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In a world in which ancient Greece, Egypt, and Rome have all vanished<br>
Our own attributes (name and sign) live on today.
There is something about our existence for it doesn't get wiped <br>
Even though, for centuries, the time-cycle of the world has been our enemy.
Iqbal!
We have no confidant in this world<br>
What does any one know of our hidden pain?
Iqbal was a lecturer at the Government College, Lahore at that time, and was invited by a student Lala Har Dayal to preside over a function.
Instead of delivering a speech, Iqbal sang "Saare Jahan Se Achcha".
The song, in addition to embodying yearning and attachment to the land of Hindustan, expressed "cultural memory" and had an elegiac quality.
In 1905, the 27-year-old Iqbal viewed the future society of the subcontinent as both a pluralistic and composite Hindu-Muslim culture.
Later that year he left for Europe for a three-year sojourn that was to transform him into an Islamic philosopher and a visionary of a future Islamic society.
In 1910, Iqbal wrote another song for children, "Tarana-e-Milli" (Anthem of the Religious Community), which was composed in the same metre and rhyme scheme as "Saare Jahan Se Achcha", but which renounced much of the sentiment of the earlier song.
The sixth stanza of "Saare Jahan Se Achcha" (1904), which is often quoted as proof of Iqbal's secular outlook:
contrasted significantly with the first stanza of "Tarana-e-Milli" (1910) reads:
Iqbal's world view had now changed; it had become both global and Islamic.
Instead of singing of Hindustan, "our homeland," the new song proclaimed that "our homeland is the whole world."
Two decades later, in his presidential address to the Muslim League annual conference in Allahabad in 1930, he supported a separate nation-state in the Muslim majority areas of the sub-continent, an idea that inspired the creation of Pakistan.
In India, the text of the poem is often rendered in the Devanagari script of Hindi:
Arthur Eichengrün
Arthur Eichengrün (13 August 1867 – 23 December 1949) was a German Jewish chemist, materials scientist, and inventor.
He is known for developing the highly successful anti-gonorrhea drug Protargol, the standard treatment for 50 years until the adoption of antibiotics, and for his pioneering contributions in plastics: co-developing (with Theodore Becker) the first soluble cellulose acetate materials in 1903, called "Cellit", and creating processes for the manufacture of these materials which were influential in the development of injection moulding.
During World War I his relatively non-flammable synthetic cellulose acetate lacquers, marketed under the name "Cellon", were important in the aircraft industry.
He contributed to photochemistry by inventing the first process for the production and development of cellulose acetate film, which he patented with Becker.
Eichengrün claimed to have directed the initial synthesis of aspirin in 1897, but his claim has been disputed.
For many years Bayer credited Felix Hoffmann, Eichengrün's junior, with the invention of aspirin.
However, the first attribution of the discovery to Hoffmann appears in 1934, and may have reflected anti-Jewish revisionism.
During World War II, Eichengrün was imprisoned in the Concentration camp Theresienstadt.
Arthur Eichengrün was born in Aachen as the son of a Jewish cloth merchant and manufacturer.
In 1885, he took up studies in chemistry at the University of Aachen, later moved to Berlin, and finally to Erlangen, where he received a doctoral degree in 1890.
In 1896, he joined Bayer, working in the pharmaceutical laboratory.
In 1908, he quit Bayer and founded his own pharmaceutical factory, the "Cellon-Werke" in Berlin.
His company was "Aryanized" by the Nazis in 1938.
In 1943, he was arrested and sentenced to four months in prison for having failed to include the word "Israel" in his name in a letter to a Reich official (Nazi law required Jewish men to be identified as such, as they required Jewish women to identify as "Sarah".).
In May 1944, he was arrested again on the same charge and deported to the concentration camp Theresienstadt, where he spent 14 months until the end of World War II in Europe, escaping death.
After the liberation, he returned to Berlin, but moved to Bad Wiessee in Bavaria in 1948, where he died the following year at the age of 82.
Eichengrün has made his name through numerous inventions, such as processes for synthesizing chemical compounds.
Aside from Aspirin, Eichengrün held 47 patents.
Bayer's official story credits Felix Hoffmann, a young Bayer chemist, with the invention of aspirin in 1897.
Impure acetylsalicylic acid (ASA, the active compound of aspirin) had been synthesized already in 1853 by French chemist Charles Frédéric Gerhardt; the 1897 process developed at Bayer was the first to produce pure ASA that could be used for medical purposes.
Due to the rise of the Nazis in Germany, Eichengrün was unable to object when Hoffman first made the claim that "he" (Hoffman) invented aspirin, in the footnote of a 1934 German Encyclopedia.
Hoffman's claim was once widely accepted, but many historians now consider it to be discredited.
Eichengrün first claimed to have invented aspirin in a 1944 letter from Theresienstadt concentration camp, addressed to IG Farben (of which Bayer was a part), where he cited his many contributions to the company (which was highly influential in the concentration camps), including the invention of aspirin, as reasons for why he should be released.
Five years later, Arthur Eichengrün published a paper in Pharmazie in 1949, where he explained that he had instructed Hoffmann to synthesise acetylsalicylic acid and that the latter had done so without knowing the purpose of the work.
The paper elucidated how he planned and directed the synthesis of aspirin along with the synthesis of several related compounds, describing these events in detail.
He also claimed to be responsible for aspirin's initial surreptitious clinical testing.
Finally, he explained that Hoffmann's role was restricted to the initial lab synthesis using his (Eichengrün's) process and nothing more.
Eichengrün's account was largely ignored by historians and chemists until 1999, when Walter Sneader of the Department of Pharmaceutical Sciences at the University of Strathclyde in Glasgow re-examined the case and came to the conclusion that indeed Eichengrün's account was convincing and correct and that Eichengrün deserved credit for the invention of aspirin.
Bayer denied this in a press release, asserting that the invention of aspirin was due to Hoffmann.
Walter Sneader based his claims that Eichengrün both invented the process for synthesizing aspirin and oversaw its clinical testing on old and newly released archived materials, including letters, patents, and lab work.
He found that Hoffman was not credited with inventing the process for synthesizing Aspirin in any documents prior to 1934, 37 years after its initial synthesis.
Further he found reason to doubt the footnote's credibility, not just for being published during the "Aryanization" period of Nazi Germany, but for its inaccurate claims about the testing of salicylic acid derivates other than acetyl ester.
The vague reference did not specify which derivatives were tested, but claimed they had been discovered earlier but had been synthesized for "other purposes".
No indication was given of what the others were, but in 1899 Heinrich Dreser, head of the experimental pharmacology laboratory at Elberfeld, named them in a publication as propionyl, butyryl, valeryl, and benzoyl salicylic acids.
He further alluded to these derivatives in 1907 and again in 1918.
However, the assertion that these salicylic acid derivates had been synthesized for non-therapeutic reasons is demonstrably false.
Hoffmann's colleague Otto Bonhoeffer (who also worked under Eichengrün) had been awarded a US and UK patent in 1900 for several of these compounds.
The patents indicate that the derivatives were prepared for the exact purpose of finding a salicylic acid derivative with therapeutic value.
Sneader concluded that because of this error the 1934 footnote is unreliable.
In 1897, protargol, a silver salt of a protein mixture, developed by Eichengrün at Bayer, was introduced as a new drug against gonorrhea.
Protargol stayed in use until sulfa drugs and then antibiotics became available in the 1940s.
In 1903, Eichengrün co-developed the first soluble form of cellulose acetate with Theodore Becker.
He went on to develop processes for the manufacture of cellulose acetate materials and devoted the rest of his life to the technical and economic development of plastics, lacquers, enamels, and artificial fibers based on cellulose acetate.
During World War I his relatively non-inflammable synthetic cellulose acetate lacquers were important in the aircraft industry.
He also pioneered the influential technique of injection moulding.
In 1904, he created and patented the first safety film with Becker, (cellulose diacetate) from a process they devised in 1901 for the direct acetylation of cellulose at a low temperature to prevent its degradation, which permitted the degree of acetylation to be controlled, thereby avoiding total conversion to its triacetate.
Cellit was a stable, non-brittle cellulose acetate polymer that could be dissolved in acetone for further processing.
It was used to manufacture cellulose diacetate cinematographic film, which Eastman Kodak and the Pathé Fréres began to use in 1909.
Cellulose acetate film became the standard in the 1950s, preferred over the highly flammable and unstable nitrate film (better known as celluloid).
Hapa
Hapa is a transliteration of the English word "half," but quickly came to mean "part," combining with numbers to make fractions.
For example, hapalua is half, hapaha is one-fourth, and hapanui means majority.
In Hawaii, the word refers to any person of mixed ethnic heritage, regardless of the specific mixture.
In California, the term is used for any person of East Asian or Southeast Asian admixture.
Therefore, the two uses are concurrent.
In Hawaii, the term can be used in conjunction with other Hawaiian racial and ethnic descriptors to specify a particular racial or ethnic mixture.
An example of this is "hapa haole" (part European/White).
The word, "hapa," entered the Hawaiian language in the early 1800s, with the arrival of Christian missionaries who instituted a Hawaiian alphabet and developed curriculum for schools.
Pukui states that the original meaning of the word "haole" was "foreigner".
Therefore, all non-Hawaiians can be called "haole".
In practical terms, however, the term is used as a racial description for whites, with the specific exclusion of Portuguese.
Portuguese were traditionally considered to be a separate race in Hawaii.
"Hapa-haole" also is the name of a type of Hawaiian music in which the tune, styling, and/or subject matter is Hawaiian, but the lyrics are partly, mostly, or entirely in English.
Many "hapa-haole" songs had their musical roots in the Western tradition, and the lyrics were in some combination of English and Hawaiian; these songs first gained popularity outside the Territory of Hawaii beginning in 1912–1915, and include titles such as "My Little Grass Shack in Kealakekua" and "Sweet Leilani".
"Hapa haole" is also used for Hawaiian-language hula songs that are partly in English, thus disqualifying them as "authentic" Hawaiian hula in some venues such as the Merrie Monarch Festival.
Some see the use of the term as a misappropriation of Hawaiian culture, but there are "kama'aina" and "kanaka maoli" who see it as hypocritical to protest anyone using what was originally taken from another culture to begin with.
Still others take a stronger stand in discouraging its usage and misuse as they consider the term to be vulgar and racist.
However, the term, unlike other words referring to mixed-race people has never been a derogatory term when it is used in its original Hawaiian context although there is some debate about appropriate usage outside this context.
As Wei Ming Dariotis states, Hapa' was chosen because it was the only word we could find that did not really cause us pain.
It is not any of the Asian words for mixed Asian people that contain negative connotations either literally (e.g.
'children of the dust', 'mixed animal') or by association (Eurasian)."
In 2010, a film called "One Big Hapa Family" was released about Japanese Canadians.
CODCO
CODCO was a Canadian comedy troupe from Newfoundland, best known for a sketch comedy series which aired on CBC Television from 1988 to 1993.
Founded as a theatrical revue in 1973, "CODCO" drew on the province's cultural history of self-deprecating "Newfie" humour, frequently focusing on the cod fishing industry.
The troupe's name was an abbreviation of "Cod Company".
Following the end of "CODCO", two of the troupe's core members and an occasional guest collaborator, as well as some of their sketch characters, moved on to the new series "This Hour Has 22 Minutes".
In 1973, Tommy Sexton and Diane Olsen wrote a comedic show about Canadian stereotypes of Newfoundlanders, "Cod on a Stick".
Originally launched in Toronto, the cast consisted of Sexton, Olsen, Greg Malone, Cathy Jones, Mary Walsh and Paul Sametz.
The show subsequently opened in St. John's, with Scott Strong replacing Sametz, and then toured the province with Robert Joy replacing Strong.