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List of former Disneyland attractions | Table of Content | Short description, Main Street, USA, Main Street Opera House shows, Adventureland, New Orleans Square, Frontierland, Bayou Country, Fantasyland, Videopolis/Fantasyland Theatre shows, Mickey's Toontown, Tomorrowland, Tom Sawyer Island, Holidayland, Parades, Fireworks, See also, References, External links |
Iyengar | short description | Iyengars (also spelt Ayyangar or Aiyengar, pronounced ) are an ethnoreligious community of Tamil-speaking Hindu Brahmins, whose members follow Sri Vaishnavism and the Visishtadvaita philosophy propounded by Ramanuja. Iyengars are divided into two denominations, the Vadakalai and the Tenkalai and live mostly in the Southern Indian states of Tamil Nadu, Karnataka, and Andhra Pradesh. The community belongs to the Pancha Dravida Brahmana classification of Brahmins in India. |
Iyengar | Etymology | Etymology
There are several opinions regarding the etymology of the term Iyengar, which is the anglicized form of the Dravidian word Aiyaṅgār (, ).
One is that it derives from the Proto-Dravidian word ayya-gāru (𑀅𑀬𑀕𑀭𑀼), which became Ayyangāru (), and later Ayengar. The term ayya is the Tamil equivalent of the Sanskrit word ārya, (𑀆𑀭𑁆𑀬/आर्य) which in Sanskrit means noble. Gāru refers to a form of the Pali term gārava, and later gaurava, meaning respect or esteem.
Another is that the word ayyangār was first used by Kandhādai Ramanuja Ayyangār of Tirupati, around 1450 CE. |
Iyengar | History | History |
Iyengar | Common origins | Common origins
Ramanuja|right|thumb
The Iyengar community traces its philosophical origins to Nathamuni, the first Sri Vaishnava acharya, who lived around 900 CE. He is traditionally believed to have collected the 4,000 works of Nammalvar and other alvars, the poet-saints of Southern India who were intensely devoted to Vishnu on both an emotional and intellectual plane. The belief is that he set this collection - commonly called the Tamil Prabhandams - to music, and he introduced the devotional hymns of the alvars into worship, thus mixing their Tamil Veda with the traditional Vedas written in Sanskrit. A scriptural equivalence was accepted by the community that formed from his works. The Sanskrit texts are considered to be metaphysical truth and the Tamil oral variants to be based on human experience of the same. This community became immersed in the dual-language worship in temples where issues of varna were of no concern.
A century or so later, Ramanuja became the principal amongst religious leaders who formalized the efforts of Nathamuni as a theology. Ramanuja developed the philosophy of Visishtadvaita and is described by Harold Coward as "the founding interpreter of Sri Vaisnavite scripture," while Anne Overzee says that he was a collator and interpreter rather than an original thinker. Although showing originality in his method of synthesizing the Tamil and Sanskrit sources, Ranjeeta Dutta said that the two sets of sources "continued to be parallel to each other and not incorporative" at this time.
Nathamuni and Ramanuja were both Brahmins, while Nammalvar was of the Vellala community. All three men were Tamils, although Ramanuja documented his thoughts in Sanskrit. |
Iyengar | Schism | Schism
thumb|Vadakalai Urdhva Pundra
thumb|Tenkalai Urdhva Pundra
Ramanuja was initially a proponent of the traditional bhakti philosophy that demanded adherents have a good command of Sanskrit texts and a ritualized approach to life and devotion. This outlook marginalized women and members of the Shudra Varna because they were barred from learning the Sanskrit Vedas. Ramanuja later changed his position and became more receptive to a more inclusive theory. His metaphorical devices suggested that devotion through ritual "earned" salvation but also that salvation was given through the grace of God. Subsequently, some time around the fourteenth century, the Iyengar community divided into two sects. Both sects maintained a reverence for his works but were increasingly divided due to the doctrinal uncertainties evident in them.
The Vadakalai sect is referred to as the "Northern" culture or school, and the Tenkalai sect is the "Southern" culture or school. These cultures reference the perceived prominence given by the sects to the terse style of Sanskrit traditions and the lyrical Tamil Prabhandams, respectively. S. M. Srinivasa Chari believes this linguistic differentiation to be overstated. The Vadakalai favour Vedanta Desika as their acharya and the Tenkalai prefer instead the teachings of Manavala Mamuni. Chari notes that the sects share a common allegiance to Nammalvar and Ramanuja. and that their subsequent significant thinkers "wholly accepted the authority and importance" of both linguistic styles. Harold Schiffman says that the linguistic schism reflects wider underlying doctrinal differences between the populist southern school and the social conservatism of the north, with Tamil historically being a language understood by the masses. while Sanskrit was elitist and "caste-bound".
Vedic philosophy holds that the supreme goal in life is to attain the blissful state of Brahman through moksha, being the process of liberation of the suffering soul from the cycle of reincarnation. Although eighteen points of difference between the two Iyengar sects are generally recognised, being referred to as the ashtadasa bhedas, most of these are minor. Abraham Eraly describes a principal difference, being Coward considers this to be the difference between the two schools of thought, and Carman says that "... both [sects] accord primacy to divine grace, but one group feels it necessary to insist that there is no human contribution at all to the attainment of salvation." These variations in interpretation of the nature of prapatti – loosely translated "self-surrender to god" – are called marjara nyaya and markata nyaya, referring to the young of cats and monkeys. They give rise to another naming convention for the two sects, being the "monkey school" and the "cat school".
Unlike the Vadakalai, the Tenkalai Iyengar sect reject the varna system, and accepted those of lower castes into their temples. The sect was founded by Pillai Lokacharya.
Vadakalai Iyengars believe that it is necessary to offer obeisance/prostration to God multiple times, while Tenkalai Iyengars believe that it is enough if you offer obeisance/prostration to God once. This is the reason why a Vadakalai Iyengar is often seen prostrating four times, while Tenkalai Iyengars are seen prostrating only once. |
Iyengar | Sectarian rivalry | Sectarian rivalry
The sectarian rivalry has at times been bitter and, according to Andre Beteille, "aggressive". Thomas Manninezhath notes an intensification of disputes at the time of Thayumanavar in the eighteenth century and on other occasions legal processes have been used in attempts to settle the control of temples. |
Iyengar | Relations with other communities | Relations with other communities
See Also: Criticism of Iyers, Brahminism, Anti-Brahminism, varna-Based Reservations in Tamil Nadu
Chakravarti Rajagopalachari (right) has been the most prominent Iyengar in Indian politics|thumb|right|150px
thumb|Iyengar children, Thanjavur, 1909.
Prior to the independence of India, Brahmins had a significant presence in the government posts and education system of Madras province, a part of which is now Tamil Nadu. Since independence, grievances and alleged instances of discrimination by Brahmins in Tamil Nadu are believed to be the main factors which fueled the Self-Respect Movement and marginalised them.Caste in Indian Politics by Rajni Kothari, Pg 254 This, in combination with the depressed economic and social conditions of non-Brahmins, led the non-Brahmins to agitate and form the Justice Party in 1916, which later became the Dravidar Kazhagam. The Justice Party banked on vehement anti-Hindu and anti-Brahmin propaganda to ease Brahmins out of their privileged positions. Gradually, the non-Brahmin replaced the Brahmin in every sphere and destroyed the monopoly over education and the administrative services which the Brahmin had previously held.
There were also accusations that they were Sanskritists who had a contemptuous attitude towards Tamil language, culture and civilisation. Kamil Zvelebil, a Dravidologist, argues from a study of the history of Tamil literature that this accusation is inaccurate and factually wrong. He notes that the Brahmin was chosen as a scapegoat to answer for the decline of Tamil civilisation and culture in the medieval and post-medieval periods. |
Iyengar | Subgroups | Subgroups |
Iyengar | Hebbar | Hebbar
Hebbar Iyengar or Hebbari Srivaishnava is a caste of Hindu Brahmins of Tamil origin whose members follow the Visishtadvaita philosophy propounded by Ramanuja. They are found primarily in the Indian state of Karnataka especially in Southern Districts. |
Iyengar | Mandayam | Mandayam
Mandayam Iyengars are a subgroup of Iyengars, settled in various parts of Karnataka, predominantly Melkote. Mandayam Iyengars also speak a different dialect of Tamil called as Mandayam Tamil. Mandayam Iyengars follow Ramanujacharya and Manavala Mamunigal. Mandyam Iyengars do not celebrate the popular Hindu festival of Diwali in remembrance of the day Tipu Sultan massacred close to 1500 men, women and children of this community on Diwali of 1773 in Srirangapatna.
Chelluru / Selvanallur
Chelluru Iyengars are a subgroup of Tenkalai Iyengars, believed to have migrated from Selvanallur ( a village in banks of Godavari) and settled in and around Madurai as early as 9th Century. Chelluru Iyengars follow Ramanujacharya and Manavala Mamunigal. |
Iyengar | Wedding customs | Wedding customs
thumb|The rite of passage ceremony of an Iyengar boy (Upanayanam)
thumb|Sri Balmukundacharya in typical Iyengar attire
Tamil Brahmin weddings are held to a distinct standard of religious orthodoxy in comparison to the ceremonies of other communities. They consist of age-old traditions, enactments, time-bound customs, as well as practices for securing kinship affiliations for the sacred initiation of the bride into her new family. These are performed in an elaborate fashion that are intended to secure the blessings of both God and one's ancestors. A typical Iyengar wedding is made up of the following events:
Vethalaipakku Exchange of gifts between the bride and groom
Pandalkal Blessing the wedding venue
Janavasam Heralding the arrival of the groom and inviting him to the mandapam
Nischayathartham Commitment to be married is made and announced to all
Jadhaga Naamagaranam Re-naming of bride
Nandi or Vratham Anointing the bride and groom
Kashiyathrai The groom embarks on a mock pilgrimage before the father of the bride requests him to come back to the wedding
Oonjal The couple exchanges garlands and sit on a decorated swing while ladies sing songs
Piddishuttal The couple is protected from 'dhrishti' evil eye
Kanyadaanam The father gives away the bride
Mangalya Dharanam The groom ties the sacred 'thaali' on the bride
Akshathai The couple is blessed with the showering of coloured rice
Sesha Homam Lighting of the sacred fire
Saptapadi The groom and bride take seven steps around the sacred fire
Nagoli Vasthra The bride' s family welcomes the son-in-law
Gruhapravesham The bride is welcomed into her marital home
Sambandhi Virandhu The wedding is followed by a feast for the new families
Reception Post-wedding celebrations
Nalangu The bride and groom play games while the guests sing songs |
Iyengar | Notable people | Notable people |
Iyengar | Notes | Notes |
Iyengar | See also | See also
Iyers
Tamil Brahmins
Brahmins |
Iyengar | References | References
Notes
Citations |
Iyengar | Further reading | Further reading
Category:Surnames of Hindu origin
Category:Surnames of Indian origin
Category:Vaishnava sects
Category:Hindu denominations
Category:Tamil Brahmins
Category:Social groups of Tamil Nadu
Category:Brahmin communities of Karnataka
Category:Brahmin communities of Tamil Nadu
Category:South Indian communities
Category:Indian castes |
Iyengar | Table of Content | short description, Etymology, History, Common origins, Schism, Sectarian rivalry, Relations with other communities, Subgroups, Hebbar, Mandayam, Wedding customs, Notable people, Notes, See also, References, Further reading |
Passifloraceae | Short description | The Passifloraceae are a family of flowering plants, containing about 750 species classified in around 27 genera.
They include trees, shrubs, lianas, and climbing plants, and are mostly found in tropical regions. The family takes its name from the passion flower genus (Passiflora) which includes the edible passion fruit (Passiflora edulis), as well as garden plants such as maypop and running pop.
Passiflora vines and Dryas iulia (among other heliconian butterflies) have demonstrated evidence of coevolution, in which the plants attempted to stop their destruction from larval feeding by the butterflies, while the butterflies tried to gain better survival for their eggs.
The former Cronquist system of classification placed this family in the order Violales, but under more modern classifications systems such as that proposed by the Angiosperm Phylogeny Group, this is absorbed into the Malpighiales and the family has been expanded to include the former Malesherbiaceae and Turneraceae. |
Passifloraceae | Genera | Genera |
Passifloraceae | Subfamily Malesherbioideae | Subfamily Malesherbioideae
Malesherbia Ruiz & Pav. |
Passifloraceae | Subfamily Pibirioideae | Subfamily Pibirioideae
Pibiria Maas |
Passifloraceae | Subfamily Passifloroideae | Subfamily Passifloroideae
Tribe Paropsieae
Androsiphonia Stapf
Barteria Hook.f. (includes synonym Smeathmannia Sol. ex R.Br.)
Paropsia Noronha ex Thouars
Paropsiopsis Engl.
Viridivia J.H.Hemsl. & Verdc.
Tribe Passifloreae
Adenia Forssk.
Ancistrothyrsus Harms
Basananthe Peyr.
Crossostemma Planch. ex Benth.
Deidamia Noronha ex Thouars
Dilkea Mast.
Efulensia C.H.Wright
Mitostemma Mast.
Passiflora L.
Schlechterina Harms |
Passifloraceae | Subfamily Turneroideae | Subfamily Turneroideae
Adenoa Arbo
Afroqueta Thulin & Razafim
Arboa Thulin & Razafim
Erblichia Seem.
Hyalocalyx Rolfe
Loewia Urb.
Mathurina Balf.f.
Oxossia L. Rocha
Piriqueta Aubl.
Stapfiella Gilg
Streptopetalum Hochst.
Tricliceras Thonn. ex DC.
Turnera L. |
Passifloraceae | Excluded genera | Excluded genera
Abatia Ruiz & Pav. → Salicaceae
Aphaerema Miers → Salicaceae |
Passifloraceae | Phylogeny | Phylogeny
Source: |
Passifloraceae | References | References |
Passifloraceae | External links | External links
Passiflora Online
The Passiflora Society International
Passiflora Picture Gallery
Category:Malpighiales families |
Passifloraceae | Table of Content | Short description, Genera, Subfamily Malesherbioideae, Subfamily Pibirioideae, Subfamily Passifloroideae, Subfamily Turneroideae, Excluded genera, Phylogeny, References, External links |
Aporia | short description |
In philosophy, an aporia () is a conundrum or state of puzzlement. In rhetoric, it is a declaration of doubt, made for rhetorical purpose and often feigned. The notion of an aporia is principally found in ancient Greek philosophy, but it also plays a role in modern post-structuralist philosophy, as in the writings of Jacques Derrida and Luce Irigaray, and it has also served as an instrument of investigation in analytic philosophy. |
Aporia | Philosophy | Philosophy
In philosophy, an aporia is a philosophical puzzle or a seemingly irresoluble impasse in an inquiry, often arising as a result of equally plausible yet inconsistent premises, i.e., a paradox. It can also denote the state of being perplexed, or at a loss, at such a puzzle or impasse. |
Aporia | Ancient Greek philosophy | Ancient Greek philosophy
Plato's early dialogues are often called his 'aporetic' (Greek: ) dialogues, because they typically end in aporia. In such a dialogue, Socrates questions his interlocutor about the nature or definition of a concept, e.g., virtue or courage. Socrates then, through elenctic testing, shows his interlocutor that his answer is unsatisfactory. After a number of such failed attempts, the interlocutor admits he is in aporia about the examined concept, concluding that he does not know what it is. In Plato's Meno (84a-c), Socrates describes the purgative effect of reducing someone to aporia: it shows someone who merely thought he knew something that he does not in fact know it and instills in him a desire to investigate it.
In Aristotle's Metaphysics, aporia plays a role in his method of inquiry. In contrast to a rationalist inquiry that begins from a priori principles, or an empiricist inquiry that begins from a tabula rasa, he begins the Metaphysics by surveying the various aporiai that exist, drawing in particular on what puzzled his predecessors: "with a view to the science we are seeking [i.e., metaphysics], it is necessary that we should first review the things about which we need, from the outset, to be puzzled" (995a24). Book Beta of the Metaphysics is a list of the aporiai that preoccupy the rest of the work.
In Pyrrhonism, aporia is intentionally induced as a means of producing ataraxia. |
Aporia | Modern usage | Modern usage
Contemporary academic studies of the term aporia further characterize its usage in philosophical discourses. In "Aporetics: Rational Deliberation in the Face of Inconsistency" (2009), Nicholas Rescher is concerned with the methods in which an aporia, or "apory", is intellectually processed and resolved. In his Preface, Rescher identifies the work as an attempt to "synthesize and systematize an aporetic procedure for dealing with information overload (of 'cognitive dissonance', as it is sometimes called)" (ix). The text is also useful in that it provides a more precise (although specialized) definition of the concept: "any cognitive situation in which the threat of inconsistency confronts us" (1). Rescher further introduces his specific study of the apory by qualifying the term as "a group of individually plausible but collectively incompatible theses", a designation he illustrates with the following syllogism or "cluster of contentions":
The aporia, or "apory" of this syllogism lies in the fact that, while each of these assertions is individually conceivable, together they are inconsistent or impossible (i.e. they constitute a paradox). Rescher's study is indicative of the continuing presence of scholarly examinations of the concept of aporia and, furthermore, of the continuing attempts of scholars to translate the word, to describe its modern meaning.
Aporia's role in modern post-structuralist philosophy, is reflected in the writings of Jacques Derrida and Luce Irigaray, and it has also served as an instrument of investigation in analytic philosophy. Derrida refers to three "aporias": "the epoche of the rule", "the ghost of the undecidable", and "the urgency that obstructs the horizon of knowledge".Lawlor, L., Jacques Derrida, Stanford Encyclopedia of Philosophy, updated on 27 August 2021, accessed on 6 January 2025 |
Aporia | Rhetoric | Rhetoric
Aporia is also a rhetorical device whereby the speaker expresses a doubt—often feigned—about their position or asks the audience rhetorically how the speaker should proceed. One aim of aporia may be to discredit the speaker's opponent. Aporia is also called dubitatio. For example: |
Aporia | See also | See also
Antinomy
Cognition
Dubitative mood
Figure of speech
Intuition
Rhetorical question
Thought experiment
Zeno's paradoxes
Gordian knot |
Aporia | References | References |
Aporia | Sources | Sources
Vasilis Politis (2006). "Aporia and Searching in the Early Plato" in L. Judson and V. Karasmanis eds. Remembering Socrates. Oxford University Press.
Category:Concepts in ancient Greek epistemology
Category:Concepts in ancient Greek philosophy of mind
Category:Figures of speech
Category:Mental states
Category:Pyrrhonism
Category:Rhetoric
Category:Theories in ancient Greek philosophy |
Aporia | Table of Content | short description, Philosophy, Ancient Greek philosophy, Modern usage, Rhetoric, See also, References, Sources |
Nilgiri flowerpecker | Short description | The Nilgiri flowerpecker (Dicaeum concolor) is a tiny bird in the flowerpecker family. Formerly a subspecies of what used to be termed as the plain flowerpecker although that name is now reserved for Dicaeum minullum. Like others of the group, it feeds predominantly on nectar and fruits. They forage within the canopy of forests and are found in India. They are non-migratory and the widespread distribution range includes several populations that are non-overlapping and morphologically distinct, some of which are recognized as full species. They are important pollinators and dispersers of mistletoes in forests. |
Nilgiri flowerpecker | Description | Description
alt=Nligiri flowerpecker from Western Ghats, Kerala|left|thumb|Nligiri flowerpecker from Western Ghats, Kerala
These birds are tiny (9 cm long) and there is no marked difference between the males and females. It is found in hill forests of the Western Ghats and Nilgiri hills of southern India. It is pale brown on the upperside and the underside is whitish. The whitish brow in front of the eye is wider than in Dicaeum erythrorhynchos. This subspecies has been raised to full species by Pamela Rasmussen. The subspecies found in northeastern India, extending into Myanmar, Laos and southern China is called olivaceum by earlier authors but is treated by Rasmussen and other taxonomists now as a separate species Dicaeum minullum (which includes the population minullum from Hainan Island and is now termed as the plain flowerpecker in the more restricted sense). This is very olive above and the black bill is finer and slightly curved. The population found in the Andaman Islands virescens is also considered a separate species Dicaeum virescens (the Andaman flowerpecker) in the newer treatment. This is bright olive-green on the upperside with dark speckling on the crown. The centre of the belly has a bright patch of pale yellow. |
Nilgiri flowerpecker | Behaviour and ecology | Behaviour and ecology
The Nilgiri flowerpecker is a common resident breeding bird of woodland edges, cultivation and isolated stands of trees, often in hilly country. The call of the Nilgiri flowerpecker is a sharp check or a rapid series of ticks, while the song is a high-pitched trill. The breeding season of concolor in the Nilgiris is January to April possibly with a second brood in May and June. Two or three eggs are laid in a purse-like nest suspended from a tree or bush. Like other flowerpeckers they have a feathery tongue that allows them to sip nectar, but they feed on soft berries as well as small insects.
They are important pollinators and dispersers of mistletoes in tropical forests. |
Nilgiri flowerpecker | References | References |
Nilgiri flowerpecker | External links | External links
Image and Classification at Animal Diversity Web
Photos and media
Nilgiri flowerpecker
Category:Endemic birds of India
Category:Birds of South India
Nilgiri flowerpecker
Nilgiri flowerpecker
ms:Burung Sepah Putri |
Nilgiri flowerpecker | Table of Content | Short description, Description, Behaviour and ecology, References, External links |
Dicaeum | Short description | thumb|200px|Pale-billed flowerpecker Dicaeum erythrorhynchos with a Muntingia calabura berry (Hyderabad, India)
200px|thumb|Thick-billed flowerpecker Dicaeum agile on Helicteres isora
Dicaeum is a genus of birds in the flowerpecker family Dicaeidae, a group of passerines tropical southern Asia and Australasia from India east to the Philippines and south to Australia. Within the family Dicaeidae the genus Dicaeum is sister to a clade containing the genera Prionochilus and Pachyglossa.
Its members are very small, stout, often brightly coloured birds, 10 to 18 cm in length, with short tails, short thick curved bills and tubular tongues. The latter features reflect the importance of nectar in the diet of many species, although berries, spiders and insects are also taken.
2-4 eggs are laid, typically in a purse-like nest suspended from a tree. |
Dicaeum | Taxonomy | Taxonomy
The genus Dicaeum was introduced by the French naturalist Georges Cuvier in 1816. The volume has the year 1817 printed on the title page but was published in 1816. See: The name is from the Ancient Greek dikaion. Cuvier claimed that this was a word for a very small Indian bird mentioned by the Roman author Claudius Aelianus but the word probably referred instead to the scarab beetle Scarabaeus sacer. The type species was designated as the scarlet-backed flowerpecker by George Robert Gray in 1840.
The genus contains the following 44 species:
Image Scientific name Common Name Distribution - Spectacled flowerpecker Dicaeum dayakorum Borneo - Golden-rumped flowerpecker Dicaeum annae Lesser Sundas 125px Yellow-sided flowerpecker Dicaeum aureolimbatum Sulawesi 125px Olive-capped flowerpecker Dicaeum nigrilore montane Mindanao 125px Yellow-crowned flowerpecker Dicaeum anthonyi montane northern Luzon 125px Flame-crowned flowerpecker Dicaeum kampalili montane Mindanao 125px Bicolored flowerpecker Dicaeum bicolor Philippines 125px Red-keeled flowerpecker Dicaeum australe Philippines 125px Black-belted flowerpecker Dicaeum haematostictum Western Visayas 125px Scarlet-collared flowerpecker Dicaeum retrocinctum Mindoro - Cebu flowerpecker Dicaeum quadricolor Cebu 125px Orange-bellied flowerpecker Dicaeum trigonostigma Southeast Asia - Buzzing flowerpecker Dicaeum hypoleucum Philippines 125px Pale-billed flowerpecker Dicaeum erythrorhynchos South Asia 125px Nilgiri flowerpecker Dicaeum concolor Western Ghats 125px Plain flowerpecker Dicaeum minullum Northeast India, southern China and Southeast Asia - Andaman flowerpecker Dicaeum virescens Andaman Islands 125px Pygmy flowerpecker Dicaeum pigmaeum Philippines - Crimson-crowned flowerpecker Dicaeum nehrkorni montane Sulawesi - Buru flowerpecker Dicaeum erythrothorax Buru - Halmahera flowerpecker Dicaeum schistaceiceps northern Moluccas - Ashy flowerpecker Dicaeum vulneratum east-central Moluccas 125px Olive-crowned flowerpecker Dicaeum pectorale Raja Ampat Islands and northwest New-Guinea - Red-capped flowerpecker Dicaeum geelvinkianum New Guinea and satellites - Louisiade flowerpecker Dicaeum nitidum Louisiade archipelago - Red-banded flowerpecker Dicaeum eximium eastern Bismarck archipelago - Midget flowerpecker Dicaeum aeneum Solomon Islands - Mottled flowerpecker Dicaeum tristrami Makira - Black-fronted flowerpecker Dicaeum igniferum Lesser Sundas - Red-chested flowerpecker Dicaeum maugei Selayar Islands and eastern Lesser Sundas - Pink-breasted flowerpecker Dicaeum keiense southern Moluccas 125px Mistletoebird Dicaeum hirundinaceum Aru Islands and Australia - Grey-sided flowerpecker Dicaeum celebicum Sulawesi - Black-sided flowerpecker Dicaeum monticolum montane Borneo 125px Fire-breasted flowerpecker Dicaeum ignipectus Himalayas, southern China, Taiwan and Indochina - Cambodian flowerpecker Dicaeum cambodianum eastern Thailand and Cambodia - Sumatran flowerpecker Dicaeum beccarii Bukit Barisan - Fire-throated flowerpecker Dicaeum luzoniense Philippines - Javan flowerpecker Dicaeum sanguinolentum montane Java and Bali - Flores flowerpecker Dicaeum rhodopygiale Flores - Sumba flowerpecker Dicaeum wilhelminae Sumba - Timor flowerpecker Dicaeum hanieli Timor 125px Scarlet-backed flowerpecker Dicaeum cruentatum southern China and Southeast Asia 125px Scarlet-headed flowerpecker Dicaeum trochileum Bangka Island, southern Sumatra/Borneo and Java |
Dicaeum | References | References |
Dicaeum | External links | External links
Flowerpecker videos and photographs
Category:Dicaeidae
Category:Bird genera
Category:Taxa named by Georges Cuvier |
Dicaeum | Table of Content | Short description, Taxonomy, References, External links |
Thai art | short description |
thumb|A row of gilded Garudas and Nāgas on the base of the Ubosot at Wat Phra Kaew.
Thai art refers to a diverse range of art forms created in Thailand from prehistoric times to the present day, including architecture, sculpture, painting, textiles, decorative arts, crafts, ceramics, and more. While Buddhism has played a significant role in Thai art, with many sculptures and paintings depicting Buddha images and religious themes, nature, including flora and fauna, as well as mythical creatures, has been a major inspiration for Thai art, with colorful motifs appearing in various types of art forms. In contemporary Thai art, traditional works remain significant and continue to influence artists' concepts. |
Thai art | History | History |
Thai art | Prehistory | Prehistory
One of the earliest examples of artistic expression in Thailand can be found in over 410 documented rock art sites across the country, featuring both prehistoric and historic art. The majority of these sites showcase monochrome red pictograms that depict animals, humans, geometric shapes, and handprints. While the dating of many sites remains unknown, some rock art sites have been reported to date back 3,000–5,000 years ago.
Nong Ratchawat, situated in Suphanburi province, is an important prehistoric site that provides valuable insights into the lifestyles of the people who settled in the area around 2000–500 BCE. Excavations have unearthed evidence of rice cultivation, animal husbandry, hunting, fishing, building construction, the creation of polished stone axes and pottery using locally available materials. The inhabitants were skilled in weaving textiles from plants possessing strong fibers, such as flax, hemp, and ramie. During the Iron Age, Nong Ratchawat became a prominent trading hub in the Mae Klong River Basin and the Tha Chin River Basin, attracting merchants from different parts of the world and leading to cultural and ethnic diversity. The river watersheds surrounding the site have yielded a plethora of artifacts, including pottery, bronze and iron tools, glass beads, ivory dice, Roman coins, and Lingling-o earrings. Ban Chiang is another important archaeological site in Thailand, located in Udon Thani province. It showcases the artistic achievements of a prehistoric culture that existed from about 2000 BCE to 300 CE. The people of Ban Chiang were skilled metalworkers, and evidence of early metallurgy, including copper and bronze artifacts, has been found at the site. The site also features diverse ceramics, some of which are decorated with distinctive red-on-buff swirl designs painted by hand. |
Thai art | Dvaravati art | Dvaravati art
The Dvaravati period, lasting from the 6th to the 12th centuries CE, witnessed the spread of Theravada Buddhism throughout central, northern, northeastern, and southern Thailand. While Theravada Buddhism was the dominant religion during this time, there is also evidence of other religious influences, including Mahayana Buddhism and Hinduism. Dvaravati art, which employed hard blue limestone or quartzite to produce intricate sculptures, stucco, and terracotta decorations, featured symmetrical Buddha images standing or seated on thrones and the Wheel of the Law. The art style of Dvaravati owed its influence to the art of the Gupta and Post-Gupta periods in northern India, as well as the Buddhist art of Amaravati in southern India. People of Dvaravati were likely the Mons, as evidenced by various inscriptions during this period. The Dvaravati period played a significant role in the dissemination of Buddhism across the region, with noteworthy examples of Dvaravati towns including Nakhon Pathom ancient city in Nakhon Pathom province, U-Thong in Suphanburi province, Chan Sen in Nakhon Sawan province, Si Thep in Phetchabun province, Hariphunchai in Lamphun province, Mueang Fa Daet Song Yang in Kalasin province, Champasi in Maha Sarakham province, Sema in Nakhon Ratchasima province, Baan Dong Lakorn in Nakhon Nayok province, Ku Bua in Ratchaburi province, and Yarang in Pattani province. |
Thai art | Srivijaya art | Srivijaya art
During the 8th-13th centuries CE, Southern Thailand may have been influenced by the Srivijaya Kingdom, which encompassed Sumatra and the Malay Peninsula. This resulted in similarities between Srivijaya art in Southern Thailand and Central Java art in Indonesia, specifically in bronze sculptures and votive tablets. The ancient sites in Chaiya, Southern Thailand, also bear resemblances to Central Java art, with Wat Phra Borommathat Chaiya being the most similar. The majority of sculptures discovered in Southern Thailand are of religious significance, depicting figures such as the Avalokitesvara, Buddha protected by a Nāga, and clay votive tablets with Buddhist iconography. Srivijaya art in Southern Thailand, from Surat Thani to Songkhla, displays the influence of Indian art styles such as Gupta, post-Gupta, and Pala–sena, indicating a strong connection to Mahayana Buddhism. |
Thai art | Khmer art in Thailand – Lopburi art<ref>{{Cite web | Khmer art in Thailand – Lopburi art
Between the 11th and 13th centuries CE, central and northeastern Thailand was ruled by the Khmers of Cambodia and as a result, Brahmin–Hinduism emerged. It led to the development of artistic styles, sculptures, and architecture similar to the Khmer also known as Khom in Thai language. This artistic expression is known as the Lopburi style, named after the ancient city of Lopburi or Lavo and refers to both the Khmer-influenced and genuinely Khmer artistic movement in Thailand.
Lopburi artists were primarily associated with Brahmin-Hinduism, and later, Mahayana Buddhism. Surviving examples of their art are mainly stone and bronze carvings. The Lopburi architectural style used bricks and stones, with the Prang style being the most common, influenced by the Khmer Angkor style. In the 13th century AD, the Sukhothai Kingdom was established, and the Lopburi Kingdom came under its influence. During this time, artistic works aimed to establish a Thai identity. |
Thai art | U-Thong art | U-Thong art
U-Thong art, also known as Suphannaphum-Ayothaya art, emerged in central Thailand between the 12th and 15th centuries CE, contemporaneously with Chiang Saen and Sukhothai art. This style received its name from the U-Thong Kingdom, which was centered in the U Thong District, although this kingdom's existence is ambiguous. It is characterized by a Buddha image style influenced by Dvaravati, Lopburi, and Sukhothai arts, with the Dvaravati influence being the most prominent. The resulting architecture and fine arts are collectively referred to as U-Thong and can be found in various provinces, including Suphanburi, Nakhon Pathom, Chai Nat, Lopburi, and Ayutthaya.
U-Thong architecture is closely related to Theravada Buddhism and features low-roofed ubosot, vihāra, and chedis constructed with wood. A unique style of U-Thong chedi has an octagonal base, eight-sided structure, lotus crystal-adorned roof, and bell. These chedis are commonly found at various temples, such as Sankhaburi in Chai Nat province or some temples in Suphanburi. Another type of U-Thong chedi is found at Wat Phra Borommathat in Chai Nat province and shows similarities to Srivijaya art.
Bronze sculptures from the U-Thong period exemplify elaborate casting, inheriting from the earlier Dvaravati art. Sukhothai art mixed with U-Thong art, resulting in lighter Buddha statues with flame auras, eventually becoming characteristic of early Ayutthaya art. The U-Thong or Ayothaya Kingdom was dissolved with the establishment of the Ayutthaya Kingdom. |
Thai art | Sukhothai art | Sukhothai art
Sukhothai art emerged in the 13th to 15th centuries CE, coincided with the establishment of the Sukhothai Kingdom. This art form was influenced by Theravada Buddhism, which was propagated from Lanka through Nakhon Si Thammarat. One of the most notable characteristics of Sukhothai art is the authentic Sukhothai-style chedi, also referred to as Phum khao bin, which has a distinct lotus-shaped design.
Another defining feature of Sukhothai art is the Buddha images' graceful and elegant form, which exhibits refined proportions, a distinctive flame-like halo around the head, and a serene expression. These Buddha images are typically seated in the half-lotus posture with the right hand performing the earth-touching gesture or walking with one foot forward and the right hand raised to the chest. The walking Buddha, in particular, is a unique style closely associated with Sukhothai.
The Sukhothai Kingdom was also renowned for its exceptional glazed ceramics, which were produced in the Sangkhalok style. These ceramics featured delicate blue-green or grayish-green tints and intricate designs painted in black or a darker hue of the glaze. They were fired at high temperatures, resulting in a durable and robust body. Despite its short-lived existence, the Sukhothai Kingdom's artistic legacy remains influential to this day. The kingdom's artistry and craftsmanship were absorbed into the Ayutthaya Kingdom, which succeeded it. |
Thai art | Lanna art | Lanna art
Lanna art, also known as Chiang Saen art, denotes an artistic tradition that emerged in northern Thailand, spanning the period from the 14th to the 19th century AD. Its inception was in Chiang Saen; however, the establishment of the Lanna Kingdom with Chiang Mai as its capital caused a shift in artistic production. Lanna art is deeply entrenched in Theravada Buddhism, which was the dominant religion in the region. While initially, it drew inspiration from Hariphunchai art, it gradually evolved its distinct style.
Lanna chedis are typically bell-shaped, evolving from a round plan to a polygonal plan as seen in the pagoda at Wat Phra That Doi Suthep. Some chedis, for example, the one containing King Tilokaraj's ashes at Wat Chet Yot, were influenced by Sukhothai architecture. The Buddha images of Lanna are frequently depicted with specific attributes like a round face, a smiling expression, and curled-up hair or an egg-shaped face with a halo of flames. |
Thai art | Ayutthaya art | Ayutthaya art
Ayutthaya art thrived between the 14th and 18th centuries CE, during the rise and dominance of the Ayutthaya Kingdom across much of mainland Southeast Asia. It inherited the artistic traditions of late U-Thong art and developed a distinctive style that blended various cultural influences from Sukhothai, Lopburi, India, Persia, China, Japan, and Europe. Ayutthaya also exerted its artistic influence over its vassal states of Angkor and Lanna.
The art of Ayutthaya was characterized by a diverse array of techniques and styles, including the grand palaces and monasteries decorated with chedis, prangs, and Buddha images. Religious icons were often adorned with regal attire and crowns, emphasizing the close relationship between the king and the Buddha. Artisans showcased their expertise in the creation of lacquerware and mother-of-pearl inlay, producing functional and decorative objects with intricate designs and vivid paintings. These techniques were frequently used to decorate religious objects such as Buddha images.
Chang Sip Mu, which means Ten Essential Traditional Craftsmanship, played a crucial role in both civilian and military fief houses during the Ayutthaya period. This is evidenced by its recognition under the Three Seals Law implemented by King Borommatrailokkanat. Despite the name suggesting only ten groups of highly skilled craftsmen, the group actually comprised more than ten groups who were experts in various fields. However, after the Burmese army burned down the city in 1767 CE, various branches of fine arts that had thrived during the late Ayutthaya period had to disperse because craftsmen were taken away. Despite this unfortunate event, the city's artistic heritage can still be appreciated today at the archaeological site of the historic city and in various museums. |
Thai art | Rattanakosin art | Rattanakosin art
Rattanakosin art is a style of art that emerged in 1780, when the Rattanakosin Kingdom was founded by King Rama I. The king wanted to revive the artistic traditions that had been lost during the destruction of the Ayutthaya Kingdom by the Burmese. He re-established Chang Sip Mu, a group of ten craftsmen who were responsible for creating fine art in Bangkok. Later, this group became part of the Fine Arts Department.
The early Rattanakosin art was influenced by the late Ayutthaya art, which was characterized by the use of bright colors, gold leaf, and solid backgrounds in paintings. The artists also restored some of the art forms that had been damaged or lost, such as lacquerware and mother-of-pearl inlay.
During the reign of King Rama III, Rattanakosin art began to incorporate elements from other cultures, such as European and Chinese. This was especially evident in architectural art, which blended Thai and Chinese styles. For example, the Grand Palace and Wat Pho were built with Chinese-style roofs and decorations.
King Rama IV introduced more changes to Rattanakosin art, as he was interested in Western science and culture. He adopted European architectural styles and techniques, such as Gothic and neoclassical, and also learned about linear perspective from Western paintings. He hired Khrua In Khong, a talented painter who applied linear perspective to Thai paintings and created realistic scenes of nature and society.
King Rama V continued the modernization and westernization of Rattanakosin art, as he traveled to Europe and brought back new ideas and materials. He commissioned many buildings that combined Thai and European styles, such as the Ananta Samakhom Throne Hall and the Vimanmek Mansion and mixed-style such as Chakri Maha Prasat Throne Hall. He also supported the production of Benjarong, a type of porcelain with colorful patterns that had previously been imported from China with Thai patterns but later began to be produced locally. |
Thai art | Contemporary art | Contemporary art
Contemporary Thai art emerged in the 1990s, blending old and new Thai cultural features with a diverse color palette and patterns to create modern and appealing art. However, its roots can be traced back to Khrua In Khong, the first Thai artist to adopt the Western realist style in his paintings, which added more depth and realism to his works.
Silpa Bhirasri, an Italian sculptor who came to Thailand in 1923 and founded the School of Fine Arts, which later became Silpakorn University, played a pivotal role in introducing modern art concepts and techniques to Thai artists and students. He taught them perspective, anatomy, composition, and color theory, and established the National Art Exhibition in 1949, providing a platform to showcase and promote Thai art. Silpa Bhirasri's famous sculptures and paintings reflected his artistic vision and appreciation of Thai culture and history, making him widely regarded as the father of Thai contemporary art.
Silpa Bhirasri's influence can be seen in the works of Fua Haripitak and , who were Thailand's avant-gardes in the 1950s and 1960s. These artists challenged the conventional norms and expectations of Thai art by creating abstract and expressive works that explored their personal feelings and experiences. They used bold colors, shapes, and textures to convey their emotions and ideas, incorporating elements of Thai culture and spirituality, such as Buddhist symbols, folk motifs, and astrological signs, into their works. Their trailblazing efforts paved the way for many more artists of later generations, such as Damrong Wong-Upraj, Manit Poo-Aree, Pichai Nirand, and Anant Panin, to experiment with new forms and styles of expression.
In the mid-1990s, a group of artists created the Chiang Mai Social Installation, which brought art and performance out of the traditional gallery setting and into the streets of Chiang Mai.
The Bangkok Art Biennale, launched in 2018, provides a platform for artists to showcase their work on an international stage. These developments reflect a growing interest in Thai contemporary art and the increasing willingness of artists to experiment with new forms of expression |
Thai art | See also | See also
Buddha images in Thailand
Cinema of Thailand
Culture of Thailand
History of Asian art
Iconography of Gautama Buddha in Laos and Thailand
Khon
List of Buddhist temples in Thailand
Music of Thailand
Thaitone |
Thai art | References | References |
Thai art | Further reading | Further reading |
Thai art | External links | External links
Rama IX Art Museum – Virtual museum of Thai contemporary artists. Listings of museums, galleries, exhibitions and venues. Contains muchinformation on Thai artists and art activities.
Golden Triangle Art – Introduction of contemporary art and artists living and working in Northern Thailand and Myanmar. Guide to art galleries, art News and exhibitions with focus on Chiang Mai.
Thai Buddhist Art – Thai Buddhist Art Website Project to Promote and play a part in the growth of the Thai Fine Art Community of Collectors and Aficionados. Representing a host of Thailand's Most Outstanding Artists.
Online display of the 19th-century Thai Manuscript Traiphum (Illustrated Text on Cosmology) from the Harvard Art Museums' collections.
Category:Art by country |
Thai art | Table of Content | short description, History, Prehistory, Dvaravati art, Srivijaya art, Khmer art in Thailand – Lopburi art<ref>{{Cite web, U-Thong art, Sukhothai art, Lanna art, Ayutthaya art, Rattanakosin art, Contemporary art, See also, References, Further reading, External links |
Thick-billed flowerpecker | Short description | The thick-billed flowerpecker (Pachyglossa agilis) is a tiny bird in the flowerpecker group. They feed predominantly on fruits and are active birds that are mainly seen in the tops of trees in forests. It is a resident bird with a wide distribution across tropical southern Asia from India east to Indonesia and Timor with several populations recognized as subspecies some of which are sometimes treated as full species. This species was formerly placed in the genus Dicaeum.
Taxonomy
The thick-billed flowerpecker was formally described in 1833 by the English ornithologist Samuel Tickell based on a specimen collected in the Barabhum and Dhalbhum forests of the state of Jharkhand in eastern India. He placed the new species with the finches in the genus Fringilla and coined the binomial name Fringilla agilis. The specific epithet is Latin meaning "nimble" or "active". The thick-billed flowerpecker was formerly placed in the genus Dicaeum but when molecular phylogenetic studies found that this genus was paraphyletic, several species including the thick-billed flowerpecker were moved to the resurrected genus Pachyglossa that had been introduced in 1843 by Edward Blyth.
Eleven subspecies are recognised:
P. a. agilis (Tickell, 1833) – northeast Pakistan and peninsular India
P. a. zeylonica (Whistler, 1944) – Sri Lanka
P. a. pallescens (Riley, 1935) – Bangladesh to Myanmar, north Thailand, and north Vietnam
P. a. modesta (Hume, 1875) – south peninsular Thailand, Malay Peninsula, and Borneo
P. a. atjehensis (Delacour, 1946) – Sumatra
P. a. finschi (Bartels, MEG, 1914) – Java (rare)
P. a. tincta (Mayr, 1944) – Sumba and Flores to Alor Island (central Lesser Sunda Islands)
P. a. obsoleta (Müller, S, 1843) – Timor and Wetar (east Lesser Sunda Islands)
P. a. striatissima Parkes, 1962 – Luzon group (north Philippines)
P. a. aeruginosa (Bourns & Worcester, 1894) – Mindoro, West Visayas and Mindanao (south Philippines)
P. a. affinis (Zimmer, JT, 1919) – Palawan (southwest Philippines)
The subspecies P. a. aeruginosa, P. a. striatissima and P. a. affinis have sometimes been considered as a separate species, the striped flowerpecker.
Description
This species flowerpecker is about 10 cm long and has a dark stout beak and short tail. They are dark grey brown above and dull greyish with diffuse streaking on light buffy underparts. The rump is slightly more olive in the nominate race. The bill is dark, somewhat stout and heavy and the iris is reddish. The sexes are not distinguishable in the field and the juvenile has a paler base to the mandible and less streaks on the underside. There are whitish spots at the tip of the tail feathers. The nominate race is found on the plains of the mainland of the Indian Subcontinent. The Sri Lankan population, zeylonense (=zeylonicum, zeylonica), is smaller and darker above. and Subspecies modestum (including pallescens) is found in northeastern India and extends into Burma. Several island forms have been described but some of them are only tentatively kept within this species. These include atjehense of Sumatra, finschi of western Java, tinctum of Sumba, Flores and Alor, obsoletum from Timor, striatissimum, aeruginosum and affine from the Philippines. Several of these such as aeruginosum are considered as full species as they are reproductively isolated and distinct in morphology.
Behaviour and ecology
Like other flowerpeckers they feed mainly on berries, nectar but sometimes take insects. Many of the subspecies are found in dense lowland forests with the exception of the nominate race which is found mainly in cultivated areas or open forest.
Unlike the pale-billed flowerpecker, it does not swallow the berries of Loranthus (some species now in genus Dendrophthoe) and instead wipes the seeds on a branch and feeds on the epicarp. This makes it disperse the parasitic mistletoe locally unlike the other species. In Sri Lanka, they forage at a greater height in the canopy than the pale-billed flowerpecker.
Foraging birds produce a spick call frequently and the tail is jerked from side to side when perched. When displaying the male twitters and flutters over the female. The song is rambling and is mixed with notes that resemble that of the ashy prinia. The feathers of the crown are erected in display and the white bases of the feathers become visible as a crown stripe.
The nest has been described as appearing camouflaged like a dry leaf. It is a pendant purse like structure made of cobwebs or fine plant fibres and is located from 3 to 15 metres high suspended from a thin horizontal branch. Said to frequently nest among the nests of Oecophylla smaragdina'' ants. The breeding season in southern India is December to March. Both male and female participate in nest building. The usual clutch is about 3 eggs but can vary from 2 to 4. The incubation period is around 13 days and the chick takes around 18 days to fledge. |
Thick-billed flowerpecker | References | References |
Thick-billed flowerpecker | External links | External links
Photographs and videos
Image at ADW
thick-billed flowerpecker
Category:Birds of Indomalaya
thick-billed flowerpecker |
Thick-billed flowerpecker | Table of Content | Short description, References, External links |
Hugh Kennedy (judge) | Short description | Hugh Edward Kennedy (11 July 1879 – 1 December 1936) was an Irish judge, politician and barrister who served as Chief Justice of Ireland from 1924 to 1936, a judge of the Supreme Court from 1924 to 1936 and Attorney General of Ireland from 1922 to 1924. He served as a Teachta Dála (TD) for the Dublin South constituency from 1923 to 1924. As a member of the Irish Free State Constitution Commission, he was also one of the constitutional architects of the Irish Free State. |
Hugh Kennedy (judge) | Early life and education | Early life and education
Kennedy was born in Dublin in 1879. He was the son of the surgeon Hugh Boyle Kennedy and Mary Kate Kennedy (née Kennedy; not related), from County Tipperary. His younger sister was the journalist Mary Olivia Kennedy. He studied for the examinations of the Royal University while a student at University College Dublin and King's Inns, Dublin. He was called to the Bar in 1902. He was appointed King's Counsel in 1920 and became a Bencher of King's Inn in 1922.
He married Clare Murphy (died 1975) in Dublin in 1911. They had no children. She was the daughter of a successful Liverpool Irish timber merchant, John Murphy. |
Hugh Kennedy (judge) | Legal career | Legal career
During 1920 and 1921, Kennedy was a senior legal adviser to the representatives of Dáil Éireann during the negotiations for the Anglo-Irish Treaty. He was highly regarded as a lawyer by Michael Collins, who later regretted that Kennedy had not been part of the delegation sent to London in 1921, to negotiate the terms of the treaty.Forrester, Margery. Michael Collins 2nd edition Gill and Macmillan 1989, p.282
thumb|right|360px|The Constitution Committee meeting at the Shelbourne Hotel, Dublin, with Hugh Kennedy seated third from the right
On 31 January 1922, Kennedy became the first Attorney General in the Provisional Government of the Irish Free State. Later that year, the Provisional Government appointed him to the Irish Free State Constitution Commission to draft the Constitution of the Irish Free State. The Irish Free State was established on 6 December 1922. The functions of the Provisional Government were transferred to the Executive Council of the Irish Free State. Kennedy was appointed Attorney General of the Irish Free State on 7 December 1922.
In 1923, he was appointed to the Judiciary Commission by the Government of the Irish Free State, on a reference from the Government to establish a new system for the administration of justice by the Constitution of the Irish Free State. The Judiciary Commission was chaired by Lord Glenavy, who had also been the last Lord Chancellor of Ireland. It drafted the Courts of Justice Act 1924 for a new court system, including a High Court and a Supreme Court. It provided for the abolition, inter alia, of the Irish Court of Appeal and the Irish High Court of Justice. Most of the judges were not reappointed to the new courts. Kennedy personally oversaw the selection of the new judges and made impressive efforts to select them on merit alone.Hogan, Gerard V. Chief Justice Kennedy and Sir James O'Connor's application Irish Jurist Vol. 23 p.144 The results were not always happy: his diary, of which some extracts have been published, reveal the increasingly unhappy atmosphere in the Supreme Court itself, due to frequent clashes between Kennedy and his colleague Gerald Fitzgibbon, since the two men proved to be so different in temperament and political outlook that they found it almost impossible to work together harmoniously.Hogan p.156 In a similar vein, Kennedy's legal opinion and choice of words could raise eyebrows amongst legal colleagues and fury in the Executive Council, for example regarding the Kenmare incident.
He was also a delegate of the Irish Free State to the Fourth Assembly of the League of Nations, between 3 and 29 September 1923. |
Hugh Kennedy (judge) | Political career | Political career
He was elected to Dáil Éireann on 27 October 1923, as a Cumann na nGaedheal TD at a by-election in the Dublin South constituency. He was the first person to be elected in a by-election to Dáil Éireann. He resigned his seat in June 1924 when he was appointed Chief Justice of Ireland. |
Hugh Kennedy (judge) | Judicial career | Judicial career
On 5 June 1924, he was appointed Chief Justice of Ireland, thereby becoming the first Chief Justice of the Irish Free State. He is also the youngest person appointed Chief Justice of Ireland. When he was appointed he was 44 years old. Although the High Court of Justice and the Court of Appeal had been abolished and replaced by the High Court and the Supreme Court respectively. Kennedy campaigned for the replacement of the wigs and gowns traditionally worn by judges and barristers, which he regarded as the trappings of an alien regime. He received little support from the judges or the government and the traditional dress was retained. He held the position of Chief Justice, until his death on 1 December 1936.
In September 2015, a biography by Patrick Kennedy (no relation) was written on him called Hugh Kennedy: The Great But Neglected Chief Justice. |
Hugh Kennedy (judge) | References | References |
Hugh Kennedy (judge) | External links | External links
Article at University College Dublin archives department
AttorneyGeneral.ie
Category:1879 births
Category:1936 deaths
Category:Alumni of the Royal University of Ireland
Category:Attorneys general of Ireland
Category:Chief justices of Ireland
Category:Cumann na nGaedheal TDs
Category:Irish King's Counsel
Category:Members of the 4th Dáil
Category:People associated with University College Dublin
Category:Politicians from County Dublin
Category:20th-century King's Counsel
Category:Alumni of King's Inns
Category:Lawyers from County Dublin |
Hugh Kennedy (judge) | Table of Content | Short description, Early life and education, Legal career, Political career, Judicial career, References, External links |
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The Flash Girls | More citations needed | The Flash Girls are a now defunct folk music duo based out of Minneapolis, Minnesota. The duo consisted of Emma Bull, a noted science fiction author, and Lorraine Garland, also known as "The Fabulous Lorraine". Garland is also notable as Neil Gaiman's personal assistant; the group formed at a Guy Fawkes Day party at Gaiman's home. The connections that both Bull and Garland had with the science fiction and fantasy communities allowed them to have an unusually notable group of people writing songs for and with them, including Jane Yolen, Alan Moore, and Neil Gaiman. These songs are mixed in with their own original works, traditional songs such as Star of the County Down and Lily of the West, as well as poems put to music, including works by Dorothy Parker and A.A. Milne.
The group has three albums, The Return of Pansy Smith and Violet Jones (1993), Maurice and I (1994), and Play Each Morning Wild Queen (2001). Following their second album, the pair split up due to Bull moving to California to pursue screenwriting. Since then, Garland joined the band Folk UnderGround. During their time apart between "Maurice and I" and "Wild Queen," the duo continued to write material, and in early 2001 Bull flew back to Minneapolis for an intense two-weeks of recording sessions. They intended to perform a concert with the new material, but while the band was setting up for the concert Bull fell and broke both her arms. The Flash Girls did manage to do a few performances in 2001 with a session musician covering Bull's guitar parts, but apparently have performed together infrequently since.
One recent appearance was at ConFusion 2005, aka 31 Flavors of ConFusion, where Bull with Will Shetterly were Author Guests of Honor. ConFusion is held in the Metro Detroit area every January. Garland and Bull performed together, per Steven Brust, ConFusion's Toastmaster that year.
Bull and Garland somehow landed their third-ever gig as the opening band for Warren Zevon to a packed crowd at Minneapolis' First Avenue Club. They were both extremely nervous, having been together for only a month. Garland said that if they screwed up in front of such a huge crowd, she was going to change her name to Pansy Smith and move into Gaiman's basement; in his blog, Gaiman says this was his suggestion. Bull agreed and said she'd join Garland and change her name to Violet Jones. Although the concert went off without a hitch, the pair adopted these names as their alter egos and made up a fictional history of a female Irish folk duo in the 1920s and used it as a theme for their first record, "The Return of Pansy Smith and Violet Jones."
Pansy Smith and Violet Jones became characters in the DC Comics series Sovereign Seven, where they run a coffee shop.
The group's name came from the old Irish slang term "flash," which means well-dressed and of dubious reputation, or "knowing more than is socially acceptable." A number of folk songs mention "flash girls," most notably the one attributed by Bull's husband Will Shetterly as being the source for the group's name, "House-husband's Lament (Rocking the Cradle)." The line in question goes, "Come all you young men with a notion to marry/Oh, pray, won't you leave those flash girls alone."
Both The Flash Girls and Bull's former group, Cats Laughing, have been mentioned in Shetterly's stories for the fantasy fiction shared universe Borderland. |
The Flash Girls | Notes | Notes |
The Flash Girls | External links | External links
Emma Bull and Will Shetterly's Flash Girls site
The oldest reference to 'flash girls'
A history of Violet Jones and Pansy Smith
The Green Man Review of "The Return of Pansy Smith and Violet Jones"
The Green Man Review of "Maurice and I"
The Green Man Review of "Play Each Morning Wild Queen"
31 Flavors of ConFusion
Flash Girls, The
Category:Musical duos from Minnesota
Category:Female musical duos
Category:Folk music duos
Category:Filkers |
The Flash Girls | Table of Content | More citations needed, Notes, External links |
J. G. Herder | # | redirect Johann Gottfried Herder |
J. G. Herder | Table of Content | # |
Lily of the West | Short description | "Lily of the West" is a traditional British and Irish folk song, best known today as an American folk song, it is listed as number 957 in the Roud Folk Song Index and has a Laws Number of P27. The American version is about a man who travels to Louisville and falls in love with a woman named Mary, Flora or Molly, the eponymous Lily of the West. He catches Mary being unfaithful to him, and, in a fit of rage, stabs the man she is with, and is subsequently imprisoned. In spite of this, he finds himself still in love with her. In the original version, the Lily testifies in his defense and he is freed, though they do not resume their relationship.
The lyrics to the first verse, as famously sung by Joan Baez:When first I came to Louisville, some pleasure there to findA damsel there from Lexington was pleasing to my mindHer rosy cheeks, her ruby lips, like arrows pierced my breastAnd the name she bore was Flora, the lily of the West- and every verse ends with a repetition of the phrase, Flora, the lily of the West. |
Lily of the West | History and traditional variants | History and traditional variants |
Lily of the West | Britain and Ireland | Britain and Ireland
Many broadsides of the song were collected in England and Ireland around 1820–50; the English and Scottish versions generally begin "It's when I came to England some pleasure for to find", whilst the Irish broadsides began "When first I came to Ireland some pleasure for to find". Sabine Baring-Gould collected several versions from traditional singers in the English West Country in the 1890s, and George Gardiner and Charles Gamblin collected another in Dummer, Hampshire in 1906. The traditional tune is a variant of that also commonly used for the Irish folk song The Lakes of Pontchartrain and it belongs to the same Irish melody-family as a song variously known as On the Trail of the Buffalo / Buffalo Skinners / The Hills of Mexico / The State of Arkansas / Boggus Creek.
Below is the first verse of a version printed in 1857 in Glasgow, Scotland, described as a "highly popular song":It's when I came to England some pleasure for to find,
When I espied a damsel most pleasing to my mind,
Her rosie cheeks, and rolling eyes like arrows pierced my breast,
And they called her lovely Flora the Lily of the West. |
Lily of the West | America | America
In "The Collected Reprints from Sing Out! the Folk Song Magazine Volumes 7-12, 1964-1973" (on page 6, preceding the song's notation and lyrics), it is stated that:“This old ballad has been kept alive over the centuries by both print and oral tradition. Originally an English street ballad (or broadside), the song became particularly popular in the United States by parlor singers and ballad-printers. During the 19th century it was known throughout the country and, in time, became part of the folk heritage. Its popularity was such that in Kansas, local versifiers used the song for a parody:"
Come all you folks of enterprise who feel inclined to roamBeyond the Mississippi to seek a pleasant home;Pray take a pioneer's advice, I'll point you out the best- I mean the state of Kansas, the lily of the WestThe song survived long enough in North America for audio recordings to be made of traditional versions, particularly in the Ozark region of the United States. Recordings collected by Max Hunter and performed by C.W. Ingenthron of Walnut Shade, Missouri (1958) and Fred High of Arkansas (1959) are available online via the Max Hunter Folk Collection. Irene Sargent of West Fork, Arkansas was recorded performing a version in 1960, and Lowell Harness of Leslie, Arkansas was recorded performing another in 1962. The song also had a presence in Appalachia, where Alan Lomax recorded a version performed by Eliza Pace of Hyden, Kentucky in 1937, and Evelyn Ramsey of Sodom Laurel, North Carolina had her version recorded by Mike Yates in 1980. Several Canadian versions were recorded in Newfoundland and Nova Scotia in the 1950s and 60s by Helen Creighton, Herbert Halpert and Kenneth Peacock. |
Lily of the West | Popular recordings | Popular recordings
Joan Baez recorded the song in 1961, including it on her second album; her live concerts have frequently included performances of the song well into the 2010s. Bob Dylan, The Chieftains, Bert Jansch - Live At The 12 Bar, Josh Andrews, The Flash Girls, Caroline Groussain, Sheri Kling, Show of Hands, Peter, Paul and Mary (as "Flora"), Mark Knopfler, Crooked Still, Dirty Linen, Branimir Štulić (in Croatian, titled "Usne Vrele Višnje") and Pat Gubler (PG Six) on the album Slightly Sorry (Amish Records 2010) among others. The "Green Mountain Bluegrass Band" does a version of this song as well. Arizona road band Major Lingo performed a long jam version of the song using an electric slide guitar and slightly different lyrics. Holly Near recorded a parody of the song about the lesbian scene in which the singer, a woman, was obsessed with Lily, the flora of the West. |
Lily of the West | The Irish experience | The Irish experience
The song is often interpreted as a metaphor for the English, Scots-Irish and general British and Irish experience in western early and colonial America, with nods to their earlier experiences on the margins of Ireland, Scotland, and the Borders.
The first Chieftains recording of the song, from their mid 1990s album The Long Black Veil and sung by Mark Knopfler, is set in Ireland. A later recording by The Chieftains and Rosanne Cash from The Chieftains' album Further Down the Old Plank Road, ends with the man's being released and traveling across the Atlantic to "ramble through old Ireland/And travel Scotland o'er". Despite leaving America, he finds that he is still in love and mentally fixated on the woman, known in this version as Flora. |
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