Latif Karimov

Latif Huseyn oglu Karimov () (17 November 1906 in Shusha – 1991 in Baku) was an Azerbaijani carpet designer known for his contributions to a variety of artistic fields, as well as for a number of books classifying and describing various designs of Azerbaijani rugs.
Early life.
Latif Karimov was born in Shusha (then part of Russian Empire, now in Azerbaijan). His father Mashadi Huseyn was a hatter and his mother Telli was a carpet-weaver. In 1910, the family moved to Mashhad, Iran, and settled in the Karabakhi quarter of the city. After graduating from the local madrasah at age 14, Latif Karimov started working at a carpet shop and learning the art of carpet weaving following his mother's footsteps. He travelled extensively throughout Iran excelling in this craft. Alongside, Karimov had a variety of interests ranging from boxing to literature and performing arts. The Soviet Consulate in Tehran invited him to become a member of the Russian cultural club, where he later directed and acted in plays by Uzeyir Hajibeyov and established an Azeri choir.
Beginning in the late 1920s, Karimov participated in social movements demanding on behalf of weavers of Mashhad an eight-hour working day and improvement of working conditions. In 1929 he was sent on an official mission to Afghanistan to promote theatrical arts. However Karimov returned to Iran two months later not being able to endure the harsh living conditions of Afghanistan. On that year he obtained Soviet citizenship, and the government of Iran, suspicious of his social involvement, offered him an option of moving to the Soviet Union, which Karimov accepted.
Soviet period.
Latif Karimov settled in his native Shusha and married Shovkat, a young local carpet-weaver. He was appointed import instructor to a carpet factory. In addition, he founded and conducted courses in carpet weaving introducing Iranian techniques that were not known to the Karabakh weavers. For students who were illiterate and could not take notes, he composed "goshmas" (Azeri poetic genre) to get them to remember weaving procedures. He later set up similar courses in Quba and Baku.
In addition to carpets, Karimov successfully designed jewellery, wood carvings, china and fabric patterns, and decorated the interior of buildings. In 1937, he was hired to design the Azeri hall of the All-Union Agricultural Exhibition together with Rustam Mustafayev. In the 1940s while he was decorating the interior of the Nizami Museum, the Great Patriotic War broke out, and Karimov was hired as to the Azerbaijan State Radio as an Iranian news edition broadcaster.
In 1945 he was appointed head of the Department of Fine Arts at the National Academy of Sciences of Azerbaijan Institute of the Arts. Between 1947 and 1977 he compiled the Dictionary of Oriental Music. In 1950 he received the Stalin Prize, the highest ranking award in the Soviet Union. In 1954 he organised his first personal exhibition which featured carpets, architectural ornaments, wood carvings, china vases, jewellery, graphic items, etc. Between 1961 and 1983 he published a three-volume book on the history, development and structure of over 1300 Azeri carpet pattern elements. His efforts and enthusiasm led to the establishment of the Azerbaijan Carpet Museum in 1967, first one of this kind in the world.
The Azerbaijan Carpet Museum was named in his honour in 1991.+
Scientific activities.
Latif Karimov worked as Persian broadcaster during 1940s. Aydin Garadaghli presented him to the head of the radio, Shamsaddin Abbasov in 1946. Karimov began his scientific activities in Institute of Architecture and Art of Academy of Sciences of Azerbaijan SSR. In 1945 he accomplished to the creation of separate carpet department. His book on ornaments on Azerbaijani carpets is of great importance for learning about Azerbaijani ornaments and patterns on carpets. For this book, Latif Karimov was awarded with the degree of scholar in art studies in Leningrad (now Saint Petersburg). His voluminous monograph of "Azerbaijan Carpet" is his major research works in this field. The first volume was published in 1961. Latif Karimov initiated the creation of carpet museum in Baku in 1972.


Vegetation (quilt)

Vegetation is a 2009 quilt by Gee's Bend quilter Loretta Pettway Bennett. It is located on the Eskenazi Health campus, near downtown Indianapolis, Indiana, and is part of the Eskenazi Health Art Collection.
Description.
"Vegetation" is a 2009 quilt by Gee's Bend quilter Loretta Pettway Bennett designed in the style of the quilts of Gee's Bend, which uses recycled household and thrift store clothing. This quilt consists of strips and squares of fabric in shades of blue, green, brown, and cream that, together, create a large rectangle measuring 98.5" x 83", framed. Bennett originally created Vegetation for her own personal bed.
Historical information.
Acquisition.
"Vegetation" was acquired by Eskenazi Health as part of a re-imagining of the organization's historical art collection and to support "the sense of optimism, vitality and energy" of its new campus in 2013. In response to its nationwide request for proposals, Eskenazi Health received more than 500 submissions from 39 states, which were then narrowed to 54 finalists by an independent jury. Each of the 54 proposals was assigned an area of the new hospital by Eskenazi Health's art committee and publicly displayed in the existing Wishard Hospital and online for public comment; more than 3,000 public comments on the final proposals were collected and analyzed in the final selection. "Sew Low" is credited "in honor of Grandmother Mae; Lisa E. Harris, M.D."
Location.
Vegetation is currently displayed in the yellow elevator corridor on the 2nd floor of Sidney & Lois Eskenazi Hospital.
Artist.
Loretta Pettway Bennett is a fifth-generation quilter from Gee’s Bend, Alabama; she is the great-great-granddaughter of Dinah Miller, a former slave and the ancestor of one of the prominent quilt-making families in the area. Bennett has exhibited her work in several museums, including the Houston Museum of Fine Arts, the Indianapolis Museum of Art, the Orlando Museum of Art, the Tacoma Art Museum, the Denver Art Museum and the Philadelphia Museum of Art. Additionally, her work has appeared in numerous galleries, including the Greg Kucera Gallery in Seattle and the Paulson Press Gallery in Berkeley, California. Selected by the Foundation for Art and Preservation in Embassies (FAPE), Bennett’s work also hangs on the walls of United States embassies worldwide.


Parsifal discography

This is a partial discography of Parsifal, an opera in three acts by Richard Wagner.
"Parsifal" was expressly composed for the stage at Bayreuth and many of the most famous recordings of the opera come from live performances on that stage. In the pre-LP era, Karl Muck conducted excerpts from the opera at Bayreuth which are still considered some of the best performances of the opera on disc (they also contain the only sound evidence of the bells constructed for the work's premiere, which were later melted down by the Nazis during World War II). Hans Knappertsbusch was the conductor most closely associated with Parsifal at Bayreuth in the post-war years, and the performances under his baton in 1951 marked the re-opening of the Bayreuth Festival after the Second World War. These historic performances were recorded in mono sound, originally issued but now no longer available on the Teldec label, and reissued in 2003 on Naxos Historical. Knappertsbusch recorded the opera again for Philips in 1962 in stereo, and this release is often considered to be the classic Parsifal recording.
There are also many "unofficial" live recordings from Bayreuth, capturing virtually every Parsifal cast ever conducted by Knappertsbusch.
Amongst the studio recordings, those by Georg Solti, Herbert von Karajan and Daniel Barenboim (the latter two both conducting the Berlin Philharmonic) have been widely praised. The von Karajan recording was voted "Record of the Year" in the 1981 Gramophone Awards. Also highly regarded is a recording of "Parsifal" under the baton of Rafael Kubelík. Originally recorded for Deutsche Grammophon but never released, it is now available on the Arts Archives label.
On the Saturday 14 December 2013 broadcast of BBC 3'S CD Review – Building a Library, music critic David Nice surveyed recordings of "Parsifal" and recommended the 1980 recording by the Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik (conductor), as the best available choice.
Video recordings.
This is a partial filmography of "Parsifal" (1882), an opera in three acts by Richard Wagner. In addition to the productions of the complete opera listed below, there is a 1998 documentary directed by Tony Palmer, titled: "Parsifal – The Search for the Grail". It was recorded in various European theaters, including: the Mariinsky Theatre, the Ravello Festival, Siena, and the Bayreuth Festival. It contains extracts from Mr. Palmer's stage production of "Parsifal" starring Plácido Domingo, Violeta Urmana, Matti Salminen, Nikolai Putilin and Anna Netrebko. It includes interviews with Domingo, Wolfgang Wagner, Robert Gutman and Karen Armstrong. The film exists in two versions: (1) a complete version running 116 minutes and officially approved by Domingo, and (2) an 88-minute version, cut as a result of being censored in Germany as being too "political", "uncomfortable" and "irrelevant".
References.
Notes
Sources


Susan Egan

Susan Farrell Egan (born February 18, 1970) is an American actress, singer and dancer, known for her work on the Broadway stage. She is best known for originating the role of Belle in the Broadway musical adaptation of "Beauty and the Beast" (1994), as well as for providing the voices of Megara "Meg" in "Hercules" (1997), Madame Gina in "Porco Rosso" (2005), Rose Quartz on "Steven Universe", and Lin in "Spirited Away".
Early life.
Egan was born in Seal Beach, California on February 18, 1970. She attended Los Alamitos High School and the co-located Orange County High School of the Arts and UCLA. She is also a credited alumna of the Young Americans College.
Career.
Stage and other work.
Having long desired to become a performer, Egan spent most of her time taking dancing, concentrating on ballet, and singing lessons as a child, and trained as a competitive figure skater from ages five to ten.
While attending Los Alamitos High School, the Orange County High School of the Arts, and UCLA, she started her career touring with the performance group the Young Americans. While attending UCLA, Egan took time off when Tommy Tune cast her as Kim in his touring production of "Bye Bye Birdie". After the tour ended, she was cast in the tour of "State Fair" and won the coveted role of Belle in the original Broadway cast of "Beauty and the Beast", for which she was nominated for the Tony Award and the Drama Desk Award, Outstanding Actress in a Musical.
On Broadway, Egan portrayed Belle for one year and reprised the role in the Los Angeles production in 1995, along with many of the original Broadway cast members. At the Sacramento Music Circus, she portrayed Maria in "The Sound of Music" in 1996 and Molly Brown in "The Unsinkable Molly Brown" in 2002. Egan joined "Thoroughly Modern Millie" in February 2004 as Millie.
Egan has performed in one-woman, cabaret-style concerts at the Orange County Performing Arts Center in 2000 and at the Carpenter Performing Arts Center in October 2001. In August 2001, Egan appeared at the Hollywood Bowl in the concert version of "Show Boat" as Julie. She sings with symphonies, as well; she performed in concert at the Walt Disney Concert Hall with the Gay Men's Chorus of Los Angeles in November 2004.
From 2002 to 2003, she was the interim artistic director of the Orange County High School of the Arts.
On June 6, 2016, Egan appeared alongside Brad Kane at the Hollywood Bowl as opening acts for Disney's "The Little Mermaid Live" show. Egan performed a medley of songs from "Beauty and the Beast". The June 6 performance also included the original "Little Mermaid" voice actress Jodi Benson performing with the rest of the "Live" cast. From July 20–29, 2018, Egan reprised the role of Belle in the 5-Star Theatre's production of "Beauty and the Beast" at the Thousand Oaks Civic Arts Plaza.
Television.
On television, Egan is known for her co-starring role as Nikki Cox's best friend in "Nikki".
Voice acting.
Egan's voice has been featured in the English language versions of two feature films by Hayao Miyazaki, "Spirited Away" and "Porco Rosso". She is most widely known for voicing Megara in the 1997 film "Hercules" and reprised her role in both "Kingdom Hearts II" and "Kingdom Hearts III".
Egan provided Angel's singing voice in "" and the voice acting for Rose Quartz/Pink Diamond on the Cartoon Network animated series "Steven Universe" along with various other characters.
Personal life.
Egan is married to Robert Hartmann and has two daughters, Nina (born February 6, 2007) and Isla (born December 15, 2009). She currently resides in Nashville, Tennessee.
Broadway and stage.
Source: "Internet Broadway Database"
Discography.
Source:


Chinese Souls

Chinese Souls #2 is a quilt by American artist Nancy Crow, located at the Indianapolis Museum of Art, in Indianapolis, Indiana, United States. It was created in 1992 as part of a series of memorial quilts she began in response to an atrocity she witnessed in China in 1990.
Description.
"Chinese Souls #2" is made of resist-dyed fabric which has been embroidered, machine-pieced, and quilted. The dying process created the circular patterns and rich array of hues. The spiraling embroidery adds energy to the composition. This combination of vivid colors, striking patterns, and social commentary is typical of Crow's work.
Crow performed the initial dying of the fabric, which was then resist-dyed by Lunn Fabrics. Crow cut and pieced the quilt alone in her studio, still hearing the cries of the condemned. She stopped frequently to weep. She then embroidered the quilt with the help of Marla Hattabaugh, Suzanne Keller, and Maria Magisano. Hattabaugh performed the hand-quilting according to the pattern created by Crow.
Background information.
According to the artist, "Chinese Souls quilts are my memorial to more than 60 teenage boys who were bound and loaded on two trucks to be driven to their execution for petty crimes. I witnessed this horrible incident when I was an exchange artist in China in September 1990. The boys were all wrapped with heavy ropes. In these quilts, the circles represent their souls and the bull’s-eye embroidery and the hand-quilting represents the ropes tied around their souls. The colors of the circles represent the individuals. I have always felt there is an eerie energy that radiates out from the surface of each of these quilts".
So intense was Crow's visceral reaction to the executions that she felt compelled to begin embroidering a grid of circles on the resist-dyed fabric she had with her, an intersection between the cross-hairs of a gun and the circles painted on the wall so the boys' parents would know where they had died. When she returned to the United States, she quickly produced a series of ten quilts based on the same theme, of which she considers "Chinese Souls #2" to be the finest.
The artwork was sold by Nancy Crow to the Indianapolis Museum of Art in 1996, where it has the accession number 1996.249.


African design

African design encompasses many forms of expression and refers to the forms of design from the continent of Africa and the African diaspora including urban design, architectural design, interior design, product design, art, and fashion design. Africa's many diverse countries are sources of vibrant design with African design influences visible in historical and contemporary art and culture around the world. The study of African design is still limited, particularly from the viewpoint of Africans, and the opportunity to expand its current definition by exploring African visual representations and introducing contemporary design applications remains immense.
Key characteristics.
Like all design forms, African design is defined by its creativity, continuously evolving, neither isolated nor static. Design is a form of story-telling and it is a medium through which those stories are told. In 2009, Chimamanda Ngozi Adichie spoke on "The Danger of a Single Story" which has become one of the top ten most-viewed TED Talks of all time. For years African design has been stereotyped, represented by ethnic prints and earthy colors and textures. Yet with 54 countries and over 1.2 billion people estimated in Africa as of 2018 and 210 million across the African diaspora (Brazil, the Caribbean, and the United States), African design is not limited to a single aesthetic or singular history; rather it is multifaceted and influenced by the historical and present-day, local and global context in which the designer or consumer lives.
African design is rooted in rich heritage, techniques, and craftsmanship. As contemporary African designers move on from externally imposed definitions of the colonial era, they acknowledge African traditional craft and craftsmanship is where they draw inspiration: preserving the past by putting a focus on their heritage and traditions while remaining open to global influences and technology. An example is the architecture of the Kenyan National Library, inspired by the Djembe drum.
Across Africa, sustainable design focusing on social responsibility and the environment is important and the use of locally sourced natural materials has always been part of the African design process. As stated by Professor Mugendi K M’Rithaa “It is about design for, and with, society.”
History of African Design.
For centuries African kingdoms generated wealth from trading natural resources with other Africans and later Arabs and Europeans. The Asante Empire’s dominance over the gold trade has been documented. Similarly, rich agricultural societies of Central Africa and Southern Africa exchanged goods with the Portuguese since the 16th century. This wealth spurred local design and creativity across architecture, art, textiles, and other design forms. Examples include the 11th century Great Zimbabwe and the other 200 mortarless wall cities throughout Southern Africa as well as the Benin Bronzes created from the 13th century in the Benin Empire (present-day Nigeria). Textile weaving also flourished due to patronage by kings, chiefs, and other royals and aristocrats for ceremonial occasions such as birth, marriage, and funerals. In Nigeria, the ancient city of Kano was known for its highly developed textile industry and indigo dyeing-pits. In Central Africa, the Bamileke bought beads to decorate thrones and ceremonial clothing thereby enhancing their importance. External influences, particularly religion, also impacted design across Africa. Religion's requirements for modesty encouraged the adoption of clothing. The arrival of Islam in the 11th century in West Africa and later Christianity in the 1450s in Cape Verde which spread along the West African coast and then inland stimulated local production of stripwoven cloths as well as demand for imported fabrics. In East Africa, cotton was introduced by Arabs in Ethiopia which spurred cotton-growing and a weaving industry to turn cotton into textiles.
Textiles.
Historically textiles were used as a form of money in West Africa and Central Africa. There are records of cloth being used as money since the fourteenth century. Pieces were made identical in size, efficiently carried, and exchanged in quantities based on the value of the item or trade.
Across Africa, there are many distinctive local styles. Wealthy individuals and traders required different types of locally-woven and imported cloth to enhance their prestige, driving demand. The Kuba in Cameroon and Congo has one of the widest range of textile skills in Africa including weaving cloth from leaves of raphia palm as well as embroidery, appliqué, cut-pile, and resist dyeing techniques.
Metalwork & Goldsmithing.
Further information: Ghana Akan goldweights, Benin Bronzes
Art.
Further information Prehistoric African Art, African Art thematic elements, history and influence, Museum of Black Civilisations
Architecture.
Further information: Architecture of Africa, Moroccan Architecture
Influence on Global Design.
Further information: African Art in Western Collections
Contemporary African Design.
Design is playing an important role as African designers move on from externally imposed definitions of the colonial era and redefine African design on their own terms. African designers acknowledge traditional craft and craftsmanship in contemporary designs. This places a focus on their heritage and traditions while remaining open to global influences and technology, and creates contemporary designs that take into account social sustainability and environmental sustainability needs of each region.
Institutions.
Below are the institutions that showcase and support the study of African design, with an increasing focus on the perspective of Africans and the African diaspora.
Art.
Further information: Contemporary African Art, Contemporary African Art exhibitions, World Festival of Black Arts, Museum of Black Civilisations, The Zeitz Museum of Contemporary Art and Art X Lagos
Further information: African American Art, Influence of African Art on Western Art and General concept of Art
Architectural design.
Further information: Architecture of Africa, David Adjaye, Architect Africa Film Festival, Moroccan Architecture
Furniture.
Leading Contemporary African furniture designers include Bibi Seck, co-founder of Birsel + Seck and Malian designer Cheick Diallo whose MO armchair, made using a combination of fishing wire stretched over a metal frame, is inspired by traditional traps used by Malian fishermen. The chair has been highly regarded as a perfect mixture of material, ergonomics, and local aesthetic in an elegant, somewhat sculptural furniture piece. The designs of Jomo Tariku, an Ethiopian American artist and industrial designer who draws on his experiences of African design and various African cultures in Kenya and Ethiopia, has been featured at the 2017 International Contemporary Furniture Fair (ICFF) and well-recognized design magazines including "Architectural Digest", "Elle Decor" and "Dwell". Jean Servais Somian, who spends his time between Africa and Europe teaching classes, infuses his creations with elements of ancestrality, reflected in his choice of materials (coconut wood, ebony, or acacia) and revisited objects of everyday African life like basins, sponge, or old fishermen's canoes. Yinka Ilori, based in London, fuses together his British and Nigerian heritage to tell new stories in contemporary design. His work draws inspiration from traditional Nigerian parables and West African fabrics that surrounded him as a child. South Africa-based design company Dokter & Misses develop interior solutions for private and corporate clients as well as educational institutions all over the world, including MTV, Nike, and the University of Johannesburg, and continue to support and promote South African design.
Paying homage to his cultural ties, Hamed Ouattara's designs highlight Burkina Faso's artisanal metal-working heritage and address a modern global audience, including international galleries and important collectors, through African innovation. Recently deceased in April 2015 while preparing for his show in London, Babacar Niang, founder of Nulangee Studio in Senegal, sculpted furniture out of local, discarded wood that was sourced by the community kids and adults he employed.
Tekura Designs’ djembe side table, sustainably made from wood offcuts in Ghana's forests, draws inspiration from the West African djembe drum. Nigerian architect and designer Tosin Oshinowo’s furniture brand Ilé Ilà produces furniture inspired by Yoruba culture.
Emerging designers include South African's Candice Lawrence, inspired by the textures, people, and environment where she lives, has remodeled Ndebele necklaces into handcrafted lighting pendants that have been featured in "Forbes", "Vogue Italia", and "Top Billing South Africa". Sifiso Shange was recognized in 2019 for Best New Talent at the 100% Design South Africa showcase (one of Africa's leading exhibitions for contemporary design), for a design created in collaboration with established designer John Vogel whose signature chairs and furniture incorporate local materials and woven techniques.
Textiles.
Multidisciplinary artist and textile designer, Aboubakar Fofana, is one of the world's foremost practitioners of fermented indigo vat dyeing and mineral mud-dye techniques and is known for his work in reinvigorating Mali's nearly lost tradition of natural indigo dyeing and redefining West African indigo dyeing techniques. Based in Bamako, Mali, Fofana, utilizes the finest hand-woven fabrics and travels globally to lead workshops on indigo dyeing techniques.
Senegalese textile designer Aissa Dione creates luxurious fabrics using locally-grown cotton and Senegal's ancient, ancestral know-how. With a customer base including global brands Hermés, Fendi, Christian Liaigre, and Peter Marino, Aïssa serves the highest end interior design brands. Her designs and fabrics grace major design salons, from Paris to Johannesburg and New York. In 2019, Aissa Dione designed the interiors at Kehinde Wiley's Black Rock artists’ residence in Dakar. Other established textile designers include Nigerian Eva Sonaike, Haitian brand Yael et Valerie, Conakry, Guinea based Tensira, Ethiopian textile designer Sabahar, and Egyptian rug maker Kilim practicing traditional hand-weaving techniques.
Basket weaving and beadwork.
With key hubs in Southern Africa, East Africa, and West Africa, designers and artisans weave eco-friendly functional and decorative baskets using available and sustainable natural fibers like sisal grass in Swaziland and raffia in Ghana. Some examples of leading designers include Zenzulu basket designs which are handmade and fairly traded, ensuring sustainable incomes for more than 350 artisans in South Africa. Zenzulu has been awarded the Elle Decoration International Design Award in 2002. The designs have been showcased in Design Made in Africa. Established in 1985, producer Tintsaba is recognized as an industry leader, working with over 1000 Swazi artisans including 20 Master Weavers. Gone Rural is another, named by Travel & Leisure as one of three brands making waves in sustainable fashion and housewares. In Tanzania, Sidai Designs collaborates with Maasai weavers to merge their techniques with a modern aesthetic. Contemporary artists like AAKS maintain the traditional legacy of weaving using raffia to create modern handbags and lighting.
Modern music and clothing.
Africa as a whole is made up of many different and diverse cultures and has inspired many different fashions and music styles. African imagery can be seen a lot in black communities and Afro communities throughout the world, for example, Europe and North America.


Khasi cinema

Khasi Cinema is the term used to refer to the Khasi language film industry based in Shillong in Meghalaya, India. In 1981, Hamlet Bareh Ngapkynta's 1981 film Ka Synjuk Ri ki Laiphew Syiem became the first ever film in Khasi. Years later, Ardhendu Bhattacharya's 1984 film Manik Raitong became the first ever color film in the Khasi language. After the 2000s when militancy in the state came down drastically, a market for entertainment and movies opened up. Many short films and telefilms began being produced in the Khasi language. The production of feature films in Khasi got a major fillip after the entry of national award winning filmmakers like Pradip Kurbah into the scene.


Hairul Azreen

Hairul Azreen bin Idris (born 23 April 1988) is a Malaysian Taekwondo athlete, martial artist, actor and stuntman. He is best known for starring in the action films "PASKAL The Movie", "Operasi X", and "Polis EVO 2" (2018).
Early life.
Hairul Azreen was born and raised in Kuala Lumpur, Malaysia, and is the son of Idris Ali and Habsah Desa. He is the second child of four siblings. Hairul began to practice Taekwondo, receiving his black belt as well as former athletes in 2004 Sukma Games event for Selangor contingents.
Personal life.
On June 8, 2015, Hairul married actress, TV host and blogger Hanis Zalikha. The couple have two children, Yusuf Iskandar and Alisa Aisyah.


Koza-dereza

Koza-dereza (Ukrainian: Коза-дереза) is an opera for children in one act by the Ukrainian composer Mykola Lysenko written in 1888 and first performed in 1890 in Lysenko's home in Kyiv.


Naayi Neralu

Naayi Neralu (; "Shadow of the Dog") is a 2006 Indian Kannada language film directed by Girish Kasaravalli, based on a novel of the same name by Kannada writer S. L. Bhyrappa, and starring Pavitra Lokesh in the lead role.
The film won three Karnataka State Film Awards. The film is mostly shot in Coastal of Karnataka near Udupi Nadibettu House at Shirva, Billampadavu Shooting House, house of one Rajeshwar Shashtri of Chakrakodi near Moodambail and island near Kallianpur and Kundapura.
Plot summary.
Acchanniah lives with his wife Nagalakshmi and his widowed daughter-in-law Venkatalakshmi in a remote village in Karnataka. His granddaughter Rajalakshmi is in a distant city completing her studies. Acchanniah learns from a friend that a young man in a distant village claims that he was the son of Acchanniah in his previous birth. He dismisses the information as baseless. But his ailing wife believes or rather chooses to believe that her son who died twenty years ago has come back.
Acchanniah sets out to meet the young man who is about twenty years old and provides some information regarding his previous birth which tallies with or appears to tally with his previous birth. Acchanniah brings home this man whose name is Vishwa. Acchannaih's wife realises a new purpose in living and accepts this stranger as her son. But Venkatalakshmi, Acchanniah's daughter-in-law, finds it difficult to accept some stranger as her long-lost husband. After some initial resistance, Venkatalakshmi realises that this is an opportunity to attain all that she is restrained from. Her desires emerge again and she accepts Vishwa as her husband. It is here that problems start.
The society which forced her to believe it is her husband does not approve of Venkatalakshmi accepting the man as her husband and living with him. Rajalakshmi swears that this stranger who is her age is not her father. She tries to convince her mother to come out of such a delusion but to no avail. Acchanniah and Nagalakshmi are shocked to hear that Venkatalakshmi is pregnant with Vishwa's child. Matter complicate and Acchanniah is humiliated in the public by his fellow Brahmins. Venkatalakshmi sensing the intensity of the situation leaves the village and lives in a god-forsaken place with Vishwa. She has a hard life trying to manage ends meet. Vishwa is an eccentric young man and keeping him in control is not easy. To worsen things, Vishwa is attracted to Sukri, a young woman from the worker class. Nagalakshmi dies unable to digest these bizarre happenings. Rajalakshmi decides to seek the help of the court to get her mother back. They file a false complaint on Vishwa. Aware of the family's sinister motives, Vishwa refuses to return to Venkatalakshmi.
Meanwhile, a daughter is born to Venkatalakshmi. The court announces Vishwa guilty and he is sent to two years rigorous imprisonment. But Venkatalakshmi declares that she will wait for him to be released although she is certain that he will not return to her. She tells her daughter that she never believed that Vishwa was her husband reincarnate.
The 'inner' theme.
"Naayi Neralu" has a very complex theme of great intensity. Earlier films of Girish Kasaravalli focused on social themes but were very straight in their narrative. "Naayi Neralu" leaves enough for the viewer to interpret and analyze. On the outside the film deals with three members of a family dealing with a very bizarre situation. But the inner theme is much more complex and can be an analyzed in many dimensions. It is a culmination of many aspects of life: human relationships, man and society, multiple perspectives on a situation, and so on. Each of the protagonists look at the situation the way they want to. Although the title suggests rebirth, the film deals with how people react to such a situation.
Actors and performances.
The role of Venkatalakshmi was played by Pavitra Lokesh, a well-established actress in Kannada cinema. She proved her worth as a very good actress in the film. Rameshwari Varma who played the role of Nagalakshmi is a theatre actress and this was her second film. Ananya Kasaravalli gives a memorable performance as Rajalakshmi. Sringeri Ramanna as Acchanniah excels as a sensitive father-in-law caught between the affection for his daughter-in-law and the laws of the society. "Naayi Neralu" was Ashwin Bolar's debut feature and his first venture into the Indian film industry.
Awards and screenings.
V Shantaram Awards:
Osian's Asian Film Festival, CINEFAN, 2006:
Karachi International Film Festival, 2006
International Film Festival Of Mumbai, MAMI Awards, 2007
Screenings
Deviations from the book.
The director has taken the liberty to widely deviate from the original story. The original is an enigmatic tale of Karma and its repayment in subsequent births. In the film, there is huge chunk removed from what the book says that renders the story a single-themed narrative.
For instance, the book touches upon how Vishwa was born and why he had to be reborn upon his accidental death. Acchannaiah's role in what Vishwa goes through in his births is significant in the book. The narrative of the film fails to explain why it had to be called "Naayi Neralu".


Slip (needlework)

In needlework, a slip is a design representing a cutting or specimen of a plant, usually with flowers or fruit and leaves on a stem. Most often, "slip" refers to a plant design stitched in canvaswork (pettipoint), cut out, and applied to a woven background fabric. By extension, "slip" may also mean any embroidered or canvaswork motif, floral or not, mounted to fabric in this way.
Isolated motifs arranged in rows are common in English embroidery from the 14th to the 17th centuries, and small floral slips were the most popular.
Technique and inspiration.
The name "slip" as used in needlework derives from the horticultural sense, where it describes a cutting of a plant used for grafting.
Canvaswork floral slips and other motifs appliquéd to a woven background fabric such as velvet or damask became common in England from the mid-14th century, replacing the all-over embroidery of Opus Anglicanum. These were worked with silk thread in tent stitch on linen canvas, cut out, and applied to the ground fabric, often with an outline and embellishments of couched thread or cord or other embroidery. Slips were also appliquéd of rich fabrics on plainer ones, similarly detailed with couched cord and embroidery. This style of decoration is characteristic of later medieval ecclesiastical embroidery (and probably of domestic embroidery as well, although little of this survives). Following the dissolution of the monasteries during the English Reformation, rich vestments were cut up and the fabrics and motifs reused to make secular furnishings. Appliquéd slips of both old fabric and new canvaswork are characteristic of domestic textiles such as chair covers, cushions, and especially wall hangings and bed curtains throughout the Elizabethan and Jacobean eras.
Elizabethan slips were based on the woodcut illustrations in herbals and flower paintings, such as Jacques Le Moyne's "La Clef de Champs", William Turner's "A New Herball" (published in three parts, 1551-1568), Henry Lyte's "A niewe Herball" (1578), and John Gerard's "Great Herbal" (1597), and were intentionally naturalistic. By the first quarter of the 17th century, simpler designs for slips were being published in books of patterns specifically for embroidery, like Richard Shorleyker's "A Scholehouse for the Needle" (1632).
Slip motifs are also seen in blackwork embroidery, worked in silk, and in Jacobean embroidery and crewel embroidery in silk and wool.


Cat Mazza

Cat Mazza is an American textile artist. Her practice combines tactical media, activism, craft-based art making and animation in a form that has frequently been described as craftivism. She is the founder of the craftivist collective microRevolt. Mazza is an associate professor of art at the University of Massachusetts Boston.
Biography.
Cat Mazza has a BFA from Carnegie Mellon University and received her master's degree from Rensselaer Polytechnic Institute. Her work has been featured in exhibitions nationally and internationally including the exhibitions "Radical Lace & Subversive Knitting" at the Museum of Arts and Design in New York City", Disobedient Objects" at the Victoria and Albert Museum in London, "Craft Futures: 40 Under 40" at the Smithsonian American Art Museum and in "She Will Always Be Younger Than Us" at the Textile Museum of Canada and the Art Gallery of Calgary, along with work from Orly Cogan, Wednesday Lupypciw, Gillian Strong, and Ginger Brooks Takahashi in connection to the "When Women Rule The World: Judy Chicago in Thread" exhibit also at the Textile Museum of Canada. Mazza has received many prestigious grants from institutions including Creative Capital, the Experimental Television Center, the Rockefeller Foundation in Media Arts, MacDowell Colony and the Craft Research Fund. She received a Creative Capital grant in 2012 for her project Knit for Defense and was a presenter at the 2011 conference The Influencers. From 1999-2002 Mazza additionally served as an Eyebeam staff member. She began working as a professor in the Art Department at UMass Boston in 2007.


Die Frau ohne Schatten discography

This is a list of recordings of "Die Frau ohne Schatten", a three-act opera by Richard Strauss with a German-language libretto by Hugo von Hofmannsthal. The work was first performed in Vienna on 10 October 1919.


List of Academy Award trophies on public display

The following table lists Academy Awards held in museums and collections:


Golden Temple, Sripuram

Golden Temple Vellore complex inside the Thirupuram spiritual park is situated at the foot of a small range of green hills at Thirumalaikodi (or simply Malaikodi) Vellore in Tamil Nadu, India. It is 120 km from Tirupati, 145 km from Chennai, 160 km from Pondicherry and 200 km from Bengaluru. The Maha Kumbhabhishekam or consecration of the temple and its chief deity, Sri Lakshmi Narayani or Maha Lakshmi, the goddess of wealth, was held on 24 August 2007, and devotees from all religions and backgrounds are welcome to visit.
Background.
The salient feature of 'Thirupuram' is the Lakshmi Narayani temple whose Vimanam and Ardha Mandapam is covered with pure gold, housing the deity Sri Lakshmi Narayani (female consort/wife of Vishnu Narayana). The temple is located on 100 acres of land and has been constructed by the Vellore-based charitable trust, Sri Narayani Peedam, headed by its spiritual leader Sri Sakthi Amma also known as 'Narayani Amma'.
Design.
The temple with its gold covering, has intricate work done by artisans specialising in temple art using gold. Every single detail was manually created, including converting the gold bars into gold foils and then mounting the foils on copper. Gold foil from 9 layers to 10 layers has been mounted on the etched copper plates. Every single detail in the temple art has significance from the Vedas.
Sripuram's design features a star-shaped path (Sri chakra), positioned in the middle of the lush green landscape, with a length of over 1.8 km. As one walks along this 'starpath' to reach the temple in the middle, one can also read various spiritual messages -- such as the gift of the human birth itself, and the value of spirituality -- along the way.
Hospital.
The Sri Narayani Hospital & Research Centre is a general hospital located near the Thirupuram temple complex and is also run by the 'Sri Narayani Peedam' Charitable Trust.


Rosaline lace

Rosaline lace is a late 17th-century Venetian needle lace, and a late 19th-century bobbin part lace imitation. A Brussels variant with needle lace pearls is called Rosaline Perlée. The variant made in Bruges lacked the pearls.
History.
In the 1870s the second French empire collapsed, concurrently fashion changed. The cheaper guipures were affected but the better Brussels laces stayed in demand for wedding trousseaux. Designs and technique however remained much the same. Individuality of lace types decreased and interest for making lace as a hobby increased. In the 1880s the lace industry revived with imitations of old laces. Aalst developed a lace with a technique based on Duchesse lace. The frequent little roses gave the lace its name: Rosaline. The same name has been used for a seventeenth century Venetian needle lace with similar design. The Belgian Rosaline was produced until the 1950s and rediscovered in 1980s. The lace is flexible to changing fashion. Worn and unsold pieces could be reassembled.
Features.
Characteristic features are the roses with three or five petals, frequently arranged in trails. Unlike the Duchesse, the lace has no gimps. A Brussels variant has needle lace pearls mounted on the hearts of the roses, a Brugges variant lacks the pearls. A special variant connects the flowers with short crinkly edges. Another variant has needle lace fillings. The lace was almost exclusively made of fine linen threads. A piece of lace may look irregular when different parts were created by different people, tension and number of pairs may vary.
The lace requires six or seven pairs. The parts are worked more or less of tapes, mainly in cloth stitch. Each part starts and ends with a bundle, a shortcut for starting and tying off each pair individually. Traditionally these bundles are both on the front and on the back of the lace.


Linda Diane Bennett

Linda Diane Bennett (1955–1988) was an American artist associated with the Gee's Bend group of quilters.
Her work is included in the collection of the Metropolitan Museum of Art.
Early life.
Like her mother, Ella Mae Irby, and her grandmother, Delia Bennett, Linda Diane Bennett was born and raised in Gee's Bend, Alabama. She balanced year-round school and farming, along with her parents and siblings. Once completing high school, she became deputy sheriff of Wilcox County, Alabama. She also worked in the courthouse. Bennett died unexpectedly at her job at the courthouse in 1988.
Work.
Bennett borrowed heavily from her mother and grandmother's aesthetic and practice. She worked quietly and without a "horse" or frame—working completely free-hand from her lap.


Mankuthimmana Kagga

Mankuthimmana Kagga, written by Dr. D. V. Gundappa and published in 1943, is one of the best known of the major literary works in Kannada. It is widely regarded as a masterpiece of Kannada literature and is referred to as the Bhagavad Gita in Kannada. The title of the work can be translated as "Dull Thimma's Rigmarole". Kagga is a collection of 945 poems, each being four lines in length. Some of these poems are written in old Kannada. Kagga poems are profound as well as poetic. Most of them can be sung. Though the author calls it an 'a foggy fools farrago', it is a book giving expression to a noble personality's rich experiences. The poet politely that if the word Mankuthimma is crude and below standard it can be substituted by either Venka or Kanka or Shankararya as they please.
Popularity.
Kagga explores deeper questions of life, contemplates on the meaning of the Ultimate Truth (reality) and advises us to lead a balanced life in this complex and ever-changing world. Thus, Kagga advises us to follow the middle path while extending one hand towards the Ultimate Truth and the other hand to the phenomenal world. The message of many of the verses from Kagga is "samatwa".
Kagga is very popular in Kannada literature, and most native Kannada speakers are familiar with at least a few of the poems from this important work. The following are but a few of the poems that are quite well known to people familiar with Kannada literature:
Kannada Version:
Meaning:
The Spirit of Kagga.
One of the popular poems from this work, "Hullagu bettadadi", translated below, conveys the spirit of Kagga.
be a (gentle) blade of grass at the foot of the mountain; and jasmine flower at home
Be (strong) like a rock when fate pours (torrential) rains of difficulties on you
Be sweet like sugar and jaggery to the poor and weak
Be one with all, Mankuthimma.
This short and beautiful poem holds the key for leading a balanced life. It advises us to be humble and gentle yet strong. The song says, be humble like a blade of grass at the foot of the mountain and spread your fragrance like a gentle jasmine flower. The metaphor of gentle blade of grass at the foot of the mountain is very profound. When the rain pours over the mountains, when the mighty winds blow, the tall trees on the mountains may fall down, but the gentle blade of grass will bend and survive. The tall trees are "too proud" to bend and surrender to the winds, whereas the humble blade of grass will bend and surrender to the mighty wind. Thus this song imparts to us one of the secrets of life, which lies in learning how to survive by understanding the humbleness of the gentle blade of grass. This poem says, do not always stand firm like a proud, tall tree, but bend like a gentle blade of grass when the winds blow. But, when fate brings its share of difficulties, be ready to face them like a rock. Become a solid rock and face all the difficulties in life. Be gentle and send your fragrance in all directions like the jasmine flower, but also learn to face the difficulties like a rock. Be strong, yet be compassionate to the poor, weak and down-trodden. Do all you can to help the poor and the needy. In the last line, this poem tells us to lead a harmonious life by becoming one with all people.
Alternatively, (Hullagu Bettadali) It also means live a life similar to that of grass on the foot of hill, which serves as food for grazing cattle. Lead a life that is useful to others and self. (manege mallige) Lead a life that is liked by all similar to jasmine flower whose fragrance is liked by all. (Kallagu Kashtagala male vidhi suriye) Psychologically be bold, strong and firm like stone when obstacles in life are encountered. (Bella, sakkare deena durbalarige) Be kind, generous, tolerant and considerate towards weaker and needy people. (Ellarolu ondagu) Finally, just become one with all, lead a flexible life with others.
In these four short lines, this poem teaches us the secret of leading a balanced and harmonious life, emphasizing gentleness, humbleness, compassion on the one hand and strength on the other hand. The poem explains in simple poetic images one of the messages of the Bhagavad Gita: samatwam, or balance in life (SAMATWAM YOGA UCCHATE).
There is also Marula Muniyana Kagga which is considered as the practical extension of Mankuthimmana Kagga
Significance.
Manku Thimmana Kagga explores the complexity of life, the various aspects of life - in a simple set of striking words.
An instance (roughly translated to English):
Life is a Horse driven cart, Fate its driver
You are the horse, Passengers - as allotted by God
Sometimes rides to a wedding, sometimes to the graveyard
On stumbling, there is always the earth - says Manku Thimma
Kannada version:
ಬದುಕು ಜಟಕಾಬಂಡಿ, ವಿಧಿ ಅದರ ಸಾಹೇಬ,
ಕುದುರೆ ನೀನ್,ಅವನು ಪೇಳ್ದಂತೆ ಪಯಣಿಗರು.
ಮದುವೆಗೋ ಮಸಣಕೋ ಹೋಗೆಂದಕಡೆಗೋಡು,
ಪದಕುಸಿಯೆ ನೆಲವಿಹುದು ಮಂಕುತಿಮ್ಮ
"Baduku jatakaa bandi, Vidhi adara saaheba.
Kudure neen, Avanu peldante payanigaru.
Maduvego masanako, Hogendakadegodu.
Padakusiye nelavihudu Mankutimma"
Another excerpt (Translation) :
 Be like the tiny grass that grows
 In the crevices at a giant mountain's foot,
 Be like the fragrant jasmine flower
 Which fills the air with perfume sweet,
 Stand like a rock if destiny cruel
 Showers you with hardships, big and small,
 Be sweet as rock candy to people in distress,
 Oh naive one, just be one among all.
Kannada version:
ಹುಲ್ಲಾಗು ಬೆಟ್ಟದಡಿ, ಮನೆಗೆ ಮಲ್ಲಿಗೆಯಾಗು,
ಕಲ್ಲಾಗು ಕಷ್ಟಗಳ ಮಳೆಯ ವಿಧಿ ಸುರಿಯೆ.
ಬೆಲ್ಲ-ಸಕ್ಕರೆಯಾಗು ದೀನದುರ್ಬಲರಿಂಗೆ.
ಎಲ್ಲರೊಳಗೊಂದಾಗು ಮಂಕುತಿಮ್ಮ.
"Hullagu bettadadi, manege malligeyaagu,"
"kallagu, kashtagala maleya vidhi suriye,"
"Bella-sakkareyaagu deenadurbalaringe,"
"Ellarolagondagu Mankutimma"
Gauravisu jeevanava Gauravisu chetanava
Aaradoo jagavendu bedavenisadiru
Horuvude jeevan samruddigosuga ninage
Daari aatmounnatige – Mankuthimma
Value the life, Respect the soul.
This universe is yours and everyone’s
Universe is not meant only for your uplift
But the journey strengthens your soul.
This is another gem on how to lead life.
ಜಗದೀ ಜಗತ್ತ್ವವನು, ಮಯಾವಿಚಿತ್ರವನು।
ಒಗೆದಾಚೆ ಬಿಸುಡೆಲ್ಲ ಕರಣವೇದ್ಯವನು ॥
ಮಿಗುವುದೇಂ ? ರೂಪಾಖ್ಯೆಯೊಂದುಮಿಲ್ಲದ ವಸ್ತು।
ಹೊಗಿಸಾ ಕಡೆಗೆ ಮತಿಯ -- ಮಂಕುತಿಮ್ಮ
Discard the essence of the world from the world; discard all material objects;
abandon all happenings around you - all things listened to, or seen, or felt by touch (senses).
What then remains is a formless substance.
Turn your mind towards that formlessness - Mankutimma
Sources for studying Kagga.
Some other kaggas
Thimmaguruvina Darshana.
By Prof. H S Lakshminarayana Bhatta
This book, also titled "Gundopanishad", is an analytical study of the 945 verses of Kagga. Its unique feature is that the author has revived the context-based divisions of the verses as adopted in the very early editions of the "Mankutimmana Kagga", adding a distinctiveness to the divisions through his vast experience and deep-rooted study of the work. The book is internally classified into four chapters, titled "Antharanga (Inner world)", "Jeevanadhi (River of Life)", "Chaithanya (Spirit)" and "Neethisutragalu (Moral rules)". A distinctive feature of the division is that the classification is based on the commonness of the message delivered in the verses. It not only provides a short and relevant commentary of the verses but also provides meanings for the difficult words used in the verses and suggests the best way of splitting the compound phrases. In the end, the author provides an insight into DVG's other works which convey many valuable thoughts that are worth remembering and applying in life. The author also lists short phrases from the verses, termed as "Thimma Guruvina Sutragalu", which by themselves convey the various vagaries and nuances of life and the best way to deal with them and lead a contented life.
Kaggakkondu Kaipidi.
By D.R. Venkataraman
Written by a disciple of Dr. DVG, this is a great book for studying and understanding the deeper meaning of Kagga.
Thus Sang Mankuthimma.
By A. Narasimha Bhatt
This is an excellent English translation of Kagga that provides a good understanding of the meaning of some of the difficult poems written in old Kannada style.
Dr. DVG's Mankuthimmana Kagga - An English Transcreation by Dr. Myna R. Shetty.
By Dr. (Mrs.) Myna R. Shetty
945 verses of the Kagga translated into English Poetry. A widely acclaimed effort by this medical practitioner to make this classic work of Kannada Literature, accessible to English readers. Verses from this book have appeared in numerous publications, and have been quoted by eminent speakers. "Publishers: Springs - The Design Shop, 9845739519"
Foggy Fool's Farrago.
by Malathi Rangaswamy and Hari Ravikumar
A 21st century translation of the Kagga in simple English for a global audience. The book has a detailed introduction by noted scholar and poet Shatavadhani Ganesh.
Mankutimmana Kagga - Notable commentaries.
Swami Brahmananda and Swami Chidananda have talked extensively on Kagga. These talks are available as tape recordings from the Chinmaya Mission. These talks help the listener understand how the philosophy of Kagga is well grounded and based on the principles of Vedanta philosophy.
Prof. H S Lakshminarayana Bhatta is a Retired Professor of Kannada with a passion for spreading literature to the common man. He is popularly known as "Kaggada Bhattaru" and has delivered thousands of lectures on Kagga. He has also released four tapes and CDs containing commentaries on selected verses of Kagga, which blend philosophy with practicality.
Sri H R Chandrasekhar, a retired Canara Bank official, is an avid follower and a lecturer on Mankuthimmana Kagga. His commentary "Kaggada Kanteehara" gives a holistic view of Mankuthimanna Kagga together with the Upanishadas, VivekachudamaNi, MukundaMaale and Bhagavathgeethe.
Shatavadhani Ganesh is known for his series of lectures (at various places) on Mankuthimmana Kagga. He quotes many of DVG's works in his lectures on various subjects. His commentaries on the subject have been released as audio CDs in six volumes.


Crazy quilting

The term "crazy quilting" is often used to refer to the textile art of crazy patchwork and is sometimes used interchangeably with that term. Crazy quilting does not actually refer to a specific kind of quilting (the needlework which binds two or more layers of fabric together), but a specific kind of patchwork lacking repeating motifs and with the seams and patches heavily embellished. A crazy quilt rarely has the internal layer of batting that is part of what defines quilting as a textile technique.
Embellishing.
Crazy quilts differ from "regular" quilts in other ways as well. Because the careful geometric design of a quilt block is much less important in crazy quilts, the quilters are able to employ much smaller and more irregularly shaped pieces of fabric. In comparison to standard quilts, crazy quilts are far more likely to use exotic pieces of fabric, such as velvet, satin, tulle, or silk, and embellishments such as buttons, lace, ribbons, beads, or embroidery.
Crazy quilts range from carefree and relatively easy, to extremely labor-intensive. A Harper's Bazaar article from 1884 estimated that a full-size crazy quilt could take 1,500 hours to complete.
History.
Crazy quilts became popular in the late 1800s, likely due to the English embroidery and Japanese art that was displayed at the Philadelphia Centennial Exposition. American audiences were drawn to the satin stitches used in English embroidery, which created a painterly surface, which is reflected in many Crazy Quilts. The displays shown at the Japanese pavilion of silk-screened work and Japanese pottery with a cracked-glaze inspired the American audiences. Similar aesthetics began to show up in Crazy Quilts, including unique patterns, and stitching that resembled spider webs and fans.
Crazy quilting rapidly became a national fashion amongst urban, upper-class women, who used the wide variety of fabrics that the newly industrialized 19th century textile industry offered to piece together single quilts from hundreds of different fabrics. Long after the style had fallen out of fashion amongst urban women, it continued in rural areas and small towns, whose quilters adopted the patterns of the urban quilts but employed sturdier, more practical fabrics, and dropped the earlier quilts' ornate embroidery and embellishment.
External links.
Examples of ways of combining patches in a crazy quilt:
Learn more about crazy quilt history:
Crazy quilt exhibitions and examples from museums:
Modern crazy quilting:


The Best Thing for You (Would Be Me)

"The Best Thing for You (Would Be Me)" is a popular song written by Irving Berlin and published in 1950. It was featured in the 1950 Broadway musical play, "Call Me Madam", in which it was introduced by Ethel Merman in a scene with Paul Lukas. The 1953 film version also featured the song when it was sung by Ethel Merman and George Sanders.


Clara Parkes

Clara Parkes is an American author, yarn critic, and wool expert. Parkes has been described as “quite possibly the only writer you will ever read who can make a discussion of micron counts absolutely riveting.”
Career.
Parkes was taught to knit aged eight, by her grandmother. After graduating from Mills College, Parkes began her career in high tech publishing in San Francisco before moving to Maine and launching her online magazine "Knitter's Review" in 2000. In 2012 she purchased a 676 lb. bale of American Merino wool and began a crowd-funded project known as The Great White Bale, in which she chronicled the process of turning the raw wool into finished yarn. This project led to the creation of her own small-batch yarn company, Clara Yarn. She is a Certified Level 1 Wool Classer, and a member of the American Sheep Industry Association.
Parkes appeared in the Yarn Spotlight segment on the 9th, 10th, and 11th seasons of Knitting Daily TV, a television show produced by Interweave Press for PBS.
Knitter's Review.
In 2000 Parkes founded "Knitter's Review," a knitting review website which became a major social media resource for knitters before the advent of Ravelry. Using her experience creating the website Tech Shopper and technology acquired from the Quilter's Review, she began to publish product reviews, a weekly newsletter, and created an interactive user forum. At its peak, the Knitter's Review Forums had over 70,000 members. For several years Knitter's Review sponsored a fundraising drive for Heifer International, raising in excess of $47,000. In 2002 members of the forums created a small, in-person gathering that grew into a larger annual event known as the Knitter's Review Retreat. By the time of the final Knitter's Review Retreat in 2015 it had become known as a "bucket list" item for knitters. In 2015 she retired the old Knitter's Review site and forums in favor of a more streamlined site.
Writing.
Parkes is the author of seven books: the trilogy "The Knitter's Book of..."; the memoir "The Yarn Whisperer", the travel memoir "Knitlandia", and "Vanishing Fleece", which chronicles her experience as a yarn producer. In addition, she edited the collection of essays "A Stash of One's Own".
Her travel memoir "Knitlandia: A Knitter Sees the World" appeared on the New York Times bestseller list for travel books in 2016.
She edited the anthology "A Stash of One's Own: Knitters on Loving, Living with, and Letting go of Yarn," a collection of essays by knitting experts including Meg Swansen, Stephanie Pearl-McPhee, and Debbie Stoller. It was named one of the top 10 lifestyle books for fall 2017 by Publisher's Weekly.
She is the narrator of the audiobooks "The Yarn Whisperer: My Unexpected Life in Knitting" and "Knitlandia: A Knitter Sees the World" released by Random House Audio in 2016.
Personal life.
Parkes lives in Portland, Maine.


Yo-Yo Girl Cop

Yo-Yo Girl Cop, known in Japan as is a 2006 Japanese live-action feature film, the third to be based on the manga "Sukeban Deka", directed by Kenta Fukasaku.
The film stars Aya Matsuura in the lead role of Saki Asamiya and Rika Ishikawa as her rival, Reika Akiyama. Yuki Saito, who played the role of Saki in the first live-action television series, appears here as her original character, who is revealed to be Saki's mother. The movie was released on September 30, 2006 in Japan and in the United States on July 17, 2007 by Magnolia Pictures as "Yo-Yo Girl Cop".
Plot.
Twenty years after the events of the original series, a Japanese girl by the name of "K" is arrested in New York for beating 11 policemen. Although held in a straight jacket, she escapes by dislocating her own shoulder and tries to exit the facility, but a moment of kindness to comfort a little girl gets her captured again. K is then informed by Japanese inspector Kazutoshi Kira that her mother will be deported to Japan for brutalizing a mugger and living illegally in New York, unless K accepts to work for them in the reactivated Sukeban Deka program.
After accepting, not without hesitating for her strained relationship with her mother, K is given a hi-tech steel yo-yo weapon and a new name, "Saki Asamiya," and is ordered to infiltrate an elite high school in Japan. The school, Seisen Academy, is suspected to be the source of a website called "Enola Gay" that rallies juvenile suicide bombers across the country. She is also briefed that another Sukeban operative was sent earlier only for her to commit suicide too, and that a counter for 72 hours has just appeared on the website.
Upon arriving the school, Saki learns that the entire school is dominated by a girl named Reika Akiyama and her henchwomen, and she immediately saves a bullied student named Taie "Tae" Konno from them. Saki looks into the chemistry club, which the former operative was investigating before her death, and is forced to struggle to save two suicide bombers, Amaki and Higashiyama, who try to use Tae as a human shield. Asamiya captures Higashiyama, while Amaki is saved from her bomb by the school janitor Jirou Kimura, who had become friends with Saki earlier.
Kira interrogates Higashiyama and informs Saki that the Enola Gay website is run by a user named Romeo, but Higashiyama is then abducted by a gang of thugs, despite Asamiya's efforts to fight them off. Afterwards, Tae tells Saki that she and a fellow bullied schoolgirl named Kotomi Kanda used to run together an anti-bullying website until Kanda snapped and tried to commit suicide by bombing, being left catatonic in a hospital and leaving their site to be replaced by Enola Gay. Moreover, Reika interrupts them and reveals that Kotomi fell in love with a man who compelled her to blow herself up. Going to the hospital, Saki and Tae visit Kotomi, who gives the name of Jirou Kimura. Now revealed to be Romeo, Kimura kidnaps Saki and ties her to a bomb, which she is left to escape from.
Meanwhile, Reika reveals herself as Romeo's lover and hosts an assembly on the school in front of all the students and teachers in order to celebrate his ideology. At the same time, Romeo and his gang capitalize on the event to rob a bank in Tokyo. Tae is brought in and strapped to another bomb, but after some dramatic exchanges she is saved by the returning Saki. The latter chases Reika, who still has Tae as her hostage and is attempting to reach Romeo, and ends up facing her in a singles duel. It's then revealed that Reika is a former operative of Tokumei Keiji, a police program similar to Sukeban Deka, and that she has her own armed yo-yo, which sports blades. Although the less experienced Asamiya is initially overpowered when trying to user her weapon, she defeats Reika by burying her under metal pipes.
Saki then confronts Romeo and his gang, who have seized Tae, Amaki and Higashiyama as bomb-strapped hostages, and manages to take the villains out thanks to a bulletproof uniform. Eventually Romeo, who wears a bomb strap as well, disables her yo-yo by slicing the string with his katana, but she still knocks him out. Saki takes the artifacts off the hostages but leaves Romeo's to explode, killing him.
At the end, Saki calls her mom, who is implied to be the first ever Saki Asamiya from the original series. After bidding farewell to Tae and Kotomi, Saki is informed by Kira of a new mission for her.
Music.
The movie's theme song, "Thanks!" is by the Hello! Project group GAM, consisting of Aya Matsuura and Miki Fujimoto. The song "Shinkirō Romance", also by GAM, was used an insert song.
UK release.
"Yo-Yo Girl Cop" was licensed for UK release by 4Digital Asia, a sublabel of 4Digital Media, formerly ILC Entertainment. The new sub-label was launched in 2008 to fill the gap in the UK for "Asia Extreme" titles created by the demise of label Tartan. It was released on DVD on September 22.
Miscellaneous.
The film is parodied in the softcore V-Cinema release , directed by Daigo Udagawa and starring AV idol Mihiro. In addition to its similar name, the cover artwork is a near-reproduction of "Yo-yo Girl Cop"'s original poster. The DVD was released in Japan in November 2006 and in the United States with English subtitles by Cinema Epoch in November 2008.


Boy soprano

A boy soprano (British and especially North American English) or boy treble (only British English) is a young male singer with an unchanged voice in the soprano range, a range that is often still called the treble voice range (in North America too) when talking about children.
Origins.
In the Anglican and English Catholic liturgical traditions (in which girls and women did not sing in church choirs), young male choristers were normally referred to as "trebles" rather than as boy sopranos, but today the term "boy trebles" is increasingly common (girls with high voices are trebles too). The term "treble" derives from the Latin ', used in 13th and 14th century motets to indicate the third and highest range, which was sung above the tenor part (which carried the tune) and the alto part. Another term for that range is '. The term "treble" itself was first used in the 15th century. Trebles have an average range of A3 to F5 (220–700 Hz).
The use of trebles (and falsettos) in Christian liturgical music can be traced back to pre-Christian times. Saint Paul's dictum that "women should be silent in churches" resonated with this tradition; the development of vocal polyphony from the Middle Ages through the Renaissance and Baroque thus took place largely, though not exclusively, in the context of the all-male choir, in which all voice parts were sung by men and boys.
The term "boy soprano" originated with Dr Henry Stephen Cutler (1825–1902), choirmaster of the Cecilian Choir, New York, who used the term for both the choir members and soloists, who were church choristers, when giving concerts in public halls. The earliest use found can be traced to a choral festival at Irving Hall, New York, in May 1866.
Short-lived range.
Most trebles have a comfortable range from the A below "middle C" (A3, 220 Hz) to the F one and a half octaves above "middle C" (F5, 700 Hz), roughly corresponding to an adult male baritone range, up one octave. Some writing demands higher notes; the Anglican church repertory, which many trained trebles to sing, frequently demands G5 (784 Hz) and A5 (880 Hz). Some trebles, however, can extend their voices higher in the modal register to "high C" (C6, 1109 Hz). The high C is considered the defining note of the soprano voice type. For high notes see, for example, the treble solo at the beginning of Stanford's " in G", David Willcocks' descant to Mendelssohn's tune for the carol "Hark, the Herald Angels Sing", the even higher treble solo from Gregorio Allegri's ', and the treble part in the ' from Tippett's "Evening Canticles" written for St John's College, Cambridge. Many trebles are also able to reach higher notes by use of the whistle register but this practice is rarely called for and writing above high C is very rare in choral music of any kind.
As a boy approaches and begins to undergo puberty, the quality of his voice increasingly distinguishes itself from that typical of girls. The voice takes on a resonant masculine quality before its pitch drops, resulting in a liminal stage wherein the boy may sing in a high register with a unique timbre. This brief period of high vocal range and unique color forms much of the ground for the use of the boy soprano in both liturgical and secular music in the Western world and elsewhere. Occasionally boys whose voices have changed can continue to sing in the soprano range for a period of time. This stage ends as the boy's larynx continues to grow and, with the breaking of his voice, he becomes unable to sing the highest notes required by the pieces of music involved.
The voice of the boy is subject to the effects of the dropping of the larynx, also known as the breaking of the voice. The ultimate result of this profound change is that a new set of vocal ranges become available, for example bass, baritone, tenor, countertenor and sopranist.
It has been observed that boy sopranos in earlier times were, on average, somewhat older than in modern times. For example, Franz Joseph Haydn was considered to be an excellent boy soprano well into his teens and Ernest Lough was 15 when he first recorded his famous "Hear My Prayer" (on 5 April 1927), with his voice not getting deeper until sometime in 1929, when he was either 17 or 18 years old. However, for a male to sing soprano with an unchanged voice in his mid-to-late teens is currently fairly uncommon. In the developed world, puberty tends to begin at younger ages (most likely due to differences in diet, including greater availability of proteins and vitamins). It is also becoming more widely known that the style of singing and voice training within cathedrals has changed significantly in the past century, making it more difficult for boys to continue singing soprano much beyond the age of 13 or 14, with the raising of concert pitch being one factor.
Early breaking of boys' voices due to puberty becoming earlier in recent times is causing a serious problem for choirmasters.
On the other hand, some musicologists dispute that earlier onset of puberty occurs. They contend that there is no reliable evidence of any significant change in the age of boys' maturity over the past 500 years or even beyond that.
External links.


Shakespeare in the Park (New York City)

Shakespeare in the Park (or Free Shakespeare in the Park) is a theatrical program that stages productions of Shakespearean plays at the Delacorte Theater, an open-air theater in New York City's Central Park. The theater and the productions are managed by The Public Theater and tickets are distributed free of charge on the day of the performance. Originally branded as the New York Shakespeare Festival (NYSF) under the direction of Joseph Papp, the institution was renamed in 2002 as part of a larger reorganization by the Public Theater.
History.
The festival was originally conceived by director-producer Joseph Papp in 1954. Papp began with a series of Shakespeare workshops, then moved on to free productions on the Lower East Side. Eventually, the plays moved to a lawn in front of Turtle Pond in Central Park. In 1959, parks commissioner Robert Moses demanded that Papp and his company charge a fee for the performances to cover the cost of "grass erosion." A court battle ensued. Papp continued to fight Moses, winning his enduring respect and the quote "well, let's build the bastard a theater." Following this, Moses requested funds from the city for the construction of an amphitheater in the park. In 1961, the Delacorte Theater was built. The first performance held in the theater in 1962 was Shakespeare's "The Merchant of Venice", starring George C. Scott and James Earl Jones.
Description.
Location and allure.
The Delacorte Theater is an open-air amphitheater located on the southwest corner of the Great Lawn in Central Park, closest to the entrance at 81st Street and Central Park West. It was built in 1961 and named for George T. Delacorte Jr., who donated money for its creation. Belvedere Castle and Turtle Pond provide a backdrop for the shows at the Delacorte. As shows at the Delacorte begin in the early evening, shows usually start in daylight; as the play rolls on, the sun sets and the audience is drawn into the illuminated action on the stage. Since 1962 the Public has had the privilege of its exclusive use.
Ticket distribution.
Tickets to Shakespeare in the Park are free and tickets for a given performance are distributed the same day by various methods:
Shakespeare in the Park also offers specific performances throughout the summer for patrons with hearing and/or vision loss including Sign Language interpreted performances, audio-described performances, and open-captioned performances.
Productions.
Each summer since the Delacorte's opening has seen between one and three works produced, with two works being standard since 1973. The plays of Shakespeare account for about four-fifths of the works produced, and, except for 1977 and 1980, each summer's line-up has included at least one work by Shakespeare (or, in the case of 1970, one work adapted from Shakespeare). Non-Shakespeare productions have included plays such as Anton Chekhov's "The Seagull" and Henrik Ibsen's "Peer Gynt" and musicals such as "On the Town", "Into the Woods", "Two Gentlemen of Verona", "The Mystery of Edwin Drood", and Disney's "Hercules", the latter three having made their world debuts at the Delacorte.
The 2017 production of "Julius Caesar", directed by the Public's artistic director, Oskar Eustis, stoked controversy by creating significant visual and behavioral similarities between the production's Caesar and recently inaugurated President Trump. Despite the fact that the play is widely viewed as a cautionary tale against political violence, right-wing activists objected to what they characterized as the murder of a stand-in for President Trump and interrupted two performances. Bank of America and Delta withdrew their sponsorship of the production; Bank of America resumed its sponsorship of Shakespeare in the Park by the following season, and JetBlue replaced Delta.
Due to the effects of the COVID-19 pandemic, the 2020 season was cancelled; a budget shortfall of 20 million dollars was predicted.
Funding.
The Public Theater is heavily reliant on private donors. In 2005, the theater company was among 406 New York City arts and social service institutions to receive part of a $20 million grant from the Carnegie Corporation, which was made possible through a donation by then Mayor Michael Bloomberg.
Popularity and acclaim.
Many plays from the summer festival have gone on to Broadway, including Wilford Leach's staging of "The Mystery of Edwin Drood" from the 1984–1985 season and "The Tempest" from the 1995–1996 season. The festival has also attracted many well-known actors, such as Meryl Streep, Morgan Freeman, Martin Sheen, and Al Pacino – the latter two of whom appeared as Brutus and Marc Antony in a toga-clad historical production of "Julius Caesar", directed by Stuart Vaughan in 1987, in the first of the NYSF's Shakespeare Marathon. Since its inception, the festival has become popular with both New York natives and visitors to the city, and while the Delacorte Theater has 1,872 seats, prospective theatergoers can expect to sit in line for hours before the early afternoon ticket distribution. Approximately 80,000 people attend Shakespeare in the Park every year.
Sponsorship of other theatres.
Over the years, the New York Shakespeare Festival supported other theatre companies throughout New York, helping to foster the growth of Off-Broadway, as well as specific theatre programs and projects. Among these companies that benefited from NYSF during critical periods of their development was the Theatre for a New Audience. The Theatre for a New Audience developed a number of productions sponsored by the NYSF, including "A Midsummer Nights Dream", presented at the Anspacher Theatre, and through this sponsorship, the company was able to grow and expand its outreach to new audiences. Another such company was the Riverside Shakespeare Company. The Festival, under Papp's leadership, sponsored several Riverside Shakespeare Company productions at a critical stage in its development, beginning with Riverside's New York premiere production of Brecht's "Edward II" in 1982 at The Shakespeare Center on the Upper West Side (dedicated by Joseph Papp in 1982), followed by Equity parks tours of free Shakespeare throughout the five boroughs of New York City, much as the NYSF had done for years before. Riverside Shakespeare Company summer parks tour of Free Shakespeare sponsored by the NYSF began with "A Comedy of Errors" in 1982, followed by "The Merry Wives of Windsor", featuring Anna Deavere Smith in her New York stage debut as Mistress Quickly, "Romeo and Juliet", and "The Taming of the Shrew". During the NYSF period of support, the Riverside Shakespeare Company expanded greatly, offering for the first time The Shakespeare Project in 1983, and serving a wide range of audiences in the five boroughs.


Wool top

Topmaking mills make wool top, a semi-processed product from raw wool. The process requires that the wool be scoured (washed) and combed and sorted. The longer fibers resulting from the process are called tops, and are in a form ready for spinning. To be closer to customers, much of the industry has moved from Australia, Europe and the USA to China. Many British companies produce high quality wool top in Britain from British wool and fibre; most work with the fleece from cleaning it to hand dying.
A topmaker is an old term for a person engaged in the process.


Music Under New York

Music Under New York (MUNY) is a part of the Arts & Design program by the Metropolitan Transportation Authority (MTA) that schedules musical performances in transportation hubs across its rapid transit, ferry, and commuter rail systems.
MTA grants every musician the legal right to perform, with or without MUNY affiliation. However, MUNY gives particular visibility and promotion to over 350 artists and groups who choose to participate. MUNY locations include approximately 30 high-traffic stations operated by the New York City Transit Authority that are part of the New York City Subway, the Long Island Rail Road, Metro-North Railroad, and the Staten Island Ferry.
History.
Prohibition of musical performance in the New York City Subway was prevalent since the opening of the first line in 1904. The ban continued under Mayor Fiorello La Guardia, who also made it illegal to perform on New York City streets. Some musicians still sang and played instruments through the 1940s, 1950s and 1960s in an effort to reclaim public space. Finally in 1985, the ban on subway performance was declared unconstitutional following a court challenge by musician Roger Manning, and the MTA created MUNY as a pilot program. The program became official in January 1987.
MUNY had no impact on the legal status of subway performing, as MUNY performers are covered by the same rules governing the general public. However, affiliation with MUNY provides benefits to performers. These include priority scheduling in popular locations, access to commuter railroad terminals, and fewer problems with law enforcement. And, because the MUNY scheduling system rewards its auditioned performers with access to high-traffic areas, it arguably results in a higher-quality artistic product for MTA riders.
Legality.
It is legal to perform music in the New York City Subway with or without a MUNY affiliation. MUNY members as well as freelance performers are subject to regulations of the New York City Police Department and MTA. Section 1050.6 (c) of the New York City Transit Authority's Rules of Conduct regulates the provision of entertainment on the subway:
Notable performers.
Many of the musicians who perform in the subway under MUNY hold successful careers above ground as well. Saxophonist Zane Massey was involved early on in arranging big band performances with the organization in the 1980s and 1990s. A number of MUNY performers have gone on to perform at prestigious venues such as Carnegie Hall and Lincoln Center. These artists include Natalia Paruz (also known as the "Saw Lady"' for playing the musical saw), VongKu Pak (Korean drum), The Big Apple Boys (a cappella choir), James Graseck (violin), Hypnotic Brass Band, and Natalie Gelman (singer-songwriter). Possibly the best-known of them is Alice Tan Ridley, a gospel singer who was featured on season 5 of "America's Got Talent". The current MUNY lineup has artists such as the Ebony Hillbillies, SisterMonk, Didjworks, Manze Dayila, Renaissance Street Singers, Heth and Jed, Kesha, Yaz Band and the Ukuladies. Floyd Lee (1933–2020) was a founding member of MUNY and later a judge on their board. A full list of performers and locations can be found on the MUNY website.
A 2012 YouTube series known as "The Back Of The Busk" featured interviews with a number of MUNY performers, giving an insight into their background and careers.


Metaphor

A metaphor is a figure of speech that, for rhetorical effect, directly refers to one thing by mentioning another. It may provide (or obscure) clarity or identify hidden similarities between two different ideas. Metaphors are often compared with other types of figurative language, such as antithesis, hyperbole, metonymy and simile. One of the most commonly cited examples of a metaphor in English literature comes from the "All the world's a stage" monologue from "As You Like It":
<poem>All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances ...
This quotation expresses a metaphor because the world is not literally a stage, and most humans are not literally actors and actresses playing roles. By asserting that the world is a stage, Shakespeare uses points of comparison between the world and a stage to convey an understanding about the mechanics of the world and the behavior of the people within it.
According to the linguist Anatoly Liberman, "the use of metaphors is relatively late in the modern European languages; it is, in principle, a post-Renaissance phenomenon". In contrast, in the ancient Hebrew psalms (around 1000 B.C.), one finds already vivid and poetic examples of metaphor [the following example given is that of a simile, rather than the intended metaphor] such as, "...He is like a tree planted by streams of water, yielding its fruit in season, whose leaf does not wither." The Lord is my rock, my fortress and my deliverer; my God is my rock, in whom I take refuge, my shield and the horn of my salvation, my stronghold. The Lord is my shepherd, I shall not want. At the other extreme, some recent linguistic theories view all language in essence as metaphorical.
The word metaphor itself is a metaphor, coming from a Greek term meaning to "transfer" or "carry across." Metaphors "carry" meaning from one word, image, idea, or situation to another, linking them and creating a metaphor.
Etymology.
The English word "metaphor" derives from the 16th-century Old French word "métaphore", which comes from the Latin "metaphora", "carrying over", and in turn from the Greek μεταφορά ("metaphorá"), "transference (of ownership)", from μεταφέρω ("metapherō"), "to carry over", "to transfer" and that from μετά ("meta"), "behind", "along with", "across" + φέρω ("pherō"), "to bear", "to carry".
Parts of a metaphor.
"The Philosophy of Rhetoric" (1937) by rhetorician I. A. Richards describes a metaphor as having two parts: the tenor and the vehicle. The tenor is the subject to which attributes are ascribed. The vehicle is the object whose attributes are borrowed. In the previous example, "the world" is compared to a stage, describing it with the attributes of "the stage"; "the world" is the tenor, and "a stage" is the vehicle; "men and women" is the secondary tenor, and "players" is the secondary vehicle.
Other writers employ the general terms 'ground' and 'figure' to denote the tenor and the vehicle. Cognitive linguistics uses the terms 'target' and 'source', respectively.
Psychologist Julian Jaynes coined the terms 'metaphrand' and 'metaphier', plus two new concepts, 'paraphrand' and 'paraphier'.
'Metaphrand' is equivalent to the metaphor-theory terms 'tenor', 'target', and 'ground'. 'Metaphier' is equivalent to the metaphor-theory terms 'vehicle', 'figure', and 'source'. In a simple metaphor, an obvious attribute of the metaphier exactly characterizes the metaphrand (e.g. the ship plowed the seas). With an inexact metaphor, however, a metaphier might have associated attributes or nuances – its paraphiers – that enrich the metaphor because they "project back" to the metaphrand, potentially creating new ideas – the paraphrands – associated thereafter with the metaphrand or even leading to a new metaphor. For example, in the metaphor "Pat is a tornado", the metaphrand is "Pat", the metaphier is "tornado". As metaphier, "tornado" carries paraphiers such as power, storm and wind, counterclockwise motion, and danger, threat, destruction, etc. The metaphoric meaning of "tornado" is inexact: one might understand that 'Pat is powerfully destructive' through the paraphrand of physical and emotional destruction; another person might understand the metaphor as 'Pat can spin out of control'. In the latter case, the paraphier of 'spinning motion' has become the paraphrand 'psychological spin', suggesting an entirely new metaphor for emotional unpredictability, a possibly apt description for a human being hardly applicable to a tornado.
Based on his analysis, Jaynes claims that metaphors not only enhance description, but "increase enormously our powers of perception...and our understanding of [the world], and literally create new objects".
As a type of comparison.
Metaphors are most frequently compared with similes. It is said, for instance, that a metaphor is 'a condensed analogy' or 'analogical fusion' or that they 'operate in a similar fashion' or are 'based on the same mental process' or yet that 'the basic processes of analogy are at work in metaphor'. It is also pointed out that 'a border between metaphor and analogy is fuzzy' and 'the difference between them might be described (metaphorically) as the distance between things being compared'. A metaphor asserts the objects in the comparison are identical on the point of comparison, while a simile merely asserts a similarity through use of words such as "like" or "as". For this reason a common-type metaphor is generally considered more forceful than a simile.
The metaphor category contains these specialized types:
Metaphor vs metonymy.
Metaphor is distinct from metonymy, both constituting two fundamental modes of thought. Metaphor works by bringing together concepts from different conceptual domains, whereas metonymy uses one element from a given domain to refer to another closely related element. A metaphor creates new links between otherwise distinct conceptual domains, whereas a metonymy relies on pre-existent links within them.
For example, in the phrase "lands belonging to the crown", the word "crown" is a metonymy because some monarchs do indeed wear a crown, physically. In other words, there is a pre-existent link between "crown" and "monarchy". On the other hand, when Ghil'ad Zuckermann argues that the Israeli language is a "phoenicuckoo cross with some magpie characteristics", he is using a metaphor. There is no physical link between a language and a bird. The reason the metaphors "phoenix" and "cuckoo" are used is that on the one hand hybridic "Israeli" is based on Hebrew, which, like a phoenix, rises from the ashes; and on the other hand, hybridic "Israeli" is based on Yiddish, which like a cuckoo, lays its egg in the nest of another bird, tricking it to believe that it is its own egg. Furthermore, the metaphor "magpie" is employed because, according to Zuckermann, hybridic "Israeli" displays the characteristics of a magpie, "stealing" from languages such as Arabic and English.
Subtypes.
A dead metaphor is a metaphor in which the sense of a transferred image has become absent. The phrases "to grasp a concept" and "to gather what you've understood" use physical action as a metaphor for understanding. The audience does not need to visualize the action; dead metaphors normally go unnoticed. Some distinguish between a dead metaphor and a cliché. Others use "dead metaphor" to denote both.
A mixed metaphor is a metaphor that leaps from one identification to a second inconsistent with the first, e.g.:
This form is often used as a parody of metaphor itself:
An extended metaphor, or conceit, sets up a principal subject with several subsidiary subjects or comparisons. In the above quote from "As You Like It", the world is first described as a stage and then the subsidiary subjects men and women are further described in the same context.
An implicit metaphor has no specified tenor, although the vehicle is present. M. H. Abrams offers the following as an example of an implicit metaphor: "That reed was too frail to survive the storm of its sorrows". The reed is the vehicle for the implicit tenor, someone's death, and the "storm" is the vehicle for the person's "sorrows".
Metaphor can serve as a device for persuading an audience of the user's argument or thesis, the so-called rhetorical metaphor.
In rhetoric and literature.
Aristotle writes in his work the "Rhetoric" that metaphors make learning pleasant: "To learn easily is naturally pleasant to all people, and words signify something, so whatever words create knowledge in us are the pleasantest." When discussing Aristotle's "Rhetoric", Jan Garret stated "metaphor most brings about learning; for when [Homer] calls old age "stubble", he creates understanding and knowledge through the genus, since both old age and stubble are [species of the genus of] things that have lost their bloom." Metaphors, according to Aristotle, have "qualities of the exotic and the fascinating; but at the same time we recognize that strangers do not have the same rights as our fellow citizens".
Educational psychologist Andrew Ortony gives more explicit detail: "Metaphors are necessary as a communicative device because they allow the transfer of coherent chunks of characteristics -- perceptual, cognitive, emotional and experiential -- from a vehicle which is known to a topic which is less so. In so doing they circumvent the problem of specifying one by one each of the often unnameable and innumerable characteristics; they avoid discretizing the perceived continuity of experience and are thus closer to experience and consequently more vivid and memorable."
As style in speech and writing.
As a characteristic of speech and writing, metaphors can serve the poetic imagination. This allows Sylvia Plath, in her poem "Cut", to compare the blood issuing from her cut thumb to the running of a million soldiers, "redcoats, every one"; and enabling Robert Frost, in "The Road Not Taken", to compare a life to a journey.
Metaphors can be implied and extended throughout pieces of literature.
Larger applications.
Sonja K. Foss characterizes metaphors as "nonliteral comparisons in which a word or phrase from one domain of experience is applied to another domain".
She argues that since reality is mediated by the language we use to describe it, the metaphors we use shape the world and our interactions to it.
The term metaphor is used to describe more basic or general aspects of experience and cognition:
Conceptual metaphors.
Some theorists have suggested that metaphors are not merely stylistic, but that they are cognitively important as well. In "Metaphors We Live By", George Lakoff and Mark Johnson argue that metaphors are pervasive in everyday life, not just in language, but also in thought and action. A common definition of metaphor can be described as a comparison that shows how two things that are not alike in most ways are similar in another important way. They explain how a metaphor is simply understanding and experiencing one kind of thing in terms of another, called a "conduit metaphor". A speaker can put ideas or objects into containers, and then send them along a conduit to a listener who removes the object from the container to make meaning of it. Thus, communication is something that ideas go into, and the container is separate from the ideas themselves. Lakoff and Johnson give several examples of daily metaphors in use, including "argument is war" and "time is money". Metaphors are widely used in context to describe personal meaning. The authors suggest that communication can be viewed as a machine: "Communication is not what one does with the machine, but is the machine itself."
Experimental evidence shows that "priming" people with material from one area will influence how they perform tasks and interpret language in a metaphorically related area.
As a foundation of our conceptual system.
Cognitive linguists emphasize that metaphors serve to facilitate the understanding of one conceptual domain—typically an abstraction such as "life", "theories" or "ideas"—through expressions that relate to another, more familiar conceptual domain—typically more concrete, such as "journey", "buildings" or "food". For example: we "devour" a book of "raw" facts, try to "digest" them, "stew" over them, let them "simmer on the back-burner", "regurgitate" them in discussions, and "cook" up explanations, hoping they do not seem "half-baked".
Lakoff and Johnson greatly contributed to establishing the importance of conceptual metaphor as a framework for thinking in language, leading scholars to investigate the original ways in which writers used novel metaphors and question the fundamental frameworks of thinking in conceptual metaphors.
From a sociological, cultural, or philosophical perspective, one asks to what extent ideologies maintain and impose conceptual patterns of thought by introducing, supporting, and adapting fundamental patterns of thinking metaphorically. To what extent does the ideology fashion and refashion the idea of the nation as a container with borders? How are enemies and outsiders represented? As diseases? As attackers? How are the metaphoric paths of fate, destiny, history, and progress represented? As the opening of an eternal monumental moment (German fascism)? Or as the path to communism (in Russian or Czech for example)?
Some cognitive scholars have attempted to take on board the idea that different languages have evolved radically different concepts and conceptual metaphors, while others hold to the Sapir-Whorf hypothesis. German philologist Wilhelm von Humboldt contributed significantly to this debate on the relationship between culture, language, and linguistic communities. Humboldt remains, however, relatively unknown in English-speaking nations. Andrew Goatly, in "Washing the Brain", takes on board the dual problem of conceptual metaphor as a framework implicit in the language as a system and the way individuals and ideologies negotiate conceptual metaphors. Neural biological research suggests some metaphors are innate, as demonstrated by reduced metaphorical understanding in psychopathy.
James W. Underhill, in "Creating Worldviews: Ideology, Metaphor & Language" (Edinburgh UP), considers the way individual speech adopts and reinforces certain metaphoric paradigms. This involves a critique of both communist and fascist discourse. Underhill's studies are situated in Czech and German, which allows him to demonstrate the ways individuals are thinking both within and resisting the modes by which ideologies seek to appropriate key concepts such as "the people", "the state", "history", and "struggle".
Though metaphors can be considered to be "in" language, Underhill's chapter on French, English and ethnolinguistics demonstrates that we cannot conceive of language or languages in anything other than metaphoric terms.
Nonlinguistic metaphors.
Metaphors can map experience between two nonlinguistic realms. Musicologist Leonard B. Meyer demonstrated how purely rhythmic and harmonic events can express human emotions. It is an open question whether synesthesia experiences are a sensory version of metaphor, the "source" domain being the presented stimulus, such as a musical tone, and the target domain, being the experience in another modality, such as color.
Art theorist Robert Vischer argued that when we look at a painting, we "feel ourselves into it" by imagining our body in the posture of a nonhuman or inanimate object in the painting. For example, the painting "The Lonely Tree" by Caspar David Friedrich shows a tree with contorted, barren limbs. Looking at the painting, we imagine our limbs in a similarly contorted and barren shape, evoking a feeling of strain and distress. Nonlinguistic metaphors may be the foundation of our experience of visual and musical art, as well as dance and other art forms.
In historical linguistics.
In historical onomasiology or in historical linguistics, a metaphor is defined as a semantic change based on a similarity in form or function between the original concept and the target concept named by a word.
For example, mouse: "small, gray rodent with a long tail" → "small, gray computer device with a long cord".
Some recent linguistic theories view all language in essence as metaphorical.
Historical theories.
Friedrich Nietzsche makes metaphor the conceptual center of his early theory of society in "On Truth and Lies in the Non-Moral Sense". Some sociologists have found his essay useful for thinking about metaphors used in society and for reflecting on their own use of metaphor. Sociologists of religion note the importance of metaphor in religious worldviews, and that it is impossible to think sociologically about religion without metaphor.


Xu Ying

Xu Ying (徐瑛, born 1962) is a Chinese librettist.
His traditional Beijing opera librettos include Hunchback Prime Minister Liu (2002), Sun Wu the Strategist (2002), Cai Wenji (2003). He wrote the libretto for Bun Ching Lam's chamber opera (2001), co-wrote with composer Tan Dun the libretto of Tea (opera) (2002), and was co-librettist of the opera Poet Li Bai (2007) for composer Guo Wenjing.


Freda Brierley

Freda Brierley (born 1942) is a New Zealand textile artist.
Early life.
Brierley was born in Dundee, Scotland in 1942. An only child, she was taught embroidery by her mother. As a child Brierley wanted to go to art school, but instead trained as a nurse and joined the Royal Navy as a Sister in Queen Alexandra's Nursing Service.
Textile career.
In 1982 Brierley moved to Devonport, Auckland, when her husband transferred from the Royal Navy to the Royal New Zealand Navy. Here she was finally able to enter art school, graduating in 1993 with a Diploma (Fine Arts) from Whitecliffe College of Arts and Design. Her work has been exhibited at the Barbican in London in 1995, and from November 2004 to March 2005 at the Auckland War Memorial Museum in the exhibition 'Freda Brierley – A Weaver’s Tale and Historical Quilts.'