QMrThe Chair of Saint Peter (Latin: Cathedra Petri), also known as the Throne of Saint Peter, is a relic conserved in St. Peter's Basilica, the Vatican, the headquarters of the Roman Catholic Church. The relic is a wooden throne that was long believed to have been used by the Apostle Saint Peter, the leader of the Early Christians in Rome and traditionally regarded by Catholicas as the first Pope. In fact, the Vatican recognises that the chair was a gift from Holy Roman Emperor Charles the Bald to Pope John VIII in 875.[1] The wooden throne is enclosed in a sculpted gilt bronze casing designed by Gian Lorenzo Bernini and executed between 1647 and 1653.
The cathedra is lofted on splayed scrolling bars that appear to be effortlessly supported by four over-lifesize bronze Doctors of the Church: Western doctors St. Ambrose and St. Augustine of Hippo on the outsides, wearing miters, and Eastern doctors St. John Chrysostom and St. Athanasius on the insides, both bare-headed. The cathedra appears to hover over the altar in the basilica's apse, lit by a central tinted window through which light streams, illuminating the gilded glory of sunrays and sculpted clouds that surrounds the window. Like Bernini's Ecstasy of St Theresa, this is a definitive fusion[3] of the Baroque arts, unifying sculpture and richly polychrome architecture and manipulating effects of light.
QMRMark 2 is the second chapter of the Gospel of Mark in the New Testament of the Christian Bible. It has the first argument in Mark between Jesus and other Jewish religious teachers. He heals a paralyzed man and forgives his sins, meets with the disreputable Levi and his friends, argues over the need to fast, and whether or not one can harvest food on Sabbath.
A couple of men bring a paralyzed man to see Jesus but can not get past the crowd. Four of the men are carrying the paralytic but it is not specific who the men are, though it is implied that some of them have faith in Jesus. Since Mark has so far listed four disciples some speculate Mark might be indicating it is them doing the carrying, but there is no general agreement on this.[1]
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QMrLevis motorcycles (1911–1940), manufactured by Butterfields of Birmingham, were for many years one of England's leading marques of two-stroke motorcycle. Levis built two-stroke machines from 1911, adding a line of four-strokes in 1928, which ran to 1941 when production ceased.[1]
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QMRFour Way Books is an American nonprofit literary press located in New York City, New York, which publishes poetry and short fiction by emerging and established writers. It features the work of the winners of national poetry competitions, as well as collections accepted through general submission, panel selection, and solicitation by the editors.[1] The press is run by director and founding editor Martha Rhodes,[2] who is the author of three poetry collections. Four Way Books titles are distributed by University Press of New England. The press has received grants from New York State Council on the Arts, the National Endowment for the Arts,[3] and The Council of Literary Magazines and Presses through their re-grant program.[4]
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QMRSome scholars attribute the genealogy to a hypothetical Book of Generations, a document originating from a similar religiopolitical group and date to the priestly source.[5] According to some Biblical scholars, the Torah's genealogy for Levi's descendants, is actually an aetiological myth reflecting the fact that there were four different groups among the levites - the Gershonites, Kohathites, Merarites, and Aaronids.[12] Aaron—the eponymous ancestor of the Aaronids—couldn't be portrayed as a brother to Gershon, Kohath, and Merari, as[further explanation needed] the narrative about the birth of Moses (brother of Aaron), which textual scholars attribute to the earlier Elohist source, mentions only that both his parents were Levites (without identifying their names).[13] Some Biblical scholars suspect that the Elohist account offers both matrilinial and patrilinial descent from Levites in order to magnify the religious credentials of Moses.[12]
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Islam Chapter
Hinduism Chapter
Other Religions Chapter
QMr
I already did this one but trust me when I say I studied the quadrant model since my sophomore year of college. It is the theory of everything the greatest theory in existence.
Hesiod's Theogony (c. 700 BC) tells the story of the genesis of the gods. After invoking the Muses (II.1-116), he tells of the generation of the first four primordial deities:
"First Chaos came to be, but next... Earth... and dim Tartarus in the depth of the... Earth, and Eros..."[1]
According to Hesiod, the next primordial gods that come to be are:
Darkness and Night (born of Chaos);
Air and Day (born of Night and Darkness);
Heaven and Ocean (virginally born of Earth);
Oceanus, Coeus, Crius, Hyperion, and Iapetus, Theia and Rhea, Themis, and Mnemosyne and Phoebe, Tethys (born of Earth and Heaven); Cronos; Cyclopes, Brontes, Strops, Arges.
Mitchell Miller argues that the first four primordial deities arise in a highly significant relationship. He argues that Chaos represents differentiation, since Chaos differentiates (separates, divides) Tartarus and Earth.[9] Even though Chaos is "first of all" for Hesiod, Miller argues that Tartarus represents the primacy of the undifferentiated, or the unlimited. Since undifferentiation is unthinkable, Chaos is the "first of all" in that he is the first thinkable being. In this way, Chaos (the principle of division) is the natural opposite of Eros (the principle of unification). Earth (light, day, waking, life) is the natural opposite of Tartarus (darkness, night, sleep, death). These four are the parents of all the other Titans.
All of the gods of the Greeks emerge from these four primary gods.
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QMrI quattro libri dell'architettura (The Four Books of Architecture) is an Italian treatise on architecture by the architect Andrea Palladio (1508–1580). It was first published in four volumes in 1570 in Venice, illustrated with woodcuts after the author's own drawings. It has been reprinted and translated many times (often in single-volume format). Book I was first published in English in 1663 in a London edition by Godfrey Richards. The first complete English language edition was published in London by the Italian-born architect Giacomo Leoni in 1716-1720.[1]
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Art Chapter
Painting Chapter
QMRFour Times of the Day is a series of four paintings[1][2][3][4] depicting four times of the day: Morning, Midday, Evening and Night by the French landscape painter Claude Joseph Vernet (1714–1789), held by the Art Gallery of South Australia, Adelaide. These paintings are part of a series of painting illustrating the themes of morning, midday, evening and night that the artist painted in the year 1757.
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QMRIn 2002, North Carolina A&T commissioned a statue to be sculpted honoring McNeil, along with the three other members of the A&T four; Franklin McCain, Ezell Blair, Jr. (later known as Jibreel Khazan), and David Richmond. In addition, the four men each have residence halls named for them on the university campus.[9] In 2010, McNeil was the recipient of the James Smithson Bicentennial Medal from the Smithsonian Institution.[10]
The A&T Four Statue on the campus of North Carolina A&T. (From Left: David Richmond, Franklin McCain, Ezell Blair, and Joseph McNeil
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QMRFile:Claude-Joseph Vernet - The four times of day- Evening - Google Art Project.jpg
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Music Chapter
QMRSamuel Barber's Symphony in One Movement (op. 9), was completed 24 February 1936. It was premiered by Rome's Philharmonic Augusteo Orchestra under the baton of Bernardino Molinari 13 December 1936. It lasts around 21 minutes. The title given in the printed score of the work is First Symphony (in One Movement) (Barber 1943), and the uniform title is Symphonies, no. 1, op. 9.
The symphony is a condensed one-movement version of a classical four-movement symphony and is modeled after Sibelius' Symphony No. 7 (Heyman 1992, 141; Pollack 2000, 195). The work is divided into four sections:
Allegro ma non troppo
Allegro molto
Andante tranquillo
Con moto
In the program notes for the New York premiere Barber explained:
The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony. (Heyman 1992, 140)
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QMRBarbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. Occasional passages may be sung by fewer than four voice parts.
Barbershop music is generally performed by either a barbershop quartet, a group of four singers with one on each vocal part, or a barbershop chorus, which closely resembles a choir with the notable exception of the genre of music. Female barbershop quartets are often referred to as "Sweet Adelines quartets", while male barbershop quartets are generally simply referred to as "Barbershop quartets".
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QMRString Quartet No. 2; Four Thoughts on Marvin Gay, III, ETHEL: Light (Cantaloupe, 2006)
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QMrThe Cornelius Quartet[1] is the collective name for the Jerry Cornelius novels by Michael Moorcock, although the first one-volume edition was entitled The Cornelius Chronicles. It is composed of The Final Programme, A Cure for Cancer, The English Assassin and The Condition of Muzak.[2] The collection has remained continuously in print for 30 years.
The four novels are set in an ever shifting, yet always fashionable, alternate "multiverse" of anarchist revolutionaries and English popart turmoil. They chart the adventures of a wide range of recurring characters, notably Jerry Cornelius and his sister Catherine, Una Persson and Colonel Pyat. The books are neither straight science fiction or pure fantasy, Moorcock himself commented "Much of my work borrowed from the iconography and vocabulary of science fiction in the 1960s but I would not, for instance, classify the Jerry Cornelius tetralogy as a genre work".[3]
The Complete Review said that it comprised "an arc of Jerry Cornelius-adventures, from the (fairly) straightforward action-adventure of the first, The Final Programme, to the metaphysical summa of The Condition of Muzak." It observes that "Cornelius is a superhero, but a flawed one. He is indestructible and yet has weaknesses. He is both a former Jesuit and a physicist. Party-animal and solitary soul. By the end of the tetralogy he is a messiah – yet another role he is not ideally suited for."[4]
Reviewing the 974-page volume, Matthew Wolf-Meyer noted its influence on a host of contemporary artists in music and literature, writing that :
"It would be impossible to deny the profound influences that Michael Moorcock's Jerry Cornelius novels have had, not only on the genres of science fiction and fantasy, but also popular music, film, and television. Or it might simply be that Moorcock was so perfectly in tune with the advent of postmodernism that he anticipated in his writing, in his mood, what was to come, and all the material that seems to derive from The Cornelius Quartet, in actuality, derives from the zeitgeist instead. In reading the collection, for the reader at the cusp of the 21st century, it acts as a historical piece, positing the genealogical influence of a series of more contemporary works, from Bryan Talbot's graphic novel Heart of Empire to David Bowie's album Outside; Jerry Cornelius is that common source for much of contemporary postmodern (British) popular art."[5]
Moorcock wrote "A note on the Jerry Cornelius Tetralogy" in 1976 in which he outlined the 'disciplined logic' which underpinned the work as a unified whole.
"Part of my original intention with the Jerry Cornelius stories was to 'liberate' the narrative; to leave it open to the reader's interpretation as much as possible – to involve the reader in such a way as to bring their own imagination into play. This impulse was probably a result of my interest in Brecht – an interest I'd had since the mid-fifties.
Although the structure of the tetralogy is very strict (some might think over-mechanical) the scope for interpretation is hopefully much wider than the conventional novel. The underlying logic is also very disciplined, particularly in the last three volumes. It's my view that a work of fiction should contain nothing which does not contribute to the overall scheme. The whimsicalities to be found in all the books are, in fact, not random, not mere conceits, but make internal references. That is to say, while I strive for the effect of randomness on one level, the effect is achieved by a tightly controlled system of internal reference, puns, ironies, logic-jumps which no single reader may fairly be expected to follow."[6]
In an interview for "The Zone" science fiction magazine, Moorcock later commented that the stories in the Cornelius saga were "more criticism and commentary on their times than they were celebration, I knew there wasn't enough hard political infrastructure to make the sentiment come true. I said while it was happening that I knew it was a Golden Age. I sensed it couldn't last."[7]
The collection was first published as "The Cornelius Chronicles" in 1977 by Avon Books[8] and a revised version under this name appeared in 1979 with an introduction by John Clute. It first appeared under the title of "The Cornelius Quartet" in 1993 in Britain and 2001 in the United States. It was published as "Les Aventures de Jerry Cornelius" in France.[9] The current American edition ISBN 978-1-56858-183-5 was published by Four Walls Eight Windows in June 2001.
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QMRJerry Cornelius is a fictional secret agent and adventurer created by science fiction and fantasy author Michael Moorcock. Cornelius is a hipster of ambiguous and occasionally polymorphous sexuality. Many of the same characters feature in each of several Cornelius books, though the individual books have little connection with one another, having a more metafictional than causal relationship. The first Jerry Cornelius book, The Final Programme, was made into a 1973 film starring Jon Finch and Jenny Runacre. Notting Hill in London features prominently in the stories.
The Cornelius Quartet[edit]
In these four novels Jerry undergoes transformations, dies, is reborn, spends one entire novel as a shivering wreck, and eventually discovers his true natures.
The Final Programme
Jerry battles his brother Frank who has kidnapped his beloved sister Catherine. Frank dies, but Catherine is also killed. Jerry is sucked into the plans of Miss Brunner to create the perfect being by merging the bodies of Jerry and herself together. When this is done, a radiantly charismatic hermaphroditic being emerges from the machinery. All who see the new creature fall quaking to their knees. The creature itself announces that this is "a very tasty world".
A Cure for Cancer
Jerry is solo again, existing as negative character with black skin and white hair. He moves through a landscape of destroyed English cities and occupying American armies, a metaphor for contemporary Vietnam. He runs a clandestine "transmogrification" service for people who want to cast off their old selves, flesh and all. We meet the gluttonous Bishop Beesley, and his daughter Mitzi. Eventually Jerry drives the Americans to madness, causing them to burn everything, including themselves.
The English Assassin
All the supporting characters, particularly Una Persson, drive this novel while Jerry is nothing more than a whimpering heap of rags washed up on a beach and carried in the back of a lorry to safety. There are episodes in settings ranging from the cockpit of a Dornier Do X, the deck of an Edwardian sailing ship, the anarchic steppes of revolutionary Russia, and Victorian music-hall. Finally Jerry is able to revive as the character Pierrot, forever mourning his lost Columbine, who is Catherine.
The Condition of Muzak
Taking its title from the Walter Pater quote "All art constantly aspires towards the condition of music", this is a series of vignettes that cast Jerry as a teenager in Notting Hill, a character in the commedia dell'arte, a secret agent and a fool. Particularly notable are the Notting Hill scenes, which seem to reduce all the other parts of the canon to fantasies in the adolescent Jerry's mind. Other scenes fill in detail, if any were needed, between the novels. In the final scene Jerry's foul-mouthed mother dies, and on her deathbed she reveals the family's history as a distorted version of the canon which Jerry and his now-pregnant sister Catherine seem doomed to continue.
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QMRThe southern coast of Scituate, Massachusetts, is marked by four distinct bluffs, running from First Cliff on the northern end of the town's coast down to Fourth Cliff in the southern end. The area surrounding and including Fourth Cliff is called Humarock. Prior to the Portland Gale, the North River flowed south between Fourth Cliff and Marshfield, Massachusetts, joining the South River and entering the ocean several kilometers to the south of the current opening. A thin strip of beach, which connected Third Cliff to Fourth Cliff, was breached by the storm, leaving Fourth Cliff an island. Eventually the old inlet has silted in, forcing the South River to flow north between Marshfield and Fourth Cliff, where it now joins the North River to enter the ocean between Third and Fourth Cliffs. Although Fourth Cliff is now connected by land to Marshfield, North of Rexhame Beach, there are no roads across the old inlet. As a result, Fourth Cliff and the rest of the Humarock part of Scituate are only accessible via the Marshfield Avenue and Julian Street bridges from Marshfield. The change to the course of the North River also increased the salinity of the large marsh area surrounding the current outlet, resulting in the loss of the valuable salt haying business.
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qMRA Tribute to the Four Horsemen is a tribute album to heavy metal band Metallica. It was re-issued by Nuclear Blast Records in 2003 with a slightly different track listing. The album contains covers of songs by Metallica from Kill 'Em All to ReLoad, but omits Load.
The liner notes were written by German music journalist Christof Leim, then working for the German edition of Metal Hammer magazine.
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QMR"I Fought the Law" is a song written by Sonny Curtis of the Crickets and popularized by a remake by the Bobby Fuller Four, which went on to become a top-ten hit for the band in 1966 and was also recorded by the Clash in 1979. The Bobby Fuller Four version of this song was ranked No. 175 on the Rolling Stone list of The 500 Greatest Songs of All Time in 2004, and the same year was named one of the 500 "Songs that Shaped Rock" by the Rock and Roll Hall of Fame.
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QMrFour on the Outside is an album by trombonist Curtis Fuller which was recorded in late 1978 and released on the Dutch Timeless label.[1][2]
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QMRThe Four Fords were a popular group of tap dancers in the early 1900s. The group was made up of four siblings, Max Ford, Edwin Ford, Dora Ford and Mabel Ford. They also had another brother named Jonny Ford, he was a dancer as well but never toured with his siblings (Watson). When the fords were children, they were taught to dance very early in their life (Mable Ford). They learned many different types of dancing. Their brother Jonny Ford toured as a ballroom dancer (Watson). The Four Ford became popular around 1910. In 1913 The Four Fords broke up, but Mable and Dora kept touring as the Ford Sisters. Max Ford also toured with Hetty Urma-Ford Max’s second wife (Watson). It is believed that after Max left The Four Fords he became a successful movie choreographer. The Fords clogged danced, tap danced, and soft shoe danced (An Art of Infinite Variety). With Clog dancing the dancers would wear wooden shoes with split soles (Kaiserman). The danced started in England, the Netherlands, Ireland, and Germany. Clog dancing was originally a folk dance, and was an early form of tap dancing because the dancers would make noise with their shoes. Around the 1900s soft-shoe dancing started, in the melting pot of America. Different Cultures brought their different styles of dance. It is believed that the African dance styles were mixed with European styles and became rhythmic and fluid (archive.itvs.org). Dancers didn’t start wearing metal at the bottom of their tap shoes until around 1910 (archive.itvs.org). The Four Fords started to become famous at this time as well. It was a revolutionary time for tap dancing, and Highbrow magazine even references it as “the birth of tap”. The Fords were in the midst of it all. They became celebrities of their time. The Fords were vaudeville dancers (Watson). This meant that they were often in humorous variety shows. The Vaudeville shows were popular from the 1910 to the 1930s when they were beat out by the film industry (Kaiserman).
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QMRThe bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale, and the harmonic minor scale.
David Baker, one of the world's finest jazz educators, named these scales the "bebop scales" because they were used so often by jazz artists from the Bebop Era. These artists include Charlie Christian, Charlie Parker, Lester Young, and Dizzy Gillespie, to name a few.
— Corey Christiansen, [1]
There are four types of frequently used bebop scales: the bebop dominant scale, the bebop Dorian scale, the bebop major scale, and the bebop melodic minor scale. Each of these scales has an extra chromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played). As such, many heptatonic scales may be modified by the addition of an eighth passing tone to accomplish this same effect; however, the modifier "bebop" is reserved to indicate those scales most frequently used—and popularized—during the bebop era (and/or by modern practitioners of the bebop genre).
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In 1547, the Swiss theorist Henricus Glareanus published the Dodecachordon, in which he solidified the concept of the church modes, and added four additional modes: the Aeolian (mode 9), Hypoaeolian (mode 10), Ionian (mode 11), and Hypoionian (mode 12). A little later in the century, the Italian Gioseffo Zarlino at first adopted Glarean's system in 1558, but later (1571 and 1573) revised the numbering and naming conventions in a manner he deemed more logical, resulting in the widespread promulgation of two conflicting systems. Zarlino's system reassigned the six pairs of authentic–plagal mode numbers to finals in the order of the natural hexachord, C D E F G A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian. The pair of G modes were numbered 9 and 10 and were named Ionian and Hypoionian, while the pair of A modes retained both the numbers and names (11, Aeolian, and 12 Hypoaeolian) of Glarean's system. While Zarlino's system became popular in France, Italian composers preferred Glarean's scheme because it retained the traditional eight modes, while expanding them. Luzzasco Luzzaschi was an exception in Italy, in that he used Zarlino’s new system (Powers 2001, §III.4(ii)(a), (iii) & §III.5(i & ii)).
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The eight church modes, or Gregorian modes, can be divided into four pairs, where each pair shares the "final" note and the four notes above the final, but have different ambituses, or ranges. If the "scale" is completed by adding three higher notes, the mode is termed authentic, if the scale is completed by adding three lower notes, it is called plagal (from Greek πλάγιος, "oblique, sideways"). Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to the mode's ambitus is called "perfect"; if it falls short of it, "imperfect"; if it exceeds it, "superfluous"; and a melody that combines the ambituses of both the plagal and authentic is said to be in a "mixed mode" (Rockstro 1880, 343).
Although the earlier (Greek) model for the Carolingian system was probably ordered like the Byzantine oktōēchos, with the four authentic modes first, followed by the four plagals, the earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final: protus authentic/plagal, deuterus authentic/plagal, tritus authentic/plagal, and tetrardus authentic/plagal (Powers 2001, §II, 1 (ii)).
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QMRTonaries, which are lists of chant titles grouped by mode, appear in western sources around the turn of the 9th century. The influence of developments in Byzantium, from Jerusalem and Damascus, for instance the works of Saints John of Damascus (d. 749) and Cosmas of Maiouma (Nikodēmos ’Agioreitēs 1836, 1:32–33; Barton 2009), are still not fully understood. The eight-fold division of the Latin modal system, in a four-by-two matrix, was certainly of Eastern provenance, originating probably in Syria or even in Jerusalem, and was transmitted from Byzantine sources to Carolingian practice and theory during the 8th century. However, the earlier Greek model for the Carolingian system was probably ordered like the later Byzantine oktōēchos, that is, with the four principal (authentic) modes first, then the four plagals, whereas the Latin modes were always grouped the other way, with the authentics and plagals paired (Powers 2001, §II.1(ii)).
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QMRDonald ("Don") Trent Jacobs, also known as Four Arrows,[1] (born 1946 in St. Louis, Missouri) is an American college professor, writer and activist for American Indian rights whose work has focused on indigenous worldviews, wellness and counter-hegemonic education. He currently lives in Mexico.[2]
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QMRDouglas "Doug" Kinney/"Two"/"Three"/"Four"
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QMRJessie Redmond Fauset (April 27, 1882 – April 30, 1961) was an American editor, poet, essayist, novelist, and educator.[1]
Fauset was the literary editor of the NAACP magazine The Crisis. She also was the editor and co-author for the African-American children's magazine The Brownies' Book. She studied the teachings and beliefs of W.E.B Du Bois and considered him to be her mentor. Fauset was known as one of the most intelligent women novelists of the Harlem Renaissance, earning her the name "the midwife". In her lifetime she wrote four novels as well as poetry and short fiction.[2]
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QMR'Happy' was the first single of the album released on April 15, 2013 followed by 'Love and Drugs' which was released with a lyric video on May 6, 2013. The third single 'These Four Words' was released on the same day as the album, with an official music video that premiered on YouTube and Vevo.[12] The single-shot video was directed by Daniel Gomes and the song is what frontman John O’Callaghan is calling the “most revealing song [he] has ever written”.[13]
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QMRPortland is the largest city in the U.S. state of Maine and the county seat of Cumberland County.[5] In 2013, the city proper had a population of 66,318,[4] growing 3 percent since the census of 2000, while the urban area had a population of 203,914. The Greater Portland metropolitan area is home to over half a million people, more than one-third of Maine's total population.
The city seal depicts a phoenix rising from ashes, which aligns with the city's motto, Resurgam, Latin for "I will rise again." The motto refers to Portland's recoveries from four devastating fires.[6] Portland, Maine was named for the English Isle of Portland and the city of Portland, Oregon was in turn named for Portland, Maine.[7]
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QMRLethal Weapon is a series of buddy cop action films starring Mel Gibson and Danny Glover as a pair of L.A.P.D. detectives. All four films in the series were directed by Richard Donner and also share many of the same core cast members.
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QMRThe L.A. Four (or The L.A. 4) was a jazz quartet that performed in Los Angeles, California, from 1974 to 1982. [1]
Its members were guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, bassist Ray Brown, and drummer Shelly Manne, replaced by Jeff Hamilton after 1977. They performed a mixture of straight-ahead jazz on the "cool" side, influenced by European Classical music, and bossa nova and samba (Almeida was born in Brazil). They recorded ten albums before disbanding. Chuck Flores was the group's original drummer but did not record with them.[1]
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QMRBlack Moses is the fifth studio album by American soul musician Isaac Hayes. It is a double album released on Stax Records' Enterprise label in 1971. The follow-up to Hayes' successful soundtrack for Shaft (also a double album), Black Moses features Hayes' version of The Jackson 5's hit single "Never Can Say Goodbye". Hayes' version became a hit in its own right, peaking at number 22 on the Billboard Hot 100.
Track listing[edit]
Side one
No. Title Length
1. "Never Can Say Goodbye" (Clifton Davis) 5:07
2. "(They Long to Be) Close to You" (Burt Bacharach, Hal David) 8:58
3. "Nothing Takes the Place of You" (Toussaint McCall, Alan Robinson) 5:29
4. "Man's Temptation" (Curtis Mayfield) 4:59
Side two
No. Title Length
5. "Never Gonna Give You Up" (Kenneth Gamble, Leon Huff, Jerry Butler) 5:47
6. "Medley: "Ike's Rap II" / "Help Me Love" (Hayes, Johnny Baylor, Mickey Gregory, Luther Ingram, Tommy Tate) 7:31
7. "Need to Belong to Someone" (Mayfield) 5:15
8. "Good Love" (Gregory, Hayes) 5:15
Side three
No. Title Length
9. "Medley: "Ike's Rap III" / "Your Love is So Doggone Good" (Hayes, Difosco Ervin, Rudy Love) 9:15
10. "For the Good Times" (Kris Kristofferson) 5:20
11. "I'll Never Fall in Love Again" (Burt Bacharach, Hal David) 5:02
Side four
No. Title Length
12. "Part-Time Love" (Clay Hammond) 8:30
13. "Medley: "Ike's Rap IV" / "A Brand New Me" (Isaac Hayes, Kenneth Gamble, Thom Bell, Jerry Butler) 9:40
14. "Going in Circles" (Jerry Peters, Anita Poree)
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QMRHarris, the only child[2] of Bill and Winifred Harris,[3] was born Terence Harris at Honeypot Lane, Kingsbury, North West London, England.[1] His prowess as a sprinter at Dudden Hill secondary modern school earned him the nickname Jet.[4]
Although he learned to play clarinet as a teenager, he made his own four-string double bass to play in a jazz group and later graduated to a professionally made double bass. In 1958, while playing jazz with drummer Tony Crombie and his group the Rockets, Crombie got a Framus bass guitar for Harris, making him one of the first British exponents of the instrument.[4]
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QMRPage Four is a Danish boy band established in Copenhagen in November 2014 by the four members: Lauritz Emil Christiansen, Jonas Eilskov, Stefan Hjort and Pelle Højer. The band got discovered by uploading cover versions online and were eventually signed to Sony Music Entertainment Denmark.[1]
The group sings in Danish and their debut single "Sommer" was co-written by Tim McEwan, Theis Andersen and Søren Ohrt Nissen. The single, as well as the following two singles "Fucking smuk" and "Du og jeg - Magi i liften", all reached top 15 in the Danish single chart Tracklisten. "Sommer" also entered the Europe Official Top 100.[2]
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qMrFour Songs EP is the preceding EP to Matt Pond PA's fifth album Emblems. It was released in 2004.
Track listing[edit]
"Closest (Look Out)" – 4:50
"Lily One" – 3:22
"Red Ankles" – 3:30
"Counting Song" – 5:45
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QMRMark Hopkins (September 1, 1813 – March 29, 1878) was one of four principal investors who formed the Central Pacific Railroad along with Leland Stanford, Charles Crocker, and Collis Huntington in 1861.
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QMRFour-chair challenge[edit]
For this season of The X Factor, Cowell confirmed that the boot camp and judges' houses sections of the competition, which traditionally followed the audition rounds, had been dropped and replaced with a brand new stage called "The Four-Chair challenge". Speaking on the change, he said "It [boot camp and Judges' houses] was the one element of the show I wasn't happy with, and it looked too similar to what everybody else is doing." He went on to describe the new "middle section" as "really dramatic, very tough on us and the contestants, and very high pressure", and compared the new round as similar to the live shows.[15]
This season, the categories did not follow the age-based format from season two but rather the format from season one: Boys, Girls, Over 25s and Groups. Rowland mentored Over 25s, Lovato the Girls, Rubio the Boys, and for the second season in a row, Cowell mentored the Groups.[16]
The four-chair challenge episodes were broadcast on two 2-hour Wednesdays and two 1-hour Thursdays shows on October 2, 3, 9 and 10.
Key:
– Contestant was immediately eliminated after performance without switch
– Contestant was switched out later in the competition and eventually eliminated
– Contestant was not switched out and made the final four of their own category
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Dance Chapter
QMRFour Broncos Memorial Trophy
From Wikipedia, the free encyclopedia
The Four Broncos Memorial Trophy is awarded each year to the Western Hockey League's Player of the Year.
The trophy is named in honour of four members of the Swift Current Broncos who were killed on December 30, 1986 in the Swift Current Broncos bus crash:[1] Trent Kresse, Scott Kruger, Chris Mantyka, and Brent Ruff. The accident that occurred as the team bus was en route to a game in Regina.[2]
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QMRJames Cleveland "Jesse" Owens (September 12, 1913 – March 31, 1980) was an American track and field athlete and four-time Olympic gold medalist.
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QMRFigure-four leglock[edit]
See also: Figure-four (grappling hold)
The Miz applying a figure-four leglock on Antonio Cesaro.
The wrestler stands over the opponent who is lying on the mat face up and grasps a leg of the opponent. The wrestler then does a spinning toe hold and grasps the other leg, crossing them into a 4 (hence the name) as he does so and falls to the mat, applying pressure to the opponent's crossed legs with his own. While the hold applies pressure to the knee, it actually can be very painful to the shin of the victim. While the move is primarily a submission move, if the opponent has his shoulders on the mat, the referee can make a three count for a pinfall. If the referee is distracted, heel wrestlers may grab onto the ropes while executing the move to gain leverage and inflict more pain. This variation is the most famous version, made famous by Ric Flair and innovated by "Nature Boy" Buddy Rogers, and is also the finisher of choice for several legends like Greg "The Hammer" Valentine, "The American Dream" Dusty Rhodes, The Miz, AJ Styles, Jeff Jarrett, Tito Santana, a bridging variation by Charlotte (which she calls the "Figure Eight"), and a variation done by Gail Kim except by using the ring post and hanging off the edge with her opponent still in the ring. A modified variation exists more recently used by Shawn Michaels where the wrestler takes one of the opponent's legs, turns 90 degrees, then grabs the opponent's other leg and crosses it with the other, puts one foot in between and the other on the other leg, and then bridges over. With enough strength and willpower, the wrestler on defense can flip himself (and also their opponent) over onto their belly, which is said to reverse the pressure to the one who initially had the hold locked in. This counter to the figure four is often called a "modified Indian deathlock" or sometimes referred to as a "sharpshooter variant".
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QMRThe Fairman Rogers Four-in-Hand (originally titled A May Morning in the Park) is an 1879-80 painting by Thomas Eakins. It shows Fairman Rogers driving a coaching party in his four-in-hand carriage through Philadelphia's Fairmount Park. It is thought to be the first painting to examine precisely, through systematic photographic analysis, how horses move.[2]
The Fairman Rogers Four-in-Hand is in the permanent collection of the Philadelphia Museum of Art.
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Rogers placed the contributions and criticisms of diffusion research into four categories: pro-innovation bias, individual-blame bias, recall problem, and issues of equality. The pro-innovation bias, in particular, implies that all innovation is positive and that all innovations should be adopted.[1] Cultural traditions and beliefs can be consumed by another culture's through diffusion, which can impose significant costs on a group of people.[86] The one-way information flow, from sender to receiver, is another weakness of this theory. The message sender has a goal to persuade the receiver, and there is little to no reverse flow. The person implementing the change controls the direction and outcome of the campaign. In some cases, this is the best approach, but other cases require a more participatory approach.[87] In complex environments where the adopter is receiving information from many sources and is returning feedback to the sender, a one-way model is insufficient and multiple communication flows need to be examined.[88]
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qMRDiffusion of innovations is a theory that seeks to explain how, why, and at what rate new ideas and technology spread through cultures. Everett Rogers, a professor of communication studies, popularized the theory in his book Diffusion of Innovations; the book was first published in 1962, and is now in its fifth edition (2003).[1] Rogers argues that diffusion is the process by which an innovation is communicated through certain channels over time among the participants in a social system. The origins of the diffusion of innovations theory are varied and span multiple disciplines. Rogers proposes that four main elements influence the spread of a new idea: the innovation itself, communication channels, time, and a social system. This process relies heavily on human capital. The innovation must be widely adopted in order to self-sustain. Within the rate of adoption, there is a point at which an innovation reaches critical mass. The categories of adopters are: innovators, early adopters, early majority, late majority, and laggards.[2] Diffusion manifests itself in different ways in various cultures and fields and is highly subject to the type of adopters and innovation-decision process.
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QMRFour Corners, Oklahoma may refer to unincorporated settlements in several counties in the U.S. state of Oklahoma:
Four Corners, Lincoln County, Oklahoma
Four Corners, Texas County, Oklahoma
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QMRUW–Madison claims more distinct archaeological sites than on any other university campus.[112] The campus contains four clusters of effigy mound located at Observatory Hill, Willow Drive, Picnic Point and Eagle Heights. These sites, reflecting thousands of years of human habitation in the area, have survived to a greater or lesser degree on campus, depending on location and past building activities. Surviving sites are marked and fenced on the campus, ensuring that they are not disturbed. Wisconsin statutes protect effigy mounds by giving them a five-foot buffer zone.[113][114] The Lakeshore Nature Preserve Committee is endeavoring to “…safeguard beloved cultural landscapes,” through aggressive enforcement of measures for the preservation of such zones and advocating for broader buffers where possible.[115]
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QMROn May 22, 2012, the Ho-chunk Nation passed a resolution permitting the usage of the name "Dejope" for a new residence hall at the university. Dejope means "Four Lakes" in the Ho-Chunk language, and Native Americans have used this word to describe the Madison area for thousands of years.[89] The residence hall was planned as a symbol of the ongoing cooperative relationship between University of Wisconsin–Madison and the Ho-Chunk nation and the building and its grounds contain imagery of the mounds and lakes in the area. A fire circle in front of the building contains plaques representing all 11 Native American nations in Wisconsin. Images of the four effigy mounds that are located on the campus (Observatory Hill, Willow Drive, Picnic Point and Eagle Heights) are embedded into the flooring of the building's main floor. An acrylic depiction of Lake Mendota is located in the conference room, and another artwork of glass and metal depicting the Four Lakes is located in the East Hall.
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QMRMadison's origins begin in 1829, when former federal judge James Duane Doty purchased over a thousand acres (4 km²) of swamp and forest land on the isthmus between Lakes Mendota and Monona, with the intention of building a city in the Four Lakes region. When the Wisconsin Territory was created in 1836 the territorial legislature convened in Belmont, Wisconsin. One of the legislature's tasks was to select a permanent location for the territory's capital. Doty lobbied aggressively for Madison as the new capital, offering buffalo robes to the freezing legislators and promising choice Madison lots at discount prices to undecided voters.[citation needed] He had James Slaughter plat two cities in the area, Madison and "The City of Four Lakes", near present-day Middleton. Doty named the city Madison for James Madison, the fourth President of the U.S. who had died on June 28, 1836 and he named the streets for the other 39 signers of the U.S. Constitution.[6] Although the city existed only on paper, the territorial legislature voted on November 28 in favor of Madison as its capital, largely because of its location halfway between the new and growing cities around Milwaukee in the east and the long established strategic post of Prairie du Chien in the west, and between the highly populated lead mining regions in the southwest and Wisconsin's oldest city, Green Bay in the northeast. Being named for the much-admired founding father James Madison, who had just died, and having streets named for each of the 39 signers of the Constitution, may have also helped attract votes.[7]
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QMROn January 25, U.S District Judge Daniel Thomas issued rules requiring that at least 100 people must be permitted to wait at the courthouse without being arrested. After Dr. King led marchers to the courthouse that morning, Jim Clark began to arrest all registrants in excess of 100, and corral the rest. Annie Lee Cooper, a fifty-three-year-old practical nurse who had been part of the Selma movement since 1963, struck Clark after he twisted her arm, and she knocked him to his knees. Four deputies seized Cooper, and photographers captured images of Clark beating her repeatedly with his club. The crowd was inflamed and some wanted to intervene against Clark, but King ordered them back as Cooper was taken away. Although Cooper had violated nonviolent discipline, the movement rallied around her.
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QMrThe Maersk Alabama hijacking was a series of maritime events that began with four pirates in the Indian Ocean seizing the cargo ship MV Maersk Alabama 240 nautical miles (440 km; 280 mi) southeast of Eyl, Somalia. The siege ended after a rescue effort by the U.S. Navy on 12 April 2009.[1] It was the first successful pirate seizure of a ship registered under the American flag since the early 19th century. Many news reports referenced the last pirate seizure as being during the Second Barbary War in 1815, although other incidents had occurred as late as 1821.[2] It was the sixth vessel in a week to be attacked by pirates who had previously extorted ransoms in the tens of millions of dollars.
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QMRMississippians had more prosperity in the 1920s than they had known for two generations, although the state was still poor and rural by national standards. The people gained a slice of the American Dream. Ownby (1999), in his in-depth study of the state, identifies four American dreams that the new 20th-century consumer culture addressed. The first was the "Dream of Abundance", offering a cornucopia of material goods to all Americans, making them proud to be the richest society on earth. The second was the "Dream of a Democracy of Goods", whereby everyone had access to the same products regardless of race, gender, ethnicity, or class, thereby challenging the aristocratic norms of the rest of the world, whereby only the rich or well-connected are granted access to luxury. The "Dream of Freedom of Choice", with its ever expanding variety of goods, allowed people to fashion their own particular style. Finally was the "Dream of Novelty", in which ever-changing fashions, new models, and unexpected new products broadened the consumer experience and challenged the conservatism of traditional society and culture, and politics. Ownby acknowledges that the dreams of the new consumer culture radiated from the major cities, but notes that they quickly penetrated the most rural and most isolated areas, such as rural Mississippi. With the arrival of the Model T car after 1910, many consumers in rural America were no longer locked into local general stores with their limited merchandise and high prices. They could go to towns and cities to do comparison shopping. Ownby demonstrates that poor black Mississippians shared in the new consumer culture. He attributes some of their desire to move to ambition, and acknowledges that hundreds of thousands of blacks moved to Memphis or Chicago in the Great Migration.[59][page needed] Other historians have attributed the migration decisions to the poor schools for blacks, a high rate of violence, social oppression, and political disenfranchisement in Mississippi.
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Literature Chapter
QMrByron Kathleen Mitchell, better known as Byron Katie (born December 6, 1942[1]), is an American speaker and author who teaches a method of self-inquiry known as "The Work of Byron Katie" or simply as "The Work". She is married to the writer and translator Stephen Mitchell. She is the founder of Byron Katie International (BKI), an organization that includes The School for the Work and Turnaround House in Ojai, California.
The Work is a way of identifying and questioning any stressful thought. It consists of four questions and a turnaround. This is a way of experiencing the opposite of what you believe. The four questions are:
Is it true?
Can you absolutely know that it's true?
How do you react, what happens, when you believe that thought? and
Who would you be without the thought?
The turnaround involves considering the thought in a reversed form - changing subject and object, changing yes and no, or changing it to be self-referential. For example, for the thought "My husband should treat me better," turnarounds could include "I should treat my husband better," "I should treat myself better," or "My husband shouldn't treat me better."[3]
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Bray Productions was the dominant animation studio based in the United States during the years of World War I.[1][2][3]
Bray's goal was to have four units working on four cartoons at any one time; since it took a month to complete a film, four units with staggered schedules produced one cartoon a week for use of the "screen magazines" (a one-reel collection of live-action didactic pieces and travelogs in addition to the cartoon, that was played before the feature). Bray started with Pathé as his distributor, switched to Paramount in 1916, and then switched to Goldwyn Pictures in 1919. Of the units, one produced his Colonel Heeza Liar, one produced Hurd's Bobby Bumps, and one produced non-series cartoons, usually topical commentaries on the news directed by Leighton Budd, J. D. Leventhal, and others. The fourth unit was the one that kept changing hands. It produced Terry's Farmer Al Falfa in 1916, until Terry left a year later, and the Farmer went with him. It then produced Max Fleischer's Out of the Inkwell until 1921, when Fleischer left, taking Koko the Clown with him. The influx of IFS series at the same time broke up the four-unit system—in 1920 there were ten series going simultaneously, with Heeza Liar in hiatus from 1917.
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QMRJamie Bryson (born 1990) is a loyalist activist in Northern Ireland who attracted media attention as a leading figure in the Belfast City Hall flag protests. He is the author of four books, published online, including The Three Headed Dog.
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QMRThe Raspberries were an American power pop/pop rock band formed in 1970 from Cleveland, Ohio. They had a run of success in the early 1970s music scene with their pop sound, which Allmusic later described as featuring "exquisitely crafted melodies and achingly gorgeous harmonies."[3] The members were known for their clean-cut public image, with short-hair and matching suits, which brought them teenybopper attention as well as scorn from some mainstream media outlets as "uncool".[4] The group drew influence from the British Invasion era—especially The Beatles, The Who, The Hollies, and Small Faces—and its mod sensibility.[3] In both the U.S. and the UK, the Raspberries helped pioneer the power pop music style that took off after the group disbanded.[5] They also have a following among professional musicians such as Jack Bruce, Ringo Starr,[6] and Courtney Love.[7]
The group's "classic" lineup consisted of Eric Carmen (vocalist/guitarist/bassist), Wally Bryson (guitarist), Jim Bonfanti (drummer), and Dave Smalley (guitarist/bassist). Their best known songs include "Go All the Way", "Let's Pretend", "I Wanna Be with You", "Tonight", and "Overnight Sensation (Hit Record)".[3] Producer Jimmy Ienner was responsible for all four of the Raspberries' albums in the 1970s. The group broke up in 1975 after a five-year run, and Eric Carmen proceeded to a successful career as a solo artist. Bryson and Smalley resurrected the group's name in 1999 for an album,[3] which included singer/songwriter Scott McCarl working as the vocalist.[8] In 2004 the original four-man lineup reunited and undertook a well-received reunion tour in 2005.[6]
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QMRBrooks Brothers is the oldest men's clothier in the United States and is headquartered on Madison Avenue in Manhattan, New York City. Founded in 1818 as a family business, the privately owned company is owned by the Italian billionaire, Claudio Del Vecchio, and now also features clothing for women.
On April 7, 1818, at the age of forty-five, Henry Sands Brooks (1772–1833) opened H. & D. H. Brooks & Co. on the northeast corner of Catherine and Cherry streets in Manhattan, New York. He proclaimed that his guiding principle was, "To make and deal only in merchandise of the finest body, to sell it at a fair profit, and to deal with people who seek and appreciate such merchandise."[1] In 1833, his four sons, Elisha, Daniel, Edward and John, inherited the family business and in 1850 renamed the company "Brooks Brothers."[2]
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QMRShannara /ˈʃænərə/[1] is a series of high fantasy[2] novels written by Terry Brooks, beginning with The Sword of Shannara in 1977 and continuing through The Darkling Child which was released in June 2015; there is also a prequel, First King of Shannara. The series blends magic and primitive technology and is set in the Four Lands, which are identified as Earth long after civilization was destroyed in a chemical and nuclear holocaust called the Great Wars. By the time of the prequel First King of Shannara, the world had reverted to a pre-industrial state and magic had re-emerged to supplement science.
The Shannara series is set in a post-apocalyptic world called the Four Lands. This world is a futuristic version of our own, and not a secondary world. The Genesis of Shannara trilogy reveals the Four Lands to be located in the modern Pacific Northwest region of the United States and Canada. Much of the landscape has been changed by a future holocaust called The Great Wars, but some landmarks remain. For example, the Columbia River still exists.[3]
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QMRBrooks wrote a four-book series titled The Heritage of Shannara
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QMRByron Herbert Reece (September 14, 1917 – June 3, 1958) was an American author of poetry and novels. During his life, he published four volumes of poetry and two volumes of fiction. He was nominated for a Pulitzer Prize for Bow Down in Jericho, his second volume of poetry, and received a Guggenheim Fellowship for fiction in 1952.
Reece wrote the words of his legacy in four lines:
From chips and shards, in idle times,
I made these stories, shaped these rhymes;
May they engage some friendly tongue
When I am past the reach of song.
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The poem has four cantos written in Spenserian stanzas, which consist of eight iambic pentameter lines followed by one alexandrine (a twelve syllable iambic line), and has rhyme pattern ABABBCBCC.
QMRChilde Harold's Pilgrimage is a lengthy narrative poem in four parts written by Lord Byron. It was published between 1812 and 1818 and is dedicated to "Ianthe". The poem describes the travels and reflections of a world-weary young man who, disillusioned with a life of pleasure and revelry, looks for distraction in foreign lands. In a wider sense, it is an expression of the melancholy and disillusionment felt by a generation weary of the wars of the post-Revolutionary and Napoleonic eras. The title comes from the term childe, a medieval title for a young man who was a candidate for knighthood.
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QMRThe Four Books of Sentences (Libri Quattuor Sententiarum) is a book of theology written by Peter Lombard in the 12th century. It is a systematic compilation of theology, written around 1150; it derives its name from the sententiae or authoritative statements on biblical passages that it gathered together.
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QMRCommentaries on American Law is a four-volume book by James Kent.[1] It was adapted from his lectures at Columbia Law School starting in 1794.[2] It was first published in 1826 by O. Halsted and has been reprinted and revised many times since. A twelfth edition was edited by Oliver Wendell Holmes, Jr..[3] A fourteenth edition edited by John M. Gould was published in 1896, and a fifteenth edition edited by Jon Roland was published 1997-2002.[4]
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QMRArs Poetica, or "The Art of Poetry," is a poem written by Horace c. 19 BC,[1] in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama..."[2] and has inspired poets and writers through the ages.[3]
"Many of...[the] apt phrases [of the Ars Poetica]...have passed into common literary parlance."[9] Four quotations in particular are associated with the work:
"in medias res (l. 148)," or "into the middle of things." This describes a narrative technique of starting the story from its middle point. According to Horace, this entices the audience into the plot by making everyone curious about the characters' previous paths and their future destinies. The technique appeared frequently in ancient epics, and remains popular in modern narratives.
"ab ovo (l. 147)," or "from the beginning." As Homer did not initiate his epics about the Trojan War from the conception (thus, the egg - "ovo" in Latin) of Helen, poets and other story tellers should do something likewise: in other words, starting a story from its commencement will bore and fatigue audiences that may not be interested in a plot that is tediously inclusive.
"quandoque bonus dormitat Homerus (l. 359)" or "sometimes even good Homer nods off." Today this expression is used to indicate that 1. even the most skilled poet can make continuity errors and 2. long works, usually epics (such as the Iliad or the Odyssey), may have their faults without that detracting significantly from their general quality. In context, however, Horace even censures Homer for such lapses. It reads "et idem | indignor quandoque bonus dormitat Homerus;" (I even castigate the good Homer for the same [fault of technical errors] whenever he nods off).
"ut pictura poesis (l. 361)," or "as is painting so is poetry," by which Horace meant that poetry, in its widest sense meaning "imaginative texts," merits the same careful interpretation that was in his day reserved for painting.
(The latter two phrases occur one after the other near the end of the poem).
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QMRThere are four basic families of verse: dactylic, iambic (and trochaic), aeolic, and anapestic. In the dactylic family, short syllables come in pairs, and these pairs may be contracted (two short replaced by one long). In the iambic/trochaic family, short syllables come one at a time, and some long elements may be resolved (one long replaced by two short). In the anapestic family, short syllables come in pairs, and both contraction and resolution are allowed. In the aeolic family, there are both paired and single short syllables, and neither contraction nor resolution is allowed.
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QMRThe Odes (Latin: Carmina) are a collection in four books of Latin lyric poems by Horace. The Horatian ode format and style has been emulated since by other poets. Books 1 to 3 were published in 23 BC. According to the journal Quadrant, they were "unparalleled by any collection of lyric poetry produced before or after in Latin literature".[1] A fourth book, consisting of 15 poems, was published in 13 BC.
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Horace's Ars Poetica is second only to Aristotle's Poetics in its influence on literary theory and criticism. Milton recommended both works in his treatise of Education.[113] Horace's Satires and Epistles however also had a huge impact, influencing theorists and critics such as John Dryden.[114] There was considerable debate over the value of different lyrical forms for contemporary poets, as represented on one hand by the kind of four-line stanzas made familiar by Horace's Sapphic and Alcaic Odes and, on the other, the loosely structured Pindarics associated with the odes of Pindar. Translations occasionally involved scholars in the dilemmas of censorship. Thus Christopher Smart entirely omitted Odes 4.10 and re-numbered the remaining odes. He also removed the ending of Odes 4.1. Thomas Creech printed Epodes 8 and 12 in the original Latin but left out their English translations. Philip Francis left out both the English and Latin for those same two epodes, a gap in the numbering the only indication that something was amiss. French editions of Horace were influential in England and these too were regularly bowdlerized.
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QMRThe German scholar, Ludwig Traube, once dubbed the tenth and eleventh centuries The age of Horace (aetas Horatiana), and placed it between the aetas Vergiliana of the eighth and ninth centuries, and the aetas Ovidiana of the twelfth and thirteenth centuries, a distinction supposed to reflect the dominant classical Latin influences of those times. Such a distinction is over-schematized since Horace was a substantial influence in the ninth century as well. Traube had focused too much on Horace's Satires.[96] Almost all of Horace's work found favor in the Medieval period. In fact medieval scholars were also guilty of over-schematism, associating Horace's different genres with the different ages of man. A twelfth century scholar encapsulated the theory: "...Horace wrote four different kinds of poems on account of the four ages, the Odes for boys, the Ars Poetica for young men, the Satires for mature men, the Epistles for old and complete men."[97] It was even thought that Horace had composed his works in the order in which they had been placed by ancient scholars.[nb 25] Despite its naivety, the schematism involved an appreciation of Horace's works as a collection, the Ars Poetica, Satires and Epistles appearing to find favour as well as the Odes. The later Middle Ages however gave special significance to Satires and Epistles, being considered Horace's mature works. Dante referred to Horace as Orazio satiro, and he awarded him a privileged position in the first circle of Hell, with Homer, Ovid and Lucan.[98]
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QMrHenry Lau (born October 11, 1989),[1] simply known by his stage name Henry, is a Canadian singer-songwriter, rapper, dancer, record producer, beatboxer and actor mostly active in South Korea. He is best known for being a member of Super Junior-M and the break-out star[2][3] in the Korean real-time military-variety show Real Men. While Lau's native language is English, he is also fluent in Mandarin, Korean, French, Taiwanese and Cantonese .[4] Henry made his solo debut in early June 2013 with the release of his debut mini-album Trap. He dubbed his fans as his "Strings." Lau is also a part of a composing team NoizeBank, which is a composing and production team that consists of four members, Henry Lau, Gen Neo, Neil Nallas, and Isaac Han.[5]
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QMrIn the Abrahamic religions, Gabriel (Hebrew: גַּבְרִיאֵל, Modern Gavri'el, Tiberian Gaḇrîʼēl "God is my strength"; Biblical Greek: Γαβριήλ, Gabriēl) is an angel who typically serves as a messenger sent from God to certain people.
When Enoch asked who the four figures were that he had seen: "And he said to me: 'This first is Michael, the merciful and long-suffering: and the second, who is set over all the diseases and all the wounds of the children of men, is Raphael: and the third, who is set over all the powers, is Gabriel: and the fourth, who is set over the repentance unto hope of those who inherit eternal life, is named Phanuel.' And these are the four angels of the Lord of Spirits and the four voices I heard in those days." (Enoch 40:9)
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QMR Bernard, Jessie. "My Four Revolutions: An Autobiographical History of the ASA". The American Journal of Sociology, 78(4):776
Jump up ^
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Unto This Last had a very important impact on Gandhi's philosophy.[3] He discovered the book in March 1904 through Henry Polak, whom he had met in a vegetarian restaurant in South Africa. Polak was sub-editor of the Johannesburg paper The Critic. Gandhi decided immediately not only to change his own life according to Ruskin's teaching, but also to publish his own newspaper, Indian Opinion, from a farm where everybody would get the same salary, without distinction of function, race or nationality, which for that time, was quite revolutionary. Thus Gandhi created Phoenix Settlement.
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qMRUnto This Last is an essay and book on economy by John Ruskin, first published in December 1860 in the monthly journal Cornhill Magazine in four articles. Ruskin says himself that these articles were "very violently criticized", forcing the publisher to stop the publication after four months. Subscribers sent protest letters. But Ruskin countered the attack and published the four articles in a book in May 1862.
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QMRIn his four essays, Unto This Last, Ruskin rejected the division of labour as dehumanising (separating labourer from his product), and argued that the "science" of political economy failed to consider the social affections that bind communities together. Ruskin articulated an extended metaphor of household and family, drawing on Plato and Xenophon to demonstrate the communal and sometimes sacrificial nature of true economics.[88] For Ruskin, all economies, and all societies are ideally underwritten by a politics of social justice. Ruskin's ideas influenced the concept of the "social economy" characterised by networks of charitable, co-operative and other non-governmental organisations.
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QMR The Four Seasons (fr Les Quatre Saisons) was the last set of four oil paintings completed by the French painter Nicolas Poussin (1594–1665). The set was painted in Rome between 1660 and 1664 for the Duc de Richelieu, the nephew of Cardinal Richelieu. Each painting is an elegiac landscape with Old Testament figures conveying the different seasons and times of the day. Executed when the artist was in failing health suffering from a tremor in his hands, the Seasons are a philosophical reflection on order in the natural world. The iconography evokes not only the Christian themes of death and resurrection but also the pagan imagery of classical antiquity: the poetic worlds of Milton's Paradise Lost and Virgil's Georgics. The paintings currently hang in a room on their own in the Louvre in Paris.
“ By his absolute humility, by his effacement of himself, by his refusal to use any tricks or overstate himself, Poussin has succeeded in identifying himself with nature, conceived as a manifestation of the divine reason. The Seasons are among the supreme examples of pantheistic landscape painting. ”
— Anthony Blunt, Nicolas Poussin[1]
“ Jamais peut-être, dans toute la peinture occidentale, des choses aussi nombreuses et parfois si difficiles n'avaient été dites avec une telle simplicité. Jamais un peintre ne s'était aussi pleinement identifié à l'ordre du monde. Mais cette identification n'est ni « une projection » ni une confidence : là est le sens de cette impersonalité que l'on a pu reprocher à Poussin, et qui fait sa grandeur.
The French born painter Nicolas Poussin had made his home in Rome since the age of 30. At the end of his life, from 1660 to 1664, he undertook his last set of paintings, The Four Seasons, a work commissioned by the Duc de Richelieu, son of Cardinal Richelieu. Work on the paintings was necessarily slow, because of general ill health and the continuing tremor in his hands, which had affected Poussin since 1640 and turned him into a recluse.
Nicolas Poussin, drawing of a serpent. 1630. Louvre
The Seasons are a continuation of Poussin's mythological landscapes, depicting the power and grandeur of nature, "benign in Spring, rich in Summer, sombre yet fruitful in Autumn, and cruel in Winter."[4] The series also represents successive times of the day: early morning for Spring, midday for Summer, evening for Autumn and a moonlit night for Winter. For both stoic philosophers and for early Christians the seasons represented the harmony of nature; but for Christians the seasons, often depicted personified surrounding the Good Shepherd, and the succession of night and day also symbolized the death and resurrection of Christ and the salvation of man (1 Clement 9: 4-18, 11: 16-20 s:1 Clement (William Wake translation)).
Departing from the traditions of classical antiquity or medieval illuminations, where the seasons were represented either by allegorical figures or by scenes from everyday country life, Poussin chose to symbolize each season by a specific episode from the Old Testament. For Spring he chose Adam and Eve in the Garden of Eden from Genesis; for Summer Boaz discovering Ruth gleaning corn in his fields from the Book of Ruth; for Autumn the Israelite spies returning with grapes from the promised land of Canaan from the Book of Numbers; and for Winter the Flood from the Book of Noah. In addition to the obvious seasonal references, some commentators have seen further less immediate biblical references. The bread and wine in Summer and grapes in Autumn could refer to the eucharist. The whole sequence could also represent Man's path to redemption: his state of innocence before the original sin and the Fall in Spring; the union that gave rise to the birth of Christ through the House of David in Summer; the Mosaic laws in Autumn; and finally the Last Judgement in Winter.[5]
As well as this Christian iconography, the paintings could also contain mythological allusions to four deities of classical antiquity.[5] In Spring, Poussin reuses the device of a rising sun, previously employed in the Birth of Bacchus to denote Apollo, the father of Bacchus. In Summer Ruth with her sheaf of corn could denote Ceres, the goddess of grain and fertility. In Autumn the grapes could be a reference to Bacchus. The serpent is a symbol used in Poussin's previous oeuvre.[6] In Winter the snake slithering over the rocks could be an allegorical reference to the classical underworld and Pluto.
Gallery[edit]
The paintings[edit]
Given their complex iconographic references, the paintings themselves have a deceptive simplicity. However, in their composition, Poussin, painting in his seventies, used all the experience acquired through his life. Understatement is notable throughout the set. No attempt is made to dazzle the viewer with technique and Poussin seems to have taken great pains to leave behind all trace of the artist and let the grandeur of Nature speak for itself.[1]
Spring[edit]
The Birth of Bacchus, 1657, Fogg Art Museum
In Spring or The Earthly Paradise, Poussin depicts Adam and Eve in the Garden of Eden next to the Tree of Knowledge. It is before the original sin and subsequent expulsion from Eden: no snake is visible as Eve points out the forbidden fruit to Adam. The picture shows a luxuriantly vegetated wood with varying gradations of greenery. Ominously the foreground is dimly lit. In the distance the morning sun reveals swans on a lake with meadows and mountains behind; early morning light can also be seen glimmering through a gap in the rocks and shrubs in the middle ground, echoing the iconography of The Birth of Bacchus.
Adam and Eve form a small static couple in the centre of the calm woodland, dwarved by the lush vegetation. Equally small, the robed figure of the Creator can be seen high up on a cloud surrounded by a halo of light; He is pointed away from the viewer, departing as if aware of what is to come. The figures in the composition recall classic depictions in mediaeval miniatures.[7][8]
As Clark (1961) comments, the work is a perfect visual counterpart to John Milton's Paradise Lost, written in the same period.
Summer[edit]
Detail from the Arch of Titus, Rome
In Summer or Ruth and Boaz, the scene is built up in rectangular blocks behind the three principal figures in the foreground, who are seen in profile as in a bas-relief. Ruth the Moabite kneels before Boaz, as his servant looks on benignly. Two parallel walls of corn are visible, along with the detailed decorative painting of the individual stems. The cornfield itself forms the centre of the painting. Its jagged edge leads the eye to the rocks, sea and mountains in the distance. In the middle ground a group of reapers form an extended frieze, while further back a group of five horses can be seen, executed in the classical style of the triumphal arches of Ancient Rome.[9] The bucolic scene is completed by figures of a peasant playing on bagpipes to the right and, on the left, a reaper quenching his thirst from a flask of wine while women prepare bread in the shade of the large tree in the foreground.
As Clark (1967) has commented, in Poussin's elegiac treatment of Summer "the mood of the Georgics is raised to a kind of sacramental gravity."
Autumn[edit]
Hier. Wierix: Engraving 1607, British Museum
The rougher texture and trembling brushwork evident in Autumn or The Spies with the Grapes of the Promised Land suggest that this might have been the last painting of the set to be completed.[10] The lush vegetation of Spring is replaced by stoney ground with small clumps of grass. Only the apple tree in the centre bears fruit; the leaves are already beginning to fall from the two small trees on the left. Long shadows are cast by the evening sun, whose fading light catches a town nestling under a mountain in the distance and buildings perched on a rocky ledge to the right. The observer's eye is gently directed towards the central figures of the two Israelite spies by the lines of clouds and cliffs beneath them. As related in the Book of Numbers, they need a pole to carry the enormous grapes; one of the spies holds a branch of oranges as large as melons. In the middle ground are a fisherman and a woman with a basket of fruit on her head.
In the central bas-relief composition, Poussin has used elements from an allegorical engraving from 1607 by Hieronymus Wierix for the classical figures of the two men with grapes. In Poussin's painting a woman can be seen gathering fruit on a ladder leaning against the tree, with the ladder appearing to rise out of the grapes. In the original the body of Christ rises from the grapes. This has suggested an iconographic interpretation of the apple tree as the Tree of Life – the heavenly rewards promised in paradise after salvation.
Winter[edit]
Nicolas Poussin: Landscape with a man killed by a snake 1648, National Gallery
Winter or The Flood is most commonly referred to by its French title Le Deluge.[11] In this highly original painting Poussin depicts the final stages of the horrific cataclysm of The Flood with restraint. The picture records the moment when the floods are finally covering the plain with the last few rocky outcrops disappearing under the rising waters. The horizontal lines used in his other paintings to create a sense of order here lead the eye through the painting with increasing unease. The moonlit scene is coloured in different shades of bluey grey, interrupted by flashes of lightning. The dim outlines of Noah's Ark can be made out floating on the calmer waters in the far distance. Contrasting with the jagged shapes of rocks and trees, the waterfall produces a horizontal backdrop for the frieze of stranded survivors in the foreground, uncertain of their impending doom.[12] Poussin ominously places a snake slithering across the rock on the left of the picture, a symbol often employed in his pictures to conjure up a sense of horror. Additionally the presence of a snake plays a special iconographic role in the cycle, because it also serves as a reminder of the singular absence of a serpent in the Garden of Eden.[6][13]
Reception and influence[edit]
He applies nature to his own purposes, works out her images according to standards of his own thought ... and the first conception being given, all the rest seems to grow out of, and be assimilated to it, by the unfailing process of a studious imagination.
William Hazlitt[14]
Nicolas Poussin is regarded by many historians of art as one of the most influential figures in French landscape painting.[15] In his paintings he looked for a harmony between vertical and horizontal elements, sometimes resorting to mathematical devices such as the golden ratio. In landscape painting, in which the elements are mostly horizontal, he introduced classical architecture to make the Pythagorean right angles so essential to his methods, much studied later by commentators and artists alike. When Poussin's Seasons were first exhibited, they were immediately discussed by French academicians, connoisseurs and artists, including Charles le Brun, Sébastien Bourdon, Loménie de Brienne and Michel Passart, a patron of both Claude and Poussin. As Brienne reported at the time:
"We met at the Duke of Richelieu's where most of the inquiring minds in Paris could be found. There was a long and erudite discussion. I also spoke and declared myself for the Deluge. Passat felt the same way. LeBrun, who hardly rated either Spring or Autumn, gave a long eulogy on Summer. But Bourdon held out for the Earthly Paradise and on this he would not budge."[16]
Damn it! A Provençal Poussin, that would fit me like a glove. Twenty times I have wanted to paint the theme of Ruth et Booz ... I would like, [...] as in Automne, to give a fruit picker the slenderness of an Olympian plant and the celestial ease of a Virgilian verse.
Paul Cézanne[17]
Unlike other artists who spawned slavish imitators, Poussin's influence seems to have been wholly positive.[18] Other artists understood his balance between ideal and reality. His influence can be seen in the work of French landscape painters such as Bourdon, Gaspard Dughet, Millet, Corot, Pissarro and Cézanne. Although the critic William Hazlitt recognized Poussin as a great painter, the English school largely preferred the gently poetic landscapes of Claude to the intellectual rigour of Poussin. Turner, although influenced by The Deluge, had strong reservations; Constable was one of the few to learn from Poussin, whose paintings he liked to copy.[19]
The Deluge[edit]
Winter or The Deluge
The single painting from the Seasons which has been most discussed over the years is probably Winter or The Deluge.[11] Although Poussin is primarily regarded as one of the greatest classicist painters, his Deluge created for him a unique position in the history of romantic painting. The Deluge was the prototype and inspiration for a large number of nineteenth century deluges and tempests. It became known as one of the first masterpieces of the "horrific sublime" and acquired a unique importance in the Louvre for romantic landscape painters. Almost all French critics and historians of art commented on it, many hailing it as the greatest painting of all time. In England Hazlitt described it as "perhaps the finest historical landscape in the world" and Constable considered it "alone in the world".[20]
Very soon after it was first exhibited, the Académie Royale exceptionally devoted a short conférence to it in 1668, with an unprecedented five subsequent discussions between 1694 and 1736, indicating the unique impression it had made in France. These early appraisals recognized the daring originality of the picture, giving it a special place of honour amongst Poussin's oeuvre. While recognizing the harmony of the picture and its economical monochromaticism, the academicians nevertheless felt that the inherent greyness of the subject matter did not give scope for objets agréables.[20]
In 1750 the Deluge was included in an exhibition of the paintings of Louis XV in the Luxembourg Palace. At the time its popularity with the public eclipsed the Marie de' Medici cycle of Rubens, on display for the first time; this included well-known visitors such as Charles-Antoine Coypel, James Barry and Horace Walpole, who in particular singled out the Deluge as "worth going to see alone" and "the first picture of its kind in the world". It was, however, the commentary of the Abbé Louis Gougenot at the time that captured the four aspects of the painting that would be the main points of all future discussion:[21]
Funeral service of Nicolas Poussin by Pierre-Nolasque Bergeret. 1819. Engraving by C. Normand. The Deluge hangs on the back wall.[22]
Economy of means. One significant feature that distinguished the Deluge from the Deluges of Raphael and Michelangelo was the small number of figures in the painting – eleven including a horse. Several writers including Coypel and Diderot thought there were even fewer. Poussin was perceived to have deliberately chosen to depict "le moment solennel où la race humaine va disparaître". Early critics, including Chateaubriand, regarded this essay in horror and pathos as Poussin's swansong. Later the historical painter Pierre-Nolasque Bergeret included it symbolically in his depiction of Poussin's death. Critics also noted Poussin's understatement: according to Diderot and de Clarac, the calmness of the picture only intensified the horror. Constable, who picked out the Deluge as one of the four paintings marking "the memorable points in the history of landscape", considered that this calmness showed Poussin's faithfulness to the original biblical text, which only mentions rain; for him Poussin had eschewed all violent and dramatic effects, thereby deepening the interest in those few figures present.[23]
Richness of interest. Although lacking in principal figures, the Deluge was considered to evoke in the observer all the ideas connected with a disaster – destruction, desolation, fear, horror and melancholy. Critics singled out the old man clinging to a plank, the pathos of the family group desperately trying to rescue their child and, most sinister of all, the serpent gliding over the rocks on the right. Rousseau was among those whose imagination was haunted by the serpent, the precursor of evil. The nightmarish image of the serpent – l'esprit tentateur qui corrompit le premier homme, et qui s'applaudit encore du nouveau désastre dont il est l'auteur – became one of the most copied motifs of Poussin.[24]
Sublimity of conception. For many critics, Poussin's boldness in daring to break all the usual rules of painting showed that he was attempting to speak the unspeakable; that he was willing "to hurl himself into the depths to make tangible an inaccessible truth." With this recognition of visionary recklessness, considered by some to contradict his usual rational methods, came also an appreciation of the ineffable sublimity of the Deluge, both for its terror and its simplicity. Like others before him, Shelley was transfixed by the painting, which he found "terribly impressive". Many commentators have ascribed the visceral and overwhelming reaction created by the Deluge, so hard to translate into words, to Poussin's genius in evoking the sublime.[25]
Appropriateness of colour. Already in the seventeenth century, academicians had praised the Deluge for its "universal colour". In 1750 the Abbé Gougenot had similarly referred to the appropriateness of grey as a colour. It was Coypel, however, who understood that it was a colour designed to evoke a mood of melancholy. Later this was understood to be a supreme example of Poussin's theory of modes. This ran contrary to the usual academic theories demanding vivid contrasts in a work of art. On the contrary as the English critic John Opie pointed out in 1809, the colourlessness of the Deluge was one of the main factors for the "pathetic solemnity, grandeur and simplicity of its effect". Poussin's use of colour did not please all, notably the English critic John Ruskin, who found the treatment of the theme undramatic and unnaturalistic. Much later at the turn of the twentieth century the French art historian Paul Desjardins, one of the greatest scholars of Poussin, interpreted the Deluge not as an evocation of rain or flooding but of doom and despair. Rather than realism, he saw the whole painting as an expression of a human state, a prayer uttered into the void never to be answered. With this interpretation, the greyness of the picture became moving in itself, the symbol for a lost soul. Moreover, the cycle of four paintings could thrn be seen to have a unity as four moods or musical modes, reflected in the different colourings of the paintings: lush greens for Spring; golden yellows for Summer; fading browns for Autumn; and ashen grey for Winter.[26]
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QMRBarton Springs is a set of four natural water springs located on the grounds of Zilker Park[2] in Austin, Texas, resulting from water flowing through the Edwards Aquifer. The largest spring, Main Barton Spring (also known as Parthenia, "the mother spring") supplies water to Barton Springs Pool, a popular recreational destination in Austin. The smaller springs are located nearby, two with man-made structures built to contain and direct their flow. The springs are the only known habitat of the Barton Springs Salamander, an endangered species.[3]
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QMrSwann's Way (Du côté de chez Swann, sometimes translated as The Way by Swann's) (1913) was rejected by a number of publishers, including Fasquelle, Ollendorff, and the Nouvelle Revue Française (NRF). André Gide was famously given the manuscript to read to advise NRF on publication and, leafing through the seemingly endless collection of memories and philosophizing or melancholic episodes, came across a few minor syntactic errors, which made him decide to turn the work down in his audit. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself. When published it was advertised as the first of a three-volume novel (Bouillaguet and Rogers, 316-7). Du côté de chez Swann is divided into four parts: "Combray I" (sometimes referred to in English as the "Overture"), "Combray II," "Un Amour de Swann," and "Noms de pays: le nom." ('Names of places: the name'). A third-person novella within Du côté de chez Swann, "Un Amour de Swann" is sometimes published as a volume by itself. As it forms the self-contained story of Charles Swann's love affair with Odette de Crécy and is relatively short, it is generally considered a good introduction to the work and is often a set text in French schools. "Combray I" is also similarly excerpted; it ends with the famous madeleine cake episode, introducing the theme of involuntary memory. In early 1914 Gide, who had been involved in NRF's rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. "For several days I have been unable to put your book down.... The rejection of this book will remain the most serious mistake ever made by the NRF and, since I bear the shame of being very much responsible for it, one of the most stinging and remorseful regrets of my life" (Tadié, 611). Gallimard (the publishing arm of NRF) offered to publish the remaining volumes, but Proust chose to stay with Grasset.
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QMRTerence Kilmartin compiled a comprehensive Reader's Guide to the Remembrance of Things Past (1983). The Guide comprises four separate indices: an index of characters in the Remembrance; an index of actual persons; an index of places; and an index of themes. The reader is thus enabled to locate almost any reference, e.g. Berlioz, or The Arabian Nights, or Madame Verdurin in any particular scene or setting, or Versailles. The volume and page numbers are keyed to the 3-volume Remembrance of Things Past of 1981, translated by Scott Moncrieff and revised by Kilmartin himself.
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QMrPetersburg (Russian: Петербургъ, Peterburg) is a novel by Russian writer Andrei Bely. A Symbolist[citation needed] work, it arguably foreshadows James Joyce's[1] Modernist ambitions.[citation needed] First published in 1913, the novel received little attention and was not translated into English until 1959 by John Cournos, over 45 years after it was written (after Joyce was already established as an important writer).
Today the book is generally considered Bely's masterpiece; Vladimir Nabokov ranked it one of the four greatest "masterpieces of twentieth century prose", after Ulysses and The Metamorphosis, and before In Search of Lost Time.[2][3]
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QMRA character based on Peter plays a major role in The Age of Unreason, a series of four alternate history novels written by American science fiction and fantasy author Gregory Keyes. Peter is one of many supporting characters in Neal Stephenson's Baroque Cycle – mainly featuring in the third novel, The System of the World.
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QMRThe Brunswick Four were four lesbians involved in an historic incident in Toronto, Ontario in 1974. The four were evicted from the Brunswick Tavern, a working-class beer hall on Bloor Street, subsequently arrested, and three were later tried in Ontario Court for obstruction of justice.[1]
Contents [hide]
1 Importance of the incident
2 In the tavern
3 Arrest and trial
4 Community response
5 Toronto Police Officers Charged with Assault
6 See also
7 References
Importance of the incident[edit]
Gay historian Tom Warner believes that the arrest and its consequences was a key incident ushering in a more militant gay and lesbian liberation movement in Canada, much as the Stonewall Inn Riots politicized gays and lesbians in the United States. Warner also notes that this was one of the first occasions that a gay or lesbian topic received extensive press coverage in Canada.[1]
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qMRThe Four Tunes (also referred to as The 4 Tunes) were a leading black pop vocal quartet during the 1950s. The members at the peak of their fame were William "Pat" Best, Jimmy Gordon, Jimmie Nabbie, and Danny Owens.
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QMRDue to his actions in the Book of Tobit and the Gospel of John, St. Raphael is accounted patron of travelers, the blind, happy meetings, nurses, physicians, medical workers, matchmakers,[7] Christian marriage, and Catholic studies. As a particular enemy of the devil, he was revered in Catholic Europe as a special protector of Catholic sailors: on a corner of Venice's famous Doge's Palace, there is a relief depicting Raphael holding a scroll on which is written: "Efficia fretum quietum" (Keep the Gulf quiet). On July 8, 1497, when Vasco Da Gama set forth from Lisbon with his four ship fleet to sail to India, the flagship was named—at the King of Portugal's insistence—the St. Raphael. When the flotilla reached the Cape of Good Hope on October 22, the sailors disembarked and erected a column in the archangel's honor. The little statue of St. Raphael that accompanied Da Gama on the voyage is now in the Naval Museum in Lisbon.
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QMrIn tennis, the term Big Four refers to the quartet of men's singles players Roger Federer, Rafael Nadal, Novak Djokovic, and Andy Murray. They reigned as the four best players in the world every season from 2008–2013. These players were considered dominant in terms of ranking and tournament victories, including Grand Slam tournaments and ATP Masters 1000 events, as well as the ATP World Tour Finals and Olympic Games through 2013.
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QMR See Giorgio Vasari, "Raphael of Urbino", in Lives of the Artists, vol. I: "In each of the four circles he made an allegorical figure to point the significance of the scene beneath, towards which it turns. For the first, where he had painted Philosophy, Astrology, Geometry and Poetry agreeing with Theology, is a woman representing Knowledge, seated in a chair supported on either side by a goddess Cybele, with the numerous breasts ascribed by the ancients to Diana Polymastes. Her garment is of four colours, representing the four elements, her head being the colour of fire, her bust that of air, her thighs that of earth, and her legs that of water." For further clarification, and introduction to more subtle interpretations, see E. H. Gombrich, "Raphael’s Stanza della Segnatura and the Nature of Its Symbolism", in Symbolic Images: Studies in the Art of the Renaissance (London: Phaidon, 1975).
Jump up ^
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QMRThe School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes," "Divine Inspiration," "Knowledge of Things Divine" (Disputa), "To Each What Is Due." Accordingly, the figures on the walls below exemplify Philosophy, Poetry (including Music), Theology, and Law.[3] The traditional title is not Raphael’s. The subject of the "School" is actually "Philosophy," or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio," tells us what kind, as it appears to echo Aristotle’s emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, all the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras’ circumpunct.
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QMRUnited First Parish Church is a Unitarian Universalist congregation in Quincy, Massachusetts, established as the parish church of Quincy in 1639. The current building was constructed in 1828 by noted Boston stonecutter Abner Joy to designs by Alexander Parris. The building was designated a National Historic Landmark on December 30, 1970, for its association with the Adams family, who funded its construction and whose most significant members are interred here.
It is called the Church of the Presidents because two American Presidents, John Adams and John Quincy Adams, attended the church along with their wives, Abigail Adams and Louisa Catherine Adams. All four are interred beneath the church in a family crypt. The pew in which they sat is marked with a plaque and ribbon on the side.
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Green Grass, Running Water is a 1993 novel by Thomas King, a writer of Cherokee and Greek/German-American descent, and United States and Canadian dual citizenship. He was born and grew up in the United States, and has lived in Canada since 1980. The novel is set in a contemporary First Nations Blackfoot community in Alberta, Canada. It gained attention due to its unique use of structure, narrative, and the fusion of oral and written literary traditions. The novel is rife with humor and satire, particularly regarding Judeo-Christian beliefs as well as western government and society. Green Grass, Running Water was a finalist for 1993 Governor General's Award in Fiction.
Green Grass, Running Water opens with an unknown narrator explaining "the beginning," in which the trickster-god Coyote is present as well as the unknown narrator. Coyote has a dream which takes form and wakes Coyote up from his sleep. The dream thinks that it is very smart; indeed, the dream thinks that it is god, but Coyote is only amused, labeling the dream as Dog, who gets everything backwards. Dog asks why there is water everywhere, surrounding the unknown narrator, Coyote, and him. At this, the unknown narrator begins to explain the escape of four Native American elders from a mental institution who are named Lone Ranger, Ishmael, Robinson Crusoe, and Hawkeye. The elders are each connected with a female character from native tradition: First Woman and the Lone Ranger, Changing Woman and Ishmael, Thought Woman and Robinson Crusoe, and Old Woman and Hawkeye. The book then divides into four main sections: each of these sections is narrated by one of the four elders.
In addition to these four explaining the "ordinary" events, they each tell a creation story that accounts for why there is so much water. In each creation story, the four encounter a figure from the Bible of Judeo-Christian tradition, as well as the western literary figures from whom each derives his name.
The book has four major plot lines. One follows the escape and travels of the elders and Coyote, who are out to fix the world. Dr Joseph Hovaugh and Babo, his assistant, try to track down the elders. Dr. Hovaugh keeps track of every time the elders have gone missing; he attributes major events, such as the volcanic eruption of Mount St Helens, to their disappearances. The second plot line follows Lionel Red Dog, Charlie Looking Bear and Alberta. The third plot line follows Eli Stands Alone, Lionel's uncle, who lives in his mother's house in the spillway of the Balene Dam. The fourth plot line involves characters from Christian and Native American creation myths and traditions, as well as literary and historical figures including Ahdamn, First Woman, the Young Man Who Walks on Water, Robinson Crusoe, Nasty Bumpo and so on.
The climax of the novel approaches at the time of the traditional Blackfoot annual ceremony of the Sun Dance. Ultimately, the dam breaks due to an earthquake caused by Coyote's singing and dancing. A flood destroys Eli's house, but also returns the waterway to its natural course.
The novel concludes much as it began. The trickster-god Coyote and the unknown narrator are in an argument about what existed in the beginning. Coyote says nothing, but the unknown narrator says that there was water. Once again Coyote asks why there is water everywhere, and the unknown narrator says he will explain how it happened.
The structure of the novel is quite unique; the narrator of the story is identified as "I." This character is a companion of Coyote, and knows the four escaped Aboriginal men personally. The unknown narrator is told the plot of the novel by each of the four in turn. This means that the reader hears the story through the unknown narrator, who heard the story from all of the four escaped Aboriginal men, who separately tell the story to the denizens of Blossom. To further complicate the narrative structure, the unknown narrator is telling this story not directly to the reader, but primarily to Coyote.
Interspersed in the four sections of the novel are four different stories of the creation, as told by four timeless Aboriginal women/gods: First Woman, Changing Woman, Thought Woman, and Old Woman.[5] In each of these retellings, each woman meets both a figure from the Bible as well as a western literary figure, from whom she takes on a new name: Lone Ranger, Ishmael, Robinson Crusoe, and Hawkeye, respectively.[5] These timeless women become the four "Indian Men" who escape the asylum, thus echoing the Trickster's ability to change genders.
Merging oral and written tradition[edit]
Green Grass, Running Water has been hailed as a merger between oral and written tradition, as well as between Aboriginal and European-American cultures. The story has a dualism that is present throughout, starting with Coyote and Dog. In Green Grass, Running Water, Coyote is the Trickster of Aboriginal tradition, specifically Plains/Prairie tradition, whereas Dog thinks that he is "GOD," but is merely Coyote's dream.
Each of the four escaped Aboriginal men originally starts as a mythical figure from Aboriginal oral tradition. They then encounter Dog posing as "GOD," and a Biblical character and situation. They also each come across a western literary figure and take new names after them. First Woman becomes Lone Ranger, Changing Woman becomes Ishmael, Thought Woman becomes Robinson Crusoe, and Old Woman becomes Hawkeye. This constant merger between oral and literary traditions indicates "Green Grass, Running Water"'s constant disruption of western narrative tradition.[6] By using satire and humor, King is comparing and contrasting the two traditions, highlighting faults as well as strengths.[6]
The structure of the novel is quite unique; the narrator of the story is identified as "I." This character is a companion of Coyote, and knows the four escaped Aboriginal men personally. The unknown narrator is told the plot of the novel by each of the four in turn. This means that the reader hears the story through the unknown narrator, who heard the story from all of the four escaped Aboriginal men, who separately tell the story to the denizens of Blossom. To further complicate the narrative structure, the unknown narrator is telling this story not directly to the reader, but primarily to Coyote.
Interspersed in the four sections of the novel are four different stories of the creation, as told by four timeless Aboriginal women/gods: First Woman, Changing Woman, Thought Woman, and Old Woman.[5] In each of these retellings, each woman meets both a figure from the Bible as well as a western literary figure, from whom she takes on a new name: Lone Ranger, Ishmael, Robinson Crusoe, and Hawkeye, respectively.[5] These timeless women become the four "Indian Men" who escape the asylum, thus echoing the Trickster's ability to change genders.
Merging oral and written tradition[edit]
Green Grass, Running Water has been hailed as a merger between oral and written tradition, as well as between Aboriginal and European-American cultures. The story has a dualism that is present throughout, starting with Coyote and Dog. In Green Grass, Running Water, Coyote is the Trickster of Aboriginal tradition, specifically Plains/Prairie tradition, whereas Dog thinks that he is "GOD," but is merely Coyote's dream.
Each of the four escaped Aboriginal men originally starts as a mythical figure from Aboriginal oral tradition. They then encounter Dog posing as "GOD," and a Biblical character and situation. They also each come across a western literary figure and take new names after them. First Woman becomes Lone Ranger, Changing Woman becomes Ishmael, Thought Woman becomes Robinson Crusoe, and Old Woman becomes Hawkeye. This constant merger between oral and literary traditions indicates "Green Grass, Running Water"'s constant disruption of western narrative tradition.[6] By using satire and humor, King is comparing and contrasting the two traditions, highlighting faults as well as strengths.[6]
Green Grass, Running Water has been received positively, both within Native communities and without. King's book was a finalist for the 1993 Governor General's Award in Fiction. The book was championed as a novel for all Canadians by Glen Murray, former Mayor of Winnipeg, in the Canada Reads 2004 contest.
Some elements of the book were incorporated into King's later CBC Radio comedy series The Dead Dog Café.
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Cinema Chapter
QMRFour Sons is a 1940 film directed by Archie Mayo. It stars Don Ameche and Eugenie Leontovich. It is a remake of the 1928 film of the same name.
When the Germans invade Czechoslovakia in 1939, the four sons of a Czecho-German family follow different paths: Czech patriot, Nazi supporter, artist in America, and heroic German soldier.
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QMRFour Principles On Ireland And Other Pieces (Ampersand)
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QMERYou Don't Like The Truth: Four Days Inside Guantanamo is an award-winning 2010 documentary. The film focuses on the recorded interrogations of Canadian child soldier Omar Khadr, by Canadian intelligence personnel that took place over four days from February 13–16, 2003 while he was held at Guantanamo. It presents these with observations by his lawyers and former cell mates from the Bagram Theater Internment Facility and Guantanamo Bay detention camps.[1][2][3][4][5][6][7]
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QMRNow You See Me is a 2013 American and French heist thriller film directed by Louis Leterrier. The film stars Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Mélanie Laurent, Isla Fisher, Dave Franco, Michael Caine and Morgan Freeman.
Four gifted magicians: J. Daniel "Danny" Atlas (Eisenberg), an up and coming illusionist; Merritt McKinney (Harrelson), a has-been mentalist trying to get back on his feet after his brother/manager ran off with his money; Henley Reeves (Fisher), an escape artist and Danny's former magician's assistant/lover; and Jack Wilder (Franco), a street wise con-man and master lock picker—are brought together by an unknown benefactor after mysteriously finding Tarot cards that tell them to be at a specific time and place where a plan is holographically projected for them. The plot time jumps to a year later, where we find them performing in Las Vegas as "The Four Horsemen" with financing by insurance magnate Arthur Tressler (Caine). For the finale of their show (the first of three big tricks in the movie, because magicians always use two progressively more difficult tricks to set up their big finale) they declare they will rob the bank of a randomly selected audience member, Étienne Forcier, an account holder at the Crédit Républicain de Paris. Etienne dons a camera equipped helmet and is teleported into the vault of his bank in Paris, France where a pile of freshly printed Euros awaits. The Horsemen instruct Etienne to leave a calling card, whereupon an air duct vacuums up the money and showers it onto the Las Vegas crowd. Upon the discovery that the money really is missing from the bank vault, a reluctant FBI agent Dylan Rhodes (Ruffalo) is called to investigate the theft and is partnered with Interpol agent Alma Dray (Laurent). Dylan interrogates the arrogant Magicians and is convinced of their guilt, but is forced to release them due to lack of evidence.
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QMROmen IV: The Awakening is a 1991 made-for-television film that serves as the fourth and final addition to the original The Omen series, directed by Jorge Montesi and Dominique Othenin-Girard. This was intended to be the first of many televisual sequels to Twentieth Century Fox's film history of popular titles. Producer Harvey Bernhard, who produced the last three films, felt there could be more done to the series. This was the last film he has produced to date. He previously wrote the story for the second film but this is the only film that he co-wrote.[1]
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QMRFour Flicks is a concert DVD collection by British rock band The Rolling Stones, filmed during the band's Licks World Tour in 2002–2003. The collection was released exclusively through Best Buy on 11 November 2003,[2] which caused other retailers to remove the band's previous releases from their stores.[3]
Four Flicks was successful despite its controversy, becoming certified 19× multi-platinum in the United States[4] and 2× diamond in Canada;[5] for a combined total of 675,000 shipments in those regions.
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QMRThe Commentaries on the Laws of England[1] are an influential 18th-century treatise on the common law of England by Sir William Blackstone, originally published by the Clarendon Press at Oxford, 1765–1769. The work is divided into four volumes, on the rights of persons, the rights of things, of private wrongs and of public wrongs.
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QMRThe Dorians (/ˈdɔːriənz, ˈdɔər-/; Greek: Δωριεῖς, Dōrieis, singular Δωριεύς, Dōrieus) were one of the four major ethnic groups among which the Hellenes (or Greeks) of Classical Greece considered themselves divided (along with the Aeolians, Achaeans and Ionians).[2] They are almost always referred to as just "the Dorians", as they are called in the earliest literary mention of them in the Odyssey,[3] where they already can be found inhabiting the island of Crete.
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QMRIn the traditional system of eight modes (in use from the 8th century up to 1547) there are four pairs, each pair comprising an authentic mode and a plagal mode.
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QMRSouth Park is an American animated television series created by Trey Parker and Matt Stone for the Comedy Central television network. The ongoing narrative revolves around four children, Stan Marsh, Kyle Broflovski, Eric Cartman and Kenny McCormick, and their bizarre adventures in and around the fictional and eponymous Colorado town.[1] The town is also home to an assortment of characters who make frequent appearances in the show such as students and their family members, elementary school staff, and recurring characters.[1]
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QMRMuch of Wolf's work deals with issues of power. In his book Envisioning Power: Ideologies of Dominance and Crisis (1999), Wolf deals with the relationship between power and ideas. He distinguishes between four modalities of power: 1. Power inherent in an individual; 2. Power as capacity of ego to impose one's will on alter; 3. Power as control over the contexts in which people interact; 4. Structural power: "By this I mean the power manifest in relationships that not only operates within settings and domains but also organizes and orchestrates the settings themselves, and that specifies the direction and distribution of energy flows". Based on Wolf's previous experience and later studies, he rejects the concept of culture that emerged from the counter-Enlightenment. Instead, he proposes a redefinition of culture that emphasizes power, diversity, ambiguity, contradiction and imperfectly shared meaning and knowledge.[6]
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QMRFour Adventures of Reinette and Mirabelle (French: Quatre aventures de Reinette et Mirabelle) is a 1987 French film directed by Éric Rohmer, starring Joëlle Miquel, Jessica Forde and Philippe Laudenbach.
Synopsis[edit]
The film consists of four episodes in the relationship of two young women: Reinette, a country girl, and Mirabelle, a Parisian. The first episode is entitled The Blue Hour and recounts their meeting. The second centers on a café and a difficult waiter. In the third, the girls discuss their differing views on society's margins: beggars, thieves and swindlers. In the fourth episode, Reinette and Mirabelle succeed in selling one of Reinette's paintings to an art dealer while Reinette pretends to be mute and Mirabelle, acting as if she does not know Reinette, does all the talking.
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QMR1987 Four Adventures of Reinette and Mirabelle
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QMRParting from the Four Attachments (Tib. ཞེན་པ་བཞི་བྲལ་, Wyl. zhen pa bzhi bral) — a short teaching spoken by Manjushri to the Sakya patriarch Sachen Kunga Nyingpo.
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QMR"The Four of Us Are Dying" is episode 13 of the American television anthology series The Twilight Zone. It originally aired on CBS on January 1, 1960.
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QMRJessie is an American sitcom that originally aired on Disney Channel from September 30, 2011 to October 16, 2015. The series was created and executive produced by Pamela Eells O'Connell and stars Debby Ryan as Jessie Prescott, a small town Texas girl who moves to New York City to try to become an actress, but instead she becomes a nanny to a high profile couple's four children: Emma Ross (Peyton List), Luke Ross (Cameron Boyce), Ravi Ross (Karan Brar), and Zuri Ross (Skai Jackson).
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QMRRobina's Web ("The Dovecote", or "The grey feather"): a farce in four acts
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QMRMiss Hobbs: a comedy in four acts (1902) - starring Evelyn Millard
Fanny and the Servant Problem, a quite possible play in four acts (1909)
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QMRStructure and Content[edit]
Coming of Age in Mississippi is divided into four sections: Childhood, High School, College, and The Movement.
Part One: Childhood[edit]
Anne begins her story on the plantation where her life began, as Essie Mae, with her mother and father, both sharecroppers. She has one younger sister, Adiline. Later, her mother, Toosweet, gives birth to her third child, Jr. While pregnant with Jr., Anne’s father, Diddly, began an affair with another woman from the plantation and shortly after Jr.’s birth, her parents separate. Anne moved with her mother, and younger siblings, to town to live with her great aunt; this is where Essie Mae begins grade school. Anne’s curiosity about race is sparked when her questions about two uncles she has, those appear white, go unanswered. Essie’s mother begins a relationship with a man named Raymond, whom she eventually marries and has five more children with by the time Anne is in college. At nine years old Essie Mae began her first job sweeping a porch, earning seventy-five cents a week and two gallons of milk. Essie Mae experiences her first real competition with Raymond’s sister Darlene; they were the same age and in the same class, constantly competing against one another whenever possible. Though Essie enjoyed attending Centreville church, where Raymond’s family are members, she is tricked into joining Mt. Pleasant, where her mother is a member, and she holds that against her mother for some time. When the family farm falls through, Essie takes on more responsibility to help provide for the family. When asked to obtain a copy of her birth certificate for graduation, Essie Mae’s birth certificate shows up as Annie Mae. When Toosweet requests to have it changed, she it told there would be a fee; Essie Mae asks if she can keep Annie, and so she becomes Annie Mae Moody.
Part Two: High School[edit]
Anne’s political awakenings begin during her teenage years, and Moody chronicles those years in the book's second section, "High School." Beginning high school for Anne was full of new things: a name, and an understanding for race in the South. During her first year in high school Emmett Till, an innocent 14-year-old black boy visiting Mississippi from Chicago, is tortured and murdered for allegedly whistling in a flirtatious and then offensive manner at a white woman. His murder is a defining moment in Moody's life and in her political education. When Anne asks her mother questions about why the boy was killed and by whom, she is told, “an Evil Spirit killed him;” and that “it would take eight years to learn what that spirit was”.[4] For the first time, she realizes the extent to which many whites in Mississippi will go to protect their way of life - white supremacy - and the appalling powerlessness of the blacks - what most whites considered savages. When she asks her mother for the meaning of "NAACP" (referring to the National Association for the Advancement of Colored People), after hearing it from Mrs. Burke the white woman she works for, her mother tells her never to mention that word in front of any white persons, and if possible, not at all. Shortly thereafter, Moody discovers that there is one adult in her life who could offer her the answers she seeks: Mrs. Rice, her homeroom teacher. Like Mrs. Bertha Flowers in Maya Angelou’s I Know Why the Caged Bird Sings, Mrs. Rice plays a pivotal role in Moody's maturation. She not only answers Moody's questions about Emmett Till and the NAACP, but she volunteers a great deal more information about the state of race relations in Mississippi. Moody's early curiosity about the NAACP resurfaces later when she attends Tougaloo College. It is during this time, at fifteen years old, that Anne makes the claim she began to hate white people; she also chooses to move to Baton Rouge that same summer. While in Baton Rouge Anne learns some tough lessons when she is ripped off by a white family for two weeks pay, and when she is betrayed by a co-worker which resulted in her losing her job. Working for Mrs. Burke was something Anne viewed as a challenge; one that she overcame when she quit after Mrs. Burke wrongfully accused her younger brother, Jr. When Anne returned to New Orleans the following summer she picked up a job as a waitress by chance and was able to save more money than she ever had before to pay for college. Anne graduated high school in the summer of 1959 and made the decision to return to New Orleans, for good.
Part Three: College[edit]
The third section of the autobiography reveals Moody's increasing commitment to political activism. Towards the end of the summer, after graduation, Anne received a letter from the head coach at Natchez Junior College; she had received a basketball scholarship. Attending Natchez felt very restricted to Anne and at the end of the year she was unsure is she would return, however because of the cost of the schools in New Orleans, she was back at Natchez in the fall. During her second year at Natchez College, she helps organize a successful boycott of the campus cafeteria when a student finds a maggot in her plate of grits. This is Moody's first experience in organizing a group of individuals to launch a structured revolt against the practices of an established institution. While waiting for their demands to be met, Anne offers up what little money she has to help buy food for her fellow students. Just before the end of her sophomore year at Natchez, given the opportunity to test for an academic scholarship to Tougaloo College, Anne was successful and received an academic scholarship. When Anne’s roommate Trotter encourages her to join the NAACP, who she is the secretary for, Anne promises she will attend the next meeting; despite the animosity and violence that had surrounded everything she knew about the group. Some Tougaloo students were jailed after a demonstration, and when they were brought back to campus Medgar Evers accompanied them to “get some of Tougaloo’s spirit and try and spread it around all over Jackson”.[5] Though Anne’s grades suffered, she could not pull herself away from the movement. A fellow white student, Joan Trumpuer, now Joan Trumpauer Mulholland a secretary for SNCC, the Student Nonviolent Coordinating Committee, moved across the hall from Anne and invited her to help canvas for the voter registration they had planned on having in the Delta. While a junior at Tougaloo College she joins the NAACP. The third section ends with Moody's recounting of a terrifying ordeal in Jackson, Mississippi. On a shopping trip there with Rose, a fellow student from Tougaloo College, Moody – without any planning or support mechanism in place – decides to go into the "Whites Only" section of the Trailways bus depot. Initially the whites in the waiting area react with shock, but soon a menacing white mob gathers around the two young women and threatens violence.
Part Four: The Movement[edit]
The fourth and final section, documents Moody's full-scale involvement in the struggle for civil rights. In the opening chapter of the final section Moody narrates her participation in a sit-in at a Woolworth's lunch counter in Jackson. She and three other civil rights workers – two of them white – take their seats at the lunch counter. They are denied service, but the four continue to sit and wait. Soon a large number of white students from a local high school pour into Woolworth’s. When the students realize that a sit-in is in progress, they crowd around Moody and her companions and begin to taunt them. The verbal abuse quickly turns physical. Moody, along with the other three, is beaten, kicked, and "dragged about thirty feet toward the door by [her] hair" (266). Then all four of them are "smeared with ketchup, mustard, sugar, pies and everything on the counter" (266). The abuse continues for almost three hours until Dr. Beittel, the president of Tougaloo College who arrived after being informed of the violence, rescues them. When Moody is escorted out of Woolworth's by Dr. Beittel, she realizes that "about ninety white police officers had been standing outside the store; they had been watching the whole thing through the windows, but had not come in to stop the mob or do anything" (267). This experience helps Moody understand "how sick Mississippi whites were" and how "their disease, an incurable disease," could prompt them even to kill to preserve "the segregated Southern way of life" (267). While Anne is working for CORE, she slowly becomes angry; angry that she is not seeing the change she had hopes for, in the time she had hopes for, and angry that so many black people refused to work as diligently as herself and her activist peers did. Anne experiences the most fear throughout the entire story during this time when she learns she has made the Klan list. In the chapters that follow she comments on the impact of the assassinations of Medgar Evers and President John F. Kennedy on the Civil Rights Movement, the escalating turmoil across the South. Just before the final chapter, along with her fellow “Woolworth orphans” Anne graduates from Tougaloo College.[6] The short final chapter ends with her joining a busload of civil rights workers on their way to Washington, D.C. As the bus moves through the Mississippi landscape, her fellow travelers sing the anthem of the.
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QMRIndiana Jones and the Kingdom of the Crystal Skull is a 2008 American science fiction adventure film. It is the fourth installment in the Indiana Jones series created by George Lucas and directed by Steven Spielberg. Released nineteen years after the previous film, the film acknowledges the age of its star Harrison Ford by being set in 1957. It pays tribute to the science fiction B-movies of the era, pitting Indiana Jones against Soviet agents—led by Irina Spalko (Cate Blanchett)—searching for a telepathic crystal skull. Indiana is aided by his former lover Marion Ravenwood (Karen Allen) and their son Mutt Williams (Shia LaBeouf). Ray Winstone, John Hurt and Jim Broadbent are also part of the supporting cast.
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QMRThe Big Four Bridge is a six-span former railroad truss bridge that crosses the Ohio River, connecting Louisville, Kentucky, and Jeffersonville, Indiana, United States. It was completed in 1895, and updated in 1929. The largest single span is 547 feet (167 m), with the entire bridge spanning 2,525 feet (770 m). It took its name from the defunct Cleveland, Cincinnati, Chicago and St. Louis Railway, which was nicknamed the "Big Four Railroad". It is now a converted pedestrian and bicycle bridge from Louisville into Jeffersonville, Indiana.
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QMRThe original plan of Indianapolis was a 1 square mile (2.6 km2) area, platted in 1821. This area, known as the Mile Square, is bounded by East, West, North, and South streets, with a circular street at Monument Circle, originally called Governor's Circle, in the city's center.[28] The original grid included the four diagonal streets of Massachusetts, Virginia, Kentucky, and Indiana avenues, which extend outward, beginning in the city block just beyond the Circle.[29] Other major streets in the Mile Square are named after states that were part of the Union when Indianapolis was initially planned (1820–21) and Michigan, at that time a U.S. territory bordering Indiana to the north.[30] Notable exceptions to the city's street names include: Washington Street, an east–west street named in honor of George Washington or possibly in reference to Washington, D.C., the city on which the original plan of Indianapolis is based; Meridian Street, the north–south street that aligns with the 86W degree longitude, or meridian, and intersects the Circle; and Market Street, which intersects Meridian Street at Monument Circle and is named in the original design for the two city markets planned for the east and west sides of town.[31] Tennessee and Mississippi streets were renamed Capitol and Senate avenues in 1895.[32] State government buildings, including the Indiana Statehouse, the Indiana Government Center North, and the Indiana Government Center South are west of the Circle, along these two major north–south streets. The city's street-numbering system begins one block south of the Circle, where Meridian Street intersects Washington Street (a part of the historic National Road).[citation needed]
Originally the city was based off of a quadrant grid. The diagonal streets formed a mega quadrant.
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QMRNightmares is a 1983 American horror anthology film directed by Joseph Sargent, and starring Emilio Estevez, Lance Henriksen, Cristina Raines, Veronica Cartwright and Richard Masur. The film is made up of four short films based on urban legends; the first concerns a woman who encounters a killer in the backseat of her car; the second concerns a video game-addicted teenager who is consumed by his game; the third focuses on a fallen priest who is stalked by a pickup truck from hell; and the last follows a suburban family battling a giant rat in their home.
"Terror in Topanga"[edit]
During a traffic stop at night, a cop is stabbed to death by someone leaping from the bushes. A killer is terrorizing a local California area and the TV and radio are reporting that the cop is his fifth victim.
After Lisa (Raines) puts her children to bed, she discovers that she's out of cigarettes. Her husband (Joe Lambie) forbids her to go to the store, but she sneaks out anyway and heads down the canyon.
Lisa gets the cigarettes and begins home only to realize that she's almost out of gas. All the gas stations appear to be closed. Finally, she stops at an out of the way station and out comes an attendant (William Sanderson), who just happens to perfectly match the killer's description on the radio. She gets increasingly alarmed as the attendant, who seems to be studying her car and its occupant, suddenly lunges at the car with the gas nozzle. He drags her out of the car, draws a pistol and fires - to protect her from the real murderer (Lee Ving), who was hiding in her back seat.
"The Bishop of Battle"[edit]
Emilio Estevez in "Bishop of Battle."
Young J.J. Cooney (Estevez) is a video game wizard and arcade game hustler with help from his bespectacled friend Zock (Billy Jayne).
After an argument about J.J.'s obsession with video games, they split up for the day, and J.J. goes into his local arcade to try again to beat The Bishop of Battle, a maddeningly difficult video game that features thirteen levels; no one he knows has made it to the thirteenth, and many believe it's just a myth. He repeatedly tries and fails to make it to the thirteenth level until the owner forces him to leave at closing time.
J.J.'s parents, concerned about his performance in school, ground him until his grades improve. That night, he sneaks out and breaks into the arcade to finally finish the game. However, when he reaches the 13th level, the game collapses with the enemies flying out. (Estevez went through a two-week gun training session with the NYPD to realistically perform his gun maneuvers for these scenes.) J.J. flees to the parking lot, but the Bishop of Battle appears drawing closer and closer to the terrified J.J. The scene cuts to the next morning, where his friends and family see J.J.'s image on screen of the arcade machine for a few seconds before it turns into the player and the short ends.
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QMRThe act began as part of a mid-1920s vaudeville comedy act, billed as Ted Healy and his Stooges, consisting of Healy, Moe Howard, his brother Shemp Howard, and Larry Fine. The four made one feature film, Soup to Nuts, before Shemp left to pursue a solo career. He was replaced by his younger brother, Jerome (Curly Howard), in 1932. Two years later, the trio left Healy and signed on to appear in their own short subjects for Columbia, now billed as "The Three Stooges".
Curly suffered a debilitating stroke in May 1946, and Shemp returned, reinstating the original lineup, until his death of a heart attack in November 1955. Film actor Joe Palma was used as a temporary stand-in to complete four Shemp-era shorts under contract (the maneuver thereafter became known as the term of art "Fake Shemp"). Columbia contract player Joe Besser joined as the third Stooge for two years (1956–57), departing in 1958 to nurse his ailing wife. Columbia terminated its shorts division and released its Stooges contractual rights to the Screen Gems production studio. Screen Gems then syndicated the shorts to television, and the Stooges became one of the most popular comedy acts of the early 1960s.
The fourth is always different
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QMRA Long Way Down is a 2014 British black comedy film directed by Pascal Chaumeil, loosely based on author Nick Hornby's 2005 novel, A Long Way Down. It stars Pierce Brosnan, Toni Collette, Imogen Poots, and Aaron Paul as four strangers who happen to meet on the roof of a London building on New Year's Eve, each with the intent of committing suicide. Their plans for death in solitude are ruined when they meet as they decide to come down from the roof alive — however temporary that may be.
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QMRThe Pierce Four was the first four-cylinder motorcycle produced in the United States.[5][6][7] The model is included in the AMA Motorcycle Hall of Fame Classic Bikes[1] and Barber Vintage Motorsports Museum. Touting its inline-four engine as "vibrationless", Pierce sold the motorcycle for $325,[2] rising to $400 by 1913, which was expensive at the time, making it popular with "more prosperous sportsmen".[8]
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QMRThe Young Ones is a British sitcom, broadcast in the United Kingdom from 1982 to 1984 in two six-part series. Shown on BBC2, it featured anarchic, offbeat humour which helped bring alternative comedy to television in the 1980s and made household names of its writers and performers. In 1985, it was shown on MTV, one of the first non-music television shows on the fledgling channel. In a 2004 poll, it ranked at number 31 in the BBC's list of Britain's Best Sitcoms.
The main characters were four undergraduate students sharing a house: violent punk Vyvyan (Adrian Edmondson), pompous would-be anarchist Rick (Rik Mayall), long-suffering paranoid hippie Neil (Nigel Planer), and the suave, diminutive and shady Mike (Christopher Ryan). It also featured Alexei Sayle, who played various members of the Balowski family—most often Jerzei Balowski, the quartet's landlord—and occasional independent characters, such as the train driver in "Bambi" and the Mussolini-lookalike Police Chief in "Cash".
The show combined traditional sitcom style with violent slapstick, non-sequitur plot turns, and surrealism. These older styles were mixed with the working and lower-middle class attitudes of the growing 1980s alternative comedy boom, in which all the principal performers except Ryan had been involved. Every episode except one featured a live performance by a band, including Madness, Motörhead, and The Damned. This was a device used to qualify the series for a larger budget, as "variety" shows attracted higher fees than "comedy".
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QMRThe Young Ones is a British sitcom, broadcast in the United Kingdom from 1982 to 1984 in two six-part series. Shown on BBC2, it featured anarchic, offbeat humour which helped bring alternative comedy to television in the 1980s and made household names of its writers and performers. In 1985, it was shown on MTV, one of the first non-music television shows on the fledgling channel. In a 2004 poll, it ranked at number 31 in the BBC's list of Britain's Best Sitcoms.
The main characters were four undergraduate students sharing a house: violent punk Vyvyan (Adrian Edmondson), pompous would-be anarchist Rick (Rik Mayall), long-suffering paranoid hippie Neil (Nigel Planer), and the suave, diminutive and shady Mike (Christopher Ryan). It also featured Alexei Sayle, who played various members of the Balowski family—most often Jerzei Balowski, the quartet's landlord—and occasional independent characters, such as the train driver in "Bambi" and the Mussolini-lookalike Police Chief in "Cash".
The show combined traditional sitcom style with violent slapstick, non-sequitur plot turns, and surrealism. These older styles were mixed with the working and lower-middle class attitudes of the growing 1980s alternative comedy boom, in which all the principal performers except Ryan had been involved. Every episode except one featured a live performance by a band, including Madness, Motörhead, and The Damned. This was a device used to qualify the series for a larger budget, as "variety" shows attracted higher fees than "comedy".
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QMRReviews of Moody’s novel Purple America continued in this vein.[ambiguous] Salon commented: "Reading Purple America can feel like dancing a quadrille with four very different partners. On we go, propelled from consciousness to consciousness by Moody's prodigious gift for ventriloquism and large, supple vocabulary."[citation needed] Details was also positive: "You come up gasping on the last page."[citation needed] And Booklist states: "Closely interknitting his narrative with the lyrical, soaring monologues of all the key players, Moody effortlessly moves from one striking passage to the next....it's the characters' voices, so full of urgency and distress, that are unforgettable."[citation needed]
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QMrThe Four Fingers of Death was released July 28, 2010 by Little, Brown and Company.
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QMrFour Wheel Drive is the fourth album by Canadian rock band Bachman–Turner Overdrive, released in 1975 (see 1975 in music). It peaked at #1 in Canada on the RPM national albums chart on October 4 and again on October 18, 1975[3][4] while hitting #5 on the U.S. Pop Albums chart. The most popular single from the album, "Hey You," was written by Randy Bachman. It reached #1 in Canada, holding the top position on the RPM national singles chart for two weeks in June, 1975,[5][6] and #21 on the U.S. charts. Some reviews stated the song was directed at Bachman's former Guess Who band mate, Burton Cummings.[7]
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QMrFour Wheel Drive is the fourth album by Canadian rock band Bachman–Turner Overdrive, released in 1975 (see 1975 in music). It peaked at #1 in Canada on the RPM national albums chart on October 4 and again on October 18, 1975[3][4] while hitting #5 on the U.S. Pop Albums chart. The most popular single from the album, "Hey You," was written by Randy Bachman. It reached #1 in Canada, holding the top position on the RPM national singles chart for two weeks in June, 1975,[5][6] and #21 on the U.S. charts. Some reviews stated the song was directed at Bachman's former Guess Who band mate, Burton Cummings.[7]
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QMRArchangel Raphael's famous Indian shrine at Ollur (Kerala) which is the largest Kerala parish with more than four thousand families, and the angel himself with Thobias are the chief characters in George Menachery's short story "A Walk-out at Midnight" in which the huge collection of the church's wooden sculptures become animated.[11][dead link]
Raphael features as one of the four archangels in the TV series Supernatural.
Raphael is one of the main protagonists in Susan Ee's post-apocalyptic fantasy novel Angelfall.
He is a principal character and the male half of the lead pair of Nalini Singh's Guild Hunter series.[12]
He appears in the Dresden Files books by Jim Butcher, as one of the four Archangels of Heaven.
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QMRFour Men In Prison is a 1950 British documentary film about prison conditions directed by Max Anderson. It was commissioned for the purpose of educating people involved in criminal justice. The film was criticized for being inaccurate and sensational, and was quickly withdrawn.
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QMRRed Harvest (1929) is a novel by Dashiell Hammett. The story is narrated by The Continental Op, a frequent character in Hammett's fiction. Hammett based the story on his own experiences in Butte, Montana as an operative of the Pinkerton Detective Agency (fictionalized as the Continental Detective Agency).[1] The labor dispute in the novel was inspired by Butte's Anaconda Road Massacre.[2]
Red Harvest was originally serialized in four installments[5] in the pulp magazine, Black Mask:
Part 1: "The Cleansing of Poisonville" in Black Mask, November 1927 issue
Part 2: "Crime Wanted - Male or Female" in Black Mask, December 1927 issue
Part 3: "Dynamite" in Black Mask, January 1928 issue
Part 4: "The 19th Murder" in Black Mask, February 1928 issue
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qMRFour Sided Triangle is a 1953 British science-fiction film directed by Terence Fisher, adapted from a novel by William F. Temple. It starred Stephen Murray, Barbara Payton and James Hayter. It was produced by Hammer Film Productions at Bray Studios.
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QMRA tetralogy (from Greek τετρα- tetra-, "four" and -λογία -logia, "discourse") is a compound work that is made up of four distinct works. The name comes from the Attic theater, in which a tetralogy was a group of three tragedies followed by a satyr play, all by one author, to be played in one sitting at the Dionysia as part of a competition.[1]
Antiphon of Rhamnus, an orator, taught his students with Tintitives, each one consisting of four speeches: the prosecutor's opening speech, the first speech for the defence, the prosecutor's reply, and the defendant's conclusion. Three of Antiphon's tetralogies survive.[2] In more recent times, Shakespeare wrote two tetralogies, the first consisting of the three Henry VI plays and Richard III, and the second consisting of Richard II, the two Henry IV plays, and Henry V.[3] Richard Wagner's Der Ring des Nibelungen ("The Ring of the Nibelung" or "The Ring Cycle") is also referred to as a tetralogy.[4]
As an alternative to "tetralogy", "quartet" is sometimes used, particularly for series of four books. The term "quadrilogy", basing the prefix on Latin prefix quadri- instead of the Greek prefix, and first recorded in 1865,[5] has also been used for marketing series of movies, such as the Alien series.
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