golden glow of perpetual summer sunset at this high latitude ("Night Waltz One and Two"). Everyone arrives, each with their own amorous purposes and desires—even Petra, who catches the eye of Armfeldt's fetching manservant, Frid. The women begin to quarrel with one another. Fredrik is astonished to learn the name of Desiree's daughter. Henrik meets Fredrika, and confesses to her he deeply loves Anne. Meanwhile, in the garden, Fredrik and Carl-Magnus reflect on the difficulty of being annoyed with Desiree, contrasting her immoral actions with her physical beauty ("It Would Have Been Wonderful"). Dinner is served, and the female Quintet singers comment on the characters’ suspense regarding the coming meal ("Perpetual Anticipation").
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At dinner, Charlotte attempts to flirt with Fredrik and trades insults with Desiree. Soon, everyone is shouting and scolding everyone else, except for Henrik, who finally speaks up. He accuses the whole company of being amoral, and flees the scene. Stunned, everyone reflects on the situation and wanders away. Fredrika tells Anne of Henrik's secret love and the two dash off searching for him. Meanwhile, Desiree meets Fredrik and asks if he still wants to be "rescued" from his life. Fredrik answers honestly that he loves Desiree but cannot bring himself to hurt Anne. Hurt and bitter, Desiree can only reflect on the nature of her life and relationship with Fredrik ("Send In the Clowns"). Anne finds Henrik, who is attempting to commit suicide. The clumsy boy cannot complete the task, and Anne tells him she loves him, too. The pair begins to kiss, which leads to Anne's first sexual encounter. Meanwhile, not far away, Frid sleeps in Petra's lap. The maid imagines advantageous marriages but concludes that in the meantime, "a girl ought to celebrate what passes by" ("The Miller's Son"). Charlotte confesses her plan to Fredrik, and both watch Henrik and Anne, happy together, run away to start their new life. The two commiserate on a bench. Carl-Magnus, preparing to sleep with Desiree, sees this and challenges Fredrik to Russian Roulette; Fredrik nervously misfires and simply grazes his own ear. Feeling victorious, Carl-Magnus reaffirms his love for Charlotte, finally granting her wish.
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After the Count and Countess leave, Fredrika and Madam Armfeldt discuss the recent chaotic turns of events. The elderly woman asks Fredrika a surprising question: "What is it all for?" Fredrika thinks about this and decides that love, for all of its frustrations, "must be worth it." Madam Armfeldt is surprised, ruefully noting that she rejected love for material wealth at Fredrika's age. She praises her granddaughter and remembers true love's fleeting nature.
Fredrik finally confesses his love for Desiree, acknowledging that Fredrika is his daughter, and the two promise to start a new life together ("Send in the Clowns" (Reprise)). Madam Armfeldt sits alone with Fredrika, who tells her grandmother that she has watched carefully but still has not seen the night smile. Madam Armfeldt laughs and points out that the night has indeed smiled twice: first on Henrik and Anne, the young, and second on Desiree and Fredrik, the fools. As the two wait for the "third smile... on the old", it occurs: Madam Armfeldt closes her eyes and dies peacefully with Fredrika beside her ("Last Waltz").
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Musical numbers.
Stage:
Screen:
Productions.
Original Broadway production.
Subsequent to its January 23-February 10 tryout engagement at the Colonial Theatre (Boston),"A Little Night Music" opened on Broadway at the Shubert Theatre on February 25, 1973. It played there until September 15, 1973, then moved to the Majestic Theatre, on September 17, and closed there on August 3, 1974, after 601 performances and 12 previews. It was directed by Harold Prince with choreography by Patricia Birch and design by Boris Aronson. The cast included Glynis Johns (Desiree Armfeldt), Len Cariou (Fredrik Egerman), Hermione Gingold (Madame Armfeldt), Victoria Mallory (Anne Egerman), Judith Kahan (Fredrika Armfeldt), Mark Lambert (Henrik Egerman), Laurence Guittard (Carl-Magnus Malcolm), Patricia Elliott (Charlotte Malcolm), George Lee Andrews (Frid), and D'Jamin Bartlett (Petra). It won the New York Drama Critics' Circle Award and the Tony Award for Best Musical.
Australian premiere.
The first international production opened at Her Majesty's Theatre in Sydney, Australia in November 1973, with a cast including Taina Elg, Bruce Barry, Jill Perryman, Doris Fitton, Anna Russell and Geraldine Turner. Australian revivals have been presented by the Sydney Theatre Company (featuring Geraldine Turner and a young Toni Collette) in 1990, Melbourne Theatre Company (featuring Helen Morse and John O'May) in 1997, Opera Australia (featuring Sigrid Thornton and Anthony Warlow as Fredrik Egerman) in 2009, and Victorian Opera (featuring Ali McGregor, Simon Gleeson and Verity Hunt-Ballard) in 2019.
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United States tour.
A US national tour began on February 26, 1974, at the Forrest Theatre, Philadelphia, and ended on February 13, 1975, at the Shubert Theatre, Boston. Jean Simmons as Desiree Armfeldt, George Lee Andrews as Fredrik Egerman and Margaret Hamilton as Madame Armfeldt headed the cast.
West End premiere.
The musical premiered in the West End at the Adelphi Theatre on April 15, 1975, and starred Jean Simmons, Joss Ackland, David Kernan, Liz Robertson, and Diane Langton, with Hermione Gingold reprising her role as Madame Armfeldt. It ran for 406 performances. During the run, Angela Baddeley replaced Gingold, and Virginia McKenna replaced Simmons.
1989 West End revival.
A revival opened in the West End on October 6, 1989, at the Piccadilly Theatre, directed by Ian Judge, designed by Mark Thompson, and choreographed by Anthony Van Laast. It starred Lila Kedrova as Madame Armfeldt, Dorothy Tutin as Desiree Armfeldt, Peter McEnery as Fredrik, and Susan Hampshire. The production ran for 144 performances, closing on February 17, 1990.
1995 London revival.
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A revival by the Royal National Theatre opened at the Olivier Theatre on September 26, 1995. It was directed by Sean Mathias, with set design by Stephen Brimson Lewis, costumes by Nicky Gillibrand, lighting by Mark Henderson and choreography by Wayne McGregor. It starred Judi Dench (Desiree), Siân Phillips (Madame Armfeldt), Joanna Riding (Anne Egerman), Laurence Guittard (Fredrik Egerman), Patricia Hodge (Countess Charlotte) and Issy van Randwyck (Petra). The production closed on August 31, 1996. Dench received the Olivier Award for Best Actress in a Musical.
2008 London revival.
The third London revival ran at the Menier Chocolate Factory from November 22, 2008, until March 8, 2009. The production was directed by Trevor Nunn, with musical supervision by Caroline Humphris, choreography by Lynne Page, sets and costumes by David Farley and new orchestrations by Jason Carr. The cast included Hannah Waddingham as Desiree, Alexander Hanson as Frederik, Jessie Buckley (Anne), Maureen Lipman (Madame Armfeldt), Alistair Robins (the Count), Gabriel Vick (Henrik), Grace Link (Fredrika) and Kasia Hammarlund (Petra). This critically acclaimed production transferred to the Garrick Theatre in the West End for a limited season, opening on March 28, 2009, and running until July 25, 2009. The production then transferred to Broadway with a new cast.
2009 Broadway revival.
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The 2008 Menier Chocolate Factory production opened on Broadway at the Walter Kerr Theatre in previews on November 24, 2009, and officially on December 13, 2009, with the same creative team. The cast was led by Angela Lansbury as Madame Armfeldt and, in her Broadway debut, Catherine Zeta-Jones as Desiree. Also featured were Alexander Hanson as Frederik, Ramona Mallory (the daughter of original Broadway cast members Victoria Mallory and Mark Lambert) as Anne, Hunter Ryan Herdlicka as Henrik, Leigh Ann Larkin as Petra, Erin Davie as the Countess, Aaron Lazar as the Count, and Bradley Dean as Frid. Zeta-Jones received the award for Best Leading Actress in a Musical at the 64th Tony Awards.
Originally, Katherine Doherty and Keaton Whittaker played Fredrika in alternating performances, beginning with the November 2009 previews. The official show album, which was recorded in January 2010, features both Doherty and Whittaker as Fredrika (on different songs). However, Katherine McNamara replaced Doherty in February 2010. McNamara and Whittaker stayed with the production until it ended in January 2011.
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When the contracts of Zeta-Jones and Lansbury ended, the production closed temporarily on June 20, 2010, and resumed on July 13, with new stars Bernadette Peters as Desiree Armfeldt and Elaine Stritch as Madame Armfeldt. In an interview, Peters said that Sondheim had "proposed the idea to her this spring and urged the producers of the revival to cast her." Trevor Nunn directed rehearsals with the two new stars, and the rest of the original cast remained. Peters and Stritch extended their contracts until January 9, 2011, when the production closed with 20 previews and 425 regular performances. Before the production closed, it recouped its initial investment.
Europe.
Zarah Leander played Madame Armfeldt in the original Austrian staging (in 1975) as well as in the original Swedish staging in Stockholm in 1978 (here with Jan Malmsjö as Fredrik Egerman). The successful Stockholm staging was directed by Stig Olin. In 2010 the musical was scheduled to return to Stockholm and the Stockholm Stadsteater. The cast included Pia Johansson, Dan Ekborg, Yvonne Lombard and Thérese Andersson.
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The Théâtre du Châtelet, Paris production ran from February 15, 2010, through February 20, 2010. Lee Blakeley directed and Andrew George was the choreographer. Italian-born actress Greta Scacchi played Désirée, and Leslie Caron played Madame Armfeldt.
The Turku City Theatre staged the musical in 2011 with in the role as Désirée. directed and Jussi Vahvaselkä was musical director.
In 2019, the Nederlands Reisopera staged a version directed by Zack Winokur, with Susan Rigvava-Dumas playing Désirée.
Opera companies and concerts.
The musical has also become part of the repertoire of a few opera companies. Michigan Opera Theatre was the first major American opera company to present the work in 1983, and again in November 2009. Light Opera Works (Evanston, Illinois) produced the work in August 1983. New York City Opera staged it in 1990, 1991 and 2003, the Houston Grand Opera in 1999, the Los Angeles Opera in 2004, and Hartford Opera Theater in 2014. New York City Opera's production in August 1990 and July 1991 (a total of 18 performances) won the 1990 Drama Desk Award for Outstanding Revival and was telecast on the PBS show "Live at Lincoln Center" on November 7, 1990. The cast included both stage performers: Sally Ann Howes and George Lee Andrews as Desiree and Frederik and opera regular Regina Resnik as Madame Armfeldt (in 1991). The 2003 production featured a young Anna Kendrick as Fredrika Armfeldt, alongside Jeremy Irons as Frederik, Juliet Stevenson as Desiree, Claire Bloom as Madame Armfeldt, Danny Gurwin as Henrik, Michele Pawk as Charlotte, Jessiva Boevers as Petra, Kristin Huxhold as Anne and Marc Kudisch as Carl-Magnus. The 2003 production was revived at Los Angeles Opera in July 2004. Kudish, Pawk, Gurwin and Boevers returned alongside Judith Ivey as Desiree, Zoe Caldwell as Madame Armfeldt, Victor Garber as Frederik, Laura Benanti as Anne and Kristen Bell as Fredrika.
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Opera Australia presented the piece in Melbourne in May 2009, starring Sigrid Thornton as Desiree Armfeldt and Nancye Hayes as Madame Armfeldt. The production returned in 2010 at the Sydney Opera House with Anthony Warlow taking on the role of Fredrik Egerman. The production was directed by Stuart Maunder, designed by Roger Kirk, and conducted by Andrew Greene. Opera Theatre of Saint Louis performed the musical in June 2010. Designer Isaac Mizrahi directed and designed the production, with a cast that included Amy Irving, Siân Phillips, and Ron Raines as Fredrik Egerman.
The piece has also become a popular choice for amateur musical theatre and light opera companies. In 2017, the musical was performed by students at The Royal Academy of Dramatic Art.
In June 2024, there was a concert presentation at David Geffen Hall in Lincoln Center. The production starred star Susan Graham (Desiree Armfeldt), Cynthia Erivo (Petra), Ron Raines (Fredrik Egerman), Kerstin Anderson (Anne Egerman), Jonathan Christopher (Mr. Erlanson), Jason Gotay (Henrik Egerman), Ellie Fishman (Mrs. Nordstrom), Jin Ha (Frid), Addie Harrington (Fredrika Armfeldt), Shuler Hensley (Count Carl Magnus), Samantha Hill (Mrs. Segstrom), Andrea Jones-Sojola (Mrs. Anderson), Ross Lekites (Mr. Lindquist), Marsha Mason (Madam Armfeldt), and Ruthie Ann Miles (Countess Charlotte). The concert was produced by Jeff Berger, in association with
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Doug and Stacey Meyer, David and Ryan Belenzon, and Michael Lamon.
Film adaptation.
A film version of "A Little Night Music" was released in 1977. Cariou, Gingold, and Guittard reprise their broadway roles alongside Elizabeth Taylor as Desiree, Lesley-Anne Down as Anne and Diana Rigg as Charlotte. The setting for the film was moved from Sweden to Austria. Sondheim wrote lyrics for the "Night Waltz" theme ("Love Takes Time") and wrote an entirely new version of "The Glamorous Life", which has been incorporated into several subsequent productions of the stage musical. However, other songs, including "In Praise of Women", "The Miller's Son" and "Liaisons", were cut and remain heard only as background orchestrations. The film marked Prince's second (and final) time as a motion picture director. Critical reaction to the film was mostly negative, with much being made of Taylor's wildly fluctuating weight from scene to scene. Some critics talked more positively of the film, with "Variety" calling it "an elegant looking, period romantic charade". There was praise for Diana Rigg's performance, and orchestrator Jonathan Tunick received an Oscar for his work on the score. A soundtrack recording was released on LP, and a DVD release was issued in June 2007.
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Music analysis.
The score for "A Little Night Music" presents performance challenges more often seen in operetta or light opera pieces than in standard musical comedy. The demands made on the singing cast are considerable; although the vocal demands of the role of Desiree are rather small, most of the other singing roles require strong, legitimately-trained voices with fairly wide ranges. Sondheim's liberal use of counterpoint extends to the vocal parts, including a free-structured round (the trio "Perpetual Anticipation") as well as songs in which characters engage in interior monologues or even overt dialogue simultaneously ("Now/Later/Soon", "A Weekend in the Country"). Critic Rex Reed noted that "The score of 'Night Music' ...contains patter songs, contrapuntal duets and trios, a quartet, and even a dramatic double quintet to puzzle through. All this has been gorgeously orchestrated by Jonathan Tunick; there is no rhythm section, only strings and woodwinds to carry the melodies and harmonies aloft."
Sondheim's engagement with threes extends to his lyrics. He organizes trios with the singers separated, while his duets are sung together, about a third person.
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The work is performed as an operetta in many professional opera companies. For example, it was added to the New York City Opera Company repertoire in 1990.
time.
Most of the music in the show is written in waltz meter (time). Some parts adopt compound meter, with a time signature such as . Passages in "Overture", "Glamorous Life", "Liaisons", "Every Day A Little Death", and "The Miller's Son" are in duple meter.
Counterpoint and polyphony.
At several points, Sondheim has multiple performers each sing a different song simultaneously. This use of counterpoint maintains coherence even as it extends the notion of a round, familiar in songs such as the traditional "Frère Jacques", into something more complex. Sondheim said: "As for the three songs ... going together well, I might as well confess. In those days I was just getting into contrapuntal and choral writing...and I wanted to develop my technique by writing a trio. What I didn't want to do is the quodlibet method...wouldn't it be nice to have three songs you don't think are going to go together, and they do go together ... The trick was the little vamp on "Soon" which has five-and six-note chords." Steve Swayne comments that the "contrapuntal episodes in the extended ensembles ... stand as testament to his interest in Counterpoint."
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"Send In The Clowns".
The show's best-known and Sondheim's biggest hit song was almost an afterthought, written several days before the start of out-of-town tryouts. Sondheim initially conceived Desiree as a role for a more or less non-singing actress. When he discovered that the original Desiree, Glynis Johns, was able to sing (she had a "small, silvery voice") but could not "sustain a phrase", he devised the song "Send in the Clowns" for her in a way that would work around her vocal weakness, e.g., by ending lines with consonants that made for a short cut-off. "It is written in short phrases in order to be acted rather than sung ... tailor-made for Glynis Johns, who lacks the vocal power to sustain long phrases."
In analyzing the text of the song, Max Cryer wrote that it "is not intended to be sung by the young in love, but by a mature performer who has seen it all before. The song remains an anthem to regret for unwise decisions in the past and recognition that there's no need to send in the clowns – they're already here."
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Graham Wolfe has argued, "What Desirée is referring to in the famous song is a conventional device to cover over a moment when something has gone wrong on stage. Midway through the second Act she has deviated from her usual script by suggesting to Fredrik the possibility of being together seriously and permanently, and, having been rejected, she falters "as" a show-person, finds herself bereft of the capacity to improvise and wittily cover. If Desirée could perform at this moment – revert to the innuendos, one-liners and blithe self-referential humour that constitutes her normal character – all would be well. She cannot, and what follows is an exemplary manifestation of Sondheim’s musico-dramatic complexity, his inclination to write music that performs drama. That is, what needs to be covered over (by the clowns sung about in the song) is the very intensity, ragged emotion and utter vulnerability that comes forward through the music and singing itself, a display protracted to six minutes, wrought with exposed silences, a shocked Fredrik sitting so uncomfortably before Desirée while something much too real emerges in a realm where he – and his audience – felt assured of performance."
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Influences.
There is a Mozart reference in the title—"A Little Night Music" is an occasionally-used translation of "Eine kleine Nachtmusik", the nickname of Mozart's Serenade No. 13, K. 525. The elegant, harmonically-advanced music in this musical pays indirect homage to the compositions of Maurice Ravel, especially his "Valses nobles et sentimentales" (whose opening chord is borrowed for the opening chord of the song "Liaisons"); part of this effect stems from the style of orchestration that Jonathan Tunick used. There is also a direct quotation in 'A Weekend in the Country' (just as it moves to A major for the last time in the final section of the number) of Octavian's theme from Strauss' 'Der Rosenkavalier', another comedy of manners with partner-swapping at its heart.
Orchestration.
The original Broadway pit consisted of a 17 piece orchestra.
The 2008 revival of the show modified the orchestrations to an 8 piece pit, re-orchestrated by Jason Carr.
Cast recordings.
In addition to the original Broadway and London cast recordings, and the motion picture soundtrack (no longer available), there are recordings of the 1990 studio cast, the 1995 Royal National Theatre revival (starring Judi Dench), and the 2001 Barcelona cast recording sung in Catalan. In 1997 an all-jazz version of the score was recorded by Terry Trotter.
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The 2009 Broadway revival with Catherine Zeta-Jones and Angela Lansbury recorded a cast album on January 4, 2010, which was released on April 6.
Critical response.
In his review of the original 1973 Broadway production, Clive Barnes in "The New York Times" called the musical "heady, civilized, sophisticated and enchanting." He noted that "the real triumph belongs to Stephen Sondheim...the music is a celebration of 3/4 time, an orgy of plaintively memorable waltzes, all talking of past loves and lost worlds...There is a peasant touch here." He commented that the lyrics are "breathtaking".
In its review of the 1989 London revival, the reviewer for "The Guardian" wrote that the "production also strikes me as infinitely superior to Harold Prince's 1975 version at the Adelphi. Mr Judge's great innovation is to transform the Liebeslieder Singers from the evening-dressed, after-dinner line-up into 18th century ghosts weaving in and out of the action...But Mr Judge's other great realisation is that, in Sondheim, the lyrics are not an adornment to a song but their very essence: understand them and the show will flow. Thus Dorothy Tutin as Desiree, the touring thesp eventually reunited with her quondam lover, is not the melting romantic of previous productions but a working mother with the sharpness of a hat-pin."
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The "Independent" review of the 1995 National Theatre revival praised the production, writing "For three hours of gloriously barbed bliss and bewitchment, Sean Mathias's production establishes the show as a minor miracle of astringent worldly wisdom and one that is haunted by less earthy intimations." The review went on to state that "The heart of the production, in both senses, is Judi Dench's superb Desiree Armfeldt...Her husky-voiced rendering of "Send in the Clowns" is the most moving I've ever heard."
In reviewing the 2008 Menier Chocolate Factory production, the "Telegraph" reviewer wrote that "Sondheim's lyrics are often superbly witty, his music here, mostly in haunting waltz-time, far more accessible than is sometimes the case. The score positively throbs with love, regret and desire." But of the specific production, the reviewer went on to note: "But Nunn's production, on one of those hermetic sets largely consisting of doors and tarnished mirrors that have become such a cliché in recent years, never penetrates the work's subtly erotic heart. And as is often the case with this director's work, the pace is so slow and the mood so reverent, that initial enchantment gives way to bored fidgeting."
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In his "New York Times" review of the 2009 Broadway production, Ben Brantley noted that "the expression that hovers over Trevor Nunn's revival...feels dangerously close to a smirk...It is a smirk shrouded in shadows. An elegiac darkness infuses this production." The production is "sparing on furniture and heavy on shadows", with "a scaled-down orchestra at lugubriously slowed-down tempos..." He goes on to write that "this somber, less-is-more approach could be effective were the ensemble plugged into the same rueful sensibility. But there is only one moment in this production when all its elements cohere perfectly. That moment, halfway through the first act, belongs to Ms. Lansbury, who has hitherto been perfectly entertaining, playing Madame Armfeldt with the overripe aristocratic condescension of a Lady Bracknell. Then comes her one solo, "Liaisons", in which her character thinks back on the art of love as a profession in a gilded age, when sex 'was but a pleasurable means to a measurable end.' Her face, with its glamour-gorgon makeup, softens, as Madame Armfeldt seems to melt into memory itself, and the wan stage light briefly appears to borrow radiance from her. It's a lovely example of the past reaching out to the present..."
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Steven Suskin, reviewing the new Broadway cast for "Variety", wrote "What a difference a diva makes. Bernadette Peters steps into the six-month-old revival of "A Little Night Music" with a transfixing performance, playing it as if she realizes her character's onstage billing -- "the one and only Desiree Armfeldt"—is clichéd hyperbole. By figuratively rolling her eyes at the hype, Peters gives us a rich, warm and comedically human Desiree, which reaches full impact when she pierces the façade with a nakedly honest, tears-on-cheek 'Send in the Clowns.'"
References.
Sources
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Dual wield
Dual wielding or Macedonian shooting is the technique of using two weapons, one in each hand, for training or combat. It is not a common combat practice. Although historical records of dual wielding in war are limited, there are numerous weapon-based martial arts that involve the use of a pair of weapons. The use of a companion weapon is sometimes employed in European martial arts and fencing, such as a parrying dagger. Miyamoto Musashi, a Japanese swordsman and "ronin", was said to have conceived of the idea of a particular style of swordsmanship involving the use of two swords.
In terms of firearms, especially handguns, dual wielding is generally denounced by firearm enthusiasts due to its impracticality. Though using two handguns at the same time confers an advantage by allowing more ready ammunition, it is rarely done due to other aspects of weapons handling.
Dual wielding, both with melee and ranged weapons, has been popularized by fictional works (film, television, and video games).
History.
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Dual wielding has not been used or mentioned much in military history, though it appears in weapon-based martial arts and fencing practices.
The dimachaerus was a type of Roman gladiator that fought with two swords. Thus, an inscription from Lyon, France, mentions such a type of gladiator, here spelled "dymacherus". The dimachaeri were equipped for close-combat fighting. A dimachaerus used a pair of siccae (curved scimitar) or gladius and used a fighting style adapted to both attack and defend with his weapons rather than a shield, as he was not equipped with one.
The use of weapon combinations in each hand has been mentioned for close combat in western Europe during the Byzantine, Medieval, and Renaissance era. The use of a parrying dagger such as a main gauche along with a rapier is common in historical European martial arts.
North American Indian tribes of the Atlantic northeast used a form involving a tomahawk in the primary hand and a knife in the secondary. It is practiced today as part of the modern Cree martial art Okichitaw.
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All the above-mentioned examples, involve either one long and one short weapon, or two short weapons. An example of a dual wield of two sabres is the Ukrainian cossack dance hopak.
Asia.
During the campaign Muslim conquest in 6th to 7th century AD, Rashidun caliphate general Khalid ibn Walid was reported to favor wielding two broad swords, with one in each hand, during combat.
Traditional schools of Japanese martial arts include dual wield techniques, particularly a style conceived by Miyamoto Musashi involving the katana and wakizashi, two-sword kenjutsu techniques he called "Niten Ichi-ryū".
Eskrima, the traditional martial arts of the Philippines teaches "Doble Baston" techniques involving the basic use of a pair of rattan sticks and also Espada y daga or Sword/Stick and Dagger. Okinawan martial arts have a method that uses a pair of "sai".
Chinese martial arts involve the use of a pair of butterfly swords and hook swords.
Famed for his enormous strength, Dian Wei, a military general serving under the warlord Cao Cao in the late Eastern Han dynasty of China, excelled at wielding a pair of "ji" (a halberd-like weapon), each of which was said to weigh 40 "jin".
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Chen An, a warlord who lived during the Jin dynasty (266–420) and Sixteen Kingdoms period, wielded a sword and a serpent spear in each hand, supposedly measuring at 7 "chi" and 1 "zhang" 8 "chi" respectively.
During Ran Wei–Later Zhao war, Ran Min, emperor of the short-lived Ran Wei empire of China, wielded two weapons, one in each hand, and fought fiercely, inflicting many casualties on the Xianbei soldiers while mounted on the famous horse Zhu Long ("Red Dragon").
Gatka, a weapon-based martial art from the Punjab region, is known to use two sticks at a time.
The Thailand weapon-based martial art Krabi Krabong involves the use of a separate "Krabi" in each hand.
Kalaripayattu teaches advanced students to use either two sticks (of various sizes) or two daggers or two swords, simultaneously.
Modern.
The use of a gun in each hand is often associated with the American Old West, mainly due to media portrayals. It was common for people in the era to carry two guns, but not to use them at the same time. The second gun served as a backup weapon, to be used only if the main one suffered a malfunction or was lost or emptied.
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However, there were several examples of gunmen in the West who used two pistols at the same time in their gunfights:
Dual wielding two handguns has been popularized by film and television.
Effectiveness.
"MythBusters" compared many firing stances, including having a gun in each hand, and found that, compared to the two-handed single-gun stance as a benchmark, only the one-handed shoulder-level stance with a single gun was comparable in terms of accuracy and speed. The ability to look down the sights of the gun was given as the main reason for this. In an episode the following year, they compared holding two guns and firing simultaneously—rather than alternating left and right shots—with holding one gun in the two-handed stance, and found that the results were in favor of using two guns and firing simultaneously.
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Ariel Sharon
Ariel Sharon ( ; also known by his diminutive Arik, ; 26 February 192811 January 2014) was an Israeli general and politician who served as the 11th prime minister of Israel from March 2001 until April 2006.
Born in Kfar Malal in Mandatory Palestine to Russian Jewish immigrants, he rose in the ranks of the Israeli Army from its creation in 1948, participating in the 1948 Palestine war as platoon commander of the Alexandroni Brigade and taking part in several battles. Sharon became an instrumental figure in the creation of Unit 101 and the reprisal operations, including the 1953 Qibya massacre, as well as in the 1956 Suez Crisis, the Six-Day War of 1967, the War of Attrition, and the Yom-Kippur War of 1973. Yitzhak Rabin called Sharon "the greatest field commander in our history". Upon leaving the military, Sharon entered politics, joining the Likud party, and served in a number of ministerial posts in Likud-led governments in 1977–92 and 1996–99. As Minister of Defense, he directed the 1982 Lebanon War. An official enquiry found that he bore "personal responsibility" for the Sabra and Shatila massacre of Palestinian refugees, for which he became known as the "Butcher of Beirut" among Arabs. He was subsequently removed as defense minister.
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From the 1970s through to the 1990s, Sharon championed construction of Israeli settlements in the Israeli-occupied West Bank and Gaza Strip. He became the leader of the Likud in 1999, and in 2000, amid campaigning for the 2001 prime ministerial election, made a controversial visit to the Al-Aqsa complex on the Temple Mount, triggering the Second Intifada. He subsequently defeated Ehud Barak in the election and served as Israel's prime minister from 2001 to 2006. As Prime Minister, Sharon orchestrated the construction of the Israeli West Bank barrier in 2002–2003 and Israel's unilateral disengagement from the Gaza Strip in 2005. Facing stiff opposition to the latter policy within the Likud, in November 2005 he left Likud to form a new party, Kadima. He had been expected to win the next election and was widely interpreted as planning on "clearing Israel out of most of the West Bank", in a series of unilateral withdrawals. Following a stroke on 4 January 2006, Sharon remained in a permanent vegetative state until his death in 2014.
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Sharon remains a highly polarizing figure in Middle Eastern history. Israelis almost universally revere Sharon as a war hero and statesman, whereas Palestinians and Human Rights Watch have criticized him as a war criminal, with the latter lamenting that he was never held accountable.
Early life and education.
Ariel (Arik) Scheinerman (later Sharon) was born in Kfar Malal, an agricultural moshav, then in Mandatory Palestine, to Shmuel Scheinerman (1896–1956) of Brest-Litovsk and Vera (née Schneirov) Scheinerman (1900–1988) of Mogilev. His parents met while at university in Tiflis (now Tbilisi, Republic of Georgia), where Sharon's father was studying agronomy and his mother was studying medicine. They immigrated to Mandatory Palestine in 1922 in the wake of the Russian Communist government's growing persecution of Jews in the region. In Palestine, Vera Scheinerman went by the name Dvora.
The family arrived with the Third Aliyah and settled in Kfar Malal, a socialist, secular community. (Ariel Sharon himself would remain proudly secular throughout his life.) Although his parents were Mapai supporters, they did not always accept communal consensus: "The Scheinermans' eventual ostracism ... followed the 1933 Arlozorov murder when Dvora and Shmuel refused to endorse the Labor movement's anti-Revisionist calumny and participate in Bolshevik-style public revilement rallies, then the order of the day. Retribution was quick to come. They were expelled from the local health-fund clinic and village synagogue. The cooperative's truck wouldn't make deliveries to their farm nor collect produce."
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Sharon spoke both Hebrew and Russian.
Four years after their arrival at Kfar Malal, the Sheinermans had a daughter, Yehudit (Dita). Ariel was born two years later. At age 10, he joined the youth movement HaNoar HaOved VeHaLomed. As a teenager, he began to take part in the armed night-patrols of his moshav. In 1942 at the age of 14, Sharon joined the Gadna, a paramilitary youth battalion, and later the Haganah, the underground paramilitary force and the Jewish military precursor to the Israel Defense Forces (IDF).
Military career.
Battle for Jerusalem and 1948 War.
Sharon's unit of the Haganah became engaged in serious and continuous combat from the autumn of 1947, with the onset of the Battle for Jerusalem. Without the manpower to hold the roads, his unit took to making offensive hit-and-run raids on Arab forces in the vicinity of Kfar Malal. In units of thirty men, they would hit constantly at Arab villages, bridges and bases, as well as ambush the traffic between Arab villages and bases.
Sharon wrote in his autobiography: "We had become skilled at finding our way in the darkest nights and gradually we built up the strength and endurance these kind of operations required. Under the stress of constant combat we drew closer to one another and began to operate not just as a military unit but almost as a family. ... [W]e were in combat almost every day. Ambushes and battles followed each other until they all seemed to run together."
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For his role in a night-raid on Iraqi forces at Bir Adas, Sharon was made a platoon commander in the Alexandroni Brigade. Following the Israeli Declaration of Independence and the onset of the War of Independence, his platoon fended off the Iraqi advance at Kalkiya. Sharon was regarded as a hardened and aggressive soldier, swiftly moving up the ranks during the war. He was shot in the groin, stomach and foot by the Jordanian Arab Legion in the First Battle of Latrun, an unsuccessful attempt to relieve the besieged Jewish community of Jerusalem. Sharon wrote of the casualties in the "horrible battle," and his brigade suffered 139 deaths.
Jordanian field marshal Habis Majali said that Sharon was among 6 Israeli soldiers captured by the Jordanian 4th battalion during the battle, and that Majali took them to a camp in Mafraq and the 6 were later traded back. Sharon denied the claims, but Majali was adamant. "Sharon is like a grizzly bear," he assured. "I captured him for 9 days, I healed his wounds and released him due to his insignificance." A few fellow high-ranking Jordanian officers testified in favour of his account." In 1994 and during the peace treaty signing ceremony with Jordan, Sharon wanted to get in touch with his former captor, but the latter determinedly refused to discuss the incident publicly.
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After recovering from the wounds received at Latrun, he resumed command of his patrol unit. On 28 December 1948, his platoon attempted to break through an Egyptian stronghold in Iraq-El-Manshia. At about this time, Israeli founding father David Ben-Gurion gave him the Hebraized name "Sharon". In September 1949, Sharon was promoted to company commander (of the Golani Brigade's reconnaissance unit) and in 1950 to intelligence officer for Central Command. He then took leave to begin studies in history and Middle Eastern culture at the Hebrew University of Jerusalem. Sharon's subsequent military career would be characterized by insubordination, aggression and disobedience, but also brilliance as a commander.
Unit 101.
A year and a half later, on the direct orders of the Prime Minister, Sharon returned to active service in the rank of major, as the founder and commander of the new Unit 101, a special forces unit tasked with reprisal operations in response to Palestinian fedayeen attacks. The first Israeli commando unit, Unit 101 specialized in offensive guerrilla warfare in enemy countries. The unit consisted of 50 men, mostly former paratroopers and Unit 30 personnel. They were armed with non-standard weapons and tasked with carrying out special reprisals across the state's borders—mainly establishing small unit maneuvers, activation and insertion tactics. Training included engaging enemy forces across Israel's borders. Israeli historian Benny Morris describes Unit 101:
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