Was born in December 1963 in Giresun, Turkey. Finished High School in Germany and completed his Secondary Education in Istanbul. Has got BSc in Mechanical Engineering from Bogazici University, MSc in Robotics from Istanbul Technical University, AA and BA in Management and Business Administration from Anadolu University, Certificate from Rutgers University. Has taught Mathematical Modelling at Namangan Engineering Pedagogical Institute in Uzbekistan. In short, he growed up in Germany, studied in Turkey, wrote in the USA and worked in Uzbekistan. Recently, he returned to Turkey. He works nowadays as technical manager, and continues his research and studies at Blekinge Institute of Technology and Istanbul Technical University. His poems, essays, letters, interviews, poetry translations and other translations have been published by newspapers and journals like Zaman, Al-Ahram Weekly, Impact, Tanitim, Avaz, Harman, Das Licht, Kardelen, Mavera, Yosh Kuch, Pop Tongi, Kiragi, Endulus and others in Turkey, Germany, England, Egypt and Uzbekistan. Has been awarded with several prizes. Has represented Kiragi Poetry Journal in Istanbul (1995-97). Has taken part in the editorial board of the literary journal Endulus (1997-98). His published literary books are * Daglarda Yer Yok (Poems, 1997, ``There is not any place in the mountains``) * Yetim Kalan Siirler (Poems, 2001, ``Orphan Poems``) * Yuragimning ko`z yoshi (Selected Poems, 2001, in Uzbek, ``Tears of my Heart``) * Özlem Sularında (Selected Poems, "In the Waters of Longing", e-book, 2004, printed, 2005) * Kanayan Cografyadan Damlayan (Which Drops from the Blooding Geography, poems and poetry translations, 2006) * Poems of the Night (Poetry Anthology, with Richard Mildstone, 2005, 2008) In addition to the above literary works, has also works in technical fields. Those are * Production and Utilisation of Biogas (1987, 2005) * Dual Sayilarin Robot Kinematik ve Dinamiginde Kullanimi (Thesis, 1991, ``The Use of Dual Numbers in Robot Kinematics and Dynamics``) * Role of Culture in Total Quality Management (Dissertation, 1999).

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Biography: At an age when most teens are looking forward to a carefree summer break, Jordin Sparks at 17, graced the stage as the youngest American Idol winner and spent the summer months crafting her eponymous debut album. Honing all the confidence, class and breathtaking range of emotion that put her at the epicenter of the entertainment world for most of 2007, Jordin is pouring everything into her upcoming album due out on 19 Recordings/Jive Records in November. Jordin says the album also benefits from a summer-long vocal workout on the road during the 56 city Pop Tarts American Idol Live! Tour that just recently ended. “I learned so much being out there every night singing live,� she says. “How to grab hold of a song. To have and keep that control. I've always been a student of singing – listening to stuff on the radio and trying to figure out how a singer is ‘breathing,' how they do harmonies. What was great about performing live every night is building the strength in my voice and seeing it resonate with the audience. I tried to bring that into my sessions for the album. Giving that kind of power to the material.� Effortlessly navigating a dream-team of ‘A-list� writing/producing talent on her new album that includes The Underdogs (Dreamgirls soundtrack, Chris Brown, Mary J. Blige), Eman (Nick Lachey, Backstreet Boys, Celine Dion), Robbie Nevil (High School Musical soundtrack), and former Color Me Badd star-turned producer/writer Sam Watters (Jessica Simpson) – all of them adding color and dimension to her multitude of talents ala Jordin's kickoff single, “Tattoo.� Written by Amanda Ghost, (who co-penned James Blunt's breakthrough classic “You're Beautiful,�) and produced by the Norwegian street-tinged duo Stargate, (Beyonce, Ne-Yo, Rhianna), the single has buoyantly reacquainted music fans with Jordin's remarkable vocal presence. But it's her ability to completely wrap herself around a song, as she does on her new ballad “Permanent Monday,� (produced by Eman and written by Lindy Robbins) that raises the bar on her new album, revealing a depth and knack for storytelling that sculpts a landscape worthy of the singer's entire repertoire of emotions. “When I listen to a demo I like to know how it was done. I try to imagine what I can bring to it,� she says. “Put my spin to it. All my favorite artists, whether contemporary or classic – all had a way of making that certain song their own. I don't know If I had a plan for this album so much as I had a method. To give myself to each session, each song – every note. I think in the end that's how you create the full spectrum for your fans. I have rock cuts, edgey stuff, and of course ballads like ‘Permanent Monday' which I love to do.� Born in Phoenix, AZ, (she resides in Glendale) she admits that the high-intensity environment of her father's occupation (her dad, Phillippi Sparks, was a professional football player for the New York Giants and Dallas Cowboys) may have schooled her in how to cope with the rigors of show business early on. “My family was always very loving, very grounded. My dad kept us calm no matter what was happening with his career, and my mom made me fiercely independent. She was big on teaching us responsibility and fending for ourselves. I think I understood early the importance of setting goals and being prepared to meet them.� Growing up in a bi-racial household also taught Jordin another valuable lesson. “Amazingly, I never felt singled-out. Even at school, we were always treated with respect, never out of the ordinary, which when I look back, is really an incredible thing. I try to be that accepting whenever I encounter a new or difficult situation.� Perhaps her most revealing life-lesson is the tale about how Jordin nearly missed out on being an Idol contestant altogether. No stranger to musical competitions, it's the way she handled the potentially biggest disappointment of her life – being sent home on her first Idol try - that reveals a strength of character truly rare in a just-turned-17 year old. “I remember being at that first audition looking down that long line that just seemed endless and asking myself: ‘What am I bringing to this – how will they ever notice me' she says.' They didn't, with the young singer being dismissed after her first L.A. audition. “I went home, shook it off and said ‘wait a minute, I can do this if they let me.'� Where most teenagers might have buried such a disappointment in a countless array of distractions – Jordin made a bee-line for a second audition held in her native Arizona. She won, earning her another shot in front of Idol royalty at a Seattle audition where she sang Celine Dion's “Because You Love Me.� The rest – as they, say is – well… “Giving up is not part of my vocabulary,� she says proudly. “Sure, I get down, but I've learned to let the negative roll off my back. You have to if you want to keep on going in this world.� When asked if there is anything truly surprising her fans might want to know about her – she laughs: ‘The fact that I like post-hardcore bands – ‘Screamo' bands like Silverstein (from Burlington, Ontario) and others.� Jordin is quick to add she's also a sucker for ‘80's music. “I'm full of surprises,� she smiles. “I've found out the best thing about making your first album is how much you continue to surprise even yourself.� “Overnight success� is overwhelming to anyone at any age' but Jordin Sparks is taking it all in stride and shining brightly with every step. Her biggest challenge may be her upcoming album, but if you take into account her steady foundation, awe-inspiring talents and unlimited enthusiasm, her biggest challenge may just prove to be her greatest success. source here

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Meet a band inspired by the two best bands of the last decade (Nirvana and Radiohead). A band - average age 20 - with eighty songs and four record deals around the world. A band who've spent the 90's cut off and disenfranchised. A band who won't be happy until they've ripped the heart from your chest and shattered your eardrums. Meet MUSE. From England. But not so you'd notice. The rock trio consists of guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenhome and drummer Dominic Howard. The group's emotive sound and live dates drew critical acclaim and industry buzz, and after a trip to New York's CMJ festival, Muse signed a deal with Maverick Records. Their debut full-length album Showbiz was released toward the end of 1999. Two years later, Muse issued The Origin of Symmetry and had a major hit with Hyper Music. In 2002, fans were treated to the double-disc live set Hullabaloo. Their latest album Absolution is clearly the product of three mid twenties musicians at the height of their powers, determined to push their aesthetic all the way. “Matt Bellamy has put together a collection of simple, poetic, transparent songs that re-engage with the old words and values; honour, courage and righteousness. It's one long love letter to the Impossible Dream, and it WILL NOT SURRENDER. There's been no record released yet this century with stakes so high. Musically, it could have been a disaster. But one man's prog is another man's progress, and every guitar here sounds like it's from the future, every flourish and movement scored and orchestrated with the celestial vision. By indulging every pomp rock wet dream he's ever had, Matt's found that there's no such thing as too much distortion, and that, when you care this much, chartbusting tunes really do fall from the sky…..On earth, Muse have made the UK Rock record of the year, but as it is in heaven, they've created a scripture; the defining document of a new religion no more complicated than Bellamy's crystal clear lyrics.� (NME) Bringing this holy vision onto the stage is second nature to these world-travellers. Live, Muse manage to seduce the unconverted, and reaffirm the fanatical devotion of their fans . “As balmy late evening sunshine gives way to darkness and cascades of rain, so Ash's breezy pop punk gives way to the tempestuous drama of Muse. It's the perfect setting for the Devon trio's heartstoppingly intense show. With Matt Bellamy plucking sounds from the air like a mad professor, Muse are truly incredible tonight, switching mood and pace to outragous effect. The rapturous applause that greets the killer conclusion of 'Muscle Museum' and 'Plug in Baby' is a heartening reminder that sometimes, just sometimes, originality and fearless, peerles ambition gets its just rewards.� (Kerrang! review, Leeds Festival)  source http://www.sing365.com/music/lyric.nsf/Muse-Biography/681CDB8D98E3A6DA482568B900346F8E

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Meet a band inspired by the two best bands of the last decade (Nirvana and Radiohead). A band - average age 20 - with eighty songs and four record deals around the world. A band who've spent the 90's cut off and disenfranchised. A band who won't be happy until they've ripped the heart from your chest and shattered your eardrums. Meet MUSE. From England. But not so you'd notice. The rock trio consists of guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenhome and drummer Dominic Howard. The group's emotive sound and live dates drew critical acclaim and industry buzz, and after a trip to New York's CMJ festival, Muse signed a deal with Maverick Records. Their debut full-length album Showbiz was released toward the end of 1999. Two years later, Muse issued The Origin of Symmetry and had a major hit with Hyper Music. In 2002, fans were treated to the double-disc live set Hullabaloo. Their latest album Absolution is clearly the product of three mid twenties musicians at the height of their powers, determined to push their aesthetic all the way. “Matt Bellamy has put together a collection of simple, poetic, transparent songs that re-engage with the old words and values; honour, courage and righteousness. It's one long love letter to the Impossible Dream, and it WILL NOT SURRENDER. There's been no record released yet this century with stakes so high. Musically, it could have been a disaster. But one man's prog is another man's progress, and every guitar here sounds like it's from the future, every flourish and movement scored and orchestrated with the celestial vision. By indulging every pomp rock wet dream he's ever had, Matt's found that there's no such thing as too much distortion, and that, when you care this much, chartbusting tunes really do fall from the sky…..On earth, Muse have made the UK Rock record of the year, but as it is in heaven, they've created a scripture; the defining document of a new religion no more complicated than Bellamy's crystal clear lyrics.� (NME) Bringing this holy vision onto the stage is second nature to these world-travellers. Live, Muse manage to seduce the unconverted, and reaffirm the fanatical devotion of their fans . “As balmy late evening sunshine gives way to darkness and cascades of rain, so Ash's breezy pop punk gives way to the tempestuous drama of Muse. It's the perfect setting for the Devon trio's heartstoppingly intense show. With Matt Bellamy plucking sounds from the air like a mad professor, Muse are truly incredible tonight, switching mood and pace to outragous effect. The rapturous applause that greets the killer conclusion of 'Muscle Museum' and 'Plug in Baby' is a heartening reminder that sometimes, just sometimes, originality and fearless, peerles ambition gets its just rewards.� (Kerrang! review, Leeds Festival)

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Actor, comedian. Born John Franklin Candy on October 31, 1950, in Toronto, Ontario, Canada. Candy took drama courses at a community college and held various odd jobs before winning his first acting job in a children's theater group in his native Ontario. After a series of small parts in television commercials and low-budget Canadian films, Candy got his big break when he was offered membership in the Second City comedy troupe. In 1977, he became a regular performer and writer for the group's television show, SCTV, along with Harold Ramis and Eugene Levy. Candy was a featured performer by the time the show came to network television in 1981. He won Emmys for the show's writing in 1981 and 1982. In 1984, the Ron Howard directed comedy Splash, in which he co-starred with Tom Hanks and Daryl Hannah, made Candy a movie star. Although he was sometimes criticized for his choice of roles, audiences loved Candy for his roly-poly good nature and wry humor. Some of his most popular films include The Blues Brothers (1980), Spaceballs (1987), featuring Mel Brooks; Planes, Trains and Automobiles (1987), costarring Steve Martin; Uncle Buck (1989), and the Disney feature Cool Runnings (1993). The veteran of more than forty films, Candy was also anavid sports fan and co-owner of a Canadian Football League franchise, the Toronto Argonauts. With actors Dan Aykroyd and Jim Belushi, he owned a chain of blues bars and restaurants called House of Blues. At 6 feet 3 inches tall, Candy weighed over 250 pounds and often spoke of having a problem controlling his weight. Sadly, on March 4, 1994, while shooting a film (Wagons East) in Durango, Mexico, Candy died in his sleep of a heart attack.

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(born Jan. 27, 1910, Madrid, Spain—died Dec. 7, 1997, Durham, N.C., U.S.) Spanish Mexican engineer and architect. He immigrated to Mexico in 1939 and began to design and construct buildings there. His ferroconcrete structures are distinguished by thin, curved shells that are extremely strong and economical; his imaginative use of paraboloid barrel-vaulting helped dispel mistaken notions of the limits of this material. Notable works include the expressionistic church of Nuestra Señora de los Milagros in Mexico City (1955), with a hyperbolic paraboloid roof of ferroconcrete only 1.5 in. (3.8 cm) thick. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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Author, Titanic survivor. Born Helen Churchill Hungerford on October 5, 1861, in New York, New York. A world traveler and author, Helen Churchill Candee survived in one of the deadliest sea accidents of the twentieth century aboard the luxury liner Titanic in 1912. One of her earlier works was How Women May Earn a Living (1900), which was groundbreaking for the times. It advised women on how to support themselves without having to rely on a man. She was a single mother herself with two children from her marriage to Edward Candee to care for. While she came from an affluent background, she did not have a lot of money of her own. Writing articles was her primary means of income, and she tackled a broad range of subjects from politics to decorative arts. Candee also wrote fiction, publishing the western novel, An Oklahoma Romance, in 1901. This was followed up by a nonfiction title, Decorative Styles and Periods in the Home (1906). Around this time, she lived in Washington, D.C. Candee spent some time abroad in the early 1910s and chose to spend some time in Europe during the beginning of 1912. Mixing business with pleasure, she conducted some research for a book on tapestries. On April 10, 1912, Candee boarded the Titanic in Cherbourg, France. She was returning home after learning that her son Howard had been injured in an accident. As a single woman, she attracted a fair amount of attention from some of the unattached men on the ship. Among her admirers were architect Edward A. Kent, English sculptor Hugh Woolner, and Colonel Archibald Gracie. After a dinner and a concert, Candee returned to her cabin on the night of April 14. A short time later, the Titanic struck an iceberg at 11:40 p.m. She was then told her to get dressed and get on deck. Boarding Lifeboat 6, Candee joined Molly Brown and some of the other passengers and crew to make her escape from the sinking vessel. The lifeboat was under the command of quartermaster Robert Hitchens. After the Titanic went down, Candee cried out that “we must go back,� according to Titanic: A Night Remembered. Several other passengers, including Brown, supported Candee's idea of searching for more survivors in the water. But Hitchens refused to go back. On the morning of April 15, Candee and the rest of Lifeboat 6 were rescued and brought aboard the Carpathia, a ship that answered the Titanic's distress call. Despite her first-hand experience with tragedy at sea, Candee continued to be an avid traveler. She wrote two books based on her travels in the Far East, Angkor the Magnificent: the Wonder City of Ancient Cambodia (1924) and New Journeys in Old Asia: Indo-China, Siam, Java, Bali (1927). Candee died in York, Maine, in 1949. © 2008 A&E Television Networks. All rights reserved.

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(born Jan. 1, 1887, Aplerbeck, Westphalia, Ger.—died April 9, 1945, Flossenbürg concentration camp, Bavaria) German naval officer. Under Adolf Hitler, Canaris became head of military intelligence (Abwehr) in 1935. Believing that the Nazi regime would destroy traditional conservative values and that its foreign ambitions were dangerous to Germany, he enlisted some of the anti-Hitler conspirators into the Abwehr and shielded their activities. After the abortive July Plot against Hitler in 1944, Canaris was arrested and executed. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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byname of Giovanni Antonio Canal (born Oct. 18, 1697, Venice [Italy]—died April 20, 1768, Venice) Italian topographical painter whose masterful expression of atmosphere in his detailed views (vedute) of Venice (see ) and London and English country homes influenced succeeding generations of landscape artists. Canaletto was born into a noble family whose coat of arms he occasionally used as a signature. How he came to be known as Canaletto is uncertain, however; perhaps the name was first used to distinguish him from his father, Bernardo Canal, a theatrical scene painter in whose studio Canaletto assisted. Canaletto is recorded as working with his father and brother in Venice from 1716 to 1719 and in Rome in 1719–20, painting scenes for Alessandro Scarlatti operas. It was in Rome that Canaletto left theatrical painting for the topographical career that was to bring him international fame so quickly, although a close connection to his theatrical work remained in his choice of subject matter, his use of line and wash drawings, and his theatrical perspective. When he returned to Venice, he began his contact with the foreign patrons who would continue as his chief support throughout his career. Four large paintings were completed for the Prince of Liechtenstein, in or before 1723, and in 1725–26 he finished a series of pictures for Stefano Conti, a merchant from Lucca. Dated memorandums accompanying the Conti pictures suggest how busy and yet how exacting the artist was at this time. Canaletto indicates that delays in the delivery of the pictures had been due to the pressure of other commissions and his own insistence on obtaining reliable pigments and on working from nature. In his pictures of the late 1720s, such as “The Stonemason's Yard,� he combined a freedom and subtlety of manner that he was rarely to achieve again with an unrivaled imaginative and dramatic interpretation of Venetian architecture. His understanding of sunlight and shadow, cloud effects, and the play of light on buildings support the contention in his memorandums that he was working out-of-doors, which was a most unusual procedure for painters of that time. Throughout the 1730s Canaletto was deeply absorbed in meeting foreign demands for souvenir views of Venice. Such was the pressure upon him that he ultimately was forced to work largely from drawings and even from other artists' engravings, rather than from nature. He also developed the use of the camera ottica, a device by which a lens threw onto a ground-glass screen the image of a view, which could be used as a basis for a drawing or painting. Finally, he developed a mechanical technique, in which ruler and compasses played a part, and architecture and figures were put into the picture according to a dexterous and effective formula. Such a vast number of views of Venice were produced during his lifetime that it is often thought that Canaletto was head of a large studio, but there is no evidence of this. Canaletto had no serious rivals. The painter Luca Carlevaris, who may have been his initial inspiration in choosing to produce topographical pictures for a largely foreign audience, had been driven from the field; Bernardo Bellotto, Canaletto's nephew, was not yet a mature painter; and Michele Marieschi was a follower rather than a competitor. Because of this lack of rivals, Canaletto became increasingly difficult to deal with. Owen Mac Swinney, an English operatic figure and patron of Canaletto, wrote as early as 1727, The fellow is whimsical and varys his prices, every day: and he that has a mind to have any of his work, must not seem to be too fond of it, for he'l be ye worse treated for it, both in the price and the painting too. The outbreak of the War of the Austrian Succession in 1740, which cut down sharply the number of visitors to Venice, seriously affected Canaletto's commissions. At this point, an early acquaintance, Joseph Smith—publisher, merchant, and later British consul in Venice—stepped into the breach. As standardized views of Venice dropped from demand, Smith seems to have encouraged Canaletto to expand his range of subjects to include Roman monuments and the area of Padua and the Brenta River. Pictures composed of more or less recognizable elements rearranged (capriccio) and pictures composed of almost completely imaginary architectural and scenic elements (veduta ideata) now began to play an increasingly important part in Canaletto's work. In 1741–44 Canaletto also made a series of 30 etchings, exceptionally skillful and sensitive, showing a command of perspective and luminosity. Canaletto's international reputation served him well as the tourists became more scarce. In 1746 he went to England, where he was welcomed, and remained until 1755, despite an invitation to Dresden from the elector of Saxony. He worked mainly in London, on English views. It is notable, when considering the works executed during this period, that Canaletto—an artist 50 years of age who had evolved various conventions based on Venetian experience—was dealing with an entirely different set of atmospheric conditions and different subject matter. Occasionally, by putting English material into a Venetian framework, he achieved a masterpiece, but for the most part he fell below his own standards, and his work was lifeless and mechanical. On his return to Venice, however, his reputation had not diminished; and at last he received official recognition—election to the Venetian Academy in 1763 and, in the same year, appointment as prior of the Collegio dei Pittori. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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(born 1524/25, Lisbon—died June 10, 1580, Lisbon) Portuguese poet. A member of the impoverished aristocracy, he may have spent about 17 years in India. His masterpiece, the epic The Lusiads (1572), extols glorious deeds in Portuguese history as it recounts Vasco da Gama's discovery of the sea route to India. His numerous lyric pieces (together with many apocryphal poems) appeared posthumously in editions of the poetry collection Rimas (from 1595). He also wrote dramatic works, including Filodemo (1587), in which he developed the auto, a kind of morality play, and the comedy The Two Amphitryons (1587). He had an unparalleled impact on Portuguese and Brazilian literature and is regarded as Portugal's national poet. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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(born April 21, 1912, Chappes, Ardennes, Fr.—died Jan. 13, 1982, Paris) French motion-picture director who won international acclaim for his second film, Orfeu Negro (Black Orpheus) in 1958. The film was praised for its use of exotic settings and brilliant spectacle and won first prize at both the Cannes and Venice film festivals as well as an Oscar from the Academy of Motion Picture Arts and Sciences. Camus, educated as an art teacher, spent most of World War II as a prisoner of war, after which he entered the film industry as an assistant and technical adviser to directors Jacques Feyder and Luis Buñuel and others. Morte en fraude (1956; Fugitive in Saigon, 1957), Camus's first feature film, was a protest against the war in Indochina and received little attention. Later films—such as L'Oiseau de paradis (1961; Dragon Sky, 1964), Le Chant du monde (1965; “The Song of the World�), and Otalia de Bahia (1976)—also failed to attract the interest of critics and the public in the way that Orfeu Negro had. Copyright © 1994-2008 Encyclopædia Britannica, Inc

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(born Nov. 7, 1913, Mondovi, Alg.—died Jan. 4, 1960, near Sens, France) French novelist, essayist, and playwright, best known for such novels as L'Étranger (1942; The Stranger), La Peste (1947; The Plague), and La Chute (1956; The Fall) and for his work in leftist causes. He received the 1957 Nobel Prize for Literature. Early years Less than a year after Camus was born, his father, an impoverished worker of Alsatian origin, was killed in World War I during the First Battle of the Marne. His mother, of Spanish descent, did housework to support her family. Camus and his elder brother Lucien moved with their mother to a working-class district of Algiers, where all three lived, together with the maternal grandmother and a paralyzed uncle, in a two-room apartment. Camus's first published collection of essays, L'Envers et l'endroit (1937; “The Wrong Side and the Right Side�), describes the physical setting of these early years and includes portraits of his mother, grandmother, and uncle. A second collection of essays, Noces (1938; “Nuptials�), contains intensely lyrical meditations on the Algerian countryside and presents natural beauty as a form of wealth that even the very poor can enjoy. Both collections contrast the fragile mortality of human beings with the enduring nature of the physical world. In 1918 Camus entered primary school and was fortunate enough to be taught by an outstanding teacher, Louis Germain, who helped him to win a scholarship to the Algiers lycée (high school) in 1923. (It was typical of Camus's sense of loyalty that 34 years later his speech accepting the Nobel Prize for Literature was dedicated to Germain.) A period of intellectual awakening followed, accompanied by great enthusiasm for sport, especially football (soccer), swimming, and boxing. In 1930, however, the first of several severe attacks of tuberculosis put an end to his sporting career and interrupted his studies. Camus had to leave the unhealthy apartment that had been his home for 15 years, and, after a short period spent with an uncle, Camus decided to live on his own, supporting himself by a variety of jobs while registered as a philosophy student at the University of Algiers. At the university, Camus was particularly influenced by one of his teachers, Jean Grenier, who helped him to develop his literary and philosophical ideas and shared his enthusiasm for football. He obtained a diplôme d'études supérieures in 1936 for a thesis on the relationship between Greek and Christian thought in the philosophical writings of Plotinus and St. Augustine. His candidature for the agrégation (a qualification that would have enabled him to take up a university career) was cut short by another attack of tuberculosis. To regain his health he went to a resort in the French Alps—his first visit to Europe—and eventually returned to Algiers via Florence, Pisa, and Genoa. Camus's literary career Throughout the 1930s, Camus broadened his interests. He read the French classics as well as the writers of the day—among them André Gide, Henry de Montherlant, André Malraux—and was a prominent figure among the young left-wing intellectuals of Algiers. For a short period in 1934–35 he was also a member of the Algerian Communist Party. In addition, he wrote, produced, adapted, and acted for the Théâtre du Travail (Workers' Theatre, later named the Théâtre de l'Équipe), which aimed to bring outstanding plays to working-class audiences. He maintained a deep love of the theatre until his death. Ironically, his plays are the least-admired part of his literary output, although Le Malentendu (Cross Purpose) and Caligula, first produced in 1944 and 1945, respectively, remain landmarks in the Theatre of the Absurd. Two of his most enduring contributions to the theatre may well be his stage adaptations of William Faulkner's Requiem for a Nun (Requiem pour une nonne; 1956) and Fyodor Dostoyevsky's The Possessed (Les Possédés; 1959). In the two years before the outbreak of World War II, Camus served his apprenticeship as a journalist with Alger-Républicain in many capacities, including those of leader- (editorial-) writer, subeditor, political reporter, and book reviewer. He reviewed some of Jean-Paul Sartre's early literary works and wrote an important series of articles analyzing social conditions among the Muslims of the Kabylie region. These articles, reprinted in abridged form in Actuelles III (1958), drew attention (15 years in advance) to many of the injustices that led to the outbreak of the Algerian War in 1954. Camus took his stand on humanitarian rather than ideological grounds and continued to see a future role for France in Algeria while not ignoring colonialist injustices. He enjoyed the most influence as a journalist during the final years of the occupation of France and the immediate post-Liberation period. As editor of the Parisian daily Combat, the successor of a Resistance newssheet run largely by Camus, he held an independent left-wing position based on the ideals of justice and truth and the belief that all political action must have a solid moral basis. Later, the old-style expediency of both Left and Right brought increasing disillusion, and in 1947 he severed his connection with Combat. By now Camus had become a leading literary figure. L'Étranger (U.S. title, The Stranger; British title, The Outsider), a brilliant first novel begun before the war and published in 1942, is a study of 20th-century alienation with a portrait of an “outsider� condemned to death less for shooting an Arab than for the fact that he never says more than he genuinely feels and refuses to conform to society's demands. The same year saw the publication of an influential philosophical essay, Le Mythe de Sisyphe (The Myth of Sisyphus), in which Camus, with considerable sympathy, analyzed contemporary nihilism and a sense of the “absurd.� He was already seeking a way of overcoming nihilism, and his second novel, La Peste (1947; The Plague), is a symbolical account of the fight against an epidemic in Oran by characters whose importance lies less in the (doubtful) success with which they oppose the epidemic than in their determined assertion of human dignity and fraternity. Camus had now moved from his first main concept of the absurd to his other major idea of moral and metaphysical “rebellion.� He contrasted this latter ideal with politico-historical revolution in a second long essay, L'Homme révolté (1951; The Rebel), which provoked bitter antagonism among Marxist critics and such near-Marxist theoreticians as Jean-Paul Sartre. His other major literary works are the technically brilliant novel La Chute (1956) and a collection of short stories, L'Exil et le royaume (1957; Exile and the Kingdom). La Chute reveals a preoccupation with Christian symbolism and contains an ironical and witty exposure of the more complacent forms of secular humanist morality. In 1957, at the early age of 44, Camus received the Nobel Prize for Literature. With characteristic modesty he declared that had he been a member of the awarding committee his vote would certainly have gone to André Malraux. Less than three years later he was killed in an automobile accident. Assessment As novelist and playwright, moralist and political theorist, Albert Camus after World War II became the spokesman of his own generation and the mentor of the next, not only in France but also in Europe and eventually the world. His writings, which addressed themselves mainly to the isolation of man in an alien universe, the estrangement of the individual from himself, the problem of evil, and the pressing finality of death, accurately reflected the alienation and disillusionment of the postwar intellectual. He is remembered, with Sartre, as a leading practitioner of the existential novel. Though he understood the nihilism of many of his contemporaries, Camus also argued the necessity of defending such values as truth, moderation, and justice. In his last works he sketched the outlines of a liberal humanism that rejected the dogmatic aspects of both Christianity and Marxism. John Cruickshank Ed. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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Campion also spelled Campian (born Feb. 12, 1567, London—died March 1, 1620) English poet, composer, musical and literary theorist, physician, and one of the outstanding songwriters of the brilliant English lutenist school of the late 16th and early 17th centuries. His lyric poetry reflects his musical abilities in its subtle mastery of rhythmic and melodic structure. After attending the University of Cambridge (1581–84), Campion studied law in London, but he was never called to the bar. Little is known of him until 1606, by which time he had received a degree in medicine from the University of Caen, France. He practiced medicine from 1606 until his death. Campion's first publication was five sets of verses appearing anonymously in the pirated 1591 edition of Philip Sidney's Astrophel and Stella. In 1595 his Poemata (Latin epigrams) appeared, followed in 1601 by A Booke of Ayres (written with Philip Rosseter), of which much of the musical accompaniment and verses were Campion's. He wrote a masque in 1607 and three more in 1613, in which year his Two Bookes of Ayres probably appeared. The Third and Fourth Booke of Ayres came out in 1617, probably followed by a treatise (undated) on counterpoint. Campion's lyric poetry and songs for lute accompaniment are undoubtedly his works of most lasting interest. Though his theories on music are slight, he thought naturally in the modern key system, with major and minor modes, rather than in the old modal system. Campion stated his theories on rhyme in Observations in the Art of English Poesie (1602). In this work he attacked the use of rhymed, accentual metres, insisting instead that timing and sound duration are the fundamental element in verse structure. Campion asserted that in English verse the larger units of line and stanza provide the temporal stability within which feet and syllables may be varied. With the exception of his classic lyric Rose-cheekt Lawra, Come, Campion usually did not put his advocacy of quantitative, unrhymed verse into practice. His originality as a lyric poet lies rather in his treatment of the conventional Elizabethan subject matter. Rather than using visual imagery to describe static pictures, he expresses the delights of the natural world in terms of sound, music, movement, or change. This approach and Campion's flowing but irregular verbal rhythms give freshness to hackneyed subjects and seem also to suggest an immediate personal experience of even the commonest feelings. The Selected Songs, edited by W.H. Auden, was published in 1972. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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(born April 30, 1954, Wellington, N.Z.) New Zealand film director. After training as a painter in Australia, she studied filmmaking and made several notable short films. Her first feature, Sweetie (1989), was followed by the successful An Angel at My Table (1990). She wrote and directed the internationally acclaimed The Piano (1993) and directed The Portrait of a Lady (1996) and Holy Smoke (1999). Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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(born 1378, Tournai, Fr.—died April 26, 1444, Tournai) Flemish painter. He is identified with the Master of Flémalle on stylistic grounds. Documents show that Campin was a master painter in Tournai in 1406; two students are listed as entering his studio in 1427: Rogier van der Weyden and Jacques Daret. Campin's principal surviving works are two large panels of an altarpiece once believed to have come from a nonexistent Abbey of Flémalle. The famous Mérode Altarpiece, a triptych of the Annunciation formerly regarded as his masterpiece, is now thought to be by a member of his workshop or circle. Characterized by a naturalistic conception of form and a poetic representation of the objects of daily life, Campin's work marks the break with the prevailing International Gothic style and prefigures the achievements of the painters of the Northern Renaissance. Despite much uncertainty about his life and work, he was one of the most important and influential Flemish artists of the 15th century. Copyright © 1994-2008 Encyclopædia Britannica, Inc.

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