Quadrant Model of Reality Book 27 Art and Philosophy

Art Chapter

Painting Chapter

Music Chapter

QMR I already put this in one of my earlier books Der Ring des Nibelungen (The Ring of the Nibelung (Alberich)) is a cycle of four operas by Richard Wagner. The first opera in the cycle is Das Rheingold. The second opera in the cycle is Die Walküre. The third opera in the cycle is Siegfried. The fourth opera in the cycle is Götterdämmerung. The story of each opera can be found in the separate articles. Sometimes it is known as a “tetralogy” meaning: four works that belong together. Wagner took the story of the operas from a book called the Nibelungenlied (the Nibelung Song) which was written in the 12th century by a German poet. We do not know the name of the poet. The story is about the ancient gods from German mythology. Wagner made a lot of changes to the story in order to make it suitable for his four operas. Wagner’s story tells of a hoard of gold which is being guarded by the Rhinemaidens. The dwarf Alberich steals the gold and uses some of it to make a ring which makes the owner powerful over all the world. When Wotan, the chief god, steals it from him, Alberich puts a curse on the ring. The ring will bring death to whoever has it. The ring goes through the hands of several characters, all of whom die in the end. Alberich belongs to a race of dwarfs called the “Nibelungs”. The word “Nibelungen” in the title of the cycle: Der Ring des Nibelungen (“The Ring of the Nibelung”), refers to Alberich (it is singular, not plural). The story of Wagner’s Ring cycle sounds quite fantastic and strange, like a fairy tale. Although the characters seems very different from real people, the story tells us all about basic human emotions. It is a story about greed, love, lust, intrigue etc. This is what makes it so powerful. Wagner’s music matches each character and situation beautifully. It develops continuously: there are no breaks in the music during the acts. Wagner used what he called leitmotifs (leading motives). These are tunes or chords or little musical phrases which are linked to particular people in the opera. In this way he can hint at things very cleverly in the music. For example: there is a leitmotiv for the curse. Whenever we hear this curse motive we know that the curse of the ring is working. Wagner spent about twenty years writing the Ring cycle. He started in the 1850s when he was living in Switzerland. He wrote all the libretto (the words) himself, as he always did for his operas. By 1857 he had finished the first two operas and two thirds of Siegfried. It was many years later that he finally finished Siegfried and wrote the final opera as well. Wagner wanted to have the Ring cycle performed in a special opera house which would be built in the way he wanted. He needed a lot of money for his ideas, and he was very lucky to find someone who adored his music and was happy to give him a lot of money. This was King Ludwig II of Bavaria (sometimes called the “mad king of Bavaria” because he did become insane). Wagner told the King that the Ring cycle would be performed in Munich which was the capital city of Bavaria. Later, when it seemed impossible to build a new opera house there, Wagner broke his promise and built his opera house in Bayreuth instead. The King did not seem to mind and still gave him lots of money for the project as well as a nice house to live in. Das Rheingold was first performed in Munich in 1869 and Die Walküre in 1870. The whole Ring cycle was first performed in 1876 in the new opera house called the Festspielhaus in Bayreuth.

QMRFour-shape shape-note tunebooks[edit] The American Vocalist, D.H. Mansfield (1849) (partially reprinted 2010) The Easy Instructor, William Little & William Smith (1801) Repository of Sacred Music, John Wyeth (1810) Repository of Sacred Music, Part Second, John Wyeth (1813) The Beauties of Harmony, Freeman Lewis (1813) Kentucky Harmony, Ananias Davisson (1816) Tennessee Harmony, Alexander Johnson (1818) The Missouri Harmony, Allen D. Carden (1820) (reprinted 2005) Songs of Zion, James P. Carrell (1821) Columbian Harmony, William Moore (1825) The Virginia Harmony, James P. Carrell and David L. Clayton (1831) Genuine Church Music: Harmonia Sacra, Joseph Funk (1832) The Southern Harmony, William Walker (1835) Union Harmony, William Caldwell (1837) The Sacred Harp, B. F. White & Elisha J. King (1844) Hesperian Harp, Dr. William Hauser (1848) The Social Harp, John Gordon McCurry (1855) The Colored Sacred Harp, Judge Jackson (1934) Northern Harmony, Larry Gordon & Anthony G. Barrand (1979; 5th edition 2012) An Eclectic Harmony, Eclectic Harmony Music Committee, Liz Bryant, Chair. Atlanta, (1999) An American Christmas Harp, Karen E. Willard. Puyallup, Washington (2000; 2nd ed. 2009) Oberlin Harmony, Chloe Maher and Charles Wells (2002) High Desert Harmony, Daniel Davis. Albuquerque, (2004) Norumbega Harmony, Stephen A. Marini, Boston, Massachusetts (2004) The Christian Harmony (4-shape edition of Jeremiah Ingalls' 1805 tunebook), Thomas B. Malone self-published, (2005) The Georgian Harmony, Raymond C. Hamrick (2010) The Shenandoah Harmony John del Re, Kelly Macklin, Leyland del Re (and others) Boyce, Virginia (2012) '

QMRFour ranges of combat[edit] Punching Kicking Trapping Grappling Jeet Kune Do students train in each of the aforementioned ranges equally. According to Lee, this range of training serves to differentiate JKD from other martial arts. Lee stated that most but not all traditional martial arts systems specialize in training at one or two ranges. Lee's theories have been especially influential and substantiated in the field of mixed martial arts, as the MMA Phases of Combat are essentially the same concept as the JKD combat ranges. As a historic note, the ranges in JKD have evolved over time. Initially the ranges were categorized as short or close, medium, and long range.[3] These terms proved ambiguous and eventually evolved into their more descriptive forms, although some may still prefer the original three categories.

QMRWiccans celebrate several seasonal festivals of the year, commonly known as Sabbats. Collectively, these occasions are termed the Wheel of the Year.[72] Most Wiccans celebrate a set of eight of these Sabbats; however, other groups such as those associated with the Clan of Tubal Cain only follow four. In the rare case of the Ros an Bucca group from Cornwall, only six are adhered to.[91] The four Sabbats that are common to all British derived groups are the cross-quarter days, sometimes referred to as Greater Sabbats. The names of these festivals are in some cases taken from the Old Irish fire festivals,[92] though in most traditional Wiccan covens the only commonality with the Celtic festival is the name. Gardner himself made use of the English names of these holidays, stating that "the four great Sabbats are Candlemass [sic], May Eve, Lammas, and Halloween; the equinoxes and solstices are celebrated also."[93] In the Egyptologist Margaret Murray's The Witch-Cult in Western Europe (1921) and The God of the Witches (1933), in which she dealt with what she believed to be a historical Witch-Cult, she stated that the four main festivals had survived Christianisation and had been celebrated in the pagan Witchcraft religion. Subsequently, when Wicca was first developing in the 1930s through to the 1960s, many of the early groups, such as Robert Cochrane's Clan of Tubal Cain and Gerald Gardner's Bricket Wood coven adopted the commemoration of these four Sabbats as described by Murray. The other four festivals commemorated by many Wiccans are known as Lesser Sabbats, and comprise the solstices and the equinoxes, and were only adopted in 1958 by members of the Bricket Wood coven,[94] before subsequently being adopted by other followers of the Gardnerian tradition, and eventually other traditions like Alexandrian Wicca and the Dianic tradition. The names of these holidays that are commonly used today are often taken from Germanic pagan holidays. However, the festivals are not reconstructive in nature nor do they often resemble their historical counterparts, instead exhibiting a form of universalism. Rituals observed may display cultural influence from the holidays from which they take their name as well as influence from other unrelated cultures.[95]

QMRThe Grateful Dead was an American rock band formed in 1965 in Palo Alto, California.[1][2] Ranging from quintet to septet, the band was known for its unique and eclectic style, which fused elements of country, folk, bluegrass, blues, reggae, rock, improvisational jazz, psychedelia, space rock,[3][4] for live performances of lengthy instrumental jams,[5][6] and for their devoted fan base, known as "Deadheads". "Their music," writes Lenny Kaye, "touches on ground that most other groups don't even know exists."[7] These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world".[8] The band was ranked 57th in the issue The Greatest Artists of all Time by Rolling Stone magazine.[9] The band was inducted into the Rock and Roll Hall of Fame in 1994[10] and their Barton Hall Concert at Cornell University (May 8, 1977) was added to the Library of Congress's National Recording Registry.[11] The Grateful Dead have sold more than 35 million albums worldwide. In 2015, Weir, Lesh, Kreutzmann, and Hart reunited for five concerts called "Fare Thee Well: Celebrating 50 Years of the Grateful Dead".[57] The shows were performed on June 27 and 28 at Levi's Stadium in Santa Clara, California, and on July 3, 4, and 5 at Soldier Field in Chicago, Illinois.[57][58] It was stated that this would be the last time that the so-called "core four" would perform together.[59] They were joined by Trey Anastasio of Phish on guitar, Jeff Chimenti on keyboards, and Bruce Hornsby on piano.[60][61] Demand for tickets was very high.[62][63] The concerts were simulcast via various media.[64][65] The Chicago shows have been released as a box set of CDs and DVDs.[66]

QMRA coronation anthem is a piece of choral music written to accompany the coronation of a monarch. Many composers have written coronation anthems. However the best known were composed by George Frideric Handel. Handel's four coronation anthems use text from the King James Bible and were designed to be played at the coronation of the British monarch. They are Zadok the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart Is Inditing. Each was originally a separate work but they were later published together.

QMRFranz Schubert's Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first was published in the composer's lifetime as Op. 90, and the second was published posthumously as Op. posth. 142. They are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.[1]

QMRThe authors of the 1955 The Record Guide, Edward Sackville-West and Desmond Shawe-Taylor write that Saint-Saëns's brilliant musicianship was "instrumental in drawing the attention of French musicians to the fact that that there are other forms of music besides opera."[114] In the 2001 edition of Grove's Dictionary, Ratner and Daniel Fallon, analysing Saint-Saëns's orchestral music rate the unnumbered Symphony in A (c. 1850) as the most ambitious of the composer's juvenilia. Of the works of his maturity, the First Symphony (1853) is a serious and large-scale work, in which the influence of Schumann is detectable. The "Urbs Roma" Symphony (1856) in some ways represents a backward step, being less deftly orchestrated, and "thick and heavy" in its effect.[113] Ratner and Fallon praise the Second Symphony (1859) as a fine example of orchestral economy and structural cohesion, with passages that show the composer's mastery of fugal writing. The best known of the symphonies is the Third (1886) which, unusually, has prominent parts for piano and organ. It opens in C minor and ends in C major with a stately chorale tune. The four movements are clearly divided into two pairs, a practice Saint-Saëns used elsewhere, notably in the Fourth Piano Concerto (1875) and the First Violin Sonata (1885).[113] The work is dedicated to the memory of Liszt, and uses a recurring motif treated in a Lisztian style of thematic transformation.[114] Picture postcard with portrait and hand-written inscription Saint-Saëns modelled his symphonic poems on those of Liszt, seen here on a postcard inscribed to Fauré Saint-Saëns's four symphonic poems follow the model of those by Liszt, though, in Sackville-West's and Shawe-Taylor's view, without the "vulgar blatancy" to which the earlier composer was prone.[115] The most popular of the four is Danse macabre (1874) depicting skeletons dancing at midnight. Saint-Saëns generally achieved his orchestral effects by deft harmonisation rather than exotic instrumentation,[113] but in this piece he featured the xylophone prominently, representing the rattling bones of the dancers.[116] Le Rouet d'Omphale (1870) was composed soon after the horrors of the Commune, but its lightness and delicate orchestration give no hint of recent tragedies.[117] Rees rates Phaëton (1873) as the finest of the symphonic poems, belying the composer's professed indifference to melody,[n 14] and inspired in its depiction of the mythical hero and his fate.[117] A critic at the time of the premiere took a different view, hearing in the piece "the noise of a hack coming down from Montmartre" rather than the galloping fiery horses of Greek legend that inspired the piece.[119] The last of the four symphonic poems, La jeunesse d'Hercule ("Hercules's Youth", 1877) was the most ambitious of the four, which, Harding suggests, is why it is the least successful.[120] In the judgment of the critic Roger Nichols these orchestral works, which combine striking melodies, strength of construction and memorable orchestration "set new standards for French music and were an inspiration to such young composers as Ravel".[107] Saint-Saëns wrote a one-act ballet, Javot (1896), the score for the film L'assassinat du duc de Guise (1908),[n 15] and incidental music to a dozen plays between 1850 and 1916. Three of these scores were for revivals of classics by Molière and Racine, for which Saint-Saëns's deep knowledge of French baroque scores was reflected in his scores, in which he incorporated music by Lully and Charpentier.[23][122]

QMRThe Four Pieces for Piano (German: 'Klavierstücke') Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms. Together with the six pieces from Op. 118, Op. 119 was premiered in London in January 1894. The pieces[edit] Intermezzo in B minor[edit] The poetic mood of the first intermezzo from Op. 119 belies its vague title. In a letter from May 1893 to Clara Schumann, Brahms wrote: "I am tempted to copy out a small piano piece for you, because I would like to know how you agree with it. It is teeming with dissonances! These may [well] be correct and [can] be explained—but maybe they won’t please your palate, and now I wished, they would be less correct, but more appetizing and agreeable to your taste. The little piece is exceptionally melancholic and ‘to be played very slowly’ is not an understatement. Every bar and every note must sound like a ritard[ando], as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances! Good Lord, this description will [surely] awaken your desire!"[1] Clara Schumann was enthusiastic and asked him to send the remaining pieces of his new work. The words ‘melancholy’ and ‘with pleasure’ aptly describe the atmosphere evoked by the opening harmonies of the first intermezzo. In fact, no clear tonality can be perceived in the first three bars. The first chord, for example, could be a B minor 7th chord superimposed on an E minor triad. The entire first section (bars 1-16) eludes a definite statement of the tonic, while the coda (bars 55-67) ends clearly in B minor. The middle section of the piece (bars 17-46) is in D major, the relative major. It is characterized by more consonant harmonies, a less polyphonic texture and a waltz rhythm. Intermezzo in E minor[edit] The E minor intermezzo can be regarded as ‘monothematic,’ although each recurrence of the theme is significantly transformed. The middle section and coda are in E major, the parallel major. Intermezzo in C major[edit] Intermezzo in C major, Op. 119, No. 3 MENU0:00 Recorded by Ossip Gabrilowitsch for the Welte-Mignon reproducing piano on July 4, 1905. Problems playing this file? See media help. The length of the phrase is twelve bars, subdividing into two six-bar sections. The first six bars can certainly be heard as two three-bar units whereas the second six-bar section can rather be perceived as three times two bars. The second six-bar sub-phrase functions rhythmically as a giant hemiola. This rhythmic gracefulness is opposed by the middle section of the piece. Two eight-bar phrases, subdividing into four-bar units, try to ‘correct’ the twelve-bar phrasing. It is arguable that this piece is in binary form and the B section begins at bar 49 where new material appears. Rhapsody in E-flat major[edit] Brahms's experiments with rhythm and phrase lengths are also apparent in the E-flat major rhapsody, which for 60 bars maintains five-bar phrases. The ‘'grazioso'’ second theme (starting bar 93) is constructed from eight-bar phrases that do not subdivide into four plus four, but into three plus two plus three. The piece ends in E-flat minor, the parallel minor key to where it started (E-flat major). While it is not unusual to end a minor-key composition in the parallel major, it is much less common to find a piece ending in this manner. (See List of major/minor compositions.)

QMRThe Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries. At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.[1] Form[edit] II. Allegretto MENU0:00 IV. Allegro con brio MENU0:00 Both performed by John Michel Problems playing these files? See media help. The Seventh Symphony is in four movements: Poco sostenuto – Vivace (A major) Allegretto (A minor) Presto – Assai meno presto (trio) (F major) (Trio in D major) Allegro con brio (A major) Performance time lasts approximately 40 minutes. The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. It is also tonally subtle, making use of the tensions between the key centres of A, C and F. For instance, the first movement is in A major but has repeated episodes in C major and F major. In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major. First movement[edit] The first movement starts with a long, expanded introduction marked Poco sostenuto (metronome mark: quarter=69) that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace (dotted quarter=104) is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a grinding four octave deep pedal point of an E. Second movement[edit] \new Score { \new Staff { \relative c { \time 2/4 \key a \minor \clef bass \tempo "Allegretto" 4 = 76 c4 c8-. c-. b4-.(b-.) b b8-. b-. c4-.(c-.) c4 c8-. c-. c4-.(c-.) b4 a8-. b-.   c4 r4   } } } The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. Its reliance on the string section makes it a good example of Beethoven's advances in orchestral writing for strings, building on the experimental innovations of Haydn.[7] The movement is structured in a double variation form. It begins with the main melody played by the violas and cellos, an ostinato (repeated rhythmic figure) of a quarter note, two eighth notes and two quarter notes. This melody is then played by the second violins while the violas and cellos play a second melody, described by George Grove as "a string of beauties hand-in-hand".[8] The first violins then take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato. Third movement[edit] The third movement is a scherzo in F major and trio in D major. Here, the trio (based on an Austrian pilgrims' hymn[9]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony, "Pastoral" Symphony and String Quartet Op. 59 No. 2. Fourth movement[edit] \new Score { \new Staff { \relative e'' { \time 2/4 \key a \major \clef treble \tempo "Allegro con brio" 2 = 72 b8-._\markup { \dynamic ff \italic \hspace #0.1 } b16( cis e_\markup { \dynamic sf \italic \hspace #0.1 } d cis b) cis8-. cis16( d fis_\markup { \dynamic sf \italic \hspace #0.1 } e d cis) b8-. b16( cis e_\markup { \dynamic sf \italic \hspace #0.1 } d cis b) cis8.(a'16) a4\( a8\) b,16( cis e_\markup { \dynamic sf \italic \hspace #0.1 } d cis b) cis8-. cis16( d fis_\markup { \dynamic sf \italic \hspace #0.1 } e d cis) b8-. b16( cis e_\markup { \dynamic sf \italic \hspace #0.1 } d cis b) <e, cis' a'>8 r r4 \bar ":|" } } } The last movement is in sonata form. Beethoven "exploited the possibility that a string section can realize both angularity and rhythmic contrast if used as an obbligato-like background",[7] particularly in the coda, which contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo). In his book Beethoven and his Nine Symphonies (1896), Sir George Grove wrote, "The force that reigns throughout this movement is literally prodigious, and reminds one of Carlyle's hero Ram Dass, who has 'fire enough in his belly to burn up the entire world.' " Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchic fury" and many other writers have commented on its whirling dance-energy: the main theme vaguely resembles Beethoven's arrangement of the Irish folk-song "Save me from the grave and wise", No. 8 of his Twelve Irish Folk Songs, WoO 154. Reception[edit] Critics and listeners have often felt stirred or inspired by the Seventh Symphony. For instance, one program-note author writes:[10] ... the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written. Composer and music author Antony Hopkins says of the symphony:[11] The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as "one of my best works". Who are we to dispute his judgment? Another admirer, Richard Wagner, referring to the lively rhythms which permeate the work, called it the "apotheosis of the dance".[8] On the other hand, admiration for the work has not been universal. Friedrich Wieck, who was present during rehearsals, said that the consensus, among musicians and laymen alike, was that Beethoven must have composed the symphony in a drunken state;[12] and the conductor Thomas Beecham commented on the fourth movement: "What can you do with it? It's like a lot of yaks jumping about."[13] The oft-repeated claim that Carl Maria von Weber considered the chromatic bass line in the coda of the first movement evidence that Beethoven was "ripe for the madhouse", seems to have been the invention of Beethoven's first biographer, Anton Schindler. His possessive adulation of Beethoven is well-known, and he was criticised by his contemporaries for his obsessive attacks on Weber. According to John Warrack, Weber's biographer, Schindler was characteristically evasive when defending Beethoven, and there is "no shred of concrete evidence that he had made the remark.

QMRMethane (/ˈmɛθeɪn/ or /ˈmiːθeɪn/) is a chemical compound with the chemical formula CH4 (one atom of carbon and four atoms of hydrogen). It is the simplest alkane and the main component of natural gas. The relative abundance of methane on Earth makes it an attractive fuel, though capturing and storing it poses challenges due to its gaseous state under at normal conditions for temperature and pressure.

QMRFrédéric Chopin's four ballades are one-movement pieces for solo piano, composed between 1831 and 1842. They are some of the most challenging pieces in the standard piano repertoire.[1][2] The term ballade was used by Chopin in the sense of a balletic interlude or dance-piece, equivalent to the old Italian ballata, but the term may also have connotations of the medieval heroic ballad, a narrative minstrel-song, often of a fantastical character. There are dramatic and dance-like elements in Chopin's use of the genre, and he may be said to be a pioneer of the ballade as an abstract musical form. The four ballades are said to have been inspired by poet Adam Mickiewicz.[1][3] The exact inspiration for each individual ballade, however, is unclear and disputed. The ballades are considered an innovation of Chopin's and cannot[citation needed] be placed into another form (e.g. sonata). Though they do not conform exactly to sonata form, the "ballade form" created by Chopin for his four ballades is a distinct variant of sonata form with specific discrepancies, such as the mirror reprise (presenting the two expositional themes in reverse order during the recapitulation). The ballades have directly influenced composers such as Franz Liszt and Johannes Brahms who, after Chopin, wrote ballades of their own.[2] Besides sharing the title, the four ballades are entities distinct from each other. According to composer and music critic Louis Ehlert, "Each [ballade] differs entirely from the others, and they have but one thing in common – their romantic working out and the nobility of their motifs."[2] Modern theorists have shown, however, that the ballades do have much in common, such as the "ballade meter" (6/4 or 6/8) and certain formal practices like the mirror reprise and delaying the structural dominant. The four ballades are among the most enduring of Chopin's compositions and are frequently heard in concerts.[4] They have been recorded many times.

QMRThe Symphony No. 4 in B-flat major, Op. 60, is a symphony in four movements composed by Ludwig van Beethoven in the summer of 1806.[1] It was premièred in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz.[2] The work was dedicated to Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky's summer home where Beethoven was staying. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him. Beethoven undertook the new work during the summer of 1806 and completed it in roughly a month, while working on the Fourth Piano Concerto and revising his opera Fidelio, then still known as Leonore. The dedication was made to "the Silesian nobleman Count Franz von Oppersdorf".[3] Hector Berlioz was so enamoured of the symphony's 2nd movement that he claimed it was the work of the Archangel Michael, and not that of a human.[4] Robert Schumann called Beethoven's graceful Fourth Symphony "a slender Greek maiden between two Norse giants" (i.e., the ponderous 3rd and 5th).[5][6] Instrumentation[edit] The symphony is scored for flute, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in B-flat and E-flat, 2 trumpets in B-flat and E-flat, timpani and strings. The work is in four movements: Adagio – Allegro vivace, 2/2 (B-flat minor-B-flat major) Adagio, 3/4 (E-flat major) Allegro vivace, 3/4 (B-flat major) Allegro ma non troppo, 2/4 (B-flat major) The work takes about 33 minutes to perform. In general the symphony is sunny and cheerful, with light instrumentation in a manner that recalls the symphonies of Joseph Haydn, with whom Beethoven had studied a decade before. The Fourth Symphony contrasts with the swooping changes of Beethoven's composition style in the previous Third Symphony, and is often overshadowed by both its predecessor and following work, the celebrated Fifth Symphony which Beethoven had set aside to complete the Fourth. Despite being written in a style more akin to that of Beethoven's first two symphonies, the Fourth contains many aspects that show his growing strength as a composer, most notably the B-flat minor Adagio introduction to the first movement, which Leonard Bernstein described as a "mysterious introduction which hovers around minor modes, tip-toeing its tenuous weight through ambiguous unrelated keys and so reluctant to settle down into its final B-flat major."[7]

QMRThe Highwaymen were a Country music supergroup composed of four of the genre's biggest artists well known for their pioneering influence on the outlaw country subgenre: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. Active between 1985 and 1995, these four artists recorded three major label albums as The Highwaymen: two on Columbia Records and one for Liberty Records. Their Columbia works produced three chart singles, including the Number One "Highwayman" in 1985. Between the years of 1997 and 1999, Nelson, Kristofferson, Cash, and Jennings also provided the voice and dramatization for the Louis L'Amour Collection, a four CD box set of seven Louis L'Amour stories published by the HighBridge Company, although the four were not credited as "The Highwaymen" in this work. Besides the four formal members of the group, only one recording vocal artist ever appeared on a Highwaymen recording: Johnny Rodriguez, who provided a Spanish vocal on 'Deportee', a Woody Guthrie cover, from "Highwayman".

QMRLaRue, Bonds, Walsh, and Wilson[10] trace the gradual expansion of the symphonic orchestra through the 18th century. At first, symphonies were string symphonies, written in just four parts: first violin, second violin, viola, and bass (the bass line was taken by cello(s), double bass(es) playing the part an octave below, and perhaps also a bassoon). Occasionally the early symphonists even dispensed with the viola part, thus creating three-part symphonies. A basso continuo part including a bassoon together with a harpsichord or other chording instrument was also possible.[10] The first additions to this simple ensemble were a pair of horns, occasionally a pair of oboes, and then both horns and oboes together. Over the century, other instruments were added to the classical orchestra: flutes (sometimes replacing the oboes), separate parts for bassoons, clarinets, and trumpets and timpani. Works varied in their scoring concerning which of these additional instruments were to appear. The full-scale classical orchestra, deployed at the end of the century for the largest-scale symphonies, has the standard string ensemble mentioned above, pairs of winds (flutes, oboes, clarinets, bassoons), a pair of horns, and timpani. A keyboard continuo instrument (harpsichord or piano) remained an option. The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies,[11] along the lines described in the next paragraph. The three-movement symphony died out slowly; about half of Haydn's first thirty symphonies are in three movements;[12] and for the young Mozart, the three-movement symphony was the norm, perhaps under the influence of his friend Johann Christian Bach.[13] An outstanding late example of the three-movement Classical symphony is Mozart's "Prague" Symphony, from 1787. The four-movement form that emerged from this evolution was as follows:[14][15] an opening sonata or allegro a slow movement, such as adagio a minuet or scherzo with trio an allegro, rondo, or sonata Variations on this layout, like changing the order of the middle movements or adding a slow introduction to the first movement, were common. Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements.[16] The composition of early symphonies was centred on Milan, Vienna, and Mannheim. The Milanese school centred around Giovanni Battista Sammartini and included Antonio Brioschi, Ferdinando Galimberti and Giovanni Battista Lampugnani. Early exponents of the form in Vienna included Georg Christoph Wagenseil, Wenzel Raimund Birck and Georg Matthias Monn, while later significant Viennese composers of symphonies included Johann Baptist Wanhal, Karl Ditters von Dittersdorf and Leopold Hoffmann. The Mannheim school included Johann Stamitz.[17] The most important symphonists of the latter part of the 18th century are Haydn, who wrote at least 107 symphonies over the course of 36 years,[18] and Mozart, with at least 47 symphonies in 24 years. [19]

QMRIn 1981, a Southern California band Leather Charm wrote a song entitled "Hit the Lights". Leather Charm soon disbanded and the band's primary songwriter, vocalist/rhythm guitarist James Hetfield met drummer Lars Ulrich through a classified advertisement. Together, Hetfield and Ulrich formed Metallica, the first of the "Big Four" thrash bands, with lead guitarist Dave Mustaine, who would later form Megadeth, another of the "Big Four" originators of thrash, and bassist Ron McGovney. Metallica later relocated to the San Francisco Bay Area. McGovney was replaced with Cliff Burton, and Mustaine was later replaced with Kirk Hammett. "Hit the Lights" was featured on their first studio album, Kill 'Em All, released in mid–1983.[11] The term "thrash metal" was first used in the music press by Kerrang! magazine's journalist Malcolm Dome while making a reference to the Anthrax song "Metal Thrashing Mad".[12] Prior to this, Metallica frontman James Hetfield referred to Metallica's sound as speed metal or power metal. Another "Big Four" thrash band formed in Southern California in 1981, when guitarists Jeff Hanneman and Kerry King met while auditioning for the same band and subsequently decided to form a band of their own. Hanneman and King recruited vocalist/bassist Tom Araya, a former respiratory therapist, and drummer Dave Lombardo, a pizza delivery driver, and Slayer was formed. Slayer was discovered by Metal Blade Records executive Brian Slagel while performing Iron Maiden's "Phantom of the Opera" at a show, and were promptly signed to the label. In December 1983, less than six months after the release of Kill 'Em All, Slayer put out their debut album, Show No Mercy. In 1982, Stress recorded what is considered to be the first Brazilian heavy metal album.[13] Roosevelt "Bala" (bass and vocals) claimed this to be the first thrash metal album, since it was recorded before Metallica's Kill 'Em All. However, later he stated that some compositions have elements of thrash, like the speed, fast alternate picking, and the aggressive vocals and sound. Canada also produced influential speed metal bands such as Annihilator, Anvil, Exciter, Razor and Voivod.

QMRThrash metal is an extreme subgenre of heavy metal music characterized by its fast tempo and overall aggression. The songs usually use fast percussive beats and low-register guitar riffs, overlaid with shredding-style lead work. The lyrics often deal with social issues and reproach for The Establishment, using direct and denunciatory language, an approach which partially overlaps with the hardcore genre. The genre evolved in the early 1980s from combining the fast drum beats and attitude of hardcore punk with the double bass drumming, heavy and complex guitar style of the New Wave of British Heavy Metal (NWOBHM). It emerged partially as a reaction to the more conventional and widely acceptable glam metal, a less aggressive, pop music–infused heavy metal subgenre which appeared simultaneously. Thrash metal was an inspiration for subsequent extreme genres such as death metal and black metal. Four American bands—Anthrax, Megadeth, Metallica, and Slayer—are credited with pioneering and popularizing the genre. The Clash of the Titans tour (1990–1991), which featured Megadeth, Slayer, and Anthrax, is considered the genre's pinnacle, after which thrash metal saw a decline in popularity throughout the decade. Thrash metal has seen a resurgence in recent times, with many of the older bands returning to their roots with their new releases. A new generation of thrash metal bands emerged in the early 2000s, drawing lyrical and visual inspiration from the older groups.

QMrThe Dudesons (Finnish: Duudsonit) are a four-man stunt group from Finland. The Dudesons are best known from their TV shows and live performances. Their TV shows are combination of stunts, comedy and reality.

QMrAttali's Noise: The Political Economy of Music is a non-fiction book by French economist and scholar, Jacques Attali. Attali's essential argument in Noise: The Political Economy of Music (French title: Bruits: essai sur l'economie politique de la musique) is that music, as a cultural form, is intimately tied up in the mode of production in any given society. For Marxist critics, this idea is nothing new. The novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place: "[Attali] is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."[1] Four Stages of Music[edit] Attali believes that music has gone through four distinct cultural stages in its history: Sacrificing, Representing, Repeating, and a fourth cultural stage which could roughly be called Post-Repeating. These stages are each linked to a certain "mode of production"; that is to say, each of these stages carries with it a certain set of technologies for producing, recording and disseminating music, and also concomitant cultural structures that allow for music's transmission and reception. Sacrificing refers to the pre-history of modern music—the period of purely oral tradition. In historical terms, this period could be dated to anytime before about 1500 AD. This is the period before mass-produced, notated music—a period when the musical tradition exists solely in the memory of people, generally in the form of oral songs and folktales. Here, Attali characterizes music as being contrasted to the "noise" of nature—of death, chaos and destruction. In other words, music stands in contrast to all of those natural forces that threaten man and his cultural heritage. The purpose of music in this era is to preserve and transmit that cultural heritage, by using music to reinforce memory. Music in this period is ubiquitous and often tied up in festival. He calls the chapter Sacrificing because in this era, music is a ritualized, structuralized sublimation of the violence of nature. Representing refers to the era of printed music—roughly 1500-1900 AD. During this era, music becomes tied to a physical medium for the first time, and therefore becomes a commodity for sale in the marketplace. During this era, Attali characterizes music as being a spectacle that is contrasted to silence—think of the hushed anticipation that greets the professional performer in the concert hall. During this era, music also becomes separated from the human life-world: no longer the purview of peasants at their labor, music becomes a highly complex, mechanical process that is articulated by specialists. He calls this chapter Representing because the project of the performer is to "re-present" music—to bring it out of absence and into presence by drawing the intent of the composer from the page and articulating it to a waiting audience: "Beginning in the eighteenth century, ritualized belonging became representation. The musician… became a producer and seller of signs who was free in appearance, but in fact almost always exploited and manipulated by his clients… The attitude of music then changed profoundly: in ritual, it was one element in the totality of life… In contrast, in representation there was a gulf between the musicians and the audience; the most perfect silence reigned in the concerts of the bourgeoisie… The trap closed: the silence greeting the musicians was what created music and gave it autonomous existence, a reality. Instead of being a relation, it was no longer anything more than a monologue of specialists competing in front of consumers. The artist was born, at the same time that his work went on sale…" (Attali, 46-47) Repeating refers to the era of recorded and broadcast sound—roughly 1900 AD-present. During this period, notation (which could be thought of as a highly coded, written guide to how music should be sounded) was replaced by recording (which is the sounding of music, trapped and preserved on vinyl, tape or disc). During this era, Attali asserts that the goal of music is not memory or quality, but fidelity—the goal of those engaged in the musical project (which includes not only composers and performers, but sound engineers, studio execs and the like) is to record sound as clearly and flawlessly as possible, and to perfectly reproduce these recordings. In this era, each musical work is contrasted to the other versions of itself—the key question for the musician becomes: how faithfully can he re-produce the "original" recording? Attali calls this chapter Repeating, then, because each musical act is a repetition of what came before: music is made up of ever-more-perfect echoes of itself: "The advent of recording thoroughly shattered representation. First produced as a way of preserving its trace, it instead replaced it as the driving force of the economy of music… for those trapped by the record, public performance becomes a simulacrum of the record: an audience generally familiar with the artist’s recordings attends to hear a live replication… For popular music, this has meant the gradual death of small bands, who have been reduced to faithful imitations of recording stars. For the classical repertory, it means the danger… of imposing all of the aesthetic criteria of repetition—made of rigor and cold calculation—upon representation." (Attali, 85) Also important to Repeating are Attali’s ideas of Exchange-Time and Use-Time. Attali defines Exchange-Time as the time spent towards earning the money needed to purchase a recording, whereas Use-Time involves the time spent listening to recordings by the purchaser. In a society made up of recording labels and radio stations, far more recordings are produced than an individual can listen to in a lifetime, and in an effort to spend more time in Use-Time than in Exchange-Time people begin to stockpile recordings of what they want to hear. Attali states that this stockpiling has become the main method of use by consumers, and in doing so, shorter musical works have been valorized. More importantly, according to Attali, this process of stockpiling removes the social and political power from music. (Attali, 101) Attali hints at a Post-Repeating era in his chapter 'Composing', but never fully develops his theory of it. While many readers consider this to be influenced by electronic musical techniques such as sampling, remixing and electronic manipulation (which were common in 1985 when the English translation was published), it is doubtful that they would have influenced Attali given that "Noise" was first published in French in 1977 (and one can assume the manuscript was completed at least several months prior to publication).

Dance Chapter

Literature Chapter

QMrA Suitable Boy is a novel by Vikram Seth, published in 1993. At 1349 pages (1488 pages softcover) and 591,552 words, the book is one of the longest novels ever published in a single volume in the English language.[1][2][3] A sequel, to be called A Suitable Girl, is due for publication in 2017.[4] A Suitable Boy is set in a newly post-independence, post-partition India. The novel follows the story of four families over a period of 18 months, and centres on Mrs. Rupa Mehra's efforts to arrange the marriage of her younger daughter, Lata, to a "suitable boy". Lata is a 19-year-old university student who refuses to be influenced by her dominating mother or opinionated brother, Arun. Her story revolves around the choice she is forced to make between her suitors Kabir, Haresh, and Amit. It begins in the fictional town of Brahmpur, located on the Ganges between Banares and Patna. Brahmpur, along with Calcutta, Delhi, Kanpur and other Indian cities, forms a colourful backdrop for the emerging stories. The 1349-page novel alternatively offers satirical and earnest examinations of national political issues in the period leading up to the first post-Independence national election of 1952, including Hindu-Muslim strife, the status of lower caste peoples such as the jatav, land reforms and the eclipse of the feudal princes and landlords, academic affairs, abolition of the Zamindari system, family relations and a range of further issues of importance to the characters. The novel is divided into 19 parts with, generally, each part focusing on a different subplot. Each part is described in rhyming couplet form on the contents page. Characters in A Suitable Boy[edit] The four main families in the novel are: The Mehras Mrs. Rupa Mehra, a mother searching for a suitable boy for her youngest daughter. Arun, Mrs. Mehra's oldest son, married to Meenakshi Chatterji Varun Savita, married to Pran Kapoor Lata, whose arranged marriage forms the basis of the main plot. The Kapoors, Mr. Mahesh Kapoor, Mrs. Mahesh Kapoor and their three children Veena, Pran (married to Savita Mehra) and Maan. The Khans, The Nawab Sahib of Baitar and his three children Zainab, Imtiaz and Firoz. The Chatterjis, Mr. Justice Chatterji and Mrs. Chatterji and their children Amit, Meenakshi (married to Arun Mehra), Dipankar, Kakoli and Tapan Kabir Durrani, a love interest of Lata, and a central hub of one of the main themes of the novel. His father is a respected, charmingly bumbling, maths teacher at the university that both Kabir and Lata attend. Kabir is a highly successful player on the university cricket team. Lata and Kabir have a brief, intense courtship; the ramifications of which echo through the rest of the novel. Haresh Khanna, an enterprising and determined shoe-businessman, who is also a love interest of the heroine. Amit Chatterji, Justice Chatterji's eldest son and internationally acclaimed poet and author. Again, a prominent love interest of Lata. Four family trees are provided in the beginning of the novel to help readers keep track of the complicated interwoven family networks. Some other prominent characters, not mentioned above, include: Nehru Malati, best friend of Lata Aparna, daughter of Meenakshi and Arun Kedarnath Tandon, married to Veena (née Kapoor) Mrs Tandon Bhashkar Tandon, son of Veena and Kedarnath Hashim Durrani, Kabir's brother Dr Durrani, mathematician Saeeda Bai, courtesan and musician Tasneem, sister of Saeeda Bai Bibbo, servant at Saeeda Bai's Rasheed, student at Brahmpur University, Tasneem's Arabic teacher Ishaq, sarangi player S S Sharma, Chief Minister Agarwal, home minister Priya, his daughter Simran, a Sikh woman and former love interest of Haresh Khanna Kalpana Gaur, friend of the Mehra family Billy Irani, friend of Arun Mehra, later has an affair with Meenakshi Shireen, his fiancee Bishwanath Bhaduri Abdus Salam Raja of Marh Rajkumar of Marh, his son Dr Bilgrami Professor Mishra, an English professor Dr Ila Chattopadhay, an English professor Hans, an Austrian diplomat Begum Abida Khan, politician The Guppi, inhabitant of Salimpur Netaji, Rasheed's uncle Sahgal Makhijani, indulgent poet Sandeep Lahiri Waris, servant at the Baitar Fort and competes with Mahesh Kapoor in the General Election Jagat Ram Tandon The Munshi, in charge of the Baitar Fort Uma Kapoor, daughter of Savita and Pran Badrinath Professor Nowrojee, who runs the university literary club attended by Kabir and Lata. Sunil Patwardhan, mathematician at Brahmpur University Parvati, Mrs Rupa Mehra's stepmother Real people and events[edit] The Praha Shoe Company of the novel is modeled on Bata Shoes.

QMRQMR In the quadrant model the fourth is always different the fifth is questionable. Family Guy is an American animated sitcom that features five main voice actors, and numerous regular cast and recurring guest stars. The principal voice cast consists of show creator Seth MacFarlane, Alex Borstein, Mila Kunis (who replaced Lacey Chabert after the first season), Seth Green, and Mike Henry. Recurring voice actors include Patrick Warburton, Adam West, John G. Brennan, Nicole Sullivan and Jennifer Tilly, and repeat guest stars include Phyllis Diller, Charles Durning, Rush Limbaugh, and Phil LaMarr. From seasons 1 to 4, Family Guy had four main cast members. Since season 5, there have been five main cast members. The casting of Meg Griffin changed after season 1. Seth MacFarlane[edit] Seth MacFarlane voices four of the show's main characters: Peter Griffin, Brian Griffin, Stewie Griffin, and Glenn Quagmire.[1] MacFarlane chose to voice these characters himself, believing it would be easier to portray the voices he had already envisioned than for someone else to attempt it.[2] MacFarlane drew inspiration for the voice of Peter from a security guard he overheard talking while attending the Rhode Island School of Design.[3] Stewie's voice was based on the voice of English actor Rex Harrison,[4] especially his performance in the 1964 musical drama film My Fair Lady.[5] MacFarlane uses his own voice while portraying Brian.[2] MacFarlane also provides the voices for various other recurring and one-time only characters, most prominently those of news anchor Tom Tucker, Lois' father Carter Pewterschmidt and Dr. Hartman.[6] He is the only voice to be in every episode. Alex Borstein[edit] Alex Borstein voices Lois Griffin, Asian correspondent Tricia Takanawa, Loretta Brown and Lois' mother Barbara Pewterschmidt.[7] Borstein was asked to provide a voice for the pilot while she was working on MADtv. She had not met MacFarlane or seen any of his artwork and said it was "really sight unseen".[8] At the time, Borstein performed in a stage show in Los Angeles, in which she played a redhead mother whose voice she had based on one of her cousins.[7][8] The voice was originally slower (and deeper for the original series), but when MacFarlane heard it, he replied "Make it a little less fucking annoying ... and speed it up, or every episode will last four hours."[7] Mila Kunis[edit] Mila Kunis is the voice of the character named Meg Griffin.[6] Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[9] MacFarlane called Kunis back after her first audition, instructing her to speak slower, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.[9] Kunis described her character as "the scapegoat". She further explained, "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in perpetual mode of humiliation. And it's fun."[10] Seth Green[edit] Seth Green primarily plays Chris Griffin and Neil Goldman.[6][11] Green stated that he did an impression of the "Buffalo Bill" character from the thriller film The Silence of the Lambs during his audition.[12] His main inspiration for Chris' voice came from envisioning how "Buffalo Bill" would sound if he were speaking through a public address system at a McDonald's.[13] Mike Henry[edit] Mike Henry is the voice of Cleveland Brown, as well as John Herbert, Bruce, and other various characters. A Family Guy writer and producer, he began acting on the show as part of the recurring cast repertory (see below) but was promoted to main cast member in 2005. Since the cancellation of The Cleveland Show, he also voices Cleveland's step-son Rallo Tubbs on Family Guy.

QMRFiction is a form of narrative, one of the four rhetorical modes of discourse. Fiction-writing also has distinct forms of expression, or modes, each with its own purposes and conventions. Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. Some writing modes suggested include action, dialogue, thoughts, summary, scene, description, background, exposition and transition.[1][2][3]

QMRRhetorical modes (also known as modes of discourse) describe the variety, conventions, and purposes of the major kinds of language-based communication, particularly writing and speaking. Four of the most common rhetorical modes and their purpose are narration, description, exposition, and argumentation.[1]

QMRFour modes of supply[edit] The GATS agreement covers four modes of supply for the delivery of services in cross-border trade: Criteria Supplier Presence Mode 1: Cross-border supply Service delivered within the territory of the Member, from the territory of another Member Service supplier not present within the territory of the member Mode 2: Consumption abroad Service delivered outside the territory of the Member, in the territory of another Member, to a service consumer of the Member Mode 3: Commercial presence Service delivered within the territory of the Member, through the commercial presence of the supplier Service supplier present within the territory of the Member Mode 4: Presence of a natural person Service delivered within the territory of the Member, with supplier present as a natural person

Cinema Chapter

QMRFour of the Apocalypse (Italian: I Quattro dell'apocalisse) is a 1975 Italian spaghetti western film directed by Lucio Fulci and starring Fabio Testi. It is based on two stories by western writer Bret Harte, "The Luck of Roaring Camp" and "The Outcasts of Poker Flat". It was filmed in Spain, Italy and Austria.

QMRChuck Moll (Italian: Ciakmull - L'uomo della vendetta, also known as Ciak Mull and The Unholy Four) is a 1970 Italian spaghetti western. The film represents the directorial debut of Enzo Barboni, that was, until then, a respected cinematographer. He replaced Ferdinando Baldi, who was fired by the producer Manolo Bolognini because of his insistence in wanting to engage the actress Annabella Incontrera in the role of Sheila.[1] Plot[edit] When a violent gang robs a bank, they also commit arson because the diversion eases their getaway. While the local prison is burning, four of its inmates profit from the general turmoil too. Among the four escapees is Ciakmull, a young man suffering with amnesia, who only remembers about his previous life that he has been home in the town Oxaca. For lack of a better idea all the fugitives go there. It shows that Ciakmull is not forgotten in Oxaca. Lion Udo, the father of one of the bankrobbers, recognises Ciakmull. He, whose clan has a feud with Ciakmull's family, takes advantage of his condition by turning him against his own kin. Before this plan works out, Ciakmull is warned on time by one of his fellow fugitives. Ciakmull contacts his half-brother Alan and his father John Caldwell. Only then he learns what caused his amnesia and why he'd ended up in prison. It was Alan who once mistreated Ciakmull and ran a scheme to put him away. He hates Ciakmull since he knows that Ciakmull is not the son of John Caldwell, but the child of a rapist.

QMRFour Days in July is a 1985 television film by Mike Leigh. Set and filmed in Belfast, the film explores the Troubles by following the daily lives of two couples on either side of Northern Ireland's religious divide, both expecting their first children.[1] The film's action unfolds over 10–13 July 1984; the two couples' children are both born on 12 July, the date of a Protestant celebration in Northern Ireland known as the Twelfth.[2] Despite the politically charged setting, the film is uniquely uneventful, at least on the surface; Paul Clements writes that "It is hard to identify any full length work by Leigh in which less of consequence seems to happen."[3] Broadcast once in January 1985, it was Leigh's last film for the BBC.[4][5]

QMRQMR In the quadrant model the fourth is always different the fifth is questionable. Family Guy is an American animated sitcom that features five main voice actors, and numerous regular cast and recurring guest stars. The principal voice cast consists of show creator Seth MacFarlane, Alex Borstein, Mila Kunis (who replaced Lacey Chabert after the first season), Seth Green, and Mike Henry. Recurring voice actors include Patrick Warburton, Adam West, John G. Brennan, Nicole Sullivan and Jennifer Tilly, and repeat guest stars include Phyllis Diller, Charles Durning, Rush Limbaugh, and Phil LaMarr. From seasons 1 to 4, Family Guy had four main cast members. Since season 5, there have been five main cast members. The casting of Meg Griffin changed after season 1. Seth MacFarlane[edit] Seth MacFarlane voices four of the show's main characters: Peter Griffin, Brian Griffin, Stewie Griffin, and Glenn Quagmire.[1] MacFarlane chose to voice these characters himself, believing it would be easier to portray the voices he had already envisioned than for someone else to attempt it.[2] MacFarlane drew inspiration for the voice of Peter from a security guard he overheard talking while attending the Rhode Island School of Design.[3] Stewie's voice was based on the voice of English actor Rex Harrison,[4] especially his performance in the 1964 musical drama film My Fair Lady.[5] MacFarlane uses his own voice while portraying Brian.[2] MacFarlane also provides the voices for various other recurring and one-time only characters, most prominently those of news anchor Tom Tucker, Lois' father Carter Pewterschmidt and Dr. Hartman.[6] He is the only voice to be in every episode. Alex Borstein[edit] Alex Borstein voices Lois Griffin, Asian correspondent Tricia Takanawa, Loretta Brown and Lois' mother Barbara Pewterschmidt.[7] Borstein was asked to provide a voice for the pilot while she was working on MADtv. She had not met MacFarlane or seen any of his artwork and said it was "really sight unseen".[8] At the time, Borstein performed in a stage show in Los Angeles, in which she played a redhead mother whose voice she had based on one of her cousins.[7][8] The voice was originally slower (and deeper for the original series), but when MacFarlane heard it, he replied "Make it a little less fucking annoying ... and speed it up, or every episode will last four hours."[7] Mila Kunis[edit] Mila Kunis is the voice of the character named Meg Griffin.[6] Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[9] MacFarlane called Kunis back after her first audition, instructing her to speak slower, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.[9] Kunis described her character as "the scapegoat". She further explained, "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in perpetual mode of humiliation. And it's fun."[10] Seth Green[edit] Seth Green primarily plays Chris Griffin and Neil Goldman.[6][11] Green stated that he did an impression of the "Buffalo Bill" character from the thriller film The Silence of the Lambs during his audition.[12] His main inspiration for Chris' voice came from envisioning how "Buffalo Bill" would sound if he were speaking through a public address system at a McDonald's.[13] Mike Henry[edit] Mike Henry is the voice of Cleveland Brown, as well as John Herbert, Bruce, and other various characters. A Family Guy writer and producer, he began acting on the show as part of the recurring cast repertory (see below) but was promoted to main cast member in 2005. Since the cancellation of The Cleveland Show, he also voices Cleveland's step-son Rallo Tubbs on Family Guy.

QMrLate Night is an American late-night talk and variety show airing on NBC since 1982. Four men have hosted Late Night: David Letterman (1982–93), Conan O'Brien (1993–2009), Jimmy Fallon (2009–14), and Seth Meyers (2014–present).[1] Each iteration of the show was built around its host, and maintained distinct identities aside from the title. The longest-serving host to date was O'Brien, who hosted Late Night with Conan O'Brien for 16 years, from September 1993 to February 2009.

QMRSeth Ezekiel Cohen [2] is a fictional character on the FOX television series The O.C., portrayed by Adam Brody. Seth is one of the "core four" characters on The O.C. alongside Ryan Atwood, Marissa Cooper, and Summer Roberts. Seth's friendship with Ryan, who eventually became his adoptive brother, formed a focal point of the series along with their romances. Seth married Summer in the series finale. His other relationships were with Anna Stern and Alex Kelly. Seth's goal was to attend Brown University, but he ends up going to Rhode Island School of Design (RISD) and continuing work on his comic book Atomic County. The role saw Brody win four Teen Choice Awards from five nominations, from 2004 to 2006.

QMRSoap opera ratings have significantly fallen in the U.S. since the 2000s. No new major daytime soap opera has been created since Passions in 1999, while many have been cancelled. The Young and the Restless, the highest-rated soap opera from 1988 to the present, had fewer than 5 million daily viewers as of February 2012, a number exceeded by several non-scripted programs such as Judge Judy.[21] Circulations of soap opera magazines have decreased and some have even ceased publication.[22] SOAPnet, which largely aired soap opera reruns, began to be phased out in 2012 and fully ceased operations the following year.[23] Since January 2012, four daytime soap operas – General Hospital, Days of our Lives, The Young and the Restless and The Bold and the Beautiful – continue to air on the three major networks, down from a total of 12 during the 1990–91 season and a high of 19 in the 1969–70 season. This marks the first time since 1953 that there have been only four soap operas airing at present on broadcast television.[24]

QMRAida (Italian: [aˈiːda]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in Egypt, it was commissioned by and first performed at Cairo's Khedivial Opera House on 24 December 1871; Giovanni Bottesini conducted after Verdi himself withdrew. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.[1]

Suite: Four Portraits and a Dėnouement from The Gambler, op. 49[edit] Prokofiev produced an orchestral suite from the opera in 1931. The four portraits are Alexei, Babulenka, the General and Polina; the dénouement is not in fact the last scene of the opera, but represents Alexei's winning streak at roulette. As The Gambler is not a number opera, none of the characters has any extended arias; Prokofiev therefore gathered the basic materials for the suite by tearing up the score and heaping the pages relating to each character together in piles.[10]

QMRThe Gambler (Russian: Игрок — Igrok in transliteration) is an opera in four acts by Sergei Prokofiev to a Russian libretto by the composer, based on the story of the same name by Fyodor Dostoyevsky.

QMRBeethoven struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known as "Leonore No. 2". Beethoven then focused this version for the performances of 1806, creating "Leonore No. 3". The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the effect of overwhelming the (rather light) initial scenes of the opera. Beethoven accordingly experimented with cutting it back somewhat, for a planned 1808 performance in Prague; this is believed to be the version now called "Leonore No. 1". Finally, for the 1814 revival Beethoven began anew, and with fresh musical material wrote what we now know as the Fidelio overture. As this somewhat lighter overture seems to work best of the four as a start to the opera, Beethoven's final intentions are generally respected in contemporary productions.

QMRŒdipe is an opera in four acts by the Romanian composer George Enescu, based on the mythological tale of Oedipus, and set to a French libretto by Edmond Fleg. Enescu had the idea to compose an Oedipus-inspired opera even before finding a libretto and began to sketch music for it in 1910. The first-draft libretto from Fleg arrived in 1913. Enesco completed the music in 1922 and the orchestration in 1931. The opera received its world premiere in Paris on 13 March 1936.[1] The first German production was in Berlin in 1996, in a production that subsequently traveled to the Vienna State Opera.[2] The United States premiere was in 2005 at the University of Illinois at Urbana-Champaign.[3]

qMRBilly Budd, Op. 50, is an opera by Benjamin Britten to a libretto by the English novelist E. M. Forster and Eric Crozier, based on the short novel Billy Budd by Herman Melville. Originally in four acts, it was first performed at the Royal Opera House, London, on 1 December 1951; it was later revised as a two-act opera with a prologue and an epilogue.

qMRPronunciation is conceptualized as shaping the throat and mouth into the shape necessary to produce the desired vowel sound, and clearly articulating the initial consonant. There are four basic shapes for the throat and mouth, corresponding to four vowel types, and five methods of articulating consonants, one for each type of consonant. The four throat and mouth shapes are "opened-mouth" (kaikou), "level-teeth" (qichi), "closed-mouth" (hekou or huokou), and "scooped-lips" (cuochun). The five consonant types are denoted by the portion of the mouth most critical to each type's production: throat, or larynx (hou); tongue (she); molars, or the jaws and palate (chi); front teeth (ya); and lips (chun).[69]

QMrVocal production in Peking opera is conceived of as being composed of "four levels of song": songs with music, verse recitation, prose dialogue, and non-verbal vocalizations. The conception of a sliding scale of vocalization creates a sense of smooth continuity between songs and speech. The three basic categories of vocal production technique are the use of breath (yongqi), pronunciation (fayin), and special Peking-opera pronunciation (shangkouzi).[67]

QMRPeking-opera performers use four main skills. The first two are song and speech. The third is dance-acting. This includes pure dance, pantomime, and all other types of dance. The final skill is combat, which includes both acrobatics and fighting with all manner of weaponry. All of these skills are expected to be performed effortlessly, in keeping with the spirit of the art form.[58]

QMRThe roles on the Peking Opera stage fall into four major roles-Sheng (生), Dan (旦), Jing (净), Chou (丑).[42] Sheng (生): refer to men, divided into Laosheng (老生)，Xiaosheng (小生)，Wusheng (武生) Dan (旦): refer to women, divided into Zhengdan (正旦), Laodan (老旦), Huadan (花旦), Wudan (武旦), Daomadan (刀马旦) Jing (净): refer to painted-face role, know popularly as Hualian, divided into Zhengjing (正净), Fujing (副净), Wujing (武净), Maojing (毛净) Chou (丑): refer to painted-face role, know popularly as Xiao hualian, divided into Wenchou (文丑), Wuchou (武丑), Nüchou (女丑)

QMRPeking opera features four main types of performers. Performing troupes often have several of each variety, as well as numerous secondary and tertiary performers. With their elaborate and colorful costumes, performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech, song, dance, and combat in movements that are symbolic and suggestive, rather than realistic. Above all else, the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production.[5] The layers of meaning within each movement must be expressed in time with music. The music of Peking opera can be divided into the Xipi (西皮) and Erhuang (二黄) styles. Melodies include arias, fixed-tune melodies, and percussion patterns.[6] The repertoire of Peking opera includes over 1,400 works, which are based on Chinese history, folklore, and, increasingly, contemporary life.[7]

QMREdgar is an operatic dramma lirico in three acts (originally four acts) by Giacomo Puccini to an Italian libretto by Ferdinando Fontana, freely based on the play in verse La Coupe et les lèvres (The Cup and the Lips) by Alfred de Musset.

QMRVanessa is an American opera in three (originally four) acts by Samuel Barber, opus 32, with an original English libretto by Gian-Carlo Menotti. It was composed in 1956–1957 and was first performed at the Metropolitan Opera in New York City on January 15, 1958 under the baton of Dimitri Mitropoulos in a production designed by Cecil Beaton and directed by Menotti. Barber revised the opera in 1964, reducing the four acts to the three-act version most commonly performed today.

qMRCarmen (French pronunciation: [kaʁmɛn]; Spanish: [ˈkarmen]) is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed at the Opéra-Comique in Paris on 3 March 1875 and was not well received, largely due to its breaking of convention and controversial main characters, which shocked and scandalized its first audiences. Bizet died suddenly after the 33rd performance, and therefore was unaware of its outstanding success in Vienna later that year, or that it would win enduring international acclaim within the next ten years.[1] Carmen has since become one of the most popular and frequently performed operas in the classical canon;[1][2] the "Habanera" from act 1 and the "Toreador Song" from act 2 are among the best known of all operatic arias.

QMRGuillaume Tell (English: William Tell, Italian: Guglielmo Tell) is an opera in four acts by Gioachino Rossini to a French libretto by Étienne de Jouy and Hippolyte Bis. Based on Friedrich Schiller's play William Tell, which drew on the William Tell legend, the opera was Rossini's last, although he lived for nearly forty more years. The overture, in four sections and featuring a depiction of a storm as well as a vivacious finale, the "March of the Swiss Soldiers," is often played.

QMrWhen performed in one of its several Italian versions, the opera is generally called Don Carlo. The first Italian version given in Italy was in Bologna in March 1867. Revised again by Verdi, it was given in Naples in November/December 1872. Finally, two other versions were prepared: the first was seen in Milan in January 1884 (in which the four acts were based on some original French text which... See More

QMRIl trovatore (pronounced [il trovaˈtoːre]; Italian for "The Troubadour") is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."[1]

QMRIt was first performed at Sadler's Wells in London on 7 June 1945, conducted by Reginald Goodall, and was the first of Britten's operas to be a critical and popular success. It is still widely performed, both in the UK and internationally, and is considered part of the standard repertoire. In addition, the Four Sea Interludes were published separately (as Op. 33a) and are frequently performed as an orchestral suite. The Passacaglia was also published separately (as Op. 33b), and is also often performed, either together with the Sea Interludes or by itself.

QMROtello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.

QMRTom Johnson (born November 18, 1939 in Greeley, Colorado), is an American minimalist composer, a former student of Morton Feldman.[1] He wrote The Four Note Opera

The "missing act" is located in the timeline between the Café Momus scene and act 3 and describes an open-air party at Musetta's dwelling. Her protector has refused to pay further rent out of jealous feelings, and Musetta's furniture is moved into the courtyard to be auctioned off the following morning. The four Bohemians find in this an excuse for a party and arrange for wine and an orchestra. Musetta gives Mimì a beautiful gown to wear and introduces her to a Viscount. The pair dances a quadrille in the courtyard, which moves Rodolfo to jealousy. This explains his act 3 reference to the "moscardino di Viscontino" (young fop of a Viscount). As dawn approaches, furniture dealers gradually remove pieces for the morning auction.

QMRLa bohème (French pronunciation: [la bɔ.ɛm], Italian: [la boˈɛm]) is an opera in four acts,[N 1] composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger.[1] The world premiere performance of La bohème was in Turin on 1 February 1896 at the Teatro Regio,[2] conducted by the young Arturo Toscanini; its U.S. premiere took place the next year, 1897, in Los Angeles. Since then, La bohème has become part of the standard Italian opera repertory and is one of the most frequently performed operas worldwide.[3]

QMR four levels detachment in Doris Lestings Shikala

qMRExtreme Days is a 2001 Christian-based comedy romance film about four boys on a roadtrip that they have been planning their whole lives. Their dreams are to participate in many extreme sports, but they are stopped short due to many circumstances. "Road trip!" Four childhood friends, Will, Brian, Corey, and Matt, have been saying that since they were kids their dream is to surf, skate, and snowboard across California. After graduating from junior college, it is now their time and nothing can stop them — except money — so they decide to put their education to work. Through their jobs of life-guarding kiddie pools and working at Turkish restaurants they manage to save $847.53, more than enough to cross California in their Joyota, a reconstructed jeep with a rebuilt Toyota engine. Never having so much freedom in their lives, they decide to go to Mexico where they surf the fierce and unpredictable waves of Larosarita. Unexpectedly, Corey receives a phone call and is told of the death of his grandfather, "Grandpa G." His stepdad Frank tells him that his grandpa left him a bunch of money and his car, so Corey has to travel up to Yakima, Washington to get it. The friends, all being very close to Grandpa G., decide they will all go, counting on the fact that once they get there, they'll have more than enough money to get back.

Philosophy Chapter

QMrCharlotte Center City (known as Uptown) is the central area of Charlotte, North Carolina within the bounds of I-277. The area is split into four neighborhoods (Wards) by the intersection of Trade and Tryon Streets.

QMrFour to Doomsday is the second serial of the 19th season in the British science fiction television series Doctor Who, which was first broadcast in four twice-weekly parts from 18–26 January 1982. The TARDIS crew are reunited as guests aboard the ship, and it soon becomes apparent that there are four distinct human cultures represented on the vessel by a small group of humans – Ancient Greeks, the leader of whom is the philosopher Bigon; Chinese Mandarins and their leader Lin Futu; Princess Villagra and representatives of the Maya peoples; and Kurkutji and his tribesmen, of a very ancient Australian Aboriginal culture. The Urbankans have made periodic visits to Earth, each time getting speedier in their journeys. This time they have left their homeworld after erratic solar activity, storing three billion of their species on slides aboard their craft. It seems that the current journey is their last and that they now wish to settle on Earth, which they are due to reach in four days. The Doctor becomes suspicious of Monarch and soon learns that the Urbankan does not plan on peaceful co-existence. Instead, he has developed a toxin to wipe out humanity, which will be unleashed before the Urbankans disembark. He also learns that the humans aboard are not descendants of the original abductees, but are the original people taken from Earth and converted into androids, like the three Urbankans walking around on board (Monarch's actual status, whether partly cybernetic or completely organic, is not stated explicitly. Monarch described the era prior to Monarch's conversion of Urbankan life forms into cyborgs as the 'flesh-time'). The four leaders of the peoples have been given additional circuits to help them reason, but this facility can be taken away, as Bigon learns when he rebels against Monarch, and his neural circuit is removed and placed in a container for five centuries. He explained to the Doctor that Monarch strip-mined and destroyed Urbanka in a quest for minerals to improve the ship, and now plans to do the same to Earth. Monarch believes that if he can move the ship faster than the speed of light, he can pilot it back to the beginning of time and discover himself as God. Adric, nevertheless, is rather taken with Monarch, and tensions between him and the Doctor become very strained. It takes the truth to break the alien’s hold over the boy. The Doctor now sets about overthrowing Monarch and, with the help of the human androids led by a restored Bigon, a revolution is put into effect. Enlightenment and Persuasion are decircuited, while Monarch himself (whom the Doctor realises is still organic as there is an oxygen-producing flora chamber on the ship) is exposed to the deadly toxin and killed. The humanoid androids decide to pilot the vessel to a new home on a new world, while the TARDIS crew departs. Back in the console room, Nyssa suddenly collapses to the floor in a dead faint.

QMRThe multidisciplinary nature of gerontology means that there are a number of subfields, as well as associated fields such as psychology and sociology that overlap with gerontology. Gerontologists view aging in terms of four distinct processes: chronological aging, biological aging, psychological aging, and social aging.[1] Chronological aging is the definition of aging based on a person's yearslived from birth.[1] Biological aging refers to the physical changes that reduce the efficiency of organ systems.[1] Psychological aging includes the changes that occur in sensory and perceptual processes, cognitive abilities, adaptive capacity, and personality.[1] Social aging refers to an individual's changing roles and relationships with family, friends, and other informal supports, productive roles and within organizations.[1]

QMRThe transit routes for road travel connecting West Berlin to other destinations usually consisted of autobahns and other highways, marked by Transit signs. Transit travellers (German: Transitreisende) were prohibited to leave the transit routes, and occasional traffic checkpoints would check for violators. There were four transit routes between West Berlin and West Germany: One between West Berlin's Heerstraße with the East German checkpoint in Dallgow until 1951, then replaced by Staaken for destinations in Northern Germany (originally via highway F 5) at the Eastern checkpoint in Horst (a part of today's Nostorf) and the Western Lauenburg upon Elbe. These were replaced on 20 November 1982 by a new autobahn crossing at Zarrentin (E)/Gudow (W).[32] On 1 January 1988, the new Stolpe checkpoint opened on this route to West Berlin. This is part of today's Hohen Neuendorf (E)/Berlin-Heiligensee (W).[citation needed] A second transit route led to Northwestern and Western Germany – following today's A 2 – crossing the inner German border at Marienborn (E)/Helmstedt (W), also called Checkpoint Alpha. A third route to Southwestern Germany consisted of today's A 9 and A 4 with border crossing at Wartha (E)/Herleshausen (W).[citation needed] A fourth (via today's A 9) to Southern Germany had border crossings originally at Mount Juchhöh (E)/Töpen (W) and later at Hirschberg upon Saale (E)/ Rudolphstein (a part of today's Berg in Upper Franconia) (W).[citation needed]

QMRThe Old Four is a soccer conference composed of four public institutions of higher education in Central Canada. The name is also an appellation for the four universities as a group, consisted of McGill University, Queen’s University, University of Toronto and University of Western Ontario. They are home to the original four soccer teams in Canadian collegiate athletics.[1] The Old Four holds an annual exhibition tournament over the Labour Day weekend, although the teams do not accumulate points toward the regular season of the Canadian Interuniversity Sport competition.

QMrThe King and Four Queens is a 1956 American Western adventure comedy/mystery film starring Clark Gable and Eleanor Parker. Directed by Raoul Walsh, the film is based on a story written by Margaret Fitts, who also wrote the screenplay along with Richard Alan Simmons.[2]

QMRFour Rode Out is a 1971 Spanish/American adventure/western film starring Sue Lyon, Pernell Roberts and Leslie Nielsen.

QMRNorthern College is a college of applied arts and technology in Northern Ontario. The College's catchment area extends across 58,000 square miles or 150,200 square kilometres. More than 65 communities within Northeastern Ontario are served by four campuses located in Timmins (Porcupine), Kirkland Lake, Moosonee, and Haileybury. Annual enrolment is approximately 1,500 full-time students. Annual part-time and continuing education enrolment exceeds 11,000 students. Northern College is also home to the world-renowned Haileybury School of Mines.

QMRAccording to the Bible, in the days of Lot, before the destruction of Sodom and Gomorrah, the Elamite king Chedorlaomer had subdued the tribes and cities surrounding the Jordan River plain. After thirteen years, four kings of the cities of the Jordan plain revolted against Chedorlaomer's rule. According to Jewish tradition, the revolt started with their refusal to pay tribute to King Chedorlaomer. In response, Chedorlaomer and three other northern kings started a campaign against Bera, the king of Sodom, and the three other southern kings with him.(Genesis 14:1–7) Four Northern Kings[edit] The four invading, enemy kings were: King Amrapel, ruler of Shinar King Arioch, ruler of Ellasar King Chedorlaomer, ruler of Elam King Tidal, ruler of Goiim

QMRUnder the Whyte notation for the classification of steam locomotives, 4-8-4 represents the wheel arrangement of four leading wheels on two axles, usually in a leading truck, eight powered and coupled driving wheels on four axles, and four trailing wheels on two axles, usually in a trailing truck. The type was first used by the Northern Pacific Railway and is consequently most commonly known as a Northern. 16 is the squares of the quadrant model

QMRIn the context of the American Civil War, the border states were slave states that did not secede from the Union. Four slave states never declared a secession: Delaware, Kentucky, Maryland, and Missouri. Four others did not declare secession until after the Battle of Fort Sumter: Arkansas, North Carolina, Tennessee, and Virginia—after which, they were less frequently called "border states". Also included as a border state during the war is West Virginia, which broke away from Virginia and became a new state in the Union in 1863.[1][2]

QMRThe West Indian cricket team played 16 first-class cricket matches in England in 1988, under the captaincy of Viv Richards. The West Indies enjoyed tremendous success during the tour, while England endured a "disastrous summer" of continuous change.[1] England easily won the initial three-match One Day International (ODI) series, retaining the Texaco Trophy and raising expectations for a successful summer in the five-match Test series to follow. However, the West Indies comfortably retained the Wisden Trophy by winning the Test series 4–0. This tour has become known in cricketing circles as the "summer of four captains" as England used four different captains in the five Test matches.[2][3][4]

QMRFor Aristotelian philosophy before Aquinas, the word cause had a broad meaning. It meant 'answer to a why question' or 'explanation', and Aristotelian scholars recognized four kinds of such answers. With the end of the Middle Ages, in many philosophical usages, the meaning of the word 'cause' narrowed. It often lost that broad meaning, and was restricted to just one of the four kinds. For authors such as Niccolò Machiavelli, in the field of political thinking, and Francis Bacon, concerning science more generally, Aristotle's moving cause was the focus of their interest. A widely used modern definition of causality in this newly narrowed sense was assumed by David Hume.[

QMRAristotle identified four kinds of answer or explanatory mode to various "Why?" questions. He thought that, for any given topic, all four kinds of explanatory mode were important, each in its own right. As a result of traditional specialized philosophical peculiarities of language, with translations between ancient Greek, Latin, and English, the word 'cause' is nowadays in specialized philosophical writings used to label Aristotle's four kinds.[15][51] In ordinary language, there are various meanings of the word cause, the commonest referring to efficient cause, the topic of the present article. Material cause, the material whence a thing has come or that which persists while it changes, as for example, one's mother or the bronze of a statue (see also substance theory).[52] Formal cause, whereby a thing's dynamic form or static shape determines the thing's properties and function, as a human differs from a statue of a human or as a statue differs from a lump of bronze.[53] Efficient cause, which imparts the first relevant movement, as a human lifts a rock or raises a statue. This is the main topic of the present article. Final cause, the criterion of completion, or the end; it may refer to an action or to an inanimate process. Examples: Socrates takes a walk after dinner for the sake of his health; earth falls to the lowest level because that is its nature. Of Aristotle's four kinds or explanatory modes, only one, the 'efficient cause' is a cause as defined in the leading paragraph of this present article. The other three explanatory modes might be rendered material composition, structure and dynamics, and, again, criterion of completion. The word that Aristotle used was αἰτία. For the present purpose, that Greek word would be better translated as "explanation" than as "cause" as those words are most often used in current English. Another translation of Aristotle is that he meant "the four Becauses" as four kinds of answer to "why" questions.[15] Aristotle assumed efficient causality as referring to a basic fact of experience, not explicable by, or reducible to, anything more fundamental or basic. In some works of Aristotle, the four causes are listed as (1) the essential cause, (2) the logical ground, (3) the moving cause, and (4) the final cause. In this listing, a statement of essential cause is a demonstration that an indicated object conforms to a definition of the word that refers to it. A statement of logical ground is an argument as to why an object statement is true. These are further examples of the idea that a "cause" in general in the context of Aristotle's usage is an "explanation".[15] The word "efficient" used here can also be translated from Aristotle as "moving" or "initiating".[15] Efficient causation was connected with Aristotelian physics, which recognized the four elements (earth, air, fire, water), and added the fifth element (aether). Water and earth by their intrinsic property gravitas or heaviness intrinsically fall toward, whereas air and fire by their intrinsic property levitas or lightness intrinsically rise away from, Earth's center—the motionless center of the universe—in a straight line while accelerating during the substance's approach to its natural place. As air remained on Earth, however, and did not escape Earth while eventually achieving infinite speed—an absurdity—Aristotle inferred that the universe is finite in size and contains an invisible substance that held planet Earth and its atmosphere, the sublunary sphere, centered in the universe. And since celestial bodies exhibit perpetual, unaccelerated motion orbiting planet Earth in unchanging relations, Aristotle inferred that the fifth element, aither, that fills space and composes celestial bodies intrinsically moves in perpetual circles, the only constant motion between two points. (An object traveling a straight line from point A to B and back must stop at either point before returning to the other.) Left to itself, a thing exhibits natural motion, but can—according to Aristotelian metaphysics—exhibit enforced motion imparted by an efficient cause. The form of plants endows plants with the processes nutrition and reproduction, the form of animals adds locomotion, and the form of humankind adds reason atop these. A rock normally exhibits natural motion—explained by the rock's material cause of being composed of the element earth—but a living thing can lift the rock, an enforced motion diverting the rock from its natural place and natural motion. As a further kind of explanation, Aristotle identified the final cause, specifying a purpose or criterion of completion in light of which something should be understood. Aristotle himself explained, Cause means (a) in one sense, that as the result of whose presence something comes into being—e.g., the bronze of a statue and the silver of a cup, and the classes which contain these [i.e., the material cause]; (b) in another sense, the form or pattern; that is, the essential formula and the classes which contain it—e.g. the ratio 2:1 and number in general is the cause of the octave—and the parts of the formula [i.e., the formal cause]. (c) The source of the first beginning of change or rest; e.g. the man who plans is a cause, and the father is the cause of the child, and in general that which produces is the cause of that which is produced, and that which changes of that which is changed [i.e., the efficient cause]. (d) The same as "end"; i.e. the final cause; e.g., as the "end" of walking is health. For why does a man walk? "To be healthy", we say, and by saying this we consider that we have supplied the cause [the final cause]. (e) All those means towards the end which arise at the instigation of something else, as, e.g., fat-reducing, purging, drugs and instruments are causes of health; for they all have the end as their object, although they differ from each other as being some instruments, others actions [i.e., necessary conditions]. — Metaphysics, Book 5, section 1013a, translated by Hugh Tredennick[54] Aristotle further discerned two modes of causation: proper (prior) causation and accidental (chance) causation. All causes, proper and accidental, can be spoken as potential or as actual, particular or generic. The same language refers to the effects of causes, so that generic effects are assigned to generic causes, particular effects to particular causes, and actual effects to operating causes. Averting infinite regress, Aristotle inferred the first mover—an unmoved mover. The first mover's motion, too, must have been caused, but, being an unmoved mover, must have moved only toward a particular goal or desire.

QMRThe four symbols that are commonly used in arithmetic

QMRArithmetic or arithmetics (from the Greek ἀριθμός arithmos, "number") is the oldest[1] and most elementary branch of mathematics. It consists of the study of numbers, especially the properties of the four traditional operations between them—addition, subtraction, multiplication and division. Arithmetic is an elementary part of number theory, and number theory is considered to be one of the top-level divisions of modern mathematics, along with algebra, geometry, and analysis. The terms arithmetic and higher arithmetic were used until the beginning of the 20th century as synonyms for number theory and are sometimes still used to refer to a wider part of number theory.[2]

QMR- the new Jerusalem- The city lies foursquare, its length the same as its width. And he measured the city with his rod, 12,000 stadia. Its length and width and height are equal.

QMRMystic Arcana is a 2007 Marvel Comics storyline published as a series of four one-shot titles. Each book in the series contains an individual main story followed by a back-up story with a plot that continues through all four books. The main story in each book focuses upon a different fictional character, each of whom in previous Marvel publications have had associations with magic. The four characters featured are Magik, the Black Knight, the Scarlet Witch, and Sister Grimm. Artist Marko Djurdjevic illustrated the cover for each issue.Each issue of "Mystic Arcana" contains a 22-page main story, and a 10-page back-up story. The main stories in each revolve around the introduction of one of four different groups of "mystical implements" (which Beard describes as "pillars of the [Marvel] Universe" and David Sexton calls "The Cornerstones of Creation").[1][4] The back-up stories focus on the quest of Ian McNee, one time Dr. Strange adversary, to collect one implement from each of The Cornerstones of Creation. Individual issues of the Mystic Arcana series corresponds to one of the four classical Greek elements and features a different Marvel character.[2] Additionally, David Sexton explains,"the series is called Mystic Arcana...because the Minor Arcana of the Tarot will serve as the unifying element to the stories." Sexton cites the character Magik as the representative of the Tarot minor arcana suit of swords, Black Knight for the suit of pentacles, Scarlet Witch for the suit of cups, and Nico Minoru for the suit of wands.[2] Information on the focus of each issue and their different creative teams is as follows: Mystic Arcana Book I: Air (focusing on Illyana Rasputin/Magik). Author: Louise Simonson. Pencils: Steve Scott.[5][6] Mystic Arcana Book II: Earth (focusing on Sir Percy of Scandia, the Black Knight). Author: Roy Thomas (with plotting assist by Jean-Marc Lofficier). Pencils: Tom Grummett & Scott Hanna. Mystic Arcana Book III: Water (focusing on Wanda Maximoff/The Scarlet Witch). Author: Jeff Parker. Pencils: Juan Santacruz. Mystic Arcana Book IV: Fire (focusing on Nico Minoru/Sister Grimm) Author: C. B. Cebulski. Pencils: Phil Noto.[1][2] A fifth book, The Marvel Tarot, which is related to, but separate from the four issue series, focuses on Ian McNee with various Marvel archetypal characters appearing on Tarot Cards. The Marvel Tarot was written and illustrated by David Sexton with Doug Sexton and Jeff Christiansen.[1][2]In Mystic Arcana: Sister Grimm McNee is quietly working in his shop when Marie LeVeau steps in. LeVeau gives a gift that he reluctantly accepts. It's the last page of the infamous Darkhold she received from the Dark Mirror. LeVeau states that she's turned a new leaf and wants to help Ian. With that, she disappears in a cloud of smoke. Almost immediately after, the Bright Lady appears and instructs Ian to perform the ritual. Ian questions Oshtur's choice of him to perform the task, he states that perhaps Dr. Strange would be better suited for the spell. Oshtur urges him to complete the spell and Ian finally agrees. Once the cornerstones are gathered, Ian begins by connecting to the guardians of the other three cornerstones, Llyra, Moragen LeFey, and Ashake. After Ian successfully breaks the spell containing the essence of Heka Nut, Oshtur finally reveals that she is in fact not Oshtur, but the darklord Chthon. Chthon reveals his plans of world domination using the four cornerstones, at that point Ian and the others counter Chthon's deception and begin to attack him. Ashake pleads with Heka Nut to remember his humanity and the goodness that is within him. They rekindle their friendship and Ashake releases his soul from Ian's body by slicing through his spirit with the Sword of Bone. With the spell broken, the sorcerers are released from the chaotic swirl of mystic energy. Somehow, Ashake is pulled from her timeline into the present. Chthon tells Ian that because he used the Darkhold's magic to restore the balance between the cornerstones, he tainted his soul and part of it now belongs to Chthon. Ian lost a part of his soul and Ashake is now "lost" in the present. At that point, the real Oshtur reveals herself and tells the heroes that all is not lost and the balance in magic must truly be restored. She instructs them to rest, as they will be the sorcerers charged with restoring that balance.

qMRMaier has presided over an extensive but deliberate expansion of the Bottega Veneta brand. He presented his first collection, which consisted solely of accessories, in September 2001, just a few months after being hired. Before embarking on a broader mission, he constituted the core values of Bottega Veneta, which he calls “the four cornerstones”: fine-quality materials, extraordinary craftsmanship, contemporary functionality, and timeless design. The Cabat was introduced by Tomas Maier in his first collection and was designed to represent each of these core values, since becoming one of the label’s top selling items. Maier also affirmed that Bottega Veneta would return to its logo-less heritage,[1] conveyed in the famous slogan, “When your own initials are enough.”

QMRA more rectangular variant of the Army of Northern Virginia battle flag, common in modern reproductions. (A similar flag was used during the war by the Army of Tennessee under General Joseph E. Johnston.[34][35]) It is a cross

QMRBattle flag of Forrest's Cavalry Corps, 1863-65 It is a cross

QMrSouth Carolina Sovereignty/Secession Flag with the decrescent moon and the palmetto in the left corner. It is a cross

It is a cross

QMRThe Battle Flag of the Army of Northern Virginia

QMRThe Big Four was a name used to describe the four largest railway companies in the United Kingdom in the period 1923–47. The name was coined by The Railway Magazine in its issue of February 1923: "The Big Four of the New Railway Era".

The Big Four were:

Great Western Railway (GWR)

London, Midland and Scottish Railway (LMS)

London and North Eastern Railway (LNER)

Southern Railway (SR)

QMR"The four [Basque] Spanish provinces are Viscay, Guipuzcoa (bordering on the Gulf of Gascony), and Álava and Navarre in the interior, and these provinces are still practically independent units and administer their own laws. Up to the first Carlist war in 1836 they were treated as a foreign country by Spain, forbidden to trade with the Spanish colonies, and a Spanish Aduane was on the farther side. But since 1878 they have been actually under Spanish government." Elsner, Eleanor. 1927. The Romance of the Basque Country and the Pyrenees. London. [1]

qMRMajority of the people in South India speak one of the four major Dravidian languages: Telugu, Tamil, Kannada and Malayalam. During its history, a number of dynastic kingdoms ruled over parts of South India whose invasions across southern and southeastern Asia impacted the history and culture in those regions. Major dynasties that were established in South India include the Cheras, Cholas, Pandyas, Pallavas, Satavahanas, Chalukyas, Rashtrakutas and Vijayanagara. European countries entered India through Kerala and the region was colonised by Britain and other nations.

QMRThe Southern Colonies[edit] Carolina[edit] The Province of Carolina, originally chartered in 1608, was an English and later British colony of North America. Because the original charter was unrealized and was ruled invalid, a new charter was issued to a group of nine English noblemen, the Lords Proprietors, on March 24, 1663.[6] Led informally by Anthony Ashley-Cooper, 1st Earl of Shaftesbury, the Province of Carolina was controlled from 1663 to 1729 by these lords and their heirs. Shaftesbury and his secretary, the philosopher John Locke, devised an intricate plan to govern the many people arriving in the colony. The Fundamental Constitutions of Carolina sought to ensure the colony's stability by allotting political status by a settler's wealth upon arrival - making a semi-manorial system with a Council of Nobles and a plan to have small landholders defer to these nobles. However, the settlers did not find it necessary to take orders from the Council. By 1680, the colony had a large export industry of tobacco, lumber, and pitch. In 1691, dissent over the governance of the province led to the appointment of a deputy governor to administer the northern half of Carolina. The division between the northern and southern governments became complete in 1712, but both colonies remained in the hands of the same group of proprietors. A rebellion against the proprietors broke out in 1719 which led to the appointment of a royal governor for South Carolina in 1720. After nearly a decade in which the British government sought to locate and buy out the proprietors, both North and South Carolina became royal colonies. Georgia[edit] The British colony of Georgia was founded by James Oglethorpe on February 12, 1733.[7] The colony was administered by the Trustees for the Establishment of the Colony of Georgia in America under a charter issued by (and named for) King George II. The Trustees implemented an elaborate plan for settlement of the colony, known as the Oglethorpe Plan, which envisioned an agrarian society of yeoman farmers and prohibited slavery. In 1742 the colony was invaded by the Spanish during the War of Jenkins' Ear. In 1752, after the government failed to renew subsidies that had helped support the colony, the Trustees turned over control to the crown. Georgia became a crown colony, with a governor appointed by the king.[8] Province of Georgia was one of the Thirteen Colonies that revolted against British rule in the American Revolution by signing the 1776 Declaration of Independence. After the war, Georgia became the fourth state of the Union after ratifying the Constitution on January 2. The warm climate and swampy lands makes it perfect for growing crops such as tobacco, rice and sugar. Maryland[edit] George Calvert received a charter from King Charles I to found the colony of Maryland in 1632. When George Calvert died, his son, Cecilius Calvert, later known as Lord Baltimore, became the proprietor. Calvert came from a wealthy Catholic family, and was the first single man to receive a grant from the crown, rather than a joint-stock company. He received a grant for a large tract of land north of the Potomac river and east of the Chesapeake Bay. Calvert planned on creating a haven for English Catholics, most of which were well-to-do nobles such as himself who could not worship in public.[9] He planned on making an agrarian manorial society where each noble would have a large manor and tenants would work on fields, chores, and other deeds. However, with extremely cheap land prices, many Protestants moved to Maryland and bought land for themselves anyway. They soon became a majority of the population, and in 1642 religious tension began to erupt. Calvert was forced to take control and pass the Maryland Toleration Act in 1649, making Maryland the second colony to have freedom of worship, after Rhode Island. However, the act did little to help religious peace. In 1654, Protestants barred Catholics from voting, ousted a pro-tolerance Governor, and repealed the toleration act.[10] Maryland stayed Protestant until Calvert took control again of the colony in 1658. Virginia[edit] The Colony of Virginia (also known frequently as the Virginia Colony, the Province of Virginia, and occasionally as the Dominion and Colony of Virginia) was the English colony in North America that existed briefly during the 16th century, and then continuously from 1607 until the American Revolution (as a British colony after 1707[11]). The name Virginia was first applied by Sir Walter Raleigh and Queen Elizabeth I in 1584. Jamestown was the first town created by the Virginia colony. After the English Civil War in the mid 17th century, the Virginia Colony was nicknamed "The Old Dominion" by King Charles II for its perceived loyalty to the English monarchy during the era of the Commonwealth of England. While other colonies were being founded, Virginia continued to grow. Tobacco planters held the best land near the coast, so new settlers pushed inland. Sir William Berkeley, the colony's governor, sent explorers over the Blue Ridge Mountains to open up the backcountry of Virginia to settlement. After independence from Great Britain in 1776, the Virginia Colony became the Commonwealth of Virginia, one of the original thirteen states of the United States, adopting as its official slogan "The Old Dominion". After the United States was formed, the entire states of West Virginia, Kentucky, Indiana and Illinois, and portions of Ohio were all later created from the territory encompassed earlier by the Colony of Virginia, the first Southern state. The Colony of Virginia (also known frequently as the Virginia Colony, the Province of Virginia, and occasionally as the Dominion and Colony of Virginia) was the English colony in North America that existed briefly during the 16th century, and then continuously from 1607 until the American Revolution (as a British colony after 1707[11]). The name Virginia was first applied by Sir Walter Raleigh and Queen Elizabeth I in 1584. Jamestown was the first town created by the Virginia colony. After the English Civil War in the mid 17th century, the Virginia Colony was nicknamed "The Old Dominion" by King Charles II for its perceived loyalty to the English monarchy during the era of the Commonwealth of England.

QMRTeach Northern is the social purpose teaching programme delivered at Northern College in Barnsley, UK. Northern College It was the brain child of teacher educator Louise Mycroft,[1] who created the four cornerstones model and associated ideology with colleagues at the College in 2010. Teach Northern is defined as 'learning to teach for a social purpose'. It draws on the work of educational philosophers such as Paulo Freire, John Dewey and bell hooks. It is mainly centred on adult and community education; trainee teachers are drawn from the broadest of contexts, wherever young people and adults gather for an educational experience. The programme is based on the four cornerstones of Teaching to your values, Reflexive practice, Win/Win/Win and Embedding Diversity.

QMRBig Men on Campus (Moose and Tilo) 1 September 27, 2009 45 Louisville, Kentucky OVW Fall Brawl Defeated The Network in a four-team gauntlet match that also involved the Kamikaze Kid and DC, and Hog Wild and Kevin Hundley. 96 Mike Mondo and Turcan Celik 1 November 11, 2009 7 Louisville, Kentucky OVW TV Tapings 97 The Network (Benny the Producer (2) and Andrew the Director (2)) 2 November 18, 2009 84 Louisville, Kentucky OVW TV Tapings Defeated Turcan Celik and Mike Mondo, Big Men on Campus and the Mobile Homers in a fatal four-way match.

QMRLos Locos (Ramón and Raúl) 1 February 27, 2008 77 Louisville, Kentucky OVW TV Tapings Defeated Paul Burchill and Stu Sanders, The Insurgency (Ali and Omar Akbar) and The Mobile Homers (Ted McNaler and Adam Revolver) in a fatal four-way match.

QMR4 Doug Basham and Flash Flanagan (2) 1 January 11, 1998 15 Jeffersonville, Indiana OVW TV Tapings Defeated Jason Lee and David C, Jebediah Blackhawk and Cousin Otter and The Lords of the Ring in a fatal four–way match.

QMRBig Men on Campus (Moose and Tilo) 1 September 27, 2009 45 Louisville, Kentucky OVW Fall Brawl Defeated The Network in a four-team gauntlet match that also involved the Kamikaze Kid and DC, and Hog Wild and Kevin Hundley.

QMRIn 1766, Hyder Ali, the ruler of Mysore invaded northern Kerala.[75] His son and successor, Tipu Sultan, launched campaigns against the expanding British East India Company, resulting in two of the four Anglo-Mysore Wars.[76][77] Tipu ultimately ceded the Malabar District and South Kanara to the Company in the 1790s; both were annexed to the Madras Presidency of British India in 1792.[78][79][80] The Company forged tributary alliances with Kochi in 1791 and Travancore in 1795.[81] By the end of 18th century, the whole of Kerala fell under the control of the British, either administered directly or under suzerainty.[82] There were major revolts in Kerala during the independence movement in the 20th century; most notable among them is the 1921 Malabar Rebellion and the social struggles in Travancore. In the Malabar Rebellion, Mappila Muslims of Malabar rioted against Hindu zamindars and the British Raj.[83] Some social struggles against caste inequalities also erupted in the early decades of 20th century, leading to the 1936 Temple Entry Proclamation that opened Hindu temples in Travancore to all castes.[84]

QMRCrux /ˈkrʌks/ is a constellation located in the southern sky in a bright portion of the Milky Way, being the most distinctive even though it is the smallest of all 88 modern constellations. Its name is Latin for cross, and it is dominated by a cross-shaped or kite-like asterism that is commonly known as the Southern Cross. Predominating the asterism is the most southerly first-magnitude star and brightest star in the constellation, the blue-white Alpha Crucis or Acrux, followed by four other stars, descending in clockwise order by magnitude: Beta, Gamma (one of the closest red giants to Earth), Delta and Epsilon Crucis. Many of these brighter stars are members of the Scorpius–Centaurus Association, a large but loose group of hot blue-white stars that appear to share common origins and motion across the southern Milky Way. The constellation contains four Cepheid variables that are visible to the naked eye under optimum conditions. Crux also contains the bright and colourful open cluster known Jewel Box (NGC 4755) and, to the southwest, partly includes the extensive dark nebula, known as the Coalsack Nebula.

QMRQMR The Eclectic Paradigm is a two by two matrix with four possiblities The idea behind the Eclectic Paradigm is to merge several isolated theories of international economics in one approach.[1] Three basic forms of international activities of companies can be distinguished: Export, FDI and Licensing.[1] The so-called OLI-factors are three categories of advantages, namely the ownership advantages, locational advantages and internalization advantages.[1] A precondition for international activities of a company are the availability of net ownership advantages. These advantages can both be material and immaterial. The term net ownership advantages is used to express the advantages that a company has in foreign and unknown markets.[1] According to Dunning two different types of FDI can be distinguished. While resource seeking investments are made in order to establish access to basic material like raw materials or other input factors, market seeking investments are made to enter an existing market or establish a new market.[1] A closer distinction is made by Dunning with the terms efficiency seeking investments, strategic seeking investments and support investments.[1] Trade and FDI patterns for industries and countries.[8] Location advantages Strong Weak Ownership advantages Strong Exports Outward FDI Weak Inward FDI Imports The eclectic paradigm also contrasts a country's resource endowment and geographical position (providing locational advantages) with firms resources (ownership advantages).[8] In the model, countries can be shown to face one of the four outcomes shown in the figure above.[8] In the top, right hand box in the figure above firms possess competitive advantages, but the home domicile has higher factors and transport costs than foreign locations.[8] The firms therefore make a FDI abroad in order to capture the rents from their advantages.[8] But if the country has locational advantages, strong local firms are more likely to emphasize exporting.[8] The possibilities when the nation has only weak firms, as in most developing countries, leads to the opposite outcomes.[8] These conditions are similar to those suggested by Porter's diamond model of national competitiveness.[8] qMRDirect Method: In this method the teacher refrains from using the students' native language. The target language is diirectly used for teaching all the four skills—listening, speaking, reading and writing. QMRThe editing history of the Eclectic can be divided into four periods: the first is dominated by co-founder Daniel Parken, who helped establish the popularity of the periodical; after Parken's death, Josiah Conder, after purchasing the periodical, edited it from 1813 until 1836, during years of financial hardship; from 1837 to 1855, Thomas Price edited the periodical, returning it to its popularity and success; in its final years, several people served as managing editor and the Eclectic had some of its best years. Although few of the contributors of the Eclectic remain famous today, such as the poet James Montgomery, many of them were well-known academics or reformers of the time, such as the abolitionist George Thompson and the theological scholar Adam Clarke. QMRGang of Four are an English post-punk group, formed in 1977 in Leeds.[1] The original members were singer Jon King, guitarist Andy Gill, bass guitarist Dave Allen and drummer Hugo Burnham. There have been many different line-ups including, among other notable musicians, Sara Lee and Gail Ann Dorsey. After a brief lull in the 1980s, different constellations of the band recorded two studio albums in the 1990s. Between 2004 and 2006 the original line-up was reunited; as of 2013, Gill is the sole original member. QMRAn article posted online by University College, London, attempts to provide a simple, common-sense, definition of interdisciplinarity, bypassing the difficulties of defining that concept and obviating the need for such related concepts as transdisciplinarity, pluridisciplinarity, and multidisciplinarity: "To begin with, a discipline can be conveniently defined as any comparatively self-contained and isolated domain of human experience which possesses its own community of experts. Interdisciplinarity is best seen as bringing together distinctive components of two or more disciplines. In academic discourse, interdisciplinarity typically applies to four realms: knowledge, research, education, and theory. Interdisciplinary knowledge involves familiarity with components of two or more disciplines. Interdisciplinary research combines components of two or more disciplines in the search or creation of new knowledge, operations, or artistic expressions. Interdisciplinary education merges components of two or more disciplines in a single program of instruction. Interdisciplinary theory takes interdisciplinary knowledge, research, or education as its main objects of study." QMRHicks, Diana (2004). "The Four Literatures of Social Science". IN: Handbook of Quantitative Science and Technology Research: The Use of Publication and Patent Statistics in Studies of S&T Systems. Ed. Henk Moed. Dordrecht: Kluwer Academic. QMRFAW Group Corporation is a Chinese state-owned automotive manufacturing company headquartered in Changchun, Jilin, China.[4] Its principal products are automobiles; buses; light, medium, and heavy-duty trucks;[5] and auto parts.[6] FAW became China's first automobile manufacturer when it unveiled the nation's first domestically produced passenger car, the Hong Qi, in 1958.[7] FAW is one of the "Big Four" Chinese automakers, alongside Chang'an Motors, Dongfeng Motor, and SAIC Motor.[8] In 2014, the company ranked third in terms of output making 2.7 million whole vehicles.[9] FAW has three publicly traded subsidiaries: FAW Car Company (SZSE: 000800), Tianjin FAW Xiali Automobile Co Ltd (SZSE: 000927), and Changchun FAWAY Automobile Components Co Ltd (SSE: 600742). QMRFAW Group Corporation is a Chinese state-owned automotive manufacturing company headquartered in Changchun, Jilin, China.[4] Its principal products are automobiles; buses; light, medium, and heavy-duty trucks;[5] and auto parts.[6] FAW became China's first automobile manufacturer when it unveiled the nation's first domestically produced passenger car, the Hong Qi, in 1958.[7] FAW is one of the "Big Four" Chinese automakers, alongside Chang'an Motors, Dongfeng Motor, and SAIC Motor.[8] In 2014, the company ranked third in terms of output making 2.7 million whole vehicles.[9] FAW has three publicly traded subsidiaries: FAW Car Company (SZSE: 000800), Tianjin FAW Xiali Automobile Co Ltd (SZSE: 000927), and Changchun FAWAY Automobile Components Co Ltd (SSE: 600742). QMRAs well as selling Burton products, Burton stores sell several sub-brands which focus on specific market niches. These sub-brands include Anon Optics (snowboard goggles and eyewear), RED (helmets and body armor), Analog (outerwear)[9] and Gravis (footwear).[10] In 2005, Four Star Distribution sold four of its snowboard brands to Burton: Forum Snowboarding, Jeenyus, Foursquare and Special Blend.[11] Burton, a privately owned company, also owns a surfing distributor. The Burton line is split into Four types of categories. They are: Freeride, for big mountain; freestyle, for versatile ride; park, for freestyle disciplines like half-pipe and park, and Carving; for carving down the side of mountains. Each of the categories has different levels of performance and price. In 2009, Burton's line included 61 snowboards in men, women, and youth. Board prices range from $300 to $1,500.[4] QMrForum Snowboarding is a line of snowboards created by Four Star Distribution and pro snowboarder Peter Line in Irvine, California in 1996. Forum Snowboards also has outwear companies and a Four Square Team. QMRFour or 4 Star(s) or star(s) can refer to: Four-star rank, senior military rank A grading of a hotel, restaurant, movie, TV show, theatre or musical work or performance - see star (classification) Four Stars (album), an album by The Greenhornes Four Star Records, 1950s country music record label Four star petrol, a class of leaded petrol that was sold in the United Kingdom Four Star Playhouse, American TV anthology series that ran from 1952 to 1956 Four Star Television (also called Four Star Films, Four Star Productions, and Four Star International), an American TV production company (1952-1989) Four Star Air Cargo, a cargo airline based in San Juan, Puerto Rico, US Virgin Islands Four Star Mary, an alternative rock group formed in California in 1997 Four Stars (film), a film by Andy Warhol Four-Star Spectacular, 1970s comic book series 4-Star (video game), ZX spectrum game by J. K. Greye Software UEFA stadiums (known as 4 star stadiums until 2006), football stadiums graded on suitability to host major matches Four stars (****) can indicate a censored Four-letter word Four stars National Pro-Celebrity, 1984-85 name of the Bob Hope British Classic golf competition Fourstar clothing, a skatebooarding clothing company, owned and distributed by Girl Distribution Company QMRProduct distribution (or place) is one of the four elements of the marketing mix. Distribution is the process of making a product or service available for use or consumption by a consumer or business user, using direct means, or using indirect means with intermediaries. QMRTrip distribution (or destination choice or zonal interchange analysis), is the second component (after trip generation, but before mode choice and route assignment) in the traditional four-step transportation forecasting model. This step matches tripmakers’ origins and destinations to develop a “trip table”, a matrix that displays the number of trips going from each origin to each destination. Historically, this component has been the least developed component of the transportation planning model. QMrDistribution (business), or place, one of the four elements of marketing mix QMRTrip distribution, part of the four-step transportation forecasting model QMRThe extinction of four species of bison (B. antiquus, B. latifrons, B. occidentalis, and B. priscus) is linked to natural selection.[citation needed] Humans were almost exclusively accountable for the near-extinction of the American bison in the 1800s. At the beginning of the century, tens of millions of bison roamed North America. Humans slaughtered an estimated 50 million bison,[39] generally for their meat or hides. This practice of overhunting the bison reduced their population to hundreds. Attempts to revive the American bison, however, have been highly successful. Farming of bison has increased their population to nearly 150,000. The American bison is, therefore, no longer considered an endangered species.[40] QMrRyan Merkle QMRLegal scholars have drawn from the four main schools of thought in the areas of political science and international relations: realism, liberalism, institutionalism, and constructivism to examine, through an interdisciplinary approach, the content of legal rules and institutions, to explain why and how legal institutions came to be and why they are effective.[2] These methods have led some scholars to reconceptualize international law in general.[3] Realism[edit] Realism contends that, in an anarchic international system, states main objective is for survival that obligates them to maximize their relative power in order to preserve their territory and existence. Since international cooperation is possible only inasmuch as it responds to the states' self-interest in maximizing their power and prospects for survival, states do not pursue cooperation on the basis of normative commitments.[4] According to Realist legal scholars, states adopt only international legal norms that either enhance their power, formalize the subordination of weaker states, or that they intend to violate deliberately to their own advantage.[5] International Law may thus address only peripheral matters that do not impact the states´ power or autonomy. Consequently, for realists, international law is a "tenuous net of breakable obligations"[6] Within the Realist approach, some scholars have proposed an "enforcement theory" according to which international legal norms are effective insofar as they "publicize clear rules, enhance monitoring of compliance, and institutionalize collective procedures for punishing violations, thereby enhancing the deterrent and coercive effects of a stable balance of power."[7] Thus, the role of reciprocity and sanctions is underlined. Morrow, for instance, notes that: Liberalism[edit] Based on the Liberal international relations theory, some scholars argue that the states' stance towards international law is determined by their domestic politics and, in particular, by the aggregation of the preferences of key domestic individuals and groups toward the rule of law. Thus, democratic states, having a representative government, are more likely than non-democratic states to accept the legal regulation of both domestic and international politics, and more likely to accept and observe international law. Furthermore, democratic societies are linked by a complex net of interstate, transnational and transgovernmental relations so that both their foreign policy bureaucracies and their civil societies are interested in promoting and strengthening transnational cooperation through the creation and observance of international legal norms.[9] Hence, the adoption of and the compliance with international legal norms among democratic states should be easier and more peaceful than the observance of international law among non-democratic states. In this regard, Slaughter notes that: Agreements concluded among liberal States are more likely to be concluded in an atmosphere of mutual trust, a precondition that will facilitate any kind of enforcement. In particular, however, the assumptions that these are agreements reached with the participation of a network of individuals and groups in the participating States, and that these States are committed to the rule of law enforced by national judiciaries should lead to more 'vertical' enforcement through domestic courts. This mode of enforcement contrasts with the traditional 'horizontal' mode involving State responsibility, reciprocity, and countermeasures.[10] Rational Choice and Game Theory[edit] This approach to law applies theories or economics to identify the legal implications of maximizing behavior inside and outside of markets. Economics is the study of rational choice under limited conditions.[11] Rational choice is the assumption that individual actors seek to maximize their preferences.[12] Most of the economic theory employed here is neoclassical traditional economics. Economic techniques include price theory, which evaluates strategic interaction between actors.[13] Transaction cost economics, which incorporates cost of identifying actors, negotiating, and costs of enforcing agreements into price theory. Game Theory can demonstrate how actors with maximizing behavior might fail to take action increase join gain.[14] Public choice applies economic tools to problems outside of markets. These tools are used to describe and evaluate law. Using these tools, laws are tested for economic efficiency.[15] Economic theories are also used to propose changes in the law. This approach urges the adoption of laws that maximize wealth. Potential application of this approach would begin with a text-based interpretation. A secondary concern is whether or not an actual "market" context is functioning well. Thirdly, ways to improve the imperfect market are proposed. This approach could be used to analyze general legal questions, because this approach provides highly specified rules and provides the rationale for using them. This approach relies on assumptions that perfect competition exists, and that individuals will behave to maximize their preferences. The empirical presence of these conditions is often difficult to determine. International Legal Process[edit] The classic International Legal Process is the method of studying how international law is practically applied to, and functions within international policy, as well as the study of how international law can be improved.[16] "It concentrates not so much on the exposition of rules and their content as on how international legal rules are actually used by the makers of foreign policy".[17] ILP was developed in response to the "realists from the discipline of international relations",[18] who realized with the beginning of the Cold War how little international law played a role in international affairs. ILP was made a legitimate theory in the 1968 casebook International Legal Process, by Chayes, Ehrlich and Lowenfeld, in which the American legal process method was adapted to create an international legal process.[19] ILP describes the way international legal processes work, and the formal and informal ways that foreign offices incorporate international law.[17] ILP also measures the extent to which individuals are held accountable for abuses in international conflicts.[20] While ILP recognizes that international law does not force decision makers' actions, it suggests that international law serves as a justification, constraint, and organizing device.[20] Criticism of ILP's lack of normative qualities in its method resulted in the emergence of a new ILP.[21] The New International Legal Process (NLP) incorporates both law as a process and as the values of each society respectively. Unlike the American Legal System, it considers normative values other than democracy, such as "…feminism, republicanism, law and economics, liberalism as well as human rights, peace and protection to the environment."[22] The NLP is unique in its flexibility in adapting to the evolution of values. This component of the method is important in order to resolve the changing of legal standards over time. The NLP shows its true departure from the ILP by addressing what happens in the situation of conflict, as well as what should be happening. QMrFour Articles of Prague[edit] The programme of the more conservative Hussites (the moderate party) is contained in the Four Articles of Prague, which where wirtten by Jakoubek z Vřesovic and agreed upon in July 1420, promulgated in the Latin, Czech, and German languages.[4] The full text is about two pages long, but they are often summarized as:[4] Freedom to preach the word of God Celebration of the communion under both kinds (bread and wine to priests and laity alike) Poverty of the clergy and expropriation of church property; Punishment for mortal sins i.e. the punishment of notorious sinners, among whom prostitutes are singled out for special attention[5] QMRThe Shipping Forecast is a BBC Radio broadcast of weather reports and forecasts for the seas around the coasts of the British Isles. It is produced by the Met Office and broadcast by BBC Radio 4 on behalf of the Maritime and Coastguard Agency. The forecasts sent over the Navtex system use a similar format and the same sea areas. The waters around the British Isles are divided into 31 sea areas, also known as weather areas (see map below)[1] There are four broadcasts per day at the following (UK local) times: 0048 – transmitted on FM and LW. Includes weather reports from an extended list of coastal stations at 0052 and an inshore waters forecast at 0055 and concludes with a brief UK weather outlook for the coming day. The broadcast finishes at approximately 0058. 0520 – transmitted on FM and LW. Includes weather reports from coastal stations at 0525, and an inshore waters forecast at 0527. 1201 – normally transmitted on LW only. 1754 – transmitted only on LW on weekdays, as an opt-out from the PM programme, but at weekends transmitted on both FM and LW. QMRThe Alliance (Swedish: Alliansen), formerly the Alliance for Sweden (Allians för Sverige), is a centre-right political alliance in Sweden. The Alliance consists of the four centre-right political parties in the Riksdag. The Alliance was formed while in opposition, and later achieved a majority government in the 2006 general election and a minority government in the 2010 general election, governing Sweden from 2006 to 2014 with Fredrik Reinfeldt of the Moderate Party serving as Prime Minister of Sweden until the 2014 general election. The Alliance is co-chaired by every component party's individual leaders. QMRLincoln's flag-enfolded body was then escorted in the rain to the White House by bareheaded Union officers, while the city's church bells rang. President Johnson was sworn in at 10:00 am, less than 3 hours after Lincoln's death. The late President lay in state in the East Room, and then in the Capitol Rotunda from April 19 through April 21. For his final journey with his son Willie, both caskets were transported in the executive coach "United States" and for three weeks the Lincoln Special funeral train decorated in black bunting[305] bore Lincoln's remains on a slow circuitous waypoint journey from Washington D.C. to Springfield, Illinois, stopping at many cities across the North for large-scale memorials attended by hundreds of thousands, as well as many people who gathered in informal trackside tributes with bands, bonfires, and hymn singing[306][307] or silent reverence with hat in hand as the railway procession slowly passed by. Poet Walt Whitman composed When Lilacs Last in the Dooryard Bloom'd to eulogize Lincoln, one of four poems he wrote about the assassinated president.[308] Historians have emphasized the widespread shock and sorrow, but also noted that some Lincoln haters cheered when they heard the news.[309] African-Americans were especially moved; they had lost 'their Moses'.[citation needed] In a larger sense, the outpouring of grief and anguish was in response to the deaths of so many men in the war that had just ended.[310]