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mrymcs · 2 years

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GENERAL INFORMATION

Full Name: Mary Aisling MacDonald Nicknames: Mare (friends), Emmy (relatives), Mary Mac (the Marauders) Birthdate | Current Age: 2 June 1960 | 25 Zodiac: Gemini Sun, Taurus Moon, Virgo Rising Hometown: Westport, Ireland Current Residence: London, England Spoken Languages: English + Irish Gender: Cis-Female Pronouns: She/Her/Hers Sexual Orientation: Bisexual Occupation: Wizengamot Member + St. Mungo’s Orderly

APPEARANCE/PERSONALITY

Height: 5′9″ | 175 cm. Weight: 190 lbs. | 82 kg. Hair: Auburn, with caramel + honey blonde highlights; usually styled in long waves or a braided updo. Eyes: Hazel; expressive, inviting + magnetic. Complexion: Warm Ivory, highlighted by a soft blush, her father’s nose, and pronounced cheekbones. Build: An equal of mix of athletic build and ample curves; the result of playing sports (rugby + Quidditch) and maternal genetics, respectively. Personality: Cynical | Introspective | Nurturing | Sincere | Tentative

RELATIONSHIPS

Mother: Juliana Calderon (49 years old, unknown) Father: Fergus MacDonald (55 years old, alive) Extended Family: Cailin Donaghan-MacDonald (stepmother, 52, alive); Malcolm Donaghan (stepbrother, 32, alive); Nathan MacDonald (half-brother, 19, alive); Callum MacDonald (half-brother, 16, alive) Best Friends: Lily Evans, Marlene McKinnon Dorcas Meadowes Pets: Toulouse, a British Shorthair; Berlioz, a Scottish Fold Other Important Relationships: TBD!

MAGICAL BACKGROUND

Blood Status: Muggleborn Species: Human/Witch Wand: 12″ Eglantine Rose, Phoenix Feather, reasonably supple Amortentia: Honeydukes chocolate, petrichor, and the Hogwarts library. Boggart: Nikolai Mulciber Patronus: Bottle-Nosed Dolphin Education: Hogwarts School of Witchcraft and Wizardry (1971 - 1979) Alignment: Order of the Phoenix

BIOGRAPHY

Mary’s upbringing was not what you would call traditional, at least not by the standards of those around her. In a time and place when mothers were still very much the cornerstone of the home, hers had been nothing of the sort. A free and wandering spirit, with no interest in settling into docile domesticity, it hadn’t even been three months after the birth of her daughter before departing for greener pastures. She had played no role in her daughter’s life after that, a fact which often garners sad looks and sympathetic sighs. But Mary had no reason to feel mournful; the likeness of her mother had been just that, and nothing more. What sense did it make to grieve something she never had to begin in What could come of such unnecessary sorrow and pain? She had her father, the flowers in their garden, and the fairytale books scattered across their home. She was given all she needed, nearly everything she wanted, and for her, that was more than enough. The existence of a magical world hardly came as a surprise to Mary, though the same could not be said for her father. It was just like the stories she had grown so fond of, with their fantastic creatures and thrilling adventures. And now, she was about to embark on a similar journey of her very own. Completely taken by the idea, she had been all too eager to jump into all that was contained within this new world. She would have left for Hogwarts right then and there, had the Deputy Headmistress and her future Head of House allowed Mary to leave with her after delivering her letter. Despite her initial disappointment at having to remain behind until the end of summer, it was only a few months later that Mary would arrive, ready as ever to embark on this new adventure. In the weeks and months that followed, Mary would eventually manage to settle into her new surroundings. A feat not easily accomplished, particularly for someone of her background. The snickers and side-glances had been nothing new, but she was determined to make the most of this new beginning, in a new world. Even at 11, she was hardly blind to the ways of the world, and the realities of being a Muggleborn student. It was hard to miss, the sentiment harbored by many of her classmates, those who wanted nothing more than her eradication from Hogwarts, and wizarding society entirely. But Mary had always been resilient, and she managed to take most of it in stride. Focusing instead on making friends and immersing herself in her studies, she had quickly proven to be a credit to herself, and to Gryffindor house. Not for them, but for her. And then, the incident. One that would shape her, though it is something she rarely talks about, even now. Mary had faced her fair share of adversity, during her life and at Hogwarts, but nothing like this. Occurring just before the start of winter holiday, on what would have otherwise been an average Hogsmeade weekend. Having a particular inclination towards Honeydukes, Mary spent the last portion of the trip browsing the shelves for as many sweets as her hands could carry. Moving at a leisurely pace, she failed to notice that Peter had long since departed from her company, and the shop was about to close. Approached by a group of Slytherins on the path back to the castle, all of whom had been entirely too eager to seize the opportunity of encountering an isolated Muggleborn. It all happened so fast; the blue and green sparks, flipping into the air, her screams piercing the air before before it all went black. She woke up in the infirmary three days later, and was brought home as soon as she was in the condition to travel back to London, not to return to Hogwarts until the start of the following school year. Mary wanted nothing more than to forget what had happened to her, to resume the life she once knew and loved. But it was inescapable, the dark shadow that seemed to follow her, one that no amount of light seemed able to extinguish. For a time, it felt as if this was all people would know her as. Not for her merits, her abilities, or the joy she once brought to the world. She did not want this to be what defined her, not when she had so much more to offer the world. She would be better. She would be stronger. And then, just like a butterfly emerging from its cocoon, so did Mary, with renewed vigor and vitality, determined as ever to leave the world better than the way she found it.

Spending an extra year at Hogwarts while the war raged on was not at all ideal for Mary. As much as she loved the castle, she couldn’t stand remaining within its walls for another year. Not while her friends were helping advance the efforts of the Order, often risking their life and livelihood to do so. She supported them where she could, but it was hardly the same as fighting at their side. Still, the time did come when she was able to join their ranks, a moment that could not have come sooner. She was as eager as anyone to fight the good fight, and to ease the devastation inflicted by Voldemort and those who supported his cause. But as a Muggleborn, known by name among several Death Eaters, it wasn’t long before the safety of her family had become compromised. Left without any other option, they took up residence with a safe house. In the meantime, Mary continued working at the Ministry, and volunteering for just about every Order mission she could. Overwhelmed and overworked, but it kept her busy enough to not be consumed by the prospect of losing those she loved most.

The conclusion of the war should have brought relief. It should have brought solace, or some semblance of comfort. But it didn’t. Not for Mary. There might have been a ceasefire, the state of the wizarding world might have known momentary peace, but she has endured far too much to believe it was going to last. Sure, the immediate threats that had been posed during the war might had been eliminated, but she knows the fight has just begun. The Order might have been disbanded in an official capacity, but there was still much more work to be done. Once the safety of her family had been ensured, this left Mary free to return to London and fully focus her efforts on her work. She wasted no time in establishing her credibility within the Ministry, working her way up the ranks of the Wizengamot. It has been a long and often fruitless effort, but she has been relentless in its pursuit. It has been her most important mission yet: to seek justice, and to make a difference. And that’s all she wants. To make a difference. A real difference. One that matters.

WANTED CONNECTIONS

Coming soon!

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marzipanandminutiae · 4 years

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tbh, i'd be very interested to see more of what was "sexy" for various time periods. i've seen so much less of it than "modern sexy" and i know i don't know a lot and am very curious.

I know the most about it for the Victorian era, so I can show some examples of that, at least.

Going to extremes, of course, you have sexy performance costumes:

(Burlesque performers, 1870s-90s. Yes, one of them is a sexy horse. I have no idea why. Note that they’re all wearing tights, not bare-legged.)

(Lola Montez, a racy dancer. c. 1840.)

(Marie Taglioni, ballet dancer. 1831- a bit pre-Victorian, but quite close. Ballet was considered High Art, but the fact that ballerinas showed their legs onstage- to a degree that increased as the 19th century continued -still got them flagged “not quite respectable” in most circles.)

(Cancan dancers, 1895, by Toulouse-Lautrec. Worth noting that the sexiness here was less what they were wearing- high necks and fancy hats, even -and more what they were showing off in the dance. Namely, legs, legs, and more legs.)

(The sexiness of legs, as with breasts, varied situationally. You might see a woman’s ankle while she’s going down steps or getting into a carriage and think very little of it. But onstage or in an erotic photo, where the legs are the point, it was shocking.)

Off the stage, I think it’s important to remember that anything can be sexy in the right context. If your day dress is long-sleeved and buttoned up to the collarbone, an off-shoulder ball gown with short sleeves is going to seem a lot more revealing:

(1860s ball gown by Worth. The Met Museum. I picked a decade at random but the rule that evening gowns had lower necks and shorter sleeves than daywear held true throughout the era.)

And of course, there’s good old-fashioned “women in their underwear”:

(Obviously this is a bit of softcore erotica and highly staged. Putting a foot in someone’s back to lace her corset was already a popular image by the 1890s, but not a common practice. A good tableau excuse to show off the undies, though. Note that if you follow the actual line of the central woman’s back, not where the dark toe of the other woman’s stocking directs your eye, she doesn’t appear to be tightlaced.)

Interestingly, despite being MORE concealing than most modern clothes, Victorian underwear still feels like underwear to me. Letting men see me in it is weird. If I’m dressing for a ball and have any reason to be around guys in chemise, corset, shoes, stockings, and drawers, I feel almost as awkward as if I were in my bra and panties. These things are all relative, I suppose

(Also there’s a guy in my dance group who covers or averts his eyes if one of us women comes out of the dressing-room in our historical unders. Despite having seen us in way less at rehearsal. Whether this is hilarious or appreciated or frustrating varies depending on my mood.)

So there you go! Victorian sexy, or at least some of it.

#ask #soilrockslove #victorian #fashion history

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dwellordream · 3 years

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“…If the crusades were primarily military expeditions, and women were not expected to fight, we might first ask why they were present in significant numbers. What motivated their involvement? The answer to this question is not easily discernable since there were women from all classes of society present on crusade. Moreover, historians have no way of knowing for sure how many women and other non-combatants actually left with the crusading armies. The sheer length and size of many campaigns meant that for any medieval army to function effectively, it required many non-combatants – engineers, bakers, artisans, tailors, squires, prostitutes and so on – in addition to the presence of fighting men and their commanders.

Numerous women formed a part of this retinue; however, the vast majority of women were poor and, in comparison to the knights, foot soldiers and other male warriors who set out alongside them, militarily unsuited to the task of conquering the Holy Land. Many of these women came alone or unmarried, while others had left their homes to come on crusade with their whole family in search of a better life, no doubt influenced to some extent by the enthusiasm and excitement which greeted the whole concept of a holy war. Other factors probably also influenced their decisions to leave for with the crusade army. The fact that certain celestial phenomenon such as aurora and comet sightings around the time that the First Crusade was being preached auspiciously coincided with the end of a long French drought in 1096 may have prompted some women to leave with the crusade army, although it is hard to know for certain.

Moreover, there is also the possibility that, for those who wished to make the pilgrimage to Jerusalem, the prospect of travelling with an armed force who could protect them all the way appealed to unarmed female (and male) pilgrims. One eyewitness to the preparations for the First Crusade, Bernold of Constance, even recorded that ‘innumerable’ numbers of women disguised themselves in men’s clothing, possibly because they wished to actually take up arms against the enemy. This suggestion is supported by the Anglo-Saxon Chronicle, which asserted that ‘women and children’ were amongst those who ‘wanted to war against heathen nations’. Furthermore, we cannot discount the spiritual incentive of simply going to the Holy Land, which undoubtedly would have also helped motivate the masses of men and women to leave on crusade.

In some cases noblewomen also left on crusade, usually in the company of their husbands or other male relatives. Eleanor of Aquitaine, Marie of Champagne, Marguerite of Provence and Eleanor of Castile are all well-known examples of women who followed their husbands on crusade to the Holy Land. Once again though, the motivations for noblewomen who went on crusade are not easily ascertained, although the length of the crusade expeditions (which could last for years) probably had something to do with it, especially for couples who wanted to stay together. Other women appear to have acted fairly independently: around the time of the First Crusade, Emerias of Altejas took the cross by herself, but was persuaded by the bishop of Toulouse to endow a monastery instead of leaving for Jerusalem.

Alice, countess of Brittany, took a crusade vow in the 1260s, and, after her husband died in 1279 without fulfilling his vows, left for the East – specifically the city of Acre – in the late 1280s. On a broader scale, Kedar has drawn attention to an extant passenger list of a crusader ship in the mid-thirteenth century that had 453 passengers on board, forty-two of which were women, and of these women twenty- two were travelling with no male companion. Whatever their motivation, the fact that certain lords and their wives had to consider such decisions at all helped differentiate the crusades from other, more localised military escapades fought on a smaller scale that did not involve the same prospect of spiritual reward or the same possibility for material gain (at least early on) in the form of land.

Clearly, then, there were women from a range of different backgrounds present on crusade, for a variety of different reasons. The support which they rendered to the fighting men, however, was primarily indirect and auxiliary regardless of their social rank, and included such tasks as washing, cleaning clothes, cooking, gathering supplies – even picking lice and fleas off the men’s bodies. They might also provide comfort to the men (through prostitution), or when new territory was conquered they could assist with and become a part of settlement plans within that territory. In another sense, however, women could provide spiritual support for the men, encouraging them whilst they fought and praying for God’s favour.

The medieval poet Baldric of Dol, for instance, in his account of the First Crusade, noted that women and other non-combatants were an integral part of the spiritual side of the crusade and prayed for the men whilst they were fighting. Although this may not sound like a particularly useful form of ‘support’ to those living in the twenty-first century, spiritual supplication was still important since the crusades were a holy war and it was believed that God was on their side. Prayer thus helped ensure God’s favour and consequently the likelihood of military success.

The provision of supplies to the fighting men, most notably water, was another basic but essential form of support women rendered to men on crusade. Describing the female presence at the battle of Dorylaeum, one anonymous chronicler at the scene notes how ‘[t]he women in our camp were a great help to us that day, for they brought up water for the fighting men to drink, and gallantly encouraged those who were fighting and defending them’. Likewise Margaret of Beverly, whose brother recorded her experiences in the Holy Land around the time of the Third Crusade, recounted how she put a pot on her head for protection and brought water to the men on the walls during Saladin’s siege of Jerusalem, being injured in the process by an enemy projectile.

Oliver of Paderborn, whose account of the Fifth Crusade is one of the most detailed and important sources available, also recalled a similar form of female support during the crusaders’ attack on Damietta in Egypt, when he mentions that ‘the women fearlessly brought water and stones, wine and bread to the warriors’. Not long afterwards, during a skirmish between crusaders and Saracens at a castle south of Damietta, he mentions women carrying and distributing water to clerics and foot-soldiers.

The Fifth Crusade also offers examples of how women might assist an army with other supplies besides water. Powell has documented how women were said to have helped grind corn for the Christian army whilst it was besieging Damietta, how they were in charge of the markets selling fish and vegetables to the crusaders, and how they helped attend to the sick and needy. Most notably, Powell notes that women even acted as guards in the crusade camp and were assigned with weapons to prevent desertions and maintain order while the army prepared for a fresh attack against the city.

Joinville too, in his chronicle of the Seventh Crusade, described women who ‘sold provisions’ raising a cry of alarm when the Count of Poitiers was captured at the battle of Mansourah (February 1250). These examples suggest that women could be of definite help on a military expedition, and whilst we should not generalise and assume that women fulfilled the same logistical roles in every crusade or medieval military campaign, it is important to be aware of the different ways they might have rendered basic support and provisions to armies on campaign.

At the same time, however, women sometimes did become much more involved with military actions and appear to have actually used weapons themselves on the enemy, though not specifically in hand-to-hand combat. During the second siege of Toulouse in 1218, for instance, women from within the city supposedly operated the mangonel or perrière (a stone-throwing device) that killed Simon de Montfort, leader of the Albigensian Crusade, just as a Frankish woman ‘shooting from the citadel’ with a mangonel was said to have destroyed the Muslims’ mangonel at Saladin’s siege of Burzay in 1188.

Acting in a similarly defensive manner were the women who helped repel the French attack during the siege of Hennebont in 1342 by throwing stones and pots of chalk from the walls onto the enemy at the urging of Jeanne de Montfort. Likewise, in 1358 women also played an important role in defending the French township of Senlis from an attack by French nobles during the short-lived but violent peasant uprising known as the ‘Jacquerie’. In this case, the townsfolk were forewarned of the attack and had their women stationed at windows ‘to pour great quantities of boiling water down upon the enemy’ while their men-folk fought off the attackers.

…Nevertheless, there are accounts of women who dressed in armour and who may have physically fought the enemy. In studying the evidence available, though, we must be very careful in accounting for possible bias in the sources, particularly in accounts where the author’s ulterior motive may have been to portray the enemy in an unfavourable light and especially when it comes to descriptions of actual female combatants. Hence we must treat as suspicious a passage by the Byzantine chronicler, Niketas Choniatēs, about mounted women bearing ‘lances and weapons’ and dressed in ‘masculine garb...more mannish than the Amazons’ on the Second Crusade. According to the modern translator, this passage was assumed by Steven Runciman to refer to Eleanor of Aquitaine and her retinue, despite the fact that her name was not specifically mentioned. While Eleanor was indeed present on this crusade, the passage makes more sense, however, if it is understood as an attempt to criticise the Franks as uncivilised and even barbaric compared to the Greeks, because they allowed their women to don armour and unnaturally fight as warriors.

In the same way, Muslim chroniclers’ descriptions of Frankish women who supposedly dressed up and rode into battle at the siege of Acre ‘as brave men though they were but tender women’, and who were subsequently ‘not recognised as women until they had been stripped of their arms’ – as well as another Muslim account of a Frankish noblewoman who allegedly fought at Acre alongside 500 of her own knights – must be treated with caution. As Nicholson has noted, for both Christians and Muslims ‘it was expected that good, virtuous women would not normally fight...in a civilised, godly society’. By depicting Frankish women as warriors, therefore, the Muslim chroniclers could illustrate the barbarous and heathen nature of Christian society and contrast it with the properly ordered Muslim society where women knew their place. Thus, while we cannot rule out the possibility that some women at Acre may have actually dressed up and fought, the Muslim accounts are certainly questionable.

Likewise, other accounts of female combatants and women in armour that do not appear to be influenced directly by religious bias must still be carefully evaluated. In France, Orderic Vitalis recorded how Isabel of Conches rode ‘armed as a knight among the knights’ during a conflict in 1090 between her husband, Ralph of Conches, and Count William of Évreux. Although Orderic remarked on her courage among the knights, he says nothing about her subsequent actions, and thus we have no way of knowing if she actually fought. In a similar vein, the English chronicler Jordan Fantosme, writing primarily of the rebellion against Henry II by his son Henry ‘the Young King’ in 1173-1174, asserted that the earl of Leicester had his wife, Petronella, countess of Leicester, dressed up in armour and given a shield and lance before the battle of Fornham in October 1173.

According to Fantosme, Petronella encouraged the earl to fight the English, but fled from the battle while it was in progress and then fell into a ditch where she nearly drowned. Fantosme, however, was the only chronicler to describe Petronella’s martial deeds, and Johns has argued that he was clearly trying to portray Petronella in an unsympathetic way in order to emphasise that women should not be involved in military affairs. Fantosme wrote to entertain, but also to instruct moral lessons and highlight divine law; Petronella thus served as an example against women’s involvement in war and the follies of accepting female advice. Nevertheless, Petronella must have been present or involved in some way since other sources do mention that she was captured after the battle along with the earl and that she was present with him on campaign in England.

Further afield, in the Holy Land, William of Tyre contended that in the first crusade army’s excitement at the imminent capture of Jerusalem ‘even women, regardless of their sex and natural weakness, dared to assume arms and fought manfully far beyond their strength’. His account, however, cannot be verified as no eyewitness accounts of this siege actually describe women acting in such a manner. Likewise, although the memoirs of the twelfth century Muslim nobleman Usāmah Ibn-Munqidh mention several female combatants – a female Muslim slave who rushed into battle ‘sword in hand’; a Frankish women who used a jar to try and help fend off an attack on Frankish pilgrims; a Muslim woman in Shayzar who captured and had killed three Frankish men – it is important to be aware that Usāmah was recalling these anecdotes sixty years after they supposedly took place.

…It is because of this need for more defenders that other accounts of female combatants may be considered more reliable. For, even though Muslim writers are our source for the story of a female archer at Acre who, in defending the city, ‘wounded many Muslims before she was overcome and killed’, it is quite possible that in the heat of battle, when manpower was necessary to fight off attackers, this woman was forced to draw a bow. Equally plausible are these same Muslim writers’ astonishment at finding women amongst the dead on the battlefield after a failed Christian attack on Saladin’s camp, though this revelation does not tell us that these women actually fought.

Then there is the case of Christian women who executed the crew of a captured Turkish ship at Acre. According to the Itinerarium Peregrinorum, ‘the women’s physical weakness prolonged the pain of death, because they cut their heads off with knives instead of swords’. Again, although the women were not actually fighting in battle, it is quite possible that this event did occur given that the men had been defeated already and the women were perhaps motivated by thoughts of revenge. As Evans points out, the passage still displays ‘a gendered approach to weaponry’ in that the Muslims’ death at the hands of women is emphasised as ‘humiliating’ and reference made to women’s weakness – implying that the women were acting in an unnatural way.”

- James Michael Illston, ‘An Entirely Masculine Activity’? Women and War in the High and Late Middle Ages Reconsidered

#history #james michael illston #warfare #crusades #high middle ages #late middle ages #medieval

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girlactionfigure · 3 years

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Righteous Among the Nations People's Republic of China

Pan Jun-Shun Pan Junshun (1889 – 1974), was the first Chinese national to be awarded the title Righteous Among the Nations for hiding and sheltering a Ukrainian Jewish girl during the occupation of part of the Soviet Union during World War II. Pan Jun Shun moved to Russia in 1916 looking for work. He settled in Moscow where he found work as a laborer. As an enthusiastic communist, he decided to stay in the USSR. He married and had two sons while living in Moscow, after which he moved to Kharkov, Ukraine in 1936. His wife died before the outbreak of World War II His two sons were drafted into the Red Army at the beginning of the war; they never returned home and were presumed to have been killed during the war. He survived the war and continued to live there until his death in 1974. Pan Jun Shun provided shelter and hiding for Ludmilla Genrichovna, a Ukrainian Jewish girl who had escaped from a detention area set up by the occupying German Army. She escaped through the efforts of her mother who realized that her children were likely to be killed as they were being transferred to another town.

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Salvadoran Savior of Thousands of Jews During Holocaust Honored by Germany

Jose Arturo Castellanos saved at least 25,000 from the Nazis during World War II by issuing them false identity papers. An army colonel and diplomat from El Salvador who helped save tens of thousands of Jews from Nazi persecution during World War II by providing them with false Salvadoran identity papers was honored in Germany.

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Knud Christiansen was a Danish rower who competed in the 1936 Berlin Olympics. His greatest feat, however, was preventing the mass murder of Denmark’s 7,000 Jews on Rosh Hashanah, 1943. Because of his fame and athletic connections, Knud learned of an SS plan to round up all Danish Jews in one mass action during their holy day. Knud coordinated with a large network of friends and associates to hide Jews in every spot available, including his own home. Starting shortly before Rosh Hashanah, the network hid fugitive Jews in farmhouses, churches, city apartments, and more. Then, during October, November, and December, Knud used his Olympic rowing skills to ferry one Jew at a time across the Øresund Strait. Eventually, the resistance used larger fishing boats to rescue greater numbers of Jews on each trip. Knud’s entire family participated in the effort: his mother, father-in-law, younger brother and wife were all involved in resistance work. His wife Karen also published a German language newspaper targeted at Wehrmacht officers. Her writing chronicled SS atrocities against the Jews, as reported in BBC broadcasts. As a result, many German officers stationed in Denmark looked the other way as the Danish people worked together to save the nation’s Jews. Knud and Karen immigrated to America with their children in 1970. Karen died in 1992. In 2005, they were honored as "Righteous Among the Nations" by Yad Vashem in Jerusalem. Knud died at the age of 97 in 2012. ------

The man who saved 669 lives

Sir Nicholas Winton, was invited to a TV show and, there, everybody stood up for him, but he had no clue why everybody stood up. He had a secret which he kept hidden for last 50 years. Even his wife didn’t know about this until she found his book in the attic.

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Chilean diplomat who saved over 1,200 Jews honored as Righteous Among the Nations

A Chilean diplomat was honored as a Righteous Among the Nations for saving more than 1,200 Jews during the Holocaust. Samuel del Campo, who served as chargé d’affaires at the Chilean embassy in Bucharest, Romania, was honored Sunday at the Yad Vashem Holocaust Memorial in Jerusalem.

A relative of Del Campo received a medal and certificate of honor from Yad Vashem officials during the ceremony, which was attended by Milenko Skoknic, director general of the Chilean Ministry of Foreign Affairs.Del Campo began to issue Chilean passports for Jews of Polish nationality in October 1941, when a ghetto was established in the city of Czernowitz, and deportations to ghettos and camps in Transnistria began. Members of the Kiesler family of Czernowitz and the Rosenthal family from Bucharest were saved by Del Campo.After the deportations from Czernowitz to Transnistria resumed in June 1942, Del Campo continued to intervene with the Romanian authorities in favor of “the Jews under the protection of Chile.”Based on recorded minutes from discussions in the Council of Ministers of Romania, Yad Vashem was able to estimate that approximately 1,200 Jews received Chilean passports providing them with protection against the deportations. The documents that Del Campo issued were not in line with the Chilean government’s policy. He died in Paris in the 1960s.

Samuel del Campo is one of just two Chilean Righteous Among the Nations recognized by Yad Vashem.via jta . October 22, 2017

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Righteous Among the Nations

Ireland

Mary Elmes

Mary Elisabeth Elmes was born in Cork, Ireland, in 1909. When the Spanish Civil War broke out she decided to go to Spain, where she was involved in humanitarian aid as part of a Quaker organization, the American Friends Service Committee.

In 1939 she joined the Republican refugees who fled to France, and became responsible for all Quaker activity in Perpignan.

The Fall of France in 1940 resulted in great challenges for the relief workers. With her staff significantly reduced - the British workers on her team were now enemy aliens and had to leave the country - Elmes had to face the growing plight of Jewish refugees who were interned in detention camps in the Pyrenees region.

Elmes joined forces with the Jewish OSE organization and especially with Dr. Joseph Weill and Andrée Salomon, who were active in the rescue of Jews.

Until mid-August 1942 children could be legally released from the camps, but on August 11 deportations of Jews from the camp of Rivesaltes began, first to Drancy near Paris, and from there to Auschwitz.

From that time until the camp closed on 25 November 1942, the authorities no longer released children from the camp. Elmes was fully aware of the meaning of the deportations.

Lois Gunden (an American Mennonite who was recognized as Righteous Among the Nations in 2012 for rescuing children in the same region) wrote in her journal: "Mary informed me about the return of Polish and German Jews to Poland where death and starvation awaits them".

Braving the danger, Elmes and her Jewish colleagues smuggled children out of the camp and brought them to safe places.

Two of the children rescued by Mary Elisabeth Elmes were Ronald Freund (today Friend) and his brother Michael.

Their parents, Drs. Hans and Eva Freund fled from Germany to Italy when Hitler came to power in 1933. They lived in Milan, where their son Michael was born in 1936.

When the anti-Jewish laws were enacted in Italy, the family fled to France and settled in Paris. When Germany invaded France, they fled once again, this time to the South of France.

In 1942 they tried to flee to Switzerland but failed; and on 4 September 1942 they were interned in the camp of Rivesaltes. According to a letter Mary Elmes wrote to the American Friends Service Committee in Marseille, she convinced Dr. Freund to take the two children out of the camp.

"He has signed the necessary discharge, confiding the children to our care". Michael and Ronald were taken to a children's home in Vernet les Bains and then to the St. Louis Hospital in Perpignan.

Hans Freund was deported to Majdanek on 4 March 1943, where he perished. The mother survived the war and was reunited with her sons after liberation.

In February 1943 Mary Elmes was arrested by the authorities because of her resistance to the German occupiers and the Vichy government.

She was first held in Toulouse, and later taken to Fresnes prison on the outskirts of Paris. She was nevertheless released six months after her arrest. She continued her humanitarian work until the end of the war and the liberation of France. She lived in France until she passed away in 2003.

May their memories be a blessing.

Documenting Anti-Semitism

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pastelpoison88 · 3 years

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How a Dark Aristocats Movie would go down

Y’know, since Disney is already ruining their own movies with live action remakes.

Keeping all the classic/iconic lines in (e.g. Lady scene, Scales & Arpeggios, Everybody Wants to be a Cat, Duchess & Thomas chemistry)

Setting change: revolution (upper vs. lower class)

The gift that Adelaide has in the beginning is from a distant relative (I’m thinking a niece)

Edgar has ties to the lower class effort (idk what to call it)

Adelaide dies somewhere & home is destroyed, that’s why Duchess and the kittens have to go somewhere else

Frou-Frou is stolen or killed, but she never comes back

Duchess is the first to go (going back to classic Disney fashion, regressive but interesting), bc character growth for the kids and leaving them with a father figure that they never had before so they all just have to trust each other (maybe half way during the story so the audience can become attached to this version of her)

Maybe Thomas is a little shifty but has a soft spot for the kittens and is going to make sure they get to Adelaide’s relatives safely

The cats he hires to help them are the rest of the alley cats that sing Everybody Wants to be a Cat (I know they’re kind of racist in the original but it would be nice if they kept their ethnicities and maybe outcasts from their respective societies, hippie English cat stays the same tho)

They have to practice biting and clawing (remember the scene at the beginning of the film when Duchess says “Aristocrats do not practice biting and clawing and things like that, it’s just horrible.”)

Marie still wants to be a lady though, so O’Malley has a talk with her about that (healthy father-daughter relations blah blah)

I have a feeling Toulouse would be better at fighting bc he mainly works with his paws (he’s the painter) and then Berlioz (the pianist)

Marie dies eventually by stopping a fight (like her line earlier in the movie)

I forgot about the geese so they can just be seen flying away from the conflict

O’Malley dies eventually too, leaving the brothers by themselves

maybe we have a human main character as well, it can be the niece or her husband but they kill Edgar by trapping him in a chest and drowning him for killing Adelaide (I just remembered the goofy lawyer so they could also be related to him, he was slaughtered in his home bc of the revolution)

But back to the cats, one of the brothers die (in my head this was Toulouse and Berlioz was the one left standing)

The revolution eventually comes to an end, not because someone won but because everyone lost and is dead except for those who couldn’t fight (ordinary men and women, wives of fallen soldiers, injured, children)

Berlioz stumbles back home

Remember the mouse in the beginning? he’s still in the ruins of the house but he’s getting ready to leave

the main human character that killed Edgar walks by and brings Berlioz home to Adelaide’s niece

She names him Berlioz after himself because she was close to her aunt or whatever and her aunt had written about him to her

The niece and her husband have a kid who plays piano as well as another cat (I would call her Princess to match with Duchess)

Berlioz gets with Princess by playing piano for her because they kind of got to know each other and she noticed that he was feeling sad and she wanted to cheer him up by doing something he loves and he plays a darker version of Scales and Arpeggios (to add some cuteness, she tries to sing along but is sort of off-key but corrects herself along the way with his help so his voice is kind of stronger when he jumps in but matches her when she gets it)

screen goes black credits roll

as the credits roll, more voices join in and they get older as the song goes on and the tone gets much lighter (i imagine the voice actors are those of all the animals in the movie but they’re playing new characters at the very end)

credit song goes out when an older singer coughs and Berlioz opens his eyes (1st person pov shot) to his family surrounding him. He and Princess had kittens of their own, but she’s no longer there (maybe have her singer get old and then drop out entirely before Berlioz goes) so his grown children (and maybe their kits) are surrounding him along with his human family and maybe he’s hallucinating his old friends and family before fading out entirely

or maybe that was just a pause and we have a choir of the whole cast singing as the rest of the credits roll

Possible themes

the effects of war (a classic)

innocence and when it should be lost

idk

I know theatres aren’t as grand as they used to be and there actually used to be live music in them so a little behind-the-scenes imagine (I’m getting way too into this): The whole cast sings the end credits on stage and the younger members run to the exit to say goodbye to the people who viewed it

And a little after-credits special: the whole cast dancing to Everybody Wants to Be a Cat with re-introductions

#disney #the aristocats #au #alternate universe #dark fic #shitpost #idk how to tag this #writing prompt #dark disney #sad fic #angst #angst with a happy ending #bittersweet

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forbidden-sorcery · 3 years

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The trial of Anne-Marie Georgel and Catherine Delort at Toulouse in 1335 is unusual in that not only did they confess to attending a sabbat, but they outlined their Satanic theology: ‘Anne-Marie de Georgel, and Catherine, wife of Pierre Delort, both of Toulouse and of mature age, said, in their judicial confessions, that for twenty years or thereabout they belonged to the innumerable army of Satan, giving themselves to him, as much in this life as in the next; that very often, and always in the night of Friday through to Saturday, they have assisted at the Sabbat, which is sometimes held in one place, sometimes in another; that there, in the company of men and women as sacrilegious as themselves, they give themselves up to all kinds of excess, the details of which are horrible… Anne-Marie de Georgel says that one Tuesday morning, when she was alone, washing the linen of her family, outside of the town, she saw coming towards her, over the water, a man of gigantic stature, very black of skin, whose glowing eyes resembled two burning coals, and who was dressed in the skin of a beast. This monster asked her if she would give herself to him; to which she replied that she would. He then breathed into her mouth; and from the following Saturday, she was carried to the Sabbat, simply by willing herself. There, she found a gigantic he-goat, whom she saluted, and to whom she abandoned herself. The goat, in return, instructed her in all kinds of wicked secrets: he gave her the knowledge of poisonous plants, taught her magic words, and the way to work witchcrafts on the Eves of Midsummer, Christmas, and every first Friday of the month. Interrogated on the Apostle’s Creed and on the knowledge which all the faithful should have of our Holy Religion, she replied, a true daughter of Satan, that there was a complete equality between God and the Devil; that the first was king of Heaven, and the second of the Earth; that all of the souls that the latter succeeded in seducing, were lost to the Most High, and resided forever on the earth or in the air; that they went every night to visit the house in which they used to live, working to inspire in their children and relatives a desire to serve the Evil One in preference to God. She told us moreover that the struggle between God and the Devil had been carried on for all eternity, and will continue without end; that sometimes one and sometimes the other carries the victory; that now things are turning in a manner that the Triumph of Satan seems assured. Every Saturday night, Catherine Delort falls into a strange trance, during which she is transported to the Sabbat… There, she adores the goat, and gives herself to him, as do all those present at this foul festival. There they eat the bodies of newborn babies, stolen at night from the arms of their nurses; they drink all sorts of disgusting liquors; but salt is absent from every dish…’

Gareth Medway - Lure of the Sinister: The Unnatural History of Satanism

#Gareth Medway

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snowleopardcatdragon · 3 years

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The Arts and Crafts Movement and the Art of Japan

In 1854, Commador Perry opened Japan’s ports to trade with America and the rest of the Western world. Japanese art and trade goods suddenly became available to an American and European market eager for new styles and new fashions. Japanese art delivered. To the Western eye, its canon of proportion, color, and composition was fascinatingly exotic, and it quickly sparked a trend for all things Japanese, which came to be known as Japonisme.

Japanese woodblock prints were particularly influential because prints were small and light weight, making them easy to transport, and relatively cheap to produce, both of which combined to make them fairly affordable. These prints captured the European creative mind for several reasons. Firstly, they tended to feature images of landscapes, actors, entertainers, ordinary people, and mythological creatures. All of these subjects, particularly entertainers and ordinary people, were considered lesser, if not entirely inappropriate, subjects for art in the European Academic painting tradition. Secondly, the woodblock prints, which required a different block for each color in a print, used wide, flat areas of often very bright colors, in contrast to traditional European painting, which used careful gradations of color to give the illusion of three dimensions. Finally, Japanese prints often featured diagonal or asymmetric composition, frequently with large open spaces in the foreground. These asymmetric compositions were very different from the European Academic style of balanced, symmetrical composition, which rarely featured large open areas, and certainly would not put them right in the foreground.

These “exotic” elements were particularly influential to the avant gard of European painters at the time, particularly the Impressionists and Expressionists. Impressionist painters like Mary Cassat found inspiration in the images of women bathing, dressing, and going about their personal, private lives, while painters like Degas were influenced by asymmetric, diagonal composition and wide, open foreground spaces. Meanwhile, Expressionists such as Toulous Lautrec were influenced by the dramatic gestures and staring eyes of Kabuki theater actors.

Many artists and designers of the Arts and Crafts Movement were influenced by Japanese art as well. They saw “oriental” art as being similar to Gothic art in that it was untainted by industrialization and machine production. In their view, the Japanese craftsman was a true craftsman, who worked with both his hands and his heart to produce genuine work, untainted by concerns of profit or industry. Additionally, the adherents of the Arts and Crafts Movement, like the Impressionist and Expressionists were influenced by the stylistic qualities of Japanese art, particularly its simplicity of design and ornament, and its emphasis on the beauty of the ephemeral and imperfect.

It was also very popular to collect and sell Japanese prints and other decorative objects. By the 1870s, Japanese porcelain, prints, fans, and parasols had become part of the fashionable, well decorated interior. Like many of his contemporaries, Frank Lloyd Wright was fascinated by the art and architecture of Japan. Wright appreciated its simplicity of design and restrained use of ornament, as well as what he saw as its truth in its materials. Additionally, Wright found the solution to his troubles with windows in Japanese paper shoji screens, which functioned as both window, wall, and door simultaneously.

As both a fashionable woman and a lover of the arts, Susan Lawrence Dana was known to have collected Japanese prints even before she met Frank Lloyd Wright, and continued to do so afterwards. Wright himself was even a dealer and collector of Japanese prints, and was know to, at times, exchange them in place of other payments for his debts. Despite this, Wright still didn’t approve of clients hanging art work on the walls. Thus he designed folding print tables for Susan Dana and other clients who wished to display their collections of framed art works.

Image 1:Jacques- Louis David, Oath of the Horatii, 1784, oil on canvas. Image credit Cengage Learning

.Although it was painted 100 years earlier, David’s Oath of the Horatii remains an excellent example of the predominate European Academic painting tradition. The painting is based on a subject taken from Greco-Roman history or mythology, and uses a simple, clear, balanced composition to its story.

Image 2: Utagawa Kunimasu, Kabuki Actor Ichikawa Ebizo V as Kumagau Jiro Naozane, ca. 1849, woodblock print. Image Credit Metropolitan Museum of Art.

Japanese prints had great deal of influence on the art and fashion of late 19th and early 20th century Europe. Many artists were fascinated by the dramatic, asymmetric compositions, flat blocks of color, and images of actors, everyday people, and mythical creatures they saw.

Image 3: Henri de Toulouse-Lautrec, May Belfort, 1895, lithograph. Image credit Metropolitan Museum of Art.

The influence of Japanese kabuki prints can be seen in may of Toulouse-Lautrec’s lithographs. Like the Japanese prints, Toulouse-Lautrec’s work features images of actors, dancers and performers, often with wide, staring eyes. It also uses flat blocks of color and dramatic, asymmetric compositions.

Image 4: Frank Lloyd Wright, Folding Print Tables, ca. 1903, oak. Image credit The Dana-Thomas Foundation.

Although Wright himself bought and sold Japanese prints, he still did not approve of clients hanging their art collections on the walls of his architecture. Thus Wright designed these folding print tables for clients, such as Susan Lawrence Dana, who wished to display their collections.

#art history #arts and crafts movement #frank lloyd wright #japanese art #japanese print #Expressionsits #19th century art

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luckywilliams · 4 years

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APPRECIATING PAINTINGS

Paintings can be complex things to appreciate in an informed fashion. Such informed appreciation can be undertaken via a number of different methods:

Firstly, the artistic methods and techniques undertaken can be examined. Thus, Jan Van Eyck was famous for his oil painting technique, which produced a characteristic luminous finish. Michelangelo was renowned for his fresco technique, and for his skill with anatomy and male nudes. Leonardo da Vinci was famous for his sfumato, and Rembrandt for his chiaroscuro. Titian and Matisse (amongst others) were distinguished by their colourism, Caravaggio for his Tenebrism, and Frank Auerbach for his impasto. These techniques, and many others, are an important feature of informed art appreciation.

Secondly, COLOUR has always been a very important aspect to consider, and often, throughout history, the use of colour has been subject to certain rules and conventions. For example, Ancient Egyptian paintings only made use of 6 colours – red, green, blue, yellow, white and black. Red was the colour of power and authority. Green was used as a colour to indicate new life and fertility. Blue was the colour of rebirth, while yellow was used to represent eternal things like the sun, and gold. White was indicative of purity, and black was the colour of death. As an extension of some of these principles, male bodies were painted in darker colours than female bodies.

Byzantine icon paintings followed similar conventions: Blue was the colour representing human life, while white became the colour used to represent the resurrection and transfiguration of Christ. In icons of Christ and the Virgin Mary, Christ was usually depicted wearing a red undergarment, together with a blue outer garment (symbolising the idea of God becoming a man). Conversely, Mary was usually depicted wearing a blue undergarment, and a red outer garment (indicative of someone starting off entirely human and mortal, but moving closer to God).

During the Renaissance, burgeoning European art academies restricted the use of bright colours, which were only to be used in the most appropriate contexts. It is only much later in European history, with the advent of the French Impressionists and the Fauvists, that colour really became utilised independently, and without restriction. Of course, the development of new colour pigments also had a significant impact on the tonal range available to painters. – After all, a Renaissance colour palette was a very different thing to the palette available to a 19th century artist.

The narrative content of a painting (How to appreciate it).

In order to make an informed judgement, we can subdivide the narrative content of a painting into 4 parts: a) The main message. b) Subsidiary messages. c) Symbolism. d) References and analogies. (At the end of this section, under Activities, you will be given the opportunity of carrying out some research, and completing an initial assessment of the narrative content of a famous Renaissance painting, using these 4 subheadings).

Interpreting Western art (c.500 – 1700).

Byzantine art, and its icons, together with other hieratic styles such as the Gothic, was packed with narrative meaning and symbolism – but all of a Christian kind. This exclusive focus on Christian symbolism makes the art somewhat easier to decode, though the fantastic imagery of Renaissance alterpiece art of the sort produced by Bosch and Pieter Brueghel the Elder can be more difficult to work out. Much baroque painting was more straightforward, as (during the era of the Counter Reformation) its focus was mostly just on the promotion of Catholicism. Its best works consisted of trompe l’oeil ceiling frescoes and other monumental religious works. Even here, there were some exceptions, such as the Realist School within Dutch Baroque art, which possessed much complex imagery and symbolism.

Dutch Realism 1630-90.

Some exceptional schools arose in the newly independent (from Spain) protestant areas of the United Provinces, such as those in Amsterdam, Delft, Utrecht and Haarlem. Dutch realism really developed as a result of the historical context. – The 17th century was the period of the Dutch ‘Golden Age’ in which trade grew with the East Indies, and other areas of the world, and Dutch merchants grew rich on the profits. These merchants were a new type of art buyer, requiring a new type of painting, and they commissioned some of the most complex still life paintings ever produced, by the likes of Vermeer, Rembrandt, Willem Kalf, van Hoogstraten and others.

The Decline of Religious Paintings from 1700.

Religious art declined elsewhere (not just in the United Provinces) because of the decline in the number of ecclesiastical patrons available, and the rise of the secular, middle class/professional patron, who wanted – and paid for – small scale portable paintings which could be displayed in their homes. Moreover, these new buyers wanted portraits, landscapes or genre paintings (rather than massive religious allegorical works) which showed off their newly acquired power and status. As a consequence, this ‘new’ type of painting lacked obscure religious symbolism, and can be easier to interpret.

Interpreting paintings from 1700 onwards.

For analytical purposes, these can be divided into 5 main types: i) HISTORY paintings ii) PORTRAITS iii) GENRE paintings (of everyday scenes) iv) LANDSCAPES v) STILL LIFE.

History Paintings:

This category of paintings can include mythological, religious and historical works with a ‘narrative’ which can be difficult to interpret when designed to convey inspirational or philosophical sentiments.

Portraits:

This category of painting is generally easier to interpret, though it must be remembered that the buyer of a painting often prefers to purchase a ‘manipulated’ image showing him/her at their best (e.g. Sir Thomas Lawrence’s portraits of the Prince Regent during the Regency period).

Genre:

These can be relatively straightforward to interpret, when the artist is focused, principally, upon portraying the social history of a particular scene. However, a genre painting can also be used to convey a philosophical message, making the interpretation more complex to determine.

Landscapes:

In the hundred years between 1700-1800, many landscape paintings were commissioned by landowners who wanted a pictorial record of their estates. Thus, such paintings can be relatively straightforward to understand and interpret. However, in the later 18th Century, as the Romantic movement began to take hold, many painters went into the countryside in order to ‘capture’ the essence and beauty of nature – adding considerably to the meaning and purpose behind such works. Impressionists like Pisarro and Monet can fall into this category. There are also landscapes with more of a philosophical message, which can be quite difficult to interpret fully.

Still Life:

Some of this type of painting can look very static when looked at in a superficial manner. Nevertheless, the best of Still Life painting can still be loaded with symbolism, and influenced by artistic traditions going back to at least the 17th Century.

How to appreciate abstract paintings.

The key principal behind a proper appreciation of abstract paintings is the realization that FORM is just as important as REPRESENTATION. Thus, a picture of a human face could be a very anatomically inaccurate, ‘bad’ one, but it could have a very effective and striking use of colours or shapes, and might therefore be adjudged to be a ‘beautiful’ picture/painting.

Thus, form is everything, and we need to look at colours, shapes and surface textures (and their relationship to each other) when assessing and interpreting a particular piece of work.

ACTIVITIES

Now that you have completed this introductory section, please have a go at the following activities. You can either talk to your tutor about the possible answers on the telephone, or via skype, or send written responses via email or post. Please enjoy thinking about your answers, and the initial research that this entails!

Task 1: Try and find out more about the artistic techniques of sfumato, chiaroscuro, colourism, Tenebrism and impasto. What did these techniques/skills actually involve?

Task 2: Try and have a look at the painting “The Garden of Earthly Delights” by Hieronymous Bosch (1500-05) either on-line or in a suitable textbook, which is one of the great Renaissance paintings. Once you have looked at a copy of the painting, and maybe read a little about it, try and complete a brief assessment of the painting’s narrative content, using the 4 subheadings described earlier in this Section.

Task 3: Using the information supplied above about the 5 main types of paintings produced from 1700 onwards, say whether you think the following 11 paintings are either history, portrait, genre, landscapes or still life works of art: Some are more straightforward than others!

Death of Marat (1793) by Jacques-Louis David.

The Third of May 1808 by Francisco Goya

The Morning of the Execution of the Streltsy (1881) by Vasily Surikov.

Arrangement in Grey and Black: Whistler’s Mother (1871) by James Whistler.

Portrait of Madame X (1883-4) by John Singer Sargent.

Man with a Hoe (1862) by Millet.

Marilyn (1967) by A. Warhol.

At the Moulin Rouge (1890) by Toulouse-Lautrec.

Ennui (1914) by Walter Sickert.

Mr and Mrs Andrews (1750) by T. Gainsborough.

Hannibal and his Army Crossing the Alps (1812) by JMW Turner

Adrian L. Bridge

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militant-holy-knight · 4 years

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On a fall day in the early 8th century, somewhere between the French cities of Poitiers and Tours, a Muslim army crashed into the serried ranks of a force led by a powerful Frankish noble: Charles, Mayor of the Palace and son of Pippin of Herstal. In the ensuing battle, Abdul Rahman Al Ghafiqi — governor of the Muslim territories in Al-Andalus (Spain) — was slain, and his troops were routed. This confrontation between two Dark Age warlords echoed through the ages and acquired a potent symbolism, all despite the fact that medievalists know relatively little about the principal protagonists and the respective orders of battle, let alone how the fight actually unfolded.

We do actually know sufficient details about everything in regards to the battle and considering the author used a BBC link (from an outlet infamous for historical revisionism) to prove his point, I really shouldn’t take what he claims seriously. And even if any of these things are true... Should they be dismissed? There are important battles whose details are still obscure like the Battle of the Cataluniuan Fields where the Romans fought Atilla the Hun, but no one knows who won. Yet no one ever complains about it because it isn’t a thorn on the author’s skin. But again this is pointless because we know how the battle played out.

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Edward Gibbon famously speculated that, had Abdul Rahman prevailed at Poitiers,

“the Arabian fleet might have sailed without a naval combat into the mouth of the Thames. Perhaps the interpretation of the Koran would now be taught in the schools of Oxford, and her pulpits might demonstrate to a circumcised people the sanctity and truth of the revelation of Mahomet.”

The French romantic writer Chateaubriand made the equally dramatic claim that, “if it were not for Charles Martel’s valor, we would all be wearing turbans.”

“Oh yes, how I wish these Islamophobes had just bowed down their heads and let the Arabs walk over them, violate their wives and daughters, destroy and desecrate their churches. Europe would have been so much more tolerant than today.” - Iskander Rehman, the author of this piece of shit.

Perhaps most importantly, Charles Martel has become an enduring icon of fascist and far-right movements, in France and other Western states. The Vichy regime, for example, reveled in its warped reading of Charles Martel and of medieval French history more broadly. The francisca, an early Frankish throwing axe, featured prominently in Vichy iconography and propaganda, and Charles Martel was presented alongside Joan of Arc as an embodiment of pre-revolutionary Catholic virtue. Meanwhile, a notorious division of French volunteers to the Nazi SS was named the Division Charlemagne after the great Carolingian Emperor and grandson of Charles Martel. In the years following France’s bitter war in Algeria, a far-right group — the Cercle Charles Martel — conducted a string of terror attacks against Algerians and citizens of North African descent in France. More recently, the founder of the French Front National party, Jean-Marie Le Pen, reacted to the Charlie Hebdo killings by proudly claiming “Je suis Charlie Martel,” in defiance of the more republican and inclusive slogan “Je suis Charlie.” “Je suis Charlie Martel” has since become one of the rallying cries of French far-right activists.

This sinister historical crush extends far beyond France. Anders Breivik, the Norwegian neo-Nazi who slaughtered 77 people in 2011, claimed in his online rants to have “identified” with the figure of Charles Martel. In the United States, a group called the Charles Martel Society funds the publication of a pseudo-intellectual and deeply racist journal, The Occidental Quarterly. Charles de Steuben’s famous 19th-century painting of the Battle of Poitiers flashes through one of Richard Spencer’s slickly edited “alt-right” videos, providing a brief and jarring backdrop to a long stream of nativist gobbledygook.

These two paragraphs can be summed up as “Racists, bigots and hate groups love Charles Martel, so you cannot too or else you are one of them”. The irony in all of this is that Adolf Hitler hated Charles Martel for defeating the Arabs because he felt that if they had won, they would have brought Islam to Germans and they would have become unstoppable, since he felt Islam was a more appropriate religion for the Nazis.

Most modern historians are skeptical of the notion that the battle of Poitiers constituted such a watershed moment. While the defeat of the Andalusian army by a Western European force was certainly significant, it was not unprecedented. Only a few years prior, Odo of Aquitaine crushed another Muslim army outside Toulouse, but this battle never acquired the same mythological symbolism of the battle of Poitiers.

The difference is that Odo’s victory was merely temporary while Charles’ stopped any more invasions - that is exactly what makes it decisive. If Arabs had retreated back to Spain after the Battle of Tolouse, you’d be writing this same article except condemning Odo of Tolouse instead of Charles Martel. The Battle of Poitiers happened because Odo asked Charles for his help and in exchange he’d swear his allegiance to him.

The academic consensus now appears to be that Al Ghafiqi’s foray into what was then referred to as Northern Gaul was a long-distance raid or “razzia” motivated not so much by an ambition for conquest as by a desire for plunder. Indeed, we are told that the prime target of this raid was a wealthy religious sanctuary located at Saint Martin de Tours and filled with gold and precious fabrics. Hugh Kennedy has noted that the defeat seems to have had little resonance in the wider Arabo-Muslim world, and he views it as one symptom of many that marked the steady decline of the Syrian-based Umayyad Caliphate. Others have pointed to the Caliphate’s overextension into Spain and to the growing tensions between local Arab and Berber forces as well as rival tribes and clans.

A lot of Islam apologists use this argument of “plunder” to whitewash it’s militarist expansionism and not name it what it actually was: colonialism. There is no such thing as being there “just” for plunder when Arabs are actively settling the region and governing over it (Septimania was already occupied by this point). The Vikings were motivated solely by plunder and didn’t care about ruling their victims (the Danelaw over England being the exception). I love how he uses “academic consensus” because that is dogwhistle for “what me and my SJW friends agree with”, as well as “Arab Muslim world didn’t care for this battle, but I am so mad about it I am going to write everything I can to discredit it”

Although the destruction of Al Ghafiqi’s field army depleted the Ummayads’ local reservoir of military strength, Moorish troops lingered in some southern French cities such as Narbonnes for two and a half more decades. Meanwhile, Muslim raiders continued their “ghazawat” across the Pyrenees for at least another a century, long after the fall of the Ummayads.

Minor skirmishes don’t mean a whole lot if they can’t even launch another full-scale invasion again.

It would be reductive to present the battle of Poitiers as the military manifestation of some age-old existential struggle between Christendom and Islam. Charles Martel’s Europe was a continent of many faiths and philosophies, not a religiously bipolar system.

OMFG. You actually went there, you son of a bitch.

Religious differences could cut across tribes, kingdoms, and ethnicities. For example, along the Pyrenees resided the fiercely independent Basques, some of whom were Muslim, some of whom were Christian, and a portion of whom practiced more ancient forms of belief. The “Song of Roland,” a medieval ballad familiar to all products of French middle schools, recounts the cowardly ambush of one of Emperor Charlemagne’s retainers, the noble Roland, by enemy forces in a narrow mountain pass. For centuries, schoolchildren were told that the Carolingian knight had been killed by “Saracens” — Muslim forces based in Spain. It is now believed that Roland — whose prolonged death scene famously inspired Boromir’s in Lord of the Rings — was actually killed by Basques, rather than by Arabs or Berbers. This historical gaffe provides yet another indication of our tendency to overlook the rich tapestry of political and religious actors in early medieval Europe in favor of more binary models.

Admittedly, the Song of Roland is very historically inaccurate - this is obvious to anyone who reads it since Muslims worship Muhammad the same way Christians do with Jesus - but this is explained due to an unfamiliarity the people at the time had with other religions. Rehman expect us to believe that Europe was like this bastion of religious tolerance when the authors of the Song of Roland can even get other people’s religions right.

I am honestly done, this guy is beyond retarded and I feel like genocided more braincells than I should have trying to refute his bullshit. I strongly mulled on whether or not to post this, but I feel like it would have been a waste of time to not expose this shit. Iskander Rehman is the kind of guy who would criminalize celebrating the Battle of Poitiers, the Siege of Vienna or any “triumph of the cross over the crescent” battle (even an obscure one, like the Battle of Vaslui) if he had the power to do so.

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pyrothemagmawolf · 5 years

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My top 5 favorite Disney movies and why

(week 3) Movie list #1: The Lion King franchise #2: Zootopia #3: Fox and the Hound #4: Aristocats #5: Robin Hood And here is why... #1: I love The Lion King franchise because I grew up with it. I watched it so many times that I fell in love with the characters and the plot. My favorite character is from The Lion King sequel, Lion King 2: Simba's Pride, outlander named Kovu. #2: I love Zootopia because of the funny characters such as Nick Wilde Judy Hopps, "Flash, Flash a hundred yard dash!", Mr. Big - if you never caught, he is a "Godfather" reference. The story is relative to human society and racism. #3: I love Fox in the Hound because it is a story of friendship. Do you know that Kurt Russell voiced Copper when he was younger? In case you don't know who he is... he portrays Ego on Guardians of the Galaxy vol 2. #4: I love the Aristocats for it's music. The soundtrack is mostly jazz. Berlioz, Marie and Toulouse - the kittens - are adorable, in my opinion. #5: I love Robin Hood because it retells the story of the same name with anthropomorphic animals. Also I swear, I cannot unsee that Little John looks like Baloo from the Jungle Book.

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dentlaus · 5 years

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"I told you it was Edgar!"

Name: Toulouse Bonfamille

Age: 19

Occupation: student at Auradon prep (graduated), painter (currently)

Family:

Duchess Bonfamille (mother)

Unknown father

Thomas O'Malley (step-father)

Marie Bonfamille (younger sister)

Berlioz Bonfamille (younger brother)

Madame Adelaide Bonfamille (relative)

Relationship status: in a relationship with Annette

#character info #about: toulouse

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anastpaul · 5 years

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Feast of the Apostles – Sts Simon and Jude – 28 October

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St Simon Apostle of Christ – Apostle, Martyr, Preacher, Evangelist, Missionary – also known as St Simon the Zealot. Patronages – curriers, sawmen, sawyers, tanners, woodcutters, Monterchi, Italy. St Simon was called the Cananean or Zealot because of his zeal for the Jewish law; he was not from Cana, nor a member of the Zealot party .

Like all the Apostles, he was a covert, and was trained by Saint Peter the Apostle. He evangelised in Egypt and Mesopotamia, though there are traditions of him being in several other locations. He was a Martyr for the faith but several places claim to have been the site of his martyrdom and in several different ways too. St Simon’s main attribute is a serrated saw as it is believed that he was he was sawn in half at Suanir, Persia. Many locations claim to have relics including Toulouse, France and Saint Peter’s Basilica, Rome, Italy.

St Jude Apostle of Christ – Martyr, Evangelist, Preacher, Missionary, Writer – also known as – Jude of James, Judas Thaddaeus, Jude, brother of Jesus – Patronages – Armenia, lost cause, desperate situations, hospitals, the Chicago Police Department, 13 cities, the Philippines. Saint Jude’s attribute is a club. He is also often shown in icons with a flame around his head. This represents his presence at Pentecost, when he received the Holy Spirit with the other apostles. Another common attribute is Jude holding an image of Jesus Christ, known as the Image of Edessa. In some instances, he may be shown with a scroll or a book (the Epistle of Jude) or holding a carpenter’s rule. His patronage of lost or impossible causes traditionally derives from confusion by many early Christians between Jude and the traitor Judas Iscariot – not understanding the difference between the names, they never prayed for Jude’s help and devotion to him became something of a lost cause. He was beaten to death with a club, then beheaded post-mortem in 1st century Persia. His relics are at Saint Peter’s Basilica, Rome, Italy, at Rheims, France, and at Toulouse, France.

Simon was a simple Galilean, a brother of Jesus, as the ancients called one’s close relatives — aunts, uncles, first cousins. He was one of the Saviour’s four first cousins, with James the Less, Jude and Joseph, all sons of Mary, the wife of Alpheus, or Cleophas, either name being a derivative of the Aramaic Chalphai. The latter was the brother of Saint Joseph, according to tradition. All the sons of this family were raised at Nazareth near the Holy Family. (See the Gospel of Saint Matthew 13:53-58.) Simon, Jude and James were called by Our Lord to be Apostles, pillars of His Church and Joseph the Just was His loyal disciple.

Saint Simon the Zealot or the Zealous, was the name this Apostle bore among the twelve. He preached in Egypt, Mauritania (Spain) and Lybia, leaving behind him the fertile hills of Galilee, where he had been engaged in the healthful cultivation of the vineyards and olive gardens. He later rejoined his brother, Saint Jude, in Persia, where they laboured and died together (other traditions of their deaths in different locations exist too). At first they were respected by the king, for they had manifested power over two ferocious tigers who had terrorised the land. With the king, sixty thousand Persians became Christians and churches rose over the ruins of the idolatrous temples. But the ancient enemy, who never sleeps, rose up and when the two went elsewhere the pagans commanded them to sacrifice to the sun which led to their martyrdom.

Saint Jude has left us a short but powerful epistle, written after the death of his brother James, bishop of Jerusalem and addressed to the new Christians being tempted by false brethren and heretics.

Sts Simon and Jude at St John Lateran, Vatican, Rome.

#stsimonsandjude #october28stssimonandjude #apostlessimonandjude #catholic #catholicism #stsimonapostle #stjudeapostle

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mattchase82 · 3 years

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Saint Bridget of Sweden: The 15 Prayers

Pope Benedict XV expressed himself as follows on the Revelations of St. Bridget:

"The approbation of such revelations implies nothing more than, after mature examination, it is permissible to publish them for the unit of the faithful. Though they don't merit the same credence as the truths of religion, one can, however, believe them out of human faith, conforming to the rules of prudence by which they are probable, and supported by sufficient motives that one might believe in them piously."

The 14th of June 1303, at the moment Bridget was born, Benedict, the curate of Rasbo, prayed for the happy deliverance ot Ingeborde. Suddenly, as he prayed for the happy enveloped by a luminous cloud out of which Our Lady appeared:

"A child has been born at Birger; her voice will be heard by the entire world

Sagii, die XXIV Aprilis 1903

Imprimatur

F.J. GIRARD, V.G.

These Prayers and these Promises have copied from a book printed in Toulouse in 1740 ad published by the P. Adrien Parvilliers of the Company of Jesus, Apostolic Missionary of the Holy Land, with approbation, permission and recommendation to distribute them.

Parents and teachers who will read them to young infants for at east one year will read them to young infants for at least one year will assure their being preserved for life from any grave accident which would involve the loss of one of their five senses.

Pope Pius IX took cognizance of these Prayers with the prologue; he approved them May 31, 1862, recognizing them as true and for the good of souls.

This sentence of Pope Pus IX has been confirmed by the realization of the promises by all persons who have recited the prayers and by numerous supernatural facts by which God wanted to make known their exact truth. A collection of small books, these prayers among them, was approved by the Great Congress of Malines on August 22, 1863.

Question: Must one recite the Prayers everyday without interruption to obtain the privileges?

Answer: One should miss saying them as few times as possible; but if for a serious reason one is obliged to miss them, as long as one recites 5480 Prayers during the year. One must say them with devotion ad concentrate on the words one pronounces.

Visitors to the Church of St. Paul at Rome can see the crucifix, above the Tabernacle in the Blessed Sacrament Chapel, sculptured by Pierre Cavallini, before which St. Bridget knelt when she received these 15 Prayers from Our Lord. The following inscription is placed in the church to commemorate the event: "Pendentis, Pendente Dei verba acepit et verbum corde Brigitta Deum. Anno Jubilei MCCCL.

As St. Bridget for a long time wanted to know the number of blows Our Lord received during His Passion, He one day appeared to her and said: "I received 5480 blows on My Body. If you wish to honor them in some way, say 15 Our Fathers and 15 Hail Marys with the following Prayers (which He taught her) for a whole year. When the year is up, you will have honored each one of My Wounds."

First Prayer

Our Father - Hail Mary.

O Jesus Christ! Eternal all joy Sweetness to those who love Thee, joy surpassing and all joy and desire, Salvation and Hope of all sinners, Who hast proved that Thou hast no greater desire than to be among men, recall all the sufferings Thou hast endured from the instant of Thy conception, and especially during Thy Passion, as it was decreed and ordained from all eternity in the Divine plan.

Remember, O Lord, that during the Last Supper with Thy disciples, having washed their feet, Thou gavest them Thy Most Precious Body and Blood, and while at the same time Thou didst sweetly console them, Thou didst foretell them Thy coming Passion.

Remember the sadness and bitterness which Thou didst experience in Thy Soul as Thou Thyself bore witness saying: "My soul is sorrowful even unto death."

Remember all the fear, anguish and pain that Thou didst suffer in Thy delicate Body before the torment of the Crucifixion, when, after having prayed three times, bathed in a sweat of blood, Thou wast betrayed by Judas, Thy disciple, arrested by the people of a nation Thou hadst chosen and elevated, accused by false witnesses, unjustly judged by three judges during the flower of Thy youth and during the solemn Paschal season.

Remember that Thou wast despoiled of Thy garments and clothed in those of derision; that Thy Face and Eyes were veiled, that Thou wast buffeted, crowned with thorns, a reed paced in Thy Hands, that Thou was crushed with blows and overwhelmed with affronts and outrages.

In memory of all these pains and sufferings which Thou didst endure before Thy Passion on the Cross, grant me before my death true contrition, a sincere and entire confession, worthy satisfaction and the remission of all my sins. Amen.

Second Prayer

Our Father - Hail Mary.

O Jesus! True liberty of angels, Paradise of delights, remember the horror and sadness which Thou didst endure when Thy enemies, like furious lions, surrounded Thee, and by thousands of insults, spits, blows, lacerations and other unheard-of-cruelties, tormented Thee at will. In consideration of these torments and insulting words, I beseech Thee, O my Savior, to deliver me from all my enemies, visible and invisible, and to bring me, under Thy protection, to the perfection of eternal salvation. Amen.

Third Prayer

Our Father - Hail Mary.

O Jesus! Creator of Heaven and earth Whom nothing can encompass or limit, Thou Who dost enfold and hold all under Thy Loving power, remember the very bitter pain Thou didst suffer when the Jews nailed Thy Sacred Hands and Feet to the Cross by blow after blow with big blunt nails, and not finding Thee in a pitiable enough state to satisfy their rage, they enlarged Thy Wounds, and added pain to pain, and with indescribable cruelty stretched Thy Body on the Cross, pulled Thee from all sides, thus dislocating Thy Limbs.

I beg of Thee, O Jesus, by the memory of this most Loving suffering of the Cross, to grant me the grace to fear Thee and to Love Thee. Amen.

Fourth Prayer

Our Father - Hail Mary.

O Jesus! Heavenly Physician, raised aloft on the Cross to heal our wounds with Thine, remember the bruises which Thou didst suffer and the weakness of all Thy Members which were distended to such a degree that never was there pain like unto Thine. From the crown of Thy Head to the Soles of Thy Feet there was not one spot on Thy Body that was not in torment, and yet, forgetting all Thy sufferings, Thou didst not cease to pray to Thy Heavenly Father for Thy enemies, saying:

"Father forgive them for they know not what they do.

Through this great Mercy, and in memory of this suffering, grant that the remembrance of Thy Most Bitter Passion may effect in us a perfect contrition and the remission of all our sins. Amen.

Fifth Prayer

Our Father - Hail Mary.

O Jesus! Mirror of eternal splendor, remember the sadness which Thou experienced, when contemplating in the light of Thy Divinity the predestination of those who would be saved by the merits of Thy Sacred Passion, Thou didst see at the same time, the great multitude of reprobates; who would be damned for their sins, and Thou didst complain bitterly of those hopeless lost and unfortunate sinners.

Through this abyss of compassion and pity, and especially through the goodness which Thou displayed to the good thief when Thou saidst to him: "This day, thou shalt be with Me in Paradise." I beg of Thee, O Sweet Jesus, that at the hour of my death, Thou wilt show me mercy. Amen.

Sixth Prayer

Our Father - Hail Mary.

O Jesus! Beloved and most desirable King, remember the grief Thou didst suffer, when naked and like a common criminal, Thou was fastened and raised on the Cross, when all Thy relatives and friends abandoned Thee, except Thy Beloved Mother, who remained close to Thee during Thy agony and whom Thou didst entrust to Thy faithful disciple when Thou saidst to Mary: "Woman, behold thy son!" and to St. John: "Son, behold thy Mother!"

I beg of Thee O my Savior, by the sword of sorrow which pierced the soul of Thy holy Mother, to have compassion on me in all my affliction and tribulations, both corporal and spiritual, and to assist me in all my trials, and especially at the hour of my death. Amen.

Seventh Prayer

Our Father - Hail Mary.

O Jesus! Inexhaustible Fountain of compassion, Who by a profound gesture of Love, said from the Cross: "I thirst!" suffered from the thirst for the salvation of the human race. I beg of Thee O my Savior, to inflame in our hearts the desire to tend toward perfection in all our acts; and to extinguish in us the concupiscence of the flesh and the ardor of worldly desires. Amen.

Eighth Prayer

Our Father - Hail Mary.

O Jesus! Sweetness of hearts, delight of the spirit, by the bitterness of the vinegar and gall which Thou didst taste on the Cross for Love of us, grant us the grace to receive worthily Thy Precious Body and Blood during our life and at the hour of our death, that they may serve as a remedy and consolation for our souls. Amen.

Ninth Prayer

Our Father - Hail Mary.

O Jesus! Royal virtue, joy of the mind, recall the pain Thou didst endure when, plunged in an ocean of bitterness at the approach of death, insulted, outraged by the Jews, Thou didst cry out in a loud voice that Thou was abandoned by Thy Father, saying: "My God, My God, why hast Thou forsaken me?"

Through this anguish, I beg of Thee, O my Savior, not to abandon me in the terrors and pains of my death. Amen.

Tenth Prayer

Our Father - Hail Mary.

O Jesus! Who art the beginning and end of all things, life and virtue, remember that for our sakes Thou was plunged in an abyss of suffering from the soles of Thy Feet to the crown of Thy Head. In consideration of the enormity of Thy Wounds, teach me to keep, through pure love, Thy Commandments, whose way is wide and easy for those who love Thee. Amen.

Eleventh Prayer

Our Father - Hail Mary.

O Jesus! Deep abyss of mercy, I beg of Thee, in memory of Thy Wounds which penetrated to the very marrow of Thy Bones and to the depth of Thy being, to draw me, a miserable sinner, overwhelmed by my offenses, away from sin and to hide me from Thy Face justly irritated against me, hide me in Thy Wounds, until Thy anger and just indignation shall have passed away. Amen.

Twelfth Prayer

Our Father - Hail Mary.

O Jesus! Mirror of Truth, symbol of unity, link of Charity, remember the multitude of wounds with which Thou was covered from head to foot, torn and reddened by the spilling of Thy adorable Blood. O Great and Universal Pain which Thou didst suffer in Thy virginal Flesh for Love of us! Sweetest Jesus! What is there that Thou couldst have done for us which Thou hast not done May the fruit of Thy sufferings be renewed in my soul by the faithful remembrance of Thy Passion, and may Thy Love increase in my heart each day, until I see Thee in eternity, Thou Who art the treasury of every real good and every joy, which I beg Thee to grant me, O Sweetest Jesus, in Heaven. Amen.

Thirteenth Prayer

Our Father - Hail Mary.

O Jesus! Strong Lion, Immortal and Invincible King, remember the pain which Thou didst endure when all Thy strength, both moral and physical, was entirely exhausted, Thou didst bow Thy Head, saying: "It is consummated!"

Through this anguish and grief, I beg of Thee Lord Jesus, to have mercy on me at the hour of my death when my mind will be greatly troubled and my soul will be in anguish. Amen.

Fourteenth Prayer

Our Father - Hail Mary.

O Jesus! Only Son of the Father, Splendor and Figure of His Substance, remember the simple and humble recommendation Thou didst make of Thy Soul to Thy saying: "Father, into Thy Hands I commend Eternal Father, I commend My Spirit!" And with Thy Body all torn, and Thy Heart Broken, and the bowels of the Mercy open to redeem us, Thou didst Expire. By this Precious Death, I beg of Thee O King of Saints, comfort me and help me to resist the devil, the flesh and the world, so that being dead to the world I may live for Thee alone. I beg of Thee at the hour of my death to receive me, a pilgrim and an exile returning to Thee. Amen.

Fifteenth Prayer

Our Father - Hail Mary.

O Jesus! True and fruitful Vine! Remember the abundant outpouring of Blood which Thou didst so generously shed from Thy Sacred Body as juice from grapes in a wine press.

From Thy Side, pierced with a lance by a soldier, blood and water issued forth until there was not left in Thy Body a single drop, and finally like a bundle of myrrh lifted to the top of the Cross Thy delicate Flesh was destroyed, the very Substance of Thy Body withered, and the Marrow of Thy Bones dried up.

Through this bitter Passion and through the outpouring of Thy Precious Blood, I beg of Thee, O Sweet Jesus, to receive my soul when I am in my death agony. Amen.

Conclusion

O Sweet Jesus! Pierce my heart so that my tears of penitence and love will be my bread day and night; may I be converted entirely to Thee, may my heart be Thy perpetual habitation, may my conversation be pleasing to Thee, and may the end of my life be so praiseworthy that I may merit Heaven and there with Thy Saints, praise Thee forever. Amen.

Our Lord made the following promises to anyone who recites the 15 St. Bridget Prayers for a whole year:

PROMISES:

1. I will deliver 15 souls of his lineage from Purgatory.

2. 15 souls of his lineage will be confirmed and preserved in grace.

3. 15 sinners of his lineage will be converted.

4. Whoever recites these Prayers will attain the first degree of perfection.

5. 15 days before his death I will give him My Precious Body in order that he may escape eternal starvation; I will give him My Precious Blood to drink lest he thirst eternally.

6.15 days before his death he will feel a deep contrition for all his sins and will have a perfect knowledge of them.

7.I will place before him the sign of MY Victorious Cross for his help and defense against the attack!

8. Before his death I shall come with My Dearest Beloved Mother.

9. I shall graciously receive his soul, and will lead it into eternal joys.

10. And having led it there I shall give him a special draught from the fountain of My Deity, something I will not for those who have not recited My Prayers.

11. Let it be known that whoever may have been living in a state of mortal sin for 30 years, but who will recite devoutly, or have the intention to recite these Prayers, the Lord will forgive him all his sins.

12. I shall protect him from strong temptations.

13. I shall preserve and guard his 5 senses.

14. I shall preserve him from a sudden death.

15. His soul will be delivered from eternal death.

16. He will obtain all he asks for from God and the Blessed Virgin.

17. If he has lived all his life doing his own will and he is to die the next day, his life will be prolonged.

18. Every time one recites these Prayers he gains 100 days indulgence.

19. He is assured of being joined to the supreme Choir of Angels.

20. Whoever teaches these Prayers to another, will have continuous joy and merit which will endure eternally.

21. There where these Prayers are being said or will be said in the future God is present with His grace.

#catholicism #traditional catholic #catholic #christianity #heaven #love #jesus christ #its the truth #catholic saints #catholic faith #Saint Bridget #passion of christ

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evoldir · 4 years

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Fwd: Postdoc: CharlesU_Prague.PlantPhylogenomics

Begin forwarded message: > From: [email protected] > Subject: Postdoc: CharlesU_Prague.PlantPhylogenomics > Date: 21 December 2019 at 09:23:59 GMT > To: [email protected] > > > We seek a highly motivated, independent researcher interested in developing > her/his own research programme within a Czech Science Foundation project > focused on phylogenomics and comparative biogeography of tropical-alpine > plants. The successful applicant will join the interconnected research > teams of Roswitha Schmickl ( > https://ift.tt/2ZcxIGF) and > Filip Kolář (https://ift.tt/2Q9L8z8). She/he will also > collaborate with other specialists in biodiversity of the target regions > and in methodologies, both within our institution (Peter Sklenář; Tomáš > Fér) and internationally (Christian Brochmann, University of Oslo; Tomasz > Suchan, University of Toulouse; Peter Schönswetter, University of > Innsbruck). > > Project details: Species richness and endemism of the tropical-alpine > floras of South America and Africa have attracted botanists since the early > 19th century. Evolutionary mechanisms that generated such diversity, > however, still remain largely unknown. The main goal of this research is to > compare the timing of plant radiations in tropical-alpine habitats, detect > key evolutionary processes involved in these radiations, particularly those > related to Pleistocene climate oscillations, and assess their relative > contribution to the origin of plant diversity in these biodiversity > hotspots. To answer these questions, the core of the project will be > analysis of intra- and inter-specific DNA sequence variation gathered using > the state-of-the-art methods (target capture, hybridization-RAD sequencing) > across several recently diversified plant genera, and interpreting them in > a comparative manner using available environmental and trait data. The > candidate is expected to be fully involved in the overall project design > and lead the analytical part with opportunities to design spin-off > projects. The project allows an immediate start with phylogenomic analyses, > as a majority of samples are already collected and partly (one genus) also > sequenced. For more info see https://ift.tt/2ZdpmPd. > > Requirements: > - innovative thinking, enthusiasm for evolutionary biology > - willingness to collaborate and lead an independent research programme > - experience in phylogenetics/phylogenomics and/or comparative > biogeography > - Ph.D. education in evolutionary biology or related fields (the Ph.D. > degree is not required at the starting date) > > Optional: > - involvement in teaching relevant courses in methodology/biogeography > - participation in fieldwork in Neotropical mountains in 2020 > - support in seeking additional self-funded projects in national (e.g. > Junior projects within The Czech Science Foundation) and international > funding schemes (e.g. Marie Curie, EMBO fellowship) in order to strengthen > their position for gaining research independence > > We offer: > - competitive academic salary, at the average for the city of Prague > (1,500€) > - work in a young, dynamic and international environment of the > Department, situated in the inspiring historical center of Prague > - co-supervision of a Ph.D. student enrolled within the same project > - research stays in collaborating labs (University of Oslo; University > of Innsbruck) > > Questions and applications (CV + half-page motivation letter + contact > information for two references) should be sent to Roswitha Schmickl ( > [email protected]). Review of applications will begin on > 20.1.2020 and will continue until the position has been filled. The > position is available from March 2020. > > -- > Roswitha Schmickl, Ph.D. > > Univerzita Karlova > Přírodovědecká fakulta > Albertov 6, 128 43 Praha 2 > www.natur.cuni.cz > > Charles University > Faculty of Science > Albertov 6, 128 43 Praha 2 > www.natur.cuni.cz/en > via IFTTT

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