Indiana University-Purdue University Indianapolis (IUPUI) / The Battle of Tippecanoe marked the turning point in relations between Anglo/American and Native American cultures, whose incompatible ways of understanding and living on the land and religious views made co-existence improbable. The battle also served as a last ditch effort by young, desperate warriors following the orders of a Prophet whose promises of invincibility and dominance proved untrue. The victory at Tippecanoe, and subsequent success during the War of 1812, strengthened the military prowess and popularity of the battle’s commander William Henry Harrison and his men. Overtime, the legacy of Harrison, his men, and Battle of Tippecanoe grew in significance. This thesis is an examination of the academic interpretation and public memory of the Battle of Tippecanoe. Until the cultural history movement by scholars in the mid-twentieth century, historical interpretation and public memory mirrored one another in the remembrance of the battle. As historians aimed to provide a more balanced and nuanced understanding of the Battle of Tippecanoe, the public memory of the battle remained entrenched in the teachings highlighted during Progressive Era. The purpose of this thesis is to trace the origins of both schools of thought as the importance and significance of the battle’s interpretation changed over the last 200 years.

This master's thesis project is the first half of a historical novel concerning the involvement of Elvira Field Strang Baker, the first plural wife of James Jesse Strang, with the "Beaver Island Mormons" who followed Strang from Nauvoo shortly after the death of Joseph Smith in 1844. The events portrayed are historical, although fictionalized. This portion of the novel contains a brief introduction to her childhood in Chapter One and follows her involvement with the Strangite movement beginning in April 1847 to the coronation of her husband in. Elvira was the first plural wife of James Jesse Strang who to this day is the only crowned American king. She married Strang in July 1849 and kept her marriage a secret for one year until Strang announced her as his wife during the above-mentioned coronation ceremony. Elvira was a woman ahead of her time. She was educated and had the opportunity to enjoy professional success which was rare for a woman of the mid-eighteenth century. She was a teacher, a trained tailor, an author of articles for her husband's newspapers, and one of his most capable administrators. While this portion of the novel focuses primarily on the early days of Elvira's acquaintance with James, his subsequent courtship, and the early days of their marriage, it also follows Elvira's movement within this unorthodox community that was supposed to be Zion.

The purpose of this study is to show interrelationships between the thematic contents of those piano works by Alkan that are considered to be representative of his general style and the more commonly used melodic phrases taken from the Jewish Synagogue, mainly prayer chants and accents. An attempt will be made to point out the reason behind consequent unacceptable of Alkan's piano works, despite the efforts of Busoni, d'Albert, and Lewenthal to bring them to public attention. The results of this investigation are presented in a systematic analysis and discussion of Jewish prayer-chants and their structure traceable within Alkan's music and in a presentation in table form of the Jewish accents found among Alkan's melodies. After consideration of the outcome of analysis, elements which are known to be European are also presented. These are mainly keyboard virtuousity and harmony and secondarily, form and rhythm. In this section, Robert Schumann's opinions of Alkan's music are quoted and discussed. Because Schumann's ideas carried into the twentieth century, this gave opportunity for a re-evaluation of the lack of musical beauty inherent in Alkan's music.

Nous savons que le Nietzsche juvénile au temps de La naissance de la tragédie espérait une renaissance de la tragédie à partir de la musique de Wagner et des a priori archaïques de la Grèce antique : le dionysisme et l'apollinisme. La question principale que Nietzsche se posa dans La naissance de la tragédie est : est-ce que la musique de Wagner est apte à engendrer une nouvelle vision tragique du monde (Weltanschauung) à l'image des Grecs dans laquelle le goût allemand, en matière d'esthétisme, se reconnaîtrait par le romantisme wagnérien? Voilà notre aperçu du problème de la renaissance de la tragédie dans lequel nous avons situé plus précisément notre problématique sur le rôle de la musique dans La naissance de la tragédie de Nietzsche.

<p>Göta Kanal är för många människor en turistattraktion och en vattenled för semesterfirare. Färre vet att den byggdes som handelsled och för att säkerställa den svenska importen under krigstider. Göta kanal byggdes under åren 1813-1832 av bl.a. svenska arbetare, svenska militärer och ryska desertörer. Myten om att kanalen byggdes av ryska krigsfångar dementerar denna uppsats. Mycket tyder på att de istället var desertörer från Ryssland. Uppsatsen visar på hur dessa ryska män som arbetade vid kanelen mot togs av den svensk lutherska kyrkan. I Ryssland var och är majoriteten av befolkningen ryssortodox. Detta arbete ska försöka belysa och ge en första inblick i vilka det var som kom. Samt att ge en första förståelse i hur de integrerades i Svenska kyrkan och om de anammade den lutherska tron eller om de fick utöva sin ortodoxa tradition. Detta arbete är ett pionjärarbete och en första studie i att kartlägga de ryssar som arbetade med anläggandet av Göta Kanal och som bodde i Östergötland, och Söderköpingstrakten. De församlingar i Söderköpingstrakten som jag valt att fördjupa mig i är; S:t Laurentii (då kallad Söderköping), Skönberga, Drothem och Västra Husby. Övriga församlingar i Söderköpingstrakten har jag inte fördjupat mig i, eftersom inga naturliga förflyttningar skett till eller från dem som jag kunnat följa.</p><p>Efter färdigställandet av kanalen sökte troligen flera av familjerna arbete vid kanalen eller som drängar på gårdar omkring Söderköping.</p><p>Arbetet med insamling av information och kunskap om dessa människor är inte slut i och med denna uppsats. Utsikterna för att finna mer intressant information anses av mig som goda. Det finns stort behov av att kontrollerna andra akter än dem som denna uppsats tar upp.</p><p>Att söka efter människors rötter kan upplevas som att människorna återigen blir levande i någon bemärkelse och en önskan att få lära känna dem ännu mer. Dessa ryssar som jag har fått följa kom till Sverige av någon anledning, arbetade troligen i hopp om att få en bättre tillvaro. Deras tillvaro blev inte i allt att döma någon lyx tillvaro, utan många av dem levde under knappa förhållanden.</p> / <p>For many people, Göta Canal is a tourist attraction for people on their holiday. Not so many know that the canal was originally built for trade purposes and to secure the Swedish import during times of war. Göta Canal was built 1813-1832 by Swedish workers, Swedish soldiers and Russian deserters. This essay denies the myth saying that the canal was built by Russian prisoners of war. Instead it indicates that they were deserters from Russia. The essay shows how these Russian men were greeted by the Swedish Lutheran Church. In Russia, the majority of the people belonged to the Russian Orthodox Church. This essay’s purpose is to give a first insight about who the people were that came from Russia to Sweden to work with the canal. It will also give a basic understanding about how they were integrated into the Swedish Church and if they accepted the Lutheran beliefs or if they were allowed to practise their Orthodox traditions. This essay is the very first study of all the Russians who worked with Göta Canal and lived in the county “Östergötland” close to the city “Söderköping”. The congregations in Söderköping that I’ve chosen to study closer are “S:t Laurentii” (during that time called Söderköping), “Skönberga”, “Drothem” and “Västra Husby”. I have excluded the other congregations since I haven’t been able to find any Russians moving to their areas. When the building of Göta Canal was finished, many of the families probably sought other work - either at the canal or at farms around Söderköping. I believe that the prospects to find more interesting information about these people are very good. There is a great need to control the files that this essay doesn’t take part of. To seek the roots of people can give a feeling of them coming back to life and a wish of getting to know them better. The Russians that I’ve followed came to Sweden for a reason, probably in hope of a better life. But their life didn’t become as good as they hoped for since many of them lived under very poor circumstances.</p>

Göta Kanal är för många människor en turistattraktion och en vattenled för semesterfirare. Färre vet att den byggdes som handelsled och för att säkerställa den svenska importen under krigstider. Göta kanal byggdes under åren 1813-1832 av bl.a. svenska arbetare, svenska militärer och ryska desertörer. Myten om att kanalen byggdes av ryska krigsfångar dementerar denna uppsats. Mycket tyder på att de istället var desertörer från Ryssland. Uppsatsen visar på hur dessa ryska män som arbetade vid kanelen mot togs av den svensk lutherska kyrkan. I Ryssland var och är majoriteten av befolkningen ryssortodox. Detta arbete ska försöka belysa och ge en första inblick i vilka det var som kom. Samt att ge en första förståelse i hur de integrerades i Svenska kyrkan och om de anammade den lutherska tron eller om de fick utöva sin ortodoxa tradition. Detta arbete är ett pionjärarbete och en första studie i att kartlägga de ryssar som arbetade med anläggandet av Göta Kanal och som bodde i Östergötland, och Söderköpingstrakten. De församlingar i Söderköpingstrakten som jag valt att fördjupa mig i är; S:t Laurentii (då kallad Söderköping), Skönberga, Drothem och Västra Husby. Övriga församlingar i Söderköpingstrakten har jag inte fördjupat mig i, eftersom inga naturliga förflyttningar skett till eller från dem som jag kunnat följa. Efter färdigställandet av kanalen sökte troligen flera av familjerna arbete vid kanalen eller som drängar på gårdar omkring Söderköping. Arbetet med insamling av information och kunskap om dessa människor är inte slut i och med denna uppsats. Utsikterna för att finna mer intressant information anses av mig som goda. Det finns stort behov av att kontrollerna andra akter än dem som denna uppsats tar upp. Att söka efter människors rötter kan upplevas som att människorna återigen blir levande i någon bemärkelse och en önskan att få lära känna dem ännu mer. Dessa ryssar som jag har fått följa kom till Sverige av någon anledning, arbetade troligen i hopp om att få en bättre tillvaro. Deras tillvaro blev inte i allt att döma någon lyx tillvaro, utan många av dem levde under knappa förhållanden. / For many people, Göta Canal is a tourist attraction for people on their holiday. Not so many know that the canal was originally built for trade purposes and to secure the Swedish import during times of war. Göta Canal was built 1813-1832 by Swedish workers, Swedish soldiers and Russian deserters. This essay denies the myth saying that the canal was built by Russian prisoners of war. Instead it indicates that they were deserters from Russia. The essay shows how these Russian men were greeted by the Swedish Lutheran Church. In Russia, the majority of the people belonged to the Russian Orthodox Church. This essay’s purpose is to give a first insight about who the people were that came from Russia to Sweden to work with the canal. It will also give a basic understanding about how they were integrated into the Swedish Church and if they accepted the Lutheran beliefs or if they were allowed to practise their Orthodox traditions. This essay is the very first study of all the Russians who worked with Göta Canal and lived in the county “Östergötland” close to the city “Söderköping”. The congregations in Söderköping that I’ve chosen to study closer are “S:t Laurentii” (during that time called Söderköping), “Skönberga”, “Drothem” and “Västra Husby”. I have excluded the other congregations since I haven’t been able to find any Russians moving to their areas. When the building of Göta Canal was finished, many of the families probably sought other work - either at the canal or at farms around Söderköping. I believe that the prospects to find more interesting information about these people are very good. There is a great need to control the files that this essay doesn’t take part of. To seek the roots of people can give a feeling of them coming back to life and a wish of getting to know them better. The Russians that I’ve followed came to Sweden for a reason, probably in hope of a better life. But their life didn’t become as good as they hoped for since many of them lived under very poor circumstances.

Es ist eine geschichtsträchtige Zeit. Napoleon Bonaparte, Zar Alexander I. von Russland, König Friedrich Wilhelm III. von Preußen, Graf zu Sayn-Wittgenstein, Ludwig Graf Yorck von Wartenburg und viele andere höchste Politiker und Militärs waren 1813, nach Napoleons Rückzug aus Russland, in Radeberg zu Lage-Sondierungen, Gelände-Besichtigungen und hochrangigen Gesprächen. Nur knapp sind Radeberg und Lotzdorf direkten militärischen Kämpfen entgangen, trotzdem waren die Schäden durch Belagerungen, Requirierungen, Plünderungen u. ä. unvorstellbar.... Dabei spielte der Sandberg, gelegen zwischen Radeberg und Lotzdorf am „Lotzdorfer Zacken“ und die höchste Erhebung im Radeberger Gebiet, eine besondere Rolle, denn Napoleon kam mit seinem Stab von Dresden, um von hier aus das Terrain für die Vorbereitung einer Schlacht zu sondieren.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: The problem explored in this study concerns authenticity, and can be formulated as the question: 'How does one become oneself? In order to answer this query, related issues must be addressed, for example: the nature of consciousness/ self-awareness; the individual's relationship to society; the meaning of existence, and so forth. The reply's of three thinkers, Kierkegaard, Sartre and Jung, will be discussed in this investigation. They have been selected for several reasons: Each of their respective theories addresses issues that are generally pertinent in contemporary society, such as: the alienation and dissociation of individuals from each other and themselves through mass-mindedness and the impersonal nature of state and religious institutions; the anxiety that many experience due to, firstly, a lack of confidence in the abovementioned institutions and, secondly, a loss of trust in existing (political, religious, moral, social) life-strategies, because these often fail to give a convincing sense of meaning and purpose to life. Each of the three thinkers places the 'self at the center of their philosophy, and addresses many similar themes which share between them a family resemblance that admits of comparison. The theories are presented in an order that · allows for a dialectical approach to the problem of self: Kierkegaard's fundamentally Christian theory is presented as thesis, and Sartre's atheistic position as anti-thesis. Jung's theory of the psyche is presented as synthesis, because it is antimetaphysical, but nevertheless claims to prove empirically that a convincing religious/ spiritual experience is the key ingredient for authenticity. The outcome of the enquiry will show that the three thinkers point from different directions towards the same basic conceptualization of the 'self: The self is both a project and a goal or, to put it differently, a journey and a destination, the goal/destination being the synthesis of the various disparate and conflicting elements that influence or make up the personality. The study as a whole echoes the three individual approaches in describing the condition of modem man as a malady or sickness, which is the lack of authenticity, of which the symptoms are falsehood, anxiety, alienation, crippled relationships, lack of responsibility and adaptibility, and perhaps, on a larger scale, issues such as social/ political injustice and conflict. The cure for this malady is an enhancement of consciousness/ awareness that is known as 'the self. The self is seen as a 'becoming' and a choice, a dynamic synthesis, something which is not given and cannot be taken for granted, but must be actively striven for. The study outlines and explores the nature and value of such a project towards the self. / AFRIKAANSE OPSOMMING: Hierdie studie beskou die probleem van outentisiteit, wat as die vraag, 'Hoe word ek myself?', gestel kan word. Om hierdie vraag te beantwoord, moet verdere kwessies, soos byvoorbeeld die aard van (self)bewussyn, die verhouding waarin die indivudu tot die samelewing staan, en die betekenis van 'bestaan' ( eksistensie ), ook aangespreek word. Die voorstelle van drie denkers, Kierkegaard, Sartre and Jung, word bespreek in hierdie tesis. Die drie is vir verskeie redes uitgesoek: Elkeen van hulle spreek pertinente kwessies rondom die modeme samelewing aan, byvoorbeeld: individue se vervreemding en verwydering van hulself en ander weens die massa-mentaliteit en onpersoonlike aard van staats- en godsdienstige instellings; die angs en spanning wat baie ervaar as gevolg van 'n gebrek aan vertroue in bogenoemde instellings, asook 'n gebrekkige geloof in bestaande (politiese, godsdienstige, more le, so si ale) lewensstrategiee wat nie meer daarin slaag om sin of rede aan die lewe te gee nie. Elkeen van die drie denkers plaas die 'self sentraal tot hulle filosofie, en spreek temas aan wat onderling familie-ooreenkomste vertoon, en daarom onderlinge vergelyking toelaat. Die teoriee word aangebied in 'n volgorde wat 'n dialekti~se aanslag tot die probleem moontlik maak: Kierkegaard se Christelike teorie word as tese aangebied, en Sartre se ateistiese posisie as anti-tese. Jung se teorie van die psige word as sintese voorgehou, want, alhoewel dit geen metafisiese aansprake maak nie, beskou dit 'n oortuigende religieuse/ geestelike ervaring as die hoofbestandeel vir outentisiteit. Die gevolgtrekking van die ondersoek sal wys dat die drie denkers vanuit verskillende rigtings na dieselfde konsepsie van die 'self wys: Die self is sowel 'n projek as 'n doel, of, anders gestel, 'n reis en 'n bestemming. Die doel/ bestemming is 'n sintese van die verskillende, onderling botsend~ elemente waaruit die self bestaan en waardeur dit beinvloed word. Die studie in geheel volg die voorbeeld van die drie denkers deur die modeme mens se 'toestand' as 'n soort siekte te beskryf. Die simptome van hierdie siekte, of gebrek aan outentisiteit, is valsheid, angs, vervreemding, gebrekkige verhoudings, die afwesigheid van persoonlike verantwoordelikheid en aanpasbaarheid, en ook miskien kwessies soos sosiale en politiese onreg en konflik. Die remedie vir so 'n siekte is die 'self: 'n verheldering en intensifisering van bewussyn, wat gesien kan word as 'n 'wording' en 'n keuse, 'n dinamiese sintese, iets wat nie as voor-die-hand-liggend beskou kan word nie, maar wat aktief nagestreef moet word. Hierdie studie ondersoek die aard en waarde van so 'n projek gerig op die self

Thèse réalisée en cotutelle avec la Freie Universität Berlin. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce travail aborde l’aspect spécifiquement compositionnel du phénomène wagnérien en France dans les dernières décennies du XIXe siècle, par le biais d’une étude de cas centrée sur l’opéra Le Roi Arthus d’Ernest Chausson (1855-1899). Exceptionnellement bien documenté grâce à de nombreuses sources dont une bonne part sont inédites (brouillons et esquisses du livret et de la partition, correspondance, etc.), cet opéra composé de 1886 à 1895 et créé en 1903 au Théâtre de la Monnaie de Bruxelles offre en effet un aperçu privilégié de la relation complexe qu’entretiennent les compositeurs français de cette époque avec l’imposante figure de Wagner. La question de l’influence wagnérienne dans Le Roi Arthus est abordée ici dans le cadre d’une démarche appliquant, dans une perspective historique, la méthode sémiologique développée par Jean Molino et Jean-Jacques Nattiez. L’analyse de la genèse, de la version finale et de la réception de l’oeuvre au moment de sa création permet d’obtenir une vue d’ensemble inédite des rapports s’établissant entre l’opéra de Chausson et les drames lyriques de Wagner, en particulier Tristan und Isolde. Il en ressort que des premières esquisses à la création de l’opéra, Le Roi Arthus a évolué dans une dialectique complexe avec un modèle à la fois craint et admiré. Ardent wagnérien dès son plus jeune âge, Chausson ne souhaite pas pour autant devenir un épigone de Wagner. Sur les conseils d’Henri Duparc, il déploie donc de grands efforts pour « déwagnériser » le livret du Roi Arthus, qu’il rédige lui-même à partir d’un sujet mythique rappelant fortement Wagner. La version finale du livret, si elle présente encore quelques points de contact avec Tristan und Isolde et Der Ring des Nibelungen, incarne cependant une vision du monde très éloignée de celle de Wagner, et dans laquelle des valeurs comme l’honneur et la fidélité l’emportent sur un amour interdit apparaissant condamné d’avance. Cette dramaturgie aux antipodes de celle de Tristan s’appuie, paradoxalement, sur des références musicales wagnériennes que Chausson intègre et précise graduellement au fil de la genèse de la partition, et dont la mise en oeuvre souligne habilement tout ce qui sépare Lancelot et Genièvre, amants dépareillés, du couple indissociable formé par Tristan et Isolde. Dans cet opéra conçu, mais jusqu’à un certain point seulement, dans l’ombre de Wagner, ce sont les ressemblances musicales et surtout dramatiques avec Tristan und Isolde qui ont le plus frappé les critiques des premières représentations, donnant lieu à une réception où la question de l’influence wagnérienne occupe une place prépondérante. Mais si tous les recenseurs abordent cette question, ils le font sous des angles variant en fonction de facteurs extérieurs à l’oeuvre, comme leur formation antérieure, leur propre position face à Wagner et les liens qu’ils ont entretenus avec Chausson alors qu’il était encore vivant. Au-delà des connaissances qu’elle permet d’acquérir sur l’oeuvre, et plus particulièrement sur sa genèse, l’étude du Roi Arthus dans une triple perspective poïétique, immanente et esthésique s’ouvre donc sur un portrait du rôle central joué par le « Maître de Bayreuth » dans l’imaginaire musical de la fin du XIXe siècle, tout en jetant les bases d’une synthèse encore à faire des stratégies créatrices employées par les compositeurs d’opéra français face au modèle de Wagner. / This thesis examines the compositional aspect of Wagnerism in France during the final decades of the 19th century, through a case study of Ernest Chausson’s (1855-1899) opera Le Roi Arthus. Exceptionally well documented thanks to a large number of sources, most of which are unpublished (drafts and sketches of the libretto and score, correspondence, etc.), this opera, composed between 1886 and 1895 and premiered at the Théâtre de la Monnaie in Brussels in 1903, in fact allows a remarkable glimpse into the relationship between French composers of the period and the imposing figure of Wagner. The question of Wagnerian influence in Le Roi Arthus is here approached through a methodology that applies the semiotic model developed by Jean-Jacques Nattiez and Jean Molino in a historical perspective. An analysis of the genesis of the opera, its final version and the reception of its premiere provides a fresh overall view of the connection between Chausson’s opera and Wagner’s music dramas, particularly Tristan und Isolde. What emerges is a complex dialectic between Le Roi Arthus—from the first sketches to the opera’s premiere—and a model that provoked both disquiet and admiration. Though an ardent Wagnerian from an early age, Chausson did not want to merely become an epigone of the German composer. Following advice from Henri Duparc, Chausson therefore expended considerable effort in “dewagnerizing” the libretto of Le Roi Arthus, which he wrote himself, based on a mythical subject strongly reminiscent of Wagner. The final version of the libretto, while it maintains some links with Tristan und Isolde and Der Ring des Nibelungen, otherwise projects a worldview quite unlike Wagner’s, in which values such as honor and fidelity outweigh a forbidden love that seems doomed from the start. Paradoxically, this un-Tristanesque dramatic setup rests in part on Wagnerian musical references that Chausson integrated and honed gradually as he composed the score, and whose treatment cleverly underscores what separates Lancelot and Genièvre, poorly matched lovers, from the integrated couple formed by Tristan and Isolde. In this opera conceived, but only up to a point, in Wagner’s shadow, the musical and especially dramatic resemblances with Tristan und Isolde are what have most struck the critics of the first performances, which has given rise to a reception where the question of Wagnerian influence dominates. However, even though all critics touched on this question, they did so from points of view that vary according to factors extrinsic to the work, such as their own prior training, their personal positions on Wagner and the relationships they had had with Chausson during his lifetime. Beyond the knowledge it allows us to gain on the work itself, and more particularly on its early development, the study of Le Roi Arthus from poietic, immanent and esthesic perspectives opens onto an understanding of the central role played by the “Bayreuth Master” in late 19th-century musical imagination, while creating the basis necessary to undertake a new synthesis of the creative strategies used by composers of French opera faced with the Wagnerian model.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand in partial fulfilment of the requirements for the degree of Master of Arts, Johannesburg, 2017 / Set within a revisionist and feminist context, this thesis seeks to draw parallels in the autobiographical texts of Harriet Jacobs’ Incidents in the Life of a Slave Girl (1861) written by an African American ex-enslaved and Schizophrene (2011) penned by Bhanu Kapil, a British born Asian American, a descendant of a generation that live (d) through/with ‘what happened in a particular country on a particular day in August 14th 1947’ (Quaid). These literary representations will constitute the corpus of this research paper as it attempts to examine how these autobiographies draw attention to and break the notion of prevailing dominant geographies of oppression. In both texts, the authors juxtapose appropriation and hegemony with an alternative literary geographic narrative that seeks to recuperate the liminal (black) body and psyche. This research paper will seek to explore the multiple and interrelated ways in which both authors employ certain strategic mechanisms to re-appropriate tools of social power, thus exposing the frailties of their respective oppressive histories by disrupting their continued, albeit imagined stronghold on them. In employing their autobiographies as anthropological arsenals, these authors seem to demonstrate the manner in which history has attempted through its numerous sites of oppression not only to construct black victims and mere black bodies but also to un-write and evacuate its untidiness. These autobiographies will be employed to reconstruct and re-imagine the authors but symbolically the collective black body as more than objects but rather as humans with subjectivities and self-assertion. The paper further seeks to understand how these autobiographies tend to a vicious past of slavery and partition and how they translate these memories, remembering the depth of their experiences whilst also being haunted by their contemporary echoes. An accent will be given to the ambivalence, perversions and anxieties of these autobiographies. / XL2018