Conrad I

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Conrad I,

d. 918, German king (911–18). As duke of Franconia he distinguished himself by military exploits and in 911 was elected successor to Louis the ChildLouis the Child,
893–911, German king (900–911), son and successor of King Arnulf. He was the last of the German line of the Carolingians. The archbishop of Mainz was regent for him.
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 by the Franconian, Saxon, Bavarian, and Swabian lords. Although supported by the bishops, he was unable to maintain strong central government. His reign was plagued by feuds and rebellions by the great feudal lords. Lorraine broke away and acknowledged Charles IIICharles III
(Charles the Simple), 879–929, French king (893–923), son of King Louis II (Louis the Stammerer). As a child he was excluded from the succession at the death (884) of his half-brother Carloman and at the deposition (887) of King Charles III (Charles the
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 of France; the Swabians continued warfare till Conrad's death; the duke of Bavaria, expelled, returned successfully. Conrad's most able foe was Henry the Fowler, duke of Saxony. Despite the enmity, Conrad's own deathbed advice was that Henry succeed him. Henry was elected (919) as Henry IHenry I
or Henry the Fowler,
876?–936, German king (919–36), first of the Saxon line and father of Otto I, the first of the Holy Roman emperors. Henry succeeded his father as duke of Saxony in 912.
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. Conrad's failure to avert the continued Hungarian invasions and his alienation of the nobility increased provincial autonomy and almost dissolved the kingdom.
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Conrad is a place where guests can experience service and style on their own terms - all while connecting with local and global culture.
My perceived authority on the subject springs from the circumstances that Conrad is my friend and that it was to me that he and Zsa Zsa first talked about their relationship, about two years ago.
Lastly, by the end of Dryden's book it does start to sound like a one-sided promotion of Conrad and a bit of Wells-bashing: Conrad is always right; Wells is always wrong.
Given its focus on evaluating technique, Leonard Moss's The Craft of Conrad is reminiscent of the author's 1967 study of Arthur Miller.
Jarik Conrad is launching Sprouted Bean Health Systems, LLC, which will allow him to focus not only on client emotional well-being, but also on empowering people to take control of their entire health and wellness.
Indeed, what Mann 'discovers' in Conrad is himself, his newly found pro-Western stance and (supposedly) post-bourgeois liberalism.
His Conrad is youthful, and Christopher has a teenage surliness and sarcasm in his voice.
Conrad is a skillful stylist and an erudite scholar, yet there is simply nothing new about his arguments that Hitchcock was a blasphemous misanthrope and a formal modernist (the director expertly stages that ultimate modern art form -- murder).
Ford's Conrad is, consequently, ideally suited to tell the story of John Kemp, a young English sea adventurer, the hero of Romance, who is "kidnapped by pirates and misjudged by the judicial bench of our country" and who is, additionally, "a political refugee, suspect of High Treason and victim of West Indian merchants" (Remembrance 42).
Conrad is not called on to betray his beloved; he merely rescues her!
In taking away the droning vocals, Conrad is creating his own spin on the events that neatly snips Young and Zazeela out of the picture.